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Greater Portland
Auditions/Call for Art
Mad Horse Theater Company needs crafters and other vendors for the 2nd Annual Family Fun Day on June 23 at Hutchins School, 24 Mosher St., South Portland. Cost for a table is $25. For more information call 730-2389 or madhorse.com.
USM Youth Ensembles will be holding auditions May 23-25. For more information and to reserve an audition slot visit usm.maine.edu/music or call 780-5265.
Books & Authors
Thursday 5/24
Debra Sparks book discussion, 7 p.m., Merrill Memorial Library, 215 Main St., Yarmouth, 846-4763.
"Made for You and Me:" Going West, Going Broke and Finding Home, author talk and book discussion, 6:30 p.m., Falmouth Memorial Library, 5 Lunt Road, Falmouth, 781-2351.
Saturday 5/26
Eva Murray book signing, 2-5 p.m., Books-A-Million, 430 Gorham Road, South Portland, 253-5587.
Tuesday 5/29
Margaret Hathaway book discussion, 6 p.m., Falmouth Memorial Library, 5 Lunt Road, Falmouth, 781-2351.
Thursday 5/31
Young Author Round Table with Ann Beattie, 3:30-4:30 p.m., The Telling Room, 225 Commercial St., Portland, tellingroom.org.
Sunday 6/3
An Evening of Poetry, 6 p.m., University of New England, 710 Stevens Ave., Portland, $12 students with ID/$15 general admission, 733-2233.
Wednesday 5/23
Eugene Mirman, 7 p.m., St. Lawrence Arts, 76 Congress St., Portland, $10, brownpapertickets.com/event/246687.
Portland Comedy Connection, 16 Custom House Wharf, Portland, 774-5554, full schedule at mainecomedy.com.
Wednesday 5/23
My Reincarnation, 5:30-7 p.m., Portland Public Library, 5 Monument Square, Portland, 871-1700.
Thursday 5/24
Beyond Belief, 6:30 p.m., Yarmouth Performing Arts Center, 286 W. Elm St., Yarmouth, 846-1505.
Wednesday 5/30
Granito: How to Nail a Dictator, 5:30-7 p.m., Portland Public Library, 5 Monument Square, Portland, 871-1700.
Frank Poole's Holga Photography, runs through the end of May, Portland Photo Works, 2nd Floor, 142 High St., Portland.
Portraits: An Exhibit of Photographs by Jan Pieter van Voorst van Beest and Sean Alonzo Harris, runs through May 31, Portland Public Library, 5 Monument Square, Portland, 871-1700.
"Smokin' Hot," through June 1, Merrill Memorial Library, 215 Main St., Yarmouth, 846-1336.
Wednesday 5/23
Student Art Show, 6-7:15 p.m., Falmouth High School, 52 Woodville Road, Falmouth, 781-7429.
Wednesday 5/30
Garden Party: Essential Tableware for Summer Dining, runs through July, Maine Potters, 376 Fore St., Portland, 774-1633.
Maine Media Workshop, 5-7 p.m., Addison Wooley Gallery, 132 Washington Ave., Portland, 450-8499, addisonwooley.com.
Friday 6/1
It's Not So Black and White, 10 a.m., runs through June 30, Richard Boyd Gallery, Peaks Island, 712-1097.
My City by the Sea, 5-8 p.m., runs through July 14, 3Fish Gallery, 377 Cumberland Ave., Portland, 773-4773.
Natures Influences, 5-8 p.m., runs through July 28, Heron Point Gallery, 63 Market St., Portland, 773-0822.
New Works: Furniture and Sculptures by Matt Hutton, Jamie Johnson and Adam John Manley, June Fitzpatrick Gallery, 522 Congress St., Portland, 699-5083.
Salad Artwork by Loren Leahy, 5-8 p.m., runs through June, The Green Hand Workshop, 661 Congress St., Portland, 253-6808.
Steve Langerman Photography, runs through June 30, The Gallery at Harmon's and Barton's, 584 Congress St., Portland, 774-5948.
