Tuesday, June 30, 2020
.. I never get tired of Angelina Jolie's.. graceful.. and rather.. adorable.. acting.. in this 1 minute, 8 second youtube clip from.. "Maleficient 1"....
https://www.youtube.com/watch?v=c1sS3fLOJFg
.. a TV trailer for.. "Maleficient 1".. here.. Angelina Jolie looks truly beautiful here.. with crystaline, kryptonian facial features....
https://www.youtube.com/watch?v=uXSj_67HsUM
.. copy-and-pasted from... Global news.. on the internet....
Coronavirus: B.C. expected to announce rules on visiting long-term care homes
Amy Judd
1 hour ago
© THE CANADIAN PRESS/Jonathan Hayward
A worker is seen closing the curtains at the Lynn Valley Care
Centre in North Vancouver, B.C., Wednesday, March 25, 2020.
The
province is expected to announce new rules on Tuesday to allow
people to visit their loved ones in long-term care homes for the
first time in months since the coronavirus
pandemic
took hold.
Long-term
care homes have been closed to non-essential visits since mid-March
when an outbreak was declared at North Vancouver's Lynn Valley Care
Centre, which became the centre of B.C.’s first major
COVID-19
outbreak as 20 residents fatally contracted the virus.
Provincial
health officer Dr. Bonnie Henry has said that resuming
non-essential visits will depend on the availability of staff and
personal protective equipment.
Read
more: List
of seniors’ homes and health-care facilities at centre of B.C.’s
coronavirus outbreak
On
Monday, health officials reported 26 new cases of COVID-19 in B.C.
over the past three days and no new deaths.
There
are 2,904 confirmed cases of the disease in the province. Of those,
2,577 patients have fully recovered, or about 89 per cent.
B.C.
now has just 153 active cases. Eighteen patients are in hospital,
with five of them in intensive care.
The
province’s COVID-19 death toll remains at 174.
-with
files from Jon Azpiri
Hanno Raudsepp:..".. and I want to explain.. how Brianne is truly.. she is more special, more sacred.. than I am.. as a soul.. as a consciousness.. as a human consciousness... as an element of humanity.. Brianne is more sacred, more special .. than I am.. and a deep, deep, craven dark corruption festered inside Hanno Raudsepp.. in terms of his inwardly soul-corroding dark rages.. and the more he Hanno Raudsepp raged the more these rages he had corroded his soul like acid.. and Brianne remained holy and sacred and special during all this time.. for this rage was utterly unknown to her ... to her nature.. to her inward nature.. and her self-awareness .. that sacred, holy self-awareness that blossoms in the most special of human persons.. bloomed in her.. and flourished in her.. as his self-awareness... as Hanno Raudsepp's self-awareness decayed the more the more.. and all of this is Raven-truth.. quoth the Raven. forevermore. /fin. ...".... $3... stochastic disturbance terms... paul dini / joe benitez poison ivy pamela isley kate moss... stochastic disturbance terms.... $3...
Mothership the enigma TNG.. is the quintessential, official music of.. Kirk Langstrom (Richard E. Grant):..".. it's Scary Spice.. I'm thinking of the eternal tragedy of Scary Spice.. and Tom.. and her friend.. Tom... and of a movie that I'm in .. that should not.. by all rights... exist... "...
.. and mothership the enigma TNG.. is also the quintessential, official music of..
Kirk Langstrom (Richard E. Grant):..".. and perhaps.. the 21st century itself.. should not exist.. should not.. exist.. and the 21st century is a mothership that should not.. exist..."...
https://www.youtube.com/watch?v=KXPXgMcJfiE
Kirk Langstrom (Richard E. Grant):..".. and perhaps.. the 21st century itself.. should not exist.. should not.. exist.. and the 21st century is a mothership that should not.. exist..."...
https://www.youtube.com/watch?v=KXPXgMcJfiE
Monday, June 29, 2020
.. the enigma TNG - World of Tragedy Industrial Rock.. is the quintessential, official music of.. Ahania (Hanno Jason Leigh):..".. Steven Spielberg.. I think it's a real honest-to-God miracle that you're directing a movie of.. of.. 'West Side Story'.. Steven Spielberg..."... $3... stochastic disturbance terms... paul dini / joe benitez poison ivy pamela isley kate moss... stochastic disturbance terms... $3...
https://www.youtube.com/watch?v=7MIRBUPE99g
.. Does Maggie Verver have exactly the soul and personality of.. of the beautiful, holy, sacred female character of.. Black Orchid.. in Neil Gaiman / Dave Mckean's three-issue painted mini-series.. "Black Orchid".. she was a character.. who.. Adam Troy-Castro.. loved.. ever so dearly.. ever so dearly..
.. and .. of course.. her holy, sacred.. beautiful soul little sister.. the other Black Orchid.. the other Black Orchid...
Sunday, June 28, 2020
Ahania (Hanno Jason Leigh):..".. I think in a truly spectral way.. I have learned from Alana Rickman.. I have learned from Alan Rickman.. the grammatical term.. the 'impersonal'.. relates linguistically.. to the word.. 'whimper'.. thru a linguistic geneology.. that goes back to what language I do not know.. and.. "belanare".. means.. "flash of lightning".. in the italian language.. and it is possible.. this is so Alan Rickman.. this is so Alan Rickman.. that in a tiny Collins plastic-paperback that is an italian-english english-italian dictionary.. on the two pages of which.. on which on one of those two pages.. it mentions.. their is the italien word.. "balenare".. I think that's how it's spelt.. meaning.. "flash of lightning".. and it mentions the impersonal .. in connection with this word.. and I thought of the word "whimper".. and the impersonal.. and I learned from Alan Rickman.. but I thought just these two pages.. every single word on these two pages... mean "whimper".. but the Baroness of COBRA is on the next page.. and she... she can't.. she can't whimper.. she can't .. she.. she can't..."... $3.. stochastic disturbance terms... paul dini / joe benitez poison ivy pamela isley kate moss... stochastic disturbance terms... $3...
Saturday, June 27, 2020
.. sob sob.. Kite-man and Poison ivy .. seperate.. amicably...
https://www.youtube.com/watch?v=LfQQi8sglKE
Friday, June 26, 2020
.. every single movie I see on youtube.. is about.. The Mothers.. every single movie I see on youtube.. Infinity Wars.. Avengers; endgame... Joker starring Joaquin Pheonix... every single one of these movies I see on youtube.. is about.. The Mothers.. The Mothers.. The Mothers..Gigantic Leviathan-Gorgon Creatures out of the films of Peter Jackson.. The Mothers.. The Mothers.. The Mothers...
.. the enigma TNG - the fatal star.. is the quintessential, official music of.. Harry Knowles: - to the talkbacker-voices -.. "... I WAS GOING TO MAKE A MOVIE ABOUT YOU ASSHOLES!!!..."... $3... stochastic disturbance terms... paul dini / joe benitez poison ivy pamela isley kate moss... stochastic disturbance terms... $3...
.. the enigma TNG - the fatal star.. is also the quintessential, official music of..
Brianne:..".. and I know exactly who these assholes are.. they are.. Amy, Nicole.. and Ann.. on Salon forums.. under city and urban issues... and I always knew these assholes were women.. I always knew these assholes were women.. posing as men.. in the reverse-sense of Russian brides.. in the reverse of Russian brides..."..
… Amy has a silly pussy.. when Amy was a little girl she had a silly pussy...
… $3... stochastic disturbance terms... paul dini / joe benitez poison ivy pamela isley kate moss... stochastic disturbance terms.. $3....
https://www.youtube.com/watch?v=gPpm_0dGjzo
Brianne:..".. and I know exactly who these assholes are.. they are.. Amy, Nicole.. and Ann.. on Salon forums.. under city and urban issues... and I always knew these assholes were women.. I always knew these assholes were women.. posing as men.. in the reverse-sense of Russian brides.. in the reverse of Russian brides..."..
… Amy has a silly pussy.. when Amy was a little girl she had a silly pussy...
… $3... stochastic disturbance terms... paul dini / joe benitez poison ivy pamela isley kate moss... stochastic disturbance terms.. $3....
https://www.youtube.com/watch?v=gPpm_0dGjzo
.. the enigma TNG - Black Heart Malice.. is the quintessential, official music of.... their's something when.. Hanno Jason Leigh knows that he's written some issues of Geoff Johns's "The Darkseid Saga".. as Geoff Johns.. and at least one issue of.. "Forever Evil".. as Geoff Johns.. and then Geoff Johns becomes a screenwriter on Patty Jenkins's Wonder Woman movie.. and THEN.. Geoff Johns no longer remains a screenwriter on Patty Jenkins's Wonder Woman movie.. the only screenwriter of this movie credited as screenwriter in the end credits is.. Alan Heinberg.. and this is because... it wasn't Hanno Jason Leigh's screenplay for Megan Gale, Tom Cruise, Leonardo di Caprio... Monica Bellucci.. Daniel Day Lewis.. and .. sob sob sob.. Daniella Amavia.. that was used for this movie.. that's why it was only a screenplay written .. by Alan Heinberg.. in the end credits.... $5... Cobb-Douglas function... Neil Gaiman / Dave Mckean / Simone Bianchi Poison ivy pamela isley angelina jolie monica bellucci... Cobb-Douglas function... $5....
.. the enigma TNG - Black Heart Malice.. is the quintessential, official music of.. Mr. T. Williger .. is the next.. Raffi.. sob sob… he's the next .. Raffi...
https://www.youtube.com/watch?v=FqnCQSS063U
https://www.youtube.com/watch?v=FqnCQSS063U
Position Music - Catapult.. is the quintessential, official music of.. is that the face of Megan Gale.. and also of.. I. G. Farben or I. G. Farber was involved with.. with heroin.. in the year 1800... and perhaps Patty Jenkins for this reason felt she should make a Wonder Woman movie about.. sob sob.. about the American Civil War.. and also.. this pointed her in the direction of making a Wonder Woman movie about World War one... (.. their was no Hitler, Goebbels, Goering or even Albert Speer in World War one...)... and she also.. Patty Jenkins .. she also thought that I. G. Farben / I. G. Farber and heroin in the year 1800 could related DIRECTLY to.. World War one.. to.. to mustard chlorine poison gas used in the battlefields.. of World War one..?... sob sob sob.. poor poor Doctor Maru's secret, deadly weapon.. for.. wait... for.. the Germans.. ?... only for the Germans.. ?...
https://www.youtube.com/watch?v=WoiEYpK_Eyw
… in the inwards of the above URL.. "Eyw".. for Eyore-wuzzel… Eyore from.. Winnie the Pooh.. Eyore the unhappy donkey from Winnie the Pooh.. wait.. he's.. he's a donkey.. right...?...
.. "... it's.. it's Eyore.. when we did the new Winnie the Pooh bear animated shows in the early '90's.. we wanted to focus on Eyore.. we didn't want to focus on Eyore being.. the self-imposed outsider.. him being.. utterly removed.. or god forbid.. him being.. unfriendly.. so we focused on maybe sortof.. enigmatically.. lessening his depression a bit.. maybe not.. lessening it.. but.. having him.. be an integral part of the social circle.. where he had friends.. he definitely had friends.. they were .. his friends.. he knew they were his friends..."...
.. Reuben from Aisp... my very best friend along with Mike Demetro and Stanley.. Reuben from Aisp..?...
… in the inwards of the above URL.. "Eyw".. for Eyore-wuzzel… Eyore from.. Winnie the Pooh.. Eyore the unhappy donkey from Winnie the Pooh.. wait.. he's.. he's a donkey.. right...?...
.. "... it's.. it's Eyore.. when we did the new Winnie the Pooh bear animated shows in the early '90's.. we wanted to focus on Eyore.. we didn't want to focus on Eyore being.. the self-imposed outsider.. him being.. utterly removed.. or god forbid.. him being.. unfriendly.. so we focused on maybe sortof.. enigmatically.. lessening his depression a bit.. maybe not.. lessening it.. but.. having him.. be an integral part of the social circle.. where he had friends.. he definitely had friends.. they were .. his friends.. he knew they were his friends..."...
.. Reuben from Aisp... my very best friend along with Mike Demetro and Stanley.. Reuben from Aisp..?...
... copy-and-pasted from a website called.. www.poetryfoundation.org .. is that.. okay.. ?.. -.. I really, really, really hope that's.. okay...
Cecil Day-Lewis
Cecil Day-Lewis has two contrasting claims on our attention. The first is as an archetypal poet of the 1930s, the first-born, last-named member of the Auden/Spender/Day-Lewis triad, and the only one of those three friends whose commitment to Marxism extended to joining and working for the Communist Party. His second claim to recognition, at least for literary historians, is as the poet laureate of England from 1968 until his death in 1972. For critics and biographers, he poses the intriguing problem of reconciling the radical poet of the 1930s with the traditional poet of later decades. The most obvious answer to the seeming paradox of Day-Lewis’s career is that his native poetic temperament was always romantic, even Georgian, and that the ideological overtones of his work in the 1930s were even then at war with a talent more at home with nature poetry and personal lyrics. But this answer leads only to another paradox, for his poetry was at its most vital in a period when he was least true to his natural inclinations. The answer to this may be that Day-Lewis always felt the need to discipline the lyric impulse. The discipline imposed by his Marxist commitment in the 1930s produced the kind of internal conflicts that give life to poetry; the formal poetic disciplines imposed on his later poetry produced too often a perfect but lifeless verse.
The roots of Day-Lewis’s vocation and inhibitions as a poet lie in his childhood. He was born in Ireland of Anglo-Irish parents; the family name had originally been Day, but his grandfather added the surname of an uncle and called himself Day-Lewis. The poet’s inverted snobbery in dropping the hyphen in his name on his publications (beginning in 1927) has been a source of trouble for librarians and bibliographers ever since. The family moved to Malvern, Worcestershire, in 1905 and to Ealing, West London, in 1908, when the poet was four years old. His mother died soon after the move, leaving Day-Lewis, an only child, to bear the full brunt of his father’s love and need for love, mixed with unpredictable spurts of paternal discipline. The father was a clergyman, and it was assumed that Day-Lewis would follow in his steps. Educated at home until he was eight, he says in his autobiography, The Buried Day (1960), that he began by writing verses, “short stories and sermons with a fine impartiality.” It was an atmosphere of high expectations and high demands, and Day-Lewis’s later memories of it seem dominated by guilt over his failure to meet the expectations and his inability to respond to the emotional demands.
Day-Lewis’s account of his schooling is dominated by a pattern of early promise followed by failure and disappointment. At his first school, Wilkie’s in London, he began well but was humiliated by repeated failures to pass the Mathematics Certificate.At Sherborne School in Dorset, which he entered in 1917, he rose to be head boy in his house but had to stay on an extra year after failing in his first attempt to secure a university scholarship. At Wadham College, Oxford, he found himself less and less able to concentrate on his studies, ending, he said later, with “A fourth in Greats—and it is a mystery to me why the examiners did not fail me altogether.” Day-Lewis may have somewhat exaggerated this pattern in the interest of heightening the contrast of his eventual return to Oxford as elected Professor of Poetry in 1951—he actually secured a third in Greats—but the pattern seems real enough.
The disappointments of his academic career encouraged him to seek other ways of gaining self-esteem. At Sherborne he was active in sports and in singing, interests which he retained through life. His chief consolation, however, was a romantic image of himself as a poet, and at Oxford this identity was confirmed, though with many variations based on changing ideas of just what a poet should be. In 1925, he took a £ 25 legacy and paid for the publication of his first volume of verse, Beechen Vigil and Other Poems. He says in The Buried Day that “The publication of this book, and the inclusion of two of my poems in Oxford Poetry 1925 were quite enough to assure a young man with a temperament as sanguine as mine that he was a poet of accepted achievement,” though he continued to have difficulty in persuading anyone else to publish his verse. A second collection of undergraduate poems, Country Comets, was not published until 1928.
The tendency toward Georgian nature verse suggested by the title of Beechen Vigil reflects both the derivative character of Day-Lewis’s early verse and the possible influence of his first deep love, Mary King. Two years older than Day-Lewis, she was the daughter of one of the masters at Sherborne, part of a large family in which Day-Lewis found a surrogate household that partially compensated for his increasing alienation from his father and the stepmother his father married in 1921. Mary King was a “nature-worshipper” then, and Day-Lewis “took up nature worship because it was a poetic thing and because it would bring me closer to Mary.” Thus awakened, his love of nature soon became quite sincere, though the resulting poems are poor. Getting closer to Mary King proved more difficult. Theirs had begun as a brother-sister relationship, and Day-Lewis’s feelings were transformed into romantic love several years before his importunities persuaded her to yield her love to him. They were finally married during the Christmas holidays in 1928.
Country Comets (1928) is a somewhat more mature volume than its predecessor, with lyrics which reflect his love for Mary and his philosophical studies at Oxford. It is, however, clearly a volume of juvenilia, and Day-Lewis was justified in excluding the poems in both Beechen Vigil and Country Comets from later collections of his verse.
In his last year at Oxford, Day-Lewis met and came under the influence of Wystan Hugh Auden, whose ideas were to transform Day-Lewis’s poetry for the next decade. Like many others, he was fascinated by Auden’s restless energy, formidable intelligence, and air of authority. Auden and Day-Lewis served as joint editors of Oxford Poetry 1927, for which they wrote a manifesto-like preface, which combines dogmatic overstatement and burlesque in ways that make it clear that Auden was the dominant partner. Tossing together ideas from Eliot, the new psychology, and socialism, they call for a new kind of poetry whose exact lineaments are hard to discern in their prose.
Day-Lewis’s own ideas about the shape of the new poetry are embodied in Transitional Poem (1929). Most of this volume was written during the winter of 1927-1928, when he was teaching at Summer Fields, a preparatory school in Oxford. It is a lyric sequence organized into four parts and utilizing a variety of stanza forms; when first published, it was accompanied by learned and not terribly useful notes in the manner of T.S. Eliot’s notes to The Waste Land. The unity of the whole and of each part is thematic rather than narrative, and the volume does not so much develop a theme as circle around it. In his notes, Day-Lewis identifies the theme as the pursuit of wholeness. The various parts, he says, take up in turn the metaphysical, ethical, psychological, and aesthetic aspects of this pursuit.
Transitional Poem is a remarkable advance on Day-Lewis’s two previous volumes, and it is, in part, a celebration of his progress to maturity as a poet. The opening lines announce that the poet has “come to reason / And cast my schoolboy clout,” and part two opens with the declaration that “It is becoming now to declare my allegiance.” His “allegiance” is given to those who have helped him find his way: to Mary; to his friend Rex Warner; to an older woman friend who had helped him through some of the difficult passages of adolescence; and to Auden. New poetic allegiances, to Eliot and to Auden, coexist with the older models evident in such lines as “Or as the little lark/Who veins the sky with song.”
Looking back on Transitional Poem in his memior The Buried Day, Day-Lewis describes it with some amusement as “a relentlessly and unexpectedly highbrow poem.” Part one presents man as cut off from nature, which he must somehow reduce to order through words. In part two, the poet is torn one way and another by desires, ambitions, love of knowledge, and love of nature—a conflict more difficult to resolve in a world from which the old certitudes have flown. The lyrics of part three rehearse the same dilemmas, while part four offers hints, if nothing more, that the poet may be able to live with, if not resolve, the antinomies of his existence.
Despite its intellectual pretensions, Transitional Poem is in many respects a love poem to the poet’s wife-to-be. Much of its interest derives from the collision of its conventional romantic sentiments with the ideas Day-Lewis was struggling to make his own. One lyric, for example, begins with memories of a time when “Her beauty walked the page / And it was poetry,” but ends with the admission “that beauty is / A motion of the mind.” The confusions and contradictions which the verse mirrors make acceptable the frequent awkwardness of the rhythms.
The most clearly innovative aspect of Transitional Poem is its imagery, which at its best can blend the modern and scientific with the traditional and poetic, as in “I think love’s terminals/Are fixed in fire and wind.” In using imagery drawn from the modern urban world, Day-Lewis was following the examples of Eliot and Auden, but such imagery acquires a special savor when used to express Day-Lewis’s own romantic sensibility. Despite the derivative character of his ideas and manner, Transitional Poem is the volume of a poet with a distinctive voice. Its acceptance by Leonard and Virginia Woolf at the Hogarth Press marked Day-Lewis as a poet to be reckoned with as the 1930s opened.
Day-Lewis had now achieved some of that recognition as a poet which he had long craved, but poetry was not a career on which he could expect to support his new wife. His mediocre results at Oxford did not open many doors to him, but friends secured him a series of posts as a schoolmaster. He entered the teaching profession with a sense of defeat and a positive distaste for the work he was entering upon. After a year at Summer Fields, he found a new post as a master at Larchfield School in Helensburgh, Dunbartonshire, Scotland. He left Larchfield in 1930—his successor was Auden—and moved to Cheltenham Junior School, Gloucestershire, “a highly conventional public school,” where he never felt entirely at home, despite making one or two close friends on the staff. Although he came to have a better feeling toward his work as a teacher and to feel some affection for his young charges, Day-Lewis continued to define himself as a poet. One of his superiors found the mildly erotic implications of some lyrics in Transitional Poem disturbing, and not everyone at Cheltenham was happy with Day-Lewis’s increasing, quite open Marxism.
The poet found no inspiration in his teaching. Instead, his next volume, From Feathers to Iron (1931), is a lyric sequence inspired by the birth of his first son. The birth itself is the climax of the volume; most of the lyrics are meditations by the poet or poems addressed to his wife or the unborn child. The first four lyrics introduce the metaphor of the journey; it is the child’s journey toward life, but it resolves into an image of his parents’ sexual love. Their union “is love’s junction, no terminus,” for it will engender life. The coming child means a new journey for his parents, who have been “Two years marooned on self-sufficiency.” The father-to-be is no longer fully part of the process, however; he pauses on “the frontier,” where he must “wait between two worlds,” between “conception and fruition.” The father’s mind is on his unborn child, who must come from the feathery world of the womb to an iron material world. He wonders what sort of world the child will find or help to build. The time passes slowly, but at last the child is born, and the father can invite him to “Come out into the sun!” He issues the same invitation to the world at large, that they might celebrate this birth. The volume ends with “Epilogue: Letter to W.H. Auden,” which again summons up the imagery of journey and exploration, this time applied to the poet’s task.
