The death of Kemang’s musical identity

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Where the vibrancy once was on Lower Kemang

Walking through parts of Kemang today feels like walking through desolation. Gone are the vibrant lights that used to light up the area around Jl. Kemang I and Kemang Raya’s intersection, gone also are the masses of people wasting away their nights eating and drinking the night away while their parked cars cause massive traffic. The crowds and the subsequent traffic jams were initially an annoyance for this longtime Kemang resident, but looking back now, I kind of miss it all.

But whenever I am talking about Kemang to someone, I can never talk about it without remembering what a great place it used to be to discover, watch and play music.

I have been living in the same house in Kemang Utara for about 21 years now, since my family moved here to a bigger house to accommodate the birth of my sister, and I have watched this area grow and change drastically. When I was a kid, there used to be a huge skatepark in what was once the Kemang FoodFest area. In my teens, that area was turned into FoodFest, where I’d usually spend time browsing through pirated DVDs, and occasionally eat. Also in my teens, the Aksara store was a place nice enough to check out books and local records (and buy them too of course), before it became a quirky knick-knack store with very little books or records left.

What really made me love Kemang was its vibrant musical identity. Especially for the indie scene, Kemang used to have many places for bands to play and events to happen, and I felt blessed just to live in an area where so much interesting music was being showcased. If a music-loving newcomer were to pass by the lower Kemang area, they would have not known the fun they would have if they had been there a few years earlier.

Not so much as 2 to 4 years ago, the lower Kemang area in and around Aksara and La Codefin (which now houses part of Lotte Supermarket and Happy Puppy Karaoke) used to be teeming with venues. There used to be this small place called Saffron, situated in a small building jutting up out of nowhere at where the Laser Tag place once was. Nearby, those into jazz can enjoy a chill atmosphere at what was probably the best jazz bar in Jakarta, The Red and White (its building now sits literally in ruin).

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The (former) Red and White Club

Go through the dark, back trail (or the front way next the main road) leading up to Aksara and one would have found its neighbor Ecobar 365: a small venue where indie gigs are usually held, which always attracts the liveliest and most raucous of crowds. Take a longer walk to the area behind La Codefin and you’ll find the hipster haven of Treehouse, where interesting DJ gigs happen, sometimes on its parking lot as well.

That one small area of Lower Kemang alone offered hope for indie artists to share their music with the public, and the gigs were not too shabby either. The gig I remember most at Saffron was a debut gig by Efek Rumah Kaca reincarnation Pandai Besi in 2013. It was tiny, but the open air made the music much more enjoyable. It once hosted a Cassette Store Day event that year as well.

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Pandai Besi @ Saffron, 2013
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Where Saffron used to stand

Meanwhile, Ecobar was host to a number of rockin’ gigs, such as the monthly Thursday Noise events and it even hosted internationals, such as American psychedelic duo The Garden and Malaysia’s Killer Calculateur in 2015 (which during their set, I thought they were blown the fuck away by the opening band, Vague).

Members of the Kemang public have given me varying answers to what they think happened to these places. One warung keeper nearby La Codefin, whose been in the area for years, tells me it’s probably because the land owners didn’t want the noise and rowdiness anymore. Another person hanging out at the warung told me that it was a simply a matter of going broke for these venues, because (unless you’re running an established brand), “places that offer live music usually don’t really last long in Kemang”.

He may be right. Saffron and The Red and White did not even last 3 years, while TreeHouse lasted about 6. EcoBar lasted around 8 years but has simply “evolved” into something else. In a district of Jakarta that reportedly charges astronomical rates of rent. Not to mention that most of the land these venues once sat is apparently owned by the Indonesian military. Could the desolate state of lower Kemang be the result of a self-righteous moral cleansing by the uptight, elderly people of the military who are fed up with the noise? I wouldn’t be surprised if it was.

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“This land belongs to the TNI-AD”

But even if it wasn’t, what’s true now is that lower Kemang is an even quieter place than it was two years ago. The land that used to be occupied by these hangout places and venues now sit bored, fading and overgrown behind aluminum sheet fences, their buildings bulldozed from existence. Peering into these fences gives a slight feeling of sadness: what used to be such a lively place is now literally dark and lifeless.

As I wander through the road leading from Kem Chiks to McDonalds, the main changes I saw were mainly the new premium eating and fashion establishments popping up.

