#Grea Developments

[gera-winds-of-joy]

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[destinywillowleaf]

@lorekeeper-backset honestly i'm a sucker for "take the protagonist but alter their design to fit your version of the story" and the contrast between Mare and Quartz is kind of hilarious

like they both started as May but then ran in WILDLY different directions (and still somehow both of them have forms of daddy issues...)

[also the image is transparent ;)]

[oveliagirlhaditright]

So, I was tagged in a "Top 10 Favorite TV shows" post a little while back, and I've sadly lost it (even though I really wanted to do it!):( And thank you to who tagged me in the post. I think it was @i-love-books-because-reasons? If I ever find the post again, I'll reblog it properly. But for now, I'll just answer it this way. (For some reason, I've decided not to included animes or cartoons, because no one did in their lists. Maybe that will be its own list. Or "younger shows," like Disney channel ones. But if I did, Lizzie McGuire would have made it:))

Buffy the Vampire Slayer and Angel the Series (though I'll be listing them separately) - have become my favorite shows of all-time (though they're also slightly tied with Dark Angel). They're just... so good and perfect, with such good writing and themes, and I could analyze and obsess over them for hours (and have), so of course they're here.

2. Angel the Series (mentioned above). - Though it and Buffy aren't exactly like. They're definitely their own shows and I love them both for different reasons.

3. Dark Angel season 1 - I just really latched onto Dark Angel, and have never been able to let it go... which is funny, because I didn't like it that much in the first few episodes: probably because they really went over my head as a kid. -shrugs- But I love my reluctant, badass heroine Max and how she grows. Speaking of Max? Love of my life. The love story between her and Logan is still one of the best written in all of TV to me. And the relationship between Max and her "siblings"--and just learning about this poor girl created in a lab, who had never even been in a house before when she was nine and things like that--has always spoken to me. The "fight the man" and "protect the downtrodden" plot is also great.

4. Tru Calling - It's thanks to my sister that I discovered this awesome show, and Eliza Dushku. The premise is just so wonderful: Tru having the ability to relive days and save people who died before their time. And whenever the show threw a wrench into the usual formula was fun. Particularly when Jack showed up, who was the opposite of Tru: trying to stop her actions, because he thought she was messing with the natural order of things and there would be disastrous consequences to it. The show was really finding its footing when it was canceled. And what the writers released of their plans for what they were going to do next? I cry that we didn't get to see that. But alas.

Smallville - Baby's first show for teens and up:) I have so many fond memories of discovering Smallville... and rewatching the episodes again and again with friends, and between new seasons. Also, watching new episodes when they aired. I feel like the idea of Smallville was great: tell the story of Superboy growing up on a TV show. It worked so well: and made so many people connect with Clark Kent/Superman, who otherwise might have trouble with it. It developed him and his relationships so well... and we won't talk about how well Lex Luthor was also developed (and played by Michael Rosenbaum): the best part of the show to many people. And how genius it was to have them start out the show as friends only to become the enemies they were fated to be. -sobs- Also, as it's been said, we wouldn't have the Arrowverse if Smallville hadn't come first. So credit where credit is due. And speaking of that, this was the time before the MCU and that sort of thing. So seeing hero cameos on this show was so shocking, new, and the best.

Alias - The first badass female heroine I ever saw on live-action TV--and fell in love with--was Sydney Bristow (aside from Xena: Warrior Princess, that I don't remember that well, because I was, like, five when I was watching Xena). Also my introduction to the wacky world of J.J. Abrams' writing. And as wacky as J.J. Abrams can get, and we all know it, I think he did a good job with Alias, and was pretty nuanced and tame here. There was just enough of his Mystery Box stuff to keep me intrigued, in this interesting spy story that I loved. And Sydney Bristow is seriously the greatest, and deserves the world. And Alias actually has one of the few TV endings that I actually like, for the most part.

Kyle XY - Another show similar to Dark Angel, in that it's about a human made in a lab (though that's a mystery for most of S1). And I really liked this show--and its main family the Tragers. Definitely one of the best things ABC Family ever did... and I'll forever be angry that it ended on a cliffhanger.

Roswell - A TV show about what if aliens did crash in Roswell, and lived among us as half-aliens, half-humans. This show is definitely largely a romance, but there's definitely more to it than just that: with some battles with other aliens, the aliens trying to get home, and stay alive from the government trying to kill them, etc. Maily it's the characters and their various relationships that make this show so great. It's certainly a product of its time, early 90's WB, but I'm nostalgic for it and love it too much. And we wouldn't have a number of shows we do today without it. Liz and Maria also have one of the best female friendships of all time. And this show is another one where I actually like the ending.

The Chosen - A TV show that tells what Jesus' ministry was like through the disciples' PoV. And I can't explain just how well made this show is. Seriously. People who aren't even religious watch it and love it. People have compared its quality to Game of Thrones... err, in a good way (I know that can be considered an insult now, after S8). This is what all Christian media should always attempt to be.

Bonus:

Dollhouse - The idea of this show is really neat (with people who have their memories and personalities wiped, and someone else's placed into them, when they're "bought" to live out someone's fantasy), but also hella problematic... though, granted, it's sort of problematic on purpose to draw attention to these problems in real life, but still. This show also becomes completely different by the end, than how it started out (I actually love this plot twist, and won't spoil it for those who don't know). But sadly, it didn't have too much to delve into this twist before it was canceled. But I do still love this show for what it did, and all the potential it had.

Game of Thrones - I loved this show so much, originally. As most people did. But then it really started going downhill when it ran out of books to adapt. Even before that, though, you could kind of see the cracks, with how they changed Daenerys so much... Or how they changed Robb Stark's marriage plot line from being about honor (like how Ned died) to love, etc. But even so, we still (mostly) have a few really good seasons, at least.

[delucat]

25 Questions About Bloody Painter

1. Birthday? Height? Physique?

Born on October 1, 1980, under the Libra sign.

In the current storyline, he's about 26 years old.

He stands 178 cm tall with a well-built physique.

2. Favorite food and drink?

He loves sweets and cocoa; basically, he enjoys all kinds of chocolate.

In all official works, the brown drink you see him consuming is not coffee but cocoa.

3. What kind of scent does he have?

He uses perfume to mask the smell of formalin used in specimen preparation or the rusty smell of blood.

His preferred scent is oceanic.

4. His MBTI?

INTJ.

5. Preferred clothing style?

He likes simple and sleek outfits, often wearing colors in calm tones.

Also, the blue jacket he usually wears isn’t a trench coat; it’s a suit jacket.

6. Does he smoke or drink?

He doesn't smoke or drink because he finds the smell of smoke pungent and dislikes the bitter taste of alcohol.

If he has to drink, he prefers fruity soda-like alcohol or sweet cocktails that barely taste like alcohol (he has childlike taste preferences). His alcohol tolerance is average.

7. Does he listen to music? What genre?

He listens to almost anything and becomes particularly interested in music with unique styles from an artistic appreciation standpoint.

8. How does he kill?

He's a clean freak and dislikes making a mess at crime scenes.

His methods focus on easy cleanup, avoiding unnecessary torture of his victims.

9. Does he cook for himself? What type of dishes does he usually make?

He’s good at household chores and can prepare common Western dishes.

10. Favorite color?

Blue.

11. Does he watch TV shows or movies? What genres does he like?

Yes, he enjoys anything with innovative themes or visual techniques.

However, he dislikes romance dramas because he can't understand or relate to love, which makes them boring for him.

12. Is he a light or heavy sleeper?

He’s a night owl and a light sleeper, which causes his prominent dark circles.

13. When does he wear gloves?

He only wears gloves when handling objects or when he doesn’t want to leave fingerprints.

14. Preferred medium for painting?

For his public art, he prefers oil paints for oil paintings.

As for those darker pieces, he might mix in victims' blood or other substances.

15. Does he smile when he’s in a good mood?

Yes, but it’s rare for anyone to see it. Also, when he’s shy, he tries to hide his emotions by looking away, but his flushed cheeks and ears give him away.