In his autobiography, Day-Lewis says that in writing From Feathers to Iron, “I found that my own excitements and apprehensions linked up quite spontaneously with a larger issue—the struggle and joy in which our new world should be born—and derived strength from it, so that I could use naturally for metaphors or metaphysical conceits the apparatus of the modern world, the machinery which, made over for the benefit of all, could help this world to rebirth.” Earlier, in A Hope for Poetry (1934), Day-Lewis indicated that he was “quite unconscious” of some of the poem’s political implications and complained that “the critics, almost to a man, took it for a political allegory; the simple, personal meaning evaded them.” From Feathers to Iron is certainly not a political allegory; even political imagery is relatively rare in this volume. Nevertheless, Day-Lewis’s growing political commitment is part of the background of the poem, and the poem’s strength is that the birth of his son evoked from the poet verses which pull together all that mattered most to him at that time.
From Feathers to Iron was an important book for Day-Lewis as a poet. Held together by a simple narrative line, it had the kind of unity Transitional Poem only sought. The influence of Auden is apparent, but seems healthy—stiffening Day-Lewis’s rhythms and sharpening his diction. When his work appeared the next year alongside that of Auden and Stephen Spender in the New Signatures (1932) anthology, edited by Michael Roberts, it bore the comparison surprisingly well, and the legend of an Auden/Spender/Day-Lewis “group” was born.
Day-Lewis may not have intended From Feathers to Iron as a political allegory, but his next volume, The Magnetic Mountain (1933), is just that. The mountain itself is a rather cloudy symbol of an ideal world which lies just beyond the horizon, the promise of a new beginning and of a new world in which body and spirit can be as one. The volume celebrates the mountain’s attraction for the pure of heart in thirty-six lyrics, arranged in four parts. In part one the poet summons his readers to join him on the difficult journey but says that he himself is “taking a light engine back along the line/For a last excursion, a tour of inspection.” This tour takes up the next two parts of the poem. In part two, four defendants speak on behalf of the old world and its values of nature, schooling, church, and domesticity; each is dismissed with a lyric of rebuke—responses anticipated by the sonnet of prejudgment which opens this section of the volume. In part three, we hear from four enemies of the quest, speaking on behalf of sensuality, journalism, science, and poetry itself, and their temptations are rejected. Part four rounds off the poem, not with an account of the journey, but with a miscellaneous group of lyrics celebrating the new world to come and inviting the reader to turn to its promise.
The merits of The Magnetic Mountain are mainly structural. It has an oddly static structure for a poem which says so much about journeys, but the sequence does not fall apart into separate lyrics until the last section. The middle sections are given unity by the use of the defendants and enemies. The influence of Auden is apparent throughout the poem and is a mixed blessing. Rhythmically, Day-Lewis is often most effective when borrowing from Auden, particularly in lines like “Consider these, for we have condemned them” or “You who go out alone, on tandem or on pillion.” Day-Lewis’s attempts to capture Auden’s jocular tone, however, show that he lacked Auden’s natural high spirits and talent for light verse.
In retrospect, any comparison of The Magnetic Mountain with From Feathers to Iron is bound to suggest that Day-Lewis was better at writing political allegories when he was not conscious of doing so. In The Magnetic Mountain, the political concerns which had given depth to its predecessor overwhelm the poem. Although epigraphs chosen from William Blake, D.H. Lawrence, and Gerard Manley Hopkins suggest that the allegory might have had more than purely political significance, other meanings tend to be drowned out by its noisy rhetoric. The immediate effect of the publication was to confirm Day-Lewis’s standing as one of the revolutionary young poets of the “Auden group,” though the poet’s own efforts to sing the joys of such comradeship are rather embarrassing—e.g., “Look west, Wystan, lone flyer, birdman, my bully boy!”
When he came to write his first book of critical prose, A Hope for Poetry (1934), Day-Lewis could fairly claim that the recent “boom” in poetry “has been connected in certain quarters with the names of Auden, Spender and myself.” Day-Lewis himself expressed only the modest hope that his generation might yet produce a poet with the stature of Yeats, the integrity of Hardy, or even the technique of de la Mare. The names are significant; A Hope for Poetry was a manifesto for the 1930s because it assumed the political correctness of communism, but its underlying aesthetic is more romantic than Marxist.
A Hope for Poetry begins with the observation that poetic revolutions are quite usual in English poetry and that they are not incompatible with the deepest reverence for certain “ancestors.” As ancestors for his own generation, Day-Lewis singles out Hopkins, Wilfrid Owen, and Eliot, who have given new life to poetry. The modern poet, though, faces special problems, for the growth of industrial civilization has cut him off from both the tradition and the kind of “compact, working social group” within which the heightened communication of poetry is possible. Invoking D.H. Lawrence’s analysis of the sickness of society, Day-Lewis argues that the poet needs a healthy society to function as a poet, which is why he is likely to be sympathetic to communism. It is the lack of a clearly defined audience which makes postwar poetry seem obscure, and it is the effort to substitute a small group of friends for the missing audience which accounts for the clubbiness and private jokes which some object to in the poetry of Day-Lewis and his friends. The poet must be faithful to himself and his own situation; he must not become a propagandist, and he cannot make himself over into a proletarian. The poet may, however, help call into being the new world through his “poetic vision,” whose nature it is “to perceive those invisible truths which are like electrons the basis of reality,” the effects of which we can sense by the almost physical response it elicits in us.
The claims Day-Lewis makes for poetry are more exalted than those he makes for communism. The role of communism in A Hope for Poetry is functional; it offers one way of creating a society in which the poet can recover his lost solidarity with his fellow men. It is natural, then, that when the claims of poetic truth and politics conflict, the poet must choose poetic truth. Communism does not appear as a social duty, and it is with a tone of regret that Day-Lewis observes that in a world of social conflict “the lyric irresponsibility of the artist is hard to achieve.” The limitations of Day-Lewis’s own social commitment are obvious, and his later withdrawal from political activism was not inconsistent with the aesthetic of A Hope for Poetry.
As A Hope for Poetry appeared, Day-Lewis was becoming more active in such left-wing endeavors as the Friends of the Soviet Union, and he was under increasing pressure to take the decisive step of joining the Communist party. In 1935 he did so, and for several years he was extremely active in party activities. Membership “gave me what from time to time I have needed—the sense of being part of a close community,” the kind of group described as necessary for poetry in A Hope for Poetry. As a bourgeois poet in a proletarian movement, Day-Lewis was subject to a certain amount of fraternal backbiting, but he did not change his critical position.
Joining the party did require a change in Day-Lewis’s career. In the spring of 1935, he had managed to get himself on the agenda of Cheltenham’s governing body by giving a talk on collective farming to a local group, an offense apparently more serious than writing revolutionary poetry and literary criticism. Although he had been retained on the staff, he could hardly become an open party member and expect to stay. Although he had a wife and two children to support, he resigned his position to become a free-lance writer.
Day-Lewis’s decision to become a full-time writer was eased by a contract from the publishing house of Jonathan Cape guaranteeing him £ 300 a year for three years to write novels. Earlier in 1935, he had had a detective novel, A Question of Proof, published under the pseudonym Nicholas Blake. He had written the book out of a fondness for detective fiction and the need to raise money to repair the roof of his cottage. On the basis of its success, his agent had persuaded Cape that Day-Lewis might become a popular serious novelist. The three resulting novels published under his own name—The Friendly Tree (1936), Starting Point (1937), and Child of Misfortune (1939)—did not confirm this estimate. Starting Point has some interest for its picture of life on the Left, but its politics are muddled and its tone excessively earnest.
Although Day-Lewis was not destined to become an important novelist, he was able to repeat the success of his detective novel. As Nicholas Blake, he became one of England’s most popular and well-regarded detective novelists, producing a book a year through 1941 and at a somewhat reduced rate in the years after World War II. His detective novels are still available in paperback, and he probably stands higher today among lovers of detective fiction than among lovers of poetry. The detective novels are simply better than his serious novels, displaying a wit and ingenuity not much found in any of Day-Lewis’s serious work. In a curious sort of way, his detective novels are also sometimes more personal than his poetry, drawing on areas of his experience hardly touched upon in his verse. According to Day-Lewis, his first such novel, whose schoolmaster hero “was having a love-affair with the golden-haired wife of the headmaster,” got him gossiped about in the village and denounced at a meeting of the school’s governing body. Although Day-Lewis was innocent of any such affair himself, it is worth noting that his most revolutionary verses never became indecorous enough to stir such reactions.
While 1935 marked only the beginning of Day-Lewis’s steps toward fame as a detective novelist, it may have been the highwater mark of his reputation as a poet. Hogarth Press brought out Collected Poems 1929-1933 (1935), which was also published with A Hope for Poetry by Random House in New York, the first of Day-Lewis’s volumes of poetry to achieve American publication. A new volume of verse, A Time to Dance and Other Poems (1935), received some respectful critical attention and sold notably better than his previous books. Nor was this favorable reception unearned, for the poems of A Time to Dance showed that Day-Lewis was still growing as a poet. This volume was his most successful to date in balancing his bourgeois romanticism with his proletarian politics.
While The Magnetic Mountain externalizes Day-Lewis’s internal conflicts through the defendants and enemies and ends by dismissing them without resolution, a number of the poems in A Time to Dance make poetry out of his dilemmas. The poet uses images of warfare to depict the conflict between the claims of past and future, “heir and ancestor,” in the poem “In Me Two Worlds.” In “The Conflict,” the poet sees himself as a bird of song caught in a conflict which allows for no neutrality—”only ghosts can live / Between two fires.” The most original of these poems, though its ballad manner derives from Auden, is “Johnny Head-in-the-Air.” In this poem, a crowd of travelers has come through harsh terrain to a mysterious crossroads, where the signpost is an electrified man, arms “stretched to the warring poles,” pointing east and west. To the right is fair but dying land, whose gold will make them ghosts; to the left is a harder road to a better world. They ask him to come down and join them, but he cannot do so while men are still kept apart, for he is “here to show/Your own divided heart.” The ballad rhythms give the tone a light air, desirable when the poet presents himself as a Christ figure, and the poem represents an advance in self-knowledge over The Magnetic Mountain.
The lyric sequence which gives its title to A Time to Dance is an elegy to L.P. Hedges, who had been a friend and colleague of Day-Lewis’s at Cheltenham. The poet’s grief over his friend’s death is somehow connected with his anger at a world in which workers can find no work and children starve. The guilt felt by the living appears in the poem as guilt toward those who have taken a firmer political stand than the poet. The most explicit connection made is between the poet’s need to find grounds for affirmation in the face of death and a sick society. His affirmations are most convincing in a long section devoted to a narrative of the flight of Pater and M’Intosh, two young Australian aviators in World War I who managed to fly back to Australia from England after the war in an obsolete aircraft. In this lyric the narrative provides a natural home for Day-Lewis’s familiar images of flight and journeys. Their heroism is a metaphor for the poet’s praise of his friend’s indomitable will; their brotherhood in the face of danger is a metaphor for the comradeship of the political struggle; their return home from the skies echoes hopes Day-Lewis had expressed in other poems for the poet as songbird or hawk. As individual lyrics, the poems of the “A Time to Dance” sequence vary from the effective to the embarrassing. Day-Lewis’s subsequent excisions have improved the average level of the verse; in downplaying the social dimensions of the poem, these revisions have also deprived the poem of much of its resonance and excitement.
Day-Lewis could not maintain the balance of poetry and politics found in A Time to Dance. His next book returned to the political allegory of The Magnetic Mountain. Noah and the Waters (1936) was begun as the basis for a choral ballet and evolved into an unstageable poetic drama. It represents Day-Lewis’s contribution to the efforts at revival of poetry for the theater as called for by Eliot and joined in by his coevals Auden, Spender, and Louis MacNeice. Even more static than Eliot’s Murder in the Cathedral (1935), Noah and the Waters gives little hint of the ingenuity in plot construction Day-Lewis was capable of in his detective fiction.
In this play the biblical flood waters become the rising waters of revolution, futilely opposed by the liberal-capitalist burgesses of the world. Noah, a burgess himself, nevertheless has the option of joining with the waters. The debate between the burgesses and the waters is mirrored by a debate between Noah’s own inner voices. In the end, Noah casts his lot with the waters and sets off on his ark.
Noah’s dilemma is Day-Lewis’s, and his final decision is like the poet’s decision to join the party. The principal difficulty is that the author loads the dice to the point where Noah’s decision seems the only possible one. The burgesses are objects of satire, and the waters are objects of admiration; the play is less concerned with presenting Noah’s dilemma than with justifying his decision. Since Day-Lewis had by no means resolved all of his own doubts in joining the party, those passages which affirm solidarity with the watery masses ring less true than those which lament the lost land, pillaged by townsfolk. One should note, however, that Noah cannot really become one with the waters, so that his escape to the ark is as much of a retreat to nature as it is a decision to join the struggle.
The true rising tide of the late 1930s was fascism. The poems of Overtures to Death and Other Poems (1938), Day-Lewis’s next volume, were written in years dominated by Mussolini’s attack on Ethiopia, Hitler’s march into the Rhineland, and Franco’s successes in the Spanish civil war. The party line became the Popular Front, and the death and destruction warned of in such monitory poems as “The Bombers” and “Newsreel” are the coming war. These two poems are among Day-Lewis’s most effective political lyrics, perhaps because he was more wholehearted in fearing the horrors of war than in praising the revolutionary violence anticipated in Noah and the Waters.
The longest political poem in this volume is “The Nabara,” a narrative of a sea fight in the Spanish civil war in which a fascist cruiser intercepted and destroyed a government flotilla bringing supplies to the Basques. The poem celebrates heroic self-sacrifice, sticking close to the action described and pointing the political moral only in the opening and closing passages. Like the account of the Australian aviators in “A Time to Dance,” the poem employs an epic hexameter line, with frequent variations for emphasis. In “The Nabara,” however, the poet keeps his distance from his subject, which does not have for him the symbolic connotations of flight; as a result, the rather flat narrative lines are not charged with the energy which heightens the impact of the earlier narrative. Such interest as “The Nabara” has come from the incident itself rather than any poetic transformation of it.
For Day-Lewis, the most significant death in this period may have been the death of his father in the summer of 1937. For the poet, this death brought feelings of guilt over their long estrangement, and he reports in The Buried Day that “For many years after my father’s death” he had recurring dreams about their broken relationship. A father’s death is also a son’s reminder of his own mortality, and this may help account for the personal tone of the death visions in Overtures to Death. The lyric sequence which gives its title to the volume had its origin in his father’s death and represents the poet’s own attempts to come to terms with death’s inevitable triumph. More directly than in From Feathers to Iron, the author’s personal reflections are placed in the context of a world in which death has all too many allies. At a personal level the poet cannot hope to defeat his grim antagonist—”the fight’s framed: for this I blame not you/But the absentee promoter.” For society, however, there is some hope in their battle with “your damned auxiliaries,” for “Our war is life itself and shall not fail.” It is this hope which makes personal death acceptable.
In the best poems of Overtures to Death the poet’s personal concerns and political commitments are united. Elsewhere in the volume, the poet’s divided will leads to poems animated by only part of his being—a political impulse in “The Nabara” and a lyric impulse in “Spring Song.” “Overtures to Death” itself is as good as anything in A Time to Dance, but the volume as a whole suggests retreat rather than continued growth.
In the years since his decision to join the party, Day-Lewis had taken his responsibilities as a party member seriously. He was in charge of political education for his local party group and did his best to lead his fellows through the intricacies of theories he barely understood himself. He passed out leaflets, spoke at public meetings, felt guilty over not going to fight in Spain, and served on committees of intellectuals formed to advance one or another good cause. He wrote essays reproaching intellectuals who had not come as far left as himself and defending himself against critics who felt that his own commitment was so far insufficient. In the summer of 1938 he abandoned both his party membership and his political activities.
Day-Lewis’s motives for leaving the party, like his reasons for joining, were more personal than political. Unlike those intellectuals who left the party earlier over the Moscow Trials or a little later over the Nazi-Soviet pact, Day-Lewis felt and expressed no dramatic revulsion from Communist theory or practice. The primary motive seems to have been the increasing incompatibility between his party work and his needs as a poet. In his autobiography, Day-Lewis cites an Edwin Muir review of Noah and the Waters as having forced him to see that his poetry was suffering from the time he devoted to politics, but the lyrics of A Time to Dance show that he was already aware of the conflict. Earlier in the 1930s, politics had given life to his verse. When it no longer seemed to be doing so, it was inevitable that Day-Lewis would choose poetry over politics.
Other, less rational elements may also have entered into Day-Lewis’s decision to leave the party. His father’s death, the approaching end of his novel contract, the defeat of his ambitions as a novelist and dramatist, his stalled career as a poet—all of these made him ready for new beginnings. In 1938 he and his wife sold their home in Cheltenham and purchased a house in the small village of Musbury in Devon. That a certain emotional restlessness lay behind this move and his abandonment of politics is suggested by Day-Lewis’s soon entering into a passionate love affair with Edna Elizabeth (“Billie”) Currall, a young married woman in Musbury. The openness with which he conducted this affair gave a great deal of pain to his wife. Day-Lewis himself speaks of it as “sowing my first wild oats—at the age of thirty-five.” A thinly disguised account of the affair can be found in his last Nicholas Blake novel, The Private Wound (1968).
The retreat to Musbury was also a retreat to nature worship. The most significant immediate poetic result of this was not in Day-Lewis’s own verse but in his translation of the Georgics of Virgil (1940). Like the other public-school poets of his generation, Day-Lewis had grown up with Virgil’s verses drummed into his ear, and the modified epic line he used in “The Nabara” and portions of “A Time to Dance” comes from Virgil. The nostalgic escapism of Virgil’s hymns to the countryside in the Georgics was well suited to Day-Lewis’s mood. As a translator of Virgil—he later translated The Aeneid (1952) and The Eclogues (1963)—he suffers somewhat from his own lack of natural musicality, but his identification with the original makes the Georgics a satisfying translation.
Day-Lewis moved to Musbury in the year of Munich, and World War II came the following year, but the war had relatively little effect on either Musbury or Day-Lewis’s poetry. His next major collection was Word Over All (1943), which incorporated the handful of verses published earlier as Poems in Wartime (1940). Those few poems which deal directly with wartime subjects are wholly conventional. There is no reason to doubt the patriotic sincerity of poems such as “Watching Post” and “Lidice,” but they express widely shared sentiments rather than the poet’s own unique feelings. Properly proud of his countrymen and enraged by the enemy, the poet does not make the kind of linkages which give life to his best poetry in the 1930s. His patriotism is in a separate compartment from his own pride as a man and a poet; he cannot recognize the enemy as his darker self; and so the war remains a thing apart from the turmoil in the poet’s own life.
The poet was doing his best to create such turmoil, displaying in his romantic life the “lyric irresponsibility” he had praised in A Hope for Poetry and the artistic ruthlessness not always applied to his verse. He ended his affair with Mrs. Currall on a graceless note and soon began a long affair with the novelist Rosamond Lehmann, to whom Word Over All was dedicated. His wife did not believe in divorce, and for many years the poet was divided between his home and times spent with Rosamond Lehmann. His situation found vent in love lyrics and poems of marital discord, but these are timeless topics. Although his autobiography attributes his affair with Mrs. Currall partly to the “desparate irresponsibility and the fatalism which had been in the air since Munich,” the shadow of Munich does not fall across his love lyrics; although his autobiography’s only reference to his affair with Rosamond Lehmann speaks of “a heart at war with itself,” the war seems far away in his poems.
The closest Day-Lewis comes in Word Over All to making the connection between himself and the larger world is in a sequence of nine sonnets, “O Dreams, O Destinations.” A meditation on the child’s fall into a world of time, this sequence combines in its seventh sonnet the imagery of war and journeys to speak of man’s fight for wholeness. The poem returns, however, to more abstract concerns and to imagery which might have been used by any poet in the past three centuries.
Of all the poets of the 1930s, Day-Lewis had been the most deeply engaged in politics, but he shared the general failure of the 1930s poets to make poetic sense of the war they had warned against. The war scarcely appears in Poems 1943-1947 (1948); this volume is preoccupied with his own marital situation. His models are no longer his contemporaries but late Victorians such as George Meredith and Thomas Hardy, but his poems of marriage do not attempt the sustained analysis of Meredith’s Modern Love, and nothing in the volume approaches Hardy’s attempts to make sense of history in Hardy’s The Dynasts. As personal lyrics, a number of these poems are attractive, as are many of the Georgian lyrics they rather resemble. For a poet of Day-Lewis’s initial promise, though, such poems are emblems of defeat. In one of the volume’s long poems, “New Year’s Eve,” the poet says that his “todays are / Repetitive, dull, disjointed”; he can only “practise them over and over / Like a five-finger exercise” in hopes that passion will one day redeem them and bring harmony to his life. The grander hopes of the 1930s are gone.
The most ambitious of Day-Lewis’s postwar poems is An Italian Visit (1953), a lyric sequence in seven parts evidently inspired by a trip to Italy several years earlier with Rosamond Lehmann, to whom one of the poem’s sections is dedicated. Like most journeys in Day-Lewis’s work, this one is intended to be a voyage of self-discovery and self-renewal. The poem opens with a “Dialogue at the Airport” among the poet’s various selves. Sensual Tom will grasp at the sensations of the present; the romantic Dick will look for lessons from the past; and the intellectual Harry will seek a better future. Their “Flight Toward Italy” is thus a flight toward rebirth. After posting a “Letter from Rome,” the tourist takes a “Bus to Florence.” The fifth section, “Florence: Works of Art,” includes a set of parodies in which Thomas Hardy, William Butler Yeats, Robert Frost, W.H. Auden, and Dylan Thomas respond to famous Renaissance masterpieces. In “Elegy Before Death: At Settignano,” the poet imagines his loved companion dead and writes his praises, renewing his love. Flying home in “The Homeward Prospect,” Tom, Dick, and Harry react in characteristic ways to their visit, each finding reasons to praise Italy.
