Y_UP2u_Y

MUTUNG TRESNA JALARAN SAKA KULINA???

2009-03-08T22:28:00.000-07:00

Lagi pusing mikirin tugas dari pak dosen, ei pulang ngampus di jalan liat pacar lagi jalan sama orang lain, dah gitu bermaksud mau nge-refresh pikiran ke sekre malah di kasih kerjaan sama si bos... hahaha... piye tuch kalo kayak gitu...?...mau berbagi baygon ma nyamuk kah?...ato teriak-teriak ndiri di jalan bergaya demonstran berkalung sorban (hehe...judul pilem donk), ato mau nyobain bumper mobil ato truk sekalian kalo mau lebih mantep...

Gimana sih gaya kamu kalo lagi “Mutung”. Mutung (di Indonesiakan ngambek, kalo di ekspor jadi ganti nama Underneath the underneath) merupakan kondisi dimana seseorang mengalami putus asa gara-gara menghadapi sesuatu yang sulit diatasi dan ngerasa ngga nemuin jalan keluar. Mentok batok kayak kepentok-pentok kodok...hehe...

Wajar donk kalo nemuin hal semacam itu... tapi apa harus segitunya...?

Setiap orang pastinya dah pernah menghadapi kondisi semacam itu...(kalo lum pernah sama sekali bisa dipertanyakan tuch gelar ‘orang’nya...hihi..., memang sih kadar orang ngambek berbeda satu sama lain dan setiap individu memiliki parameter tersendiri dengan keadaan yang membuat orang tersebut jadi mutung. Ada yang bilang kalo mutung dapat berfungsi sebagai ajang kontemplasi seseorang untuk menimbang apakah selama ini motivasinya kurang, ataukah berpikir bahwa pekerjaannya terlalu berat, dan mungkin saking sibuknya mikir jadi berasumsi kalo yang dihadapinya memang tidak dapat terselesaikan. Setelah selesai kontemplasi maka dia akan jauh lebih fokus, entah fokus ngerjain atau fokus mutungnya.

Mbak Nining Kristiana, seorang Principal Consultant dari First Asia Consultants, menuturkan bahwasannya ketika kita mulai memasuki dunia kerja, sikap mudah ngambek itu sebaiknya ditinggalkan. Karena, sikap itu menunjukkan bahwa kita tidak dewasa dan belum matang untuk menjadi seorang profesional. Dengan sikap ngambek kita semacam itu, atasan mungkin akan bingung, kita sebenarnya kenapa, atau kenapa kita tiba-tiba jadi moody, tanpa alasan yang jelas. Atau, wajah kita yang terkesan menantang malah akan membuatnya jengkel. Akibatnya, bisa jadi akan timbul niat dalam benak atasan untuk ngerjain kita. Tugas kita akan makin berlimpah, hasil kerja kita pun tak ada yang dinilai baik. kita juga kan yang rugi?. Masih mending kalo ternyata sikap mutung kita dapat respon dari orang yang kita mutungin, tapi kalo ternyata mereka nggak ngeh’ alias cuex bebek lotak-latek malah nambahin beban and malu dewh rasanya...bahasa jawanya ’cilong’, tapi bukan cilongok loh...itu nama daerah and jangan berpikiran kalo orang cilongok berarti orangnya cilong semua... ;p

Janganlah langsung mengambil tindakan emosi, dan lebih baik kita mengungkapkan rasa ketidaksetujuan kita pada orang yang bersangkutan. Berpikirlah kembali mengapa dosen kita ngasih tugas seabreg, atasan ngasih kerjaan setumpuk, pacar mulai nakal sama orang lain, atau ortu telat ngirim duit bulanan...

maybe dosen pingin nglatih keseriusan kita, maybe atasan beranggapan kalo kita yang paling berkompeten dalam kerjaan itu, maybe pacar merasa kurang puas karna kita kurang gede’....(kurang gede perhatiannya maksudnya ^-*), maybe ortu pingin kita ngrasain hidup hemat,,,,padahal sih emang lagi ngga da duit...he...tau gak beliau bontang-banting tulang buat nyari duit,,,sampe-sampe kepala di kaki – kaki di kepala...kitanya aja yang ngga tau atau memang ngga mau tau...hiks46x...hehe.

tapi kalo dah seperti itu kita masih nggak worthed…yo wes mending ngeluh sama orang yang bersangkutan atau paling tidak sama orang yang memiliki kedudukan yang sejajar dengannya...kalo perlu lagi laporin ke orang yang diatasnya...rektor kali, presdir kali, si mbah kali...hoho.

Tetap tak membuahkan hasil juga?,,, Take a Break saja sejenak...entah mau ke pantai, ke gunung buat bertapa, atau ke kuburan sekalian nyari wangsit, itu kembali ke diri kita bagaimana kita biasa mendapatkan sesuatu yang membuat comfort...berleha-leha lah sejenak dan tinggalkan semua masalah itu. Tapi harus diingat setelah semuanya lancar kembalilah dan siap untuk meremas sesuatu yang sudah jadi PR itu. Jangan pernah langsung berpikiran untuk mengambil tindakan ’STOP’, ’CUT’, ’Take enough’, ’Cukup Sampai Di sini’ atau yang lainnya. Mulailah melakukan kontemplasi, karena jika kita memutuskan untuk berpindah kantor maupun berpindah ke lain hati ( jadi kayak lagu ye...) itu adalah tindakan yang salah dan terkesan tergesa-gesa.

Seperti saran mbak Nining, kita seyogyanya tidak terburu-buru membuat keputusan besar. Misalnya, hanya karena bos tak juga mengirim kita untuk training di luar negeri, kita memutuskan untuk berhenti bekerja. Sekalipun kita nanti bekerja di perusahaan lain, tentu dengan atasan yang lain pula, jika kita tetap mempertahankan sikap mudah ngambek ini, tetap saja kita akan mengalami benturan yang sama. “Jadi, intinya, buang jauh-jauh sikap kita yang mudah ngambek itu. Yah… sesekali kesal, sih, tidak apa-apa. Tapi, yang penting, kita paham bahwa mengungkapkan rasa kesal itu juga ada aturannya,” tegas mbak Nining.

Akhir kata sebelum wassalam,

Meski dalam keadaan apapun yang membuat kita mutung, ambilah pelajaran dari mutung itu sebagai proses pendewasaan. Mutung nggak dilarang,,,tapi kalo mutungnya lama-lama kayak lutung (kera.red) loch....nah hati-hati aja kalo ada petugas bonbin yang patroli di jalan mencari lutungnya yang lepas..hehehe... Menghadapi masalah itu hal biasa jadi jangan dibikin luar biasa, Berjalanlah... pasti kita akan menemukan jalan.

Wassalam

Saya sendiri juga hoby mutung koq...tapi tulisan ini tertulis disaat saya tidak sedang mutung loch...hehe ... Jadi mari kita bersama saling belajar dan mengingatkan.

”- Y_UP2u_Y -”

permohonanku padaMu di tahun ini

2008-12-31T09:33:00.000-08:00

Buka mataku buka hatiku...
Allah terangilah hidupku dengan sinarMu...
Ya Allah...Tahun itu telah usai...
Ya Allah...Banyak kemaksiatan yang telah aku lakukan...
banyak dosa hina yang aku perbuat...
tanpa ampunanMu tuk mengakhiri tahun itu
sia-sialah hidup setahun itu...
Ya Allah...Namun aku bersyukur akan segala nikmat
yang Engkau beri dalam tahun itu...
Engkau masih berkenan mengijinkan aku menikmati nafas ini...
Engkau masih menyatukan keluarga ini dengan ridhoMu...
Semoga di tahun ini nikmat itu masih mengiringi perjalanan
untuk memperoleh ridhoMu dengan keutuhan keluarga yang
semakin dekat denganMu ya Allah......
Semakin Engkau tuntun hidup ini
Semakin Engkau terangi jalan ini
Semakin Engkau mudahkan setiap rintangan
Semakin Engkau perkaya syukur kepadaMu
Semakin Engkau teguhkan dan kuatkan hati ini
Semakin Engkau bimbing agar selalu mengerti akan
segala cobaan dan peringatanMu
Semakin mengerti akan arti hidup yang Engkau anugerahi
Hanya kepadaMu lah kami berserah diri...
Hanya kepadaMu lah kami kembali...
Dalam kegelisahan...
Dalam kegalauan...
Hanya kepadaMu kami berharap...
Wahai Sang Maha Pengasih lagi Maha Penyayang Umat...

Analisis Dinamika kelompok pada Organisasi Jepang

2008-12-31T00:51:00.000-08:00

Rahasia kesuksesan orang Jepang terletak pada kemampuan mereka
beradaptasi secara cepat. Bangsa Jepang tidak memiliki peradaban
yang hebat dan sejarah yang bisa dibanggakan seperti
Negara – negara lain. Negaranya indah tetapi tidak memiliki
hasil alam yang dapat dimanfaatkan. Orangnya kecil dan pendek.
Namun, dibalik semua kekurangannya itu, mereka berjiwa besar
dan memiliki impian yang melebihi kemampuan geografisnnya.

Faktor utama kesuksesan bangsa Jepang terletak pada budaya kerja, sistem etika, pengelolaan yang bagus, kreativitas, dan semangat juang yang tinggi tanpa mengenal arti kekalahan. Dalam sebuah organisasi Jepang, setiap anggota baik tingkat bawah, tengah, maupun atas memiliki peran yang sama.

