"What Was I Made For?" by Billie Eilish

Hi Barbie! As you probably know, yesterday was Barbie Day - the day when the much anticipated "Barbie Movie" was officially released. I am, without a doubt, a Barbie fangirl. I love Barbie - always have, always will. Not surprisingly, we're finding that many women in my generation (the Millennial generation) feel that way. We grew up in the 90s, when Barbie's popularity was really at her peak. It was before the Monster High Dolls and Bratz and the various other bobble-headed options we have today. Between me and my sisters, we had dozens of dolls - and that's not including the dozens of Special Edition Barbies my parents have stored at their house. My plan for when my house is finished (it's currently being built) is to get a display cabinet and then liberate them from the garage. I might even take some of them out of the box! (GASP!!!) 

I used to float, now I just fall down

I used to know, but I'm not sure now

What I was made for

What was I made for?

One thing that's important about this era in Barbieland is that Mattel really grasped the importance of representation for children, especially young girls. Barbie has had a Black counterpart for Barbie (Christie) and Ken (Steven) since the 60s, a Hispanic (Theresa) counterpart since the late 80s, and has since had Barbies in all body types, nationalities, and skin tones since the 90s. I myself had a Theresa doll, whom I re-christened "Jessica" (of course!) that largely carried out my fantasy adventures. Beyond that, Barbie has been become an LGBTQIA+ icon, which include the first transgender Barbie based on Laverne Cox released last year. And if you want to see something heartwarming, there are dozens of IG reels of gay men buying their first Barbie, because playing with (feminine) dolls wasn't something that was acceptable for young boys 20+ years ago. Now, seriously, who gives a shit? Dudes, hate to break it to you but....Barbie is woke.

I have read a few books on the history and evolution of Barbie and one thing that becomes glaringly obvious is that Barbie is a feminist icon. Now, I have known many a girl who will protest, pretentiously claiming, "Oh, I never played with Barbies" to whom I'd say: Bitch, you ain't special. Such women wear this as a badge of honor, refusing to acknowledge how the influence of this 11 1/2 inch doll has fundamentally shaped their status in society for the better. Before Barbie, a woman working outside the home was rare and temporary. In fact, the only dolls girls had to play with before Barbie were baby dolls - because a little girl was expected to become a mother some day.  A woman going to college for an advanced degree was an anomaly. The mere idea of a woman being a doctor, an astronaut, or anything other than a housewife and a mother was a fantasy. After Barbie, the ambitions of whole generations of women changed. Barbie was the first female Presidential candidate, a giant leap Mattel made after Geraldine Ferraro's historic run as the first Vice Presidential nominee...and she's been running every four years ever since. When you stop to think about it, there are so many careers open to women because Barbie did it first. She put the idea out there and the women of America (and indeed, the world) ran with it and wouldn't back down. That is the power of imagination and imaginative play.

Takin' a drive, I was an ideal

Looked so alive, turns out I'm not real

Just somethin' you paid for

What was I made for?

Let's look at the astrology of Barbie Day, because it was significant from an archetypal standpoint. If I didn't know any better, I'd say Greta Gerwig - or possibly even the studios - intentionally elected this day because of the astrology. First off, this entire week has been significant in terms of major transits - Mars in Virgo was squaring Saturn in Pisces, the nodes switched onto the Aries-Libra axis, and we're ending the week with the Sun in Cancer opposite Pluto in Capricorn, Venus stationing Retrograde in Leo, and finally, the Sun moves into Leo mid-Saturday (i.e., today). For those who don't keep track of astrological transits, that is a lot for one week. And I don't know about you but, boy, I felt it! Possibly one of the craziest weeks I've had in an already crazy year.

The transits I feel most directly reflect the plot of the Barbie Movie are the nodes moving to the Aries-Libra axis, Venus Retrograde, and Sun opposite Pluto - ordered from least to most significant. The switch to the Aries-Libra axis is straightforward - Aries is the sign of Independence, Leadership, and Individuality whereas Libra is the sign of Partnership, Cooperation, and Aesthetics. Barbie is known to be pretty, kind, smart, helpful, talkative, fashionable....but perhaps just a little bit vapid. This is the quintessential, one-dimensional description of Libra. Ruled by Venus, Libras prefer to be in relationship and independence is difficult. In the movie, Barbie chooses to leave BarbieLand to discover things on her own, to pursue her own Hero's Journey - this is a very Aries-like choice. We can intellectualize the Aries-Libra axis as the Lover vs Fighter question - to succeed, we need to be a little of both. We need to be able to speak for our own needs, desires, and boundaries, while still remaining in connection with others. This isn't easy and it's a lesson we'll all be working through over the next 18 months.

Venus is stationing Retrograde in Leo today so, at the time of the Barbie premiere, Venus was completely stopped in the sky. Venus in Leo is flamboyant, dramatic, generous, excessively romantic - a bold and fiery lover. However, when Venus stations Retrograde - in any sign - we may see the shadow side of her core concerns - relationships, beauty, harmony, personal values, luxury and finances - come out. Venus Retrograde is much like Inanna's journey to the Underworld. The Goddess must turn inward and look at who she is without all the vestments that supposedly make her divine. This is not unlike what happens to Barbie in the movie (based on the trailers I've seen) - she has to find out who she is without her perfect Barbie accessories and lifestyle to define who she is. On a worldwide scale, we may be taking a deep look at how much we get back for what we give (as you may have noticed from all the labor strikes, especially the SAG-AFTRA....acting and actors are closely associated with Leo). Leo is the sign of generosity, courage, creativity, and living authentically from the heart. Over the next 40 days, we'll be put in situations that force us to take a look at if we're embodying those things in the area of our chart that Leo rules (for me as a Gemini Rising, that's going to be the 3rd House, which covers Communication, Community, Early Education, Transportation, and Siblings/Extended Family). 