An Italian Visit suggests at times the traveler’s poetry of Auden and MacNeice’s Letters from Iceland, especially in the chatty “Letter from Rome.” As a pleasant travel diary in verse, it has some charm, but the tourist impressions are insufficiently assimilated by the poem’s efforts to say something about the nature of art and love. The backbiting and chitchat of Tom, Dick, and Harry goes on too long for the amount of amusement it affords, and the visit brings no real reconciliation of these differing selves. The circular character of the poem’s movement made it an appropriate close for Day-Lewis’s Collected Poems (1954), for the poet’s career had brought him back to the divided self he had sought to overcome in Transitional Poem and back to the poetic influences he had left behind with that poem.
When Day-Lewis’s wife finally agreed to a divorce in 1951, he quickly married again. His bride was not Rosamond Lehmann but Jill Balcon, a young BBC actress. They had met at a poetry reading in 1948, met again by accident in 1949, and become lovers in 1950. Settling down to renewed domesticity with his new wife, Day-Lewis led a more tranquil life in his last two decades.
Day-Lewis’s reputation as a poet declined fairly steadily in the postwar years, at least among poets and literary critics. This decline did not keep him from becoming increasingly respectable as a poet. In the postwar years, Day-Lewis received the kind of academic and official laurels reserved for poets who live long enough to be regarded as tamed. At Cambridge, he gave the Clark Lectures in 1946-1947; at Oxford, he was made professor of Poetry in 1951; and at Harvard, he gave the Charles Eliot Norton lectures for 1964-1965. In 1968 he was made poet laureate of England. His Clark Lectures were published as The Poetic Image (1947) and his Harvard lectures as The Lyric Impulse (1965). Both volumes preach the only faith left to Day-Lewis, a romantic faith in poetry itself. The poem as an “image” creates order and harmony out of our jumbled perceptions of a disordered world; the “lyric” impulse is a spontaneous welling-up of song, which must, however, be contained by form. Neither volume has much original to say; their interest lies in Day-Lewis’s incidental comments, as a practicing poet, on his predecessors and on his own poetry.
So completely was Day-Lewis now the poet that many of his better poems in his later volumes are reflections on the nature of poetry. Poetry is the subject, for example, of the title poems of his three collections after Collected Poems: Pegasus and Other Poems (1957), The Gate and Other Poems (1962), and The Room and Other Poems (1965). In “Pegasus” the poet masters the poem with the golden bridle, which is both the gift of the gods and a kind of discipline—the image recurs in both The Lyric Impulse and The Poet’s Way of Knowledge (1957), a pamphlet reprinting a lecture delivered at Cambridge. “The Gate” gives order to the world it separates. And in “The Room,” the poet finds a world in retreating into his room of self.
Day-Lewis’s own retreats into memories are another frequent topic in his later poetry, particularly in his last volume, The Whispering Roots (1970). His most important prose work of the postwar years is his autobiography, The Buried Day (1960), which is at its best in its account of his childhood; it is highly selective in dealing with his life in the 1930s, and it ends altogether in about 1940.
Day-Lewis may have had prudential reasons for ending his autobiography in 1940, but for many critics he ceased to be a poet of any real interest at about that time. The poet himself may have shared that feeling at times, for he says of himself that he was in all ways “fated to be a good starter but a poor finisher.” It seems probable that his leftist verse of the 1930s was overrated because it suited the fashion of the times, and it may be that his neo-Georgian verse of later decades has been underrated because it did not suit the dominant fashions then. It is hard, however, to disagree with the consensus that holds that his verse of the 1930s has a vitality and complexity which makes it superior to his later work. The lyric impulse he valued is present in his later poetry, but the golden bridle of poetic form is applied too strictly and proves more of a burden than the ideological baggage carried by his poetry in the 1930s.
In the years since his death, Day-Lewis has not been the object of much independent critical attention. When his work is discussed at all, it is as part of the work of the Auden group or of the 1930s as a period. Given the almost universal critical tendency to neglect minor figures and to exaggerate the gap between their work and that of “major” poets, it seems likely that Day-Lewis’s reputation will continue to be linked with that of Auden and the Auden generation. It would take a major revolution in critical taste to win any kind of recognition for his later poetry.
The roots of Day-Lewis’s vocation and inhibitions as a poet lie in his childhood. He was born in Ireland of Anglo-Irish parents; the family name had originally been Day, but his grandfather added the surname of an uncle and called himself Day-Lewis. The poet’s inverted snobbery in dropping the hyphen in his name on his publications (beginning in 1927) has been a source of trouble for librarians and bibliographers ever since. The family moved to Malvern, Worcestershire, in 1905 and to Ealing, West London, in 1908, when the poet was four years old. His mother died soon after the move, leaving Day-Lewis, an only child, to bear the full brunt of his father’s love and need for love, mixed with unpredictable spurts of paternal discipline. The father was a clergyman, and it was assumed that Day-Lewis would follow in his steps. Educated at home until he was eight, he says in his autobiography, The Buried Day (1960), that he began by writing verses, “short stories and sermons with a fine impartiality.” It was an atmosphere of high expectations and high demands, and Day-Lewis’s later memories of it seem dominated by guilt over his failure to meet the expectations and his inability to respond to the emotional demands.
Day-Lewis’s account of his schooling is dominated by a pattern of early promise followed by failure and disappointment. At his first school, Wilkie’s in London, he began well but was humiliated by repeated failures to pass the Mathematics Certificate.At Sherborne School in Dorset, which he entered in 1917, he rose to be head boy in his house but had to stay on an extra year after failing in his first attempt to secure a university scholarship. At Wadham College, Oxford, he found himself less and less able to concentrate on his studies, ending, he said later, with “A fourth in Greats—and it is a mystery to me why the examiners did not fail me altogether.” Day-Lewis may have somewhat exaggerated this pattern in the interest of heightening the contrast of his eventual return to Oxford as elected Professor of Poetry in 1951—he actually secured a third in Greats—but the pattern seems real enough.
The disappointments of his academic career encouraged him to seek other ways of gaining self-esteem. At Sherborne he was active in sports and in singing, interests which he retained through life. His chief consolation, however, was a romantic image of himself as a poet, and at Oxford this identity was confirmed, though with many variations based on changing ideas of just what a poet should be. In 1925, he took a £ 25 legacy and paid for the publication of his first volume of verse, Beechen Vigil and Other Poems. He says in The Buried Day that “The publication of this book, and the inclusion of two of my poems in Oxford Poetry 1925 were quite enough to assure a young man with a temperament as sanguine as mine that he was a poet of accepted achievement,” though he continued to have difficulty in persuading anyone else to publish his verse. A second collection of undergraduate poems, Country Comets, was not published until 1928.
The tendency toward Georgian nature verse suggested by the title of Beechen Vigil reflects both the derivative character of Day-Lewis’s early verse and the possible influence of his first deep love, Mary King. Two years older than Day-Lewis, she was the daughter of one of the masters at Sherborne, part of a large family in which Day-Lewis found a surrogate household that partially compensated for his increasing alienation from his father and the stepmother his father married in 1921. Mary King was a “nature-worshipper” then, and Day-Lewis “took up nature worship because it was a poetic thing and because it would bring me closer to Mary.” Thus awakened, his love of nature soon became quite sincere, though the resulting poems are poor. Getting closer to Mary King proved more difficult. Theirs had begun as a brother-sister relationship, and Day-Lewis’s feelings were transformed into romantic love several years before his importunities persuaded her to yield her love to him. They were finally married during the Christmas holidays in 1928.
Country Comets (1928) is a somewhat more mature volume than its predecessor, with lyrics which reflect his love for Mary and his philosophical studies at Oxford. It is, however, clearly a volume of juvenilia, and Day-Lewis was justified in excluding the poems in both Beechen Vigil and Country Comets from later collections of his verse.
In his last year at Oxford, Day-Lewis met and came under the influence of Wystan Hugh Auden, whose ideas were to transform Day-Lewis’s poetry for the next decade. Like many others, he was fascinated by Auden’s restless energy, formidable intelligence, and air of authority. Auden and Day-Lewis served as joint editors of Oxford Poetry 1927, for which they wrote a manifesto-like preface, which combines dogmatic overstatement and burlesque in ways that make it clear that Auden was the dominant partner. Tossing together ideas from Eliot, the new psychology, and socialism, they call for a new kind of poetry whose exact lineaments are hard to discern in their prose.
Day-Lewis’s own ideas about the shape of the new poetry are embodied in Transitional Poem (1929). Most of this volume was written during the winter of 1927-1928, when he was teaching at Summer Fields, a preparatory school in Oxford. It is a lyric sequence organized into four parts and utilizing a variety of stanza forms; when first published, it was accompanied by learned and not terribly useful notes in the manner of T.S. Eliot’s notes to The Waste Land. The unity of the whole and of each part is thematic rather than narrative, and the volume does not so much develop a theme as circle around it. In his notes, Day-Lewis identifies the theme as the pursuit of wholeness. The various parts, he says, take up in turn the metaphysical, ethical, psychological, and aesthetic aspects of this pursuit.
Transitional Poem is a remarkable advance on Day-Lewis’s two previous volumes, and it is, in part, a celebration of his progress to maturity as a poet. The opening lines announce that the poet has “come to reason / And cast my schoolboy clout,” and part two opens with the declaration that “It is becoming now to declare my allegiance.” His “allegiance” is given to those who have helped him find his way: to Mary; to his friend Rex Warner; to an older woman friend who had helped him through some of the difficult passages of adolescence; and to Auden. New poetic allegiances, to Eliot and to Auden, coexist with the older models evident in such lines as “Or as the little lark/Who veins the sky with song.”
Looking back on Transitional Poem in his memior The Buried Day, Day-Lewis describes it with some amusement as “a relentlessly and unexpectedly highbrow poem.” Part one presents man as cut off from nature, which he must somehow reduce to order through words. In part two, the poet is torn one way and another by desires, ambitions, love of knowledge, and love of nature—a conflict more difficult to resolve in a world from which the old certitudes have flown. The lyrics of part three rehearse the same dilemmas, while part four offers hints, if nothing more, that the poet may be able to live with, if not resolve, the antinomies of his existence.
Despite its intellectual pretensions, Transitional Poem is in many respects a love poem to the poet’s wife-to-be. Much of its interest derives from the collision of its conventional romantic sentiments with the ideas Day-Lewis was struggling to make his own. One lyric, for example, begins with memories of a time when “Her beauty walked the page / And it was poetry,” but ends with the admission “that beauty is / A motion of the mind.” The confusions and contradictions which the verse mirrors make acceptable the frequent awkwardness of the rhythms.
The most clearly innovative aspect of Transitional Poem is its imagery, which at its best can blend the modern and scientific with the traditional and poetic, as in “I think love’s terminals/Are fixed in fire and wind.” In using imagery drawn from the modern urban world, Day-Lewis was following the examples of Eliot and Auden, but such imagery acquires a special savor when used to express Day-Lewis’s own romantic sensibility. Despite the derivative character of his ideas and manner, Transitional Poem is the volume of a poet with a distinctive voice. Its acceptance by Leonard and Virginia Woolf at the Hogarth Press marked Day-Lewis as a poet to be reckoned with as the 1930s opened.
Day-Lewis had now achieved some of that recognition as a poet which he had long craved, but poetry was not a career on which he could expect to support his new wife. His mediocre results at Oxford did not open many doors to him, but friends secured him a series of posts as a schoolmaster. He entered the teaching profession with a sense of defeat and a positive distaste for the work he was entering upon. After a year at Summer Fields, he found a new post as a master at Larchfield School in Helensburgh, Dunbartonshire, Scotland. He left Larchfield in 1930—his successor was Auden—and moved to Cheltenham Junior School, Gloucestershire, “a highly conventional public school,” where he never felt entirely at home, despite making one or two close friends on the staff. Although he came to have a better feeling toward his work as a teacher and to feel some affection for his young charges, Day-Lewis continued to define himself as a poet. One of his superiors found the mildly erotic implications of some lyrics in Transitional Poem disturbing, and not everyone at Cheltenham was happy with Day-Lewis’s increasing, quite open Marxism.
The poet found no inspiration in his teaching. Instead, his next volume, From Feathers to Iron (1931), is a lyric sequence inspired by the birth of his first son. The birth itself is the climax of the volume; most of the lyrics are meditations by the poet or poems addressed to his wife or the unborn child. The first four lyrics introduce the metaphor of the journey; it is the child’s journey toward life, but it resolves into an image of his parents’ sexual love. Their union “is love’s junction, no terminus,” for it will engender life. The coming child means a new journey for his parents, who have been “Two years marooned on self-sufficiency.” The father-to-be is no longer fully part of the process, however; he pauses on “the frontier,” where he must “wait between two worlds,” between “conception and fruition.” The father’s mind is on his unborn child, who must come from the feathery world of the womb to an iron material world. He wonders what sort of world the child will find or help to build. The time passes slowly, but at last the child is born, and the father can invite him to “Come out into the sun!” He issues the same invitation to the world at large, that they might celebrate this birth. The volume ends with “Epilogue: Letter to W.H. Auden,” which again summons up the imagery of journey and exploration, this time applied to the poet’s task.
In his autobiography, Day-Lewis says that in writing From Feathers to Iron, “I found that my own excitements and apprehensions linked up quite spontaneously with a larger issue—the struggle and joy in which our new world should be born—and derived strength from it, so that I could use naturally for metaphors or metaphysical conceits the apparatus of the modern world, the machinery which, made over for the benefit of all, could help this world to rebirth.” Earlier, in A Hope for Poetry (1934), Day-Lewis indicated that he was “quite unconscious” of some of the poem’s political implications and complained that “the critics, almost to a man, took it for a political allegory; the simple, personal meaning evaded them.” From Feathers to Iron is certainly not a political allegory; even political imagery is relatively rare in this volume. Nevertheless, Day-Lewis’s growing political commitment is part of the background of the poem, and the poem’s strength is that the birth of his son evoked from the poet verses which pull together all that mattered most to him at that time.
From Feathers to Iron was an important book for Day-Lewis as a poet. Held together by a simple narrative line, it had the kind of unity Transitional Poem only sought. The influence of Auden is apparent, but seems healthy—stiffening Day-Lewis’s rhythms and sharpening his diction. When his work appeared the next year alongside that of Auden and Stephen Spender in the New Signatures (1932) anthology, edited by Michael Roberts, it bore the comparison surprisingly well, and the legend of an Auden/Spender/Day-Lewis “group” was born.
Day-Lewis may not have intended From Feathers to Iron as a political allegory, but his next volume, The Magnetic Mountain (1933), is just that. The mountain itself is a rather cloudy symbol of an ideal world which lies just beyond the horizon, the promise of a new beginning and of a new world in which body and spirit can be as one. The volume celebrates the mountain’s attraction for the pure of heart in thirty-six lyrics, arranged in four parts. In part one the poet summons his readers to join him on the difficult journey but says that he himself is “taking a light engine back along the line/For a last excursion, a tour of inspection.” This tour takes up the next two parts of the poem. In part two, four defendants speak on behalf of the old world and its values of nature, schooling, church, and domesticity; each is dismissed with a lyric of rebuke—responses anticipated by the sonnet of prejudgment which opens this section of the volume. In part three, we hear from four enemies of the quest, speaking on behalf of sensuality, journalism, science, and poetry itself, and their temptations are rejected. Part four rounds off the poem, not with an account of the journey, but with a miscellaneous group of lyrics celebrating the new world to come and inviting the reader to turn to its promise.
The merits of The Magnetic Mountain are mainly structural. It has an oddly static structure for a poem which says so much about journeys, but the sequence does not fall apart into separate lyrics until the last section. The middle sections are given unity by the use of the defendants and enemies. The influence of Auden is apparent throughout the poem and is a mixed blessing. Rhythmically, Day-Lewis is often most effective when borrowing from Auden, particularly in lines like “Consider these, for we have condemned them” or “You who go out alone, on tandem or on pillion.” Day-Lewis’s attempts to capture Auden’s jocular tone, however, show that he lacked Auden’s natural high spirits and talent for light verse.
In retrospect, any comparison of The Magnetic Mountain with From Feathers to Iron is bound to suggest that Day-Lewis was better at writing political allegories when he was not conscious of doing so. In The Magnetic Mountain, the political concerns which had given depth to its predecessor overwhelm the poem. Although epigraphs chosen from William Blake, D.H. Lawrence, and Gerard Manley Hopkins suggest that the allegory might have had more than purely political significance, other meanings tend to be drowned out by its noisy rhetoric. The immediate effect of the publication was to confirm Day-Lewis’s standing as one of the revolutionary young poets of the “Auden group,” though the poet’s own efforts to sing the joys of such comradeship are rather embarrassing—e.g., “Look west, Wystan, lone flyer, birdman, my bully boy!”
When he came to write his first book of critical prose, A Hope for Poetry (1934), Day-Lewis could fairly claim that the recent “boom” in poetry “has been connected in certain quarters with the names of Auden, Spender and myself.” Day-Lewis himself expressed only the modest hope that his generation might yet produce a poet with the stature of Yeats, the integrity of Hardy, or even the technique of de la Mare. The names are significant; A Hope for Poetry was a manifesto for the 1930s because it assumed the political correctness of communism, but its underlying aesthetic is more romantic than Marxist.
A Hope for Poetry begins with the observation that poetic revolutions are quite usual in English poetry and that they are not incompatible with the deepest reverence for certain “ancestors.” As ancestors for his own generation, Day-Lewis singles out Hopkins, Wilfrid Owen, and Eliot, who have given new life to poetry. The modern poet, though, faces special problems, for the growth of industrial civilization has cut him off from both the tradition and the kind of “compact, working social group” within which the heightened communication of poetry is possible. Invoking D.H. Lawrence’s analysis of the sickness of society, Day-Lewis argues that the poet needs a healthy society to function as a poet, which is why he is likely to be sympathetic to communism. It is the lack of a clearly defined audience which makes postwar poetry seem obscure, and it is the effort to substitute a small group of friends for the missing audience which accounts for the clubbiness and private jokes which some object to in the poetry of Day-Lewis and his friends. The poet must be faithful to himself and his own situation; he must not become a propagandist, and he cannot make himself over into a proletarian. The poet may, however, help call into being the new world through his “poetic vision,” whose nature it is “to perceive those invisible truths which are like electrons the basis of reality,” the effects of which we can sense by the almost physical response it elicits in us.
The claims Day-Lewis makes for poetry are more exalted than those he makes for communism. The role of communism in A Hope for Poetry is functional; it offers one way of creating a society in which the poet can recover his lost solidarity with his fellow men. It is natural, then, that when the claims of poetic truth and politics conflict, the poet must choose poetic truth. Communism does not appear as a social duty, and it is with a tone of regret that Day-Lewis observes that in a world of social conflict “the lyric irresponsibility of the artist is hard to achieve.” The limitations of Day-Lewis’s own social commitment are obvious, and his later withdrawal from political activism was not inconsistent with the aesthetic of A Hope for Poetry.
As A Hope for Poetry appeared, Day-Lewis was becoming more active in such left-wing endeavors as the Friends of the Soviet Union, and he was under increasing pressure to take the decisive step of joining the Communist party. In 1935 he did so, and for several years he was extremely active in party activities. Membership “gave me what from time to time I have needed—the sense of being part of a close community,” the kind of group described as necessary for poetry in A Hope for Poetry. As a bourgeois poet in a proletarian movement, Day-Lewis was subject to a certain amount of fraternal backbiting, but he did not change his critical position.
Joining the party did require a change in Day-Lewis’s career. In the spring of 1935, he had managed to get himself on the agenda of Cheltenham’s governing body by giving a talk on collective farming to a local group, an offense apparently more serious than writing revolutionary poetry and literary criticism. Although he had been retained on the staff, he could hardly become an open party member and expect to stay. Although he had a wife and two children to support, he resigned his position to become a free-lance writer.
Day-Lewis’s decision to become a full-time writer was eased by a contract from the publishing house of Jonathan Cape guaranteeing him £ 300 a year for three years to write novels. Earlier in 1935, he had had a detective novel, A Question of Proof, published under the pseudonym Nicholas Blake. He had written the book out of a fondness for detective fiction and the need to raise money to repair the roof of his cottage. On the basis of its success, his agent had persuaded Cape that Day-Lewis might become a popular serious novelist. The three resulting novels published under his own name—The Friendly Tree (1936), Starting Point (1937), and Child of Misfortune (1939)—did not confirm this estimate. Starting Point has some interest for its picture of life on the Left, but its politics are muddled and its tone excessively earnest.
Although Day-Lewis was not destined to become an important novelist, he was able to repeat the success of his detective novel. As Nicholas Blake, he became one of England’s most popular and well-regarded detective novelists, producing a book a year through 1941 and at a somewhat reduced rate in the years after World War II. His detective novels are still available in paperback, and he probably stands higher today among lovers of detective fiction than among lovers of poetry. The detective novels are simply better than his serious novels, displaying a wit and ingenuity not much found in any of Day-Lewis’s serious work. In a curious sort of way, his detective novels are also sometimes more personal than his poetry, drawing on areas of his experience hardly touched upon in his verse. According to Day-Lewis, his first such novel, whose schoolmaster hero “was having a love-affair with the golden-haired wife of the headmaster,” got him gossiped about in the village and denounced at a meeting of the school’s governing body. Although Day-Lewis was innocent of any such affair himself, it is worth noting that his most revolutionary verses never became indecorous enough to stir such reactions.
While 1935 marked only the beginning of Day-Lewis’s steps toward fame as a detective novelist, it may have been the highwater mark of his reputation as a poet. Hogarth Press brought out Collected Poems 1929-1933 (1935), which was also published with A Hope for Poetry by Random House in New York, the first of Day-Lewis’s volumes of poetry to achieve American publication. A new volume of verse, A Time to Dance and Other Poems (1935), received some respectful critical attention and sold notably better than his previous books. Nor was this favorable reception unearned, for the poems of A Time to Dance showed that Day-Lewis was still growing as a poet. This volume was his most successful to date in balancing his bourgeois romanticism with his proletarian politics.
