Wednesday, October 01, 2008

2008 Right Livelihood Awards

Click on the their photos to find out more about these inspiring and tireless women.
Krishnammal Jagannathan, RLA 2008
Krishnammal Jagannathan

Krishnammal and Sankaralingam Jagannathan, and their organisation LAFTI (Land for the Tillers' Freedom) (India), who receive an Award "for two long lifetimes of work dedicated to realising in practice the Gandhian vision of social justice and sustainable human development, for which they have been referred to as 'India's soul'."




Amy Goodman (RLA 2008), Picture: Michael Kee
Amy Goodman
Picture: Michael Kee

Amy Goodman (USA), founder and award-winning host of Democracy Now!, a daily grassroots, global tv/radio news hour, is honoured "for developing an innovative model of truly independent political journalism that brings to millions of people the alternative voices that are often excluded by the mainstream media."


Asha Hagi (RLA 2008)
Asha Hagi

Asha Hagi (Somalia) The Jury honours Asha Hagi "for continuing to lead at great personal risk the female participation in the peace and reconciliation process in her war-ravaged country."


Monika Hauser (Germany), gynaecologist and founder of medica mondiale, receives an Award "for her tireless commitment to working with women who have experienced the most horrific sexualised violence in some of the most dangerous countries in the world, and campaigning for them to receive social recognition and compensation."

Saturday, July 26, 2008

Links to NJ Skylands Produce and Markets


New Jersey is still potentially the garden state.

Each summer, farmers from Sussex, NJ; NY State gather locally all over the state to sell vegetables and home made products.

Today I purchased red carrots which have a peppery redolence, Amaranth leaves, tender onionskined gold potatoes, and just picked purselane.

From the Biodynamic Danaray Farm
I picked up adorable textured beeswax candles so sweet they still feel like they will drip honey. Also his one natural soap he calls Farmer's which is a Lemongrass/Cedarwood.

Tuesday, May 13, 2008

Hair Stuff





I cut my own hair. It is relaxing, creative and just plain fun. I have thick, unmanageably curly hair that can frizz in the summer and be wavy in a really nerdy way in the winter. I have long come to terms with all the embarrassing ways my hair can arrange itself and just go with it.

I like to play with my thick, cowlicky hair and sculpt shapes in it with each season. I just finished my full blown Spring cut. I decided to Mohawk it. At my advanced years, this means I needed to have some sort of well designed shape in order to carry it off and not look even more comical than I need.

I solved this problem by cutting into my hair line and creating a sort of bat wing shape that defines the duck tail/Mohawk shape that I enhanced with dark dark brown which follows the Mohawk with density at the base of my skull and proceeds to become more of a highlighted effect at the crown.

I cut my sides as short as I could without making a buzzed effect. I then cut texture with merciless zeal.

I encourage everyone to cut some part of their hair. Even if it's just bangs. The empowering feeling is delicious.

By the way, the earrings I'm wearing on the top photo I purchased through Jeanne Adwani over at Intowit Designs on Ruby Lane. She is a talented artist in several medium also as well as a long time practicing astrologer.

Monday, May 12, 2008

PlaYiNg wItH MerCuRy


Mercurial significance is playing with me.

Mercury rules gamesmanship (notice, I didn’t use the word sport) Glibness, wit, quickness, moving vehicles that don’t fly. It also rules phone networks and their answering systems..

I recently received a letter (Mercury) from my insurance company regarding an accident in which blame is going to be ascribed to me. (Having my second Saturn Return)

The letter was signed by someone whose name I did not recognize.
Since I already have a pleasant relationship with my present claims adjuster, I decided to just play Mercury’s phone game and trace down what this change in my status represents.

I began at square one: A central number. From there, I was invited to ski the slippery slope of numbers and choices required to contact the name on letter. However, being familiar with Mercury and Saturn, I possessed a Magical numerical talisman: The correct extension number.

After accurately activating the magic numbers, The portals of Allstate were opened to me and I was greeted by my new claims adjuster.

After exchanging pleasantries (I love hanging with women in customer service. For the most part, they are smart, compassionate and quite helpful) I got down to business and explained that I was merely calling because I had already been communicating with a claims adjuster and was curious as to why I had been transferred.

