#drake scorpion cover art

[cafe-con-letty]

re: my last post: what i think the 118 & co’s spotify wrapped looked like + my reasoning behind them (pt. one)

***this is all just headcanon please be nice 🫶🏽

****also this is a LONG ASS post, so i did put a cut just in case you want to scroll past :)

bobby:

completely based on vibes alone. i was going to add bruce springsteen but i forgot :(. i think that bobby belts in the air tonight on his way to work every morning and if he pulls up before the song is over, he stays in the truck with the windows up until it’s done.

chimney:

idk i just feel like he listens to really bad music. as you can see, to me he is unironically an ice spice fan. i actually fw gwen stefani, but the everybody else on his top 5 is trash imo. obviously, art is subjective, but i feel like 4/5 of his top artists are universally acknowledged as terrible. i also feel like he doesn’t know he has garbage music taste and actually insists it’s superior to everybody else’s. they will not hesitate to put him in check though.

hen:

this is also based off vibes but also kinda pulled from music aisha has put on her story (namely that she is a fan of rap/hip-hop). also hen is canonically a beyoncé fan and i think we should acknowledge that more. it was a toss between noname and rapsody for a moment, but i reeeeally like noname 🤷🏽‍♀️ no hate to my girl marlanna though. in my head hen and buck went to a migos concert together and screamed when they came out. i also think that she was a fan of drake when he first came up, but post-scorpion he kinda fell off so she leaves his newer shit alone. when denny’s in the car she plays age-appropriate common songs for the social commentary and life lessons they provide. because of this denny’s favorite song is currently the light.

buck:

lowkey inspired by obama’s summer playlist, but a little less eclectic because there’s overall less on it. originally i had blackpink and iu on his top artists and songs, but i changed my mind because ptv fan buck is very important to me. i feel like his music taste as a whole has probably been derived from all the people in his life, which is why aaliyah’s try again is number one on his top songs. we know that maddie used to pick him up from school and i cannot get the image of a young buck was in the passenger seat of the jeep singing his heart out to whatever love song he definitely cannot relate to out of my head, sooo…here we are. i have a lot of thoughts about his music taste but that is for another post.

eddie:

this was literally the easiest one i did. i also think he likes corridos but there were too many artists in the pool if i included them so i kept it down to country. i feel like nobody who follows me knows what corridos are, but just know that eddie’s love of corridos is included in pretty much all of my writing featuring him. ofc i had to put selena on there because i love selena and i think that eddie, being the tejano man that he is, also enjoys selena. idk why whiskey whiskey is on there. let’s just say he’s in his edmundo noches era or something idc. he also likes to listen to songs that chris liked when he was little because he thinks it’s funny when he covers his ears and stares out the window, but also a little bit because he misses baby chris in the backseat singing along to florida georgia line. he is very delighted in five years when chris takes his girlfriend to a florida georgia line concert as a date though.

ravi:

this one was harder because Ravi The Landlord definitely listens to the fit and fresh podcast on his way to work in his stupid cybertruck (because i know he has one okay) but also i feel like he has to listen to music, so i took songs off my spotify wrapped from last year. i don’t actually like drake that much, but her loss was my SHIT when it first came out + i do think that ravi very much enjoyed search & rescue. he is team kendrick for all intents and purposes though. unfortunately ravi and i are both sufferers of rod wave syndrome. nobody lets ravi pick the music at any event because he will put on great gatsby. i also think he likes kevin gates but that’s something i will not be addressing today.

[the909ine]

🚩🖤

[colorschemes]

Scorpion (2018) By Drake

[gmoneydesigns]

Drake- scorpion

Concept design by me-✨

[gvminiart]

DRAKE - NICE FOR WHAT

alternate cover concept by me

[albmcvrs]

drake, scorpion

(cash money/republic/young money, 2018)

photographer: norman wong

[jaesmithx]

[ratscape]

Cover art for Grammys Album of the Year nominees 2019

• INVASION OF PRIVACY  Cardi B

• BY THE WAY, I FORGIVE YOU  Brandi Carlile

• SCORPION  Drake

• H.E.R.  H.E.R.

