The Collective Psyche of Violence in Iraq and Britain

I still clearly remember that man, bearded middle age wearing Dishdasha and came running out of a police station carrying a vase. The foreign journalist stopped him and asked why he is taking this vase. The man simply answered “I paid its price in blood”. The journalist commented later that this man was a conscript in the Iraqi army for nearly ten years during the Iraq-Iran war and then the 1991 Gulf War. That was in 2003 amid the widespread anarchy and looting that swept Baghdad when the Iraqi regime collapsed. At that time, the media, both foreign but mainly Arab media tried to portray the scenes of looting, anarchy and violence as part of the nature of Iraqi society (more precisely, violence is encrypted in our genes) paying little attention to historical conflicts, interests of regional powers in Iraq, complex ethnic and demographic diversity of Iraqi culture and religious/sectarian and tribal divisions in Iraq. This belief about Iraqi society was not new. Echoes of the same accusations can be tracked back to the late fifties when the King family was massacred in 1958 and the scenes of cheering crowds and the jubilation in the street when the corpses of the Prince and the Prime minister were mutilated and dragged in the streets. This was further reinforced by the successive bloody military coups in 1963 and 1968. Also the Iraq-Iran war and then the large scale looting of Kuwait by the Iraqi army in 1990 and the uprising that followed in the south and north of Iraq. Interestingly, even many Iraqis hold this belief including many intellectuals. Baqir Yasin, shared the same opinion in his book The History of Blood-stained Violence in Iraq `Tareekh Al Unf Al Damawi Fi Al Iraq`. Salam Abood in his book The Culture (or Education) of Violence in Iraq ` Thaqafet Al Unf Fi Al Iraq` the effect of violence on the Iraqi literature in the last three decades of the past century. I have noticed some similar hints in a book called Rituals of War-The body and Violence in Mesopotamia (by Zainab Bahrani) where “ she investigates the ancient Mesopotamian record to reveal how that culture relied on the portrayal of violence and control as parts of the mechanics of warfare”.

Now six months into the Arab Spring that swept the whole Arab world and we have a more or less civil war in Libya and Yemen, a full scale military crackdown in Syria. Not to forget the deep Sunni/Shia’ rising tensions in Bahrain. However, so far no blame of the people of these countries being violent but all blamed on authoritarian repressive brutal regimes.

But the recent riots in Britain made me think more about this theme, which I call it, the Collective Psyche of Violence. The scene of that Asian student with bleeding nose approached by a gang that pretended to help him but instead mugged him is not much different from looting scenes we saw in Iraq in 2003. Four people died in these riots (in 14th July 1958 Revolution that reshaped the future of the whole Middle East – or the bloody coup as described by the Times magazine in 1958- only 18 people died across Iraq).

Not long ago, David Cameron said publically that multiculturalism has failed in Britain (which I think is true) but he put all the blame on “British Muslims” and since then he and many other politicians asking the British Muslims to “embrace British values”. However, nobody said exactly what these values are? And are there such unique values for British people in particular. Are there French, American, or even Chinese values? After these recent violent riots, Cameron described parts of the British society as “sick” and blamed it on “moral collapse” over the last three or four decades. Some blamed job cuts, unemployment and poverty. I just wondered what left of the British Values that Mr Cameron wants me to embrace and most importantly how much this collective Psyche of violence differs between affluent Western countries and poor eastern countries like Iraq for example.

The Arab Prog Spring

Note: It has been very long time since I posted anything. here is an article about a new music scene in many Arabic countries. nothing to do with Iraqi politics, so if you are not interested in Music do not read it. Thanks


The Arab World refers to the region stretching from the Atlantic Ocean in the west to the Arabian Sea in the east. It always has been a hot spot attracting the attention of politicians and the media in the West for its geopolitical and economic importance. However, for Prog fans there is more than politics to look for in this part of the world. In this article I would like to shed light on the growing Arab Prog culture and introduce some of the bands who are shaping this phenomenon.
In the last six months a wave of massive prodemocracy protests swept several Arab countries and captured the attention of the world. This movement was named The Arab spring. On the other hand, there was a thriving, but unnoticed and very often neglected underground Rock culture in many of these countries. The share of Prog was small but significant. It is very hard to exactly establish when it all has started but most likely during the late seventies when the first amateur attempts appeared. It was nearly two decades later; a resurrection of Progrock came with a new wave of young ambitious musicians in different countries with diverse tastes and inspirations and a strong will for wider international success. In both of these periods, most of these bands were not only influenced by Prog giants like Yes, Genesis, Pink Floyd and ELP etc. but incorporated traditional folk Middle Eastern and Arabic heritage into their music. To me the Prog scene at the moment looks very promising but fragile and threatened at the same time. Lack of political stability, financial difficulties, limited fan base at home and the absence of interested Arab record companies in Prog music, all these obstacles put the future of many of these bands at risk.

