Women from Teopoxco, Oaxaca, At the International Mother Language Day celebration in Oaxaca City.

__ Allora ti sei divertita?

__ Così

__ L'hai visto il metrò?

__ No

__ E allora,che cosa hai fatto?

__ Sono invecchiata

 

(R.Queneau---Zazie nel metrò)

ట గుణింతం. స్తలం చాలదని కావాలని "టృ టౄ" వదిలేసాను.

For my Hindi knowing friends, refer the picture in comments section.

 

For non Indian language speaking folks, There are set of vowels and consonants similar to any other language. However to get a particular sound, a fixed consonant with a fixed shape representing vowel sound results a series of letters. For example, in my mother tongue Telugu, the above letters are pronounced in this order Tamoto, Tom Hanks, Tea, Teacher , Two, Too much, Telephone, Table, Tie, Toe, Toaster, Town, Tum and Taha (not an english word but pronounced exactly)

   

ON large

Editors: Reimer

Language: German

Booklet, 248 pages

ISBN-10: 3496027169

ISBN-13: 978-3496027164

 

Franziska Becker (2001): Ankommen in Deutschland - Einwanderungspolitik als biografische Erfahrung im Migrationsprozess russischer Juden

 

Die Studie untersucht Migrationsprozesse russischer Juden. Dabei werden sowohl die Einwanderungspolitik als auch die Erfahrungsperspektive der Migranten in den Blick genommen. Dichte biografische Fallstudien eröffnen Einblicke in einen komplexen Umbauprozess sozialer Erfahrung und individueller Verortung.

 

Seit 1991 werden Juden aus der ehemaligen Sowjetunion in Deutschland als „jüdische Kontingentflüchtlinge“ aufgenommen. Franziska Becker lotet die Einwanderungspolitik und ihre rechtlichen und bürokratischen Rahmenbedingungen sowie ihre sozialen und kulturellen Kontexte aus. Dabei wird auch eine (deutsche) Strategie der Identitätszuschreibung vorgeführt, die eindeutig konstruktive und normative Züge trägt. Die Studie zeigt anhand biographischer Fallstudien, wie diese Zuschreibungsdiskurse im individuellen Migrationsprozess wirken, wie sie Migranten dazu herausfordern, ihre Lebensgeschichte reflexiv neu zu bewerten, um das Hiersein plausibel zu machen und zu legitimieren. Eindrückliche Porträts geben Aufschluss darüber, mit welchen Identitätserwartungen und Stereotypen russische Juden im Kontakt mit den Institutionen der Aufnahmegesellschaft wie Flüchtlingsheimen, Ausländerbehörden, der Sozialbürokratie und jüdischen Gemeinden konfrontiert werden und wie sich dabei ihre jüdischen Selbstbilder verändern. Die Studie setzt neue Akzente in der ethnologischen Migrationsforschung und lässt sich zugleich als Ethnografie des deutsch-jüdischen Verhältnisses lesen, eines für die Bundesrepublik zentralen Politikfeldes.

...ein wichtiger Beitrag zur Integrationsforschung, der „Integration“ gegen den Strich liest, nämlich als Resultat eines mühevollen Prozesses der Auseinandersetzung mit den Paradoxien der deutschen Einwanderungspoltik.[H-Soz-U-Kult]

Die ethnologische Dissertation von Franziska Becker über die russisch-jüdische Einwanderung ist eine hervorragende wissenschaftliche Arbeit, die man als eine Einführung in die überaus komplexe Materie empfehlen kann. [Im Gespräch – Martin-Buber-Gesellschaft.e.V.] /

 

Franziska Becker (2001): Arriving in Germany - Immigration policy as a biographical experience in the migration process of Russian Jews

 

The study analyses the migration processes of Russian Jews. Both immigration policy and the migrants' experiences are analysed. Dense biographical case studies provide insights into a complex process of transformation of social experience and individual localisation.

 

Since 1991, Jews from the former Soviet Union have been admitted to Germany as "Jewish quota refugees". Franziska Becker explores immigration policy and its legal and bureaucratic framework as well as its social and cultural contexts. In the process, a (German) strategy of identity attribution is also presented that clearly bears constructive and normative traits. Using biographical case studies, the study shows how these attribution discourses work in the individual migration process and how they challenge migrants to reflexively re-evaluate their life stories in order to make being here plausible and legitimise it. Impressive portraits shed light on the identity expectations and stereotypes with which Russian Jews are confronted in contact with the institutions of the host society, such as refugee centres, immigration authorities, the social bureaucracy and Jewish communities, and how their Jewish self-images change in the process. The study sets new accents in ethnological migration research and can also be read as an ethnography of the German-Jewish relationship, a central political field for the Federal Republic of Germany.

...an important contribution to integration research that reads "integration" against the grain, namely as the result of a painstaking process of coming to terms with the paradoxes of German immigration policy. [H-Soz-U-Kult] Franziska Becker's ethnological dissertation on Russian-Jewish immigration is an outstanding academic work that can be recommended as an introduction to the extremely complex subject matter. [In dialogue - Martin-Buber-Gesellschaft.e.V.] /

 

Franziska Becker (2001) : Arriver en Allemagne - La politique d'immigration comme expérience biographique dans le processus migratoire des Juifs russes.

 

L'étude examine les processus migratoires des Juifs russes. Elle s'intéresse aussi bien à la politique d'immigration qu'à l'expérience des migrants. Des études de cas biographiques denses ouvrent des perspectives sur un processus complexe de transformation de l'expérience sociale et de la localisation individuelle.

 

Depuis 1991, les Juifs de l'ex-Union soviétique sont accueillis en Allemagne en tant que "réfugiés du contingent juif". Franziska Becker explore la politique d'immigration et son cadre juridique et bureaucratique ainsi que ses contextes sociaux et culturels. Ce faisant, elle démontre également une stratégie (allemande) d'attribution d'identité qui présente des traits clairement constructifs et normatifs. L'étude montre, à l'aide d'études de cas biographiques, comment ces discours d'attribution agissent dans le processus de migration individuel, comment ils poussent les migrants à réévaluer leur histoire de vie de manière réflexive afin de rendre plausible et de légitimer leur présence ici. Des portraits impressionnants permettent de comprendre à quelles attentes identitaires et à quels stéréotypes les Juifs russes sont confrontés au contact des institutions de la société d'accueil telles que les foyers de réfugiés, les autorités d'immigration, la bureaucratie sociale et les communautés juives, et comment leur image de soi juive se modifie dans ce contexte. L'étude pose de nouveaux jalons dans la recherche ethnologique sur la migration et peut en même temps être lue comme une ethnographie des relations entre juifs et allemands, un domaine politique central pour la République fédérale.

...une contribution importante à la recherche sur l'intégration, qui lit "l'intégration" à contre-courant, à savoir comme le résultat d'un processus laborieux de confrontation avec les paradoxes de la politique d'immigration allemande.[H-Soz-U-Kult] La thèse de doctorat en ethnologie de Franziska Becker sur l'immigration juive russe est un excellent travail scientifique, que l'on peut recommander comme introduction à cette matière extrêmement complexe. [Entretien - Martin-Buber-Gesellschaft.e.V.] /

 

Franziska Becker (2001): Llegar a Alemania - La política de inmigración como experiencia biográfica en el proceso migratorio de los judíos rusos

 

El estudio analiza los procesos migratorios de los judíos rusos. Se analizan tanto la política de inmigración como las experiencias de los emigrantes. Densos estudios de casos biográficos permiten comprender un complejo proceso de transformación de la experiencia social y de localización individual.

 

Desde 1991, los judíos de la antigua Unión Soviética son admitidos en Alemania como "refugiados de cuota judía". Franziska Becker explora la política de inmigración y su marco jurídico y burocrático, así como sus contextos sociales y culturales. En el proceso, también se presenta una estrategia (alemana) de atribución de identidad que presenta claramente rasgos constructivos y normativos. Mediante estudios de casos biográficos, el estudio muestra cómo funcionan estos discursos de atribución en el proceso migratorio individual y cómo desafían a los inmigrantes a reevaluar reflexivamente sus historias de vida para hacer plausible y legitimar su presencia aquí. Impresionantes retratos arrojan luz sobre las expectativas de identidad y los estereotipos a los que se enfrentan los judíos rusos en contacto con las instituciones de la sociedad de acogida, como los centros de refugiados, las autoridades de inmigración, la burocracia social y las comunidades judías, y cómo cambia su autoimagen judía en el proceso. El estudio establece nuevos acentos en la investigación etnológica de la migración y también puede leerse como una etnografía de la relación germano-judía, un campo político central para la República Federal de Alemania.

...una importante contribución a la investigación sobre la integración que interpreta la "integración" a contracorriente, es decir, como el resultado de un minucioso proceso de reconciliación con las paradojas de la política alemana de inmigración [H-Soz-U-Kult] La disertación etnológica de Franziska Becker sobre la inmigración ruso-judía es un trabajo académico sobresaliente que puede recomendarse como introducción a un tema extremadamente complejo. [En diálogo - Martin-Buber-Gesellschaft.e.V.]. /

 

Franziska Becker (2001): Arrivare in Germania - La politica di immigrazione come esperienza biografica nel processo migratorio degli ebrei russi

 

Lo studio analizza i processi migratori degli ebrei russi. Vengono analizzate sia la politica di immigrazione che le esperienze dei migranti. I densi studi di casi biografici forniscono indicazioni su un complesso processo di trasformazione dell'esperienza sociale e di localizzazione individuale.

 

Dal 1991, gli ebrei dell'ex Unione Sovietica sono stati ammessi in Germania come "rifugiati in quota ebraica". Franziska Becker esplora la politica di immigrazione e il suo quadro legale e burocratico, nonché i suoi contesti sociali e culturali. Nel processo, viene anche presentata una strategia (tedesca) di attribuzione dell'identità che presenta chiaramente tratti costruttivi e normativi. Utilizzando casi di studio biografici, lo studio mostra come questi discorsi di attribuzione funzionino nel processo migratorio individuale e come sfidino i migranti a rivalutare in modo riflessivo le loro storie di vita per rendere plausibile e legittimare la loro presenza qui. Ritratti impressionanti fanno luce sulle aspettative identitarie e sugli stereotipi con cui gli ebrei russi si confrontano a contatto con le istituzioni della società ospitante, come i centri per rifugiati, le autorità per l'immigrazione, la burocrazia sociale e le comunità ebraiche, e sul modo in cui l'immagine di sé degli ebrei cambia nel corso del processo. Lo studio pone nuovi accenti nella ricerca etnologica sulle migrazioni e può essere letto anche come un'etnografia del rapporto tra tedeschi ed ebrei, un campo politico centrale per la Repubblica Federale Tedesca.

... un importante contributo alla ricerca sull'integrazione che legge l'"integrazione" controcorrente, cioè come il risultato di un accurato processo di avvicinamento ai paradossi della politica tedesca sull'immigrazione. [H-Soz-U-Kult] La dissertazione etnologica di Franziska Becker sull'immigrazione russo-ebraica è un'opera accademica eccezionale che può essere raccomandata come introduzione a un argomento estremamente complesso. [In dialogo - Martin-Buber-Gesellschaft.e.V.] /

 

Франциска Беккер (2001): Прибуття до Німеччини - імміграційна політика як біографічний досвід міграційного процесу російських євреїв

 

У дослідженні проаналізовано міграційні процеси російських євреїв. Аналізується як імміграційна політика, так і досвід мігрантів. Детальний аналіз біографічних прикладів дає уявлення про складний процес трансформації соціального досвіду та індивідуальної локалізації.

 

З 1991 року євреїв з колишнього Радянського Союзу приймають до Німеччини як "біженців за єврейською квотою". Франциска Беккер досліджує імміграційну політику, її правові та бюрократичні рамки, а також соціальний і культурний контексти. У процесі дослідження також представлено (німецьку) стратегію атрибуції ідентичності, яка має чітко виражені конструктивні та нормативні риси. Використовуючи біографічні приклади, дослідження показує, як ці дискурси атрибуції працюють в індивідуальному міграційному процесі і як вони змушують мігрантів рефлексивно переосмислювати свої життєві історії, щоб зробити перебування тут правдоподібним і легітимізувати його. Вражаючі портрети проливають світло на ідентифікаційні очікування та стереотипи, з якими стикаються російські євреї, контактуючи з інституціями приймаючого суспільства, такими як центри для біженців, імміграційні служби, соціальна бюрократія та єврейські громади, а також на те, як змінюється їхнє єврейське самоусвідомлення в процесі міграції. Дослідження розставляє нові акценти в етнологічних дослідженнях міграції, а також може бути прочитане як етнографія німецько-єврейських відносин, що є центральним політичним полем для Федеративної Республіки Німеччина.

...важливий внесок в інтеграційні дослідження, які прочитують "інтеграцію" протилежно, а саме як результат кропіткого процесу примирення з парадоксами німецької імміграційної політики. [H-Soz-U-Kult] Етнологічна дисертація Франциски Беккер про російсько-єврейську імміграцію є видатною академічною працею, яку можна рекомендувати як вступ до надзвичайно складного предмету. [У діалозі - Martin-Buber-Gesellschaft.e.V.] /

 

Франциска Беккер (2001): Прибытие в Германию - иммиграционная политика как биографический опыт в миграционном процессе российских евреев

 

В исследовании анализируются миграционные процессы российских евреев. Анализируются как иммиграционная политика, так и опыт самих мигрантов. Насыщенные биографические кейсы дают представление о сложном процессе трансформации социального опыта и индивидуальной локализации.

 

С 1991 года евреи из бывшего Советского Союза принимаются в Германию в качестве "беженцев по еврейской квоте". Франциска Беккер исследует иммиграционную политику, ее правовые и бюрократические рамки, а также социальный и культурный контекст. В процессе работы также представлена (немецкая) стратегия атрибуции идентичности, которая явно несет в себе конструктивные и нормативные черты. На примере биографических примеров исследование показывает, как эти дискурсы атрибуции работают в индивидуальном миграционном процессе и как они заставляют мигрантов рефлексивно пересматривать свои истории жизни, чтобы сделать пребывание здесь правдоподобным и легитимировать его. Впечатляющие портреты проливают свет на ожидания и стереотипы идентичности, с которыми сталкиваются российские евреи в контакте с институтами принимающего общества, такими как центры для беженцев, иммиграционные власти, социальная бюрократия и еврейские общины, и на то, как при этом меняется их еврейское самовосприятие. Исследование расставляет новые акценты в этнологических исследованиях миграции, а также может быть прочитано как этнография немецко-еврейских отношений - центрального политического поля Федеративной Республики Германия.

...важный вклад в исследование интеграции, в котором "интеграция" рассматривается против зерна, а именно как результат кропотливого процесса примирения с парадоксами немецкой иммиграционной политики" [H-Soz-U-Kult]. Этнологическая диссертация Франциски Беккер о русско-еврейской иммиграции - это выдающаяся научная работа, которую можно рекомендовать в качестве введения в чрезвычайно сложную тему. [В диалоге - Martin-Buber-Gesellschaft.e.V.]

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Urban Chronicles ~ Paris ~ MjYj

Please don't use this image on websites, blogs or other

media without my explicit permission.

MjYj© DSC08196 All rights reserved

  

Thanks everyone, thanks for all the votes,comments,

visits, support, critics, invites, awards, etc ..

 

Koper is also one of the main road entry points into Slovenia from Italy, which lies to the north of the municipality. The city is officially bilingual, with both Slovene and Italian as official languages.

1. The spiritual entity Qalb

 

Prophecy and knowledge relating to this was granted to the Prophet Adam

 

In the Urdu language the fleshy meat, (the heart) is known as dil, and in Arabic it is called fawad. The spiritual entity that is next to the heart is the Qalb and according to a Prophetic statement the heart and the Qalb are two separate entities.

 

Our solar system is the physical human sphere. There are other realms and spheres, for example the realm of the angels, the realm of the throne of God, the realm of the soul, the realm of the secrets, the realm of unification and the realm of the essence of God. These spheres and life forms inhabiting these spheres have existed before the eruption of the ball of fire, our Sun, which created our solar system. Ordinary angels were created alongside the creation of the souls when God commanded "Be" but the Archangels and the spiritual entities (which are placed inside the human body at birth) have existed in these realms before the formation of our solar system.

 

Many planets in our solar system were inhabited but subsequently these life forms became extinct. The remaining planets and their inhabitants are awaiting their destruction. The Archangels and the spiritual entities (of the human body) were created seventy thousand years before the command "Be."

 

Of these spiritual entities God placed the Qalb in the realm of love. It is with this that a human being is able to become connected with God. The Qalb acts like a telephone operator between God and the human being. A human being receives guidance and inspiration through it. Whereas the worship and the meditation done by the spiritual entities themselves can reach the highest realm, the Throne of God, with the aid of the Qalb. The Qalb itself, however cannot travel beyond the realm of the angels, as its place of origin is the Khuld, the lowest heaven in the realm of the angels.

 

The Qalb’s meditation is from within and its vibrating rosary is within the human skeleton (the heartbeat). People that failed to achieve this meditation of the Qalb in this lifetime will be regretful, even though they may be in paradise. As God has stated regarding those who will go to paradise, that do they, the inhabitants of paradise think that they will be equal to those who are elevated (reached higher realms by practicing the spiritual disciplines and becoming illuminated). As those that have achieved the meditation of the Qalb, they will enjoy its pleasures even in paradise when their Qalb will be vibrating with the Name of God.

After death physical worship ceases to exist and the people whose Qalb and spiritual entities are not strengthened and illuminated with the light of God are afflicted and distressed in their graves and their spiritual entities waste away. Whereas the illuminated and strengthened spiritual entities will go to the realm where the righteous will wait before the final judgement.

After the day of judgement a second body will be given, the illuminated spiritual entities along with the human soul will enter that body. The people that taught their spiritual entities, meditation, whereby the entities chanted the Name of God Allah in this life time will find that the spiritual entities will continue with this meditation even in the hereafter. Such people will continue to be elevated and exalted in the hereafter.

  

Those that were “blind of heart” (not illuminated) in this life time will be in darkness in that realm also, as this world was the place of action and effort. Those in the latter category will become quiescent.

Besides the Christians and the Jews the Hindu faith also holds a belief in these spiritual entities. The Hindu faith refers to them as Shaktian and the Muslims know them as Lata’if.

The Qalb is two inches, to the left of the heart. This spiritual entity is yellow in colour. When it is illuminated in a person, that person sees the colour yellow in their eyes. Not only this but there are many practitioners of alternative medicine who use the colours of these spiritual entities to heal people.

Most people regard their heart’s word, “inner feeling” to be truthful. If the hearts of people were indeed truthful, then why are all the people of the heart not united?

The Qalb of an ordinary person is in the sleeping or unconscious state and it does not possess any appreciation or awareness. Due to the dominance of the spirit of the self, the ego, and the Khannas, or due to the individual’s own simple- mindedness the heart can make judgements in error. Placing trust in a sleeping Qalb is foolish.

Only when the Name of God Allah, does vibrate in the heart does an appreciation of right and wrong and wisdom follow. At this stage the Qalb is known as the awakened Qalb. Thereafter due to the increase in the meditation by the Qalb, of the Name of God Allah, it is then known as the God-seeking Qalb. At this stage the heart is capable of preventing the person from doing wrong but it is still incapable of making a right or just decision. Thereafter and only when the Light and the rays of the Grace of God (theophany) start to descend upon that heart, is it known as the purified and illuminated Qalb that stands in the presence of God (witnessing Qalb).

 

A Prophetic statement:

“The mercy of God descends upon a broken heart and an afflicted grave.”

 

Thereafter when the heart reaches this stage then one must accept whatever it dictates, quietly without question because due to the rays of the Light and the Grace of God the spirit of the self, (ego) becomes completely illuminated, purified and at peace. God is then closer to that individual than that person’s jugular vein.

God then says, “I become his tongue with which he speaks and I become his hands with which he holds.”

   

2. The Human Soul

 

Prophecy and knowledge relating to this was granted to the Prophet Abraham

 

This is on the right side of the chest. This is awakened and illuminated by the meditation and one-pointed concentration on it. Once it becomes illuminated, a vibration similar to the heartbeat is felt on the right side of the chest. Then the Name of God, Ya Allah is matched with the vibrating pulse. The meditation of the soul is done in this way. At this point, there are now two spiritual entities meditating inside the human body, this is an advancement in rank and status and is better than the Qalb. The soul is a light red in colour and when it is awakened, it is able to travel to the realm of the souls (the station of the Archangel Gabriel). Anger and rage are attached to it that burn and turn into majesty.

  

3. The spiritual entity Sirri

 

Prophecy and knowledge relating to this was granted to the Prophet Moses

 

This spiritual entity is to the left of the centre of the chest. This is also awakened and illuminated by the meditation and one-pointed concentration on it with the Name of God, Ya Hayy, Ya Qayyum. Its colour is white and in the dream state or by spiritual separation from the physical body “transcendental meditation” it can journey to the realm of the secrets. Now there are three spiritual entities meditating within a person and its status is higher than the other two.

   

4. The spiritual entity Khaffi

 

Prophecy and knowledge relating to this was granted to the Prophet Jesus

 

This is to the right of the centre of the chest. It too is taught the Name of God Ya Wahid by meditation. It is green in colour and it can reach the realm of unification. Due to the meditation of four entities one's status is further increased.

 

5. The spiritual entity Akhfa

 

Prophecy and knowledge relating to this was granted to the Prophet Mohammed

 

This is situated at the centre of the chest. It is awakened by meditating on the Name of God, Ya Ahad. It is purple in colour and it too, is connected to that veil in the realm of unification behind which is the throne of God.

 

The hidden spiritual knowledge relating to these five spiritual entities was granted to the Prophets, one by one and half of the knowledge of every spiritual entity was granted from the Prophets to the Saints of their time. In this way there became ten parts of this knowledge. The Saints in turn passed this knowledge on to the spiritually favoured (Godly) who then had the benefit of the sacred knowledge.

 

The apparent knowledge of the seen is connected to the physical body, the spoken word, the human realm and the spirit of the self, this is for the ordinary mortals. This knowledge is contained in a book that has thirty parts. Spiritual knowledge was also given to the Prophets by revelation brought by Gabriel and for this reason it is known as the spiritual Holy Scripture.

 

Many of the verses of the Qur’an would sometimes be abolished, since the Prophet Mohammed would sometimes mention matters relating to this “hidden spiritual knowledge” before ordinary people, which was only meant for the special and Godly. Later this knowledge passed on spiritually from the chest of one Saint to another, and now it has become widespread by its publication in books.

  

6. The spiritual entity Anna

 

This spiritual entity is inside the head and is colourless. It is by the meditation on the Name of God Ya Hu that this spiritual entity reaches its pinnacle. It is this spiritual entity that when it becomes illuminated and powerful it can stand in the Presence of God, face to face, and communicate with God unobstructed. Only the extreme lovers of God reach this realm and station. Besides this there are a few and extremely exalted people who are granted additional spiritual entities, for example the spiritual entity Tifl-e-Nuri or a spiritual entity of the Godhead, Jussa-e-Tofiq-e-Ilahi, the spiritual status of such people is beyond understanding.

 

With the spiritual entity, Anna, God is seen in the dream state.

 

With the spiritual entity of the Godhead, God is seen in the “physical meditating state” when the spiritual entity itself leaves the human body and transcends to the essence of God.

 

Those possessing the spiritual entity, the Tifl-e-Nuri, see God whilst they are fully conscious.

 

It is these people who are the majesty and power of God in the world. They can either occupy the people by prescribing worship and austerities or by their spiritual grace send a person straight to the realm of God’s love. In their sight, concerning dispensing spiritual grace the believers and the non-believers, the dead and the living are all the same. Just as a thief became a Saint, in an instant, by the passing glimpse of the Saint Sheikh Abdul-Qadir al-Jilani, similarly, Abu-Bakr Havari and Manga the thief, became instant Saints by the passing glimpses of such Saints.

 

The five major Messengers were given knowledge of the five spiritual entities separately and in order of their appearance, as a result of which spirituality continued to prosper. With whichever spiritual entity you practice meditation you will be connected to the corresponding Messenger and become worthy of receiving spiritual grace (from that Messenger).

 

Whichever spiritual entity receives the rays of the Grace of God (favour), the Sainthood granted to that spiritual entity will be connected to the corresponding Prophet’s spiritual grace.

 

Access to seven realms and gaining elevated spiritual status in the seven heavens is obtained through these spiritual entities.

The functions of the spiritual entities inside the human body

 

Akhfa: Due to the spiritual entity, Akhfa a person is able to speak. In its absence a person may have a normal tongue but will be dumb. The difference between human beings and animals lies in the presence or the absence of these spiritual entities. At birth, if the entity, Akhfa was unable to enter the body for whatever reason, then a Prophet appointed for the rectification of this ailment would be called to treat the condition as a result of which the dumb would start to speak.

 

Sirri: A person is able to see due to the spiritual entity, Sirri. If it does not enter the body the person is blind from birth. An appointed Prophet had the duty to find and place the spiritual entity into the body, as a result of which the blind would start to see again.

Qalb: Without the spiritual entity of the Qalb, in the body, a person is like the animals, unacquainted, far from God, miserable and without purpose. Returning this entity into the body was the task of the Prophets also.

The miracles of the Prophets were also granted to the saints, in the form marvels and mystical wonders as a result of which even the impious and liberal became close to God. When a spiritual entity is returned by any allocated Saint or Prophet, the deaf, dumb and the blind are healed.

Anna: When the spiritual entity, Anna, fails to enter the body, a person is regarded as insane even though the brain may be functioning normally.

Khaffi: In the absence of the spiritual entity, Khafi, a person is deaf, even if the ears are opened wide.

