#Via cassies newsletter

[chibi-tsukiko]

This is the most UNHINGED newsletter I have ever read - I am CACKLING! 🤣🤣🤣🤣

Please, please, PLEASE click on the images cuz a lot of it gets cut off! Like “Magnus/ Abraham Lincoln” 🤣🤣🤣

[walkingaftermidnight07]

WICKED POWERS SNIPPET

DRU WHAT DID YOU DO 😭 ALSO THE OUTFIT DESCRIPTION

MY BABY IS ALL GROWN UP 🥺

~~~~~

(via Cassie's newsletter)

[drublackth0rn]

Help they're so pretty 😍🥵

Art by @allexandracurte

[aleclightofmylifewoodbane]

Excuse me ms cassie they are where in LBoTW

[magnus-the-maqnificent]

LBOTW Snippet

They met Magnus at the point where the pedestrian part of the road ended and car traffic began. Magnus’s hair was, strangely, soaking wet, and spiked angrily up above his head. His clothes were dry, but they were not the same clothes he had been wearing when they went through the Portal. Alec was a little disappointed—he loved Magnus in a suit—but Magnus had perhaps wisely chosen to blend in, in black jeans and t-shirt and a black leather motorcycle jacket. He looked like a sexy urban ninja. Alec was in favor of it.

He swept up to Alec, put his arms around his head, and kissed him. Alec blinked in surprise and kissed him back, passionately. But closed-mouthed-ly. He was standing in front of his sister and his parabatai and his parabatai’s girlfriend and her parabatai. He had to draw a line somewhere. But he did kiss Magnus back as strongly as he was able; he was relieved, he could feel his body relax.

“I guess you also didn’t go to the Institute,” said Clary, when a significant amount of time had passed.

Magnus broke the kiss.

“Is it all right? For two men to kiss in a crowded street in Shanghai? I don’t know if I’d kiss you that way in Times Square,” said Alec.

“Darling,” Magnus said quietly, “we’re invisible.”

“Oh,” said Alec. “Right.”

“I did not go to the Institute, no,” said Magnus to Clary. “I went to ten or so meters above the Huangpu River.” He saw Alec’s look of alarm. “Then a few seconds passed, and I was in the Huangpu River.”

“What did you do?” said Jace.

“I tumbled through the air gracefully and landed on my feet on the back of a friendly porpoise,” said Magnus.

“That is very believable,” said Simon.

Magnus waved his hand. “That is how I wish you to think of me. Riding a porpoise into shore, and straight to join you. But no, I did not go to the Institute. I don’t understand it. That’s two Portals in a row that have gone wrong, in ways Portals should not go wrong. How did we get split up?”

-Via Cassie's newsletter

[katherinemacbride]

WORKING ON/WORKING THROUGH/WORKING WITH a mix for connective listening broadcast notes

WORKING ON/WORKING THROUGH/WORKING WITH

Katherine MacBride

Hotel Maria Kapel

Ja Ja Ja Nee Nee Nee

10:00 01-05-2020

https://jajajaneeneenee.com/jn/shows/working-on-working-through-working-with/

BROADCAST NOTES 

solidarity actions

Support

Minimal vierteen euro voor iedereen. Een eerlijk loon.

https://www.voor14.nl

Donate

The Voice of Domestic Workers COVID-19 Emergency Response Fund: In light of the current COVID-19/Coronavirus outbreak in the UK, migrant domestic workers are encountering further prejudice and precarity - both with clients cancelling their services and ‘live in’ Migrant Domestic Workers being asked to vacate their work places and homes. Like other precariously employed workers many of us exist without savings and are at the mercy of our employers who provide income and housing as part of the conditions of our work and our visas. https://www.thevoiceofdomesticworkers.com/post/covid-19-emergency-response-fund

Indonesian Migrant Workers’ Union: Most of the members of Indonesian Migrant Workers’ Union, one of Casco’s long-term and close-collaborating communities, are in a dire situation. They have lost their jobs as domestic workers and consequently their means to buy food and, likely soon, to keep their homes. Once again the community shows how powerful they are in organizing to support each other by arranging and distributing weekly emergency food packages. Yet this cannot be done without donations from anyone who has the room to do so. Please donate to R. Saptari. NL93 INGB 0006 3903 55. (via Casco newsletter)

CRIP FUND is an ad-hoc care collective pooling money for chronically ill, disabled, and immunocompromised people living in the United States in serious financial need during this ongoing time of love, coronavirus, and apocalyptic joy & pain. With your support we’re hoping to support your real hope of collective care. Crip Fund will privilege people who are immunocompromised and/or disabled* in need of in-home care; Queer/Trans/Black/Indigenous/People of Color (QTBIPOC) in financial need will also be prioritized. 