Finally, it's important to note that the chart of The Barbie Movie, is a Cancer Sun, with the Sun opposite Pluto Retrograde in Capricorn. Cancer is known to be a softer, more feminine sign - womanly arts and values, like motherhood, creative hobbies, and protection, all find a comfortable outlet in this sign. Additionally, Margot Robbie, who plays Barbie, has a Cancer heavy chart and she's a Cancer Rising, which means the Moon is her chart ruler. The Moon, even more than Venus, represents the Feminine aspect, and - like me - Robbie's Moon is in Scorpio, which is basically the Moon's least favorite place. In this opposition, Pluto is strengthened because 1) it's in Capricorn, a sign where it flourishes and 2) it's Retrograde, which tends to increase the potency of any planet's influence. Archetypically, with the planets on the Cancer-Capricorn axis, we can see an underlying struggle between comfort and ambition, home and work, emotional security and financial security. Cancer wants to go towards they feel emotionally safe, towards authentic connection, whereas Capricorn can tend to put those things aside as long as the image they portray is perfect. The plot of the movie is basically Barbie having an Existentialist Crisis. She is living the "perfect dream life" but she doesn't know why she exists, who she is, or even if that's who she wants to be. She experiences a Dark Night of the Soul (DNOTS), which doesn't necessarily always look all dark and serious a la Oppenheimer. In fact, "Oppenheimer" is a good foil for "Barbie" because it shows a different side of what is essentially the same experience. Sometimes, a DNOTS is grappling with the great questions of who we are and questioning the value of what we're putting out into the world; sometimes, it's just fumbling through everyday life as if we don't know what we're doing (even if we thought we had a good idea the day before). 

When did it end? All the enjoyment

I'm sad again, don't tell my boyfriend

It's not what he's made for

What was I made for?

You may have noticed it but we're in the throes of a great philosophical battle between Existentialism and Nihilism. Nihilism is the philosophy that there is no meaning in the world and nothing one does matters (the underlying message being....so just do whatever you want); whereas Existentialism argues that we need to create the meaning for ourselves. Nihilism fuels excess consumption and meaningless relationships with both people, inanimate objects, and nature. Even with The Barbie Movie, I have never seen a film more beneficial for pop culture materialism, with Barbie collaborations happening for everything ranging from food and clothing to interior decor and vacations. However, I've also seen an outpouring of independent creation from her fans and a renewed interest in uplifting Barbie to a role she has always held - a symbol of the people.....a role model for the younger generation.....and as an egalitarian icon.

Due to the amazing marketing that resulted from both the movies opening on the same day, one cannot speak on "The Barbie Movie" without mentioning "Oppenheimer." For the record, I want to see both and I love that people have turned this into an opportunity for a double feature (a pastime the public rarely engages in anymore due to the increasing costs of going to the cinema). "Oppenheimer' deals with an entirely different kind of existentialist crisis - Man versus the destructive nature of his Creation. It's a theme you may most readily recognize from Mary Shelley's "Frankenstein." True story - the first nuclear explosion occurred on 16 July 1945. The ultimate symbol of destruction is a Cancer Sun. And Pluto in Cancer ruled over The Great War era (which happens to coincide with on of my favorite aesthetics, Dieselpunk). Let's not downplay it - the atomic bomb is one of the most amazing feats of engineering and physics mankind has ever achieved. But it's also, by far and away, the most destructive and ever since that July day in the New Mexico desert, the threat of Nuclear Armageddon has weighed on humanity. It brings to mind the ghosts of legacy, because the atomic bomb is a part of my family history. My grandparents worked on The Manhattan Project - my grandfather's work is what made such a creation possible. And it's a surreal experience seeing two things that shaped my childhood - Barbie and fond memories of Los Alamos - brought to the big screen. It's humbling to see the interconnections between these seemingly disparate movies and my own life.

Think I forgot how to be happy

Somethin' I'm not, but somethin' I can be

Somethin' I wait for

Somethin' I'm made for

Somethin' I'm made for

This song was written by Eilish specifically for "The Barbie Movie." Unlike a lot of the rest of the soundtrack - which is full of upbeat dance-pop, such as Dua Lipa's "Dance the Night Way" - Eilish's contribution embraces the melancholic side of the existentialist musing found throughout the film's plot. Eilish's voice has that seductive sadness that fits the theme of the movies so well. The music video for the song features Billie Eilish, who looks as young as she is, setting up Barbie's dream closet. After the first couple verses and chorus, she's assaulted by a storm...but she persists. When the storm ends, she cleans up and lays her head down, a quick moment of surrender before she runs off.

"What Was I Made For?" Official Video

"Snuff" by Slipknot

So, I caved and joined Reddit. Initially, it was to share any notable Randonauting experiences I had but I found myself quickly jumping into conversations in the witchcraft, tarot, and astrology subreddits. I've learned two things - 1. Maybe I actually know a little something about these topics and 2. Too many people want to use witchcraft/tarot/astrology for things that require either therapy, communication, or both. Yes, spirituality and New Age concepts can be powerful tools for cultivating self-awareness and enhancing one's quality of life but you still need to do the work - the "work" being analyzing your subconscious programming and patterns and using the knowledge to actively change your behavior for the better. I've also been hanging around the music and writing subreddits for inspiration. I've been working on a short story (eh...more of a novella) inspired by "Horror of Our Love," tentatively titled "The Beast of South Boston." Apparently, the genre I gravitate towards writing is Horror/Paranormal Romance, so I've been looking for music that inspires that kind of vibe. Naturally, I found my way into a lot of Heavy Metal, which is how I ended up revisiting the collected works of Slipknot. And for the record, I find that the singers of metal bands often have the most lovely singing voices. David Draiman, Trent Reznor, Jonathan Davis, Chester Bennington, Corey Taylor - all very talented vocalists and among some of my favorites.

