#pre saharan

[philophilophilophilo]

[marrakecharound]

Things To Avoid In A Private Tour From Marrakech To Sahara Desert Zagora

Things might seem confusing when you make up your mind for a private tour from Marrakech to Sahara desert Zagora. However, you cannot avoid your tour forever because of your laziness in planning. There are a lot of things to discover in the Sahara desert. There are many eye-soothing places to witness. But some things need to be avoided by every first-time traveler of the Sahara desert. Those things can make your Sahara private tour experience terrible. What are those things to avoid? Continue reading to get the answer.

3 Things To Avoid In A Private Tour From Marrakech To Sahara Desert Zagora

No matter how many times you visit the Sahara desert, the excitement is always at its peak. However, everyone wishes they could have avoided some things on their first private tour from Marrakech to Sahara desert Zagora. What are those things? The top 3 things you should avoid during your trip to the Sahara desert are:

1. Not Opting For A Guided Tour

It is always better to take the help of a guide during your Sahara trip. No matter how many times you go there, the habitat and environment change quickly. There is always something new to explore. The local guide knows the present and pre-Saharan habitat well. They will make your tour cheaper with a better experience.

2. Not Planning Thoroughly

Do not fool yourself that the trip from Marrakech to the Sahara is close. It might be a common way, but the trip is 12 hours long. Thorough planning should be your priority while going for a Sahara private tour from Marrakech. You can take help from a travel and tour company for the planning.

3. Listening To Everyone

Everyone has their opinions on almost every topic when it comes to advising others. Do not get fooled by believing in anyone's advice. Contact a reliable tour company and take their help for your private tour to the Sahara from Marrakech.

Get The Best Guide On Private Tour From Marrakech To Sahara Desert Zagora!

Are you planning your private tour from Marrakech to the Sahara desert? Getting fooled by others' advice and not planning are common mistakes done by first-time travelers. If you want to avoid these mistakes, take the help of professional and skilled guides of Marrakech Around. Contact and get your Sahara trip planned in the best way.

[a-998h]

Hey! 🍉-Anon here! I’ll just make a quick SAGAU request!

If (Reader)’s culture resembled one of the Seven Nations? How would everyone react? Like I would think that the people and characters would constantly be boasting about it, and always showing off

And it would be worse if (Reader) showed favoritism to that one Nation, or characters that come from there or dress/act/etc similar to their culture

I think (Reader) would constantly ramble on about their culture, and days later the whole place is decorated in items remade by the characters to resemble their culture and make (Reader) more comfortable

And (Reader) always visits that Nation, and the always spends time with the Archons and other characters

That’s all I’ll write, so have a good day!

- 🍉ANON

Thanks for the request 🍉 ANON, I love hearing from you!

so, for those new to Genshin or haven't been in the fandom for a long time there is some important context about the nation's that I need to share.

Mondstadt is based on Germany

Liyue is based on ancient China

Inazuma is based on ancient Japan

Sumeru is a mix of ancient Egypt, India, Persia, and Mesopotamia

Fontaine is based on France

Natlan is is a mix of Pre-Columbian Latin America, Sub-Saharan Africa, and Oceania

Snezhnaya is theorized to be based on Russia.

The historians of Teyvat always debated over which nation/element came first. So, you having a culture similar to any of the seven nations would settle that debate. But then there wod be debate as to why that particular element was created first, so your culture closes one door and kicks another one down. You will be asked questions by said nosy scholars and historians, because merds will get answers even if it kills them.

The characters if that region would feel great pride in knowing that their nation and its element was supposedly the first to be made by you. The archons would handle the news with great maturity, and I'm kidding. The archon of that region you share a culture with would kind of brag about to the others in however way they see fit.

In order from most to least mature we have, Tsarita, Raiden, Nahida, Zhongli, Mavuika, Furina, and Venti.

Now, as humans in both Genshin and reality, we are more drawn to people we have a connection with. You favoring characters from. The region that shares a culture with you would be something you do unconsciously, not even seeing it as favoritism, but instead as connecting with those culturaly similar to yourself.

When it come the shrines, the one in what they consider your "home" nation, who be decorated upto the nines with traditional furniture, rugs, etc. In the other shrines, there would still be the culture of which ever nation it's in, but also some elements of decoration from the nation they assume is your "home".

Your rambles about your culture back home is what the nerds like to hear. Everyone sees your real life culture as an ancient culture that was the founding blocks for the nation that closely resembles it. The characters will let you ramble on, some take notes, some ask questions, and some don't understand but listen along anyway because they know it makes you feel better.

Your hang out days in your "home" nation is a real treat for the characters as you and them can bond over clothing, custooms, food, etc. The characters outside your culture will be more than happy to listen and follow you as you drag them around the city to show them your culture.

Overall, it makes Reader a little less homesick, gives characters more understanding on how to make you happy, and gives at least on archon bragging rights.

[moneeb0930]

AFRICA, a continent rich in history and culture, was a diverse and vibrant place 100 years before the colonial era began. The period prior to European colonization of Africa was characterized by the existence of powerful and sophisticated civilizations, trade networks, and diverse societies. During this time, Africa was home to thriving kingdoms and empires, such as the Kingdom of Ghana, the Mali Empire, the Benin Empire,and the Great Zimbabwe Empire.

One of the remarkable aspects of Africa before colonialism was the economic prosperity and trade networks that existed across the continent. The Trans-Saharan trade routes connected the North African coast with the interior of the continent, facilitating the exchange of goods, ideas, and cultures. The trade in gold, salt, ivory, and other resources contributed to the wealth of African societies and enabled the development of urban centers and marketplaces.

In addition to trade, agriculture played a significant role in the pre-colonial African societies. Many regions practiced advanced farming techniques, growing crops such as grains, yams, and millet. Livestock farming was also a common practice, with cattle, sheep, and goats being raised for food, milk, and trade. The agricultural surplus generated by these practices supported the growth of populations and the development of complex societies.

Socially and culturally, pre-colonial Africa was characterized by a rich tapestry of traditions, languages, and belief systems. The continent was home to a diverse array of ethnic groups, each with its own customs, art forms, and social structures. Oral traditions, storytelling, and music played a vital role in communicating histories and values within African societies. Religious practices were also diverse, ranging from indigenous animist beliefs to Islam and Christianity, which were introduced through trade and migration.

