Harmful Ingredients in Personal Care Products

There are dozens of chemicals that could be harmful and shouldn't be used,so here is a list of chemicals in personal care products:

1. Synthetic fragrances often contain phthalates (pronounced THAY-lates), synthetic chemicals commonly used to stabilize fragrances and make plastic more pliable. These endocrine disrupters mimic hormones and may alter genital development. Avoid products that list fragrance as an ingredient unless the label states that it’s derived from essentials oils,
or look for a phthalate-free label on the packaging.

2. Parabens, ubiquitous in skincare, preserve other ingredients and extend a product’s shelf life–but these antimicrobial chemicals also have hormone-disrupting effects.

3. Ureas, formally known as diazolidinyl urea, imidazolidinyl urea, or DMDM hydantoin and sodium hydroxymethyl-glycinate, are preservatives that have the potential to release formaldehyde in very small amounts and are a primary cause of contact dermatitis.

4. 1,4-dioxane, a chemical carcinogen, is created when ingredients are processed with petroleum-derived ethylene oxide. Common ethoxylated compounds include sodium laureth sulfate and polyethylene glycol (often listed as PEG). To avoid it, skip any product with the following ingredients: myreth, oleth, laureth, ceteareth (or any other -eth), PEG, polyethylene, polyethylene glycol, polyoxyethylene, or oxynol.

5. Petrochemicals are derived from crude oil. Petroleum-based ingredients such as petrolatum, mineral oil, and paraffin (derived from nonrenewable sources) form a barrier when applied to the skin that does not allow it to breathe and can clog pores.

6. MEA/DEA/TEA are “amines” (ammonia compounds) and can form harmful nitrosamines when they come in contact with nitrates. Used as foaming agents, synthetic stabilizers, and to adjust the pH of cosmetics, they can cause allergic reactions, eye irritation, and dryness of the hair and skin.

7. Sulfates, such as sodium lauryl and sodium laureth, are harsh detergents that give cleansers, soaps, and shampoos their latherability. Often derived from petroleum, sulfates can also come from coconut and other vegetable oils that can be contaminated with pesticides. Sulfates can cause eye irritation and skin rashes.

8. Chemical sunscreens, such as oxybenzone and octyl methoxycinnamate, have been shown to disrupt endocrine activity. Titanium dioxide and zinc oxide are safer alternatives.

9. Quats, such as benzalkonium chloride, steardimonium chloride, cetrimonium bromide, and cetrimonium chloride, give a positive charge to conditioners in order to prevent static. They are necessary for conditioners, but we have allowed only the mildest quats in our Beauty With a Conscience standard: guar hydroxypropyltrimonium chloride, hydroxypropyltrimonium oligosaccharide, and SugaQuats.

10. Antibacterial compounds, such as triclosan and chlorphenesin, do not break down in the environment and may contribute to bacterial resistance.

11. Synthetic polymers, such as sodium polyacrylate and carbomer, come from petroleum and give viscosity to skincare products. They are highly processed and their manufacture
creates toxic by-products.

12. Synthetic colors are made from coal tar. They contain heavy metal salts that may deposit toxins onto the skin, causing skin sensitivity and irritation. Animal studies have shown almost all of them to be carcinogenic. They will be labeled as FD&C or D&C, followed by a color and a number.

13. Chelators, such as disodium EDTA and tetrasodium EDTA, are used in personal care products to remove impurities from low-quality raw materials. They do not readily biode-
grade in the environment.

14. Nanos are a new technology with inconclusive but potentially hazardous study results. Research suggests that when tiny nano particles penetrate the skin, they may cause
cell damage.

15. Animal testing: A grim history of cruelty to animals lies behind many cosmetic ingredients. But scientists are developing new technologies to test cosmetics before a European Union ban on animal testing begins in March 2009.

Congo de Panama

Spanish Translation

EL BAILE CONGO

ORIGEN

Esta es una herencia de más de 500 años de dolor, alegría y llanto, vejámenes, logros, éxitos, derrotas, religión, sistemas y otros sentimientos que se transmiten de generación en generación por medio del genoma humano, de la historia oral y de las tradiciones. No fue la debilidad físico del indio americano para realizar trabajos, sino su sentido d libertad lo que lo obligó a la corona de España a traer negros africanos sobre la costa de América, para que hicieran las más penosas, duras y humillantes faenas de la época. Así apareció en el virgen Continente una nueva industria: el trático negrero; negocio delicado al cambalache de hombres sencillos, ignorantes y robustos, pero no por todo ellos menos inteligentes.

