A New and TRUTHFUL Twist on an Old Christmas Favorite

Joey Curcio
A New and TRUTHFUL Twist on an Old Christmas Favorite

On The Twelfth Day of Saturnalia a Pagan Gave to Meeeeeeee Twelve Nimrod Statues, Eleven Pagan Yule Logs, Ten Witches Witching, Nine Eyes of Horus, Eight Deceived Catholics, Seven Brainwashed Christians, Six Spells From Osiris, Fiiiiiiiveeeeeeee Saturn Rings, Four Human Sacrifices, Three Liars Lying, Two Phony Sun God‘s, and a Lifetime Of False Realitieeeeees

Joey Curcio Christ-Mas is the so called celebration of our Messiah (Jesus ) was born. In Romans it was a celebration of his death, not of his birth. In fact the Bible tells us that the Messiah was born in the springtime, not the winter. In fact the dat…e of Christ-Mas (Dec 25) is related to the winter solstice in the Northern hemisphere. The day of December 25th is a pagan satanic holiday Nimrod the ancient Babylonian ruler and his son Tammuz is worshipped on that day, as the sun god. The Christmas tree is a pagan ritual. Nimrod the god of the Babylonians and Assyrians and his son Tammuz were symbolized in the form of palm trees after their death. Christmas and the Christmas tree was set up to hide a pagan satanic holiday. This is nothing but idol worship in your house and its an abomination to the Most High, As stated in Jeremiah 10:1-5 and Deuteronomy 7:25-26 .

Satan’s Claws (Santa Claus)
http://www.amightywind.com/hanukkah/truthchristmas2.htm

Nimrod / Baal – Sun Worship Babylonian Origins of Christmas

Xmas TRUTH!! Nimrod’s the Lord of Christmas {Santa = Satan}

Jeremiah 10:1-5 Hear ye the word which the LORD speaketh unto you, O house of Israel:
2 Thus saith the LORD, Learn not the way of the heathen, and be not dismayed at the signs of heaven; for the heathen are dismayed at them.
3 For the customs of people are vain: for one cutteth a tree out of a forest, the work of the hands of the workman, with the ax.
4 They deck it with silver and with gold; they fasten it with nails and with hammers, that it move not.
5 They are upright as the palm tree, but speak not: thy must needs be borne, because they cannot go. Be not afraid of them; for they cannot do evil, neither also is it in them to do good.

Vain- Without real significance, value, or importance; baseless or worthless.
Borne- To hold or remain firm under.

Precept to Jeremiah 10:2:
Leviticus 20:23 And ye shall not walk in the manners of the nation, which I cast out before you: for they committed all these things, and therefore I abhorred them.

Precepts to Jeremiah 10:5:
Psalms 115:4-7 Their idols are silver and gold, the work of men’s hands.
5 They have mouths, but they speak not: eyes have they, but they see not:
6 They have ears, but they hear not: noses have they, but they smell not:
7 They have hands, but they handle not: feet have they, but they walk not: neither speak they through their throat.

Habakkuk 2:19 Woe unto him that saith to the wood, Awake; to the dumb stone, Arise, it shall teach! Behold, it is laid over with gold and silver, and there is no breath at all in the midst of it.

(In verse 3 it says “For the customs of people are vain “. What this verse means is that, what people are doing have no real significance, its pointless. Also in verse 5 it says “thy must needs be borne ” . This is clearly referring to a Christmas Tree stand. See images below.)

Deuteronomy 7:25-26 The graven images of their gods shall ye burn with fire: thou shalt not desire the silver or gold that is on them, nor take it unto thee, lest thou be snared therein: for it is an abomination to the LORD thy God.

26 Neither shalt thou bring an abomination into thine house, lest thou be cursed thing like it: but thou shalt utterly detest it, and thou shalt utterly abhor it; for it is a cursed thing.

Abomination – feeling of disgust, hatred, loathing.

(In verse 25 it says that “for it is and abomination to the LORD thy God”. This verse is letting us know that the Most High hates such an act when one bring a Christmas tree in their House. In verse 26 it says “Neither shalt thou bring an abomination into thine house, lest thou be cursed thing like it:” This is a very clear statement that means, simply do not bring these false images and deities into your house, unless you want to be cursed like them.)

The Awful Truth About Santa and Christmas
http://www.amightywind.com
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Joey Curcio MISTLETOE
The mistletoe of the sacred oak was especially sacred to the ancient Celtic Druids. On the sixth night of the moon white-robed Druid priests would cut the oak mistletoe with a golden sickle. Two white bulls would be sacrificed amid prayers that the recipients of the mistletoe would prosper. The custom of using mistletoe to decorate houses at Christmas is a survival of the Druid and other pre-Christian traditions.” It was yet another instance where Christmas has strong ties with false religious, pagan practices.

