Rep. Al Green (D-Texas) is already drafting articles of
impeachment related to Trump’s firing of FBI Director James Comey, believing
there’s enough evidence of Trump’s obstruction of justice to begin an
impeachment inquiry (not to mention Trump’s blatant violation of the
Constitutions emoluments clause by profiting off his presidency, and much else).
But Democratic leaders are pushing back,
warning there aren’t enough facts to justify an impeachment inquiry at this point, and, in any event, such
an inquiry would politicize ongoing
the three previous impeachment inquiries in the House (involving presidents
Andrew Johnson, Richard Nixon, and Bill Clinton) rested on less evidence of
obstruction of justice than is already publicly known about Trump.
Comey’s testimony to
Congress is itself more than enough – confirming that Trump demanded Comey’s loyalty, asked Comey to stop investigating Michael Flynn, repeatedly told Comey the FBI investigation was a “cloud” on his presidency, and asked
Comey to declare publicly that Trump wasn’t an object of the investigation
In addition, we have Trump’s interview
with Lester Holt on NBC and Trump’s subsequent meeting with Russian officials
in the Oval Office. In both instances, Trump connected his firing
of Comey with the Russian investigation.
Also bear in mind the
obstructions of justice that caused the House to impeach previous presidents concerned
issues far less serious than Trump’s possible collusion with a foreign power to
Democratic leaders say they don’t want to talk about impeachment now because they’re worried about politicizing the current
congressional investigations, which aren’t impeachment inquiries. Hello? Republicans have already politicized them.
The real reason Democratic leaders don’t want to seek an impeachment now is they know there’s zero
chance that Republicans, who now control both houses of Congress, would support such a move. So why engage in a purely symbolic gesture?
Democratic leaders figure that between now and the
midterm elections there will be even more revelations from non-partisan sources – future testimony by Trump operatives like Michael Flynn and
Roger Stone, early reports from Special Counsel Robert Mueller’s investigation,
and leaks to the press – that will build the case, and fuel more public outrage.
That outrage will give Democrats a strong chance of taking back the House and maybe even the Senate. Then they’ll really impeach Trump.
I can’t argue with the
political logic of Democratic leaders. And if their strategy will lead to
Trump’s ouster sooner than any other way, I’m all for it.
But here’s the problem. It’s not clear America can wait for the midterm elections, followed by what’s likely to be a long and drawn-out impeachment investigation, followed by a trial in the Senate. (Note that none of the presidents listed above was ever convicted by the Senate and thrown out of office.)
With each passing day, Donald Trump becomes a greater danger to America and the world. We don’t have time.
The advantage of introducing a bill of impeachment now – even attempting to do so – is that such an action might itself galvanize the vast majority of Americans who want Trump out of office. It could mobilize and energize people around the most important immediate issue facing the country.
Never underestimate the power of a public aroused to action. It is worth recalling that Nixon resigned of his own accord before the House had even voted out an impeachment resolution. The American public demanded it.
The title in general means “Luck that takes the form of finding valuable or pleasant things that are not looked for”. When this term is appended with love it brings many other elements such as destiny and happiness. The things that the lyrics of the song described well
I will invite you to read this analysis where all the main elements about it are explained HERE
DNA is the carrier of genetic information. But how is attached to “LOVE”? There is something called The Neurobiology of Love. Doctor Larry Young, for instance, believes there is a biological basis for love. He says “So many people ask is there a chemical or genetic basis to human love, and I certainly believe there is. I’m very confident that emotions such as love are really the byproduct of chemical reactions that happen in our brain where certain neurotransmitter molecules activating receptors in certain brain circuits that activate an emotional feeling. One of those emotional feelings that we know to be very human is love. Love happens between partners, but also between parents and their offspring, offspring and their parents and I think that there’s surely a biological mechanism to that.” Thus love and DNA are very related.
DNA aside from meaning DeoxyriboNucleic Acid can be the abbreviation to many: Does Not Apply, Do Not Accept, Do Not Answer, Do Not Adjust, Daytime Nighttime Anytime, Don’t Need Advice … So be it if BTS will use it as it is and develop a poetic meaning to it or use an abbreviation, only time will tell us.
Best Of Me
This is a song where BTS collab with the Chainsmokers. The title is quite self-explanatory as some loved ones can bring the best out of us.
보조개 = Dimple
Dimple is the most beautiful human flaw. They are rare and can bring a charm to their owner. So just like beautiful eyes or a warm smile, dimples can be the reason you start finding someone attractive and eventually fall for them.
