#khorshid

[mudwerks]

(via Omar Khorshid - Guitar El Chark (1974)

[fishstickmonkey]

Listen/purchase: Ghada by Baligh Hamdi

[keykidpilipili]

Naizak and Eyristyr verses are like nidwolaha but also

You could fill a theater with how many people witnessed or heard second hand about how the wol did so bad in the fight against Esteem, not one like in canon at 50% of your health but three other adds spawned from the wol's inner conflict.

[magioffire]

still cant over how to humans vali is a near-immortal ethereal beautiful elemental creature being capable of mass destruction but to other fae? hes a stupid goth frat boy who is capable of mass destruction

[bellamonde]

For My Sad Fellow Iranians

Fereydoun Farokhzad was one of Iran’s greatest treasures and heroes. He was a singer, poet, humanitarian and a political dissident. The Islamic Republic brutally murdered him. He was a beautiful soul, who loved his people and his country. This song is called “Sad Easterner”. It talks about exile, homeland and the sun. It’s about not losing hope and not letting our sun fade away. At such times, we should hold on to hope and fight for the freedom of Iranian people and Iran. 

Here’s the English translation:

Oh Sad Easterner! When the sun shone on you, your scent filled the rain-soaked town, and the darkness got lost in your [dark] hair, and the sun of freedom smiled in your eyes. Oh Sad Easterner! You're like a mountain of light, don't let our sun fade away. You're as pure as the morning, and as proud as the sea. Don't let the darkness grow stronger. (chorus) Oh Sad Easterner! The sun rose once again, and her dove flew away from your roof. Your eyes are filled with the fragrance of spring. The smell of cornflower reminds me of you. Oh Sad Easterner! You're like a mountain of light, don't let our sun fade away. You're as pure as the morning, and as proud as the sea. Don't let the darkness grow stronger. (chorus)

Oh Sad Easterner! It's painful to die in your absence. It's painful to see there's no way out and grind my teeth. It's impossible to plant the flower of loneliness in a swamp. Yet there's no time to grieve. Oh Sad Easterner! You're like a mountain of light, don't let our sun fade away. You're as pure as the morning, and as proud as the sea. Don't let the darkness grow stronger. (chorus)

Oh Sad Easterner!

Winter is before me! When you're with me, I have no fear of rain and mud. The song of our clapping will be heard throughout winter. There will be no fear of the winter because it will finish soon. Oh Sad Easterner! You're like a mountain of light, don't let our sun fade away. You're as pure as the morning, and as proud as the sea. Don't let the darkness grow stronger. (chorus)

[babakca]

Iran Protest _ Toronto - Mahsa Amini. 

[soundgrammar]

Listen/purchase: Wadil Muluk [Valley Of The Kings] by Omar Khorshid

[onish]

Designing a logo for a home-cooked food preparation and distribution business | MAZEH KHOONEH (home flavors) | I have consistently adored things that challenge me, especially logos. In Iranian culture, 'MAZEH' alludes to snacks and edibles served with alcoholic beverages. I attempted to make the closest atmosphere to the logo theme by using symbolic images of cutting boards and culinary arts.

In collaboration with: Mehrdokht Darabi

[ashitakaxsan]

An Ancient Cave Was Also Stronghold!

TEHRAN—An archaeological team in northern Iran has collected survey samples from the Sepahbod-Khorshid Cave, whose arched entrance is one of the largest of its kind in the world.

“It is the first time that Sepahbod-Khorshid undergoes excavation,” Mazandaran province’s deputy tourism chief said on Wednesday.

So far, the cave’s entrance and parts of its [inner] structure have been subject to excavations,  Mohsen Bastani said.

Apart from the cave, six other archaeological sites across the province underwent archaeological work during the first half of the [current Iranian calendar] year (started on March 21), the official said.

Authorized by the Research Institute of Cultural Heritage and Tourism, the excavation served as a prerequisite for a subsequent restoration project intended to help safeguard treasured elements of the cave. “To undertake restoration, it is necessary to first excavate to provide enough spaces for restorers. We should start that to see what architectural phenomena and plans we are facing in the vast cave,” a local official explained earlier this year.

Measuring 80 by 100 meters, the cave’s rounded entrance is said to be the largest natural one in the world.

Situated in Savadkuh highlands, the cave was used as a shelter by Khorshid (“The sun”), the last ruler of Tabarestan, then surrounded by Arab invaders for several months and seized after poisoning its drinking water supply.

Narratives say the cave was the latest Persian stronghold against the Arab conquerors.

Access to the cave needs climbing gear and also expertise in alpinism. On the left side of the cave, a four-story-high castle was built; made of stones and mortar, it is the masterpiece of architecture of its time. On the right side, numerous trenches and defensive buildings were built, all of which remained firm and intact after centuries.

These two parts were connected through a road made of stones and mortar. Two meters wide, this road was built 50 meters above ground level. Today, only traces of it remain. The remains of a cistern, several silos, and numerous defensive monuments are located outside the cave.

Sandwiched between the towering Alborz mountain range and the Caspian Sea, Mazandaran has a rich yet turbulent history. An early civilization flourished at the beginning of the first millennium BC in Mazandaran (Tabarestan).

Images below;Alborj Mountain

Its insecure eastern and southeastern borders were crossed by Mongol invaders in the 13th and 14th centuries. Cossacks attacked the region in 1668 but were repulsed. It was ceded to the Russian Empire by a treaty in 1723, but the Russians were never secure in their occupation. The area was restored to Iran under the Qajar dynasty.

