#but their pieces are more exposed to the public because they come from prolific families even when theyve only put in superficial effort

[honeyed-disgraceful]

Maybe my people pleaser tendencies make me fake because I shouldve told those pretentious daddy money art kids they were right when they said "oh you're more of an artist than I'll ever be"

[blackswaneuroparedux]

To the summit in a skirt: Lucy Walker, pioneering Victorian Alpine mountaineer

The stories of women just weren’t written, so people tend to think they didn’t happen. There have always been women who have had the courage to step out into the unknown, and that’s what Lucy Walker did. The fortitude, the bravery, the commitment to the goal - women’s power was not invented yesterday.

- Rebecca A. Brown, Women on High: Pioneers of Mountaineering

Leaving behind a quiet life of croquet and cream teas, Lucy Walker became one of Britain’s finest early Alpine mountain climbers. Her climbing career spanned some 21 years, totalling 90 or so different summits, many being first ascents by a woman. Walker was the first woman to summit the Matterhorn and the Eiger - in a billowing Victorian dress no less - but she nearly vanished from history. 

Her story as a female pioneering mountaineer has always inspired me in my mountaineering sojourns to the Alps and other mountainous places. During my time in the army flying combat helicopters I enjoyed free weekends that did come my way to take off to the Alps with like minded friends and climb together. 

Mountains are so special; they have such magic to them. Maybe it is the fact they are can be so dangerous or maybe it is because they make us feel so small. Even if you don’t even climb them they call to you.You might find that all the problems in your life dissolve when you are around them or that life slows down a bit. All that I can tell you is that after spending time surrounded by them or climbing them you will feel the urge to come back.

Climbing a mountain is the furthest thing from easy. Long stretches of constant vertical climbing can be the most exhausting and hardest thing you do. Not only the physical difficulties but also the mental difficulties will also test you. Exposed and tricky climbing and route finding can get the best of your mental abilities.

The classic quote that tells you “not to look at the whole mountain take it one piece at a time” is something you will come to understand. You will learn to never give up; to know that the reward will be worth the work it takes.

Lucy Walker possessed great strength, endurance and determination and was an inspiration, especially for other women climbers. Indeed she paved the way for a wave of other - largely forgotten - women mountaineers to test the limits of their own mental and physical strength and courage against not only some of the hardest mountains to climb but also some the harshest social strictures against women seeking adventure.

Born in Liverpool in 1836, Lucy Walker was a British woman widely credited as being the first female alpine mountaineer. But this 19th century alpinist left behind no diaries, newspaper interviews, or personal accounts of any kind. And yet her presence haunts the annals of early mountaineering like a persistent ghost. Her serene, inscrutable face stares out from among men in Victorian-era expedition photos, and she lurks in a doorway in a renowned engraving of top 19th century alpinists - all male except for her. In journals, male climbers describe sightings of Walker briefly drying her sodden clothes at a hut or moving fast through deep snow and the astonishment of villagers after she became the first woman to climb the Eiger.

On Lucy Walker’s first trip to the Alps in 1858, she – unlike many people – was not content to remain in the valley but accompanied her brother and father into the high mountains. Whereas today climbers use cable cars or trains for the first part of an expedition, in the 19th century, several hours of steep walking was required. Lucy wanted to climb and at the sight of the Alps she began her life time obesession with mountain climbing.

Walker would go on to become one of the first and most prolific female mountaineers of the 19th century. Over the course of her 21-year career in the Alps, starting in 1858, Walker undertook 98 expeditions, including 28 successful attempts on 4,000-meter peaks. She holds first female ascents on 16 summits, including Monte Rosa, the Strahlhorn, and the Grand Combin, and a first ascent for either sex on the Balmhorn, which she completed in 1864.

But it was perhaps the Matterhorn ascent that gained her the most fame. The Matterhorn was regarded as the most desirable trophy by both men and women mountaineers. Lucy Walker was not the only woman whose dream it was to reach the peak. Various women attempted the ascent, most notably Meta Brevoort (1825-1876), a New Yorker who had settled in England. Just like Miss Walker, Meta was making a name for herself in the mountaineering world in the late 1860s. In 1869, Meta undertook her first attempt to climb the Matterhorn and, approaching from the Italian side, reached an altitude of just under 4,000 metres before being forced to turn back due to severe weather conditions.

Two years later, however, Meta Brevoort decided to give it another go, setting out for Zermatt with the aim of attempting another ascent. Lucy Walker was already in Zermatt though and, on receiving word of Ms Breevort’s intentions, quickly assembled her own group in order to begin her ascent of the Matterhorn, a feat that would make her the most famous female mountaineer of the era.

Long before dawn on July 21, 1871, Walker woke up in a hut on the northeastern flank of the legendary mountain, surrounded by men. She wore her favorite long dress and hobnail boots as she, her father, their guide, and several other climbers set off on snowy slopes in the flickering gloom of candle lanterns.

The mountaineers were probably nervously aware that six years earlier, four men from the first expedition to stand on top of this 14,692-foot spire on the Swiss-Italian border fell and perished on their descent. But Lucy Walker was determined that the American Meta Brevoort would not be the first woman to reach the summit. Walker fully intended to beat her to it.

As the sky brightened and smoke rose from breakfast fires in the village of Zermatt far below, the climbers ascended a skinny, ice-encrusted ridge with heart-palpitating exposure. One mindless step could have sent them plunging a thousand feet down to the valley below. But by midmorning, with willful determination and agreeable weather, they reached the summit. A tableau of rocky pinnacles, meadows, forests, streams, and villages unfurled in every direction - and Walker was the first woman ever to see it all from that iconic perch.

Meta Brevoort arrived just after Lucy‘s achievement to receive the shocking news that she had missed her chance to win the ultimate trophy. That very evening, the two women met each other in Zermatt. What Meta really felt on this occasion is anyone’s guess but contemporary sources state that “there were congratulations” – noblesse oblige.

This would be the only occasion that the two most prominent female Alpinists of the era would meet, somewhat unusual considering that they came from a similar background. Lucy Walker came from a wealthy merchant family in Liverpool and Meta Brevoort from a family of Dutch immigrants who made a fortune in New York as property owners.

Contrary to the strict notions of Victorian society, both women were outgoing and cheerful characters with a lively spirit. According to her obituary, Lucy was known for her “warmth, humour and buoyant personality” while, according to chronicler Cicely Williams, Meta stood out for her “astounding vitality and her exception gift of living life to the full”.

Walker’s other great accomplishment - amongst the many she already had achieved -  was the Eiger. Mountaineers down the ages to the present will say hands down that it is the most dangerous of all Alpine mountains.

The Nordwand, or north face, of this peak in the Bernese Alps in Switzerland is an objective legendary among mountaineers for its danger. Reaching nearly 6000 feet, it is the longest north face in the Alps. Though it was first climbed in 1938, the north face of the Eiger continues to challenge climbers of all abilities with both its technical difficulties and the heavy rockfall that rakes the face. The difficulty and hazards have earned the Eiger’s north face the nickname Mordwand, or Murder Wall. Lucy Walker didn’t climb the north face but she did climb it all the same. Nothing daunted her.

At 10.15 am on 25 July,  1864, a group of 11 people arranged themselves gingerly on the narrow arête of the Eiger’s summit, and “proceeded to howl [themselves] hoarse” in celebration of their achievement. The merriment was more raucous than usual because 28-year-old Lucy had just become the first woman to climb the mountain.

Poor visibility, ice and difficult route-finding threatened to defeat them, but as fellow climber Adolphus Moore noted, in a typical example of middle-class Victorian pride:  “A repugnance to abandoning an undertaking once commenced…appears to be naturally inherent in the breasts of Britons, male and female alike.” When the party arrived back in the village, Moore noted that “the astonishment amongst the people, collected at the inn, at a lady having performed such an unusual feat, was immense and entertaining.”

Lucy Walker was the person that made women visible in the Alps for the first time. She was the first woman to ascend most of the major alpine summits and crushed through the glass ceiling, making it easier for women to follow. And yet the details of Walker’s life remain largely unknown.

At the time, women were expected to stay out of the public eye, avoid celebrating their accomplishments, and conform to narrow notions of femininity that prized meekness and subservience. While newspapers glorified male exploits in the mountains, they often ignored or satirized women who climbed, painting them as weak and unfit—or sometimes just laughable eccentrics. Women mountaineers of the 19th century generally underplayed their accomplishments in letters and books so as not to appear unfeminine and risk ridicule. Many did not write about their expeditions at all. Walker might have kept quiet about her climbing so that she could continue doing it in peace, but she also didn’t let the inevitable jibes discourage her.

“In those far-off mid-Victorian days, when it was even considered ‘fast’ for a young lady to ride in a hansom, Miss Walker’s wonderful feats in the mountains did not pass without a certain amount of criticism, which her keen sense of humor made her appreciate as much as anyone,” wrote Frederick Gardiner, a friend and mountaineer who climbed alongside Walker up the Matterhorn, in an obituary in the Alpine Journal in 1917.

Over the course of her climbing career, Walker proved herself a model of both skill and endurance, climbing mostly with her father and brother and possibly, as some scholars have suggested, outperforming them. She ascended the tallest technical peaks in Europe, braved spectacular exposure with unreliable ropes, and pioneered long, difficult routes through the high cols. According to friends who wrote about her, Walker was witty and lively and had a penchant for hydrating with champagne.

She also went to great lengths to avoid offending delicate Victorian sensibilities and gender roles—at least until out of sight. While climbing, Walker would walk out of villages looking every bit the proper lady and then stash her petticoat behind a rock. Like a chameleon, she transformed from an elite athlete in the Alps to a prim Victorian Englishwoman at home in Liverpool, where her family ran a lead-dealing business. Walker tended to the family house; kept up with her needlework; read widely in French, German, and Italian; and hosted parties. (She chose not to marry, however, which would have been unusual at the time.) There are no records of her ever scaling a British peak or even partaking in any exercise more taxing than croquet.

