They seem to know how and when the most inconvenient time is to rear their ugly heads…But what is the anatomy of a pimple?
I love making things. I also love giving art to people, and I believe that our world is better with more art in it. I wanted to offer something for the upcoming holiday season, but I didn’t have the capacity to invest money in items like prints or calendars. Instead, I want to offer small […]
“EACH OF US FINDS HIS UNIQUE VEHICLE FOR SHARING WITH OTHERS…” -RAM DASS
Dāna is defined as “the practice of cultivating generosity. It can take the form of giving to an individual in distress or need. It can also take the form of philanthropic public projects that empower and help many.”
One of the self evident truths across the different beliefs on our tiny round planet, is the importance of the practice of charity. This is a very important aspect of my own practice as a Buddhist, and as I’ve pondered how I can best help to share the wealth a bit more. One way is to use my social media as a platform to bring awareness by feature a non-profit or Non-government Organization (NGO) that I donate 5% of my net profits from that month.
This is a project that has been close to my heart for a while now, and I am excited to be able to help advocate for some deserving organizations.
This first month, beginning October 15 – November 15 2018, my spotlight non-profit is Project Beauty Share who “currently serves 60 agencies and shelters, mostly in the Inland Northwest [Washington], who help women and families overcome abuse, addiction, homelessness and poverty. Last year, they distribute about 40,000 pounds of new and gently-used hygiene and beauty products. They are currently getting ready for their Christmas Bag program – 2,000 gift bags with full-size, new items for our partnering agencies to distribute to their women.”
I felt that my first spotlight charity needed to be focused on women and children. Project Beauty Share is excited to be featured. If you would like to learn more, of donate directly – go here.
Happy almost October, dear Reader, my apologies for dropping the blog-ball so to speak. Been a very busy past few. I am up and running, offering microblading and esthetics at Ryderville Ink! Woohoo!
I have some very awesome specials running through October…. So come see me!
Book online- It will plug it right in to your own calendar! Technology makes life run smoother. I am also adding a few more services in the next few months- including mehandi. Be on the lookout.
I wanted to post up something a bit more tangible about what exactly is involved with and what the microblading procedure looks like. I have my own FAQ and Microblading: WTH?! article almost completed, but something visual is really helpful and this a great video. The music isn’t too weird. It is short and to the point. Not too much over-talk; she has a pleasant voice, and those brows are gorgeous. So until I am brave enough to make my own video, check this out!
Microblading Process Step by Step by Laura Mranda at Brow House Beauty in San Antonio, Tx.
Microblading: What You Need to Know Before Getting the Treatment.
…If you only ever see/read/listen to one work by Shakespeare, Make it Midsummer Night’s Dream. it has been my favorite Shakespearean work since I saw it preformed in 1988 at Hafer Park in Edmond Oklahoma’s Shakespeare in the Park. This performance poured the foundation for a life long love of England’s National Poet, and especially this play. There is very little guess work as to what goes down, despite the numerous sub plots. It is all set in the town of Athens and the woods nearby. The days are leading up in preparation to the marrige of the King- Thesus, to – Hippolyta – Queen of the Amazons (yes, that’s right, Wonder Woman’s mom. In a parallel universe… what goes around.)- they have an interesting, al be it less, fun time line such that, you kinda forget about them for a long while through the story. Meanwhile, there is a girl – Hermia, who loves guy – Lysander; and when they ask her dad Egeus, if they can get married he says: “No way!” He wants Hermia to marry Demitirus, who is totally keen on the idea. On the sidelines in Helena, Demitrius’ ex-, and a good friend of Hermia. Long story short, Lysander and Hermia decide to run away, so they plan to meet in the woods at night, during all the partying, and run off to Lysander’s aunt, where “cruel Athenian law” has no bite. Helena, decides she can get back with Demetirus if she tells him of their plan, and he will love her for it. (Sidenote: Ladies, if you feel like you have to “do” something to “Make him love you.” Run away, run away.)
