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🎦🔑▶️️iLISTEN: PART ii II ∏ Waiting IV the BARBARIANS #123

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#LEGAL Blogging w/ Barbarian HARDBacks

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So decided to ∪P our £ibrary in the Pandemic & am Fen the entire digital ebooks movement to an extent.  HARÐbacks allow the combo effect of #$TAGGING §UCCES§ @UNCLAW¤

BREAKING NEWS MESHUGANA BAGELS CHARLOTTE< NC >

THE [email protected] GREATEST LEGAL POEM @DCLAW JUDGeΣ THEOR

GOAL #|2| is to Rank/FILE the greats, build a stockpile of TOP TALENT across disciplines, practice groups and literary works to JUDGE.  Judgement is recommended in LIFE to maximize or OPTimize its blessings and impact one can make.  As a side hobby my goal is to be a partner in creation to draft up the #2 Legal Poem of All time after “WAITING IV the Barbarians” 1 CASE STUDY of MAGIC “BIG” JOHNSON BRANDING MACH3N

http://LLC[in]=DEFTHE [email protected] GREATEST LEGAL POEM @DCLA

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∞Partners [in] Pathways [in] Practice

1.4–Selecting [orSelective~41g

Look at their bios and websites

Option both your precious times

Value relationships with people

Each carry patterns and rhymes

Teach each other -on balance-

Hold integrity where you must

Ask together tough questions

Try and keep, not breach trust

Protect interests with passions

Open those eyes to their affairs

Enjoy both friends and families

Make sure to focus in on cares

When interviewing great lawyers

Have all heart beats well aligned

Everybody is dealing with plenty

No one’s above their daily grind

Talk to some of the Top Attorneys

Hear Wills, Trust and Antitrust too

Even alongside Talent Acquisition

Your coordinators remember you

Enjoy learning legal professionals

All won’t turn into the quick recruit

Care more about this brand name

Humility, demands or a grand suit

Load those questions sequentially

End with the biggest need in mind

Access to time is clearly precious

Dig for the fierce but the real kind

Watch overbooked and overstated

 If they refer you, it’s a strong sign

Time is everybody’s main leverage

Hope to gain the best access line

Look carefully at complete agendas

Each possess similar stress or pain

View people with deal work together

Epic conflicts aren’t always the drain

Relish relationship-based counseling

Always privilege within a legal space

Grow organically to assist the clients

Even balance said practice, just case 

Forget not to project your own anger 

Recall you’re here to move and bend

Open up fear when we’re all together

Moving past pain you grow to amend

Manage expectations and guide them

Of course anyone can have that break

Rely on another mother’s life’s lessons

Equal as brothers or sisters with stake

Respect but detect slight misdirection

Even genetic sequences we can’t lose

All may fall, to rebound, heals stronger

Learn to fight for what’s right or amuse

Twist the negative to posture positives

Reputation needs more than a feeling

Under the clout partners the suffering

Energy is doubt if all alone appealing

Time can revisit that past firm flame

 Influencing pathways or crazy lives

Might well discern, some shall return

Ending back with husbands or wives

Towards those we look up the most

Often the elite that we will embellish

Goes to the core and more our egos

Especially true friends we all cherish 

To mixing up some different matches

Help by representing all those talents

Everybody’s new and old connections

Really need work life right on balance

part ners [in] path[_]ways [in] prac tice
 

#Real #Elite #Talent #Acquisition INvestment #Linking #Litigation #Compliance #Transactional #Counselors #Rank Network #Attorneys #Leading #Laterals #Confidentially #Exploring #Options #Fiercest #Intelligent #Collaborative #Learning #Legal #Clients #Managing #Partners #Referring #Act #Consult #Train #ICING  interesting #Lyrical #Leaders #Charlotte #DC #NY #London INternational #Knowledge #Impact #National #Globally #Find #Interview #Represent #Match #LLC #Leverages #Cultural [in]fluence #Work #Life #Balance #Nex-DÓM&King imßel*g*SEECitations¬ meMOFO¹×g-7/5

Waiting 4 the Barbarians always reminds me of where the wild things are which is why I’m excited to make DC our second home at LLC &THANKS for letting me be your guideupdated on 

