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Even amidst New York City's constant parade of superb fine-art shows, the National Museum of the American Indian's exhibition, "Stretching the Canvas," stands out, not just for the beauty of the paintings on display but for the story they tell. Upon entering the first gallery, one will encounter a series of mammoth paintings that pulse and mesmerize, offering up a rich buffet of color, shape and texture. Here's Jaune Quick-to-See Smith's 10-foot-long painting of a crowded canoe, then James Lavadour's 15 separate landscapes arranged like a huge quilt, and yet another, George Morrison's grainy white abstraction with a faint horizon line that gives the piece gravity—each painting clamoring for attention.
These and the other 29 artists whose art— all from NMAI's collection—will be featured in this exhibition are among the most accomplished Indian painters of the 20th and 21st centuries. "For American Indian artists in the 20th century, the act of painting and stretching a canvas was a revolutionary act," says lead curator David Penney. For much of the 20th century, most art historians, philanthropists, museum curators, art patrons and gallery owners dismissed Indian art as folk art or merely decorative and did not consider it to be among the pantheon of fine arts. Opening in November 2019 and running through fall 2021, "Stretching the Canvas" reveals how American Indian artists have challenged these expectations during the past eight decades, bursting through artificial boundaries and actively challenging long-entrenched ideas about what Indian art should look like. In doing so, they opened up exciting new worlds of creative expression.
"Each of the artists in this exhibition has had to contend with and overcome numerous unspoken restrictions and expectations," says curator Rebecca Trautmann, one of the five NMAI curators who worked on the exhibit. The artists' often difficult journeys toward defining their own styles have lent their work urgency and freshness.
The earliest pieces in the exhibition date from the 1930s through the 1950s. Most of the artists who created them trained at the Santa Fe Indian School and Bacone College in Oklahoma— the first formal educational opportunities for many Native painters. Teachers and federal officials determined that a "traditional," recognizable Indian art style could turn into an economic strategy that could help struggling Indian communities. Deriving a style from the kiva paintings and Plains battle scenes painted on buffalo hides, the government school curricula pushed their Indian students to paint in flat, narrative styles. Teachers such as Dorothy Dunn at the Santa Fe school emphasized the portrayal of ceremony and Native dress, all intended to present the Indian artist's culture to the dominant white culture. Potawatomi artist Woody Crumbo's painting, "Three Eagle Dancers," is one of the works in the exhibition that epitomizes this early style, eschewing such techniques as perspective, color shading and background.
American Indian art and the avant-garde did not begin to come together until after World War II. The Philbrook Museum in Tulsa, Oklahoma, began sponsoring an annual Indian art show during the 1940s. The show's jurors famously rejected a painting by Yanktonai Dakota Oscar Howe in the late 1950s for not being Indian enough. For Howe, it begged the question: What was Indian art? "I only hope the Art World will not be one more contributor to holding us in chains," he wrote in a letter to the jurors.
Ojibwe artist George Morrison also had no interest in being pigeonholed as an Indian painter. In the 1940s, he left Minnesota to study at the Art Students League in New York City, where he became deeply influenced by Abstract Expressionism and exhibited with such well-known avant-garde artists as Franz Kline and Willem de Kooning. Morrison's abstract canvases contained no visible elements of traditional Indian art. The beauty of his work—as well as how boldly he charted his own path as an artist while still maintaining his connection to his culture and geography—would inspire a new generation of Indian painters.
The authors of NMAI's "Native Universe: Voices of Indian America" tell how in the 1970s Luiseño artist Fritz Scholder would also challenge convention by embracing pop art and abstract expressionism to paint the Indian "real, not red." He would become an influential member of the New American Indian Art movement. The "Stretching the Canvas" exhibition features three of Scholder's works, including "Indian and Rhinoceros." The animal represents the lumbering U.S. Bureau of Indian Affairs that cannot help but destroy everything in its path.
Such ironic statements began to creep more and more onto Indian canvases in the latter part of the 20th century, becoming a powerful tool for artists to challenge the dominant culture's stereotypes about Indians. For example, in "Fortune," the Maidu painter Judith Lowry depicts a Mayan goddess seated with the Madonna. Deeply influenced by early Renaissance painters and artists from California, Lowry uses allegory to challenge stereotypical representations of Native peoples and issues of consumerism and religion in contemporary life.
