originals represent

The Sun, the Moon and the Planets: meaning

The Sun: represents the essence of your self, your will, your individuality, your vitality and your desire for power. More than any other planet, it represents who you are. It also symbolizes man in general.

The Moon: represents your emotions, your subconscious, your instincts, your habits and your memory. It also represents women in general.

Mercury: symbolizes your communication style, your reasoning skills, and the way you think.

Venus: represents the areas of your life concerned with love, seduction, beauty, material goods and the arts.

Mars: is the planet of desire and aggression. It represents your physical energy, your combativeness, your spirit of enterprise and your courage.

Jupiter: is the planet of expansion and good fortune. It represents growth, prosperity, abundance, wisdom, generosity and higher consciousness. Jupiter’s position in the sky map indicates where you are lucky.

Saturn: represents limitation, restriction, prudence, organization, endurance and discipline. It tells you where you have to deal with your fears - and also where you have ambition.

Uranus: represents originality, independence, spirit of rebellion, inventiveness, insight and all that is not foreseen.

Neptune: represents spirituality, dreams, psychic abilities, intuition, disintegration, compassion, self-sacrifice, deceit and illusion.

Pluto: represents elimination, destruction, regeneration, renewal and transformation.

Some Highlights from “The Music of Rogue One” Panel at SWCO17 (aka the panel that blew my mind)

So since I can’t find any filmed version of the “Music of Rogue One” panel with David W. Collins I’ll post some of the highlights here. I’m a music theory nerd myself but I was surrounded by people who have never paid attention to music analysis and were still moved to tears so I encourage everyone to check this out (and watch the panel please if it’s ever made available.)

  • the Panel began with Collins discussing the legacy of John Williams and the Star Wars main theme specifically. He discussed how it was originally meant to be Luke Skywalker’s theme, and how that interpretation can still hold true considering Star Wars is the Skywalker Saga
  • The coolest thing pointed out re the main theme is that it’s musical construction mirrors the structure of the Hero’s Journey, the monomyth structure that all of Star Wars revolves around. It rises suddenly with the call to adventure, then builds with the journey, drops during the abyss, is reborn with another musical rise, then returns to the beginning. Collins emphasized that Williams is without a doubt a musical genius and that Michael Giacchino had a big challenge in making a score that lived up to William’s legacy while standing on it’s own. This was a challenge he more than met, as this panel made clear.
  • Now moving on to Rogue One, Collin’s discussed the title theme “Hope.” This theme is clearly heard over the title of the film, during Jyn’s big speech to the Rebellion, and throughout the film.
  • Collins pointed out that, like the main Star Wars theme, “Hope” echos the structure of the film itself. There are heroic major key moments in the theme, but it ends in a melancholy way that almost sounds unfinished. It represents the sacrifice at the center of the film. This is a story of incredible heroism that merely paves the way for others to finish the journey. 
  • Collins moved on to discuss the musical themes for each character in Rogue One, with a lot of focus on Jyn’s theme. Jyn’s theme is the most frequently heard piece along with “Hope” in the film. In fact, we hear it three times in the film’s prologue alone.
  • The fascinating thing Collins pointed out is Giacchino’s use of Dies Irae throughout the score. Dies Irae, or Day of Wrath, is the medieval hym describing the end of the world. It is sung during funeral masses and musically is quoted widely to represent death
  • Giacchino was signaling from the beginning that this is a story about death. He wrote the sacrifice of these characters right into their themes.
  • A notable use of Dies Irae beyond character themes is it’s repetition as Cassian and Jyn begin to climb the tower in the archive during the climax. The first two notes of Dies Irae are repeated as they do so. When Krennic walks down the hallway with his Death Troopers, all three notes play (death literally chasing them). And when Jyn almost drops, than catches the data tapes, Dies Irae is replaced by “Hope”
  • Jyn’s theme in particular is a melancholy theme centered on Dies Irae, but with a lovely, lullaby like feeling. It tells you from the beginning that Jyn’s is a story of hope and inspiration but also death and sacrifice.
  • An interesting use of Jyn’s theme and “Hope” together is during Jyn’s speech to the Rebellion. First we here “Hope” swell as Jyn speaks to the Rebels. Then when her speech is shot down, the theme drops, replaced by Jyn’s theme. This represents that it is Jyn herself who inspires the sacrifice that will eventually bring on the Hope. Jyn is the hope.
  • Another mind blowing moment was a musical parallel that Collins pointed out with the character of Bodhi Rook. In the scene where he recalls his mission, repeating “I’m the pilot, I brought the message,” listen for the flutes. That exact same flute theme plays in A New Hope when Luke discovers Leia’s message hidden in R2. By doing this,  Giacchino is directly mapping the journey of “the message.” Bodhi receives the message of the Death Star and how it can be destroyed from Galen, he brings it to Jyn, who with Rogue One, transmit the message, which ends up in the hands of Leia, then to R2, then to Luke, who must return it to the Rebellion. Those flutes represent the origin of the message with Bodhi through to A New Hope.
  • This panel was full of mind blowing moments, but the most mind blowing moment by far was another musical connection to A New Hope. After we had become very familiar with Jyn’s theme over the course of the panel, Collin’s played a scene from A New Hope for us. It was the moment when Obi-Wan asks Luke to come with him to Alderaan and Luke resists. When Obi-Wan says he’s getting too old for this sort of thing, Jyn’s theme plays clearly under Luke’s hesitation. In the original context, a hint of Dies Irae was WIlliam’s way of foreshadowing Obi-Wan’s death, but after Giacchino used that musical queue to build Jyn’s theme, it suddenly has deeper meaning. It’s Jyn’s sacrifice calling to Luke, compelling him to be the hope she fought for. And it is connecting Obi-Wan’s eventual sacrifice with that of Jyn and her comrades.  
  • Collins also highlighted how Giacchino’s score for the final moments of the film, from Jyn’s confrontation with Krennic through the arrival of Vader and the death of Jyn and Cassian, is unconventional and incredibly effective. Jyn’s confrontation with Krennic is silent, no music, unexpected for such a key moment. Only when Cassian appears does the music return. And throughout the final sequence, as we witness horrifying destruction, death. the arrival of the Death Star and Vader’s Star Destroyer, the score stays distant, gentle, melancholy. It does not highlight the horror. It steps back and mourns over it, like the eyes of history or the Force itself, honoring the sacrifice. 
  • So yeah Giacchino’s score for Rogue One is brilliant, Williams’ music for Star Wars is brilliant, this panel was brilliant, and I can never get enough of analyzing Star Wars scores.

