Wednesday, June 30, 2010
Tuesday, June 29, 2010
Tabbouleh Song
Tabbouleh
Tabbouleh Tabbouleh
Makes me shake
shake shake my booty
Eat it with lots of falafal
Eat it on top of a camel
Dance.
Cuz it's the only beat
That's gonna stick in your head
and stick in your teeth
You gotta push push
Push the tush
When you eat an Arab salad
that is not fettoush
It's a hearty party
tasting yum yum
Taste that parsley
Shake your bum bum
In the club.
Don't need a shorty/cutie
All I need to take is
a bowl of tabbouleh
No we don't need hip hop
house or trance
Cuz this song about a salad
make you shake your pants
No we don't need groovy
techno techno
Just tabbouleh
in your head hole
Don't need bouncers
or velvet rope
I hope by now you
get the point
Don't need glow stick
or Red Bull vodka
You just gotta shake
where you make the kaka
First you take parsley from your sister
Chop it off like hand of shoplifter
Then take a tomato and dice it
don't forget to add all the spices
Then you take a half cup of burghul
Oh my God, it's gone taste so good
Yes this recipe is the bomb but
it tastes best when it's made by Mamma
In Lebanon
they eat it with coffee
In Libya
eat it with Quadafi
Jordan, Iraq
Bahrain, Saudi
Everybody love
the tabbouleh
In Syria
they eat it the fastest
and make sure to
shake shake Damascus
Them in Yemen
lemon the food-y
And Africa they
move move Djibouti
Tabbouleh
I hope I will finish
It to me is like
Popeye's spinach
but instead of getting
muscles in both arms
I get a moving groove
in my buttocks
Met a girl
She was a cutie
She said she'd
make me tabbouleh
But she made it
without the tomatoes
So I had to tell her
See you later
MORPHIC RESONANCE AND MORPHIC FIELDS
An Introduction
My interest in evolutionary habits arose when I was engaged in research in developmental biology, and was reinforced by reading Charles Darwin, for whom the habits of organisms were of central importance. As Francis Huxley has pointed out, Darwin’s most famous book could more appropriately have been entitled The Origin of Habits.
Morphic fields in biology
Over the course of fifteen years of research on plant development, I came to the conclusion that for understanding the development of plants, their morphogenesis, genes and gene products are not enough. Morphogenesis also depends on organizing fields. The same arguments apply to the development of animals. Since the 1920s many developmental biologists have proposed that biological organization depends on fields, variously called biological fields, or developmental fields, or positional fields, or morphogenetic fields.
All cells come from other cells, and all cells inherit fields of organization. Genes are part of this organization. They play an essential role. But they do not explain the organization itself. Why not?
Thanks to molecular biology, we know what genes do. They enable organisms to make particular proteins. Other genes are involved in the control of protein synthesis. Identifiable genes are switched on and particular proteins made at the beginning of new developmental processes. Some of these developmental switch genes, like the Hox genes in fruit flies, worms, fish and mammals, are very similar. In evolutionary terms, they are highly conserved. But switching on genes such as these cannot in itself determine form, otherwise fruit flies would not look different from us.
Many organisms live as free cells, including many yeasts, bacteria and amoebas. Some form complex mineral skeletons, as in diatoms and radiolarians, spectacularly pictured in the nineteenth century by Ernst Haeckel. Just making the right proteins at the right times cannot explain the complex skeletons of such structures without many other forces coming into play, including the organizing activity of cell membranes and microtubules.
Ernst Haeckel Tafel_06
I suggest that morphogenetic fields work by imposing patterns on otherwise random or indeterminate patterns of activity. For example they cause microtubules to crystallize in one part of the cell rather than another, even though the subunits from which they are made are present throughout the cell.
Morphogenetic fields are not fixed forever, but evolve. The fields of Afghan hounds and poodles have become different from those of their common ancestors, wolves. How are these fields inherited? I propose that that they are transmitted from past members of the species through a kind of non-local resonance, called morphic resonance.
