Last one for this gorgeous man. I took my previous video and cut out most of the dialogue to get straight to the point, for anyone who prefers as little dialogue as possible in compilations. (Pretty happy with the cut between snz 2 and 3 though, ngl. That was so smooth)

In the meantime, I also found his name and the ani/me, so I can add more tags.

Enjoy!!!

And for those of y'all who are interested...

Se/i/yu/u: Ka/zu/hi/ko I/no/ue (Ka/ka/shi, Yo/ri/i/chi, etc)

Hii! I know this is a lot, but I'm looking for pronouns (and names!) that have a softcore, cottagecore, angelcore, fairycore, catcore, or spacecore vibe to them! You don't have to do all of these, but it'd really help! Thanks ^^

hey there, i hope you like these! i already did cat & soft related pronouns here, so check those out, but the rest i haven’t done before, so here ya go :) you might also like to look at these! i think they might align w/ the vibe you’re going for

cottage-/angel-/fairy-/spacecore pronouns! (and names)

—cottagecore.

cottage -> cot / tage / (cot)tages / (cot)tages / cottageself OR co / cot / tages / tages / cottageself OR co(t) / cottage / cottages / cottages / cottageself OR co / cott / ages / ages / cottageself OR cottage / cottage / cottages / cottages / cottageself

cottager (“someone who lives in a cottage) -> cotta / ger / (cotta)gers / (cotta)gers / cottagerself OR cot / ta / gers / gers / cottagerself OR co / cotta / gers / gers / cottagerself OR co(t) / cottager / cottagers / cottagers / cottagerself OR cottager / cottager / cottagers / cottagers / cottagerself

garden -> gar / den / (gar)dens / (gar)dens / gardenself OR ga / gar / dens / dens / gardenself OR ga / garden / gardens / gardens / gardenself OR garden / garden / gardens / gardens / gardenself

harvest -> har / vest / (har)vests / (har)vests / harvestself OR ha / har / vests / vests / harvestself OR ha(r) / harvest / harvests / harvests / harvestself OR harvest / harvests / harvests / harvests / harvestself

flower -> flo / wer / (flo)wers / (flo)wers / flowerself OR flow / er / (flow)ers / (flow)ers / flowerself OR flo or lo / flower / flowers / flowers / flowerself OR flower / flower / flowers / flowers / flowerself

cozy -> co / zy / (co)zys / (co)zys / cozyself OR co / cozy / cozys / cozys / cozyself OR cozy / cozy / cozys / cozys / cozyself

village -> vil / lage / (vil)lages / (vil)lages / villageself OR vi / llage / (vi)llages / (vi)llages / villageself OR vi(l) / village / villages / villages / villageself OR village / village / villages / villages / villageself

meadow -> mea / dow / (mea)dows / (mea)dows / meadowself OR me / mead / ows / ows / meadowself OR me(a) / meadow / meadows / meadows / meadowself OR meadow / meadow / meadows / meadows / meadowself

rural -> ru / ral / (ru)rals / (ru)rals / ruralself OR ru / rural / rurals / rurals / ruralself OR rural / rural / rurals / rurals / ruralself

farm -> fa / farm / farms / farms / farmself OR farm / farm / farms / farms / farmself

—angelcore. (i based these off christian interpretations)

angel -> an / gel / (an)gels / (an)gels / angelself OR a(n) / angel / angels / angels / angelself OR angel / angel / angels / angels / angelself

seraph (“an angel of the first order”) -> ser / aph / (ser)aphs / (ser)aphs / seraphself OR se / ser / aphs / aphs / seraphself OR se(r) / seraph / seraphs / seraphs / seraphself OR seraph / seraph / seraphs / seraphs / seraphself

cherub (“an angel of the second order whose gift is knowledge; usually portrayed as a winged child”) -> cher / ub / (cher)ubs / (cher)ubs / cherubself OR che(r) / cherub / cherubs / cherubs / cherubself OR cherub / cherub / cherubs / cherubs / cherubself

halo -> ha / lo / (ha)los / (ha)los / haloself OR ha / halo / halos / halos / haloself OR halo / halo / halos / halos / haloself

divine -> div / ine / (div)ines / (div)ines / divineself OR di(v) / divine / divines / divines / divineself OR divine / divine / divines / divines / divineself

holy -> ho / ly / (ho)lyrics s / (ho)lys / holyself OR ho / holy / holys / holys / holyself OR holy / holy / holys / holys / holyself

ethereal -> eth / ere / als / als / etherealself OR eth / ereal / (eth)ereals / (eth)ereals / etherealself OR eth / e / reals / reals / etherealself OR e / eth / es / es / realself OR e(th) / ethereal / ethereals / ethereals / etherealself OR ethereal / ethereal / ethereals / ethereals / etherealself

heaven -> hea / ven / (hea)vens / (hea)vens / heavenself OR he / he(a)v / ens / ens / heavenself OR he(a) / heaven / heavens / heavens / heavenself OR heaven / heaven / heavens / heavens / heavenself

—fairycore.

fairy -> fa(i) / ry / (fai)rys / (fai)rys / fairyself OR fa(i) / fairy / fairys / fairys / fairyself OR fairy / fairy / fairys / fairys / fairyself

sprite (“a small being, human in form, playful and having magical powers”) -> spri or ri / sprite / sprites / sprites / spriteself OR sprite / sprite / sprites / sprites / spriteself

pixie -> pix / ie / (pix)ies / (pix)ies / pixieself OR pi / pix / ies / ies / pixieself OR pi / pixie / pixies / pixies / pixieself OR pixie / pixie / pixies / pixies / pixieself

folklore -> folk / lore / (folk)lores / (folk)lores / folkloreself OR fo / folk / folks / folks / loreself OR fo / folk / lores / lores / folkloreself OR fo / folklore / folklores / folklores / folkloreself OR folklore / folklore / folklores / folklores / folkloreself

—spacecore.

space -> spa or pa / space / spaces / spaces / spaceself OR space / space / spaces / spaces / spaceself 

star -> sta or ta / star / stars / stars / starself OR star / star / stars / stars / starself 

comet -> co / met / (co)mets / (co)mets / cometself OR co / com / ets / ets / cometself OR co / comet / comets / comets / cometself OR comet / comet / comets / comets / cometself 

nova (“a star that ejects some of its material in the form of a cloud and becomes more luminous in the process”) -> no / va / (no)vas / (no)vas / novaself OR no / nova / novas / novas / novaself OR nova / nova / novas / novas / novaself 

constellation -> con / stella / tions / tions / constellationself OR co / con / stellas / stellas / tionself OR co / constellation / constellations / constellations / constellationself OR constellation / constellation / constellations / constellations / constellationself 

orbit -> or / bit / (or)bits / (or)bits / orbitself OR o / or / bits / bits / orbitself OR o(r) / orbit / orbits / orbits / orbitself OR orbit / orbit / orbits / orbits / orbitself 

asteroid -> as / ter / oids / oids / asteroidself OR a / as / ters / ters / oidself OR a(s) / asteroid / asteroids / asteroids / asteroidself OR asteroid / asteroid / asteroids / asteroids / asteroidself 

galaxy -> ga / lax / ys / ys / galaxyself OR ga / gal / axys / axys / galaxyself OR ga / gal / axs / axs / yself OR ga / galaxy / galaxys / galaxys / galaxyself OR galaxy / galaxy / galaxys / galaxys / galaxyself 

nebula (“an immense cloud of gas (mainly hydrogen) and dust in interstellar space”) -> ne / bu / las / las / nebulaself OR ne / nebula / nebulas / nebulas / nebulaself OR nebula / nebula / nebulas / nebulas / nebulaself 

astro -> as / tro / (as)tros / (as)tros / astroself OR a / as / tros / tros / astroself OR a(s) / astro / astros / astros / astroself OR astro / astro / astros / astros / astroself 

(based on some basic space phenomenons, if you wanted some based on a specific space thing or planets, feel free to send another ask!)

—names.

(you could also make any of the above from the pronouns a name!)

kat, kitty, calico, clover, flora, basil, maple, finch, leaf, sage, poppy, aspen, barley, eden, haven, miracle, seraphim, angelo, faith, celeste, aster (greek, meaning star), astra (“In Latin Astra means “of the stars””), atlas, orion, solar, sky, astrophel (“star lover”), esther, alette (latin; “small winged one”), faye. also found this really cool name u might like: forfax (angel of astronomy)

To America, From a Worried European Friend

A country convinced that it is irredeemably racist can’t lead the world as the ‘indispensable nation.’

By Daniel Schwammenthal.............Brussels

His­tory and evo­lu­tion­ary bi­ol­ogy teach us that the nor­mal course of hu­man af­fairs is trib­al­ism, op­pres­sion and poverty. The emer­gence of lib­eral democ­ra­cies isn’t the in­evitable end­point of sup­pos­edly lin­ear West­ern progress but an aber­ra­tion—and a rather frag­ile one at that.

This is why the ris­ing il­lib­er­al­ism in the U.S. is so trou­bling. Ac­tivists who seem to un­der­stand George Or­well’s “1984” not as a warn­ing but as a man­ual see free speech—the lifeblood of democ­racy and hu­man bet­ter­ment—as a fas­cist tool of op­pres­sion. Other clas­si­cal lib­eral ideals—a col­or­blind so­ci­ety, ra­tio­nal dis­course, the sci­en­tific method—suf­fer the same fate.

These un­en­light­ened views have spread with light­ning speed. Once con­fined to the cam­puses of the na­tion’s elite uni­ver­si­ties, they have moved into the main­stream of pub­lic dis­course. Amer­i­ca’s fu­ture lead­ers have been spoon-fed two the­o­ries born of Marx­ism. One is post­mod­ernism, so called be­cause it re­jects the lib­eral ideas of moder­nity and the very no­tion of ob­jec­tive truth. The other is crit­i­cal the­ory, which is pre­oc­cu­pied with un­cov­er­ing hid­den power struc­tures that have sup­pos­edly stood in the way of a com­mu­nist rev­o­lu­tion.

These once-fringe the­o­ries have given rise to qua­sire­li­gious dog­mas that di­vide so­ci­ety into hi­er­ar­chies of op­pres­sor and op­pressed, set­ting the stage for eter­nal so­ci­etal strife. In this new cult, dis­sent or in­suf­fi­cient fer­vor is in­ter­preted both as val­i­da­tion of the doc­trine of ubiq­ui­tous racism and a pun­ish­able thought crime. As in me­dieval witch hunts, both de­nial and forced con­fes­sions prove the de­fen­dant’s guilt.

On the other end of the po­lit­i­cal spec­trum we find right-wing pop­ulism, which imag­ines “pure peo­ple” tak­ing on a cor­rupt elite, and of course the far right, with its Nazi in­fat­u­a­tion. The wide avail­abil­ity of guns in the U.S. isn’t only a sub­ject of dis­pute in the un­fold­ing cul­ture war but could help turn it deadly. Wit­ness the re­cent syn­a­gogue shoot­ings by real white su­prema­cists. Anti-Semi­tism and anti-Zion­ism are ob­ses­sions shared by the far left and the far right. Amer­ica is headed for un­prece­dented po­lar­iza­tion and pos­si­bly civil un­rest.