Perhaps because she didn’t brazenly challenge social norms, Lucy Walker’s activities in the mountains were occasionally feted. International newspapers covered her Matterhorn climb, and the satirical English magazine Punch even published a poem celebrating her fortitude.

“No glacier can baffle, no precipice balk her,” it read. “No peak rise above her, however sublime. Give three cheers for intrepid Miss Walker. I say, my boys, doesn’t she know how to climb!”

Clare Roche, a historian on 19th-century women’s mountaineering, argued that this recognition likely encouraged other women to be more adventurous in the Alps. Katherine Richardson, Margaret Jackson, and Emily Hornby, three of the best women mountaineers of the late 19th century, started climbing within a couple years of Walker’s Matterhorn ascent. Meta Brevoort was also inspired by her example, according to her nephew and climbing partner.

Even before that time, however, Walker was far from the only woman in the peaks. After examining historic führerbücher, books in which guides kept client testimonials, Roche discovered that from about the mid-1860s, women ventured into the mountains on technical expeditions in much greater numbers than previously thought. In the second half of the 19th century, women completed nearly 60 first ascents on Europe’s high peaks and more than 100 first female ascents. These include Brevoort’s first winter ascent of the Jungfrau in 1874 and Margaret Anne Jackson’s first ascent of the east face of Weissmies in 1876.

Letters suggest that while there were rivalries, women climbers also formed a sort of sisterhood in the mountains and helped each other out, Roche says. Even though women weren’t allowed to file papers in the Alpine Journal until 1889 and were excluded from the Alpine Club until 1974, some of their male counterparts welcomed them in the high country. These wild areas afforded rare freedom in a time of stifling social constraints. In coed expeditions, women climbed and slept alongside men, a practice that would have been unthinkable in the valleys and cities. In the late 1800s, women even led men on expeditions without guides, which had been customary earlier in the century.

In later life Lucy continued to walk in the Alps and meet with friends, including Melchoir Andregg, who was the foremost Swiss mountain guide of his time and is still revered today. When asked why she had never married, her typically direct reply was: “I love mountains and Melchoir and Melchoir already has a wife!”

Walker continued to climb until her mid-forties, when a doctor advised her to stop for health reasons that are now unknown. She continued to walk in the Alps long after her climbing career and acted as a mentor to younger climbers, encouraging them to write about their experiences. Although Lucy was an extremely capable mountaineer, she was never allowed to join the male-only Alpine Club in London but did become the second president of the Ladies’ Alpine Club in which she was involved in the founding in 1907. 

Most Victorian doctors advised gentlewomen to refrain from any strenuous exercise; the demands of mountaineering went way beyond strenuous. It is a measure of Lucy’s character that she clearly ignored medical diktats. She was an educated woman, spoke several languages, knew her own mind and was not prepared to conform to any convention if it meant restricting her mountaineering.

In the Alps, she regularly climbed for more than 14 hours a day, tackled some of the most difficult summits and slept in barns high in the mountains, often close by the men in the party. Home life in Liverpool could not have been more different. There she played croquet, entertained and led the respectable life expected of a Victorian lady.

Even on the mountains, she was keen to maintain a feminine appearance whenever possible, always wearing skirts, but removing her crinoline once outside the village. Dresses were arranged so they could be shortened easily on steep or rocky slopes. Trousers didn’t become popular with women until the 1890s, long after Lucy’s climbing was over. She later said how envious she was of the easier conditions women experienced in the early years of the 20th century.

Although Lucy wrote nothing about her climbing, others did, noting her penchant for champagne – a common tipple among mountaineers, especially those who made unprecedented climbs. Lucy would get through several bottles during the course of an expedition. She became a renowned personality in the Alps whom everyone wanted to meet because, as famous mountaineer Edward Whymper, claimed, “no candidate for election in the Alpine club… ever submitted a list of qualifications at all approaching the list of Miss Walker.” 

Lucy Walker died, in September 1917, at 81. But in the century since her death, Walker has nearly vanished from the public record. How many other women quietly pulled off great feats of athleticism but fell through the cracks of history without so much as a whisper? Walker at least lives on in the words of those who knew her.

“Her energies were immense and she was a bold, inveterate and able sightseer,” wrote mountaineer Charles Pilkington in the Alpine Journal after Walker died. “We were often roused by her from our laziness and taken to some point of view or interesting place, which but for her insistence, we might have missed. Traveling in her company was always enlightened by her great vivacity.”

[rockhopsblog]

Kendrick Lamar’s DAMN-- A New Hip Hop Legend

Whether tall tale, truth, or somewhere in between, 13 time Grammy Award winning rapper/songwriter Kendrick Lamar Duckworth’s rise to immortality is nothing short of a cosmic wonder. To go back to the beginning, let’s first take a look at his most recent solo project, 2017’s Album of the Year nominee and Best Rap Album winner “Damn”. The very last track of the album, “Duckworth”, tells of a saga that took place during the rapper’s infancy. The mythic-like storytelling follows the journey of his father, mother, and what would one day become the owner of the record label that propelled Kendrick into stardom. Kendrick’s father, “Ducky” supposedly worked at a chicken fast food restaurant, which “Top Dawg” Anthony Tiffith, proprietor of Top Dawg Entertainment, frequented. Tiffith was a notorious gangster on the block who aspired to be the first one from his neighborhood to reach the life of luxury. Tiffith went on to plan and subsequently rob the chicken place Ducky worked at, but spared his life because he had always given him an extra biscuit with his meals. Because of this decision, Kendrick grew up with his father around, helping to keep him out of the L.A. gang wars and keeping Tiffith out of prison so he could go on to found a record label. Things obviously could have gone very differently, but they didn’t. As Kendrick himself puts it: “Whoever thought the greatest rapper would be from coincidence? Because if Anthony killed Ducky, Top Dawg could be serving life, While I grew up without a father and die in a gunfight”.

Growing up in Compton, CA and making it out to be a success is no small feat. Throughout the years, one of Kendrick’s closest collaborators has been a rapper/blood gang member, Jay Rock, who too came from the neighborhood that Kendrick grew up in. Also a close friend of theirs- Schoolboy Q, a crip. Kendrick Lamar has been on the forefront of using his voice to unify people involved in gang violence and deterring those who may later fall into it. In 2015, Kendrick designed and released his signature shoe with Nike, aimed at the unification of people divided by the lifestyle that many of his friends and family became victims of during the tribulations of his youth. In 2007, a friend of Lamar’s called “DT” was gunned down by police for reportedly posing a threat, an event which seemed to Kendrick was all too common in his life. The silver lining, however, seems to be that there’s no shortage of the tales in Kendrick Lamar’s rap repertoire to depict the dangers and deeper meanings about the reality of gang activity, giving those steeped in that side of life hope for betterment and success. 

In the early stages of Kendrick’s career, he was selected to be in one of the first XXL freshmen, an annual group of rappers recognized by the hip hop publication as up and coming artists. XXL’s freshman freestyles were new at the time, and Kendrick Lamar’s verse in the cypher was prominently featured online and the cypher itself is often looked back on as a classic among those available on YouTube. Those who initially viewed the freestyle session may have come looking for other, better known rappers, only to find themselves stumbling upon the discovery of a young Kendrick Lamar. Around this same time, he released his first official single, “HiiiPoWeR”, which was produced by the now prolific J. Cole. These two, in their own rights, have become widely regarded as today’s best hip hop lyricists for their hard hitting and meaningful bars. Rubbing elbows too with Kendrick was the now superstar pop sensation and rapper, Drake. Drake, a Toronto rapper, has helped launch several careers through featuring on their music because of his viral popularity. When Drake and Kendrick collaborated on Kendrick Lamar’s “Good Kid M.A.A.D. City”, Drake’s career was still in its early stages, but their song together certainly helped garner a mainstream appeal for the release at the time. All in all, it is clear to anyone doing some digging that not only did Kendrick work hard at refining his craft to become prolific, but that he was also met with great fortune in making the correct moves early on in his career to find the notoriety that he now enjoys. 

Fueled by artists such as Tupac Shakur, Ice Cube, Kurupt and Eminem, Lamar has carried the torch forward from the 90s into the modern age of rap. During the famed “California Love” music video shoot featuring Dr. Dre and Tupac, Kendrick has claimed a small piece of hip hop legend by saying he was present in Compton, on the scene for the shoot. As a child, seeing such an idol and icon propelled his drive to follow in the footsteps of the greats of yesterday. In 2015, Kendrick sat down for an interview with the group N.W.A. who’ve had such classics as “Straight Outta Compton” and “Express Yourself”. In the conversation, Lamar said: “anything that I do, it always comes from what y’all done, I wanna get y’all take on my generation today and what we have as far as music”. In response, DJ Ren retorted “I like a few, I like you”. The metaphorical hand-off is evident, from O.G. approval to the strong impact in waves that Lamar has been able to produce from just four major label solo albums. From Anderson .Paak to Roddy Ricch, Kendrick has set out and proved more than he’d ever dreamed of.

Currently, Lamar has two triple platinum records as well as one platinum record which was maybe the most adventurous and critically acclaimed album, not only of his career, but of that decade. Rolling Stone magazine journalist Greg Tate called “To Pimp a Butterfly” a “masterpiece of fiery outrage, deep jazz and ruthless self-critique”.With songs like “The Blacker the Berry” and “Hood Politics”, the fabric of TPAB was woven to reflect the attitudes of a movement of racial justice and equality in a time of great struggle and oppression. Aside from exposing the brutalities of life as a black man in the United States, Lamar also presented the album as a platform to uplift and celebrate the accomplishments and great artistic devotions of black people from around the world. Many consider this album to be Kendrick Lamar’s magnum opus. He has shown that his work has staying power, and that his albums stand out among the formulaic pop-trap that reigns supreme on the radio. Perhaps TPAB has gone the farthest out of any other thing to help cement him as the king of hip hop and the greatest rapper of the generation. 