A new steakhouse has opened on the very corner connecting Bangka and Kemang Raya, and most of its customers, at a glance from outside, are mostly old people. There’s a new Patbingsoo place opening up at a space near Al-Azhar Kemang that was once used as an art gallery. There’s a premium-looking place, looks like a bar or restaurant, opening on Jl.Kemang I’s small corner hook adjacent to FaveHotel and Amaris Hotel. Ecobar 365 has evolved into a lounge which explicitly caters to the upper middle to higher class, with no music in earshot. While all these new additions have different concepts, to me, they’re all the same. They don’t cater to a wider public as much as music or art may have. Not that the places before catered wholly to the general young per se, but compared to high-end stores and restaurants, music is a lot more welcoming.

Heck La Codefin used to hold music events too! Back when it was an open-air minimall-esque place, it used to hold occasional gigs, usually major indie radio or cigarette sponsored sessions, in their atrium or front outdoor area. Now a large part of that building is taken up by a one massive furniture store, who at one point in 2016 publically advertised on their marquee a discount promo that celebrated the birthday of Donald Trump (I wish I was making this up).

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La Codefin building

Now I’m not saying that the newer, affluent stores opening in Kemang are entirely a bad thing. Any business opening in Kemang deserves the luck they need in making themselves sustainable and successful. Speaking through my ego as an artist and a fan of live music, it is merely the previous identity that I miss and because gentrification is a thing that is killing cultural districts around the world, I’m saddened that it has eaten up the area that was once so musically vibrant.

Of course, the music hasn’t really completely died, mainly for those who enjoy dance floors. Lobbyn, PARC19, FJ on 7 and Lost and Found are still there (with the last 3 places located in the same Lower Kemang are only seconds away), and they all sometimes hold interesting DJ gigs (or small live sets if we’re lucky).

Its no wonder that the indie scene is suffering because Jakarta itself is going through a severe shortage of music venues. There seems to be a cultural shift away from music towards something more materialistic and consumptive. New spaces that have popped up anywhere in Jakarta recently are either stores or eateries: almost no new music venues anymore. Venues generally can’t keep up their businesses when they’re not selling drinks at gigs, except if they manage to become a successful restaurant during the day, which isn’t the case for many. Venues need to cover the rent, and in Kemang, it isn’t possible if they don’t rake in enough.

That’s one of the reasons why my favourite music venue, Café Mondo, was forced to move from their Upper Kemang location by the Kemang Selatan intersection and resettle in the unforgivingly traffic-jammed Fatmawati area, above Rossi Musik. The former Kemang site now sits literally empty, with nobody taking up the space yet. Every time I go by that place, I couldn’t help but feel emotional because of the amazing gigs that happened and the memories I had in specific corners of the Kemang Mondo. But at least this venue, now named Mondo By the Rooftop, still exists (and still keeps it realer than any other venue in the city).

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Cafe Mondo in Kemang, 2014

From the top of my head, the only venue in Kemang that still holds that same musical spirit is the Borneo Beer House, where the venue Tokove was once in on Jl. Kemang Selatan, although I have my fears that they too might suffer the same fate. To an extent, the Basement Café right below Arion Belhotel also holds this spirit as it occasionally hosts indie rock gigs (and once hosted fucking Deafheaven!)

Borneo Beer House, particularly, has become kind of a last refuge for indie acts to perform in Kemang, be them indie rock acts, electronic or DJs. I performed there back in February as Logic Lost, and from what I have felt, it may not be the best venue, but it might be the best we have right now, right here.

Back in October 2014, I remember holding one of my first gigs at Café Mondo, and I discovered that two other huge events were taking place on the same day, in the nearby venues of Ecobar and the Basement Café. I was worried that nobody would show up for my gig because I was going up against a one-off performance by legendary Indonesian psychedelic band Shark Move at the Basement and an indie band that had bigger cred up at Ecobar.

But how many people showed up was not the point.

Having three great gigs happening at three venues not far from each other in Kemang. What I’d give to have that choice today.

(All pics taken by me)

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The triumph of the stained heart: how Indonesia’s warped idea of religion forgets the values that religion was built on

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The recent sentencing of a popular Chinese Christian gubernatorial candidate for Jakarta to two years in Indonesian prison was met with almost no surprise by most of Jakarta’s residents. In the recent years, religious and racial intolerance against the Chinese in Indonesia has been spreading at a disappointingly rapid rate.