A Fine Thing Gallery: Edward T. Pollack Fine Arts, 29 Forest Ave., Portland, 699-2919, edpollackfinearts.com.
Addison Woolley Gallery, 132 Washington Ave., corner of Fox St., Portland, 450-8499, addisonwoolley.com.
Addo Novo, 490 Congress St., Portland, addonovo.com/arts.
Area Gallery, Woodbury Campus Center, USM Portland, 780-5008, usm.maine.edu/gallery.
Artascope Studios, 352 Cottage Road, South Portland, 799-5154, artascope.com.
Art Gallery at UNE, Westbrook College campus, 716 Stevens Ave., Portland, 221-4499 or une.edu/artgallery.
Art House Picture Frames, 61 Pleasant St., Portland, 221-3443, arthousepictureframes.com.
Arthur Fink's Studio/Gallery, 145 Newbury St., Portland, 615-5722.
Artist and Craftsman Supply, 540 Deering Ave., Portland, 772-7272
Art Loft Gallery, 8 School St., Freeport, 865-1705.
Art Studios at Cottage Road, 352 Cottage Road, South Portland, 799-5154.
Aucocisco Gallery, 89 Exchange St., Portland, 775-2222 or aucocisco.com.
The Blue Spoon, 89 Congress St., Portland, yesartworks.org.
Biddeford Savings Bank, 360 U.S. Route 1, Scarborough, 883-3004.
Bomb Diggety Bakery, 649 Congress St., Portland.
Borealis Bistro, 182 Ocean Ave., Portland, 541-9600.
Bridge Gallery, 568 Congress St., Portland, bridgegalleryportland.com, 712-9499.
Cambridge Coffee Bar and Bakehouse, 740 Broadway, South Portland, cambridgecoffeebar.com.
Cape Cottage Gallery, 179 Cottage Road, South Portland, 767-5700 or capecottagegallery.com.
Carolyn Walton Gallery, 39 Pleasant Hill Road, Freeport, 865-1585 or carolynwalton.com.
Casco Bay Frames and Gallery, 295 Forest Ave., Hannaford Plaza, Portland, 774-1260 or www.cascobayframes.com.
Christoph Gallery, Portland Pottery and Metalsmithing, 118 Washington Ave., Portland, 772-4334 or portlandpottery.com.
Clayton's Cafe, 447 U.S. Route 1, Yarmouth, FMI, 846-1117.
Constellation Gallery, 511 Congress St., Portland, 252-9520.
Cooper Jackson Gallery, 70 India St., Portland.
Cygnet Gallery, 568 Congress St., Portland, 251-9925.
Daniel Kany Gallery, 24 Romasco Lane, Portland, 774-2100.
Daunis Fine Jewelry, 616 Congress St., Portland, 773-6011.
Dobra Tea, 151 Middle St., Portland, FMI 210-6566.
Domaine Gallery, 223 Commercial St., Portland, 772-2270 or domainegallery.com.
Earth and Soul, indigenous artists from around the world and local artists, 34 Washington Ave., Portland, 775-1089.
Eli Phant, Munjoy Hill, Portland, eli-phant.com, Sally Struever, 253-9943.
Elizabeth Moss Gallery, 251 U.S. Route 1, Falmouth, 781-2620, elizabethmossgalleries.com.
Ember Grove Gallery, 247 B Congress St., Portland, 761-0408 or embergrove.com.
emilie inc., photography, 227 Congress St., Portland, 272-2285.
Falmouth Memorial Library, 5 Lunt Road, Falmouth, 781-2351.
Fiddlehead Center for the Arts, 383 U.S. Route 1, Scarborough, fcascarborough.org, 883-5720.
Filament Gallery, 181 Congress St., Portland, 774-0932 or filamentgallery.com.
Fore River Gallery, 613 Congress St., Portland, 252-6728.
Fore Street Gallery, 372 Fore St., Portland, 874-8084, forestreetgallery.com.
"Forgotten Transport" photography by Jonathan M. Dunitz, 645 Congress St., Portland, 415-8462, jmdunitzstudios.com.
