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thedivinefish · 4 years

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TGIWednesday and join us live tonight!

TGIWednesday News

It’s not too late to join us on our monthly Zoom call tonight at 7:30pm ET and if you can't be there live, register now and you'll get the replay tomorrow. We have a lot of folks joining us and writing in with their top 3 concerns and it’s a great barometer for where you are right now. At home? Scared? Stuck energy? Concerned about social/political/societal unrest? The pandemic, the economy and more? What are your 3 personal mores both good and bad? Write down 3 things YOU would like us to clear for you, family/friends/society/the world that would improve your life’s situation. Scroll down for the button to join us tonight and send in those suggestions to [email protected] by 3 o'clock.

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~ INCREASING INTUITION & THE 5 CLAIRS ~ I believe think, know and feel that I am empathic, clairvoyant, clairaudient and claircognizant. I am ready, willing and able to be more cliesensient, telepathic, telekinetic and remote view. I know, when, where, how and why to see inside the body, to read inside the body field, to be precognizant clairaudient, clairgustant and to have extra sensory perception. I am asking in all languages, throughout all time lines and so it is here and now.

MySwitchWorks Event TONIGHT!

Live Call TONIGHT JUNE 24th 7:30pm EDT

This one will be about keeping the peace in you, your family and your world. Coming together in peace and resolution, meeting of the hearts and minds. What would you like to clear to create a more peaceful and grounded life? Also think of what your triggers are right now. I've had clients mad because others aren’t wearing face masks, while others are furious that folks are complying by wearing face masks. It is a mixed up mess. What is triggering you? Marching, rioting, looting, injustice, violence, history? statues? the name of syrups? missing hugs? concerts? sporting events? Let’s get clear of all this and act locally and pray globally. JOIN ME LIVE TONIGHT Wednesday June 24, 2020 - 30 minutes 7:30pm EDT | 4:30pm PDT | 12:30am UK Replay sent to ALL who are registered. This will be a non-participation call, all listeners will be muted.

(May) Reinvigorating Your Work Life Switches (April) The Plandemic: Moving Forward (March) Luck Switches (Feb) Love & Romance Switches (Jan) Supercharge Abundance Switches (Dec) Abundance Switches (Sept) Youth & Vitality Switches Visit the shop for all replays and to play this brief audio if you've never heard Jimmy explain about switches. As one person on Facebook wrote when recommending to a friend: "These Zoom calls are an absolute "yawn fest" (in the very best sense ;) He works fast and furious with releases."

Fish Food

The Daily Bread To Feed The Fish

Tell The Fish: 365 Daily Inspirations & Affirmations

JUNE 24th "Today I will meet in the middle like the perfect recipe for progress. I will season movement and forward progress with a touch of a feeling and a more humanistic touch. I will allow the middle ground to find me and go forward without getting bogged down in the past or the future."

LIVE Appearances - Free Healing

Thurs. July 30th - Your Divine Uniqueness with host Moncef Akfir - Register Here

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Yesterday's Show - Special Guest Gosia Lorenz Intuitive, Transformation clearings http://www.gosialorenz.com/ June 30th at 4pm - Reverend Debbie Dienstbier Our resident trans medium communications with your loved ones in spirit. Visit her Facebook page

The Jimmy Mack Healing Show is LIVE on Tuesday's at 4pm EDT If you want to Listen in only, go to this website: https://www.freeconferencecall.com/wall/goldylocksproductions OR If you want to call in & ask a question CALL (206) 806-9965 No need to press #1, just dial in and you'll be in the queue. If the Call in Number above doesn’t seem to work, please use this back up Call in Number: (425) 535-9149 when prompted, enter 206.806.9965 followed by # International Callers, click the link below for the International call in list for your country. If you're using the Free Conference Call App, it automatically re-routes the best call In number for you. Please unblock your phone number if you wish to speak with Jimmy and or his guest host. Blocked, Restricted and Private Callers are not brought on air.

From the Fish Box

Q) "Hi Jimmy Mack! I saw your pet healing mp3 and I have 3 cats with behavioral issues. I was wondering 2 things: 1) can I play your mp3 for my cats without me being in the room, and 2) Is it possible to just set the intention as I play the mp3 to just send the healing to "my cat (name)"? Would any of those 2 work? Thanks Jimmy!" - Katie G A) "Thanks Katie, both methods would work……I have a big fat black cat with green eyes that runs the house and I am a LEO So I love cats, but if you have three, you now merely have a small space in their house!!! Lol so keep that in mind for sure." - Jimmy

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In addition, throughout the full 30-days, Jimmy will be dialing into your energetic signature each day upon rising and make certain that you are a clear yes, unclear to no and running forward before you start your day. He is doing the heavy lifting for you around 3am NY time while most of you are asleep in order to smooth out your way and increase your most favorable life outcomes.

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You can run this monthly and stop at any time after the 30 days is up, you will have the opportunity to renew and update your list each month but are under no obligation. I believe you will experience magical transformations and make progress every day!

Sessions at the Tampa Office

FRIDAY KODAWARI YOGA STUDIOS

I'm scheduling 15 and 30 minute appointments at Kodawari Yoga Studios from 10am-2pm EVERY FRIDAY.*IMPT! You must call Kodawari directly to schedule times and dates with them AND pay them directly at the front desk prior to your appointment Call Kodawari's front desk directly to schedule (813) 773-4017 and pay at the concierge desk PRIOR to your appointment - 15 minutes 38$ or 30 minutes 68$. UPCOMING DATES: Friday June 26th Friday July 10th Friday July 17th Friday July 24th Friday July 31st 3965 Henderson Blvd Suite C Tampa (813) 773-4017 http://www.kodawariyoga.com/

Go deep sea "fishing" with Jimmy!

Level 1 is open to ANYONE at anytime! Click here to watch the Mastery video playlist

The Certificate of Mastery Program includes 2 best-selling ebooks and 2 clearing audios plus written & video instructions, AND one-on-one time with Jimmy ALL for about the cost of a single 1-hr session! This online course is for anyone who is familiar with OR new to "fishing" and is ready to dive into the deep end & get results that are beyond the ordinary! It includes The Tackle Box & The Dowser's Handbook ebooks PLUS 2 MP3s "Clearing Dark Energies" & "Increasing Your Intuition" to help clear, strengthen and prepare your energy field for optimal “fishing” results. This is a work-at-your-own-pace curriculum that will TEACH & CLEAR you at the same time! In under 2wks you will be finished with the program and ready to fish on your own with greater results! Level II offers Practitioner Certification for those who qualify.

LEARN MORE HERE

**Can't See The Full Email? Click Here to View Online**

For those who aren't familiar, here's the list of the MyBeliefWorks™ audio library.

Find a topic that addresses your issue(s), click on the link to read more. We had a lot of help downloading & channeling these over the years & they keep getting better. Don't forget... you can share these with you immediate friends and family.

Abundance Abuse Addiction Body Scan: Head to Toe COVID-19 Daily GPS Reset Dark Energies/Fears Decision Making Diet & Exercise Education & Learning Family & Relatives The Gold Coin Healing Physical Body Healing Mental Stress Holiday Stress

Increasing Intuition IRS & Tax Time Love & Romance Money Mindset Moving Forward Pain Relief Pet Healing Sales & Success Improving Sex Improving Sleep Traveling w/Ease Work & Career Weight Loss Windfall Youth & Vitality

TGIFunny

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Jimmy Mack | Appointments Skype: Jimmy.Mack55 Clearwater Florida USA Book a 15 minute session Book a 30 minute session Book a 60 minute session Transformational Healing of Body, Mind & Spirit, People, Places, Pets & Situations! Download the My Liquid Fish® Starter Kit (*Updated May 2019) Audio MP3 Downloads and books to improve your life! Get Certified in My Liquid Fish® Change Made Simple® Watch Free Videos on YouTube Weekly Radio Show Archives Shop for Supplements http://www.jimmymackhealingshop.com www.jimmymackhealing.com Copyright ©1998-2020 All Rights Reserved

-------------------------------------------------- TGIW newsletter managed by: Sandy Bidinger Digital Marketing Specialist at SMBeConnected Solutions www.smbeconnected.com

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divinefishingtips · 4 years

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TGIWednesday and join us live tonight!

TGIWednesday News

TGIWednesday Download

MySwitchWorks Event TONIGHT!

Live Call TONIGHT JUNE 24th 7:30pm EDT

Fish Food

The Daily Bread To Feed The Fish

Tell The Fish: 365 Daily Inspirations & Affirmations

LIVE Appearances - Free Healing

Thurs. July 30th - Your Divine Uniqueness with host Moncef Akfir - Register Here

The Jimmy Mack Healing Radio Show

TUESDAY'S at 4pm EDT / 1pm PDT CALL IN (206) 806-9965 https://www.freeconferencecall.com/wall/goldylocksproductions

Click Here for Previous Weeks' Show and a full archive of past guests & replays.

From the Fish Box

Receive 24/7 Prayers from Jimmy

The 30-day service is now being offered exclusively and you also have the option of selecting an ongoing subscription ($95/month) which is managed through PayPal only.

Sessions at the Tampa Office

FRIDAY KODAWARI YOGA STUDIOS

Go deep sea "fishing" with Jimmy!

Level 1 is open to ANYONE at anytime! Click here to watch the Mastery video playlist

LEARN MORE HERE

**Can't See The Full Email? Click Here to View Online**

For those who aren't familiar, here's the list of the MyBeliefWorks™ audio library.

TGIFunny

Forward

-------------------------------------------------- TGIW newsletter managed by: Sandy Bidinger Digital Marketing Specialist at SMBeConnected Solutions www.smbeconnected.com

Stay connected!

Our mailing address is: Clearwater Florida 33756 USA

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365dailyaffirmations · 4 years

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TGIWednesday and join us live tonight!

TGIWednesday News

TGIWednesday Download

MySwitchWorks Event TONIGHT!

Live Call TONIGHT JUNE 24th 7:30pm EDT

Fish Food

The Daily Bread To Feed The Fish

Tell The Fish: 365 Daily Inspirations & Affirmations

LIVE Appearances - Free Healing

Thurs. July 30th - Your Divine Uniqueness with host Moncef Akfir - Register Here

The Jimmy Mack Healing Radio Show

TUESDAY'S at 4pm EDT / 1pm PDT CALL IN (206) 806-9965 https://www.freeconferencecall.com/wall/goldylocksproductions

Click Here for Previous Weeks' Show and a full archive of past guests & replays.

From the Fish Box

Receive 24/7 Prayers from Jimmy

The 30-day service is now being offered exclusively and you also have the option of selecting an ongoing subscription ($95/month) which is managed through PayPal only.

Sessions at the Tampa Office

FRIDAY KODAWARI YOGA STUDIOS

Go deep sea "fishing" with Jimmy!

Level 1 is open to ANYONE at anytime! Click here to watch the Mastery video playlist

LEARN MORE HERE

**Can't See The Full Email? Click Here to View Online**

For those who aren't familiar, here's the list of the MyBeliefWorks™ audio library.

TGIFunny

Forward

-------------------------------------------------- TGIW newsletter managed by: Sandy Bidinger Digital Marketing Specialist at SMBeConnected Solutions www.smbeconnected.com

Stay connected!

Our mailing address is: Clearwater Florida 33756 USA

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advancedthetapractitioner · 4 years

Text

TGIWednesday and join us live tonight!

TGIWednesday News

TGIWednesday Download

MySwitchWorks Event TONIGHT!

Live Call TONIGHT JUNE 24th 7:30pm EDT

Fish Food

The Daily Bread To Feed The Fish

Tell The Fish: 365 Daily Inspirations & Affirmations

LIVE Appearances - Free Healing

Thurs. July 30th - Your Divine Uniqueness with host Moncef Akfir - Register Here

The Jimmy Mack Healing Radio Show

TUESDAY'S at 4pm EDT / 1pm PDT CALL IN (206) 806-9965 https://www.freeconferencecall.com/wall/goldylocksproductions

Click Here for Previous Weeks' Show and a full archive of past guests & replays.

