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Tuesday, February 07, 2012
Iraq snapshot
Kat's Korner: The Sensual Roberta Flack
Kat: It was 1974 and Atlantic was nervous and desperate. Not least of all because, in the Warner Communications universe, they were competing that year with the newly joined Elektra-Asylum, under David Geffen's leadership, which was hitting big with Carly Simon's Hotcakes, Joni Mitchell's Court & Spark, Bob Dylan's Planet Waves. (Geffen won the wooing of Dylan over Jerry Wexler who was trying to bring him to Atlantic.) And Atlantic needed something they could depend on, something they could market, something they could sale. While the Average White Band was going to give them any bragging rights, they needed something with prestige as well. 1973's Goats Head Soup was still selling and the Stones were already at work on their follow up (It's Only Rock 'n Roll). Roberta Flack had given the label a huge hit in 1973 with "Killing Me Softly With His Song" and was in the studio recording her follow up album. And recording it. And editing it. And still in the studio. Maybe pressure could be put on her to finish things quickly?
Not a chance. Joel Dorn was producing the album, however, the suits' constant demands to hurry up and their need to 'explain'(pressure) how it needed to be a hit led to his walking out on the project. That left it to Roberta to take control and hold it together. She'd spend eight months in the studio on that album which became Feel Like Makin' Love and would make the pop charts, the R&B charts and the jazz charts as well as produce a hit single with the title track. In fact, she'd finish with the lead single first and it would hit number one in August of 1974. But she was still working on perfecting the sound of the album and it wouldn't be released until March of 1975. The next album? It would take her nearly three years before she felt Blue Lights In The Basement was ready. (That album would contain her smash duet with Donny Hathaway "The Closer I Get To You.")
I tell all of that to set that stage and make sure everybody gets that a Roberta Flack album is a rare thing. She's no Emily Dickinson, that Roberta. In fact, she makes J.D. Salinger look positively prolific. Like Halley's Comet in the sky, a Roberta Flack album is a rare thing.
And when we're really lucky, it's a rare thing of beauty.

Let It Be Roberta: Roberta Flack Sings The Beatles is the name of the new album. (Still on sale as a download -- with booklet -- at Amazon for $3.99 as I type this. I don't know when that sale ends.) If you count Holiday (2003), it's been nearly nine years since Roberta released a new album. Holiday is a seasonal album (and basically her 1997 Christmas album with a new title), so I don't count it. So, for me, 1999's Friends: Roberta Flack Sings Mariko Takahashi is her last album of new recordings. That's nearly 13 years.
As I've noted many times at my blog, I'm a huge Roberta Flack fan. And I'm a huge Beatles fan. Which might make you think this album excited me as soon as I first heard about it. That is not the case. Mainly because I'd suffered through Judy Collins' awful Judy Sings Lennon & McCartney. That hideous collection had set the clocks back to 1986, soured us all so that even Rod Stewart's nice version of "In My Life" (Every Beat of My Heart) was going to get served (with Rolling Stone grabbing the carving knife). When I heard which songs Roberta was recording, that didn't comfort me any either.
So imagine my surprise when listening to the album turned out to be sheer joy. "In My Life." Every cover is the same. Judy Collins covered it in the sixties, everybody copied, it became a plodding number by the time it got around to Bette Midler (who's always been so good about copying Judy Collins). It was such a predictable, paint-by-number, route sing-along that Sheryl Crow could have done it. But what I was forgetting about Roberta is that she's no one's photocopy.
A true original. And one who has suffered for being that.
Doubt me?
Find another artist who could and did close Dylan's Rolling Thunder tour with him and also could hold their own in Soul to Soul with Tina Turner and Wilson Pickett? We're talking about the woman who made "The First Time Ever I Saw Your Face" a standard, the woman's whose hits (other than the ones I've already named) include "Where Is The Love," "Tonight, I Celebrate My Love," "Making Love," "Jesse," "You've Got A Friend," "Oasis," "Set The Night To Music," "If Ever I See You Again," "Back Together Again," "Will You Still Love Me Tomorrow" and so many more. She's landed over 33 singles on the pop, R&B, adult contemporary and dance charts. And this is the woman who not only helped create The Quiet Storm, this is a woman who is an album artist. She's not bubble gum, she's making statements and creating moods, painting on a large canvas.
