#( lso. / && new horizons. )

[taterztots]

Just a random drop of Dizzy screenshots because I love him.

The first 4 he was arguing with Coach, on the fifth he went peach picking with Diva (a tiny purple frog) lol, and the other ones are just cute little moments with him. Bonus Stitches there at the end.

[bastardsullivan]

tag drop bc necessary, part ii

[erekiosuncreativeideas]

Not Really There (AHIT oneshot)

Summary :

"If there was a higher being watching him from afar… Then it had to be the cruellest being in the universe. Staring into the pond, Moonjumper’s eyes were fixed on a familiar face, one he had known for a few years now.

Berry."

Moonjumper suffers from the loneliness the Horizon offers him... Until he discovers a new ability, allowing him to appear in the real world. Except... It doesn't go well.

Also available on AO3 : https://archiveofourown.org/works/31866103

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Hello people, new one shot ! It's one of the birthday gifts I made for @habijob for her AU, @queens-nightmare !

Two others will come after this one, making a three part series of one shots (the series will be called "Loneliness and Helplessness") ! I hope you'll like them ! In any case, I had a lot of fun writing them.

Read the one shot under the "read more" ! Happy reading !

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If there was a higher being watching him from afar… Then it had to be the cruellest being in the universe. Staring into the pond, Moonjumper’s eyes were fixed on a familiar face, one he had known for a few years now.

Berry.

Oh, Moonjumper had had a lot of friends in the course of his existence, but he never forgot them. All of them had different personalities, appearance, humor and, well… Things that made them special in their own way. One of those things was dreams. Every human’s dream was different from one another, and this could be said for all the kids Moonjumper had been bonded to. For some, their dreams were about painting, reading, fighting, playing dolls or hide-and-seek… And, for Berry, it was Space. Of course, just like all the other times, Moonjumper’s outfit had been influenced by his “host”’s dream, making him wear a starry cloak and planet-like bracelets. This wasn’t a bad one, to be fair… He had had worse, he could say that much, so here he was pretty lucky.

Although, in another regard… He wasn’t.

Stuck in this lonely place, the dream being couldn’t do anything but look at the outside world through a window, one he couldn’t open. This was frustrating, no, unbearable. It was like being starched and seeing a bottle of water in the desert… Only to find out that it was impossible to uncork at all.

Today –or, however, he could refer to the passage of time in such an awful, unchanging place-… Yeah, today was one of those times where Moonjumper’s loneliness was at its peak. Being able to see his dear friend outside but not being able to talk to him, to even just being… Seen at all! This was horrible, terrible and extremely cruel.

This wasn’t fair.

Out of frustration, the dream being put both of his hands on the “pond“, his only window showing him the outside world. Pushing with all of his strength, Moonjumper groaned, his frustration growing stronger and stronger as this did nothing at all. The pond was not moving, was not letting him go through. Why did it have to be that way?

-“Come on!” he whined, desperate for contact, any type of contact: “Why can’t I leave?” He pounded on the window, shutting his eyes hard for a moment, still trying to push… But nothing worked. No matter how hard he was trying to get out, no matter how hopeless he was, no matter how unfair this situation was… The pond still remained the same: unmoving… And still locked.

A wave of melancholy hit him at the realization, and he let himself lie down on the pond, his face turned to Berry and all of his other friends he could see outside. Friends… Who could touch him, who could actually talk to him.

Friends he knew existed.

Tears swelled up in his eyes as he couldn’t look away, a mix of negative feelings washing over him. Jealousy, despair, hopelessness, anger, frustration… The more he watched Berry having fun with people who could really be there with them, the more unbearable it became. And yet… Yet, he kept watching, envying these children so, so much.

They were free, they weren’t as lonely as he was… Oh, what he would give to be in their shoes! If only he could leave that hellish place…

-“Just once…” he begged, his voice breaking as he started to cry. He was feeling so miserable…

He closed his eyes again, letting his mask knock on the pond- the closest he would ever get to freedom, surely-. This was torture, just pure torture! Why did he have to go through this? What did he do to deserve such an horrifying fate?!

-“Please…?” he asked softly, knowing fully well that the pond wasn’t sentient in any way, that no one but him could hear his plea… And yet, he couldn’t help but still try. Still, unsurprisingly… Nothing happened. The world remained the exact same, silent and lonely, without any possible exit.

Moonjumper cried for a while, his tears falling onto the window but never going through- just like him. Why did it have to be this way? Why?! This wasn’t fair, this wasn’t fair!!

Fuelled by a wave of fury, the dream being started to push on the pond once again. He didn’t want to stay here any longer; he wanted to be out, out of this world!! He hated it, loathed it so much! The anger kept growing and growing, getting more intense as seconds passed. He didn’t want this!!

-“JUST… ONCE!” he screamed to the pond, his fingers bending from how much he was pushing on the flat, inert surface. One would have expected this to end in the exact same way than his previous attempts… However, something else happened.

Something… Moonjumper had never experienced before.

An unknown feeling enveloped him and he sensed his consciousness leaving his body. He felt… Empty, in a way, but it didn’t feel so bad, just… Weird. It happened quickly, though for the dream being, it felt like it lasted a few minutes at least. This was… Such a strange sensation and, as soon as he was able to… He opened his eyes, his curiosity washing away his despair and fury. What… What had happened?

A blinding light made it hard for him to distinguish anything for a few seconds. Confusion filled his mind- wait, what? Why, what- what could possibly be producing so much light? There wasn’t anything like that in the Horizon! However, after a moment, the dream being was able to discern colors, shapes… And, soon enough, people.

Real, actual people. Right in front of him. But this wasn’t what stroke Moonjumper the most- no, far from it. His eyes fell on a very familiar face.

His friend’s face, who was looking at him!

-“Berry!” he exclaimed, as his eyes widened from the surprise. Moonjumper was… Out? But… How? What had happened? How had he escaped the Horizon? Still, his attention focused back on the child and his friends, who were all looking at him, something Moonjumper had longed for years. New tears appeared in his eyes, as his wish had come true. Joy and happiness hit him like a wave- finally, finally he was free, he was out, and… His friend was there, looking at him, actually seeing him!

And yet… There was something wrong, very wrong going on.

-“Moon-Moonjumper?! You’re real!” gasped the kid, his eyes fixed on the dream being. But contrary to the latter’s expression, there was no delight on his face, no relief in it. Instead… Instead, there was fear. Berry wasn’t looking at him like he was facing a friend. It seemed like he was staring at a monster.

Just as the realization fell on Moonjumper’s mind, Berry and his friends crawled away from him, terrified expressions visible on their face. Before he was able to say anything, the kids started to run, as if their life depended on it. The dream being was unable to look away, too dumbstruck to move either. Wait, no… No, this wasn’t supposed to go this way, no…!

-“Berry?” he called out to his friend who was no longer there, almost talking to himself instead. His tears of joy gave way to ones of sadness again. A twisted smile appeared on his face as a wave of despair engulfed him again, one that was so, so much stronger than anything he had ever felt before. He had wished to leave his prison so much that he didn’t even expect it to go wrong.

And the look in Berry’s eyes, the way the other stared at him, horrified… This sight was now carved in Moonjumper’s mind, like something he would never, ever forget in his immortal existence.

-“Why are you running…?” his voice broke- and he just couldn’t contain his sorrow anymore. New tears pushed the previous ones, making them roll down his mask, as the dream being held his head tightly between his hands. His cries became louder and louder, misery and melancholy crushing him. He had thought being lonely was awful… But this was nothing compared to this. Compared to having his friend looking at him like a monster, to having his friend running away from him!

Why?! Why did it have to go this way?!

His emotions were getting more and more uncontrollable and, before he noticed it, his presence in the outside world started to get… Rather unstable, strange particles floating around him, their number increasing as seconds passed. His stress was getting so strong that he felt his grip on reality slip for a short moment. It felt just like what he had experienced before, his sense of reality disappearing… Although, it still felt different. His vision turned black, and he started to feel full again, just like he had always been in the past. And, when he opened his eyes… He was back there.

Back in the Horizon, back in this nightmarish place, back in this… Prison.

His eyes widened, and his sobs stopped for a moment as he looked around him, anguish filling him again as he was forced to realize that… He was not outside anymore.

-“No… No, no, no!” he screamed, his distress more than audible. Why, why?! Why was he back here?! He had been free just a minute ago- his eyes glanced back to the pond. Panic and anger grew inside him, and he floated closer to it, pounding his fists on it.

-“Why?!” he yelled, both livid and hopeless: “Why ?!” he repeated.

Why letting him out… Only to have him experience such a terrible rejection, and bring him back here afterwards? How could fate be so cruel to him when all he had wanted to was to interact with a friend! Nothing more!

Why making him suffer like this?! Was his imprisonment not enough?! Was his eternal loneliness not enough?!

Moonjumper let himself sink down, lying on the pond just like before… Though, now, he couldn’t look through it. He just… Couldn’t anymore. All he could see, as he kept his eyes closed, was Berry’s terror. He kept crying, his sobs echoing all around with no one to hear him at all.

Could it be that… He had never really been out there at all…?

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Oh my, someone really is feeling sad over there, now that's a shame :)c I'm sure everything will get better in the next two !!!! ...... :)

[natalyelle]

Broken Connections

Shepard receives a task to investigate a broken connection with laboratories on a distant planet. She and her companions arrive there to find out that something is wrong there and they should find it out as quickly as possible.

Chapter 1 of 3, around 2k words

Also on AO3

One of Gloria Shepard's favorite star systems in the Galaxy was the Pandonea system. An unusual bright star, whimsically colored planets, most of which were rich in minerals.

The most beautiful planet in the system was a turquoise-purple gas giant surrounded by a thin pale ring of asteroids. Gloria was looking at it with interest through the porthole when the Joker's voice announced over the speakerphone:

“Commander, Admiral Hackett wants to get in touch with you, he's on the line in the communications room.”

“I'm on my way,” Gloria replied, turning away from the window.

“Commander,” the admiral said politely, bowing his head. “I'm glad to see you're all right.”

“Likewise, Admiral,” Shepard nodded. “Do you have a task for me?”

“Yes, we need to check what happened to the communication in the research laboratory on Eltrea. You are the closest to the planet among the Alliance ships, so it was decided to entrust the investigation to you.”

“Acknowledged. What are the details? What happened?”

“The laboratory includes several employees from different research institutes from different planets, including Earth. Every week they send a signal confirming that everything is fine in the laboratory and it is functioning. With the same signal, as a rule, new materials and scientific information obtained during the work of the laboratory are regularly received. However, for the third week now, the laboratories have been silent. No new information, no confirmation signal. The institutes are concerned about the fate of their employees.”

“Don't worry, Admiral, we'll figure it out.”

Gloria turned off the video link and turned on the speakerphone with the cockpit.

“Joker, set a course for the orbit of Eltrea. We have a new task.”

“It will be done, Commander,” the pilot replied cheerfully.