• BEERBONGS & BENTLEYS  Post Malone

• DIRTY COMPUTER  Janelle Monáe

• GOLDEN HOUR  Kacey Musgraves

• BLACK PANTHER: THE ALBUM  (Various Artists)

[thrnthrn]

[keepingupwithzaynmalik]

Zayn's Icarus Falls is 27 tracks and 88 minutes of pure R&Z

Patrick Hosken, MTV NEWS "Sweet baby, our sex has meaning," Zayn sings to begin the smooth, yacht-tastic "Let Me," the lead track on his second album, Icarus Falls. It's finally out as of Friday (December 14), and much like his 2016 debut, Mind of Mine, it's full of the hazy, soft R&B he first left One Direction to explore. There are moody showcases for Z to flex his golden voice, like the Malay-produced "Stand Still," and plenty of serene, tender moments of romantic abandon, like the skin-on-skin mentions on "Natural." But none of those things are what you'll notice first. You might not even notice the cover art that much, honestly. But you'll certainly take note that Icarus Falls has 27 songs, and it's 88 minutes long. It's a beast. For reference, Toy Story is only 81 minutes long. In fact, Vulture put together a really handy list of films under 90 minutes last year — Icarus Falls is longer than all of them. However, it is not, in fact, longer than Drake's Scorpion or Migos's Culture II, two behemoths likely designed to be sprawling in order to help boost chart performance. Of course, Zayn released a whopping nine songs ahead of the album, dating back to April, so he kind of had to double, or in this case triple, down on music for the actual release. He notably didn't tour behind his first album also, giving himself time away from the rigors of the road to focus on himself. The dude had to show us what he's been up to. Icarus Falls is worth spending some time with, letting each song sink in and finding your favorites. Throughout, Zayn shows the same kind of eagerness he flaunted for weeks on Instagram earlier this year when he teased a slew of new music. Likely some of that acoustic noodling ended up here as complete songs, which is kind of neat. It's also remarkable how much Zayn sounds like Jeff Buckley on "Satisfaction," and it made me laugh how the album's only two features — Nicki Minaj on "No Candle No Light" and Timbaland on "Too Much" — are buried at the very end, like a reward for your dedicated patience. There's a lot to dig into, so stream all 88 minutes of Icarus Falls above. It's perfect for a long car or train ride.

[overlooked-tracks]

Drake’s ‘Honestly, Nevermind’ Breaks Apple Music Dance Album Record for Most First-Day Streams

The following article has been posted on June 20, 2022 at 04:23AM:

An Overlooked Tracks News Finding: Here’s an article you might have overlooked. Having a partnership with NewsAPI, we try to catch music entertainment news for you to view, read and possibly enjoy. We will continue to find what’s available in the world of music entertainment, concert information and music releases. But obviously you – the listener and reader are the biggest source for news in your area, so if you can share with us. For right now, look at what we found for you:

“From The Billboard Magazine Website – Drake’s ‘Honestly, Nevermind’ Breaks Apple Music Dance Album Record for Most First-Day Streams”

Drake gave just one day’s notice before his surprise new album, Honestly, Nevermind, hit streaming services Friday (June 17), and yet it’s already become Apple Music’s biggest dance album in history by breaking the platform’s record for first-day streams worldwide, according to a news release by the streaming service. What’s more impressive? It only took one hour to do so.

Honestly, Nevermind marks the 35-year-old rapper’s seventh studio album to date, featuring 14 total tracks and just one guest artist on “Jimmy Cooks,” the project’s final track which sees assistance from 21 Savage. The only warning he gave of the record’s arrival was a strikingly simple Instagram photo of the album’s psychedelic cover art posted a few hours beforehand, writing, “7th studio album ‘HONESTLY, NEVERMIND’ out at midnight.”