Abstract compositions also served as effective tools for Indian artists to escape the binding strictures of "traditional" Indian art. Dick West (Southern Cheyenne) became famous for his illustrator-style images of Cheyenne ceremony and mythic stories. Yet for his 1950 Masters of Fine Art degree at the University of Oklahoma, West submitted his colorful, dynamic "Spatial Whorl" along with five other paintings inspired by non-Indian art trends, including modernist abstraction.
Late modernism and postmodernism styles of the 1960s and 1970s influenced Cherokee painter Kay WalkingStick. Her "New Mexico Desert" features a soft desertscape overlaid with Navajo textile patterns, which calls out for a new way of looking at the landscape—and a reassertion of the claim of Native peoples to the land. In 1995, Walking-Stick became the first American Indian to be included in H.R. Janson's seminal art history survey, "History of Art."
The newest canvas in the show is "Trade Canoe: Adrift," which Jaune Quick-to-See Smith painted in 2015. The 3-by-10-foot canvas depicts an overloaded canoe, filled with Syrian refugees floating under the blistering heat of several suns. The Salish/Cree/Shoshone artist addresses the issues of displaced peoples worldwide through the lens of the Indian canoe, which brought important trade goods and cultural innovations but also disease and weaponry. The masks, fish and water allude to the struggles by the Duwamish people of Washington State to gain federal recognition, which would assure their community's fishing rights.
Smith and these later painters have certainly shed previous notions of what an Indian painting must look like. No uniform visual cues or styles define their work today. If any one theme runs through these works, says Penney, it is that they all are influenced by their life experiences as Indians. "That makes them accountable to their communities," he says. However, the unique and often vibrant approach that each artist decided to take to do so is what makes this exhibition such a delightful and provocative journey through time.


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Visiting the Build, Drive, Go! Exhibit
I am going to visit the Build, Drive, Go! exhibit at The Strong Museum.
Museum hosts will be wearing blue shirts, and some may wear a mask. I might see museum workers cleaning and smell cleaning supplies while I am visiting. I can help keep the museum clean, too, by cleaning my hands.
I will go with my adult up the stairs, or we will take an elevator to the second floor. When I enter the exhibit, there will be other children playing. There are lots of places to play in the Build, Drive, Go! exhibit.
I can build my own racetrack and use the cars to see which track makes the cars go faster at the Test Track area.
At the Duplo wall, I can write my name or make a design out of Duplo blocks.
I will stay inside Build, Drive, Go! with my adult until we are ready to leave together. I'm excited to visit the Build, Drive, Go! exhibit.

subset: commoncrawl


text:
Frequently Asked Questions
I can see HTML on my browser, but without any CSS
There are a few reasons that you might not see CSS on the Jest Preview Dashboard (jest-preview
- Jest Preview generally uses Code Transformation to process CSS. You might forget to configure the
in your Jest's config. Please see Installation for more. If you are using Create React App, you might want to visit CRA Example. If you are using Next.js, you might want to visit Next.js example. - If you already configure CSS transform, there is a very high chance that Jest is caching your CSS files. Please delete Jest's cache by running
jest --clearCache
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Common Says He Didn't Think 'Selma' Would Win an Oscar
Common stopped by Hot 97's Ebro in the Morning on Wednesday (March 11) to chat with the radio host, Peter Rosenberg and Laura Stylez.
At the 2015 Academy Awards, Common and John Legend delivered a powerful performance of their song "Glory." Touching the hearts of everyone present and viewers at home, the Chi-town spitta and R&B singer made everyone reflect on the message of the song. While speaking with Rosenberg, Common dished on what it was like to take the Oscar stage and have people react the way that they did.
"We wanted this to be our greatest performance of the song. We felt the spirit of what we were doing. We were grateful to be representing Selma and be up on the Oscar stage doing "Glory." [We] never knew people would be crying. Man, that's another level. I told the people that [were] singing when we were about to march across the bridge, 'The ancestors gon' be with us.' It just felt like a spirit was there when we were performing. I'm glad that people can say that was a moment in the Oscars."
The Nobody's Smiling MC also mentioned that he knew Selma was not going to win Best Picture this year, although he and Legend took home an Oscar for Best Original Song. "We kind of knew that it was a long shot," he admitted. "The people in the movie studios kind of know what's in the competition so they kind of let you know beforehand," he explained, getting a little emotional as he reflected on the film.
