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« on: January 25, 2008, 08:03:08 PM »

For 75 years Nubian kings ruled over ancient Egypt, reunifying the country and building an empire. Until recently, theirs was a chapter of history lost in the shadows.
By Robert Draper

In the year 730 B.C., a man by the name of Piye decided the only way to save Egypt from itself was to invade it. Things would get bloody before the salvation came.

“Harness the best steeds of your stable,” he ordered his commanders. The magnificent civilization that had built the great pyramids had lost its way, torn apart by petty warlords. For two decades Piye had ruled over his own kingdom in Nubia, a swath of Africa located mostly in present-day Sudan. But he considered himself the true ruler of Egypt as well, the rightful heir to the spiritual traditions practiced by pharaohs such as Ramses II and Thutmose III. Since Piye had probably never actually visited Lower Egypt, some did not take his boast seriously. Now Piye would witness the subjugation of decadent Egypt firsthand—“I shall let Lower Egypt taste the taste of my fingers,” he would later write.

North on the Nile River his soldiers sailed. At Thebes, the capital of Upper Egypt, they disembarked. Believing there was a proper way to wage holy wars, Piye instructed his soldiers to purify themselves before combat by bathing in the Nile, dressing themselves in fine linen, and sprinkling their bodies with water from the temple at Karnak, a site holy to the ram-headed sun god Amun, whom Piye identified as his own personal deity. Piye himself feasted and offered sacrifices to Amun. Thus sanctified, the commander and his men commenced to do battle with every army in their path.

By the end of a yearlong campaign, every leader in Egypt had capitulated—including the powerful delta warlord Tefnakht, who sent a messenger to tell Piye, “Be gracious! I cannot see your face in the days of shame; I cannot stand before your flame, I dread your grandeur.” In exchange for their lives, the vanquished urged Piye to worship at their temples, pocket their finest jewels, and claim their best horses. He obliged them. And then, with his vassals trembling before him, the newly anointed Lord of the Two Lands did something extraordinary: He loaded up his army and his war booty, and sailed southward to his home in Nubia, never to return to Egypt again.

When Piye died at the end of his 35-year reign in 715 B.C., his subjects honored his wishes by burying him in an Egyptian-style pyramid, with four of his beloved horses nearby. He was the first pharaoh to receive such entombment in more than 500 years. A pity, then, that the great Nubian who accomplished these feats is literally faceless to us. Images of Piye on the elaborate granite slabs, or stelae, memorializing his conquest of Egypt have long since been chiseled away. On a relief in the temple at the Nubian capital of Napata, only Piye’s legs remain. We are left with a single physical detail of the man—namely, that his skin was dark.

Piye was the first of the so-called black pharaohs—a series of Nubian kings who ruled over all of Egypt for three-quarters of a century as that country’s 25th dynasty. Through inscriptions carved on stelae by both the Nubians and their enemies, it is possible to map out these rulers’ vast footprint on the continent. The black pharaohs reunified a tattered Egypt and filled its landscape with glorious monuments, creating an empire that stretched from the southern border at present-day Khartoum all the way north to the Mediterranean Sea. They stood up to the bloodthirsty Assyrians, perhaps saving Jerusalem in the process.

Until recently, theirs was a chapter of history that largely went untold. Only in the past four decades have archaeologists resurrected their story—and come to recognize that the black pharaohs didn’t appear out of nowhere. They sprang from a robust African civilization that had flourished on the southern banks of the Nile for 2,500 years, going back at least as far as the first Egyptian dynasty.

Today Sudan’s pyramids—greater in number than all of Egypt’s—are haunting spectacles in the Nubian Desert. It is possible to wander among them unharassed, even alone, a world away from Sudan’s genocide and refugee crisis in Darfur or the aftermath of civil war in the south. While hundreds of miles north, at Cairo or Luxor, curiosity seekers arrive by the busload to jostle and crane for views of the Egyptian wonders, Sudan’s seldom-visited pyramids at El Kurru, Nuri, and Meroë stand serenely amid an arid landscape that scarcely hints of the thriving culture of ancient Nubia.

