dissabte, 13 de juliol del 2013

Jim White - The Wound That Never Heals ************ Estels.

Long about an hour before sunrise she drags his body down to the edge of the swollen river wrapped in a red velvet curtain stolen from the movie theater where she works. Quiet as a whisper, under the stanchions of a washed-out bridge she cuts him loose...and watches as the flood waters spin him around once, then carry him away. Then she removes the golden ring upon her finger...and she throws it in. And I wonder; Baby why don't you cry? Baby why don't you... Baby why don't you cry? Three days later in a bar in southern Mississippi she meets a man by the name of Charles Lee. She introduces herself to him as "Lee Charles" "What a coincidence." he says...and one week later they are married. He wakes up one night six months down the line to find her staring at him in the oddest way. When he says, "Honey, what's wrong?" she says, "Oh nothing dear...except that tears are a stupid trick of God." And by the time they find his body six weeks later... Well hell, she's a thousand miles away. And I wonder; Baby why don't you cry? Baby why don't you... Baby why don't you cry? She runs from devils. She runs from angels. She runs from the ghost of her father and five different uncles. Blinded by their memory, seared by their pain, she'd like to kill 'em all...then kill 'em all again. She don't think much about what she's done or the funny feelings that she feels. No, she don't. To her it's just a condition she picked up as a child... a little thing she calls, "the wound that never heals", she calls it, "the wound that never heals" And I wonder; Baby why don't you cry? Baby why don't you... Baby why don't you cry?

1 comentari:

Inschala ha dit...

The Berber people are spread out over a large part of Africa, but seem to have a dense concentration within the northwestern part of Africa. The people have a vast array of instruments, both melodic and percussive. The following instruments take part in the accompaniment in dance and song both secular, and sacred.
The taghanimt is an end-blown reed flute. Used mostly to accompany songs rather than dance, the taghanimt is said to have a rich, breathy texture.
The mizwid is a type of bagpipe; the term literally means "bag" or "food pouch".
zukrah of Tunisia has a large role in societal performances along with the ghaytah of Morocco. In both countries, these instruments are combined with several percussive instruments to create large ensembles which may perform at public festivals or such occasions.

The nafir is a long natural horn, a type of valveless trumpet. This instrument is used mostly as a signaling instrument to send out messages to large masses, although it also has some performance value.

The Moroccan ginbri is a stringed instrument with a long fretless neck. The box of the instrument is covered in skin, and is used in several varying occasions. Most ensembles have at least one ginbri, although it is not always limited to one. In addition to the ginrbri is the rabab, a long necked-fiddle with a large box which is covered in skin. This instrument has only one string, usually of horse-hair horse hair, and is commonly played alongside the ginbri.

In percussion, the tabl (Berber: e'ṯbel) is a cylindrical double-sided drum. Although it has similar use and spelling to the tabla of India, there is no direct correlation found between the two. The qas'ah is a large shallow kettledrum found mostly in Tunisia. Similar to the qas'ah is the Naqqarah, two ceramic kettledrums played simultaneously by both hands.

In Moroccan Berber music, a series of snare frame-drums of bandirs may be played simultaneously. These provide the main percussive rhythm for Berber music as the above mentioned drums are more artistic than bandirs.

The qaraqib is a metal clacker which has resemblance of a castanets. There is one in each hand and may be used to mark rhythm or may also have its own type of melody.[5]
Algeria
Main article: music of Algeria

The region of Kabylie in Algeria has a very large Berber population. Traditional Kabyle music consists of vocalists accompanied by a rhythm section, consisting of t'bel (tambourine) and bendir (frame drum), and a melody section, consisting of a ghaita (bagpipe) and ajouag (flute).

Kabyle music has been famous in France since the 1930s, when it was played at cafés. As it evolved, Western string instruments and Arab musical conventions, like large backing orchestras, were added. After the independence of Algeria and Kabyle culture was oppressed[citation needed], many musicians began to adopt politicized lyrics. The three most popular musicians of this era were Ferhat Mehenni, Lounis Ait Menguellet and Idir, whose "A Vava Inouva" (1973) brought international attention for Kabyle music and laid the groundwork for the breakthrough of raï.

By the time raï, a style of Algerian popular music, became popular in France and elsewhere in Europe, Kabyle artists were also moving towards popular music conventions. Hassen Zermani's all-electric Takfarinas and Abdelli's work with Peter Gabriel's Real World helped bring Kabyle music to new audiences, while the murder of Matoub Lounes inspired many Kabyles to rally around their popular musicians.

Modern singers include Djur Djura and many chawi singers and groups as: Houria Aichi, Les Berberes, Amirouch, Massinissa, Amadiaz, Numidas, Mihoub, Massilia, Merkunda, Thiguyer, Salim Souhali (Thaziri), Dihya, Messaoud Nedjahi and others.
Morocco
Main article: Music of Morocco

Berbers are a solid majority of Morocco's population, but are nevertheless politically marginalized[citation needed]. d 1970s .

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