From the Fish Box

Receive 24/7 Prayers from Jimmy

The 30-day service is now being offered exclusively and you also have the option of selecting an ongoing subscription ($95/month) which is managed through PayPal only.

Sessions at the Tampa Office

FRIDAY KODAWARI YOGA STUDIOS

Go deep sea "fishing" with Jimmy!

Level 1 is open to ANYONE at anytime! Click here to watch the Mastery video playlist

LEARN MORE HERE

**Can't See The Full Email? Click Here to View Online**

For those who aren't familiar, here's the list of the MyBeliefWorks™ audio library.

TGIFunny

Forward

-------------------------------------------------- TGIW newsletter managed by: Sandy Bidinger Digital Marketing Specialist at SMBeConnected Solutions www.smbeconnected.com

Stay connected!

Our mailing address is: Clearwater Florida 33756 USA

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dailybestiary · 7 years

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Moloch

(Illustration by Kieran Yanner comes from the Paizo Blog and is © Paizo Publishing.)

Hold on to your tophets, ladies and minotaurs…it’s Moloch time!

Moloch’s inspiration is a Canaanite god who gets a lot of bad press in the Torah and the Bible—two holy books that, let’s be fair, don’t exactly have a track record of playing nice with the neighbors. But Moloch also gets some pretty bad press from the Greeks and the Romans, and the phrase “child sacrifice” gets thrown around a lot, so I’m perfectly fine with him being used as an archdevil. (There’s actually a post floating around the Paizo Blog that basically says, “Well, that’s kind of how religion worked in those days”…but I possess the ultimate authority on good vs. evil—Monte Cook’s Book of Vile Darkness (what, you were expecting Spinoza?)—and it firmly puts child sacrifice in the Evil category, so screw Moloch.)

In early editions of AD&D, Moloch ruled Malebolge as Baalzebul’s viceroy. In 3.0 and 3.5 Moloch had an even rougher time of it, getting replaced first by the Hag Countess and then Glasya. Pathfinder’s Moloch, on the other hand, is firmly in control of both the Sixth Layer and indeed all of Hell’s armies. If you’re looking for a devil who’s a servant or a patsy of another power, Pathfinder’s Moloch is definitely not it.

Probably the four most interesting things about Moloch are as follows:

1) Moloch is publicly worshipped. Devil worship is not popular, by and large. Even for truly dastardly faith communities, worshipping gods, even evil ones, is a safer bet than worshipping beings that explicitly come from Hell. (“Would you like to spend eternity building a pyramid for the Pharaoh God of Taxation and Making Slaves Grovel? Or go to the place with the fire pits and devils and eternal torment?” “Gosh, the fire pits do sound appealing. But seeing as I’m already experienced at being taxed and groveling...Imma hafta stick with what I know.”) So devil worship is usually a cult thing. Heck, even Asmodeus isn’t that popular in any land where he doesn't have governmental backing—without a throne, inquisition, or similar power structure in place, his church is at best seen as a necessary evil. The other archdevils’ cults mainly stick to the shadows.

But not Moloch. His worship happens out in the open. His followers build giant sacrificial ovens. Whole armies subscribe to his message. Of all the archdevils, he is the one most likely to be worshipped under the glaring eye of the midday sun. And he gets that worship, because…

2) Moloch is responsive. He answers the prayers of his followers—often in a quite literal and personal fashion. Is your village threatened by flood? Forget subtle shifts in tributary courses—Moloch just shows up in avatar form and dams the river. Is an army about to ransack your town? Moloch’s army is bigger, assuming he doesn’t just squash the looters himself.

Yeah, the price for this prompt and professional service is an eternity slaving away in Moloch’s army for anyone who asks for his aid or offers even the slightest hint of praise. But when floods, rapine, and slaughter regularly threaten your subsistence-farming-level existence, being a mule skinner for an archdevil might seem like a decent trade, especially if you don’t have to pay it off till you’re dead. Which means that Moloch has a surprising number of worshippers, despite being a walking metal furnace that swallows victims whole and to burn alive in his stomach. Speaking of which…

3) Moloch has interesting symbolism and visual associations. Which means interesting worshippers and sidekicks. He’s got a bull thing—use some minotaurs as his cultists. He’s got a furnace/child sacrifice thing—use the tophet. He’s got a walking, fiery suit of armor thing—there are tons of constructs, golems, elementals, devils, and undead like that. And he’s a general—which means animate war machines like juggernauts or colossi.

With a lot of archdevil nemeses, the PCs’ journey fighting their servants goes tiefling —> lesser devil —> medium devil —> nasty devil—> archdevil, with maybe a fiendish dragon or something in there for variety. Moloch’s followers are waaay more interesting that that. Literally any soldier of any race might be found in his legions, either living, undead, as a fiendish version of itself, or as some kind of twisted einherjar. Pick up thematic cues from his description and his mythology and go nuts.

And since we’re on the subject of him being a general…

4) Moloch is a general. He’s the leader of Hell’s armies. This means facing him is going to be like facing any general with godlike power. He’s going to have lots of troops he can call for aid. He’s going to have aerial assault teams and assassination squads and giant hellfire-fueled juggernauts. He’s going to be physically powerful himself, and canny and strategic as well. If you come at him, you risk literally having all the armies of Hell chasing after you.

That said, it also means he has other fish to fry. He has Heaven assaulting one front and the demon hordes assaulting the other. He has lesser generals and colonels who want his job. He has some mighty demanding bosses to please. And, as noted above, he’s very attentive to his flock. No matter how big you think your beef with him is, you’re probably the lowest item on his to-do list.

Which means you might be able to sneak into his vast army camp and ambush him. You might be able to challenge him to single combat to gain some small concession. You might be able to put a treaty in front of him to sign. Keep your goals reasonable and small, and he might just to decide to send his flunkies after you in retaliation rather than deal with you personally, or burn your great-grandchildren to cinders a few generations from now…but that’s their problem. Generals are patient, generals can wait, and generals pick their battles. He will always come down on you like a hammer, but it might not be today. And when dealing with archdevils, those are as good odds as you’re going to get.

Adventures are asked to investigate a so-called Children’s Crusade, only to discover it is a sham—slavers are herding the children (and their hapless friar guardians) like cattle to boats crewed by gnolls, hobgoblins, witchwyrds, denizens of Leng, and worse. The trail leads past strange cyclopean isles to a forbidding and cruel coastal nation of military dictators. There the children are to be fed to giant, animate tophets meant to fuel the archdevil Moloch’s fires in Hell…unless the brave adventurers step in.

A solar and an uinuja formed an unlikely friendship, despite their differing ethics, spheres of influence, and relative power levels. Now the solar languishes in a Hellish prison, and the plucky azata wants to do what even the archons do not dare: stage a rescue, even if it means facing the Lord of the Sixth himself. Fortunately, she knows some adventures who are just as plucky—or crazy—as she is.

The cult of Mithras has spread throughout the Roman Empire—in particular, throughout the Roman Legions. But as the cult has spread, so have disturbing rumors about secret rites, bloody and fiery sacrifices, and worse. At first, the Senate and certain famous adventurers chalk this up to the usual politics and rumormongering Rome is famous for. But then word comes out of Anatolia that the great god Mithras is dead, slain by an imposter who now usurps his throne and perverts his rites. The usurper is Moloch, and he has turned much of Rome’s military might to his service—for even those who resist his call in life have sullied themselves enough so that he may claim their souls in death. Worse yet, the dour god Pluto is angered by the potential theft of shades from his kingdom. His priests threaten that if this Mithras/Moloch is not stopped, Pluto will send an army of undead through the Lacus Curtius to drag the Roman army down to the Underworld, no matter what the collateral damage. Great heroes have to act—and fast.

—Pathfinder Bestiary 6 30–31

(I’ve always thought the rapid spread and equally rapid decline of Mithraism throughout the Roman Empire was pretty fascinating. So naturally I wanted to give your PCs an excuse to be players in that particular rise and fall. Now, on to some housekeeping…)

Edit: Also, somehow my Google-fu utterly failed me, and nothing I read pointed me to the fact that there was a section on Moloch in Pathfinder Adventurer Path #105: The Inferno Gate. (I had to skip that AP because I was so behind; it’s on my to-read pile.) I’ll be interested to read how my take conforms (or doesn’t) with Editor Emeritus @wesschneider‘s canon version, but that’s a project for another night.

Hi all. First of all, again, apologies for the absurdly late post. This article literally sat half-written on my desktop since something like June 18. We’re talking a month. Sure, this blog isn't the *daily* Daily Bestiary it once was, but I’ve never been as lax with my posting as that. Two posts in June and none so far in July is unacceptable.

Toyota earned its reputation for amazing cars not through one outstanding model or innovation, but through a company-wide suggestion system that leveraged lots of tiny improvements. Unfortunately, the same is also true in the negative. There’s no one reason I haven’t been able to blog or one big nightmare I had to tackle (okay, there was one—a four-day, 46-hour workweek that sucked beyond measure—but let’s pretend I didn’t say that). There have just been a thousand tiny distractions and mini-hurdles. The short version is: June was lame, I had to take some time for me, I probably took too much, and I’m hopping the end of July is better. Much love and thanks to you all for your patience, yet again.

Tumblr folk already know this (so forgive me if I quote myself verbatim) but my Blogger folk don’t: My second episode as a guest of the Laughfinder podcast is up! Once again, I aid Bryan Preston, Jim Meyer, and Tommy Sinbazo to fight evil conjured by Dorian Gray and Ben Hancock. Once again there are many NSFW riffs on Baltimore landmarks. And most importantly, my blood feud with Aaron Henkin erupts into passionate FURY. Enjoy!

#pathfinder #paizo #3.5 #dungeons & dragons #dungeons and dragons #d&d #dnd #moloch #archdevil #devil #outsider

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ark-of-eden · 7 years

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Thoughts on the Function of Art?

(R:) I didn't want to append this to that big thread about censorship, questionable story content, and authorial intent because I am a Small Person who just consumes things and I was pretty sure that I can't actually add anything useful to the discussion. But I'm still stuck on it a little, so here is a thing that I'm putting behind a readmore in case everyone is fucking tired of the whole censorship debate.

tl;dr: Riss is old and grew up in an environment that was not exactly info-rich when it came to controversial issues. Riss is clumsily attempting to tape this and that together for some reason, possibly just to get it out of the brain. (This ultimately turned into a long fucking story about my early life that doesn't really go anywhere. It's just a long fucking story.)(**ALERT: This includes discussions of stereotypes, slurs, and fetishization.)

People in that thread pointed out the weird over-reliance on interrogating an author about what exactly they meant by writing certain content and that authorial intent should be a yardstick for whether certain content is edifying (and deserving of existence) or not. Other people wisely pointed out that every consumer will inevitably interpret every creation through the lens of their own experience and come up with a different take on what the piece is "saying" about whatever it depicts.

Back when I was very young, there was no way to directly contact any sort of creator. Novels had small text somewhere that mentioned how to send snailmail to the author C/O the publishing company, but naturally there could be no expectation that an author would ever actually write you back. Direct contact with creators was usually in the context of them being guests at a con or signing or gallery showing, which was sort of like seeing a band play live. Every other exposure to them was one-way or indirect, through their work or news articles or possibly from hearing a radio interview or watching a TV program about them, if they were important enough. This was pre-widespread-Internet, so nobody had blogs; some big-name people had fanclubs that mailed out regular newsletters, but the vast majority of creators had nothing but their content in circulation.