The political landscape of Africa before colonialism was marked by the presence of powerful kingdoms and empires that governed vast territories. These political entities were often organized hierarchically, with rulers holding significant authority over their subjects. The Kingdom of Ghana, for example, controlled trade routes and amassed wealth through taxation and tribute. The Mali Empire under Mansa Musa was renowned for its wealth, power, and intellectual pursuits.

In conclusion, Africa 100 years before colonialism was a continent teeming with cultural diversity, economic prosperity, and political sophistication. The continent's vibrant civilizations and societies thrived through trade, agriculture, and social structures that sustained their way of life. The legacy of pre-colonial Africa continues to influence the continent's present-day cultures, identities, and aspirations, reminding us of the resilience and vitality of Africa's past.

📸 A lady from today Ghana 🇬🇭 adorned in gold jewelry #africa

[deadboydetectives-confessions]

Kind of inspired by the "fandom has bad taste in music" anon and the more recent "for fandom enrichment let's argue about character's tastes" anon, going to do some hardcore projecting based on my own musical tastes:

Charles' current musical obsession is Saharan desert blues. He also fucks with some French hip-hop on the side. He generally winds up listening to a lot of music that isn't from the UK -- he kind of searches out interesting scenes on a global scale. Edwin doesn't really connect with most of what Charles listens to, but he and Charles both agree on Angelique Kidjo, so she's one of their go-tos as background music in the office.

Aside from Kidjo, Edwin is generally fond of instrumental pieces, as lyrics are distracting when he is working. He's realized that while modern cinema like "Star Wars" or "Lord of the Rings" are not to his taste, he does enjoy their musical scores so pre-show he mostly listened to film soundtracks. Both Charles and Edwin share a particular fondness for music from the James Bond films of any era. Later, Niko shows Edwin Spirited Away & Edwin falls in love with Joe Hirashi's music.

Post-gay awakening, however, Edwin embarks on a quest to understand queer culture of the last hundred or so years. He finds doesn't really like most musical theater music, though he half-heartedly defends Sondheim to Charles. He likes opera marginally more as an audience member (Charles hates it), but he doesn't care to listen to opera music outside of watching a show. He dutifully listens to various women over the years who have been important to gay culture like Judy Garland. He find it intellectually stimulating from a historical perspective and he appreciates the artistic qualties & merits, but none of it is music he feels the need to casually listen to.

Charles off-handedly mentions to Edwin that he could look into queer male musicians and this is a winning suggestion: Marc Bolan, Freddie Mercury -- Edwin is enthralled. They watch Velvet Goldmine doing a movie night with the girls. "Pretty good, innit?" was Charles' reaction, but Edwin was left breathless. He is currently enamoured with glam rock & generally on the lookout for queer male rockers (and if many of them remind him somewhat of Charles, well).

Crystal listens to a lot of Erykah Badu, who to everyone's surprise Edwin winds up liking more than Charles. She's the most likely of all of them to listen to and recognize whatever is on the radio.

Niko loves metal. She got into it through Japanese metal, but now she's more likely to listen to The Hu or Bloodywood. She does appreciate English-language metal, but she finds it more of a curiosity. She also listens to a fair amount of rap and knows about all of the beefs between rappers, stuff that even Crystal has a hard time following.

Jenny, to everyone's surprise, likes folk music and older country: Simon & Garfunkel, Neil Young, Patsy Cline, Johnny Cash. She introduces Edwin to Lavender Country (he finds it intellectually interesting through his blushes as some of the more vulgar lyrics, but ultimately not his style) and Orville Peck (he loves). This leads Edwin to discovering Lil Nas X's Old Town Road and all the remixes, which he loves so much and Charles has to ban him from playing them in the office.

.

[talonabraxas]

8.8 Lion's Gate 'Zurvan Akarana' Talon Abraxas

God as ‘Time’ in the Ancient World

Once Krishna-Vishnu as Lord Nara-Hari / KALAH / TIME was worshiped as the Supreme Lord World-wide. He was the Deliverer of the Jews and Mixed-Multitude in their Biblical Exodus from slavery in Egypt. KRISHNA- VISHNU NARA-HARI Leontocephalos Lion-Headed TIME / KALAH of the Bhagavad-Gita, as the Biblical YAHU-TZABAOTH and Zeus-Jupiter Chronos-Saturus, Egyptian HERU-AUSU-Ammon-RA, Kushite Apademak, Shaivite and Buddhist Kalah-Bairab, Mithraic Zervan, etc. HE, ARYEH / HARYAH is the “Lion of Judah”, NARA-HARI, the Biblical Exodus Deliverer and Protector of the Jews.

Some Scholars of Zurvanism and Comparative Religions are well acquainted with the Form of the Supreme God as Leontopcephalos (Lion Headed) Time, surrounded by His Alter-Form or Expansion as the Ouroboros Serpent of Infinity. What they do not realize is that this Form of the Supreme Lord is both the Jews’ and Christians’ ARI-YAHU or ARI-EL YAHU-TZABAOTH (Lion-Headed Time) ‘Lord of Hosts’ of the Exodus Story, AND Krishna-Vishnu’s Central Bhagavad-gita Theophany as Narasimha KALAH / TIME, surrounded by His Alter-Form, Eternity as An-anta Un-Ending Sesha (Remainer) Naga (Biblical NACHASH).

To the ancient Africans, He was the Lion Headed AMUN (Zeus-Jupiter Chronos-Saturnus) the Supreme Lord of Egypt, Meroe and Sub Saharan Africa.

To the ancient Persians He was the Supreme Lord Zurvan.

To the ancient pre-Buddhist Tibetans He was the Lion-Headed Protector ZA.

To the ancient Eurpeans He was Zeus Chronos and Jupiter Saturnus etc.

To the Shaivites and Mahayana Buddhists He was/is the Wrathful Time-wheel Devouring Form of Kalah Bairava / Bairab Mahadeva (Shiva)

Shaivites identify the Central Theophany of KALAH in the Gita with Siva, because KALAH is one of Siva’s Names and Forms.

