#Mundane Chart 2018

[seagull-astrology]

This week: April 15, 2018, in Phoenix AZ

Our header shot is Phoenix c. 1964. Sunday April 15, 2018 Venus contra-parallel Vesta 3:54AM EDT, Mercury stations direct 5:20AM EDT, Saturn quincunx Pallas 10:06AM EDT, Venus quincunx Zeus 12:47PM EDT, Mars sextile Hygeia 2:23PM EDT, Juno enters sidereal Pisces 2:40PM EDT, New Moon 9:57PM EDT at 26°Ar02′ Monday April 16, 2018 Sun parallel Uranus 10:18PM EDT Tuesday April 17, 2018 Venus opposes…

[saturniandevil]

2025 Forecast

AKA my notes on The Astrology Podcast's 2025 Forecast, hosted by Chris Brennan and Austin Coppock. Saddle up, it's a long one!

Overview

This year's forecast is divided into an overview of big planetary shifts and a chronological breakdown, but it doesn't go quarter-by-quarter like in previous years.

Outer Planet Shifts

It's quite rare that such slow-moving planets as Neptune, Uranus and Pluto* all enter new signs in the same year (*Pluto has already ingressed to Aquarius after transiting Capricorn for the past 16 years, but this is the first full year he'll spend in Aquarius). Uranus has been in Taurus since 2018, and Neptune first ingressed to Pisces in 2011. Thus we are seeing major shifts happening all at the same time. These represent major cultural and social changes. In personal charts, this concludes activity in other parts of our charts and begins focus in a new area.

Pluto in Aquarius (November 2024 (final ingress) - January 2044)

Chris has been connecting this to cryptocurrency (Bitcoin started under Pluto in Capricorn) and AI stories, such as Google & other companies rolling out livechats. He predicts that robots, especially humanoid ones, will he ubiquitous in everyday life by the end of Pluto in Aquarius, though Austin is skeptical as to how evenly distributed technological advancements will be. Jobs and labor will surely be affected by the increasing digitization of different industries. Everyone's trying to hitch a ride on the AI train, but it'll take a major scandal before we see regulations put in place or see just how it'll integrate into society. We'll have to train our eyes to recognize the artificially generated, and we'll also have to deal with inefficient bureaucracy that technology alone can't quite fix. In mundane developments, even though the US was founded under Pluto in Capricorn, most of the government structure were put into place under Pluto in Aquarius. Last time Pluto was in Aquarius was the French Revolution (opposite Leo, the fixed signs of sovereigns and heads of state). The current Pluto in Leo generation (baby boomers) were raised definitively in the area of the celebrity, an issue that will likely come into question in the years ahead.

Uranus in Gemini (July 2025 - May 2033)

Uranus trines Pluto during this transit, so these two planets' themes are closely tied over the next decade. Previous Uranus in Gemini periods include the revolutionary war/founding of the USA, its Civil War, and WW2. Term limits were pushed and set under this transit with Washington & FDR; 84 years previous to the founding of the US John Locke wrote his ideas on government. Continuing on the theme of liberal democracy, the King James Bible was published under Uranus in Gemini in the 1600s--an attempt to democratize religion and encourage readers to have their own individual relationship with the text. Uranus was discovered during a Gemini transit in 1781, and was almost named "George" after the King of Britain. In general Uranus in Gemini brings particularly forward-thinking ideas while in Mercury-ruled signs. We should expect to see continued developments in AI controversies and LLMs (large language models), and the role of language overall. We can also expect shakeups in transportation, with technologies like self-driving cars and drones expanding in transportation, war, and everyday life. The burgeoning dominance of electric vehicles space travel are also likely previews into the Uranus in Gemini era, and we can look out for major developments in the realm of social media as well.

Neptune in Aries (March 2025 - March 2039)

Neptune's 165-year cycle means it changes sign about once every 14 years. The last Aries transit was in 1861-1875, and the ingress coincides exactly with US Civil War: Fort Sumter fell the day it ingressed. Neptune gives us dream-logic for its time, trends that are often only clear in retrospect. Austin describes the Neptune in Pisces era as valorizing qualities like acceptance & inclusivity, where the heroic figure of the time is a compassionate mystic/saintly. He predicts Neptune in Aries will valorize "the heroic." Where once suddenly everyone was an astrologer or witch, now, suddenly we're all soldiers/warriors. (This played out literally as mass conscription in the US Civil War & in England in previous Aries Neptune periods.) This period also saw developments in photography, namely war photography in newspapers bringing the goriness of war into every home. Civil War photos were originally shot in 3D and meant to be experienced through viewers, and the first color photo was taken 05/17/1861 when Neptune was at 1Aries, bringing levels of heightened realism and simulation into the conversation. Neptune in Aries faces us with forks in the road--no half measures.

Neptune in Aries can indicate wars remembered for their ideology, as was the case with the Taiping Revolt/Rebllion's bloody conclusion during Neptune in Aries (begun in Pisces). One of the deadliest wars in history (cost at least 20-30 million lives), it was instigated because of an extremist Christian religion. In medical astrology Mars-Neptune contacts can indicate autoimmune diseases where the body attacks itself, and the mundane analogy here is internal conflicts. In antiquity, the destruction of the Second Temple in Jerusalem in 70 CE occurred during Neptune in Aries, Pluto in Aquarius, and the eclipse points moving from Aries/Libra to Virgo/Pisces (all configurations we'll see in 2025). This is considered a catalyzing event for the subsequent Jewish diaspora over the following centuries, as well as the shift from centralized worship to Rabbinic Judaism. In science & engineering, the steam engine, dynamite, first underground railway, Suez canal, mechanical submarine, and the concept of light as EM radiation via Maxwell equations all came about during Neptune in Aries periods.

Saturn in Aries Saturn is entering Aries from May to September this year and will be copresent with/conjoining Neptune over the next three years. Saturn is in fall in Aries, highlighting tensions between patience and impulsivity. We can also expect prominent figures to fall from grace, such as during our last Saturn in Aries in the late 1990s with the scandal around Bill Clinton and Monica Lewinksy. In personal charts, Saturn in Aries people will often chalk up their difficulties to "not trying hard enough," when really it may just be a matter of timing and patience. Famous Aries Saturn people include skater Tony Hawk, daredevil Evel Knievel, directors Francis Ford Coppola and Lily Wachawski, witch-hunting politician McCarthy, writer Margaret Atwood, actresses Zendaya and Lucy Lawless, and activist Malala Yousafzai.

Saturn Conjunct Neptune Saturn and Neptune will get within 1 degree of each other this year, though we don't get an exact conjunction til 2026. We've been seeing the buildup of this since Saturn entered Pisces in March 2023. What's real and bounded, and what's illusory and pervasive? This tension between illusions & structures likely means we'll see increased distrust in authority, such as the public doubting what's reported in news stories or fake news sparking major conflicts, and Chris predicts increasing polarization between aggressive skeptics and religious fundamentalists. Austin uses the analogy of the Mad Max: Furiosa movie--everyone is trying to conscript you to come fight with them for water. Austin notes that Saturn-Neptune contacts punctuate major events in recent Russian history, including the founding of St. Petersburg and the dissolution of the USSR. He also brings up the historical example of ronin, rogue samuari who had some public support as vigilantes, and compares it to Luigi Mangione's alleged assassination of the United Healthcare CEO, saying the public reaction to this event is a prediction of things to come.

Chronological Breakdown

Mars Retrograde: December 2024 and January 2025

We enter the year with Mars retrograde in Leo (opposite Pluto) and moving to Cancer on January 6th, and only getting to Leo on April 17th. This makes an extended transit through those two signs. Observationally, Mars is actually brightest and closest to Earth during its retrogrades, rising as the Sun sets, making him hyper-visible and much more reactive & chaotic than Venus & Mercury retrogrades. And indeed Mars's station on December 6th saw a bunch of major events: an attempted coup in South Korea, the Assad regime falling in Syria, a healthcare CEO assassinated in the US, a contested election in Romania, and the French government collapsing through a no-confidence vote.

Back to 2025, though: Mars entering Cancer on the 6th hearkens back to his last visit to the sign, September 4th-November 3rd of 2024. Events, both mundane and personal, will come back to us during this time. In politics we saw a lot of nativism and racism in US politics while Trump was campaigning, and unfortunately this is likely to resurface. Concerns over homelands & origin showed up in celebrity news with controversy over the New Orleans Superbowl booking Los Angeles-based rapper Kendrick Lamar over NoLa native Lil Wayne.

Mars is in fall in Cancer, and with Saturn in Aries later we get both malefics in fall this year. The trap of Cancer Mars is "nothing's safe enough," while that of Aries Saturn is "nothing is under enough control," and we must be on our toes to avoid falling into either. Mars in Cancer is reactive and impulsive, in contrast to the Saturnian discipline & foresight that Capricorn grants it in exaltation. In personal charts Mars rx in Cancer/Leo can show up as obstacles or frustration, or as an extended expenditure of energy in that area. Retrogrades can also bring things or people back into your life, and how you handle the situation sets you up for the next time you meet.

January 2025

We enter the month with retrograde Mars opposing Pluto on the 3rd and regressing to Cancer on the 6th. On January 15th we get the exact opposition of Mars to the Sun, days after the Full Moon, so that's another time to watch out for in events. The US presidential inaguration is on Jaunary 20th under a Sun-Pluto conjunction.

Electional chart for January:

The chart is for January 10th, at roughly 9:30AM local time to get early Pisces rising. The ruler of the Ascendant, Jupiter, is in the 4th house (♊) in a day chart and makes an auspicious conjunction to the Moon, who herself is separating from a square to Venus (♓). Venus is also exalted in the first house & on the Ascendant. This is also about as far away as we can get from the Mars-Pluto opposition while also avoiding the Sun-Mars opposition later this month. This is good for 4th house matters: not only home and family, but also matters where you're important but not visible, like a director.

Overall, January and February are dominated by the Mars retrograde, a "not so calm" before the storm of springtime.

March & April Venus goes retrograde on March 1st, regressing into Pisces before stationing direct on April 12th. Meanwhile, on March 29th we get an Aries solar eclipse, the final installation in a series going back to October 2023. The next day, March 30th, Neptune waltzes into Aries for the first time in a century. Meanwhile Mercury retrogrades from March 15th until April 7th, backtracking into Pisces while doing so. And if that wasn't enough, Saturn moves into Aries on May 24th. March & April are like a series of cascade reactions, and we'll spend the rest of the year (or few years in the case of Saturn) reacting to, cleaning up the aftermath of, and wrestling with understanding what happened. We'll definitely see major geopolitical events, maybe with bizarre connections, all the while thinking things are going in one direction when they're really going another.

Venus & Mercury Retrograde; Eclipses

Venus's station points are felt most intensely, but like with the Mars retrograde we also experience this as an extended transit of Venus through the signs of Aries and Pisces from January to June. Her retrograde also comes just 5 days after Mars concludes his own. Chris predicts that, unlike the Leo Venus rx a couple summers ago, there may be more fighting around women's issues rather than straightforward celebration. In Aries we already expecting a more combative expression of Venusian issues, and the increased activity in Aries only intensifies this prediction. Venus in Aries is not quiet--she's bold, active, and direct. In personal charts we'll see returns of events from 8, 16, or 32 years ago (last time she was retrograde in Aries), reviewing and revising relationships in the present. What and who do we want? Do we still want that? Under Venus rx we look for an unambiguous "yes." We can also see delays or postponements, scandals, and provocative art & culture. We'll be going back and forth between an exalted, compassionate Venus and a forthright, exiled Venus, choosing between the two on any given day and trying to reconcile them.

With Venus retrograde we can also think of the myth of Inanna (a story based off the Venus rx cycle), who descends through gates of the underworld and returns home to find her consort has taken the throne before she takes it back. We'll likely see stories about women in powerful positions reclaiming something after going through a struggle as Venus stations direct in her sign of exaltation. Specifically, she stations direct on April 13th conjunct Saturn (ironically another signature of Trump's upcoming inauguration), with Mercury retrograde also in Aries & Pisces at the same time. Both these planets are passing over Neptune in late Pisces as well: sometimes we have a lovely, dreamy vision that turns out to be terribly disappointing. Venus and Mercury will both cross Neptune three times, in both Aries and Pisces.

Mercury stations at 0Aries on March 29th, the same day as the solar eclipse, and switches signs with Neptune (leaving Pisces) the next day. The culminating eclipse is marred by miscommunications and illusions. As the last installment of a series begun in October 2023, this eclipse will definitely see developments in Israel's wars on other countries in the region. More generally, in mundane astrology North Node solar eclipses in Aries have coincided with the assassinations of heads of states & movements, as well as the eclipsing/stepping down of leaders...yet another signature of changing/threatened leadership in 2025.

In the middle of March we also get our first Virgo eclipse of this series, corresponding to the September eclipse in Pisces. We'll revisit the areas again in September with a Pisces and Virgo eclipse. The barrier between Aries/Pisces and Virgo/Libra sees a lot of activity in the first half of 2025. We'll definitely remember this year for the crazy Aries activity, though Austin predicts it'll come back to haunt us in 2026.

May-June-July Saturn enters Aries on May 24th, creeping up on Neptune and getting within a degree of him by July (~13th-14th), and then stationing retrograde. An outer planet's first station in a new sign signals what to expect, and Saturn and Neptune both do so in July (on the 13th and 4th respectively). From May 24th to September 1st we have Neptune and Saturn very close to each other and retrograding. Uranus enters Gemini on the 7th.

Jupiter in Cancer He enters in June of 2025, staying there until June of 2026. In this sign of his exaltation, he'll be counterbalancing some of the crazier transits of this year. He's also doing cleanup after Mar's messy transits earlier this year in the Cancer parts of our charts. Jupiter is a little folksy in Cancer--he's not just lavishing the wealthy, but is generous to everyday people as well. The Affordable Care Act (Obamacare) was enacted during Jupiter in Cancer in 2013-14 (a Jupiter under attack!), bringing important healthcare considerations to this placement (A/N: Cancer as a sign of nurturing and protection). In July of 1990 during Jupiter & Venus in Cancer, the Americans with Disabilities Act (ADA) was passed. Chris is wary of being too optimistic, but hopes that something good in healthcare is coming forward. This transit is a Jupiter return (every ~12 years) for the US Sibly chart, and also the repetition of a longer 83-year cycle where he hits the same degree on the same day--the third one since the US's founding, making this an especially potent Jupiter return. You'll notice that's only one year off from Uranus cycles, so we'll definitely see further reevaluations of the US's founding this year.

