Sunday, January 6, 2013
Fear, Sex, and Diet by David Smith
We are living in an Eco-Friendly time. Everyone is in a hurry and running to conserve natural resources. Many people have made the switch to a vegetarian/ vegan diet to increase their body’s energy levels, prevent disease, give strong mental clarity, prevent global climate change and conserve land, water and energy. Few men even dream of conserving their own internal natural resources. In men, semen is one of the body’s most precious resources, which when conserved and harnessed, endows a man with increased physical and mental vigor, greater clarity of thought and a peaceful and calm disposition.
Semen is the male reproductive fluid that contains our seed essence-sperm. Now, scientific analysis has found semen to contain a treasure trove of natural resources:
Vitamins
Minerals
Trace elements
Hormones
Proteins
Ions
Enzymes
And other vital nutritional substances upon which the entire body system depends upon for its proper functioning. Therefore semen should not be treated as a waste product such as urine.
More men need to know that every organ in the body works hard to manufacture semen. Some of the human body’s best blood goes into the production of semen.
Seminal retention is not sexual repression; we all can do as we wish. Seminal retention is a regulation of sexual energy. We’re talking about putting an economy on our sexual energies and substances. Just as you don’t spend all your money, a man should not spend all his semen. Save your money in the bank and grow rich. Save semen and the body will begin to regenerate and feel invigorated.
FEAR
SEX
AND DIET
By: David Smith
Sexual energy is a double edge sword, it can be used to regenerate you or degenerate you. Excessive ejaculation of semen is harmful to a man’s health, which results in the de-vitalization of the sexual system, as well as the depletion and vitality of the organs involved. The nervous system and endocrine gland system depend upon the very same nutrients that the sexual system depends on for its proper functioning. The body’s organs can do more than just digest food. We are in possession of physiological organ systems capable of channeling the universe! Look at what psychic mediums do; many psychics report that in order to tap into the psychic channels and communicate with God that they have to engage in a purification ritual that involves:
Withdrawal from human contact
Eating a light and meatless diet
No alcohol consumption
No sex (no seminal fluid loss)
Since we know that the seminal fluid is distilled from all the foods that we eat, when we have these excessive ejaculations and when we are reckless with our energies, it creates a great emptiness, a great void, due to the loss of life force energy. We may feel tired, depleted, we don’t know what’s wrong with us and maybe we feel depressed. And so to fill this void, most of us turn to sexually stimulating foods to get back that life force that we lost to replace the natural stimulant (semen) that we squandered. Sexually stimulating foods are:
Meat
Eggs
Dairy products
Coffee
Alcohol
Chocolate
Soda
Sugar
Processed foods
These foods produce mucous membrane irritation in the prostatic urethra, which is the seat of sexual feeling. On the other hand, a high-alkaline, raw living food, low-protein, non-stimulating, salt less, strictly vegan diet can reduce mucous
membrane irritation in the prostatic urethra and give a man greater self-control over his sexual energies.
It is a sham and a shame of what is taking place inside our public schools. In the classroom the students are taught about the virtues of abstinence and sexual self-control and logic, while in the lunch room we teach them to be just the opposite by feeding them a high protein, dead, sugar-laden processed food diet which stimulates their sexual passions and makes them want to engage in sexual acts out of physical necessity. We feed them a sexually agitating diet and complain and act shocked when we see them acting sexual.
Look at Ghandi, he practiced a vegetarian diet in order to succeed in the practice of seminal retention which he called Brahmacharya, which means celibacy. Gandhi credited his spiritual powers to the practice of seminal retention, and one morning he publicly flipped out in 1936 at the age of 67 upon discovering that he'd had a nocturnal emission. This illustrates the value that he placed upon his seminal fluid.
Ghandi said: “Celibacy is not possible unless a man eats a pure NON-meat diet.” And Ghandi also said while speaking about the benefits of Seminal Retention: “The horror with which ancient literature regarded the fruitless loss of the vital fluid was not a superstition born of ignorance.... Surely it is criminal for a man to allow his most precious possession to run to waste."