Now our understanding of this civilization is once again threatened with obscurity. The Sudanese government is building a hydroelectric dam along the Nile, 600 miles upstream from the Aswan High Dam, which Egypt constructed in the 1960s, consigning much of lower Nubia to the bottom of Lake Nasser (called Lake Nubia in Sudan). By 2009, the massive Merowe Dam should be complete, and a 106-mile-long lake will flood the terrain abutting the Nile’s Fourth Cataract, or rapid, including thousands of unexplored sites. For the past nine years, archaeologists have flocked to the region, furiously digging before another repository of Nubian history goes the way of Atlantis.

The ancient world was devoid of racism. At the time of Piye’s historic conquest, the fact that his skin was dark was irrelevant. Artwork from ancient Egypt, Greece, and Rome shows a clear awareness of racial features and skin tone, but there is little evidence that darker skin was seen as a sign of inferiority. Only after the European powers colonized Africa in the 19th century did Western scholars pay attention to the color of the Nubians’ skin, to uncharitable effect.

Explorers who arrived at the central stretch of the Nile River excitedly reported the discovery of elegant temples and pyramids—the ruins of an ancient civilization called Kush. Some, like the Italian doctor Giuseppe Ferlini—who lopped off the top of at least one Nubian pyramid, inspiring others to do the same—hoped to find treasure beneath. The Prussian archaeologist Richard Lepsius had more studious intentions, but he ended up doing damage of his own by concluding that the Kushites surely “belonged to the Caucasian race.”

Even famed Harvard Egyptologist George Reisner—whose discoveries between 1916 and 1919 offered the first archaeological evidence of Nubian kings who ruled over Egypt—besmirched his own findings by insisting that black Africans could not possibly have constructed the monuments he was excavating. He believed that Nubia’s leaders, including Piye, were light-skinned Egypto-Libyans who ruled over the primitive Africans. That their moment of greatness was so fleeting, he suggested, must be a consequence of the same leaders intermarrying with the “negroid elements.”

For decades, many historians flip-flopped: Either the Kushite pharaohs were actually “white,” or they were bumblers, their civilization a derivative offshoot of true Egyptian culture. In their 1942 history, When Egypt Ruled the East, highly regarded Egyptologists Keith Seele and George Steindorff summarized the Nubian pharaonic dynasty and Piye’s triumphs in all of three sentences—the last one reading: “But his dominion was not for long.”

The neglect of Nubian history reflected not only the bigoted worldview of the times, but also a cult-like fascination with Egypt’s achievements—and a complete ignorance of Africa’s past. “The first time I came to Sudan,” recalls Swiss archaeologist Charles Bonnet, “people said: ‘You’re mad! There’s no history there! It’s all in Egypt!’ ”

That was a mere 44 years ago. Artifacts uncovered during the archaeological salvage campaigns as the waters rose at Aswan in the 1960s began changing that view. In 2003, Charles Bonnet’s decades of digging near the Nile’s Third Cataract at the abandoned settlement of Kerma gained international recognition with the discovery of seven large stone statues of Nubian pharaohs. Well before then, however, Bonnet’s labors had revealed an older, densely occupied urban center that commanded rich fields and extensive herds, and had long profited from trade in gold, ebony, and ivory. “It was a kingdom completely free of Egypt and original, with its own construction and burial customs,” Bonnet says. This powerful dynasty rose just as Egypt’s Middle Kingdom declined around 1785 B.C. By 1500 B.C. the Nubian empire stretched between the Second and Fifth Cataracts.

