Branch Out 2014 - Step Three - Speak Up!

Step Three: Speak Up! An activity that explores the diversity of cultural resistance and how it is linked with adolescents and youth cultures.

12 months 6 steps 1 global movement

Branch Out Branch Out is the International Junior Branch project on the Content Area of the year of 2014 for CISV: Diversity. The project is composed by six steps that will be launched throughout the year, exploring different themes within the topic area of Diversity. Branch Out encourages participants to develop their perception towards their own identity and towards different communities.

In each step Branch Out will provide you with one ready-to-run educational activity and resources related to it.

Step Three: Speak Up! Speak Up! is the third Step of Branch Out. It explores the diversity of cultural resistance and how it is linked with adolescents and youth cultures. Speak Up! is a ready-to-run activity with a multimedia approach to give an insight into diverse youth cultures. As usual there is a further reading section with old and recent articles.

Why should we discuss cultural resistance and youth cultures?

Cultural Resistance is the practice of using meanings and symbols to question and fight against a dominant power. Many cultural resistance movements and youth cultures play a role, subsconcious or not, in media, news or even in everyones local community. Diversity “explores the identity of the individual and then asks us to consider ourselves within our own and the wider community” (from CISV’s educational principles).

Discussing cultural resistance and youth cultures helps us to understand different ways on how people express their identities and how they try to provoke change in their community. That’s why Branch Out stimulates a discussion on the importance and role of cultural resistance and youth cultures for our 2014 content area, Diversity.

Attitudes: •Willingness to discover cultural resistance movements.

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Knowledge:

Skills: •Ability to discern the meanings behind different cultural resistance movements and relate the issues to the social, political and economic factors that affect them.

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•Having knowledge of different cultural resistance movements, what defines them and what their issues are.

•Understanding the potential and actual impacts of those movements in their communities.

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The activity • Time: 80 - 90 minutes • Number of participants: Unlimited • Preparation needed:

- Select up to four songs from this playlist (available on youtube [http://goo.gl/hNIC3t] and spotify [http://goo.gl/eN2223]). You’ll need speakers to play them during the DO part of the activity. If you are planning to play them straight from the playlist, make sure there is internet available. Otherwise, remember to download them in advance.

- Print a few versions of the lyrics and the short explanation for each of the selected songs, which can be found in the attachments.

- Print a few versions of the summarized article nedded for the GENERALIZE part of the activity, which can be found in the attachments.

-Prepare four graphs according to the following model. They could be either drawn on the floor, on a board or on a big sheet of paper. Instead, you could use pieces of masking tape to create the axis.

X axis (horizontal) = How much you identify with the topic and the musical style of the song (On the left: “I do not identify with the song” On the right: “I identify strongly with the song”) Y axis (vertical) = How much do you relate the song to the idea of “resistance”?

(At the bottom: “To me, the song does not relate to the idea of resistance.”

On the top: “To me, the song relates a lot to the idea of resistance”)

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1. Introduction (10-15 minutes) The idea behind this exercise is that participants understand the diversity of ways cultural resistance can happen and also that music is only one of the various forms of resisting.

Initially, the facilitator should read out loud the following definition: “Cultural resistance is the practice of using meanings and symbols to question and fight against a dominant power”, (adapted from Blackwell Reference Online). After that, he/she should ask participants to think about an example of cultural resistance in their country or somewhere else and then some of them should share their thoughts with the group.

In the sequence, the participants should brainstorm answers to the following: in what ways can people express their opinions? Some possible answers might be: through art, demonstrating, music, etc. Suggestion for the brainstorming: the answers could be written down on a board or a big sheet of paper or participants could write their answers on sticky notes and attach them on a wall.

Before the next step, we suggest the facilitator to make a clear connection between music and cultural resistance, explaining that music can be one form of resistance.

2. Do (20-25 minutes) In pairs, participants will receive a printed version of the translated lyrics. Participants will listen to 4 songs previously selected by the facilitator from the playlist. Before each song, the facilitator should read the short paragraph that explains that artist/song. While participants listen to each song, they should read the lyrics.

