It's not the content that counts, but the name!

Salam Alaikum!

This little song, made me remember the gold days, back in 89'!!

The song is played by Hamid Cha3iri, titled Kan 3andé ghazal (I've had a lover)...

hey hey hey hey

oh, jme presente molotov (hey)
undercover (hey)
le micro chauffe (hey)
appele moi mister over (hey)
moi j'innove (hey)
depuis Radio Nova (hey)
sur un son qui groove (hey)
qui va raser ta touff (hey)
pourquoi tu l'ouvre? (hey)
quoi? qu'est ce que tu m'prouve (hey)
ta carriere je creve (hey)
comme Anna Kournikova (hey)
vas y tu me couvre (hey)
Bracage sur un convoi (hey)
Mon flow dans ta gova (hey)
j'attend salaire à Sheva(hey)
le son t'acheve (hey)
danse comme un cheval
ici pa de philosophe (hey)
ze reff a trop de zeuff (hey)
vas y j'souffle (hey)
ze reff n'est pa love (hey)
bouge la tete des you-voi (hey)
les bourgeois deviennent ouf (hey)
g8 de bouffe (hey)
Ca vient d'Aulnay sous bois (hey)
pas de son pour les te - boi (hey)
jparle pas la langue de bois (hey)
c'est ruskov (hey)
senegalo tamba (hey)
ton style est trop bof (hey)
moi hamdouleh ca va (hey)

refrain :
ze se se se se se, ze se se se se se, ze se se se se se, ze se se se se - 3effffyu
ai ai ai ai ai ai, ai ai ai ai ai ai, ai ai ai ai ai ai, ai ai ai ai assi (x2)

jabuse come un junky(hey)
sef n'est pas funky (hey)
la merde dans ton bagguy (hey)
l'horreur, moi c'est chucky (hey)
Flow trop barraqué
jmange tout comme les harki (hey)
jglisse comme au ski (hey)
au top comme cherokee (hey)
leve tot comme les frosties (hey)
hallal mange pas de che - eeese (hey)
toujours le filet au fi - iiish (hey)
Au macdo bitchess (hey)
jcontrole mon bi - iiizzzz (hey)
meme en periode de cri - iiizzzz (hey)
la lame, j'egui - iiizzzz (hey)
le ter - ter j'maitri - iiizzzz (hey)
moi j'fais pas la bi - iiizzzz (hey)
je baise le show - bi - iiizzzz (hey)
j'te l'dis en toute franchi - iiizzzz (hey)
ton flow il pu la pi - iiissssse (hey)
jdefonse comme une perki - iiizzz (hey)
des keufs dans ta te - iiisss (hey)
ta retrouver ton reup, fo ke jte di iiizzz ke t'es mon fi - iiisss (hey)
jme tape jamais l'affi - iiiche (hey)
ma tete est mize a pri - iiii (hey)
jmen fi - iiiichee (hey)
le rap francais sur moi a mi une fi - iiicheee (hey)
vazyy criiii - iiii (hey)
molotov 4 (hey)
g - 8 cest lusi ine (hey)
travaille a ???? (hey)

refrain
ze se se se se se, ze se se se se se, ze se se se se se, ze se se se se - 3effffyu
ai ai ai ai ai ai, ai ai ai ai ai ai, ai ai ai ai ai ai, ai ai ai ai assi (x2)

flow efficaa aascee (hey)
qui taba aassee (hey)
c'est zereffff la maaa aaasssee (hey)
arra aaache comme le charassss (hey)
j'men balle la raa aaacee (hey)
quand jkik tu darasse (hey)
j'sais pas c'est comme aa aassss (hey)
la cla aassee ki te ca aasee (hey)
ma voix tera aaassse (hey)
crouillle ca traqua aasseee (hey)
putain t'es nazee traa aaacee (hey)
jreve d'un palaa aaace (hey)
au bahama aaasss (hey)
pour linstant jramaa aassee (hey)
des ?? d'la ca aaassse (hey)
tu connais mon bla aase (hey)
a la baa aaase (hey)
j'sais pas pourquoi tu caaa aaassse (hey)
chhhhhh on te caa aaaassssse (hey)
ta peur de m'faire faaa aaaccce (hey)
comme une lia aaasssee (hey)
Si solidaire de mon chien en galere de wiska aaass (hey)
helaaa asss j'ouvre pas ta bouche pour sucer ma glaaa aaaccce (hey)
petaaaaa aassss vas y fait (hey) sur un beat qui decraa aaassse (hey)
j'te declaaa aaassse (hey)
c'est ma deuxieme traaa aace (hey)
jdezose son flow et t'es bon pour la caa aaassse (hey)

