#check your corona score at home

[bigfrozenfan-fanfics]

About tough decisions to use the right music track to a specific scene

Not all readers of "The Broken Bridge" listen to the hand-selected music tracks for my scenes(*), but I want to go into a little more detail in this particular post so you can see how much effort can go into just one scene.

As you may know, HeinrichVSA, my beta reader and friend, and I work closely together to select certain music tracks. I write and he finds the music tracks that I end up choosing to use. It's not always easy, because on the one hand the length has to fit the scene and on the other hand it has to support the mood as perfectly as possible. I listen to the music while I read the scene at the same time, checking whether the dynamics match certain actions precisely and then I determine the sentence in the story where exactly the music should start. A perfect result would be if the track stops exactly at the end of the scene and the dynamics in it can emphasise certain actions. This doesn't always work, but sometimes it is desirable for the music to cover several scenes.

I can't use many titles simply because they involve singing or speaking, or because there is clapping from the audience at the end. This distracts from reading. So far I've only used two songs with vocals in "The Broken Bridge", but only as bonus tracks at the end of the chapters. With the exception of titles where the vocals are untranslatable and part of the music (Sámi Joik, for example). Watch a film and see how the score is used in certain scenes to heighten the drama, then you'll understand what I mean.

In the last chapter, "Corona", I wanted you not only to read about Fabian's joy at being back home and reliving a childhood memory, but to literally feel his emotions. Everyone knows the scene in Tangled where Rapunzel dances with joy in the square in front of the church and draws other people around her into it. In my opinion, it's one of the best scenes in the film and I love this song.

My only problem with it was how to integrate the relatively short song into the already written scene in such a way that it both emphasises Fabian's thoughts and feelings on the way through the town and ends exactly when the dance is over. The increasing speed of the dance also had to fit in as closely as possible with what had already been written. So I started looking for alternatives over the next few days after finishing the chapter. Some YouTubers extended the song, but either it lost its original dynamics, or you could hear too clearly where the song was edited or it was simply extended in the wrong place. There were also two very well-made remakes from fans to choose from, but either just as short as the original (2 min 20) or unfortunately with adverts at the end. In the end, I decided in favour of an extremely well-made extended version that met all my criteria.

(*) Many Frozen fans on Tumblr don't read fanfics on a computer, but on their smartphone. Tumblr unfortunately has the stupid habit of simply stopping embedded songs in posts when you read with the app. This doesn't happen if you read my chapters in the blog on a laptop, for example.

Here are the songs from Tangled Fans that I sorted out, but which are still great:

Heinrich's 1st choice, the Tavern Edition:

My find, as a violin duet, unfortunately with adverts for more of their videos at the end:

My previous favourite to use song in the chapter, 16 seconds longer than the original, but still extended in the wrong place:

And an alternative track that would have worked in theory, but was unfortunately too long and had applause at the end:

The remaining alternatives with edited originals are only given here as links:

youtube.com/watch?v=d6o9u0a3GJ8 (Kingdom dance (extended, doubled and tripled chorus)) youtube.com/watch?v=81GocqvwTMg (Kingdom Dance crossover with "How To Train Your Dragon" at the end) Someone even came up with the idea of editing this track for a real dance with a length of 4:02, but the dynamics are totally lost in the process: youtube.com/watch?v=cGnhmA3BNbI

The following were also up for selection:

youtube.com/watch?v=VI-JynUarrs (Rapunzel's Exordium by Frostudio Chambersonic) youtube.com/watch?v=sMCwW0TcBYk (Reels, irish dance music, good but far too long) youtube.com/watch?v=u9veEEnax-k (Reels traditional, by Katie Grennan, same as above) youtube.com/watch?v=tIQjHeMYBfg (Slip Jigs, by Katie Grennan, too long, wrong instruments for the scene) and a few others This one is funny for the dance performance starting at 4:19 (Apollo's Fire - O'Carolan Dance scene), but too long as well, laughing in the audience plus applause and too slow over all: youtube.com/watch?v=1OD4jAOp5So youtube.com/watch?v=givlwY9d9UQ (animated movie excerpt, but sadly with spoken words in it)

Last find for the Tangled fans here, a video with animated Corona scenes for relaxing Tangled music to study & relax, with a length of nearly one hour!

[e-commerce-indian]

Coronavirus the pandemic has become a nightmare for all of us. No other virus or disease spread has been so rapid and deadly till date. Lives across the globe have come to a standby mode with lockdowns and quarantines. The virus has impacted economies, postponed events,  effected peace  in addition to taking toll of lives. The escalating coronavirus live update map worldwide is further augmenting the anxiousness. Each life is breathing within their homes yet with a fear of being exposed to the disease anytime. People with general symptoms are unsure whether to get themselves checked and tested. This has led to a lot of confusion and disturbance whether to visit the doctor or not. Moreover it is unsafe to move out of the houses when the virus is communicable and can be transmitted through social contact and touch. 

[iliveiloveiwrite]

A Ghost is a Wish // G.W.

Summary: Three years after the events of Potions and Constellations, George Weasley cannot help but wonder of the ghosts that haunt the many rooms of the enchanted castle he now calls home.

A/N: Part two to Potions and Constellations! I have decided to make a mini series out of it, focusing on Professor!George and his many adventures at Hogwarts. Title is a quote from The Haunting of Hill House (I love that show so much). I don't think you necessarily need to read the first part to understand this, but some parts could be confusing.

Warnings: time skip, ghosts, spectres, hauntings, swearing, grief, established relationship, fluff, cute, fred is dead.

Word count: 3.8k

At this point in his life, George Weasley has been teaching three years. It wasn’t meant to be a permanent post, but rather a position filled until someone more qualified was found for the job. That was what McGonagall had led him to believe so many seconds, minutes, hours ago.

Yet, three years later, George was still to be found lecturing day in and day out to scores of young witches and wizards about the benefits and downfalls of potions and their ingredients. He didn’t say it often, but he had found his home within the walls of the dungeon that served as his classroom. He felt nothing but comfort as he meandered through the stone corridors of the school, greeting students by name, always getting a happy response in return.

Three years later, and he finds himself wholly in love with you and ready to dedicate his whole life to the profession of teaching in order to remain close to you. He misses his brother; the grief of losing someone so close to you isn’t something that simply fades over night, but having you close by, willing to share that burden makes it all the easier.

The grief of Fred still weighs him down; it still crawls up his throat and threatens to suffocate him, but he finds ways of managing whether it is planning a new lesson or distracting you from your own school work. However, it cannot be ignored for long and though the burden has been halved, George still finds himself missing and wondering about Fred.

----------

George paces the front of his classroom, his hands moving in circles as he explains the task to his class. A rather light potion for Sixth Years to be brewing but given that it’s Friday afternoon and Potions is the last lesson of the day for these students, George decides to go easy on them.

“I want you to revisit a potion from Second Year. Collect the ingredients for and brew a Wiggenweld Potion. You have the rest of the afternoon to do so and you can chat amongst yourselves. I’ll be making rounds so if you have any questions, don’t hesitate to ask.”

Auden Vincent raises his hand, waving it so fast there is genuine worry he might hit another student. Deciding not to repress his smile, George acknowledges the Sixth Year.

“Sir,” Auden begins, “Did you enjoy your time at Hogwarts?”

��What does that have to do with a Wiggenweld Potion, Auden?”

Auden shrugs, a large smile on his face that shows he knows exactly what he is doing. “I can’t help but be curious, you haven’t been here as long as the other teachers.”

“Three years, Auden. I’ve been teaching you Potions for three years.”

“Still,” The young teenager argues, “I think we would like to get to know you more.”

George sighs and glances at the clock. Knowing Auden and his tendency to disrupt lessons, George chooses to give in to the teenager. “I enjoyed my time at Hogwarts very much. Now, please, get on with your potion.”

From the frown that spreads across Auden’s face, it is clear that George has not given enough information. Already, the fight begins to light in Auden’s eyes, more and more questions rising to the brink, ready to be dropped into conversation and derail George’s lesson.  

“Auden,” George sighs, “Before you ask any more questions, understand that I attended Hogwarts through the Second Wizarding War. Whilst I enjoyed my time at the school, I also fought in the war.”

Any argument Auden was going to pose falls flat; the fight leaves his eyes in a second. The teenager nods wordlessly before turning his attention back to the set work. George feels awful; he would love to do nothing more than to tell his students about his time at Hogwarts, but all of his memories contain Fred, and even though it’s been years, and even though his grief doesn’t haunt him as often as it used to, he just isn’t ready to verbalise such happy memories.

Rolling up his sleeves, George starts to wander around the classroom he has made his own. A whole wall is dedicated to lines and lines of ingredients; each one sealed in jars and carefully labelled. Think back to his own lessons in this very classroom, George can see how the room has lightened with his presence. The darkness that encompassed Snape completely absent as George expertly weaves through tables and past students.

He smiles encouragingly at every student; letting them know where they’re going and where they need some improvement. George believes that it is important to revisit past potions, to keep minds sharp and fingers nimble before moving onto something more difficult.

It’s as George is leant over the cauldron of Alexandra Shea that the door to the classroom opens. “I’ll be one moment,” George calls out before pointing Alexandra in the right direction.

“Take all the time you need, Professor Weasley.”

George smiles before he can help himself. Your relationship had never been a secret; the whole school knowing the two of you were in love long before either of you realise, but George still tried to keep some level of professionalism around students.

Tried being the operative word.

You stand by the doorway, one of George’s jumpers hanging from your torso, the sleeves are so long that they swallow your hands. A tired smile is on your face, your hair barely brushed into some semblance of a ponytail. Professionalism be damned when you look like that.

You’re perfect, he thinks as he brushes himself down before walking over to you.

“Love,” George greets as he sends the class back to their potions, “What are you doing up? You’re teaching tonight.”

You shrug, a soft smile spreading across your face, “I missed you. I wanted to see you.”

George smiles, feeling the familiar flush spread up his neck and to his cheeks. Years on, and you still make him feel like a teenage boy experiencing his first tryst with love. “Consider me flattered, Professor,” George flirts.

“You should be,” You counter, the soft smile still on your face, “Will I see you tonight?”

Friday evenings had been reserved for you two. Your schedule as the Astronomy Professor meant that you worked markedly different hours from George, but regardless of the piles of work and awkward hours, Friday evenings were set aside for you both.

Reaching out for your hand, George tangles your fingers together before squeezing. His gaze doesn’t leave yours as he replies, “I wouldn’t miss it for the world. I have to know the story behind Corona Borealis.”

You shake your head in exasperated fondness, “You’ve heard that one before.”

“I’ve heard them all before,” George reminds you; knowing your curriculum just as well as his own, “But every time feels like the first time when you tell me the story.”

You roll your eyes, “A flirt, Weasley. That’s what you are.”

“Only for you,” He mouths, not letting his students overhear every word of your conversation. George brings your hand to his lips, dropping a kiss to the back of it before dropping it, “Go back to bed, love. I’ll come see you before dinner.”

The smile on your face grows as you stand on your tiptoes, pressing a long kiss to his cheek – an innocent act that only holds headier promises for the future. “I’ll be waiting, Weasley.”

A flush spreads across George’s face as he watches you go, closing the door behind you. He waits a moment, calming down before turning back to the class. His students try to look as if they haven’t heard the whole exchange, intensely focused on the potions brewing in front of them.

“Not a word, Auden,” George warns, pointing at the student before throwing himself back into the melee.