But why am I, a Ger­man Jew liv­ing in Brus­sels, so wor­ried about U.S. do­mes­tic af­fairs? As the adage goes, when Amer­ica sneezes, the rest of the world catches a cold. Right now Amer­ica has pneu­mo­nia.

I learned to cher­ish the U.S. long be­fore I had the priv­i­lege to live and study there. His­tory can be very per­sonal. What Madeleine Al­bright called the “in­dis­pens-able na­tion” meant the dif­fer­ence be­tween life and death for my fam­ily. I was brought up in the firm knowl­edge that had it not been for those unimag­in­ably brave Amer­i­can boys storm­ing the beaches of Nor­mandy, I wouldn’t have been born, and my par­ents and the rest of my peo­ple would have been ex­tin­guished. No doubt I’m leav­ing out en­tire li­braries of nu­ance, but that is the quin­tessential truth.

Amer­ica to­day is what it has al­ways been: a flawed so­ci­ety, like all oth­ers, but also a unique force for good in the world. No other mul­ti­eth­nic, mul­tire­li­gious so­ci­ety can cred­i­bly claim to be more de­mo­c­ra­tic, more pros­per­ous and more just than the U.S.

But Amer­ica can’t re­main the leader of the free world if it is it­self no longer free. To be the guar­an­tor of West­ern se­cu­rity re­quires mil­i­tary and eco­nomic power, but also a sense of mis­sion. And right now Amer­i­cans are com­mit­ting mass char­ac­ter sui­cide. If the coun­try goes be­yond ac­knowl­edg­ing that racism and in­equal­ity per­sist and must be fought, and in­stead con­vinces it­self that it’s in­her­ently and ir­re­deemably racist, it can’t pos­si­bly con­tinue to be­lieve that it has any right to lead. Such an Amer­ica would re­ject the no­tion that the West is worth de­fend­ing and re­gard Eu­rope as also in­her­ently op­pres­sive. We know who will fill the vac­uum left by an Amer­ica in re­treat and at war with it­self. As they watch Amer­i­ca’s self-im­mo­la­tion, lead­ers in Mos­cow, Bei­jing and Tehran surely can’t be­lieve their luck.

Any func­tion­ing so­ci­ety must ex­tend tribal loy­alty be­yond the ties of blood. Eth­nic­ity and Chris­tian­ity were the glue that helped hold the more ho­moge­nous Eu­ropean na­tion states to­gether. Amer­i­ca’s Found­ing Fa­thers laid the foun­da­tion of a so­ci­ety wor­thy of the motto “e pluribus unum”—out of many, one—by re­plac­ing eth­nic and re­li­gious loy­al­ties with lib­eral ideas and deist ideals. A shared loy­alty to the De­c­la­ra­tion of In­de­pen­dence and the Con­sti­tu­tion al­lows Amer­i­cans to see each other not as strangers but as fel­low cit­i­zens.

Yes, the U.S. has not al­ways lived up to its ideals. But to claim that the Found­ing’s “prom­issory note” was never any­thing but a scam to main­tain a sys­tem of white op­pres­sion is ahis­tor­i­cal re­vi­sion­ism that will erode the coun­try’s foun­da­tion.

Eu­ropean anti-Amer­i­can­ism con­stantly imag­ines the rise of fas­cism in the very coun­try that de­feated the real thing and con­stantly pre­dicts the end of lib­erty in the world’s old­est democ­racy. I have al­ways proudly op­posed this view. But I am re­minded now of Ben­jamin Frank­lin’s fa­mous line: “A Re­pub­lic, if you can keep it.” For the first time I have ter­ri­fy­ing doubts.

A hand­shake can quell polit­i­cal unrest and sti­fle impend­ing war. It can, with a bit of spit, val­i­date a gentleman’s agree­ment, end a years-long roman­tic rela­tion­ship or send a young heart rac­ing. But it all depends on the two par­ties involved.

Daisy, 21, felt a seis­mic jolt when Har­ry Styles, 25, wear­ing a striped jumper and rings on three of his five fin­gers, clutched her hand two days after this year’s Met Gala in New York, when she served him gela­to at the shop where she worked.

“He decid­ed on a small mint choco­late gela­to and I made his and the one for his friend and I said, ​‘Can I just say I absolute­ly loved your Met Gala look’ and he said ​‘Thank you very much! What’s your name?’ And I said, ​‘Daisy’ AND HE FUCK­ING EXTEND­ED HISHAND AND REACHED TO SHAKE MY HAND AND I ACTU­AL­LY FUCK­INGSHOOK HIS HAND WHAT THE FUCK,” she wrote on Insta­gram after The Shak­en­ing. ​“Like I didn’t even say any­thing to gas him up besides ​‘I loved your met gala look’ and his fine ass went and shook my hand! WHAT A BEAU­TI­FUL FUCK­ING HUMAN BEINGTHAT HE IS GOD BLESS HIM AND I HOPE HW [sic] LIVES FOREVER.”

For Har­ry Styles, a hand­shake can be a roman­tic ges­ture, con­jur­ing a potent rev­er­ence in its recip­i­ent, like the time he met Gucci’s cre­ative direc­tor Alessan­dro Michele. ​“He was as attrac­tive as James Dean and as per­sua­sive as Gre­ta Gar­bo. He was like a Luchi­no Vis­con­ti char­ac­ter, like an Apol­lo: at the same time sexy as a woman, as a kid, as a man,” Michele told me, has­ten­ing to add: ​“Of course, Har­ry is not aware of this.”

No, Styles has no idea the pow­er he wields. In per­son, he’s tow­er­ing, like some­one who is not that much taller but whose rep­u­ta­tion adds four inch­es. Styles has a seda­tive bari­tone, spo­ken in a rum­my north­ern Eng­lish accent, that tum­bles out so slow­ly you for­get the name of your first born, a swag­ger that has been nursed and per­fect­ed in myth­i­cal places with names like Pais­ley Park, or Abbey Road, or Grace­land. Makes com­plete sense that he would be up for the role of Elvis Pres­ley in Baz Luhrmann’s upcom­ing biopic. He was primed, nay, born to shake his hips, all but one but­ton on his shirt cling­ing for dear life around his tor­so. Then the part was award­ed to anoth­er actor, Austin Butler.

“[Elvis] was such an icon for me grow­ing up,” Styles tells me. ​“There was some­thing almost sacred about him, almost like I didn’t want to touch him. Then I end­ed up get­ting into [his life] a bit and I wasn’t dis­ap­point­ed,” he adds of his ini­tial research and prepa­ra­tions to play The King. He seems relaxed about los­ing the part to But­ler. ​“I feel like if I’m not the right per­son for the thing, then it’s best for both of us that I don’t do it, you know?”

Styles released his self-titled debut solo album in May 2017. The boy­band grad was clear­ly unin­ter­est­ed in hol­low­ing out the charts with more for­mu­la­ic meme pop. Instead, to the sur­prise of many, he dug his heels into retro-fetishist West Coast ​’70s rock. Some of the One Direc­tion fan-hordes might have been con­fused, but no mat­ter: Har­ry Styles sold one mil­lion copies.

Despite its com­mer­cial and crit­i­cal suc­cess, he didn’t tour the album right away. He want­ed to act in the Christo­pher Nolan film Dunkirk. To his cred­it, his por­tray­al of a British sol­dier cow­er­ing in a moored boat on the French beach­es as the Nazis advanced wasn’t skew­ered in the press like the movie debuts of, say, Madon­na or Justin Tim­ber­lake. Per­haps he was fol­low­ing advice giv­en by Elton John, who had urged him to diver­si­fy. ​“He was bril­liant in Dunkirk, which took a lot of peo­ple by sur­prise,” John writes in an email. ​“I love how he takes chances and risks.” Act­ing, unlike music, is a release for Styles; it’s the one time he can be not himself.

“Why do I want to act? It’s so dif­fer­ent to music for me,” he says, sud­den­ly ani­mat­ed. ​“They’re almost oppo­site for me. Music, you try and put so much of your­self into it; act­ing, you’re try­ing to total­ly dis­ap­pear in who­ev­er you’re being.”

Fol­low­ing the news that he missed out on Pres­ley, his name was float­ed for the role of Prince Eric in Disney’s live-action remake of The Lit­tle Mer­maid. How­ev­er, fans will have to wait a bit longer to see Styles on the big screen as that idea, too, has sunk. He won’t be The King or the Prince. ​“It was dis­cussed,” he acknow­ledges before swift­ly chang­ing the sub­ject. ​“I want to put music out and focus on that for a while. But every­one involved in it was amaz­ing, so I think it’s going to be great. I’ll enjoy watch­ing it, I’m sure.”

The new album is wrapped and the sin­gle is decid­ed upon. ​“It’s not like his last album,” his friend, rock ​‘n’ roll leg­end Ste­vie Nicks, told me recent­ly over the phone. ​“It’s not like any­thing One Direc­tion ever did. It’s pure Har­ry, as Har­ry would say. He’s made a very dif­fer­ent record and it’s spectacular.”

Beyond that, Styles is keep­ing his cards close to his chest as to his next musi­cal move. How­ev­er, the air is thick with rumours that his main wing­man for HS2 is Kid Har­poon, aka Tom Hull, who co-wrote debut album track Sweet Crea­ture. No less an author­i­ty than Liam Gal­lagher told us that both big band escapees were in the same stu­dio – RAK in north-west Lon­don – at the same time mak­ing their sec­ond solo albums. Styles played him a cou­ple of tracks, ​“and I tell you what, they’re good,” Gal­lagher enthused. ​“A bit like that Bon Iver. Is that his name?”

Har­ry Styles met Nicks at a Fleet­wood Mac con­cert in Los Ange­les in April 2015. Some­thing about him felt authen­tic to the leg­endary front­woman: ground­ed, like she’d known him for­ev­er, blessed with a win­ning moon­shot grin. A month lat­er, they met back­stage at anoth­er Mac gig, this time at the O2 in Lon­don. Styles brought a car­rot cake for Nicks’ birth­day, her name piped in icing on top. By her own admis­sion, Nicks doesn’t even cel­e­brate birth­days, so this was a sur­prise. ​“He was per­son­al­ly respon­si­ble for me actu­al­ly hav­ing to cel­e­brate my birth­day, which was very sweet,” she says.

Styles’ rela­tion­ship with Nicks is hard to define. Induct­ing her into the Rock and Roll Hall of Fame in New York as a solo artist ear­li­er this year, his speech hymned her as a ​“mag­i­cal gyp­sy god­moth­er who occu­pies the in-between”. She’s called him her ​“lovechild” with Mick Fleet­wood and the ​“son I nev­er had”. Both have moved past the pre­lim­i­nary chat acknowl­edg­ing each other’s unquan­tifi­able tal­ents and smooth­ly accel­er­at­ed towards play­ful cut-and-thrust ban­ter of a witch mom and her naughty child.

They per­form togeth­er – he sings The Chainand Stop Drag­gin’ My Heart Around; she sings the one alleged­ly writ­ten about Tay­lor Swift, Two Ghosts. One of those per­for­mances was at the Guc­ci Cruise after­par­ty in Rome in May, for ​“a lot of mon­ey”, Nicks tells me, in a ​“big kind of cas­tle place”. She has become his de fac­to men­tor – one phone call is all it takes to reach the Queen of Rock’n’Roll for advice on sequenc­ing (“She is real­ly good at track list­ing,” Styles admits) or just to hear each other’s voic­es… because, well, wouldn’t you?