It is clear that modern man is the victim of an exaggerated sexual urge that is brought about from the sexually stimulating foods that make up the Standard American Diet ( S.A.D) and the stress and fear that go along with the confinement of modern day living.
Look at what happens in nature. When animals are allowed to live in their natural habitats, they do not become overweight and sick. We don’t see them injecting insulin into themselves. We don’t see them suffering and dying from heart disease. In the wild, these animals have mating seasons and do not engage in recreational sex, only procreation sex.
But when these same animals come into human contact and are subjected to artificial feeding of meat, processed food and confinement in cages, they become violent and oversexed. The males masturbate profusely as a way to relieve pent up anger and stress.
In the book, “Sex is not compulsory: Giving up sex for Better Health and Greater Happiness,” Author Liz Hodgkinson tells us about experiments done on mice. One set of mice was made to be celibate and the other set of mice were allowed to have sex. The celibate mice lived longer. This was due to the lack of fluctuation in arousal hormones. What this illustrates is that the body prefers a celibate state, “The Calm State,” a stable homeostatic balance. Wildly fluctuating hormone levels, which always accompany sexual activity, have the effect of decreasing the resistance to many illnesses, and reducing the body’s ability to withstand infection. The stress and blood pressure levels of celibates are lower than the sexually active.
Health guru Harvey Diamond in his best-selling book “Fit for Life, Not Fat for Life” tells us of similar experiments done with mice where one group was fed a meat-based diet, while the other was fed a raw vegetarian diet. The vegetarian mice outlived the meat-eating mice and produced healthier offspring.
There is an element of fear in sexual arousal. It really has to do with FEAR. Fear of any kind stimulates the body’s arousal system. The first areas where this is noticed are the erogenous zones, the sexual areas of the body. This is why some couples like to engage in public, outdoor sex. They don’t do it for the fresh air. No. It is the “fear of getting caught” that is sexually stimulating. Look at what happened in Nazi Germany, in the concentration camps, there was a high level of fear in the atmosphere and Jewish couples still engaged in sexual activities even though they knew any day could be their last. It was the FEAR that aroused them. History has shown us a consistent pattern of men experiencing “spontaneous” orgasm and ejaculation right before they were executed through hanging. It was the FEAR!
Most meat comes from factory farms where animals are killed violently, which means they have a host of fear hormones circulating in their
bodies at the time of death. When we eat this meat, these same hormones get into our systems and affect and heighten our sexual emotions. This is why meat is falsely linked with manhood, sexual vigor and aggression.
As Dr. Raymond W. Bernard teaches us in his classic work, “Nutritional Sex Control and Rejuvenation,” “Since time immemorial, religious devotees abstained from meat or fasted for the purpose of controlling sexual impulses, and this explains the customs of abstention from meat and fasting during certain religious holidays, the ancient Orphic, Pythagoreans, Essenes, Gnostics, Neo-Platonists, and Manichaean’s all practiced vegetarianism in order to succeed in the practice of sexual continence, which they regarded as essential for achieving the highest degree of physical and spiritual regeneration.”
So in conclusion, I hope we can see that the human body is a powerful temple capable of healing itself. We have the power to regenerate ourselves or degenerate ourselves through our power of choice and the habits we choose to cultivate and nourish. Seminal retention can bring a man to a higher energetic level. Vegetarianism can also bring a man to a higher energetic level. But if a man where to combine these two potent practices, there is no limit to the things he can accomplish in this life.
My name is David Smith. I am an independent health researcher, youth mentor, and public speaker for New York City’s WBAI Radio 99.5 FM. I am consistently a featured speaker on the Kathy Davis show called: Heart of Mind. Please visit my Blog site- www.seminalrentention.blogspot.com or email me at seminalretention@gmail.com.
Monday, January 9, 2012
JUXTAPOWER
JUXTAPOWER is delighted to enter 2012 with a big bang.
We will keep you posted as to our schedule and tours around the US.
It has been a very long, delightful and challenging journey. Thanks to all those that have maintained a belief in JUXTAPOWER and its important work here in the US. We look forward to visiting your area in the very near future.