3. Reflect (15 minutes) Right after each song, participants should move to one of the 4 displayed graphs. They should place a post-it or draw a small spot somewhere in the graph to represent their personal impressions of the song. This should help participants to reflect on the songs they have just listened to.

After all the songs are played, the facilitator should ask to the big group: -Looking at the graphs:

Which song did most people like and which song did the most people dislike?

What are the differences and simmilarities between them?

Why do people have simmilar or different impressions on the songs?

-In general, how did you feel when you were listening to the songs?

-Do you identify the lyrics of any song with something that you have seen before?

4. Generalize (15 minutes) Have the participants reading the summarized version of the article “Youth subcultures: what are they now?”.

Then, the facilitator should ask the group the follwing questions:

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-Do you agree with the article? Why? -What could be examples of youth subcultures today?

-Do you think the songs you just listened to are part of a youth subculture?

-Why there are different types of cultural resistance and youth subcultures? (for this question, the facilitator

can use the result of the brainstorming of the introduction)

-What makes a person identify with or support a specific movement?

-Do you identify yourself with any specific movement or youth group? Why? -Do you think it is important to young people to be connected with someting related to that?

5. Apply (20 minutes) -Which cultures in the past have helped shape youth culture today? What were they resisting?

-Do elements of the present youth cultures or of the cultural resistance movements play a role in your daily life?

-How do you believe youth movements have an impact on generations/age groups?

-----------------------------------------------------------------------------------------------Tips for facilitators Speak Up! is a really complex activity and requires a lot of preparation from the facilitators. Different methods and resources are used during the whole activity, such as songs, graphs and an article. Make sure you have everything prepared before the activity starts. When selecting songs from the playlist, try to chose songs that differ to one another in context and in style.

Also, some participants may feel a bit distant from the theme, somehow. Try to deal with this situation, which can be actively explored in the debriefing. Researching in advance cultural resistance movements and youth cultures in your country might also help you in dealing with these situations and could enrich the activity a lot.

Adapt the activity to your needs Feel free to make changes in the activity and to adapt it to the needs and specificities of your group, for example, using other songs that are related to cultural resistance movements from your country or region.

Take pictures and share them with us Branch Out ia a global project. Let us know whenever you apply Branch Out in your chapter. Take pictures and share them with us through branchout@ijb.cisv.org! For this activity, we would also like to know which songs you chose to use!

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Pictures will be posted in our facebook page, facebook.com/branchout2014 and our tumblr, branchout2014.tumblr.com

Introducing Branch Out After the activity is over, remember to present Branch Out to the participants, so they can understand the educational purpose of the project, as well as to create interest on the next steps.

Feedback Get feedback from your participants and share your impressions with the Branch Out team! Send an e-mail to branchout@ijb.cisv.org

Further Reading

–> The role of music in South Africa’s anti-apartheid movement http://goo.gl/pDKA8l

–> The 10 best British youth cultures http://goo.gl/orWkdZ

–> Why Brazil’s youth turned against the World Cup http://goo.gl/DGJmYn

–> Street Art as a creative resistance to Neoliberal Globalisation http://goo.gl/IzJerL

–> CULTURE-ARAB SPRING: A Revolution Through the Lens http://goo.gl/PwLgmR

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–> Nadine Bloch - The Arts of Protest: Creative Cultural Resistance (webinar) http://goo.gl/0ERJXg

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Attachments 1) Summary of the article to be used in the GENERALIZE part of the activity Youth subcultures: what are they now?

Mods, punks, soulboys, metallers, goths, hippies: there was a time when young people made it clear what tribe and music they were into by the way they dressed. Not anymore.

Source: http://www.theguardian.com/culture/2014/mar/20/youth-subcultures-where-have-theygone

The present youth generation is widely connected. It is also a carachteristic of many young people to find themselves bored at home but, at the same time, willing to meet like-minded people. Therefore, they become part of communities online. Of course, it was not always like that.

In the mid-80’s, for example, it was common for communities to be defined by a common musical taste, like, goths, punks, metallers, soul-boys, hippies, etc. Many of these groups had managed to feature heavily in TV shows of the era. The psychobillies are a good exemple of that. For them, being different and extreme was mandatory and they could be easily identified by their dress code - they felt it was like an uniform or a badge of honour. And all the other youth movements had a distinct identification.