En breves ratos de ocio y de malicia, los amos ganaban tiempo en cierto tipo de orientación para sus esclavos. Les enseñaron que existía el diablo, personaje destinado a llevarse a los negros al infierno, cuando éstos observaban obediencia, tolerancia, respeto y lealtad a sus seores; y más encarnizado era el diablo, si los negros pensaban en rebeliones o en fugas. Al contrario el Angel protegía a los negros, encaminada por el bien, a los esclavos de malos pensamientos, buscaba a los prófugos y los devolvía al sitio original y era capaz incluso, de proteger a los negros contra la acción del diablo. Mediante esto, es el origen de los Congos, en donde se relata una dolorosa odisea en el continente mestizo y esa la página de gloria para ellos rubricada.
Los Congos de Portobelo son los descendientes de los Cimarrones, quienes han conservado los relatos de sus ancestros en una tradición viva convertida en una obra de arte. Presenciar una danza Congo es como viajar en el tiempo, logrando fuerza y poder a medida que se aproximan a sus ancestros africanos del siglo XVII.

Lo Congo, lo Diablo, viene de esa tierra de infinitas formas, contrastes y matices llamada África, y que también se funde en nuestro suelo, sobreviviendo como una llama que se enciende, como un espíritu indomable y que no se rinde, de colores rojos y negros, de sonrisa amplia y ojos oscuros, que suda cuando se posa sobre el cuerpo de uno de los danzantes en los bailes que celebran hoy como una de las tradiciones de mayor riqueza e interpretación artística, visual y espiritual en la provincia de Colón. Pero actualmente no se ha podido trazar el origen exacto de los Congos. De acuerdo con algunos relatos, el baile surge cuando un esclavo escapado, Juan de Dios, dirigió a un grupo de forma exitosa a la jungla donde establecieron su propia comunidad. La historia no verifica la existencia de Juan de Dios, pero otros líderes como Bayano, Mandingo y Felipillo si dirigieron a los esclavos escapados a la jungla, donde con éxito lucharon contra los españoles. Finalmente, los españoles fueron obligados a negociar un tratado de paz con los rebeldes permitiéndoles vivir en comunidades separadas.

PERSONAJES EN EL BAILE CONGO

1. JUAN DE DIQSO: Este es el negro esclavo, misterioso e invisible, a quien se le atribuye haber organizado a sus hermanos enseñándoles el camino de la libertad.
2. LA REINA: Es la señora de Juan de Dioso, valerosa y fiel, vigila porque se cumplan sus mandatos. Organiza juegos, autoriza comidas y festejos, dicta decretos, concede gracias y contribuye los haberes del reino. Tiene m6s autoridad que el rey.
3. EL PAJARITO: Hijo de Juan de Dioso y la reina. Explora el campo y a visa lo que acontece en derredor del reino; es encargado del protocolo, va adelante en los desfiles.
4. JUAN DE DIOSITO: Es hermano del pajarito, guardaespaldas de la reina y hermano de las “mínimas” o princesas
5. HOJARASQUINES: Son conocidos como los “negros machos”, llamados así porque fueron los primeros en fugarse y se internaron en el monte.
6. BARRE CON TODO: Como su nombre lo indica, barre con todo lo que halla a su encuentro y que a su juicio puede servir a sus compañeros. Lo que encuentra lo lleva ante el rey, quien determina decomisación, o multa para SJ devolución.
7. AGARRADÓ: Este personaje es la policía del reino. Se encarga de llevar ante los reyes a los infractores.
8. EL LETRADO: Es el comentarista e interprete del reino, en lo que se refiere a c6digos y leyes.
9. EL TROYANO: Representa al comprador principal de esclavos fugitivos.
10. EL CAZADOR: Por mandato de la reina, es el encargado de dar muerte al Pajarito. Tiene a su cargo denunciar y acabar con los traidores.

Muchas veces, durante el desarrollo del juego, entran otros personajes de menor importancia como el gusano, el tigre, la hormiga, el conejo y otras especies del monte y de So selva que habitaron los esclavos. Pero al finalizar el juego, aparecen personajes de gran importancia como.: EL DIABLO, EL ARCANGEL, LA MUERTE, Y EL SENOR CURA.