Generally, exalted planets represent someone at the highest level of their field, and Jupiter in Cancer is a sort of "get rich slow" planet. Success is cultivated, grown, and encouraged. In June & July Jupiter will square Saturn, though, a configuration that corresponds to financial and economic crashes. Jupiter in Gemini saw tech company crashes, but in a new sign we'll likely see new industries affected.

July & August: Outer Planet Teamup

Uranus enters Gemini on July 7th, the last of the slow outer planets to ingress to his new sign. From then til October 21st, we have the rare and powerful influence of several outer planets teamed up: Uranus sextiling Saturn & Neptune and trining Pluto (meaning Saturn & Neptune also sextile Pluto). This is a sort of pilot episode previewing what'll happen when they return in 2026. These planets shift from feminine water/earth signs to masculine air/fire signs, and each outer planet (except Pluto) will retrograde into his preceding sign in October & November, giving us a break from the teamup of big players for a bit. Mars in Libra will aspect all of these outer planets in August, making the configuration especially active then.

September - Eclipse Season Last September we saw our first Pisces eclipse of this series, and we'll have had another development with the first Virgo eclipse in March. Now we're firmly in Virgo-Pisces eclipses for the next 2 years. The September 7th and 21st eclipses will have us think about the big picture vs. granular details--how can we hold them in unison? The major endings & beginnings brought by eclipses are further punctuated by Saturn regressing back into Pisces on September 1st. Maybe a last set of upgrades need to be put in place in our Pisces area, though now our Virgo house is tied in as well.

October, November, December Neptune returns to Pisces October 22nd, Uranus to Taurus on November 7th, and Saturn stations direct for his last pass through Pisces on November 27th. A new chapter of our lives has begun, but we need to do a final check-in before things reach completion. The outer planet demolition team will be back on April 25th, 2026, where it'll stay until 2032-33. Neptune will station in Pisces on December 10th, another important Pisces turning point. Jupiter stationing in Cancer on November 11th is the cherry on top for the year ending where it began (but not to stay!). We end 2025 coming full circle on our sort of last look backwards before plunging for good into new--though not entirely unknown--territory.

[noona96n]

Hi....If you don't mind, can I ask, what are your top 10 (or top 7) favorite media (can be books/ manga/ anime/movies/tv series)? Why do you love them? Sorry if you've answered this question before......Thanks....

no worries, im happy to answer. and, if i happened to already answer sth, I'll link u to it.

so, fav medias... hmm...

book(s): the radiant emperor duology

ik it just came out and was only recently finished (like, finished Sept 2023 lol) so this is probably bias speaking but i am extremely taken by She Who Became the Sun and He Who Drowned the World, these books are fckn phenomenal. the gender-fuckery, the exploration of gender and sexual performances, the hidden message of embracing ourselves in all our ugliness and 'deficiency' and making a place for ourselves and ppl like us when others shun us. these books are just!!!

documentaries: immortal egypt (Joanne Fletcher)

i really really love documentaries and this mini series hold a special place in my heart bcs i love history and I've always been fascinated by egypt and Joanne's enthusiasm is just so joyous and infectious, i love it. i put this on repeat in the background when i was doing my graduation project in 2018 lol yea, just me listening to egyptian docu while working my ass off on AutoCAD lol

anime: sarusuberi/miss hokusai

idk how to explain but there's just a quality to this animated film that got me going... like, i adore howl's moving castle but miss hokusai is sth else. it's so peaceful but also deeply profound and visceral somehow.

tv series: aircrash investigation

i love planes, i love the Concorde in particular, but it has nth to do with how cool planes are but with how child-me saw riding planes as a thing that only ppl with money could do. it evolved from there.

i also love mysteries and aircrash investigation is both lol

i remember watching it on tv when i was an adolescent and i was fascinated with the mystery and problem-solving of it all ever since.

movie: the prince of egypt

it's a story about love; love that forgives, love that creates hate, love that divides.

drama: nirvana in fire (c-drama), beyond evil (k-drama), kluen cheewit (thai soap opera)

bl-specific: old fashion cupcake (anime AND manga)

the plot of these dramas is impeccable (tho kluen cheewit is extremely dramatic so pls beware lol), the character developments are fckn amazing, and what's even more important is the platonic relationships between the characters!!!

also, special shout-out to thai bl soap opera khun chai/to sir (with love) as well! the drama is off the charts, the characters are flawed & human & infinitely relatable & Tian & Yang's brotherhood is EVERYTHING

just one of the best bls out there and I've consumed A LOT of BLs/yaois... ALL SORT of em lol

the story is really grounded in reality, the plot is so mundane and relatable, the characters are mature but extremely flawed, and the art (in the case of manga) and the acting (in the case of the series) are amazing.

song: queen bee by vannda (contemporary music from my country)

i DO NOT agree with the lyrics AT ALL but i adore the melody. i absolutely love, love, LOVE how he blends traditional khmer music with the modern one. it's not a necessarily modern take but it's sth different. this artist is very good at blending the old w/ the new and i applaud him for that. his music is so pleasing the ear but the fkcn lyrics... urGH

well, a song of his with message that i completely agree with is time to rise with master Kong Nay... though the mixture is too in my face lol which is why i prefer queen bee

[northnodeastro]

Astrology Resouce Directory

Finding Your Natal Chart •extended list of commands for astrobot •free charting sites https://astro.cafeastrology.com/natal.php https://astro-charts.com/ •beginner friendly astrology apps https://tinyurl.com/timepassagesapp https://tinyurl.com/costarapp Learning Astrology

learning with tarot https://labyrinthos.co/blogs/learn-tarot-with-labyrinthos-academy/astrology-tarot-correspondences-your-tarot-cards-by-zodiac-signs-infographic https://labyrinthos.co/blogs/learn-tarot-with-labyrinthos-academy/astrology-and-tarot-correspondences-the-minor-arcana-pip-cards https://horoscopes.astro-seek.com/tarot-astrology-tarotstrology-horoscope

modalities and elements https://cosmicnavigator.com/about/astrology/the-four-elements-and-three-modalities

commonly studied asteroids https://www.astrology.com/asteroids

lilith & selena https://darkstarastrology.com/three-liliths/ https://astro-flame.com/2018/07/20/the-three-faces-of-the-moon/

listen & learn binge playlist https://youtube.com/playlist?list=PLuPmDSxZQZift90CrSr6rp77Qfv-T1oG3 Types of Charts & Schools of Astrology

medical astrology http://www.homeoint.org/morrell/astrology/medical.htm https://youtu.be/cGrNojpJqKc https://youtu.be/e_QLRtlSKXM

mundane astrology https://teaandrosemary.com/mundane-astrology/

financial astrology https://edit.sundayriley.com/everything-you-wanted-to-ask-about-financial-astrology/ http://www.astro.nu/2018/05/11/financial-astrology-markets-forecasting/ https://youtu.be/jPDbtxy3wsA https://youtu.be/O7hwGW00Bec https://youtu.be/PdSLTMlLx8s https://theastrologypodcast.com/2016/05/10/financial-astrology-with-ray-merriman/amp/ https://youtu.be/h2tpoXXnSuc https://youtu.be/O7hwGW00Bec

vedic astrology https://vaultoftheheavens.com/ChartCreatorLahiri/Welcome.aspx -Astrocartography Resources-

Free Astro-Mapping https://horoscopes.astro-seek.com/astrocartography-online-astro-map-relocation

Free & Easy Relocation Charting https://horoscopes.astro-seek.com/relocation-chart-astrology-calculator

Videos about Astrocartography & Relocation Astrology, why it's useful https://youtu.be/_51R-auyUck https://youtu.be/kKqX8o5CTrM https://youtu.be/hGz0UUhxtNE https://youtu.be/V8yCRhzghW0

[alexturne]

The Car review – aching songs of soured dreams (The Guardian)

⭐⭐⭐⭐

The Sillitoe spirit … Arctic Monkeys.

Alex Turner’s vocals are majestic on this retro-styled, tactile album that delves into the effort behind maintaining a glamorous facade

Laura Barton, Tue 18 Oct 2022 18.22 BST

When Arctic Monkeys sprang into the charts 16 years ago, they did so with a hurtling energy and an album name borrowed from Alan Sillitoe’s novel Saturday Night and Sunday Morning. At the time, the band’s lead singer, Alex Turner, explained their reasoning: the record’s stories were similarly drawn from the threshold of the weekend – one foot in the hopeful glamour of the previous night, the other in the plain reality of the morning after. In the years since, it’s been hard not to also regard the title of Whatever People Say I Am, That’s What I’m Not as a statement of creative intent: a desire to buck musical expectation, to not repeat whatever came before. Across six albums the band have moved wilfully from indie to rock to funk to, on their last outing – 2018’s Tranquility Base Hotel & Casino, a collection of songs that married Serge Gainsbourg and the Beach Boys.

That Sillitoe spirit carries through to the band’s seventh album, The Car, a record that returns us to that Janus-like space in which Turner’s songwriting thrives, and performs yet another stylistic flip. Produced by James Ford, who has worked with the band since their second record, Favourite Worst Nightmare, this time the sound is largely strings, sultriness, honeyed soul, Turner taking the lounge singer tradition and twisting it this way and that. For all the retro stylings, the effect is surprisingly contemporary, the lushness tempered by something sour and dark: the electronic growl that opens Sculptures of Anything Goes, the twinkling lope beneath Body Paint, the tension between the wah wah guitars of Jet Skis on the Moat and the mundanity of Turner’s lyrics. “Are you just happy to sit there,” he wonders flatly, “and watch while the paint job dries?”

In the lead up to The Car’s release, much has been made of the evolution of Turner’s voice. In the early days it was lean and hard and northern, sitting somewhere between the nose and the throat. Today it has grown warmer, fuller, with a burnished depth. It’s lighter than that of his clear influence Richard Hawley, and given to sudden upward sweeps, as on the sublime closer Perfect Sense. There are shades of Frankies-era Holly Johnson here, perhaps – or, in its combination of northernness, cadence and soul, Mick Hucknall in Simply Red’s pre-Stars heyday. This is perhaps not a comparison for which the band or Ford were reaching, but nevertheless it produces something irresistible: it’s a pleasure to hear Turner steer his voice so masterfully along There’d Better Be a Mirrorball, all aching, sweet-souled romance.

If Arctic Monkeys’ early songs told of the dramas of sprawling nights out – anticipation, electropop, dancefloors; lotharios, riot vans, jumbled taxi rides home – then the subject-matter on The Car is not so very far removed. They might now talk of the Riviera, jet skis and photo shoots, but the idea remains that there is something awry behind this glittering world of mirrorballs and disco strobes, marble, chandeliers, spotlights. The champagne is travel-sized, the apartment is dusty, the heart is predictably heavy. A lot of the songs on The Car carry an unsettledness – a sense of constant movement, nods to the touring life, and “the business they call show” as Turner sings it. The album opens with a farewell and ends on a goodnight, and in between brings us a series of dislocated scenes and flickering images – climbing up this, jumping off that, “singing in Spanish on Italian TV sometime in the future”. In the sublime Hello You, we’re carried on a brief rural journey that feels like a breath of fresh air – overtaking tractors, waiting for the road’s winds and bends to level out, “picking your moment on a country lane, the kind where the harmonies feel right at home”.

Arctic Monkeys’ Alex Turner: ‘I’m comfortable with the idea that things don’t have to be a pop song’.

It’s impossible not to feel immersed in such imagery. The Car is an enormously tactile record, full of strange textures – a lint-roller runs over velveteen, body paint clings to legs, arms, face, and tears are cried in a tanning booth. Things may look glamorous, but it all takes so much effort, and the truth keeps poking through. It’s hard to discern whether Turner is making a commentary here on the life brought about by fame and success, a desire to go back to the start, or whether it’s a riposte to critics’ fondness for wondering whether his lyrical observations can remain so compelling now he breathes the rarefied air of the international pop star. “I’ve snorkelled on the beaches fruitlessly,” he sings on Hello You. “Why not rewind to Rawborough Snooker Club? / I could pass for seventeen if I just get a shave and catch some Zs.”

Perhaps in truth the Arctic Monkeys never belonged in either. Perhaps they are right at home where they are: somewhere mid-air, forever caught between Saturday night and Sunday morning: perfect chroniclers of both.

[onestowatch]

The Top 21 Artists to Watch in 2021

In a world where the only universal certainty seems to be opening every email with “hope you’re doing well,” the only other surefire guarantee is that there will continue to be new music worth discovering. And, we figured with the start of a new year, what better way to say to spend the waking hours of 2021 than introduce you to a few of the artists we currently have a close eye on. Often genreless and belonging to Gen Z, these are the 21 artists we are watching in 2021. 

spill tab

Where to Start: “Calvaire” 

In her breakout single “Calvaire,” spill tab sings in French over an intoxicating backbeat. The effect is akin to a spell, ushering into existence something inherently danceable and transfixing, like an Angèle B-side finding new life as a Billie Eilish cut. It is a standout moment that would be followed by similar standout moments in the form of a series of varied singles, culminating in spill tab’s debut EP, Oatmilk. Short and sweet, the four-song collection holds all the promise of a 2021 artist to watch.

