Utah Bob
05-31-2009, 06:30
This looks vaguely familiar (said the WW1,WW11, Korea and Vietnam war vets);)
Washington Post
By Anthony Shadid
updated 2:38 a.m. MT, Sun., May 31, 2009
BAGHDAD, Iraq - Across the street from the tidy rows of tombstones in the British cemetery, mute testimony to the soldiers of an earlier occupation, Mustafa Muwaffaq bears witness to the quieter side of the United States' six-year-old presence in Iraq.
In wraparound sunglasses, shorts and shoes without socks, the burly 20-year-old student waxes eloquent about his love for heavy metal of all kinds: death, thrash, black. But none of it compares, he says, to the honky-tonk of Alan Jackson, whose tunes he strums on his acoustic guitar at night, pining for a life as far away as a passport will take him.
"You know, I wanna go to Texas and be a country boy," he said, as he stood in the sweltering shade of Baghdad's Academy of Fine Arts. "I wanna be a cowboy, and I wanna sing like one."
[
All occupations eventually end. When this one does, history's narratives will be shaped by the cacophony it wrought — the carnage unleashed by the U.S.-led invasion that threatened Iraq's notion of itself as a country and that will haunt generations to come.
But the whispers may linger just as long — the far quieter way in which two cultures that often found it difficult to share the same space intersected to reshape Iraq's language, culture and sensibility. From tattoos of Metallica to bellybutton piercings, from posters for a rap concert in Baghdad to stories parents tell their naughty children in Fallujah of the Americans coming to get them, the occupation has already left its mark.
American expletives
There is the bellicose language of the checkpoint: "Go" and "Stop" (often rendered as "stob" in a language with no "p"), along with a string of American expletives that Iraqi children imitate with zeal. In parks along the Tigris River, they play "tafteesh," Arabic for inspection. Iraqi troops, sometimes indistinguishable from their U.S. counterparts, don the sunglasses considered effeminate in the time of Saddam Hussein.
Some Iraqi youths even dip Skoal tobacco.
"It's inevitable that they're going to leave a trace on us after they depart," said Yahya Hussein, a soccer coach, former player and denizen of Baghdad's Karrada neighborhood.
Hussein left Kawkab al-Sharq cafe — named for a legendary Egyptian singer of another era — where waiters ferried tea, Nescafe and a water pipe known as a nergilla, a word taken from Persian. His family's history in Karrada stretches back 11 generations, and as he strolled along the neighborhood's main thoroughfare, he spoke with the authority of experience.
"All this," he said, pointing at a kiosk, "came after the occupation."
Rickety stands along the street overflowed with goods. Toy guns emblazoned with the moniker "Super Police" sat next to imitation handcuffs and walkie-talkies. A doll dressed in fatigues, with dog tags around its neck, carried an M-16 rifle, familiar to Iraqis as a weapon of the U.S. military. With a squeeze of the doll's hand, Freddie Mercury belted out Queen's "We Will Rock You" to a street speaking Arabic.
"These are the times," Hussein said.
Bootleg copies of "Star Trek," "Valkyrie" and "Marley & Me" were on sale, along with CDs by Eminem, 50 Cent and Massari. On a wall was an ad for a concert by Rap Boys, billed as the "first and biggest rap party in Baghdad."
Youths asked a barber across the street for the latest haircut, which they call "spiky"; one barber insisted that the name came from a soldier's nickname for his military dog. The soldier's version of a crew cut is called "Yankee" (or, sometimes, "bankee").
Businesses hawked camouflage-patterned men's underwear. "Harley," a kind of biker boot, went for $125. "Texas," the cowboy version, cost $100.
For each item, Hussein had a simple phrase: "after the suqut," the fall of Saddam Hussein.
Continued (http://www.msnbc.msn.com/id/31023977/page/2/)
Washington Post
By Anthony Shadid
updated 2:38 a.m. MT, Sun., May 31, 2009
BAGHDAD, Iraq - Across the street from the tidy rows of tombstones in the British cemetery, mute testimony to the soldiers of an earlier occupation, Mustafa Muwaffaq bears witness to the quieter side of the United States' six-year-old presence in Iraq.
In wraparound sunglasses, shorts and shoes without socks, the burly 20-year-old student waxes eloquent about his love for heavy metal of all kinds: death, thrash, black. But none of it compares, he says, to the honky-tonk of Alan Jackson, whose tunes he strums on his acoustic guitar at night, pining for a life as far away as a passport will take him.
"You know, I wanna go to Texas and be a country boy," he said, as he stood in the sweltering shade of Baghdad's Academy of Fine Arts. "I wanna be a cowboy, and I wanna sing like one."
[
All occupations eventually end. When this one does, history's narratives will be shaped by the cacophony it wrought — the carnage unleashed by the U.S.-led invasion that threatened Iraq's notion of itself as a country and that will haunt generations to come.
But the whispers may linger just as long — the far quieter way in which two cultures that often found it difficult to share the same space intersected to reshape Iraq's language, culture and sensibility. From tattoos of Metallica to bellybutton piercings, from posters for a rap concert in Baghdad to stories parents tell their naughty children in Fallujah of the Americans coming to get them, the occupation has already left its mark.
American expletives
There is the bellicose language of the checkpoint: "Go" and "Stop" (often rendered as "stob" in a language with no "p"), along with a string of American expletives that Iraqi children imitate with zeal. In parks along the Tigris River, they play "tafteesh," Arabic for inspection. Iraqi troops, sometimes indistinguishable from their U.S. counterparts, don the sunglasses considered effeminate in the time of Saddam Hussein.
Some Iraqi youths even dip Skoal tobacco.
"It's inevitable that they're going to leave a trace on us after they depart," said Yahya Hussein, a soccer coach, former player and denizen of Baghdad's Karrada neighborhood.
Hussein left Kawkab al-Sharq cafe — named for a legendary Egyptian singer of another era — where waiters ferried tea, Nescafe and a water pipe known as a nergilla, a word taken from Persian. His family's history in Karrada stretches back 11 generations, and as he strolled along the neighborhood's main thoroughfare, he spoke with the authority of experience.
"All this," he said, pointing at a kiosk, "came after the occupation."
Rickety stands along the street overflowed with goods. Toy guns emblazoned with the moniker "Super Police" sat next to imitation handcuffs and walkie-talkies. A doll dressed in fatigues, with dog tags around its neck, carried an M-16 rifle, familiar to Iraqis as a weapon of the U.S. military. With a squeeze of the doll's hand, Freddie Mercury belted out Queen's "We Will Rock You" to a street speaking Arabic.
"These are the times," Hussein said.
Bootleg copies of "Star Trek," "Valkyrie" and "Marley & Me" were on sale, along with CDs by Eminem, 50 Cent and Massari. On a wall was an ad for a concert by Rap Boys, billed as the "first and biggest rap party in Baghdad."
Youths asked a barber across the street for the latest haircut, which they call "spiky"; one barber insisted that the name came from a soldier's nickname for his military dog. The soldier's version of a crew cut is called "Yankee" (or, sometimes, "bankee").
Businesses hawked camouflage-patterned men's underwear. "Harley," a kind of biker boot, went for $125. "Texas," the cowboy version, cost $100.
For each item, Hussein had a simple phrase: "after the suqut," the fall of Saddam Hussein.
Continued (http://www.msnbc.msn.com/id/31023977/page/2/)