refrain x3
ze se se se se se, ze se se se se se, ze se se se se se, ze se se se se - 3effffyu
ai ai ai ai ai ai, ai ai ai ai ai ai, ai ai ai ai ai ai, ai ai ai ai assi

J'ai compris que les années ca passe vite c'est inquiétant
Je me rends compte que Kelissa aura 7 ans le 20 septembre
Que chaque jour des hommes s'auto-détruisent à la hache
Et pour s'enfuir les plus fort traversent les mers à la nage
J'ai vu l'écart entre la belle et la bête
Ici la guerre à la patate mais à la peine est la Belle
Dans la rue, tu sais les délits profitent aux hommes
Dans 10 ans, le kilo de came sera au prix du Kilo de Pomme
J'ai compris tard que les regrets me pénalise
Et ca fait mal quand je réalise que si peu de rêves se réalisent.
Que j'avance pas, que leur justice ralentit
Que la France n'est pas si belle, ma prof d'histoire a menti
Que dans la vie faire la paix n'est pas rentable
J'ai compris que faire la paix c'est la cauchemard du marchant d'armes
Je réalise la nuit des courses poursuites dans la ville
Mais n'ayez crainte puisque la mort n'est que la suite de la vie.


J'ai compris ce qui allait pas d'ou venait le mal dans nos ZUP
Que les voitures qui prenaient feu ne rentraient pas dans vos urnes
Que tous les jours des amis meurent au cachot
Comment certains sont prêts à tout pour obtenir un plat chaud
J'ai compris que l'être Humain ne fait rien d'autres que saigner
Que dans la vie se faire du mal est plus facile que s'aimer
Que les voisins c'est pas "Les filles d'à coté"
Que dans le pays des droits de l'homme des familles vivent à l'hotel
Comprenez le poids des mots, des fois la vie fout le cafard
Les voleurs se font pincer mais les violeurs ont le BAFA
Que dans la vie j'ai toujours senti ce gène
A quel point j'ai grave du mal a dire je t'aime à ceux que j'aime

Sinik.

Salam Alaikum

Producteur, Dj, homme d'affaires, mixer, Carl Cox est tout cela à la fois.

 Le grand ambassadeur de la house qui a ses quartiers d'été à Ibiza, en a fait danser plus d'un(e) sur ses titres, bidouillant ses platines comme un cuisto devant son fourneau. C’est en 1977, en Angleterre, que tout commence. Carl Cox a 15 ans et reçoit ses premières platines. Il commence par faire danser sa famille et, de fil en aiguille, prend possession de la house anglaise pour finir en 1995 par un premier cd de mix « F.A.C.T » qui est devenu avec le temps un classique, se vendant à plus de 250 000 exemplaires ! Entre temps il aura réussi à sortir son premier gros titre « I Want You (forever) » suivi de l’inusable "Does It Feel Good To You". Il possède un son très clubbing et adore mettre dans ses mix des petites pointes de salsa et de musique orientale. En général c’est du gros son parfaitement adapté pour la plage et les soirées en bord de mer et qui n’hésite pas à aller vers la trance garage en conservant un esprit funk jovial et amusé. Avec lui, les platines Technics ont acquise leurs lettres de noblesse et inutile de te dire qu’il a été élu de nombreuses fois « Dj de l’année ».
INFOLINE : 061.61.76.06 – 063.47.52.47

I was deeply saddened to learn of your grandmother's death and I would like to express my sincere sympathy to you and your family.

We are never prepared for the loss of a loved one, but God is always prepared to help us through that loss.