-----------

Over his time as a Professor, George had come to known the ghosts of Hogwarts. As a student, he hadn’t bothered getting to know them – believing that pranks and jokes were of a higher importance that hearing the histories relayed by Professor Binns. However, now older and wiser, George made sure to spend time with the spectres that floated down corridors and through walls. He spoke to them, hearing their stories, understanding their histories.

George doesn’t admit it to anyone why he seeks out to know the stories of the ghosts of Hogwarts. He doesn’t tell a soul that he’s trying to find the answer to the one question that has plagued his mind since he took up the job offer from McGonagall all those years ago.

Nearly Headless Nick had greeted him with the same amount of gusto as he had when George was a First Year worried about spending his first night away from home and his mum. Nick often checked in with the Gryffindor he had watched grow up; often floated to the dungeon to see how George was doing, frequently staying longer to talk about anything and everything that occupied either of their minds.

The Bloody Baron was harder to talk to. A staunch Slytherin, the ghost was dedicated to his house, but warmed up to George somewhat when George explained how he worked and spent most of his time in the dungeon teaching Slytherins.

Peeves the Poltergeist has only ever respected a handful of people. Begrudgingly, he would admit that he admired the Marauders – confessing it now as they had all passed on and his words could not be used against him. Nonetheless, Peeves would tell any soul who would listen for than one minute that he respected the Weasley twins and their dedication to all things mischief. For George, it was easier to talk to Peeves. They could compare prank ideas and products for the shop, and slowly but surely, George grew to understand Peeves backstory.

Late at night, however, George couldn’t help but wonder whether there was one more ghost in the castle he had yet to meet.

The curiosity niggled at the back of his mind; the very idea of it settled deep within his bones, stirring him to life in the middle of the night when the ghosts were at their busiest. Countless times, George had woken from a daze to find himself with his hand on the handle to his door, ready to turn and find out for himself.

On one hand, George desperately wants to know whether there is a chance.

On the other hand, George knows that he barely coped in the months after the war. He knows that if he doesn’t get the answer he so desires, it could the setback he has been dreading.

----------

The corridors of Hogwarts School for Witchcraft and Wizardry have always had an uncomfortable atmosphere to them. When filled with the rushed footsteps of students, the pathways have a lighter air to them, but after the students are safely tucked up in their beds, the darker parts of the castle come out to play.

George’s grip on your hand remains tight as you both wander through the corridors of the school, keeping an eye out for straying students. Scores of portraits decorate the stone walls of the castle; each one a prominent figure throughout the history of witchcraft and wizardry. Each one is asleep; their snores punctuating the silence between you and George.

Checking the old watch on his left wrist, George sighs with relief, “Midnight. We can get back to bed now.”

You smile, happy for your extra-curricular task to be done, “Thank Merlin. Let’s head back.”

Something feels different about the corridors as the both of you make your way back to your shared rooms. There’s a charge to the air around you, something electric that only has your steps quickening the closer you get to your rooms.

It’s the odd flashes of silver you spy out of the corner of your eye that have your steps beginning to falter. There was a ghost nearby, but it could not be Peeves – you hear him before you see him unless he has something especially sinister planned. It’s not Nick, the Baron or the Friar – they’re all at Ravenclaw Tower, trying to persuade the Grey Lady to socialise more.

It has to be someone new.

But as you catch eyes with George, you realise that it has been years since a new ghost has made Hogwarts its home. The Battle of Hogwarts had created ghosts and spectres galore, but in the aftermath, they had all found their peace and moved on.

“Georgie?” A voice calls and George promptly freezes, his hand falling from your grip as he trips up on thin air.

“George?” You murmur, puzzled at his sudden stop.

He can feel the colour drain from his face; feel the unwelcome churning of his gut as memory after memory washes over him. That voice… he hasn’t heard that voice in years.

“George… it’s me,” The voice calls out once more; it sounding stronger now, surer of itself.

Steeling his nerves and his heart, George turns in the direction of the spectral call.

He meets a face identical to his, but not. He meets a face that has not aged, has not hurt, has not cried in years. He meets a face entirely youthful and at peace.

George meets the face of his twin brother, Fred.

“Fred?” George whispers, voice breaking from sheer disbelief. In that one word alone, you can hear the years of grief and upset. You can feel the tears that will surely fall later tonight; you can see the pain written across George’s face.

Fred smiles: it’s as watery as you can get for a spectral vision, but it’s there. “It’s me, Georgie,” He reassures, “I promise.”

“It’s been so long,” George states needlessly. “So long,” He repeats as if counting the days of absences for his brother, noting each second, minute and hour that he has been without his twin.

“Who’s looking after the shop?” Fred asks, changing subject, dragging his brother away from the dark path he once wandered alone.

“Ron,” George answers, “He has some help from Harry on the weekends when it gets busier, but Ron is managing a lot. I think Bill is wanting to help out more too.”

“That’s good,” Fred nods. “You seem to fit in well, Professor Weasley,” Fred comments, gesturing to the robes now adorning his brother’s frame.

George laughs, his hand reaching for yours once more as you remain silent through the whole exchange, “Who would have thought it?”

“Not me,” Fred snorts, laughing at George’s bark of protest. All too quickly, Fred’s eyes are drawn to you, standing by George’s side, hand clasped in his ever so tightly. Your heartbeat quickens at seeing the stark youth on Fred’s face.

“It’s been too long, (Y/N),” Fred greets.

“How are you, Fred?”

“Better now that I know he isn’t alone.”

“You were watching?” George asks, tone aghast.

Fred gives his twin a look that coveys not only his brother’s stupidity but also the overwhelming brotherly love Fred has for his twin. “Of course I was. That’s how I knew I could come to you now. You aren’t alone, you’re managing.”

“I haven’t been alone for three years,” George points out as if would make an ounce of difference to Fred’s reasoning for showing up tonight.

Fred rolls his eyes. “I know that, but you weren’t ready. I could have appeared months ago but chose not to. I wanted you to be okay after I go again.”

George’s hand tighten around yours; his knuckles whitening as Fred’s words sink in. “You’re not a regular ghost of the castle are you? Not like Nick or Peeves?”

Fred shakes his head. “I have to go back,” He says, gesturing behind him as if the place in which he now belongs is right there within reach, “But I wanted to see you, so I got my wish.”

“I got mine too,” George says so quietly you wonder whether you’ve misheard him.

“You look old,” Fred laughs, defusing the tension that threatens to boil over any moment.

George snorts, speaking without thinking, “That’s what life will do to you.”

George immediately freezes as the words leave his mouth. He meets Fred’s gaze, a thousand apologues ready and willing to fall from his lips as rain would fall from the sky. Sorrow is written in every premature line, and in every blink of his eyes, but George doesn’t get to speak the words

“I know,” Fred replies. The both of them more than aware that those two words cover more than the apology left unsaid just now by George. They cover years of repenting on George’s behalf; for not being there, for not saying goodbye, for not protecting his brother.

“Will you do me a favour?” Fred asks, drawing his brother back from the depths of his mind and his grief.

“Anything.”

“Tell Mum, I’m okay? I know she worries, and I know she misses me. I just… I need her to know that I’m okay and I’m looked after.”

“I’ll floo home this weekend and tell her,” George promises; conviction and determination weighing down his voice.

“I have to go,” Fred comments, sadness in his tone as he glances back behind him, as if hearing a call only audible to his ears alone.

“I miss you,” George whispers as Fred fades away.

His twin brother pauses, lifting a hand to him, “I’m always with you, George.”

Those are his final words before he fades away back to the afterlife; the place in which he watches over every member of his family, keeping an eye on them like a determined guardian angel.

-----------

The walk to your shared room is completed in a daze. You had known Fred from your time as a student; unable to get away from the stories of his pranks, but as your relationship with George progressed, you felt as if you knew him better.

Fred’s visit was unexpected, and as your hand only wraps around George’s tighter, you can only wonder what was running through his mind.

He doesn’t speak as you push open the heavy wooden door to your rooms; doesn’t speak as you lead him to the bed. “Love,” You say gently, “We need to get ready for bed.”

George does so woodenly; still in a daze with what he’s just experienced in the corridor. You watch him with worried eyes, chewing on the inside of your cheek as he pulls back the covers and slides into bed.

Tomorrow, you promise yourself. Tomorrow you would broach the subject; you would let him have tonight to work through the flurry of emotions no doubt rushing through his veins this very moment.

As your eyes grow heavy, you fist your hand into George’s thin t-shirt, reminding him that you’re here.

----------

George doesn’t sleep. He feels your breathing slow; watching the exact moment your eyes start to flutters as dreams begin. Gently he shifts in bed, sliding out from the covers and leaving you behind as he tries to work through the events of the evening.

He wanders out to the small living area; big enough to fit a couch and a table that is used more for marking than it is for eating. George slumps down onto the couch; running a hand down his face and waiting for the inevitable tears to start flowing down his face.

At the same time, he feels such sorrow and such relief. For years now, George has carried the weight of his guilt surrounding Fred’s death on his shoulders. On his more dramatic days, George would compare it to the weight Atlas feels when holding the Earth. George has carried this burden for so long, and in a ten minute conversation with the ghost of his dead twin, he has been absolved of it.

He doesn’t know the extent of what he is supposed to feel.

George stares into the permanently lit fire; questioning all he can about the events of the evening. The guilt and grief he carries for his brother is what kept him from replying to McGonagall all those years ago; it was what had him rejecting the idea altogether. Instead, after a conversation with Ron, he said yes, and so far, George had yet to regret such a decision.

After all, if he had said no, he would not have met you, and would not have fallen in love so desperately.

George thinks of you; thinks of how you stood by his side, hand holding his tightly as George spoke to his brother. You had to have questions. George had told you everything; he couldn’t keep a secret from you. This was discovered early in your relationship when George had blabbed about the presents he had got you for Christmas – way too excited to know your reaction rather than wait.

He continues to stare at the fire; mind running through memories of Fred, wondering whether McGonagall would give him next week off to go home and be there for Molly when George inevitably passes on Fred’s message.

How does he do it? How does he begin to live his life now that Fred has forgiven him?

He has carried this burden for so long; passing it you when you asked to help. For years, after his death, Fred was a massive part of his life. George has lost count of the times over the years that he has heard something hilarious and turned to share it with Fred only to find he no longer stands at his side. How George rushed home the weekend he asked you to be his partner; desperate not only to tell his mum he thinks he’s found the love of his life, but to tell Fred as well to find his mother waiting with happy tears in her eyes and no sign of Fred whatsoever.

“George,” You rasp from the bedroom door, voice heavy from disturbed sleep, “Come back to bed.”

George nods, not speaking as he climbs back into bed. Positions change immediately. Usually, it would be you who would cuddle up the redhead, wanting to wrap yourself around him and fall asleep with his scent enveloping you. Instead, it is George’s turn to hide his face in your clothed shoulder as your arm wraps around him comfortingly. His whole body shudders as a fresh wave of grief overtakes him, but you’re there for every battering and every sob.

“I’m sorry,” You whisper, running a hand through his hair.

George shakes his head, calming himself down long enough to whisper, “Not your fault.”

“I’m still sorry,” You repeat, “It wasn’t as if you were expecting that tonight.”

“I wasn’t,” George admits, tears starting to slow, “I didn’t think I would see him ever again.”

“Are you glad that you have?”

George nods; his nose brushing your collarbone, “I am. I miss him just as much as I did in the beginning, but I know I’m going to come out of the other side now.”

“You do?”

“I do. I have you.”

******

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[miedemabc]

Miedema Volkskrant interview

Interesting interview with Vivianne Miedema in the Dutch paper De Volkskrant, December 29th 2020.

She is the socially-minded top shooter among women's soccer players. Vivianne Miedema (24) has been an ambassador for War Child, which cares about the suffering of children in war zones, for a year now.

