Sunday, August 30, 2009
District 9 Peter Jackson'in yapimciligini, Neill Blomcamp'in de yonetmenligini yaptigi beyaz neo-liberal ataerkil akillara zarar bir B tipi bilimkurgu. Bugun "alien" fikrini otekiligin metaforu olarak kullanmak hakikaten cok zeki bir strateji. District 9 seksenlerde Johannesburg'un uzerinde takilip kalan bir uzay gemisinde bulunan ve dunyaya gocmen olarak transfer edilen boceksi uzaylilarin yasadigi ghettonun adi. Tabii bu ghettonun siyahlarin apartheid rejimi tarafindan townshiplere suruldugu bir ulkede "konuslanmasi" vurguyu veriyor.
"Insan haklari" dedigimiz seyin hicbir derde care olmayacak cikmazi, insan olmanin dayanilmaz egosu ve vahseti uzerine, hani Children of Men'den daha da ileriye giderek meseleyi bu kadar acik ve net ortaya koyan, butun medya diskurunun ipini pazara cikarip white male patriarchy'nin dunyaya verdigi sekli izleyicisinin yuzune haykiran sahane bir film District 9. Acik birakilmis, tartisilacak noktalari da yok mu var, elbet. Baska fikirleri duymaya can atmaktayim, zira fena halde d-9 etkisindeyim.
BEST CASE SCENARIO
Yasemin Özcan Kaya
„Concepts, aims and benefits of artist-in-residence programs“
With the artists of the exhibition and Öykü Özsoy, Serra Özhan and
Adnan Yıldız (via skype)
Adress: Tatar Beyi Sokak 27 Kuledibi İstanbul
“Aslen Türk olup Kürtlüğe mağlup olmaya başlayan (yani Kürtleşmeye başlayan) bervech-i âtî Malatya, Elaziz, Diyarbekir, Bitlis, Van, Muş, Urfa, Ergani, Hozat, Erciş, Adilcevaz, Ahlat, Palu, Çarsancak, Çemişgezek, Ovacık, Hısn-ı Mansur (Adıyaman), Behinsi (Besni), Arga (Akçadağ), Hekimhan, Birecik, Çermik, vilayet ve kaza merkezlerinde hükûmet ve belediye dairelerinde ve sair mücessesat ve teşkilâtta, mekteplerde, çarşı ve pazarlarda Türkçeden maada lisan kullananlar evâmir-i hükûmete ve belediyeye muhalif ve mukavemet cürmile tecziye edilirler.”
“Aslen Türk olan fakat Kürtlüğe temessül etmek üzere olan bulunan mevkide ve Siirt, Mardin, Savur, gibi ahalisi Arapça konuşan mahallerde Türk Ocakları ve mektep açılması ve bilhassa her türlü fedakârlık iktiham olunarak (gösterilerek) mükemmel kız mekteplere rağbetlerinin suveri adîde (fazla miktarda) ile temîni lazımdır. Hassaten Dersim, tercihan ve müstacalen (acil olarak) leyli iptidailer (yatılı ilkokullar) açılmak suretiyle Kürtlüğe karışmaktan bir an evvel kurtarılmalıdır.”
“Fırat garbındaki vilayetlerimizin bazı akvamında dağınık bir surette yerleşmiş olan Kürtlerin Kürtçe konuşmaları behemahal men edilmeli ve kız mekteplerine ehemmiyet verilerek kadınların Türkçe konuşmaları temin olunmalıdır.”