Osiris (Bahrain)

In this small island state in the Gulf region, the two talented Al-Sadeqi brothers, Mohammed (Guitar) and Nabil (Drums) formed Osiris in 1980. With a career spanning over three decades I chose Osiris to be on the top of the Arab Prog list. The two brothers mastered their instruments at very young age and were exposed to wide range of Classical, Jazz and Rock during the sixties. The roots of Osiris can be tracked back to 1969 in a small band, WITCH doing gigs for fun at parties. In 1974 the band broke up when both Mohammed and Nabil left for their university studies abroad and it was not until 1980 when they returned home and decided to form a Progrock band playing their own material. “They chose the name Osiris from Egyptian mythology not only for its sound but its reference to Arab culture, youth and fertility”. Finding musicians to complete the band was a struggle with many different line-ups but the addition of Abdul Razak Aryan on keyboard two years later was a significant step that consolidated Osiris music and contributed to its richness and augmented its sonic diversity. Their repertoire contains four studio albums and two live recordings. Their style, especially in the first two albums “Osiris- 1981” and “Myths and Legends-1984” is very influenced by Camel and Genesis but lacks the authenticity and complexity of their influential bands. The opening track “Fantasy” in their debut album has a strong affiliation to Camel’s first two albums. In addition to their Prog influences, their music also revealed strong links to Bahraini traditional music and the little island heritage. Concepts of pearl-diving and sailing (the main two professions on the Island before the discovery of Oil) were heavily reflected in their albums (for example, their 1985 live album Tales of The Divers). Osiris released their third album Reflections in 1991 and sixteen years later they released their last studio album Visions From The Past. Osiris is very popular in Bahrain since the 80s but it was only very lately when Musea label released their works, they gained limited international popularity among Progrock fans. Osiris planned a concert in next September in Bahrain but with the current tense climate in over there it is very difficult to guess what is going to happen but keep fingers crossed.


Eftekasat (Egypt)

“In short, if Steely Dan and Steve Vai had been born Egyptian and raised on oriental folk music, this is the sound they might make “that’s how the Herald Tribune described Eftekasat, A highly professional and talented group of young musicians playing high standard Oriental Fusion blended with Jazz Rock elements. Amro Salah, the founder member and keyboard player formed the band in 2001 though he was very active in the music scene since early 90s. They played in several Jazz festivals in Egypt then found some international success after performing in the 4th Bansko International Jazz Festival in Bansko, Bulgaria in 2004.Their debut Mouled Sidi El-latini’s album (or The Latin Dervish) was released in 2006 and has many progressive moments through the album but mainly on tracks written by their former guitarist Ousso. The Nay player Hany Badri sounded like Tull’s Ian Anderson on some tracks. Their second album “Dandasha” was released 6 years later and is less progressive than their debut but still maintained the same band musical style. Being very determined and ambitious, Amro Salah expressed his dreams about the band in an interview “"To be internationally recognised, to be one of the groups on the international scene, performing a number of concerts per year. As Chick Corea Electric Group or Spyrogyra, there would be a group by the name Eftekasat from Egypt."

Nu.Clear.Dawn (Syria)

“What if your soul has no value and what if you have no rights” (from the song Falcon and Crow, Poem of the Knight album). There is nothing more accurate than this verse to describe the current atmosphere of fear in Syria where prodemocracy protesters being persecuted by a tyrant regime. Although the lyrics tells the story of a French couple in medieval ages, Nu.Clear.Dawn debut album, Poem of the Knight (released in 2003) reflected the aspirations of a young generation struggling to find meaning in life and hoping for better future. Their music is melodic power Prog metal influenced by Dream Theatre, Symphony X, Pain of Salvation and even Steve Vai with no oriental or Middle Eastern influences. The band was formed in late nineties and released a single “To Stand Forever” in 2000. Despite several line-up changes and difficulties to find a producer, the band determined to continue and managed to produce a decent album in 2003 with promising lyric-writing talent and solid musicianship (mainly by Shant Hagopian-guitarist, Aram Kalousdian – Drums and Amr Rifai-Vocals). The group gained limited international recognition when they played in Rock the Nation music festival in Turkey alongside metal giants like Iron Maiden and Pain of Salvation. This band definitely needs support from fans and production companies to fulfil their ambition of introducing an “immortal music” as described by their drummer Aram.