Vivianne Miedema is the top marksman in the English women's league with an average of one goal per game: 53 goals in 52 duels. The striker of Arsenal and Oranje is the face of the English league. These days in London they recognize her on the street. 'If I turn on the TV, there's a good chance I'll see myself within five minutes.' With a laugh: 'That's why the TV is off now. But I also enjoy it and I'm in a position to make women's soccer bigger. I take that opportunity.'

Miedema is a self-confident, young woman with self-mockery and ability to put things into perspective. 'We are also frustrated that no one can come to our matches, that I can't go home for Christmas, but that's all part of it. We have to set the right example.'

What is it, one time not going to Holland, compared to the situation of teammate Jennifer Beattie, who was recently diagnosed with breast cancer? She had surgery and immediately said she wanted to play soccer again. 'We are supporting her as best we can.'

Miedema let the year 2020 come to mind. In the beginning, when corona had just broken out, you saw solidarity everywhere, fighting for a better world. Now it's more me me me again. It's just a difficult situation for everyone.'

Black Lives Matter While soccer lay dormant for a time, sport raised its voice against injustice. 'Black Lives Matter, for example, in which America and the United Kingdom are leading the way. We still kneel before games. Soccer is a great example where everything and everyone can come together. You see that in our team as well.'

She knows that men's soccer is more diverse. 'Women's soccer is several years behind. In youth leagues you see more and more mixed, dark teams. That development is positive. At Arsenal we don't have any dark-skinned players at the moment. Ten years ago it was unthinkable for many black families to allow their daughters to play soccer. In the next ten years that's going to change.'

A lot has changed since Miedema made her entrance into professional life as a girl. 'Nobody expected the growth of women's soccer to be so great. That also has to do with developments in the world, with women power. That movement is also helping us. At the same time, the level is rising, while we still have 100,000 steps to take. As for myself, I have an excellent income and can save easily. Girls in the Netherlands, and also in England, don't earn much yet and often have to do something on the side.

That is going to change, she thinks. It continues to grow, especially with three consecutive tournaments three years in a row: Olympic Games, European Championship and World Championship. That's great. Becoming more visible. Take the Champions League: the NOS broadcasted it for the first time via a live stream. Until recently it was nowhere to be seen. If that changes, it's easier for sponsors to get on board, to get recognition.'

Matches in the English league can be seen on the app FA Player, on BT, commercial TV, and sometimes on the BBC. 'We have world stars running around in the Dutch national team these days. That's inspiring for young girls. It's up to us routiniers to bring youngsters in and make them feel comfortable to be able to give as many players a good future as possible. I don't play soccer for money. I also pass that on to young girls. If you base your choices on that, you have forgotten who you are and what you are playing soccer for. Money should never be the driving force.'

Fit and hungry The 24-year-old Miedema remains fit and hungry, no matter how hypothermic she celebrates her goals. Six months without soccer, from March to September, has done her good, after all those double years with club soccer and internationals. With friend and teammate Lisa Evans, she took the car to Scotland, where Evans is from.

We spent four or five months there. Switching off from soccer for a while. I've never enjoyed exercises in the gym and running so much. That says it all. I play soccer because I like the game. Tactically I just want to be good enough that you don't have to run alone. But during the lockdown it was the only option, to not have to sit inside.

'Lisa was my pt, my personal trainer. We were super fit for the new season. In Scotland we had so much freedom. We went hiking, walking. Soccer, tennis, padel. For six months it was a normal human life.'

She started studying: for the Uefa B trainer's diploma, plus a master's in Football Business. That's the first time since she left for Germany as a 17-year-old to play soccer at Bayern. 'I never had the energy, the will and the time to study again. Now I do, and it's fun.'

Constantly broadening her horizons is one of her goals. For example, she has been an ambassador for War Child for a year now, which cares about the suffering of children in war zones. She already noticed during the World Cup in France (2019) that children were following her. I already loved War Child as a child. My mother was an assistant mother at school. Of course I could play a little sport. At every charity run it was up to me whether we raised enough money.

My mother made me aware of the fact that we in the Netherlands, I in any case, have a good position, and that in the rest of the world it is not so easy. During the World Cup I was in my bubble, but after that I saw pictures and movies. Sport is a distraction for many children, which allows them to eliminate suffering and have fun.'

She was previously with the Dutch national team in South Africa, where the team visited townships in Cape Town. 'When you see how much fun you can give children with sport, you want to do it as often as possible. I will never forget how two girls of about 9 years old ran up to me afterwards and wanted to hug me, as a thank you. That was so special, they didn't have to think about danger or violence. With War Child I hope to make a nice trip.

Gigantic response By necessity, in 2020 she was an ambassador who stayed inside. 'Online I was able to do a lot. Movies, videos with examples of exercises. I get a huge response from all over the world. Not only from children, also from parents, from people who like what I do. For me, recording a video like this is a small thing and I can make a lot of people happy with it. Stretching, moving, playing soccer, playing sports. And sometimes get to interact by putting everyone else to work.'Children also take initiatives by raising money. 'It's nice to see kids showing social agility, especially now that we have to keep today's youth somewhat in check and steer them in the right direction.'She laughs a little at that term, youth of today. 'If you are a part of something, you are all in it together. That's why I play soccer and I don't play tennis. Kids push each other to do the best they can for other kids.'Now the season is back in full swing. She is top marksman of all time in the English Premier League and was recently chosen again in Fifa's team of the year. European champion, second in the world. And then she still has a soccer life ahead of her. 'I would like to say that I will continue for another ten years, but you never know. I would prefer to stop at my peak.'Again with a laugh: 'I've broken quite a few records, so maybe I'm already at my peak. But I'm definitely not someone who wants to continue at the highest level if I can't take it anymore. I also hope that people around me will then say: Viv, it's not sitting out anymore, please, stop it.'Miedema bettered Nikita Parris' British goalscoring record in October, with the difference that her predecessor scored about one goal every two games, while Miedema needs one game for a goal.  'I can only run out, but above all I want to help the team. One hundred goals for the national team would be very nice.' She is on 70 and is the all-time record holder. Most of the goals I can still remember. They are all in my head.'

https://www.volkskrant.nl/sport/topschutter-vivianne-miedema-voetbal-niet-voor-het-geld-leer-ik-jonge-meiden~b27b2994/

[daisworld-app]

Lockdown Fluff getting to you? Five lovely diets to shed those not-so-loved kilos

It’s been a great deal of time since the initial lockdown. A lot of things changed after the 2020 lockdown phase was over. But what remained constant was first, the Corona Virus and second, the extra fat we all accumulated because of the cooking and eating spree we had during the lockdown last year.

 As we scroll through the Insta feeds all we see are people doing yoga, the Zumba and the Suryanamaskars at home, which does inspire us to do something. Sure. But that’s the ideal world!

 In the real world, people get inspired alright but after spending just 30 precious minutes of their day in a downward dog position, they give up. But let’s not blame just the lockdown, we haaaaaate exercising. So, even while the gyms and parks opened up temporarily before the 2nd wave hit us, we still excused ourselves from exercising. Not that we scored even pre-lockdown – Busy schedules, unending projects, ever-scary deadline – there was nothing that encouraged us to keep that workout regimen going.

 And whats worse? Those non-Insta-worthy photos and many many discarded selfies that picked a raw nerve within us - often making us feel miserable about our own lack of self-love. Well, let’s not beat ourselves up and let’s recollect that there exists an 80/20 rule – 80 per cent of the recipe to lose weight and look good is, Nutrition or Diet. So even while you skimp on that 20, let’s get you 80% up there at least.

 But in this area, be warned crash diets are not the way to go. So if you’re looking for a 5-day-5-kg crash diet, stop reading right here.

Over the decades, we have seen and heard our friends follow so many of these diet fads:-

 The dramatic reduction of the bread and pasta under the Atkins and Keto diets – low carb, high protein, high-powered diets that start the process of ketosis in your body.

Vegan and vegetarian diets that insist you only eat plant-based food – so no eggs, meat, dairy, seafood for you while on this regime.

 The Paleo diet that takes you back to the stone ages eating foods only that can be hunted or gathered – so eat nothing that came in a tin/box/plastic bag/foil wrap.

Vegan diets prescribing to eat nothing but raw plants in their uncooked, natural forms.  

The Whole 30 diet where you go through a 30-day detox by eating 3 “Clean” meals a day-  free of inflammatory foods like beverages, baked goods, junk stuff, legumes, dairy, sugar, sweeteners etc.

 Since these were generic diet plans read off the internet, they worked for some while failed miserably for the others. One has to accept that every individual has unique body requirements, what may slim me down may not work for you at all, making you tired, hungry and discouraged by the process.

 So rather than blindly following a diet, check out a convenient diet plan to suit your body type and your goal. Here are some of the trending ones this season you could check out and see what fits you best.

And oh, did you know that summer is the best season to lose weight?!!

 The Mediterranean Diet

One of the most popular diets for many years, the Mediterranean diet comprises of the food eaten in the Mediterranean region including whole grains, fruits, vegetables, fish, olive oil and healthy fats. Red wine, eggs, and dairy products are included in a moderate amount, while red meat and saturated fats are consumed less. It has numerous health benefits like weight loss, reduced cholesterol, reduced risk of cancer and other chronic illnesses, and diabetes control. Fairly convenient to follow, it always remains one of the top trending diets of most years. Although a little bit of activity is warranted with it to take full benefit of the Mediterranean culture.

The DASH Diet

Sounds like hype but it isn’t. DASH stands for Dietary Approaches to Stop Hypertension where the purpose is to control blood pressure through diet. So this is serious business. The diet includes whole grains, vegetables, fruits, lean fish and meat, low-fat dairy products, all of which are low in sodium. This diet not only reduces blood pressure but also helps reduce the risk of chronic illnesses, ensuring a healthy heart and promoting weight loss.

 But be careful of going overboard, low sodium is not good for your general health either.

 The WW Freestyle

Do not mistake this as a form of sport. WW Freestyle, among the most popular diets, is a program designed on a SmartPoints system. Here, each food and beverage item is assigned a point based on its nutritional value. The dieter’s current weight and goal decides the number of points that one can consume daily.

 Formerly called Weight Watchers, this diet program has over 200 SmartPoint foods, starting with fruits and vegetables at 0 points. Online chats, workshops, weight check meetings and the support of weight management experts keep dieters motivated through this community approach program. Who knows maybe you could make some friends online who follow the same regime. Worth a try, huh?

The Flexitarian Diet

The dietitian, Dawn Jackson Blatner introduced the word ‘Flexitarian’ in her 2009 book, "The Flexitarian Diet: The Mostly Vegetarian Way to Lose Weight, Be Healthier, Prevent Disease and Add Years to Your Life,".

 As the name hints, ‘flexitarian’ is a combination of two words: flexible and vegetarian. In her book, the dietitian suggests ways of following a healthy vegetarian diet without sacrificing meat. The idea is to include fruits and vegetables, whole grains, dairy products and proteins like beans, eggs, etc. in your diet. A wholesome diet with low consumption of meat ensures weight loss and reduced risk of heart diseases, cancer and diabetes.

 The Intermittent Fasting 

Fasting is a tradition existing for centuries. But the intermittent fasting fad gained momentum just a years ago. In the simplest terms, intermittent fasting means assigning time slots for food consumption and fasting the rest of the hours of one’s day.

 The most popular methods within this diet plan are the 16/8 method, the 5:2 method, and the Eat Stop Eat method.