With a back catalogue so insanely successful you’d expect Mr. Kendrick Lamar to be universally beloved, right? Well, not so fast. No inspection of Lamar’s career would be complete without the mention of his ground-breaking verse on the song “Control” by Big Sean. Kendrick decided to seize the moment coming off of his first platinum album by going after 11 of the biggest names in rap at the time, including: J. Cole, Meek Mill, Drake, Big KRIT, Wale, Pusha T, ASAP Rocky, Tyler The Creator, and Mac Miller. Many interpreted his lyrics in which he called out these artists to be a diss, but we now know that it was, in fact, Lamar’s intent to light a flame under these artists to create higher art. The people named on the verse were people Kendrick truly believed had the potential to create truly classic works, and his bar “I got love for you all but I'm tryin' to murder you” was aimed at them because of the intention to hype them up to work harder and realize that they weren’t inherently owed the popularity bestowed to them. The so-called “Control verse” made such a splash that even rappers who weren’t even named in the song made counter-disses to the single verse in the form of an entire song. Most notable out of these songs were Joe Budden’s “Lost Control”, Joey B4Da$$’s “Killuminati Pt. 2”, and Lupe Fiasco’s “SLR 2”. Despite the negativity spawned from this verse aimed to do good in the hip hop community, Kendrick Lamar’s twitter saw a 510% increase in followers just days after the dropping of the single. If there even was any “beef” to be had regarding this song, it is clear who the real winner was.

From the president of the United States claiming his favorite song was a Kendrick Lamar song at one point, to winning a Pulitzer Prize for 2017’s “DAMN”, the mile-high accolades of Kendrick seem almost too good to be true. However, of all accomplishments, perhaps his greatest is his influence on music. Not only has he single handedly put on several label-mates to the mainstream, but he has risen the bar of what it means to write a good rap song in this day and age. Not content with people who churn out 30 song albums as a money grab, Kendrick has shown that effort is important, that careful construction of art is important. Lamar has also been credited as reviving the importance of the hip-hop music video. It is clear during a listening session on Spotify or YouTube that so many troves of artists, young and old, are attempting to emanate the same X factor that Kendrick Lamar Duckworth has been so highly praised for, and rightfully so.

[witchyaqua]

planets in the 1st house

DOMAIN OF THE 1ST HOUSE:

The self; ego, identity, consciousness

Your name, title, and any other unique words you (and others) use to identify you

Your physical body and outward appearance

People’s first impression of you when they meet you face-to-face

Mannerisms, facial expressions, hand gestures, body language

Appearance as self-expression: the styles and trends you want to dress yourself up in

SUN IN THE 1H:This is an exceptionally powerful placement for your Sun. Anything placed in the 1st House is expressed at its fullest capacity with absolutely no censorship. For you, this means that you cannot shelter your ego from being impacted by others, and you also cannot stop expressing yourself in the realest, rawest way possible. When you are young or immature, people will see you as obnoxious, egotistical, self-absorbed, and self-important. But others will be drawn to your warmth, generosity, optimism, and creativity. Whether good or bad, you impact the people around you in a noticeable way, and are bound to be popular because of your large personality.One way you impact others is through your own personal aesthetic. You have the glamour and the sex appeal of the golden god himself - beautiful hair, a shining smile, muscle tone, a warmth to the colour of your skin, and a taste for bold, sexy, creative style choices that draw all eyes to you. It makes sense that you put a lot of care into your appearance, since it is an enormous source of pride for you. Of course, you aren't immune to bad body days, where insecurity gets the best of you. But the important thing is to focus on what you can change, and what you love about your body, no matter how you might feel day-to-day.

MOON IN THE 1H:Those with this placement are often given rounded features and softness about their face and body. Your look gives an impression of being warm and caring, a fact that is aided by a quiet disposition and telling eyes. You prefer soft, stretchy fabrics in soft colours, and like to feel "bundled up", like you were wearing a blanket. In many ways, you appear young and child-like, perhaps even baby-faced. This planet is closely tied to the maternal feminine, and many astrologers link the Moon to your impression and experience of your mother. When reading your Moon sign’s description, you may find you can relate a lot about what is said of your own emotions to what your mother is like. And in turn, you have become a lot like your mother in this way (whether you choose to acknowledge this or not).It is an understatement to declare yourself as an “emotional person”. You are moody, compassionate, intuitive, and very sensitive to your surroundings. Being so thin-skinned, all of your feelings exposed on the surface, you are permeable in the way that everything penetrates you, no matter how hard you try to erect barriers between yourself and the outside world. You feel enormous empathy for other people, especially animals and small children, and can't help but pick up on all the subtle energies in the air around you. Faced with other people who are upset, stressed out, angry, or on the verge of a nervous breakdown, you feel like the waters of your heart are crashing back and forth in your chest. In quiet isolation, at home or with family, you feel your waters are still, your inner seas calm. In a frenzied crowd, you feel overwhelmed, and run away to safety. And in the wild spaces outside our human cities, you feel at peace, as if the waves are gently lapping the shore.

MERCURY IN THE 1H:You are Mercury and everything it stands for. You flit from person to person, topic to topic, picking up information like a bee collecting pollen from a variety of colourful flowers. From everything, you take a little piece and make it a part of you, adapting to and mimicking all different kinds of people. Frequently, your life changes on a whim. Once you feel you’ve become stagnant, you suddenly change, travelling somewhere or picking up a new area of study. You are restless, inquisitive, insatiably curious. Your mind never turns off or slows down. Books, games, puzzles, studying, tinkering with things in your hand - you can’t sit still for the life of you!When being by yourself isn’t enough, you like to go out and mingle in big groups and talk to people. You need your mental abilities to be challenged, sharpened by wit and forged in the fires of intellectual discourse. This is why you have the potential to become such a prolific public speaker, writer, singer, journalist, or teacher. Your way with words is unparalleled by all but a few. But an obstacle stands in the way of you connecting with a wider audience: there is no filter between your head and your mouth. You say whatever comes to mind, no matter how offensive or insensitive it may sound. This can create tension between you and other people, who become irritated at your rude and audacious behaviour. Others, who are thicker-skinned, find it funny, and revel in the fact that they can say whatever they want around you. A little bit of edgy controversy can get you some attention, but you do not want to be popular for being vulgar and mean!

VENUS IN THE 1H:But despite this placement giving you enormous sex appeal, this is not an especially harmonious placement for Venus. When you take Venusian ideas into your personal identity and merge with the goddess, the value you place upon yourself depends on what other people think of you. Your worth and self esteem are not determined by your own level of self-respect, as it should be. You go out of your way to be as likeable as you can be. You may be a goody-two-shoes, always being sweet and good and impressive. Or you may become a seducer, flaunting your body for attention and adoration. You are gentle, reception to their emotions, compassionate, cooperative, and eager to make another person’s life more beautiful. Yet people call you weak, lazy, indulgent, pleasure-seeking, shallow, and vain. You spend too much time and money pleasing yourself and not enough on improving yourself. As long as your self-esteem depend on the opinions other people have about you,their perceptions of you will cut to the bone, and you will never feel satisfied with yourself.And honestly, there is so much to love about you. For all the hang-ups Venus has in the 1st House, there is no denying the charm and the beauty she gives you too. There is a reason for your reputation as a heart-breaker, a heart-throb, an idol, or a sex symbol. That certain something you have that draws people in and keeps them there is caught by everyone you meet. You move enticingly, like there is a coiled spring inside of you ready to twist little people around your pinky fingers. You enjoy the attention and find it flattering, allowing them to covet you even when you have no intention of making their dreams come true. Aside from that, you also impress with your artistic talents in art, writing, music, design, and acting, all of which come easily to you. And don’t forget your social etiquette – refined, elegant, but not without good humour, people find you as enchanting to be around as fireflies in the night.

MARS IN THE 1H:Possible conflicts aside, this is a very good placement for Mars. Through this energy you are able to exert your will and get what you want without shame or embarrassment holding you back. This placement shows itself very early on in life, as you were the type of baby that kicked and cried until you were free to stretch and move around. You showed an early desire to walk, to climb, to get into things and explore; bravery showed too, as you charged forward into new adventures and never looked back to mom and dad. You got hurt a lot, a trait that can be seen all the way into adulthood. Scars (especially on the face), bruises, broken bones, and trips to the hospital, all a result of you moving too fast, knocking things down, falling over, and your general accident-prone nature. You were one of many children that needed to be put into sports or some other kind of physical activity. Without a structured outlet, your boundless energy becomes destructive.As an adult, you still share many of the same charismatic features as your younger self. You still have that same strong identity, the same desire to impose your will upon others, the same outspoken (borderline inconsiderate) way of expressing yourself. Truth be told, you do not fare well with sensitive people; they find you to be  cruel, offensive, and too overwhelming to be around for very long. If you are wondering why people have such strong, predominantly negative, reactions to you, that would be why! You do better with other masculine people who do not need their friends or lovers to be so gentle. You are hilarious, entertaining, confident, sexy, and you possess enough strength of character to get past the hate doled out to you on a regular basis. Perhaps you are not always the most sensitive, nurturing type of person (if you are at all) but you possess other likeable qualities that draw others to you.

JUPITER IN THE 1H:Exaggerated stories, exaggerated speech, exaggerated movements – all makes you comical, dramatic, and fun to watch! This is what makes you so very popular, lucky, and successful in life. People like you, even when you stick in your foot in your mouth and say things that offend them. For you are totally honest (even brutally honest at times), even when that means telling people things they do not want to hear, and are not about to quiet your opinions on anything. You are totally yourself. You love yourself, and you aren’t about to deny yourself anything. Pleasure-seeking with a big appetite for live, you indulge in hedonistic pleasures all the time. Good food, drinks, shopping, parties, games, entertainment, seeing friends, having fun, school, and travelling make up the list of things you like to do. But be careful. Money slips through your fingers when you spend it unwisely!You are not simply a student of knowledge, who seeks to fill one’s head up with information. You are a student of philosophy and spirituality, who pours over pages of history, culture, politics, language, and the nature of mankind in order to become wiser to the ways of the world. There are big questions that need to be answered. As a teacher, you open your pupil’s minds to all the possibilities hosted here, inviting them to explore topics freely and unrestrained. In the position, however, you are victim to an inflated sense of self-importance and the false belief that you have more wisdom to offer than you actually do. Still, your confidence in yourself inspires confidence in others too – which is part of the reason why you fulfill the role of entertainer, too. Being as dramatic and funny as you are, you were born to perform!

