#the concept photos inspired me to jupiter and back

[thekendallkathryn]

🎀 princess soobin 🎀

[sailorfailures]

ColourPop is dropping a Sailor Moon collab on Feb 20th and I have some Opinions

It’s the moment Sailor Moon makeup geeks have been waiting for - ColourPop cosmetics, noted for their affordable and colourful official pop culture makeup collaborations, has announced a Sailor Moon collaboration containing an eyeshadow palette, two liquid lipsticks, two lip glosses, two blushes, and two body glitters. Most likely this collab is being timed with the 25th Anniversary of Sailor Moon’s debut in North America to contrast with Japanese cosmetics from brands like Creer Beaute and Shiseido, which were released for the Japanese 25th anniversary.

Source: ColourPopCo on Twitter

After my initial excitement about the long-awaited collaboration died down, I was left with a somewhat disappointing realisation... this entire collab, over a total of nine products, was not about Sailor Moon: The Show... it was about Sailor Moon, the character.

When I imagine a makeup collection for Sailor Moon I immediately picture the rainbow of colours represented across the whole Sailor squad, or at least the OG Sailor Team five. But almost everything in the collab is quite warm, and either pink or neutral/natural. Exceedingly neutral/natural, in fact. One look at the names for all the product colours - “Shining Moon”, “Twilight Flash”, “Bun Head”, “Usagi” - make it clear that the products are intended to reflect Sailor Moon and Sailor Moon only.

The packaging itself is... interesting. I can appreciate that they were trying something new with the eyeshadow and blush cases, as they are all topped with different holographic pictures - not (just) the shiny kind of holo, but the old school kind that flips between two different images, all exclusively featuring Usagi and sometimes Luna. You can see the effect in action in this video review by TrendMood. Good concept but slightly awkward execution. I think they would’ve benefited from some kind of static frame around the images so that it didn’t look like I’d just hot glued a pog to my pencil case. The rest of the packaging features the same old redrawn clipart from every other piece of anniversary merch, so, yawn, though the prismatic elements are nice. The body glitter pots are cute, featuring Usagi’s first transformation brooch to mirror the round shape of the pots, but ColourPop’s “gliterally obsessed” branding seems out of place. I know that’s the name of their glitter gel series but maybe it could’ve been swapped out just this once.

(Screencap from above video by TrendMood)

The lip sticks/glosses are by far the most disappointing. Apart from the cardboard boxes they come in, the only branding visible on the tubes themselves is the series logo and a nondescript crescent moon pattern on the caps. Don’t get me wrong, I’m a big fan of subtle packaging. I don’t really want Sailor Moon’s face plastered all over a lipstick either; but I’ve also never been a fan of using random moons/hearts/stars as a stand-in for something more relevant to the show when that imagery is so generic and disconnected from the series. Why not little graphics of the Silver Crystal? If they’d thrown some rabbits, bows, and/or roses into the pattern then the combination would read more as “Sailor Moon” than moons on their own. (That said, splitting them into “Moonlight” for the liquid lips and “Daylight” for the lighter glosses with transformed vs. non-transformed? Brilliant. Genius. The perfect blend of nostalgic and practical.)

(Screencap from above video by TrendMood)

Here’s a photo of the palette taken from Temptalia’s website with everything but the shadows desaturated, so you can read the colours more clearly without being influenced by the packaging:

At first I wasn’t sure what this colour story was trying to tell me. I definitely understand going for a more neutral/“everyday” palette over something more glam, since the characters themselves are generally fresh-faced, but the AMOUNT of neutral shades here seem out of place for such a bright series. Tuxedo Rose and Love (the two pinks in the middle of the bottom row) are so similar for such a limited palette. Twilight Flash (top, second from the left) feels out of place; oddly saturated and just a bit too warm to play nicely with many of the other colours. Mare Serenitatis (the coppery-looking one) stood out as unusual but is actually more of a wine/plum under all the glitter, which is much more appropriate and reminds me of Sailor Moon’s transformation.

The more I looked at this palette, and the more I saw of reviewer's looks using it, the more I slowly realised that this palette wasn’t really evoking the character of Usagi herself, but rather the nostalgic, hazy, pink-washed aesthetic of the entire 90s Sailor Moon animation.

The dreamy not-quite-pastel quality of the 90s anime (half conscious design choice, half convention of the time) has received a lot of modern attention and praise. It makes sense that the palette feels like it’s being viewed through a rose-tinted filter when the entire show felt that way, or is at least remembered that way. It wouldn’t surprise me if ColourPop literally based some swatches on recurring colours picked from screenshots.