Joesef

Where to Start: “The Sun Is Up Forever”

Emerging from the fog of Glasgow, Scotland, Joesef’s marriage of heartbreak, desire, regret, hope, and sublime joy is nothing short of intoxicating. Immediately making an impression with his tender, heartfelt croon, the Glasgow artist’s songs soon give way to emotionally rife personal recollections–some beautiful in their understated minimalism, some breathtaking in their expansive scope. Whatever the setting, the result is always the same–a passionate, shared moment you will not be forgetting anytime soon.

brakence

Where to Start: “dropout”

Self-described as “self-care punk,” brakence effortlessly pairs the unmatched energy of punk with an impressive showing of vulnerability. While the past few years saw the Ohio native experiment over a range of singles and on his debut album, 2020 was without a doubt the year he found his sound in the noteworthy punk2. Blending Midwest emo, trap production, hip-hop, and alternative, brakence’s sophomore effort is a masterclass in infectious emotional catharsis.

Mustafa

Where to Start: “Stay Alive”

Few artists embody the sentiment of music as poetry as emphatically as Mustafa. First leaving a mark with 2020’s “Stay Alive,” Mustafa introduced himself to the world with a breathtaking, earth-shattering ballad rife with impassioned emotional imagery. Soft-spoken but never lacking for impact, the poet, activist, filmmaker, and songwriter brings to life the lived realities of Toronto’s Regent Park, a public housing project that shaped Mustafa into the once in a lifetime artist he is today.

Holly Humberstone

Where to Start: “Falling Asleep At The Wheel”

In her 2020 debut EP, Falling Asleep at the Wheel, Holly Humberstone proves herself a master at crafting a palpable atmosphere. Rife with emotional highs and cathartic lows, all backed by Humberstone’s magnetic and graceful songwriting, the British artist lays her heart on her sleeve and in turn lays the groundwork for a debut offering poised to stand the test of time. It is no mere hyperbole to say that Humberstone is an artist to watch out for not only in 2021 but in the years to come.

AG Club

Where to Start: “Memphis”

The initial comparison of AG Club to collectives like BROCKHAMPTON and A$AP may be an easy one to draw, but a single listen tells another story. While the genreless Bay Area collective may radiate the same rapturous energy of the aforementioned groups, AG Club is clearly riding high on their own wavelength. Aiming to make hip-hop but not as you know it, the idiosyncratic collective made their vision clear with the release of 2020’s Halfway Off the Porch, an electrifying amalgamation of disparate genres, sights, sounds, and moods.

347aidan

Where to Start: “Dancing in My Room”

Euphoric, difficult to perfectly define, and haphazardly brilliant, aidan347 embodies the adventurousness and inventiveness of Gen Z. The project of 17-year-old Aidan Fuller, the Cambridge, Ontario native has spent the past five years making music. Yet at the beginning of 2020, the Cambridge artist had less than three thousand monthly listeners; now, that number sits well above five million. A testament to 347aidan’s tenacity, his devoted fanbase, and the power of a TikTok-fueled viral hit–arriving in the form of “Dancing in My Room”–it really feels we are only witnessing the prologue of what’s to come.

Frances Forever

Where to Start: “Space Girl”

When thinking of music’s future stars, what better place to look than to the galactic, lovelorn musings of Frances Forever. Making less of a splash and more of a tidal wave with the release of “Space Girl” late last year, the Boston bedroom artist’s ode to intergalactic love has been rapidly climbing the TikTok and indie charts. Now signed to Mom+Pop records, Frances Forever is more than ready to shoot for the stars and beyond in 2021.

Hope Tala

Where to Start: “Lovestained”

Hope Tala is impossible to ignore. A West Londoner to her core, the UK singer-songwriter finds inspiration in everything from ‘90s movies, classic literature, to the constantly changing world around her. Transforming what feels like a lifetime, and some, of inspiration into an undeniably spellbinding fusion of R&B and bossa nova, Hope Tala’s musings of daydreams, heartache, and fear are the sort ready to define a generation’s ails, joys, and mundane triumphs and anxieties. Universal in scope yet deeply personal, Hope Tala is without doubt an artist to keep your eye on in 2021. 

Q

Where to Start: “Take Me Your Heart Is”

Q, much like his name, is an anomaly. Releasing one album a year since 2018, the ineffable soul and R&B artist has somehow coasted under the radar in spite of releasing some of the most breathtaking music out there. And with the release of 2020’s The Shave Experiment, Q feels like he’s finally stepping into the much-deserved limelight. Leading with the striking “Take Me Your Heart Is,” Q brought to life a nostalgic, hyper-emotive track sure to stop you in your tracks. Hopefully, it’s one of many to come. 

Claire Rosinkranz

Where to Start: “Backyard Boy”

16-year-old Claire Rosinkranz has been making music for the better part of her life, and 2020 was the year that scribbling down lyrics and helping her father compose music for TV shows and ad jingles paid off in a major way. The California native’s single, “Backyard Boy,” taken from her debut EP, BeVerly Hills BoYfRiEnd, soon became a TikTok hit, racking up over 80 million streams to date, on Spotify alone. If there are two things to look out for in 2021, make sure it’s your mental wellbeing and Claire’s euphoric self-dubbed “alternative-blues-pop.”

KennyHoopla

Where to Start: “how will i rest in peace if i'm buried by a highway?//”

KennyHoopla is nothing if not electrifying. The alternative, punk, and ‘80s new wave-evoking artist moves through each track with a sense of world-ending hunger, jumping from one ensuing mosh pit to the next. It is a balancing act of new wave nostalgia and genuine inventive alternative that results in a maelstrom of palpable excitement. To best experience this cathartic form of self-expression firsthand, look no further than his debut EP, last year’s how will i rest in peace if i'm buried by a highway?//. No one is quite making music like KennyHoopla, in 2021 or beyond.

MICHELLE

Where to Start: “THE BOTTOM”

New York collective MICHELLE deftly imbues the sincerity of soul and R&B into a uniquely tender pop outlook, and the result is nothing short of infectious. The project of six predominantly queer POC individuals, the group originally earned widespread critical acclaim for their 2018 album HEATWAVE, but it was arguably their subsequent signing with Atlantic Records last year that has them set to be one of 2021’s most promising acts. Quickly making the most of their newfound major label status, MICHELLE released “Sunrise,” the sonic equivalent of the first rays of light breaking through the clouds, signaling the end of a rainy day. It’s safe to say the future is looking bright for MICHELLE.

glaive

Where to Start: “eyesore”

Few artists define and defy the label of hyperpop as readily as glaive. Falling somewhere between 100 gecs and the second coming of mid-2000s pop punk, the newly-signed Interscope artist released his major debut label EP, cypress grove, earlier this year. Yet before finding a home at Interscope, glaive’s official discography only stretched back as far as 2020. Making the most of a year we all would rather soon forget, the 15-year-old wunderkind showcased to the world a continual musical evolution that is looking to only further pick up steam in the coming year.

Claud

Where to Start: “Wish You Were Gay”

From opening for Clairo to releasing a steady stream of resonant singles, Claud has spent the last couple of years making a name for themselves in the indie music world, but 2020 saw arguably their biggest breakthrough moment yet. With the release of “Gold,” Claud became the first artist signed to Phoebe Bridgers’ Saddest Factory Records. Arriving as the first taste of their upcoming debut album, Super Monster, 2021 is looking absolutely golden for Claud. And not to mention the fact they recently started a band with Clairo and friends.

María Isabel

Where to Start: “The 1”

Where has María Isabel been all our lives? First making herself known with the release of “The 1,” an ode to long-distance relationships, which soon became more prophetic than we ever could have imagined, the debut single served as lovely an introduction as they come. Thankfully, we would not have to wait too long to hear more dreamlike R&B from María, who graced us with her debut EP, Stuck in the Sky shortly thereafter. Uniquely heartfelt and velvety smooth, María’s voice is just the thing to carry you through 2021.

Remi Wolf

Where to Start: “Photo ID”

The past couple of years have seen avant-garde pop wunderkind Remi Wolf test the waters with one out of this world single after another, and 2020 felt like the year everything finally fell into place. Arriving on the Bay Area native’s sophomore album, I’m Allergic To Dogs!, “Photo ID,” and its unafraid, in your face anti pop mentality cemented itself as a surefire hit, and TikTok soon took notice. Serving as a testament to Remi Wolf’s mainstream appeal in spite of her outsider approach, “Photo ID” merely set the stage for what is to come.  

PawPaw Rod

Where to Start: “HIT EM WHERE IT HURTS”

PawPaw Rod may be the only artist on this list with only one single to their name, but in no way does that disqualify him from being an artist to watch in 2021. Releasing his debut single, “HIT EM WHERE IT HURTS,” out into the ether, the Los Angeles artist immediately landed on something special. Blending elements of hip-hop, funk, and alternative under a mellow, syrupy flow, PawPaw Rod wasted no time in setting himself apart from the pack. And with godmode–the same development company that brought us Yaeji, Channel Tres, LoveLeo, and more–it is safe to say that this is only the beginning.

Evann Mcintosh

Where to Start: “WIYULD”

In her dreamlike take on alternative R&B, Evann Mcintosh attempts to capture the turbulent act of coming-of-age. At times delicate to the touch and at times emanating a self-assured confidence well beyond her 16 years of age, Evann Mcintosh’s 2019 debut album, MOJO, laid the groundwork for an act whose promise knows no bounds. It was a promise she made good on during the tail end of 2020, with the release of singles “WIYULD” and “BULL$HIT.” Showing off two different sides of her continued musical growth, 2021 has us all the more excited for what Evann has in store.

Serena Isioma

Where to Start: “Sensitive”

In her breakout single, “Sensitive,” Serena Isioma fuses modern-day R&B and woozy indie pop with reckless abandon. The outcome is a song that not only sounds quite unlike anything else out there, but one whose own vibe seems to shift and evolve from one moment to the next. It is an electrifying opening moment that begins to define the Isioma’s artistry and her debut EP, Sensitive. The first of two EPs the Chicago-based artist would release in 2020, it is hard not to feel like Isioma is already in the process of creating a one-of-a-kind discography.

Blu DeTiger

Where to Start: “Figure It Out”

Whether you know her as the touring bassist for acts like FLETCHER and Caroline Polachek or as the TikTok famous bassist, the fact of the matter is that Blu DeTiger is an artist you need to know. A bassist since age seven and crowned the “coolest DJ around” by Vogue, the New York native’s music skirts the realms of funk, indie, and dance. Unmistakable, nonchalantly cool, and unsurprisingly bass-heavy, you deserve doing yourself the favor of diving headfirst into Blu DeTiger’s music. Just be sure to come up for air, when you’re ready.

[misshoneybee]

⟣ 𝑊𝐸 𝐿𝐸𝐴𝑅𝑁 𝑇𝑂 𝐿𝐼𝑉𝐸 𝑊𝐼𝑇𝐻 𝑇𝐻𝐸 𝑃𝐴𝐼𝑁 ⟢

— 𝐼. 𝑀𝑌 𝐾𝐼𝑁𝐺𝐷𝑂𝑀 𝐶𝑂𝑀𝐸 𝑈𝑁𝐷𝑂𝑁𝐸

Masterpost — OFC Biography — Playlists — Chapter II

❧ Pairings | Post-Infinity War!Steve Rogers x Original Female Character, Minor Original Male Character x Original Female Character

❧ Warnings | Mature content, explicit language, canon-typical violence/injury, themes of mental illness (depression, anxiety, ocd, ptsd)

❧ Wordcount | ~4k

❧ Disclaimer | Dividers are by firefly-graphics. If you are a minor, or do not have your age in your bio, and I catch you interacting with this, you will be blocked. If you believe you were blocked unfairly, send me an ask with your url.

❧ Author's Note | This was my first series that I wrote last year. My goal was to create a character who could seamlessly fit into the MCU and I really fell in love with her and her story. I'm so excited to share it. I hope you enjoy!

Stood on the cliffside, Screaming, “Give me a reason” ( Hoax | Folklore )

April 27, 2018

How could you ever really know that your life was going to change? Waking up to the morning light from the obscured sun, how could you tell the start of a mundane day from one that would force you to chart a new course? Was it possible or did you only ever know once it was already happening and you were powerless to change it?

Going into the city that morning, Maggie Hall never would have expected a balmy spring day to bring about what felt like the end of the world.

"Kate, were you able to—?" She started, gently rapping on the door jamb and poking her head into the older woman's office. She cut herself off when she saw the woman in question at the window watching a disturbance contrasting against the light blue, mid-morning sky. Stepping fully into the room, a shuttered breath caught in Maggie's chest as her blood ran cold, her hands shaking as she watched the descent of a gargantuan O-shaped spaceship from the clouds above. She could hardly feel the papers slip from her fingers, falling on the floor around her.

Suddenly, she was twenty-one years old again and waiting by the phone for her parents to call and tell her that they were okay. To tell her that they had been out to lunch when the Leviathan crashed into the building. To tell her that they were on their way home and traffic was a nightmare but they'd be there as soon as they could.

The call had never come.

It was happening again, not even six years after the Battle of New York; the world had turned upside down once more. She swallowed, placing her hand on her stomach and forcing herself to slow her breathing as she tried to refocus her train of thought to what they could do to help in the moment, "We need to get the teams together. We're—we have to do triage." Every cell in her body was screaming out; each of them telling Maggie that she should turn and run far away unless she wanted to meet the same fate as her parents.

"Oh, god." The white-haired woman reached out, touching the glass of the window with her fingertips in disbelief. It was like she hadn't heard a word that Maggie said.

"Kate!" Maggie raised her wavering voice, walking further into the office to take her boss' shaking hand and bring her attention to the other pressing matter before them. The woman that she had come to see as an almost-surrogate mother's eyes were filled with tears when she looked at Maggie.

Swallowing her fear, she exhaled carefully, "We have to go. Now."

Kate nodded, closing her eyes and taking a deep breath before she finally made an effort to ground herself. "Get everyone you can and just get out there and start checking on people." She gestured out the window at the chaos awaiting them below. "We'll meet back here around two for a check-in." Gathering some files, she tucked them under her arm before grabbing her phone and coffee and walking out past the younger woman, "It's going to be a long day."

Pulling the scrunchie from her wrist, she gathered her humidity-frizzed hair into a ponytail before picking up the forgotten papers from the floor. She ran through a mental checklist, ensuring she had her phone, notepad, and calling cards, before quickly exiting the lofty office.

