tools for teachers

Lesson 24: Witch Bottles

By: Mama Bones

Live class date and time: 3/9/2017 at 4pm CST

Witch Bottles have a historical background in the folk magic of England and surrounding areas. They were, traditionally, exclusively for protection. Sometimes FOR witches and sometimes AGAINST witches- and were more “victim specific” as opposed to the modern use of “household specific”. They were historically made of glazed stoneware, in a jug-like shape and corked. Filled with urine, pins, needles, red thread, hair, and wine.

These days however, the term “witch bottle” doesn’t always mean a protective bottle. Some witches make positive ones for prosperity or good health or love. Really the only unifying factor is that it something that is for the “household” more than a single person. It is supposed to be kept on your property. Ideally it should be buried, although we’ll go over some alternatives to keep Mother Nature a happy camper!

I think the best method for this is a step-by-step. So here we go!

Step 1

Gather your supplies/ingredients

Here’s what I used:

  1. Mason jar
  2. Sock (since I’m burying this, I transfer to a sock after mixing all the ingredients in the mason jar- you can use a coffee filter wrapped up too)
  3. Nails (iron is great, steel is good too- I don’t recommend aluminum unless it’s all your have)
  4. Cinnamon (you can also include pepper, chili powder, cajun spice, curry spice mix, anything “spicy” so to speak)
  5. Juniper berries
  6. Nettles/burrs (thorns and brambles are another great thing to include)
  7. Ginger
  8. Garlic (I like to use a whole bulb, but using it ground or diced is fine too)
  9. Graveyard dirt (this is pretty specific to my practice- feel free to use regular dirt or sand or clay to just sort of “stabilize” the whole mixture)
  10. Ashes/powder to seal (I use a variation of an Underworld powder I make- incense ashes of a particular scent you associate with protection is fine)
  11. A taglock for you and any household members (including pets) that you are comfortable including. My recommendation is hair. But you can also use spit, urine, tampons, used tissues (i.e. snot), nail clippings, etc. You can also use a photo with the person/pet’s FULL name written on the back if a DNA taglock is not possible.

Step 2

Combine your ingredients

Put it in the mason jar first- you can transfer to a safe burying vessel after you’re done. I start with a layer of dirt/sand. Then I do the nails and nettles, then the garlic bulb, then I do all the spices and the juniper berries. At this point I put in the taglocks (hair, nail clippings, photos, etc.) I do another layer of dirt/sand and then cover the top with my powder to “seal” the protection intent inside.

After that, I focus for a couple minutes, raising my personal energy for protection and funneling it into the jar. If you have deities or spirits you worship or work with, you can ask for their blessing at this point.

Step 3

Shake/Transfer and Bury

 This step is pretty simple. Just shake up the jar while you focus on no one ever being able to fuck with you. It should get solidly mixed (besides the garlic bulb, hah). Then you want to transfer to your final vessel. I take the lid off the jar and put the sock over it. I use a sock that’s pretty close-knit so the dirt/spices don’t fall through (it’s actually a men’s dress sock). Then I flip the jar over and funnel everything in. I finish by tying a knot at the top of the sock.

 Now you’re ready to bury and activate the bottle! You have a couple choices here. You can do the traditional: bury on your property towards the edge. Ideally you want it at a corner. If you want the best protection or have a large yard (or live next to a graveyard where you do constant spirit work like me), a bottle at all four corners of your property is ideal. 

You can also bury it in a plant pot either inside or outside if you’re worried about it just being in your yard (or digging in your yard- that can be a problem for family or landlords!).
And the last option is if you put it in a jar, you can put it in a closet or cabinet inside your house (symbolically burying it) if you’re in an apartment with no yard or plants.