Bury all your secrets in my skin

Come away with innocence and leave me with my sins

The air around me still feels like a cage

And love is just a camouflage for what resembles rage again

So if you love me let me go

And run away before I know

My heart is just too dark to care

I can't destroy what isn't there

Deliver me into my fate

If I'm alone I cannot hate

I don't deserve to have you

Ooh, my smile was taken long ago

If I can change I hope I never know

Let's talk about these lyrics a bit, because they are intense. That's another thing to love about metal - a lot of the lyrics are beautifully poetic and fraught with meaning, in a way you don't normally see in other genres. "Snuff" exposes the vulnerability of someone's darkest thoughts. The plot is straightforward. From what I gathered, it sounds like the singer fucked up a relationship with someone he really loved and now he's angry she walked away. The song starts with his inner thoughts, which are super negative. He doesn't deserve her, she needs to leave him before he destroys her, he has a dark heart, and he doesn't care (except he does care...a whole lot), blah, blah, blah. He ends up pushing her away - however that looks like in his patterning. Depending on what core wounds he's operating from, this could manifest as addictions, withdrawal, or abusive behaviors. And, contrary to what some societal beliefs about love say, people don't have to stick around for that bullshit. In fact, it's unhealthy if they do. That's not love, that's trauma bonding. People who don't love you can stay forever (often because the relationship fulfills some need) and people who love you a lot may leave (because they love themselves enough to know enabling your destructive patterns is not good for you or for them). It may be counterintuitive but sometimes the most loving thing a person can do is leave. Alternatively, the most destructive thing they can do is stay. Unfortunately, leaving can make someone see you as the "bad guy," which is what happens at the end of "Snuff." Instead of taking the loss of a loved one as a sign to examine his own destructive patterns, he becomes angry that she left to "save [herself]," just like everyone else in his life. Clearly, he's not doing the work.

I still press your letters to my lips

And cherish them in parts of me that savor every kiss

I couldn't face a life without your lights

But all of that was ripped apart when you refused to fight

So save your breath, I will not care

I think I made it very clear

You couldn't hate enough to love

Is that supposed to be enough?

I only wish you weren't my friend

Then I could hurt you in the end

I never claimed to be a saint

Ooh, my own was banished long ago

It took the death of hope to let you go

Based on what I could find regarding the meaning of the lyrics, Slipknot vocalist Corey Taylor wrote it about a relationship that ended because of his self-destructive habits (drug/alcohol addiction fueled by depression and suicidal ideation). At the time, he was disappointed because she didn't stay with him, but it ultimately motivated him to do better for himself. Taylor still struggled with addiction throughout his life but as of late, he's succeeded in staying sober. I came across a piece of Internet wisdom I really resonated with recently (the person might have said it came from their therapist but I can't remember). Fear of rejection is fueled by the underlying belief you don't deserve what you want and fear of abandonment is the belief that you don't deserve to keep it. These two underlying beliefs often lead to self-sabotage. If you don't believe yourself worthy and deserving of good things, your subconscious will motivate you to ruin positive situations in your life. Alternatively, you may hold on to toxic/destructive situations because they are confirming your subconscious beliefs that you deserve bad things in your life. Your behaviors fuel self-fulfilling prophesies. Unfortunately, most people are so ingrained with these beliefs due to societal conditioning and generational trauma that they can't get off the hamster wheel without help. That's not a bad thing. It's not a bad thing to want to be better, but you have to take tangible steps to change.

And I won't listen to your shame

You ran away, you're all the same

Angels lie to keep control

Ooh, my love was punished long ago

If you still care don't ever let me know

If you still care don't ever let me know

I had my first counseling session yesterday. I almost cancelled it because I was feeling better (more self-sabotage). Not much better but good enough to cope on my own. I think I was mainly nervous about sharing personal things with a stranger and I was developing unconscious stories (I don't have time, it's not worth the money, I'm coping fine on my own) to justify cancelling. However, talking to someone neutral about thoughts and feelings I've been holding onto for what feels like decades felt amazing. I like the therapist they paired me up with - she's nice and we're in the same stage of life, so she understands some of the pressures I'm under. After a lot of shadow work, I'm hyper-aware of my own self-destructive patterns and subconscious programming. However, the changes I need to make seem scary and overwhelming. I know in theory that I deserve a happy, fulfilling life - believing that I deserve it and advocating for my own happiness (because I'm unskilled at prioritizing myself) is another story. I really noticed yesterday how difficult it is for me to voice my anger, resentment, disappointment, and hurt. My counselor had to affirm several times that it's okay for me to admit someone's actions hurt me, because that's my reality. In many ways, I still find myself apologizing for just being human. For giving everything I have to others and still feeling like it isn't enough. It's weird and scary, to take my own advice for once. I'm wired to take care of other people - I like it, it makes me happy - but I don't expect others to take care of me. And my life reflects it. My own self-fulfilling prophesy.

"Snuff" gets it's name from the genre of film where real murders are filmed. Naturally, the music video was shot like a psychological thriller - with a twist ending. The band's percussionist, Shawn Crahan, co-directed the video and included a cameo by British film actor Malcolm McDowell. For dramatic purposes, the music cuts out during the third verse, which is a music video editing tactic that really annoys me, especially when the song is this good. Highly recommend looking for the uncut version of the song to enjoy it uninterrupted.

"Snuff" Video

"Heartbeats" by The Knife (as covered by Jose Gonzalez)

I downloaded the original version of this song by Swedish electropop duo, The Knife, in a free mix from some music website about 10 years ago. Legally free music was actually quite easy to find back in the day but these mixes were always kind of a crapshoot. I, of course, wanted to like everything I found. But even I have limits (overextended and nebulous as they may be). "Heartbeats" was one of those rare gems I liked from the beginning. Catchy, upbeat but with lyrics that were surprisingly pensive. The original is also a really good running song. Electropop in general is good for cardio. "Heartbeats" has a slow tempo and steady rhythm that is excellent for cool down periods. Also, you gotta love any song that includes liberal use of the marimba. I'm pretty sure it's the law.

