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The Black Cat - 3. The Taxi Driver

Ahmed and Salahadin left Pearson’s room and went downstairs. They sat down and the manager brought them some coffee.

“How can we find the seventh box?” asked Ahmed.
“I need your help,” replied Salahadin.
“How can I help you?” asked Ahmed.
“The murderer took the box with him,” said Salahadin. “It was heavy and it’s hot today. The murderer did not carry the box very far. Perhaps he took a taxi.”

“That’s possible,” aggred Ahmed. “And you want to find that taxi. But, how can I hep you?”
“You can send out a police message on Radio Cairo,” replied Salahadin.
“That’s true,” agreed Ahmed. “What shall I say in the message?”

“When did Pearson die?” asked Salahadin.
“About half pas ten this morning,” replied Ahmed.
“Then, here’s the message,” said Salahadin. “The police want to speak to a taxi driver. This taxi driver was near the Nile Hotel at about eleven o’clock this morning. A man got into his taxi. The man was carrying a heavy box. The police want to speak to the taxi driver as soon as possible.”

“Good,” said Ahmed. “I’ll put out this message immediately.”
“Most taxis have radios,” said Salahadin. “Perhaps a taxi driver will remember a man with a heavy box.”

“I’ll get back to my office,” went on Salahadin. “When anything happens, let me know.”
“I’ll telephone you immediately,” replied Ahmed.

It was not late afternoon. Outside on the street it was still very hot. Salahadin got into a taxi. Luckily there were few cars and the streets were almost empty. He soon arrived back in his office.

Salahadin turn on the radio. He heard the message. It was repeated after fifteen minutes. Salahadin waited. Suddenly the telephone rang. It was Ahmed.

“We’ve been lucky,” said Ahmed. “A taxi driver is here in my office. A man with a heavy box got into his taxi near the Nile Hotel.”
“At what time?” asked Salahadin.
“At eleven o’clock this morning,” replied Ahmed. “Do you want to speak at him?”
“Certainly,” replied Salahadin. “I’ll come round to your office immediately.”

Ahmed’s office was quite near. Salahadin walked there. The sun had gone down and it was becoming cooler.
The taxi driver was waiting in Ahmed’s office. He was a fat, happy looking man. He was also intelligent. Salahadin took out his notebook and asked the taxi driver some questions.

“At what time did this man get into your taxi?” asked Salahadin.
“A few minutes before eleven o’clock,” replied the taxi driver. “He got in quite near the Nile Hotel.”
“Was he carrying anything?” Salahadin asked.
“Yes,” replied the taxi driver, “a heavy box.”
“And what did he look likes?” asked Salahadin.
“He was tall with broad shoulders,” replied the taxi driver. “He had fair hair. He spoke Arabic, but he was not an Arab. Perhaps he was Swedish.”

Salahadin thought for a few moments. Then he asked the taxi driver another question.
“This man spoke Arabic, did he?” asked Salahadin. “What kind of Arabic did he speak?”
“What do you mean?” asked the driver.
“Did he speak Arabic like an Egyptian?” asked Salahadin.
“Oh, no,” said the taxi driver. “He spoke like a Lebanese.”
“Where did you take this man?” said Salahadin, continuing his questions.
“I took him to the railway station,” replied the driver. “He wanted to get there before twelve o’clock.”
“The express train for Alexandria,” said the taxi driver immediately. “I know all the trains. The express train leaves Cairo at tweleve o’clock and arrives in Alexandria at half past two.”

Salahadin had been lucky. He had found out some important facts. He looked at the notes in his book.

The Black Cat - 2. The Missing Box

Salahadin put on his coat and quickly left his office. It was much hotter outside in the street. A hot, dusty wind was blowing between the tall buildings. Salahadin jumped into a taxi. The streets were full of cars and the taxi moved slowly. It took a long time to get the Nile Hotel.
A policeman was standing at the door of the hotel.

“I’m sorry,” said the policeman. “No one is allowed into the hotel.”
Salahadin showed the policeman his identity card.