Extra Note: On powering/batteries/energy sources

You witch bottle will need to be replaced frequently unless you have a power source/battery for the protection energy to stay constant. I use graveyard/spirit energy for mine and only replace my jars about every 6 months or longer. Some other energy sources are:

  1. Crystals: you can put them in the jar/vessel or on top, or just tie a crystal grid to the vessel from your work table
  2. Plants: this is where the plant pot comes it- you can tie it to the plants energy. You know you need to replace the bottle/vessel if the plant dies.
  3. Moon or sun energy (either directly, or through water/crystals charged by the moon or sun)
  4. Sigils
  5. Your own energy: if you’re confident enough in your own energy and know how to feed it to objects, by all means, just use yours!

Some fabulous photos from this weekend’s “Axe to Grind: Forging Your Own Hatchet” class that I taught at The Steel Yard in Providence, RI! I’m extremely pleased with how the class turned out. Everyone went home with a finished forged hatchet, and I’m super excited to run this class again (hopefully in the fall?) We finished off the class with a good round of axe-brandishing and orcish war screaming! It was epic. 

So I wanted to outline some of the new topics outlined in the new California history-social sciences curriculum to include and celebrate LGBTQ+ history. Because it’s something I’ve been doing a lot of research into and I just think it’s absolutely fantastic. The following is copied from the “Making the Framework Fair” document - a report from the Committee on LGBT History. It’s a comprehensive list of the topics proposed.

> Grade 2: 

• LGBT families in the context of understanding family diversity as a contemporary and historical reality 

>Grade 4: 

• Central roles played by gender and sexuality in California’s history as a site of rich, contested, and changing diversity 

- How settlers and missionaries sought to impose European American concepts of gender and sexuality on Native American societies 

- Possibilities and motivations for same-sex intimacies and gender diversity in frontier conditions and the Gold Rush era 

- The role of gender and sexuality in nineteenth- and early twentieth-century migrant belonging and policing 

- The crucial place of California and Californians in the development of the modern LGBT rights movement 

>Grade 5: 

• Variation over time, region, and culture in colonial American practices and laws with regard to gender and sexuality 

- Native American gender and sexual diversity and European responses in the context of North American colonialism 

- Regional diversity in family and community arrangements, gender roles and possibilities, and approaches to sexuality in law and practice, with attention to Puritans, Quakers, Southern settlers, and enslaved Africans 

>Grade 8: 

• Fundamental transformations in gender and sexuality in conjunction with nineteenth-century urbanization and industrialization 

- Same-sex romantic friendship as an accepted cultural practice resulting from the separate spheres ideology and shifting gender expectations for women and men 

- Roles of gender and sexuality in the practice and struggles over slavery and emancipation 

- Interlocking ways that gender, sexuality, and race shaped Western expansionism and the diverse possibilities it presented 

- Evolving social and cultural expressions of intimacy between men and women (including same-sex relations) through urbanization and immigration

>Grade 11: 

• The evolution of modern LGBT communities and identities 

- Relationships formed in the late nineteenth- and early twentieth-century female worlds of settlement houses, women’s colleges, and social movements

- Sexual and gender diversity in early twentieth-century cities and cultural movements, including the Harlem Renaissance 

- The impact on approaches to same-sex sexuality, gender diversity, and cultural expression of 1920s changes in sexual and gender norms, including Prohibition, the rise of dating, and the emphasis on companionate marriage

- New possibilities in World War II for same-sex intimacy, community, and identity on the homefront and abroad 

- The postwar creation of vibrant if persecuted LGBT subcultures 

- The formation of open and expressive LGBT cultures and communities since the 1970s 

- Contemporary diversity of LGBT people, families, and relationships 

• Twentieth-century persecution of sexual and gender minorities and the related growth of the LGBT civil rights movement 

- The medicalization of homosexuality and gender diversity as pathological and the subsequent struggle against this perspective

 - Systematic World War II attempts to eliminate gay men and lesbians from the military and the establishment of a regime of dishonorable discharge that denied many veterans their rights to benefits 

- The Lavender Scare targeting gay men and lesbians, which developed in conjunction with the postwar Red Scare and exceeded its impact in both time and scope 

- Homophile, gay liberation, and contemporary LGBT movements as part of the story of civil rights activism in the United States 

