Saturday, May 26, 2012

"HARATAONGA POHUTAKAWA ENCOUNTER" Jeff Phillips & Liesbet Verstraeten

"Remember I am of the shore-line of contention where the waves meet the land. I know the rising and falling tides of fortune, the ancient rhythms that abide.  I am of the coming and the going, of this realm and others.  I am the friend of the voyager of time."

"Pohutakawa, the Keeper of the Circle, the Tree of Life", Wisdom of the Four Winds, Barry Brailsford

To watch Liesbet's new short film "Mist Devas" go here:


Last week Liesbet and I went camping at a remote beach here on Great Barrier Island called Harataonga.  We'd visited there several times over the years but this time we had received a special 'invitation' to venture to a more distant area, and we discovered THE most amazing ancient pohutakawa tree we've ever met.  There was a perfect spot for our tent nestled right in the 'bosom' of the tree, too.  It's hard to tell, but we guess this tree is at least 1000 years old.

"The bards have it that...the Yggdrasil tree's supernatural growth kept it constantly green, ever new, so that its heroic trunk bound Heaven to Earth and formed the imperishable structure of creation...The appropriateness of such an archetype for our planet is striking, for vegetation in quite a real sense does bind the sky to the Earth.  Not only is vegetation the land's chief organ for absorbing rain that falls from the clouds and (after using it briefly) evaporating the same rain from its leaves back into the sky to maintain the terrestrial circulation, but vegetation quickens and conserves the entire atmosphere by inhaling excess carbon dioxide and exhaling vitalizing oxygen, the while holding up mountain ranges, stemming erosion with stems, rooting soil with roots, directing the courses of brooks and rivers and literally leashing stationary clouds to wooded slopes with invisible thongs of humid wind."

from 'Realm of the Vegetable', The Seven Mysteries of Life, Guy Murchie

This part of Great Barrier has some very interesting geological features as well, and isn't far from Hirakimata (Mt. Hobson), the island's highest peak and remnant of an ancient volcano.

Great Barrier Island in general is relatively undisrupted and undeveloped compared to most parts of mainland New Zealand, and the birds who were the original and only indigenous faunae of Aotearoa still abound and resound.

"In Queen Charlotte Sound on 17 January 1770, Joseph Banks, naturalist on James Cook's first expedition to the South Seas, caught a last vibration of primordial New Zealand - a land where bush grew to the water's edge and trees were filled from ground level to canopy with copious bird and insect life:

'This morn I was awakd by the singing of the birds ashore from whence we are distant not a quarter of a mile, the numbers of them were certainly very great who seemd to strain their throats with emulation...[Their] voieces were certainly the most melodious wild musick I have ever heard, almost imitating small bells but with the most tuneable silver sound imaginable.'

'For all its exuberance and beauty,' one of Banks' successors would write, '[that] dawn chorus was a mere echo of what could have been heard four hundred years before, for by 1770 around half of New Zealand's bird species were already extinct.  Gone were the great booming calls of the moa (which we know about from their convoluted, bony tracheas), the screaming, mewing and cawing of a billion sea-birds (which even in Banks' day were banished from the main islands), adn the unknowable sounds of the native ducks, giant geese, and yard-high flightless rails, native crows, adn giant harriers...These creatures were gone, along with the flightless wrens and the giant eagles, because the first human inhabitants had carried with them to New Zealand rats and dogs, and the ability to hunt and to make fire."

from "A Land Without People", The Penguin History of New Zealand, Michael King

The power and beauty of wild New Zealand is immensely inspirational and is also a wonderful spiritual gift.  The time, or should I say, timelessness, we spend here is both profound and unsettling; at the heart of it all dwell the mysteries of who and what we are as human beings, of where we find ourselves, and with whom else on Mother Earth.  

For how much longer will humanity be able to carry on its present 'life-style'?

Can we learn to honour and respect our fellow beings, our planet, actually learn to 'live' in ways that are 'alive' before our non-human family is all gone, or before WE are gone, having left the Earth to those were truly intelligent.