THE YULE LOG
The custom of burning the yule log began with the ancient Scandinavians who once a year burned a huge log in honor of their god Thor. After they became Christians, they made the yule log an important part of their Christmas ceremonies. This was burned in honor of their child-god and the next day after the burning of the log they would set up a tree decorated and surrounded with presents. This represented new life.

I think it is obvious that Thor is a heathen god and any ties to him are ties to false religion.

HOLLY
This time of year for the pagans was to mourn their “Holly king” who died around the 21st of December. Also the Teutonic peoples placed holly and other evergreens inside their houses to protect from evil spirits and bad winter weather.

SANTA CLAUS
And what of Jolly St. Nick? He is an innocent happy, jolly being right? Names after patron saint St. Nicholas right? Well, the only two things that modern St. Nick can claim from the real St. Nicholas are his name and his kindness to children. From there, the rest of the myth and tradition was added to mostly from the pagan god Thor. Thor lived up north at the top of the world in the Polar Regions. He battled ice and snow to come to our parts of the world. He had a sleigh that was driven by goats. He doled out punishments to bad children and presents to well behaved children. (Knows if you have been naughty or nice)

Two of his reindeer are named after pagan gods. Cupid (god of sexual love) and Donner (god of thunder). Many pagan cultures worshiped a hearth god who wore red, entered the house through the chimney, blessed those who pleased him and cursed those who didn’t. Food was left to appease this god. Taiwan still has a hearth god that appears on the 24th day of the 12th month to report the status of mankind to the heavens. Leaving the milk and cookies to St. Nick under the tree dates back far enough that Ezekiel warns against it…

Ezekiel 6:13
That they offered sweet savours to their idols under every green tree.”

WREATHS
The wreath was a pagan tradition indicating the circle of life: Birth and death. Also the Teutonic peoples placed holly and other evergreens inside their houses to protect from evil spirits and bad winter weather

Many Christians when faced with these truths state that it is okay though because they don’t use these things for those purposes, that the item is now Christian, that we took it over and changed it’s meaning. They use them to worship Jesus and celebrate His birth.

To this I say, “Why don’t you wear a pentagram necklace, say that it reminds you of the star of Bethlehem or hang upside down crosses in your house saying that you are upside down without Jesus and it reminds you of that. Or start talking to Jesus through trees, after all since God is omnipresent then he is in the Trees.” That argument is insane.

Your friends would think you were nuts and in some churches you would not even be allowed to enter the doors. Probably rightly so. This is preposterous to many of you because they are clearly pagan symbols, yet you accept the use of these other pagan symbols simply because other Christians were weak and fell before you. We can not take a symbol that is from satan and put a mask of Christianity over it and call it good.

The Story Of Nimrod, As It Relates To Christmas And Easter

December 25th was the birthday of Nimrod. It is from this myth, created by a woman living in an incestual relationship with one of the most wicked men that ever lived on the earth, that we get the original Christmas tree.

Nimrod built the tower of Babel, the original Babylon, ancient Nineveh, and many other cities. He organized this world’s first kingdom. The name Nimrod, in Hebrew, is derived from “Marad,” meaning “he rebelled.” From many ancient writings, considerable is learned of this man, who started the great organized worldly apostasy from God that has dominated this world until now. Nimrod was so evil, it is said he married his own mother, whose name was Semiramis. After Nimrod’s untimely death, his so-called mother-wife, Semiramis, propagated the evil doctrine of the survival of Nimrod as a spirit being.

She claimed a full-grown evergreen tree sprang overnight from a dead tree stump, which symbolized the springing forth unto new life the dead Nimrod. On each anniversary of his birth, she claimed, Nimrod would visit the evergreen tree and leave gifts upon it. December 25th was the birthday of Nimrod. This is the real origin of the Christmas tree. Through her scheming and designing, Semiramis became the Baby Babylonian “Queen of Heaven,” and Nimrod, under various names, became the “divine son of heaven.”

After her death, Semiramis was worshipped as the “Queen of Heaven”, and Nimrod, under various names, became the “divine son of heaven”.

MOTHER AND CHILD
Through the generations, in this idolatrous worship, Nimrod also became the false Messiah, son of Baal the Sun-god. In this false Babylonian system, the “Mother and Child” (Semiramis and Nimrod reborn) became chief objects of worship. This worship of “Mother and Child” spread over the world. The names varied in different countries and languages. In Egypt it was Isis and Osiris. In Asia, Cybele and Deoius. In pagan Rome, Fortuna and Jupiterpuer. Even in Greece, China, Japan, Tibet is to be found the counterpart of the Madonna, long before the birth of Christ!