- Anti-gay activism as part of the rise of the New Right 

- AIDS as a medical, political, and social issue in U.S. history 

- Court cases about same-sex sexuality and gender diversity demonstrating changes in policies and public opinion over time

This is super exciting news for parents and teachers in California. Hopefully the rest of the U.S. follows suit quickly. It’s also important to note that teachers aren’t really being forced to teach these subjects, nor are they yet included in textbooks, worksheets, or other teaching tools very widely. Teachers are receiving trainings, but it will take years to disseminate this throughout the state. 

madhousepan  asked:

Listen, my favorite zukaang headcannon is zuko is seeing aang with hair for the first time and if you can do something with this headcannon I'll be so grateful.

It was early morning when Zuko reached the village and it was already swelteringly hot.  It only took a moment for Druk to curl himself around a tree and patch of shade. Zuko found himself wishing he could join him as he wiped at the layer of sweat at his hairline. He found himself wishing he was bald again; when did hair get so hot?

The town was every bit as tiny and shabby as Aang had described it in his letters, and the people just as kind. They needed new buildings, new tools, new teachers, Aang has said, to finally start to blend in their rapidly modernizing new world. And they needed moral, which is why Aang had recommended he, Fire Lord Zuko, visit them personally, to show they were important to the Fire Nation. So Zuko came.

He wished he had come in the winter.

The townsfolk were very helpful, if not overly so, after a few dozen bows, and offerings of food, and swallowing unpleasantly hot tea, Zuko was told Aang was at the local lake, helping repair a dock.

The dock, Zuko found, was just as shabby and small as the rest of the town, but he was able to walk out safely on it just far enough to look into the water. And there was Aang, a golden-blue-looking blur hoovering just under the wood. Zuko waited, and when he figured Aang was using some sort of water bending technique to breathe down there and could be a while, he kicked a loose rock into the water right over Aang’s head.

He could have sworn Aang smiled up at him from under the water.

“Zuko!” Aang said brightly when he broke the surface, “you made it!”

An unexpected, vaguely unnerving shock tremble rattled through Zuko’s stomach as he watched Aang pull himself out of the water. In the many months apart, Aang had grown hair, quite a bit of it, Zuko saw, as it dripped water into Aang’s face, which was also cut with a scratching of stubble.

A lot about Aang looked different. His cheeks more hallow and body more steady, like he had grown into himself. He looked taller than Zuko remembered, and Zuko was very, alarmingly aware of Aang’s tattoo’s, stretched over his muscles—that didn’t look as lean as Zuko remembered—and skin that looked tanner than Zuko remembered. Zuko calculated quickly in his head. How old was Aang now? Seventeen? Eighteen? How long had it really been?

When Aang had to catch and tighten his pants after they, heavy with water, had sagged down his hip, Zuko noticed a patch of a prominent tan line. Zuko coughed. 

“Yes,” Zuko answered. He cleared his throat. “Hi—Hello. I’m here—You’re here. I just got here—you have hair now.”

Zuko felt Aang’s smile in his gut like a punch.

“Yeah.” Aang said, give his wet hair a shake with his hand. “My scalp kept getting burned here, it’s so hot. I finally just gave up and thought hair might help. It’s just for while I’m here. Your hair’s gotten long, too—“

Aang took a step closer and brought his hand up to touch Zuko’s hair. Water dripped from his bare arm and Zuko pulled away, a little surprised.

“Ha, sorry.” Aang was still smiling; he clearly thought Zuko’s reaction had to do with the water. He brought up his hands in a motions before his chest and, with a quick, slapping gust of wind, the water was blown of Aang and he was dry.

His hair was fluffed and untidy and Zuko felt his mouth dry.

“I’m glad you’re here,” Aang said, closing the distance between them again for a hug, one hand grasping at Zuko.

The sensation in Zuko’s stomach seemed to have exploded.

We were in the computer and room for Maths and my friend Ben and I were drawing on the Teacher Tool on MyMaths.