The Island Civilizations of Austro-Indonesia and the Pacific also worship the Lord as Lion-Headed Time. His New Year Lion Dance Blessing Festivals can still be seen there.

In the Western Hemisphere the Lion Headed JAG-WERE GOD of the earliest OLMECS ruled the TIME WHEEL of all of the subsequent Amer-Indian Civilizations.

Among the Names and Forms of Hari (Krishna) or Vasudeva (Vishnu) as the Man-Lion Nara Hari (Nara-Simha) are the Names and Forms of Kalah-Shiva!!! In Gita Jayanti and Buddhist New Year’s Festivals throughout the East, the All-devouring Universal Revelation / Theophany of the Supreme Lord as TIME / KALAH (BAIRAVA) is represented in a MAN-LION FORM. Thus Sacred Traditions from around the World, which are thousands of years old, confirm that ancient humanity worshiped the Supreme Lord in His Gita-related Revelation as Lion-Headed Time, with His Alter-Form of the Sarpa / Serpentine Anantadeva as Un-Ending Eternity.

Article by Bhakti Ananda Goswami:

[justforbooks]

This is a book for readers of second world war history who like the Boy’s Own version of the conflict. The cast of characters could have stepped straight from a comic strip story. Yet the men of the SAS were real flesh and blood, “rogue heroes” as the title suggests. The organisation now famous for its derring-do, and as famously secretive, has opened its archive to the historian and journalist Ben Macintyre, so that he can produce the first authorised history of what the SAS did in the war.

Macintyre has made the most of the opportunity. The history needs scarcely any embellishment, though he tells it with flair: the simple facts of SAS activity make the “ripping yarns” of comic book heroes pale by comparison. The organisation was the brainchild of two officers posted to the war in Egypt, David Stirling and John “Jock” Lewes. Stirling was an awkward soldier, hostile to spit-and-polish and authority, charming, fun-loving and irreverent (“layer upon layer of fossilised shit” was how he described military bureaucracy). Bored by life in Cairo, he discussed with the ascetic, hard-working, serious-minded Lewes, his complete opposite in personality, the possibility of creating a unit of awkward men like himself, who wanted action, few rules and adventure in small hit-and-run assaults behind enemy lines. Astonishingly, Stirling persuaded the high command in Cairo that he could achieve something significant at low cost in men and materials. The chief of British deception in the desert war, Dudley Clarke, gave the unit its name. Already fooling the Italians with a bogus parachute unit, the First Special Air Service Brigade, he lent the name to Stirling, and the organisation has borne it ever since.

Macintyre uses the SAS war diary as the backbone of his narrative, and is candid about failure as well as the hard-earned successes. The SAS was an irregular unit, its members drawn from an extraordinary range of backgrounds – a spectacles salesman, a textile merchant, a tomato farmer, amateur boxer, and so on – with a range of motives to match. Some wanted excitement, some liked killing and made no pretence about it, some were escaping from their past, some were too eccentric for the ranks; all had to be fit, alert, crafty, ruthless if required and dedicated to the mission. Stirling was also aware that his outfit did not meet with approval in conventional military circles, which saw war as face-to-face, not behind the back. Churchill liked the force, and would no doubt have joined it had it existed in his youth. But through the campaign in North Africa, then Italy and Germany, the SAS had always to prove itself, in order to stave off disbandment.

The new unit nevertheless made a disastrous start and indeed had mixed fortunes throughout the war. The first operation, code-named “Squatter”, carried out while the handful of volunteers were still feeling their way, could not have gone more wrong. Poorly trained as paratroopers, the group nevertheless flew off into a desert storm trying to land at pre-planned dropping zones well to the rear of the enemy. They landed in the worst places, faced a Saharan downpour of biblical proportions, lost some of the troop to injury as they hit the ground, and were then unable to retrieve the parachuted supplies. With explosives so soaked they were worthless, uncertain about their whereabouts, short of food and water, the remnants of the original units made their way back to Egypt. Out of 55 men, 34 were killed, injured, captured or missing without a single achievement.

Macintyre makes the point that this was by no means the end of a madcap idea. Stirling recruited the Long Range Desert Group to take the SAS teams by Jeep or truck rather than risk any further parachute drops, and the second set of raids in December 1941 resulted in the destruction or disabling of 60 enemy aircraft. But Operation Bigamy, a series of raids against Benghazi shortly before the battle of El Alamein, was another disaster. It featured one of the most bizarre figures to emerge from the story: a Belgian textile merchant, Robert Melot. Fluent in Arabic, keen to get at the Germans, he volunteered for the SAS aged 47 as an intelligence officer. He used his range of Libyan contacts to glean information needed for the raids, but in this case Melot miscalculated. An Arab double agent alerted the Germans and Italians and the raids were a disaster. Once again a forlorn, bearded, hungry and damaged band straggled back to Cairo. Melot carried on his SAS career regardless, and died not from his many scrapes in battle, but from a Jeep accident on his way to a party in Brussels late in 1944.

The SAS came of age in the campaign in Italy, where it was used as a more conventional raiding party, the Special Raiding Service, under the command of Paddy Mayne following Stirling’s capture in Tunisia in late 1942. The Italian campaign was a particularly grisly one, and the SRS (with its core of SAS men) found collaboration with the partisans and rivalry with the Special Operations Executive (SOE) a challenge (unlike the SAS, the SOE always linked up with local resistance). Macintyre spares none of the details; the SAS fought a dirty war against an enemy they regarded as every bit as dirty. Prisoners were rare, but in return Hitler condemned irregular commando units to death if they were caught. Not all were killed by any means, but many were, just as the Germans killed all the other irregular, partisan forces ranged against them.

In October 1945 the army wound up the SAS and it continued to exist by subterfuge, a unit of war crimes investigators searching for evidence across Europe that SAS members had been murdered. In 1947, to meet the many crises of empire, the SAS was revived. What it did then and since can be guessed at, but until the postwar unit diaries are revealed, like the wartime diary used by Macintyre, the exact details will not be known.

