A Humanidade não tem fronteiras
E porque amanhã, 11 de Setembro, não tratará apenas do começo de mais um ano lectivo, mas da evocação de uma data que tocará, talvez durante séculos, os corações da Humanidade!
Lembro-me do que já aqui tenho evocado do nosso Garb Al-Andaluz, e de como melodias como a que se pode ouvir, deste compositor argelino, nos transportam para esta espiritualidade mediterrânica, sempre irredutível na contemplação terrena dos nossos desígnios mais marcantes, sempre inigualável nas aspirações da alma e na virtuosidade!
Apenas desejo que os leitores não encontrem dificuldades na tradução da net-referência que segue, porque mais não quero dizer, nesta data que deve ser o exemplo de quando devemos respeito por todos quantos têm, naturalmente, direito a isso! A Humanidade não tem fronteiras!
"Rachid Taha
Never mind the war on terrorism, what about the war on fear, complacency, ignorance, racism, poverty and lies. That's a struggle that Rachid Taha has been fighting for the past two decades and more, ever since he was a tear-away punk immigrant from Algeria gobbing metaphorically and no doubt literally at the good burghers of Lyon in France. His band, Carte de Sejour (the French for 'residence permit'), proved that rock power, punk attitude and Arabic roots could get along famously if mentored by a passionate, razor-sharp and mouthy soul like Taha. Being proudly North African on the one hand and truly rebellious on the other has always meant struggle on many fronts and Rachid Taha has spent his whole career lobbing musical molotovs at the latent and, as recent event have proved, not so latent racism of the French in the form of classic songs like 'Voile Voile’ and 'Douce France' whilst berating his fellow North Africans for lack of ambition, obsession with tradition, cabaret complacency and enslavement to rai. 'There isn't only rai,' Taha said recently. 'My music has always been more influenced by chaabi (old style pop, mainly from Algiers & Ed) which I’ve always loved because of its poetry and rebelliousness.' After leaving Carte de Sejour at the end of the 1980s, Taha teamed up with the British producer and trance meister Steve Hillage to record a series of classic albums including 'OlÈ OlÈ', 'Made in Medina' and the classic 'Diwan', which features Taha's monster hit cover of 'Ya Rayah', an old song written by the Algerian Berber legend Dahmane El Harrachi. With its expert blending of North African roots, rock and house inspired electronica, 'Diwan' is nothing less than a template for the future development of North African music. Above all Rachid Taha is a great showman, delivering rude-boy witticisms and hilarious insights with sweaty passion whilst his band fire off raucous rock riffs and snakey Arabic melodies. It's a clear case of never mind the world music bollocks, here’s Rachid Taha. Courtesy of WOMAD.
«French-Algerian singer Rachid Taha's view of world events is not one that's shared by many people. He was quoted recently by BBC's 'The World' as saying, "When I hear George Bush, and when I hear Osama bin Laden, I hear two bedouin nomads. The only difference he says, is that one of them is from the desert of Texas and drives an SUV, and the other is from the desert of Saudi Arabia and rides a dromedary." Taha says Bush and bin Laden come from similar well-heeled backgrounds. And both, he says, use a similar fundamentalist rhetoric.»
"Rachid Taha
Never mind the war on terrorism, what about the war on fear, complacency, ignorance, racism, poverty and lies. That's a struggle that Rachid Taha has been fighting for the past two decades and more, ever since he was a tear-away punk immigrant from Algeria gobbing metaphorically and no doubt literally at the good burghers of Lyon in France. His band, Carte de Sejour (the French for 'residence permit'), proved that rock power, punk attitude and Arabic roots could get along famously if mentored by a passionate, razor-sharp and mouthy soul like Taha. Being proudly North African on the one hand and truly rebellious on the other has always meant struggle on many fronts and Rachid Taha has spent his whole career lobbing musical molotovs at the latent and, as recent event have proved, not so latent racism of the French in the form of classic songs like 'Voile Voile’ and 'Douce France' whilst berating his fellow North Africans for lack of ambition, obsession with tradition, cabaret complacency and enslavement to rai. 'There isn't only rai,' Taha said recently. 'My music has always been more influenced by chaabi (old style pop, mainly from Algiers & Ed) which I’ve always loved because of its poetry and rebelliousness.' After leaving Carte de Sejour at the end of the 1980s, Taha teamed up with the British producer and trance meister Steve Hillage to record a series of classic albums including 'OlÈ OlÈ', 'Made in Medina' and the classic 'Diwan', which features Taha's monster hit cover of 'Ya Rayah', an old song written by the Algerian Berber legend Dahmane El Harrachi. With its expert blending of North African roots, rock and house inspired electronica, 'Diwan' is nothing less than a template for the future development of North African music. Above all Rachid Taha is a great showman, delivering rude-boy witticisms and hilarious insights with sweaty passion whilst his band fire off raucous rock riffs and snakey Arabic melodies. It's a clear case of never mind the world music bollocks, here’s Rachid Taha. Courtesy of WOMAD.
«French-Algerian singer Rachid Taha's view of world events is not one that's shared by many people. He was quoted recently by BBC's 'The World' as saying, "When I hear George Bush, and when I hear Osama bin Laden, I hear two bedouin nomads. The only difference he says, is that one of them is from the desert of Texas and drives an SUV, and the other is from the desert of Saudi Arabia and rides a dromedary." Taha says Bush and bin Laden come from similar well-heeled backgrounds. And both, he says, use a similar fundamentalist rhetoric.»
No booklet do disco aqui evocado pode ler-se, a respeito do tema a ouvir:
"Barra Barra
À LÉxtérieur
Constat impitoyable sur le chaos généralisé dúne société,
ici ou ailleurs, qui a perdu ses points de repères.
Les youyous introduits au début et les notes plaintives du luth
soulignent l'aspect dramatique de la réflexion,
sur fond de mélodie orientalo-maghrébine.
Dehors, règnent la tristesse
Et l'insécurité
Les oiseaux ont cessé de chanter
Et peur de la majorité silencieuse
Les rivières se sont asséchées
Il n'y a plus que désolation
Enfer et damnation
Plus de respect ni dignité
Obscurité, obscurantisme
Et maisons sans vie
Le soleil, lui, a préféré
aller se coucher
Rachid Taha - Barra Barra (Made in Medina)
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