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My life resembles a low brow sitcom most of the time. We have all the necessary elements:
- two overly dramatic, smart-ass kids
- a rugged and charming but totally aloof 260 lb husband
- a petite and extremely smart hot mamma (hey, it's my sitcom)
- a spoiled rotten crazy dog.
Every day is a whirlwind of family interactions, escalating until someone accepts responsibility, and ends with a sweet lesson, where everyone is happy, apologizes and kisses each other good night.
OK, so maybe not quite like that – there a few head exploding days where someone goes to bed hungry, crying, pissed off or all of the above.
Events leading up to this moment of my life might make for better cinematic content or a national best seller. Who knows, could people relate to a direct-selling college student who has incredible sales weeks only to realize her biggest makeup order came from a lady of the night and her friends? (They did end up being repeat customers and always paid in cash.)
Plus there has been fair amounts of sex, parties, family drama and ever changing hair colors to compete with most PG-13 movies.
Perhaps there's more to work with here than I thought.
Memoir can be intimidating for writers. You're relating actual events, portraying real people, and there are years of material to sift through.
Those years of material can seem overwhelming when looked at as a whole, or they might seem underwhelming.
Have you had a roller-coaster ride, filled with ups and downs that may have left other people screaming in their seats? Perhaps your life has been more of a merry-go-round, the same scenes arising again and again, the shifts less noticeable.
Either way, you have a story to tell, and the way you tell it is what makes it compelling. Distilling your memoir into a 200 word pitch will give you the chance to really focus on what you want to share with your readers about your life story.
This week pretend we have a book contract here just waiting for someone to sign (and we wish we did, believe me!) Pitch your memoir in 200 words or less and come back this Tuesday to link up.
*And just in case you wanted to read something more serious – check out my parenting post about how to pick age appropriate content over at Detroit News Michigan Moms.


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Originally Posted by SlightlyOffQuilter
Nope, I only add water and glue ! And like I said, I use somewhere around a 1 part glue to 4 parts water ratio. LOL this is my actual measurement apparatus !
Originally Posted by fabric whisperer
I used to be a Merch Mgr at Joanns. Do you have your receipt from buying a couple weeks ago? If so, PM me the SKU # and I can see if any Ohio stores have it. It can be shipped store to store! Most people don't know that
https://www.quiltingboard.com/t-111786-1.htm Heart strings tutorial
https://www.quiltingboard.com/t-586-1.htm Printing on Fabric
http://www.erinrussek.typepad.com/on...ime/my-tweets/ Applique BOM My Tweets
Use the following formula if the size you want is not on the table above:
BLOCK SIZE WANTED (divided by) CURRENT BLOCK SIZE = PERCENT TO ENLARGE OR REDUCE
To enlarge: Size you want = 12" and Current size

subset: commoncrawl


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APEX Analytix Elite Conference Series
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Truly meaningful educational opportunities related to your work can be hard to find in the financial shared services, accounts payable and procure-to-pay field. The APEX Analytix Elite conference is a unique event that allows you to learn from the best of the best. The sessions are led by innovators from the world's largest accounts payable and financial shared services practices.
- Explore emerging best practices to discover what works – and what doesn't.
- Learn from real-world case studies delivered by your counterparts from the world's largest corporations.
- Network with your peers through a variety of activities, workshops and roundtables.
- Experience locations selected to inspire and to help you recharge.
Elite conferences happen twice per year: Elite Americas takes place each spring and Elite Europe takes place each autumn.
"Most of the best practices that we have implemented over the years have come from this information exchange."
– Global Process Owner for Procure to Pay, Johnson & Johnson


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Canyon Creek Toyota
370 Canyon Meadows Drive SE
Directions Calgary, AB T2J 7C6
GST is additional. Dealer installed accessories are not included. Rebates applied after taxes.
*While every reasonable effort is made to ensure the accuracy of this information, we are not responsible for any errors or omissions contained on these pages. Please verify any information in question with Canyon Creek Toyota.


