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Randy’s Reviews: The Day You Were Born: A Journey to Wholeness through Astrology and Numerology – by Linda Joyce

Randy’s Reviews: The Day You Were Born: A Journey to Wholeness through Astrology and Numerology – by Linda Joyce (Randyjw; June 16, 2019)


The Day You Were Born: A Journey to Wholeness through Astrology and Numerology; Copyright © 1998 by Linda Joyce. Kensington Books. Kensington Publishing Corp., 850 Third Avenue, New York, NY 10022. http://www.kensingtonbooks.com


This book applies the sun signs of the zodiac, in a formula beginning in Aries and ending in Pisces, with a numerological factoring for the variance, and combines it with some metaphysically-specific best-practice recommendations to supposedly inform a person on the manners whereupon this application might be achieved.


Is it proper for me to side with or promote an astrological/numerological work? Not quite. Evidence for this, in Judaism, would point to the disaster of King Saul and his consultations with Hulda, who may or may not have been the same (I just don’t know) as the externally written-about Greek Oracle of Delphi. King Saul eventually fell prey to a never-ending wrestle between inner peace and an aroused spirit of paranoia and jealousy toward his eventual successor, David, the only one, paradoxically, who could calm Saul’s troubled spirit with the notes he played on his kinnor.


Yet, there exists further depth in the Judaic expression and realms of revelations intrinsic in the holiness of the Hebrew script (it is G-d’s word, after all); the corresponding numerical equivalency of the tandem Gematria; Kabbalah; and, really, actually, all things.


I can argue under Judaism, or Jewish perspective, for a combination of the essentiality of man’s existence on the earthly plane, combined with the striving toward the spiritual plane. G-d’s Laws (the Torah) are set before us with the imperative to choose life; that ye may live. We are told that doing so is not too difficult for us. We see that the 613 commandments include both the positive and the negative. We see that they include both the earthly (between man and man), and the heavenly (between man and G-d) — the stronger emphasis, surprisingly, being expounded as those between men. Disaster befalls us each and every time we go astray the Laws, which is a deviation from the spiritual. And Hillel sums up the whole of Torah as the essence that one should not do what is hateful unto another, stressing the earthly, inter-relationary aspects of man.


According to Linda Joyce, the author of the titled book in review, life should be balanced between the worldly aspects of the physical, such as the body and things of the earth, which is known as Ego, and the world of Spirit – – the heavenly realm — in order for the soul to receive its lessons as it proceeds through life and corresponding zodiac sun signs to grow in a balanced manner.


Linda Joyce has formed a merger of the practices of numerology and astrology to reveal an appreciable insight into human nature, combined with a gift for anecdotal and biographical supporting stories. What I can say is that, for everything that she presents, she does so to full confirmation of a certain perspective.


In a way, I always thought it was most imperative to nurture the qualities which would be so-considered the characteristics of a “higher calling,” tending to feel that one should aspire to lift one’s self above a baser nature. There’s nothing wrong with self-improvement, so I don’t find that, as an expression, to do so is as hypocritical an endeavor as the transverse, where the thought might be that, perhaps, one can only express their authentic selves via the masks of solely their present, fixed immutability. I think both give themselves a viewpoint weighted to the specifics of each varied individual: an optimistic outlook or a realistic outlook; but valid on either hand, regardless. It just matters which works better for each person.


Much like magic did this book appear on a shelf, at a time of deep, personal loss and internal struggle; although, unlike magic, I believe in G-d, and I believe in the basic goodness of man. The Biblical Jacob and his personal struggle teaches us about life, love, hardship and pain. But the message imparted is that we can prevail.


This excerpt, delineating Ego and Spirit in its last perfected self through Pisces, is seen, then, thus:


The search for your true origin, the haunting memory of happier days, innocence and youth — this is your memory of Eden and paradise. Darwin shocked and divided the world when he declared that men and apes had a common ancestor. His findings challenged the biblical origin story. The truth is that both origin stories are correct. We come from both heaven and earth. Heaven provides our mythical and symbolic origin. Evolution is what happens to us on earth — we evolve and grow and transform. The two are not in conflict (pg. 343).