I guess that the point of saying all of that is just to illustrate that the present-day situation in which creators have public social media accounts that one can just drop into and toss opinions and questions about intent at them is...kind of a luxury, in my experience? For writers of "classics," there might be printed articles or essays in which they went on about their intent or process, but for creators who weren't popular while they were alive, historians have to go mining for diaries or letters to even get an idea of what sort of person they were, much less what they meant when they wrote that one scene from that one novel that was Kind Of Problematic.

And that was a tangent leading around to a perspective about creative work in general that I heard very early on and took to heart when it came to consuming media. I read somewhere that the point of creating something was to produce a response or emotion in the consumer. Any response. The creation was meant to be a catalyst for newness or change in the viewer, even if the response was something like anger, fear, or disgust. The worst possible response to a creation was dull indifference, because it had failed to do anything at all to the consumer.

I saw supporting evidence for this perspective in a lot of media. Bands built up weird, elaborate Aesthetics purely to draw attention to their songs, not because they were demonstrating some deeply-held belief system. (I've lost track of how many CDs I saw from bands who made dark music about cruelty, despair, and the emptiness of the universe and yet, in tiny liner-note text, poured out flowery squee about how they thanked the loving Lord God and Jesus Christ for blessing them with their musical careers.) Artists who talked to other artists about their craft admitted that they often made the art they did just because they wanted to make it for no special reason, but they fabricated deep-sounding bullshit to attach to it so that collectors would buy the thing just for the story that went with it.

A piece that kept getting talked about over and over back then was Piss Christ, which was literally a large glass jar full of urine that had a crucifix floating in it. Large sections of society were fucking outraged that this thing even existed, that galleries dared to let it darken their doorways, that the artist was even depraved enough to think up such a thing. I don't recall what the artist herself (I think it was a she) said about why she made it, but what was clear to me was that she had succeeded at the goal of art like an absolute champion. Nobody could look at that piece without having some kind of intense response, and whole groups of educated people were compelled to spill out their opinions and argue about it. Piss Christ was Successful Art, the thing that every piece of art wished that it could be. It didn't matter that most of the responses were negative. Apart from making it, the artist did nothing to encourage all the discussions prompted by the art's existence. People used it as a springboard for debates about What Is Art Really, the empty veneration of religious iconography, public obscenity, and all sorts of other things, entirely on their own.

Granted, there were clear downsides to not having instant access to people's creative narratives and backgrounds, or to the greater community of consumers. There were panels discussing themes in modern writing at cons and sometimes a nearby book club where people could rec things and talk about good and bad aspects to whatever they were reading, but if you weren't in a position to have either of those things? There wasn't a lot to do but chat with any reader buddies you might have or actually trust marketing. This book is a NYT Bestseller and has its own special display in Borders? Well, must be a well-written book with quality content, or else it wouldn't have that kind of backing, right? (I was such a trusting little idiot back then, seriously.) So this was when all those toxic norms of casual misogyny, racism, and queer villainization went unchallenged in a lot of places and was just The Way Things Are.

My family moved around to many parts of the US while I was young and I swear I never heard people anywhere bothering to have a discussion about the trend of weak female characters or how POC cultures kept getting reduced to exotic window dressing. There was a sense that those kinds of intellectual topics were the sort of thing that academics did in far-off Academic Country, where they only read classic literature and went over word-by-word symbolism with ever finer combs. I'm no quality literature historian, but I imagine that those kinds of thematic conversations probably got louder as widescale communication got easier, such that a person could throw out into the aether, "Is it just me, or is the only time when cultural elements from Asian, Middle Eastern, Native American, or African civilizations turn up in mainstream lit is when they need 'exotic savage foreigners'?" and people would be able to chorus back, "OMFG THANK YOU I thought I was the only one bothered by that!!" (I mean, advancements in communication helped every minority find other people like themselves, which is why the Internet is part of real life and a genuinely precious resource to isolated odd folk who are forced to live in places that are hostile to them. You no longer have to live your entire life being the only lonely freak instance of your kind in the entire universe.)

So I recognize the shitty situation of having mainstream marketers telling people which stories were good and which story elements were admirable without also having access to Discourse that would challenge those norms. I remember just accepting that girls would hardly ever be able to be heroes the way boys could be, and that people from far-away cultures were always primitive and backward but in fascinating ways. Nothing in my daily life countered anything that I read. Discussions that I found online much later in life caused me to rethink the trends in everything that I'd read as a kid and see it all with fresh eyes so that I could realign my opinions. It's vital to have discourse and challenge happening alongside creation so that we don't have generations of people absorbing shitty norms that are supported by fiction and not realizing that there are even alternative ways of seeing things.

But there's still that issue, in my mind, of a good creation being one that creates ripples far outside of itself by prompting any kind of response in the consumer. Which is, I guess, why it seems fine to me that Problematic things exist and that people encounter them even if they come away hating those things. The encounter with that thing can make a person think about their own perceptions and experiences, and it can prompt conversations about was learned from that encounter - the why of the result and what it means. Obviously, the same can be done with media that makes a person happy or comforted, and that ends up in Discourse because people end up comparing their experiences and questioning whether the people who are happy/comforted are correct to feel that way about the media.

(Bonus Tangent: it's never possible to be incorrectly upset/offended, only incorrectly happy, strangely. Because telling people that they are not allowed to be upset about something is controlling and aggressive, but telling people that they're wrong to enjoy something is...I'm not finding any positive result. It's shaming, which is a response used to exert social control over others. Talking about whether or not casting shame on total strangers leads to the desired result is something that even I don't want to take the space to talk about. I'm one of those who considers emotion to be out of a person's control. Emotion precedes action. What's important, IMO, is what action a person takes regardless of what emotions they might have, because it's possible to choose actions. Telling a person that they're not allowed to feel a certain way is an attack based on something that a person can't actually control. Whenever I see antis saying things like "no one should ever enjoy this content," I wonder how people are supposed to casually shut off their enjoyment. Can the antis shut off their outrage with a flip of a switch, since it's just an emotion too? Attempting to reprogram a person's emotional or motivational palette leads to things like conversion therapy, which has a high rate of failure/relapse and tends to traumatize people into other mental deformities. That's why it's far more useful to focus on responses to emotion instead of emotion itself. People with uncontrollable emotional responses - such as phobias or fetishes, say - can learn adaptive actions faster than they can unlearn emotional responses.)

This was a hugely roundabout way of saying that I really think that bad media or problematic media are still important. They can prompt discussion and introspection, as mentioned, but, IME, even a shitty representation of a concept can put cracks in a person's worldview and make it possible for them to be open to better ideas in the same vein later on.

For instance, I had that strict mainstream heteronormative upbringing. The only thing I knew about queer people for a huge part of my life was that they needed to be pitied because they were going to hell, and the closest thing to a trans person that I knew about was that Crying Game trap drag queen concept where the sinister man in a dress seduced honest straight men with borrowed feminine wiles. (I literally did not know that transgender people were actually real until after I was 20, which is one reason why I am such a massive late trans bloomer.) I also had that strict gender role upbringing in which there were certain things that a person must and must not do in order to be "proper."

Back when I first got on the Internet and started interacting with fandoms, genderswap fics were popular in my circle. Often, it was basically the same plot as the source material, but you'd switch everybody to the opposite binary gender and then, based on the assumption that men and women think and do things in slightly different ways, the plot would usually derail from canon because the genderswapped characters wouldn't do the same things that they canonically did. It was just one of many common fanfic thought exercises.

Looking back, reading genderswap fics was something that started eroding the strict worldview that I'd inherited. The "men and women just naturally do things differently" was enough in line with traditional gender roles that it passed by my defenses, but the swapped cast of just about everything ended up with lots of strong, heroic women and the occasional male sidekick. Further, writers tended to use the "women are more socially/emotionally intelligent than men" stereotype to correct shitty things that male characters did in canon because, if they were women, they'd be too smart and perceptive to do whatever stupid thing they did and everything would have happened differently. Nowadays, there's formal discussion about the lack of strong female characters in mainstream fiction, but in fandom, female writers just fixed the problem directly with genderswap so all the interesting, powerful people could be women and the guys could be useless arm candy for once. It was a way of reclaiming importance and power when canon media didn't give women much else to work with.

(I became aware while ago that Discourse is informing people that genderswap fics are hugely offensive to trans people. Now, I've described my crappy upbringing, but as a trans person, I don't understand this at all. I get that the "opposite gender" swap upholds the gender binary, but the issue is offense against trans people, not against genderqueer or nonbinary people. I seriously don't get why I should be offended? Is it because the genderswap doesn't include actual RL transgender experiences, as if the entire cast were realistically transitioning as a plot element? Genderswap is not acceptable unless it specifically includes things like "this is the story of how Cloud Strife got her testicles removed and enjoyed growing breast buds thanks to HRT"?? Maybe I'm an idiot, but those are two distinctly different story concepts and both have merit. o_o)

Later on, I became aware of people who were preoccupied with stories and fantasies of fantastical gender transformation, usually male to female. Some stereotypical male character would get injected with an alien serum or zapped by a fairy's wand or something and he would immediately metamorphose into a woman. There was often a disturbingly rapey element to these stories, like the boy wouldn't want to be transformed and was horrified while he was changing, but after he settled into the woman-shape or had sex as a woman after changing, he realized that he loved it and felt so much better that way. The stories were mostly just short repeats of this exact same situation, written by different authors with slightly different details, and this group never seemed to get tired of them.

Eventually, I learned that most of the people in the core of this group identified as trans women, but they lived in circumstances where they weren't permitted any female expression or had lost hope of ever transitioning. They fixated on transformation fic as a way to soothe the pain of living. Looking back, the noncon/dubcon themes that kept appearing in the fics made sense as a way of indirectly satisfying the powerful social forces that were demanding masculinity of them. The male characters were trying hard to stay male, fighting back against the transformation; they were clearly performing all the do not want signals expected of men threatened with feminization. They fought the good fight, but the enemy overpowered them! Womanhood was forced upon them! It was totally unexpected that they enjoyed being a girl after all, but because their maleness had been aggressively destroyed, they were free to stop performing resistance and love themselves.

But you can find fetish material like this in a lot of places, without any context as to the intent of the creator. (And I'd argue that it counts as a fetish if you crave it as necessary somehow, regardless of whether or not you're jacking/jilling to it.) Some people would write the same kind of stories for forced feminization as a type of humiliation. Among furries, transformation fetish material seems to add an extra angle of growing into new power and strength by a change into some larger, more magnificent creature in addition to changes involving sexual characteristics.

Further into the fantasy fetish scene is smut involving dickgirls/cuntboys. Those terms are inherently objectifying and fetishizing; the focus is entirely on the genitals and how a person has the "wrong" ones for their body. Understandably, this is where trans people get turned into dehumanized kink fuel, and real life "tranny chasers" exist who try to weasel into relationships with trans people just to have an embodiment of their fetish.

Artists seem to be slowly getting better with at least giving a nod to real trans people when tagging this sort of art, but (likely to get the most search hits) usually it's just "transwoman/man" alongside "dickgirl/cuntboy." And the art, at least, is clearly designed as fap fuel, so it's not like changing the label makes the content more respectful to the real humans it resembles.

Fetish art with that sort of name shouldn't be uplifting or encouraging because it makes trans people into objects, I know. But I enjoy it when I see it not because it gets me hot in itself, but because I feel heartened when I see sexy art of, essentially, trans people who have not had any genital surgery. I'm fortunate in that I don't have the worst soul-crushing dysphoria surrounding my (still XX factory standard) genitals, but I know a lot of trans people get seriously torn up about theirs and worry that they'll never be truly attractive to others because their genitals are "wrong." While it's possible to find humiliation art online of people with all kinds of body configurations, I tend not to (YMMV again) find much that seems to be specifically shaming or hating on characters who have trans genitals specifically because they are wrong/ugly/queer/etc. They're just participating in enthusiastic hot sex like all the other characters. Sometimes they're literally just standing around looking sexy, like any other badly-posed pinup. But when they're in the mix of whatever smut they're depicted in, they're objects of desire with their own sexual power, unashamed and equal to the others, and the other characters find them attractive and are clearly really excited to be doing whatever they're doing with that hot trans character.

