miércoles, 5 de diciembre de 2012

miércoles, 26 de setiembre de 2012

dudu tucci- canto de yemanja

The Mixtape of the Revolution

(not mine I just like the content!)

DEF JAM will probably never sign them, but Cheikh Oumar Cyrille Touré, from a small town about 100 miles southeast of Dakar, Senegal, and Hamada Ben Amor, a 22-year-old man from a port city 170 miles southeast of Tunis, may be two of the most influential rappers in the history of hip-hop.
Mark Todd
Mr. Touré, a k a Thiat (“Junior”), and Mr. Ben Amor, a k a El Général, both wrote protest songs that led to their arrests and generated powerful political movements. “We are drowning in hunger and unemployment,” spits Thiat on “Coup 2 Gueule” (from a phrase meaning “rant”) with the Keurgui Crew. El Général’s song “Head of State” addresses the now-deposed President Zine el-Abidine Ben Ali over a plaintive background beat. “A lot of money was pledged for projects and infrastructure/Schools, hospitals, buildings, houses/but the sons of dogs swallowed it in their big bellies.” Later, he rhymes, “I know people have a lot to say in their hearts, but no way to convey it.” The song acted as sluice gates for the release of anger that until then was being expressed clandestinely, if at all.
During the recent wave of revolutions across the Arab world and the protests against illegitimate presidents in African countries like Guinea and Djibouti, rap music has played a critical role in articulating citizen discontent over poverty, rising food prices, blackouts, unemployment, police repression and political corruption. Rap songs in Arabic in particular — the new lingua franca of the hip-hop world — have spread through YouTube, Facebook, mixtapes, ringtones and MP3s from Tunisia to Egypt, Libya and Algeria, helping to disseminate ideas and anthems as the insurrections progressed. El Général, for example, was featured on a mixtape put out by the dissident group Khalas (Enough) in Libya, which also included songs like “Tripoli Is Calling” and “Dirty Colonel.”
Why has rap — an American music that in its early global spread was associated with thuggery and violence — come to be so highly influential in these regions? After all, rappers are not the only musicians involved in politics. Late last week, protests erupted when Youssou N’Dour, a Senegalese singer of mbalax, a fusion of traditional music with Latin, pop and jazz, was barred by a constitutional court from pursuing a run for president. But mbalax singers are typically seen as older entertainers who often support the government in power. In contrast, rappers, according to the Senegalese rapper Keyti, “are closer to the streets and can bring into their music the general feeling of frustration among people.”
Another reason is the oratorical style rap employs: rappers report in a direct manner that cuts through political subterfuge. Rapping can simulate a political speech or address, rhetorical conventions that are generally inaccessible to the marginal youth who form the base of this movement. And in places like Senegal, rap follows in the oral traditions of West African griots, who often used rhyming verse to evaluate their political leaders. “M.C.’s are the modern griot,” Papa Moussa Lo, a k a Waterflow, told me in an interview a few weeks ago. “They are taking over the role of representing the people.”
Although many of these rappers style themselves as revolutionary upstarts, they are most concerned with protecting a constitutional order that they see as being trampled by unscrupulous politicians. On “Coup 2 Gueule,” Thiat accuses President Abdoulaye Wade of election fraud and of siphoning money from Senegal’s Chemical Industries company (I.C.S.) and the African air traffic management organization (Asecna). He raps in Wolof, the dominant language in Senegal, “Old man, your seven-year presidential reign has been expensive/As if it wasn’t enough that you cheated during the last elections/You ruined the I.C.S. and hijacked Asecna’s money.” (It flows better in Wolof.)
Most of these rappers made music prior to the political events that swept their countries. But by speaking boldly and openly about a political reality that was not being otherwise acknowledged, rappers hit a nerve, and their music served as a call to arms for the budding protest movements. In Egypt, the rapper Mohamed el Deeb told me in a recent interview, “shallow pop music and love songs got heavy airplay on the radio, but when the revolution broke out, people woke up and refused to accept shallow music with no substance.”
As the Arab revolutions and African protests are ousting and discrediting establishment politicians, the young populations of these regions are looking to rappers as voices of clarity and leadership. Waterflow raises money at his shows to support his community because, like many of his fans, he believes that “waiting for our political leaders to give us opportunities is a waste of time.” Other Senegalese rappers helped found the movement Y’en a Marre (“We’re Fed Up”), which has crystallized opposition to President Wade and led a campaign to register young voters for the elections next month. Some are even supporting candidates for president. The rapper Keyti does not back the candidacy of Mr. N’Dour, because he thinks he’s trying to run out of self-interest, but acknowledges that it “was much needed to make people realize how politicians have failed.”
Rappers are hoping to inaugurate a different kind of politics. They would sooner make a pilgrimage to the South Bronx than to the Senegalese, Sufi holy city of Touba; they reject the predefined roles available within the political arena. And we shouldn’t forget that despite being thrust into the spotlight at a historic moment, rappers are also artists who want to make their music. As Deeb raps in his song “Masrah Deeb” (Deeb’s Stage) — written in the early days of the Egyptian revolution to remind people why they were taking to the streets — “I’m not a dictator/Deeb’s a doctor in the beat department.”

