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Can Poems Communicate? Yeats, Magic, and the Problem of Modernity
"Where can you go in your poetry," the grand old poet-critic Donald Davie once wondered, "when the King James Bible has become a recondite source?" The problem Davie framed is an old one, and was already eating away at W.B. Yeats in the 1890s, when he constantly worried over whether there was a public language through which poems could connect with the wider world. What can a poet do when he or she can't expect a shared frame of cultural reference with an audience?
Yeats has taken a lot of heat over the decades for his interest — no, let's not soft-pedal it — his belief in magic. And I'm as put-off by some elements of this as the next secular humanist. In fact, I'm probably more put-off, since it's not just the whole supernaturalist angle that bothers me, but the authoritarianism of it: cults with hierarchies and secret knowledges not to be explained to outsiders are odious things, if you believe (as I do) that knowledge should be as widely disseminated as possible. But much of Yeats' thinking about magic was actually a way of thinking about the nature of symbolic communication, and the place of symbols in modern life. Consider the following passage from his 1901 essay on magic:
I believe in the practice and philosophy of what we have agreed to call magic, in what I must call the evocation of spirits, though I do not know what they are, in the power of creating magical illusions, in the visions of truth in the depths of the mind when the eyes are closed; and I believe in three doctrines, which have, as I think, been handed down from early times, and been the foundations of nearly all magical practices. These doctrines are:--- (1) That the borders of our mind are ever shifting, and that many minds can flow into one another, as it were, and create or reveal a single mind, a single energy. (2) That the borders of our memories are as shifting, and that our memories are part of one great memory, the memory of Nature herself. (3) That this great mind and great memory can be evoked by symbols.
There are a couple of different ways to read this passage. What we might call the strong interpretation would stress the supernaturalism. In this view, Yeats is talking about a kind of collective soul, or group dreaming, or telepathy, or symbols that radiate some kind of glowing mist of mojo throughout creation. Me, I grow a bit queasy at such a reading, and prefer what we might call the weak interpretation of the passage. In this view, Yeats is saying something not too different from what people like Jung or Northrop Frye have to say: that there are large cultural systems of symbols and images, that these symbols and images inform our thinking, and unite groups of people in terms of their assumptions and ideals, often in ways those groups do not apprehend consciously. This isn't all that different from the sort of thing structural anthropologists study. Of course in actuality both readings apply: Yeats wants to get away from Arnoldian skepticism, and the atheism of his Darwinian father: hence the supernaturalism. He also wants to get away from the individualism that the triumphant late-Victorian bourgeoisie rode down the boulevards of the capitals of Europe like some giant white pachyderm: hence the interest in collective experience. And if a belief in magic was what it took for him escape bourgeois individualism, well, okay.
Let's stick with the weak reading for now, with Yeats trying to articulate his sense that communication depends upon large, enduring sets of collectively apprehended symbols. The problem, for him, was that modernity had become inimical to such symbolic systems. Just after the passage quoted above he writes:
I often think I would put this belief in magic from me if I could, for I have come to see or to imagine, in men and women, in houses, in handicrafts, in nearly all sights and sounds, a certain evil, a certain ugliness, that comes from the slow perishing through the centuries of a quality of mind that made this belief and its evidences common over the world.
Yeats' disgust with modernity has many sources: all the really shitty moments of his childhood took place in then-hyper-modern London, where he was despised for his Irishness; he identified modernity with the English oppressors of Ireland; and the intellectual atmosphere of his childhood home was saturated with Pre-Raphaelitism, with the medievalism of Ruskin, and with William Morris, who wondered, in his great essay "How I Became a Socialist" whether modern civilization was "all to end in a counting-house on the top of a cinder-heap?" But the problem is also one of communication, and, ultimately, of cultural cohesion. In Yeats' view, we were once united by a "centuries old quality of mind" that modern, urban, industrial capitalism has somehow swept to the sidelines.
We get a better sense of the endangered world of shared symbols when we look into Yeats' essay "What is 'Popular' Poetry?" which appeared in print a year after the essay on magic (both are collected in Yeats' book Ideas of Good and Evil, if you want to check them out). Here, he distinguishes between three types of poetry: popular poetry, coterie poetry, and poetry of "the unwritten tradition."
The last one is the really interesting one, so let's start there. For Yeats, the "unwritten tradition" is the oral folk tradition, still viable in the more out-of-the-way parts of Ireland in his lifetime (indeed, he took a lot of inspiration from the folksongs and tales he heard around his mother's family's place in Sligo). The "true poetry of the people," whether written or oral, says Yeats, comes from this unwritten tradition, and gains its power and resonance from a framework of allusions, echoes, and references that are, at some level, familiar to the whole community. The words of such a poetry "borrow their beauty from those that used them before," and the full resonance of the poems comes from seeing the events they depict or the emotions they express as if they were "moving before a half-faded curtain embroidered with kings and queens, their loves and battles and their days out hunting, or else with holy letters and images of so great an antiquity that nobody can tell the god or goddess they would commend to an unfading memory." The tapestry image is a very Pre-Raphaelite inflected way of describing the archive of collectively remembered past usage that would give poems resonance for the community, isn't it? But the idea at stake here really is something like a set of archetypes, or at least of points of reference. It's interesting, too, that Yeats gives as examples both Celtic legend and Theosophical spirituality, since these were exactly the cultural archives he was using in his own poetry. At times he even tries to unify them, making the Celtic legends a kind of local manifestation of a trans-cultural primal mythology — but that's another story. The main point is that this kind of poetry has resonance because it comes out of points of reference that have been shared by a community over time. It communicates rich and complex meanings, because it doesn't just have a simple denotative meaning: it references a whole shared archive of meanings and connotations. I think what Yeats is claiming for written or oral poetry that rises up out of the "unwritten tradition" is something like what George Steiner claims when, in "On Difficulty," he says:
Poetry is knit of words compacted with every conceivable mode of operative force. These words are, in Coleridge's simile, 'hooked atoms', so construed as to mesh and cross-mesh with the greatest possible cluster of other words in the reticulations of the total body of language. The poet attempts to anchor the particular word in the dynamic mould of its own history, enriching the core of its present definition with the echo and alloy of previous use…. The poet's discourse can be compared to the track of a charged particle through a cloud-chamber. An energized field of association and connotation, of overtones and undertones, of rebus and homophone, surround its motion, and break from it in the context of collision... Multiplicity of meaning, 'enclosedness', are the rule rather than the exception. We are meant to hear both solid and sullied, both toil and coil in the famous Shakespearean cruces. Lexical resistance is the armature of meaning, guarding the poem from the necessary commonalties of prose.
Over against this kind of poetry, Yeats places "popular poetry," which for him is a stunted and attenuated thing, and less the property of the people per se than of the modern bourgeoisie. He just hates this stuff. "Popular poetry," says Yeats, "never came from the people at all." Rather, it came from and spoke to "a predominant portion of the middle class, of people who have unlearned the written tradition which binds the unlettered, so long as they are masters of themselves." The middle classes, having disinherited themselves, have started to disinherit the general populace, as the peasants move into the cities and become proletarianized. This kind of poetry communicates immediately and easily, but does so at a terrible cost: it loses all the frames of reference (and therefore all the subtlety) of poetry that comes from the unwritten tradition. Its main features are "the triviality of emotion, the poverty of ideas, the imperfect sense of beauty of a poetry whose most typical expression is Longfellow." And Longfellow, says Yeats, "has his popularity, in the main, because he tells his story or his idea so that one needs nothing but his verses to understand it." There's no tapestry of ancient kings and battles behind this stuff: just the plain, cheap wallpaper of a Victorian parlor, cast in the harsh glare of gaslight.
The third type of poetry — the poetry of the coteries — is the unpopular poetry of Yeats' time, poetry that works by literary reference and codes of allusion, perhaps ultimately derived from unwritten traditions, but filtered through layer after layer of bookishness, and flavored with a strong dash of aestheticism. It is the poetry of the Rhymer's Club, of Dowson and Symons and the rest of the guys Yeats visited when he was living in London. It has the same allusive quality built into its words as does the poetry of the unwritten tradition, and is, in some sense, that tradition's ally. This may seem like a bit of a stretch, this linkage of the peasant's oral tradition and the deeply cloistered and rather hothouse poetry of London aestheticism in the 1890s, but Yeats claims (perhaps more out of psychological need than factual accuracy) that the two go hand in hand, because of their allusive richness. And they have common enemies, these two types of poetry: the modern middle class and the commercial world it has brought into being:
...it is certain that before the counting- house had created a new class and a new art without breeding and without ancestry, and set this art and this class between the hut and the castle, and between the hut and the cloister, the art of the people was as closely mingled with the art of the coteries as was the speech of the people that delighted in rhythmical animation, in idiom, in images, in words full of far-off suggestion, with the unchanging speech of the poets.
So there it is: the cloister (of coteries, the modern version of monasticism), the aristocracy, and the peasants are all allied, for Yeats, in their cultural traditions, traditions that propose a language and a poetry of depth and resonance. Against them we see the world of the counting-house (which I'd bet money is a deliberate reference to William Morris' essay), a world of efficient, shallow communication, and of poetry that does little but entertain shallowly.
There's something a bit questionable in the linking of the world of erudite, remote, vaguely symboliste poetry with the poetry of the oral tradition. And there's something a bit questionable in the valorizing of the hierarchical, narrow world of agrarian society, too. But what Yeats is reacting to is real: there's a big transformation afoot in his lifetime, a transformation involving the rise of mass literacy, cheap books sold in high volume (making the selling of poetry economically marginal for publishers, which it had not been in the 1850s and 60s), and the displacement of poetry as a respected medium for knowledge (I touch on all this in my essay "The Discursive Situation of Poetry" in Biddinger and Gallaher's book The Monkey and the Wrench, and T.W. Heyck really lays it out in The Transformation of Intellectual Life in Victorian England, and Richard Altick's good old standby The English Common Reader: A Social History of the Mass Reading Public still has a lot to say on the transformation, if you want to understand it in detail). Yeats doesn't have a very clear socio-historical understanding of the events happening around him (who does?) but he's right about the general trend of things, and right about what it means for the language of poetry: with the dissolving of old agrarian communities, and the rise of complex, diverse social formations, the old frames of reference that gave poetic language such power and resonance start to fall apart. Only a coterie audience of mandarins (and, in Yeats' nostalgic view, a hardy peasantry) still feel connected to those frames of reference.
Which brings us to Donald Davie's cri de coeur. Where do you go in your poetry when the old frames of reference have become the property of coteries? T.S. Eliot, at least early on in his career, dramatized the conundrum ("these fragments have I shored against my ruins," etc.). Other poets, deliberately or intuitively, went in the direction of popular culture, though the gains there may be temporary: nothing fades as fast as pop (not because it's bad, but because pop is a business of fashions, and you have to hustle old stock out to bring in this year's model). Others ditched the idea of resonance-with-historical-usage and went for a kind of play of syntax and formal properties (the "new sentence," anyone?), or for a poetry that eschews matters of meaning and historically resonant language (Merz and Zaum are early examples). Others have soldiered along with the poetics of allusive and resonant language, either content with a coterie audience, or filled with uncomprehending rage at a reading public with whom they have difficulty communicating. Still others celebrate obscurity, in ways both sophisticated and otherwise.
What would Yeats do, were he with us? Good question! I imagine he'd embody all of the contradictory responses in poems that argued against each other. That is, after all, what he did in the period from which the essays I've quoted come. The results — the poems of The Wind Among the Reeds and In the Seven Woods — include some of the finest in the Yeats canon. He dramatizes and embodies the contradictions of poetry in an age when its ability to communicate is questionable. To judge from the results, this might not be a bad way to go in one's poetry in an age when the King James Bible has become a recondite source.
Addendum: chart of Yeatsian concerns, 1889-1914, drawn on paper stolen from Alan Golding's printer at his post-conference party in Louisville, 2/26/2011. Click to enlarge.
Labels: Donald Davie, George Steiner, W.B. Yeats, William Morris
Norman Finkelstein 10:12 AM
Bob, this is a wonderfully thoughtful and very useful post. It has always seemed to me that part of Yeats' rhetorical strength as a poet is derived from the contradictory tendencies toward populism (i.e. folk culture) on the one hand and initiatory (i.e. hermetic or elite) experience on the other. After all, he himself said that we make poetry out of the argument with ourselves. In our time, this contradictory, but highly productive stance, is inherited by Robert Duncan and, perhaps, Nathaniel Mackey. Cheers, N.
AM 10:15 AM
I think this is an elegant summary of our situation. But if there's one thing it seems impossible to talk about, vis-a-vis the willed relation between coterie and "the unwritten tradition," it is the lack of a common prosody. In his autobiography, Yeats wrote that he wanted "metrical forms that seemed old enough to have been sung by men half-asleep or riding upon a journey." (I ended an article on Imagism in the LRB with this quote, because it seems to me Modernist coteries haven't been able to eradicate this desire in readers, or for that matter, writers -- alienated as we are from those techniques.)
So, while I agree with your answer to the question "What would Yeats do?", I also think he was in possession of metrical techniques that functioned, on an aural level, the way that "magic" did on the semantic level, i.e. as a bridge to the unwritten, the folkloric, the archetypal....
Ange Mlinko
Archambeau 11:22 AM
Thanks to both of you for real insights.
Yeats' self-division is, to my mind, one of his greatest strengths as a poet, and his constant attempts to work out his own contradictions are probably what kept him from ossifying as a poet. Too many poets I admire get stuck in a rut (Simic, Ashbery even) but Yeats was too riven, too uneasy with his own attempts at solutions to his conundrums to ever settle down.
And prosody -- yes! There's such a strong emphasis on it in so many of the poems, and some of the famous ones really play up various forms of repetition and refrain ("The Stolen Child" comes to mind).
Art Durkee 12:12 PM
High Ceremonial Magick, i.e. the Order of the Golden Dawn, is what Yeats was involved with. Speaking a kitchen witch myself, i.e. one who has little use for High Ceremony (in any venue, really, including poetry), I am aware that the mindset of hierarchical hermeticism is very different from the mindset of just-plain-folks metaphysics. This isn't really about anything "supernatural," which is a common misunderstanding, rather it's about the psychology of different approaches TO experiences of non-ordinary consciousness.
Non-ordinary consciousness is an ordinary experience; any person has the ability to experience transcendence. Abraham Maslow's psychology of peak experiences, Stanislav Grof's studies of the brain and of personal transcendence in altered states of consciousness, and Jung's ideas about the collective unconsciousness, are all aspects of this.