These conditions can be caused by other defects in the body, and can be treated. There is no cure in the case, where the defect is caused by the absence of the associated spiritual entity except where a Prophet or a Saint intervenes and cures the defect.

Nafs, self: As a result of the spiritual entity of the self (ego) a persons mind is occupied with the material world and it is because of the spiritual entity Qalb that a persons direction turns towards God. For more detail visit www.goharshahi.org or visit asipk.com and for videos visit HH rags

 

The hangings are like a missed light on Lucifer's forehead, it's probably a pending question for a gargoyle game.... What is the deep understanding of the creature suspended on Freiburg Cathedral in Breisgau? Much rain fell and the question remained suspended to the scepticism of official historians? while a Green Serpent read JW Goethe and fed on the heart of this stone suspended above our consciences limited by many proud clouds. The gargoyles are used to evacuate the flow of three-dimensional logic. The layer of paint forgotten by the architects of the Spirit limited by the green moss that invades their sectarian thoughts.

Just after the Flood, at the dawn of the current cycle, an era that the Egyptians called ZEP TEPI, "The First Times", a mysterious group of "gods", appeared to introduce the survivors to the rudiments of civilization. From Thoth and Osiris in Egypt to Quetzacoatal and Viracocha in the Americas, traditions around the world are bringing the origins of contemporary civilization into this sophisticated group. The creatures hanging on the top are suffering a flood, they have been vomiting since the dawn of time, but unfortunately we have lost their flood of messages. The East has nourished this Rhine land for centuries, today we are in ethnocentric explanations.....

  

Despite the misleading popularity of Von Danikan journalism, evidence from around the world, indicates these people were the hi-tech survivors of the previous civilisation. Like the nuclear survival bunkers and secret research facilities of our civilisation, there were those who arose from the underground "cities of the Gods", after the dust settled. They were the "prediluvian patriarchs", like Enoch and Methuselah, the "giants and heroes of old", mentioned in Genesis.

 

The enigmatic gods ancient Summer, Egypt and India, all hail from the fabulous times before the Flood. Since the declassification of the new ground-penetrating radar 2 years ago, the most staggering data has emerged of complex and labyrinthine underground systems in various parts of the world. At places like Guatemala in the South Americas, tunnels have been mapped under the Mayan pyramid complex at Tikal, which extend a full 800 kilometres to the opposite side of the country. Investigators remarked, it was possible to understand how half a million Mayan Indians escaped the decimation of their culture.

 

In similar fashion, the SIRA radar was deployed in Egypt as early as 1978, mapping an extraordinary subterranean complex beneath the Egyptian pyramids. Arrangements made with President Sadat of Egypt, resulted in three decades of top secret excavations to penetrate the system. At a recent meeting in Australia, one of the key scientists on the Giza project, Dr. Jim Hurtak, showed film footage of work in progress called, CHAMBERS OF THE DEEP, due to be released at the end of the century. The film reveals the discovery of a vast megalithic metropolis, 15,000 years old, reaching several levels below the Giza plateau.

 

While the rest of the Nu-Age speculates about a hidden chamber under the left paw of the Sphinx, the legendary "City Of The Gods", lays sprawled beneath. Complete with hydraulic underground waterways, the film shows massive chambers, the proportions of our largest cathedrals, with enormous statues, the size of the Valley of the Nile, carved in-situ. Researchers, risking their lives with lights and cameras, carefully negotiated rubber dinghies across subterranean rivers and kilometer-wide lakes, to penetrate sealed chambers beyond. Already, remarkable caches of records and artifacts have been found. It is the legacy of a civilisation and a technology way beyond our own. A technology capable of creating a vast underground city, of which the sphinx and pyramids are merely the surface markers. The project scientist, Dr. Hurtak, likens it to the impact of contact with an advanced extraterrestrial culture. He described it as the discovery of the Fourth Root culture, the so-called Atlantean civilisation, destroyed by the last earth tumble. It presents unequivocal evidence that all languages, cultures and religions trace back to a single common source, which Dr. Hurtak refers to as the "Parent Civilisation".

 

The technology unearthed is way beyond machine technology, as we know it. As Arthur C. Clark once joked, "any technology beyond our own would seem like magic to us." According to Dr. Hurtak, this was a culture who cracked the genetic code and possessed the keys of the physical spectrum, the "Higher Light Physics" of the ancients... everything old Gilgamesh went searching for in his famous trek to the lost "City of the Gods" to search the tunnels beneath "Mt. Mashu" in the desert lands.

 

Hurtak refers to a "language of light" and a great priest-scientist of the previous time cycle, named ENOCH, who is associated with the building of the Great Pyramid complex. Hurtak alludes to a grand spiritual science, a science which describes a genetic stairway to the stars. The priest-scientist ENOCH, is a prediluvian patriarch, one of the most famous and seminal characters of the previous time cycle. Father of Methuselah and great grandfather of Noah, Enoch is credited in the Bible as architect of the original Zion, the legendary "City of Yahweh", as well as inventor of the alphabet and calendar. Enoch is also history's first astronaut, who "is taken aloft by the Lord" and shown "the secrets of earth and heaven". He returns to earth with the "weights and measures" for all humankind.

 

Known to the Egyptians as THOTH, the "Lord of Magic and Time" and to theGreeks as HERMES, "messenger of the gods", he is even remembered in the Celtic tradition as the enigmatic wizard Merlin, who disappears up an apple tree to mythic Avalon, seeking the secret of immortality and vowing to return. As one who attained immortality, the secret of how we "might become as gods", Thoth/Enoch promises to return at the end of time "with the keys to the gates of the sacred land."

 

In the controversial Dead Sea Scrolls, revealing the lost Books Of Enoch removed from the Bible by early religious leaders, Enoch describes a wondrous civilisation in the past, who misused the keys of higher knowledge and were unable to save themselves from the last cataclysm. Both literally and figuratively they lost the "keys", they lost all higher knowledge.Yet, Enoch, along with many traditions, even the Mayan legend of Quetzacoatal, promises a return of this knowledge at "The end of time", the end of the present time cycle.

 

Biblical Revelations promise "all will be revealed" at the end of the present world. The extraordinary discoveries in Egypt and other parts of the world, describe not just an advanced technology but, evolutionary path beyond our present state. Careful scientific examination of the world's key pyramid sites, reveal them to be sophisticated harmonic structures, not only mirroring positions of the planets and stellar systems but, designed to mimic the chakras and harmonic cavities of the human body. Even each stone within the Great Pyramid is harmonically tuned to a specific frequency or musical tone. The sarcophagus in the centre of the Great Pyramid is tuned to the frequency of the human heart beat. Astonishing experiments, conducted by Dr. Hurtak and colleagues at the Great Pyramid and other sites in the South Americas, demonstrate the pyramids to be voice-activated "geophysical computers."

 

Intoning specific ancient sounds, the scientific team produced visible standing waves of light, above and within the pyramids and were even able to penetrate, hitherto, inaccessible chambers. Subsequent discoveries indicate the ancient priest-scientists employed some sort of harmonic sound technology within the temple structures. The lost Enochian knowledge reveals the mother tongue as a "language of Light". Known to the ancients as HIBURU, it is the primal seed language, introduced at the beginning of this time cycle.

 

Modern research confirms, the most ancient form Hebrew to be a natural language, the alphabetic forms emerging from the phosphene flare patterns of the brain. The same shapes, in fact, born of a spinning vortex. It is a true language of light, coursing through our very nervous system. Encoding the natural waveform geometries of the physical world, Hiburu is a harmonic language, mimicking the waveform properties of light.

 

The "keys" Enoch speaks of, turn out to be sound keys, keys to be vibratory matrix of reality itself, the mythic "Power of the World". The Enochian knowledge describes sonic equations, encoded within the ancient mantras and god names, capable of directly affect the nervous system and producing profound effect of healing and higher consciousness states. As the ancient texts declare, "If you would speak with the gods you must first learn the language of the gods."

 

DNA, the ancient cabalistic "Tree Of Life" portrayed in the Biblical Torah, is now coming to be viewed as a live vibrating structure, rather than a fixed tape recording. Many modern scientists, regard DNA as a shimmering, waveform configuration, able to be modified by light, radiation, magnetic fields or sonic pulses. The legacy of Thoth/Enoch suggests this "language of Light", the harmonic science of the ancients, could actually affect DNA. The evidence in Egypt, indicates this was the grand 6,000 year genetic experiment attempted by the Egyptians, the quest for immortality and the stars, a quest described by the great ones of old, a quest initiated by Gilgamesh so very long ago.

 

The Egyptians were not fixated on the afterlife, as thought by early Christian translators but, focussed on creating a higher type of human. Along with many ancient cultures, they believed DNA came from the stars and was destined to return.The knowledge of Thoth/Enoch implies humans are meant to evolve beyond our present terrestrial form, as the Bible tells us, "we may become greater than angels".The Egyptians record stories of the "Star Walkers", occasional individuals who, like Enoch, travelled "beyond the Great Eye of Orion" and returned, to walk like gods amongst men.

 

Despite the bleaching of semi-divine beings from modern consciousness, could it be possible, as the ancient texts insist, we are destined to "become as gods"? are the Mayan "Lords of Light" and the Egyptian/Tibetan "Shining Ones" really a higher form of human? According to many earth legends, such beings are supposed to return regularly, at the beginning and end of each time cycle, the 13,000 year half-point of our solar system's 26,000 year zodiacal orbit around galaxy centre. Because of conditions on our galactic orbit, these 13,000 year intervals or "worlds", seem to be separated by cataclysmic upheaval. According to the "calendar in stone" of the Great Pyramid, which describes the so-called "Phoenix Cycle" of our galactic orbit, the present time period ends (converted to our present calendar) in the year 2012 AD.

 

The Greek word PHOENIX, derived from the Egyptian word, PA-HANOK, actually means, "The House of Enoch". The Enochian knowledge suggests, these regular cataclysmic changes act as an evolutionary agent provocateur, to quicken the resident life forms to the next evolutionary phase, prior to exodus from the womb planet. Human evolution may proceed more rapidly than previously thought. The evidence now appearing, records civilisations before us, who mastered the physical continuum and progressed beyond this world. There were also those who failed.

 

We, too, have equal opportunity to make it or break it.The discoveries emerging from Egypt, describe the existence of a world wide pyramid temple system in prehistory, mounted like antennae on the key energy meridians, which were employed by ancient priest-scientists as a musical system to stabilize the tectonic plates of the planet... cataclysmic geology at it's finest.

 

>From the mother tongue word JEDAIAH, meaning "the way of the Word" or "the power of the Word", the ancient JEDAI priests used the language of Light to tune the planet like a giant harmonic bell. Much is being rediscovered in the last days of this time cycle. In the words of Dr. Jay Franz, of the Omega Foundation, "even if we don't dare to name it, there is a universal feeling of something impending on the world stage

 

lightparty.com/Spirituality/ThothEnoch.html

Photos Taken by Edwin Ladd - Mr Ladd Media for the Language of Leadership Dinner 2022 hosted by Gowling WLG held at the Library of Birmingham on 30th June 2022.

 

#MrLaddMedia

Want Edwin Ladd - Mr Ladd Media at your next event?

 

Contact: Edwin Ladd

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Fully Fashioned Friday - just about! So here's something different - still life!

I love vintage stocking ads and the top one inspired me to get out some of my vintage collection.

PRESIDIO OF MONTEREY, California -- The 229th Military Intelligence Battalion celebrated the U.S. Army's 243rd birthday by hosting the 2018 Monterey Army Birthday Ball at the Naval Postgraduate School's Hermann Hall, June 9.

 

Col. Phillip Deppert, commandant of the Defense Language Institute Foreign Language Center, was the evening's guest speaker. The evening was a blend of tradition and celebration that included toasts, cake-cutting, musical performances, fine dining and dancing.

 

The U.S. Army was founded on June 14, 1775, when the Continental Congress authorized enlistment of riflemen to support the rebellion of united colonies against British forces

 

Official Presidio of Monterey Web site

 

Official Presidio of Monterey Facebook

 

PHOTO by Steven L. Shepard, Presidio of Monterey Public Affairs.

Around the end of June, young people from around the world (well, ok, mainly from Spain and Italy, it appears) descend on Oxford and gather in certain spots including Bonn Square (not sure what's so special about this square, but it's always a safe bet to find them there) I gather they come here to improve their English. Now, as October begins, they fly back to their winter quarters ...

I love this scene

 

I once tried to imitate her in a school performance. I wasn't too bad, though my makeshift gloves turned out to be really difficult to take off.

 

It's my birthday today! And in case anyone wonders, I'm 18. Not.

Language of Flowers postcard

Vladimir Semyonovich Vysotsky (Russian: Владимир Семёнович Высоцкий, IPA: [vlɐˈdʲimʲɪr sʲɪˈmʲɵnəvʲɪtɕ vɨˈsotskʲɪj]; 25 January 1938 – 25 July 1980), was a Soviet singer-songwriter, poet, and actor who had an immense and enduring effect on Soviet culture. He became widely known for his unique singing style and for his lyrics, which featured social and political commentary in often humorous street-jargon. He was also a prominent stage- and screen-actor. Though the official Soviet cultural establishment largely ignored his work, he was remarkably popular during his lifetime, and to this day exerts significant influence on many of Russia's musicians and actors.

 

Vysotsky was born in Moscow at the 3rd Meshchanskaya St. (61/2) maternity hospital. His father, Semyon Volfovich (Vladimirovich) (1915–1997), was a colonel in the Soviet army, originally from Kiev. Vladimir's mother, Nina Maksimovna, (née Seryogina, 1912–2003) was Russian, and worked as a German language translator.[3] Vysotsky's family lived in a Moscow communal flat in harsh conditions, and had serious financial difficulties. When Vladimir was 10 months old, Nina had to return to her office in the Transcript bureau of the Soviet Ministry of Geodesy and Cartography (engaged in making German maps available for the Soviet military) so as to help her husband earn their family's living.

 

Vladimir's theatrical inclinations became obvious at an early age, and were supported by his paternal grandmother Dora Bronshteyn, a theater fan. The boy used to recite poems, standing on a chair and "flinging hair backwards, like a real poet," often using in his public speeches expressions he could hardly have heard at home. Once, at the age of two, when he had tired of the family's guests' poetry requests, he, according to his mother, sat himself under the New-year tree with a frustrated air about him and sighed: "You silly tossers! Give a child some respite!" His sense of humor was extraordinary, but often baffling for people around him. A three-year-old could jeer his father in a bathroom with unexpected poetic improvisation ("Now look what's here before us / Our goat's to shave himself!") or appall unwanted guests with some street folk song, promptly steering them away. Vysotsky remembered those first three years of his life in the autobiographical Ballad of Childhood (Баллада о детстве, 1975), one of his best-known songs.

 

As World War II broke out, Semyon Vysotsky, a military reserve officer, joined the Soviet army and went to fight the Nazis. Nina and Vladimir were evacuated to the village of Vorontsovka, in Orenburg Oblast where the boy had to spend six days a week in a kindergarten and his mother worked for twelve hours a day in a chemical factory. In 1943, both returned to their Moscow apartment at 1st Meschanskaya St., 126. In September 1945, Vladimir joined the 1st class of the 273rd Moscow Rostokino region School.

 

In December 1946, Vysotsky's parents divorced. From 1947 to 1949, Vladimir lived with Semyon Vladimirovich (then an army Major) and his Armenian wife, Yevgenya Stepanovna Liholatova, whom the boy called "aunt Zhenya", at a military base in Eberswalde in the Soviet-occupied zone of Germany (later East Germany). "We decided that our son would stay with me. Vladimir came to stay with me in January 1947, and my second wife, Yevgenia, became Vladimir's second mother for many years to come. They had much in common and liked each other, which made me really happy," Semyon Vysotsky later remembered. Here living conditions, compared to those of Nina's communal Moscow flat, were infinitely better; the family occupied the whole floor of a two-storeyed house, and the boy had a room to himself for the first time in his life. In 1949 along with his stepmother Vladimir returned to Moscow. There he joined the 5th class of the Moscow 128th School and settled at Bolshoy Karetny [ru], 15 (where they had to themselves two rooms of a four-roomed flat), with "auntie Zhenya" (who was just 28 at the time), a woman of great kindness and warmth whom he later remembered as his second mother. In 1953 Vysotsky, now much interested in theater and cinema, joined the Drama courses led by Vladimir Bogomolov.[7] "No one in my family has had anything to do with arts, no actors or directors were there among them. But my mother admired theater and from the earliest age... each and every Saturday I've been taken up with her to watch one play or the other. And all of this, it probably stayed with me," he later reminisced. The same year he received his first ever guitar, a birthday present from Nina Maksimovna; a close friend, bard and a future well-known Soviet pop lyricist Igor Kokhanovsky taught him basic chords. In 1955 Vladimir re-settled into his mother's new home at 1st Meshchanskaya, 76. In June of the same year he graduated from school with five A's.

 

In 1955, Vladimir enrolled into the Moscow State University of Civil Engineering, but dropped out after just one semester to pursue an acting career. In June 1956 he joined Boris Vershilov's class at the Moscow Art Theatre Studio-Institute. It was there that he met the 3rd course student Iza Zhukova who four years later became his wife; soon the two lovers settled at the 1st Meschanskaya flat, in a common room, shielded off by a folding screen. It was also in the Studio that Vysotsky met Bulat Okudzhava for the first time, an already popular underground bard. He was even more impressed by his Russian literature teacher Andrey Sinyavsky who along with his wife often invited students to his home to stage improvised disputes and concerts. In 1958 Vysotsky's got his first Moscow Art Theatre role: that of Porfiry Petrovich in Dostoyevsky's Crime and Punishment. In 1959 he was cast in his first cinema role, that of student Petya in Vasily Ordynsky's The Yearlings (Сверстницы). On 20 June 1960, Vysotsky graduated from the MAT theater institute and joined the Moscow Pushkin Drama Theatre (led by Boris Ravenskikh at the time) where he spent (with intervals) almost three troubled years. These were marred by numerous administrative sanctions, due to "lack of discipline" and occasional drunken sprees which were a reaction, mainly, to the lack of serious roles and his inability to realise his artistic potential. A short stint in 1962 at the Moscow Theater of Miniatures (administered at the time by Vladimir Polyakov) ended with him being fired, officially "for a total lack of sense of humour."

 

Vysotsky's second and third films, Dima Gorin's Career and 713 Requests Permission to Land, were interesting only for the fact that in both he had to be beaten up (in the first case by Aleksandr Demyanenko). "That was the way cinema greeted me," he later jokingly remarked. In 1961, Vysotsky wrote his first ever proper song, called "Tattoo" (Татуировка), which started a long and colourful cycle of artfully stylized criminal underworld romantic stories, full of undercurrents and witty social comments. In June 1963, while shooting Penalty Kick (directed by Veniamin Dorman and starring Mikhail Pugovkin), Vysotsky used the Gorky Film Studio to record an hour-long reel-to-reel cassette of his own songs; copies of it quickly spread and the author's name became known in Moscow and elsewhere (although many of these songs were often being referred to as either "traditional" or "anonymous"). Just several months later Riga-based chess grandmaster Mikhail Tal was heard praising the author of "Bolshoy Karetny" (Большой Каретный) and Anna Akhmatova (in a conversation with Joseph Brodsky) was quoting Vysotsky's number "I was the soul of a bad company..." taking it apparently for some brilliant piece of anonymous street folklore. In October 1964 Vysotsky recorded in chronological order 48 of his own songs, his first self-made Complete works of... compilation, which boosted his popularity as a new Moscow folk underground star.

 

In 1964, director Yuri Lyubimov invited Vysotsky to join the newly created Taganka Theatre. "'I've written some songs of my own. Won't you listen?' – he asked. I agreed to listen to just one of them, expecting our meeting to last for no more than five minutes. Instead I ended up listening to him for an entire 1.5 hours," Lyubimov remembered years later of this first audition. On 19 September 1964, Vysotsky debuted in Bertolt Brecht's The Good Person of Szechwan as the Second God (not to count two minor roles). A month later he came on stage as a dragoon captain (Bela's father) in Lermontov's A Hero of Our Time. It was in Taganka that Vysotsky started to sing on stage; the War theme becoming prominent in his musical repertoire. In 1965 Vysotsky appeared in the experimental Poet and Theater (Поэт и Театр, February) show, based on Andrey Voznesensky's work and then Ten Days that Shook the World (after John Reed's book, April) and was commissioned by Lyubimov to write songs exclusively for Taganka's new World War II play. The Fallen and the Living (Павшие и Живые), premiered in October 1965, featured Vysotsky's "Stars" (Звёзды), "The Soldiers of Heeresgruppe Mitte" (Солдаты группы "Центр") and "Penal Battalions" (Штрафные батальоны), the striking examples of a completely new kind of a war song, never heard in his country before. As veteran screenwriter Nikolay Erdman put it (in conversation with Lyubimov), "Professionally, I can well understand how Mayakovsky or Seryozha Yesenin were doing it. How Volodya Vysotsky does it is totally beyond me." With his songs – in effect, miniature theatrical dramatizations (usually with a protagonist and full of dialogues), Vysotsky instantly achieved such level of credibility that real life former prisoners, war veterans, boxers, footballers refused to believe that the author himself had never served his time in prisons and labor camps, or fought in the War, or been a boxing/football professional. After the second of the two concerts at the Leningrad Molecular Physics institute (that was his actual debut as a solo musical performer) Vysotsky left a note for his fans in a journal which ended with words: "Now that you've heard all these songs, please, don't you make a mistake of mixing me with my characters, I am not like them at all. With love, Vysotsky, 20 April 1965, XX c." Excuses of this kind he had to make throughout his performing career. At least one of Vysotsky's song themes – that of alcoholic abuse – was worryingly autobiographical, though. By the time his breakthrough came in 1967, he'd suffered several physical breakdowns and once was sent (by Taganka's boss) to a rehabilitation clinic, a visit he on several occasions repeated since.

 

Brecht's Life of Galileo (premiered on 17 May 1966), transformed by Lyubimov into a powerful allegory of Soviet intelligentsia's set of moral and intellectual dilemmas, brought Vysotsky his first leading theater role (along with some fitness lessons: he had to perform numerous acrobatic tricks on stage). Press reaction was mixed, some reviewers disliked the actor's overt emotionalism, but it was for the first time ever that Vysotsky's name appeared in Soviet papers. Film directors now were treating him with respect. Viktor Turov's war film I Come from the Childhood where Vysotsky got his first ever "serious" (neither comical, nor villainous) role in cinema, featured two of his songs: a spontaneous piece called "When It's Cold" (Холода) and a dark, Unknown soldier theme-inspired classic "Common Graves" (На братских могилах), sung behind the screen by the legendary Mark Bernes.

 

Stanislav Govorukhin and Boris Durov's The Vertical (1967), a mountain climbing drama, starring Vysotsky (as Volodya the radioman), brought him all-round recognition and fame. Four of the numbers used in the film (including "Song of a Friend [fi]" (Песня о друге), released in 1968 by the Soviet recording industry monopolist Melodiya disc to become an unofficial hit) were written literally on the spot, nearby Elbrus, inspired by professional climbers' tales and one curious hotel bar conversation with a German guest who 25 years ago happened to climb these very mountains in a capacity of an Edelweiss division fighter. Another 1967 film, Kira Muratova's Brief Encounters featured Vysotsky as the geologist Maxim (paste-bearded again) with a now trademark off-the-cuff musical piece, a melancholy improvisation called "Things to Do" (Дела). All the while Vysotsky continued working hard at Taganka, with another important role under his belt (that of Mayakovsky or, rather one of the latter character's five different versions) in the experimental piece called Listen! (Послушайте!), and now regularly gave semi-official concerts where audiences greeted him as a cult hero.

 

In the end of 1967 Vysotsky got another pivotal theater role, that of Khlopusha [ru] in Pugachov (a play based on a poem by Sergei Yesenin), often described as one of Taganka's finest. "He put into his performance all the things that he excelled at and, on the other hand, it was Pugachyov that made him discover his own potential," – Soviet critic Natalya Krymova wrote years later. Several weeks after the premiere, infuriated by the actor's increasing unreliability triggered by worsening drinking problems, Lyubimov fired him – only to let him back again several months later (and thus begin the humiliating sacked-then-pardoned routine which continued for years). In June 1968 a Vysotsky-slagging campaign was launched in the Soviet press. First Sovetskaya Rossiya commented on the "epidemic spread of immoral, smutty songs," allegedly promoting "criminal world values, alcoholism, vice and immorality" and condemned their author for "sowing seeds of evil." Then Komsomolskaya Pravda linked Vysotsky with black market dealers selling his tapes somewhere in Siberia. Composer Dmitry Kabalevsky speaking from the Union of Soviet Composers' Committee tribune criticised the Soviet radio for giving an ideologically dubious, "low-life product" like "Song of a Friend" (Песня о друге) an unwarranted airplay. Playwright Alexander Stein who in his Last Parade play used several of Vysotsky's songs, was chastised by a Ministry of Culture official for "providing a tribune for this anti-Soviet scum." The phraseology prompted commentators in the West to make parallels between Vysotsky and Mikhail Zoschenko, another Soviet author who'd been officially labeled "scum" some 20 years ago.

 

Two of Vysotsky's 1968 films, Gennady Poloka's Intervention (premiered in May 1987) where he was cast as Brodsky, a dodgy even if highly artistic character, and Yevgeny Karelov's Two Comrades Were Serving (a gun-toting White Army officer Brusentsov who in the course of the film shoots his friend, his horse, Oleg Yankovsky's good guy character and, finally himself) – were severely censored, first of them shelved for twenty years. At least four of Vysotsky's 1968 songs, "Save Our Souls" (Спасите наши души), "The Wolfhunt" (Охота на волков), "Gypsy Variations" (Моя цыганская) and "The Steam-bath in White" (Банька по-белому), were hailed later as masterpieces. It was at this point that 'proper' love songs started to appear in Vysotsky's repertoire, documenting the beginning of his passionate love affair with French actress Marina Vlady.