Ben drew a human Pepsi logo (it was very fat), pretended to be someone on DeviantArt and drew stupid OCs and, I shit you not, also drew…

Bendy and the Ink Machine vore.

And vore in general.

The teacher was sat behind him.

  • me: *spends 3 hours on essay, ready to submit it*
  • wifi: *goes out, causing my browser to loose all my work*
  • me: :)
Lesson 9: Grimoire 101

By: Teacher Faye

Live class date and time: 1/10/2017 @ 9:00pm

Hey guys!

      So today we’re going to be exploring the Witches’ magic books. Or in other words, their grimoire or book of shadows. So a quick rundown of what this lesson is going to look like: we’ll talk about what exactly a grimoire is and how it’s different from a book of shadows, well talk about the history of them, different forms, what does and doesn’t go in it, ideas for broomcloset grimoires, and some other kinds of journals you could keep as well. Then we’ll get to questions and homework!

So what exactly is a grimoire or a book of shadows? 

This definitely depends on who you ask, so I’ll start with historical information and go from there. By definition, a grimoire is a book of magic spells and invocations. Historically, a grimoire has been used as a textbook of magick pretty much. It’s used to keep instructions on spells, how to create magic objects, summoning or invoking gods and spirit and so on. A grimoire was seen as less of a journal, and more as a instruction book. A book of shadows is a term coined by Gerald Gardner, the father of Wicca, in the 1950’s. Gardner used it as a sort of cook book of spells that have worked for the owner. According to Gardner, there was one book of shadows per coven and the initiation members could use it and add to is as they saw fit. He also believed that the book should be burned when the owner died. (this obviously isn’t very common anymore and a lot of witches like to pass down their books to family or friends, so I wouldn’t suggest burning it.)

Now a days, the difference between a grimoire and a bos is very small. 

        For a lot of people, a grimoire is a spell book, and a book of shadows is a witch’s journal where she keeps track of how spells go and such. So basically, the bos is a follow up of a grimoire. But still, most witches don’t go by these general uses at all. To most witches, their book contains any and all information they may want to remember with journal entries and they call it whatever they want. I personally call my book a Grimoire, but it has a lot of different things in it. If you want to use your book as a spell book and have a separate book for journaling, that’s great! A witch’s book is completely a personal preference.

        As for format, again, a grimoire can be anything you want it to be. A lot of witches like to use big, leather bound books with homemade paper and fancy ink. But a lot of us can’t afford fancy books. Some good things to think about when you’re thinking about what to use as a grimoire is how you want it to look inside. If you want a very organized book with sections for each topic like herbs, journal, correspondences, and so on, then something adjustable would be a really good idea for you. Binders are really cheap and you can add, take away, and move around the  information inside your book whenever you want. Binders are also a great way to personalize the cover of your book. It’s super easy to glue some fancy fabric or leather around that cheap cardboard cover and make it look old and witchy. To those who don’t really care much about organization, a simple journal will do. You can go all out and get pretty handmade ones off etsy or you can go as simple as a spiral notebook, it’s completely up to you and your preferences. If you do use a notebook instead of something adjustable, it may be a good idea to add in an index or tabs on the pages so you don’t have to flip through every page to find the spell or herb uses you are looking for. The same goes for if you do organize it. I use pretty scrapbook paper in between my sections so that I can easily spot it between my regular pages.

A question I see a lot online, is what does my grimoire need to look like.         Again, as most of the answers to these kinds of questions are, it’s all up to you! This is your personal book and it should resonate with you. A lot of people will say your book needs to be handwritten and you need to draw your own pictures and such. To me, that’s silly. If you want to handwrite and hand draw your book, great! Do it! It’ll add that extra energy you give into the work. However if you’re anything like me, and you are not an artistic person, there are other methods. I have terrible handwriting for example, and I have no drawing ability really whatsoever. So what I do is I get on a website called Canva and put together the page I want to work on. I add in images from tumblr or pinterest, and a title. However to add on a personal touch to it, I usually leave the information section blank and then handwrite it in. I’ll post an example. (post example of page) Other people type out their entire grimoire and that’s totally okay too! Having an online grimoire can also be a great format to use. As most of us are tumblr users, we know that tumblr or any sort of blog format can be great for gathering and sharing information for your practice. Using a website like Evernote, where you can create different notebooks and pages in the site can also be great because you can access it from any smart device and edit on the go. This means you can just carry around your phone instead of a big book and if you need to know what a certain crystal does, just whip out your phone and  the information is right there. Online grimoires can be a really great tool for witches in the broomcloset as well as they are much easier to hide.

