ROCK,MEDITAÇÂO & PSICODELIA

 É inegável que a partir principalmente de 1966, começando praticamente com os Beatles, a filosofia oriental hindu passou a ser inserida em doses maciças na música do quarteto, e depois passou a influenciar toda a psicodelia.Os álbuns Revolver e Rubber Soul são já permeados de citar e tablas pelas mãos de Harrison, com apoio de Lennon, quando os dois estiveram um tempo na Índia.Mas quem acabou se envolvendo profundamente com a música,cultura e filosofia hindu, foi George Harrison, que conhece Swami Prabhupada (Bhakti Yogue) e se inicia na sitar com Ravi Shankar, se tornando um profundo adepto destes 2 Gurus.

Isto entraria profundamente nas músicas dos Beatles e sacramentaria todo o rock, e porque não, a própria música erudita de vanguarda , a partir de 1968, como o minimalismo de Phillip Glass.

Dai por diante, grande facção de músicos passou a explorar o Oriente como inspiração, citando aqui Mahavishnu Orchestra (com seu excelente guitar man John McLaughlin), o guitarrista Carlos Santana (que se tornaria Devadip Carlos Santana e faria sua ode à Buddha no LP Onennes), aos lideres do movimento de música erudita serial e minimalistas, que adotariam posições Zen Budistas em suas performances, como Phillip Glass, John Cage e Stockhausen!!

Posteriormente cresce a amizade de Lennon e McCartney com os membros do Pink Floyd, onde em seções cedidas para jams do Floyd na Abbey Road, eles trocavam mútuamente idéias e sons, e também de certo, inspirações musicais que influenciaram uns aos outros.

Sobre a música gerada após este notável encontro, é de se notar a transformação que ocorre na música dos Beatles, a partir de Sgt.Peppers.

Este geraria e influenciaria todo o movimento psicodélico posterior, até desembocar em Woodstock e no Kraut Rock progressivo alemão.

Sobre o Álbum Branco, é de se notar o envolvimento mais profundo dos Beatles com a filosofia oriental indiana. Cito em especial notas sobre este maravilhoso álbum, que na realidade teria suas bases nos discos Revolver e Rubber Soul:

(*) Álbum Branco (Duplo)

Note-se que antes de tudo, este é o primeiro LP a inaugurar o recém fundado selo “APPLE”.

A maioria das canções do disco foi feita durante a meditação transcendental em Rishikesh, na Índia com Maharishi Mahesh Yogi. Embora fosse uma meditação profunda concebida inicialmente para livrar os membros de todas as obrigações e aflições de seu mundo, ambos Lennon e McCartney davam suas escapadas para, clandestinamente, "irem ao quarto um do outro esboçar algumas idéias." Lennon disse tempos depois: "Eu escrevi minhas melhores músicas lá." Beirando quase quarenta músicas que foram inicialmente arranjadas e gravadas em Kinfauns, na casa de Harrison em Esher.Os Beatles deixaram Rishikesh antes do tempo, com Starr indo primeiro (que tentou ficar mais tempo pressionado pelos companheiros, mas acabou partindo, se sentindo muito mal pelo tédio) seguido por McCartney   Osho - Felicidade e Meditação

"Felicidade não é algo fácil de se acreditar. Parece que o homem não pode ser feliz. Se você falar sobre sua tristeza, depressão e miséria, todo mundo irá acreditar. Isso parece ser natural. Mas se você falar sobre a sua felicidade, ninguém acreditará em você - isso parece ser não-natural.

Sigmund Freud, depois de quarenta anos de pesquisas a respeito da mente humana, trabalhando com milhares de pessoas, observando milhares de distúrbios mentais, chegou à conclusão de que a felicidade é uma ficção: o homem não pode ser feliz. No máximo, nós podemos fazer coisas um pouco mais confortáveis, e isso é tudo. No máximo, nós podemos tornar a infelicidade um pouco menor, e isso é tudo. Mas, feliz, o homem não pode ser.

Isso parece ser muito pessimista, mas se olharmos para o homem moderno, veremos que é exatamente assim; parece que isso é um fato.

Buda diz que o homem pode ser feliz, tremendamente feliz. Krishna canta canções sobre a felicidade suprema. Jesus fala a respeito do Reino de Deus. Mas como você pode acreditar em tão poucas pessoas, as quais podemos contar nos dedos, contra toda a massa, milhões e milhões de pessoas ao longo dos séculos, que permanecem infelizes, caminhando mais e mais em direção à infelicidade. Toda a vida dessas pessoas é uma história de miséria e nada mais. E depois vem a morte! Como acreditar naquelas poucas pessoas?

Ou elas estão mentindo, ou elas estão enganadas. Ou elas estão mentindo por algum motivo, ou elas são meio malucas, enganadas pelas próprias ilusões. Elas devem estar vivendo para satisfazer um desejo. Elas queriam ser felizes e começaram a acreditar que elas eram felizes. Mais do que um fato, isso parece uma crença, uma crença desesperada, Mas como aconteceu dessas poucas pessoas se tornarem felizes?

