50th Anniversary of Renaissance Faire

Farewell, and Thank You, to the Faire!

Me in 1997 as "Moth Woman" (non-oracular variety)

I know I've threatened to finally retire before, but honest, this time I really mean it!  But I had to stick around for the 50th Anniversary in 2012 of the first Renaissance Faire, here in Southern  California.

50 years!  As a true Rennie veteran, I have to say, go figure.  Who would have thought that Phillis and Ron Patterson's passion for history and participatory theatre, and the need to raise a little money for alternative radio station KPFA.........would have become hundreds of Renaissance Faires around the country, and a multi-million dollar international business? 

I did my first Faire in 1970, when I was living near MacArthur Park in L.A. and wandered into an interesting group of people doing some interesting dancing.  Somehow I entered the circle of dancers, and found myself part of a Renaissance Country Dancing troupe.  Before I knew it, I was headed for Northern California, and camping out each weekend in a historical tent with the troupe as we performed. In those days everyone stayed in character, and  I don't think I'll ever forget the night we were too rowdy and in the midst of our noisy merriment, the flaps to our tent parted.  There stood a black figure holding a candlelit lamp.  In awed silence we heard him say:  "Thou dost disturb the peace!"  Busted by the Sheriff of Nottingham!

Many years later, in the course of my strange career, I might add that I had an affair with the Sheriff of Nottingham, and married Robin Hood.  Not to mention the Pied Piper, bless his heart.

When I finished graduate school, I planned on becoming a professor of art, but somehow, I ended up joining the circus, so to speak, instead, when I re-joined the New York Renaissance Faire near Tuxedo Park...........a former botanical garden, ah, what magical summers we had there!  We would arrive the first week of July, to open the show in early August, camping, building our booths, nights spent around a campfire area we called "the Gypsy Camp" that always had music, drums, and conversation.   Such a magical place that was.......above the site there was a rather steep hill with a circle of stones, placed by unknowable ancients, a circle that marked a series of ley crossings. The stones were big boulders, and although some were out of alignment through the passage of time, the circle was clear to see, with a center stone that had veins of white quartz.    If you held a divining rod above the center stone, it "helicoptered".  We, of course, dubbed it "Spirit Mountain", and many would spend the night there on our improvised vision quests.  It was good to know that this place had once been sacred to native peoples.


Heck, we would have done it for free in the early years, and a great many of us did.  The sense of community, and creativity was so wonderful!  We made magic, and that was what the public came for.  Our booths were works of art we re-created each summer.  I remember, for example, Pam Tyrell's "De Luna Designs" booth, which she spent all of July creating, and usually most of her profit as well.  She would set up her dye pots under an amazing structure of woven sticks and painted velvet.    And Dellie Dorfman's "Pragmatic Enchantments" booths were woven works of forest art.

It was our custom to open the Faire with a blessing.  Many, but not all, were Pagans, and the "Psychic's Row" section (I was a reader for a while) had many spiritualists.  So we would gather around an old tree stump that marked a circle not too far from the entrance to the Faire, and with music (sometimes bagpipes), flowers, and chanting we would bless the day for all while patrons waiting at the gate waited to enter the Faire.  It says something about the corporate mind that a few years later we gathered once more, on the first morning of the opening weekend of another year's faire to see a group of actors, including several black cloaked "witches" complete with pointy hats and a fake cauldron, gathered around our stump, enacting a drama about witches and sheriffs.  Such irony, and of course, that put an end to our blessing.  Strange.

My friend Joyce Weiss at the Arizona Renfair

Here's a great story from those years in New York, and to the best of my knowledge, no one made it up, since I heard it from those involved.  Believe me, Magic is Afoot quite often, but you have to notice it.

Carol "the Fairy Lady" made "fairy environments", big bell jars that enclosed the beautiful fairy figures she made in environments of moss and flowers.  One morning one of the women who did face painting was in her booth, standing fascinated with a friend before a particular jar.  She told Carol that when she made some money at the end of the day, she wanted to purchase it.  At Faire's closing she was back.  "What happened?" she asked Carol.  "What do you mean", she replied, "I didn't sell that piece".  "But there were two fairies in it!" the face painter said, disappointed, and her friend, standing beside her,  echoed her statement.

