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The details of Jinnah’s final days go beyond the ambit of this work. What is however of critical importance to history is the fact that in his final days, the founder of the modern world’s largest theocratic state discovered what should now be an axiom for the 21st-century world: any modern state based entirely on religious identity and animosity cannot survive the burden of its inner contradictions. Far from being a unifying factor, religion in Pakistan had become a major factor in generating internal discord. That Pakistan has forgotten the deep torment of its founding father in his final moments is so obvious by the present fragile state of that troubled nation. The growing space occupied by doctrinaire Islamists leading to a polarised state is much too far from the vision of its founding father. Together they have been part of a game that has repeatedly been played upon mostly unsuspecting, if not totally innocent, people. Sadly, down the ages this has turned out to be so in the name of one cause or the other that history may well justify as pangs of civilizations’ birth or realization of freedom. The 11th-century wars between Christian powers and Muslim rulers were conveniently called Crusades by the West for it becomes easier to take fancy to crusade, rather than war. And it takes as noble a soul as the late George Orwell to say what figures at the top of this chapter. This at once pays tribute to Englishmen’s collective sagacity and virtues and also chastises and serves a warning on them about losing their best possessions in the hubbub of maintaining an empire as has been the case with Orwell in far off Burma. Anyway, the colonial context nearer home would be taken up later towards the second or last half of this account since much before that a myth was born that Christendom took to Crusades to liberate the holy city of Jerusalem from the satanic Muslim rule. It was in this tradition that years later, famed classicist Dante in his magnum opus Divine Comedy painted Islam in the vilest colours. Thus, a clash of kings that took place purely for political and economic gain was chronicled by the West as a clash of two religions. And like an old habit, it continues to be the same wont behind so many battles fought ever since to this day. It is a myth which has sustained for centuries and until this belief is not demolished and a new perspective accepted, lasting peace will, in all probability, elude the 21st-century world. Conclusion: Colonialism and Jihad in the 21st Century?


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There is also talk of Christ, but this does not mean Jesus of Nazareth. ? hrist? is a title applied to someone who has arrived at a state of consciousness where he or she perceives him- or herself to be divine and can thus claim to be a ? niversal Master. Jesus of Nazareth was not the Christ, but simply one among many historical figures in whom this ? hristic. Every historical realisation of the Christ shows clearly that all human beings are heavenly and divine, and leads them towards this realisation. The universe is an ocean of energy, which is a single whole or a network of links. The energy animating the single organism which is the universe is ? pirit. The world itself is divine and it undergoes an evolutionary process which leads from inert matter to ? igher and perfect consciousness. The world is uncreated, eternal and self-sufficient The future of the world is based on an inner dynamism which is necessarily positive and leads to the reconciled (divine) unity of all that exists. God and the world, soul and body, intelligence and feeling, heaven and earth are one immense vibration of energy. It all happens as if New Age, having plucked people out of fragmentary politics, cannot wait to throw them into the great cauldron of the global mind.


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Believe it or not, Ornette Coleman received a Pulitzer prize for this album. Heading into the album, I assumed that the prize was given mainly as a lifetime achievement award. Much to my surprise, this album actually lives up to the hype and deserves all the accolades it has received. The title alone is shocking to modern sensibilities. Yet this was a very influential song in the history of vocal ragtime, and it is worthy of at least studying its history. The song was in fact written by an African-American songwriter called Ernest Hogan. His compositions helped to create the style of music that came to be known as ragtime. This song was written in the earliest days of the new music, around 1895. It helped popularize what was known as the 'coon' song. This style of song used African-American musical styles to paint highly racist and stereotypical portraits of Black Americans. This style became enormously popular and literally hundreds of these songs were released every year in the early twentieth century. Many Black Americans came to resent the popularity of this kind of music and Hogan eventually regretted using the racial slur in the title of this song. It is performed by Arthur Collins in vocal ragtime style. He is accompanied on banjo by five-string banjo master Vess Ossman. If you ignore the lyrics, the song and the performance are both outstanding. Indeed one music critic has rated it as amongst the most spirited and authentic of all early ragtime recordings.


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Merging everything the Juan Atkins had heard through his adolescent years, from electro to funk and krautrock, his first outing as Model 500 will never grow old. Thus new reissue drops both the vocal and the instrumental, which are equally powerful on the floor. The bonus points come from the remixes: Detroit's own Moodymann makes his debut for Metroplex with a wonky, broken tech-house stormer charged by the original's bass, and sexified with the help of some blazing new sub-vocals from the master of funk; Luciano makes a surprise addition to the pack, dropping an ultra-sleek, minimalistic house mix that will lead this record being in the hands of thousands of different DJs across the globe. Another Day drop DJ Bone's early material from Metroplex back onto vinyl with this tasty reincarnation of the 1999 juggernaut. The Motor City veteran rarely puts a foot wrong, regardless of whether he's focusing on futurist techno or blistering, Drexciya-influenced electro. This EP for Lower Parts delivers the best of both worlds. He's put out records on such esteemed labels as Frustrated Funk and Subwax, and now he's landing on the mighty 20:20 Vision, who have been showing a renewed interest in electro with recent releases from 214 and others. Here, they continue their partnership with The Phoenix Suburb (And Other Stories), a fine debut album that marks the first material on Weatherall's Rotters Golf Club imprint since 2013. Rooted in the Detroit end of electro, but with more than a hint of the early, IDM influenced escapades of the former Junior Boys Own man's Two Lone Swordsmen project, it's a set that combines moments of snappy dancefloor heaviness with more evocative, ambient-influenced fare. Moving across a vast terrain of reference points, Sexton constructs dense soundscapes held together by tight programming, all of this culminating in the powerful live delivery he's become known for. It's an expansive, intergalactic debut album featuring nine scorching, tried-and-tested dancefloor treats. Having already impressed via rock solid EPs on Stilleben and Bordello a Parigi, Amato delivers his first full-length excursion since 2014. As you'd probably expect, Les Theatre Des Operations tends towards the alien and intergalactic, with Amato serving up a range of tracks rich in bleeping electronic melodies, unfussy drum machine rhythms and angular, TB-303 style basslines. Though closely associated with the Workshop man, Mix Mup has really developed his own style over the course of the past decade of releases and Skip Intro might be his best work yet. His is a subtle touch; see the manner in which Mix Mup teases an Asian melodic refrain out of nowhere to dominate the title track. Haller, Sacha Mambo (Macadam Mambo), Sculpture, Jensen Interceptor.