But, please note, this is also the woman who doesn't even have a bio at Rolling Stone online. The "R"s include Ray Charles, Rhianna, Otis Redding, Ry Cooder, "Ross, Diana," Roy Orbison, Randy Newman and many others but no Roberta Flack. (For those who think she's in the "F"s -- "Flack, Roberta," no, she isn't. The Four Seasons, Frank Sinatra and others are there. But she isn't.) And though she's an albums artist with over eleven of those going gold and platinum, lots of luck finding a Roberta Flack entry in The New Rolling Stone Album Guide which moves from The Five Satins right onto Flaming Lips. Even worse, Barbara O'Dair's The Rolling Stone Book Of Women In Rock never once mentions her. Anita Baker? She's in the book. So's Sade, Etta James, Lisa Stansfield, Aretha Franklin, Jody Watley, Chaka Khan, Gladys Knight, Madonna, Mary J. Blige, Patti Austin and a host of others you might not necessarily see as "rock." In fact, there's a ton of women you'll discover in the book that never even made it to one-hit wonder status but happened to please Babsie O'Dair and Jann Wenner at the moment the book was being put together and, were it not for this book, you'd never know they existed. (Doubt me? Pleasant Gehman is known today -- if at all -- as a belly dancer and writer -- not songwriter. Did Pleasant really rate four pargaraphs and a full page picture for a music career that wasn't going anywhere when the book was written and never went anywhere after it was published? To make room for 'musical' 'artists' like Plesant, Roberta Flack was ignored?)
Roberta Flack's a living legend. She's also one of our most overlooked ones. This despite her being a signature voice. "What do the neighbors say, when they hear us scream at night?" wonders Carly Simon in her "All I Want Is You" and she hooks you right away with that. So much so that when the chorus kicks in and Roberta's lush vocals float through the speakers, it's nothing but sheer enjoyment, sheer jubilation. The cherry on the top of the ice cream malt.
Carly's her contemporary. And Joni and Melanie and Janis Ian and Brenda Russell and Sade and Anita Baker and Aimee Mann and Tracy Chapman and Mary J. Blige -- women who're using the album to make an extended artistic statement.
And Roberta's done that again with Let It Be Roberta: Roberta Flack Sings The Beatles. As with "In My Life," she repeatedly finds a way to present the song that is new and fresh. "Hey Jude" is sung in almost childlike manner. And the rhythm in the song is rediscovered. "Oh Darling" retains a sensual feel but, as Yoko Ono observes in the liner notes, "With this collection, Roberta is adding a woman's voice of fun and joy and, again, making people realize how universal these songs are."
It's a gorgeous album that works as an album -- one filled with inspired touches. The percussion in "If I Fell," for example or the background vocals that come in at the end of that song. The music throughout the album is amazing, the strings, the drums, the bass and guitar. And maybe most amazing is how well "Here, There and Everywhere" fits with the rest of the album. Unlike the other 13 tracks, "Here, There and Everywhere" was not recorded for this album but is instead from her 1972 Carnegie Hall concert.
The main thing I would stress is this: Don't look at the titles and think you know what the album is going to sound like. On every track, Roberta's taken her own path. "I'm Looking Through You" was a revelation for me especially. Rubber Soul is an album I know in and out, up and down, every which way you can imagine. But she found a way to take the song and bring something so different that I wonder why I never noticed it before. She embraces the sorrow and regret on what was always to me just a kiss-off song. I long to be home on a rainy day, with the windows wide open this album pouring out of the speakers as surely as the rain falls down outside, so thick you can almost taste it inside the room. If one word describes Roberta Flack's recording career, it's probably "sensual" and that's a good one word description for this new album as well.
roberta flack
carly simon
joni mitchell
bob dylan
rolling stones
the beatles
yoko ono
brenda russell
anita baker
aimee mann
mary j. blige
melanie
tracy chapman
janis ian
tina turner
rod stewart
kats korner
the common ills
Not a chance. Joel Dorn was producing the album, however, the suits' constant demands to hurry up and their need to 'explain'(pressure) how it needed to be a hit led to his walking out on the project. That left it to Roberta to take control and hold it together. She'd spend eight months in the studio on that album which became Feel Like Makin' Love and would make the pop charts, the R&B charts and the jazz charts as well as produce a hit single with the title track. In fact, she'd finish with the lead single first and it would hit number one in August of 1974. But she was still working on perfecting the sound of the album and it wouldn't be released until March of 1975. The next album? It would take her nearly three years before she felt Blue Lights In The Basement was ready. (That album would contain her smash duet with Donny Hathaway "The Closer I Get To You.")
