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Story highlights
- Ayyam Gallery in Dubai has run 13 Young Collectors' Auctions since 2008
- Ten of the artists at the latest auction were aged 30 or under
- Many of the young emerging artists are photographers
Lara Zankoul and Lara Atallah are both young Lebanese photographers taking their first steps in promising artistic careers.
Their work, however, could hardly be more different. While Atallah focuses on the gritty reality of life in urban Beirut, Zankoul's images are whimsical and surreal, created from her imagination.
They are both among the latest emerging artists to be featured in the Young Collectors Auction run by Ayyam Gallery in Dubai.
The auction, held on Tuesday (May 15), featured 75 lots from 63 emerging and established Middle Eastern artists, 10 of them aged 30 or under.
Ayyam Gallery has been running Young Collectors Auctions since 2008, aimed at supporting emerging artists and opening the art market to new collectors. Almost all the works had estimates well below $10,000, with most in the region of $2,000 to $3,000.
"The art market here is quite young and people are interested in buying art, but intimidated by the gallery scene and auctions," said Hisham Samawi, Ayyam's auctioneer.
"We wanted to start something with a relaxed atmosphere, lower estimates and young emerging artists."
The recipe has been a success and Ayyam has just run its 13th Young Collectors' Auction. The latest raised a total of $550,000.
Samawi believes Middle Eastern art could be on the verge of an explosion similar to that seen in the Chinese and Indian art markets in recent years.
"There's great art in this region and internationally it's undervalued," he said. "There has been a steady increase in prices and this is just the beginning. Politically there's so much going on and that's reflected by artists."
Here we feature 10 emerging Middle Eastern artists aged 30 or under from the Ayyam Young Collectors Auction who could be names to watch out for in the future.
1. Lara Zankoul, Lebanon, born 1987
Zankoul, 24, studied economics at university and only began photography as a hobby in 2009.
"Over time the hobby grew and grew and became an obsession," she said. "I promoted my work through social media and gradually started to gain more followers and feedback and eventually freelance projects."
She held her first exhibition collective two years ago and is part of Ayyam's incubator program. Zankoul's photography consists of surreal compositions she creates from her imagination, rather than an attempt to capture reality.
"I like to create worlds of my own. A lot of work goes into setting up the scene," said Zankoul, who once dragged a bed into the sea for a photograph. For now, she still works full time as an economic researcher alongside her photography.
2. Lara Atallah, Lebanon, born 1989
Atallah, 22, captures the gritty reality of urban Beirut in her photography, aiming to tackle social problems.
She had just graduated in graphic design from the University of Beirut last year when she got her break entering a competition organized by Ayyam Gallery. Her entry was a series of photographs of an abandoned school building.
"Photography is a means, not an end," said Atallah. "The ideas I like to get across do not get much attention from artists and people in general."
Other subjects she has tackled include the destruction of Beirut's architectural heritage, and street vendors and their makeshift shelters.
"There's no such thing as the right time to start out as an artist, it takes a lot of determination," said Atallah. "But since I've started I've discovered a lot of different artists from this region. There's a very rich art scene."
3. Eman Mohammed, Palestinian Territories, born 1989
Mohammed says she is the only Palestinian woman working as a photojournalist in Gaza and says she has faced prejudice over her career choice.
She began covering the Palestinian-Israeli conflict as a teenager in 2006 and has gained an international reputation for her work, which includes images of air strikes, funerals of militants, and Gaza's deep-sea fishermen.
Mohammed won the 2009 Carmignac Gestion Judges' Special Prize, received an honorable mention in UNICEF's 2009 Photo of the Year contest and has been part of collective exhibitions in the United States, Canada, Israel, Ireland and the Netherlands.
4. Babak Kazemi, Iran, born 1983
Kazemi, a graphic-design graduate, makes unusual and often surreal photographic collages. His work includes vintage-style sepia photographs superimposed with brightly colored Disney images of Mickey and Minnie Mouse.
He experiments with a technique called petroleum printing, involving immersing collages in petroleum products.
5. Saeed Salem, Yemen, born 1984
Salem, of Yemeni descent, was born in Jeddah, Saudi Arabia, and -- after studying abroad -- has set up a photographic studio there called 181 Degrees.
In his series Neonland, he explores the bright lights of Jeddah's cosmopolitan city center. In exhibition publicity he said: "These neon kiosks are a symbol of Jeddah ... they are iconic and you only find them in this city ... It's like a mini hypermarket.
"To me, they symbolize both the old Arabic culture: a place to meet and talk; as well as something very futuristic."
6. Abdalla Omari, Syria, born 1986
Painter and filmmaker Omari, from Damascus, is one of the few people on this list already working full-time as an artist.
Omari has made and collaborated in animation films, series and video arts and took part in the 2010 Damascus International Cinema Festival.
7. Ali Taptik, Turkey, born 1983
Taptik, from Istanbul, is working on a Masters thesis on the history of architecture and taught himself photography.
His series "Accident and Fate" is a narrative on urban life, exploring relationships, places, people, emotions and coincidences.
8. Navid Azimi Sajadi, Iran, born 1982
Sajadi, who describes himself as an iconoclast, works through painting, photography, installation and sculpture.
He uses symbols from his Iranian heritage as well as Middle Eastern stereotypes shown in Western media.
9. Rhea Karam, Lebanon, born 1982
Rhea Karam was born in Beirut, grew up in France and is now based in New York, where she graduated from the International Center of Photography.
She has exhibited internationally and won awards including the Best of Show at the 2011 Colorado Photographic Arts Center juried exhibition.
10. Lamya Gargash, United Arab Emirates, born 1982
Gargash's photographs document the forgotten public and private spaces in Emirati society and capture the notion of hospitality and the politics of interior design.
As well as taking part in numerous photography exhibitions, Gargash has won awards for her film-making. Gargash was the featured artist at the inaugural UAE Pavilion of the Venice Biennale in 2009.
Follow the Inside the Middle East team on Twitter: Presenter Rima Maktabi: @rimamaktabi, producer Jon Jensen: @jonjensen, producer Schams Elwazer @SchamsCNN and writer Catriona Davies @catrionadavies