Revisiting that golden age in the African desert does little to advance the case of Afrocentric Egyptologists, who argue that all ancient Egyptians, from King Tut to Cleopatra, were black Africans. Nonetheless, the saga of the Nubians proves that a civilization from deep in Africa not only thrived but briefly dominated in ancient times, intermingling and sometimes intermarrying with their Egyptian neighbors to the north. (King Tut’s own grandmother, the 18th-dynasty Queen Tiye, is claimed by some to be of Nubian heritage.)

The Egyptians didn’t like having such a powerful neighbor to the south, especially since they depended on Nubia’s gold mines to bankroll their dominance of western Asia. So the pharaohs of the 18th dynasty (1539-1292 B.C.) sent armies to conquer Nubia and built garrisons along the Nile. They installed Nubian chiefs as administrators and schooled the children of favored Nubians at Thebes. Subjugated, the elite Nubians began to embrace the cultural and spiritual customs of Egypt—venerating Egyptian gods, particularly Amun, using the Egyptian language, adopting Egyptian burial styles and, later, pyramid building. The Nubians were arguably the first people to be struck by “Egyptomania.”

Egyptologists of the latter 19th and early 20th centuries would interpret this as a sign of weakness. But they had it wrong: The Nubians had a gift for reading the geopolitical tea leaves. By the eighth century B.C., Egypt was riven by factions, the north ruled by Libyan chiefs who put on the trappings of pharaonic traditions to gain legitimacy. Once firmly in power, they toned down the theocratic devotion to Amun, and the priests at Karnak feared a godless outcome. Who was in a position to return Egypt to its former state of might and sanctity?

The Egyptian priests looked south and found their answer—a people who, without setting foot inside Egypt, had preserved Egypt’s spiritual traditions. As archaeologist Timothy Kendall of Northeastern University puts it, the Nubians “had become more Catholic than the pope.”

Under Nubian rule, Egypt became Egypt again. When Piye died in 715 B.C., his brother Shabaka solidified the 25th dynasty by taking up residence in the Egyptian capital of Memphis. Like his brother, Shabaka wed himself to the old pharaonic ways, adopting the throne name of the 6th-dynasty ruler Pepi II, just as Piye had claimed the old throne name of Thutmose III. Rather than execute his foes, Shabaka put them to work building dikes to seal off Egyptian villages from Nile floods.

Shabaka lavished Thebes and the Temple of Luxor with building projects. At Karnak he erected a pink granite statue depicting himself wearing the Kushite crown of the double uraeus—the two cobras signifying his legitimacy as Lord of the Two Lands. Through architecture as well as military might, Shabaka signaled to Egypt that the Nubians were here to stay.

To the east, the Assyrians were fast building their own empire. In 701 B.C., when they marched into Judah in present-day Israel, the Nubians decided to act. At the city of Eltekeh, the two armies met. And although the Assyrian emperor, Sennacherib, would brag lustily that he “inflicted defeat upon them,” a young Nubian prince, perhaps 20, son of the great pharaoh Piye, managed to survive. That the Assyrians, whose tastes ran to wholesale slaughter, failed to kill the prince suggests their victory was anything but total.

In any event, when the Assyrians left town and massed against the gates of Jerusalem, that city’s embattled leader, Hezekiah, hoped his Egyptian allies would come to the rescue. The Assyrians issued a taunting reply, immortalized in the Old Testament’s Book of II Kings: “Thou trustest upon the staff of this bruised reed [of] Egypt, on which if a man lean, it will go into his hand, and pierce it: So is Pharaoh king of Egypt unto all that trust on him.”

Then, according to the Scriptures and other accounts, a miracle occurred: The Assyrian army retreated. Were they struck by a plague? Or, as Henry Aubin’s provocative book, The Rescue of Jerusalem, suggests, was it actually the alarming news that the aforementioned Nubian prince was advancing on Jerusalem? All we know for sure is that Sennacherib abandoned the siege and galloped back in disgrace to his kingdom, where he was murdered 18 years later, apparently by his own sons.