The Pied Piper of Hamelin or the Rat-Catcher of Hamelin) is the title character of a legend from the town of Hamelin (Hameln), Lower Saxony, Germany in 1934. The legend dates back to the Middle Ages, the earliest references describing a piper, dressed in multicolored clothing, who was a rat-catcher hired by the town to lure rats away with his magic pipe. When the citizens refuse to pay for this service, he retaliates by using his instrument’s magical power on their children, leading them away as he had the rats.
There are many contradictory theories about the Pied Piper. Some suggest he was a symbol of hope to the people of Hamelin, which had been attacked by plague; he drove the rats from Hamelin, saving the people from the epidemic. Others suggest that children died of some natural causes such as disease or starvation and that the Piper was a symbolic figure of Death.
But what is the relationship between a Pied Piper and a theme such as “LOVE”. This man was a loving character who was willing to help the city and its owner but his feeling turned into hate when the society he was in was ungrateful towards his work.
Pied Piper serves many metaphors according to Merriam-Webster, and truthfully they all describe BTS:
a charismatic person who attracts followers
a musician who attracts mass
It’s pretty known that Bangtan do not follow the kpop trends but are ahead of them. Thus, the song may probably talk about how BTS are now trend setters. They may also talk about how they became global during this year. There are many theories that can go with this song.
Skit: Billboard Music Awards speech
Get ready to cry loads or laugh out loud, it’s either one of the two extremities with BTS skits. They may introduce how they ended up deciding to drop a clue about their comeback in such a big award ceremony. Rapmon clearly said during the speech “LOVE YOURSELF”.
Mic Drop may be just a catchy phare many uses but it has more history than you think. A mic drop is a gesture of intentionally dropping one's microphone at the end of a performance or speech to signal triumph. Figuratively, it is an expression of triumph for a successful event and indicates a boastful attitude toward one’s own performance.The gesture dates to the 1980s when it was used by rappers and comedians. Performers from both groups can engage in confrontational performance styles - rappers may participate in rap battles, comedians may interact with a heckler in the audience - and dropping the microphone after a particularly effective line indicated complete confidence in the opponent’s inability to come back with anything that would be worthy of a response. An early occurrence was Eddie Murphy in 1983 in his standup show Delirious.
BTS worked hard this year and had arms full of praises and exploits, coming with a song where they sing about it is only natural. It’s also a way to show the ones who doubted them that they are the ones who got the final word. This song will sure have more rap than the others.
고민보다 go = before worrying, go or go rather than worry
BTS are known to speak up to the youth and their struggles, their mission never changed since the start to give hope. Including a song that helps the ones fighting is also a natural move coming from BTS.
This album will help introduce another one coming by 2018. We may finally know who is that “HER” that got us all stressed this past month or we may end up with an answer that will lead to another question.
+TWO Hidden Tracks
*Insert many “??????” and “!!!!!!!!!”* All we know is that one of them is a song made by Rap monster.
Abbott Handerson Thayer (1849–1921, United States)
Thayer was an American artist and naturalist. A painter of portraits, figures, animals and landscapes, he is best known for his paintings of angels and other mystical subjects.
He enjoyed a certain prominence during his lifetime, and his paintings
are represented in the major American art collections. He is also known
for his work in the field of protective colouration in nature, showing
how patterns on animals and insects provided a camouflaging effect.
Nyx dies among the flames and Lunafreya dies surrounded by water, and isn’t that so fitting for them, all parallels and opposites and filling in the uneven edges of each other, not quite mirrors but inverses––soldier and healer, fighter and diplomat, refugee and princess, the dark of night and the light of the moon.
He goes up in smoke and she vanishes into the dark of the water, and somewhere in the sinking and the floating they find balance, and isn’t that a comfort, that even in their oppositions they draw similar sketchbook lines of their lives, childhoods given over to the war, service sworn to a greater cause, lost in and among and for the fight.
For the future, Regis says; he says, Our hope goes with you now, and they pass that hope along like a baton, the future a promise, and in that, at least––in that, and in death––they are united.
This theory was dominant in the US and UK between the 30s and 70s.
A formalist, decontextualised approach to literature where the text is examined independently of other influences.
Explores the essential elements of language, imagery, symbolism, figures of speech, ambiguity, irony, paradox.
