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Notes02/26/2019
Meggi
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Meggi
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28
Eauvied
"Legends of Classical Antiquity", specifically: the Greek world of legends - presented in a series of 80 episodes, each lasting a quarter of an hour. This may sound like hours, days or even weeks of torture to one or the other. But it is by no means the case when the Austrian writer Michael Köhlmeier gives the narrator (www.br.de/fernsehen/ard-alpha/sendungen/mythen/index.html). With him, the figures come to life, as it were, with the words in the Now: It seems as if what he says occurs to him only at that very moment - and perhaps that is exactly what is happening. To be able to fabricate in such a way is an impressive gift.
Besides, you can hear how a cultivated Ösi-speak sounds ('sorry...).
Well, my point is that the Greek legends are filled to the brim with (active or passive) transformations of some beings - which is an ancient tradition at all, which continues seamlessly in Ovid's (for us: Eauvieds) metamorphoses. Most of the time the whole effort is of no use to the people and they are still killed or fucked by Zeus. Or the thing is simply annoying: Who wants to be transformed into a spider or as a constellation at dawdling zero degrees Kelvin forever hanging around in space?
Pétroleum also performs a masquerade. At first he camouflages himself by throwing a leather cloth soaked with proper workshop lubricant and solvents over himself, later he hides himself more badly than right behind a gradually budding floral fruitiness, which embodies more the "rose principle" than "rose". Leather and rose are sometimes close to each other - especially when the leather from oily rose is still in its infancy. Today, however, we have to do with two things.
Yes, and something more from the AmbER corner is also included. But I have an (for me) old acquaintance nevertheless errochen. Under it is a good piece of the DNA of 'Ambrarem' from the same house. Unmistakable is the kinship of the interior, the base of 'petroleum' to the animalic-creamy, banana-streaking sibling, which by means of castoreum also partially approaches the leather splint at least, although not as blatant as present, also from another direction.
The pyramidal data don't suggest the relationship, but I'm sure I own 'Ambrarem' and could test it in parallel. Moreover, the visual similarity and the same year of publication may not be a coincidence. And, miraculously, petroleum also pleases me. The brutal prelude should not deter, it will soften a little bit(!).
Anyway, I don't want the above to be understood as a reproach, the Histoire people would almost cheer us on twice. No, 'Petroleum' is, above all because of its hour-long focus on 'floral leatheriness', a completely independent fragrance which, on top of that, does not march broad-legged along the vanilla path towards the end, as 'Ambrarem' does.
Conclusion: Because of such things I am enthusiastic about perfume.
I thank Gerdi for the rehearsal.
Besides, you can hear how a cultivated Ösi-speak sounds ('sorry...).
Well, my point is that the Greek legends are filled to the brim with (active or passive) transformations of some beings - which is an ancient tradition at all, which continues seamlessly in Ovid's (for us: Eauvieds) metamorphoses. Most of the time the whole effort is of no use to the people and they are still killed or fucked by Zeus. Or the thing is simply annoying: Who wants to be transformed into a spider or as a constellation at dawdling zero degrees Kelvin forever hanging around in space?
Pétroleum also performs a masquerade. At first he camouflages himself by throwing a leather cloth soaked with proper workshop lubricant and solvents over himself, later he hides himself more badly than right behind a gradually budding floral fruitiness, which embodies more the "rose principle" than "rose". Leather and rose are sometimes close to each other - especially when the leather from oily rose is still in its infancy. Today, however, we have to do with two things.
Yes, and something more from the AmbER corner is also included. But I have an (for me) old acquaintance nevertheless errochen. Under it is a good piece of the DNA of 'Ambrarem' from the same house. Unmistakable is the kinship of the interior, the base of 'petroleum' to the animalic-creamy, banana-streaking sibling, which by means of castoreum also partially approaches the leather splint at least, although not as blatant as present, also from another direction.
The pyramidal data don't suggest the relationship, but I'm sure I own 'Ambrarem' and could test it in parallel. Moreover, the visual similarity and the same year of publication may not be a coincidence. And, miraculously, petroleum also pleases me. The brutal prelude should not deter, it will soften a little bit(!).
Anyway, I don't want the above to be understood as a reproach, the Histoire people would almost cheer us on twice. No, 'Petroleum' is, above all because of its hour-long focus on 'floral leatheriness', a completely independent fragrance which, on top of that, does not march broad-legged along the vanilla path towards the end, as 'Ambrarem' does.
Conclusion: Because of such things I am enthusiastic about perfume.
I thank Gerdi for the rehearsal.
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