What in the end did the SAS achieve in the war? Macintyre does not really say, leaving the narrative to speak for itself. It did not, as some of the book’s publicity has suggested, turn the tide of war. Its overall accomplishment, set beside those of the Commandos, or the SOE, the Chindits or other partisan groups, was strategically modest, whatever its tactical successes. But the SAS did bring to life the plucky, maverick, individualist hero of the comic strip, a very British way of making war. SAS: Rogue Heroes is a great read of wartime adventuring, in a long, grim war of attrition where adventure was hard to find.

Daily inspiration. Discover more photos at Just for Books…?

[dustedmagazine]

Listening Post: Mdou Moctar

Mdou Moctar is, without question, one of the pre-eminent rock guitarists of our time, as much a master of heavy, hazy grooves as of double-tapped Van Halen-esque shreddery. His music is steeped in a very specific desert blues aesthetic, the swaying, side-to-side rhythms that evoke camel caravans, the keening call and response that suggests lonely attempts at communion in remote campsites, the hard-bashed but intricate percussion, the silky multi-colored tunics that the band sports onstage. And yet, it’s universal in the same amp fried lineage as Jimi Hendrix, Jimmy Page, Jeff Beck, Eddie Hazel and, oh right, Eddie van Halen.

Dusted has been enamored of Mdou Moctar for quite some time, beginning with Patrick Masterson’s highly entertaining review of the Akounak Tedalat Taha Tazoughai OST in 2015—the music for a remake of Prince’s Purple Rain in the Tamashek language— on Sahel Sounds.Masterson observed, “The idea of a Tuareg Purple Rain would have been unthinkable in 1984, not least of all because —and I cannot stress enough how funny I find this — there is no Tamashek word for ‘purple.’ Yet, 31 years later, here we are — the magic of a smaller world has helped bring an academic outsider’s joke to life. The punchline, of course, is that it’s as good as advertised.”

We collectively fell for Ilana (The Creator) and its out-of-hand shredding in 2019.Isaac Olsen noted, “If you still have a punk-induced allergy to flashy guitar solos, be warned; there’s not a track on Ilana where Moctar doesn’t take every available opportunity to — no other word for it — shred. Fortunately, Moctar earns the right to play his ass off by recruiting a band whose hungry energy matches and spurs on his own and by, for the first time, writing a whole album of tunes worthy of his chops.” The record brought a normally fractious Dusted roster to unity and dominated the 2019 Mid-Year feature.

Two years later, Afrique Victime won praise for its less showy, more groovy vibe. Said Jennifer Kelly in her review, “While he’s been one of rock music’s best guitarists for a while, the larger platform takes him out of the niche desert blues category and into the broader multinational arena. He might be excused for capitalizing by leaning into the rock elements of his sound, but instead, he’s putting forward the droning, mystic, call-and-response twilight magic of northwest African guitar music.”

And so we come to Funeral for Justice, another scorcher. The new record is as sharp and impassioned as any Moctar and his band have done so far, and it is inflamed with political energy. It comes after a period of exile after civil war in Niger. It calls out the injustices of colonialism, economic inequality and exploitation in cuts including the title track, “Oh France” and “Modern Slaves.” It cooks on the strength of a band that has never sounded better or more locked in, and it has one or two guitar solos, too.

Intro by Jennifer Kelly

Jennifer Kelly: How are you all liking the new Mdou Moctar? I’m feeling like it’s the best thing he’s ever done, not different exactly but more intense and volcanic. Definitely turned up to 11. 

Bill Meyer: My first reaction is that while Funeral For Justice definitely foregrounds the shredding, I miss the layered sound of Afrique Victime. But I’m tickled to hear the increased prominence of electronic percussion and autotune. It’s kind of a roots move, given that the first time a lot of people heard him was on a tune originally identified only as “Autotune,” which appeared on the Sahel Sounds compilation, Music From Saharan Cellphones. 

Tim Clarke: I saw Mdou Moctar live last year at a music festival, and it was very loud and thrilling. This is the first time I've listened to a full album. It makes me realize how little I'm drawn to fast guitar playing! And the band's trademark "cantering" rhythm feels like a bit of a musical rut. But when they explore outside these parameters, things get more interesting, especially when they play around with a mix of recording fidelities at the start of second track, "Imouhar." I also like the fact the record is concise and well-paced. Definitely piqued my interest to hear more of what the band can do. 

Christian Carey: The combination of desert blues and intense rock solos is amazing - and fairly singular. The group vocals create an appealing contrast to Mdou's shredding. 

I'm not sure that he can raise the intensity level any higher than this — turned up to 12?

Jennifer Kelly: I'm so glad you guys picked up on this. Lots to think about.

First regarding Bill's comment about a "rootsier" sound, it's complicated isn't it?

We look to third world artists for authenticity, which in its most reductive form means less electrification, fewer electronics, etc. But as Bill points out, Mdou's early stuff was heavily autotuned, as for instance here:

And a lot of the Sahel Sounds’ (and thanks, Bill, for making sure we gave them credit for being first with this stuff) cellphone compilations have a very slick, disco-electronic vibe. And that's music largely produced for African audiences without much consideration of a global audience. So which is authentic?

Also, my understanding, Tim, is that the rhythm is based on the way camels walk and a nod to West Africa's nomadic culture and heritage? You hear the same beat in Tinawarin's stuff.

Tim Clarke: I can definitely hear the camel's gait in the cantering rhythm section, that slightly awkward, loping feel. It's certainly unique.

Bryon Hayes: The almost hard rock riff in the intro of the title track originally confused me (did I put the right album on?), but I found it really powerful upon further spins of the album, especially how it segues into the cantering rhythm. Also, the roar as the lower fidelity section of “Imouhar” transitions to a higher fidelity is downright mind-melting! He’s experimenting with song form, and it really works.