Four Walls Gallery for Fine Art, 564 Congress St., Portland, 221-3426 or fourwallsgallery.com.
Free Street Gallery at MECA, 87 Free St., Portland, Dee Adams, 653-7271.
Freeport Community Library, 10 Library Dr., Freeport, 865-3307.
Freeport Square Gallery, 140 Main St., Freeport, 865-1616.
Front Room Gallery, 378 Cottage Road, South Portland, 767-9070.
Frost Gully Gallery, 1159 U.S. Route 1, Freeport, 865-4505 or frostgullygallery.com.
Gallery 132, 132 Spring St., Portland, 842-9200 ext. 226.
Gem Gallery, 62 Island Ave., Peaks Island, 766-5600.
Gleason Fine Art Portland, 545 Congress St., Portland, 699-5599, [email protected]
Greenhut Galleries, 146 Middle St., Portland, 772-2693.
The Green Hand Bookshop, 661 Congress St., Portland, 253-6808.
Harmon's & Barton's Gallery, 584 Congress St., Portland, 774-5948.
Heron Point Gallery, 63 Market St., Portland, Bonnie Faulkner, 846-0817, heronpointstudio.com.
Holly Ready Studio, oil and gouache paintings by Holly Ready, 146 High St., Portland, 632-1027 or hollyready.com
ICA at MECA, 522 Congress St., Portland, meca.edu, 775-3052.
Jameson Modern Art, 305 Commercial St., Portland, 772-5522 or jamesongallery.com.
June Fitzpatrick Gallery at MECA, 522 Congress St., Portland, 699-5083.
June Fitzpatrick Gallery, 112 High St., Portland, 772-1961, JuneFitzpatrickGallery.com.
June LaCombe SCULPTURE, by appointment, Hawk Ridge Farm, 90 Minot Road, Pownal, 688-4468, junelacombesculpture.com.
The Kate Cheney Chappell Center for Book Arts, 7th floor, Glickman Family Library, USM Portland, Rebecca Goodale, 228-8014.
Lalo Boutique, 142 High St., Portland.
The Language Exchange, 80 Exchange St., Portland, 772-0405.
Larson Fine Art Gallery, new work by David Henning Larson, 331 Cottage Road, South Portland, 767-8221, larsonfineart.com.
Lewis Gallery at Portland Public Library, 5 Monument Square, Portland, 871-1700, portlandlibrary.com.
The Local Buzz, 327 Ocean House Road, Pond Cove Shopping Plaza, Cape Elizabeth, ariatuki.com.
Long Island Dodwell Gallery, Long Island, Maggie Carle, [email protected], 766-2940.
Maine Arts Workshop, 39 School St., Freeport, 831-2759 or maineartsworkshop.com.
Maine Charitable Mechanics Library, 519 Congress St., Portland, Jill Cournoyer, 878-8896.
Maine College of Art, 522 Congress St., Portland, meca.edu.
Maine Medical Center, paintings for sale by Freeport artist Janice L. Moore, portion of proceeds to benefit The Arts at Maine Medical Center, 22 Bramhall St., Portland, mmc.org/thearts, [email protected]
The Maine Potters Market, 376 Fore St., Portland, Anne Samson, 774-1633.
Maine Roaster's Coffee, U.S. Route 1, Yarmouth.
Market House, 28 Monument Square, Portland, 228-2056.
Mayo Street Arts, 10 Mayo St., Portland, 615-3609, mayostreetarts.org.
Meg Perry Center, 644 Congress St., Portland, 772-0689, megperrycenter.com.
Merrill Memorial Library, 215 Main St., Yarmouth, 846-4763.
Moxie Studio and Gallery, landscape, still life paintings, by appointment, Cousins Island, Yarmouth, 846-0978.
North Yarmouth Academy, Curtis Gallery, 148 Main St., Yarmouth, 847-5423, NYA.org.
Open Concepts Gallery & Studios, Cove Street Art Center, 50 Cove St., Portland, 772-3822.
Paula Banks Consulting and Two Lights Home Care, Pond Cove Shopping Center, Cape Elizabeth, lola-studios.com.
