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A series of intertwining love stories set in the past and in the present; USA; Romance; year - 2020; Writed by - Stella Meghie. Ed Sheeran - 3 - Ed Sheeran LRC Lyrics - Donwload, Copy or Adapt easily to your Music LRC contents are synchronized by Megalobiz Users via our LRC Generator and controlled by Megalobiz Staff. You may find multiple LRC for the same music and some LRC may not be formatted properly. 1 year ago by Guest Keep untagged brackets and blank lines? Show Lyrics Only (without LRC tag) LRC TIME [04:19. 28] may not match your music. Click Edit Time above and in the LRC Maker & Generator page simply apply an offset ( 0. 8 sec, 2. 4 sec, etc. ) ar:Ed Sheeran] al:X] ti:Ed Sheeran - 3] au:Ed Sheeran / Johnny Mcdaid] length:04:19. 28] re: ve:v1. 2. 3] 00:16. 01]Loving can hurt, loving can hurt sometimes [00:24. 79]But it's the only thing that I know [00:33. 52]When it gets hard, you know it can get hard sometimes [00:42. 85]It is the only thing makes us feel alive [00:52. 76]We keep this love in a photograph [00:57. 57]We made these memories for ourselves [01:01. 26]Where our eyes are never closing [01:03. 80]Hearts are never broken [01:06. 06]And time's forever frozen still [01:09. 75]So you can keep me [01:12. 58]Inside the pocket of your ripped jeans [01:17. 11]Holding me closer 'til our eyes meet [01:21. 61]You won't ever be alone, wait for me to come home [01:32. 36]Loving can heal, loving can mend your soul [01:40. 26]And it's the only thing that I know, know [01:48. 46]I swear it will get easier [01:52. 42]Remember that with every piece of you [01:57. 48]Hm, and it's the only thing we take with us when we die [02:07. 39]Hm, we keep this love in this photograph [02:13. 06]We made these memories for ourselves [02:16. 74]Where our eyes are never closing [02:19. 29]Hearts were never broken [02:21. 55]And time's forever frozen still [02:25. 23]So you can keep me [02:28. 34]Inside the pocket of your ripped jeans [02:32. 59]Holding me closer 'til our eyes meet [02:37. 12]You won't ever be alone [02:43. 07]And if you hurt me [02:45. 90]That's okay baby, only words bleed [02:48. 73]Inside these pages you just hold me [02:54. 95]And I wont ever let you go [02:59. 19]Wait for me to come home [03:03. 72]Wait for me to come home [03:07. 96]Wait for me to come home [03:12. 78]Wait for me to come home [03:18. 44]Oh, you can fit me [03:21. 55]Inside the necklace you got when you were sixteen [03:25. 80]Next to your heartbeat where I should be [03:30. 32]Keep it deep within your soul [03:36. 55]And if you hurt me [03:39. 67]Well, that's okay baby, only words bleed [03:43. 92]Inside these pages you just hold me [03:48. 16]And I wont ever let you go [03:54. 11]When I'm away, I will remember how you kissed me [03:56. 94]Under the lamppost back on Sixth street [04:06. 28]Hearing you whisper through the phone [04:10. 24] Wait for me to come home.

Free download photography books. About, Terms, Privacy Policy, Licence information, Contact, copyright 2015. I stumbled upon this article The 7, 500 dress that does not exist and found it fascinating. The idea is is that brands are starting to sell limited clothing collections that exist in the digital space - for the consumer to download and photoshop onto their body. They point out the likeness to buying custom skins for characters in video games like Fortnite, which I can see to certain extent. Anecdotally I remember spending money on custom wardrobes for my Stardoll account when I was 10-11 years old. However I think a key difference here is the blending of fiction/animation and reality. It makes me wonder if this is analogous to Facetuning your images. “He says the technology works for people who want the perfect image. "If you don't like what you're wearing, but you love where you are, you now have the ability to transition your wardrobe, and digitally enhance the photograph to make it look like you're wearing the latest and greatest. ” Will we be seeing a rise in “fake” fashion influencers in the sense that therell be people buying and downloading expensive designer clothing (but for cheap, or even free if it goes so far that youll be able to pirate digital clothing) to create content with? Yet at the same time, if these “fake” influencers style the clothing themselves, does it then become authentic because the idea is original? Like an upgraded version of the typical clothing collage on fashion blogs circa 2008. And fashion influencers aside, what does it mean for the average person? Would digital clothing allow us to try trends we wouldnt dare to try in real life? But why would one spend money on editing together a picture vs going to the store and trying it on in real life? So what are your guys hot take? Will you be buying digital clothes.