There are also fairies! And the king of them is Oberon. His queen, Titania, and he are at
odds, because she won’t give in to him. About this time, Oberon overhears a scuffle between Demetrius and Helena, who are trying to catch Lysander and Hermia… and
Oberon, tells SO he asks his buddy, Puck, to find a special flower
the essence of which, when placed on sleeping eyelids can make someone fall in love with the first thing they see upon waking. Oberon bades Puck to also enchant Titania, hoping she will fall in love with some hideous forest creature, thus removing her from messing in his plans. Oberon further asks Puck to plunk some of the oil into grumpy-Demetrius’s eyes so he will fall back in love with Helena. Meanwhile…
…nearby, a group of players come into the woods to begin rehearsing Pyramus and Thisbe, a play they plan to perform at Royal Wedding. In the troop is Nick Bottom a weaver. He is a most arrogant ass. Puck, really hits this point home when he enchants Bottom’s head into that of a donkey. This scares off all the other actors and he stumbles his way into the sleeping (enchanted!) Titania’s fairy-bed-bower, and she wakes? Shed falls like only a fairy queen can.
I won’t divulge anymore. It is such a brilliantly entertaining (and bawdy) story. It was my favorite to teach, and I even did so a few times when I wasn’t “supposed” to. (Teehee!)
Most people push through whatever minimal exposure they might get to The Bard in high school and/or college, without really knowing what the big deal is. I believe, this comedy, is the easiest of his play to “fall into*” and, more importantly, it is fucking hilarious.
I saw The 1999 version with Michelle Pfeiffer as Titania; Rupert Everett as Oberon; Stanley Tucci – Puck; and Kevin Kline playing Bottom- with my Mom. She “didn’t like Shakespeare. I don’t understand it.” I asked her to please just go and let herself listen; and of course Gave her the high points of the story.
She was in tears by the end. “I didnt know it would be so funy, or so naughty!”
This evening, as I’m day four into bed ridden recovery from some sorta knee-bone-connected-to-the- butt-bone injury, I wanted something a little more lighthearted. I took the computer up on it’s “7 days free” subscription to BritBix and I came across he BBC’s 2016 release of the very same!
Yeah! Creepy Gil from Bridesmaids,
Matt Lucas! who put on one of the most adorably irksome Bottom the Weaver, that I have seen. Out-assing, even Kevin Kline. I mean, he was great in Bridesmaids, and it’s hard not to imagine that he and Rebel Wilson, aren’t actually those odd- siblings. So clearly the guys has chops, but Shakespeare, I didn’t imagine.
The beauty of Shakespeare is that the stories are adaptable to any time frame. The art is in that message, that the human condition, is, as it always has been. And that, my friends, is beautiful.
*By “fall into” it takes some time for your brain to adjust to the language and the cadence of Shakespeare. It’s about following context, more than word by word. It’s harder than just allowing your brain to shut off, in a movie. It requires more “backstage” brain action. But it is worth the effort.
Today, I get my first mammogram.
I admit it, I’m nervous. To someone who has heard “it’s cancer,”
any routine new check causes an extra bit of angsty. Sometimes, speaking to that anxiety is the best way to address it head on, or nipple-on, as the case may be. I figured it might make fun reading! So stay tuned! Boob squishing commences at 3:00 (PST)!
4:57 pm- Post- squeeze. Well, I am very pleased that I got the all clear on the O-gram. That is a relief. Not that I felt anything was amiss, but the baseline for nervous making is high on the first time. But I made it through, without needed to look to outside nerve soothers, or nary a tear. In fact, I feel a bit ridiculous that I put the dang thing off for so long, out of a completely unwarranted fear.
I have big boobs, and I wondered if that made a difference- I asked the technician if there was any sort of association between boob size and pain, and she said nope. It really is just an individual, by individual issue. That most women are non-plussed by the procedure. Well there, I feel like a dumbass again.