In addition to chatting about his award-winning year so far, Common said he has no intentions of giving up the rap game. "I love hip-hop man. I love rhyming. I wanna do this for as long as I can. I feel like I got something to say and something to offer to culture and music."
Check out the 25-minute interview above, where the Universal signee also talks about a possible upcoming Broadway show, not changing his name and his past relationships with Erykah Badu and Serena Williams.
Common also appeared on The Daily Show last night (March 12) to speak with Jon Stewart about the recent race headlines in the country and his opinion on how we should resolve the matter.
"Hey, we all know there's been some bad history in our country. We know that racism exists. I'm extending a hand like, 'Hey, we want to get past this. We've been bullied, we've been beat down, but we don't want it anymore.' We're not extending a fist. We're not saying, "you did us wrong!" It's more like, "Hey, I'm extending my hand in love. Let's forget about the past as much as we can, and let's move from where we are now. How can we help each other? Can you try to help us, because we're going to help ourselves."
Check out the clip below and catch Common's new movie Run All Night in theaters today.
Related: Common Says He Called Oprah the Day After Snubbing Her at the Oscars
Common's 23 Best Moments of the Past Year


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Article 5 of the NATO treaty says that an armed assault towards an alliance member will probably be thought of an assault towards all of them, triggering collective self defence.
Trump, talking throughout a political rally in South Carolina and showing to recount a gathering with NATO leaders, quoted the president of "a giant nation" that he didn't title as asking, "Nicely sir, if we do not pay, and we're attacked by Russia – will you shield us?"
"I mentioned: 'You did not pay? You are delinquent?' He mentioned: 'Sure, as an instance that occurred.' No I might not shield you. Actually I might encourage them to do regardless of the hell they need. You gotta pay."
"Now we have heard that earlier than … Nothing new underneath the solar", mentioned EU Inside Market Commissioner Thierry Bretonin an interview with France's LCI tv, including:
"He perhaps has points together with his reminiscence, it was really a feminine president, not of a rustic, however of the European Union," Breton mentioned, referring to European Fee President Ursula Von der Leyen and a dialog she had with Trump in 2020.
"We can not flip a coin about our safety each 4 years relying on this or that election, specifically the US presidential election," Breton mentioned, including European Union leaders understood the bloc wanted to spice up its personal navy spending and capacities.
White Home spokesperson Andrew Bates, requested about Trump's feedback, mentioned, "Encouraging invasions of our closest allies by murderous regimes is appalling and unhinged – and it endangers American nationwide safety, world stability and our economic system at residence."
NATO's 31 members have agreed on a goal of spending not less than 2% of gross home product on defence, however NATO estimates have proven that solely 11 are spending that a lot.


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The Trip
Tommy (Steve Braun) is a sexy, blond, gay activist who meets the handsome, muscular Alan (Larry Sullivan), a closeted Republican, at a party in 1973. An intense love affair ignites, setting in motion a torrid and unpredictable relationship that steers its way through the turbulent political and social climate of the '70s and '80s. The Trip blends farce and tragedy, fantasy and reality, and features a quirky cast of supporting characters including indie-fav Alexis Arquette, comedienne Julie Brown and former Bond-girl Jill St. John as Alan's outrageous mom.
Larry Sullivan, Steve Braun, Sirena Irwin
Miles Swain


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Thirty years later, Patty Eames says it was "a day that's right here at the front of my brain."
Ms. Eames was one of many locals and luminaries who were arrested at Indian Wells Beach in Amagansett on July 28, 1992, during a storied protest that found the East Hampton Baymen's Association in open defiance of a 1990 state ban on haulseining for striped bass off the ocean beaches.
The protesters and their supporters, Billy Joel and the East Hampton Town Supervisor among them, watched as Dan King brought a load of stripers to shore. Reporters took notes and photographers snapped pictures of his red, white, and blue dory and of people grabbing fish from the net with the intention of being arrested.
It's a story that resonates to this day. "You're talking about the same families. You're talking about the offspring of the same people," said Dan Rodgers, a Riverhead attorney who is representing local baymen in the Truck Beach lawsuit brought by homeowners seeking to ban vehicles from what a court has said is "their" beach.
"There are a lot of parallels between the two stories, in the sense that these people, the baymen, are fighters," said Mr. Rodgers, who has represented the baymen pro bono for 20 years.