The typical High Magick practitioner tends to of the mindset that one is required to make formulaic ceremonial events—ritual forms—in order to get into the transcendent state of mind. The kitchen witch just goes there, without all the ceremony, the trappings, the tools, the mystical passes. Both are valid ways of getting to the same result, but which one you use very much depends on your psychology. And also on your basic assumptions about the nature of reality. High Magick practitioners seem to think that the trained will must impose itself upon nature; whereas your average Taoist is all about going along with nature's ebb and flow. You see the difference?
Applied to poetry, one can spot a similar difference in assumptions between those obsessed with the formal and structural aspects of poetry (which includes both the neo-formalists and the LangPoets), and those whose ideas about form are more organic and driven by the content itself (such as Robert Duncan et al.).
Archambeau 12:24 PM
My understanding of Yeats' involvement with magic is certainly limited. I do remember that it was his desire to experiment with telepathy and similar supernatural phenomena that estranged him from the Blavatsky circle. The Golden Dawn crowd were more tolerant, and he sort of transitioned into their circle. But all along, his concerns were multiple, and I think the kind of peak or transcendent experience you describe was a big part of it all along -- thanks for spelling that part out more clearly and coherently than I could have done, Art.
Henry Gould 6:43 PM
Great blog post, & great discussion, thank you!
Just a couple thoughts : 1) Arthur Durkee makes a very good point. Brings to mind the chasm between writing per se, & oral poetry, religious/ritual (dance) - & the parallel chasm between, on the one hand, archaic cultural activities - like sympathetic magic, rain dances & such (which share some deep motivations with the obsessive secret gnostic prestidigitations of Yeatsian hierarchical Magick) - and on the other hand, strictly scribal, priestly-Biblical, Kabbalic-numerological RECONFIGURATIONS of same (on behalf of a transcendent unnameable YHWH, who is BEYOND all magical 'gyptian Osiris-manipulations, & beyond all seasonal change & its rituals).
and 2) 2nd thought - Ange Mlinko as usual makes a very insightful comment - yet I personally hesitate to be associated with the contemporary "we" she defines - since I've spent a lot of my writing life trying to create that kind of prosody synthesis - which for me skips over the experiments of Pound & Eliot, & bends closer to the prosody of Stevens (reflective blank verse) and Hart Crane (dithyrambic, Pindaric, narrative/epic... pentameter) in order to encompass both the arcane & the mundane... I don't claim any great success for myself : I just don't accept the notion that "we" are wandering in the dark without a compass...
Henry Gould 10:02 PM
p.s. I guess what I would like to resist is the critical formulae of "we," which tends to discount the particular, partial efforts of individual poets, in distinct poems, to close the gap between popular & elite, public & private... between poetry as an arcane craft & secret knowledge, & poetry as just part of the wave of culture as a whole.
I mean, this simple "abba" semi-pentametric verse I've been writing for about 15 yrs now, in various variations, is pretty flexible. For example, yesterday I wrote an "occasional" poem addressed "to the Egyptian people" in Tahrir Square (& put it on Youtube & Facebook - in fact linked to the FB page managed by the Cairo activists themselves); today I wrote an arcane numerological-anagrammatical poem, which alludes to Shakespeare, Chretien de Troyes, the Gateway Arch Monument in St; Louis, & various other abstruse topics; both poems in the very same "form", part of the same extended poem, actually -
basically what I'm saying is that my working means & methods 1) are designed in a very persistent manner to confront the problems both Bob & Ange address; and 2) these same efforts are systematically marginalized, dismissed, & ignored by the same critics & poetic groups (whether avant-political or avant-aesthetic or retro-political or retro-aesthetic) who are engaged in the professional-industrial program of FINESSING this problem...
& that's just one reason I'm reading my poems on YouTube....
Art Durkee 2:33 AM
If I might add one more thought. . . .
The basic tension between high magick—i.e. the priestly caste, and what Henry Gould here describes as the literary-priestly reconfiguration of direct experience into theory and text—and direct experience of the transcendent, can also be formulated as the distinction between shamanic practice and mystical experience (direct experience) and mediated (indirect) experience.
I readily admit I fall on the direct experience side of the scales, rather than the priestly-mediated text-based side. (A personal truth I've never hid, although some still seem to be surprised whenever it comes up.)
Anyway, the point is that these apparently incompatible approaches can possibly be bridged—which was what Robert Graves attempted, as did others; i.e. not only Yeats made this attempt. I'm intrigued by Duncan's "The HD Book," recently published, because it might be another such attempt. Duncan often mined that shamanic/mystical vein.
(BTW, the term "supernatural" is not really useful; it's a bit misleading because it contains an inherent bias in its very definition against non-material experience and reality. The term, if it were strictly applied, for example, would apply to philosophy as well as to religion.)
Another poet who I think made the attempt, and who in fact perhaps succeeded, was Odysseas Elytis; the advantage the modern Greek poets had, from Cavafy on, was that the language itself allows for distinctions, in vocabulary, between the demotic and the "high" or classical.
I find the tension between direct experience and mediated experience can also be located in the literary discussions about Apollonian and Dionysian aspects of art. It's a major pattern. Many aspects to it. Henry pointed out a few angles on it, too. Anyway, I don't meant to derail your Yeats discussion here. I do think this is a central, if indirect, issue. Yeats discussed it in the language and form of his time; and so did Duncan; and so forth.
& if I might add just one more note... I find these issues (raised by both Bob's post & the comments) somewhat connected to Don Share's latest blog post, in particular the questions he asks at the end of it...
http://donshare.blogspot.com/2011/02/toc-anxiety-and-some-questions.html
"what is the mainstream, if there is one?"
If we think about the origins of poetry in archaic rites & communal celebrations - & the rational effort to comprehend or contain them - ie. what Art Durkee refers to as the Dionysian/Apollonian element - then perhaps any "mainstream", if there is one, would tap into & express such times of communal energy, intensity. This is not such a far-fetched idea, when we think of the turmoil & uproar surrounding the cultural shift from "Victorian" to "Modern" - the consequent upsurge of the "mythical", the archaic - as in something out of James Frazer, when the "old king" is ritually cast out, & the vital "new king" is celebrated... Eliot's "The Waste Land" harps on this very subject... Yeats too, of course ("The Second Coming")...
In this framework, the notion of any mainstream as anchored in literary tradition becomes problematic - since it begins to look like our "tradition" is already deeply rooted in archaic, orgiastic, irrational, communal-seasonal rites (Dionysius & all that) - when history & chronology are ritually absorbed into a liminal "Now"...
(Thus perhaps all poetry aspires to the condition of DRAMA, rather than music...)
So what would a "mainstream" be, today, in this context, if there were such a thing? Probably a very closely-held secret hidden in the bosom of some elusive Muse. Both old & new... always arriving ahead of its custodians... unheralded, unrecognized... until it's already common property, like the weather (the Shakespeare weather)...
Here's an excerpt from A. Minko's review of Robert Duncan's "The HD Book" that I think might be relevant to this discussion; it speaks perhaps to the shamanic/priestly distinction already mentioned, and the impulse to codify experience into something categorized and compartmentalized, and how some will resist this:
The H.D. Book is at its core a polemic—elevating the female and the noncomformist and the heterodox against the institutions of men. One of these institutions was literature. For Duncan, English department literature was the ossification of a living, vital recording impulse in the same way that the church was the ossification of a living, vital religious impulse. This was no metaphor. Duncan grew up in a family of West Coast Theosophists, as far from the East Coast establishment as one could get. Chafing under the formalist reign of New Critics like Cleanth Brooks and John Crowe Ransom, he was alert to their tribal affinities. "Tribal" was no metaphor for Duncan either: the New Critics really were the descendants of "those ministers of the seventeenth and eighteenth century, holding out against the magic of poetry as once they had held out—by burning or ridicule—against the magic-religion of the witch-cults."
I've always felt that the formalist label only tells half the story about the new critics -- in fact, I've got a big-ass essay on the ethical side of their work due out in a book called "Re-Reading the New Criticism" later this year. But I'm with you on their emphasis on specialization: if you read their letters, they really do see how literature can move into the university if they play up the notion of literature as an autonomous specialized field. And Duncan is certainly part of a reaction against this. I'm mostly sympathetic to the reaction, too: every time I hear someone talk about their "field" I cringe. It seems so narrow and other-directed.
Oh! I just remembered this essay, "Yeats as an Example?" from Seamus Heaney's Preoccupations. Heaney poses a kind of stand-off between the Yeats enthusiast and a representative of the square community:
** {begin quote}
All through his life, of course, and ever since his death, Yeats has been continually rebuked for the waywardness of his beliefs, the remoteness of his behaviour and the eccentricity of his beliefs. Fairies first of all. Then Renaissance court in Tuscany and Big Houses in Galway. Then Phases of the Moon and Great Wheels. What, says the reliable citizen, is the sense of all this? Why do we listen to this gullible aesthete rehearsing the delusions of an illiterate peasantry, this snobbish hanger-on in country houses mystifying feudal facts of the class system, this charlatan patterning history and predicting the future by a mumbo-jumbo of geometry and Ptolomaic astronomy? Our temptation may be to answer the reliable citizen's terms, let him call the tune and make excuses for Yeats.
'Well,' we might say, 'when he was a youngster in Sligo he heard these stories about fairies from servants in his grandparent's house; and then when, as a young poet, he sought a badge of identity for his own culture, something that would mark it off from the rest of the English-speaking world, he found this distinctive and sympathetic thing in the magical world view of the country people. It was a conscious counter-culture act against the rationalism and materialism of late Victorian England.' To which the citizen replies, 'Anybody who believes in fairies is mad.'
** {end quote}
It does frame the challenge that Yeats poses to many readers.
Henry Gould 11:03 AM
Langdon Hammer's fine book, "Hart Crane and Allen Tate : Janus-faced modernism" speaks to this history of the 20th-cent. institutionalization of poetry by Tate and others, for whom Crane filled the role (in a truly theatrical sense) of the outcast, the ritual clown, the one who doesn't belong...
& on Yeats... have been reading an interesting old monograph, kind of dated now, by Benjamin Hunningher, called "The origin of the theatre" - which looks at the persistence in "folk" culture through the ages of the actor/jongleur/clown/"joculator" - the Dionysian element - as in a continual state of tension with the "order" of culture (as represented by the established church, which periodically excoriated or banned the theater). I guess relates to anthropologist Victor Turner's thesis about the periodic oscillations in societies between the "normal" and the "liminal". Curiously, Hunningher draws a sharp distinction between writers - tellers-of-tales, "histrios" - and actors; he argues that the latter were always considered much more "dangerous" to the established order (because of their archaic connection with Dionysian chaos & violence - "night life", generally).
Poets maybe occupy a realm sort of on the edge of the edge : between official "literature" on the one hand, and sheer clowning, mimicry, and acting, on the other.
Alex Davis 9:52 AM
Yeats's interest in occult societies is not necessarily as elitist as it might appear on a cursory and ahistorical glance. Societies such as the Golden Dawn were--for all their ritualistic mumbo-jumbo--fora in which many individuals found a context in which dissent, in a broad sense, was possible in late-Victorian society. Many of their members, owing to reasons of belief (political as well as religious), gender, class, or race, experienced a sense of being marginal and (literally or metaphorically) disenfranchised. Occult socities gave a sense of empowerment and, sometimes, status for indiviuals who felt marginal to orthodoxy and the bounds of established social mores and legislation. Is it any surprise that the ranks of the Golden dawn and its ilk included many whose radicalism seems more platable (or should I say conformist?) these days: Irish nationalists and feminists, to name but two obvious groupings. Would Mme Blavatsky have achieved eminence and authority outside a 'fringe' activity like Theosophy?
Shelley 11:13 AM
"He just hates this stuff."
That sentence is a breath of fresh air.
Good point, Alex, and well-taken. I do chafe at some of Yeats' remarks about not wanting to share knowledge with the uninitiated, though. My instincts are generally against ideas of "eminence and authority," though of course one's instincts aren't absolutes.
I mean, feeling disempowered in a hierarchical system is bad, and I can see why people would like to become more insecure by building an alternate hierarchy -- but for me the better solution is to reject hierarchy altogether. Maybe one could argue that one way to achieve this is through a kind of dialectical progression -- negating one hierarchy in favor of another, then coming out the other side with a negation of all hierarchy.
As for Yeats as elitist: well, he does it in all sorts of ways, doesn't he? There's the Theosophy of initiates and ranks, there's the Nietzschean persona he develops circa 1906-1913 (the mask and all that), there's the identification with the aristocracy we see in "Upon a House Shaken by the Land Agitation" and elsewhere.
For "more insecure" read "less insecure" -- my bad.
Gary B. Fitzgerald 7:02 PM
A tree snake climbed right up the front porch steps,
poked her head up over the edge and looked around,
her long thin body stretching down the stairs
like a luminescent green rope.
Tree frog came from nowhere, plopped right down
on the back porch. Cats perked up their ears and looked.
Frog hopped into the wisteria vine and disappeared.
Then we on the porch, someday.
Black butterfly appears, then gone. Then a yellow one.
A dragonfly. Visible a moment, then gone away.
Bright red cardinal here, on the fence, then over there,
in the tree. Then nowhere. Gone. A magical day.
I gently lifted the green snake and carried her over to the
green Yaupon thicket. She slipped onto a leafy branch
and vanished in thin air.
Copyright 2010 – 'Ponds and Lawns - New and Corrected Poems', Gary B. Fitzgerald
I'm struck by how similar Steiner's image of the 'charged particle' here is to Bakhtin's idea of the dialogic word.
Mind you, I feel a bit uncertain about attributing such ideas to Yeats, who was surely more convinced of the singular symbolic potential of the word than its multiplicity. I also think Yeats' opinion of 'popular poetry' was perhaps more complex than you say; he was at least always rather hopeful that his poetry would have popular appeal, and was heavily influenced by 'popular' forms like the ballad. He disowned the style of the Celtic Twilight period because he thought its language was too devolved from ordinary life.
Really enjoyed the post, as usual.
Oh, yes, the position is definitely more complicated than it looks in the sketch above, where I'm really working with Yeats' own definition of popular poetry from the book Ideas of Good and Evil. And what he means there by "popular poetry" is something that is only popular with certain middle-class types. For a long time he yearned for a poetry of the peasantry and the aristocracy. Then he grew disillusioned for a while, largely as a response to the indifference and hostility so many people had toward his theatrical work and that of Synge. Then it all gets stranger, too. So -- I think we agree!
Supernaturalism....? Not at all. As the cutting-edge psychologist(cybernetics) AND mojo doctor Brad Keeney explains
"TMA: There is no such thing as supernatural.
Bradford Keeney: That's just a real nasty echo of an old dichotomy of something separate from us and superior to us and outside of nature. It's not that.
TMA: Magic is simply the knowledge of natural laws that most people don't know about.
BK: Absolutely. Yes. And that's the way the aborigine talks about natural law in referring to the way these things are. "
http://www.lightworks.com/MonthlyAspectarian/1997/September/0997-08.html
Well, historically opinions have varied. And I'm interested in how ideas have functioned, not whether or not they're true in some absolute sense. So I suppose we approach these things from different angles, Anonymous.
SA - and RICK'S SETAIN.
Well , your DEVIL just ID'D DASSAULT!
How cool is that when LUCIFER goes after MICK JAGGER?
I'll tell you how cool.
" KANSAS KINGS", cool.
Can Poems Communicate? Yeats, Magic, and the Probl...