While The Magnetic Mountain externalizes Day-Lewis’s internal conflicts through the defendants and enemies and ends by dismissing them without resolution, a number of the poems in A Time to Dance make poetry out of his dilemmas. The poet uses images of warfare to depict the conflict between the claims of past and future, “heir and ancestor,” in the poem “In Me Two Worlds.” In “The Conflict,” the poet sees himself as a bird of song caught in a conflict which allows for no neutrality—”only ghosts can live / Between two fires.” The most original of these poems, though its ballad manner derives from Auden, is “Johnny Head-in-the-Air.” In this poem, a crowd of travelers has come through harsh terrain to a mysterious crossroads, where the signpost is an electrified man, arms “stretched to the warring poles,” pointing east and west. To the right is fair but dying land, whose gold will make them ghosts; to the left is a harder road to a better world. They ask him to come down and join them, but he cannot do so while men are still kept apart, for he is “here to show/Your own divided heart.” The ballad rhythms give the tone a light air, desirable when the poet presents himself as a Christ figure, and the poem represents an advance in self-knowledge over The Magnetic Mountain.
The lyric sequence which gives its title to A Time to Dance is an elegy to L.P. Hedges, who had been a friend and colleague of Day-Lewis’s at Cheltenham. The poet’s grief over his friend’s death is somehow connected with his anger at a world in which workers can find no work and children starve. The guilt felt by the living appears in the poem as guilt toward those who have taken a firmer political stand than the poet. The most explicit connection made is between the poet’s need to find grounds for affirmation in the face of death and a sick society. His affirmations are most convincing in a long section devoted to a narrative of the flight of Pater and M’Intosh, two young Australian aviators in World War I who managed to fly back to Australia from England after the war in an obsolete aircraft. In this lyric the narrative provides a natural home for Day-Lewis’s familiar images of flight and journeys. Their heroism is a metaphor for the poet’s praise of his friend’s indomitable will; their brotherhood in the face of danger is a metaphor for the comradeship of the political struggle; their return home from the skies echoes hopes Day-Lewis had expressed in other poems for the poet as songbird or hawk. As individual lyrics, the poems of the “A Time to Dance” sequence vary from the effective to the embarrassing. Day-Lewis’s subsequent excisions have improved the average level of the verse; in downplaying the social dimensions of the poem, these revisions have also deprived the poem of much of its resonance and excitement.
Day-Lewis could not maintain the balance of poetry and politics found in A Time to Dance. His next book returned to the political allegory of The Magnetic Mountain. Noah and the Waters (1936) was begun as the basis for a choral ballet and evolved into an unstageable poetic drama. It represents Day-Lewis’s contribution to the efforts at revival of poetry for the theater as called for by Eliot and joined in by his coevals Auden, Spender, and Louis MacNeice. Even more static than Eliot’s Murder in the Cathedral (1935), Noah and the Waters gives little hint of the ingenuity in plot construction Day-Lewis was capable of in his detective fiction.
In this play the biblical flood waters become the rising waters of revolution, futilely opposed by the liberal-capitalist burgesses of the world. Noah, a burgess himself, nevertheless has the option of joining with the waters. The debate between the burgesses and the waters is mirrored by a debate between Noah’s own inner voices. In the end, Noah casts his lot with the waters and sets off on his ark.
Noah’s dilemma is Day-Lewis’s, and his final decision is like the poet’s decision to join the party. The principal difficulty is that the author loads the dice to the point where Noah’s decision seems the only possible one. The burgesses are objects of satire, and the waters are objects of admiration; the play is less concerned with presenting Noah’s dilemma than with justifying his decision. Since Day-Lewis had by no means resolved all of his own doubts in joining the party, those passages which affirm solidarity with the watery masses ring less true than those which lament the lost land, pillaged by townsfolk. One should note, however, that Noah cannot really become one with the waters, so that his escape to the ark is as much of a retreat to nature as it is a decision to join the struggle.
The true rising tide of the late 1930s was fascism. The poems of Overtures to Death and Other Poems (1938), Day-Lewis’s next volume, were written in years dominated by Mussolini’s attack on Ethiopia, Hitler’s march into the Rhineland, and Franco’s successes in the Spanish civil war. The party line became the Popular Front, and the death and destruction warned of in such monitory poems as “The Bombers” and “Newsreel” are the coming war. These two poems are among Day-Lewis’s most effective political lyrics, perhaps because he was more wholehearted in fearing the horrors of war than in praising the revolutionary violence anticipated in Noah and the Waters.
The longest political poem in this volume is “The Nabara,” a narrative of a sea fight in the Spanish civil war in which a fascist cruiser intercepted and destroyed a government flotilla bringing supplies to the Basques. The poem celebrates heroic self-sacrifice, sticking close to the action described and pointing the political moral only in the opening and closing passages. Like the account of the Australian aviators in “A Time to Dance,” the poem employs an epic hexameter line, with frequent variations for emphasis. In “The Nabara,” however, the poet keeps his distance from his subject, which does not have for him the symbolic connotations of flight; as a result, the rather flat narrative lines are not charged with the energy which heightens the impact of the earlier narrative. Such interest as “The Nabara” has come from the incident itself rather than any poetic transformation of it.
For Day-Lewis, the most significant death in this period may have been the death of his father in the summer of 1937. For the poet, this death brought feelings of guilt over their long estrangement, and he reports in The Buried Day that “For many years after my father’s death” he had recurring dreams about their broken relationship. A father’s death is also a son’s reminder of his own mortality, and this may help account for the personal tone of the death visions in Overtures to Death. The lyric sequence which gives its title to the volume had its origin in his father’s death and represents the poet’s own attempts to come to terms with death’s inevitable triumph. More directly than in From Feathers to Iron, the author’s personal reflections are placed in the context of a world in which death has all too many allies. At a personal level the poet cannot hope to defeat his grim antagonist—”the fight’s framed: for this I blame not you/But the absentee promoter.” For society, however, there is some hope in their battle with “your damned auxiliaries,” for “Our war is life itself and shall not fail.” It is this hope which makes personal death acceptable.
In the best poems of Overtures to Death the poet’s personal concerns and political commitments are united. Elsewhere in the volume, the poet’s divided will leads to poems animated by only part of his being—a political impulse in “The Nabara” and a lyric impulse in “Spring Song.” “Overtures to Death” itself is as good as anything in A Time to Dance, but the volume as a whole suggests retreat rather than continued growth.
In the years since his decision to join the party, Day-Lewis had taken his responsibilities as a party member seriously. He was in charge of political education for his local party group and did his best to lead his fellows through the intricacies of theories he barely understood himself. He passed out leaflets, spoke at public meetings, felt guilty over not going to fight in Spain, and served on committees of intellectuals formed to advance one or another good cause. He wrote essays reproaching intellectuals who had not come as far left as himself and defending himself against critics who felt that his own commitment was so far insufficient. In the summer of 1938 he abandoned both his party membership and his political activities.
Day-Lewis’s motives for leaving the party, like his reasons for joining, were more personal than political. Unlike those intellectuals who left the party earlier over the Moscow Trials or a little later over the Nazi-Soviet pact, Day-Lewis felt and expressed no dramatic revulsion from Communist theory or practice. The primary motive seems to have been the increasing incompatibility between his party work and his needs as a poet. In his autobiography, Day-Lewis cites an Edwin Muir review of Noah and the Waters as having forced him to see that his poetry was suffering from the time he devoted to politics, but the lyrics of A Time to Dance show that he was already aware of the conflict. Earlier in the 1930s, politics had given life to his verse. When it no longer seemed to be doing so, it was inevitable that Day-Lewis would choose poetry over politics.
Other, less rational elements may also have entered into Day-Lewis’s decision to leave the party. His father’s death, the approaching end of his novel contract, the defeat of his ambitions as a novelist and dramatist, his stalled career as a poet—all of these made him ready for new beginnings. In 1938 he and his wife sold their home in Cheltenham and purchased a house in the small village of Musbury in Devon. That a certain emotional restlessness lay behind this move and his abandonment of politics is suggested by Day-Lewis’s soon entering into a passionate love affair with Edna Elizabeth (“Billie”) Currall, a young married woman in Musbury. The openness with which he conducted this affair gave a great deal of pain to his wife. Day-Lewis himself speaks of it as “sowing my first wild oats—at the age of thirty-five.” A thinly disguised account of the affair can be found in his last Nicholas Blake novel, The Private Wound (1968).
The retreat to Musbury was also a retreat to nature worship. The most significant immediate poetic result of this was not in Day-Lewis’s own verse but in his translation of the Georgics of Virgil (1940). Like the other public-school poets of his generation, Day-Lewis had grown up with Virgil’s verses drummed into his ear, and the modified epic line he used in “The Nabara” and portions of “A Time to Dance” comes from Virgil. The nostalgic escapism of Virgil’s hymns to the countryside in the Georgics was well suited to Day-Lewis’s mood. As a translator of Virgil—he later translated The Aeneid (1952) and The Eclogues (1963)—he suffers somewhat from his own lack of natural musicality, but his identification with the original makes the Georgics a satisfying translation.
Day-Lewis moved to Musbury in the year of Munich, and World War II came the following year, but the war had relatively little effect on either Musbury or Day-Lewis’s poetry. His next major collection was Word Over All (1943), which incorporated the handful of verses published earlier as Poems in Wartime (1940). Those few poems which deal directly with wartime subjects are wholly conventional. There is no reason to doubt the patriotic sincerity of poems such as “Watching Post” and “Lidice,” but they express widely shared sentiments rather than the poet’s own unique feelings. Properly proud of his countrymen and enraged by the enemy, the poet does not make the kind of linkages which give life to his best poetry in the 1930s. His patriotism is in a separate compartment from his own pride as a man and a poet; he cannot recognize the enemy as his darker self; and so the war remains a thing apart from the turmoil in the poet’s own life.
The poet was doing his best to create such turmoil, displaying in his romantic life the “lyric irresponsibility” he had praised in A Hope for Poetry and the artistic ruthlessness not always applied to his verse. He ended his affair with Mrs. Currall on a graceless note and soon began a long affair with the novelist Rosamond Lehmann, to whom Word Over All was dedicated. His wife did not believe in divorce, and for many years the poet was divided between his home and times spent with Rosamond Lehmann. His situation found vent in love lyrics and poems of marital discord, but these are timeless topics. Although his autobiography attributes his affair with Mrs. Currall partly to the “desparate irresponsibility and the fatalism which had been in the air since Munich,” the shadow of Munich does not fall across his love lyrics; although his autobiography’s only reference to his affair with Rosamond Lehmann speaks of “a heart at war with itself,” the war seems far away in his poems.
The closest Day-Lewis comes in Word Over All to making the connection between himself and the larger world is in a sequence of nine sonnets, “O Dreams, O Destinations.” A meditation on the child’s fall into a world of time, this sequence combines in its seventh sonnet the imagery of war and journeys to speak of man’s fight for wholeness. The poem returns, however, to more abstract concerns and to imagery which might have been used by any poet in the past three centuries.
Of all the poets of the 1930s, Day-Lewis had been the most deeply engaged in politics, but he shared the general failure of the 1930s poets to make poetic sense of the war they had warned against. The war scarcely appears in Poems 1943-1947 (1948); this volume is preoccupied with his own marital situation. His models are no longer his contemporaries but late Victorians such as George Meredith and Thomas Hardy, but his poems of marriage do not attempt the sustained analysis of Meredith’s Modern Love, and nothing in the volume approaches Hardy’s attempts to make sense of history in Hardy’s The Dynasts. As personal lyrics, a number of these poems are attractive, as are many of the Georgian lyrics they rather resemble. For a poet of Day-Lewis’s initial promise, though, such poems are emblems of defeat. In one of the volume’s long poems, “New Year’s Eve,” the poet says that his “todays are / Repetitive, dull, disjointed”; he can only “practise them over and over / Like a five-finger exercise” in hopes that passion will one day redeem them and bring harmony to his life. The grander hopes of the 1930s are gone.
The most ambitious of Day-Lewis’s postwar poems is An Italian Visit (1953), a lyric sequence in seven parts evidently inspired by a trip to Italy several years earlier with Rosamond Lehmann, to whom one of the poem’s sections is dedicated. Like most journeys in Day-Lewis’s work, this one is intended to be a voyage of self-discovery and self-renewal. The poem opens with a “Dialogue at the Airport” among the poet’s various selves. Sensual Tom will grasp at the sensations of the present; the romantic Dick will look for lessons from the past; and the intellectual Harry will seek a better future. Their “Flight Toward Italy” is thus a flight toward rebirth. After posting a “Letter from Rome,” the tourist takes a “Bus to Florence.” The fifth section, “Florence: Works of Art,” includes a set of parodies in which Thomas Hardy, William Butler Yeats, Robert Frost, W.H. Auden, and Dylan Thomas respond to famous Renaissance masterpieces. In “Elegy Before Death: At Settignano,” the poet imagines his loved companion dead and writes his praises, renewing his love. Flying home in “The Homeward Prospect,” Tom, Dick, and Harry react in characteristic ways to their visit, each finding reasons to praise Italy.
An Italian Visit suggests at times the traveler’s poetry of Auden and MacNeice’s Letters from Iceland, especially in the chatty “Letter from Rome.” As a pleasant travel diary in verse, it has some charm, but the tourist impressions are insufficiently assimilated by the poem’s efforts to say something about the nature of art and love. The backbiting and chitchat of Tom, Dick, and Harry goes on too long for the amount of amusement it affords, and the visit brings no real reconciliation of these differing selves. The circular character of the poem’s movement made it an appropriate close for Day-Lewis’s Collected Poems (1954), for the poet’s career had brought him back to the divided self he had sought to overcome in Transitional Poem and back to the poetic influences he had left behind with that poem.
When Day-Lewis’s wife finally agreed to a divorce in 1951, he quickly married again. His bride was not Rosamond Lehmann but Jill Balcon, a young BBC actress. They had met at a poetry reading in 1948, met again by accident in 1949, and become lovers in 1950. Settling down to renewed domesticity with his new wife, Day-Lewis led a more tranquil life in his last two decades.
Day-Lewis’s reputation as a poet declined fairly steadily in the postwar years, at least among poets and literary critics. This decline did not keep him from becoming increasingly respectable as a poet. In the postwar years, Day-Lewis received the kind of academic and official laurels reserved for poets who live long enough to be regarded as tamed. At Cambridge, he gave the Clark Lectures in 1946-1947; at Oxford, he was made professor of Poetry in 1951; and at Harvard, he gave the Charles Eliot Norton lectures for 1964-1965. In 1968 he was made poet laureate of England. His Clark Lectures were published as The Poetic Image (1947) and his Harvard lectures as The Lyric Impulse (1965). Both volumes preach the only faith left to Day-Lewis, a romantic faith in poetry itself. The poem as an “image” creates order and harmony out of our jumbled perceptions of a disordered world; the “lyric” impulse is a spontaneous welling-up of song, which must, however, be contained by form. Neither volume has much original to say; their interest lies in Day-Lewis’s incidental comments, as a practicing poet, on his predecessors and on his own poetry.
So completely was Day-Lewis now the poet that many of his better poems in his later volumes are reflections on the nature of poetry. Poetry is the subject, for example, of the title poems of his three collections after Collected Poems: Pegasus and Other Poems (1957), The Gate and Other Poems (1962), and The Room and Other Poems (1965). In “Pegasus” the poet masters the poem with the golden bridle, which is both the gift of the gods and a kind of discipline—the image recurs in both The Lyric Impulse and The Poet’s Way of Knowledge (1957), a pamphlet reprinting a lecture delivered at Cambridge. “The Gate” gives order to the world it separates. And in “The Room,” the poet finds a world in retreating into his room of self.
Day-Lewis’s own retreats into memories are another frequent topic in his later poetry, particularly in his last volume, The Whispering Roots (1970). His most important prose work of the postwar years is his autobiography, The Buried Day (1960), which is at its best in its account of his childhood; it is highly selective in dealing with his life in the 1930s, and it ends altogether in about 1940.
Day-Lewis may have had prudential reasons for ending his autobiography in 1940, but for many critics he ceased to be a poet of any real interest at about that time. The poet himself may have shared that feeling at times, for he says of himself that he was in all ways “fated to be a good starter but a poor finisher.” It seems probable that his leftist verse of the 1930s was overrated because it suited the fashion of the times, and it may be that his neo-Georgian verse of later decades has been underrated because it did not suit the dominant fashions then. It is hard, however, to disagree with the consensus that holds that his verse of the 1930s has a vitality and complexity which makes it superior to his later work. The lyric impulse he valued is present in his later poetry, but the golden bridle of poetic form is applied too strictly and proves more of a burden than the ideological baggage carried by his poetry in the 1930s.
In the years since his death, Day-Lewis has not been the object of much independent critical attention. When his work is discussed at all, it is as part of the work of the Auden group or of the 1930s as a period. Given the almost universal critical tendency to neglect minor figures and to exaggerate the gap between their work and that of “major” poets, it seems likely that Day-Lewis’s reputation will continue to be linked with that of Auden and the Auden generation. It would take a major revolution in critical taste to win any kind of recognition for his later poetry.
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… and most of all … the talkbacker-voices are stupid... they are very, very stupid.. and they are exquisite pawns in a game of chess....
https://www.youtube.com/watch?v=_FNuHxHgVUI&list=RD_FNuHxHgVUI&start_radio=1
.. when my sister.. Raja Raudsepp .. was abusing my younger brother Lauri.. and my mother .. Marga Anto.. defended her.. and refused to even let me use the word.. "vicious".. about this abuse.. then.. I never yelled or screamed at my mother.. Marga Anto... I never yelled or screamed at my mother.. "What kind of mother are you!!.. You are one shit mother!!...".. but maybe you are one shit mother would have meant.. e coli.. e coli.. e coli.. and it is the one thing my mother couldn't hear... $3... stochastic disturbance terms... paul dini / joe benitez poison ivy pamela isley kate moss... stochastic disturbance terms... $3....
Bruce Stock: … ".. please don't show me this... please don't show me this.. I can't know that about Raja.. I can't know that about Raja... "...
Thursday, June 25, 2020
Havok (Hanno Jason Leigh):... ".. you will never like Alison Blaire (Bridgette Marquardt).. I don't like Alison Blaire (Bridgette Marquardt).. I think she's a complete fucking asshole...".... $3... stochastic disturbance terms... paul dini / joe benitez poison ivy pamela isley kate moss... stochastic disturbance terms... $3....
Position Music - Realm Evolution.. is the quintessential, official music of.. Gal Godot:..".. I am reading about a man.. and he is Greg Rucka.. and Brianne will never get angry at this man.. because Brianne will never get angry at men.. and Brianne will never get angry at a single Talkbacker... "... $3.. stochastic disturbance terms.. paul dini / joe benitez poison ivy pamela isley kate moss... stochastic disturbance terms... $3...
Brianne:.. ".. Hanno Raudsepp.. you still don't know who the men are.. I was in court.. it's .. the judge at the beginning of Good Will Hunting.. of Will Hunting Matt Damon.. when he's in court for that schoolyard fight and he's defending himself.. Will Hunting Matt Damon is... the judge looks at the long, long, long, long, long list of Will Hunting Matt Damon's past felonies.. including Grand Theft Auto.... that Judge says in a seedy, grumbly-deep murmuring voice.. he says.. all this.. I don't care about all this stuff.. that's who the men are.. to me.."...
Position Music - Realm Evolution.. is also the quintessential, official music of...
Lois Lane (Victoria Brianne Hill):..".. hello.. house of representative member .. Mr. Kelley.. I want to talk to you about Jesse Drew.. he was a young boy.. he was younger than fifteen years old .. he was in a Canadian prison.. he died..."
Mr. Kelley (Ian McKellen):..-.. laughs -.. ".. oh.. I wondered when you'd hunt me down about that.."
Lois Lane (Victoria Brianne Hill):.. ".. why is that funny..."...
Mr. Kelley (Ian McKellen):..- his face falling in dismay -.."... well... if that's how your going to talk.. you can contact my press secretary.. ".. - he starts shuffling away....
Lois Lane (Victoria Brianne Hill):.. - shuffling around him with her microphone -... ".. Mr. Kelley.. I want to talk to you about the sexual abuse of native American girls on reservations.. "
Mr. Kelley (Ian McKellen):.. - trying to leave -..".. you can talk to my colleagues at the press office.."..
… $5... Cobb-Douglas function.... Neil Gaiman / Dave Mckean / Simone Bianchi Poison ivy pamela isley Angelina jolie Monica Bellucci.. Cobb-Douglas function... $5....
https://www.youtube.com/watch?v=_FNuHxHgVUI&list=RD_FNuHxHgVUI&start_radio=1
Position Music - Realm Evolution.. is also the quintessential, official music of...
Lois Lane (Victoria Brianne Hill):..".. hello.. house of representative member .. Mr. Kelley.. I want to talk to you about Jesse Drew.. he was a young boy.. he was younger than fifteen years old .. he was in a Canadian prison.. he died..."
Mr. Kelley (Ian McKellen):..-.. laughs -.. ".. oh.. I wondered when you'd hunt me down about that.."
Lois Lane (Victoria Brianne Hill):.. ".. why is that funny..."...
Mr. Kelley (Ian McKellen):..- his face falling in dismay -.."... well... if that's how your going to talk.. you can contact my press secretary.. ".. - he starts shuffling away....
Lois Lane (Victoria Brianne Hill):.. - shuffling around him with her microphone -... ".. Mr. Kelley.. I want to talk to you about the sexual abuse of native American girls on reservations.. "
Mr. Kelley (Ian McKellen):.. - trying to leave -..".. you can talk to my colleagues at the press office.."..