The 1992 protest was the culmination of long years of frustration and bitterness over the state regulations, which crippled the commercial striped bass fishery. The fishery was shut down in 1985, when the state accused General Electric of polluting the Hudson River, and the striped bass that spawn there, with polychlorinated biphenyls, a toxic compound.
Striped bass were declared safe from PCB contamination five years later, and G.E., following a lengthy lawsuit, reached a settlement with the fishermen in 1993, though the cleanup of the Hudson did not begin until 2009. However, even as the striper market reopened in the early '90s, the State Department of Environmental Conservation moved to ban haulseining.
Writing in these pages on the 20th anniversary of the protest, the late Russell Drumm highlighted the backdrop for the act of civil disobedience: hostility between sportfishermen and baymen: "The old haul seine, which in early days was hauled back to shore by horses, was the most efficient method of catching striped bass, the 'money fish.' But to the ever-growing number of sportfishermen, it had become the engine of anti-conservation, although 'conservation' by then was really a code word for getting a larger slice of the state's striped bass quota."
Ms. Eames vividly recalled the events of the day of protest. Her father, the late Donald Eames Sr., was sick that day and she'd nearly forgotten about the planned event, she said, but remembered in time to rush to the John M. Marshall Elementary School, pull her two sons out of the playground, and race to the beach. "We got there just as they pulled the bag in."
The net was thick with the illegally harvested striped bass, and the beach was filled with police cars, emergency vehicles, and work trucks. Billy Joel, whose song "The Downeaster Alexa" commemorates the baymen's hardships, was there with Supervisor Tony Bullock and other elected officials.
Ms. Eames approached the protesters with her sons, Clint Jr. and Jimmy, and found Mitchell Lester, a cousin and one of the driving forces behind the protest. "I said to him, 'Give Clint a fish.' " Clint was then 6 or 7 years old. "Mitchell gave him the fish, and now here's this little guy on the beach carrying this big fish over his head and saying, 'This is for my grandpa.' "
Clint Jr. and his mother walked up to the longstanding local D.E.C. officer Joe Bilotto. "He looks at me and Clint and says, 'Patty, what are we doing here? I can't arrest the kid. Either throw the fish back, or you have to take the fish.' " Ms. Eames took the fish, got arrested, and subsequently went to East Hampton Town Justice Court, along with Mr. Joel and the rest.
The case was dismissed.
Clint Bennett Jr., now in his late 30s, has continued in the family tradition as owner-operator of Bennett Shellfish in Montauk. "I was a little guy then," he said last week with a laugh. "I remember carrying the fish up the beach. It was really steep, and I fell, and I remember thinking, what am I doing, why am I doing this, with all these family members and cameras, reporters, and four or five officers around."
It was not a good time for his tight-knit community. "We were all worried about how we were going to feed and raise our families," said Ms. Eames. Five years before the D.E.C. reopened the striper fishery in 1990, the state had raised the minimum allowable length for keeper fish. Along with the ban on haulseining, it put a number of baymen out of business, Don Eames among them.
"My father went to work driving a produce truck into the city," said his daughter. "My brother took a job at the Amagansett grade school as a bus driver and custodian. I wish the D.E.C. had thought more about why these men were doing this work. Haulseining is not easy — you're on the beach at 4:30 to set the net at daybreak, to take care of their families."
The family's idea of a vacation, she said, was to "go visit relatives in East Islip" or enjoy some midnight scalloping. "Have knife, will travel," she said with a smile. She traces her fishing roots back to great-grandparents who were whalers.
"You know, there's something about the sea and a man's soul, and when you're brought up and raised with it, it's always there. I know both of my boys would never leave the sea. They need to hear the roar, they need to see the ocean. I tried as a mom with my kids to make sure they didn't lose their heritage."
The 1992 protest, said Mr. Rogers, the lawyer, has resounded through the decades. Thirty years ago, the bayman Calvin Lester was one of the protesters. Today, his sons, Daniel and Paul Lester, are two of Mr. Rogers's clients in the Truck Beach suit.


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Sugar Loaf circular from near Abergavenny
Brecon Beacons/Bannau Brycheiniog Walk
Nat Park - Brecon Beacons - Brecon Beacons East
County/Area - Monmouthshire
Author - Lou Johnson
Length - 6.0 miles / 9.8 km Ascent - 1600 feet / 485 metres
Time - 4 hours 40 minutes Grade - moderate
Ordnance Survey Explorer OL13 | Sheet Map | 1:25k | BUY |
Anquet OS Explorer OL13 | Digital Map | 1:25k | BUY |
Ordnance Survey Landranger 161 | Sheet Map | 1:50k | BUY |
Anquet OS Landranger 161 | Digital Map | 1:50k | BUY |
Walk Route Description
Click image to visit gallery of 6 images.