 FORMA DE EJECUCIÓN

El congo se realiza descalzo, por la relación del negro con la tierra. Los personajes principales son la reina, el rey o Juan de Dios, el pajarito y las mininas; mientras que las ánimas, el diablo, el holandés o el gallego, que simbolizan la lucha permanente entre el bien y el mal, son los secundarios.
La danza, una mezcla de movimientos, percusión y sonidos fuertes, colores, vestidos y máscaras, mitos, magia y cantos, son una muestra ferviente de las antiguas raíces africanas que han sobrevivido a través de incontables generaciones, preservadas hasta nuestros días a través de una de las tradiciones más representativas de la provincia de Colón, donde la población es predominantemente afro. Los movimientos del hombre y de la mujer negra son propios de su naturaleza. Hombres y mujeres creados por Dios, a su imagen y semejanza. El baile congo es un conjunto de movimientos propios de cada uno, los cuales no tienen un orden especifico mas bien están intrínsecos en cada persona que desarrolla el baile, algunos lo hacen con sensualidad, otros con sentimiento, con expresiones muy particulares, con mensajes de vida, rememorando situaciones, con religiosidad, con alegría, con tristeza, con dolor, llenos de vida, con pesar, en forma de juego, de manera espontánea, con naturalidad, con ritmo.

Por esto y por muchas razones mas no se debe seguir diciendo que el baile congo es solo sensualidad y movimientos atrevidos, porque el mismo no se desarrolla igual en las personas que lo ejecutan. Mi pueblo Santa Isabel, siempre se caracterizo porque sus mujeres al bailar lo hacían con movimientos abdominales, de izquierda a derecha y alrededor de todo el círculo.

El estilo del baile es altamente improvisional, aunque ciertos pasos y posturas del cuerpo caracterizan la coreografía. Sin embargo, no hay ninguna seceuncia fija o predecible. Intuitivamente, las parejas se responden, componiéndose en un baile, que resulta en moviemientos perfectamente sincronizados y los gestos no planificados. La interacción ocurre con una velocidad y coordinación asombrosa. El juego de amor masculino – femenino es abierto, franco, erótico y enlazado con un espíritu de juego y exageración. Las señoras bailan tranquilas y serenas como si estuvieran en trance. Con pequeños pasos, ella se mueve hacia el tambor, sus hombros, brazos y cabeza queda casi sin movimiento. Solo los movimientos de las caderas son claramente observables, con la dobles de la falda invita a su parejas a acercarse. Si él acepta el reto y se le acerca, ella se retira con prontitud, se voltea y sigue en otra dirección.

Son muchas y muchos los que practican o ejecutan el baile congo y al ir avanzando de pueblo en pueblo, e ir descubriendo otros bailadores e ir descubriendo nuevos pasos, ejecutados de manera increfble por cada persona es una experiencia maravillosa que deja sentada miles y miles de veces la grandeza de nuestro Dios, al darle a cada persona lo suyo.

 LUGAR DONDE SE PRACTICA

Entre los lugares donde se practica el baile congo, podemos mencionar diferentes puntos de la provincia de Colón como los ocho pueblos tiene el distrito de Santa Isabel, pero a su vez en Portobelo, y otros distrintos como Cacique, José Pobre y demás regiones de Costa Abajo de la provincia de Colón.
Distrito lleno de gente orgullosa, al igual que Portobelo, Chagres y Donoso, de ser costenos y llevar como herencia la tradition del ritual congo, el cual tenemos la obligación de continuar como parte de nuestra identidad de afro descendientes. En todos los pueblos se desarrolla el baile congo en unos con mayor intensidad que en otros, pero con un amor por lo nuestro que parece un aura que en cada costeño habita. Sin embargo, también son reconocidas las agrupaciones de congos en Chepo y La Chorrera, donde los negros cimarrones dejaron un gran legado. Es en el carnaval cuando más puede apreciarse este arte.

LOS VESTIDOS

Los vestidos de los congos están llenos de colorido, lo que representa la belleza de la naturaleza.
Las mujeres utilizan una pollera de dos piezas, camisa con arandina y un pollerón hecho de retazos, además de flores en la cabeza y collares de cuencas o caracoles. La reina, entretanto, se diferencia con una corona hecha de latón y otros materiales llamativos. La mujer viste pollera montuna colorida, y luce maquillaje y las flores en su cabello.

Los hombres utilizan la ropa al revés y vieja, sombrero de estopa de coco adornado con plumas, conchas, espejos o cuencas, y se pintan la cara con carbón en símbolo de rebeldía. El rey o Juan de Dios usa una corona más pequeña que la de la reina. Las cuerdas y listones aluden a las cadenas de la esclavitud y los objetos queridos se guardan con bolsas grandes que se usaban para períodos de fuga de los españoles. Se complementa la vestimenta con sombrero cónico y bastón dando un efecto paródico.

El pajarito, pintado con carbón, usa sombrero de estopa de coco y plumas, lleva una muñeca a la espalda y suena incansablemente un pito que a todos ensordece. El diablo, por su lado, aparece cuando cantan la tonada del “diablo Tun Tun”. Es cazado por los ángeles para ser bautizado, lo que causa una gran corredera entre la concurrencia.