Cathy (first name basis now) giggled and said
“Oh, that was because I had so many claims that some were transferred but the mailing was before the change.”

How adorable and witty is that?

Friday, May 09, 2008

More description of StarScent


Because I use an improvisational technique, I remain receptive to a treasure trove of inspirational surprises. Often my unusual connections between concept and composition lead to sparkling insight by my patrons of their StarsCents. Even more gratifying are deeper levels of self-compassion and insight my patrons experience as a result of their StarScent process.

From the instant I draw up my patron’s chart. I respectfully, and without personal projections, take a walk in their shoes. I tiptoe across their houses of early childhood and parental influence. I observe the subtle manifestations of motherhood (both sides). I examine their symbols of connection, work and partnership.

I choose to remain a bit in the houses that point to the whispered directions of my patrons’ souls. The soul’s physical journey: This aspect of my patrons’ lives is the secret chamber of a StarScent. Just like snowflakes, each client manifests his or her soul guidance perfectly unique.

I find it necessary to have at least one phone chat. I treasure these meetings!
The conversations shared with my patrons are touching and intimate. Together, we explore the mythical aspects of my patrons’ lives.
Through my skill, I raise up my patron’s life from the mundane to the sacred. And then, I create a perfume to reflect this.

Wednesday, April 02, 2008

Interesting bit on custom scents in the corporate perfume world

This is a short article that raises the question: With over 3000 materials in the natural and synthetic perfume world, why are signature classic reformulations so completely banal?

Friday, February 29, 2008

Excellent perspective on micro and macro



Evolvement Through Difficult Situations
"When one decides to participate in the linear the eternal perspective available offers comfort of the end result. Upon manifesting in the time-line the physical consciousness tends to disassociate with the larger viewpoint.

The condensed perspective is intense, often leading the individual into despair.

Difficult situations are sometimes necessary for the soul to evolve, and are created purposefully by the individual. We realize the unpopularity of such a creative moment when one is considering the probabilities, however, it is true that some lessons require a strong experience for evolution to occur.

The evolved perspective considers the experience and often in hindsight knows that even the most negative experience can produce a positive outcome.

The trick is to survive the moment to reap the benefits of the experience. Support from eternal energy is available, but not always called upon in the appropriate manner.

Remember that you are an eternal energy having a physical experience, not the other way around.

Instead of bemoaning the creation contemplate the information received and move forward.

Stay true to your soul and its energy, and receive the lessons and use them to move forward. Often while physical the recreation of the events occur until one comes to that conclusion.

Learn the lesson and move forward. Forgive but do not forget the moment. Difficulty can be replaced by easiness if one pays close enough attention.

Again, we realize the reluctance of those stuck in a negative pattern to receive this information, however, we feel the infinitive power of the Soul and align our energies with it, so as to help you through it.

You are not alone."

--VERONICA

Dear VERONICA

Dear Veronica,
After we die physically how long (in earth time?) do we wait before we incarnate again?

I heard that we often incarnate with the same family but that doesn't make a whole lot of sense to me.

For example, my sister Cathy died a few years ago. At the time of her death she was being greeted by our long time deceased grandmother.

I had a dream before my sister died and in that dream my grandmother told me not to worry about Cathy because she would take care of her.

Does this mean that my grandmother was waiting all this time for her? Or, in any other case could it be that we just keep moving along into one body right after another?

One last question: Is my sister Cathy still on the other side or has she incarnated again by now? Thank you!
Barbara


Dear Barbara,

Reincarnation is not a linear process. Most on the earth plane perceive it from that point of view, however. In the larger picture there is a multi-dimension aspect that is not being considered.

For example, one may incarnate in the American Revolution then move forward so to speak into the Middle Ages.... a difficult concept to comprehend while in the time-line.

No, your sister Cathy is still in contemplation with her guides. For her the measurement of time is now irrelevant while to you it's the basis of your current existence.

--VERONICA



Dear VERONICA,

After this present "linear" existence has changed into non physical, how do our opposing earthbound religious and political differences and indifference's meet up?

Is there common ground?

Or do we find ourselves continuing with the particular present religious or political systems we may have embraced?

Douglas


Dear Douglas,

The linear choices of belief systems are attached to the linear life in hopes that by choosing them one will embark upon evolution.