Pretty huge span of approaches - for example, within Shakespearean new criticism you had A.C. Bradley’s character-based critique, Harley Granville-Barker’s study of stagecraft, G. Wilson Knight’s exploration of image and theme, and L.C. Knights’ suggestion that Bradley is a douche and Shakespeare was a poet, not a dramatist. (Yeah, fuck you, Knights.)
HISTORICIST CRITICISM, or: “IT’S ALL ABOUT THE HISTORICAL CONTEXT, DUH”
Funnily enough, this approach believes that historical
context influences interpretation.
Stuff like: religion, political idealism of the time, cultural shifts, social attitudes, war, colonialism (although that’s a whole other bag of cats, see below),
pop culture references and in-jokes,
and anything that might have influenced the text during the era in which it was written.
Within historicist criticism there should be a distinction between text and context; history is the background that the text
Buuuut often this approach reveals more about the critic’s political/social/personal values than the period they are studying. Natch.
LIBERAL HUMANISM, or: “STORIES ARE JUST A REFLECTION OF THE AUTHOR, DUDE”
Popular at the beginning of the 1900s - literature and art are timeless, revealing a universal truth about humanity.
Like, writers are totally free agents whose intentions shape the meaning of their writing, man.
Like, human consciousness shapes language, culture and society, NOT the other way around.
MARXISM, or “WE’RE ALL SLAVES TO THE ECONOMY”
A criticial theory systemised in the 20s, based on the materialist philosophy of Karl Marx (1818-83) and
Friedrich Engels (1820-95) whereby the material circumstances
of life are determining factors in the individual’s experience.
So, like, the economic organisation of society shapes culture,
politics, philosophy, religion, education, law and art.
So, like, fuck liberal humanism; people are shaped by their environment, NOT the other way around. Authors and their works are basically products of society.
These guys believe that art reflects changing economic conditions and class values. There’s a little cross-over with historicist criticism in the approach that literature should be interpreted within the context of the period and its political inflections - often with a focus on the lower classes.
Get yourself familiar with the Marxist concept of ‘ideology’ - a function which ‘naturalises’ the inequalities of power through a complex structure of social perceptions which renders class division invisible.
Yeah. It’s heavy, dude.
STRUCTURALISM, or: “LANGUAGE IS EVERYTHIIIING!”
Based on the linguistic theory of Ferdinand de
The belief that language
shapes humanity, culture, communication, and the way we perceive the world. Yay, go language.
Structuralism was a radical theory during the second half of the 20th
Century whose central argument opposed liberal humanist ideas (Recap: lib-humans reckoned that human consciousness creates language and culture - structuralists reckoned the complete opposite. At this point everyone is basically being completely contrary for the sake of it.)
POST STRUCTURALISM, or “WE’RE SORT OF ON THE FENCE ABOUT LANGUAGE SO JUST GO WITH IT”
A critical theory prominent in France in the 1960s, primarily associated with philosopher Jacques Derrida and critic Roland Barthes - a reaction against structuralism as well as a
development of it. <sigh>
Ok, so this language thing? How about we agree that reality is constituted through language BUT language itself is unstable and beyond our control. Like, language is an unreliable narrator, yeah? Yeahhh.
Essentially, it’s language that speaks, not the author. So let’s call it THE DEATH OF THE AUTHOR because we are needlessly dramatic.
So, like, literary texts don’t present a single or
unified view and the author cannot claim authority on interpretation. (The curtains are blue…)
You can trace a whole thread of critical development here from formalist criticism to structuralism to post-structuralism and later to deconstruction - all of which are concerned with the ambiguity and contradictions within text and language. To make it even more confusing, new historicism (see below) can also be seen as post-structuralist since it places stress on a text’s connection to culture rather than relying on the autonomy of the text itself.
Time for a stiff drink.
NEW HISTORICISM, or “IT’S THE CIIIIRCLE OF LIIIIIIFE - ART AND HISTORY ARE STUCK IN AN INFINITY LOOP”
A term coined by Stephen Greenblatt (Shakespeare-critic-extraordinaire) in the 80s - a reaction against old historicism (where text is a reflection of historical background) and a move away from Marxist and post-structural theories.
New historicism asserts that the text is an active participant in historical development.
So, like, art and literature help to create the cultural values of the period in which they are produced. BUT, we are also formed and tied to cultural ideologies, so it ain’t all about the text.
Involves close reading of the text, taking into account political ideology, social practice, religion, class division and conflict within society.
A pessimistic take on Foucault: the belief that we are ‘remarkably unfree’ of the influence of society and socio-political power operates through the language of major institutions to determine what’s normal and demonise ‘otherness’.
