Addy Ebrahimy: The point I realized I was, like, more witchy was kind of just -- it's the funniest story, I'm telling you.

Heather: I'm sitting down to talk with Adelaide Ebrahimy -- Addy. She has large glasses, wavy hair, and flashes me a big smile. Addy is telling me about her earliest memory of witchcraft. It was inspired by the animated movie Frozen.

Addy Ebrahimy: I was like 10, and I had just gotten out of the theater after watching Frozen. And I think everyone at the time was wanting to be Elsa, and I was also just like, well, that's kind of cool.

Heather: In Disney's Frozen, Elsa has magical powers with which she can create and control wintry weather. About a week after seeing the movie, Addy was in her yard and started magically experimenting with the wind.

Addy Ebrahimy: There's like this form of divination where it's like you can use the wind to try to like see different things for yourself.

Heather: Addy combined meditation with this wind magic -- and it became a way for her to connect with spiritual beings as well. While the movie Frozen was a magical catalyst, even as a ten-year-old, Addy was a spiritual seeker.

She grew up in a house where religious remixing was common. Her mom, who’s white, was raised Baptist in southern Oregon. And her dad, who’s from Afghanistan, is Muslim. But he preferred going to Christian churches.

By the time Addy saw the movie Frozen, she was already looking for her own spiritual path. It didn't turn her into a witch, but it pointed her in that direction.

Addy Ebrahimy:  I think it took about two months to kind of just get it into my head that like I was a bit more witchy. So realizing where I was on the Pagan side was actually just a huge relief for me. And then when I finally, like, accepted it, I just kind of like felt an entire weight lifted off my shoulders.

Heather: It took about five years for Addie to figure out how her nature-centered magic could work as a spiritual home for her. And part of that process was finding her community, which began when she was a sophomore in high school and learned one of her friends was also Pagan. As a teenage witch, newly confident in her spiritual direction, Addie had to be resourceful with her magical practices.  

Addy Ebrahimy: So, I did not have a whole lot of money for, like, the basic items things like candles, so I just kind of worked with what I had which is mostly just, like, I think rock cool rocks I found on the side of the road. I had, like, a old necklace, I just made that into a little pendulum, and it spins saying yes or no to different things, and it worked out pretty well. But I think still in my collection I have that old necklace that just kind of reminds me of like where my roots are.

Heather: When it comes to sharing things with their family, teenagers are famous for their secrecy. And this was true for Addy when it came to witchcraft, but it also depended on the family member.

Addy Ebrahimy: I did prefer to keep it on the down low. I think the only other person I know who actually, like, completely was like in on it with me was my stepsister. I've known her since I was about two years old. So, we kind of just always had like that little connection between us, just kind of like loving the different and weird stuff.

Heather: Today, Addy is a 21-year-old anthropology major minoring in theater at Western Washington University in Bellingham.

Going to college was an inflection point for her. Not only was she fully able to be out as a witch, but she also started the college's first Pagan and Witches student organization.

Addy Ebrahimy: I could finally just like show it off, tell people I was a witch and then people would just be like, oh my gosh, yeah, me too, where like you do this and this. But yeah, college was definitely, like, the turning point for me in that case. And it feels really good to just have like this little community of like practitioners and also just kind of like keep encouraging each other to do different things. So it just feels really good to have that like support.

Heather: This is Magic in the United States. I'm Heather Freeman.

For many of us, when we think, "teen witch", we probably think about fictional versions like Sabrina or Charmed -- TV shows about girls-next-door practicing magic.

In today's episode, Teen Witch, we'll learn about the invention of the teenager as a social demographic, how the idea of the teen witch emerged in books, movies, and marketing, and why we know so little about the real teen witches -- like Addy -- who have practices full of empathy, community, and magic.

We'll be right back.

 [BREAK]

Heather: Welcome back to Magic in the United States. I'm Heather Freeman.

Most societies in the world have some sort of figure that looks similar to our archetype of the witch – a malevolent, magical woman who lives in the woods and harms her neighbors. You might be thinking of an old woman, wizened and raggedy, like Baba Yaga. Or maybe you’re thinking of a beautiful seductive witch, like Medea.

But the concept of a teen witch – like Willow from Buffy the Vampire Slayer or Sabrina is a very new -- and a very American -- invention.

So where did the teen witch come from? To start with, the teenager as an age demographic is a modern idea.