The town of Abergavenny is dominated to the north by the distinctive outline of the Sugar Loaf which rises to 596 metres above sea level. The summit provides an excellent place from which to view the southeastern section of the Brecon Beacons National Park as well as offering an objective for a decent walk. It is worth remembering that you need to save some energy for the latter stages of the walk where there is an ascent from the valley of St Mary's Vale back to the start.
The start is the small car park at the viewing point (Grid ref. SO268167) that can be reached by a narrow lane from the A40 a few miles west of Abergavenny. From the parking area take the clear track that leads north west. This takes you past a wall corner from where you get your first view of the main objective of the walk. Trending away from the wall, continue in a north-westerly direction ignoring paths that descend to your right to pick up a double path that leads in a large sweep to the summit of the Sugar Loaf.
Despite appearances, the summit is a minor ridge with a fairly steep drop to the north. The view is worth the climb with a 360 degree panorama across the River Usk to the south and into the heart of the Brecon Beacons to the northwest. To continue leave the trig point and head south east on a clear path that drops steeply at first before levelling out to reach a fence (Grid ref. 277179). Keeping the fence to your left continue along a broad ridge marked as Rholben on Ordnance Survey maps. After about 1.5 km the path drops steeply to reach a narrow lane. Go west along this turning right at the first junction. Continue along the lane to pass a small parking area on your left. Just after fork left to descend to a stream and a small bridge in pleasant mature woodland.
Follow this stream north. There are places where the path fades but providing you stay near the stream you cannot go wrong. After about 300 metres look out for an obvious track that forks left almost immediately doubling back on itself to climb up the hillside. Take this track which leads past a cottage and a small farm to reach a road.
Turn right and continue past a cottage on your right. A short way past this cottage take the track that climbs away from the road on your right. Once on this track follow it in a north-westerly direction and where it divides into two parallel tracks take the left hand track and this leads you back to the start.
Other walks nearby
Walk 3717 | Table Mountain from Crickhowell | easy/mod | 5.0 miles |
Walk 2670 | Ysgyryd Fawr (The Skirrid) near Abergavenny | easy/mod | 3.5 miles |
Walk 3435 | Keeper's Pond & Blorenge | easy/mod | 7.5 miles |
Walk 3134 | The Llangatwg Escarpment from near Crickhowell | moderate | 6.5 miles |
Walk 1415 | Iron Mountain Trail - 'Llwybr Mynydd Haearn' - Part 1 | easy/mod | 7.5 miles |
Walk 1512 | Iron Mountain Trail - 'Llwybr Mynydd Haearn' - Part 2 | easy/mod | 5.0 miles |
Walk 1237 | Cwmyoy & Hatterrall Hill from Llanthony Priory | moderate | 10.0 miles |
Walk 3203 | Vale of Ewyas from Llanthony Abbey | moderate | 10.7 miles |
Walk 3342 | The Hatterall Ridge from Llanthony Priory | very hard | 10.0 miles |
Walk 3622 | Llanthony Priory from Longtown | mod/hard | 7.0 miles |
Recommended Books & eBooks
Walking in Carmarthenshire
Guidebook to 30 walking routes (2 to 10 miles) in Carmarthenshire, south Wales, including sections of Carmarthenshire Coast Path. Walks for all abilities, including coastal, river, forest and hill walks in Cambrian Mountains, Tywi Valley, Y Mynydd Du (Black Mountains) and Brecon Beacons. Easy access from Bristol, Cardiff and Swansea.
More information
Walking on the Brecon Beacons
45 circular day walks are described in this guidebook to the Brecon Beacons National Park. From west to east, Mynydd Du, Fforest Fawr, the Brecon Beacons and the Black Mountains these mountain and valley routes offer many options, highlighting the natural features. The walks described explore dramatic waterfalls, wooded gorges and upland valleys.
More information
Mountain Weather
Stay safe on the mountains with detailed weather forecasts - for iOS devices or for Android devices.