Drake’s ‘Honestly, Nevermind’ Breaks Apple Music Dance Album Record for Most First-Day Streams

The new album’s streaming feat is the “Knife Talk” artist’s latest in an extensive list of triumphs made with the streaming service. His previous album, Certified Lover Boy, released in September 2021, broke the platform’s record for most first-day streams worldwide and, at the time of publication, still holds the record for biggest album in Apple Music history.

In second place comes Drake’s 2018 album, Scorpion, which currently holds the record for second most ever first-day streams worldwide on Apple. His Certified Lover Boy single “Girls Want Girls,” meanwhile, maintains a record of its own: biggest song in Apple Music history by first-day streams worldwide.

For his newest release, Drake did something a little special for his Apple Music listeners. He penned his own Honestly, Nevermind album notes and released them exclusively to fans on the platform — revealing that, in spite of being a dance record, the project actually came from a rather…..

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and can be found on the Overlooked Tracks website: https://ift.tt/7epIj4b. Check out more music news from Overlooked Tracks! Music Headline News, Apple, Dance, Instagram, streaming

[thomaschattertonwilliams]

By Thomas Chatterton Williams July 20, 2018 LONDON — When the world first learned of Michael Jackson’s death, from an accidental overdose in 2009, the news had a whiff of unreality about it. This was in no small part because, for so long, it had been hard to remember that he was actually a person. A child prodigy who in adulthood became a genuine Peter Pan — fantastically refusing to grow old — Jackson was always more an idea than a human being in the flesh. Nearly a decade later, the shape-shifting body frozen in memory, his extraordinary image endures as if he never left. Now, an ambitious and thought-provoking new exhibition at the National Portrait Gallery in London, running through Oct. 21, seeks to measure the impact and reach of Jackson as muse and cultural artifact. “Michael Jackson: On the Wall,” curated by Nicholas Cullinan, sprawls without feeling bloated, occupying 14 rooms and bringing together the work of 48 artists across numerous media, from Andy Warhol’s instantly recognizable silk-screen prints and grainy black-and-white snapshots, to a vast oil painting by Kehinde Wiley. (Jeff Koons’s famous porcelain sculpture “Michael Jackson and Bubbles” is notably absent, though it is reinterpreted in several other pieces.) First the obvious: No artwork, however clever or pretty, that has been inspired by a talent the size of Jackson’s can compete with its source material. To get the most out of what this show has to offer it is best to acknowledge this at the entrance and move on, as the most successful pieces do, eschewing strictly aesthetic concerns and exploring instead Jackson’s conceptual possibilities. Consider for example one of the simplest works in the show, David Hammons’s 2001 installation, “Which Mike Do You Want to Be Like…?” The piece — full of wondrous pride even as it conjures a sense of depressing limitation — consists of three abnormally tall microphones and its title recalls the Holy Trinity of late-20th-century black American entertainment icons as set out by the rapper The Notorious B.I.G.: “I excel like Mike, anyone: Tyson, Jordan, Jackson.” (B.I.G.’s own guest feature on Jackson’s 1995 “History” album marked a crowning achievement in his career.) More than 20 years later, rappers still clamor for a Jackson co-sign. On “Scorpion,” his latest chart-topping release, Drake flexed the ultimate status symbol, having purchased the rights to unreleased vocals and scoring a posthumous feature with the King of Pop. Jackson, more than Tyson or even Jordan, so epitomized black excellence that Ebony magazine could unselfconsciously run an airbrushed image of him on the cover in 2007, his creamy skin and silky cascading hair framing a razor-sharp jawline, beside a headline reading “Inside: The Africa You Don’t Know.” A year after the singer’s death, Lyle Ashton Harris recreated that image on Ghanaian funerary fabric. It’s jarring to compare the real late-life M.J. with another imaginary iteration that Hank Willis Thomas appropriates in one of the show’s more shocking offerings, “Time Can Be a Villain or a Friend (1984/2009).” In this, we see an uncannily convincing, and wholesomely handsome rendition of Jackson with his natural skin tone, a pencil-thin mustache on his lip and an ever-so-lightly relaxed puff of hair on his head. Mr. Thomas explains in the catalog that it is simply an artist’s rendering from a 1984 issue of Ebony, a glimpse of what the magazine imagined Jackson would look like in the year 2000. Without any alteration, it is by far “On the Wall’s” most critical work — the image originally so full of pride and hope is now an indictment, and haunts the show like a scathing rebuke. In this post-post-racial, post-Obama era of resurgent populism and Balkanized identity politics, it really does feel as though it matters — and matters more than anything else — whether you’re black or white. It does make for a particularly fascinating moment to re-evaluate Jackson’s image as a fundamentally “black” but simultaneously racially transcendent figure, or a monstrous desecration, depending on your perspective. Indeed, there is a push and pull between these running through