One night to be confused

One night to speed up truth

We had a promise made

Four hands and then away

Both under influence

We had divine sense

To know what to say

Mind is a razor blade

The Jose Gonzalez version is a bit of an indie darling and a go-to soundtrack staple for melancholic independent romances and poignant moments in dramatic television shows. Listen for something like it whenever the protagonist is missing his Manic Pixie Dream Girl, because he did or said something stupid. Bonus points if he's using the time to pursue his lost passion as the script beats a crescendo into a dramatic romantic gesture. It's easily one of those songs that has been pushed to the point of overuse in popular media, from commercials to film and TV, and most people don't even realize it. You have definitely heard this song if you've seen the following movies or TV shows:  Scrubs; Bones; The Blacklist; This is Us; Superstore; Donkey Punch; Everything, Everything; and One Tree Hill. There's probably more and there will be more. The sentiment it expresses is universal and this interpretation exemplifies the virtues of the indie acoustic genre. Gentle, honest, and folksy - just how all songs about heartbreak should be....well, when they aren't dark, cryptic, and don't have a totally necessary violin solo. You read that right. Totally necessary. Always.

And you, you knew the hands of the devil

And you, kept us awake with wolfs teeth

Sharing different heartbeats

In one night

To call for hands of above

To lean on

Wouldn't be good enough

For me, no

"Heartbeats" is about a short-lived relationship and it calls to mind a particular indie film. Screened's series "What's the point of a Doomed Romance?" did a lovely video essay on "Lost in Translation." This film goes over the few short days the two characters have to connect before they have to go their separate ways. Both Bob and Charlotte are feeling lost - literally lost and confused in the foreign country (Japan) they find themselves stuck in and metaphorically lost in life. They don't know what they want, they don't know what to do next, and they don't know how to get unstuck. They are reaching out for a lifeline when they find each other and form an emotional bond. When it ends, they both know they will need to get their shit together and make some hard decisions about the direction they want to go. For the span of the film, however, the relationship is a refuge. It relieves them from some of the pain they've been feeling. It makes them feel seen, heard, and understood, for the first time in a long time. And during that reprieve from real life, Bob and Charlotte are able to clearly understand what it is they're missing. "Heartbeats" is about a similar experience - two people jumping full force into a connection. A connection that just flows, where nothing they say to each other is stupid and the two people in it feel alive. And then the weight of uncertainty settles in. Will it go anywhere? Can it go anywhere? Or is it destined to be just this beautiful, fleeting thing? The song captures a moment so rare and magical, people only experience it once, if at all. 

COVID Update:  Feeling a little better. The scary stuff - feeling completely disconnected from my children; feeling helpless and inadequate at doing anything; irrational fears about miscarrying, having a stillbirth, or dying in childbirth; being afraid I was hurting my baby by being utterly incompetent as a mother - seems to have passed. Still struggling with a lot of guilt, especially guilt about not asking for help earlier. I wonder if things would've gone better. I have an aching feeling they would have but I have a bad habit of thinking I can handle things perfectly well on my own, even when I can feel myself drowning. Is it pride? Maybe. But it's probably more about self-preservation. A false belief that if I don't need or want anything from anyone, that makes me a good person. Essentially, as long as I martyr myself, everyone else will be okay, which means that I'll be okay. Nothing and no one can hurt me. To be honest, I think it took so long to decide to get counseling because being depressed this time didn't really feel abnormal. It just felt like what I've been dealing with my whole life and, like with most people, it took a real crisis for me to recognize I can't keep handling this by myself.

Along with normal talk therapy, I've fallen down the rabbit hole of Attachment Theory on YouTube. I learned I have a Disorganized/Fearful Avoidant attachment type, which is a mashup of all the insecure attachment types and is typical for people with abusive/neglectful/traumatic childhoods. I am Harlow's Monkey. I linked a brief video explaining that reference, because I currently have neither the energy nor the patience to explain even the basics of those experiments. The gist is people given conflicting messages about care and love - for example, getting their basic needs met but being treated coldly, without affection or even with clear abuse - grow up with equally conflicted reactions to love and intimacy. They desperately crave it and yet get scared and/or detached when they're receiving it. This leads to hot/cold behavior and a tendency to either be averse to commitment or staying in shallow, unfulfilling (and - in extreme cases - toxic or abusive) relationships for much longer than is healthy. And that's why I got a psychology degree - to psychoanalyze myself...yet I still ended up having to go to therapy. I do find it fascinating. It's interesting to connect the dots and understand how all these psychological theories fit together to create a unique psyche and how coping/defense mechanisms arose to protect it. No less fascinating is diving into the counseling methodologies that have been developed to help rebuild a person when mental crisis hits. As someone who was very into self-help books and personal development from an early age, I think learning how therapy works is equally as helpful as the therapy itself, simply because it's not affordable for everyone to get help from a professional. A lot of people only have YouTube videos to understand what they are going through and what they need to do to get better. People do what they can. I'm so lucky to have options I do.

Sharing both The Knife version and the Jose Gonzalez version, because they are so different from each other. It's always a nice surprise to find a cover of a song done in a disparate style that is able to show a new aspect of the lyrics. Enjoy!

Jose Gonzalez version

The Knife version

"Photograph" by Ed Sheeran

I've been struggling for the past couple of weeks, since the baby was born. Apparently, postpartum depression (PPD) can start while you're still pregnant, which puts everything I was feeling since last February in perspective. Things I thought I was managing well became absolutely unbearable in those first few days in the hospital (and further exacerbated by the strict COVID precautions). Then we had some trouble with my newborn losing weight and I was genuinely scared they weren't going to release us. Since then, I've just been feeling so guilty and disconnected, it's been hard to take care of myself. My doctor prescribed some medication - I'm debating whether or not I should take them. I know medication can work, but it's only one piece of the puzzle. Part of me says I should just white-knuckle through and try to manage with just therapy, because I've been through tough times before and I've never needed medication. And I know how sideways things can go when someone is prescribed the wrong psychotropic drug. I'm not sure that's a risk I want to take. I'm not convinced OB/GYNs know enough about perinatal psychiatry to go around writing prescriptions. Some days, I have good moments. Moments, mind you. Not full days yet. I just want to feel happy again. I should feel happier.