Ponomo, jewelry, handbags and accessories by Hannah Tarkinson, 142 High St., Suite 307, Portland, ponomostyle.com.
Portland Arts and Cultural Alliance, 548 Congress St., Portland, portlandarts.org.
Portland Photo Works, 142 High St., second floor, Portland, Elliott Teel, 228-5829, [email protected]
Portland Public Library, Lewis Gallery, 5 Monument Square, Portland, 871-1700.
Rabelais, 86 Middle St., Portland, 774-1044, RabelaisBooks.com.
Radiant Light Gallery, Thom Adams fine art and documentary photography, 615 Congress St., Suite 409, Portland, 252-7258.
Richard Boyd Pottery Art Gallery, 5 Epps St., Peaks Island, 712-1097, richardboydpottery.com.
Rise Photography, 864 Broadway, South Portland, 799-4204, risephotography.com.
Rose Contemporary, 492 Congress St., Portland, 780-0700, rosecontemporary.com.
The Royal Bean Cafe, Main St., Yarmouth, 829-5082.
Running with Scissors Gallery, 54 Cove St., Portland, 699-4242.
Salt Institute, 561 Congress St., Portland, salt.edu.
Sandpiper Jewelry Gallery, 851 Sawyer St., South Portland, Michael Hofheimer, 767-8090.
South Portland Public Library, 482 Broadway, South Portland, 767-7660.
Space Gallery, 538 Congress St., Portland, 828-5600, space538.org.
St. Lawrence Arts Center, 76 Congress St., Portland, 775-5568, stlawrencearts.org.
Stones & Stuff, 556 Congress St., Portland, rickgreenart.com.
Susan Maasch Fine Art, 567 Congress St., Portland, 699-2955 or susanmaaschfineart.com.
Sylvia Kania Gallery, 148 High St., Portland, 615-6019.
Thomas Memorial Library, 6 Scott Dyer Road, Cape Elizabeth, 799-1720.
Toby Rosenberg Pottery Gallery, 293 Read St., Portland, 878-4590, tobyrosenberg.com.
Thos. Moser Freeport Showroom, 149 Main St., Freeport, 865-4519.
TIME Gallery at CTN Studios, photography by Dawn Herrick, 516 Congress St., Portland, HourExchangePortland.org, Orion Breen, 874-9868.
USM Glickman Family Library, 7th floor, Glickman Library, USM Portland campus.
USM Osher Map Library, USM Portland, usm.maine.edu/maps.
USM Wishcamper Center, USM Portland, 780-4270, 34 Bedford St., Portland.
Utopia Gallery, 468 Fore St., Portland, www.utopiadesigns.com.
VoxPhotographs, for viewing invitation and location, 232-1214 or [email protected]
Whitney Art Works, 492 Congress St., Portland, whitneyartworks.com, 780-0700, whitneyartworks.com.
Yarmouth Frame Shop and Gallery, 336 Main St. Yarmouth, 846-7777; second location, 720 U.S. Route 1, Yarmouth, yarmouthframeshopandgallery.com.
3Fish Gallery, 377 Cumberland Ave., Portland, 773-4773.
317 Main Street, 317 Main St., Yarmouth, 846-6264.
Skyline Farm Carriage Museum's summer exhibit, "Summer Transportation: From Horse to Horseless," is now open Sundays through Aug. 19 from 1-4 p.m. or by appointment, Skyline Farm, 95 The Lane, North Yarmouth, skylinefarm.org.
Children's Museum and Theatre of Maine, ongoing cultural, educational, fun and active workshops for kids and parents, 142 Free St., Portland, 828-1234 or kitetails.com.
Fifth Maine Regiment Museum, by appointment, 45 Seashore Ave., Peaks Island, 766-3330, fifthmainemuseum.org.
International Cryptozoology Museum, 661 Congress St., Portland, cryptozoologymuseum.com.