That being said... Does that make it a good choice for a makeup collab? Is this what Sailor Moon fans want and will buy? Is it versatile enough to warrant a purchase for non-diehard fans? Is it actually what casual fans, who might buy something like this out of pure nostalgia, are actually nostalgic for? Just because I see what ColourPop was going for, does it automatically translate to the most appropriate choice?

Ultimately, my judgement on that comes down to whether this is ColourPop’s only Sailor Moon collab. If this is them testing the waters to see if they can branch out into releasing products focused on the other girls, like a blue/silver mini palette for Sailor Mercury, a green/pink mini palette for Sailor Jupiter, etc. then I’m all for it. When perceived as a palette that represents the show itself, and not any specific character - not even Usagi, despite what all of the swatch names suggest - it really shines. But that’s not really ColourPop’s MO. Most of their pop culture collections are released in one big shining burst of products and then... nothing. And there are quite a few different products here.

I’d also be remiss not to point out that there are lots of indie Sailor Moon-inspired makeup collections already on the market, which makes sense for an almost-30-year-old series that literally repeats the words “make-up!” nearly every episode. Maybe ColourPop felt like they would be stepping on fandom toes or running the risk of copycat accusations if they strayed too close to any of the 2,348 red Sailor Mars-inspired eyeshadows online, though I assume they’d have the legal upper hand. In that respect, I do appreciate that this is a unique approach to a concept that has been nearly driven into the ground.

But ColourPop is not an indie brand and there are some benefits that come with that. They are generally more accessible, sometimes more affordable, can usually ship to more places in less time at a lower cost to the buyer, and can afford much larger runs that will sell out less quickly (though don’t be fooled, this collab will almost certainly start to sell out shortly after its launch). For many fans, especially younger fans, this is probably their only feasible option for Sailor Moon makeup. And some fans prefer the stamp of authenticity from an “official” collaboration, even if indie collections are often, well, better. So I think there’s an impetus for ColourPop to release a less specialised collection that’s reminiscent of more characters.

If this really is the only Sailor Moon collab ColourPop is planning to release, then the packaging, in my opinion, is an odd choice. I don’t know why they decided to focus exclusively on Usagi herself; if the colour story is meant to represent the entire series, then why not either have all the girls on the front in a rosey colour scheme, OR have none of them and focus on one of the cityscapes that clearly inspired the palette? I feel like there are lots of fans who aren’t necessarily fond of Usagi herself who may be put off by the overwhelming focus on her.

Overall: The lip sticks are nice but not super exciting, but I like what I can see of the lipglosses. The subtle glitter is very Sailor Moon. I love the Moonlight/Daylight concept but wish it were reflected on the actual tubes. The body glitters (Moonlight Legend, Moon Prism Power) are exciting and interesting, by far the most experimental part of the collab. The shape and colour choices for the glitters are very “Sailor Moon” and I can see them getting some use on the festival scene. The blushes also seem cute but a tad overpowering for the otherwise understated vibe of the rest of the collab, like the liquid lipsticks, and I love the Luna stamp in the blushes but would be sad to actually use them and see it get worn away. And while I like the gauzy backdrop-inspired looks people are making out of the palette, I feel like it’s extremely limited in the number of unique looks you could actually pull off.

So, in the end... am I going to be buying any of these? Hell, probably, if they’re not totally sold out by the time I get to them. My initial roller coaster of OMG COLOURPOP SAILOR MOON!!!! excitement dropped into “that’s it?” disappointment but has now leveled out at a respectable buzz of interest. I could see myself wearing most of these products, and the collector in me wants at least a piece of the collab for posterity. I just really hope that this isn’t the end of ColourPop’s involvement in Sailor Moon and that we might see some future products tailored specifically to the other girls, so that my collection isn’t just Usagi’s face staring back at me.

[ayoswim]

The Kalel Xavier Interview

By Kyle Mantha

Kalel Xavier is ambitious. His musical output is diverse, ranging from sleepy introspective jams like “Einstein” to synthy bangers like “Guap.” The young artist has aspirations of inspiring like-minded kids, and creating music that will hit home for anyone who happens to be listening. I had the opportunity to talk to Kalel about his upbringing, his creative process, and the everlasting struggle of misogyny in hip hop. 

How did you get started in music?

I’ve always been around music because my dad is a huge music head. So is my older brother. It’s always been apart of me. My older brother made music and when I was younger he let me record a track. It just felt right when I was on the mic. Of course my first track wasn’t the best, but after I recorded that song music has always been something I wanted to do.

What kind of music did your dad play around the house when you were growing up? Did his tastes influence you at all?