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Photographers don't see the world the way other people do. We see in moments. We strive to be objective. We observe events and look for the framing which will capture the entirety. We look at color and light through the limitations of our tools.
The process of seeing this way requires two main parts:
- having ideas of what we are looking for; and
- using our tools to capture and communicate those ideas in the most effective way available.
The first issue is discussed in detail here.
The second issue requires a consideration of how a photographer can increase the effectiveness in conveying the meaning in an image.
When our consciousness wants to convey something to another person's consciousness, we must choose a mode of communication (speaking, writing, painting, etc.). The mode we choose will have two factors:
- of all the potential ways to communicate the message we want to convey, it will be the one with which we have the most comfort; and
- we will choose the aspects of that mode most likely to be understood by our audience.
An example might help.
Part (1) might go like this: Japan has many visitors who don't read Japanese, but who use the roads. When it comes to communicating the Japanese rules of the road to someone who doesn't read Japanese, the highway department can go down the list quickly: oral communication may be comfortable, but it's impractical; written communication may be comfortable, but it's impractical; generalized shapes would work, though.
Applying those conclusions, Part (2) would be that not just any shapes will work. There will be situations and indications that a local might understand, but a visitor wouldn't. So, the highway department needs to choose the shapes that will have the most universal understanding.
The same is true of art. The artist has an idea which needs communicating. The idea will dictate the best mode with which the artist is comfortable to express it. In using that mode, the next decision is what subset of that mode will best be understood by the largest audience.
For example, Picasso could sculpt, sketch, and paint. Depending upon the idea he wanted to express, one of those modes would work best. But he still had to decide how to use that mode to most precisely communicate. Picasso's "The Bull" is illustrative. In 1945, Picasso did a series of lithographs of a bull. The first three drawings show a progression of detail, until Picasso started removing that detail to reach the idea he felt would communicate the best.
How does this apply to photographers? It applies in the same way as above: we use photography when it is the mode which will work for the idea which needs to be expressed, and we use it in the way in which we are comfortable. But we also have to use it in a way which the audience is most likely to comprehend.
Camera manufacturers, unfortunately, are an impediment to artistic expression instead of an asset, and an easy step toward more effective artistic expression is to reject their default settings and presumptions. The first thing to do is to reject color as a default mode of photographic expression.
Color in the Mind
Color is one of the most difficult aspects of artistic expression because color is what the spectator naturally sees. Color is information which we use to interpret, navigate, and survive in the world. Moreover, as individuals we form emotional associations with colors based on our experiences. Therefore, any work of color is presented in a sea of the experience and assumptions brought by each spectator.
Making it even more complicated, for both the spectator and the artist, color is a creation of the mind. Even in drastically different lighting conditions, humans perceive color in a consistent manner. The brain has it's own automatic white balance settings, as explained by Neurobiologist Semir Zeki:
Colour is a biological signalling mechanism which exemplifies very well the brain's quest for knowledge under continually changing conditions. It is common knowledge that the basis of colour vision is that light—which itself has no colour, being electromagnetic radiation—has many different wavelengths stretching from red (long wave) at the one end to blue (short wave) at the other and that different surfaces have different efficiencies for reflecting light of different wavelengths. What the brain does seemingly is to compare the efficiency of different surfaces for reflecting light of the same wavebands and thus make itself independent of the actual amount of light of any given waveband reflected from a single surface, since the latter changes continually depending upon the illuminant in which the surface is viewed. . . . [T]he brain has evolved an ingenious mechanism . . . to take the ratio of light of a given wavelength reflected from the centre and the surround. Whereas the precise amount of light of a given wavelength reflected from a surface changes, the ratio of light of that same waveband reflected from the surface and from surrounding surfaces always remains the same. Colour is therefore a construction of the brain, an interpretation that it gives to the reflective efficiency of different surfaces for the different wavelengths of light . . . .
Zeki, Art and the Brain, Dædalus 127, 71-103 (1998).
Compounding each individual's mental creation of color, however, is that the perception of color is also dependent upon shape. Dr. Zeki explains:
But to be able to take ratios, there must be a boundary between one surface and the surrounding surface, and that boundary has a shape. Hence the impossibility . . . of divorcing colour, and hence liberating it, from shape. . . . It is obvious that at the ratio-taking, computational, stage there are no "wrong" colours. Making a square red is as good as making it blue. . . . But colours are not viewed in this way normally; they are instead properties of surfaces and objects. When humans view coloured objects and scenes what happens in their brains depends upon whether the objects are dressed in the right or the wrong colours, but in either case is different from the activity produced by colours in the abstract, as in a Mondrian. If the objects are dressed in normal colours a more extensive part of the brain, including the frontal lobes, becomes active, in addition to [extrastriate visual cortex area] V4. But if they are dressed in abnormal colours, as in fauvist paintings, a different set of areas (in addition to V4) become active.
Zeki, Art and the Brain, Dædalus 127, 71-103 (1998).
In other words, a spectator's reaction to color depends not only upon that individual's unique interpretation of color based upon his or her processing of waveband reflectivity, but also upon the form associated with the color. Moreover, these values are different for the artist at the time of creation than they are when viewing the completed work.
Applying Color
Color certainly has its place, and when used by a master, color can have incredible results. The colors and patterns in Piet Mondrian's painting Broadway Boogie-Woogie appear to shift around in a jazzy way.
Pulling off a such a feat is very difficult because of the inherent complexity of color. Color has meaning in the mind of the spectator, which is often at odds with—or at least different from—the meaning of shapes the artist used to communicate. Color interferes with our recognition of design relationships. Colors have their own visual weight, regardless of their relative presence in an image, which can easily upset visual balance and distract the spectator from the message the artist wants to convey. Accordingly, in art, color is a distraction to the content unless its use is intentional, and designed to address the biology of color perception.
Color problems are exacerbated in photography because photography represents moments and levels of detail that are evocative of live perception, making an understanding of the effects of color on the spectator all the more important. Especially in a still image, the uses, symbols, and meanings of color do not have the same relevance as they would in real time, or even in a movie. In explaining his decision to photograph only in black and white, Sebastião Salgado told an interviewer: "greys are not a distraction – if I was to photograph this table, this red book would distract you from everything else in the image. The red takes all the power away."
Roland Barthes wrote this about color photographs:
Perhaps it is because I am delighted (or depressed) to know that the thing of the past, by its immediate radiations (its luminances), has really touched the surface which in its turn my gaze will touch, that I am not very fond of Color. An anonymous daguerreotype of 1843 shows a man and a woman in a medallion subsequently tinted by the miniaturists on the staff of the photographic studio: I always feel (unimportant what actually occurs) that in the same way, color is a coating applied later on to the original truth of the black-and-white photograph. For me, color is an artifice, a cosmetic (like the kind used to paint corpses). What matters to me is not the photograph's "life" (a purely ideological notion) but the certainty that the photographed body touches me with its own rays and not with a superadded light.
Camera Lucida at 81.
Barthes' observations are based on human perception. As explained by Carson Graves in The Zone System for 35mm Photographers:
Many people have the mistaken impression that color prints and transparencies produce images that are more real than images in black and white. Quite apart from the difficulties of defining the term "real" we need to understand just how what we see is changed by rendering it as a color image. We tend to confuse the ability to see color in our images with the way we see the world itself. In fact, the added dimension of color often creates just another departure from an accurate view of the world. The many reasons for this have to do with the nature of the color materials themselves, and more importantly the nature of our language and our memory.
Graves at 98. Graves goes on to discuss the problems English speakers have in perceiving color based on a language deficit:
Margaret Mead observed that Eskimos have 17 words for the color white, each one defining a particular snow condition. In the English language less than a dozen commonly used words describe color. This limited lexicon means that we have no clear concepts for more than a few colors, and this in turn limits our ability to see and distinguish color differences. We see symptoms of this problem in the convoluted adjectives used by interior decorators and car manufacturers in naming colors.
The lack of precision in our language often forces us to make vague generalizations about what we see. Josef Albers wrote that when a room full of people is asked to visualize the color red, everyone will think of different shades of that color. Even when a specific shade of red that is familiar to the audience is mentioned, such a "Coca-Cola" red, the results will be no different. Shown various shades of red and asks dot pick out the one that matches their memory of a "Coca-Cola" sign, invariably there will be a disagreement.
All these issues apply in color photography, and show themselves in the frustrating aspects of color correction and matching in post processing. After a lengthy discussion of the limitations of both the capturing and presentation of colors in digital and print media, the great Richard Zakia addressed the issues of editing digital images:
One should not overlook the broader aspects of how the visual field can influence color. For example, assume a person is looking at a color image on a computer monitor. If the field of view is restricted to just what is on the screen and nothing more, the image will have a certain look If the visual field is now extended to include the frame of the monitor, the perceived image will look a bit different, depending on the width and color of the frame. If the view is extended further, to include the area around the computer, the perceived image will again be somewhat different, depending on the surround. . . . Another factor to be considered is the level of the ambient light in the room and its color temperature. Is the lighting tungsten, fluorescent, daylight, or combinations These same variables exist for viewing images in a gallery or a home. Color is a slippery chameleon and changes as the viewing conditions change.
A very public example of the vagaries of color perception occurred in February 2015 when Scottish musician Caitlin McNeill posted a picture of a dress on her Tumblr with the caption, "guys please help me — is this dress white and gold, or blue and black? Me and my friends can't agree and we are freaking the f*** out." Over 21 million people looked at the image in a matter of days, with strong disagreement. More curious still, many media outlets attempted to provide scientific explanations for why the perception the color of this dress could vary so widely, but none of them provided a definitive answer. Instead, the conclusions were along the lines of Jay Neitz's. According to Wired, Neitz is a neuroscientist at the University of Washington. Wired quotes him: "But I've studied individual differences in color vision for 30 years, and this is one of the biggest individual differences I've ever seen." (Neitz sees white-and-gold.)
This color perception problem was true for photographers at Wired as well:
Even WIRED's own photo team—driven briefly into existential spasms of despair by how many of them saw a white-and-gold dress—eventually came around to the contextual, color-constancy explanation. "I initially thought it was white and gold," says Neil Harris, our senior photo editor. "When I attempted to white-balance the image based on that idea, though, it didn't make any sense." He saw blue in the highlights, telling him that the white he was seeing was blue, and the gold was black. And when Harris reversed the process, balancing to the darkest pixel in the image, the dress popped blue and black. "It became clear that the appropriate point in the image to balance from is the black point," Harris says.
So when context varies, so will people's visual perception. "Most people will see the blue on the white background as blue," Conway says. "But on the black background some might see it as white." He even speculated, perhaps jokingly, that the white-gold prejudice favors the idea of seeing the dress under strong daylight. "I bet night owls are more likely to see it as blue-black," Conway says.
Adam Rogers, The Science of Why No One Agrees on the Color of This Dress.
But ultimately that's the choice: using your attention on the subject, or deciphering the messages of the colors in a scene and then trying to anticipate how an unknown spectator will react to it. It's extremely difficult to do both. More to the point, I don't know that it's worth it. (In those moments when you think color is worth the amount of attention and thinking required to do it right, just remember that it took Mondrian a year to paint Broadway Boogie-Woogie. And just remember those 20+ million disagreements on Twitter over a dress.)
Color Blind
Instead, embrace the truth that a photograph's subjective value to a viewer is almost always based upon an emotional connection to the content—not upon its faithful rendition of reality. Content is better expressed in black and white than in color. As the Father of Canadian Photojournalism famously said:
When you photograph people in color, you photograph their clothes. But when you photograph people in black and white, you photograph their souls!
― Ted Grant
Black and white images are about the form of a thing. Black and white reveals the essence, stripped of its distractions and artifices. Black and white reveals texture and depth, juxtapositions, contrasts, and allows the viewer to study the magic of a moment which could never have been perceived absent the photograph.
Putting it more bluntly, Henri Cartier-Bresson said this in an interview:
Q. How do you feel about color photography?
A. It's disgusting. I hate it! I've done it only when I've been to countries where it was difficult to go and they said, "If you don't do color, we can't use your things." So it was a compromise, but I did it badly because I don't believe in it.
The reason is that you have been shooting what you see. But then there are the printing inks and all sorts of different things over which you have no control whatsoever. There is all the interference of heaps of people, and what has it got to do with true color?
Q. If the technical problems were solved and what you saw on the page would really be what you saw with your eyes, would you still object?
A. Yes, because nature gives us so much. You can't accept everything of nature. You have to select things. It'd rather do paintings, and it becomes an insoluble problem. Especially when it comes to reportage, color has no interest whatsoever . . . .
Pursuing excellence in any endeavor requires stripping the thing down to its most fundamental essence. In photography, that means abandoning color.
In the next part, we'll provide you with a solution that will get you on the road to seeing in black and white.