However, it usually results in the belief systems interfering with the evolution of the soul.

Since there are multiple linear lives, the belief systems are ever evolving. The older the soul in experience the less influence the linear belief system has upon the life.

Ultimately the soul will become more involved in the process causing physical cognitive moments to be more discerning when choosing a belief system to become involved with.

--VERONICA

Wednesday, January 30, 2008

Saturday, October 27, 2007

I really can bring out radiant beauty

This is not an idle boast.

Life for me has been about sensitizing myself on a finer and finer level. When you devote every waking and sleeping moment of your life on earth paying attention, you are able to be guided strongly.

I'm not a Goddess, I am not someone who manipulates reality. But I AM super sensitive to your pulsings.

If you are willing and open, I can begin a process of correcting the misaligned pieces of your puzzle back into their spots. Let's see, other ways of describing what I do:

I can detect holdings and blocks in small muscles which lead me to more subtle flows at those points. By gently caressing holdings or with other types of pressure, I can help you release feelings you have forgotten about. The result is a kinder, happier, more open visage.

More later, Just wanted to get this down while I was thinking of it.

Friday, October 19, 2007

"How Often Should I Receive A Facial?"


This is an excellent and often asked question.

There is no one answer as professional skin therapy is dependent upon our agreed upon goals.

At all my initial sessions, I spend time reviewing and examining my clients' inclinations toward regular skin care sessions.

If my client desires to have a very special one to one session as a special occasion, I would recommend regular sessions at a minimum of one month intervals. This gives a professional cleaning while I spend most of my time doing relaxation and toning massage of the face.

Scheduled facial recommendations
  • Monthly sessions
    • maintains your current condition.
  • Bi monthly Session:
    • Disinfection begins to take effect
    • Mild inflammation
    • Acne
    • Eczema
    • Over Exposure to Sun or Wind
    • Anti-Aging Treatments
    • In between peel maintenance
  • Weekly Sessions
    • Very important for severe cases of acne and breakouts
    • Acne
    • Rosacea
    • In between peel maintanance
    • Combats dry skin and all other environmental damage
    • Maximizes anti-aging treatments

Thursday, October 18, 2007

The Secret (Tongue in Cheek)


I understand how it works for me, this act called manifesting.

I am the Prima Materia, Master of my vehicle

Desire potentially results in planning.
Planning potentially results in action.
Action yields results which inform me what I was really planning to take responsibility for.

Thursday, October 11, 2007

Old October

All things on earth point home in old October; sailors to sea, travelers to walls and fences, hunters to field and hollow and the long voice of the hounds, the lover to the love he has forsaken.
— Thomas Wolfe

Wednesday, October 10, 2007

Playing around the center



In the beginning years of the 1970's I became a part of the North Chicago Musician scene. I was gigging a lot and meeting all different types and styles of musicians who were also working on the Near North side.

I became fascinated by the expanded potential of 12 tone music. As my studies in classical and jazz theory progressed, I desired to use my voice more instrumentally and wanted to be able to play around the groups of notes that defined a scale but were not limited to major and minor modes.

I was introduced to Fred Anderson and his fluid group of musicians. Fred took a liking to me and I was allowed to regularly sit in on gigs at the Amazing Grace coffeehouse. I was fortunate. This experience taught me about organization around intervals and playing with disparate tones. I also was able understand on a much deeper level, tonal colors.

The lessons of my year with Fred has remained with me today. Understanding the scales of perfume allows me to be fearless when I sense a major second in an evaporative bridge. It has taught me that a perfume sketch can include notes that are not always easy as long as there is a resolution that makes harmonious sense.


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Monday, October 08, 2007

Building my bridge


Continuing on with the idea of creating a tart leather, I separately combined the following and after vibrating with my Hitachi Magic Wand (a superlative perfume mixer)
Clary EO
Ho Wood
Linalyl Acetate
Estragol
Anise Hyssop

Mellilot
Caraway (one drop)
Costus 1 dr

Leather, I am ending this topic


After evaluating and finding my compot somewhat muddy yet personally appealing, I decided to see how much top I could add on. I knew that my dilution was too thick but didn't want to think the composition out yet. I am going on a rough estimate of a total of 30 per cent.