Dinamika kelompok diartikan sebagai kekuatan-kekuatan yang terdapat di dalam atau dilingkungan kelompok yang akan menentukan perilaku anggota kelompok dan perilaku kelompok yang bersangkutan dalam bertindak melaksankan kegiatan demi tercapainya tujuan bersama yang merupakan tujuan kelompok. Menurut Mardikanto (1994), faktor-faktor yang termasuk dalam dinamika kelompok antara lain adalah :

tujuan kelompok
struktur kelompok
fungsi dan tugas kelompok
pembinaan dan pemeliharaan kelompok,
kekompakan kelompok
suasana kelompok
tekanan kelompok
keefektifan kelompok
agenda terselubung kelompok.

Pendekatan sosiologis dan pendekatan psikososial dapat dilakukan untuk menganalisis dinamika kelompok yang terjadi di dalam sebuah organisasi.

Organisasi Jepang tidak menyukai individu yang banyak tingkah dan mementingkan diri sendiri, mereka beranggapan kesuksesan adalah hasil kerjasama kelompok. Hubungan antar individu tanpa melihat jabatan dan kedudukan membuat hubungan menjadi erat dan saling melengkapi satu sama lain. Tidak ada jurang pemisah antara pengelola dan bawahan, yang mana hal ini berbeda dengan organisasi di Barat yang memisahkan kedudukan dan status bahkan ruangan kantor, hal tersebut dapat menimbulkan masalah dalam komunikasi yang serius.

Dalam organisasi Jepang, pengelola berawal dari posisi bawahan dan naik secara perlahan. Oleh karena itu, terciptalah sebuah suasana yang akrab dan memahami bawahan. Mereka dapat bekerja sama dan menambah kesetiaan para bawahan kepada pengelola. Sistem yang membuat para pekerja merasa selalu dihargai dan menganggap diri mereka penting bagi organisasi. Disini sangat terlihat dinamika kelompok Organisasi Jepang dalam kekompakan kelompok, suasana kelompok, pembinaan dan pemeliharaan kelompok, dan keefektifan kelompok. Tujuan kelompok pun dapat mengerucut pada tujuan bersama yaitu tujuan Organisasi dengan menanggalkan tujuan masing-masing idividu. Namun demikian, struktur kelompok dalam Organisasi Jepang tidak dapat dikatakan bersifat struktural tetapi lebih bersifat kultural dan fungsional.

Tim kerja merupakan pondasi dasar dalam Organisasi usaha Jepang untuk membentuk interaksi antara anggota tim dan pengelola. Pemimpin merupakan individu yang dapat diterima oleh para anggotanya, hal ini bermaksud menjaga keharmonisan dan semangat di antara mereka sehingga hubungan emosi dan pribadi pun dapat dibangun untuk meningkatkan semangat dan motivasi anggota.

Dilihat dari keseluruhan, organisasi Jepang memiliki dinamika kelompok yang baik, yaitu penerapan sebuah sistem yang membuka kesempatan pengelola kepada pengelolaan organisasi, penguatan hubungan interpersonal para bawahan, dan peningkatan prestasi dan hasil. Y_UP2u_Y - TT Mata Kuliah Pemberdayaan Masyarakat

2008-12-30T08:40:00.001-08:00

MyNiceSpace.com
New Year Myspace Comments

2008-12-30T07:21:00.000-08:00

Ne album kecil2an yuzu....
iseng2 nyiptain lagu yg agak berbau rocksteady...
tp yuzu kurang PD wat mau mempublikasikan...hehehe
mbok gak ditrima ma orang2...khususnya mas2 "rude boy" di dunia
hehehe...kalo pingin ndengerin mnt lngsng ja ma yuzu yaCh..hehhe
PeacE!!!!

2008-12-30T07:04:00.000-08:00

Sexy eyes

Ooh ooh aah aah sexy eyes
I'm gonna take you to paradise
Hey hey my my can't you see
You were born to dance with me

Ooh ooh aah aah sexy eyes
You know I'm never gonna tell you lies
Hey hey my my look at me
You got me feeling free

Na na na...............Sexy eyes
Na na na...............Sexy eyes

Ooh ooh aah aah sexy eyes
I'm gonna take you to paradise
Hey hey my my can't you see
You were born to dance with me

Ooh ooh aah aah hold me tight
Yes I guess you got me hypnotized
Hey hey my my don't you know
I'm gonna love you so - oh yeah

Sexy eyes
Na na na.............Sexy eyes
Na na na.............Sexy eyes

Ooh ooh aah aah sexy eyes
Sexy eyes
Hey hey my my look at me
You got me feeling free - ooh aah

Sexy eyes
Na na na.............Sexy eyes
Na na na.............Sexy eyes

Sexy eyes-with your sexy eyes sexy eyes x 4

Ooh ooh aah aah sexy eyes
I'm gonna take you to paradise
Hey hey my my look at me
You got me feeling free

GERHANA SKA CINTA

2008-12-30T06:40:00.000-08:00

Gerhana SkaCinta - Terpesona


Kau selalu di hatiku
Tiap detik dan waktu
Engkau masih di hatiku
Walaupun kau tak tahu

Kaulah yang terindah
Seindah taman kota Babylon
Bagai bidadari
Ayu wajahmu tiada terperi
Inginku bersamamu selalu

Kau selalu di hatiku
Kau bertakhta di jiwaku
Cintaku hanya untukmu
Walaupun kau tak tahu

Tapi apa yang kupasti
Kau tak akan kumiliki
Telah kucuba berkali
Kau tak pernah pun peduli

http://profile.myspace.com/index.cfm?fuseaction=user.viewProfile&friendID=72418278

THE HISTORY

A Kuala Lumpur based Ska, Rocksteady, Reggae & Dub band, Gerhana Skacinta (GSC/Gerhana) emerged from the ska revival scene of Malaysia in the late 1990s. While third-wave ska bred new faces and new categories; ska-punk, ska-pop, ska-core, Gerhana Skacinta stayed the traditional path, remaining faithful to a kind of rootsy purity. This purity wasn't based on snottiness or exclusivity, everyone, by all means, is invited to Gerhana Skacintas party but based on a determination that some music is timeless.

Formed by ska enthusiast, Edy King Django Jr, the very first line up are; Rejab + Trombone, Widy + Main Vocal, Bakri + Drum, Jalud + E-Bass & Upright Bass, Didi + Guitar, Fairus + Piano & Organ and Edy himself as Trumpeter & Vocal.

Gerhana Skacinta was Edy's spontaneous idea who hardly thinking for the name of his blue beat band. The idea was to have a classic sound for it. First gig they played was Ska Clinic held at the Artist Club, Jalan Ampang. Offered about a week before the gig and knowing that the time was running out, Edy contacted few friends desperately to get the full line up.

The first line-up of Gerhana Skacinta included Bijan + Keyboard, Acong + bass, Rudy + Drum and Chiwok + 2nd Trombone plus the rest that have been mentioned above. About half a year later, Rudy and Bijan leave the band to further studies. Their position was replaced by Olie, the ex-member of Republic of Brickfields, Carburator Dung and Silent Death. It is an honour for Edy to have Olie in his band since he is one of the pioneer musician in Malaysian underground music scene. Soon as he joined the band, Olie introduced Edy to young and talented Fairus who is a free lance musician graduated from ITM and currently work in MPPJ, to replaced Bijan.Then, Pian who is a friend to Edy joined Gerhana Skacinta casually to fulfill the bands need as a percussionist.

Within a short period of time, Gerhana Skacinta built their own empire and countless fans demanding them to record an album. They have been offered by some record labels, small and big, to sign a contract.However, Edy's strategy was to participated in gigs as much as possible in order to build his own empire of followers, besides to improve their skills in performing lives.

In early 2001, Mr Tang offered Gerhana Skacinta to record a compilation album Tribute to Sweet Charity, with other established band such as Koffin Kanser, Flop Poppy, Butterfingers and others. Edy accepted the challenge thinking that, the time has come and this could be one of a way to maximise the promotion for the band, importantly the music to the local industry and to the wider scope. They covered the song Jangan Tunggu Lama Lama, it was a hit and had a big radio air played.

In Mac 2002, Gerhana Skacinta signed up with Clockwork Records and ready to issued their first single album called Skali Skale, after gaining lots of invaluable experience of shows and winning uncountable crowds. Recorded in Synchrosound Studio, their first EP consists 5 tracks on the record. However, it was an unforgotten moment and a hard time for them since the recording process was delayed when Edy & Widy's mother and Olie's father past away a month before.

Olie, Acong ,Pian and Ciwok left Gerhana Skacinta for some reason in mid 2002. Drum position was replaced by Bakri, an experienced musician who played with few bands with big names such as OAG, Flop Poppy, Koffin Kanser and Republic of Brickfields. Instead of having 2 trombones, the band remained with one powerful blower, Rejab. Lucky Edy to have him as the member of the band who's also Edy's informal trumpet teacher. Rejab work professionally as a musician at Petronas. Later on, came in rare Jalud, a friend of Fairus + a freelance musician. Jalud gives Edy a maximum satisfaction for being able to play the Up-right bass, which what Edy really wants from the very beginning he formed his band.

In the late 2002, Gerhana Skacinta came out with their full length album confidently with the new powerful line up. Boss Sounds 11 track was a skilled refinement of Gerhana Skacinta's formidable talents and appeal. As the band hones its blend of smooth Caribbean melodies and the bluebeat and rocksteady sounds pioneered by the Skatalites, Lord Kithcner and The Wailers in Kingston, Gerhana Skacinta confidently finds its own unmistakable traits, rediscovering pre-ska influences of 1950s' soul, R&B and jazz. Klue magazine placed the album on its best-of list in 2003, reviews praised the bands authenticity and class, and the swell of people in the know grew steadily through the bands hard work and dedication.