 

In 1969 Vysotsky starred in two films: The Master of Taiga where he played a villainous Siberian timber-floating brigadier, and more entertaining Dangerous Tour. The latter was criticized in the Soviet press for taking a farcical approach to the subject of the Bolshevik underground activities but for a wider Soviet audience this was an important opportunity to enjoy the charismatic actor's presence on big screen. In 1970, after visiting the dislodged Soviet leader Nikita Khrushchev at his dacha and having a lengthy conversation with him, Vysotsky embarked on a massive and by Soviet standards dangerously commercial concert tour in Soviet Central Asia and then brought Marina Vlady to director Viktor Turov's place so as to investigate her Belarusian roots. The pair finally wed on 1 December 1970 (causing furore among the Moscow cultural and political elite) and spent a honeymoon in Georgia. This was the highly productive period for Vysotsky, resulting in numerous new songs, including the anthemic "I Hate" (Я не люблю), sentimental "Lyricale" (Лирическая) and dramatic war epics "He Didn't Return from the Battle" (Он не вернулся из боя) and "The Earth Song" (Песня о Земле) among many others.

 

In 1971 a drinking spree-related nervous breakdown brought Vysotsky to the Moscow Kashchenko clinic [ru]. By this time he has been suffering from alcoholism. Many of his songs from this period deal, either directly or metaphorically, with alcoholism and insanity. Partially recovered (due to the encouraging presence of Marina Vladi), Vysotsky embarked on a successful Ukrainian concert tour and wrote a cluster of new songs. On 29 November 1971 Taganka's Hamlet premiered, a groundbreaking Lyubimov's production with Vysotsky in the leading role, that of a lone intellectual rebel, rising to fight the cruel state machine.

 

Also in 1971 Vysotsky was invited to play the lead in The Sannikov Land, the screen adaptation of Vladimir Obruchev's science fiction,[47] which he wrote several songs for, but was suddenly dropped for the reason of his face "being too scandalously recognisable" as a state official put it. One of the songs written for the film, a doom-laden epic allegory "Capricious Horses" (Кони привередливые), became one of the singer's signature tunes. Two of Vysotsky's 1972 film roles were somewhat meditative: an anonymous American journalist in The Fourth One and the "righteous guy" von Koren in The Bad Good Man (based on Anton Chekov's Duel). The latter brought Vysotsky the Best Male Role prize at the V Taormina Film Fest. This philosophical slant rubbed off onto some of his new works of the time: "A Singer at the Microphone" (Певец у микрофона), "The Tightrope Walker" (Канатоходец), two new war songs ("We Spin the Earth", "Black Pea-Coats") and "The Grief" (Беда), a folkish girl's lament, later recorded by Marina Vladi and subsequently covered by several female performers. Popular proved to be his 1972 humorous songs: "Mishka Shifman" (Мишка Шифман), satirizing the leaving-for-Israel routine, "Victim of the Television" which ridiculed the concept of "political consciousness," and "The Honour of the Chess Crown" (Честь шахматной короны) about an ever-fearless "simple Soviet man" challenging the much feared American champion Bobby Fischer to a match.

 

In 1972 he stepped up in Soviet Estonian TV where he presented his songs and gave an interview. The name of the show was "Young Man from Taganka" (Noormees Tagankalt).

 

In April 1973 Vysotsky visited Poland and France. Predictable problems concerning the official permission were sorted after the French Communist Party leader Georges Marchais made a personal phone call to Leonid Brezhnev who, according to Marina Vlady's memoirs, rather sympathized with the stellar couple. Having found on return a potentially dangerous lawsuit brought against him (concerning some unsanctioned concerts in Siberia the year before), Vysotsky wrote a defiant letter to the Minister of Culture Pyotr Demichev. As a result, he was granted the status of a philharmonic artist, 11.5 roubles per concert now guaranteed. Still the 900 rubles fine had to be paid according to the court verdict, which was a substantial sum, considering his monthly salary at the theater was 110 rubles. That year Vysotsky wrote some thirty songs for "Alice in Wonderland," an audioplay where he himself has been given several minor roles. His best known songs of 1973 included "The Others' Track" (Чужая колея), "The Flight Interrupted" (Прерванный полёт) and "The Monument", all pondering on his achievements and legacy.

 

In 1974 Melodiya released the 7" EP, featuring four of Vysotsky's war songs ("He Never Returned From the Battle", "The New Times Song", "Common Graves", and "The Earth Song") which represented a tiny portion of his creative work, owned by millions on tape. In September of that year Vysotsky received his first state award, the Honorary Diploma of the Uzbek SSR following a tour with fellow actors from the Taganka Theatre in Uzbekistan. A year later he was granted the USSR Union of Cinematographers' membership. This meant he was not an "anti-Soviet scum" now, rather an unlikely link between the official Soviet cinema elite and the "progressive-thinking artists of the West." More films followed, among them The Only Road (a Soviet-Yugoslav joint venture, premiered on 10 January 1975 in Belgrade) and a science fiction movie The Flight of Mr. McKinley (1975). Out of nine ballads that he wrote for the latter only two have made it into the soundtrack. This was the height of his popularity, when, as described in Vlady's book about her husband, walking down the street on a summer night, one could hear Vysotsky's recognizable voice coming literally from every open window. Among the songs written at the time, were humorous "The Instruction before the Trip Abroad", lyrical "Of the Dead Pilot" and philosophical "The Strange House". In 1975 Vysotsky made his third trip to France where he rather riskily visited his former tutor (and now a celebrated dissident emigre) Andrey Sinyavsky. Artist Mikhail Shemyakin, his new Paris friend (or a "bottle-sharer", in Vladi's terms), recorded Vysotsky in his home studio. After a brief stay in England Vysotsky crossed the ocean and made his first Mexican concerts in April. Back in Moscow, there were changes at Taganka: Lyubimov went to Milan's La Scala on a contract and Anatoly Efros has been brought in, a director of radically different approach. His project, Chekhov's The Cherry Orchard, caused a sensation. Critics praised Alla Demidova (as Ranevskaya) and Vysotsky (as Lopakhin) powerful interplay, some describing it as one of the most dazzling in the history of the Soviet theater. Lyubimov, who disliked the piece, accused Efros of giving his actors "the stardom malaise." The 1976 Taganka's visit to Bulgaria resulted in Vysotskys's interview there being filmed and 15 songs recorded by Balkanton record label. On return Lyubimov made a move which many thought outrageous: declaring himself "unable to work with this Mr. Vysotsky anymore" he gave the role of Hamlet to Valery Zolotukhin, the latter's best friend. That was the time, reportedly, when stressed out Vysotsky started taking amphetamines.

 

Another Belorussian voyage completed, Marina and Vladimir went for France and from there (without any official permission given, or asked for) flew to the North America. In New York Vysotsky met, among other people, Mikhail Baryshnikov and Joseph Brodsky. In a televised one-hour interview with Dan Rather he stressed he was "not a dissident, just an artist, who's never had any intentions to leave his country where people loved him and his songs." At home this unauthorized venture into the Western world bore no repercussions: by this time Soviet authorities were divided as regards the "Vysotsky controversy" up to the highest level; while Mikhail Suslov detested the bard, Brezhnev loved him to such an extent that once, while in hospital, asked him to perform live in his daughter Galina's home, listening to this concert on the telephone. In 1976 appeared "The Domes", "The Rope" and the "Medieval" cycle, including "The Ballad of Love".

 

In September Vysotsky with Taganka made a trip to Yugoslavia where Hamlet won the annual BITEF festival's first prize, and then to Hungary for a two-week concert tour. Back in Moscow Lyubimov's production of The Master & Margarita featured Vysotsky as Ivan Bezdomny; a modest role, somewhat recompensed by an important Svidrigailov slot in Yury Karyakin's take on Dostoevsky's Crime and Punishment. Vysotsky's new songs of this period include "The History of Illness" cycle concerning his health problems, humorous "Why Did the Savages Eat Captain Cook", the metaphorical "Ballad of the Truth and the Lie", as well as "Two Fates", the chilling story of a self-absorbed alcoholic hunted by two malevolent witches, his two-faced destiny. In 1977 Vysotsky's health deteriorated (heart, kidneys, liver failures, jaw infection and nervous breakdown) to such an extent that in April he found himself in Moscow clinic's reanimation center in the state of physical and mental collapse.

 

In 1977 Vysotsky made an unlikely appearance in New York City on the American television show 60 Minutes, which falsely stated that Vysotsky had spent time in the Soviet prison system, the Gulag. That year saw the release of three Vysotsky's LPs in France (including the one that had been recorded by RCA in Canada the previous year); arranged and accompanied by guitarist Kostya Kazansky, the singer for the first time ever enjoyed the relatively sophisticated musical background. In August he performed in Hollywood before members of New York City film cast and (according to Vladi) was greeted warmly by the likes of Liza Minnelli and Robert De Niro. Some more concerts in Los Angeles were followed by the appearance at the French Communist paper L’Humanité annual event. In December Taganka left for France, its Hamlet (Vysotsky back in the lead) gaining fine reviews.

 

1978 started with the March–April series of concerts in Moscow and Ukraine. In May Vysotsky embarked upon a new major film project: The Meeting Place Cannot Be Changed (Место встречи изменить нельзя) about two detectives fighting crime in late 1940s Russia, directed by Stanislav Govorukhin. The film (premiered on 11 November 1978 on the Soviet Central TV) presented Vysotsky as Zheglov, a ruthless and charismatic cop teaching his milder partner Sharapov (actor Vladimir Konkin) his art of crime-solving. Vysotsky also became engaged in Taganka's Genre-seeking show (performing some of his own songs) and played Aleksander Blok in Anatoly Efros' The Lady Stranger (Незнакомка) radio play (premiered on air on 10 July 1979 and later released as a double LP).

 

In November 1978 Vysotsky took part in the underground censorship-defying literary project Metropolis, inspired and organized by Vasily Aksenov. In January 1979 Vysotsky again visited America with highly successful series of concerts. That was the point (according to biographer Vladimir Novikov) when a glimpse of new, clean life of a respectable international actor and performer all but made Vysotsky seriously reconsider his priorities. What followed though, was a return to the self-destructive theater and concert tours schedule, personal doctor Anatoly Fedotov now not only his companion, but part of Taganka's crew. "Who was this Anatoly? Just a man who in every possible situation would try to provide drugs. And he did provide. In such moments Volodya trusted him totally," Oksana Afanasyeva, Vysotsky's Moscow girlfriend (who was near him for most of the last year of his life and, on occasion, herself served as a drug courier) remembered. In July 1979, after a series of Central Asia concerts, Vysotsky collapsed, experienced clinical death and was resuscitated by Fedotov (who injected caffeine into the heart directly), colleague and close friend Vsevolod Abdulov helping with heart massage. In January 1980 Vysotsky asked Lyubimov for a year's leave. "Up to you, but on condition that Hamlet is yours," was the answer. The songwriting showed signs of slowing down, as Vysotsky began switching from songs to more conventional poetry. Still, of nearly 800 poems by Vysotsky only one has been published in the Soviet Union while he was alive. Not a single performance or interview was broadcast by the Soviet television in his lifetime.

 

In May 1979, being in a practice studio of the MSU Faculty of Journalism, Vysotsky recorded a video letter to American actor and film producer Warren Beatty, looking for both a personal meeting with Beatty and an opportunity to get a role in Reds film, to be produced and directed by the latter. While recording, Vysotsky made a few attempts to speak English, trying to overcome the language barrier. This video letter never reached Beatty. It was broadcast for the first time more than three decades later, on the night of 24 January 2013 (local time) by Rossiya 1 channel, along with records of TV channels of Italy, Mexico, Poland, USA and from private collections, in Vladimir Vysotsky. A letter to Warren Beatty film by Alexander Kovanovsky and Igor Rakhmanov. While recording this video, Vysotsky had a rare opportunity to perform for a camera, being still unable to do it with Soviet television.

 

On 22 January 1980, Vysotsky entered the Moscow Ostankino TV Center to record his one and only studio concert for the Soviet television. What proved to be an exhausting affair (his concentration lacking, he had to plod through several takes for each song) was premiered on the Soviet TV eight years later. The last six months of his life saw Vysotsky appearing on stage sporadically, fueled by heavy dosages of drugs and alcohol. His performances were often erratic. Occasionally Vysotsky paid visits to Sklifosofsky [ru] institute's ER unit, but would not hear of Marina Vlady's suggestions for him to take long-term rehabilitation course in a Western clinic. Yet he kept writing, mostly poetry and even prose, but songs as well. The last song he performed was the agonizing "My Sorrow, My Anguish" and his final poem, written one week prior to his death was "A Letter to Marina": "I'm less than fifty, but the time is short / By you and God protected, life and limb / I have a song or two to sing before the Lord / I have a way to make my peace with him."

 

Although several theories of the ultimate cause of the singer's death persist to this day, given what is now known about cardiovascular disease, it seems likely that by the time of his death Vysotsky had an advanced coronary condition brought about by years of tobacco, alcohol and drug abuse, as well as his grueling work schedule and the stress of the constant harassment by the government. Towards the end, most of Vysotsky's closest friends had become aware of the ominous signs and were convinced that his demise was only a matter of time. Clear evidence of this can be seen in a video ostensibly shot by the Japanese NHK channel only months before Vysotsky's death, where he appears visibly unwell, breathing heavily and slurring his speech. Accounts by Vysotsky's close friends and colleagues concerning his last hours were compiled in the book by V. Perevozchikov.

 

Vysotsky suffered from alcoholism for most of his life. Sometime around 1977, he started using amphetamines and other prescription narcotics in an attempt to counteract the debilitating hangovers and eventually to rid himself of alcohol addiction. While these attempts were partially successful, he ended up trading alcoholism for a severe drug dependency that was fast spiralling out of control. He was reduced to begging some of his close friends in the medical profession for supplies of drugs, often using his acting skills to collapse in a medical office and imitate a seizure or some other condition requiring a painkiller injection. On 25 July 1979 (a year to the day before his death) he suffered a cardiac arrest and was clinically dead for several minutes during a concert tour of Soviet Uzbekistan, after injecting himself with a wrong kind of painkiller he had previously obtained from a dentist's office.

 

Fully aware of the dangers of his condition, Vysotsky made several attempts to cure himself of his addiction. He underwent an experimental (and ultimately discredited) blood purification procedure offered by a leading drug rehabilitation specialist in Moscow. He also went to an isolated retreat in France with his wife Marina in the spring of 1980 as a way of forcefully depriving himself of any access to drugs. After these attempts failed, Vysotsky returned to Moscow to find his life in an increasingly stressful state of disarray. He had been a defendant in two criminal trials, one for a car wreck he had caused some months earlier, and one for an alleged conspiracy to sell unauthorized concert tickets (he eventually received a suspended sentence and a probation in the first case, and the charges in the second were dismissed, although several of his co-defendants were found guilty). He also unsuccessfully fought the film studio authorities for the rights to direct a movie called The Green Phaeton. Relations with his wife Marina were deteriorating, and he was torn between his loyalty to her and his love for his mistress Oksana Afanasyeva. He had also developed severe inflammation in one of his legs, making his concert performances extremely challenging.

 

In a final desperate attempt to overcome his drug addiction, partially prompted by his inability to obtain drugs through his usual channels (the authorities had imposed a strict monitoring of the medical institutions to prevent illicit drug distribution during the 1980 Olympics), he relapsed into alcohol and went on a prolonged drinking binge (apparently consuming copious amounts of champagne due to a prevalent misconception at the time that it was better than vodka at countering the effects of drug withdrawal).

 

On 3 July 1980, Vysotsky gave a performance at a suburban Moscow concert hall. One of the stage managers recalls that he looked visibly unhealthy ("gray-faced", as she puts it) and complained of not feeling too good, while another says she was surprised by his request for champagne before the start of the show, as he had always been known for completely abstaining from drink before his concerts. On 16 July Vysotsky gave his last public concert in Kaliningrad. On 18 July, Vysotsky played Hamlet for the last time at the Taganka Theatre. From around 21 July, several of his close friends were on a round-the-clock watch at his apartment, carefully monitoring his alcohol intake and hoping against all odds that his drug dependency would soon be overcome and they would then be able to bring him back from the brink. The effects of drug withdrawal were clearly getting the better of him, as he got increasingly restless, moaned and screamed in pain, and at times fell into memory lapses, failing to recognize at first some of his visitors, including his son Arkadiy. At one point, Vysotsky's personal physician A. Fedotov (the same doctor who had brought him back from clinical death a year earlier in Uzbekistan) attempted to sedate him, inadvertently causing asphyxiation from which he was barely saved. On 24 July, Vysotsky told his mother that he thought he was going to die that day, and then made similar remarks to a few of the friends present at the apartment, who begged him to stop such talk and keep his spirits up. But soon thereafter, Oksana Afanasyeva saw him clench his chest several times, which led her to suspect that he was genuinely suffering from a cardiovascular condition. She informed Fedotov of this but was told not to worry, as he was going to monitor Vysotsky's condition all night. In the evening, after drinking relatively small amounts of alcohol, the moaning and groaning Vysotsky was sedated by Fedotov, who then sat down on the couch next to him but fell asleep. Fedotov awoke in the early hours of 25 July to an unusual silence and found Vysotsky dead in his bed with his eyes wide open, apparently of a myocardial infarction, as he later certified. This was contradicted by Fedotov's colleagues, Sklifosovsky Emergency Medical Institute physicians L. Sul'povar and S. Scherbakov (who had demanded the actor's immediate hospitalization on 23 July but were allegedly rebuffed by Fedotov), who insisted that Fedotov's incompetent sedation combined with alcohol was what killed Vysotsky. An autopsy was prevented by Vysotsky's parents (who were eager to have their son's drug addiction remain secret), so the true cause of death remains unknown.

 

No official announcement of the actor's death was made, only a brief obituary appeared in the Moscow newspaper Vechernyaya Moskva, and a note informing of Vysotsky's death and cancellation of the Hamlet performance was put out at the entrance to the Taganka Theatre (the story goes that not a single ticket holder took advantage of the refund offer). Despite this, by the end of the day, millions had learned of Vysotsky's death. On 28 July, he lay in state at the Taganka Theatre. After a mourning ceremony involving an unauthorized mass gathering of unprecedented scale, Vysotsky was buried at the Vagankovskoye Cemetery in Moscow. The attendance at the Olympic events dropped noticeably on that day, as scores of spectators left to attend the funeral. Tens of thousands of people lined the streets to catch a glimpse of his coffin.

 

According to author Valery Perevozchikov part of the blame for his death lay with the group of associates who surrounded him in the last years of his life. This inner circle were all people under the influence of his strong character, combined with a material interest in the large sums of money his concerts earned. This list included Valerii Yankelovich, manager of the Taganka Theatre and prime organiser of his non-sanctioned concerts; Anatoly Fedotov, his personal doctor; Vadim Tumanov, gold prospector (and personal friend) from Siberia; Oksana Afanasyeva (later Yarmolnik), his mistress the last three years of his life; Ivan Bortnik, a fellow actor; and Leonid Sul'povar, a department head at the Sklifosovski hospital who was responsible for much of the supply of drugs.

 

Vysotsky's associates had all put in efforts to supply his drug habit, which kept him going in the last years of his life. Under their influence, he was able to continue to perform all over the country, up to a week before his death. Due to illegal (i.e. non-state-sanctioned) sales of tickets and other underground methods, these concerts pulled in sums of money unimaginable in Soviet times, when almost everyone received nearly the same small salary. The payouts and gathering of money were a constant source of danger, and Yankelovich and others were needed to organise them.

 

Some money went to Vysotsky, the rest was distributed amongst this circle. At first this was a reasonable return on their efforts; however, as his addiction progressed and his body developed resistance, the frequency and amount of drugs needed to keep Vysotsky going became unmanageable. This culminated at the time of the Moscow Olympics which coincided with the last days of his life, when supplies of drugs were monitored more strictly than usual, and some of the doctors involved in supplying Vysotsky were already behind bars (normally the doctors had to account for every ampule, thus drugs were transferred to an empty container, while the patients received a substitute or placebo instead). In the last few days Vysotsky became uncontrollable, his shouting could be heard all over the apartment building on Malaya Gruzinskaya St. where he lived amongst VIP's. Several days before his death, in a state of stupor he went on a high speed drive around Moscow in an attempt to obtain drugs and alcohol – when many high-ranking people saw him. This increased the likelihood of him being forcibly admitted to the hospital, and the consequent danger to the circle supplying his habit. As his state of health declined, and it became obvious that he might die, his associates gathered to decide what to do with him. They came up with no firm decision. They did not want him admitted officially, as his drug addiction would become public and they would fall under suspicion, although some of them admitted that any ordinary person in his condition would have been admitted immediately.

 

On Vysotsky's death his associates and relatives put in much effort to prevent a post-mortem being carried out. This despite the fairly unusual circumstances: he died aged 42 under heavy sedation with an improvised cocktail of sedatives and stimulants, including the toxic chloral hydrate, provided by his personal doctor who had been supplying him with narcotics the previous three years. This doctor, being the only one present at his side when death occurred, had a few days earlier been seen to display elementary negligence in treating the sedated Vysotsky. On the night of his death, Arkadii Vysotsky (his son), who tried to visit his father in his apartment, was rudely refused entry by Yankelovich, even though there was a lack of people able to care for him. Subsequently, the Soviet police commenced a manslaughter investigation which was dropped due to the absence of evidence taken at the time of death.

 

Vysotsky's first wife was Iza Zhukova. They met in 1956, being both MAT theater institute students, lived for some time at Vysotsky's mother's flat in Moscow, after her graduation (Iza was 2 years older) spent months in different cities (her – in Kiev, then Rostov) and finally married on 25 April 1960.

 

He met his second wife Lyudmila Abramova in 1961, while shooting the film 713 Requests Permission to Land. They married in 1965 and had two sons, Arkady (born 1962) and Nikita (born 1964).

 

While still married to Lyudmila Abramova, Vysotsky began a romantic relationship with Tatyana Ivanenko, a Taganka actress, then, in 1967 fell in love with Marina Vlady, a French actress of Russian descent, who was working at Mosfilm on a joint Soviet-French production at that time. Marina had been married before and had three children, while Vladimir had two. They were married in 1969. For 10 years the two maintained a long-distance relationship as Marina compromised her career in France to spend more time in Moscow, and Vladimir's friends pulled strings for him to be allowed to travel abroad to stay with his wife. Marina eventually joined the Communist Party of France, which essentially gave her an unlimited-entry visa into the Soviet Union, and provided Vladimir with some immunity against prosecution by the government, which was becoming weary of his covertly anti-Soviet lyrics and his odds-defying popularity with the masses. The problems of his long-distance relationship with Vlady inspired several of Vysotsky's songs.

 

In the autumn of 1981 Vysotsky's first collection of poetry was officially published in the USSR, called The Nerve (Нерв). Its first edition (25,000 copies) was sold out instantly. In 1982 the second one followed (100,000), then the 3rd (1988, 200,000), followed in the 1990s by several more. The material for it was compiled by Robert Rozhdestvensky, an officially laurelled Soviet poet. Also in 1981 Yuri Lyubimov staged at Taganka a new music and poetry production called Vladimir Vysotsky which was promptly banned and officially premiered on 25 January 1989.

 

In 1982 the motion picture The Ballad of the Valiant Knight Ivanhoe was produced in the Soviet Union and in 1983 the movie was released to the public. Four songs by Vysotsky were featured in the film.

 

In 1986 the official Vysotsky poetic heritage committee was formed (with Robert Rozhdestvensky at the helm, theater critic Natalya Krymova being both the instigator and the organizer). Despite some opposition from the conservatives (Yegor Ligachev was the latter's political leader, Stanislav Kunyaev of Nash Sovremennik represented its literary flank) Vysotsky was rewarded posthumously with the USSR State Prize. The official formula – "for creating the character of Zheglov and artistic achievements as a singer-songwriter" was much derided from both the left and the right. In 1988 the Selected Works of... (edited by N. Krymova) compilation was published, preceded by I Will Surely Return... (Я, конечно, вернусь...) book of fellow actors' memoirs and Vysotsky's verses, some published for the first time. In 1990 two volumes of extensive The Works of... were published, financed by the late poet's father Semyon Vysotsky. Even more ambitious publication series, self-proclaimed "the first ever academical edition" (the latter assertion being dismissed by sceptics) compiled and edited by Sergey Zhiltsov, were published in Tula (1994–1998, 5 volumes), Germany (1994, 7 volumes) and Moscow (1997, 4 volumes).

 

In 1989 the official Vysotsky Museum opened in Moscow, with the magazine of its own called Vagant (edited by Sergey Zaitsev) devoted entirely to Vysotsky's legacy. In 1996 it became an independent publication and was closed in 2002.

 

In the years to come, Vysotsky's grave became a site of pilgrimage for several generations of his fans, the youngest of whom were born after his death. His tombstone also became the subject of controversy, as his widow had wished for a simple abstract slab, while his parents insisted on a realistic gilded statue. Although probably too solemn to have inspired Vysotsky himself, the statue is believed by some to be full of metaphors and symbols reminiscent of the singer's life.

 

In 1995 in Moscow the Vysotsky monument was officially opened at Strastnoy Boulevard, by the Petrovsky Gates. Among those present were the bard's parents, two of his sons, first wife Iza, renown poets Yevtushenko and Voznesensky. "Vysotsky had always been telling the truth. Only once he was wrong when he sang in one of his songs: 'They will never erect me a monument in a square like that by Petrovskye Vorota'", Mayor of Moscow Yuri Luzhkov said in his speech.[95] A further monument to Vysotsky was erected in 2014 at Rostov-on-Don.

