“Between gods and men, the clash begins.”

“Clash of the Titans” is a revenge fable which begins with the Olympian gods’ conquest of the Titans. Zeus (Liam Neeson) apportions the seas to his brother Poseidon, the earth to his creation, Man, and the underworld he tricks Hades (Ralph Fiennes) into taking. Zeus also sleeps with a mortal queen, which makes the king angry, and, to add to the whole revenge vibe, men of Argos topple a giant statue of Zeus whose unintended consequence causes Perseus (Sam Worthington) to seek revenge on Hades (who is seeking revenge on Zeus).

If you understood that paragraph, you’re qualified to watch the movie. Of course, it isn’t a great movie, but the cast is stellar, with Ralph Fiennes turning in the best performance. The roles are so big (being a “god” and all) that a smart actor understands the plot will furnish the character’s stature, and one needn’t put so much energy into the personality. Liam Neeson could have taken a lesson from Fiennes and been more intense, without being so bombastic.

Worthington is, also, good and smolders intensely in all the right places, as does Mads Mikkelsen as Draco. The primary women’s roles are played by Gemma Arterton (Io) and Alexa Davalos (Andromeda). Both are beautiful, and director Louis Leterrier takes the high road by keeping the movie suitable for young children. The only part that is perhaps inappropriate is that of Medusa (Natalia Vodianova), but, after all, she is a monster.

The writing is not terrible, and the special effects, with the exception of the giant scorpions, are decent. The only part of the movie that struck a discordant tone is that of the two hunters, included for comedic relief. A movie like this doesn’t need comedy, as the whole thing is silly to begin with. To try and make it funny produces a ridiculous, not a humorous, effect.

Still, to be overly critical of a story like this is to take it too seriously. It’s purely a popcorn movie and should be enjoyed for its emotional ride, not for its direction or character development. It retains almost all of the features of the original, except for Perseus’ helmet and shield. There’s even a wry homage to the original.

Ironically, for a Christian audience, the “Clash of the Titans” is perhaps more interesting in its humanistic exposition than it is in its action. There are many throwaway lines that have significance, as when we learn that it is Man’s prayers which “give the gods immortality.” Zeus thrives on Man’s worship, while Hades thrives on Man’s hatred. Zeus (the “father”) says: “I wanted man to worship us again, but not at the cost of a son.” While Hades says, “Let me loose upon them, and they will pray again.” One wants Man’s love; the other wants Man’s fear.

This conflict between the good and evil principle in the gods leads men to conclude that the gods, taken as a whole, are not good for men. Rebelliousness spreads among the common people, characterized by the feeling: “A new era has begun: the era of man.” In keeping with this theme, Perseus insists on doing everything as a man, and not as a god, in order to enact his revenge. As a god-man, Perseus is very much a type of Prometheus or of Jesus, but the irony is that he cannot accomplish his mission as a mere man and must use his godly capacities to overcome the gods and demigods he encounters.

In the end, he redeems Andromeda, enables the resurrection of another character, and frees Mankind from the dual tyranny of either worshipping or fearing the gods. Ultimately, it is a devoutly humanistic conception, summed up by a human character’s statement: “We are the gods now.”

I am an imperfect judge of any given movie’s appeal, but I suspect “Clash of the Titans” is best for children 6 to 12. Youths older than 12 will find the movie less challenging than the video games they play every day, and children younger than 6 simply won’t understand it or will be frightened by it.

Christian parents can use the movie as a teachable moment to contrast the failure of Zeus as a god who is vain, lascivious, and selfish, with the Christian god who selflessly sends his son to die for mankind. Parents won’t have any problem explaining Hades as the god of fire, smoke, and demons.

Violence: Heavy to Extreme / Profanity: Minor / Sex/Nudity: Moderate

Popularity: 31% [?]

The basic question that every human has always wanted to know is,  what will happen tomorrow?  There are a million ways to explain this; those who don’t believe in the authority of the bible have myriad conclusions, however  those who believe in the authority of the word can rest assured that God has already revealed the end even before the beginning- this is what we call the prophecy.