Se você deixar o homem de lado, se você não prestar muita atenção ao homem, então Buda, Krishna, Cristo irão parecer que são mais verdadeiros. Se você olhar para as árvores, se você olhar para os pássaros, se você olhar para as estrelas, então verá que tudo está vibrando em tremenda felicidade. Parece que a felicidade é a matéria-prima com a qual a existência é feita. E somente o homem é infeliz.  No fundo, alguma coisa está errada.  Buda não está enganado, nem está mentindo. E eu digo isso a você, não com base na autoridade da tradição; eu digo isso a você com base na minha própria autoridade. O homem pode ser feliz, mais feliz que os pássaros, mais feliz que as árvores, mais feliz que as estrelas, porque o homem tem algo que nenhuma árvore, nenhum pássaro, nenhuma estrela tem. O homem tem consciência. 

Mas quando você tem consciência, então duas alternativas são possíveis: ou você pode tornar-se infeliz, ou você pode tornar-se feliz. A escolha é sua. As árvores simplesmente estão felizes porque elas não podem ser infelizes. A felicidade delas não é liberdade; elas têm que ser felizes.  Elas não sabem como ser infelizes, não existe outra alternativa.

Esses pássaros gorjeando nas árvores, eles são felizes. Não porque eles tenham escolhido ser felizes; eles simplesmente são felizes porque eles não conhecem outra maneira de ser. A felicidade deles é inconsciente. Ela é simplesmente natural. 

O homem pode ser tremendamente feliz, e tremendamente infeliz. Ele é livre para escolher. Essa liberdade é um risco. Essa liberdade é muito perigosa, porque você se torna responsável. E algo aconteceu com essa liberdade. Alguma coisa está errada. O homem está, de uma certa maneira, de cabeça para baixo. 

Você veio até a mim, procurando por meditação. A meditação é necessária somente porque você não escolheu ser feliz. Se você tivesse escolhido ser feliz, não haveria nenhuma necessidade de meditação. A meditação é medicinal: se você está doente, então o medicamento é necessário. Os Budas não precisam de meditação. Uma vez que você começou a escolher a felicidade, uma vez que você decidiu que você tem que ser feliz, então nenhuma meditação é necessária. A meditação começará a acontecer naturalmente, por ela mesma.

A meditação é uma função do estar feliz. A meditação segue o homem feliz como uma sombra: em qualquer lugar que ele for, qualquer coisa que ele estiver fazendo, ele estará meditativo. Ele estará intensamente centrado.

   Pink Floyd, Lennon e os Beatniks   O DVD altamente indicado aqui, comentário histórico definitivo do movimento de Allen Ginsberg (Beatnik), A Technicolor Dream ,é a história do movimento underground durante os anos 60 cujo ápice é no "The 14 Hour Technicolor Dream", um "acontecimento musical" no Alexandra Palace em 29 de abril de 1967  (*). 

A história inicia nas marchas do CND (Campanha para o Desarmamento Nuclear) no ínicio dos anos 60, a fundação da London Free School e á partir daí, o International Times, o UFO Club e o Nothing Hill Carnival. Entrevistas inéditas com Roger Waters e Nick Mason, do Pink Floyd.

O fascinante programa acontece em um contexto musical com a música do Pink Floyd com Syd Barret, numa Londres que fervilhava com o flower power.

Os shows do Floyd  com Barrett exploravam o poder das projeções em telões,e a acidez das iluminações estroboscópicas, aliadas ao alucinógeo LSD, forjando desde cedo uma ligação da banda com o cinema (vide Zabrinsky Point , Obscured by Clouds e More,trilhas sonoras magníficas do grupo). Os trechos de show neste período pertencem a duas performances lendárias: a do UFO Nightclub, famoso no circuito underground londrino, e a participação no festival 14 Hour Technicolor Dream.

(*) 14 Hour Technicolor Dream at Alexandra Palace, último show de Barrett com o Pink Floyd e ocasião em que John Lennon e Yoko Ono se encontraram pela primeira vez. DVD lançado atualmente no mercado nacional com bônus e preço muito módico!!

Lennon prestigiava o evento com sua presença, e Yoko  dirigia o happening que rolava no meio da platéia. Lennon é avisado por amigos na calada da noite,que estava rolando um showzaço maluco do outro lado da cidade!

Como era fascinado por experiências novas, voou rápido com seu carro até lá. No documentário citado ele aparece com um casaco de peles brancas, muito chapado.Posteriormente escritores como Edgar Alan Poe, Aleister Crowley, H.P.Lovecraft, Castañeda, Dante Alighieri, Gurdjieff, etc... Tornaram-se pilares do rock juntamente com a Filosofia Védica (Índia).

Os Gurus passaram a ser presentes nos concertos de rock (Prabhupada, Osho, Maharishi, etc.) e nas filosofias pessoais de artistas como Cat Stevens, Jim Morrison, George Harrison, Santana, John McLaughlin, Robert Fripp, Peter Hammill, Jon Anderson, etc. e entre milhares de bandas, em especial nas psicodélicas e progressivas dos anos 70.

