Gidan Iko: House of Power

Em, so, I'm in the midst of studying for prelims.... and preparing for a film paper...

One of these days, I'm going to write a paper on the genre of the Hausa film trailer (and perhaps its use on YouTube), which becomes in itself a mini-film, woven together by the chorus of one of the film's catchiest songs and dances. Note here framing and composition (especially in that opening shot), use of colour, the rhythmic graphic matching in the editing. Through the use of the song to weave together significant moments of the film, we see a concern with the power structures of the nation, alongside the crowd pleasing rhymes about love.

And to make this relevant to my prelims studying, note the magnificent examples of linguistic code switching. I love being a scholar of popular culture! {-;

And to link this to my other research, here is a very bad video I took on my digital camera in Kano last year in an open-air theatre of Abbas Sadiq and Zainab Idris (the dancers seen in the video here) dancing to the playback version of this song "Gidan Iko." (I have heard that this open air theatre may have since been destroyed. http://www.youtube.com/watch?v=tTqD6GQx0q0
Apparently the lyrics of this song are by Adam Zango (Usher), the artist and musician currently imprisoned for trying to market his music video "BaHaushiya", that had not been censored, during the film ban in Kano. (According to his critics, he was defaming Hausa women by calling a song where a woman dances provocatively "BaHaushiya" (Hausa woman).

Warm Fuzzy teaching moments

So, one wouldn't think, after my post of a couple of days ago, that I would write something like this. But after having taken a couple of days break from grading (too much other stuff to do) I'm back at it, and this time getting warm fuzzies. What is exciting (now that I've gotten past the initial bad papers--I'm sure there are more to come) is to see students learning and writing about things that interest them. We gave them a variety of paper topics and the option to do what they are interested in rather than the "formula" paper, and, although I'm nervous about grading our "creative options" (I've set those aside for last), it's such a joy to read those few stellar papers that are almost perfect: well written, well-researched, intelligently thought out, engaging.... I just wrote on one paper, "I've been reading dozens of papers tonight, and it's so pleasurable to come across a paper that I not only enjoy reading but from which I learn something. You write very well..." On another (a student I know was just accepted into grad school), I wrote "You already sound like a graduate student!"

This is why we teach, I suppose, for those brief moments of joy when we see students synthesizing and connecting with what they are learning. You see all those sources in their works cited, and you think, "They know this now." This is now a part of their knowledge. Perhaps they will bring up the points they've cited in this paper in conversation with family and friends in related conversations.... And in the exceptional papers, you think "I just learned something new." And that is exciting.

I also have students post a comment or question on the readings or lectures to an email listserve once a week, and, despite a few mid-semester evaluation grumbles (most like it; a few don't), it always gets progressively better throughout the semester. I love seeing them think through things and using the tools they've learned to better analyze what they are reading and hearing.

So, even though I have about 50 more papers to grade and even though I'm stressed out of my mind because my prelims dates have been set for January 16 and 18 (sooner than I was planning--I'm not at all ready), I'm happy, sitting here at my kitchen table with papers all around me--sorted into various grades. I'm happy because I have 70+ students, who I really like even if I do still forget their names sometimes, most of whom are smart and interested in Africa. And if some of them still use the word "tribe" and "native," well, hopefully they'll remember my comments on their papers.... WWWD.

stylee

so... i'm trying to prepare for a short lecture on African popular culture tomorrow before showing Djibril Diop Mambety's film...and...

WWWD: What would Wainaina do....

So, I'm in the midst of grading some 70+ papers and finding myself making loud growling noises--I SWEAR if I see "native Africans" or "tribal" or "nation" (for the continent of Africa) used one more time after I sent an explicit email to my students outlining my peeviest of pet peeves.... And after one dear child ends her otherwise insightful paper about the mis-uses of humanitarian aid in Africa with the phrase "we will start to see a country coming out of the darkness and into the light," I find myself writing: "What would Binyavanga Wainaina say?"

Because, you see, they had to read that Binyavanga Wainaina essay "How to Write About Africa" at the beginning of the semester, and he is my reference point whenever I think the dang textbook Understanding Contemporary Africa (a rather bad textbook trying to condense "understanding" all of Africa [politics, economics, religion, literature, history, etc] to about 200 pages) is over-generalizing, which is most of the time--or we see an old cliched documentary in lecture.... or someone asks in class how "we" can "save" Africa....