Following the Chitauri Invasion, and the loss of her parents, Maggie had made a decision to help others in the way that she wished she'd been helped when dealing with the immediate fallout of the events. After trading in her neuroscience major for social work, Maggie had graduated with her master's degree only a year earlier and taken a position with the stateside branch of the Stark Relief Foundation.

Only a week after applying for the job, she'd received a call from Iron Man himself—or, as she knew him, Uncle T. Tony had gone to Phillips Academy with her father where they'd been roommates. He'd been their family friend since before she was born and he was curious to know why Maggie, the closest thing he considered to be a niece, hadn't called and just asked him for the position.

Tony knew she was more than capable— since the death of her parents, he'd tried to keep in contact with her as much as possible. He attended her award ceremonies and graduations, he and Pepper took her out for celebratory dinners in the absence of her guardians, they exchanged letters while she served in the Peace Corps in rural Europe.

They both knew he felt guilty for their passing despite Maggie's forgiveness; it was like he was trying to make amends that had never been needed.

When he'd made an attempt to offer her the job on-the-spot, she'd furiously explained that she wanted to do it on her own merit and go through the entire process without his, or Pepper's, help.

"God, you're just like your mother." She'd rolled her eyes, a small smile on her lips as she thought of her mom; she'd obviously gotten her stubborn personality from somewhere and it certainly wasn't from her goofy dad.

Maggie had been hired less than a week later, following multiple assurances that 'Mr. Stark' hadn't had a part in the process, and she moved upstate to be headquartered at the New Avenger's Facility.

Occasionally, she'd return to the city for meetings and conferences, or she'd travel wherever the foundation dictated, but typically she lived quietly, just an hour outside of the city. She heard F.R.I.D.A.Y. over the building's loudspeaker, giving out orders on behalf of Tony.

If she hadn't already been kicked into gear, she would have been upon the AI's order as she called out certain teams to be dispatched across the city. Descending the stairs as quickly as possible, she finally reached the crowded street where the deafening screams echoed and were carried further by the turbulent winds swirling the dust and debris of the city. Like Tony had once said before, it was time to work for a living.

Bumped, bruised, and exhausted, Maggie finally re-entered the office building several hours past their planned meeting time; she knew that she was late and she'd have to get back out as soon as she'd quickly touched base with her superiors. The sun had made its way across the sky, westbound as the late afternoon approached. While first responders had gotten to those injured immediately, the SRF came to the aid of those in shock or those that had been displaced following the earlier event.

After the large ship ascended and left destruction in its wake, the city had calmed down exponentially; people returned home, clean-up crews were sent out, things returned to some semblance of normal. It felt suspiciously calm. Opening the door to the conference room expecting to find her entire team, she only found Pepper, Happy, and Kate speaking quietly around the large table.

At their almost odd, avoidant looks, Maggie felt a sinking feeling, "What's going on?"

She heard the mumble of the television across the room. A familiar, goateed face filled the screen, the word 'missing' caught her eye and her stomach lurched.

After the Battle of New York all those years before, 'missing' had somehow become synonymous with 'dead' as crews had sifted through the rubble, searching for any survivors.

So, the headline blinking on the screen begged the question: was he missing, or was he missing?

Her voice was quiet as she hesitantly asked, "Where is he?"

Pepper's red-rimmed eyes found Maggie's apprehensive ones. The woman who was typically so elegant and composed was still dressed in the workout attire that she'd likely been wearing when the invasion began.

"He... was on that ship." Pepper looked at her hands that rested on the table, trying to keep calm. The glint from the diamond on Pepper's finger caught Maggie's eye and she felt a sharp pang in her chest.

"Well, F.R.I.D.A.Y. should be able to track him, yeah? Anywhere in the world?" Trying to keep her quivering lip at bay, Maggie blinked back tears. She triggered the interface that was installed in Pepper's phone as it sat on the table between the adults, "Friday, where did he go?"

The look on Kate's face confirmed that they'd already tried the same thing without any success.

"When Mr. Stark left our atmosphere, we lost track of him through our satellites. We don't have any coordinates at the present moment, Miss Hall." The feminine brogue responded somberly.

"Oh," Maggie placed a shaking hand on the table, bracing herself as she sat down. She avoided eye contact with anyone else, trying to drown the panic far below the surface.

She wasn't sure who she was trying to convince.

"He—he'll be back." She didn't notice the volume of her voice rising, "When he's done fighting whatever the hell that thing was, he'll come home." She'd already lost her parents. They couldn't lose Tony too.

It was impossible to tell if it was stress or something shifting in the atmosphere but a dull ringing had started in Maggie's ears. She closed her eyes tightly before she heard Kate's voice whisper, "What's happening?"

As she finally opened her eyes, she saw Kate staring at her hand that had slowly begun to dissolve into a dark dust.

"Kate?" Maggie could barely hear her own voice. It was like the world moved in slow motion as the particles overtook the small woman's body until she was gone.

Until she had been blown away by some invisible wind that no one else had felt.

Until she'd ceased to exist.

"What...was that?" Maggie blinked, trying to make some sense of what she'd seen, "Where did she go?"

Standing, and clumsily stumbling in her urgency, Maggie clamored to the now empty seat where her mentor had just been. Pepper and Happy only looked at one another as Maggie ran her hand across the empty, dirt-covered seat, her eyes wide in confusion and fear.

This was different than anything they could have imagined.

All they knew was that a huge number of people had disappeared in the blink of an eye; they'd been taken out of existence and everyone else was left to pick up the broken pieces that were left behind. Although it had taken several hours, with F.R.I.D.A.Y.'s help, Happy had been able to get a helicopter into the city to return them to the New Avenger's Facility. Pepper had decided that it was probably best to operate with that as their headquarters until they had more information and, although she never said it aloud, she also knew that if anyone was to return, it was probably the first place they'd go.

Even the deafening whirr of the helicopter blades couldn't muffle the silence that had fallen over the three of them. Looking down at her lap, Maggie absentmindedly turned her phone over and over in her hands trying to make some sense of what had just happened. She had a small checklist of people that she kept in contact with— Tony, Pepper, Kate, and Poppy. One sat across from her while staring at her phone and waiting for a call that hadn't, and may not ever, come, one had been turned to dust in front of her eyes, one was missing in action, and the other was Poppy.

Poppy had been her only friend since she was a freshman in high school and she had stayed by her side through everything. She held Maggie's hand when the young woman had to pick up the tatters of her life, stayed by her side while going through wills, arranging funerals, picking out headstones. When the pair had graduated from NYU, she had pushed Poppy to pursue her dreams and go to South Korea to study under Dr. Helen Cho while she decided to serve in the Peace Corps and build an orphanage in Ukraine.

She'd needed time to figure out what came next and it would be easier if she was alone. Maggie was a rolling stone; she'd bounce and find her way somehow. She always did in the end.

As she looked at the black mirror that her phone had become, she knew that Poppy should be in Seoul right now; she was in the last years of her doctoral program and she frequently traveled across the world from lab to lab. For hours, every call that Maggie had tried to place to her best friend had only gone to the dull hum of a busy line. No text message could get through; she wasn't even able to leave a voicemail. All of the lines and networks were incredibly overwhelmed as everyone scrambled to find their loved ones.

Poppy had left New York only a few weeks earlier, making plans with Maggie to go to the farmer's market when she returned and, now, she didn't know if that would ever happen. She couldn't allow herself to even entertain the possibility that Poppy hadn't made it through whatever the hell had happened. Although she was typically half a world away, it was like she was Maggie's last tether to everything. Without Poppy, she would be paralyzed, she'd be floating out in the ether without anything to hold on to.

Maggie gripped the armrest, her knuckles turning white as the vehicle began its descent to the landing pad below.

As soon as the door was opened and they disembarked the Stark Industries helicopter, Pepper's commanding presence took over. She called out orders with ease before asking Maggie and several others to meet her one of the conference rooms in an hour after they'd had time to get cleaned up. Maggie nodded, turning before Pepper's small hand reached out to touch her arm.

She'd never seen the older woman look quite so scared before; her bloodshot blue eyes were still slightly puffy from the tears that she'd shed. "Kate...is gone, Maggie. You're going to have to run point for the social work division of the foundation."

Her eyes widened; she had only worked for the foundation for a little less than a year. For all intents and purposes, she was still new to the group. There were other members of her team who were far more qualified than she was, "Why—"

"Chris and Mia...I don't think they made it either. So, you're the next in line." Pepper cut her off, pressing her lips together. Her voice softened, "I'll have F.R.I.D.A.Y. make sure someone brings you a change of clothes. It's going to be a long night." Before Pepper could turn and make her way to her personal quarters, Maggie reached out and embraced the older woman.

She typically wasn't one for physical touch but she knew that sometimes, a hug was the best comfort that you could offer.

"He's out there, Pepper. I know it." Her voice was soft. In her gut, she knew that Tony had to be out there too. Because, like Poppy, Tony was one of the last people that Maggie had. And if he was gone, nothing could ever make sense and things had to make sense.

They had to.

Pepper swallowed her tears and returned the embrace, closing her eyes for just a moment to regain some control. With the smallest hint of a smile, she gave Maggie's hand a soft squeeze before they parted ways.

Stepping into one of the bathrooms, she rested her back against the closed door, needing just a moment of solitude. She tried to remember what her therapist had told her about grounding exercises.

What could she see or feel or hear in the moment? She could hear the echo of drips falling from one of the faucets. She could see the light reflecting from the multicolor tiles on the wall. And she felt the warm sting of tears prickling at her eyes before she tilted her head back, willing them not to fall down her face.

Turning on a tap, she splashed cool water on her flushed cheeks in an attempt to calm herself physically, even if she couldn't do it emotionally. There was no time for Maggie to fall apart, especially not now. Looking in the mirror, she dried her face with a paper towel, carefully swiping away the flaky, black remnants of her smudged mascara.

Maggie quickly made her way to her office, the halls eerily quiet with the lack of activity aside from the gentle click of her shoes on the tiled floor. The heavy silence came without any peace. Her stomach turned cartwheels as she passed the darkened offices, one's whose occupants wouldn't return. There were half-empty coffee mugs left on the desks, papers resting in the printer tray. It was like the world had suddenly stopped spinning and everything stood still.

Flipping on the light in her small office, Maggie took a seat at her desk. Folded on the corner was a pair of slacks and a blouse to replace hers that were covered in dust and dirt; 'F.R.I.D.A.Y. works quickly,' she absently thought to herself.

Sitting down, she felt the exhaustion settle deep within her bones as she rested her head in her hands and finally allowed herself to silently mourn the losses.

Maggie waited for the tears to fall but they never came; it was like something inside of her wouldn't allow them to reach the surface anymore. She went through the list in her head again, and again, and again: Tony, Kate, and for all she knew, Poppy too.

What if it wasn't just that the phone lines were overwhelmed? What if the calls hadn't been answered because there was no longer someone on the other end of the line?

She didn't know how long she was there, allowing herself to drown in the emotions, before she finally felt her phone vibrate on the desk. The marimba of her ringtone filled the small space and she sat up, grasping for the device before turning it over in her palm.

A familiar bright face framed with dirty blonde waves filled the digital screen. A soft gasp left her lips as she stared at the picture, wondering if she was imagining things. With a shaking finger she pressed the green icon and brought the phone to her ear. She whispered, "Pops?"

Before anything else, Maggie heard a sigh of relief on the other end of the line. She let out a shaky breath, covering her mouth with a hand to stifle herself as relief flooded her body. "Thank god, Mags." Her friend's voice brought a wave of calm over her, "Are you okay!?"

"I'm fine." Maggie felt her chest shutter, trying to contain her emotions and she stumbled over her words as she tried to speak. "I couldn't get in touch with you. I got scared that you—"

"I'm okay." The typically bubbly woman's voice was riddled with emotion as she tried to soothe her best friend who was half a world away but she couldn't hide the distress that plagued her, "I got in touch with my mom and dad, they're okay. I'm just, I'm trying to get a flight back home but I don't know when I can. Flights are grounded and they don't know when they'll be scheduled again. I'm not—"

"Let me—I can talk to Pepper. I'm sure she can help work something out." Maggie nodded, trying to convince herself that things would be okay.

Shamelessly, she would move mountains to try and get her friend back home, and now that she knew that Poppy was still here, nothing would stop her. One of the last people that she loved hadn't left her too.

"Okay, I'll—" Static picked up over the line, muffling the remainder of Poppy's words.

"Poppy?" Maggie stood, walking towards the window with a prayer of better reception, "Can you hear me?"

"Mags, you're breaking up." Once more the lines were getting overwhelmed as people around the globe tried to reach out to their loved ones, "Listen, I'll try and call you tomorrow around the same time."

"Okay, I love you." She rushed out, worried the call would end before she could say it. She had to make sure that she knew but she wasn't even certain that Poppy could hear her anymore.

"I love you too. I'll be back soon; we'll figure it out." Even through the static and dropped moments of silence, Maggie could hear Poppy's typically confident voice waver.

"I'll talk to you—" With three beeps, the call cut out before Maggie could finish her sentence.

Exhaling, she tried to level her breathing as she dropped her head against the cool glass of the window. Out in the distance, Maggie could see the small shadow of the city against the backdrop of the sky that was slowly darkening with illuminated swirls of orange and purple; it struck her that the city suddenly had half of the number of occupants that it did when the sun had risen that morning.

Her stomach was in knots as she walked back to the conference wing of the compound, clad in clean clothes, though she still felt weighed down from all they'd seen. She wasn't prepared in the least to lead an entire division; the small voice in her head reminded her that it wasn't actually an entire division. Now, it was just the tattered remains of what had once been a full division.

Walking into the somewhat crowded room, she felt completely out of her depth. Someone from each branch of the foundation was in attendance. Across the room, a small group of mostly unfamiliar people gathered together. When a small raccoon began speaking to a beautiful, bleached-blonde woman, Maggie had to tell herself not to stare at the anomaly before Rhodey caught her eye. Maggie gave him a slightly forced smile before he gestured her over to the group that, she had surmised, were probably the Avengers.