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C'est incroyable ce que tu es capable de faire avec un iPad, je ne pensais pas qu'il était possible de faire ce genre de réalisation. Même si cela doit être une sacrée combine et demande un savoir faire particulier je suis vraiment très admiratif. J'ai hâte de voir ce que l'avenir nous réserve avec ce nouvel outils... et surtout dans tes mains ;)
(PS : désolé pour mon message en français, mais il est préférable pour toi que je l'écrive en français si tu souhaites comprendre quelques chose ^^)
No matter what apps you get to fiddle with the outcome is always totally mesmerizing.
Hi there Nicolas -- ArtRage 3 for iPad was released yesterday, it may be worth taking a look, especially if you use ArtRage on desktop -- the latest release of this app has some new impressive features
I think I remember some sketches made in ArtRage that you posted ages ago who knows where on net :)
Have a nice day,
I can't make such images even in my Photoshop:)
Blending modes: overlay and multiply are available in ArtStudio.
Application doesn't matter for you. You are always awesome in any medium....Keep posting, keep inspiring....
Total respect,
great work! Agreed; I'd definitely consider an iPad if it had pressure sensitivity. Maybe the next version...
Pretty cool sketches dude! Keep it up :)
Honestly, some stunning stuff you're getting out of these programs! Here's hoping for some pressure sensitivity and other upgrades in its next release. Though by the looks of it, I hardly think you need them! Cheers.
absolutely love these, sparth.
And it's great to know about the clone stamp tool.
these are really awesome , Its really inspiring what we can do with i pad, Its true if it would had pressure sense it would have been best tool.
like to see more
please feel free to visit my blog
my blog
Ah purée ils sont vraiment bon ces sketches, super boulot Nicolas. Ca donne envie d'avoir un ipad, vivement que le pen pressure soit opérationnel!
Hi Nicolas
These are fantastic mate, I personally think the iPad is a great tool for mobile digital sketching and painting.
I agree that there isn't one app which covers all bases and there's some features missing from each of them.
I've been invited to attend and exhibit at Autodesks conference in Las Vegas due to my work using the SBP Mobile app and I'm hoping to twist their arm to include some new features/updates.
Keep up the amazing work mate and CGPAD is still buzzing from the comments you left on the contest entries.
I am Kobe from Malaysia, working in ubisoft singapore as a junior level artist, but I intent be a concept Artist....
and I really like your work and always took it as my references
please feel free to visit my blog and leave some comment
thank you http://kobempire.blogspot.com/
one more thing....would you like to share how clone stamp tool make a big role in concept art?
m'enfin ! Il serait temps de passer à la Cintiq !!! ;) hehe
Go Sparth!!!!!
hey Sparth,
incredible works as always.
i personally hope for a Tablet-PC made for artists. the best would be if Wacom made one you know basically a cintique with a OS and a sensitivity pen. a man can dream i think ;).
It seems I'm on the right track, I hope I can do well. The result was something I did and was doing to implement it.
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|"There are plenty of eye-witness accounts. Just because you're so narrow-minded you need to have everything shoved under your nose before you–"
This article contains a list of appearances, but currently has few or no notes and references. Please help the Harry Potter Wiki by adding notes and/or references to bring this article to a higher standard of quality.
|"Are you a wizard or not?"
The title of this article is conjectural. Although it is based on canonical information, the actual name is a conjecture and may be supplanted at any time by additional information released from canonical sources. If this occurs, please move this page to the appropriate title.
- "Dumbledore has persuaded the Minister to suspend your expulsion, pending a formal hearing."
- —Harry Potter's hearing[src]
The disciplinary hearing of Harry Potter occurred before the Wizengamot on 12 August, 1995 as the boy wizard was charged for using underage magic, that is, he was forced to conjure a Patronus Charm to save himself and his cousin Dudley Dursley from Dementors in the Muggle town of Little Whinging ten days earlier.
As this hearing took place in the midst of the Ministry of Magic's attempts to discredit Albus Dumbledore and Harry Potter, there was some bias against Harry's case in hopes to expel the boy and stop him from claiming Lord Voldemort had returned, and Minister for Magic Cornelius Fudge was determined to convict Harry for this crime. Despite this, Harry was cleared of all charges during the hearing.
Background information
On the night of 2 August 1995, while Harry and his cousin Dudley Dursley were returning home, two Dementors appeared in Little Whinging. To save himself and Dudley, Harry performed the Patronus Charm and successfully repelled the Dementors. However, being an underage wizard, Harry was not supposed to perform magic outside Hogwarts School of Witchcraft and Wizardry. As a result, he was formally accused of performing underage magic, and was expelled by the Ministry of Magic. However, after Albus Dumbledore's intervention, the expulsion was retracted and changed to a disciplinary hearing which would take place ten days later, on 12 August at 9 am, at the Ministry of Magic's headquarters, before the Head of the Department of Magical Law Enforcement Amelia Bones was in her office.
Cornelius Fudge, then-Minister for Magic, was attempting to discredit Harry and Dumbledore's claims about the return of Lord Voldemort, and so he changed the hearing to an earlier time (8 am) and a different location (Courtroom Ten) in the hopes of making Harry miss it, as well as trying Harry in front of the entire Wizengamot. Due to the change of time, Harry was five minutes late, but managed to attend it anyway, as he was already at the Ministry, having arrived there with Arthur Weasley. It was later revealed that Dolores Umbridge, a Ministry bureaucrat who served as Senior Undersecretary to the Minister for Magic and one of Harry's prosecutors during the hearing, had secretly ordered the Dementors to attack Harry in the first place.
The hearing
- Cornelius Fudge: "Disciplinary hearing of the twelfth of August, into offences committed under the Decree for the Reasonable Restriction of Underage Sorcery and the International Statute of Secrecy by Harry James Potter, resident at number four, Privet Drive, Little Whinging, Surrey. Interrogators: Cornelius Oswald Fudge, Minister for Magic; Amelia Susan Bones, Head of the Department of Magical Law Enforcement; Dolores Jane Umbridge, Senior Undersecretary to the Minister. Court Scribe, Percy Ignatius Weasley —"
- Albus Dumbledore: "Witness for the defence, Albus Percival Wulfric Brian Dumbledore."
- — Dumbledore's arrival at Harry Potter's hearing in Courtroom Ten[src]
During the hearing, Fudge was incredibly biassed against Harry, in the hopes to discredit and expel the boy for his claims that Voldemort had returned. Fudge introduced highly irrelevant considerations and biassed accusations into the trial, all the while trying to deny Harry a chance to tell his version of what happened. Percy Weasley, the court scribe, was also nodding to Fudge's words and refusing to acknowledge Harry, much to Harry's fury.
The whole hearing was turning out to be nothing but a show trial, until Dumbledore arrived. When Harry finally told the court about the Dementors that attacked him, Fudge scoffed and called Harry's claim "convenient" and a "weak cover story", with no witnesses to back up his claim, as Muggles cannot see Dementors. However, Dumbledore, invoking the Wizengamot Charter of Rights, produced one witness, Arabella Figg, who gave an accurate description of the attack. Fudge tried dismissing her testimony, partly due to her being a Squib, more over why Dementors just happened to be in a Muggle suburb.
Dumbledore tried suggesting that perhaps someone inside or outside the Ministry must have ordered the attack, and expressed his hopes that this matter would not go uninvestigated. As Fudge tried to get the trial back on the subject of the matter, Dumbledore cited Clause Seven of the Decree for the Reasonable Restriction of Underage Sorcery, which was reasonable enough for Harry to defend himself and his cousin.
Fudge tried pointing out the other violations of the decree Harry allegedly carried out a few years ago, such as the Hover Charm performed in 1992, and the Engorgement Charm used on his aunt the year after. Dumbledore countered that the former charge was performed by Dobby and that Fudge did not prosecute Harry over the latter charge; he further stated that the Ministry did not have the authority to punish Harry for every bit of magic he had performed, nor use a full criminal trial for a simple case of underage magic, and all of those past charges brought up were irrelevant to the trial. Fudge shamelessly defended his actions by saying that laws could be changed if necessary.
Owing to the fairness of Madam Bones and a majority ruling of the court, Harry was found innocent. Only Fudge, Umbridge and roughly a half-dozen of the court forechoosing conviction (Percy included, though his vote would not count, being a scribe and therefore not a member of the Wizengamot). Fudge grudgingly cleared Harry of all charges. Harry soon emptied his entire pouch of Galleons into the Fountain of Magical Brethren in triumph, although the trial did leave him with a bitter resentment for Fudge, Percy, Umbridge and possibly the remaining wizards and witches who voted against him.
Later that year, Percy wrote a letter to Ron, stating that he believed that Harry only got off on a technicality.
Behind the scenes
- In the film adaptation of Harry Potter and the Order of the Phoenix, Mafalda Hopkirk's letter expelling Harry talked and moved on its own, akin to a Howler, whereas in the book Harry simply reads the letter to himself.[1]
- In Harry Potter and the Order of the Phoenix, while Harry and Dudley were being attacked by Dementors, Harry uses Lumos in a hurried attempt to find his wand in the darkness. Though this is also magic, it was not mentioned at the hearing. It is possible, however, that they were including this when they said underage magic.
- There are some markworthy differences of the hearing in the film than in the book:
- Mention of Mrs Figg being a Squib is omitted.
- Mrs Figg stays during the entire hearing and is even there while the Wizengamot votes to decide if Harry is guilty or innocent (she even goes on to raise her hand when Madam Bones asks all those in favour of clearing the accused of all charges, but then realises she cannot vote and pretends to have risen her hand to scratch her ear instead).
- Fudge announcing Harry's previous magic acts are omitted.
- There is only one chair during the hearing rather than two. Harry sits on it, then Mrs Figg takes his spot while Harry sits in the stands.
- Harry Potter and the Order of the Phoenix (First appearance)
- Harry Potter and the Order of the Phoenix (film)
- Harry Potter and the Order of the Phoenix (video game)
- Harry Potter and the Deathly Hallows (Mentioned only)
- LEGO Harry Potter: Years 5-7
- ↑ Harry Potter and the Order of the Phoenix, Chapter 2 (A Peck of Owls)