The fields organizing the activity of the nervous system are likewise inherited through morphic resonance, conveying a collective, instinctive memory. Each individual both draws upon and contributes to the collective memory of the species. This means that new patterns of behaviour can spread more rapidly than would otherwise be possible. For example, if rats of a particular breed learn a new trick in Harvard, then rats of that breed should be able to learn the same trick faster all over the world, say in Edinburgh and Melbourne. There is already evidence from laboratory experiments (discussed in A NEW SCIENCE OF LIFE) that this actually happens.
The resonance of a brain with its own past states also helps to explain the memories of individual animals and humans. There is no need for all memories to be “stored” inside the brain.
Social groups are likewise organized by fields, as in schools of fish and flocks of birds. Human societies have memories that are transmitted through the culture of the group, and are most explicitly communicated through the ritual re-enactment of a founding story or myth, as in the Jewish Passover celebration, the Christian Holy Communion and the American thanksgiving dinner, through which the past become present through a kind of resonance with those who have performed the same rituals before.
The memory of nature
From the point of view of the hypothesis of morphic resonance, there is no need to suppose that all the laws of nature sprang into being fully formed at the moment of the Big Bang, like a kind of cosmic Napoleonic code, or that they exist in a metaphysical realm beyond time and space.
Before the general acceptance of the Big Bang theory in the 1960s, eternal laws seemed to make sense. The universe itself was thought to be eternal and evolution was confined to the biological realm. But we now live in a radically evolutionary universe.
If we want to stick to the idea of natural laws, we could say that as nature itself evolves, the laws of nature also evolve, just as human laws evolve over time. But then how would natural laws be remembered or enforced? The law metaphor is embarrassingly anthropomorphic. Habits are less human-centred. Many kinds of organisms have habits, but only humans have laws. The habits of nature depend on non-local similarity reinforcement. Through morphic resonance, the patterns of activity in self-organizing systems are influenced by similar patterns in the past, giving each species and each kind of self-organizing system a collective memory.
I believe that the natural selection of habits will play an essential part in any integrated theory of evolution, including not just biological evolution, but also physical, chemical, cosmic, social, mental and cultural evolution (as discussed in THE PRESENCE OF THE PAST ).
Habits are subject to natural selection; and the more often they are repeated, the more probable they become, other things being equal. Animals inherit the successful habits of their species as instincts. We inherit bodily, emotional, mental and cultural habits, including the habits of our languages.
Fields of the mind
Morphic fields underlie our mental activity and our perceptions, and lead to a new theory of vision, as discussed in THE SENSE OF BEING STARED AT. The existence of these fields is experimentally testable through the sense of being stared at itself. There is already much evidence that this sense really exists Papers on Staring
You can take part in a staring experiment yourself through this web site. Staring Experiments
The morphic fields of social groups connect together members of the group even when they are many miles apart, and provide channels of communication through which organisms can stay in touch at a distance. They help provide an explanation for telepathy. There is now good evidence that many species of animals are telepathic, and telepathy seems to be a normal means of animal communication, as discussed in my book DOGS THAT KNOW WHEN THEIR OWNERS ARE COMING HOME. Telepathy is normal not paranormal, natural not supernatural, and is also common between people, especially people who know each other well.
In the modern world, the commonest kind of human telepathy occurs in connection with telephone calls. More than 80% of the population say they have thought of someone for no apparent reason, who then called; or that they have known who was calling before picking up the phone in a way that seems telepathic. Controlled experiments on telephone telepathy have given repeatable positive results that are highly significant statistically, as summarized in THE SENSE OF BEING STARED AT and described in detailed technical papers which you can read on this web site. Papers on Telepathy Telepathy also occurs in connection with emails, and anyone who is interested can now test how telepathic they are in the online telepathy test. Experiments Online
The morphic fields of mental activity are not confined to the insides of our heads. They extend far beyond our brain though intention and attention. We are already familiar with the idea of fields extending beyond the material objects in which they are rooted: for example magnetic fields extend beyond the surfaces of magnets; the earth’s gravitational field extends far beyond the surface of the earth, keeping the moon in its orbit; and the fields of a cell phone stretch out far beyond the phone itself. Likewise the fields of our minds extend far beyond our brains.
