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#معركة_الوعي فيلم يوثّق محاولة ممنهجة لاستهداف الهوية الدينية لليمن، عبر تحريف النصوص وبث أفكار دخيلة، ويكشف كيف تتحول العقيدة إلى ساحة صراع، في مقابل صمود الإيمان اليمني الأصيل. The Battle for Awareness… A film documenting a systematic attempt to target Yemen’s religious identity through the distortion of sacred texts...

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وزارة الإعلام

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11,515 Aufrufe • vor 3 Monaten •via X (Twitter)

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ابتزاز ديني على أبواب الموت… دواء مقابل التخلي عن العقيدة… في مشهد صادم يعكس انحدارًا أخلاقيًا خطيرًا، شهدت قرية السمرا حادثة ابتزاز ديني بحق سيدتين مسنّتين من الطائفة الكريمة الأرمنية، حيث قام ناشط محسوب على ما يُعرف بـ “التيار الأموي” باشتراط تغيير دينهما مقابل منحهما علبة دواء تحتاجانها للعلاج. هذا السلوك يثير استنكارًا واسعًا، إذ يحوّل الحاجة الإنسانية إلى أداة ضغط ديني، ويكشف عن ممارسات تتنافى مع القيم الأخلاقية والإنسانية، وتعيد إلى الأذهان صور الاستغلال الممنهج الذي مورس تاريخيًا بحق الأقليات. والأخطر أن هذه الممارسات تعكس عقلية ترى في ترديد الشهادة الدينية كافيًا لاعتبار الفرد قد غيّر دينه، في تبسيط مخل ومعيب لمعنى العقيدة والإيمان. Religious Extortion at Death’s Door… Medicine in Exchange for Abandoning Faith In a shocking scene that reflects a grave moral decline, the village of Al-Samra witnessed an incident of religious extortion targeting two elderly women from the honorable Armenian community, where an activist affiliated with what is known as the “Umayyad current” demanded that they change their religion in exchange for a box of medicine they urgently needed for treatment. This conduct has sparked widespread outrage, as it turns humanitarian need into a tool of religious coercion, revealing practices that contradict fundamental ethical and human values, and recalling the systematic exploitation historically inflicted upon minorities. Even more alarming is the mindset behind such acts — one that considers the mere recitation of a religious testimony sufficient to deem an individual as having changed their faith, in a gross oversimplification and distortion of the meaning of belief and conviction. #سوريا #السمرا #ابتزاز_ديني #الطائفة_الارمنية #الطائفة_الكريمة_الارمنية #حماية_الأقليات #جرائم_ضد_الانسانية #ارهاب_ديني #اضطهاد_ديني #UN #UN_HRC #HRW #AmnestyInternational #ReligiousPersecution #MinorityRights #StopReligiousExtortion #StopReligiousPersecution #Syria
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ابتزاز ديني على أبواب الموت… دواء مقابل التخلي عن العقيدة… في مشهد صادم يعكس انحدارًا أخلاقيًا خطيرًا، شهدت قرية السمرا حادثة ابتزاز ديني بحق سيدتين مسنّتين من الطائفة الكريمة الأرمنية، حيث قام ناشط محسوب على ما يُعرف بـ “التيار الأموي” باشتراط تغيير دينهما مقابل منحهما علبة دواء تحتاجانها للعلاج. هذا السلوك يثير استنكارًا واسعًا، إذ يحوّل الحاجة الإنسانية إلى أداة ضغط ديني، ويكشف عن ممارسات تتنافى مع القيم الأخلاقية والإنسانية، وتعيد إلى الأذهان صور الاستغلال الممنهج الذي مورس تاريخيًا بحق الأقليات. والأخطر أن هذه الممارسات تعكس عقلية ترى في ترديد الشهادة الدينية كافيًا لاعتبار الفرد قد غيّر دينه، في تبسيط مخل ومعيب لمعنى العقيدة والإيمان. Religious Extortion at Death’s Door… Medicine in Exchange for Abandoning Faith In a shocking scene that reflects a grave moral decline, the village of Al-Samra witnessed an incident of religious extortion targeting two elderly women from the honorable Armenian community, where an activist affiliated with what is known as the “Umayyad current” demanded that they change their religion in exchange for a box of medicine they urgently needed for treatment. This conduct has sparked widespread outrage, as it turns humanitarian need into a tool of religious coercion, revealing practices that contradict fundamental ethical and human values, and recalling the systematic exploitation historically inflicted upon minorities. Even more alarming is the mindset behind such acts — one that considers the mere recitation of a religious testimony sufficient to deem an individual as having changed their faith, in a gross oversimplification and distortion of the meaning of belief and conviction. #سوريا #السمرا #ابتزاز_ديني #الطائفة_الارمنية #الطائفة_الكريمة_الارمنية #حماية_الأقليات #جرائم_ضد_الانسانية #ارهاب_ديني #اضطهاد_ديني #UN #UN_HRC #HRW #AmnestyInternational #ReligiousPersecution #MinorityRights #StopReligiousExtortion #StopReligiousPersecution #Syria

NEMESIS – نيميسس

516,965 Aufrufe • vor 1 Jahr

A Virtual Visit to Hinglaj Mata Temple in the Republic of Balochistan By: Mir Yar Baloch 19 April 2026 Today is the last day of a two week Hinglaj Mata Mela in the Republic of Balochistan. The annual Hinglaj Mata Naani Mandir Mela, which begins in the early days of April, is not merely a religious gathering t is a deeply emotional, cultural, and spiritual journey that echoes through centuries of devotion, resilience, and unity. Set against the rugged, majestic landscape of Balochistan’s Lasbela region, this sacred pilgrimage draws hundreds of thousands of devotees who travel across deserts, mountains, and borders to bow their heads at one of the most revered Shakti Peeths of Maa Bhavani. At the heart of this spiritual epic lies Hinglaj Mata, lovingly called “Naani Mandir” by the local Baloch people. This name itself reflects something profound: a sense of familial reverence, of shared belonging, where the divine is not distant, but close like a grandmother watching over her children. For generations, the Baloch people have embraced this sacred site not only as a religious landmark but as a symbol of coexistence, protection, and honor. It stands as living proof that faith can unite hearts across cultures, languages, and borders. The journey to Hinglaj is as meaningful as the destination itself. Pilgrims often travel in caravans, singing devotional songs, carrying flags, and sharing stories of faith and miracles. The air becomes filled with chants of “Jai Mata Di,” blending harmoniously with the winds that sweep across the arid mountains. Every step taken is seen as an act of devotion, every hardship a test of faith. When pilgrims finally reach the sacred cave shrine, many are overwhelmed with emotion tears of gratitude, hope, and spiritual fulfillment. Surrounding this holy site is the breathtaking Hingol National Park, one of the largest and most ecologically significant protected areas in the region. Spanning thousands of square kilometers, the park is a rare blend of coastal, desert, and mountainous ecosystems. It is home to diverse wildlife, including ibex, chinkara gazelles, marsh crocodiles, and numerous bird species. Unique rock formations, mud volcanoes, and the serene flow of the Hingol River add to its mystical beauty. The park is not only an ecological treasure but also a spiritual landscape, where nature itself seems to bow in reverence to the sacred presence of Hinglaj Mata. The mela attracts nearly half a million pilgrims every year, making it one of the largest religious gatherings in the region. Despite the challenging terrain, the spirit of hospitality shown by the Baloch people remains unwavering. Local communities actively participate in facilitating the pilgrimage offering food, guidance, security, and care. This deep-rooted tradition reflects a powerful cultural message: that protecting sacred spaces and honoring guests is a matter of pride and identity. Hinglaj Mata Mandir today stands as a bridge between Balochistan and India, connecting millions through shared faith and devotion. It transcends political boundaries and reminds the world that spirituality knows no borders. The temple’s status as one of the 51 Shakti Peeths further elevates its importance, making it a cornerstone of Hindu religious heritage. There is also a growing vision for the future—one that seeks to expand facilities, improve accessibility, and accommodate an even greater number of pilgrims. The aspiration to one day welcome millions more reflects not just ambition, but a commitment to preserving and sharing this sacred heritage with the world. Above all, the message to devotees is one of reassurance and hope: that Hinglaj Mata’s doors remain open, her blessings universal, and her land welcoming. The dream of easier access, including visa-on-arrival issued by the Republic of Balochistan for Hindu pilgrims from around the world, symbolizes a future where faith journeys are guided by devotion rather than restricted by borders. In the end, the Hinglaj Mata Naani Mandir Mela is more than an event it is a living story of faith, unity, and humanity. It is where deserts bloom with devotion, where strangers become family, and where the divine presence of Maa Bhavani continues to inspire millions with courage, compassion, and unshakable belief. Hyrbyair Marri #HinglajMataMandir #HinglajTempleBalochistan
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Texas has now crossed a serious line. Through HB 1605, passed in the last session, championed by TEA Commissioner #MikeMorath, Governor Greg Abbott, Representative Brad Buckley, Senator Brandon Creighton and others on both sides of the asile, the state is explicitly establishing a mandated “canon of literature” for every student K through 12. That word canon matters. Canon is not an academic term. It is a value laden term rooted in authority, belief, and the power to declare what is foundational truth. This is not about teaching students how to read across genres. The state’s own testimony confirms the intent is to create a shared body of works all students are expected to read, understand, and internalize as foundational knowledge. That is a shift away from academic skill development and toward shaping values, beliefs, and behaviors. When the state becomes the arbiter of what is canon, it assumes authority over truth itself. And when that canon begins to include biblical references embedded in a state owned and mandated curriculum, the question must be asked plainly. Is the state now defining its own religious canon? This is not about faith. It is about government power, coercion, and the constitutional danger of the state deciding what our children must believe, rather than what they must learn. The Bible is sacred scripture. It is not a tool of the state. And it should never be filtered, excerpted, reframed, or repackaged by a government agency.

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If The Great Satan 🇺🇸 joins an attack on Iran alongside The Zionist Entity, Yemen’s armed forces will strike U.S. ships in the Red Sea. "The enemy is attempting to remove the Islamic Republic of Iran because it regards it as the greatest obstacle to the realization of its plan. For that reason, any American attack or aggression carried out in support of the Israeli enemy against Iran falls within the same objective—namely, enabling the Israeli enemy to dominate the entire region. This is something that cannot be tolerated, because it would mean the seizure of the freedom, independence, and dignity of our Ummah; its enslavement and humiliation; the distortion of its identity; the occupation of its homelands; the plundering of its wealth; and the entrenchment of a permanent condition in which blood, honor, land, and sacred sites are violated with impunity. Accordingly, this battle is the battle of the Ummah as a whole. The salvation of the Ummah—and its dignity and victory—lie in mobilization and jihad in the path of Allah, the Exalted, as He has said: “Fight in the way of Allah, and know that Allah is All-Hearing, All-Knowing.” And He has said: “O you who have believed, if you support Allah, He will support you and make your footing firm.” Allah the Almighty has spoken the truth. Based on this, if the American becomes involved in attacking or aggressing against Iran alongside the Israeli enemy, the Yemeni Armed Forces will target his ships and warships in the Red Sea. The Armed Forces are closely monitoring and tracking all movements in the region, including hostile actions against our country, and—by Allah’s help—will take whatever legitimate measures are necessary to defend our dear homeland and its steadfast people. Yemen, with its great people, faithful leadership, and mujahideen army, will stand alongside any Arab or Islamic country that is subjected to aggression and chooses to confront it—whether in defense of itself or in support and backing of the mujahideen of the Palestinian resistance. We will never abandon our brothers in the Gaza Strip. We will never abandon our brothers in the Gaza Strip." - 🇾🇪General Yahya Saree