Myrath (Tunisia)

Hailing from Tunisia where the spark of the Arab Revolution started, Myrath (which means Legacy) was founded in early 2001 by Malek Bin Arbia, by then a 13-year-old guitarist. After many years of playing cover songs for heavy metal bands, fortune knocked on their doors when they opened for Adagio and Robert Plant in 2006 in the 3rd edition of Mediterranean guitar festival. They attracted the attention of Adagio’s keyboard player, Kevin Codfert who was a sound engineer and a producer as well. In 2007, the French label Brennus Music produced their debut album Hope. It was a significant step forward for Myrath. The music was a Progmetal mainly influenced by Symphony X and Adagio with North African traditional Arab music influences. Three years later, their second album, Desert Call was another achievement. Here Myrath maintained the same power of mixing Progmetal heavy riff s with folk Arabic music and harmonies and the first song Forever And The Day was in Arabic, a breakthrough in this growing Prog culture. In November 2011 Myrath is touring Europe with Orphaned Land (a talented metal band from Israel, again with Middle Eastern Music influences).
Finally, the four bands mentioned above were just an example of a growing phenomenon in the Middle East and North African Arab countries. Prog always broke any boundaries in music and kept “progressing” further and further. In addition it does not have any geographical homeland, unlike other form of music. I think it is the time for Prog fans and music companies to start seriously looking at this growing movement. The Arab Prog Spring is promising but threatened at the same time.

The Iraqi Shi'a under the Spotlight of Suspicion

Equating Arabism with “Sunnism” was the crucial principle that formulated the relation of successive Iraqi states with different Iraqi communities, mainly the Shia’h and the Kurds. Successive Iraqi governments, almost always run by Sunni Arabs, regarded Shi’sm as a schism encouraged and supported by discontented anti-Arab (Shu’ubi) Persians. Satti’h Al-Hassri, Imzahim Al-Pachachi, Abdul Aziz Al-Douri, Khairullah Tilfah and Saddam Hussein were examples of prominent figures that questioned the Iraqi Shia’h identity and loyalty. And recently, Arab leaders shared the same views e.g. King Abdullah of Jordan and President Mubarak of Egypt. The last responses from Iraq came indirectly from Adnan Addulaimi, the head of the General Council for the People of Iraq, “Mu’tamar Ahlul Iraq”, in a letter addressed to the Arab world urging them to stand up and help their “Arab Sunni Brothers” in Iraq against an Iranian (Safawi, Persian) agenda aiming to get rid of all “Arab Sunnis” in Baghdad.
All the above figures believe that Iraqi Shia’h owes basic loyalty to Iran. I’ve always tried to get to the bottom of these accusations and the only conclusions I’ve reached so far were:

1. Since the evolution of Shi’sm as a distinct sect in Islam during the 7th and 8th centuries, the Shih’a of Iraq in particular was accused of being collaborators with non-Arab outsiders like the Mongols, Safavid Iran and recently the Americans.
2. The allegations of loyalty to Iran were the most important for the last five centuries i.e. since Iran (or Persia) became a Shia’h state. In addition, these allegations try to portray the Iraqi Shia’h as passively controlled by Iranians irrespective of the nature of the Iranian regime, a Qajar monarchical pro-West regime or fundamentalist Islamic Republic.
3. There is an attempt to paint a picture of “inferiority complex” among Iraqi Shih’a towards Iran, the culture, the Shi’sm, the history and finally the state itself.
4. And the last misconception is to believe that all Iraqi Shih’a, whether of Arabic or non-Arabic (Fayli Kurds or Turkumans) origins, religious Najaf i turbaned mullah or secular educated Baghdadi communist, are all non-Arabs (Ajam) and highly suspicious. For me, the idea of presence of one homogenous mass named the “Shih’a of Iraq” is purely non-sense.

The above mentioned points open the door to many other unanswered questions: if the Shih’a of Iraq were labelled throughout history as none-Iraqis, Safawi’s or “Ajam” and owe loyalty to Iran, why the Iraqi Sunnis were not considered as Ottomans or accused of being loyal to Ottoman empire interests. Urban Iraqi Sunnis formed the backbone of the civil service and military force in Iraq for approximately four centuries. Moreover, they used Turkish rather than Arabic as their official language. The second question that buzzes in my head is: if the current Iraqi government has close ties with Iran, why we should consider the whole Shih’a community in Iraq as pro-Iranian. The Syrian government repeatedly admitted that they have close political, financial and military links to Iran but nobody dared to accuse them of being “Safawi’s” or “Ajam”. During Iran-Iraq war, Syria openly stood by Iran and helped the Iranians against Iraq but Adnan Addulaimi did not accuse them of disloyalty or questioned their Arabic identity.