"No", replied Carol, "there was only one".  

Me when I was younger and, alas, thinner, during the New York and Maryland Renfair years

One of the many mask makers I've taught is Elise "Peggy"  Linich and her Satori Masks.  To my credit, I can say that just about everyone who's ever worked for me or with me now has their own mask business, and my own designs have become, well, generic.  I guess my claim to fame is that I was one of the first mask makers on the circuit to create masks based on pagan mythology.  Certainly, I've populated the world with Green Men and Goddesses - it was a messy job, but somebody had to do it.

Rob Fletcher in Maryland

I've seen "faire brats" grow up and become parents themselves.  In Maryland there is a grove of trees planted for Rennies who have died over the years, and for sure I've seen quite a few weddings.  Time has come for me to say thank you,  many times thank you, to the places and people I've loved and met and danced with on the road. I've lived in "Brigadoon", and watched the villages rise and disappear through many seasons.  I really am retiring this year, honest........and I'm so glad to have been there.  Huzzah!

"And we'll all go together, to pull wild mountain thyme

all along the purple heather, will ye go, laddie, go?"

 

In remembrance and gratitude:

Amelia Sefton (Madame Ovary), Dellie Dorfman, Ro, Peggy and the "Blondettes", Chris Simone, Berkanna,  Kerry, Vicki, Taylor, Duncan Eagleson, Judith, Heidi, Green Crown, Shaman, Patrick,  Carol, Marty, Judith, Cora, Pam, Bob, Sandy...........oh, so very many.  I don't know where to begin or end.  The circle has no end.

Envisioning the Future Again

"Pomona Envisioning the Future", mural in Pomona, California (2003)

I've written about this mural before, which I see every spring when I'm in California,  but returning inspired from the Conference on Women and Mythology (see previous post) I cannot fail to see the synchronicity of the situation.  Truly, this painting, made by a community of 80 people,  embodies the essence of the conference I just attended......it is both a  prayer and an affirmation.   So once again, I'd like to share this remarkable work of art.  The Goddess works in mysterious ways.

Pomona Envisions the Future was created through Envisioning the Future (E.T.F), which took place in the Pomona Arts Colony from 2002 to 2004 and included over 80 artists. 

Pomona was the uniquely Roman goddess of fruit trees, gardens, and  orchards, and her festival, which she shared with her husband Vertumnus, was always on August 13th. Pomona protects and brings forth fruit trees, and Her name is from the Latin pomum, fruit. ("Pomme" is the French word for "apple").  Pomona was among the Numina, guardian spirits of place in  Roman mythology.  "Numinous", the sense of the unique spirit of a place, derives from this term.  A grove sacred to her was called the Pomonal, located not far from Ostia, the ancient port of Rome. Although California's name itself derives from the name of an Amazon queen, "Califa", I would also say that Pomona is truly one of the patron goddesses of the state, which is the fruit basket of America. ("Califa"  may also derive originally from the name of Kali.  Since California has been such a huge agent for change in the world, seems kind of appropriate.........)

Circle of people envisioning the future

Pomona,  east of Los Angeles, was once was the citrus growing valley of Orange county. For many years it became a prime example of urban degredation - long gone are the orange groves, replaced by freeways, smog, crime, and a  derelict downtown.  But in 2005 I was stunned to see the Great Goddess Herself, at least 3 stories high, invoking change once again.

The painting depicts  Pomona from pre-European times, through Spanish settlement, the agricultural and industrial ages,  into a bright future which restores the land in balance with humans. One detail shows future  groves growing over composting heaps of industrial waste, and finally,  a circle of multi-cultural people sitting in council and learning to the right of the painting, envisioning a new world,  which is  overseen and inspired by the purple clad, numinous Roman Goddess.  