 In the 16/8 method, dieters only eat during an 8-hour time window (e.g. 12 noon - 8 pm) and do not eat anything outside that time window (e.g. from 8 pm till the next day at noon).

 In the 5:2 method, dieters have a normal diet for five days of the week and restrict their food consumption for the remaining two days.

 The Eat Stop Eat plan is similar to the 5:2 plan though more rigorous. In this plan, the dieters eat everything during the week except for one or two days of complete fasting. Research has proven weight loss, better metabolism and reduced diseases with intermittent fasting methods, making it one of the top favourites of weight-watchers for years now.

 You should be able to follow any of the above diets provided when you know what your goal is. Sit down, chart your daily activity and decide on a realistic goal - weight loss, healthy lifestyle, better drive, higher energy, regular bowel movements could be one or many of your objectives.

Research what you can and cannot eat in each of these diet plans. Even if it’s difficult to gather ingredients to follow some of the diets to the absolute, be prepared to find alternatives and workarounds so that you don’t get demotivated once you have started out on a path.

 A realistic and practical plan based on your requirements would help you follow a diet plan for a long time. Restrictive dieting will only lead to excessive binge eating when you are off the diet. Instead, make small gradual changes to your lifestyle, give up some habits on a consistent basis (reduce smoking, drinking more water, stopping caffeine consumption, walking while talking on long phone calls etc.) and adapt newer ones as you go and you are sure to see longer-term sustained health benefits,

 ‘Cos that’s all that we at Dais World care for – “The health and well-being of our readers.”

 Eat well, be well, stay home, stay safe – wishing you great health!

You were reading a Dais Editorial©2021

[bad-at-names-and-faces]

Children’s Games

Chapter 8

[warning: it’s got the angsty flashback you know is coming...]

Kristoff rode out on Sven with Karl to a favorite spot in the woods. Karl loved finding new roots to crawl through and rocks to jump off. Kristoff knew the spot well, and knew it was perfectly safe, and more importantly, away from well meaning people watching and worrying that the child was climbing too high, or that he shouldn't be running around without clothes. 

He had packed a few of the pastries from breakfast, and some bread, and they had a nice light lunch. After that, they washed up a bit in the nearby stream, and packed and dressed to return home. They were in no hurry.

"You need to see your daughter."

"I can't leave Anna, not yet."

"I'll stay with her in here, don't worry. She's sleeping. Your daughter has been waiting outside that door for entirely too long."

He slowed down at the edge of the woods looking over the city while a messenger and one of the council members rode past, not noticing them. 

"Papa! Do you want to see the babies? Let's go see the babies! Come on!"

She grabbed his hand. He had no choice, and it wasn't their fault. He needed to see them, he knew that.

By the time Kristoff and Sven returned to town, little Karl had fallen asleep. Kristoff carried him carefully up to the nursery, and gave a silent cheer to himself when the boy stayed asleep after being set down in his crib.  He went back to the stables to check on how Sven was doing, and the twins and Olaf had decided to take the other reindeer out to the garden to play.  

He decided to come along, since Sven was going with them anyway. They were attempting a game of deathball, which was rather difficult when most of the players lacked hands for throwing or holding a bat.  Sofia soon ran outside and joined them, as she enjoyed playing ball much more than whatever they had been playing the day before.  At some point after having lunch, Inga came outside and insisted on joining in, but was bothered by not having the correct number of players per team.  This led to some arguments with her brothers. Kristoff had been pitching for them, and decided to take a break sitting by a nearby tree.

“Where’s Frederick, Papa? We could really use him to even out the teams,” Inga shouted across the field in his general direction. “He went out riding with that new guy from Corona,” Anton called back, “and who knows how far they were going, he didn’t say.”

“Oh, right! Papa!” Peder yelled, “We were supposed to tell you that if you got back! Fred went out with what’s his name?”

“Lars,” Inga said.  

Then they got back into discussing whether they had enough players, and whether they needed different pitchers for each team, or whether their father could pitch for both sides, and whether they should wait and see if Frederick got back soon, and if maybe that Lars person would know how to play.  Sofia began climbing one of the other trees. 

Kristoff gradually tuned it all out, and Sven came and sat down beside him. The game would happen or it wouldn’t. They could figure that out. The weather was too nice to be inside, even if he felt guilty about it. He started to doze off. He couldn’t relax, even when he was asleep, knowing that the next child could come any day.  

The first two births, aside from the usual messy, hectic affairs, had gone easily. They were both fairly relaxed the third time. They had the usual midwife and her assistants to check in on things, and the baby nurse was ready to switch her attention from two-year-old Freddie to the new baby, who was now old enough for Nanny to take him around with his older sister and keep them out of the way when the time came.

Anna had written Elsa just that morning that, perhaps, in a few weeks would be a good time to visit, but there was no rush. She had heard that subsequent children sometimes arrived faster, but she wasn’t expecting that afternoon. The midwife was sent for, and arrived with her retinue in short order. She was calm; the queen had two children already from two easy births. It wasn’t a fast birth, but a few hours later, the happy parents were sitting together adoring the newborn. The assistants were helping clean up, trying not to get in the way. The midwife was starting to get impatient for the afterbirth. Anna let out a pained cry.

Kristoff called over the nurse and handed her the baby. Anna’s face was distressed and confused. It wasn’t supposed to feel like this now. The midwife went in for an inspection.

“There’s another one!” She exclaimed, trying to feel and see more.

“What?” They said together. But the midwife didn’t have time for a reply.

“Breech! Girls, be ready! Ingrid, you’ve never seen one before, just follow my instructions!”

Kristoff could see Anna in more distress. He tried to focus on her face, but her pain plus the flurry of activity caused him to look over. He immediately regretted it. He was used to some blood, but not this much. He closed his eyes and pressed his forehead to her, holding her through her cries of pain. He couldn’t do anything else.

He wasn’t sure if it was five minutes or five hours. The voices of the midwives faded into the background. The baby nurse had long since taken the first of the twins to the nursery. At some point, he heard a new cry over all the other noise. He looked up. The baby was small, but loud and angry. The baby nurse had returned at some point, saying the nanny was watching the other baby, and Gerda was watching over the older children. Was she talking to him? Anna was calm. Too calm. Her face was drained of any color, and her breathing was shallow. The doctor came in, asking the midwife details, and told her to continue what she was doing.

He must have fallen asleep at some point. Someone said they had found two wetnurses. They had never hired one before. He felt the sheets starting to move, and a maid’s voice saying “excuse me, your highness” as he groggily sat up. Where was Anna? They were moving her.

“No!” He shouted.

“Please, your majesty, we need to change the sheets.”

“What are you doing with her?”

“We’re getting her into some clean clothes. You should do the same. She’s very weak, but you need your rest, too. Just wash up and come back.”

He washed his face. Someone had brought another set of pajamas. He changed into them. He turned around and walked back to the bed. The sheets were clean, and Anna was there, groggy and almost asleep again. She was pale and looked smaller than usual, except for the belly that still looked pregnant. He got on the bed next to her and gave a kiss on her forehead. He buried his face in her hair that was spread next to the pillow and fell asleep on top of the fresh sheets.

"Papa!" Inga shouted, "Frederick is back! Lars says he'll try playing, but we'll need you to pitch again."

Kristoff groaned a little as he stood up. 

He pitched the ball to Inga, who was at bat. Peder and Sofia tried to catch the ball, but couldn’t agree on which of them should run after the ball and who should guard the base. Inga had made it all the way to fourth base before Sofia had run over with the ball ready to tag her if she moved.  Lars was next.  He had no idea how to hold the bat, so Anton tried to demonstrate, and he started to figure it out his grip, but still never managed to hit the ball. Kristoff’s first pitch had been the same as he’d thrown to Inga, but after that, he tried gently lobbing the ball the way he did for the younger children, but it didn’t help, and Sven ended up catching all the balls in his mouth.

“I’m sorry, Lars,” Fred called from the other side of the field, “I should have asked if you’ve played any games like this before!”

“I’ll figure it out soon enough,” Lars said, walking back to the end of the line.

Anton was next, and hit the ball easily. One of the reindeer caught it on a bounce, and Inga made it in to score a run before Anton stopped on second. 

It was Inga's turn at bat once again, and this time she only bunted the ball and made it to first base. On his second time at bat, Lars hit the ball easily, and Frederick and Pedder were battling the bushes along the wall looking for it while three runs were scored. 

"It's not fair!" Sofia shouted, "we haven't even had a chance to score yet, and they're already ahead by four!"

She began to cry, and Kristoff discovered she had rejected lunch in the nursery, and hadn't eaten since breakfast, so they stopped the game again, and the older four began tossing the ball amongst themselves and Lars, helping him practice some more.

Kristoff took Sofia down to the kitchen and sat her on the table in the middle of the room while he grabbed a loaf of bread and sliced off two pieces, then found some meats and some lettuce for it. 

She quickly ate it, and wanted another, which he got her.

"Are you ready to go back out now?"

"It's too hot, and I'm tired," she said, still a little grumpy, "can I see Mama?"

"Let's go check on her."

Anna was happy to see them.  Olaf had come up to visit during the earlier break in the game, and he had gone off to find them again a few minutes earlier.  Kristoff sat next to Anna on the bed, and Sofia squeezed between them to relay her version of the events of the morning.

"And then everyone else had lunch already!" Sofia concluded.

"Did nobody get you lunch?" Anna asked her.

"I wasn't hungry when Nanny served lunch. And I didn't want soup."

After a minute, Sofia hopped back off the bed.

“I think I’m going to go play with Marie.  She always plays by my rules,” she said as she ran toward the door, slamming it behind her.

They sat for a few minutes. Kristoff placed his hand on her belly to feel the baby kicking and turning.  Somehow that never got old. Anna played with his hair.

“Was there anything in the game she didn’t tell me about?” Anna asked, smiling and raising an eyebrow.

“They were arguing over rules, or players, or substitutions, or something... they can handle that. Well, obviously Sofia got upset, but that was really just not eating.  It’s fine.”

“What’s bothering you?” she pressed.

“Nothing new.  It’s getting so close now, you know I think about it.”

“I’ve been fine every other time, and I know that doesn’t change being afraid,” she reminded him.  She held her hand over his, but she looked out the window. 

“You’re still here, I know.”

[doomedandstoned]

Meet Judd Madden: Melbourne’s Most Prolific One-Man Band

~Interview by Shawn Gibson~

Art by Jeff Smith

How are you doing?

Pretty good! As good as we can in these strange times.

When you are not doing music you are doing web design. How busy does that keep you?

There's not much work on at the moment honestly, so personal projects have filled the void. And video games.

You live in Melbourne Australia right? Tell me a little about Melbourne and where you live.

Melbourne is home to 5 million people. It's a wonderful city with vibrant live music, restaurants, parks – anything you're into, you can find. I've lived here for 16 years and I absolutely love it.

How have the wildfires affected you?

We had smoke here in Melbourne for weeks, though Sydney was much worse. The bushfires (as we call them) were hell on earth for those nearby.

How are you holding up with the Corona virus affecting everything?

My wife is working from home now, with me, so that's nice. My friends and family are healthy and safe, but I miss seeing them in person – video chats and phone calls are just not the same.

I miss live music and being in a crowd, the physical space and sharing in the moment. Australia is doing well comparatively, we're a spacious country with a low population, and we're good at following rules like "stay home."

What places do you go to in Melbourne to see heavy music?

The Tote, The Bendigo, Max Watts (HiFi), The Forum. I can't fucking wait to get to a gig when all this is over.

What are some Australian bands you love and we should check out?