*”Disabled” here is cross-disability cultures, and may include: those experiencing chronic illness, those on immunosuppressive meds, bone marrow or solid organ transplant recipients, inherited immunodeficiency, HIV, and other immunocompromised people, those with physical disabilities, cognitive disabilities, mental health disabilities, Autism, neurodiverse people, D/deaf, Blind, DeafBlind, and many more whether or not someone identifies with the word “disability” or is recognized as “disabled” by the Medical Industrial Complex.

a mix for invoking connective listening

I wrote that this was to be a mix for invoking connective listening. The word connective often makes me think of Juliana Spahr’s Poem Written after September 11, 2001, which is one of two poems in her book this connection of everyone with lungs. Juliana often writes using looping rhythmic repeating lists, adding one element each round in poems and prose about environmental politics, settler colonialism, unlearning white feminism, extraction, warfare, and writing. In Poem…the list scales out before scaling back in. It crescendos around here (in flow but not force, because she uses the silence of microscopic air particulates to hit the final impact later):

as everyone with lungs breathes the space between the hands and the space around the hands and the space of the room and the space of the building that surrounds the room and the space of the neighborhoods nearby and the space of the cities and the space of the regions and the space of the nations and the space of the continents and islands and the space of the oceans and the space of the troposphere and the space of the stratosphere and the space of the mesosphere in and out. 

Differentials in death rates from COVID-19 indicate that “we are” not actually “all in the same boat.” Some of this is to do with the long term effects of air pollution: “we” breathe the same air while “we” do not breathe the same air, while every cell of every “we” contains bacterial DNA whose ancestors breathed the “air” into b(r)e(ath)ing.

This mix for connective listening includes music of forms where listening to the others sounding around you while you improvise together in relation to a context, a social purpose, or a shared task is especially important—music made as a way of manifesting togetherness together. Of course there is much to say about what happens when such forms are indeed recorded but I won’t address that here. 

I’ve been thinking with a section of Eileen Myles’ book The Importance of Being Iceland:

All the churchgoers were singing the same hymn not the same notes or tunes. No organ tone set the pitch so they would find it instead among themselves. People were literally singing their hearts out. When the organ was introduced in the 30s some of the older people stopped going to church because the idea of everyone singing the same tune at once seemed “obscene” to them, it offended their Icelandic sense of religiosity, or privacy, or just their understanding of what being part of a community could mean. The radio also upset the applecart with the same songs played over and over with those same versions and the same notes. It’s amazing to think about what the radio might have upset. I’m getting this from all sides. I heard about this singing, and then I read about it, and finally the book I read was co-written by a composer that my friend Mark studied with. These rediscoveries are not accidental. There’s an imprecise mourning needed to see where we are now. I think it’s like the species rediscovering itself. learning to be stubborn in our awkward speaking and hearing.

F told me about the way her friends would organise a collective ritual to connect to their language that, like their land, is endangered. After a time certain older people would arrive at a state where they could access parts of the language that they didn’t know in their everyday state. Certain younger people would use their mobile phones to record what the certain older people were saying. The community would send the recordings to the anthropologists at the university and the anthropologists would analyze the recordings and add any new words to the dictionary of the community’s endangered language so that certain older people and certain younger people could continue to fertilize their language when they spoke it together.