We will keep you posted as to our schedule and tours around the US.
It has been a very long, delightful and challenging journey. Thanks to all those that have maintained a belief in JUXTAPOWER and its important work here in the US. We look forward to visiting your area in the very near future.
Monday, June 14, 2010
Getting "Got Zulu!"
Sunday, February 7, 2010
Getting "Got Zulu!"
It's too bad that reviews can now be considered one of the barriers to attendance, comprehension and enjoyment of dance in New York City. Sometimes you just have to take the initiative and navigate your way around them, as I did, last evening, when I went to Dance New Amsterdam.
Watching Got Zulu!, I found myself considerably less offended than one of my Times-ward colleagues about a travel video that popped up in the middle of the production, the South African version of Riverdance. (Yes, there is one of these--a South African equivalent of Riverdance--and it's brought to us by the righteously talented Sduduzo Ka-Mbili/JUXTAPOWER, a dance-and music troupe based in New York.) Amid all of the hearty gumboot dancing, outrageous pantsula street dances, out-of-this-world hoofing by tap master Omar Edwards, heavenly choral call-and-response, and mindblowing drumming by Joshua Endlich, there comes a moment when the live proceedings pause for what could be read as a commercial break--except that the expected hard sell never actually arrives.
Yes, we're treated to tempting video images and captions that make South Africa look like the planet's most colorful, resourceful and rewarding place for visitors--neatly gliding over some of the lingering social problems to which the concert itself briefly alludes--but, unless I missed something, we're never hit with the travel firm's name, URL or phone number. And, after reading the Times review, I was kind of bracing myself for that hit.
In JUXTAPOWER's program notes and promotional materials, RA Travel--along with other supporters--is credited and thanked. But this does not seem to me terribly different than most credit and thank you notes (and is considerably less jarring than most New York Times ads, for that matter). And, frankly, if founder Sduduzo Ka-Mbili has secured a reliable source of funding to uplift his crew and keep their bodies and souls together, then good on him. The show gives a lot back, and most people will find that the short video break neither distracts from nor compromises that achievement.
I'm writing and posting this less than a half-hour away from the troupe's last performance at DNA (3pm). So, it's too late to urge you to get there. But keep eyes peeled for your next opportunity.
Posted by Eva YaaAsantewaa at 2:55 PM
Labels: Africa, Dance New Amsterdam, Joshua Endlich, Omar Edwards, Sduduzo Ka-Mbili, Sduduzo Ka-Mbili JUXTAPOWER, South Africa, tap 1 comments:
Catherine said...
Eva, thank you for taking the time to see the performance and to Blog. DNA and the Juxtapower artists thank you.
Today's final show of Got Zulu! at DNA was sold out, with a line of wait listed people - we held the performance to seat most of our audience before lights out. Friday - Sunday were full houses. The audiences loved it. The South Africans were reminded of home; the young people recognized their own voices through the Pantsula dancing (South African b-boying); most everyone got involved in the rhythms of the dancing by the end of the evening - I could go on.
The performance was interactive - opening with Sduduzo recognizing his guests and invited them on a cultural journey through South Africa. As you said, Got Zulu! was full of dance, song, music, and down to earth amazing performing. They broke down the theater's 4th wall South African style.
We need more support for artists who are true to their cultural visions and also committed to offering their audience "an experience" of their culture. Sduduzo and the other artists reached into their soul to give their guests an image of their country, their people and their community. They were able to give me and from what I experienced each performance, a familiar feeling of community, They showed me their culture and how it has been shaped by not only their traditions but contemporary elements including Apartheid’s oppression. The performance was energetic and with a structure that might not be what we expect of or believe is “contemporary dance” but we must invite risk and exploration in a professional setting - it develops the artform and our own mixed culture.
