All my maps, readings, and analyses – the midlife loops, the physiology, the rhythms – are tools. They are precise, elegant, even beautiful. But, tools are not the point. They are only meaningful if they lead back to what matters most: connection, presence, and the living pulse of life.
That is the first paragraph of my new post on The Listening Room HQ. You can read the rest here.
The Midlife Cycle: Written Map of Loops, Physiology, and Environment a new post on The Listening Room HQ is a practical, text-based map of the midlife cycle, showing how behavior, physiology, and environment interact.
Roots & Horizons – Field Notes II a new post on The Polymath.
There’s a new post at The Listening Room HQ: Synthesis Framework: Menās Midlife Cycles – Patterns, Physiology, and Integration.
There is another set of twin posts on The Polymath and The Listening Room HQ. Both speak of Equity and Equality, The Round Table, The Grail. Of seeds, of side by side.
Equality & Equity – Round Table & Grail: Planting Seeds of Balance at The Polymath
The Polymath and Equality & Equity – Round Table & Grail:
Living Side by Side The Listening Room HQ.
Here I am, still looking like an internationally woman of mystery on cold, windy late afternoon by the salt marshes. My radio programme Amazing Songs & Other Delights now airs new editions the first and third Monday, 3-4pm (London time) of the month, respective repeats, second and fourth Monday of the month, on YĆ© YĆ© Radio: https://yeyeradio.com/ (or on the app)
Each edition of my show has a theme. The anniversary show is a special occasion with endless delights. All aired shows can be listened to on mixcloud: YĆ© YĆ© Radio mixcloud | Mondo Bizarre Magazine mixcloud
Today is International Music Day. I selected three songs from different time periods and genres. Cantigas do Maio by JosƩ Afonso, Der Erlkƶnig by Franz Schubert, and my favourite song Will You Love Me Tomorrow sung by the Shirelles.
Cantigas do Maio is from the fifth album by Portuguese musician, composer, singer, songwriter 1971 album Cantigas do Maio. A beautiful song, in which the voice starts gentle, develops a frantic tone, then quiets, then rises again, and ends quiet.
Cantigas do Maio:
Eu fui ver a minha amada
LĆ” p’rĆ³s baixos dum jardim
Eu fui ver a minha amada
LĆ” p’rĆ³s baixos dum jardim
Dei-lhe uma rosa encarnada
Para se lembrar de mim
Dei-lhe uma rosa encarnada
Para se lembrar de mim
Eu fui ver o meu benzinho
LĆ” p’rĆ³s lados dum passal
Eu fui ver o meu benzinho
LĆ” p’rĆ³s lados dum passalFeatures
Dei-lhe o meu lenƧo de linho
Que Ć© do mais fino bragal
Dei-lhe o meu lenƧo de linho
Que Ć© do mais fino bragal
Minha mĆ£e, quando eu morrer
Minha mĆ£e, quando eu morrer
Ai, chore por quem muito amargou
Ai, chore por quem muito amargou
Para entĆ£o dizer ao mundo
Para entĆ£o dizer ao mundo
Ai Deus m’o deu
Ai Deus m’o levou
Ai Deus m’o deu
Ai Deus m’o levou
Ai Deus m’o deu
Ai Deus m’o levou
Eu fui ver uma donzela
Numa barquinha a dormir
Eu fui ver uma donzela
Numa barquinha a dormir
Dei-lhe uma colcha de seda
Para nela se cobrir
Dei-lhe uma colcha de seda
Para nela se cobrir
Eu fui ver uma solteira
Numa salinha a fiar
Eu fui ver uma solteira
Numa salinha a fiar
Dei-lhe uma rosa vermelha
Para de mim se encantar
Dei-lhe uma rosa vermelha
Para de mim se encantar
Minha mĆ£e, quando eu morrer
Minha mĆ£e, quando eu morrer
Ai, chore por quem muito amargou
Ai, chore por quem muito amargou
Para entĆ£o dizer ao mundo
Para entĆ£o dizer ao mundo
Ai Deus m’o deu
Ai Deus m’o levou
Ai Deus m’o deu
Ai Deus m’o levou
Ai Deus m’o deu
Ai Deus m’o levou
Eu fui ver a minha amada
LĆ” nos campos, eu fui ver
Eu fui ver a minha amada
LĆ” nos campos, eu fui ver
Dei-lhe uma rosa encarnada
Para de mim se prender
Dei-lhe uma rosa encarnada
Para de mim se prender
Verdes prados, verdes campos
Onde estĆ” minha paixĆ£o?
Verdes prados, verdes campos
Onde estĆ” minha paixĆ£o?
As andorinhas nĆ£o param
Umas voltam, outras nĆ£o
As andorinhas nĆ£o param
Umas voltam, outras nĆ£o
Minha mĆ£e, quando eu morrer
Minha mĆ£e, quando eu morrer
Ai, chore por quem muito amargou
Ai, chore por quem muito amargou
Para entĆ£o dizer ao mundo
Para entĆ£o dizer ao mundo
Ai Deus m’o deu
Ai Deus m’o levou
Ai Deus m’o deu
Ai Deus m’o levou
Ai Deus m’o deu
Ai Deus m’o levou
My favourite song Will You Love Me Tomorrow, also known as Will You Still Love Me Tomorrow, written by Carole King and Gerry Goffin, first recorded by The Shirelles in 1960.