The deliverance of Jerusalem is not just another of ancient history’s sidelights, Aubin asserts, but one of its pivotal events. It allowed Hebrew society and Judaism to strengthen for another crucial century—by which time the Babylonian king Nebuchadrezzar could banish the Hebrew people but not obliterate them or their faith. From Judaism, of course, would spring Christianity and Islam. Jerusalem would come to be recast, in all three major monotheistic religions, as a city of a godly significance.

It has been easy to overlook, amid these towering historical events, the dark-skinned figure at the edge of the landscape—the survivor of Eltekeh, the hard-charging prince later referred to by the Assyrians as “the one accursed by all the great gods”: Piye’s son Taharqa.

So sweeping was Taharqa’s influence on Egypt that even his enemies could not eradicate his imprint. During his rule, to travel down the Nile from Napata to Thebes was to navigate a panorama of architectural wonderment. All over Egypt, he built monuments with busts, statues, and cartouches bearing his image or name, many of which now sit in museums around the world. He is depicted as a supplicant to gods, or in the protective presence of the ram deity Amun, or as a sphinx himself, or in a warrior’s posture. Most statues were defaced by his rivals. His nose is often broken off, to foreclose him returning from the dead. Shattered as well is the uraeus on his forehead, to repudiate his claim as Lord of the Two Lands. But in each remaining image, the serene self-certainty in his eyes remains for all to see.

His father, Piye, had returned the true pharaonic customs to Egypt. His uncle Shabaka had established a Nubian presence in Memphis and Thebes. But their ambitions paled before those of the 31-year-old military commander who received the crown in Memphis in 690 B.C. and presided over the combined empires of Egypt and Nubia for the next 26 years.

Taharqa had ascended at a favorable moment for the 25th dynasty. The delta warlords had been laid low. The Assyrians, after failing to best him at Jerusalem, wanted no part of the Nubian ruler. Egypt was his and his alone. The gods granted him prosperity to go with the peace. During his sixth year on the throne, the Nile swelled from rains, inundating the valleys and yielding a spectacular harvest of grain without sweeping away any villages. As Taharqa would record in four separate stelae, the high waters even exterminated all rats and snakes. Clearly the revered Amun was smiling on his chosen one.

Taharqa did not intend to sit on his profits. He believed in spending his political capital. Thus he launched the most audacious building campaign of any pharaoh since the New Kingdom (around 1500 B.C.), when Egypt had been in a period of expansion. Inevitably the two holy capitals of Thebes and Napata received the bulk of Taharqa’s attention. Standing today amid the hallowed clutter of the Karnak temple complex near Thebes is a lone 62-foot-high column. That pillar had been one of ten, forming a gigantic kiosk that the Nubian pharaoh added to the Temple of Amun. He also constructed a number of chapels around the temple and erected massive statues of himself and of his beloved mother, Abar. Without defacing a single preexisting monument, Taharqa made Thebes his.

He did the same hundreds of miles upriver, in the Nubian city of Napata. Its holy mountain Jebel Barkal—known for its striking rock-face pinnacle that calls to mind a phallic symbol of fertility—had captivated even the Egyptian pharaohs of the New Kingdom, who believed the site to be the birthplace of Amun. Seeking to present himself as heir to the New Kingdom pharaohs, Taharqa erected two temples, set into the base of the mountain, honoring the goddess consorts of Amun. On Jebel Barkal’s pinnacle—partially covered in gold leaf to bedazzle wayfarers—the black pharaoh ordered his name inscribed.

Around the 15th year of his rule, amid the grandiosity of his empire-building, a touch of hubris was perhaps overtaking the Nubian ruler. “Taharqa had a very strong army and was one of the main international powers of this period,” says Charles Bonnet. “I think he thought he was the king of the world. He became a bit of a megalomaniac.”