In a meanwhile, Gerhana Skacinta featured in lots of magazines such as KONSERT, ROTTW, KLUE, newspapers and interviewed by few radio stations.Impressively, there was no negative write up or bad comments on Gerhana Skacinta but praises.At one point, the band became a favourite band of YTL and WOW fm and a must band to perform for Christmas, National and New Years eve for few years in a row at Starhill and Sungei Wang.

In September of 2004, Gerhana Skacinta came out with their 2nd full album, The New Authentic,a self produced released that sold over 20,000 copies. With it, the ability of the band came to light when they was nominated for few categories in major award winning ceremonies and started to been given chances to be part of the performers for the prestige events. The hit single, Senyuman Ragamu feat. Radhio Oag, allowed the band to achieve mainstream commercial success. Hence, the musical ability and quality of play has further improved and the identity of the band has become clearer to the Malaysians. When most people are not familiar to the sound of ska, being able to hit the radio charts is a good sign for the band in order to introduce it to the entire country. And the truth is, it's the skinheads and the mods who brought Gerhana Skacinta to its place now. These people supported them with no doubts from the very beginning of their journey, and at the very first gig. While majorities looked down to the band's existence, it's the skinheads and the mods who dance to their music. An extra appreciation to Malaysian SKINHEADS & MODS. Gerhana Skacinta belongs to you! For bookings : 0163850137/0122470088

Rahasia di balik Rahasia

2008-12-30T06:30:00.000-08:00

kau pun berbicara
kau pun tergerak
tak ku percaya
kau mulai membuka

kau bermain dibalik permainan
kau bernada dibalik beranda
tak kukira kau pun berdaya
tak kusangka kau merayunya

kan kulepas agar kau bahagia
kan kusimpan agar kau leluasa
jaga dia dengan sempurna
semua kulakukan karna kupercaya

The Specials-A Message To You Ruddie

2008-12-30T06:20:00.000-08:00

Stop your messing around
Better think of your future
Time you straightened right out
Creating problems in town

Rudy, a message to you
Rudy, a message to you

Stop your fooling around
Time you straightened right out
Better think of your future
Else you'll wind up in jail

Rudy, a message to you
Rudy, a message to you

Stop your messing around
Better think of your future
Time you straightened right out
Creating problems in town

Rudy, a message to you
Rudy, a message to you
Rudy, a message to you
Rudy, a message to you

The Specials were formed in Coventry in 1977, as The Coventry Automatics and later The Special A.K.A. by:

Jerry Dammers - Organ
Lynval Golding - Rhythym Guitar
Horace Gentleman - Bass
Terry Hall - Vocals
Roddy Radiation - Lead Guitar
John Bradbury - Drums
Neville Staples - Vocals
with honourary members:
Rico Rodriguez - Trombone
Dick Cuthell - Trumpet

2008-12-30T06:05:00.000-08:00

NOVEL PERTAMANYA YUZU ney............. coming soon............. dalam pengeditan......hehehe tunggu aja yah.......

Rocksteady

2008-12-28T08:33:00.001-08:00

Rocksteady is a music genre that was most popular in Jamaica, starting around 1966, and its reggae successor was established around 1968.

The term rocksteady comes from a dance style that was mentioned in the Alton Ellis song "Rock Steady". A successor to Jamaican ska, and a precursor to reggae, rocksteady was performed by Jamaican vocal harmony groups such as The Gaylads, The Kingstonians, The Maytals and The Paragons. Dances performed to rocksteady were less energetic than the earlier ska dance moves. Rocksteady differs from ska musically as the tempo is slower and more relaxed. The bass is heavier and more prominent in the mix and in addition, the bass lines abandon the earlier "walking" style of the ska period in favor of more broken, syncopated figures. The ska-style back beat and the emphasis on the offbeat carried over into rocksteady.

History

Rocksteady arose at a time when young people from the Jamaican countryside were flooding into the urban ghettos of Kingston — in neighborhoods such as Riverton City, Greenwich Town and Trenchtown. Though much of the country was optimistic in the immediate post-independence climate, these poverty-stricken youths did not share this sentiment. Many of them became delinquents who exuded a certain coolness and style. These unruly youths became known as rude boys.

The rude boy phenomenon had existed in the ska period, but was expressed more obviously during the rocksteady era in songs such as "Rude Boy Gone A Jail" by the Clarendonians; '"No Good Rudie" by Justin Hinds & the Dominoes; and "Don't Be A Rude Boy" by The Rulers. Though Alton Ellis is sometimes said to be the father of rocksteady for his hit "Girl I've Got a Date", other candidates for the first rocksteady single include "Take It Easy" by Hopeton Lewis, "Tougher Than Tough" by Derrick Morgan and "Hold Them" by Roy Shirley. In a Jamaican radio interview, pianist Gladstone Anderson said that bandleader Lynn Taitt was the man who slowed down the ska beat in 1964 during a "Take It Easy" recording session to create Rocksteady.The record producer Duke Reid released Alton Ellis' "Girl I've Got a Date" on his Treasure Isle label, as well as recordings by The Techniques, The Silvertones, The Jamaicans and The Paragons. Reid's work with these groups helped establish the vocal sound of rocksteady. Notable solo artists include Delroy Wilson, Bob Andy, Ken Boothe and Phyllis Dillon (known as the "Queen of Rocksteady").

Rocksteady lyrics mainly dealt with love and the rude boy culture, but most of the songs are simply music for dancing. Rocksteady singers regularly covered American soul recordings. For example, the song "You Don't Care" by The Techniques is a cover of "You'll Want Me Back" by The Impressions. "Ilya Kuryakin" by Ike Bennet and The Crystalites is lifted from "Theme from A Summer Place". Musicians who were crucial in creating the music included guitarist Lynn Taitt, keyboard player Jackie Mittoo, drummer Winston Grennan, bassist Jackie Jackson and saxophonist Tommy McCook. As a musical style, rocksteady was shortlived, and existed only for about two years. For this reason original recordings in this genre are often harder to find than those from the ska and reggae era. In contrast to rocksteady, the Jamaican ska trend lasted several years, and classic reggae lasted for over a decade.

Transformation into reggae

Several factors contributed to the evolution of rocksteady into reggae in the late 1960s. The emigration to Canada of key musical arrangers Jackie Mittoo and Lynn Taitt — and the upgrading of Jamaican studio technology — had a marked effect on the sound and style of the recordings. Musically, bass patterns became more complex and increasingly dominated the arrangements and the piano gave way to the electric organ in the mix. Other developments included horns fading farther into the background; a scratchier, more percussive rhythm guitar; the addition of African-style hand drumming, and a more precise and intricate drumming style. The use of a vocal-free or lead instrument-free dub or B-side "version" became popular in Jamaica.

By the late 1960s, as the Rastafari movement gained in popularity, many reggae songs became focused less on romance and more on black consciousness, politics and protest. The release of the film The Harder They Come and the rise of Jamaican superstar Bob Marley brought reggae music to an international level that rocksteady had never been able to reach. Although rocksteady was a short-lived phase of Jamaican popular music, it was hugely influential to the reggae, dub and dancehall styles that followed. Many bass lines originally created for rocksteady songs continue to be used in contemporary Jamaican music.

Skinhead

2008-12-28T08:32:00.000-08:00

Skinhead adalah suatu sub-budaya yang lahir di London, Inggris pada akhir tahun 1960-an. Sekarang Skinhead sudah menyebar ke seluruh belahan bumi. Nama Skinhead merujuk kepada para pengikut budaya ini yang rambutnya dipangkas botak. Sebelum bermulanya era Skinhead, ada golongan remaja yang dipanggil Mods yang menjadi pemula kepada skinheads.

Meskipun Skinhead banyak diasosiasikan dengan kelompok orang-orang yang rasis dan Neo-Nazi, namun Skinhead yang sebenarnya tidaklah Neo-Nazi, karena pada awalnya Skinhead adalah kaum tertindas dari kelas pekerja (utamanya buruh pelabuhan) di London, Inggris. Skinhead juga bisa merujuk kepada kepada kelompok orang (biasanya remaja) yang merupakan fans musik Oi!/streetpunk dan juga punk.

Sejarah

Skinhead merupakan subkultur yang bermula di Inggris pada era ‘60-an, ketika Mods sedang mengharubiru kaum muda Inggris. Mods yang pada awalnya didominasi kaum muda yang berasal dari kalangan menengah ke atas kemudian mewabah dan menyentuh setiap kalangan. Tidak terkecuali kalangan pekerja alias working class. Para pemuda dari kalangan tersebut meskipun harus bekerja keras tiap hari, sebagian malah sebagai buruh kasar atau buruh pelabuhan, namun tetap memiliki cita rasa tinggi dalam memilih life style tertentu. Mereka berusaha mengadaptasi life style yang berkembang dengan pola hidup, selera serta kemampuan dompet.

Maka pada sekitar tahun 1965, dalam dunia Mods dikenal pula istilah Smooth Mods (Peacock Mods) yang terdiri dari kalangan menengah stylish dengan pilihan kostum yang mahal serta Hard Mods (lemonheads, gang mods) yang terdiri dari kaum pekerja dan merupakan cikal bakal dari Skinheads.

Hard mods kemudian baru dikenal sebagai kaum Skinheads sekitar tahun 1968. Generasi pelopor Skinheads tersebut biasanya disebut Trads (Traditional Skinheads) atau Trojan Skinheads, sesuai dengan nama label Trojan Records.