Maine Historical Society Museum, "Dressing Up, Standing Out, Fitting In: Adornment & Identity in Maine," through May 27, 2012 and "Images of the Longfellow Garden," current exhibits, 10 a.m. – 5 p.m. Monday-Saturday; 12-5 p.m. Sun.; 11 a.m.-12 p.m. children's hour Monday and Wednesday; $8 adult, $3 child, 489 Congress St., Portland, 774-1822 or mainehistory.org.
Maine Irish Heritage Center, 34 Gray St., Portland, 780-0118, maineirish.com.
Maine Jewish Museum, formerly called Tree of Life at Etz Chaim, open Mon.-Fri. 10 a.m.- 2 p.m. or by appointment, 267 Congress St., Portland, Gary Berenson, 329-9854, treeoflifemuseum.org.
The Maine Narrow Gauge Railroad Company and Museum, daily trains from 11 a.m. – 4 p.m., on the hour, from the museum, 58 Fore St., Portland, 828-0814, tickets, $10 adult, $9 senior, $6 child ages 3-12, price includes admission to museum.
Museum of African Culture, 13 Brown St., Portland, 871-7188 or museumafricanculture.org.
Neal Dow Memorial, 714 Congress St., Portland, tours 11 a.m. – 4 p.m. Monday-Friday, 773-7773, mewctu.org.
Portland Fire Museum, open first Fridays 6-9 p.m., $5 adults, $2 children age 7+, 157 Spring St., Portland, portlandfiremuseum.com.
Portland Harbor Museum, Southern Maine Community College, Fort Road, South Portland, 799-6337, portlandharbormuseum.org.
Portland Museum of Art, 10 a.m.- 5 p.m. Tuesday-Thursday, Saturday and Sunday; and 10 a.m.- 9 p.m. Friday; free on Fridays 5-9 p.m., first Fridays, Seven Congress Square, Portland, 775-6148, portlandmuseum.org
Portland Observatory, 138 Congress St., Portland, 774-5561.
The Sabbathday Lake Shaker Museum and the Shaker Store, by appointment, U.S. Route 26, New Gloucester, 926-4597, shaker.lib.me.us.
Skyline Farm Carriage and Sleigh Museum, by appointment, free/donations accepted, 95 The Lane, North Yarmouth, skylinefarm.org, 829-9203 .
Spring Point Ledge Lighthouse, SMCC campus, off Fort Road, South Portland, springpointlight.org, 799-6337.
Victoria Mansion, self-guided tours, 109 Danforth St., Portland, 772-4841, victoriamansion.org.
Yarmouth Historical Society Museum, "Life Along the Royal River," 1-5 p.m. Tuesday-Friday, 10 a.m.-5 p.m. Saturday, Merrill Memorial Library, Main St., Yarmouth, 846-6259.
Thursday 5/24
Lukas Nelson and Promise of the Real, 8 p.m., Empire Dine and Dance, 575 Congress St., Portland, $10 advance/$12 door, 21+, portlandempire.com.
Saturday 6/2
Dar Williams, 6:30 and 9:30 p.m., One Longfellow Square, 181 State St., Portland, $35, 761-1757.
Stop Making Sense, 7 p.m., Port City Music Hall, 504 Congress St., Portland, $8 advance/$10 door, portcitymusichall.com.
Sunday 6/3
Renaissance Voices, 6:30 p.m., 5th Maine Regiment Museum, 45 Seashore Ave., Peaks Island, $8, 766-3330.
Community Chorus, rehearsals 10 a.m. – 12 p.m., first and third Saturday, the St. Lawrence Arts Center, 76 Congress St., Portland, 775-5568 ext. 102 or [email protected]
David Bullard Songwriter Night, 6 p.m. Tuesdays, Andy's Pub, Commercial St.; Solo Night 6 p.m. Thursdays, Slainte Wine Bar, 24 Preble St., Portland.
House Bluegrass, 9 p.m. Mondays, no cover, Empire Dine & Dance, 575 Congress St., Portland.
Kirtan!, call and response group chanting meditation, 7-8:30 p.m., first and third Fridays, $5 donation, Portland Yoga Studio, 616 Congress St., Portland, 799-0054, portlandyoga.com.