But what happened to the youth movement in the modern days? They have all become less visually identifiable, besides a few exceptions, such as emos and metalheads, that only seem to encompass parts of older movements.

Some possible reasons for this change might be, in one hand, the excess of entertainmet available so that young people don’t feel the need to rebel and, on the other hand, that they have become so worried with their futures that they might have lost their creativity. Other explanations may include the greater speed of information, making it easier for people to change. People would, then, be more likely to be part of several groups rather than one which dominates their identity.

Also, when contemporary icons start to promote this movements and they become mainstream, this could lead to the destruction of the movement itself, because the roots of many youth movements might be anti-mainstream in outlook. Where in the 70’s this process could take several months, in modern times it can take merely weeks.

The idea of youth culture that was created in the 20th century may now be outmoded. But this does not mean these movements disappeared, only that they might have become smaller and might be over more quickly. The internet is also as important factor, because it enforces the presence of influences from other movements, even if this influence is not perceived by the movements.

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2) Translated lyrics and explanatory paragraph of the songs in the playlist for the DO part of the activity: Latinoamerica (Calle 13)

Calle 13 is a hip hop/rap rock group from Puerto Rico. Many of their lyrics relate to the social and political reality in Latin America, a region that has been historically exploited by the United States and European countries. Colonization, slavery and dictatorships are part of the history of many Latin American countries and, today, they face social challenges such as a huge social inequality and econominc dependence to developed countries. The leaders of the band support the movement for the independence of Puerto Rico, which is a colony of the United States. Latinoamerica represents the feeling of solidarity that unites many latin americans to resist against the injustices which they are forced to live with.

I am I am what that they left I’m all about what that was stolen.

A village hidden on the peak, My skin is from leather that’s why it stands any weather.

I’m a factory of smoke, A peasant working hand for your consumption Cold Front in the middle of summer, Love in the Time of Cholera, my brother.

The sun that is born and the day that dies, with the best evenings.

I am developing raw, a political speech without saliva.

The most beautiful faces I’ve met, I’m the photograph of a missing person.

I’m the blood in your veins, I’m a piece of land that is worth it.

I’m a basket with beans, I’m Maradona against England scoring 2 goals.

I’m what that holds my flag, the backbone of the planet is my Andes.

I’m what that my father taught me, Who doesn’t love his fatherland don’t love his mother.

I’m Latin America, People without legs but can walk You can’t buy the wind.

You can’t buy the sun.

You can’t buy the rain.

You can’t buy the heat.

You can’t buy the clouds.

You can’t buy the colors.

You can’t buy my happiness.

You can’t buy my pains.

I have the lakes, I have the rivers.

I have my teethes for when I smile.

The snow that puts make up on my mountains.

I have the sol that dries me and the rain that wash me *A desert intoxicated with beautiful drinks of pulque To sing with the coyotes is all that I need.

I have my lungs breathing clear blue.

The height that suffocates.

I’m the teethes that chew the Coca. *The autumn with its dropping leaves The lines written under the starry night.

A wineyard filled with grapes.

A sugar cane plantation under the Cuban sun.

I’m the Caribbean Sea watching over the houses, Doing rituals of holy water.

The wind that combs my hair.

I’m all the saints that hangs from my neck.

The juice of my struggle is not artificial, Because the fertilizer of my land is natural.

You can’t buy the wind.

You can’t buy the sun.

You can’t buy the rain.

You can’t buy the heat.

You can’t buy the clouds.

You can’t buy the colors.

You can’t buy my happiness.

You can’t buy my pains. (from purtuguese) You can’t buy the wind.

You can’t buy the sun.

You can’t buy the rain.

You can’t buy the heat.

You can’t buy the clouds.

You can’t buy the colors.

You can’t buy my happiness.

You can’t buy my sadness.

You can’t buy the sun.

You can’t buy the rain. (we are drawing the way, we are walking) You can’t buy my life.

MY LAND IS NOT FOR SALE. Working hard but with pride, Here we share, what’s mine is yours.