 

In October 2004, a monument to Vysotsky was erected in the Montenegrin capital of Podgorica, near the Millennium Bridge. His son, Nikita Vysotsky, attended the unveiling. The statue was designed by Russian sculptor Alexander Taratinov, who also designed a monument to Alexander Pushkin in Podgorica. The bronze statue shows Vysotsky standing on a pedestal, with his one hand raised and the other holding a guitar. Next to the figure lies a bronze skull – a reference to Vysotsky's monumental lead performances in Shakespeare's Hamlet. On the pedestal the last lines from a poem of Vysotsky's, dedicated to Montenegro, are carved.

 

The Vysotsky business center & semi-skyscraper was officially opened in Yekaterinburg, in 2011. It is the tallest building in Russia outside of Moscow, has 54 floors, total height: 188.3 m (618 ft). On the third floor of the business center is the Vysotsky Museum. Behind the building is a bronze sculpture of Vladimir Vysotsky and his third wife, a French actress Marina Vlady.

 

In 2011 a controversial movie Vysotsky. Thank You For Being Alive was released, script written by his son, Nikita Vysotsky. The actor Sergey Bezrukov portrayed Vysotsky, using a combination of a mask and CGI effects. The film tells about Vysotsky's illegal underground performances, problems with KGB and drugs, and subsequent clinical death in 1979.

 

Shortly after Vysotsky's death, many Russian bards started writing songs and poems about his life and death. The best known are Yuri Vizbor's "Letter to Vysotsky" (1982) and Bulat Okudzhava's "About Volodya Vysotsky" (1980). In Poland, Jacek Kaczmarski based some of his songs on those of Vysotsky, such as his first song (1977) was based on "The Wolfhunt", and dedicated to his memory the song "Epitafium dla Włodzimierza Wysockiego" ("Epitaph for Vladimir Vysotsky").

 

Every year on Vysotsky's birthday festivals are held throughout Russia and in many communities throughout the world, especially in Europe. Vysotsky's impact in Russia is often compared to that of Wolf Biermann in Germany, Bob Dylan in America, or Georges Brassens and Jacques Brel in France.

 

The asteroid 2374 Vladvysotskij, discovered by Lyudmila Zhuravleva, was named after Vysotsky.

 

During the Annual Q&A Event Direct Line with Vladimir Putin, Alexey Venediktov asked Putin to name a street in Moscow after the singer Vladimir Vysotsky, who, though considered one of the greatest Russian artists, has no street named after him in Moscow almost 30 years after his death. Venediktov stated a Russian law that allowed the President to do so and promote a law suggestion to name a street by decree. Putin answered that he would talk to Mayor of Moscow and would solve this problem. In July 2015 former Upper and Lower Tagansky Dead-ends (Верхний и Нижний Таганские тупики) in Moscow were reorganized into Vladimir Vysotsky Street.

 

The Sata Kieli Cultural Association, [Finland], organizes the annual International Vladimir Vysotsky Festival (Vysotski Fest), where Vysotsky's singers from different countries perform in Helsinki and other Finnish cities. They sing Vysotsky in different languages and in different arrangements.

 

Two brothers and singers from Finland, Mika and Turkka Mali, over the course of their more than 30-year musical career, have translated into Finnish, recorded and on numerous occasions publicly performed songs of Vladimir Vysotsky.

 

Throughout his lengthy musical career, Jaromír Nohavica, a famed Czech singer, translated and performed numerous songs of Vladimir Vysotsky, most notably Песня о друге (Píseň o příteli – Song about a friend).

 

The Museum of Vladimir Vysotsky in Koszalin dedicated to Vladimir Vysotsky was founded by Marlena Zimna (1969–2016) in May 1994, in her apartment, in the city of Koszalin, in Poland. Since then the museum has collected over 19,500 exhibits from different countries and currently holds Vladimir Vysotsky' personal items, autographs, drawings, letters, photographs and a large library containing unique film footage, vinyl records, CDs and DVDs. A special place in the collection holds a Vladimir Vysotsky's guitar, on which he played at a concert in Casablanca in April 1976. Vladimir Vysotsky presented this guitar to Moroccan journalist Hassan El-Sayed together with an autograph (an extract from Vladimir Vysotsky's song "What Happened in Africa"), written in Russian right on the guitar.

 

In January 2023, a monument to the outstanding actor, singer and poet Vladimir Vysotsky was unveiled in Yuzhno-Sakhalinsk, in the square near the Rodina House of Culture. Author Vladimir Chebotarev.

 

After her husband's death, urged by her friend Simone Signoret, Marina Vlady wrote a book called The Aborted Flight about her years together with Vysotsky. The book paid tribute to Vladimir's talent and rich persona, yet was uncompromising in its depiction of his addictions and the problems that they caused in their marriage. Written in French (and published in France in 1987), it was translated into Russian in tandem by Vlady and a professional translator and came out in 1989 in the USSR. Totally credible from the specialists' point of view, the book caused controversy, among other things, by shocking revelations about the difficult father-and-son relationship (or rather, the lack of any), implying that Vysotsky-senior (while his son was alive) was deeply ashamed of him and his songs which he deemed "anti-Soviet" and reported his own son to the KGB. Also in 1989 another important book of memoirs was published in the USSR, providing a bulk of priceless material for the host of future biographers, Alla Demidova's Vladimir Vysotsky, the One I Know and Love. Among other publications of note were Valery Zolotukhin's Vysotsky's Secret (2000), a series of Valery Perevozchikov's books (His Dying Hour, The Unknown Vysotsky and others) containing detailed accounts and interviews dealing with the bard's life's major controversies (the mystery surrounding his death, the truth behind Vysotsky Sr.'s alleged KGB reports, the true nature of Vladimir Vysotsky's relations with his mother Nina's second husband Georgy Bartosh etc.), Iza Zhukova's Short Happiness for a Lifetime and the late bard's sister-in-law Irena Vysotskaya's My Brother Vysotsky. The Beginnings (both 2005).

 

A group of enthusiasts has created a non-profit project – the mobile application "Vysotsky"

 

The multifaceted talent of Vysotsky is often described by the term "bard" (бард) that Vysotsky has never been enthusiastic about. He thought of himself mainly as an actor and poet rather than a singer, and once remarked, "I do not belong to what people call bards or minstrels or whatever." With the advent of portable tape-recorders in the Soviet Union, Vysotsky's music became available to the masses in the form of home-made reel-to-reel audio tape recordings (later on cassette tapes).

 

Vysotsky accompanied himself on a Russian seven-string guitar, with a raspy voice singing ballads of love, peace, war, everyday Soviet life and of the human condition. He was largely perceived as the voice of honesty, at times sarcastically jabbing at the Soviet government, which made him a target for surveillance and threats. In France, he has been compared with Georges Brassens; in Russia, however, he was more frequently compared with Joe Dassin, partly because they were the same age and died in the same year, although their ideologies, biographies, and musical styles are very different. Vysotsky's lyrics and style greatly influenced Jacek Kaczmarski, a Polish songwriter and singer who touched on similar themes.

 

The songs – over 600 of them – were written about almost any imaginable theme. The earliest were blatnaya pesnya ("outlaw songs"). These songs were based either on the life of the common people in Moscow or on life in the crime people, sometimes in Gulag. Vysotsky slowly grew out of this phase and started singing more serious, though often satirical, songs. Many of these songs were about war. These war songs were not written to glorify war, but rather to expose the listener to the emotions of those in extreme, life-threatening situations. Most Soviet veterans would say that Vysotsky's war songs described the truth of war far more accurately than more official "patriotic" songs.

 

Nearly all of Vysotsky's songs are in the first person, although he is almost never the narrator. When singing his criminal songs, he would adopt the accent and intonation of a Moscow thief, and when singing war songs, he would sing from the point of view of a soldier. In many of his philosophical songs, he adopted the role of inanimate objects. This created some confusion about Vysotsky's background, especially during the early years when information could not be passed around very easily. Using his acting talent, the poet played his role so well that until told otherwise, many of his fans believed that he was, indeed, a criminal or war veteran. Vysotsky's father said that "War veterans thought the author of the songs to be one of them, as if he had participated in the war together with them." The same could be said about mountain climbers; on multiple occasions, Vysotsky was sent pictures of mountain climbers' graves with quotes from his lyrics etched on the tombstones.

 

Not being officially recognized as a poet and singer, Vysotsky performed wherever and whenever he could – in the theater (where he worked), at universities, in private apartments, village clubs, and in the open air. It was not unusual for him to give several concerts in one day. He used to sleep little, using the night hours to write. With few exceptions, he wasn't allowed to publish his recordings with "Melodiya", which held a monopoly on the Soviet music industry. His songs were passed on through amateur, fairly low quality recordings on vinyl discs and magnetic tape, resulting in his immense popularity. Cosmonauts even took his music on cassette into orbit.

 

Musically, virtually all of Vysotsky's songs were written in a minor key, and tended to employ from three to seven chords. Vysotsky composed his songs and played them exclusively on the Russian seven string guitar, often tuned a tone or a tone-and-a-half below the traditional Russian "Open G major" tuning. This guitar, with its specific Russian tuning, makes a slight yet notable difference in chord voicings than the standard tuned six string Spanish (classical) guitar, and it became a staple of his sound. Because Vysotsky tuned down a tone and a half, his strings had less tension, which also colored the sound.

 

His earliest songs were usually written in C minor (with the guitar tuned a tone down from DGBDGBD to CFACFAC)

 

Songs written in this key include "Stars" (Zvyozdy), "My friend left for Magadan" (Moy drug uyekhal v Magadan), and most of his "outlaw songs".

 

At around 1970, Vysotsky began writing and playing exclusively in A minor (guitar tuned to CFACFAC), which he continued doing until his death.

 

Vysotsky used his fingers instead of a pick to pluck and strum, as was the tradition with Russian guitar playing. He used a variety of finger picking and strumming techniques. One of his favorite was to play an alternating bass with his thumb as he plucked or strummed with his other fingers.

 

Often, Vysotsky would neglect to check the tuning of his guitar, which is particularly noticeable on earlier recordings. According to some accounts, Vysotsky would get upset when friends would attempt to tune his guitar, leading some to believe that he preferred to play slightly out of tune as a stylistic choice. Much of this is also attributable to the fact that a guitar that is tuned down more than 1 whole step (Vysotsky would sometimes tune as much as 2 and a half steps down) is prone to intonation problems.

 

Vysotsky had a unique singing style. He had an unusual habit of elongating consonants instead of vowels in his songs. So when a syllable is sung for a prolonged period of time, he would elongate the consonant instead of the vowel in that syllable.

 

The Vladimir Semyonovich Vysotsky Statue is a prominent monument located in Voronezh, Russian Federation, dedicated to the legendary Russian singer-songwriter, actor, and poet Vladimir Semyonovich Vysotsky. This statue stands as a tribute to Vysotsky's immense contributions to Russian culture and his enduring legacy.

 

Vladimir Vysotsky was born on January 25, 1938, in Moscow, Russia. He quickly gained recognition for his unique artistic style, characterized by his powerful voice, poetic lyrics, and charismatic stage presence. Vysotsky's songs captured the essence of the Soviet era, addressing social issues, human emotions, and political satire. His music resonated deeply with the masses, and he became an iconic figure in Russian popular culture.

 

The idea of erecting a statue in Voronezh to honor Vladimir Vysotsky was conceived to commemorate his connection to the city. Vysotsky had a special relationship with Voronezh, as he spent a significant portion of his early career performing in local theaters and interacting with the local artistic community. The statue serves as a reminder of this bond and celebrates his artistic contributions.

 

The Vysotsky Statue was unveiled on November 18, 2009, in front of the Voronezh Academic Drama Theater, where Vysotsky performed numerous times. The monument was created by renowned Russian sculptor Grigory Pototsky. Standing at approximately 5 meters tall, the bronze statue captures Vysotsky in a dynamic pose, holding a guitar and singing passionately.

 

The sculpture depicts Vysotsky in mid-performance, capturing his energy and intensity on stage. The attention to detail in the statue is remarkable, with intricate facial features, flowing hair, and realistic clothing. The sculptor aimed to convey Vysotsky's passion and charisma through the artwork, and the statue successfully embodies these qualities.

 

The location of the statue, in front of the Voronezh Academic Drama Theater, is significant. It symbolizes Vysotsky's strong ties to the theater and his impact on the performing arts. The statue serves as a meeting point for admirers of Vysotsky's work, attracting locals and tourists alike. It has become an iconic landmark in Voronezh, attracting visitors who come to pay their respects and celebrate Vysotsky's artistic legacy.

 

The statue's unveiling was accompanied by a grand ceremony, attended by government officials, artists, and Vysotsky's fans. The event highlighted the significance of Vysotsky's artistic contributions and celebrated his enduring influen

1. The spiritual entity Qalb

 

Prophecy and knowledge relating to this was granted to the Prophet Adam

 

In the Urdu language the fleshy meat, (the heart) is known as dil, and in Arabic it is called fawad. The spiritual entity that is next to the heart is the Qalb and according to a Prophetic statement the heart and the Qalb are two separate entities.

 

Our solar system is the physical human sphere. There are other realms and spheres, for example the realm of the angels, the realm of the throne of God, the realm of the soul, the realm of the secrets, the realm of unification and the realm of the essence of God. These spheres and life forms inhabiting these spheres have existed before the eruption of the ball of fire, our Sun, which created our solar system. Ordinary angels were created alongside the creation of the souls when God commanded "Be" but the Archangels and the spiritual entities (which are placed inside the human body at birth) have existed in these realms before the formation of our solar system.

 

Many planets in our solar system were inhabited but subsequently these life forms became extinct. The remaining planets and their inhabitants are awaiting their destruction. The Archangels and the spiritual entities (of the human body) were created seventy thousand years before the command "Be."

 

Of these spiritual entities God placed the Qalb in the realm of love. It is with this that a human being is able to become connected with God. The Qalb acts like a telephone operator between God and the human being. A human being receives guidance and inspiration through it. Whereas the worship and the meditation done by the spiritual entities themselves can reach the highest realm, the Throne of God, with the aid of the Qalb. The Qalb itself, however cannot travel beyond the realm of the angels, as its place of origin is the Khuld, the lowest heaven in the realm of the angels.

 

The Qalb’s meditation is from within and its vibrating rosary is within the human skeleton (the heartbeat). People that failed to achieve this meditation of the Qalb in this lifetime will be regretful, even though they may be in paradise. As God has stated regarding those who will go to paradise, that do they, the inhabitants of paradise think that they will be equal to those who are elevated (reached higher realms by practicing the spiritual disciplines and becoming illuminated). As those that have achieved the meditation of the Qalb, they will enjoy its pleasures even in paradise when their Qalb will be vibrating with the Name of God.

After death physical worship ceases to exist and the people whose Qalb and spiritual entities are not strengthened and illuminated with the light of God are afflicted and distressed in their graves and their spiritual entities waste away. Whereas the illuminated and strengthened spiritual entities will go to the realm where the righteous will wait before the final judgement.

After the day of judgement a second body will be given, the illuminated spiritual entities along with the human soul will enter that body. The people that taught their spiritual entities, meditation, whereby the entities chanted the Name of God Allah in this life time will find that the spiritual entities will continue with this meditation even in the hereafter. Such people will continue to be elevated and exalted in the hereafter.

  

Those that were “blind of heart” (not illuminated) in this life time will be in darkness in that realm also, as this world was the place of action and effort. Those in the latter category will become quiescent.

Besides the Christians and the Jews the Hindu faith also holds a belief in these spiritual entities. The Hindu faith refers to them as Shaktian and the Muslims know them as Lata’if.

The Qalb is two inches, to the left of the heart. This spiritual entity is yellow in colour. When it is illuminated in a person, that person sees the colour yellow in their eyes. Not only this but there are many practitioners of alternative medicine who use the colours of these spiritual entities to heal people.

Most people regard their heart’s word, “inner feeling” to be truthful. If the hearts of people were indeed truthful, then why are all the people of the heart not united?

The Qalb of an ordinary person is in the sleeping or unconscious state and it does not possess any appreciation or awareness. Due to the dominance of the spirit of the self, the ego, and the Khannas, or due to the individual’s own simple- mindedness the heart can make judgements in error. Placing trust in a sleeping Qalb is foolish.

Only when the Name of God Allah, does vibrate in the heart does an appreciation of right and wrong and wisdom follow. At this stage the Qalb is known as the awakened Qalb. Thereafter due to the increase in the meditation by the Qalb, of the Name of God Allah, it is then known as the God-seeking Qalb. At this stage the heart is capable of preventing the person from doing wrong but it is still incapable of making a right or just decision. Thereafter and only when the Light and the rays of the Grace of God (theophany) start to descend upon that heart, is it known as the purified and illuminated Qalb that stands in the presence of God (witnessing Qalb).

 

A Prophetic statement:

“The mercy of God descends upon a broken heart and an afflicted grave.”

 

Thereafter when the heart reaches this stage then one must accept whatever it dictates, quietly without question because due to the rays of the Light and the Grace of God the spirit of the self, (ego) becomes completely illuminated, purified and at peace. God is then closer to that individual than that person’s jugular vein.

God then says, “I become his tongue with which he speaks and I become his hands with which he holds.”

   

2. The Human Soul

 

Prophecy and knowledge relating to this was granted to the Prophet Abraham

 

This is on the right side of the chest. This is awakened and illuminated by the meditation and one-pointed concentration on it. Once it becomes illuminated, a vibration similar to the heartbeat is felt on the right side of the chest. Then the Name of God, Ya Allah is matched with the vibrating pulse. The meditation of the soul is done in this way. At this point, there are now two spiritual entities meditating inside the human body, this is an advancement in rank and status and is better than the Qalb. The soul is a light red in colour and when it is awakened, it is able to travel to the realm of the souls (the station of the Archangel Gabriel). Anger and rage are attached to it that burn and turn into majesty.

  

3. The spiritual entity Sirri

 

Prophecy and knowledge relating to this was granted to the Prophet Moses

 

This spiritual entity is to the left of the centre of the chest. This is also awakened and illuminated by the meditation and one-pointed concentration on it with the Name of God, Ya Hayy, Ya Qayyum. Its colour is white and in the dream state or by spiritual separation from the physical body “transcendental meditation” it can journey to the realm of the secrets. Now there are three spiritual entities meditating within a person and its status is higher than the other two.

   

4. The spiritual entity Khaffi

 

Prophecy and knowledge relating to this was granted to the Prophet Jesus

 

This is to the right of the centre of the chest. It too is taught the Name of God Ya Wahid by meditation. It is green in colour and it can reach the realm of unification. Due to the meditation of four entities one's status is further increased.

 

5. The spiritual entity Akhfa

 

Prophecy and knowledge relating to this was granted to the Prophet Mohammed

 

This is situated at the centre of the chest. It is awakened by meditating on the Name of God, Ya Ahad. It is purple in colour and it too, is connected to that veil in the realm of unification behind which is the throne of God.

 

The hidden spiritual knowledge relating to these five spiritual entities was granted to the Prophets, one by one and half of the knowledge of every spiritual entity was granted from the Prophets to the Saints of their time. In this way there became ten parts of this knowledge. The Saints in turn passed this knowledge on to the spiritually favoured (Godly) who then had the benefit of the sacred knowledge.

 

The apparent knowledge of the seen is connected to the physical body, the spoken word, the human realm and the spirit of the self, this is for the ordinary mortals. This knowledge is contained in a book that has thirty parts. Spiritual knowledge was also given to the Prophets by revelation brought by Gabriel and for this reason it is known as the spiritual Holy Scripture.

 

Many of the verses of the Qur’an would sometimes be abolished, since the Prophet Mohammed would sometimes mention matters relating to this “hidden spiritual knowledge” before ordinary people, which was only meant for the special and Godly. Later this knowledge passed on spiritually from the chest of one Saint to another, and now it has become widespread by its publication in books.

  

6. The spiritual entity Anna

 

This spiritual entity is inside the head and is colourless. It is by the meditation on the Name of God Ya Hu that this spiritual entity reaches its pinnacle. It is this spiritual entity that when it becomes illuminated and powerful it can stand in the Presence of God, face to face, and communicate with God unobstructed. Only the extreme lovers of God reach this realm and station. Besides this there are a few and extremely exalted people who are granted additional spiritual entities, for example the spiritual entity Tifl-e-Nuri or a spiritual entity of the Godhead, Jussa-e-Tofiq-e-Ilahi, the spiritual status of such people is beyond understanding.

 

With the spiritual entity, Anna, God is seen in the dream state.

 

With the spiritual entity of the Godhead, God is seen in the “physical meditating state” when the spiritual entity itself leaves the human body and transcends to the essence of God.

 

Those possessing the spiritual entity, the Tifl-e-Nuri, see God whilst they are fully conscious.

 

It is these people who are the majesty and power of God in the world. They can either occupy the people by prescribing worship and austerities or by their spiritual grace send a person straight to the realm of God’s love. In their sight, concerning dispensing spiritual grace the believers and the non-believers, the dead and the living are all the same. Just as a thief became a Saint, in an instant, by the passing glimpse of the Saint Sheikh Abdul-Qadir al-Jilani, similarly, Abu-Bakr Havari and Manga the thief, became instant Saints by the passing glimpses of such Saints.

 

The five major Messengers were given knowledge of the five spiritual entities separately and in order of their appearance, as a result of which spirituality continued to prosper. With whichever spiritual entity you practice meditation you will be connected to the corresponding Messenger and become worthy of receiving spiritual grace (from that Messenger).

 

Whichever spiritual entity receives the rays of the Grace of God (favour), the Sainthood granted to that spiritual entity will be connected to the corresponding Prophet’s spiritual grace.

 

Access to seven realms and gaining elevated spiritual status in the seven heavens is obtained through these spiritual entities.

The functions of the spiritual entities inside the human body

 

Akhfa: Due to the spiritual entity, Akhfa a person is able to speak. In its absence a person may have a normal tongue but will be dumb. The difference between human beings and animals lies in the presence or the absence of these spiritual entities. At birth, if the entity, Akhfa was unable to enter the body for whatever reason, then a Prophet appointed for the rectification of this ailment would be called to treat the condition as a result of which the dumb would start to speak.

 

Sirri: A person is able to see due to the spiritual entity, Sirri. If it does not enter the body the person is blind from birth. An appointed Prophet had the duty to find and place the spiritual entity into the body, as a result of which the blind would start to see again.

Qalb: Without the spiritual entity of the Qalb, in the body, a person is like the animals, unacquainted, far from God, miserable and without purpose. Returning this entity into the body was the task of the Prophets also.

The miracles of the Prophets were also granted to the saints, in the form marvels and mystical wonders as a result of which even the impious and liberal became close to God. When a spiritual entity is returned by any allocated Saint or Prophet, the deaf, dumb and the blind are healed.

Anna: When the spiritual entity, Anna, fails to enter the body, a person is regarded as insane even though the brain may be functioning normally.

Khaffi: In the absence of the spiritual entity, Khafi, a person is deaf, even if the ears are opened wide.

These conditions can be caused by other defects in the body, and can be treated. There is no cure in the case, where the defect is caused by the absence of the associated spiritual entity except where a Prophet or a Saint intervenes and cures the defect.

Nafs, self: As a result of the spiritual entity of the self (ego) a persons mind is occupied with the material world and it is because of the spiritual entity Qalb that a persons direction turns towards God. For more detail visit www.goharshahi.org or visit asipk.com and for videos visit HH rags

1. The spiritual entity Qalb

 

Prophecy and knowledge relating to this was granted to the Prophet Adam

 

In the Urdu language the fleshy meat, (the heart) is known as dil, and in Arabic it is called fawad. The spiritual entity that is next to the heart is the Qalb and according to a Prophetic statement the heart and the Qalb are two separate entities.

 

Our solar system is the physical human sphere. There are other realms and spheres, for example the realm of the angels, the realm of the throne of God, the realm of the soul, the realm of the secrets, the realm of unification and the realm of the essence of God. These spheres and life forms inhabiting these spheres have existed before the eruption of the ball of fire, our Sun, which created our solar system. Ordinary angels were created alongside the creation of the souls when God commanded "Be" but the Archangels and the spiritual entities (which are placed inside the human body at birth) have existed in these realms before the formation of our solar system.

 

Many planets in our solar system were inhabited but subsequently these life forms became extinct. The remaining planets and their inhabitants are awaiting their destruction. The Archangels and the spiritual entities (of the human body) were created seventy thousand years before the command "Be."

 

Of these spiritual entities God placed the Qalb in the realm of love. It is with this that a human being is able to become connected with God. The Qalb acts like a telephone operator between God and the human being. A human being receives guidance and inspiration through it. Whereas the worship and the meditation done by the spiritual entities themselves can reach the highest realm, the Throne of God, with the aid of the Qalb. The Qalb itself, however cannot travel beyond the realm of the angels, as its place of origin is the Khuld, the lowest heaven in the realm of the angels.

 

The Qalb’s meditation is from within and its vibrating rosary is within the human skeleton (the heartbeat). People that failed to achieve this meditation of the Qalb in this lifetime will be regretful, even though they may be in paradise. As God has stated regarding those who will go to paradise, that do they, the inhabitants of paradise think that they will be equal to those who are elevated (reached higher realms by practicing the spiritual disciplines and becoming illuminated). As those that have achieved the meditation of the Qalb, they will enjoy its pleasures even in paradise when their Qalb will be vibrating with the Name of God.