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Consulting with a chiropractor after a traffic accident may be the right choice for many accident victims. Chiropractors treat neck injuries and whiplash, back injuries, soft tissue injuries, and they also help accident victims to loosen stiff muscles. Chiropractic therapy aims at healing musculoskeletal injuries. The practice is grounded on the presumption that when the nervous system functions correctly and the skeletal system is aligned properly, the human body can self-heal.
In the United States, chiropractors treat a third of all accident victims. About two-thirds of all traffic collision injuries are musculoskeletal injuries from whiplash or cervical, thoracic, and lumbar strains or sprains. Chiropractors specifically treat these kinds of soft tissue injuries. Among other functions, a chiropractor will perform specific manipulations of vertebrae that have abnormal movement patterns or that fail to function properly. A chiropractic adjustment, for example, is a routine therapeutic treatment for lower back pain.
In recent decades, chiropractic treatment has become a mainstream treatment. A number of insurance plans now fully cover chiropractic therapy, and the U.S. Department of Veterans Affairs has been approving chiropractic treatments for veterans since 2004. Some insurance companies still consider chiropractic treatment to be an "alternative" therapy, but it has long been a widely-accepted solution to spinal and neck problems including lower back pain and whiplash.
After a traffic accident, there may be injuries that can't be seen – back and neck injuries, herniated discs, neck and back pain, misaligned vertebrae, headaches, and head pain. Delays in the onset of pain after a traffic accident are also quite common. Joint injuries in auto accidents may cause post-traumatic osteoarthritis, a speeding up of the arthritis process in younger persons. After any traffic crash, obtaining the medical treatment you need must come first, even if you don't "feel" injured, because of the possible injuries that are not visible to the naked eye.
Accident victims should not wait to obtain treatment. In the state of Colorado, traffic crash victims should seek medical attention as quickly as possible, and if another driver's negligence was responsible for the traffic accident, injury victims should also arrange to speak promptly with an experienced Denver personal injury attorney. Some injuries may not be detected – or detectable – until days or weeks after a collision, so the sooner a chiropractor sees you, the better your chances are for a quick recovery.
Injuries can and do occur in low-speed collisions, so those collisions can be dangerous too. One of the most common injuries suffered in traffic collisions is the cervical/neck strain known as whiplash. Whiplash injuries happen mainly but not only in rear-end collisions, and they happen in low-speed accidents as well as in high-speed crashes. Automobile bumpers are made to withstand damage at low speeds, but humans are not, so when a vehicle doesn't absorb the force of a crash, the occupants of the vehicle absorb that force, and it can lead to neck, back, and spinal injuries.
When the neck muscles and tendons are stretched by a force beyond their natural range of motion, that person will very likely sustain a whiplash injury. Along with sprains and strains of the neck, the shoving or yanking force may sometimes result in severely misaligned cervical vertebrae. There are no "minor" head, neck, or spinal injuries. Chiropractic treatment, however, works to heal the physical damage "holistically" without using pharmaceuticals or surgeries.
Whiplash may cause a stiff back, a stiff neck, nausea and dizziness, severe migraines, shoulder aches, extreme sensitivity to light and sound, and pain that radiates from the neck to the shoulders and arms. Anyone suspecting whiplash should be examined as soon as possible because whiplash does not simply disappear over time. Instead, whiplash symptoms usually get worse, and a whiplash injury can permanently restrict the motion of the neck without prompt and effective treatment. Some whiplash victims will recover swiftly and fully, but for others, the pain can persist for up to several years.
Chiropractors heal – or they help the body to heal – whiplash and many of the other injuries linked to traffic collisions by adjusting misaligned vertebrae, by easing inflammation and swelling, and by improving circulation through manual procedures, spinal "decompression," and physical therapy. Some chiropractors include acupuncture as a part of their practice, and most also make recommendations regarding diet and dietary supplements.
Someone's first chiropractic visit typically includes both a physical exam and a medical history. A patient should explain the accident and describe the resulting injury to the chiropractor as exactly and as specifically as possible. Patients will be asked if they have any underlying or recurring medical condition, about their family's medical history, and about their diet, any previous medical treatments, and any current medical conditions or prescriptions.
During a first examination, a chiropractor will check the spine's alignment and will also look for any signs of inflammation. The neck's ability to move freely and painlessly may also be tested and assessed. Lab tests may be ordered to eliminate infection as a factor or to uncover medical problems that may require a non-chiropractic treatment. Most chiropractors will also order x-rays during someone's first chiropractic visit.
The amount of time required for chiropractic treatment after someone is injured in a traffic collision depends entirely on the nature and the extent of the injury and any recurring illnesses or underlying medical conditions. A healthy person's injury in a traffic accident, generally speaking, will heal quicker than a similar injury suffered by a person with an existing medical condition. Some patients may need as much as two years of chiropractic therapy. Others can complete chiropractic treatment in as little as a month or less.
Insurance companies may or may not cover chiropractic therapy. To guarantee that an accident victim is treated fairly after a traffic crash in the state of Colorado, for example, an injury victim should make no statement whatsoever to an insurance company prior to consulting with an experienced Denver personal injury attorney. Chiropractic treatment is still viewed suspiciously by some insurance companies, but an accident victim's priority after being injured in a traffic collision must be to seek and obtain, as quickly as possible, the treatment and care that will be most effective.


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The Freedom Giveaway Hop is hosted by I Am A Reader, Not A Writer and Simply Stacie.net It takes place from July 1st to 7th. There are hundreds of blogs participating and each has their own rules, so be sure to stop by each one and enter!
Here is what I am giving away:
Contest is open to anyone over 13 years old with a reliable mailing address (PO Boxes OK!)
Contest ends on 7.7.11 Winner will be chosen by Random.org on 7.8.11
Winner will have 48 hours to respond to email or a new winner will be chosen.
This giveaway is sponsored by ME
If mailing costs to your country is prohibitive, I may opt to substitute a book of your choice from the Book Depository gift card (up to $15)
Complete the below form
Follow Me
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+1 Follow me on Twitter HERE
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+1 for social networking this giveaway and leave me a link (blog, twitter, facebook, etc) up to 4 times.


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Hello everyone! Well over the busy weekend I've had a few more STACKTASTIC entries squiggle in. First off we have an entry from Jessie I am calling "I can't believe I sent this in". That's a mighty chunk of reading there!
Next up is an entry called "A Hunter's Response". I guess 5 minutes after he was read my new book, his mother found him in the pantry doing this:
Well done young man!
Keep them coming!


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These Sectional Overhead Doors are also often referred to as 'Up and Over' Doors. They are extremely popular for use in commercial environments due to their versatility, ability to withstand high usage, protection against noise and draughts and by allowing natural light into the building through integral window panels.
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We use cookies to monitor the performance of our website and ensure we are giving our users the best experience. OK


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Loyalty is…
Celebrating Golden Circle's fifth anniversary.
We are turning five! In celebration of Golden Circle's fifth anniversary, we have launched a new global initiative called #LoyaltyIs. From December 2015 through May 2016, we will roll out industry-leading programme benefits, new partnerships and exclusive offers while engaging fans around the question of what loyalty means to them and giving away five million Golden Circle Award Points.
The #LoyaltyIs campaign microsite will feature stories from guests, employees and five cultural influencers. From 14 December 2015 to 7 March 2016 a video, from each of the five influencers, will air every three weeks to share his or her story and ask followers to share theirs. Fifty winners will be selected for every round and each will receive 20,000 GC Award Points (equivalent to US$2,000). On top of that, one grand prize winner will be chosen and treated to a memorable Shangri‑La experience.
To enter the contest, Golden Circle members and fans can share a photo, video or simple statement on Facebook, Twitter, Instagram, Weibo and WeChat about what loyalty means to them while tagging @ShangriLaHotels and adding the #LoyaltyIs hashtag. Participants can also enter directly at www.loyaltyis.com. Kick starting the first round of the contest is Voice of China contestant Zhang Heng Yuan's video, "#LoyaltyIs The Sound of My Dreams", which will debut on 14 December 2015.
For details of the campaign's contest and fabulous offers, go to www.LoyaltyIs.com.


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Edge Hall
Angela Rolfe Edge Hall, 2 High Street, Hadleigh. IP7 5AP Tel: 01473 822458 Email: [email protected] Web: www.edgehall-hotel.co.uk £50+ single, £80+ double. Georgian house at the end of Hadleigh High Street, which is full of interesting buildings and still has real shops. The rooms are beautifully decorated with appropriate wallpapers and furniture, and all usual facilities.
Hadleigh (20 mins by car)
Edge Hall
2 High Street
United Kingdom


