Zahir Dakenov (December 31, 1962, Koryn - May 25, 1995, Moscow) was a Soviet and Russian Kazakh novelist and poet.
Dakenov was born in a Kazakh family in Koryn, Astrakhan region with his family partially tracing back to Tatar ancestors.
Dakenov served in the ranks of the Soviet army, in convoy troops and studied carpentry in Astrakhan. He then moved to Moscow where he entered the Maxim Gorky Literature Institute.
Dakenov died in the spring of 1995 in Moscow after falling from the top floor of a five-story building. Dina Nemirovskaya, another poet who knew Dakenov, insists that it was not a suicide, but an accident.
Dakenov was born in a Kazakh family in Koryn, Astrakhan region with his family partially tracing back to Tatar ancestors.
Dakenov served in the ranks of the Soviet army, in convoy troops and studied carpentry in Astrakhan. He then moved to Moscow where he entered the Maxim Gorky Literature Institute.
Dakenov died in the spring of 1995 in Moscow after falling from the top floor of a five-story building. Dina Nemirovskaya, another poet who knew Dakenov, insists that it was not a suicide, but an accident.
Black Fragility also known as black defensiveness is the actions and behaviours of black people that is the equivalent of description used to define the actions of white people (white fragility).
Unspeakable Truths about Racial Inequality in America
Glenn C. Loury, a black American intellectual, wrote an article for the Manhattan Institute titled Unspeakable Truths about Racial Inequality in America On the unspeakable infantilization of “black fragility” In his own words, he addresses the shortcomings in regards to black Americans in America and that the use of cancel culture is counterproductive to achieving equality. I would add that there is an assumption of “black fragility,” or at least of black lack of resilience lurking behind these anti-racism arguments. Blacks are being treated like infants whom one dares not to touch. One dares not say the wrong word in front of us, to ask any question that might offend us, to demand anything from us, for fear that we will be so adversely impacted by that. The presumption is that black people cannot be disagreed with, criticized, called to account, or asked for anything. No one asks black people, “What do you owe America?” How about not just what does America owe us — reparations for slavery, for example? What do we owe America? How about duty? How about honor?
When you take agency away from people, you remove the possibility of holding them to account and the capacity to maintain judgment and standards so that you can evaluate what they do. If a youngster who happens to be black has no choice about whether or not to join a gang, pick up a gun, and become a criminal, since society has failed him by not providing adequate housing, healthcare, income support, job opportunities, etc., then it becomes impossible to discriminate effectively between the black youngsters who do and do not pick up guns and become members of a gang in those conditions and to maintain within African American society a judgment of our fellows’ behavior and to affirm expectations of right-living. Since, don’t you know, we are all the victims of anti-black racism. The end result of all of this is that we are leveled down morally by a presumed lack of control over our lives and lack of accountability for what we do.
What is more, there is a deep irony in first declaring white America to be systemically racist but then mounting a campaign to demand that whites recognize their own racism and deliver blacks from its consequences. I want to say to such advocates: “If, indeed, you are right that your oppressors are racists, why would you expect them to respond to your moral appeal? You are, in effect, putting yourself on the mercy of the court while simultaneously decrying that the court is unrelentingly biased.” The logic of such advocacy escapes me.
Unspeakable Truths about Racial Inequality in America
Glenn C. Loury, a black American intellectual, wrote an article for the Manhattan Institute titled Unspeakable Truths about Racial Inequality in America On the unspeakable infantilization of “black fragility” In his own words, he addresses the shortcomings in regards to black Americans in America and that the use of cancel culture is counterproductive to achieving equality. I would add that there is an assumption of “black fragility,” or at least of black lack of resilience lurking behind these anti-racism arguments. Blacks are being treated like infants whom one dares not to touch. One dares not say the wrong word in front of us, to ask any question that might offend us, to demand anything from us, for fear that we will be so adversely impacted by that. The presumption is that black people cannot be disagreed with, criticized, called to account, or asked for anything. No one asks black people, “What do you owe America?” How about not just what does America owe us — reparations for slavery, for example? What do we owe America? How about duty? How about honor?
When you take agency away from people, you remove the possibility of holding them to account and the capacity to maintain judgment and standards so that you can evaluate what they do. If a youngster who happens to be black has no choice about whether or not to join a gang, pick up a gun, and become a criminal, since society has failed him by not providing adequate housing, healthcare, income support, job opportunities, etc., then it becomes impossible to discriminate effectively between the black youngsters who do and do not pick up guns and become members of a gang in those conditions and to maintain within African American society a judgment of our fellows’ behavior and to affirm expectations of right-living. Since, don’t you know, we are all the victims of anti-black racism. The end result of all of this is that we are leveled down morally by a presumed lack of control over our lives and lack of accountability for what we do.