I tell all of that to set that stage and make sure everybody gets that a Roberta Flack album is a rare thing. She's no Emily Dickinson, that Roberta. In fact, she makes J.D. Salinger look positively prolific. Like Halley's Comet in the sky, a Roberta Flack album is a rare thing.
And when we're really lucky, it's a rare thing of beauty.
Let It Be Roberta: Roberta Flack Sings The Beatles is the name of the new album. (Still on sale as a download -- with booklet -- at Amazon for $3.99 as I type this. I don't know when that sale ends.) If you count Holiday (2003), it's been nearly nine years since Roberta released a new album. Holiday is a seasonal album (and basically her 1997 Christmas album with a new title), so I don't count it. So, for me, 1999's Friends: Roberta Flack Sings Mariko Takahashi is her last album of new recordings. That's nearly 13 years.
As I've noted many times at my blog, I'm a huge Roberta Flack fan. And I'm a huge Beatles fan. Which might make you think this album excited me as soon as I first heard about it. That is not the case. Mainly because I'd suffered through Judy Collins' awful Judy Sings Lennon & McCartney. That hideous collection had set the clocks back to 1986, soured us all so that even Rod Stewart's nice version of "In My Life" (Every Beat of My Heart) was going to get served (with Rolling Stone grabbing the carving knife). When I heard which songs Roberta was recording, that didn't comfort me any either.
So imagine my surprise when listening to the album turned out to be sheer joy. "In My Life." Every cover is the same. Judy Collins covered it in the sixties, everybody copied, it became a plodding number by the time it got around to Bette Midler (who's always been so good about copying Judy Collins). It was such a predictable, paint-by-number, route sing-along that Sheryl Crow could have done it. But what I was forgetting about Roberta is that she's no one's photocopy.
A true original. And one who has suffered for being that.
Doubt me?
Find another artist who could and did close Dylan's Rolling Thunder tour with him and also could hold their own in Soul to Soul with Tina Turner and Wilson Pickett? We're talking about the woman who made "The First Time Ever I Saw Your Face" a standard, the woman's whose hits (other than the ones I've already named) include "Where Is The Love," "Tonight, I Celebrate My Love," "Making Love," "Jesse," "You've Got A Friend," "Oasis," "Set The Night To Music," "If Ever I See You Again," "Back Together Again," "Will You Still Love Me Tomorrow" and so many more. She's landed over 33 singles on the pop, R&B, adult contemporary and dance charts. And this is the woman who not only helped create The Quiet Storm, this is a woman who is an album artist. She's not bubble gum, she's making statements and creating moods, painting on a large canvas.
But, please note, this is also the woman who doesn't even have a bio at Rolling Stone online. The "R"s include Ray Charles, Rhianna, Otis Redding, Ry Cooder, "Ross, Diana," Roy Orbison, Randy Newman and many others but no Roberta Flack. (For those who think she's in the "F"s -- "Flack, Roberta," no, she isn't. The Four Seasons, Frank Sinatra and others are there. But she isn't.) And though she's an albums artist with over eleven of those going gold and platinum, lots of luck finding a Roberta Flack entry in The New Rolling Stone Album Guide which moves from The Five Satins right onto Flaming Lips. Even worse, Barbara O'Dair's The Rolling Stone Book Of Women In Rock never once mentions her. Anita Baker? She's in the book. So's Sade, Etta James, Lisa Stansfield, Aretha Franklin, Jody Watley, Chaka Khan, Gladys Knight, Madonna, Mary J. Blige, Patti Austin and a host of others you might not necessarily see as "rock." In fact, there's a ton of women you'll discover in the book that never even made it to one-hit wonder status but happened to please Babsie O'Dair and Jann Wenner at the moment the book was being put together and, were it not for this book, you'd never know they existed. (Doubt me? Pleasant Gehman is known today -- if at all -- as a belly dancer and writer -- not songwriter. Did Pleasant really rate four pargaraphs and a full page picture for a music career that wasn't going anywhere when the book was written and never went anywhere after it was published? To make room for 'musical' 'artists' like Plesant, Roberta Flack was ignored?)