Source: https://www.tehrantimes.com/news/489746/Archaeologists-shed-new-light-on-massive-cave-in-northern-Iran

AFM

[mywifeleftme]

125: Omar Khorshid // Giant + Guitar

Giant + Guitar Omar Khorshid 1974, Voice of Lebanon

Released in 1974 in various markets as بص شوف ... عمر بيعمل إيه (Look, What is Omar Doing?) and Giant + Guitar, Omar Khorshid’s finest album was probably most widely heard under the title Rhythms from the Orient, a generic title attached to a generic sleeve featuring a pair of dancers dressed in a Harlequin paperback approximation of traditional Eastern finery. (And probably in brownface as well...) His previous recordings had been released in three volumes as Belly Dance with Omar Khorshid and His Magic Guitar, to capitalize on the Western appetite for the exotic. Without meaning to cast aspersions on belly dancing, a respected artform with a history that goes back centuries, marketing an album as groundbreaking as Giant + Guitar as Oriental mood music shows how little comprehension Western music buyers had of sounds outside their milieu. (And also why, even today, it never hurts to take a flier on a random foreign LP with a cheesy cover from the bargain bins: sometimes your finds will blow you away.)

Khorshid is credited with essentially introducing the electric guitar to Egyptian and Lebanese music through his work with major composers and bandleaders of the day, and his stated intention in forming his own instrumental band was to demonstrate that “the possibilities of the guitar go far beyond” what these more traditional musicians could comprehend. Consider “Takassim Sanatalfeyn.” If you’ve ever heard Dick Dale’s take on “Misirlou,” you have some sense of the primal rumble it’s possible to achieve using Eastern scales, but Khorshid’s playing is something else altogether. The composition flows from liquid contemplation through passages of extraordinary rigid intensity, his technique impeccable—like a well-provisioned merchant allowing the customer to sample all his wares, on “Takassim Sanatalfeyn” Khorshid gives you a little bit of everything he can do. In a sense, Khorshid was already a known commodity—to go further, he needed the guitar to be proven valid, and so he bent himself wholly to the task.

While Turkish guitarist Erkin Koray would kick off a revolution of his own with Elektronik Türküler, released in the same year, Koray’s acid rock was much more explicitly influenced by Western musicians like Hendrix than Khorshid’s music was. Khorshid knew of rock music (he covered a few standards like “Apache” and “Johnny Guitar” on his first album), but there is always the sense that his use of novel instruments like the electric guitar, electric keyboard, and synthesizer were intended to advance the development of new Eastern music, rather than to pull his country’s arts into the European sphere. It’s the difference between drawing from the vernacular of an oud player to introduce an Arabian scale on an electric guitar and playing an Arabian scale as a gimmick like Greg Lake would. Khorshid’s recordings of Arabic folk standards are some of the most exciting and fresh-sounding I’ve heard (“Ah Ya Zein” could go on thrice as long without diminishment), and to my mind Giant + Guitar stands among the best instrumental albums of all time.

125/365

[mudwerks]

(via Omar Khorshid - Raqset El Fada (1974)

[cinemacentral666]

Taste of Cherry (1997)

Movie #1,079 • WATCHLIST WEDNESDAYS

This is the very first Iranian movie I've reviewed which is slightly shocking after this many. I thought it was very funny how annoyed Ebert got in his 1-star (!) review...

This is an exercise in patience to some degree (whether you understand "what" the director is doing or not). I think it primarily works because of Homayoun Ershadi's performance in the lead. I felt like you got to know him pretty well. You don't always have to do the 5 W questions for that to happen.

And I dug the ending. Not to make this a review of Ebert's review, but there seems to be a prevalent attitude amongst the old guard of criticism which constantly circles back to some idea of realism being the thing which matters most (unless the film is explicitly trying to be surreal). The pullback is short, subtle and unexpected. I found it to be of great service in place of the ambiguous. It makes you realize just how bizarre the entire setup/conceit actually was from the very start. The movie is philosophical and also metaphorically surreal (people don't often go around looking to pay randos to bury them after they've committed suicide) but presented as the opposite visually: stark static shots of people talking set against an unforgiving, arid landscape. So it's playing a trick on you without you ever really noticing it. And the finale is an apology of sorts. The movie meant no harm.

SCORE: ⭐️⭐️⭐️⭐️⭐️⭐️⭐️⭐️½

PS. I'm eliminating the ¼ and ¾ scores from this point further.

[keykidpilipili]

I was brainstorming on my own my Khorshid/Naizak verse au and I just realized THEY COULD HAVE USED YSAYLE TO GUIDE US TO IDYLLSHIRE AFTER THE SMALL BREAK OF SEA OF CLOUDS! LIKE JUST SAY HERETICS TRADED WITH THE SMALL TOWN SINCE THEY ARE CHILL WITH PEOPLE ON THE RUN FROM GOVERNMENTS!!!!

[laserpinksteam]

Film after film: Aban and Khorshid (dir. Darwin Serink, 2014)

Emotionally manipulative, politically significant, and formally low-key, this short film tells a simply-framed, Persian-language-based story through a few scenes featuring conversations and intimacy exchanges between two gay lovers before they get executed for being gay.

[magioffire]

vali’s mood currently: feral.