Some tips for making it pretty or unique. 

        If you’re up for the task of making your own paper, I’ll post the recipe I have for that if you want, you can always add  in little pieces of flowers or herbs into the paper while it’s drying. This can be really great if you have planned out what you want to put on that page and can make the herbs correspond with that topic. I like to decorate my pages with stamps. Stamps can get pretty expensive, but if you go to hobby lobby, they usually have some cool ones in the clearance section and Michaels has halloween stamps on sale during the season. Adding in pretty ribbons to your spine can both add some color and help organize at the same time. A lot of people add on little charms at the bottom of bookmark ribbons as well, though depending on how long your ribbons are, those may get tangled as your using it. If your crafty, you can use scrapbook paper and supplies to jazz up your pages. If you have pretty bad handwriting like me, I get calligraphy pens that are made to make your handwriting look fancy when you don’t know how to write calligraphy. They’re pretty cheap at craft stores and they can come in a lot of different colors. You could also go all out and use a quill, even make your own magical ink if you like.

Jumping back a little bit, let’s talk about what goes in a grimoire and what doesn’t. 

        The short answer is: anything and nothing. Really you can put whatever  you want in a grimoire and there’s really nothing that shouldn’t go in there, but from experience, I will say there are something that may be better in their own books. This is mostly for people using bound books, because once you’re out of room, you have to start a new book, so usually I would keep important information like my gods and their associations, uses and meanings for herbs and crystals, spells and rituals, quick cheat sheets for tarot and rune meanings, and stuff like that. I know a lot of witches who like to do daily or weekly tarot readings and record them in their grimoires. For me, this wouldn’t work because it would fill up so quickly, so I’d suggest leaving readings and dream journaling to their own books as to not fill up your grimoire so fast. However this is dependent on how you want to use your book. If it’s meant to be a hand down, I want my kids to have this and their kids and their kids, then you don’t want to fill it up with random readings, maybe only important ones. But if you’re using it for keeping track of your practice through journaling and such, it may work for you to have one grimoire and once it’s filled you start a new one. Personally I keep all my important “textbook” information in my grimoire, with a section toward the back for prompt journaling, and then I have a separate journal for tarot readings.

Storing your grimoire will depend on how sacred you consider it and how you treat your other tools. 

        Historically, witches would keep their grimoires and sacred books wrapped in silk and hidden away in a dark place. The silk was meant to keep negative energies and prying eyes from getting into your book, and keeping it in a dark place was both for secrecy and to keep the book in a good condition as they usually used leather and skins. Where you keep it can also depend on how often you use your book or work in it. I work in my book pretty often, so I keep it on my desk in my office when I’m not using it during a spell or ritual. This way it’s close so I can work in it. But for those who don’t work in it that often, it could be a good idea to keep it on your altar, or maybe under it or wherever you keep your tools. Your grimoire or book of shadows is in essence a tool for you craft. You want to treat it as you would your tools, but it’s also your craft between covers. If you are a messy witch who likes tea, maybe it’s not a big deal that you accidentally left a tea ring on one of the pages. Maybe it’s okay that it’s just sitting out in the open with other books and papers stacked on top of it. If you are very organized and your book is incredibly sacred and special to you, keeping it in a safe and protected area would be best. For broomcloset witches, I would suggest keeping your book either in a bag somewhere or stacked with other books where it doesn’t look too out of place.

Does a grimoire need to be a secret or can I show it to others? 