Lazy Lightning, Grateful Dead covers and original music, 9 p.m. Wednesdays, The Big Easy, 55 Market St., bigeasyportland.com or 776-2822.
Theater & Dance
Thursday 5/31
Life During Wartime, runs through June 10, Portland Stage, 25 A Forest Ave., Portland, for show times and ticket prices visit dramaticrep.org.
Two Old Friends, 6:30-8 p.m., South Portland Public Library, 482 Broadway, South Portland, 767-7660.
Sunday 6/3
International Folk Dance, 7-9 p.m., Portland New Church, 302 Stevens Ave., Portland, $5 adults/43 children, 776-5351.
Argentine Tango Practice, Wednesday 7-9 p.m., beginner lesson 7 p.m., $10; Ballroom Dance Party, Saturday 8 p.m.- midnight, beginner lesson 7 p.m., $7; Maine Ballroom Dance, 614 Congress St., Portland.
Club 188, line dancing instruction, Wednesday, 7-8 p.m. beginners; 8-9 p.m. intermediate; 9-9:30 p.m. advanced; 188 Warren Ave., Portland.
Greater Portland Community Contradance, first Saturday, 7:15 p.m. lesson, 8 p.m. main dance, $9 adult, $5 child, Falmouth Congregational Church Hall, 267 Falmouth Road, new dancers welcome, no partner needed, 756-2201.
Maplewood Dance Center, night classes followed by dance socials on Wednesdays, Fridays and Saturdays, 383 Warren Ave., Portland, 878-0584, maplewooddancecenter.com.
Irish Set Dancing, 7-9 p.m. Thursdays, Yarmouth Community Services building, 200 Main St., Yarmouth, [email protected]
Second Saturday Contradance, 6 p.m. family dance; 7:30 p.m. potluck; 8 p.m. beginner lesson; 8:30-12 p.m. dance, $10 adult/ $7 student or senior, bring clean shoes, Wescustogo Hall, U.S. Route 115, North Yarmouth, 233-4325, [email protected] or 318-8746, [email protected]
Square Dancing Classes, by Mix 'n Mingle Square Dancing Club, 6:30-8 p.m. Thursdays through April, ages 9 and up, $3, no experience necessary, Eight Corners School, 22 Mussey Road, Scarborough, [email protected]
Mid Coast
Auditions/Calls for Art
Arts are Elementary is looking for artists to submit artwork to the Brunswick 10×10 Benefit Art Exhibit and Sale, for more information on submission requirements visit 10x10brunswick.org.
Purr and Caw: Talking About Species, community members are welcome to read or sing entries during the May 22 performance, Frontier Cafe, 14 Maine St., Brunswick, no walk-in entries will be allowed, contact Liz McGhee 725-8820.
Books & Authors
"Let's Talk About It" registration now open for discussion groups, Patten Free Library, 33 Summer St., Bath, each group is limited to 25 people, begins June 13 and runs 5 weeks, 443-5141 ext. 12.
Saturday 6/2
Summer Reading Kick-Off Party, 1:30 p.m., Topsham Public Library, 25 Foreside Road, Topsham, 725-1727.
Wednesday 5/23
"Every Little Step," 7 p.m., Frontier, 14 Maine St., Brunswick, $7.50, explorefrontier.com or 725-5222.
Wednesday 5/30
Pedal-Driven: A Bike-Umentary, 7 p.m., Frontier, 14 Main St., Brunswick, $10 advance/$12 door, 725-5222.
Thursday 5/31
Pedal-Driven: A Bike-Umentary, 7 p.m., Frontier, 14 Main St., Brunswick, $10 advance/$12 door, 725-5222.
The Dreamland Theater film series on second and fourth Thursdays, Winter Street Center, 880 Washington St., Bath, 6 p.m., free/$5 suggested donation, presented by Sagadahoc Preservation Inc., film listings at sagadahocpreservation.org.
"Back to the Garden," runs through June 30, 10 a.m.-5 p.m. daily, Markings Gallery, 50 Front St., Bath, 443-1499.