16. Regarding character pairings?

In the 2018 version update, all pairings with other authors' OCs were removed to keep his story realistic. He is currently single.

However, fans are free to create any pairings in their fanworks.

17. Defining trait?

Selfishness.

18. Sexual orientation?

He identifies as agender, meaning he doesn’t feel tied to any particular gender. His attraction to others is based purely on his mood and feelings.

To put it simply, he doesn’t care about gender.

Also, agender ≠ asexual; he still has sexual desires but finds it difficult to develop intimate relationships due to his cautious nature (which likely means he's still a virgin).

19. In terms of intimacy?

He behaves gently and gentlemanly, but he has a deep-seated violent streak.

If his partner consents, he may become more dominant and leave marks, enjoying the sense of control.

20. Does he have possessiveness towards his partner?

Yes, but he respects his partner, so he wouldn’t try to control or limit them.

However, it’s clear when he’s jealous!

21. What was his childhood like?

He suffered severe mental abuse from his controlling mother, leaving him psychologically shattered, though his body bears no signs of physical abuse.

For more details, refer to the 2018 version story animation: https://youtu.be/AaHgY62-ggI

22. Would he make a good father?

Since he never experienced a normal family life, he doesn’t believe he would be a good father and doesn’t aspire to become one.

He thinks, "The world doesn’t need another me." However, he would make a great older brother or mentor.

23. Ethnicity and nationality?

The official story doesn’t specify his nationality, but he is ethnically white.

24. Is he really afraid of cockroaches?

He’s not afraid of insects and even makes insect specimens.

His fear of cockroaches stems more from his germaphobia than the insect itself, as he perceives them as dirty creatures.

25. Any other tidbits?

● He values manners, so he avoids cursing. Still, in moments of stress, he might accidentally let out a quiet curse. 

● When he’s alone and relaxed or happy, he hums to himself.

=================================== 

Do you have any more questions about Bloody Painter?

Feel free to ask in the comments, and I’ll reply when I have time!

[theillustraitor]

Finally finished revising my ideas for post-AGIT Dan! It's under the cut, and it is similar to what I wrote out before(so if any of y'all read that much of the below will probably sound familiar).

The chart is so y’all can see the Dan ref next to Danny and Vlad. He’s meant to be a pretty even mix of them design wise, and I'm pretty proud about the blend :]

If there are any questions I’d love to answer them(whether about the specific story stuff below or if there’s anything else y’all are curious about with my ideas for him)! In spite of my fixation on the college trio, I think about Dan a ton lol

(This takes place in the range of about 2.5 weeks to 3 months after AGIT)

Dan’s clone body started destabilizing pretty soon after AGIT. With some convincing Danny and Dani agreed to use the ecto-dejecto to stabilize him(Dani still needs it so that’s why she had it/had to give permission. She sympathized with Dan melting.) Vlad was also hiding that Dan didn’t really mean anything he’s said about improving, and Dan was of course himself lying about it. That’s why Danny/Dani agreed to help(Dan does eventually become genuine, but this blurb will mostly focus on why Dan looks the way he does instead of his character development).

It worked, but Dan destabilizes so frequently that he goes through a lot of dejecto. His ghost form is really different from the clone, and has a lot more power than the clone can handle. The dejecto is also unable to be reproduced because 1) Vlad could not crack what tf Jack did to make it in the first place, and 2) There’s no way Jack would agree to make more(not that he even would remember how to replicate a failed experiment that would help ghosts). Giant problem for both Dan and Dani, because if they use it all, that’s it. They’ll melt into nothing.

This led Vlad to try another method to hopefully permanently stabilize Dan or at least reduce the amount of dejecto he needs(Vlad figures his ghost part should theoretically make up for the original stability problem of the Danny clones). Vlad started working on editing the clone to both age it up, and create a stable mix of his and Danny’s DNA that would allow the clone body to more closely resemble Dan’s ghost form and hopefully increase its capacity for ectoplasmic energy.

This was actually going pretty well and was slowly reducing the amount of dejecto Dan needed, but it wasn’t going fast enough. Vlad feels enough guilt over Dani by this point in time to be concerned for her well being, so once again is trying to find another alternate way to stabilize Dan faster. He comes to the insane conclusion to convert the ectoplasmic nature of Dan’s clone body into flesh. The bodies not matching wouldn’t matter then, and it obviously couldn’t melt anymore(note, the reason he doesn’t think to do this process directly to Dan’s ghost is because he still needs an anchor to not disappear from time. Being made of meat won’t fix that, so the best option is to keep him inhabiting a body. Even that aside, there could possibly be irreversable/undesirable side effects).

By the time Vlad is successful enough with testing to implement it with Dan’s body, he looks like what he looks in my design. He’s roughly 17-18, and really hates the idea of being stuck that age. However with a lot of convincing from Jazz and Vlad he finally agrees to allow Vlad to convert his clone body(convincing includes that he could finally go in public without any worrying(Jazz), he could have a bit of youth/being a kid to have fun with(Jazz), the obvious fact of not destabilizing(Jazz/Vlad), he’ll get a longer life(Vlad), and Vlad secretly mentions that Dan could get away with a lot more if he is young).

Vlad then goes ahead with it(Dan temporarily moves into another body to ensure only the clone body would be affected). Vlad is left pretty exhausted, but the conversion was a great success. Dan finds that it’s a bit tingly and is still like he’s possessing the body, however otherwise it feels pretty great.

Some later stuff:

- Dan finds that unlike before, he can turn into his ghost form halfa-style(not for too long though as he’ll start destabilizing time-wise).

- He eventually attends Casper High(of his own volition, though Jazz encourages it). Vlad puts him in Danny, Tucker, and Sam’s class. This is also when he gets his jacket; he joins the football team, but seeing as he still despises the popular kids he gets Sam to dye it black.

- He’s honestly a menace at Casper, especially to the popular kids, but Dash still thinks he’s cool 😭

[darkrooklobby]

🦜Apollo Justice trilogy (the rant/analysis)🎵✨

Welcome! Allow me to specify what this rant is about:

The game, Apollo Justice (2007 - 2008)

The characters (Apollo, Phoenix, and the Gavin brothers)

The wasted potential (i.e. the other games) (I'm most familiar with AA1-4 the others i've briefly looked at)

Just angry thoughts at 3am

[⚠️SPOILERS FOR APOLLO JUSTICE + TRILOGY!⚠️]

[also the ⚪bulleted points⚪ are facts, the rest is my subjective yapping]

Before I begin my rant, here's some basic information about the game's development:

It's the last game directed by Shu Takumi. The rest of the trilogy is directed by his assistant (Takeshi Yamazaki) meanwhile Shu was busy with the Professor Layton crossover + The great ace attorney.

Capcom literally demanded to insert Phoenix into the game. Shu was against putting Phoenix in, feeling that his story has already come to a natural conclusion, stating, "I felt that Phoenix's story had been told, and that the series should not continue. Knowing when to end a story is very important and I wanted to avoid dragging it out and having it become a shadow of its former self." (Takumi)

In the end, Shu was forced to put Phoenix in, and we got hobo Phoenix, or as I like to call him, Beanix.

Okay so, a brief pause. From what we already know, there is a conflict of interests during development. We have a small group of artists that did a small project called ✨Ace Attorney✨ and then the corporate realized they're sitting on a goldmine. Capcom did not want their mascot, their cash cow, Phoenix Wright, to go just yet. Shu (who wanted a fresh start, and creative freedom) was torn, his team was torn between letting Phoenix go and bringing him in, and you notice that in the game as it goes back and forth. It goes between Phoenix being a main character, interfering, or disappearing for long periods of time. It was on and off, just like their arguments - corporate vs. creative freedom, old vs. the new.

It creates an... odd atmosphere throughout the game. This indecision and forcefulness. Opinions vary 🙃

The corporate unfortunately won. We had Phenix back, not in his former glory, but as a character. (Result? Apollo feels less like a protagonist, suffering, feeling irrelevant in his own game. Not always, of course! But most of the time...)

