alusion

Sitting around waiting to see what I thought wasn’t there yet, dreaming of the ideal and longing for the past’s tender memories. I unfolded what my mind always told me to fear, I listened to the voice my ears insisted on neglecting. I acknowledged the face I dared not to look, and I embraced the truth awaiting. These songs came at a most vulnerable moment; when I ceased to resist the inevitable, when my hand was no longer holding onto anything, when nothingness was the only thing lingering in my mind. From that point forth, observing, questioning, reflecting, and trusting became the path to follow.

As a child I left a place of origin I was told to identify as home, and for countless years ahead I embarked on the never ending task of dressing myself up with layers upon layers of the things I thought would reflect “home” and define myself. I sought refuge in symbols and language, in musical expressions and traditions, in objects and customs, in musical instruments and songs. In culture, or what the world imposed on me as culture. Collecting all of it and placing every single thing on a pedestal before me. This pedestal over time became large, dense, heavy, indescribable, unconscious. I became oblivious to my surroundings, to my reality; everything beyond it I could not see, or I refused to see. My view was limited, many things became invisible. And the idea of what I had always known to be home was diluted and overclouded by uncertainty.

Throughout this relentless effort to define myself, I realized I had to stop trying to identify with everything I held dear and the truths these things represented. And instead, manifest my own truth, my own voice through all of these experiences, past and present. And so, everything thereafter was no longer an icon to worship, but rather part of the foundation, part of the solid ground to manifest my personal history, to defy identity and free my voice to start my own dialogue with the world.

This music is the crux of what my story has been thus far, it is an allusion to the worlds that wrought me. The movement which continues not as a forward line but as a spiral, constantly rotating around the same place of origin, growing and changing as it moves. Because in the end we are just like the water–it can solidify, liquify or evaporate, but the essence always remains the same. Like the tree–exposed to its surroundings, but not defined by them. The core within holds the truth, the seed to be sowed; it is free to be carried by the wind–wherever it may go.

This is my story… Thank you for the chance!

Vic.

Sound upgrade of a track produced by A-lusion in 2009.
New mixing, reversed bass and kicks.
Original version can be downloaded here: http://www.hardstyle.com/a-lusion/visual-perception/original-mix

This track is downloadable for free as a thank you for your support in 2012!
Copyright A-lusion / Scantraxx

This song was re-uploaded to the full DJ version. Because of this some of the comments have been moved and might be timed a bit strange now.

El viento de tu voz
sopla en el desierto
gratos efluvios
acarician mi faz

Por mi ser recorre
la mas excitante sensación
cada grieta mascullante
que se abre y se cierra 
me confunde, pero tambien
me aturde sin compasión

Es algo fuera de este mundo
porque, sin estar presente
puedo evocar su dulce vendaval
en todo momento y lugar
haciendo que pierda el control
por semejante mujer

— 

Deviantart

Rumba

Es un genero musical proveniente de la Habana con su mayor popularidad en los años 30, consiste en sonidos con una pausa pronunciada en el cual los bailadores en pareja hacen una especie de juego entre el hombre y la mujer, el varón pretende ïnyectar¨ a la chica  esto quiere decir que con us mano tratara de tocar la entre pierna de ella y la mujer tiene como misión cubrirse y no permitir que esto suceda. Haciendo alusion al acto sexual manifestado en un baile. Pero sin el afán de morbo ya que esto se fue convirtiendo en una practica y juego entre los habitantes que rápidamente pasaría a ser otro de sus grandes aportes en el baile. 

anonymous asked:

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glbi entii thank you so muchh, love you too💙

3

Pakri poolsaarel on vana ja uus tuletorn. Esimene tuletorn püstitati Peeter I käsul 1724 a., see oli 15 m kõrgune kivist tulepaak, mille alus on seni näha.

  1760 ehitati samale kohale 48 jala kõrgune paekivitorn, mille laternas põlesid küünlad. 1808 kõrgendati torni 20 jala võrra ja laternas hakati kasutama 15 kanepiõlilampi ja hõbetatud kumerpeegleid. Aga varingutega jäi see ohtlikult lähedale  panga servale ja seetõttu lammutati. Vanast tuletornist jäeti lammutamisel alles I korrus, mida kasut. laoks. 

  1889.a. püstitati punasest paekivist kõrge 8-tahulise soklikorrusega   uus tuletorn, mille tippu me ka ronisime. Kõrgus on tal 52 m maapinnast ja 73 m merepinnast. Marina sünnikodu on endiselt torni all olemas ja lammutamata ( vt. pruun maja rohelise plekk-katusega eelmises postituses ) . Marina ema töötas kaua aega Pakri torni vahina. Selgus, et riigi omanduses olev torn on välja renditud, torni alused maad on eraomanduses peremeest vahetanud ja neil on suured plaanid. Kohe-kohe on avamisel kohvik. ( see väike maja , millel on katusevahetus käimas ) , plaanis on restoran ja hostel! Ehitustööd on igatahes hoos. Need fotod siin on teinud Andrus Kuiva, meie ilm oli selleks hetkeks juba läinud pilve ja fotod on väga tuhmid ja valguseta. 

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Paser putih aluse gunung deng tanjong
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Tapi dekat di hati beta e
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