Eileen follows the turf churches radio applecart with a description of a singing form called Kvaedaskapur. The distinguishing characteristic of the singing was a variable voice, which always sang the poem with differing melody…Typically the Kvaedamadur denies authorship. He (or she. There were female Kvaedamur too) didn’t steal it. He just didn’t write it. Maybe the implication being the poem just kind of grew…

In the darkness of winter the singing would generate a sonic connectivity between the singer and the listeners who would also actively keep the song alive. The singer drops his energy at the end of the line but several people in the room come in (vocally) and sing the end of the line for and with him. They hold him up so to speak.

connecting messy links

I haven’t included fragments of Taraneh Fazeli’s text in these notes because it was a working document shared to be spoken since she was in bed sick at the time of collaboration. Instead I’ll share this link to a text she published a while back — http://temporaryartreview.com/notes-for-sick-time-sleepy-time-crip-time-against-capitalisms-temporal-bullying-in-conversation-with-the-canaries/ — and these words she wrote about the text I read from in the mix: In “Labour of Love: To curate is to care,” Taraneh Fazeli thinks alongside Lisa Baraitser, Tanya Titchkosky, Stefano Harney, and Fred Moten. Additionally, her text emerges from a working on/in/through with the many folks who have been a part of her traveling exhibition “Sick Time, Sleepy Time, Crip Time: Against Capitalism’s Temporal Bullying” which addresses the politics of health and care. (Note: “crip” is a political reclaiming of the derogatory label cripple by disability activists.) Based in an ethic of care emerging from disability justice that values interdependencies and dependencies, artworks within counter the over-valorization of independence in American society and examine how racialized global capitalism has produced debility in many populations while, at the same time, creating bureaucratic infrastructures that support very few people. At the core of the project is the pairing of artists with community groups organized around creating or sustaining alternative infrastructures of care, such as groups of young single mothers at Project Row Houses, women recently involved in the carceral system at Angela House, and refugees and asylum seekers via Lutheran Family Services. Excerpts from the text are specifically rooted in collaborations with Cassie Thornton, Park McArthur, Constantina Zavitsanos, and the Young Mothers. 

Panelaço, Flamengo, Rio de Janeiro, March 2020

https://www.youtube.com/watch?v=TvDSXLeijuk

Panelaço is the Brazilian word for a pot banging protest. Mobile phone recordings of people protesting against Jair Bolsonaro’s pandemic response by banging pans from their apartments window and balconies. Compiled by O Globo news service and uploaded to YouTube.

Repente, CPTM, São Paulo, May 2019

https://www.youtube.com/watch?v=OOBjc4PbVKM

My friend G once described relationships to me in terms of a dynamic equilibrium over who plays the tambourine while the other sings. Of course sometimes everyone can sing and sometimes everyone can play the tambourine but taking turns means everyone gets a change to breathe. Repente is a form of music from the north east of Brazil where two singers have a battle of improvised lyrics on a theme, often political, usually funny. While one sings the other holds the beat on a tambourine. 

Yelli water drumming, 2011

last video down on https://face2faceafrica.com/article/the-liquindi-water-drumming-of-central-africa-reserved-for-women-hunters

I was looking out for a video I half remembered of a man playing the water in a very kitschy-beautiful way. I couldn’t find it but I learned about this shared drumming practice done by Baka women in Cameroon and Gabon. 

Cloth waulking in South Uist, 1982

https://www.youtube.com/watch?v=0CmGJ5dwBuk

Waulking is a process of textile finishing where woven wooden cloth is soaked in urine and beaten on a table to soften and shrink it. In the Outer Hebrides in Scotland waulking was done by hand to tweed cloth. This work was done by groups of women who would sing and chat while they waulked. It’s a call and response form with the caller holding the rhythm of the collective movement, meaning that song structures had to be somewhat loose and open to improvisation according the situation on the table, in the room, in the moment. When this video was filmed, the waulking was probably being performed for the camera in a university effort to record the practice while there were still women alive who carried it. Waulking is done today as a form of cultural reenactment or historical research by practice rather than as a living tradition.