She'd met James Rhodes through Tony although, through discussion, she'd found out that he'd known her parents before their passing since he occasionally liaised between the Department of Acquisitions and the State Department with Stark Industries. Aside from Tony and Rhodey, Maggie had never met any of the other heroes; she'd be ridiculous to not feel at least a little intimidated.

When she approached, he leaned over, legs stiff from their braces, and gave her a one-armed hug with a sad smile before turning to the others in front of them.

"Guys, this is Maggie Hall. She's gonna be running point for the social work division of the SRF now." It seemed like her impromptu promotion hadn't been a secret amidst the commotion. She raised her hand in a small wave; she was awkward around most new people but especially icons and Gods.

"She's about the closest thing Tony's got to a niece—"

Her face flushed red and she looked at him reproachfully before she, gently, elbowed the older man in the ribs with a silent shake of her head.

It wasn't that she was embarrassed about knowing Tony; she loved him like the strange, eccentric uncle that he'd become to her. She just never wanted people to assume that she couldn't make her own way in the world based on merit alone. Rhodey knew that Tony didn't want everyone knowing everything, but the man was missing and things felt wrong without him there.

Rubbing his side, he gave her a sidelong glance before shrugging it off, "Anyway," He nodded at each member of the group and he rattled off their names, "Dr. Banner, Thor, Natasha Romanoff, Rodent—"

"It's Rocket, asshole." The gravelly voice from the small creature interjected but Rhodey continued speaking over him.

"And Steve Rogers." Rhodey nodded to the stoic, bearded man that had been on the run for the past two years. Maggie was a little surprised to see him here but it made sense, especially as the world was burning down around them.

Steve extended a gloved hand which Maggie shook gently, giving him a small smile. Though his face was serious, she couldn't look away from his kind, forget-me-not blue eyes. She only knew the little things that Tony had told her in passing. It wasn't much considering the fact that he still insisted she was 'basically a kid' despite the dark shadow of thirty looming in her near future.

She mused that maybe it was because he'd been the same age that she was when he'd lost his parents and he'd wished that there'd been someone there for him in his grief. On the rare occasion that Tony had spoken about Steve, she'd been able to tell that he'd (mostly) forgiven his estranged friend but the tension from their world-shattering altercation wasn't likely to go anywhere anytime soon.

Any words that were going to be exchanged between them were put on hold as an emotionally exhausted Pepper Potts stood from the head of the long table, causing a hush to fall over the group.

Her lips were pressed together in a harsh line before she finally spoke, "Let's get started.

❧ Endnote | So, I think I'm going to post a chapter or two per day until this series complete! (It's about fifty-two chapters total.) I don't know if anyone would like to be tagged or anything, but if you do, let me know! ♥️

[lambourngb]

Get me out of here - places to go when canon is complicated

It’s Day 3, time to celebrate those stories that I turn to when I can’t deal with canon, or when I don’t have the emotional energy to untangle all the emotions I have for what’s going on in canon. Alternative universes, the safe harbor for us. Below are a mix of rewrites of canon, remixes of canon, or out right not even set in Roswell- to fill every type distance you want from canon- from near to far.

The first story I’m reccing is a long one,- so pardon the very long review below.

my love is a life taker by @jocarthage (267,600) So one day, Jessi popped into discord to share a dream she had about timetravel and being able to save yourself in the past basically, particularly Alex getting to give his baby-self a hug, and we all went, “holy shit that’s a cool fic idea please write it!” and really reality sucks right now with quarantine and whatnot, so what better thing to do than follow a WIP? I can’t tell you how badly I needed to something to look forward to as I was staring down a milestone birthday with all my plans in tatters, and this story filled the void.

Okay- now about the actual story itself, the world building about time travel in this is incredible but easy to absorb. Jessi dumps you straight into the action in chapter 1 with Alex, at 28, assassinating an Iraqi intelligence agent in 2009 that averts a bomb that was planned on US forces. You learn so much about both the story-universe and Alex here- one, that even dressed in mask and killing someone, Alex is kind and uses morphine as an overdose and has arranged for his victim’s family to be compensated, you learn that time agents can only visit places they themselves have visited during that time, and Jesse Manes had dragged his son, who was ‘time aware’ to every place of war and ruin on the planet before he was 18 and that, Alex’s victim, even as he’s dying, recognizes what a shit childhood Alex had but that Alex doesn’t.

The next part is where Alex’s time crystal malfunctions, instead of returning him to 2018, it takes him to 1998 where an 8 year old Michael is getting beaten by his foster dad and Alex, out of his time line mysteriously, visible to only Michael, saves him, but only temporarily. We all know with abusers, until you’re out of the house, it’s just a matter of time before the next beating. However, with one act, Alex at 28 starts putting into action (even though he doesn’t recognize it at the time) the steps to save his own life as he works to save Michael from his childhood. Each mission, each jump through time, Alex meets Michael, always a year apart and only for 1000 seconds, or almost 17 minutes. Jessi takes you through some of the darkest points of US foreign policy, only as Alex takes control of his life, he also starts to change the missions, and change the world. The details of places, people, food, etc are authentic from the author’s experience, if you don’t click on the links at the end of the chapters and disappear down google-rabbit holes about the events in history, well- you’re made of stronger stuff than I am.  There are lots of heavy subjects discussed, but there’s always care and honesty behind the intent. The way Michael grows, the way Alex grows, and of course the journey to the present time when they could be together? It’s like pining on steroids but it’s so wonderful. I wish I could pull out one thing that I loved in particular in this story- but it’s impossible, only to say that I love that I could disappear completely within the confines of ‘my love is a life taker’ knowing that I would be kept safe by the author, that goodness prevails.


when I’m oceans away by @neapeaikea (28,000) this is a post-2008 shed canon-divergent AU where Alex Manes, after the best/worst night of his life bolts from Roswell and leaves Michael behind. 10 years later, on the hunt for a child conceived at Caulfield, Michael walks into a youth home in California and finds Alex. A few things, I love that this author writes an Alex who didn’t join the Air Force but still lost a leg, I don’t really enjoy disability erasure in modern AUs (I’m better at looking past that in historical or sci fi aus) . It’s pretty clear after five minutes that the connection between the two men is still there and strong despite anger, secrets and guilt. The teasing and flirting between them is great but so is the acceptance of baring their vulnerabilities. I loved the care they take with each other, and the tie in to an alien child is just so perfect.

Crucibles (series) @ninswhimsy (9,000)- I’m cheating and naming both here, but obviously nin had her finger on the pulse of fandom, by writing crusade-set queer stories before The Old Guard ever boomed into a fandom from the movie. I was lucky enough to trade DMs over the ideas of holiness and the body, and how Alex would have treated himself, certain of his doomed soul, and how Michael would have responded in turn. It’s no secret I love everything Nin writes, but this series stuck in my mind. I will be drifting off to sleep, and think about Alex walking through the ancient city of Aleppo, ready to be done with his burden and Michael there with soft palms and scented oil, and boom! I reach for my kindle to re-read it.

no regrets if we walk this new road by @andrea-lyn (97,000) This author has written so many amazing AUs, some quite far away from canon events like her Mummy AU or her Avengers AU, but I have to say, I have a very soft-spot for this rewrite of season 1 for a lot of reasons. I mean, it’s 2020, so my appetite for Cop!Max is definitely at an all-time low, so the idea of exchanging his job with Kyle’s was extremely appealing. At least Kyle is a POC holding the badge, not a white man like our canon. Anyway, politics aside, this story is special to me for the scorching good Isobel/Kyle relationship that develops, the way Isobel sharpens herself into a lawyer (not an event planner) and how Michael rounds his own edges off in turn by becoming a teacher (and being secretly married).  Each deviation from canon made complete sense once you alter the way Rosa’s death affects the pod squad, and how they covered it up ripples out toward Liz, Kyle, etc. 


Layer on layer, down on down by @dotsayers (9,440) I love sci-fi tropes, especially time-loops, but they are incredibly hard to write (I know, I abandoned mine a while ago) so this story stands out because of just how well done the execution is and also the angst. Michael in a time loop about Caulfield, like how great/agonizing is that? The plot is so good, how it ties into Caulfield and why it happens in the first place, like wow.  The care, and the hurt, and the fatigue that Michael has in this story, oh you just want to wrap him in a blanket. There’s a tiny throwaway line about how one of the first things Michael learned to do in foster care was to make himself heavy and unmovable- and you instantly picture kid!Michael not wanting to be removed from a house - like my heart broke! The structure of the story, with the background of his just how much he loves Alex but how badly it hurts to see him die, really makes this study of 1x12 special. Along with all the angst, there’s tiny gallows humor lines, so am I weird, that I laughed through a couple of these scenes even as Michael kept dying?

Petty pace by @aewriting (11,600) Aewriting has a couple of stellar AUs, so trying to pick just one was difficult, but I rather feel this story is sadly underappreciated it (mind the tags). It was a remix of @iwontbeyourmedicine ‘s fantastic ‘Freaky Friday’, where the humans and aliens swap roles. Alex in the role of Michael basically was something I had never pictured until Ly wrote that story, and now feel utterly changed by it, especially with this backstory- the idea of Jesse Manes bringing a foster child home? Incredibly well done because there’s an off the charts level of menace in this story. The way Jesse watches Alex, who at first mistakes it for how a pedophile might size up a victim, but then catches on quickly that it’s so much worse in a lot of ways. And Alex is such a loner in the beginning, even as he reconnects with his pod siblings Liz and Maria, he’s still planning on keeping his head down and leaving Roswell far behind. Like freedom is literally the only thing he can conceive of for himself, no real dreams outside of that until Michael slips under his defenses. I probably could have saved this story for angst day- because the second half of the story, if you don’t sob while you read it, then I dunno. It’s helpful to read Ly’s story right afterward as a reminder that things do get better for Alex ten years later. In a lot of ways this story is sadder than canon (though there’s no murder of Rosa/4th alien), I’m comforted that at least Alex has Liz in the aftermath, alike in heartache in a way that Michael didn’t have because of the pact he and Max made about Isobel in canon.

Unexpected tidings by @bestillmyslashyheart (24,800) Another rewrite of canon, that explores a couple of very interesting questions, like what would it look like if Michael never made it back to Roswell as a kid but met Alex by chance in 2008? Imagine the cornerstone of the Lost Decade love affair revolving around the mundane questions of a long distance relationship that wasn’t built on the pain of the shed or Rosa’s death? Marlo writes an amazing take on this, that is both real and deep with the normal couple problems, before introducing that spanner in the works of oh yeah, aliens are real. With Michael on the east coast, and Alex finishing off his service in Roswell, Project Shepherd still entangles Alex with Liz bringing him in on the secret in hopes that with his hacker skills he can track down the third alien child that Max and Iz remember so they can warn him. As interesting as the current plot was, I found myself absolutely revitted the slow piecemeal reveals that Marlo doled out about Alex and Michael’s relationship over time. (I also while rereading this recently got very nostaglic for season 1 Alex who didn’t trust Jesse as far as he could toss him.) 

Don’t Punish Me For What I Feel by @winged-fool (3,600) Tarsus IV AU - another wonderful author with a catalog of great AUs, both sci-fi and dark, and honestly it was difficult to narrow it down to one. This story, well in 2009 I was a hard core Trek movie fan, so when I saw a trek-fusion story appear, I knew I would love it just on that basis. The thing is, this gave me Michael as the Captain, a surprisingly rare role for these space fusions, even though genius level repeat offender Jim Kirk and genius level repeat offender Michael Guerin seems pretty married in my mind as a connection. As a Tarsus-like story, all the tags are well earned by the story that Alex finally shares with Michael. It hit on so many levels, the hurt/comfort level for sure, but also to have a story where Michael is this stalwart protector of Alex was really nice to find. 

this isn’t the ‘holiday best friends championship’ by @usbournejez (6,090) alright to leave this on a lighter note, my final AU rec is this masterpiece by Kieran that was part of Malex Secret Santa gift fics- and what a gift it was to all of us! The way she writes established Malex is first-rate, because she always includes their canon-levels of snark/sharpness but it’s never directed at each other and that’s something I love. Here we have Alex, where we learn in just a few short lines, is a huge control freak but has the extremely big emotional handicap, and that’s his love/fondness/deserve to caretake Michael. Emotional cactus Alex who is soft for Michael? Love it. There are small drops of angsty backstory peppered in this, but really that just fuels just how sweet and wonderful the main theme of the story- which is Alex might hate the whole world at large, he loves, protects and worships Michael (and vice versa). As someone who can bake cookies, but that’s about it, I was still enthralled with the baking details and this story has never failed to encourage me to eat dessert before dinner basically. 

[earformusic]

10 Songs to Make You Feel Like You're Starring in a Coming-of-Age Indie Film

From The Perks of Being a Wallflower to The Edge of Seventeen, coming-of-age indie films have swept my generation by storm. Recently, it’s become a trend for us Gen Z kids to wish we were starring in one of these iconic films, whether it be because we want to be the main character or we just want to romanticize our lives a bit more. So, I’ve handpicked 10 of my favorite songs to make you feel like you’re the main character you’ve always wanted to be.

1. Grouplove - Tongue Tied

We’re starting off with a throwback that never gets old. If you think you haven’t heard this song, chances are you probably have without even realizing it. Although “Tongue Tied” was released back in 2011, this song has proved itself to be a timeless mix of rock and electropop that’s perfect for singing in your car as you drive down the highway at night with your best friends. Hitting number one on the Billboard Alternative Songs chart a year after its release, Grouplove proved the true magic this song holds despite its prior negative reviews. With an indie influence as well as elements of synthpop and post punk, “Tongue Tied” will have you feeling like the main character as soon as you hit play.

2. BØRNS - Electric Love

The American singer and songwriter BØRNS began his career off with a bang, releasing the critically acclaimed hit “Electric Love”. The poetic lyrics coupled with a heavy glam rock sound will make you feel as if you’re on the top of the world. The music video featuring colorful animations and whimsical dancers perfectly showcases BØRNS as the “main character”. “Electric Love” has such a bright, fun sound that hearing it will immediately make you want to get up and dance. On top of all of this, BØRNS has such a unique voice that definitely stands out. 