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CAMBRIDGE, Mass. -- Brandeis track and field seniors Chris Brown (No. Chelmsford, Mass./Chelmsford) and Kate Warwick (Boxborough, Mass./Acton-Boxborough) added All-New England honors to their trophy cases, earning top-three finishes at the New England Division III championships at MIT. In the process, each improved their standings in the rankings for the 2012 NCAA Division III Outdoor Track championships, which will be held May 25-26 at Claremont-Mudd-Scripps Colleges in California.
Brown had Brandeis's top finish of the meet at MIT, placing second in the 800-meter run with a time of 1:51.01, less than two-tenths of a second behind Jeff Marvel of Tufts. Previously ranked among the top 50 but not in an NCAA qualifying position, Brown shaved more than two seconds of his previous lifetime best and turned in the sixth-fastest time in the event in Divsion III this season. Along with his third-ranked time in the 1,500-meter run, he is set up for a run at two All-America honors in the same season, though it remains to see if he will make the attempt. Brown previously finished third at the NCAA Division III championships indoors in the mile run to earn All-America honors.
Warwick, running her second 10K of the season, placed third in the event with a time of 36:22.29. She was about eight seconds behind Ellen McKay of host MIT, who won the event, and three behind second-place finisher Molly Rouillard of Bridgewater State. But Warwick shaved more than 12 seconds off her UAA championship time and improved from 22nd place in the NCAA standings, which would have just barely qualified her for the championships, into 17th place. Warwick is a two-time NCAA qualifier in her senior season, placing 48th at the cross country meet and 12th in the 5,000-meters during the indoor season.
Those were the only two scoring performances for the Judges at the meet. Two Judges just missed All-New England honors. For the women, senior Lily Parenteau (Scarborough, Maine/Scarborough), who placed 13th overall in the high jump, but matched the sixth-place height of 1.53 meters (5 feet, 1/4 inch), but falling in the standings due to the number of jumps. On the men's side, sophomore Kensai Hughes (Wayne, N.J./Wayne Valley) was 10th in the long jump with a distance of 6.22 meters (20 feet, 5 inches), 4.75 inches shy of eighth place.
In the team standings, the Brandeis men placed 24th thanks to Brown's eight points, while Warwick's six points gave the Judges 21st place.


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Oct. 23, 2005
SANTA BARBARA, Calif. -
UC Santa Barbara (9-12, 0-3) managed to score only one goal in the first half of play before falling to top-ranked USC (14-1, 1-0) on Sunday at Campus Pool.
USC took an early lead in the first quarter when Juan Delgadillo found the back of the net within the first thirty seconds of play. Delgadillo, who finished with three goals on the match, added another to give the Trojans a 2-0 advantage. With 1:35 left in the first quarter, the Gauchos found themselves on the offensive in a six-on-five situation and sophomore Coulson Lantz netted the first Gaucho goal. USC toughened its defense in the second quarter, allowing no UCSB goals while its offense stayed potent. Juraj Zatovic scored two of his four goals in the second quarter, while Pavol Valovic also put one in the cage to give USC a 5-1 halftime lead.
The third quarter proved the same for USC when it scored three more goals, including two more by Zatovic. Once again, the Gaucho offense failed to net a goal and at the end of the third, the Gauchos trailed 8-1. UCSB and USC traded goals in the final quarter, and USC emerged a winner by a count of 10-3. Two-meter Tommy Corcoran netted a goal in the quarter for USC. Jeff El-Hajj also added a score in the quarter for the Trojans. Freshmen Danny Natalizio and Miles Price each added a goal in the fourth for the Gauchos.
Goalkeeper Rick Wright posted 11 saves between the posts for the Gauchos.
UCSB will continue action this Friday when it hosts Cal Baptist at 4:00 p.m. at Campus Pool.
Team 1 2 3 4 Total UC Santa Barbara 1 0 0 2 3 USC 2 3 3 2 10 Scoring UC Santa Barbara goals: Coulson Lantz-1, Miles Price-1, Danny Natalizio-1 USC goals: Juraj Zatovic-4, Juan Delgadillo-3, Pavol Valovic-1, Tommy Corcoran-1, Jeff El-Hajj-1 Goalie Saves UC Santa Barbara: Rick Wright-11 USC: Adam Shilling-9


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"Street Artists Unite!" at Dorien Grey Gallery
Photos by G. Various artists.
At the Dorien Grey Gallery in New York, they are showcasing an exhibit called "Street Artists Unite" which features works by Army of One, AV ONE, BTA, COPE2, CRASH, ENX, Fumero, Kid Lew, Screwtape, SEE One, Chris Stain, TMNK, and Robots Will Kill and collaborations with Hank O'Neil (also known as XCIA).
If you are a lover of street art, the show is definitely worth checking out. If you are a collector of street art, you're not going to be too fond of this show. Some of these doctored photo canvases are selling for upwards of $8,000! Is the gallery delusional or are they just trying to capitalize on the stupidity of inexperienced buyers? I am not really sure which it is but I assure you if $8,000 is your contemporary/street art budget, I can hook you up for that kind of money. Hell, you can get some type of work of art from Banksy, arguably the most famous street artist in the world, for a cheaper price!
Not all prices in the gallery will make your butt hole hurt, however. I invite you to form your own opinion at the Dorien Grey Gallery, located at 437 East 9th Street at Avenue A.
"Street Artists Unite!" runs through August 5, 2012.