English Translation

DANCE CONGO

ORIGIN

This is a heritage of over 500 years of pain, joy and sorrow, humiliation, achievements, successes, failures, religion, systems and other feelings that are passed from generation to generation through the human genome, oral history and traditions. It was not the physical weakness of the American Indian for work, but his sense d freedom that made him the crown of Spain to bring black Africans on the coast of America, to do the most painful, harsh and humiliating tasks of the day . This appeared in the virgin continent a new industry: the slave trático; delicate business to barter for simple men, ignorant and robust, but not all of them less intelligent.

In brief leisure and malice, while earning masters in some sort of guidance for their slaves. They taught that there was a devil character destined to be black to hell when they watched obedience, tolerance, respect and loyalty to their lords, and more bitter was the devil, if blacks thought of rebellion or leaks. Unlike the blacks protected Angel, directed by the well, the slaves of evil thoughts, looking for fugitives and return them to the original site and was able even to protect blacks against the action of the devil. By this, it is the origin of the Congos, where he recounts a painful odyssey mestizo continent and this page initialed glory for them. 
The Congos of Portobelo are the descendants of the Maroons, who have preserved the stories of their ancestors in a living tradition turned into a work of art. Witnessing a dance Congo is like traveling in time, achieving strength and power as they approach their African ancestors of the seventeenth century.

The Congo, the Devil, comes from the land of infinite forms, contrasts and shades called Africa, and also merges into our soil, surviving as a flame that lights up as an indomitable spirit and not give up, red color and black, wide smile and dark eyes, sweating when it settles on the body of one of the dancers in the dances that celebrate today as one of the richest traditions and performing arts, visual and spiritual in the province of Colon. But now not been able to trace the exact origin of the Congos. According to some accounts, the dance arises when an escaped slave, Juan de Dios, led a group successfully to the jungle where they established their own community. The story does not verify the existence of John of God, but other leaders as Bayano Felipillo if Mandingo and escaped slaves went to the jungle, where he successfully fought against the Spanish. Finally, the Spanish were forced to negotiate a peace treaty with the rebels allowing them to live in separate communities.

 CHARACTERS IN THE DANCE CONGO

1. JUAN DE DIQSO: This is the black slave, mysterious and invisible, who is credited with teaching his brothers organized the way to freedom.
2. QUEEN: Is Mrs. Juan de Dioso, courageous and faithful, monitors because their mandates are fulfilled. Organize games, food and festivities authorizes, issues decrees, gives thanks and contributes the assets of the kingdom.Has King M6S authority.
3. THE BIRD: Son of John and Queen Dioso. Explore the countryside visa and what happens all around the kingdom, is responsible for the protocol, is ahead in the parades.
4. JUAN DE Diosito: bird's brother, bodyguard and brother Queen of the "minimum" or princesses
5. HOJARASQUINES: They are known as "black males", so called because they were the first to escape and went into the bush.
6. Sweeps all: As the name implies, sweeps away all that is to him and that in his opinion may serve their peers.What he finds leads him to the king, who determines decomisación or return ticket for SJ.
7. Seized: This character is the police of the kingdom. It carries before kings offenders.
8. Counsel: Is commentator and interpreter of the kingdom, in regard to c6digos and laws.
9. Trojan: Represents the main buyer of runaway slaves.
10. THE HUNTER: By order of the Queen, is responsible for killing the bird. It is responsible denounce and destroy the traitors.

Many times during the course of the game, enter other minor characters like the worm, the tiger, the ant, rabbit and other species of the forest and jungle inhabited So slaves. But at the end of the game, featuring characters of great importance as.: The Devil, Archangel, Death, and the priest.

Embodiment

The Congo is done barefoot, black's relationship with the land. The main characters are Queen, King or John of God, the Bird and miniNAS, while the spirits, the devil, the Dutch or Galician, which symbolize the ongoing struggle between good and evil, are secondary. 
The dance, a blend of movements, rhythm and sounds, colors, costumes and masks, myths, magic and songs are a fervent displays of ancient African roots that have survived through countless generations, preserved to this day through one of the most representative traditions of the province of Colon, where the population is predominantly African. The movements of men and black women are their own nature. Men and women created by God in his image and likeness.The congo dance is a set of movements of each, which does not have a specific order rather are inherent in every person who develops dance, some do with sensuality, others with feeling, with very particular expressions, with messages life, recalling situations with religiosity, with joy, sadness, pain, full of life, with regret, as a set, spontaneously, naturally, with pace.

For this and for many other reasons not to keep saying that dancing is only congo sensuality and bold moves, because it just does not develop in people who carry. My village Santa Isabel, always characterized for their women to dance with abdominal movements did, from left to right around the circle.