The timber merchants along the coast of Lebanon had been feeding Taharqa’s architectural appetite with a steady supply of juniper and cedar. When the Assyrian king Esarhaddon sought to clamp down on this trade artery, Taharqa sent troops to the southern Levant to support a revolt against the Assyrian. Esarhaddon quashed the move and retaliated by crossing into Egypt in 674 B.C. But Taharqa’s army beat back its foes.

The victory clearly went to the Nubian’s head. Rebel states along the Mediterranean shared his giddiness and entered into an alliance against Esarhaddon. In 671 B.C. the Assyrians marched with their camels into the Sinai desert to quell the rebellion. Success was instant; now it was Esarhaddon who brimmed with bloodlust. He directed his troops toward the Nile Delta.

Taharqa and his army squared off against the Assyrians. For 15 days they fought pitched battles—“very bloody,” by Esarhaddon’s grudging admission. But the Nubians were pushed back all the way to Memphis. Wounded five times, Taharqa escaped with his life and abandoned Memphis. In typical Assyrian fashion, Esarhaddon slaughtered the villagers and “erected piles of their heads.” Then, as the Assyrian would later write, “His queen, his harem, Ushankhuru his heir, and the rest of his sons and daughters, his property and his goods, his horses, his cattle, his sheep, in countless numbers, I carried off to Assyria. The root of Kush I tore up out of Egypt.” To commemorate Taharqa’s humiliation, Esarhaddon commissioned a stela showing Taharqa’s son, Ushankhuru, kneeling before the Assyrian with a rope tied around his neck.

As it happened, Taharqa outlasted the victor. In 669 B.C. Esarhaddon died en route to Egypt, after learning that the Nubian had managed to retake Memphis. Under a new king, the Assyrians once again assaulted the city, this time with an army swollen with captured rebel troops. Taharqa stood no chance. He fled south to Napata and never saw Egypt again.

A measure of Taharqa’s status in Nubia is that he remained in power after being routed twice from Memphis. How he spent his final years is a mystery—with the exception of one final innovative act. Like his father, Piye, Taharqa chose to be buried in a pyramid. But he eschewed the royal cemetery at El Kurru, where all previous Kushite pharaohs had been laid to rest. Instead, he chose a site at Nuri, on the opposite bank of the Nile. Perhaps, as archaeologist Timothy Kendall has theorized, Taharqa selected the location because, from the vista of Jebel Barkal, his pyramid precisely aligns with the sunrise on ancient Egypt’s New Year’s Day, linking him in perpetuity with the Egyptian concept of rebirth.

Just as likely, the Nubian’s motive will remain obscure, like his people’s history.

http://ngm.nationalgeographic.com/ngm/2008-02/black-pharaohs/draper-text.html
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« Reply #1 on: January 26, 2008, 09:03:49 AM »

Black Pharoahs? Interesting term considering most of the Pharoahs since the Pre-Dynastic were Black. Even Egyptian in the Arabs in the Delta primarily carry African lineages.

Second, Egypt's dynasty started from the South in Upper Egypt versus the Delta (where the fair ones reside today). Even today, those in Aswan look like their neighbouring cities/towns to the South in N. Sudan: Black.

PS: What next, "white Saxons rule over Britannia"? Grin
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« Reply #2 on: February 09, 2008, 08:57:10 AM »

I think the whole Black Pharaohs thing is present day generations injecting their notion of race into Egyptian society and the fact that a multicultural society, like Egypt, can exist without "white people" at the top of the pyramid is troubling to some.
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« Reply #3 on: February 09, 2008, 05:30:32 PM »

I think the whole Black Pharaohs thing is present day generations injecting their notion of race into Egyptian society and the fact that a multicultural society, like Egypt, can exist without "white people" at the top of the pyramid is troubling to some.
Egypt especially the Delta has seen a significant ethnic change due to Greek, Roman, Arabic, and Turkish colonialism. That translates to migrations. This migration eventually changed the 'racial', where the main groups, like the Fellahin look more "Mulatto". However a large component do look Black like this.