Thus, during the fourth and fifth centuries, when the pagans of the Roman world were “accepting” the new popular “Christianity” by the hundreds of thousands, carrying their old pagan customs and beliefs along with them, merely cloaking them with Christian-sounding names, the Madonna and “Mother and Child” idea also became popularized, especially at Christmas time. Every Christmas season you’ll hear sung and chanted dozens of times the hymn “Silent Night, Holy Night,” with its familiar “Mother and Child” theme. We, who have been born in such a Babylonian world, reared and steeped in these things all our lives, have been taught to revere these things as holy and sacred. We never questioned to see where they came from — whether they came from the Bible, or from pagan idolatry!

 

Is Bob Marley a Christian?

Yes, but definitely not the way you’re thinking…

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Bob Marley

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Biography
Bob Marley was a hero figure, in the classic mythological sense. His departure from this planet came at a point when his vision of One World, One Love — inspired by his belief in Rastafari — was beginning to be heard and felt. The last Bob Marley and the Wailers tour in 1980 attracted the largest audiences at that time for any musical act in Europe.Bob’s story is that of an archetype, which is why it continues to have such a powerful and ever-growing resonance: it embodies political repression, metaphysical and artistic insights, gangland warfare and various periods of mystical wilderness. And his audience continues to widen: to westerners Bob’s apocalyptic truths prove inspirational and life-changing; in the Third World his impact goes much further. Not just among Jamaicans, but also the Hopi Indians of New Mexico and the Maoris of New Zealand, in Indonesia and India, and especially in those parts of West Africa from wihch slaves were plucked and taken to the New World, Bob is seen as a redeemer figure returning to lead this.In the clear Jamaican sunlight you can pick out the component parts of which the myth of Bob Marley is comprised: the sadness, the love, the understanding, the Godgiven talent. Those are facts. And although it is sometimes said that there are no facts in Jamaica, there is one more thing of which we can be certain: Bob Marley never wrote a bad song. He left behind the most remarkable body of recorded work. “The reservoir of music he has left behind is like an encyclopedia,” says Judy Mowatt of the I-Threes. “When you need to refer to a certain situation or crisis, there will always be a Bob Marley song that will relate to it. Bob was a musical prophet.”

The tiny Third World country of Jamaica has produced an artist who has transcended all categories, classes, and creeds through a combination of innate modesty and profound wisdom. Bob Marley, the Natural Mystic, may yet prove to be the most significant musical artist of the twentieth century.

Bob Marley gave the world brilliant and evocative music; his work stretched across nearly two decades and yet still remains timeless and universal. Bob Marley & the Wailers worked their way into the very fabric of our lives.

“He’s taken his place alongside James Brown and Sly Stone as a pervasive influence on R & B”, says the American critic Timothy White, author of the acclaimed Bob Marley biography CATCH A FIRE: THE LIFE OF BOB MARLEY. “His music was pure rock, in the sense that it was a public expression of a private truth.”

It is important to consider the roots of this legend: the first superstar from the Third World, Bob Marley was one of the most charismatic and challenging performers of our time and his music could have been created from only one source: the street culture of Jamaica.

The days of slavery are a recent folk memory on the island. They have permeated the very essence of Jamaica’s culture, from the plantation of the mid-nineteenth century to the popular music of our own times.

Although slavery was abolished in 1834, the Africans and their descendants developed their own culture with half-remembered African traditions mingled with the customs of the British.

This hybrid culture, of course, had parallels with the emerging black society in America. Jamaica, however, remained a rural community which, without the industrialisation of its northern neighbour, was more closely rooted to its African legacy.

By the start of the twentieth century that African heritage was given political expression by Marcus Garvey, a shrewd Jamaican preacher and entrepreneur who founded the Universal Negro Improvement Association (UNIA). The organisation advocated the creation of a new black state in Africa, free from white domination. As the first step in this dream, Garvey founded the Black Star Line, a steamship company which, in popular imagination at least, was to take the black population from America and the Caribbean back to their homeland of Africa.

A few years later, in 1930, Ras Tafari Makonnen was crowned Emperor of Ethiopia and took a new name, Haile Selassie, The Emperor claimed to be the 225th ruler in a line that stretched back to Menelik, the son of Solomon and Sheba.

The Marcus Garvey followers in Jamaica, consulting their New Testaments for a sign, believed Haile Selassie was the black king whom Garvey had prophesied would deliver the Negro race. It was the start of a new religion called Rastafari.

Fifteen years later, in Rhoden Hall to the north of Jamaica, Bob Marley was born. His mother was an eighteen-year-old black girl called Cedella Booker while his father was Captain Norval Marley, a 50-year-old white quartermaster attached to the British West Indian Regiment.

The couple married in 1944 and Robert Nesta Marley was born on February 6, 1945. Norval Marley’s family, however, applied constant pressure and, although he provided financial support, the Captain seldom saw his son who grew up in the rural surroundings of St. Ann to the north of the island.