Facts continue! Apollo Justice (AA4) is the last game with 2D sprites, with some rare 3D elements. (Like Cheeto Klavier🧡)

btw, here's some name puns and meanings:

Apollo is literally named after the god of truth.

"Klavier" means "Piano" in German 🎹 - his Japanese name, Kyoya, means, "to echo/resound".

Kristoph's Japanese name, Kirihito (霧人), when reversed (人斬り - hitokiri) literally translates to "the killer".

Trucy's name pun, Trucy Wright, is supposed to sound like "see-through" (tru-through cy-see)

Lamiror = mirror, Wocky Kitaki = Walkie-Talkie, Drew Misham = Draw-me-a-sham, etc.

Okay, so. About the 1️⃣first case1️⃣: It's a widely accepted opinion that the first trial is the best one, and it's hard to disagree. It's a completely new thing (almost as if Shu was planning on starting an entirely new trilogy without Phenix Wright! Can you imagine?!--) and because the first trial is so good, with a great twist and a fun conclusion, other trials pale in comparison. Let's see, we have a new quirky protagonist (he's fine) a gentleman for a mentor (a character with depth, as we will come to know) a fallen attorney with shady history (Mr. Phenix Wright) along a complex, yet understandable, mystery. What is lovely about the first case is that it makes you think just enough, the trial flows nicely for the sub-plot to come out, and the twist is perfect.

Of course, I imagine that Japanese players might have seen the twist coming a bit earlier, looking at Kristoph's name-pun, but all-in-all it's a great start! The question is - is it a great start for the new franchise that Shu wanted to make? Is it a great start for Apollo as an attorney and as a character? ...Or, is it a great start, for the old greedy company to push good old Phoenix back into spotlight and collect more money? 🤔🤔🤔

Here's some facts about the direction the game hoped to take:

The game delved into darker themes on purpose, like a "grown up" version of Ace attorney for the next generation. It was hoping to shift the tone from the previous three games more towards realism. (AA1 was a bit comedic, we cross-examined a parrot, the crimes were less complex compared to AA3. With AA4, the idea was to make AA3 but better.) It tried to set Apollo as a more independent lawyer, trusting no one, without any mentor (like Mia in previous games) coming back every other case.

With the first case, Apollo becomes independent in a sense, but... well.

Apollo basically third-wheeled in Phoenix/Kristoph divorce. That's basically what happened in that trial. Somehow, we managed to shift all the attention from Apollo's character growth into these two men. Apollo's independent now because he got left alone in the trash while the AA team tries to figure out what the fuck to do with Phoenix and how to shove the whole thing together.

The entire game was made with the idea of change, a fresh start & fresh blood in mind! We don't get much character growth from the main characters AT ALL because, at some point in development, there was a decision made: They thought they will make a sequel. AA games so far relied on story continuity, chronological events, time passing, characters evolving, events making an impact on the characters, etc.

Apollo Justice, a beginning game of a trilogy, was written specifically in a way to have a sequel. There were things left unanswered for a reason. They took things slow, and the idea of the sequel was planned to go more into the Gramarye troupe, Gavin brothers, and Apollo's family. (Shu even had an entire backstory written for the Gavin brothers, but it was scrapped by the new team) (I'll get into it later.) This was also the reason why the game had potential, but never went all the way. The plot was more complex, and was made specifically with a direct continuation in mind, which never came to pass. We instead got... an entire rework. (again, i'll get into it later 😂)

Some art facts, since i'm an artist: They were thinking over a few variants of the character designs before they settled on the current ones. They wanted to have a protagonist more energetic than Phoenix, more blunt, an idealist, less bluffing, like a new generation kid kinda-thing. Apollo has distinct spiky hair, is different, is less tall, has a wide forehead... did you know, the design team had a few designs with different forehead wide-nesses? Wild. Apollo's color scheme is Godot's inverted, and as far away from Phoenix's dark blue design as possible (gee I wonder why...)

(Also, the Gavin brothers originally had two mirrored pointy hair-swirls, resembling pharaoh head covers, and I think that's dope as hell)

Either way, you must admit that the designs for this game are more detailed, colorful, animated, and beautiful. Honestly!!! 💖 The art direction did splendidly, and I'm glad at least that aspect wasn't affected by the disagreements of the company vs. writers :)

Fun fact: The game sold well, actually. Back in the day, people were into original ideas, instead of everything getting a live-action remake nobody asked for, an animated reimagining, and an unnecessary second part. (...Can you tell I'm dissing Disney? You can.)

Now that I'm at a point where I can speak of continuations, let's see what happened: The game released as is. It had a story, sometimes a bit awkward because of the team vs. company disagreements being physically felt through the script. People bought it and the fandom was immediately split down the middle into various factions. (Again, I was young, but this point of contention is strong even today.)

People who liked the new ideas, characters, and plot, and liked Phoenix Wright being there.

People who liked the new ideas, characters, and plot, but disliked Phoenix Wright's presence. (my stance right now)

People who disliked the new things because they wanted the same old Phoenix Wright games. They wanted everything that has already concluded, to continue. (my stance 6 years ago - Since it wasn't believable that a guy like Phoenix Wright, with so many friends, would end up like this. It was so unrealistic to me, so odd, that I refused to see this game as canonical. Literal denial 🥲🥲🥲)

People who disliked the game despite being ready for new content, just because.

Next up, 7 YEARS PASS.

Yup. The disagreement, the dissatisfaction from the creators vs. company, split fan reactions, despite a fine profit, caused a change of direction, and a rift. Characters and story-lines forgotten. Literally.

The next entries after Apollo Justice don't mention the events of it -because of a company-enforced "no spoiler/connection" restrictions. Capcom created the restriction to appeal to new fans, while not spoiling previous games so they might be compelled to play them. (Again, corporate wins over… continuity, this time.) - Which means the bare minimum of character growth and history we could have seen IS NOW GONE and will never be brought into relevancy again. (unless I missed something from the 3D games, in which case let me know.)

And we get a complete overhaul, while going back to the classic AA, but this time we get a new cast to focus on and begin again and we pretend Apollo Justice doesn't exist! (Rant number 4, here we go 🥴)

My main rant so far would be about wasted potential and creative differences. Yes, they weren't strong enough to do a clean break from the past (Capcom forcing Phoenix back, not letting him "die" even though his story concluded) Yes, there's wasted potential because character growth of the protagonist is stunted by greed and confusion (Capcom demands? Fine. Phoenix must be here to appeal to all fans, for all the money. Ok. Cool. We can't be creative anymore and original ideas are shunned! 2008? Bah, nothing has changed in 2024!) and yes, the game's story suffers because of this, despite being very pleasing to look at (the sprites & animations don't hit quite the same anymore.)

I'm not even gonna go into how Apollo was forgotten and suddenly he has four backstories because he failed to establish himself solid in his introductory game without a planned sequel, and Capcom was like "Oh shit this guy exists, um, what do we do" - while also refusing to address and build upon plot points existing in the main game: Apollo had history in court. He had a character building event of incarcerating his mentor. Apollo already had family, which hasn't told him anything yet. He had Trucy. He had a courtroom rival, which he promised to rid of darkness. He gained a new mentor, a shady one, who he punched to the face! He saw the dark side of the law. He saw the "dark age of the law". He saw a better way to do things and fix the system with a jury, which was used once and forgotten about. He had a goal. He had potential... - but then he has been rebuilt and redesigned four times, given things he already had and replaced them and Capcom pulled a nonexistent best friend out of their ass out of nowhere just to give Apollo fake-depth and use (i had to look him up) CLAY TERRAN as A ONE-OFF PLOT POINT and I HATE BAD WRITING LIKE THAT, MAKING A CHARACTER that's just there for that one purpose and---🤬

I'm also not gonna go into the fact that a case-specific NPC gets more character growth than the main cast.

And I also won't rant about the 3D continuations of AA. All I'm gonna say is that, they shouldn't be under a name "Apollo Justice Trilogy" because, what the fuck happened to that guy. Who is he even? What? What game are you basing this on? Who?

The game was like a failed start to do something new... and not achieving it, stopping short of crossing the final line bravely.