bunun uzerine yok daha neler bizim devletimiz kimseyi asimile etmemistir, kurtler asimile olsalardi dillerini hatirlarlar miydi canim kilikli fasistlikte sinir tanimayan yorumlari okurken biz cici kurtleri severiz, o koy bizim koyumuzdur gitmesek de gormesek de, ama daglara cikanlar kotu kurttur, onlar daga cikmasa niye kardes olmayalim ki kafasina yine takildim da takildim, hislerime tercuman olan bir yorumcuyu buraya koymadan yapamicam:
"insan yorumlari okurken zaman zaman ben bu insanlarla ayni ulkenin gundemini mi takip ediyorum diye sasirmadan edemiyor... Asimilasyon, inkar, yok sayma, asagilama.... Sanki butun bunlar hic yasanmamis gibi simdi kalkip mide bulandiran bir ikiyuzlulukle.." aaa ne ayriligi gayriligi canim... biz hep kardes yasadik, ayrim yapmadik..Hep bu emperyalistlerin kiskirttigi bozguncu boluculer ortaligi karistiriyor... " diyerek iskembe-i kubradan sallayanlardan gecilmiyor... Artik nasil bir kardeslik anlayisi ise bu, O kardeslerimize b.k yedirildiginde, koyleri yakilip kafalarina tonlarca bomba yagdirildiginda, Babalari, kardesleri sevdikleri geceyarilari evlerinden alinip bir daha geri gelmemek uzere goturulduklerinde neredeydiler? Hadi vazgectim zaten, birakin siradan vatandasi, anli sanli gazetecilerin bile lanetli bir isimmis gibi adini anmaya korktuklari bolgede yasanan vahset olaylarini, Istanbulun gobeginde havaya ucurulan gazete binasinin onunde ufacik bir dayanisma eylemini gerektirmezmiydi kardeslik? Kacirilip gozaltinda kaybedilenler icin Galatasaray onunde sessiz bir ofkeyle katillerden hesap soran analarin yaninda 5 dakika oturmayi gerektirmezmiydi kardeslik? Kendi dilinde soyledigi sarkiya klip yapacaginin soyledigi icin Linc edilmeye kalkisilan Ahmet Kaya yi savunmayi gerektirmezmiydi kardeslik.. Artik ne olur bu piskinligi yapmayin..Birazcik kafanizi onunuzee egip susun.. Kardesleriniz tarafindan affedilmeyi umarak...Ki onlar, dunyanin diger ezilenleri gibi en cok bagislamayi bilirler..."
acilim soz konusu oldugunda turk-islam sentezi de turk-islam sentezi diye bagiran milliyetcilerimiz soylemez tabii kudus'u yeniden haclilarin elinden alip araplara birlik getiren meshur selcuklu sultani selahattin eyyubi'nin kurt oldugunu, bilenlere de ama onu da turkmenler yetistirdi diye laf gecirmeye calisirlar.
Belma Akçura'nin ‘Devletin Kürt Filmi 1925-2007 Kürt Raporları’ni okuma listemize alalim, hazir tartisma tam da damarinda ilerlerken...
Friday, August 28, 2009
ANC using Caster Semenya for political gains?
Winner of this year's 800m Olympic race, record-breaking 18-year-old Caster Semenya has been crowned a hero back in her home country, despite - and moreover because of - allegations over her gender. But is her case being used for political means? Two South African media scholars weigh in.
Sean Jacobs and Herman Wasserman were born and grew up in South Africa. Sean now lives in Brooklyn and teaches at the New School college in New York City. Herman lives in the UK, teaching at the University of Sheffield.
And as with so much else in post-apartheid South African society, the mass support for Semenya (5000 people turned up at the airport to welcome her back, she has received encouragement in newspaper editorials, cartoons and the blogosphere, and even met with Nelson Mandela) is a paradoxical one that tells the story of a country deeply divided yet at certain moments strangely united around a common cause.
What can we learn from this response?
South Africans are sports mad. They measure their emotional state by the fortunes of their national teams and fiercely loyal to their athletes. When the former minister of finance, Trevor Manuel declared that he supported New Zealand's All Black rugby team (as did many black South Africans in defiance of the white-controlled game which barred them from the national team) he was criticized by supporters of the team which reminded him that Mandela was now the Springboks' number one fan.
Sporting codes remain largely racially segregated, a legacy of early twentieth century attempts to racially police sports: football for blacks and rugby and cricket for whites. But increasingly black and ‘coloured' (in apartheid parlance) sports heroes like Bryan Habana (rugby) and Wayne Parnell (cricket) are adored by all South Africans alike.