"What would Wainaina say?" I ask... WWWS

So, I FINALLY get to teach a film (Mambety) this week and Dangarembga's Nervous Conditions next week--back to African voices--thank GOD! After a semester teaching an African Studies introductory survey course, I am grateful that I chose to follow literature and film and spend the rest of my life teaching what African writers have had to say for themselves rather than what other people have to say for them.... I open each discussion section with a poem by an African writer--whether we are studying economics or politics, and whether it totally relates or not... Just my own little way of trying to remind the students that those voices do exist...

Photo Credit: Creative Writing @ EMU

The Heroism of Ordinary People: An Interview with Helon Habila

Thanksgiving day in America... a cornbread dressing in the tradition of my Louisiana grandmother is in the oven and a pumpkin pie is done and cooling on the counter. I'm going to my advisor's house later for dinner to celebrate with some other African students. My interview with Helon Habila was published this week. I am thankful:

This is the 1000 word (ie. gutted) version of an interview with Helon Habila I conducted via telephone last Tuesday before he left for his book tour in Nigeria. (The easy part was transcribing. I spent hours cutting it to get it to 1000 words... ughh...) The story of the interview itself is a longer one, which perhaps I will post about sometime, but Habila was one of the most gracious people I have met via telephone.... The following was published in Leadership this past Monday, 19 November 2007. Unfortunately, the link is no longer up, but this is how it appeared in the newspaper. (In an interesting aside, my dad met him today after the reading at the University of Jos.) Perhaps I'll post the entire interview on my other blog when I have a chance to edit it properly; it will be published in the journal Abiku early next year. But here is the short version:

"The Heroism of Ordinary People: An Interview with Helon Habila"

Award winning novelist Helon Habila grew up in Gombe State. After earning his BA in English at the University of Jos in 1995, he taught at the Federal Polytechnic, Bauchi. Moving to Lagos in 1999, he became the arts editor at the Vanguard and wrote a novel, published as Waiting for An Angel in 2002, which won the Caine Prize for African Fiction in 2001 and the Commonwealth Writers Prize in 2003. Habila has published stories, articles, and poems in journals world-wide and is currently a PhD candidate at the University of East Anglia. After a stint as the first Chinua Achebe fellow at Bard College in New York, Habila took a position at George Mason University where he teaches creative writing. He is in Nigeria from November 17 to November 24 to promote his second novel Measuring Time. In this interview on behalf of LEADERSHIP, he speaks with Talatu-Carmen [my real name used in the publication; i suppose i should stop this ridiculous attempt to protect my identity--pretty much everybody who reads this blog knows who I am], a PhD student at a university in the USA, about his writing.

Talatu-Carmen: I was wondering what your creative process is like. Where do your stories come from?

HABILA: I really cannot say exactly, but I am really inspired by books. Sometimes I write in reaction to books I have read. Then there is also my experience: Measuring Time has a lot of that—my experiences as a child growing up. There was a time when I realised that I wanted to write about my hometown. From that moment whatever I did I viewed it through the eyes of fiction, thinking of how to represent the people I met, the things I did, the places I saw. I was thinking of them as already a part of my book that I was going to write. I was going to write Measuring Time even before I started writing Waiting for an Angel.

In both of your novels the act of writing itself seems to take on a political significance. What, to you, is the political responsibility of the writer?

Well, quite a lot, especially as an African writer. I think there is that tradition which started from the first generation of African writers. They were writing against the whole colonial system, which was very repressive, very racist, very dictatorial. They actually used to have congresses where they would discuss the best way to write fiction in a way that would address the political issues of the day. Even before that, in traditional African society, from the folk tales, there’s always a kind of moral lesson, a kind of didacticism that is seen as an aesthetic part of that story. So politics more or less becomes an aesthetic in African fiction. There are no boundaries between what is purely political and what is art. Art becomes politics and politics becomes art. So I think people like me who find themselves in that tradition, and have that temperament, that awareness of what is going on, who feel that things shouldn’t be the way they are, have a duty to speak out. It is tradition and it’s also a matter of temperament, because there are definitely writers in Africa who don’t write about politics. They write art for art’s sake, or whatever you want to call it.

Could you say more about the influences of Hausa literature on your writing?

Definitely. I grew up reading the translation of One Thousand and One Nights in Hausa and the works of Abubakar Imam, Magana Jari Ce, Ruwan Bagaja, etc. So there is that magical or folkloric representation of reality, which is very different from pure realism. I was definitely influenced by that. And before that I was also influenced by folktales told to me by women in the compound. So, these Hausa books I discovered later were almost a continuation of that story tradition with the magical elements, spirit figures and things like that.

