August 27th 2018: Mars station direct in Capricorn. Aspects highlighted reveal a sweet symmetry that cuts right to the heart of the magic of this moment. The Moon is at 16 Pisces, conjunct Neptune and trine Jupiter in Scorpio.
Only 24 hours after the Pisces Full Moon and Magnetic Connection Solar Storm, Mars returns to direct motion and we are moving on- awake within the dream and integrating the massive shifts of August, the eclipses, and the Lion’s Gate. So much has changed, and while Mars is still stationed motionless, the time to take action on the upgrade is coming very soon.
Venus and Psyche form aspects to Pluto. Psyche’s conjunction to Jupiter and trine from the Pisces Moon give her a really thrilling amount of power here- Psyche of course being one of the only figures in that entire mythological tradition to pass freely into Pluto’s Underworld and back again.
Psyche in Scorpio opposite Eros in Taurus became exact on August 23rd:
On the other side of Mars, Lilith and the South node form aspects to Chiron and Uranus. For me this underscores the importance of honoring the stages of grief we go through when we have these life shattering awakenings and realize the full extent of the powers that we were previously unable to claim. The waves of sadness, anger, and denial that come and go as our awakening usually requires us to see our old selves and our traumas and unhealthy patterns in a whole new light. I’m watching for the Moon’s next conjunction to Uranus for a flare-up or level-up regarding the split between who we once were, and the selves we have awakened to.
Mars forms trines to Sedna in Taurus and Apophis in Virgo. In the treacherous final degrees of Capricorn, with contacts from the darkest and least predictable charachters in the sky…
At this point in my creative process, I take a moment to clear my mind until an image presents itself. What came to me for this moment was Sandy, at the end of the movie Grease.
Which led me to Inside GREASE: background and analysis by Scott Miller, which takes an enormous time commitment to digest in its entirety, so I will quote it at length below. The metaphor of rock and roll fits perfectly for Mars leaving behind the conservative conformity of 1950’s Capricorn for the sexual revolution and personal freedom of 1960’s Aquarius. It fits the entire Aquarius/Capricorn journey of this Mars retrograde experience, the trine between Neptune and Jupiter, the opposition between Eros and Psyche. This is the perfect metaphor for the entire current astrological picture, with great thanks to Scott Miller of New Line Theater:
“Many people are uncomfortable with the show’s ending because they miss the fact that Sandy doesn’t actually become a slut in the finale; she just learns how to dress like one, finally letting go of the tendency of too many Americans to stigmatize sexuality as dirty and shameful. She gives up the desexualizing poodle skirt that hid away her female form and replaces it with clothing that reveals and celebrates – and takes ownership of – her body and its adult curves. This is not a descent into decadence for Sandy; it is a throwing open of the doors of her moral prison. The authors’ intentions are clear in a stage direction in the final scene. After describing Sandy’s new hypersexual look – the tight pants, leather jacket, earrings, wild new hair – the script says, “Yet she actually looks prettier and more alive than she ever has.”…..
“The end of Grease suggests that a lasting, healthy relationship is only possible when both partners are openly and completely themselves, without regard for other people’s opinions, social conventions, or personal insecurities – and also when neither of them are afraid of their sexuality. This was not the message of the conforming adult world; this was a uniquely teen perspective. Both Sandy and Danny have to learn to be themselves, to shake off the masks of “cool” and “respectable.”…..
“(Sandy’s) overnight transformation proves that it’s all just play-acting – and that they all know it! She has learned what Rizzo and the girls have known all along. Sandy has become one of them just by changing her clothes! She throws off the weight and triviality of 1950s conformity and allows herself the freedom of the coming 1960s, a refusal to fear her own sexuality, to see sex as dirty, the freedom to be able to talk and laugh openly about sex. But behind all the rest, there’s a simpler, more subversive message. Sandy isn’t just saved by how she dresses; she’s saved by singing rock and roll. It isn’t until she can achieve the authenticity and sexual frankness of rock and roll, that she can be healed.”…..
Rock and Roll:
“Jazz was made for the brain. It was about detachment, bemusement, coolness. But rock and roll came straight for the heart and the groin. It was about primal feelings and desires. It stripped its sound of precision, elegance, finesse, training (just like Punk). Real rock and roll was animal, outlaw. It was sweaty. It didn’t float like jazz. It exploded. It pounded. Rock and roll was banned in major cities across America…”
“The third song in the show “Those Magic Changes” comments on rock’s most important characteristic – aside from the beat – the treatment of teenage love and emotion as serious and legitimate. The lyric starts off as a classic 50s teen lament, but it quickly becomes self-referential, a postmodern 50s song. It’s a song about falling in love but also about chord changes, about the comfort and familiarity of those four simple chords that undergirded the majority of early rock and roll. And those four chords open “Magic Changes”—C, A minor, F, and G7 ,or I, vi, IV, V7. The singer here is a boy lamenting lost love but finding safety and happy memories in those same four chords that he hears in every song”…..
“Rock gives him those four never-changing chords, and his heart supplies the always-changing melody. This ever-present chord progression wasn’t simple because songwriters were untalented; it was simple to get out of the way of the emotions of the songs, just like the best of rhythm and blues did. Unlike other musical forms – and this was something the adults just couldn’t get – chords weren’t the point here. The point is the emotion. This boy has been jilted, but he’s not in love with her anymore; now the object of his love is rock and roll itself.”
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