Free download the photographer. Free download photography logo psd. Free download the song photograph. Free Download The photographie. Josephine McCarthy is a Magician, Teacher, Author, Occultist, Divination Deck Creator and the founder and creator of Quareia - an online Course that offers a complete Magical education, from Apprentice to Adept, for free. She has been practicing magic for over 40 years and has been a teacher for over 25 years. Well respected in the Magical Community, we are very honored to have her here with us to answer some questions about Tarot! She has written several books including Magical Healing: A Health Survival Guide for Magicians and Healers, The Book of the Gates: A Magical Translation, The Exorcist's Handbook, as well as Free E-Books and Articles on the Quareia website. The Quareia Magician's Deck is a Divination Deck designed by Josephine for the Modern Magical Worker as well as to be used with the Quareia course. For those of you who enjoy using Oracle Decks, or are looking for alternatives from the Rider-Waite-Smith Tarot, I highly recommend this deck. It features contacted imagery created by the artists Stuart Littlejohn and Cassandra Beanland (who also designed the Saros Tarot, which is based on a magical manga series. If you're in the US or North American you can pick up a copy of the Magician's Deck here. For UK & EU Customers you can purchase the deck directly from the Quareia website. We were very lucky and feel very honored to have Josephine McCarthy talk about Tarot with us! For more information about Josephine be sure to check out her blog (which also features Tarot Resources. There's great information here whether you are a practicing Magician or a secular Tarotist. So get cozy, grab a cup of tea, and settle down for some Tarot insights! 1. There are many magical, astrological, and tarot courses available online, ranging in price from a few hundred to thousands of dollars. Why did you decide to offer Quareia, which is a complete magical education, for free? The magical path to me is a life path which besides magic, can have mystical, and practical dynamics of self evolution. I do not see it as a commodity or business, and to charge for it would lock a lot of people out from learning. I am a teacher, not a business woman, and I teach because I love the subject matter. With the course being on line, people from all over the world can choose to engage with the training, but what could be the cost of a fancy latte in Seattle can be nearly a weeks wage in some countries. The only way to make it fair, to keep it honest and keep it accessible for all is to make it free. A lot of magical training that is done for profit can quickly become compromised – it is tempting for a teacher to keep on an unsuitable student simply because they pay well, or to adapt the teaching to make it more palatable to a consumer. So much magical training these days rides on the back of current trends, fashions, etc, and it is very easy to dumb down the training or throw in ‘glitter, or simply make shit up just to draw the customers in. While I understand that teachers need to support themselves financially, and I cast no moral or ethical judgement on that, what this ultimately does is debase the training and leads students down dead-end paths. It is simply just one of those things that happens no matter how good the intent is. Magic is too precious to me to destroy it in such a way – it is my life path. Putting it up for free as a self study practical course ensures those who should find it and work it, will do so. It makes no difference to me if ten people or a thousand people engage with the course – it is there as a service to magic, not as a source of income. I made donation buttons available if people want to donate, and all the money is used to continue the work, provide resources to students and organise events. Quareia has a board of trustees who oversee what happens to the donations and who keep me in check, and we have a student council where students look out for each other, and they feed back to me the sort of projects/events they want the money used for. I have quite a few published books that generate a modest income, and my partner sells his original artwork, and we also have a redbubble page of his designs. He also gets a cut from the sale of the Quareia magicians deck. So we get by. 2. Did practicing Magic lead you to Tarot, or did Tarot lead you to Magic? How did you become acquainted with Tarot cards? I started with tarot in my early teens. My eldest sister was a good reader and I was surrounded by people who used tarot in various ways. I got some birthday money and took myself off to town to buy something. I came across a single tarot deck in a department store (of all places. It was there on its own, pushed in with a load of books (non magical) and it sort of shouted at me to rescue it. It was a small Serravalle-Sesia Italian tarot deck, so I took it home. I played around with it for a long time, made friends with it, talked to it etc. I started using it for divination a couple of years later and worked with basic layouts. In terms of passage into magic, the tarot didnt really put me into magic, I sort of slide sideways in increments into the world of magic through my childhood and teen years. My father was into Rosicrucianism and had a variety of interesting books he would drop in front of me, and my mother was what I would today call a ‘natural magician who talked to everything. 