It begins by depicting the pre-European landscape with the indigenous Tongva people in a sepia color palette. The image of a by-gone open landscape rounds the corner and transitions into the historic past of rolling hills and open land erased and replaced by the familiar citrus groves established by the first European settlers.

"The color palette remains a restrained monochromatic blue-green. The muted colors signal the coming Industrial Revolution and environmental "dark days" to come. The decline of the citrus industry is represented by dead citrus trees that stop abruptly with the landscape at the twenty-four foot figure of the Goddess Pomona.  The Goddess's arms are outstretched as doves leave her hands in flight towards a hopeful future.

Early farm laborers

The background behind the Goddess figure is turbulent and murky.  Landscape turns to a congested sprawl of industrial pollution and over-crowded housing tracts. As the narrative moves to the right, mountains and blue sky re-emerge from a bleak present moment, revealing the misty outskirts of a glowing city at the very portal of a new age. In the foreground is a school of the future.

Students are seated on a luminous ring or "learning circle" which hovers over serene and lush rolling hills in an environment that has been restored. In the distance is a vision which is millions of years away from the actual event, the galaxy Andromeda  seen in the morning sky as it approaches our own Milky Way.  Throughout the mural along the bottom is an undulating wave representing subterranean strata. The wave contains artifacts and objects that represent the ages up to a time where the human species has finally achieved balanced health and harmony, along with a wholistic vision of the future which encompasses the universe."

**The Envisioning the Future project was lead by artist Judy Chicago, photographer Donald Woodman and Cal Poly Pomona. The mural was painted by lead artist and mural project facilitator Kevin Stewart-Magee, and Envisioning the Future artists/participants Lief Frederick, Sandra Gallegos, Cori Griffin-Ruiz, Rupert Hernandez, Lynne Kumra, Yolanda Londono, Amy Runyen, Chris Toovey, Mary Kay Wilson, Erin Campbell, Athena Hahn, Joy McAllister and Fred Stewart-Magee. Artists Magu (Gilbert Luján) and Judy Baca consulted on the project. The mural is located at the intersection of Thomas and Second Streets in downtown Pomona, California in the Pomona Arts Colony.

Women & Mythology Conference 2012

Bronze Age Bee Goddess

"This gold plaque from Rhodes (7th Century BCE) portrays a powerful goddess of the natural world.  Myths and reality converge in the mysteries of bees.  The facts of their life cycles and behaviors provide the basis for stories of communication, prophecy, healing, and rebirth.  The founders of ASWM have chosen this image to represent the rich harvest to be gathered when women collaborate and communicate to promote understanding of women’s ancient myths.  The Bronze Age bee goddess also reminds us of our essential connection with the stories of all creatures, and our need to ensure their continued survival."

Speaking of "Pollinators", note the Melissae, or Bee Goddess on the logo of the Conference I just attended with my collaborator, Macha Nightmare.  (The name "Deborah" or "Devorah" also means "bee", and probably derives from a time when there was also a bee deity among the Semites).  I was not thinking of the logo for the Conference when I wrote the previous article about "Pollinators", but after attending the conference, I see now why I was thinking of this.  I love it when I find myself entrained with other minds and creators.......like a bee, you discover you participate in a kind of collective consciousness, and you don't even know it!  Abby Willowroot, creator of the Goddess 2000 Project, once said that she was sure she had a collaborator who lived in New Jersey, and she would probably never meet him.  She was only half kidding.

I have to say that the  Conference was amazing, and I felt very honored to be there among such an august company.  People who have informed my world view since college, among them Charlene Spretnak, Vicki Noble, D'Vorah J. Grenn, Marna Hauk, Joan Marler, Max Dashu, Jean Shinoda Bolen, Ana Castillo, Miriam Robbins Dexter, Annie Finch, Judy Grahn, Patricia Monaghan, Luisah Teish..........so much packed into only two days, so affirmed to hear the words of these women who have spent a generation pollinating a new paradigm for the future. 