3. fun. (feat. Janelle Monáe) - We Are Young

Once again, we have another timeless throwback song. I remember this song constantly playing on the radio when I was younger, and its catchy lyrics getting stuck in my head for days. The perfection of this song speaks for itself, considering the massive achievements it brought the group (including a Grammy award for Song of the Year in 2012). “We Are Young” is the culmination of teenage youth shoved into a 4 minute and 10 second indie pop anthem, with the lyrics describing an unforgettable night out with your friends. Listening to this song, especially with some of your best friends, is perfect for making you feel as if you’re truly living in the moment.

4. M83 - Midnight City

“Midnight City” is a track that’s perfect for playing in the car on a late night drive. The lyrics of the song are a tribute to city nightlife, indicated by the title itself. This is one song that doesn’t need as many lyrics to articulate its message, but the hollow echoes of the lyrics given resonate with the listener. The song’s transcendent sound and memorable riff make it one that you won’t want to miss. You also can’t talk about this song without mentioning the standout saxophone solo that ends the track. I firmly believe that this is one of those songs that’s better listened to than explained, as the song speaks for itself. 

5. Young the Giant - Cough Syrup

As soon as I heard this song come up on my Spotify shuffle, I immediately added it to my playlist. The mix of an indie rock sound with meaningful lyrics caught my attention, and I couldn’t stop listening to the song for weeks. The lyrics of “Cough Syrup” perfectly depict the cliché struggle many coming-of-age indie film protagonists face: the feeling of being lost and aching to get out of your mundane town and lifestyle. However, this common story troupe doesn’t only apply to fictional characters but to many teenagers out there as well (I may or may not be speaking from personal experience). This song by the alternative rock band has the perfect balance of symbolic lyrics and a catchy chorus that you will be humming for hours.

6. Supergrass - Alright

“Alright” is a song that can speak to teenagers everywhere. Lyrics such as “But we are young, we get by” relate back to the simple yet complicated nature of the average teenage experience. Watching the music video, which showcases the British alternative rock band Supergrass joyfully messing around and having fun, will make you wish you could be there and hang out with them as well. The upbeat vibe and joyful piano tune make this song perfect to play on a sunny day.

7. Lonely God - Marlboro Nights

If you frequent the app TikTok, chances are you probably recognize this song from there. Though this indie pop single was released back in 2018, the popular social media app brought it back into the limelight during July 2019. From there, the song reached high spots on the Spotify Viral 50 Charts. The lyrics speak of a love story that many teenagers can probably relate to, especially the opening lyric “I don't want to go to school tomorrow I can't study thinking about you” that immediately leaves an impression on the listener. “Marlboro Nights” is another song which lacks in lyrical amount however holds itself up with a catchy rhythm and lyrics.

8. Bruno Major - Places We Won’t Walk

We’re now taking a sadder turn with this soft R&B track by the British singer and songwriter Bruno Major. Listening to this song, I can picture it playing in the background as the film hits its climax, and the protagonist finally experiences the sad reality of their situation, whether it be losing the love of their life or a close friend. This is arguably the saddest song on this list, however, I feel like it serves to show that being the main character doesn’t always equate to happiness as every person experiences their own highs and lows. Bruno Major’s soothing vocals along with the soft piano in the background make for such a beautiful song. 

9. Wallows - Do Not Wait

Throughout Wallows’ debut album Nothing Happens, they touch on topics such as youth and nostalgia, and the indie rock/bedroom pop song “Do Not Wait” is no exception. The lyrics show how, especially during your teen years, everything feels so world-crushing and the smallest mistake can feel like it’s the end of the world. But in reality nothing happened, and everything is going to turn out okay despite those prior feelings. “Do Not Wait” was the perfect ending to an album full of stories about the teenage experience. When listening to this song, the bridge and outro really stuck up to me, specifically the part where the band member and lyricist of the song Dylan Minnette seems to be speaking to his past self. This shows how the whole song is written from the perspective of his older self talking to his younger self, while simultaneously showing his own personal self growth over the years.

10. Lorde - Ribs

You can’t bring up songs that make you feel like the protagonist in a coming-of-age indie film without mentioning the showstopper that is “Ribs” by Lorde. This song is the perfect description of the bittersweet feeling of never wanting to grow up that all of us experience at least once in our lifetime. Raw and honest lyrics such as “This dream isn't feeling sweet / We're reeling through the midnight streets / And I've never felt more alone / It feels so scary, getting old” give the song a relatable aspect that can appeal to all teenagers. The longing and sadness in the lyrics mixed with Lorde’s unique voice and an upbeat electronica sound make this song so unique. If you are looking for the perfect song to listen to as you dance outside in the rain at night with some of your best friends, or even for those 3 am existential crises, this is the song for you!

Now we’ve finally come to the end of this list, and I hope you found at least one song that makes you feel like you’re the main character. But just know, even if you may not feel like it, you are always the main character of your own life. Life may not always feel as romanticized as films make it out to be, but you always have the ability to romanticize your own life as much as you can: so do it!

If you’d like to check out a playlist with these songs and others that fit this same theme, here’s a link to my Spotify playlist: https://open.spotify.com/playlist/3jhAQfVQpVmbabQEzG1gGF?si=rP0gfaVAS56RXUXn8aHgbw

[seagull-astrology]

This week: April 23, 2018 in Little Rock

Our header shot is of the Little Rock County courthouse circa, 1905 Sunday April 22, 2018 Sun contra-parallel Apollon 00:02AM EDT, Venus sextile Juno 4:31AM EDT, Pluto stations retrograde 11:25AM EDT, First Quarter Moon 5:45PM EDT at 2°leo42′ Trop, Venus parallel Admetos 7:07PM EDT, Venus contra-parallel Black Moon 10:38PM EDT Monday April 23, 2018 Venus parallel Vulcanus 2:07AM EDT Tuesday…

[chenvs3000]

This Is Just The Beginning

Although this class may be coming to an end, our journey as nature interpreters is just beginning. As we reach the end of the semester, I wanted to revisit the three main questions we’ve been asked throughout the semester: (1) who am I as an interpreter, (2) who is my audience, and (3) how can I make this experience meaningful (Beck et al., 2018).

First, who am I as an interpreter? Just because I don’t have a job as a nature interpreter, doesn’t mean I can act as a nature interpreter for the people I interact with in my life. I have two main identities as a nature interpreter: (1) a citizen and (2) a scientist. How I interpret nature in these two roles may differ, but I still feel a moral obligation to spread awareness about nature, conservation, and sustainability everyday.

This class hasn’t necessarily taught me anything new about nature, I know just as much about the environment as I did in January. But the key thing I have learned is how to share this knowledge. As a citizen, I have learned how I can converse with those around me in a way that I can spark an interest in nature and inspire them to live sustainably on their own terms. Nobody likes to be forced or pushed to live a certain way, but effective nature interpretation can inspire people to change all on their own. This is tied to my personal ethical belief that nature interpreters must have autonomy. Autonomy means that individuals have a right to self-determination, that is, to make decisions about their lives without interference from others. This essentially means that we can teach people and try and inspire them to continue their personal journey and relationship with the environment, but at the end of the day we can’t force them or judge them for not being more proactive about conservation. I have also learned new ways to interpret my research findings better as a scientist. I have learned that writing about new findings isn’t enough, and for any type of presentation to be meaningful you must explain why it is important in a broader environmental context. The most important lesson I have learned is that role of interpretation is to make intellectual connections between what the audience already knows and new information I am trying to provide, and make emotional connections so they can learn why something is important and why they should care about it.

Another key aspect about who I am as an interpreter relates to who I am as a person. My privileges, personal learning style, ethics, and beliefs all impact who I am as a person. And while these facets of my identify can sometimes help me connect with my audience, they can also hinder my connection with them as well. For example, my learning styles are spatial and interpersonal. I learn best with mind-maps or charts connecting ideas and bouncing ideas of others and actively discussing topics. It’s quite funny because me and my roommate discovered we have completely opposite learning styles as hers are intrapersonal and logical-mathematical. She often found when we studied together, my talking and disusing would distract her and hinder her from thinking about topics and understanding them – but I couldn’t understand them without talking about aloud with someone else. I used to always approach teaching as if I was trying to teach myself, but I have learned that everyone learns differently so this teaching style isn’t always effective. I have learned that I must manipulate how I present in a way that anyone could understand and learn from my presentation.

A picture I took using self-timer in Killarney, ON with my roommate Sarah - the one with a completely different learning style than me. 

Second, who is my audience? Like I said previously, sometimes I’m may be interpreting to my friends and family, and sometimes I may be interpreting in a professional setting to strangers. As an individual, there are certain approaches I can take to spark an interest in nature while I have their attention (Beck et al., 2018). First, you have to approach conversations with a good-natured demeanor, because a brash or confrontation demeanor can cause the listener to feel attacked or not want to listen to what you have to say. This is especially important when talking about touchy subjects or controversial topics like religion, politics, or using live animals for education. I’ve also learned to emirate confidence. I can get nervous especially in front of groups or strangers, so this is easier when I’m talking with close friends and family. But I’ve notice when listening to others speak that confidence promotes engagement and active listening, and really helps the audience believe in the credibility of the facts and be inspired by the information – especially when the presenter is visibly enthralled and excited about the topic. And lastly, I’ve learned that enthusiasm and passion is contagious. The energy you surround yourself with is the energy you bring into your life. I have such a deep love for the environment, but not everyone seems to always think its as cool as I do. But when you speak and are truly excited about what your talking about, you create an atmosphere of inspiration. I pressure my mom not to rake up the leaves this past fall because I learned that leaves can provide over-winter habitat for bees, and provide lots of nutrients for the soil in the spring. She thought I was crazy and hated the idea because “leaves are messy”, but my passion and visible enthusiasm about doing this is what ultimately convinced her that this must be important because of how excited I was about it.

A picture I took of my tree plant crew. I hired this amazing group of people to work on my crew this past summer, and they have listened to many of my passionate talks about nature - teaching them about the importance of replanting forests, and how the results of their work will quite literally live on for 70+ years. 

As a scientist, the internet and social media are really some of the only platforms to promote research papers and make new research findings available to the public. Working with professors and academics I have learned that social platforms like Twitter, LinkedIn, and personal websites/blogs are great ways to spread research. Some professors even become guests on podcasts to talk about their research. The mantra in Richard Louv’s book The Natue Principle is that the more high tech our lives become, the more nature we need (Hooykaas, 2021). And while I agree with this belief, this course has also taught me that technology can be a steppingstone to developing a relationship with nature. May people these days live in urban cities where it is difficult to find a place nearby where they can escape and experience nature, and this can be especially impactful for children. But, as we have learned, the internet and virtual teaching approaches can actually be very effective for nature interpretation. Technology can provide a doorway to teach children about nature and provoke their curiosity. Interpreting nature consists of helping people to fall in love with nature and accepting that protecting and conserving something requires us to love it first, and to do so we need to know it. Technology is one of the most effective tools we have to spread environmental messages, and introduce the public to new topics, and hopefully we can inspire them enough to keep wanting to learn and do more.

A screen capture from the website for the lab I work in at Dalhousie University. We use this website, along with twitter and LinkedIn accounts to promote new research papers written by members of the lab. https://www.seafloormapping.ca/

Finally, how can I make this experience meaningful? I’ve touched on this a couple times in the paragraphs above, but I truly believe that the way to make a presentation special is about shifting your audience’s perception. Interpretation is about opening people’s minds to wonder and new ways of perceiving the world, beyond normal every day thinking (Beck et al., 2018). It’s very similar to seeing the world through the eyes of a child, romanticizing the mundane, and learning to love nature in its raw and chaotic forms. In summary, it’s not about making your presentation special, its about showing your audience that nature is special – and as a result your presentation will become inspiring and meaningful. There are certain approaches to do this effectively depending on your audience, but the key role of interpretation is the same no matter who you are or who you are presenting to.

I have two questions for you to think about after reading this post:

(1)  In what role(s) do you see yourself applying what we have learned in this class. It could be as a park guide, a parent, a mentor, a researcher, or a friend. (Remember, anyone can be an interpreter)

(2) Looking back, who as been an unexpected/unofficial nature interpreter in your own life. Maybe it’s a family member who first introduced you to nature, or a teacher who took you on a field trip. 

Thanks for reading:) - Claire

Sources: 

Beck, L., Cable, T.T., & Knudson, D.M. (2018). Interpreting cultural and natural heritage for a better world. Sagamore Venture Publishing LLC.

Hooykaas, A. (2021). Unit 10: Nature Interpretation’s Role in Environmental Sustainability [Course Website]. University of Guelph Courselink. https://courselink.uoguelph.ca/d2l/le/content/666945/viewContent/2597605/View

Hookyaas, A. (2021). Unit 08: The Role of Technology in Nature Interpretation. CourseLink. https://courselink.uoguelph.ca/d2l/le/content/666945/viewContent/2594169/View.

[sinceileftyoublog]

Bettye Lavette Interview: The Quiet I Can Be

BY JORDAN MAINZER

Bettye Lavette has had, as she calls it, two careers. The Detroit-raised soul singer-songwriter cut her first record at just sixteen, achieving early success with charting singles and touring with Atlantic Records-signed artists like Otis Redding and members of The Drifters. In the music world, initially, she was never front and center for long periods of time, even giving up recording in the mid-70′s for a six-year run on Broadway to star in Bubbling Brown Sugar. For all intents and purposes, her second career--the one that brought her both critical and commercial success as a solo artist--started in 2005 with the Joe Henry-produced I’ve Got My Own Hell to Raise, a collection of songs written by female artists like Lucinda Williams, Roseanne Cash, and Fiona Apple. (The title is taken from Apple’s “Sleep To Dream”, which appeared on the record.) Hell started a still-going series of albums of songs written by others, each based around a cohesive theme, like 2010′s Interpretations, covers of British rock artists like The Beatles, Elton John, and The Who. But it’s been her fruitful collaboration with drummer and producer Steve Jordan and legendary jazz label Verve Records that’s produced perhaps her two best albums yet: 2018′s Things Have Changed and the upcoming Blackbirds (August 28th, Verve).

