The Strength Card is the Ninth card at the 22 trump cards (Major Arcana) and is connected with the number 8. In numerology, it’s related to using your powers to make changes to achieve your personal goals. In regards to Strength, we usually associate it with muscles, strong arms and toughness. Even though the Power Card can indeed be symbolised as bodily strength and determination, it may also represent our inner power. Having courage, hope, patience, perseverance, a strong spirit, balanced mind, willpower and self-control are qualities of internal strength. A lady with flower garlands and an infinity halo is taming a lion as shown on the image of the Rider-Waite deck. The Strength card also associated with the zodiac sign of Leo. The above qualities are necessary to tame the lion and totally control it. The card appears when these qualities are most needed in life. It acts as a call to action for yourself you to develop all of the above traits. It may be the time period when you’re trying to tackle what you fear that takes you out of your comfort zone such as public speaking, feeling reluctant about an event which might disrupt your daily routine, by way of instance, dieting, quitting smoking/drinking or presently fighting an uphill battle in life. Have the power say no, take a step back and listen to your instincts. Strength is a reminder for you to be a pillar of strength for yourself and others. Take the opportunity to remain humble and feel secure within yourself. Your life will be more harmonious when you are grounded and balanced. The fear of failure and procrastination will stop you from succeeding. Otherwise, the surroundings will control you. Training the mind soul of your character by keeping your mind free of clutter and keep your ego in check. In another aspect, in a relationship reading, the card might be telling you that someone is in need of playing it cool by revealing some self-restraint. Perhaps you may be having conflicts with this individual who could be your spouse, family member, colleague etc.. The Strength card encourages you to stay on track and not to revert back into unhealthy patterns. You’re stronger than you think. You’ve got what it takes and do not give up.
In the late sixties something happened to an american generation that would mark them forever. It is a story of war, the struggle for racial equality and the explosion of counter culture, it was a time when a generation rebelled, and lost its innocence in the battle against injustice. Vietnam was the first ever televised war, and the images were inescapable. A decade which ended with disillusionment and anger started on a moral high note. Thanks to Rosa Parks and Martin Luther King jr, it seemed the time for racial equality in the US had finally arrived. There’s so much to write about in this era, that it is extremely difficult to select just 1 thing to focus on. Even though there is an absurd quantity of artwork and design that stems from this time period. When we discuss the”sixties” all we seem to recognise is the music, psychedelic rock and artists such as Janis Joplin and Jimmy Hendrix in particular. Album art and festival posters however is a good place to start. As music was a force to be reckoned with, so came the album art work and poster designs, hand in hand. One thing that seems to be re-occurring with most of the visual artists at the time is compared with”Underground Comix”. These depicted content deemed unfit and prohibited to the more strict mainstream media. Rick Griffin: When we look up band posters it’s not easy to avoid finding a Grateful Dead poster somewhere, anywhere. He was an American performer and one of the leading designers of psychedelic posters in the 1960s. His work within the surfing subculture included both film posters and his comic strip, Murphy. Victor Moscoso: A Spanish-American artist, Moscoso was the first of the rock poster artists of the 1960s era with formal academic training and experience. Here he later became an instructor. He was among the first of the rock poster artists to use photographic collages in his artwork work.His artwork and poster work has continued up to the present and he is a big inspiration to rock poster and album illustrators to this day. Bonnie MacLean: Another American artist making a name for her self at the time was Bonnie MacLean. She subsequently moved to New York where she worked at the Pratt Institute while attending drawing classes in the evenings. She later moved to San Francisco where she met and worked with a guy named Bill Graham, who became famous as the promoter of rock concerts at the Fillmore Auditorium. There she worked alongside another artist by the name of Wes Wilson. Wes Wilson: The aforementioned artist Wes Wilson was also one of the leading illustrators of psychedelic posters in the 1960’s. Working with Bill Graham and Bonnie MacLean, he had been a large part of promoting venues at the time together with posters and descriptive work for bands and musicians. The font and lettering of the posters from this era were made by him. He popularised this”psychedelic” font around 1966 that made the letters look like they were going or melting. This decoration is still used on newer records and art works for artists such as Foo Fighters, Kyuss Lives and The Queens of the Stone Age. This then proves that the psychedelic movement remains affecting artists, especially in the area of metal, desert rock and stoner rock. The design is very much still alive because its staple. Posters still influenced by the styles of art work can be traced through homages and inspirations in stone and metal posters in the present all the way back to this age. Several modern posters can be viewed on the internet pages of Malleus Rock Art Lab if you should be interested. I personally find a whole lot of inspiration through their imagery.