the exhibition and the catalog that accompanies it. In the catalog, the critic Margo Jefferson calls Jackson “a postmodern trickster god,” noting “what visceral emotion he stirred (and continues to stir) in us!” She anticipates, in the next pages, the novelist and essayist Zadie Smith’s castigating contribution. Ms. Smith writes of her mother’s initial preoccupation with the singer: “I think the Jacksons represented the possibility that black might be beautiful, that you might be adored in your blackness — worshiped, even.” But, she adds, “By the time I became aware of Michael — around 1980 or so — my mother was finished with him, for reasons she never articulated, but which became clear soon enough. For me, he very soon became a traumatic figure, shrouded in shame.” “It was as if the schizophrenic, self-hating, hypocritical and violent history of race in America had incarnated itself in a single man,” Ms. Smith concludes. This critique is at odds with the warmth with which many black people still hold the singer, particularly in the United States, where he remains enormously beloved. But it calls to mind the furious assault on Jackson’s racial credentials with which Ta-Nehisi Coates began a recent essay on Kanye West. “Michael Jackson was God, but not just God in scope and power, though there was certainly that, but God in his great mystery,” Mr. Coates writes. “And he had always been dying — dying to be white.” He continues: We knew that we were tied to him, that his physical destruction was our physical destruction, because if the black God, who made the zombies dance, who brokered great wars, who transformed stone to light, if he could not be beautiful in his own eyes, then what hope did we have — mortals, children — of ever escaping what they had taught us, of ever escaping what they said about our mouths, about our hair and our skin, what hope did we ever have of escaping the muck? And he was destroyed. Such criticism, however heartfelt and comprehensible, makes the mistake of reducing Jackson to the role of tribal ambassador in a society built on oversimplified and regressive notions of racial and gender identity that his own art and self-presentation never stopped pushing against. It occludes the far subtler and more interesting insights that a genius can provoke, and too confidently pigeonholes an individual who knowingly rejected the stifling limitations of his country’s artificial racial binary for a dupe. The man who wrote “We Are the World” and “Liberian Girl,” and proudly recreated Egyptian splendor in “Remember the Time,” had an idealistic and expansive view of our common humanity. His androgyny, too, helped shatter restrictive notions of black masculinity. One of the most counterintuitive and compelling contributions to “On the Wall” is Lorraine O’Grady’s series of four diptychs, “The First and Last of the Modernists (Charles and Michael).” Comprising blown-up found photographs of the 19th-century French poet Charles Baudelaire and Jackson striking similar poses and tinted in a variety of pastel hues, like many of the works here, these pieces deal inventively with the theme of mirroring. “When Michael died, I tried to understand why was I crying like he was a member of my family,” Ms. O’Grady explained in an interview at the show’s opening in June. “I realized the only person I could compare him to was Baudelaire,” she said, listing ambiguous sexuality and a proclivity for wearing makeup as commonalities. “But more importantly, they both had this exalted idea of the role of the artist,” Ms. O’Grady added. “If Baudelaire thought he tried to explain the new world he was living in to the people around him, Michael had an even more exalted vision: He felt that he was capable of uniting the entire world through his music.” In Ms. O’Grady’s view, Jackson didn’t simply try to become “white,” as his detractors would have it — rather he “crafted himself physically to appeal to every demographic possible,” she said. By the time of his death, Jackson had long been one of the most famous people on the planet, if not the most famous. The footage of his “Dangerous” tour in newly post-Ceausescu Romania, on display in an eerie loop, provides hallucinatory testament to his outrageous global reach. It is estimated that his memorial service at the Staples Center in Los Angeles reached at least a billion people worldwide. “The first of the new is always the last of something else,” Ms. O’Grady notes in the catalog. Baudelaire, she writes, “was both the first of the modernists and the last of the romantics.” And Jackson “may have been the last of the modernists (no one can ever aspire to greatness that unironically again) but he was the first of the postmodernists.” He was, perhaps, the first of the post-racialists, too. Yet in our hyper-connected age of heightened political consciousness and reactionary fervor, in which identity is both a weapon and a defense, that view of race can feel naïve. But this is a failure of our own imaginations and dreams, not his. As “On the Wall” makes clear, Jackson’s own face — through a combination of fame and relentless surgery — became a mask, reflecting our own biases and ideals while concealing a deeper truth. His art and lasting appeal, on the other hand, function as a reminder to consider our own disguises, and what we might gain by letting them go. Michael Jackson: On the Wall Through Oct. 21 at the National Portrait Gallery, London; npg.org.uk.