Coming back to Addulaimi letter, The General Council for the People of Iraq is one of the main constituents of the Iraqi Accord Front, the major representative of the Iraqi Arab Sunnis which has 44 seats in the Iraqi Parliament. These accusations came amid an escalating political crisis in Iraq with the withdrawal of all ministers from the Iraqi Accord Front, The Iraqi List (Ayad Allawi) and the Sadrists from Al-Maliki’s government which is currently on the brink of collapse.
First of all, the style of language used to write this letter is a sort of regression to a bygone era, to the age of Islamic expansion during the Khilafa days or under the rule of Umayyad or Abbasid dynasties approximately ten centuries ago. So it will immediately take your mind to a period where conflicts and wars were the only options to deal with unresolved issues and threats. It is an open invitation for a confrontational war between the “Sunni Arab” world with “Safawi Iran” and as usual the battle ground is Iraq, the land of Mesopotamia. In such a nightmarish scenario, there is no place for pure Iraqi identity and voice. On the contrary, the only path that Iraqis should follow is to ally themselves with each side of the conflict along sectarian lines. Another important point in that letter was the terminology used to describe Iranians (Safawis, Persians and Zoroastrians). It is quite clear that he is referring not only to the Iranian regime but to Iran the people as well. This will shift the conflict from pure politically-motivated one for the sake of regional domination to a clash of ideologies between the two nations. Like the Iran-Iraq war, when it was portrayed as war of identity, history, ideology and culture but the reality was far from that. It was a confrontation between two rogue authoritarian regimes trying to impose their agendas on the region. The other impression that the letter gives is that “Arab Sunnis” are the sole victims of assassinations, deportation and mass killings in today’s Iraq, excluding the Shih’a and other Iraqi communities from such miseries. He also intentionally avoided mentioning the Americans and their role in this conflict as the major power that holds the keys for any political or military change in the future of Iraq.
Finally I would like to emphasize that accusing the Iraqi Shih’a of disloyalty to their country and to question their identity; this will deprive our right to keep Iraq as a unified country. With nearly 50% Shih’a population in Iraq labelled as “Ajam” and pro-Iranian and 25% Kurds and other minority groups loyal to their own nationalities and ethnic origin, we should stop being proud of belonging to a common Iraqi identity.


To read Addulaimi’s letter, click on the link below:
http://www.elaph.com/ElaphWeb/Politics/2007/8/255239.htm