This was 3 am. yapping, I hope to inspire discussion, roast my opinions I love to argue over nerdy shit 💖🥰💖

(sources: Ace Attorney Wiki, VGfacts, NezumiVA, AA_Facts on Twitter)

[aspd-culture]

what's a system?

A system is a trauma response associated with one of the heavier dissociative disorders: Dissociative Identity Disorder, some subtypes of Otherwise Specified Dissociative Disorder (1a and 1b I believe are the ones associated with systems but don't quote me on that, though I know they both are systems related I don't remember if they're the only OSDDs that are), and Unspecified Dissociative disorder (which can be a system or not).

The word system refers to a number of "alters" (2 or more, with no upper limit) that are entirely different people essentially that use the same body and brain. Because of how personality and identity are developed, the general idea of how this happens is that young children are theorized to have "ego states" wherein their emotions are actually entirely separated from each other and have no affect on each other, which is why many people say their child is "a different person when they're tired" and why young children can go from extremely distressed to completely fine in a matter of less than a second. It also explains why a child can feel completely happy and great but if you remind them they were sad a few moments ago, entirely fall back into that distress as though it never stopped, because these ego states seem to have some amount of amnesia between them.

Eventually (around 6-10ish), in typical development, these ego states integrate and become one with connected memories between them - life experience and neurological development make this into a defined "personality" and you have what is known in system communities as a singlet; a person with typical development in this regard. In disorders causing a system, some type of trauma makes this impossible. The child is unable to survive with all the emotions and turmoil being aware of everything that's happened to them is causing, and the brain essentially keeps those ego states unfused as a way to have many alters experiencing some trauma so it is spread out, or one alter that experiences the trauma but does not have to go about normal life tasks or interact with people they have to hide the trauma from.

As time goes on, just like it would have with the ego states fused, a personality forms based on the life experience and neurological development, but this time each alter has a different set of life experiences and becomes their own person entirely. From there, the brain uses this method of compartmentalization as a primary coping mechanism (as it is extremely effective), and will create alters in the future as needed even if there isn't necessarily any traumatic experiences causing the need for the new one. Once the brain gets desperate enough to throw away its typical development cycle, much like in ASPD, it no longer is afraid to continue doing so as a means of coping and preservation even in typical daily life.

Plain text below the cut:

A system is a trauma response associated with one of the heavier dissociative disorders: Dissociative Identity Disorder, some subtypes of Otherwise Specified Dissociative Disorder (1a and 1b I believe are the ones associated with systems but don't quote me on that, though I know they both are systems related I don't remember if they're the only OSDDs that are), and Unspecified Dissociative disorder (which can be a system or not).

The word system refers to a number of "alters" (2 or more, with no upper limit) that are entirely different people essentially that use the same body and brain. Because of how personality and identity are developed, the general idea of how this happens is that young children are theorized to have "ego states" wherein their emotions are actually entirely separated from each other and have no affect on each other, which is why many people say their child is "a different person when they're tired" and why young children can go from extremely distressed to completely fine in a matter of less than a second. It also explains why a child can feel completely happy and great but if you remind them they were sad a few moments ago, entirely fall back into that distress as though it never stopped, because these ego states seem to have some amount of amnesia between them.

Eventually (around 6-10ish), in typical development, these ego states integrate and become one with connected memories between them - life experience and neurological development make this into a defined "personality" and you have what is known in system communities as a singlet; a person with typical development in this regard. In disorders causing a system, some type of trauma makes this impossible. The child is unable to survive with all the emotions and turmoil being aware of everything that's happened to them is causing, and the brain essentially keeps those ego states unfused as a way to have many alters experiencing some trauma so it is spread out, or one alter that experiences the trauma but does not have to go about normal life tasks or interact with people they have to hide the trauma from.

As time goes on, just like it would have with the ego states fused, a personality forms based on the life experience and neurological development, but this time each alter has a different set of life experiences and becomes their own person entirely. From there, the brain uses this method of compartmentalization as a primary coping mechanism (as it is extremely effective), and will create alters in the future as needed even if there isn't necessarily any traumatic experiences causing the need for the new one. Once the brain gets desperate enough to throw away its typical development cycle, much like in ASPD, it no longer is afraid to continue doing so as a means of coping and preservation even in typical daily life.

[ourshadowstallerthanoursoul]

Beyond Led Zeppelin - interview to JPJ

(by Guitar.com - Jan. 1, 2010 - x)

Zooma is very experimental and takes your musicianship to a different level. How did you develop the chops to do something so free-flowing? Were you listening to lots of jazz?

No, it’s always been there. I’ve always listened to lots of jazz. At the time when Zeppelin started, I was always listening to jazz and rhythm and blues and classical music. The only rock I listened to was Jimi Hendrix. So, I actually came to rock late. I listen to everything constantly — everything from rhythm and blues, drum and bass techno, Latin music, salsa, meringue, and some rock n roll. Bass-wise I keep listening.

Does that allow you to constantly grow as a player?

In composition and playing, everything at a basic level is about questions and answers. You have musical questions and you have to get the answers, which is basically what composition is about. How does the piece start and then what happens? You’ll get a musical idea, then you have to realize it. And in the realization it’s just about those questions and answers. How does it finish? What will make it interesting after we’ve done one thing for a while? All music has the same questions and answers. It doesn’t matter what kind of music it is, whether its pigmy music or Mongolian stuff. It’s still, how do you make a musical idea, how do you make a tension release? And everything you listen to can come in use as reference material for your own questions, for your own music. Listen to as much as you can because there’s something absolutely everywhere to be found.

A lot of people listen to blues, jazz, country, world music, whatever, but they can’t combine the different techniques.

Most people gravitate towards music they like. If youre a blues player, you only play the blues. So listen to everything else and then play the blues. You’ll find that you start playing the blues in a different way.

How do you feel about what your former bandmates have done with their respective careers? Page and Plant did Zeppelin songs together for a while, and now Page is doing Zep stuff with the Black Crowes. Do you think maybe they’re not expanding their vocabulary and reaching out the way you have?

No, they’re not reaching out the way I have, because I’m me and they’re them. I haven’t heard Page and the Black Crowes. He could be playing a whole load of blues for all I know. I heard Page and Plant’s 'Walking into Clarksdale', and was disappointed that there wasn’t more Page on it. I like to hear lots of Page. But they’re doing what they’re doing. They ain’t bothering me.

Do you keep in touch with them?

Sure. There’s lots of Zeppelin things we attend to. We attend releases.

Atlantic released 'The Best of Led Zeppelin, Volume 2' earlier. Did that concern you?

Well of course it concerned me. I wasn’t very happy about that, but it was a democratic process, just two to one and I was the one. But the BBC Sessions I was very happy with. To me that was very valuable. It was great to hear the band in a well recorded situation, because normally when I heard the live stuff I was either standing right next to Page or it’s a horrible bootleg. So, to be able to sit back and not do anything and be able to hear all that he’s playing, that was a treat for me.

Why didn’t you want the 'Best of Vol. 2' to be released?

It’s been done before. I couldn’t see why, you know? I mean, the first remaster, the box set, was good because Atlantic went through the original Zeppelin release campaign kind of quick and didn’t really spend too much time with it. In fact, when we were collecting stuff for the box set, we found that some of the masters they used were actually second and third generation, and they put them on CD. They sounded really dull. They didn’t seem to have any life. So, the chance to remaster them, to bring them to life again was valid. But I couldn’t really see the point of the Greatest Hits records that came out last year. We were always against Greatest Hits album traditionally from the word go. It may have been a hang back to the fact that in the days when we started, you had singles bands, you had pop bands, and then you had albums bands. They were completely different things. So, I just didn’t see the point and I said so. But as I said, it was democratic and they thought differently.

How and why did you put 'Zooma' together?

Basically, I wanted to play live again. And of course, I needed something to play. I tend to need motivation to do a project. I’m not somebody who would just write things for no reason at all. I’ll work on a project and I’ll commit myself to it. But if I’m not actually working on it, then I’m just as happy to sit down and play instruments and not write anything. So, I need motivation but I didn’t want to join a band. If you’ve been in the best band in the world, what do you do? I knew that if I did an album, I’d be obligated to promote it. So, I knew I couldn’t just go, "Oh well, I’ve done the album. That’s it." I knew that it would force me on the road, which was what I wanted to do originally. So, I trapped myself into it. But it was really a positive experience.