Roberta Flack's a living legend. She's also one of our most overlooked ones. This despite her being a signature voice. "What do the neighbors say, when they hear us scream at night?" wonders Carly Simon in her "All I Want Is You" and she hooks you right away with that. So much so that when the chorus kicks in and Roberta's lush vocals float through the speakers, it's nothing but sheer enjoyment, sheer jubilation. The cherry on the top of the ice cream malt.
Carly's her contemporary. And Joni and Melanie and Janis Ian and Brenda Russell and Sade and Anita Baker and Aimee Mann and Tracy Chapman and Mary J. Blige -- women who're using the album to make an extended artistic statement.
And Roberta's done that again with Let It Be Roberta: Roberta Flack Sings The Beatles. As with "In My Life," she repeatedly finds a way to present the song that is new and fresh. "Hey Jude" is sung in almost childlike manner. And the rhythm in the song is rediscovered. "Oh Darling" retains a sensual feel but, as Yoko Ono observes in the liner notes, "With this collection, Roberta is adding a woman's voice of fun and joy and, again, making people realize how universal these songs are."
It's a gorgeous album that works as an album -- one filled with inspired touches. The percussion in "If I Fell," for example or the background vocals that come in at the end of that song. The music throughout the album is amazing, the strings, the drums, the bass and guitar. And maybe most amazing is how well "Here, There and Everywhere" fits with the rest of the album. Unlike the other 13 tracks, "Here, There and Everywhere" was not recorded for this album but is instead from her 1972 Carnegie Hall concert.
The main thing I would stress is this: Don't look at the titles and think you know what the album is going to sound like. On every track, Roberta's taken her own path. "I'm Looking Through You" was a revelation for me especially. Rubber Soul is an album I know in and out, up and down, every which way you can imagine. But she found a way to take the song and bring something so different that I wonder why I never noticed it before. She embraces the sorrow and regret on what was always to me just a kiss-off song. I long to be home on a rainy day, with the windows wide open this album pouring out of the speakers as surely as the rain falls down outside, so thick you can almost taste it inside the room. If one word describes Roberta Flack's recording career, it's probably "sensual" and that's a good one word description for this new album as well.
roberta flack
carly simon
joni mitchell
bob dylan
rolling stones
the beatles
yoko ono
brenda russell
anita baker
aimee mann
mary j. blige
melanie
tracy chapman
janis ian
tina turner
rod stewart
kats korner
the common ills
Iraqi women, Iraqi skies, Iraqi political crisis
One of the many casualties of the illegal war is the rights of Iraqi women. Which is probably why the US press worked so hard to disappear Iraqi women. Rebecca Burns (In These Times) speaks with the Organization of Women's Freedom in Iraq's Yanar Mohammed. Excerpt.
RB: OWFI members have been beaten and sexually assaulted while demonstrating, just like female protesters in Egypt. Why are women targeted in this way?
YM: They wanted us to feel ashamed. Our organization made sure that these demonstrations had a female face. We had our slogans, our banners, which we carried every single Friday. This was not approved by al-Maliki’s government. And in an Arab society, if a woman is shamed, she is pushed out of the public arena. They expected that we would go hide in our homes and not show our faces to anybody. The same way in which women are forced to immolate themselves or made the victim of an honor killing, they wanted to force a political dishonoring on us in order to end us politically.
RB: How are the women who have been attacked in Tahrir Square faring today?
YM: All of them are back in the square. But we are very careful as to our whereabouts. Once we see security forces, we leave the square. We are not willing to be tortured again and again.
RB: Are you working to get women elected directly to Parliament?
YM: In Iraq, 25 percent of members of Parliament are required to be women, which is good. But more than half the women in Parliament are from the Religious Right. When we were beaten in Tahrir Square – 25 of us – not a single female Parliamentarian spoke out. In other words, those women are puppets.
Doug Moore (St. Louis Post-Dispatch) reports on a group of attorneys -- 12 Iraqi women and five US women -- who teleconference once a month:
The St. Louis lawyers hope that kind of moral support could help the Iraqi lawyers get women into more powerful positions in the legal system and in government. Islamic laws protecting women are inadequate or not enforced in a culture where men are in charge and women are treated as property. Domestic violence is often considered accepted practice.
[. . .]