Women gathering mushrooms, The Music Of The Bayaka: Volume I, 2007

I wrote Louise: I’ve been thinking a bit this week about this recording of women singing while they collect mushrooms in the forest. I’ll try and find if for you, have only found it mixed with something else so far. What I like is that the women sing in relation with their environment, so that different species in the forest sound at different parts of the sonic spectrum and don’t cut over each other, producing a sonic environment/composition where everything has a place but together co-creates very beautiful music. This way of singing without dominating others feels very special. I’m thinking about this in relation to the birds I am hearing, wondering if they are making more sound with the reduced traffic because they feel more space, or if the more space is just in my perception, but for sure there is some more space happening somewhere.

Toumani Diabaté plays the kora, 2007

https://www.youtube.com/watch?v=8luhdxS2KuM

Ballu Tundu, Orgosolo (Nuoro), 1969, Musica Sarda Vol. 3

Sardinian confraternity multipart singing occupies a space that is remote from any concept of concert music; it is in fact a living musical practice through which collective relationships are represented and enacted. It is a major element of the social life of several villages through which many people—both locally situated performers and competent listeners—‘think about who they are’ and ‘the world around them’. (Confraternity Multipart Singing: Contemporary Practice and Hypothetical Scenarios for the Early Modern Era, Ignazio Machiarella)

Lampedusa, Toumani and Sidiki, Toumani Diabaté and Sidiki Diabaté, 2014

We were very shocked - Sidiki and myself - while we were recording in London in November 2013 and we watched on TV that more than 350 people had died in the sea trying to arrive in Europe by boat. Since them many Lampedusas have happened. Nothing changes. I don’t know the solution. I don’t know how to do but I think we must talk about it. This is why Sidiki and I composed the song, to talk about it. (http://shufsounds.com/interviews/2015/5/8/toumani-and-sidiki-diabat-interview)

Huku ine Ronda (originally by Chartwell Dutori), played by Gift Mugwidi, 2012

https://www.youtube.com/watch?v=tKbfUEhjuH4

Gift Mugwidi makes and plays mbiras and sells them in Mbare Musika in Harare. Someone he knows films him playing them in cars and uploads the videos to YouTube. I found his name and a basic education in Zimbabwean chimurenga music deep in the comments. 

Sa Ugoy ng Duyan, sung by Mimi Jalmasco and Wendy Caballero, mixed by Louise Shelley, London, April 2020

Louise wrote me: Katherine if it’s ok please can you read this before playing the audio, thank you. What you will shortly listen to is a recording of a Filipino lullaby sung by Mimi Jalmasco and Wendy Caballero who are two members of The Voice of Domestic Workers in London. Over the past 8 years I have been a volunteer with this organisation, they are a self organised support, education and campaign group, by and for migrant domestic workers. The passion in their politics in inescapable - their collective labours focus on care and support for each other, to get justice as workers for each other. Their precarity like many others is increased at present, whilst they re-organise and figure out what to do, what needs doing and how to do it, their work continues in their employers households. This is a song from their homes, from their childhoods, from their early motherhoods that they now sing to the children they work for and to each other and now to you. The recordings were sent to me to be shared here, they are mixed with the sounds of listening in my own flat with my back door open onto east London in isolation in April 2020. This invitation to them was also a way to move money from the arts in solidarity with their struggle and also very simply to share their voices, their energy, their beautiful song to soothe but also to awaken you, to 11.5 million migrant domestic workers in the world. 

thanks

Thanks to: Radna and Arif at Ja Ja Ja Nee Nee Nee for hosting the broadcast; to Miriam, Rik, and Annelien at Hotel Maria Kapel for supporting the residency where this began brewing; and to the contributors Louise Shelley, Taraneh Fazeli, and Mimi Jalmasco and Wendy Caballero from The Voice of Domestic Workers.

[heronchildlove]

Gorgeous Cordelia poster by Charlie Bowater. There will be other TLH character posters too! (via Cassie’s newsletter)

[tribeworldarchive]

Tribe News - 1st November 1999

EXCLUSIVE - NEWS ABOUT THE USA We have been advised by Cloud 9 that The Tribe is going to start transmission across the USA on the broadcaster Encore`s Wham Channel from December this year! Encore will be showing the Tribe every day of the week. As soon as we have timeslot details we will advise under Latest News.

EXCLUSIVE - NEWS ABOUT IRELAND We have also been advised that the Tribe will start broadcasting in Ireland on RTE from January 2000. As soon as we have more details we will advise under Latest News.

