My Victorian Christmas Pocket Mission by LeslieAnn is now available for delivery in time for Xmas!
My Victorian Christmas is a Pocket Mission Pak of 30 incredibly rare and powerfully evocative Victorian photographic memory-joggers and past-life triggers related to Christmas.
You can tell a story or write a poem about each of the 30 stunning and unique photographs in the Pocket Mission Pak, and publish your results on akashiclibrary.com where readers can compare the same photo described by different authors, in a carousel selection system developed by XxaxX Software — that’s Uncle Claude’s software development company, in case you didn’t know. Continue reading →
Jack Calisher outside his lumber mill, circa 1878.
Recognize this street? Well, you should. You died here in a gunfight in 1878, and that wasn’t the first or last time you died, but it’s an easy Past Life to remember, because the trauma was so strong. It wasn’t that big a deal to die — here you still are to tell the tale. “Death Row” was the name given to this Old West “Main Street” that saw over 100 gunfights in its day.
That’s one thing about death that people don’t generally realize. Death is not permanent. In fact, death is so damn impermanent, it’s a pain in the ass, and I’ll explain why. You finally get the hang of a life you’re living, and wham! Along comes Death to wreck the show … but wait, weren’t you just barely crawling along, whizzing around in a wheelchair with a bottle of oxygen and a long clear plastic tube.
So how would you like to remember this death? You’d rather not re-experience a death? I don’t blame you, death is never pleasant, although it can be a great relief if you’re in terrific unbearable and unrelenting pain. Still, it’s not something we naturally seek, nor are we intended to. You’re here to do a job because you can. You were born with the ability to carry out your work mission. Whether you do it or decide to whack off for your whole life is entirely up to you. Continue reading →
I’ve been working day and night on this mission pack, and now it’s ready for you to use. I will release it at the next Online Only PLS Workshop, sometime during December or January — I’ll announce it in plenty of time, but be prepared. Cost of workshop is $125 for the entire weekend. Includes free download of Edwardian Mission Pack Electronic Scrapbook Template.
Be sure to reserve a place in the workshop. I’ll be running one workshop about every month or two, so be ready for some serious work! THIS IS A TIME MACHINE, a real one, and it works, so don’t be surprised when it does!
This double-ended wormhole screen camera will take you to the exact moment that the photo was taken, in the world in which you lived as that person, and you will be able to tell us what we’re seeing and what is happening.
The effect is powerfully and noticeably enhanced in the presence of a SuperBeacon, Matrix and power-ammy such as the PLS Ammy or the Quantum Witch. You will be able to easily access the lifestream with this simple easy-to-master technique of time travel.
Make no mistake, this is the real thing. Don’t ask for it if you don’t want it.
You’ll appreciate the diversity of the images provided in the Parallel Life Survey Kit.
If you were wondering what ever became of gorebagg, here’s what’s happening: I’m in the middle of writing a book that you can read as I write it, almost hour-by-hour, which, if you’re a creative writing student, you’ll appreciate doublefold.
At the same time, I’m separating family photos that I won’t be using for my own book, and I’m making them available for the upcoming Parallel Life Survey Workshop.
Originally, I had intended that you would use your own photos, and we will indeed be using them, but using my prepared photos is far superior, for several reasons.
Everyone will use the same photos in the same sequence or order. You may not rearrange them to suit yourself or anyone else. Leave them in the ordination in which they come to you and are numbered, 1 to 100. Continue reading →
Charlie models an “ARRAY” formula for my TWEED MODEL Waking State Amplifier
Here are the instructions for the Decal Temporary Tattoos:
1. Peel the TRANSPARENT layer off the decal.
2. PLACE the decal EXACTLY where you want it. It cannot be moved after placement.
3. WET the decal on the white back for about 30 seconds. The backing will slide off easily when it’s ready to separate. Do not force it or peel it off. Let the water do all the work.
4. To REMOVE the decal, use Scotch brand MAGIC TAPE. Place the tape on the decal and peel off as you would do a waxing. Do not place decals on hairy or sensitive areas of skin.
These decals are intended for Spiritual Applications. Use the TEST DECAL included in your purchase package to determine if you have sensitivity to this product, which has been dermatologically tested and determined safe for general use.
A possible CHOKING HAZARD exists with the very small tattoos, the ones under 5 inches in width, and even those could be chewed, gummed and even swallowed, with some practice.
Always use common sense in handling decals and use caution and personal supervision when handing them out or to, or using them with, small children.
Parental Guidance is a MUST when applying decals to tots and toddlers. The official position is: don’t leave them on for more than a few hours.
Some folks have reported wearing them for more than a month. I do not recommend this method of saving money.
Decals can be applied over or partially over other decals, but it is not advised. Best plan is to use each decal in a clear, hair-free and non-sensitive area. That may or may not include the face, depending on your skin’s reaction to foreign material — the adhesive is very foreign, and it really is a good idea to test your skin with a small tattoo before committing to a body-full of TempTats.