After death physical worship ceases to exist and the people whose Qalb and spiritual entities are not strengthened and illuminated with the light of God are afflicted and distressed in their graves and their spiritual entities waste away. Whereas the illuminated and strengthened spiritual entities will go to the realm where the righteous will wait before the final judgement.

After the day of judgement a second body will be given, the illuminated spiritual entities along with the human soul will enter that body. The people that taught their spiritual entities, meditation, whereby the entities chanted the Name of God Allah in this life time will find that the spiritual entities will continue with this meditation even in the hereafter. Such people will continue to be elevated and exalted in the hereafter.

  

Those that were “blind of heart” (not illuminated) in this life time will be in darkness in that realm also, as this world was the place of action and effort. Those in the latter category will become quiescent.

Besides the Christians and the Jews the Hindu faith also holds a belief in these spiritual entities. The Hindu faith refers to them as Shaktian and the Muslims know them as Lata’if.

The Qalb is two inches, to the left of the heart. This spiritual entity is yellow in colour. When it is illuminated in a person, that person sees the colour yellow in their eyes. Not only this but there are many practitioners of alternative medicine who use the colours of these spiritual entities to heal people.

Most people regard their heart’s word, “inner feeling” to be truthful. If the hearts of people were indeed truthful, then why are all the people of the heart not united?

The Qalb of an ordinary person is in the sleeping or unconscious state and it does not possess any appreciation or awareness. Due to the dominance of the spirit of the self, the ego, and the Khannas, or due to the individual’s own simple- mindedness the heart can make judgements in error. Placing trust in a sleeping Qalb is foolish.

Only when the Name of God Allah, does vibrate in the heart does an appreciation of right and wrong and wisdom follow. At this stage the Qalb is known as the awakened Qalb. Thereafter due to the increase in the meditation by the Qalb, of the Name of God Allah, it is then known as the God-seeking Qalb. At this stage the heart is capable of preventing the person from doing wrong but it is still incapable of making a right or just decision. Thereafter and only when the Light and the rays of the Grace of God (theophany) start to descend upon that heart, is it known as the purified and illuminated Qalb that stands in the presence of God (witnessing Qalb).

 

A Prophetic statement:

“The mercy of God descends upon a broken heart and an afflicted grave.”

 

Thereafter when the heart reaches this stage then one must accept whatever it dictates, quietly without question because due to the rays of the Light and the Grace of God the spirit of the self, (ego) becomes completely illuminated, purified and at peace. God is then closer to that individual than that person’s jugular vein.

God then says, “I become his tongue with which he speaks and I become his hands with which he holds.”

   

2. The Human Soul

 

Prophecy and knowledge relating to this was granted to the Prophet Abraham

 

This is on the right side of the chest. This is awakened and illuminated by the meditation and one-pointed concentration on it. Once it becomes illuminated, a vibration similar to the heartbeat is felt on the right side of the chest. Then the Name of God, Ya Allah is matched with the vibrating pulse. The meditation of the soul is done in this way. At this point, there are now two spiritual entities meditating inside the human body, this is an advancement in rank and status and is better than the Qalb. The soul is a light red in colour and when it is awakened, it is able to travel to the realm of the souls (the station of the Archangel Gabriel). Anger and rage are attached to it that burn and turn into majesty.

  

3. The spiritual entity Sirri

 

Prophecy and knowledge relating to this was granted to the Prophet Moses

 

This spiritual entity is to the left of the centre of the chest. This is also awakened and illuminated by the meditation and one-pointed concentration on it with the Name of God, Ya Hayy, Ya Qayyum. Its colour is white and in the dream state or by spiritual separation from the physical body “transcendental meditation” it can journey to the realm of the secrets. Now there are three spiritual entities meditating within a person and its status is higher than the other two.

   

4. The spiritual entity Khaffi

 

Prophecy and knowledge relating to this was granted to the Prophet Jesus

 

This is to the right of the centre of the chest. It too is taught the Name of God Ya Wahid by meditation. It is green in colour and it can reach the realm of unification. Due to the meditation of four entities one's status is further increased.

 

5. The spiritual entity Akhfa

 

Prophecy and knowledge relating to this was granted to the Prophet Mohammed

 

This is situated at the centre of the chest. It is awakened by meditating on the Name of God, Ya Ahad. It is purple in colour and it too, is connected to that veil in the realm of unification behind which is the throne of God.

 

The hidden spiritual knowledge relating to these five spiritual entities was granted to the Prophets, one by one and half of the knowledge of every spiritual entity was granted from the Prophets to the Saints of their time. In this way there became ten parts of this knowledge. The Saints in turn passed this knowledge on to the spiritually favoured (Godly) who then had the benefit of the sacred knowledge.

 

The apparent knowledge of the seen is connected to the physical body, the spoken word, the human realm and the spirit of the self, this is for the ordinary mortals. This knowledge is contained in a book that has thirty parts. Spiritual knowledge was also given to the Prophets by revelation brought by Gabriel and for this reason it is known as the spiritual Holy Scripture.

 

Many of the verses of the Qur’an would sometimes be abolished, since the Prophet Mohammed would sometimes mention matters relating to this “hidden spiritual knowledge” before ordinary people, which was only meant for the special and Godly. Later this knowledge passed on spiritually from the chest of one Saint to another, and now it has become widespread by its publication in books.

  

6. The spiritual entity Anna

 

This spiritual entity is inside the head and is colourless. It is by the meditation on the Name of God Ya Hu that this spiritual entity reaches its pinnacle. It is this spiritual entity that when it becomes illuminated and powerful it can stand in the Presence of God, face to face, and communicate with God unobstructed. Only the extreme lovers of God reach this realm and station. Besides this there are a few and extremely exalted people who are granted additional spiritual entities, for example the spiritual entity Tifl-e-Nuri or a spiritual entity of the Godhead, Jussa-e-Tofiq-e-Ilahi, the spiritual status of such people is beyond understanding.

 

With the spiritual entity, Anna, God is seen in the dream state.

 

With the spiritual entity of the Godhead, God is seen in the “physical meditating state” when the spiritual entity itself leaves the human body and transcends to the essence of God.

 

Those possessing the spiritual entity, the Tifl-e-Nuri, see God whilst they are fully conscious.

 

It is these people who are the majesty and power of God in the world. They can either occupy the people by prescribing worship and austerities or by their spiritual grace send a person straight to the realm of God’s love. In their sight, concerning dispensing spiritual grace the believers and the non-believers, the dead and the living are all the same. Just as a thief became a Saint, in an instant, by the passing glimpse of the Saint Sheikh Abdul-Qadir al-Jilani, similarly, Abu-Bakr Havari and Manga the thief, became instant Saints by the passing glimpses of such Saints.

 

The five major Messengers were given knowledge of the five spiritual entities separately and in order of their appearance, as a result of which spirituality continued to prosper. With whichever spiritual entity you practice meditation you will be connected to the corresponding Messenger and become worthy of receiving spiritual grace (from that Messenger).

 

Whichever spiritual entity receives the rays of the Grace of God (favour), the Sainthood granted to that spiritual entity will be connected to the corresponding Prophet’s spiritual grace.

 

Access to seven realms and gaining elevated spiritual status in the seven heavens is obtained through these spiritual entities.

The functions of the spiritual entities inside the human body

 

Akhfa: Due to the spiritual entity, Akhfa a person is able to speak. In its absence a person may have a normal tongue but will be dumb. The difference between human beings and animals lies in the presence or the absence of these spiritual entities. At birth, if the entity, Akhfa was unable to enter the body for whatever reason, then a Prophet appointed for the rectification of this ailment would be called to treat the condition as a result of which the dumb would start to speak.

 

Sirri: A person is able to see due to the spiritual entity, Sirri. If it does not enter the body the person is blind from birth. An appointed Prophet had the duty to find and place the spiritual entity into the body, as a result of which the blind would start to see again.

Qalb: Without the spiritual entity of the Qalb, in the body, a person is like the animals, unacquainted, far from God, miserable and without purpose. Returning this entity into the body was the task of the Prophets also.

The miracles of the Prophets were also granted to the saints, in the form marvels and mystical wonders as a result of which even the impious and liberal became close to God. When a spiritual entity is returned by any allocated Saint or Prophet, the deaf, dumb and the blind are healed.

Anna: When the spiritual entity, Anna, fails to enter the body, a person is regarded as insane even though the brain may be functioning normally.

Khaffi: In the absence of the spiritual entity, Khafi, a person is deaf, even if the ears are opened wide.

These conditions can be caused by other defects in the body, and can be treated. There is no cure in the case, where the defect is caused by the absence of the associated spiritual entity except where a Prophet or a Saint intervenes and cures the defect.

Nafs, self: As a result of the spiritual entity of the self (ego) a persons mind is occupied with the material world and it is because of the spiritual entity Qalb that a persons direction turns towards God. For more detail visit www.goharshahi.org or visit asipk.com and for videos visit HH rags

1. The spiritual entity Qalb

 

Prophecy and knowledge relating to this was granted to the Prophet Adam

 

In the Urdu language the fleshy meat, (the heart) is known as dil, and in Arabic it is called fawad. The spiritual entity that is next to the heart is the Qalb and according to a Prophetic statement the heart and the Qalb are two separate entities.

 

Our solar system is the physical human sphere. There are other realms and spheres, for example the realm of the angels, the realm of the throne of God, the realm of the soul, the realm of the secrets, the realm of unification and the realm of the essence of God. These spheres and life forms inhabiting these spheres have existed before the eruption of the ball of fire, our Sun, which created our solar system. Ordinary angels were created alongside the creation of the souls when God commanded "Be" but the Archangels and the spiritual entities (which are placed inside the human body at birth) have existed in these realms before the formation of our solar system.

 

Many planets in our solar system were inhabited but subsequently these life forms became extinct. The remaining planets and their inhabitants are awaiting their destruction. The Archangels and the spiritual entities (of the human body) were created seventy thousand years before the command "Be."

 

Of these spiritual entities God placed the Qalb in the realm of love. It is with this that a human being is able to become connected with God. The Qalb acts like a telephone operator between God and the human being. A human being receives guidance and inspiration through it. Whereas the worship and the meditation done by the spiritual entities themselves can reach the highest realm, the Throne of God, with the aid of the Qalb. The Qalb itself, however cannot travel beyond the realm of the angels, as its place of origin is the Khuld, the lowest heaven in the realm of the angels.

 

The Qalb’s meditation is from within and its vibrating rosary is within the human skeleton (the heartbeat). People that failed to achieve this meditation of the Qalb in this lifetime will be regretful, even though they may be in paradise. As God has stated regarding those who will go to paradise, that do they, the inhabitants of paradise think that they will be equal to those who are elevated (reached higher realms by practicing the spiritual disciplines and becoming illuminated). As those that have achieved the meditation of the Qalb, they will enjoy its pleasures even in paradise when their Qalb will be vibrating with the Name of God.

After death physical worship ceases to exist and the people whose Qalb and spiritual entities are not strengthened and illuminated with the light of God are afflicted and distressed in their graves and their spiritual entities waste away. Whereas the illuminated and strengthened spiritual entities will go to the realm where the righteous will wait before the final judgement.

After the day of judgement a second body will be given, the illuminated spiritual entities along with the human soul will enter that body. The people that taught their spiritual entities, meditation, whereby the entities chanted the Name of God Allah in this life time will find that the spiritual entities will continue with this meditation even in the hereafter. Such people will continue to be elevated and exalted in the hereafter.

  

Those that were “blind of heart” (not illuminated) in this life time will be in darkness in that realm also, as this world was the place of action and effort. Those in the latter category will become quiescent.

Besides the Christians and the Jews the Hindu faith also holds a belief in these spiritual entities. The Hindu faith refers to them as Shaktian and the Muslims know them as Lata’if.

The Qalb is two inches, to the left of the heart. This spiritual entity is yellow in colour. When it is illuminated in a person, that person sees the colour yellow in their eyes. Not only this but there are many practitioners of alternative medicine who use the colours of these spiritual entities to heal people.

Most people regard their heart’s word, “inner feeling” to be truthful. If the hearts of people were indeed truthful, then why are all the people of the heart not united?

The Qalb of an ordinary person is in the sleeping or unconscious state and it does not possess any appreciation or awareness. Due to the dominance of the spirit of the self, the ego, and the Khannas, or due to the individual’s own simple- mindedness the heart can make judgements in error. Placing trust in a sleeping Qalb is foolish.

Only when the Name of God Allah, does vibrate in the heart does an appreciation of right and wrong and wisdom follow. At this stage the Qalb is known as the awakened Qalb. Thereafter due to the increase in the meditation by the Qalb, of the Name of God Allah, it is then known as the God-seeking Qalb. At this stage the heart is capable of preventing the person from doing wrong but it is still incapable of making a right or just decision. Thereafter and only when the Light and the rays of the Grace of God (theophany) start to descend upon that heart, is it known as the purified and illuminated Qalb that stands in the presence of God (witnessing Qalb).

 

A Prophetic statement:

“The mercy of God descends upon a broken heart and an afflicted grave.”

 

Thereafter when the heart reaches this stage then one must accept whatever it dictates, quietly without question because due to the rays of the Light and the Grace of God the spirit of the self, (ego) becomes completely illuminated, purified and at peace. God is then closer to that individual than that person’s jugular vein.

God then says, “I become his tongue with which he speaks and I become his hands with which he holds.”

   

2. The Human Soul

 

Prophecy and knowledge relating to this was granted to the Prophet Abraham

 

This is on the right side of the chest. This is awakened and illuminated by the meditation and one-pointed concentration on it. Once it becomes illuminated, a vibration similar to the heartbeat is felt on the right side of the chest. Then the Name of God, Ya Allah is matched with the vibrating pulse. The meditation of the soul is done in this way. At this point, there are now two spiritual entities meditating inside the human body, this is an advancement in rank and status and is better than the Qalb. The soul is a light red in colour and when it is awakened, it is able to travel to the realm of the souls (the station of the Archangel Gabriel). Anger and rage are attached to it that burn and turn into majesty.

  

3. The spiritual entity Sirri

 

Prophecy and knowledge relating to this was granted to the Prophet Moses

 

This spiritual entity is to the left of the centre of the chest. This is also awakened and illuminated by the meditation and one-pointed concentration on it with the Name of God, Ya Hayy, Ya Qayyum. Its colour is white and in the dream state or by spiritual separation from the physical body “transcendental meditation” it can journey to the realm of the secrets. Now there are three spiritual entities meditating within a person and its status is higher than the other two.

   

4. The spiritual entity Khaffi

 

Prophecy and knowledge relating to this was granted to the Prophet Jesus

 

This is to the right of the centre of the chest. It too is taught the Name of God Ya Wahid by meditation. It is green in colour and it can reach the realm of unification. Due to the meditation of four entities one's status is further increased.

 

5. The spiritual entity Akhfa

 

Prophecy and knowledge relating to this was granted to the Prophet Mohammed

 

This is situated at the centre of the chest. It is awakened by meditating on the Name of God, Ya Ahad. It is purple in colour and it too, is connected to that veil in the realm of unification behind which is the throne of God.

 

The hidden spiritual knowledge relating to these five spiritual entities was granted to the Prophets, one by one and half of the knowledge of every spiritual entity was granted from the Prophets to the Saints of their time. In this way there became ten parts of this knowledge. The Saints in turn passed this knowledge on to the spiritually favoured (Godly) who then had the benefit of the sacred knowledge.

 

The apparent knowledge of the seen is connected to the physical body, the spoken word, the human realm and the spirit of the self, this is for the ordinary mortals. This knowledge is contained in a book that has thirty parts. Spiritual knowledge was also given to the Prophets by revelation brought by Gabriel and for this reason it is known as the spiritual Holy Scripture.

 

Many of the verses of the Qur’an would sometimes be abolished, since the Prophet Mohammed would sometimes mention matters relating to this “hidden spiritual knowledge” before ordinary people, which was only meant for the special and Godly. Later this knowledge passed on spiritually from the chest of one Saint to another, and now it has become widespread by its publication in books.

  

6. The spiritual entity Anna

 

This spiritual entity is inside the head and is colourless. It is by the meditation on the Name of God Ya Hu that this spiritual entity reaches its pinnacle. It is this spiritual entity that when it becomes illuminated and powerful it can stand in the Presence of God, face to face, and communicate with God unobstructed. Only the extreme lovers of God reach this realm and station. Besides this there are a few and extremely exalted people who are granted additional spiritual entities, for example the spiritual entity Tifl-e-Nuri or a spiritual entity of the Godhead, Jussa-e-Tofiq-e-Ilahi, the spiritual status of such people is beyond understanding.

 

With the spiritual entity, Anna, God is seen in the dream state.

 

With the spiritual entity of the Godhead, God is seen in the “physical meditating state” when the spiritual entity itself leaves the human body and transcends to the essence of God.

 

Those possessing the spiritual entity, the Tifl-e-Nuri, see God whilst they are fully conscious.

 

It is these people who are the majesty and power of God in the world. They can either occupy the people by prescribing worship and austerities or by their spiritual grace send a person straight to the realm of God’s love. In their sight, concerning dispensing spiritual grace the believers and the non-believers, the dead and the living are all the same. Just as a thief became a Saint, in an instant, by the passing glimpse of the Saint Sheikh Abdul-Qadir al-Jilani, similarly, Abu-Bakr Havari and Manga the thief, became instant Saints by the passing glimpses of such Saints.

 

The five major Messengers were given knowledge of the five spiritual entities separately and in order of their appearance, as a result of which spirituality continued to prosper. With whichever spiritual entity you practice meditation you will be connected to the corresponding Messenger and become worthy of receiving spiritual grace (from that Messenger).

 

Whichever spiritual entity receives the rays of the Grace of God (favour), the Sainthood granted to that spiritual entity will be connected to the corresponding Prophet’s spiritual grace.

 

Access to seven realms and gaining elevated spiritual status in the seven heavens is obtained through these spiritual entities.

The functions of the spiritual entities inside the human body

 

Akhfa: Due to the spiritual entity, Akhfa a person is able to speak. In its absence a person may have a normal tongue but will be dumb. The difference between human beings and animals lies in the presence or the absence of these spiritual entities. At birth, if the entity, Akhfa was unable to enter the body for whatever reason, then a Prophet appointed for the rectification of this ailment would be called to treat the condition as a result of which the dumb would start to speak.

 

Sirri: A person is able to see due to the spiritual entity, Sirri. If it does not enter the body the person is blind from birth. An appointed Prophet had the duty to find and place the spiritual entity into the body, as a result of which the blind would start to see again.

Qalb: Without the spiritual entity of the Qalb, in the body, a person is like the animals, unacquainted, far from God, miserable and without purpose. Returning this entity into the body was the task of the Prophets also.

The miracles of the Prophets were also granted to the saints, in the form marvels and mystical wonders as a result of which even the impious and liberal became close to God. When a spiritual entity is returned by any allocated Saint or Prophet, the deaf, dumb and the blind are healed.

Anna: When the spiritual entity, Anna, fails to enter the body, a person is regarded as insane even though the brain may be functioning normally.

Khaffi: In the absence of the spiritual entity, Khafi, a person is deaf, even if the ears are opened wide.

These conditions can be caused by other defects in the body, and can be treated. There is no cure in the case, where the defect is caused by the absence of the associated spiritual entity except where a Prophet or a Saint intervenes and cures the defect.

Nafs, self: As a result of the spiritual entity of the self (ego) a persons mind is occupied with the material world and it is because of the spiritual entity Qalb that a persons direction turns towards God. For more detail visit www.goharshahi.org or visit asipk.com and for videos visit HH rags

1. The spiritual entity Qalb

 

Prophecy and knowledge relating to this was granted to the Prophet Adam

 

In the Urdu language the fleshy meat, (the heart) is known as dil, and in Arabic it is called fawad. The spiritual entity that is next to the heart is the Qalb and according to a Prophetic statement the heart and the Qalb are two separate entities.

 

Our solar system is the physical human sphere. There are other realms and spheres, for example the realm of the angels, the realm of the throne of God, the realm of the soul, the realm of the secrets, the realm of unification and the realm of the essence of God. These spheres and life forms inhabiting these spheres have existed before the eruption of the ball of fire, our Sun, which created our solar system. Ordinary angels were created alongside the creation of the souls when God commanded "Be" but the Archangels and the spiritual entities (which are placed inside the human body at birth) have existed in these realms before the formation of our solar system.

 

Many planets in our solar system were inhabited but subsequently these life forms became extinct. The remaining planets and their inhabitants are awaiting their destruction. The Archangels and the spiritual entities (of the human body) were created seventy thousand years before the command "Be."

 

Of these spiritual entities God placed the Qalb in the realm of love. It is with this that a human being is able to become connected with God. The Qalb acts like a telephone operator between God and the human being. A human being receives guidance and inspiration through it. Whereas the worship and the meditation done by the spiritual entities themselves can reach the highest realm, the Throne of God, with the aid of the Qalb. The Qalb itself, however cannot travel beyond the realm of the angels, as its place of origin is the Khuld, the lowest heaven in the realm of the angels.

 

The Qalb’s meditation is from within and its vibrating rosary is within the human skeleton (the heartbeat). People that failed to achieve this meditation of the Qalb in this lifetime will be regretful, even though they may be in paradise. As God has stated regarding those who will go to paradise, that do they, the inhabitants of paradise think that they will be equal to those who are elevated (reached higher realms by practicing the spiritual disciplines and becoming illuminated). As those that have achieved the meditation of the Qalb, they will enjoy its pleasures even in paradise when their Qalb will be vibrating with the Name of God.

After death physical worship ceases to exist and the people whose Qalb and spiritual entities are not strengthened and illuminated with the light of God are afflicted and distressed in their graves and their spiritual entities waste away. Whereas the illuminated and strengthened spiritual entities will go to the realm where the righteous will wait before the final judgement.

After the day of judgement a second body will be given, the illuminated spiritual entities along with the human soul will enter that body. The people that taught their spiritual entities, meditation, whereby the entities chanted the Name of God Allah in this life time will find that the spiritual entities will continue with this meditation even in the hereafter. Such people will continue to be elevated and exalted in the hereafter.

  

Those that were “blind of heart” (not illuminated) in this life time will be in darkness in that realm also, as this world was the place of action and effort. Those in the latter category will become quiescent.

Besides the Christians and the Jews the Hindu faith also holds a belief in these spiritual entities. The Hindu faith refers to them as Shaktian and the Muslims know them as Lata’if.

The Qalb is two inches, to the left of the heart. This spiritual entity is yellow in colour. When it is illuminated in a person, that person sees the colour yellow in their eyes. Not only this but there are many practitioners of alternative medicine who use the colours of these spiritual entities to heal people.

Most people regard their heart’s word, “inner feeling” to be truthful. If the hearts of people were indeed truthful, then why are all the people of the heart not united?

The Qalb of an ordinary person is in the sleeping or unconscious state and it does not possess any appreciation or awareness. Due to the dominance of the spirit of the self, the ego, and the Khannas, or due to the individual’s own simple- mindedness the heart can make judgements in error. Placing trust in a sleeping Qalb is foolish.

Only when the Name of God Allah, does vibrate in the heart does an appreciation of right and wrong and wisdom follow. At this stage the Qalb is known as the awakened Qalb. Thereafter due to the increase in the meditation by the Qalb, of the Name of God Allah, it is then known as the God-seeking Qalb. At this stage the heart is capable of preventing the person from doing wrong but it is still incapable of making a right or just decision. Thereafter and only when the Light and the rays of the Grace of God (theophany) start to descend upon that heart, is it known as the purified and illuminated Qalb that stands in the presence of God (witnessing Qalb).

 

A Prophetic statement:

“The mercy of God descends upon a broken heart and an afflicted grave.”

 

Thereafter when the heart reaches this stage then one must accept whatever it dictates, quietly without question because due to the rays of the Light and the Grace of God the spirit of the self, (ego) becomes completely illuminated, purified and at peace. God is then closer to that individual than that person’s jugular vein.

God then says, “I become his tongue with which he speaks and I become his hands with which he holds.”

   

2. The Human Soul

 

Prophecy and knowledge relating to this was granted to the Prophet Abraham

 

This is on the right side of the chest. This is awakened and illuminated by the meditation and one-pointed concentration on it. Once it becomes illuminated, a vibration similar to the heartbeat is felt on the right side of the chest. Then the Name of God, Ya Allah is matched with the vibrating pulse. The meditation of the soul is done in this way. At this point, there are now two spiritual entities meditating inside the human body, this is an advancement in rank and status and is better than the Qalb. The soul is a light red in colour and when it is awakened, it is able to travel to the realm of the souls (the station of the Archangel Gabriel). Anger and rage are attached to it that burn and turn into majesty.

  

3. The spiritual entity Sirri

 

Prophecy and knowledge relating to this was granted to the Prophet Moses

 

This spiritual entity is to the left of the centre of the chest. This is also awakened and illuminated by the meditation and one-pointed concentration on it with the Name of God, Ya Hayy, Ya Qayyum. Its colour is white and in the dream state or by spiritual separation from the physical body “transcendental meditation” it can journey to the realm of the secrets. Now there are three spiritual entities meditating within a person and its status is higher than the other two.

   

4. The spiritual entity Khaffi

 

Prophecy and knowledge relating to this was granted to the Prophet Jesus

 

This is to the right of the centre of the chest. It too is taught the Name of God Ya Wahid by meditation. It is green in colour and it can reach the realm of unification. Due to the meditation of four entities one's status is further increased.

 

5. The spiritual entity Akhfa

 

Prophecy and knowledge relating to this was granted to the Prophet Mohammed

 

This is situated at the centre of the chest. It is awakened by meditating on the Name of God, Ya Ahad. It is purple in colour and it too, is connected to that veil in the realm of unification behind which is the throne of God.