The old, predominantly Muslim political forces behind the election itself have resorted to using childish and cheap moves by attacking the race and religion of middle-class-favourite candidate Basuki “Ahok” Tjahaja Purnama, and taking advantage of that sentiment effectively to the gullible religious Indonesians. The unfortunate aftermath of the April 19 elections saw Ahok not only lose, but be sentenced to two years of jail over an alleged blasphemy charge over his quotation of a controversial and often-misinterpreted passage from the Al-Quran which states that it is wrong to elect a non-Muslim leader. In the lead up to, during and after the elections, new sentiment against the Chinese race, which Basuki is part of, took to its tensest levels since the riots of 1998, visible both in the streets and in the obvious battlefield of the internet. An era of Muslim dominance has sprung up to the point that many of Indonesia’s citizens seem to forget their cultural roots in favor of an Islamic identity.

Religious fundamentalism is a weapon that is too valuable to be given up by Indonesia’s political elite, as their existence relies on the use and upholding of its ancient, religiously-charged legal and social system. It is like the AK-47: an incredibly powerful weapon that is cheap, deadly and easy to distribute, effective to bring one to their knees and then later having those knees shot, robbing one of the freedom and ability to move, grow and exercise their humanity.

While it may not be the only reason, it is an unfortunately major force that caused the recent Jakarta gubernatorial election to end up how it was and the vicious aftermath of religious and racial hate that followed. There is no indication from the election’s victor, Anies Baswedan, to quell this kind of mindset to stop it from breeding into the future, as it is the force that helped drive away votes for Ahok.

The usage of Islam as a political weapon has discredited the country’s politicians and crooked legal system in the eyes of many even further. In the heat of this discourse, it is easy to forget a religion’s true roots.

In essence, the bare principles of any religion teaches only acceptance, forgiveness, brotherhood and tolerance. The factors of hatred slipped inside are a result of powerful men in history amending the rules of religion to benefit their political agendas, to go to war or to seize power. In the heat of scaremongering, the principles have simply become forgotten.

Even if a religion does teach one to hate in the first place, why do many humans lack the ability (or will) to simply not follow those teachings? It does not cross their minds that it is possible to hold on to a religion while not putting into practice the aspects which contradict the initial principles.

Many have chosen to not do so because many hold on to their pride. Men, especially, have benefitted from the centuries of patriarchy and having the nerve to amend history and distort religion to their own selfish liking, because they know that religion is seen as something that can never be challenged.

Throughout history, the need for kings and generals to engage in war with their neighbours has served as a sign of their frailty. The cultural need for a man to dominate over their women or minorities shows the insecurity and slight fear against an equal and tolerant society, where everyone is accepted as they are. By inserting this idea into religion, and accepting it, it justifies and maintains the man’s dominance over society at all costs: a power that men rarely ever want to give up.

This fact is not lost on Indonesia. Instead of being more welcoming, many of Indonesia’s religious whether they be young or old, rich or poor, academic or non-academic have shown more visible intolerance. In a way, this is an example of social devolution: a step backwards from the proper use of the innovative human brain in favor of utilizing the reckless impulses of the heart. Devolution occurs only if the basic principles that make religion are ignored in favor of everything that goes against it.

This is regrettable for a country which has been described by its foreign allies as a beacon of tolerance.

Tolerance in Indonesia, especially in Jakarta, is now up to those who have come to their senses to exercise a religion’s bare principles to maintain, even if the government does not want to assist.

 

 

 

 

 

 

 

 

How i couldnt muster the ability to write

I am currently going through a depressive cycle, which fluctuates through the months since the second half of 2016. This cycle has taken a toll on my creativity, particularly on my supposedly legendary writing skills.

At the lowest part of my depression cycle, I was unable to finish reading one paragraph of a book (or any reading materials), couldn’t go through 10 minutes of any movie, 3 minutes of music, let alone get through writing even five words of anything.

The closest thing I got to writing a long form story was a piece of fiction I made a few months ago about an Icelandic band whose members were bickering with each other and then they all died in a plane crash on the way to a festival. Even then, what started out as a coherent story slowly evolved into something nonsensical. There is no way that a guy would be strong enough to throw another guy across a fucking plane when the fucking plane is semi-nosediving at hundreds of miles an hour. There is no way that a physical band argument would take place, standing up, when the plane’s nose is at a diving angle. I’m not good with numbers, or science, at all. The good maths grade I finished with in high school only served the purpose of high school itself, with little usefulness in the International Relations major, or as a print journalist. Anyway, the story itself remains shelved, like a lot of my writings I attempted after the year 2016.