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THE SECRET EGYPT

 The Secret Egypt  

Starting with a book by Paul Brunton of the same name, highly recommended. The theme has already influenced countless musicians such as Paul Horn, Alan Parsons, Alpha III, names of German bands like Amenophis or Ramses, etc... vast literature, Erik Von Däniken, Max Toth, etc... the classic progressive “Ocean” by the German band ELOY...  

Jean Michel Jarre (France) performed the Millennium passage show (2001) at the Great Pyramid. Long before that, the legendary Grateful Dead also performed a show in Egypt, at the Great Pyramid. And it is known that John Lennon, during a visit to Egypt, bought a huge statue of the Goddess Sekhmet.  

Archeology for a century has been expert in “dating” ancient sites, regions and artifacts that are found in excavations such as in ancient Mesopotamia, Egypt or India.

But it is not possible to precisely determine the dates of events without resorting to ancient texts or books that survived millennia in ancient cultures such as the millenary books of the Bible and the Zohar (Judea), the Vedas (India) or the Zend Avesta (Persia), among others.

In the case of Egypt (Land of Khem or Black Land or even Land of magic), history is narratively recorded in the texts of Plato (Greek philosopher) who was initiated into the Egyptian Mysteries and knew High Egyptian Priests, Hierophants, 500 BC, who informed him of where they came from.

The books of Plato that contain these narratives are Timaeus, Critias and Phaedrus.

Plato says the following:  

Around 9,000 BC a continent located in the Atlantic Ocean between Africa and America hosted a highly developed civilization. It was called Atlantis. Its main god was Poseidon, who is associated with Neptune, god of the seas (the god with a trident in his hands).

This continent was a huge cluster of islands, among which there was one called Poseidonis.

This people, for sinning against nature, ended up collapsing into moral and social degeneration, creating a hecatomb through a war of nuclear proportions.

With this, the continent of Atlantis was wiped from the surface of the Earth, sinking definitively around 8,800 BC into the ocean.

Some fleets of Atlantean ships survived, fleeing to the coasts of Africa and Europe (Greece).

One of them, which reached North Africa, founded the first Egyptian dynasty around 5,000 BC, after remaining there and trying to adapt in the African deserts and waging war against the blacks (Nubians and Kushites) for centuries.

The first Atlantean pharaoh was Menes, who ordered the beginning of the construction of the Great Pyramid to deposit the hidden and sacred millenary knowledge of the Atlantean race. The pyramid was completed by the second pharaoh of the so-called first official dynasty, Khufu. Between these two Pharaoh kings there was a powerful warrior known as King Scorpion (who is the Scorpion Goddess Selkhis).  

This king made a pact with supernatural powers of darkness, which was attributed to the god Seth.

The Great Pyramid would in reality be the main site of a series of Cults and Sects that worshipped the Spirits of the Dead and contacted the Afterlife through Sacred Dances and Songs. It contained huge galleries and internal lakes, as well as initiatory tombs, where two Orders evolved: the Solar Order of Osiris and the Lunar Order of Seth.

For millennia, the Egyptians, descendants of the Atlanteans, remained isolated from other civilizations, creating the greatest temple culture in the history of civilizations built to this day.

At the same time, powerful civilizations flourished in Mesopotamia such as Babylon, Phoenicia, Assyria, Persia, etc. This region between the Tigris and Euphrates rivers is today the region of Iran and Iraq.

Later, Mesopotamian Arabs invaded Egypt, long after Greek colonizations (with Cleopatra on the throne) and Roman ones (with the Ptolemaic Pharaoh kings), mixing the cultures.

The ancient Egyptian gods disappeared, giving way to Arab Islamic culture, which predominates to this day. The arts merged, especially Belly Dance, which was a dance of procreation, worship of nature and the gods.

Belly dance has Arab, Egyptian and Hindu influences, also including traces of Greece and Rome due to invasions and cultural-racial mixing.

It later reached Europe with the Ottoman invasion (Turks and Arabs) around the 7th century AD, settling in the Iberian Peninsula (between Spain and Portugal).

Hence the origin of Arab-Flamenco dance in the region of Spain, derived from the Moorish mixture with Catalans.

The Ottomans stayed in Europe for almost 800 years, where they built castles, temples, etc., deeply influencing the region with their art and religion. They were expelled by the Templars after a prolonged war.

Napoleon Bonaparte, when he invaded Egypt, was amazed by the oriental dancers, taking some to French cabarets, from which today’s Belly Dance emerged. That is, the most refined dance with European high heels, expensive clothes, jewelry, etc., thus losing its original folklore.

It is known that in African deserts the dancers in tribal groups danced almost naked, barefoot, tattooed and anointed with camel milk butter. In the Middle East today there are at least 40 variations of dances, each with its own costumes and special characteristics. What remains of Ancient Egypt are only stones with hieroglyphs and ruins of its marvelous temples. Its culture is buried forever in the sands of the African desert, where the wind called “simum” constantly blows.