Things Have Changed was a collection of Bob Dylan songs, many lesser-known, that Lavette made her own, to say the least. It helped somewhat that Lavette didn’t have much of a longstanding relationship with the tracks. “[Interpretations tracks] and Bob Dylan songs were not played on black radio a lot,” Lavette told me over the phone from her home in New Jersey in April. “They’re just songs. If you can sing, you should be able to sing them, whether they’re gospel songs, or blues songs, or British songs, they started out words on a piece of paper,” she said. The songs on Blackbirds, however, span different eras and genres, and they’re predominantly written by women of color, many of whom were and are Lavette’s peers. And her relationship to these tracks is more complex. Unlike many soul singers from her era, Lavette didn’t start out singing in the church but in her parents’ home, opting to perform R&B and country and western songs instead. When it was suggested to her in the 60′s by her manager Jim Lewis that she learn standards, Lavette was at first reluctant, wanting instead to learn tunes that were popular at the time, and then admittedly intimidated by the prospect of singing songs by such powerful voices. “While Dinah [Washington] would wait for you in the alley and kill you, her voice was just magnificent. And Ella Fitzgerald’s voice was like an instrument,” Lavette said. Years later, Lavette has found a way to make old songs sound personal.

Lavette credits Jordan with a lot of why Things Have Changed and Blackbirds sound so good. For one, he’s one of the only black producers she’s ever worked with, and she describes her experience singing old songs with him behind the boards and the drum kit as discovering what it would be like had she had someone like him when she first started her career. “One thing Steve knows about me that maybe others don’t...most musicians don’t know the quiet that I can be,” Lavette said. Indeed, their working relationship allows Lavette’s voice to shine. Lavette picks and sings the songs and sends her vocals to Jordan, who will arrange with her and their keyboard player, around her voice. At that point, Lavette, having established such a sense of trust with Jordan, doesn’t hear the arrangements until it’s time to record. The results on Blackbirds are astounding. She’s gentle, yet forceful on Nancy Wilson’s “Save Your Love for Me” and upfront on “Book of Lies”. The songs you might expect to sound stern or sad, like Nina Simone’s music industry olive branch “I Hold No Grudge” and “Blues for the Weepers”, are funky and upbeat, while ones you might expect to be somber, like “Strange Fruit”, are slinky and anthemic.

As much as the songs on Blackbirds, often by their very inclusion, are reflective of Lavette’s incredible career and her place, she prefers to look forward and often gets frustrated by fans and journalists stuck in the past or the mundane. Fans, especially overseas, want her to play old material without understanding the importance of it. “The thing that annoys me about fans--and that’s in air quotes--is just the love without the knowledge, or not wanting to know about it or where it came from,” Lavette said. Or interviewers who ask questions like, “What’s your favorite color?” For the author and now Blues Hall of Fame inductee, it’s a shame, because she wants to talk. When I told her how much I loved Things Have Changed, Lavette said, “Well why didn’t you call me? I have never been more accessible in my life!” Indeed, Lavette was careful to toe the line between re-imagining old songs and being faithful to their spirit. “I certainly did not want to be disrespectful in any way to these tunes,” she said. “I didn’t want to do the disco version, unless it was adaptable.” 

“Adapt” is the key word here, and not just in describing how Lavette fit the songs to her voice and how Jordan and company subsequently arranged and played. Lavette, with every word and tone, applies her experience as a black woman, a singer-songwriter and performer for over half a century, to tunes that themselves offer a narrative history of important American music. It’s worth noting that when we finished talking, she signed off, “And by the way...my favorite color is black.”

Read my interview with Lavette below.

Since I Left You: Blackbirds is different from Things Have Changed, since you’re singing songs that were written and performed by a wide variety of different artists and songwriters. Do you change your approach when you’re tackling songs from different people and eras than from the same person?

Bettye Lavette: No, I treat them all as songs. I don’t care where they came from. I think the most unusual thing I’ve ever done in my life was when I did Bubbling Brown Sugar. That was totally out of my wheelhouse. I hadn’t done a play or anything, so I had to approach the whole thing theatrically. But I still approached the songs the same way vocally. My attitude at this stage, the theater, if the song is, “ahhh,” they want, “AHHH!” [laughs] The endings are a little unnatural. But the scenes may have to be ended that way. 

But doing these songs in Blackbirds, these were songs I heard as a very young girl, most of them, and did not think I would ever sing them. For one thing, when I was younger I didn’t like them. But then as I learned to respect who these people were, I thought, “I will never be able to sing like that.” That was before I learned, “Just sing it how you sing it! Maybe it is like that.”

SILY: What music did you like when you were younger? What did you grow up listening to?

BL: I liked The Drifters. I’m so glad that I’ve gotten the chance to work with many of the people I grew up listening to. The first time I went on the road was with Clyde McPhatter and Ben King who were both lead singers for The Drifters. And you talk about a groupie! They couldn’t come out of their dressing rooms without seeing me! [laughs] But I always liked to dance. The difference between blues and rhythm and blues was that you couldn’t dance to blues, you could just cry. With rhythm and blues, you could cry and dance at the same time. My voice fell into that kind of music.

SILY: And you elude to that when you perform “Blues For The Weepers” on this album. In the liner notes, you talk about how you could perform that song in a number of different places--a bar, a lounge, a big stadium--and everybody can feel it.

BL: Well, I’m not sure everybody understands it as well as you seem to. People seem to want you to do either what you did before or exactly what they expect you to do. I have a great many fans in England, and they like these songs I did from the beginning till about 1975. They’ve just really collected that period of black music. They hated my album of Interpretations. It’s in my contract that I have to do [the older] songs. I joke that if they didn’t love me before, I would not do this show for anybody else. This is what I’m trying to grow to be, not what I’m trying to relive. To do a whole show? It sounds like a grown person singing silly songs. [laughs]

SILY: At the same time, when you sing a song like “I Hold No Grudge”, at this point you’ve come to accept and even embrace certain things about being a singer and musician and about the music industry.

BL: I want you to be my spokesperson! That’s exactly how I feel. The songs I sing now have so little to do with love affairs. They have more to do with what you just said: Where I’ve come to be at this point in my life and my career.

SILY: In general, on Blackbirds, it’s striking to me how different the arrangements and instrumentation are between original versions and your versions. How do you go about, from an instrumental and arrangement perspective, whether to remain faithful or stray from the original?

BL: I don’t have anything to do with that. Here’s what I do. At this point, I call Steve Jordan, the Bettye whisperer, because he understands what I’m saying. This is the first time I’ve had a black producer since early on in my career of any kind of note. I did one album with one black producer, but he was a black producer who had been producing Norah Jones. It was completely different. But Steve Jordan played with James Brown and loves Motown. What he does is take how I feel about the song and arrange the music accordingly. I usually get just the keyboard player...when I choose the tunes, I sing them the way I want to sing them, and [Jordan will] write it in the way that I’m singing them, as opposed to making an arrangement and I adapt to the arrangement. I sing the song, and he fashions the arrangement around what he’s heard me sing. He comes over to the house, and we sit on the floor of the living room, and he listens to the recordings that I’ve made with my keyboard player. He brings, usually, the keyboard player, who I hope for the rest of my life who will [play with me]. You know, there aren’t a lot of black musicians, and black musicians my age, that I can get to. Most of my contemporaries are millionaires, and I don’t have their telephone numbers. [laughs]

SILY: To what extent are you involved in the mixing and production decisions? Like on “Book Of Lies”, the arrangement has you start out a capella, but throughout that song, your vocals are really upfront in the mix.

BL: I appreciate that. That is absolutely a compliment from any sound engineer and producer, that he makes it all about me. Especially someone as arrogant as Steve. [laughs] He pays very close attention to the words that I’m saying because I pay very close attention to fashioning them to make you hear them. The Billie Holiday song [“Strange Fruit”], most of the younger singers I’ve heard approach this tune, they have great regards for what it’s about, and great regards for Billie Holiday, and being almost 75, I have great regards for me. I wanted all the lyrics to be distinct. I wanted you to understand what it is that happened. It’s not a song; it’s a protest. It’s a jazzier protest. I’m a rhythm & blues singer. And because Steve was born and raised in Harlem, he hears James Brown singing these songs. And that’s what you need to hear if you’re producing. In a recording, it has to be fashioned around me. 

I’ve had some brilliant producers and loved so much of what they’ve done that I’ve felt completely comfortable with fashioning myself around them. But this one and [Things Have Changed] are quite different. The last one was the first time Steve and I had ever worked together. He understood exactly what I was saying so quickly. He read back to me an arrangement exactly as how I sang it. I didn’t want to lend myself to the lavish arrangements they had on originally. I told Steve on the Bob Dylan album, “I don’t want to recognize any of these songs.” He pretty much knows that’s the way I work now. I say, “You know we have to leave this lavishness out. I’m not lavish, I’m pretty basic!” I thought he did such a wonderful job when I went to the studio and heard what they were going to play. Because after he and I work on it, I don’t hear it any more until we get to the studio. There’s not a whole bunch of rehearsing. I do the whole album in 4-5 days.

SILY: It’s interesting that you said you don’t want the songs to be recognizable. That’s the approach Bob Dylan takes when he plays his own songs live!

BL: [laughs] He didn’t recognize any of the songs until they got to the chorus. I took that as a total compliment!

SILY: [Dylan] said that to you?

BL: No, he said it to my manager.

SILY: As much as these are songs on a single playing field, it’s interesting and meaningful that something like “Strange Fruit” and “Blackbird” are two songs that so many people know, whereas something like “One More Song”, which is pretty recent, is a standout among more-known standards. Why did you feel it was important to include that one on the record?

BL: The answer is so simple and ridiculous: Because we just liked it! [laughs] Sharon Robinson, she wrote [Patti LaBelle’s] “New Attitude” and a song for me called “The High Road”. She was Leonard Cohen’s writing partner. When Leonard died, they did a tribute to him in Toronto, and I went and did one of his songs. His family actually requested that I come and sing. That was the first time I ever met Sharon. I had heard “One More Song”, and I told her, “I’m going to do this tune.” Same thing with “I Hold No Grudge”, when I met Angelo Badalamenti. I thought, “I’m going to do this song,” 10 years before I met him.

We submitted [the list of] songs to the company, and they thought [about “One More Song”], “Oh, this is new,” but I said, “We’re gonna do it because we like it!” I think it’s one of the most beautiful songs I have ever heard. You could just be playing the music and it would make me cry. I love this song. She is such a fantastic writer. Listen to the lyrics: Have you heard “The High Road”? She wrote the song for [I’ve Got My Own Hell to Raise], and I just thought the lyrics were so great. I thought, “Well, she’s black, and she’s a woman. She’s a blackbird, so...” [laughs] She was so flattered when I called her and said I did it. When I sent it to her, she was just so thrilled with it. And Angelo Badamenti, who is now probably 90, when we sent “I Hold No Grudge” to him, he said, “I can see a big grin coming on Nina’s face.”

SILY: Another thing that seemed to be really meaningful is including “Romance In The Dark”, because it’s known for being performed by Dinah Washington [“Drinking Again”] and Nina Simone, who you also cover on this record. It’s almost like the whole record is coming full circle.

BL: I really did. The manager that made this singer you see before you today is named Jim Lewis, and my book [A Woman Like Me] is dedicated to him. When he first met me, he said, “You’re cute, you got a small waist line, but you got nothing to sing. You may not become a star. If you don’t become a star, and you still want to become a singer, you’ve got to learn to sing!” So he brought me all these songs by Dinah Washington. I have worked for 57 years because I learned to tap dance and sing [songs like] “Sweet Georgia Brown”. Those are songs that none of my contemporaries knew because they weren’t fashionable. Jim made me learn these songs that nobody else knew that I didn’t want to learn because I wanted to be a star. I’ve worked everywhere I imagined working. He told me I could do that. But even when I said, “I’m gonna be a star,” he said, “Calm down, honey, you may not be.” He talked to Norman Granz and the Verve label because they helped so many black musicians. Many black musicians played with the Jimmy Lunceford band. [Lewis] was the 6th trombonist. If he weren’t already dead, this would kill him. Verve, and these songs, and a black producer? This would kill him.

SILY: Looking back at it all, it’s got to be pretty unbelievable.

BL: It is unbelievable. I thought I was going to die broke and obscure, but now I’m just gonna die broke. But everybody knows me! [laughs] 

[kalluun-patangaroa]

Brett Anderson: ‘I was trying to look at myself as a specimen’

by Helen Cullen

The Irish Times, 28 September 2019

Suede singer discusses his second memoir and how it swings from candour to euphoria

Brett Anderson’s book avoids exploitation of those that travelled within his orbit, with no trace of gossip, blame or exposé. Photograph: Paul Khera 

Here he comes: the beautiful one, with the book in his hand he vowed never to write. It was inevitable. Those who read his first memoir, 2018’s Coal Black Mornings, the bildungsroman which so elegantly deconstructed the childhood, adolescence and ultimate creation of the artist, will understand why it was so irresistible for him; Brett Anderson is a poet who discovered songwriting first.

Renowned for lyrics that elevate the banal, bleak ephemera of ordinary life to something extraordinary, Anderson says he finds “the iconography of mundanity inspiring. I look at a chain link fence and see romance there.” On this occasion, he has taken something extraordinary – cultural superstardom – and made it uniquely ordinary with its grounded presentation.

Once he had embraced the opportunities that writing his own memoir gave him; reclaiming truth from the tabloids, re-evaluating perceived successes and failures, creating the official record of Suede’s history, and all with the precision prose and eclectic turns of phrase that were synonymous with his lyrics, he was destined to keep going.