… $5... Cobb-Douglas function.... Neil Gaiman / Dave Mckean / Simone Bianchi Poison ivy pamela isley Angelina jolie Monica Bellucci.. Cobb-Douglas function... $5....
https://www.youtube.com/watch?v=_FNuHxHgVUI&list=RD_FNuHxHgVUI&start_radio=1
.. you don't even know what happens.. when the real Greg Rucka.. the Greg Rucka who wants clothed thirteen year old girls to kick half naked from the waist down.. 12-year old boys.. who wants these clothed thirteen year old girls.. to kick half-naked twelve year old boys in the testicles until they moan.. and that these twelve year old boys commit suicide.. while these thirteen year old girls live happy lives and become dominatrix's when they grow up.. you don't know what happens when the Greg Rucka who wants all this.. to happen.. again.. and again.. and again.. and again.. and again.. when the one role he wants to play.. is Loki.. the one person he wants to play that he MUST play.... he will castrate anyone else who plays him.. the one role he Greg Rucka must play.. is Loki.. is Loki.. is Loki.... $3... stochastic disturbance terms... paul dini / joe benitez poison ivy pamela isley kate moss... stochastic disturbance terms... $3....
Savanna Samson:.. ".. Hanno Raudsepp.. we are doing ygrek…"...
.. the enigma TNG - Death Dealer.. is the quintessential, official music of.. Havok (Hanno Jason Leigh):..".. Castrate Bruce Davison!!!...".. another post I'm never removing.. never ever EVER!!!!!.. EVEGHEHHRR!!!!....
.. the enigma TNG - Death Dealer.. is also the quintessential, official music of....
Hanno Raudsepp:..".. I am watching "X-Men 1", directed by Byran Singer.. in the movie theatre... I think in the year 1997.. and I am watching an actor.. an actor who is Bruce Davison.. trying ever so hard.. trying ever so very, very hard.. to play himself as a bad guy.. as a really really bad guy.. as someone just like bad guys.. in real life.. in real life.. and that's how he's playing.. Senator Walker.. or Senator Robert Kelley..."...
Bruce Davison:..".. thank you, Hanno Raudsepp... I mean it... for real.. and I am a very good actor.. and I am playing the fuddy-duddy.. and I am very, very aware that Rebecca Romijn is a very foolish woman.. that she is a fool.. that she is a fool.. that she is a fool.. I know exactly who I replaced in "X-Men 1", directed by Bryan Singer.. I replaced Emma Frost.. that's already past-tense.. written in the future.. engraven in future-stone... "...
.. $5... Cobb-Douglas Function... Neil Gaiman / Dave McKean / Simone Bianchi Poison ivy Pamela Isley Monica Bellucci Angelina Jolie.. Cobb-Douglas Function... $5....
https://www.youtube.com/watch?v=44tQqvXmaTU
Hanno Raudsepp:..".. I am watching "X-Men 1", directed by Byran Singer.. in the movie theatre... I think in the year 1997.. and I am watching an actor.. an actor who is Bruce Davison.. trying ever so hard.. trying ever so very, very hard.. to play himself as a bad guy.. as a really really bad guy.. as someone just like bad guys.. in real life.. in real life.. and that's how he's playing.. Senator Walker.. or Senator Robert Kelley..."...
Bruce Davison:..".. thank you, Hanno Raudsepp... I mean it... for real.. and I am a very good actor.. and I am playing the fuddy-duddy.. and I am very, very aware that Rebecca Romijn is a very foolish woman.. that she is a fool.. that she is a fool.. that she is a fool.. I know exactly who I replaced in "X-Men 1", directed by Bryan Singer.. I replaced Emma Frost.. that's already past-tense.. written in the future.. engraven in future-stone... "...
.. $5... Cobb-Douglas Function... Neil Gaiman / Dave McKean / Simone Bianchi Poison ivy Pamela Isley Monica Bellucci Angelina Jolie.. Cobb-Douglas Function... $5....
https://www.youtube.com/watch?v=44tQqvXmaTU
... the enigma TNG - Kathedral.. is the quintessential, official music of.. Nude Superwoman (Nude Savanna Samson) and Nude Alexandria Nell (Nude Sascha Renzscha) dancing nude together.. hip-hop style.. sob sob.. hip-hop style.. they are best-religious-buddies-for-life.. and they dance do the hip-strut and the boogie.. together.. all nude.. all nude.. all nude.. Troia (Tiffany fallon):..".. - sob.."..
.. the enigma TNG - Kathedral… is the quintessential, official music of...
holy spirit silver age Priscilla rich (kate moss):..".. please.. please.. sob .. please … headless horseman.. please don't make hanno raudsepp into a phantom.. sob.. please .. headless.. horseman.. headless horseman.. please.. make us all into phantoms instead..."...
https://www.youtube.com/watch?v=PP3oITgkS6M
holy spirit silver age Priscilla rich (kate moss):..".. please.. please.. sob .. please … headless horseman.. please don't make hanno raudsepp into a phantom.. sob.. please .. headless.. horseman.. headless horseman.. please.. make us all into phantoms instead..."...
https://www.youtube.com/watch?v=PP3oITgkS6M
.. the enigma TNG - Kathedral.. is the quintessential, official music of... Everest Raudsepp is a canny soul... Dracula (Gary Oldman):..".. ahh.. a veddy, veddy clever soul he is .. is Everest Raudsepp... a veddy, veddy, veddy clever soul.."... $3... stochastic disturbance terms... paul dini / joe benitez poison ivy pamela isley kate moss... stochastic disturbance terms... $3....
https://www.youtube.com/watch?v=PP3oITgkS6M
.. the first three minutes thirty seconds of.. evil music mix 10.. is the quintessential, official music of... Granny Goodness (Kathy Bates) vs.. a CGI creation of.. the filthy, vile, disgusting, physically beautiful, red-haired.. Gail Simone aka Giganta-5: a woman in black lingerie... ".. I'm gonna get you Gail Simone.. I'm gonna get you for what you did to Alexandria Nell (Sascha Renzcha)... Gail Simone in black lingerie.. you are one Giganta who dies screaming.. screaming out of your disgorged, disembowelled lower intestines... "... $3... stochastic disturbance terms... paul dini / joe benitez poison ivy pamela isley kate moss... stochastic disturbance terms... $3....
… the first three minutes thirty seconds of... evil music mix 10.. is also the quintessential, official music of..
Gail Simone just cancelled five years of issue #823 for a mass of crying, sobbing, weeping male producers sobbing and weeping for five whole years under quarantine..
.. for the paul dini / joe benitez poison ivy pamela isley kate moss...
… $5... Cobb-Douglas Function.. Neil Gaiman / Dave McKean / Simone Bianchi Poison ivy Pamela Isley Monica Bellucci Angelina Jolie... Cobb-Douglas Function... $5....
https://www.youtube.com/watch?v=v-K9ScyWjhQ
Gail Simone just cancelled five years of issue #823 for a mass of crying, sobbing, weeping male producers sobbing and weeping for five whole years under quarantine..
.. for the paul dini / joe benitez poison ivy pamela isley kate moss...
… $5... Cobb-Douglas Function.. Neil Gaiman / Dave McKean / Simone Bianchi Poison ivy Pamela Isley Monica Bellucci Angelina Jolie... Cobb-Douglas Function... $5....
https://www.youtube.com/watch?v=v-K9ScyWjhQ
.. the very, very, very first two minutes and 22 seconds.. of the movie.. "Shallow Grave", directed by Danny Boyle....
https://www.youtube.com/watch?v=Hi2qKjg2TVk
.. in the inwards of the above URL... "Kjg" for.. "Kilowag".. and.. 2TVK.. "2TV-K"... is self-explanatory....
.. in the inwards of the above URL... "Kjg" for.. "Kilowag".. and.. 2TVK.. "2TV-K"... is self-explanatory....
.. the trailer for "Shallow Grave" 1994.. but every single women who sees this movie should be completely nude when they see it.... $3... stochastic disturbance terms... paul dini / joe benitez poison ivy pamela isley kate moss... stochastic disturbance terms... $3.....
https://www.youtube.com/watch?v=xKrfUAho5as
… in the inwards of the above URL... "Krf" .. for Koffler.. Hanno Koffler… "UAho"... for.. "United Artists-ho"... and "5as".. for.. "Asa is five-years old" .. aka.. "5as"...
Nude Alexandria Nell (Nude Sascha Renzscha):..".. Today is the date of June the 24th.. a von Sweringen Oris and Mantis date..."..
… in the inwards of the above URL... "Krf" .. for Koffler.. Hanno Koffler… "UAho"... for.. "United Artists-ho"... and "5as".. for.. "Asa is five-years old" .. aka.. "5as"...
Nude Alexandria Nell (Nude Sascha Renzscha):..".. Today is the date of June the 24th.. a von Sweringen Oris and Mantis date..."..
.. the enigma TNG - Death Dealer... is the quintessential, official music of... Edgar Sussuro (Tom McCamus):..".. Jimmy Olsen and Danny Boyle must die.. the Countdown begins. Tonight. I'm building a shallow grave for both of them. I say that as a prospective member of the shallow-grave-gang.. myself... including my best religious-buddy... Psimon (Christopher Eccleston).. "... $3... stochastic disturbance terms... paul dini / joe benitez poison ivy pamela isley kate moss.... stochastic disturbance terms... $3...
https://www.youtube.com/watch?v=44tQqvXmaTU
Dark Cybergoth mix the enigma tng... is the quintessential, essential, official music of... you will never know what a motiveless malignancy actually is.. until you meet the paul dini / joe benitez poison ivy pamela isley (kate moss).. in the 15-hour "Gotham; chapter five", directed by Tim Burton and Chris Nolan...
Dark Cybergoth mix the enigma tng.. is also the quintessential, official music of..
.. the word.. "true".. means.. "razor"...
https://www.youtube.com/watch?v=q_hwqbhdQLI&t=160s
.. the word.. "true".. means.. "razor"...
https://www.youtube.com/watch?v=q_hwqbhdQLI&t=160s
Ghost in the shell - Inner Universe... is the quintessential, official music of.. Hanno Raudsepp:.. - teleporting for the very first time in his life.. into the phantom logarithm realm..-... ".. I WANT TO DIE.. I WANT TO DIE.. I WAGGHHGGHRNTT.. TO DIIIEE.. !!!!...".... Nude Alexandria Nell (Nude Sascha Renzcha):..".. it's okay.. Hanno Raudsepp.. it's okay.. shhhh.. I'm playing Bil.. the Norse, Scandanavia, Icelandic Goddes Bil.. nude bil .. nude bil.. nude sascha renzscha nude bil.. nude sascha renzscha nude bil.. you will die.. Hanno Raudsepp.. you will die.. you will die thirteen deaths.. then you will die a final fourteenth death.. in the role of the sacred Norse, Icelandic God Balder.. in a 9-hour.. "The Mighty Thor" movie directed by the director of.. the movie .."Anti-christ"... Lars von Trier.. Willem Defoe was in that movie.. in the movie.. "Anti-Christ".. I want you to love sonia..."... $3... stochastic disturbance terms... paul dini / joe benitez poison ivy pamela isley.. stochastic disturbance terms... $3.....
https://www.youtube.com/watch?v=dGyF-YMCLFI
.. the enigma TNG - Insanity Syndrome.. is the quintessential, official music of... Greg Sanders is a labyrinth... and he's been with us.. for all of 2019.. or even before.. or .. even.. before... $3... stochastic disturbance terms... paul dini / joe benitez poison ivy pamela isley kate moss... stochastic disturbance terms... $3...
https://www.youtube.com/watch?v=1zPga1CPli0
Two Steps from Hell - Vanquish.. is the quintessential, official, mystical, universal, archetypical music of... 11-year old embeth davidtz was a baby eleven years ago...
https://www.youtube.com/watch?v=e2YzLx2A2bc&list=RDVnPB_uOUPxI&index=2
.. two steps from hell - his brightest star is you.. is the quintessential, official music of.. I am Gal Godot.. I am the Gal Godot Diana Prince.. and I am the fully wardrobed Elizabeth Bathory who tortured sobbing naked little boys.. because so many of those sobbing naked little boys was.. a woman named Alexandria Nell.. and she was fully naked... but she wasn't sobbing.. she was giggling nude and laughing diabolically during the unspeakable things.. i was doing .. to her.. even worse than thing Leatherface has done in Texas chainsaw massacre movies.. and I know that she was the one who filmed and photoshopped and did special effects for every single one of these felsh flesh-mashing flesh-gravy nude of Alexandria Nell Sascha Renzscha... and.. it was - still me.. nonetheless...
https://www.youtube.com/watch?v=VnPB_uOUPxI&list=RDVnPB_uOUPxI&start_radio=1
.. the enigma TNG - beyond the stars.. is the quintessential, official music of... Nude Apollo (Hanno Jason Leigh) is god of Romance... and.. sob sob sob.. of the Romance Languages...
Nude Adrianna Anderson (Nude Winona Ryder):...".. today is the date of June the 25th..."...
https://www.youtube.com/watch?v=Bo9hmQYfnF8
https://www.youtube.com/watch?v=Bo9hmQYfnF8
Wednesday, June 24, 2020
Industrial Metal - the enigma TNG - Crying out.. is the quintessential, official music of.... Nude Themis.. bare bum nude Themis.. who is none other than the nude goddess.. of.. memory.. ?.. kenneth hamlet:..".. 'is it possible..?..".. Nude themis.. bare bum nude themis is goddess of memory of watthers of .. lethe..?.. -... and the date of June the 24th in the year 2020.. is her birthday.. the day she was birthed nude into the dream-realm world that we presently inhabit.. ?.... -.. and this day.. the day of June the 24th of the year 2020.. is the day of... two very grave, serious businessmen of hte the early, early 20th century.. the Sweringens.. Oris (Rufus Sewell)... and ... and Mantis (Kiefer Sutherlan).. like a praying mantis be he.. like a worshipfull preying matis be he.. a manta-ray kiefer.. a manta-ray kiefer... $3.. stochastic disturbance terms... paul dini / joe benitez poison ivy pamela isley hannah jason leigh kate moss hyacinth ryder... is a nude woman named adrianna anderson... a phantom nude woman.. a phantom nude woman... stochastic disturbance terms... $3...
.. industrial metal - the enigma TNG - Crying out.. is also the quintessential, official music of.... lex Luthor is a pagan earth mother... Lex Luthor is LL for .. LLL.. aka .. La Leche League.. La Leche Lex.. La Leche League...
… $5... Cobb-Douglas function... Neil Gaiman / Dave Mckean / Simone Bianchi Poison ivy Pamela Isley Angelina Jolie Monica Bellucci... Cobb-Douglas function... $5...
https://www.youtube.com/watch?v=m4MHbwpflDI
… $5... Cobb-Douglas function... Neil Gaiman / Dave Mckean / Simone Bianchi Poison ivy Pamela Isley Angelina Jolie Monica Bellucci... Cobb-Douglas function... $5...
https://www.youtube.com/watch?v=m4MHbwpflDI
.. the pre-crisis General Zod (Ralph Fiennes) cannot do math.. at all.. not a single particle of math.. can he do.. and this is his... insecurity.. and he will butcher and batter senseless .. any person.. who.. can.... $3... stochastic disturbance terms... paul dini / joe benitez poison ivy kate moss... stochastic disturbance terms... $3....
.. powerful haunting female vocal music.. hybrid vocal music.. is the quintessential, official music of... Sascha Renzscha is Alexis Sinclair aka Olivia B. Anderson aka Adrianna Chase aka Elly aka Alexandria Nell aka "Bil" aka.. sob sob sob.. aka doris zeul of earth-1 .. aka .. Giganta... $3... stochastic disturbance terms... paul dini / joe benitez poison ivy pamela isley kate moss... stochastic disturbance terms... $3....
https://www.youtube.com/watch?v=ubZhS-0l4wk&t=722s
evil music mix 10 .. is the quintessential, official music of.. nude succubus nude sacred nude holy spirit nude silver age nude priscilla rich (nude kate moss).. reads.. Topix education forums.. the thread titled.. "... nude boys swim class..".. for the very first time in her life.. in the late month of .. of June, 2020... $3... stochastic disturbance terms... paul dini / joe benitez poison ivy pamela isley kate moss... stochastic disturbance terms... $3....
https://www.youtube.com/watch?v=v-K9ScyWjhQ
Yair Albeg Wein Or Kribos - Mephisto's Lullaby.. is the quintessential, official, universal, mystical, archetypical music of... Hecate (Gwyneth Paltrow):..."... Basil Karlo junior (Matt Damon).. i .. sob.. I don't .. sob sob sob.. I don't.. sob sob... believe.. sob .. a single.. sob sob sob .. thing- you .. -.. say .. /fin. quoth the Raven." .... $3... stochastic disturbance terms... paul dini / joe benitez poison ivy pamela isley kate moss... stochastic disturbance terms... $3....
https://www.youtube.com/watch?v=ipCIlaij39E&list=RD_FNuHxHgVUI&index=5
Cyberpunk Industrial - the industrial enigma - Vaden is.. the music of.. Nude Rogue of earth-616 ... of the Uncanny X-men department: danger-room.mensactivism.net.days-of-futures-past.... she castrated a homeless man... Valerie Cooper (Sarah Polley):.." - was it provoked.. ?..".. Angus McWhirttier (Harvey Keitel):..".. he tried to rape her"... then Nude Rogue of earth 616... after she castrated a homeless man who had tried to rape her.. she drove him completely nude because in the process all every shred of her clothing had been.. sob.. confiscated.. by concerned passerbys.. she Nude Rogue of earth-616 department 616... she nude in her exczema-slime immersed nude body of a purple-brown hue.. she raced drove home in a mini-van truck... and collapsed nude into bed in her basement-womb apartment.. apologising heartfully and graciously for covering her nude body from view by medusa ion closed-circuit cameras.. with a soft silk blanket.. unhygienic.. lon lon lon ygrek ygrek ygrek is june 22, 2020 june 23 june 2020 is june 21st 2020 lon lon lon ygrek ygrek yreg sonia alexander is man-lex with a razor... with cat-quick kara-reflexes... billions of years of evolution have rendered the nude state a filthy, unhygienic, vile, disgusting condition for women.... precisely, apocalyptically .. the opposite.. for men... $3... stochastic disturbance terms... paul dini / joe benitez poison ivy pamela isley kate moss... lon ygrek.. stochastic disturbance terms... $3....
https://www.youtube.com/watch?v=gOfN_s0puio
.. the enigma TNG - Kathedral.. is the quintessential, official music of... Sasha Flexy is Mary Pickford.... Nude Troia (Nude Tiffany Fallon):..".. - sob.. what..?.."... $3... stochastic disturbance terms.. paul dini / joe benitez poison ivy pamela isley kate moss... stochastic disturbance terms... $3....
.. the enigma TNG - Kathedral… is also the quintessential, official music of.. Ginseng is Nude Juno.. Ginseng - Taurine is Nude Juno....
… Arthur Miller:..".. turn your heart to stone and you will sink this court..".. -.. courtesy of the venerable, statesman-film-critic Stanley Kauffman...
https://www.youtube.com/watch?v=PP3oITgkS6M
… Arthur Miller:..".. turn your heart to stone and you will sink this court..".. -.. courtesy of the venerable, statesman-film-critic Stanley Kauffman...
https://www.youtube.com/watch?v=PP3oITgkS6M
.. Extreme Music - Combat Ready.. is the quintessential, official... music of.. Skeets is Scary Spice.. and Skeets is also... Victoria Silvstead.... $3.... stochastic disturbance terms... paul dini / joe benitez poison ivy pamela isley kate moss.... stochastic disturbance terms... $3....
.. Extreme Music - Combat Ready.. is the quintessential, official... music of.. Skeets is Scary Spice.. and Skeets is also... Victoria Silvstead.... and Skeets is also... Mattel.. Mattel.. Mattel... $3.... stochastic disturbance terms... paul dini / joe benitez poison ivy pamela isley kate moss.... stochastic disturbance terms... $3....
https://www.youtube.com/watch?v=ROoalSB2DOM
https://www.youtube.com/watch?v=ROoalSB2DOM
Tuesday, June 23, 2020
.. the enigma TNG - the fatal star.. is the quintessential, official music of.. holy spirit silver age priscilla rich (kate moss) .. finally.. finds out.. what Harley Quinn on the animated "Harley Quinn" show.. what .. she's... actually like.. priscilla rich (kate moss).. finally.. founds out.. how this... Harley Quinn.. treats.. the Joker...
https://www.youtube.com/watch?v=gPpm_0dGjzo
.. the enigma TNG - the fatal star.. is the quintessential, official music of.. Hyacinth?.. the phrase about Malaine Herzog's.. sob sob sob sob... about Madelaine Herzog's.. sob sob.. about Madelaine Herzog's ..".... bleeding buttocks...".. is a contract for their to be CFNM in "Herzog", written by Saul Bellow....
https://www.youtube.com/watch?v=gPpm_0dGjzo
kenji kawai Utai IV Reawakening Steve Aoki remix... is the quintessential, official music of.. Catwoman burglarizes Starlabs...
https://www.youtube.com/watch?v=PCe_UeHF7H8&list=RDPCe_UeHF7H8&start_radio=1
.. the enigma TNG - Devil's Bane.. is the quintessential, official music of... What is Corona- Coming Attractions...
https://www.youtube.com/watch?v=FtRKPIv2Tc0
Deuce - futuristic hybrid reality.. is the quintessential, official music of... what if their is a true archaic reality.. the most real of the G. I. Joe realities.. in which you can authentically say.. Flint never fought Cobra Commander....
Deuce - futuristic hybrid reality.. is the quintessential, official music of..
.. Marvel / Hasbro animation's.. "G. I. Joe- a real American hero" television show....
.. is Desde muy productions...
https://www.youtube.com/watch?v=xXavRdaHm8o&t=392s
.. Marvel / Hasbro animation's.. "G. I. Joe- a real American hero" television show....
.. is Desde muy productions...
https://www.youtube.com/watch?v=xXavRdaHm8o&t=392s
.. the enigma TNG - War with a demon.. is the quintessential, official music of.. "The Uncanny X-men- the story of Poison ivy", directed by Angelina Jolie, Uma Thurman... and Savanna Samson.... an 18-hour.. movie..