The style is highly improvisational dance, although certain steps and body postures characterize the choreography.However, there is no fixed or predictable seceuncia. Intuitively, the couples meet, being composed in a dance, resulting in perfectly synchronized moviemientos unplanned and gestures. The interaction occurs with astonishing speed and coordination. The game of love male - female is open, frank, erotic and linked with a spirit of play and exaggeration.Ladies dancing calm and serene as if in a trance. With small steps, she moves to the drum, shoulders, arms and head is almost motionless. Only the movements of the hips are clearly observable with the double skirt couples invites his approach. If he accepts the challenge and approaches him, she removed promptly turns around and continues in another direction.

Many and many practicing dancing or running congo and as we go from town to town, and to discover other dancers and to discover new steps, so increfble executed by each person is a wonderful experience that leaves sitting thousands of Sometimes the greatness of our God, to give each person their own.

 PRACTICE PLACE

Among the places where we practice congo dance, we can mention different parts of the province of Colon as eight people have the district of Santa Isabel, but turn in Portobelo, and other distrintos as Cacique, Jose Pobre and other regions of Costa Down the province of Colon. 
crowded district proud, like Portobelo and Chagres Donoso, if coastal and carry the tradition and heritage of congo ritual, which we are obliged to continue as part of our identity of African descent . In all villages congo dance unfolds in a more intensely than others, but with a love of ours seems a coastal aura in each dwelling. However, they are also recognized congos clusters in Chepo and La Chorrera, where the Maroons left a great legacy. It is at the carnival when this art can be appreciated more.

DRESSES

The dresses of the Congos are colorful, representing the beauty of nature. 
Women use a two-piece skirt, and a shirt with Arandina pollerón scraps fact, besides flowers in their hair and necklaces of river or snails . The Queen, meanwhile, differs with a crown made ​​of brass and other bright materials. The woman is wearing montuna colorful skirt, and looks up and flowers in her hair.

Men use the backwards and old clothes, Coir hat adorned with feathers, shells, mirrors or basins, and paint their faces with charcoal symbol of rebellion. King or John of God uses a smaller crown the queen. The strings and ribbons allude to the chains of slavery and loved objects are saved with large bags that were used for periods of flight of the Spanish. It complements the dress with conical hat and cane giving a parodic effect.

The bird, painted with charcoal, used Coir hat and feathers, wearing a wrist tirelessly back and sounds a whistle that deafens all. The devil, meanwhile, appears when they sing the tune of "Tun Tun devil". It is hunted by angels to be baptized, causing a large slide in the audience.

The History of Congo de Panama is courtesy of the following link below: http://www.webscolar.com/el-baile-congo

Health Benefits of Sex

Health Benefits of Sex

1. Boosts immunity.

Psychologists in Pennsylvania have shown that people who have sex once or twice a week get a boost to their immune systems. Regular sex increases levels of the antibody immunoglobin, which means greater immune resistance.

2. Good for the heart.

Results of a study recently published in the American Journal of Cardiology show that men who have regular sex are up to 45 percent less likely to develop fatal heart conditions than those who only have sex once a month or less.

3. Reduces stress.

Researchers have found that sex and physical intimacy lead women to feel less stressed and be in a better mood the following day. (These results weren't found when women had orgasms through masturbation.) The same study found that being in a good mood predicted more physical affection and sexual activity with a partner the next day. Thus, sex can lead you to feel less stressed, and being less stressed-or at least in a better mood-can lead to more sex. A very productive and healthy cycle to establish!

4. Acts as a natural pain killer.

Oxytocin, often referred to as the "love hormone," is one of several chemicals released during sex, which increases endorphins that decrease pain, particularly headaches. Sex has also been shown to speed up the healing of wounds, even stubborn sores like those caused by diabetes.

5. Induces sleep.

The release of oxytocin evokes feelings of contentment, reduces anxiety, and creates feelings of calmness and security focused around your partner. Combined, these physiological reactions soothe us to sleep.

6. Lowers blood pressure.

A recent study examined participants' blood pressure as a measure of their stress responses during public speaking or challenging math problems-situations that commonly elevate stress levels. I t was found that those who had recently had intercourse tended to have lower baseline blood pressures.

7. Improves self-esteem.

When we feel needed and wanted, our self-esteem naturally increases. Having our bodies accepted-with all its flaws and imperfections, and feeling sexually attractive and desirable, spells a boost to our sense of self-worth.

