Step Three: Speak Up! an Activity That Explores the Diversity of Cultural Resistance and How It Is Linked with Adolescents and Youth Cultures

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: Skills: Knowledge: •Willingness to discover cultural •Ability to discern the meanings •Having knowledge of different resistance movements. behind different cultural cultural resistance movements, resistance movements and relate what defines them and what their the issues to the social, political issues are. and economic factors that affect •Understanding the potential them. and actual impacts of those movements in their communities.

page 1/12 branchout2014.tumblr.com [email protected] facebook.com/branchout2014 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”)

page 2/12 branchout2014.tumblr.com [email protected] facebook.com/branchout2014 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. Sug- gestion 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:

page 3/12 branchout2014.tumblr.com [email protected] facebook.com/branchout2014 -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?

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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 [email protected]! For this activity, we would also like to know which songs you chose to use!

page 4/12 branchout2014.tumblr.com [email protected] facebook.com/branchout2014 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 [email protected]

Further Reading

–> The role of music in South Africa’s anti-apar- –> The 10 best British youth cultures theid movement http://goo.gl/pDKA8l http://goo.gl/orWkdZ

–> Why Brazil’s youth turned against the World Cup –> Street Art as a creative resistance to Neoliberal http://goo.gl/DGJmYn Globalisation http://goo.gl/IzJerL

–> CULTURE-ARAB SPRING: A Revolution –> Nadine Bloch - The Arts of Protest: Creative Cul- Through the Lens http://goo.gl/PwLgmR tural Resistance (webinar) http://goo.gl/0ERJXg

page 5/12 branchout2014.tumblr.com [email protected] facebook.com/branchout2014 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-they- gone 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 fe- ature 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 wor- ried 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.

page 6/12 branchout2014.tumblr.com [email protected] facebook.com/branchout2014 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 You can’t buy the clouds. You can’t buy the clouds. I am what that they left You can’t buy the colors. You can’t buy the colors. I’m all about what that was stolen. You can’t buy my happiness. You can’t buy my happiness. A village hidden on the peak, You can’t buy my pains. You can’t buy my pains. My skin is from leather that’s why it I have the lakes, I have the rivers. (from purtuguese) stands any weather. I have my teethes for when I smile. You can’t buy the wind. I’m a factory of smoke, The snow that puts make up on my You can’t buy the sun. A peasant working hand for your con- mountains. You can’t buy the rain. sumption I have the sol that dries me and the You can’t buy the heat. Cold Front in the middle of summer, rain that wash me You can’t buy the clouds. Love in the Time of Cholera, my bro- *A desert intoxicated with beautiful You can’t buy the colors. ther. drinks of pulque You can’t buy my happiness. The sun that is born and the day that To sing with the coyotes is all that I You can’t buy my sadness. dies, need. You can’t buy the sun. with the best evenings. I have my lungs breathing clear blue. You can’t buy the rain. I am developing raw, The height that suffocates. (we are drawing the way, we are wa- a political speech without saliva. I’m the teethes that chew the Coca. lking) The most beautiful faces I’ve met, *The autumn with its dropping leaves You can’t buy my life. I’m the photograph of a missing per- The lines written under the starry ni- MY LAND IS NOT FOR SALE. son. ght. Working hard but with pride, I’m the blood in your veins, A wineyard filled with grapes. Here we share, what’s mine is yours. I’m a piece of land that is worth it. A sugar cane plantation under the These people can’t be drawn with big I’m a basket with beans, Cuban sun. waves. I’m Maradona against England sco- I’m the Caribbean Sea watching over And if it collapsed I’ll rebuilt it. ring 2 goals. the houses, *neither blink when I see you. I’m what that holds my flag, Doing rituals of holy water. So that you’ll remember my surname. the backbone of the planet is my An- The wind that combs my hair. Operation Condor is invading my des. I’m all the saints that hangs from my nest. I’m what that my father taught me, neck. I forgive but I’ll never forget! Who doesn’t love his fatherland don’t The juice of my struggle is not arti- (we are walking) love his mother. ficial, The struggle breathes here. I’m Latin America, Because the fertilizer of my land is na- (we are walking) People without legs but can walk tural. I sing because it sounds. You can’t buy the wind. You can’t buy the wind. Here we are standing. You can’t buy the sun. You can’t buy the sun. Long live Latin America. You can’t buy the rain. You can’t buy the rain. You can’t buy my life. You can’t buy the heat. You can’t buy the heat.