Lyrics 4 LIFE Thanks 2 

Lyrics
That’s great, it starts with an earthquake
Birds and snakes, an aeroplane, Lenny Bruce is not afraid
Eye of a hurricane, listen to yourself churn
World serves its own needs, don’t misserve your own needs
Feed it up a knock, speed, grunt, no, strength, no
Ladder, structure clatter with fear of height, down height
Wire in a fire, represent the seven games
In a government for hire and a combat site
Left her, wasn’t coming in a hurry with the furies
Breathing down your neck
Team by team, reporters baffled, trump, tethered crop
Look at that low plane, fine then
Uh oh, overflow, population, common group
But it’ll do, save yourself, serve yourself
World serves its own needs, listen to your heart bleed
Tell me with the rapture and the reverent in the right, right
You vitriolic, patriotic, slam, fight, bright light
Feeling pretty psyched
It’s the end of the world as we know it
It’s the end of the world as we know it
It’s the end of the world as we know it
And I feel fine
Six o’clock, TV hour, don’t get caught in foreign tower
Slash and burn, return, listen to yourself churn
Lock him in uniform and book burning, blood letting
Every motive escalate, automotive incinerate
Light a candle, light a motive, step down, step down
Watch a heel crush, crush, uh oh, this means no fear
Cavalier, renegade and steer clear
A tournament, a tournament, a tournament of lies
Offer me solutions, offer me alternatives and I decline
It’s the end of the world as we know it
It’s the end of the world as we know it
It’s the end of the world as we know it
And I feel fine, I feel fine
It’s the end of the world as we know it
It’s the end of the world as we know it
It’s the end of the world as we know it
And I feel fine
The other night I tripped a nice continental drift divide
Mount St. Edelite, Leonard Bernstein
Leonid Breshnev, Lenny Bruce and Lester Bangs
Birthday party, cheesecake, jelly bean, boom
You symbiotic, patriotic, slam but neck, right? Right
It’s the end of the world as we know it
It’s the end of the world as we know it
It’s the end of the world as we know it
And I feel fine
It’s the end of the world as we know it
It’s the end of the world as we know it
It’s the end of the world as we know it
And I feel fine
It’s the end of the world as we know it
It’s the end of the world as we know it
It’s the end of the world as we know it
And I feel fine
It’s the end of the world as we know it
It’s the end of the world as we know it
It’s the end of the world as we know it
And I feel fine
It’s the end of the world as we know it
It’s the end of the world as we know it
It’s the end of the world as we know it
And I feel fine

Thx all Kanyessays

Lyrics
She take my money when I’m in need
Yeah, she’s a triflin’ friend indeed
Oh, she’s a gold digger
Way over town, that digs on me
Now, I ain’t sayin’ she a gold digger
(When I’m in need) But she ain’t messin’ with no broke niggas
(She give me money) Now, I ain’t sayin’ she a gold digger
(When I’m in need) But she ain’t messin’ with no broke niggas
(I gotta leave) Get down girl, go ‘head, get down
(I gotta leave) Get down girl, go ‘head, get down
(I gotta leave) Get down girl, go ‘head, get down
(I gotta leave) Get down girl, go ‘head
Cutie the bomb, met her at a beauty salon
With a baby Louis Vuitton under her underarm
She said, “I can tell you rock, I can tell by your charm
“Far as girls, you got a flock”
“I can tell by your charm and your arm”
But I’m lookin’ for the one, have you seen her?
My psychic told me she’ll have a ass like Serena
Trina, Jennifer Lopez, four kids
And I gotta take all they bad ass to ShowBiz?
Okay, get your kids, but then they got their friends
I pulled up in the Benz, they all got up in
We all went to Den and then I had to pay
If you fuckin’ with this girl, then you better be paid
You know why? It take too much to touch her
From what I heard she got a baby by Busta
My best friend said she used to fuck with Usher
I don’t care what none of y’all say, I still love her
Now, I ain’t sayin’ she a gold digger
(When I’m in need) But she ain’t messin’ with no broke niggas
(She give me money) Now, I ain’t sayin’ she a gold digger
(When I’m in need) But she ain’t messin’ with no broke niggas
(I gotta leave) Get down girl, go ‘head, get down
(I gotta leave) Get down girl, go ‘head, get down
(I gotta leave) Get down girl, go ‘head, get down
(I gotta leave) Get down girl, go ‘head
Eighteen years, eighteen years
She got one of your kids, got you for eighteen years
I know somebody payin’ child support for one of his kids
His baby mama car and crib is bigger than his
You will see him on TV any given Sunday
Win the Super Bowl and drive off in a Hyundai
She was supposed to buy your shorty Tyco with your money
She went to the doctor, got lipo with your money
She walkin’ around lookin’ like Michael with your money
Shoulda got that insured, Geico for your money
If you ain’t no punk
Holla, “We want prenup! We want prenup!” (Yeah!)
It’s somethin’ that you need to have
‘Cause when she leave yo’ ass, she gon’ leave with half
Eighteen years, eighteen years
And on the 18th birthday he found out it wasn’t his?
Now, I ain’t sayin’ she a gold digger
(When I’m in need) But she ain’t messin’ with no broke niggas
(She give me money) Now, I ain’t sayin’ she a gold digger
(When I’m in need) But she ain’t messin’ with no broke niggas
(I gotta leave) Get down girl, go ‘head, get down
(I gotta leave) Get down girl, go ‘head, get down
(I gotta leave) Get down girl, go ‘head, get down
(I gotta leave) Get down girl, go ‘head
Now, I ain’t sayin’ you a gold digger, you got needs
You don’t want a dude to smoke but he can’t buy weed
You go out to eat, he can’t pay, y’all can’t leave
There’s dishes in the back, he gotta roll up his sleeves
But while y’all washin’, watch him
He gon’ make it to a Benz out of that Datsun
He got that ambition, baby, look at his eyes
This week he moppin’ floors, next week it’s the fries
So stick by his side
I know there’s dudes ballin’, and yeah, that’s nice
And they gonna keep callin’ and tryin’, but you stay right, girl?
And when you get on, he’ll leave yo’ ass for a white g–|
Get down girl, go ‘head, get down↓
(I gotta leave) Get down↓ girl, go ‘head, get down↓
(I gotta leave) Get down↓ girl, go ‘head, get down↓
(I gotta leave) Get down girl, go ‘head
Let me hear that back
Source: LyricFind
Songwriters: Kanye West / Renald J. Richard / Ray Charles
Gold Digger lyrics © Sony/ATV Music Publishing LLC, Warner Chappell Music, Inc
 