My dad was all over the place with his music. From The Commodores and Minnie Ripperton to LL Cool J, Scarface, KRS One, Prince, Michael Jackson, New Edition, and Public Enemy. I could go on all day. But some of the music definitely affected me. I feel like music back during his time, and even before his time, was more real and relatable and that feeling they left with me is the feeling I try to leave with people who listen to me.

How do you go about adding that feeling to your music? What’s your creative process like in general?

It’s hard for me to describe my creative process. I kind of just play a beat, close my eyes, and listen to it. Then I’ll go: “Ok, the hook is here, the verse is here,” and I kind of let the beat guide me towards the topic of the song. Honestly, everything with me is a vibe. I get vibes from a beat and that’s how I formulate a song. For example, take Galactus. When I heard the beat, the vibe of it was like, make the song hype but real and let people see some of your vulnerable side too. You know, it’s not always about how much money you have or how many girls you’ve been with or what kind of car you drove. People want to see that human side of you too. It’s cool to flex and flodge sometimes but not all the time.

Who are some of your influences? Do you listen to a lot of modern stuff, or is it mostly older music?

My biggest influences are probably Kid Cudi, Big KRIT, Bob Marley, Kendrick Lamar, Isaiah Rashad, Michael Jackson, and Lauryn Hill. They all encourage me to try and be different with my music. I listen to a lot of old stuff because I only like some of the new music that’s coming out now. I listen to a lot of older hip hop and older R&B/soul music. I’m pretty diverse though. The only genre I’m not really into is opera because I’m not old enough to appreciate it yet.

You’ve got two mixtapes titled “Einstein”. What’s the concept there? What inspired you to name the tapes after him?

Einstein is a just an influence for me because he was so smart and so open minded and always trying to find new ways to do something. Einstein was ahead of his time and innovative and I like to see my music as that. The concept is I’m trying to let you into my mind for an album so you can see where my head is at. I’ve been told my music represents what’s been on my mind and people can tell when I’m going through something. But to be completely [honest] there isn’t really a valid reason. I just look up to Einstein and wanted to name a tape after him… twice.

Photos by @nabhenduio on Twitter

Can you tell me a bit about Jupiter Gang?

So, Jupiter Gang is a collective that consists of close friends of mine. There’s myself, Crimson Babes, Nabhendu, and AKA Great Saiya. Honestly, we’re just a group of friends that like making music. We’re all about spreading good vibes and making good music. Trying to give people a break from popping pills and shaming women all the time.

Do you feel like there’s a lot of misogyny in hip hop? Is that something you try and avoid in your music?

Yeah, there is most definitely a lot of sexism and it’s something I’ve been trying to avoid recently. Like, I talk about women and I admit it’s not always the most respectful context because sometimes the art form is gonna be raw and I might say something that is offensive. But I always try to keep it to a minimum.

What do you find is the hardest thing about being a rapper?

The biggest obstacle I’ve faced in my music career so far is probably having to do everything myself. I make my own beats, write my own lyrics, engineer my own stuff, shoot my own videos, so sometimes that gets in the way of everything else. The hardest thing about being a rapper in my opinion is getting people to listen to your content especially because the game is so over saturated.

What kind of gear/software do you use to make beats and record?

I make beats in FL Studio. I don’t care what anyone says, that’s the best software. I record with Reaper but I’ve been trying to learn Pro Tools a little.

When you produce do you use samples or do you prefer writing your own melodies?

I do both, it just depends on how I’m feeling… I like sampling but the process of clearing a sample is very hectic. As an independent artist, it’s hard to get a response from someone when you want to clear a sample, so recently I’ve been using VSTs to write melodies.

Do you have any future plans for your music? What kind of impact do you wanna have on people?

Me and Jupiter Gang are always working on new material. I’m supposed to be dropping a collab tape with my little brother Juice Atkins, and I also plan on doing a lot more shows and keep trying to build my following one fan at a time. I want people to feel like they know me when they hear my music, and that they have somebody who understands what they’re going through. I also wanna encourage somebody to follow their dreams and be themselves. We don’t need another, we need a first you.

Find Kalel Xavier on Twitter and Instagram: @KalelXavier

EINSTEIN 2: https://soundcloud.com/kalel-xavier/sets/einstein-2

TOO MUCH ANIME (SOUNDCLOUD): https://soundcloud.com/jupiter-gang/sets/too-much-anime

TOO MUCH ANIME (SPOTIFY): https://open.spotify.com/album/5NoxD4lvsfjdPmLDMLrGBQ?si=03l2ZGr5RKyHd2lFngLX4g

[martyslittleusedblog]

A Record of Wasteland’s Should-Be Residents, Locations, etc.