        Most covens have a group grimoire that all of the members can add to or use, so I would say that it doesn’t necessarily need to be a secret. If you are using it as a spell book or a “textbook” then Letting others see it could be helpful to them, but you don’t have to. A lot of people who use their books for journaling their path will keep their books to themselves as it is a very personal tool for them. Keeping your book a secret or not is very dependent on your practice and how you plan on using the book. I don’t really care who looks at my book for the most part as long as they aren’t being negative or hateful towards it or me. I do however try and cleanse my book whenever someone else uses or looks at it just in case they leave left over energy behind that I don’t want.
         So that’s about all I have on grimoires. Some other cool ideas for books to keep for your practice are tarot journals, dream journals, a reference book for herbs or crystals. I also have a grimoire to go. It’s a smaller grimoire with basic information and cheat sheets that i keep with me so if I’m out and about and need to know what a specific herb does, I can just look it up.

For your homework, I have a few things:

  • For those of you who don’t yet have a book of shadows or grimoire, I encourage you to make one! Go out and buy a really cheap notebook to start with and draw out a cover page for it! Look on tumblr or pinterest or youtube for inspiration!
  • For those of you with one already who use it as a journal, I want you to write out a journal entry about how you use your book and how it’s special to you and shows who you are and what your craft is.
  • And for those of you who have a book and use it more as a textbook style, go research something completely new that you have been putting off or just haven’t gotten to yet and make a page for it. Find some cool pictures to put on the page or draw some.

Soo, that’s about it. :)
I’m going to open it up to questions now for those who have any!


Some Youtubers with awesome Grimoires!

Skye Alexanders’ Books

  • The Modern Witchraft Grimoire
  • The Modern Witchcraft Spellbook

Just look at this for a second! It’s a shot of one student’s pair of tongs from last night, and, well it’s just interesting. First of all, the bolt-jaw-tons are the work, not the piece of metal gripped in them. That’s a tool! And the pair of tongs gripped in the tongs, but by the reins with the reins? That’s not a pair of tongs either. It’s a spacer for the reins of the bolt jaw tongs!!!!!! :)  


This flower anatomy print makes a great gift for any botanist or garden enthusiast! Even if you don’t have a green thumb you can hang this little plant up instead. Print by Rachel Ignotofsky

Buy your own flower here at:

On the Warring States Era, child soldiers and why the Hashirama's flashback was sentimental bullshit

Minibang day 03: war/peace

So i would like to talk to you about why the whole Hashirama’s flashback was the utter garbage. I know that this particular flashback is sort of a pinnacle of Kishi’s writing and it could have been - dear lord - so much worse than it is and the hashimada fandom decided to roll with the story it creates, but I’m rather disappointed with it and the overall theme it created for the Hashirama & Madara relationship. Yes, it had a couple of nice scenes and the dynamics between kid!Madara & kid!Hashirama were really good as for a Kishi’s standards. But as a piece of the world-building - I mean as a part of a answer for the question “what was the genesis and the purpose of Konoha (and the village system per se)” - it makes no fucking sense. Hear me out.

It’s my first written meta on tumblr. Actually it’s my first that long text written in english, so pls excuse my mistakes. I’ll do what I can to make myself as clear as possible.

Keep reading

I don’t think stim tools like slime or spinners or fidget cubes should be limited to just people with diagnoses. I’d be more than happy to see neurotypical people (some of whom may not be officially diagnosed with a disability) use them AS TOOLS.

I like what one teacher did - she explained to her class that in order to use the fidget spinners/cubes properly, it had to be kept out of sight, not the focus of the kid’s attention, used to help concentrate, not as a distraction.

I’m not for gatekeeping or policing, but I am for teaching people how to respect tools used by disabled people and how to use them properly. If we limit access to only those who “deserve” them we may wind up barring them from people who don’t realize they need them.

demonic-madhouse  asked:

Hey, so building a sort of homebrew campaign leaning on D&D 5. Well, basically D&D 5 with very slight changes. However, I would like to implement some system where players can spend rests or free time practising some skill, and get better at it/see some reward for that. Since D&D 5 is kinda stingy with its attack boni/proficience boni etc., do you or your followers have any ideas how that could work without making some characters OP too quickly?