In this light, a decision by an international body to doubt the success of one of "us" was likely to be met with a nationalistic response, which could easily be reframed as an anti-imperialist one.
The clumsy and callous way in which the IAAF handled the inquiry into Semenya's gender seemed for South Africans to smack of a patronising attitude towards their country as a backward, "underdeveloped" place from which it was unlikely that an athlete of Semenya's extraordinary talent could emerge overnight.
Here the ANC might have a point in asking whether a white athlete -- -read: European or North American --- would have been similarly publicly humiliated before a ‘gender' test was carried out. If there is something you should not tell South Africans, who are relishing their re-entry into the global arenas of commerce, sports and the arts, it is that they cannot compete at the same international level as others or that they are inferior or backward.
And by rejecting statements by Semenya''s parents (and her birth certificate), her trainer, school teachers and classmates who all testified that she grew up as a girl, the IAAF was seen to say: ‘Who are you to tell us you're a woman, we don't trust your birth certificate and- we will tell you if you are a woman.' To some South Africans the IAAF was implying that her parent's -- hardly cosmopolitans or members of South Africa's black political class or emerging economic elite -- were in on a massive conspiracy.
The response at Oliver Tambo International Airport in Johannesburg also reflects ordinary South Africans' experiences of marginalization. People want to believe in a dream, thus coping with their precarious and struggling existence in a country marred by poverty, violence and inequality.
The public response to Semenya''s gender testing also shows up how some in the West, for all its pretence, lives by outdated constructions of what are male or female ideal body types or behaviours. South Africans, only recently emerged from colonialism and Apartheid that was underpinned by pencil tests and ethnic shibboleths, are for all their faults very wary of essentialised categories.
What is more, by rejecting the prescriptions and impositions of international athletic tsars in white laboratory jackets, South Africans--generally socially conservative--are discovering for themselves the arbitrary and constructed nature of gender. In a country with high levels of gender-based violence (including violence against lesbians, perceived as women acting like men by their attackers), this is a positive sign. Interviewed by a Kenyan TV station, one of Caster's classmates said, ‘I am proud of her gender.' The t-shirts of some of Caster's young female supporters at the airport said it all: ‘If Caster is a boy, I am a boy too.'"
The presentation in the Neuer Berliner Kunstverein is artist and film-maker Hito Steyerl's first solo show at a German institution. Her work has been featured at big exhibitions such as the 3. berlin biennial for contemporary art (2004), Manifesta 5 (2004), documenta 12 (2007), or the
Her films are a montage of pop and politics, and independent film, interviews and voice-over commentaries, all combined into provocative filmic analyses of the present. In her new film After the Crash (2009), Steyerl tells the story of the current global economic crisis through the example of airplane junkyard in the Californian desert. In the double projection In/Dependence (2008), Steyerl returns to the theme of Japanese bondage, a subgenre of pornography that she already explored in her earlier film Lovely Andrea (2007). In Do you speak Spamsoc (2008), she examines the logic of "Spamsoc" as its own language of translation on the covers of pirated Chinese DVDs. The film November (2004) tells the story of Steyerl's teenage friend Andrea Wolf, who later become a fighter for the PKK, while the animation film Red Alert 2 (2008) follows up on the reception of Red Alert (2007), one of Steyerl's contributions to documenta 12. The n.b.k Videoforum will feature the documentation The Building (2009), an intervention on migration and national socialism that Steyerl made in the framework of the European Cultural Capital Linz 09.
Curated by Marius Babias
Book series "n.b.k exhibitions"
The exhibition will be accompanied by a publication with an introduction by Marius Babias and texts by T.J. Demos and Bert Rebhandl. This 168 page color illustrated German-English volume will appear with the publishing house of Walther König, Cologne. In spring 2010 the book series "n.b.k discourse" will also feature a collection of essays by Hito Steyerl. Biennial (2008). Trained as a filmmaker, she holds a PhD in philosophy and works on the borderline between cinema and visual art, combing elements of experimental film, auteur cinema, documentary, and video art to undertake cutting post-colonial and feminist critiques of representation.