Recommended records from this wave of Avantgarde World Mystical Music are by the musicians PHIL THORTON, HOSSAM HANZZI (who worked with Led Zeppelin and Jean Michel Jarre) and OMAR FARUK (unmissable).

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GREAT KEYBOARDS & GREAT KEYBOARDISTS OF ROCK

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THE KEYBOARD PLAYERS & MUSIC

 It certainly won’t be possible to map out this article in great detail. Let’s start from the premise that the inclusion of keyboards in rock greatly changed its structure. Beginning with the pianos of Little Richard and Jerry Lee Lewis, who with a primitive but devastating technique—a mix of jazz, blues, and country—managed to change and partly displace the guitar from the center of attention. But things get hotter when the mellotron (an orchestral keyboard instrument) is first introduced on the scene, in the sound of the English band The Moody Blues. This was around 1966. From then on, The Beatles would use harpsichords, electric pianos, the newly created Mini Moog, among other synthesizers, in their music. In the major climax of 1967–1978, many bands would emerge making extensive use of these instruments, especially progressive rock, acid rock, krautrock, electronic, and hard rock bands. Keith Emerson and Jon Lord (respectively from The Nice and Deep Purple) inaugurated the era of classical virtuosos on piano and Hammond organ. They were followed by Vincent Crane (Atomic Rooster) and Ken Hensley (Uriah Heep), as well as Rick Wakeman (Yes), Rick Van Der Linden (Trace), Richard Wright (Pink Floyd), Hugh Banton (Van Der Graaf Generator), Kerry Minnear (Gentle Giant), Klaus Schulze (who started in Ash Ra Tempel and later played on the first Tangerine Dream album before moving on to a brilliant solo career). Edgar Froese, Christopher Franke, Peter Baumann, Johannes Schmoelling, and Michael Hoenig performed in the legendary Tangerine Dream, one of the few bands to rely almost entirely on synthesizers on a massive scale. We also have Ed Jobson (Zappa, U.K., Jethro Tull), Michael Quatro (Suzi Quatro’s brother), Jurgen Fritz (Triumvirat), David Greenslade (Greenslade), Tony Banks (Genesis), Patrick Moraz (Yes & Refugee), among other giants. The main keyboards used in this period are variations of the Mini Moog, Hammond C3 and B3 (organs), mellotron, ARP String Ensemble, Elka string synthesizers, Farfisa organ, VC3, Fender Rhodes electric piano, and acoustic grand piano. “Killer” keyboard albums I can mention for you to explore further can be from any of the artists listed above. The bands driven by magnificent keyboards include (some of them): Genesis, Gentle Giant, Yes, Pink Floyd, Van Der Graaf Generator, Procol Harum, Uriah Heep, Deep Purple, Tangerine Dream, Popol Vuh, Atomic Rooster, Triumvirat, Kraftwerk, Jean-Michel Jarre, Vangelis, Kitaro, Deuter, Cluster & Eno, Synergy, The Nice, Trace, U.K., Emerson, Lake & Palmer, and Klaus Schulze, among others less famous or unknown. (*) BRAZIL: Casa das Máquinas / Tellah / Som Nosso de Cada Dia / Som Imaginário / ALPHA III / Spectro / Terreno Baldio / Moto Perpétuo / O Terço / Quantum / Tau Ceti / Caravela Escarlate / among others. (*) ARGENTINA: Crucis / Pablo El Enterrador / Espíritu / Lito Vitale / MIA / Alas / Arco Iris / Ave Rock / El Reloj / among others. In Italian progressive rock (Locanda delle Fate / Museo Rosenbach / Metamorfosi / Alphataurus / The Trip / etc.), French (Ange / Arachnoid / Mona Lisa / Edhels / Atoll / Wapassou / Sandrose / etc.), German (Grobschnitt / Novalis / Kreuzweg / Madyson Dyke / Ramses / Hoelderlin / Amon Düül II / Can / Embryo / Eloy / etc.), especially in this vintage era, there are more than 2,000 keyboard-based groups (including the 1980s/90s up to the present underground scene). One just needs patience to research—and to thank the father of the piano, the Italian Bartolomeo Cristofori (around 1709), for the creation of such a wonderful instrument, which was the link between the old harpsichord and today’s synthesizers. The piano… See you soon!

STARCASTLE- U.S.A. 70's

Para amantes da sonoridade do YES ou similares como DRUID ou ENGLAND, é altamente indicado.Banda dos U.S.A., anos 70, estes 3 CDS que indico são meus preferidos.Som é excelente, realmente lembra muito o YES, mas não tem aquela pegada com inserções mais complexas e atonais como em Close to The EDge.Capas muito belas também.