We entered the exam room, she handed me a hospital gown “Did you wear deodorant or powder?” I didn’t. (Don’t, both can show up on the image.) She then told me to undress my top, put on the gown and have a chocolate while I waited for her to come back. Then she handed me a pretty little box with pink bow and two chocolates. “You get your boobs squished, you get chocolate.” She said on her way out.
It was awkward. You stand, topless (always wear two pieces of clothing, so you don’t have to stand around in your panties), one breast in the cold pannini-press-like squishier, a stranger wrangling it into position, while you stand one arm in the air, a paralyzed Flamenco dancer; your other arm is draped clandestinely across the machine as inevitable the conversation turns to how weird the whole shebang is. I bet there aren’t too many male technicians.
I did not hurt. Not one iota. I’ve felt more pressure from a sports bras. My brain had, over the years, cartooned the procedure into something
one might see when one character smashes another with a mallet. Pancake like. It wasn’t. The gauge on the side read 9.4 lbs pressure. I think that might be per square inch, not sure, should have asked. But mid squeeze- I thought, 9.4 pounds would be about like setting a boob on the table and laying a bag of cat food on it. and yeh, that is about the level of squish. In fact, I asked her, “Is that it?” Like I was daring her. It was. No. big. deal.
So get it done.
They save lives, and there is chocolate!
If music is a conduit for spirit, Los Angeles based vōx is a ground wire. Her debut EP I Was Born dropped to acclaim in May of 2017. It’s “complex set of songs about coping with anxiety and discovering the power within.” Her music and performances speak to a lost sense of sacred for many. Often performing in churches, veiled in vintage wedding attire, her shows have been described as mystical and transformative. When not on stage, vōx spends her time writing and arranging music in her LA home. She has been selected to attend this year’s Red Bull Music Academy in Berlin. We were recently able to catch up with her and get a bit of a glimpse into the enigmatic chanteuse.
RC: Congratulations on being selected to attend the Red Bull Academy, how amazing and exciting! Can you tell our readers about the Red Bull Academy?
vōx: Thank you! Red Bull Music Academy is like the perfect academy for up and coming musicians. They have lectures, studio sessions and live performances. Thousands [of artists] from all around the world apply, and this year, which happens to be the 20th anniversary, they’ve chosen 61 applicants. It’s in a different location each time, but this year it’s in Berlin because that was the first location they ever had it! I have been to Berlin. It’s one of my favorite cities. But I haven’t performed there yet, so I’m very excited about that! I think that people who live in Berlin are so open to interesting live performances. I think they’ll really understand who I am!
RC: I read that when you decided to take the stage name is vōx (pronounced “wokes”), it came from one of your own tattoos that you had gotten years earlier? Can you describe that epiphany?
vōx: Yes! vōx the Latin word for voice. I think the subconscious reason I got the tattoo was so I could have that moment of realization. I would have never discovered the name without it!
RC: You have mentioned that performing in churches is a way of “reclaiming” that space, were you raised religious? If so, what faith? -You also use the veils as a means of protection, and in the metaphoric sense of an altar, or shrine cloth. How important is the divine in your work?
vōx: Yes, I was raised religious as a child, but instead of feeling inclusive it always made me feel [that I was] on the outside. I think part of why I include religious imagery and perform in such spaces is to allow people who may have felt similarly to know that they’re welcome now. The divine is very important to what I do. I want my work to be love and spread love, to be as pure as possible in the sense that it is holy.
RC: I love that your image and work brings a sacredness to the mundane. When you said “I think spirituality often doesn’t correlate with religion. I think of it more as being in tune with the world and its energies.” When you are composing do you feel like you are, in a sense, channeling the divine, a deeper part of your own soul? ..and are they necessarily different things?
vōx: Definitely! I think that in the sense of spirituality and purity of creation, it is channeling the divine. I write from a space outside myself and listen to what is trying to come through me. I usually don’t know what my own songs are about until much later.
I believe we all have the divine in us, so I don’t see it as different. It can feel like channeling from somewhere outside of yourself because I don’t think we often access the depths of ourselves.