And this response is very problematic, I know, because smut of trans characters that's designed to satisfy fetishes actually does lead to cis stalkers who want trans partners as living sex toys. And art of pre/non-op trans people being sexually liberated and desirable might end up being nearly indistinguishable from most of the fetish art I've seen, apart from lacking the objectifying dickgirl/cuntboy label. I hate seeing those terms in art tags, but the art itself makes me happy. Not even aroused, just happy to see characters who are essentially pre/non-op trans people being desired and enjoying themselves. When you've lived your life believing that you're ugly and unlovable, seeing people similar to yourself in those kinds of situations is a Band-Aid on an old, deep wound. I wish someone would look at me that way. I wish someone wanted to touch me that way. And even if you can't have that for yourself, you can at least look at art where similar people can, and even if those trans people are imaginary six-breasted purple foxtaurs, you can still feel like at least there are trans people somewhere in the galaxy who are free and happy and desirable. It's the same as those trans girls who spent years telling each other the same MTF transformation story over and over and over even though it was pure fantasy. They needed periodic inoculations of that fiction to keep themselves afloat when they believed that they could never have the reality.

That's why, to return to my earlier point and to the points that the people in that big thread probably said better than I have, I don't want bad media to go away. Even gross White Man Story For White Menfolk fiction can at least prompt discussion and response and might have little bits in it that made someone out there think of something in a way that they haven't before. Even depictions of minorities that are pretty clearly designed to be shallow fetish fuel might be a lifeline to some isolated person to whom that shitty depiction is the most positive representation of their identity that they've ever seen. You'd hope that they'd quickly be able to find better ones, but beggars can't be choosers, and if that shitty depiction hadn't existed then they might never have had the chance or the knowledge that different views were possible. You just can't know what people see and think when they consume a particular piece of media. They bring so much of their own context into the experience.

That's why I wish people would focus on action instead of on vague, catastrophizing speculations about intent or potential or who has a "right" to create or consume certain things. There are at least a couple of stories floating around about female fic writers who regularly wrote m/m smut, but who, IRL, opposed same-sex marriage and disowned their queer relatives. IMO, that's how you can tell who is making objectifying content - by whether they treat actual, living representations of minorities/fetishes like frivolous entertainment. I would bet that those IRL-anti-queer fic writers wrote things that were indistinguishable from the general mass of fanfic, which was why other fandom people were shocked to discover their IRL actions. People create things for all sorts of different reasons, not because ther creations are a clear window into their innermost motivations. You just can't know what's in a person's head, no matter what sort of things they create.

And I've literally spent hours writing this and sort of vaguely editing it paragraph by paragraph, so I'm going to post this now and release myself from childhood memory hell. Ultimately, that reblogged thread still said all of this better, but I just had a compulsion to LET ME SING YOU THE SONG OF MY PEOPLE FOR TEN FUCKING PAGES. :P

And oh hey, I was so caught up in time-warping back to the 80's and early 90's that I forgot that Wikipedia existed, so here's their page on Piss Christ. Turns out the artist was male. Says it was only a photo?? Lies!! I distinctly remember seeing the goddamn gross jar of pee!! Because human memory is a reliable, unalterable record!! (Okay, I've clearly gone on too long here. I apologize to the whole internet in advance.)

#fetishization #queer #early life experiences #slurs #queer fetishization #fandom politics #not even sure what to tag this as so just sort of be generally cautious

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gramilano · 4 years

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The Royal Ballet’s Argentinian principal dancer, Marianela Nuñez, is in lockdown in Buenos Aires. She went there to be near her family and partner, because now home, for Nela, is London, which also happens to be home to her beloved company at The Royal Opera House.

We caught up via Skype in June: I was in my office in Milan, and Nela was 11,000 km away, sitting against an orange wall which steadily turned maroon then almost black as the day drew in.

Daily 500-metre walk

Nela’s dad during lockdown

Lockdown

Lockdown in Argentina! How’s that working out?

It’s very strict here. We started lockdown at the same time as England, pretty much – I know you in Italy started earlier. There were only a few cases, but obviously here there are more difficulties compared to Europe, and they were worried that the health system would collapse.

Here, the problem is that we are now getting into winter, which is difficult, and a lot of neighbourhoods are very poor. People don’t have running water and they’re living literally on top of each other. This is in Buenos Aires because actually the rest of the country is running more or less normally.

We’re only allowed out once a day to walk 500 metres, so we just go around our place, then everything else is at home. It’s unbelievable how suddenly your home becomes a studio by moving the furniture around. It’s been hilarious, and it’s incredible how creative people are.

So, why Buenos Aires and not London?

Alejandro [Parente, her boyfriend and former principal dancer at Teatro Colón] is the reason I came here because my idea was to stay home, and for me home is London. I didn’t want to leave London and my little flat, because I knew that as soon as things became easier I would be closer to my other home, The Royal Opera House.

I just wanted to feel safe, and the last thing you want to be doing at this time is travel. I travelled on the 22nd of March! At the airport, it literally felt like I was in a movie. It was scary and sad, so empty, and we were running not to miss the plane – it was way too stressful. But it was a complicated situation: Ale had only just arrived in Argentina from Italy where he was dropping off his daughter Luna who had spent the holidays with him in Europe. Then he was meant to be coming back to teach in Milan.

Obviously, that didn’t happen because everything was closing. Also because my mom and dad are also here, and they’re over 60, and my brothers too, it seemed like the best place to be. Otherwise, I would have been alone in my flat in London without knowing for how long. It was the worst moment to realise just how divided your life is. I’m just waiting now for the airport to open here then obviously, I need to go back home. [Since we spoke, lockdown has been extended in Argentina, and now she’s hoping to get a plane back to London at the end of July]

Believe your inner Nela

Alejandro making a barre

Barre made

With the homemade barre

What are you doing to keep in shape?

I have to do Pilates because otherwise my body won’t function and just hurts, so yeah, Pilates is a must. I just finished a session before you called. I do it with online with a studio opened by Luciana Ravizzi, an Argentinian teacher who’s a friend of mine from The Royal Ballet School, though I was already in the company when she joined. When she graduated, she went to Scottish Ballet, but we stayed friends. Then she opened her Pilates studio in Argentina. I’m doing three times a week.

The rest of the time I do my own thing together with ballet lessons that the company’s been providing us with. A friend of mine, Erico Montes, from Brazil, is a dancer with the company and he’s starting to teach, so he’s giving me lessons too. Sometimes Alejandro teaches me. I don’t often catch the live version of the class that the company does, but they record it, so I’m able to access it later. The choices are unbelievable. Olga Evreinoff, who often comes to The Royal Ballet to teach and take rehearsals, teaches us online. She’s a wonderful, wonderful teacher. I wonder if she ever imagined teaching a company via Zoom! She’s always giving corrections, ‘Stretch your knee!’ Fantastic. Amazing.

It’s also a way to see your colleagues.

The first time I will never forget because to do a class live with them online I need to wake up at 5.30 am – I’m four hours behind and class starts at 10.30. I did it twice! The first time I did it, it was wonderful –Zoom went on and suddenly you see all these people popping up on the screen. I was in tears. Even when I do the recorded version and I see everyone again I just… [tears well up]. Well, I’m missing them so much. I can’t wait to see them.

Self-portrait with orange wall and cat

Yoda

Nela with Yoda

Do you do class with Alejandro?

Alejandro does his own thing and he’s also teaching a lot, so basically he does his own little bar, but he’s quiet and I hardly even see him do it. He’s been giving classes to Rome Opera Ballet online and on Thursdays a class with Joburg Ballet in South Africa. Before lockdown, I was meant to guest there. I was going to do Don Q [Don Quixote], and as it didn’t happen, they were disappointed because it was going to be a highlight for them, and for us as well. So their CEO Esther Nasser asked if we could do an interview online, talking to the dancers and all of that. We did, and it was such a lovely meeting that now Ale is teaching them class, and I do it with them every Thursday.

That sounds encouraging. What are some of the positive things you’ve got from this period?

You know, funnily enough, there are a lot of positive things because online I see this big dance community that is all together, not just little groups. All over the world, we are trying to inspire and support each other. Every time I see a video of dancers doing class at home, trying to stay fit, trying to be creative, I find it amazing and I feel so proud. I feel touched to see how dancers are saying, OK, this is tough, but we’re going to do something with it.

I feel honoured to be part of an institution like our company. Our management calls us, you know, and they’re constantly in contact with us, sending us emails and making sure we are OK and providing us with classes online and ballet and yoga and all sorts of fitness. To feel that you have your company behind you is amazing. We’ve literally stayed together throughout all this.

I actually get very emotional because it’s powerful to see all these people trying to produce art from home and helping each other. One of the biggest positive things is that our creativity, and wanting to stay together, and keeping in shape to be ready for coming back, has come through.

The emotional element is palpable. Another Royal Ballet dancer told me that the company was offering some of their online teaching to smaller companies who don’t have that possibility. That’s a beautiful thing to do.

Kevin [O’Hare – director of The Royal Ballet] decided to just open it up because not every company has the facilities that we do. It’s an amazing gesture. It’s kind of scary right now, and a gesture like this brings the community together. It’s just phenomenal. I was so touched.

Aeternum. Marianela Nuñez © ROH, Bill Cooper, 2014

Beginnings

So you’re back in Argentina where it all began… why did your mother send you to ballet school? Why not gymnastics or something else?

I had three brothers, so everything was very boyish at home. Football, football, football. My mom had had enough, and finally a girl finally arrived she was like, ‘OK, thank God, I’m not alone in the house anymore!’ She dressed me in pink. She loved dancing herself, and although my granddad was amazing – my number one fan, now looking down at me from up there [she indicates the heavens] – he didn’t want her to dance. She just did a little bit of Argentinian folk dancing and that was it. So as my mom loves dancing, she took me to a little ballet studio, three blocks away from our house.

What she didn’t expect is that little Nela would love it too. The teacher’s studio was her garage. She would take the car out and there were some barres and a concrete floor. My kindergarten friends were also there but it wasn’t serious enough for me… it was more like playing. Why I wanted something else I can’t explain because I had never seen ballet, but that little girl said that she wanted to dance seriously. I think you’re born with your calling and there is no other way.

I read this wonderful book that you have to read. I had it in my dressing room and Alex Ferri saw it and she said, ‘Oh my God, I’ve read it, it’s wonderful.’ It’s called The Soul’s Code by James Hillman. It’s about how you are born with this, and no matter what you think, if it’s definitely your calling, somehow you’ll get there.

It may have been your calling, but for you to fulfil that it must have meant a big change for your family.

For the family it was a revolution, especially when I really took it seriously because from that studio, I went to another studio, still in the neighbourhood, but where they only did ballet. But it still wasn’t the Teatro Colón, you know? But the teacher was wonderful and actually she’s a figure that is still in my life, helping with the shows that I do at home every year for charity. She had trained at the Colón school and she said, as soon as she saw me, ‘She’s got a lot of talent, she’s determined, and she’s disciplined, and I think she should definitely go to the centre of the city to study.’ She and another teacher got me ready and I was accepted.

When that finally happened, my mom had to travel around with me a lot as we lived far away from the Teatro Colón school. I basically stole away my mom for me, and my brothers had to adapt to that; so it was a big shift for the family. My grandma would stay and cook for them. But they all did it, and I’m so grateful because obviously I was doing what I loved but the whole family had to support that. Even though they were not interested in ballet, they were definitely interested in what I was doing and my achievements.

And do they come and see you dance now?