Pakaian

Kaum Trads ini mudah dikenali dari setelan seperti shirt button-up Ben Sherman, polo Fred Perry, Bretel/suspender, celana jeans semi ketat, monkey boots, jaket jeans, jaket Harrington, V neck Sweater dls. Serta yang terpenting adalah potongan rambut yang pendek, berbeda dengan gaya rambut mods pada umumnya. Pilihan akan jenis rambut yang pendek ini lebih disebabkan alasan kepraktisan. Terutama karena sebagian besar lapangan pekerjaan yang tersedia tidak membolehkan pekerja berambut gondrong apalagi bergaya acak tidak beraturan. Selain itu, potongan rambut pendek dianggap sebagai keuntungan sewaktu harus menghadapi kehidupan jalanan yang keras ketika itu. Ada pula yang berpendapat bahwa pilihan berambut pendek merupakan counter terhadap life style kaum hippie yang dianggap mewah dan juga sedang berkembang pada masa tersebut. Lebih jauh lagi, suatu kisah menceritakan bahwa pilihan tersebut berasal dari kaum pekerja pelabuhan, seperti di kota Liverpool, yang memotong pendek rambut mereka untuk menghindari kutu yang banyak terdapat di sekitar pelabuhan.

Musik

Karena Skinhead sendiri pada dasarnya adalah suatu subkultur bukannya sebuah genre atau aliran musik, pilihan musiknya pun bisa beragam.

Yang pertama tentunya adalah roots mereka yang berasal dari Mods, para Trads pun pada awalnya sangat terpengaruh musik R&B ala British seperti dari The Who, The Kinks dls. Namun, mereka juga terinspirasi oleh style ala Jamaican Rude Boy yang juga populer di Inggris pada zaman itu. Rude Boy atau rudy merupakan sebutan untuk para imigran Jamaika yang berkulit hitam pencinta dansa dan musik asal mereka.

Hasilnya, para Trads pun sangat menggemari musik ska, reggae, rocksteady, bahkan sampai musik soul dls. Maka terkadang, seorang Skinhead pun ikut menikmati alunan dari seorang penyanyi soul seperti Aretha Franklin misalnya.

Dari roots tersebut dapat ditelusuri bahwa pada dasarnya Skinhead sama sekali tidak identik dengan rasis. Sebagaimana pendapat awam pada umumnya. Karena mereka pun menikmati kultur dari masyarakat kulit hitam. Bahkan, banyak juga Skinhead yang berkulit hitam dan berwarna kulit lainnya.

Rasisme

Mereka mendapat cap rasis pertama kali ketika beberapa Skinhead terlibat clash beberapa kali dengan imigran Pakistan dan imigran dari Asia Selatan (mereka menyebutnya Paki-Bashing) di Inggris pada era ’60-an. Tindak kekerasan yang biar bagaimanapun tidak bisa dibenarkan tersebut dipicu oleh masalah pekerjaan. Di mana para Skinhead yang merupakan kaum pekerja tersebut merasa lahan pekerjaan mereka semakin sempit terdesak oleh kedatangan imigran yang bersedia dibayar lebih rendah. Label rasis kemudian semakin melekat, salah satunya setelah beberapa Skinhead tergabung dan dihubungkan dalam organisasi white power, National Front yang terbentuk di awal ’70-an. Militansi dan karakter Skinhead yang keras khas kaum pekerja sempat membuat mereka dijadikan alat maupun berbagai kepentingan politik. Termasuk dihubungkan dengan paham Neo Nazi. Meskipun sejarah maupun kenyataan yang ada bisa menunjukkan fakta yang berbeda.

Sama dengan nasib Mods leluhurnya, pamor Skinhead sempat meredup di era ’70-an, setelah sebelumnya mencapai puncak popularitas mereka pada tahun 1969.

Mereka kemudian bangkit kembali, bersamaan dengan kelahiran musik punk pada sekitar tahun 1977

Punk

2008-12-28T08:31:00.000-08:00

Punk merupakan sub-budaya yang lahir di London, Inggris. Pada awalnya, kelompok punk selalu dikacaukan oleh golongan skinhead. Namun, sejak tahun 1980-an, saat punk merajalela di Amerika, golongan punk dan skinhead seolah-olah menyatu, karena mempunyai semangat yang sama. Namun, Punk juga dapat berarti jenis musik atau genre yang lahir di awal tahun 1970-an. Punk juga bisa berarti ideologi hidup yang mencakup aspek sosial dan politik.

Gerakan anak muda yang diawali oleh anak-anak kelas pekerja ini dengan segera merambah Amerika yang mengalami masalah ekonomi dan keuangan yang dipicu oleh kemerosotan moral oleh para tokoh politik yang memicu tingkat pengangguran dan kriminalitas yang tinggi. Punk berusaha menyindir para penguasa dengan caranya sendiri, melalui lagu-lagu dengan musik dan lirik yang sederhana namun terkadang kasar, beat yang cepat dan menghentak.

Banyak yang menyalahartikan punk sebagai glue sniffer dan perusuh karena di Inggris pernah terjadi wabah penggunaan lem berbau tajam untuk mengganti bir yang tak terbeli oleh mereka. Banyak pula yang merusak citra punk karena banyak dari mereka yang berkeliaran di jalanan dan melakukan berbagai tindak kriminal.

Punk lebih terkenal dari hal fashion yang dikenakan dan tingkah laku yang mereka perlihatkan, seperti potongan rambut mohawk ala suku indian, atau dipotong ala feathercut dan diwarnai dengan warna-warna yang terang, sepatu boots, rantai dan spike, jaket kulit, celana jeans ketat dan baju yang lusuh, anti kemapanan, anti sosial, kaum perusuh dan kriminal dari kelas rendah, pemabuk berbahaya sehingga banyak yang mengira bahwa orang yang berpenampilan seperti itu sudah layak untuk disebut sebagai punker.

Punk juga merupakan sebuah gerakan perlawanan anak muda yang berlandaskan dari keyakinan we can do it ourselves. Penilaian punk dalam melihat suatu masalah dapat dilihat melalui lirik-lirik lagunya yang bercerita tentang masalah politik, lingkungan hidup, ekonomi, ideologi, sosial dan bahkan masalah agama.

Gaya hidup dan Ideologi

Psikolog brilian asal Rusia, Pavel Semenov, menyimpulkan bahwa manusia memuaskan kelaparannya akan pengetahuan dengan dua cara. Pertama, melakukan penelitian terhadap lingkungannya dan mengatur hasil penelitian tersebut secara rasional (sains). Kedua, mengatur ulang lingkungan terdekatnya dengan tujuan membuat sesuatu yang baru (seni).

Dengan definisi diatas, punk dapat dikategorikan sebagai bagian dari dunia kesenian. Gaya hidup dan pola pikir para pendahulu punk mirip dengan para pendahulu gerakan seni avant-garde, yaitu dandanan nyleneh, mengaburkan batas antara idealisme seni dan kenyataan hidup, memprovokasi audiens secara terang-terangan, menggunakan para penampil (performer) berkualitas rendah dan mereorganisasi (atau mendisorganisasi) secara drastis kemapanan gaya hidup. Para penganut awal kedua aliran tersebut juga meyakini satu hal, bahwa hebohnya penampilan (appearances) harus disertai dengan hebohnya pemikiran (ideas).

Punk selanjutnya berkembang sebagai buah kekecewaan musisi rock kelas bawah terhadap industri musik yang saat itu didominasi musisi rock mapan, seperti The Beatles, Rolling Stone, dan Elvis Presley. Musisi punk tidak memainkan nada-nada rock teknik tinggi atau lagu cinta yang menyayat hati. Sebaliknya, lagu-lagu punk lebih mirip teriakan protes demonstran terhadap kejamnya dunia. Lirik lagu-lagu punk menceritakan rasa frustrasi, kemarahan, dan kejenuhan berkompromi dengan hukum jalanan, pendidikan rendah, kerja kasar, pengangguran serta represi aparat, pemerintah dan figur penguasa terhadap rakyat.

Akibatnya punk dicap sebagai musik rock n’ roll aliran kiri, sehingga sering tidak mendapat kesempatan untuk tampil di acara televisi. Perusahaan-perusahaan rekaman pun enggan mengorbitkan mereka.

Gaya hidup ialah relatif tidak ada seorangpun memiliki gaya hidup sama dengan lainnya. Ideologi diambil dari kata "ideas" dan "logos" yang berarti buah pikiran murni dalam kehidupan. Gaya hidup dan ideologi berkembang sesuai dengan tempat, waktu dan situasi maka punk kalisari pada saat ini mulai mengembangkan proyek "jor-joran" yaitu manfaatkan media sebelum media memanfaatkan kita. Dengan kata lain punk berusaha membebaskan sesuatu yang membelenggu pada zamannya masing-masing.

Punk dan Anarkisme

Kegagalan Reaganomic dan kekalahan Amerika Serikat dalam Perang Vietnam di tahun 1980-an turut memanaskan suhu dunia punk pada saat itu. Band-band punk gelombang kedua (1980-1984), seperti Crass, Conflict, dan Discharge dari Inggris, The Ex dan BGK dari Belanda, MDC dan Dead Kennedys dari Amerika telah mengubah kaum punk menjadi pemendam jiwa pemberontak (rebellious thinkers) daripada sekadar pemuja rock n’ roll. Ideologi anarkisme yang pernah diusung oleh band-band punk gelombang pertama (1972-1978), antara lain Sex Pistols dan The Clash, dipandang sebagai satu-satunya pilihan bagi mereka yang sudah kehilangan kepercayaan terhadap otoritas negara, masyarakat, maupun industri musik.