From BAK, basis voor actuele kunst presents the exhibition Surplus ValueMona Vatamanu and Florin Tudor.
The most comprehensive overview of the artist duo's work to date, Surplus ValueVatamanu and Tudor's broad-reaching practice has positioned them among the most compelling and literate interpreters of our contemporary post-communist condition, which extends far beyond their native Romania. The exhibition centers upon a number of major new productions that reflect on the current global situation and are grounded in the discourse articulated by the artists throughout the past decade. The new productions on view include Calea [The Path], an installation consisting of tons of rusted shredded metal spread onto the exhibition floor and Lingouri de rugina [Rust Ingots], a pile of ingots produced from shredded metal, both poignant meditations on the vagaries of profit and value, accumulation and loss. Plus valoarea [Surplus Value], a new film that gave the name to and set the tone for the exhibition, documents the whittling down of a piece of metal to nothing. These works are put into dialogue with a selection of Vatamanu and Tudor's older pieces, among which VacarestiDas Kapital [Capital] (2007), and AugustIntalnire cu IstoriaSurplus Value is curated by .
On the occasion of the exhibition, BAK presents the first monograph on the artists' work, Mona Vatamanu and Florin Tudor, published by BAK and post editions, Rotterdam. This major publication includes extensive images of their work since 2000 and four newly commissioned texts by Cosmin Costinas (writer and curator BAK, Utrecht), Vivian Rehberg (art historian and by Romanian artists (2006), [Appointment with History], 2007–2009, which includes new paintings made for this exhibition. investigates their critical engagement with defining issues of today such as collective memory and amnesia, the formulation of artistic agency, and the politics of representation. (2004–2007) and with the series , Paris), David Riff (art critic and artist, Moscow), and
Surplus Value is the first research exhibition within the long-term project Former West, an international research, education, publishing, and exhibition undertaking (2008–2013). For more information, please visit http://www.formerwest.org.
Mona Vatamanu (born 1968) and Florin Tudor (born 1974) work together since 2000. Their artistic practice spans diverse media including film, photography, painting, performance, and site-specific projects. Their work has been included in numerous (curator and editor-in-chief of Springerin, Vienna). The publication also contains an in-depth interview between the artists and Bucharest-based independent curator and writer Mihnea Mircan. The monograph is edited by Cosmin Costinas and Jill Winder.international exhibitions including (selection): Blind Spots, Akademie der bildenden Künste Wien, Vienna, 2009; 5th Berlin Biennial, Kunst-Werke Institute for Contemporary Art, Berlin, 2008; Like an Attali Report, but different. On fiction and political imagination, Kadist Art Foundation, Paris, 2008; Since we last spoke about monuments, Stroom Den Haag, The Hague, 2008; and Low-Budget Monuments, 52nd Venice Biennial, Romanian Pavilion, Venice, 2007. This fall, Vatamanu and Tudor will have solo exhibitions at Westfälischer Kunstverein, Münster and the Graphisches Kabinett, Secession, Vienna, among others. On the occasion of the Surplus Value exhibition and the monograph the artists took part in BAK's Research-in-Residence program. Vatamanu and Tudor live and work in Bucharest.
Monday, August 24, 2009
Saturday, August 22, 2009
on sekiz yasinda bir kadin 800 metreyi ne kadar hizli kosabilir?
kadin mi erkek mi test edelim hemen. sahi bir insanin kadinligi nasil test edilir? kim hangi kistasa gore karar verir?
gecen gunlerde berlin'de dunya rekoru kiran caster semenya'nin kadinligindan suphe ediliyormus. hani diger kadinlara haksizlik olmasin diye canim. test edeceklermis. kadinligini. kirdigi rekoru hakedip haketmedigine boyle karar vereceklermis. otoriteler.
buyrun okuyun hikayeyi. siddetin binbir turlusu var. kategorilemeden rahat etmeyen fallikmerkezci dilin kategorilere girmeyen insanlara uyguladigi siddetin.