Widening the picture, in response to recent performance critiques from a number of our reviewers who are of great import - thus have a great responsibility:
The anthropologist in me asks the critic to break art down from the artists cultural perspective - ask more questions, explain the work, and help the reader understand the artist's choices and their inspiration (constructive criticism is important - and I'm not suggesting coddling);
The presenter and artist in me supports and applauds the risk that Sduduzo took and all artists take by creating a performance that doesn't fit the American Euro-centric mold. I applaud taking that chance to give the audience an experience that tries to get closer to authentic than choreographed or obviously produced performance;
The audience member in me thanks Juxtapower for creating an amazing mix of performing elements, and inviting me into the performance and connecting me to my fellow audience members;
The activist in me cheers Sduduzo for inviting all of us to think about cultural roots; offering us insight into his culture and how this art is inspired and informed by his cultures daily life and also for addressing South African issues including oppression (albeit gently) - I've always thought that, “what seems missing or whispered speaks much louder than things that are shouted,” but then that can be countered by “the squeaky wheel gets the oil.”
This last weekend at DNA was a pretty darn amazing weekend with the Got Zulu! and Late Nite @ DNA: Roots of Hip-Hop. We were lucky that the scheduling fell during Black History month because we can spotlight some of these conversations. The pioneers of Hip-Hop got together at DNA and had a deep conversation regarding the topic of main stream, asking the questions: Do we change format, subject matter and delivery styles to make the people in important places happy? or Do we stay committed to our own vision which stems from our cultures and communities. I think some of these questions are the foundation of critical review in today's cultural environment. It's a good month to be talking about it.
February 7, 2010 8:46 PM
Post a Comment
Getting "Got Zulu!"
It's too bad that reviews can now be considered one of the barriers to attendance, comprehension and enjoyment of dance in New York City. Sometimes you just have to take the initiative and navigate your way around them, as I did, last evening, when I went to Dance New Amsterdam.
Watching Got Zulu!, I found myself considerably less offended than one of my Times-ward colleagues about a travel video that popped up in the middle of the production, the South African version of Riverdance. (Yes, there is one of these--a South African equivalent of Riverdance--and it's brought to us by the righteously talented Sduduzo Ka-Mbili/JUXTAPOWER, a dance-and music troupe based in New York.) Amid all of the hearty gumboot dancing, outrageous pantsula street dances, out-of-this-world hoofing by tap master Omar Edwards, heavenly choral call-and-response, and mindblowing drumming by Joshua Endlich, there comes a moment when the live proceedings pause for what could be read as a commercial break--except that the expected hard sell never actually arrives.
Yes, we're treated to tempting video images and captions that make South Africa look like the planet's most colorful, resourceful and rewarding place for visitors--neatly gliding over some of the lingering social problems to which the concert itself briefly alludes--but, unless I missed something, we're never hit with the travel firm's name, URL or phone number. And, after reading the Times review, I was kind of bracing myself for that hit.
In JUXTAPOWER's program notes and promotional materials, RA Travel--along with other supporters--is credited and thanked. But this does not seem to me terribly different than most credit and thank you notes (and is considerably less jarring than most New York Times ads, for that matter). And, frankly, if founder Sduduzo Ka-Mbili has secured a reliable source of funding to uplift his crew and keep their bodies and souls together, then good on him. The show gives a lot back, and most people will find that the short video break neither distracts from nor compromises that achievement.
I'm writing and posting this less than a half-hour away from the troupe's last performance at DNA (3pm). So, it's too late to urge you to get there. But keep eyes peeled for your next opportunity.
Posted by Eva YaaAsantewaa at 2:55 PM
Labels: Africa, Dance New Amsterdam, Joshua Endlich, Omar Edwards, Sduduzo Ka-Mbili, Sduduzo Ka-Mbili JUXTAPOWER, South Africa, tap 1 comments:
Catherine said...
Eva, thank you for taking the time to see the performance and to Blog. DNA and the Juxtapower artists thank you.
Today's final show of Got Zulu! at DNA was sold out, with a line of wait listed people - we held the performance to seat most of our audience before lights out. Friday - Sunday were full houses. The audiences loved it. The South Africans were reminded of home; the young people recognized their own voices through the Pantsula dancing (South African b-boying); most everyone got involved in the rhythms of the dancing by the end of the evening - I could go on.