Fol­low­ing anoth­er Fleet­wood Mac con­cert, at London’s Wem­b­ley Sta­di­um, in June, Nicks met Styles for a late (Indi­an) din­ner. He then invit­ed her back to his semi-detached Geor­gian man­sion in north Lon­don for a lis­ten­ing par­ty at mid­night. The album – HS2or what­ev­er it’ll be called – was fin­ished. Nicks, her assis­tant Karen, her make-up artist and her friends Jess and Mary crammed onto Styles’ liv­ing-room couch. They lis­tened to it once through in silence like a ​“bunch of edu­cat­ed monks or some­thing in this dark room”. Then once again, 15 or 16 tracks, this time each of his guests offer­ing live feed­back. It wrapped at 5am, just as the sun was bleed­ing through the curtains.

Even for a pop star of Styles’ stature, press­ing ​“play” on a deeply per­son­al work for your hero to digest, watch­ing her face react in real time to your new music, must be… what?

“It’s a dou­ble-edged thing,” he replies. ​“You’re always ner­vous when you are play­ing peo­ple music for the first time. You’ve heard it so much by this point, you for­get that peo­ple haven’t heard it before. It’s hard to not feel like you’ve done what you’ve set out to do. You are hap­py with some­thing and then some­one who you respect so much and look up to is, like: ​‘I real­ly like this.’ It feels like a large stamp [of approval]. It’s a big step towards feel­ing very com­fort­able with what­ev­er else hap­pens to it.”

Wad­ing through Styles’ back­ground info is exhaust­ing, since he was spanked by fame in the social media era where every god­dam blink of a kohl-rimmed eye has been doc­u­ment­ed from six angles. (And yes, he does some­times wear guyliner.)

Deep breath: born in Red­ditch, Worces­ter­shire, to par­ents Des and Anne, who divorced when he was sev­en. Grew up in Holmes Chapel in Cheshire with his sis­ter Gem­ma, mum and step­dad Robin Twist. Rode hors­es at a near­by sta­ble for free (“I was a bad rid­er, but I was a rid­er”). Stopped rid­ing, ​“got into dif­fer­ent stuff”. Formed a band, White Eski­mo, with school­mates. Aged 16, tried out for the 2010 run of The X Fac­torwith a stir­ring but aver­age ren­di­tion of Ste­vie Wonder’s Isn’t She Love­ly. Cut from the show and put into a boy band with four oth­ers, Louis Tom­lin­son, Liam Payne, Niall Horan and Zayn Malik, and called One Direc­tion. Became inter­na­tion­al­ly famous, toured the globe. Zayn quit to go solo. Toured some more. Dat­ed but maybe didn’t date Car­o­line Flack, Rita Ora and Tay­lor Swift – whom he report­ed­ly dumped in the British Vir­gin Islands. (This rela­tion­ship, if noth­ing else, yield­ed an icon­ic, can­did shot of Swift look­ing deject­ed, being motored back to shore on the back of a boat called the Fly­ing Ray.) One Direc­tion dis­cussed dis­band­ing in 2014, actu­al­ly dis­solved in 2015. They remain friend­ly, and Styles offi­cial­ly went solo in 2016.

It’s been two years since his epony­mous debut and lead sin­gle, Sign of the Times, shocked the world and Elton John with its swag­ger­ing, soft rock sound. ​“It came out of left field and I loved it,” John says.

After 89 are­na-packed shows across five con­ti­nents grossed him, the label, whomev­er, over $61 mil­lion, Styles had all but dis­ap­peared. He has emerged only inter­mit­tent­ly for pub­lic-fac­ing events – a Guc­ci after­par­ty per­for­mance here, a Met Gala co-chair­ing there. He relo­cat­ed from Los Ange­les back to Lon­don, sell­ing his Hol­ly­wood Hills house for $6mil­lion and ship­ping his Jaguar E-type across the Atlantic so he could take joyrides on the M25.

“I’m not over LA,” he insists when I ask about the move. ​“My rela­tion­ship with LAchanged a lot. What I want­ed from LA changed.”

A great escape, he would agree, is some­times nec­es­sary. He was in Tokyo for most of Jan­u­ary, hav­ing near­ly fin­ished his album. ​“I need­ed time to get out of that album frame-of-mind of: ​‘Is it fin­ished? Where am I at? What’s hap­pen­ing?’ I real­ly need­ed that time away from every­one. I was kind of just in Tokyo by myself.” His sab­bat­i­cal most­ly involved read­ing Haru­ki Murakami’s The Wind-Up Bird Chron­i­cle, singing Nir­vana at karaoke, writ­ing alone in his hotel room, lis­ten­ing to music and eaves­drop­ping on strangers in alien con­ver­sa­tion. ​“It was just a pos­i­tive time for my head and I think that impact­ed the album in a big way.”

Dur­ing this break he watched a lot of films, read a lot of books. Some­times he texts these rec­om­men­da­tions to his pal Michele at Guc­ci. He told Michele to watch the Ali Mac­graw film, Love Sto­ry. ​“We text what friends text about. He is the same [as me] in terms of he lives in his own world and he does his own thing. I love dress­ing up and he loves dress­ing up.”

Because he loves dress­ing up, Michele chose Styles to be the face of three Guc­ci Tai­lor­ing cam­paigns and of its new gen­der­less fra­grance, Mémoire d’une Odeur.

“The moment I met him, I imme­di­ate­ly under­stood there was some­thing strong around him,” Michele tells me. ​“I realised he was much more than a young singer. He was a young man, dressed in a thought­ful way, with uncombed hair and a beau­ti­ful voice. I thought he gath­ered with­in him­self the fem­i­nine and the masculine.”

Fash­ion, for Styles, is a play­ground. Some­thing he doesn’t take too seri­ous­ly. A cou­ple of years ago Har­ry Lam­bert, his styl­ist since 2015, acquired for him a pair of pink metal­lic Saint Lau­rent boots that he has nev­er been pho­tographed wear­ing. They are exceed­ing­ly rare – few pairs exist. Styles wears them ​“to get milk”. They are, in his words, ​“super-fun”. He’s not sure, but he has, ball­park, 50 pairs of shoes, as well as full clos­ets in at least three post­codes. He set­tles on an out­fit fair­ly quick­ly, maybe changes his T-shirt once before head­ing out, but most­ly knows what he likes.

What he may not ful­ly com­pre­hend is that sim­ply by being pho­tographed in a gar­ment he can spur the career of a design­er, as he has with Har­ris Reed, Palo­mo Spain, Charles Jef­frey, Alled-Martínez and a new favourite, Bode. Styles wore a SS16 Guc­ci flo­ral suit to the 2015 Amer­i­can Music Awards. When he was asked who made his suit on the red car­pet, Guc­ci began trend­ing world­wide on Twitter.

“It was one of the first times a male wore Alessandro’s run­way designs and, at the time, men were not tak­ing too many red car­pet risks,” says Lam­bert. ​“Who knows if it influ­enced oth­ers, but it was a spe­cial moment. Plus, it was fun see­ing the fans dress up in suits to come see Harry’s shows.”

Yet tra­di­tion­al gen­der codes of dress still have the minds of mid­dle Amer­i­ca in a choke­hold. Men can’t wear women’s clothes, say the online whingers, who have labelled him ​“trag­ic”, ​“a clown” and a Bowie wannabe. Styles doesn’t care. ​“What’s fem­i­nine and what’s mas­cu­line, what men are wear­ing and what women are wear­ing – it’s like there are no lines any more.”

Elton John agrees: ​“It worked for Marc Bolan, Bowie and Mick. Har­ry has the same qualities.”

Then there is the ques­tion of Styles’ sex­u­al­i­ty, some­thing he has admit­ted­ly ​“nev­er real­ly start­ed to label”, which will plague him until he does. Per­haps it’s part of his allure. He’s bran­dished a pride flag that read ​“Make Amer­i­ca Gay Again” on stage, and plant­ed a stake some­where left of cen­tre on sexuality’s rain­bow spectrum.

“In the posi­tion that he’s in, he can’t real­ly say a lot, but he chose a queer girl band to open for him and I think that speaks vol­umes,” Josette Maskin of the queer band MUNA told The Face ear­li­er this year.

“I get a lot of…” Styles trails off, wheels turn­ing on how he can dis­cuss sex­u­al­i­ty with­out real­ly answer­ing. ​“I’m not always super-out­spo­ken. But I think it’s very clear from choic­es that I make that I feel a cer­tain way about lots of things. I don’t know how to describe it. I guess I’m not…” He paus­es again, piv­ots. ​“I want every­one to feel wel­come at shows and online. They want to be loved and equal, you know? I’m nev­er unsup­port­ed, so it feels weird for me to over­think it for some­one else.”

Sex­u­al­i­ty aside, he must acknowl­edge that he has sex appeal. ​“The word ​‘sexy’ sounds so strange com­ing out of my mouth. So I would say that that’s prob­a­bly why I would not con­sid­er myself sexy.”

Har­ry Styles has emerged ful­ly-formed, an anachro­nis­tic rock star, vague in sen­si­bil­i­ty but des­tined to impress with a dis­arm­ing smile and a warm but firm handshake.

I recite to him a quote from Chrissie Hyn­de of The Pre­tenders about her time atop rock’s throne: ​“I nev­er got into this for the mon­ey or because I want­ed to join in the super­star sex around the swim­ming pools. I did it because the offer of a record con­tract came along and it seemed like it might be more fun than being a wait­ress. Now, I’m not so sure.”

Styles – who worked in a bak­ery in a small north­ern town some time before play­ing to 40,000 scream­ing fans in South Amer­i­can are­nas – must have wit­nessed some shit, been invit­ed to a few pool­side sex par­ties, in his time.

“I’ve seen a cou­ple of things,” he nods in agree­ment. ​“But I’m still young. I feel like there’s still stuff to see.”

The Face - Volume 4 . Issue 1

A hand­shake can quell polit­i­cal unrest and sti­fle impend­ing war. It can, with a bit of spit, val­i­date a gentleman’s agree­ment, end a years-long roman­tic rela­tion­ship or send a young heart rac­ing. But it all depends on the two par­ties involved.

Daisy, 21, felt a seis­mic jolt when Har­ry Styles, 25, wear­ing a striped jumper and rings on three of his five fin­gers, clutched her hand two days after this year’s Met Gala in New York, when she served him gela­to at the shop where she worked.

“He decid­ed on a small mint choco­late gela­to and I made his and the one for his friend and I said, ​‘Can I just say I absolute­ly loved your Met Gala look’ and he said ​‘Thank you very much! What’s your name?’ And I said, ​‘Daisy’ AND HE FUCK­ING EXTEND­ED HIS HAND AND REACHEDTO SHAKE MY HAND AND I ACTU­AL­LY FUCK­ING SHOOK HIS HAND WHAT THEFUCK,” she wrote on Insta­gram after The Shak­en­ing. ​“Like I didn’t even say any­thing to gas him up besides ​‘I loved your met gala look’ and his fine ass went and shook my hand! WHATA BEAU­TI­FUL FUCK­ING HUMAN BEING THAT HE IS GOD BLESS HIM AND I HOPE HW[sic] LIVES FOREVER.”