Di Indonesia, istilah anarki, anarkis atau anarkisme digunakan oleh media massa untuk menyatakan suatu tindakan perusakan, perkelahian atau kekerasan massal. Padahal menurut para pencetusnya, yaitu William Godwin, Pierre-Joseph Proudhon, dan Mikhail Bakunin, anarkisme adalah sebuah ideologi yang menghendaki terbentuknya masyarakat tanpa negara, dengan asumsi bahwa negara adalah sebuah bentuk kediktatoran legal yang harus diakhiri.

Negara menetapkan pemberlakuan hukum dan peraturan yang sering kali bersifat pemaksaan, sehingga membatasi warga negara untuk memilih dan bertanggung jawab atas pilihannya sendiri. Kaum anarkis berkeyakinan bila dominasi negara atas rakyat terhapuskan, hak untuk memanfaatkan kekayaan alam dan sumber daya manusia akan berkembang dengan sendirinya. Rakyat mampu memenuhi kebutuhan hidupnya sendiri tanpa campur tangan negara.

Kaum punk memaknai anarkisme tidak hanya sebatas pengertian politik semata. Dalam keseharian hidup, anarkisme berarti tanpa aturan pengekang, baik dari masyarakat maupun perusahaan rekaman, karena mereka bisa menciptakan sendiri aturan hidup dan perusahaan rekaman sesuai keinginan mereka. Punk etika semacam inilah yang lazim disebut DIY (do it yourself/lakukan sendiri).

Keterlibatan kaum punk dalam ideologi anarkisme ini akhirnya memberikan warna baru dalam ideologi anarkisme itu sendiri, karena punk memiliki ke-khasan tersendiri dalam gerakannya. Gerakan punk yang mengusung anarkisme sebagai ideologi lazim disebut dengan gerakan Anarko-punk.

Punk di Indonesia

Berbekal etika DIY, beberapa komunitas punk di kota-kota besar di Indonesia seperti Jakarta, Bandung, Yogyakarta, dan Malang merintis usaha rekaman dan distribusi terbatas. Mereka membuat label rekaman sendiri untuk menaungi band-band sealiran sekaligus mendistribusikannya ke pasaran. Kemudian usaha ini berkembang menjadi semacam toko kecil yang lazim disebut distro.

CD dan kaset tidak lagi menjadi satu-satunya barang dagangan. Mereka juga memproduksi dan mendistribusikan t-shirt, aksesori, buku dan majalah, poster, serta jasa tindik (piercing) dan tatoo. Seluruh produk dijual terbatas dan dengan harga yang amat terjangkau. Dalam kerangka filosofi punk, distro adalah implementasi perlawanan terhadap perilaku konsumtif anak muda pemuja Levi’s, Adidas, Nike, Calvin Klein, dan barang bermerek luar negeri lainnya.

http://www.youtube.com/watch?v=JMI4ztKfl0Y&mode=related&search=

http://www.youtube.com/watch?v=wB5_bRFkPUE&mode=related&search=

Ska

2008-12-28T08:30:00.001-08:00

Ska (pronounced /ska/ or in Jamaican Patois /skja/) is a music genre that originated in Jamaica in the late 1950s and was a precursor to rocksteady and reggae.

Ska combined elements of Caribbean mento and calypso with American jazz and rhythm and blues. It is characterized by a walking bass line, accented guitar or piano rhythms on the offbeat, and in some cases, jazz-like horn riffs. In the early 1960s, ska was the dominant musical genre of Jamaica, and it was also popular with British mods. Many skinheads, in various decades, have also enjoyed ska (along with reggae, rocksteady and other genres).Music historians typically divide the history of ska into three periods: the original Jamaican ska scene of the 1960s, the 2 Tone ska revival that started in England in the late 1970s, and the third wave ska movement, which started in the 1980s.

History

After World War II, Jamaicans purchased radios in increasing numbers and were able to hear rhythm and blues music from Southern United States cities such as New Orleans by artists such as Fats Domino and Louis Jordan. The stationing of American military forces during and after the war meant that Jamaicans could listen to military broadcasts of American music and there was a constant influx of records from the US. To meet the demand for that music, entrepreneurs such as Prince Buster, Clement "Coxsone" Dodd, and Duke Reid formed sound systems. As jump blues and more traditional R&B began to ebb in popularity in the early 1960s, Jamaican artists began recording their own version of the genres.The style was of bars made up of four triplets, similar to that of "My baby just cares for me" by Nina Simone, but was characterized by a guitar chop on the off beat - known as an upstroke or skank - with horns taking the lead and often following the off beat skank and piano emphasizing the bass line and, again, playing the skank.Drums kept 4/4 time and the bass drum was accented on the 3rd beat of each 4-triplet phrase. The snare would play side stick and accent the 3rd beat of each 4-triplet phrase.The upstroke sound can also be found in other Caribbean forms of music, such as mento and calypso.

Music of Jamaica

Kumina - Niyabinghi - Mento - Ska - Rocksteady - Reggae - Sound systems - Lovers rock - Dub - Dancehall - Dub poetry - Toasting - Raggamuffin - Roots reggae

Anglophone Caribbean music

Anguilla - Antigua and Barbuda - Bahamas - Barbados - Bermuda - Caymans - Grenada - Jamaica - Montserrat - St. Kitts and Nevis - St. Vincent and the Grenadines - Trinidad and Tobago - Turks and Caicos - Virgin Islands

Sound samples

Other Caribbean music

Aruba and the Dutch Antilles - Cuba - Dominica - Dominican Republic - Haiti - Hawaii - Martinique and Guadeloupe - Puerto Rico - St. Lucia - United States - United Kingdom

One theory about the origin of ska is that Prince Buster created it during the inaugural recording session for his new record label Wild Bells.[7] The session was financed by Duke Reid, who was supposed to get half of the songs to release. However, he only received one, which was by trombonist Rico Rodriguez.[citation needed] Among the pieces recorded were "They Got To Go", "Oh Carolina" and "Shake A Leg."[citation needed] According to reggae historian Steve Barrow, during the sessions, Prince Buster told guitarist Jah Jerry to "change gear, man, change gear."[citation needed] The guitar began emphasizing the second and fourth beats in the bar, giving rise to the new sound. The drums were taken from traditional Jamaican drumming and marching styles. To create the ska beat, Prince Buster essentially flipped the R&B shuffle beat, stressing the offbeats with the help of the guitar.

The first ska recordings were created at facilities such as Studio One and WIRL Records in Kingston, Jamaica with producers such as Dodd, Reid, Prince Buster, and Edward Seaga.There are different theories about the origins of the word ska. Guitarist Ernest Ranglin said the offbeat guitar scratching style that he and other musicians played was described as "ska! ska! ska!"[citation needed] Some believe that bassist Cluet Johnson coined the term ska when explaining the ya-ya sound of the music.[citation needed] Johnson was known to greet his friends with the word skavoovie, perhaps imitating American hipsters of the era. Johnson and the Blues Blasters were Coxsone Dodd's house band in the 1950s and early 1960s before the rise of the The Skatalites.[citation needed]

The ska sound coincided with the celebratory feelings surrounding Jamaica's independence from the UK in 1962; an event commemorated by ska songs such as Derrick Morgan's "Forward March" and The Skatalites' "Freedom Sound." Because the newly-independent Jamaica didn't ratify the Berne Convention for the Protection of Literary and Artistic Works until 1994, copyright was not an issue which created a large number of cover songs and reinterpretations. Jamaican musicians such as The Skatalites often recorded instrumental ska versions of popular American and British music, such as Beatles songs, Motown and Atlantic soul hits, movie theme songs, or surf rock instrumentals. Bob Marley's band The Wailers covered the Beatles' "And I Love Her," and radically reinterpreted Bob Dylan's "Like a Rolling Stone."

Byron Lee & the Dragonaires performed ska with Prince Buster, Eric "Monty" Morris, and Jimmy Cliff at the 1964 New York World's Fair. As music changed in the United States, so did ska. In 1965 and 1966, when American soul became slower and smoother, ska changed its sound accordingly and evolved into rocksteady.[8][7]

2 Tone

The 2 Tone genre, which began in the late 1970s in England, was a fusion of Jamaican ska rhythms and melodies with punk rock's uncompromising lyrics and aggressive guitar chords.Compared to 1960s ska, 2 Tone music had faster tempos, fuller instrumentation and a harder edge. The genre was named after 2 Tone Records, a record label founded by Jerry Dammers of The Specials. Although 2 Tone bands were respectful to the original Jamaican ska artists, The Specials failed to credit musicians such as Prince Buster, Toots & the Maytals and Dandy Livingstone as the composers of songs on their 1979 debut vinyl release. However, in many cases, the reworking of classic ska songs turned the originals into hits again in the United Kingdom. The 2 Tone movement promoted racial unity at a time when racial tensions were high in the UK. Most of the 2 Tone bands had multiracial lineups, such as The Beat (known as English Beat in North America) and The Selecter.Although only on the 2 Tone label for one single, Madness were one of the most effective bands at bringing the 2 Tone genre into the mainstream.

Third wave ska

Main articles: Third wave ska and Ska punk

In the 1980s, bands influenced by the 2 Tone ska revival began to form in the United States and other countries.The first well-known American ska revival band was The Toasters, who played in a 2 Tone-influenced sound and paved the way for the third wave ska movement. Other notable early third wave ska bands included The Uptones, Fishbone and Operation Ivy.

Many third wave ska bands played ska punk (sometimes known as ska-core), which is a fusion of ska, 2 Tone and punk rock. However, some third wave ska bands — such as The Allstonians, Hepcat and The Slackers — continued to play in a more traditional 1960s-influenced style. By the early 1990s, ska revival and ska punk bands were forming throughout the United States and many other countries. An enormous growth of the ska punk genre occurred after the ska-core band Mighty Mighty Bosstones signed with Mercury Records in 1993 and appeared in the film Clueless with their first mainstream hit "Someday I Suppose". The ska-influenced rock band No Doubt and Sublime also gave the ska genre more mainstream attention. By the late 1990s, mainstream interest in third wave ska bands had waned as other music genres gained momentum.However, several of the most popular ska punk bands have maintained a steady following in the 2000s (although many have moved away from their earlier ska-influenced sound to embrace various forms of rock, punk, and alternative music).