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Fundraising in Kickstarter to Extend 'Little Witch Academia 2' Met Goal in its First Day
Pledging starts from US$1 and anybody who pledges that amount can get a digital wallpaper. Those who pledge US$20 or more receives the right to download an artbook and the standard definition of the finished sequel. Those who pledge US$50 or more will receive the printed edition of the artbook and the blu-ray disc of the sequel. There are also other gifts for pledges of over US$100, US$200 and US$300. Limited places of special gifts are also available for big backers who pledge US$1000, US$2000 and US$10000. There are only 3 places for backers pledging US$10000 and these are the category that was filled the fastest. The 3 backers will be granted a visit to Studio TRIGGER and dinner with the Studio TRIGGER team, as well as visit to the offices of related companies such as Ultra Super Pictures and Good Smile Company, and the trip also includes two nights of accommodation.
Kickstarter crowdfunding site for Little Witch Academia 2: http://www.kickstarter.com/projects/1311401276/little-witch-academia-2
Source: IT Media
Previous related topic: Anime 'Little Witch Academia' to Get Sequel
Little Witch Academia 2 on MAL
20 of 141 Comments Recent Comments
Aug 8, 2013 12:16 AM by Hiryu12
Definitely pretty decent. I'm satisfied for sure now.
Aug 7, 2013 10:22 PM by Stark700
Aug 7, 2013 3:59 PM by GodlyKyon
Aug 7, 2013 3:52 PM by Josh
Like Time of Eve I welcome any anime projects to Kickstarter. It seems after the initial success of Eve, TRIGGER hopped on board as well and man, they got more support then I could have ever imagined.(At 534,000 USD currently)
Hopefully, with the success of these Kickstarters it will allow more and more companies to follow in the same footsteps.
Aug 4, 2013 3:49 AM by Ragix
Aug 3, 2013 10:47 PM by Goldzero
Aug 2, 2013 10:05 AM by Josh
Aug 2, 2013 8:36 AM by GodlyKyon
Aug 2, 2013 7:12 AM by Stark700
Jul 20, 2013 7:02 PM by Josh
Jul 20, 2013 5:09 PM by zeeshanaayan07
They couldn't write a proper story for one, short episode and they are aiming for a full franchise? Good laugh.
theres borderline nothing you can do in a 20 minute time frame compared to a episodic series
I'm not sure what he was expecting from a 20 minute short.
Jul 20, 2013 3:52 PM by GD1551
They couldn't write a proper story for one, short episode and they are aiming for a full franchise? Good laugh.
theres borderline nothing you can do in a 20 minute time frame compared to a episodic series
Jul 20, 2013 2:54 PM by JizzyHitler
Jul 20, 2013 2:49 PM by Antanaru
It's also getting a manga. (not very long but short one)
Jul 20, 2013 12:37 PM by Stark700
Jul 13, 2013 5:48 PM by funkotaku
Unless I'm sorely mistaken.
Jul 13, 2013 4:42 PM by AnnieoftheStars
Jul 13, 2013 11:27 AM by fanty
Full anime please?
Jul 12, 2013 4:33 AM by Perplex
Full anime please?
We believe that several important steps are necessary to reach these goals. One of them is the production of Little Witch Academia 2. If the sequel receives as much support as the previous episode did, we will definitely have a bright future for the LWA series.
Jul 12, 2013 12:29 AM by Frontalbrise
Related Database Entries
Anime: | Little Witch Academia, Little Witch Academia: Mahoujikake no Parade |
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Versatile Lead Vocals & Background Vocals
I am a male vocalist specializing in a variety of styles of music to include: Contemporary Christian, Gospel, R&B, Soul, Pop, and Classical. I can provide lead vocals or background vocals to any project you are working on. My vocal range is tenor-baritone. I can also provide vocal coaching if you are looking for new ways and ideas to approach a song vocally.
Send me a note through the contact button above.


text:
Italian Sausage and Mushroom Lasagna with Bechamel Sauce
The bechamel adds a little something special to this wonderful lasagna, made with Italian sausage, brown cremini mushrooms, and plenty of marinara sauce and cheese.