For Har­ry Styles, a hand­shake can be a roman­tic ges­ture, con­jur­ing a potent rev­er­ence in its recip­i­ent, like the time he met Gucci’s cre­ative direc­tor Alessan­dro Michele. ​“He was as attrac­tive as James Dean and as per­sua­sive as Gre­ta Gar­bo. He was like a Luchi­no Vis­con­ti char­ac­ter, like an Apol­lo: at the same time sexy as a woman, as a kid, as a man,” Michele told me, has­ten­ing to add: ​“Of course, Har­ry is not aware of this.”

No, Styles has no idea the pow­er he wields. In per­son, he’s tow­er­ing, like some­one who is not that much taller but whose rep­u­ta­tion adds four inch­es. Styles has a seda­tive bari­tone, spo­ken in a rum­my north­ern Eng­lish accent, that tum­bles out so slow­ly you for­get the name of your first born, a swag­ger that has been nursed and per­fect­ed in myth­i­cal places with names like Pais­ley Park, or Abbey Road, or Grace­land. Makes com­plete sense that he would be up for the role of Elvis Pres­ley in Baz Luhrmann’s upcom­ing biopic. He was primed, nay, born to shake his hips, all but one but­ton on his shirt cling­ing for dear life around his tor­so. Then the part was award­ed to anoth­er actor, Austin Butler.

“[Elvis] was such an icon for me grow­ing up,” Styles tells me. ​“There was some­thing almost sacred about him, almost like I didn’t want to touch him. Then I end­ed up get­ting into [his life] a bit and I wasn’t dis­ap­point­ed,” he adds of his ini­tial research and prepa­ra­tions to play The King. He seems relaxed about los­ing the part to But­ler. ​“I feel like if I’m not the right per­son for the thing, then it’s best for both of us that I don’t do it, you know?”

Styles released his self-titled debut solo album in May 2017. The boy­band grad was clear­ly unin­ter­est­ed in hol­low­ing out the charts with more for­mu­la­ic meme pop. Instead, to the sur­prise of many, he dug his heels into retro-fetishist West Coast ​’70s rock. Some of the One Direc­tion fan-hordes might have been con­fused, but no mat­ter: Har­ry Styles sold one mil­lion copies.

Despite its com­mer­cial and crit­i­cal suc­cess, he didn’t tour the album right away. He want­ed to act in the Christo­pher Nolan film Dunkirk. To his cred­it, his por­tray­al of a British sol­dier cow­er­ing in a moored boat on the French beach­es as the Nazis advanced wasn’t skew­ered in the press like the movie debuts of, say, Madon­na or Justin Tim­ber­lake. Per­haps he was fol­low­ing advice giv­en by Elton John, who had urged him to diver­si­fy. ​“He was bril­liant in Dunkirk, which took a lot of peo­ple by sur­prise,” John writes in an email. ​“I love how he takes chances and risks.” Act­ing, unlike music, is a release for Styles; it’s the one time he can be not himself.

“Why do I want to act? It’s so dif­fer­ent to music for me,” he says, sud­den­ly ani­mat­ed. ​“They’re almost oppo­site for me. Music, you try and put so much of your­self into it; act­ing, you’re try­ing to total­ly dis­ap­pear in who­ev­er you’re being.”

Fol­low­ing the news that he missed out on Pres­ley, his name was float­ed for the role of Prince Eric in Disney’s live-action remake of The Lit­tle Mer­maid. How­ev­er, fans will have to wait a bit longer to see Styles on the big screen as that idea, too, has sunk. He won’t be The King or the Prince. ​“It was dis­cussed,” he acknow­ledges before swift­ly chang­ing the sub­ject. ​“I want to put music out and focus on that for a while. But every­one involved in it was amaz­ing, so I think it’s going to be great. I’ll enjoy watch­ing it, I’m sure.”

The new album is wrapped and the sin­gle is decid­ed upon. ​“It’s not like his last album,” his friend, rock ​‘n’ roll leg­end Ste­vie Nicks, told me recent­ly over the phone. ​“It’s not like any­thing One Direc­tion ever did. It’s pure Har­ry, as Har­ry would say. He’s made a very dif­fer­ent record and it’s spectacular.”

Beyond that, Styles is keep­ing his cards close to his chest as to his next musi­cal move. How­ev­er, the air is thick with rumours that his main wing­man for HS2 is Kid Har­poon, aka Tom Hull, who co-wrote debut album track Sweet Crea­ture. No less an author­i­ty than Liam Gal­lagher told us that both big band escapees were in the same stu­dio – RAK in north-west Lon­don – at the same time mak­ing their sec­ond solo albums. Styles played him a cou­ple of tracks, ​“and I tell you what, they’re good,” Gal­lagher enthused. ​“A bit like that Bon Iver. Is that his name?”

Har­ry Styles met Nicks at a Fleet­wood Mac con­cert in Los Ange­les in April 2015. Some­thing about him felt authen­tic to the leg­endary front­woman: ground­ed, like she’d known him for­ev­er, blessed with a win­ning moon­shot grin. A month lat­er, they met back­stage at anoth­er Mac gig, this time at the O2 in Lon­don. Styles brought a car­rot cake for Nicks’ birth­day, her name piped in icing on top. By her own admis­sion, Nicks doesn’t even cel­e­brate birth­days, so this was a sur­prise. ​“He was per­son­al­ly respon­si­ble for me actu­al­ly hav­ing to cel­e­brate my birth­day, which was very sweet,” she says.

Styles’ rela­tion­ship with Nicks is hard to define. Induct­ing her into the Rock and Roll Hall of Fame in New York as a solo artist ear­li­er this year, his speech hymned her as a ​“mag­i­cal gyp­sy god­moth­er who occu­pies the in-between”. She’s called him her ​“lovechild” with Mick Fleet­wood and the ​“son I nev­er had”. Both have moved past the pre­lim­i­nary chat acknowl­edg­ing each other’s unquan­tifi­able tal­ents and smooth­ly accel­er­at­ed towards play­ful cut-and-thrust ban­ter of a witch mom and her naughty child.

They per­form togeth­er – he sings The Chain and Stop Drag­gin’ My Heart Around; she sings the one alleged­ly writ­ten about Tay­lor Swift, Two Ghosts. One of those per­for­mances was at the Guc­ci Cruise after­par­ty in Rome in May, for ​“a lot of mon­ey”, Nicks tells me, in a ​“big kind of cas­tle place”. She has become his de fac­to men­tor – one phone call is all it takes to reach the Queen of Rock’n’Roll for advice on sequenc­ing (“She is real­ly good at track list­ing,” Styles admits) or just to hear each other’s voic­es… because, well, wouldn’t you?

Fol­low­ing anoth­er Fleet­wood Mac con­cert, at London’s Wem­b­ley Sta­di­um, in June, Nicks met Styles for a late (Indi­an) din­ner. He then invit­ed her back to his semi-detached Geor­gian man­sion in north Lon­don for a lis­ten­ing par­ty at mid­night. The album – HS2or what­ev­er it’ll be called – was fin­ished. Nicks, her assis­tant Karen, her make-up artist and her friends Jess and Mary crammed onto Styles’ liv­ing-room couch. They lis­tened to it once through in silence like a ​“bunch of edu­cat­ed monks or some­thing in this dark room”. Then once again, 15 or 16 tracks, this time each of his guests offer­ing live feed­back. It wrapped at 5am, just as the sun was bleed­ing through the curtains.

Even for a pop star of Styles’ stature, press­ing ​“play” on a deeply per­son­al work for your hero to digest, watch­ing her face react in real time to your new music, must be… what?

“It’s a dou­ble-edged thing,” he replies. ​“You’re always ner­vous when you are play­ing peo­ple music for the first time. You’ve heard it so much by this point, you for­get that peo­ple haven’t heard it before. It’s hard to not feel like you’ve done what you’ve set out to do. You are hap­py with some­thing and then some­one who you respect so much and look up to is, like: ​‘I real­ly like this.’ It feels like a large stamp [of approval]. It’s a big step towards feel­ing very com­fort­able with what­ev­er else hap­pens to it.”

Wad­ing through Styles’ back­ground info is exhaust­ing, since he was spanked by fame in the social media era where every god­dam blink of a kohl-rimmed eye has been doc­u­ment­ed from six angles. (And yes, he does some­times wear guyliner.)

Deep breath: born in Red­ditch, Worces­ter­shire, to par­ents Des and Anne, who divorced when he was sev­en. Grew up in Holmes Chapel in Cheshire with his sis­ter Gem­ma, mum and step­dad Robin Twist. Rode hors­es at a near­by sta­ble for free (“I was a bad rid­er, but I was a rid­er”). Stopped rid­ing, ​“got into dif­fer­ent stuff”. Formed a band, White Eski­mo, with school­mates. Aged 16, tried out for the 2010 run of The X Fac­torwith a stir­ring but aver­age ren­di­tion of Ste­vie Wonder’s Isn’t She Love­ly. Cut from the show and put into a boy band with four oth­ers, Louis Tom­lin­son, Liam Payne, Niall Horan and Zayn Malik, and called One Direc­tion. Became inter­na­tion­al­ly famous, toured the globe. Zayn quit to go solo. Toured some more. Dat­ed but maybe didn’t date Car­o­line Flack, Rita Ora and Tay­lor Swift – whom he report­ed­ly dumped in the British Vir­gin Islands. (This rela­tion­ship, if noth­ing else, yield­ed an icon­ic, can­did shot of Swift look­ing deject­ed, being motored back to shore on the back of a boat called the Fly­ing Ray.) One Direc­tion dis­cussed dis­band­ing in 2014, actu­al­ly dis­solved in 2015. They remain friend­ly, and Styles offi­cial­ly went solo in 2016.

It’s been two years since his epony­mous debut and lead sin­gle, Sign of the Times, shocked the world and Elton John with its swag­ger­ing, soft rock sound. ​“It came out of left field and I loved it,” John says.

After 89 are­na-packed shows across five con­ti­nents grossed him, the label, whomev­er, over $61mil­lion, Styles had all but dis­ap­peared. He has emerged only inter­mit­tent­ly for pub­lic-fac­ing events – a Guc­ci after­par­ty per­for­mance here, a Met Gala co-chair­ing there. He relo­cat­ed from Los Ange­les back to Lon­don, sell­ing his Hol­ly­wood Hills house for $6 mil­lion and ship­ping his Jaguar E-type across the Atlantic so he could take joyrides on the M25.

“I’m not over LA,” he insists when I ask about the move. ​“My rela­tion­ship with LA changed a lot. What I want­ed from LA changed.”

A great escape, he would agree, is some­times nec­es­sary. He was in Tokyo for most of Jan­u­ary, hav­ing near­ly fin­ished his album. ​“I need­ed time to get out of that album frame-of-mind of: ​‘Is it fin­ished? Where am I at? What’s hap­pen­ing?’ I real­ly need­ed that time away from every­one. I was kind of just in Tokyo by myself.” His sab­bat­i­cal most­ly involved read­ing Haru­ki Murakami’s The Wind-Up Bird Chron­i­cle, singing Nir­vana at karaoke, writ­ing alone in his hotel room, lis­ten­ing to music and eaves­drop­ping on strangers in alien con­ver­sa­tion. ​“It was just a pos­i­tive time for my head and I think that impact­ed the album in a big way.”