[youngfuturenv]

Drake Takes Over Degrassi High School In New Video For "I'm Upset"

Drake Takes Over Degrassi High School In New Video For “I’m Upset”

Article written by: Kevin Goddard

Check out Drake’s new video for “I’m Upset.”

After revealing the release date & cover art for his forthcoming Scorpion album, Drake decides to come through tonight and share the official video for his latest single “I’m Upset.”

Check out the Karena Evans-directed clip (above) and sound off in the comments! Single available on iT…

[steammanofthewest]

Head cage and Asian villain British boys' weekly cover, The Champion No. 77, July 14, 1923, "The Scarlet Scorpion" by Arthur Brooke (Arthur C. Marshall), art by Fred Holmes. Marshall was editor of The Boys' Leader. Champion Editor F. Addington Symonds created for his Rhodesian school magazine the wealthy hero Royston Drake.

The Steam Man of the West

[ms-m-astrologer]

Transiting Venus enters Scorpio

November 7 - December 1, 2017

During my secluded rural youth, we knew of only one color of topazt:

Now that Mars and Mercury have entered their detriment signs (Libra and Sagittarius, respectively), it’s Venus’ turn! Astrologer Isabel Hickey wrote, “Venus in Scorpio or in Aries is not happily placed for the animal self (Mars) overpowers Venus.” Later on (in her book Astrology: A Cosmic Science) she elaborated, “Venus cannot function well in a domain ruled by Mars, for Mars is everything that is aggressive, forceful, and outgoing, while Venus draws to herself through the power of love. She represents the attraction principle while Mars represents the repulsion principle.”

In other (and less potentially insulting) words, Venus’ main “job” of attraction malfunctions in the Mars signs, in which actively going after what we want is the task. Similarly, Mars (how we assert ourselves based on getting what we want) isn’t comfortable in Venus signs, where it must lie back on a divan and allow things to happen.

We also need to keep in mind that Venus is still in her “Lucifer-direct” phase - i.e., she’s placed earlier in the Zodiac than the Sun. That position makes her desirous of covering up her true feelings, in order to fit in better - and right away we see how that could go awry in resentful, vengeful Scorpio. Our ability to “shrug off” disappointment is still there, just more difficult to perform.