MAY 2012

Friday, May 11, 2012


S’Aha Djed (Transforming Star-lightning awareness in to Sunrise-love)”

February-March 2003 Hobart Tasmania

            This painting is very much in the spirit not only of ancient indigenous “civilization” – where people lived together in natural harmony in loosely-organized but organically connected tribal groups, enjoying the support and cooperation of their fellow beings, without the imposition of nation-state agendas – but also of future indigenous civilizations, which we are now creating.
            Lemuria, or Mu, may have been such a place.  The story goes that she was a large island continent in the southern Pacific ocean which sank into the depths of the sea some 20-odd thousand years ago.
            Mainstream archaeologists and geoscientists  tend to discount her existence;  but who can really know?  These minds do acknowledge evidence of homo sapiens going back hundreds of thousands of years;  cultures of advanced indigenous peoples could easily have existed in areas now unexplorable.  Moreover, an indigenous “civilization” would not have left the Godzilla foot-print that our parasitic world-machine has bequeathed.
            Some researchers say that the ancient Egypt we know was merely the tail-end or remnant of a much vaster and greater civilization, where the “mother tongue” was spoken, a language from which the “ancient harmonic languages” (Chinese, Egyptian, Hebrew, Sanskrit, and Tibetan) may have evolved.  The people of this culture would have been highly-evolved spiritually and psychologically, but not nearly as materialistic as we are.  Maybe they were like the Mayans, the native Americans, the Tibetans, the indigenous Australians?  Perhaps they had extremely advanced forms of music and uses of sound and vibrational healing, of artistic creativity, of telepathy, of astronomical knowledge, shamanic exploration,  and of the “musics of the spheres.”
            Who knows?  But this painting is dedicated to them, and to all indigenous artists, musicians, and shamanic visionaries of all times, dimensions, and species.
            This painting is a mandala approximately 1.5 by 2.5 meters, done with acrylic and corrction pen on custom board.
            It contains symbols from seven different ancient cultures, primarily Egyptian hieroglyphs.  The others are Tibetan, Sanskrit, Hebrew, Chinese, Anasazi, and Mayan.
            The solar disc in the center represents, of course, the sun.  To the ancients, the sun was not worshipped at the chief deity but was viewed as a symbol thereof.  Emanating from the solar disc are nine bolts of star-lightning.  These may also represent the nine original emanations of Ra.
            The main body of the Egyptian hieroglyphics in the painting, running counter-clockwise from 8:00 to 4:00, means “transforming star-lightning awareness into sunrise-love.”
            The sun, or Ahau to the Mayans (represented by the yellow face also at 8:00) is the guardian over passages in cycles of time, and is also a chakra within a galactic being, transducing evolutionary energies directly from the hunab ku (Mayan for the center of the galaxy).
            According to the Mayan and Egyptian calendars, we are now in the “beak of time”, a “window” or a “sacred moment in time” which occurs once every 26,000 years;  at this time the winter solstice point of our sun’s position in the sky gradually aligns with the hunab ku, the galactic center in Sagitarrius.  During this window transformative consciousness streams into us via the sun and assists in our creation of and ascension to a higher-dimensional reality continuum!
            At the top is the centrel symbol of Egyptian spirituality, the Djed pillar, Osiris’s backbone and symbol of regeneration and cosmic stability and harmony.  Within the upraised Djed is the Chinese symbol “yung” meaning “eternity.”  To either side of the Djed pillar is the Eye of Horus, or Uadjat, representing divine guidance and protection.  These uadjats are painted in their androgynous manifestations.
            Counterclockwise, the next grouping of symbols means “inspiration” or literally “light-life moving within.”  The next grouping translates as “place of origin” “instantly “ or “ here and now.” 
            Then beginning at 4:00 we have three glyphs;  the triangle with star and semi-circle is “Ast”, ancient name for Sirius/Isis.  Beside it is “tiet”, a bow which is another name for Isis.  Above these is “sia”, meaning “intelligence of the heart.”
            Finally, the glyph in the next region is “atchaas”, or “primeval wisdom.”
In Egyptian, the entire band of hieroglyphics would read

S’aha djed, uadjat, seshp b’me ankh-akh, ta nun er nuit, kheprer sba s-tehen thamit er uben mir atchaas, uadjat.”