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

page 7/12 branchout2014.tumblr.com [email protected] facebook.com/branchout2014 Africa Unite (Bob Marley) Afica Unite was composed in the context of independence of many African nations, previously colo- nized 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! nna come home. Unite for it’s later (Africa unite) than Ti-da-lee, na po-po pu-du-loo! Africa unite: you think! Ste-na-peh na-na po po-ro po! ‘Cause we’re moving right out of Ba- Unite for the benefit (Africa unite) of Africa unite: bylon, yea, my children! ‘Cause we’re moving right out of Ba- And we’re grooving to our Father’s Unite for it’s later (Africa uniting) than bylon, land, yea-ea. you think! And we’re going to our Father’s land, Africa awaits (Africa unite) its crea- yea-ea. How good and how pleasant it would tors! be before God and man Africa awaiting (Africa uniting) its How good and how pleasant it would To see the unification of all -Rasta Creator! be before God and man, yea-eah! - man, yeah. Africa, you’re my (Africa unite) forefa- To see the unification of all Africans, As it’s been said a’ready, let it be done! ther cornerstone! yeah! - I tell you who we are under the sun: Unite for the Africans (Africa uniting) As it’s been said a’ready, let it be done, We are the children of the Rastaman; abroad yeah! We are the children of the Iyaman. Unite for the Africans (Africa unite) a We are the children of the Rastaman; yard! [fadeout] We are the children of the Iyaman. So-o: Africa unite, Afri - Africa unite, yeah! So-o, Africa unite: Unite for the benefit (Africa unite) for ‘Cause the children (Africa unite) wa- the benefit of your people!

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 played in any boomtown Can’t go on no more (Town) The people getting angry All the clubs have been closed down This town is coming like a ghost town This town is coming like a ghost town This place is coming like a ghost town (Town) This town is coming like a ghost town (Town) Why must the youth fight against This town is coming like a ghost town Bands won’t play no more themselves? This town is coming like a ghost town Too much fighting on the dance floor Government leaving the youth on the shelf Do you remember the good old days This place is coming like a ghost town before the ghost town? (Town) We danced and sang as the music No job to be found in this country

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

page 8/12 branchout2014.tumblr.com [email protected] facebook.com/branchout2014 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 Real (yeah) you know my manors ill Let’s go looting we might see some illegal migrants My manors ill no not Luton Oiy look there’s a chav For real the high street’s closer cover your face that means council housed and violent Yeah you know my manors ill, my ma- And if we see any rich kids on the way He’s got a hoodie on give him a hug nors ill! we’ll make ‘em wish they stayed inside on second thoughts don’t you don’t You could get lost in this concrete jun- there’s a charge for congestion, wanna get mugged gle everybody’s gotta pay Oh shit too late that was kinda dumb new builds keep springing up outta do what Boris does... rob them blind whose idea was that...stupid... nowhere Oi! I said Oi! He’s got some front, ain’t we all Take the wrong turn down a one way What you looking at you little rich be the joker, play the fool junction boy? What’s politics, ain’t it all find yourself in the hood nobody goes We’re poor ‘round here, run home smoke and mirrors, April fools there and lock your door! All year round, all in all We got an Eco-friendly government Don’t come ‘round here no more, you just another brick in the wall they preserve our natural habitat could get robbed for Get away with murder in the schools Built an entire Olympic village real (yeah) because my manors ill use four letter swear words coz we’re around where we live without pulling My manors ill cool down any flats For real We’re all drinkers, drug takers Give us free money and we don’t pay Yeah you know my manors ill, my ma- every single one of us buns the herb any tax nors ill! Keep on believing what you read in NHS healthcare, yes please many Oi (Oi) Oi (Oi) the papers thanks We’ve had it with you politicians council estate kids, scum of the earth People get stabbed round here there’s Oi (Oi) Oi (Oi) Think you know how life on a council many shanks you bloody rich kids never listen estate is nice knowing someone’s got our backs Oi (Oi) Oi (Oi) from everything you’ve ever read when we get attacked There’s no such thing as broken Bri- about it or heard Don’t bloody give me that tain Well it’s all true, so stay where you’re I’ll lose my temper we’re just bloody broke in Britain safest Who closed down the community What needs fixing is the system there’s no need to step foot out the centre? not shop windows down in Brixton ‘burbs I killed time there used to be a mem- Riots on the television Truth is here, we’re all disturbed ber you can’t put us all in prison we cheat and lie its so absurd what will I do now ‘til September? Oi! I said Oi! Feed the fear that’s what we’ve lear- Schools out, rules out, get your bloody What you looking at you little rich ned tools out boy? Fuel the fire London’s burning, I predict a riot We’re poor round here, run home and Let it burn. Fall in fall out lock your door! Oiy! I said Oiy! who knows what it’s all about Don’t come round here no more, you What you looking at you little rich What did that chief say? Something could get robbed for boy! bout the kaisers real (yeah) because my manors ill We’re poor ‘round here, run home Kids on the street no they never miss My manors ill and lock your door a beat For real don’t come ‘round here no more, you never miss a cheap thrill when it co- Yeah you know my manors ill , my could get robbed for mes their way manors ill!