If New York were a blank slate, how would you fill it in?
"I remember standing at the top of Manhattan and being terrified," says Becky Cooper, the 25-year-old New York native behind "Map Your Memories," a project she started in 2009. Cooper hand-printed hundreds of blank maps of Manhattan, each self-addressed and stamped so they could be mailed back to her. Then she and a friend trekked from Marble Hill — the very top of the borough — down to its southernmost point, handing the maps out to strangers with one simple instruction: fill it in with whatever best captures your experience of the city.
A month later, Cooper was flooded with mail: each returned map offering a small, unique self-portrait. One plotted heartbreak sites; another documented a sighting of Salvador Dalí with his pet ocelot. Cooper compiled the maps into a Tumblr page; at around the same time, she started work at The New Yorker as the assistant to Adam Gopnik, who became a mentor and advocate for the project — and who wrote the foreward to a coming book, "Mapping Manhattan." The book collects both the submitted maps and ones that Cooper commissioned from notable New Yorkers.
"Mapping Manhattan: A Love (and Sometimes Hate) Story in Maps by 75 New Yorkers," is set to be published by Abrams Image in April.


The Admin console is where administrators manage Google services for people in an organization.As I press the sign in button, a pop up window appears, then disappears almost instantaneously as if it is crashing.Your account is what you use for everything you do with Autodesk products and services, such as Fusion, A360, Sketchbook, 123d App, Store and much more.
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We have collected 39+ Free Printable Power Ranger Coloring Page images of various designs for you to color. You can print or color them online at GetDrawings.com for absolutely free. Find more Free Printable Power Ranger Coloring Page pictures from our search.