Seriously. Fuck society.
CULTURAL MATERIALISM, or “WE NEED A BRITISH VERSION OF NEW HISTORICISM”
We can’t let the Americans monopolise this kind of criticism.
So consider this: how much freedom of thought do we actually have? Does culture shape our identities or can we think independently of dominant ideologies? Huh? Huh? Are we saying anything new yet?
Basically, a historicist approach to political criticism with a revised conception of the connection between literature and culture.
Culture is a complex, unstable and dynamic creature which offers an opportunity for the radical subversion of power and society.
Unlike historicism or Marxism, cultural materialists believe the author is able to achieve a degree of independence from prevailing structures of power and discourse.
Often demonstrates optimism for political change - once again, critical theory reflects the critic’s personal opinions and hopes for change in present day society. Literary criticism can change the world, man.
Some crossover into feminist/queer/post-colonial theory, because FUCK ALL THOSE OLD WHITE GUYS.
FEMINIST THEORY, or: “LET’S RECONSIDER 100 YEARS OF CRITICISM FROM A PERSPECTIVE THAT ISN’T CIS/MALE”
Following the women’s movement of the 1960s, feminist theory was established in the 70s and 80s and founded on texts Le Deuxieme Sex by Simone de Beauvoir and Sexual Politics by Kate Millett.
Explicitly political – similarities to new historicism and
cultural materialism - challenging the subordinate position of women in society and deconstructing/contesting the concept of essentialism, whereby men and women have intrinsically separate qualities and natures.
Often seen as an attack on the Western literary canon and the exclusion of female writers throughout history. Focuses on female characters and authors, exploring the influence and restrictions of patriarchy, and constructions of gender, femininity and sexuality (both in text and culture).
Feminists influenced by post-structuralism tend to disregard the positive discrimination of women writers, claiming “it is language that
speaks, not the author.”
Feminism and psychoanalytical theories (esp
Freud and Lacan) contributed to the erosion of liberal humanist ideas, redefining human nature and the concept of child development, and exploring the psychology of patriarchy and male-dominated culture.
GAY/LESBIAN CRITICISM AND QUEER THEORY, or: “LET’S RECONSIDER 100 YEARS OF CRITICISM FROM A PERSPECTIVE THAT ISN’T CIS/MALE/STRAIGHT”
During the 80s, queer theory was influenced by post-structuralist ideas of identity as being fluid and unstable, and investigates the role of sexual orientation within literary criticism from a social and political viewpoint.
An opposition to homophobia and the privilege of heterosexual culture and an exploration of themes that have been suppressed by conservative critical theory.
A look at LGBQTA, non-binary characters and authors and their influence within a historical, political, religious and social context.
The end of ‘gal-pals’ and ‘no-homo’, fuckboys.
POST COLONIAL THEORY, or: “LET’S RECONSIDER 100 YEARS OF CRITICAL THEORY FROM A PERSPECTIVE THAT ISN’T WHITE”
A critique on the English canon and colonial rule with a focus on canonical texts written during periods of colonisation.
An exploration of cultural displacement/appropriation and the language and cultural values thrust upon/developed by colonised people.
Post-colonial theory gives voices to colonial ‘subjects’ and looks at the impact on individual and collective identity, as well as the complexity of colonial relationships and interaction.
Gonna have a lot to do with politics, history, social ideology, religion and international/race relations, obvs. Stay woke.
In the lore and history of weather witchery, it was common of weather witches to create and sell knotted rope charms to sailors, as it was believed these charms would help enchant the wind in the ship’s favor. These charms were made by venturing to a high-windswept place, and tying certain sailers knots into rope to capture the wind while imbuing them with magick ~ sometimes multiple knots were tied, meant to contain winds of different strengths.
While reading about these wind charms, I was inspired to write a more modern project tutorial on how to make such a charm, though mine will be a touch more decorated! These wind charms can be hung above a porch or in a window to encourage a wind to blow away storm clouds, to represent wind or air in a spell or ritual, to summon a wind (similar to wind whistling), and for any other wind-related uses you might find you need witchcraft-wise.