So, what possessed you to say, "Man, it’s time to get out there live again"?

It’s funny, Diamanda Galas [who I recorded the album 'Sporting Life' with in 1994] said to me that she’d done collaborations with composers and various people. And she just said, "I realized one day that if I’m going to put this much effort into my music then I think it should be my own." And I took those words to heart. I figured I’d worked on everybody else’s records since 1963. It’s about time. And I’m fortunate to be in the position I’m in. I had my own studio. I don’t have to work to eat. Maybe it’s a mid-life crisis, who knows?

So, playing with Diamanda was what inspired it?

Yeah, I think so. And writing material for Diamanda. She got me playing steel guitar, so I could have a voice on stage. Cause I always used to play steel guitar in hotels and she saw it in the studio and had never heard one before. So I started playing, and she immediately wrote a song. And we put it on the album. People were like, "Wow, this is new, different."

How did that collaboration come together? How did you know her? Did you know her from years back?

I knew her from her work. I had one record by her at that time, 'Wild Women with Steak Knives', wonderfully titled. And the voice was just like, Whoa! A mutual friend said she’d be interested in doing a rock record and he thought that I’d work well together with her. I like the idea because I wasn’t into normal songs. She called them homicidal love songs. It was a case not so much of, "My baby’s left me, I’m going to throw myself out the window." It was, "My baby’s left me, I’m going to throw him out the window." I found her whole approach quite refreshing. And we hit it off immediately. We’ve both done lounge gigs, believe it or not, in our time. We used to do The Lady is a Tramp in soundcheck, which worried a few people. Nobody knew what to make of that. And we also found that we knew the entire Motown songbook. And we’d sit sown and play Stop In The Name Of Love. We had respect for each other as musicians.

Why was it a one time thing?

Well, she has a serious career. She follows what seems to be good at the time. And it was, because it led me to this.

[sendouakira]

An Analysis on Sannoh

"There are quite a few reasons why Shohoku’s battle against Sannoh is undeniably an iconic “final boss fight” of sports genre. Being the greatest match of the whole series, the game is jam packed with intense moments of thrilling actions, as well, it showcases Inoue Takehiko’s masterful portrayal of character developments and interactions. In this short analysis, I would like to focus on another aspect which contributes to the greatness of Shohoku vs Sannoh showdown, that is the biggest differences between the two teams."

___________________________

Read the whole article here:

[itboyisslaying]

How do I achieve a perfect void concept? Thank you for your advice. I'll be really grateful<3

Oh I think this is the first question sent to me by an "Anon". Thanks for trusting me and asking questions🙏💖

Actually, I'm not exactly a master manifestor. I don't know all about the Law of Assumption or the Void, but I want to help you as much as I can🧡

Let's call it "have" rather than "achieve" because we are God, honey. God doesn't try to achieve, she/he just has what she/he wants💅

There are many ways to "have" a perfect Void Concept. We all know these. "Affirmation" "To have it in your dream" "To manifest in writing" and many more. Or join a Challenge. But I think the most important thing is "Persist". How you manifest, keep persisting with your manifest, honey. Because as long as an assumption is insisted on, it becomes true whether it is true or false. Ah, I think Neville Goddar had such a saying, sorry if I wrote it wrong🙏

Here is a post I recommend about "Persist":

Please read this post!!❣

Please have a Perfect Void Concept in the most natural and comfortable way for you. And remember, The void is not on us . YOU are the one giving you your desires, not the Void. Because you are GOD. You instantly manifest whatever you want in the Void because as GOD you assumed so. The void exists because as GOD you created it. Please don't give your Godly power to the Void State. Remember the Void is not above you YOU are above it as a GOD. Also, the Void State is just a method. It's not a magic or magical place. The Void State is just a deep meditative state. If you change your perspective on the Void State, even that will help you develop your Void Concept a lot💕

"How do I achieve (Have💅) a perfect Void Concept?"

Ah I guess I didn't fully answer that above. Sorry🙏 I'll tell you how I make a manifest. I hope I can help you and if I can't help you with this please send me a question or message again💖

First of all, I know a lot of people in this community are trying to get into the Void. And once you fail, you quickly go back to your old mindset. Please don't do this🙏 Persist on the new story that you always have a "Perfect Void Concept" and enter the Void in a very short time!! And act like you have them and it is. This works grea for me 💜

Even if you can't enter the Void at the moment, tell yourself how happy you are that you entered the Void and how easy it was for you to enter the Void! I always tell myself "I am the Queen of the Void". Also, don't say that a boy can't call himself a Queen. I think queenhood is gender neutral. LOL. This makes me feel so good.❤ Please choose the affirmations that suit you💙💅💋

Let me tell you what I did. This helped me a lot so I suggest you what I did myself and i think most people are manifesting that way lol:

Anyway, I want you to think about this, how would you feel if you had a "Perfect Void Concept"? If you had a "Perfect Void Concept" would you worry about what happens in 3D anymore? Of course not, because you know you can go into the void whenever you want and have what you want💅 Would you worry about the void? Do you start thinking negatively just because you failed the Void once? Do you think the Void or you gave your desires to you? Of course you give because as a GOD you also created the Void State!

If you had a perfect Void Concept, what would you think while walking or continuing your daily life?

Please ask yourself!💕

I also imagine myself entering the Void, and while imagining this, I ask myself how perfect I am in the Void and Why do I have such a Perfect Void Concept? 💋

As I wrote above, when I started thinking and living like this, my Void Concept and Self Concept developed. I hope it helps you too 💘

Let's slay! We are the Queens of the Void💋💅

I manifest the things I want to manifest with the "feeling of knowing that I have it".

However, this method may not suit you. So robotic affirmation, writing, imagining. Or a challenge. Do whichever suits you💓

Challenges I recommend:

You don't have to do these challenges. I only suggest if you want to❤

But whatever you do, no matter how you feel, no matter what you think, please don't stop Persisting 🙏🍀

It is normal to feel bad, to have bad thoughts, to have doubts, but do not identify with them. They don't matter as long as you don't identify with them because they come from the Ego and not from God who is your true self. Please don't misunderstand the "Persist" I said.

Ah, if the things I wrote above do not suit you, please read other posts. I hope I have helped. I hope I was able to help you as you wanted and gave a proper answer. If I didn't explain well enough and couldn't help, please send me a question or message again. If anyone else is reading this, if what I'm saying doesn't suit you, that's fine. Please write in the comments what you think I got wrong. I don't know how many people read this though. I hope I have been helpful and have not written any limiting beliefs. If there is such a thing please let me know ❤

私はみんなを愛しています❤🍀

《💋ItBoyisSlaying💅》

[pretty-piano-boy]

Manaria Friends, or as it was released in the US as Mysteria Friends, has long been one of my favorite anime. Released as a short spin off of Rage of Bahamut, this "friends to lovers" yuri anime has developed a passionate cult following.

For me, what made this anime so special, aside from its creative and cute story telling, is the music. Originally written as a piano duet by Takashi Watanabe, this piece titled "Grea" as lived in my heart as my favorite piano piece since I first heard it.

This is my simplified solo arrangement of "Grea".

If you enjoy or would like to hear more of my music, please check out my Spotify at Nathanial Zakovich or YouTube channel linked below.

[jazzreloaded]

Play On! By Talawa Theatre @Belgrade Theatre 26 / 09/ 24

Review by Vidal Montgomery

The press night performance of Play On! - A Broadway Blues with a twist on "Twelfth Night" - was not undersold in terms of bums on seats ( because it was a full house, and based on this showing it deserves a full house everywhere it goes!), but in terms of spectacle; because for the near-three hours running time, it was thoroughly engaging, spectacularly entertaining and, despite dealing with some serious subject matters ( such as how a misogynistic Harlem resists change, made all the more relevant with the recent revelations around Music Moghul Sean Comb's recent indictment), it was joyful for the audience from start to end, evidenced by the raucous laughter, gasps and applause throughout.