An online casino is a place where gamblers bet from by playing games that make them win. There are many kinds of casino games that are played in the casino by gamblers. However, different players play different types of game as well. The casino games players can access an online casino from their place as long as they have an internet connection. You may find that international players cannot use some of the casinos as they do not allow that. The use of online casinos has become the most comfortable way of gambling because it is the most efficient for most people. The article explains the factors that you should consider when selecting the appropriate online casino.
Consider the name that the online casino has built with its clients out there. Make sure that you pick the online casino that you have gathered information about it for security purposes. Choose an online casino that has not been involved in any criminal record in their working history. Make sure that you choose an online casino that you are confident with their services. To be sure about them, check out for reviews from the internet where people get to give feedback about the online casino. Make sure that you check the reviews and make sure that you learn something about the online casino from them. Make sure that you choose an online casino that has been proposed by most gamblers and that they have rated it among the best online casinos.
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text:
Up in Flames è un singolo del gruppo musicale britannico Coldplay, pubblicato il 16 novembre 2012 come settimo estratto dal quinto album in studio Mylo Xyloto.

Descrizione
Undicesima traccia di Mylo Xyloto, Up in Flames è stato l'ultimo brano composto per l'album ed è stato concepito dal frontman Chris Martin nelle ore antecedenti all'esibizione dei Coldplay all'iTunes Festival 2011 di Londra, tenutosi il 22 luglio 2011. Una buona parte del brano, inclusa la batteria elettronica, è stata registrata nel retroscena del The Roundhouse per poi essere ultimato agli inizi di settembre 2011.

Accoglienza
Robbie Daw di Idolator ha fornito una recensione positiva riguardo al debutto di Up in Flames all'Austin City Limits, definendo il brano come "immenso" ed "ipnotico nella sua semplicità, ma devastante, dolorosamente stupendo." Michael Roffman di Consequence ha invece spiegato che il brano "è rilassante, se non monotono, ma non è Warning Sign."

All'interno della recensione di Mylo Xyloto, Niall Doherty del periodico britannico Q ha scritto che Up in Flames "riporta i Coldplay nel territorio ben attraversato delle ballad [...] Il ritornello – nel quale Martin ripete più volte il titolo in un falsetto echeggiante – suggerisce che i giorni dei Coldplay autopiloti sono terminati, meravigliosamente semplice e utilizzando la melodia come propria dinamica. Ancora una volta, quando si pensa che esso possa decollare, termina. I Coldplay hanno imparato ad esprimere il proprio punto in modo più succinto. Stupendo."

Tracce

Formazione
 Chris Martin – voce, pianoforte
 Jonny Buckland – chitarra
 Guy Berryman – basso
 Will Champion – batteria elettronica, cori

Note

Collegamenti esterni

redpajama_set_name: RedPajamaWikipedia


Hiccups can be annoying and even unhealthy. Here are some tried-and-true home remedies to stop hiccups. Drink a glass of water or juice fast. Gargling water can also help. Try to breathe slowly into a paper bag. This will increase the amount of carbon dioxide in the bloodstream and the body will become preoccupied with the release of it and forget about the hiccups. In case the bag is not available, place a cup around the nose and mouth and continue to breathe normally. Tilt your head back in, hold your breath and count to ten and exhale immediately thereafter.