SATURN IN THE 1H: Saturn here usually indicates a long and difficult birth, as if the child is not ready to come out and meet the world yet. Even in the very beginning of your life, you met new experiences with apprehension, unwilling to make any sudden changes to your established routine. Fear seems to run your whole life in this way, making you hesitate and procrastinate and dwell on things long after you should have acted. You are not made for frivolity. You plan out big goals that take you years to accomplish and then work very hard to make sure they are realized in the end. You are a figure of strength, stability, safety, and security; a reliable person one can trust to always be there and to be the same no matter what. But you are also frigid, strict, controlling, and unforgiving, totally devoid of sentiment when you are setting out to accomplish something. You are as stubborn as a bull, as solid as a rock, as enduring and as patient as a mountain, and as persistent as the waters which slowly erode them into valleys below. Responsibility and duty become your two most admirable qualities. Coupled with your intense work ethic and goal-setting nature, long-term success is bound to find its way to you. Even your appearance takes on the qualities of Saturn. An air of chilly superficiality tends to hang around you, adding to the unfriendliness that people pick up on. To some you look mean, cold, calculating. But the expression you wear on your face is there to mask your insecurities and put up an emotional wall between you and other people. Your clothing is apt to cover your body, as you are modest and do not like to show much skin. You are attracted to traditional, classier cuts and darker colours which lend a sense of timelessness to your style. One might get the impression that you are hiding your body, and they would be right. Saturn can make your body feel unattractive or uncomfortable to live in, as you focus on your flaws and what needs to be “worked on”. You are able to discipline your body with a strict diet and exercise regime. You may even be able to lose some of the weight you seem to retain no matter what. But you will always have the impression of being heavier, sturdier, and stronger than you actually are.

URANUS IN THE 1H: Your influence on the world is nothing short of revolutionary, as you characterize disruptive change and innovative individualism. You seek to discover the truths of this world that lay in science and reason. And yet you also ascribe to eccentric beliefs, unusual interests, and strange hobbies in your personal life. You feel entitled to determining your own truth for yourself and possess a highly independent way of viewing the world. When it comes to hard science you are in agreement with the experts. But on topics of spirituality, religion, politics, culture, and world issues, you can be quite controversial in your views. At times, you can be quite inconsiderate of other people’s beliefs and opinions, stubborn in your own, and intent on getting your way at all costs. For this reason (among others) you do better in leadership roles or working by yourself. You need an enormous amount of freedom to express yourself, and often you would prefer just to work alone. You may identify more readily with alternative styles, outcasts, weirdos, subcultures on the outskirts of your own. You may even start you own trends from the outside in. Kurt Cobain, who had this placement, became the face of the Grunge Rock movement of the 1980/90's, and John Lennon became a figure of war-hating, peace-loving, drug-using counterculture in the 1960/70's.

NEPTUNE IN THE 1H: You are a creative, imaginative, and talented artist in your chosen medium. You are a highly spiritual person who possesses uncanny psychic powers, heightened by a lack of emotional boundaries between you, other people, and the divine. You reflect their qualities like a mirror and absorb their energies like a sponge. Perhaps it is because your mother refused to let go of you that you feel so guilty about separating yourself from other people. Or perhaps when you were growing up, your life was so unstable you never developed a secure sense of self. You are so easily affected by other people that their emotions can be overwhelming to the point of madness for you. But instead of erecting walls between yourself and others, you simply look for methods of escaping from your current negative feelings. This is why you are so prone to drug use, alcoholism, and getting lost in your own imagination. You should not feel as though you have to sacrifice yourself and your own happiness for the sake of making other people comfortable. And yet, you do it all the time.

PLUTO IN THE 1H:Pluto in the 1st House makes you look intimidating and unapproachable. You are a figure of power, like royalty, and you gaze upon the world as a ruler does. Some people are hopelessly drawn to the energies you emanate, and some are too scared of you to dare approach. What is true is that you have a deeply profound, highly emotional effect on the people around you, whether you realize it or not. People around you pick up on the intense emotional energy you radiate, as well as the sultry, sexual magnetism exuding out of every pore. Your fashion sense is likely to switch between being sexually appealing and conservative, as you likewise sway between wanting to be an object of desire and being ruthlessly self-protective.Pluto in the 1st House is given to children who needed to protect themselves when they were younger. Some astrologers claim that this indicates that your birth into this world was difficult or life-threatening for you and your mother, beginning life itself with strong birth-and-death themes. Throughout your life, you have learned to be self-sufficient, to support yourself, not to trust anyone (even the people you love), and to observe people for clues as to their hidden motivations. In extreme cases, this could mean a childhood of abuse, betrayal, crisis, traumas, painful separations, destruction, emotional turmoil, and other difficult experiences. This has lead you to become a person obsessed with gaining power over yourself and your relationships, making you very controlling, obsessive, vindictive, and paranoid regarding whatever is “yours”. Depression and anxiety, as well as anger issues and violent fantasies, plague you. But these are all a part of who you are. You are not above using sex or emotional manipulation to get what you want. You are ruthless, dark, and dangerous, and as much of a threat to others as you are to yourself. You can unravel people’s lives from the inside in and force them to burn and be reborn – and you can do so destructively, through pain and anger, or you can transform them through love and acceptance.

-all the information i found is from canaryquillastrology.com

[sl-walker]

Preview

The air was still a little chilly as the city shook off night and headed into daylight, but despite not being dressed for it, Tally didn't really feel it.

"Mountain medicine?" he asked, incredulously. "Surgeon trained in the best medical schools in the galaxy and you used mountain medicine?"

Dawn was breaking over Aldera in pastel blues and golds; somehow, they had ended up out in the Royal Gardens surrounding the palace, pacing the tended paths and surrounded by the late spring flowers.  Before the pre-dawn glow had even come into the sky, Zan had taken him to an early-opening caf-and-tea shop called Turn Another Leaf on the boulevard that led to said palace, and had bought him a cup of herbal tea (citing that caffeine was the last thing he needed after his stim-overdosing) and the conversation hadn't paused but for that.

Now, Zan wagged a finger, grinning sheepishly. "I didn't use mountain medicine, Frayus did.  I just had it two-day shipped from my family on Talus and explained it to him once he asked me what I would suggest; we keep a stock there, imported from Iridonia.  I figured that your lieutenant probably hadn't been exposed to it, and he wouldn't have built up any tolerance to it, so it might do what it was originally used for."

The first thing they had done was circle each other in conversation, revealing bits and pieces back and forth.  Zan had apparently been a surgeon on Drongar, assigned to an RMSU, a pilot program that was quickly discontinued when the cost of maintaining the mobile surgical units and provisioning them became higher than just letting clone medics do what they could in the hopes of them eventually making it to a medical center.

Because, in the cold calculus of war, it turned out it was cheaper to let badly wounded clones die and be replaced than maintain dedicated on-planet facilities to keeping them alive.

Before that had happened, though, he'd had his hands inside the bodies of hundreds of Tally's brothers, while the GAR tried to protect the very expensive 'medical miracle' called bota.  Tally remembered some talk about it; it had been a cure-all, until a retrovirus introduced by someone -- no one even knew which side or if it was an outside group, everyone disclaimed responsibility -- had altered its genetic structure, making it permanently unusable and nothing more than a prolific weed.  Having no monetary investment to protect anymore, both sides abandoned Drongar.

"Someone reported me for using it on patients, back when it still worked -- troops and natural born soldiers -- and it turned into a mess," had been Zan's explanation, when it was still dark and they'd only just gotten started, and while that wasn't enough to win Tally's trust fully, his estimation of the zabrak went up several fold anyway.  Because bota was so expensive and coveted that of course it was for the rich and powerful civilians and not the people dying and bleeding to protect it; that Zan went against that (and paid for it) definitely was enough to catch Tally's attention and tentative admiration.  "I come from a wealthy, powerful family; they would have made an example of me if I hadn't.  Still, I was disgraced; I escaped criminal charges of treason and theft, but I was thrown out of the army and stripped of my accreditation in the civilian sector.  I had to pay back my wages, lousy as those were."  He had shaken his head there, heaving out a heavy-sounding sigh. "I'm good enough with a quetarra to live well, but--"

"Do you miss it?" Tally had asked, pointedly.

"I didn't think I would, but yeah."  Zan had held out his hands, fingers splayed, looking down at them. "At first, I was just relieved to get away without a criminal record, and to get away from the blood and gore and misery of the front lines, but-- yeah, I miss it.  Not war, but being a doctor.  Medicine.  Surgery."

In between all but interrogating Zan, Tally revealed little bits and pieces of how he knew what he did; it wasn't until they had been talking for awhile that he realized Zan was letting him get away with not ponying up an equal amount of information, and while that made him wary, he was kind of grateful for it, too.

Now, most of Zan's history was out in the open and the talk had turned to current medicine; in this case, a mountain flower native to Iridonia called rasash.  Because it was the first time Tally had ever had a doctor and a zabrak to prod for information and there was only so far that medical texts could take him.

"How'd you know that it would work on a hybrid?" he asked, plunking himself down to sit on a bench and finishing the dregs of his herbal tea; he'd gotten rid of the headache, but he could still feel his own exhaustion.

"I didn't, but even if it didn't work, it wouldn't have hurt him any.  Humans occasionally gain a taste for it; it doesn't have any medicinal effect on them, though."  Zan shrugged and lowered himself down to sit at the other end of the bench. "It was known to work on inflammation in zabraks long before we kept records of those things, old clan remedies.  Over the past tens of thousands of years, it became a common thing in most family pantries; everyone stocks it, drinks it, and it doesn't really do anything for anyone these days because it's so commonplace everyone's built up a tolerance.  It's tradition, it tastes good and reminds them of home or family.  But since he was isolated, I thought he probably hadn't been exposed to it and that it was worth a try as the most gentle way to get his immune response under control."