“I heard that we have set a course to Eltrea,” Liara began cautiously, meeting Shepard near the elevator between the decks of the Normandy.

“Yes, do you want to come to the surface with me? We need to find out if everything is in order at the local laboratory,” Gloria smiled.

“If possible,” Liara smiled back. “The fact is that my friend, Lydia Orlova, works in this laboratory, I would like to make sure that everything is fine with her. She is a xenolinguist, we met at the Prothean excavations.”

“A xenolinguist?” Shepard's eyebrows went up. She went to the porthole and gazed thoughtfully at the stars floating in the darkness. “I thought that the laboratory was engaged in the extraction and study of minerals or something like that.”

“No, as far as I know, the Prothean pyramid is being excavated here. Lydia is a very good expert in alien languages and symbolism, her knowledge helps to decipher the symbols on the pyramids.”

“The Prothean pyramid? Quite unexpectedly… Okay, I'm including you in the landing team. Prepare your tablets, documents and materials, I think we can take advantage of the opportunity for cultural and scientific exchange.”

“Yes, Commander!” Liara happily ran to her cabin to collect things, Shepard just watched her dreamily and smiled at her thoughts.

“Tali, Garrus,” Shepard said over the speakerphone, “get ready to land on the surface of the planet. We have a special task.”

“Commander, are you sure you should include only alien companions in the landing group?” Kaidan asked cautiously, coming up to Gloria. “If this is an Alliance task…”

“There's also me,” Shepard smiled dazzlingly. “Don't worry, I know what I'm doing.”

* * *

“So, guys, let's repeat our legend,” Shepard said, sitting at the wheel of the Mako all-terrain vehicle. Garrus was sitting on her right hand, Liara and Tali were in the back seat.

“Why invent some kind of legend if something serious happened?” Tali asked. “What if there is no one there who will listen to us. And if they will, then why invent something, and not just say everything as it is?”

“Even if everything looks good, you can't trust this apparent well-being,” Gloria remarked. “It will not be superfluous to cover ourselves so there are no additional problems.”

“It's kind of complicated,” Liara muttered.

“So the legend,” Shepard repeated. “Liara was sent here from the Citadel as a new Prothean specialist. The Citadel could not inform her appointment, because there were some problems with communication, so Liara arrived here without warning.”

“In my opinion, it is quite logical,” Garrus said.

“Tali was on the same ship as Liara, learned about the laboratory and decided to come here for her Pilgrimage to help with communication problems,” Shepard continued. “In exchange for some useful, but not classified information. See? We are not even deceiving anyone yet.”

Liara looked thoughtfully out of the small window. A deserted valley passed by, low hills could be seen in the distance. The bright, slightly reddish sun, setting below the horizon, gave the landscape a purple hue. Shepard's eyes sometimes took on the same shade.

“And Garrus?” Liara asked quietly.

“And Garrus is my assistant, escorting us to the laboratory so that we are not attacked by wild animals and all that.��� Gloria happily turned the steering wheel of the all-terrain vehicle.

“Shepard, I don't know what is your human custom, but aren't you driving too dangerous?” Tali asked.

“It's all right!” Gloria replied cheerfully, looking into the rearview mirror with a smile. Liara caught her eyes shining with joy and involuntarily smiled herself. They are going on a possibly dangerous mission, and Shepard is enjoying the trip like a child. It was a little surprising, but for some reason Gloria's joy was contagious, and Liara also cheered up a little.

“Do you have any qualification tests for drivers?” Garrus asked, gripping his seat.

“Relax, guys, what can go wro – ”

Mako suddenly fell into a hole, the sky seemed to mix with the earth. With a thud, the vehicle landed on solid ground, and Shepard, as if nothing had happened, drove it forward.

“It's just a shorter way!” Shepard exclaimed. “We'll be there in no time!”

After a while, the dark buildings of the laboratory appeared from behind the hills. They looked like large boxes placed side by side and on top of each other. To the left of the buildings, the dark top of the pyramid could be seen sticking out of the ground. Liara fixed her eyes on this vague, gloomy spot. How many secrets this pyramid must have kept! How she would really like to be among the researchers of this laboratory to learn the Prothean secrets that bothered her a lot.

On the other hand, next to her now is a person who holds no less secrets of the Protheans than, perhaps, this pyramid. Liara shifted her gaze to Shepard. The violet light gave her eyes even more depth, and her lips an unusual and attractive color. Is it only the secrets of the Protheans that attract her to Shepard?..

“How interesting, their lights are on,” Shepard drawled, nodding at the laboratory buildings.

Liara looked ahead through the windshield and saw that Shepard was right. The small rectangular windows glowed slightly with a dark orange light.

“So, scientists are working there...” said Liara.

“Or they all ran away from there,” Gloria said melancholically. “Or they are lying dead. And the lights are on because the generator is still producing electricity.”

Garrus coughed slightly.

“Well, we will believe in the best!” Shepard smiled, driving closer to a large building with a door.

The team got out of the vehicle and went to the door, near which was a communication screen. Gloria punched the button under the screen with her fist, and it came to life. A young man's face appeared in the gray interference. His dark, thick brows were furrowed. "So, at least someone is alive here," Liara thought with some relief.

“Good evening!” Gloria said with a smile in her voice. Her very face was covered by a helmet. “I am Commander Gloria Shepard of the Normandy, Spectre, who has arrived here to accompany your new colleague, Dr. Liara T'Soni.”

“I haven't heard about any new colleague,” the man behind the door replied.

“It's kind of weird,” Shepard continued. “I was told that the message was sent to you a week ago. Perhaps you have problems with communication? We can help you solve them.”

“Everything is fine with us!” the man insisted.

“Maybe you should tell your supervisor about us?” Gloria asked and put her hands behind her back, showing that she was ready to wait for a long, very long time. The man sighed and pressed a button on the side. The front door hissed and opened. Gloria waved her hand solemnly, letting her companions inside.

After passing the buffer zone, where everyone took off their helmets, the team went into a small hall. It looked cozy - there was a table with artificial flowers against the far wall, along the walls there were small display cases with extracted Prothean artifacts. A tall, red-haired woman came out of a door at the side. Her piercing green eyes scanned the Normandy team and settled on Shepard.

“Hello!” Gloria took the initiative and took a step forward to the woman.

“Hello,” the woman said, slightly tilting her head, walked up to Shepard and held out her hand. Gloria shook it politely.

"My name is Gloria Shepard, " she said.

“Yes, I have already been informed,” the woman nodded. The man from the screen appeared behind her. “ My name is Ariadna Dowsell, I am the head of the local scientific laboratory. This is Greg Nicholson, a specialist geologist.”

The man nodded.

“I am very glad that a new specialist was sent to us, and at the same time I am a little puzzled.”

“Something happened? Shepard asked, tilting her head to the side.

“The fact is that we requested a new specialist two weeks ago, but we did not receive any response. And no messages from our institutes either. Your arrival is a surprise for us.”

“And yet, this is a pleasant surprise!”

A short, fair-haired woman appeared from the same side door. She smiled happily as she walked up to Ariadna.

“This is Ioanna Viktorova, a specialist in xenoarchaeology,” Ariadna introduced her.

“We at the laboratory are always happy to see new faces!” Ioanna chirped cheerfully.

“Xenoarchaeology?” Liara asked. “ Sounds very interesting!”

“Oh, yes, it's really interesting! But let's not stand on the doorstep, come in, let's drink tea!”

Shepard and the company followed the cheerful Ioanna. Ariadna and Greg also joined them.

“It's quite cozy here,” Liara said, looking around the small room furnished as a living room. There was a sofa and soft armchairs, a coffee table in the middle, near the walls there were cabinets with books and a couple of stone exhibits.

“Yes, you can't say that you have a laboratory here,” Gloria drawled, sipping the black tea offered to her.

“We have been here for quite a long time, so in order not to go completely crazy, we decided to organize a more familiar, homely atmosphere,” explained Ioanna.

“I heard that Lydia Orlova is also here,” Liara said, looking awkwardly at Ariadna.

“Yes, she's here,” she nodded. “She's checking out the dig site before it gets dark.”

“And are there many specialists here now?” Shepard asked.

“We have enough,” Ariadne smiled. “In addition to the four humans, there are also two asari from Tessia and one from Nevos, three turians from Palaven and one volus.”

“And how are the studies going?” Shepard poured herself more tea.

“Pretty casual,” Greg said. “We are clearing the found pyramid from the dirt so that we can study it better.”

The door to the living room opened, and a tired young woman with her hair tied up in a bun entered the room.

“Lydia!” Liara could not contain her joy, jumped up from the sofa and ran to the girl who entered.

“Liara!” the girl smiled,hugging asari. “Is it you?”

“It is!” Liara laughed. For some reason, all the tension that had not left her in this room dissipated. “I'm very glad to see you!”

“But by what fates?” The girls stopped hugging and sat down on the sofa together.

“Dr. T'Soni was sent to us as a specialist in the Protheans,” Ariadna said. It seemed to Liara that the temperature in the room dropped by half a degree. Why? She couldn't understand. Perhaps it was just her imagination. Lydia beamed.

“You will be delighted with what we have dug up here!” she exclaimed.

“Commander Shepard, this is the Normandy,” a voice whispered in Gloria's earpiece.

“I'm listening to you, Kaidan.”

“We have a little problem, due to the asteroid debris, we have to adjust the orbit, and we will not be able to lift you in the near future. Do you have the opportunity to wait on the planet for about a day?”

Gloria caught Ariadne's eye. She nodded slowly and said:

“We can accommodate you and your team in the reserve rooms, Commander.”

“Excellent. Kaidan, we're staying in the lab, keep me updated on your situation and condition. Shepard out.”

“Yes, ma'am.”

The rustling in the ear stopped.

“And what about your connection?” Shepard asked Ariadna.

“I don't know for sure,” Dowsell said.

“I can check the status of your communications center,” Tali offered. Ariadna frowned a little and exchanged glances with Ioanna.

“Quarians are famous for their techniques,” Shepard said, leaning back in her chair. “Perhaps you just lost some wire, and we will quickly fix it.”

“Yes, thank you, it's a good idea,” Ariadna smiled again. “Ioanna conducts…”

“Tali'zora,” quarian introduced herself with a slight bow.

“Yes, yes,” Ariadna said quickly and nodded to Ioanna. Ioanna nodded in response, and she and Tali left the living room.

“And where are your other colleagues?” Shepard asked. “I would like to meet them. Especially the volus scientist.”

“They're probably already asleep,” Ariadne shrugged. “Well, and you must be tired. Greg will show you to your rooms.”

“Tomorrow you will show me everything!” Liara said happily to Lydia, and they wished each other good night.

[edelwoodsouls]

all roads lead - ch. 6

When his mother dies, Stiles runs away, straight into danger - only to be saved by Peter Hale. Seven years later, after burying their alpha, Stiles and Malia return home.