The bible is the authentic word of Jehovah God of heaven and has been proven right for thousands of years, actually some events prophesied in the bible are happening right before our eyes, we can trust what God tells us about our today and tomorrow.

THE UNFOLDING PROPHECY.

This is a book that seeks to remind us that the coming of the lord is near, taken from the book of psalms 42 through 50, the book opens the prophecy to show God’s end time plan for man kind, it seeks to clarify the confusion of our time by shedding the light of God’s prophecy to let us know what is ahead and what we need to do to be ready for the forthcoming events.

with evident confusion of the world ever changing political, financial, moral and religious crisis only God has the escape plan for those who will listen to him, you need to walk in knowledge even as the eminent end approaches. When you see,

Middle East crisis at its height,

Revival of the church,

Appalling wickedness,

Skyrocketing scientific technology,

Dynamic world politics,

These are some of the end time signs. You need to walk in knowledge of the unfolding prophecy.

The DVD materials will be available soon, for more information on the book , the author , his ministry check on this  facebook page -tomorrow today, or write to him through this email address-jtmugwe@yahoo.com or call him +254 723 686 865

Popularity: 13% [?]

THE ADDVOKET- THE WORLD IS BLACK IS WHITE BUT LOVE IS GREY

Name: The Addvoket
Album: The World Is Black And White But Love Is Grey (2009)
Genre: Hip-hop (Rap)
Launch date: ….2010
Studio: Sauti Media Productions

A couple of tracks you can listen to from his Album:

1. Priceless rap (Shine FM Commercial Break Freestyle)
2. Nairobi (Teaser)
3. Not my place (Mlevi.com Bonus)

The Addvoket is a topical Hip-hop/Rap artist based in Nairobi, Kenya. He was born and raised in Malawi. He has been severally titled the new generation sound of Kenyan Hip-hop/Rap because of his great delivery, catchy lyrics and diverse concepts and sound.

He has currently compiled his debut album titled “…Love is Grey” (The World Is Black And White but Love is Grey) and in the process of shooting videos to “Grey” ft. Molline and “Am A King” ft. Pepe Haze (who played Tye in MTV’s Sugar). Plans are already under way to have an album launch later this year (2010).

The album titled “…Love is Grey” is metaphorical of the extremes in the world which are represented by the extremes white and black colours. He uses this platform to discuss issues on race as in the song “Grey” ft. Molline and “Blame it on Hip hop” where he questions, “How can we have 3 different worlds in 1 single sphere?” Track 1 “In Look Around,” he tackles life issues, slam dwelling, moral decay, and eagerness of Africans to ape Western mannerisms without mentally reasoning. He also raps to the media and society saying questioning them how talents/artists with no care of how their gifts impact children get airplay while artists with message are locked out by rapping: “(situations may) make a blind man regret having his vision back/like when you turn on the TV/ just flip the channel (you are) guaranteed not to see me/you’ll some girl busy shaking her booty/or in a block buster having sex in a movie/and yup, she getting an Oscar… academy award all because she dropped her/ panties, then lifted her shirt/and the media is happy cause they selling us dirt.” He collaborates with Pepe Haze on Track 7: “Am a King” to promote African self-pride, goodness and self esteem underlining the message God exists and is an option that many overlook for the society to replenish. Am a King clearly displays freshly new talent as all beats are percussioned by mouth! In this album debut, he throws something in for everybody: “How Bout Your Love” for the ladies, “The Journey” for underground hip-hop heads, “Nairobi” for Crankers, “2 Step Program” for the Bass Nerds &”Auto-tune” and “the outro” where he summarizes the album with a funny message for people who just want to laugh cause celebrities take themselves too seriously.Clearly displaying craft and genius as he doesn’t get swallowed trying the different styles of Hip-hop.

As we listen to the album, it’s clear The Addvoket isn’t about gaining recognition. He has mastered his diction and out to make a difference for Africa and the world in total by calling for Love between people, races, religions, family, leaders and importantly oneself  (Black + White= Grey (which is Love)) with his unmatched skill.

Not supporting/buying/promoting this album will leave the industry suffocating of unrealistic rappers who’ve totally put-off Kenyans.