Michael Rosenstein: As much as I've liked Mdou Moctar's music, I have to admit that this one is starting to lose me a bit. But that has way more to do with my musical proclivities than it does to the music at hand. What originally drew me to Moctar's music was the rawness of it; that uneasy balance of "shredding" that others have mentioned with a trance-like, cyclical flow. That was really foregrounded in his early albums like Afelan or Anar both of which were released a decade ago. This new one sounds, to my ears, much more heavily produced and fussed over. I admit, though, that I'm really uneasy with my assessment in that, as much as I hope I'm not, I fear I am just bringing my old, white, privileged judgement to bear. Is this just me judging that the music is no longer "authentic" enough? Or is it just that he is embracing the rock leanings inherent to his music and that just resonates less with me?

I do find it curious that, as far as I can tell, none of Moctar's music on Sahel Sounds is available anymore (including the one track on Music from Saharan Cellphones: Volume 2 referenced by Bill.) I have no idea if that is by his choice, by contractual obligations with Matador, or by the choice of the Sahel Sounds folks.

Jennifer Kelly: I noticed that those records were missing, too, when I looked for the Sahel Sounds records to hear the autotune. I wonder what happened?

Some of the songs are still very trance-y..."Imouhar," for example, especially at the beginning (it gets loud later), "Takoba" all the way through. The production seems about the same as on Afrique Victime to me, clean but not overly so. (Though, I will admit that I probably like the rock stuff more than Michael does.)

We haven't really talked about the political backdrop to this record, have we? The fact that Civil War in Niger has left them stranded in the States since 2023. I don't speak Tamshek but it seems that a lot of the songs with English titles are about politics and colonialism, which may affect the way they play and present the material, yes? It's different from writing songs about village life or falling in love with the local beauty.

Ian Mathers: I'll admit, there's at least a part of me that wishes this whole record was just unabashedly Going For It as hard as the opening title track does. Not that I don't like the relatively more restrained material; I'm not terribly knowledgeable about African music in general but "Takoba" reminds me of one of the few records from the continent I do very much know and love, the one Ali Farka Toure did with Ry Cooder (Talking Timbuktu) that my dad played all the time when I was in high school. Toure was from Mali, which at least shares a border with Niger, so hopefully I'm not being too ignorant hearing similarities in some of the guitar playing there. The more monomaniacally the band gets cooking here, generally, the more I like it (I really like "Sousoume Tamacheq," for example). I think I probably like it a little more than (the also excellent!) Afrique Victime, although I think for similar but opposite reasons to Michael, that it's just more to my taste and not necessarily a better record.

I'd also love to see a full set of lyrics/translations, and everything I've read about the sociopolitical context of the band and this music has been fascinating, but mostly right I'm just appreciating and enjoying this record in a similar way to, say, Oneida's "Sheets of Easter" or that U SCO record I picked for our 2023 Slept On round up.

Tim Clarke: Further to what you're saying about enjoying the "everything on 11" aspect of Moctar's sound, I can't help wondering what the band would sound like recorded by Steve Albini. That I'd like to hear!

Ian Mathers: Oh, good point; maybe because we talked about African Head Charge a while back I'm now also wondering what Adrian Sherwood would make of them.

Bill Meyer: I don’t think you’re too far off the mark in seeing a similarity between Moctar’s and Ali Farka Toure’s music, Ian. Toure worked with the languages and styles of several ethnic groups from the Malian interior, soI’m sure he would have been acquainted with the precedents for what Moctar does. Moctar is from subsequent generation, so his music is more in touch with what has been popular in the Sahel in this century. But another thing they both have in common is that they’ve been worked a lot on non-African stages, gotten hold of gear that isn’t particularly available back home, and undergone a personal course of development on a world stage. 

Their politics are different, though. I think Toure was the mayor (or something similar) of his town. He was pretty invested in fostering the stability of the existing Malian state, thus all the songs in different languages that encouraged people to get along. He was the big man in town who responsibly leveraged his popularity as a musician to obtain resources for his community. Your CD purchases generated income for Niafunke’s farming community. Moctar, on the other hand, was just another guy on the street, albeit an artistically ambitious one, until musical opportunities permitted him to tour and make records outside of Niger. His stance, as far as I can grasp it, is critical of African leaders who don’t look out for their people, and even more critical of the foreign powers that have run roughshod over his country (mostly France and the US). 

Matador came through with the lyrics.

[Here are some excerpts.]

“ FUNERAL FOR JUSTICE”

Dear African leaders, hear my burning question

Why does your ear only heed France and America? 

They misled you into giving up your lands

They delightfully watch you in your fraternal feud

They possess the power to help out but chose not to

Why is that? When your rights are trodden upon

 Why is that? When your rights are trodden upon

“ MODERN SLAVES”

Oh world, why be so selective about human beings? 

Oh world, why be so selective about human beings? 

My people are crying while you laugh

My people are crying while you laugh

All you do is watch

All you do is watch

Oh world, why be so selective about counrties?

Oh world, why be so selective about counrties? 

Yours are well built while ours are being destroyed

Yours are well built while ours are being destroyed.

Jennifer Kelly: Wow, that is fiery stuff. 

Ian Mathers: I can also see in the translated lyrics even more of a connection between the two countries, with Tamasheq described as "A helpless orphan abandoned by 3 countries / Mali-Niger, Niger-Mali and Algeria as the third." Interesting to note the gap between Toure and Moctar's respective places in society (at least right now, for Moctar). I didn't specifically think of reggae when I was reading the lyrics, Bill, but once you point it out there does seem to be a number of shared themes, maybe even some metaphors and imagery, there.

[inspofromancientworld]

The Neolithic began at different times, depending on how and when the warming of the Holocene made agriculture viable. While there is some evidence of humans deliberately planting seeds prior to the beginning of the First Agricultural Revolution (another name for the Neolithic), it wasn't until the Holocene that it was practical to shift from a hunter-gatherer type society to a settled agrarian one. Not all people chose to settle, though, such as those in Sub-Sahara Africa and Australia, and there is evidence of people moving between settled and nomadic life styles, depending on local climate. This was the beginning of the type of society that we're more familiar with.[image text] [slide 1] Neolithic about 10,000 BCE to 2000 BCE

Key features: farming, animal domestication, settlements (also known as the Neolithic Revolution or the First Agricultural Revolution

Lasted through the Protodynastic period in Egypt (about 3150 BCE) and the rise of the pre-Shang Erlitou culture in China (about 2000 BCE)

The climate changes of the Younger Dryas cold climate changed to the warmer Holocene

Happened in many places at once, leading to local varieties of plants and animals

Crops in the Levant and Fertile Crescent included wheat, lentils, peas, chickpeas, and flax. In much of Asia, the predominant crop was rice. In the New world, maize and potatoes were the predominant crops.

