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Extending and Enduring Beyond Every Circumstance

Charlee Remitz • November 11, 2024

It was nine o’clock on a Thursday night, and my boyfriend and I had just had a fight — one of those fights. The type of fight that feels like a blow to a windshield that’s already been chipped.


Years before, when fear made my choices for me, I would’ve dissolved into a fit of panic after we agreed — or he insisted, assuring me that my laundry list of issues wouldn’t find one singular cure-all in one night— the argument was done. Now, I remind myself a crack in our windshield is not a crack in my windshield and press on.


I did the codependent thing when I was twenty-three. That boyfriend held a hand palm up between us and told me he was like “sand in my hand.” Every time I said my piece, held my ground, stood up for myself, etc. — it all served as a tightening of my grip on him, whereas the more I squeezed, the more sand I lost.


Lying next to him in bed, I watched him enfold his fist around this invisible mound of sand, and I wondered if this was romance. He was basically telling me he’d tallied my complaints, and I was only allotted so many. No matter how he behaved. No matter that he wasn’t a good boyfriend at all. I, for the two years it took to truly be over it and him, thought that love was something you disappeared inside of. That love took the rebel out of you, or rather, that love was the hill you died on.


My current boyfriend is good — what my mother calls a “keeper.” The perfect person to change the narrative. I speak my truth to him. And it’s never my fault for speaking up, the way it always seemed to be with my ex. The thing is this crack in the windshield is totally circumstantial. Neither of us had lived with a significant other before we packed a U-Haul up and moved across the country together. It was naïve. A true expression of our youth. But all the most rewarding and damning things tend to come from poor planning and optimism.


I’m a happy person. I like to say happiness is an undertone to almost everything I do. Even when I’m bawling in the car while my mother reminds me that I moved here for a reason and it not working out for him doesn’t mean it’s not working out for me. I am happy then. Happy and oh so very sad. This self-containment allows for each of our experiences to coexist guilt-free. I can revel in my newfound freedom without fearing my sensation will make him feel resentful, and he can be critical of our new town without worrying I’ll superimpose myself onto that critique.


Being happy is an ever-evolving concept that changes with age, and one of its greatest nuances is that it can accompany feelings of lack, anxiety, fear, anger, and sadness. Growing up means allowing yourself to feel the full spectrum of human emotion, sometimes all at once. Where one sour moment in your teens was enough to convince you life was no longer worth living, as an adult, the idea is to learn the ins and outs of duality. How you can be doing really well personally, and struggle within your relationship. How we can thrive as individuals, and drown in our professional lives. There is much power in the simple act of acknowledging that you don’t start and end with any one circumstance, that you extend and endure beyond them.

That your life isn’t happening to you, but rather you are happening, and life is everything going on around you that isn’t inherently you.


In our teens, our worlds are breathtakingly small. We are told where to go, who to aspire to be, and we’re given tangible markers with which to monitor the passing of time. Our vacations are carefully mapped out by our parents, and our relationships exist within the hours they designate. Somewhere in our early psychology, when we formed a habit of securing permission to go out and experience things, we limited our relationship with possibility. Instead, we’re pushed to become something, and we often settle into an idea of ourselves that feels permanent. As time goes on, this idea becomes less and less malleable, change becomes less and less tangible, and wasted time grows in severity. Suddenly, we aren’t twenty-one wavering between majors, we’re twenty-nine questioning our career path, and instead of looking at the past eight years as a collection of moments that narrowed down our search for purpose, we look back on them with disappointment, wishing we’d taken a different route, and feeling like it’s “too late” to try something new.


Because everything has to have meaning, because every step must be a step forward, and because every relationship needs to have potential, we miss out on the opportunity to shape our lives with the information our lives provide us. Flings, career stints, and moves offer crucial insight into the self. But instead of basking in our lessons learned, we sink into a feeling of existential dread and misused potential. Alan Watts describes this as a “great panic […] to achieve something,” and in that great panic, we place the emphasis on making things work simply because trying something new might delay or sacrifice our ability to make an impact in our lifetime.

It took much longer than I thought it would to recover from my codependent relationship. It was the great Before and After in my life — a hurricane of strange events as compelling as Maura Murray — that shone a light on the small hill of healing I had done, and the mountain of healing I had yet to do.


Healing is one of those things that never happens by accident. It requires intention and endurance. And so, I was dutiful in my solitude. I gave myself time to be a rage-filled victim, and when the era of over-sharing and revenge-posting online came to a close, I made myself take responsibility for the role I played in it. I leaned into spirituality, practiced patience — especially with myself — and forgave the way I expressed my pain after we broke up.