Infelizmente é mais conhecida por copiar o YES, o que é uma pena, A história do Starcastle remonta a 1968, quando Steve Hagler (guitarra), Mike Castlehorn (bateria) e Paul Tassler (baixo) formaram o ST. JAMES, uma banda cover que obteve algum sucesso tocando em pubs e bares locais. Logo depois, Herb Schildt se juntou à banda e, com um tecladista, eles estavam prontos para voos mais altos, mas uma tragédia os atingiu: Mike Castlehorn morreu em um acidente de carro e foi substituído por Steve Tassler. Após anos de ensaio e composição de novas músicas, o STARCASTLE lançou seu álbum de estreia homônimo em 1976. Mesmo sendo rotulados como clones do YES, a banda foi bem recebida nos EUA e no Canadá. Apesar de diversas mudanças na formação, o STARCASTLE conseguiu lançar mais três álbuns: "Fountain of Life" (1977), "Citadel" (1977) e o mais comercial "Real to Reel" (1978). Depois disso, a banda se separou, mas realizou alguns encontros breves.

LIZ LITH -Two Albuns

LIZ LITH - voices/vocals/keyboards AMYR CANTUSIO JR: synthesizers/drums/arrangements Rare digital CD, where we produced 2 CDs in a Dark Wave style with nuances of Gothic Metal and Dark Progressive Rock. Liz has a unique vocal performance and this work has no parallels in Brazil. Closer references would be Siouxie & Banshees, Colony 5, Garbage, Sisters of Mercy, but with a very unique and personalized touch. ALPHA III HOME STUDIO Campinas S.P. Brazil 2022

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LILITH-The Garden of Midnight

LILITH (Owl in the Akkadian language) Commented Historical Analyses ALPHA III PROJECT MUSIC & VIDEO: Amyr Von Bathel cantusio IMAGES FREE ILLUSTRATIONS -EDITION(Net) Editing,

SOUNDTRACK COMPOSITION, and Effects: Amyr. 