Loving can hurt, loving can hurt sometimes

But it's the only thing that I know

When it gets hard, you know it can get hard sometimes

It is the only thing that makes us feel alive

We keep this love in a photograph

We made these memories for ourselves

Where our eyes are never closing

Hearts are never broken

And time's forever frozen still

True to form, I've been trying to cheer myself up by watching and reading romantic stories. I'm rereading "Pride & Prejudice" for the 5th time in my life and even deigned to watch the Kiera Knightly film adaptation (which, aside from the historical costuming inaccuracies, really isn't that bad - I've watched it twice in the past few months). I've also been consumed by the book "Me Before You" and its subsequent film adaptation, for which "Photograph" was used in the trailer. From the beginning, it's a doomed romance. A woman is hired to be a companion for a quadriplegic who wants to die. His family is trying to change his mind, of course, and that's part of the reason they bring on Louisa. To convince him there are still things worth living for, even if it's not the life he wanted. Louisa falls in love with him, despite knowing he has a date with an assisted suicide clinic. There's a bit of this childish hope in Louisa, clinging to a belief that "Love conquers all." When Will ultimately chooses to go through with his plan, it's not because he doesn't love Louisa. He does. But he wants her to have a life he can't give her (which she honestly doesn't care about - she's willing to make it work). He still wants a life he'll never have again. Even though she doesn't agree with it, Lou chooses to be with him in his last moments. And I think that's what characterizes a doomed romance the most. There's a moment where the characters have a choice between the destined path and the interpreted path. They both have to choose the destined path to get a chance at the fairytale happy ending. To quote Leo in "Titanic," "if you jump, I jump." In a doomed romance, they choose opposite paths - i.e., one or both choose the interpreted path - which takes them apart. Not to be mistaken with the Tragic Romance, in which they both choose the Destined Path but are torn apart by external forces (i.e., Romeo & Juliet, Titanic, Tristan & Isolde). Will Trainor didn't have to die, he chose to die, even when presented with a happy alternative life with Louisa.

The reason Will Trainor gives for going through with his original decision is something most of us don't want to hear - Love isn't enough. Sometimes it's not enough to keep going, it's not enough to stay, it's not enough to change someone's mind, it's not enough to make people change. It's not enough to stop Death or cure illness (physical or mental) or fix past mistakes. And this hurts because, deep in our hearts, we believe something as powerful as Love should be able to do all that. The question a Doomed Romance presents us is - if you knew from the start things would end this way, would you still have fallen in love? I've been watching a YouTube series by Screened which examines the question "what is the point of a doomed romance?" through the analysis of several excellent films. The main "point" of these romances, according to Screened, is for the inner growth of the main character. The relationship and its subsequent failure(s) serves to awaken something in the protagonist. In "500 Days of Summer," Tom was idealizing his relationship with Summer to avoid the very real lack of purpose in his life. In "Lost in Translation," both characters are lacking deep connections in their lives. In "Me Before You," Louisa was playing it safe - in love and life - out of fear of being hurt again. The point is these characters get a renewed outlook on life - they come out of the doomed romance wiser, braver, and stronger than they were before. The romance becomes a vehicle for personal growth in these stories.

When I'm away, I will remember how you kissed me

Under the lamppost back on Sixth street

Hearing you whisper through the phone,

"Wait for me to come home"

None of this has anything to do with the song, of course. Ed Sheeran has two types of songs - catchy pop love songs and songs that sound like they were specifically written for people to choose as their wedding song. Even when he collaborates, he follows this basic pattern. "Photograph" fits in the latter category, as you may have guessed. I like to play it when I'm feeding the baby, when I'm not singing to him. This song, right now, makes me cry a lot. I don't know why. Probably because it's fucking Ed Sheeran. The song is about staying connected during a long-distance relationship. Or I suppose it's applicable whenever you have to be away from someone and you only have a photograph to remember them by. 

"Photograph" Video

"Love Ridden" by Fiona Apple

"Love Ridden" is my favorite Fiona Apple song. I haven't been listening to it a lot because it makes me sad but it's easily one of her most beautiful ballads. It's also one of the most heartbreaking. I've flirted with the idea of learning the piano accompaniment. As a party trick, something I can perform on a whim. I don't have much more to say about this song, except I wanted to share it today. Because I felt like writing something but I didn't know what. And the lyrics speak for themselves.

I looked into Fiona's chart, just to understand how her placements might contribute to her speaking to me on the level that they do. She has a lot of amazing placements in her chart. Moon in Virgo, which can sometimes be a difficult placement. It can translate into a strong desire to feel needed in relationships. With Venus in Leo, this is coupled with a strong desire to be wanted in a relationship and associating being wanted with getting a lot of attention. This is evident from the lyrics in "Love Ridden" - when faced with a situation where she feels increasingly unloved and unwanted, she'd rather distance herself than confront it head on. This is a very Virgo thing - they never want to be a burden and, oftentimes, they believe asking for what they need to feel loved is burdensome to others. In fact, they'd think of accepting the end of the relationship, even if it isn't what they want, as setting the other person free. Besides having a Virgo stellium and a very prominent Leo placement, she has an interesting play on essential dignities. Her Jupiter is Exalted in Cancer but her Mars is in Fall in Cancer. Let's talk about how that works out.

Love ridden, I've looked at you

With the focus I gave to my birthday candles

I've wished on the lidded blue flames...

Under your brow

And baby, I wished for you!

Nobody sees when you are lying in your bed

And I wanna...

Crawl in with you

But I cry instead

I want your warmth, but it will only make me colder

When it's over

So I can't tonight, baby!