text:
Key West Charter Boats 422 Whalton Ln. Key West, FL 33040 (305) 570-4881
About Key West Charter Boat
Thank you for visiting Key West Charter Boat. Living and working on our little island nation of Key West allows us to stay in tune with what is happening in and on the water. We have a true love for the water, whether on or in. We have spent countless hours on the water, fishing for Grouper, Dolphin (Mahi), Hogfish, etc. We also love getting wet too, whether it is for snorkeling, scuba, jet skis, kayaking, stand up paddle-boarding, etc.
When you spend enough time underwater, it allows you to learn the habits of the fish first hand, this helps you find the best fishing areas.
Our captains live and breath the ocean, their enthusiasm will make for a great day on the water. Their knowledge of their craft and about Key West waters, is a benefit to both novice and experienced anglers alike.
We love to help out our fellow business owners, feel free to ask us about other Key West deals such as:
Key West Hotels
Key West Resorts
Key west Vacation Rentals
Key West Vacation Packages
Key West Bicycle/Scooter Rentals
Key West Restaurant recommendations (we love to eat too)
And all the other awesome things we love on our island

redpajama_set_name: RedPajamaCommonCrawl


Benghazi Committee to subpoena Clintonmail.com in the wake of report that Clinton used a personal address for diplomatic purposes.
Former United States Secretary of State Hillary Clinton appears to be in hot water over her use of a personal e-mail account for diplomatic business while serving as the top American diplomat, Yahoo News reports.
The New York Times revealed on Tuesday that Clinton used a personal address during her entire four years as secretary of state.
The Obama guidelines allow officials to conduct business through personal accounts only if each e-mail is simultaneously retained on the official's government account or forwarded within 20 days.
In the wake of the revelation, according to Yahoo News, the House Select Committee on Benghazi is planning to subpoena Clintonmail.com for all correspondence related to the 2012 Benghazi attack.
It was the same House investigative committee that discovered, through its investigation of the Benghazi attack, that Clinton had used a personal e-mail account for diplomatic business during her tenure, the report noted.
"Without access to the relevant electronic information and stored data on the server — which was reportedly registered to her home — there is no way the Committee, or anyone else, can fully explain why the Committee uncovered two e-mail addresses," Jamal D. Ware, communications director for the Select Committee on Benghazi said in a statement Wednesday.
"This is why former Secretary Clinton's exclusive use of personal e-mails to conduct official U.S. government business is so problematic and raises significant issues for transparency," Ware added.
By never having a government e-mail address during her four years at the State Department, transparency advocates argue, Clinton managed to circumvent these rules.
"It's not a random personal account but a carefully calculated system to avoid using public, government-archived e-mail," Republican Rep. Martha Roby, who serves on the House Benghazi committee, was quoted as having told The Associated Press on Wednesday .
Merrill said Clinton "had every expectation [her correspondence] would be retained" because she e-mailed her advisers and colleagues in the State Department using their official addresses.
It is not yet clear what effect, if any, the latest revelation will have on Clinton's potential presidential run.


text:
Q: Placing values in a separate column based on multiple row values I have the following table:
Index Product       Start   End   2012   2013   2014   2015   2016  2017   2018
0     product a     2015    2017  NaN    NaN    NaN    NaN    NaN   NaN    NaN
1     product b     2008    2017  NaN    NaN    NaN    NaN    NaN   NaN    NaN
2     product c     2012    2015  NaN    NaN    NaN    NaN    NaN   NaN    NaN
3     product d     2033    2034  NaN    NaN    NaN    NaN    NaN   NaN    NaN
4     product e     2014    2020  NaN    NaN    NaN    NaN    NaN   NaN    NaN

And I want to convert it to this:
Index Product    Start End  2012      2013      2014      2015      2016      2017      2018
0     product a  2015  2017 NaN       NaN       NaN       product a product a product a NaN
1     product b  2008  2017 product b product b product b product b product b product b NaN
2     product c  2012  2015 product c product c product c product c NaN       NaN       NaN
3     product d  2033  2034 NaN       NaN       NaN       NaN       NaN       NaN       NaN
4     product e  2014  2020 NaN       NaN       product e product e product e product e product e

So if the columns 2012-2018 exist between Start and End, then place the product in the appropriate cell based on the column name.
I know this is possible, but I'm struggling to find the solution. It's a combination of column name and not having a specific value, but a range, that is confusing me.
I'm using python dataframes.
The column names 2012-2018 represent the last two digits of the year concat with the week number. So March 18th, 2020 occurs in the 12th week of 2020, so it becomes 2012.
Any help is greatly appreciated.

A: We can do numpy broadcast then assign it back
s=df.columns[3:].astype(int).values[:,None]
df.iloc[:,3:]=pd.DataFrame((df.Start.values<=s)&(s<=df.End.values)).T.mul(df.Product,0).values

df
Out[191]:
        Product  Start   End      2012  ...      2015      2016      2017      2018
Index                                   ...
0      producta   2015  2017            ...  producta  producta  producta
1      productb   2008  2017  productb  ...  productb  productb  productb
2      productc   2012  2015  productc  ...  productc
3      productd   2033  2034            ...
4      producte   2014  2020            ...  producte  producte  producte  producte
[5 rows x 10 columns]

A: df=pd.melt(df, id_vars=['Product','Start','End'], value_vars=[2012, 2013, 2014, 2015, 2016, 2017, 2018])

df['value']=np.where((df['variable']>=Start) &(df['variable']<=end), 'Product', df['value'])

df=df.pivot_table(index=['Product','Start','End'], columns='variable', values='value')

df_df.reset_index()

redpajama_set_name: RedPajamaStackExchange


text:
Грейт-Фоллс () — місто () в США, в окрузі Честер штату Південна Кароліна. Населення —  осіб (2010).

Географія
Грейт-Фоллс розташований за координатами  (34.572131, -80.905304).  За даними Бюро перепису населення США в 2010 році місто мало площу 11,34 км², з яких 10,98 км² — суходіл та 0,36 км² — водойми.

Демографія

Згідно з переписом 2010 року, у місті мешкало  осіб у 790 домогосподарствах у складі 503 родин. Густота населення становила 175 осіб/км².  Було 944 помешкання (83/км²).

Расовий склад населення:

До двох чи більше рас належало 2,0 %. Частка іспаномовних становила 0,8 % від усіх жителів.

За віковим діапазоном населення розподілялося таким чином: 26,1 % — особи молодші 18 років, 58,6 % — особи у віці 18—64 років, 15,3 % — особи у віці 65 років та старші. Медіана віку мешканця становила 37,0 року. На 100 осіб жіночої статі у місті припадало 86,5 чоловіків;  на 100 жінок у віці від 18 років та старших — 83,7 чоловіків також старших 18 років.

Середній дохід на одне домашнє господарство  становив  долари США (медіана — ), а середній дохід на одну сім'ю —  доларів (медіана — ). Медіана доходів становила  долари для чоловіків та  долар для жінок. За межею бідності перебувало 28,2 % осіб, у тому числі 37,7 % дітей у віці до 18 років та 11,1 % осіб у віці 65 років та старших.

Цивільне працевлаштоване населення становило 557 осіб. Основні галузі зайнятості: виробництво — 23,3 %, роздрібна торгівля — 14,9 %, мистецтво, розваги та відпочинок — 11,1 %, транспорт — 9,9 %.

Примітки

Джерела

Містечка Південної Кароліни
Населені пункти округу Честер (Південна Кароліна)


text:
Little Mermaid: The Original Ariel Comments On Halle Bailey's Casting
Joseph Jammer Medina
Last week, Disney announced the casting of Ariel in the live-action interpretation of The Little Mermaid. This was a decision that mostly well-received, but this is also a decision that has come under fire by a(n admittedly small) group of people who feel that Ariel should be a white redhead instead of black.
But what does voice actress Jodie Benson have to say about the whole thing? Benson, of course, is known for voicing her in the 1980s classic animated movie, and at a recent panel (via DisInsider), she was asked about the casting, here's what she had to say.
RELATED – The Little Mermaid: Disney Has Found Its Live-Action Ariel
"The important thing for a film is to be able to tell a story. We need to be storytellers, and no matter what we like on the outside…we really need to tell the story. And that's what we want to do, we want to make a connection to the audience. So I know for Disney that they have the heart of storytelling. That's really what they're trying to do. They want to communicate with all of us in the audience so that we can fall in love with the film again."
Original Ariel voice actress Jodie Benson shares her opinion on the casting of Halle Bailey as Ariel in Disney's live-action adaptation of 'The Little Mermaid.' pic.twitter.com/oyp9Eaym0Z
— The DisInsider (@TheDisInsider) July 8, 2019
In short: it doesn't really matter what color you are. The important aspect is that they are telling the story well, and as long as Disney keeps that focus for the adaptation, they're likely to help us fall in love with them all over again.
Personally, so long as the character's identity isn't embedded in race, I think race-swapping is totally fine to do. In this particular instance, Ariel's whiteness is not a key component, and therefore, is totally up for switching…but what do you think? Do you agree with Benson? let us know your thoughts down below!
Don't forget to share this post on your Facebook wall and with your Twitter followers! Just hit the buttons on the top of this page.
Have you checked out LRM Online's official podcast feed yet The LRM Online Podcast Network, which includes our flagship podcast Los Fanboys, our premiere podcast Breaking Geek Radio: The Podcast, and our morning show LRMornings? Check it out by listening below. It's also available on all your favorite podcast apps!
Subscribe on: Apple Podcasts | Spotify | SoundCloud | Stitcher | Google Play
SOURCE: DisInsider
Tags: The Little Mermaid
Mortal Kombat Movie Casts Its Sub-Zero
Stranger Things Gets Turned Into '80s Anime In Fan Video
Avengers: The Kang Dynasty Writer Teases More Kang Variants To Come
Breakout Star Ayo Edebiri Joins Thunderbolts Movie