Feelings of separation and loss, either because your path leads you elsewhere or someone else’s path has come to an end, is symbolic of the relationship between Ego and Spirit. Pisces is the end of the journey, and these two antagonists have traveled together through sunny days and terrible storms. They know each other in any disguise. They can recognize each other in a crowd, in the role of pauper or king, thief or saint. Together they have played all the parts, challenged each other’s goals and ideals, fought for and against each other’s dreams, shared each other’s joys and sorrows, triumphs and failures. Their commitment to the journey has bonded them through shared experiences, and now their differences seem unimportant and small. Theirs is a true relationship, one tested and sure, one based on earned respect. Now, when they have put aside their differences and learned how to play, it’s time to part. Love has awakened through the impending separation. Ego is old and must face death. Spirit is young. Having been reborn to a new strength, she can now defend herself and move forward, taking Ego’s memory into her heart and soul. Along the path he has protected her, allowing her to do her work. His devious ways and masterful disguises have honed her ability to see and discriminate. He has been her warrior, fighting her dragons; her enemy vying for position and power; her lover, embracing her with desire and will, trying to control her every breath. He has put her on a pedestal and he has abandoned her for fruitless dreams. But through it all they have remained together. Forgiveness came in Aquarius and the true meaning of love will come with separation. For without loss one does not know what one once had. They are soul mates and the song they sing has finally become one. Ego will surrender into the soul of the Spirit, ending their separation forever. Their love defies death because they are children of heaven and earth, who through their magical relationship have been able to bring one person closer to his or her true nature, to enlightenment, and to God.


… what they are learning is to love and go on, embodying that love within their soul, knowing that their physical presence is not needed for it to be real (pp. 373-374).




Read also:





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Randy’s Reviews: The Founding Conservatives: How a Group of Unsung Heroes Saved the American Revolution

Randy’s Reviews: The Founding Conservatives: How a Group of Unsung Heroes Saved the American Revolution (Randyjw; August 26, 2018)


The Founding Conservatives: How a Group of Unsung Heroes Saved the American Revolution

David Lefer. Penguin/Sentinel, $29.95 (416p) ISBN 978-1-59523-069-0
In the course of learning about my people’s, the Jewish people’s, history, I have often heard countless retellings of the stories of famous Jewish people who have contributed throughout the course of history toward the financial gains of their host countries’ continuance. This has often come in the form of providing their own families’ personal wealth in the form of currency toward the war chests of the countries in which they lived. I have heard that the Columbus voyage in discovery of the New World had been financially helped with Jewish funding; and another is the financing of the American Revolution by Haim Solomon, who helped U.S. Treasurer, Robert Morris, refill the American coffers to continue their defense against the British Redcoats, and to win the war for the American side. This salient fact is missing from the above book, which is one reason to question the revisionist manner in which the American story is retold.
Read about Haim Solomon, here, on Wikipedia:
I was going to give this book an excellent rating for its in-depth research into the machinations behind the men who cobbled together the form of democracy our United States would follow in the years just preceding the colonial uprising against the Stamp Act, resulting in the Boston Tea Party, where cases of imported tea from Great Britain were charged by King George III to be assessed against the thirteen American colonies, eventually resulting in the American Revolution against the British. I detract some of its points for the author having excluded the important, and well-known, contribution made by Haim Solomon to the American cause, overall, and for his blind-eyed focus solely on the known signers (for the most part) of the Declaration of Independence, with their internal debates of the issue of whether to remain a subject colony under British rule of the Monarchy, or whether to break off and become an independent nation.
Read about The Stamp Act, here, on Wikipedia:
It never seems that independence was exactly a foremost thought in the minds of our Founding Fathers – – at least, according to what author David Lefer writes, through his unearthing of the signatories’ diaries, and other records, such as letters found in archival libraries and collections he uses to piece together this interesting and fascinating account of the steps and, almost, missteps, the colonial Congressional Representatives and influence holders take in the construction of our seemingly much-different nation during its formative infancy.
The matter of taxation being imposed on the colonies from afar without the feeling of consideration that they were being properly represented, was probably the main impetus for the cause of the American Revolution against the British. Yet, there were those on the other side of the aisle who felt that America should continue to be ruled by the aristocratic and landed gentry, as they were the ruling classes in a still-feudal and Monarchical society in Britain, holding the land titles and much of the commercial plantations of serfs, which represented the bulk of the capital, at that time.
This book reads like a present-day thriller, of sorts, as equal pressure and equal measures are brought to bear by both sides of the American controversy, to the status, hanging in the balance, of the American future. Already secure in our knowledge of the outcome, we still read how very different the nation proceeded from the start, as compared to its final outcome which we experience now today. It is interesting to learn how this occurred, and what thoughts may have transpired in the minds of the framers of the Constitution by which our nation has successfully managed its founding and consolidation, amongst the diversity of thought, these many centuries later.
For this reason, I recommend the book as a learning opportunity and to enrich our minds in the process of how America was formed and the issues which informed that decision.