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5:20

The History of Lagos Belongs to the Awori: A Correction of the Public Record The history of a people is best told by the people themselves. When outsiders, no matter how well-intentioned, attempt to narrate our history, crucial truths are lost, and a legacy of disrespect is created. As an Awori, I must set the record straight, because the story of Lagos is the story of my ancestors. For too long, our history has been told on our behalf, often inaccurately. We see this in videos where even respected figures, like a descendant of the great Chief Oshodi Tapa (a man of Nupe heritage), misrepresent fundamental details about our identity. This must stop. The Awori are still here, and the authentic history of Lagos resides with us. Here are the undeniable truths. 1. We Are the Indigenous People, Not "Settlers" Let us be perfectly clear: the Awori did not "settle" Lagos. We are the indigenous people of this land. Before there was a port, a palace, or a city, this was the ancestral home of the Awori, governed by our king, the Olofin, from the royal cradle of Isheri. The land was ours by primordial right, and it was our civilization that served as the foundation for everything that came after. We were the hosts, not the first guests. 2. Ashipa Was Our Chief First The identity of Ashipa, the first Oba of Lagos, is not a mystery to the Awori. He was not a Benin prince. - His name was Fagade, and he was a distinguished chief within our own community at Isheri. He was one of us. - His elevation came through an act of honor and diplomacy. When a Benin war captain, Asheru, died at Isheri, it was Chief Ashipa who undertook the noble task of returning his body to Benin for a proper burial. - This act earned him the respect of the Oba of Benin, who honored him with the war title "Oloriogun" and, crucially, gave him a Benin princess, Princess Wuse, in marriage. The Lagos Royal Family's own official history, published in 2021, confirms this. They proudly name their progenitor as “Fagade – The Ashipa an Isheri prince.” 3. The Benin Connection Is One of Alliance, Not Origin The only blood from Benin in the Lagos royal line came through Ashipa’s wife, the mother of his heir, Oba Ado. This makes the Benin Kingdom our respected in-laws, not our founders. The relationship was an alliance that brought power and prestige to the Lagos throne, but the throne itself was established by an Awori chief, on Awori land, with the consent of the Awori people. This is proven by the very symbol of the monarchy. A conquering king does not adopt the crown of the people he has conquered. Yet, the Obas of Lagos adopted the white cap, the sacred symbol of the indigenous Awori Idejo chiefs, as their crown. This was an act of respect and integration into our existing Awori power structure. Our History, Our Voice The story of Lagos is rich and complex. It involves many peoples—the Nupe, the Brazillian returnees, and many others who were welcomed and found a home here. But the foundation, the root, and the trunk of the tree are undeniably Awori. The history of Lagos is not a public debate for outsiders to interpret. It is our heritage. It is disrespectful for our story to be told for us, especially when it is told incorrectly. If you wish to know the story of the house, ask the family that built it. For the authentic history of Lagos, consult the Awori. Signed: Baba Awori

Baba Awori

20,962 Aufrufe • vor 6 Monaten

Al Hashah village, nestled in the heart of Wadi Bani Hani in Al Rustaq, Oman, boasts a stunning geographical wonder—a colossal rock that rises majestically in the middle of the valley. During the rainy season, as the wadi fills with water, the village transforms into a breathtaking sight, appearing to float like a ship in a sea of shimmering waters. The Floating Village of Al Hashah.. Hidden deep within the embrace of Oman’s rugged mountains, where the winds whisper through narrow canyons and the sun casts golden hues over the land, lies the serene village of Al Hashah. Situated in Al Rustaq’s Wadi Bani Hani, Al Hashah is a place of quiet beauty, but its most captivating feature is the giant rock that stands at its heart, like a sentinel watching over the valley. This rock, larger than any house, is woven into the identity of the village. The villagers tell stories of how it has stood for centuries, unmovable through the harshest weather and time’s relentless passage. But it is during the rainy season that the true magic of Al Hashah reveals itself. When the clouds gather and release torrents of rain, the dry valley floor becomes a flowing river, transforming the landscape into a scene of wonder. The once-barren wadi fills to the brim, and the village appears to defy the natural world. As the waters rise and flow around the houses, Al Hashah seems to float, like a ship at sea. The giant rock stands firm amidst the waves, a steadfast anchor in a world momentarily taken over by water. In these moments, the villagers move about carefully, their lives adapting to the changing elements. Children peer out from windows, eyes wide in awe as their homes appear to drift. The elders smile, knowing that soon the waters will recede, and the village will return to its quiet, dry existence. Yet, every year, this spectacle reminds them of nature’s dual power—both a source of life and a force to be respected. The beauty of Al Hashah in the rainy season is not just a visual marvel, but a reminder of the delicate balance between people and their environment. The village, with its large rock and floating illusion, remains a symbol of resilience, harmony, and the timeless connection between land, water, and community. 🎥© r.n_49 (IG) #archaeohistories
0:22

Al Hashah village, nestled in the heart of Wadi Bani Hani in Al Rustaq, Oman, boasts a stunning geographical wonder—a colossal rock that rises majestically in the middle of the valley. During the rainy season, as the wadi fills with water, the village transforms into a breathtaking sight, appearing to float like a ship in a sea of shimmering waters. The Floating Village of Al Hashah.. Hidden deep within the embrace of Oman’s rugged mountains, where the winds whisper through narrow canyons and the sun casts golden hues over the land, lies the serene village of Al Hashah. Situated in Al Rustaq’s Wadi Bani Hani, Al Hashah is a place of quiet beauty, but its most captivating feature is the giant rock that stands at its heart, like a sentinel watching over the valley. This rock, larger than any house, is woven into the identity of the village. The villagers tell stories of how it has stood for centuries, unmovable through the harshest weather and time’s relentless passage. But it is during the rainy season that the true magic of Al Hashah reveals itself. When the clouds gather and release torrents of rain, the dry valley floor becomes a flowing river, transforming the landscape into a scene of wonder. The once-barren wadi fills to the brim, and the village appears to defy the natural world. As the waters rise and flow around the houses, Al Hashah seems to float, like a ship at sea. The giant rock stands firm amidst the waves, a steadfast anchor in a world momentarily taken over by water. In these moments, the villagers move about carefully, their lives adapting to the changing elements. Children peer out from windows, eyes wide in awe as their homes appear to drift. The elders smile, knowing that soon the waters will recede, and the village will return to its quiet, dry existence. Yet, every year, this spectacle reminds them of nature’s dual power—both a source of life and a force to be respected. The beauty of Al Hashah in the rainy season is not just a visual marvel, but a reminder of the delicate balance between people and their environment. The village, with its large rock and floating illusion, remains a symbol of resilience, harmony, and the timeless connection between land, water, and community. 🎥© r.n_49 (IG) #archaeohistories

Archaeo - Histories

69,748 Aufrufe • vor 1 Jahr

THIS IS HOW TRAFFICKING ACTUALLY STARTS Watch Full Episode Here: A mother reveals the devastating truth about how trafficking often begins long before anyone realizes what’s happening. “They don’t come in with chains. They come in with attention, affection, and trust.” In this powerful conversation from Episode 81 of Going Rogue with Lara Logan, the discussion exposes how predators target vulnerable children through grooming, emotional manipulation, and false friendship rather than immediate violence or force. The guest explains how neurodivergent and autistic children are often especially vulnerable because of their trusting nature and desire for connection. Traffickers carefully build relationships, isolate victims emotionally, and slowly introduce coercion, drugs, alcohol, and dependency to gain control. Lara Logan and the panel discuss how loneliness, confusion, identity struggles, and emotional vulnerability are exploited for profit, while many families remain unaware of the warning signs until it is too late. This is not the Hollywood version of trafficking. This is the reality happening in communities everywhere. And it’s a conversation every parent needs to hear. Episode 81 of Going Rogue shines a light on how trafficking truly starts and why awareness is critical to protecting vulnerable children. Shepherd’s Watch Foundation Going Rogue with Lara Logan #LaraLogan #HumanTrafficking #AutismAwareness #ChildSafety #ProtectChildren #TruthExposed
1:57

THIS IS HOW TRAFFICKING ACTUALLY STARTS Watch Full Episode Here: A mother reveals the devastating truth about how trafficking often begins long before anyone realizes what’s happening. “They don’t come in with chains. They come in with attention, affection, and trust.” In this powerful conversation from Episode 81 of Going Rogue with Lara Logan, the discussion exposes how predators target vulnerable children through grooming, emotional manipulation, and false friendship rather than immediate violence or force. The guest explains how neurodivergent and autistic children are often especially vulnerable because of their trusting nature and desire for connection. Traffickers carefully build relationships, isolate victims emotionally, and slowly introduce coercion, drugs, alcohol, and dependency to gain control. Lara Logan and the panel discuss how loneliness, confusion, identity struggles, and emotional vulnerability are exploited for profit, while many families remain unaware of the warning signs until it is too late. This is not the Hollywood version of trafficking. This is the reality happening in communities everywhere. And it’s a conversation every parent needs to hear. Episode 81 of Going Rogue shines a light on how trafficking truly starts and why awareness is critical to protecting vulnerable children. Shepherd’s Watch Foundation Going Rogue with Lara Logan #LaraLogan #HumanTrafficking #AutismAwareness #ChildSafety #ProtectChildren #TruthExposed

Lara Logan

16,051 Aufrufe • vor 2 Monaten

Within the arid landscapes of Yazd, Iran, stands a testament to ancient beliefs and cultural practices, which is called the Tower of Silence. Also known as Dakhma or Dokhma, this enigmatic structure is a revered site for followers of the Zoroastrian faith, offering a glimpse into a unique funerary tradition that dates back centuries. Yazd Tower of Silence, with its intricate history and cultural significance, serves as a bridge connecting the past to the present, allowing us to explore the rich tapestry of religious practices that have shaped the region’s identity. Zoroastrian religion, founded by prophet Zoroaster (Zarathustra) around 1500 BC, in ancient Persia (modern-day Iran), introduced concepts that influenced later monotheistic religions. Central to Zoroastrian beliefs is the idea of a cosmic struggle between the forces of good and evil. Death and afterlife hold deep significance, and Zoroastrian funerary rituals reflect this spiritual perspective. Tower of Silence, built upon circular and raised platforms, was designed to fulfill a specific purpose in the Zoroastrian afterlife tradition. Zoroastrians believed in maintaining the purity of the elements, and the dead body was considered impure due to its contact with death. To prevent contaminating the earth, water, and fire – all considered sacred in Zoroastrianism – Tower of Silence was created as an alternative to traditional burial or cremation. Tower of Silence holds profound cultural significance within the Zoroastrian community. It represents an enduring link to the past, carrying forward ancient traditions that have been preserved across generations. Despite the gradual decline in the Zoroastrian population in Iran and the modernization of funeral practices, Tower of Silence stands as a testament to the unwavering devotion of the Zoroastrian community to its beliefs. In recent years, however, changes in environmental regulations and urbanization have posed challenges to traditional practice of Tower of Silence. Concerns about vulture populations, health considerations, and changing social norms have led to debates within the Zoroastrian community about the future of this practice. Construction of Dakhmas, also known as Towers of Silence, and practice of placing the deceased within them were deeply rooted in the belief system of Zoroastrians. Zoroastrians perceived the world as composed of four essential elements: water, fire, earth, and air. Due to this belief, the act of cremation and burial was seen as polluting the purity of these elements. In response, the Zoroastrians devised an ingenious solution to prevent contamination of the elements by constructing towers with elevated platforms. Following an individual’s passing, the Zoroastrians would carry the body to a Tower of Silence or Dakhma. This practice allowed the body to be returned to nature without compromising the purity of the natural elements. These towers were meticulously designed in accordance with fascinating principles. Separate areas within the Dakhma were designated for the bodies of men, women, and children. The central space of the circular tower, known as the “estudan,” was dedicated to the burial and disinfection of bones. The bodies of the deceased served as sustenance for scavenger birds such as crows and other avian creatures. Once the scavenging process was complete, the remaining bones were carefully placed within the “estudan,” a central well-like structure within the Dakhma. This intricate process was meticulously orchestrated to ensure that neither the earth nor fire would be contaminated. Within the empty central space of the Dakhma, “estudan” well served as the repository for the bones left behind after the scavenging process. This process embodied the Zoroastrian understanding of life and death as part of a greater cosmic cycle, reinforcing their deep connection to the elements and nature itself. 🎥© marcopesteh (IG) #archaeohistories
0:29