- Preparation:
- Cooking:
- Total:
- Serves: 12 persons
- 1serving cooking spray
- ½pound bulk mild Italian sausage
- 3tablespoons butter
- 3tablespoons all-purpose flour
- 2cups low-fat milk
- 1pinch salt
- 1pinch ground nutmeg
- 1egg
- 1(15 ounce) container part-skim ricotta cheese
- 1tablespoon dried parsley
- 2(24 ounce) jars marinara sauce, divided
- 1(9 ounce) package no-boil lasagna noodles, divided
- 1cup chopped cremini mushrooms, divided
- 1(16 ounce) package shredded part-skim mozzarella cheese, divided
- ½cup grated Parmesan cheese, divided
Step 1
Preheat oven to 375 degrees F (190 degrees C). Spray a 9x13-inch baking dish with cooking spray.Step 2
Place the sausage in a skillet over medium heat and cook until browned and crumbly, about 10 minutes. Drain the sausage and set aside.Step 3
To make bechamel sauce, melt the butter in a saucepan over medium heat and whisk in the flour. Allow the flour and butter to cook until light and foamy, about 2 minutes, whisking constantly; whisk in milk, a little at a time. Whisk in the salt and nutmeg and bring the sauce to a bare simmer, whisking constantly until thickened, about 10 minutes. Remove sauce from the heat and set aside.Step 4
In a bowl, beat the egg and stir in the ricotta cheese and parsley until thoroughly combined.Step 5
To assemble lasagna, pour about 1 1/2 cup of marinara sauce into the bottom of the prepared baking dish and top the sauce with 4 lasagna noodles, overlapping if necessary. On the noodles, layer 1/3 of the ricotta mixture, followed by 1/3 of the cooked sausage, 1/3 cup of mushrooms, 1/4 of the bechamel sauce, 1 cup of the mozzarella cheese, 1/8 cup of the Parmesan cheese and 1 more cup of marinara sauce. Repeat the layers twice more, ending with a final layer of noodles topped with a layer of marinara sauce, bechamel sauce, the remaining mozzarella cheese, and remaining Parmesan cheese. Cover the dish with foil.Step 6
Bake in the preheated oven until bubbly and the noodles are tender, about 1 hour. Remove foil and bake until the top cheese layer is browned, about 5 more minutes. Allow the lasagna to stand for 10 minutes before cutting.


text:
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1. Forged Together by Protest
Last week's Celebrate Israel Parade in New York City had all the trappings of the annual pro-Israel festival, complete with marching bands, floats, enthusiastic Jewish day school students and thousands of New Yorkers standing along Fifth Avenue cheering.
But it was also very different. The annual show of solidarity with Israel provided a brutal reflection of Israel's current state of affairs: a divided nation, where dissent and mistrust of government rule the day.
Members of Prime Minister Benjamin Netanyahu's ruling coalition—cabinet ministers such as Intelligence Minister Gila Gamliel and members of the Knesset, including Ofir Sofer of the Religious Zionist Party—bore most of the brunt. As they tried to put on a happy face and wave to the crowd, they were confronted by protesters, most of them Israeli expats, shouting: "Shame! Shame!"—the unofficial rallying call of the protest movement against Netanyahu's proposed judicial overhaul.
Behind the cabinet members marched a peaceful and cheerful group of Israeli and American supporters of the protest movements. Clad in light blue shirts and carrying Israeli flags, the marchers chanted, "Demokratya," Hebrew for, well, democracy.
When the numbers were in, it turned out that this group was one of the largest in the entire parade, with more than 1,000 registered marchers.
Perhaps more important is the fact that this was a joint effort, driven by Ameinu, a relatively small but established progressive Jewish American group, and joined by Israeli American pro-democracy activists, many of whom were loosely affiliated with UnXeptable, an umbrella organization mobilizing Israelis in the United States to take part in protests against the proposed judicial overhaul in Israel.
Efforts to engage American Jews in the protests have been occurring ever since Israelis began to take to the streets in Israel in January. Now, for the first time, the collaboration seems real. Throughout the parade and surrounding events, Israeli Americans were still more visible (and yes, noisier), but liberal American Jews were there in large numbers. Many members of left-leaning organizations also showed up at protests outside other gatherings, seeking to make their voices heard to visiting Israeli government officials.
I've noted in the past that the goals of the Jewish American community and of Israeli Americans overlap but are not identical. Israelis living in the United States seek primarily to replicate the protests going on back home, focusing solely on judicial reform and the future of Israeli democracy, while liberal Jewish Americans are also concerned about the Israeli-Palestinian conflict and the unilateral actions taken by Israel that undermine a future two-state solution.
These differences still exist, but for a couple of days in New York last week, they were put aside in favor of a show of unity tying together the left-of-center wing of the American Jewish community and their Israeli peers who have made America their home.