The policeman took Salahadin to his chief. Luckily, Salahadin knew this officer. It was Inspector Ahmed, a school friend of Salahadin’s.
Ahmed took Salahadin upstairs to Pearson’s room. Pearson was lying on the bed. There was a knife in his chest.

“Why are you interested in this man?” Ahmed asked Salahadin. “Do you know him?”

“His name is Pearson,” replied Salahadin. “He’s and archeologist. He was working in the south. He was leaving Egypt soon and I wanted to see him.”

“Why was he murdered?” Ahmed asked Salahadin.
“I don’t know,” replied Salahadin.

There were some boxes standing against the wall. Salahadin pointed to them.
“Perhaps there’s something valuable in these boxes,” said Salahadin. “We must open them.”

Ahmed brought in two policeman and they started to open the boxes.
Salahadin looked carefully round the room. There were some papers on the table beside the bed. Salahadin picked them up. There was a map under the papers. Here is the map. On the map were the words, “Valley of Zar”.

“These may be important,” thought Salahadin. “I’ll take them with me and look at them later.”
Salahadin folded the papers and the map and put them carefully in his wallet.

By this time, the policeman had opened the boxes.
There was nothing important in them. The boxes were full of spades and other things for digging.

“There’s nothing important or valuable in these boxes,” said Salahadin. “We must speak to all of the hotel staff. Perhaps one of them noticed something unusual.”

The manager brought the staff to Ahmed and Salahadin. They asked each person many questions, but they did not learn anything important.

Then Salahadin had an idea.
“Who carried these boxes to this room?” he asked the manager.
The manager brought back two porters.

“Did you carry these boxes into this room?” Salahadin asked the porters.
“Yes,” they replied.

“How many boxes were there?” asked Salahadin.
“Six boxes,” replied the first porter. “I carried three and my friend carried three.”

Salahadin looked at the boxes. There were six of them. No one had taken a box.

“Wait a moment,” said the second porter. “You’re wrong. There were seven boxes. You carried three, I carried three.”

“But that makes six boxes, not seven,” said Ahmed with a smile. “You can’t count.”

“I can count,” replied the porter. “There were seven boxes. Mr Pearson carried one into the room himself. It was a heavy box, but it was smaller than the others.”

“That is the box which is missing,” Salahadin said to Ahmed. “There’s something valuable in that seventh box. When we find the seventh box, we’ll find the murderer.”

The Black Cat - 1. Salahadin is Worried

Salahadin was sitting in his office with his coat off. It was the month of May in Cairo and it was very hot. Salahadin stood up and turned on the fan. He was a young man, only twenty-eight years old. He was not very tall and quite thin. His black hair was cut very short.

Salahadin’s office was in the centre of Cairo. It was in a large building behind the Nile Hilton. It was a small office and Salahadin’s name was not on the door. Not many people knew that he was a detective. But he was not an ordinary detective. Inspector Salahadin protected all the antiquities of Egypt.
Salahadin was waiting for an archeologist called Mr. Pearson. Pearson had been in Egypt for six months. He had been working in a valley in the south of Egypt, Pearson had been looking for antiquities. He had come back to Cairo a few days ago and was leaving Egypt soon.
But Mr. Pearson had not come to Salahadin’s office. Every archeologist had to see Salahadin before they left Egypt. Salahadin was worried. Pearson had not come yet.
Salahadin picked up the telephone and rang the number of Pearson’s hotel.
“Nile Hotel,” said a voice. “Can I help you?”
“Can I speak to the manager, please,” said Salahadin.
Salahadin waited for a few moments. Then he heard the manager’s voice.
“Can i help you?” said the manager.
“Yes,” replied Salahadin. “My name’s Salahadin El Nur. I’m a police inspector. I want to speak to Mr. Pearson.”
“Do you mean Mr. Pearson, the archeologist?” asked the manager.
“Yes,” replied Salahadin.
“I’,m sorry. You can’t speak to Mr. Pearson, sir,” said the manager.
“Oh,” said Salahadin in surprise. ” Why not?”
” Mr. Pearson is dead,” replied the manager. “ He was found dead in his room this morning. Mr. Pearson was murdered