These people can’t be drawn with big waves.

And if it collapsed I’ll rebuilt it. *neither blink when I see you.

So that you’ll remember my surname.

Operation Condor is invading my nest.

I forgive but I’ll never forget! (we are walking) The struggle breathes here. (we are walking) I sing because it sounds.

Here we are standing.

Long live Latin America.

You can’t buy my life.

Source: http://lyricstranslate.com/en/latinoamerica-add-english-title -here.html

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Africa Unite (Bob Marley)

Afica Unite was composed in the context of independence of many African nations, previously colonized by european countries. It is a proof of Marley’s support to a pan-African solidarity and to the idea that unity is a key to resistance. The song is part of Survival, one of Marley’s most politically engaged albums. Bob Marley, who lived in Jamaica, in the caribbean, is an icon of Reggae. Many of his songs relate to the importance of peace and freedom.

Ziya-po ya-ya, pa-pa-ya-pa!

Ti-da-lee, na po-po pu-du-loo!

Ste-na-peh na-na po po-ro po!

Africa unite: ‘Cause we’re moving right out of Babylon, And we’re going to our Father’s land, yea-ea.

How good and how pleasant it would be before God and man, yea-eah! To see the unification of all Africans, yeah! As it’s been said a’ready, let it be done, yeah!

We are the children of the Rastaman; We are the children of the Iyaman.

So-o, Africa unite: ‘Cause the children (Africa unite) wa-

nna come home.

Africa unite: ‘Cause we’re moving right out of Babylon, yea, And we’re grooving to our Father’s land, yea-ea.

How good and how pleasant it would be before God and man To see the unification of all Rastaman, yeah.

As it’s been said a’ready, let it be done!

I tell you who we are under the sun: We are the children of the Rastaman; We are the children of the Iyaman.

So-o: Africa unite, Afri - Africa unite, yeah!

Unite for the benefit (Africa unite) for the benefit of your people!

Unite for it’s later (Africa unite) than you think!

Unite for the benefit (Africa unite) of my children!

Unite for it’s later (Africa uniting) than you think!

Africa awaits (Africa unite) its creators!

Africa awaiting (Africa uniting) its Creator!

Africa, you’re my (Africa unite) forefather cornerstone!

Unite for the Africans (Africa uniting) abroad Unite for the Africans (Africa unite) a yard! [fadeout]

Source: http://www.azlyrics.com/lyrics/bobmarley/africaunite.html

Ghost Town (The Specials) “Ghost Town” is a 1981 song by the British ska band The Specials. The song spent three weeks at number one and 10 weeks in total in the top 40 of the UK Singles Chart. Addressing themes of urban decay, deindustrialisation, unemployment and violence in inner cities, the song is remembered for being a hit at the same time as riots were occurring in British cities.

This town is coming like a ghost town (Town) All the clubs have been closed down This place is coming like a ghost town (Town) Bands won’t play no more Too much fighting on the dance floor Do you remember the good old days before the ghost town?

We danced and sang as the music

played in any boomtown This town is coming like a ghost town (Town) Why must the youth fight against themselves?

Government leaving the youth on the shelf This place is coming like a ghost town (Town) No job to be found in this country

Can’t go on no more The people getting angry This town is coming like a ghost town This town is coming like a ghost town This town is coming like a ghost town This town is coming like a ghost town

Source: http://www.metrolyrics.com/ghost-town-lyrics-specials. html

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Ill Manors (Plan B) Ill Manors is a protest song in reaction to riots across England in 2011. Plan B said in an Interview that he wants to contirbute to a discussion on “society’s failure to nurture its disadvantaged youth.”

The song went into the UK Top 10 chartsand was rated as one of the greatest modern protest songs by the Guardian.

Let’s all go on an urban safari we might see some illegal migrants Oiy look there’s a chav that means council housed and violent He’s got a hoodie on give him a hug on second thoughts don’t you don’t wanna get mugged Oh shit too late that was kinda dumb whose idea was that...stupid...