Word Count: 2,397 | Also on Ao3 | Other Chapters: 1, 2, 3, 4, 5,

Chapter 6: FLINCH

It takes less than an evening for the pieces of Beacon Hills to begin to fall together in Stiles' mind.

The four teenagers kill time until dinner watching television in somewhat awkward silence, passing around a bowl of microwave popcorn. Stiles still can't figure out what they were watching, his senses too overwhelmed by the two unsuspecting werewolves sitting so close on the sofa beside him, the beta leaning into his shoulder, his father shifting back and forth in the kitchen next door.

Dinner is an even more tentative affair. Melissa arrives just as John sets the shepherds pie in the centre of the table. She stinks of hospital cleaning fluids and that distinct floral perfume that hangs around his father's scent, but her smile is just as warm as Stiles remembers, and when she hugs him without hesitation it feels a little too much like memories eight years gone.

Melissa and John are sickeningly good together. They move around, between, with each other in a perfectly synchronised dance. They touch, and laugh, leaning into each other with the effortlessness of certainty.

They're good for each other, and Stiles is surprised to find any lingering bitterness begin to fizzle out inside him.

But whilst John's cooking has, in fact, come on in leaps and bounds since the last meal he gave Stiles - frozen waffles and ketchup - it's not enough to dissipate the thick tension in the air, like the pressure of clouds before lightning.

Scott manages to carry the conversation practically single-handed, with regular interruptions from Malia. He tells them all about sports practice, about the pretty cool new english teacher, about the cute puppy he treated at the animal clinic.

The topics are noticeably inane. More than once, Scott stumbles over a word, glances sharply at Stiles and Malia, quickly changing the subject. Stiles almost pities him. If he didn't know anything about the supernatural, he'd be more than a little suspicious by now.

Stiles stays quiet for the most part, watching this choreography of a normal life that he has never had the chance to witness so closely. Even in a half supernatural family, real life holds dominion. They worry about how to keep their grades up to stay on the lacrosse team. The fact that the local ice rink didn't get enough funding to stay open. The flashy new rich kids with bikes much better than theirs. Random, normal things that completely pass Stiles by.

He wonders how much he missed in New York, holding himself above the rest, writing them off as petty teenagers who knew nothing of the world. Was it just jealousy the whole time? That they could care about the things Stiles had to leave behind?

He cringes away from this realisation- and finds Isaac is staring directly at him.

Where Scott is a waterfall of movement and sound, Isaac is a silent, watchful stone. They balance each other well - Scott's open sunshine, Isaac's caution. He watches the room the way Stiles does: looking for the exits, assessing the threats. Flinching at any movement too sudden, any voice too loud. The clatter of cutlery against plates, a sharp bout of laughter.

He recognises the signs of trauma - no, the signs of abuse - far too well. The mystery of this strange boy his father and old best friend have adopted unfurls a little more.

Stiles meets his eyes, surprised when Isaac doesn't look away. He may behave like a shrinking violet, but Stiles gets the feeling he would do anything for Scott. The way he leans towards his alpha, instinctively, protectively - the same way he leans towards Malia, a gravity built on years of weight. He wonders if this boy filled the vacuum Stiles left when he vanished. If Scott attracts broken, darkened things like moths to flame.

Maybe magic and werewolves are an inevitability in this town, not the result of an ill-wandered youth.

"Are you gonna start coming to school?" Scott asks out of nowhere, and the tension ratchets up a thousand volts, breaking apart the unnoticed staring contest.

"Uh," Stiles starts. Stops. "I'd like to, yeah."

"I'd rather jump off a skyscraper," Malia all but snarls into her mashed potato. "But yes. I guess."

"Awesome," Scott grins. "It'll be great to have new people who're actually nice." Stiles has to stop himself from snorting. Never did he think someone would describe him as nice. "The new twins are dicks. Isaac got detention because of them."

"Detention?" John asks sharply, a father if ever Stiles heard one.

Isaac flinches a mile. Folds even further in on himself, eyes lost in his lap. "It wasn't what it looked like," he says, so softly the words are almost lost in the sudden silence of the kitchen.

"It wasn't his fault!" Scott leaps in vehemently. "The twins riled him up, got him angry, then framed him for beating them up in the halls-"

"Isaac, we're not angry, honey," Melissa says suddenly, yet gently as ever. "We absolutely believe you. There's nothing to be afraid of."

"Right, absolutely," John stumbles to follow, face drawn in panic. "Even if you did have detention, it's honestly nothing. What's one detention? Stiles had detention every day for a year when he was nine!"

"In my defence, Miss Clarke really hated you because you arrested her brother for kidnapping," Stiles says. "So really I think I was entirely innocent on that front."

The tension in the room eases, air let from an overblown balloon. Isaac uncurls, slowly, like a sunflower as the dawn breaks over the horizon. Scott's hand rests on his arm, not taking any pain but clearly reminding him of comfort, of pack. Stiles knows very little about Isaac, and yet he finds himself wanting to do anything to alleviate his discomfort.

He's not used to allowing himself to care about others. About anyone, really, except Peter and Malia, and- the one or two people who wormed their way into his heart by sheer force of will. Maybe he looks at Isaac and sees a possibilty of his own future, if he had remained trapped in a house of ghosts and overboiling temper. He'd like to think that's all, that his carefully guarded heart isn't beginning to crack more than it already has.

The rest of the meal passes with an added, wary undercurrent, everyone dancing around their words like cracks in the pavement.

Plates cleaned away, Scott stands up. "Mom, can you help me with dessert?" There's a strangled note to the alpha's voice, as if the words have been trying to force themselves out for too long. Stiles watches them leave.

"So why are you here?" Malia asks Isaac, so abruptly Stiles doesn't have time to anticipate damage control.

To his credit, Isaac barely seems phased. "Freezer related incidents," he shrugs, as if this is a perfectly sensible answer. "Why are you?"

"Coyotes."

Stiles leaves them to trade snide remarks at each other whilst his father referees; they seem impressively evenly matched. Instead, he has no qualms about focusing his hearing towards the other room, the murmured voices and distinct lack of movement.

"What happened, hun?" Melissa asks, voice soft as ever, yet firm, prompting.

"The alpha twins," Scott starts, stops, and Stiles has to school his expression to hide his shock. Twin werewolves are rare, believed to be incredibly powerful. Alpha twins are unheard of- except a single pair, blood-soaked and vicious. Why would they be in Beacon Hills of all places?

"The alpha twins?" Melissa prompts.

"They've really gotten under Isaac's skin since they... killed the others. They know exactly how to rile him up, and so they've made him a target. And I got a call from Derek on the way home - he and Cora were attacked at the loft. He almost bled out. I just- I don't know what I'm doing, mom."

Stiles hears the moment when Scott's voice breaks, and finds his heart cracking a little more in kind. He of all people shouldn't have let all those sunshine smiles distract him from the obvious pressure of being an alpha so young. Scott's positivity, even when they were children, had been a result of his suffering, not evidence of its lack.

And he's still an alpha, Stiles has to remind himself. He still has blood on his hands, somehow, and that makes him a threat despite any deceptive kindness.

"You're doing everything you can, sweetie," Melissa's voice is muffled, as if by a hug. "You've only been an alpha for a few months, and it's not easy, being a leader even in the best of times. What you've dealt with? Becoming a werewolf, hunters, now the alpha pack? It amazes me every day that you even get out of bed."

"I really wanted this to be the year I got my life back on track. Getting my marks up so I can do AP classes and stay on the lacrosse team, y'know? And now Stiles is here again and I don't know how to feel about that at all..."

"Because he's been gone so long? Because this house is already lively enough with two boys under its roof?" There's a small smile in Melissa's voice.

"Because everything new in this town seems to be something twisted and awful and supernatural. He's been gone seven years. Why did he leave? Where has he been? Who's Malia? I want to trust him, I've missed him so much, but..."

"What do your magical alpha senses tell you? What does he smell like?" The kitchen goes quiet for a moment, and Stiles feels the uncomfortable itch under his skin of being watched.

"He's human," Scott sighs with a guilt-wrenching amount of relief. "But he smells like concern all the time. The way he and Malia move around each other, I can't help but wonder what the two of them have been through, where they've been-"

"Scott, the best thing about you is your big heart. I often wish you wouldn't give it out so easily, but don't let past burns close you off completely from genuine miracles. Stiles is human, and against all odds he's come home. The rest can come later, when he's ready. We have to give him time. I mean, we're hiding things from him too, aren't we? Unless you'd like to carry this trifle back in there in all your sideburns and fangs."

Stiles pulls his attention back to the dinner table, reeling. There's so much, too much, all at once.

The alpha pack were infamous in New York. They were a favourite horror story, passed between supernatural teenagers like an urban legend, a ghost story. For betas the meaning was clear: don't anger your alpha, or he might murder your whole pack and join the alpha pack. For alphas: don't be too good at anything, don't make yourself special or noticeable, or the demon wolf will stalk you from the shadows.

Peter had scoffed at the stories, but even he couldn't hide how they made his skin crawl.

If the alpha pack are in Beacon Hills, this is the worst possible place he and Malia could be. The blood of his own pack is fresh on Stiles' hand, the obstacle between him and them a singular beta. He is a wolf who has also been a fox, who still has a little magic left running through his veins despite no longer being human.

There is no guarantee they would care about him at all.

But the risk is there, a sliver of ice sliding towards his heart.

They must be here for Scott, but what makes him special? Or maybe they're here for Laura Hale, the current alpha of the prestigious if decimated Hale pack. Scott mentioned her younger brother Derek, so the two packs must be on tentatively good terms, at least.

Unless, of course, Scott McCall is the current owner of the Hale alpha power. Which is an entirely possible and unpleasant reality that leaves an awful taste in Stiles mouth. He tries to imagine Scott stood over a body, claws blood-soaked, eyes flickering from gold to red.

It feels so wrong. He shoves the image away as Scott and Melissa emerge from the kitchen, carrying a towering monstrosity he supposes is the aforementioned trifle.

"You with me?" Malia nudges him gently in the ribs. There's a question in her eyes - she knows his propensity for eavesdropping, and he can see how much effort it's taking her not to ask right here and now.

"Later," he whispers, turning back to the table with as much of a grin as he can manage.

There are too many unknowns in Beacon Hills. At least in New York, there was an obvious hierarchy, the etiquette between packs and other supernatural creatures rigorous and unchallenged. Here it seems like a mess of blood and confusion.

But leaving now would cause more problems thann Stiles has the energy to deal with. A reawakened search for a missing sheriff's son and an Eichen House escapee could make national news, especially now that Scott and Isaac know about New York.

And Stiles finds he doesn't want to leave - just yet, at least. Even in a house of wolves, he has a bed to sleep in, Malia by his side, his father in his life. He's laid the groundwork for friendship that he hopes will make people hesitate and listen before they try to murder him. Yes, there's risk, and the potential for blood in the near future.

But is it really so different? He ran from blood - who knows what would have happened to him and Malia if they'd stayed in New York?