I wanted to create a challenging top but not go into ugly. Something that happens often. Luckily I like ugly and just keep whatever mistakes I make in a special What was I thinking?cabinet

I chose a separate vial of a combination that includes but is not limited to:
a fresh distillation of Violet Leaf Absolute, Neroline, Citralast (creates a bit more longevity with a fresh feel) and an overly large amount of butter absolute.

COMPLETION OF THIS TOPIC
Butter is a fascinating but aggressive top. Had to blend it in better while retaining that totally outrageous first impression. So far have added an accord of softer ghee type effect with one tiny amount of Spearmint

The final Tweak



However, after sending off my accord, I decided to change the scent completely

10 per cent solutions of
Musk Tonquitine Luckily I've OD'ed so many times on this I didn't typically just pour an entire bottle into the mix. Using a dropper, I added about 10 drops. Also, while do love this particular musk, it is too sweet and adds a very gentle effect to the base and what I'm looking for is a more hide type of feel. So I continued with a wash of Tonalid for a musky feel without overtones. I also added a few drops of Vertine. I am not sure how this effected the accord as I am going purely by smell. A small bit of P Cresyl Acetate and Vernaldehyde which to me created a somewhat Buttery effect similar to Indian Sweeties.


And so I began to assemble some of my favorite bases with Leather in mind




I began by compiling notes that for me closely plus very remotely resemble hides.

I started with essences that had naughty, stubborn qualities as well as some notes that were calming, harmonizing

Beginning with Antique Sandalwood,Santalol,I continued adding

Birch Tar .01 per cent 2 drops
Choya Nakh 2 dr

Lentesque, Mastic

Helichrysum eo


A particularly waxy Orris Butter

Vetiver in 10 per cent dilution

Birch Leaf Givco

Angelica Root

Liatrice (fair amount)
Estragol
Toscanol
9/10/07
MuskT
Oud Incense Tict (Anh)
Elemi
Fleur du Chocolat (a cocoa, honey with rare florals)Wash in alcohol with a Vetiver Wash to use as my medium.
Then I let it sit

Leather Play



Since deciding to woodshed for an indefinite period of time, I have been playing with
Scent of the day -or - week, or whatever.

I was helpfully kept on course when I decided to participate in mfd of perfumes swap. Lou, a member of the group was hosting, she's nice plus, no rules, which pretty much cinched the deal.

I decided to create a Leather accord at least and, if time allowed, build a perfume around it.

I decided to play down the smokier notes in favor of a Leather impression composed of my favorite musk bases, fresh and sour middles with some kind of top that is not generally used.

Thursday, August 23, 2007

Looking For Perfume Making Classes? Readme


I am not teaching perfumery at the moment. However, here is a guide written by Lisa Camasi, the group moderator for botanical_perfumery (which you might want to check out) which is invaluable for the perfumer seeking guidance

Lisa Camasi is a long time botanical perfumer, artisan tincturist with several fascinating methods for hand-extracting natural essences. She is also a brilliant writer with a degree in linguistics from the University of California.. This has served to make her one of the most valuable communicators in the natural perfume world. She hosts two online perfume groups: botanical_perfumery@yahoogroups.com which is open to anyone and includes, I believe our own Dorothy Kingsbury among others. She also hosts another, invitation only, interactive perfume making group.

Anyway, to make a long story short, this is her piece on how to find the perfect perfume educator that matches one's needs.

There are more resources than ever for the average person to learn
about perfumery - natural/botanical and otherwise, and are VERY
reasonably priced - in fact most of them are free.

If you want to take a class, any class, do a little homework first and
make sure that the class you take will serve your needs, interests and
budget, and will deliver on its promises.

ASK A FEW QUESTIONS:
- What are the instructor's credentials, experience, and reputation,
professionally and otherwise? If s/he has formal credentials, are
they in a relevant field? Are they from a reputable institution? If
the instructor points to experience and a varied selection of "one
off" courses, one on one instruction/mentorship/apprenticeship with
another perfumer or perfumers, who are they, and what are their
credentials, what is their professional lineage? If the instructor is
self taught, how did s/he pursue their studies, and how did s/he
arrive at the conclusion that s/he had acquired sufficient knowledge
that s/he feels qualified to teach a professional course and charge a
professional fee? Is s/he published?