Venus in Lucifer-direct mode is also highly idealistic. People with this natal placement (raises hand) “are often involved in promoting new values, ideals, outlooks and ways of life created or exemplified by others.” (Michael R. Meyers, link here.) Look at my beloved Keith Richards, who basically infused himself with Chuck Berry guitar riffs! Unfortunately, this idealism when filtered through Scorpio will give us an “all or nothing” attitude - which is an impractical way to navigate through life.

How will this affect the typical Venusian domains of money, beauty and artistic expression, relaxation, and romance? The transit lasts only 25 days, which doesn’t seem like enough time for a lot of damage. The danger would be more in having a kind of “scorched earth” tantrum - in the heat of the moment, destroying everything.

Money: Scorpio isn’t the kind of sign that spends lavishly. I don’t think we’ll be in any hurry to start the holiday gift shopping, much less go overboard with it.

Beauty: This transit is actually perfect timing for a makeover!

Arts: Also will benefit, from the deepened and intensified emotions. We don’t want lightweight, flimsy music (for example), we want full blast. (My own favorite way to purge myself is loud music.)

Relaxation: This is difficult when the Scorpionic refusal to let go blends with the Venus tendency to hang on. It’s almost as if we don’t trust ourselves or the world enough to ever relax. (Is this Alastor Moody’s natal Venus, I wonder?)

Relationships: Perhaps some pressure to commit before we really want to, or to “prove it.” Grrr. This isn’t a very manipulative sign, but it can go to extremes. On the other hand, if everyone is ready for the next step….

Celebrities with Venus in Scorpio: KEITH RICHARDS, Leonardo Di Caprio, Jodie Foster, Mahatma Gandhi, Bill Gates, Vladimir Putin, Jay-Z, Jim Morrison, Bruce Lee, Drake, Hugh Jackman, Snoop Dogg, Steven Spielberg, Marie Curie, Denzel Washington, Marie Antoinette, Ava Gardner, Gordon Ramsay, Serena Williams, Ralph Fiennes, Sigourney Weaver, Agatha Christie, Paul Klee, Martin Scorsese, Voltaire, Patti Smith, Neil Young

Wednesday, November 8, Pallas Rx/Taurus opposite Venus/Scorpio, 2:06

This is especially directed toward our artistic self-expression, if we have any. If we don’t feel we have the “right” mentors, this could bring about the “scorched earth tantrum” I warned about. On the other hand, if we’re pursuing an artistic path that isn’t right for us - it happens - this opposition may give us the nudge we need to change course. With so many of these Venus/Scorpio transiting aspects, the Moon involves herself (butts in?); the potential impasse may arrive on the 9th, when Moon/Leo turns this into a very temporary fixed t-square.

Planets/Points affected lie between 1:06 and 3:06 of the fixed signs Taurus*, Leo*, Scorpio*, and Aquarius*; and between 16:06 and 18:06 of the mutable signs Gemini*, Virgo*, Sagittarius*, and Pisces*.

Monday, November 13, Jupiter/Scorpio conjunct Venus/Scorpio, 7:20

Well, gosh, this is just about the Holy Grail, isn’t it?! The one aspect we all crave! If it’s affecting you, do enjoy the good vibes; if it’s goading you, well, control yourself - the vibes will fade all too soon. The day before this conjunction matures finds a supportive Virgo Moon sextiling both planets - a memorably good time with friends, perhaps.

Planets/Points affected lie between 6:20 and 8:20 of the signs Taurus*, Cancer, Leo*, Virgo, Scorpio, Capricorn, Aquarius*, and Pisces.

Thursday, November 16, Neptune Rx/Pisces trine Venus/Scorpio, 11:28

I really prefer this trine to that conjunction - even with the addition of unrealistic and lazy attitudes. “Issie” wrote about this natal aspect, “Neptune does not operate directly on the physical plane, so this aspect is not much help materially. A spiritual blessing not always recognized by individual to whom material things are important.” All of our Venusian efforts - art, beauty, relationships - are elevated and sanctified by Neptune. This will be especially evident around 06:00-08:00 UTC, when the Moon in Scorpio joins in.