About Gothic

When I was a little kid I was afraid of all kinds of Gothic things: the dark, the unknown, death, strange people and many more. In order to cope with those fears I was told to have happy thoughts like ice cream, new bicycles and the colorful rainbow. The thing that inspired me the most was a clown. A clown always smiles and dressed with very funny clothing which can really make the dark forces go away.

Every time I was sad or afraid of something I decided to think about happy clowns. At first happy clowns really helped me, but after a while it doesn’t seems to last long and I found myself swallowed again bythe darkness of life.

I realized that if I wanted to banish the fears for good I had to do something more extreme – to become the fear itself. Because I liked gothic clowns and because they have helped me before, I decided to become one of the scary clowns. This is the only way I can be free fromall the fears in the world, I can do pretty much everything I want and basically be me.

Being a scary clown doesn’t mean to run after people and make them miserable. It’s more like a gothic life style, a state of mind, enjoyinghorror movies and other crazy stuff. Basically it’s my personal life style choice which is like living Halloween every day.

Behind His Mask,
He Was Only Human,
A Person Who Feels
Like You And Me.

The Death Of A Clown
Reminds You All Lifetime,
A Lake Full Of Tears
Overflowed The World.

Gothic

Sebuah SEJARAH Gothic

Artikel oleh Hans B pertama kali diterbitkan pada tahun 1998 dalam bukunya webzine Prosesi Pemakaman (http://www.funprox.com)


Bagian I: Beberapa Origins

Apa gothic? Pertanyaan ini tentu saja tidak dijawab dalam satu kalimat. Sudah jelas bahwa gothic tidak hanya tentang musik, itu adalah gaya hidup, sensibilitas tertentu. Menurut Collins Cobuild Dictonary Bahasa Inggris, kata "gothic" digunakan dalam tiga cara. Pertama-tama, 'memiliki bangunan seperti sebuah katedral yang gothic gaya arsitektur yang dibedakan oleh pilar tinggi, langit-langit kubah dan lengkungan tinggi menunjuk. " Lebih jauh lagi, 'gothic digunakan untuk menggambarkan cerita yang aneh, petualangan misterius terjadi di tempat-tempat gelap dan sepi seperti reruntuhan benteng. " Gothic juga 'gaya mencetak atau menulis di mana huruf sangat meriah. " Di situs ini, saya menggunakan gothic terutama sebagai kata benda kolektif untuk menggambarkan subkultur, dengan banyak gaya musik yang berhubungan, dari gothic untuk industri, dari elektro untuk rakyat gelap. Tetapi saya mulai pertama dengan beberapa asal-usul.

Kata 'gothic' ini sangat tua, dan digunakan dari Renaissance ke menandakan gaya seni Abad Pertengahan. Hal ini dinamakan dari suku Jerman dari Goth, yang pernah menyerbu Italia dan begitu telah putus Kekaisaran Romawi. Pada abad ke-15, orang berharap untuk menghidupkan kembali usia klasik, mereka memiliki gagasan tentang kelahiran kembali atau renaisans. Periode intervensi itu disebut Umur Tengah, dan kami masih menggunakan istilah negatif. Karena Italia menyalahkan Goth untuk merusak Kekaisaran Romawi, mereka disebut sebagai gaya seni Gothic periode ini, dengan mana mereka berarti barbar. Tentu saja ini pandangan hitam & putih, selama Zaman Tengah seni yang indah itu dibuat terlalu dan ada kelahiran kembali tiba-tiba wasn'ta dari semua prestasi klasik di Renaissance. Dan apa yang harus berpikir tentang penemuan teknis dalam arsitektur di Zaman Tengah, yang membuat katedral Gothic besar mungkin, seperti Notre-Dame.