February 2005
Monday, June 28, 2010
هذه ليلتي وحلم حياتي ... بين ماض من الزمان وآت
On this day
The Lyrics of my Birthsong
A Whiter Shade of Pale
Brooker / Fisher / Reid
| Album: Procol Harum … plus! (1998), The Symphonic Music (1995), + many compilations including Secrets of the Hive (2007), One Eye to the Future (2008) | Picture sleeve: many |
| Taking Notes and Stealing Quotes on this song | Cover-version: many |
| Words by The two verses printed here in green are not both available on any official record but they have quite often been heard in concert.
|
| We skipped the light fandango And so it was that later She said, 'There is no reason She said, 'I'm home on shore leave,' If music be the food of love [see note, left, about this verse + its opening] |
WILLIE NELSON - A Whiter Shade Of Pale
Liza Veiga - A Whiter Shade Of Pale
A Whiter Shade of Pale 
From Wikipedia, the free encyclopedia
| "A Whiter Shade of Pale" | ||||
|---|---|---|---|---|
 | ||||
| Single by Procol Harum | ||||
| from the album Procol Harum | ||||
| B-side | "Lime Street Blues" | |||
| Released | 12 May 1967 | |||
| Format | 7" | |||
| Recorded | Olympic Studios | |||
| Genre | Psychedelic rock Progressive rock Baroque pop | |||
| Length | 4:03 | |||
| Label | Deram Records | |||
| Writer(s) | Gary Brooker, Keith Reid, Matthew Fisher | |||
| Producer | Denny Cordell | |||
| Procol Harum singles chronology | ||||
| ||||
"A Whiter Shade of Pale" is the debut song by the British band Procol Harum, released 12 May 1967. The single reached number one in the UK Singles Chart[1] on 8 June 1967, and stayed there for six weeks. (Without much promotion, it reached #5 on the US charts, as well.)
With its haunting Bach-flavored instrumental melody, soulful vocals, and unusual lyrics—by the song's co-authors Matthew Fisher, Gary Brooker, and Keith Reid respectively--"A Whiter Shade of Pale" reached #1 in several countries when released in 1967. In the years since, it has become an enduring classic. It was the most played song in the last 75 years in public places in the UK (as of 2009),[2] and the United Kingdom performing rights group Phonographic Performance Limited in 2004 recognized it as the most-played record by British broadcasting of the past 70 years.[3] Also in 2004, Rolling Stone placed "A Whiter Shade of Pale" #57 on its list of the 500 Greatest Songs of All Time.
More than 900 recorded cover versions by other artists are known.[4] The song has been included in many music compilations over the decades and has also been used in the soundtracks of numerous films, including The Big Chill, Purple Haze, Breaking the Waves, The Boat That Rocked and notably in Martin Scorsese's segment of New York Stories. Cover versions of the song have also been featured in many films, for example by King Curtis in Withnail and I and by Annie Lennox in The Net.
The original writing credits were for Brooker and Reid only. On 30 July 2009, Matthew Fisher won co-writing credit for the music in a unanimous ruling from the Law Lords of the House of Lords.
Recording and personnel
The song was performed and recorded at Olympic Studios, with Gary Brooker providing the vocals and piano, Matthew Fisher on a Hammond M-102 organ, David Knights on bass, and Ray Royer on guitar. Drums were provided by session drummer Bill Eyden. A few days later, the song was re-recorded with the band's then newly-recruited drummer Bobby Harrison. That version, though, was considered inferior, and one of the original mono recordings was chosen for release.
Producer for the record was Denny Cordell and Keith Grant was the sound engineer.[5]
The song was included on the original U.S. release of the Procol Harum album, but not on the UK version.
Lyrics
Reid told Songfacts that he got the title at a party, which gave him a starting point for the song.[6] He overheard someone at the party saying to a woman, "You've turned a whiter shade of pale," and the phrase stuck in his mind.[7][8] The original lyrics had four verses, of which only two are heard on the original recording. The third verse has been heard in live performances by Procol Harum, and more seldom also the fourth.[9] The author of Procol Harum: beyond the pale, Claes Johansen, suggests that the song "deals in metaphorical form with a male/female relationship which after some negotiation ends in a sexual act."[8] This is supported by Tim de Lisle in Lives of the Great Songs, who remarks that the lyrics concern a drunken seduction, which is described through references to sex as a form of travel, usually nautical, using mythical and literary journeys.[10] Other observers have also commented that the lyrics concern a sexual relationship.[7]
The phrase a whiter shade of pale has since gained widespread use in the English language, noticed by several dictionaries.[11][12][13] As such, the phrase is today often used in contexts independent of any consideration of the song. (See [14] for many annotated examples complete with links to original sources.) It has also been heavily paraphrased, in forms like an Xer shade of Y--this to the extent that it has been recognized[15][16] as a snowclone - a type of cliché and phrasal template.