Planets/Points affected lie between 10:28 and 12:28 of the yin signs Taurus, Cancer, Virgo, Scorpio, Capricorn, and Pisces.

Sunday, November 19, Ceres/Leo square Venus/Scorpio, 15:48

The weight of family obligations is heavy. In the US, we celebrate Thanksgiving Day on Thursday, and it’s one of the more notorious holidays for enforced familial bonding. I have to ask - if you don’t enjoy it, why are you still doing it? We don’t have any obligation to make ourselves miserable! Considering that this square also carries implications of low self-esteem, we may want to spend time with congenial friends. In the immortal words of Lucy Van Pelt, “Just because you’re related to someone doesn’t mean you have to like them” - or even have them in your life at all.

Planets/Points affected lie between 14:48 and 16:48 of the fixed signs Taurus*, Leo*, Scorpio*, and Aquarius*; and between 0:00 and 1:48 of the cardinal signs Aries*, Cancer*, Libra*, and Capricorn*.

Tuesday, November 21, Pluto/Capricorn sextile Venus/Scorpio, 17:33

Pluto rules Scorpio, and this sextile/nudge it makes to Venus can take on a cold and calculating quality. Conversely, we might just have a lesson about what love really is. Issie describes these planets’ interactions as “the choice between self-indulgence and self-mastery.” The sextile gives the opportunity to “purge the individual of possessiveness and selfishness.” The Moon is in Capricorn and brings the lesson home, particularly strongly on Wednesday.

Planets/Points affected lie between 16:33 and 18:33 of the yin signs Taurus, Cancer, Virgo, Scorpio, Capricorn, and Pisces.

Wednesday, November 22, North Node/Leo square Venus/Scorpio, 18:59; South Node/Aquarius square Venus/Scorpio, 18:59

In his book Yesterday’s Sky, Steven Forrest describes “the possible projection” of a Venus-Nodes conflict as, “a judgmental ‘sour grapes’ bitterness or a blindly one-dimensional kind of worshipfulness and longing.” That sounds particularly like an awry Venus/Scorpio to me. His advice to people is to “actually make grown-up love work.” On the heels of that Venus-Pluto sextile, we know how to pull this off.

Planets/Points affected lie between 17:59 and 19:59 of the fixed signs Taurus*, Leo*, Scorpio*, and Aquarius*; and between 2:59 and 4:59 of the cardinal signs Aries*, Cancer*, Libra*, and Capricorn*.

Friday, November 24, Juno/Capricorn sextile Venus/Scorpio, 21:41

Not a bad time at all to tie the knot. The urge is to be half of an officially sanctioned relationship, ‘til death do we part. If you’re in an established relationship, enjoy! If you’ve just started out together, think about the long-term - what will you and your partner have to do, to have this kind of partnership for yourselves? And if you’re all alone in the world (raises hand), go for the Juno as “protector of the powerless” and Venus/Scorpio as secret generosity: go out and find a “kids’ Christmas wish list” and play Secret Santa. (My grocery store always has a Christmas tree with gift tags - now that my own children are adults, who don’t have kids, this is how I can still experience some of that “childhood holiday delight.”)

Planets/Points affected lie between 20:41 and 22:41 of the yin signs Taurus, Cancer, Virgo, Scorpio, Capricorn, and Pisces.

Sunday, November 26, Chiron Rx/Pisces trine Venus/Scorpio, 24:21

We may be more likely to “feel” this one late Monday, when the Moon/Pisces conjuncts Chiron and trines Venus. It has a strongly redemptive flavor. Remember that Chiron is the “wounded healer” - it deals with its own wounds by helping people in similar circumstances - and that Chiron is in Pisces, where Venus is exalted. There’s also some “doing it my way” energy, some resistance to being forced into societal constraints - the trine makes that easy.

Planets/Points affected lie between 23:21 and 25:21 of the yin signs Taurus, Cancer, Virgo, Scorpio, Capricorn, and Pisces.