- Can references/recommendations be provided from former students?

- What books/literature is used to support the class, and what is the
additional recommended reading?

- What are the educational objectives of the course - what will you
have learned and be able to do after the class that you could not do
before the class? How will they be achieved? Is there a syllabus
from this or previous similar classes that you can view to evaluate
whether the course will meet your interests, skill level, and needs?

- Think about how you learn best. Some people do very well reading
from books, some prefer lots of graphics and pictures, and still
others absorb information best through auditory input and verbal
exchanges. Will this class be presented in a way that is suitably
accessible to you and your learning style? I have a good friend who
is a university lecturer in New Zealand, and one of the courses she
teaches is a distance course. It is at the graduate level, and
because the focus of the course is in support of the literature survey
the students need to conduct for their MA theses in Linguistics, it
works pretty well, but she said she can't imagine teaching any of her
other courses because so much critical learning happens in the face to
face exchange of weekly seminars and working collaboratively on
research and data.

- Consider all the available courses and resources in the context of
what you want, what you need, and what you can afford. Look for a
class that will teach you skills that allow you to continue learning
when the class is over, and leave you feeling empowered and encouraged
to do so - rather than enslaved to an expert who claims to hold the
key to the vault that safeguards the secrets of the ancient art.

- Le Parfumeur Rebelle has links to a few classes in natural/botanical
perfumery, or ones that cover naturals substantively (scroll down the
page to "classes".)
http://www.leparfumeurrebelle.com/education.html
If you're able to spend $800 for an online course, why not spend a
couple hundred more and get the benefit of learning perfumery "in the
style of the French perfumers" from *actual* French perfumers - ones
with the training, experience, materials, facilities and professional
acumen to make it worth your while and worth your hard earned money!!
(Not to mention the pleasure of spending a week in the heart of
Grasse!) There are other classes - Sunrose Aromatics has hosted
classes with Gail Adrian in the past, and Linda at the Perfumer's
Apprentice is an excellent resource as well.
http://www.perfumersapprentice.com/perfumersworkshop/

DO A LITTLE RESEARCH:
- Polish your bloody google, yahoo, dogpile skills. Be willing to
dive down a few rabbit holes as you follow the links within links. I
have found some of the most useful and relevant information this way -
as well as some wonderful and wonderfully obscure materials.

- Don't rely entirely on the internet, and remember that it is still
largely unregulated and there is as much unreliable information as
there is factual and useful information.

- Check out a few books at the library, and if your local library
doesn't have what you want, ask if they can get it for you through
interlibrary loan. If you live near a university, especially a public
one, see if they provide library privileges to the local community -
most do! You will be able to gain access to books through the
university that are unlikely to be available any other way -
especially out of print books.

- Safety... Don't rely on IFRA exclusively for this information, it's
not reliable! Read the MSDS for your materials and take a little time
and familiarize yourself with Pub Med
http://www.ncbi.nlm.nih.gov/sites/entrez/
you will get much more reliable information and you will learn a lot
more about your materials!

- There are a bunch of sites that will provide hours and hours of
reading (tons of useful information) about naturals and their chemical
components, as well as synthetics and compounds - here are a few of my
favorites:

http://www.thegoodscentscompany.com/

http://www.leffingwell.com/
http://www.bojensen.net/
http://www.ars-grin.gov/duke/

Bookmark these sites and spend some time following the links and
becoming familiar with the information (and additional
links/resources) they provide. Most vendors well known on this list
(Eden Botanicals, Natures Gift, Sunrose Aromatics, White Lotus) also
have copious amounts of information and links on their sites. I am
sure others here could add many more but this is a start.

- Whatever you do, don't believe the assertion that making perfumes
using aroma chemicals is the same as using naturals and that you can
learn everything you need to know in a class that only covers
naturals!! There is a lot of overlap in general technique, but if you
are going to use aromachems, do yourself (and your pocket book) a
favor and, as is good practice with naturals, learn how to use them
effectively and safely. Aromachems can be very unstable and sensitive
to degradation due to light and temperature, they often require
solvents other than alcohol, there are compounds as well as individual
aroma chemicals and the dilutions at which you would use them varies
wildly.