 

The hidden spiritual knowledge relating to these five spiritual entities was granted to the Prophets, one by one and half of the knowledge of every spiritual entity was granted from the Prophets to the Saints of their time. In this way there became ten parts of this knowledge. The Saints in turn passed this knowledge on to the spiritually favoured (Godly) who then had the benefit of the sacred knowledge.

 

The apparent knowledge of the seen is connected to the physical body, the spoken word, the human realm and the spirit of the self, this is for the ordinary mortals. This knowledge is contained in a book that has thirty parts. Spiritual knowledge was also given to the Prophets by revelation brought by Gabriel and for this reason it is known as the spiritual Holy Scripture.

 

Many of the verses of the Qur’an would sometimes be abolished, since the Prophet Mohammed would sometimes mention matters relating to this “hidden spiritual knowledge” before ordinary people, which was only meant for the special and Godly. Later this knowledge passed on spiritually from the chest of one Saint to another, and now it has become widespread by its publication in books.

  

6. The spiritual entity Anna

 

This spiritual entity is inside the head and is colourless. It is by the meditation on the Name of God Ya Hu that this spiritual entity reaches its pinnacle. It is this spiritual entity that when it becomes illuminated and powerful it can stand in the Presence of God, face to face, and communicate with God unobstructed. Only the extreme lovers of God reach this realm and station. Besides this there are a few and extremely exalted people who are granted additional spiritual entities, for example the spiritual entity Tifl-e-Nuri or a spiritual entity of the Godhead, Jussa-e-Tofiq-e-Ilahi, the spiritual status of such people is beyond understanding.

 

With the spiritual entity, Anna, God is seen in the dream state.

 

With the spiritual entity of the Godhead, God is seen in the “physical meditating state” when the spiritual entity itself leaves the human body and transcends to the essence of God.

 

Those possessing the spiritual entity, the Tifl-e-Nuri, see God whilst they are fully conscious.

 

It is these people who are the majesty and power of God in the world. They can either occupy the people by prescribing worship and austerities or by their spiritual grace send a person straight to the realm of God’s love. In their sight, concerning dispensing spiritual grace the believers and the non-believers, the dead and the living are all the same. Just as a thief became a Saint, in an instant, by the passing glimpse of the Saint Sheikh Abdul-Qadir al-Jilani, similarly, Abu-Bakr Havari and Manga the thief, became instant Saints by the passing glimpses of such Saints.

 

The five major Messengers were given knowledge of the five spiritual entities separately and in order of their appearance, as a result of which spirituality continued to prosper. With whichever spiritual entity you practice meditation you will be connected to the corresponding Messenger and become worthy of receiving spiritual grace (from that Messenger).

 

Whichever spiritual entity receives the rays of the Grace of God (favour), the Sainthood granted to that spiritual entity will be connected to the corresponding Prophet’s spiritual grace.

 

Access to seven realms and gaining elevated spiritual status in the seven heavens is obtained through these spiritual entities.

The functions of the spiritual entities inside the human body

 

Akhfa: Due to the spiritual entity, Akhfa a person is able to speak. In its absence a person may have a normal tongue but will be dumb. The difference between human beings and animals lies in the presence or the absence of these spiritual entities. At birth, if the entity, Akhfa was unable to enter the body for whatever reason, then a Prophet appointed for the rectification of this ailment would be called to treat the condition as a result of which the dumb would start to speak.

 

Sirri: A person is able to see due to the spiritual entity, Sirri. If it does not enter the body the person is blind from birth. An appointed Prophet had the duty to find and place the spiritual entity into the body, as a result of which the blind would start to see again.

Qalb: Without the spiritual entity of the Qalb, in the body, a person is like the animals, unacquainted, far from God, miserable and without purpose. Returning this entity into the body was the task of the Prophets also.

The miracles of the Prophets were also granted to the saints, in the form marvels and mystical wonders as a result of which even the impious and liberal became close to God. When a spiritual entity is returned by any allocated Saint or Prophet, the deaf, dumb and the blind are healed.

Anna: When the spiritual entity, Anna, fails to enter the body, a person is regarded as insane even though the brain may be functioning normally.

Khaffi: In the absence of the spiritual entity, Khafi, a person is deaf, even if the ears are opened wide.

These conditions can be caused by other defects in the body, and can be treated. There is no cure in the case, where the defect is caused by the absence of the associated spiritual entity except where a Prophet or a Saint intervenes and cures the defect.

Nafs, self: As a result of the spiritual entity of the self (ego) a persons mind is occupied with the material world and it is because of the spiritual entity Qalb that a persons direction turns towards God. For more detail visit www.goharshahi.org or visit asipk.com and for videos visit HH rags

 

The language of flowers and floral poesy :

New York :John W. Lovell,1881

biodiversitylibrary.org/page/60674964

Title in other languages:

English: View onto building Dock 6-10 of the Rheinau port in the old town of Cologne, Germany, part of a photography course

Nederlands: Zicht op gebouw Dock 6-10 van de Rheinauhaven in de oude stad van Keulen (Duitsland), deel van een fotografie cursus

 

English:

 

Welcome and thank you for being here! This image forms part of a collection of photographs of moments on Planet Earth.

 

If you enjoy this work and want to support me financially, I’m glad to receive your donation via Paypal: paypal.me/jankohoener

 

If you intend to use this picture for your own purposes, please credit me with the following attribution line: Janko Hoener / CC-BY-SA-4.0. This is required by the license terms. A link back to this page and informing me about your usage via FlickrMail is appreciated.

 

Deutsch:

 

Willkommen und vielen Dank, dass Sie hier sind! Dieses Bild stellt Teil einer Sammlung von Fotografien von Augenblicken auf dem Planet Erde dar.

Wenn Ihnen diese Arbeit zusagt und Sie mich finanziell dabei unterstützen möchten, so freue ich mich über Ihre Spende via Paypal: paypal.me/jankohoener

 

Wenn Sie dieses Foto für eigene Zwecke nutzen möchten, geben Sie bitte Janko Hoener / CC-BY-SA-4.0 in der Bildunterschrift an. Dies ist per Lizenz gefordert. Über einen Link auf diese Seite und eine Benachrichtigung über die Nutzung via FlickrMail freue ich mich.

You can guess where I took this photo, but I think it too hard :) So I will tell you. This was taken under the stairs in the Budapest Opera and based on the language signs, this is where the tourist gather for their tour of the opera

______________________________________________________________

 

For more info on this and other my photos, and my HDR tutorial, please visit my daily photo blog at blog.hdrshooter.net

______________________________________________________________

 

Daily photo blog - My portfolio - My HDR tutorial - My Twitter - My facebook page

Barcelona - May 2019

Fairly popular in exports. A page from this Russian language brochure from my collection.

Yangon, Yangon-Division, Myanmar

 

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www.facebook.com/amzphotos

 

Want to use my pictures?

Just write me a message or license them at iStock.

please view large!!!

View On Black

(that is what she seem to think)

My legs are the only part of my body that I love.

 

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Graffiti (plural; singular graffiti or graffito, the latter rarely used except in archeology) is art that is written, painted or drawn on a wall or other surface, usually without permission and within public view. Graffiti ranges from simple written words to elaborate wall paintings, and has existed since ancient times, with examples dating back to ancient Egypt, ancient Greece, and the Roman Empire (see also mural).

 

Graffiti is a controversial subject. In most countries, marking or painting property without permission is considered by property owners and civic authorities as defacement and vandalism, which is a punishable crime, citing the use of graffiti by street gangs to mark territory or to serve as an indicator of gang-related activities. Graffiti has become visualized as a growing urban "problem" for many cities in industrialized nations, spreading from the New York City subway system and Philadelphia in the early 1970s to the rest of the United States and Europe and other world regions

 

"Graffiti" (usually both singular and plural) and the rare singular form "graffito" are from the Italian word graffiato ("scratched"). The term "graffiti" is used in art history for works of art produced by scratching a design into a surface. A related term is "sgraffito", which involves scratching through one layer of pigment to reveal another beneath it. This technique was primarily used by potters who would glaze their wares and then scratch a design into them. In ancient times graffiti were carved on walls with a sharp object, although sometimes chalk or coal were used. The word originates from Greek γράφειν—graphein—meaning "to write".

 

The term graffiti originally referred to the inscriptions, figure drawings, and such, found on the walls of ancient sepulchres or ruins, as in the Catacombs of Rome or at Pompeii. Historically, these writings were not considered vanadlism, which today is considered part of the definition of graffiti.

 

The only known source of the Safaitic language, an ancient form of Arabic, is from graffiti: inscriptions scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD.

 

Some of the oldest cave paintings in the world are 40,000 year old ones found in Australia. The oldest written graffiti was found in ancient Rome around 2500 years ago. Most graffiti from the time was boasts about sexual experiences Graffiti in Ancient Rome was a form of communication, and was not considered vandalism.

 

Ancient tourists visiting the 5th-century citadel at Sigiriya in Sri Lanka write their names and commentary over the "mirror wall", adding up to over 1800 individual graffiti produced there between the 6th and 18th centuries. Most of the graffiti refer to the frescoes of semi-nude females found there. One reads:

 

Wet with cool dew drops

fragrant with perfume from the flowers

came the gentle breeze

jasmine and water lily

dance in the spring sunshine

side-long glances

of the golden-hued ladies

stab into my thoughts

heaven itself cannot take my mind

as it has been captivated by one lass

among the five hundred I have seen here.

 

Among the ancient political graffiti examples were Arab satirist poems. Yazid al-Himyari, an Umayyad Arab and Persian poet, was most known for writing his political poetry on the walls between Sajistan and Basra, manifesting a strong hatred towards the Umayyad regime and its walis, and people used to read and circulate them very widely.

 

Graffiti, known as Tacherons, were frequently scratched on Romanesque Scandinavian church walls. When Renaissance artists such as Pinturicchio, Raphael, Michelangelo, Ghirlandaio, or Filippino Lippi descended into the ruins of Nero's Domus Aurea, they carved or painted their names and returned to initiate the grottesche style of decoration.

 

There are also examples of graffiti occurring in American history, such as Independence Rock, a national landmark along the Oregon Trail.

 

Later, French soldiers carved their names on monuments during the Napoleonic campaign of Egypt in the 1790s. Lord Byron's survives on one of the columns of the Temple of Poseidon at Cape Sounion in Attica, Greece.

 

The oldest known example of graffiti "monikers" found on traincars created by hobos and railworkers since the late 1800s. The Bozo Texino monikers were documented by filmmaker Bill Daniel in his 2005 film, Who is Bozo Texino?.

 

In World War II, an inscription on a wall at the fortress of Verdun was seen as an illustration of the US response twice in a generation to the wrongs of the Old World:

 

During World War II and for decades after, the phrase "Kilroy was here" with an accompanying illustration was widespread throughout the world, due to its use by American troops and ultimately filtering into American popular culture. Shortly after the death of Charlie Parker (nicknamed "Yardbird" or "Bird"), graffiti began appearing around New York with the words "Bird Lives".

 

Modern graffiti art has its origins with young people in 1960s and 70s in New York City and Philadelphia. Tags were the first form of stylised contemporary graffiti. Eventually, throw-ups and pieces evolved with the desire to create larger art. Writers used spray paint and other kind of materials to leave tags or to create images on the sides subway trains. and eventually moved into the city after the NYC metro began to buy new trains and paint over graffiti.

 

While the art had many advocates and appreciators—including the cultural critic Norman Mailer—others, including New York City mayor Ed Koch, considered it to be defacement of public property, and saw it as a form of public blight. The ‘taggers’ called what they did ‘writing’—though an important 1974 essay by Mailer referred to it using the term ‘graffiti.’

 

Contemporary graffiti style has been heavily influenced by hip hop culture and the myriad international styles derived from Philadelphia and New York City Subway graffiti; however, there are many other traditions of notable graffiti in the twentieth century. Graffiti have long appeared on building walls, in latrines, railroad boxcars, subways, and bridges.

 

An early graffito outside of New York or Philadelphia was the inscription in London reading "Clapton is God" in reference to the guitarist Eric Clapton. Creating the cult of the guitar hero, the phrase was spray-painted by an admirer on a wall in an Islington, north London in the autumn of 1967. The graffito was captured in a photograph, in which a dog is urinating on the wall.

 

Films like Style Wars in the 80s depicting famous writers such as Skeme, Dondi, MinOne, and ZEPHYR reinforced graffiti's role within New York's emerging hip-hop culture. Although many officers of the New York City Police Department found this film to be controversial, Style Wars is still recognized as the most prolific film representation of what was going on within the young hip hop culture of the early 1980s. Fab 5 Freddy and Futura 2000 took hip hop graffiti to Paris and London as part of the New York City Rap Tour in 1983

 

Commercialization and entrance into mainstream pop culture

Main article: Commercial graffiti

With the popularity and legitimization of graffiti has come a level of commercialization. In 2001, computer giant IBM launched an advertising campaign in Chicago and San Francisco which involved people spray painting on sidewalks a peace symbol, a heart, and a penguin (Linux mascot), to represent "Peace, Love, and Linux." IBM paid Chicago and San Francisco collectively US$120,000 for punitive damages and clean-up costs.

 

In 2005, a similar ad campaign was launched by Sony and executed by its advertising agency in New York, Chicago, Atlanta, Philadelphia, Los Angeles, and Miami, to market its handheld PSP gaming system. In this campaign, taking notice of the legal problems of the IBM campaign, Sony paid building owners for the rights to paint on their buildings "a collection of dizzy-eyed urban kids playing with the PSP as if it were a skateboard, a paddle, or a rocking horse".

 

Tristan Manco wrote that Brazil "boasts a unique and particularly rich, graffiti scene ... [earning] it an international reputation as the place to go for artistic inspiration". Graffiti "flourishes in every conceivable space in Brazil's cities". Artistic parallels "are often drawn between the energy of São Paulo today and 1970s New York". The "sprawling metropolis", of São Paulo has "become the new shrine to graffiti"; Manco alludes to "poverty and unemployment ... [and] the epic struggles and conditions of the country's marginalised peoples", and to "Brazil's chronic poverty", as the main engines that "have fuelled a vibrant graffiti culture". In world terms, Brazil has "one of the most uneven distributions of income. Laws and taxes change frequently". Such factors, Manco argues, contribute to a very fluid society, riven with those economic divisions and social tensions that underpin and feed the "folkloric vandalism and an urban sport for the disenfranchised", that is South American graffiti art.

 

Prominent Brazilian writers include Os Gêmeos, Boleta, Nunca, Nina, Speto, Tikka, and T.Freak. Their artistic success and involvement in commercial design ventures has highlighted divisions within the Brazilian graffiti community between adherents of the cruder transgressive form of pichação and the more conventionally artistic values of the practitioners of grafite.

 

Graffiti in the Middle East has emerged slowly, with taggers operating in Egypt, Lebanon, the Gulf countries like Bahrain or the United Arab Emirates, Israel, and in Iran. The major Iranian newspaper Hamshahri has published two articles on illegal writers in the city with photographic coverage of Iranian artist A1one's works on Tehran walls. Tokyo-based design magazine, PingMag, has interviewed A1one and featured photographs of his work. The Israeli West Bank barrier has become a site for graffiti, reminiscent in this sense of the Berlin Wall. Many writers in Israel come from other places around the globe, such as JUIF from Los Angeles and DEVIONE from London. The religious reference "נ נח נחמ נחמן מאומן" ("Na Nach Nachma Nachman Meuman") is commonly seen in graffiti around Israel.

 

Graffiti has played an important role within the street art scene in the Middle East and North Africa (MENA), especially following the events of the Arab Spring of 2011 or the Sudanese Revolution of 2018/19. Graffiti is a tool of expression in the context of conflict in the region, allowing people to raise their voices politically and socially. Famous street artist Banksy has had an important effect in the street art scene in the MENA area, especially in Palestine where some of his works are located in the West Bank barrier and Bethlehem.

 

There are also a large number of graffiti influences in Southeast Asian countries that mostly come from modern Western culture, such as Malaysia, where graffiti have long been a common sight in Malaysia's capital city, Kuala Lumpur. Since 2010, the country has begun hosting a street festival to encourage all generations and people from all walks of life to enjoy and encourage Malaysian street culture.

 

The modern-day graffitists can be found with an arsenal of various materials that allow for a successful production of a piece. This includes such techniques as scribing. However, spray paint in aerosol cans is the number one medium for graffiti. From this commodity comes different styles, technique, and abilities to form master works of graffiti. Spray paint can be found at hardware and art stores and comes in virtually every color.

 

Stencil graffiti is created by cutting out shapes and designs in a stiff material (such as cardboard or subject folders) to form an overall design or image. The stencil is then placed on the "canvas" gently and with quick, easy strokes of the aerosol can, the image begins to appear on the intended surface.

 

Some of the first examples were created in 1981 by artists Blek le Rat in Paris, in 1982 by Jef Aerosol in Tours (France); by 1985 stencils had appeared in other cities including New York City, Sydney, and Melbourne, where they were documented by American photographer Charles Gatewood and Australian photographer Rennie Ellis

 

Tagging is the practice of someone spray-painting "their name, initial or logo onto a public surface" in a handstyle unique to the writer. Tags were the first form of modern graffiti.

 

Modern graffiti art often incorporates additional arts and technologies. For example, Graffiti Research Lab has encouraged the use of projected images and magnetic light-emitting diodes (throwies) as new media for graffitists. yarnbombing is another recent form of graffiti. Yarnbombers occasionally target previous graffiti for modification, which had been avoided among the majority of graffitists.

 

Theories on the use of graffiti by avant-garde artists have a history dating back at least to the Asger Jorn, who in 1962 painting declared in a graffiti-like gesture "the avant-garde won't give up"

 

Many contemporary analysts and even art critics have begun to see artistic value in some graffiti and to recognize it as a form of public art. According to many art researchers, particularly in the Netherlands and in Los Angeles, that type of public art is, in fact an effective tool of social emancipation or, in the achievement of a political goal

 

In times of conflict, such murals have offered a means of communication and self-expression for members of these socially, ethnically, or racially divided communities, and have proven themselves as effective tools in establishing dialog and thus, of addressing cleavages in the long run. The Berlin Wall was also extensively covered by graffiti reflecting social pressures relating to the oppressive Soviet rule over the GDR.

 

Many artists involved with graffiti are also concerned with the similar activity of stenciling. Essentially, this entails stenciling a print of one or more colors using spray-paint. Recognized while exhibiting and publishing several of her coloured stencils and paintings portraying the Sri Lankan Civil War and urban Britain in the early 2000s, graffitists Mathangi Arulpragasam, aka M.I.A., has also become known for integrating her imagery of political violence into her music videos for singles "Galang" and "Bucky Done Gun", and her cover art. Stickers of her artwork also often appear around places such as London in Brick Lane, stuck to lamp posts and street signs, she having become a muse for other graffitists and painters worldwide in cities including Seville.

 

Graffitist believes that art should be on display for everyone in the public eye or in plain sight, not hidden away in a museum or a gallery. Art should color the streets, not the inside of some building. Graffiti is a form of art that cannot be owned or bought. It does not last forever, it is temporary, yet one of a kind. It is a form of self promotion for the artist that can be displayed anywhere form sidewalks, roofs, subways, building wall, etc. Art to them is for everyone and should be showed to everyone for free.

 

Graffiti is a way of communicating and a way of expressing what one feels in the moment. It is both art and a functional thing that can warn people of something or inform people of something. However, graffiti is to some people a form of art, but to some a form of vandalism. And many graffitists choose to protect their identities and remain anonymous or to hinder prosecution.

 

With the commercialization of graffiti (and hip hop in general), in most cases, even with legally painted "graffiti" art, graffitists tend to choose anonymity. This may be attributed to various reasons or a combination of reasons. Graffiti still remains the one of four hip hop elements that is not considered "performance art" despite the image of the "singing and dancing star" that sells hip hop culture to the mainstream. Being a graphic form of art, it might also be said that many graffitists still fall in the category of the introverted archetypal artist.

 

Banksy is one of the world's most notorious and popular street artists who continues to remain faceless in today's society. He is known for his political, anti-war stencil art mainly in Bristol, England, but his work may be seen anywhere from Los Angeles to Palestine. In the UK, Banksy is the most recognizable icon for this cultural artistic movement and keeps his identity a secret to avoid arrest. Much of Banksy's artwork may be seen around the streets of London and surrounding suburbs, although he has painted pictures throughout the world, including the Middle East, where he has painted on Israel's controversial West Bank barrier with satirical images of life on the other side. One depicted a hole in the wall with an idyllic beach, while another shows a mountain landscape on the other side. A number of exhibitions also have taken place since 2000, and recent works of art have fetched vast sums of money. Banksy's art is a prime example of the classic controversy: vandalism vs. art. Art supporters endorse his work distributed in urban areas as pieces of art and some councils, such as Bristol and Islington, have officially protected them, while officials of other areas have deemed his work to be vandalism and have removed it.

 

Pixnit is another artist who chooses to keep her identity from the general public. Her work focuses on beauty and design aspects of graffiti as opposed to Banksy's anti-government shock value. Her paintings are often of flower designs above shops and stores in her local urban area of Cambridge, Massachusetts. Some store owners endorse her work and encourage others to do similar work as well. "One of the pieces was left up above Steve's Kitchen, because it looks pretty awesome"- Erin Scott, the manager of New England Comics in Allston, Massachusetts.

 

Graffiti artists may become offended if photographs of their art are published in a commercial context without their permission. In March 2020, the Finnish graffiti artist Psyke expressed his displeasure at the newspaper Ilta-Sanomat publishing a photograph of a Peugeot 208 in an article about new cars, with his graffiti prominently shown on the background. The artist claims he does not want his art being used in commercial context, not even if he were to receive compensation.

 

Territorial graffiti marks urban neighborhoods with tags and logos to differentiate certain groups from others. These images are meant to show outsiders a stern look at whose turf is whose. The subject matter of gang-related graffiti consists of cryptic symbols and initials strictly fashioned with unique calligraphies. Gang members use graffiti to designate membership throughout the gang, to differentiate rivals and associates and, most commonly, to mark borders which are both territorial and ideological.

 

Graffiti has been used as a means of advertising both legally and illegally. Bronx-based TATS CRU has made a name for themselves doing legal advertising campaigns for companies such as Coca-Cola, McDonald's, Toyota, and MTV. In the UK, Covent Garden's Boxfresh used stencil images of a Zapatista revolutionary in the hopes that cross referencing would promote their store.

 

Smirnoff hired artists to use reverse graffiti (the use of high pressure hoses to clean dirty surfaces to leave a clean image in the surrounding dirt) to increase awareness of their product.

 

Graffiti often has a reputation as part of a subculture that rebels against authority, although the considerations of the practitioners often diverge and can relate to a wide range of attitudes. It can express a political practice and can form just one tool in an array of resistance techniques. One early example includes the anarcho-punk band Crass, who conducted a campaign of stenciling anti-war, anarchist, feminist, and anti-consumerist messages throughout the London Underground system during the late 1970s and early 1980s. In Amsterdam graffiti was a major part of the punk scene. The city was covered with names such as "De Zoot", "Vendex", and "Dr Rat". To document the graffiti a punk magazine was started that was called Gallery Anus. So when hip hop came to Europe in the early 1980s there was already a vibrant graffiti culture.

 

The student protests and general strike of May 1968 saw Paris bedecked in revolutionary, anarchistic, and situationist slogans such as L'ennui est contre-révolutionnaire ("Boredom is counterrevolutionary") and Lisez moins, vivez plus ("Read less, live more"). While not exhaustive, the graffiti gave a sense of the 'millenarian' and rebellious spirit, tempered with a good deal of verbal wit, of the strikers.

 

I think graffiti writing is a way of defining what our generation is like. Excuse the French, we're not a bunch of p---- artists. Traditionally artists have been considered soft and mellow people, a little bit kooky. Maybe we're a little bit more like pirates that way. We defend our territory, whatever space we steal to paint on, we defend it fiercely.

 

The developments of graffiti art which took place in art galleries and colleges as well as "on the street" or "underground", contributed to the resurfacing in the 1990s of a far more overtly politicized art form in the subvertising, culture jamming, or tactical media movements. These movements or styles tend to classify the artists by their relationship to their social and economic contexts, since, in most countries, graffiti art remains illegal in many forms except when using non-permanent paint. Since the 1990s with the rise of Street Art, a growing number of artists are switching to non-permanent paints and non-traditional forms of painting.

 

Contemporary practitioners, accordingly, have varied and often conflicting practices. Some individuals, such as Alexander Brener, have used the medium to politicize other art forms, and have used the prison sentences enforced on them as a means of further protest. The practices of anonymous groups and individuals also vary widely, and practitioners by no means always agree with each other's practices. For example, the anti-capitalist art group the Space Hijackers did a piece in 2004 about the contradiction between the capitalistic elements of Banksy and his use of political imagery.

 

Berlin human rights activist Irmela Mensah-Schramm has received global media attention and numerous awards for her 35-year campaign of effacing neo-Nazi and other right-wing extremist graffiti throughout Germany, often by altering hate speech in humorous ways.

 

In Serbian capital, Belgrade, the graffiti depicting a uniformed former general of Serb army and war criminal, convicted at ICTY for war crimes and crimes against humanity, including genocide and ethnic cleansing in Bosnian War, Ratko Mladić, appeared in a military salute alongside the words "General, thank to your mother". Aleks Eror, Berlin-based journalist, explains how "veneration of historical and wartime figures" through street art is not a new phenomenon in the region of former Yugoslavia, and that "in most cases is firmly focused on the future, rather than retelling the past". Eror is not only analyst pointing to danger of such an expressions for the region's future. In a long expose on the subject of Bosnian genocide denial, at Balkan Diskurs magazine and multimedia platform website, Kristina Gadže and Taylor Whitsell referred to these experiences as a young generations' "cultural heritage", in which young are being exposed to celebration and affirmation of war-criminals as part of their "formal education" and "inheritance".