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Maya09 necesitaba un nuevo diseño de impreso o envases y lanzó un concurso de diseño en 99designs.
Un ganador ha sido elegido entre 769 diseños de 134 diseñadores freelance.
Hell in the Hallway
Hi, we really appreciate every-ones efforts in this competition there have been so many great entries that it has left us a bit confused at times.
Our apologies must be extended for our slow communications and for the developing brief. What we have learned from this experience is very valuable - we have been able to see what image our selection of words are creating in the minds of others. This going to be such an insight with developing this project further. Thank you so much for this.
We have regretted our choice of sub-text and the first scene in the novel as your guides- we realised from your responses that the words have been putting forward images of either bondage (over sexuality at least), despair/anger (divorce is a lousy word...)
and cutesy kind of retro (lime green cool mints...).
We also tried to go down the literal path of action inside the novel - ie the radio station - but this is just a medium for pushing the action - not the essence of the story.
So, if you can bear with us, the new sub-text Idea is 'suddenly single.suddenly some-one else" - We would love to have your opinion on this? The story - in essence is about a period of great change in a persons life (the catalyst in this case is divorce but we do not want this 'just to be a divorce book) - after a life changing crisis they go through a time of 'not being themselves' (in a bit of a crazy way) and eventually they work through it and come to a better place (find themselves for want of a cliché) then they were if they had not been forced out of there 'comfortable-uncomftable' place.
We thank you again for your patience,
We are authors of a novel called Hell in the Hallway - a tale of sex, divorce and lime green cool mints.
It is a modern day novel aimed at women 30+ and deals with the reality of life after divorce.
We are looking for artwork that incorporates lots of white space and has a very clear title. We are thinking black on white but are happy to look at alternatives as long as they are not hot pink or cute.
The main character, Roxy is an alter ego and wears a long blonde wig, high heeled boots and very short skirts. She is anything but conventional and we want artwork that matches.
Our target audience is in her early 40s probably divorced herself but not necessarily. She's had life experience and is not your shy, conservative, crafty type. She understands designer brands even if she can't afford them.
She has had her share of time in the singles meat market and understands the joys and sorrows to be found in the lonely hearts bars.
In a book, she is looking for humour and reality not a sugar coated version of life.
White space, clear, punchy title, arresting graphic (black and white photo is in our minds - we don't really want graphics unless they are awesome).
The artwork will be used on both the real life book and the ebook and we require a layered photoshop file.
The Title is "Hell in the Hallway" - and the subtitle is "Sex, divorce and lime green cool mints" and the author is Collette


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Author Notes: I know I am in the minority here, but I've never been a fan of ketchup. On great fries or onion rings, yes! But otherwise, no thanks. Mustard, on the other hand, oh mustard. It is definitely my favorite condiment. I must have gotten this quirk from my father because each of us keep a buffet of mustards in our respective fridges, exchange new finds as gifts, and are often teased for "having a little __ with your mustard."
In any case, mustard is gooood. If you've ever looked at my blog or even my previously added mango entries, you might get the (very correct) sense that Ataulfo/champagne mangoes are like siren songs to me. Fully obsessed, I look to use them everywhere. Simply peeled and pureed make a marvelous treat but you can be equally fancy with them and they still sing.
Marrying these two flavor loves seemed a natural progression. Additionally, I was inspired by boulangere's mango ketchup and Emeril's homemade mustard. Emeril's recipe served as a rough foundation for this mustard o' mine.
**Great served with salmon burgers or on a ham sandwich. —em-i-lis
Food52 Review: I knew I wanted to test this as soon as it was chosen for a Community Pick. Condiments - love them all, including ketchup! Veteran Food52 member em-i-lis, has another winner. Sweet, but not overly. Mustardy - yes but the fruity flavor of the mangoes mellow it out. This sauce was delicious on grilled hotdogs with my remaining testing mangoes and some chili peppers. So easy to make and can be adjusted to your taste buds. I prefer more mustard flavor. My husband said it would be a great dipping sauce for coconut shrimp. I was thinking everything - french fries, mixed in with a chicken salad, or thinned out with olive oil for a salad dressing. So tasty & easy - no excuse not to try. —sexyLAMBCHOPx
Makes: about 1½ c
Prep time: 8 hrs 30 min
tablespoons yellow mustard seeds
tablespoon plus 2 teaspoons black mustard seeds
allspice berries, coarsely ground
white peppercorns, coarsely ground
cup apple cider vinegar
cup white wine (I used Gruner)
tablespoons chopped Vidalia onions
1½ - 2
Ataulfo (champagne) mangoes, peeled and chopped
teaspoons brown sugar
teaspoons honey
- In a glass bowl, combine the first 7 ingredients (yellow mustard seeds through Vidalia onions). Cover with plastic wrap and refrigerate for 8 hours, or overnight.
- Pour the mixture into a clean 32 oz yogurt tub (or a similarly vertical vessel) and add the chopped mango (2 if you only used the large sides but didn't pare around the seed; 1½ if you did trim the entire fruit), brown sugar and honey. Puree with an immersion blender to your desired chunkiness. Serve or chill.
- This recipe is a Community Pick!
- This recipe was entered in the contest for Your Best Mangoes
More Great Recipes:
Condiment/Spread|Mango|Honey|Mustard|Fruit|Serves a Crowd|Make Ahead|Grill/Barbecue|Spring|Father's Day|Fourth of July|Summer


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Zimbabué: PIB per capita, Paridade do Poder de Compra: Para este indicador, O Banco Mundial fornece dados para Zimbabué de 1990 a 2017. O valor médio por Zimbabué durante este período foi 2362.77 U.S. dollars com o mínimo de 1346.88 U.S. dollars em 2008 e o máximo de 3060.98 U.S. dollars em 1998.
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Definição: GDP per capita based on purchasing power parity (PPP). PPP GDP is gross domestic product converted to international dollars using purchasing power parity rates. An international dollar has the same purchasing power over GDP as the U.S. dollar has in the United States. GDP at purchaser's prices is the sum of gross value added by all resident producers in the economy plus any product taxes and minus any subsidies not included in the value of the products. It is calculated without making deductions for depreciation of fabricated assets or for depletion and degradation of natural resources. Data are in constant 2011 international dollars.


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Jill Worsted in Oulu
Jill Worsted in Oulu
100% Superwash Merino Wool
218 yd/100g
Jill is ready for sweater weather!
Textures and cables pop in this springy superwash merino yarn - perfect for aran sweaters, cabled scarves or warm, snuggly afghans.
Almost all of my yarns are also available dyed to order.
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Posted 1/16/13 (Wed)
Raymond Hovland, 76, died Friday, Jan. 11, 2013, at the Baptist Home in Bismarck, N.D. Funeral services were held on Tuesday, Jan. 15, at 10:00 a.m. at the Bismarck Funeral Home. Burial was held at Tepee Butte Cemetery, New England, N.D.
Raymond Anton Hovland was born at home on May 23, 1936, to Henry and Alma (Nielson) Hovland. He was raised and worked on the family home southwest of Regent, N.D. Ray went to a country school through the eighth grade and started high school in Regent, N.D. He went to Wyoming to work on his uncle's ranch.
He served in the United States Army from 1955 to 1957 and also served in Korea.
Ray married Joyce Waddell in 1958. Four children were born to this marriage.
Ray started working when he was very young. He worked mostly in the oilfields in Wyoming and North Dakota. He was a truck driver for a few years and taught his son, Warren, to drive by driving the truck back and forth in the driveway.
Ray was always bringing home stray cats and dogs. For many years when living in Gillette, Wyo., he would bring men from work who had no families home for Thanksgiving and Christmas dinners.
He enjoyed working, watching football, going to his son's and his nephew's sporting events, hunting, and playing with his grandchildren. Dad also loved raising a garden, both potatoes and tomatoes were his specialty. He loved working up the potatoes in the garden with his Ford tractor and loved going to auctions sales and getting the best deal. Boats, tractors, cars, and tools were the best deal, or not?
One of his last trips to Watford City, he was taken to his place to see his shop transformed into a machine shop that he very much approved of. Ray's favorite places to eat was the Country Cottage in Bismarck, Gramma Sharons in Williston and Coffee at One Stop in Watford City.
Raymond suffered a heart attack in 1983 and a stroke in 1986, and was unable to work. He lived at home until he went into the Baptist Home in Bismarck in 2010.
Survivors include his son, Warren (Laurie) Hovland; daughter-in-law, Deb Hovland; grandchildren, Matthew (Nicole); Allison; Blaine (Jennifer); Christopher (Rebecca); Dustin, Cambree, Aaron and Brandon Hovland; great-grandchildren, Lily, Ben, Beau, Casey and Luke Hovland; and many nieces, nephews, sisters-in-law and brothers-in-law and cousins.
Raymond was preceded in death by his parents; sons, Owen, Orrin, and daughter, Allene Hovland; brothers Larry and David Hovland; sister-in-law, Kathleen Hovland and brother-in-law, Frank Neigum.
Go to www.bismarckfuneralhome.com to sign the online guestbook or to send a message of condolence to the family.