The original concept behind these decals is CHANGE. The fact that you can totally change your body’s SURFACE INFORMATION is the key to making these work for you in your spiritual pathways through space-time and beyond.
Using these decals WILL ALTER your body’s INFORMATION LAYER. This may have effects in your life. Don’t wish for something unless you really want it.
These decals are intended as specific BODY INFORMATION LAYER alterations, and if used in ritual, should follow the usage intended.
I take no responsibility whatever for your decisions.
My recommendation has always been to make wise choices.
Of course, if sex rears its ugly head, all bets are off on “wise choices”.
I’m off now, to make another entry or two in Life as a Boy, on lesliannstandup.com.
This cover was shot by my Mom, Eve, when we were in Atlantic City in 1952.
You may have noticed that there is a sudden stoppage in the LeslieAnn “My Life as a Boy” postings; that’s because it has been loaded onto leslieannstandup.com and will be continued on that blog spot until it’s done, whenever that is, after which it will be expanded upon, possibly re-arranged and published in hardcover and paperback.
The hardcover edition will contain a frontispiece of signed original artwork and a signed collophon page. Handmade French endpapers and fine artstock paper will be featured, as well as a special ridged binding.’
Projected price of the numbered & signed limited edition hardcover is yet to be determined, based on costs, but will be targeted for $225 retail, a very low price in today’s livre d’artist market, where many books retail in the thousands.
The paperback is NOT signed and is not intended for signature. It is strictly a reading copy, not a collectible. Nevertheless, LeslieAnn will sign the first 100 copies but none of them will be numbered and the edition is Open, meaning unlimited production based on market and order fulfillment.
“My Life as a Boy” is an exciting project — I refer you to Robert Heinlein’s “Time Enough For Love” in which he projects the entire story-frame from a woman’s headset.
There are many examples of similar projects.
I’m using photos that have been in the family for many years, but have not seen the light of day and were all-but-buried in a special chest of “family only” photos that I’ve dug up for this project.
In the book, you will see hundreds of photos that have been “lost”, all of which are of me as LeslieAnn in a variety of situations over a period of 73 years.
I think you’ll have fun with this, but there’s a whole host of lessons to be learned from it — I invite you to comment on your experience with this written document.
Diane Wolfe just after separation from the US Army, at our apartment in NYC 1964.
Wolfie and I arrived at the Trailways — or was it Greyhound??? — bus terminal and found an apartment almost instantly — we had no money — we were both waiting for our service paychecks to catch up with us, so I called a sci-fi writer friend, Mary Kornbluth, and she said she had an extra room if we didn’t mind 250 cats all around us, so we went there and bedded down for the night. This cat was our first visitor, and I snapped the shot and it survived the years, and here it is.
The next day we walked down Broadway, looking for work. Both of us were limited in wardrobe — everything we had on we’d acquired the day before, at Gettysburg, which is kinda near where we’d worked our last three weeks of service, Valley Forge Hospital, in the TB wards.
Dangerous, but it beats guard duty with a .12 gauge with orders to shoot any prisoner who attempts an escape. I never knew whether the weapon was loaded, but I got out of there fast when I got the offer of spending the last few weeks at Valley Forge in spite of the danger of TB, and it’s fortunate I did go there, or I’d never have met Wolfie.
Relaxing as myself — LeslieAnn — on summer vacation — the rest of the year was spent as a boy.
I didn’t like life as a boy; oh, sure, you got all the rights and privileges and perks of being a boy in a man’s world, but I had to constantly hide my gender. I bound my breasts down, wore socks to make a bulge and luckily or unluckily, my voice was naturally deep, like a 60 year old cigarette smoker — like, really deep.
My girlfriends used to make fun of my voice, and even though I could sing high harmonies in a perfectly fine soprano voice — and I can still hit the high notes today — I couldn’t make myself speak comfortably in a high squeaky voice, and I never did. Continue reading →
My airbrushed photo of Aunt Sophie at our summer home, the Old Zena Mill, Woodstock, NY
Aunt Sophie was an artist who thought the human body was just another thing to paint, draw, sculpt or photograph. She spent several days with me developing a portfolio of simple photos taken with my simple Ansco Flash Clipper and later a borrowed 35mm pre-war Leica III-C which I still have in my XXth Century Camera Collection. I’ve airbrushed a few of my photos of her and my other aunts, so I could share them here. If I’m wrong, I’ll take them down. Continue reading →
My Kodak Brownie photo of Aunt Bertha adjusting her slip, Sand Dunes Vermont, 1949.
I started with a Kodak Brownie, like every other kid on the block. It was a one-focus lens and a slow, slow shutter speed. The only thing you could do with that camera is what you see here — get about ten feet away from subject for full-body, three feet for closeups, and snap away, hope for the best. You had to send your film to Kodak in Rochester, New York to have your photos processed and printed glossy with gnarly deckled edges, making it hard to insert them into a photo album, but who cared, as long as the pictures came out. Continue reading →