            In English, this would mean “Djed be raised, divine guidance and inspiration, originating here and now, transforming star-lightning awareness into sun-rise-love, Isis, intelligence of the heart, primeval wisdom, giving guidance and protection.”
            The two faces represent Ma’at on the left, the goddess of and archetype of truth, justice and cosmic harmony;  and on the right, Isis, goddess of life and magic.  In their hands they hold an ostrich feather (“shut”), which is the symbol of truth.  In the afterlife of Egyptian mythology, the soul comes to judgment after a journey through the duat, or netherworld.  The heart of each person is weighed on the scales of Ma’at, or truth, balanced against the weight of her feather.  If the balance was unfavourable, the soul was thrown to Ammat, a cross between a lion, a hippopotamus and a crocodile, and was devoured, never to return.  If the balance was favourable, the soul entered a real of eternal paradise according to their nature and Osiris’ guidance.
            The four “dot-eclipse” motifs in the corners represent the four GREAT FORCES of the universe, the four pillars of creation.  The two colored areas are dual rainbow spectra (the chromatic components of visible light), symbols of celestial beauty and peace, and the bridge to the higher kingdoms.
            The painting is a mandala, which is a universal and cosmic centerpoint and symbol of the “self.”  It is the still-point singularity from which consciousness and creativity emanate.
            The patterns inside the inner circles, just outside the solar disc, are what I call “mullum-keringke glyphs.”  This is a new style of painting which started coming through when I first came to Australia. I think of it as “the electrical circuitry of plants” or “the optical characteristics of DNA,” maybe an “organic higher-light language.”  I call them “mullum-keringke” because I was near Mullumbimby NSW when they first came through, and their first fully manifested appearance was on a set of rocks which I sent to my aboriginal art-sisters of the Keringke group near Alice Springs NT.
            This “mullum-keringke” domain could also represent the consciousness of solar energy as it interfaces with DNA to create “spectraglyphs” expressing the “breath of Ahau” as it gives life to and revivifies life on Earth.
            The next ring out shows a stepping down of these energies into visible light frequencies, and their utilization in vision by the animal kingdom and in photosynthesis by the plant kingdom.
            These glyph continua may also relate to morphogenetic chakra fields (MGCF’s), creating cross-species/kingdom resonances amplifying the heart-chakra life-force energy spectrum.
            The third ring is the domain of the biophysical, the Earth, Gaia, and her myriad species of florae and faunae, geographies, climates and ecosystems.
            The solar disc may also represent the plasma core of the Earth, receiving transmissions from Ahau, then sending the energies out through the Earth-continuua, through the different octaves of local space-time, harmonizing and recalibrating each domain to optimum holonomic `synchronization, purifying the Earth, cleansing her ecosystems, healing her life-forms and clearing the noosphere of conflict and karmic residue.
            The outer blue band contains the hieroglyphics – floating in the ocean of space, the atmostphere of clarity and transcendence – protecting the Earth in a womb of love, representing new constellations of ascension in a true kingdom of heaven. S’aha Djed.

May 2004


Jose Arguelles, Time and the Technosphere;  Earth Ascending
James Churchward, The Lost Continent of Mu
Graham Hancock, Mirror in the Sky and The Orion Mystery
Carl Jung, Man and his Symbols
Moira Timms, “Raising the Djed” and  Beyond Prophecies and Predictions