The title "Play On!" may also refer to the four year development process to get a work of this magnitude and depth and craft and intimacy and nuance in front of a live audience; it is no mean feat that this splendid work of Ellingtonian excellence by Liam Godwin and Benjamin Burell is finally in front of an audience, and with a truly magnificent cast from top to bottom:

Although the dramaturgy obviously has its focal characters, the dancers / understudies / supporting cast acquit themselves equally well, and the audience is gifted with over a dozen amazing voices ( of which Lifford Shillingford was my personal favourite ), who perform comparably, shouldering the responsibility of energetic dance, tense drama and soulful song, and carrying the narrative along. This for me is the most captivating thing about this show. Tanya Edwards as Miss Mary and Llewellyn Jamal as Jester deliver stylish and soulful performances late on into the second act just I thought the show had probably reached its peak - boy was I wrong!

The core story of Play On! revolves around the day Duke Ellington loses his muse, and the lengths- and distance! - one lucky lady will go to to help him get it back; Earl Gregory, Koko Alexandra, Tsemaye Bob Egbe, and Cameron Bernard Jones play the four pillars of the love quadrangle that is "The Duke", his old flame ( lady Liv ) , his new muse ( Viola "Vyman" ) and Rev, the manager of the Cotton Club clutching at straws and clasping his hands in his hopes of keeping the four together as exemplars of Ellingtonian Excellence - and also keeping the show on the road...

Sadly the live band - directed by the unassuming Ashton Moore and delightfully driven by the delicate drumming of Empirical's own Shane Forbes - are not featured as characters in their own right - I am sure that later productions in the three month run will attend to this oversight.

Despite this, the mix of moods and blues and beats and grooves from the bandstand become the main character, and for me ( as a musician! ) this is the star of the show: Ellingtonian Classics like Mood Indigo, I got it Bad, It Don't mean a thing, Black Butterfly Rocks In My Bed and In a Mellow Tone are turned inside out and taken back from the trash heap of Abersold Appropriation,and are played in a way that suits the strengths of individual artists, and balances temperaments of their characters as a whole as they play moves towards reaches its climactic reveal; at this moment the only other disappointment was that the band was not as big as, say, the English Touring Opera's for the recent run of "The Rakes Progress" : With this amount of dramatic tension in the stage, and with the audience in the palm of the band's hands the Ellington Big band, really needs to be a BIG band.

As it was, on the night Kaz Hamilton and Alexander Polack acquited themselves very well, making a myriad of moods that were both historically authentic and stylistically de jour. And the commitment to shared seat of Chris Hyde / Josh Vadivello on Double bass ( NO electric big band era please! ) brings gravitas authenticity and sensuality to the greatest american songbook in a way that only a Double Bass can. This show is all about that bass!

Having recently sat through the often turgid and salacious KAOS, a reworking of the mythology of Orpheus and Euridice, ( which was not a patch on Marcel Camus Seminal 1950's classic ) and also attended the afforementioned reworking of Igor Stravinsky's "Rake's Progress" ( often not my sense of humour, albeit markedly less turgid and salacious than Charlie Covell's Netflix Production ) I was far from convinced that , per se, " A reworking of Twelfth Night " was going to as vivacious, contemporary , and nourishing to the soul as it turned out to be. But on this occasion I was rewarded for my bravery ( And by "bravery" I mean only braving the inclement British weather ) , and I will forever regard Play On! as somewhat of a late birthday present - ( or maybe early Christmas gift? )

Ironically, whilst sipping free Prosecco and listening to a(nother) jazz function band in the reception area after the show , I had the good fortune to speak with one the trustees of the Talawa Theatre and we discussed how important it may be to not label Play On! as ( simply ) a "jazz show", because of how many people may miss out on an amazing contemporary socially and culturally relevant human experience, simply because they do not know or have not yet been sold the depth and breadth of the jazz canon.

But Play On! is "Jazz Hands" in safe hands. And I can say with confidence that Talawa Theatre have a winner on their hands; it is Black Joy. And "Black Joy" may turn out to be a better euphemism for the vibrancy we expect "Jazz" to bring to us. Congratulations on the fully immersive experience that Director Michael Buffong brought to the Belgrade Theatre tonight.

PS: As with many theatre shows, the stupidly difficult train schedule doesn't really support the 2+ hour format, but I can only say that on this occasion it was worth missing our last train to catch the "A Train" one more time...

Talawa’s Black Joy season presents:

Play On!

A new Jazz musical

Based on Shakespeare’s

“Twelfth Night”

Conceived by Sheldon Epps

Book by Cheryl L.West

Music by Duke Ellington

Produced by Talawa Theatre Company and The Belgrade Theatre

Co-produced with Birmingham Hippodrome, Bristol Old Vic, Liverpool Everyman & Playhouse, Lyric Hammersmith Theatre and Wiltshire Creative

Artwork by Feast Creative

For the full programme, click or scan the image below:

[dreamanduality]

The Jupiter Saturn Square Dance

Think back to December 2020. By then, we had become accustomed to lockdown, and the myriad holes in society had become glaringly apparent through the lens of Uranus in Taurus. The spiritual community was abuzz with excitement over the lofty, evolutionary ideas surrounding the Jupiter-Saturn conjunction in Aquarius.

Why is it that whenever Aquarius is mentioned, it's romanticized as a lofty ideal, reminiscent of the Woodstock hippie era—where people "cosplay" poverty while unwittingly perpetuating the very systems they claim to oppose?

It's easy to forget that Aquarius is ruled by Saturn. While Aquarius has a different tone than Capricorn—quirkier, perhaps—it still bears Saturn's influence.

We're all familiar with the powerful impact of a Saturn square. The most significant of these occur when transiting Saturn squares your natal Saturn.

Squares mark the first and third quarters of a cycle, acting as a test. Multiple squares can occur before and after the halfway point of the opposition.

Squares create friction, while oppositions present challenges.

It's important to note that all planets have this cyclical relationship with Saturn, just as they do with each other.

When it comes to these two giants, Jupiter and Saturn, their interactions are so profound because they shape generational arcs. These aren't daily occurrences, but rather pivotal moments in life's sequence.

Let's journey back to December 2020 (this is why I encourage journaling, if you have the luxury of time to do so).

The conjoining of the 2 of them in the home of Saturn, making Jupiter a guest. We really can think of rulership's the way we think of homes and the tolls + comfort that we have at our disposal. Jupiter being in Saturn's home of innovation means that Saturn is the Lord of this space meeting an a more or less isolated space with no aspects. The weeks prior are just as important for what the themes were presented to you and what markers are meeting you now.

In my time zone the peak of conjunction did happen at dawn—this is going to have its own instillation, but I'm getting ahead of myself.

In the big picture and why the hype about the “Great Conjunction”

This conjunction marked the motion of a 240ish year cycle of the two grea t teachers making conjunctions in Air signs moving away from the Earth cycle we have all been accustom to—ok cool, but what is this motion for the lives we are actively living on the micro level?

Bringing in the Apocalyptic narratives. This has been more or less a theme since the Byzantine Era, our great teachers being those that are the furthers we can see with our eyes or of the Ptolemaic system,: as well as being the slowest moving. It is from this time via Arabic texts that we have record of profound effects happen upon the earth when these slow and steady giants make a conjunction. Due to the sequence of Saturn and Jupiter these conjunctions happen within triplicity.

This lens of change marked the changes in Kingdoms and Religious Rule, traditionally noted as changes in laws and sects; as we can note the timing in similarity to Pluto returns.

If I recall correctly what the conversations in my sphere involved having trust in community like I had not seen it before which is very fitting. There was deep reflections around our foundations and shifts in focus on a practical level—there was also the beginning of a surge in the spiritual community and spiritual psychosis like I hadn't seen it before.

Air signs are those of the intellect, bright ideas and the application of thought lead creativity.