On the seventh day of Creation, God created man in his image: “in the image of God he created him; male and female he created them.” (Genesis 1:27). Such a categorical statement is a denial of the more widespread version: that man was created before woman. At this point, there are different interpretations. The first is that Adam would be an androgynous being (male and female) and that the separation of Eve represented the splitting of the original androgynous creature into two (Unterman, 1992:25). Adam’s androgyny is explained in some rabbinic texts, such as the Sepher Ha-Zohar, which contain the statement of Rabbi Abba: “The first man was male and female at the same time, for scripture says: And Elohim said: let us make man in our image and likeness (Genesis 1:26). It is precisely so that man would resemble God that he was created male and female at the same time.” PS: Elohim are “creative forces” and their sum would be the divine monad, or God. Unknown cosmic forces, but acting like gravity. Some consider the text a “group of extraterrestrial entities.” In any case, they would be the “creators.” However, there is another interpretation, which seems more fascinating to us: that, as was done with the animals, God would have created a couple: Adam and a woman who preceded Eve. This primordial woman would have been Lilith, a figure well known in ancient Jewish tradition. Lilith did not submit to male domination. Her way of demanding equality was to refuse the sexual position where the man is on top. Because of this, she fled to the Red Sea. Adam complained to the Creator, who sent three angels in search of the rebellious bride. The three angels were Sanvi, Sansavi, and Samangelaf. The emissaries of the Lord tried to convince her. They threatened to drown her in the sea. Lilith, however, replied: “Leave me, do you not know that I was not created in vain and that it is my destiny to slaughter newborns; while it is a boy I have power over him until the eighth day, if it is a girl, until the twentieth.” However, she swore to the angels, in the name of the living God, that whenever she saw the figures or even the names of God’s messengers, she would leave the child in peace. She also accepted that one hundred of her own children would perish daily.” (Gorion, :53). Lilith was transformed into a female demon, the queen of the night, who became the bride of Samael, the Lord of the forces of evil. According to an old tradition, Lilith would be a seductive figure, with long hair, who flies at night like an owl, to attack men who sleep alone. Male nocturnal emissions can signify an act of union with the demoness, capable of generating demonic offspring. Newborn children are her main victims. The belief in Lilith, for a long time, served to justify unexplained deaths of newborns. One way to protect children against the fury of the beautiful demoness is to write on the bedroom door the names of the three angels sent by the Lord. Another way is to place three ribbons on the newborn’s cradle, each bearing the name of one of the three angels. According to Unterman, on the eve of Shabbat and the New Moon, when a child smiles it is because Lilith is playing with it. To protect the child, one must gently tap the child’s nose three times, pronouncing a protective formula against Lilith. The same author states that, in the Middle Ages, it was considered dangerous to drink water during solstices and equinoxes, periods in which Lilith’s menstrual blood drips into exposed liquids. Finally, another Jewish tradition states that the legendary Queen of Sheba who visited Solomon was none other than Lilith. The wise king, however, discovered the trick by lifting the queen’s skirt and noticing that her legs were hairy. According to a Jewish legend, after the expulsion from paradise, Adam, in order to mortify himself, stayed separated from Eve for one hundred and thirty years. Since he was sleeping alone, Lilith found him and lay beside him and conceived countless demons from him. Those who encountered them were tortured and killed (Gorion, :54). There is also the belief that Lilith transformed into a serpent to tempt Eve and avenge herself against Adam. A third interpretation belongs to a Jewish tradition: “the biblical serpent was a cunning animal, which walked upright on two legs, spoke and ate the same food as man. When it saw how the angels honored Adam, it became jealous of him, and the sight of the first couple having sexual relations awakened in the serpent a desire for Eve. By instigation of Satan or Samael, or, according to some versions, possessed by him, the serpent persuaded Eve to eat the forbidden fruit and seduced her. As punishment, its hands and legs were cut off and it had to crawl on its belly; all food it ate tasted like dust, and it became the eternal enemy of man.(...) When it had sexual relations with Eve, it injected its venom into her and into all her descendants.” Expelled from paradise, Adam and Eve had, according to the canonical version, two sons: Cain and Abel (Genesis 4:1–2). The causes of the fratricide committed by Cain are well known, so we move directly to another version: “in a paroxysm of jealousy due to the rejection of his offering and because of a twin sister whom Abel married, Cain killed his brother.” We draw attention to a new element that appears here: the existence of a twin sister who had been married to Abel. Later, we will return to this subject. For now, what interests us more is the version that Cain was not actually the son of Adam, but of the serpent that had seduced Eve. Moreover, when he was banished to the east of Eden, God gave him horns to scare away animals that might attack him. His punishment consisted of wandering the earth without rest, without anyone being able to kill him. “THE SHADOW MOTHER IN THE LAND OF NOD” In the Bible, the main female archetypes are Eve, the woman who brought sin into humanity; and Mary, the woman who brought into the world the one who would save all men from sin. However, in Semitic mythology, there is a third woman whose trajectory is directly linked to the fate of humanity: Lilith, Adam’s first wife, the serpent that deceived Eve, the demon of lust. Lilith was born from stardust and moonlight. She was not made from the dust of the Earth like Eve. She was a kind of primordial spirit incarnated and had sexual relations with Adam. After the expulsion of Adam and Eve from the Garden of Eden (primordial Earth), they went to the desert regions of Nod, mentioned as the border of the Garden of Eden in several ancient manuscripts. There are some different versions of the Lilith legend. In the most accepted one among scholars of myth and based on the Talmud (one of the books considered a source of rabbinic wisdom), Lilith is created by God in the same way as Adam, that is, molded by divine hands, but from mud and feces. Both are the first couple, responsible for caring for Eden. However, over time Lilith rebels for not accepting being in an inferior position to her husband, since both were created in the image and likeness of God. The submission is also sexual, where Lilith exercises power of seduction and orgasmic entrapment over Adam, and he, in turn, lies continuously on top of her, in a sign of dominance in intercourse and relationship, which Lilith does not accept. Seeking equality, Lilith comes into conflict with her husband, challenges her subordinate position, and also challenges the Creator, having to choose between submission or leaving the Garden. She chooses the latter and goes into exile in the Red Sea, a stronghold of demons. For some time Lilith is compelled by angels to return to the Garden, but she chooses to live as a demon and permanently abandons Adam. He, saddened