In the doom/metal scene there are so many. Droid, Dr Colossus, Pod People, Thaw, Holy Serpent, Lucifungus are some I've enjoyed live recently.

Glacial by Judd Madden

My first introduction to Judd Madden was Glacial. I loved it and checked the other albums on your Bandcamp page.

Oh, cool! That album featured my one and only music video; Mountain Slayer, which received great exposure.

Is there an album that was removed from your Bandcamp page? There was a song on an album that almost had a hardcore tempo, great bass line! I want to say something like against set. I wish I remembered!

Before Waterfall (the first album) was released I made dozens of rough songs, to see if I could do it all by myself, and to experiment. Most of them were bad. "Against Set" and some of the less bad songs are on the Old Doom & Demos album. Listening now, it's not that fast -- maybe you're thinking of something else? There are not a lot of fast songs in my catalogue, perhaps "Mouth" from Waterfall or Waterfall II?

Please tell me about 528hz (DNA repair). I have heard many frequencies in that range, higher and lower but never in a doom song!

It's from "Everything In Waves" which is about reality, energy, perception, matter, cosmos. In my research about wave-forms of all types, I stumbled across the "healing tones" genre, with its wild claims about specific frequencies.

The song is mostly tongue-in-cheek, but leaves the question open. Can listening to certain tones have healing/meditative benefits? Well, we don't know everything, right?

Feel No Pain by Dead End Thoughts

What prompted Dead End Thoughts?

The desire to create even heavier music, with vocals. It's a separate project, as my main catalogue doesn't have vocals – Dead End Thoughts is a different beast. I wanted a space to explore complex ideas, the edges of my mind and darkness. The songs are thematically and musically extremely heavy.

It doesn't come from a place of depression or anger, as some people have suggested, but a need to explore and create something original. If it's original I'm happy. Musically the songs are totally organic, it's a stream of consciousness in the jam, with vocals and instrument layers added after.

Dead End Thoughts recently released 'Feel No Pain' (2020). Please tell me about the spark that started the fire for this album.

Feel No Pain is created directly from live jams between myself on guitar and Dan on drums. It's an evolution from the first album, which I created recording guitar first and drums second (which was difficult).

When you jam with one melodic instrument and one rhythmic instrument, both are free (within reason) to do what they like. Adding a second melodic instrument like a bass usually requires more planning and results in more structured songs.

We enjoy seeing where things go. These five tracks were chosen from around 20 that we recorded throughout the year. I realised mid-year that this could be the next album; the riffs were of similar tone, and I wouldn't have to drum over them!

Once I added a second/third guitar, bass, and vocals, they no longer sounded like jams and became real songs -- but you can still feel the live energy. It's also not perfect, which I think makes it more interesting.

We surprise ourselves when we're jamming, there is no staleness from playing a rehearsed song over and over. Most of the riffs on the album were new to us as we played them. It's so much fun.

On 'Feel No Pain,' Dan Jolly plays drums and did the album artwork. Please tell me about him and his role in Dead End Thoughts.

Dan has been one of my best mates for many years. We've played a lot together, he's a fantastic drummer who's even more into doom metal than I am! He played on half of these tracks unaware that they would become an album, sorry Dan. (laughs)

Our drumming styles are actually pretty similar, but he's younger and more energetic. I asked him to do the album art, as I was doing all the production and extra instruments, so he could share ownership of the project. It's an awesome painting, we had it before the lyrics so I was able to connect with "By Burning Heat."

Colour High by Colour High

Tell me about Colour High and how that is different from the music you make most of the time.

Colour High is an electronic doom project, similar to the music in Stranger Things. It was made over two months very late at night, in headphones when I couldn't make noise.

I've always dabbled in electronic music, once I even 'played live' in 1999 with my brick of a computer and CRT monitor. I just sat behind it and pretended to be doing things -- I wasn't.

Colour High is all about exploring sounds, compositions, just having fun and enjoying a different process. Having the entire score and all instruments available when composing is very different to the track-by-track approach required for solo instrumental music.

What makes Judd Madden laugh?

Most things. My friends, my wife, my cat. I love TV shows like Curb Your Enthusiasm, Always Sunny, South Park, The Office. Love stand-up comedy -- hard to name just a few, but Dave Chappelle, Brian Regan, Bill Burr, Iliza Shlesinger, Joey Diaz, Dylan Moran and all the greats like Carlin, Seinfeld, Prior, etcetera!

Which bands have influenced you and the music you make?

My parents like Pink Floyd, Black Sabbath, Beatles, Metallica. 90's bands like Tool, RATM, Chili Peppers, Prodigy. Then I started getting into Kyuss, Sleep, Yob, and the amazing stoner rock/doom metal scene. It resonated strongly with me and I immediately wanted to make music in that genre.

Now I listen to anything good: jazz, classical, electro, darksynth, math, weird stuff like Scott Walker or doom bands like Conan, Bongripper, Aleph Null. Completely obsessed with an electronic artist called 2814, the album Birth of a New Day is a real trip.

Name some good books that you have read.

The Gap Cycle, Stephen Donaldson. The Nights Dawn Trilogy, Peter Hamilton. Enders Game Series, Orson Scott Card.I like big space operas, currently getting through The Culture series, but honestly I've fallen out of the habit of reading – I usually listen to music in headphones in bed.

How is the weed in Australia? Good?

It's illegal mate. But good, yes. I never touched it until I was 30 – now it's fun occasionally. I find it can help creativity, particularly with music. It can lower your ego, allow a more natural flow.

Is there anything you want to plug or promote?

Aside from the new album and the other projects we've discussed, my wife and I made Duel 52, a card game that you can play with a standard deck of cards. It's free and fun, if you're bored in lockdown check it out!

What is in the future for Judd Madden and Dead End Thoughts?

Once Dan and I can jam again we'll keep making music, and another heavy album. For my main project I have the beginnings of a lighter album similar to Float, spacey and guitar-heavy. Calm, meditative music to balance all this darkness.

Judd, thank you very much for your time! Stay safe and sane through these tough times!

Cheers, thank you for your support!

Waterfall II by Judd Madden

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[thesustainableswap]

Say Goodbye to Fast Fashion.

For some of us it’s easier said than done. We’ve grown up online, where anything and everything is available to purchase and have delivered to your door within moments. But, it’s time for us to consider just how fair fashion is (short answer, it’s often not). For those constantly shopping for deals, for those trawling websites like wish, shein, boohoo and pretty little thing, for those making the rounds in primark, H&M and even TopShop - it’s time to consider what impact your purchase is having on others.

I’m sure you remember this absolutely ICONIC moment from the Lizzie McGuire movie, in which Lizzie is shamed by Kate for wearing an outfit she has already worn, thus being the worst of all people: ‘An Outfit Repeater.’ I too once had this fear, feeling like I could not be seen in the same thing twice. With the birth of social media, outfit repeating became even more shameful. You could no longer repeat an outfit for different groups of friends if you had already uploaded a picture in it online. The horror!

Fashion had to adapt to this culture of buying an outfit purely for one event. Starting with weddings, but then seeping into less prestigious life events, 16th birthday’s, proms, random nights out where you attempt to impress a bunch of drunk people you don’t know and will ultimately end with you being sick on the floor. I’ve been there. I feel you. Fashion followed the trend, giving you a one off, single use outfit for every occasion at low low prices.

Cheap labour combined with cheap materials often brings us items that wear down or break easily. Forever on the hunt for bargains, we often fail to see the repercussions of our actions. We are driven by the need to have the newest trends at the most affordable prices. Factory workers and delivery drivers are often on zero hour contracts and given little to no support (see my blog post on why I don’t support Amazon here). Garment makers across the globe earn little and work in poor, unsafe conditions. Once again, Corona virus is highlighting the main issues that come up time and time again across industries, especially the fast fashion industry.

On March 31st, ASOS’ warehouse in Barnsley was open. That warehouse sees up to 4,000 employees. They do not have any protective equipment, they’re dealing with an unclean workplace, they have to be in close proximity with other workers. It’s not like it’s beneficial for a worker to take time off either, as statutory sick pay in the UK stands at £95.85 a week. JD Sports is also still open, with workers there saying their lives are being ‘put at risk.’

Over on Instagram, XR Boycott Fashion have uploaded information on just how much money brands are withholding from garment workers. They write:

“A humanitarian crisis is unfolding in Bangladesh, with the fate of 4.1 million garment workers in the hands of western fashion brands, who have reportedly cancelled over $2.8 billion in orders as the COVID19 crisis escalates.” The True Cost Of Brands Not Paying For Orders During The COVID-19 Crisis by Brookes Robert-Islam, Forbes, March 2020.

The production on these garments is completed. The orders fulfilled. These workers should not now have to suffer by waiting for what they are owed. I realise how lucky and fortunate I and many of my friends are - to be in positions where we are working from home, where maybe we have been furloughed, or completely unable to do our job but we are still getting paid for it. I fall into that last category, as I work as an English teacher / childminder here in France. I can’t do that job right now but I am still getting paid (my full wage) because, luckily, France seems to have a good social security system. In the UK a furloughed wage sits at around 80% of what you normally earn. Though, if you’re on that £95 a week... that’s rough. That is certainly not enough to live on. But these garment workers, they are getting nothing. Zero. And despite that, there still seems to be confusion over whether they should be working or not, with workers being called into the factories or trying to get there themselves (risking their lives), traveling on packed vehicles. It seems now that the factories are planning to shut, but that still leaves the workers living in uncertainty.

So let’s name and shame those companies who are withholding payment.

(Image from XR Boycott Fashion’s instagram page)

I urge anyone reading this. Now, and after Corona virus, really consider where your clothing comes from. Can you be sure that everyone in the supply chain is protected and supported? Are you certain that people are being paid fairly for their work? I’m sure you recognise this headline from 2019, when Missguided sold a bikini for £1. If something is that cheap, then somewhere along the line, someone is suffering.

Join me by swapping out fast fashion companies. Even if you aren’t someone who buys clothes for one event. Even if you (like me) have pieces in your wardrobe that you’ve had from high street brands for years! Pledge to yourself that you will not support them any longer. I use the app Good On You if I see something I like in a shop to check the ethics of the company. If it scores three out of five or less, I don’t buy it. Mend what you already have. Shop secondhand. Check out depop or other similar swapping apps. Companies like this, like ASOS, like Primark... they are only interested in their profit. They will continue to exploit workers for as long as they can. The only way to put a stop to it is to not fund them and speak up against them.

(And, despite what Kate says - Repeat those outfits!)

Until next time,

The Sustainable Swap.

[jerusalismreview]

Stuck in quarantine, I make a video in which I get romantic with a spoon. I send it to my friends, one of whom tells me to check out the video poems of Adeena Karasick. Some online digging tells me Karasick is a Brooklyn-based poet, writer, performer, and thinker whose work tackles the fun and the real. She also happens to be on the line-up for Mekuvan, Jerusalism’s first online reading series. In a cool combo of fate and query, I interview her and ask more about what’s happening between the lines of her words.

When Adeena sends me an email, she calls me “sweets” and “babe.” Though we think about speaking on Zoom, our interview happens over email, which is to say—text. I don my best quasi-professional internet speak while Adeena skyrockets into my gmail, peppering her answers with emoticons and parentheticals, taking me inside and outside her answers in a slightly overlarge Arial font. Her I’s are lowercase, her proper nouns uppercase. Her signature is one lone, light gray “a.”

I go deep into Karasick’s online corpus. Soon I’m floating. Her virtual vocals hold words fused across mediums, embodying a world intimate with its own supposition of depth. Within this world is the explicit understanding that depth is about layers, and its meaning comes from the interaction of all things—poetry, politics, kabbala!—not nearly as disparate as we imagine. Her work reminds me of the internet itself: obsessed by its ever-updating form and devoted to the process of making image meet word.  