mazing iceberg

While uncommon, these stripey icebergs have a fairly simple formation process. The layers represent the original layers of snow that turned into ice to form the glacier from which this berg calved. They were of course originally horizontal. The calving happened in such a manner that there was a weight imbalance between the two halves of the berg, one being thicker than the other and the heavier half dragged the whole formation vertical as it broke off into the sea. The top layer is due to gentle erosion by the elements of the surface part, which makes the layered lower half gradually emerge until it erodes too.


Image credit: Jeff McNaill

before we begin explaining actual myths, we’d like to address a few misconceptions, or rather myth-conceptions:

first: contrary to popular belief, hinduism is not a polytheistic religion (polytheistic meaning believing in multiple gods), but rather a monotheistic one. yes, there are several gods we reference (i.e.: brahma, vishnu, shiva, etc.) but if western writers actually bothered to properly research, they would find that some denominations of hindus believe that all of these gods are merely forms/manifestations of the Supreme Deity, Parameshwara, and that everything in the universe i also a manifestation of him/them. this does not, however, take away from the significance of other deities.

second: the syllable aum (om) is not merely something you say while standing in the tree pose, but also the most sacred sound of both hinduism and some forms of buddhism (which originated from hinduism) and represents the complete creation of brahma and by extension, Parameshwara. that is to say: the sound aum is the frequency of the universe.

third: karma, pronounced [karma] and not [KARma] is the record of everything you’ve done in your life, the good, the bad, and the ugly. it dictates what happens to you after your life is over not what happens to you while you are still alive, so the phrase “karma’s a b*tch” when used in the context of minor inconveniences in life is, in fact, inaccurate.

fourth: who the fuck told y’all we worship cows? while it’s true we consider cows sacred, and many denominations of hinduism don’t eat beef because of this, you won’t find anyone treating cows themselves like literal gods. that just isn’t a thing.