2. A Dividing Force
Netanyahu understood by early Sunday morning that the presence of his cabinet ministers and top coalition members in New York was drawing negative attention and not helping his government's image internationally.
This understanding came after a few tense days, highlighted by MK Simcha Rothman, chair of the Knesset's Judiciary Committee and the politician most involved in advancing the overhaul legislation, who was caught on camera forcefully grabbing a megaphone from a protester on Friday evening. Several other Israeli ministers were forced to cancel public events due to protests.
Netanyahu made a private plea to his eight cabinet ministers who flew out to New York, asking them to sit out the parade in hopes that a less visible Israeli government presence would draw less attention to the protesters. His request was also driven by domestic political calculations, as Netanyahu was facing criticism at home for the overblown size of the Israeli delegation.
But only two ministers, Nir Barkat and Ofir Akunis, adhered to his call. Most chose to march, and, as expected, faced protesters all along the route.
Was it worth it? Probably not.
The thousands of New Yorkers who simply wanted to show their love for the Jewish state couldn't care less if Israel's minister of information or minister of immigration showed up and marched. These are unknown figures for most American Jews, and if anything, their presence only served as a distraction.
3. Ruining the Party
As I was walking up and down the 20-block parade stretch along Fifth Avenue, several people reached out to me with a word of complaint (it was a Jewish event, after all). But they had a valid point: Why is the media focusing its coverage on a handful of protesters instead of on the vast majority of attendees who came out on a sunny day to celebrate Israel, regardless of whatever infighting is going on there between supporters of the judicial overhaul and those who oppose it?
The response, as always, was that this is what we do—we report on the new, the novel, the exciting.
But it also drove home a bigger issue.
Protests and dissent have always existed in the Jewish community, especially when it comes to Israel. But for most they've been contained to the left and right margins of the community. If the current wave of protests continues to pick up speed, it could very well be the case that middle-of-the-road members of the Jewish community will no longer feel comfortable engaging in the discussion about Israel. The ordinary, almost obvious, decades-old support for Israel may be a thing of the past, and those mainstream community members who adhere to it could find themselves ignored, just like those supporters lined up along Fifth Avenue last week.
4. Could It Have Been Done Differently?
For sure. The government of Israel clearly bears responsibility for last week's debacle.
Its insistence on allowing as many ministers as interested to attend the New York parade, and not coordinating their mission with Jewish communal organizations on the ground, put organizers in an unnecessarily difficult situation and allowed the festivities to get hijacked by protesters.
Sure, Jewish leaders were out there praising the diversity of the community and its ability to host a vigorous debate, but speaking off the record, several communal figures expressed their unease with the massive presence of Israeli officials at the event, one of them noting that the Israeli government demonstrated a lack of sensitivity and consideration toward the Jewish American community.
5. On the Other Hand
All this may give the impression that the entire Jewish American community is either strongly opposed to the Netanyahu government and its proposed reforms, or is uninterested in weighing in on domestic Israeli issues.
But that's hardly the case.
Just as the Celebrate Israel Parade ended, another gathering kicked off in a midtown Manhattan hotel. It was organized by Besheva, a right-wing Orthodox Israeli publication affiliated with the television channel Arutz Sheva, and it featured Israeli cabinet ministers and members of Knesset, alongside settler leaders and activists. Here, right-wing politicians from Israel could feel at home. The audience of mostly Orthodox American Jews offered them a warm welcome and listened attentively as they promoted the judicial reform, promised expansion of settlements, ranted about the protesters outside and criticized the Biden administration. Even MK Rothman, after being chased all over town by protesters, got a brief respite on stage with Alan Dershowitz.
The next day, The Jerusalem Post held its conference, also in New York but with a more diverse array of speakers, with coalition and opposition members sharing the stage, as well as U.S. senators and other officials from both parties. Organizers went to great lengths to make sure activists opposed to the reform didn't disrupt the event. They preemptively withdrew tickets of participants who were suspected of supporting the protest movements and hired burly Israeli and American security guards, who aggressively shoved a handful of activists who had made it into the event out of the hall.
The conservative wing of the American Jewish community isn't always heard, but during the past week, when tensions reached a boiling point, it managed to provide embattled representatives of the Israeli government with the feeling that at least some in the Jewish community are on their side.
Image credit: @CelebrateIsrael/Shmuel Schneider (CC BY-SA 4.0).