The performance was interactive - opening with Sduduzo recognizing his guests and invited them on a cultural journey through South Africa. As you said, Got Zulu! was full of dance, song, music, and down to earth amazing performing. They broke down the theater's 4th wall South African style.
We need more support for artists who are true to their cultural visions and also committed to offering their audience "an experience" of their culture. Sduduzo and the other artists reached into their soul to give their guests an image of their country, their people and their community. They were able to give me and from what I experienced each performance, a familiar feeling of community, They showed me their culture and how it has been shaped by not only their traditions but contemporary elements including Apartheid’s oppression. The performance was energetic and with a structure that might not be what we expect of or believe is “contemporary dance” but we must invite risk and exploration in a professional setting - it develops the artform and our own mixed culture.
Widening the picture, in response to recent performance critiques from a number of our reviewers who are of great import - thus have a great responsibility:
The anthropologist in me asks the critic to break art down from the artists cultural perspective - ask more questions, explain the work, and help the reader understand the artist's choices and their inspiration (constructive criticism is important - and I'm not suggesting coddling);
The presenter and artist in me supports and applauds the risk that Sduduzo took and all artists take by creating a performance that doesn't fit the American Euro-centric mold. I applaud taking that chance to give the audience an experience that tries to get closer to authentic than choreographed or obviously produced performance;
The audience member in me thanks Juxtapower for creating an amazing mix of performing elements, and inviting me into the performance and connecting me to my fellow audience members;
The activist in me cheers Sduduzo for inviting all of us to think about cultural roots; offering us insight into his culture and how this art is inspired and informed by his cultures daily life and also for addressing South African issues including oppression (albeit gently) - I've always thought that, “what seems missing or whispered speaks much louder than things that are shouted,” but then that can be countered by “the squeaky wheel gets the oil.”
This last weekend at DNA was a pretty darn amazing weekend with the Got Zulu! and Late Nite @ DNA: Roots of Hip-Hop. We were lucky that the scheduling fell during Black History month because we can spotlight some of these conversations. The pioneers of Hip-Hop got together at DNA and had a deep conversation regarding the topic of main stream, asking the questions: Do we change format, subject matter and delivery styles to make the people in important places happy? or Do we stay committed to our own vision which stems from our cultures and communities. I think some of these questions are the foundation of critical review in today's cultural environment. It's a good month to be talking about it.
February 7, 2010 8:46 PM
Post a Comment
Sunday, June 6, 2010
Introducing JUXTAPOWER's New Website
By Amanda Gavin
After ten years of an old, tired, and almost dead website. JUXTAPOWER (South Africa's Song & Dance) is pleased to introduce a new website, www.juxtapower.com.
Thanks to Vance Alleyne, New York's top web designer who worked deligently with Sduduzo Ka-Mbili and Sifiso Mavuso to make it what it is today.
JUXTAPOWER was conceived in New York City in the late 1999's/early year 2000 by Sduduzo Ka-Mbili. Solomon Bafana Matea, Kelly Boyd and Charmaine Trotman joined him later to showcase and teach about the rich heritage of Africa through theatrical expression. An unbalanced and complete lack of cultural/theatrical exchange between the United States/Canada and South Africa had compelled Sduduzo Ka-Mbili to create this production of Dialogue, Dance and Song. As a result, thousands of people across the US have had the opportunity to witness the beauty of South African Culture and her History, performed by some of the world’s best talents.
The production has received many accolades and press reviews throughout the country.
JUXTAPOWER has grown into a successful production whose talents are now being recognized both nationally and internationally. JUXTAPOWER had its first full premier of Uhambo (The journey) at the Harlem YMCA (The Little Theater) in 2005, as well as its second biggest New York City season of The Story at The Kaye Playhouse Theater (Hunter College), and its third 2007 NYC season at The Wings Theater in Soho (NYC).
These successful productions were followed by a string of tours throughout the USA and the Caribbean Islands. JUXTAPOWER just celebrated its 2010 season’s production of GOT ZULU! …at 280 Broadway (DNA theater) in NEW YORK CITY. The New York Times, local Newspapers and blogs reviewed the sold out season. JUXTAPOWER continues to receive great reviews and encomiums from the audiences and critics alike wherever they perform.