Sujatha Fernandes is an associate professor of sociology at Queens College and the Graduate Center, City University of New York, and the author of “Close to the Edge: In Search of the Global Hip Hop Generation.”


sábado, 15 de setiembre de 2012

Unsere tiefste Angst ist nicht, ungenügend zu sein.
Unsere tiefste Angst ist es, kraftvoll über alle Maßen zu sein. Es ist unser Licht, nicht unsere Dunkelheit, das uns am meisten in Angst und Schrecken versetzt. Wir fragen uns, darf ich grossartig, hinreissend, begabt, fantastisch sein?
In Wirklichkeit, wer -ausser dir selbst - könnte es dir verbieten?!
Du bist ein Geschöpf Gottes. Du bist nicht dazu geschaffen, um dich klein zu machen!
Was für ein schrecklicher Irrtum, zu glauben, du müsstest verschrumpeln, damit andere in deiner Umgebung sich besser fühlen!
Wir alle sind dazu bestimmt, die Herrlichkeit Gottes erstrahlen zu lassen, die in uns ist. Nicht in einigen von uns, nein in jedem von uns!
Und indem wir unseren Glanz leuchten lassen, geben wir, ohne es zu wissen, anderen die Erlaubnis, ihren Glanz genauso leuchten zu lassen.
Wenn wir von unserer Angst befreit sind, wirkt alleine unser Sein befreiend auf andere.

marianne williamson

viernes, 14 de setiembre de 2012

Recently, neurophysicists have been astonished to discover that the heart is more an organ of intelligence, than (merely) the bodies’ main pumping station. More than half of the heart is actually composed of neurons of the very same nature as those that make up the cerebral system. Joseph Chilton-Pearce, author of The Biology of Transcendence, calls it “the major biological apparatus within us and the seat of our greatest intelligence.”

The heart is also the source of the body’s strongest electromagnetic field. Each heart cell is unique in that it not only pulsates in synchrony with all the other heart cells, but also produces an electromagnetic signal that radiates out beyond the cell. An EEG that measures brain waves shows that the electromagnetic signals from the heart are so much stronger than brain waves, that a reading of the heart’s frequency spectrum can be taken from three feet away from the body…without placing electrodes on it!

The heart’s electromagnetic frequency arcs out from the heart and back in the form of a torus field. The axis of this heart torus extends from the pelvic floor to the top of the skull, and the whole field is holographic, meaning that information about it can be read from each and every point in the torus. From Dimensional Bliss 

The Vortex Solar System proved by Dr. Keshava Bhat. This means the end of the academic, helio-centric "clock work face" orbit theory, invented by the "catholic military priest" nicolas copernicus and later cherished by newton, brahe, kepler, galileo, einstein, hawking, sagan and the rest of their academic ilk

The proof of Dr. Bhat's assertion that the outer planets can be seen throughout the year! The inner ones disappear in the 30 degree cone of illumination of the Sun, they do not pass behind it as claimed by academia. The two to three weeks the outer planets disappear is due to their being within the 30 degree cone of illumination of the Sun from an Earth bound perspective.
Definition of Heliacal Rising - Lit., rising with the Sun. When a planet or a star, after it has been hidden by the Sun's rays, becomes again visible.