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Yayoi Asoma
Stephen Westfall
October 16 - November 29, 2008
Yayoi Asoma is an artist and educator living and working in Brooklyn, NY. She received her BFA in Painting from the Rhode Island School of Design, Providence, RI and her MFA in Visual Arts from Mason Gross School of the Arts, Rutgers University, New Brunswick, NJ. Recent solo and group exhibitions of her work include The Grass is Greener on the Other Side...So What?, Leo Fortuna Gallery, Hudson, NY;Artist As Teacher, The Studio, Armonk, NY; Passages (2004), OSLO, Brooklyn, NY; Drawings (2006), Agora Gallery, Knoxville, TN; Summer Exhibition, Gallery 17 Peck, Providence, RI and her work has been reviewed in the New York Times. Asoma is an adjunct professor at Manhattanville College in Purchase, NY and teaches at public schools in New York City through Studio in a School. The exhibition at CUE Art Foundation marks Asoma's first solo show in New York.
Stephen Westfall is an artist and writer living in New York, NY. His paintings are represented by the Lennon Weinberg Gallery in New York, NY and Galerie Wilma Lock in Sankt Gallen, Switzerland. His work is included in the collections of The Albertina Palais Museum, Vienna, Austria; Rubin Museum of Art, New York, NY; the Hammer Museum, Los Angeles, CA; The Baltimore Museum of Art, Baltimore, MD; The Kemper Museum of Contemporary Art, Kansas City, MO; The Munson Williams Proctor Arts Institute, Utica, NY; and The Louisanna Museum of Moderne Kunst, Hammelbak, Denmark. He was named a Guggenheim Fellow in Painting in 2007 and has received the Nancy Graves Fellowship, the Academy Award and Purchase Prize from the American Academy of Arts and Letters, three NEA awards and two New York Sate Council in the Arts awards. He is currently an Assistant Professor at the Mason Gross School of the Arts at Rutgers University, New Brunswick, NJ and is the Painting Co-Chair of the Bard College MFA program, Annandale-on-Hudson, NY. Westfall is a well known art critic, independent curator and a contributing editor to Art in America.
My paintings are built through exploring the notion of recollection. I am interested in how memory works as a constructive process that reproduces, filters, changes and interprets the past.
My work speaks through the familiarity of the home, where spaces of our everyday lives entwine perpetually with the memories and associations of our experiences. While a house is often referred to as a home, the concept of "home" is broader than a physical dwelling. Home is often a place of refuge and safety, where worldly cares fade. Home is an experience as much as a specific place.
In my earlier works, I worked to recreate the spaces of my home directly from memory. I documented the spaces with the scrupulous care of a witness, but even the best witnesses lie, misremember and miss important details. Preoccupied with how memory should look, I relied too much upon a "logical" understanding of space.
The basis of my paintings has since shifted and I now use photographic images as a starting point. The photographic source helps me grasp and portray the specific nature of the space. In addition, I am intrigued by the flat surface of a photograph and the camera's ability to unsympathetically frame a space. I very rarely work from a single photograph. Instead, I revive the image source through the process of photocopy, Photoshop and collage. This sifting process enables the generation of a new image-one that is estranged from its original source and serves as the guideline in the construction of the often fragmented and disintegrated spaces in my paintings. The final compositions of my paintings incorporate several different views of the space, shifting spatial relationships and creating fractures and pockets.
Ultimately, I paint to make new spaces-creating paintings within paintings and rooms within rooms, with thick layers of paint and densely overlapping perspectives. To spend time in front of these paintings is to see them change. Figures and objects move in and out of the viewer's attention, as each painting seems to present an analysis of the processes of seeing and remembering.
by Stephen Westfall
Yayoi Asoma's spectacular paintings have the humblest of beginnings, from photographs and memories of the house she grew up in, in Chappaqua, NY, where her parents still live. As they manifest in a gallery space of appropriate scale, the paintings expand their biographical material into a grand formal display of something that we may have not known or forgotten we were missing: the potential of a post-Cubist representational space to intensify an experience of a thing or place rather than confuse it or render it nostalgic. I think this is so because, since Matisse, post-Cubist rupture of a coherent pictorial space (the equivalent of montage in film or theatre) has largely disappeared, or else has been submerged so deep into pictorial structure as to be non-declarative even as it torques the entire spatial field, as in the paintings of Malcom Morley, Lucian Freud, and Rackstraw Downes.
The closest compositional analogs to Asoma's panoramic sequences of breaks and sudden vectors might be David Hockney's reiteration of post-Cubist space in his photo-collages and Gordon Matta-Clark's photo documentations of his swooping cuts into buildings. But these are photographs, not paintings. Their surfaces are missing the tactile "feeling out" of the painted mark and, by literal extension, the reach of the body in real space. Not Asoma's paintings. Photography for her is a starting point, a kind of note taking or an on site sketch. Back in her painting studio, photographs of interiors and exteriors of the Chappaqua home are pieced together and adjusted for some equipoise between transitions that make narrative sense and abrupt breaks that shift scale, bring light into dramatic collisions with shadow, and establish a corollary between shifts in spatial vectors and levels of memory. Perhaps most importantly, the photographic elements are blown up to a scale where painting more productively takes over as a rendering process, not to preserve the material integrity of the grain of a working print, but to establish another level of presence at a scale where the photographic grain starts to break down, or else lose any connection to the scale of human application (in their technologically jaw-dropping cohesion, the prints of Andreas Gursky or Thomas Struth only confirm this apprehension).
Asoma's paintings are dream like without the irruptions of the id (that would be Surrealism). Their spaces adhere to the eye in the manner of dream space, which seems to follow us as subjects. As our eye moves through the exteriors, or around the exteriors of the home we are aware that every plane, every splinter or fragment of a view, even those at steep angles of perspective, is directly addressed to the gaze. Simultaneously, the paint surface, built up in transparent or semi-transparent washes, advances as a material presence, delicate but insistent in its buildup. Bonnard does something similar, but usually with a smaller and less loaded brush (fewer drips in Bonnard). And Asoma's palette is narrower than that of Bonnard's mature paintings; she stays in the grays and greens of the early Nabis. I think this at least partly because a broader and warmer chromatic range would undermine the elegiac undertow of her otherwise monumental pictorial constructions. This is the house she grew up in, through and around which she wanders, or floats as if in a dream. The paintings draw the viewer's full body into her dream, close to the literal scale of both the interior and exterior of a house viewed at the site and the concrete scale of the artist's body making a painting across such an area. So it's more than a dream or a memory that's present here. It's a fresh mapping of sensation achieved through a reawakening of dormant formal methods. This is an auspicious beginning for a young painter setting out, but I think these paintings would be impressive for a painter at any age.
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YOUNG ART CRITICS: Sophie Landres on Yayoi Asoma


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Opening and Closing Ceremonies/
And they were prepared as it was written. He looked, took a bite, and was pleased. It was good.
by Sanford D'Amato | Photography by Dominic Perri
In my pre-pubescent world, there was not-a-morning-person—and then there was my mother. For her, the only appropriate first salutation of the day was, "good afternoon." This put a damper on breakfast at our house. My sister and I would self-prepare our morning meals. I learned to open a box and pour milk over Sugar Pops or Kix from a very early age.
I was always amazed, and a bit jealous, when I went over to my friend Rick's house before school. Uncommon smells emanated from his kitchen: ham, bacon, or sausage accompanied by sizzling eggs, pancakes, waffles, or French toast. An ever-present sticky bottle of Log Cabin syrup was a beacon in the center of the table. This was another world to me as Mrs. Sheridan, with help from her kids, would put out this full-scale spread every morning.
Christmas Day was the only day of the year that my dad closed his grocery store and didn't work. My sister and I would rush down to the presents and right after the "grand opening," the unmistakable smell of bacon would start to roll in from the kitchen. Was Mrs. Sheridan here? No, my mother had the Sunbeam electric skillet out. As the bacon would start to get crispy, she broke eggs right over the top and covered the skillet. Aroma-filled steam wisped and rattled out of the tiny vent on the cover. Within seconds, a divine combo emerged—eggs slightly crisp at the edges and totally infused with the flavor of bacon fat.
As she sat at the table with only a cup of coffee in front of her, my mother murmured under her breath, "Country eggs and bacon." They were porky, crisp, and creamy at the same time. What followed was the breakfast I was always waiting for: all of us together, happy, joking, and completely satisfied. With a start like that, the closer better be good.
Later, after Christmas dinner at his house, my grandfather opened a large round tin and motioned for me to take my pick—light, dark, colorful cookies. How could I choose? Then I saw this shiny mini-log that had at least 3,000 colorful candy sprinkles jutting out at different angles. I went for it and took a bite. The sugar-glazed cookie coating, crisp and molten at the same time, encased a brown, sweet, savory, sticky filling. I was halfway through the first bite and I knew I loved it. It was a fig-filled cuccidato, a traditional Sicilian Christmas cookie. That was certainly not my last, as every year's Christmas after brought a new covered plate of fig cookies. They ranged from sublimely succulent to a tad dry and dusty, but all evoked the emotion that it was Christmas and that this was the only present of love and caring that I needed.
It's tough when you get into making classic recipes, especially holiday cookies. They have such intense memories for people as one of the first bites of food that are filed away, keepers, never to be messed around with. It's like cooking for some sort of all-knowing Supreme Being that we seem to become.
But that is not going to stop me. For the Cuccidati that I make today, I mix the figs with enough dried cherries to enhance but not intrude. Then I bathe them in some fresh orange, lemon, and dry Marsala and reduce to a moist filling. The dough is where I may part ways with many traditionalists. It's a simple cream cheese dough that yields an extremely crisp, flaky cloak for the rich filling. And glazing while still warm makes for a tasty balance of crunchy, rich, savory, and sweet that brings you back for a second and third cookie.
This opening and closing may not be your tradition, but I guarantee it will bring a smile to your face. I'm sure you'll take a bite and later concur that, from the beginning to the end, it was good.
RECIPES: COUNTRY EGGS AND BACON and CUCCIDATI (Sicilian Fig Cookies—My Way)