In our interview, Adeena tells me as much, making sure to blow my mind with the theoretical underpinnings of her playful, sexy, serious work. She signs off on our correspondence with ; ))))))) and !!!!!!! and xxxxxxx. Though we’ve finished speaking for now, I find myself again looking at her work, mesmerized. An in to the infinite. Here are some of her thoughts on the matter.

—

Joelle Milman: The infinite abounds in your work. What is your relationship to ein sof?

Adeena Karasick: I like thinking about ways in which ein sof is where all possibility erupts; everything that has been and will be created is housed in a kinda blueprint of potentiality. I think this sense of potent play is crucial, opening up dialogue for new possibilities of reference, connection, an “infinite” unfolding of semantic, syntactic (political) possibilities.

In the Zohar it says, “all binding and union and wholeness are secreted in the secrecy / that cannot be grasped and cannot be known, / that includes the desire of all desires. // Infinity does not abide being known, / does not produce end or beginning./  Primordial Nothingness brought forth Beginning and End? Who is Beginning?… It produces End… But there, no end.” ;)

I guess you could say this sense of questioning and a sense of endless opening really interests me. Take for example, how transliterated ein (nothing) is homophonically connected to ayin (eye) through which we can envision anything. Or if one shifts the letters to ani (i), then we are between being and nothingness, endlessly re-presencing. I’m interested in navigating this space between visibility and invisibility, what is revealed, concealed, veiled unveiled through the flux of form, emanation, re-formation. Recognizing, of course, that in order for anything to be manifested there has to be a limit, a concealment. I adore this ex-static play of expansion and contraction, where everything hums with a kinda vertiginous, vibratory edge.

JM: Who is your muse?

AK: Abraham Abulafia, 13th C. Kabbalistic mystic.

JM: Your ew hybrid poetic work, Salomé, takes a misunderstood character and gives her a new story. What was it like to work with such a specific character, attached to particular historical narratives?

AK: Well, it always bothered me that within Christian mythology and entrenched in history by writers like Wilde, Gustave Flaubert, Mallarmé, artists such as Gustav Klimt, Gustave Moreau, and Aubrey Beardsley, Salomé was seen as yet another Jewish temptress/Christian killer (which is not so great for the Jews ;).

But, in fact, there isn’t any evidence to substantiate this claim. I did a whack of research and according to apocrypha and Josephus’s Antiquities, she came from Jewish royalty and there is no evidence she murdered John the Baptist or even danced for Herod. The only historical reference that [Herod’s wife] Herodias’s daughter’s name was Salomé is from Flavius Josephus, who makes no other claims about her—not that she danced for Herod, not that she demanded John’s head, but only that she went on to marry twice and live peacefully. The other apocryphal reference is that a daughter danced for Herod, which caused him to lose his mind and kill John the Baptist. Thus, the conflagrated Salomé that appears in the Wilde play, [Richard] Strauss opera and all subsequent productions, is an amalgamated construct. Along with Klezmer/jazz god Frank London, I embarked on a 7 year journey to set the record straight.

For the record, there are three women named Salomé in Jewish history: Salomé, daughter of Herodias and Herod II (circa 14-71 CE); Queen Salomé, her great-aunt (65 BCE-10 CE); and Salomé Alexandra (139-67 BCE). Her great-aunt, Salomé I, was the powerful sister and force behind Herod the Great, king of Judea and Second Temple rebuilder.  Salomé Alexandra (also known as Shelomtzion) was one of only two women who reigned over Judea. I wanted my Salomé, Salomé of Valor (pun intended), to carry the weight of both her genetic lineage and the cultural heredity of her name, embodying the legacy and power of the women that came before her.

JM: Your recent work, COVID/ KAVOD, pays attention to these particular times and the words we have created around it. Can you tell me more about the piece?

AK: You know, I was sheltering at home with my daughter Safia Fiera (Sefira) in NYC, and wrote a Facebook post thinking about the power of words and names. I was increasingly obsessed with how COVID transliterated in Hebrew as Kavod כבוד, which translates to glory, honor, and respect. When we congratulate someone we say כל הכבוד – ‘all the honor’ (Good job!)— or close a letter with the word בכבוד which means ‘with respect.’  Yet, ironically, it’s also related to kaved “heavy.” And throughout Exodus, the presence of God in the tabernacle is symbolized by the word ‘Kavod’ (which is also represented by a cloud!). Through a 13th Century Kabbalistic lens, Kavod כבוד refers to Shekhinah, the female revealed aspect of God, which is symbolized by the lips, the mouth, the wound, the word: gates of entry, gates of transmission. AND – according to the Zohar [3296b], the CORONA (crown) of the phallus. And most astoundingly, KAVOD as a technical term within the sefirotic system emphasizes the distinction between the 1st vessel of light and the other 9 – COVID19.

Superstar dub poet/producer Lillian Allen contacted me and asked me to record my thoughts. She had it set to music with a DJ and a cello; launched on Spotify and CD Baby…crazy! It was one of those things, where you never know where things might lead, the synecdoche of the ever-so prescient spread?! Really makes one think about the viral nature of everything, i.e. memes—units of cultural energy that virally replicate themselves; how à la Korzybski / Burroughs, “Language IS a virus…

JM: You work in performance, video, text—but everything seems grounded in words. How do words play differently in different forms?

AK: All my work is dedicated to highlighting ways in which language and being are so intricately entwined; how we are formed and reformed through the language we use; how language’s physicality / materiality / sonic qualities infinitely re-create meaning and being. Playing between and within language’s visual and acoustic space, underscoring how it’s all so viscerally alive.

I love the differences between them [mediums] and I love ways that they feed off and expand the experience of one another.

JM: What is your relationship to the individual letter?

AK: Kabbalistically speaking, if the world was created through letters, every time we read or write or speak, we are in essence re-creating the world.

I love thinking about the way each letter rubs up against another letter, how that modulates the overall feel of the way a line or a text plays itself like a score; how it asks us to renegotiate meaning and being. How every letter in a way contains every other letter and how they themselves hover, erupt as sparks of light.

My recent work Aerotomania, which investigates how the airplane is structured like a language, exposes how the shape of the airplane is reminiscent of the letter Alef, the first letter of the Hebrew alphabet, symbol of infinite and contemporaneous beginnings.

It’s constructed from two Yods י, one above and one below, with a diagonal line, the Vav ו, between them, representing the higher world and the lower world, separating and connecting the two Yods. And through chambers of light rungs of life ærotically connecting higher and lower worlds, all brimming with interior struggle and yearning, hiddenness, and longing—

JM: Tell me more about what you find sexy. What is the erotic up to when it shows up in your work, and do you find it particularly intertwined with gender? If so, how and why?

AK: HA! What I find most sexy are witty mashups of entwined letters. Ways references wrap around each other, the ways letters brush up against and wind around each other—ways meaning erupts in unexpected ways.

To this end, my new work Aerotomania really focuses on the erotics of meaning production. According to Marshall McLuhan, “the airplane is an extension of the body.” So, with it I’m exploring not only how the airplane is structured like a language but an extension of the body, specifically metonymic of the female body; flying through clouds of data, through a sultry and amorous mapping of light, “shade,” shadow, highlighting the relationship of how language becomes a shape-shifting trickster; an ever-swirling palimpsest of spectral voices, textures, whispers and codes transporting us to sometimes unknown destinations; flying through a variety of zones, registers, soaring to higher and higher levels, leading to radically transformative possibilities of passion, pleasure, power and promise, as we negotiate loss and light; opening up new ways of seeing and being. THIS is sexy ; )

JM: I love it. I haven’t seen anything that approximates the video poetry you make and they’re awesome. When it comes to idea generation, do you start with the medium or the message?  What is your editing process like?

Well, in media ecological terms, the medium is always massaging the message. I’m always interested in the way information reads and is transformed through multiple platforms; whether on a page or a stage, a tablet, computer, or movie screen.

Videopoetry as a medium allows me exquisite axes of entry into a virtual arena. There, not only can the materiality of language be exposed, but through the conflagration of image, music, voice, text, sound and animation, a ‘textatic’ slipperiness of meaning appears. Each piece, operating with its own structure, codes, logic, idioms, reminds us how meaning-making is always a praxis of palimpsest and dissemination, generating a contiguous infolding of meaning.

But to answer your question—in almost every case, I start with a text that I want to multimodally play with. For example, right now I’m working on a videopoem for a Salomé track. I have my text, the recording of it, with the music (composed and performed by Klezmer / Jazz god, Frank London), and now have to assess what aesthetic feel is going to auratically transport it. So unlike writing the poetry, where I see and hear and feel the words all simultaneously, making videos is usually sequential.

Though I do all my own pechakuchas, it literally takes a village to make the videopoems! I write the text, communicate my vision, but I don’t have a lot of the technical expertise—so each one is a loving and painstaking process collaborating with musicians, animators, editors. Textual editing process parallels this in that I am a ferociously compulsive editor, renegotiating every syntactic reference, line break, lexical choice. And even though I have so much respect for Ginsberg’s “first thought best thought,” everything goes through a crazy amount of editing and re-editing until the last possible moment.

JM: So much of your work is mash-up, combining elements from other texts be they theoretical, visual, or otherwise. What is it like to combine existing content and bring it into new forms?

If everything is inherently intertextual and archival, my work celebrates a kind of parsed play of laced socio-political-lingual cultural shards and fractures, highlighting how all is pulsing with palimpsested resonance. This then inherently asks one to revisit and recontextualize, reframe information and thereby see it in new ways.

For example, I’ve been working on an ongoing collaborative project with famed critic / weaver, Maria Damon, on a piece we call: “Intertextile: Text in Exile: Shmata Mash-Up A Jewette for Two Voices,” where we investigate the relationship between text and textile. The whole piece is marked by a kind of intertextatic syntacticism; as we weave meaning through found data, shattered matter, shredded fragments, through all that is proper, improper, impropriotous, riotous, simultaneously celebrating and questioning all that’s filthy and wrinkled and inside out, all that’s unfolded, soiled, sullied, un-rinsed and uncomfortable. And it’s this sense of exploration and reformation, through research, inquiry and play where one can explore the impossibility of the possible, the contingency of our finitude, our brokenness, excess and exuberance, within the fissures of being.  

What’s it like? In a word: textatic ; )  

JM: Your work has uncompromising trust in its own voice and self-representation. For us just getting started out here: do you have any advice on how to commit to and advocate for your work, particularly in a world not always eager to support emerging artists?

AK: Trends, aesthetics, modes, schools of thought come and go, in and out of vogue, and if I’ve learned anything over the years is that everything goes in cycles. Or to use McLuhan’s terminology, systems get enhanced, reversed, retrieved or obsolesced, and so it’s so important to just trust your own mind. Regardless of what seems to be the genre, the praxis, procedure, fashion of the moment, write what you want. Read, as much as you can, go to readings, start journals, perform at open mics, gather community and share ideas, share work. But it’s so important that you trust your own vision, and just sometimes shut it all out and just create your own unique powerful universe that you want to inhabit.  