"But how do you test someone’s gender?
This could be simple, assuming that the tester and tested speak the same language: we are the gender we claim. Ms Semenya has lived her life as a girl, then a woman, and she enters women’s athletics events. But her answer has been dismissed as unreliable.
What people really want to question is whether her sex is male or female, not her gender. Our sex is in our chromosomes, not our genitals, height, muscles, appetites or mental agility. Although lay people believe chromosomes offer conclusive answers, many scientists tell us that XX and XY are only part of the picture, that even biological sex has many grey areas.
Gender is a social category that does not necessarily correspond to sex. Our gender is everywhere, except our chromosomes. But there was a time when scientists thought that our DNA and other biological information determined who we were. Many of us would like to think that science has moved beyond this fact, but has it?
The Caster Semenya saga is an old, familiar story: a young South African woman on the world stage for prodding, genital and other testing by a band of scientists in Europe in order to determine whether she is this or that, or if indeed she is a separate category altogether. It was exceptionally cold over Sarah Bartmann’s Eastern Cape this late August week, and she must have shivered from horror at the de ja vu.
Listening to the increasingly bizarre discussions on the super-achieving Semenya, my mind drifted to tennis legend, Martina Navratilova, who endured endless questions about her gender identity and sexual preference even as she was at the top of Wimbledon. The Williams sisters are scrutinised similarly two decades later. They all look too strong and muscular to be women. And I paused on Eudy Simelane, star footballer, who was prodded to death by a different band of men."
Tartismaya tabii soyle bir kol da eklenmis. Eski kusak feministlerden Germaine Greer Guardian'da konuyla ilgili kisa bir not atmis, oldukca belirsiz, hani soyle satirlar iceriyor:
"Nowadays we are all likely to meet people who think they are women, have women's names, and feminine clothes and lots of eyeshadow, who seem to us to be some kind of ghastly parody, though it isn't polite to say so. We pretend that all the people passing for female really are. Other delusions may be challenged, but not a man's delusion that he is female."
Hemen de bir cevap gelmis transfobik okumasina:
Greer’s piece is a perfect example. After reading it over several times, I honestly haven’t the slightest clue what her overall argument is. One moment she seems to rightly accept that a person who understands herself as a woman and identifies as a woman is a woman, and the next she is mocking and undgendering women who don’t meet her own personal, cis-supremacist standards. I don’t know what she ultimately thinks about Caster Semenya, but I do know blatant, unapologetic transphobia when I see it screaming out at me from the page.
daha devam eder bu tartisma
Wednesday, August 19, 2009
Dia's commission represents the artist's first major solo exhibition in the United States
New York, NY - Dia Art Foundation is pleased to announce, a new project chronotopes & dioramas by Paris- and Rio de Janeiro based artist Dominique Gonzalez-Foerster. For this site-specific project, the third in a series of contemporary art exhibitions commissioned by Dia for The Hispanic Society of America, Gonzalez-Foerster takes as her point of departure the Hispanic Society's internationally renowned research library. On view September 23, 2009 through April 18, 2010, and organized by Dia curator at large Lynne Cooke, chronotypes & dioramas is Gonzalez-Foerster's first major solo exhibition in the United States. There will be an opening reception on Tuesday, September 22, 2009 from 6-8pm.
For this project, Gonzalez-Foerster has chosen to treat a 3,700 square foot gallery located within the former Museum of the American Indian as an "annex" to the Society's main library. (Recently renovated by Dia, this gallery is located in a traditional Beaux-Arts style building reopened to the public in 2008, after a 14-year closure.) Here, the artist will augment the library's holdings of contemporary Iberian and Latin American literature with a selection of texts, both well-known and personally significant.
