the-art-of-misdirection It’s being a grunt that disturbs me also. I like doing stuff like this, though.

the-art-of-misdirection Hugs and friendship back to you!

sprhrmsc:

Want Your Feeling ➤ Jessie Ware

(via cewekjudes)

Pioneering Modern Arabic Poetry: An Evening with Saadi Youssef | Facebook

ghilafaat:

For any followers in NYC:

New York University’s Gallatin School of Individualized Study will host Iraqi poet Saadi Youssef for a reading and discussion on Tues., Sept. 30, 6:30-8 p.m. at its Jerry H. Labowitz Theatre for the Performing Arts (1 Washington Place at Broadway). Subways: N, R (8th Street); 6 (Astor Place).

Youssef, widely considered one of the most influential poets writing in Arabic and twice exiled for political dissent, is the inaugural speaker in the Gallatin Global Writers series, which aims to highlight contemporary international authors and the diverse literary traditions and cultures from which their writing arises.

The event, co-sponsored with NYU’s Hagop Kevorkian Center for Near Eastern Studies, is free and open to the public. To RSVP, please email Allyson Paty at Allyson.Paty@nyu.edu. For more information, please call 212.998.7365.

Youssef, the author of more than 50 works of poetry and prose, will be introduced by Gallatin professor and poet Sinan Antoon, who has translated Youssef’s poetry into English. Youssef has translated Whitman, Cavafy, Ritsos, Lorca, Popa, Ungaretti, Ngugiwa Thiong’o, and Wole Soyinka into Arabic.

With the Gallatin School of Individualized Study

ghilafaat:

A rather classic photo of Ghassan Tueni. The tagline opposite reads: “The student who went to bed a philosopher and woke up editor-in-chief.” الطالب الذي نام فيلسوفا وصحا رئيس التحرير - لمن يحب ان يصححني #arabic #books #journalism #lebanon

ghilafaat:

A rather classic photo of Ghassan Tueni. The tagline opposite reads: “The student who went to bed a philosopher and woke up editor-in-chief.” الطالب الذي نام فيلسوفا وصحا رئيس التحرير - لمن يحب ان يصححني #arabic #books #journalism #lebanon

ghilafaat:

A scrapbook-style life-and-times of Ghassan Tueni, beginning very logically with “Memories of Childhood and Adolescence.” Tueni was known as the “Dean of Lebanese Journalism” for his work at the helm of major newspaper al Nahar. #firstpages #journalism #lebanon #tumblarians #arabic #books

ghilafaat:

A scrapbook-style life-and-times of Ghassan Tueni, beginning very logically with “Memories of Childhood and Adolescence.” Tueni was known as the “Dean of Lebanese Journalism” for his work at the helm of major newspaper al Nahar. #firstpages #journalism #lebanon #tumblarians #arabic #books

ghilafaat:

Skipping the #bookcover today for this wonderful title page spread: The Boy Who Became Ghassan Tueni* This is a wonderful scrapbook-style volume about the life (the photos! the documents!) of the “Dean of Lebanese Journalism.” #recommended #tumblarians #arabic #lebanon #journalism #newspapers
*using this spelling so you can find the English Wikipedia page [woe betide the glare of fluorescent lights…]

ghilafaat:

Skipping the #bookcover today for this wonderful title page spread: The Boy Who Became Ghassan Tueni* This is a wonderful scrapbook-style volume about the life (the photos! the documents!) of the “Dean of Lebanese Journalism.” #recommended #tumblarians #arabic #lebanon #journalism #newspapers
*using this spelling so you can find the English Wikipedia page [woe betide the glare of fluorescent lights…]

"I do not read Arabic in 1985. So, I mostly look around at the posters. During those years, most of them featured the Indian beefcake actor, Amitabh Bhachchan and a woman provocatively fixated on a snake, her full red lips about to kiss it."

I cannot recommend this wonderful piece on Buying Books in Cairo by Elliott Colla enough - whether you have bought books in Cairo, will buy books in Cairo, or never even thought of buying books in Cairo. Check it out. (via ghilafaat)

Read iiiit

"I’m just a simple woman with simple ta——ah, who am I kidding?"

Apologies to everyone:

I will probably be disrespecting (out of LOVE, LOVE I tell you!) a lot of Iranian songs and artists in the coming days. Well, not that many, because it takes me longer to learn and memorize the lyrics, if not the melodies (depending on the mode). Anyway, I am not ready to post even a Bad Ukulele Cover on Soundcloud, but I found easy-ish tabs for a very very very well-known (protest song) which I came to by way of Fared Shafinury, and while it’s going to take me forever to figure out how to modify/play it so that *I* can do it, I started strumming a bit and singing what I could remember to test it out. I wasn’t very careful with pronunciation bc too many other things to think about simultaneously, and also: tired. I’m excited that the chords at least seem to match (having better luck than I’ve had with looking for songs in Arabic).

women-in-music:

Mapei performing ‘Change’ live for Transmitter.

Okay, breadvelvet, I’m ready to board the Mapei train.

Also - the long/loose curly hair + hat combo reminds me of…my little sister.

manhood:

thesufjanstevensmodel5000:

THE WORLD IS ABUNDANT

BYE THIS IS THE CUTEST THING I’VE EVER SEEN

blessings be upon us all!!

(via watermelonmami)

And finally, for Sabra and Shatila, 30 years ago today, Najwan Darwish’s poem: The Nightmare Bus to Sabra and Shatila. In this book it is followed by another poem, “Who Remembers the Armenians?” That poem ends with the accusing question, “You, murderer—-Who remembers you?”

And finally, for Sabra and Shatila, 30 years ago today, Najwan Darwish’s poem: The Nightmare Bus to Sabra and Shatila. In this book it is followed by another poem, “Who Remembers the Armenians?” That poem ends with the accusing question, “You, murderer—-Who remembers you?”

Another section from the same painting (but the first section is my favorite).

Another section from the same painting (but the first section is my favorite).

I didn’t have phone service when I took this, so it’s a #latergram of (part of) a painting in the 1199 building. I didn’t get the name of the artist, since some boxes were blocking where the signature might have been.

I didn’t have phone service when I took this, so it’s a #latergram of (part of) a painting in the 1199 building. I didn’t get the name of the artist, since some boxes were blocking where the signature might have been.