Both of your novels deal with history. In Measuring Time, the character Mamo wants to write a biographical history. Is this one of your own goals?

Definitely, I think so. Because so much that we have is fast fading away and being taken over by the modern, I see writing itself as cultural conservation. That is exactly what Mamo’s project is, conserving the history of people…, because they were misrepresented by the [missionary] Reverend Drinkwater. If you represent what has been misrepresented, you are putting the records right. And that is what history is supposed be. Taking moments of glory, and also ordinary moments—moments of humanity, of value to the community, and putting it down in books. It doesn’t have to be about generals, it doesn’t have to be about chiefs, it could be about ordinary people, their heroism. That is the whole point of the book, that lives should be celebrated, regardless of what office or what lack of office that person has.

Newton Aduaka, the winner of the Golden Yennenga Stallion at the FESPACO film festival, is making a film based on Waiting for an Angel. How involved have you been with this?

I’m not really involved. I’m just the author of the novel. I see film as being totally different from literature. They are both narrative art forms, but they have different ways of representing their story, their subject. I trust him as an artist. I think my novel is strong enough to stand on its own, even if the movie is a bit different in some of its portrayals.

Have you ever thought of writing a screenplay or becoming involved in film?

I really want to do that some day. Some people approached me to write a movie script. I started writing it and then it became a novel! I’m really enjoying the experience. I don’t know how far it’s going to go, but I’m definitely going to go into movies one of these days. To write, or even direct, if I have the chance. The movie industry is just incredible, and I think this is the moment to get involved.

All right, thank you so much.

Thank you, you’re welcome.

Photo credit: Helon Habila with Jeremiah Gyang and Ola Soyinka. Kudus to amazing middlebelt artists! From Naijablog

Helon Habila Tours Nigeria

African Film Conference

Having just returned from an absolutely amazing conference on African film at the University of Illinois, Urbana-Champaign, I thought I'd share a few photos. In addition to my academic heros, there were representative filmmakers from the continent. Among the academics I was excited to have a chance to talk with further: Abdalla Uba Adamu, Brian Larkin, Matthias Krings, Onookome Okome, Jonathan Haynes, Birgit Meyer, Kenneth Harrow, and many more. "Nollywood" reps: Joke Silva, Madu Chikwendu, Francis Onwochei, Ghanian filmmaker Socrate Safo, and Cameroonian filmmaker Joyce Ashuntantang. Photo 1: Onookome Okome and Abdalla Uba Adamu; Photo 2: Ghanian filmmaker Socrate Safo was passionate about his craft and was a delight to watch "in action" as he grounded the often flighty academic theorizing with practical examples of current issues of technology and practice in the Ghanian film industry; Photo 3: Brian Larkin and Abdalla Uba Adamu on a panel; 4) Socrate Safo presents clips from three of his films; 5) Cameroonian filmmaker and actress Joyce Ashuntantang shows a clip from her film, Potent Secrets, and speaks about her feminist motivations.

One of the best parts of the conference was getting to interact with the filmmakers from Nollywood, Ghana, and Cameroon. Hearing them speak in conjunction with the academic papers, I was particularly struck by their passion and their professionality--the absolutely brilliant business that Nigerian (and Ghanaian) filmmaking has become. But while there were still a few academics who echoed the cliched critiques of "Nollywood" filmmaking being "only about making money," Socrate Safo, Joke Silva, Madu Chikwendu, and Francis Onwochei emphasized (and embodied) the intentionality of the craft. These filmmakers are not greedy amateurs out to just make money (although money is certainly a very practical concern in an artform that is also a business--films cannot be made without money), but artists and performers who love and are passionate about what they do. I was particularly impressed with the few clips I saw of Safo's films--lighting, camera angles, mise en scene, and wonderful use of an original music score.

The main impression I came away from the conference with was that the dichotomy between "African cinema" and the "video film" is a false one, and that while various histories, funding, and technologies must be taken into consideration, films on celluloid and video can and should be put side by side in analysis of African film. This is why (even before this conference) I have been calling Nollywood and Kannywood productions "films" rather than "video films." As digital technology becomes prevalent even among filmmakers coming out of a celluloid training (Jean Pierre Bekolo's Les Saignantes, for example), the technical differentiation between "video" and "film" seems to be a rather useless one. At the conference, the prevalent terms used were "Fespaco films" and "video films;" however, much of the discussion centered around the need to complicate the framework that has so far divided analysis of one from the other.