Second, Upper (or Southern) Egypt, even today, are primarily Black African. However even up North in the Siwa Oasis can one see significantly African populations like here.

It's definitely more multi-'racial' now than before.
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« Reply #4 on: February 17, 2008, 05:40:47 AM »


PS: What next, "white Saxons rule over Britannia"? Grin

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« Reply #5 on: February 17, 2008, 11:19:42 AM »

Tox, this whole article is a joke. Watch this vid. I agree with this guy. Why do you think Napoleon and other whites smashed the noses on the Egyptian statues. Can someone move this to the African section?


Posted on: February 17, 2008, 10:56:54 am
PS: What next, "white Saxons rule over Britannia"? Grin

LMAO
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« Reply #6 on: February 20, 2008, 06:21:36 PM »

I don't know how effective Nubian soldiers were at the time, but Sudanese tribal swordsmen are awsome!  They don't wear any armor, but can even kick Byzantine heavy infantry's ass!!!!
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Mobile-friendly version Immortal Technique Biography

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If you are a music enthusiast, then it is very likely that you have come across a genre of music called rap music. Rap music is area that has very clear distinguishing features most notably the rapid and rhythmic chanting of the lyrics perfectly timed to the beat and musical accompaniment that forms the base of the song. Rap music traces its roots to the development of the hiphop subculture which predominantly carries four complementary musical styles namely: rapping, dancing and in particular break dancing, scratching or more popularity known as DJing, and graffiti writing which others dub as vandalism. Another sub-element of this genre is beat-boxing which also features heavily in the repertoire of many rap artists. If you thought this was an easy musical genre to characterize, then you were poorly informed: consider, many research papers and doctoral dissertations have been written on the subject of rap music and its accompanying stylistic elements.

The history of rap music, or hip-hop music, is composed of a series of rapid development phases that have all culminated in the popular rap versions of today. Before rap music took off in the 1990s, it was predominantly referred to as disco rap in the late 1970s. The three rappers who had a hand in coining the term “rap music” were DJ Hollywood, Lovebug Starski, and Keith Cowboy, the last one being officially credited with the term hip-hop. Rap music original began with improvisations and freestyle singing to add an element of unpredictability to the songs in parties and other gatherings. Even in the 1960s to 1970s, the initial elements of rap music where already sown in urban subcultures particularly in New York City where adhoc performances in the streets led to a coalescing of influences in the wake of the Civil Rights era. Like the iPhone 5 release date, it had a slow and steady rise building into an explosion of creativity and style that has made it into what it has become today.

At this very early stage of rap development, it was particularly tied to emcee-ing more than it was associated to any specific song. It predominantly tied songs together as an adlib in between. It was born out of the creative inputs of DJs who had to work with self-imposed musical constraints such as the 4/4 time beat and sampling or sequencing sections of other songs to create a smooth flow of uninterrupted musical stimuli. These were eventually married with electronic equipment such as drums and synthesizers, and ultimate melodies to give it that bite and identity. In a sense, rap music artists were basically like a video game designer who had to figure out each artistic component at every turn until it developed into a more coherent musical genre that became the rap music we know today.

The first recorded version of rap music came alive in the early 1980s when DJs decided to make records out of their freestyle MCing. This necessitated the documentation of song lyrics so they do not change during each and every rendition. The age of the stromanbieter for rap music was gone paving the way for more organized chaos. Still, the freestyle and improvisation element remained a part of many DJ interludes as the song goes through certain sections that did not require too much rap singing.

Likewise, as a consequence of the hip-hop records, the influence of rap began to spread faster than ever before. Artists no longer had to travel far to get their music heard. Now, records from New York City and Philadelphia can be reproduced and transported to cities like Los Angeles, New Orleans, Dallas, Baltimore, Washington, D.C., and Seattle among others for people to appreciate and enjoy. This was primarily the reason for rap music’s rapid growth. Like Christmas mini lights, cities formed the nodes through which rap music would spread to other parts of the country. From small beginnings to grand achievements, the birth certificate translation to true stardom took a matter of years for rap music to be realized. Since then, its take-off and rise has been meteoric.