3. In the Quareia course, Apprentice Module 1 Lesson 2, you write that it is important for a Magician to practice Tarot. Would a Magician without Tarot knowledge be at a disadvantage? I think so… some form of divination is a corner stone of magical practice. Tarot in itself is not very accurate for magical readings, and I found that very early on in my magical life. So I started to make my own decks, designing layouts etc and learned to not be restricted by the tarot format. I designed decks for specific parts of magical work (healing, exorcism, temple construction etc) by throwing out the rule books and looking at what did I actually need as a vocabulary to gain the insights I needed. And that is essentially was tarot or any card divination is, simply a vocabulary. A magician uses card divination in a way that is probably quite different to many modern tarot readers – it is used to look back in time, forward in time to spot patterns of fate behaviour, it is used to gain insight into the present unseen, to talk to ancestors, deities etc, and to commune with what is popularly called ‘the higher self. It is used to check the unfolding of proposed magical work to spot unseen consequences, it is used to find things, quantify things, and to learn. 4. The Quareia course could take up to 17 years for a student to complete and reach Adepthood. Do you think decades from now, after more students have gone through the course, we'll see a "Quareia-style" system of Magic unfolding, similar to how we saw Golden Dawn-style systems in the 20th Century? I hope not! The Golden Dawn system was of its time (late 19th century) and like all systems, it had its limitations. The continuing of that system into present day is to carry an ossified dinosaur around which essentially limits the evolution of the magician (I know, that will piss off a lot of people. I am hoping that the Quareia style training will produce magicians who are informed and who think carefully, who evolve their adept path in a unique way to them and who leave breadcrumbs of learning behind them for others to find and develop in ways we cannot yet even think about. There is no lodge of Quareia, no hierarchical group and grades, there is the individual magician. First the student learns foundations and training rules so that they can learn the rules before as an adept they them break them in gnosis. Magic needs to be constantly evolving, and it needs to evolve as a practice and path in a way that is conducive to the time and culture of the magician – so essentially Quareia should become a ‘dinosaur at some point. If that happens then I have done my job – the future generations should always outgrow the previous ones. 5. How has teaching Magic changed your own Magical practice? I have been teaching since 1993. Before that, my own practice was pretty much all over the place, and starting to teach helped me bring my own path into focus a lot more. Writing Quareia was a big turning point for me in terms of my own development. I started writing it in 2014, twenty one years after I started teaching, and the three years it took to write the course was a major learning time for me. I basically tore apart everything I knew about magical practice and theory, and analysed it. It forced me to look at deeper magical dynamics from a very different perspective, and also highlighted for me how much of my practice was done a particular way just because ‘that is how it is done. I dismantled all of that, and looked at the core elements of practice, what was necessary and what was baggage. I started to rebuild everything from the ground up, tossing out the baggage and focusing on the actual necessary practice, techniques and skills. I then had to design practices that would train a student in those techniques and skill sets in very careful specific ways that would also inform and educate the student – it is pointless doing something if you do not understand why, where it came from, what it does, why it does it and what it leads to. That process really changed my whole personal practical approach to magic: it tightened things up, made them and me more efficient and robust. 6. When someone does a Tarot reading, are we communicating with our higher selves, the cards themselves, or something else? What are your thoughts on where the information in a Tarot reading comes from? I use tarot and other decks as vocabularies that enable me to look, ask, converse and listen. Who or what a person communicates with/uses that vocabulary for is dependent upon the person and their intent. As a contacted magician, I use decks to to talk to inner contacts, to beings, to myself, and to also look at the landscape of a fate pattern, to look at land, a construction, whatever I need to look at in the process of my work. In terms of decks, the tarot structure is a series of archetypes, number patterns and elemental behaviours. That limits the scope of the vocabulary if you are a magician, and the tarot baseline design is very much rooted in a Christian and European viewpoint even though a lot of people do not realise that. That again limits the scope of how the tarot can be used and what for. The decks I designed for myself and later, the Quareia Magicians deck, use beings, powers, dynamics, tools, and places as a collective vocabulary. That enables me to have a wider scope of action in divination, and to see the dynamics at play behind a situation. However, the true skill in card divination is not the deck you use, but your own skill of interpretation and understanding. You can use a pack of playing cards to get in depth information if you need to, it is the skill of the reader/magician, not the deck that is the key to skilled readings. But a good working deck that is aligned to what you do makes life a lot easier. 