Pagan holiday dates and timings vary depending on the specific tradition or culture being observed. Paganism is an umbrella term that encompasses various nature-based spiritual beliefs and practices, and therefore there is no universal calendar for pagan holidays. However, many pagans follow a wheel of the year, which consists of eight major festivals or sabbats. These sabbats are often celebrated on or near specific dates that mark significant moments in the cycles of nature. The Wheel of the Year begins with Samhain, which is observed on October 31st or November 1st in the Northern Hemisphere. Samhain marks the end of the harvest season and the beginning of the darker half of the year.
So. As I listen to the exhilarating likes of 'Stairs' or 'Key' or 'Seoul Music' (great song title) I continue to - entirely involuntarily - see a picture in my mind of a rakishly reclining, designer-suit wearing David Bowie louchely working his way through a bottle of Gordon's London Dry in some minimalist NYC apartment with blinds firmly shuttered so as to keep both himself and his impeccably modernist threads cool and sweat-free from the unwanted climactic intrusions of an unseasonably bright and humid late 1981 afternoon. Oh yes. I can quite clearly see him there now as I listen to Technodelic's Eno-esque instrumental 'Light In Darkness': David elegantly marinating in a gin haze, listening to this LP for the very first time and uttering enthusiastic exclamations to himself: "ohh christ this is. YESS. this is really rather exquisite. mmmmm, it's got a sort of. err. hauntingly stark yet eerily beautiful atmosphere about it. THIS - I feel quite certain about it now - THIS is how I want my next album tooo. uhh. to soound: like some austere techno-futurist dreamscape governed by ruthless morality police. in which. ermm. in which an intoxicating but strictly off-limits dance-partner takes a slow-drag on something illicit to ward off a creeping sense of existential dread, whilst, at the same moment, a sudden burst of rhythmic gunfire rings-out from a few blocks over - as if in. as if in solidarity with the very last remaining specimen of an exceedingly rare orchid species which, half a world away, in an act of quiet rebellion, has taken upon itself to slowly wither and die in an as yet untamed tract of tropical rainforest. opting instead for a. for a dignified sort of. a dignified sort of OBLIVION. YES, that's it! ha-HA!". [Excitedly picks up phone receiver and calls Atlantic Records] . "Yes. Hullo? Uh, hi. it's err. it's David Bowie here. It is, I'm afraid. ha-HA! Yes, well, I can imagine that in your line of work you most probably do get fairly regular nuisance calls. Yes it is, yes. Oh, that's quite alright - it's rather an awkward position for me to have put you in, I suppose. No, no - no need to apologise at all, I can appreciate why you might have had some reservations regarding. authenticity. ha-HA! Yes, that's right. Oh, I'm feeling dangerously well, thank you. Listen, Deborah. it was Deborah wasn't it. Sorry, yes. Deborah - I wonder if you could perhaps do me the small favour of passing on my current telephone number to Mr. Nile Rodgers at your earliest convenience. Yes, that would be terrific. Thanks ever so much. Could you let him know also that I have some. ahm. some ideas that I'd very much like to run by him - if and when he has the available time to do so, of course. as well as a.. err. a strange and let's just say rather enchanting recording called Technodelic that I'd very much like him to uhh.. to listen to - if, mind you. IF, the wondrously talented sod hasn't already beaten me to it. HA-HA-HAA. "
I can quite clearly see him there now as I listen to Technodelic s Eno-esque instrumental Light In Darkness David elegantly marinating in a gin haze, listening to this LP for the very first time and uttering enthusiastic exclamations to himself ohh christ this is. I apologise in advance here, as I m now about to go and willingly hurl myself down a tangential rabbit-hole; reason being, I can t seem to shake David Bowie from my mind whenever I listen to this, YMO s sixth studio album.
Samhain marks the end of the harvest season and the beginning of the darker half of the year. It is a time to honor and connect with ancestors and to acknowledge the thinning of the veil between the physical and spiritual realms. The next sabbat is Yule, celebrated on the winter solstice, which falls around December 21st.
Yellow Magic Orchestra – Technodelic
And with that, begins Yellow Magic Orchestra’s fifth—and arguably best—album, Technodelic. As opposed to the object of their disgust in that opening line, the album sparkles and is an absolutely gorgeous set of electronic pop music from a group at the very height of its abilities, and whose intent appears to be to throw a bit of a wrench in their creative process.
As such, it’s a bit of a departure for the trio, dialing up and broadening the sonics while at the same time refining their approach in the studio. The comparisons to Kraftwerk had always been there, and were perhaps justified, but Technodelic put those comparisons to bed permanently by reaching beyond the motorik, blippy aesthetic of previous albums and embracing a sound suite wider in scope, but a method more succinct and precise.
It’s not that some of those previously similar elements didn’t find their way into the album. It is an electronic album, at any rate, in an era whose music in many ways emerged from the shadows cast by Kraftwerk. But there’s just so much more going on here than the minimalist electronic pop so closely associated with Kraftwerk’s back catalog. YMO sounds untethered by their previous touchstones.
The feeling one gets from the album with respect to their output to that point is deliberate, sharp, expansive, and eye-opening. It’s hard to imagine Kraftwerk, for all its brilliance and innovation, constructing something like “Seoul Music,” with its percussive vocal samples, looped melody, and chugging bassline—or the rolling piano and faux trumpets of “Stairs.”