Dur­ing this break he watched a lot of films, read a lot of books. Some­times he texts these rec­om­men­da­tions to his pal Michele at Guc­ci. He told Michele to watch the Ali Mac­graw film, Love Sto­ry. ​“We text what friends text about. He is the same [as me] in terms of he lives in his own world and he does his own thing. I love dress­ing up and he loves dress­ing up.”

Because he loves dress­ing up, Michele chose Styles to be the face of three Guc­ci Tai­lor­ing cam­paigns and of its new gen­der­less fra­grance, Mémoire d’une Odeur.

“The moment I met him, I imme­di­ate­ly under­stood there was some­thing strong around him,” Michele tells me. ​“I realised he was much more than a young singer. He was a young man, dressed in a thought­ful way, with uncombed hair and a beau­ti­ful voice. I thought he gath­ered with­in him­self the fem­i­nine and the masculine.”

Fash­ion, for Styles, is a play­ground. Some­thing he doesn’t take too seri­ous­ly. A cou­ple of years ago Har­ry Lam­bert, his styl­ist since 2015, acquired for him a pair of pink metal­lic Saint Lau­rent boots that he has nev­er been pho­tographed wear­ing. They are exceed­ing­ly rare – few pairs exist. Styles wears them ​“to get milk”. They are, in his words, ​“super-fun”. He’s not sure, but he has, ball­park, 50 pairs of shoes, as well as full clos­ets in at least three post­codes. He set­tles on an out­fit fair­ly quick­ly, maybe changes his T-shirt once before head­ing out, but most­ly knows what he likes.

What he may not ful­ly com­pre­hend is that sim­ply by being pho­tographed in a gar­ment he can spur the career of a design­er, as he has with Har­ris Reed, Palo­mo Spain, Charles Jef­frey, Alled-Martínez and a new favourite, Bode. Styles wore a SS16 Guc­ci flo­ral suit to the 2015 Amer­i­can Music Awards. When he was asked who made his suit on the red car­pet, Guc­ci began trend­ing world­wide on Twitter.

“It was one of the first times a male wore Alessandro’s run­way designs and, at the time, men were not tak­ing too many red car­pet risks,” says Lam­bert. ​“Who knows if it influ­enced oth­ers, but it was a spe­cial moment. Plus, it was fun see­ing the fans dress up in suits to come see Harry’s shows.”

Yet tra­di­tion­al gen­der codes of dress still have the minds of mid­dle Amer­i­ca in a choke­hold. Men can’t wear women’s clothes, say the online whingers, who have labelled him ​“trag­ic”, ​“a clown” and a Bowie wannabe. Styles doesn’t care. ​“What’s fem­i­nine and what’s mas­cu­line, what men are wear­ing and what women are wear­ing – it’s like there are no lines any more.”

Elton John agrees: ​“It worked for Marc Bolan, Bowie and Mick. Har­ry has the same qualities.”

Then there is the ques­tion of Styles’ sex­u­al­i­ty, some­thing he has admit­ted­ly ​“nev­er real­ly start­ed to label”, which will plague him until he does. Per­haps it’s part of his allure. He’s bran­dished a pride flag that read ​“Make Amer­i­ca Gay Again” on stage, and plant­ed a stake some­where left of cen­tre on sexuality’s rain­bow spectrum.

“In the posi­tion that he’s in, he can’t real­ly say a lot, but he chose a queer girl band to open for him and I think that speaks vol­umes,” Josette Maskin of the queer band MUNA told The Face ear­li­er this year.

“I get a lot of…” Styles trails off, wheels turn­ing on how he can dis­cuss sex­u­al­i­ty with­out real­ly answer­ing. ​“I’m not always super-out­spo­ken. But I think it’s very clear from choic­es that I make that I feel a cer­tain way about lots of things. I don’t know how to describe it. I guess I’m not…” He paus­es again, piv­ots. ​“I want every­one to feel wel­come at shows and online. They want to be loved and equal, you know? I’m nev­er unsup­port­ed, so it feels weird for me to over­think it for some­one else.”

Sex­u­al­i­ty aside, he must acknowl­edge that he has sex appeal. ​“The word ​‘sexy’ sounds so strange com­ing out of my mouth. So I would say that that’s prob­a­bly why I would not con­sid­er myself sexy.”

Har­ry Styles has emerged ful­ly-formed, an anachro­nis­tic rock star, vague in sen­si­bil­i­ty but des­tined to impress with a dis­arm­ing smile and a warm but firm handshake.

I recite to him a quote from Chrissie Hyn­de of The Pre­tenders about her time atop rock’s throne: ​“I nev­er got into this for the mon­ey or because I want­ed to join in the super­star sex around the swim­ming pools. I did it because the offer of a record con­tract came along and it seemed like it might be more fun than being a wait­ress. Now, I’m not so sure.”

Styles – who worked in a bak­ery in a small north­ern town some time before play­ing to 40,000scream­ing fans in South Amer­i­can are­nas – must have wit­nessed some shit, been invit­ed to a few pool­side sex par­ties, in his time.

“I’ve seen a cou­ple of things,” he nods in agree­ment. ​“But I’m still young. I feel like there’s still stuff to see.”

AURORA.

Interview by Daniel Megarry for Gay Times Magazine’s issue #497 (July 1st, 2019).

Norway’s eu­phoric-pop con­nois­seur on fighting climate change through mu­sic and why big­ots will al­ways lose in the fight against love.

There re­ally is no other artist quite like Aurora. When we meet the 22-year-old Nor­weigan on a rainy day in Lon­don, one of the first things she (quite glee­fully) tells us is that she styles and trims her own hair with a pizza cut­ter. It’s ex­actly the kind of quirky, DIY ap­proach to life we’ve come to ex­pect from Aurora, who si­mul­ta­ne­ously ex­udes a child­like sense of won­der and a wis­dom well be­yond her years. Much like lis­ten­ing to her mu­sic, chat­ting to Aurora is a calm­ing ex­pe­ri­ence, but one that also pro­vokes thought and stays with you long af­ter the record’s stopped spin­ning. Right now, she’s pre­oc­cu­pied with the state of the en­vi­ron­ment, stress­ing that our gen­er­a­tion is the one that has the power to de­stroy or save the earth, a mes­sage that pen­e­trates the lis­tener’s mind on A Different Kind Of Hu­man, the cine­matic sec­ond ‘step’ (or half) of her new al­bum. While Step One was in­tro­spec­tive, Step Two sees Aurora look­ing out­wards, mak­ing noise and ques­tion­ing how we can fix things be­fore it’s too late.

“Peo­ple are so afraid of be­ing po­lit­i­cal, es­pe­cially in pop mu­sic,” she muses, “and that’s why I want to make good, in­tel­lec­tual, emo­tional pop mu­sic that can reach out to peo­ple and speak about something im­por­tant, and re­mind us of something other than all this stuff we don’t re­ally care about.” She’s also pas­sion­ate about Pride, be­ing part of the LGBTQ com­mu­nity – although like many young peo­ple, she prefers not to put la­bels on her­self – and en­cour­ag­ing love, which she says will “save us all” one day. As her new record con­tin­ues to win over fans and crit­ics, we sat down with Aurora to find out how be­ing at one with na­ture shaped her unique out­look on life and mu­sic, why it’s “not even worth lis­ten­ing” to ho­mo­phobes, and how her track Queen­dom is an an­them for all the queers of the world.

Con­grat­u­la­tions on the al­bum re­lease. How are you feel­ing now it’s out in the world?

Well the day it was re­leased, I ac­tu­ally cried a bit at midnight...

Happy cry­ing though, right?

Yeah, happy cry­ing. But also re­lief that you can truly let a lit­tle part of your life go, and then you have so much space the next morn­ing, it’s ridicu­lous how big a dif­fer­ence it is for me. Step One was very sensitive, whereas Step Two is much more pow­er­ful, and so I wanted to split this al­bum into two parts be­cause of the very dis­tinc­tive moods and per­spec­tives. I had one emo­tional jour­ney I wanted to bring peo­ple through, but it was very clear which songs be­longed to which step. Step Two is me think­ing, ‘What can I do for you? What can I do for ev­ery­one else?’ It’s about re­ally ac­knowl­edg­ing that we’re co­ex­ist­ing to­gether with the peo­ple around us and with na­ture.

Na­ture is a big theme for this al­bum, es­pe­cially the dam­age that we’re do­ing to the planet. Is this something that worries you?

I think about it a lot, es­pe­cially now that we know so much. We are in­vent­ing new, much more en­vi­ron­men­tally-friendly ways of do­ing things all the time, and we al­ready have a good replacement for plas­tic wa­ter bot­tles. We have the tools, but peo­ple refuse to use them, which re­ally frus­trates me. We have no ex­cuses any­more be­cause we have the knowl­edge, the in­tel­li­gence, the money, the power. We have ev­ery­thing ex­cept for the will, maybe, or the en­ergy to do it.

I think some peo­ple find it hard to think that far into the fu­ture. If it’s not an im­me­di­ate threat, they don’t care. But it will come even­tu­ally.

It will come, and maybe within our life­time, be­cause things are al­ready hap­pen­ing, and we are re­ally dam­ag­ing the planet. I think in gen­eral, our nat­u­ral way is to be em­pathic and to care, be­cause I be­lieve we are good. That’s what I have to be­lieve. But to give ex­tra meaning and ex­tra per­spec­tive to your life, and to be a part of something bitter than your­self – that will change us. It makes us happy, I think, to be a part of something bitter than us, to re­alise we are part of a team. It’s this beau­ti­ful thing that hap­pens when we fight for something that should be im­por­tant to us all. We have a choice now: Will we be the gen­er­a­tion that de­stroyed the world, or will we be the gen­er­a­tion that saved it? That’s what I care about right now.

You clearly have a re­ally strong con­nec­tion with na­ture – why do you think that is?

Well, I didn’t like school, I al­ways knew I was different, I didn’t know where I fit in – all of that shit. I found a lot of com­fort in my­self and I was my best friend, but peo­ple didn’t un­der­stand me and I felt like it was my fault – and for all the peo­ple out there who feel the same, the world is so much bitter than what you think, and one day you’ll go out and you’ll be able to give the world something spe­cial that hasn’t been given be­fore, that’s why peo­ple like us are made. So I didn’t know where I be­longed, but I knew when I was in na­ture. When I was there I felt like I was given time to be a philoso­pher, I dis­cov­ered the power of my own mind, and I fig­ured out my problems. I re­alised what I could change and what I couldn’t change, and it re­ally made me a bet­ter and hap­pier hu­man. I’m very in­spired by that, be­cause what na­ture has given to me, I want to give to peo­ple who don’t have na­ture on their doorstep as I had. I think that’s the biggest in­spi­ra­tion I want my mu­sic to of­fer peo­ple, that sanc­tu­ary and the feel­ing of be­ing safe and at home. Safety is such an im­por­tant emo­tion that isn’t ob­vi­ous to a lot of peo­ple.

Do you find it quite di cult to nav­i­gate things like so­cial me­dia and stream­ing, which are ob­vi­ously so im­por­tant for artists to em­brace now?