CHECK OUT SOME OTHER GROUPS:
- Give your chemophobia a rest (and brace yourself for the equally
irrational and perverse chemophelia you will encounter) and bring an
open mind! While I do not personally use aroma chemicals or
synthetics, my time on these lists has definitely honed my skills and
technique, and has made me look at naturals with a renewed interest in
their active chemical components and infused my creative efforts with
much needed precision, analysis and discipline:

http://groups.yahoo.com/group/perfumemaking/

Perfume Making is Jenny's group, there's a wealth of informative files
and links, and she has put together a couple of excellent power point
presentations. Discussion is lively, enthusiastic and fairly ad hoc,
though Jenny is great about introducing specific topics and questions,
and generating more focused discussions as well.

http://groups.yahoo.com/group/mfd_of_perfumes/


Manufacture and Design of Perfumes is Jo's group, and has more of a
collaborative classroom format. Class sessions might focus on a
discussion of a half dozen materials (natural and synthetic), a pop
quiz on some aspect of the history of perfume, or a discussion with
exercises on fixation, tincturing or solvents.

http://groups.yahoo.com/group/EarlyPerfume/

Early perfumes is Sally's group, and focuses on more academic and
early historical creation and use of perfume and scent. She has
written an excellent book and is extremely knowledgeable.

- Regardless of the group(s) you join, once there, spend some time
digging through the archives. This will give you an idea of the range
of topics that have been discussed, answer lots of questions before
you have formed them, and will make the questions you do ask once you
join the discussion more specific and useful Do this with any group
you join but especially one that has been around for a while or has
substantial archives - hell - join NP and mine those archives (if they
have not been deleted or selectively culled for the exclusive
reference of the owner.) The first couple years of posts on that
group are a wealth of information from some VERY talented and
accomplished perfumers (including industry professionals incognito)
who have long since moved on, weary of all the drama and politics that
can hijack the best of groups.

- Be willing to put in the time with your materials - books are
excellent references, and lectures can be tremendously informative,
but nothing, and I mean *NOTHING* takes the place of sitting down and
actively working with the materials: experimenting, formulating,
blending, evaluating, sharing, reformulating... the hours and days and
weeks you spend actively engaged in working with aromatics will be the
real education. Everything else - books, research, discussions,
groups, lectures - they are all optional.

- Work with your materials in dilution - it will save you unimaginable
amounts of money and will give you a better sense of how your perfume
is developing as you create it. I personally recommend using 5-10%
dilutions of most absolutes and 10-50% dilutions of eo's - it depends
on the odor intensity of the material you are working with. Create
your formula using these dilutions first, then add sufficient alcohol
to bring it to the appropriate strength (parfume, EDP, EDC, etc.)

- Invest in a scale sensitive to a hundredth of a gram, and learn to
use it - you will get infinitely more precise and reproducible results
if you do! Jen at lotioncrafter has a decent selection as well as a
useful comparison you can read to help you decide which one you want.

http://www.lotioncrafter.com/store/Scales-Accessories-c-262.html


Ebay is also a great resource for equipment, from lab glass to
ultrasonic cleaners/baths to use in tincturing and as an aid in
finishing/melding dilutions and perfumes (in fact I do believe that's
where the instructor of an $800 on line course just recently purchased
hers!)

- Form a local study group, or find a couple local partners in crime.
Swap perfumes, offer each other feedback, collaborate on a perfume,
or a collection of scented balms, or put together a
tincturing/infusing workshop. It builds community and supports your
habit, and happens to be a lot of fun to boot.

- Try a variety of materials, from a variety of vendors and regions.
All lavenders/vetivers/lemons/roses are not created equal, nor are the
aromatics that are derived from them.

- Don't limit the development of your nose to the perfumer's organ!
Take a wine tasting course. Learn to cook outside your comfort zone -
take an Indian, Mediterranean, Asian cooking class. Plant a fragrant
garden. All of these will propel you along the path of training your
senses inform your work with aromatic materials.

Last, but most certainly not least - don't be afraid to think for
yourself. The more stridently anyone insists that *they* are the
expert and that *you* need the training or information they are
selling, the more you ought to slow down, look around, and consider
all your options first.

If you think this is useful information - please feel free to forward
it to aspiring students, post to other lists, blogs, etc.,

Happy perfuming!

Lisa