Mars is the planet of war, fury, and passion and it actually holds domicile in another water sign, Scorpio. But where Scorpio revels in vengeance, Cancer sees it as dangerous and selfish. Where Scorpio translates "passion" in sexual terms, Cancer is more romantic in the approach (a very Venusian perspective). When a planet is in its Fall, it is at a severe disadvantage. For Mars, that often means that Martian themes are repressed and often redirected inwards. Mars in Cancer is very much like the cast members at Disneyworld. As much as they'd like to punch that rude parent in the face and tell them to go fuck themselves, they'll most likely put on a fake smile and say "Have a magical day!" instead. (My little sister said that if I a cast member says that, they're telling you to fuck off. She has a ton of amazing yet surreal stories like this from her stint as a corporate prisoner at Disneyworld.) When angry, a person with Mars in Cancer might pout and sulk about a grievance when what they'd really like to do is toss your phone across the room. Or take a sledgehammer to your computer. Or just strangle you a little bit. Or fuck you until you're too sore to move. Or maybe they'd combine the latter two, because some people are into that, especially when they're insanely repressed. I'm sure there's a whole book on the astrology of sexual kinks that I have yet to discover (and will probably Google after I finish writing). But you can't write this placement off as being a coward because they have no issue standing up and fighting for others. It's advocating for themselves - speaking for their own needs, their own desires, their own boundaries - that becomes difficult. Mostly out of fear of harming or burdening others. Anger might be focused inwardly, as it is the only acceptable place for it to go. As a result, this can be a very self-destructive placement. If you listen to Fiona's songs, they all have this super chill vibe but the actual lyrics are often expressing anger or disappointment, at both the people she loves and at herself.

Conversely, Jupiter is Exalted in Cancer. A planet in exaltation is like a person who is on vacation - their inhibitions are lifted and they are open to new experiences. For a planet like Jupiter, it heightens its expansiveness, good fortune, and focus on big ideas. Where her Moon in Virgo might manifest as a person who is emotionally inhibited, Jupiter in Cancer eases that hesitation to be more emotionally honest. I also have a feeling that this placement manifests as someone who believes in True Love without question - open to the idea of soulmates and the hope of a perfect match. They can handle matters of the heart without issue and can be relied on to provide sound relationship advice, especially when it comes to disappoint in love. This is also considered to be an extremely lucky placement - for example, Taylor Swift becoming an iconic musical artist (and one of the wealthiest) before she even got close to turning 30. Or like Jennifer Lawrence winning her first Oscar....when she was only 22. Or Steve Jobs becoming the poster child for tech wizardry and innovation for an entire generation. Doing research on this placement, there is an extreme number of A-list celebrities and politicians with Jupiter in Cancer. However, I did note that several died young and usually at the height of their career (e.g., Kurt Cobain, Heath Ledger, James Dean), so it sounds like it can be a double-edged sword. Much like Icarus flying too close to the Sun.

No! Not "baby" anymore!

If I need you I'll just use your simple name

Only kisses on the cheek from now on

And in a little while, we'll only have to wave

My hand won't hold you down, no more!

The path is...

Clear to follow through

I stood too long in the way of the door!

And now, I'm giving up on...

You!

Finally, I wanted to note that Fiona Apple has natal Mercury Retrograde in Virgo. I know what you're thinking - Oh no! Not Mercury Retrograde! As someone who also has a natal Mercury Retrograde (in Cancer), there's a lot of good things about this placement. It is often said that this placement can manifest as difficulty in being understood. But that is par for the course - misunderstanding can be expected when you simply see the world differently from others. Though Mercury Retrograde natives may have problems with communication and being misunderstood early in their lives, they often are considered some of the greatest communicators when they grow up. This placement bestows a way of explaining things that helps others see things in a different light. They are often seen as great connectors, bringing together people who feel like outsiders in some way. They often have a keen (albeit dark) sense of humor and can see the bright side in generally shitty situations. They tend to be able to put difficult emotions into words others can understand and connect to. And they often become advocates for those who aren't able to speak for themselves. Some Mercury Retrograde natives include Angelina Jolie (in Gemini), Lady Gaga (in Pisces), and Monica Lewinsky (in Cancer).

Guess this was my roundabout way of saying Mercury is about to go Retrograde in Cancer this Thursday. Get ready to feel all the feels - because this summer is going to be a long one. I can tell already.

"Love Ridden" Video

"Only Hope" by Mandy Moore

I love this song and wanted to figure out some way to feature it. "A Walk to Remember" is one of the quintessential romance movies that defined the Millennial ethos on Love. Between this movie, "10 Things I Hate About You," "Save the Last Dance," and "Titanic," it primed an entire generation (especially the younger half) to believe that love can overcome insurmountable obstacles. Even Death, as it turns out. As one of those hopeless people who still believes in true love - real True Love - I've decided to take a closer look at how the romance movie formula takes shape and how that affects the trajectory of the Hero's Journey.