Animals that were domesticated include dogs, sheep, goats, cattle, and pigs

[slide 2]

Pottery became much more common as people started living in settlements, appearing at different times in each area, often with distinct patterns and decorations being used in an area

Goblekli Tepe build around 9500 BCE - may be the oldest human built center of worship used by nomadic peoples

Remains of figs in Jericho (Tell es-Sultan) dated 9400 BCE- oldest evidence of human cultivated food as figs couldn't be pollinated by insects, but reproduced via cuttings

In Sub-Saharan Africa, development tended toward pastoralism, following herds, rather than settlements.

Crop domestication occurred by 4500 BCE (the Formative Stage) in Mesoamerica, possibly starting as early as 11,000-10,000 BCE (the Archaic Era)

In Australia, a hunter-gatherer lifestyle largely continued until the arrival of the Europeans in 1788 CE, though there is evidence for 'fire farming,' deliberately setting fires to clear underbrush, to open forests for the growth of grasslands, to encourage plants to produce a green flush, to attract and to drive game for hunting

[end image text]

[reasoningdaily]

Ancient Black Egyptians? They were African? Were they? This was a topic that was raised and discussed. It is true that other studies have been carried out which suggest the opposite. But the answer is there if you look closely at the enormous array.

Here are the facts that prove ancient Egyptians were Black and Africans.

Ancient Egyptians referred to their homeland as Kmt (conventionally pronounced as Kemet). According to Diop, the Egyptians referred to themselves as “Black” people or kmt, and km was the etymological root of other words, such as Kam or Ham, which refer to Black people.

Senegalese scholar Dr. Cheikh Anta Diop (1923-1986)’s role in life was to challenge Eurocentric and Arab-centric perceptions of pre-colonial African society. He set out to prove definitively that Egypt’s ancient civilization had its origins in Black Africa. At the Museum of Man in Paris, he performed melanin checks on Egyptian mummies and concluded that all the ancient Egyptians were among the Black races.

Egyptian pharaoh Tutankhamen and family analysis by DNATribes recently found that sub-Saharan Africans, especially those from Southern Africa and the Great Lakes region, are the closest living relatives of the mummies, Face2Face Africa documented.

Scouring the past of Egypt and ancient Egyptians, some ancient Greek historians said that the skin of ancient Egyptians was “melanchroes,” that is, black or dark-skinned. The ancient Egyptians were also identified by early Latin eyewitnesses as “black-skinned.”

Scholars Agree Some of the world’s most esteemed scholars have speculated that Egyptians were Black Africans. Some modern researchers, like W. E. B. Du Bois accepted the theory that Ancient Egyptian society was mostly black Face2Face Africa documented.

In addition to Dr. Diop’s research, in its geographic DNA study, National Geographic recorded that 68 percent of present-day Egyptians are ethnically North African, with foreign invasions having little influence on the genetics of most modern Egyptians.

Some of the most famous ancient Egyptians have been identified as black. For example, Queen Ahmose-Nefertari is most often identified as a woman of color. “According to Sigrid Hodel-Hoenes, the author of “Life and Death in Ancient Egypt,” the Queen’s black skin color is derived from her role, as black is the color of both the fertile earth and the netherworld and death.”

“The term is a collective noun which thus described the whole people of Pharaonic Egypt as a Black person,” according to Diop.

Reading Bones Most of the skeletons and skulls of ancient Egyptians had characteristics similar to those of modern Black Nubians and other people of the Upper Nile and East Africa, showing they were Black and African, according to study by scientist Diop.

The Blood Group Tell Us Also, blood type is evidence, according to Diop. He discovered that even after hundreds of years of intermixing with foreign invaders, the blood type of modern Egyptians is the same group B as West Africa populations on the Atlantic seaboard and not the white race’s A2 characteristic prior to any crossbreeding,’  The Atlanta Star reported.

Mother Tongue Evidence  Also, blood group is evidence, according to Diop. He discovered that even after centuries of intermarrying with foreign invaders, the blood type of modern Egyptians is the same group B as West Africa tribes on the Atlantic seaboard and not the white race’s A2 characteristic prior to any crossbreeding.

“The Atlanta Star reported that Diop clearly indicates that ancient Egyptian, modern Egyptian Coptic, and Wolof are related, with the latter two having their origins in the former.

Diop wrote in the “General History of Africa”: “The relationship between ancient Egyptian and African languages is not a fictional fact, but a demonstrable fact that it is impossible to put aside for scholarship.”

[paramedicabroad]

Ksar of Ait-Ben-Haddou

The Ksar of Ait-Ben-Haddou stands proudly on a hill along the Ounila River, a striking sight with its terracotta-colored walls blending harmoniously with the surrounding desert landscape. The word "ksar" refers to a group of earthen buildings enclosed within defensive walls, and Ait-Ben-Haddou is the most famous and best-preserved example of this ancient form of settlement in southern Morocco.

In 1987, the Ksar of Ait-Ben-Haddou was inscribed as a UNESCO World Heritage site, acknowledging its cultural and historical importance, as well as its extraordinary earthen architecture. The site is a testament to Morocco’s ancient trade routes, traditional construction methods, and the resilience of its desert communities. The ksar continues to be a source of inspiration and fascination for travelers and historians alike.

This UNESCO World Heritage site has been around for centuries—since the 11th century, to be exact. It served as a crucial stop on the ancient trans-Saharan trade route, where merchants would rest, trade, and shelter from the harsh desert conditions as they traveled between Marrakesh and the Sahara, bringing goods such as salt, gold, and ivory.

The architecture of Ait-Ben-Haddou is a stunning example of pre-Saharan construction, using a mixture of clay, straw, and wood. Its mud-brick towers, intricately decorated facades, and narrow, winding streets give the ksar a unique, fortress-like appearance. Walking through its ancient alleyways feels like stepping back in time, with every turn offering a glimpse of Morocco's rich past.