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Driven to Distraction


Driven to Distraction (Randyjw; January 2, 2017)


Compelling added readings

to discern and appreciate its meaning,

and succeeding in the disjointed,

yet well-meaning tone of its being.



Versed commentary on the poem, Engineer, by Jacob Ibrag, January 2, 2017, at eyes + words, here:



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Nusrat Fateh Ali Khan: Dust to Gold (CD)


Nusrat Fateh Ali Khan: Dust to Gold (CD)


Nusrat Fateh Ali Khan & Party (p) © 2000 Real World Records Ltd. Licensed exclusively to, and manufactured and distributed by: Narada Productions Inc., 4650 N. Port Washington Road, Milwaukee, WI, 53212. All tracks published by Womad Music Ltd./EMI Virgin Music Ltd. The dust jacket website reference doesn’t fully connect, so please see Real World Records for info: (https://realworldrecords.com/artist/458/nusrat-fateh-ali-khan/)


The liner notes say that Nusrat Fateh Ali Khan’s hometown was Lahore, Pakistan. It becomes complicated, as much like Israel (known then as “Palestine”) had been partitioned to carve an Arab state from its midsts (known as “Jordan”), so, too, had India been partitioned to carve a Muslim state from its midsts, known as Pakistan (not to mention that India had first fallen under Colonial occupation and rule by the British). According to Wikipedia.org (accessed April 10, 2016 and applicable to the rest of this information): (https://en.wikipedia.org/wiki/Nusrat_Fateh_Ali_Khan), the ancestral Khan household was situated, prior to Partition, at Basti Sheikh, in the city of Jalandhar, East Punjab, British India (now in Punjab, India).


Ali-Khan was born, after Partition, on October 13, 1948, and grew up, then, in central Faisalabad, Punjab, Pakistan, finding early affinity in the family tradition of Sufi devotional music, known as Qawwali. He ascended to leadership of his family Qawwali party upon the deaths of his father, and afterwards, also, an Uncle, and gave his first public performance, via a studio broadcast recording, during the annual music festival known as Jashn-e-Baharan, arranged by Radio Pakistan.


He only lived to age 48, expiring of a heart attack in London, England on August 17, 1997, awaiting a kidney transplant, due to renal failure.


His music has garnered multi-national awards, and he is known as a pioneering force in world music. He partners with Ofra Haza in the song “Forgiveness”. While I can only recall his utterance in this mostly instrumental song as a singular one, it is, nevertheless, a good one. Both he and Ofra solely, and soulfully, wail, using their voices non-lyrically as instruments.


I had not, yet, discovered his rendering in “Forgiveness” prior to hearing this “Dust to Gold” CD, and so my opinions were proferred as a neophyte to his music. Had it been the reverse, perhaps I would have heard him in a more-flattering context; as it were, I did not. Frankly, I feel that this music is a fail. Much as the failed process of alchemy whereby the synthesization of precious metals, like gold, is attempted to be created through dust or other materials, the synthesization from “Dust to Gold” in this music, simply put, doesn’t work.