"Nous sommes à Dieu et à lui nous retournons"

Fasting for a whole month, that's what my friend Hicham suggest... I don't know yet if I can do it or not, but I guess I will do it, I don't have a thing to waste, I will get lot of 7asanats ;) yknow what does it mean to fast 30 days before Ramadan, I did like fasting every Monday and Thursday, I enjoy doing it even if in the summer the weather isn't that helpful and the time from the sunrise til the sunset is too long...ok it's a suggestion and we will still talk bout it. 

Hey everybody, really I don't know what to say but you have to accept my thanks, once again the blog is one of the most visited this month, I just can be happy cuz of that, and I will try my best to write more things in the future and change some stuffs...I wanted to write this post yesterday, so I couldn't for some reasons...It was a good night yesterday with the spanish music, it was romantic time... I wrote a new poem...I was standing in the moon light don't know what feeling I got, I can say it's a heavnly emotion... got some ideas on what happen in the other side, God only knows... but we will see then.

Holla... don't know what title I have to put for this post, it's something diff I'm going to write bout right now and so far away...it's clear in my face now, I can have an opinion without going and start thinking bout the changes yheard me? what can I say more than few words in here, but my heart's full and my mind too, I amma tired, can't sleep at the good time..and I can get up earlier.. the first thing I have to do is to think, maybe becuz I opend the door somethings, I had to let em out for some more time, but then the rush as always ( bad job) it isn't going to blow my neck I think.. cuz I'm still hittin the road and the streets are talkin ( I ain't the game)..today was a real goff jorney, I went for a visit to the friend of my mom, her name is Fatima and the berber ppl spell it like Fadma, that isn't our prob here, they're all names, we have to look to who takes the name! I have to say that maybe she were crazy bout this visit, or perhaps maybe I am just wrong with my thinkin, eh the most important thing's the visit!!! her doughters are too old now, back in the days I could see that they were young enof just too young for me??? but everywhere there are changes.. I didn't do the visit only cuz I got that idea in my mind, but cuz I read bout it, it doesn't mean that I miss my mother only now!!! but I'm always missin her, always thinkin of her in addition to other important things, when I started talkin with her bout that she were like whoa...me too I didn't know what happen, cuz I had a bizzar feeling, my mother is feeling what i'm doing and what I’m going to do in the past...many questions she gave me, and more answers I told her, she could know that I’m still the way I was before, perhaps there were some lil changes, but the most important thing that I....they were happy cuz of all the things they heard bout me... the poems, the music, my sisters and so on and I gave her a promise that I’ll keep it this way, I’m not living for maself but I’m living more for the others.

Some says it's a boring music, some says it's a realxing music, and some says we can't listen to it everyday like the other types of music, but I say no, I can listen to it everytime and its not a boring music, maybe cuz ppl don't understand it, don't understand its words, that is why I think? it is full of meaning, but it's so hard to understand the words sometimes, it talked bout the andalusian times, or the islamic times in Iberia (Sapain/Portugal and some parts of Lu and france) it talked bout the love feeling and wot ppl had to feel through the nights and so on...it's a good thing I think?! well I use to listen to it from time to time now, it's a romantic music, it can remember you of the Eids, the tea, the msemmen...hahaha who can't talk bout the moroccan foods, and the moroccan women.

Living remnant of the brilliant Spanish-Maghreban civilisation, the Andalusi music of Morocco perpetuates the âla, a broad repertory of songs and instrumental music which Moroccans have jealously preserved thanks to a strong oral tradition.

Each mîzân respects the principle of progressive acceleration in three phases muwassa'(broad), mahzûz (increased), insirâf (lively, fast).

The poetic corpus, besides classical poetry, comprises muwashshahat constructed around a new metre distinct from that of the traditional arûd, Andalusian zajal, and barwâla (Moroccan malhûn). It is usual to call the sung poetic text san'a (craft, masterpiece). San'a treat various subjects in praise of the pleasures of love and of wine, piety, Sufism. It is customary for a nubâ to last for seven hours. It is not usually performed in its totality, one makes do with playing a mîzân on feast days, According to tradition, each mîzân begins with instrumental preludes, bughya mishâliyya, tûshiya, followed by the linking san'a performed in chorus. Sometimes, one or two individual songs (mawwâl or inshâd) are interposed between two movements of a mîzân.