Credit to @wasteland-unused for doing the research! I’m hoping that if these ideas are all compiled into one place, it’ll be easier to think of a story involving them. There’s a lot of stuff, so look below the cut. They’re supposed to link to their respective pages, but something’s gone screwy with my blog’s theme...

Residents

The MixUps

Phoebe the SeaBee

Fear, Shame, and Ignorance

The Lost Boys

Zeke Holloway

Lucky, Madame Mim’s cousin

Atticus Thorn

Pink Elephants

Mousercise / Ossercise

Vermithrax Pejorative

Wienie

Toby Bear

Max Hare

Supai

The Hunter (from The Black Cauldron)

Major Domo and Minor Domo

The kid from A Cowboy Needs a Horse

Terrible Tom

Waldo C. Graphic

The robots from Modern Inventions

Blackbeard, the original central pirate captain in the Pirates of the Caribbean ride

Looking-Glass Land Chess Pieces

Double-O Duck (a prototype of Darkwing Duck)

The White Rabbit’s Monkey gardener

Moana’s nine brothers (and maybe prototype!Moana)

The Cape Dogs

Casey and his daughters, the Caseyettes

Scrapped Dumbo crow designs

Captain Hook? (the version from the Peter Pan peanut butter commercials)

Concept art Dash

The characters of Fun with Mr. Future (possibly including Mr. Future himself)

Snug the Pilot

Winnie the Pooh characters (jerkass comic versions)

The Broken Toys

Redfeather the Turkey

Creepy Thanksgiving parade floats (from the ‘70s!)

Eilonwy

The Argumentative Grasshopper

Neverland Mermaids

Scrapped worm-like monster from Hercules

Scrapped versions of Elsa and the Queen of Arendelle

The Music Box

Spink

Windwagon Smith and his love, Molly

The original Hatbox Ghost

Old King Cole (Would he still be a king? Because Oswald is king...)

Early version of Lady

Bucky Bug, June Bug, and Bo Bug

Early Captain Hook

The Magic Mirror

The Skeleton Crew from James and the Giant Peach

Nasira

Stromboli

The Fair Folk

The Horned King

Orddu, Orwen, and Orgoch

Patricia and Percy Pig

Mheetu

Clarice

Slimy the Weasel (as a Blotling)

Giant dinosaur mouse

Herbie the Love Bug

George Geef (and maybe Goofy Jr, too)

Push the Talking Trash Can

Expedition Everest’s animatronic yeti

Kat Nipp

Trudy van Tubb

Experiment 000 (Cyber)

Zeus / Jupiter and Vulcan (Fantasia versions)

Yeti animatronic

Fifi the Pekingese Dog

The mice in Great Guns and All Wet

Babkak, Omar, and Kassim

The Crows from Dumbo

Scrapped!Gaston(s?)

Brer Rabbit, Brer Fox, and Brer Bear from Song of the South (and Splash Mountain)

Keelhaul Pete

American folk tale characters (protagonists, primarily)

Fifinellas (female Gremlins) and Widgets (baby Gremlins)

Lyth

The Dreamfinder and Figment the Dragon

Drossel von Flügel and Gedächtnis

Master Control Program (MCP)

Rejected Sleeping Beauty fairies

Various obscure Disney robots

9-Eyes

Kopa

Sheriff Crabb

Rocky the Rhino

The Lion and the Unicorn

Woody Pride (scrapped version)

Inspector Javert (from That Missing Candelabra)

Yzma (scrapped version)

Francine “Fanny” Cottontail

Maleficent (scrapped versions, plus disguise!)

Julius the Cat

Belle’s extended family

Previously-scrapped Beetleworx

The pirates from the King Neptune short

The Mechanical Cow

Eega Beeva

Willie the Whale

J.P. Whiskers

Sora (scrapped version)

Miklos Mouse

Sylvester Shyster

Burrito

Señorita Cactus

The Mariachi Butterflies

Donna Duck

The Aracuan Bird

Miguelito Maracas

Scrapped Peter Pan pirates

Maximilian (already has a Beetleworx, but perhaps put the real one in?)

Elvira (and scrapped version of Edgar?)

The Fujitas

Banagi

Captain Gore and Priscilla

Scrapped “Drink Me” bottle

The White Knight

The Gryphon and the Mock Turtle

The Duchess and company

The Golden Harp?

Scrapped Dwarfs (with, um...certain exceptions...)