Its time to see new talent and local music progress. I propose a new standard of Good sound music and it starts with The Addvoket’s album “The World Is Black And White but Love is Grey.”

Most definetly this is an album to listen to.I just couldnt stop putting this tracks on repeat.Support Local talent people.

Visit/email His FB Group: The Addvoket or Visit mziki.co.ke/The_Addvoket to listen to his forthcoming album

To get a copy of the album email jaredbilla@gmail.com

Popularity: 26% [?]

SPA Fest is an annual arts performing arts competition that seeks to identify, develop and award young people’s talents with the express aim of developing art talent for sustainable community development. Last year’s SPA Fest had a  Ksh. 210 000/ – award and a learning experience for the much needed life skills in Dance and the spiritual walk.

2010 SPA Fest  is going to be bigger and better. Some of the Teams involved in this year’s SPA Fest were: FGTz, Ignitaz,Saints,Spartans,Detour,ICED,Incense,Impact,Alpha,,Alabaster,Movers,SIC,Blaze Force 1 e.t.c

Popularity: 11% [?]

One thing that 2009 taught us is that no rapper or label is untouchable. When you hear the names Tonex, Ambassador, and Da’ T.R.U.T.H. unfortunately the negative comes to mind before the positive. The issue these men have brought to the forefront is the fact that, overall, the current systems of accountability and, more importantly, pastoral care ministry may be poorly executed within their industry. With so much riding on not just the strength of one’s music, but the character one presents, pastoral care for the artist is essential.

What is pastoral care you may ask? Simply, pastoral care is dealing with the emotional and relational sides of ministry. Just because a person is a good preacher or teacher it doesn’t necessarily make him a good pastor. Pastoral care keeps in mind the state of the person while directing him toward Christ in healing, growth, grief, and reflection.

For many laypeople, pastoral care is often identified in the exercise of visiting sick and shut-in parishioners or in marriage counseling. But these are not the only outlets for ministers to assist their flocks in dealing with their emotional needs by using the bible and compassion. Pastoral care’s main goal is to have an emotionally and spiritually healthy person. Good pastoral care keeps the social structure of the church in tact.

So why does Christian hip hop (CHH) need pastoral care? We can look at three reasons why CHH artists need to undergo some type of consistent pastoral care.

The first is that the industry is very stressful. Artists are away from family and friends. “Real” life does not go on pause while they are on the road. If there are problems at home, they can transfer to the show and vise versa. While the crowd might not see the inner turmoil, it has an effect on the artist. Add in record label demands, internet personal attacks, and “life” in general, and you are looking at people who put a lot on the line to minister through the art of gospel rap.

The thing about stress is that if a person doesn’t know how to cope with it, he will go to any outlet for stress release. Some outlets are good. Some are bad. If an artist’s stress reliever is sex that can be an issue if his spouse isn’t on the road with him. If a person turns to medication (of any form) to cope with stress, that can lead to substance addiction. When we look into the details of stress we find that just because people engage in a stress reliever, it doesn’t mean their stress levels are in a healthy zone. Any added stress would only make things worse.

Let’s say someone’s stress level is 60 and their line of being “highly stressed” is 50. If a negative behavior only lowers the stress level to 51 the person is still highly stressed. Pre-show or post-show pastoral care, and especially during a tour, is essential so that honest expressions of thought and emotion can be addressed. Not only so that the minister can be aware of any behavior changes or red flags, but also so that countermeasures can be taken.

The second reason why CHH artist should receive pastoral care is that there needs to be someone they can talk to that won’t cost them their job or destroy their image. A good example of this would be the Ambassador’s situation. I think that what he went through could have been avoided if he had someone to talk to outside of his community. Yes, I did say outside of his community.

For anyone of his stature to admit serious character flaws could have strong repercussions. Even the expression of ideas or feelings that seem to border on something serious would cause major ripples. I feel that Ambassador was a victim of his status in that there was no one he could talk to while his issues where still small.

Satan loves isolation because it allows sin to grow unchecked and unrevealed. Just because we are spiritually born again does not mean we are without faults. To an extent the community expects artists to be perfect. The ones that are the most honest about their humanity have the “controversial” or “I’m praying for them” stigmas attached to them. This can cause these artists to feel isolated, which makes getting help in the community almost impossible. The isolation is only magnified when you have an artist that publicly promotes a viewpoint or moral standard.