Established in 1995, Modimo & Associates is a Gaborone based law firm with substantial experience in representing corporate and individual clients.
We provide legal advice and services to organizations and individuals throughout the country, and we have the technical know-how and the resources to deliver quality legal services.
Our operations are supported by cutting edge technological, management and accounting systems. These include multi user on line reports, Butterworths Forms and Precedents, LawPlan Financial and Billing systems, Debtcol, email and internet facilities.
At Modimo & Associates quality begins with our people. We know that being a service industry the kind of people we employ and retain have a bearing on the quality of service and the effectiveness of our service delivery systems as our objective is to always exceed our clients' expectations.
Corporate and commercial matters especially in PPPs, outsourcing, transaction structure consulting, due diligence, drafting of commercial agreements, service level agreements and general corporate counsel.
Abel has over 16 years experience as legal practitioner, a cumulative law lecture at the University of Botswana, and 2 years as PEEPA's General Corporate Counsel.
During this period Abel acquired a wealth of experience in commercial and corporate law practice, including litigation, arbitration and mediation, negotiation and drafting of commercial agreements such as Service Level Agreements, Transaction Advisory Services Agreements and Corporate Governance documents. He has a wealth of experience also in dealing with procurement strategies, and contract monitoring and management.
He has also participated in the review of the Public Procurement and Asset Disposal Act (PPAD) and the Local Authorities Procurement and Asset Disposal Act (LAPAD), to ensure consistency with the PPP Policy and Implementation Framework. He also advises local authorities' clients on the implementation of LAPAD.
Abel has also been involved with the drafting and review of the Botswana Telecommunications Corporation (Transition) Act, the privatization strategies for BTC and NDB as well as the legal due diligence reports for outsourcing and PPP transactions.
Commercial litigation and dispute resolution. Expert in land and labour law matters.
Onkagetse has over 7 years experience as legal practitioner, which he acquired practicing law at Modimo & Associates and Collins Newman & Company. During this period Onkagetse acquired a wealth of experience of litigation in commercial and labour law. He has appeared at the High Court, Court of Appeal, Land Tribunal and the Industrial Court.
Onkagetse has successfully represented big corporations such as Debswana, Botswana Power Corporation, Bamangwato Concession Limited, Botswana Post, Botswana Technology Centre, University of Botswana, Botswana Building Society and National Development Bank.
Corporate and Commercial matters, Labour and Land Law matters, Debt Collection and Civil Litigation.
Mike was admitted as an Attorney of the High Court of Botswana in November 2013, after graduating from the University of Botswana. He is also an admitted and practicing Conveyancer and Notary Public.He expanded his training byattending Trial Advocacy courses administered by the Law Society of Botswana. He has been with the firm Modimo & Associates since 2012 when he enrolled as an intern.
He has appeared in the High Court of Botswana, Industrial Court, Magistrate Courts and Land Tribunals.
Mike has been involved in Debt recovery for local and international clients,Commercial litigation, labour matters, drafting and reviewing Commercial Agreements and drafting pleadings.