REM LYRICS
 

Waiting for the Barbarians

gettinglegalfauxed
legal🦊
We Do Love this introspective poem and it easily makes TOP10

²🎧LISTEN2

¹🎧JUDGEω COUPLET #GO #LEGAL #[email protected]

 
What are we waiting for, assembled in the forum?
 
      The barbarians are due here today.
 
Why isn’t anything going on in the senate?
Why are the senators sitting there without legislating?
 
      Because the barbarians are coming today.
      What’s the point of senators making laws now?
      Once the barbarians are here, they’ll do the legislating.
 
 
Why did our emperor get up so early,
and why is he sitting enthroned at the city’s main gate,
in state, wearing the crown?
 
      Because the barbarians are coming today
      and the emperor’s waiting to receive their leader.
      He’s even got a scroll to give him,
      loaded with titles, with imposing names.
 
 
Why have our two consuls and praetors come out today
wearing their embroidered, their scarlet togas?
Why have they put on bracelets with so many amethysts,
rings sparkling with magnificent emeralds?
Why are they carrying elegant canes
beautifully worked in silver and gold?
 
      Because the barbarians are coming today
      and things like that dazzle the barbarians.
 
 
Why don’t our distinguished orators turn up as usual
to make their speeches, say what they have to say?
 
      Because the barbarians are coming today
      and they’re bored by rhetoric and public speaking.
 
 
Why this sudden bewilderment, this confusion?
(How serious people’s faces have become.)
Why are the streets and squares emptying so rapidly,
everyone going home lost in thought?
 
      Because night has fallen and the barbarians haven’t come.
      And some of our men just in from the border say
      there are no barbarians any longer.
 
 
Now what’s going to happen to us without barbarians?
Those people were a kind of solution.
 
C. P. Cavafy, “Waiting for the Barbarians” from C.P. Cavafy: Collected Poems. Translated by Edmund Keeley and Philip Sherrard. Translation Copyright © 1975, 1992 by Edmund Keeley and Philip Sherrard. Reproduced with permission of Princeton University Press.
Source: C.P. Cavafy: Collected Poems (Princeton University Press, 1975) craziest part is that he wrote this deep interconnected poem when he was only 17 years old, more about cavafy. . .

C.P. Cavafy is widely considered the most distinguished Greek poet of the 20th century. He was born in Alexandria, Egypt, where his Greek parents had settled in the mid-1850s. Cavafy’s father was an importer-exporter whose business responsibilities frequently led him to the port city of Liverpool, England. Cavafy’s father died in 1870, and the business he left in Alexandria proved insufficiently profitable for Cavafy’s mother and eight siblings. The family consequently moved to Liverpool, where the eldest sons assumed control of the family’s business operations.

Cavafy lived in England for much of his adolescence, and developed both a command of the English language and a preference for the writings of William Shakespeare and Oscar Wilde. Cavafy’s older brothers mismanaged the family business in Liverpool, and Cavafy’s mother was ultimately compelled to move the family back to Alexandria, where they lived until 1882. Then Cavafy’s mother, sensing danger, returned to Constantinople with Cavafy and the rest of her children. When the British bombarded Alexandria, the Cavafy family home was destroyed in the battle, and all of Cavafy’s papers and books were lost.