 

There are numerous examples of genocide denial through celebration and affirmation of war criminals throughout the region of Western Balkans inhabited by Serbs using this form of artistic expression. Several more of these graffiti are found in Serbian capital, and many more across Serbia and Bosnian and Herzegovinian administrative entity, Republika Srpska, which is the ethnic Serbian majority enclave. Critics point that Serbia as a state, is willing to defend the mural of convicted war criminal, and have no intention to react on cases of genocide denial, noting that Interior Minister of Serbia, Aleksandar Vulin decision to ban any gathering with an intent to remove the mural, with the deployment of riot police, sends the message of "tacit endorsement". Consequently, on 9 November 2021, Serbian heavy police in riot gear, with graffiti creators and their supporters, blocked the access to the mural to prevent human rights groups and other activists to paint over it and mark the International Day Against Fascism and Antisemitism in that way, and even arrested two civic activist for throwing eggs at the graffiti.

 

Graffiti may also be used as an offensive expression. This form of graffiti may be difficult to identify, as it is mostly removed by the local authority (as councils which have adopted strategies of criminalization also strive to remove graffiti quickly). Therefore, existing racist graffiti is mostly more subtle and at first sight, not easily recognized as "racist". It can then be understood only if one knows the relevant "local code" (social, historical, political, temporal, and spatial), which is seen as heteroglot and thus a 'unique set of conditions' in a cultural context.

 

A spatial code for example, could be that there is a certain youth group in an area that is engaging heavily in racist activities. So, for residents (knowing the local code), a graffiti containing only the name or abbreviation of this gang already is a racist expression, reminding the offended people of their gang activities. Also a graffiti is in most cases, the herald of more serious criminal activity to come. A person who does not know these gang activities would not be able to recognize the meaning of this graffiti. Also if a tag of this youth group or gang is placed on a building occupied by asylum seekers, for example, its racist character is even stronger.

By making the graffiti less explicit (as adapted to social and legal constraints), these drawings are less likely to be removed, but do not lose their threatening and offensive character.

 

Elsewhere, activists in Russia have used painted caricatures of local officials with their mouths as potholes, to show their anger about the poor state of the roads. In Manchester, England, a graffitists painted obscene images around potholes, which often resulted in them being repaired within 48 hours.

 

In the early 1980s, the first art galleries to show graffitists to the public were Fashion Moda in the Bronx, Now Gallery and Fun Gallery, both in the East Village, Manhattan.

 

A 2006 exhibition at the Brooklyn Museum displayed graffiti as an art form that began in New York's outer boroughs and reached great heights in the early 1980s with the work of Crash, Lee, Daze, Keith Haring, and Jean-Michel Basquiat. It displayed 22 works by New York graffitists, including Crash, Daze, and Lady Pink. In an article about the exhibition in the magazine Time Out, curator Charlotta Kotik said that she hoped the exhibition would cause viewers to rethink their assumptions about graffiti.

 

From the 1970s onwards, Burhan Doğançay photographed urban walls all over the world; these he then archived for use as sources of inspiration for his painterly works. The project today known as "Walls of the World" grew beyond even his own expectations and comprises about 30,000 individual images. It spans a period of 40 years across five continents and 114 countries. In 1982, photographs from this project comprised a one-man exhibition titled "Les murs murmurent, ils crient, ils chantent ..." (The walls whisper, shout and sing ...) at the Centre Georges Pompidou in Paris.

 

In Australia, art historians have judged some local graffiti of sufficient creative merit to rank them firmly within the arts. Oxford University Press's art history text Australian Painting 1788–2000 concludes with a long discussion of graffiti's key place within contemporary visual culture, including the work of several Australian practitioners.

 

Between March and April 2009, 150 artists exhibited 300 pieces of graffiti at the Grand Palais in Paris.

 

Spray paint has many negative environmental effects. The paint contains toxic chemicals, and the can uses volatile hydrocarbon gases to spray the paint onto a surface.

 

Volatile organic compound (VOC) leads to ground level ozone formation and most of graffiti related emissions are VOCs. A 2010 paper estimates 4,862 tons of VOCs were released in the United States in activities related to graffiti.

  

In China, Mao Zedong in the 1920s used revolutionary slogans and paintings in public places to galvanize the country's communist movement.

 

Based on different national conditions, many people believe that China's attitude towards Graffiti is fierce, but in fact, according to Lance Crayon in his film Spray Paint Beijing: Graffiti in the Capital of China, Graffiti is generally accepted in Beijing, with artists not seeing much police interference. Political and religiously sensitive graffiti, however, is not allowed.

 

In Hong Kong, Tsang Tsou Choi was known as the King of Kowloon for his calligraphy graffiti over many years, in which he claimed ownership of the area. Now some of his work is preserved officially.

 

In Taiwan, the government has made some concessions to graffitists. Since 2005 they have been allowed to freely display their work along some sections of riverside retaining walls in designated "Graffiti Zones". From 2007, Taipei's department of cultural affairs also began permitting graffiti on fences around major public construction sites. Department head Yong-ping Lee (李永萍) stated, "We will promote graffiti starting with the public sector, and then later in the private sector too. It's our goal to beautify the city with graffiti". The government later helped organize a graffiti contest in Ximending, a popular shopping district. graffitists caught working outside of these designated areas still face fines up to NT$6,000 under a department of environmental protection regulation. However, Taiwanese authorities can be relatively lenient, one veteran police officer stating anonymously, "Unless someone complains about vandalism, we won't get involved. We don't go after it proactively."

 

In 1993, after several expensive cars in Singapore were spray-painted, the police arrested a student from the Singapore American School, Michael P. Fay, questioned him, and subsequently charged him with vandalism. Fay pleaded guilty to vandalizing a car in addition to stealing road signs. Under the 1966 Vandalism Act of Singapore, originally passed to curb the spread of communist graffiti in Singapore, the court sentenced him to four months in jail, a fine of S$3,500 (US$2,233), and a caning. The New York Times ran several editorials and op-eds that condemned the punishment and called on the American public to flood the Singaporean embassy with protests. Although the Singapore government received many calls for clemency, Fay's caning took place in Singapore on 5 May 1994. Fay had originally received a sentence of six strokes of the cane, but the presiding president of Singapore, Ong Teng Cheong, agreed to reduce his caning sentence to four lashes.

 

In South Korea, Park Jung-soo was fined two million South Korean won by the Seoul Central District Court for spray-painting a rat on posters of the G-20 Summit a few days before the event in November 2011. Park alleged that the initial in "G-20" sounds like the Korean word for "rat", but Korean government prosecutors alleged that Park was making a derogatory statement about the president of South Korea, Lee Myung-bak, the host of the summit. This case led to public outcry and debate on the lack of government tolerance and in support of freedom of expression. The court ruled that the painting, "an ominous creature like a rat" amounts to "an organized criminal activity" and upheld the fine while denying the prosecution's request for imprisonment for Park.

 

In Europe, community cleaning squads have responded to graffiti, in some cases with reckless abandon, as when in 1992 in France a local Scout group, attempting to remove modern graffiti, damaged two prehistoric paintings of bison in the Cave of Mayrière supérieure near the French village of Bruniquel in Tarn-et-Garonne, earning them the 1992 Ig Nobel Prize in archeology.

 

In September 2006, the European Parliament directed the European Commission to create urban environment policies to prevent and eliminate dirt, litter, graffiti, animal excrement, and excessive noise from domestic and vehicular music systems in European cities, along with other concerns over urban life.

 

In Budapest, Hungary, both a city-backed movement called I Love Budapest and a special police division tackle the problem, including the provision of approved areas.

 

The Anti-social Behaviour Act 2003 became Britain's latest anti-graffiti legislation. In August 2004, the Keep Britain Tidy campaign issued a press release calling for zero tolerance of graffiti and supporting proposals such as issuing "on the spot" fines to graffiti offenders and banning the sale of aerosol paint to anyone under the age of 16. The press release also condemned the use of graffiti images in advertising and in music videos, arguing that real-world experience of graffiti stood far removed from its often-portrayed "cool" or "edgy'" image.

 

To back the campaign, 123 Members of Parliament (MPs) (including then Prime Minister Tony Blair), signed a charter which stated: "Graffiti is not art, it's crime. On behalf of my constituents, I will do all I can to rid our community of this problem."

 

In the UK, city councils have the power to take action against the owner of any property that has been defaced under the Anti-social Behaviour Act 2003 (as amended by the Clean Neighbourhoods and Environment Act 2005) or, in certain cases, the Highways Act. This is often used against owners of property that are complacent in allowing protective boards to be defaced so long as the property is not damaged.

 

In July 2008, a conspiracy charge was used to convict graffitists for the first time. After a three-month police surveillance operation, nine members of the DPM crew were convicted of conspiracy to commit criminal damage costing at least £1 million. Five of them received prison sentences, ranging from eighteen months to two years. The unprecedented scale of the investigation and the severity of the sentences rekindled public debate over whether graffiti should be considered art or crime.

 

Some councils, like those of Stroud and Loerrach, provide approved areas in the town where graffitists can showcase their talents, including underpasses, car parks, and walls that might otherwise prove a target for the "spray and run".

 

Graffiti Tunnel, University of Sydney at Camperdown (2009)

In an effort to reduce vandalism, many cities in Australia have designated walls or areas exclusively for use by graffitists. One early example is the "Graffiti Tunnel" located at the Camperdown Campus of the University of Sydney, which is available for use by any student at the university to tag, advertise, poster, and paint. Advocates of this idea suggest that this discourages petty vandalism yet encourages artists to take their time and produce great art, without worry of being caught or arrested for vandalism or trespassing.[108][109] Others disagree with this approach, arguing that the presence of legal graffiti walls does not demonstrably reduce illegal graffiti elsewhere. Some local government areas throughout Australia have introduced "anti-graffiti squads", who clean graffiti in the area, and such crews as BCW (Buffers Can't Win) have taken steps to keep one step ahead of local graffiti cleaners.

 

Many state governments have banned the sale or possession of spray paint to those under the age of 18 (age of majority). However, a number of local governments in Victoria have taken steps to recognize the cultural heritage value of some examples of graffiti, such as prominent political graffiti. Tough new graffiti laws have been introduced in Australia with fines of up to A$26,000 and two years in prison.

 

Melbourne is a prominent graffiti city of Australia with many of its lanes being tourist attractions, such as Hosier Lane in particular, a popular destination for photographers, wedding photography, and backdrops for corporate print advertising. The Lonely Planet travel guide cites Melbourne's street as a major attraction. All forms of graffiti, including sticker art, poster, stencil art, and wheatpasting, can be found in many places throughout the city. Prominent street art precincts include; Fitzroy, Collingwood, Northcote, Brunswick, St. Kilda, and the CBD, where stencil and sticker art is prominent. As one moves farther away from the city, mostly along suburban train lines, graffiti tags become more prominent. Many international artists such as Banksy have left their work in Melbourne and in early 2008 a perspex screen was installed to prevent a Banksy stencil art piece from being destroyed, it has survived since 2003 through the respect of local street artists avoiding posting over it, although it has recently had paint tipped over it.

 

In February 2008 Helen Clark, the New Zealand prime minister at that time, announced a government crackdown on tagging and other forms of graffiti vandalism, describing it as a destructive crime representing an invasion of public and private property. New legislation subsequently adopted included a ban on the sale of paint spray cans to persons under 18 and increases in maximum fines for the offence from NZ$200 to NZ$2,000 or extended community service. The issue of tagging become a widely debated one following an incident in Auckland during January 2008 in which a middle-aged property owner stabbed one of two teenage taggers to death and was subsequently convicted of manslaughter.

 

Graffiti databases have increased in the past decade because they allow vandalism incidents to be fully documented against an offender and help the police and prosecution charge and prosecute offenders for multiple counts of vandalism. They also provide law enforcement the ability to rapidly search for an offender's moniker or tag in a simple, effective, and comprehensive way. These systems can also help track costs of damage to a city to help allocate an anti-graffiti budget. The theory is that when an offender is caught putting up graffiti, they are not just charged with one count of vandalism; they can be held accountable for all the other damage for which they are responsible. This has two main benefits for law enforcement. One, it sends a signal to the offenders that their vandalism is being tracked. Two, a city can seek restitution from offenders for all the damage that they have committed, not merely a single incident. These systems give law enforcement personnel real-time, street-level intelligence that allows them not only to focus on the worst graffiti offenders and their damage, but also to monitor potential gang violence that is associated with the graffiti.

 

Many restrictions of civil gang injunctions are designed to help address and protect the physical environment and limit graffiti. Provisions of gang injunctions include things such as restricting the possession of marker pens, spray paint cans, or other sharp objects capable of defacing private or public property; spray painting, or marking with marker pens, scratching, applying stickers, or otherwise applying graffiti on any public or private property, including, but not limited to the street, alley, residences, block walls, and fences, vehicles or any other real or personal property. Some injunctions contain wording that restricts damaging or vandalizing both public and private property, including but not limited to any vehicle, light fixture, door, fence, wall, gate, window, building, street sign, utility box, telephone box, tree, or power pole.

 

To help address many of these issues, many local jurisdictions have set up graffiti abatement hotlines, where citizens can call in and report vandalism and have it removed. San Diego's hotline receives more than 5,000 calls per year, in addition to reporting the graffiti, callers can learn more about prevention. One of the complaints about these hotlines is the response time; there is often a lag time between a property owner calling about the graffiti and its removal. The length of delay should be a consideration for any jurisdiction planning on operating a hotline. Local jurisdictions must convince the callers that their complaint of vandalism will be a priority and cleaned off right away. If the jurisdiction does not have the resources to respond to complaints in a timely manner, the value of the hotline diminishes. Crews must be able to respond to individual service calls made to the graffiti hotline as well as focus on cleanup near schools, parks, and major intersections and transit routes to have the biggest impact. Some cities offer a reward for information leading to the arrest and prosecution of suspects for tagging or graffiti related vandalism. The amount of the reward is based on the information provided, and the action taken.

 

When police obtain search warrants in connection with a vandalism investigation, they are often seeking judicial approval to look for items such as cans of spray paint and nozzles from other kinds of aerosol sprays; etching tools, or other sharp or pointed objects, which could be used to etch or scratch glass and other hard surfaces; permanent marking pens, markers, or paint sticks; evidence of membership or affiliation with any gang or tagging crew; paraphernalia including any reference to "(tagger's name)"; any drawings, writing, objects, or graffiti depicting taggers' names, initials, logos, monikers, slogans, or any mention of tagging crew membership; and any newspaper clippings relating to graffiti crime.

Photographed by: azem

  

The word Allah

 

The Semitic language which is spoken in the celestial spheres, is the language in which the angels and God address each other. Adam Safi-Allah spoke the same language in paradise. Adam and eve then came into the world and settled in Arabia. Their children also spoke the same language. Then as a result of the descendants of Adam spreading in the world, this language passed from Arabic, Persian, Latin and into English and God was then known by different names in the different languages. As Adam lived in Arabia, there are many words of the Semitic language which are still found in the Arabic language. God addressed the Prophets, Adam as Adam Safi-Allah, Noah as Nuh Nabi-Allah, Abraham as Ibraheem Khalil-Allah, Moses as Musa Kalim-Allah, Jesus as I’sa Ruh-Allah and Mohammed Rasul-Allah. All these titles, in the Semitic language were written on the Tablet before the arrival of the Prophets. This is why the Prophet Mohammed said: “I was a Prophet even before I came in to this world.”

Many people believe that the word Allah is a name given by Muslims, this is not so.

The Prophet Mohammed’s fathers name was Abd-Allah, at a time when Islam did not exist. Prior to the advent of Islam the Name Allah was announced with the title of every Prophet. When the souls were created, the first Name on their tongue was Allah and when the soul entered the body of Adam, it said, Ya-Allah, and only then it entered the body. Many religions understand this enigma and chant the Name Allah and many others because of doubt are deprived of the Name.

Any name which is used to point towards God is worthy of respect.

 

In other words, which points towards God. The mystical effect of the Name of God has been diversified due to the different names. Every letter of the alphabet has a separate numeric value. This is also a celestial knowledge. All the numeric values are connected with all of the human race. Occasionally the numeric values do not agree with the astronomical calculations as a result of which people become afflicted. Many people go to astrologers and experts of this knowledge and have charts prepared based on the stars. They name their children on this basis.

 

Just as the letters (a, b, j, d,) (1, 2, 3, 4) when added have the numerical value of ten. Similarly every name has a separate numeric value. As God has been given so many different names, this has caused a conflict between the numeric value of the different names. If all the people called upon God by the same name, then despite the fact that they would all have separate religions, they would all be united inwardly. They too, like Nanak Sahib and Baba Farid would then say:

 

“All the souls have been created by the light of God, even though their environment and communities are separate.”

 

The angels that are assigned tasks in the world are also taught the languages of the people of the world.

 

It is important for the people of every Prophet that they recite, chant and affirm the Title of their Prophet which was granted by God to the Prophet at his time, for the recognition, spiritual grace and purification of his people. The recital and affirmation should be in the same method and in the language of their Prophet.

 

The entry of any individual into any religion is subject to the condition that the individual accepts and affirms the Title of the Prophet of that religion. Just as the affirmation and the verbal vows are a condition of any marriage.

 

Entry into the heavens has been made subject to the acceptance and affirmation of the Titles of the Prophets. In the western world many Muslims and Christians have no knowledge of their Prophet’s Title furthermore many do not even know their Prophets original name (in the original language of the Prophet.)

 

People who only verbalize the affirmation of their Prophet’s Title rely upon their good deeds. Those that reject and do not affirm their Prophet’s Title are refused entry to paradise. Those individuals in whose hearts the affirmation of their Prophet’s Title has descended (entered) they will enter paradise without any accountability.

 

The revealed celestial Scriptures, whichever language they are in so long as they are in the original form, are a means to finding God. Where the texts and the translations that have been adulterated, just as adulterated flour is harmful for the stomach, the adulterated books have become harmful and people of the same religion and the same of Prophet have divided into so many sects.

 

To be sure of the straight and guided path it is better that you are guided by the Light (of God) also.

  

The method of producing light.

 

In prehistoric times stones would be rubbed together to make fire. Whereas a spark can also be produced by rubbing two metals together. In a similar way electricity is made from water. Similarly by the friction of the blood inside the human body, in other words electric energy is produced by the vibrating heartbeat. In every human being there is present, approximately one and a half volts of electricity due to which the body is energetic. As the heartbeat slows in old age, this reduces the electricity in the body and this in turn also causes a reduction of the energy level in the body.

 

Firstly, the heartbeat has to be made vibrant and pronounced. Some do this by dancing, some by sports and exercise and some people try to do this by meditating and chanting the Name of God Allah.

 

When the heartbeat becomes vibrant and pronounced then by chanting the Name Allah try to synchronize it with every heartbeat. Alternatively try to synchronize Allah with one heartbeat and Hu with the other. Some time by placing your hand on the heart and when you feel your heartbeat, again try to synchronize the Name Allah by chanting it with the rythm of the heartbeat and imagine that the Name Allah is entering the heart.

 

The chanting of Allah Hu is better and more effective but if anyone has an objection, or a fear of chanting Hu, then instead of being deprived one should solely use the Name Allah, repetitively in the chanting. It is beneficial for people who chant and practice this discipline and who read mantras to physically remain as clean as possible as the:

 

“disrespectful are unfulfilled and the respectful are fulfilled.”

 

The first method for producing light.

Write Allah on a paper in black ink, and do this exercise for as long as you wish on a daily basis. Soon thereafter, the Word Allah will be transported from the paper and hover over the eyes. Then with one-pointed concentration, attempt to transport the word from the eyes to the heart.

 

The second method for producing light.

Write Allah on a zero watt bulb, in yellow. Whilst you are awake or just before sleep, concentrate and try to absorb it into the eyes. When it appears on the eyes then try to transport it to the heart.

 

The third method for producing light.

This method is for those people who have perfect spiritual guides and teachers and who due to their spiritual connection are spiritually assisted by them.

 

Sit alone and imagine that your index finger is a pen. Using your finger and with your concentration, attempt to write Allah on your heart. Call upon your spiritual teacher (spiritually), so that he too may, hold your finger, and write Allah on your heart. Continue to do this exercise everyday, until you see Allah written on your heart.

 

By the first and second method, the Name Allah becomes inscribed on the heart, just as it was written and seen by you but when it becomes synchronized with the heartbeat, then it slowly starts to shine. In the synchronized method, the assistance of the spiritual teacher is provided and for this reason it is seen shining and well written on the heart right from the beginning.

 

Many Prophets and Saints have come into the world, and just for the sake of testing this, if you feel it appropriate, concentrate or call upon all of them when you are practicing your meditation.

 

Whilst concentrating on any Prophet or Saint, during your meditating practice, if the rhythm of your heartbeat increases, in its vibration or you feel an improvement then this means that your destiny (spiritual fruits) lies with that Prophet or Saint.

 

Thereafter it is beneficial to concentrate on that same person whenever you practice your meditation as spiritual grace is transferred in this way, because every Saint is spiritually connected to a Prophet, even if that Prophet is not physically living.

 

The spiritual fruit (grace) of every illuminated person is in the hands of one Saint or another. It is essential that the Saint is living. Sometimes a very fortunate person is gifted with celestial spiritual grace by a perfect Saint who is not living, but this is very rare. However Saints not living in our human realm can provide worldly spiritual grace and assistance to people from their tombs. This is known as Owaisi spiritual grace.

 

The recipients of such spiritual grace often get entangled in their spiritual insights, visions and dreams because the spiritual guide providing the assistance is in the spiritual realm and so too is Satan and the recognition of the two becomes difficult.

 

Along with the spiritual grace it is important to have knowledge, for which a living Saint is more appropriate. If a person (Saint) possesses spiritual grace but is without knowledge, that person is known as a Majzoob (Godly but abstracted due to the complete absorption into the Essence of God and who is not in full control of his faculties).

 

A person (Saint) having spiritual grace and knowledge is known as a Mehboob (literally, loved one). Such people (Saints) as a result of their knowledge provide worldly spiritual assistance as well as spiritual grace and benefit. Whereas the Majzoobs are known to provide worldly spiritual assistance to people by their unusual but accepted practices of shouting obscenities and poking people with their wooden sticks.

 

If any (Prophet or Saint) appears but does not help or assist you then put Gohar Shahi to the test.

 

You may belong to any religion, there is no condition in this respect as long as the individual is not eternally ill-fated.

  

Many people have received the spiritual grace of Qalb meditation from the Moon. This is obtained when there is a full Moon from the East. Look at it with concentration and when you see the image of Gohar Shahi on it say Allah, Allah, Allah three times and you will be blessed with this spiritual grace. Thereafter without any fear or reservation practice the meditation as described.

 

Believe (the fact) that the image on the Moon has spoken to many people in many different languages. You can try looking and speaking to it also.

 

About Muraqba

(transcendental meditation)

 

(Literally. journey. Meditation in which the soul leaves the human body)

 

Many people without having acquired the illumination of the spiritual entities (‘Lata’if/Shaktian’) and without attaining spiritual strength and prowess try to engage in this meditation. They either fail to reach the meditative state or become the subject of Satanic interference. This type of meditation is for illuminated people, whose spiritual entity of the self has been purified and the Qalb has been cleansed. The practice or attempt at this type of meditation is foolish no matter what type of physical worship is used to achieve this. To collect and gather the strength of the soul and the spiritual entities and then to travel to a place is what is known as meditation.

 

Sainthood is the one fourtieth part of Prophecy.

 

Every dream, meditative journey, inspiration or revelation of a Prophet is accurate and authentic and does not need verification. Only fourty out of a hundred dreams, meditative journeys, inspirations and revelations of Saints are accurate the remaining sixty percent are inaccurate.

 

God cannot be understood without knowledge

 

The lowest type of meditative journey is started only after the illumination and awakening of the spiritual entity of the Qalb. This is impossible without first achieving the meditation of the Qalb (meditation with the vibrating heartbeat synchronized with the Name Allah). It takes one jerk or shake to bring the person out of this meditative state and back to consciousness. The faculty of the augury (foretelling the future by reading verses or looking into designated books) is also connected to the Qalb.

 

The next stage is the meditative journey of the soul. It takes three jerks or shakes to return a person back to normality from this meditative state.

 

The third stage of the meditative journey is done by the spiritual entity, Anna and the soul together. The soul travels along with the spiritual entity Anna, to the realm of souls just as the Archangel Gabriel accompanied the Prophet Mohammed to the realm of souls.

 

People who are in this meditative state are sometimes even taken to be buried in their graves and they are unaware of this happening to them. Such a meditative state and journey was taken by the “Companions of the Cave” as a result of which they remained asleep in the cave for more than three hundred years.

 

When this meditative state and journey was undertaken by the Sheikh, Abdul-Qadir al-Jilani, in the jungle, the occupants of the jungle would regard the Sheikh as dead and would take him to a grave for burial but the meditative journey would break just before the burial (the Sheikh would return to consciousness).

 

How to recognize a special inspiration and revelation from God.

 

When a person has awakened and illuminated the spiritual entities in the chest and is worthy of receiving the rays of the Grace of God, then at that point God communicates with that person. God is All-Powerful and can do as he pleases and thus communicate with the human being in any way fit, but he has made a special method for his recognition so that his friends can be saved from the deception of Satan.

 

Firstly, text in the Semitic language appears on the seekers heart and its translation is seen in the language of the seekers mother-tongue. The text is white and shiny and the eyes close automatically and look at the text (internally). The text then passes the Qalb and moves towards the spiritual entity Sirri as a result of which it shines even more. Then the text moves towards the spiritual entity, Akhfa and from here it shines more and then moves onto the tongue. The voice then spontaneously starts to repeat that text.