[e-commerce-indian]

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[adrianodiprato]

+ "They're not that different from you, are they? Same haircuts. Full of hormones, just like you. Invincible, just like you feel. The world is their oyster. They believe they're destined for great things, just like many of you, their eyes are full of hope, just like you. Did they wait until it was too late to make from their lives even one iota of what they were capable? Because, you see gentlemen, these boys are now fertilizing daffodils. But if you listen real close, you can hear them whisper their legacy to you. Go on, lean in. Listen, you hear it? - - Carpe - - hear it? - - Carpe, carpe diem, seize the day boys, make your lives extraordinary." John Keating | Dead Poets Society (1989)

Thank you, Mr Keating

During the coronavirus I have found myself doing more reading and also connecting more with film’s that have motivated me to abandon binary thinking and be open to new perspectives. One such film has been Peter Weir’s seminal Dead Poets Society. A new English teacher, John Keating, played by the late Robin Williams, is introduced to an all-boys preparatory school that is known for its ancient traditions and high standards. He uses unconventional methods to reach out to his students, who face enormous pressures from their parents, the school and the entire society. It is a story that affects me about the qualities of inspiration itself: the possibility for our passions to move and motivate people around us to enact a new normal.

In recent days, transformation for our time, to a new normal, has been brought on by things beyond our control. The coronavirus crisis has changed our world. Never in my wildest dreams did I ever think we would ever have to deliver an entire school’s curriculum remotely, from the home campus. We now need to embrace the fact the world has changed. Our well-loved stories – our words, our ways, our practices and processes - are suddenly expressions of what used to be, not what is, far less what will be.

In today’s new world, we are all required to continually learn, unlearn and relearn. And it is our teachers that have seized the day in this regard, much like what the character Mr Keating, in Dead Poets Society, advocated for with his students. The coronavirus crisis has provided an opportunity for our remarkable teachers to shine, to show that they can ensure that students stay connected and engaged with their learning and wellbeing, in a time of great uncertainty and for some, chaos. Principal of Strathcona Girls Grammar in Melbourne, Marise McConaghy recently wrote this in her opinion piece for The Sydney Morning Herald, “Giving teachers the agency to adapt and apply creativity in delivering lessons to students has been a masterclass in what it means to be agile in the 21st Century. In no time at all, teachers have dramatically pivoted the way they conduct their work and deliver learning to children.” McConaghy goes on to highlight the profoundness of strong relationships in school communities and dismisses the long-held misconception that emerging technologies has made younger generations socially distant, stating “…many of our students have checked in with their teachers to ask about their wellbeing and offer support. Certainly, it is our job as educators to pastorally care for our students, and for school leaders to check in on staff for the same reasons, but how beautiful it is that our students think to do this for their teachers. Teenagers are, after all, not as self-obsessed as they sometimes are made out to be.”

Schooling as we once knew it is officially over. And the misguided application on standardisation, a feature of the once heralded and, now, outdated industrial model of schooling, with its over emphasis on testing, league tables and pitting students against one another, has come crashing down under the weight of coronavirus. Because of this global pandemic the exciting precipice of doing schooling differently just came into sharp focus. Founder of Unfold Learning Willian Rankin recently wrote that the future of education must be about generating whole, competent, humane citizens. “What the world needs moving forward — and this is especially clear as the novel Corona virus burns off what’s irrelevant — is people who can apply information to meaningful contexts to create serviceable knowledge and solutions (creating knowledge) and people who can enculturate knowledge to produce culturally relevant contexts and wisdom around that knowledge (creating wisdom). Unlike processing data and information, these are profoundly human enterprises, tasks where machines have no fluency. Lamentably, many in modern education consider it too difficult, messy, and subjective to show that students are more considerate, compassionate, mature, collaborative, or humane when they finish our courses. It’s so much easier to show that scores on a particular test rose by 3.6% year over year, that 14% more students successfully completed a course, or that failing grades declined by 6% in a given cohort. The current system settles for this easy information, despite the fact that it’s functionally meaningless.” And “We can beat the wasteful swords of linear consumption and instructionism into the generative and regenerative plowshares of creation and constructionism. We can abandon education for learning.”

Swiss-based futurist Gerd Leonhard believes the biggest trends to have emerged from a world dealing with a pandemic, economies in crisis and many citizens in lockdown are:

Increased global collaboration

A widespread adoption of remote work practices, from home offices to Zoom meetings

Travel bans and an acceptance of remote working crippling the travel industry

The use of technology for remote work accelerating the digital economy

Education is not immune to such far-reaching disruption that Leonhard speaks of. The industrial model of education was designed to ensure factory workers were punctual, docile and above all compliant. The concept of a teacher standing in front of a room full of students who listen and respond to direction is increasingly a thing of the past.

The only people that appear to have been blindsided by the phenomenon of a new normal in schooling and learning, during the pandemic, are some conventional school leaders and conservative governments fixated on holding on to a broken learning paradigm. The OECD’s 2018 TALIS Insights and Interpretations report stated, “The real obstacle to education reform is often not conservative followers but conservative leaders who stick to today’s curriculum rather than adapt pedagogical practice to a changing world, because it is so much easier to stay within everybody’s comfort zone...” (page 57).

John Keating, in Dead Poets Society, said this during one scene, as he stood on his desk, "Why do I stand up here? Anybody? I stand upon my desk to remind myself that we must constantly look at things in a different way." The end of the industrial model of education is a remarkable opportunity for a bold rethink to finally move to a new normal, a different way. A new learning paradigm that allows for experiences that are a blend of on campus, online, in context and in country, all becoming part of the fabric of this new normal.

Andreas Schleicher, the Director for Education and Skills, and Special Advisor on Education Policy to the Secretary-General at the Organisation for Economic Co-operation and Development (OECD) recently shared his perspective on the coronavirus crisis via an interview with hundrED, “…education is no longer just about teaching students something, but about helping them develop a reliable compass and the tools to navigate with confidence through an increasingly complex, volatile and uncertain world.”

So, imagine if students have more opportunities to learn at different times in different places. With anytime, anywhere learning becoming the new normal for our students. Where online tools facilitate opportunities for a more highly personalised learning experience of individually targeted stretch and challenge tasks. One that is self-paced, self-determined and incorporates relevant and real-world inquiry-based learning. Resulting in all classrooms being flipped, meaning the knowledge and skills part is learned outside the classroom, at home. Where on campus class time becomes one of deep collaboration, teamwork and the practical application or transfer of knowledge and understanding, of real-life issues. Where taking tests will be replaced by students’ growth and achievement through creative and collaboration projects to problem solve these difficult real-world questions.

So, imagine if teachers assume the crucial role of learning designer and mentor. Becoming the central facilitator in the jungle of information that our students will be navigating their way through. Assisting each young person with developing their independence and agency, academic competence and confidence skills, as well as the development of learning goals, interests and future directions. Supporting each young person through obtaining growth around agility and adaptability in our collective quest to foster their personal resilience and overall mental and physical wellness. Therefore, making a significant emphasis on social and emotional competency central to all learning and interactions. With on campus, in context and/or in country curricular activities such as competitive sports, music, visual arts, language and cultural immersions, play and even cooking as accelerators for quicker social and emotional skills and global competency attainment.

So, imagine if in an online environment, with access to unlimited information, the focus on memorising things loses its meaning, and is replaced by the need to know how to select and use the information appropriate to each context. Where there is a universal step away from control, compliance and human “data” collection and we give permission to our highly able and innovative teachers the freedom to shape curricular, in partnership with students, to suit the needs and interests of all learners.

So, imagine if all school leaders had the courage to lead. Where all school leaders join the ranks of those that already have the courage to lead through this crisis, not simply manage a response. Expecting the expected, what was once “normal”, is simply not adapting to the global reality of our times. Where all school leaders accept that they need to manage the present but remain focused also to plan for a new normal for 2021 and beyond. And where all school leaders accept that perhaps, just perhaps, this is your crucible moment.

Paul Reville, the Francis Keppel Professor of Practice of Educational Policy and Administration at Harvard Graduate School of Education recently stated, “In this situation [covid-19], we don’t simply want to frantically struggle to restore the status quo because the status quo wasn’t operating at an effective level and certainly wasn’t serving all of our children fairly.”

Carpe Diem is a most commonly remembered line from Dead Poets Society, alongside “Oh Captain! My Captain!”. Explaining to his students that their lives are fleeting, John Keating implores them to seize the day, to make their lives count, to leave a legacy of “carpe diem.” This stirring call to ‘seize the day’ endures. John Keating, yet another example of a remarkable teacher, tries to encourage his students to break free from the norm, go against the status quo and live life abundantly. Much like the John Keating character, perhaps I’m simply agitating all school leaders to contemplate life and therefore learning, from a different way. And much like the films core theme, my hope is that all school leaders, and conservative governments for that matter, choose courage over comfort, are simply bold and brave to doing schooling differently.

I’ll leave you with this final quote from Dead Poets Society, "Boys, you must strive to find your own voice. Because the longer you wait to begin, the less likely you are to find it at all. Thoreau said, "Most men lead lives of quiet desperation." Don't be resigned to that. Break out!"

Ultimately, it is in how we define responsibility and learning, for their future. So, the big question for all school leaders is – When you had the opportunity did you choose courage over comfort or were you resigned to quiet desperation?

In order to make their lives extraordinary, for the young people in our care, I choose courage over comfort. Thank you for today’s lesson, Mr Keating.

[mariss-lyn]

king of my heart: ch.1

so this is a new story i previewed a while back on my page and the first chapter is finally here! i am already annoyingly invested in this series (this is becoming a series even if no one wants to read it) and i’ve started a playlist for it as well!! i can drop apple music/spotify links if anyone is interested. 

ANYWAYS. this was not requested, just something i was messing around with while texting @marissafalls one day and i rolled with it. the first chapter ended up being 2k words soooooo. it revolves around ryan murray, but will have mention of other players on the team.

mentions: other cbj players, alcohol

warnings: cursing, drinking

feedback is always greatly appreciated and encouraging so feel free to to flood my inbox :-) 

“I hate every part of this.”  

This was not how I spent Saturday nights. I spent them at home, in my sweatpants, eating ice cream and talking to my mom on the phone. Sometimes I’d be at a game, in the suites with a couple of friends from college, eating free food and taking too many pictures. But I definitely was not the bar type, or at least not at eleven o’clock at night.  

“Will you stop complaining? This is your fault anyways,” my best friend reminded me. And she wasn’t wrong. I lost a bet and this was my punishment. To be forced out of my comfort zone and have a couple of drinks out on the town.  

“Okay well I didn’t actually think he would score a goal tonight. I thought the odds were in my favor.” Becca smiled at me. “Maybe they are.”  

I rolled my eyes and patiently waited for the Uber to stop outside of some campus bar. I’d heard of it, but never visited. It wasn’t my thing. Quiet coffee shops were my thing. Libraries were my thing. Not bars where you got packed in like sardines and it was so loud, you couldn’t even order a drink without screaming. My friends and I all loaded out, Becca taking the lead, while I fell behind Eliza and Lacey.  

After the bouncer checked our ID’s, we walked in and I immediately felt anxious. There were bright lights and drunk people everywhere. I quickly followed the girls to a table in the corner, trying to just catch my breath.  

“Earth to Harper?” I snapped my head up to see the girls looking straight at me. “What?”  

Becca smiled. “Drink order? I’m gonna go to the bar.”  

“Whatever, is fine,” I mumbled. “Just a beer.” Becca squeezed my hand before she disappeared for the bar and I immediately started to dart my eyes. Taking in my surroundings. Figuring out what I got myself into.  

And that’s when I noticed them.  

They grabbed the attention of most of the bar. Tall, big boys. Hockey players. Professional hockey players.  

“Holy shit!” I heard Eliza yell. “Is that the team?” I nodded. “Some of them.” I wasn’t sure anyone heard me. I didn’t really care. I was focused on the group of guys pushing their way to the bar, right next to where my best friend was. Just mere inches from our table.  