He’s got some front, ain’t we all be the joker, play the fool What’s politics, ain’t it all smoke and mirrors, April fools All year round, all in all just another brick in the wall Get away with murder in the schools use four letter swear words coz we’re cool We’re all drinkers, drug takers every single one of us buns the herb Keep on believing what you read in the papers council estate kids, scum of the earth Think you know how life on a council estate is from everything you’ve ever read about it or heard Well it’s all true, so stay where you’re safest there’s no need to step foot out the ‘burbs Truth is here, we’re all disturbed we cheat and lie its so absurd Feed the fear that’s what we’ve learned Fuel the fire Let it burn.

Oiy! I said Oiy! What you looking at you little rich boy!

We’re poor ‘round here, run home and lock your door don’t come ‘round here no more, you could get robbed for

Real (yeah) you know my manors ill My manors ill For real Yeah you know my manors ill, my manors ill!

You could get lost in this concrete jungle new builds keep springing up outta nowhere Take the wrong turn down a one way junction find yourself in the hood nobody goes there We got an Eco-friendly government they preserve our natural habitat Built an entire Olympic village around where we live without pulling down any flats Give us free money and we don’t pay any tax NHS healthcare, yes please many thanks People get stabbed round here there’s many shanks nice knowing someone’s got our backs when we get attacked Don’t bloody give me that I’ll lose my temper Who closed down the community centre?

I killed time there used to be a member what will I do now ‘til September?

Schools out, rules out, get your bloody tools out London’s burning, I predict a riot Fall in fall out who knows what it’s all about What did that chief say? Something bout the kaisers Kids on the street no they never miss a beat never miss a cheap thrill when it comes their way

Let’s go looting no not Luton the high street’s closer cover your face And if we see any rich kids on the way we’ll make ‘em wish they stayed inside there’s a charge for congestion, everybody’s gotta pay do what Boris does... rob them blind Oi! I said Oi! What you looking at you little rich boy?

We’re poor ‘round here, run home and lock your door!

Don’t come ‘round here no more, you could get robbed for real (yeah) because my manors ill My manors ill For real Yeah you know my manors ill, my manors ill!

Oi (Oi) Oi (Oi) We’ve had it with you politicians Oi (Oi) Oi (Oi) you bloody rich kids never listen Oi (Oi) Oi (Oi) There’s no such thing as broken Britain we’re just bloody broke in Britain What needs fixing is the system not shop windows down in Brixton Riots on the television you can’t put us all in prison Oi! I said Oi! What you looking at you little rich boy?

We’re poor round here, run home and lock your door!

Don’t come round here no more, you could get robbed for real (yeah) because my manors ill My manors ill For real Yeah you know my manors ill , my manors ill!

Source: http://rapgenius.com/Plan-b-ill-manors-lyrics#note-932634

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Institutionalised (Suicidal Tendancies) This hardcore punk song represents many conflicts dealt by Mike, a teenager from the 80’s in the USA. The aggresively-spoken lyrics of Institutionalised sound like an answer to the various social pressures suffered by some youngsters.

Sometimes I try to do things and it just doesn’t work out the way I wanted to.

I get real frustrated and I try hard to do it and I take my time and it doesn’t work out the way I wanted to.

It’s like I concentrate real hard and it doesn’t work out.

Everything I do and everything I try never turns out.

It’s like I need time to figure these things out.

But there’s always someone there going.

Hey Mike: You know we’ve been noticing you’ve been having a lot of problems lately.

You know, maybe you should get away and maybe you should talk about it, maybe you’ll feel a lot better And I go: No it’s okay, you know I’ll figure it out, just leave me alone I’ll figure it out.

You know I’ll just work by myself.

And they go: Well you know if you want to talk about it I’ll be here you know and you’ll probably feel a lot better if you talk about it.

And I go: No I don’t want to I’m okay, I’ll figure it out myself and they just keep bugging me and they just keep bugging me and it builds up inside and it builds up inside.

So you’re gonna be institutionalized You’ll come out brainwashed with bloodshot eyes You won’t have any say They’ll brainwash you until you see their way.

I’m not crazy - in an institution You’re the one who’s crazy - in an ins-

titution You’re driving me crazy - in an institution They stuck me in an institution Said it was the only solution To give me the needed professional help To protect me from the enemy -- myself.