.. the enigma TNG - War with a demon.. is the quintessential, official music of..
George Lucas:..".. only George Lucas casts Sarah Polley in Star Wars.... ONLY GEORGE LUCAS CASTS SARAH POLLEY IN STAR WARS!!!!… hahhh.. hahhh.. who cast Sarah Polley in Star Wars.. who-.. "...
https://www.youtube.com/watch?v=q-FJmB63la8
George Lucas:..".. only George Lucas casts Sarah Polley in Star Wars.... ONLY GEORGE LUCAS CASTS SARAH POLLEY IN STAR WARS!!!!… hahhh.. hahhh.. who cast Sarah Polley in Star Wars.. who-.. "...
https://www.youtube.com/watch?v=q-FJmB63la8
.. the enigma TNG - Death Dealer.. is the quintessential, official music of.. is the ultimate, quintessential, official music of.. Academy Award Nominee Bridgette Marquardt for Alison Blaire...
https://www.youtube.com/watch?v=44tQqvXmaTU&list=RD9I88dhEKnXc&index=4
.. the enigma TNG - the fatal star.. is the quintessential, official music of.. Hanno Jason Leigh:..".. what if.. their were always three men who I wanted to see play the original G. I. Joe.... myself, Bruce Willlis and Mel Gibson... and now.. Christian Bale.."...
Hanno Jason Leigh: - to Bruce Stock -.. ".. how about Bruce Willis as G. I. Joe.."..
Bruce Willis.. a man of butchered dreams... Bruce Willis … a man of dreams ripped and torn to shreds and tatters.. Dan Hill...
… I mean this.. in the medieval sense of a medieval Smerdyakov.. and of a medieval Grushenka.. and of a medieval Ratigan… what happened when Bruce Willis.. a man I wanted so oh so desperately as hope against hope to be cast as the original G. I. Joe.. that what happened with Bruce Willis when this casting did.. when the apocalyptic archangel-Gabriel-sent miracle occurred .. and Bruce Willis was cast as the original G. I. joe...
.. that what happened with Bruce Willis after he was cast as.. the original G. I. joe..
.. NEHEHEVER... happen.. happen with...
.. Daniel Day Lewis when he is finally cast as Erik Magnus..
.. or..
.. or with Victoria Hill when she is cast as Lois Lane...
Leonardo de Caprio:..".. Hanno.. I want to tell you what happens when you believe that Leonard de Caprio .. is the holy spirit incarnate.. after you see him play Jay Gatsby for Baz Luhrmann.. and your very neurochemistry can't even possess the chemicals.. of your neurophysiology.. to comprehend.. that the Dana thing never ended with Leonardo de Caprio.. even.. even after Jay Gatsby.. even after.. even after.. and that.. I saw another Maxwell Lord.. who I play.. who will NEVER be the Greg Rucka Maxwell Lord.. never.. never.. never...
.. NEVER!!!!…
.. and I play a Maxwell Lord who is able to prove that a woman you find on the internet can have the name Lois Lane or Kathy Kane.. or Jean Brayton.. and.. not actually be the one..
.. of the comics..
.. or of the Manson cult..."...
https://www.youtube.com/watch?v=gPpm_0dGjzo&list=RD9I88dhEKnXc&index=3
Bruce Willis.. a man of butchered dreams... Bruce Willis … a man of dreams ripped and torn to shreds and tatters.. Dan Hill...
… I mean this.. in the medieval sense of a medieval Smerdyakov.. and of a medieval Grushenka.. and of a medieval Ratigan… what happened when Bruce Willis.. a man I wanted so oh so desperately as hope against hope to be cast as the original G. I. Joe.. that what happened with Bruce Willis when this casting did.. when the apocalyptic archangel-Gabriel-sent miracle occurred .. and Bruce Willis was cast as the original G. I. joe...
.. that what happened with Bruce Willis after he was cast as.. the original G. I. joe..
.. NEHEHEVER... happen.. happen with...
.. Daniel Day Lewis when he is finally cast as Erik Magnus..
.. or..
.. or with Victoria Hill when she is cast as Lois Lane...
Leonardo de Caprio:..".. Hanno.. I want to tell you what happens when you believe that Leonard de Caprio .. is the holy spirit incarnate.. after you see him play Jay Gatsby for Baz Luhrmann.. and your very neurochemistry can't even possess the chemicals.. of your neurophysiology.. to comprehend.. that the Dana thing never ended with Leonardo de Caprio.. even.. even after Jay Gatsby.. even after.. even after.. and that.. I saw another Maxwell Lord.. who I play.. who will NEVER be the Greg Rucka Maxwell Lord.. never.. never.. never...
.. NEVER!!!!…
.. and I play a Maxwell Lord who is able to prove that a woman you find on the internet can have the name Lois Lane or Kathy Kane.. or Jean Brayton.. and.. not actually be the one..
.. of the comics..
.. or of the Manson cult..."...
https://www.youtube.com/watch?v=gPpm_0dGjzo&list=RD9I88dhEKnXc&index=3
.. the enigma TNG - Catacombs of Paris.. is the quintessential, official music of.. their will always be a Komodo Dragon.. of COBRA!!!!!.....
https://www.youtube.com/watch?v=9I88dhEKnXc&list=RD9I88dhEKnXc&start_radio=1
Monday, June 22, 2020
DeForest Kelley said.. ".. what do you do, spank it..?..".. in Star Trek, the Motion Picture.. it .. it .. it.. the it.. is "V'Ger".. "V'Gur".. V' Ger / V'Gur means "growling vagina".. spank a growling vagina.. they can't EVER bring back the expression.. "spanking the monkey".. EVER.. I asked him not to change the line..
.. at the very, very, very, very, very end of an 18-hour 108th Superman movie directed by Steven Spielberg and Sophia Copolla.. you will see "Meg Electric"- Megan Gale aka Julia Jezebel Jet.. transformed into a fluffy, mangled bunny-rabbit pillow-substance.. and then that fluffy-mangled bunny-rabbit pillow substance transforms into .. the Superman symbol on Superboy Prime's (Tom Welling's) chest when he is put in the Abu Ghraib Oa Federation prison in outer space.. his fate at the very, very, very last page of "Infinite Crisis issue #7'.. the conclusion... we all know what Non (Robert de niro) does with that "S" symbol in one of the "Superman 2; the age of krypton" movies....
.. turn yourself into stone.. Robert de Niro.. turn yourself into stone.. Robert de Niro...
.. their is NOTHING funny about punching a monkey... Wonder Woman... not cool, munkeypunk, not cool...
.. their is NOTHING funny about punching a monkey... Wonder Woman... not cool, munkeypunk, not cool...
.. the enigma TNG - Devil's Bane.. is the quintessential, official music .. of.. a five-movie quintology of.. "Girl, Interrupted".. starring Winona Ryder, Angelina Jolie, Savanna Samson, Uma Thurman, Jared Leto.. and Sean Bean as Melvin.. all five of these "Girl, Interrupted" movies.. are directed by Ben Stiller .. and all five of these movies have a screenplay by.. Susanna Kaysen... $3... stochastic disturbance terms... paul dini / joe benitez poison ivy pamela isley kate moss... stochastic disturbance terms... $3....
https://www.youtube.com/watch?v=FtRKPIv2Tc0
.. the enigma TNG - Parallel universe.. is the quintessential, official music of... can Lars von Trier, director of "Anti-hero", starring Willem Defoe.. be also the director of.. an 18-hour version of.. "The Masseuse", starring Savanna Samson, Angelina.. sob sob.. Angelina.. sob.. angelina .. sob sob. .jolie.. and a sage, somber.. uma thurman... ?...
https://www.youtube.com/watch?v=3yrBo6xSyaE
Ivan Torrent - Vis Motrix... is the quintessential, official, universal, apocalyptic, archetypical music of.. and the true hero of "Atlantis Attacks".. was Spider-man.. and their will never be a more central hero to "Atlantis Attacks"... than Spider-man.. and perhaps in the most arcane.. perhaps... in the lovecraft realm of.. the creatures.. the creatures.. the creatures.. the creatures.. of arcadia.. we will never know what .. what transpired.. between Reed Richards and Spider-man.. in comic books that were never published.. of .. of.. "Atlantis Attacks".. but- .. and Peter Parker did fascinating, intriguing, Arthur-Conan-Doyle-scale detective-work in the earlier era's of.. "Atlantis Attacks".. and Daredevil Matt Murdock will.. he will NEHEVEHER.. do this again... NAHEHEVER.. tenfingers NEHAEVEHR.. will he do this again to his ol' religious buddy-.. Spider-man..... $3... stochastic disturbanc terms... paul dini / joe benitez poison ivy pamela isley kate moss.... stochastic disturbance terms..... $3....
https://www.youtube.com/watch?v=26mcpFUABsM
.. the enigma TNG - Wrath.. is the quintessential, official, universal music of... the apocalyptic, Darkseid-scale power of.. the Walter Simonson High Evolutionary....
https://www.youtube.com/watch?v=0cuObHLTr_M&list=RD9I88dhEKnXc&index=2
.. the enigma TNG - catacombs of paris.. is the official, quintessential, archeyptical music of.... Scott Summers (James Marsden):.."... Alex.. younger brother Alex.. you're going to be Scott Summers now .. Alex.. I'm going to be Havok - okay.. ?.. i'll be Havok.. i'll be havok.. you'll be Cyclops.. alex.. now.. it's not gamespot.. it's.. you're saying all of this was something you yourself wrote.. every word.. on your website.. alex.. I know it was.. I know it was.. I know it was.. their's also.. something else.. that.. I can't explain what what you wrote means to emma frost (winona ryder).. and also.. obviously.. very painfully and obviously.. to rogue (savanna samson).. that's havok.. that's precisely, apocalyptically what he havok does.. now.. I'm going to be Havok now.. okay alex.. you'll be scott summers.. Havok is very .. powerful... my Scott Summers was weaker than Havok.. okay.. alex.. that is ... indubitable.. also.. Mr. Sinister is late, late, late, late, late latter-day... X-men versus the Avengers Mr. Sinister.. that's the only Mr. Sinister in the equation here.. okay.. alex.. "... $3... stochastic disturbance terms... paul dini / joe benitez poison ivy pamela isley kate moss... stochastic disturbance terms... $3....
.. the enigma TNG - catacombs of paris.. is also the official, quintessential, universal, mystical music of...
Scott Summers (James Marsen): … ".. okay.. alex.. now I know.. Justin Bieber is playing the Scott Lobdell Havok.. now Justin Bieber is the only person who is playing the Scott Lobdell Havok... now that was your call .. alex.. and I respect that.. and you're right.. alex.. now.. alex.. the young, frightened gal godot winona ryder kate moss holy spirit Kathy kane girl in bed who has horrific, satanic, sadistic, monstrous burns covering her whole neck.. in the hospital.. now she is going to be pixie.. Scorcese is going to arrange that.. he is.. he is.. he is.. Willie tell archer-2 is playing her.. now.. I want .. you.. alex.. to feel.. beyond a reasonable doubt.. that Willie tell archer-2 .. is one and the same person as the beautiful young girl who came before Hannah Lee.. at ALP.. when you were thirteen years old... alex.. and you went to ALP... and I think she was two years younger.. she was eleven and you were thirteen alex.. and she had a name just like - just like - just like-.. her name was Hannah.. and she was eleven years old... at ALP... and the only reason you never thought you could even know her even a little bit or even say hi to her or address her at all... is for this reason and this reason alone.. her name is Hannah.. her name is Hannah.. her name is Hannah.. now.. you had a huge romantic crush on her.. she was a very physically beautiful eleven year old girl.. and you were thirteen.. at ALP... and you wanted to be her friend... and you couldn't.. because her name was Hannah.. now I want you to feel that it's okay that she that eleven year old girl Hannah at ALP.. I want you to feel okay about that she is.. beyond a reasonable doubt.. the official ad-girl visual of Hegre Art pop-up ads.. now .. that she is the most beautiful young girl on hegre.. she can play the real, non-clone.. original veronica cale as a young innocent girl someday,.. now I want.. you to feel it's .. okay.. for you .. to believe.. alex.. that she is.. one and the same.. as Hannah.. from ALP... alex…"...
… $5... Cobb-Douglas Function... Neil Gaiman / Dave McKean / Simone Bianchi Poison ivy Pamela Isley Monica Bellucci Angelina Jolie... Cobb-Douglas Function... $5.....
https://www.youtube.com/watch?v=9I88dhEKnXc&list=RD9I88dhEKnXc&start_radio=1
Scott Summers (James Marsen): … ".. okay.. alex.. now I know.. Justin Bieber is playing the Scott Lobdell Havok.. now Justin Bieber is the only person who is playing the Scott Lobdell Havok... now that was your call .. alex.. and I respect that.. and you're right.. alex.. now.. alex.. the young, frightened gal godot winona ryder kate moss holy spirit Kathy kane girl in bed who has horrific, satanic, sadistic, monstrous burns covering her whole neck.. in the hospital.. now she is going to be pixie.. Scorcese is going to arrange that.. he is.. he is.. he is.. Willie tell archer-2 is playing her.. now.. I want .. you.. alex.. to feel.. beyond a reasonable doubt.. that Willie tell archer-2 .. is one and the same person as the beautiful young girl who came before Hannah Lee.. at ALP.. when you were thirteen years old... alex.. and you went to ALP... and I think she was two years younger.. she was eleven and you were thirteen alex.. and she had a name just like - just like - just like-.. her name was Hannah.. and she was eleven years old... at ALP... and the only reason you never thought you could even know her even a little bit or even say hi to her or address her at all... is for this reason and this reason alone.. her name is Hannah.. her name is Hannah.. her name is Hannah.. now.. you had a huge romantic crush on her.. she was a very physically beautiful eleven year old girl.. and you were thirteen.. at ALP... and you wanted to be her friend... and you couldn't.. because her name was Hannah.. now I want you to feel that it's okay that she that eleven year old girl Hannah at ALP.. I want you to feel okay about that she is.. beyond a reasonable doubt.. the official ad-girl visual of Hegre Art pop-up ads.. now .. that she is the most beautiful young girl on hegre.. she can play the real, non-clone.. original veronica cale as a young innocent girl someday,.. now I want.. you to feel it's .. okay.. for you .. to believe.. alex.. that she is.. one and the same.. as Hannah.. from ALP... alex…"...
… $5... Cobb-Douglas Function... Neil Gaiman / Dave McKean / Simone Bianchi Poison ivy Pamela Isley Monica Bellucci Angelina Jolie... Cobb-Douglas Function... $5.....
https://www.youtube.com/watch?v=9I88dhEKnXc&list=RD9I88dhEKnXc&start_radio=1
.. Utopia - the enigma TNG ... is the quintessential, official music of... the month of june in the year 2020.. is the month.. the month of the year... of lon.. of lon.. of lon.. and of.. sob sob sob.. of... Sasha Flexy.. sob sob.. of Sasha Flexy.. sob sob sob sob... sob sob sob....
.. utopia - the enigma TNG.. is the quintessential, official, universal, mystical, archetypical music of..
.. Nelly Crank.. (.. nude female Zulu Warrior "Elly / ely".. on hegre art..).. Nelly Crank is the female Edward Crank (Hanno Jason Leigh).. Nelly Crank (nude elly Zulu warrior... on hegre).. nude she is.. the exact, precise female counterpart.. to Edward Crank (Hanno Jason Leigh).. on issue #752 21 Jump Street....
… Utopia - the enigma TNG.. is the quintessential, official music also of..
.. I will never forget who she was.. in 'Leaving Liza'... NEVER!!!...
https://www.youtube.com/watch?v=JRkZZpGiXVQ
.. Nelly Crank.. (.. nude female Zulu Warrior "Elly / ely".. on hegre art..).. Nelly Crank is the female Edward Crank (Hanno Jason Leigh).. Nelly Crank (nude elly Zulu warrior... on hegre).. nude she is.. the exact, precise female counterpart.. to Edward Crank (Hanno Jason Leigh).. on issue #752 21 Jump Street....
… Utopia - the enigma TNG.. is the quintessential, official music also of..
.. I will never forget who she was.. in 'Leaving Liza'... NEVER!!!...
https://www.youtube.com/watch?v=JRkZZpGiXVQ
.. Zartan (Brad Pitt) dies the death of a sculptural-intestines doris zeul.. exactly, precisely four hours into the 15-hour... "G. I. Joe- the rise of Cobra", directed by Sophia Copolla... four doris zeul hours.. sob sob.. four doris zeul hours.. sob sob sob.. four doris zeul hours... sob sob sob sob.... $3... stochastic disturbance terms... paul dini / joe benitez poison ivy pamela isley kate moss... stochastic disturbance terms.... $3....
.. Roger Ebert:..".. Scorcese's... very, very first 'The Uncanny X-men' movie.. his directorial debut as director of.. a 'The Uncanny X-men' movie.. was the 11-hour 'The Uncanny X-men- the story of Poison ivy"... and the reality contained within this movie.. this marvel comics reality within this movie... became so abjectly horrific.. that God.. Yahweh himself.. cancelled this reality.. and found a much, much safer reality for every single character in this 11-hour the story of poison ivy Uncanny X-men movie.. to reside in.. to be Yahweh-teleported to... in a movie that is a remake.. when they said that Scorcese would NEVER ever ever be allowed to make another Uncanny X-men movie.. after the story of poison ivy.. he. he does.. he directs a remake.. but this remake is also... uniquely.. both remake.. and sequel.. another Uncanny X-men reality into which Yahweh had teleported every single member of the Uncanny X-men universe... into..."... $3... stochastic disturbance terms... paul dini / joe benitez poison ivy pamela isley hannah jason leigh kate moss hyacinth ryder.... stochastic disturbance terms....
.. Brad Pitt.. Hunter Zolomon (Brad Pitt).. can you.. find his arcane.. perhaps.. I dunno .. it may be an internet plan of sabotage of a creatures-of-arcadia.. scale.. where.. on youtube... after Scorcese publicly thru public media he announces the Uncanny X-men movie which he is directing.. this is what shows up on youtube.. you see Cyclops (James Marsden).. then other members of the Uncanny X-men.. to the loud, mellow singing of a male voice singing.. "Walking in a Winter Wonderland".. (... - what.. the little tykes who replace martin prince.. could this singer be a singer like .. bing crosby..?..).. this is the woman who rescues and successfully skewers this plan of sabotage.. she is... emma frost (winona ryder).. she shows up.. standing uncertainly.. in a kind of a gentle-ballerina emma frost costume that winona ryder is in... winona ryder as emma frost here is classic gal godot.. she's vintage gal godot... ultimate painful vulnerable gal godot she is.. as the song.. "Walking in a Winter Wonderland"... concludes.. and .. Hunter Zolomon (Brad Pitt).. could we work at least fifteen years on this project.. with computer-hacking ada programming language software.. to safety-dungeon inculcate these youtube comments below this.. "Walking in a Winter Wonderland" male, mellow-singing-voice act of internet sabatage.. can it be.. thru ada computer programming software.. that Hunter Zolomon (Brad Pitt).. over the literal course of the next fifteen years.. can inculcate.. these youtube comments below this.. this travesty.. this act of internet sabotage.. these youtube comments: ...".. this is bad taste.. that is not a christmas costume .. emma frost (winona ryder) is not wearing a christmas costume.. she's dressed like a classic ballerina.. this is bad taste.. this is shameful .. really shameful...".... $3... stochastic disturbance terms... paul dini / joe benitez poison ivy pamela isley kate moss.... bruce wayne christian bale... stochastic disturbance terms... $3...
Sunday, June 21, 2020
Ahania Blacksmith (Hanno Jason Leigh):..".. I heard a voice... and that voice said.. I am worse than Hitler.. my evil can only compare with Goebbels.. I am a monster.. I am the monster you've been seeking.. the horror-Auschwitz which you Ahania have been valiantly combatting tooth and nail for the past two years.. it all emanates from me .. from myself.. and from myself alone.. and.. I .. I have been taking classes in computer programming at a University comparable to the University of Waterloo.. and I have been doing this for the past eleven years.. exactly that long.. exactly that long.. these are truly excellent, easy to understand computer programming courses that I've been taking at this University for the past eleven years.. and.. it's fortran.. I've been studying Fortran for the past eleven years.. and the other subject I've been studying for the past eleven years.. has been single-variable calculus.. and all the high school level math that leads to it... I mean.. Grade 9 math.. Grade 10 math.. Grade 11 math.. and Grade 12 math.. I studied .. or re-studied all those high school grades of math in University for the past eleven years.. as well as single-variable math.. and Fortran.. for the past eleven years.. and my studies of math didn't go beyond that.. I never got to studying multivariable calculus or Vector Calculus.. but I.. after eleven years of university study I can now computer program in Fortran.. and I want to .. to make amends for my beyond-comprehension monstrous crimes of the past two years.. today is June the 14th of the very, very first year of the '20's of the 21st century.. and today is the day that I have chosen to start.. making amends .. for my beyond-compare monstrous crimes.. and he said all these words... the whole preceding, lengthy monologue I've just related.. was his.. and then I knew that this good, most decent man was none other than.. The Riddler... "... $3.... stochastic disturbance terms... paul dini / joe benitez poison ivy pamela isley kate moss... stochastic disturbance terms... $3...
Ivan Torrent - Vis Motrix... is the quintessential, official music of.. Andres Raudsepp resides in dostoevsky's russia...
https://www.youtube.com/watch?v=26mcpFUABsM
Ivan Torrent - Vis Motrix.. is also the quintessential music of..
Ivan Torrent - Vis Motrix.. is also the quintessential music of..
Michael Rooker:..".. I've.. I've never seen anything like that.. they yelled at that 47-year old woman.. she's young.. she's beautiful.. she has kind of a lumpy face but I can't explain how that makes her beautiful face look like the softest, most wet clay being molded into a beautiful shape.. imaginable.. their are no words.. -.. what..?.. I can't believe.. how they yelled at her.. she can't even.. she can't even cry.. she's sniffling.."