LAST CHANCE FOR DWAYNE CAMERON (BRAY) QUESTIONS! On the morning of Tuesday 2nd November New Zealand time (the evening of Monday 1st November UK time), Dwayne Cameron (BRAY) will be giving an interview to a member of the Cloud 9 team. Following last week`s message on Latest News and Tribe Talk, we have received loads of emails with questions many of you would like to ask Dwayne Cameron. There have also been some questions put up on Tribe Talk under Tribe General Chat. A member of the Cloud 9 team will put your questions to Dwayne during the interview, which is being recorded. After the interview has been processed and gone through some technical procedures, it will be available as a download on the new Tribeworld website. There will also be a transcript available via the new website. Dwayne is the first member of cast to give an audio interview this way but all members of cast will be giving interviews and these will be available as downloads. We will advise who the next member of cast is in a week or so depending on the schedule for Tribe Series 2. It is still not too late to send in your questions for Dwayne. You can email them to us at MyDwayneQuestion@entercloud9.com or post a message under the `My Dwayne Question` post under Tribe General Chat on Tribe Talk. As long as we get your questions before the interview, we will ask Dwayne.

FAN CLUB PICTURES We would like to thank everyone who has sent in their letters and photos so far (even poems) for the first Tribe fanzine. If you want to send in your pictures or letters, then you can send your photos or letters to the Official Tribe Fan Club. The address is on the first newsletter that members should have received by now. You can also send us your email letters to Tribefanclub@entercloud9.com

WHO IS NEXT ON TRIBE TALK? Meryl Cassie (EBONY) was the last member of cast to give an interview live on Tribe Talk. The cast have been very busy recently with the schedule for Series 2 production. We do not know who will be the next member of cast to appear on Tribe Talk but hope to know later this week and we will post a message under the Cloud 9 section on Tribe Talk. There will be a Chat Room on the new Tribeworld section and in future, members of cast will also be appearing live and exclusive there to chat with fans. We`ll keep you posted and advise details on who is next on Tribe Talk as soon as we can.

FAN CLUB NEWS It`s not too late! Our team is compiling the first Tribe Fanzine and we have received loads of pictures and letters from fans, so thank you to everyone who has sent us something. We will be publishing some letters and pictures on a section of the Fanzine. The Fanzine will be finished by the end of this week and sent out thereafter. There are still a few days then before the Fanzine is sent off to the printing presses and if you have a poem or letter you would like to email, then you can email this to us at Tribefanzine@entercloud9.com The Fanzine will also have a shopping section full of exclusive limited edition Tribe goodies that only fan members can get. The first of these is a VHS of the Making of the Tribe documentary that was recently shown on Channel 5 in the UK. Any member of the Fan Club worldwide is able to order the half-hour video. We would like to advise all those who have ordered videos so far that the videos will be despatched shortly and you should receive them by the end of this month. There are more details on how to order the Making Of the Tribe documentary in the newsletter that all Fan Club members receive with their first Tribe goodies. The lucky winners of the newsletter competition will received signed copies of the documentary!

[jesperfvhey]

a peek at the mortal instruments graphic novel: volume two! (via cassie’s newsletter)

[chibi-tsukiko]

OMG LOOK, LOOK AT THEM!!!! AKDBDKSJSNDNDBDSHFHSKJSH!!!!! AHHHHHHHHHH

Art by Charlie Bowater

[alltoowell19]

Queen of Air and Darkness snippet!