They do. They watch everything online and if our relays are shown in Argentina they will go. They read everything that’s printed about me and are super proud.

Nela backstage with her parents

Nela with her parents

Nela in her parents’ house

How old were you when you entered the Teatro Colón School?

At the Colón school you start at eight years old and you finish at 18, so it’s ten years. But I only did half of that because Maximiliano Guerra wanted me to dance with him when I was about 13. He was doing the same as I do now when during the summer break in Europe, he would come to Argentina and do his performances here. There was a tour that he was doing around Argentina with La Scala principal Anita Magyari.

So we toured around Argentina. They were doing the third act pas de deux from Don Q and I was one of the two friends. At the end of that tour, Anita had to return to Europe and as there were some performances in Uruguay coming up, he said, ‘OK, I’ll dance with you.’ We did Don Q and the Diana and Acteon pas de deux. I mean, unbelievable! I was always super star-struck with him, and he had this wonderful presence, but when you’re young and naïve you just kind of do it, like you don’t really see what’s happening.

We were at the beautiful Teatro Solís in Uruguay and I remember when we finished the Don Q I was thinking, thank God I made it. But the audience went wild and wanted us to repeat the coda. We did. That meant doing the 32 fouettés again.

I had a temperature afterwards from all the pressure and I was shaking when we were having dinner, but it was wonderful. At that performance was Raquel Rossetti who was the director of the Teatro Colón and had been a principal ballerina. She said, listen, I want you in the company. So I joined the company of Teatro Colón right after that. I was 14.

I did a lot of corps de ballet work, but the director really liked me, so whenever there was a gala somewhere, she would take me to do a pas de deux, and that’s when I danced with Alejandro for the first time – I was 14, he was 24! We did the Don Q, and Graham you have to see that online – I’ll send you the link. I stayed in the company that year, but I’d known since I was about 11 that I wanted a career outside Argentina, and I had it clear that The Royal Ballet was my dream company.

I had all the videos: La fille [mal gardée] with Leslie [Collier], Bayadère with Altynai [Asylmuratova], Darcey [Bussell] and Irek [Mukhamedov], Romeo and Juliet with Alessandra [Ferri] and Wayne Eagling, Manon with Sir Anthony Dowell… I had all of them. I had never seen ballets like that before. I saw Onegin at the Colón and although I was really young, I went, whoa, as I’d never seen anything like it. But all the other powerful ballets I saw were on video and with all my favourite dancers at The Royal Ballet.

Teachers explained how the company’s repertoire was amazing and how important repertoire is in a dancer’s life. Massimiliano said, ‘If you go to a company like that, not only will you have all that, but also, they will look after you properly; with someone like you who is super talented, it could easily happen that people will take advantage and you’ll get burnt out, but in a company like that you will be guided, and you will grow as an artist.’

So I decided to audition for my dream company. It was my 15th birthday. The fiesta de quince años for a girl here in South America, especially in Argentina, is big. You have a party, kind of like a wedding, and you wear a big dress. My parents said, ‘It’s either the party or we’ll pay for the ticket for you to go to LA.’ The company was in Los Angeles on tour, so I went to LA, auditioned, and I got my place.

The Royal Ballet

Did you know that you couldn’t immediately go into the company and work because you were too young?

Actually, I didn’t know. When I auditioned, that wasn’t taken into consideration. But then they said, ‘No way, you’re 15, you can’t, it’s not possible.’ So they said, ‘Listen, we’ll keep the contract for you, so go to The Royal Ballet School for one year and when you turn 16 you can join the company.’ So I said, ‘OK, fine, I’ll go back to school.’ Now, this is me looking back, being mature about it, but at the time it was a little bit hard for a 15-year-old to understand. I’d been dancing all these roles, but I had to go back to school. It was emotionally quite difficult because I was in a new country, far away from my family. But it was a blessing. I needed to finish school and I needed to learn the language. I also needed to learn what the company was about, what our style was about, what the history of the company was. I just needed to nurture myself. So that was definitely, definitely the right choice. That was back in 1997.

It was necessary.

It was totally necessary. From a very young age, my teachers here had given me a strong technique, a really good base, so that’s why I could do all that stuff. I probably was born with some of that, but I think my teachers played a big part in it. They gave me the confidence to be on the stage. When you see pictures of me in competitions, or the videos with Massimiliano or that video with Ale, you can’t believe it’s only a girl. Of course, you see it’s not refined, and my port de bras is not great, but there is a presence, and even though I’m standing with principal dancers, there is nothing childish about it. I guess my teachers gave me that. What I needed to learn in London was how to refine all that strength and confidence and really understand what this art form is about.

What opened my mind in London was the importance of stagecraft and the artistic side of things. I had seen that, obviously, in the videos that I had, but when I saw it live when I attended my first full call, I was amazed. I just had never seen ballet done like that before – they weren’t just dancers; they were actors.

It was Belinda Hately in Giselle. I loved her so much… beautiful, beautiful, beautiful. And it was her debut. I had never seen a ballerina like that. And then I kept looking around the stage and usually in the classics people will be standing all in the same way and moving their arm at the same time. This was the first time I saw each person in the corps de ballet with their own character and they were standing in different ways. They were not reacting in the same way at the same time. I had never seen such a beautiful thing in my life; it was so real. I thought, OK, definitely, I have so much to learn.

Your drive is strong, but not in a negative way. I imagine you don’t put broken glass in other ballerinas pointe shoes, but you just want to be the best you possibly can.

From a very young age, like five, I wanted to do this for real. When I started at the Colón school, I said, I definitely want to become a professional dancer. I knew I didn’t want to be in the corps de ballet. Not that there is anything wrong in being in the corps de ballet, but I personally wanted to be a prima ballerina. Having clear what you want from such a young age definitely helps you to focus in order to get what you want.

Tell the truth: you didn’t want to be in the corps de ballet because you can’t keep in line!

You’re laughing, but it’s true! Really! I got promoted to first soloist when I was a baby, because I joined the Royal Ballet aged 16 and usually people are about 18, so the girls in the corps looked after me really well. When they found out that I got promoted they were so happy and one of them, Julie Lack, who has a great sense of humour, wrote in lipstick on my dressing room mirror, ‘Congratulations. We are so lucky you’re finally out of the corps de ballet because you can’t keep in line.’

And I thought I was joking!

[laughing] It was brilliant: ‘Congratulations, we’re really happy that you’re out of here!’

Technique and preparation

I hear people say that you have an ‘easy technique’, yet everyone knows that technique is never easy. How much have you worked to make it seem easy?

My teachers gave me a good base, working hard on me to make it clean and strong, but they did it in a positive way… they never pulled a trigger on me, and they gave me a sense of freedom and ease. Now, I constantly work on my technique. I feel that to be completely free on stage and live the story and have fun and project that to the audience, you mustn’t think about the steps. The audience can tell when you lie, or if you’re insecure: ‘Oh my God, is she all right? Is she going to make it?’

I really work hard on that because, especially now, at this point in my career, I can use it to really let go. It doesn’t mean that I go crazy on stage and do whatever I want because I really like to keep my technique neat and in the style of the ballet. Just because I can do certain things doesn’t mean that I need to them in every ballet. I know what I want to do and what each ballet requires, and I think to do that you need to keep your technique in top form.

Genesia [Rosato, principal character artist with The Royal Ballet for over a decade] once told me that as the Queen in The Sleeping Beauty, sitting on the throne before Aurora’s entrance, she sees the ballerina in the wings. She said you were the only one who looked excited, as though you could wait to get on stage.

Well, I do get really nervous and the older I get, the earlier the nerves start… probably three or four days before a performance. I get more nervous now, but at the same time, seriously, I really want to go on that stage and do it. It’s so weird, and I can’t explain it, but there are other nerves that say, oh my God, let me get out there. But if you put The Sleeping Beauty music on now, I’ll really feel like I want to be there. It’s unbelievable. So, I do get nervous, but at the same time, my body wants to do it. I get most nervous before Swan Lake. With Swan Lake, it’s the whole four weeks of rehearsal that I’m nervous thinking, oh my God I have the performance, I have the performance! But then you hear the music [she sings], and you see the Prince, and I feel as though my heart is going to break. It’s the best feeling in the world.

You positively use that emotion and don’t let it destroy your performance. Others could crumble under the stress of that responsibility.

Yeah, It could definitely go the other way! But I was born loving pressure and pressure makes me kind of push more and get in the zone. It just drives me. I’m not going to lie: now that I’m older, there are moments where I have to tell myself, come on Nela, you’ve worked hard, you’ve done this before, you’ve rehearsed. So yes, the nerves are very strong but so is the passion and that counterbalance is fantastic.

Marianela Nuñez as Kitri and Carlos Acosta as Basilio in Don Quixote © ROH Johan Persson 2013

Carlos Acosta as Basilio and Marianela Nuñez as Kitri in Don Quixote © ROH Johan Persson 2013

Your career has been relatively injury-free.

Well, in 22 years I’ve never missed a season. I did have a couple of minor things. I pulled the TFL muscle, which stabilises the hip, so it’s kind of an important muscle and its super painful. The first time I did it, I didn’t stop. Like all dancers, I never want to miss anything and we were doing amazing ballets like Ballo della Regina, which I’d never danced before, and we were getting ready for The Prince of the Pagodas. I thought that there was no way I was going to miss that, and I carried on. Then six months later, I did it again.

The second time, I had only three weeks until my debut in Onegin. I had waited all my life to dance in that ballet and I was like, OK I’ll do it with one leg, I don’t care. But I seriously couldn’t walk because the pain was so strong and so I was crawling. It was before Christmas, so I said, OK, I can rest over the Christmas break and then come back, I don’t care what it costs, I’ll do it. I did, and so I didn’t miss that debut. Phew! I also had something in my foot early on, and I needed to have a little injection. It’s probably the only injection that I have had in my whole career. I’ve had nothing major for a long time, so I’m lucky.

And your feet? Those pointe shoes can be cruel.

Look at them [she holds up her feet to the camera]

Ballet feet!

They are taped because I was doing pointe work just now – but you know, I never had a problem in my metatarsal, and I do a lot of jumping… a lot! I don’t have bunions either, which is unbelievable for the amount of work I do. My toes are the only thing that probably are not great because they have a shape from being so much on pointe. So my feet are all right – they’re not pretty, but they’re all right.

They’re healthy.

They’re healthy. They’re not pretty but they’re healthy.

When you’re not in lockdown, what other things do you do to keep your body healthy?

We are super lucky at the Opera House because we have an amazing team of physiotherapists and it’s like a clinic on the fourth floor. We’re constantly looked after, so I make sure I have treatment all the time. I get massages during the weekends. I look after my body at all times, and the first thing when I go guesting is to find a masseur – I’m very conscious about that. Exercises and recovery treatment are essential.

When do you do a massage – immediately after a show?

It’s changed over the years. When I was younger, I would have a massage before the show. People were like, are you mad? [laughs] I’ve got such a strong body that I sometimes feel better when I feel more relaxed. I don’t like soft massages but really strong ones. Now, I will probably do it the day following a performance, just to recover.

Dances at a Gathering. Marianela Nunez and Alexander Campbell. ©ROH, 2020. Photographed by Bill Cooper.

You’ve said in other interviews that you are very neat and ordered in your house and your dressing room. Is there any connection between that need and feeling secure with your technique? Everything always is in order.

The control freak in me. Definitely. Yeah. There has to be a connection for sure. I don’t function without order. I say to Alejandro, look I need things neat around me because otherwise, seriously, I freeze, I can’t cope.