Pachamama

My understanding of the importance of the kind of re-mything these scholars, teachers, artists and mythologists are doing was renewed.  I believe it's urgent for our time, because it's about re-membering when the Earth was not a "resource", but the body of the Deity, the Great Mother.  That re-birth of the Great Goddess is about bringing balance , healing, and perhaps survival itself.  Re-ligion derives from a Latin word, religios, that meant to "link back", to re-connect, re-weave, and mythology/religion form the templates upon which civilizations, and individual values, are formed.

The scholars who have devoted themselves to re-discovering and imagining ancient cultures of the Goddess are not saying we can return to a time that existed 5,000, 6,000, 7,000 years ago.  But by understanding what was, might have been, by seeing the submerged strata of artifacts, symbols and archetypes upon which contemporary mythos has been built, we can imagine and re-myth into the 21st century stories and theologies that are appropriate, and inspiring,  for the time we live in, its crisis, and its potential for great transformation. 

The "Her-story" these brave pioneers have unearthed is so important, and I am appalled at how little attention their work receives.  So many people are devoted to trivializing and denying their work, just as women's work in general is trivialized and denied.  Gender imbalance is deeply embedded in our culture, so deeply embedded that it takes courage to dig deep into mythic substratum of the collective unconscious.  Another way of putting it is......institutions and individuals in power rarely release power-over without conflict and upheaval.  In this country male slaves were freed, and allowed to vote, some 60 years before women of any color were granted that right, and only after the women themselves rose up and demanded it.  That's well worth thinking about as we face, once again, patriarchs in Washington who would like to deny women birth control.

I especially enjoyed the talks on Archeomythology, and the evolution of Marija Gimbuta's work on old Europe.  This is such a new field, a cross-disciplinary approach to understanding ancient sites and cultures that Gimbutas and her colleagues developed.  I find it truly paradigm changing, like looking at the world through an entirely different lens.

Some of the speakers,  among them the amazing Mirium Robbins Dexter, were also quite funny when they pointed out some of the prejudices of prevailing academia.  For example - the ubiquitous neolithic female figurines, with their round breasts and vulva shapes, or  sometimes a pregnant belly.  They point out that until recently they were (and still are) viewed as "fertility fetishes" or even a kind of pre-his-storical pornography.  Shift the view, and it's easy to see that they were, in all probability, like crosses or the Star of David are today, images of the deity herself, the regenerative  Earth Mother, sacred images.

In the  2010 film Cave of Forgotten Dreams  ,   Werner Herzog  followed an exclusive expedition into the nearly inaccessible Chauvet cave in France, which houses the  most ancient visual art known from the upper Paleolithic era.  Why did these  ancient artists create these spectacular paintings of lions, horses, mammoth and other animals deep within  sacred caves?  Mirrium Dexter pointed out that the only human image within the site is a female lower torso, or vulva form......the bull image was painted above it a later time.  Although it's never commented on in the movie, or in most discussions of the cave and its sacred paintings,  Dexter suggested that the symbolic act of  painting and honoring the animals within the cave was because the cave represented the womb/tomb where the magic of rebirth occurs, and by the act of honoring and representing  the animal powers which were both allies and sustenance for these ancient peoples, they were offering them for re-birth within the cave/womb of the Great Mother.  Hence, the vulva form, and later, the images of  breasts, belly,  and vulva forms, symbols that occur as the earliest images of  the human body.

Malta Temple

By viewing the ancient world through a lens different than the traditional eye of patriarchal prejudice we see that the entire landscape was  sacred, and to enter the Temple, or the Cave, was to enter the body of the Mother who gave life, death, and rebirth.  While we cannot know what exactly these ancient peoples thought or did, we can imagine, and bring forth into our time, the meaning of a sacred landscape, a sacred Earth, wherein the profoundly interwoven processes of life are revered.  To understand archeomythology is to enter a mind that mythologized the landscape in order to have an intimate, immanent relationship with the landscape, the living world.

More thoughts from the conference later.

Butterfly Mind, Pollen Heart

 

Beauty above me, 

Beauty below me,

Beauty before me,

Beauty behind me,

I walk in Beauty.