Miranda Corcoran: The teenager as a specific, clearly identifiable demographic is a comparatively recent phenomenon. It's very much a creation of the 20th century.

Heather: Dr. Miranda Corcoran is a lecturer in the English Department in University College Cork, Ireland, and she studies the image of the teenage witch in literature and popular media.

Miranda Corcoran: Even though the term ‘teenage’ or ‘teenaged’ had existed for quite some time, the term ‘teenager’ as a term used to refer to a specific demographic -- that emerges in roughly the 1930s and the 1940s and really solidifies in the post World War II period --  it's very much a product of shifting social, cultural, and economic norms in the United States.

Heather: 19th-century factories in urban areas often employed older children and teens as labor. These children – who were often lower class – helped support their families through their labor. They weren’t in school, but they also didn’t have independence from their parents yet.

Miranda Corcoran: So one thing that happens during the depression is that obviously there's a shortage of jobs for everybody. So young people who might previously have worked in various, often low-paid, industries, were essentially sent back to school or encouraged to stay in school longer so that there would be more jobs for adults.

Heather: Previously being able to stay in school was reserved for the wealthy. But while the great depression put teens in the classroom, the post-World War II economic boom also helped create the teenage demographic.

Miranda Corcoran: And for that reason, you had a larger cohort of young people who were able to form their own culture, their own subculture, who were able to look to each other, to their peers, rather than parents or adults for guidance, for support, for a sense of what was right and wrong in the world. All of those things became mediated more so by their friends and by their peers than by their parents and by their family.

Heather: And right from the emergence of this demographic, adults were concerned about what the kids were getting up to.

Miranda Corcoran: So, on the one hand, there's a sort of anxiety about the teenager when they emerge, this idea of a group of young people who are not quite children, who are not quite adults, who look to their peers rather than to their parents for guidance -- it's a little bit threatening, it has the potential to be quite disruptive.

But at the same time, for a country that's coming out of the Depression and then coming out of the Second World War, there's a sense that, well, we can allow our young people this period of exploration So the teenager also embodies a sense of affluence, a sense of, kind of, comfort and also the promise of the future as well.

Heather:  American teenagers weren't a uniform demographic. There was racial, class, and gender bias built into how they were represented in the media. This is still true today, and we'll come back to this.

But in literary examples, middle-class teenage boys might be depicted as endearingly mischievous -- a rebel without a cause. While working-class teenage girls were often under a lot more scrutiny.

Miranda Corcoran: You also get serious discussions of female juvenile delinquency and the fear that teenage girls might, you know, in some way go off the rails and cause significant trouble.

Heather: And almost from the start, teenage girls were often discounted by adults.

Miranda Corcoran: Often teenage girls -- and this will not be a surprise to anyone who has ever been a teenage girl -- were not taken very seriously. They were often imagined as somewhat ridiculous figures. So if you look at some of the earliest media discussions of teenage girls, if you look at news stories in magazines or in newsreels, they're often described as kind of silly, irrelevant, a little bit ridiculous. There's something that's amusing, but certainly not to be taken seriously.

Heather: In fact, some of this media used language that othered teenage girls and made them not even human.

Miranda Corcoran: You'll often find news items and reports in magazines that talk about teenage girls in terms of animal life. They're often described as being kind of feline in nature. They're often described as being like flocks of migrating birds, so where one bird goes, all of the other birds go. And the adults who write about them take on this kind of amused tone, like they're scientists observing animal life.

Heather: On one hand teenage girls were socially dismissed. On the other, there was concern about dangerous behavior.

Miranda Corcoran: So you'll often get commentators, journalists as well as psychologists and social workers, worrying very seriously about things like promiscuity amongst teenage girls. They might have sexual fantasies and sexual desires, but they're not contained by the institutions of marriage and motherhood. They might be going out to parties, they might be going on dates. So how do we make sure they're not engaging in inappropriate sexual behavior. 

Heather: Teenage girls were depicted as caricatures, as oversexed and shallow, so many parents were concerned. Meanwhile, another group of adults also took notice: marketing companies.

Prior to World War II marketing companies targeted women as an entire group. But by the 1940s, they started to focus on teen girls as a demographic, through magazines like Seventeen, which is still with us today in digital form. This targeted marketing created a sort of cultural feedback loop between advertisers and their teenage girl audiences.

