(MD Animations) Where is Yugoslavian French classical metal guitar prodigy Tina Setkic (YouTube's "Tina S"), student of French jazz-rocker Renaud Louis-Servais?
In the Vedas, Satyakāma Jābāli is a Vedic sage, who first appears in the fourth prapāṭhaka (chapter) of the ancient Vedic text, the Chāndogya Upanishad[1].
As a boy, in order to become brahmachārī(celibate Brahmin student), Satyakāma enquires about his father and his family from his mother Jabālā. His mother tells him that she went about many places in her youth attending to different people devoted to their service and did not know his lineage.
Therefore, she tells him that in this world, all that she has is him and vice versa, so he is called Satyakāma Jābāla.
Eager for knowledge, he goes to the sage Haridrumata Gautama, requesting the sage's permission to live in his school for to be a Brahmacharya. The teacher asks, "My dear child, what family do you come from?"
Satyakāma replies that he is of uncertain lineage because his mother does not know who his father is. He tells the sage that as to his lineage, his mother named him Satyakāma Jābāla.
Seeing his innocence and his strong wish to learn, the sage declares that the boy's honesty is the mark of a "Brahmin (brāhmaṇa), a true seeker of the knowledge of Brahman" and accepts him as a student in his school [2, 3].
The Buddha redefined the label "Brahmin" from a biological lineage -- as the Brahmins taught of their own descent from God's mouth -- to a meritocracy, stating that one is not a Brahmin (high caste) from birth because of one's parents but because of one's own actions (karma, "deeds").
The sage sends Satyakāma to tend to 400 sickly cows and to come back when they multiply into 1,000 [3].
The symbolic legend or allegory then presents Satyakāma's conversation with a bull, a fire, a swan (Haṃsa, हंस), and a diver bird (Madgu, मद्गु), which respectively symbolize Vāyu, Agni, Āditya, and Prāṇa [1].
Satyakāma thereby learns from these creatures that the form of Brahman is in all of the cardinal directions (north, south, east, west), world-bodies (earth, atmosphere, sky, ocean), sources of light (fire, sun, moon, lightning), and in humans (breath, eye, ear, and mind) [2].
Aummmm, the cosmic sound of the universe
Satyakāma returns to his teacher with 1,000 cows and humbly learns the rest: the nature of Brahman (the ultimate, metaphysical reality behind all of the illusions of maya).
Satyakāma graduates and becomes a celebrated sage, according to the Hindu tradition.
A Vedic school is named after him, as is the influential ancient text Jābāla Upanishad – a treatise on Sannyāsa (a Hindu sannyasin or renunciate's life) [4].
Upakosala Kamalayana was a student of Satyakama Jabala, whose story is also presented in the Chhāndogya Upanishad [5]. In the end, Satyakāma Jābāla's teacher the Sage Gautama gives him the name Patan. More
A few months ago, I [Lihi Be] stood on a stage in New York City and performed slam poetry for the first time. The scene was hosted by Nuyorican Poets' Cafe at the Bowery Poetry Club, a small, legendary room where decades of poets have stepped up to a microphone and turned their inner worlds into sound.
It's the kind of place where language has history, where words have weight, where the air feels charged from voices that came before.
I remember standing there, waiting my turn, feeling my heart beating in my throat,
which surprised me.
I’ve spoken in front of rooms before. I’ve guided workshops, taught movement, led breathworkjourneys where people open parts of themselves that are tender and alive.
Holding space for others doesn’t scare me.
But this was different.
This time, I wasn’t holding material space; I was the material.
A poem I wrote alone earlier that morning was about to leave the page and hit the stage, entering a room full of strangers, not through dead ink, but through my living breath, my voice, my body.
Until that moment, "poetry" was something I wrote, never something I performed.
When I published my book, The Self, Reframed, it felt like a big step outward. Suddenly the poems were technically "public." Someone, anyone, could order the book, underline a passage, carry a piece of it into her own life.
Butt even then, there was still distance.
The page protected me.
Readers meet a poem alone. They can pause, reread, close the book, throw it in the garbage disposal, flip the switch, make acid-free wood pulp that washes out to sea... That meeting happens quietly, inside their own interior worlds.
Shame? We refuse to limit ourselves
Slam poetry is different:
Spoken word removes the distance. When one performs a poem, there is no safe distance, no page between the room and the I performing. My breath carries my language. My nervous system becomes part of the delivery. My voice, my pauses, my trembling chest -- all of it becomes part of my poem.
In some ways, it feels easier to be naked than to perform one's own poem, in the woods, with someone you love, in front of Mother Nature, playing pretend it's Adam and Eve in a Sumerian garden.
I was in New York for a series of gatherings -- one of them a nude experience I was hosting with the Füde Experience: a roomful of naked people exploring embodiment, mindfulpresence, the simplicity of being in our bodies without the usual layers of social armor.
Standing naked in a room with others didn’t feel nearly as vulnerable as standing on this stage.
In fact, being naked felt surprisingly simple. Source: a poem is a different kind of naked (seeds of the self)
"No bikinis! Cover up those shameful bodies...or you are headed for hell!" - Loving Christian
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Lihi Be (Benisty)
AUTHOR: Lihi Be (Benisty), teacher of somatic self-inquiry, breathwork, movement, teacher, mentorship, poetry, summer retreat leader, author of The Self, Reframed. She leads a dynamic blend of somatic practices to navigate emotional landscapes. She is profoundly committed to the poetic art of self-inquiry through breathwork and movement. Her teaching is distinguished by her ability to weave these elements into a cohesive practice that respects the complexity of the human experience. Her poetry serves as a reflective mirror, deepening the themes she navigates in her somatic work and offering an additional avenue for connection and self-discovery. She lives in Los Angeles, California. (Substack, Instagram, FÜDEin LA, Amazon, Facebook, Omega Institute, lihibe.com)
Tenzin Gyatso, the 14th Dalai Lama, 90, is the first spiritual leader to WIN a Grammy for spoken word performance. Hollywood has honored the CIA asset and spiritual leader (former temporal leader or "pope-king" of Tibet, now China). The Dalai Lama released a spoken wordMeditations album with musical accompaniment.
I’m Chase Hughes. I’ve spent most of my life studying people — not the cute, Instagram version of “behavior,” the real stuff:
the fear under the confidence,
the lies we tell ourselves to get through the day,
the patterns we don’t even know we’re running.
I’ve worked with the kind of truths that don’t make the sweater-vest TED Talks, the kind that make you sit alone in your car afterward for a few minutes, staring at your hands.
I used to think the goal was mastery. Control. Influence.
Now I think it’s something quieter:
seeing clearly,
without flinching, and
maybe helping someone else see clearly too, without getting swallowed by noise.
I write books for people who are starting to unzip the costume -- and some who have stripped it off., people who want to understand others, but also want to understand the thing inside themselves that keeps steering their life when they’re not looking.
If you’re here, you’re probably one of those people. Good. We need more of you.
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