In the center of the gallery space, Gonzalez-Foerster will construct an approximately 40 foot wide, floor to ceiling structure containing three large-scale dioramas. Inspired by traditional natural history museum displays, the dioramas will depict three terrains -- the tropics, the desert, and the North Atlantic. Traces of man-made interventions will be evident in each landscape, whose scenes will be rendered by a team of specialists from the American Museum of Natural History in New York. Additionally, a variety of quotations and texts will be printed onto the exterior of the dioramas in a panoramic calligram and will be immediately visible upon entering the gallery.
Gonzalez-Foerster's three topographies will each contain various forms of literature ranging across works by J.G. Ballard, Roberto Bolaño, Jorge Luis Borges, Samuel Delany, and Clarice Lispector. Books will be sited in the dioramas, like the flora and fauna specimens of natural history habitat displays, as if they were the 'indigenous inhabitants' of each terrain. The "annex" will amplify the Society's historical holdings with works that span the 20th century, offering narratives of fiction and diaspora that parallel the institution's geographically based model of collecting.
chronotypes & dioramas will be accompanied by a softcover book which will explore the installation's key themes through a selection of scholarly texts and full-color, documentary images. Developed in direct collaboration with Gonzalez-Foerster, the publication will be edited by Ms. Cooke and Karen Kelly, Dia's director of publications and special programs. Among the contributors will be Spanish novelist and essayist Enrique Vila-Matas who will contribute a new text. Vila-Matas' most recent book, Bartleby & Co will be incorporated into one of the dioramas.
Special thanks to the Hispanic Society of America. This program is generously supported by the New York City Department of Cultural Affairs; New York City Councilmember Robert Jackson; Étant donnés, the French-American Fund for Contemporary Art; and Erica and Joseph Samuels.
Dominique Gonzalez-Foerster was born in 1965 in Strasbourg, France. Amongher recent solo exhibitions are projects for The Turbine Hall, TateModern, London (2008); MUSAC Museo de Arte Contemporáneo de Castilla y Léon (2008); Musée d'Art Moderne de la Ville de Paris / ARC, Paris (2007); Kunsthalle Zürich, Zurich (2004); and Centre Georges Pompidou, Paris (2002). Her work is currently on view in Making Worlds, The 53rd International Art Exhibition, La Biennale di Venezia, 2009. She also participated in (2007) andSkulptur Projekte Münster Documenta XI, Kassel (2002). She is the recipient of the 2002 Marcel Duchamp Award, Paris, the 1996-97 Mies van der Rohe Award, Krefeld, and the Villa Kujoyama, Kyoto artist residency in 1996-97. In November 2009, she will present in collaboration with composer Ari Benjamin-Meyers a new performance in New York City as part of PERFORMA 09. Gonzalez-Foerster lives and works in Paris and Rio de Janeiro.
Sunday, August 16, 2009
a superb saturday afternoon at jacob riis park by the atlantic ocean with my dear friend christine rebet- beach for the ghetto gays of new york city...
Directed by JOANNE AKALAITIS
Original Music by PHILIP GLASS
Translated by NICHOLAS RUDALL
With April Armstrong, George Bartenieff, Sullivan Corey, André De Shields, Marisa Echeverría, Jonathan Groff, Tara Hugo, Jennifer Ikeda, Karen Kandel, Jennifer Nikki Kidwell, Alexa Kryzaniwsky, Vella Lovell, Joan MacIntosh, Anthony Mackie, Nana Mensah, Steven Rishard, Ereni Sevasti, Elena Shaddow, Rocco Sisto, Han Tang
Added perf (No distribution/Stand-by line only): August 24
No perf: August 25
JoAnne Akalaitis returns to The Public Theater to present Greek tragedy as it was always meant to be seen – in the open air of the city. This visionary interpretation, featuring a lush choral score by Philip Glass, re-imagines the classic story about what happens when a government attempts to outlaw desire.