If you see my ballet bag, it is freaky. It’s like perfection. Otherwise, I feel sloppy. And it’s the same with my dressing room and the same with my wardrobe at home. It’s the same with my little bag that I take on to the stage. I’ve told this story before, but when we were doing Dances at a Gathering, not this time but around 2009, I took my leg warmers off and folded them neatly, as I always do, to put in my bag. Most dancers will chuck them into their bags, but I always take my time. We were about to do the pas deux and Fede [Federico Bonelli] shouts, ‘Nela!’ and I turn around and see him scrunching up my leg warmers. I gasped and really wanted to go and refold them, but I’d have missed my entrance. Oh my God, what do I do? It was like Sophie’s Choice. Of course, I went on stage, but I think there’s definitely some connection there.

Thomas Whitehead and Marianela Nunez in The Sleeping Beauty photo by Andrej Uspenski ROH

Show time

On a performance day, how do you gear your body up to go onstage? I imagine that you do a company class before the performance, but what about The Sleeping Beauty or a gala when you are offstage for a long while, and then you have to come on and fire off some technical pyrotechnics?

In our company we don’t do a company class before the show because usually we’re working until 5.30pm, so everybody does their own warmup. But if I’m doing Aurora in the evening, I won’t be rehearsing during the day.

What I do is that I come to the theatre in the morning and do my Pilates class and then ballet class with the company, but I take the rest of the day off, when I usually sew my shoes and so on. I start getting ready in the theatre about three and a half hours before the show – I take my time. Then I calculate for the role. For Aurora, I would probably be warming up just a little before curtain up, and then during the whole prologue. Then I like to put my tutu on for the interval and go on stage. I try things out with the cavaliers, I feel the stage, and then I go into the wings. I don’t exhaust myself. I keep warm, and I need to feel calm. Some dancers make themselves almost late so they don’t have to think about going on, but I’m the opposite. I need to just kind of drop, you know, just to be calm. If it’s a gala or something – and when I dance I’m often on last because its Don Q or Swan Lake or something – and maybe it’s cold in the theatre, then you have to be clever with layers and leg warmers and so on.

Marianela Nuñez and Vladislav Lantratov in The Sleeping Beauty, Rome Opera Ballet © Yasuko Kageyama

Of course, when guesting abroad, you might find yourself on a stage with a rake – I remember your performances with the Rome Opera Ballet where the rake is steep.

I used to freak out with rakes. In fact, the first few times I went to La Scala, I felt like I couldn’t dance. I think it was back in 2006 and then again in 2009. I couldn’t find my balance, no way, but it’s amazing what experience brings. I still worry about rakes because I’m not used to them, but now I get nervous, but I can do it.

What does guesting give you – apart from some extra income?

Many things. Obviously, you see different people doing ballet in different ways, with different styles, so it kind of opens your mind and enriches you.

I love waiting and watching. Especially dancing with Vadim [Muntagirov] we’re usually at the end with the classical pas de deux, and sometimes those galas can be long. So I like to watch all these dancers up close, dancers that I don’t get to see often, or only online, so it is super inspiring. Usually, the audience for galas are so excited and you can see the bubbles, like champagne, it’s fantastic… fantastic.

And the pressure dancing alongside other top dancers and having to show your worth?

Galas are like parties where you see all these dancers together and it’s amazing to see, but of course you do feel the pressure because, as you say, you have the best of the best around you. You just have to show your game, though after doing it for so many years you kind of know-how to beat that pressure.

Galas are actually really difficult thing to do because usually you arrive either the day of the performance or the evening before. You’ve probably done a full-length ballet the night before, you need to adjust to a new theatre because the floors can be hard or the lighting can be strange, so it’s certainly a challenge, but it actually makes you grow as an artist because you are out of your comfort zone and you have to make it work.

Marianela Nuñez as Tatiana and Ryoichi Hirano as Prince Gremin in Onegin, The Royal Ballet © ROH Bill Cooper, 2013

Roles, casting and interpretation

Do you ever feel taken over by a character and so immersed in the story that you are able to get lost in the moment, even while following the choreography?

I think lately I’ve gotten to a stage where I can do that quite often. Of course, there are performances where it’s more but always in the second act of Giselle you can totally forget about the world. Like suddenly you’re there. Definitely in Onegin.

In the last performances I did of Swan Lake before lockdown, well wow, I wish those performances had been recorded. It was unbelievable. And not just because of how I felt or how Vadim felt but also the company and the audience. I never thought it would be possible to experience that with a ballet like Swan Lake, which I love very much, but I get so nervous about. Seriously, I could close my eyes and almost forget about myself. It was like when we did the recording of Bayadère when we worked with Natalia [Makarova] and suddenly I felt as though I’d left Nela behind and I was on another planet. I think the older I get, the more I have those experiences, and they are super strong.

I think the audience senses when that’s happening.

In those performances of Swan Lake before lockdown, I could feel that the audience was in the same bubble as we were… there was something in the air. You’re right – the audience can sense that for sure.

Have you ever had roles given to you that you felt that you’d rather wait for, and also the opposite, that you were desperate to do a part and it wasn’t offered to you?

The opposite! All the time! Now, the mature me can say that it was right to wait for certain roles, but most of the time I’ve had to wait. I did my first Onegin when I was over 30, and also Manon. For Giselle, I was 27 or 28. So I have had to wait, but I’m now so grateful for that because I think you can do them when you’re young, but the understanding you have when you’re more mature is something else. It’s another game.

I recently did Marguerite and Armand and A Month in the Country for the first time, but it was the perfect way to do it because when you get the chance, you’re so hungry that you want to do your absolute best… ah, finally! Also, you understand things in a different way and you can prepare in a different way, and absorb the information you are given in a different way. I think that that waiting for roles, and for a lot of things in my career, as I said at the beginning of our conversation, comes from the fact that I was looked after properly as an artist. It’s a journey. I think I’ve matured in the right way and, after 23 years of career, I hope I’ll still have chances to learn and to improve. And I want to do it. I don’t think, OK, I’m done. No, I’m still like, oh my God, I have so much to improve on, so much to learn.

Marianela Nuñez as Giselle in Giselle, The Royal Ballet. ©ROH 2018. Photographed by Helen Maybanks

You revisited the role of Myrtha after many years. That seemed such a wonderful thing for you to do as it’s such a difficult role physically, but also so difficult to judge emotionally: she’s got to be strong, but she can’t be spiteful. She’s not the wicked stepmother, and I’ve seen dancers get it totally wrong.

When I did it for the first time, it was filmed – it’s the one with Alina [Cojucaru] as Giselle and I’m the queen, and I was probably only 22 at the time. I had the most amazing time with Monica [Mason] in the studio. She can coach that role like no one else. Someone should film her and put it in the archives because what you can learn from her is incredible.

We worked, and we worked, and we worked. She has such an amazing way of coaching that it stays with you. It really does. Obviously, I moved on to doing Giselle, and I did that for many years, but then the last time we were doing it, I said to Kevin, ‘Listen, I would love to go back to that.’ You know Graham, as you were saying, it’s such a demanding role, technically and artistically, but I felt that as I now have a little bit more knowledge and a little bit more experience, I wanted to go back and see what I could do.

It’s was a challenge because it’s probably harder than doing Giselle [she laughs]. Monica came to coach me again, and I remembered every correction that she had given me years before because it had made sense. It had such a big impact on me. You know, next time we do it, I definitely want to do it again because I think it keeps you intellectually alert and helps you artistically in many ways. As you said, it’s a very difficult role to get just right, and you’re the character that sets the scene: the first act has been very earthy and human with all this emotion going on, and then suddenly you go to a different world, and you see this person crossing the stage in a pas de bourrée. Monica said that crossing that stage you really have to set the mood, and you have to make the audience believe in the world we’ve gone into. It’s a huge responsibility.

Marianela Nuñez as Lise, Carlos Acosta as Colas and artists of The Royal Ballet in La Fille mal gardée, The Royal Ballet © ROH Tristram Kenton, 2012

Marianela Nuñez as Lise and artists of The Royal Ballet in La Fille mal gardée, The Royal Ballet © ROH Tristram Kenton, 2012

Marianela Nuñez as Lise, Carlos Acosta as Colas and artists of The Royal Ballet in La Fille mal gardée, The Royal Ballet © ROH Tristram Kenton, 2012

You danced with Alejandro for his farewell performance in Argentina in a role which I think is perfect for you: Ronald Hynd’s The Merry Widow. Those demi-caractère roles seem aligned with your offstage personality.

That is kind of where my career started. I always feel La fille’s Lise put me on the map. The soubrette roles, even Kitri, are very fiery, and they come naturally to me, so that’s why, at the beginning of my career, I was doing those kinds of roles. The Merry Widow was recent, but with Coppélia and Lise, I was worried that I was going to get stuck… get pigeonholed. I love them, but I knew I could do all the ballerina roles. I knew I had a dramatic side in me.

I don’t want to sound big-headed and arrogant, but one of the things that I really treasure and work hard on is having a full range. Not just for the sake of it, but because I really feel comfortable in all those different roles. I feel equally comfortable doing Lise as I do playing Tatiana, Swanhilda and Odette/Odile, Giselle then doing something abstract like Balanchine. I feel the same joy doing them all. I feel comfortable. I don’t feel fake going from one extreme to the other.

These two extremes come together in La Sylphide, yet you’ve never played her, or indeed danced in that other sylph-themed ballet, Les Sylphides.

I was never cast. It’s funny because a lot of people go, ‘Oh my God, with all the jumping and being so joyful, it’s so you.’ But no, I was never cast.

And you are good at acting naughty…

Oh yes, she’s so naughty – unbelievable! I would love to do that part but, like anything really, it would have to be properly rehearsed. I think there is so much of the style to get absolutely right. To learn how to do those movements correctly. And Les Sylphides? Definitely!

You know I love Makarova very much, and there’s a video of Les Sylphides with her and [Yuri] Soloviev [she sings and moves her arms]. Oh my God, I keep looking at it, and I go, how is it possible to dance like that? It looks effortless. It’s phenomenal what they can do, a piece of art in capital letters, and though it’s from many years ago, I don’t think anybody can come close. I keep rewinding and going forward. It looks like she’s not real. Incredible. To do a ballet like that, you need a lot of rehearsal… rehearse, rehearse, rehearse.

Like Giselle, they’re the ballets that are meaningless if there isn’t an understanding of the style.

You might get close to the style, but that’s not enough. You see Carla [Fracci] in Giselle, act two, and with some of the steps she does you think, are you human or what? It’s like she’s floating. And look at those eyes of hers and how they focus into another world. It’s faultless. You need to study these roles for hours and hours and hours.

Marianela Nunez as Hermione and Dancers of The Royal Ballet in Act I of The Winter’s Tale © ROH Johan Persson 2014

Marianela Nuñez and Thiago Soares in After the Rain © ROH 2016. Photo by Bill Cooper

Coaching at The Royal Ballet is treated very seriously, and it must be fantastic working with someone like Leslie Collier, the latest of a long chain of dancers who now creates new links of the chain by working with younger dancers.

It’s made me the ballerina that I am today. Thanks to The Royal Ballet, I’ve worked with the best of the best. You get to work with people who worked directly with Kenneth [MacMillan], with Ashton, with Balanchine and the roles were often created on them. It’s like drinking water from the fountain. It’s important not only for a debut but even for a ballet such as Sleeping Beauty that you’ve done many times to return to the coach. And it’s not just the steps, but they cover all the angles of a performance. It’s never, OK, just do this and do that, and then they leave. No, it’s about the meaning… why we do these steps. At The Royal Ballet, you are cared for from head to toe – how your makeup is, your wigs, the length of your costume, the lighting. You’re continually refining everything to the highest level, and so you feel safe because you’ve been looked after in such a complete way.

It’s the biggest advantage of being in a company, and something you don’t get when guesting.