Within the arid landscapes of Yazd, Iran, stands a testament to ancient beliefs and cultural practices, which is called the Tower of Silence. Also known as Dakhma or Dokhma, this enigmatic structure is a revered site for followers of the Zoroastrian faith, offering a glimpse into a unique funerary tradition that dates back centuries. Yazd Tower of Silence, with its intricate history and cultural significance, serves as a bridge connecting the past to the present, allowing us to explore the rich tapestry of religious practices that have shaped the region’s identity. Zoroastrian religion, founded by prophet Zoroaster (Zarathustra) around 1500 BC, in ancient Persia (modern-day Iran), introduced concepts that influenced later monotheistic religions. Central to Zoroastrian beliefs is the idea of a cosmic struggle between the forces of good and evil. Death and afterlife hold deep significance, and Zoroastrian funerary rituals reflect this spiritual perspective. Tower of Silence, built upon circular and raised platforms, was designed to fulfill a specific purpose in the Zoroastrian afterlife tradition. Zoroastrians believed in maintaining the purity of the elements, and the dead body was considered impure due to its contact with death. To prevent contaminating the earth, water, and fire – all considered sacred in Zoroastrianism – Tower of Silence was created as an alternative to traditional burial or cremation. Tower of Silence holds profound cultural significance within the Zoroastrian community. It represents an enduring link to the past, carrying forward ancient traditions that have been preserved across generations. Despite the gradual decline in the Zoroastrian population in Iran and the modernization of funeral practices, Tower of Silence stands as a testament to the unwavering devotion of the Zoroastrian community to its beliefs. In recent years, however, changes in environmental regulations and urbanization have posed challenges to traditional practice of Tower of Silence. Concerns about vulture populations, health considerations, and changing social norms have led to debates within the Zoroastrian community about the future of this practice. Construction of Dakhmas, also known as Towers of Silence, and practice of placing the deceased within them were deeply rooted in the belief system of Zoroastrians. Zoroastrians perceived the world as composed of four essential elements: water, fire, earth, and air. Due to this belief, the act of cremation and burial was seen as polluting the purity of these elements. In response, the Zoroastrians devised an ingenious solution to prevent contamination of the elements by constructing towers with elevated platforms. Following an individual’s passing, the Zoroastrians would carry the body to a Tower of Silence or Dakhma. This practice allowed the body to be returned to nature without compromising the purity of the natural elements. These towers were meticulously designed in accordance with fascinating principles. Separate areas within the Dakhma were designated for the bodies of men, women, and children. The central space of the circular tower, known as the “estudan,” was dedicated to the burial and disinfection of bones. The bodies of the deceased served as sustenance for scavenger birds such as crows and other avian creatures. Once the scavenging process was complete, the remaining bones were carefully placed within the “estudan,” a central well-like structure within the Dakhma. This intricate process was meticulously orchestrated to ensure that neither the earth nor fire would be contaminated. Within the empty central space of the Dakhma, “estudan” well served as the repository for the bones left behind after the scavenging process. This process embodied the Zoroastrian understanding of life and death as part of a greater cosmic cycle, reinforcing their deep connection to the elements and nature itself. 🎥© marcopesteh (IG) #archaeohistories

Archaeo - Histories

56,618 Aufrufe • vor 1 Jahr

The Lord of the Rings: The Fellowship of the Ring – Prologue: How Peter Jackson Turned a Legend into a Cinematic Experience Before Frodo’s journey begins, Middle-earth already carries a history that stretches back thousands of years. The greatest challenge of The Fellowship of the Ring was not simply introducing a fantasy world, but making audiences feel that this world had a long and meaningful past: with kingdoms that had risen and fallen, wars that had already been fought, and tragedies that continued to leave their marks. In just under seven minutes, the Prologue transforms an enormous amount of history into a concise cinematic experience, allowing viewers to enter Middle-earth as a world that had existed long before the main story began. What makes this opening remarkable is that it does not feel like a simple explanation of a fictional universe. Instead, it feels like a legend being retold from the perspective of someone who belongs to an age that witnessed the great changes of Middle-earth. This is the greatest achievement of the Prologue. In only a few minutes, Peter Jackson, Fran Walsh, Philippa Boyens, and Howard Shore transform Tolkien’s historical background into an accessible cinematic experience, allowing audiences to understand that Frodo’s story is not the beginning of a new world, but another chapter in a history that has already lasted for thousands of years. A Masterclass in Opening an Epic Film An epic film must answer three fundamental questions within its opening moments: What is at stake? How dangerous is the enemy? Why should the audience care? The Fellowship of the Ring’s Prologue answers all three with remarkable efficiency. Middle-earth does not appear as a newly created fantasy setting, but as a world shaped by countless ages, civilizations, and different races: Elves, Dwarves, and Men. This vast history is compressed into a continuous flow, allowing viewers to understand the scale of the story without becoming overwhelmed by excessive information. At the center of this entire history stands the One Ring. The film does not introduce it as merely a magical object, but as a vessel containing power, will, and Sauron’s desire for domination. From that moment, the audience understands that the wars and tragedies to come will revolve around something that appears deceptively small. Galadriel Does Not Simply Tell a Story — She Speaks as Someone Who Belongs to That Age One of Peter Jackson’s most important decisions was choosing Galadriel as the narrator. From the first Elvish words in the film version — “I amar prestar aen... The world is changed...” — the audience is immediately drawn into an atmosphere that feels ancient and filled with memory. Galadriel does not narrate like someone explaining history. She narrates like someone who belongs to an age that has witnessed the great transformations of Middle-earth. Her calm and measured voice, carrying a sense of memory and reflection, makes the audience feel that what they are seeing is not merely a conventional introduction, but a story being recalled from a distant era. This choice gives Middle-earth the depth of a civilization that existed long before Frodo entered the story. Howard Shore Transforms the History of Middle-earth into a Musical Language The music in the Prologue does more than simply accompany the images. It tells the story alongside the film. In the scenes connected with the Elves, the music carries a sense of elegance and mystery, suggesting an ancient culture and an era that is gradually changing. But when Sauron appears, the entire soundscape changes. Heavy drums, metallic textures, and tense rhythms create the feeling of a force threatening the balance of Middle-earth. Howard Shore does not simply create musical themes for individual characters or factions. He builds a complete leitmotif system, where music becomes a way for audiences to recognize different cultures, characters, and powers within Tolkien’s world. A Battle That Feels Real Because Technology Serves the Story The Battle of Dagorlad remains impressive even more than two decades after its creation. One important reason is the MASSIVE system, a software developed by Weta Digital to create large-scale CGI armies. Instead of moving like identical copies of one another, digital soldiers were designed with different behaviors through a simulation system, creating the impression of a vast and chaotic battlefield. What audiences remember is not the technology itself. What they remember is the feeling of a battle with a genuine sense of scale. It is a moment when technology supports the story rather than drawing attention to itself. Isildur Shows That the Ring Can Defeat Even a Hero The most important character in the Prologue is not Sauron. It is Isildur. He enters the story as the man who helped defeat the Dark Lord. Yet that victory immediately turns into tragedy when he cannot let go of the Ring. In the film version, Peter Jackson condenses this moment by showing Isildur rejecting Elrond’s advice and carrying the Ring away from Mount Doom. In Tolkien’s original work, this decision carries even greater complexity. Isildur initially keeps the Ring as compensation for the deaths of his father Elendil and his brother Anárion. However, although he does not fully understand the Ring’s true nature at first, its power gradually reveals its ability to influence his will. What makes Isildur’s story significant is that he is not portrayed as an evil person. His tragedy lies in the fact that even a hero can fail when faced with the temptation of power. The Ring does not create evil from nothing. It exploits and amplifies the ambitions, fears, and desires that already exist within individuals, allowing even a noble person to be overcome by its influence. A Transition That Tells Nearly Three Thousand Years of History After Isildur is killed at the Gladden Fields, the Ring falls into the River Anduin and disappears from history for many centuries. With a single transition, the film carries the audience across nearly three thousand years without lengthy explanation. During this period, the Ring is forgotten before being discovered by Sméagol. It then remains with him for nearly five hundred years, gradually consuming both his body and spirit, transforming a creature of Hobbit-kind into Gollum. When Bilbo accidentally finds the Ring, the film completely changes its rhythm. The lighting becomes warmer. The music becomes gentler. The epic world of kings and massive battles gives way to the peaceful world of the Shire and the Hobbits. This is not only a transition in time. It is a transition in the entire story. The fate of Middle-earth is no longer placed in the hands of powerful warriors, but into the hands of the smallest and most unexpected creatures. Conclusion The Prologue of The Fellowship of the Ring is a masterclass in opening an epic film. In only a few minutes, it builds an entire world, establishes the central threat, introduces the antagonist, and lays the foundation for the journey that follows. However, the greatest achievement of this sequence does not lie only in its scale or visual effects. It lies in the way Peter Jackson transforms a vast amount of historical background into an accessible cinematic experience. The audience does not understand Middle-earth only through information, but also through the feeling that this is a world with a real past — a world that has experienced ages of greatness, conflict, and decline long before Frodo’s journey begins.
7:02

The Lord of the Rings: The Fellowship of the Ring – Prologue: How Peter Jackson Turned a Legend into a Cinematic Experience Before Frodo’s journey begins, Middle-earth already carries a history that stretches back thousands of years. The greatest challenge of The Fellowship of the Ring was not simply introducing a fantasy world, but making audiences feel that this world had a long and meaningful past: with kingdoms that had risen and fallen, wars that had already been fought, and tragedies that continued to leave their marks. In just under seven minutes, the Prologue transforms an enormous amount of history into a concise cinematic experience, allowing viewers to enter Middle-earth as a world that had existed long before the main story began. What makes this opening remarkable is that it does not feel like a simple explanation of a fictional universe. Instead, it feels like a legend being retold from the perspective of someone who belongs to an age that witnessed the great changes of Middle-earth. This is the greatest achievement of the Prologue. In only a few minutes, Peter Jackson, Fran Walsh, Philippa Boyens, and Howard Shore transform Tolkien’s historical background into an accessible cinematic experience, allowing audiences to understand that Frodo’s story is not the beginning of a new world, but another chapter in a history that has already lasted for thousands of years. A Masterclass in Opening an Epic Film An epic film must answer three fundamental questions within its opening moments: What is at stake? How dangerous is the enemy? Why should the audience care? The Fellowship of the Ring’s Prologue answers all three with remarkable efficiency. Middle-earth does not appear as a newly created fantasy setting, but as a world shaped by countless ages, civilizations, and different races: Elves, Dwarves, and Men. This vast history is compressed into a continuous flow, allowing viewers to understand the scale of the story without becoming overwhelmed by excessive information. At the center of this entire history stands the One Ring. The film does not introduce it as merely a magical object, but as a vessel containing power, will, and Sauron’s desire for domination. From that moment, the audience understands that the wars and tragedies to come will revolve around something that appears deceptively small. Galadriel Does Not Simply Tell a Story — She Speaks as Someone Who Belongs to That Age One of Peter Jackson’s most important decisions was choosing Galadriel as the narrator. From the first Elvish words in the film version — “I amar prestar aen... The world is changed...” — the audience is immediately drawn into an atmosphere that feels ancient and filled with memory. Galadriel does not narrate like someone explaining history. She narrates like someone who belongs to an age that has witnessed the great transformations of Middle-earth. Her calm and measured voice, carrying a sense of memory and reflection, makes the audience feel that what they are seeing is not merely a conventional introduction, but a story being recalled from a distant era. This choice gives Middle-earth the depth of a civilization that existed long before Frodo entered the story. Howard Shore Transforms the History of Middle-earth into a Musical Language The music in the Prologue does more than simply accompany the images. It tells the story alongside the film. In the scenes connected with the Elves, the music carries a sense of elegance and mystery, suggesting an ancient culture and an era that is gradually changing. But when Sauron appears, the entire soundscape changes. Heavy drums, metallic textures, and tense rhythms create the feeling of a force threatening the balance of Middle-earth. Howard Shore does not simply create musical themes for individual characters or factions. He builds a complete leitmotif system, where music becomes a way for audiences to recognize different cultures, characters, and powers within Tolkien’s world. A Battle That Feels Real Because Technology Serves the Story The Battle of Dagorlad remains impressive even more than two decades after its creation. One important reason is the MASSIVE system, a software developed by Weta Digital to create large-scale CGI armies. Instead of moving like identical copies of one another, digital soldiers were designed with different behaviors through a simulation system, creating the impression of a vast and chaotic battlefield. What audiences remember is not the technology itself. What they remember is the feeling of a battle with a genuine sense of scale. It is a moment when technology supports the story rather than drawing attention to itself. Isildur Shows That the Ring Can Defeat Even a Hero The most important character in the Prologue is not Sauron. It is Isildur. He enters the story as the man who helped defeat the Dark Lord. Yet that victory immediately turns into tragedy when he cannot let go of the Ring. In the film version, Peter Jackson condenses this moment by showing Isildur rejecting Elrond’s advice and carrying the Ring away from Mount Doom. In Tolkien’s original work, this decision carries even greater complexity. Isildur initially keeps the Ring as compensation for the deaths of his father Elendil and his brother Anárion. However, although he does not fully understand the Ring’s true nature at first, its power gradually reveals its ability to influence his will. What makes Isildur’s story significant is that he is not portrayed as an evil person. His tragedy lies in the fact that even a hero can fail when faced with the temptation of power. The Ring does not create evil from nothing. It exploits and amplifies the ambitions, fears, and desires that already exist within individuals, allowing even a noble person to be overcome by its influence. A Transition That Tells Nearly Three Thousand Years of History After Isildur is killed at the Gladden Fields, the Ring falls into the River Anduin and disappears from history for many centuries. With a single transition, the film carries the audience across nearly three thousand years without lengthy explanation. During this period, the Ring is forgotten before being discovered by Sméagol. It then remains with him for nearly five hundred years, gradually consuming both his body and spirit, transforming a creature of Hobbit-kind into Gollum. When Bilbo accidentally finds the Ring, the film completely changes its rhythm. The lighting becomes warmer. The music becomes gentler. The epic world of kings and massive battles gives way to the peaceful world of the Shire and the Hobbits. This is not only a transition in time. It is a transition in the entire story. The fate of Middle-earth is no longer placed in the hands of powerful warriors, but into the hands of the smallest and most unexpected creatures. Conclusion The Prologue of The Fellowship of the Ring is a masterclass in opening an epic film. In only a few minutes, it builds an entire world, establishes the central threat, introduces the antagonist, and lays the foundation for the journey that follows. However, the greatest achievement of this sequence does not lie only in its scale or visual effects. It lies in the way Peter Jackson transforms a vast amount of historical background into an accessible cinematic experience. The audience does not understand Middle-earth only through information, but also through the feeling that this is a world with a real past — a world that has experienced ages of greatness, conflict, and decline long before Frodo’s journey begins.