I was in my room and I was just like staring at the wall thinking about everything But then again I was thinking about nothing And then my mom came in and I didn’t even know she was there she called my name And I didn’t even hear it, and then she started screaming: MIKE! MIKE! And I go: What, what’s the matter?

And she goes: What’s the matter with you?

I go: There’s nothing wrong mom.

And she goes: Don’t tell me that, you’re on drugs!

And I go: No mom I’m not on drugs I’m okay, I was just thinking you know, why don’t you get me a Pepsi.

And she goes: NO you’re on drugs!

I go: Mom I’m okay, I’m just thinking.

She goes: No you’re not thinking, you’re on drugs! Normal people don’t act that way!

I go: Mom just give me a Pepsi, please All I want is a Pepsi, and she wouldn’t give it to me All I wanted was a Pepsi, just one Pepsi, and she wouldn’t give it to me.

Just a Pepsi.

They give you a white shirt with long sleeves Tied around you’re back, you’re treated like thieves Drug you up because they’re lazy It’s too much work to help a crazy I was sitting in my room and my mom and my dad came in and they pulled up a chair and they sat down, they go: Mike, we need to talk to you And I go: Okay what’s the matter They go: Me and your mom have been noticing lately that you’ve been having a lot of problems, You’ve been going off for no reason and we’re afraid you’re gonna hurt somebody, We’re afraid you’re gonna hurt yourself.

So we decided that it would be in your interest if we put you somewhere Where you could get the help that you need.

And I go: Wait, what are you talking about, we decided!?

My best interest?! How can you know what’s my best interest is?

How can you say what my best interest is? What are you trying to say, I’m crazy?

When I went to your schools, I went to your churches, I went to your institutional learning facilities?! So how can you say I’m crazy?

They say they’re gonna fix my brain Alleviate my suffering and my pain But by the time they fix my head Mentally I’ll be dead It doesn’t matter, I’ll probably get hit by a car anyway

Source: http://www.azlyrics.com/lyrics/suicidaltendencies/institutionalized.html

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The Message (Grandmaster Flash) The Message is one of the most important Hip Hop Songs. It was released in May 1982 by Grandmaster Flash, who is telling a lyrical commentary about the frustration that arises when living in a ghetto of New York. The Message is ranked on place 51 of the Roling Stone’s 500 Greatest Songs of All Time, which is the highest rank for a song released in the 80s and also the highest score for a Hip Hop song.

It’s like a jungle sometimes It makes me wonder how I keep from goin’ under

She had to get a pimp, she couldn’t make it on her own

Don’t push me cause I’m close to the edge I’m trying not to lose my head It’s like a jungle sometimes It makes me wonder how I keep from going under

My brother’s doin’ bad, stole my mother’s TV Says she watches too much, it’s just not healthy All My Children in the daytime, Dallas at night Can’t even see the game or the Sugar Ray fight The bill collectors, they ring my phone And scare my wife when I’m not home Got a bum education, double-digit inflation Can’t take the train to the job, there’s a strike at the station Neon King Kong standin’ on my back Can’t stop to turn around, broke my sacroiliac A mid-range migraine, cancered membrane Sometimes I think I’m goin’ insane I swear I might hijack a plane!

Standin’ on the front stoop hangin’ out the window Watchin’ all the cars go by, roarin’ as the breezes blow Crazy lady, livin’ in a bag Eatin’ outta garbage pails, used to be a fag hag Said she’ll dance the tango, skip the light fandango A Zircon princess seemed to lost her senses Down at the peep show watchin’ all the creeps So she can tell her stories to the girls back home She went to the city and got so so seditty

My son said, Daddy, I don’t wanna go to school Cause the teacher’s a jerk, he must think I’m a fool And all the kids smoke reefer, I think it’d be cheaper If I just got a job, learned to be a street sweeper Or dance to the beat, shuffle my feet Wear a shirt and tie and run with the creeps Cause it’s all about money, ain’t a damn thing funny You got to have a con in this land of milk and honey They pushed that girl in front of the train

Broken glass everywhere People pissin’ on the stairs, you know they just don’t care I can’t take the smell, can’t take the noise Got no money to move out, I guess I got no choice Rats in the front room, roaches in the back Junkies in the alley with a baseball bat I tried to get away but I couldn’t get far Cause a man with a tow truck repossessed my car

Took her to the doctor, sewed her arm on again Stabbed that man right in his heart Gave him a transplant for a brand new start I can’t walk through the park cause it’s crazy after dark Keep my hand on my gun cause they got me on the run I feel like a outlaw, broke my last glass jaw Hear them say “You want some more?”