Rest In Peace Cyprian Ekwensi

This is a little bit late, but a post in honour of the late Cyprian Ekwensi, author of Jagua Nana, Burning Grass, and others. He died at age 86.

Here is a 2006 interview that Basil Okafor conducted with him for the Daily Sun.

Illustration credit: Basil Okafor

Shari'a Court bans satirical play in Kaduna

Shehu Sani's satirical play on the political misuse of shari'a, The Phantom Crescent, has been banned from being performed or circulated by the Kaduna upper shari'a court. According to Shehu Sani the recent "Hiyana" scandal "became an excuse for a new onslaught against artists," spreading out from the ban on film and harsher restrictions on novels to the ban on his play in Kaduna. See the article here.

The Passion of Saint Talatu

3:40am: Why I love Hausa films

It is 3:40am, and I am cutting, cutting, cutting extra words out of a fellowship proposal that is too verbose and too vague, and too BS-y, which is a shame because I know this stuff really well. It's just hard to say when you have to put all the details of research methods, background, argument in 10 pages, when you haven't quite ironed out your dissertation proposal yet.

So, this post is just to say why I love Hausa films. I love Hausa films because I can click on my you tube clips at 3:40am when I am stressed out of my mind and they make me smile. Yes, the editing is corny, and there are mispellings in the subtitles, and the melodrama is sometimes over the top, Yes, they make me laugh here in on my hard chair at 3:45am. But I also love them because there are beautiful compositions, and fast, obsessive, editing, and strong colour motifs that run through the trailers. I love them because the music is so obsessive that I listen to it minimized as I write, and the deep focus shots and the stop motion dances are so mesmerizing that I have to go back and watch the whole thing over again. At 3:46, when I'm stressed because I've overphilosophized my project, I go back to the concrete videos and know I have to keep on, because it is my opportunity to work with artists who make a living from their art. And no matter how denigrated they are, they'll figure out a way to make it work, insha Allah.

No, I don't like censorship, but in some ways, the adaptations people come up with because of censorship makes more creative products. I've been watching early Hollywood pictures that couldn't show violence so came up with creative off-screen sound. I think it will work the same for the Hausa films.

But, oh, I mourn those brilliant song and dances. I hope that the ban on those is lifted--because they encapsulate so much sheer creativity on so many different levels and are at the very heart of what I want to write about.

Because I love it. That's why I'm up at this time, and why I'm in this cold place, stressed out all the time. Because I love it.

cherish the day

Sade makes me lonely. I sit on a hard wooden chair in front of a blinking computer screen. I have been putting off this grant application all weekend. I have gone through half of the anthology of Hausa film essays. I have reread my own past grant applications and those my friends have sent me. I have brainstormed on paper. I have rethought my entire project 10 times. This morning, I went to a one hour mass at the Catholic Church down the street and then came back to lay in my bed, warm under a down comforter. The rain fell outside and the air from the open window was sharp on my face. The radiators clanked and creaked. I lay in bed making myself write the proposal in my head, dream the proposal. I wake to the phone ringing. It is my mother together with my brother, who is back in Nigeria on a preliminary documentary project. We chat until they are interrupted by a Skype from my Dad calling from Khartoum. I eat a quarter bag of chips and salsa at the kitchen table, trying to write down in a notebook the proposal I had dreamed. When I finally go to the other room and lift the screen and try to write, it is dark outside. I watch 20 minutes of the screensaver, my life in photos: weddings, other people’s children, my pregnant cousin, stills from Hausa films and an old black and white German vampire film, graduations, parties, conferences, famous African writers, unflattering close-ups of people I don’t know, and my own solitary self portraits in teapots and distant mirrors. Sade sings a mournful Hallelujah. I tap on the keyboard to face the march of words again.

Barka da sallah!!

To my Muslim Friends,

Barka da sallah! Happy Eid Al-Fitr!! Allah ya ba da albarka!

T-C

(and in other news I went to a Chimamanda Ngozi Adichie reading and panel discussion tonight, and RANDOMLY bumped into a woman who had been two years ahead of me in high school. She comes up to me and says... you look so familiar... and so we go quickly down fourteen years of life history, where we had overlapped in certain places but not met, till we got to high school in nigeria and that was where it was... what a lovely small world it is...)

Albashi 2 trailer

Today I called my friend Abbas Sadiq, the intense, one-of-a-kind-dressing Hausa actor and director, to see how he is doing during this suspension of the Hausa film industry. "Babu aiki, wallahi," he told me. "kawai muna jira..."