What is more, there is a deep irony in first declaring white America to be systemically racist but then mounting a campaign to demand that whites recognize their own racism and deliver blacks from its consequences. I want to say to such advocates: “If, indeed, you are right that your oppressors are racists, why would you expect them to respond to your moral appeal? You are, in effect, putting yourself on the mercy of the court while simultaneously decrying that the court is unrelentingly biased.” The logic of such advocacy escapes me.
César Grajales is a Colombian-American public affairs director, political analyst, and podcast host affiliated with The LIBRE Initiative and Americans for Prosperity. He hosts the podcast Sabor a Freedom, which explores issues concerning freedom and opportunity within the Hispanic community.
Early life and education
César Grajales was born in Colombia and immigrated to the United States in 1999. He attended Miami Dade College and Walden University.
Grajales contributes as a political analyst on CNN en Español, Telemundo, and Univision. He also hosts a daily morning show on a station owned by Salem Media Group.
As the host of Sabor a Freedom (A Taste of Freedom), Grajales examines topics related to liberty and prosperity among Hispanics in the United States. The podcast, produced by The LIBRE Initiative, explores the challenges and opportunities faced by Latino communities. offering insights into Latino political dynamics in key states like Florida and Texas. He has voiced concerns regarding the Biden administration's policies, including the delisting of FARC from the U.S. terrorist list and the easing of sanctions on Venezuela.
Awards
* 2023: Gold Award, W3 Awards, for an episode of The American Potential podcast in the News & Politics category.
* 2024: Gold Viddy Award, for Sabor a Freedom.
Early life and education
César Grajales was born in Colombia and immigrated to the United States in 1999. He attended Miami Dade College and Walden University.
Grajales contributes as a political analyst on CNN en Español, Telemundo, and Univision. He also hosts a daily morning show on a station owned by Salem Media Group.
As the host of Sabor a Freedom (A Taste of Freedom), Grajales examines topics related to liberty and prosperity among Hispanics in the United States. The podcast, produced by The LIBRE Initiative, explores the challenges and opportunities faced by Latino communities. offering insights into Latino political dynamics in key states like Florida and Texas. He has voiced concerns regarding the Biden administration's policies, including the delisting of FARC from the U.S. terrorist list and the easing of sanctions on Venezuela.
Awards
* 2023: Gold Award, W3 Awards, for an episode of The American Potential podcast in the News & Politics category.
* 2024: Gold Viddy Award, for Sabor a Freedom.
Pretty Mary Sunshine was a band formed in Seattle, Washington in March 1993.
Almost as quickly as they were formed, they were signed to A&M Records. Instead of unifying the five piece, being signed to a major record label hastened their disintegration. "PMS" was contracted to produce two albums for A&M Records but they only "officially" released one. What was intended to be their first album was recorded in Oklahoma City, Oklahoma by Record producer Keith Cleversley (one time producer of The Flaming Lips).
The only song from the ill-fated "Oklahoma sessions" that A&M Records released, was "Can I Stay?" (featured in the cult movie soundtrack of S.F.W.). In an attempt to market Pretty Mary Sunshine as an indie-rock band, A&M Records also released two previously recorded tracks from the band's demo tape recorded at the Electric Eel Studio, in Seattle.
"Bird Medicine" - the full-length disc the band did manage to release was recorded at A&M Studio "C" in the Winter of 1994-1995. The band was completely dissatisfied with the recording process in Hollywood, with tensions between Kurt & Patrice escalating as the producers steered the band into a sound neither liked. "Bird Medicine" was released with no marketing, support or promotion from A&M. The release date was held back for nearly a year due to attorney squabbles about credits in the liner notes. The band supported the release of this album solely to fulfill contractual obligations with a disastrous tour of the United States in 1995.
The band broke up in early 1996, after finally being dropped by their label after a debauched U.S. tour.
Kurt and Patrice went on to form Frownland with the original drummer, Pam Barger, Paul Hutzler (guitar, multi-instrumentalist and bass guitar player, Sean Wheatley, of Pretty Mary Sunshine. Joe Howard, aka Joe Skyward, went on to join the Posies and Sunny Day Real Estate. Jerry O'Neill went on to record some solo material and then seemingly dropped out of the music world entirely until passing away in 2015.
Members
Core members
* Patrice Tullai (vocals) also known for Frownland and (alicedean) ...
* Kurt Elzner (rhythm guitar) also known for Frownland, the Purdins, Mazzy Star and currently of Pet Knives
Oklahoma sessions other members
* Jerry O'Neill aka Gerald Weymeth (lead guitar, tambura, and harmonium) also known for John the Baptist, the Purdins, Dolly Rocker (later went to Green Gel Records)
* Joe Howard aka Joe Skyward (bass guitar) also known for Sky Cries Mary, Sunny Day Real Estate and the Posies.