I was recently considering the effect meeting an authentically beautiful soul has on the Hero and his trajectory. In a lot of romance movies - especially romantic tragedies, such as "A Walk to Remember" - one of the two main protagonists is one of these Beautiful Souls. Often times, they are so Pure of Heart that it is to their detriment, and they begin the story as outcasts or ignored because their authenticity makes it difficult to blend in. The Beautiful Soul is often the female lead (there's a reason for this and we'll get to it), but it can be the male lead, as we see in Moulin Rouge. This character generally has a flat arc, in that they believe in something ardently and their entire storyline is centered around testing that conviction. For example, Christian in "Moulin Rouge" believes in Freedom, Beauty, Truth, and Love. Above all else, Love. For Jamie (Mandy Moore's character) in "A Walk to Remember," she truly believes that Landon (Shane West) is a good person, despite the bad, hurtful things he does. This character's mission is to show the other protagonist, through the example of their own authenticity, how to believe in whatever the Beautiful Soul already has faith in. The other protagonist is charged with going through the transformation - to have faith in something, even if it's fleeting. Satine believes in the power of Love before she dies. Landon believes that he's a good person and continues on the path of good, even after Jamie dies. Oh yeah - that's the thing about romantic tragedies - the characters involved usually aren't supposed to be in love with each other for certain reasons, often societal (i.e., race, age, socioeconomic disparities, betrothal to another, long-standing family vendettas) or biological (i.e., a terminal illness, a curse that can't be broken, or Death in one of her other unfortunate guises). Usually someone dies. That is the core choice of the Hero's Love Story - they make a choice to fall in love, even though they know they shouldn't. Even though they know it is short-lived. True Love doesn't always last forever for many reasons, but it would have if circumstances were different. However, it always leaves the protagonist fundamentally reformed as a more authentic version of themselves. This is the alchemical process of the Hero's Journey - to turn lead into gold and often the medium that helps the Hero achieve that is some combination of Love, Faith, and Courage.

There's a song that's inside

Of my soul

It's the one that I've tried to write

Over and over again

I'm awake in the infinite cold

But you sing to me over and over and over again

Let's go into what makes a fantasy romance, because the "Like Stories of Old" channel I've been watching brought up some good points that I only just realized are essential to romances. First, the Lovers are put into a position where they are forced to get to know each other. Some examples: They are stuck together on a long train ride, spending the summer vacation in the same location, or they are working together on a play. In some cases, such as in "A Walk to Remember," they may have been aware of each other for a long time but only get to know each other as a result of being put into a situation where they must interact. Whatever the circumstances are, they always remove whatever barriers there are to the romance and support further intimacy between the characters. Second, they both make the choice to fall in love together. There is no chasing - there's no need for it. The process feels abnormally natural, such that there's no awkwardness or the awkwardness is gotten out of the way relatively quickly. It usually helps that the characters, at least internally, are caring and romantic. They do believe in Love, even if previous experiences have made them cynical. Finally, the circumstances are only there for a short amount of time. It's not that the love has a shelf-life (True Love doesn't and will stick around long after the protagonists separate), but the opportunity to enjoy the romance is short-lived. Reality will come crashing in eventually and separation is inevitable. That's the difference between a romantic comedy and a romantic tragedy. If the characters are reunited, it's a comedy; if the separation is permanent (or if they can only be reunited in death), it's a tragedy. 

The scene in "A Walk to Remember" where "Only Hope" is featured is one of my favorite scenes in film. It's during the school play and Jamie is singing the song, during which, she looks like an absolute angel. This is a key point. This is the "Meeting with the Goddess" moment on Landon's journey, where the full weight of Jamie's beauty, kindness, and general good-ness cannot be ignored. He can't look away - everything has been unveiled to him and he must make the choice to pursue it. And he does, with a simple kiss, which is implied to be unscripted. There's also a moment at the end where his girlfriend/ex-girlfriend gets visibly jealous at seeing them together. That's often another element in romantic tragedies - there is another woman, often a femme fatale, who cannot stand to see the Goddess triumph. This woman is not always linked romantically to the Hero. Sometimes, shes simply jealous of the Goddess because of her beauty and/or talent, such as Nini in "Moulin Rouge." Or it's an overbearing mother who doesn't want her daughter to waste her life on a man she deems as unfit ("Titanic" and "The Notebook"). In the end, this leads to another test for the Lovers - often the ultimate test, before they finally end up together (for however long Fate decides).

It should be noted that this song is actually about Jamie's faith in God, but the lyrics were written purposefully so that it could be inferred that she was referring to her growing feelings for Landon. I could keep ranting because I'm pretty sure I missed a few points that were jumbled in my head earlier today, but I'll keep that to myself (or, more likely, write an entire literary analysis that I don't show anyone). Enjoy the following clip from "A Walk to Remember"!

"Only Hope" Video

"The Good That Won't Come Out" by Rilo Kiley

Rilo Kiley is one of my favorite bands. More music that got me through the toughest parts of my life (thus far). They broke up in 2011 (and I'm pretty sure I'm the only one who cared) but they still hold a special part of my heart. Rilo Kiley's music is very much like Lana Del Rey's, in that it can sound whimsical and chipper, but the lyrics tell a story that's so much deeper than the surface. Rilo Kiley was started by former child stars Jenny Lewis ("Troop Beverly Hills") and Blake Sennett ("Boy Meets World"). True to form, I was oddly attracted to Sennett's character, Joseph "Joey the Rat" Epstein, which is how I discovered Rilo Kiley. Chronic boy craziness had its advantages - I kinda miss it sometimes. "The Good That Won't Come Out" was the first Rilo Kiley song I'd ever heard and - while it's not my favorite ("Does He Love You?" wins that title) - I would certainly count it in a list of their Top 10 Greatest.

"The Good That Won't Come Out" is about mental illness - specifically depression and anxiety, especially among high-functioning individuals. It's a lament about how that, even if you want to do something about it, there's this fear that keeps you from seeking help. Even though you know it's keeping you from enjoying your life, keeping you from doing the things you love, preventing you from being there for the people you love, and stopping you from accomplishing your dreams. All the good that won't come out of you. Let's dissect it a little bit.

Oh, you're almost home

I've been waiting for you to come in

Dancing around in your old suits, going crazy in your room again

I think I'll go out and embarrass myself by getting drunk and falling down in the street

You say I choose sadness, that it never once has chosen me

Maybe you're right...

In the first verse, Jenny has been invited to meet up with friends and they get into a discussion about climate change. And she's struck by the futility because, while they're all claiming how concerned they are about it, they're not doing a damn thing to make it better. She wants to do better, she wants to be a better person, but she finds herself doing the same thing. A lot of outrage, not a lot of action. She's just watching things crumble around her but she can't bring herself to do something about it. Which leads us to our second verse.