text:
Friday, September 4, 2009
Lawrence Raab
Lawrence Raab was born in Pittsfield, Massachusetts. He received his BA from Middlebury College, and his MA from Syracuse University. He has received the Bess Hokin prize from Poetry magazine, a Junior Fellowship from the University of Michigan Society of Fellows, and grants from the National Endowment for the Arts, the Massachusetts Council on the Arts, and the Guggenheim Foundation. His collection of poems, What We Don't Know About Each Other, won the National Poetry Series and was a Finalist for the 1993 National Book Award. His sixth volume of poetry, Visible Signs: New & Selected Poems, was published in 2003, and a seventh collection, The History of Forgetting, is just out from Penguin. He teaches literature and writing at Williams College.
Pandora was one of many
fallible women set up for a fall,
another Eve who couldn't
keep her hands to herself. Of course
the gods knew she'd open that box.
They were always having fun,
showing off and screwing around.
Curiosity was the only motivation
they gave her, so she did
what she had to—let the troubles loose.
Hard to imagine Zeus wasn't pleased
with this little machine of a play.
Or that God hadn't known
from the beginning that Eve
would eat that apple. Did he really
hope she'd surprise him?—
he who couldn't help but see
the end of the future.
If only he'd had a few friends
to confide in, joke around with.
But God was always so serious.
No pranks in this story—
just disappointment, then anger.
Of course we would hurt him.
Like every father, he'd shown us how.
When was this poem composed? How did it start?
An early version was written at Yaddo in June of 2004. It started—as almost all of my poems start—with the desire to write a poem. The subject follows. When I look back at my notebook I find the line "Can of Worms." Beneath it: "Pandora's Box." And beneath that: a rough handwritten version of the beginning of the poem. I'd been trying to think, in a number of poems, about God. Whether some force or power that might go by that name exists, I don't know. I neither believe nor disbelieve. I feel not knowing is the appropriate condition.
But I'm very interested in how God is represented, and the stories—particularly the ones I grew up with—in which he appears. How, I'd been wondering, can God be all-knowing and all-powerful, yet still be surprised by the actions of the people he'd created? Wouldn't he have known that Eve had to eat the apple? Wasn't that the point of the story? Therefore, his disappointment and fury, and all those punishments by flood and fire, seem more like performance and showing off than genuine outrage. Finally God, especially the Old Testament God, is most interesting when he's like us, when the story reveals what we made him out of—our own fears and weaknesses, our frustrations and desires.
How many revisions did this poem undergo? How much time elapsed between the first and final drafts?
It went through scores of revisions over the course of five years. I thought it would be done, then I'd look at it again and know it wasn't. The first version was called "Why God Is Always Alone," and it ended: "All the words he made were grim / and thoughtful. No wonder he was alone. / No wonder we couldn't make him happy." I don't know why I held onto "grim and thoughtful" for more than a draft or two. I remember my friend Stephen Dunn, who was at Yaddo at the same time, and to whom I show all of my work, often at very early stages, pointing out that that phrase was weak, but I held to it for far too long. At some point I had to forbid myself doubling last lines, like these. I'd turn to it all the time to get a poem to end, the way when I first started writing I'd often bring the wind in to end a poem.
Some years later the poem became "What God Must Have Known," which points more accurately to its subject. I had all kinds of troubles with the ending. Even the one it has now I don't think Stephen wholly approves of. He didn't want me to say "like every father." But my idea was that all fathers unconsciously show their children their weaknesses—how they can be hurt. (I didn't mean that all fathers abuse their children, though I can see that "shown us how" could suggest physical violence.) And all children, at some point, hurt their fathers. Well, of course we hurt each other. That's no revelation. That's what we do because we're human. The idea was to turn this back on God, who must have known, or should have known better.
Do you believe in inspiration? How much of this poem was "received" and how much was the result of sweat and tears?
I believe in inspiration, but I believe it usually comes to us during the process of making a poem. That is, we generate it through our attentiveness to the act of writing. Sweat and tears create what can be "received." Hard work creates the possibility of the unforeseen gift. Inspiration is earned, I think, rather than bestowed. If one morning it seems to come to us out of nowhere, then I believe we earned it the day before.
How did this poem arrive at its final form? Did you consciously employ any principles of technique?
It quickly found its way into stanzas, then later into five-line stanzas. Beyond that it was all a matter of phrasing. But isn't that just about everything? Aren't structures like rhyme and meter ways of supporting the tones of voices that are the poem? During the process of composition, I try to become aware of the various patterns that are functioning in a poem. Most of my lines are roughly iambic, because American speech is roughly iambic. There are lots of rhymes, but rarely at the ends of lines. Even the most rigorously formal poet cannot plan all of a poem's effects, but he must be aware of as many patterns as possible. A form tells you where you should look. Free verse means you have to keep looking at everything as you revise.
How long after you finished this poem did it first appear in print?
It just appeared in a magazine in 2009, so that's five years after the first version. A lot of my poems hang around for a long time. A lot keep hanging around, until they're dismantled and the useful parts recycled. This one fits nicely into my latest book, The History of Forgetting, where there's a thread of poems that worry about God.
How long do you let a poem "sit" before you send it off into the world? Do you have any rules about this or does your practice vary with every poem?
No rules. The poem needs to stand on its own to go out into the world. But the pleasure of finishing a poem—or seemingly finishing one—also results in a certain kind of blindness to its faults. That is, the relationship between writer and poem is too close for a while. You're in love, you're in the moment. That's why we all need to set things aside and come back to them with a colder eye.
Could you talk about fact and fiction and how this poem negotiates the two?
The poem assumes God is a fiction which is what we'd now all assume of Zeus and Pandora. Things are sometimes mean-spirited among the Greek and Roman gods, but it's also a bit like a fraternity—lots of parties and pranks, jokes that go wrong, cruelties that really hurt, but still a lot of camaraderie. On the other hand, our god is always alone—no friends, nobody to talk to or commiserate with. He's the loneliest version of ourselves. Nor does having a son help.
Is this a narrative poem?
I wouldn't find it useful to call it that, though of course it depends on narratives and plays off of them.
Do you remember who you were reading when you wrote this poem? Any influences you'd care to disclose?
I don't remember who I was reading then. I always bring a lot of books with me to Yaddo, and I always begin any period that I hope will result in writing just by reading some poems. Throughout my life there have been a variety of poets I've counted on to get me started (not so much as influences, though surely many were influential, sometimes too obviously), but just—just!—to move me toward thinking in the kinds of sentences that become those sentences that might become a poem. Certain phrases and gestures and tones will make me think: I'd like to do that. Or: I can do that. Sometimes even: I can do better than that.
Do you have any particular audience in mind when you write, an ideal reader?
I believe it was Gertrude Stein who said, "I write for myself, and strangers." I've always liked that. It also nicely suggests a certain division in the process of composition. When you begin you just need to accept things because they occur to you. You trust that what's bad will be revised out later. But you can't afford to stop to make value judgments. You need to let any piece of language generate the next piece. Something mediocre, or dull, or stupid, or embarrassing, may lead to something good. But if you stop to edit it out you can get stuck there. If you reject the thought, your imagination may not give you the next, better thought. Beginning is for me a process of accumulation, out of which shapes and structures, tones and voices, emerge.
Later, once the poem has an architecture that makes it feel like a poem, rather than a series of notes, I have to start to consider the reader. And the closer the poem moves toward completion, the more useful it becomes to imagine a reader, so that I can wonder if any moment makes sense, if it does what it has to do, if it works. The pleasure of beginning belongs to the writer. The more finished the poem becomes, the more the fact of the reader—and the reader's pleasure, and understanding—have to be the poet's primary concern.
Did you let anyone see drafts of this poem before you finished it? Is there an individual or a group of individuals with whom you regularly share work?
I have a couple of close poet-friends, most notably Stephen Dunn and Jonathan Aaron, to whom I show my work in progress. In both cases—as well as in the case of my wife, Judy, who is also an excellent reader of my work—our relationships are of such long standing, and our impulses and tastes are so much known to each other, that it's possible to show work that's in very early stages. Then I'm not only asking for suggestions about revision, which supposes that there's something there substantial enough to revise. I'm inviting, indeed welcoming, much larger possibilities that might re-envision the material, press it in some entirely different direction. It's risky, but it works, at least much more often than not.
How does this poem differ from other poems of yours?
I suppose it's like a lot of my recent poems in taking up as its generating subject something the reader knows—here Pandora, Eve, Zeus, and God, in other poems a movie, a painting, a fairy tale, a certain kind of daily encounter, or sharable feeling—and trying to think interestingly about it.
What is American about this poem?
I'd like to believe that its skepticism might be, but I couldn't prove it. In terms of language, the colloquial gestures in the poem—"set up for a fall," "showing off and screwing around," "couldn't keep her hands to herself"—are set against, maybe even give me the permission for, a more serious, "eloquent" tone, like "he who couldn't help but see / the end of the future." I don't know if either kind of phrasing is particularly American, but I want the poem to sound like somebody talking—somebody like me—and not a poetical contrivance. I'd like the reader to think: Yes, I've heard that, I know how that goes.
Was this poem finished or abandoned?