fifth: no, you cannot randomly call yourself hindu because you think “third eyes” and “chakras” and whatever exotified bullshit you ran into in yoga class is sooooo trendy. some people do convert to hinduism – personally i know a few hindu converts who aren’t of south asian descent, and they are some of the most respectful and religious people i have met – but please, don’t pick and choose the parts of a religion that you think are cool and exotic. and for the love of the gods, don’t culturally appropriate. recognise that hinduism has a deep and interconnected history with south asian culture, and that not all of it is your place to take part in.

sixth: a bindi/bottu/tikka/tip is not just a “forehead decoration,” it is a symbol of shakti, power, and corresponds with the mythos behind chakras (pronounced [chakra] not [CHAKra]). do your fucking homework before you misuse a powerful symbol of south asian culture and don’t try to tell us that we’re overreacting.

seventh: not all hindus are peaceful, and hindu extremists do exist! hindus have a long history of islamophobia, for one, which has resulted in violence, and also discrimination against people of the sikh faith (see: indira gandhi, anti-sikh riots of 1984). also, the hindu nationalist (or hindutva) movement is as violent as any other extremist group you’d encounter. most hindus are generally pretty chill and don’t agree with these extremists’ views but even so, it’s dangerous to assume every hindu is gentle, because that overlooks and minimises the actions of these groups.

eighth: hinduism itself has no problems with the LGBT+ community. in fact many hindu deities have feminine/masculine/non-human forms (i.e.: vishnu and mohini,) and can therefore be interpreted as nb/genderfluid. there are also a few myths that challenge conventional heteronormativity.

It’s the little things...
  • Alfred and Matthew inheriting freckles from Arthur and their straight teeth from Francis
  • Matthew being the tallest in the family
  • Alfred taking after Francis and snoring like the devil when he sleeps
  • Alfred and Arthur having tattoos, Alfred with 13 stars on his shoulder/back to represent the original 13 colonies and Arthur having his lame guitar tattoo on his ass from his punk days
  • Arthur, Matthew and Francis all talking in French around Alfred to annoy him since he doesn’t speak it as well as the three of them
  • Francis being an inch or two shorter than Arthur but no one really knows since his shoes make them the same height
  • They all have similar sounding laughs but Arthur’s is airy, Matthew’s is soft, Alfred’s is too loud and Francis snorts so they don’t sound alike unless you listen closely
  • Matthew helping Alfred color-coordinate his clothes because his twin is a bit colorblind 

I love this family

Something I really like about Virgil is that he has great chemistry with all of the sides, once they give him a chance.

Patton and Virgil are both very emotional sides, with Patton being the positive side and Verge being the negative. They can help each other see other perspectives and together they can land happily in the middle ground of contentment.

Logan and Virgil are both very analytical and observant. Logan is very fact based, he is well educated and understands things literally. Verge is highly analytical as well but it is less fact based and more experience based. He has a more natural understanding of things and people. Together they can help each other to see the truth, with both sides of the argument (fact based and people based). Also Logan could be really helpful for Verge when his anxious mind runs wild.

Roman and Virgil are both creative. While Roman is a dreamer and Verge is a bit of a dweller, those things both start with a creative mind. They can both think up any possible outcomes to a situation. Verge can help ground Roman when he is dreaming impossibly big and Roman can help Virgil get his feet off the ground every once in a while. Together they create dreams that are actually realistic and doable. The attainability makes both of them happy.

Virgil is such an important character. Without him the others can be stagnant, trapped in what their character was originally representing. Now, with Verge, they all have balance and have become people, fully dynamic characters. This is why Virgil is my favorite character.

Reasons the russ storyline is wonderful

-Skam is financed through Norwegian tax money and the shows main audience according to the NRK is Norwegian girls from the ages 16-20. And when Norwegians are 19 we celebrate being russ. This problem is very easy for me to relate to because I’m Norwegian and being russ is something I have looked forward too for years. Just because the show has gotten popular internationally it doesn’t mean it shouldn’t keep on representing its original audience
-This storyline knits in old characters that the boy squad didn’t interact with in s3 but the girl squad interacted with in s2.
-Sana’s main conflict this season is her Muslim vs Norwegian identity and how she can balance those two identities. Her participating in the russ celebration is important for her.
-Sana has always been the problem solver when it comes to russ stuff (she was the one who fixed the toilet paper crisis in s1. Buying and seeling toilet paper is also a normal russ thing) She was also the one to ask all the correct questions to Mari
-The begging of the russ celebration is this weekend
-The biggest complain I have heard from other Norwegians about it only being four seasons is that we won’t get to see their russ celebration, now we get to see a taste of it!