Selama Gerakan Romantis, sekitar 1800, banyak orang merasa tertarik untuk masa lalu dan kebangkitan hal gothic dan abad pertengahan masuk ke mode. Romantisme muncul sebagai reaksi terhadap rasionalisme Pencerahan. Emotif, aspek nonrational sangat sentral gerakan, dan daya kreatif individu. Romantics ingin melarikan diri dari situasi historis yang konkret. Mereka menggunakan berbagai cara untuk mencapai tujuan tersebut: beberapa melihat kembali ke masa 
lalu Abad Pertengahan, beberapa mencari dalam agama atau supranatural, yang lain mencoba untuk menemukannya di Alam. Selama periode gothic Romantis menjadi terkait dengan gelap, aneh, aneh. Banyak simbol dan tema dalam seni Romantis memiliki kesamaan yang luar biasa wih subkultur gothic ini. penulis romantis dan dekaden seperti Byron, Shelley, Baudelaire dan Verlaine tertarik di alam gelap hati nurani manusia dan pengalaman. obsesi seksual memainkan peranan penting dalam sastra romantis, buku-buku dari periode yang mengandung banyak fatales femme ("la belle dame sans merci") dan penderitaan berbagai berdosa senang. Untuk mempelajari tentang kepekaan erotis Romantis, saya menyarankan studi klasik The Romantic Agony oleh Mario Praz. Semangat romantis juga jelas dalam seni visual. Pelukis seperti Caspar David Friedrich memiliki preferensi untuk gelap, lanskap sepi. Dalam arsitektur, gaya neo-gothik adalah mode di abad kesembilan belas. Terutama gereja membangun dengan fasad gothic, untuk mengingatkan tentang Age of Faith.

Contoh rasa untuk gelap dan aneh adalah Novel Gothic, yang menjadi mode di tahun 1800-an. Ini menghadapi lebih gelap, sisi gelap dari diri. Hal ini juga menantang diterima struktur sosial dan intelektual waktu. sastra Gothic ada dari campuran kompleks teror, horor dan misterius, dengan tindakan terletak di pengaturan out-of-the-biasa. Karakter khas dalam fiksi Gothic adalah vampir itu. Contoh sastra gothic adalah Mary Shelley's Frankenstein, karya Edgar Allan Poe dan tentu saja Bram Stoker's Dracula. Stoker mengambil agak kabur dan kontradiktif gambaran vampir yang muncul dari literatur abad kesembilan belas dan awal kali dan mengembangkan karakter menarik, memuaskan, dan kuat yang hidup diasumsikan vampirik status mistis dalam budaya populer. penulis kontemporer yang menulis dalam tradisi yang Anne Rice ("Wawancara dengan" Vampire, dengan karakter utama vampir Lestat de Lioncourt nya) dan Z. Brite Poppy (terutama "Lost Souls").


link perkumpulan para anggota gothic dari freemasonry sampai 666 http://dark.pozadia.org/wallpaper/History-from-Heaven-or-Hell/

Bagian II: Perkembangan Inggris

Selama tahun 1980-an gerakan gothik baru datang ke permukaan. Ini diawali oleh punk, yang datang ke dalam kehidupan di akhir 70-an ketika ada kebutuhan untuk alternatif budaya khas non-konformis. Mungkin gothic datang sebagai semacam reaksi terhadap punk, pada saat yang sama sekelompok orang tampak untuk berbagi kebutuhan dan selera tertentu. Musik merayakan suara, gelap, sisi gelap hidup dan memiliki daya tarik yang berbeda dengan kematian. lambat Its mengemudi sering digambarkan sebagai melankolis, murung, bahkan mengerikan Mereka terpesona oleh budaya gothic yang baru. ditemukan vampir gambar tunggal yang paling tepat bagi gerakan ".