Navajo (Dine`) Prayer

"Art is not a thing, it's a way of life" 

(seen on the billboard of the First Congregationalist Church this morning in La Verne, Ca.)

It's May Day as I write, Beltane, although, considering the previous article, "May Day" may also mean a huge cry for planetary help.  

 I love the painting above, which I found in a magazine; I don't know who the artist is, but thank him or her often for this  "Butterfly Woman" from whom thoughts like butterflies emanate out into the world to do their work. Perhaps the artist will forgive me that I do not know his or her name........but be glad that the work has gone forth to do its work in my heart and imagination.  Pollen:  agent of new life, new hope, transformation. 

As we (well, some of us) wind our way to the May Pole, and plant that metaphor into the still fertile earth, weaving our dreams into the ribbons of this ancient ritual of fertility, perhaps I can find a way to image the celebration of love and hope with a vast, global cry for help that sounds like a beating heart beneath the surfaces of our lives, just beneath our feet.  As the drums and penny whistles sound, as we dance, may we all become Pollinators for our time, for the future.

Like the woman who walks above, this is my prayer:    May we have butterfly minds, pollinator hearts.

Peace March against the war in Iraq, San Francisco, 2003

 
The ancient Greek word for "butterfly" is ψυχή (psȳchē), which means "soul" or "mind".  And I have often found them mysteriously "soulful", as they seem to flit in and out of mystery.  The picture above, for example - it was from the San Francisco Chronicle at the time of the great peace march against the incipient Iraq war, and shows three friends with their "soul icons" - me in the mask of Sophia, Alan Moore, founder of the Butterfly Gardeners Association, and Nicole, creator of "Cosmic Cash".  Note that her icon, also, has occurred in this synchronistic photo. 

Transformers, pollinators .......... they begin their lives as caterpillars, build a crysalis, and generate imaginal cells...........

"When a caterpillar nears its transformation time, it begins to eat ravenously, consuming everything in sight. The caterpillar body then becomes heavy, outgrowing its own skin many times, until it is too bloated to move. Attaching to a branch (upside down, we might add, where everything is turned on its head) it forms a chrysalis—an enclosing shell that limits the caterpillar’s freedom for the duration of the transformation.....Tiny cells, that biologists actually call “imaginal cells,” begin to appear. These cells are wholly different from caterpillar cells, carrying different information, vibrating to a different frequency–the frequency of the emerging butterfly. At first, the caterpillar’s immune system perceives these new cells as enemies, and attacks them, much as new ideas in science, medicine, politics, and social behavior are viciously denounced by the powers now considered mainstream. But the imaginal cells are not deterred.  They continue to appear, in even greater numbers, recognizing each other, bonding together, until the new cells are numerous enough to organize into clumps. When enough cells have formed to make structures along the new organizational lines, the caterpillar’s immune system is overwhelmed. The caterpillar body then become a nutritious soup for the growth of the butterfly."

from Imaginal Cells and the Body Politic by Anodea Judith Ph.D.

Photo from: http://www.fishersville-umc.org/classes/nac/Pics/week0401.htm

 If we can see that our thoughts participate in  pollinating the future, we can  perhaps find ways of living with simplicity and honor, even in a time so very out of balance.  Regardless of where one is, there is a profound need to "walk in Beauty".  To be "on the Pollen Path".

Without the grace of the pollinators, the butterflies and hummingbirds and bees, there will be no future.  This idea is fundamental to spiritual traditions of native peoples of the Southwest, including the Pueblo peoples, the Navajo and the Apache.  As shown above, when this young Apache woman came of age and entered into her fertile years, she was honored by the tribe with symbolic pollen.

 "The Pollen Path" is a healing and initiatory ceremony/concept among the Dine` that variously enacts a mythic journey, and demonstrates a cosmology of non-duality.  "Pollen Path" art and sand paintings often show the union of opposites, such as red sun and blue moon, as well as mandalas, the balance achieved within the circle.   In keeping with May Day, Psyche in Greek mythology was a beautiful girl who was loved by Eros, the god of Love. Here is "fertility", generation, pollination..........the union of soul/mind with love.  