Bootleg Pete

Dentist Pete

Robin Williams lost boy from Back to Never Land

Lucky the Dinosaur

Sunflower and/or Otika

The Jabberwock

Characters from Mistress Masham’s Repose

Humphrey the Bear (He made a cameo in 2, apparently, but how about a proper appearance?)

Clara Cluck

The Nutcracker Sentries

Don Quixote

Arawn

Captain Cleaver

Gendarme

Locations

Wintertime Park

The Tick Tock Croc Aquarium

Oswald’s Barrel House

Mickey’s Kitchen (possibly re-opened in Wasteland as Oswald’s Kitchen)

Cannibal Cove/Pirates’ Cove

Mission to Mars

Videopolis

The factory on top of the beanstalk

The Walt Disney Story

“Disney’s America” (or, as I like to call it, Americaland)

World of Motion

El Rio Del Tiempo

Discovery Island (see here if you’re wondering about the Adventurer’s Club)

Pooh’s Playful Spot

River Country

Disney’s Dark Kingdom

Disneyland New York?

Time Keeper

Silent Film Stunt Show

Previously-scrapped Wonderland area

Back to Never Land

Demon Jungle

Beastly Kingdom

Music

Feed the Birds

Arabian Nights Reprise #1

Wherever You Are

Mickey Mouse Disco

We’re Gonna Get Outta this Dump

Chimpanzoo

Babkak, Omar, Aladdin, Kassim

Laughing Place

Proud of Your Boy

The Cinderella Work Song

Dancing on a Cloud

If You’ll Believe in Me

I’m Odd

Snuff Out the Light

Beyond the Laughing Sky (which may sound kind of familiar...)

Warrior Face

You’re Never Too Old to Be Young

Music in Your Soup

Beta Epic Mickey tracks (known so far)

Blue Oak Tree

Beware the Jabberwock

Dream Caravan

Misc.

World War II Insignias

Pack Mules?

Photo Cutouts

Booze

Duck Pimples

Cranium Command

Stitch’s Great Escape

Beacon of Souls

Mickey Mouse Club Circus

Flubber AKA Flying Rubber

Wind-Up Mickey Toy

The Star of Astoroth

Plaza Swan Boats and Mike Fink Keel Boats

Guns and other military equipment

Cigars

Scrapped Content from Epic Mickey

The characters, concepts, etc, from 10 scrapped Disney and Pixar films

The collar of the Cat from Outer Space

1930′s Horace X Clarabelle Valentine’s Day card

Mickey’s Army Uniform

Animatronic Hook’s Flying Ship

A very hurtful (to Oswald) quote from Walt (WARNING: angst)

Disney Animator Memorials

Tom Oreb “stylish” 50′s redesigns of classic Disney characters

Spectrobes

What’s this about ICP!?

Unproduced Disney TV shows

The magic sword from The Black Cauldron

The Golden Pelydryn

The Crypt

The Black Cauldron concept art by Tim Burton (potential Bog Easy Blotling ideas?)

The Great Movie Ride

Indicators of the fallen of Wasteland

Peter Pan’s Shadow (either a Pete Pan’s shadow or Blotlings resembling Peter Pan’s shadow)

The ExtraTERRORestrial Alien Encounter

The Jug Pump

Disney Princess Academy

Blotlings inspired by The Army of the Dead from The Black Cauldron

Chernabog’s Minions (as Bog Easy Blotling designs)

Splashtacular

Maelstrom

America Sings

Polyps

More about Gremlins (Read the PDF of the book here!)

Pig Head / “Toonarooned”

Scrapped Blot ideas

Tapestry of Nations Parade

Creepy vintage Oswald merch

20′s slang

The Shadow King

Blot!Mickey (could be used for a Blot!Miklos or something)

More creepy vintage Mickey merch

Gas flares

[albinohare]

Back to basics: Offshore sailing by celestial navigation alone

Navigating by sun and star in the electronic age is a big challenge. Andy Schell describes a voyage of discovery

Star sights need a visible horizon, which you only get at dawn and dusk. Photo: 59 North

I have tattoos of a rooster and a pig on my feet. They’re meant to protect me from sinking. I have a nautical star on my forearm, so I can always find my way home. I wear red pants at boat shows and lectures. I have a passion for the traditions of the sea.

Celestial navigation tops them, with its blend of romantic art and practical science. Since I first read Bernard Moitessier’s book The Long Way, long before ever going offshore myself, I’ve wanted to cross an ocean using only sun and stars as my guide.

In the spring of 2017, sailing north from the BVIs to Bermuda with the ARC Europe fleet, we raised the stakes – we’d sail the route on our Swan 48 Isbjörn navigating entirely by celestial means. We wanted to see if we could do it.