In this regard, it is almost impossible to talk about rap music but not discuss the golden age of rap. This was the era from the late 1980s to the mid 1990s when rap grew at an astounding rate fueled by the creative contributions of many artists from all over the continental United States and in many parts of the world. The primary trait of the Golden Age or Rap was that it was an almost unbroken wave of transformative music with every single pushing the boundaries of the genre. From this age and in the succeeding Gansta Rap age came names like Run-D.M.C., Dr. Dre, Ice T, MC Hammer, The Wu-tang Clan, Snoop Dogg, and The Notorious B.I.G. among others. The list of names can virtually fill a Sharepoint Hive without any problems.

According to social studies published in 2005, teenagers and children are more familiar with hip-hop and rap music more than any other musical genre. Up to 65% of all children from ages 8 to 18 hear hip-hop music on a daily basis, making it their routinary keratin hair treatment session, almost to the point that it has become an intrinsic part of their lives. With the diversification of the genre to include the more stylish R&B or rhythm and blues, it is not difficult to explain how rap music has continued to pervade radio station, TV and movie song line-ups. The marriage of rap and jazz which paved the way for R&B is itself a phenomenon that warrants all sorts of social analysis.

And with its very strong following, it is safe to say that rap music is here to stay. Years from now, when you open your TV on a bright Saturday morning, there’s a big chance you would be watching the next stage in the evolution of rap music, and there’s an even better chance you would be dancing or singing to that tune.

Immortal Technique Rapper Biography

Immortal technique is the stage name for which rapper Felipe Andres Coronel is popularly known. His lyrics characterized by its unique mixture of socialist commentary of social class hierarchy, religion, wealth, poverty to contemporary issues touching on governmental and institutional racism. Perhaps you may have come across information about this popular icon as you undertake research for that mba online, or for whatever course you are undertaking, be it bachelors in criminal justice, performing arts degree, governance systems, online nurse practitioner programs, history, or any other course for which you have to do online research.

The rapper was born on the 19th day of February 1978 in Lima, Peru. During the internal conflicts that took place in their country at the time, his parents migrated to Harlem, New York. Probably, in the process of migration to the country, they may have used boats at least once in the journey. Like many American teenagers, the rapper was engaged in various acts against the law that led to his arrest several times, which in one his public interviews admitted that they were selfish and at best childish acts. After completing his incarceration terms, he took up a political science course in a bid to mend his seemingly torn life, while living with his father.

After completing his studies, he was not lucky enough to secure a job in his field of study owing to the unemployment situation prevailing in the entire United States. Like many American fresh graduates who take up it jobs, nursing jobs, waiter and nursing jobs among many other common jobs that may not necessarily need a specialist, he took up a working in a restaurant to earn a buck from which he could live on.

Through his deep interest in championing for equality between the elite and the under privileged in society, and being not a Mesothelioma Lawyer, the rapper begun his music career basing his lyrics on such issues as injustice, exploitation and mistreatment of the poor. This is captured clearly in his desire to keep control over his production, since he strongly believes that in the music industry, the producers normally make a large profit while the artist for who credit belongs, normally end ups earning peanut amounts at the end of the day.

His popular sediments are captured in his albums that include the revolutionary, both volume one and two, and the 3rd world and the middle passage album. the rapper is increasingly involved in prison visits and working with migrant rights activists, though which he speaks to youths and the unprivileged in the society trazer amor de volta. His investments are largely in farmland in Latin America, which like soweto properties is an unpopular investment option for many celebrity figures. His advice to the youth is not much on taking up an aacsb online mba or an online criminal justice degree, but rather it is based on exploiting ones talents and living soberly within the law.

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