As I imagine a "pollen path" for our time,  and emanations of hope and beauty,  I reflect as well that some butterflies, like the Monarch or the Painted Lady, are migratory.  Monarch butterflies will migrate over very long distances, as amazingly frail as they seem.  Some travel from Mexico to the norther parts of the United States and into Canada, a distance of over 2,500 miles. 

Lastly, a few thoughts from one of my favorite storytellers, Dr. Clarissa Pinkola Estes, on the work of the Butterfly Dancer.  May we all, women and men, young and old, become Butterfly Dancers this May Day.

  "The (Hopi) butterfly dancer must be old because she represents the soul that is old. She is wide of thigh and broad of rump because she carries so much. Her grey hair certifies that she need no longer observe taboos about touching others. She is allowed to touch everyone: boys, babies, men, women, girl children, the old, the ill, and the dead. The Butterfly Woman can touch everyone. It is her privilege to touch all, at last. This is her power. Hers is the body of La Mariposa, the butterfly."

"La Mariposa" from Women Who Run with The Wolves by Clarissa Pinkola Estes

Clarissa Pinkola Estes  tells the story of waiting to see the "Butterfly Dancer" at a ceremony.  Tourists, unused to Indian Time, wait throughout a long, hot, dusty day to see the dancer emerge, expecting, no doubt a slender, ephemeral Indian maiden, and they are no oubt they were shocked out of their patronizing cultural fantasy to see at last the grey haired  Dancer/Pollinator emerge, slow, not young, with her traditional tokens of empowerment.

"Her heavy body and her very skinny legs made her look like a hopping spider wrapped in a tamale. She hops on one foot and then on the other. She waves her feather fan to and fro. She is The Butterfly arrived to strengthen the weak. She is that which most think of as not strong: age, the butterfly, the feminine."

Because in the agricultural ritual these dances symbolize and invoke, call in, the forces that initiate the  vital work of pollination, this is no job for for an inexperienced girl, no trivial token flight for a  pretty child. It's a job for one who has lived through many cycles, and can seed and generate the future from a solid base.

"Butterfly Woman mends the erroneous idea that transformation is only for the tortured, the saintly, or only for the fabulously strong. The Self need not carry mountains to transform. A little is enough. A little goes a long way. A little changes much. The fertilizing force replaces the moving of mountains.

Butterfly Maiden pollinates the souls of the earth: It is easier that you think, she says. She is shaking her feather fan, and she’s hopping, for she is spilling spiritual pollen all over the people who are there, Native Americans, little children, visitors, everyone. This is the translator of the instinctual, the fertilizing force, the mender, the rememberer of old ideas. She is La voz mitológica."

"La voz mitológica". The mythic voice.  The Mythic Voice re-enchants the world around us, lending luminosity to each footstep, and pollinates, energizes, en-chants those who hear.   It is transparent, permeable.  And one way to walk the Pollen Path.

* The Pollen Path http://unurthed.com/2007/05/24/the-navajo-pollen-path/

Nuclear Situation in Japan

Image from the NY Times (http://www.nytimes.com/2011/03/15/world/asia/15nuclear.html?_r=1)

"Fukushima radiation spreads worldwide.........the University of California at Berkeley detected cesium levels in San Francisco area milk above over EPA limits" 

WashingtonsBlog

My friend Fahrusha has written an article recently about the disaster that occured in Japan after last year's earthquake.  I know that this has nothing to do with art, but I feel her article is very important, and so, with her permission, I copy it here, and suggest those interested view her blog as well.  Do we need any more proof that we are, truly, all One on our planet?


 Fukushima, the Media, and the Reality-based Worldview 

By Fahrusha from Fahrusha's Weblog

I have not wanted to write about Fukushima, because I have nothing good to say. My grandmother used to tell me “If you don’t have anything nice to say about someone, don’t say anything at all.” Sadly, I have not entirely lived up to her words, but I have tried. The Japanese people have much to overcome in their current situation and I do not wish to make their lot any worse than it is, and that would be difficult to do in any case.