Tally had stolen Zan's datapad, which was networked to the palace's medical wing, and had called up Maul's stats.  And they were improved; it wasn't a cure-all, he was still a mess, but he was a mess whose status was under control and who was actually resting properly for the time being.  Slow-wave sleep, something Maul desperately needed at this point.  "How'd you know he was isolated?" Tally asked, bluntly.

Zan's usual reaction to his prodding, especially when it was sharper, seemed to be either amusement or sheepishness.  Now, he sucked a breath in through his teeth and rolled his shoulders in the warm morning light. "That's another long story.  Are you sure you want it now?  You look like you should probably go back to bed for awhile."

"I'm sure."  Tally smiled, just a hint of sharpness in it. "Because I might just be a medic--" And there, Zan snorted at him. "--and you might just be a quetarra player now, but let's not pretend there's no deeper reason why you're here to 'consult' with."

"I can't go into that part," Zan answered, raising his brows again. "Not yet.  That, you'll have to take up with Viceroy Organa."

"I intend to."

"As to the rest--"  The zabrak took a deep breath and let it out, then leaned back against the bench and tipped his head back, sprawling there.  "He approached me after I was back on Talus for a little while, feeling wretched.  He invited me to meet with him.  Then he proceeded to grill me to within a centimeter of my life.  You've talked with him-- he's a gentleman, but he's certainly not lacking any speed.  He had apparently been vetting me before I even knew his name, and he asked me enough questions to make it clear that he knew a lot more about me than any public records might show.  Then, just as I was feeling like I was either being recruited as a spy or about to be buried in an unmarked grave, he offered me a place in Aldera here, and an audition with the Orchestra."

Tally chewed on that for a few moments.  Long enough to feel a little shiver in his spine; a thrill of fear.  Or maybe hope.  Or maybe some tangled up combination of the two, a hint of something much bigger than expected on the horizon.

"And just in case you ever need to know, I'm working on Maul's situation too."

Tally knew his brain wasn't up to speed right now, but he was starting to get the sense of just how far Organa had been going since he'd told Tally that on Corellia.  He had thought the man was trying to find some legal loophole, but now -- presented with a compassionate, principled, disgraced zabrak surgeon who had apparently been maneuvered into this, if kindly -- he was starting to suspect that it was a hell of a lot more direct action in nature.  "He wants to know if those cybernetics can be cracked without killing Maul in the process, doesn't he?"

Zan reached over and swatted him on a shoulder. "Come on, don't push.  I'm sure he'll bring it to you before long.  He made it incredibly clear how much he respects you and how nothing gets done without your involvement."

Tally's eyes wanted to close without his permission (again), but his eyebrows went all the way up at that. And completely outwith himself, he felt a sharp rush of affection for the Senator from Alderaan.  His crush had died on Corellia, but the respect he had for Organa hadn't, and now here was another reminder of why: For Bail's faith in him, for the fact the man was working on exactly what he had said he would, but--

But also, for loving Maul that much.

For the first time since before Felucia, Tally could almost feel hope again.  The loss of Rabbit still was digging a hole in his heart, but he felt a little like he could breathe past it easier than he had been.

[chansondesalleurs]

Picking up a tag from @natsumi82​ and @theon-greyjoy-has-a-good-day​ who gave some A+ answers in their turn, and are super-fun and loving all-round. I only want to apologize for what I deem an awful lot of toing-and-froing in between trying to make sense of my own inclinations and individual preferences – it really was a case of a surprise host of half-formed ideas collapsing in on themselves before they could get past that early developmental stage – and scouring my mind for outcomes to go with a piece that is easy to assemble and assumes a larger perspective than even a cursory reading of the characters involved would have me adopt.

I am crazy attached to some of these folks, and I wanted to be able to think things through to ensure that the underlying aspects and idiosyncrasies attained their most vivid expression and slotted right into place in my head.

Basically my answers for the ubiquitous A Song of Ice and Fire ensemble – guessing you can pick any fandom, though?

Rules: Answer the questions and then tag seven people.

• First character I fell in love with: Daenerys – like many others, be it part of GRRM's earliest fanbase or stumbling into fresh territory through an episode or ten of the famed television series, royal exile Daenerys and her entourage were my introduction to some of the author's most varied, diverse even, work to this day. I remember being handed a copy of the first volume in the series to look over at my leisure, and whether a closer squint was enough to hold my attention, when my folio fell open in the middle of a pretty engrossing Dany chapter. I am not a hugely sentimental person when it comes to fictional characters, and I rarely, if ever, loosen up enough to allow myself the occasional sniffle, all the same I kept rooting for Dany to bail the crap out as she gamely went through the rigmarole of pitiable deprivation and a dearth of general levity, with no real sense of belonging and the looming absence of lasting familial comforts to prospectively sketch her demands of the world and help ease her way through life.

Dany's overreaching arc is essentially about being displaced. It's not that she accepts her marriage to Drogo (she doesn't) any more than she wishes for the cruelty visited on her by Viserys to continue – including, apparently, a measure of sexual cruelty – or the material eschewal of what property they may yet stand to salvage to endure, barely more than a girl herself, if ironically old enough to see through her brother's illusions of grandeur, and just as conscious of his manifest shortcomings. We talk a lot about the moral and social dilemmas that face Daenerys on the heels of her outlandish fire and blood, birth-of-the-dragon one-off, which likewise marks the high point and execution of a narrative crescendo laden with symbolism in the structuring of ASoIaF's three-act fantasy plot. A similar consideration is whether a uniform, non-peddling approach to competing claims of distinction and the gamut they seem to run from “Dany is a petulant child monarch with questionable ethics and twice the gall that renders one a liability more than an asset” to “Dany is Mary Sue-material, and I'm an owl” is tenable. I'd be lying if I said that the love I have for the Mary Sue type myself is circumstantial and a little tongue-in-cheek, quite the opposite. Besides, I like to think of owls as choice company which, as is the way with all things impossible, rocks way harder than I do.    

Most of the time, the thematic conflict here is enough to compact all the absurdities of the political and the personal, as action and re-action both are being attributed to Dany to lay out a dawdling path for the major events at work. In such a context, even her route around Slaver's Bay is clearly, if concisely, mapped out as she travels from Illyrio's vast Pentoshi mansion out to the plains of the Dothraki sea at the heart of the Essossi continent, and eastward by the sea. As the book opens, it becomes evident that her function is to serve as a stepping stone for her brother's vengeance, who is later revealed to be a pawn in an ongoing game of political ambition and secrets, and (let's face it) probably severely traumatized due to circumstances as a young fugitive on the run. In time, the covey of strands merge to form one long, drawn-out account. Although new cracks appear in the wall as Dany stumbles and falls in her pursuit of an autonomous existence, which the text insists is all the present concern, she nevertheless looks poised to rise above her predicament as a child bride and dweller in foreign lands, and much like the narrative imperatives of suspense and intensity dictate, lead her people to greener pastures to perform the sort of zippy junk the priests foretell.

I interpret Dany's single most prolific desire as this i n t e n s e  yearning for a place to call home, which is not so much a conversion as a double-natured energy at the edge of her inner vision, and thus difficult to quantify. Initially, Dany is projected to vary her brother's concentration circa-Game on the massive landmass across the Narrow Sea, theirs by right, notwithstanding that a certain idle desire of their former abode (“a house with a red door” outside Braavos) does still remain with her, tinting her expectations about Westeros. Now I've only ever heard the term “identity” used about this series of books, but my understanding of it is that it compresses all the debates within itself, rather than set them in awkward juxtaposition. I feel like the whole of A Song of Ice and Fire is predicated off of a descriptive relationship between belief and prejudice, intended and unintended consequences, the semiotics of power and intent, interacting motivations and an expunging of the self, which, at times, might threaten individual subjectivity and its foray into the surrounding hinterland of public conviction with a kind of falseness.

In A Song of Ice and Fire, the difficulty of matching one's core self-definition and aspirations is highlighted by the contrasting responses of the world. The question of how to truly know another hangs over GRRM's characters as they attempt to recommend themselves to their social and cultural milieu, and with respect to Dany, who seems to be motivated by some sort of reduction of suffering for the most people possible, it is none the less striking. Rather than allowing her experiences to enfranchise her from any duty toward her immediate circle, the personal happiness secured by Dany is presented as not just a matter of carving out a niche for herself, but of drawing in the communality of her charges, on the alert for future trouble, and on an unprecedented scale. As she sets out without a settled home, her brief stint in Yunkai, Astapor and Meereen becomes the acme of transient living. In the midst of backchanneling to a rigorously-ordered hierarchy, smashing the entire economic structure of Slaver's Bay in one fell swoop, and from no model but the vision of her meditations, runs an unstaunchable river of need, so that Daenerys must long either to return to the dwelling-place of her brother's manic summoning, or to substitute the distance in between with her own philosophy in life. Her oft-repeated mantra of 'I am the blood of the dragon' and  'If I look back, I am lost' is almost a prayer with Dany, not ominous in hindsight, yet furtively reminding us that security is beyond certain. In any case, it is some combination of her identity as a dragon and last surviving daughter of House Targaryen that steels her resolve, and ultimately saves Daenerys from beyond the pale of actual matrimony when Viserys (or rather, Illyrio) and Drogo come to an arrangement between them.

Two kinship plots contrast and tangle from this point onwards: her relationship to motherhood, and that of Daenerys as a dragon. In the beginning, Daenerys is unwilling to expose herself to the visitations of dragons – a direct parallel to Bran's encounter with the three-eyed crow and his uninhibited arsenal of wolf dreams – as they regularly conflate with thought-trains of Viserys, and all that may be bestial or ungovernable in human behaviour. With the passing of Viserys, Dany literally becomes the dragon, and in giving life to a triple-clutch of fossilized dragon eggs, she becomes a mother, too. Thus begins Dany's quest to re-make herself as her own patchwork mishmash of ideals and circumspect values, and because the only realistic source from which to take her opinions is, and always has been, Viserys, she must expend thrice the effort necessary to incorporate the originals available into a larger schema, one that she can be reasonably proud of.