So, one of the things that upsets me so much about the Hausa film wahalla is that thousands of people are out of work. How exactly are they supposed to live now...? And when the suspension is finally lifted will anyone have any money left to make films?

And the dancing and singing has been banned as well (See Ba Haushe Mai Ban Haushi's post on the new censorship guidelines). Wallahi, ina so in kuka da na tunani a kansa."

Not being able to do anything about it really, other than write and rant, I spend the afternoon that I was supposed to be spending writing a grant application, uploading singing and dancing numbers to You Tube....

So, here's the trailer for Abbas Sadiq's Albashi 2, the sequel to Albashi (salary) that I wrote my big paper on that I've given at so many conferences. How can they ban this wonderfully creative dancing and singing? How? Kash! Wayyo! Kaico!

Media Fast

Peoples,

I'm sorry I have been so negligent of this blog lately. I have a million things going on, including fellowship applications, none of which I seem to be getting done. I find that the internet is one of my major downfalls--the repetitive, obsessive, meaningless checking of email, facebook, blogs, etc. So, as a part of a larger project to work on discipline and focus, I am taking a week long fast from non-essential internet and other media. I WILL be back.

-T-C

Distant Hymns

Before the beginning of the football game, I sit near the window reading a book about Lagos. The late afternoon light slants through the trees making the leaves glow. Drumming and chanting wafts into the window from the stadium—distorted by loudspeakers and breezes and shouts and the salsa that dances low and tinny on my radio. I think I hear a familiar hymn, sung with fervour, a prayer meeting somewhere, the loudspeakers that will continue far into the night. My first night back in Jos, the voices drift in, struggling against the muezzin at first and then blending into the chant of the cicadas and barking of the dogs and the breezes of late May. All night long, I lie in bed listening to distant Amens..… Oh, I realize, It’s “Sweet Caroline,” and I’m here in the Midwestern United States, leaves rippling outside, green for a few weeks more. A yellow rose nods on the window sill, and photos from Jos, newly hung, peer down at me. A train moans. I have some more unpacking to do.

A U.S. Military Base in the Gulf of Guinea??????!!!!!??????

Is this for real???


Gulf of Guinea - Govt Soft-Pedals On U.S. Military

This Day (Lagos)NEWS
17 September 2007 Posted to the web 17 September 2007
By Juliana TaiwoAbuja

A senior government official has given reasons why the Federal Government may soft-pedal on its moves to frustrate the plan by the United States to establish a military base in the Gulf of Guinea.

THISDAY had reported last week moves by the Nigerian government to checkmate the military adventure of the United States in the oil-rich region.

But the official told THISDAY yesterday in reaction to the story that Nigeria cannot ward off the US because Nigeria "has not shown enough commitment in securing the region".

He disclosed that Nigeria government was expected to have invested $1 billion from excess crude account into the coastal security and safety arrangement in the last two years but had failed.

"The point is this, the former President, Chief Olusegun Obasanjo, had seen the wisdom as a former military head of state to secure the area and immediately ordered strategic surveillance of the costal zone and the Niger Delta.

"But the Nigerian officials were not comfortable with the way he was going about it because it was supposed to be subjected to debate at the floor of the National Assembly. And Obasanjo knowing that anything on national defence and security issues cannot be subjected to debate went ahead to mobilise the Navy and the Air Force for what the US called minimum security requirement for that zone because oil is important to US," he disclosed.

The senior government official said the US government expected Nigeria to have minimum-security provisions but unfortunately in the last four months the US department discovered that the process was suddenly slowing down and the new government may not go at the speed it expected.

"The US government has completed all the ground work and has moved into the offshore of Sao Tome and Principe, Angola and Guinea to secure position for their submarines and other security facilities. Nigeria is the only country that has the minimum requirement and the financial capacity to provide those facilities (vessels for the Navy and satellite communication facilities amongst others for the Air Force) because these other African countries cannot afford to put down even one per cent of what is required.

"It is a challenge for the President Umaru Musa Yar'Adua to quickly work within his own defence structure and pump the money as well as continue with that his predecessor was doing if indeed it is serious about security that area though I really doubt if they can match the US now," he said.

A senior military official had disclosed to THISDAY last week that the Federal Government had begun moves to frustrate the plan by the United States to establish a military base in the Gulf of Guinea.