It had only been a few days since Robert Lightwood’s death, but Horace Dearborn had already completely redecorated his office. The first thing Emma noticed was missing was the tapestry of the Battle of the Burren. The fireplace was lit now, and over it Alec Lightwood’s image had been replaced by Zara Dearborn’s. It was a portrait of her in gear, her long blond-brown hair falling to her waist in two braids like a Viking’s. ZARA DEARBORN, CLAVE HERO, said a gold plaque on the frame. “Subtle,” Julian muttered. He and Emma had just come into Horace’s office; the Inquisitor was poking around in his desk, seemingly ignoring them. The desk at least was the same, though a large sign hung behind it that announced: PURITY IS STRENGTH. STRENGTH IS VICTORY. THEREFORE PURITY IS VICTORY. Dearborn straightened up.  “‘Clave hero’ might be a bit simple,” he said thoughtfully, making it quite clear he’d heard Julian’s comment. “I was thinking ‘Modern Boadicea.’ In case you don’t know who she was —“ “I know who Boadicea was,” said Julian, seating himself; Emma followed. The chairs were new as well, with stiff upholstery. “A warrior queen of Britain.” “Julian’s uncle was a classical scholar,” said Emma. “Ah, yes, so Zara told me.” Horace dropped heavily into his own seat, behind the mahagony desk. He was a big man, rawboned, with a nondescript face. Only his size was unusual — his hands were enormous, and his big shoulders pulled at the material of his uniform. They must not have had time to make one up for him yet. “Now, children. I must say I’m surprised at you two. There has always been such a... vibrant partnership between the Blackthorn and Carstairs families and the Clave.” “The Clave has changed,” said Emma. “Not all change is for the worse,” said Horace. “This has been a long time coming.” Julian swung his feet up, planting his boots on Horace’s desk. Emma blinked. Julian had always been rebellious at heart, but rarely openly. He smiled like an angel and said, “Why don’t you just tell us what you want?” Horace’s eyes glinted. There was anger in them, but his voice was smooth when he spoke. “You two have really fucked up,” he said. “More than you know.” Emma was jolted. Shadowhunter adults, especially those in positions of authority, rarely swore in front of anyone they considered children. “What do you mean?” she said. He opened a desk drawer and took out a black leather notebook. “Robert Lightwood’s notes,” he said. “He took them after every meeting he had. He took them after the meeting he had with you.”

- via Cassie’s newsletter

[drublackth0rn]

THEM!!

[chaneltaylorbcu]

Hades knitwear presentation

Cassie was able to have a lecture with us and talk about her knitwear collection. She is the founder of Hades. She started her business 5 years ago and is a brit his knitwear brand.

Her first collection was a 32-piece collection, and the concept was to take band t-shirts and reimagine it into knit and jumper form. She picked her four favourite bands and knitted the name of the band on the front panel. She did this in two colours. She still uses the same Scottish manufacture as she did in the beginning.

After the clothes where completed Cassie took DIY photos and uploaded them to Instagram where she started to get buyers. After she wrote to the direct of liberty and they became her first stockist.

She said that online tools for new businesses have really made it easier as there is software for accounting, websites to help sell your products and marketing platforms e.g., male chimp for newsletters. Cassie mentions that they will be more freedom in project development if you are a product consumer. You will have the freedom to decide what you bring out as stockist have certain requirements you will need to meet. For example, they might require you to have a certain number of t-shirts in your collection.

The majority of her sales are direct-to-consumer sales, these are made through her website (www.hades-shop.co.uk). The advantages and challenges of direct-to-consumer sales are:

Advantages

●       Receive higher profit margin

●       We can assess see what is and is not selling to inform future collections

●       Get to know our customers - location/loyalty/ type of customer

Challenges

●       Must maintain high levels of marketing and advertising which is expensive

●       Time consuming due to small team to manage and distribute

●       Riskier buying collections not knowing what the sell-through rate will be

She explained she communicated with her customers by

·        using Instagram and had 20k followers,

·        she posts both organic and paid for posts,

·        her adverts target people who have been on our website but not yet purchased as well as people like those who already shop with HADES,

●       gift influencers in the hope that they post in her jumpers and she never pays them.

●       use an app called Later to manage the social media posts as it allows her to schedule a weeks’ worth of content.

●       Instagram is her main way of keeping in touch with her customers and is free. She said she cannot afford traditional advertising (upwards of £35k for Vogue spread)

●       regular send Newsletters via Mailchimp (this costs us approx. £88 a month)

●       aim to drive traffic to the website and create

●       She works with an external PR agent, who she pays a retainer every month. She said when you are reliant on direct-to-consumer sales it is very important to invest in PR and marketing.

●       Their aim is to get us as many features in relevant magazines as possible.