[Nancy] Mogab said the ultimate goal is forming a group similar to a women lawyers' association here, and called on the Iraqi women to create a list of goals they want to accomplish.
"Together they will be able to provide a voice whereas a single lawyer can't do that there," Mogab said after the groups' third meeting earlier this month.
Law school classes in Iraq are an even mix of men and women, but there are very few women judges. And those who practice law have little influence in a male-dominated legal system.
Meanwhile Aswat al-Iraq reports that Sajida Saleh Hassan was assassinated in Baghdad today. She had been Director of Kazimiya Women's Prison. Her driver was injured in the attack. They also note a mortar attck in Baquba has left twelve people injured.
Hossam Acommok (Al Mada) reports that the US is stating that they are only flying planes and drones and helicopters in Iraq airspace to provide protection for the US Embassy in Baghdad (and its various councils throughout the country). Parliaments Security and Defense wants answers as to exactly what the US is doing in Iraq's skies. That would be the same Commission on Security and Defense which Al Mada reports declared ysterday that Iraqi forces are not going to be able to properly perform their duties and functions for five more years. While the security forces struggle to become ready, the presidency council just keeps signing off on death sentences. Al Rafidayn reports that that the presidency council has signed off on 23 more death sentences.
The political crisis continues in Iraq. Al-Manar reports that Iraqiya Ministers are attending Council of Ministers hearings again. That doesn't end the crisis. Iraqiya agreeing to attend Parliament sessions didn't end the crisis. Nouri started the political crisis by refusing to honor the Erbil Agreement which ended the political stalemate that lasted eight months following the March 2010 elections when Nouri didn't want to let go of the post of prime minister despite the fact that his State of Law came in second to Iraqiya. The US brokered a deal, the Erbil Agreement, which allowed Nouri to remain prime minister in exchange for other trade-offs that would benefit the other political blocs. Since this summer, Kurds have been calling for Nouri to honor the agreement. Nouri insists that its unconstitutional -- a claim he didn't make when he used the Erbil Agreement to stay on as prime minister.
Though Parliament attempted to be in session yesterday, there wasn't a quorum. Dar Addustour notes that Kurdish MP Mahmoud Othman is stating that this was shameful and that he believes some of the MPs who were not present were deliberately attempting to keep the session from taking place.
Iraqi President Jalal Talabani and Speaker of Parliament Osama al-Nujaifi have been saying since December that the way to end the political crisis is to hold a national conference. Al Sabaah notes that participants are stating yesterday's planning session for the national conference -- only the second meeting -- went well and that they agreed to stand united against terrorism and militias, that the process outlined in the Constitution is how disputes should be resolved, that all elementsof Iraqi society must be represented in the political process and that the Iraqi judiciary is a separate and independent body. In a sign of just how much nonsense this whole thing is, Dar Addustour reports that it was again asserted yesterday that Nouri al-Maliki can be prime minister for a third term. For those who've forgotten, this was supposed to be Nouri's second and last term. And, in February of last year, as unrest rocked the region, Nouri declared he would not run for a third term. Since then -- and the distraction of his failed 100 days of 'reform,' his attorney has asserted that Nouri isn't bound by any promise and that no law prevents him from seeking a third term. Little Saddam is well on his way towards lifetime rule.
The e-mail address for this site is common_ills@yahoo.com.
iraq
in these times
rebecca burns
the st. louis post-dispatch
doug moore
aswat al-iraq
al mada
dar addustour
al rafidayn
al sabaah
al-manar
iraq
iraq
iraq
iraq
iraq
iraq
iraq
iraq
iraq
iraq
iraq
iraq
RB: OWFI members have been beaten and sexually assaulted while demonstrating, just like female protesters in Egypt. Why are women targeted in this way?
YM: They wanted us to feel ashamed. Our organization made sure that these demonstrations had a female face. We had our slogans, our banners, which we carried every single Friday. This was not approved by al-Maliki’s government. And in an Arab society, if a woman is shamed, she is pushed out of the public arena. They expected that we would go hide in our homes and not show our faces to anybody. The same way in which women are forced to immolate themselves or made the victim of an honor killing, they wanted to force a political dishonoring on us in order to end us politically.
RB: How are the women who have been attacked in Tahrir Square faring today?
YM: All of them are back in the square. But we are very careful as to our whereabouts. Once we see security forces, we leave the square. We are not willing to be tortured again and again.