Isbjörn carries electronic equipment, but the crew revelled in navigating by the stars. Photo: 59 North

I first learned celestial navigation ten years ago from John Kretschmer at a workshop he hosted at his home in Fort Lauderdale. John is the reason I pursued a career on the ocean. He’s well known to most sailors in America and made history in 1984 when he sailed a Contessa 32 called Gigi from New York to San Francisco the ‘wrong way’ round Cape Horn, an adventure that is immortalised in his book Cape Horn to Starboard. The very day that Gigi rounded the Horn, 25 January 1984, was the day I was born.

During the weekend workshop I got to practise taking morning sun sights on the beach with the old Freiberger sextant that John had used to navigate around the Horn on that famous voyage.

John described celestial navigation in romantic terms, explaining it in a way that made it as inspiring as it was understandable. Here was someone who spoke my language, the language of the great sailing romantics like Moitessier and Sterling Hayden. John made celestial bigger than just navigating for, after all, the likelihood of a modern day sailor actually needing celestial is effectively nil.

Article continues below…

‘Did you sail that thing here?’ – solo across the Atlantic in a Folkboat

It’s a funny thing, the further I sailed away from northern Europe, the more attention my boat attracted in marinas…

Life-changing voyage: Sailing solo across the Atlantic in a 22ft sloop

On a cloudy midsummer afternoon, my best friend, Harry Scott, and I waved goodbye to our worried mothers and sailed…

Time is everything

“Has the boat motion really settled down a lot or am I just feeling better?” Tom, one of our crew, asked on the second morning of the passage north from Tortola.

He and Cheryl had the watch and were at the helm while the crew was gathered in the cockpit for the day’s noon sight. I led the process while eating a bag of corn chips in an effort to stave off the early-passage mal de mer. Thane had the sextant and Mike was note-taker and timekeeper.

“Is it the 8th? What’s today?” asked Cheryl. “It’s the 7th today, isn’t it? Or no, it is the 8th,” I replied, not so confidently.

Isbjörn is a particularly well-travelled S&S Swan 48. Photo: Tim Wright

Normally on an ocean passage the days really don’t matter. Not so when you’re using celestial navigation. A four-second error on the time you took the sight equates to a one-mile mistake in determining the sun’s geographic position. Time is everything.

Isbjörn had departed Tortola with the ARC Europe fleet and we’d initially sailed west down Sir Francis Drake channel, rounding Jost van Dyke to starboard and pointing the bow for Bermuda. The boat galloped north at first, carrying the easterly trades on a rhythmic swell under hazy skies. Our dead-reckoning plot was easy to keep track of as Isbjörn beam-reached up the rhumb line, full sail flying, at eight knots.

At just shy of 1,000 miles, the passage to Bermuda is long enough to find your sea legs, but short enough to forego that 5 o’clock cocktail without regret. The Gosling’s Family Reserve in Bermuda is worth waiting for anyway.

Photo: Isbjörn Sailing

But the Trades faltered sooner than we all wanted them to. Through the winter in the Caribbean, Mia and I had got so accustomed to sailing in 20 knots of breeze with small sails that it felt rather odd when we first sailed into an area off the coast of northern Florida more affected by continental weather than the tradewinds and lost the breeze for the first time in months. A weak cold front passed overhead and suddenly Isbjörn was on port tack.

Secret GPS positions

We had to eliminate the nearly-impossible-to-avoid GPS inputs while still maintaining some semblance of safety. The old Garmin chartplotter’s GPS antenna had given up the ghost, so we didn’t have to worry about that, or the VHF, which was integrated to it.

We had an AIS app on the iPad that allowed us to see targets around us and their CPAs, streamed wirelessly from the built-in Vesper XB8000 transceiver, but that would hide our own position. We had a paper passage chart, bound copies of the Nautical Almanac and the Sight Reduction Tables for Air Navigation.

Mia would keep a secret GPS record in a separate logbook in case of emergency. Ironically, friends and family following the rally from afar would know our position more accurately than we would through our YB tracker.

Thane had signed up for the passage in spite of the celestial navigation part of it, not because of it. He was an experienced offshore sailor, having sailed across the Atlantic westabout, double-handed with his wife, Brenda, on their Bavaria 37.

“Holy smokes, this is so cool!” he exclaimed the first time he managed to grab an evening twilight star sight.

Getting a reliable sight from the sun is tricky when it’s hazy or overcast. Photo: 59 North

The sun had only just sunk beneath the horizon to port. The western sky was painted an array of pinks, yellows and oranges, while overhead blue faded to black as night approached to starboard. If you looked hard enough, you could just make out the evening’s first stars. We were in that ethereal slice in time photographers call the magic hour and navigators call civil twilight.