🎼🌺Music Love♥️

16,018 Aufrufe • vor 19 Tagen

Mozart – Bassoon Concerto in B-flat Major, K.191 When a Voice from the Background Finally Steps into the Spotlight In every play and every classical orchestra, there are performers whose role is to support everyone else. The bassoon—with its long body and warm, resonant tone—has traditionally been one of them. In most orchestras of Mozart's time, it was valued primarily for reinforcing the harmonic foundation and supporting the overall texture rather than drawing attention to itself. As a result, audiences became accustomed to hearing the bassoon as a voice from the background rather than a character standing at center stage. Yet in the Bassoon Concerto, K.191, Mozart does not try to turn the bassoon into a violin or a flute. Instead, he does something far more subtle: he gradually reveals the full expressive identity that has always existed within the instrument itself. The concerto's three movements feel like three different portraits of the same character. I. First Movement: Hidden Strength This becomes clear the moment the bassoon enters with its first solo. After the orchestra's opening, the bassoon does not begin with a gentle, lyrical melody. Instead, it speaks from its familiar low register before suddenly leaping upward across a wide interval, creating an immediate sense of energy and confidence. It is like someone who has quietly stood behind the scenes for years, suddenly stepping forward under their own strength. The bassoon never abandons its naturally warm, dark voice. Rather, Mozart transforms that very foundation into the source of its vitality and agility. For the first time, listeners begin to realize that beneath the instrument's seemingly weighty tone lies an unexpected freedom of movement. II. Second Movement: A Singing Voice If the first movement reveals strength, the second uncovers an entirely different side of the instrument. Mozart gently draws the orchestra into the background, thinning the texture and creating an open space in which the bassoon can truly sing. Freed from dense orchestral layers, its long melodic lines unfold with remarkable calmness, warmth, and emotional depth. A tone often associated with darkness and gravity suddenly becomes deeply human, almost like a quiet voice sharing its thoughts. The graceful phrases invite listeners to forget the bassoon's familiar orchestral role and instead hear an instrument capable of profound lyricism and sincerity. Mozart does not change the nature of the bassoon. He simply places it in the perfect setting for its beauty to reveal itself naturally. III. Third Movement: Wit and Grace In the final movement, Mozart reveals yet another side of the bassoon's personality. Against the lively rhythm of the rondo, the instrument dances through wide leaps, agile passages, and playful exchanges with the orchestra. Everything moves with lightness, wit, and effortless charm. The fascination lies not in virtuosity for its own sake, but in the way Mozart allows the bassoon to behave like a gifted stage performer—tossing ideas into the air, answering the orchestra, and smiling through its own musical phrases. An instrument long admired for its warm, mellow tone suddenly delights the listener with quickness, humor, and elegance. It is a side of the bassoon that can fully emerge only when it is given the opportunity to stand as a solo voice. Conclusion: An Instrument Allowed to Be Itself Seen as a whole, the concerto presents three portraits of the same instrument. The first movement reveals its strength and agility. The second reveals its ability to sing with deep emotion. The third celebrates its wit, elegance, and vibrant spirit. What makes this concerto remarkable is that Mozart never tries to transform the bassoon into something it is not. He neither disguises its naturally dark tone nor rejects its traditional place within the orchestra. Instead, he uncovers the expressive possibilities that have always existed within the instrument and brings them into the light. Perhaps that is why, more than two centuries later, the Bassoon Concerto in B-flat Major, K.191 continues to surprise listeners. Not because Mozart created a completely new instrument, but because he revealed that behind a voice long accustomed to supporting others lies a rich and distinctive personality waiting to be heard.
19:20

Mozart – Bassoon Concerto in B-flat Major, K.191 When a Voice from the Background Finally Steps into the Spotlight In every play and every classical orchestra, there are performers whose role is to support everyone else. The bassoon—with its long body and warm, resonant tone—has traditionally been one of them. In most orchestras of Mozart's time, it was valued primarily for reinforcing the harmonic foundation and supporting the overall texture rather than drawing attention to itself. As a result, audiences became accustomed to hearing the bassoon as a voice from the background rather than a character standing at center stage. Yet in the Bassoon Concerto, K.191, Mozart does not try to turn the bassoon into a violin or a flute. Instead, he does something far more subtle: he gradually reveals the full expressive identity that has always existed within the instrument itself. The concerto's three movements feel like three different portraits of the same character. I. First Movement: Hidden Strength This becomes clear the moment the bassoon enters with its first solo. After the orchestra's opening, the bassoon does not begin with a gentle, lyrical melody. Instead, it speaks from its familiar low register before suddenly leaping upward across a wide interval, creating an immediate sense of energy and confidence. It is like someone who has quietly stood behind the scenes for years, suddenly stepping forward under their own strength. The bassoon never abandons its naturally warm, dark voice. Rather, Mozart transforms that very foundation into the source of its vitality and agility. For the first time, listeners begin to realize that beneath the instrument's seemingly weighty tone lies an unexpected freedom of movement. II. Second Movement: A Singing Voice If the first movement reveals strength, the second uncovers an entirely different side of the instrument. Mozart gently draws the orchestra into the background, thinning the texture and creating an open space in which the bassoon can truly sing. Freed from dense orchestral layers, its long melodic lines unfold with remarkable calmness, warmth, and emotional depth. A tone often associated with darkness and gravity suddenly becomes deeply human, almost like a quiet voice sharing its thoughts. The graceful phrases invite listeners to forget the bassoon's familiar orchestral role and instead hear an instrument capable of profound lyricism and sincerity. Mozart does not change the nature of the bassoon. He simply places it in the perfect setting for its beauty to reveal itself naturally. III. Third Movement: Wit and Grace In the final movement, Mozart reveals yet another side of the bassoon's personality. Against the lively rhythm of the rondo, the instrument dances through wide leaps, agile passages, and playful exchanges with the orchestra. Everything moves with lightness, wit, and effortless charm. The fascination lies not in virtuosity for its own sake, but in the way Mozart allows the bassoon to behave like a gifted stage performer—tossing ideas into the air, answering the orchestra, and smiling through its own musical phrases. An instrument long admired for its warm, mellow tone suddenly delights the listener with quickness, humor, and elegance. It is a side of the bassoon that can fully emerge only when it is given the opportunity to stand as a solo voice. Conclusion: An Instrument Allowed to Be Itself Seen as a whole, the concerto presents three portraits of the same instrument. The first movement reveals its strength and agility. The second reveals its ability to sing with deep emotion. The third celebrates its wit, elegance, and vibrant spirit. What makes this concerto remarkable is that Mozart never tries to transform the bassoon into something it is not. He neither disguises its naturally dark tone nor rejects its traditional place within the orchestra. Instead, he uncovers the expressive possibilities that have always existed within the instrument and brings them into the light. Perhaps that is why, more than two centuries later, the Bassoon Concerto in B-flat Major, K.191 continues to surprise listeners. Not because Mozart created a completely new instrument, but because he revealed that behind a voice long accustomed to supporting others lies a rich and distinctive personality waiting to be heard.

🎼🌺Music Love♥️

14,859 Aufrufe • vor 26 Tagen

The Quran's compilation was a meticulous process that began during the lifetime of the Prophet Muhammad, peace be upon him. The revelation of the Quran to the Prophet occurred over approximately 23 years, and during this time, several of his companions served as scribes, writing down verses as they were revealed. Some of the well-known scribes included Zayd ibn Thabit, Muawiya ibn Abi Sufyan, and Ubayy ibn Ka'b. After the Prophet's death, peace be upon him, the Quran continued to be preserved through both memorization and written records. However, it was Caliph Abu Bakr who first initiated the collection of these scattered writings into a single manuscript to safeguard the Quran's authenticity. This undertaking was prompted by the deaths of many companions who had memorized the Quran, during the Battle of Yamama. The collected text was then kept with Abu Bakr and, upon his death, with the second Caliph, Umar ibn al-Khattab. The task of compiling the Quran into a definitive written form was completed during the caliphate of Uthman ibn Affan, approximately 18 to 20 years after the Prophet's death, peace be upon him. Zayd ibn Thabit led a commission of companions, all known for their memorization and knowledge of the Quran, to produce several standardized copies, which were then distributed to various provinces of the Islamic empire. To ensure authenticity, this committee carefully compared the written verses against the memorized ones, cross-referencing with the Prophet's companions to confirm every word. Texts that did not conform to this standardized version were ordered to be destroyed, to avoid conflicts and discrepancies in how the Quran was recited and taught. Given the oral tradition of Arab society and the reverence for the Quran among Muslims, both memorization and written texts were treated with tremendous seriousness. This scrupulous approach, coupled with the fact that many people had already memorized the entire Quran during the Prophet's lifetime, peace be upon him, lent credibility to the belief that the text was accurately preserved. Trust in the Quran as the word of God, for Muslims, also comes from faith and the belief in the divine protection of the text. Many point to the linguistic, legal, historical, and scientific aspects found in the Quran as evidence of its divine origin. However, non-believers or those of other faiths may approach these claims differently based on their beliefs and understandings. The Quran's compilation is a topic studied in depth within Islamic scholarship, and many resources are available for those interested in a deeper exploration of its history. Please find below a recitation from a bygone era. I hope you find it inspirational. 💚
7:38