7. What inspired you to create the Quareia Magicians Deck? Long before I started writing Quareia, I was acutely aware that for magicians, there was no clear strongly functioning deck that was flexible and in depth enough to assist a magician in terms of tools/vocabulary. Most that were around at that time were either derivatives of the classic tarot, or were new age ‘arty oracle decks that looked great, were very clever intellectually, but were to all intent and purpose, magically useless beyond the shallows. I had started working on a deck design to make a magical deck that functioned at a good level for magicians, and I worked with Cassandra Beanland, a magical artist. We got half way through and then life events hit, and it was put on pause. I later crossed paths with Stuart Littlejohn in 2011– we had met many years earlier and had fate intersections during the creation of the Dreampower Tarot (Stuart was the artist) in the early 90s. Stuart told me he had been working on a deck for himself, but it had stalled a couple of years earlier. After many discussions over a three-year period, we realised we were both working on the same thing, and it was around that point in 2013/early 2014 I was also starting to develop the blueprint for the Quareia course. I realised a few modules into the course that the Initiate level students and beyond would seriously need a far more effective magical deck to work with than was currently available. It would need to be itself, be a contacted deck, and geared towards magical practice/divination. It was one of those moments where all the ingredients are sat there patiently, blinking in the shadows, waiting for the dumbass to realise it was all there ready and just needed putting together. So I tightened up the design and structural pattern I had been working on, and dragged Stuart and Cassandra into finishing it all up. About 25% of the paintings had already been done (all the images are hand painted) so the two artists then had to produce nearly sixty paintings between them to get it finished. It took two years full time painting for them to finish it all, and I wrote the book for the deck while also writing the course. As a contacted deck, the beings and powers within the images were pretty bossy, and generally gave the artists a rough time – if either one of them strayed from the contacted image, they would have nightmares, or could not complete the painting until they got it right. It was a bit of a job! I then had to address the issue of ethics – this was a contacted deck for a magical training course and also for working magicians/seers. It could not become heavily commercialized. At the same time, the artists had worked flat out for two years and had to put their own work on hold, and thus made no little or no income during that time. We didnt want it to go through commercial publishers who would debase it to make it more marketable, and we worried about it being too expensive for Quareia students who had little income. We crowdfunded to get the printing costs, and got a small print run done. 25% of the print run was put to one side for Quareia students who got to Initiate level training – there would be free decks for them if they needed it. We did the same with the second print run. All the income from the deck sales was/is split between the two artists. As the second print run is now almost all sold, and at the same time we have been experiencing uncertainly with Brexit here in Britain, we did not know how long we could continue to make it available abroad (customs and import duties etc, and rapidly crumbling international postal service) so Cassandra came up with the idea of producing it through a US print on demand/drop ship service. One snag was that most card printers are set up for a maximum of 80 cards, and the Quareia deck has 81 cards. This makes the production a lot more expensive, but there was no way we were going to ‘drop a card to make it cheaper – the numerical pattern within the deck is very magical and needs to be intact. So for now, it is available in the US through the print on demand site, which takes a large chunk of the retail price, but at least it keeps it in print and the artists do get something from it. If something else becomes available where we can do it cheaper, we will. And we still have 20% of the last print run to sell to folks in the UK and EU. The book is up as a free download on the Quareia website (we have a whole free books section) and also available on Amazon. 8. What advice would you give someone who wants to create their own Tarot or Divination deck? My advice would be, dont just do a copy of the regular tarot… it has been done to death and has its limitations. It is a good starting point for people, but if you truly want to develop your own divination skills, first think about what you want to use the deck for. From there, think about the vocabulary you need, and think carefully about the imagery of that vocabulary – it is not about fancy pictures that look good; each card is a potential window. Do you want a clear focused ‘window or one that is so full of distractions? Always think about what you need and go from there. Then get a blank pack or two (depending on how many cards you are going to need) and use a name or key word on each card that corresponds to your deck design, and maybe a little picture or sign that can embed itself in your internal vocabulary. Start using the deck and take notes of each cards strengths and limitations. You may also find, as often happens, that you intend one meaning for a card, but another meaning asserts itself. Add that meaning to the card and continue using your experimental deck. Once you have used it in a bare bones form for a few months, you will have a very good idea of what works and what doesnt. Then you can start the actual production design. 9. Aside from the Quareia Magicians Deck, do you have a favourite Tarot deck to work with? I only use the Quareia deck and one I made for myself that is itself, its own design and not based on anything else. 10. How often do you use the Tarot for mundane (non magical) questions? Very rarely, and only usually in an emergency. I am assuming by mundane you mean ‘money/job/partner/life in general readings. I tend not to use cards for that unless there are really serious high stakes involved. I do use health readings for urgent issues with people I am close to, or for the animals I tend to, and I consider health readings to be a bridge between magical and mundane. I dont do readings for other people, and I am finding that the older I am getting, the less I use them. 11. Is it important for a Magician to have separate decks for Mundane and Magical questions? Or can one deck be used for different kinds of questions? Not really, it is up to the magician. Some magicians prefer to keep things separate, and some dont. I have realised, through answering these questions, that I tend not to do ‘mundane at all in life… for me, everything is magical, hence every time I use a deck, it is magical. 