Conclusion: don’t write off a storyline because you can’t identify with it because thousands other can

original writing

so… i’ve decided to swim in the ocean and most likely drown. and by that i mean i’ve decided to write a book. and by that i mean i’ve decided to swim in the ocean and most likely be eaten by a shark. 


here’s the thing. i plan on having a lot of diversity, but i want to probably write everything and I DO NOT UNDER ANY CIRCUMSTANCES want to be offensive or misrepresent anyone or fall into hurtful stereotypes. 

that’s where you guys come in or people that you know come in. i need your help. i do plan on doing research, but i also want to talk to some people. 

my characters:

bisexual guy

note: no slutty bisexual trope i swear on my own grave that will surely be an early one because this book… just may kill me. 

pansexual guy

note: i want to be able to make a clear difference between bisexual and pansexual because they are NOT the same thing. 

asexual girl 

note: i am staying far away from the disgusting “soulless monsters” trope. this character is honestly one of my top three favorites and i want to do her so much justice. 

sapphic girls 

note: i plan on having a f/f ship, which will actually be the main ship friends-to-lovers trope, since you guys are so underrepresented in YA and god i don’t want to mess up, but i still want to try.

black muslim girl 

note: tell me if this makes sense depending on the context of my book, thanks.

asian girl

note: i want to do so much research on this because ‘asian’ is a pretty big category and i know its easily to be offensive and misrepresent but i don’t want that to stop me from writing

this story is going to be a greek mythology inspired story (as long as i don’t get eaten by a shark and drop it). i don’t want to explain everything because its still in the very early drafts and it’s a bunch of rough ideas and scraps. 

the main plot is ascension and self-discovery (unless i drown and this story drowns with me). even if its still greek myth its my world and i want to make all of these work as well as i can. 

please message me or send me links or anything that you think will help me write these characters as best i can without being offensive. thank you for reading and for helping.

Here’s a post for the sapphic relationships between those with shared marginalized identities - either by choice or because it’s how things worked out.

These relationships can be hard to find (sometimes even harder than it is to find a girlfriend on average), but they happen and they’re wonderful. Women of color don’t need to date white women, trans women don’t need to date cis women, etc. and if they do, this should be their own decision. Some may choose to exclusively pursue partners who are more likely to share their life experiences, and they should be allowed to do so without receiving flack or being told to be more “open minded”.

Even within our communities, these relationships aren’t talked about or represented very much. It’s important to acknowledge and celebrate them, rather than exclusively gushing about relationships involving cis, white, able bodied, neurotypical women.

  • Shout out to women of color in relationships with other women of color!
  • Shout out to trans women in relationships with other trans women!
  • Shout out to disabled women in relationships with other disabled women!
  • Shout out to mentally ill women in relationships with other mentally ill women!
  • Shout out to autistic women in relationships with other autistic women!

And the list, of course, goes on.

I hope your relationships are blessed, long, and happy!

Call For Papers: November 1st

This September will be the 150th anniversary of the publication of Volume I of Karl Marx’s Capital. It will also mark 9 years since Lehman Brothers went under, ultimately resulting in the international financial crisis from which we are still trying to recover.

In the years since the height of the crisis, Marx’s work, and especially Capital, has been thrown back into public discourse. Many of us have been radicalized in this atmosphere, coming to believe that the capitalist mode of production is inherently unstable and crisis-prone, and that no amount of regulation or de-regulation can save it from itself. In this sense, the Marxian critique is still important, and is perhaps more relevant now than it ever was.

But we are more than critics, and it is also important to reflect on the history of struggle and practice. For this reason, we must reckon with the Russian Revolution at its centenary. Its outcome has been particularly influential on socialist movements around the world, and we cannot ignore it.

In particular, we are well aware of the polarizing nature of the Soviet legacy, but as editors and Marxists we are committed to open discussion and interested in responses from leftists of all factions to the so-called Soviet question.