Defence sources had further disclosed that the Federal Government was already discussing with heads of government of the African Union and leaders of the sub-regional body, the Economic Community of West African State, on how to block any move by US to establish a base in the gulf.

"Nigeria is not taking the issue lightly at all and the government is not going to allow the US establish any military base anywhere in the ECOWAS region. The interest of the US government in the Gulf of Guinea has reinforced the commitment of the government to intensify its efforts at providing the needed security in the sub-region," the source had said.
The gulf's oil and gas deposit is put in the region of 10 billion barrels.


Copyright © 2007 This Day. All rights reserved. Distributed by AllAfrica Global Media (allAfrica.com).

Wedding number 3 this summer (at which I was the [drumroll]...photographer)

(And it rivalled number 1 for sheer FUNness. Groom at this wedding, if you still read this blog..., I'm planning to upload the rest of the photos to Flickr this wkd. Tried tonight and the programme kept freezing... probably because I STILL don't have my own internet... DAMNED AT&T....)

Xtend Foundation African Scholarship

A friend of mine, Tayo Oyedeji, has started a small scholarship fund for African undergraduate students. The $300 scholarship is for students whose familys' have an annual income of less than $5000 and who are enrolled in a sub-Saharan African university in a 4-5 year undergraduate programme. The online application can be found at http://www.foundation.tayooyedeji.com/. Please pass this information on to any deserving students you know of.

Of his motivation for starting the foundation, Tayo says "My graduate studies in the United States have cost a total of about $150,000 and I have never had to pay a single dollar because someone or a group of people established foundations to offset the educational costs of scholars with potential.

"Scholarships and foundations have helped me, an African, attain the best education the United States has to offer and I believe that 'to whom much is given, much is expected'.

"Therefore, I am setting up a foundation (Xtend Foundation) to provide $300 scholarships to 10 students in Sub-Saharan African universities. All students currently enrolled in a university in Africa (apart from members of my immediate family) are eligible to apply. "

As part of the foundation is Project 100, the goal of which is to grant scholarships to 100 university students in Sub-Saharan Africa by 2010.

For more information, see the Foundation website.

pet peeves

(written in the order that I think of them and not necessarily in the order of most annoying, although number 1 is one of my peeviest pet peeves.)

1) People walking on the sidewalk and smoking (or sitting in a crowded area and smoking as the case may be). Pisses me off. Especially in the winter when you are in a hurry to go somewhere and you have a cold and have to breathe through your mouth and these people walking in front of you are earnestly smoking their lungs to a crisp and you can't get away from the smoke. So, today i'm standing on a street corner with about 7 other people waiting for the light to turn, and this one guy is smoking. I see everyone's nose crinkle. One girl puts her notebook in front of her face. I begin to feel sorry for the smoker in his outcast aloneness. Even hours later, the smoke still lingers in my hair.

2) Little petite girls who self-referentially dwell on their daintyness and how they can't lift things and how small they are and how they need help with this or that and subtly make tall independent-minded women who lift large unwieldy things, whether they should or not, feel like giant uncouth amazons.

3) People who walk in the bike lane rather than in the walking lane of the bike path.

4) Young women are too tan and too blonde (and too made up) in the winter (you know what I mean...?). The same sort who wear pajamas with university logos across the butt to class... I think this is an American thing?

5) Drunken people who shout what they think are clever witticisms on my street at 2am.

6) AT&T.... Internet was supposed to be transferred three weeks ago, and I'm STILL have no wireless. I have been on the phone with them for at least 6 times, and was placed on hold for two and a half hours one night before the system hung up on me and an hour and a half another night. Tonight I JUST found a very weak wireless signal wafting in from somewhere (most networks in my building are secured), and I pray it sticks around for a few more days.

7) Overly flirty people....

8) Condescending/patronizing/smug people...

9) People who are just generally unhelpful...

10) People who start dating someone after a lapse of about five months of being out of a relationship and two days later are sighing about and saying things like "it's so wonderful to be in a relationship. i don't know how (you) single people do it. you really should try having a boyfriend sometime".... erm....

11) Married men or men in serious relationships who continue to hit on women

12) HUMMERS!!!! (the vehicle, not the people who hum. I like a little hum here and there, myself.)

----
And what am I doing these days of no internet and no time? Teaching, preparing for teaching, and here and there trying to get a bit of reading done. Will try to be back when I have some more interesting things to say, when my computer that is in the shop is fixed, or when I think of some more of my pet peeves

Photo credit: http://blog.gruby.com/2006/08/