She knows there is something wrong with her. Otherwise, she wouldn't be so miserable....but she won't go to a psychologist/psychiatrist. Because then she'd have to face the things that are causing her to be so miserable, including the things that are her fault. There's nothing more infuriating/disappointing than knowing the biggest obstacle holding you back is your own insecurities and fears. Besides that, in order to get better, she'd have to allow herself to become vulnerable to someone, even if it's just a medical professional. And that's scary for a lot of people. Letting someone in that far, allowing them to see those ugly bits, means they have all the ammunition they need to hurt you. Really hurt you. And you just have to trust that they won't. Very few people have ever experienced that level of trust. People think they have, but they haven't. There are people who go to therapy every week and they talk, but they don't really say anything. Then they stop going because it's not working. How could it? They didn't even try.

The bridge is my favorite part, though. She's in a conversation with someone - the person she's singing to - perhaps a lover, perhaps a friend. The talking is therapeutic for her and she's getting close to a few breakthroughs. She's allowing herself to be vulnerable. And that's what she wanted ("I've been waiting for you to come in"). But then she goes back to her same old self-destructive habits and pushes the person away. The killing blow, though, is when the person says that she's choosing to be sad, in the face of all the good things in her life. And a final, reluctant admission - maybe there's an uncomfortable truth to that. In the last verse, she starts thinking of her other friends, friends that never recovered from their depression, some of whom committed suicide ("all our friends who lost the war"), and she's at a crossroads. Let this person - who cares about her enough to try and break down her walls - walk away. And, thus, truly be lost. Or admit she needs help and actually follow through this time.

"You say I choose sadness, that it never once has chosen me...." That line has stuck with me for the past decade and a half. This can mean many things - choosing to stay in situations we know make us unhappy, choosing to think badly of ourselves, choosing to not stand up for our own needs and boundaries. It seems inevitable - because we've convinced ourselves this is just who we are - but it doesn't have to be. Thoughts are a choice, feelings are a choice. It may not seem like it in the moment, but they are. And it takes a long time and a lot of hard work to transform them into something more positive, something akin to happiness, but it's worth it. You just have to get over the fear and try. It may take a couple of tries, to be honest. I feel like it's Millennial Culture to compare our misery - my childhood was sadder than yours, I'm more broke than you, I've sacrificed more, et cetera. And then we wonder why our generation's drug use, depression, and suicide rates have sky-rocketed. I'm not saying life isn't hard - it is. But we don't have to see it that way. And we certainly don't have to accept misery as our permanent reality. Just let someone in.

"The Good That Won't Come Out" Video

"Black Sheep" by Metric

In my last post, I talked a bit about the Evil Ex Trope, but I neglected one important detail. Sometimes, we're the Evil Ex in someone else's story. And that is usually a fundamental obstacle on the Hero's Journey - making amends with those we've wronged, whether or not the wrong was intentional. Additionally, the Hero/ine is often presented with an opportunity to forgive those that have wronged them. This moving on - from both past mistakes and the pain caused by others - is a rite of passage for the Hero/ine and needed for them to realize their full potential.

"Black Sheep" is featured in "Scott Pilgrim vs the World," which is an excellent example to demonstrate this point. Scott Pilgrim has to fight Ramona Flowers' seven Evil Exes, but throughout the whole movie, his own callousness with Knives' heart is constantly in the background. We also see that he's kind of self-involved, resulting in him being kind of a super jerk to his friends. He has to resolve both of these conflicts before the end of the movie. Ultimately, he has to apologize to both Ramona and Knives for cheating on them in order for him to achieve his goal, which is to date Ramona.

It must be noted that apologies don't always fix everything and forgiveness doesn't always bring closure to the Hero/ine's pain. I was watching "Kung Fu Panda" this weekend and towards the end, Shifu apologizes to Tai Lung for building him up for a Destiny that wasn't his. It does makes Tai Lung pause for a second but then he continues on his destructive course, which ends with his demise. Although some peace is brought through this acknowledgement of the wrong he did to Tai Lung, Shifu is not completely relieved. He genuinely loved Tai Lung as a son and it is clear that his death is not the ending Shifu would've picked. This is important to remember in real life as well - that forgiveness and apologies are often the beginning of entirely new path.

Hello again, friend of a friend, I knew you when

Our common goal was waiting for the world to end

Now that the truth is just a rule that you can bend

You crack the whip, shape-shift and trick the past again

"Black Sheep" is about loving someone - friend, relative, significant other, doesn't matter - who has a tendency to push people away, especially people who actually care about them. Eventually, you just have to let them do it but be supportive if they come around. Pushing people away is a common coping mechanism for people who fear abandonment. They think that they're pre-empting the inevitable, because everyone they cared about always left before. Taylor Swift clearly has this problem. In fact, in one of her more recent songs, she actually has the lyric "you gotta leave before you get left." In her situation, though, she usually creates the conditions that would result in the person leaving anyway, because no one wants to (or should have to) deal with emotional abuse. From her songs, you can tell that she thinks this tactic makes her a strong woman, but in reality, it just leaves her more lonely and broken. As you can tell, I use my Psychology degree to spend way too much time analyzing pop stars. Some of them have healthy coping methods and some do not - I try to use what I understand from their situations to bring light to my own unresolved issues. It's called mirroring and I've found it incredibly useful in my shadow work. You'll notice that Scott Pilgrim also has to fight his shadow self - aptly called Nega-Scott. This is not a coincidence - it's a vital part of the Hero's Journey. In fact, it's the entire point of the Journey - to reconcile the dark and light side of yourself. In the end, Scott and Nega-Scott shake hands, knowing it probably won't be the last time they fight.

Post Note: You may have noticed I've been capitalizing certain words and phrases in my posts. I've been using that method to bring attention to literary themes and high-level narrative/philosophical concepts. This helps my understanding and I hope those reading find it helpful, too. I'm not just being free-styling with the capitals for my own amusement....I would never do that.

"Black Sheep" Video