by the loss of his woman, falls asleep, and from his rib God creates Eve, a woman who came from man, therefore dependent and submissive to him, who would officially be Adam’s first wife, the mother of humanity (*) (*) Not truly the mother of all humanity as we know it, because when they were expelled from Paradise, they encountered other tribes wandering the Earth of Nod. After her exile to the Red Sea, Lilith returns to the Garden of Eden as a demon, and in the form of a serpent is responsible for the temptation of Eve, which led all humanity into sin. With cunning, Lilith confuses Eve and awakens in her the desire for equality, not equality with man, as the first woman once desired, but equality with God himself. Lilith is the serpent already associated with Mesopotamian legends, the demon of lust — who tempted young men sexually at night, causing erotic dreams and “nocturnal emissions” — and later, with the greater systematization of Israelite beliefs, the legend was incorporated into the idea of the Devil and his hosts. On the other hand, the myth of Lilith, originally present in Babylonian and Assyrian culture, also persisted in the oral tradition of the Hebrews and in books of wisdom considered apocryphal by Christian culture. In addition, the legend has been revisited by the study of religions, comparative mythology, psychology, astrology, and mysticism, where Lilith is the Black Moon, the hidden face of the moon. Lilith (Owl) When Eve was tempted by the serpent, the Bible does not explicitly reveal whether she was alone or with Adam, but Adam’s lack of intervention in the dialogue between her and the serpent suggests that they were alone. Eve is tempted to be like God, knowing good and evil, if she eats from the fruit of the tree of knowledge; furthermore, she would not face the penalty instituted by God for disobedience, which is death. After analyzing the fruit, the woman decides to eat it and offers it to her husband, who also eats it. Immediately both realize they are naked and hide upon hearing God’s voice (Genesis, chapter II). It is important to note that when God asks about the disobedience, Adam blames Eve and she blames the serpent. (*) Note that Lucifer was in the Garden, and Lilith was his lover. This appears in apocryphal books in greater detail. The three are punished: the serpent (Lucifer, here embodied as a lesser angel, Satan) — which according to legends had wings — would crawl forever; man would have to work to sustain himself; woman and serpent would be enemies; woman would suffer childbirth pain and be dominated by man; and finally humanity would be banished from Paradise. There is also mention of the woman’s offspring who would crush the serpent’s head, which for some theologians refers to Christ and Satan (Genesis, chapter III). Eve is then the one responsible for original sin, which, in the collective imagination, spreads to all women. It is interesting that Eve, despite being transgressive, stays with Adam to hear her sentence and fulfills it, carrying the stigma of sin, impurity, fragility, naivety, and redemptive suffering that extends to women in Christian society as something inherent to their nature. Lilith, in turn, chooses to live alone and wandering, and as a woman does not receive the punishment of motherhood, or motherhood as punishment, in the sense of labor pains and suffering, as we will later see with Mary. Thus, in addition to being blamed for human misfortune, woman (from Eve onward) is also stereotyped as one who listens to the Devil, therefore prone to being deceived by him and following his designs and tricks. This stereotype pursued women especially during the Inquisition, where being born female was already a presumption of accusations of demonic pacts in the form of witchcraft or sorcery. Lilith – Other Considerations If Eve denies her ambition and desire to be equal to God, accepting being dominated by her husband, the perfect archetype of the clumsy and submissive woman; and Mary denies her sexuality, being both mother and virgin, the maternal archetype; Lilith, on the other hand, from her creation assumes her convictions, ambitions, and sexuality, and for this reason is even the woman who frightens, dominates, and can destroy. According to descriptions from Hebrew scriptures (Torah and Midrash), Lilith appeared to Adam covered in blood and saliva. The blood mentioned in the citation above suggests menstruation, a carnal and instinctive characteristic of women, as well as Lilith’s lack of modesty and taboos, appearing freely before man, also willing to experience sexual activity during the menstrual cycle. The saliva reinforces the symbolic sexual character, referring to erotic secretions. Thus, the sensual and liberated condition within the feminine symbolic universe in Lilith becomes evident; it is this sexual agency that leads man to ecstasy and loss of control, which frightens the masculine symbolic universe expressed in Adam: therefore, he withdraws and seeks a suitable companion — that is, submissive, obedient, who feels inferior. In any case, Lilith would be a feminine archetype of independence and sensuality. She would represent the woman who is not ashamed of herself, but rather proud of being a woman, and expresses this pride through her sexuality. Lilith also demonstrates this pride by refusing to live in submission to Adam, leaving paradise to live a free life outside the male shadow, paying for it by becoming a demon. It is therefore the opposite of the model of a restrained, submissive, repentant woman whose identity is only linked to a male figure. “Lilith is the figure of the insubordinate, intellectual, present, warrior woman, feminine in every sense, and sexually active.” The consequences of the repression of Lilith’s sexuality are, among others, the dissociation between motherhood and sexuality, the double moral standard, and the control of male sexuality. (Lilith – The Black Moon – Roberto Sicuteri) Psychoanalysis According to the myth, the relations between Adam and Lilith were marked by urgency, by passion capable of dominating Adam and making him lose reason and surrender to lust. It is believed that the seduction produced by her made him distance himself from his commitments to divinity. Lilith is behind hysterical phenomena, arising from the repression of sexuality, which generates somatizations and illnesses. She is responsible for the disintegration of the family, whether projected as a seductive lover who “takes” and “steals” the husband from the wife, or projected as the rebellion of the wife who cannot tolerate her husband-Adam’s “no.” However, beyond the sexual issue, which generates many other legends and interpretations about Lilith — such as the idea that she was a demon who populated the dreams of Israelite men, causing erotic dreams and thus being the first succubus, or the mother of succubi — Lilith is also considered a demon that inhabited men’s dreams. Lilith would have received a punishment equal to her transgressions from the misogynistic Jewish point of view, since the price of her rebellion was to become a demon. Lilith was created as a woman, but her new condition prevented her from living with humanity, and according to the punishment where woman and serpent would forever be enemies, Lilith and her archetype became drastically opposed and even rivals of Eve and the model of woman she suggests. Another aspect is Lilith’s demonic reference, because if Eve is the woman who yields to the devil’s temptations, Lilith is the devil itself. Represented for centuries in literature as the mother of succubi, the wife of Lucifer, the Black Moon, and her counterparts being Demeter, Hecate, Persephone, all linked to the underworld or “Netherworld.”