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Cravings can be all-consuming. I don't know about you, but when I begin to imagine a swooned-about meal, my belly growls, my mouth begins to salivate, and my brain fixates. My thoughts are persistent and focused. I always tease Jivan about how when he sets his mind to something, good, bad, or indifferent, it is as though he is a racehorse with blinders on. Well, I wonder where he gets that from!
These urges feel primal – and they tend to get magnified by 100,000 percent when we are pregnant. My own pregnancy was 15 years back – I was almost like a prehistoric dinosaur at that moment, it feels like such lifetimes ago! But, my dear friend Laney Crowell of The Moment brought my pregnant self back into focus recently, sending me on a trip down memory lane.
Laney is preggers, and she asked me about the one meal that remained at the forefront of my pregnant mind throughout those nine months. Without having to think twice, I blurted out SCRAMBLED EGGS AND HAM! Morning, noon, and night, I ate scrambled eggs and ham, and when I went into labor, guess what my last meal was before leaving for the birthing center?? Victor can likely make this dish with his eyes closed. He made it soooooo often during that time, and that says a lot, because Victor does not cook, ever. This is the one meal he just might make better than I do. I mean, not really…but you get the point.
So back to those uncanny similarities between mother and child. Can you now guess what Jivan's favorite breakfast food is? Oh yes, EGGS, HAM, and since I am raising this little food-swooner-in-the-making, HERBS. I love that he contributes the herb bit, since let's be frank, the eggs just look so much prettier with a dusting of roughly chopped greens. The visuals only intensify the signals in my brain, furthering the whole craving thing. I mean, this idea of aesthetics heightening our experience is the cornerstone of EyeSwoon and my upcoming cookbook. Maybe I need to thank my son for the inspiration!
So, here it is – my talks with Laney about cravings, plus the meal the Calderone family eats just about every Sunday for breakfast, with blinders on.
Pregnancy Cravings with The Moment
Photography + video by Julie Florio
Scrambled Eggs with Crème Fraîche and Herbs
EyeSwoon Kitchen
Serves 2
- 5 large free range eggs
- 1 heaping tablespoon crème fraîche
- ¼ cup fresh roughly chopped herbs (mix of parsley and tarragon)
- 1 tablespoon butter
- Flaky sea salt
- Fresh cracked pepper
- Toasted bread with olive oil
- ¼ lb. thinly sliced prosciutto
The Prep
- In a medium-size bowl, crack the eggs. Add a dollop of crème fraîche and a pinch of sea salt and fresh black pepper. Beat vigorously with a whisk or fork. Heat a medium-size non-stick pan over low heat and add the butter until it is melted and frothy. Slowly pour your eggs into the pan and use a spatula to continuously pull the mixture from the edges of the pan. Your eggs are done when they are loose, silky, and still a tad runny. They will continue to cook on the stove, so remove them from the heat immediately.
- Divide the scrambled eggs into two plates and sprinkle with herbs, flaky seas salt, and freshly cracked course pepper. Serve with golden toast and a few slices of prosciutto.
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Trump's staff has an excellent idea to invite Netanyahu to inauguration
President-elect Donald Trump's advisers want to invite Israeli President Benjamin Netanyahu to the inauguration or arrange a meeting of the two leaders before then, a source close to the transition said.It's a very good idea, and a splendid way of showing Israel the hospitality Obama's administration didn't.
Transition leaders led by Trump son-in-law Jared Kushner have been aggressively courting Netanyahu and want him to attend the Jan. 20 festivities, the source said.
"There's a plan for Trump to meet with Netanyahu," the source said. "They're talking all the time. And Netanyahu is talking about possibly going to the inauguration."
Netanyahu congratulated Trump on his victory a day after the presidential election, and Trump had invited the Israeli leader to meet in the US at his "first opportunity."
Labels: Israel, United States


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If you want to know how to turn something positive into something negative, look no further than the Huntsville City School Board.
Back in the spring, the school system presented a capital improvement plan to spend $194 million to construct several new school buildings across the city over the next three to five years, including two new high schools – one in north Huntsville and one in south Huntsville.
The one in south Huntsville will replace the current Grissom High School building. The one in north Huntsville will house the students who now attend J.O. Johnson High School and most of the students who now attend Butler High School.
Board member Mike Culbreath called it a "perfect storm," referring to the school system simultaneously receiving approval to execute the plan under the federal desegregation court order and also having the funding to do it.
Board member Jennie Robinson called it "historic."
We agree that the impending wave of new school construction is an historic undertaking for Huntsville, and other systems across the state would love to be in the same position. But the devil is in the details.
The south Huntsville school will retain the Grissom High name, but the north Huntsville school will be named for Mae Jemison, the first black woman to travel in space.
Residents in north Huntsville, particularly J.O. Johnson alums, immediately expressed displeasure with what they considered a name change.
But, in an op-ed to AL.com, board member Laurie McCaulley said this wasn't a name change, but a new name for a new school, and that "(s)adly, J.O. Johnson High School is closing."
J.O. Johnson supporters questioned why the mostly white Grissom gets to keep its name, but the mostly black Johnson loses its name, and, thereby, the legacy attached to it.
School officials responded more recently that the new name makes sense because J.O. Johnson students will be combining with Butler High students at the new location.
The explanations have not appeased J.O. Johnson supporters, who have called on the city's black elected officials to champion the fight to keep the name. City Councilman Richard Showers; County Commissioner Bob Harrison; state Rep. Laura Hall, D-Huntsville; the Rev. R.L. Shanklin of the Greater Huntsville Interdenominational Ministerial Fellowship; and Alice Sams, head of the local chapter of the NAACP, have taken up the call, attending meetings and trying to make a case for keeping the J.O. Johnson name.
They say they've been met with disdain, dismissal and disrespect by the school board, particularly by Superintendent Casey Wardynski, who, in an interview with AL.com said flatly, "It's not a name change. It's a new school. When my first son was born, it wasn't a name change."
The result ... A weekly meeting among black elected officials has not included McCaulley in recent weeks. Harrison has notified the Justice Department that he believes racial inequities still exist in Huntsville and that the school system is not ready for unitary status. The stigma of remaining under the desegregation court order could impact industrial recruitment – this as Huntsville and the state of Alabama work to woo the likes of Boeing, which could bring more than 5,000 jobs to the area.
Lost in the back-and-forth is the fact that, in a few years, Huntsville is going to have several spanking new schools for the city's children. We're about to make history, but nobody wants to celebrate when they feel like they're being disrespected.
"Our concern," said Showers, "is this is 2013, and we are still being treated as second-class people."
Elected officials serve at the pleasure, and as the voice, of their constituents and should never sense that they've been muted in the public arena. We invite the elected officials on both sides of this issue to come to the table and try to reach some degree of consensus.
We here at AL.com and The Huntsville Times are glad to provide the space and serve as moderators for the discussion.
Let's talk about it. Respectfully.
Written by Anthony Cook for the AL.com and The Huntsville Times editorial board. Reach him at firstname.lastname@example.com.


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Mattel: Sidearm Proton Blaster was released as part of the May 3rd 2016 launch of the Ghostbusters line by Mattel. The item first appeared on Amazon. It uses ammo from the BOOMco brand.
Toy Description
Sidearm Proton Blaster
with 5 red darts with blue tips
Online Details
These were found on Target.com.
The iconic Ghostbusters movie is back with all new heroes and they need your help catching ghosts! Gear up with this authentic Electronic Proton blaster powered by BOOMco and become a ghost buster! Simply load the blaster with the 5 included plastic darts, charge it by pulling back and blast away. The Proton Blaster features rapid firing power and accuracy up to 70 feet. It's sleek to carry and easy to use, too, so ghosts cannot escape! Recreate the action seen on screen, or stage new missions to save the city from paranormal disaster! Colors and decorations may vary. For ages 6 and up.
- Ghost-hunting blaster powered by BOOMco and inspired by the new Ghostbusters movie
- Features authentic details
- Rapid fires plastic darts up to 70 feet (5 included)
- Sleek to carry and easy to use, ghosts cannot escape!
- Ideal gift for fans of all ages, and an exciting addition to your collection
Accessories/Clips and Ammo Packs
While not exclusively offered for the Sidearm Proton Blaster, BOONco also sells refills of the red darts with blue tips ammo. 16 piece Dart Extra set and the 20 ammo in a clip set are offered by BOOMco.
- It is mostly based on Patty's unused Proton Blaster that was shown on the table in DVD Chapter 11 and on her right leg during the Times Square battle.


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We awe in the beauty of our landscape. We cherish the quaintness of our downtown. We benefit from the richness of our soil and streams. Enjoy a broad range of presenters sharing their unique relationship with the land.
Doors open at 6:15pm. Cash bar available. Chit chat highly encouraged during the mid - evening beverage break.


