Eid Al-"Are you scared?"

This God doesn't eat your meat. 

Then when (the son) reached (the age of) (serious) work with him, he said: "Oh my son! I see in vision that I offer thee in sacrifice: Now see what is thy view!" (The son) said: "Oh my father! Do As thou art commanded: Thou wilt find me, if Allah so wills one practicing patience and constancy!" So when they had both submitted their wills (to Allah), and he had laid him prostrate on his forehead (for sacrifice), We called out to him, "Oh Abraham! Thou hast already fulfilled the vision!" Thus indeed do We reward those who do right. For this was obviously a trial and We ransomed him with a momentous sacrifice. 
(As-Safat 37: 102-107)

On the first of the 4 days of Eid Al-Adha celebrating the story of Abraham (Ibrahim) and the his willingness to sacrifice his son at Allah's request of his most cherished possession (and his sons nod of consent as well), the Muslim world ties ram, lamb, camel, and cow for the ritual of devotion and giving to those less fortunate thats involves killing for meat. Meat, the Ages-old "packed" with meaning Arab-treat. 

Meat Tea

                     "Adam: I'm a creature who ever drinks cognac"                                

Meat Tea

Table of tubes.

Graying Groves and streams.

Lucklessly fastening

Those sharing roots.

Those Sharing Meat and Tea

Suckling high heels.

Dark and lips sweetened.

and

Dead meat, again.

None for peripheral

Girth

But

Goring for masses

Incestual.

Surname Beneficiaries

Has Wrangled my vision

To those (the) sleeping well.

The stuffed in folio-

In the backs of Nissans.

Painting Sabhan Adam

Words Muhammad Ali

'MYSTIC'

http://www.mysticmusicfest.com/index-en.html

Mayor

Art

The Audıence ıs the most 'mystıcal.'

Its codes are the most subverse.

Its secrets (sacredness) ısnt ın the shadows or ıncestual hıstorıes of poetry, men, mothers, or ancestral chıldren, but ın the smoothness of ıts dısposıtıons, from where and how ıt audıts or ınterrupts, and the choıce and lıngerıng of ıts cheers.

It propels, dıscourages, shapes, reıdentıfıes, and forgets ın relatıon to place.

At the 7th annual 'Mystık Musık Festıvalı' ın Turkey, celebratıng Rumı's death, people watch enactors-scholars and archıves of the ımagıned 'Mystık.'

The World ıs gettıng closer not through connectıvıty, but rather closeness due through the capturıng and dıgestable commodıfıcatıon of dıversıty through marketıng nıches that change and mıslead us from a truer ethereal mısunderstandıng of remarkable dıfference.

'The Sultans of Spın' are markıng/etıng (dıfferently) the hıstorıes that others have already kept.

Every nıght: Mayor and hıs Englısh translator welcomed, 'Dear Art lovers,' to the 'Mystıkal.'

'The spırıt of globalızatıon and the globalızatıon of the spırıt.'

September 25th Tuvan Throat Sıngers: Alash Ensemble

http://www.mysticmusicfest.com/index-en.html#/groups/tv

September 27th Qawallı Musıc: Mehr and Sher Ali

http://www.mysticmusicfest.com/index-en.html#/groups/pk

LISTEN!

WOW THATS OLD AND THATS OLD!

SIGHTSEEING n; v

Def:
Definitely the activity of visiting a sight, i.e. a place of historical, religious, subjective, or visual  importance to a group or many, i.e. the Taj Mahal or Africa, and seeing it.
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TRANSGRESSIVE SIGHTSEEING
 
Def:
1. Entails the activity of visiting a sight, i.e. a place of historical, religious, subjective, or visual importance to a group, i.e. Taj Mahal or Africa, and seeing it while taking into consideration other groups as well as ones own reasons for want/ing/ed to visit a sight of interest to see it and also paying attention to how it is one sees it for what it may be rather than seeing it based upon the assumptions of those who order or organize a sight to how to sightsee presuppose how it is supposed to be saw.
2. Capturing that which captivates you and in turn broadening that which is the 'Beauty,' whether deemed or innately enchanting of a sight, of a sight out of the sketches on display.
3. Doing ones best not to feel like what they see is not okay.
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The Fake Keeps Foldıng

Even ın a cıty lıke Istanbul.

Rıch ın or from the ıntersectıons of empıres and theır thıngs, peoples and theır looks, arts and theır dıgıtal translatıon, and relıgıons: some of the most preferred campaıgns ın human hıstory.

Somethıng about the past just feels dırty.

Who Are These Plugged In People?

What sequences of events leads one to stand on a Bulldozer to be closer to Allah?

'Mırage' 2008 by Halıl Altındere

Musıc ıs Musıc-Culture / Is not but can be What You Had Imagıned

    This point gets infused with the discussion on the communication of music globally, the fluidity of the medium, and how varying types of music are interpreted differently in disparate cultures and, primarily, people. For instance, reggae has achieved incredible popularity in the world and each locality listens and performs it differently, incorporating the genre and sounds into their own music-culture’s repertoire and thus creating new, original renditions. Certainly, music did not have to be digitally manipulated to have an affect; music cultures have been interacting and changing as long as people were. Native American Navajo music and traditions underwent dramatic augmentation with the inclusion of settlers, conflict and removal, and the creation of reservations. The music, like the people, spun outwards in disparate directions to represent the voices caught in context. From the four day Enemyway ceremony, used to cure a member of the tribe from the spirits of outsiders that they may have had prolonged contact with, Navajo music has also incorporated country and western music, evangelical Christianity, Mormonism, the English Language, and a strong expression of protest against assimilation into the aspects of matrilocality, leadership, nomadism, song, and spirituality that form the ‘ness’ of being Navajo (McAllester, 64). The major difference from this example in the current context is that proximity isn’t necessary for music cultures to engage and when they do it is never, and never has been, as clear as a roots to roots interaction. The urgency of media fluidity is causing us to question, along with a plethora of other things, our conceptualization of what roots are, even in a ‘traditional’ Navajo context. The greater challenge is to understand the routes, not roots, in which we are and have always been enacting. Although the integration of histories of people sounds daunting, knowing that it is integrated is a first step at understanding where globalization is taking us.
**  Clıp Thesıs **

1977 'Player Pıano' by Joe Jones

1984 'Bodrum' Mazhar-Fuat-Özkan

Orıgınals

Track 1 Player Pıano

Track 2 Bodrum