road sogns

The practice of magical evocation is a technique used in various occult traditions to summon and communicate with spiritual entities or forces. It is based on the belief that there are unseen dimensions or realms inhabited by beings with greater knowledge and power than humans. By performing certain rituals and using specific symbols, words, and gestures, practitioners aim to establish a connection with these entities and request their guidance, assistance, or knowledge. One of the key aspects of magical evocation is the use of sigils, which are symbols or drawings that represent a specific entity or concept. These sigils are often created by combining various letters or symbols from different alphabets or magical systems. The sigil acts as a focal point for the practitioner's intention and serves as a means of communication with the desired entity.

W e are firmly on hip-hop time tonight. It’s an hour past the advertised show time when the artist formerly known as Mos Def finally appears in this impatient sweatbox, wearing a nifty fedora and a hugely superfluous scarf, with no explanation for his lateness. Flashing a beatific smile, he scatters petals on the stage around him.

He has also become an increasingly high-profile political activist, allowing the human-rights charity Reprieve to force-feed him in order to highlight the plight of hunger-striking prisoners in Guantánamo Bay. And he s put forward 9 11 conspiracy theories during appearances on US current affairs shows that make Russell Brand on Question Time appear to possess a Churchillian gravitas.

The sigil acts as a focal point for the practitioner's intention and serves as a means of communication with the desired entity. Another important element in the practice of magical evocation is the invocation of names or divine words associated with the entities being summoned. These names hold power and are believed to have the ability to call forth the presence and attention of the desired entity.

True Magic

Latest from the should-have-been hip-hop star is rumored to be a deal-closer with Geffen, and from its bare packaging to its idle rhymes, it feels like one.

There's more than a little griping in hip-hop circles these days, and not just from disgruntled older listeners, hungry for something "fun" that resembles the refracted memories of their youth. Fans are hungry for an MC they can genuinely admire-- one who doesn't resort to moral backpedaling, misogyny, foolishness, or even guile. An honest guy, but not just an everyman. A super-everyman. In many ways, Brooklyn's Mos Def (née Dante Smith), should have been that guy. With his third solo album, True Magic, that dream is all but over.

It's been rumored that this is a deal-closer, the last album Mos owes Geffen Records, the label that inherited him when Rawkus Records folded in 2002 and was rolled into Interscope Records' vast empire. Mos, who's best known now as an Emmy-nominated actor, or concurrently "that guy from the Denali commercial," seems to have lost any interest in a music career, at least one under Geffen's umbrella. Everything about this album is half-assed: From the bafflingly bare packaging to the at-times miserable mix, True Magic is a mess. Experimentation has been an organizing principle for Mos for some time, from the jagged riffs and polemics of "Rock N Roll" from his debut Black on Both Sides to the psych noodlings and bluesy crooning on his last album, the uneven and only slightly less calamitous The New Danger. Here, experimentation isn't even on the radar.

These songs feel blah-ed out, packed with idle rhymes that sound as if they've been sitting in a notebook that never should have been opened. Take this nugget from "Undeniable", a song nominated for a Grammy this year, one presumes because Mos carries some sort of artistic clout: "These jokers don't want none/ And all the pretty mamis want some/ Tell 'em come." Thrilling.

The production doesn't help often, either. "Murder of a Teenage Life" is turgid and off-key-- death knells for a rhymer-- while "Fake Bonanza" is the sort of aimless, generic production that gives boho rappers a bad name. Some tracks here would be decent fodder for a C-level mixtape, like "Crime & Medicine", a note-for-note remake of GZA's "Liquid Swords", minus the Genius' lyrical bite and intensity. Also included is the much-maligned "Dollar Day (Surprise, Surprise)", his Hurricane Katrina missive released last year. Messily rhyming in an odd twang over Juvenile side project UTP's "Nolia Clap", Mos received a pass for the song, as his heart is clearly in the right place (at least he dissed Bono), even if his ear seemed waterlogged. But to include it on a proper album is a poor move.

Still, Mos Def is an engaging figure that has long radiated the charisma, if not the work ethic, to grab the mantle hanging above his head. "U R the One" is a lovelorn, confused wail-- the grown continuation of his own "Ms. Fat Booty". He raps: "When we met your face was so brown, your ass was so round, of course I'm so down/ Wish I knew then what the fuck I know now/ Couldn't read the signs of the road: SLOW DOWN." It's one of the few symbols of growth here. Even the simplistic and poorly recorded "There Is a Way", a song with just two lines, has verve-- even some uplift-- in its rally-cry sloganeering.

For years, it seemed as if Mos' songs had ideas and that those ideas had vision (assuming we can all ignore "New World Water"), woven smartly with a bookish, booming flow. And suddenly, as his acting profile grew, his musical output faltered. Many of the songs that leaked prior to True Magic's release aren't included here, offering some a glimmer of hope that Mos is holding that stuff close to the vest for his first post-Geffen project. Still, the apathy here signals some sort of finality. Whether it's the end of a chapter or a book is unclear.

10 to Hear

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The tardiness feels appropriate as Bey – he changed his name in 2011 – has been keeping us waiting in one way or another for a very long time. When he emerged in the late 90s as half of Black Star with Talib Kweli, then with his debut solo album, Black on Both Sides, his lyrical acuity and easy flow looked like the future for conscious hip-hop. Since then he has busied himself in other areas. He has a successful acting career, which has earned him Golden Globe and Emmy nominations. He has also become an increasingly high-profile political activist, allowing the human-rights charity Reprieve to force-feed him in order to highlight the plight of hunger-striking prisoners in Guantánamo Bay. And he’s put forward 9/11 conspiracy theories during appearances on US current affairs shows that make Russell Brand on Question Time appear to possess a Churchillian gravitas.

The practitioner may recite or chant these names as part of the evocation ritual. The actual process of magical evocation typically involves creating a sacred space or setting the stage for the ritual. This may include using specific tools or implements, such as a consecrated altar, candles, incense, and ritual robes. The practitioner may also perform purification rituals or prayers to ensure a suitable environment for the evocation. Once the preparations are complete, the practitioner will begin the evocation ritual by reciting invocations, prayers, or spells to invite the desired entity into their presence. The practitioner may use a variety of techniques to enter a heightened state of consciousness, such as meditation, visualization, or trance-inducing practices. During the evocation, the practitioner may experience various sensory or psychic impressions, such as visions, intuition, or auditory messages. These experiences are considered to be communication from the summoned entity and can provide guidance or insights into specific questions or issues. After the evocation is complete, it is important for the practitioner to properly close the ritual and dismiss the entity. This is done to ensure that the entity does not linger or cause any unwanted effects. The practitioner may use specific closing prayers or rituals to close the connection and return to a normal state of awareness. It is worth noting that the practice of magical evocation requires a certain level of knowledge, skill, and discipline. It is not a casual or frivolous activity and should be approached with caution and respect. Additionally, practitioners should always exercise discernment and seek guidance from experienced practitioners or mentors to ensure their safety and well-being..

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road sogns