Thanks to Moira Timms for hieroglyphic translation assistance

see "The Raising of the Djed:  Re-membering the Centre", Moira Timms

"KANDINSKY'S ASTRONOMY LESSON in Lemuria" Jeff Phillips Mural


                This painting is a mural approximately 2.5 by 8.5 meters, done with acrylics and correction/technical pens on custom board, using drafting instruments adapted to the large scale.  Only my human biocomputer was used, with advanced creativity enhancement algorithms.  Photography of the completed image was accomplished using a Rolleiflex 6x7 with Kodak asa 400 color negative film;  three negatives were drum-scanned and assembled using Photoshop and Adobe Illustrator.  This image is very close to how the original painting looks, minus the seams between the individual wood panels.
                   Kandinsky was a Russian painter of the early 20th century;  many of his works used discrete geometrical shapes floating in mathematical array. Many of my paintings have been compared to his, but mine are more “high-tech” and 21st century-looking.
                   There’s a lot of astronomy in this image, beginning with the arc of the Milky Way spanning the horizon. The dark center is very river-like, and very Aboriginal looking, I am told, probably because of the huge number of dots representing stars.
                   Lemuria was a semi-mythical continent/civilization which flourished somewhere between 20,000 and 100,000 years ago;  supposedly Australia, the south island of New Zealand, and Easter Island were part  of it. I read recently that the statues on Easter Island are the only existing artifacts  of Lemurian culture.
                   “Neshen” is the pronunciation of the Egyptian hieroglyphics for “grand solar eclipse.”  The “moment of Neshen” window would be a relatively brief interval of time in which one experiences the total eclipse – a very magical portal into an expanded multi-dimensional consciousness;  the “eye of God” looking down upon us!
                   The point of view of the participant/observer in this image is directly within the path of totality, at a terminus which is also a vortex of “no-time” within a higher-frequency template of the Great Pyramid.  Two shafts align with two stellar energy sources, and an expanding wavefront of phi-based (phi is a universal proportion, the Golden Mean, or 1:1.618) harmonic modulations emanates from the sun, transmitting diverse meta-continuua of cosmic creativity and rippling through the very fabric of space-time.  Ahau, the Mayan deity of the solar mind, and guardian over passages in cycles of time relays this spectrum of energies whose source is the Hunab Ku, the center of the galaxy.  In the year 2012AD the precession of the Earth’s axis brings it into perfect alignment with the galactic plane, thereby generating an upward frequency shift, or ascension of our reality into a higher vibrational domain of the implicate and explicate holomovement.
                   Essentially, this image is a visual representation of the meta-harmonic substrate of an objectifiec planetary “reality-matrix”, an exploded vision of simultaneous relationships connecting time, space, consciousness, sacred geometry and the “music of the spheres.”
                   In the upper left corner is, of course, the primary control panel, which is activated by the master metaharmony algorithm (mamal) and modulated by complex keys consisting of spoken words, sung sounds, intoned phonemes, mimicked memes, visual contact and tactile transference.  Once the mamal is fully activated, broad-band thought synthesis begins and the participant/observer “enters” the painting.  At this point, one may “dial into” the evening sky at any time on any date in any calendar from any location on any planet in any star system in any galaxy, at any frequency or wavelength, real, imaginary, probable or impossible.
                   In the lower right is the “indigenous wisdom” panel, with Ahau at the bottom;  next up is “fu”, hexagram 24 of the I Ching, which represents “the turning point” or “crisis as opportunity”;  above that is the djed pillar, an ancient Egyptian symbol of Earth stability (literally, Osiris’ backbone);  then we have the kokopelli, a native American fertility symbol;  and on top is an egg-like eclipsed amoeba…universal symbol of fertile bio-luminescent micro-organisms!
                   In the upper right corner is a representation of the Southern CrossGuthrey cloud, a recently discovered super-cluster abundant in super-conducting bio-nebulae and other improbable manifestations of cosmic creativity, including thousands of planets where previously unknown forms of golf are played. (crux australis) seen at the 21cm wavelength.  Myriad galaxies, quasi- and completely-stellar objects, radio anomalies, and planetary bodies populate the Milky Way river;  in the region just above where the Milky Way meets the horizon on the right is the
                   The same cosmic intelligences who create crop circles (and with whom the whales are in direct and continuous communication) are at work in this image, conveying information on the dynamic processes of our minds as creative holons of the cosmos in conjunction with holographic thought-algorithms attuned to quantum-relativistic noo-cybernetic synergies.
                   When the average homo sapiens awakens to the fact that they ARE the ultimate technology, then the doors of perception are cleansed, revealing a universe of immense and unbelievable beauty…of which we each are an integral part!

This painting is dedicated to the whales, to the elohim, and to indigenous artists of all dimensions.

Thanks to Peter Guthrey and Philip Kennedy for making this possible;  to Moira Timms for hieroglyphic translations and cosmic inspiration;  to Samuel Miller for photographic assistance and digital image processing;  and to the Great Spirit for  creating such a wonderful universe for us to live in!


1)     Jose Arguelles, Earth Ascending
2)     David Bohm, Wholeness and the Implicate Order
3)     John Major Jenkins, Maya CosmogenesisGalactic Alignment
4)     Vasily Kandinsky, On the Spiritual in Art
5)     Moira Timms, Beyond Prophecies and Predictions;  “Raising the Djed” article
6)     David Wilcock, The Divine Cosmos

LINKS   (John Major Jenkins)   (David Wilcock) (my website, “The Ultimate Technology”    (jose arguelles)   (speculations on Lemurian civilization)    (map of the ancient continent)   (bio/image gallery)    (bio/image gallery)    (articles on ancient spiritual experience of solar eclipses)


Wednesday, May 02, 2012



This posting is the raw material for our contribution to the upcoming issue of Oracle magazine, a psychedelic publication that appeared in the late 60's and early 70's.  Publisher and friend Star Shields informs us that because of the importance he attributes to our statement below, he's giving us three full pages to include all the text and much of our art and photography.  Please check their site for lay-out progress and publication details.  You might even want to order a few copies!  Cheers!