Will You Love Me Tomorrow:
Tonight you’re mine completely
You give your love so sweetly
Tonight the light of love is in your eyes
But will you love me tomorrow?
Is this a lasting treasure
Or just a moment’s pleasure?
Can I believe the magic of your sighs?
Will you still love me tomorrow?
Tonight with words unspoken
You say that I’m the only one
But will my heart be broken
When the night (when the night)
Meets the morning (meets the morning) sun?
I’d like to know that your love
Is a love I can be sure of
So tell me now, and I won’t ask again
Will you still love me tomorrow?
So tell me now, and I won’t ask again
Will you still love me tomorrow?
Will you still love me tomorrow?
Will you still love me?
And Der Erlkƶnig by Franz Schubert, with a ballade written by Johann Wolfgang in 1782. Here sung by baritone Dietrich Fischer-Dieskau accompanied by pianist Gerald Moore. Haunting, chilling, Dietrich sings the three voices, child, father, Erlkƶnig with deep emotion and such tonal variation it leaves you mesmerized. And the final line, In seinen Armen das Kind war tot (In your arms the child is lies dead) is arrowing.
Der Erlkƶnig:
Wer reitet so spƤt durch Nacht und Wind?
Es ist der Vater mit seinem Kind;
Er hat den Knaben wohl in dem Arm,
Er fasst ihn sicher, er hƤlt ihn warm.
Mein Sohn, was birgst du so bang dein Gesicht? ā
Siehst, Vater, du den Erlkƶnig nicht?
Den Erlenkƶnig mit Kronā und Schweif? ā
Mein Sohn, es ist ein Nebelstreif. ā
āDu liebes Kind, komm, geh mit mir!
Gar schƶne Spiele spielā ich mit dir;
Manchā bunte Blumen sind an dem Strand,
Meine Mutter hat manch gĆ¼lden Gewand.ā ā
Mein Vater, mein Vater, und hƶrest du nicht,
Was Erlenkƶnig mir leise verspricht? ā
Sei ruhig, bleibe ruhig, mein Kind;
In dĆ¼rren BlƤttern sƤuselt der Wind. ā
āWillst, feiner Knabe, du mit mir gehn?
Meine Tƶchter sollen dich warten schƶn;
Meine Tƶchter fĆ¼hren den nƤchtlichen Reihn
Und wiegen und tanzen und singen dich ein.ā ā
Mein Vater, mein Vater, und siehst du nicht dort
Erlkƶnigs Tƶchter am dĆ¼stern Ort? ā
Mein Sohn, mein Sohn, ich sehā es genau:
Es scheinen die alten Weiden so grau. ā
āIch liebe dich, mich reizt deine schƶne Gestalt;
Und bist du nicht willig, so brauchā ich Gewalt.ā ā
Mein Vater, mein Vater, jetzt fasst er mich an!
Erlkƶnig hat mir ein Leids getan! ā
Dem Vater grausetās; er reitet geschwind,
Er hƤlt in Armen das Ƥchzende Kind,
Erreicht den Hof mit MĆ¼he und Not;
In seinen Armen das Kind war tot.
More or my favourite songs can be read about here Amazing Songs & Other Delights #80 – The These Are a Few of My Favourite Songs edition and listened to here.
I have also written about this three songs plus Daddy’s Spending by Suede on The Polymath
I conclude the The Listening Room HQ triad exploring the hidden physiology behind menās patterns, choices, and resilience. The third post, Adrenaline Cycles and the Crash, looks at how high-intensity states and the following recovery shape the nervous system, emotional patterns, and capacity for integration.
This note follows the first two posts in the series on the magazine:
And it completes the triad of posts on The Listening Room HQ:
For more articles and ongoing notes from the practice, visit The Listening Room HQ.
Iām sometimes asked what a Mayan Soul Map looks like, or what to expect from a reading that includes Mayan. I’m a member of The Mild Ones, a Suede fan community. Today, is Brett Anderson’s birthday, and I share a Mayan Soul Map Synthesis, exploring his Birth Kin, current cycle, Venus phase, and more on The Polymath’s site.
Here’s an excerpt of my Brett Anderson Mayan Soul Map Synthesis: “Brettās birth essence holds a deep, crystalline clarity: the need to question, to refuse easy answers, and to stand as a voice of integrity for the collective. His life path is not solitary. Warrior at Crystal tone suggests that his strength is found in weaving himself into group purpose, holding vision within a wider band of seekers. Brett’s full Mayan Soul Map Synthesis can be read here.
Alongside the interview with Juliana Ferreira, we invite you to visit, read and explore The Polymath and The Listening Room HQ, me two new vessels that live on another frequency, and to read their recent twin posts.
Presence, Listening, Creation – A Polymath Manifesto where I write in The Polymath about being a Polymath in this time and age, creating a Polymath Manifesto.
And Listening Beyond the Noise, on The Listening Room HQ, that unveils the currents behind and beyond the relentless noise we are surrounded with. Here on a men’s practice vision, but that is transposable for everyone.