At some point in the process of composition, every poem declares its limitations. This is most often the same point at which the poem establishes its structure, since by allowing for content, structure necessarily begins to display the range of the poem's thinking. At the beginning, anything was possible. That was the illusion. Once the poem's necessary limitations become visible, the poet has three choices: to accept them, finishing the poem in the best way possible; to throw the poem away; or to dismantle it and begin again. By publishing "What God Must Have Known" I've declared that it's sufficiently finished to go out into the world without my intervention. At the same time, I'm keenly aware that the poem could have been better, or different—larger, more expansive, riskier, more compelling. Those are my hopes for everything I haven't yet written, and for a while each new poem will seem to take me there.
16 comments:
truly enjoyed this and I think the last line is powerful and fitting for the piece.ReplyDelete
What a great post. I've always liked raab; his poem "Another Argument About the Impossible" has stayed with me for years, as odd as that is. I didn't realize he was a Massachusetts poet -- as one of the co-founders of the Massachusetts Poetry Festival, I really should have known! Is there any chance we can talk you into a guest post on MassPoetry.org about Massachusetts Poets? if not, can we re-post this post there? email me at nicco at masspoetry.org - thanksReplyDelete
I read Lawrence Raab years ago. Happy to read a poem here. Well executed. You think you are reading a light poem until that explosive meaningful ending.ReplyDelete
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The One Lesson I Learned from Cal Arts
During the time I was at GSU, I did entertain the idea of possibly going to Cal Arts, regarded by many in the animation industry as the school to go to. I called to receive a catalog, and dreamed endlessly about taking all the classes I read about.
But that never happened, and I'm not at all glum about it. In fact, I'm very happy with the way things have gone for me.
Back when I was an animator at Click 3X, I believe it was somewhere around '98 or '99, a prospective young animator came by to show his portfolio and demo. He was still in school, and when he mentioned that he went to Cal Arts, well, needless to say, we were very curious. As he opened his portfolio, I was awestruck. I couldn't believe the gesture sketches that this guy was showing. Simply unbelieveable work - put us all to shame. (There was only 4 of us in the cel department.) I'll be honest with ya, I began to feel a little threatened by this unknown Cal Arts dude. I mean, who is HE to come into our little corner of Click and flaunt his exceptional talent like that? With work like this, there's no reason for Click to keep me around any longer! I was getting very envious as I stood there, silent.
Well, he then had his demo tape to show us, and so we all went into the conference room and popped his tape in. Again, I was silent at what I saw.
He was a TERRIBLE animator. His work was HIDEOUS. Absolutely nauseating.
I really couldn't believe it. How could this amazingly talented artist produce such "animated" crap like this? He couldn't even keep his characters on model if his life depended on it! Everything moved with such grotesque wiggling, that I just had to look away. It was like a car crash: I couldn't watch, but I couldn't not watch, you know what I mean?
It dawned on me what was happening. Could it be that all these schools were more preoccupied in helping students obtain the best possible portfolio, the best gesture drawing, the best figure studies, the best animal sketches - all to catch the eye of the Big Animation Studio, but all the while ignoring what should have been the most important factor in hiring an animator in the first place?: The ability to actually animate.
I'm sure that this is not the case for all the schools (and I'm not singling out Cal Arts here, either), it's just what I got from this one student. He fell through the cracks. Somehow his instructor(s) overlooked this young student and his lack of skills as an actual animator. And it further solidified the notion for me that animation is such a difficult thing to master. It's probably one of the hardest things to accomplish as an artist, because of all the things involved: design, physics, anatomy, weight distribution, draftsmanship, mathmatics, acting, the list goes on.
You may have the most amazing gesture drawings of the human figure, but if you can't make them move, then what's the point in hiring you? You're wasting our time.
So, anyway, we never heard back from that guy. I wonder what he's doing?
14 comments:
He's probably working as an illustrator! Hee hee! It's interesting though, I had a similar reaction when I had the chance to review a SCAD graduate's illustration portfolio. His commercial/comic-oriented work was pretty good but something seemed a little off to me. The more I looked, the more I realized that this guy was really struggling with drawing figures. It's like, if they weren't really stylized human figures, then they just looked odd. When I saw his figure drawings I noticed that he had done these beautiful figure renderings but they were, most of them, missing hands, feet and faces. When he did draw them they were sort of "fudged" for lack of a better word. Sometimes there's just no substitute for drawing your ass off--especially those things that you are shaky on!ReplyDelete
Anyway, I thought back to our conversation yesterday and I realized just how much the animation process is about revision and going back and forth and erasing etc... It's really an evolution of process--if that makes sense. Basically building a sequence up from its most basic elements. It's a little like sculpting actually. Wierd huh?
It is. It really is. Like a painting, piling on layers upon layers of paint and redoing certain sections, and trying again, animation is all about the process. And some don't have the patience to forge through that process. All they want is the immediate: the end result. But sometimes it doesn't quite go that way.ReplyDelete
I swear, I have to supress a gag reflex every time I see the "zoo" sketch page in a freelancer's portfolio. I could give a damn if you can draw a tiger in repose; how are ya at stayin' up inking my cels until 4:30 in the morning for 3 straight weeks? Why don't these so-called "art colleges" teach important unspoken concepts, like endurance, drive, self-reliance, pride in craftsmanship, etc.?ReplyDelete
Endurance, perseverence, tenacity, drive... Recognizing that you constantly need to improve your skills... I sometimes get the feeling that some students feel that once they graduate that they no longer need to hone their skills. Sort of like a brain surgeon no longer studying the brain because, well, he's graduated from Med School.ReplyDelete
It's sad but true. A lot of graduates' skills just aren't up to par when they leave art schools nowadays. I think it is assumed by some students that "My degree from this 'prestigious' art school will get me into a studio" while others think that "since I'll be using a computer, drawing and traditional animation skills don't apply to me". Both are incorrect. To answer Robert's question, I think these things are taught in school, not in any one specific classroom. It's up to the individual himself to take the initiative to learn these things on his own. It's learned through the passion and toil of working on projects for class while working on your own stuff on the side. It's learned through not turning a project in until you are 100% happy with it and have done everything in your power to make it as perfect as it can be. A lot of the best things I got out of school came through moments like these in the early morning hours of the weekdays and weekends. Unfortunately, for some people, the commitment to times like these just isn't there.ReplyDelete
- AnonymousJanuary 07, 2005 2:34 PM
Hi allReplyDelete
That was my reel actually. (sorry to say) I remember you guys. In that tiny little studio. But you know what, I continued to move forward with my great talent. Thanks to my Cal arts degree I got plenty of work, now I have a demanding executve position here at Viacom with my own office (About the size of your meezly little studio) Now I have people review portfolios for me. I hire some great talent sometimes just so I can comment on thier work and make them do it over to satisfy my tastes. It feels great by the way. I'm glad I didn't end up there in your small wretched town wasting my talent on crappy commercial spots for god knows who. Now I take talented people and put them under my thumb Where they can make me look good, and my pockets swell fatter. I actually should be thanking you guys. If you ever need work up in NY look me up, Robert Randell. (Viacom) I got plenty of room for interns.
Hey Robert, can I have a job?ReplyDelete
Uh, yeah. It's nice to see that our readers have a good sense of humor.ReplyDelete
- AnonymousJanuary 15, 2005 6:46 AM
There definitely is a grotesque problem with animation grads. At SCAD, the first problem is that the animation department is organized by people who know/care nothing about quality animation. They basically organized it so the only 2D class I took before my final project was Animation I. I got screwed out of some precious 2D classes because they insisted I needed to graduate with both 2D and 3D on my reel. ("But I don't want 3D on my reel, I don't wanna do it at all ever in a million years! If you make me take Maya classes, I'll just end up being mediocre in both mediums." "TOUGH! Now give us more money! BAH HA HA!") Incidentally, they changed the course content AFTER I completed the Maya-intensive Animation II. Also, I'm continusouly amazed at the number of animation students who don't have any passion for motion, or passion for image-making, and often, they don't like to draw at all. We have two or three excellent professors on the faculty, but few students take advantage of thier guidance. Most of the time, the kids whine about how long they've been animating bouncing balls, or about how they have to redo assignments because the teacher is anal. Or they resist critique of thier work, justifying the mistakes as "my style!". (Oftimes, thier "style" is anime.) Its an exasperating environment to try and learn in. The top two professors in the department are probably going to leave in the next few years. I can't say I blame them.ReplyDelete
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Yeah, I'm one of those people. Please comment only if what you have to say correlates with the topic. I despise comment ads, as I find them irritating as well as disruptive to the overall flow of the conversations involved. Please stop.ReplyDelete
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- AnonymousOctober 11, 2005 9:20 AM
While it is valid to critique work you feel is flawed, I think it is a bit harsh to say someone is "wasting your time." Perhaps this person was still in the middle of striving to improve his skills. Were you all perfect from the get go? Doubt it. Since when is working to achieve one's dream a waste of time? Don't be so elitist.ReplyDelete
Perhaps you weren't there and don't know the entire story. This particular student was in his last year of studies at CALARTS -- in the character animation program, no less -- therefore should've been more skilled than this. That's the irony of this entire situation: that a student in his last year of studies at one of the most prestigious animation schools in the country, was able to slip through the cracks and emerge without any proper understanding of the art-form. Get it? It's IRONY. This is what I'm appalled by. That's why I reacted the way I did.ReplyDelete
And, please -- you weren't there to make any sort of dignified judgment.