Thane had used the ‘no scope, two eyes open’ approach on that first star sight that Moitessier had used on Joshua. ‘I felt that I was becoming an expert in taking star sights since I discovered that it can be done without the telescope, keeping both eyes open,’ Bernard Moitessier wrote in his book Cape Horn: The Logical Route.

‘In this way, a star can be brought down to the horizon because the latter can be seen quite clearly with both eyes open. It is impossible to do this properly while looking through the telescope where the horizon always looks hopelessly blurred. In my innocence, I thought I was the first to discover this method…’

During our one-day crash course in Tortola, I’d described to the crew this method in theory. With one sight that evening, on the rolling deck of a boat at sea where the accuracy of his sight had real-life consequences, Thane had instantly and enthusiastically bridged the gap to celestial in practice, experiencing the same joy of discovery that Moitessier had uncovered and written about some 50 years earlier. ‘Even the best navigators are not quite sure where they’re going until they get there, and then they’re still not sure!’

Sextant sights provide the raw data – you then have to try to work out where you are. Photo: 59 North

Breadcrumbs in the wood

Traditionally, navigation was about keeping a detailed record of where you’d been in order to plot a course to where you’d like to go. Hansel and Gretel knew how to navigate – the breadcrumbs-in-the-forest trick was the fairytale version of dead reckoning.

Navigation was rooted in superstition. Never did a sailor tempt fate by arrogantly declaring they were sailing ‘to’ a faraway port; it was always ‘towards’. This thinking contained equal doses of humility and flexibility that the modern navigator ignores at their peril.

Teaching celestial navigation in a modern context, then, involves filtering fundamental concepts through a particular lens. Take latitude, for example. It’s derived by taking a north-south cross-section of the earth and extending lines from the centre outwards, like spokes on a bicycle wheel.

AIS app on an iPad provides information on other vessels. Photo: 59 North

Where those spokes intersect the surface of the earth creates a given line of latitude, which is drawn on the earth’s surface around the world horizontally. The degrees between lines of latitude on the surface are actually the angle between those bicycle spokes.

Nautical miles on the surface of the earth, then, correspond to those angles. Everyone knows that one minute of latitude is equal to one nautical mile, and that 60 of these make one degree of latitude. But have you ever stopped to think how far a nautical mile is on the moon? Or on Jupiter?

A nautical mile on another planet is still derived in exactly the same way, but it’s the body’s circumference that determines the actual geographic distance of it on the surface of that body. A statute, or land mile, is contrived. A nautical mile is an elegant expression of geometry.

Dive a little deeper. The distance on the surface of the earth from 0° to 231⁄2° North, for example, is 60×23.5 or 1,410 nautical miles. It’s also 1,410 nautical miles from the moon’s equator to 231⁄2° north on the moon, but the distance as measured in feet or metres is much shorter because the moon isn’t nearly as big.

That 23 1⁄2° North, by the way, is the Tropic of Cancer. The Tropic of Capricorn, conversely, lies at 23 1⁄2° South. Those aren’t just made-up boundaries: the geographic tropics are de fined naturally by the limits of the movement north and south of the sun’s declination throughout the year as it traces a sine curve from season to season, due to the tilt of the earth.

The other half of the sun’s geographic position (GP) – longitude, or Greenwich Hour Angle (GHA) in celestial parlance – is directly convertible with time and changes by the second. The sun’s GP travels westabout through 360°, right around the earth, in 24 hours, or 15° per hour.

Logically, then, I can predict the sun’s GHA in my head if I know the time in Greenwich, 1400 UT, for example, would put the sun about 030°. GHA, unlike longitude, is measured through 360°; the sun can never travel east, after all.

In simplified terms, when we take a sextant altitude of the sun we’re creating a right angle triangle between it, the earth’s surface at the GP, and ourselves. Grade school geometry tells us that the two angles in a right-angled triangle must equal 90°.

Celestial navigation is very much a team effort – one crew member takes a noonsight while another notes the figures

So, the complement to the altitude projects an angle from the sun onto the surface of the earth which, just like in the latitude example above, can be converted to nautical miles. After accounting for the sun’s declination north or south, depending on the season, this is precisely how we get our latitude from a noon sight.

A single sextant sight produces a giant circle of position, with the complement to our sextant altitude describing the radius of the circle, the GP at its centre. If we had a large enough chart, and an accurate way to take a compass bearing towards the GP, you could plot this using the simplest of fixes, bearing and range, to pinpoint a position on that circle. Alas, we have neither.