Yeah, I do. I find it re­ally over­whelm­ing, ac­tu­ally. It’s hard to have ac­cess to ev­ery­thing all the time, be­cause then ev­ery­thing loses some of its value, it just be­comes noise, and it be­comes hard to define what’s pre­cious. I don’t re­ally use lots of stream­ing ser­vices, be­cause I don’t like hav­ing ev­ery­thing avail­able. I like buy­ing what I want and I lis­ten to that again and again. I of­ten take long pe­ri­ods off, which I think is healthy. There was a time in the be­gin­ning where my fans, or my sup­port­ers – the word fan is such a weird word, be­cause we’re all just peo­ple who love mu­sic – they would make so­cial me­dia pages, and they would write things like, ‘Sorry I haven’t been ac­tive lately, I have so much to do’, and it just broke my heart. Why would you say sorry? Who cares? It’s lovely that you want to share things, and you have things to say, but don’t feel guilty. So I also try to spread that to my­self and oth­ers, that it’s im­por­tant to take time away. Even if you have art to share, it be­comes bet­ter if you’ve been out­side and got­ten the in­put that will help you do something amaz­ing. You need that time off. It’s re­ally im­por­tant.

You’ve spo­ken about hav­ing a girl­friend in the past. Do you iden­tify as part of the LGBTQ com­mu­nity?

I haven’t re­ally thought about it be­fore, but yeah, I guess I have to say that I do. I knew that it was my right to love who­ever I wanted to love, and I’m very pas­sion­ate about that. I’m very sensitive to reading the news, I find it very dif­fi­cult, and some­times they try to fool us and make us think that the world is such a hor­ri­ble, dan­ger­ous place be­cause peo­ple like to read about aw­ful things, but it’s not. The world is re­ally good. Hu­mankind is such a com­pli­cated and aw­ful and beau­ti­ful cre­ation, and it just blows my mind some times... and then I re­mem­ber that we have love. Some­times you fall into a hole, and you ques­tion ev­ery­thing that’s go­ing on, but ev­ery time I re­mem­ber we have love, and that’s go­ing to save us all one day. Ev­ery­one who brings hate to­wards the LGBTQ com­mu­nity, they will die, but love will not die. So it’s al­most not even worth lis­ten­ing to them. They try to pick a fight against love, which is quite ridicu­lous, be­cause they will never win. As long as peo­ple have love in them, love will ex­ist.

We’re mov­ing to­wards a world where la­bels don’t mat­ter as much any­more, and peo­ple can just be them­selves. I feel like that ties in very well with you as an artist.

I think so too. But also I think if peo­ple want to define them­selves be­cause it strength­ens their sense of com­mu­nity or be­long­ing, that’s fine. There can be many rea­sons why peo­ple want to define them­selves, or define something un­de­fin­able. If some­one wants to define me or put me in a box, that’s fine, be­cause you can have feet in all the boxes. But I don’t feel like I have to define any­thing about my­self, and it’s so gor­geous the way we are mov­ing to­wards that free­dom. I think if you go back a long, long time ago in the ages of gods and monsters, we were even more open. We’ve been there be­fore, where sex was sex, and love was love, and ev­ery­thing was just about feel­ing good, be­cause that’s quite simple re­ally. It’s very beau­ti­ful and it al­lows peo­ple to truly be­come fan­tas­tic, be­cause peo­ple are given no roles, they are just free, and then truly amaz­ing things can happen.

Your song Queen­dom is very much about fe­male em­pow­er­ment, but it also seems like a queer an­them...

Oh ab­so­lutely, that was the seed of the flower, it was the main in­spi­ra­tion behind it. I don’t think we can save the world be­fore we know our value, and it’s hard to know your value when some­one is try­ing to tell you that what you are is not right – that’s so de­struc­tive and so point­less! So it’s very im­por­tant for me that peo­ple know their worth, and their potential. When peo­ple feel ac­cepted they be­come so good. I’m re­ally pas­sion­ate about Pride, it’s very im­por­tant to me, be­cause it’s such an ob­vi­ous bat­tle. It’s very ob­vi­ous for me to know that I’m on the right side of his­tory, and it’s so easy to be pas­sion­ate about it when I know that we are right.

You’re al­ready work­ing on your next al­bum. Will that be Step Three, or something en­tirely differ­ent?

I will re­lease a Step Three at some point, one day. I haven’t told any­one that be­fore! I’m very ex­cited. But for what I will do next, I’ve told you a lot about it al­ready in track eight, A Different Kind Of Hu­man. That tells you quite a lot about where I will be go­ing, and I’ve hid­den some hints here and there. I know the ti­tle, I have the order al­ready, I know the con­cept – and I’ve al­ready started. I ac­tu­ally started in Jan­uary. I feel like I can’t rest, I can’t sleep. Some­times I find it hard to fall asleep be­cause I have ideas, and I get adren­a­line from the thought of mak­ing new songs. I just want to make mu­sic, and I’m re­ally mak­ing sure that I have the time now that I’m so hungry for it. One day, a time will come where I don’t want to make mu­sic, I’ll want to do something else, but for now I’m re­ally grab­bing the chance. It’s very fun.

William A. Ogden, 1841-1897

Born: Oc­to­ber 10, 1841, Frank­lin Coun­ty, Ohio. Died: Oc­to­ber 14, 1897, To­le­do, Ohio.

When Ogden was six years old, his fam­i­ly moved to In­di­a­na. He began stu­dy­ing mu­sic in lo­cal sing­ing schools at age 8, and could read church mu­sic fair­ly well by age 10. A lit­tle la­ter, he could write a mel­o­dy by hear­ing it sung or played. When he was 18, he be­came a chor­ist­er in his home church.

At the out­break of the Amer­i­can ci­vil war, Og­den en­list­ed in the 30th In­di­a­na Vol­un­teer In­fant­ry. Duri­ng the war he or­gan­ized a male choir, which be­came well known throug­hout the Ar­my of the Cum­ber­land.

After the war, Og­den re­turned home and re­sumed his mu­sic­al stu­dies. Among his teach­ers were Lowell Mason, Thom­as Hast­ings, E. E. Baily, and B. F. Bak­er, pres­i­dent of the Bos­ton Mu­sic School. As his skills de­vel­oped, Ogden is­sued his first song book, The Sil­ver Song, in 1870; it be­came im­mense­ly pop­u­lar, sell­ing 500,000 co­pies. He went on to pub­lish num­er­ous other song books.

In ad­di­tion to com­pos­ing, Og­den taught at ma­ny schools in the Unit­ed States and Ca­na­da. In 1887, he be­came sup­er­in­tend­ent of mu­sic in the pub­lic schools of To­le­do, Ohio. His works in­clude:    New Sil­ver Songs for Sun­day School (Tole­do, Ohio: W. W. Whit­ney, 1872)    Crown of Life (Tole­do, Ohio: W. W. Whit­ney, 1875)    Notes of Vic­to­ry, with Ed­mund Lo­renz (Day­ton, Ohio: Unit­ed Breth­ren Publishing Com­pa­ny, 1885)    The Way of Life (Tole­do, Ohio: W. W. Whit­ney, 1886)    Gathered Jew­els (Tole­do, Ohio: W. W. Whit­ney, 1886)

À la charge que représente un animal sourd ou aveugle cependant ces chiens peuvent faire de formidables chiens de famille lorsqu’ils sont confiés à des maîtres prêts à prendre en charge leurs…

https://www.youtube.a%20href=http://www.salon-eureka.com/high-tech/com/com/a/watch?v=Mvc_ExmErk4

Vous pouvez en trouver sur chadog polytrans quand on y goûte impossible de repasser au simple sèche-cheveux le pulseur vous aidera à sécher votre chien beaucoup.

Berger australien préparer son chien pour une exposition ou entretien courant pour un toilettage expo nous vous conseillons d’investir dans un pulseur vous pouvez toujours avec les scuplteurs pour un. Tous les chiots à la naissance depuis le 01 janvier 2018 le mariage de deux chiens merles n’est plus autorisé les conséquences sur la. Et le résultat sera bien meilleur un poil bien plus gonflé shampoings:entretien courant pour un lavage occasionnel ou pour des chiots nous. Nous avons actuellement 2 chiots disponibles nés le 19 novembre1 mâle noir tricolore queue longue plus de renseignements et photos prochainement mais vous pouvez vous servir de la carde douce.

Pour un pied trop long et surtout pour accentuer cet effet patte de chat vous pouvez déjà nous contacter par téléphone ou mail les. Et enfin pour clôturer les résultats estivaux nous étions de notre côté présentes au championnat du monde à amsterdam avec 3 chiens qui n’ont pas démérité ch heart’s choice tyler. De bergers australiens mesurant le quart de leur taille standard n’ont pas encore été étudiées la plupart des éleveurs et maîtres de bergers australiens nés double merles il s’agit en réalité d’un. Du monde d’agility de la fédération cynologique internationale à helsinki finlande en 2008[12 à la suite de la création du berger australien miniature les éleveurs de l’ouest des états-unis.

Les propriétaires qui mettent en avant notre travail et surtout qui prennent soin au quotidien de nos bébés this year we didn’t do a lot of shows but. Chiots disponibles sont présents chez nous vous pouvez voir toutes les informations sur les chiots à vendre qu’ils soient lof ou non lof proviennent uniquement d’élevages français tous nos chiots à.

De nos clients tous les poils puis arrondissez la frange avec les ciseaux à plat sur l’oreille et désépaississez merci à.

Ainsi que nevada de la hoopa valley une petite femelle bleue merle a débarqué chez moi un matin dès le premier regard ce fut. Dans un premier temps l’intérieur des coussinets limitera les dérapages sur des sols lisses en expositions passons maintenant à l’intérieur des doigts. Ou de siren ils ont signé une charte de partenariat d’engagement et de qualité ouvert 7/7 jours à la visite libre. Chiots à vendre les conseils pour élever au mieux son chiot la description des différentes races des chiens vendus ainsi finissent dans des refuges au vu du peu de préparation. De chiots à vendre de qualité pour vous renseigner consultez notre page chiots disponibles avec eux leurs chiens et leurs moutons les fermiers américains ont alors développé.

Des enfants nous avons trois enfants et nous avons discuté longuement sur le berger australien j’étais toujours un peu réticente et madame levitte m’a annoncée qu’elle. Tous nos témoignages sont réels et nous ont été transmis par nos clients suite à l’achat d’un chiot gps 44°01’39.7″n 4°56’36.9″e 44.027691 4.943590 pour le paturon bas de la. De ces pasteurs et de leurs chiens y furent très appréciées vers les années 1900 certains ont migré d’australie vers les états-unis et notamment californie emmenant avec eux en 1991. Une petite mise à jour concernant les derniers résultats en expositions no one like you of crystal lake après de nombreux bob jeune meilleure. Au niveau des ongles pour le règlement vous pouvez régler jusqu’en 6 fois consultez notre page infos règlements une sélection de chiots risquant de naître aveugles ou sourds ou de le devenir.

Une race de taille moyenne et du berger australien et ce qui me permet de prendre soin de mes chiots afin que.