Jupiter is expansive generosity fuels the process of growth and then there is Saturn bringing in the discipline and structure keeping that abundance in check. These two together instill the necessity for tangible results. Jupiter balances out Saturn’s cause of anxiety in scarcity and limitations and Saturn culls for healthy development so there isn’t the excess of subpar or mediocre development.

When fruiting trees are stewarded the fruits produced are of higher quality,

The dance of the tight rope

In 2020 this was the constant, the back and forth of finding balance between Jupiter and Saturn—growth and reorder, rinse and repeat as we finished up that earthy scented shampoo moving onto something more heady.

Now

As of today, we're a few days past the exact formation of this square. Our great teachers will be dancing around in orb to one another until the next exact square on December 24, 2024.

We’re still riding the full moon in Aquarius, ruled by Saturn retrograde in Pisces, which in turn is ruled by Jupiter in Gemini—and Jupiter, being in detriment, is quite uncomfortable, as if running on a low battery. This month is full, really the rest of the year, of backtracking, and yes, we're all tired. It began with our chance to slow down, be quiet, and observe. Now we're like exhausted dandelion seeds caught in the winds of change. Jupiter in detriment, ruled by a retrograde Mercury, squares a retrograde Saturn, creating a chilling atmosphere in Pisces. This truly embodies how all of the planets are showing up in the theme of not knowing where to land. As Saturn inches closer to Neptune's naturalistic dissolution, we're struggling to trust the sands of time as they form fragile glass bridges. Sometimes its ok to do what we know and what we can when we are floating along. For some this is where it is at on a personal level, but for others and the global diaspora this really isn't in—but this is where we find hope. We are living these changing tides which is our reminder that things can in fact change.

We are all navigating an unprecedented atmosphere, and it's worth noting that our world is indeed novel, even as we echo core themes of our ancestors.

This square of Jupiter and Saturn is met with a T-square of Venus, unfortunately I don’t see this as much of an attribute in aiding Jupiters tempering of Saturn. Mercury is retrograde.

Mercury ruling over both Jupiter and Venus. Jupiter is poorly conditioned and though Venus is neutral and finds an an ease of organization in Virgo like a hospitable guest—this isn’t enough to stretch the tight collar of Saturns restraining disposition.

Further telling the story of Mercury at this time; they are under the rays of the Sun. Begging their scorching decent like Icarus.

As we follow the Mirroring relationships of the conversation being held by the celestial divine, Saturn is the the home of Pisces. The icy unseeing atmosphere that Saturn creates with the co-presence of Neptune.

We know squares bring the friction of the 7 rays. Squares are a challenge in what is being witnessed. I see this as the benefice’s asking Saturn “uhhh wait, its not winter…hold one we might need that…what I want that…” Saturn coldly and compassionately always being the “No, its for the better…”

What is being challenged here through the energies of; abundance, desire, restriction and sprinkled with miscommunication?

What houses are these transits happening in? This ill provide you with the themes of this aspect. For depth and particulars check out to see what I have available!

You will have the coming months obverting and witnessing these manifestations in you life as the Rex Dance f Saturn ends and Jupiters begins.

Since Saturn has been Rx the fears of duality and inconsistency have been the revisiting motion.

For our next trick our continuation of thought and dream meeting challenge is met allying Mercury.

The square of the great teachers with the addition of Mercury in mutual reception to Jupiter attributes to the presence of the problem solving what is being attempted at this time. Jupiter and Mercury are quarreling witness about what Saturn is constricting. Jupiter and Mercury both being in detriment find themselves nervously laughing, while shifting in their seats that provide the opposite type of comfort from they preferences. Jupiter’s optimism is as good as those that don’t like the taste of cilantro but love taco’s—the air of Jupiter in Rx at this time falls deep in hopeless abundance under the pressure of challenge that Saturn is showing at the head of this table. Saturn sterling reassuring that, “its ok that all of this has died, it will grow back stronger.” Mercury also in Detriment finds the atmosphere of thought to lofty to digest and the pearls of icy fog too many to count.

Jupiter is not good at grief, and Mercury understands the decent into the underworld. Jupiter disregards what comes after a bubble pops and would rather take shots with Neptune to deal with Saturn in a stupor. How Saturn works is in the show up, how do you show up and are you consistent. The critique continues during the duration of the cycle—they don’t do instant gratification.

Within this exchange Mercury and Jupiter understand each others discomfort and aid each other in a strong connection.

Consider how your natal Mercury manifests in exchange's, as they travel they carry the word along.

Note: Neptune is still co-present with Saturn, making much of the restriction seem imaginary or not clear.

Horoscopes Here Let me know if this resonates or if you have any questions!

-K

[unpluggedfinancial]

The Psychological Impact of Bitcoin: How Money 2.0 Can Transform Your Mindset

In a world where money is constantly losing value due to inflation, where centralized institutions dictate the terms of financial engagement, and where the future of personal wealth seems uncertain, Bitcoin emerges as a beacon of hope. Often referred to as "Money 2.0," Bitcoin is not just another currency—it's a transformative force that can fundamentally alter the way we think about money, value, and our financial future.

The Shift in Mindset

Traditional financial systems are built on a foundation of short-term thinking and consumerism. We are encouraged to spend rather than save, to trust in centralized institutions rather than take control of our financial destiny. This mindset has been ingrained in us for generations, making it difficult to break free from the cycle of dependency on these institutions.

Enter Bitcoin. By its very nature, Bitcoin requires a different approach—one that is rooted in long-term thinking, patience, and a belief in the future. Holding Bitcoin is not just about securing wealth; it’s about cultivating a mindset that values financial independence and personal sovereignty. As you accumulate and hold Bitcoin, you begin to see the world differently. The volatility of its price teaches you to be resilient, to remain calm in the face of uncertainty, and to develop a deeper understanding of the true nature of value.

Bitcoin as Money 2.0

Bitcoin is not just an upgrade to our existing monetary system; it is a complete reinvention. As "Money 2.0," Bitcoin represents the next evolution of money—one that is digital, decentralized, scarce, and immune to inflation. Unlike fiat currency, which can be printed at will by governments, Bitcoin’s supply is capped at 21 million coins. This scarcity is what gives Bitcoin its value, and what makes it an attractive alternative to traditional money.

But Bitcoin’s value goes beyond its scarcity. As a decentralized form of money, Bitcoin is not controlled by any government or institution. This means that it is resistant to censorship, seizure, and manipulation. It is money that belongs to the people, and it empowers individuals to take control of their financial destiny. For the first time in history, we have a form of money that is not just a medium of exchange, but a tool for financial freedom and autonomy.

Changing the Way We Value Things

One of the most profound psychological impacts of adopting Bitcoin is the way it changes our perception of value. In a world where fiat currency is constantly losing value due to inflation, we have become accustomed to thinking in terms of short-term gains. We chase after investments that promise quick returns, often at the expense of long-term stability and security.

Bitcoin, with its limited supply and deflationary nature, flips this mindset on its head. Holding Bitcoin requires patience and a belief in its long-term potential. As you watch its value appreciate over time, you begin to understand the true meaning of wealth preservation. You become more thoughtful and deliberate in your financial decisions, prioritizing long-term gains over short-term gratification. This shift in mindset can have a ripple effect on other areas of your life, encouraging you to think more critically about the value of time, energy, and resources.

The Broader Impact on Society

The psychological transformation that comes with adopting Bitcoin is not limited to individuals—it has the potential to reshape society as a whole. As more people embrace Bitcoin as "Money 2.0," we are witnessing the emergence of a more decentralized and equitable financial system. Bitcoin reduces reliance on traditional banks, which have long been the gatekeepers of financial power. It opens the door to greater financial inclusion, allowing individuals who have been excluded from the traditional financial system to participate in the global economy.

This shift toward decentralization also brings with it greater transparency and accountability. Bitcoin operates on a public ledger, known as the blockchain, where all transactions are recorded and visible to anyone. This level of transparency is unprecedented in the financial world and has the potential to reduce corruption, fraud, and financial crimes. As more people adopt Bitcoin, we move closer to a world where financial systems are fairer, more transparent, and more accessible to all.