From the Diary of an Iraqi doctor

It is the dream of every middle class Iraqi family to see her son or daughter becoming a doctor, and my family was not an exception. My mother always wished her son to be a doctor one day, not an engineer or a lawyer. I still remember my uncle’s advice “If you become an engineer, prepare yourself to be a taxi driver afterwards”. But what about me? What did I want to be in the future at that time in late 80s? The answer was simply: I do not know. I suddenly found myself achieving high marks in the “Backaloria Exam, which is the equivalent of GCSE in England” that enabled me to register with any college I like. To fulfil my mother’s dream, I decidedly joined the Medical College and finished my studies successfully. However, these years were not easy ones. Everything was changing around me and the socio-political atmosphere was very tense. The Iraqi invasion of Kuwait, the UN sanctions, the defeat of the Iraqi army and its withdrawal from Kuwait, the uprising in the South and North of Iraq which was brutally smashed few weeks later and finally the beginning of the biggest wave of Iraqi exodus. Doctors were always among the first professionals who fled the country in hundreds and may be thousands. As the years went by I’ve realised that I will not be a good doctor. I occasionally attended lectures and clinical sessions and most of my time was divided between playing basketball and chatting with my friends. It was simply a natural continuation to my high school days. I hated wearing suits and ties. Instead, I always wore Jeans trousers, T-Shirts and trainers. I did not go to the graduation ceremony and believe it or not I did not take the Hippocratic Oath traditionally taken by doctors pertaining to practice Medicine all over the world. The post graduation medical training in Iraq was very much disappointing compared to our expectations when we were students. At that time in mid 90s, there was a significant rise of anti-medical sentiments. And we doctors were responsible for curing people in almost completely collapsed medical services due to unfair sanctions. Moreover, we found ourselves, after 6 years of study, getting paid a monthly salary of $2.00 only. As a natural result, many left the profession and entered the world of Business and hundreds fled the country seeking better opportunities elsewhere. Jordan, Yemen, Libya and later on Oman and UAE became compulsory destinations for those who left Iraq because no other country was willing to issue visa to any Iraqi. These were the transit stations in the long exile journey to the West, and specifically UK, the ultimate destination for thousands of doctors from all over the world.
Once I arrived to UK, another “internal exile” journey has begun albeit differently. Here you realise that, apart from your primary medical qualifications, all your work experience was meaningless and unworthy and you have to start all over again doing re-qualification exams. I did that successfully, like hundreds of “fresh off the boat” doctors. However; all my efforts were smashed on a solid rock named “The Home Office”. As a failed asylum seeker for four bloody years I was not only prohibited from work, but also from the basic rights of receiving treatment and having a decent place to live in. simply we were unwanted and unwelcome in this country and I became legally known as “illegal immigrant” or “a failed asylum seeker waiting for deportation back to his home country”. And here you will find yourself driven to a new world and a new experience called “the black market”. I still remember my first illegal job here in the UK as an onion picker in a field of many big farms employing hundreds of illegal workers from all over the “hungry” world. And I always tell my friends that Britain should be proud of its “multicultural black market” exactly in the same way we hear repeatedly in the news about the British Society and how they are proud of their diversity. My first “illegal” wages were £9.00 for working from 9:00 am to 5:00 pm. I worked for two days only there and then I made a good progress in my second “black, hidden, underground” job. I worked as a labourer with an Iraqi Kurdish carpenter for £25.00 per day. It was a big achievement. I worked three weeks with him and later I moved to London where I worked as a carpet cleaner for one week only. I got £35.00 per day this time and I was climbing the “black market Economy” stairs slowly but steadily. finally came my last, but the longest job which was to some extent “professional” and I used all my English language and communication skills this time properly. It was a receptionist in a youth hostel. Approximately three years of my life were spent behind a reception desk. At that time I believed that I will not come back to the medical profession. It did not bother me very much as I was not keen about it from the beginning but the only thing that kept worrying me was how disappointing to my mother to see her “doctor” son working in cheap jobs rather than his “precious” profession. However; since then the situation has dramatically changed. Unexpectedly the Home Office changed its mind about my status and allowed me to stay legally in this country and I have to stand up to the challenge of building my shattered medical career once again. Twelve years after graduation and I have to start all over again and most likely I will find myself in a specialty other than the one I really want or practiced before and under the supervision of an English or Asian doctor few years younger than me. It was at this time, I have realised that I am not too young anymore. And to make things worse, my registration with the General Medical Council came one day after the news of the failed attempt of Bilal Abdullah, the Iraqi Doctor, who tried to detonate his packed-with-explosive car at Glasgow Airport. But most importantly shall I be able to cope with the restrictions, policies and demands of the medical authorities here. In the “good doctor guide” sent along with my GMC registration license, the words “you must” were mentioned nearly 75 times. And if eighteen years ago I did not know whether I would like to be a doctor or not, now the question that buzzes in my head “do I still have the energy, physically and mentally, to carry on with the profession? The answer is simply again: I don’t know.

أدجلة أتسمعين أنيني؟

تبتلعني محطات و تلفظني اخرى الى شوارع و أزقة غريبة، أجوب هائما ابحث عن هوية أودعتها ركن بيت بغدادي كان يوما يضج بالحياة، أحلق في فضاءات بعيدة، أتأمل وجه أمي وقد غزته التجاعيد، أسمع حشرجات صوتها و هي تبكي:
(دللول يالولد يبني دللول
عدوك عليل و ساكن الچول)
ينهار الجسد منهكا و الروح يملوءها خواء أبدي و الرأس مثقل بالهموم، أتمدد على رصيف الغربة كمحارب مهزوم أعلك ما تبقى من سنين العمر، أتنفس الذكريات، أبحث عن أوراق لم يبق منها سوى قوائم الديون وأشلاء دفتر مدرسي قديم
في الصفحة الاولى رسمت طيورا و أشجارا وشمسا و حقول
في الصفحة الثانية كتبت ... دار دور
الثالثة...
(خسرنا البلاد
خسرنا الاغاني
و رحنا نجوب المنافي البعيدة
نستجدي العابرين)
الرابعة...
و الخامسة...
تتوالى الصفحات و السنون و الحروب و القنابل و الملاجىء و الهروب و الخوف و الحصار والنساء والدم و العشق و الموت.