The album notes YMO’s first use of the LMD-649 sampler. Unlike their previous albums, samples really take the forefront here. It gives the album a quality rooted in both realism and sequenced synths. Together with the live drums and Haruomi Hosono’s bass playing, the album feels on one hand more tangible, more present—and on the other, transcendental and difficult to pinpoint.
Synths are still clearly a part of YMO’s bag of tricks, however, but the live instrumentation (or sampling thereof) grounds the album in reality. Many of the songs here contain constant reminders of the real world, whether it’s through bits of sampled chants, stomps, or factory sounds. The lyrics tend to be focused around earthly topics and making sense of what’s in front of us; whether it be an ugly slice of bread (“Pure Jam”), a moth or key in a forest (“Key”), or a foreign culture (“Seoul Music”), time and again the theme that YMO returns to is our perception of the world around us and how realities vary from person to person.
Then there’s the Brian Eno-like “Gradated Grey,” its swooping bits of compressed and phased air and effects interweaving throughout, with what sounds like a processed train whistle acting to guide the song along. It’s the calm before the storm of “Key” kicks in, inundating the listener with a manic beat and sequenced synths underlined by Takahashi’s lilted vocals.
We see the culmination of these themes in the lyrics here: “What do you see? / I see a moth / What kind? / It looks like my lover / Whatcha gonna do? / I wanna chase it.” The speaker here has difficulty identifying what precisely he’s seeing and experiencing (“Somebody please, what’s wrong with me?”). He quickly becomes frightened, unable to both disseminate his reality and escape it using the key he’s found. “I’ve got a feeling something’s happening / It gives me a thrill but it’s also very frightening.”
In a way, what YMO seems to be saying here, is that sometimes it’s best to accept something for what it is. Allowing yourself to assign a value or definition to something based on the perception of the world around you can lead to confusion and frustration. Sometimes it’s best to experience something by letting it ride over you and be what it is. This is music steeped in both the history of traditional music and at play with unconventional and innovative forms. Perhaps the statement here that YMO wants us to leave with is “let it be what it is.” It’s music, and it’s damn good.
Yule is a celebration of the rebirth of the sun, as days begin to lengthen after the longest night of the year. It is a time of renewal, reflection, and the lighting of Yule logs or candles. Imbolc follows in early February, marking the halfway point between the winter solstice and the spring equinox. It is a festival of purification and inspiration, honoring the returning light as the days grow visibly longer. Many pagans dedicate this time to creativity, divination, and rituals of initiation. Ostara, also known as the spring equinox, occurs around March 21st. It represents the balance between light and dark as the days continue to lengthen. Ostara celebrates growth, fertility, and new beginnings. Many pagans mark this time by planting seeds, decorating eggs, and honoring nature's renewal. Beltane is celebrated on May 1st and heralds the arrival of summer. It is a time to honor the Earth's fertility and the union of the masculine and feminine forces. Beltane is often marked by Maypole dancing, bonfires, and rituals of love and passion. Midsummer, or Litha, falls on the summer solstice around June 21st. This sabbat celebrates the height of the sun's power and the abundance of nature. Many pagans gather to witness the sunrise, hold fire rituals, and give thanks for the bountiful harvests to come. Lughnasadh, also known as Lammas, takes place on August 1st. It is a festival of the first harvest, when the first grains are reaped from the fields. Lughnasadh is a time of gratitude and community, as pagans come together to share in the abundance of the earth's gifts. Finally, Mabon, or the autumn equinox, occurs around September 21st. It marks the second harvest and the beginning of the descent into the darkness of winter. Mabon is a time of balance and gratitude, as pagans give thanks for the fruits of the harvest and prepare for the coming season. It is important to note that these dates and timings may vary depending on the specific pagan tradition or personal interpretation. Some pagans may follow a lunar calendar, while others may calculate sabbats based on the solar cycle. Additionally, those in the Southern Hemisphere may celebrate these holidays at opposite times of the year to align with their own seasons. In conclusion, pagan holiday dates and timings are influenced by a variety of factors, including the specific tradition or culture being observed and the geographic location of the practitioner. While there is no universal calendar for pagan holidays, many pagans follow a wheel of the year that includes eight major festivals or sabbats, each with its own significance in the cycles of nature..
Reviews for "A History of Pagan Holiday Dates and Timings"
1. John - 2 stars
I was hoping to find accurate information about pagan holiday dates and timings in this book, but I was sorely disappointed. The author seems to have a biased perspective, as they focused mainly on the negative aspects of these holidays and failed to provide a balanced view. In addition, the dates and timings mentioned were not consistent with the information I found elsewhere. I would not recommend this book to anyone seeking accurate and unbiased information on pagan holidays.
2. Sarah - 1 star
I found "Pagan holiday dates and timings" to be quite misleading. The author presented outdated and inaccurate information about pagan holidays, which left me feeling frustrated and misinformed. It was clear that the author did not thoroughly research the subject matter or consult reliable sources. Furthermore, the writing style was dry and boring, making it difficult to stay engaged with the content. Overall, I would not recommend this book to anyone interested in learning about pagan holidays.
3. Michael - 2 stars
As a pagan, I was excited to come across a book specifically addressing holiday dates and timings. However, "Pagan holiday dates and timings" did not live up to my expectations. The information provided was minimal and lacked depth. I was also disappointed by the lack of historical context surrounding these holidays. It felt like the author rushed through the content without truly exploring the significance and meaning behind each holiday. I would suggest looking for other resources if you're seeking more comprehensive information on pagan holidays.