Source: http://rapgenius.com/Plan-b-ill-manors-lyrics#no- te-932634

page 9/12 branchout2014.tumblr.com [email protected] facebook.com/branchout2014 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 titution They give you a white shirt with long doesn’t work out the way I wanted to. You’re driving me crazy - in an insti- sleeves I get real frustrated and I try hard to tution Tied around you’re back, you’re trea- do it and I take my time and it doesn’t They stuck me in an institution ted like thieves work out the way I wanted to. Said it was the only solution Drug you up because they’re lazy It’s like I concentrate real hard and it To give me the needed professional It’s too much work to help a crazy doesn’t work out. help Everything I do and everything I try To protect me from the enemy -- my- I was sitting in my room and my mom never turns out. self. and my dad came in and they pulled It’s like I need time to figure these up a chair and they sat down, they go: things out. I was in my room and I was just like Mike, we need to talk to you But there’s always someone there staring at the wall thinking about And I go: going. everything Okay what’s the matter But then again I was thinking about They go: Hey Mike: nothing Me and your mom have been noticing You know we’ve been noticing you’ve And then my mom came in and I lately that you’ve been having a lot of been having a lot of problems lately. didn’t even know she was there she problems, You know, maybe you should get away called my name You’ve been going off for no reason and maybe you should talk about it, And I didn’t even hear it, and then she and we’re afraid you’re gonna hurt maybe you’ll feel a lot better started screaming: MIKE! MIKE! somebody, And I go: We’re afraid you’re gonna hurt your- And I go: What, what’s the matter? self. No it’s okay, you know I’ll figure it out, And she goes: So we decided that it would be in your just leave me alone I’ll figure it out. What’s the matter with you? interest if we put you somewhere You know I’ll just work by myself. I go: Where you could get the help that you There’s nothing wrong mom. need. And they go: And she goes: And I go: Well you know if you want to talk Don’t tell me that, you’re on drugs! Wait, what are you talking about, we about it I’ll be here you know and And I go: decided!? you’ll probably feel a lot better if you No mom I’m not on drugs I’m okay, I My best interest?! How can you know talk about it. was just thinking you know, why don’t what’s my best interest is? you get me a Pepsi. How can you say what my best inte- And I go: And she goes: rest is? What are you trying to say, I’m No I don’t want to I’m okay, I’ll figure NO you’re on drugs! crazy? it out myself and they just keep bu- I go: When I went to your schools, I went to gging me and they just keep bugging Mom I’m okay, I’m just thinking. your churches, me and it builds up inside and it builds She goes: I went to your institutional learning up inside. No you’re not thinking, you’re on dru- facilities?! So how can you say I’m gs! Normal people don’t act that way! crazy? So you’re gonna be institutionalized I go: You’ll come out brainwashed with Mom just give me a Pepsi, please They say they’re gonna fix my brain bloodshot eyes All I want is a Pepsi, and she wouldn’t Alleviate my suffering and my pain You won’t have any say give it to me But by the time they fix my head They’ll brainwash you until you see All I wanted was a Pepsi, just one Pep- Mentally I’ll be dead their way. si, and she wouldn’t give it to me. I’m not crazy - in an institution Just a Pepsi. It doesn’t matter, I’ll probably get hit You’re the one who’s crazy - in an ins- by a car anyway