The Argents are not a forgiving family, and Stiles has done the unforgiveable. They would have been hunted to the ends of the earth, and without the power of the nogistune he doesn't think they'd last long.

And whilst there probably isn't a standard punishment for betas who get possessed and murder their alpha and several other prominent figures in the supernatural community, he can't imagine they'd be lenient.

After all, no one particularly cared about Peter Hale, but everyone loved Noshiko Yukimura.

So they'll stay. Act human. Go to school, play lacrosse, hang out with Scott. Maybe even try to help out with the alpha pack, if they can.

And when the blood comes knocking, perhaps they'll stand a chance.

[verdiprati]

Looking Ahead

[NOTE: this post is now out of date. Check the schedule tag on my blog for the most recent version of this list.]

Hello, Tumblr friends. 

I have been, for a while now, hesitating to continue my customary series of posts chronicling the future public performance plans of my favorite singer, Dame Sarah Connolly. 

I have decided to keep compiling and updating the list, but I also want to share some of my thoughts on the matter. Discussion, followed by list of performances, after the jump.

As you will probably have heard by now, Dame Sarah announced in July that she had been diagnosed with breast cancer and would have to withdraw from certain performances while undergoing treatment. She also expressed at the time a hope to fulfill all her other concert and recording commitments.

In the weeks since that announcement, Dame Sarah has made a few further alterations to her performing schedule while also maintaining some scheduled appearances: I myself heard her sing beautifully at concerts in Exeter and London earlier this month. A recent blog post by Jessica Duchen, written after that London concert, mentions that Dame Sarah now faces “a new journey, through chemotherapy.” Chemo protocols and how well individuals tolerate them can be really variable; the soprano Erin Wall has written about how she managed to keep performing between chemo treatments, but chemo can bring on a host of side effects that can make it extremely difficult to carry on one’s normal activities for the duration of treatment, which may take months. (Frankly, just reading that list from the American Cancer Society makes me feel sympathetically ill.)

I am sure you can see the delicacy of maintaining a public list of Dame Sarah’s scheduled performances. There is a lot that Dame Sarah herself probably does not know yet about her own treatment experience and how it will affect her availability (and desire) for work, and we the public may not know whether she is going ahead with any given engagement until relatively late. 

I do not want to prematurely write off the next several months of Dame Sarah’s work, and I would still encourage anyone who lives near one of her performance venues to consider buying a ticket. It is a bit of a gamble, but if you can afford the risk of disappointment, go ahead and give yourself the possibility of hearing this wonderful singer. 

At the same time, I think ticket buyers for whom Dame Sarah’s participation would be essential to the enjoyment of a concert should be aware that the likelihood of her withdrawal for health reasons is higher than usual in the next several months. What I provide below is the best information available through public channels; I’ll make an effort to update the list if and when I learn of any changes, but editing this list is not exactly my full-time job, and if there is a performance date that you care about, I would urge you to monitor the sponsor’s website and social media feeds for yourself.

Finally, and most delicately, although I consider this blog to be a fairly obscure corner of the internet, I would not want to embarrass Dame Sarah or damage her future employability by chronicling cancellations that might arise from her illness. No singer really wants to be associated with a record of frequent cancellations, however good the reasons for them might be. This consideration has been my greatest point of hesitation. I have, however, concluded that: (a) the circumstance of her illness is already well known in the industry, by her choice; (b) I really hope prospective employers will be understanding of her current circumstances and optimistic about her post-treatment future onstage; ( c ) I am only compiling information that is publicly available elsewhere; and (d) the intended audience for this list is fellow fans who, like me, want to keep tabs on possible opportunities to hear Dame Sarah perform live. 

So. Here is the latest edition of my list: 

Upcoming Performances by Dame Sarah Connolly 

Those of you in Britain might catch a performance in London, Cheltenham, Chipping Campden, or Buxton. Those on the Continent might see Dame Sarah in Madrid, Barcelona, Paris, Amsterdam, Vienna, Hamburg, Köln, Rotterdam, Basel, or Vilabertran. An as-yet-unconfirmed performance may be on the horizon in New York.

The usual disclaimers:

This is not an authoritative list. These are the upcoming performances by Dame Sarah Connolly that I have been able to learn about from Dame Sarah’s new website, Dame Sarah’s agent's website (Askonas Holt), Operabase, Bachtrack, Dame Sarah's Twitter, and generally ferreting around the web.

I sometimes list concerts that are not yet officially confirmed; you should of course check official sources before making plans and be aware that cast changes and cancellations can happen at any time.

I have added links to venue, ticketing, and broadcast information where available. Tips on new information are always welcome! Please contact me via email (verdiprati [at] selveamene [dot] com), Tumblr messaging, or ask box (plain prose only in the ask box; anything with links or an email address will get eaten by Tumblr filters) with corrections or additions.

Recital with Julius Drake at Temple Church, London, November 25, 2019. The repertoire includes Robert Schumann’s Frauenliebe und -leben, Gedichte der Königin Maria Stuart, Judith Bingham’s Adieu Solace, and “songs by Alma and Gustav Mahler.” The Judith Bingham piece is apparently based on the life of Mary Queen of Scots, as are Schumann’s Gedichte.

Elgar, Sea Pictures with the London Symphony Orchestra at the Barbican, London, December 12, 2019. In a concert conducted by Sir Antonio Pappano that also includes instrumental works by Tippett and Vaughn Williams. UPDATE: as explained in a note on the LSO’s website, Dame Sarah has had to withdraw from the concert due to her treatment for breast cancer. Karen Cargill is scheduled to sing Sea Pictures instead.

[New! Deferred broadcast] Bob Chilcott, A Christmas Oratorio (Mary), on BBC Radio 3, December 19, 2019. World premiere performance recorded live during the Three Choirs Festival on August 1 of this year, at Gloucester Cathedral. The other vocal soloists include Nick Pritchard (Evangelist) and Neal Davies (Simeon). The Philharmonia Players are conducted by Adrian Partington, and the combined cathedral choirs that give the festival its name also participate. The recording should be available for listening on demand for about a month after the broadcast.

Wagner, Die Walküre (Fricka) at the Teatro Real, Madrid, February 12, 16, 21, 23, 25, and 28, 2020. Co-stars include Tomasz Konieczny (Wotan), Ricarda Merbeth (Brünnhilde), and Stuart Skelton (Siegmund). (James Rutherford, Ingela Brimberg, and Christopher Ventris appear in the roles respectively on the 23rd.) Pablo Heras-Casado conducts; the production by Robert Carsen is a revival from Oper Köln. Single tickets go on sale November 4, 2019 if I read the Teatro Real website correctly. UPDATE: Although Dame Sarah’s name still appeared on the Teatro Real website well into December 2019, she replied to a fan on Twitter on November 3, “sadly I won’t be singing Fricka in Madrid this time. Waltraute in [Autumn] 2020, Paris is still on!” (Note that as of February 21, 2020, this is no longer the case: Dame Sarah has been replaced by Michaela Schuster in the Paris cast.) In late December, the Teatro Real announced that Dame Sarah had canceled her participation and Daniela Sindram would sing the role of Fricka

Oskar Fried, Verklärte Nacht with the BBC Symphony Orchestra at the Barbican, London, March 13, 2020. From the Barbican website: “Dame Sarah Connolly is currently undergoing treatment for breast cancer and regrets that she must withdraw from this performance. BBC SO are grateful to Christine Rice for replacing her and wish Dame Sarah well in her recovery.”

Recital at Wigmore Hall, London, March 19, 2020. From the Wigmore Hall website: "As Dame Sarah Connolly continues a period of treatment and recovery following her breast cancer diagnosis, she needs to limit her schedule and therefore has had to withdraw from the above concert. We are grateful to Fatma Said (soprano) for taking her place.”

Conversation with Mahan Esfahani at Sir John Lyon’s Theatre, London, March 20, 2020. Per the RPS: "With regret, Dame Sarah has had to withdraw from the event and we wish her all the very best at the current time.” Esfahani is still booked for the event; he will engage in conversation with the conductor François-Xavier Roth.

Appearance at “Bringing the House Down” charity concert at Glyndebourne, Lewes, April 5, 2020. Update: Dame Sarah’s name has been quietly removed from the list. 

Mahler, Symphony No. 2, Resurrection, with the Sinfonieorchester Basel, Basel Minster, April 22, 2020. Update: Catriona Morrison is now the listed mezzo soloist.

Mahler, Das Lied von der Erde with the Philharmonia Orchestra, Royal Festival Hall, London, April 30, 2020. Update: a statement on the Philharmonia’s website reads, “Dame Sarah Connolly has had to withdraw from this performance due to ongoing treatment for breast cancer. We are grateful to Claudia Mahnke for stepping in. Dame Sarah intends to return to performing later this year.”

[Canceled] Mahler, Symphony No. 2, Resurrection with the Rotterdams Philharmonisch Orkest, De Doelen, Rotterdam, May 14, 15, and 17, 2020. Chen Reiss sings the soprano part; Lahav Shani conducts. UPDATE: As of this writing on April 6, the orchestra’s website now explains that “Following the government decision regarding COVID-19, this concert cannot take place on the planned dates.” 

[Canceled] Recital with Ashley Riches, Joseph Middleton, and Tony Robb at the Chipping Campden International Music Festival, May 22, 2020. The recital was originally billed as a collaboration between Connolly and Middleton only, with repertoire TBA. Now that Riches and Robb have been added to the group, the program has been listed with repertoire by Duparc, Debussy, Ravel, Saint-Saëns, Caplet, and Fauré. The Festival website explains, “Following treatment for breast cancer Dame Sarah has made changes to this programme to reduce her workload while her recovery continues. She hopes very much the audience will enjoy the variety these changes afford.” UPDATE: As of March 23, the entire festival has been canceled due to the COVID-19 pandemic. 

[Canceled] Mahler, Symphony No. 2, Resurrection with the Rotterdams Philharmonisch Orkest, Köln Philharmonie, May 27, 2020. Chen Reiss sings the soprano part; Lahav Shani conducts. (A repeat of the program from Rotterdam, above.) UPDATE: See the note on the May 14-17 concerts, above.

[Canceled] Recital at the Musée d’Orsay, Paris, June 6, 2020. With Malcolm Martineau. The program includes Ravel’s Shéhérazade, Elgar’s Sea Pictures, Debussy’s Trois chansons de Bilitis, and various works by Hugo Wolff, Alexander von Zemlinsky, Charles Villiers Stanford, and Cecile Chaminade. UPDATE: as of this writing on April 14, I am now observing the word “Annulé” at the bottom of the concert information page (below the word “Tarifs”), which I take to mean that the concert has been canceled.

[Canceled] Mahler, Symphony No. 8, Symphony of a Thousand with the Wiener Symphoniker at the Musikverein, Vienna, June 12 and 13, 2020. Three Vienna choirs add their forces; Philippe Jordan conducts. The other scheduled vocal soloists are Camilla Nylund, Irène Theorin, Martina Janková, Michaela Schuster, Burkhard Fritz, Iain Paterson, and John Relyea. UPDATE: Although the informational pages for these concerts do not mention their cancellation, the Wiener Symphoniker website has a news post explaining that the Austrian government has canceled all indoor events with more than 100 participants through the end of June, and thus the orchestra’s public performances will not take place during this time period.