I bought plants, using them as a tangible representation for my own growth, redecorated with bright pinks and oranges, visited nearby parks, and took up the harmonica. I tried things, and in trying things, I didn’t just start feeling free of him, I started feeling free in my life. In the ultimate expression of this newfound freedom, I drove the PCH from San Francisco to Carmel by the Sea, where I stayed in a small guesthouse in the mountains with massive windows and low bookshelves covered in crystals and affirmation cards. By day, I tasted wines at a local vineyard and watched the sunset with my current read and a small massif of sea glass piled on the towel at my feet. By night, I cooked pasta from a small Italian café and dragged a blanket onto the deck so I could look up at the stars. And when it was too early to sleep, but too late to do much else, I sat in the silence, the idle hours triggering the restless creator within.


It was my first solo vacation, it was my first time really playing with the world, and it further woke me up to the fact that I am. I am not my career. I am not my schedule. I am not the style of my room. I extend far beyond these things, and I will endure as these things shift and morph through the years. I had become shackled to my choices, to this universal notion that once you pick something, you have to stick with it. But making choices is merely a by-product of existence. They don’t come together to make you who you are. You are.


I only belong to other people as an idea, and I am not responsible for upholding that idea, even if, for most of my life, I have. I’ve operated under the weight that is, “what would people think if I (fill in the blank)?” But I didn’t sign a contract that said I’d always have expensive taste and the money to fund it. I wasn’t onboarded at Mom Friends for Life. I could stop being the spokesperson for veganism whenever I wanted to. And I could soften and be the exact opposite of what I had always been.


With one solo trip, with one or two meals on my own making conversation with a waiter who felt no guilt hanging around my table simply because I was unaccompanied, I had been set completely free.


I found in that freedom that things started to flow. Relationships that no longer served me — and perhaps never had — saw themselves out. The pop career I’d spent eight years nurturing came to a humbled, and triumphant finale. Knowing the world was big and as filled to the rim with possibility made excusing the things in my life that didn’t align with my truth impossible. If I had all the time in the world, if I didn’t need to worry about my lasting impact, why was I making up stories about all the superficial fluff I’d been unknowingly padding myself with?


With as much gentility as I could muster, I addressed the lingering bits of my psyche that were still fronting like an underclassman at a party made up of seniors: the parts of me that ran around LA doing hot girl shit hoping my ex would see, the instinct to place my entire worth in the time elapsed between sexual encounters and the fullness of my social schedule, the guilt-fueled exercise wheel I couldn’t seem to get off of.


The world was huge, nothing was personal, and time was plentiful. Suddenly, I had so much freedom, I felt drunk on it. Instead of forcing things, and rushing through my day, I placed my faith in divine timing and let life inform me. In this glamorization of flow rather than grind, I acknowledged that things happen behind the scenes, and the great panic, while always a whisper, no longer owned me.


I began approaching things with the emphasis on learning. I wanted to listen, be courageous, and experience. Dating with those intentions at my core took all the pressure off. I didn’t need to find anything meaningful. Everything was meaningful simply because my mandate changed. I was there to figure out how to date consciously, be patient, and not give myself away in the process.


After I met my soon-to-be partner, I was careful not to scold myself for the times I fell into old habits. I obsessed. I waited around instead of making other plans. I was not immune to impossible situations, which love would almost always be. Part of taking back your power is being gentle with yourself when faced with impossible situations. Instead of giving in to toxic inner monologue and entertaining worst case scenarios, I developed methods to find my way back to myself and offered myself kind reminders whenever I lost my footing: I am happening, I am working out even if things around me aren’t. Rebranding my experience to lift myself up, posing it as an opportunity to grow and learn rather than a thing that was happening to me without my consent, never left me in a position of feeling helpless.


When we moved our lives across the country, and made our home together, I had to choose repeatedly not to let his experience become my experience. Freedom is fleeting in that way. It requires upkeep. And the best way I know to maintain my freedom is to go out into the world.

While he looked for work, I walked our neighborhoods. Sometimes, I’d bring a book, finding the cadence of my footfalls soothing. They’d act as a complete erasure of thought, freeing up my attention span to focus on the words before me. Sometimes I’d leave the house with nothing and be intentional with my gaze. Sometimes I’d put music on and dance in the sunlight or in golden halos cast by streetlights, moving intuitively, springing around the street without much care for who could see. I call these dips into suburbia my “Main Character Walks,” paying homage to the movies I’d grown up with, where every teen’s experience was magnified by a good song and the will to let the rest of the world fall away.