A review by Rolling Magazine: David Bowie, Green Day’s Billie Joe Armstrong, Jay-Z, Clive Davis and Mike Mills of R.E.M. all made their way into New York’s Hammerstein Ballroom last night for the Black Ball, an event sponsored by Keep a Child Alive to honor Bono, British actor Nick Reding and Dr. Pasquine Ogunsaya — individuals who’ve contributed significantly to the furthering of AIDS education and prevention in Africa. The event — part honors banquet, part pop concert — opened with thundering drums and hyper-kinetic dancing from Zulu troupe JUXTAPOWER, whose lunges and kicks jump-started an evening that was long on both sentiment and showmanship
Rolling Stone Magazine
JUXTAPOWER looks forward to getting back on an extensive tour, which will include Mexico, USA, Canada, and many countries across Africa from late 2010 through 2012.
For more information on this wonderful theatrical company, visit www.juxtapower.com, and join the mailing list for constant updates...Got Zulu!
After ten years of an old, tired, and almost dead website. JUXTAPOWER (South Africa's Song & Dance) is pleased to introduce a new website, www.juxtapower.com.
Thanks to Vance Alleyne, New York's top web designer who worked deligently with Sduduzo Ka-Mbili and Sifiso Mavuso to make it what it is today.
JUXTAPOWER was conceived in New York City in the late 1999's/early year 2000 by Sduduzo Ka-Mbili. Solomon Bafana Matea, Kelly Boyd and Charmaine Trotman joined him later to showcase and teach about the rich heritage of Africa through theatrical expression. An unbalanced and complete lack of cultural/theatrical exchange between the United States/Canada and South Africa had compelled Sduduzo Ka-Mbili to create this production of Dialogue, Dance and Song. As a result, thousands of people across the US have had the opportunity to witness the beauty of South African Culture and her History, performed by some of the world’s best talents.
The production has received many accolades and press reviews throughout the country.
JUXTAPOWER has grown into a successful production whose talents are now being recognized both nationally and internationally. JUXTAPOWER had its first full premier of Uhambo (The journey) at the Harlem YMCA (The Little Theater) in 2005, as well as its second biggest New York City season of The Story at The Kaye Playhouse Theater (Hunter College), and its third 2007 NYC season at The Wings Theater in Soho (NYC).
These successful productions were followed by a string of tours throughout the USA and the Caribbean Islands. JUXTAPOWER just celebrated its 2010 season’s production of GOT ZULU! …at 280 Broadway (DNA theater) in NEW YORK CITY. The New York Times, local Newspapers and blogs reviewed the sold out season. JUXTAPOWER continues to receive great reviews and encomiums from the audiences and critics alike wherever they perform.
A review by Rolling Magazine: David Bowie, Green Day’s Billie Joe Armstrong, Jay-Z, Clive Davis and Mike Mills of R.E.M. all made their way into New York’s Hammerstein Ballroom last night for the Black Ball, an event sponsored by Keep a Child Alive to honor Bono, British actor Nick Reding and Dr. Pasquine Ogunsaya — individuals who’ve contributed significantly to the furthering of AIDS education and prevention in Africa. The event — part honors banquet, part pop concert — opened with thundering drums and hyper-kinetic dancing from Zulu troupe JUXTAPOWER, whose lunges and kicks jump-started an evening that was long on both sentiment and showmanship
Rolling Stone Magazine
JUXTAPOWER looks forward to getting back on an extensive tour, which will include Mexico, USA, Canada, and many countries across Africa from late 2010 through 2012.
For more information on this wonderful theatrical company, visit www.juxtapower.com, and join the mailing list for constant updates...Got Zulu!
Sunday, May 30, 2010
Soccer 2010, it is here, feel it.
Ladies and gentlemen, brace yourselves, FIFA 2010 is here. The finals are going to be held in
South Africa, and the world still waits to see if this African NAtion has the balls, the courage, and the wherewithall to get it done.
Africa rocks
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