Hades (n.d) British Knitwear

Available at: https://hades-shop.co.uk/

Accessed: 16th may 2021

[katsbookcornerreads]

𝕎𝕖’𝕣𝕖 𝕙𝕒𝕧𝕚𝕟𝕘 𝕒 𝕍𝕒𝕝𝕖𝕟𝕥𝕚𝕟𝕖'𝕤 𝔻𝕒𝕪 𝔾𝕚𝕧𝕖𝕒𝕨𝕒𝕪! 𝙎𝙪𝙗𝙨𝙘𝙧𝙞𝙗𝙚 𝙩𝙤 20 𝙖𝙪𝙩𝙝𝙤𝙧 𝙣𝙚𝙬𝙨𝙡𝙚𝙩𝙩𝙚𝙧𝙨 𝙖𝙣𝙙 𝙄𝙣𝙠𝙎𝙡𝙞𝙣𝙜𝙚𝙧'𝙨 𝙏𝙝𝙚 𝙒𝙚𝙚𝙠𝙡𝙮 𝙄𝙣𝙠 𝙛𝙤𝙧 𝙖 𝙘𝙝𝙖𝙣𝙘𝙚 𝙩𝙤 𝙬𝙞𝙣 𝙖 𝙆𝙄𝙉𝘿𝙇𝙀 𝙁𝙄𝙍𝙀 𝙬𝙞𝙩𝙝 20 𝙚𝙗𝙤𝙤𝙠𝙨! Fill out one form below to be added to each author's newsletter and be entered to win! The winner will be announced via email and in The Weekly Ink on March 6th! US Addresses Only, please. Giveaway Ends February 28th. 𝑪𝒍𝒊𝒄𝒌 𝒉𝒆𝒓𝒆 𝒕𝒐 𝑬𝒏𝒕𝒆𝒓: bit.ly/ISValentinesGiveaway Participating Authors: Alex Grayson Bethany Lopez Brenda Rothert Cassia Leo Cassie Cross J. Lynn Bailey Jenna Sutton Jennifer Millikin K.L. Clare Katie Ashley Kennedy L. Mitchell L.M. Halloran Lexxi James Samantha Chase Sara Desai Sara Whitney Sarah Castille Stephanie Fournet Susana Mohel Toni Anderson https://www.instagram.com/p/B8mYQwXgZW9/?igshid=jmgi7xvl3b0x

[suzanneshaw]

Younger people, who view their future as extensive, gain more happiness from extraordinary experiences; however, ordinary experiences become increasingly associated with happiness as people get older, such that they produce as much happiness as extraordinary experiences when individuals have limited time remaining. Self-definition drives these effects: although extraordinary experiences are self-defining throughout one's life span, as people get older they increasingly define themselves by the ordinary experiences that comprise their daily lives.

Amit Bhattacharjee 

This surprisingly deep insight, on aging and happiness, appeared in a 2013 article in the Journal of Consumer Research, by Amit Bhattacharjee of Dartmouth College and Cassie Mogilner of UCLA. It was resurfaced this week by Derek Thompson, a writer at The Atlantic.

via NYT Interpreter Newsletter 11/3/17

[shadowhuntersinternational]

NEW QUEEN OF AIR AND DARKNESS TEASER

this was emailed to me via cassie’s newsletter

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Fear prickled up and down Emma’s arms like goosebumps. Since she was twelve, she had been terrified of the ocean: she had always believed her parents had died in it, dragged below the surface by Raziel knew what, choked to death on bitter seawater. The surge and crash of waves, the imagined black velvet of the ocean’s depths, had filled her nightmares. Even when she found out her parents had been murdered on dry land by Malcolm Fade, their bodies thrown into the sea after death, the fear remained. She reached for it now, welcomed it in. She could feel it filling the empty spaces, the hollows left by grief. She glanced back down at the sea. The surging whirlpool below, the waves slamming like dark blue walls against sheer needles of stone, looked like a painting of a maelstrom, a photograph of a hellscape taken from a safe distance. The wind screamed in Emma’s ears like a warning. Another wave hurled itself against the cliffs, sending up an explosion of spray. Emma smiled grimly into the wind and salt, and jumped.