So, in a nutshell, modern celestial using the Sight Reduction Tables for Air Navigation (Pub. 249 in the US), allows us to compare the sextant reading from our unknown location at a known moment in time, with a sextant reading from a known location that’s somewhere in our neck of the woods, called the ‘assumed position’, and plot the difference on a chart, producing a single line of position that just so happens to be a tangent to that larger circle of position… Deep breath!

In reality, none of this is important to the modern GPS navigator. But – and here’s why I love teaching celestial navigation so much – these Eureka moments about geography and geometry and the basic understanding the fundamentals of celestial makes everyone a better navigator, whether you actually ever pickup a sextant or not.

The ocean felt deserted. There were no other boats to be seen, and no more flying fish. No dolphins. Nothing but the routine.

I don’t stand a watch on our Isbjörn passages, instead maintaining a more traditional captain’s role, overseeing the big picture and forever on-call should the crew need me on deck. Again, I’m modelling Moitessier.

He wrote once that when the weather is nice and things are going well, the captain can sleep for 36 hours if he wants. On the other hand, when the weather is bad, and stress high, the captain must remain at the helm indefinitely.

When things are good, I’ll often take half of Mia’s nighttime watch. There’s something about being alone in the cockpit at night. It’s precisely why I go ocean sailing.

Sunrise and moonset

I relieved Mia pre-dawn at 0400 and settled in for my two hours outside while the crew slept. Firmly into the mid-latitudes, and after another clearing frontal passage, the sky had lost all its Caribbean moisture and haze, replaced by a clarity in the air rarely seen ashore.

The glimmer in the east came early that morning. In opposition, the full moon casually and simultaneously sank lower on the horizon. I couldn’t decide where to focus my attention; I wanted to witness that first glimpse of the sun piercing the eastern horizon, but didn’t want to miss Mr Moon dipping ever lower in the west.

Isbjörn sailed on a northerly zephyr and an oily sea, forcing me to concentrate on the helm in order to maintain her momentum, but distracting me from that beautiful sunrise and moonset. It was very fine light-air sailing, but there were troubles with celestial. Where were we?

We’d forgotten to account for the apparent altitude when taking the noon sight the day before, a correction to the sextant angle that’s applied to account for the refraction of the sun’s ray’s in the atmosphere. The log read 581 miles sailed since leaving Tortola when I wrote in the logbook on the morning of 10 May, our fourth day at sea. It had been overcast the day before, so difficult to take any sun sights, and the ones we did get were off.

Photo: Isbjörn Sailing

To boot, we’d gone 12 hours overnight, sailing well east of the rhumb line, close-hauled on a light northerly, which didn’t allow us to lay the course.

Non-sailors assume celestial is about navigating by the stars, at night. It’s not, of course – star sights do the job, but you need a visible horizon, which only happens at dusk and dawn. So it’s down to Mr Sun, who guides you most of the way, and on cloudy days Mr Sun is hard to find. You’re always sailing blind at night.

No matter. At 0300 on the morning of 12 May, just before the dawn of our sixth day at sea, Gibb’s Hill Light on the south-west corner of Bermuda hove into view right where we expected it to. The log read 838 miles sailed.

Accurate enough

Celestial navigation had gotten Isbjörn to Bermuda, legitimately, and with a crew of amateur sailors, two of whom had only just learned the methods literally the day before departure. I’d always wondered if we could do it, and now I know.

It’s certainly not a practical, efficient means, by anyone’s reckoning. They say that ‘close only counts in horseshoes and hand grenades’. And in celestial navigation.

Andy’s tattoos reflect his love of nautical tradition

The interesting part is that, without a GPS, we never really knew how accurate our sights were, and we still don’t. In the end Gibb’s Hill Light appeared where we expected it to. Our sextant sights, DR plots and LOP reductions were accurate enough to get us there successfully.

Nobody cared whether our individual LOPs throughout the trip were within two miles of our GPS position or ten, and the crew enjoyed stargazing at night, quickly forgetting the chartplotter gazing we’re all so used to.

Not unlike Heisenberg’s famous principle, perhaps the most profound irony of modern navigation is that the closer we get to perfect GPS accuracy, the farther we get from ever knowing where we truly are.

About the author

Andy Schell and his wife, Mia Karlsson, sail 10,000 miles per year on their S&S Swan 48 Isbjörn, taking paying crew on ocean passages in the Atlantic, Arctic and worldwide. Andy also hosts the On the Wind sailing podcast on his website (59-north.com) featuring interviews with well-known sailors from around the world.

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