Reggae

2008-12-28T08:29:00.000-08:00

Reggae

Stylistic origins: R&B, Jazz, Mento, Calypso, Ska, Rocksteady

Cultural origins: Late 1960s Jamaica, especially Kingston

Typical instruments: Bass - Drums - Guitar - Organ - Brass - Melodica

Mainstream popularity: Early 1970s onward, worldwide

Derivative forms: Trip hop - Drum and bass - Dancehall

Subgenres

Roots reggae - Dub - Dub poetry - Toasting - Lovers rock - Dancehall - Ragga

Fusion genres

Reggaeton - Seggae - 2 Tone - Reggae rock

Regional scenes

African - Kanéka - New Zealand

Other topics

Jamaica - Rastafari movement - Haile Selassie - Marcus Garvey - List of reggae musicians

Reggae is a music genre first developed in Jamaica in the late 1960s.

While sometimes used in a broader sense to refer to most types of Jamaican music, the term reggae more properly denotes a particular music style that originated following on the development of ska and rocksteady. Reggae is based on a rhythm style characterized by regular chops on the off-beat, known as the skank. The tempo is generally slower than that found in ska. Reggae usually has accents on the 3rd beat in each bar, there being four beats in a bar; many people think it's accentuated on the 2nd and 4th, because of the rhythm guitar.

Reggae is often associated with the Rastafari movement, an influence on many prominent reggae musicians from its inception. Reggae song lyrics deal with many subjects, including faith, love, relationships, poverty, injustice and other broad social issues.

History

Toots Hibbert, lead singer of the Maytals.The 1967 edition of the Dictionary of Jamaican English lists reggae as "a recently estab. sp. for rege", as in rege-rege, a word that can mean either "rags, ragged clothing" or "a quarrel, a row".

The word as a musical term first appeared in print with the 1968 rocksteady hit "Do the Reggay" by the vocal group the Maytals, but it was already being used in Kingston as the name of a slower dance and style of rocksteady. As singer Derrick Morgan has reminisced,

"We didn't like the name rock steady, so I tried a different version of "Fat Man". It changed the beat again, it used the organ to creep. Bunny Lee, the producer, liked that. He created the sound with the organ and the rhythm guitar. It sounded like ‘reggae, reggae' and that name just took off. Bunny Lee started using the world [sic] and soon all the musicians were saying ‘reggae, reggae, reggae.'"

However, by Maytals' lead singer Toots Hibbert's account,

"There's a word we used to use in Jamaica called 'streggae'. If a girl is walking and the guys look at her and say 'Man, she's streggae' it means she don't dress well, she look raggedy. The girls would say that about the men too. This one morning me and my two friends were playing and I said, 'OK man, let's do the reggay.' It was just something that came out of my mouth. So we just start singing 'Do the reggay, do the reggay' and created a beat. People tell me later that we had given the sound it's name. Before that people had called it blue-beat and all kind of other things. Now it's in the Guinness World of Records."

Reggae historian Steve Barrow credits producer Clancy Eccles with altering the word streggae into reggae. Bob Marley is said to have claimed that the word reggae came from a Spanish term for "the king's music". The suggestion that reggae was derived from the Latin regis meaning "to the king" is less likely to be correct, although the music style is sometimes referred to as "JAH Throne music" in Rastafarian contexts. In the Caribbean, Reggae in general is also sometimes known as Rockers music.

Origins

Music of Jamaica

Kumina - Niyabinghi - Mento - Ska - Rocksteady - Reggae - Sound systems - Lovers rock - Dub - Dancehall - Dub poetry - Toasting - Raggamuffin - Roots reggae

Anglophone Caribbean music

Sound samples

Other Caribbean music

Aruba and the Dutch Antilles - Cuba - Dominica - Dominican Republic - Haiti - Hawaii - Martinique and Guadeloupe - Puerto Rico - St. Lucia - United States - United Kingdom

Although strongly influenced both by traditional African and Caribbean music and by American rhythm and blues, Reggae owes its direct origins to the progressive development of ska and rocksteady in 1960s Jamaica.

Ska music first arose in the studios of Jamaica over the years 1959 to 1961, itself a development of earlier mento. Ska is characterized by a walking bass line, accentuated guitar or piano rhythms on the offbeat, and sometimes jazz-like horn riffs. Aside from its massive popularity amidst Jamaican "rude boy" fashion, it had gained a large following among "mods" in Britain by 1964. According to Barrow, rude boys began deliberately playing their ska records at half speed, preferring to dance slower as part of their "tough" image.

By the mid-60s, many artists had begun actually playing the tempo of ska slower, while emphasizing the walking bass and offbeat aspects. The slower sound had a new name: Rocksteady, taken from a single of the new genre by Alton Ellis. This phase of Jamaican music lasted only until 1968, when the musicians began to slow the tempo of rocksteady into yet another gear, and add still other effects. This was the genesis of the now world-famous sound known as reggae.

The shift from rocksteady to reggae was caused by the organ shuffle that was pioneered by Bunny Lee, and was also featured in the transitional singles "Say What You're Saying" (1967) by Clancy Eccles, and "People Funny Boy" (1968) by Lee "Scratch" Perry. The Pioneers' 1967 track "Long Shot Bus' Me Bet" has been identified as the earliest recorded example of the new rhythm sound that would soon become known by the name reggae. Early in 1968 was when the first bona fide reggae records came into being; both "Nanny Goat" by Larry Marshall, and the Beltones' "No More Heartaches" have been claimed for this honour. Music historian Piero Scaruffi credits US artist Johnny Nash's 1968 hit "Hold Me Tight" with first putting reggae on the American listener charts.

Bob Marley Live a painting by Steve Brogdon 1992The Wailers, started by Bob Marley, Peter Tosh, and Bunny Wailer in 1963, are generally agreed to be the most easily recognised group worldwide that made the transition through all three stages: from ska hits like "Simmer Down", through slower rocksteady; and they are also among the significant pioneers who can be called the literal roots of reggae, along with Prince Buster, Desmond Dekker, Jackie Mittoo, and several others. Some of the many notable Jamaican producers who were highly influential in the development of ska into rocksteady and reggae in the 1960s include Coxsone Dodd, Lee "Scratch" Perry, Leslie Kong, Duke Reid, Joe Gibbs and King Tubby.

Among these early producers was Chris Blackwell, who founded Island Records in Jamaica in 1959, then relocated to England in 1962, where he continued to promote Jamaican music. He formed a partnership with Trojan Records, founded by Lee Gopthal in 1968, which lasted until 1972. Trojan continued to produce reggae artists in the UK until 1974, when it was bought by Saga.

1970s and 1980s

The 1972 film The Harder They Come, starring Jimmy Cliff, generated considerable interest and popularity for reggae music in the United States, and Eric Clapton's 1974 cover of the Bob Marley song "I Shot the Sheriff" is thought to signify reggae's acceptance as a global phenomenon by the "white rock world"[9]. By the mid 1970s, reggae was getting radio play in the UK on John Peel's radio show, and Peel continued to play much reggae during his career. What is called the first "Golden Age of Reggae" corresponds roughly to the heyday of roots reggae.

In the second half of the 1970s, the UK punk rock scene was starting to take off, and some punk DJs played reggae records during their DJ sets. Some punk bands, such as The Clash, The Slits, and The Ruts, incorporated reggae influences into their music.

At the same time, reggae began to enjoy a revival in the UK that continued into the 1980s, exemplified by groups like Steel Pulse, Aswad, UB40, and Musical Youth. Other artists who enjoyed international appeal in the early 80s include Third World, Black Uhuru and Sugar Minott.

The Grammy Awards introduced the "Best Reggae Album" category in 1985, which was won that year by Black Uhuru's Anthem LP. Winners for subsequent years have included albums by Jimmy Cliff, Steel Pulse, Peter Tosh, Ziggy Marley (four times), Bunny Wailer (three times), Shabba Ranks (twice), Inner Circle, Shaggy, Sly and Robbie, Beenie Man, Damian Marley (twice), Lee "Scratch" Perry, Sean Paul, and Toots and the Maytals.

Musical characteristics

Reggae is always played in 4/4 time or swing time, because the symmetrical rhythm pattern does not lend itself to other time signatures such as 3/4 time. Harmonically, the music is often very simple, and sometimes a whole song will have no more than one or two chords. The Bob Marley and the Wailers song "Exodus" is almost entirely comprised of A-minor chords. These simple repetitious chord structures add to reggae's sometimes hypnotic effect. However, Marley also wrote more complex chord structures, and bands such as Steel Pulse have often used very complex chord structures.

Drums and other percussion

A standard drum kit is generally used, but the snare drum is often tuned very high to give it a timbale-type sound. Some reggae drummers use a separate additional timbale or high-tuned snare to get this sound. Rim shots on the snare are commonly used, and tom-tom drums are often incorporated into the drumbeat itself. From the mid-80s onward, electronic instruments such as synthesizers and samplers have been used for the same purpose, especially by reggae artists who write in the Stepper and Dancehall styles.