During her time in Meereen, Daenerys is placed in a peculiarly tender relation to her Targaryen heritage and its vocabulary as the only other inhabitant of her commonwealth, which is a solitary island more than a permanent country seat. Soon she feels compelled to put away her dragons, keeping them under lock and key, and that decision, in turn, proves a threat to her usual blithe equanimity and conception of selfhood. At a stroke, the dragon motif and its invocation within Dany's inner orbit achieve yet greater intensity in this double deuce of names as talismans, as diminutive item forms full of meaning that is impartial and genuine and unique to the individual. ('Remember who you are', per Quaithe's words.) Daenerys later formulates this in an almost therapeutic burst of feeling imbued with a past beneath consciousness, now finally 'in play', and if there is a failure of tact in her haste to relieve herself of the traditional tokar before she takes off on Drogon, she is all the better for it.

By the end of Dance, Daenerys is shown at her most self-conscious: smarting under an increasing series of moral concessions, buried beneath the rehearsal of fixed impressions, a meagre ghost of all that has gone before in the confines of her formal position. All she can do to recover any sense of equilibrium is to gaze with clear eyes on past mistakes and admit, at last, to the full scope of her decisions against the political landscape of Meereen, much as her actions are curtailed, and she is relegated to interpreter between all the various household commonwealths, and an observer in each. In Daznak's Pit, her psychic drama is addressed when she finally breaks through the barriers raised by her intelligence of her own mixed motives, and in this switch from a state of stasis to acceptance, she is released from last lingering pretensions and reunited with one of her children. For one, Dany is left to contend with the discovery that she has been seeing in glimpses, or through distorted lenses, for she must indeed 'go back to go forward', and it is a monumental experience that frightens her, because she cannot pinpoint the apparition of Drogon and what it portends. The reader can share in the sumptuous relief, communicated for the most part through an imitation of intimacy as Dany acts to reconnect with Drogon, swooping in to bodily snatch her from her path of ruling malaise, and to rediscover a part of her as well.

So, it is definitely some sense of character emerging from the gloomiest surroundings that resonates with me, not the sort of button-pushing, id-pandering thrill of being given a magical boon of recognition and going around dispensing justice as if all it takes is a pinch of salt (and glittery effervescent Faerie Dust), but the author's express engagement with such an ambivalent setting, politically and ethically, and hence perhaps his reluctance to let the character off the hook easily enough, or without the compensatory gravitas of charting Dany's journey after she acquires her dragons, and its implications for the text. Like, Dany is 14 when she performs what has been, on numerous occasions, described as a miracle. Even if we assume that she has the chutzpah to get by well enough and survive by the heft of her own clever bootstraps, the fact that her retinue now consists of quite a few people and a triptych of hatchlings cannot be ignored. Obviously humanity doesn't work like that, but let's put this argument aside for the sake of the books being pure, unbridled fantasy. Dany is forced, early in Clash, to navigate the Red Waste unprepared, and riven by a shortage of supplies. Are we meant to believe that a teenager who has already suffered an assassination attempt on her person, and whose grasp on politics can be defined as rudimentary at best, would not be casually roped into a situation where the more leisured would seek to placate her for their benefit, if not write her off as a nuisance in light of her most recent investiture?

Daenerys is unique among GRRM's cast of compelling characters in one respect at least: her own network of connections and other affiliations is, unlike the rest of the action, located in Essos. She is also, iirc, the first character to accomplish so much about a fraction of the way in. If the trajectory of Dany's character arc convinces, it is because it gives the reader direct representation through Dany's inner-POV, and so largely escapes bathos before rebuking the audience with this Celtic knot of complicated interactions and endless politicking, which the author has spent way too much time building up to tear it, in a matter of pages, down. It is interesting to me that the exploration of the different shades of right and wrong, withdrawal and passion, has clear advantages to a fabulist in search of the perfect sequence to take Daenerys out of Essos and drop her in the middle of Westeros, when the alternative is easier to accommodate and far, far more appealing. I'm not the biggest GRRM fan, and if we're talking aspects of the main plot, there's a lot to pick apart, but I have rambled since whenever, and I need to get this into shape. I'm just saying that I consider this Meereenese thing one of his best/worst experiments with fictional spaces, and though mileage on how successful this has been may well vary, following Dany as she proceeds to shed her brittle exoskeleton and cross an invisible boundary upwards to become her own person is a seminal experience, 10/10 would rec, especially since the result of this ecdysis is a character refusing to be daunted into submission, refreshingly uncowed by the immensity of her cutting designs, and much as this word has grown obsolete, c o m p l i c a t e d. Then again, what isn't?

(Brevity and I have now gone our seperate ways. Imagine if I tackled fandom religiously and with gusto. This could be a joke for the ages.)

• A character I never expected to love as much as I do now: Stannis – so. here. First off, I love Stannis. Took me a while to warm up to him, but it was bound to happen.

I figure I'm just going to be earnest here as I admit to a queer sort of fascination with Stannis Baratheon, whom I found so irritably dour in Clash, and then in over his head, and then kind of arrogant, and then FINALLY about when he went north and everything that happened there and blah blah blah, I grew to love with a passion. Plus, I really ship him with both Jon AND Davos now, but what even is a Stannis without his Onion Knight, you might ask. Besides, his interactions with Jon throughout Dance are like, the highlight of the book for me, so very clever and typical of both characters.

Stannis is devisive internally; my headspace splits and goes in all sorts of different directions and it’s consequently really difficult to gather my feelings into a cohesive opinion. I think he’s a fascinating character, partially because he does inspire such confusion. Stannis is charmless, inflexible, stubborn, confoundedly upright, and has persistence past the point of common sense. He has no charisma, and his insistence on kingship seems to me to stem not so much from ambition as from some misguided attempt to reinstate himself as the rightful ruler of Westeros, born of duty and a sense of obligation. This is an unpopular opinion to fess up to, but I'm not one to hold any degree of coldness or callous behaviour against Stannis, at least not to the exclusion of any real depth of feeling. However, it's the sort of feeling that motivates those who have known immeasurable grief and despair, who have been loved and forgotten, and above all, denied everything they've ever deserved that defines Stannis more than anything else.    

Even as a person rather than a name/title, Stannis is flawed, if not outright tragic. He's a character full of diametric contradictions, which is why I could talk about Stannis till the cows come home and still never quite get to the core of who he is. Part of this, I suspect, is because GRRM is not all that inclined to allow his readers to peer into Stannis's head, and so Stannis becomes accessible to us solely through the POV of his advisors on one end, and Jon on the other. It is my contention that Stannis tries to do good, even as he fails. The king/man duality with Stannis does not negate the tensions between the contradictions, but even so it will probably be his undoing.

While we're at it, I will also say that I come to Catelyn Stark from a slightly different angle (albeit with similar results.) Catelyn is probably my favourite character in the entire AsoIaF!verse, bar none, as well as someone I identify with on a deep, personal level. Just to paint you a little visual, when expressing love for Catelyn among a group of my rl friends, I was told that the character isn't necessarily the most fun to read, that they were systematically put off by how dreary and maudlin she can get, and I understand that. For one thing, Cat's chapters are like getting dragged through the grief of a woman who is living out the destruction of her house's words (“family duty honour.”) GRRM's portrayal of Catelyn is that of a typically feminine character who embodies a classical role of historic femininity (motherhood), and who refuses to be rendered as a passive agent. I can only think of one or two other characters with ties to motherhood like those assured in the figure of Catelyn Stark – the entire Dany narrative provides a rich seam in that regard. But while Catelyn refuses to be objectified or designated to a footnote, even written on a course to become a voice for conciliation, it is in death that the pressures threatening to suffocate her in life are relinquished. The point here is not a channeling of un!Cat's involvement in an ongoing crisis through the accents of renewed importance, but rather becoming in death the incarnation of impulses her living counterpart would struggle against. As such Cat's tragic narrative progression, in which she is sadly unmade in terms of her principles and begins to unravel mentally as a result, is thematically beautiful and so very poignant.  

(Btw, I realise that I'm biased in favour of both Cat and Stannis, if for no other reason than show-wise, Michelle Fairley and Stephen Dillane are two of my absolute favourite actors, so this a lot like tying up all that's ever mattered to me in a nice little bow and everything.)

• A character that everyone else loves that I don’t: [/confession time] i was about to say Jon Snow, which FRANKLY is a bit of a ridiculous statement considering how much I stan the guy. Ugh, Jon, my apologies; I am a mess. ALSO! because I went into some detail with Dany, I figure I might just have to whip out my devious card of deviousness and dodge the question a teeny bit by talking about what attracts me to Jon as a character. Saying that I'm only tangentially interested in Jon's arc is nothing short of an understatement; mostly, there's enough fandom people who talk about Jon more and better than I ever could, sorry!

Since I have very little defence against this double-whammy of understanding of character and Jon's motivations, to my notions, the range of feelings provoked by his inner-POV has imo more to do with Jon learning that he's not the centre of the universe – not because Jon himself seems to think that, but because it's what makes him more than a troperiffic prophesied saviour of mankind within the heroic paradigm that he inhabits. Of course, that may change, what with Aemon's stanza of “kill the boy and let the man be born”, and the mystery (?) of his parentage coming out to test, as I suspect, Jon's deep-seated convictions. I strongly believe that Jon is the key to the restoration of balance/fighting off the White Walkers thing (along with Tyrion and Dany) and the only secret Targ that is needed. In simpler terminology, everything from Jon's tentative introduction to his arrival at Castle Black to the ranging beyond the Wall to his coming-of-age narrative with Ygritte and the wildlings leading up to his et tu-Brute moment at the end of Dance has been expertly crafted so far, and explored with the lightest touch. Good stuff.

• A character I love that everyone else hates: Aeron Greyjoy – the “Damphair” is on the little support ship I tug along beside me dubbed the U.S.S Kraken Force Extaordinaire. I love Asha, and I love Theon. I just really love the Greyjoys, and Aeron's Kingsmoot chapters in Feast are fascinating to me.