Jeff Phillips & Liesbet Verstraeten
Many cosmic thanks to Star and the producers of Oracle for ‘carrying the torch’ and for including us here.  Liesbet and I are an integrated creative unit; between us we work equally in words, visuals, music, still photography, film-making, information activism, gardening and cooking, all of which are balanced as aspects of our n-dimensional approach to being here now as human beings.  To us, it’s all about being on our highest spiritual paths, sharing our creative output with our friends everywhere, creating awareness of the beauty and power of nature but also the damage being inflicted on Mother Earth and all her children by homo sapiens, ‘man, the wise.’ 

Ultimately, through all we do we try to inspire people to love life, “to live simply so that others may simply live’, and to put to good use the immense creativity with which we’ve all been blessed.  We do not subscribe to the commonly-held belief that ‘someone else’ is to blame for what is going wrong in the world today; au contraire, we hold that ALL of as human beings are responsible for what our species is manifesting on this planet, and that everything EACH of us thinks, intends, and makes real DOES in fact matter.  Collectively, humans are creating the vast array of problems besetting the world; at any point…the sooner the better…we can each choose a path of conscious renavigation, perform a critical analysis of our current MOE, or ‘mental operating environment’, bring our self-reprogramming abilities on-line to re-mold our patterns of thinking and acting into new ways of living that are less contradictory and more coherent, less destructive and in greater harmony with our own well-being as well as that of ‘mitakuye oyasin’, Lakota for ‘all my relations.’

Many people tell us they wish they could be an artist.  I always reply, “You ARE.  Think about it…every millisecond you, your ‘internal technology’, is making vast numbers of decisions and computations, performing vast numbers of biological, biochemical and physiological processes, your organs, muscles, blood and mitochondria, all in real-time, so that you are able to function as the ‘driver’ of your human vehicle, for whatever goals you wish to pursue.”  This is an immensely powerful realization; in fact, I can’t think of ANY realization that could be more empowering.  Each of us IS an astronomically talented artist endowed with the ‘ultimate technology’, our very own bio-psychological nature which is part of the ‘web of life’ of Gaia.  Each of is creating who and what we are every second of every day; we each are therefore responsible for who and what we are…or aren’t…as well as the consequences of what we do and don’t do, what we believe and participate in, what we give our energy and attention to.  The universe in her infinite love is calling on us to use our sacred gift in ways that benefit life.

Being a true artist is really about understanding the meanings of creativity; and ‘art’ isn’t just about creating pretty pictures…it’s about the responsible and spiritual application of our creativity, which I believe to be the true ‘spark of divinity’ within each of us.  Indeed, at the quantum-relativistic level of morphogenetic holo-movement, we are creating our own ‘reality’ in a far more active way than most people tend to think.  The crucial issue of existing in today’s world is that people as a whole have been ‘asleep at the wheel’ for so long that tiny but highly motivated subsets or ‘psychic factions’ have arisen with our ranks who have generously offered to do our creating for us, since we have been reluctant to do it for ourselves.  Hence the “New World Order” and the full-spectrum of war on life, the Earth, independent thought and our continued existence in current forms.

Rather than defining them as ‘evil doers’ and validating the hallucination of our EPsySha, our ‘emergent projected psychic shadow’, we can choose to own our collective responsibility and look at these ‘elite factions’ merely as teachers of a sort whose karma has allowed themselves to be cast in roles of planetary dictators and authoritarian technocrats.  Their purpose:  to give us the surrogate ‘reality’ we seem to be demanding through our refusal to create our own.  I see it as a kind of collective ‘shamanic initiation’ for our species:  in ancient and indigenous cultures, ‘half-assed’ or ‘somewhat capable’ just wasn’t good enough for the prospective carriers of the torch, seeds, and cosmological wisdom.  If humans as a whole don’t pass this very real ‘test’ we are creating for ourselves…if we fail to muster a reverberating ‘wake up call’, take the helm and seize the day, to understand our true spiritual legacy as co-creators and to renavigate our current course towards oblivion…it’s entirely possible that these ‘elite factions’ might just get their way.  Do you really want your children to be hobbling around with mutated DNA, micro-chips and bionic body-parts on a planet where life-as-we-currently-know-her is no more than a distant memory recorded in digital memory banks?  I kid you not, every hour that passes by this horrific reality is becoming more and more probable.