I took myself on dates to the dive bar a short drive from my house. I’d sip amber lagers, read, browse Instagram, and write small lists of my favorite titles for the wait staff who asked me for book recommendations. I filled my home with pretty things. I stretched before work, opening my hips up lovingly to support me as I sat at my desk all day. I played jazz as I cooked and read by candlelight in the bath. I journaled daily, leaned into whimsy, resumed therapy even though I’d “graduated” from therapy years before, and every time I was sad, I let myself be sad.


I think we forget that we can be whatever we want to be in this life. In moments of desperation, when the world starts to close in once again, I remind myself that I can move to a seaside town and work as a waitress, go back to school for journalism, or become a foster mom. I don’t need anybody to see the world. In fact, some of my most romantic moments have been the ones I spent totally on my own, writing a story about myself that inspires me. A story of grand triumph about a girl who reunites with possibility and figures out how to extend and endure beyond difficult conversations, breakups, bad days, and eras of feeling misunderstood.


I remember not long ago being told “you’re not the main character,” and finding the craze around that musing a bit backwards. There’s this idea that being inherently good requires self-sacrifice, that the experience of others should be as important to you as your own. But I believe in putting yourself first. In keeping it simple. You do you. Whatever that looks like. Whatever the fullest expression of you turns out to be. Not because your life is the only one that matters, but because tending to your own wounds, centering yourself and finding conscious presence allows for you to be there for others, to keep your eyes on the conflict in the Middle East, to listen to Black educators grieve generational and modern traumas, all without burning out.


Bad friends, bad endings, bad jobs, bad outcomes — life isn’t as personal as we think it is, life is only as personal as we make it. Part of self-preservation is remembering that the story you write about yourself is the only one that matters. This is not to say you should abandon your humanity and become devoted to individualism. This is to say that being an advocate, lending your voice to a cause — it requires clarity and alertness, things that come from taking good care of yourself. Afterall, when you’re ready to get back out on the road safely — with mindfulness of your car and an awareness of others — the only cracked windshield you need to worry about replacing is your own.