All the poetry I made throughout the years since middle school, I collected in hopes that it would be published into a book someday. The stacks of poetry-filled notebooks and loose papers sitting in a corner of my bookshelf serves as kind of a metaphor: that the era of my writing has neatly placed itself in a section of my life history, never to be opened again. Nothing personal I wrote after the year 2015, I was ever satisfied, and many of the pieces were long gone as a result.

I have worked as a print journalist for the past three years, but it was only in the past year or so that i begun to lose my will to churn out proses, poetry, or even pieces of fiction; a will that had been going strong since elementary school until now.

During the slow climbs towards contentment, the only media I consumed were mainly TV shows, films, music and old opinion articles that were made between 1999 and 2004. This was the most evident when I remarked to one of my friends on a playful WhatsApp group about a screenshot they took of my face on a news program (unintentionally). It wasn’t an episode of COPS, nor did i flash my dick in public. It was a simple press conference. Non-TV Journalists on the field tend to get caught in the line of fire of TV cameras of the TV journalists, yknow, cos we’re all in the same room together, getting the same information.

“Who the hell is this, bin Laden?” I asked as if bin Laden was still a relevant figure while also forgetting that the guy was killed like 6 years ago. The old standup videos of Dave Chappelle and Patton Oswalt, as well as the references to that era of terror peppered in cartoons like The Boondocks, placed me right back into that era’s climate, jokes and references and all.

Why this era, you ask? (or maybe not). I had a pretty good childhood, mainly raised by TV, between 1999 and 2004. The shows and films I watched in that period stuck to me like fly paper to a cat’s behind. But the move was also subconscious. I did not choose to fly back to this era, it just happened. Maybe this part of my history acts as a comfort zone that has proven very difficult to escape.

The George W. Bush era seemed so distant in 2017, for someone who grew up in it and found that the media climate was like any other. This might be how it feels for someone in 2005 who still clung on to the media and references of the Bill Clinton administration. Old grunge heads could never get over Nirvana, as much as old punks never got over The Clash. I guess I never got over classic Cartoon Network.

It was in this era that the ideas for my creativity flourished. The media i consumed acted as the seeds that birthed the pages of poetry and the desire to become a writer in the vein of Chuck Klosterman. But when a tree grows, its roots are placed firmly on the ground and its leaves grow far above the ground that nurtured it. The leaves fall back to the ground only when they are dead.

Anyway, I couldn’t count the times I wanted to stop writing this essay in the time I spent trying to write it, and every time I tried to ignore those desires to stop, continuing to write this essay feels harder and harder, and the pain starts to even become physical. I don’t know how to coherently finish what I’m writing now, and are likely to get distracted and veer off topic or write words that have no relevance or even meaning to what I just wrote above. Purple monkey dishwasher.

But that’s depression, you know? You’re never really happy with what you do or what you create, despite the praise you get for it.

Note: This piece came out 70 percent from how i envisioned it in my head. The incoherency of this whole thing is a direct example of this fluctuating depression.

Friend

 

We deal in righteousness too much, friend.

We flex our moral muscles

Proudly in front of each other

When we learn about death

 

Our tears, become sweat

Our sadness becomes power

The news is our benchpress

Our words are talk radio

And end up as music

But only to our ears

 

You say millions die

And you say people cry

But friend,

Where were you

When they breathed their last sigh?

 

Where was you

When the story went by

When the anchors were lifted high

While these souls

Did not want to fly?

 

 

Death devastates, friend

It is your reason

For your gym membership

It is your reason for your

Million dollar personal trainer

It must be tiring

To flex your fingers

in front of your screen

Isn’t it, friend?

 

Surprise me with your body, friend

Show me that you care

Show me you really know what death is

So that you can be healthy

Without the need to be seen

  • Dylan Amirio, 2013.

MakanMayit intrigues the curious, but frightens the unaware

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[image from “Uzumaki”, by horror manga mastermind Junji Ito] 

Widespread backlash towards a subversive art performance by Indonesia’s premier dark art practitioner Natasha Gabriella Tontey shows the general public’s lack of depth in understanding the true meaning of art.

To ban and censor artwork is to deny discussion around the art itself.

Natasha Gabriella Tontey’s MakanMayit art piece embodies the very meaning and purpose of art itself: that it is also a medium to disturb other than to please. It proves to be “too disturbing” for the Indonesian public, because the general public has been mostly raised with the idea that art is one-sidedly beautiful.