RC: Do you think people don’t listen to themselves enough?
vōx: I think it can be hard no matter who you are — we live in a noisy world today. Many of us don’t get enough silence to really listen.
RC: How would you recommend they begin?
vōx: For myself, becoming more aware of the ways in which I avoid the present moment has helped me. Starting a meditation practice is probably the ideal way, but it can be very daunting. I’d recommend reading Thich Nat Hanh’s The Miracle Of Mindfulness and The Power Of Now : A Guide To Spiritual Enlightenment by Eckhart Tolle.
RC: What are you reading now?
vōx: I most recently read two books shedding light on strong female Middle Eastern voices. Gaddafi’s Harem: The Story of a Young Woman and the Abuses of Power in Libya by Annick Cojean and Headscarves and Hymens: Why the Middle East Needs a Sexual Revolution by Mona Eltahawy. I would recommend them both very highly. I’m always looking to connect with different female voices. These two books are especially important, because we don’t get to hear the perspectives and the stories of Middle Eastern women often enough.
RC: You’ve been very open with your own struggles with depression, and you’ve have mentioned wanting to work with youth- to help them motor through the struggle of learning to adult (I have an 18-year-old) – Why do you think that it is so hard? Do you feel like it is more challenging today? Why or why not?
vōx: I think it’s so hard because growing is painful. That will always be challenging. We have a long way to go with developing a schooling system that would teach us some of the most useful skills of all, things like emotional communication, meditation, self-worth, sensitivity. Those are things that would make being a teenager (and an adult!) at least a little easier to cope with.
RC: There is a quote along the lines of being a craftsman versus a hobbyist – a craft takes a lifetime, and endless work. It isn’t enough to just go with talent – it takes honing and practice – and hard work. How do you work on your craft?
vōx: I think the most important craft I have is songwriting. For most of my life it’s been my main form of expression. I started songwriting when I was around 12 or 13.
RC: The process. You write lyrics first, and from there melody?
vōx: Yes, I like to write lyrics first and then melody.
RC: Do you have a special place that you prefer to work in?
vōx: I always write music from home. I need to feel safe.
RC: If music’s intent is to evoke the senses, and yours have been defined as ethereal and “a beautiful spectacle” is there another image or feeling you feel? Or is that pretty spot on? Is there something you feel people are missing, or glossing over? Who do you want the audience to know you as? Who are you?
vōx: I hope aside from the spectacle, people feel the openness and acceptance. That’s what I’m always trying to channel.
photographer: Carly Foulkes
clothing: Hannah Kristina Metz
makeup: Francesca Martin
What a joy.
For a little over a week, I made the almost daily commute to and from Seattle, by ferry, to paint five extremely talented faces of the chorus.
It was chaotic and exciting, (one of the hottest weeks in the Pacific Northwest, to boot!), exhilarating…exhausting, and overall a truly beautiful experience. I am so fortunate to have been able to witness the performance ripen during the informality and rough spots of Tech Week on into the polished richness of Opening Night. I met some truly amazingly talented people, both on stage, and behind the scenes; and got to reconnect with an old high school buddy.
Unfortunately, I had to bow out of completing the run, as my beloved Eugenia Jeep is now at Car Hospital in Tacoma; and the commute was just too frustrating to do without a car — big city commuter I am not. But I will always be grateful for the connections I made and the work I did that week I spent at the Opera.
What sort of resolve does it take
to keep your own head afloat after the loss of a mother?
…Or a child?
What is that magic combination
of will and tenacity
that can reignite a drive to go on
What does it take to swim
the depths –
and haul the sinking to the surface
push them along in reverence
while the waves crash and rock in protest
threatening your own demise
Is it instinct?
Doesn’t love lift us?
Doesn’t love awaken?
Doesn’t love penetrate the darkness,
down into the depths
And reach down to say,
Eventually, you must leave the darkness-
There is no air there.
Eventually, you must let go
and swim solo
back to the surface
Leave the dead behind
(there is no air there)
and be again.