Thursday, August 13, 2009
“Bu size yazacağım son mektup. Sizlerle uzun bir zamandır cezaevinde görüşüyorduk. Hepinize olan sevgimi bilirsiniz. Bunu burada uzun uzun yazmayacağım kanaatimce bu kadarı yeterli; Kardeşlerim Güldoğan ve Hatice’yi bir anlık sinirlilikle kırdım, kusura bakmasınlar. Ahmet, Sabire, Fatoş ve Selma'ya da ayrıca çok selamlar. Hepiniz, her şeyimden mahrum hayatımda bana destek ve moral oldunuz. Sizlerin benim dünyamda ayrı bir yeri vardı. Sizlere onurlu bir yaşam mı miras bırakabildiysem ne mutlu bana. Şuan tek dileğim sizlerin sağlığının bozulmaması. Acı olacak ama dayanmanız gerek. Kimseyi suçlamayın, bu işin tek sorumlusu bugünkü yönetim ve devlettir. Yani suçlu olan bizi asanlardır. Görüşlerimi ve neyi savunduğumu burada yazmayacağım. Çünkü sizler bunları biliyorsunuz. Yaşamım kısa ve onurlu oldu. Hepinizi candan kucaklar, ayrı ayrı öperim. Soran bütün dost ve akrabalara selamlar. Acele ediyorlar, kısa oldu. Sizi hep seven, oğlunuz ve abiniz. Erdoğan Yazgan.”(
Monday, August 10, 2009
Saturday, August 8, 2009
Gözleri kederli hatta korkulu
Her seye ragmen biraz gülümsedi çocuk
Sicak sade ama biraz kuskulu
Bir çocuk sevdim uzaklarda
Saniyordum ki onun özlemi de buydu
O ise bir bakista beni örtülerimden
Yalnizca ve yalnizca duygulariyla soydu
Ben böyle yürek görmedim böyle sevgi
Simdi çocuk büyümekte günbegün
Bütün hüzünleri oksadi birer birer
Gizli bir ümide sarilarak biraz küskün
Bir çocuk gördüm uzaklarda
Biraz çocuk biraz adam biraz hiçti
Ellerinde yasli zaman demetleri
Daha önce denenmemis yeni bir yol seçti
Bir çocuk sevdim uzaklarda
Bir elinde yarin öbür elinde dün
Erken ihtiyarlamaktan sanki biraz üzgün
Dünyanin haline bakip güldü geçti
Tuesday, August 4, 2009
oldukten sonra evinde bulunmus. o zamanlar issiz olan Chelsea rihtimlarindaki cruising hikayeleri fotograflarindan ikisi. neden ozellikle ikisi? arkadaki "post no dreams"e dikkat.
Sunday, August 2, 2009
grace beni cok carpti. persembe gecesinden beridir yere inemedim.
oyle yerden ve oyle goktendi.
sahnede birbirinden fantastik kosrtumlerini degistirirken bir yandan hasbihal etti.
asik oldum dedi, yoksa yeniden album yapmayacaktim.
bir divaya yakisir sekilde studyoyu terk etmistim.
bir adam geldi, benden grubu icin sarki istedi.
yemege gel, muzikten konusmayalim dedim.
kendimi onunla yatakta buldum...
benim icin giyinip suslenip gelmissiniz cok mutluyum dedi.
tatli tatli sakalasti "mustehcen" imalariyla
she gave us the hurricane.
"this is my voice, my weapon of choice."
Rescue services said that six of the wounded during the incident on Saturday were badly hurt.
The shooting took place at the headquarters of the local lesbian and gay rights association on Nachmani street.
Micky Rosenfeld, a police spokesman, said the attack was "most likely a criminal attack and not a terror attack," while representatives of Tel Aviv's gay community said it was a homophobic attack.
Police are searching the area for the gunman, who fled the scene, Rosenfeld said.
Israel Channel 10 TV reported that the incident occurred at "Cafe Noir", a popular hangout frequented by the gay community in downtown Tel Aviv.
The station said that a man dressed in black entered the club and began shooting indiscriminately.
The report described the scene as a "bloodbath".
Police have ordered the temporary closure of all gay clubs in the Israeli city.