Conclusion

Bitcoin is more than just an investment; it is a revolution in the way we think about money and value. As "Money 2.0," it has the power to transform not only our financial systems but also our mindsets. By adopting Bitcoin, we can break free from the constraints of traditional financial systems and embrace a future of financial independence, long-term thinking, and personal sovereignty.

If you haven’t yet considered how Bitcoin could change your life, now is the time. The psychological impact of holding Bitcoin goes beyond wealth accumulation—it’s about cultivating a mindset that values freedom, patience, and responsibility. In a world that often feels out of control, Bitcoin offers a sense of empowerment and the promise of a better future.

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[fuckyeahvanhalen86-95]

In 2009, former Van Halen members Sammy Hagar and Michael Anthony reunited for a brand new band, Chickenfoot, also featuring Red Hot Chili Peppers drummer Chad Smith and guitarist Joe Satriani. As the band explained to Classic Rock that year, they were ready to bring back the party vibes with their self-titled debut album.

“I’m jazzed to be playing with these guys. I’ve recorded an album with Andy Johns, who’s produced my favourite ever bands. I’m playing with guitar god Joe Satriani and Hall Of Famers Mike Anthony and Sammy Hagar. And I’m just a schmo from Detroit who makes a racket.”

The ‘schmo’ in question is none other than Red Hot Chili Peppers drummer Chad Smith who makes up one quarter (or should that be a drumstick?) of Chickenfoot, the supergroup du jour who are already creating a lot of excitement with the announcement of an album in April and a European tour this summer.

With so much promise and such a stellar cast, do they actually live up to the hype? The name doesn’t exactly roll off the tongue with ease or conjure up visions of a union between some of rock’s mightiest behemoths.

“Chickenfoot was just supposed to be a bullshit name that we used for a while,” reveals former Van Halen bassist Michael Anthony. “And then rumours spread about the band and we thought, fuck it. Let’s just call it Chickenfoot. It all comes down to the music anyway.”

“That’s right,” concurs Will Ferrell lookalike Smith. “And let’s get one thing straight: we’re not a supergroup.We like hanging out together, and the music is a bonus. We just happen to be in other groups.”

CR caught up with the band ‘hanging out together’ at Sammy Hagar’s recording studio (which seems to double up as a garage for his vast collection of vintage sports cars) located on an anonymous industrial estate just outside San Francisco. While Hagar, Anthony and Satriani live close by, Smith has flown in from LA and is a day late, having very recently become a father.

“You were fired yesterday,” jokes Satriani.

“You can just take a walk around the block and get fired from this band!” Smith complains.

“We should exclusively play the Chad Smith catalogue!” retorts Satriani.

Smith: “I was going to bring that up. Question: Why did the drummer get sacked from the band? Answer: He said: ‘Hey, guys, I’ve got a few songs I want to try out.”

This is kind of banter carries on relentlessly throughout the day as the band members flit in and out of photo shoots and management conferences while CR tries to collar them. Which is what you’d expect from a collective with such high-profile party animal credentials; even the usually more introspective Satriani has been seized by the levity of the occasion.

“Make sure you run this by Gene Simmons,” he tells his manager when he’s given a copy of Chickenfoot’s new logo. “Remember: Kiss own everything.”

Chickenfoot’s origins came about when Hagar left Van Halen for the last time in 2005 and formed his own band The Waboritas, whose shows featured a segment where Hagar and Anthony would play under the guise of The Other Half (as in the other half of VH) featuring special guests. This eventually developed into regular jam sessions at Hagar’s Cabo Wabo club in Mexico, where Smith owns a holiday home.

“Sammy invited me to play at the club on New Year’s Eve,” the drummer explained. “I told him that I didn’t know much Van Halen but I knew and loved the first Montrose album. He said: ‘Great! We’ll do the whole album!’”

Instantly bonded by their love of classic rock music (Smith is also a huge fan of this esteemed magazine) and besieged by requests from fans wanting to know when the band were going to tour and record, Hagar decided that if they were going to take this venture seriously then they would have to expand the line-up.

“I can just about carry off playing guitar in a jam band scenario,” the frontman and tequila entrepreneur explains, “but to do it properly we needed a guitarist. And as far as I’m concerned Joe Satriani is the best guitar player in the world.”

The band made their official debut just over a year ago in Las Vegas at a Hagar concert, where they played a short set of covers (including Led Zeppelin’s Rock And Roll and Traffic’s Dear Mr. Fantasy).

Satriani had played with Hagar in a project called Planet US in 2003, and when the two men got together in the studio there was an immediate rapport. “We wrote eight songs in two days,” Hagar recalls. “And then when we all got together and wrote more songs it turned into a band.”

They hired producer Andy Johns (whose illustrious CV includes Led Zeppelin, The Rolling Stones, Free and Jimi Hendrix) for the album, but he got seriously ill halfway through recording process and Mike Fraser (AC/DC, Metallica, Aerosmith) took over. The final result is as confident, energetic and musical as one would expect from such an elite corps of players. And you won’t be surprised to learn that Hagar agrees.

“This is the best record I’ve ever done in my life,” he enthuses. “I feel like everything I did – working in Montrose, Van Halen and then going solo – happened so I could be who I am right now with this band.”

We’re given an exclusive preview of three tracks from the band’s self-titled debut. Soap On A Rope and Sexy Little Thing have the humour and loose, spontaneous feel of prime VH, with the unashamed unbridled energy of Montrose. Avenida Revolucion is an epic anthem about a dividing road on the Mexican/American border – a contentious subject close to Hagar’s heart.

“That’s a very political song. But I live on the Californian border and in Mexico as well, and I’m telling you, it’s a problem. You drive down Avenida Revolucion: for miles and miles it’s wall-to-wall flowers, crosses and messages for people who’ve been killed. It’s a mess.”

So fired up with this new project, Hagar has already managed to stir some controversy when during an interview in Toronto he reportedly said that Chickenfoot could – ahem – rival Led Zeppelin. The very mention of this makes him groan loudly and bury his face in his hands: “I’m backing off that statement right now, it was the stupidest thing I ever said,” he admits, and then explains what actually happened.

“As you know, I own a tequila company. And I was spreading the word in Canada. I got real fucked up, and then this guy brings up Chickenfoot. I said: ‘We’re better than Zeppelin,’ or something. What I was trying to say is that this band is like early Zeppelin – it’s got a hard-rock edge to it that’s special. I would never compare anything to Led Zeppelin, they were the greatest band ever.”

In the meantime the band aretalking to record labels and putting together a tour of Europe’s festivals this summer which will include some shows in the UK. This will mark a long-overdue return for Anthony and Hagar. “I feel so guilty I haven’t played there in years,” Hagar confesses. “When I was in Van Halen we’d do 130 dates in the US, and the management would say: ‘Are you ready to do Europe?’ And we’d say: ‘Fuck you. We’re done.’ And when we finally got there we thought we were the biggest band in the world and we ended up supporting Bon Jovi. That broke the band up.”

So, Chickenfoot: musical saviours, or a bunch of old rockers indulging in a mid-life-crisis vanity project? Hagar firmly believes it’s the former, and that the age card works to their advantage.

“I agree it’s hard for old bands to get together and write new material,” he admits. “When I was in Van Halen at the 2004 reunion, I wanted to do a new album but we couldn’t, because we were past it. But I think if you still have it in your heart and mean it, then the more seasoning you have, the better you get. Let’s face it: are you going to pay the same price for some band you’ve never heard of as you would to see the Stones or Zeppelin?”

Originally published in Classic Rock 132

[sinnerclair]

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keep in mind that yes i will be talking a lot about these guys!!!!!!!

Psittiakin

Parrot-like bird folk which live in the tropical archipelagio of San Bayoma. This race is distinguishable by their usual colorful wings and facial markings. Their wingspan is approximately around 3 feet. Appearance vary on type of parrot.

Accipitrikin

Bird folk which live in the mountainous nation of Gria Grea. This race is distinguishable by their sharp talons and keen eyesight. Their wingspan varies depending on species. Appearance vary on type of bird of prey.