The Quran's compilation was a meticulous process that began during the lifetime of the Prophet Muhammad, peace be upon him. The revelation of the Quran to the Prophet occurred over approximately 23 years, and during this time, several of his companions served as scribes, writing down verses as they were revealed. Some of the well-known scribes included Zayd ibn Thabit, Muawiya ibn Abi Sufyan, and Ubayy ibn Ka'b. After the Prophet's death, peace be upon him, the Quran continued to be preserved through both memorization and written records. However, it was Caliph Abu Bakr who first initiated the collection of these scattered writings into a single manuscript to safeguard the Quran's authenticity. This undertaking was prompted by the deaths of many companions who had memorized the Quran, during the Battle of Yamama. The collected text was then kept with Abu Bakr and, upon his death, with the second Caliph, Umar ibn al-Khattab. The task of compiling the Quran into a definitive written form was completed during the caliphate of Uthman ibn Affan, approximately 18 to 20 years after the Prophet's death, peace be upon him. Zayd ibn Thabit led a commission of companions, all known for their memorization and knowledge of the Quran, to produce several standardized copies, which were then distributed to various provinces of the Islamic empire. To ensure authenticity, this committee carefully compared the written verses against the memorized ones, cross-referencing with the Prophet's companions to confirm every word. Texts that did not conform to this standardized version were ordered to be destroyed, to avoid conflicts and discrepancies in how the Quran was recited and taught. Given the oral tradition of Arab society and the reverence for the Quran among Muslims, both memorization and written texts were treated with tremendous seriousness. This scrupulous approach, coupled with the fact that many people had already memorized the entire Quran during the Prophet's lifetime, peace be upon him, lent credibility to the belief that the text was accurately preserved. Trust in the Quran as the word of God, for Muslims, also comes from faith and the belief in the divine protection of the text. Many point to the linguistic, legal, historical, and scientific aspects found in the Quran as evidence of its divine origin. However, non-believers or those of other faiths may approach these claims differently based on their beliefs and understandings. The Quran's compilation is a topic studied in depth within Islamic scholarship, and many resources are available for those interested in a deeper exploration of its history. Please find below a recitation from a bygone era. I hope you find it inspirational. 💚

Haytham Algosaibi هيثم القصيبي

450,248 Aufrufe • vor 2 Jahren

Moonlight Sonata Through the Playing of Wilhelm Kempff – When a Solitary Soul Is Sustained by Order Some works become so famous that people feel they have understood them for a long time. Beethoven’s Moonlight Sonata is one of them. The opening measures alone are enough to evoke images of moonlight, romantic longing, and an undefined sense of melancholy. Yet the enduring power of this masterpiece does not lie in that familiar image. Through the playing of Wilhelm Kempff, Moonlight Sonata is not merely a romantic poem about moonlight, nor is it a dry exercise in harmonic structure. It is the story of a soul gradually becoming isolated from the world, yet preserving its inner balance through a musical architecture of extraordinary discipline. Through Kempff’s interpretation, that balance is illuminated by clarity, restraint, and the profound sense of order rooted in the German tradition of performance. In 1801, when Beethoven composed this work, he was entering a period of profound personal turmoil. His hearing had begun to deteriorate, while his affection for Giulietta Guicciardi could not lead to the outcome he had hoped for. Yet the remarkable aspect of this composition is not that Beethoven simply poured his suffering into music as a form of lamentation, but that he transformed it into an artistic form governed by remarkable control. He did not allow loneliness to destroy the structure. Instead, the structure itself became the force that prevented his inner world from collapsing. From the very first measures, the continuous broken chords create an almost endless stream of motion. The music moves forward without interruption, yet the listener experiences a profound stillness. This paradox lies at the heart of the movement: the more constant the external motion becomes, the more concentrated the inner emotional space appears. Beethoven does not create tragedy through cries of despair. He places emotional weight within the very stability of the musical flow, allowing loneliness to emerge not as a sudden explosion of emotion, but as a state of existence extended through time. This sensation is further strengthened by Beethoven’s rhythmic design. The 2/2 meter creates a broad and steady temporal framework, making each musical gesture feel suspended within a space of balance. The listener is not driven forward by powerful impulses, but gradually drawn into a continuous current where time itself seems to slow down. Within this flowing structure, the note G♯ becomes a particularly significant point of stability. Amid the constant harmonic changes, this recurring sound appears as a thread of continuity, preventing the entire musical landscape from losing its center. It is precisely the combination of endless motion and a persistent point of support that creates the movement’s central paradox: everything continues to move, yet something deep within remains unchanged. This is not merely a poetic metaphor, but the concrete musical mechanism through which Beethoven transforms loneliness into a state of inner order. Wilhelm Kempff’s interpretation is especially suited to this vision. In his performance, Moonlight Sonata does not become a dramatic confession filled with exaggerated emotional gestures. Kempff does not attempt to amplify the sadness through extreme changes of tempo or dynamics. Instead, he allows Beethoven’s internal structure to guide the emotional journey. Kempff’s sound is distinguished by the clarity of each harmonic layer, the balance of the continuous motion, and a refined use of the pedal that creates depth while preserving the transparency of the musical lines. He does not stand before the composition to impose his own interpretation upon it; he stands behind it, allowing the order created by Beethoven to reveal itself. This reflects the essence of the German performance tradition: clarity, restraint, and profound respect for structure. In Kempff’s hands, technique does not serve to draw attention to the performer, but becomes a means through which listeners can approach more closely the composer’s inner vision. Therefore, Moonlight Sonata continues to move audiences after more than two centuries not merely because it tells the story of a lonely Beethoven, but because it reveals how loneliness can be transformed into an artistic form of dignity and lasting beauty. Through Wilhelm Kempff’s playing, listeners do not hear only the sorrow of a person facing profound adversity. They also hear the human ability to preserve clarity, balance, and inner order amid the deepest storms of life. Perhaps that is the true light that Moonlight Sonata has quietly preserved for more than two hundred years.
15:39

Moonlight Sonata Through the Playing of Wilhelm Kempff – When a Solitary Soul Is Sustained by Order Some works become so famous that people feel they have understood them for a long time. Beethoven’s Moonlight Sonata is one of them. The opening measures alone are enough to evoke images of moonlight, romantic longing, and an undefined sense of melancholy. Yet the enduring power of this masterpiece does not lie in that familiar image. Through the playing of Wilhelm Kempff, Moonlight Sonata is not merely a romantic poem about moonlight, nor is it a dry exercise in harmonic structure. It is the story of a soul gradually becoming isolated from the world, yet preserving its inner balance through a musical architecture of extraordinary discipline. Through Kempff’s interpretation, that balance is illuminated by clarity, restraint, and the profound sense of order rooted in the German tradition of performance. In 1801, when Beethoven composed this work, he was entering a period of profound personal turmoil. His hearing had begun to deteriorate, while his affection for Giulietta Guicciardi could not lead to the outcome he had hoped for. Yet the remarkable aspect of this composition is not that Beethoven simply poured his suffering into music as a form of lamentation, but that he transformed it into an artistic form governed by remarkable control. He did not allow loneliness to destroy the structure. Instead, the structure itself became the force that prevented his inner world from collapsing. From the very first measures, the continuous broken chords create an almost endless stream of motion. The music moves forward without interruption, yet the listener experiences a profound stillness. This paradox lies at the heart of the movement: the more constant the external motion becomes, the more concentrated the inner emotional space appears. Beethoven does not create tragedy through cries of despair. He places emotional weight within the very stability of the musical flow, allowing loneliness to emerge not as a sudden explosion of emotion, but as a state of existence extended through time. This sensation is further strengthened by Beethoven’s rhythmic design. The 2/2 meter creates a broad and steady temporal framework, making each musical gesture feel suspended within a space of balance. The listener is not driven forward by powerful impulses, but gradually drawn into a continuous current where time itself seems to slow down. Within this flowing structure, the note G♯ becomes a particularly significant point of stability. Amid the constant harmonic changes, this recurring sound appears as a thread of continuity, preventing the entire musical landscape from losing its center. It is precisely the combination of endless motion and a persistent point of support that creates the movement’s central paradox: everything continues to move, yet something deep within remains unchanged. This is not merely a poetic metaphor, but the concrete musical mechanism through which Beethoven transforms loneliness into a state of inner order. Wilhelm Kempff’s interpretation is especially suited to this vision. In his performance, Moonlight Sonata does not become a dramatic confession filled with exaggerated emotional gestures. Kempff does not attempt to amplify the sadness through extreme changes of tempo or dynamics. Instead, he allows Beethoven’s internal structure to guide the emotional journey. Kempff’s sound is distinguished by the clarity of each harmonic layer, the balance of the continuous motion, and a refined use of the pedal that creates depth while preserving the transparency of the musical lines. He does not stand before the composition to impose his own interpretation upon it; he stands behind it, allowing the order created by Beethoven to reveal itself. This reflects the essence of the German performance tradition: clarity, restraint, and profound respect for structure. In Kempff’s hands, technique does not serve to draw attention to the performer, but becomes a means through which listeners can approach more closely the composer’s inner vision. Therefore, Moonlight Sonata continues to move audiences after more than two centuries not merely because it tells the story of a lonely Beethoven, but because it reveals how loneliness can be transformed into an artistic form of dignity and lasting beauty. Through Wilhelm Kempff’s playing, listeners do not hear only the sorrow of a person facing profound adversity. They also hear the human ability to preserve clarity, balance, and inner order amid the deepest storms of life. Perhaps that is the true light that Moonlight Sonata has quietly preserved for more than two hundred years.

🎼🌺Music Love♥️

17,045 Aufrufe • vor 21 Tagen

𝐖𝐡𝐚𝐭 𝐈𝐬 Ìṣẹ̀ṣ𝐞, 𝐚𝐧𝐝 𝐖𝐡𝐨 𝐀𝐫𝐞 𝐭𝐡𝐞 𝐑𝐞𝐚𝐥 “𝐈𝐝𝐨𝐥 𝐖𝐨𝐫𝐬𝐡𝐢𝐩𝐩𝐞𝐫𝐬”? Ìṣẹ̀ṣe is not just a tradition—it is the wellspring of our identity, the foundation of our essence, and the soul of our people. According to Odù Ifá Ògúndá Ọ̀wọ́nrín, Ìṣẹ̀ṣe refers to one’s origin—our source—symbolised by our biological father and mother, our Òrì (destiny), and the sacred Ikin of Ifá. Before the intrusion of foreign religions, our ancestors held their indigenous faith in the highest esteem. They honoured Olódùmarè and the Irúnmọlẹ̀ through sacred rituals, guided by wisdom passed from generation to generation according to Ifá. Sadly, a deep misunderstanding rooted in colonial indoctrination and foreign arrogance has led many to mock or vilify our way of life. They call us “idol worshippers” without understanding what that term truly means. But who, in truth, are the idol worshippers? Is it those who, in reverence to their ancestors, pour libation, recite Odù Ifá sacred verses, and honour the divine spirits of nature and the universe—Or those who bow five times daily to a land they've never seen, kissing a black stone in Mecca, chanting foreign tongues, and spending billions yearly to perform rites around lifeless monuments? Is it those who visit Jerusalem to weep before a wall and return home to worship “men of God” who manipulate, extort, and enslave them emotionally and financially? Let it be clear: we who uphold Ìṣẹ̀ṣe do not worship lifeless objects—we venerate living principles. We worship through the Òrìṣà, the manifestations of divine energies. We honour the ancestors who walked before us. That is not idolatry. That is Yorùbá indigenous religion integrity. To call us “idol worshippers” is to parrot the voices of Arab and European colonisers who labelled our Irúnmọlẹ̀ as demons to justify their own domination. It is mental slavery—nothing more. What many call “idolatry” is only a reflection of their ignorance—programmed by centuries of colonial manipulation and Arab indoctrination, crafted to strip us of our truth. We who practise Ìṣẹ̀ṣe are not ignorant. We are not cannibals. We are not demon-worshippers. We are the custodians of a sacred system that predates any Abrahamic text. Our worship is built on Ọ̀sẹ̀, Ìtadógún, Ìbọ, Ìwúre, Ètùtù, and Ìṣègùn. For too long, we have encouraged religious tolerance—not because we are weak, but because we hold 𝒉𝒖𝒎𝒂𝒏𝒊𝒕𝒚 𝒂𝒃𝒐𝒗𝒆 𝒓𝒆𝒍𝒊𝒈𝒊𝒐𝒏. But now, we must speak boldly: 𝑻𝒐𝒍𝒆𝒓𝒂𝒏𝒄𝒆 𝒎𝒖𝒔𝒕 𝒃𝒆 𝒎𝒖𝒕𝒖𝒂𝒍. We will no longer accept discrimination, humiliation, or condemnation on our ancestral soil. We reject any attempt—be it social, political, religion or spiritual—to silence or erase Ìṣẹ̀ṣe from our communities. No child of the soil should spit on their own heritage while bowing to foreign altars. Let us remember: A society that mocks its own roots while glorifying the myths of others is already halfway buried. In contrast, Ìṣẹ̀ṣe encourages knowledge, discipline, accountability, justice, and alignment with nature’s laws. It respects the balance of life, unlike systems that incite bloodshed in the name of “faith” or promise imaginary heaven rewards for violence. Let’s revisit our sacred texts. Ìrẹ́ńtẹgbè warns: Ohun abí wọn bí kìí wù wọ́n Ti ẹni ẹlẹ́ni níí yá wọn lára A dífá fún Ìwọ̀dẹ̀rẹ̀, tí ó salábarìn ẹja Ire tí mo wá tí ọwọ́ ọ̀ mi ò tó Ìwọ̀dẹ̀rẹ̀, Ifá ni ó fàá fún mi Meaning The things they were born with never fascinated them But become fascinated by the culture of the strange land These were Ifa’s declaration to Ìwọ̀dẹ̀rẹ̀, the Hook Who would become the fish’s companion. The riches I am looking for, that my hands cannot reach Ìwọ̀dẹ̀rẹ̀ Ifá please make it possible for me > “A town that forgets its roots will perish.”
1:31