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

page 10/12 branchout2014.tumblr.com [email protected] facebook.com/branchout2014 The Message (Grandmaster Flash) The Message is one of the most important Hip Hop Songs. It was released in May 1982 by Grand- master 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 She had to get a pimp, she couldn’t Took her to the doctor, sewed her arm It makes me wonder how I keep from make it on her own on again goin’ under Stabbed that man right in his heart My brother’s doin’ bad, stole my mo- Gave him a transplant for a brand Broken glass everywhere ther’s TV new start People pissin’ on the stairs, you know Says she watches too much, it’s just I can’t walk through the park cause it’s they just don’t care not healthy crazy after dark I can’t take the smell, can’t take the All My Children in the daytime, Keep my hand on my gun cause they noise Dallas at night got me on the run Got no money to move out, I guess I Can’t even see the game or the Sugar I feel like a outlaw, broke my last glass got no choice Ray fight jaw Rats in the front room, roaches in the The bill collectors, they ring my pho- Hear them say “You want some back ne more?” Junkies in the alley with a baseball bat And scare my wife when I’m not home Livin’ on a see-saw I tried to get away but I couldn’t get Got a bum education, double-digit in- far flation A child is born with no state of mind Cause a man with a tow truck repos- Can’t take the train to the job, there’s Blind to the ways of mankind sessed my car a strike at the station God is smilin’ on you but he’s frownin’ Neon King Kong standin’ on my back too Don’t push me cause I’m close to the Can’t stop to turn around, broke my Because only God knows what you’ll edge sacroiliac go through I’m trying not to lose my head A mid-range migraine, cancered You’ll grow in the ghetto livin’ secon- It’s like a jungle sometimes membrane d-rate It makes me wonder how I keep from Sometimes I think I’m goin’ insane And your eyes will sing a song called going under I swear I might hijack a plane! deep hate The places you play and where you Standin’ on the front stoop hangin’ My son said, Daddy, I don’t wanna go stay out the window to school Looks like one great big alleyway Watchin’ all the cars go by, roarin’ as Cause the teacher’s a jerk, he must You’ll admire all the number-book the breezes blow think I’m a fool takers Crazy lady, livin’ in a bag And all the kids smoke reefer, I think Thugs, pimps and pushers and the big Eatin’ outta garbage pails, used to be it’d be cheaper money-makers a fag hag If I just got a job, learned to be a street Drivin’ big cars, spendin’ twenties and Said she’ll dance the tango, skip the sweeper tens light fandango Or dance to the beat, shuffle my feet And you’ll wanna grow up to be just A Zircon princess seemed to lost her Wear a shirt and tie and run with the like them, huh senses creeps Smugglers, scramblers, burglars, gam- Down at the peep show watchin’ all Cause it’s all about money, ain’t a blers the creeps damn thing funny Pickpocket peddlers, even panhan- So she can tell her stories to the girls You got to have a con in this land of dlers back home milk and honey You say “I’m cool, huh, I’m no fool” She went to the city and got so so se- They pushed that girl in front of the But then you wind up droppin’ outta ditty train high school

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

page 11/12 branchout2014.tumblr.com [email protected] facebook.com/branchout2014 Now you’re unemployed, all null and a Maytag lost void Spend the next two years as a under- You was cold and your body swung Walkin’ round like you’re Pretty Boy cover fag back and forth Floyd Bein’ used and abused to serve like But now your eyes sing the sad, sad Turned stick-up kid, but look what hell song you done did Til one day, you was found hung dead Of how you lived so fast and died so Got sent up for a eight-year bid in the cell young so Now your manhood is took and you’re It was plain to see that your life was

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 Fran- ce. 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 self- determination 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 me na burgers long Maybe its my clothes must be to bla- Smash it up, and your Glastonbury And now we’re gonna dance to a dif- me hippies ferent song I don’t even care if I look a mess Smash it up, you can stick your frothy I’m gonna scream and shout til my Don’t wanna be a sucker like all the lager dying breath rest Smash it up, and your blow wave I’m gonna smash it up til theres no- hairstyles thing left Oooh ooh smash it up, smash it up, smash it up (x2) And everybody’s smashing things Oooh ooh smash it up, smash it up, down smash it up (x2) Smash it up (x5) I said everybody’s smashing things down yeah People call me villain oh its such a sha- Smash it up, you can keep your krish-

Source: http://www.lyricsfreak.com/d/damned/smash+i- t+up_10076230.html

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