I’ve never met Erin before in person, but goodness, I feel like she is such a kindred spirit. And I have completely enjoyed tuning into her blog for years (like, so many years now!) for a dose of real-life inspiration and lovely prose. Her posts on navigating motherhood (with her sweet little toddler) and marriage have always been some of my favorites. But I have always especially connected with her posts on work, and creativity, and self-care, probably because they’re always words I need to take to heart myself. I also really admire how brave and open she has been to letting her career evolve/change in some big ways over the past decade, and I can’t wait to follow along wherever the next roads may lead. I have always especially connected with her posts on work, and creativity, and self-care, probably because they’re always words I need to take to heart myself. I also really admire how brave and open she has been to letting her career evolve/change in some big ways over the past decade, and I can’t wait to follow along wherever the next roads may lead.

Be more with less is about simplifying your life and really living. Living with less creates time and space to discover what really matters. Through decluttering, and focusing on the best things instead of all the things, you can create a life with more savings and less no debt, more health and less stress, more space and less stuff, and more joy with less obligation. If you are overwhelmed and under-inspired, I know how you feel. I’ve been there. I’ve worked too hard, spent too much, and slept too little. I spent much of my adult life tired, full, stressed and sick. I always wanted more or thought I needed more to be happy, but I’ve changed my ways. I’ve been making big, and small changes to live my life on purpose. I am a writer and photographer. I love yoga, reading, creating simple meals, and hiking and skiing in the Mountainwest. I also love to travel, spend time on the beach and connect with like-hearted people.

Music’s centrality to the construction of meaning in the texts of B29 and the other polytextual pieces reflects the broader cultural use of music as a meaningful—and not just a pleasant—component of lyric performance. I aim to bring out the potential significance of the dimension of performance—specifically sung musical performance—to scholars who normally consider only written forms of such works, whether poetic or musical. This article thus addresses both those literary scholars who might want to know what kinds of meanings a musical setting might add to a written poem that they usually consider just as verbal text (written or spoken) and those musicologists who might want to consider the performed moment of a piece in conjunction with their more usual “reading” of it as a notated modern score.

"Viva la Vida" (/ˈviːvə lə ˈviːdə/; Spanish: [ˈbiβa la ˈβiða]) is a song by British rock band Coldplay. It was written by all members of the band for their fourth album, Viva la Vida or Death and All His Friends (2008), and was released as the second single from the album. On the album, this song segues directly into the next track, "Violet Hill". Viva la Vida is Spanish for "Long Live Life" or "Live (the) Life". It is recognized as one of Coldplay's signature songs. The lyrics to the song contain historical and Christian references, and the track is built around a looping string section in unison with a digital processed piano, with other layers gradually being added as the song builds.

The song was released on 13 June 2008 as the album's second single, debuting to critical acclaim and commercial success. "Viva la Vida" reached the top spot of the UK Singles Chart and Billboard Hot 100, becoming the band's first number-one single in both the U.S. and U.K. The song won the Grammy Award for Song of the Year at the 51st Annual Grammy Awards in 2009. The song became the sixth song to reach the 4 million mark in paid downloads in the United States.[2] It has sold over 7.1 million copies worldwide by 2014, and over 6 million in the U.S. alone by June 2013.

The Duffers clearly did their homework on what makes a successful follow-up. There were several nods to Terminator 2: Judgment Day (Billy’s arrival, Hopper’s shotgun, the cinema marquee, Hawkins Laboratory resembling Sarah Connor’s psych ward, Doc Owen’s Miles Dyson-style baddy turned martyr, the fiery finale) and another James Cameron pastiche, in the form of the ambush scene that riffed on a very similar moment from Aliens. The feel of the series has also shifted, as in all good sequels. It was darker, its world expanded, and – most importantly – we got to find out about Steve Harrington’s hair care regime.

Huge portions of the second season were dedicated to a group of pre-pubescent children reeling from PTSD. Will’s travails in the Upside Down in the first series meant the focus was on a fairly upbeat search-and-rescue mission, but this time around he was staying put in Hawkins while he dealt with horrific waking visions and the effects of a tornado disappearing up his nose. Mike, formerly the optimistic leader, was trying to cope with grief after the death of his best friend. Dustin put the whole town at risk by trusting a piece of snot and Maxine, the skateboarding new member of the gang, had her own issues at home.