12. Are there any specific cards that you have a hard time with? Depends on the day, the mood and the question…. I have had decks, particularly the Quareia deck, call me an idiot more times than I care to admit. In terms of struggling with a meaning, in the Quareia deck, I have had problems at times with some of the human dynamic cards. When I get a new insight into a card, I will write it in a journal, as any cards from any deck will have more layers than you realise. A card will keep showing up in readings, and it will make no sense to me, so I will keep writing the readings and questions down. Looking back over them is usually when the penny drops and I understand what it was trying to say. If you remember that cards are a vocabulary, and that vocabulary is limited to a set number of words, then you start to realise that a reading may have scope of meaning beyond the the card that is nearest to that ‘sort of meaning will pop up. For example in the Quareia deck, there is a human dynamic card called ‘Temptation. It has come up in a few different health readings for people and animals, and it always had me scratching my head. Then in the middle of the night one night, I woke up with a loud ‘duh…. It was pointing to a food intolerance or allergy… something that tasted good and was tempting, but was ultimately undermining the health. With that insight I switched foods I was giving to a sick cat, and hey presto, cat problem solved. The poor cat loved the food, but it was making them very sick. 13. How do you react when you draw a card and aren't sure how to interpret it in the context of the question? I swear, moan, make a coffee, and then sit outside with the coffee and a cigarette. I stare at cows and horses (I live in the country) stare at the trees, and talk to my sparrow flock who roost very close to the house and are semi tame. Then I go back inside and look at the reading again. Usually that tends to do the trick. 14. What are your opinions on Reversed Cards in a Tarot reading? Do you read Reversals? I dont use them. I use layout positions. I design layouts that have negative and positive positions, and where a position also corresponds to a major card (both good and bad. The card that lands in a set position is read in relation to the position meaning, and the home card of that position. That way you get three sources of information. So for example, if you have a layout position that shows the hidden aspects of the story, and its home card is the Moon/Luna, and the tarot card Knight of Swords lands there, you have a young or immature man who could be trouble, who is lurking behind the scenes of the situation and is not being seen for who they really are. 15. Are all Tarot cards neutral, depending on context? Or are there negative and positive cards? With a tarot deck there are positives, negatives and neutrals. However, some negative cards i. e. the Tower can be devastating in the short term, but a necessary destruction that leads to new growth. Similarly, ‘good cards, can be short term good but can bring about complacency or overgrowth, and thus can be destructive paths. It all depends upon the context, the interpretation skills of the reader and also wisdom from life experience. It is also worth bearing in mind that readings, particularly mundane ones, are like weather reports. It is what you do with that weather that is important. If there is a hurricane, you dont just sit outside and get hammered, you either batten down everything and be prepared, or you move inland for a day or two. 16. What advice would you give to someone just starting to learn Tarot? Practice, learn skills, use your common sense, listen to how your body reacts to doing readings (too many can cause fatigue) and dont hide from yourself. Dont keep asking the same question to get a better answer, and write down/photograph each reading and log the date and question – you can learn a great deal from looking at a reading in retrospect. 17. What do you feel is the most misunderstood aspect of Tarot? Tarot ☺ 18. What would you like to see change in Tarot and Magical culture? Bit of a loaded question that one! I would like to see the ‘feel good fluffy bunny mentality fade away, but I am not holding my breath. And also the heavy commercialism. Yeah folks need to earn a living and recoup costs etc, but pumping out deck after deck after deck which is the same shit rehashed over and over again, helps no one and is just a business model. 19. Through internet and social media, Tarot seems to be experiencing a surge in popularity. Do you think this is a "Tarot Bubble" that will burst, or have we crossed a threshold where Tarot will become more acceptable and integrated into society? There is a tarot bubble? I must have missed that! But then again I dont keep up with what is going on out in the big wide world. Trends come and go, things get popular and then fade, but I think with the current polarisation out there in the world, there will come a time when tarot dives underground again for a while. It has always been that way with peaks and troughs, and this one is no different. 20. If the Major Arcana are a symbol for Life's Journey, which card do you Identify with the most right now? I sort of shuttle between the Fool and the Hermit.

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