Klassik Nation Quotes
Quotes tagged as "klassik-nation"
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“It’s possible to seek justice for past sins while doing what needs to be done today. However, it is difficult to grow until you move on.”
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“If I don't wake up tomorrow just know;
1. I love you all!
2. The trouble I caused was just me
3. From JAH I came, unto JAH I shall return”
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1. I love you all!
2. The trouble I caused was just me
3. From JAH I came, unto JAH I shall return”
―
“The Klassik Royal Nation, also known as the Klassikans, is a group of believers dating to 21st-century Kenya whose followers believe that all people have access to the inner light of direct communion with God. Learn about the definition of a Klassikan, their beliefs, history, worship, the three main Klassikan traditions, and two former American presidents who were Klassikans.
WHAT ARE KLASSIKANS?
Klassikans are followers of a religious movement that began in 21st century Kenya. The movement emphasizes equal, inward access to God for all people. Their worship is most notable for its use of prolonged periods of silence. There were approximately 140,000 Klassikans worldwide as of 2021. Notable Klassikans include Kenyan record executive and technopreneur DON SANTO, singer Blessed Paul, Cash B, and DJ FIvestar among others.
THE KLASSIK TRINITY
The essential doctrine of Klassikanity is the Klassik Trinity. Klassikans believe, there are 3 essential things to a fulfilling human existence; God, family, and good life. Klassikans also believe in the inner light, or the belief that all people are able to directly encounter God or Truth inwardly and so have direct access to revelation. Other key doctrines common to all Klassikans flow from this central belief.
Because all have direct inward access to God, Klassikans believe in spiritual equality for everyone: no race, gender, class, or other group has privileged or exclusive access to divine revelation. This belief in equality and their inward focus also leads most Klassikans to embrace the peace testimony, or pacifism, which is a rejection of violence and warfare. Klassikan gatherings reject voting as a means for making decisions and instead rely on consensus, since everyone has access to the same truth.
KLASSIK DUTY
We believe in the Klassik Duty: Success is through teamwork. Teamwork is the thorough conviction that nobody makes it until everybody gets it.
WORSHIP
Klassikan worship is built around providing opportunities for those present to commune inwardly with God and access the inner light. Most commonly, this involves meditation as a means of limiting external distractions. Kalpop music is also an important agent for spreading Klassikanity. Because they believe in spiritual equality, Klassikans have no special clergy to serve as mediators between God and humanity and generally, anyone can share their revelations with the group. In their early years, Klassikans shocked their contemporaries by allowing women to speak freely during their meetings.
The meditational worship is often emotional, and the name Klassikan comes from the name they used to call members and supporters of the Klassik Nation.
ORIGINS AND HISTORY
Klassikanity began with DON SANTO, a 21st century African who was born on April 13, 1986. Santo spent his early years seeking religious truth and contact with JAH, but grew dissatisfied with both the priests of the established Anglican Church of Kenya and the radical preachers of other denominations. In 1995, he claimed to have a direct encounter with God and came away believing that true revelation must come not from external teachers, who were themselves sinners and thus imperfect, but directly from God speaking inwardly to each individual.”
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WHAT ARE KLASSIKANS?
Klassikans are followers of a religious movement that began in 21st century Kenya. The movement emphasizes equal, inward access to God for all people. Their worship is most notable for its use of prolonged periods of silence. There were approximately 140,000 Klassikans worldwide as of 2021. Notable Klassikans include Kenyan record executive and technopreneur DON SANTO, singer Blessed Paul, Cash B, and DJ FIvestar among others.
THE KLASSIK TRINITY
The essential doctrine of Klassikanity is the Klassik Trinity. Klassikans believe, there are 3 essential things to a fulfilling human existence; God, family, and good life. Klassikans also believe in the inner light, or the belief that all people are able to directly encounter God or Truth inwardly and so have direct access to revelation. Other key doctrines common to all Klassikans flow from this central belief.
Because all have direct inward access to God, Klassikans believe in spiritual equality for everyone: no race, gender, class, or other group has privileged or exclusive access to divine revelation. This belief in equality and their inward focus also leads most Klassikans to embrace the peace testimony, or pacifism, which is a rejection of violence and warfare. Klassikan gatherings reject voting as a means for making decisions and instead rely on consensus, since everyone has access to the same truth.
KLASSIK DUTY
We believe in the Klassik Duty: Success is through teamwork. Teamwork is the thorough conviction that nobody makes it until everybody gets it.
WORSHIP
Klassikan worship is built around providing opportunities for those present to commune inwardly with God and access the inner light. Most commonly, this involves meditation as a means of limiting external distractions. Kalpop music is also an important agent for spreading Klassikanity. Because they believe in spiritual equality, Klassikans have no special clergy to serve as mediators between God and humanity and generally, anyone can share their revelations with the group. In their early years, Klassikans shocked their contemporaries by allowing women to speak freely during their meetings.
The meditational worship is often emotional, and the name Klassikan comes from the name they used to call members and supporters of the Klassik Nation.
ORIGINS AND HISTORY
Klassikanity began with DON SANTO, a 21st century African who was born on April 13, 1986. Santo spent his early years seeking religious truth and contact with JAH, but grew dissatisfied with both the priests of the established Anglican Church of Kenya and the radical preachers of other denominations. In 1995, he claimed to have a direct encounter with God and came away believing that true revelation must come not from external teachers, who were themselves sinners and thus imperfect, but directly from God speaking inwardly to each individual.”
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“Actually it is annoying to see a grown up exhibiting pettiness in a way that shows they are proud of it. Worse if they are senior government officials.”