أغمضت عيني فطافت بي الرؤى و رمتني عند نخيل العراق، استوقفني حراس الحدود : جوازك أخي؟
فرشت سنين الغربة على الطاولة وراحوا يقلبوها بمقدمات بنادقهم
وأخذ أحدهم يدقق الاختام: الوجع عراقي، الهوى عراقي، الحزن عراقي و الجرح عراقي ووو
هز الحارس رأسه بأزدراء و قال: ممنوع
فتردد الصدى و امتزج بنحيب قرى الجنوب

(ممنوع
بيج الفرح يبلادي
ممنوع
بيج الفرح
والحزن ممنوع
ويجذب الكَال العمر يحلى
بلايه دموع)
افترشت المنفى على الحدود متوسدا أماني اللقاء بالمتنبي و الرشيد و أبي نؤاس. أرى ابن الوردي متأبطا لمحاته يشرب قهوته بصمت في مقهى حسن عجمي و السياب يحصي أزهاره الذابلة في الدروب و الاخضر بن يوسف يجلس عاطلا يبحث عن عشق تركه يوما تحت جدارية في ساحة الطيران و النواب يبحث يائسا عن حمد في مقابر جماعية. ألتفت الى يميني فوجدت الشيخ الجواهري ينثر أشعاره ورودا فتزهر الارض من دموع جموع تقاسمتها الحروب و الموت تعبر الى النأي تجر وراءها ما تبقى من فتات عراق خبأته على عجل في سرة أمست زادها في المنافي.

نهضت و فتحت ذراعي وسع العراق ومددت ضلوعي جسرا فعبر فوقه اللصوص و المرتشون و الاعراب و الاغراب و اللوطيون و المخصيون و المعممون و الملتحون و الانتحاريون و... وبقيت أنا وحدي و ما زال الشيخ الجواهري ينثر قصائده من حولي و النواب يزيت مكائن ريله
فصرخت :
(أدجلة أتسمعين أنيني؟ ان العبرات تحمل في طياتها كلمات و ان لم تسمعي مني فلا تحزني
وخذي سجعي فذاك شعر نظمته فرتله الحمام هديلا).

