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Bienvenido N. Santos

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“By Sami Abouzid I have never been to music school. I went to the Sami Abouzid School—the best school in life. I taught myself everything I needed to know to create symphonies, compose soundtracks, and produce hits in many languages. I am the best teacher I ever had. No one in this life will ever teach you something truly powerful for your soul. The majority in this field chase money, business, and ego—no emotions, no artistic vision, no eternal goals. In music, jealousy runs deep. When you create something amazing, they don’t say, “Well done.” They look away. I’ve never met a musician who reached out with genuine happiness for me. Years ago, singers walked into my family store, heard my music, and left in shock when they learned it was mine. That’s why I have no friends in music—I am my own best friend. And I’m lucky for that. This month, on my birthday, I will reward myself by releasing 10 albums worldwide in one shot—to show every person who said, “You can’t,” that I can. I came to America with one song. Now I have 1,000 songs, 10,000 versions, and 672 soundtracks—created my way, not theirs. God bless America. Thanks to Allah, I conquered my dreams.”

Music
Author:Sami abouzid
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“Cuando Becker les conto a varios músicos contemporáneos sobre las semanas de cuarenta y dos horas que trabajaba en el escenario del Club 504 en 1950, esperaba que respondieran compadeciéndolo por haber tenido que trabajar tanto, pero en cambio le dijeron con envidia: "Caramba, nosotros nunca hemos llegado a tocar tanto". Sentían envidia porque esas largas horas de trabajo le dieron la oportunidad de practicar temas una y otra vez, de entrenar sus respuestas físicas y mentales en la armonía y los patrones estándar, de acostumbrarse a hacer lo que exigían de el sin tener que pensarlo. Lo que Becker y otros de su generación aprendían en el trabajo, los músicos contemporáneos lo aprenden practicando en su casa o tocando ocasionalmente en sesiones que nadie les paga.”

Music
Book:El jazz en acción: La dinámica de los músicos sobre el escenario
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“Psychiatrist Stanislav Grof's Holotropic Breathwork, born from 1970s psychedelic restrictions, uses rapid breathing, music, and bodywork for unconscious exploration and trauma healing, echoing ancient Yogic Pranayama (Rig Veda ~1700-1100 BCE, Upanishads ~800-500 BCE) and Sufi Dhikr ceremonies (from the 12th century).”

MusicTraumaPsychedelicPranayamaBodyworkHolotropic BreathworkYogicGrof
Book:Crossing the Forbidden Highway: The Untold Story of Orgone, Body Therapy, and Suppressed Emotion
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