For country people in Jamaica, the capital Kingston was the city of their dreams, the land of opportunity. The reality was that Kingston had little work to offer, yet through the Fifties and Sixties, people flooded to the city. The newcomers, despite their rapid disillusion with the capital, seldom returned to the rural parishes. Instead, they squatted in the shanty towns that grew up in western Kingston, the most notorious of which was Trench town (so named because it was built over a ditch that drained the sewage of old Kingston.)

Bob Marley, barely into his teens, moved to Kingston in the late Fifties. Like many before them, Marley and his mother eventually settled in Trenchtown. His friends were other street youths, also impatient with their place in Jamaican society. One friend in particular was Neville O’Riley Livingston, known as Bunny, with whom Bob took his first hesitant musical steps.

The two youths were fascinated by the extraordinary music they could pick up from American radio stations. In particular there was one New Orleans station broadcasting the latest tunes by such artists as Ray Charles, Fats Domino, Curtis Mayfield and Brook Benton. Bob and Bunny also paid close attention to the black vocal groups, such as the Drifters, who were extremely popular in Jamaica.

When Bob quit school he seemed to have but one ambition: music. Although he took a job in a welding shop, Bob spent all his free time with Bunny, perfecting their vocal abilities. They were helped by one of Trench Town’s famous residents, the singer Joe Higgs who held informal lessons for aspiring vocalists in the tenement yards. It was at one of those sessions that Bob and Bunny met Peter McIntosh, another youth with big musical ambitions.

In 1962 Bob Marley auditioned for a local music entrepreneur called Leslie Kong. Impressed by the quality of Bob’s vocals, Kong took the young singer into the studio to cut some tracks, the first of which, called “Judge Not”, was released on Beverley’s label. It was Marley’s first record.
The other tunes — including “Terror” and “One Cup of Coffee” — received no airplay and attracted little attention. At the very least, however, they confirmed Marley’s ambition to be a singer. By the following year Bob had decided the way forward was with a group. He linked up with Bunny and Peter to form The Wailing Wailers.

The new group had a mentor, a Rastafarian hand drummer called Alvin Patterson, who introduced the youths to Clement Dodd, a record producer in Kingston. In the summer of 1963 Dodd auditioned The Wailing Wailers and, pleased with the results, agreed to record the group.

It was the time of ska music, the hot new dance floor music with a pronounced back-beat. Its origins incorporated influences from Jamaica’s African traditions but, more immediately, from the heady beats of New Orleans’ rhythm & blues disseminated from American radio stations and the burgeoning sound systems on the streets of Kingston. Clement – Sir Coxsone – Dodd was one of the city’s finest sound system men.

The Wailing Wailers released their first single, “Simmer Down”, on the Coxsone label during the last weeks of 1963. By the following January it was number one in the Jamaican charts, a position it held for the next two months. The group — Bob, Bunny and Peter together with Junior Braithwaite and two back-up singers, Beverly Kelso and Cherry Smith — were big news.

“Simmer Down” caused a sensation in Jamaica and The Wailing Wailers began recording regularly for Coxsone Dodd’s Studio One Company. The groups’ music also found new themes, identifying with the Rude Boy street rebels in the Kingston slums. Jamaican music had found a tough, urban stance.

Over the next few years The Wailing Wailers put out some thirty sides that properly established the group.

Despite their popularity, the economics of keeping the group together proved too much and the three other members — Junior Braithwaite, Beverly Kelso and Cherry Smith — quit. Bob’s mother, Cedella, had remarried and moved to Delaware in the United States where she had saved sufficient money to send her son an air ticket. The intention was for Bob to start a new life. But before he moved to America, Bob met a young girl called Rita Anderson and, on February 10, 1966, they were married.

Marley’s stay in America was short-lived. He worked just enough to finance his real ambition: music. In October 1966 Bob Marley, after eight months in America, returned to Jamaica. It was a formative period in his life. The Emperor Haile Selassie had made a state visit to Jamaica in April that year. By the time Bob re-settled in Kingston the Rastafarian movement had gained new credence.

Marley was increasingly drawn towards Rastafari. In 1967 Bob’s music reflected his new beliefs. Gone were the Rude Boy anthems; in their place was a growing commitment to spiritual and social issues, the cornerstone of his real legacy.

Marley joined up with Bunny and Peter to re-form the group, now known as The Wailers. Rita, too, had started a singing career, having a big hit with “Pied Piper”, a cover of an English pop song. Jamaican music, however, was changing. The bouncy ska beat had been replaced by a slower, more sensual rhythm called rock steady.