 

If this inspiration is from Satan then an illuminated heart will dull the text and if the text is strong and prominent then the spiritual entities Sirri or Akhfa destroy that text. Further if due to the weakness of the spiritual entities the text does arrive at the tongue, then the voice will prevent it from being spoken into words.

 

This type of inspiration is for special types of Saints, whereas in respect of ordinary Saints, God sends messages to them through the angels or other spiritual entities. When the Archangel Gabriel accompanies the special and inspired text, this is known as revelation which is confined to the Prophets.

 

For more detail visit www.goharshahi.org or visit asipk.com and for videos visit HH rags

 

Source: en.wikipedia.org/wiki/Normandy

 

Normandy (French: Normandie, Norman: Normaundie, from Old French Normanz, plural of Normant, originally from the word for "northman" in several Scandinavian languages) is one of the 18 regions of France, roughly referring to the historical Duchy of Normandy.

 

Normandy is divided into five administrative departments: Calvados, Eure, Manche, Orne, and Seine-Maritime. It covers 30,627 square kilometres (11,825 sq mi), comprising roughly 5% of the territory of metropolitan France. Its population of 3.37 million accounts for around 5% of the population of France. The inhabitants of Normandy are known as Normans, and the region is the historic homeland of the Norman language.

 

The historical region of Normandy comprised the present-day region of Normandy, as well as small areas now part of the departments of Mayenne and Sarthe. The Channel Islands (French: Îles Anglo-Normandes) are also historically part of Normandy; they cover 194 km² and comprise two bailiwicks: Guernsey and Jersey, which are British Crown dependencies over which Queen Elizabeth II reigns as Duke of Normandy.

 

Normandy's name comes from the settlement of the territory by mainly Danish and Norwegian Vikings ("Northmen") from the 9th century, and confirmed by treaty in the 10th century between King Charles III of France and the Viking jarl Rollo. For a century and a half following the Norman conquest of England in 1066, Normandy and England were linked by Norman and Frankish rulers.

 

Source: en.wikipedia.org/wiki/Bayeux

 

Bayeux is a commune in the Calvados department in Normandy in northwestern France.

 

Bayeux is the home of the Bayeux Tapestry, which depicts the events leading up to the Norman conquest of England. It is also known as the first major town secured by the Allies during Operation Overlord. Charles de Gaulle made two famous speeches in this town.

 

Source: en.wikipedia.org/wiki/Normandy_landings

 

The Normandy landings were the landing operations on Tuesday, 6 June 1944 of the Allied invasion of Normandy in Operation Overlord during World War II. Codenamed Operation Neptune and often referred to as D-Day, it was the largest seaborne invasion in history. The operation began the liberation of German-occupied France (and later Europe) from Nazi control, and laid the foundations of the Allied victory on the Western Front.

 

Planning for the operation began in 1943. In the months leading up to the invasion, the Allies conducted a substantial military deception, codenamed Operation Bodyguard, to mislead the Germans as to the date and location of the main Allied landings. The weather on D-Day was far from ideal and the operation had to be delayed 24 hours; a further postponement would have meant a delay of at least two weeks as the invasion planners had requirements for the phase of the moon, the tides, and the time of day that meant only a few days each month were deemed suitable. Adolf Hitler placed German Field Marshal Erwin Rommel in command of German forces and of developing fortifications along the Atlantic Wall in anticipation of an Allied invasion.

 

The amphibious landings were preceded by extensive aerial and naval bombardment and an airborne assault—the landing of 24,000 US, British, and Canadian airborne troops shortly after midnight. Allied infantry and armoured divisions began landing on the coast of France at 06:30. The target 50-mile (80 km) stretch of the Normandy coast was divided into five sectors: Utah, Omaha, Gold, Juno and Sword. Strong winds blew the landing craft east of their intended positions, particularly at Utah and Omaha. The men landed under heavy fire from gun emplacements overlooking the beaches, and the shore was mined and covered with obstacles such as wooden stakes, metal tripods, and barbed wire, making the work of the beach-clearing teams difficult and dangerous. Casualties were heaviest at Omaha, with its high cliffs. At Gold, Juno, and Sword, several fortified towns were cleared in house-to-house fighting, and two major gun emplacements at Gold were disabled, using specialised tanks.

 

The Allies failed to achieve any of their goals on the first day. Carentan, St. Lô, and Bayeux remained in German hands, and Caen, a major objective, was not captured until 21 July. Only two of the beaches (Juno and Gold) were linked on the first day, and all five beachheads were not connected until 12 June; however, the operation gained a foothold which the Allies gradually expanded over the coming months. German casualties on D-Day have been estimated at 4,000 to 9,000 men. Allied casualties were at least 10,000, with 4,414 confirmed dead.

 

Museums, memorials, and war cemeteries in the area now host many visitors each year.

 

Source: www.bayeuxmuseum.com/en/memorial-museum-battle-of-normand...

 

The Memorial Museum of the Battle of Normandy uses 2,300m² of exhibition space to present the military operations which took place in the Battle of Normandy during the summer of 1944.

 

Opened in 1981, the museum is situated in the heart of one of the strategic sites of the Battle of Normandy – Bayeux, the first town in mainland France to be liberated on 7 June 1944. In the heart of the town’s “memorial centre”, named Liberty Alley, the museum is located close to the memorial garden for war correspondents and the British cemetery.

“The map shows how to say (or rather write) the equivalent of 'Merry Christmas' in European languages. The colouring corresponds to etymological relations between the translations of the word Christmas (i.e. not to language families and not to relations between other parts of the phrase).”

— Jakub Marian (accessed 26 December 2016).

 

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▶ “This leads to a few unexpected results. Even though Romanian and Hungarian are completely unrelated languages, the words karácsony and Crăciun come from a common root (either Proto-Slavic *korčiti or Latin creātiōnem).

 

Something similarly strange happens in Czech and Slovak. The word Vánoce resp. Vianoce is derived from German Weihnachten by retaining the 'Weih' part (which comes from an old Germanic expression meaning 'holy') and replacing nachten ('nights') by the Czech/Slovak translation, 'noce'. However, the word 'noce' itself comes from the same Proto-Indo-European root as German 'Nachten' (and English “nights”), so the Czech/Slovak and German expressions are essentially etymologically equivalent.”

  

***************

▶ Image via Jakub Marian.

— “You can use the image on another website for free, under the condition that it also contains a link to Jakub Marian.”

▶ Uploaded by Yours For Good Fermentables.com.

▶ For a larger image, type 'L' (without the quotation marks).

— Follow on Facebook: YoursForGoodFermentables.

— Follow on Instagram: @tcizauskas.

▶ Commercial use requires explicit permission, as per Creative Commons.

Best viewed on black

 

A sign language (also signed language) is a language which, instead of acoustically conveyed sound patterns, uses visually transmitted sign patterns (manual communication, body language) to convey meaning—simultaneously combining hand shapes, orientation and movement of the hands, arms or body, and facial expressions to fluidly express a speaker's thoughts.

 

Wherever communities of deaf people exist, sign languages develop. Their complex spatial grammars are markedly different from the grammars of spoken languages. Hundreds of sign languages are in use around the world and are at the cores of local deaf cultures. Some sign languages have obtained some form of legal recognition, while others have no status at all.

  

Here used at the flea market :-)

sign language by kinetics & one love

 

above photo--my reaction to school; below-- emily lee's project for art that i am absolutely in love with. <3

 

recently, have had a lot going on with school, friends, family, and relationships... but when it comes down to it, i know that God, THE God, is gonna make it all okay and it's totally gonna be fine. :)

 

so despite being overwhelmed, there's going to be an end to this!

 

whilst i'm still procrastinating (major factor in my misery HAHA)...

 

tagged by farisia, miki, and hansika!

ten facts about brendaleeeeeeeeeee!

 

one. i refuse to wear matching socks; why wear the SAME colour when you can just add another?

 

two. my standard outfit up till maybe ninth grade was tshirt, jeans, sneakers... hair tied up... and a hoodie. as seen in this photo, my fashion sense has not improved by much (though silly bandz do make it more exciting as well as the super bright green scarf i like to use as a substitute pillow in class!

 

three. in fifth grade, i got recess detention almost every day for 'excessive talking'. consider my lesson not learned.

 

four. my dad is perhaps one of my best friends in the whole wide world--not sure what i'll do without him in college.

 

five. speaking of college--my criteria were as follows: do they have what i want to study? do they have good food? christian fellowship? quidditch? location? size? can i even make it in?

 

six. food--i love fruit. and ice cream. and SANDWICHES! everything tastes better as a sandwich. and my food consumption level is that of a teenage boy (depending on who i'm with) and i would love to join a burping contest with you, thanks for asking!

 

seven. i exercise so i can eat more. exercise may be in the form of running, lifting weights (i like fitnessy stuff) ab workouts, pushups, tripping up the stairs and running down them screaming OW OW OW OW OW OW and various dance party study breaks... i guess soccer counts as exercise too. heh.

 

eight. if i'm angry with you, i might be going "piew piew!" in my head with my finger guns pointed right at you... but you'd never know.. ^^

 

nine. i wear my retainers everyday because i'm forever scared by braces and on that note dental hygiene is important people-floss everyday! gums matter too!

 

ten. i sing really loudly when i'm walking alone on the streets and i'm going somewhere as if my life were a musical... i figure the chinese locals will just roll with it cuz they cool

 

and that's a random assortment of facts you REALLY didn't need to know. :) sorry for the length, you're awesome possum soooo enjoy!

Hogtown Creek...

Gainesville, Florida

Exotic Mountain or Gunung Nona (In Indonesian language) or Buntu Kabobong (in Toraja Traditional Language) that has mean "The Mount Of Girl". There is a myth that this mountain was made by God curse. That happen when God know there was a king in Sulawesi that want to married his own daughter, so the king and her daughter was cursed into a mountain.

This mount is located in Enrekang district that will pass by everyone that want to visit Tana Toraja district, but many tourist always missed this great scenery because they prefer to go to Tana Toraja district at night.

 

Visitors that want to see the scenery also can take a rest in a hotel and cafe that build directly in the front of the mount, so people can enjoy that beautiful scenery while drink a cup of tea or coffe before continuing journey to Tana Toraja.

 

Taken @Mt Nona, Makassar, South Sulawesi, Indonesia.

Holy Family and St Michael, Kesgrave, Ipswich, Suffolk

 

A new entry on the Suffolk Churches site.

 

There are ages of faith which leave their traces in splendour and beauty, as acts of piety and memory. East Anglia is full of silent witnesses to tides which have ebbed and flowed. Receding, they leave us in their wake great works from the passing ages, little Norman churches which seem to speak a language we can no longer understand but which haunts us still, the decorated beauty of the 14th Century at odds with the horrors of its pestilence and loss, the perpendicular triumph of the 15th Century church before its near-destruction in the subsequent Reformation and Commonwealth, the protestant flowering of chapels and meeting houses in almost all rural communities, and most obvious of all for us today the triumphalism of the Victorian revival.

 

But even as tides recede, piety and memory survive, most often in quiet acts and intimate details. The catholic church of Holy Family and St Michael at Kesgrave is one of their great 20th Century treasure houses.

 

At the time of the 1851 census of religious worship, Kesgrave was home to just 86 people, 79 of whom attended morning service that day, giving this parish the highest percentage attendance of any in Suffolk. However, they met half a mile up the road at the Anglican parish church of All Saints, and the current site of Holy Family was then far out in the fields. In any case, it is unlikely that any of the non-attenders was a Catholic. Today, Kesgrave is a sprawling eastern suburb of Ipswich, home to about 10,000 people. It extends along the A12 corridor all the way to Martlesham, which in turn will take you pretty much all the way to Woodbridge without seeing much more than a field or two between the houses.

 

Holy Family was erected in the 1930s, and serves as a chapel of ease within the parish of Ipswich St Mary. However, it is still in private ownership, the responsibility of the Rope family, who, along with the Jolly family into which they married, owned much of the land in Kesgrave that was later built on.

 

The growth of Kesgrave has been so rapid and so extensive in these last forty years that radical expansions were required at both this church and at All Saints, as well as to the next parish church along in the suburbs at Rushmere St Andrew. All of these projects are interesting, although externally Holy Family is less dramatic than its neighbours. It sits neatly in its trim little churchyard, red-brick and towerless, a harmonious little building if rather a curious shape, of which more in a moment. Beside it, the underpass and roundabout gives it a decidedly urban air. But this is a church of outstanding interest, as we shall see.

 

It was good to come back to Kesgrave. As a member of St Mary's parish I generally attended mass at the parish's other church, a couple of miles into town, but I had been here a number of times over the years, either to mass or just to wander around and sit for a while. These days, you generally approach the church from around the back, where you'll find a sprawling car park typical of a modern Catholic church. To the west of the church are Lucy House and Philip House, newly built for the work of the Rope family charities. Between the car park and the church there there is a tiny, formal graveyard, with crosses remembering members of the Rope and Jolly families.

 

Access to the church is usually through a west door these days, but if you are fortunate enough to enter through the original porch on the north side you will have a foretaste of what is to come, for to left and right are stunning jewel-like and detailed windows depicting St Margaret and St Theresa on one side and St Catherine and the Immaculate Conception on the other. Beside them, a plaque reveals that the church was built to the memory of Michael Rope, who was killed in the R101 airship disaster of 1930.

 

Blue Peter-watching boys like me, growing up in the 1960s and 1970s, were enthralled by airships. They were one of those exciting inventions of a not-so-distant past which were, in a real sense, futuristic, a part of the 1930s modernist project that imagined and predicted the way we live now. And they were just so big. But they were doomed, because the hydrogen which gave them their buoyancy was explosive.

 

As a child, I was fascinated by the R101 airship and its disaster, especially because of that familiar photograph of its wrecked and burnt-out fuselage sprawled in the woods on a northern French hillside. It is still a haunting photograph today. The crash of the R101 put an end to airship development in the UK for more than half a century.

 

Of course, this is all ancient history now, but in the year 2001 I had the excellent fortune to be shown around Holy Family by Michael Rope's widow, Mrs Lucy Doreen Rope, née Jolly, who was still alive, and then in her nineties. She was responsible for the building of this church as a memorial to her husband. We paused in the porch so that I could admire the windows. "Do you like them?" Mrs Rope asked me. "Of course, my sister-in-law made them."

 

Her sister-in-law, of course, was Margaret Agnes Rope, who in the first half of the twentieth century was one of the finest of the Arts and Craft Movement stained glass designers. She studied at Birmingham, and then worked at the Glass House in Fulham with her cousin, Margaret Edith Aldrich Rope, whose work is also here. But their work can be found in churches and cathedrals all over the world. What Mrs Rope did not tell me, and what I found out later, is that these two windows in the porch were made for her and her husband Michael as a wedding present.

 

Doreen Jolly and Michael Rope were married in 1929. Within a year, he was dead. Mrs Rope was just 23 years old.

 

The original church from the 1930s is the part that you step into. You enter to the bizarre sight of a model of the R101 airship suspended from the roof. The nave altar and tabernacle ahead are in the original sanctuary, and you are facing the liturgical east (actually south) of the original building, and what an intimate space this must have been before the church was extended. Red brick outlines the entrance to the sanctuary, and here are the three windows made by Margaret Rope for the original church. The first is the three-light sanctuary window, depicting the Blessed Virgin and child flanked by St Joseph and St Michael. Two doves sit on a nest beneath Mary's feet, while a quizzical sparrow looks on. St Michael has the face of Michael Rope. The inscription beneath reads Pray for Michael Rope who gave up his soul to God in the wreck of His Majesty's Airship R101, Beauvais, October 5th 1930.

 

Next, a lancet in the right-hand side of the sanctuary contains glass depicting St Dominic, with a dog running beneath his feet and the inscription Laudare, Benedicere, Praedicare, ('to praise, to bless, to preach'). The third window is in the west wall of the church (in its day, the right hand side of the nave), depicting St Thomas More and St John Fisher, although at the time the window was made they had not yet been canonised. The inscription beneath records that the window was the gift of a local couple in thankfulness for their conversion to the faith for which the Blessed Martyrs Thomas More and John Fisher gave their lives. A rose bush springs from in front of the martyrs' feet.

 

By the 1950s, Holy Family was no longer large enough for the community it served, and it was greatly expanded to the east to the designs of the archtect Henry Munro Cautley. Cautley was a bluff Anglican of the old school, the retired former diocesan architect of St Edmundsbury and Ipswich, but he would have enjoyed designing a church for such an intimate faith community, and in fact it was his last major project before he died in 1959. The original sanctuary was retained as a blessed sacrament chapel, and the church was turned ninety degrees to face east for the first time. The north and south sides of the new church received three-light Tudor windows in the style most beloved by Cautley, as seen also at his Ipswich County Library in Northgate Street, and the former Fosters (now Lloyds) Bank in central Cambridge.

 

Although the Rope family had farmed at Blaxhall near Wickham Market for generations, Margaret Rope herself was not from Suffolk at all, and nor was she at first a Catholic. She was born in Shrewsbury in 1882, the daughter of Henry Rope, a surgeon at Shrewsbury Infirmary, and a son of the Blaxhall Rope family. The largest collection of Margaret Rope's glass is in Shrewsbury Cathedral. When Margaret was 17, her father died. The family were received into the Catholic church shortly afterwards. A plaque was placed in the entrance to Shrewsbury Infirmary to remember her father. When the hospital was demolished in the 1990s, the plaque was moved to here, and now sits in the north aisle of the 1950s church. In her early days in London Margaret Rope designed and made the large east window at Blaxhall church as a memorial to her grandparents. It features her younger brother Michael, and is believed to be the only window that she ever signed.

 

In her early forties, Margaret Rope took holy orders and entered the Carmelite Convent at nearby Woodbridge, but continued to produce her stained glass work until the community moved to Quidenham in Norfolk, when poor health and the distances involved proved insurmountable. She died there in 1953, and so she never saw the expanded church. Her cartoons, the designs for her windows, are placed on the walls around Holy Family. Some are for windows in churches in Scotland and Wales, one for a window in the English College in Rome. Among them are the roundels for within the enclosure of Tyburn Convent in London. "They had to remove the windows there during the War", said Mrs Rope. "Of course, with me, you have to ask which war!"

 

Turning to the east, we see the new sanctuary with its high altar, completed in 1993 as part of a further reordering and expansion, which gave a large galilee porch, kitchen and toilets to the north side of the church. The window above the new sanctuary has three lights, and the two outer windows were made by Margaret Rope for the chapel of East Bergholt convent to the south of Ipswich. They remember the Vaughan family, into which Margaret Rope's sister had married, and in particular one member, a sister in the convent, to celebrate her 25 year jubilee.

 

The convent later became Old Hall, a famous commune. They depict the prophet Isaiah and King David.

 

The central light between them is controversial. Produced in the 1990s and depicting the risen Christ, it really isn't very good, and provides the one jarring note in the church. It is rather unfortunate that it is in such a prominent position. It is not just the quality of the design that is the problem. It lets in too much light in comparison with the two flanking lights. "The glass in my sister-in-law's windows is half an inch thick", Mrs Rope told me. "In the workshop at Fulham they had a man who came in specially to cut it for them". The glass in the modern light is simply too thin.

 

Despite the 1990s extension, and as so often in modern urban Catholic churches, Holy Family is already not really big enough, although it is hard to see that there could ever be another expansion. We walked along Munro Cautley's south aisle, and at that time the stations of the cross were simple wooden crosses. However, about three months after my conversation with Mrs Rope, the World Trade Centre in New York was attacked and destroyed, and among the three thousand people killed were two local Kesgrave brothers who were commemorated with a new set of stations in cast metal.

 

Here also is a 1956 memorial window by Margaret Rope's cousin, Margaret Edith Aldrich Rope, to Mrs Rope's mother Alice Jolly, depicting the remains of the shrine at Walsingham and the Jolly family at prayer before it. Another MEA Rope window is across the church in the galilee, a Second World War memorial window, originally on the east side of the first church before Cautley's extension. It depicts three of the English Martyrs, Blessed Anne Lynne, Blessed Robert Southwell and Blessed John Robinson, as well as the shipwreck of Blessed John Nutter off of Dunwich, with All Saints church on the cliffs above.

 

The galilee is designed for families with young children to play a full part in mass, and is separated from the church by a glass screen. At the top of the screen is a small panel by Margaret Rope which is of particular interest because it depicts her and her family participating in the Easter vigil, presumably in Shrewsbury Cathedral. This is hard to photograph because it is on an internal window between two rooms.

 

A recent addition to the Margaret Edith Aldrich Rope windows here is directly opposite, newly installed on the south side of the nave. It was donated by her great-nephew. It depicts a nativity scene, the Holy Family in the stable at Bethlehem, an angel appearing to shepherds on the snowy hills beyond. It is perhaps her loveliest window in the church.

 

Finally, back across the church. Here, beside the brass memorial to Margaret Rope, is a window depicting the Blessed Virgin and child, members of the Rope family in the Candlemas procession beneath. The inscription reminds us to pray for the soul of Sister Margaret of the Mother of God, mistress of novices and stained glass artist, Monastery of the Magnificat of the Mother of God, Quidenham, Norfolk, entered Carmel 14th September 1923, died 6th December 1953. Sister Margaret of the Mother of God was, of course, Margaret Rope herself. She was buried in the convent at Quidenham, a Shrewsbury exile at rest in the East Anglian soil of her forebears. The design is hers, and the window was made by her cousin Margaret Edith Aldrich Rope.

 

Back in 2001, we were talking about the changing Church, and I asked Mrs Rope what she thought about the recently introduced practice of transferring Holy Days on to the nearest Sunday, so that the teaching of them was not lost. Mrs Rope approved, a lady clearly not stuck in the past. She had a passion for ensuring that the Faith could be shared with children. As we have seen, her church is designed so that young families can take a full part in the Mass. But she was sympathetic to the distractions of the modern age. "The world is so exciting for children these days", she said. "I think it must be difficult to bring them up with a sense of the presence of God." She smiled. "Mind you, my son is 70 now! And I do admire young girls today. They have such spirit!"

 

She left me to potter about in her wonderful treasure house. As I did so, I thought of medieval churches I have visited, which were similarly donated by the Mrs Ropes of their day, perhaps even for husbands who had died young. They not only sought to memorialise their loved ones, but to consecrate a space for prayer, that masses might be said for the souls of the dead. This was the Catholic way, a Christian duty. Before the Reformation, this was true in every parish in England. It remained true here at Kesgrave.

 

And finally, back outside to the small graveyard. Side by side are two crosses. One remembers Margaret Edith Aldrich Rope, artist, 1891-1988. The other remembers Lucy Doreen Rope, founder of this church, 1907-2003.

As of January 2016, 243,750 people had fled the violence in Central African Republic (CAR) and become refugees in Cameroon.

 

UN Women Cameroon supports economic and social rehabilitation for vulnerable women and survivors of sexual and gender-based violence in seven refugee camps in three regions of the country.

 

Pictured: A refugee from CAR learns the French alphabet as part of an adult education class held at the UN Women Social Cohesion space. Refugees from CAR speak a variety of languages, and many seek to learn French, one of Cameroon’s official languages, in order to integrate successfully.

 

Photo: UN Women/Ryan Brown

 

Read More:

www.unwomen.org/en/news/in-focus/humanitarian-action

www.unwomen.org/en/digital-library/publications/2016/5/wo...

PRESIDIO OF MONTEREY, Calif. - On March 1, Marines from the Defense Language Institute Foreign Language Center donned their dress uniforms to assist Foothill students in celebrating the 108th anniversary of Dr. Seuss’s birthday by participating in Read across America. Since Jan. 2011, DLIFLC Marines have volunteered more than 4,000 hours to tutor and mentor Foothill students, help teachers with paperwork, and assist with library, PE, and recess.

 

Official Presidio of Monterey Web site

 

Official Presidio of Monterey Facebook

 

PHOTO by Steven L. Shepard, Presidio of Monterey Public Affairs.

Mandoe

 

I have tickets to a Charles Lloyd Concert at the Musical Instrument Museum. I am a member. I wanted to familiarize myself with the Museum before the concert so I toured it. It is an incredible treasure in my backyard. A target rich environment for photographers.

 

The sign reads:

Khong mon (gong chime)

Thailand, mid-20th c.

Bronze, wood, glass, cowskin

Typically played at Thai funerals,

these tuned gongs are mounted on a

frame decorated with the figure of a

thep kinnaree, a woman-swan hybrid

from Thai mythology.

 

mim.org/our-story/

MIM began with a vision to create a musical instrument museum that would be truly global. Realizing most musical museums featured historic, primarily Western classical instruments, MIM’s founder Bob Ulrich (then CEO of Target Corporation) was inspired to develop a new kind of museum that would focus on the kind of instruments played every day by people worldwide. A focus on the guest experience shaped every aspect of the museum’s development. From the beginning, our goal has been to deliver a musical experience that is enriching, inspiring, interesting, and fun.

Today, MIM has a collection of more than 7,500 instruments from more than 200 world countries and territories. The galleries reflect the rich diversity and history of many world cultures. But music and instruments also show us what we have in common—a thought powerfully expressed in our motto, music is the language of the soul.

MIM’s immersive exhibits foster an appreciation of diverse cultures and the craftsmanship and traditions of instrument makers from the past to the present. A visit to MIM is also about experiencing the sensory nature of music and how it affects our emotions. Through state-of-the-art, interactive media, guests can see the instruments, hear their sounds, and observe them being played in their original contexts.

en.wikipedia.org/wiki/Musical_Instrument_Museum_(Phoenix)

 

Musical Instrument Museum

MIM

clicked in mid afternoon selling a corn on the busy street