Ait-Ben-Haddou’s otherworldly charm hasn’t gone unnoticed by Hollywood. Over the years, it has been featured in numerous blockbuster films and TV shows. From "Gladiator" to "Game of Thrones", this ksar has doubled as ancient cities and far-off fantasy lands. As you wander through its dusty streets, it’s easy to see why directors are drawn to its timeless beauty.

At the top of the ksar, you’ll find the granary, which offers breathtaking views of the surrounding desert and the nearby Atlas Mountains. This climb is well worth the effort, especially at sunset, when the red hues of the buildings and landscape glow under the setting sun. It’s one of those moments that will leave you speechless, feeling as though you’re on the edge of the world.

While many of the families that once lived within the ksar have since moved to more modern homes across the river, a few still remain, keeping the traditions and history of the ksar alive. As you explore the narrow streets and shaded courtyards, you might come across local artisans selling their handmade crafts or invite you to visit one of the small shops housed in the ksar's ancient walls.

Visiting Ait-Ben-Haddou is like discovering a hidden treasure in the middle of the desert. It’s about a four-hour drive from Marrakesh, making it a perfect day trip if you’re exploring the Atlas Mountains or heading toward the Sahara. The ksar’s location on the edge of the desert only adds to its mystique, offering visitors a chance to see a different side of Morocco—one that’s steeped in history and tradition.🏛️⛰️🇲🇦

[angelkarafilli]

Yeha Temple, Temple of the Moon,Ethiopia

Discovered in the town of Yeha in the Mehakelegnaw Zone of the northern Tigray region, the stone tower is built in a Sabean-style, common across much of sub-saharan Africa. 

Towering over the small town, which is considered by many to be the pre-aksumite capital of the country, the temple of the moon was built in honour of the god Almougah, and dates back to around 700 BC to the reign of D’mt.

Stone carved inscriptions found across the site detail grand tales of Almougah’s glory and their power to cast out the harsh unrelenting sun.

More on:https://www.brilliant-ethiopia.com/yeha-temple

[tobacconist]

TOO MANY FUCKING ACRONYMS

THERE ARE TOO MANY ACRONYMS IN THE WORLD

STOP IT. ITS GONE TOO FAR

Sub-Saharan Africa? Safe Schools Alliance, a British advocacy group? SSA Global Technologies, American software company acquired by Infor Global Solutions? Shan State Army, a former insurgent group in Burma? Slovak Society of Actuaries (Slovak: Slovenská spoločnosť aktuárov), professional association in Slovakia? Soaring Society of America, American sporting society founded in 1932? Society of Scottish Artists, artists society founded in 1891? Swedish Society of Radio Amateurs, an amateur radio organization? Singapore Scout Association, youth movement founded 1910? Seismological Society of America, international scientific society founded 1906? Scottish Socialist Alliance, a coalition of left-wing bodies, fore-runner to the Scottish Socialist Party? Shipconstructors' and Shipwrights' Association, a former British trade union? Sainsbury's Staff Association, of Sainsbury's, UK? Sudan Studies Association, US professional association? Society for the Study of Addiction, UK learned society with charitable status? Steamship Authority, a Massachusetts ferry service and regulatory body? School of Saint Anthony, Quezon City, Philippines? Secular Student Alliance, US? Shady Side Academy, Pittsburgh, Pennsylvania, US? Social Security Administration of the US government? Social Security Agency (Northern Ireland)? State Security Agency (South Africa), the South African intelligence service? Selective Service Act of 1917, an American piece of legislation signed by President Woodrow Wilson during WWI that established nationwide conscription? Software Security Assurance? Serial Storage Architecture? Singular Spectrum Analysis? Stationary Subspace Analysis? Static single-assignment form, a property of intermediate representations used in compilers? Stochastic Simulation Algorithm? Strong subadditivity of quantum entropy? SubStation Alpha and .ssa file format, a video subtitle editor? Super systolic array? Start of Selected Area, a control character in the C1 control code set? Solid State Array, in flash data storage using solid-state drives? Semantic structure analysis? Single-strand annealing in homologous recombination? Specific surface area, a property of solids? Side-side-angle in geometry for solving triangles? Senile systemic amyloidosis? Sessile serrated adenoma, a type of pre-malignant intestinal polyp? Special somatic afferent? Anti-SSA/Ro autoantibodies? Sulfosalicylic acid? SSA, Grand Cross of the Order of the Star of South Africa? Deputado Luís Eduardo Magalhães International Airport, IATA Airport code? Same sex attraction? Safe Sex Always? Sarva Shiksha Abhiyan, the Government of India's Education for All programme? Self-sampling assumption? Shared services agreement? Slippery slope argument, a rhetorical device (and often a fallacy)? ESA Space Situational Awareness Programme? Special services area or business improvement district? Special Service Agreement between the UN and a contractor? Supervisory Special Agent? Serious Sam Advance, a 2004 video game?

WHICH OF THESE ARE YOU TALKING ABOUT????????

[moneeb0930]

ORIGINS OF HAPI (NILE) VALLEY CIVILIZATION

The progenitors of the Nile Valley civilization were Nilo-Saharan peoples who migrated to the Hapi (Nile) Valley from the Green Sahara, Nubia and Northeast Africa. The cattle cults of Het-Heru (Hathor), spiritual beliefs, iconography and cultural motifs associated with the old Kingdom can be traced to these regions prior to the unification of the two lands. The science of mummification began in Libya with the 5600 year old Tashwinat Mummy, known as the “Black Mummy of the Green Sahara''. The Black Mummy predates the oldest Kemetic mummy by over 1000 years. Astronomy and the study of the procession of the equinox began in South Africa at the site of the Adams Calendar Stone Circle and continued at the Napta Playa Stone circle located in modern day Sudan. This 7000 year old ceremonial center dried out around 3400 BC and they transferred their knowledge into the Nile Valley. The earliest images of Pharaonic Kingship were found in Nubia at the site of Qustul were the oldest depiction of Pharaonic Kingship is shown on the Qustul incense Burner. The original populations of the Nile Valley were no different than modern Sudanese, Ethiopian, Eritrean and Somali populations of today with a mixture of western Eurasians via the Levant whom for the most part settled in the Delta region. The cultural overlap of Kush and Kemet existed from the very dawn of Hapi Valley civilization and the cultural fusion was expressed in the customs and spiritual beliefs of its early inhabitants. These ancient traditions are continually practiced in Africa to this day.