8. Burns calories.

Sex is a workout! According to several studies, the average lovemaking session burns between 50 and 100 calories. Having sex three times a week burns 7500 calories per year-equivalent of jogging 75 miles! And the more intense the sex, the more calories are burned: up to 15,000 calories annually (at a frequency of three times weekly). While sex may not have the added benefits of traditional cardio or strength training, it unquestionably adds to our overall weight picture.

9. Keeps our skin young and healthy.

Teenagers aren't the only ones whose complexions benefit from having sex. The act of sex increases blood circulation throughout the body which helps pump oxygen to our skin, which results in a brighter appearance (which explains the tell-tale glow most of us have afterwards). Regular intercourse can actually make us look younger! Sex also boosts our natural collagen production, which can ward off age spots and wrinkles.

10. Helps maintain healthy sperm.

Several studies show that men who have frequent sex have higher volumes of semen, a higher sperm count, and a higher percentage of healthy sperm as compared to men who do not.

11. Improves the quality of our hair.

Hormones not only regulate our sex drives, they contribute to the condition of our hair. Research has shown that regular sex has a direct affect on the quality of our hair, lush hair resulting from the body's increased ability to intake and metabolize nutrients more efficiently.

12. Strengthens nails.

The same sex-triggered hormones that make our skin glow after sex also affects our nails. As science has long known, our general health is reflected in the condition of our nails. (Dry, brittle nails is a bad sign.) There is a direct link between sex, our state of health, and the quality of our nails.

13. Gets rid of acne.

According to many studies, the same hormonal process that improves the quality of our hair and nails, can reduce acne outbreaks. The boost to our natural collagen production can greatly affect the appearance and frequency of blemishes. Additionally, science has proven that semen applied directly to the face acts as a powerful astringent as well as providing concentrated amounts of healthful nutrients.

14. Keeps us hydrated.

Sex improves circulation throughout our bodies so blood flows more efficiently, which gives our bodies the moisture it needs to maintain health. Furthermore, having heated, sweaty sex expels excess dirt and toxins from our pores, allowing for more free-flow of moisture.

15. Lowers the risk of prostate cancer.

Studies show that men in their twenties who ejaculate five or more times a week reduced their risk of prostate cancer by a third, and older men reporting 21 or more ejaculations per month lowered their risk as well.

16. Lowers risk of breast cancer.

Regular sex has been shown to reduce the risk of breast cancer in women. In addition to boosting the immune system, improving blood circulation, and causing the secretion of breast-beneficial hormones, the fondling, kissing and sucking of breasts during sex is thought to promote breast health.

16. Fights cavities.

Semen is rich in zinc, calcium, and other tooth decay-fighting minerals that greatly benefit our bodies when absorbed. While sex isn't a substitute for good oral hygiene practices, it adds to the overall dental picture.

17. Strengthens our emotional bond.

The release of oxytocin (by design) helps people build trust and bond with one other. The more sex a couple has, the more oxytocin is exchanged and the greater the bond that is created. Oxytocin also brings out a woman's maternal instincts as well as a man's protective instincts.

18. Makes us feel young.

In many circumstances, nothing can make us feel as young and revitalized as a fulfilling sexual encounter. Regardless of our age, sex recalls the power and vim of youth. And since many of us experience an increase in libido in middle age, fulfilling that sexual need can be just as invigorating as in younger days.

19. Strengthens pelvic floor muscles

When sex incorporates pelvic floor muscle exercises known as Kegels (which stimulates both men and women), the pelvis floor muscles are strengthened. (To do a basic Kegel exercise, tighten the muscles of your pelvic floor, as if you're trying to stop the flow of urine. Count to three, then release.)

20. Inspires

There can be no denying the creative urges that can arise in the aftermath of sex. The muse of sex is like no other. Countless poems, stories, songs, paintings, photographs, and other works of art have been inspired by satisfying sex. And as any artist can tell you, there is nothing quite so wonderful as the feeling they get by expressing themselves through their art. And when one's love interest is the focus of this expression, this often leads to a closer, more loving relationship.

Locks & Dreadlocks Photo Gallery

We first love to give thanks and respect to all who are in the following people showing their Locks and Dreadlocks for the world to see as it's a process of which takes time with love,patience and care for thy body to keep on going with them,so here is the presentation of the Locks & Dreadlocks Photo Gallery as everyone can see how it is done:

The Following Hairlocking Styles below were done by Tabeel Aromatherapy Gift Shop & Salon in Brooklyn,NY:

Cushite Knots

Goodess Bun

Knotted Mohawk

From Locks to Dreadlocks
From Brother Man to Rasta Man. 
"Lion got his Wings"

The History of Dreadlocks

Dreadlocks, sometimes called simply locks or dreads, are matted ropes of hair which will form by themselves if the hair is allowed to grow naturally without combing. Or intentionally formed using various methods to encourage their formation such as backcombing sections of the hair, twisting or a process involving the weaving of the hair with a crochet hook to form knots.