Miranda Corcoran: Marketing isn't just directed at teenagers and isn't just trying to convince them to buy things, but it's actively constructing a very, very specific type of teenager. It's typically an attractive, white, cisgender, middle-class teenager. And that's the image that becomes almost solidified as the universal teenager at that moment in time.

Heather: By the 1950s, the archetype of the teenage girl was fixed in the American imagination.

Meanwhile, film was the entertainment media of choice, but by the 1960s, TVs were in many American homes. Books and plays were still very popular, but a new media potion was brewing. The supernatural witch and the preternatural teenage girl were about to overlap.

It doesn't take long from the moment when the teenage girl becomes a subject of popular fascination – and also sometimes derision in the media – for the teenage witch to appear.

And one of the first works that connected the idea of the witch and the teenage girl was a book -- an early historical study of the Salem witch trials.

Miranda Corcoran: It's called The Devil in Massachusetts: A Modern Inquiry into the Salem Witch Trials by a writer called Marion L. Starkey. It tries to be a modern exploration of the Salem witch trials in order to rationalize or understand why this event occurred in Massachusetts in the late 17th century.

Heather: From 1692 to 1693, a series of witchcraft accusations ultimately led to the deaths of 25 innocent people in Salem, Massachusetts. This wave of accusations was primarily triggered by local political and social tensions.

While there've been other witchcraft trials in American history, the Salem witch trials are perhaps the most infamous. Yet there are many misunderstandings about Salem which are still common today, and they have their origins in Marion Starkey's book.

Miranda Corcoran: Starkey focuses very much on the young girls, and she refers to them as Bobby Soxers on numerous occasions. She uses the term Bobby Soxers, which was a contemporary term for young girls who enjoyed swing music and they wore the little white, ankle socks that you've probably seen.

And throughout the book she kind of leans into things that people were thinking about modern day teenage girls. So, for example, she thinks about the fact that they were perhaps hormonal, she thinks about the fact that maybe they were sexually frustrated. So she really conflates these young girls with the figure of the bewitched and magic.

Heather: We know today the accusations of witchcraft during the Salem witch trials crossed age and gender lines and were largely driven by community politics –  not the hormones or boredom of teenage girls. But even so, the persistent image of crazed teenage girls came to us from Starkey's book, even though it's not historically accurate.

And Starkey’s picture of teen girls and witchcraft was a huge influence on a playwright you might have heard of -- Arthur Miller.

Miller used Starkey's image of the bewitched, socially manipulative, and destructive teenage girl in his 1953 play, The Crucible, which is his retelling of the Salem witch trials. The Crucible was Miller's way of critiquing McCarthy era Anticommunist persecutions and was incredibly influential, with several film and TV adaptions. And this is where most of us get the idea of political witch hunts from.

This play is still taught in many schools today. And, unfortunately, it's where a lot of our misinformation about the history of the Salem witch trials comes from. But it also shaped ideas about teenage girls in witchcraft.

Miranda Corcoran: The way in which he characterizes the young girls -- it very much reflects Starkey's language. And I think what's interesting in these kind of early texts, things like The Crucible, is how they're almost trying to conceptualize the teenage girl through the figure of the witch. They're taking something that is unfamiliar -- the teenage girl -- and they're understanding her through the lens of something that is comparatively familiar -- the witch.

Heather: After the break, we'll learn how the teenage witch moved from the printed word, to the printed image, and finally to the screen. And we'll also find out why we know so little about actual teenage witches in America today.

We'll be right back.

[BREAK]

Heather: Welcome back to Magic in the United States. I'm Heather Freeman.

The flitty, flirty teenage girl was an invention of the mid-20th century. And Arthur Miller connected the idea of the out-of-control teenage girl with witchcraft in his 1953 play The Crucible. Other literary teen witches of this time were also unnerving characters, and they preyed upon adult fears of teenage risk-taking and sexuality.

But in the 1960s that started to change.

The sexual revolution, the Vietnam War, and the arrival of modern Pagan Witchcraft caused huge social upheaval in the United States. It was a time of incredible change for everyone, including teenagers. So in 1962, this destructive literary teen witch gave way to something new -- a self-identified teen witch, who's fun and free-spirited.

She's Sabrina Spellman, from the Archie comics. Miranda Corcoran again.