𝐖𝐡𝐚𝐭 𝐈𝐬 Ìṣẹ̀ṣ𝐞, 𝐚𝐧𝐝 𝐖𝐡𝐨 𝐀𝐫𝐞 𝐭𝐡𝐞 𝐑𝐞𝐚𝐥 “𝐈𝐝𝐨𝐥 𝐖𝐨𝐫𝐬𝐡𝐢𝐩𝐩𝐞𝐫𝐬”? Ìṣẹ̀ṣe is not just a tradition—it is the wellspring of our identity, the foundation of our essence, and the soul of our people. According to Odù Ifá Ògúndá Ọ̀wọ́nrín, Ìṣẹ̀ṣe refers to one’s origin—our source—symbolised by our biological father and mother, our Òrì (destiny), and the sacred Ikin of Ifá. Before the intrusion of foreign religions, our ancestors held their indigenous faith in the highest esteem. They honoured Olódùmarè and the Irúnmọlẹ̀ through sacred rituals, guided by wisdom passed from generation to generation according to Ifá. Sadly, a deep misunderstanding rooted in colonial indoctrination and foreign arrogance has led many to mock or vilify our way of life. They call us “idol worshippers” without understanding what that term truly means. But who, in truth, are the idol worshippers? Is it those who, in reverence to their ancestors, pour libation, recite Odù Ifá sacred verses, and honour the divine spirits of nature and the universe—Or those who bow five times daily to a land they've never seen, kissing a black stone in Mecca, chanting foreign tongues, and spending billions yearly to perform rites around lifeless monuments? Is it those who visit Jerusalem to weep before a wall and return home to worship “men of God” who manipulate, extort, and enslave them emotionally and financially? Let it be clear: we who uphold Ìṣẹ̀ṣe do not worship lifeless objects—we venerate living principles. We worship through the Òrìṣà, the manifestations of divine energies. We honour the ancestors who walked before us. That is not idolatry. That is Yorùbá indigenous religion integrity. To call us “idol worshippers” is to parrot the voices of Arab and European colonisers who labelled our Irúnmọlẹ̀ as demons to justify their own domination. It is mental slavery—nothing more. What many call “idolatry” is only a reflection of their ignorance—programmed by centuries of colonial manipulation and Arab indoctrination, crafted to strip us of our truth. We who practise Ìṣẹ̀ṣe are not ignorant. We are not cannibals. We are not demon-worshippers. We are the custodians of a sacred system that predates any Abrahamic text. Our worship is built on Ọ̀sẹ̀, Ìtadógún, Ìbọ, Ìwúre, Ètùtù, and Ìṣègùn. For too long, we have encouraged religious tolerance—not because we are weak, but because we hold 𝒉𝒖𝒎𝒂𝒏𝒊𝒕𝒚 𝒂𝒃𝒐𝒗𝒆 𝒓𝒆𝒍𝒊𝒈𝒊𝒐𝒏. But now, we must speak boldly: 𝑻𝒐𝒍𝒆𝒓𝒂𝒏𝒄𝒆 𝒎𝒖𝒔𝒕 𝒃𝒆 𝒎𝒖𝒕𝒖𝒂𝒍. We will no longer accept discrimination, humiliation, or condemnation on our ancestral soil. We reject any attempt—be it social, political, religion or spiritual—to silence or erase Ìṣẹ̀ṣe from our communities. No child of the soil should spit on their own heritage while bowing to foreign altars. Let us remember: A society that mocks its own roots while glorifying the myths of others is already halfway buried. In contrast, Ìṣẹ̀ṣe encourages knowledge, discipline, accountability, justice, and alignment with nature’s laws. It respects the balance of life, unlike systems that incite bloodshed in the name of “faith” or promise imaginary heaven rewards for violence. Let’s revisit our sacred texts. Ìrẹ́ńtẹgbè warns: Ohun abí wọn bí kìí wù wọ́n Ti ẹni ẹlẹ́ni níí yá wọn lára A dífá fún Ìwọ̀dẹ̀rẹ̀, tí ó salábarìn ẹja Ire tí mo wá tí ọwọ́ ọ̀ mi ò tó Ìwọ̀dẹ̀rẹ̀, Ifá ni ó fàá fún mi Meaning The things they were born with never fascinated them But become fascinated by the culture of the strange land These were Ifa’s declaration to Ìwọ̀dẹ̀rẹ̀, the Hook Who would become the fish’s companion. The riches I am looking for, that my hands cannot reach Ìwọ̀dẹ̀rẹ̀ Ifá please make it possible for me > “A town that forgets its roots will perish.”

BABA AJISEFA

23,861 Aufrufe • vor 1 Jahr

Why Is China Afraid of a Documentary? A documentary about fishermen should not be a threat to any nation. But when Food Delivery: Fresh from the West Philippine Sea screened in New Zealand, Beijing responded with urgency. They didn’t issue a public rebuttal or request a balanced forum. They sent official demands. They called the organizers. They warned that showing the film would damage China–New Zealand relations. Not because of violence, or hatred, or incitement—but because the film tells the story of Filipino fishermen working in waters they have called home for generations. That act of storytelling alone was deemed dangerous. The film doesn’t speculate. It doesn’t provoke. It documents. It shows what it means to live near Scarborough Shoal, where foreign vessels loom and radio threats pierce through static. It follows men who must weigh their catch against the risk of harassment. It gives voice to those who are often spoken about, but rarely heard. This is what Beijing wants silenced. Not lies. Lives. To call it “false propaganda” is to dismiss the lived reality of those who endure the West Philippine Sea conflict every day. That denial says more about the accuser than the film itself. China claims the documentary misleads the world. But what misleads more: a filmmaker showing the truth of her people, or a foreign government working to suppress it? When a state pressures foreign festivals, contacts staff, and warns of diplomatic consequences, that is not film criticism. That is censorship, plain and deliberate. And still, the filmmakers remain open. They invite critics to watch, not to fight. They speak of peace, not confrontation. They chose to focus on humanity, not headlines. That courage deserves to be seen. The attempt to silence this documentary only confirms its value. It reveals what some would rather the world never hear—that even in the shadow of larger powers, there are voices that will not be drowned. Let this film be watched. Let the world see what intimidation cannot erase. Truth does not need permission. #WestPhilippineSea #TruthWins #LetTheNationListen #DefendSovereignty #SouthChinaSea #MaritimeRights #StopChinaAggression #ProtectEEZ #中菲关系 #中共 #菲律宾 #南海問題 #盧比奧 #马可 #菲律賓 #世界苦茶 #南海 #菲律賓
2:36

Why Is China Afraid of a Documentary? A documentary about fishermen should not be a threat to any nation. But when Food Delivery: Fresh from the West Philippine Sea screened in New Zealand, Beijing responded with urgency. They didn’t issue a public rebuttal or request a balanced forum. They sent official demands. They called the organizers. They warned that showing the film would damage China–New Zealand relations. Not because of violence, or hatred, or incitement—but because the film tells the story of Filipino fishermen working in waters they have called home for generations. That act of storytelling alone was deemed dangerous. The film doesn’t speculate. It doesn’t provoke. It documents. It shows what it means to live near Scarborough Shoal, where foreign vessels loom and radio threats pierce through static. It follows men who must weigh their catch against the risk of harassment. It gives voice to those who are often spoken about, but rarely heard. This is what Beijing wants silenced. Not lies. Lives. To call it “false propaganda” is to dismiss the lived reality of those who endure the West Philippine Sea conflict every day. That denial says more about the accuser than the film itself. China claims the documentary misleads the world. But what misleads more: a filmmaker showing the truth of her people, or a foreign government working to suppress it? When a state pressures foreign festivals, contacts staff, and warns of diplomatic consequences, that is not film criticism. That is censorship, plain and deliberate. And still, the filmmakers remain open. They invite critics to watch, not to fight. They speak of peace, not confrontation. They chose to focus on humanity, not headlines. That courage deserves to be seen. The attempt to silence this documentary only confirms its value. It reveals what some would rather the world never hear—that even in the shadow of larger powers, there are voices that will not be drowned. Let this film be watched. Let the world see what intimidation cannot erase. Truth does not need permission. #WestPhilippineSea #TruthWins #LetTheNationListen #DefendSovereignty #SouthChinaSea #MaritimeRights #StopChinaAggression #ProtectEEZ #中菲关系 #中共 #菲律宾 #南海問題 #盧比奧 #马可 #菲律賓 #世界苦茶 #南海 #菲律賓

BRP Sierra Madre

72,661 Aufrufe • vor 1 Jahr

✨God wills it! How American preachers are pushing for war with Iran? A significant portion of the MAGA movement, which Donald Trump relies on — these are, predominantly, deeply religious people. Therefore, to gain their support, key figures in the president's team often resort to rhetoric about the need to protect Christians and the Catholic faith. Unconditional support for Israel by the current administration is also often explained through religion. The most striking representative of this rhetoric is Defense Secretary Pete Hegseth — he has repeatedly displayed his tattoos in the form of crosses, alluding to the ideology of crusaders about aggressive Christian conquests. ❗️On the ground, including at military bases, pastors-"Christian Zionists" work more precisely, hammering into Americans' heads that the return of Jews to the Holy Land and control over it are the fulfillment of prophecies, necessary for the Second Coming of Christ. 🔻Their most striking representatives: ▪️Pastor John Hagee — founder of the largest Christian Zionist organization in the US, "Christians United for Israel". He preaches that much of the Middle East will become part of Israel during the "thousand-year reign of Christ from Jerusalem". His influence on the evangelical electorate is enormous. ▪️Pastor Greg Laurie — an influential preacher, openly lamenting that he is not Jewish, and calling himself "white trash". He threatens everyone who "tries to destroy Israel". ▪️Kenneth Copeland — one of the richest televangelists with a fortune of several hundred million dollars. Through his example, he often tries to demonstrate how profitable a choice in favor of Israel can be. ▪️Paula Michelle White-Cain — senior advisor to the White House Office of Faith, one of whose official tasks is "combating antisemitism". ▪️Pastor Robert Stearns — proudly calls himself a member of the "new breed of Christians" for whom the interests of Zion and Jerusalem come above all else. ▪️Pastor Greg Locke — claims that God himself is a Zionist, and a Zionist is one who believes in Israel's right to "the land promised by the Lord". ▪️Mike Huckabee — former Governor of Arkansas and influential Republican politician, now US Ambassador to Israel. The Jerusalem Post named him one of the most influential Christian Zionists. He promotes the idea of Israel's "God-given right" to Middle Eastern lands. ▪️Michele Bachmann — former congresswoman, known for her fierce pro-Israel stance and work on a kibbutz in her youth. Another influential figure lobbying for Israel's interests in US political circles. 📌By the way, all the aforementioned figures also represent a colossal lobbying infrastructure. John Hagee's organization alone (CUFI) has more than 10 million members — many times more than classical Jewish lobbying structures like AIPAC. They provide politicians with votes and money, and in return, politicians broadcast their views at the state level. ❗️However, the transition of foreign policy from the realm of realpolitik to the realm of religious and sacred duty does have its unpleasant consequences. When a military conflict is viewed as the fulfillment of biblical prophecy, any diplomatic compromise is equated with sin and resistance to God's will.
2:05