The first book was written for his son so that he would know his father in a way that is profoundly difficult for most of us. This time around, the book exists because Anderson loved writing Coal Black Mornings so much. “I thought it was really interesting what I did with it,” he explains, “so I couldn’t resist picking at the scab, although I know the experience of publishing this book will be different because of the period of my life that it deals with.”

Charting the ascent of Suede in the 1990s through the halcyon moments of appearing on the cover of Melody Maker before ever releasing a single, to the gut-wrenching ultimate implosion of the band, Anderson doesn’t shy away from either the glorious or the gory. The book ends backstage at the Graham Norton show with the band splitting up; the perfect moment to close as Anderson is unafraid to hold failure up to the light. As he says, “Sometimes it’s not the sparkling moments that define us but the darker ones leading up to them.”

Absence of exploitation

And yet he manages to achieve something unique for the realm of rock biography; the book exhibits a total absence of exploitation of those that travelled within his orbit, avoiding any trace of gossip, blame or exposé. All the revelations are his own; the secrets just his to tell. As such he is dispirited in anticipation of the inevitable trawling through by some for salacious quotes to satisfy a greediness for controversy.

“I know that a gossipiness is going to be projected on to it and that every review will focus on Britpop even though the whole point of the book was to try to talk about something other than that,” he says. “It was slightly naive of me to think that I could write about these things in a more interesting way without it being dragged back to that agenda, but I hope when people read it they will understand what I was trying to do.”

“I was interested in understanding what the industry did to me . . . out of fascination with how it all worked.” 

In chapter one, Anderson explains his ambition was “to use elements of my own story as a way to reach out and reveal the broader picture, to look at my journey from struggle to success and to self-destruction and back again and use that narrative to talk about some of the forces that acted on me and to maybe uncover some sort of truth about the machinery that whirrs away, often unseen, especially by those on whom it is working, to create the bands that people hear on the radio.”

The result becomes a masterclass in understanding the emotional and practical infrastructure of the 1990s music industry. The micro level of Anderson’s unique personal experience is positioned within the macro in an illuminating and thought-provoking manner that contextualises their trajectory.

Amoral industry

“I was trying to look at myself as almost like a specimen,” he says. “The industry is completely amoral. It’s not deliberately trying to romanticise drugs or damage anyone but these things grow out of it. I was interested in understanding what the industry did to me, not by way of complaint, but more out of fascination with how it all worked.”

Reading Anderson’s account of the darkest days of his addiction is harrowing; it’s difficult to reconcile his past self with the refined, intellectual and incredibly warm gentleman waxing lyrical before me on a sunny September morning in his west London bolthole. More than anything, it is a relief that he survived.

The memoir manages to avoid, however, pandering to the cliches surrounding the drug-fuelled mythology of rock stars that Anderson admits being seduced by. Instead it raises questions about the consequences of mining your own self as the muse. If you become personally invested in the dangerous myths that surround creativity – so you must keep perpetuating behaviours that might destroy you in order to create – how do you ever break that cycle and find a new way to work?

Looking back now, Anderson acknowledges that “justifying indulgences is a function of that myth but you do learn that isn’t the only way to create and that you don’t need an external stimulus to generate ideas – that in fact it can have the opposite effect”.

The importance of tenacity within the creative process is a major, and refreshing, theme of the memoir. It is poignant to hear Anderson recount how a fear of returning to the poverty of his childhood drove him to persevere with the band when others might have surrendered. Although many would disagree, it’s clear that Anderson does not consider himself an artistic visionary but rather someone with a great work ethic.

“I was brought up in a very poor family, aware of the narrow limitations of my parents’ lives. Not wanting that for myself and my own family still drives me,” he explains. “A lot of great art has been created because of that fear and there’s nothing wrong with that. I don’t give up and I like how hard I work, that I keep throwing ideas together and in the jumble occasionally good things pop up.”

Press caricature

Anderson’s account of how his persona was curated by the media at the height of their celebrity is compelling. Although his essential self was always driving their creative decisions, the press created a caricature of him that he lost control of and resulted in three decades of a man bridging the gap between his authentic self and a stage persona.

Brett Anderson and Suede: “It doesn’t matter what else I do now or how many great records I make because I was most influential as an artist during a certain time.” 

“It wasn’t something I was conscious of doing at the time but I definitely made choices that fuelled it and the press exaggerated it further and ran with it,” he explains. For all music fans, and the Suede tribe in particular, the book offers these delicious insights into all aspects of the band; their image, songwriting craft, business decisions and relationships with the press. Did he feel any anxiety about stripping away that protective veneer now and allowing the fans and beyond to visit Oz and meet the wizard?

“There was definitely a fear that I might be undermining my own mystique to its detriment but I’m at the phase in my career where it doesn’t matter anymore. If I’d done this 15 or 20 years ago I think it would’ve affected how people see me but by now my image is too set. It doesn’t matter what else I do now or how many great records I make because I was most influential as an artist during a certain time and I can’t ever get away from the perception formed then. It’s galling, irritating, frustrating but I just have to accept that.”

In this, Anderson may not be right. This memoir has a profound capacity to alter the way music fans perceive the industry, their idols and the creative process – and to challenge any fixed ideas they may have about the man himself. In the wake of their eighth studio album, 2018’s The Blue Hour, and the incredible documentary, The Insatiable Ones, produced by Mike Christie that charts 25 years of the band, Anderson is experiencing a cultural renaissance that signifies him as an artist still in his prime. In the memoir he describes Suede as being like “a pram that’s been pushed down a hill” but his legions of fans will be relieved to hear it is finally parked up safely. For now, at least.

Afternoons with the Blinds Drawn is published by Little, Brown on October 3rd

[satsangat]

February 16, 2020 – Astrotransits

Two important energy shifts happen today! Time to pay close attention to the Capricorn and Pisces houses in your chart. They will be the protagonists of your life in March, but all starts now. Mercury turns retrograde and Mars enters Capricorn (more on these tomorrow).

Looking at the chart, you can see that most cosmic bodies are in the last quadrant of the zodiac. The ‘Winter’ time, Capricorn, Aquarius and Pisces Signs. In the Natural zodiac (starting with Aries (Spring), these are the Signs of Society, and the ending quarter of the entire cycle, from the culmination of the evolution to the final dissolution (winter=death).

The 10th house relates to Government organizations and institutions. In mundane astrology, to “those in authority over the nation, whether prime ministers, governments, kings, presidents or dictators. Kingdoms, empires, dukedoms, countries. The police or armed forces when they assert authority over citizens. The Heads of State. The national reputation and prestige.” (skysript.co.uk)

The 11th house relates to the society as a collective, associations of people, groups with a cause, i.e. political parties. In mundane astrology, it relates to the “Parliament, especially the Lower House; the town and county councils and similar bodies; also, friends and allies of the nation.” (skysript.co.uk)

The 12th house relates to endings, to the masses of people and the collective unconscious and cumulative karma. That’s why it is associated with places of confinement. “The prison system; reformatories. Criminals, spies, secret enemies of the nation at home or abroad. Underground movements, secret societies and occult (ie., hidden) groups. Monasteries or places of isolation. Banished or imprisoned persons. Hospitals, asylums, institutions governing those who are weak, infirm, or in need of support, and as a result, the welfare state. In countries where relevant, concentration camps and those kept in slavery or bondage. Homeless people, the wounded and infirm.” (skysript.co.uk)

Those are summary explanations only, there is a lot more to them. But now, you realize how the astrology relates to everything that is happening in the world, right? And, probably it also relates to your life, except that Capricorn, Aquarius and Pisces may not be your 10-12 houses, which makes a difference.

Soon, the Moon will also enter Capricorn and all the planets will be to the East of the Nodal Axis. Everything we are doing is orientated from the past Capricorn themes into the future Cancer themes. If you’d like to know what it means for you, go to my blog post and read about your Rising Sign. https://satsangatastrology.blogspot.com/2018/12/cancer-capricorn-lunar-nodal-axis.html

[jellystonesteel-blog]

One True Seven💜

Fan girls are not just fan girls, we are dreamers.

They call it Hallyu, the Korean wave: the idea that South Korean pop culture has grown in prominence to become a major driver of global culture seen in everything from Korea dramas to Korean skincare regimens, and at the heart of Hallyu is the ever-growing popularity of Kpop - short for Korean pop music.

Kpop has become a truly global phenomenon thanks to its distinctive blend of addictive melodies, slick choreography, production values and the endless parade of attractive South Korean performer who spend years in grueling studio learning to sing and dance in synchronized perfection.

One of the top Entertainment companies in Korea is Big Hit Entertainment, from where my One True Seven BANGTAN SONYEONDAN came from.

I am a fan of BTS, otherwise known as an A.RM.Y. It was April of 2016 as I first watched BTS music video specifically "I NEED U" who suddenly popped up as I was browsing YouTube. After listening to it I actively follow BTS and eventually become a Stan.

Bangtan Sonyeondan has 7 talented handsone member forned in Seoul in 2013, literally means, "Bulletproof Boy Scouts". According to J-hope, the name signifies the groups desire to block out stereotypes, criticisms and expectations that aim on adolescent like bullets.

Kim Namjoon (Rapper and leader)

The official leader of BTS, RM was the first member scouted by BTS founder Bang Si-Hyuk. He is known for his rapping and collaborated with artist like Wale and even was the first of the group to release his own rap mix tape. He’s the only member of the group who speaks English fluently. In September 2018, he delivered an English-language speech to the U.N General Assembly in New York City supporting youth empowerment.

Min Yoongi (Rapper and producer)

Suga is the second oldest BTS member, and is often described as the dad of the group because he takes care of things around the dorm for the others. He started as an underground rapper with the stage name of Gloss. He is known for his rapid-fire rhymes. He is also a producer having contribution to award-winning songs on other artists' projects as well of many BTS own tracks.

Jung Hoseok (Rapper and dancer)

J-Hope is one of the best dancers in the group, and also a literal sunshine angel! He is the third member who joined after RM and Suga. He was first known for his dancing and was a part of an underground dance crew in his province of Gwangju. He also released his own mix tape in March entitled Hope World.

Park Jimin (Singer and dancer)

Discovered by Bighit Entertainment during High School, Jimin is known for his sharp dance moves and he focused on modern dance. He is known for his impressive abs. Jimin is perhaps one of the most affectionate members, towards his fellow band mates and fans. But he can also be quite self-conscious of both his skills as an entertainer and his looks.

Kim Seokjin (Singer)

Jin is the oldest BTS member, although he doesn’t often act like it. He is known for his dad jokes, describing himself as “Worldwide handsome” in response the times his pictures have gone viral, and winking or blowing kisses to the camera whenever it lands on him. Jin was originally studying acting and was infamously spotted on the streets by a Big Hit Entertainment staff member. 

Kim Taehyung (Singer and dancer)

V, also known as Taehyung, Tae, or TaeTae was the last member of BTS to be revealed. He actually did not even mean to audition for Big Hit but had joined a friend for moral support and was convinced by a staff member to try out as well. One word to describe V would be, unique. His voice easily stands out from the other vocal line because of his soulful and deep tone. He loves to play around with fashion and has a great appreciation for art as well. 

Jeon Jungkook (Singer, dancer and center)

Jungkook is the youngest BTS member, also known as their Golden Maknae because he seems to be good at basically everything. Along with his vocal and dancing skills, Jungkook is also quite athletic and artistic. He was also the only trainee that was sent to America for dance training prior to their debut. By the time the group did debut, he was just 15 years old. Jungkook is my ultimate bias and the love of my life.

BTS is now the biggest boy band in the world, topping charts and setting records as they continue on their world tour. 2018 has been an extremely fruitful year for BTS as they have achieved many awards for their music and also become one of the most influential people to date. Gaining even more international coverage from Rolling Stone, Forbes, Vogue, CNN and so on. After releasing their third full length album “LOVE YOURSELF: Tear” in May, one of the biggest events that happened to BTS is most probably their world premiere of ‘FAKE LOVE’ performance on Billboard Music Awards 2018 (BBMAs). In addition to that, they had also claimed the ‘Top Social Artist’ award twice in a row, since 2017. Aside from international achievements, they have also recently walked home with 9 different awards on Mnet Asian Music Awards 2018 (MAMA). During Melon Music Awards 2018 (MMA), they received 7 awards and also 7 in Asia Artist Awards 2018 (AAA)! It is expected that they will also be sweeping even more awards on the upcoming Seoul Music Awards 2019 and also Golden Disc Awards 2019.

No one loves anything more than a fan girl loves her fandom. My love for them can be obsessive, weird, overenthusiastic and extreme, but it's something I am unapologetically proud of. I am an avid fan girl who actively goes to any BTS events whether it is a BTS member birthday celebration, movie block screening and Fan gatherings.

I am a part of Army of Cebu. As a fan, I do love buying merchandise. I have tons of BTS merchandise at home. As a collector, just looking at the albums, magazines, DVDs, photo cards, and all the stuffs that I have accumulated all these years gives me a sense of happiness. I also feel that buying their merchandise and even the products they are endorsing is my way of supporting them as a fan. 

I found BTS during a very low point in my life and I am really grateful for that. They taught me to have a positive outlook in life. They taught me to love and embrace my flaws and turn it into a positive one. BTS is my comfort zone. They let me realize that I am worth it. Just like them, I will run endlessly towards my dream.

No matter how many of us are in the crowd, when they say "Saranghae ARMY," I feel like they are addressing me and the importance of my existence. When they give out advice for us through interviews, when they put out lyrics that really mirrors the current generation's situations or even just mundane lyrics that we can relate to, I feel like they know me personally. They are just so humble and real. They never forget where they started, never take their feet off the ground, and no matter how big they have gotten, they stay true to themselves. 

From desserts to the seas, we were always together.

[abwatt]

Astrology: Sun in Capricorn I

Astrology: Sun in Capricorn I

Time for another column — the Sun’s entry into Capricorn. It’s also the Capricorn Ingress, used in judicial or mundane astrology for creating the forecast for nations. The presence of the Ascendant in Virgo at the Aries Ingress meant that the Libra chart for 2019 was good for six months, so there will be no judicial astrology column at this time.

For us regular folks, I use the ingress chart…