The final reason why CHH needs pastoral care is that the current model of accountability focus has failed. It has been stated in various ways that Cross Movement Records has the most ministry involvement with their artists than any other label. There have been protocols and such that have been attributed to them to stop certain things that can happen on the road. The main thing that gets emphasized is the accountability model.

The accountability model is assistance in the form of a deterrent. The person doesn’t want to do the actions because they have to confess to their group. The idea that is promoted is to imagine the destruction to your home and your ministry if you fall into temptation. To an extent fear is used as method of inspiration. But this is a rational response that only helps in situations in which the person is fully thinking about the situation. On top of that, if the person’s emotional or rational scales are out of balance, then the recognition of the destruction is not enough. This method has now been publicly proven to not work, not once, but twice (via Ambassador and Da’ T.R.U.T.H. – two of CMR’s most high-profile artists).

One might say I’m taking cheap shots. But let’s look at the reality of the situation. The bastion of moral standards has had a wall blown down by enemy. Pretending the front gate is secure is foolish and delusional. In all honesty I wish the pure accountability model were effective because it is friendly on both time and economic fronts. But the system is broke and it needs to be replaced.

If the accountability model failed CHH with such a small exposure and small following, what will happen when the exposure and following gets even bigger? What will happen when the pressure to turn to vices is 10 to 20 times stronger? What will happen to CHH community when it faces an artist who commits suicide due to excessive stress and isolation?

Yes, God is good. Yes, Christ heals. But there needs to be interaction that goes beyond a close group of accountability partners. The sad thing with accountability partners is that over time they have a hard time seeing past the good in people. But often we forget what Jesus said in Mark 10:18 “No one is good except the father alone.”

So how can CHH effectively implement pastoral care? First of all, there needs to be a trusted minister or counseling agency that the artist can go to that doesn’t affect their economic or social status at the label. Many high stress jobs have hotlines for employees to call if they are overstressed or suicidal. These companies do not notify the employer that the employee called. And many times it is even the employer that encourages the employee to call the support number. The same applies here. Labels need to realize that at the end of the day, all the money they spent on the promotion of an artist will be wasted if they have a mental or moral breakdown. There is no way for a label to be aware of the internal issues of an artist, but having a pastoral care agent will allow someone else to help out the situation.

The second thing that can be done is for the industry to have some public talk about ministry to artists. This needs to extend past life on the road. What needs to be looked at are the emotional effects of life in the industry and the major causes of stress of males and females – both married and single. Each of those categories or mixtures has different stressors. Then look at practical means and currently implemented measures to prevent or minimize negative or destructive behaviors.

I also feel that any form of internal ministry to artist that a label presents should be shared among peers, artists, and labels for the betterment of the industry. Even measures independent artist take to protect themselves may revolutionize CHH moral maintenance requirements.

We are facing a new year and a new page in Christian hip hop. As the artist exposure and quality grows, so will the challenges. We must be wise and see that if we are to stand on morals then we need to change how we defend them. If we don’t, we will look like every other Christian hypocrite the world sees.

Popularity: 15% [?]

Joyful noise

Flame ft Lecrae.

Record:Cross movement records

Excellent mode of delivery

A video worth checking out

Popularity: 11% [?]

Here stands a man already dead
on this cold grave that is my bed
that i stand and tell so that you may not dread
But if thou are not sorry
for my story of lost glory,
then this desires of fire,
shall sire more fire.

When i was young and full of desires,
one by one i9 bedded wow wow women for hire,
women who flew my hot emotions higheeer,
but eventually made me pregnant with fire.
But if thou are not sorry
for my story of lost glory,
then this desires of fire,
shall sire more fire.
Mama and papa taught me to be humble,
but the fire in me couldn’t allow me and i stumbled,
i wambled,fumbled and eventually crumbled.
But if thou are not sorry
for my story of lost glory,
then this desires of fire,
shall sire more fire.
aaiya yai yaayai yayai yayaai.
thank u

Submitted By ZamZAm

Popularity: 27% [?]