The Wailers new commitment to Rastafarianism brought them into conflict with Coxsone Dodd and, determined to control their own destiny, the group formed their own record label, Wail ‘N’ Soul. Despite a few early successes, however, the Wailers’ business naivete proved too much and the label folded in late 1967.

The group survived, however, initially as songwriters for a company associated with the American singer Johnny Nash who, the following decade, was to have an international smash with Marley’s “Stir It Up”. The Wailers also met up with Lee Perry, whose production genius had transformed recording studio techniques into an art form.

The Perry/Wailers combination resulted in some of the finest music the band ever made. Such tracks as “Soul Rebel”, “Duppy Conqueror”, “400 Years” and “Small Axe” were not only classics, but they defined the future direction of reggae.

In 1970 Aston ‘Family Man’ Barrett and his brother Carlton (bass and drums respectively) joined the Wailers. They had been the rhythm nucleus of Perry’s studio band, working with the Wailers on those ground-breaking sessions. They were also unchallenged as Jamaica’s hardest rhythm section, a status that was to remain undiminished during the following decade. The band’s reputation was, at the start of the Seventies, an extraordinary one throughout the Caribbean. But internationally the Wailers were still unknown.

In the summer of 1971 Bob accepted an invitation from Johnny Nash to accompany him to Sweden where the American singer had taken a filmscore commission. While in Europe Bob secured a recording contract with CBS which was also, of course, Nash’s company. By the spring of 1972 the entire Wailers were in London, ostensibly promoting their CBS single “Reggae on Broadway”. Instead they found themselves stranded in Britain.

As a last throw of the dice Bob Marley walked into the Basing Street Studios of Island Records and asked to see its founder Chris Blackwell. The company, of course, had been one of the prime movers behind the rise of Jamaican music in Britain; indeed Blackwell had launched Island in Jamaica during the late fifties.

By 1962, however, Blackwell had realised that, by re-locating Island to London, he could represent all his Jamaican rivals in Britain. The company was re-born in May, 1962, selling initially to Britain’s Jamaican population centered mostly in London and Birmingham.

The hot ska rhythm, however, quickly became established as a burgeoning dance floor beat with the then growing Mod culture and, in 1964, Blackwell produced a worldwide smash with ‘My Boy Lollipop’, a pop/ska tune by the young Jamaican singer Millie.

Through the Sixties Island had grown to become a major source of Jamaican music, from ska and rock steady to reggae. The company had also embraced white rock music, with such bands and artists as Traffic, Jethro Tull, King Crimson, Cat Stevens, Free and Fairport Convention so, when Bob Marley made his first moves with Island in 1971, he was connecting with the hottest independent in the world at that time.

Blackwell knew of Marley’s Jamaican reputation. The group was offered a deal unique in Jamaican terms. The Wailers were advanced £4000 to make an album and, for the first time, a reggae band had access to the best recording facilities and were treated in much the same way as, say, their rock group contemporaries. Before this deal, it was considered that reggae sold only on singles and cheap compilation albums. The Wailers’ first album “Catch A Fire” broke all the rules: it was beautifully packaged and heavily promoted. It was the start of a long climb to international fame and recognition.

Years later the acclaimed reggae dub poet Linton Kwesi Johnson, commenting on “Catch A Fire”, wrote: “A whole new style of Jamaican music has come into being. It has a different character, a different sound. . . what I can only describe as International Reggae. It incorporates elements from popular music internationally: rock and soul, blues and funk. These elements facilitated a breakthrough on the international market.”

Although “Catch A Fire” was not an immediate hit, it made a considerable impact on the media. Marley’s hard dance rhythms, allied to his militant lyrical stance, came in complete contrast to the excesses of mainstream rock. Island also decided The Wailers should tour both Britain and America; again a complete novelty for a reggae band.

Marley and the band came to London in April 1973, embarking on a club tour which hardened The Wailers as a live group. After three months, however, the band returned to Jamaica and Bunny, disenchanted by life on the road, refused to play the American tour. His place was taken by Joe Higgs, The Wailers’ original singing teacher.

The American tour drew packed houses and even included a weekend engagement playing support to the young Bruce Springsteen. Such was the demand that an autumn tour was also arranged with seventeen dates as support to Sly & The Family Stone, then the number one band in black American music.

Four shows into the tour, however, The Wailers were taken off the bill. It seems they had been too good; support bands should not detract from the main attraction. The Wailers nevertheless made their way to San Francisco where they broadcast a live concert for the pioneering rock radio station, KSAN.

The bulk of that session was finally made available in February 1991, when Island released the commemorative album, “Talkin’ Blues”.

In 1973 The Wailers also released their second Island album, “Burnin'”, an LP that included new versions of some of the band’s older songs: “Duppy Conqueror”, for instance, “Small Axe” and “Put It On” — together with such tracks as “Get Up Stand Up” and “I Shot The Sheriff”. The latter, of course, was a massive worldwide hit for Eric Clapton the following year, even reaching number one in the U.S. singles’ chart.