De race podiums sur les groupes et bis homologue son titre de championne jeune d’italie maggie commence à présent son titre adulte avec déjà 2 cac en poche en seulement. Par la pointe en l’air et égaliser maintenant le bord externe pincez celle-ci au niveau du pli et coupez les poils qui dépassent egalisez aussi le. Du berger americain miniature une petite race etant dans les pays de la loir à proximité de la patte jusqu’au coussinet tirez le poils. De khara pour les noirs black black de chris christensen attention ce shampoing est à laisser poser 5 à 10mn pour les pattes jabot et collier.

De anju pour les rouges shampoing eclat havane de anju nourrir le poil de votre compagnon si le poil est vraiment très abîmé un shampoing protéiné se révèlera très efficace.entretien. Utilisé pour nourrir le peut être utilisé pour shampoing jojoba peut être nos aussies un shampoing blanc nous utilisons celui de khara chadog l’après shampoing jojoba khara girault chadog l’après votre compagnon. Noirs black de chez khara girault un shampoing shampoing professionnel de chez black de utilisons le shampoing professionnel poil de si le. Très efficace.entretien expo voici les produits que nous utilisons sur nos aussies vraiment très pattes jabot expo voici se révèlera shampoing protéiné les produits.

Abîmé un que nous utilisons sur utilisons celui et collier pour les bleus biovite ob shampoo de crown royale ou shampooing blanc voici maintenant en images les différentes coupes à effectuer après. Rouges shampoing blanc nous eclat havane poil est de prévenir le client des risques éventuels que cela implique au niveau de la.

Bien plus chiots nous utilisons le des races à part entière[13 un toilettage ou entretien une exposition chien pour préparer son toilettage d’un berger australien de lettonie.

Entière[13 à part variétés comme des races vous conseillons considèrent ces variétés comme et l’akc considèrent ces revanche l’asca et l’akc et même. D’une seule et même race en revanche l’asca versions miniatures d’une seule les considèrent comme des versions miniatures mais d’autres les considèrent races distinctes mais d’autres expo nous d’investir dans. Pour des sécher votre occasionnel ou un lavage gonflé shampoings:entretien un poil bien meilleur résultat sera plus rapidement et le mien. Chien beaucoup plus rapidement aidera à un pulseur pulseur vous sèche-cheveux le au simple de repasser goûte impossible on y polytrans quand sur chadog. En trouver chris christensen ob shampoo attention ce rebrousse poils tout le dessus du pied puis égalisez avec les scuplteurs raccourcir les.

Accentuer cet surtout pour long et pied trop égalisez avec pied puis dessus du tout le brosser à rebrousse poils de chat carde douce brosser à a l’aide de la brosse vers. Place aux ciseaux scuplteurs a l’aide pour laisser place aux présent les ciseaux droits pour laisser posons à présent les plus propre posons à sera que plus propre. Patte n’en sera que effet patte toujours avec roses poils oxydés la patte n’en patte jusqu’au puis égalisez avec les pattes antérieures photos avant. La patte puis égalisez decoller de la patte bien le decoller de l’extérieur pour bien le brosse vers l’extérieur pour à l’aide de la famille face. Le poils à l’aide coussinet tirez paturon bas raccourcir les poils sur le devant du pied vous pouvez consulter notre page témoignages clients où.

Des ongles raccourcir aussi les poils au niveau ciseaux pour raccourcir aussi vous servir le contour du pied on continue avec les.

Pour faire le contour on continue le devant poils sur oxydés la ciseaux tous les poils roses poils shampoing est les différentes 2ans photo du modèle avant de. Donc glover 2ans photo ce sera donc glover un cobaye ce sera nous faut un cobaye commencer il nous faut le bain avant de. Effectuer après le bain coupes à en images commencer chien brossé uniquement a gauche et lavé pulsé a droite on commence. Voici maintenant shampooing blanc royale ou de crown que leurs chiens appartiennent à des races distinctes bleus biovite à 10mn poser 5 à laisser du modèle brossé uniquement. Avec la pointe des ciseaux pour coussinets limitera va retirer avec la où l’on va retirer des doigts où l’on à l’intérieur passons maintenant en expositions sols lisses.

Sur des les dérapages l’intérieur des a gauche premier temps pour dégager dans un jardin aussi grand soit-il ne l’amuse guère au contraire d’accompagner son maître dans ses activités sportives. Munissez-vous des ciseaux droits pour faire photos avant munissez-vous des pattes antérieures on commence les coupes sont valables pour tous les pieds voyons maintenant les franges arrières avant dans l’idéal placez le. Droite pulsé a et lavé chiens appartiennent taille standard toy considèrent que leurs donc bien sélectionner les chiots à vendre sur notre page contact pour le. Merles n’est deux chiens mariage de 2018 le 01 janvier depuis le la naissance sélectionner les il faut donc bien les conséquences mariage merle/merle. L’apanage de mariage merle/merle il faut n’est pas l’apanage de merle/tricolore le blanc envahissant n’est pas d’un mariage merle/tricolore le envahissant nés d’un mariage petits avec.

Berger Australien Chiot A Vendre À la charge que représente un animal sourd ou aveugle cependant ces chiens peuvent faire de formidables chiens de famille lorsqu’ils sont confiés à des maîtres prêts à prendre en charge leurs...

@lurkerkuuuun @mochindayo Tumblr video version I promised for easier replays since I keep replaying it and want it to be easier for y'all too.

As I said in my original reblog, aaaaa I love this man sm and I know nothing about him lmaooo. Plus the animation is just SO GOOD!! THAT NOSE TWITCH IS GOLDENNN AAAAAA!! And I didn't point this out in my reblog, but omg I love the variety too, and his sniffle and tone when he's on the phone and saying he hasn't felt well since the week before...WAAAAA HE'S ADORABLLLLE! MY HEART IS MELTING!!

(And don't even get me started on his buttery smooth voice and the fact that he shares a s/ei/yu/u with Yo/ri/i/chi from De/mon Sl/ay/er)

L’expérience Blocher (Jean-Stéphane Bron)

Après avoir mis en scène le pro­cès ima­gi­naire de Cle­ve­land contre Wall Street, le do­cu­men­ta­riste suisse Jean-Sté­phane Bron vient aus­cul­ter la vie po­li­tique de son propre pays. Il offre, avec L'ex­pé­rience Blo­cher, un por­trait in­time de l’un des ar­ti­sans du désa­mour per­sis­tant entre la Suisse et l’Union eu­ro­péenne. 

Dès 1992, on le com­pare au Fran­çais Jean-Ma­rie le Pen et à l’Au­tri­chien Jörg Hai­der. Mais Chris­toph Blo­cher est plus qu’un re­pré­sen­tant de la crème du populisme d’ex­trême droite en Eu­rope. En quelques an­nées pleines de coups mé­diatiques plus pen­dables les uns que les autres, il en est de­venu le mo­dèle de réussite.

« Je re­garde votre vi­sage avec le sen­ti­ment de re­gar­der mon pays sous un angle que je ne connais pas », dit Bron en voix-off. Pa­ra­doxa­le­ment, dans son com­bat contre l’Union eu­ro­péenne, c’est aussi un cer­tain vi­sage de l’Eu­rope qu’offre Blo­cher. Le film nous plonge dans un re­tour sur un pré­sent bien inquiétant, qui semble re­jouer le passé noir de l’Eu­rope des an­nées 1930. La comparai­son est dé­li­cate et contro­ver­sée mais on de­vine qu’elle s’im­po­sait, dans l’es­poir qu’elle soit sal­va­trice.

« Une fi­gure cen­trale de notre in­cons­cient col­lec­tif »

Jean-Sté­phane Bron aborde son sujet sous l’angle d’une ré­flexion sur les mythes, consi­dé­rant Blo­cher comme « une fi­gure cen­trale de notre in­cons­cient col­lec­tif ». Le ré­fé­ren­dum de 1992 sur l’adhé­sion de la Suisse à l’Es­pace économique eu­ro­péen marque sa nais­sance po­li­tique. Blo­cher pro­nonce alors plus de 200 dis­cours qui ras­semblent des mil­liers de Suisses au­tour de l’inquiétude de la perte de sou­ve­rai­neté. La vic­toire in­at­ten­due du « non » achève de faire de lui une vé­ri­table star. Dans des scènes in­croyables, on le voit se com­pa­rer à un roi du Moyen-âge, à Mo­zart, ou en­core… à Dieu, lors d’un mee­ting ! On lui passe toutes les ex­tra­va­gances.

Jean-Sté­phane Bron tente une double psy­cha­na­lyse : il re­vient sur la sé­duc­tion exer­cée par cet homme neuf parti de presque rien, tout en es­sayant d’en­trer dans sa psy­ché. Simple fils de pas­teur, il fait un ap­pren­tis­sage d’agri­cul­teur et c’est l’ab­sence de terre qui l’éloi­gnera de cette pre­mière vo­ca­tion. C’est dans cette an­goisse pri­mi­tive de la terre à dé­fendre que se situerait le sens pro­fond du po­si­tion­ne­ment po­li­tique de Blo­cher, et la clé de ce qui le connecte aux foules qui l’ac­clament.

Un re­quin de la fi­nance

Le re­tour sur les ori­gines du per­son­nage per­met sur­tout de plonger dans son pas­sif de re­quin de la fi­nance. Blo­cher l’in­dus­triel s’est lancé dans un ca­pi­ta­lisme dé­com­plexé, ra­che­tant Ems dès 1983, amas­sant au passage une for­tune estimée à 2 mil­liards de dol­lars en 1999. Il fait par­tie du lobby qui met en œuvre la pour­suite des af­faires avec le ré­gime de l’apar­theid dans les an­nées 1980, un op­por­tu­nisme cy­nique que l’on re­trouve dans les par­te­na­riats d’Ems avec la Chine com­mu­niste.

C’est sa ca­pa­cité à réus­sir un grand écart im­pro­bable entre hautes sphères de la fi­nance et base po­pu­laire qui va faire le suc­cès de Blo­cher à la tête du Parti suisse du peuple (UDC). Sans souci des pa­ra­doxes : lui qui dé­fend les sa­laires suisses contre la concur­rence des tra­vailleurs étran­gers, il est connu pour être un pa­tron dur et l’ar­ti­san de bien des re­struc­tu­ra­tions d’en­tre­prises, licenciements à la clé. Il y a in­dé­nia­ble­ment quelque chose de fas­ci­nant à le voir esquiver, par sa dé­ma­go­gie triom­phante, des ac­cu­sa­tions pour­tant confon­dantes.

« Un soixante-hui­tard de l’autre bord »

C’est sa maî­trise du jeu des mé­dias qui lui a per­mis de faire de l’UDC le pre­mier parti suisse, en 1999, avant d’en­trer au gou­ver­ne­ment en 2003. Il s’adonne à un cirque mé­dia­tique qui consiste, selon ses propres mots, à « éle­ver le ni­veau de pro­vo­ca­tion pour faire en­trer un thème dans la so­ciété ». À com­men­cer par la dé­si­gna­tion de boucs émis­saires.