text:
Follow 30 Seconds to Mar ...
30 Seconds To Mars Quick Links News Pictures Video Music Press Quotes RSS
30 Seconds To Mars Quick Links
News Pictures Video Music Press Quotes RSS
30 Seconds To Mars (formed 1998) 30 Seconds To Mars is an American rock band.
Formation: 30 Seconds To Mars were founded by Shannon Leto and Jared Leto and began as a family project. Matt Wachter then joined as a bassist and keyboardist and Tomo Milicevic became a guitarist. The name came from a thesis written by a Harvard professor that had a subsection entitled 30 Seconds To Mars.
Musical career: 30 Seconds To Mars released their self-titled debut album in 2002. Their second album 'A Beautiful Lie' brought them more success when it charted worldwide and went platinum. As part of the promotion, they enclosed a golden ticket in 12 copies that would allow the owner into any concert of theirs for free plus backstage access. In 2006, they won an MTV2 Award for 'The Kill'. That year MTV2 sponsored them on their 'Welcome to the Universe' tour which had an eco-friendly atmosphere with the tour bus being fuelled with vegetable oil. They unveiled the video for 'From Yesterday' in the People's Republic of China and based it on The Last Emperor. In 2008, they co-hosted the MTV Europe Music Awards. In the same year they performed at 'My Coke Fest' in South Africa. In 2008, Virgin Records attempted to sue them for $30 million for not fulfilling their contract with them. It was, however, later annulled. In 2009 they released their third album 'This Is War' and Jared also recorded the song 'Hurricane' with Kanye West. To support the album they went on their 'Into the Wild' worldwide Tour and subsequently appeared in the Guinness World Records for the 'Longest Concert Tour by a Rock Band' after playing 309 shows in two years. In 2012, it was announced they would release a fourth album called 'Love, Lust, Faith and Dreams'. On the record they worked with producer Steve Lillywhite (U2, The Killers). The first single was 'Up In The Air' which was sent to NASA and SpaceX and launched on the Dragon spacecraft on SpaceX CRS-2. It landed at the International Space Station in 2013 to be played by the crew.
Biography by Contactmusic.com
Thirty Seconds To Mars Say Goodbye To Longtime Guitarist
By Holly Williams in Music / Festivals on 13 June 2018
Tomo Milicevic announces his departure from the group after more than a decade.
Jared Leto's band 30 Seconds to Mars have found themselves a band member short after guitarist Tomo Milicevic announced that he is leaving the group for good in pursuit of other projects. It's a dramatic decision after 15 years, but there hasn't thought to be any hostility between the members that has caused this.
30 Seconds To Mars at the MTV VMAs
It's time to move on for the 38-year-old Sarajevo-born musician, who has been a part of the band since 2003. He hasn't revealed exactly why he's come to the end of the road with 30 Seconds To Mars or what his future plans are, but he will be sorely missed.
Continue reading: Thirty Seconds To Mars Say Goodbye To Longtime Guitarist
Thirty Seconds To Mars - America Album Review
By Alex Lai in Music Reviews on 13 April 2018
It's been five years since Thirty Seconds to Mars released their last album; in the interim period, Jared Leto has seen his acting abilities recognised with an Academy Award, while also taking a turn at the iconic role of The Joker. Turning his attention back to music, the band are presently touring Europe in support of 'America', their fifth record, before embarking on a huge number of North American dates.
Having started very firmly as an alternative rock act, the evolution of 30STM's aesthetic can be simplified into a more radio-friendly sound resulting in greater popularity. This isn't to say they became a pop band - far from it - but they found the knack of hooks to enable them to join the likes of Linkin Park and Muse on the road, with anthemic guitar riffs for their fans to belt out. 'America' sees the biggest departure in their sound since their second album, though it isn't immediately evident on the gospel-tinged 'Walk On Water'. The lead track features the trademark (and overused) "whoa/oh" chanted hooks, which has been evident on much of the band's material on their last two LPs. 'Dangerous Night' and 'Rescue Me' provide the first real evidence of a near abandonment of traditional instrumental sounds for a more synthetic approach; beats, samples and electronics often providing the backdrop to Leto's unmistakeable vocals. It's an approach which was hinted at as far back as 'Hurricane' from 2009's 'This Is War', but now fully embraced by the trio.
Particularly successful is the duet with Halsey, 'Love Is Madness', which sees a back-and-forth vocal battle with a thumping soundscape. A surprisingly light touch to 'Live Like A Dream' also pays dividends with a lick of new wave, while drummer Shannon Leto takes a successful turn on the microphone with 'Remedy', the quality of tune doing enough to rescue some repetitive lyrics. Only the collaboration with A$AP Rocky, 'One Track Mind', misses the mark completely with a tuneless four minutes which fails to develop. There's no doubt the band risk alienating some who adore their guitar-driven output and some of the material here takes multiple listens hit home, but in the main their gamble pays off.
Jared Leto Publicly Apologises To Taylor Swift After Video Emerges Of Him Critiquing Her Music
By Stephanie Chase in Music / Festivals on 08 December 2015
Jared Leto Taylor Swift 30 Seconds to Mars
Jared Leto doesn't hate Taylor Swift, despite what he said earlier this year.
Jared Leto has apologised to Taylor Swift after a video emerged online of him critiquing tracks from her album 1989. The video was posted by TMZ on Monday but appeared to have been recorded a few months back, when Leto and his bandmates were listening to Swift's music in the studio for a bit of inspiration.
Jared Leto has apologised to Taylor Swfit.
In the video, a pink-haired Leto is first played 'Welcome To New York, the opening track from 1989. 'Oh I don't like this at all. Next,' Leto says. The Oscar-winner is then played mega-hit 'Blank Space', which he seems more positive on.
Continue reading: Jared Leto Publicly Apologises To Taylor Swift After Video Emerges Of Him Critiquing Her Music
Miley Cyrus Smoking On Stage Steals The MTV EMA Awards Spotlight
By Joe Wilde in Music / Festivals on 11 November 2013
Miley Cyrus Eminem Will Ferrell Afrojack Robin Thicke Katy Perry Justin Bieber One Direction Harry Styles 30 Seconds to Mars
There was also Ron Burgundy, huge wins for Eminem and Katy Perry and a wardrobe malfunction from Iggy Azalia
Miley Cyrus was always going to star in the Monday morning gossip headlines when she was first announced as a performer at the 2013 MTV EMAs. The question was: what will she do? Besides 'twerking' with a dwarf during the award show's opening act - which included a rendition of her hit 'We Can't Stop' - there really wasn't that much to write home about regarding her performances. It was what she did to celebrate winning the Best Video award that won her the headlines.
Each of Miley's outfits were as interesting as the one she showed up to the event in
Miley smokes up
Continue reading: Miley Cyrus Smoking On Stage Steals The MTV EMA Awards Spotlight
A Week In Music, Manic Street Preachers Get Nostalgic, DJ Muggs Returns Solo And Thom Yorke Throws A Spotify Strop
By Holly Williams in Music / Festivals on 16 July 2013
Manic Street Preachers Dan Croll Katy B 30 Seconds to Mars DJ Muggs Miles Kane Thom Yorke Jay Z Crossroads Guitar Festival Eric Clapton Pitchfork Music Festival
A week in music videos... Manic Street Preachers teamed up with Richard Hawley for the nostalgic title track from their upcoming new album 'Rewind The Film'. It has that classic Preachers mix of anthemic melodies and melancholic undertones that have kept them high in the UK album charts since their debut in 1992. Looking at their latest track, this new offering is going to be just as impossible to categorise musically as usual - but we like it that way! Watch the video for 'Rewind The Film' here.
If a perfect summer 2013 song exists, it's Dan Croll's 'In/Out'. It doesn't feature on his debut EP 'From Nowhere' which we're hoping means there's going to be some talk of a debut album soon. We defy you not to move to this calypso inspired dance track, the video for which features karaoke style lyrics - if you don't find this infectiously upbeat tune catchy enough. Watch the video for In/Out here.
Continue reading: A Week In Music, Manic Street Preachers Get Nostalgic, DJ Muggs Returns Solo And Thom Yorke Throws A Spotify Strop
Vampire Weekend And Kings Of Leon Added To ITunes Festival Bill That Keeps Getting Better
By Lauren James in Music / Festivals on 19 June 2013
Kings Of Leon Vampire Weekend Sigur Ros Queens Of The Stone Age Bobby Gillespie Jessie J Jake Bugg Justin Timberlake Primal Scream 30 Seconds to Mars Ludovico Einaudi Rizzle Kicks
American rockers Vampire Weekend and Kings of Leon have both been added to this year's free iTunes Festival, which will be held at London's Roundhouse venue throughout September.
Vampire Weekend and Kings Of Leon will join a rapidly growing list, already peppered with fellow rock royalty, including Queens Of The Stone Age, Sigur Rós, 30 Seconds to Mars and Primal Scream.
It won't be solely a festival of rock though - artists from other genres have also been invited, giving everyone at this September's festival something to look forward to, such as Justin Timberlake, Jessie J, Jake Bugg, Rizzle Kicks, and classical composer Ludovico Einaudi.
Having being held since 2007, the annual iTunes festival is held over every night in September and this year will host over 60 acts at the Camden venue.
Continue reading: Vampire Weekend And Kings Of Leon Added To ITunes Festival Bill That Keeps Getting Better
30 Seconds to Mars and Jared Leto - Download Festival 2013 - Day 3 - Leicestershire, United Kingdom - Sunday 16th June 2013
Jared Leto and 30 Seconds to Mars - Esquire and Stella Artois summer party 2013 held at Somerset House - arrivals - London, United Kingdom - Wednesday 29th May 2013
Thirty Seconds To Mars - Love Lust Faith + Dreams Album Review
By Alex Lai in Music Reviews on 28 May 2013
When Thirty Seconds to Mars' second album, 2005's 'A Beautiful Lie', saw them earn mainstream success, it was inevitable that it would be seen as an actor's ego project. By the end of the campaign for the following 'This Is War' album, Jared Leto was a bona fide musician who occasionally appeared in films; it hit the top twenty in numerous countries including the UK and USA and had a record-breaking tour of 309 shows in two years.
Naming your opening track as 'Birth' isn't as clever as the band probably think, but in terms of a statement of intent this piece certainly does the job. Beginning with a brooding brass section, it develops with a cinematic feel before reaching a bombastic climax of guitars that could soundtrack Armageddon - someone may very well have been listening to Muse. It brilliantly mixes into 'Conquistador', a thumping anthem on which 30STM reveal an electro influence to their brand of alt-rock. It's instantly grasped with the first of many chanted vocal parts, something that can also be attributed to lead single 'Up In The Air' with its screeching guitars and simple hooks. 'City Of Angels' finds the trio in a less aggressive mood as they move toward U2-style stadium rock and particularly beneficial to the song is Leto toning down his vocal delivery. Whereas the album mainly features a lot of angst, which at times feels contrived, this is essentially a love song for the city of Los Angeles on which the sentiment seems genuine. Another track to take this approach is 'Bright Lights', but the results are less instantaneous in making a positive impression.
The frontman is back to growling again on 'The Race'; a dark number which disappoints with clichéd lyrics such as "It began with an ending"; but of more interest is 'End Of All Days'. Crunching guitars and synthesisers are stripped down in favour of a haunting piano piece that rewardingly builds to a crescendo as Leto gets ever-more emotive. It may not get fists pumping at their live shows, but it's certainly one of the more affecting songs on the album, and they soon return to big choruses and "whoa whoa" style vocals on 'Do Or Die'. For their fans, or The Echelon as they're affectionately referred to, this is the album that was wanted and will be openly embraced. For those outside this group, all too often it becomes difficult to find anything beyond a superficial enjoyment, hindering a good rock record from becoming a great one. There are only so many times you can "whoa whoa" before wondering what you're actually singing about.
Continue reading: Thirty Seconds To Mars - Love Lust Faith + Dreams Album Review
Jared Leto and 30 Seconds to Mars - BBC Radio 1's Big Weekend - Performances - Day 3 - Derry, Northern Ireland - Sunday 26th May 2013
30 Seconds To Mars – New Video For Up In The Air Features Dita Von Teese
By Jack de Aguilar in Lifestyle / Showbiz on 22 April 2013
30 Seconds to Mars Dita Von Teese
Dita Von Teese rides pink bucking bronco in 30 Seconds To Mars video
Starting with a seizure warning (a good sign for any music video) 30 Seconds to Mars' new video for Up In The Air features the talents of Dita Von Teese as she, and other scantily clad women do 'stuff'.
Check out the video for 30 Seconds to Mars - Up In The Air
Continue reading: 30 Seconds To Mars – New Video For Up In The Air Features Dita Von Teese
30 Seconds to Mars - Jared Letto of 30 Seconds To Mars Enschede, Holland - The 2010 TMF Awards held at Volkspark Monday 28th June 2010
30 Seconds To Mars, Kings And Queens Single Review
By Alex Lai in Music Reviews on 02 November 2009
Review of 'Kings And Queens' a single from 30 Seconds to Mars.
Continue reading: 30 Seconds To Mars, Kings And Queens Single Review
30 Seconds to Mars - Thirty Seconds to Mars with Jared Leto London, England - Kerrang! Awards 2008 at the Brewery - Arrivals Thursday 21st August 2008
30 Seconds to Mars, A Beautiful Lie, Album Review
By Mike Rea in Music Reviews on 12 March 2007
Continue reading: 30 Seconds to Mars, A Beautiful Lie, Album Review
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Thirty Seconds To Mars Hosting Musical, Outdoor Retreat
Thirty Seconds To Mars - City Of Angels Video
Thirty Seconds To Mars - City Of Angels (Lyric Video) Video
Thirty Seconds To Mars - Do Or Die Video
Thirty Seconds To Mars - Alibi (VEVO Presents) Video
Thirty Seconds To Mars - End Of All Days (VEVO Presents) Video
30 Seconds to Mars almost ruined by lawsuit
30 Seconds To Mars Donating Boston Poster Proceeds To Bombings Charity Fund
Thirty Seconds To Mars - Up In The Air Video
30 Seconds to Mars launch single from space
30 Seconds to Mars plan evolved album
30 Seconds To Mars Inspired By India