Livin’ on a see-saw A child is born with no state of mind Blind to the ways of mankind God is smilin’ on you but he’s frownin’ too Because only God knows what you’ll go through You’ll grow in the ghetto livin’ second-rate And your eyes will sing a song called deep hate The places you play and where you stay Looks like one great big alleyway You’ll admire all the number-book takers Thugs, pimps and pushers and the big money-makers Drivin’ big cars, spendin’ twenties and tens And you’ll wanna grow up to be just like them, huh Smugglers, scramblers, burglars, gamblers Pickpocket peddlers, even panhandlers You say “I’m cool, huh, I’m no fool” But then you wind up droppin’ outta high school

Source: http://rapgenius.com/Grandmaster-flash-and-the-furious-five-the-message-lyrics

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Now you’re unemployed, all null and void Walkin’ round like you’re Pretty Boy Floyd Turned stick-up kid, but look what you done did Got sent up for a eight-year bid Now your manhood is took and you’re

a Maytag Spend the next two years as a undercover fag Bein’ used and abused to serve like hell Til one day, you was found hung dead in the cell It was plain to see that your life was

lost You was cold and your body swung back and forth But now your eyes sing the sad, sad song Of how you lived so fast and died so young so

Ya Laymi (Gnawa Diffusion) Gnawa music is a rich repertoire of ancient African Islamic spiritual religious songs and rhythms.

Its well preserved heritage combines ritual poetry with traditional music and dancing. The music is performed at ‘Lila’s’, entire communal nights of celebration, dedicated to prayer and healing, guided by the Gnawa Maalem and his group of musicians and dancers. Though many of the influences that formed this music can be traced to sub-Saharan West-Africa, its traditional practice is concentrated in Morocco and the Béchar Province in South-western Algeria.

The lyrics of this song are about the loss of life of Algerians during the Algerian civil war.

Gnawa Diffusion is an Algerian Gnawa music band based in Grenoble, France. Although there is a strong Gnawa influence, the band is noted for its mix of reggae and roots music. Gnawa Diffusion is very popular in Algeria and is also well known in many other countries including Morocco and France. The band’s lyrics are in Arabic, Tamazight, French and English.

The lead singer’s lyrics are often controversial. Themes range from discussions of poverty in Algeria or corruption in government to denunciations of global military actions and perceived imperialism.

Nevertheless, in spite of a strong political direction, this band also has numbers which focus on selfdetermination and improvement.

Smash It Up (The Damned) The single was the second release from the band’s Machine Gun Etiquette album. The single was banned from BBC Radio 1’s playlist because of its perceived anarchic lyrics, stalling at number 35 in the UK Singles Chart. It is widely considered to be a punk classic.

The song’s lyrics criticise hippie culture (referring to “blow wave hairstyles”, “Glastonbury hippies”) rather than advocate political revolution.

We’ve been crying now for much too long And now we’re gonna dance to a different song I’m gonna scream and shout til my dying breath I’m gonna smash it up til theres nothing left Oooh ooh smash it up, smash it up, smash it up (x2) People call me villain oh its such a sha-

me Maybe its my clothes must be to blame I don’t even care if I look a mess Don’t wanna be a sucker like all the rest Oooh ooh smash it up, smash it up, smash it up (x2) Smash it up (x5) Smash it up, you can keep your krish-

na burgers Smash it up, and your Glastonbury hippies Smash it up, you can stick your frothy lager Smash it up, and your blow wave hairstyles And everybody’s smashing things down I said everybody’s smashing things down yeah

Source: http://www.lyricsfreak.com/d/damned/smash+it+up_10076230.html

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