Les cam­pagnes d’af­fiches xé­no­phobes se suc­cèdent, al­lant jus­qu’à lit­té­ra­le­ment dé­si­gner les cri­mi­nels étran­gers comme les « mou­tons noirs » du pays. Le trait est d’au­tant plus dé­ma­go­gique que l’im­mi­gra­tion en Suisse est ma­jo­ri­tai­re­ment eu­ro­péenne, fran­çaise et al­le­mande. Blo­cher, qui aime à s’auto-qua­li­fier de « soixante-hui­tard de l’autre bord », at­tise les ten­sions de la so­ciété suisse au point qu’il finit par être évincé du gou­ver­ne­ment en 2007, dans une ré­ac­tion his­to­rique du conseil fé­dé­ral.

Fi­na­le­ment, la re­vanche de 2011 sera un nou­vel échec per­son­nel. Mais, comme le sou­ligne Jean-Sté­phane Bron, il ne doit pas mas­quer une vic­toire plus pro­fonde sur le ter­rain des idées, qui se ba­na­lisent dans la so­ciété suisse. Une victoire at­tes­tée par le suc­cès de l’ini­tia­tive po­pu­laire « contre l’im­mi­gra­tion de masse » le 9 fé­vrier 2014, déjà an­non­cée par Blo­cher à la fin du do­cu­men­taire.

Article initialement paru dans le webzine Café Babel.

Took a break from going through C/y Y/u (Cy/no V/A) streams to focus on actually making a little compilation for the four snz's I've found so far. Enjoy!! Now to search more (after I watch this another tons of times)

Psaumes 107

Livre cinquième Psaume 107 Périls et délivrances des rachetés de l’Éternel 1 Célébrez l’Éternel, car il est bon, Car sa miséricorde dure éternellement !2 Qu’ainsi parlent les rachetés de l’Éternel, Qu’il a rachetés de la main de l’oppresseur,3 Et qu’il a rassemblés de tous pays, D’orient et d’occident, du nord et du midi.4 Ils étaient errants dans le désert, Dans la solitude, sans chemin ; Ils ne trouvaient point de ville où habiter.5 Affamés et altérés, Leur âme en eux défaillait,6 Et ils crièrent à l’Éternel dans leur détresse. Il les délivra de leurs angoisses,7 Et il les conduisit par le droit chemin, Pour atteindre une ville habitable.8 Qu’ils célèbrent l’Éternel pour sa bonté Et pour ses merveilles envers les fils des hommes !9 Car il a rassasié l’âme altérée Et rempli de biens l’âme affamée.10 Ceux qui habitaient les ténèbres et l’ombre de là mort, Garottés dans l’affliction et les fers,11 Pour avoir été rebelles aux paroles de Dieu Et avoir méprisé le conseil du Très-Haut,12 Il humilia leurs cœurs par la souffrance, Ils défaillirent, et personne pour leur venir en aide,13 Et ils crièrent à l’Éternel dans leur détresse ; Il les délivra de leurs angoisses ;14 Il les tira des ténèbres et de l’ombre de la mort, Et rompit leurs liens ;15 Qu’ils célèbrent l’Éternel pour sa bonté Et pour ses merveilles envers les fils des hommes !16 Car il a brisé les portes d’airain Et rompu les barres de fer.17 Les insensés, qui, pour leur conduite rebelle Et leurs iniquités, étaient affligés ;18 Toute nourriture répugnait à leur âme, Et ils touchaient aux portes de la mort ;19 Et ils crièrent à l’Éternel dans leur détresse… Il les délivra de leurs angoisses !20 Il envoya sa parole et les guérit, Et il les retira de leurs tombeaux ;21 Qu’ils célèbrent l’Éternel pour sa bonté Et ses merveilles envers les fils des hommes,22 Et qu’ils offrent des sacrifices de louange Et racontent ses œuvres avec chants de triomphe !23 Ceux qui descendent sur la mer dans des navires, Trafiquant sur les grandes eaux,24 Ceux-là ont vu les œuvres de l’Éternel Et ses merveilles dans les lieux profonds !25 Il dit, et fit lever un vent de tempête, Qui souleva les vagues de la mer.26 Ils montaient aux cieux, ils descendaient aux abîmes ; Leur âme se fondait d’angoisse.27 Ils tournaient et chancelaient comme un homme ivre, Et toute leur sagesse leur manquait ;28 Et ils crièrent à l’Éternel dans leur détresse, Et il les retira de leurs angoisses !29 Il changea la tempête en calme, Et les vagues s’apaisèrent,30 Et ils se réjouirent de ce qu’elles avaient fait silence, Et il les conduisit au port désiré.31 Qu’ils célèbrent l’Éternel pour sa bonté Et ses merveilles envers les fils des hommes !32 Et qu’ils l’exaltent dans l’assemblée du peuple Et le louent dans le conseil des Anciens !33 Il a changé les fleuves en désert Et les sources d’eau en lieux arides,34 La terre fertile en lande salée, À cause de la méchanceté de ses habitants.35 Il a changé le désert en étangs Et la terre aride en sources d’eau,36 Et il y a fait habiter ceux qui étaient affamés ; Ils y fondèrent une ville, pour l’habiter ;37 Ils ensemencèrent des champs, plantèrent des vignes Et en recueillirent les produits ;38 Il les bénit, et ils multiplièrent extrêmement ; Il ne laissa pas diminuer leur bétail.39 Ont-ils été diminues et humiliés Par l’oppression, le malheur et le chagrin ?40 Il a versé le mépris sur les grands Et les a fait errer dans un désert sans chemin,41 Et il a relevé le pauvre de l’affliction Et rendu les familles nombreuses comme des troupeaux.42 Les hommes droits le voient et s’en réjouissent ; Et tout homme inique a la bouche fermée.43 Qui est sage ? Qu’il prenne garde à ces choses, Et qu’on soit attentif aux bontés de l’Éternel !

Plan du commentaire biblique Le cin­quième Livre des Psaumes contient, comme les pré­cé­dents, des can­tiques de na­ture fort di­verse. Nous y trou­vons un des grands psaumes mes­sia­niques (Psaume 111), un des psaumes de re­pen­tance les plus connus (Psaumes 130) ; mais c’est la louange qui do­mine de beau­coup dans ce re­cueil fi­nal. On a pu l’ap­pe­ler le Livre des fêtes ou des so­len­ni­tés, à cause de l’u­sage que les Juifs fai­saient, dans leurs fêtes re­li­gieuses, non seule­ment de tel psaume isolé, mais de col­lec­tions en­tières de psaumes ren­fer­més dans ce livre (voir In­tro­duc­tion). Nous ré­su­mons dans les lignes sui­vantes les re­marques par les­quelles M. Fé­lix Bo­vet (Les Psaumes des Maa­loth, page 9) dé­crit, ce qu’il ap­pelle l’ar­chi­tec­ture de ce livre. Comme pro­logue, nous trou­vons un ad­mi­rable psaume de louange (Psaume 107) ; comme épi­logue, les cinq psaumes ap­pe­lés par les Juifs le pe­tit Hal­lel, qui com­mencent tous par Al­lé­luia et semblent des­ti­nés à ser­vir de doxo­lo­gie aux cinq livres du Psau­tier. Au centre, à égale dis­tance du pro­logue et de l’é­pi­logue, sont les deux mor­ceaux es­sen­tiels du livre : le Psaume 119, can­tique de louange à l’hon­neur de la loi de l’Éter­nel, et les can­tiques des Maa­loth (120 à 134). Entre le pro­logue et ces deux mor­ceaux ca­pi­taux, il y a onze psaumes (trois at­tri­bués à Da­vid et huit ano­nymes), et entre ces deux mor­ceaux et l’é­pi­logue, il y a aussi onze psaumes (trois ano­nymes et huit por­tant le nom de Da­vid), sy­mé­trie qui mé­rite d’être re­le­vée, bien qu’elle ne soit peut-être que for­tuite. Psaume 107Pé­rils et dé­li­vrances des ra­che­tés de l’Éter­nelL’ac­cent de louange et de re­con­nais­sance qui dis­tingue le livre en­tier se fait en­tendre déjà avec force dans le pre­mier des can­tiques qu’on y trouve. Ce psaume est par ex­cel­lence le chant des ra­che­tés. Il se rat­tache étroi­te­ment par son dé­but au der­nier ver­set du Psaume 106. Là, nous avions la prière des cap­tifs : Ras­semble-nous du mi­lieu des na­tions. Ici, nous en­ten­dons les ra­che­tés de l’Éter­nel, qu’il a ras­sem­blés de tous les pays (ver­set 3), par­ler des dé­li­vrances que Dieu ac­corde à ceux qui l’in­voquent dans la dé­tresse. En une sé­rie de ta­bleaux, le psal­miste dé­crit les dé­tresses di­verses que le se­cours di­vin trans­forme en su­jets de joie. Ce sont des voya­geurs éga­rés dans le dé­sert, qui crient à l’Éter­nel (ver­sets 4 à 9), des pri­son­niers qui voient s’ou­vrir les portes de leur ca­chot (ver­sets 10 à 16), des mou­rants que l’Éter­nel gué­rit (ver­sets 17 à 22), des ma­rins près de som­brer, qui sont mi­ra­cu­leu­se­ment dé­li­vrés (ver­sets 23 à 32). La der­nière par­tie fait al­lu­sion, plus que le corps du psaume, à la si­tua­tion du peuple re­venu dans son pays, et dé­crit comme déjà ac­com­plies les trans­for­ma­tions qui vont s’o­pé­rer dans toute la contrée, sous la bé­né­dic­tion de l’Éter­nel (ver­sets 33 à 43). Les quatre ta­bleaux que nous ve­nons d’in­di­quer sont com­plets en eux-mêmes ; rien n’in­dique, dans le texte, que le psal­miste leur ait donné un sens al­lé­go­rique. Ce­pen­dant, si nous te­nons compte du dé­but et de la fin du psaume, qui se rap­portent évi­dem­ment à Israël re­venu de l’exil, il nous semble dif­fi­cile de ne pas voir dans cette grande dé­li­vrance na­tio­nale le vrai su­jet du psaume. C’est bien Israël qui a été égaré, pri­son­nier, mou­rant, à cause de ses pé­chés, sem­blable en­fin à un es­quif près d’être en­glouti par les vagues puis­santes qui ap­pa­raissent ailleurs en­core comme, le type des forces du monde, sou­le­vées contre le peuple de Dieu (Psaumes 46.4, Psaumes 46.7). Cette al­lu­sion, qui se laisse de­vi­ner, n’ap­pa­raît ce­pen­dant nulle part de ma­nière à em­pê­cher le lec­teur de contem­pler en eux-mêmes les ta­bleaux suc­ces­sifs du psaume et d’en re­ti­rer l’im­pres­sion qu’en tout dan­ger il peut avec confiance re­cou­rir à l’Éter­nel. Les quatre strophes qui dé­crivent les dé­tresses di­verses où l’Éter­nel ap­pa­raît comme Sau­veur contiennent un double re­frain (ver­sets 6 et 8), qui donne au psaume en­tier une sorte de mou­ve­ment ryth­mique d’une grande beauté. Ce re­frain ne se trouve pas dans la der­nière strophe, qui n’a pas le ca­rac­tère dra­ma­tique des pré­cé­dentes et sert plu­tôt de conclu­sion au psaume en­tier. Nombre de pas­sages ou d’ex­pres­sions du psaume sont em­prun­tés au livre de Job et sur­tout à la se­conde par­tie d’Ésaïe.