Now I am not saying that everyone should like the MakanMayit performance. Taste is subjective and nobody should be forced to like art. The main problem of the backlash is the response by those online who stumbled upon uploaded and shared images of the piece and immediately concluded that Tontey was a sick woman for her art, or the ones that said Indonesia is simply not ready for this kind of art and will therefore never understand its context.

If that’s the case, then when will we be ready?

Art itself does not demand anything of the viewer. If anything, artists are merely asking for an understanding of how they are through their works. Artists aren’t even demanding the public understand their work, so long as the public recognizes the context on why it was made.

In Indonesian general society, art itself is rarely discussed in its whole form. The stereotypes of art are taught but its depth and meaning is never explored. Without exploration, art can never be understood, nor will its capabilities to make us understand ourselves or the world around us.

Discussion is what fuels the growth of creativity, and by refusing to do so, Indonesia will never be ready to accept what is outside their comfort zone. Tontey earned the appreciation and understanding of her artistic peers because they are used to working in that field, but did not earn the appreciation of a confused public that was raised on the notion that art’s purpose is simply to comfort and entertain. It was harder for her to gain the appreciation of the general public, but her aim was never to win public approval anyway.
The idea of the piece was to explore the primal psychology of the human being through the notion of cannibalism, which has been proven to exist in the human psyche because cannibalism DOES happen, no matter how gruesome or how rare these occurrences are.

One can look at figures such as Japan’s Issei Sagawa, Germany’s Armin Meiwes or even Central African dictator Jean Bedel Bokassa as acting proof that the human desire for human flesh is real. The eating of infants is an extremely rare (if any) level of cannibalism that a human being can practice, but within the psyche, it is indeed possible for a human being to do and nobody can’t deny that. Possible doesn’t mean that everyone chooses to do so, because for many, the act does not speak to their common sense.

A similar situation to what Tontey is facing happened to Chinese contemporary artist Zhu Yu seventeen years ago. Yu’s art primarily deals with the human body and encourages the use of actual human body parts as part of his work. In 2000, he photographed a performance called “Eating People”, where he was depicted cooking and eating a human fetus. The fetuses themselves were later debunked as fake, but it stirred an emotional reaction in China similar to how the Indonesian public and government reacted to Tontey’s art. Zhu was then labelled an official menace to society by the uppity Chinese government who later banned art exhibitions involving things such as culture, corpses, and sexuality.

A sensitive public disturbed by this link to reality will obviously outrage, because they do not understand, or choose not to understand. You can’t blame them though, they were never taught to understand. In Indonesia, no medium exists that discusses art in its purest form and education in its universities are usually too safe or (in the case of public schools), non-existent.

The general consensus here is that art is still seen mainly as happy commodities for sale, for entertainment’s sake, which is also the prevalent attitude seen in creative industries such as music and film. Pure entertainment does not help advance society nor does it challenge them to innovate.

Regarding the offensive aspect of MakanMayit, it makes more sense if apologies were offered to those who have experienced the trauma of stillborn birth. Trauma is not easy to shake and some may not be able to overcome that trauma enough to be faced with artworks that are so subversive. However, apologies should not be given to those who simply cry moral outrage.

Because in essence, morality is an individual setting shaped by one’s own environment and prejudices, and is part of common sense. Common sense is also the ability to recognize art as art, without the need to drag people’s personal beliefs onto it. If one does not like what they’re seeing, they can simply look away.

Common sense is made up of criticality and reasoning, and without common sense, there is no morality.

The World as Humans

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[screengrab from Masaaki Nakayama’s “Fuan no Tane Plus”]

The World as Humans.

  1. Mecca is a beautiful child prodigy that has to endure the beatings of her abusive father, Saudi Arabia. Decades of abuse have reduced Mecca to a fragile and misshapen state. She is forced to prostitute herself in the shallow gold that her father lavishes upon her to her father’s similarly abusive friends.Only few see her as the majesty that she is.
  2. Mecca has a friend, and his name is Indonesia. Indonesia is like that kid that gets invited to the coolest of parties mainly because his name is well-known. Everybody has heard about him and all his great talents and potentials, but nobody really knows who he is (or how he looks like).Indonesia is that shy kid at the party who is unable to contribute anything to large conversations, but when he does, his shyness recedes and he will mainly talk about himself.  In other words, he is a boy that looks at the world mainly from his point of view and sometimes refuses to see the world from the eyes of others.