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All ACC Sports Teams News
by Brian Geisinger Tuesday July 26, 2022
2022 ACC Football Preseason Poll: Clemson, NC State viewed as Top 2 teams
North Carolina State's Isaiah Moore (1) battles with Clemson's Matt Bockhorst (65) during the first half of an NCAA college football game in Raleigh, N.C., Saturday, Sept. 25, 2021. (AP Photo/Karl B DeBlaker)
One week removed from the league's media days in Charlotte, the 2022 ACC Football Preseason Poll is out.
Here's how the voting unfolded.
Once again, the Clemson Tigers are the favorites to win the ACC. This marks the seventh time in the last eight seasons that the Tigers have been voted the preseason favorite.
With 111 first-place votes, Clemson edges out NC State (44 first-place votes) for the Atlantic Division title — in the final year of divisions. Unsurprisingly, Miami, with first-year head coach Mario Cristobal, is the favorite in the Coastal Division.
⭐ 2022 ACC Football Preseason Poll ⭐
Who do you think wins the Atlantic and Coastal? 🤔
📰: https://t.co/T19nYFEkFv pic.twitter.com/cBjpMrJGPy
— ACC Football (@ACCFootball) July 26, 2022
With a total of 164 media votes, 103 voters picked Clemson as the league's top team. In second place, NC State trailed with 38 votes.
Overall Champion
Clemson – 103
NC State – 38
Miami – 8
Wake Forest – 4
Pitt – 3
Virginia – 3
Florida State – 2
North Carolina – 2
Boston College – 1
(First-place votes in parenthesis)
Clemson (111) – 1,080
NC State (44) – 959
Wake Forest (6) – 783
Louisville – 591
Florida State (2) – 509
Boston College (1) – 469
Syracuse – 201
Miami (98) – 1,036
Pitt (38) – 911
North Carolina (18) – 823
Virginia (6) – 667
Virginia Tech (3) – 592
Georgia Tech (1) – 343
Duke – 220
Quick Takes: 2022 ACC Football Preseason Poll
Let's react, shall we?
First off, it's adorable that Georgia Tech received a vote to win the Coastal
There may be some salt coming from Wake Forest fans; the Demon Deacons are the Atlantic's reigning champs and return quarterback Sam Hartman, one of the best players in college football. Why vote NC State ahead of Wake Forest? Well, the Wolfpack return a lot of talent, too, including on the defensive side of the ball, where they are superior to the Deacons
Once again, the Coastal looks pretty wide open — on paper. It'll be interesting to see if, after only one offseason, the Hurricanes can come together around Cristobal and Tyler Van Dyke, another elite quarterback and the ACC Offensive Rookie of the Year in 2021
Pitt continues to grade well: preseason votes and the advanced metrics. There's plenty of deserved pushback on ESPN's FPI metric, especially before the season actually starts; however, the Panthers rate as a Top 20 team, for now, according to FPI. That seems bold for a team that's down its top two players from 2021: quarterback Kenny Pickett and star wideout Jordan Addison
Read More on The ACC
Media exec John Skipper on the value of Notre Dame, future of the ACC
More All Teams Insider and Recruiting News


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Share this Story: Terry Glavin: In Beirut, an explosion six years in the making
Terry Glavin: In Beirut, an explosion six years in the making
Senior Lebanese officials were warned a half-dozen times that the stockpile of ammonium nitrate presented a grave danger
Aug 05, 2020 • August 5, 2020 • 5 minute read
A helicopter puts out a fire at the scene of an explosion at the port of Lebanon's capital Beirut on August 4, 2020. Photo by STR/AFP via Getty Images
"We're keeping you in our thoughts and we stand ready to assist in any way we can," Prime Minister Justin Trudeau said following Tuesday's horrific blast in Beirut that killed more than 100 people, injured more than 7,000 and left 300,000 people homeless.
"We stand with the people of Lebanon and the diaspora during this difficult time," Foreign Affairs Minister François-Philippe Champagne added, "and we are ready to assist however we can."
Terry Glavin: In Beirut, an explosion six years in the making Back to video
This is all well and good, so long as Canada doesn't start pouring any money into the incompetent cabal of warlords, oligarchs and kleptocrats who run the constitutionally sectarian government of Lebanon. Canada should step up, in a big way, but our aid should go straight to the Lebanese Red Cross, or any number of the many reputable non-governmental organizations that were pleading for help in alleviating Lebanon's misery long before Tuesday's catastrophe.
For starters, Foreign Affairs might contribute to Impact Lebanon, an organization that raised $5 million in a crowdfunding effort within 24 hours of the blast. Anything would be better than to pour more money into the corrupt, inept and bankrupt Hezbollah-backed government of Prime Minister Hassan Diab, who's been running the show for the useless President Michel Aoun since January.
The day before the blast, Lebanon's foreign minister, Nassif Hitti, resigned, warning that Lebanon was on the verge of becoming a "failed state." In the throes of an Arab Spring-like revolt since last autumn, Aoun's government responded by digging itself deeper in the abyss. And after what happened on Tuesday — an ammonium nitrate time bomb had been left to tick away for six years, despite repeated warnings — it's hard to imagine that the Lebanese people will manage to contain their rage.
For months before the coronavirus pandemic added plague and death to the country's agony, trash was piling up in the streets, the electrical supply in parts of Beirut was available for only four hours a day, unemployment had shot up to 35 per cent, the cost of food had gone through the roof and the Lebanese lira was reduced to a fifth of its value against the American dollar.
Lebanon had become another Venezuela, even before the country defaulted on its debts in March. Talks with the International Monetary Fund have gone nowhere. Lebanon's national debt now stands at $92 billion — 170 per cent of the country's gross domestic product — and Transparency International ranks the country at 137 out of 180 countries on its corruption index.
There's no evidence that Aoun's government is willing or able to sustain the maelstrom of popular fury that awaits. Hezbollah's noose around Lebanon's neck is only part of the country's desperate predicament. But it's a big part.
On Friday, the United Nations' Special Tribunal for Lebanon is expected to deliver its judgment in the case against four Hezbollah operatives accused in the assassination of former Lebanese prime minister Rafic Hariri in 2005. Hezbollah refuses to co-operate with the tribunal, while Hezbollah's Hassan Nasrallah continues to direct the terrorist organization's operations from Lebanon. And Hezbollah continues to serve as the primary shock troops for Syrian President Bashar Assad.
To Western intelligence agencies, ammonium nitrate, a commonly used fertilizer but also a commonly used ingredient in improvised explosive devices, is practically synonymous with Hezbollah. And Beirut's port, as Danny Danon, Israel's ambassador to the UN, told the Security Council last year, has become "Hezbollah's port."
Khomeinist Iran has been smuggling dual-use materials into Lebanon for years to advance Hezbollah's missile and bomb capabilities, the Israelis say. "The Iranian regime is transferring weapons in various ways. They use commercial companies, mainly from Europe, to support Hezbollah and develop its missile program. Unfortunately, the Port of Beirut has become Hezbollah's port," Danon alleged.
Diab's government has pledged a full investigation of Tuesday's explosion and the government is anxious to prosecute the officials who are responsible for allowing a warehouse full of ammonium nitrate to be situated, for several years, so dangerously close to Beirut's densely populated downtown area.
It took Timothy McVeigh only two tons of ammonium nitrate to destroy more than a dozen buildings and kill 168 people in the Oklahoma City bombing of 1995. The stockpile of ammonium nitrate that exploded in Hangar 12 at the Port of Beirut on Tuesday amounted to 2,750 tons.
There's not much of a mystery to solve. Senior Lebanese officials were warned, a half-dozen times over the past six years, that the stockpile of ammonium nitrate presented a grave danger to the workers at the port, and to the people of Beirut.
Hezbollah has carried out several terrorist attacks with bombs that combine ammonium nitrate with fuel oil. Ammonium nitrate is a favourite of the Taliban in Afghanistan, and in 2015, in Lanarca, Cyprus, Lebanese-Canadian Hussein Bassam Abdallah was arrested for possessing eight tons of ammonium nitrate. Abdallah pleaded guilty of plotting on Hezbollah's behalf to carry out terrorist attacks on Jewish and Israeli targets in Cyprus. That same year, British intelligence reportedly uncovered a Hezbollah plot behind a three-ton stockpile of ammonium nitrate in suburban London.
Just how all that ammonium nitrate ended up in Hangar 12 involves the Moldavian-registered rust-bucket freighter MV Rhosus. On Sept. 23, 2013, the ship left the Black Sea port of Batumi, Georgia, with a cargo of 2,750 tons of ammonium nitrate fertilizer, bound for the port of Biera, Mozambique. A few days later, after transiting the Bosporus Strait, the Sea of Marmara and the Dardanelles, the ship ran into trouble in the Mediterranean, off the coast of Lebanon.
Upon inspection of the ship in Beirut, the Lebanese Port State Control forbade the ship's captain from sailing. The Ukrainian crew was allowed to return home, but the ship's captain and three senior crewmen were obliged to remain on board, where they soon ran out of food and fuel. Beset by creditors, the ship's owner, Igor Grechushkin, a Russian national living the high life in Cyprus, abandoned his ship and its officers.
The Beirut law firm of El Baroudi & Associates managed to convince a Lebanese judge that the ship's officers should be permitted to leave because they were sitting on a ticking time bomb. The ship's cargo was transferred a few weeks later to Hangar 12. Before Tuesday's explosion, it had been waiting to go off for six years, and senior Lebanese officials knew it. Customs authorities had warned them in writing at least six times that the port, and the city, was in grave peril of being blasted to smithereens.
And that's what happened on Tuesday. The Lebanese people are going to need a lot of help from the rest of the us to get through all this. The last thing the international community should do is to pour any more money into the insanely corrupt and incompetent government that persists in tormenting them.
'We are a disaster zone': Beirut reels from huge blast, as death toll climbs to at least 135
Terry Glavin: There's a revolution going on in the Mideast. Why doesn't the West see that?


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Police News goes digital this month
04/01/2020 Media Releases Created by NZPA
The April edition of the Police Association's monthly magazine Police News is published in digital form only.
This is due to the Covid-19 lockdown restrictions which prevent the printing and distribution of non-essential media.
The magazine can be accessed on the association's website as a PDF, and individual articles are also be available at the links below.
The requirement for digital-only is likely to extend to the May edition given the expected duration of the lockdown.
View the Police News April pdf
View the Police News section on the website
Media spokespeople
Police News Magazine
Featured Articles & The President's Column