Albert Finney:..".. I've never seen such cruelty.. I've never seen such cruelty..."
.. Cobb-Douglas function... Neil Gaiman / Dave Mckean / Simone Bianchi Poison ivy Pamela isley Angelina jolie Monica Bellucci... Cobb-Douglas function....
.. the enigma TNG - a dying race.. is the quintessential, official music of.. Ahania (Hanno Jason Leigh):..".. I really, really want to read.. in a greek translation.. in a greek translation... modern greek.. someday.. someday.. in the future .. I want to read.. in a modern greek translation.. 'Tinker, Tailor, Soldier, Spy", written by John le Carre.. I really want to read that book both in english and .. someday... it's okay.. it's really okay.. someday.. in the future.. in a greek translation..."...
https://www.youtube.com/watch?v=HdEYcWzCVd4
kenji kawai - Utai IV Reawakening.. is the quintessential, official music of... Ahania Blacksmith (Hanno Jason Leigh):..".. I'M GONNA KICK COBRA'S ASS!!!!!.. I'M GONNA KICK COBRA'S ASS!!!!!... I'M GONNA KICK COBRA'S ASS!!!!!.... I'M GONNA KICK COBRA'S FAT ASS!!!!!.. I'M GONNA KICK COBRA'S FAT ASS!!!!!... I'M GONNA KICK COBRA'S FAT ASS!!!!!...".... $3... stochastic disturbance terms... paul dini / joe benitez poison ivy pamela isley hannah jason leigh kate moss hyacinth ryder... stochastic disturbance terms.... $3...
https://www.youtube.com/watch?v=PCe_UeHF7H8
.. the first three minutes and thirty seconds.. of evil music mix 10.. is the quintessential, official music of... "The Blob's" (Harry Knowles's .... personal HYDRA- computer- software- Infocom- files.. on ... notorious members of.. The Uncanny X-men... for Scorcese.. sob sob sob.. for Scorcese...
https://www.youtube.com/watch?v=v-K9ScyWjhQ
HYDRA- Infocom- Software files on notorious.. the uncanny X-Men members...
Nude Rogue / Nude Anna Marie (Nude Savanna Samson spinning nude in a force-field bubble wrought by Invisible Woman):... renegade.. ultra-uber-underdog.. outcast .. forever uncanny-outcast quoth the Raven /fin. … brutal killer of political-mutant-rights-activist Ms. Marvel (Holly Madison)...
Cyclops / Scott Summers (James Marsden):.. the ringleader and uncanny-cast-roster caller.. gentle, compassionate man of truly dainty-flakes of good compassion.. he's a good man decent is Scott Summers..
Havok / Alex Summer / Eric Wheathers: … anti-hero.. the Horned God.. medieval cypher-centre of medievial religious succubus-witch worship... man of just outrage against Talkbacker-Injustice.. horrificially, satanically, sadistically de-powered to the extent that he cannot win battles against uber-unfairly-overpowered.. Scott Summers... is horrified by the Satanism of the word "hero".. so his only recourse is to be understood personally by status of.. "villain".. craves himself inwardly to feel deeply, Lovecraftian, passionate loyalty and friendship and personal duty toward.. Mystique (Holly Madison)...
Nude Jean Grey (Nude Nikita Bellucci-0): .. Ultra-Hero of infinite fearlessness.. she is the be far the most fearless member in the whole history of the Uncanny X-Men going all the way back to the early, early sixties.. and so she has no need whatsoever.. of courage.. past-tense .. distant, distant, distant past-tense for her is her personal reckless telekinetic destruction of several populated planets which lie well outside the Milky Way Galaxy.. most likely .. trillions yes trillions of people or aliens or humanoids were the inhabitants and natives of these destroyed planets.. every single one of them.. dead now.. she understands herself thru-und-thru to be inwardly a true monster.. but that's not her fault personally at all whatsoever and Havok (Hanno Jason Leigh) understands that it's not her fault better than any member of the Uncanny X-Men... except for Legion (Crispin Glover).. and Kitty Pryde (Mary McDougald the beautiful nude Violette le duc who did exciting, electrifying innocent nude-succubus fully nude and racing thru the indoor hallways enf apocalyptically self-aware with a nod and tip of the hat to the audience nude.. (.. Mary McDougald?..).. embarrassed naked female kitty pryde of the apocalypse incarnate.. namely.. on Mexican Big Brother.. at some point before the year 2010.. I think this episode transpired before the year 2009.. and she looks EXACTLY like Kitty Pryder more than any other person in the Milky Way Galaxy... on Mexican Big Brother.. the apocalypse incarnate.. she also understands that it is NOT.. repeat NOT.. Nude Jean Grey's (Nude Nikita Belluci-0's).. fault.. not her fault at ALL.. that her ungainly, horrifically activated telekinetic powers destroyed several populated planets that trillions of people lived on... killing literally all those people.. history past tense for Nude Jean Grey (Nude Nikita Bellucci-0).. historic, ancient past-tense.. Nude Jean Grey (Nude Nikita Belluci-0) will always understand herself thoroughly to be the Susan Atkins of the Uncanny X-Men.. she knows more than anyone else in the Milky Way Galaxy about herself.. nude jean grey (nude nikita bellucci-0) does.. that she is the ultimate serial killer.. that she is a mass-murderer.. that she ..
.. is..
.. a monster...
She is Nude Jean Grey (Nude Nikita Bellucci-0 in her Nude Cheetah Nude Barbara Minerva apocalyptic-prowling nude Cheetah posture photograph)….
she is..
Jean Grey
aka Rodian Ivanovna
aka Karen Grant
aka Hannah Jason Leigh
.. $3.. stochastic disturbance terms... paul dini / joe benitez poison ivy pamela isley Hannah Jason leigh kate moss hyacinth ryder… stochastic disturbance terms... $3...
.. $5... Cobb-Douglas Function... Neil Gaiman / Dave McKean / Simone Bianchi Poison ivy Pamela isley Monica Bellucci Angelina Jolie... Cobb-Douglas Function... $5....
evil music mix 10.. the very first three minutes and thirty seconds..
https://www.youtube.com/watch?v=v-K9ScyWjhQ
HYDRA- Infocom- Software files on notorious.. the uncanny X-Men members...
Nude Rogue / Nude Anna Marie (Nude Savanna Samson spinning nude in a force-field bubble wrought by Invisible Woman):... renegade.. ultra-uber-underdog.. outcast .. forever uncanny-outcast quoth the Raven /fin. … brutal killer of political-mutant-rights-activist Ms. Marvel (Holly Madison)...
Cyclops / Scott Summers (James Marsden):.. the ringleader and uncanny-cast-roster caller.. gentle, compassionate man of truly dainty-flakes of good compassion.. he's a good man decent is Scott Summers..
Havok / Alex Summer / Eric Wheathers: … anti-hero.. the Horned God.. medieval cypher-centre of medievial religious succubus-witch worship... man of just outrage against Talkbacker-Injustice.. horrificially, satanically, sadistically de-powered to the extent that he cannot win battles against uber-unfairly-overpowered.. Scott Summers... is horrified by the Satanism of the word "hero".. so his only recourse is to be understood personally by status of.. "villain".. craves himself inwardly to feel deeply, Lovecraftian, passionate loyalty and friendship and personal duty toward.. Mystique (Holly Madison)...
Nude Jean Grey (Nude Nikita Bellucci-0): .. Ultra-Hero of infinite fearlessness.. she is the be far the most fearless member in the whole history of the Uncanny X-Men going all the way back to the early, early sixties.. and so she has no need whatsoever.. of courage.. past-tense .. distant, distant, distant past-tense for her is her personal reckless telekinetic destruction of several populated planets which lie well outside the Milky Way Galaxy.. most likely .. trillions yes trillions of people or aliens or humanoids were the inhabitants and natives of these destroyed planets.. every single one of them.. dead now.. she understands herself thru-und-thru to be inwardly a true monster.. but that's not her fault personally at all whatsoever and Havok (Hanno Jason Leigh) understands that it's not her fault better than any member of the Uncanny X-Men... except for Legion (Crispin Glover).. and Kitty Pryde (Mary McDougald the beautiful nude Violette le duc who did exciting, electrifying innocent nude-succubus fully nude and racing thru the indoor hallways enf apocalyptically self-aware with a nod and tip of the hat to the audience nude.. (.. Mary McDougald?..).. embarrassed naked female kitty pryde of the apocalypse incarnate.. namely.. on Mexican Big Brother.. at some point before the year 2010.. I think this episode transpired before the year 2009.. and she looks EXACTLY like Kitty Pryder more than any other person in the Milky Way Galaxy... on Mexican Big Brother.. the apocalypse incarnate.. she also understands that it is NOT.. repeat NOT.. Nude Jean Grey's (Nude Nikita Belluci-0's).. fault.. not her fault at ALL.. that her ungainly, horrifically activated telekinetic powers destroyed several populated planets that trillions of people lived on... killing literally all those people.. history past tense for Nude Jean Grey (Nude Nikita Bellucci-0).. historic, ancient past-tense.. Nude Jean Grey (Nude Nikita Belluci-0) will always understand herself thoroughly to be the Susan Atkins of the Uncanny X-Men.. she knows more than anyone else in the Milky Way Galaxy about herself.. nude jean grey (nude nikita bellucci-0) does.. that she is the ultimate serial killer.. that she is a mass-murderer.. that she ..
.. is..
.. a monster...
She is Nude Jean Grey (Nude Nikita Bellucci-0 in her Nude Cheetah Nude Barbara Minerva apocalyptic-prowling nude Cheetah posture photograph)….
she is..
Jean Grey
aka Rodian Ivanovna
aka Karen Grant
aka Hannah Jason Leigh
.. $3.. stochastic disturbance terms... paul dini / joe benitez poison ivy pamela isley Hannah Jason leigh kate moss hyacinth ryder… stochastic disturbance terms... $3...
.. $5... Cobb-Douglas Function... Neil Gaiman / Dave McKean / Simone Bianchi Poison ivy Pamela isley Monica Bellucci Angelina Jolie... Cobb-Douglas Function... $5....
evil music mix 10.. the very first three minutes and thirty seconds..
https://www.youtube.com/watch?v=v-K9ScyWjhQ
.. the enigma TNG - Black Heart Malice... is the quintessential, official music of.. Ahania (Hanno Jason Leigh):..".. I don't understand this periodic table.. I really don't.. it's a completely different.. a COMPLETELY different .. periodic table... than any familiar periodic table.. I've ever seen... but it's on the inside of the front and .. I think of the inside of the back covers of this textbook of.. I think.. it's a textbook called.. "Chemical equilibrium"..?..-.. is that what the textbook is called.. I'm trying to remember.. I no longer possess the textbook.. but in this radically revolutionarily different periodic table different from any I've ever seen.. on the inside of the front and maybe also of the back covers of this.. this textbook.. in this periodic table.. I found the chemical element.. of krypton.. of krypton.. I found krypton as a chemical element.. in this unique, revolutionary periodic table.. but I can't remember it's symbol.. I can't remember the symbol of this ... of the chemical element.. of krypton.. in this periodic table.."... $3... stochastic disturbance terms... paul dini / joe benitez poison ivy pamela isley kate moss... stochastic disturbance terms... $3....
https://www.youtube.com/watch?v=FqnCQSS063U
Saturday, June 20, 2020
Cyberpunk Industrial - the enigma TNG - Vaden.. is the quintessential, official music of... inveterately.. oh so inveterately.. sob sob sob.. the tortured, innocent, complex, Isabelle Archer / Kate Croy-esque Queen Medusa (Tiffany Fallon) of X-men vs The Inhumans.. in the pages of the Uncanny X-men of very, very recent years.. she is haunted by.. the Bogeyman.. for she is none other than.. in a very greg sanders and sonia alexanders as a single person issue #823 ewan mcgregor sense.. she is one and the same person... Queen Medusa (Tiffany fallon) of X-men vs Inhumans.. THAT .. Queen Medusa.. THAT .. Queen Medusa.. she is one and the same person as.. sob sob.. Julie of Power Pack... $3... stochastic disturbance terms... paul dini / joe benitez poison ivy pamela isley kate moss... stochastic disturbance terms.... $3...
https://www.youtube.com/watch?v=gOfN_s0puio
.. the enigma TNG - Misanthropic empire.. is the quintessential, official music of.. a man of three names.. and those three names are.. brian.. and michael.. and bendis... misanthropic empire.. the mystical, universal, archetypical music of.. a man.. of the name.. brian michael bendis...
https://www.youtube.com/watch?v=33fXkjLA32U
.. the enigma TNG - a dying race... is the quintessential, official music of... the brutal avenging of the murder of Kate Kane (Sunyata Ryder) by Matt Murdock (Hanno Jason Leigh)... at.. at the hands of the William Messner-Loebs Wonder Woman diana prince (amber heard).... $3... stochastic disturbance terms... paul dini / joe benitez poison ivy pamela isley kate moss... stochastic disturbance terms... $3....
https://www.youtube.com/watch?v=HdEYcWzCVd4
.. the enigma TNG - Catacombs of Paris.. is the quintessential, official music of... Alexis Luthor (Michael William Rosenbaum).. resides with arcane, inwardly experience secrecy.. he resides within the underground labyrinth of Templar tunnels of underground Templar tunnels... of Provins, France.. in the one hundred and sixteen "Superman 2; the age of Krypton" movies.. all of them directed by Steven Spielberg, Sophia Copolla .. and Ralph Fiennes...
.. the enigma TNG - Catacombs of Paris.. is also the quintessential, official music of...
.. in the underground Templar tunnels of Provins, France.. Alexis..
Alexis Luthor (Michael William Rosenbaum):..".. you don't do the naked child in swim class with both or girls either one... you don't do it with ANYONE!!.."..
.. $3.. stochastic disturbance terms .. paul dini / joe benitez poison ivy pamela isley kate moss... stochastic disturbance terms... $3....
https://www.youtube.com/watch?v=9I88dhEKnXc
.. in the underground Templar tunnels of Provins, France.. Alexis..
Alexis Luthor (Michael William Rosenbaum):..".. you don't do the naked child in swim class with both or girls either one... you don't do it with ANYONE!!.."..
.. $3.. stochastic disturbance terms .. paul dini / joe benitez poison ivy pamela isley kate moss... stochastic disturbance terms... $3....
https://www.youtube.com/watch?v=9I88dhEKnXc
.. the enigma TNG - Nebula Jam.. is the quintessential, official music of... Hannibal Leach's (Harry Knowles's)... real, authentic, historical, mystical, universal thoughts... about... about Reylo... $3... stochastic disturbance terms.... paul dini / joe benitez poison ivy pamela isley kate moss... stochastic disturbance terms... $3....
https://www.youtube.com/watch?v=lVb83ltfKWY
.. evil music mix 10.. the first three minutes, 30 seconds of evil music mix 10.. is the quintessential, official music of.. Thaddeus Killgrave (Marty Scorcese):..".. Hi-tek (Hillary Swank).. can you answer me this.. why isn't Zelda (Angelina jolie) in prison.. what is she doing at-large and unaccounted for.. I really think she belongs in prison.. why isn't she.. why isn't Zelda (Angelina jolie) in prison.. Hi-tek (Hillary Swank).. why is it that Zelda (angelina jolie) is in a present condition of absolute, apocalyptic liberty where she could not be presently further from being.. or at any point in the far, far, far future.. where she isn't anywhere close to being.. in prison.. where she could't be further from being .. in prison.. Zelda (Angelina Jolie), I mean.. and.. well... Hi-tek (Hillary Swank).. we'll just see.. what we can do.. about that...".... $3... stochastic disturbance terms.... paul dini / joe benitez poison ivy pamela isley kate moss... stochastic disturbance terms... $3...
https://www.youtube.com/watch?v=v-K9ScyWjhQ
.. in the inwards of the above URL.. "Scy" for Scythe..?.. and .. again.. in the inwards of the above URL.. "Wjh".. for.. Wojszech..?..
.. in the inwards of the above URL.. "Scy" for Scythe..?.. and .. again.. in the inwards of the above URL.. "Wjh".. for.. Wojszech..?..
.. Position Music - Realm evolution.. is the quintessential, official, universal, archetypical, mystical music of.. sob sob sob.. of Ryan Nash.. sob sob.. of Ryan Nash... sob sob...
https://www.youtube.com/watch?v=_FNuHxHgVUI&list=RD_FNuHxHgVUI&start_radio=1
.. Nightingale Mist II (Phoebe Cates):..".. but.. sob sob sob.. the first wonderful, angelic young man in the very, very first tiny photograph before.. sob sob sob.. he looks so, so, so much.. like Johnny Depp.. who.. - sob sob.. who-.. who is he...?...".. $3... stochastic disturbance terms... paul dini / joe benitez poison ivy pamela isley kate moss... stochastic disturbance terms.... $3....
Joy, fears and hope at height of 1st wave of COVID-19 in Winnipeg captured in new short film
CBC/Radio-Canada
5 hrs ago
The assignment was
straightforward: Bring together Winnipeggers from all walks of life
to send a love letter to their fellow citizens during the global
coronavirus pandemic.
So
in early spring 2020, CBC's
Creator Network Manitoba
— which engages storytellers across Manitoba to share
unique perspectives and Canadian stories — enlisted filmmakers Jim
Agapito, Ryan Nash, Aleksandra Osipova, Matt Purchase and Paul
Stabell to capture the mood of the city as we hunkered down in
isolation.
It
was the height of the first wave of COVID-19. Coronavirus
information flooded our news feeds and social media. We were
fearful. Life was uncertain. We stayed home. We kept to
ourselves.
We
also saw an outpouring of support for front-line workers. There
were many random acts of kindness. Neighbours helped neighbours. We
came together in our isolation.
Practising
physical distancing, the filmmakers captured special moments across
the city with a Royal Winnipeg Ballet dancer, a graffiti
artist, a polar bear artist, the Winnipeg Symphony Orchestra's
maestro, leaders in business and philanthropy, nurses,
firefighters, and many other citizens.
Winnipeg-based
musician Ryan Nash created an original score for the project.
Meet the filmmakers
Jim
Agapito
is an award-winning filmmaker who grew up in Winnipeg's '90s music
scene. Through this time, Jim learned to channel his energy
and enthusiasm into a DIY work ethic that has served him throughout
his life.
Jim
has been creating films for over 15 years, making videos for a
variety of clients around the world. Transitioning to more
scripted narrative projects, Jim is intent on integrating his two
great passions — culture and music.
© Jhapes Ally
Nazarie Gonzalo
Jim Agapito
Ryan
Nash has
spent nearly a decade as an international touring musician and has
written and performed music and film scores for dance/ballet,
theatre, film and television. During his time at Exchange District
Studio, he worked with Grammy-, Juno- and WCMA-winning artists,
engineers and musicians.
Since
2016, Ryan has been working as a freelancer on projects for CBC,
CBC Arts, the Canada Arts Council, Global Television, Bravo
Network, the National Film Board and other independent productions.
Continuing
his passion for music, Ryan is a member of such local projects as
Agassiz, Agapito, and Union Stockyards.
© Jhapes Ally
Nazarie Gonzalo
Ryan Nash
Aleksandra
(Sasha) Osipova specializes
in social media and marketing (content creation strategy, public
relations, rebranding).
She
has extensive experience in public relations, community
organization, project management and production co-ordination. Her
passions, however, are for rebranding, crisis management and
financial literacy.
Sasha
is heavily involved in community events, art functions and
fundraising. She is also a production assistant on local film
productions.
© Jhapes Ally
Nazarie Gonzalo
Aleksandra (Sasha) Osipova
Matt
Purchase
is an artist and filmmaker based in Winnipeg. As a youth, Matt's
involvement in various subcultures has shaped a passion and
understanding for the lesser known parts of the city and peoples
who are often unrecognized. Matt graduated with a BA (Adv.) in film
studies from the University of Manitoba.
During
his career as a student, Matt experimented with and produced
stop-motion films that would catch the attention of his mentor, Jim
Agapito.
Matt's
catalogue of work is vast. He has shot commercials, educational
videos, web series and music videos. In addition to working behind
the camera, he is no stranger to post-production, having edited
long- and short-form dramas, documentaries and television.
Paul
D. Stabell is
a cinematographer, colourist and scriptwriter. He has worked as a
freelancing videographer for over 10 years, most recently
working for CBC and CBC Arts on short human-interest pieces.
Paul's
experience has been extensive, his filmography including weddings,
music videos, short films, short docs and feature films. With a BA
in film studies from the University of Manitoba and as a winner of
the Rose Toles award for writing, Paul's enthusiasm for film
saturates every area of his life.
© Jhapes Ally
Nazarie Gonzalo Paul Stabell
Evanescence - Lithium the enigma TNG remix... is the quintessential, official music of... the revelation of.. Henry Cavill as Superman.. a revelation.. as powerful, as profound, as deeply felt... is the Henry Cavill Superman... as deep and profound and deeply felt.. as the Brandon Routh Superman.. Christopher Reeve... Brandon Routh... Henry Cavill.. the three movie-Supermen.. sob sob sob.. the three movie-Supermen.. great men.. all three.. great men.. all three.. and way, way, way, way.. back.. their was the Superman of Superman movie-serials... Kirk Alyn.. the Kirk Alyn Superman.. but who was he.. who was the mysterious.. Kirk Alyn Superman.. of what now seem like ancient Superman black-and-white movie-serials.. (.. that's serial with an "a".. right.. ?.. - spelled differently than.. "seriel".. ? .. -.. I .. I think....)...
https://www.youtube.com/watch?v=OiBRmr7zhT0
.. a three minute, 12 second scene from.. "Man of Steel", directed by Zack Snyder.. Bruce Davison.. Tom O'Neill Bruce Davison.. is it okay.. if I say.. that I think .. in this quietly powerful scene.. from this Man of Steel movie.. by Zack Snyder.. that Faora-ul (Antje Traue).. has precisely, apocalyptically.. Holly Madison's Mystique-voice.. the voice of a true Isabelle Archer.. lady.. ?..
https://www.youtube.com/watch?v=UiKmUdVGSRU
.. sorry.. real sorry.. Sean Bean.. sorry... Lauri.. Sean Bean.. you're playing the blue alien right.. ?.. "KmUd".... in the inwards of the above URL.. Kim (Possible) Ud.. KmUd.. Kim (Possible) Universal destruction..