The traditional orchestra is made up of instrumentalist-singers with, in their midst, the leader, who is not only the guardian of the repertory but bas a long experience of the style and way of arranging san'a to his name.

Nowadays, the instruments of the orchestra performing the âla are the rbâb usually played by the leader, the ud (lute), the violin, the viola, the violoncelle, the târ and the darbûka.

The rbâb is a monoxylic fiddle whose boat-shaped sound box is made of walnut, cedar or mahogany wood, with two bowed catgut strings but no neck. The upper part of the sound box is covered with a thin layer of wood decorated with rosettes. The lower part is covered with goatskin. The short, heavy bow is made of a piece of iron in the shape of an arch holding strands of horsehair. The rbâb rests on the player's thighs and is played vertically.

The 'ud is a pear-shaped lute with five or six lines of double strings and an unfretted neck. It is played with a horn plectrum

The western violin an viola, introduced in the 18th century, are played vertically on the left knee. The violoncelle, introduced more recently may be played with a bow or pizzicato.

The târ is a small frame drum measuring approximately 6 inches in diameter to wich small silver or brass cymbals are attached. Held in the right hand, it is struck with the fingers or the palm of the left hand, white the right hang bangs the frame against the right wrist in a skilful hand movement.

The darbûka is a terracotta goblet drum covered with goatskin. Laid across the left thigh, it is struck with the hand and bare finger.

Following the example of the nûbâ gharïbat al-husayn, played by the Al-Brihi Orchestra of Fes under the direction of Haj Adbelkrim al-Rais, the Nûbâ al-'ushshâq is a new contribution to the Al-Ala anthology set within the framework of the policy for the safeguard and preservation of Moroccan cultural patrimony.

This policy aims at propagating the patrimony and, in particular, at progressively building up a documentary database of recordings using the most advanced techniques, combining high fidelity with respect for authenticity and classical rules of interpretation.

This is why the Ministry of culture, in collaboration with the Maison des Cultures du Monde in Paris, bas taken the initiative in publishing the Al-ala anthology (Andalusi-Moroccan music) and introducing the public to the nûbâ al-'ushshâq in an interprétation by the orchestra of Moroccan Radio and Television (RTM) conducted by Haj Mohamed Toud.

The nûbà al-'ushshâq is one of the most beautiful for its music as well as its poems and is also one of the most popular, its mîzân being played often at private and public celebrations.

This recording is a tribute to the late artist Moulay Ahmed Loukili, one of the greatest names in Andalusi music that this century has produced. Head of the RTM orchestra from 1953 until his death on 25 november 1988, My Ahmed Loukili, in addition to his musical knowledge possessed a keen sense of text and literature which served him on numerous occasions when restoring san'a whose musical syntax and poems had suffered damage. This is not so surprising when one knows how much he gave of himself in striving for perfection of interpretation as well as the development of aesthetic qualities in his musicians and disciples. He had already begun rehearsing for this nûbâ in order to take part in the anthology when illness forced him to interrupt his work.

On his death. Haj Mohamed Toud, the most senior and the most gifted of the musicians in this orchestra took over and continued the work of his master, resulting in a complete nûbâ whose san'a are remarkably well arranged.

THE NÛBÂ 'USHSHÂQ

According to the Al-Hayk classification (XVIII century), al-'ushshâq appears as the eleventh and last nûbâ of the morning. Its poems al âla Moroccan repertory reveal the desire for clarity and limpidity following an active night entirely given over to beauty and wine.

Obscure night steals away
Chased by the light that sweeps up shadows
The candlewax runs as if weeping tears of farewell
And then, suddenly and behold, the birds are singing
and the flowers smile at us.
(14th san'a of the mîzân basît)

The nûbâ al-'ushshâq is based principally on the 'ushshâq tab' (mode) around which gravitate two secondary modes: raml dil and dil. These three modes, introduced separately or mingling within the same san'a unite to make the nûbâ al-'ushshâq, one of the most popular in Morocco because of the variety of modal colours and the freshness it gives off

The 'ushshâq mode
Ending on the note ramal (G), this mode reflects a fundamental pentatonic structure, the fourth and seventh degrees, rarer and less stable than the five others, may be considered as passing notes or temporary positions whose role is to introduce the other modes