ABOUT ADELLE:

AT THE TENDER AGE OF 13 YEARS, ADELLE BEGUN WRITING POEMS AS A HOBBY WHILST IN HIGH SCHOOL IN BOTSWANA. AFTER SHOWING HER FIRST POEM TO HER ENGLISH TEACHER, THAT POEM GOT PUBLISHED IN THE SCHOOL’S YEARBOOK. THIS WAS THE CONCEPTION OF THIS YOUNG POET’S POETIC JOURNEY TO SUCCESS. UPON HER RETURN TO KENYA IN 2005, SHE RECOMMENCED WRITING POETRY BUT WOULD ONLY SHARE HER PIECES WITH CLOSE FRIENDS. IT WAS WHEN SHE JOINED THE UNITED STATES INTERNATIONAL UNIVERSITY THAT SHE CAME INTO CONTACT WITH THE POETRY CLUB CALLED FIKIRA. THROUGH FIKIRA, ADELLE NETWORKED WITH OTHER POETS, EXCHANGED IDEAS BUT MOST IMPORTANTLY GAINED THE CONFIDENCE IN HER POETRY THAT SHE NEEDED TO BE ABLE TO SHARE HER TALENT WITH THE WORLD. IT WAS THEN, THAT IN 2009, ADELLE BEGUN PERFORMING AT VARIOUS CORPRATE FUNCTIONS AND POETRY NIGHTS.

WHEN ASKED WHERE SHE DRAWS HER INSPIRATION THE   TALENTED POET REPLIES: ‘I AM INSPIRED BY LIFE. I WRITE ABOUT  EVERYTHING I HAVE GONE THROUGH AND WHAT I HAVE SEEN  PEOPLE AROUND ME GO THROUGH. I WRITE PIECES THAT  INSPIRE BLACK WOMEN TO FEEL PROUD OF THEIR ETHNICITY  AND SEXUALITY AND PIECES THAT EMPHASIZE THE IMPORTANCE  OF SPIRITUALITY.  MOST IMPORTANTLY THOUGH, I WRITE PIECES  THAT HOLD THE SOLUTIONS TO SOCIAL PROBLEMS WITHIN  THEM. I FEEL LIKE POETRY POSSESSES THE POWER NOT ONLY TO  ENTERTAIN BUT ALSO PROMOTE SOCIAL CHANGE. I WANT MY  POEMS TO INSPIRE PEOPLE TO BE THE BEST VERSIONS OF  THEMSELVES!’

Black Girl, Black Sparrow

I let my imagination run wild in the plains of my mind

A young black girl cups a black sparrow; that’s what it finds

She’s engrossed and hypnotized by its thick smudge feathers

It’s loving her attention but yearning to flap its feathers

She is scared to let it go, let it fly

Because if she does, will that mean that companionship dies

Will she be able to scurry after it; she thinks, she sighs

She clutches it closer and walks to the corner of the plain

Thoughts bouncing in her head; she yearns for silence, to be sane

There is a rock that’s littered with green moss

She climbs up; she sits, she thinks of her impending loss

All she’s ever known is her sparrow

The love she had for it was deep; it was narrow

And at this moment my imagination engulfs her

Her thoughts become more, more vivid, some even taunt her

They flutter in her mind, control her brain

She feels different; an insane sane

Black wants black to flutter, to fly

Black wants black to let that love die

Black wants black to explore within

Black wants black to lose so she can win

The young black girl opens up her hands slowly

The black sparrow drifts out gently

Confused first it chooses not to fly

Looks back at her, as though saying goodbye

Then hops, then runs, then up it goes

She tears, she smiles, her love it pours

Still imagination’s captive she begins to think

That perhaps she should explore the she within

She had nothing to lose as she’d set it free

So she lay back on the rock and decided to fall in love with she

She closed her eyes and traversed the plains of she

She explored, defined and then loved she

She had found her new drug, obsessed with her she

It’s a new kind of high, she’s her latest drug

She was the jewel she yearned, she thought with a smug

Right then, she fell in love

Her love for she was a raging fire

Whose tongues licked every corner of her desires

Whose heat burned the love for the sparrow; her fear

Whose heat dried up the past; no tears

And after her love’s arson, one thought attacked:

Black left black so that Black could be, love and know Black.