.. aka Km (possible) - Ud.. KmUd… "KmUd".. in the inwards of the above URL...
.. sorry.. real sorry.. Sean Bean.. sorry... Lauri.. Sean Bean.. you're playing the blue alien right.. ?.. "KmUd".... in the inwards of the above URL.. Kim (Possible) Ud.. KmUd.. Kim (Possible) Universal destruction..
.. aka Km (possible) - Ud.. KmUd… "KmUd".. in the inwards of the above URL...
.. a three minute 47 second scene... from... "Man of Steel", directed by Zack Snyder... General Zod (Michael Shannon):..".. (.. SUPERMAN!!!..).. i you destroy this ship, you destroy krypton!!!!...".... also.. a very, very, very strong character in Faora-ul (Antje Traue)...
https://www.youtube.com/watch?v=0e9deNaNMJM
… "NMJM".. in the inwards of the above URL.. NMJM.. is Nanaimo Jam.. maybe someday they'll put.. Nanaimo Jam.. in a Nanaimo Bar.. NMJM...
… "NMJM".. in the inwards of the above URL.. NMJM.. is Nanaimo Jam.. maybe someday they'll put.. Nanaimo Jam.. in a Nanaimo Bar.. NMJM...
Deuce - Futuristic hybrid music .. is the quintessential, official music of.. Stan Lee:..".. and so.. who exactly do you have to KILL.. to cast Sean Bean in a superhero role.. in any superhero role.. in the most obvious superhero roles.. for Sean Bean.. the most obvious ones.. DC or Marvel.. DC or Marvel.. both .. both.. either... ".... $3... stochastic disturbance terms... paul dini / joe benitez poison ivy pamela isley kate moss... stochastic disturbance terms... $3...
https://www.youtube.com/watch?v=xXavRdaHm8o
.. a three minute 26 second scene from .. "Man of Steel", directed by Zack Snyder... Lois Lane (Amy Adams) and Jor-el (Russell Crowe).. working together side by side as staunch, stalwart allies.. but I think I have quite a few problems.. and qualms.. about this approximately three minute scene from this movie...
https://www.youtube.com/watch?v=lshE06-vJTw
… "lsh".. in the inwards of the above URL.. "lsh"... for.. lyamshin (steve buscemi).. in "The Possessed", written by Dostoevsky... and... also.. "lsh".. is "lashina".. a maiden from planet apocalips.. in Geoff Johns's / Jason Fabok's.. "The Darkseid War"...
.."JTw".. in the inwards of the above URL.. for J. T. walsh.. he is.. he is.. - what.. ?.. I mean.. I know.. I don't understand.. I really don't understand.. J.T. Walsh is supposed to have.. died.. many, many, many years.. ago..
… "lsh".. in the inwards of the above URL.. "lsh"... for.. lyamshin (steve buscemi).. in "The Possessed", written by Dostoevsky... and... also.. "lsh".. is "lashina".. a maiden from planet apocalips.. in Geoff Johns's / Jason Fabok's.. "The Darkseid War"...
.."JTw".. in the inwards of the above URL.. for J. T. walsh.. he is.. he is.. - what.. ?.. I mean.. I know.. I don't understand.. I really don't understand.. J.T. Walsh is supposed to have.. died.. many, many, many years.. ago..
.. the enigma TNG - Devil's Bane.. is the quintessential, official music of.. The Gang.. sniff.. sob sob.. of .. the gang... Harley Quinn.. and.. sob sob.. and her friends.. Kite-man, Clayface.. (.. but is he Matt Hagen or Basil Karlo..), Poison ivy, Trixie aka King Shark .. (.. that's his name right.. King Shark is his name.. is Trixie's name.. right..?..).. and... -.. Harley Quinn:..".. doc..?.. -.. doc..?.. -... doc..?.. doc psycho..?.. doc psycho...?.. I know one of the most famous television mini-series writers in the history of television already said this.. about his father.. this writer.. he has a name like... Beelzebub.. maybe.. in a magazine like.. Vanity Fair.. he said... to his father.. ".. it.. it doesn't matter about that now..".. doc.. the doctor... doctor psycho.. it really doesn't matter about that now.. it really, really doesn't.. can you and I both go back to being best friends again.. and... sob sob.. best allies... you and me doctor psycho.. sob sob.. it's that quote to his father by that uber-famous television writer who has maybe a name like.. Beelzebub..?.. maybe a name like.. like that...?.. he said.. doctor psycho.. to his father.. to you.. doctor psycho.. it doesn't matter about that now...".... $3... stochastic disturbance terms ... paul dini / joe benitez poison ivy pamela isley kate moss... stochastic disturbance terms....$3....
https://www.youtube.com/watch?v=FtRKPIv2Tc0
Lost Souls - Powerful female vocal fantasy music.. is sob sob sob.. the quintessential, official, universal, mystical music of.. forever now.. forever now.. Phoebus Apollo (Orlando Bloom) will be the heir protector of.. Sasha Flexy doris zeul.. sob sob sob.. of Sasha Flexy doris zeul.. being one and the same person as .. sob sob sob.. as Sascha Renzscha Montgomery doris zeul sasha flexy doris zeul.. sob sob sob... as Sascha Renzscha Montgomery doris zeul sasha flexy doris zeul.. on vimeo.com..?.. sob sob sob. .on .. on .. sob sob.. vimeo.com.. and I can think of few women on planet earth who have more the facial physiognomy than the beautiful Phil Jiminez Doris Zeul Giganta.. than.. sob sob sob.. Sasha Flexy.. sob sob.. than Sasha Flexy.. on .. sob sob.. on vimeo.com.. sob sob... on vimeo.com..?...
https://www.youtube.com/watch?v=45kf3GiKOP8&t=216s
.. Mary Hart... ?.. -.. Mary Hart.. ?... is that okay.. Sasha Flexy.. on vimeo.com.. is Mary Hart.. -.. okay... ?... Sasha Flexy..?..
Mary Hart: ..".. sometimes all it takes is a beautiful woman's demeanour.. where all it takes is the gentle, holy personality and spirit of her demeanour.. such as the beautiful holy personality-demeanour of Sasha Flexy.. on vimeo.com.. on.. on vimeo.com.. to know that she has the soul and personality of Isabelle Archer.. of Henry James heroine Isabelle Archer... and that she is Sasha Flexy on vimeo.com... and all it takes is to see her gentle personality in her Sasha Flexy's demeanour on vimeo.com.. to know that she is a Henry James female hero thru and thru... and that she Sasha Flexy is a beautiful soul.. that she is a beautiful soul.. that she Sasha Flexy is a beautiful soul.. and that all it takes .. to see that.. is to see her decorum and demeanour.. on.. sob sob… on vimeo.com.. sob sob sob.. on.. on vimeo.com..."...
.. $3... stochastic disturbance terms... paul dini / joe benitez Poison ivy Pamela isley Hannah Jason leigh kate moss hyacinth ryder … stochastic disturbance terms.... $3....
.. Mary Hart... ?.. -.. Mary Hart.. ?... is that okay.. Sasha Flexy.. on vimeo.com.. is Mary Hart.. -.. okay... ?... Sasha Flexy..?..
Mary Hart: ..".. sometimes all it takes is a beautiful woman's demeanour.. where all it takes is the gentle, holy personality and spirit of her demeanour.. such as the beautiful holy personality-demeanour of Sasha Flexy.. on vimeo.com.. on.. on vimeo.com.. to know that she has the soul and personality of Isabelle Archer.. of Henry James heroine Isabelle Archer... and that she is Sasha Flexy on vimeo.com... and all it takes is to see her gentle personality in her Sasha Flexy's demeanour on vimeo.com.. to know that she is a Henry James female hero thru and thru... and that she Sasha Flexy is a beautiful soul.. that she is a beautiful soul.. that she Sasha Flexy is a beautiful soul.. and that all it takes .. to see that.. is to see her decorum and demeanour.. on.. sob sob… on vimeo.com.. sob sob sob.. on.. on vimeo.com..."...
.. $3... stochastic disturbance terms... paul dini / joe benitez Poison ivy Pamela isley Hannah Jason leigh kate moss hyacinth ryder … stochastic disturbance terms.... $3....
.. beautiful, erotic, seductive poledancer named.. "Sasha Flexy"... is the Superfriends Giganta.. but perhaps she is a Superfriends Giganta who's name is.. "Anna Cosi".. Anna Cosi... Anna Cosi.. just like sosi.. sosi.. sosi.. is Anna Cosi.. a Superfriends Giganta named Anna Cosi.. is none other than mysterious, seductive, Mata-Hari-like poledancer named.. "Sasha Flexy".. Sasha Flexy... Sasha Flexy... Sasha Flexy Anna Cosi.. Sasha Flexy Anna Cosi.. and someday.. someday very soon.. doris zeul.. sob sob.. doris zeul...
https://vimeo.com/172799038
… from.. vimeo.com .. in the inwards of the above URL.. "1727" .. for the year.. 1727.. wgat us the year 1727... to Joss Whedon.. to Joss Whedon.. "1727" in the inwards of the above URL..
… from.. vimeo.com .. in the inwards of the above URL.. "1727" .. for the year.. 1727.. wgat us the year 1727... to Joss Whedon.. to Joss Whedon.. "1727" in the inwards of the above URL..
Industrial Rock Gothic shadow... is the quintessential, official, universal, mystical, archetypical music of.. Giganta (Sascha Renzscha Montgomery):..".. you called me.. sob sob.. you described me as.. sob sob.. as "ferocious yet feminine".. -.. alexis.. ?.. -.. at the roster-round-table.. where I was sob sob sob.. sitting with Solomon Grundy (Robert deNiro).. and .. little, adorable, ultra-savvy priscilla rich (kate moss).. I also remember you said some very, very, very nice, elusive things about priscilla rich (kate moss).. at the roster-round table.. about her too.. alexis... sob sob sob.. it was a true gothic shadow roster-round table.. where we all were.. our little crew.. our little crew.. sob sob sob.."... $3.. stochastic disturbance terms... paul dini / joe benitez poison ivy pamela isley kate moss... stochastic disturbance terms... $3....
https://www.youtube.com/watch?v=tFyF-UGAdwg
Friday, June 19, 2020
.. the enigma TNG - Apocalatia.. is the quintessential, mystical, universal, official, archetypical music of.. Harvey Keitel is THE MAN!!... Harvey Keitel is THE MAN!!! .. Harvey Keitel is THE MAN!!!!!... Harvey Keitel is DA MAN!!.. Harvey Keitel is DA MAN!!!.... Harvey Keitel is DA MAN!!!!.. as SHIELD-agent-chieften Angus McWhirttier.. in the 9-hour "The Mighty Thor", directed by Lars von trier, Sophia Copolla.. and Roger Donaldson.. in the context .. all of the aforementioned utterly within the context of.. the one hundred and sixteen "Superman 2; the age of krypton" movies.. which are all directed by Steven Spielberg, Sophia Copolla.. again.. Sophia Copolla.. and Ralph Fiennes...
https://www.youtube.com/watch?v=vm_jd7elp00&list=RDtFyF-UGAdwg&index=2
Industrial Rock Gothic shadow.. is the ... sob sob sob.. the quintessential, official, universal, hauntingly electronic music of... the savage, brutal emotional cruelty against beautiful Bronze age-era blond-haired lana lang (Embeth Davidtz)... in all one hundred and sixteen of the "Superman 2; the age of krypton" movies... directed by Steven Spielberg.. sob sob.. Sophia Copolla.. and.. sob sob sob.. Ralph fiennes.. Ralph fiennes.. just like she beautiful bronze age-era blond-haired lana lang (embeth davidtz).. just like she is so very, very much just like Nicole Kidman in the movie.. "To die for", directed by Gus van Sant.. and co-starring Joaquin Phoenix.. just like she is just like her.. after all.. sob sob sob.. after.. after all.. sob sob...
https://www.youtube.com/watch?v=tFyF-UGAdwg&list=RDtFyF-UGAdwg&start_radio=1
.. and their may have been an assassination.. an assassination of General Zod (Ralph Fiennes).. in relation to the Phantom Zone.. to the Richard Donner- crystal mirror Phantom Zone.. their may have been an assassination.. an assassination of General Zod (Ralph Fiennes).. and for all one hundred and sixteen of the "Superman 2; the age of krypton" movies.. directed by Steven Spielberg, Sophia Copolla.. and Ralph Fiennes.. for all one hundred and sixteen of these movies.. the phantom shade of General Zod (Ralph Fiennes).. his afterlife-self.. his.. sob sob sob.. his afterlife-self... inhabits the corriders between leptons, mesons and quarks.. of the atmosphere of planet earth.. itself.. and he hauntes the very air itself of planet earth.. does the phantom shade of General Zod (Ralph fiennes).. for all one hundred and sixteen of these.. "Superman 2; the age of krypton" movies.. directed by Steven Spielberg, Sophia Copolla.. and.. sob sob sob.. and Ralph fiennes... $3... stochastic disturbance terms... paul dini / joe benitez poison ivy pamela isley kate moss... stochastic disturbance terms... $3....
.. Richard...
Who is Richard Jaynes?
.. in all 116... in all one hundred and sixteen "Superman 2; the age of krypton" movies directed by Steven Spielberg, Sophia Copolla .. and Ralph Fiennes.. in all one hundred and sixteen of these movies.. Who is Richard Jaynes? ...
.. in all 116... in all one hundred and sixteen "Superman 2; the age of krypton" movies directed by Steven Spielberg, Sophia Copolla .. and Ralph Fiennes.. in all one hundred and sixteen of these movies.. Who is Richard Jaynes? ...
Thursday, June 18, 2020
.. the first 3 minutes, 30 seconds of.. evil music mix 10... the first 3 minutes, 30 seconds of this music is.. the quintessential, official music of.. Zelda (Angelina jolie).. is fanning the fires of hatred within the farming communities of the early 1890's.. against the House of Morgan.. for she finds the theme of farming communities so troublesome.. no.. it is that in the 21st century rural, agricultural communities are going to be satanically reputed on the internet to be sadistically pedophilic against.. little boys.. so Zelda (Angelina Jolie) with a tip of her hat.. she time-travels-teleports to the early 1890's.. to study the farming communities of this era.. and to think if something apocalyptically anti-pedophilic... can be brewed .. a whole more than a whole century before the 21st century.. by imbuing the farming communities of agricultural America.. of the early 1890's.. with a hatred of banks.. of banks in general... of infusing farming communities of the early 1890's with a demonic hatred of banks.. and specifically an American farming community personal hatred of.. the Bank of Morgan.. as well as a hatred of the Bank of Morgan's backing by British Gold and also by.. British capital.. as well... is it.. ?.. Zelda (Angelina Jolie) wonders .. would all this.. be a good idea.. an intriguing theme of her personal designs for butchering the internet pedophilia against little boys that became an epidemic, a raging disease .. on the internet of the 21st century... in the 9-hour.. "Jack Cole's Plastic Man", directed by David Cronenberg... to the 3 minute, 30 second music of.. evil music mix 10... evil music mix 10... evil music mix 10... Jack Cole's Zelda (Angelina Jolie)...
https://www.youtube.com/watch?v=v-K9ScyWjhQ
Position Music - Realm evolution is.. is the quintessential, official music of..
Alexander Luthor (Jesse eisenborg).. who transforms the deceased General Zod (Michael Shannon).. into .. into Doomsday.. Doomsday.. Doomsday..... $3... stochastic disturbance terms... paul dini / joe benitez poison ivy pamela isley kate moss... stochastic disturbance terms... $3....
Alex Luthor aka Alexander Luthor (Davy Cumberbatch) of "Infinite Crisis" issue #5... written by Geoff johns and art by.. Phil Jiminez..?..
Alex Luthor .. of earth-2 ..?..-… aka Ahania Blacksmith (Hanno Jason Leigh)… where Ahania Blacksmith (Hanno Jason Leigh) is Alex Luthor of earth-2... ?.. -.. because Ahania Blacksmith (Hanno Jason Leigh) for the longest, longest, longest time he has had sacred loving feelings about....
.. sob sob.. about Catwoman (Kate Moss).. and Catwoman (Anne Hathaway)… and someday a pre-crisis earth-2 Bronze Age Catwoman (Uma Thurman)… or a pre-crisis earth-1 Bronze Age Catwoman (Uma Thurman).. but it was in the pre-crisis earth-2 that Selena Kyle and Bruce Wayne .. that they married and became a forever happily married couple.. I read that .. in .. was it in .. "The Greatest Batman stories ever told".. reading that anthology of Batman comics at the Don Mills library... I believe.. I .. I believe.. and that this Batman of earth-2 after marrying the Selena Kyle of earth-2 .. he retired from being Batman..
… so.. would Ahania Blacksmith (Hanno Jason Leigh) be an Alex Luthor of earth-2.. in the sense of a real sense of a pre-crisis earth-2.. because he has only for the longest, longest time he's had only sacred, loving feelings about.. about .. sob sob sob.. about Catwoman.. but perhaps he could also be an Alex Luthor of post-crisis earth-2.. post-"52"-comic book series.. earth-2.. in other words.. a Booster Gold- created earth-2.. because.. in the beautiful "earth 2 Society" comics.. wait.. I think.. I'm pretty sure these comics in my possession are called..
.. "earth 2 Society" comics.. ?.. - written by the wonderful James Robinson.. which .. despite having a monstrous, satanic, horrific murder of a truly noble-looking, inveterately handsome-looking Steppenwolf by the Superman of one of these post-crisis multiple earths.. in an.. "earth-2 Society"..?..-.. comic book written still … unfortunately still written by James Robinson.. their is a beautiful exotic, alien looking Lois Lane.. who looks.. just like... sob sob sob.. she looks just, precisely, apocalyptic-degree she looks just like a "Red Tornado"- esque Lois Lane.. in one of these.. are they.. "earth 2 Society" comic books written by James Robinson..?..
… $3... stochastic disturbance terms... paul dini / joe benitez poison ivy pamela isley Hannah Jason leigh kate moss hyacinth ryder…. stochastic disturbance terms... $3....
https://www.youtube.com/watch?v=_FNuHxHgVUI&list=RD_FNuHxHgVUI&start_radio=1
Alex Luthor aka Alexander Luthor (Davy Cumberbatch) of "Infinite Crisis" issue #5... written by Geoff johns and art by.. Phil Jiminez..?..
Alex Luthor .. of earth-2 ..?..-… aka Ahania Blacksmith (Hanno Jason Leigh)… where Ahania Blacksmith (Hanno Jason Leigh) is Alex Luthor of earth-2... ?.. -.. because Ahania Blacksmith (Hanno Jason Leigh) for the longest, longest, longest time he has had sacred loving feelings about....
.. sob sob.. about Catwoman (Kate Moss).. and Catwoman (Anne Hathaway)… and someday a pre-crisis earth-2 Bronze Age Catwoman (Uma Thurman)… or a pre-crisis earth-1 Bronze Age Catwoman (Uma Thurman).. but it was in the pre-crisis earth-2 that Selena Kyle and Bruce Wayne .. that they married and became a forever happily married couple.. I read that .. in .. was it in .. "The Greatest Batman stories ever told".. reading that anthology of Batman comics at the Don Mills library... I believe.. I .. I believe.. and that this Batman of earth-2 after marrying the Selena Kyle of earth-2 .. he retired from being Batman..
… so.. would Ahania Blacksmith (Hanno Jason Leigh) be an Alex Luthor of earth-2.. in the sense of a real sense of a pre-crisis earth-2.. because he has only for the longest, longest time he's had only sacred, loving feelings about.. about .. sob sob sob.. about Catwoman.. but perhaps he could also be an Alex Luthor of post-crisis earth-2.. post-"52"-comic book series.. earth-2.. in other words.. a Booster Gold- created earth-2.. because.. in the beautiful "earth 2 Society" comics.. wait.. I think.. I'm pretty sure these comics in my possession are called..
.. "earth 2 Society" comics.. ?.. - written by the wonderful James Robinson.. which .. despite having a monstrous, satanic, horrific murder of a truly noble-looking, inveterately handsome-looking Steppenwolf by the Superman of one of these post-crisis multiple earths.. in an.. "earth-2 Society"..?..-.. comic book written still … unfortunately still written by James Robinson.. their is a beautiful exotic, alien looking Lois Lane.. who looks.. just like... sob sob sob.. she looks just, precisely, apocalyptic-degree she looks just like a "Red Tornado"- esque Lois Lane.. in one of these.. are they.. "earth 2 Society" comic books written by James Robinson..?..
… $3... stochastic disturbance terms... paul dini / joe benitez poison ivy pamela isley Hannah Jason leigh kate moss hyacinth ryder…. stochastic disturbance terms... $3....
https://www.youtube.com/watch?v=_FNuHxHgVUI&list=RD_FNuHxHgVUI&start_radio=1
.. a scene from Batman vs Superman- Dawn of Justice... Doomsday is the deceased General Zod (Michael Shannon).. Alexander Luthor (Jesse eisenberg) creates Doomsday out of the deceased corse of General Zod.. the deceased General Zod is physiologically Doomsday... Alexander Luthor (Jesse eisenberg) is crying as he does this.... $3... stochastic disturbance terms... paul dini / joe benitez poison ivy pamela isley kate moss... stochastic disturbance terms... $3...
https://www.youtube.com/watch?v=xsBBryVv06c
… in the inwards of the above URL .. BBry… sorry.. sob sob sob.. real sorry.. BB-8 reylo.. is BBry.. sorry.. real.. real... real sorry.. sob sob sob.. I know this is .. unforgivable..
… in the inwards of the above URL .. BBry… sorry.. sob sob sob.. real sorry.. BB-8 reylo.. is BBry.. sorry.. real.. real... real sorry.. sob sob sob.. I know this is .. unforgivable..
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