[Canceled] Duruflé, Requiem with the Choir of St Catharine’s College, Cambridge, at Ferrandou Musique in Beaulieau-sur-Dordogne, Turenne, and Carennac, France, June 20-22, 2020. UPDATE: this series of concerts is now marked with a “CANCELED” banner on the Ferrandou Musique website.

[Canceled] Mahler, Das Lied von der Erde (in a chamber arrangement) at the Proms at St Jude’s, Hampstead Garden Suburb, July 2, 2020. With Andrew Staples and the Aurora Chamber Orchestra conducted by Nicholas Collon. The orchestra played the same arrangement, with the same vocalists, in 2017; here’s the (very positive) Bachtrack review. UPDATE: Although, oddly, I can find no direct reference to the cancellation of this concert or of the whole festival on the Proms’ website, a tweet from the Proms at St Judes on March 24 announced the cancellation of the 2020 festival.

[Canceled] Mahler, Das Lied von der Erde (in a chamber arrangement) at the Cheltenham Music Festival, July 3, 2020. With Andrew Staples and the Aurora Chamber Orchestra conducted by Nicholas Collon. UPDATE: On April 7, the Senior Management Board of the Cheltenham Festivals announced that the 2020 Cheltenham Music Festival is canceled (along with its sister Jazz and Science Festivals). 

[Canceled] Recital at the Buxton International Festival, July 11, 2020. With Joseph Middleton. Songs by Poulenc, Duparc, Mahler, and Schumann. Note the noon hour and the short duration of this performance. UPDATE: Although I am late to pick up the news, cancellation of the Buxton International Festival was apparently announced on March 18.

[Canceled] Mahler, Das Lied von der Erde (in a chamber arrangement) at Wigmore Hall, London, July 17, 2020. With Andrew Staples and the Aurora Chamber orchestra conducted by Nicholas Collon. UPDATE: On March 30, Wigmore Hall announced that it would close for the remainder of the ’19- ’20 season and all performances through July 31 would be canceled.

[Canceled] Recital at Schubertíada Vilabertran, August 21, 2020. With Malcolm Martineau. Songs by Mendelssohn, Liszt, Elgar, Debussy, Ravel, and Chaminade. UPDATE: Although the Schubertíada announced on June 10 that it would go ahead with a schedule of live concerts, Dame Sarah’s has been eliminated. The Spanish newspaper La Vanguardia reports that “[el] concierto con Sarah Connolly ha caído por cuestiones de salud de la mezzo británica” (the concert with Sarah Connolly has fallen due to the British mezzo’s health concerns). 

[Canceled] Mahler, Symphony No. 2, Resurrection, with the MDR Rundfunkchor and Sinfonieorchester Basel, in Basel, August 26, 2020. Christina Landshamer sings the soprano solo and Yoel Levi conducts. Part of a concert with a work called “Epitaph” by Andrea Lorenzo Scartazzini. UPDATE: I am not sure on what date the concert was deep-sixed, but the MDR website now marks it as “abgesagt” (canceled).

[New details!] Recital at Wigmore Hall, London, September 30, 2020. With Roderick Williams and Julius Drake; the first concert of the Wigmore’s Mendelssohn and Liszt series. 

Recital at Sant Pau Recinte Modernista, Barcelona, October 2, 2020. With Julius Drake. Part of the LIFE Victoria series of recitals; originally announced for November 27, 2019, but postponed due to Dame Sarah’s treatment for breast cancer. Songs by Brahms, Wolf, Debussy, Alma Mahler, Gustav Mahler, and Zemlinsky. As of April 30, LIFE Victoria has issued a press release indicating that they still plan to go ahead with recitals scheduled for the fall of 2020.

Wagner, Götterdämmerung (Waltraute, Zweite Norn) at the Opéra national de Paris, November 13, 17, 21, and 28, and December 6, 2020. Update: the roles of Waltraute and Zweite Norn are now assigned to Michaela Schuster, one of a handful of casting changes reported by OperaWire on February 21, 2020.

[New details!] Handel, Agrippina (title role) at the Dutch National Opera, January 17-27, 2021. Finally, a year and a half after the news started leaking on Twitter, we get the official announcement, complete with a bizarre (even by DNO marketing department standards) video of a rubber-covered woman dancing in a ball pit. The production is Barrie Kosky’s (previously seen at the Bayerische Staatsoper and the ROH, and later moving on to the Staatsoper Hamburg). Ottavio Dantone conducts; co-stars include Ying Fang (Poppea), Franco Fagioli (Nerone), Gianlucca Buratto (Claudio), and Tim Mead (Ottone). If I read the DNO website correctly, tickets go on sale June 3, 2020.

[New!] Stravinsky, Oedipus Rex (Jocaste) at the Dutch National Opera, March 10-27, 2021. In a double bill with the new commission From ‘Antigone’ by Samy Moussa. Other singers in the Oedipus cast include Sean Panikkar (Oedipus), Bastiaan Everink (Creon), Rafał Siwek (Tiresias), and Ramsey Nasr (Speaker). Erik Nielsen conducts; Wayne McGregor directs. If I read the DNO website correctly, tickets go on sale November 17, 2020.

[New!] Stravinsky, Oedipus Rex (Jocaste) with the NDR Elbphilharmonie Orchester, Hamburg, April 10 and 11, 2021. Even though these concert performances follow on the heels of Dame Sarah’s engagement for the same opera in Amsterdam, the two gigs appear to be administratively and artistically unrelated. Her co-stars in Hamburg include Brenden Gunnell (Oedipus), Tomasz Konieczny (Creon), and Sir John Tomlinson (Tiresias); the MDR Rundfunkchor Leipzig supplies the men’s chorus. Alan Gilbert conducts. The program also includes Le sacre du printemps. Tickets can be ordered starting May 26, 2020, with payment due six weeks before the concert. There’s some background information on the NDR website.

[New!] Recital at the Concertgebouw, Amsterdam, May 18, 2021. With Julius Drake. Songs by Mendelssohn, Liszt, Elgar, Debussy, Ravel, and Chaminade. Tickets go on sale June 1, 2020. 

[New!] Elgar, The Dream of Gerontius with the Berliner Philharmoniker, Berlin, May 27, 28, and 29, 2021. With Allan Clayton and Roderick Williams, as well as the Rundfunkchor Berlin; Simon Rattle conducts.

[Livestream] The concert on the 29th will be livestreamed on the Berliner Philharmoniker’s Digital Concert Hall platform.

[Unconfirmed / details TBA] Brett Dean, Hamlet (Gertrude) at the Metropolitan Opera, New York, sometime in 2021-22. Allan Clayton, who starred in the title role of Brett Dean’s Hamlet at Glyndebourne in 2017, mentioned in an interview with the Telegraph that he would be reprising the role at an unspecified date and venue in the US. When prompted on Twitter, Dame Sarah indicated that she would be participating in the revival, too (“I shall be misunderstanding my confused boy again”). In a later interview with Opera News, Clayton reportedly specified that he would reprise Hamlet at the Met. The Future Met Wiki places the production at the Met in the 2021-2022 season (as does this New York Times article). Hat tip to Christopher Lowrey, who sang Guildenstern in the original production at Glyndebourne, whose tweet praising Allan Clayton brought the Telegraph interview to my attention. (No indication whether Lowrey will also be cast in the American revival.) Additional hat tip to the Tumblrer who submitted information on this topic via the ask box.

Previous versions of this list can be found under the schedule tag on this blog. This list published October 29, 2019. Updated November 2 to reflect Dame Sarah’s withdrawal from the LSO Sea Pictures. Updated November 3 to reflect her self-declared withdrawal from the Teatro Real Walküre. Edited November 21 to add Das Lied at Cheltenham. Edited November 23 to add the radio broadcast of Chilcott’s Christmas Oratorio. Edited December 15 to add Das Lied at Wigmore Hall. Edited December 20 to update the casting information for the Teatro Real Walküre. Edited December 15 to add the Proms at St Jude’s performance of Das Lied. Edited January 24 to reflect Dame Sarah’s withdrawal from concerts on March 13 and 19 due to ongoing cancer treatment. Edited January 28 to add the Wigmore Hall recital in September 2020. Edited February 10 to cross off the “Bringing the House Down” charity concert. Edited February 22 to reflect Dame Sarah’s withdrawal from the Royal Philharmonic Society event, the Basel Mahler 2 in April, and the Paris Götterdämmerung. I also updated the link for the Philharmonia Das Lied von der Erde / Song of the Earth and added newly-available details for the Chipping Campden recital, the Proms at St Jude’s performance of Das Lied von der Erde, and the Schubertíada Vilabertran recital. Edited February 29, 2020 to add the two Dutch National Opera engagements, the Concertgebouw recital, and the Buxton recital. Edited March 10 to reflect Dame Sarah’s withdrawal from Das Lied von der Erde with the Philharmonia Orchestra. Edited March 23 to add the Ferrandou Musique dates, to reflect the first round of COVID-19 cancellations, and to add cautionary notes for concerts up through July 11. Edited April 6 to reflect the cancellation of the Wiener Symphoniker’s Mahler 8 as well as the Proms at St Jude’s and Wigmore Hall performances of Das Lied von der Erde; to add a link to the Cheltenham Music Festival’s announcement changing its ticket sale dates; and to confirm and clarify the cancellation of the Rotterdam Phil’s Mahler 2 concerts. Updated April 7 with the cancellation of the Cheltenham Music Festival and the Buxton International Festival, and to update the link to the Wigmore recital on September 30, 2020. Edited April 14 to indicate the cancellation of the Musée d’Orsay recital. Edited April 22 to add the Berlin Gerontius. Edited May 6 to update repertoire details for the LIFE Victoria recital and add the Hamburg Stravinsky concerts and the Basel Mahler 2 in August. Edited May 8 to reflect the cancellation of the Ferrandou Musique concerts. Edited June 19 to reflect the cancellation of Dame Sarah’s recital at the Schubertíada Vilabertran and the second (August) Basel Resurrection. I may continue to edit this list as I receive new information.

[ivisitlondon]

iVisit... Barbican brings back Concerts On Demand and announces new films on Cinema On Demand alongside more digital content

With England currently in lockdown, the Barbican announces a new programme of music and films On Demand, alongside fresh and existing digital content, inspired by the Barbican’s international arts programme. A curated mix of streams, podcasts, playlists, films, videos, talks and articles enables audiences to continue to enjoy the Centre’s rich and varied programme from home or on the go during its temporary closure and beyond.