I’ve built my career thanks to all these people teaching me, looking after me, dancing with me, and being able to see the others dance and share the stage with them. When I do Sleeping Beauty, the King and Queen are not just sitting there watching, but you feel like they are the King and the Queen. You do Swan Lake, and you have a Rothbart who acts the role which is it’s so inspiring. When I do Onegin, the letter for Tatiana is not just a piece of paper, but our wonderful prop department actually writes it. So I’m standing there, and I’m literally in tears already, and then I look at that letter and I’m in pieces. The audience won’t see that writing, but for the artists, it’s amazing. They’re doing their job at the highest level. It really is an unbelievable place.

Serenade with Marianela Nuñez © ROH, Tristram Kenton, 2014

Being Nela

After the performance, you’re very generous with giving autographs and chatting to people at the stage door, but there must be times when you’d rather just go and eat, or get home and put your feet up.

I genuinely love it, and I’m telling you the absolute truth. I’m dancing for them, you know, so it’s like give and take. I’m grateful for the fact that they have come to see a performance and given me their support. People go to the theatre also to forget about the world and their problems and to connect with art, which is so necessary for all of us. At the end, to have that interaction is unbelievable, not only for them but for me too. They’re sharing my passion and that’s why I genuinely love connecting with my audience.

That’s why I love social media too because I generally love to interact with ballet fans. Also to show them my gratitude for everything that they give me. I love to have that contact and if I’m tired it actually gives me energy back.

Do you know when it’s hard? It’s when I feel that I didn’t perform well, and I’m a little bit upset. It’s almost like I feel guilty. I kind of want to go, I’m so sorry, I feel bad, you paid for the ticket, and I didn’t deliver what I wanted to deliver for you. But generally, I love it and I’m so grateful to them.

Although you’re a dancer who adores everything about dance, what do you like doing when you’re not sewing shoes or doing Pilates?

As you know, I’m a city girl, and I love London, so when I’m not dancing, I make the most of that city and oh boy, there’s a lot to do in London. Even when I don’t have a specific thing to do, I enjoy sitting in cafes and walking around the city.

A lot of Sundays, which is my only day off, I go to Columbia Road Flower Market or the garden centre. I don’t have a garden myself, but I have window boxes, and I love buying plants and playing around with flowers. I love flowers a lot. I’m lucky that I get a lot of flowers after performances, but I just sometimes go to Colombia Market to see the different kinds of flowers and talk to people to learn about flowers. Hopefully, one day I will have my own garden so that I can really get into it properly.

For me, a lot about London is seeing performances and we also have The National Gallery just next to the theatre and that’s a place that I go to often. But for much of my spare time, I’m not going to lie, I often just want to stay home. I travel a lot, so when I’m home I enjoy having a hot bath, candles everywhere, cashmere socks, good pyjamas… just being at home, chilling out. Enjoying home is great. There will be time to do more things when I’m 80.

At 80, when you retire.

[laughing] Yes!

Marianela Nuñez as Tatiana, ©ROH, Bill Cooper, 2013

Everybody loves Nela. Is there a nasty Nela hidden away somewhere?

Oh, I can get in a bad mood. Probably my parents get to see that. Maybe not nasty, but I get frustrated, mostly with myself if things don’t go as I’d like or if things aren’t done as I want. I’m a perfectionist, like every dancer, but I’m good at keeping irritations to myself. The words can flow if a rehearsal is not going well, so my coach will see that, but it’s frustration mostly with myself. I wouldn’t be nasty.

You seem extremely happy having Alejandro in your life. What does he give you? He must be special as logistically it can’t be easy, living in different continents.

Ale is older than me, and we have totally different personalities. His feet are firmly on the ground. I think he has helped me mature as a woman, but also artistically. He often has a different view of things, and that has opened my mind to see things in a totally different way. He’s wise, and I’m not saying that because he’s my boyfriend. He’s a deeply grounded person and that has helped me a lot, I think people who know me have seen a change in the last five years.

But he’s also fun.

Crazy fun! Unbelievably fun. And very spontaneous. We laugh a lot. He lets me relax.

[Whispering] Is he tidy?

[Shrieking with laughter] No, he’s not!

I knew it!

I think he’s helped me with that because I’m so the opposite and we compliment each other. We balance each other, but he’s learning too: you know the Japanese lady on TV who teaches how to tidy up things? In lockdown, that’s what I’ve been doing in his flat!

Marianela Nunez by Rick Guest

In conversation with Marianela Nuñez The Royal Ballet’s Argentinian principal dancer, Marianela Nuñez, is in lockdown in Buenos Aires. She went there to be near her family and partner, because now home, for Nela, is London, which also happens to be home to her beloved company at The Royal Opera House.

#Anthony Dowell #Federico Bonelli #La Scala #Marianela Nuñez #Rick Guest #Rome Opera Ballet #Royal Ballet School #Vadim Muntagirov #Vladislav Lantratov #Wayne Eagling

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lauramalchowblog · 5 years

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Dear Mark: Psyllium, Hex Bar Deadlifts, Getting Strong vs Getting Big, Isometrics

For today’s edition of Dear Mark, I’m answering four questions.

First, is psyllium husk insoluble or soluble fiber? Second, how do I structure my hex bar deadlift workouts? I give a couple options. Third, what kind of training (and eating) should a person do who doesn’t want to gain much muscle or “get big”—just strong? And fourth, what do I think about isometric strength training?

Let’s go:

Insoluble fiber may be linked to increased colorectal cancer mortality.

Question: is psyllium husk the insoluble fiber they are referring to in this study that was associated with increased colon cancer? I’ve read it several times and I’m confused.

Some prebiotics are included in my probiotics like MOS and inulin. I think these are soluble. Am I right? I’m confused

I wasn’t able to pull the full study, so I don’t have a complete breakdown of what prebiotic supplements these women were specifically taking. They do mention that 3.7% of the women used a prebiotic made primarily of psyllium, which is an odd aside. What about the rest of them?

At any rate, psyllium is mostly soluble fiber—about 70% soluble, 30% insoluble. MOS and inulin are also both soluble fibers.

What is the set/ rep recommendation for the Hex Bar DL? Also how many times a week are you doing this? I am a coach/teacher and love the minimalist type of exercise you provide. Awesome stuff

It really varies.

Somedays I’ll do rest-pause supersets on the hex bar:

Lift it as many times as I can comfortably (I’ll push hard but stop well short of failure).

Rest 30 seconds.

Lift it as many times as I can comfortably (this will be fewer reps than the previous set).

Rest 30 seconds.

Lift it as many times as I can comfortably (even fewer).

Drop the weight by 10-15%, then do max reps.

Once you start hitting 25 total reps for the first three rest-pause sets, you can increase the weight. The beauty of this method is that it’s very intense without you needing to throw on a ton of extra weight—great for older folks who don’t want to mess with extremely heavy weights. Compressing the sets gives you less rest and gives it an anaerobic component; you’ll be breathing hard when it’s over. And it’s over quick. No more pacing around the gym between heavy deadlift or squat sets. No more working up the courage to lift the weight. You just do it, set a 30 second timer, and do it again (and again).

The rest pause method is when I want to be in and out real quick.

Another way is to just have it loaded up and ready to go around my house. I’ll grab a quick little set every time I walk by. Out the door to walk the dog? Do a set. Making coffee in the next room over? Do a set. Taking a break from writing? Do a set. By the end of the day, I’ll have accumulated 4-6 sets of solid hex bar deadlifts. This is the exercise snack or microworkout method.

Both of these methods work great with any exercise.

This video left me thinking about muscle strength vs muscle growth a little bit. In my mind, my ideal body composition would be lean, relatively small, and freakishly strong. I’m wondering, Mark, if there are ways to train what you have to be stronger without making gains in terms of mass?

In a very general sense, lower reps and higher weight will get you stronger without adding as much hypertrophy.

Doing compound movements that recruit multiple joints and muscles at once will get you strong without necessarily “bulking” you up. Doing isolation movements will also get you strong, but they’ll also build specific muscles. It makes sense why:

When you do a compound movement, the weight is “spread” across all the joints and junctions and tissues that perform it. So the system as a whole gets stronger—gets better at moving the weight—but the individual components don’t “blow up.” They grow, but in a cohesive, integrated manner with the rest of the body.

That’s why most bodybuilders don’t rely on squats and deadlifts and pullups. They do those movements because they’re important for their physiques and their strength, but they’re generally not enough to get huge. To get really “bulky,” you’ll probably need isolation movements.

But remember that larger muscles are also stronger muscles, all else being equal. Getting bigger will allow you to get stronger. You’ll have a bigger “strength ceiling.”

Oh, I almost forgot. Your food (and calorie) intake might be the major determining factor in how much muscle you gain in response to training. If you fail to consume more calories than you expend, you won’t gain much muscle. You’ll definitely retain it, though. If that’s what you’re going for, you can try eating less food and protein. Or at least don’t eat more than you burn (this is inexact, I know; a ballpark works).

Have you tried isometrics? I am getting great results with them, in a very short time frame.

I haven’t tried them much myself, but we had a guest post a few years back all about isometrics.

For those who don’t know, an isometric contraction is when the muscle contracts without lengthening or shortening. Concentric contractions contract the muscle as it shortens (lifting a weight). Eccentric contractions contract the muscle as it lengthens (lowering a weight). Isometric training purports to strengthen the muscle by using isometric contractions.

A few examples:

Pushing against an immovable object, like the wall.

Holding yourself in a difficult position, like a wall squat.

Trying to lift an object that’s too heavy to lift, like a barbell.

Hanging from a bar with flexed arms and just holding the position.

Standing in a doorway with your back against the frame, pressing hard against the opposite frame with one arm.

Trying to lift your car.

Sitting in a chair and pulling up on the seat as hard as you can.

You get the idea.

It clearly works at some level.

Isometric training lowers high blood pressure, for example.

It can also help people learn to activate their muscles, simply by forcing you to focus entirely on the feeling of the muscle.

It goes to show that there’s always a way to train. Always.

That’s it for today, folks. Thanks for reading, take care, and have a great week.

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thedivinefish · 5 years

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TGIWednesday and breaking news about switches!

TGIWednesday News

No not snitches, or stitches, but SWITCHES! Ground-breaking news! We've stumbled onto some new level of My Liquid Fish® technology and I want you all to read closely here, it's simple and profound and it's going to take more than one viewing of the video below to get it. For decades I have been saying, “my bad luck switch is turned off" or "my good luck switch is turned on” and obviously we need to fish one way or the other if they aren’t on track. Now scientists are talking about a device called a "quantum switch" which defies the concepts of ‘before’ and ‘after’. The apparatus works by putting particles of light through a series of two operations FIRST OR LAST. Scientists have given a sequence of events the quantum treatment. Two events, A and B, occur in both orders simultaneously: A before B, and B before A. The switch can be in BOTH On and Off states. If we can defy before and after, I believe that with MLF we can change/influence a negative into a positive state as quickly as an issue came on. Now if you’re scratching your head on that one... don’t, because we’ve simplified it even more. Think of a light switch on a wall that uses electricity to turn the light On (A) or Off (B). With your pendulum or standing sway test, you get your energetic Yes or No in response to a statement you make and then you fish In (bring more energy into) or fish Out (remove the unwanted energy) toward the positive change you desire. With My Liquid Fish® Change made simple® we’re now saying look at everything as if it were a switch ie: Body, mind, spirit, money, relationships, health, emotions... Like using the "quantum switch", if both outcomes can exist at the same time on the quantum level, we can "change the switch" and influence/improve the positive outcome of a situation by fishing. Play with it, like I have been for a while now, but expand your concept of it and go BIG and test and fish for... "my weight gain switch is off" and "my fat burning switch is on", turn off your procrastination switch and turn on your productivity switch, turn off your anxiety switch and turn on your peace and calm switch ... (you get the idea). Have fun with it, don’t judge or poke it to death, just play and let me know what happens for you. Think more in terms of simplicity and that bad stuff can change into good stuff pretty darn fast. If you need a refresher on fishing Download the My Liquid Fish® Starter Kit.