Although the term 'dreadlock' was originally associated with the Rastafari community, people of various cultures have worn, and continue to wear locks, including the Hindu Shiva worshippers of India, European Celts, various African communities, and the Sufisof Pakistan.

History

The precise date of origin of the hairstyle is unknown. However dates range from 5000 BCE to 1500 BCE. The roots of dreadlocks can be trailed to the Rastafarians of Jamaica, and further, to Indian sages and yogis, but they have never been more popular or widespread than they are today. It is said that dreadlocks originated with eastern holy men, possessing nothing, renouncing the world and possessions (not even a comb) and even personal grooming, hence the inevitable dreadlocks.

The first known examples of dreadlocks date back to North Africa. In ancient dynastic Egypt examples of Egyptians wearing locked hairstyles have appeared on artifacts as well as mummified remains from archaeological sites.

The locked Hindu deity shiva and his followers were described in the scriptures as "wearing twisted locks of hair". The Celts also wore dreadlocks and were described as having 'hair like snakes'. Germanic tribes, the Vikings, the Greeks, the Pacific Islanders, the Naga people and several ascetic groups within various major religions have at times worn their hair in locks, including the monks of the Ethiopian Orthodox Tewahedo Church, the Nazirites of Judaism and the Sadhus of Hinduism. The very earliest Christians also may have worn this hairstyle. Particularly noteworthy are descriptions of James the Just, brother of Jesus and first Bishop of Jerusalem, who wore them to his ankles. Locks may have also been part of Mexican culture before the 16th century spanish conquest.

Variations such as the Polish plait were initially treated as an amulet supposed to bring good health and was often worn in combination with extremely long fingernails. These fashions were reserved mainly for noblemen and ascetics, who wished to advertise their freedom from menial labor and earthly attachment.

The Baye Fall, arising from Senegal, wear locks which are called ndiange or 'strong hair' in imitation of Ibrahima Fall, chief disciple of the spiritual guide Shaykh Aḥmadu Bàmba Mbàkke with the goal to cultivate a unique relationship with God through the Shaykh. The Ngati Dreads or Māori Rastafarians, indigenous people of New Zealand, combine the Rasta teaching with the teachings of Te Kooti Arikirangi Te Turuki, a Māori leader and the founder of the Ringatu religion who preached belief in God and the rejection of Māori tohungaism. 
      
Middle East

Hindu Belief: Shiva takes the weight of the mighty Ganges in his locks and imprisons her. She is released through the locks of his hair, which prevents the river's force from destroying earth, and the waters bring purification to the planet.
Among the Sadhus and Sadhvis, Indian holy men and women, locks are sacred, their formation a religious ritual and an expression of their disregard for profane vanity, and a manifestation of a spiritual understanding that physical appearances are unimportant. This Sannyasin, the particular phase of life in which the person develops Vairagya, a state of determination and disillusionment with material life, does not merely follow a public pattern (that includes letting his or her hair grow in matted locks), but goes through an inner transformation. The public symbol of matted hair is thus re-created each time an individual goes through these unique experiences. In almost all myths about Shiva and his flowing locks, there is a continual interplay of extreme asceticism and virile potency, which link up the elements of destruction and creation, whereas the full head of matted hair symbolizes the control of power.

Locks in India are reserved nearly exclusively for holy people as well as shamans in many of the ethnic groups that still maintain such practices. According to the 'Hymn of the longhaired sage' in the ancient Vedas, long jatas express a spiritual significance which implies the wearer has special relations with spirits, is an immortal traveller between two worlds and the master over fire.
The Shaiva Nagas, ascetics of India, wear their jata (long hair) in a twisted knot or bundle on top of the head and let them down only for special occasions and rituals. The strands are then rubbed with ashes and cowdung, considered both sacred and purifying, then scented and adorned with flowers.

Carribean

Dreadlocks, as popularized worldwide by Bob Marley, has come to bring more fame to Jamaica than any other export. In Jamaica the term dreadlocks was first recorded in the 1950s as a derogatory term when the "Young Black Faith", an early sect of the Rastafari, which began among the marginalized poor of Jamaica in the 1930s, ceased to copy the particular hair style of Haile Selassie I of Ethiopia and began to wear locks instead. It was said that they looked 'dreadful' with their locks and were thought to be disgusting and frightening, hence the term ‘dread’ or dreaded which gave birth to the modern name 'dreadlocks' for this ancient style and was later reclaimed by the ‘Rasta’ community.