  1. Khawaja Tum Hi Ho (Master It Is Only You) (Rajasthani Hindi) 15:44 – The inside jacket explains that this song, sung in a female persona in the classical style, praises a Sufi saint. I find it an annoying semblance of a screaming, dying cat.
  2. DATA Teira Durbur (Master In Your Court) (Urdu) 16:21 – This song also praises a Sufi saint, and may be even more annoying than the first. Oy!
  3. Koi Hai Na Ho Ga (There Was No-One, There Will Not Be Anyone) (Urdu) 15:08 – Apparently not. This song praises the Islamic “Prophet”, and has a more familiar tune. Interestingly, it mentions Aksa mosque (Jerusalem), but makes no mention of the Dome of the Rock (Al-Aksa is the small, silver mosque on the Temple Mount; the Dome of the Rock, the familiar representation of Islam in Israel, is not actually a mosque).
  4. Noor-E Khuda Hai Husn-E-Sarapa Rasool (The Light of G-d is the Embodiment of the [Islamic] “Prophet”) (Urdu) 17:09 – Praises the Islamic “Prophet”. Also more familiar; almost hypnotic.

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Women’s Advocate Needed In Film!


I just found the perfect job opp for those interested in advocating for women in film, about film, and through film! Okay, so it’s not a real job opp, because it’s an “internship”, as is so often the case (natch), but it’s definitely a great way to break into film and notch up some bona-fide creds in the industry.


Do you have a passion to help women be heard in a sometimes still male-dominated society? Would you like them to escape the bonds of oppression from domineering men and societies hindering female entry into occupations they would like to pursue, but can’t, because they are a woman? (Sometimes my own views are at odds with each other, due to factors such as upbringing and traditions, I think it is important to add, here.)


Now is the perfect opportunity to get involved with the Women’s Film Institute and have your own voice counted in the cause for women’s advancement. I’ve found so many great voices out there, waiting to be discovered… people such as one of my newest favorites, a male feminist (yessss!!!!!), or the lovely, multi-talented woman (my absolute favorite!!!) whose family left an oppressive country to find greater opportunities and freedoms elsewhere!


The great voices being discovered in the WordPress community now have another outlet for expression via this avenue: The Women’s Film Institute, another WordPress-powered site! Based in the nation’s film capital of the United States, in the sunny state of California, the Women’s Film Institute is seeking people who have a passion for driving forward women’s empowerment and expression in the issues and fields in which they engage. Perhaps they are prevented from doing so, but you can be their voice.


Just have the commitment to devote to reading, writing, and editing two posts per month, on average, in a voluntary capacity, from your remote location, and you’ve just entered through that new door I mentioned in my poem, ‘Wonder’, to set you on your way! An opportunity such as this is a definite rarity. Not only that, but it could lead to further opportunities and connections to branch out from once you have stepped along this unique path! What are you waiting for? Here are the details:


Found through my Indeed.com automated job search, it posted to my email inbox today, March 22, 2016, and lists the internship from yesterday, March 21, 2016. It directs further inquiry to the site, from which it practically displays the description verbatim. The company is the Women’s Film Institute, and lists the offering March 5, 2016, requesting a resume and your cover letter being sent to:


Here is a link to the position from within the site:



and a link to the site, itself:



Good luck! And reserve me front row seating at your premiere!


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Putumayo Presents South Africa

Putumayo Presents South Africa

Putumayo World Music (p) and ©2010 Putumayo World Music. (http://www.putumayo.com)

Missing liner notes.


1. Soul Brothers – Ujaheni

Good song about moonbeams, or something…


2. Bholaja – Mbombela

Hey la’Osteen! Island-vibe; nice tune. I like this singer’s voice.


3. Mahube – Oxam

Xylo-centric; starts off Christmas-y. Beta-wey (Better Way?)


4. Blk Sonshine – Nkosi

Really cool – Sounds like human mouth instruments. Then it’s a rap-slide jazz thing. In English.


5. Nibs van der Spuy – Beautiful Feet

English lyrics. Reggae-plucked Flamenco-cooled. Weird.


6. Steve Dyer – Mananga

Fast-moving familiar tune done in a hoot-like way. Instrumental only.


7. Miriam Makeba – Orlando

Sounds like old-time 20’s/30’s/40’s flapper and War Era sister groups (like the Andrews sisters) in African language. Miriam Makeba receives a brief mention in Andrew Hussey’s book, The French Intifada: The Long War Between France and Its Arabs, on page 215, and is described as an anti-apartheid militant, mentioned in the context of having attended the first Pan-African Cultural Festival in Algeria in 1969.