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THE NICE & EMERSON LAKE AND PALMER( Special Review)

The poisoned year of 1967 gave off psychedelia, mutations, bizarre augmentations and radical insurrections in rock. In 1967, from this whirlwind also emerged the phenomenal virtuoso, master keyboardist Keith Emerson and his avant-garde group, The Nice. At the beginning they were four young men with a sound that was extremely bold and experimental, which even today sounds advanced and cannot be fully absorbed without a prior musical initiation. To understand The Nice, it is necessary, first of all, to have musical knowledge in the areas of traditional and contemporary classical music, as well as jazz and blues. All of this was mixed with great drive, creativity and pomp, making The Nice a pioneering group. Deep Purple would start in the same way and at the same time, but The Nice was more radical and erudite. In fact, conductor Jon Lord was Keith Emerson’s harmony teacher. The Nice became famous for its power-trio lineup: keyboards, bass and drums. The first LP, released in 1967, featured guitarist David O’List, the superb and virtuosic drummer Brian Davison, and the phenomenal bassist and vocalist Lee Jackson. Alongside, of course, mentor Keith Emerson. This first work is excellent, with more acidic and progressive tendencies due to the presence of O’List’s guitar, which greatly changes the overall musical expression. With the departure of this excellent guitarist, the band established the trio format for posterity, creating four more crushing albums that would mark an entire chapter in rock history. The music of The Nice is eclectic. Their compositions are generally about 10 to 15 minutes long and are based on the Hammond organ, acoustic piano (unequalled to this day), drums and bass with precise jazz-like divisions and interventions and incredible arrangements. Very difficult music to compose, rehearse and perform, as it requires a vast musical background. Emerson plays J.S. Bach, Sibelius or Beethoven just as well as Scott Joplin, rags and blues. Moreover, for keyboard players he is a reference school, especially in relation to the sonic excesses he extracts from the Hammond B-3 organ. On the piano the man is precise, with a spotless technique that is jaw-dropping. The Nice would be a pioneer of an era that would give the world the future Emerson, Lake and Palmer. It would also initiate a series of other high-level imitators, that is, a new school within rock such as Vincent Crane (Atomic Rooster), Triumvirat, Tritonus, Epidaurus, U.K., etc. The Nice would inspire King Crimson, from which an entire school of musicians emerged to make an impact in the 1970s, including bassist Greg Lake, who provides vocals and strings on the group’s first album, In the Court of the Crimson King. Lake debuted with Emerson, Lake and Palmer at the Isle of Wight Festival in August 1970. I cite here, for purposes of essential research for those interested, the essential albums of The Nice group: The Thoughts of Emerlist Davjack (1967), Ars Longa Vita Brevis (1968), The Nice (1969), Five Bridges Suite (1970), Elegy (1971). In reality, the work developed by The Nice would not even be matched by the later ELP itself, despite inevitable comparisons. ELP would be more bombastic, and Keith Emerson would make use of Moogs and more aggressive synthesizers, with fewer jazz insertions and more rock. The Nice is more purist, raw, and from a time when innovations were a major feat and risk for producers, so much so that in one of the group’s performances the indifference was so great that Emerson literally set off a bomb on stage so people would pay attention to the band’s sound. Therefore, it has always been difficult for great art to reach the masses, as the voice of the masses has never been the voice of God.

Emerson, Lake & Palmer, the epitome of the splendor of 1970s progressive rock, were one of the most successful groups of the genre, selling more than 40 million albums and filling large stadiums. They were also criticized for incorporating some of prog’s excesses. Although the trio produced several shorter, more melodic songs that received radio airplay at the time of their release, ELP’s true strength lay in epic classical rock pieces, which often occupied entire sides of albums and became the centerpiece of the trio’s increasingly grandiose live shows. As a supergroup whose members had already played in renowned English bands, ELP was seen as a success from the very beginning. The flamboyant keyboard virtuoso Keith Emerson, notable for his many synthesizers, had already achieved success in the UK with the band The Nice. Vocalist, bassist, and guitarist Greg Lake, whose unmistakable voice and catchy melodies were among ELP’s most accessible elements, had been an important member of the original lineup of King Crimson. Drummer Carl Palmer, known for augmenting his massive drum kit with gongs and other percussion instruments, had been a member of Atomic Rooster and the Crazy World of Arthur Brown. NOTE: Tarkus and Toccata are piano pieces from the pianist Alberto Ginastera(Argentine).

Pictures at an Exhibition was great LP !!The second Live Album inspired by Mussorgsky(URSS)age 19 piece.Of course full vocal arrangements by Lake its very beautiful too!!My predilect album of all.

Keith Emerson plays at first time live a Big Modular Moog Synthesizer.

ELP albums from the early 1970s, such as Emerson, Lake and Palmer, Tarkus, Trilogy, and Brain Salad Surgery, balanced longer tracks with more radio-friendly songs like “Lucky Man” and “From the Beginning,” while the fact that Pictures at an Exhibition was a classical suite spanning an entire album did not prevent it from becoming one of the top 10 best-selling albums in the United States.

The trio’s adventures reached their logical conclusion with Works, Volume I, from 1977, a double album that combined group collaborations with solo pieces, including an Emerson piano concerto that occupied an entire side of the record. That album and its sequel, Works, Volume 2, a single disc, were commercial failures, as was an enormous tour with a full orchestra, whose operating costs resulted in estimated losses of $3 million. The Works albums and tour proved to be ELP’s last major gasp. (**)Are great LPS...!!!Of course Fanfare for Common Man was a great music of the " Works Black  Double Album".Composed by Aaron Copland(  Like "Rodeo" from Trilogy great album) The "Works White Album" it's another great  music for fans,with high approach technique ,and Scot Joplin's inspirations on Ragtime.The change in public taste, including the rise of punk and new wave, made the group’s style seem outdated, and after the release of the bad Love Beach in 1978, ELP disbanded.

(*)E,L&P short review( I agree)  from Teachrock .

(**)My note

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