Hope for Shawkan?

Posted on by Mark Aldrich

A journalist’s job is to be in the wrong place at the wrong time.

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Mahmoud Abu Zeid, an Egyptian photojournalist who goes by the name “Shawkan,” learned today that his next hearing will be on Saturday, February 25, and that the court will inspect his medical records.

As the hearings in the trial of the more than 700 individuals detained in the aftermath of the government’s violent break-up of the Rabaa sit-in protest unfold, every so often several detainees are released for “medical reasons.” Shawkan’s deteriorating health began to qualify him for a release under medical grounds at least two years ago, but his detention continues, three-and-a-half years after his arrest.

Perhaps the news that medical tests were ordered is the break in Shawkan’s story that he and his international community of supporters have long waited for.

(The photo at the top is the most recent cover of the United Nations Association – UK’s magazine. Shawkan is on the cover of its “Facts Still Matter” issue, which was published in December 2016.)
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Lovingly Spammed

Posted on by Mark Aldrich

“Ashley” from “Supplement Sidekick” wrote to The Gad About Town (me) last week: “I wanted to thank you for this wonderful read!! I absolutely loved every bit of it. I have you book-marked to check out new things you post… .”

She (or he) wrote her (or his) comment on an article that one could describe as “a wonderful read,” if accounts of a threatened beheading of a protester in Saudi Arabia strike one as a wonderful read. Perhaps she (or he) felt that my point of view (I would describe myself as being against beheadings in general, but this might not be the first thing I would tell you about myself on a speed-date) is “wonderful.” She (or he) did not elaborate.
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February 5 in History

Posted on by Mark Aldrich

A movie reviewer for the Los Angeles Times wrote that the new film “drags terribly with a long and tiresome chase of one [train] engine by another.” The film under review was Buster Keaton’s The General, which debuted in the Capitol Theater in New York City 90 years ago today.

The film flopped. Up to this point, Keaton possessed complete creative control over his film comedies, and Metro and United Artists gave him a $750,000 budget to make the Civil War-era film, which tells a true story in a mode that Hollywood―and its audiences―was not yet accustomed to: action-adventure-comedy. The film earned back less than $500,000 at the box office. Keaton’s next contract with MGM restricted him to comedies and did not allow him to direct. He descended into alcoholism.
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