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Late professor Paul Copley celebrated by former student
July 26, 2011
Graduate Campus
Paul Copley, Lewis & Clark alumnus and longtime instructor at the Graduate School of Education and Counseling, passed away suddenly on July 3. This tribute, published on the Daily Kos by a former student of Copley's, details the impact he had throughout his career in education.
"He wanted us to expand our perspectives and to question authorities, but he also wanted us to challenge our own preconceptions and presumptions," the former student writes. "Everything Paul taught had an underlying idealism at the way things could be and an underlying outrage at the way things are. And yet he was joyous and funny, he drank deeply of life, and more than anything he was effusively caring."
Copley earned his B.A. with a major in history at Lewis & Clark in 1967, his master's degree in history from California State University at Long Beach, and his basic administrative license from Lewis & Clark in 1991.
For more than 30 years, Copley taught history, economics, and political science and chaired the social studies department at Sunset High School in Beaverton, Oregon. He began teaching at Lewis & Clark in 1995; since 2005, he served as a cohort coordinator and subject area advisor in secondary education.
Memorial services took place on the Lewis & Clark campus and at the Beaverton Foursquare Church in July. The article honoring Copley's memory touches on some of the stories shared at the latter service.
"At the memorial, a former student whose own teaching career was electrified by Paul recounted the essence of who Paul was and what he tried to do. Paul once told him that through teaching we can change the world. He not only meant it, he proved it."
Read the full article or visit the Facebook memorial page, which includes dozens of testimonials from students, colleagues, friends, and neighbors.