Miranda Corcoran: The early Sabrina, the Teenage Witch comics, are also intended to be aspirational, in that the witch's glamour is very much rooted in her facility with consumer culture.

Heather: While earlier teen witches were unsettling and destructive, 1960s Sabrina safely tied teenage identity back to consumer culture.

Miranda Corcoran: So, in the early Sabrina comics, you know, she mostly uses her magical powers to do things like make boys fall in love with her, get herself invited to, you know, the best parties, summon up new outfits. And, yes, she gets in trouble and there are misunderstandings and, you know, wacky adventures ensue, but where magic is used as a way of allowing Sabrina to construct this perfect, glamorous, consumer-focused teenage identity.

Heather: While the 1960s Sabrina was focused on consumer culture, Hollywood was going through its own upheavals. And this would set the stage for a new kind of teenage witch to appear on the silver screen.

Heather Greene: So, by 1969, the American culture had been turned on its head by a lot of different movements -- Vietnam War, politics -- everything was changing. And one of the things that changed with it was the way Hollywood was enforcing its moral standards. It gave up what's called the production code, which was a strict self-censorship system.

Heather: Heather Greene is a journalist and media studies scholar, who's written about the film and television history of witchcraft.

This self-censorship affected everything from how sex scenes were depicted, to graphic violence. So with this change in the late 1960s, horror films were suddenly allowed to explore new types of imagery and ideas. And this also allowed for different kinds of depictions of the teenage witch.

Heather Greene: What I like to say is, all hell broke loose -- quite literally! You know, obviously horror just exploded, you have now witches in horror films.

Heather: In 1950s plays and short stories, adolescence was a liminal state -- it was unsettling and therefore witchy. But by the 1970s, there was power in womanhood -- and the teen witch seized that power with a vengeance.

Heather Greene: Witchcraft is, in these cases, a symptom of the transition from childhood into adulthood. So embracing witchcraft, whether it's Satanic or not, is symbolic of you coming into your power as a woman. Unfortunately, in these movies like Carrie, embracing that power is still destructive.

Heather: Stephen King's 1974 breakout horror novel Carrie was adapted to film in 1976. Carrie is a shy teenage girl. When she has first period in the gym locker room, she's ridiculed by her classmates. Her first menstruation also triggers telekinetic powers, and Carrie faces increased bullying at school. Meanwhile, her religiously fanatical mother at home accuses her of witchcraft.

Miranda Corcoran continues.

Miranda Corcoran: In Stephen King's Carrie, the teenage witch isn't aspirational in a conventional sense. Like, she does bad things, she does quite evil things, but her evil is often directed against symbols of, you know, of abuse, of the patriarchy. And so we take pleasure in her destruction of these different oppressive systems. The witch becomes a kind of a perversely liberating figure.

Heather: The 1960s had boy-crazed consumerist Sabrina, the Teenage Witch. The 70s saw the vengeful blossoming of supernatural womanhood in Carrie. Film, TV, comic, and literary depictions of the teen witch ebb and flow over the decades. And in 1996, one of the most iconic teen witch movies of all time came out: The Craft.

In The Craft, Sarah is new to her Catholic prep school. Like Carrie, she has telekinetic powers. But unlike Carrie, these powers attract the friendly attention of three other misfits -- Bonnie, Nancy, and Rochelle -- who just happen to be three witches looking for a fourth to complete their coven. Eventually, the coven disbands after their magic gets out of hand, but Sarah, at least, gets to keep her powers at the end.

Nevertheless, these teen witches are empowered through their magical practice and sisterhood. And while The Craft is definitely all about the supernatural, there are also hints of modern religious witchcraft in the storytelling.

Heather Greene.

Heather Greene: It was 1996 with The Craft that we see a big change where, not only is witchcraft now a symbolic element of the transition, but it's something you can embrace as part of your journey into womanhood. And we also see it being represented as a viable path, a spiritual path. So accepting witchcraft is not just accepting something to do, but it's something to be – spiritually.

Heather: Many younger Gen Xers and older Millennials who found witchcraft as teenagers, point to The Craft as an inflection point and a moment of inspiration.

Heather Greene: One of the most powerful moments in The Craft for many teenagers at the time, is watching the scene where the four girls walk into the forest and sit down. And they begin to do a ritual in this forest scene, and there's leaves around them, and there's trees around them, and they start using the language of Wicca. They said things like ‘in perfect love and perfect trust.’ I believe they might've said ‘Blessed Be’ at some point. They're using the known language of Wicca.