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By Charlee Remitz April 7, 2026
Otherwise known as the week of the Southeastern Freeze. I think many would agree there’s a certain symbiosis between nature and the general, personified tone of human life. The freeze was jarring. It seemed to come out of nowhere. I was piloting my rental car off the ferry from Ocracoke, moving through a heavy fog along the liminal space between the dock and Cape Hatteras, when my co-producer, Lawrence, texted: "I don’t know if you saw but we’ve got perhaps this huge snowstorm this weekend so plan accordingly!" The weather, these days, was jarring. As was going online at any given moment. And then there was this: I sat on the leather couch in my Airbnb a few days later, discussing my music with a potential collaborator on Google Meets, who said she hoped I would consider integrating Blue Monkey and Charlee Remitz a bit more, as Charlee Remitz’s social media had, since September 2025, generated a large swath of followers. It occurred to me right then that she was right. My mother had said something similar ahead of this trip, which would kick off six months of nearly non-stop travel while I attempted to finish the album and see another 200 lighthouses. “Is there something we could do to make your life ten percent easier?” There was. And, like all else these days, it was a jarring realization. Then again, that’s how most things seem when you’ve failed to pay attention to the less urgent signs that precede desperation. The universe is always having conversations with us; we just haven’t learned to listen. First, I’d had a falling out with my band. Then, my beloved visual collaborator moved out of state. And finally, there was the absolute dread I felt at composing a post for Blue Monkey’s Instagram page. At a certain point, Charlee Remitz and Blue Monkey felt like they were on a level playing field in that area. Both had something to say. And then, quite suddenly, one had more to say and more metaphorical mouths to feed. There is tremendous responsibility in having and maintaining an audience, whether it be in person or online. I kept telling myself as the album neared completion, I’d find a lust for Blue Monkey’s social media once again. I’d find some pocket of energy I wasn’t already using to shape Blue Monkey’s page. The only thing was, Charlee Remitz’s sudden uptick in online popularity felt partially divined. There was no protocol to follow and no miraculous, undiscovered pocket of energy from which I could pull. I was using every ounce of my allotted cup to see lighthouses, maintain Charlee Remitz’s online presence, and record a 14-song, full length album. Whatever was left over I held in reserve for workouts, nourishment and the upkeep of personal relationships. In this life, little is worth the compromise of your body, spirit, community or mind. And so, it was halfway through this fourth week in the studio that I announced to Lawrence, as we sat chatting in his dining room, with the sun pouring in through the windows and a cold brew on the table before me, that I would release this album as Charlee Remitz. I can’t quite remember his reaction. I think it was a little awed. And then, the freeze came. First it hit Nashville, where my partner, at our townhouse on the west side, lost heat for two weeks, and power for six days. Then, it came to Richmond, where I prepared my Airbnb as best as I could without spending money on emergency supplies. I stocked the empty cabinet with boxed mac n cheese, and the empty fridge with vegetables and containers of shredded chicken. I asked Tatiana, the owner, if she’d stock me up with extra toilet paper and paper towels, in case things got really dire. And then, I drove to the studio like any other day. Lawrence and I tried to negotiate studio time with the weather, to limit my exposure to a city with a few odd snowplows keeping hundreds of roads passable. In sessions past, we had a system: two days per song, and one wrap day where we ironed out the creases. For a three-song week, that meant seven days. For a two-song week, five. And so far, we had been deeply prolific. We had a measure of earned delusion when it came to studio time by January. We really believed in our ability to make art on a timeline. Even with the snow, and the oncoming freezing rain, we refused to deviate from the plan. I found myself on back-to-back days, driving at a snail’s pace from one side of the city to the other, simply so we could stick to the schedule we’d laid out for ourselves. There was a sense of, “I’ll get this album done if it’s the death of me,” pushing me forward as I passed people sliding in the snow, their tires struggling for purchase. On my one day off, when a sheet of hard-packed snow had laid itself over the city in a way that seemed to wipe every slate clean, I wandered the still, quiet streets as golden hour turned blue. A movie about a married couple separating, finding themselves, and then coming back together again was showing at the Byrd Theater. I purchased a ticket and an IPA, and I settled myself in the middle of the mostly empty theater, laying out my jacket so it could dry from the wintry mix. Watching that great push and pull was the first time in a long while I’d felt any kind of hope. I thought of this couple as a great reflection of Charlee Remitz and Blue Monkey. There was a crucial separation that needed to occur for me to come back to Charlee Remitz, nearly six years after quitting music in that capacity in the first place. I needed to become someone else, be something else, to give Charlee Remitz a second to breathe. To rest. To dream without the years of music I’d already created dragging along behind her like noisy cans. I’ve taken to referring to Blue Monkey as my Disney Channel Deviation. Many of us watched as our favorite Disney Channel stars, feeling shackled to a certain image, took a bold right turn and did something so dramatic that it shocked people into submission. This was Miley Cyrus now: on her wrecking ball. This was Charlee Remitz in 2024: Blue Monkey. I’d had all these rules about Blue Monkey’s album when I wrote and recorded it in 2020. It couldn’t be pop. It couldn’t have too many electronic sounds. It needed to be folk. It needed a banjo and a mandolin. A harmonica. It needed to drive one thing home: I was not Charlee Remitz anymore. When I think of it now, I recognize part of this need to disappear into Blue Monkey as an aversion to who Charlee Remitz had become. She felt like a dead end. Where I saw happenstance and luck and viability in other music careers, Charlee Remitz felt like she’d come by her very flat and lifeless story by effort and effort alone. It was messy and tiring, and certainly it wasn’t meant to be because nothing was happening. I remember completing my final album, Heaven’s a Scary Place like I was running the last leg of a cross-country sprint. I was absolutely, certifiably done with Charlee Remitz and everything she’d become by that point. I couldn’t wait to be rid of her. And so, I got rid of her. Well, that version of her at least. That was when I found the lighthouses. Or maybe they found me. I’m not really sure who did the finding, but certainly I’ve done the keeping. And, now here we are, five years later, in love as ever before. I moved across the country with my partner. I wrote songs on a guitar that I had no intention of ever actually recording. I went on solo dates. I did things because I wanted to do things. And, eventually, somewhere in that gentleness of pursuit just because, Charlee Remitz became viable again. Sometimes I think of this as a plant sitting dormant for years starting to sprout new leaves. In fact, in just the last year, my pink Anthurium grew a lily, something I never thought I’d see again, for the first time in years. It was just like that. Charlee Remitz felt possible again. I just needed some space and time away from what wasn’t working so I could find the confidence to not care if it ever did. So, here’s my art. I don’t give a shit if it resonates with you. Because it resonates with me. Really, what it cracks down to is this: I was not ready then. I was not confident in who I was or what I had to say. I was embarrassed to talk about my music because I couldn’t separate my worth from the concept of streams. I was too attached to the aesthetics of my social media rather than the impact of having a platform to advocate. Now, the music is less definitive and more whimsical. One small part of the mass of projects I’m constantly watering that make me me. Back then, the music needed to do something for me, which is why I was constantly disappointed. Now, the music just needs to be. And I with it. From a young age, my mother taught me to believe in timing, that when things aren’t working out… it doesn’t mean they never will. So, here we go again. “Paranoid”, Charlee Remitz’s first single in six years, is out May 29th . Find out more here.
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