To point out the eerily familiar description of a socialist regime in Somalia, and the current socialist efforts of the”democrats” currentlt experimenting with the boundaries of toelrability and sensibility here in the United States, I have to reveal one of my awesome free music sites.
But the parallel is too compelling.
I have some websites where I go for free or very low cost music. I hate to share the info because I fear that somehow the great deal will end if too many people find out about these sites. Probably will never happen – people generally will not dig something unless it is certified as “good, ” whether good or not, by someone with more influence than me. Such as ClearChannel.
So, here it is: a blog reflecting upon the realm of well-aged African music. On one post, a contributor comments on a record of praise to the new communist dictator, Mohammad Siad Barre, who popped up in 1969.
As you review the notes, keep in mind the way that Van Jones, Cass Sunstein, Michael Copps, and the rest of our socialist adminsitration is striving to “provide content” so we all think the “right” things.
A sample: “They had initially a progressive agenda and rhetoric based on justice, socio-economic development, equal opportunities for all, specially for women and minorities etc. The political discourse was pregnant with noble promises and the expectations were high. Gutted by the corruption and nepotism rampant during the preceding civilian governments, many Somalis were enthusiastic about the new ‘revolutionary course’ and many artists lauded Siad Barre’s initial goodwill and positive intentions. Unfortunately, it didn’t take long before oppression, fear and mutual distrust were all the midwife could announce to the parturient crowds.
“The artists on this series were all members of Waaberi, the house-band of the Ministry of Information and National Guidance. The name says it all: Propaganda and indoctrination! It was a large troupe with hundreds of members embracing dramaturgy, folklore dance and music.
“It seems the ones on this album were carefully selected to rally support for the military regime. They were among the most popular in that period and, equally or maybe even more important, they came from practically all regions and clans. Their incipient stance in favour of the military regime, as depicted in these songs, may be genuine, fake, forced … or all three at the same time, as dictatorial schizo-paranoia has its unfathomable ways. However, poet and playwright Sangub (composer of “Soomalida Maanta” & “Midab Gumeysi Diida”) is to my knowledge the only one in this bunch who never disavowed Siad Barre’s atrocities. That’s why he’s strongly despised across the board, notwithstanding his impressive and diverse body of literary work. The other protagonists in this album spoke their mind in subsequent songs and were, along with many others, arrested and/or exiled.”