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Context: Usually I do not write reviews, comparisons or critique most media. I could, because I do have opinions and hold my choices of movies, shows, and songs to high standards, but I am also able to enjoy something cheap for the sake of cheese or to respect a piece of art without enjoying it. However, there are a few timeless works of art that are a part of my soul in which nothing can compare. Toping that list is the 1985 adaptation of Anne of Green Gables and Anne of Green Gables The Sequel. That series is entwined into my soul and fused into the core of my being. Thus, when I heard that yet another adaptation was coming, and it caused more of a stir than the previous other attempts, I dreaded the fact that I would have to watch it and give it a fair chance. I also knew I would be writing about it because Anne, to me, is more than a story. Anne is part of the fabric of who I am.
Anne has always been a heroine of the daily. Her escapades and stories were rooted in the explorational themes of home, comfort, love and belonging. As this critic reviewed HERE, "Anne of Green Gables endures as a cozy story that reveals the resiliency of the human spirit through small-scale, domestic victories and setbacks, as well as the mundane, everyday tragedies of human life." Anne is, and has always been, about the little moments in life that make up the larger aspect. Sure, L.M. Montgomery wrote about tragedy and insinuated hardships from Anne's orphaned past, but she focused more on the little details that make up life, friendship, death and love. In that, it was a story that almost anyone could relate to.
Anne with An E took this and instead created a jarring and gritty version of trauma after trauma. I will not go into detail but you can read all about that HERE in an article titled, "Anne of Green Gables, Netflix's Bleak Adaptation Get's it So Terribly Wrong." I actually respected Anne with an E despite it's tried affiliation with the source material of the more cozy, comforting story. I wish it could have been a story on it's own. I understand a certain amount of PTSD from sensory trauma, though my childhood was NOTHING like Anne's in this story, so I recognized that the Anne in this version had it severely. It could possibly make those who have suffered such ills feel less alone, or maybe trigger their trauma...I don't know. But I DO know that, right now, I have been struggling with depression, and this newer tale DID express feelings that I could relate to. I have been feeling that depressive numbness and have been searching in vein for anything to trigger feeling within. Wonder Woman brought me the closest moment of feeling I have had recently. 'Anne with An E' actually triggered me to cry within the first act, and for that alone, I am grateful however my Anne of Green Gables can do that, even when I am most depressed, simply by encouragement. The acting was well done and the child who played Anne was delightful in expression. However, I could only enjoy it up to a point because while it did have the memorized lines from my childhood show, these phrases would show up jarringly in the context given. Dark and gritty isn't whom Anne IS in the books nor in the amazing 1985 adaptation. Anne is sunny, cheerful, headstrong, stubborn, and imaginative. She is also the platonic love of Mathew's life and the match for Gilbert because she does not slow down for him or give him reasons to be complacent. Anne is born from GENTLE books. There are other stories that should give the grittier aspects of life, but this tale was never supposed to go there.
"Dear old world', she murmured, 'you are very lovely, and I am glad to be alive in you."
This article HERE titled "Why the 1980's Anne of Green Gables is such a Hard act to follow," highlights all the reasons why women and men everywhere fell in love with Megan Follows version of Anne (Kevin Sullivan's adaptation.) I re-introduced my husband to Anne when we were dating and he still asks to watch the show every year. My sons adore the films just as much as my daughter. The series is timeless and classic, endearing and beautifully ordinary in a romantic, comforting way. I have the entire film committed to memory. When I hear Hagood Hardy's 'Trip to Green Gables' music I STILL tear up. The teariness I feel stems from a deep well of stored inspiration and inspiring lines uttered during walks through sun dappled trees with Ms. Stacey or on grassy fields with Matthew. Wisdom that was installed by the daily deeds of ordinary people who defied gender stereotypes and became a crucial part of Anne's life of love, was what encompassed the entire series. It pulls at my heartstrings in a way no other media has yet to do. Yes, I have cried and been pulled into story lines that run a close second in my heart, but none have yet to move me time and time again and become such a crucial part of me as the 1985- version of Anne of Green Gables.
I used to cry to my mother in Grades School that there would never be a man in the world who would love me like Gilbert Blythe loved Anne for her brains, hot temper, big heart, imagination and quirkiness. I knew I was like Anne and I had no intention of waiting for the man of my dreams because he already had lived and died as Gilbert Blythe. At one point, I amused my mother by pointing out that even Jonathan Crombie, who played Gilbert, was too old to go after. I thought, in my child imaginings, that he would run a close second since he did play Gilbert perfectly. I was around ten years old and he was older than twenty which seemed an insurmountable age gap at the time. I actually grieved over this. Heart wrenching, gulping sobs.
"Because when you are imagining, you might as well imagine something worth while." ― L.M. Montgomery, Anne of Green Gables
Looking back, I think that at it's heart, Anne of Green Gables is about acceptance, love and building a family out of people that one may not have originally belonged to in the first place. I never felt like I belonged. I always lived in my imagination in a different time. Anne's time of the early 1900's mostly. On each holiday we had, I would search out the vintage shops and spend my hard earned money on button down lace tops, musty 1900 paraphernalia, gloves, Judy Garland recordings, or teacups. For Christmas, I had my mother fashion bloomers for me to sleep in. My playhouse was decorated exactly like a 1900 home and my dress up clothes contained similar pieces. I emulated the women I watched in my shows, but with Anne I didn't feel I needed to emulate because I already WAS. I didn't know my fashion choices were out of style as I had no concept of time. My time was based upon the films I watched. My film choices often stayed in this time period like Little Women, On Moonlight Bay, By The light of the Silvery Moon, My fair Lady or Meet me in St. Louis. My other favourite time period was the 1940's period (which often would go back to early 1900 story telling) of Gene Kelly and Audrey Hepburn with films like Roman Holiday, Singing In the Rain, Philadelphia Story ect. My mother tried her best to keep me somewhat accepted while also acquiescing to my begging for bloomers, plaid long skirts, lace gloves and button downs.
"There's such a lot of different Annes in me. I sometimes think that is why I'm such a troublesome person. If I was just the one Anne it would be ever so much more comfortable, but then it wouldn't be half so interesting." ― L.M. Montgomery, Anne of Green Gables
I knew, even in my younger years, that I was quirky, headstrong, imaginative and sensitive. I had a huge heart but could cause a lot of harm with my words quickly. I understood Anne deeply. The Anne of Sullivan's adaptation was a girl that most viewers understood at some level. She was for the outcasts, the different, the strong, the ordinary, and those longing for a place to call home. She was the perfect feminist hero surrounded by progressive women AND men. Her story held nuances of hardship but these were wrapped in a warm blanket of cozy familiarity. Each character in the 1980's version had a principled morality yet progressive growth of attitude.
My 'family' has some blood relatives, but mostly, it has always been built out of characters similar to Avonlea. Some of us travelled through the school years and beyond together while others have flitted in and out of life or travelled beyond, but yet each shaped me. When I was a teen I would often express that my friends WERE my family. Especially the few I allowed in my inner circles. Because I took off more of my coping masks when I was with them. I mostly kept my thoughts to myself like little treasures that could not be picked apart or laughed at. With very few, I could be a bit more true to my progressive nature. It was a nature that I had no words for at the time, but didn't fit in with most of the conservative views around me. Not only did I feel at my core that I was not in tune with the majority religiously, politically or socially but I also felt deep inside, that generationally and emotionally I was a little bit 'defective' because my stances or expression were often only portrayed in the media I consumed (songs, film, art, books) or the brief pieces I wrote. I did not yet have the agency to fully BE who I knew I was. It was pre internet, because our corner of the world was always a decade or two behind, thus I did not know that there WERE other people like me. As the years went on I found them, the kindred spirits, some authors, which are listed on my library page HERE (funny enough Anne is the only video link in my books) as well as musicians, lyricists, actors, screenwriters, artists and ordinary people. But Megan Follows' Anne was the first to enter my world and sing into my soul the epiphany that I DID belong. Even if it was another place and time. I had a family of kindreds, some to still discover and others hiding in the past. She had me look at mundane moment's and see the beauty in them. I learned how to cope with hardship and heartache alongside her. I realized that I would never settle for less than what I wanted out of life.
"Anne always remembered the silvery, peaceful beauty and fragrant calm of that night. It was the last night before sorrow touched her life; and no life is ever quite the same again when once that cold, sanctifying touch has been laid upon it." ― L.M. Montgomery, Anne of Green Gables
Anne gave me the courage and spunk to be able to announce over and over in teenage hood that I wasn't going to get married NOR have children. Ironic I know. I lived in a religious community where marriage was often toted as the ultimate goal for a woman. I wasn't interested. However, I was interested in romance and epic tales. I wanted a heart pounding romantic epic that was not a tragedy but everlasting. At that time, I just didn't want the institutional commitment of marriage attached, which was basically proclaiming I was a harlot in the circles I ran in. It was audacious. I seemed traditional to most because I liked to belong, but on the inside, I was anything but conservative. I had principles which is another reason why the stories from Avonlea struck such a chord in my heart, but these principles were based on individual context instead of a one size fits all.
― L.M. Montgomery, Anne of Green Gables
Most of all, Anne taught me that it's not what the world holds for you- it is what you bring to it. A lesson that has enriched my life in so many ways. I have exactly what I want. I echo Anne's statement, "I don't want diamond sunsets or marble halls...I just want you." That is how I feel about my life. I have always wanted a rooted home. A place that I could create any way I chose. A place where I belonged and was allowed to read anything I wanted without sanction or listen to without disapproval. I could not relate to Belle when she expressed having "adventures in the great wide somewhere...I want it more than I can bear." I understood her love of reading, feeling different and wishing to be understood, but I did not want that type of freedom. I wanted the freedom of the mind. To engage with atheist material if I wished and not have it judged, listen to language because the material within the language was thought provoking, or pick up an Astrology book simply because I think it's fun and it has NOTHING to do with what I believe. I wished for a place to tuck away from the world and control every aspect of the sensory with my own soap smells, cleaners, materials, clutter, or any other matter. And I wished for ONE person who would get me or at least be willing to hear my perspectives continually enough to understand.
I wanted a gentle legacy of ordinary moments. I never wanted fame or riches or even a job that spoke of some great title. I only wished to engage in things I enjoyed like writing or watching, working on my little corner, and loving whom I loved. I wanted a Gilbert. I wanted an epic love story in the sense that it would be ordinary, everyday and long lasting through the normal trials of life. I was determined to stay true to my self and write about whatever I chose to a small group of people who would appreciate these musings. I wanted to be a woman who could inspire the following lyrics in at least one person. Just one:"... She will still torment me, Calm me, hurt me. Move me, come what may...Now I know she'll never leave me, Even as she fades from view, She will still inspire me...Be a part of everything I do"- Lyrics by Alan Menken (Evermore)
I already struggle with darker themes in life, thus 'Anne with An E', did not give me the needed balance I require. 'Anne with an E' on Netfllix, did actually help me process a bit more of my PTSD and depressive episodes in a sense, but I stopped watching because I realized that my heart felt heavier and heavier. Anne of Green Gables does the opposite. I watch and I feel lighter or encouraged or at least hopeful. I catch the beautiful phrases she says, hear the uplifting music, watch the grass sway in the sun dappled trees of Green Gables, and witness the love of Kindred Spirits and I feel beauty and comfort. Even if I am depressed, there is some level of ordinary coziness that sweeps towards me and encompasses me in a virtual hug. I cry and cry and cry when I feel depressed while watching Anne of Green Gables because it seems a bit unattainable yet also hopefully just around the corner. If I numb, usually one tear will still leak. When I am not depressed, I still cry with inspiration and happiness that I have had some of these moments in life. Anne should be, above all, about hopeful belonging and comforts of the everyday in hardship.
It's the moment when Anne runs to Marilla after her time at school. I weep every time at the blatant love and homecoming involved, as the music swells. (image below)
If you have not watched the four part series of 1985- Sullivan's version of Anne of Green Gables I highly recommend it. Especially before you watch the new 'Anne with an E' series if you must. I would try to disassociate it with the true L.M. Montgomery's Anne if possible. You can find the classic, official Anne of Green Gables site HERE. The dreams dearest to my heart are right here. Even in grief, self criticism, depression, and hard moments, I know that still I bring to the world what I can. That has to be enough. In that there is great comfort. When I can, try to boldly live the mundane with appreciation and imagination...just like Anne.
Song Choices: Hagood Hardy - Theme form Anne of Green Gables https://www.youtube.com/watch?v=NrLzO6C7toc and the Trip to Green Gables: https://www.youtube.com/watch?v=SjR1oMPTToE