Once we remove the lead weight from around our necks by resolving the myriad contradictions and incoherencies plaguing our day to day routines, the ‘pathology of normalcy’, THEN we will be free actually to use our full-spectrum creativity in the kinds of ways it was intended to be used.  What will YOU do as an artist?  Guess what…you can do ANYTHING YOU WANT, because you have INFINITE CREATIVITY.

Our own personal creativity spans many dimensions; what you are seeing here in Oracle are a few examples of painting and photography, as well as what I consider to be the most important piece of ‘art’ I’ve ever done, the ‘ultimate technology’, which is a conceptual ‘space-craft control panel for your brain.’  Our art has a lot more in common with the sacred art of ancient indigenous cultures than with western ornamental art; ours is not about ending up with artefacts to sell but in honouring and maintaining the sacred process and shamanic spirit of creativity.  People see a lot of ‘aboriginal influence’ in our art…this is because of our deep and long-standing connection with the land and people of the Australian dream-time, whose cosmology and spirituality reflect the longest-standing connection with the forces of life on our planet and beyond of any human culture.  Interestingly, their world-views are inter-woven with those of the cetaceans, the whales and dolphins, who are our biggest heroes.  As far as Liesbet and I are concerned, we are on their planet.

Ever since I was involved with Dr. John C. Lilly’s dolphin communication group in California, I’ve been a bearer of their ‘message’, which is, in essence, everything I’ve just written in this article.  As I see it, they are the ‘ultimate indigenous people’ and are a true ‘extra-terrestrial intelligence’ who have inhabited Earth’s aqua-sphere tens of millions of years longer than we have existed, and with no negative impacts or consequences for their fellow beings or planet.  Because they have more highly evolved ‘internal technology’ than we do, it’s clear to me that they possess powers of thought, awareness, and creativity far in advance of ours; their ‘reality’ encompasses many more dimensions than does ours.

Together, Liesbet and I have painted over 40,000 rocks, over a thousand paintings, and made four films.  We play music together, and I’ve recorded several cd’s of experimental and improvisational music with a variety of friends, as well as doing the sound-tracks for our films.  As I write this now, we are embarking on our most advanced creative project to date, a ‘beyond film’ about the whales and dolphins that’s not only about who they are as fellow sentient beings on Gaia, but also about the grave threats to their well-being and even existence posed by human activity…activity done by US, not an ‘evil them.’  This project will bring together the very best of our creativity in every possible dimension, will be at least as much about sound as anything we can see with light, and will explore a true synergy of consciousness in which they are light-years ahead. The cetaceans quite possibly hold the key to our own long-term survival and advancement as a species if we can somehow manage to surpass the hurdles of our own limitations so that we can actually hear and understand their message.

NOW is the time to wake up and give having a life your best effort.  No prophet or visionary knows for sure what is going to happen, but the prospects are indeed grim if we fail as a whole to remember, reorient, reprogram and renavigate.  If we DO heal our species karma and get a grip on our lessons of ‘reality creation’, the possibilities are limitless; extinction is forever.

I will close with a paraphrase of a statement JFK made:  “Ask not what your planet can do for you, but what you can do…or stop doing…for your planet.”

We have a significant web-presence and invite you to check out our main site, which shows a cross-section of art, a link to watch our film “Te WaiWaia Dreaming” and links to our blogs (music, films, still photography, geo-terrorism, renavigating the human process, Rachels Carson of today, regain your brain [mass-media & mind-control], tutunui-wananga [cetacean issues] and Liesbet’s new blogs).  (note:  it’s all lower-case except the ‘J’)

And feel free to get in touch to let us know what you think of our art and anything I’ve written about here.  I have an e-group called ‘synthaissance cryobenthics’ that you can become a member of if you email me:

APRIL 2012