يا ريل طلعوا دغش

يفتح عينيه ليجد السماء خلعت ثوبها الاسود المثقوب بالنجوم وارتدت حلة زرقاء، يقفز من فراشه مسرعا لينزل الدرج ثملؤه لهفة و شوق لما هو ات، يسرع باتجاه المطبخ و يرتمي في احضان جدته، يسمع هسيس الهواء في صدرها المنخور بالتبغ المحلي، تفترش (جودليتها) يجلس بجنبها و هي تحضر شاي الصباح المهيل على (چولتها) و يسمعها تردد بألم و حسرة ... تگلي المسعدة الغرشة بطليها چا لو هاجت نار گلبي أبيش أطفيها،
ينتظر جده بفارغ الصبر لينتهي من ارتداء عقاله و شماغه بلونيه المتقاطعين الابيض و الاسود، ينضم اخوه اليه في رحلة الانتظار هذه، يقبلهما الجد و يمسك بيد كل منهما بيديه، يحس بخشونة يد جده المنحوتة بالشقوق و هي تمسك بيده الطرية التي لم تطأ معترك الحياة بعد، تعتريهما غبطة عندما يمرون عبر أزقة حيهم الهادىء في ذلك الصباح التموزي الدافىء.
يصل الى دكان ابو ياس الرجل العجوز صديق جده ، تتفتق اساريره فرحا عندما يناولهما (جكليت و حامض حلو)،بعد احاديث قصيرة يشتري الجد لهما بسكت (بسكولاتة ) و نستلة (ابو العبد) و لا تكتمل نشوتهما الا بعد ان ياخذ كل منهما فطعة من الكرتون توزعت عليها و بشكل متساو صور لا عبي المنتخب الوطني، ذخيرتهما للعبة ( التصاوير) فور العودة الى البيت، ما زال يتذكر بوضوح تلك الصور الضارب لونها على الزرقة الفاتحة: حسن فرحان، فيصل عزيز، هادي احمد، علاء أحمد، دگلص عزيز، محمد طبرة، كاظم وعل، فلاح حسن.
يتوجهان بعدها مع الجد الى سوق الكبيسي نحو فرن الصمون الحجري. كغيرهم من سكان بغداد لا يستذوقون صمون الاعاشة (الاوتوماتيكي). يبدا بالتعرق بانتظارتلك العجائن الصغيرة و هي تنتفخ و تحمـرّ تحت وطأة النار المنبعثة من المشعل النفطي في ذلك الكهف الحجري المتواري عميقا في جوف الحائط، يتلذذ بالتقاط اول الصمونات الخارجة من جحيم الفرن، يلتقطها بكلتي يديه حيث تأخذ بالتقلب كسمكة تتقافز في شبكة صياد من شدة سخونتها حتى يضعها في سلة جده.
عند العودة يسلكان طريق الشارع الموازي لسكة القطار، يسيرون ببطء بجنب السكة المرتفعة قليلا و يتوجه بنظره بعيدا نحو الافق بانتظار قدومه، يسحب يديه من قبضة جده و يسرع نحوالقضبان المددة ينحني بوجهه الى الارض، يلامس خده حديد السكة الناعم، ينتظر سماع ازيز العربات القادمة ، ينتظر الشارة بنشوة عارمة، يتراءى له من بعيد كثعبان يتلوى ببطء، يسمع فحيح عرباته المجنزرة، يخرج هو و اخيه كل منهم قطعة (عشر فلوس)يضعانها على القضبان بانتظار مرور القطار فوقهما.
يتراجعان نحو الجد الواقف الى البعيد قليلا، يرقبان بفضول مرور القطار، يقبل ببطء و غنج، ابواب العربات مفتحة ووجوه قاتمة تقبع خلف الشبابيك، جنود يقفون عند ابواب الفارگونات المكتظة، بدا قريبا جدا الان، مر فوق قطعهم النقدية، اسرع هو و اخيه نحو السكة مرة اخرى، القى نظرة اخيرة على القطار المحمل بالاسرار و هو يختفي شيئا فشيئا لتبتلعه احياء المدينة الصاخبة، يتفحص ما الت اليه قطعته المعدنية، يمرر اصبعه على وجهها، ملساء كخد طفل رضيع، تتملكه فرحة غامرة... يلتفت بوجهه يسارا نحو جده، يرتطم وجهه بزجاجة ملساء هي الاخرى، تتوالى من خلالها حقول خضراء ممتدة و بحيرات ماء ذي زرقة صافية و بيوت متناثرة هنا و هناك، امامه تجلس فتاة شقراء بتنورة قصيرة تكشف عن ساقين بيضاويين كثلج ناصع، اصابعها تتنقل بانسياب على لوحة مفاتيح حاسوبها كمن يعزف قطعة موسيقية على الة بيانو، بجانب الحاسوب قدح قهوة من الورق المقوى كتب عليه (ستاربكس). التفت يمينا، رأى عجوز و زوجها مع ابنتهما و بنتها يتسامرون بصوت هادىء. أرجع رأسه ليستند على زجاج النافذة و غاب بصره في الحقول الخضراء النضرة و اللا متناهية، عاد الى البيت مغمورا بما تضم سلة الجد مما تتوق له نفسه، فتحها لم يجد تصاويره و الصمون الحجري الساخن و نستلة( ابو العبد)، انما عشرة أعوام من التسكع على أرصفة المنافي، كتاب طبي، صحيفة ليست بلغته و أوراق من دائرة الهجرة تقول... سنسمح لك مؤقتا بالبقاء هنا و يمنع عليك ان تعود الى ( هناك)... لن اعود الى (تصاويري) و سلة جدي و صدر جدتي المنخور. أخرج الصحيفة و أخذ يبحث عن أي خبر من (هناك)... جسر يتفجر ويتهدم و جدار عازل ينتصب ووو.... أخذ يدندن بصوت خافت..
ضلعي أحسه المنكسر
موش الجسر، يحزام دجله يلالي حدره الماي
ويوج العصر
يمصافحة صوبين ما مل الرصافه الكرخ
من وكت الزغر

أنتبهت الفتاة الجالسة امامه لهذيانه، سكت و عاد لهدوئه و أمال رأسه نحو النافذة وبدأ يجتر الوطن و ما تبقى من فتات المنفى و عادت هي تنقر على حاسوبها لا تأبه لتصاويره و صمونه و صدر جدته المنخور. أغمض عينيه و سافر بعيدا نحو الدفء و امتطى صهوة القطار المغادر الى المحطة العالمية في (العلاوي)، ألقى نظرة اخيرة على الساقين البيضاويين أمامه و الحقول الخضراء عبر الزجاج و عاد (يون)

يا ريل طلعوا دغش
و العشگ چذابي
دگ بيه طول العمر ما يطفه عطابي
نتوالف ويه الدهر
ترابك ترابي
و هودر هواهم ولك حدر السنابل گطه.