In the next issue of ΔMagazine, we are looking for submissions that deal with both topics.

Examples of acceptable themes include:

  • crisis theory
  • histories of Capital and capitalism
  • reflections on the Russian Revolution and the Soviet impact on global socialism
  • “actually existing socialism”

Submissions should be between 2000 and 15000 words in length and should adhere to Chicago style. Submissions should represent original work. All finished submissions and inquiries should be sent to deltamagstaff@gmail.com by November 1st.

People who equate Wakanda not allowing its country to be ravaged by Imperialism like the rest of Africa to capitalists “hoarding resources” are being racist and also sound ignorant. First, capitalists exploit resources for profit, they don’t share them equitably so that the whole society can succeed.  They don’t protect land and resources, they exploit them for the benefit of a small group of people. Second, Wakanda participates in world politics and had sent aid workers to Lagos. T’Chaka was assassinated while he was participating in such a process. Third, none of your white favs or their countries of origin represent any of these values you are talking about, so why are you so upset when Wakanda comes on the scene?

anonymous asked:

There have been dozens of games that have allowed you to create ocs, like Dragon Ball Xenoverse, yet the stigma remains. How exactly will Sonic Forces will change that, when the Sonic fandom, our fandom, gets mocked all the time? It seems like this will just make things worse in the case of stigma and people mocking us.

No other fandom represents ‘Original the Character’ like Sonic, though. There’s something about the Sonic franchise that just encourages people, especially young kids, to create themselves or someone they connect with to go fight the bad guys and rescue cute animals and save the world. It’s something that’s very overwhelmingly prevalent in the fandom and always has been. It’s a particular brand of magic. Other fandoms have something like it, sure, but it’s not the same degree and the same level.

How will this help? Because now it’s acceptable. If nothing else, that fan who has that OC that they love and keep hidden, can look at SEGA themselves and go “This is okay. They said it is.”

Games that have allowed you to make OCs have been around for ages. Fallout, Skyrim, Xenoverse, the original Final Fantasy. There’s dozens of them. And the self same people who mock Sonic fans play these games and it’s acceptable. Because it’s canon.

Well… SEGA just made ‘Original the Character’ canon. It’s okay to put your heart and soul into the game because they said it is. They’re saying YES. DO IT. GO FOR IT. SHOW US YOUR MOVES.

That’s a powerful thing for the creator themselves to say. There’s so much relief in that because, even when the jerks who make fun of people for it say bad things, you can turn to SEGA themselves now and they’re smiling and giving you a thumbs up.

If the creator says it’s okay, acceptable and totally canon… then all the naysayers can talk till they’re blue in the face. You got it from the source and nothing, NOTHING, can change that. ♥

The Sun, the Moon and the Planets: meaning

The Sun: represents the essence of your self, your will, your individuality, your vitality and your desire for power. More than any other planet, it represents who you are. It also symbolizes man in general.

The Moon: represents your emotions, your subconscious, your instincts, your habits and your memory. It also represents women in general.

Keep reading

Call For Papers

It should not be surprising that a digital journal takes seriously the question of digital materiality: what does it mean for the digital to be and how does the being of the digital impact the social relations in which it is nested and from which it emerges? Perhaps more urgently, as theorists and radicals in the Marxist tradition, we are tasked with a responsibility to engage with the materiality of the digital. How are we to think through, and alongside, our relationship with digital materialities both as postcolonial and neoliberal subjects (for whom the digital is either inescapable or inaccessible), and as radicals for whom challenging the conditions which gave rise to the predominance of the digital is a paramount task?

In Δ1.2, we are seeking submissions that engage with or open up these questions of the digital. We are interested in a variety of perspectives, from critical inquiry to tactical guides, ontological and metaphysical analyses to critiques of virtual economies. Although we will accept a wide range of topics, our primary focus with this issue is the implication of emerging studies of the materiality of the digital for leftist thought. Submissions should be between 2000 and 15000 words in length and should follow Chicago style manuscript preparation. Submissions should represent original work which interacts with relevant literature. All finished submissions should be sent to deltamagstaff@gmail.com by June 1st.

About The Publication: ΔMag is a journal which seeks neither to fear nor hope, but only look for new weapons in spaces outside the walls of the academy.