text: Seduction Sessions: Embracing Sensuality and Intimacy Through Art! Each session begins with a consultation on a separate date before I begin the work, so we can gauge each other's needs and begin building the foundation for a successful photographic relationship and figure out how to create the best image experience possible. On the day of the shoot, we rendezvous at the venue of your choice and begin our creative photography experience! Multiple outfits, multiple locales, digital photography, film photography – basically a super-fun, sensual sexy photo party. When shooting Seduction sessions, I have two main goals in mind: first, create an environment that encourages you to let loose, embrace your individuality and feel as confident as possible; and secondly create one-of-a-kind, intimate and beautiful images bursting to the seams with chemistry and vibrancy that highlight your unique, special allure. After our photo session is complete, I take all of the images back to my lair and make any necessary edits and adjustments, and then present you with all of the edited, high resolution images in digital format – I can also provide prints of your favorite images individually or in a high-quality hardcover book for an additional fee. If you have more questions about our session, check out my Frequently Asked Questions page here! To see what my clientele has to say about working with me, check out my Testimonials page here! If you have any inquiries, curiosities or are interested in booking me for a session, please don't hesitate to contact me! Seduction: Single — $400 Seduction: Couples — $1000


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With the release of these gorgeous Stefan Janoski Nike SB Zooms, it's clear Nike can do more than make sneakers.
Providing loyal Nike footwear fans with an opportunity to upgrade their look, the Stefan Janoski Nike SB Zooms are done in all-black with an undercover blacked-out Nike logo. Although the swoosh is still there, it's hidden enough to blend in and keep you from getting turned away at a "no sneakers" event.
The Stefan Janoski Nike SB Zooms were created with the help of, who else, Stefan Janoski. Janoski is an American professional skateboarder and the third person on Nike SB to have his own pro model shoe.
What's interesting about the Stefan Janoksi Nike SB Zooms is they are far from your typical skateboarding shoe and move more towards semi-formal footwear.
Stefan Janoski Nike SB Zooms Brings Formal Wear from a Sneaker Brand
Jonathon Brown — November 22, 2012 — Fashion


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Watch the sun that never sets in first-ever Vine video posted from space
"1st Vine from space! Single Earth orbit. Sun never sets flying parallel w/terminator line #ISS #Exp40," Wiseman wrote as he posted the video.
The brief snapshot compresses a 92-minute ISS circle of the earth into a six second clip, showing the swiftly spinning earth and a sun which does not set.
This happens, as Wiseman explains, because the station is currently moving through space parallel with the day and night terminator line – the barrier where light and dark meet on the earth's surface. The two collide in the weeks surrounding the summer solstice.
The #EXP40 hashtag refers to the current expedition of the ISS, which is due to end in September.


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Designbrand was approached by Ideal Grounds to design a non-disposible take-away coffee cup. Ideal Grounds have a history of genuine green thinking – practicing sustainability long before the mainstream latched on. The brief was to design a sustainable alternative to cardboard coffee cups that eco concience consumers could adopt as their own.
As with all green product design, the material choice would be critical. We researched 'bio-plastics' but none were available that could withstand a hot coffee. We eventually settled on a polypropylene that ensures customers can dishwash and microwave while still being fully recyclable. Each IdealCup sold effectively takes 10.5kg of cardboard cups out of the landfill each year! Ideal Grounds have made the commitment to recycle all IdealCups that are returned to them. (With a lifetime guarantee that might not happen for a while!)
Watch this space! Ideal Grounds aren't finished yet – expect to see some more sustainable product in the near future! Visit www.idealcup.co.nz for more info.


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Follow Brian Kenyon
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Couple's twins announcement goes viral
ST. LOUIS, Mo. (KTVI) -- This pregnancy announcement video is reaching a lot of people!
Laura and Ryan High posted it to YouTube on earlier this week and it's gone viral since then.
In the clip, the couple points the camera towards various groups of relatives and tells them that they're having a baby. They're reactions are -- predictably -- purely positive.
But the Highs didn't stop there. The clip continues as the couple reveals to their loved ones that they aren't just having a baby -- they're having two!
The reactions are totally priceless.


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Ohio Gov. Ted Strickland endorsed Hillary Rodham Clinton Friday, calling the New York senator "the strongest candidate our party can bring forth" and contending his state will be crucial in the 2008 election.
Clinton cheerfully agreed: "The road to the White House goes through Ohio."
In 2004, President Bush narrowly beat John Kerry to take Ohio's 20 electoral votes, and both parties say the state could be a key to victory next year, too.
"In spite of the admiration I have for her and her incredible skill set, I would not be making this endorsement if I didn't think she was the strongest and best candidate to win the presidency," Strickland told reporters on a conference call.
Other political news of note
Animated Boehner: 'There's nothing complex about the Keystone Pipeline!'
House Speaker John Boehner became animated Tuesday over the proposed Keystone Pipeline, castigating the Obama administration for not having approved the project yet.
- Budget deficits shrinking but set to grow after 2015
- Senate readies another volley on unemployment aid
- Obama faces Syria standstill
- Fluke files to run in California
- Animated Boehner: 'There's nothing complex about the Keystone Pipeline!'
"I don't think it's likely a Democrat or Republican candidate will be successful without being successful in Ohio. I understand the importance of Ohio in the equation."
Heading for Iowa
Clinton joined Strickland on the call and said she would be bringing him as her guest Saturday to the Jefferson-Jackson Dinner in Des Moines, Iowa. All the major Democratic presidential contenders will join 9,000 activists at the dinner, just six weeks before the Iowa's leadoff caucuses.
Strickland, a former six-term congressman from southern Ohio, was elected governor in 2006 and has enjoyed popularity throughout the state including the more conservative and rural areas. He has been mentioned as a potential vice presidential candidate for the 2008 Democratic ticket, but said Friday he had "no interest at all" in the job.
"I'm not presumptuous enough to think I'd be considered," Strickland said. "I love being governor of Ohio and will do whatever I can in that capacity to help Senator Clinton."
Strickland said Clinton's focus on "kitchen table" issues would resonate with voters in Ohio and other Midwestern states. "I believe that's the kind of campaign that will have greatest appeal to Ohioans," he said.
He also praised her resilience in the face of recent criticism from rival Democrats, even as he said he liked and admired all of them.
Copyright 2007 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.


text: Born amongst wolves: forged in smoke and fire; Invisible Hand plays baroque acid-rock with power-pop guitar theatrics. From and inspired by the ever pastoral central Virginian landscape, but now residing in Seattle, WA. a live showing may included wild gesticulations, cunning two-steps, razor sharp wit and spaced-out maneuvers. For fans of the Kinks, XTC, Squeeze, Wire, Buzzcocks, Sparks and snacks of all kinds.