    Mecca and Indonesia are good friends, as Mecca’s beauty and talents are recognized by Indonesia. But silently, Indonesia admires her father’s wealth and the way he does things, seeing it as a sign of a very “spirited” man, and secretly wishes to become like Mecca’s father.

  3. The United States is the most popular person in school. Everyone looks up to her merits but also cannot ignore her annoyances due to her loud nature. She is the leader of a trio of popular Anglophone countries (along with the UK and Australia), whom everyone aspires to be friends with. She is the status quo.
    Her left-hand girl, Australia, aspires to become the United States more than anything else, or at least be their BFF for life. Whatever the United States says and does, Australia will likely follow and rarely criticise.

It is only recently that Australia has began to question her place in the United States’ life as she begins to voice her disagreement to her hero’s increasingly bitchy behaviour to her.

  • China and Singapore are brothers from the same family that has way too much money. China is the spoiled elder brother while Singapore is the hard-working adopted younger brother who overcame adversity in the hands of his birth parents, Malaysia.Their family is very powerful. China utilizes these family connections heavily for his gain while Singapore uses the connections necessarily. In personality, however, both are uptight and ruthless in behaviour, both are extremely book-smart but only slightly street-smart. China is a rich jock who likes to party and Singapore is the quiet nerd: one becomes too loud and noticeable to ignore and the other one is a wallflower, but is more likeable among his peers.

    Both grow up and become rich and successful, and both do so with their hard work. Singapore’s high-school bullies now kiss his ass and China has become the richest guy in town. Everyone wants a piece of them. But not all is well in their lives.

    China grew up to become a very abusive father, and openly hits his children in public. Singapore never hits his children, but abuses them silently by berating and putting extreme pressure on them behind closed doors. Countries have called out their abusive tendencies, but neither one listens. For countries who have depended themselves on the potential of the brothers’ investments into their lives, they cannot do anything either.

  • China has several children, one of which is Hong Kong. Hong Kong wishes not to become like his father. In the end, Hong Kong succeeds in its independent life and success, but can’t help give in to his father’s whims simply because China is Hong Kong’s legal guardian for life. Essentially trapped under the grip of his father, he still manages to build a good life and become a person different from his father.Another child of China is Taiwan. Taiwan has always been different from her father, as she refuses to follow in her father’s ideologies and questions them openly to him. She is the only child that has successfully broken away from her father (but still maintains a good relationship with her siblings).
    Because of her perceived insolence, China has refused to acknowledge Taiwan as an independent adult, nor would he even recognize her successes, because of her desire to completely break away from China’s guardianship. She is cut off from the family money, but manages to build a rich life anyway. Her father wont even recognize her existence anymore, which from the beginning was always an issue because she was the accidental child born from China’s first wife, Kuomintang, whom China very much despises. Much of that hatred was exacerbated by China’s wife, CCP, who influenced the impressionable China during the most vulnerable years of his divorce.

    So deep of his hatred toward his only daughter that he even threatens other countries to not be friends with her. Many listen, but many also extend a thin hand to her plight.

  • Damascus is probably the world’s oldest man, but he was in good shape for several years until one of his grandsons took over the family estate and wreaked havoc into his life. His great-grandson Syria X has taken control of the Syria estate after his father’s sudden death, but is very reckless as he likes to pick fights with his family members, abuse his children and cause trouble for his neighbours. One day, as he was beating his children, other countries saw his act and started calling him out too. A few countries even began to beat him up. This made him resentful to the world and the abuses continue.As the grand elder of the family, Syria X maintains a sliver of respect for Damascus, but the old man gets caught in his great-grandson’s web of trouble nonetheless. He has become fatigued from the fallout, disappointed at the state of his family and now is rotting away in his old age, quietly.

 

rainbow

Even though the year has dressed itself in radiant colours
A touch of grey and the deepest of black still pops up from time to time,
Like a stain that can’t be washed out
but it slowly blends as one with the rest.

You can wash it many times,
the stain will fade but it’ll still stay.
What can you do?
Wear it.

Wear it cos it no longer ruins your dress
Wear it because it has become the dress.

After all, it’s also colour.

There never was a time when somebody was not in your mind. 

You would become devastated if they were to vanish, and you would be paralyzed if they did so by accident.

Holding on to great feelings, desires attached, panic upon what could happen. Diluting the purity, generating a voice which will fill the void.

And yet, even without expectation, theyre still there. And they will always be there as long as you dont think about it. That is how forever is created, and how eternity exists.