Thick twine or medium rope of your choice
Dried lemongrass or anise
A branch or piece of alder, oak, or scotch broom
Beads, bells, small bottles, and decorative elements
⌲ Capturing Wind
The first step, of course, is to capture the wind using knot magick ~ The knotted rope will serve as the base of the wind charm. You can begin with a plain rope, or make it thicker or more decorative by braiding or macrame-ing multiple smaller ropes together beforehand. This first step is the longest in the tutorial, as it will take some time to find the right conditions. Traditionally, three single knots are made in a rope ~ But for this tutorial, we are going to be knotting the rope three times, each consisting of more smaller knots, to capture and represent different buildups of wind energy - If you wish, you can replace the knots with different sailors knots, if you know how to do so. Here’s how to do this:
Near the top of the rope (leaving a section of 5-7 inches for hanging, depending on the length you make it), you will knot it 3 times in the same place during a day or in a place where the wind is gentle, like a breeze. As you do this, recite:
Tied of three, knots capture this breeze
Contained by my hand and quelled upon these skies
The gentle air I seize - For my swift magickal disposition
A few inches below the previous knot, near the middle, you will be knotting it 5 times in the same place during a day or in a place where the wind is stronger; not a breeze, yet not a strong wind ~ somewhere in the middle. As you do this, recite:
Tied of five, knots gained of brisk wind
Direct and ardent as I exert its’ energy
With my intent and by my will - Magickally intertwined
Near the end of the rope, leaving a few inches hanging off the end, knot the last one 7 times at the same point during a day or in a place where the wind is strong and powerful, such as during a storm or on a high ground frequented by strong winds. As you do this, recite:
Tied of seven, knotted storms of the heavens
Vigorous and powerful,
Energy of formidable wind - Seals my magick of air
(Feel free to replace my chants with your own)
⌲ Decorating and Imbuing
Step 1. ⌇ Between the first and second knots, and between the second and third knots, we’ll be adding herbs associated specifically with wind magick to keep your charm charged and functional.
In the first empty length of rope, tie a bundle of dried lemongrass or dried anise - both strongly tied to the element of air. Or instead (how I made mine), get a small-ish corked bottle, and add the herbs to the bottle in smaller pieces ~ Attach the bottle into the charm - which I especially enjoy the look of!
In the second empty length of rope below the second knot and above the third, tie in a branch or chunk of alder wood, oak wood, or a bundle of scotch broom. Again, you can break the ingredient(s) into smaller pieces and instead put them into a bottle to attach to the charm if you wish. Both alder and oak were traditionally used in making flutes, whistles, and ‘bullroarers’ for whistling up winds, and scotch broom is used in weather brooms, spells, and charms to call up winds. (Tip: scotch broom is the most connected to weather witchery out of the three, so I suggest finding a place to buy or collect some specially for this charm)
Step 2. ⌇ Now that the magickal materials are on the charm, you can decorate it however you like ~ For mine, I attached colorful glass beads and tiny bells; Other items to use connected to wind and the air element include feathers, ribbons, the colors yellow and white, and bits of shining metal or glass, etc. If you worship a deity tied to the weather, skies, or winds, a figure or symbol of them may be added.
Step 3. ⌇ Once your charm is to your liking, hang it up on a porch or in a window or doorway. On days when you don’t wish to call or whistle the wind to you, remove the charm ~ You can hang it on a wall for decoration when not in use, or just put it in a bag or box until you need it again.
Personal note: The day I finished making mine and went to hang it in the window, I looked out my bedroom window to see a small ‘tornado’ of dust (we get them commonly in the dry seasons out here) quickly form and dispel in the backyard area nearest me!
If you have any questions or comments, you’re welcome to message me. Thank you ♡
I would like to start by saying that I adore episode 12x23. I know people seem to think it’s the weaker of the two - but I absolutely love how it’s layers upon layers of symbolism that you can just peel off, only to find more symbolism underneath.
In this instant I would like to focus on the heartbreaking image of Cas lying on the ground, dead, in this weird position that we all seem to agree defies logic, given the circumstances in which he died.
I kept thinking this reminded me of something, and it just clicked today when I was trying to figure out symbolism behind numbers 12 and 13. I was googling number 12, and I realized what this image of Castiel reminds me of: the twelfth card of the Major Arcana in the Tarot deck.
The Hanged Man
The card depicts a man, hanging upside down, suspended by his ankle. One of his legs is bent and lays under the other, to form a cross. He has a halo around his head and a serene expression on his face, just like some dead angel we know.
The tree his hanging from is sometimes in a form of a tau cross, and sometimes in a form of two stems with a crossbeam between. It’s usually alive, with leaves on it.
The hanged man card is one of the most interesting in the deck, because even though it seems to have negative connotations (execution), it isn’t really at all about that.
There are several understandings of the meaning of the hanged man.