I have been following closely the situation involving the nuclear reactors which were affected so disastrously by the earthquake off the coast of Japan last spring. The site from which I have gotten most of my information is Arnie Gundersen’s Fairewinds Associates. Mr. Gundersen and his wife have been steadfastly reporting the bad news that is horrible to hear, but it is bad news that we must force ourselves to hear. His is a wake-up call to all Americans that nuclear power is inherently horribly dangerous and that danger once unleashed is complete and lasting annihilation. American nuclear reactors are mostly old and past the date which they were originally intended to be taken off line. This adds to the danger as leaks are more likely from old reactors. The single piece of good news is that solar power has surpassed nuclear power in energy production in the United States.

In a nutshell, the Fukushima nuclear disaster is far from being over. The site is still red hot with nuclear particles. Tokyo itself, 148 miles away from the Fukushima reactors, should probably be evacuated. The level of contamination of random ground samples in Tokyo would be considered hazardous nuclear waste in the US.  The officials of TEPCO (Tokyo Electrical Power Company?) who run the Fukushima facility and the Japanese government have been lying to their citizens and to the world. TEPCO is even burning nuclear waste and putting hot particles in the atmosphere that we all breathe. They have become mass murderers as many innocent people and animals around the world who unwittingly breathe those particles will die horrible deaths from various cancers. This is not supposition, this is fact.
The US is in collusion with the cover-up of the facts. Please read the following articles:
http://www.shtfplan.com/headline-news/the-radiation-warnings-you-wont-get-from-the-mainstream-propaganda-machine_04022012
http://www.washingtonsblog.com/2012/01/fukushima-radiation-spreads-worldwide.html

I am extremely disappointed in Hillary Clinton in that she signed an agreement to the effect that the US would continue to import goods from Japan without subjecting them to testing for radiation.
Why has the media chosen to ignore the obvious danger coming from Fukushima and why do the government and various states continue to champion the building of these reactors, these machines of certain doom, although there are other cleaner energy options such as solar, wind, water and geothermal energy available? Many European countries whose populations may be more awake than Americans have begun the phasing out of all nuclear power from their borders. In fact the nuclear industry is greatly tax subsidized by the American taxpayer: See this Alternet story by US Senator Bernie Sanders and Ryan Alexander.

The Fukushima situation is worse than the disaster of Chernobyl in the Ukraine. Take seven minutes out of your busy life to look at the legacy of Chernobyl here. Notice that Chernobyl is estimated to have caused nearly a million cancer deaths worldwide.  Now realize that the Fukushima disaster will continue to cause cancers for the next 100,00o years. Yet our mass media outlets continue to ply us with vacuous stories and little to no information on this very real menace.

Please keep checking these internet news resources for valuable information, it may be the most important thing you can do for yourself, the environment and generations to come.
Fairewinds Associates
Nuclear Age Peace Foundation
The SchwartzReport
The Fukushima Diary

Orbs at my house

I had my artist friend Ginny over for dinner last night, and before leaving she took some photos of the night sky over my house.  I was amazed at the orbs that showed up!  She and friend Charlie asked for colors...........and sure enough, a beautiful red orb, and a blue, appeared in the photos.

And of course, she also shared the recent summer appearance of her lizard, Marco, at his Retreat.

Rumi and Rilke, a Moment

 When grapes turn to wine, they long for our ability to change.

When stars reel
around the North Pole,
they are longing for our growing consciousness.

Wine got drunk with us,
not the other way.
The body developed out of us, not we from it.

We are bees, and our body
is a honeycomb.
We made
the body, cell by cell, we made it.

Rumi (Translated by Robert Bly)

 

Sometimes a man stands up during supper
and walks outdoors,
and keeps on walking,
because of a church
that stands somewhere in the East.

And his children say blessings on him as if he were dead.
And another man,
who remains inside his own house,
dies there, inside the dishes and in the glasses,
so that his children
have to go far out into the world
toward that same church,
which he forgot.

Rainer Maria Rilke  (translated by Robert Bly)