I’M ETHNOCENTRIC

The light in my brightest days is black

A color whose history is interesting to track

I’m oblivious to the talk about black being whack

In my world those are just whispers from my black pride they try to distract

ME

But nevertheless I’ll always see myself as that black queen

No fear in admitting that I’m ethnocentric

They say that term leads to the negative just so that I may abandon black and embrace weak

They see the success in my color and try and cloud me with tricks

Tricks that those at the top fail to speak

Of coz they have forgotten their people and now think black is a stain, a dirty streak

And so in our schools we learn about their history

Forget ours and embrace their story

We know their economy’s inventory

But know not about our forefathers’ glory

Kids know of Hitler’s plans but not those of Shaka Zulu

They know of Churchill and Roosevelt forget Kenyatta and Mboya too

They know of the SS but not the Mau Mau

They learn of the American dream but doesn’t black have a dream too?

We watch Cruise and Clooney but our local theatres we‘ve never stepped into

Doesn’t black deserve your time too?

Dismiss our cultural gowns as being backward

Forgetting that without the back, there’d be no forward

Drop the lesso and pick up the Arafat

Don’t buy the local, you’d rather get some baby phat

Local music mirrors the lils, the biggys and the rock stars too

With themes ranging from the money, the booty and things that our culture’s not used to

And so I ask you

When will you shed off their kaleidoscope of colors

And stop treating black with such callous

Realize that it’s the light in the dark

The morals you lack

The story you should track

When will you love your color for your people’s sake?

When will you let the ethnocentric in you awake?

Welcome to Nairobi

Where my legacy was conceived and now lives

I stroll through the streets and no I don’t believe

All the beggars on their knees reaching out to me

Telling me ‘Siste help me reach my destiny’

‘Aunty all I need is a mbao not a G

Not even a sok, I’m not trying to bring you down like me’

So I reach down in my purse and grab a couple of coins

The sight of this old beggar stopped my feet from going

And as I touched his dry cracked palms I pledged to alleviate him through my poems

Change it through my rich dictionary

Welcome to Nairobi

Where my legacy was conceived and now lives

Where a well known thug though he used to be

Placed his hands on a bible and now at Kencom he preaches to me

Tells me to cut off my dreads

Wear skirts not tight threads

It can’t penetrate his head

Because his intelligence is dead

That there’s more to me than the shell he sees

As he raises his bible and asks to pray for me

I pledge to fight this religious hypocrisy

Change it through my sacred dictionary

Welcome to Nairobi

Where my legacy was conceived and now lives

And at the junction between two famous streets

A young man walks up to me

Says he’s trying to get to Thika but his wallet’s been stole

Said he’s tried calling his cousin but all he hears in Mteja on his phone

Young man thinks I’m a fool but this story I’d been told

I think this con is getting pretty old

So I let him down gently ‘Sina do on me’

And as I walk away amidst appeals from him

I pledge to right the wrong so these conmen cease to be

Change it with my truth yaani my dictionary

Welcome to Nairobi

Where my legacy was conceived and now lives

Where the party scene is vibrant and the place to be

But also where you can lose yourself; forget who you want and ought to be

While some dance to a drunk choreography

Others converse in the car with their bodies, you see

Boys torturing their necks with imitated bling

Hoping that the gleam will her heart win

And just when I think she houses morals in her being

She locks her arm around his; off to the automobile

Leaving me chanting a prayer that he puts a cap on his thing

Welcome to Nairobi

A place that’s home to me

But I have to change it with my rich, true and sacred dictionary

Before my kin comes to be.

Siste – sister

Mbao – Ksh20

Sok – Ksh100

Kencom – Major bus stop in Nairobi city centre

Mteja – refers to a recorded message that plays when the person you are calling’s phone is off

Thika – A town in Kenya

‘Sina do’ – Slang for, I have no money

Yaani – as in/meaning

Submit Your Poems Below

(or just post your poems to info@x-hoodz.com)

Popularity: 33% [?]