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AMI Primary (3-6) Diploma Course
Children of three-to-six years explore the world through their hands and their senses, constructing themselves from their experiences in their environment. Our MACTE accredited AMI Primary training provides you with the knowledge to gently guide young children in their social, emotional, and intellectual growth during this important and exciting period of development.
We are currently accepting applications!
Click on location and course format for details.
Academic Year - Portland (Now Enrolling)
Director of TrainingSarah Werner Andrews, M.Ed. (Bio)
FacultyMichelle Becka, M.Ed. (Bio)
FormatAcademic Year 2019 - 2020
Course DatesOrientation
August 23, 2019
First date to last date
August 26, 2019 - June 1, 2020
Daily ScheduleMonday to Friday, 8:30am - 2:30pm
LocationPortland, Oregon
Course DocumentsView the current Student Handbook
AccreditationAssociation Montessori Internationale (AMI)
Montessori Accreditation Council for Teacher Education (MACTE)
Academic Year - Bay Area (Now enrolling)
Primary TrainerPolli Soholt, M.Ed. (Bio)
FormatAcademic Year 2019 - 2020
Course DatesOrientation
August 28, 2019
First date to last date
August 28, 2019 - June 6, 2020
Daily ScheduleMonday to Friday, 1:00pm - 6:00pm
LocationDay Star Montessori, Milpitas, California
Course DocumentsView the current Student Handbook
AccreditationAssociation Montessori Internationale (AMI)
Montessori Accreditation Council for Teacher Education (MACTE)
Summer - Portland (Not Currently Enrolling)
Our Next Course Starts Summer 2021
Director of TrainingMichelle Becka, M.Ed. (Bio)
FacultySarah Werner Andrews, M.Ed. (Bio)
FormatSummers 2018, 2019, 2020
Course DatesSummer 2018
June 13 - July 27, 2018
Summer 2019
June 12 - July 26, 2019
Summer 2020
June 10 - July 26, 2020
Daily ScheduleMonday to Friday, 8:30am - 4:30pm
LocationPortland, Oregon
AccreditationAssociation Montessori Internationale (AMI)
Montessori Accreditation Council for Teacher Education (MACTE)
Summer - Seattle (Not Currently Enrolling)
Director of TrainingMary Raudonis Loew (Bio)
FormatSummers 2017, 2018, 2019
Course DatesSummer 2017
June 26 - August 4, 2017
Spring Seminar 2018
April 9 - 11, 2018 Summer 2018
June 25 - August 3, 2018
Spring Seminar 2019
April 8 - 12, 2018
Summer 2019
June 24 - August 2, 2019
Daily ScheduleMonday to Friday, 9:00am - 4:30pm
LocationSeattle, Washington
AccreditationAssociation Montessori Internationale (AMI)
Montessori Northwest is a Candidate in Good Standing* for its Seattle Primary Course with the Montessori Accreditation Council for Teacher Education (MACTE)
*Candidate in Good Standing in no way determines the outcome of the accreditation decision by MACTE.
View the Current MNW Portland and Bay Area Primary Course Academic Year Student HandbookView the MNW Portland Primary Summer Course Student Handbook 2018-2020 PDF
Course DescriptionThe Primary Course offers a comprehensive study of Montessori theory and practice for individuals who aspire to work with children in Montessori primary environments (ages three to six). During 850 hours of teacher preparation, students thoroughly explore Montessori philosophy, human development, Montessori primary materials and curriculum, and expectations for Montessori professional communities.
Students in the Primary Course engage deeply with Montessori theory topics, which create the foundation for a Montessori teacher's work and are constant reference points for the student's understanding. Topics focus on early childhood development, educational theory, practical implementation, and classroom management from the Montessori perspective.
The Montessori classroom for three to six year old children contains a large variety of materials for the development of coordination, the senses, life skills, literacy, and mathematical understanding. Opportunities for imaginative exploration abound, leading to confident, creative self-expression. Children achieve these developments through learning materials, games, and activities presented by the teacher. Students in the Primary Course will learn these presentations, as well as how to foster a child's functional independence, task persistence, and self-regulation, and how to promote positive social development through respectful, clear communication and safe natural and logical consequence.
Academic requirements
Students in the Primary Course explore Montessori theory through lectures and discussions lead by experienced teacher trainers, reading and writing assignments, and personal reflection. Reading seminars are scheduled throughout the year to help students engage with Montessori's writings. During these seminars students engage in group discussions stimulated by a series of questions or discussion points related to the target reading.
Students learn how to present the Montessori materials and activities to children by observing demonstrations from the trainers and through supervised practice in our model classroom (without children). From these experiences, students create five teaching manuals, or albums, to guide their work with children - theory, practical life (life skills), sensory development, language, and mathematics. Students also create samples of Montessori materials to demonstrate their ability to apply the principles of Montessori material design to their own classrooms.
Observation and practice teaching are essential components of the course, and allow students to continue their study of the child in AMI Montessori host classrooms. During observation, students spend a minimum of 90 hours observing the children's interactions with the materials and each other. During practice teaching, students spend a minimum of 120 hours in their host classroom, presenting lessons to children under the supervision of an AMI primary-trained host teacher. Please note that during academic year courses, observation and practice teaching are organized by the training center and are completed during pre-scheduled times within the course year. For students enrolled in a summer format course, observation and practice teaching are organized by the student and completed between summers during the intervening academic years.
Comprehensive written and oral examinations at the end of the course verify that each student has met the standards of the Association Montessori Internationale.
As a student at MNW, you will contribute to a dynamic community of inspired and motivated individuals. MNW offers a unique student experience that embodies Montessori principles applied to adult education. An essential Montessori principle is taking responsibility for your own learning, and by preparing yourself in the following ways you will be positioned for success in the course.
Time management
An AMI training course can present a demanding schedule. Academic Year Primary students are in class full time, Monday to Friday, and many students arrive early and stay late for additional practice. Students can expect to spend an additional 2-4 hours per day on work outside of class time, as well as extra time on weekends. To prepare for success in the course, structure your commitments to allow ample time and energy for coursework. Consider how your commute may affect your schedule.
In order to stay on track, skills in organization and attention to detail are important; lapses in organization can make the course stressful. Courses are delivered in an integrated, non-linear manner; you will need to manage several assignments at once. Consider the systems you will use to help you track your work and stay organized. This may also include how to structure files and folders on your computer, and organizing your home workspace.
Observation and Practice Teaching
Observation and practice teaching are essential components of the course. During academic year courses, these components are organized by the training center and are completed during pre-scheduled times within the course year. Most students are placed in host schools in the Portland area, but also have the option of completing observation and practice teaching in locations outside the Portland area. You will be responsible for your own transportation to and from the host school (which may not be close to your home), and your daily schedule will be affected. For students enrolled in a summer format course, observation and practice teaching must be organized by the student and completed between summers during the intervening academic years.
Employment during the course
We do not recommend that students work during their studies at MNW. The workload of the course is heavy, and will make it challenging for you to have a job.
Use of technology
Students take notes by hand during the course lectures, discussions, and demonstrations. Laptops, tablets, and mobile devices are not used in the classroom during class time. You should prepare for extensive handwritten note-taking. Laptops and other devices may be used on breaks and outside of class time. Unauthorized recording is not permitted.
A reliable computer and color printer are essential, as the vast majority of coursework will be typed from handwritten class notes. Neat and consistent formatting is expected, requiring proficient use of a word processing program such as Word or Google Drive. We recommend that you learn how to insert photos and images into documents.
Reliable and regular back-up of your computer is essential. Consider using an online back-up service to make sure your work is safe.
Communication in the Course
MNW staff communicate with students via email, social networking (primarily Facebook), and online data storage systems. You will need access to a reliable email account, internet access, and familiarity with downloading and storing files.
View the MNW Primary School Performance Fact Sheet PDF
What books will I have to buy?
If you are attending a Portland area course, the required books for your course are covered by your tuition. There are additional books that are recommended, some of which are available for your purchase at MNW. If you are attending a Bay Area course, faculty will provide a required booklist and books can be purchased independently.
Supplies and Materials
Students will receive specific guidance about exact requirements, but all students will need these items to start:
- Computer, printer, and internet access
- Ample note-taking supplies (ie: large multi-subject notebooks)
- Copy paper
What are the costs?
Costs vary depending on supplier and thriftiness of the student. For students on a budget, Portland has many alternatives to office supply stores, such as Goodwill and Scrap.
The creation of Montessori materials and activities is a significant component of the course. Supplies can include crafting supplies and stationery. These can be purchased from various locations and again can be found at various price points.
Students can expect to spend up to $900 on office and material supplies throughout the course.
Tuition and Fees
2019-2020 Academic Year: Portland
Application Fee: $150
Tuition: $12,700
Tuition includes required books, AMI membership, and exam fees.
2018, 2019, 2020 Three Summer Format: Portland
Application Fee: $150
Materials Fee: $400
Tuition: $12,000
Exam Fee: $350
2019-2020 Academic Year Format: Milpitas, CA
Application Fee: $150
Tuition: $12,350
Exam Fee: $350
Various payment options are available. Please contact us for more information.
Course-Related Expenses: Students should budget up to $900 to cover stationery supplies and material making costs, and $250 on transportation (to and from observation and practice teaching host school, parking, etcetera).
Montessori Northwest, together with partnering universities and organizations, offers a variety of options for financial assistance to attend our teacher training courses. These include scholarships, financial aid, crowdfunding and school sponsorship.
Click here for an overview of these options and to learn more.
M.ED. Options
Students in the Portland and Milpitas Bay Area Primary course have the option of simultaneously participating in our cooperative degree program. This program is available at the graduate level: a Master's Degree in Montessori Education program through Loyola University Maryland. This cooperative program allows the student to receive credits towards the cooperative program for academic work completed at Montessori Northwest. In a typical year, at least half of our students are enrolled in this program. Participation in this program also allows qualifying students to apply for federal financial aid (see section Financial Aid).
Master of Education and Certificate of Advanced Study in Montessori Education (C.A.S.) Option through Loyola University Maryland
Loyola University Maryland's partnership with (insert your Institution here) provides students with the opportunity to complete a M.Ed. degree in conjunction with the AMI diploma. If accepted into the Graduate School at Loyola, students earn 27 credits through the completion of their Primary, Elementary or A-to-I AMI diplomas. The final 9 credits are completed in a 4-week intensive experience in residence at Loyola University Maryland's Evergreen Campus in Baltimore.
For more information on Admission Requirements and Application Deadlines, please visit http://www.loyola.edu/montessori and navigate to the "Off-Site Partner" tab under Program Options, or Attend a Virtual Information Session .
A surprise during practice...