• A character that I used to love but don’t any longer: not being coy here at all, but honestly, I can't think of any. At the most, I guess I wasn't all too keen to take up Bran and Arya's stories again in Dance, which BUGS, because bb Starklings!! But no, that's about it.

• A character I would kiss: natsumi82 speaks to my soul; Jaime and Theon are like obvious choices here.

• A character I would slap: um, Gregor. Worst plan ever, I know. /whelp

• A character I’d want to be like: Brienne! Who is not just a hell of a fighter (!!!) but also has the ability to remain kind in a world that seems bent on pitting her ideals against the harsh realities of her setting. Brienne is my lodestar, and my second favourite character within ASoIaF, one that I've written about and will continue to write about. For my part, I'm still hanging on the edge of my seat, hoping against hope that GRRM delves deeper into her relationship with Jaime, and in that way we as readers will be able to examine how their characters have changed, and the comparison of that will be sizzling.

• A character that makes me laugh: all three Lannister siblings are hilarious to me!

• A character that I miss: Ned (also, if you didn't know how I felt about this character, now you do.)

• A pairing that I love: Jaime/Brienne (see above), Theon/Robb. Further yet down the ladder are SanSan, and Ned/Cat.

• A pairing that I don’t like: While I'm only really at the omnishipper point for fandom as a whole, at this point I have het ships, slash ships, crack ships, OT3 ships, poly ships, doomed ships (you don't want to know), and just about anything else you could name, I can’t think of any off the top of my head that I’m just immediately like GET IT AWAY FROM ME AND KILL IT WITH FIRE. With that in mind, I might have to make an exception for Petyr x Sansa.

Here are some people I tag: @irhinoceri @drafee @valorfaerie @blackbetha @gwendoline @earningbournvilles @bibliophilic-cat

[peckhampeculiar]

Making his mark

 WORDS BY LUKE G WILLIAMS; PHOTO BY LIMA CHARLIE

Taxi driver, YouTube polemicist and celebrated performance artist, Mark McGowan’s diverse career has won him worldwide media attention. The 55-year-old’s often comedic and absurdist approach has inevitably divided opinion – particularly within the notoriously snooty art world.

However, the power of his work is undeniable, and – for this writer – its public, provocative and political nature makes it far more relevant, involving and moving than any number of fusty artistic relics tucked away in inaccessible and dusty galleries or archives. 

Mark also proves an interviewer’s dream – witty and thoughtful at times, angry and emotional at others, he is never less than candid while also remaining scrupulously polite.

Although he no longer lives in Peckham, Mark is an unashamed advocate of the area, where he spent the majority of his formative years.

“I love Peckham I really do. I moved out a couple of years ago but I lived in Peckham for about 40, 45 years,” he explains, south London inflections and cadences dripping from his voice.

“I grew up on the North Peckham Estate and we lived on Denman Road after that.

“I’m from an Irish Catholic family. There’s a big Irish community in Peckham. At 56 Talfourd Road there used to be a massive Irish Catholic social club, a membership club. It was enormous – upstairs you had a bar and a dance room and downstairs you had a big dance and music venue.

“People went there on a Friday, Saturday or Sunday night. Bands would be playing, kids and their families would be there, everyone drinking. Lots of Irish people lived on the North Peckham Estate and after the club we would have parties with lots of Irish singing.”

Peckham and Camberwell run through the story of Mark’s life like the words through a stick of rock. His parents married at Sacred Heart church in Camberwell in 1962 and he is a former pupil of St Francis primary school on Friary Road and St Thomas the Apostle College on Hollydale Road.

“I thought living on the North Peckham Estate was absolutely amazing,” he says. “There was a labyrinth of places to go, places to hide and places to play. It was a maze. We’d come home from school and go straight out and be playing. We’d play football until it was dark.

“There was some tragedy as well. I remember a guy who worked with my dad got stabbed and killed on Boxing Day. The police were quite often on the estate running around and chasing people, but to me as a kid it was the best place ever and I felt so safe.”

Mark’s route into the art world and cult YouTube stardom was somewhat circuitous. The story begins – sort of – in Ibiza of all places, and takes in diversionary visits to the Maudsley and Bethlem hospitals along the way. “The first time I went to Ibiza was 1982,” he explains. “The rave scene kicked off there in 85 or 86 and I stayed there until about 94. There were lots of drugs and different things going on. 

“I was always interested in drugs and experimenting with them – LSD, mescaline. It was very interesting times but then I caved into harder drugs, heroin and crack and so on. Then I was on the streets, in parks in Camberwell and in the Maudsley for like 10 years. That was the progression, that’s the Peckham life,” he adds with a dry chuckle, before pausing, and adopting a more serious, contemplative tone.

“Things became really hard. Life was really hard. Through my drugs treatment I ended up in the Bethlem, which is a part of the Maudsley, trying to get clean.

“Then I got this second chance. I got to go to the Camberwell College of Arts. I’d seen that building all my life. I sat outside the college for about three days trying to get on to a foundation course and in the end the dean, a guy called Hughes paid for me, which was pretty amazing.”

While he was studying at Camberwell, Mark began what he describes as a “10-year practice of performance art”.

“I started rolling and crawling through Camberwell and hanging from trees in Peckham.

I pushed a monkey nut with my nose to Downing Street. I crawled to Canterbury. It was before social media but I got a lot of attention. Some people would just laugh at me, say I was a joke.

Other people could be quite confrontational. The thing is, people don’t know what to say about performance art, it’s like the lava lamp of the art world. People mock it.

“I came up with this phrase: ‘I decided to take part in the spectacle and entered it at the shallow end.’ I was critiquing art itself – it was the time of Tracey Emin and Brit Art and all that. I was also critiquing the media.

“One of my primary purposes was to get on the telly and reclaim the work. So I catapulted an old lady in a [homemade] space rocket and I pulled a double-decker bus with my big toe.”

Mark happily characterises himself as an outsider. Ironically, however, his work has crossed over into the mainstream far more often than many of his contemporaries – having featured on the likes of the Richard & Judy show or as a light relief segment on local news bulletins rather than in Art World magazine. “Every artist likes the idea of being misunderstood,” he says, somewhat self-deprecatingly. “It’s a really crappy position to take but most artists like to position themselves like that.

“I didn’t go out to try and get into Art World magazine or whatever. I would love my work to be critiqued, but performance art isn’t respected or acknowledged enough. I’m still an outsider.

“It’s so difficult with performance art, because it has another language. It doesn’t follow the way that people watch a film, for example. It’s not easy to digest or consume. It’s hard to understand.

“Look at Extinction Rebellion – they were doing all sorts of performance type pieces and they were being absolutely ridiculed. People were screaming at them.

“A lot of performance is quite shame-based. Anything creative is shame-based. It all goes back to being at primary school, and people laughing at your work, saying, ‘What is it meant to be?’ Shame is in us all. It curls your toes and consumes you.

“When I was crawling to Canterbury I would get people being very abusive, shouting, ‘Get up, you crackhead!’ and things like that. It was quite incredible to hold that shame in myself. It was no different to when I was using [drugs], sat in Camberwell Green with a big winter coat on in the middle of summer drinking and taking drugs.”

The “Chunky Mark” stage name of Mark’s street performance art days has since evolved into a whole new persona, that of the “Artist Taxi Driver”.

“The Artist Taxi Driver has gone off on a whole other tangent,” he explains. “It’s very political. That persona has taken over. It’s quite conceptual. It’s difficult to explain.” 

Clad in sunglasses and filmed in his taxicab in between fares, Mark’s Artist Taxi Driver is avowedly left wing, making strident political points and reviewing the newspapers in rants filmed daily and uploaded on to YouTube, where he has nearly 60,000 subscribers.

It’s a persona that seems much angrier than the Mark McGowan who speaks to The Peckham Peculiar, but no less genuine and heartfelt.

“The whole country is in chaos,” Mark sighs, sounding somewhat weary. “In lots of ways the world is quite scary.

“It’s really painful because [those in power] use poverty, they use nationalism and they use flags as tools for power. And people get hurt. We’ve had 10 years of austerity and Brexit. It’s shit!”

Certainly Mark, who has spent time visiting refugee camps in France in order to inform his political thinking, seems umbilically connected to the idea of exposing injustice.

“We blew up Libya, watched people drowning in the sea and the media took those people’s struggles and deaths and used it to facilitate Brexit,” he says. “I pick up the papers to do my daily review and it has an emotional impact. I do feel like crying sometimes. And I feel powerless sometimes too.”

Nevertheless, Mark remains utterly committed to maintaining the integrity of his output. In the face of troubled and worrying times he ploughs on, fighting the good fight and defying easy categorisation.

“I’m prolific,” he admits. “I wake up and sometimes I think, ‘This ain’t art, mate, it’s an addiction!’ I love doing the Artist Taxi Driver but I love doing watercolours as well.”

[kidsviral-blog]

House votes on sex-selective abortion bill; Obama and Left think gendercide is hunky-dory; Update: PRENDA fails to pass

New Post has been published on https://kidsviral.info/house-votes-on-sex-selective-abortion-bill-obama-and-left-think-gendercide-is-hunky-dory-update-prenda-fails-to-pass/

House votes on sex-selective abortion bill; Obama and Left think gendercide is hunky-dory; Update: PRENDA fails to pass

http://twitter.com/#!/JordanDJohnson/status/208192554037022721

#House gavels in for morning hour. Vote on #PRENDA #abortion bill this afternoon. Watch Wireless – Phone/Tablet http://t.co/2cIx5Wb9

— VUGUV (@VUGUV) May 31, 2012

The House votes today on the Prenatal Nondiscrimination Act. This bill, known as PRENDA, would make gender-selective abortion illegal, protecting unborn females from the war on baby girls that is being waged upon them.

More from CNN:

One of the most divisive issues in politics is set to take center stage in Congress on Thursday as the House of Representatives votes on a measure banning abortions based on the sex of a fetus.

Supporters characterize the proposal as a necessary defense of the civil rights of unborn children; opponents consider it part of a broader so-called “war on women” and an ongoing assault on legalized abortion.