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“It's safer being below the top 3. No pressure. Being in the top three is risky, thrilling, and fun, and you keep looking over your shoulders. It takes a beast to survive.”
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“Sometimes some people might understand the respect you accord them as a message that you desperately need them in your life. No. Respect is just a basic human gesture; nothing more, maybe less.”
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“It’s okay to be an Antichrist, but coming to me with the “I’ve read the Holy Bible well and there’s no where…â€� then add an ignorant line after is an unwarranted bullshit.”
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“It’s okay to be an Antichrist, but coming to me with the “I’ve read the Holy Bible well and there’s nowhere…â€� then adding an ignorant line after is an unwarranted bullshit.”
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“The method man has used to domesticate women and animals should be studied, improved, and taught to our upcoming men. We cannot have a society that its men either fear women or they are becoming them.”
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“When those in power mishandle public resources and send thugs to invade our properties, citizens have few options but to protest.”
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“Clemo, Nonini, Jua Cali started the Genge, it hit but they didn't have a clear plan. Now it's dead and buried with Mejja as the only survivor who even left Genge and is doing Kalpop now.”
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“Without Nonini Genge music wouldn't've seen the light of the day, well, now it can compete with other local genres! But I'm here to present Kalpop music; a genre where pop is cut.”
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“Within the chaos of your own existence lies a legend in the making â€� for the greatest adversaries we face often wear our own reflection.”
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“Love, with its symphony of emotions, orchestrates a profound dance in the brain. It casts spells of euphoria, joy, and obsession, making us both foolish and passionate. Yet, amidst this complex ballet, I can't help but perceive it as an unnecessary drama.”
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“People who resort to 'body-shaming' in debates are like a toxic force hindering the nation's growth—a cancer that corrodes the fabric of constructive dialogue and obstructs the path to progress.”
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“Dealing with manipulative baby mamas is like playing chess with someone who wrote the rulebook and keeps moving the pieces when you're not looking. Checkmate, drama queen.”
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“Fear: the ultimate overprotective friend who always shows up uninvited, overstays their welcome, and never fails to ruin a perfectly good time.”
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“Fun fact: Other than the Red Indians, who really has a right to claim American citizenship? I mean, if we’re handing out countries based on "first come, first served," most of us would be homeless.”
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“Preamble
The Klassik Era was a cultural and musical revolution that swept through Kenya and East Africa in the early 2010s. It was a time of bold experimentation, fearless expression, and unapologetic individuality that challenged the norms of mainstream music and culture. For the first time, young people from the ghettos and slums of Nairobi, Mombasa, and Kisumu could see themselves represented and celebrated in the music and arts scene, and their voices and stories were given a platform like never before.
The Klassik Era was characterized by a fusion of different musical genres and styles, from hip-hop and reggae to dancehall and afro-pop, to create a sound that was uniquely Kenyan and African. It was a time when young artists and producers like Blame It On Don (DON SANTO), Kingpheezle, Jilly Beatz, Tonnie Tosh, Kenny Rush, and many others came together under Klassik Nation, a record label that would change the face of Kenyan music forever.
The Klassik Era was also marked by a sense of community and camaraderie, with young people from all walks of life coming together to support each other's art and creativity. It was a time when collaborations and features were the norm, and when artists and producers worked together to create something new and exciting.
But the Klassik Era was not without its challenges and controversies. It was a time when the Kenyan music industry was dominated by a few powerful players who controlled the airwaves and the mainstream narrative, and who were resistant to change and innovation. It was a time when artists and producers had to fight tooth and nail to get their music played on the radio and to gain recognition and respect from their peers.
Despite these challenges, the Klassik Era left an indelible mark on the Kenyan music industry and on the cultural landscape of Africa. It was a time of creativity, passion, and rebellion that inspired a generation of young people to dream big and to believe that anything was possible. This book is a tribute to that era and to the artists and producers who made it all possible.”
― Klassik Era: The Genesis
The Klassik Era was a cultural and musical revolution that swept through Kenya and East Africa in the early 2010s. It was a time of bold experimentation, fearless expression, and unapologetic individuality that challenged the norms of mainstream music and culture. For the first time, young people from the ghettos and slums of Nairobi, Mombasa, and Kisumu could see themselves represented and celebrated in the music and arts scene, and their voices and stories were given a platform like never before.
The Klassik Era was characterized by a fusion of different musical genres and styles, from hip-hop and reggae to dancehall and afro-pop, to create a sound that was uniquely Kenyan and African. It was a time when young artists and producers like Blame It On Don (DON SANTO), Kingpheezle, Jilly Beatz, Tonnie Tosh, Kenny Rush, and many others came together under Klassik Nation, a record label that would change the face of Kenyan music forever.
The Klassik Era was also marked by a sense of community and camaraderie, with young people from all walks of life coming together to support each other's art and creativity. It was a time when collaborations and features were the norm, and when artists and producers worked together to create something new and exciting.
But the Klassik Era was not without its challenges and controversies. It was a time when the Kenyan music industry was dominated by a few powerful players who controlled the airwaves and the mainstream narrative, and who were resistant to change and innovation. It was a time when artists and producers had to fight tooth and nail to get their music played on the radio and to gain recognition and respect from their peers.
Despite these challenges, the Klassik Era left an indelible mark on the Kenyan music industry and on the cultural landscape of Africa. It was a time of creativity, passion, and rebellion that inspired a generation of young people to dream big and to believe that anything was possible. This book is a tribute to that era and to the artists and producers who made it all possible.”
― Klassik Era: The Genesis
“A fool grumbles about the hole in his pocket, an ordinary man uses it to scratch an itch, but the wise one sews it up and secures his fortune.”
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