And as the camera spins, and as they're speaking their words, butterflies and things spiral around them. It's such a beautiful, spiritual moment for these girls, and they're empowering themselves. So it's symbolic as well in their life. They're finding their magic, which is, again, allegorically, they're finding their power, their power as young women.

That was remarkable for the time. That scene alone was remarkable.

Heather: The Craft's production team included an on-set Wiccan advisor, Pat Devin. Pat helped to assure that representations of Wiccan witchcraft were mostly accurate and respectful for that time. This scene in The Craft reflected both feminist ideas and religious witchcraft identities of the 1990s.

Heather Greene:  The message was, ‘We made it, we did it, we arrived. Girls can do anything. We broke the barriers, we broke the ceilings, we broke the walls, now we're ready for anything, and you can even be a witch.’ So, guess what? A lot of teens became witches.

Heather: The Craft inspired a generation of teens to explore witchcraft. And then a wave of TV shows picked up from where The Craft left off.

Heather Greene: And so you have a rash -- from 1996 into the early 2000s -- of TV shows that depict girls-next-door being witches. Sabrina comes back, she looks like a girl next door. She just happens to have a talking cat. And you have Charmed -- three young women, that could be the girl-next-door. They don't look very different, they don't have green skin, they don't have pointy hats most of the time. You follow that trend of ‘these regular women can be witches too.’ And that is a reflection of this Third Wave Feminism.

Heather: The image of the witch in film and television continues to reflect larger social conversations about the roles of women over the next decades. And then in the mid-2010s, the witch appears again, in a new iteration – as the antihero.

Heather Greene: As the 2010s continue on, we have increased rhetoric around environmental problems, politics, civil rights. We start to question as a society, ‘Are the stories that we were told accurate? Are the histories correct?’ We start to see this trend in storytelling that gives us reasons for our villains doing what they do. And while we don't agree with what they've done, we do understand now why.

And so you see in witch films this is reflected in the types of witch stories we get. Sabrina came back during this period of time, much darker, and also dealing with difficult topics again. She's dealing with racism. She's dealing with sexism. She's dealing with issues against queer people. She's dealing with a lot of difficult topics that were very current at the time, specifically for generations that were facing these things. By the end of the 2010s, the acceptance of witchcraft, whether it's naturally attained or learned, is because of damage done to you, because of harm.

Heather: The image of the witch in film, television, books -- and even video games -- often reflects larger tensions in society, particularly around the autonomy and agency of women. Some of these definitely inspired teenagers to explore witchcraft as a spiritual or magical practice.

But what does that witchcraft even look like? When it comes to teenagers, this is surprisingly hard to answer.

Dr. Susan Ridgely is Director of the Religious Studies program at the University of Wisconsin. She designed a study to understand how religion and spirituality fit into the daily lives of teens.

Susan Rigley: What young people are doing is important. It's important to them, it's important that we think more broadly about how religion, spirituality, magical practices are working in the world, and it's not only working that way with people who are 18-to-65, it's also working in different ways with younger folks.

Heather: So what research is there on teens and witchcraft?

Susan Rigley: In terms of, kind of, lived experience of teenagers and witchcraft, I have not seen too much, right? For young people themselves, there hasn't been as much cohesive research about that group.

Heather: Until they’re 18, children are in legal limbo when it comes to getting religious information their parents might object to. But the internet and social media have created avenues for young people to learn about other religions, magic, as well as witchcraft. And this offers researchers another avenue to study teens.

Susan Rigley: You can look at all the social media influencers around witchcraft and look at what they're talking to young people about, how many people are viewing those things, and what the comments are -- there are great communities that are formed in the comment section. You know, people are saying, ‘Oh, you're interested in witchcraft that has to do with, you know, the Norse gods. Me too.’

Heather: And for many contemporary teen witches, their practices are focused not just on themselves, but on their broader communities.

Susan Rigley: Often young people talk about a way to be deeply engaged with, and supportive of oppressed communities. I think that for many young people, they don't see that empathy in the public discussion. I think that there's some kind of empathies that happen, an idea of magic as empathy.

Heather: For most of the 20th century, teenage witches on the screen were white, middle-class, and female. But when you look at teen witches online, that demographic is much more diverse.