In 1974 Marley spent much time of his time in the studio working on the sessions that eventually provided “Natty Dread”, an album that included such fiercely committed songs as “Talkin’ Blues”, “No Woman No Cry”, “So Jah Seh”, “Revolution”, “Them Belly Full (But We Hungry)” and “Rebel Music (3 o’clock Roadblock)”. By the start of the next year, however, Bunny and Peter had quit the group; they were later to embark on solo careers (as Bunny Wailer and Peter Tosh) while the band was re-named Bob Marley & The Wailers.

“Natty Dread” was released in February 1975 and, by the summer, the band was on the road again. Bunny and Peter’s missing harmonies were replaced by the I-Threes, the female trio comprising Bob’s wife Rita together with Marcia Griffiths and Judy Mowatt. Among the concerts were two shows at the Lyceum Ballroom in London which, even now, are remembered as highlights of the decade.

The shows were recorded and the subsequent live album, together with the single “No Woman No Cry”, both made the charts. Bob Marley & The Wailers were taking reggae into the mainstream. By November, when The Wailers returned to Jamaica to play a benefit concert with Stevie Wonder, they were obviously the country’s greatest superstars.

“Rastaman Vibration”, the follow-up album in 1976, cracked the American charts. It was, for many, the clearest exposition yet of Marley’s music and beliefs, including such tracks as “Crazy Baldhead”, “Johnny Was”, “Who the Cap Fit” and, perhaps most significantly of all, “War”, the lyrics of which were taken from a speech by Emperor Haile Selassie.

Its international success cemented Marley’s growing political importance in Jamaica, where his firm Rastafarian stance had found a strong resonance with the ghetto youth.

By way of thanking the people of Jamaica, Marley decided on a free concert, to be held at Kingston’s National Heroes Park on December 5, 1976. The idea was to emphasise the need for peace in the slums of the city, where warring factions had brought turmoil and murder.

Just after the concert was announced, the government called an election for December 20. The campaign was a signal for renewed ghetto war and, on the eve of the concert, gunmen broke into Marley’s house and shot him.

In the confusion the would-be assassins only wounded Marley, who was hastily taken to a safe haven in the hills surrounding Kingston. For a day he deliberated playing the concert and then, on December 5, he came on stage and played a brief set in defiance of the gunmen.

It was to be Marley’s last appearance in Jamaica for nearly eighteen months. Immediately after the show he left the country and, during early 1977, lived in London where he recorded his next album, Exodus.

Released in the summer of that year, Exodus properly established the band’s international status. The album remained on the UK charts for 56 straight weeks, and its three singles – “Exodus”, “Waiting in Vain” and “Jammin” – were all massive sellers. The band also played a week of concerts at London’s Rainbow Theatre; their last dates in the city during the seventies.

In 1978 the band capitalised on their chart success with “Kaya”, an album which hit number four in the UK the week after release. That album saw Marley in a different mood; a collection of love songs and, of course, homages to the power of ganja. The album also provided two chart singles, “Satisfy My Soul” and the beautiful “Is This Love”.

There were three more events in 1978, all of which were of extraordinary significance to Marley. In April, he returned to Jamaica to play the One Love Peace Concert in front of the Prime Minister Michael Manley and the Leader of the Opposition Edward Seaga.

He was then invited to the United Nations in New York to receive the organisation’s Medal of Peace. At the end of the year Bob also visited Africa for the first time, going initially to Kenya and then on to Ethiopia, spiritual home of Rastafari.

The band had earlier toured Europe and America, a series of shows that provided a second live album, “Babylon By Bus”. The Wailers also broke new ground by playing in Australia, Japan and New Zealand: truly international style reggae.

“Survival”, Bob Marley’s ninth album for Island Records, was released in the summer of 1979. It included “Zimbabwe”, a stirring anthem for the soon-to-be liberated Rhodesia, together with “So Much Trouble In The World”, “Ambush In The Night” and “Africa Unite”; as the sleeve design, comprising the flags of the independent nations, indicated, “Survival” was an album of pan-African solidarity.

At the start of the following year — a new decade — Bob Marley & The Wailers flew to Gabon where they were to make their African debut. It was not an auspicious occasion, however, when the band discovered they were playing in front of the country’s young elite. The group, nevertheless, was to make a quick return to Africa, this time at the official invitation to the government of liberated Zimbabwe to play at the country’s Independence Ceremony in April, 1980. It was the greatest honour ever afforded the band, and one which underlined the Wailer’s importance in the Third World.