The Prenatal Nondiscrimination Act would impose possible fines and prison sentences up to five years on doctors who knowingly perform abortions chosen on grounds based on sex.

Abortion providers could also be subject to civil penalties, including punitive monetary damages, under certain circumstances.

How incredibly sad is it that stopping gendercide is “divisive?” Opponents of this bill claim it is a “war on women.” In reality, their opposition to it is the real war on women, and on baby girls. Faux feminists always trot out the false war on women while ignoring the very real killing of our baby girls. It doesn’t just happen in Asia, where there are 163 million “missing” women. By missing, they mean dead. Some states have passed such laws already or are trying to do so. The “feminist” response? Maybe it’s icky, but shut up. Because, “reproductive rights.”

In March, Arizona passed a law making gender- or raced-based abortion illegal.  Many questioned whether this was even necessary.  It doesn’t even happen here, does it?  But of course it does.  When you have legal, unlimited abortion on demand, unborn children can be, and are, killed for any reason, including their gender.  The passage of the law in Arizona prompted the lefty feminist Monica Potts to write the following at the American Prospect:

“Americans have always had a low tolerance for the icky factor related to anything that seems to involve parents engineering their families.  Even if it were happening, which there’s no evidence for, this bill would be wrong.  We don’t need to get into the business of wondering why women have abortions, and policing it.  Would I be personally horrified to find out a woman and her husband routinely sought abortions of female fetuses?  Yes, I would.  Would I seek to stop them?  No, not beyond any personal counsel or public criticism it’s in my rights to provide.  That’s just the way it is.  Sometimes, freedom means we have to live with the possibility of icky things.”

How super empowering. You’ve come a long way, baby!  Self-professed “feminists” willingly accept, defend and fight for gender-based abortion.  The real “ick factor” is that Ms. Potts and her faux feminist brethren believe that it is totally fine to kill babies for any reason, including their gender, because The Cause of the made-up and nebulous “reproductive rights” is more important.  More important than, you know, actual lives. What’s a little willful killing of baby girls if it’s for A Cause ™?

They are grossly opposing PRENDA as well.

This is just a less obvious way of banning abortion #GOPWarOnWomen–House to vote on abortion bill http://t.co/ZaG1rFpY

— Talia Moore (@TaliaMMoore) May 30, 2012

Or, you know, a way to stop gendercide.  How dare anyone try to stop abortion providers from aiding and abetting eugenics?  If you assault someone based on her  gender, then you should suffer additional penalties as a hate crime perpetrator.  But aborting an unborn baby because she’s a girl?  Hunky-dory.  Stop bitterly clinging to ethics, wing nuts.

…and in other news of wasting time and taxpayer money…. House to vote on abortion bill http://t.co/sNjRJcdX

— deepali patel (@deepalimpatel) May 30, 2012

To the Left, baby girls are expendable and women are disposable. Wasting our time on protecting the lives of girls? Stupid rubes!

House GOP Pushes Ban On Non-Existing Sex-Selective Abortion Problem http://t.co/CfLX2S1G via @thinkprogress

— Thomas Milman (@seventimestom) May 30, 2012

Non-existent? One doesn’t even need to look to Asia to know that is not true. Live Action recently exposed Planned Parenthood aiding and abetting sex-selective abortion in Texas. And today, Live Action exposed a New York City clinic facilitating gendercide.

BREAKING NEW VIDEO: Round 2, this time Planned Parenthood in NYC arranges a sex-selective abortion: http://t.co/LfiZIdDE #protectourgirls

— Live Action (@LiveActionFilms) May 31, 2012

Live Action further cites studies showing that sex-selective abortion is happening here in the United States.

Despite opponents’ arguments that sex-selection abortions are not occurring in the United Sates, Dr. Sunita Puri and three other researchers at the University of California found that sex-selection abortions are in fact occurring due to the unborn child being a girl. You can read more about Dr. Puri’s research here and also find other resources on sex-selection abortions at NRLC’s website.

Of course it is. When you have legal, unlimited abortion on demand that is what happens. Unborn children can be, and are, killed for any reason, including their gender or their race. Margaret Sanger smiles.

Rep. Joe Pitts says sex-selective abortions 'barbaric' and happening in the US http://t.co/5kvl9gWP #prolife #abortion #protectourgirls

— Andrew Bair (@ProLifePolitics) May 30, 2012

The anti-woman Left on Twitter shows its revolting true colors.

https://twitter.com/HelloDanyRose/status/208189892411396097

Just icky, pesky girls and all.

*cough*burdenofproof*cough* http://t.co/M2QwOby4 Sorry, I inhaled some bullshit reading the news this morning.

— Rob A. (@docsmooth) May 31, 2012

& today, House votes on bill to criminalize doctors. MT @sarahkliff 3 yrs ago today, abortion provider George Tiller was assassinated in KS.

— Laura Bassett (@LEBassett) May 31, 2012

Protecting doctors is of the utmost import. Suck it up, baby girls. Doctors are more important than you are.

I have no words for this. This is utter sh*t: Sex-Selection Abortion Ban Faces House Vote: via HuffPost http://t.co/KBIml5Ea

— Nyahalay Wilyami (@Justanuisance) May 31, 2012

https://twitter.com/Debbie_Minaj/status/208200102727254016

Fox Nation bolsters Bill O'Reilly's false narrative accusing Planned Parenthood of widespread "gendercide" http://t.co/XX7FSJCP

— Media Matters (@mmfa) May 30, 2012

http://t.co/M7ZssoEE Sex selection is a real problem. Forcing women to give birth is not the solution. Respecting women is.

— Amanda Marcotte (@AmandaMarcotte) May 31, 2012

Respecting them. By treating their children as disposable and encouraging the snuffing out of the lives of their baby girls.

Thanks for speaking out against #PRENDA on CNN @MariaTCardona. Great points.

— NARAL (@NARAL) May 31, 2012

The Left is also disgustingly celebrating the life of George Tiller instead today.

Three years ago today, Dr. George Tiller – a champion of women's health and freedom – was assassinated. http://t.co/vRk0opvW #RIP

— Jessica Valenti (@JessicaValenti) May 31, 2012

Three years ago today, late term abortion provider George Tiller was assassinated in Kansas.

— Sarah Kliff (@sarahkliff) May 31, 2012

My piece on the right's use of the sex-selective abortion crisis in Asia to attack choice in the US: http://t.co/zhy3PJuT

— Michelle Goldberg (@michelleinbklyn) May 31, 2012

Michelle Goldberg, revolting as always.

The lesson is clear. Anyone who is genuinely concerned about sex-selective abortion should be working to fight sexism, its underlying cause. Laws that seek to limit women’s autonomy and confine them to traditional roles have it precisely backward. Unless, of course, limiting women’s autonomy and confining them to traditional roles has been the goal all along.

The traditional role of being allowed to live? Well, gee, it’s not like girl babies deserve human rights or anything. Children are to be aborted at and for one’s convenience, even if the inconvenience is the baby’s sex.

The President also gave his repugnant opinion. You know, the same alleged man who told women that their daughters’ dreams are predicated on the legal ability to kill their own children.

Forgot to tweet this yesterday – asked the WH about House gender-selection abortion bill > http://t.co/lgLY9HpF

— Jake Tapper (@jaketapper) May 31, 2012

From Tapper’s ABC report:

TAPPER: The House is, I think, this afternoon preparing to take up a bill that would ban gender selection as a factor in abortions in this country. And I was wondering — I haven’t a statement of administration policy; I was wondering if the White House had a position on that?

CARNEY: I will have to take that as well. Been focused on other things, but I will get back to you.

Note: The White House got back to me this evening to say the president opposes the bill.

White House deputy press secretary Jamie Smith says in a statement: “The Administration opposes gender discrimination in all forms, but the end result of this legislation would be to subject doctors to criminal prosecution if they fail to determine the motivations behind a very personal and private decision.   The government should not intrude in medical decisions or private family matters in this way.”

Unless it is taking over your health care. And intruding on every other aspect of your life. But the lives of girls? Above his pay-grade.

Summer is here and this campaign is heating up—join Women for Obama today: http://t.co/935QihDW

— Michelle Obama (@MichelleObama) May 30, 2012

Sickening. Women for Obama, while he thinks that protecting doctors is more important than life. But, then, he always has. As a senator in Illinois, he voted four times against Born Alive acts. Not only does he think that aborting a child for being a girl is fine and dandy, he wouldn’t even want her life to be saved were she to survive the abortion attempt.

He believes that babies who are born alive during an abortion attempt should legally be left to die.  In his own words:

As I understand it, this puts the burden on the attending physician who has determined, since they were performing this procedure, that, in fact, this is a nonviable fetus; that if that fetus, or child — however way you want to describe it — is now outside the mother’s womb and the doctor continues to think that it’s nonviable but there’s, let’s say, movement or some indication that, in fact, they’re not just coming out limp and dead..

Not just coming out limp and dead. Poor doctors would have too much of a burden, what with pesky babies not cooperating and insisting on having the human will to live and the strong spirit to survive. Especially those icky girl babies.

The Left has always sanctioned infanticide as an end justifying the means, even if the means was the lives of babies. Now they are also sanctioning gendercide.

Vote on the ban on sex-selection abortions in the House is today, still time to call to support it http://t.co/iGEwhcaZ

— LifeNews.com (@LifeNewsHQ) May 31, 2012

Today in DC.Those who vote against it need to lose jobs. Sex-selection abortion ban set to get vote in House of Rep. http://t.co/eSHLfAYx

— Amy Jayne Hawkins (@amyjaynehawkins) May 31, 2012

Take note and remember who voted to condone the killing of baby girls for the horrible crime of having girly bits. And remember, ladies, The Cause is always more important than you are.

Or your daughters.

UPDATE:

https://twitter.com/lizzyisi/status/208275478761570304

    Read more: http://twitchy.com/2012/05/31/house-votes-on-sex-selective-abortion-bill-obama-and-left-think-gendercide-is-hunky-dory/