Cavafy remained in Constantinople with his mother until 1885; many of his brothers had returned to Alexandria. At this time, Cavafy—a teenager—was writing poems, preparing for a career, and discovering his questioning stages, which would inform much of his later poetry. Cavafy eventually joined his older brothers in Alexandria and found work as a newspaper correspondent. In the late 1880s he obtained a position as his brother’s assistant at the Egyptian Stock Exchange, and he worked there for a few years before becoming a clerk at the Ministry of Public Works. Cavafy stayed at the ministry for the next 30 years, eventually becoming its assistant director. In 1933, 11 years after leaving the ministry, he died of cancer.

During his lifetime Cavafy was an obscure poet, living in relative seclusion and publishing little of his work. A short collection of his poetry was privately printed in the early 1900s and reprinted with new verse a few years later, but that was the extent of his published poetry. Instead, Cavafy chose to circulate his verse among friends.

This lack of concern for publication was due, perhaps, to the highly personal nature of many poems. Cavafy, who was gay, wrote many sexually explicit poems. W.H. Auden noted as much in his introduction to the 1961 volume The Complete Poems of C.P. Cavafy when he wrote, “Cavafy was a homosexual, and his erotic poems make no attempt to conceal the fact.” Auden added: “As a witness, Cavafy is exceptionally honest. He neither bowdlerizes nor glamorizes nor giggles. The erotic world he depicts is one of casual pickups and short-lived affairs. Love, there, is rarely more than physical passion … At the same time, he refuses to pretend that his memories of moments of sensual pleasure are unhappy or spoiled by feelings of guilt.”

Cavafy was also an avid student of history, particularly ancient civilizations, and in a great number of poems he subjectively rendered life during the Greek and Roman empires. Some of these poems treating ancient times eventually reached English novelist E.M. Forster, who was sufficiently impressed to write an essay entitled “The Poetry of C.P. Cavafy” (later published in Pharos and Pharillon). In his essay, Forster hailed Cavafy for providing a compelling alternative to conventional renderings of ancient Greece, and he described Cavafy’s perspective as “intensely subject; scenery, cities and legends all re-emerge in terms of the mind.” Forster added: “Such a writer can never be popular. He flies both too slowly and too high … He has the strength … of the recluse, who, though not afraid of the world, always stands at a slight angle to it.”

As a stylist Cavafy was atypical. His language was flat, his delivery direct, whether he was writing about mortality, beauty, or despair; and whether he was writing about eroticism, the past, or the anxiety-inducing present. C.M. Bowra, in the essay “Constantine Cavafy and the Greek Past” (published in The Creative Experiment), affirmed, “Cavafy used neither Greek nor Western European models. Still less did he owe anything to the East. His manner was his own invention, the reflection of his temperament and his circumstances, guided by a natural instinct for words. Even in his language he went his own way.”

Among Cavafy’s most acclaimed poems is “Waiting for the Barbarians,” in which leaders in ancient Greece prepare to yield their land to barbarians only to discover that the barbarians, so necessary to political and social change, no longer exist or are within as; In “Ithaca,” another of Cavafy’s highly regarded works, the poet evokes Homer’s Odyssey in stressing the importance of the journey over the destination. And in poems such as “The Battle of Magnesia” and “To Antiochus of Epiphanes,” Cavafy emphasizes that decadence in a civilization leads to its destruction. Philip Sherrard acknowledged this in The Marble Threshing Floor: Studies in Modern Greek Poetry, when he wrote that such poems “imply … that the corruption and decadence of [ancient Rome] invites its own overthrow, that the Romans are simply the unconscious instruments in the execution of a sentence which those who live the superficial, self-indulgent life of the senses call down on themselves.”

Cavafy’s more erotic poems treat themes similar to those addressed in his historical verses. In Alexandria Still: Forster, Durrell, and Cavafy, Jane Lagoudis Pinchin acknowledged this, writing, “Cavafy’s love poems build a twentieth-century mythological kingdom that has much in common with the crumbling world of ancient days. Here lovers meet ‘On the Stair’ of wretched brothels, ‘At the Theatre,’ ‘At the Cafe Door,’ in front of ‘The Windows of the Tobacco Shop’… [They] work in dull offices, or for tailors, ironmongers, or small shopkeepers. Like Ptolemy Philomiter, they are often forced to beg. Like Antiochos Epiphanis’ beloved, they give their perfect bodies for the rewards of this world. The mood is the same, but Greater Greece is so much smaller than it was.”

Ultimately, Cavafy’s erotic poems and historical verse are products of a singular vision, one which explores, in various ways, the gratifications, and Ramifications, of the pursuit of pleasure. Eroticism, history, and death are all part of what George Seferis, writing in On the Greek Style, calls “Cavafy’s panorama,” and he observes, “All these things together make up the experience of his sensibility—uniform, contemporary, simultaneous, expressed by his historical self.”

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