Reggae drumbeats fall into three main categories: One drop, Rockers and Steppers. With the One drop, the emphasis is entirely on the third beat of the bar (usually on the snare, or as a rim shot combined with bass drum). Beat one is completely empty, which is extremely unusual in popular music. There is some controversy about whether reggae should be counted so that this beat falls on the 3, or whether it should be counted half as fast so that it falls on the 2 and 4. This article follows the convention of placing the beat on the 3. Many credit Carlton Barrett of The Wailers as the creator of this style, although it may actually have been invented by Winston Grennan. An example played by Barrett can be heard in the Bob Marley and the Wailers song "One Drop". Barrett often used an unusual triplet cross-rhythm on the hi-hat, which can be heard on many recordings by Bob Marley and the Wailers, such as "Running Away" on the Kaya album.

An emphasis on beat three is in all reggae drumbeats, but with the Rockers (pronounced like "raucous") beat, the emphasis is also on beat one (usually on bass drum). This beat was pioneered by the prolific innovative duo of Sly and Robbie — Sly Dunbar and Robbie Shakespeare — who later also helped create the "Rub-a-Dub" sound that greatly influenced Dancehall. An example of the Rockers beat is in "Night Nurse" by Gregory Isaacs. The Rockers beat is not always straightforward, and various syncopations are often included. An example of this is the Black Uhuru song "Sponji Reggae."

In Steppers, the bass drum plays four solid beats to the bar, giving the beat an insistent drive. An example is "Exodus" by Bob Marley and the Wailers. Another common name for the Steppers beat is the "four on the floor".

The Steppers beat was also adopted (at a much higher tempo) by some of the 2 Tone ska revival bands of the late 1970s and early 1980s. Examples include "Stand Down Margaret" by The Beat and "Too Much Too Young" by The Specials.

An unusual characteristic of reggae drumming is that the drum fills often do not end with a climactic cymbal. A wide range of other percussion instrumentation is used in reggae. Bongos are often used to play free, improvised patterns, with heavy use of African-style cross-rhythms. Cowbells, claves and shakers tend to have more defined roles and a set pattern.

Bass

The bass guitar often plays a very dominant role in reggae, and the drum and bass is often called the riddim. Several reggae singers have released different songs recorded over the same riddim. The central role of the bass can particularly be heard in dub music — which gives an even bigger role to the drum and bass line, reducing the vocals and other instruments to peripheral roles. The bass sound in reggae is thick and heavy, and equalized so the upper frequencies are removed and the lower frequencies emphasised. The bass line is often a simple two-bar riff that is centred around its thickest and heaviest note (which in musical terms is often the harmonic root note) - the other notes in the bassline often serve simply to lead you towards the bassist note. An example of this can be heard on "Sun Is Shining" by Bob Marley and the Wailers.

Guitars

The rhythm guitar in reggae usually plays the chords on beats two and four, a musical figure known as skank or the 'bang'. It has a very dampened, short and scratchy chop sound, almost like a percussion instrument. Sometimes a double chop is used when the guitar still plays the off beats, but also plays the following 8th beats on the up-stroke. An example is the intro to "Stir It Up" by The Wailers.

The lead guitar will often add a rock or blues-style melodic solo to a song, but much of the time it plays the same part as the bass line an octave higher, with a very muted and picked sound. This adds definition to the bass line (which is usually devoid of upper frequencies), and emphasizes the bass melody. Sometimes the guitar will play a counter-melody to the bass line instead.

Keyboards

From the late 1960s through to the early 1980s, a piano was generally used in reggae to double the rhythm guitar's skank, playing the chords in a staccato style to add body, and playing occasional extra beats, runs and riffs. The piano part was widely taken over by synthesizers during the 1980s, although synthesizers have been used in a peripheral role since the 1970s to play incidental melodies and countermelodies. Larger bands may include either an additional keyboardist, to cover or replace horn and melody lines, or the main keyboardist filling these roles on two or more keyboards. The latter has become increasingly popular as keyboard technology improves.

The reggae-organ shuffle is unique to reggae. Typically, a Hammond organ-style sound is used to play chords with a choppy feel. This is known as the bubble. There are specific drawbar settings used on a Hammond console to get the correct sound. This may be the most difficult reggae keyboard rhythm. The 8th beats are played with a space-left-right-left-space-left-right-left pattern. The right-hand part coincides with the rhythm guitar and piano. It makes the music sound faster than it really is. The organ often also plays melodic runs and extra beats. The organ part is typically quite low in the mix, and is often more felt than heard. Examples include the songs "Natural Mystic", "Is This Love" and "Midnight Ravers" by Bob Marley.

Horns

Horn sections are frequently used in reggae, often playing introductions and counter-melodies. Instruments included in a typical reggae horn section include saxophone, trumpet and/or trombone. In more recent times, real horns are sometimes replaced in reggae by synthesizers or recorded samples. The horn section is often arranged around the first horn, playing a simple melody or counter melody. The first horn is usually accompanied by the second horn playing the same melodic phrase in unision, one octave higher. The third horn usually plays the melody an octave and a fifth higher than the first horn. The horns are generally played fairly softly, usually resulting in a soothing sound. However, sometimes punchier, louder phrases are played for a more up-tempo and aggressive sound.

Vocals

The vocals in reggae are less of a defining characteristic of the genre than the instrumentation and rhythm. Almost any song can be performed in a reggae style. Vocal harmony parts are often used, either throughout the melody (as with bands such as the Mighty Diamonds), or as a counterpoint to the main vocal line (as with the backing group I-Threes). The British reggae band Steel Pulse used particularly complex backing vocals. An unusual aspect of reggae singing is that many singers use tremolo (volume oscillation) rather than vibrato (pitch oscillation). Notable exponents of this technique include Dennis Brown and Horace Andy. The toasting vocal style is unique to reggae, originating when DJs improvised along to dub tracks, and it is generally considered to be a precursor to rap. It differs from rap mainly in that it is generally melodic, while rap is generally more a spoken form without melodic content.

Lyrical themes

Reggae is noted for its tradition of social criticism, although many reggae songs discuss lighter, more personal subjects, such as love, sex and socializing. Some reggae lyrics attempt to raise the political consciousness of the audience, such as by criticizing materialism, or by informing the listener about controversial subjects such as Apartheid. Many reggae songs promote the use of cannabis (also known as marijuana or ganja), considered a sacrament in the Rastafari movement. There are many artists who utilize religious themes in their music — whether it be discussing a religious topic, or simply giving praise to the Rastafari God Jah. Other common socio-political topics in reggae songs include black nationalism, anti-racism, anti-colonialism, anti-capitalism, criticism of political systems and "Babylon", and promotion of caring for needs of the younger generation.

Subgenres

Roots reggae

Roots reggae is the name given to a spiritual type of music whose lyrics are predominantly in praise of Jah (God). Recurrent lyrical themes include poverty and resistance to government oppression. Many of Bob Marley's and Peter Tosh's songs can be called roots reggae. The creative pinnacle of roots reggae was in the late 1970s, with singers such as Burning Spear, Gregory Isaacs, Freddie McGregor, Johnny Clarke, Horace Andy, Ijahman Levi, Barrington Levy, Big Youth, and Linval Thompson, and bands like Culture, Israel Vibration, and Misty in Roots, teaming up with various studio producers including Lee 'Scratch' Perry and Coxsone Dodd.

Dub

Dub is a genre of reggae that was pioneered in the early days by studio producers Lee 'Scratch' Perry and King Tubby. It involves extensive remixing of recorded material, and particular emphasis is placed on the drum and bass line. The techniques used resulted in an even more visceral feel described by King Tubby as sounding "jus’ like a volcano in yuh head." Augustus Pablo and Mikey Dread were two of the early notable proponents of this music style, which continues today.

Lovers rock

Main article: Lovers rock

Lovers rock originated in South London in the mid-1970s, and is produced for a smoother, more commercial sound, with more apolitical lyrics.

Newer styles and spin-offs

Hip hop and rap

Further information: Toasting, Hip hop music and Rapping

Toasting is a style of chanting or talking over the record that was first used by 1960s Jamaican deejays such as U-Roy and Dennis Alcapone. This style greatly influenced Jamaican DJ Kool Herc, who used the style in New York City in the late 1970s to pioneer a new genre that became known as hip hop or rap. Mixing techniques employed in dub music have also influenced hip hop.

Dancehall

Main article: Dancehall

The dancehall genre was developed around 1980, with exponents such as Yellowman, Super Cat and Shabba Ranks. The style is characterized by a deejay singing and rapping or toasting over raw and fast rhythms. Ragga (also known as raggamuffin), is a subgenre of dancehall where the instrumentation primarily consists of electronic music and sampling. Notable ragga artists include Shinehead and Buju Banton.

Reggaeton

Main article: Reggaeton

Reggaeton is a form of dance music that first became popular with Latino youths in the early 1990s. It blends reggae and dancehall with Latin American genres such as bomba and plena, as well as hip hop.

Reggae rock

Main article: Reggae rock

Reggae rock is a fusion genre that combines elements of reggae and rock music. Notable artists who have mixed rock and reggae include: The Police, Sublime, Slightly Stoopid, Bedouin Soundclash and The Beautiful Girls.

Wanita Pujaan..."""

2008-12-28T08:26:00.001-08:00



WAnita solehah adalah sebaik-baik keindahan...
menatapnya menyejukan qalbu
mendengarkan suaranya menghanyutkan batin
ditinggalkan menambah keyakinan
Wanita solehah adalah bidadari surga yg hadir di dunia
Wanita solehah adalah ibu dari anak-anak yang mulia
Wanita solehah adalah istri yg meneguhkan jihad suami
Wanita solehah penebar rahmat bagi rumah tangga, cahaya dunia
dan akherat...(KH. Abdullah Gymnastiar)

Dimana kutemukan wanita itu...
seorang sobat bertutur bijak,"jadilah orang yang menemukan,
jangan menjadi orang yang mencari, dan teruslah menemukan...".
Sebuah untaian kata yang sangat dalam maknanya.
Tapi kapan sekiranya kutemukan wanita itu,
Tapi yakinlah...Allah menciptakan segala sesuatu
berpasang-pasangan, ada siang ada malam, ada pria ada wanita...
semua telah di atur olehNya...
lalu bagaimana dengan ikhtiar seorang manusia
yang ingin menemukan pasangannya itu???...
mohon dibantu mencari jawabnya teman-teman...(syukron katsiron)....