Susan Ridgely and Miranda Corcoran.

Susan Rigley: Many are non-binary, or trans, or want to be allies. So, you might see more teenage boys being interested in witchcraft. They can put in their own values without having these tensions, that they might have in other parts of their lives surrounding issues of gender and sexuality.

Miranda Corcoran: You're getting a much more diverse group of people exploring different kinds of witchcraft. One thing I have noticed is that because so many people are using social media to share information about witchcraft, those who are interested are learning about magical religious systems beyond Euro-American witchcraft. They're learning about systems beyond things like Wicca, for example. Things like Santeria, about Voodoo, Root Work, Brujeria, all of these different systems that previously, if they did see them, it was often in a very kind of highly stereotyped, very kind of demonized manner. So, I think we're starting to see people exploring different systems, different ways of practicing magic. And as a result, I think maybe witchcraft is beginning to seem  more welcoming to people from different backgrounds. It’s not as monolithically white and middle class as it had been portrayed as in the past.

Heather: This gets complicated quickly since many of these practices are anchored in specific cultural communities and cultural appropriation is a challenge.

Still, for some Teens of Color, this becomes a way of accessing spiritual connectedness that is anchored in a personal heritage. And while practices like Voodoo and Santeria are religions -- and definitely not witchcraft or magical practices --  some teens choose to also call themselves witches as an act of personal empowerment and resistance.

Heather Greene.

Heather Greene: These younger generations have grown up through this social instability that we've been experiencing, through the politics of our times, through the language of the environmental and climate change panic, with the pandemic that just hit -- they're really, really growing up with this language of struggle, of oppression. So I think they see witchcraft as a way to empower themselves, to find a better path, to also give themselves the strength and the tools they need to survive, to stand out, to figure out what their identity is. So witchcraft offers that promise.

Heather: For Addy, who we met at the beginning of the episode, this diversity of representation and inclusiveness is deeply interwoven with her ideas about witchcraft and her identity. Addy came out as queer around the same time she came out as a witch. And Addy’s values in witchcraft are reflected in the college club she started with some friends.

Addy Ebrahimy: I think when we started the club, we wanted to reflect on that and make sure it's as inclusive as possible. I think all of us who lead the club are like, not fully white.Like, my co-leader who's, like, Mexican, but they also have their own traditions. So it was just making sure we reflected all that and celebrating the different cultures that brought that together. And then for the queer side of it, again, Paganism is just kind of like a good place for us to come together and finally celebrate who we are, and not feel judged for it and then you just like, feel more at home in this space.

Heather: While some teen witches don't describe their practices as a religion, others like Addy, do use that language. And as a religion, she embraces witchcraft in part for its inclusivity.

Addy Ebrahimy: I am very religious, or at least like, I have a very high connection to actually like the land. Everything's interconnected in this giant web, and I'm super fascinated by that. But yeah, very central to who I am is just, like, believing that there's like a lot of good in the world.

…

Heather: Next week on Magic in the United States, we'll investigate the magical properties of digital technologies, and we'll try to peer behind the veil into the future of Magic in the United States.

Would you like to leave us a comment or thought on one of our episodes? Give us a ring 9 8 0 2 7 7 4 4 0 2. Or leave us a message or voicemail at magicintheunitedstates@gmail.com. We'd love to hear from you.

Magic in the United States was written and hosted by me, Heather Freeman. The show is produced by Amber Walker and edited by Lucy Perkins. Our associate producer is Noor Gill, and the show is mixed by Jennie Cataldo. Fact-checking by Dania Sulemon. The executive producer for PRX Productions is Jocelyn Gonzalez. The show's music is from APM music and Epidemic Sound. And our project manager is Edwin Ochoa.

Thanks to series advisors, Helen Berger, Daniel Boaz, Yvonne Chireau, Chas Clifton, Abel Gomez, Daniel Harms, Corey Hutchison, Sean McCloud, Sabina Magliocco, Thorn Mooney, and Meg Whalen. Thanks to guests Miranda Corcoran, Addy Ebrahimy, Heather Greene, and Susan Ridgley. This production was funded by a grant from the National Endowment for the Humanities and the University of North Carolina at Charlotte.

Wherever you are in the United States, the East, the West, the North, or the South, remember that magic is everywhere.

I'm Heather Freeman and I'll see you at the crossroads.