RB: Are you working to get women elected directly to Parliament?
YM: In Iraq, 25 percent of members of Parliament are required to be women, which is good. But more than half the women in Parliament are from the Religious Right. When we were beaten in Tahrir Square – 25 of us – not a single female Parliamentarian spoke out. In other words, those women are puppets.
Doug Moore (St. Louis Post-Dispatch) reports on a group of attorneys -- 12 Iraqi women and five US women -- who teleconference once a month:
The St. Louis lawyers hope that kind of moral support could help the Iraqi lawyers get women into more powerful positions in the legal system and in government. Islamic laws protecting women are inadequate or not enforced in a culture where men are in charge and women are treated as property. Domestic violence is often considered accepted practice.
[. . .]
[Nancy] Mogab said the ultimate goal is forming a group similar to a women lawyers' association here, and called on the Iraqi women to create a list of goals they want to accomplish.
"Together they will be able to provide a voice whereas a single lawyer can't do that there," Mogab said after the groups' third meeting earlier this month.
Law school classes in Iraq are an even mix of men and women, but there are very few women judges. And those who practice law have little influence in a male-dominated legal system.
Meanwhile Aswat al-Iraq reports that Sajida Saleh Hassan was assassinated in Baghdad today. She had been Director of Kazimiya Women's Prison. Her driver was injured in the attack. They also note a mortar attck in Baquba has left twelve people injured.
Hossam Acommok (Al Mada) reports that the US is stating that they are only flying planes and drones and helicopters in Iraq airspace to provide protection for the US Embassy in Baghdad (and its various councils throughout the country). Parliaments Security and Defense wants answers as to exactly what the US is doing in Iraq's skies. That would be the same Commission on Security and Defense which Al Mada reports declared ysterday that Iraqi forces are not going to be able to properly perform their duties and functions for five more years. While the security forces struggle to become ready, the presidency council just keeps signing off on death sentences. Al Rafidayn reports that that the presidency council has signed off on 23 more death sentences.
The political crisis continues in Iraq. Al-Manar reports that Iraqiya Ministers are attending Council of Ministers hearings again. That doesn't end the crisis. Iraqiya agreeing to attend Parliament sessions didn't end the crisis. Nouri started the political crisis by refusing to honor the Erbil Agreement which ended the political stalemate that lasted eight months following the March 2010 elections when Nouri didn't want to let go of the post of prime minister despite the fact that his State of Law came in second to Iraqiya. The US brokered a deal, the Erbil Agreement, which allowed Nouri to remain prime minister in exchange for other trade-offs that would benefit the other political blocs. Since this summer, Kurds have been calling for Nouri to honor the agreement. Nouri insists that its unconstitutional -- a claim he didn't make when he used the Erbil Agreement to stay on as prime minister.
Though Parliament attempted to be in session yesterday, there wasn't a quorum. Dar Addustour notes that Kurdish MP Mahmoud Othman is stating that this was shameful and that he believes some of the MPs who were not present were deliberately attempting to keep the session from taking place.
Iraqi President Jalal Talabani and Speaker of Parliament Osama al-Nujaifi have been saying since December that the way to end the political crisis is to hold a national conference. Al Sabaah notes that participants are stating yesterday's planning session for the national conference -- only the second meeting -- went well and that they agreed to stand united against terrorism and militias, that the process outlined in the Constitution is how disputes should be resolved, that all elementsof Iraqi society must be represented in the political process and that the Iraqi judiciary is a separate and independent body. In a sign of just how much nonsense this whole thing is, Dar Addustour reports that it was again asserted yesterday that Nouri al-Maliki can be prime minister for a third term. For those who've forgotten, this was supposed to be Nouri's second and last term. And, in February of last year, as unrest rocked the region, Nouri declared he would not run for a third term. Since then -- and the distraction of his failed 100 days of 'reform,' his attorney has asserted that Nouri isn't bound by any promise and that no law prevents him from seeking a third term. Little Saddam is well on his way towards lifetime rule.
The e-mail address for this site is common_ills@yahoo.com.
iraq
in these times
rebecca burns
the st. louis post-dispatch
doug moore
aswat al-iraq
al mada
dar addustour
al rafidayn
al sabaah
al-manar
iraq
iraq
iraq
iraq
iraq
iraq
iraq
iraq
iraq
iraq
iraq
iraq
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