Digital content is available via the Barbican’s website through Read, Watch & Listen, Cinema On Demand, Concerts On Demand, Live from the Barbican and its social media channels (Facebook | Twitter | Instagram | YouTube | Spotify). In addition, podcasts can also be accessed by subscribing to the Nothing Concrete podcast via Acast, Spotify or wherever you get your podcasts.

Highlights of the Barbican’s current and upcoming digital content include:

Concerts as part of the acclaimed Live from the Barbican series in 2020 are available via Concerts On Demand from 9 Feb until 24 Mar 2021. Included are performances from celebrated artists who reflect the wide spectrum of the Barbican’s distinct music offer:

Nubya Garcia, The Divine Comedy, Emmy the Great, Richard Dawson, SEED Ensemble, Ian Bostridge and Dame Sarah Connolly, Shabaka Hutchings, Barbican’s Associate Orchestra and Ensembles BBC Symphony Orchestra, Academy of Ancient Music and Britten Sinfonia

Also available On Demand are two seminal performances by the Barbican’s Resident Orchestra, the London Symphony Orchestra recorded at the Barbican in 2015 and 2017

An excerpt from the Olivier-Award nominated work, Blak Whyte Gray, performed by Barbican Artistic Associate Boy Blue and filmed at the Barbican Theatre, will feature in a three-part boxset Dancing Nation, available on BBC iPlayer and Sadler’s Wells Digital Stage until Fri 26 Feb 2021

Inspired – the Barbican’s Theatre and Dance in-conversation podcast series – returns, with the latest episode just released. This sees some of the amazing artists who work with us paired with Barbican young artists, sharing their personal stories about the influences that impact their work creatively

A full programme of exclusive films and ScreenTalks on Cinema On Demand including Martine Deyres’s 2019 documentary Our Lucky Hours in anticipation of the Barbican Art Gallery’s exhibition Jean Dubuffet: Brutal Beauty

As part of the Barbican Guildhall Creative Learning’s programme Subject to Change: New Horizons, interdisciplinary artist Mandisa Apena and Tice Cin have released: "cos now im missing our touchhh", a new musical score and video exploring the loss of nightclubs and queer nightlife in the UK due to the Covid-19 pandemic

The annual literary festival New Suns returns entirely online from Fri 5 – Sun 7 Mar 2021 for a weekend of talks, workshops and a film centred around feminist storytelling

The Barbican believes in creating space for people and ideas to connect through its international arts programme, community events and learning activity. To keep its programme accessible to everyone, and to keep investing in the artists it works with, the Barbican needs to raise more than 60% of its income through ticket sales, commercial activities and fundraising every year. Donations can be made here: barbican.org.uk/support-us

Full details of digital content below.

MUSIC

Barbican Concerts On Demand available from Tue 9 Feb until Wed 24 Mar 2021

A range of concerts that have already taken place as part of the Barbican’s successful autumn 2020 concert series Live from the Barbican have just been made available to re-watch on Concerts On Demand until 24 Mar 2021.

Live from the Barbican was first devised during the summer of 2020 when it became apparent that, due to the pandemic, the Centre’s music season could not go ahead as planned in the autumn. A new series was born which, for the first time, made Barbican concerts accessible online for a global digital audience through a livestream and, also, for a reduced, socially distanced live audience in the Barbican Hall. This hybrid experience, developed and delivered entirely in-house, has enabled the Barbican to bring music to its audiences during a difficult year, and, to also support artists and partner organisations during the pandemic. The Barbican is now pleased to be able to bring back a range of these autumn performances as part of the On Demand offer at a time when it had to postpone its planned Spring 2021 series of concerts.

Tickets are £12.50 for new bookers and half price for those who booked tickets to watch the concerts originally. Discounted tickets at £5 are available to 14–25-year-olds through the Young Barbican scheme. Once tickets are bought, audiences have 48 hours to watch the concert.

Please find a list of Live from the Barbican – Concerts On Demand on offer in date order below

The Divine Comedy: Live from the Barbican

Original performance date: 14 Oct 2020, Barbican Hall, 8pm

On Demand Tickets £12.50

Produced by the Barbican

Emmy the Great: Live from the Barbican

Original performance date: 17 Oct 2020, Barbican Hall, 8pm

On Demand Tickets £12.50

Produced by the Barbican

Richard Dawson: Live from the Barbican

Original performance date: 25 Oct 2020, Barbican Hall, 8pm

On Demand Tickets £12.50

Produced by the Barbican

Nubya Garcia: Live from the Barbican

Original performance date: 29 Oct 2020, Barbican Hall, 8pm

On Demand Tickets £12.50

Produced by the Barbican

Ian Bostridge / Dame Sarah Connolly

Mezzo-soprano Dame Sarah Connolly, tenor Ian Bostridge, piano Julius Drake, Carducci Quartet

Original performance date: 1 Nov 2020, Barbican Hall, 8pm

On Demand Tickets £12.50

Produced by the Barbican

BBC SO/Oramo: Live from the Barbican

Soprano Anu Komsi, conductor Sakari Oramo, BBC Symphony Orchestra,

Original performance date: Fri 6 Nov 2020, Barbican Hall, 8pm

On Demand Tickets £12.50

Anna Clyne: Within Her Arms

Haydn: Symphony No 49 La Passione

Magnus Lindberg: Accused (world premiere of chamber orchestra version)

Co-produced by the Barbican and BBC SO

SEED Ensemble and Special Guests Celebrating the music of Pharoah Sanders: Live from the Barbican

Part of EFG London Jazz Festival 2020

Original performance date: 14 Nov 2020, Barbican Hall, 8pm

On Demand Tickets £12.50

Co-produced by the Barbican and Serious in association with EFG London Jazz Festival

Shabaka Hutchings with Britten Sinfonia: Live from the Barbican

Part of EFG London Jazz Festival 2020

Original performance date: 18 Nov 2020, Barbican Hall, 8pm

On Demand Tickets £12.50

Copland Clarinet Concerto

Stravinsky Three Pieces for Solo Clarinet

Copland Appalachian Spring

Co-produced by the Barbican and Britten Sinfonia

The Cosmos with Professor Brian Cox & BBC SO

presenter Professor Brian Cox, conductor Dalia Stasevska, BBC Symphony Orchestra

Original performance date: 13 Dec 2020, Barbican Hall, 8pm

On Demand Tickets £12.50

Sibelius arr. Iain Farrington: Symphony No. 5 Mov. 3

Ives: The Unanswered Question

Mahler arr. Michelle Castelletti: Symphony No.10 Mov. 1

Co-produced by the Barbican and BBC SO

Handel’s Messiah - Academy of Ancient Music / Egarr

Original performance date: 19 Dec 2020, Barbican Hall, 7pm

On Demand Tickets £12.50

Co-produced by the Barbican and the Academy of Ancient Music

London Symphony Orchestra

Barbican audiences get the chance to re-watch two great concerts by its Resident Orchestra, the London Symphony Orchestra, as part of its On Demand programme, which will be available till 24 March 2021.

Michael Tilson Thomas 70th Birthday Gala

pianist Yuja Wang, conductor Michael Tilson Thomas, London Symphony Orchestra,

Original performance date: Thu 12 Mar 2015, Barbican Hall, 7.30pm

On Demand Tickets £12.50

Colin Matthews: Hidden Variables

Gershwin: Concerto in F

Shostakovich: Symphony No 5

The LSO’s Conductor Laureate and former Principal Guest Conductor Michael Tilson Thomas celebrated his 70th birthday at the Barbican in 2015 with a pair of concerts focusing on British and Russian music, but with a nod to his native USA. In both concerts he was joined by the pianist Yuja Wang in Gershwin’s popular Concerto in F.

This is Rattle

conductor Sir Simon Rattle, London Symphony Orchestra

Original performance date: Thu 21 Sep 2017, Barbican Hall, 7.30pm

On Demand Tickets £12.50

Stravinsky: The Firebird (original ballet)

Stravinsky: Petrushka (1947 version)

Stravinsky: The Rite of Spring

An authority on Stravinsky, Sir Simon Rattle continued the 2017/18 season opening ‘This is Rattle’ celebrations with three of the composer’s revolutionary ballets. Stravinsky sent shockwaves through classical music in the 20th century. His first three ballets – The Firebird, Petrushka and The Rite of Spring, all composed between 1911 and 1913 – brought a new and frenzied sense of rhythm, so distressing to audiences that it caused uproar; The Rite of Spring even caused a riot.

From Barbican partners

British baritone James Newby’s song recital as part of the ECHO Rising Stars Festival is now available to watch again for free via Read, Watch & Listen on the Barbican’s website. James Newby is the Barbican’s ECHO (European Concert Halls Organisation) nominee. The recital took place at the Elbphilharmonie in Hamburg on 28 January 2021.

The Guildhall School alumnus, ECHO Rising Star, BBC New Generation Artist, Kathleen Ferrier Award winner and member of the Hanover State Opera’s ensemble presents a selection of atmospheric Lieder by Clara and Robert Schumann. He is accompanied by pianist Marcelo Amaral. James Newby’s debut album with pianist Joseph Middleton I wonder as I wander came out in 2020.

James’s London ECHO recital was due to take place at Milton Court Concert Hall in January this year but had to be postponed due to the current lockdown restrictions.

CINEMA

In February Cinema On Demand brings together an exclusive programme of worldwide, bold, independent films for audiences to enjoy at home, while the venues remain closed.

Preceding the Barbican Art Gallery’s exhibition Jean Dubuffet: Brutal Beauty, Barbican Cinema On Demand will host an exclusive presentation of Martine Deyres’s 2019 documentary Our Lucky Hours (19 Feb – 31 Mar), including a live ScreenTalk between art historian Sarah Lombardi, director of the Collection de l’Art Brut, Lausanne and Ben Platts-Mills, who works with artists with disabilities in London and has supported the development of Hackney-based inclusive art studio, Submit To Love. The live ScreenTalk will take place on Thu 11 Mar at 7pm.

In this thought provoking documentary, photos, archival footage and sound recordings tell the story of a pioneering psychiatric institution in 1930s France. The asylum was radically re-thought, with doctors, patients and nurses working side by side to run the facility, with the support of the local community. Patients were respected and integrated and individually supported. They took up roles in the hospital kitchen and on local farms, they published a newspaper, and many pursued flourishing visual art practices.

During the Second World War, the asylum also sheltered refugees and Resistance fighters, among them such figures from the Parisian avant-garde as Paul Éluard, Tristan Tzara, Georges Sadoul and Georges Canguilhem. At the end of the war, another visitor was Jean Dubuffet, whose discovery there of the sculptures by patient and artist Auguste Forestier supported his elaboration of the notion of ‘Art Brut’.

Other exclusive highlights on Cinema On Demand during February include:

Cat in the Wall (Dirs Mina Mileva & Vesela Kazakova), set on a South London council estate – in which a Bulgarian family gets into conflict with their neighbours due to an abandoned cat – it’s a striking and provocative drama about the aftermath of the Brexit vote. Screening as part of the New East cinema programme, the film is followed by a recorded ScreenTalk with directors Mina Mileva and Vesela Kazakova.