Composition
The Hammond organ line of "A Whiter Shade of Pale" was inspired by Johann Sebastian Bach's "Sleepers, Wake!" and "Air on a G String", but contrary to popular belief, the song is not a direct copy or paraphrase of any music by Bach,[17] although it makes clear references to both pieces. This similarity is referred to in the 1982 play The Real Thing by Tom Stoppard and the 1991 film The Commitments. A yet closer melodic influence that is seldom cited can arguably[weasel words] be found in the organ choral prelude "O Mensch bewein dein' Sunde Gross" (O Man, Lament Your Sin So Great) from Bach's so-called Orgelbuechlein (Little Organ Book). The music also borrows ideas from "When a Man Loves a Woman" by Percy Sledge.[18]
Reception
The single was released on 12 May 1967 (UK, Deram Records). It entered the UK charts on 25 May 1967. In two weeks, it had reached number one, where it stayed for six weeks. All in all, it stayed 15 weeks on the UK chart. A May 1972 re-release on Fly Records stayed in the UK charts for a total of 12 weeks, and reached number 13 as highest. In the US, it reached #5 and sold over one million copies.
Chart positions: # 1 (UK), # 1 (Germany) , # 1 (Ireland), # 1 (Australia), # 1 (World), # 3 (Norway VG-lista), # 5 (USA Hot 100). "A Whiter Shade of Pale" also managed to peak at number twenty-two on the soul charts in the U.S.[19].
Over time, "A Whiter Shade of Pale" has earned extensive critical acclaim.
- It was named joint winner (along with Queen's "Bohemian Rhapsody", which also uses the word 'fandango') of the Best British Pop Single 1952-1977 at the BRIT Awards, part of Queen Elizabeth II's Silver Jubilee.
- #57 on Rolling Stone magazine's list of the 500 Greatest Songs of All Time in 2004.
- British TV station Channel 4 placed the song at #19 in its chart of the 100 greatest number one singles.[20]
Authorship lawsuit
In 2005, former Procol Harum organist Matthew Fisher filed suit in the High Court against Gary Brooker and his publisher, claiming that he co-wrote the music for the song.[21]
Fisher won the case on 20 December 2006 but was awarded 40% of the composers' share of the music copyright, rather than the 50% he was seeking and was not granted royalties prior to 2005.[22]
Gary Brooker and publisher Onward Music were granted leave to appeal, and a hearing on the matter was held before a panel of three judges during the week of 1 October 2007. The decision, on 4 April 2008, by Lord Justice Mummery, in the Court of Appeal upheld Fisher's co-authorship[23] but ruled that he should receive no royalties as he had taken too long (38 years) to bring his claim to litigation. Full royalty rights were returned to Brooker.[24]
On 5 November 2008, Matthew Fisher was granted permission to appeal this decision to the House of Lords.[25] Lawyers say it is the first time the Law Lords have been asked to rule on a copyright dispute involving a song.[26] The appeal was heard in the House of Lords on 22–23 April 2009.[27]
On 30 July 2009 the Law Lords unanimously ruled in Fisher's favour. They noted that the delay in bringing the case had not caused any harm to the other party; on the contrary they had benefited financially from it. They also pointed out that there were no time limits to copyright claims under English law. The right to future royalties was therefore returned to Fisher.[28][29] The musicological basis of the judgment, and its effect on the rights of musicians who contribute composition to future works, have drawn wide attention in the music world.[30]
Video
The first video for the song was shot in the ruins of Witley Court in Worcestershire, England.[31]
The Witley Court video features four of the five musicians who played on the hit single: Gary Brooker, Matthew Fisher, David Knights and Ray Royer, in performance and walking through the ruins. Only the drummer in the video isn't on the record: early band member Bobby Harrison is seen miming to session man Bill Eyden's drumming. According to Shindig! Magazine's Procol Harum cover story by Alan Robinson (November-December 2009 issue - page 55), the video was directed by Peter Clifton whose insertion of Vietnam War newsreel footage caused it to be banned from airplay on the "Top of the Pops" TV show. The band subsequently made another video using "Scopitone" technology, but by this time, Robin Trower and B.J. Wilson had replaced Royer and Harrison in the band, so only three of the five musicians on the recording are represented, and no performance footage included - only the five musicians cavorting around London, running across fields, etc. This lineup, with Fisher in a monk's cowl, also mimed to the song on "Top of the Pops," and black and white footage of this performance has been shown online, perhaps constituting the third video of the song from 1967.