8. Phinda – Tiki Tiki

It does sound like African take on Polynesia emerging from the ’40’s and ’50’s.


9. Johannes Kerkorrel – Halala Afrika

Acoustic guitar, Dutch folk-style, with Ha-la-la Afrika background.


10. Zoro – Work

Reggae. I think I’ve heard this tune before. Cliff? Marley? Tosh? Sounds too low and too harsh – Guess it makes a point.


11. Kaya – Vulamasango Mandinke

I like it. Very rich in vocals.


12. Soweto Gospel Choir – Ngahlulele

The high voice is so round and able. A good fit for the closing song of the album (CD).


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Aman Mohammed: La Tradition du Hejaz/The Tradition of Hejaz

Aman Mohammed: La Tradition du Hejaz/The Tradition of Hejaz (CD); OCORA Collection; OCORA C560158; 2001; Paris (02/14/16 Google search; landing page description for the following: (http://archive.aramcoworld.com/issue/200702/music/default.htm) – (Information not accessible); Maison de Radio France, Piece 1275, 116 Avenue du President Kennedy, 75786, Paris, Cedex 16 (02/14/16: (https://www.discogs.com/label/57784-Ocora)).

Per Wikipedia.org, accessed 02/14/2016, OCORA (https://en.m.wikipedia.org/wiki/Ocora) specializes in world music field recordings. It was established as part of state-owned Radio France in 1957, located at Maison de La Radio along the River Seine.

  1. Ya Makkat al-Khayr (04:47): Surprising in that some of the trope/trills sound almost reminiscent of Hebrew, down to even the “New York”/Ashkenazi pronunciation.
  2. Ahimu bi-Ruhi (05:59): A familiar tune, but I don’t like the styling. Too choppy. Would have preferred this in different regional dialect, with more whole, rounded vocalizations, rather than drawn and nasal.
  3. Hadha al-Futur (Ya Man Hawahu) (08:29): Soft, nice musical intro… Wish joining voice was so, but it’s sung with sufficient emotion to reflect the words of its poetry.
  4. Ayyuha al-Zabyu Masul al-Lama (05:39): Track 3 passed into Track 4 (this one) without much notice. Can do work with this in the background.
  5. Wa-lamma Talaqayna (07:32): Nice poem in translation. Too many scratches on this borrowed c.d. to hear it well. No discernible melody, so not as nice a match to the lyrics.
  6. Ya Ahl al-Hawa (09:36): Sounds like country music, Saudi-style.
  7. Ya Helwah Kasr el-Khawatir leh (03:05): This one starts off beautifully, musically. The singing is nice, too, but the sounds of some of the words in the beginning don’t sound so nice. But it is a nice song with rhythm and nice singing. Maybe the best song on the whole album.
  8. Ya Sayyid al-Helwin (10:25): This is a really cool song. It sounds like ‘oasis’ meets ‘Orientalism’. Written by Ibrahim Khafaji, author of the Saudi Arabian national anthem, it draws on the Red Sea region, which is probably its appeal to me in sounding almost like a Jewish tribe in the Arabian areas, just across the sea from Israel. I think this might even top number seven, just prior to it.
  9. Jadak al-ghayth (10:08): This sounds like an octave-lower version of number eight, which is why I was confused when song ten popped up and I thought I missed number nine. This is beautiful in a sombre, haunting way. It does blend from song number eight and I think they should always be played together.
  10. Bi-Habib al-Qulub (05:37): No melody. One of the notes sung is done with clarity and beauty.

From the liner notes: Hijaz: Arabic for “barrier”; name of mountain chain running parallel to the Red Sea, separating the coastal plain to the west and the desert plateau of Nejd to the east. King Abd Al-Aziz Ibn Saud conquered Mecca in 1925 from Cherif Hussein (whose descendants went on to rule Iraq and Jordan).

Great liner notes include a quick, brief synopsis of Saudi/Middle Eastern history and a great compendium of study of the Arab styles of music and the origins of the styles by ethnomusicologist, Jean Lambert. Most surprising is the map showing the word, ‘Israel’, on it. Track 5 is a nice poem (the words to most of the tracks are translated).

It would be worth getting this c.d. just for songs 7, 8, and 9 alone.

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