Ooh! One I actually have extended experience with!

Ok, so, I don’t know exactly what your table is looking to do so I can’t speak to your exact group but I do have some good general advice. First off, Short Rests can totally be used to practice skills. So long as it’s considered light activity you can spend a short rest doing whatever and still gain short rest benefits. If, at some point, a character gets an ability that allows them to spend a long rest doing light activity then it would apply to that as well.

As for specific skills:

Proficiency in languages:

groups I’m involved with try to have at least one language they all know that isn’t commonly spoken. In my home brew world, pretty much all languages are easy to come by. So, I allowed the rogue (Kya from my current game) to teach the others the kitsune language.

A character must spend 3 uninterrupted in game weeks learning with someone who already speaks the language to gain proficiency in which they can only speak simple phrases. Then, another month perfecting their conjugation and grammar; during this time all talking based checks with this language are made with disadvantage. If the teacher isn’t a member of the party, or if the player feels like it, there’s a fee for learning. And the fee could be daily, weekly or just one at the beginning. This can be done passively, so no rests are required.

Weapons and tools:

Tools I require a week of practice during short or long rests with the help of a book specifically for that tool or a teacher for proficiency.

Weapons require a teacher of at least 5th level in a martial class. The PC spends two uninterrupted months training to gain proficiency. Then, for another month, all attacks made with the weapon are made with disadvantage.

For all of them I also rule that you cannot learn multiple at once. You also can only learn two of any weapon or tool.

anonymous asked:

I've recently started burning incense, but I've discovered certain ones leave a nasty feeling on my nose and throat. When I inspected the box, I find them to be artificial​. Do you know of any good natural brands I could try? Thank you! Blessed be.

Incense has many forms and options options like bukhoor /oud/wood chips, loose incense, cones, pastes, coils, ropes, etc. Some people are sensitive to smoke or strong fragrances, so low-smoke products with simple scents are ideal to start. It is possible to make your own, or just burn herbs. But, be careful to look up what materials are endangered, protected, over-harvested or toxic. 

Our Green Witchcraft Tag

Some links:

Olfactory Rescue Service
Introduction to Making Incense on the Druid’s Garden

anonymous asked:

My politics teacher said, to a class of me and four other seventeen year old girls, that if a man were to take us out to dinner and we agreed to go to a hotel/his house, we would have entered a 'contract' for sex. He taught a class to my little sister the other day and when he saw her surname he said 'your sister hated me'. Glad it didn't escape his notice.

Seriously what a tool. Why do male teachers constantly offer their own opinions into everything? We could have an entire blog dedicated to male teachers bullshit at this point

#2 goldenrod yellow and bubblegum pink with a grape soda foam grip, aluminum bent by gapped bunny teeth. it left my arm shiny metallic, the mark of a left handed child. 

pencils become treasures, like all things do with age. we all once longed for the grown up gloss of a ball point pen, the untouchable tools tucked in our teachers’ desks. now all we can ever seem to find is ink.

ink in my notebook, ink in my bed, ink in my pockets. stains to last a lifetime. ink says, everything is permanent. nothing can be washed clean, erased with a stroke of pink. no room for mistakes anymore. 

ink is power. a signature on a credit card receipt, a phone number on a scrap of paper, a hastily scrawled grocery list, items executed in a row (goodbye apples, peanut butter, milk.) words long forgotten but never gone. 

sometimes, i miss the eraser.  i miss the mess of pink rubber after a mistake. the smear of lead gradually fading, smudging out into a cloud of gray. ink does not fade. ink draws attention. an error becomes a scribbled black hole, a dark mark. 

pencils forgive. problems rubbed gone with the bubblegum pink of my #2 pencil. innocence preserved. it’s okay, you’re still learning. use a pencil