Glenn Hughes - A Whiter Shade Of Pale
Birth song
A while ago a friend tweeted a tool that tells you the name of the the number one song on the charts on your birthday. Awesome tool ..so of course I was very excited to know .. For me this is a very significant piece of information!
So, this is my birth song. This is the number one song that was playing when I was born! Isnt that profound?
These are pictures of the world as it was when I came into it! These people sang that song the day of my birth! Today!
I dont understand the lyrics tof this song. No one seems to understand them.... they sound profound .. dont they ?
the "truth" might be "plain to see" but the lyrics of this song arent as plain to understand.
Saturday, June 26, 2010
Friday, June 25, 2010
Increase your mind power by linking your conscious and subconscious
Thursday, June 24, 2010
منو يدري بالباطن شكو - نرجس شوقي غناء عراقي -Iraqi song - Narges showqi
Highest Rated Comments
- 1 year ago 4اقف علي قارعة الطريق
اتسول الحب والعشق والحنين
ابحث عن رجل كريم ,,
يهب لي بعضا من حبه ,, قلبه ,, او اقل القليل
ويح نفسي
وهبت قلبي
لرجل بخيل
مزقه ,شوههه ,وفي النهاية
القي به علي قارعة الطريق !!!
... - 1 year ago 4Allah.......
If I were in her time.......
All Comments (15)
- انها اعنية رائعة حثا
- نرجس شوقي ليست مصرية! انها اما سورية او لبنانية، كانت في اواخر حياتها تعيش في بيروت، تزوجت من المطرب المصري محمد عبد المطلب
- اخييييييييييييييييييه على كلبي
اي والله منو يدري منووووووووووووووووووو
خلوني سااااااااااااااكت خلوني
الصوج كله منه اي والله سوده عليه وبيضه عليك
اي والله شقول لمي من اروح انكسرة الشيشه - نرجس شوقي مطربة مصرية استقرت كالكثير من الفنانين العرب في بغداد اذ كانت الحركة الفنية قي كل اوجهها مزدهرة و كما سماها الموسيقار عبد الوهاب بلد الفن فالاسماء الكبيرة التي تربعت على اسم المقام العراقي و الاطوار الريفية و الاغنية البغدادية
- أغنيه رائعه وصعبه جدا ... وبدايتها كأنها اغنية أنا من اقولن آآآه واتذكر أيامى
- أنا من كتر إعجابي بهذه الأغنية أريد أن أقدمها في حفلتي القادمة إن شاء الله هنا بأمريكا، في حفلة للموسيقى العربية. رغم إن إيقاع الجورجينة صعب علي كمصري مش متعود عليه لكن بالتمرين يجي. وعازف الإيقاع إللي معاي إيراني كردي عارف الجورجينة مثل أسمه
- والله هاي اغنية حلوة بس اول مرة اعرف انو نرجس شوقي مصرية معقولة
- 1 year ago 3موبلمظاهـــــر
منو يدري بلبطن شكو...موبلمظاهـــــر
انا عشقت المحبوب...موبلمظاهـــــر
الحب عفه و أخلاق...موبلمظاهــــر
أعز منك ترة ماكو عليه
مع تحياتي
dele199
.
والأصعب هو أن تغني على إيقاع الجورجينا ومن مقام المخالف وكلاهما عراقي حصراً!