Menurut J. Gunn dalam artikelnya "Bela Lugosi's Dead; Pada musik gothic dan tidak dapat dihindari" genre, ada hubungan yang jelas antara gerakan gothic baru dan Romantisisme abad ke-19: "lirik, tema kematian, kehancuran dan eksplorasi kegelapan di kalangan para seniman gothic, serta tema romantis cinta dan kerugian yang ditemukan dalam novel-novel gothic gerakan sastra. Musik, meskipun penambahan suara elektronik dan tari-beats sebagai genre telah berkembang untuk hadir, terus menekankan akord minor, jarang, irama minimalis, tempo lambat dan karakteristik dari sebuah "dikenali" menakutkan "tekstur atau murung" visual,. seniman gothic dan penggemar tampaknya untuk mempromosikan suatu estetika-mati seperti itu, para-musik, menaati yang timbre gelap: wajah putih pucat, pakaian hitam, gaya busana Victoria seperti corstes atau mengacak-acak kemeja, reruntuhan abad pertengahan dan arsitektur gothic dan sebagainya. "



Sulit untuk memberikan tanggal pasti kelahiran gothic. Pada akhir dari banyak kelompok 70 yang baru muncul dengan suara agak gelap dan / atau gambar. Untuk menyebutkan beberapa: The Cure, Siouxsie, dan Banshees, The Damned, Adam & Ant, Ultravox, Killing Joke, The Sound, Angel Comsat dan Joy Division.Their New Wave atau musik pop gelap punya banyak mempengaruhi orang-orang yang kemudian akan menyebut diri gothic. Mungkin lagu gothic pertama sebenarnya adalah `Bela Lugosi mati 'oleh Bauhaus. Cerita berlanjut bahwa gothic berasal dari klub London gua kelelawar, tapi ketika klub ini dibuka pada tahun 1981, gothic sudah baik dalam perjalanan. Tapi band yang dilakukan di sana, seperti plum Perawan dan Orang Asing Pecandu Seks dengan citra horor mereka, membantu untuk menyebarkan gerakan ini.

Seseorang yang menulis banyak tentang sejarah awal (Inggris) gerakan gothic adalah wartawan Mick Mercer (penulis 'Alkitab Goth'). Dia mencoba untuk menjelaskan daya tarik gothic (dalam serangkaian artikel untuk Majalah Zillo Jerman pada tahun 1995): "Heutzutage offensichtlich ist, weshalb anspricht Goth intelligente Menschen, und als er weshalb Szene weiterhin blüht: Weil durch Leute auch als Andere Dinge nur Musik durch Bewegung auf diese Filme können stößen,. literatur, Kunst, Dichtung, Mode spielen alle ihre Rolle der Menschen beim anlocken. " (Di singkat: Jelas mengapa orang cerdas yang tertarik untuk gothic: ini bukan hanya tentang musik, film, sastra, seni, puisi dan fashion berperan juga)





Uk Peluruhan dicap gothic, karya seni mereka menunjukkan citra kematian dan vampir, yang menjadi stereotip dan whch berasal dari horor majalah) Pada pertengahan 80's gothic mencapai puncaknya dengan keberhasilan band-band seperti The Sisters of Mercy, Misi dan Bidang Nephilim itu. gothic rock mereka dan citra menjadi bentuk standar gothic selama bertahun-tahun (dan mungkin masih di Britania). Alice, Laura, Temple of Love, For Her Light dan Park Delight telah menjadi klasik mutlak. Sebuah masalah walaupun bahwa kelompok-kelompok kemudian banyak yang kesulitan untuk membuat suara mereka sendiri, mereka cenderung untuk menyalin berhala mereka terlalu banyak. Di Inggris jenis gothic masih sangat populer, di pesta-pesta dansa banyak gothic gaya lama masih sedang diputar dan dapat didengar misalnya pada festival tahunan Whitby. Banyak kelompok gothic kontemporer Inggris (misalnya Midnight Konfigurasi, Inkubus Sukkubus, Rosetta Stone), dapat ditemukan di 'samplers The Hex File', yang disusun oleh Mick Mercer tersebut.