Rastafari

Rastafarianism however is something entirely separate. Rastafari associate dreadlocks with a spiritual journey that one takes in the process of locking their hair. It is taught that patience is the key to growing locks, a journey of the mind, soul and spirituality. Its spiritual pattern is aligned with the Rastafari movement. The religion resonated with the ideologies of the day, for example socialism, marxism, nationalism and black power. It was therefore, seen as a threat to Christianity and came under attack by the authorities that tried to suppress the ‘Rasta’ movement and imprisoned those who possessed ‘ganja’. Rastafarians smoked cannabis because they thought it prompted a clearer state of being.

Many Rastas eat limited types of meat. Many Rastafari maintain a vegan or vegetarian diet all of the time. Food approved for Rastfari is called ital. The purpose of fasting is to cleanse the body. Usage of alcohol is also generally deemed unhealthy to the Rastafari way of life, partly because it is seen as a tool of Babylon to confuse people, and partly because placing something that is pickled and fermented within oneself is felt to be much like turning the body (the Temple) into a "cemetery".

So close is the association between dreadlocks and Rastafari, that the two are sometimes used synonymously. As important and connected with the movement as the wearing of locks is, it is not deemed necessary for, or equivalent to, true faith.

Islam

Certain sufi groups such as the Qalandari sects don't cut their hair and don't comb it. This leads to natural formation of dreadlocks. However, some of them will be very thick and others thin or untwisted because the actual making of dreadlocks and giving it a regular look is frowned upon.This process of dreadlock formation takes many years.

Western Culture

In the West, dreadlocks have gained particular popularity among certain subcultures, though, while dreadlock hairstyles are widely associated with these sub-cultures, they are not exclusive to them. This is to say that, for instance, being spotted with dreadlocks does not automatically mean that you subscribe to the Rastafarian faith, are a hippy or smoke loads of dope, because when all is said and done, the dreadlocks remain just a variety of hairstyles should not come across as belonging to a certain faith or sub-culture.

Political motivations

The rise in popularity of reggae music in the 1970s prompted an interest in locks internationally. The anti-establishment philosophy of Rastafari, echoed in much of the reggae of the time, had a particular resonance for left-leaning youth of all ethnicities — especially and primarily among African Americans but among counterculture white people as well.

Like the afro, locks had social and political ramifications. For some people of African descent, locks are a statement of ethnic pride. Some see them as a repudiation of Eurocentric values represented by straightened hair. Others wear locks as a manifestation of their political beliefs and view locks as symbols of black unity and power, and a rejection of oppression and imperialism.

In white counterculture, locks have become popular among groups such as the "anti-globalization" movement and environmental activists  sharing a sense of a rebellion against the establishment and established norms. Dreadlocks are also popular in the punk and rave subcultures. Apart from anti-establishment politics and spiritual reasons locks also can be a means of creative self-expression, a symbol of individualism and a form of rebellion against traditional ties and restrictions. For example the members of the Cybergoth movement in Europe set out to shock with creative hair displays like wildly coloured lock wigs, dread falls and elaborate extensions complemented by dramatic make-up to oppose representations of authority and conformity.

Popularity

The hairstyle brought into mainstream culture through the worldwide success of reggae artist Bob Marley. Sporting locks himself, he prompted an international interest in the style, and the anti establishment philosophy of Rastafarian culture. When the reggae music in the 1970s gained popularity and mainstream acceptance dreadlocks became a fashion statement, a trend for the secular, worn by prominent authors, actors, athletes, politicians, rappers, and were even portrayed as part and parcel of gang culture in movies.

With the Rasta style in vogue, the fashion and beauty industries capitalized on the trend. A completely new line of hair care products and services emerged in salons that catered to a Caucasian clientele, offering all sorts of "dreadhead" hair care items such as wax, shampoo, and jewelry. Hairstylists created a wide variety of modified locks, including the popular multi-colored cyber synthetic lock extensions. Locked models appeared at fashion shows, and Rasta clothing with a Jamaican-style reggae look were sold. Even exclusive fashion brands like Christian Dior created whole Rasta-inspired collections worn by models with a variety of lock hairstyles.

Fast forward a few decades and things have changed but dreadlocks remain prevalent. They have became increasingly popular and there are many reasons in various cultures for wearing them. They can be an expression of deep religious or spiritual convictions, a manifestation of ethnic pride. They can make a political statement, or simply be a fashion preference.

For more Historical perspectives on Dreadlocks,click on the following links:

http://www.dreadlocks.org/the-history-of-dreadlocks/

http://www.assatashakur.org/forum/afrikan-wholistic-health/30999-history-dreadlocks.html

http://www.dreadlockssite.com/forum/topics/ancient-cultural-history-of