✨God wills it! How American preachers are pushing for war with Iran? A significant portion of the MAGA movement, which Donald Trump relies on — these are, predominantly, deeply religious people. Therefore, to gain their support, key figures in the president's team often resort to rhetoric about the need to protect Christians and the Catholic faith. Unconditional support for Israel by the current administration is also often explained through religion. The most striking representative of this rhetoric is Defense Secretary Pete Hegseth — he has repeatedly displayed his tattoos in the form of crosses, alluding to the ideology of crusaders about aggressive Christian conquests. ❗️On the ground, including at military bases, pastors-"Christian Zionists" work more precisely, hammering into Americans' heads that the return of Jews to the Holy Land and control over it are the fulfillment of prophecies, necessary for the Second Coming of Christ. 🔻Their most striking representatives: ▪️Pastor John Hagee — founder of the largest Christian Zionist organization in the US, "Christians United for Israel". He preaches that much of the Middle East will become part of Israel during the "thousand-year reign of Christ from Jerusalem". His influence on the evangelical electorate is enormous. ▪️Pastor Greg Laurie — an influential preacher, openly lamenting that he is not Jewish, and calling himself "white trash". He threatens everyone who "tries to destroy Israel". ▪️Kenneth Copeland — one of the richest televangelists with a fortune of several hundred million dollars. Through his example, he often tries to demonstrate how profitable a choice in favor of Israel can be. ▪️Paula Michelle White-Cain — senior advisor to the White House Office of Faith, one of whose official tasks is "combating antisemitism". ▪️Pastor Robert Stearns — proudly calls himself a member of the "new breed of Christians" for whom the interests of Zion and Jerusalem come above all else. ▪️Pastor Greg Locke — claims that God himself is a Zionist, and a Zionist is one who believes in Israel's right to "the land promised by the Lord". ▪️Mike Huckabee — former Governor of Arkansas and influential Republican politician, now US Ambassador to Israel. The Jerusalem Post named him one of the most influential Christian Zionists. He promotes the idea of Israel's "God-given right" to Middle Eastern lands. ▪️Michele Bachmann — former congresswoman, known for her fierce pro-Israel stance and work on a kibbutz in her youth. Another influential figure lobbying for Israel's interests in US political circles. 📌By the way, all the aforementioned figures also represent a colossal lobbying infrastructure. John Hagee's organization alone (CUFI) has more than 10 million members — many times more than classical Jewish lobbying structures like AIPAC. They provide politicians with votes and money, and in return, politicians broadcast their views at the state level. ❗️However, the transition of foreign policy from the realm of realpolitik to the realm of religious and sacred duty does have its unpleasant consequences. When a military conflict is viewed as the fulfillment of biblical prophecy, any diplomatic compromise is equated with sin and resistance to God's will.

Rybar in English

20,377 Aufrufe • vor 5 Monaten

Not every memorable moment in cinema wins over audiences through cinematography, choreography, or music alone. Some moments endure because they touch something deeply rooted in human nature. Gene Kelly singing and dancing in the rain in Singin’ in the Rain (1952) is one such moment. At first glance, it is simply the image of a joyful man walking through the rain. He sings, spins his umbrella, steps through puddles, swings around a lamppost, and smiles in the middle of an empty street. But what allows this scene to remain in the memory of audiences is not only its visual beauty. Beneath the surface, it reflects a very special state of human existence: the moment when inner joy and outward expression become one unified whole. Perhaps this is the deepest source of beauty within this scene. From a Dance Scene to the Unity Between Inner Emotion and Outer Form What the audience first feels is a very simple sense of joy. Don Lockwood has just experienced a moment of happiness with Kathy. The emotion is so powerful that when he steps outside into the rain, he no longer sees the weather as an obstacle. He sings. He dances. He plays with the falling drops of water. The rain, which could normally be uncomfortable, becomes part of his happiness. But if we stop here, we are only seeing the surface of the scene. The deeper meaning lies in the way all elements come together in harmony. The music does not exist separately from the movement. The rhythm of the song becomes the rhythm of the body. Every step, every turn, every movement of the umbrella seems to come directly from the emotion within. The rain is no longer merely a background. The street is no longer just a setting. The entire world around him becomes part of his inner state. This reflects an idea often emphasized in Western aesthetics: beauty emerges when different elements achieve an organic unity. The outer form is no longer separated from the inner meaning. The Smallest Moment Can Contain the Greatest Spirit The entire scene can be condensed into one very small action: Gene Kelly steps into a puddle. This is not simply a humorous gesture. It is a symbol of the way human beings perceive the world. An ordinary person might avoid a puddle out of concern for dirty shoes, wet clothes, or losing a sense of neatness and control. But Don Lockwood deliberately steps into it. He transforms something that would normally be avoided into a source of happiness. In that moment, he is no longer controlled by hesitation or excessive awareness of himself. He is not trying to create the image of a happy person. He is simply living within that happiness. This is what makes the scene so special. The audience feels that they are not watching a performance about joy, but witnessing joy itself finding its own natural form of expression. Why Does This Touch the Human Heart? The deeper question is: Why does the unity between inner feeling and outer expression move us? Perhaps because, in everyday life, human beings often experience separation. We may think one thing but say another. We may feel something but have to hide it. We may want to act naturally but become limited by layers of worry and calculation. Yet sometimes, we encounter a moment when all those distances disappear. A child’s natural laughter is an example that closely reflects the spirit of Gene Kelly’s performance. When a child is truly happy, that happiness does not remain only within the mind. It appears through the whole person: The eyes brighten. The expression changes. The voice becomes clear and pure. The body moves together with the emotion. A child does not need to learn how to express happiness. Happiness naturally finds its way outward. This is exactly what Gene Kelly evokes in the rain. Although Don Lockwood is an adult, in that moment he returns to a very fundamental human state: when the soul and the body are no longer separated, when genuine emotion can freely express itself through every movement. This Principle Exists in Nature What is interesting is that this principle does not exist only in art. A similar pattern can be found in the natural world. A seed grows into a tree. The shape of the tree is not something added from the outside, but the expression of an inner process of life. A flower blooms not because it tries to become beautiful, but because the life within it has reached a form that naturally expresses itself. A river does not create beauty by resisting the landscape. It flows around rocks, adapts to the shape of the earth, and through this harmony creates its own unique form. The same is true within the human body. A genuine smile is not only found in the movement of the lips. It is the coordination of the eyes, facial expression, voice, and inner emotional state. A highly skilled athlete or artist often creates a similar impression: technique is no longer separated from emotion. The body becomes a natural instrument for expressing an idea from within. The Scene and the Beauty of Wholeness From an aesthetic perspective, what makes Singin’ in the Rain special is not simply that Gene Kelly dances beautifully. More importantly, the scene reveals a profound image of humanity: A person who is no longer divided between emotion and action. A person whose inner world and outer expression move toward the same direction. A person who encounters the world not as an obstacle, but as a part of life unfolding naturally. This is also why the scene continues to connect with generations of viewers. Regardless of the era, people can still recognize the beauty of a familiar state of being: the moment when a living being is able to exist in harmony with its own nature.
4:16

Not every memorable moment in cinema wins over audiences through cinematography, choreography, or music alone. Some moments endure because they touch something deeply rooted in human nature. Gene Kelly singing and dancing in the rain in Singin’ in the Rain (1952) is one such moment. At first glance, it is simply the image of a joyful man walking through the rain. He sings, spins his umbrella, steps through puddles, swings around a lamppost, and smiles in the middle of an empty street. But what allows this scene to remain in the memory of audiences is not only its visual beauty. Beneath the surface, it reflects a very special state of human existence: the moment when inner joy and outward expression become one unified whole. Perhaps this is the deepest source of beauty within this scene. From a Dance Scene to the Unity Between Inner Emotion and Outer Form What the audience first feels is a very simple sense of joy. Don Lockwood has just experienced a moment of happiness with Kathy. The emotion is so powerful that when he steps outside into the rain, he no longer sees the weather as an obstacle. He sings. He dances. He plays with the falling drops of water. The rain, which could normally be uncomfortable, becomes part of his happiness. But if we stop here, we are only seeing the surface of the scene. The deeper meaning lies in the way all elements come together in harmony. The music does not exist separately from the movement. The rhythm of the song becomes the rhythm of the body. Every step, every turn, every movement of the umbrella seems to come directly from the emotion within. The rain is no longer merely a background. The street is no longer just a setting. The entire world around him becomes part of his inner state. This reflects an idea often emphasized in Western aesthetics: beauty emerges when different elements achieve an organic unity. The outer form is no longer separated from the inner meaning. The Smallest Moment Can Contain the Greatest Spirit The entire scene can be condensed into one very small action: Gene Kelly steps into a puddle. This is not simply a humorous gesture. It is a symbol of the way human beings perceive the world. An ordinary person might avoid a puddle out of concern for dirty shoes, wet clothes, or losing a sense of neatness and control. But Don Lockwood deliberately steps into it. He transforms something that would normally be avoided into a source of happiness. In that moment, he is no longer controlled by hesitation or excessive awareness of himself. He is not trying to create the image of a happy person. He is simply living within that happiness. This is what makes the scene so special. The audience feels that they are not watching a performance about joy, but witnessing joy itself finding its own natural form of expression. Why Does This Touch the Human Heart? The deeper question is: Why does the unity between inner feeling and outer expression move us? Perhaps because, in everyday life, human beings often experience separation. We may think one thing but say another. We may feel something but have to hide it. We may want to act naturally but become limited by layers of worry and calculation. Yet sometimes, we encounter a moment when all those distances disappear. A child’s natural laughter is an example that closely reflects the spirit of Gene Kelly’s performance. When a child is truly happy, that happiness does not remain only within the mind. It appears through the whole person: The eyes brighten. The expression changes. The voice becomes clear and pure. The body moves together with the emotion. A child does not need to learn how to express happiness. Happiness naturally finds its way outward. This is exactly what Gene Kelly evokes in the rain. Although Don Lockwood is an adult, in that moment he returns to a very fundamental human state: when the soul and the body are no longer separated, when genuine emotion can freely express itself through every movement. This Principle Exists in Nature What is interesting is that this principle does not exist only in art. A similar pattern can be found in the natural world. A seed grows into a tree. The shape of the tree is not something added from the outside, but the expression of an inner process of life. A flower blooms not because it tries to become beautiful, but because the life within it has reached a form that naturally expresses itself. A river does not create beauty by resisting the landscape. It flows around rocks, adapts to the shape of the earth, and through this harmony creates its own unique form. The same is true within the human body. A genuine smile is not only found in the movement of the lips. It is the coordination of the eyes, facial expression, voice, and inner emotional state. A highly skilled athlete or artist often creates a similar impression: technique is no longer separated from emotion. The body becomes a natural instrument for expressing an idea from within. The Scene and the Beauty of Wholeness From an aesthetic perspective, what makes Singin’ in the Rain special is not simply that Gene Kelly dances beautifully. More importantly, the scene reveals a profound image of humanity: A person who is no longer divided between emotion and action. A person whose inner world and outer expression move toward the same direction. A person who encounters the world not as an obstacle, but as a part of life unfolding naturally. This is also why the scene continues to connect with generations of viewers. Regardless of the era, people can still recognize the beauty of a familiar state of being: the moment when a living being is able to exist in harmony with its own nature.