A talent agent can open up doors for actors and get them auditions and reservations that the vast majority of people never hear about. Don’t believe me? Just ask Ethan. Ethan was a teen celebrity who’d signed up for an on-camera acting workshop I was teaching. He had some theatrical experience but hadn’t done any on-camera acting previously. But he was very talented and enthusiastic, and after the workshop, I invited him to meet with me in the talent agency I worked at to discuss representation. We ended up signing Ethan, and within just a few months, we got him booked on a significant supporting role in Spike TV’s The Kill Point, starring Donnie Wahlberg and John Leguizamo. This teen actor with almost no experience in front of a camera got booked on a major cable network TV show because he found the ideal agent. Can you imagine the auditions and bookings you would have access to if you signed with the right agency? It all starts with finding a excellent agent to represent you. Where do you even find a talent agent? And how do you know that they’re legit? And not going to rip you off? Among the best pieces of advice I will give to any actor starting out is to work with what’s called a union-franchised agency (or broker ). SAG and AFTRA used to be their own separate marriages, but in 2012 the two merged to become SAG-AFTRA, one combined union to represent all celebrities for on-camera work. There are pros and cons for celebrities who are a part of SAG-AFTRA. The marriage guarantees that they have paid a certain minimum wage for any on-camera work they get booked . They also guarantee specific working conditions, and offer celebrities health insurance, retirement, and other benefits. If you live in one of the many, many smaller markets around the country that doesn’t have plenty of consistent work for union actors, this could be a massive drawback. But the question of whether or not you ought to join the union is a debate for another day. The important thing for ANY actor to understand is how unions work with talent agencies. SAG-AFTRA issues businesses to qualified talent agencies that meet specific requirements. These are known as union-franchised agencies. These agencies must employ, pay a free, and be approved by SAG-AFTRA so as to have the ability to represent union actors. It does not follow that you will need to join the union so as to utilize these agencies. In actuality, for most actors living outside of a significant market like LA or NYC, I usually recommend that you don’t join the union (but that’s a longer conversation for another time). What it does mean is that these agencies are highly regulated by SAG-AFTRA, and have all agreed to certain conditions for all their actors, union members or not. The agency must make its income almost exclusively through commissions they get when they get work for the celebrities they represent they cannot charge a commission for getting actors auditions the agency cannot be connected with an acting school or teach any courses or workshops within an agency there cannot be an in-house photographer or special third party photographer that actors are required to use they could only charge actors 10 percent commission for SAG-AFTRA tasks (they can charge higher commission for non-union jobs, generally 15-20percent ) Union-franchised agencies only get paid when they get work for their celebrities. They are generally a safe haven in the many scams out there designed to rip off unsuspecting actors. Does this imply that non-franchised talent agencies can not be trusted? Or that you should not sign with them? Of course not. They work hard to find work for the celebrities they represent, and they simply have the best of intentions. But finding out which of these non-franchised agencies are reputable and which ones are a scam is something which comes with a great deal of experience working in that industry. And there are many that appear to be legit UNTIL you start to work together and wind up wasting your time and your money. So that is why I always recommend that actors attempt to work with a union-franchised service when first starting out. How to find a union-franchised talent agency Locating a franchised agency near you is easy-go to SAG-AFTRA’s franchised agent page on their website in https://www.sagaftra.org/professionalrepresentatives and search for those services in the market closest to where you live. Do not be afraid to expand your search beyond just your regional area-you could even check within a couple hour radius of where you live. It may be harder to get to auditions in person, but there may be opportunities for you to self-tape your own auditions and submit them to the bureau. It’s far better to find the franchised agency that will be the best fit for you, and then figure out the logistics of how and when you’ll audition. There may be many non-franchised agencies which are closer to where you live. Many of them will be completely above board, and give you access to some of the very same auditions and bookings that you would get if you’re signed to a franchised agency.