_ dari seorang yang gelisah akan penantian _

APA Ini-'a'............????!!!!!!!!

2008-12-25T23:43:00.000-08:00


hey.......apa ini???
macam apakah ini???
rasa tak terbaca
namun sangat terasa

hey.......kau yang diagungkan sepasang kekasih...
apa kau mulai berani menggangguku lagi...
tolong tunjukan artimu yang sesungguhnya...
bukan hanya celoteh
bukan hanya tatapan mesra
bukan juga keinginan sesaat yang membara

hey........jika kau memang ingin menyandingku???
tatap aku laksana batu...
bukan karang ataupun mutiara
ku bukan seperti yang lain
ku takkan mampu menjadi seperti yang lain
tapi jika kau mau???
kan ku pahat diriku menjadi tak sekedar batu
kan ku sajikan batu karang yang indah
kan ku sajikan batu mutiara yang cemerlang
hingga kau pun tau bahwa ku bukanlah batu biasa
batu yang selalu mereka injak
batu yang selalu mereka lempar
tapi bukan itu wahai kau yang ku rindu...!!!
kan ku topang keindahanmu dengan pondasi kesederhanaanku
kan ku jaga keseimbangan kecantikanmu dengan benteng
ketulusanku

kita bangun sebuah singgahsana kehidupan
dipayungi atap keceriaan
dikelilingi tembok kasih sayang
kita tunjukan pada mereka!!!
kita buat mereka terengah-engah
kita pastikan mereka mengakui karya besar kita
kita wujudkan mimpi di dunia
bekal iman dan taqwa...
saling menjaga dan mengingatkan...

jika kau menjawab
jika kau tau...
APA Ini-'a'...


Y_UP2u_Y  - 22.58/25.12.08

cinta mati

2008-12-16T07:37:00.000-08:00

Cahaya bulan terpantul bintang
Indah terasa saat dipandang
Naluri hati tergores pedang
Terkoyak cinta untuk dikenang
Akankah selalu mendapat bayang

  Lidah terasa manis berucap
  Olahan malam mimpi terlelap
  Visual cinta tak berdaya
  Energi hati bersatu menyerapnya
Sepasang hati bersinar terang
Aroma nafas seakan bertumpu
Yakin untuk keabadian cinta
Andai hidup yang bernafas asmara
Naungan cinta menemani hidup
Gejolak jiwa menjalani waktu

Y_UP2u_Y - cucigudang2003

MAtinya Cinta

2008-12-16T07:26:00.000-08:00

terik mentari memanggang tubuhku
serpihan pasir terhampar menyulitkan arah
dalam sepi aku berjalan
dalam hampa aku bertanya
  terhempas nafasku tanpa bayang
  terpaku takutku tanpa angan
  di mana cinta yang selama ini menemaniku
  hilangkah dia untuk meninggalkanku
menanti aku penuh asa
menunggu diriku bagaikan siksa
mati cinta untuk dirasa
melayang jauh menuju angkasa

Y_UP2u_Y - cuci gudang2003

"KACANG...."...?

2008-12-05T09:49:00.000-08:00

hai kau pendatang
bergaya bagaikan binatang...
berteriak lantang
seakan ingin menantang...

tak bisakah kau sopan
jangan jejali kami dengan paham setan...
tak ingatkah kau akan sabda Tuhan...
tunduk pada secerca uang
tak peduli nasib sang malang
tuk' berbaur dan berbagi sekantong kacang...
atau memang kau pantas ku tendang...

mr. Kap kop*t

2008-11-28T07:04:00.000-08:00

hey...........kap........
mau apa Lo ngusik peradaban kami!!!
hey...........kap...........
rencana besar Lo tai!!!
hey..........kap..........
ngga semua dapat Lo beli!!!
hey.....kap............
ingaT masih banyak nurani di bumi!!!
hey kap................
jangan kau atur masa ini seenak Lo sendiri!!!
hey......kap..........
jangan pikir semua mau menjilat ludahan materi!!!
hey.....kap.....................
mungkin Lo terbang tinggi!!! tapi ingat kami menanti Lo dibumi!!!
untuk menghadang dan menendang Lo hingga enyah dan terbirit-birit berlari!!!
meminta ampun dan bertanggungjawab atas semua ini!!!

Keheningan

2008-11-22T12:02:00.000-08:00

malam ini
sunyi
sepi
hanya terdengar ketukan jemari menyentuh keyboard mini
menanti sebuah mimpi
tapi
tak kunjung ku terlelap dalam mimpi
malam ini
kurasakan nikmat Illahi
tak perlu ku menanti
karna semua akan kembali

2008-10-07T18:57:00.000-07:00

“bertakwalah engkau kepada Allah. Bayangkan akhirat dalam kalbumu, jadikanlah kematian dipelupuk matamu. Dan janganlah engkau melupakan saat berdiri dihadapan Allah. Jadikan (dirimu sebagai) orang malu kepada Allah. Jauhilah larangan-laranganNya dan kerjakanlah kewajiban-kewajibanNya. Tetaplah konsisten bersama kebenaran dimanapun berada. Sekali-kali janganlah meremehkan kenikmatan yang diberikan Allah untukmu, kendatipun sedikit. Sambutlah ia dengan rasa syukur. Hendaklah diammu dalam keadaan berpikir, ucapanmu berupa dzikir, dan pandanganmu ditujukan untuk mengambil ibrah (pelajaran). Maafkanlah orang-orang yang berbuat aniaya kepadamu. Sambunglah tali (kekerabatan) orang yang memutuskan hubungan darimu. Bersikaplah dengan baik kepada orang-orang yang berbuat buruk kepadamu. Bersabarlah terhadap berbagai musibah dan mohonlah perlindungan kepada Allah dari neraka dengan bertakwa.”

(nasihat Imam Asy Syafi’i kepada murid beliau Imam Ismail bin Yahya, saat beliau mendekati ajal).

Sekarat Yang Nikmat

2008-10-07T18:16:00.000-07:00

href="http://i115.photobucket.com/albums/n292/yuzu_fri3nd/2871.gif">

Apakah kau takut akan hujan yang membasahi tubuhmu ketika kemarau mendera berkepanjangan
Apakah kau takut akan makanan yang disajikan ketika kau kelaparan selama 3 hari berturut-turut
Apakah kau takut akan terbitnya fajar yang tiba ketika kau menggigil dalam ketakutan kegelapan malam panjang
Takutlah akan hilangnya kenikmatan disaat-saat kau merasakan panas,lapar,gelap,
dan hal lain yang membuat kau dekat denganNya,menggantungkan pertolongan padaNya,merasakan dekap kehangatanNya,dan kepasrahan yang mendalam terhadapNya.

PACARAN...???'

2008-10-07T16:43:00.000-07:00











buletin bermutu ttg pacaran
Pacaran itu sesungguhnya adalah
keberuntungan
yang menyita waktu.
Kamu ganti waktu berteman menjadi
waktu
berpacaran.
Kamu ganti waktu bermain menjadi waktu
berpacaran.
Dan setelah berpacaran, kamu
mendapatkan
kebiasaan baru.
Kebiasaan yang menyenangkan...
Kamu bisa berbicara tentang bulan
berduaan
Kamu bisa perduli bila hujan membasahi
kekasihmu
Kamu bisa kawatir ketika pacar kamu telat
pulang
Kamu bisa bernyanyi tentang keindahan
hidup
Kamu bisa menjadi pujangga cinta
sekelas para
filsuf
Kamu bisa cemburu karena pacar diburu
oleh
pemburu cinta
Kamu bisa puas bila bertemu lalu
berbaring
bersama hingga lelap
Tapi, adakah kamu lupa....
Manusia itu bebas mencintai dan di cintai
Dan bila ketika kekasihmu tak mencintai
kamu
lagi....
Dan bila pacar kamu selingkuh , dan
bersikeras
ia tidak melakukannya....
Apa yang akan terjadi pada kamu ?
Apakah kamu menangisi ini hingga
tahun depan ?
Apakah kamu melarikan diri kedalam
narkotik ?
Apakah kamu bersembunyi di balik kamar
hingga
keajaiban terjadi ?
Apakah kamu selalu bertanya di dalam
hati
kenapa semua ini terjadi?
Atau kamu cermat dan tidak tergoyahkan
menghadapi ini ?
Dan lalu kamu mencari kebiasaan yang
baru dan
membuang kebiasaan yang lama.
Dan lalu dengan sungguh mencari
kekasih yang
baru
Walau mulanya berat namun masih saja
kita
percaya ....
Pada akhirnya pacar terakhirlah yang
terbaik
dari semuanya.
Putus akibat cinta adalah kerelaan dalam
berhubungan bukan kemenangan atau
kekalahan...
Jadi cintailah semua orang yang ada
dan lalu
jangan mengharapkan apa apa.
Cinta yang mengharapkan timbal balik
adalah
cinta monyet, tapi cinta yang tidak
mengharapkan
apa apa adalah cinta sejati.
Jadilah pecinta sejati sebab dari sanalah
kamu
akan mendapatkan arti cinta yang
sesungguhnya.
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