Screening as part of Forbidden Colours – a Barbican Cinema strand celebrating queer films from places where LGBTQ+ people continue to face oppression – is Several Conversations about a Very Tall Girl (Dir Bogdan Theodor Olteanu), a sensitive Romanian romance in which two young women – one out and proud, the other less confident – begin a tentative affair.

Following on from its sold out screening in Cinema 1 in December, as part of Barbican

Cinema’s Emerging Film Curators’ programme, Reframing the Fat Body (Dirs various) makes its online debut. In this programme of shorts, writer and curator Grace Barber-Plentie celebrates the bigger body; here fat bodies are freed from the constraints put upon them by modern society and allowed to be fluid, free, sexy and radical. This programme features a recorded ScreenTalk with film curator Tara Brown and co-founder of The Fat Zine, Chloe Sheppard, hosted by Grace Barber-Plentie.

Also available are The Capote Tapes (Dir Ebs Burnough) which explores the social rise and fall of Truman Capote, the infamous American writer; Song Without a Name (Dir Melina Léon), which follows a woman’s journey to get her stolen baby back, taken from her just after child birth; and Shahrbanoo Sadat’s tender film The Orphanage, about a young boy in 1980s Afghanistan, who is sent to a Soviet orphanage and finds himself in a complex social hierarchy.

For families and younger audiences there’s Creepy Crawly Films for Families (Dirs various), a compilation of fun shorts celebrating all that’s creepy and crawly in the ground.

Cinema On Demand is available to audiences across the UK with a rolling four-week programme of titles and events that reflect the Barbican’s international cinema programme.

Barbican Cinema has been supported by the Culture Recovery Fund for Independent Cinemas in England which is administered by the BFI, as part of the Department for Digital, Culture, Media and Sport’s £1.57bn Culture Recovery Fund supporting arts and cultural organisations in England affected by the impact of COVID-19. #HereForCulture

THEATRE AND DANCE

Inspired Series 2

Inspired is the Barbican’s Theatre and Dance in-conversation podcast series in which some of the amazing artists who work with us share their personal stories about the influences that impact their work creatively. Part of the Barbican’s Nothing Concrete podcast, the first Inspired series was released weekly in September 2020. This new Inspired series, released weekly from the beginning of February, pairs Barbican young artists with those that inspire them.

In episode 1 interdisciplinary artist Riwa Saab talks to writer and director Kirsty Housley about her extensive career in theatre, the craft of dramaturgy and directing, and the political nature of her work.

In episode 2 Barbican Young Poet Amani Saeed talks to storyteller Amrou Al-Kadhi about gender identity and drag performance.

In episode 3 sound artist and composer Rebekah Alero talks to vocalist, movement artist and composer Elaine Mitchener about improvisation, contemporary music theatre and performance art.

In episode 4 author Rogan Graham talks to actress and writer Susan Wokoma about acting and activism.

In episode 5 multidisciplinary practitioner Gabriel Akamo, and writer and performer Jeremiah Brown talk to actor Ṣọpẹ́ Dìrísù about his career, heritage and legacy.

Blak Whyte Gray

Co-commissioned and co-produced by the Barbican, Blak Whyte Gray by Barbican Artistic Associate Boy Blue premiered at the Barbican in 2017 and was restaged here in 2018 due to demand. Created by co-artistic directors Kenrick ‘H2O’ Sandy and Michael ‘Mikey J’ Asante, an extract from the piece, Whyte, is available on BBC iPlayer and Sadler’s Wells Digital Stage until Fri 26 Feb 2021. This fierce, bold and galvanising dance work, set to a multilayered electronic score, reflects themes of identity, oppression and transcendence. The time is once again right to ask questions, to break free from a system that isn’t working, to emerge on the other side to an awakening – a return to roots, a celebration of culture.

CREATIVE LEARNING

Subject to Change: January 2021 commission

As part of Barbican Guildhall Creative Learning’s programme Subject to Change: New Horizons, interdisciplinary artists Mandisa Apena and Tice Cin have released: "cos now im missing our touchhh", a new musical score and video exploring the loss of nightclubs and queer nightlife in the UK due to the Covid-19 pandemic.

The audio of Mandisa & Tice’s track uses ASMR sounds of their own breath and laughter to create the drumline, mixed together with a collage of video snippets of clubbing scenes and people dancing. The piece aims to illustrate how nightclubs can be a vital space for deep healing, the excitement of being openly queer and feeling united through digital spaces, mutual love and understanding. Through this work, Mandisa & Tice hope to show queer club culture during lockdown and chatroom bonding, celebrate togetherness through technology, as well as making note of the physical spaces that they miss so much, and the way lack of touch has affected them.

The Subject to Change: New Horizons programme commissions a different young creative, each month for a year, to produce new and powerful artistic work responding to the uncertain times in which we are living. Mandisa & Tice’s piece is the seventh in the series. New work will be shared every month on the Barbican’s website and social media channels until June 2021.

LEVEL G

Experience the 2021 programme of the New Suns Feminist Literature Festival from home

The annual literary festival New Suns returns for a weekend of talks, workshops and a film centred around feminist storytelling. The weekend will feature acclaimed writers, activists, artists, and academics including adrienne maree brown, Season Butler and Dorothea Lasky. This third edition of the festival, running from Friday 5 – Sunday 7 March 2021, will take place entirely online for the first time. New Suns is a co-production between the Barbican and independent publisher and curator Sarah Shin.

This year’s New Suns will look to the legacy of eminent science-fiction author Octavia Butler, to explore the power we have to both sustain and change the world around us, and how to commune with others. In particular, New Suns will reflect on Butler’s prophetic, unfinished Earthseed series, which imagines Earth in the 2020s ravaged by ecological disaster and violent divisions.

The festival will navigate the books’ central themes, such as the inevitability of change, community-building, examinations of race and gender, and humanity’s relationship to the cosmos. For the first time, there will be a limited edition New Suns anthology booklet to purchase which includes an extract from Octavia Butler’s book The Parable of the Sower; poetry by Dorothea Lasky and Daisy Lafarge; guides for self-reflection and meditation; as well as herbal recipes for strength and healing to enjoy this spring and beyond. The anthology is accompanied by thyme seeds and instructions on how to use the herb beyond the culinary.

[crazy4tank]

The particular Dodge Charger: A Car With a Character

New Post has been published on https://coolcarsnews.com/the-particular-dodge-charger-a-car-with-a-character/

The particular Dodge Charger: A Car With a Character

By Dave Ashton

In our modern, homogenized world of sedans, it’ h hard for a vehicle to stick out. We’ ve never had a much better time for in car functions, performance and reliability, but vehicle makers have to play it more secure than ever with so much choice in the marketplace. In the performance market, you have to proceed left field or buy into the supercar to get that stamp associated with real individuality. However , the Avoid Charger is ploughing its own route and in a world where the sedan might be on the endangered list, Dodge are usually bucking the trend with a vehicle that will seems to tick all the boxes.

Why the Avoid Charger works.. Sales of the 2019 Dodge Phone chrgr were up in the first 6 months of the year and along with the stablemate, the Challenge r, show simply no sign of slowing down. Why this really is so comes from an insight with Dodge’ s brand manager Kevin Hellman as discussed with Automotive Information. ‘ The Charger is unique. It’ s a sedan, but it’ s also a muscle car. It can so many things well. It can reach a wide variety of people. And it has personality. ’ ‘ To your point, sedans are lower, but I think those sedans don’ t have the personality — they’ re easily replaced. They’ lso are easily switched out for a [utility vehicle]. There’ s nothing else such as the Charger. How many other purple sedans would you see out there that look great? So it’ s being various. People that want to stand out in the masses, that want to wear their personally on the sleeve. ’

I believe this is echoed by the fact that system is now 10 years old and still well-known. Platform changes are on the horizon in the next few years, which may bring a small design shift, but the basic foundations will still be in place. The latest Charger wide-body now fills out the design, to give a far more muscular appearance and although it doesn’ t have the strict two doorway, muscle car template, four doorways for some is more practical.

On the subject of the charger wide-body, Hellman states, ‘ With the Widebody , the biggest factor is getting more rubber to our clients because of the higher horsepower and more grip. That’ s goal No . 1 ) We’ re definitely thankful for that will. There’ s people that have been doing the work in the aftermarket here and there, but I believe directly from us is really what people are waiting for. Other than the additional performance that will we’ ve added in terms of obtaining the grip to the ground, the car appears beautiful, too. ’

And this may be one of the points towards the Chargers continuing success. It’ h a performance vehicle with daily practicality. It may not be as perky as a lightweight two seater, however the ethos is in straight-line speed as well as the ability to fit in four reasonably size adults. That’ s the standard muscle tissue car ethos of taking a medium-size sedan and dropping in a greatly powered, performance engine. Something you are able to drag race at the weekend but still ride to work in on Mon. A car for all occasions. It’ ersus also got to be relatively inexpensive.

Obviously, one of the prepaid calling cards of the Charger is that mighty Hellcat engine. Forget about the souped up 2L turbos, there’ s no alternative to displacement with the Supercharged 6. 2L HEMI SRT Hellcat V8 motor which produces 707 HP plus 650 lb-ft of torque, through a top-flight automatic transmission. But , if you don’ t need that much power you can begin with a 3. 6-liter Pentastar V-6 or a Hemi-powered Charger R/T. There’ s also an all wheel drive edition for the bad weather and the accessibility to a front axle disconnect. With respect to the model, there’ s also the option of different performance suspension setups, Brembo brake systems and although the internal may be simpler than some of the competition, feature rich with plenty of contemporary tech. like Uconnect.

But , features and options only don’ t always cut this in the modern market. The traveling experience needs to be individual, along with the newest goodies. Read any review of the particular Dodge Charger and even the toughest dissenters will agree that right after driving the Charger, it’ ersus a bundle of fun and you normally leave with a smile. Why? since the Charger has stuck to the muscle car ethos and serious down, knows that we all want – raw power and that driving within the edge fun.

Who’ s buying these things? The biggest buyers associated with muscle cars are now in their forties and 50s. Studies online state the average age of those buying right into a new Challenger is 51 years of age, with a Dodge Charger not much behind. This may be due to more economic stability, but also they can remember the particular classic days of muscle cars and could want to buy into a modern version, with all the money at hand to buy into the larger V8 options.

Yet that doesn’ t exclude youthful buyers. V6 automatics from almost all muscle car makers are the bestselling and the most affordable to the younger marketplace. A 2019 Dodge Charger GRAND TOURING comes in all wheel drive at $31, 980, the SXT $27, 390. Include some extras like the Dynamics package deal with wider wheels and tires and then it’ s a tempting performance choice.

But the biggest pull is the styling and handling, that is contrary to the prepackaged vehicles from all other makers. Just something a bit distinct from the norm. Buy into a Dodge Phone chrgr and even to the uninitiated, it returns the warm feeling of aged TV shows, movies and all those insane stunts.