This really was a bad idea.  

“Fuck, they’re so hot.”  

“Do you think they’re single?”  

“Would they come here if they weren’t?”  

I ignored the girls and their questions for a bit, focusing on the group. It was weird to me, seeing guys I’ve watched from afar for so long, right in front of me. I knew they went out. Word travels when you’re friends with a bunch of gorgeous girls. Friends of friends have had some experiences. But you never really expect it to happen to you. And you definitely don’t expect any of them to notice you.  

But then they do.  

“Harper, that one’s looking at you.”  

I forced myself to look away. “Lacey, they’re not zoo animals. His name is Ryan.” I knew he couldn’t hear me, but I still felt nervous. Like somehow he’d only hear his name and know where it came from. My face was hot and my heart was racing. God, they really were beautiful.  

“Harper, go talk to them!” I swung my head to look at Eliza. “Are you crazy? Why would I go talk to them?”  

Eliza smiled. “Because Ryan is looking at you, not us.” 

“The air quotes are not necessary, E. That’s his actual name.”  

I looked back up at the group and noticed Becca coming back with our drinks. I grabbed the Corona she ordered for me and downed half of it in one sip. I could feel the girls watching me as I set the bottle down.  

“Are you okay?” I shook my head. “No. I need a water.”  

I stepped off the bar seat and stepped closer to the bar, squeezing in between a very pretty blonde girl and Boone Jenner. I patiently waited for the bartender to notice me, trying to just be cool. I didn’t want to draw attention to myself, so I didn’t move much. I could feel three sets of eyes watching me intently from behind, but I couldn’t turn around. I kept myself facing forward, trying not to eavesdrop. Until I felt Boone step away and someone else fill his spot.  

“Is he ignoring you?”  

I turned to my right slowly, my eyes coming to land on a pair of stunning brown eyes. Could brown eyes be stunning? Brown eyes were always ignored. Every country song was about blue eyes, sometimes green. But never brown. I always felt offended myself, having brown eyes, and I wondered if anyone found them stunning.  

Not now, Harper. Jesus.  

“I’m sorry?” I asked. “Who?” 

Ryan smiled. Oh fuck did he smile. “The bartender. Did you need something?”  

I nodded. “Oh! Just a water. It’s no big deal. I can wait.” He turned his body toward me now, and I noticed his friends had disappeared, surrounding the table my friends were occupying. How convenient.  

Ryan extended his hand. “Ryan.” I smiled and took it in mine. “I’m Harper. Great game tonight.”  

He nodded. “Thank you. Were you there?” Now it was my turn to nod. “I was. It’s actually your fault I’m standing at the bar tonight.”  

Ryan started laughing. “Why’s that?”  

I bit my lip. “I made a bet with my friends. If you scored, we went to the bars tonight. But if you didn’t, we ordered pizza and went home to drink.”  

“Ah well I’m sorry I ruined pizza night. Let me make it up to you with a drink.” I smiled. “You don’t have to do that. You deserved the goal. It doesn’t happen often.”  

Ryan laughed again. “Ouch, that hurts a little bit.” I laughed with him. It felt nice, and also surreal. “Wait, can I ask why it was me who had to score tonight? There are plenty of other guys you could’ve chosen from.” 

I swallowed hard and shifted a little. “Uh, well, because you don’t score a ton of goals and you’re my favorite on the team so my friends were teasing me, I guess. That’s embarrassing. I’m sorry. You don’t need to be talking to some dumb fangirl.” 

He smiled and set his bottle on the bar. “I don’t think you’re dumb. It’s not like I have a huge group of fans in the city, or anywhere really, except maybe back home. Plus, and this is no disrespect to your friends, but my friends have lost interest and they’re going to leave that table in five minutes. I, on the other hand, have no plans of leaving here.” 

“What if we left together?” 

It left my lips before I even fully thought it through. Here I was, exposing myself as not only a fangirl, but someone who was clearly willing to leave my friends behind and go somewhere with a stranger. A hot stranger. A really fucking hot stranger. 

“Where would we go? If we left together?” 

I shrugged. “Personally I’m starving and can’t stop thinking about pizza. And I know there’s a place down the road open late. But you don’t have to leave with me. I don’t really know what I was saying.” 

“What makes you think I would rather be here than somewhere much quieter, eating pizza with you?” 

“Besides the fact that you know absolutely nothing about me?” 

Ryan smiled at me. “I know your name is Harper, and I know you hate bars like this. What’s the worst that could happen at a tiny little pizza place down the road from all of our friends?” 

I bit my lip to hide a smile. “Okay, that’s fair. I can always call Becca if you’re a huge weirdo.” He started laughing. “Can you even eat pizza? Is that part of your diet?” 

“I’ll just skate a little harder at practice on Monday. I’ll take a risk. I think it might be worth it.” 

I leaned off the bar. “I’ll grab my purse and let the girls know. Should I just tell your friends while I’m over there?” Ryan straightened up and grabbed his beer bottle again, smiling. “I’ll come with you.” I walked towards the table, Becca’s eyes burning holes in me. I wish there was time to explain to her what was happening, but I wasn’t even sure I knew what was happening. Somewhere in the back of my mind, I was convinced this wasn’t even real. I’ll wake up in the morning and this will all just be a very detailed dream I had after a night on the town. 

“I’m gonna head out,” I announced but Becca was the only one listening. “I’ll see you in the morning?” She nodded. “Be safe.” I could always read Becca like a book. She thought this was a dumb idea. We were never really the girls who left the bar with a hot stranger. We showed up and left together, after a few drinks and a lot of dancing. And that was on the rare occasion we even went out. But nothing about tonight was going according to plan. 

I turned to face Ryan, who was still talking to Boone. “Please don’t act like complete idiots once I leave. I’m not coming back for you.” Boone slurred something I couldn’t even try to make out and I choked back a giggle. “I’m out. I’ll see you guys tomorrow.” 

He turned to me and smiled. “Ready?” 

The Lyft ride to the pizza place was quiet, and our drive probably thought he was escorting an awkward first date around town. But it was a comfortable quiet. And usually I’d blame the drinks for how calm I was feeling with him, but I barely had half a beer, so everything was very clear to me.  Ryan was just calming. His voice and the way he carried himself. It was attractive and that was so rare to find, at least for me. And he was soft. The way he spoke about his family and his job. I felt like I could listen to him talk every minute of every day. 

“So do you come to a lot of games?” 

I smiled and shrugged. “Not as many as I’d like. I spend more time watching them from the comfort of my couch. We’ve got a friend, Eliza; she gets suite tickets a lot from work so we use those when we can.” 

Ryan smiled and took a slow sip of water. “Do you have tickets for Monday’s game?” I shook my head. “I’ll have some under your name. Lounge bands too.” 

I laughed. “Are you trying to buy my attention, Murray?” 

“Not at all. I just want to be able to see you again after tonight but my job tends to get in the way. So if you’re at a game, in the lounge, I have a better chance of seeing you when it’s over.” 

It was cute. He was cute. And I really liked the way I felt with him. He probably could’ve asked me to pick up trash with him and I’d do it. Maybe this is why I’ve never dated? “I’ll be there Monday. Who says no to free tickets?” 

The rest of the night felt so easy. It wasn’t until around 2am when I realized I should probably be heading home, brunch plans with my mother looming in the near future. I checked my watch and felt myself frown. “I should probably get going.” 

“Can I get your number?” I smiled at how rushed he asked, thankful I wasn’t the only one suffering from word vomit tonight. I took his phone from his hand and entered my number, adding a pizza emoji after my name, “Thank you for tonight, Harper. I had a lot of fun.” 

I nodded in agreement. “I did too. I kinda wanna do it again sometime.” 

We had moved to the sidewalk outside now, both waiting for our cars to show up. The air was cool, but still unseasonably warm for a late winter night in Ohio. I shivered, wrapping my arms around myself. I looked up and caught Ryan looking down at me, the cutest smile on his face. Before I could speak, a car pulled up to the curb, the car I was waiting on. I felt myself deflate, not ready to leave yet. But then I felt Ryan’s lips on my cheek and my whole body felt electric. I felt the kiss all the way in my toes and I definitely wasn’t cold anymore.  

“Good night, Harper.”  

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Porto-Liverpool History | UEFA Champions League |

Porto v liverpool score - Liverpool FC » Record against FC Porto

Goal 65 Mins Mohamed Salah Ast. Trent Alexander-Arnold. Substitution 66 Mins Trent Alexander-Arnold Substitution Off. Joseph Gomez Substitution On. Goal 68 Mins 3.

Alex Telles. Substitution 71 Mins Andrew Porto v liverpool score Substitution Off. Jordan Henderson Substitution On. Goal 77 Mins 9. Roberto Firmino Ast. Jordan Henderson. Substitution 78 Mins Corona Substitution Off. Fernando Substitution On. Alexander-Arnold, out on the right, threads a diagonal ball to Salah down the inside-left channel.

The ball is perfectly weighted, evading the desperate telescopic slide of Filipe. Salah is free. He see page Casillas and slams the ball past the keeper and porto v liverpool score the net. An ersatz nod to the late Seventies. Corona curls it in.

FC Porto VS Liverpool

A better ball, though, and Liverpool were wide open. Then Firmino dribbles away from danger and very nearly releases Salah down the right, but Danilo intercepts just in time. He reaches the byline and wedges one back into the centre for Salah, but Felipe is porto v liverpool score hand to intercept and clear. He gets plenty behind it, but Alisson is positioned perfectly to snaffle it gently in pkrto midriff.

FC Porto - Liverpool Live Score, video stream and H2H results

Liverpool go up the other end, Milner working his way down the left. But his cross other harmlessly out for a goal kick, with options in the middle.

Porto v liverpool score dribbles down the right and crosses for Salah, who tries to guide a long-range header into the top left. Another waste, as he had time and space down the left and players in the box. Porto porto v liverpool score had their chances tonight, but have hardly worked Alisson at all.

A chance for Liverpoool to line up in front of the Liverpool box. Telles hoicks an appalling free kick straight out of play for a goal kick. The Liverpool fans are making most of the noise right now.

The home support understandably subdued. A goal would change everything. Firmino porto v liverpool score to hook it back into the centre, but Porto clear. Corona dances down the right, teasing Milner with many stepovers. He crosses, forcing Matip to head behind under pressure from Marega. Report an error Print. Champions League. Europa League. Round of After the break, a pinpoint through ball from Their explanation Alexander-Arnold put Salah through on goal, and the Egyptian made no mistake when sliding it under Iker Casillas.

Not deterred by the four-goal aggregate margin, the Porto fans willed their side on, and the hosts got the goal their performance deserved when Militao met Alex Telles' cross. Mane then missed an open goal when off balance after rounding Casillas, but it did not porto v liverpool score as Liverpool scors their third when Jordan Henderson found Firmino, with Van Dijk then rounding it off with a header after Mane flicked on James Milner's cross.

The forward stayed just onside to tap in Liverpool's opener, and that was the moment this tie ended. Mane even got an assist late on when flicking it on for Van Dijk, and that rounded off a porto v liverpool score performance from Liverpool's No 10, who made a match-high six tackles and won 62 per cent of his 21 duels. You can find us porto v liverpool score all stores g different languages as "SofaScore".

However, please note that the intellectual property rights to stream such events are usually owned at a country level and therefore, depending on your location, there may be certain events that you may be unable to view porfo to such restrictions. Prior to joining U-TV and funding your account in order to view FC Porto Liverpool, or any other particular event via the U-TV live stream, you are strongly advised to check with U-TV if, depending on your place of residence, it is possible to view the live streamed event in question.