Below are the results from a genome project conducted by Dr. Shomarka Keita, a Research Affiliate and Biological Anthropologist in the Department of Anthropology at the Smithsonian Institution and Dr. A. J. Boyce, who works at the Institute of Biological Anthropology and St. John's College

Oxford University.

PROJECT MUSE

Genetics, Egypt, and History: Interpreting Geographical Patterns of Y Chromosome Variation

IV, XI, V=Nilotic African

VII, VIII=Near Eastern

235 S.O.Y. Keita and A. J. Boyce

Early speakers of Nilosaharan and Afroasiatic apparently interacted based on the evidence of loan words (Ehret, personal communication). Nilosaharan’s current range is roughly congruent with the so-called Saharo-Sudanese or Aqualithic culture associated with the less arid period (Wendorf and Schild 1980), and therefore cannot be seen as intrusive. Its speakers are found from the Nile to the Niger rivers in the Sahara and Sahel, and south into Kenya. The eastern Sahara was likely a micro-evolutionary processor and pump of populations, who may have developed various specific sociocultural (and linguistic) identities, but were genealogically “mixed” in terms of origins.

These identities may have further crystallized on the Nile, or fused with those of resident populations that were already differentiated. The genetic profile of the Nile Valley via the fusion of the Saharans and the indigenous peoples were likely established in the main, long before the Middle Kingdom. Post-neolithic/predynastic population growth, as based on extrapolations from settlement patterns (Butzer 1976) would have led to relative genetic stability. The population of Egypt at the end of the pre-dynastic is estimated to have been greater than 800,000, but was not evenly distributed along the valley corridor, being most concentrated in locales of important settlements (Butzer 1976). Nubia, as noted, was less densely populated.

Interactions between Nubia and Egypt (and the Sahara as well) occurred in the period between 4000 and 3000 BCE (the predynastic). There is evidence for sharing of some cultural traits between Sudan and Egypt in the neolithic (Kroeper 1996). Some items of “material” culture were also shared in the phase called Naqada I between the Nubian A-Group and upper Egypt (~3900-3650 BCE). There is good evidence for a zone of cultural overlap versus an absolute boundary (Wilkinson 1999 after Hoffman 1982, and citing evidence from Needler 1984 and Adams 1996). Hoffman (1982) noted cattle burials in Hierakonpolis, the most important of predynastic upper Egyptian cities in the later predynastic. This custom might reflect Nubian cultural impact, a common cultural background, or the presence of Nubians.

Whatever the case, there was some cultural and economic bases for all levels of social intercourse, as well as geographical proximity. There was some shared iconography in the kingdoms that emerged in Nubia and upper Egypt around 3300 BCE (Williams 1986). Although disputed, there is evidence that Nubia may have even militarily engaged upper Egypt before Dynasty I, and contributed leadership in the unification of Egypt (Williams 1986). The point of reviewing these data is to illustrate that the evidence suggests a basis for social interaction, and gene exchange.

236 S.O.Y. Keita and A. J. Boyce

There is a caveat for lower Egypt. If neolithic/predynastic northern Egyptian populations were characterized at one time by higher frequencies of VII and VIII (from Near Eastern migration), then immigration from Saharan sources could have brought more V and XI (Nilo-Saharan) in the later northern neolithic. It should further be noted that the ancient Egyptians interpreted their unifying king, Narmer (either the last of Dynasty 0, or the first of Dynasty I), as having been upper Egyptian and moving from south to north with victorious armies (Gardiner 1961, Wilkinson 1999). However, this may only be the heraldic “fixation” of an achieved politi- cal and cultural status quo (Hassan 1988), with little or no actual troup/population movements. Nevertheless, it is upper Egyptian (predy- nastic) culture that comes to dominate the country and emerges as the basis of dynastic civilization. Northern graves over the latter part of the predynastic do become like those in the south (see Bard 1994); some migration to the north may have occurred—of people as well as ideas.

238-239 S.O.Y. Keita and A. J. Boyce

After the early late pleistocene/holocene establishment of Afroasiatic-speaking populations in the Nile valley and Sahara, who can be inferred to have been predominantly, but not only V (and XI), and of Nilosaharan folk in Nubia, Sudan, and Sahara (mainly XI and IV?), mid- holocene climatic-driven migrations led to a major settlement of the valley in upper Egypt and Nubia, but less so in lower Egypt, by diverse Saharans having haplotypes IV, XI, and V in proportions that would significantly influence the Nile valley-dwelling populations.

These mid-Holocene Saharans are postulated to have been part of a process that led to a diverse but connected metapopulation. These peoples fused with the indigenous valley peoples, as did Near Easterners with VII and VIII, but perhaps also some V. With population growth the genetic profiles would become stabilized. Nubian and upper Egyptian proximity and on some level, shared culture, Nubia’s possible participation in Egyptian state-building, and later partial political absorption in Dynasty I, would have reinforced biological overlap (and been further “stabilized” by ongoing population growth).

Source:

https://muse.jhu.edu/article/187884

HEAD to HEAD: Ancient Egypt Reconstructions COMPARED (Bas Uterwijk vs TKM): https://www.youtube.com/watch?v=E8iN6EFVTbQ&t=35s

Visit A Virtual Museum:

https://www.knowthyselfinstitute.com/museum

"I have not spoken angrily or arrogantly. I have not cursed anyone in thought, word or deeds." ~35th & 36th Principals of Ma'at

[thoughtportal]

The Bantu expansion is a hypothesis about the history of the major series of migrations of the original Proto-Bantu-speaking group,[3][4] which spread from an original nucleus around Central Africa across much of sub-Saharan Africa. In the process, the Proto-Bantu-speaking settlers displaced, eliminated or absorbed pre-existing hunter-gatherer and pastoralist groups that they encountered.