Which offers to our final point. To have character the car needs to be individual, a certain state of mind, which may go against the current tide, yet this at the least commands respect. For this reason, the Dodge Charger isn’ to going away any time soon and it’ h more than likely that as we migrate for an electric vehicle world, the muscle tissue car and the Dodge Charger may stand out, representing the more visceral method we should be driving our vehicles.

The post The Dodge Phone chrgr: A Car With a Personality appeared first on Muscle Car .

[ducetre71]

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The particular Dodge Charger: A Car With a Character

New Post has been published on https://coolcarsnews.com/2020/12/23/the-particular-dodge-charger-a-car-with-a-character/

The particular Dodge Charger: A Car With a Character

By Dave Ashton

In our modern, homogenized world of sedans, it’ h hard for a vehicle to stick out. We’ ve never had a much better time for in car functions, performance and reliability, but vehicle makers have to play it more secure than ever with so much choice in the marketplace. In the performance market, you have to proceed left field or buy into the supercar to get that stamp associated with real individuality. However , the Avoid Charger is ploughing its own route and in a world where the sedan might be on the endangered list, Dodge are usually bucking the trend with a vehicle that will seems to tick all the boxes.

Why the Avoid Charger works.. Sales of the 2019 Dodge Phone chrgr were up in the first 6 months of the year and along with the stablemate, the Challenge r, show simply no sign of slowing down. Why this really is so comes from an insight with Dodge’ s brand manager Kevin Hellman as discussed with Automotive Information. ‘ The Charger is unique. It’ s a sedan, but it’ s also a muscle car. It can so many things well. It can reach a wide variety of people. And it has personality. ’ ‘ To your point, sedans are lower, but I think those sedans don’ t have the personality — they’ re easily replaced. They’ lso are easily switched out for a [utility vehicle]. There’ s nothing else such as the Charger. How many other purple sedans would you see out there that look great? So it’ s being various. People that want to stand out in the masses, that want to wear their personally on the sleeve. ’

I believe this is echoed by the fact that system is now 10 years old and still well-known. Platform changes are on the horizon in the next few years, which may bring a small design shift, but the basic foundations will still be in place. The latest Charger wide-body now fills out the design, to give a far more muscular appearance and although it doesn’ t have the strict two doorway, muscle car template, four doorways for some is more practical.

On the subject of the charger wide-body, Hellman states, ‘ With the Widebody , the biggest factor is getting more rubber to our clients because of the higher horsepower and more grip. That’ s goal No . 1 ) We’ re definitely thankful for that will. There’ s people that have been doing the work in the aftermarket here and there, but I believe directly from us is really what people are waiting for. Other than the additional performance that will we’ ve added in terms of obtaining the grip to the ground, the car appears beautiful, too. ’

And this may be one of the points towards the Chargers continuing success. It’ h a performance vehicle with daily practicality. It may not be as perky as a lightweight two seater, however the ethos is in straight-line speed as well as the ability to fit in four reasonably size adults. That’ s the standard muscle tissue car ethos of taking a medium-size sedan and dropping in a greatly powered, performance engine. Something you are able to drag race at the weekend but still ride to work in on Mon. A car for all occasions. It’ ersus also got to be relatively inexpensive.

Obviously, one of the prepaid calling cards of the Charger is that mighty Hellcat engine. Forget about the souped up 2L turbos, there’ s no alternative to displacement with the Supercharged 6. 2L HEMI SRT Hellcat V8 motor which produces 707 HP plus 650 lb-ft of torque, through a top-flight automatic transmission. But , if you don’ t need that much power you can begin with a 3. 6-liter Pentastar V-6 or a Hemi-powered Charger R/T. There’ s also an all wheel drive edition for the bad weather and the accessibility to a front axle disconnect. With respect to the model, there’ s also the option of different performance suspension setups, Brembo brake systems and although the internal may be simpler than some of the competition, feature rich with plenty of contemporary tech. like Uconnect.

But , features and options only don’ t always cut this in the modern market. The traveling experience needs to be individual, along with the newest goodies. Read any review of the particular Dodge Charger and even the toughest dissenters will agree that right after driving the Charger, it’ ersus a bundle of fun and you normally leave with a smile. Why? since the Charger has stuck to the muscle car ethos and serious down, knows that we all want – raw power and that driving within the edge fun.

Who’ s buying these things? The biggest buyers associated with muscle cars are now in their forties and 50s. Studies online state the average age of those buying right into a new Challenger is 51 years of age, with a Dodge Charger not much behind. This may be due to more economic stability, but also they can remember the particular classic days of muscle cars and could want to buy into a modern version, with all the money at hand to buy into the larger V8 options.

Yet that doesn’ t exclude youthful buyers. V6 automatics from almost all muscle car makers are the bestselling and the most affordable to the younger marketplace. A 2019 Dodge Charger GRAND TOURING comes in all wheel drive at $31, 980, the SXT $27, 390. Include some extras like the Dynamics package deal with wider wheels and tires and then it’ s a tempting performance choice.

But the biggest pull is the styling and handling, that is contrary to the prepackaged vehicles from all other makers. Just something a bit distinct from the norm. Buy into a Dodge Phone chrgr and even to the uninitiated, it returns the warm feeling of aged TV shows, movies and all those insane stunts.

Which offers to our final point. To have character the car needs to be individual, a certain state of mind, which may go against the current tide, yet this at the least commands respect. For this reason, the Dodge Charger isn’ to going away any time soon and it’ h more than likely that as we migrate for an electric vehicle world, the muscle tissue car and the Dodge Charger may stand out, representing the more visceral method we should be driving our vehicles.

The post The Dodge Phone chrgr: A Car With a Personality appeared first on Muscle Car .

[crazy4tank]

The particular Dodge Charger: A Car With a Character

New Post has been published on https://coolcarsnews.com/2020/12/23/the-particular-dodge-charger-a-car-with-a-character/

The particular Dodge Charger: A Car With a Character

By Dave Ashton

In our modern, homogenized world of sedans, it’ h hard for a vehicle to stick out. We’ ve never had a much better time for in car functions, performance and reliability, but vehicle makers have to play it more secure than ever with so much choice in the marketplace. In the performance market, you have to proceed left field or buy into the supercar to get that stamp associated with real individuality. However , the Avoid Charger is ploughing its own route and in a world where the sedan might be on the endangered list, Dodge are usually bucking the trend with a vehicle that will seems to tick all the boxes.

Why the Avoid Charger works.. Sales of the 2019 Dodge Phone chrgr were up in the first 6 months of the year and along with the stablemate, the Challenge r, show simply no sign of slowing down. Why this really is so comes from an insight with Dodge’ s brand manager Kevin Hellman as discussed with Automotive Information. ‘ The Charger is unique. It’ s a sedan, but it’ s also a muscle car. It can so many things well. It can reach a wide variety of people. And it has personality. ’ ‘ To your point, sedans are lower, but I think those sedans don’ t have the personality — they’ re easily replaced. They’ lso are easily switched out for a [utility vehicle]. There’ s nothing else such as the Charger. How many other purple sedans would you see out there that look great? So it’ s being various. People that want to stand out in the masses, that want to wear their personally on the sleeve. ’

I believe this is echoed by the fact that system is now 10 years old and still well-known. Platform changes are on the horizon in the next few years, which may bring a small design shift, but the basic foundations will still be in place. The latest Charger wide-body now fills out the design, to give a far more muscular appearance and although it doesn’ t have the strict two doorway, muscle car template, four doorways for some is more practical.

On the subject of the charger wide-body, Hellman states, ‘ With the Widebody , the biggest factor is getting more rubber to our clients because of the higher horsepower and more grip. That’ s goal No . 1 ) We’ re definitely thankful for that will. There’ s people that have been doing the work in the aftermarket here and there, but I believe directly from us is really what people are waiting for. Other than the additional performance that will we’ ve added in terms of obtaining the grip to the ground, the car appears beautiful, too. ’

And this may be one of the points towards the Chargers continuing success. It’ h a performance vehicle with daily practicality. It may not be as perky as a lightweight two seater, however the ethos is in straight-line speed as well as the ability to fit in four reasonably size adults. That’ s the standard muscle tissue car ethos of taking a medium-size sedan and dropping in a greatly powered, performance engine. Something you are able to drag race at the weekend but still ride to work in on Mon. A car for all occasions. It’ ersus also got to be relatively inexpensive.

Obviously, one of the prepaid calling cards of the Charger is that mighty Hellcat engine. Forget about the souped up 2L turbos, there’ s no alternative to displacement with the Supercharged 6. 2L HEMI SRT Hellcat V8 motor which produces 707 HP plus 650 lb-ft of torque, through a top-flight automatic transmission. But , if you don’ t need that much power you can begin with a 3. 6-liter Pentastar V-6 or a Hemi-powered Charger R/T. There’ s also an all wheel drive edition for the bad weather and the accessibility to a front axle disconnect. With respect to the model, there’ s also the option of different performance suspension setups, Brembo brake systems and although the internal may be simpler than some of the competition, feature rich with plenty of contemporary tech. like Uconnect.

But , features and options only don’ t always cut this in the modern market. The traveling experience needs to be individual, along with the newest goodies. Read any review of the particular Dodge Charger and even the toughest dissenters will agree that right after driving the Charger, it’ ersus a bundle of fun and you normally leave with a smile. Why? since the Charger has stuck to the muscle car ethos and serious down, knows that we all want – raw power and that driving within the edge fun.

Who’ s buying these things? The biggest buyers associated with muscle cars are now in their forties and 50s. Studies online state the average age of those buying right into a new Challenger is 51 years of age, with a Dodge Charger not much behind. This may be due to more economic stability, but also they can remember the particular classic days of muscle cars and could want to buy into a modern version, with all the money at hand to buy into the larger V8 options.

Yet that doesn’ t exclude youthful buyers. V6 automatics from almost all muscle car makers are the bestselling and the most affordable to the younger marketplace. A 2019 Dodge Charger GRAND TOURING comes in all wheel drive at $31, 980, the SXT $27, 390. Include some extras like the Dynamics package deal with wider wheels and tires and then it’ s a tempting performance choice.

But the biggest pull is the styling and handling, that is contrary to the prepackaged vehicles from all other makers. Just something a bit distinct from the norm. Buy into a Dodge Phone chrgr and even to the uninitiated, it returns the warm feeling of aged TV shows, movies and all those insane stunts.

Which offers to our final point. To have character the car needs to be individual, a certain state of mind, which may go against the current tide, yet this at the least commands respect. For this reason, the Dodge Charger isn’ to going away any time soon and it’ h more than likely that as we migrate for an electric vehicle world, the muscle tissue car and the Dodge Charger may stand out, representing the more visceral method we should be driving our vehicles.

The post The Dodge Phone chrgr: A Car With a Personality appeared first on Muscle Car .

[ducetre71]

via Twitter https://twitter.com/urtravelman

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via Twitter https://twitter.com/urtravelman