* Pam Barger (drums) also known for Two Nice Girls, the Billy Tipton Memorial Saxophone Quartet and Frownland.
Bird Medicine other members
* Andy Harderson (lead guitar) also known for Faceless Chaos
* Sean Wheatley (bass guitar) also known for Frownland
* Mark Wilcox (drums) also known for Faceless Chaos, The Verge, and The Cringe.
Discography
* 1993 self-titled demo cassette (unknown formation)
# Madman
# Blue
# Charcoal To Diamond
# When I Fall
# Seven
* Oklahoma 1994 sessions
Only two songs were released ("Jessica" & "Can I Stay?") as a single under the label Spontaneous Underground, a pseudonym of A&M. "Can I Stay?" was also featured on the film and the soundtrack of the movie while Jessica later appeared on the 1995 LP.
* "Bird Medicine" 1995 LP (digitally rereleased in 2014)
# Jessica
# Queen If The Big Head Universe
# Carousel
# Reptile Girl
# Selfish
# Recycle
# Valerie
# Country Joe Bass Song
# Puerto Rican Rita
# Seven
# Get It Together
# Charcoal To Diamond
Almost as quickly as they were formed, they were signed to A&M Records. Instead of unifying the five piece, being signed to a major record label hastened their disintegration. "PMS" was contracted to produce two albums for A&M Records but they only "officially" released one. What was intended to be their first album was recorded in Oklahoma City, Oklahoma by Record producer Keith Cleversley (one time producer of The Flaming Lips).
The only song from the ill-fated "Oklahoma sessions" that A&M Records released, was "Can I Stay?" (featured in the cult movie soundtrack of S.F.W.). In an attempt to market Pretty Mary Sunshine as an indie-rock band, A&M Records also released two previously recorded tracks from the band's demo tape recorded at the Electric Eel Studio, in Seattle.
"Bird Medicine" - the full-length disc the band did manage to release was recorded at A&M Studio "C" in the Winter of 1994-1995. The band was completely dissatisfied with the recording process in Hollywood, with tensions between Kurt & Patrice escalating as the producers steered the band into a sound neither liked. "Bird Medicine" was released with no marketing, support or promotion from A&M. The release date was held back for nearly a year due to attorney squabbles about credits in the liner notes. The band supported the release of this album solely to fulfill contractual obligations with a disastrous tour of the United States in 1995.
The band broke up in early 1996, after finally being dropped by their label after a debauched U.S. tour.
Kurt and Patrice went on to form Frownland with the original drummer, Pam Barger, Paul Hutzler (guitar, multi-instrumentalist and bass guitar player, Sean Wheatley, of Pretty Mary Sunshine. Joe Howard, aka Joe Skyward, went on to join the Posies and Sunny Day Real Estate. Jerry O'Neill went on to record some solo material and then seemingly dropped out of the music world entirely until passing away in 2015.
Members
Core members
* Patrice Tullai (vocals) also known for Frownland and (alicedean) ...
* Kurt Elzner (rhythm guitar) also known for Frownland, the Purdins, Mazzy Star and currently of Pet Knives
Oklahoma sessions other members
* Jerry O'Neill aka Gerald Weymeth (lead guitar, tambura, and harmonium) also known for John the Baptist, the Purdins, Dolly Rocker (later went to Green Gel Records)
* Joe Howard aka Joe Skyward (bass guitar) also known for Sky Cries Mary, Sunny Day Real Estate and the Posies.
* Pam Barger (drums) also known for Two Nice Girls, the Billy Tipton Memorial Saxophone Quartet and Frownland.
Bird Medicine other members
* Andy Harderson (lead guitar) also known for Faceless Chaos
* Sean Wheatley (bass guitar) also known for Frownland
* Mark Wilcox (drums) also known for Faceless Chaos, The Verge, and The Cringe.
Discography
* 1993 self-titled demo cassette (unknown formation)
# Madman
# Blue
# Charcoal To Diamond
# When I Fall
# Seven
* Oklahoma 1994 sessions
Only two songs were released ("Jessica" & "Can I Stay?") as a single under the label Spontaneous Underground, a pseudonym of A&M. "Can I Stay?" was also featured on the film and the soundtrack of the movie while Jessica later appeared on the 1995 LP.
* "Bird Medicine" 1995 LP (digitally rereleased in 2014)
# Jessica
# Queen If The Big Head Universe
# Carousel
# Reptile Girl
# Selfish
# Recycle
# Valerie
# Country Joe Bass Song
# Puerto Rican Rita
# Seven
# Get It Together
# Charcoal To Diamond