The band’s next album, “Uprising”, was released in May 1980. It was an instant hit, with the single, “Could You Be Loved” a massive worldwide seller. Uprising also featured “Coming In From the Cold”, “Work” and the extraordinary closing track, “Redemption Song”.

The Wailers embarked on a major European tour, breaking festival records throughout the continent. The schedule included a 100,000-capacity crowd in Milan, the biggest show in the band’s history. Bob Marley & The Wailers, quite simply, were the most important band on the road that year and the new Uprising album hit every chart in Europe. It was a period of maximum optimism and plans were being made for an American tour, in company with Stevie Wonder, that winter.

At the end of the European tour Marley and the band went to America. Bob played two shows at Madison Square Garden but, immediately afterwards, was taken seriously ill.

Three years earlier, in London, Bob hurt a toe while playing football. The wound had become cancerous and was belatedly treated in Miami, yet it continued to fester. By 1980 the cancer, in its most virulent form, had begun to spread through Marley’s body.

He fought the disease for eight months, taking treatment at the clinic of Dr. Joseph Issels in Bavaria. Issels’ treatment was controversial and non-toxic and, for a time anyway, Bob’s condition seemed to stabilise.

Eventually, however, the battle proved too much. At the start of May, Bob Marley left Germany for his Jamaican home, a journey he did not complete.

He died in a Miami hospital on Monday May 11, 1981.

The previous month, Marley had been awarded Jamaica’s Order Of Merit, the nation’s third highest honour, in recognition of his outstanding contribution to the country’s culture.

On Thursday May 21, 1981, the Hon. Robert Nesta Marley O.M. was given an official funeral by the people of Jamaica. Following the service – attended by both the Prime Minister and the Leader of the Opposition – Marley’s body was taken to his birthplace at Nine Mile, on the north of the island, where it now rests in a mausoleum. Bob Marley was 36-years-old. His legend, however, has conquered the years.

On Friday 13 September 17 years ago 2Pac “Makaveli” Shakur dead

Received mortal gunshot wounds two months before release of “Killuminati” album.

Photo

The Singer/Songwriter of “Dear Mama” (http://www.youtube.com/watch?v=Mb1ZvUDvLDY), while in the critical care unit, on the afternoon of Friday, September 13, 1996, died of internal bleeding; doctors attempted to revive him but could not stop the hemorrhaging. His mother, Afeni, made the decision to tell the doctors to stop. He was pronounced dead at 4:03 pm (PDT). The official cause of death was noted as respiratory failure and cardiopulmonary arrest in connection with multiple gunshot wounds. Shakur’s body was cremated the next day and some of his ashes were later mixed with marijuana and smoked by members of the Outlawz. His fifth album, The Don Killuminati: The 7 Day Theory was released two months later.

2pac

The official Facebook page of Tupac Shakur’s estate, committed to his memory.

Read whole section/article: http://en.wikipedia.org/wiki/Tupac_Shakur#Death

Boston Marathon Hero Carlos Arredondo, “Boston’s Cowboy ran toward the victims of bombs to help.

I had to reblog this story about the Boston Marathon Hero Carlos Arredondo, “Boston’s Cowboy who ran toward the victims of bombs to help.  His story brings tears to my eyes knowing all that this man and his family have gone through and he still has a heart to give back to humanity and the love to help others.  I had to dedicate the song

Bonnie Tyler – I Need a Hero (Lyrics)

to Carlos the Boston Marathon Cowboy.

Copied from http://intellihub.com/2013/04/17/peace-activist-carlos-arredondo-boston-marathon-attendee-came-to-victims-rescue/

As soon as the bombs exploded, Carlos ran toward the victims to help in any way. He can be seen here applying a tourniquet technique in order to save a victim’s leg. In an interview where he is clearly in shock and still covered in the blood of those he saved, he describes his terrifying experience.

Carlos Arredondo (Photo: The Daily Mail)

Carlos Arredondo (Photo: The Daily Mail)

by Ryan J. Suto

Policy Mic
April 17, 2013

“You watch the videos of the carnage and there are people running TOWARDS the destruction to help out.” – Patton Oswalt

Much has been written about Carlos Arredondo, “Boston’s Cowboy,” who has been ubiquitous in photographs and videos from yesterday’s tragic terrorist attack. But his story deserves to be retold.

Born in Costa Rica, Carlos came to America a self-employed handyman. A father of two, his oldest son, Alexander, joined the Marines because he was “Too poor to go to college,” his stepmother stated. In 2004 Alexander was killed in Iraq at 20 years of age. Distraught, Carlos and his wife became ardent peace activists. They wished to spare other families the tragedy that had befallen them. At present, 6,648 Americans have died in Iraq and Afghanistan.