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The Home of Fashion Film and Live Fashion Broadcasting
Report by Lou Stoppard on 19 January 2014.
Those who go to Kenzo for a cheerful American dream - all bold graphics, colour and fun - will be shocked. Brights were replaced with a sludgy palette of brown and grey and the signature infectious prints were more subdued and severe than usual - workers' tools don't have quiet the same roar as a tiger.
The @kenzo_paris show finale. Khaki. Furry. Fuzzy. Yellow. Super thick soled boots. Colour block knits #PFW http://t.co/8WW8QHYNXt
The final tableau @kenzo_paris #followthebuyers http://t.co/htkzuymCtg
The set @Kenzo o_paris features a series of wooden constructions including a mini blue house #PFW http://t.co/DICmcc6w6g
Good morning @Kenzo_paris #kenzoaw14 #pfw #dayinthelife http://t.co/AZnFaC64CD
COFFEE+COOKIE – they know how to please pre @kenzo_paris –
and here's a glimpse at the set design #pfw #fw14 http://t.co/08ZX7LioAW
Good morning #kenzo! @kenzo_paris #followthebuyers http://t.co/yVoiLbdVy3
#kenzo #paris http://t.co/tZg5wPQbHB


text:
Do you have any idea how often I think, "If only I would have xxxx"? It is hard not to. I am where I am because of certain decisions I made. If only I wouldn't have married my ex, if only I would have gotten a lawyer sooner, if only we hadn't bought this house... if only. There are times when I get incredibly frustrated, when I think if only I could go back in the past and change things - whisper in my own ear and tell my younger self what to do. I am guessing that many of us who are struggling financially feel the same way - if only we hadn't made this purchase or that, if only we were a little more frugal in our youth... all of those kinds of things. You know what I have learned though? "If only" is a big old fat waste of energy.
The truth of the matter is that we are only as good as we are in any given moment of time. Sure, hindsight is 20/20, but who has hindsight? No one - even psychics make mistakes. We make decisions based on the information we have at the time - we go on what seems like the best choice. Take my marriage - if you were to look into my diary you would see serious doubts right up until a few weeks before the wedding. However, I can't waste my time beating myself up as to why I didn't listen to that nagging voice. The truth is, I went ahead because it seemed like the right choice at the time. That goes for all things financial too - maybe we have doubts at the time, but we go ahead because there is a part of us that thinks it is the best choice.
I recently read a post over at MySuperChargedLife called: Hard Times: How to Survive When the Going Gets Tough. The whole thing is well worth a read, but here is the part that particularly caught my eye:
Hanging on to the sins of the past keeps you from moving forward in life. It takes your eye off the ball which prevents you from hitting the next pitch out of the park. Forget about what happened yesterday. Concentrate instead on what needs to be done today to get things headed the direction you desire.And that really is the crux of it, isn't it?
What is really important is moving ahead. Learning from the past is essential, but the real key is to keep moving forward. I could spend all my time beating my head against the wall for poor decisions I've made, and all that would accomplish is a dent in the wall - and in my head!
The truth is, I didn't make "bad" decisions. I made good decisions that just didn't turn out the way that I had planned. Very few people go out of their way to make bad choices. Sometimes it looks that way from the outside, but if you were to ask folks, most of them will tell you that they thought they were doing the right thing - in that very moment.
One of the things that happened to me when my life went through this monumental change was that I started questioning my own ability to make good choices. That, my friends, was just a recipe for disaster. We make choices every moment of every day - which blog to read, whether to have water, tea or ginger ale, what to wear, who to call, how to live our lives. I don't worry about that anymore, I trust my "gut." I believe in myself and I believe that whatever may have happened, I can learn from it and move on.
Regrets? I have a few.* But I have to say, I like the person that I am becoming - this stronger, wiser, more frugal woman. As you look at making your budgets and net worth statements remember that even though we might wish our younger selves had been a touch wiser and less ready to haul out the wallet, what we've been through only makes better and better.
Somewhat related, I saw this article and wanted to pass it along:
Wisebread - Post Divorce Finances: 7 Steps to Rebuilding Your Financial House
Photo by: A. Curell
* Thanks, Frank.


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Education for All Global Monitoring Report 2011 - A Gender Review
©UNICEF/NYHQ2009-0258/Jia Zhao
Language: English
Download: English
Since 2008, a significant contribution of UNGEI has been the Gender Review of the EFA annual Global Monitoring Report (GMR). This review critically examines the strengths and gaps evident in the monitoring of EFA goals from a gender perspective, and informs advocacy messages on education and gender equality in key thematic areas for governments, development partners and civil society actors.
This year?s GMR report, The hidden crises: Armed conflict and education, is an excellent and timely account of the way in which conflict is destroying opportunities for education globally. More than 40 per cent of out-of-school children live in conflict-affected countries; these same countries have some of the largest gender inequalities and lowest literacy levels in the world. The report asserts that being female, poor and living in a country affected by conflict are three of the most pervasive risk factors for children being out of school.
UNGEI is deeply appreciative of the GMR and its accompanying gender overview and offers this gender review to complement the findings of the report. The review is meant to be a stand-alone document and attempts to distil the main messages on gender and education in the report and further sharpen the gender analysis, particularly by making visible the gender dimensions of EFA goals that do not have an explicit gender mandate and drawing linkages across goals and ideas that may otherwise get glossed over in a lengthier report.
As we look towards the 2012 report and beyond, UNGEI is committed to exploring additional ways in which it can proactively support gender analysis and continue its active collaboration in our common quest: education for all.


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Nation & World
Isakson bill would remake 'No Child Left Behind'
WASHINGTON — Georgia Republican Sen. Johnny Isakson, one of the original authors of the landmark No Child Left Behind education law, now is trying to dismantle aspects of the law's core goal of getting all kids working at grade level by 2014, a benchmark that for a decade was considered the ultimate quest of American education.
Isakson and Sens. Mark Kirk, R-Ill., Richard Burr, R-N.C., and Lamar Alexander, R- Tenn., a former governor who also served as education secretary under former President George H.W. Bush, want to do away with a provision in the law that requires students in the more than 100,000 public school districts across the country to make "adequate yearly progress" toward preset benchmarks in math and reading every year.
The legislation, introduced last week, would nix "adequate yearly progress" requirements, and it asks states to zero in on their lowest-performing 5 percent of schools. Isakson and Georgia education officials also will request on Tuesday a federal waiver for their state on meeting adequate yearly progress in order to avoid more schools being labeled as failing.
The proposed measure is part of a series of education bills that the lawmakers said were designed to "fix" No Child Left Behind. The measures would do this, the lawmakers say, by giving states and school districts greater flexibility to improve state accountability systems, improve teacher and principal professional development programs, consolidate federal education programs to give state and local education leaders more freedom in meeting local needs and expand the number of charter schools.
"We knew, the nine of us that wrote NCLB, that if (adequate yearly progress) worked it would be harder and harder for schools to meet it with the requirement to raise the benchmark each year," Isakson said.
So hard, in fact, education experts say, that few in the field expect the nation to get all students working at grade level, or "proficient," in reading and math by 2014 as the law mandates.
In recent years, the pressure associated with yearly testing goals has led to widespread complaints from schools, districts and states. There have been increasingly creative attempts to redefine what "proficient" means to avoid penalties for not meeting that goal, cheating scandals across the country and political backlash.
No Child Left Behind's accountability standards for various subgroups of students — such as minorities, English-language learners, low-income and those with disabilities — have helped schools get a better picture of performance and, in many cases, aided them in focusing resources better to help those kids make academic gains.
However, federal education officials project that 82 percent of the nation's public schools could fail to meet higher proficiency targets this year, and would face sanctions that ultimately can include a loss of federal aid.
Proposals that could drastically alter how children in public schools are educated have languished for years in Senate and House of Representatives education committees. Wrangling over the law has grown so rancorous that a frustrated Obama administration plans on using executive authority to waive some requirements of the law, essentially freeing states from any harsh consequences if their schools fail to meet the federal testing requirements.
President Barack Obama is expected on Friday to roll out the details of what the White House is calling "relief from key provisions of No Child Left Behind."
On Capitol Hill, some lawmakers have said it would be a mistake for the administration to bypass Congress. This is a particularly sore spot for Republicans, who already are bristling at what they see as the executive branch's broader attempts to sidestep their authority on a number of fronts by issuing an increasing number of federal regulations.
"It's not just the specifics that worry the Republicans, it's the idea that he doesn't have the authority to change the law," said Michael Petrilli of the Thomas B. Fordham Institute, a Washington-based education organization.
But even some Republicans question Isakson's push to unravel a law that the previous presidential administration views with pride.
"I'm concerned about these proposals," said Sandy Kress, who was a senior education adviser to President George W. Bush. "In a way we are going backwards, mainly to the degree they water accountability down. We've gotten to a place where we care about consequential accountability for disadvantaged students ... but to get out of the game altogether is beyond me."
(Rob Hotakainen and Medill News Service's Hannah Vickers, Alexandra Arkin and Amarita Bansal contributed to this report.)
A decade on, 'No Child' law faces critics, calls for change
Fear of more failing test scores sets off clash over No Child Left Behind
No Child Left Behind dilemma: What does 'proficient' mean?
Renewal of No Child Left Behind legislation challenged


text:
A great gag item from Ian Adair that will bring loads of laughter. This realistic long stemmed rose jumps or slowly rises at the performer's command. Have it jump and "hit" a spectator on the chin when he tries to smell it, or use it for a more magical effect where the rose slowly rises as you pretend to water it. Complete and ready to use, with many application ideas.
Do you own this product? Write a review.


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|Journal of Research and Education in Indian Medicine (Est.1982)
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