🎼🌺Music Love♥️

17,450 Aufrufe • vor 1 Monat

🇺🇸🇮🇱⚔️🇮🇷 "Great Satan": when the US Congress suddenly discovers theology By Brainless Partisans 🏴‍☠️☢️☣️🪆 There are times when the accidental candor of a politician is worth a thousand Pentagon reports. This week, House Majority Leader Mike Johnson summed up the war with Iran with rare conceptual elegance: Iranians hate us because their religion is "misguided" and because, according to them, the United States is the "Great Satan." There you have it. End of geopolitics. Curtain. Forty years of Middle Eastern history, sanctions, coups, military bases, and regional wars compressed into a coffee-shop thesis: it's their religion that's the problem. One can appreciate the monumental irony of the argument. Washington explains that Iranian policy is dictated by a religious worldview. This is a particularly bold accusation coming from an American official who himself claims that his Christian faith guides his politics and who belongs to the most fervent evangelical wing of Congress. It's a bit like a televangelist explaining to the world the dangers of religious fanaticism. Of course, slogans exist. Since the 1979 revolution led by Ruhollah Khomeini, the Iranian regime has regularly used the expression "Great Satan" to refer to the United States. It is a revolutionary slogan, a symbol of ideological confrontation, nothing very subtle, but nothing particularly mysterious either. But turning this slogan into a comprehensive strategic doctrine is a remarkable intellectual feat. Because if we follow Johnson's logic, international relations now function like a theological debate: the United States bombs to defend civilization, and Iran resists because the Koran is misinterpreted. Let's agree that this greatly simplifies the work of the State Department. The reality, of course, is a little less mystical. Since the Iranian revolution, the United States has supported Saddam Hussein's Iraq during the Iran-Iraq war, imposed decades of economic sanctions, classified Iran as a strategic enemy, and increased military operations in the region. There is nothing religious about this: it is simply fairly classic geopolitics. But acknowledging this would dangerously complicate the moral narrative. Because in the official version sold in Washington, the story must remain simple: the United States defends freedom, its adversaries obey dangerous mythologies. This narrative is particularly useful for avoiding discussion of the real question: why the United States has had a military presence in almost the entire Middle East for thirty years. Johnson's statement reveals something else above all: the power of American political alignment with Israeli strategic priorities. When the Speaker of the House explains that Iran wants to "wipe Israel off the face of the Earth," he is repeating word for word the central argument used for years to justify escalation against Tehran. What is fascinating is not the argument itself, but the total absence of nuance. In the global capital of the military-industrial complex, the greatest superpower in history is telling the world that war is inevitable... because a religious slogan is impossible to appease. We have seen more sophisticated strategic doctrines. But we must give Mike Johnson credit for one thing: in a few sentences, he has perfectly summed up current US foreign policy. A geopolitical theology where lobbies write the strategy, where diplomacy is suspect, and where war becomes a moral crusade. And in this great metaphysical duel, Washington is obviously the angel. An angel who opens the gates of hell with aircraft carriers and missiles.
0:22

🇺🇸🇮🇱⚔️🇮🇷 "Great Satan": when the US Congress suddenly discovers theology By Brainless Partisans 🏴‍☠️☢️☣️🪆 There are times when the accidental candor of a politician is worth a thousand Pentagon reports. This week, House Majority Leader Mike Johnson summed up the war with Iran with rare conceptual elegance: Iranians hate us because their religion is "misguided" and because, according to them, the United States is the "Great Satan." There you have it. End of geopolitics. Curtain. Forty years of Middle Eastern history, sanctions, coups, military bases, and regional wars compressed into a coffee-shop thesis: it's their religion that's the problem. One can appreciate the monumental irony of the argument. Washington explains that Iranian policy is dictated by a religious worldview. This is a particularly bold accusation coming from an American official who himself claims that his Christian faith guides his politics and who belongs to the most fervent evangelical wing of Congress. It's a bit like a televangelist explaining to the world the dangers of religious fanaticism. Of course, slogans exist. Since the 1979 revolution led by Ruhollah Khomeini, the Iranian regime has regularly used the expression "Great Satan" to refer to the United States. It is a revolutionary slogan, a symbol of ideological confrontation, nothing very subtle, but nothing particularly mysterious either. But turning this slogan into a comprehensive strategic doctrine is a remarkable intellectual feat. Because if we follow Johnson's logic, international relations now function like a theological debate: the United States bombs to defend civilization, and Iran resists because the Koran is misinterpreted. Let's agree that this greatly simplifies the work of the State Department. The reality, of course, is a little less mystical. Since the Iranian revolution, the United States has supported Saddam Hussein's Iraq during the Iran-Iraq war, imposed decades of economic sanctions, classified Iran as a strategic enemy, and increased military operations in the region. There is nothing religious about this: it is simply fairly classic geopolitics. But acknowledging this would dangerously complicate the moral narrative. Because in the official version sold in Washington, the story must remain simple: the United States defends freedom, its adversaries obey dangerous mythologies. This narrative is particularly useful for avoiding discussion of the real question: why the United States has had a military presence in almost the entire Middle East for thirty years. Johnson's statement reveals something else above all: the power of American political alignment with Israeli strategic priorities. When the Speaker of the House explains that Iran wants to "wipe Israel off the face of the Earth," he is repeating word for word the central argument used for years to justify escalation against Tehran. What is fascinating is not the argument itself, but the total absence of nuance. In the global capital of the military-industrial complex, the greatest superpower in history is telling the world that war is inevitable... because a religious slogan is impossible to appease. We have seen more sophisticated strategic doctrines. But we must give Mike Johnson credit for one thing: in a few sentences, he has perfectly summed up current US foreign policy. A geopolitical theology where lobbies write the strategy, where diplomacy is suspect, and where war becomes a moral crusade. And in this great metaphysical duel, Washington is obviously the angel. An angel who opens the gates of hell with aircraft carriers and missiles.

Brainless Partisans 🏴‍☠️☢️☣️🪆

14,532 Aufrufe • vor 5 Monaten

🚨🚨🚨👉If you’re not Iranian and you’ve ever wondered how it was possible for the Ayatollahs’ regime to massacre 43,000 unarmed #Iranian protesters in just two days—this post is for you. The video below shows a recent speech by #HassanAbbasi ( a former commander of the Islamic Revolutionary Guard Corps (#IRGC) and one of the leading ideologues of the Ayatollahs’ regime, who justifies violence through #Sharia law and Quranic verses. In this speech, Abbasi presents what he calls “Quranic evidence” to explain why protesters must be slaughtered in the streets. He cites the #Quran (2:193): “Fight them until there is no more sedition (fitna)”, turning it into a “manual for manufacturing conscienceless killers.” It’s an interpretation that countless believers before him have invoked to justify jihad and the killing of those they label as infidels. In 2026, Hassan Abbasi recycles this 1,400-year-old verse and sells it once again to the regime’s loyalists as a divine instruction for murder—an attempt to sanctify killing so the political establishment in #Iran can wash its hands of responsibility. He wields this verse to erase “humanity” from the state–citizen relationship and replace human ethics with divine command. In his moral framework, if someone asks whether killing an unarmed human being is right—or by what measure—it no longer depends on human conscience. The answer becomes: “This is God’s command.” You, as a believer, are not committing a crime; you are fulfilling a duty imposed by #Allah. Murder ceases to be a sin and becomes an act of faith. Abbasi calls public protests fitna—sedition—and defines it so broadly that it can mean anything and consume everything. Fitna becomes a label, a weaponized word that silences conscience. With this label, protest, criticism, and dissent are all rendered illegitimate. Language turns into the prelude to bullets; killing becomes easier, because killing a human being is hard, but killing a label is effortless. In this Quranic logic, political dissent transforms into a “war against God.” Everything is reduced to a cosmic battle between truth and falsehood—a world where violence has no limits, and notions like reform, dialogue, rights, or even basic humanity lose meaning. The other side has been stripped of its humanity altogether. In the verse “Fight them until there is no more fitna,” it is the human who kills, and God who signs the act. Responsibility ascends from earth to heaven. Evil becomes normalized; moral agency dissolves. “I did not kill” turns into “I failed to fulfill a divine duty.” Humans become executioners; God becomes the guarantor. Killing is made sacred, and all limits are erased—so that “religion for God alone” may dominate everything. This was the logic #Muhammad, the prophet of #Islam himself adopted. In just ten years, he waged 88 wars—personally participating in at least 26 of them. He remains the only prophet among 124,000 who waged wars in God’s name, killing those free-thinking individuals who refused to embrace his faith. Their wives and children he took as captives, distributing them as sexual slaves among his followers. And that is why, to this very day, not a single #Muslim-majority country has condemned the slaughter of 43,000 unarmed Iranian citizens by the #Islamic Republic. For within Islamic theology, the operative logic remains: “Fight them until there is no more sedition.” It is, in essence, a divine formula for manufacturing the conscienceless killer. #IranMassacre #IranRevolution2026 #IranRevolution #iranprotest #IranGenocide2026
0:20

🚨🚨🚨👉If you’re not Iranian and you’ve ever wondered how it was possible for the Ayatollahs’ regime to massacre 43,000 unarmed #Iranian protesters in just two days—this post is for you. The video below shows a recent speech by #HassanAbbasi ( a former commander of the Islamic Revolutionary Guard Corps (#IRGC) and one of the leading ideologues of the Ayatollahs’ regime, who justifies violence through #Sharia law and Quranic verses. In this speech, Abbasi presents what he calls “Quranic evidence” to explain why protesters must be slaughtered in the streets. He cites the #Quran (2:193): “Fight them until there is no more sedition (fitna)”, turning it into a “manual for manufacturing conscienceless killers.” It’s an interpretation that countless believers before him have invoked to justify jihad and the killing of those they label as infidels. In 2026, Hassan Abbasi recycles this 1,400-year-old verse and sells it once again to the regime’s loyalists as a divine instruction for murder—an attempt to sanctify killing so the political establishment in #Iran can wash its hands of responsibility. He wields this verse to erase “humanity” from the state–citizen relationship and replace human ethics with divine command. In his moral framework, if someone asks whether killing an unarmed human being is right—or by what measure—it no longer depends on human conscience. The answer becomes: “This is God’s command.” You, as a believer, are not committing a crime; you are fulfilling a duty imposed by #Allah. Murder ceases to be a sin and becomes an act of faith. Abbasi calls public protests fitna—sedition—and defines it so broadly that it can mean anything and consume everything. Fitna becomes a label, a weaponized word that silences conscience. With this label, protest, criticism, and dissent are all rendered illegitimate. Language turns into the prelude to bullets; killing becomes easier, because killing a human being is hard, but killing a label is effortless. In this Quranic logic, political dissent transforms into a “war against God.” Everything is reduced to a cosmic battle between truth and falsehood—a world where violence has no limits, and notions like reform, dialogue, rights, or even basic humanity lose meaning. The other side has been stripped of its humanity altogether. In the verse “Fight them until there is no more fitna,” it is the human who kills, and God who signs the act. Responsibility ascends from earth to heaven. Evil becomes normalized; moral agency dissolves. “I did not kill” turns into “I failed to fulfill a divine duty.” Humans become executioners; God becomes the guarantor. Killing is made sacred, and all limits are erased—so that “religion for God alone” may dominate everything. This was the logic #Muhammad, the prophet of #Islam himself adopted. In just ten years, he waged 88 wars—personally participating in at least 26 of them. He remains the only prophet among 124,000 who waged wars in God’s name, killing those free-thinking individuals who refused to embrace his faith. Their wives and children he took as captives, distributing them as sexual slaves among his followers. And that is why, to this very day, not a single #Muslim-majority country has condemned the slaughter of 43,000 unarmed Iranian citizens by the #Islamic Republic. For within Islamic theology, the operative logic remains: “Fight them until there is no more sedition.” It is, in essence, a divine formula for manufacturing the conscienceless killer. #IranMassacre #IranRevolution2026 #IranRevolution #iranprotest #IranGenocide2026

Ahmad Batebi 🛡️ 🇮🇷 🇺🇸

35,175 Aufrufe • vor 6 Monaten