TGIWednesday Download

~ TURNING ON YOUR SWITCHES ~ (Press play to watch and listen as I fish this for you)

I will now know on all cells of this body, via past, present and future in every area of my life, God’s definition of the worst of all of my most negative switches are turned off now. The best of all my most positive switches are now turned on now. I believe, think, know and feel that all of my positive switches are now turned on. I am ready, willing and able to move forward with progress in the on position. I know, when, where, how and why to co-create momentum in my life with grace and ease. I now know how to, where to and when to, that it is safe and comfortable in all fields. Through grace and ease in the highest and best positive way, I am asking in all languages and throughout all time lines and so it is.

From the Fish Box

"Just wanted to say thank you for all that you and your team do! I love All of your videos! Inspirational! Them are keeping me in the positive Outlook for a job!! Even a online job! Many blessings!" - Robert

FREE Weekly LIVE Healings and Messages

OCTOBER 24th at 1pm EDT - JAZZ UP YOUR LIFE WITH JUDY Join me as I am interviewed by Judy Anderson, host of Jazz Up Your Life with Judy - October 24, 2019 at 1 pm EST/10 am PST. Sign up now to receive your FREE Transformation Kit and access to the shows. Register here for this Free Series EVERY TUESDAY at 9pm EDT - JIMMY MACK HEALING SHOW Join me and my guests weekly on Tuesdays at 9pm ET/ 6pm PT Call in LIVE (713)-955-0594 It's your chance to get FREE intuitive messages on my weekly radio show. My guests are some of the best psychic readers & intuitive healers on the planet! Tune in every Tuesday night LIVE or just catch the replay & YOU will receive changes & healings just by listening!

Visit the TheJimmyMackHealingShow.com for a full archived listing & all replays!

To listen LIVE, click the date links below:

Listen to Yesterday's Replay with Mark Hernandez Mark Hernandez is a Holistic Practitioner as well as a certified Body Code and Emotion Code Practitioner (Dr. Bradley Nelson). Mark has intuitive gifts and extensive training in reading subtle energy fields of people and animals, and identifying/releasing energies that can lock into place in our bodies. www.peopleandpetsenergetics.com

October 22 – Sandra Sullivan A gifted Psychic and Tarot Card Reader - http://www.crystalvisionsbooks.com/sandra-sullivan-2/

October 29th – Rev Debbie Dienstbier Our resident Trans Medium communicating with your loved ones in spirit.

Live In-Person Appearances

MONDAY NOV. 4th SWANN HOLISTIC HEALTH CENTER TAMPA I'll be doing in-person sessions on Monday November 4th from 10am-4pm at Dr. Charla Tempone’s new office in Tampa. 15 min/$38 and 30min/$68 sessions. **NEW ADDRESS** Swann Holistic Health Center Suite 200 1000 West Kennedy Blvd Tampa Florida 33606 Please call them directly to get on my schedule (813)-873-7773 EVERY FRIDAY at KODAWARI YOGA STUDIOS TAMPA

Tampa folks come see me on FRIDAYs - I'm scheduling 15 and 30 minute appointments at Kodawari Yoga Studios from 10am-2pm. Call Kodawari's front desk directly to schedule (813) 773-4017 and pay at the concierge desk... 15 minutes 33$ or 30 minutes 65$. 3965 Henderson Blvd Suite C Tampa (813) 773-4017 http://www.kodawariyoga.com/ Book on Friday October 18th October 25th November 1st November 8th November 15th November 22nd

Go deep sea "fishing" with Jimmy!

Level 1 is open to ANYONE at anytime! All Mastery Students: Check your email & Login to view all the newly upgraded content including new books and audios!

"Jimmy's My Liquid Fish Change Made Simple program is AMAZING!!! He gives you not only videos so you can see the changes within people, but also the books he's written as well! On top of that he's provided all the links and visuals you need so ANY type of learner can do it!! I appreciated having it to download in a PDF so I can go back to it any time, plus the books and ACTUAL healing sessions so you see, know and understand the whole process even better!!Highly recommend to ANYONE looking to change and make not only their life... but everyone's around them better as well!!" - E.J. / Florida "I have jumped in with both feet with your course. Just organizing them and downloading. I am very excited about this. Beyond words Thank You Jimmy." - Scotty M. / Colorado

LEARN MORE HERE

Receive 24/7 Daily Prayers From Jimmy

I will dial into you daily in the wee hours and make certain that you are a CLEAR YES, UNCLEAR to NO and RUNNING FORWARD before you start your day. You will send me a list of the members of your immediate household, and yes even pets, and I will add them to my daily prayers. I will arise daily before you are even awake to start my prayers and also run my intelligent computer software 24/7 deleting the negative and increasing the strength of the positive creating a higher probability of outcomes for you and the family. Each comes with a one-time email analysis print out via the intelligent healing software that I use on your behalf. Most clients have had amazing results and outcomes and I get emails of thanks each and every week!

Choose 7 days @$33 Choose 14 days @$66 Choose 30 days @$99

**Can't See The Full Email? Click Here to View Online**

Fish Food

The Daily Bread To Feed The Fish

Tell The Fish: 365 Daily Inspirations & Affirmations

OCTOBER 16th "Today I will give my all in the face of adversity. When there seems to be mo hope I will have faith. In the faith of danger I will gather up courage. In the face of adversity, I will be given knowledge and tactics. In the face of stress, I will receive the peace that surpasses all understanding."

For those who aren't familiar, here's the list of the MyBeliefWorks™ audio library. Find a topic that addresses your issue(s), click on the link to read more. We had a lot of help downloading & channeling these over the years & they keep getting better.

Abundance Abuse Addiction Body Scan: Head to Toe Daily GPS Reset Dark Energies/Fears Decision Making Diet & Exercise Education & Learning Family & Relatives The Gold Coin Healing Physical Body Healing Mental Stress Holiday Stress

Increasing Intuition IRS & Tax Time Love & Romance Money Mindset Moving Forward Pain Relief Pet Healing Sales & Success Sex Sleep Traveling w/Ease Work & Career Weight Loss Youth & Vitality

TGIFunny

Forward

Jimmy Mack 727.678.0557 EST | Appointments Skype: Jimmy.Mack55 Clearwater Florida USA Book a 15 minute session Book a 30 minute session Book a 60 minute session Transformational Healing of Body, Mind & Spirit, People, Places, Pets & Situations! Download the My Liquid Fish® Starter Kit (*Updated May 2019) Audio MP3 Downloads and books to improve your life! Get Certified in My Liquid Fish® Change Made Simple® Watch Free Videos on YouTube Weekly Radio Show Archives Shop for Supplements http://www.jimmymackhealingshop.com www.jimmymackhealing.com Copyright ©1998-2019 All Rights Reserved

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divinefishingtips · 5 years

Text

TGIWednesday and breaking news about switches!

TGIWednesday News

TGIWednesday Download

~ TURNING ON YOUR SWITCHES ~ (Press play to watch and listen as I fish this for you)

From the Fish Box

FREE Weekly LIVE Healings and Messages

Visit the TheJimmyMackHealingShow.com for a full archived listing & all replays!

To listen LIVE, click the date links below:

October 22 – Sandra Sullivan A gifted Psychic and Tarot Card Reader - http://www.crystalvisionsbooks.com/sandra-sullivan-2/

October 29th – Rev Debbie Dienstbier Our resident Trans Medium communicating with your loved ones in spirit.

Live In-Person Appearances

Go deep sea "fishing" with Jimmy!

Level 1 is open to ANYONE at anytime! All Mastery Students: Check your email & Login to view all the newly upgraded content including new books and audios!

LEARN MORE HERE

Receive 24/7 Daily Prayers From Jimmy

Choose 7 days @$33 Choose 14 days @$66 Choose 30 days @$99

**Can't See The Full Email? Click Here to View Online**

Fish Food

The Daily Bread To Feed The Fish

Tell The Fish: 365 Daily Inspirations & Affirmations

Increasing Intuition IRS & Tax Time Love & Romance Money Mindset Moving Forward Pain Relief Pet Healing Sales & Success Sex Sleep Traveling w/Ease Work & Career Weight Loss Youth & Vitality

TGIFunny

Forward

-------------------------------------------------- TGIW newsletter managed by: Sandy Bidinger Digital Marketing Specialist at SMBeConnected Solutions www.smbeconnected.com

Stay connected!

Our mailing address is: Clearwater Florida 33756 USA

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365dailyaffirmations · 5 years

Text

TGIWednesday and breaking news about switches!

TGIWednesday News

TGIWednesday Download

~ TURNING ON YOUR SWITCHES ~ (Press play to watch and listen as I fish this for you)

From the Fish Box

FREE Weekly LIVE Healings and Messages

Visit the TheJimmyMackHealingShow.com for a full archived listing & all replays!

To listen LIVE, click the date links below:

October 22 – Sandra Sullivan A gifted Psychic and Tarot Card Reader - http://www.crystalvisionsbooks.com/sandra-sullivan-2/

October 29th – Rev Debbie Dienstbier Our resident Trans Medium communicating with your loved ones in spirit.

Live In-Person Appearances

Go deep sea "fishing" with Jimmy!

Level 1 is open to ANYONE at anytime! All Mastery Students: Check your email & Login to view all the newly upgraded content including new books and audios!

LEARN MORE HERE

Receive 24/7 Daily Prayers From Jimmy

Choose 7 days @$33 Choose 14 days @$66 Choose 30 days @$99

**Can't See The Full Email? Click Here to View Online**

Fish Food

The Daily Bread To Feed The Fish

Tell The Fish: 365 Daily Inspirations & Affirmations

Increasing Intuition IRS & Tax Time Love & Romance Money Mindset Moving Forward Pain Relief Pet Healing Sales & Success Sex Sleep Traveling w/Ease Work & Career Weight Loss Youth & Vitality

TGIFunny

Forward

-------------------------------------------------- TGIW newsletter managed by: Sandy Bidinger Digital Marketing Specialist at SMBeConnected Solutions www.smbeconnected.com

Stay connected!

Our mailing address is: Clearwater Florida 33756 USA

0 notes

advancedthetapractitioner · 5 years

Text

TGIWednesday and breaking news about switches!

TGIWednesday News

TGIWednesday Download

~ TURNING ON YOUR SWITCHES ~ (Press play to watch and listen as I fish this for you)

From the Fish Box

FREE Weekly LIVE Healings and Messages

Visit the TheJimmyMackHealingShow.com for a full archived listing & all replays!

To listen LIVE, click the date links below:

October 22 – Sandra Sullivan A gifted Psychic and Tarot Card Reader - http://www.crystalvisionsbooks.com/sandra-sullivan-2/

October 29th – Rev Debbie Dienstbier Our resident Trans Medium communicating with your loved ones in spirit.

Live In-Person Appearances

Go deep sea "fishing" with Jimmy!

Level 1 is open to ANYONE at anytime! All Mastery Students: Check your email & Login to view all the newly upgraded content including new books and audios!

LEARN MORE HERE

Receive 24/7 Daily Prayers From Jimmy

Choose 7 days @$33 Choose 14 days @$66 Choose 30 days @$99

**Can't See The Full Email? Click Here to View Online**

Fish Food

The Daily Bread To Feed The Fish

Tell The Fish: 365 Daily Inspirations & Affirmations

Increasing Intuition IRS & Tax Time Love & Romance Money Mindset Moving Forward Pain Relief Pet Healing Sales & Success Sex Sleep Traveling w/Ease Work & Career Weight Loss Youth & Vitality

TGIFunny

Forward

-------------------------------------------------- TGIW newsletter managed by: Sandy Bidinger Digital Marketing Specialist at SMBeConnected Solutions www.smbeconnected.com

Stay connected!

Our mailing address is: Clearwater Florida 33756 USA

0 notes