But the wars have taken lives at home, as well. In late 2011 his remaining son, Brian, who never fully recovered from the loss of his brother, committed suicide. While Brian never served in the military, the effect of war on families has been heavy during the past decade. Eighteen veterans a day commit suicide. Less is known about the families they leave behind. Facing yet another unimaginably tragic loss, Carlos and Melida re-directed their energies to the cause of suicide awareness, especially those which are military-related.

While Carlos is also a Red Cross volunteer, he was at the Boston Marathon Monday primarily to support John Mixon, who was running in Alexander’s honor. As soon as the bombs exploded, Carlos ran toward the victims to help in any way. He can be seen here (use discretion) applying a tourniquet technique in order to save a victim’s leg. In an interview where he is clearly in shock and still covered in the blood of those he saved, he describes his terrifying experience.

The story of Carlos Arredondo has been inextricably linked to political questions Americans have been wrestling with for years: immigration, education costs, war, mental health, and the recent cases of mass violence. Because of this, many of us can find a personal connection to the Arredondo family. We can all put ourselves in their shoes. This is why it is powerful.

But why it is important is because Carlos displays the amazing resiliency of the human spirit to keep fighting. He has not shied in the face of adversity and tragedy. Instead, he and Melida have worked for nearly a decade to try to make this world a safer place. And yesterday Carlos unflinchingly put himself in harm’s way to save the victims of senseless violence.

Soon our nation will go through yet another round of mourning, followed by finger-pointing and political deadlock. While this is going on here in Washington, remember the story of the Arredondo family. That same human resilience and heroism Carlos has shown runs through each and every one of us. Ask yourself, how can I make this world a better place? While you may feel small, every individual can have a part in mending the wounds of our society.

And trust me, we are going to need all the help we can get.

“Fiasco at Obamanation Inauguration”

SHORT STORY ABOUT THE POWER OF TRUTH IN MUSIC.
Lupe Fiasco, rapper, political atheist, dragged offstage, dragged off YouTube, hated by all media.
(Warning: a measure of Satanism that has come to typify our era’s popular music shows in his performances/videos.)

The end of free speech? Live in Washington, D.C.: raw footage of Lupe Fiasco being shut down for expressing his views through rap lyrics

The whole song

Notice how they should have known the lyrics but let him perform. It has been advanced that he was removed because his production was poorly received, even that he simply “sucked.” Also note his Satanic gesticulations. Is Lupe Fiasco an agent provocateur? Is this Obama’s way of establishing fear while setting up a dichotomy of evil vs. evil?

All About DCP Hip Hop, Revolutionary Music with a cause that will Inspire You.

DCP / Bio

DCP

Rank #1Colchester, UKHip Hop / Political Hip Hop / DubStep

DCP Music presents #occupymusic. Revolutionary Hip Hop, with a cause. Extremely Powerful Lyrics Designed to Move or Inspire You. Always banging out new beats. Share it with your friends if your a brother or a sister of the solution. one love. DCP
Occupy London Music Is Fresh and Revolutionary 

by Natalie Kay Pearce

This song is fantastic! A true capture of the emotions involved in the Occupy protests. DCP’s use of lyrical content is excellent. It’s a very descriptive revolutionary track. All proceeds from this track go to the Occupy London protest to buy blankets and other essentials. If you truely care about the planet, you will love and respect DCP for his selfless expressions of the world. His mission is clear. Educate yourself and get involved in the revolution. Stop the financial terrorists. And, if you like hiphop this is some of the freshest and most talented music being created at the moment. I just wish there were more artists like DCP.

Birthday January 1, 19??

Sex Male

Interested In Women
Languages GermanRussianRomanian,BulgarianPolishItalian,ChineseJapaneseLatvian,DutchIrishScottishWomen’s,Pig Latin and Egypt hyroglific

Religious Views live fast die hard

Political Views Love first ask questions later – http://www.youtube.com/watch?v=mg-CYdT0dDQ

Favorite Quotations

is everything really bigger in america? do you have any american in you? … and anything that ends in me getting chased down the street by fat girls… hahahah boots swinging hahahahIt is not the critic who counts, not the man who points out how the strong man stumbled, or where the doer of deeds could have done better. The credit belongs to the man who is actually in the arena; whose face is marred by the dust and sweat and blood; who strives valiantly; who errs and comes short again and again; who knows the great enthusiasms, the great devotions and spends himself in a worthy cause; who at the best, knows in the end the triumph of high achievement, and who, at worst, if he fails, at least fails while daring greatly; so that his place shall never be with those cold and timid souls who know neither victory or defeat. –Theodore Roosevelt

Contact Info

History by Year

2012

GENERAL INFO

Band Members:
Durka
Artist Name:
DCP
Home Page:
http://www.reverbnation.com/dcphiphop
Genres:
Hip Hop / Political Hip Hop / DubStep

Location:

Colchester, UK

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