We're All Comfortably Numb

Unlike many of my teenage dreams that have been smashed on the rock of our cruel world, this one came true and not only once but fortunately twice. It was back in 1988 when I first listened to Pink Floyd music and since then their musical talent, Waters’ lyrics-writing professionalism and Gilmour’s warm mellow guitar playing captivated me. For me, listening passionately to PF music is an experience, which dramatically altered my appreciation for Rock music for years to come. May be I am not lucky enough to be one of the 60s or 70s generations who grew up with their music but their pearl albums of the 70s relentlessly and progressively “rock” you to the bone. And that was exactly what happened to me last night at the Earls Court venue when my friend and I went to see Roger Waters live performance. Twelve years ago and at the same venue, PF (Gilmour, Wright and Mason) performed their last infamous PULSE show still remembered for its extraordinary sound and light effects.
The doors opened at 6:00 pm and our seats were in block two, not very far from the stage but unfortunately not right in front of it. We sat there waiting patiently for Roger and the band to start. The stage was already set and all the instruments were ready and plugged. Bob Dylan’s music was filling the venue. on the screen at the back of the stage, a surrealistic picture showing a fifties-style, wooden made radio with big rounded knobs, a bottle of whiskey and ashtray in front of it. A small toy of World War-Two aeroplane was placed over the radio. This picture kept dead silent until around 7:00 pm when some life has been blown into it. Someone is sitting back there smoking but you can’t see anything from him but his hand frequently changing the stations. His cigarette on the ashtray and a smoke-filled air in the room and 50s Rock’n Roll music started playing. Few minutes later it was followed by Jazz. At 7:30pm, everybody in the venue was eagerly expecting Roger Waters and the crew to walk in to the stage. I continued watching the screen behind. The hand moved again and we heard a male voice speaking Dutch I think, and I only understood the words “Radio Luxemburg”. Waters’ fans knew the influence that “Radio Luxumburg”has left on his career as a musician and lyricist when this radio station was launched in early 60s. Waters’ album “Radio K.A.O.S” was to some extent related these memories.
The venue lights faded way, the crowd is silently waiting and gradually the Dutch voice gave the way to a loud opera music and suddenly, like a phoenix rising from the ashes, the voice of Roger Waters and the noise of his band blew up the venue and broke the silence of the audience, singing “in the flesh”. Dressed in black with his Richard Gere-look-like face, Waters’ performance on the stage was astounding.
The first set of the show was dedicated to PF works from their heydays in the 70s with only two songs from his solo work. The second song was “Mother” from "the wall” album and featured Katie Kisson’s awesome voice. A flashback into Syd Barrett’s era came with the third song “set the control to the heart of the sun”. Three pearls from their “Wish You Were Here” diamond album followed: Shine on You Crazy Diamond, Have a Cigar and Wish You Were Here, respectively. Until now, the great guitar solos were alternating between two gifted guitarists, Dave Kilminster and Snowy White. However; with “Leaving Beirut” Andy FairweatherLow demonstrated his amazing talent on guitar together with Ian Ritchie on Tenor Sax.
“Southampton Dock” and “Fletcher’s Memorial Home” followed from “The Final Cut” album and again were amazing. The last song in the first set was “Sheeps” from “Animals” and the legendary Floyd’s giant pig was flying above our heads.
Fifteen minutes break separated the first set from “The Dark Side of The Moon” complete album. Nick Mason replaced Graham Broad on the Drums and reminded us of PF original band members. More visual techniques differentiate this show from last year’s Hyde Park one. And for the first time in years, the “Great Gig in the Sky” is performed by one female voice only, rather than the usual three female voices, this time by Carroll Kenyon. Harry Waters, Roger’ son, played Piano at this song and Jon Carin played almost all keyboards through out the second set and was the Lead Vocalist on “Us and Them”. While singing “The Lunatic” the infamous Prism of Light was shining until the end of the album. The encore consisted of three songs from “The Wall”: the Happiest Day of Our Lives, Vera and finally the unforgettable, eternal, mesmerising and magnificent “Comfortably Numb”.
And finally what can I say about last night: Three hours of extraordinary solid Progrock and limitless creative music I have experienced in a “Floyd’s Trip” with Roger Waters. Among many of DSOTM performances, I personally believe this was the “Darkest” and we all left the venue “comfortably numb”.