"Return to Sender," April 20-May 31, Whatnot Gallery, Spindleworks, 7 Lincoln St., Brunswick, 725-8820.
Friday 6/1
Getting it Write, runs through June 30, Spindleworks, 7 Lincoln St., Brunswick, 725-8820.
Saturday 6/2
Evelyn Dunphy Exhibit, 1-6 p.m., Evelyn Dunphy Studio, 596 Foster Point Road, West Bath, evelyndunphy.com.
11 Pleasant St. Arts Center, 11 Pleasant St., Brunswick, 319-6057 or 11pleasant.com.
Allen & Selig Realty, landscapes and seascapes by Claudette Gamache, 9 a.m.- 5 p.m. Monday through Friday, 15 Vine St., Bath, 443-2200 or AllenSelig.com.
The Barn Door Cafe and Bakery, 4 Bowdoin Mill Island, Suite 102, Brunswick; 721-3099, thebarndoorcafe.com.
Bayview Gallery, 58 Maine St., Brunswick, 729-5500, Patricia Boissevain, 729-5500, bayviewwgallery.com.
Cabot Mill Gallery, Fort Andross, 14 Maine St., Brunswick, 837-9108.
Chocolate Church Arts Center, 798 Washington St., Bath, 442-8455 or chocolatechurcharts.org.
Coleman Burke Gallery, Fort Andross, 14 Maine St., Brunswick, [email protected]
Curtis Memorial Library, 23 Pleasant St., Brunswick, 725-5242, curtislibrary.com.
The Eleven Pleasant Street Gallery, 11 Pleasant St., Brunswick, 607-4016 or [email protected]
Frontier Cafe, Fort Andross, 14 Maine St., Brunswick, explorefrontier.com, 725-8820.
Gallery at Park Row, 185 Park Row, Brunswick, 907-4016.
Gallery at Widgeon Cove, Route 123, Harpswell, 833-6081 or widgeoncove.com.
Gallery at Schoolhouse Crossing, 48 West Schoolhouse Crossing Road, Topsham, 603-674-6098 or [email protected]
Gallery Framing, 12 Pleasant St., Brunswick, 729-9108.
The Gelato Fiasco, 74 Maine St., Brunswick, 607-4002, gelatofiasco.com.
Harbor Works Gallery, Holbrook-Trufant House, 977C Cundy's Harbor Road, Harpswell, harborworksgallery.org, Guy Saldanha, [email protected], 841-9812.
ICON Contemporary Art, 19 Mason St., Brunswick, 725-8157.
Just Framing, 149 Front St., Bath.
LaMarche Gallery, David Saul Smith Union, Bowdoin College, Brunswick, 725-3902.
Little Dog Coffee, 87 Maine St., Brunswick, 725-8820.
Mae's Cafe, 160 Centre St., Bath, 442-8577 or maescafeandbakery.com/events.
Maine Fiberarts Gallery, 13 Main St., Topsham, 721-0678, mainefiberarts.org.
Markings Gallery, 50 Front St., Bath, 443-1499.
Merrymeeting Arts Center, 9 Main St., Bowdoinham, 841-5914, merrymeetingartscenter.org.
Points of View Art Gallery, Brunswick Business Center, 18 Pleasant St., Brunswick, 373-9300.
Sarah Greenier Gallery, Maine, marine and coastal paintings, 428 Middle St., Bath, 443-3936.
Sebascodegan Artists Cooperative Gallery, 4 Old Orr's Island Road, Harpswell, 833-5717, sebascodeganartists.com.
Summer Island Studio, 149 Maine St., Brunswick, 373-1810.
Thornton Oaks, 25 Thornton Way, 729-8033, thorntonoaks.com.
Topsham Public Library Crooker Gallery, 25 Foreside Road, Topsham, 725-1727 or topshamlibrary.org.
VSA Arts of Maine, 11 Pleasant St., Brunswick, 607-4016, vsartsmaine.org.
Whatnot Gallery at Spindleworks, 7 Lincoln St., Brunswick, spindleworks.org, 725-8820.
Wednesday 5/30
Brunswick High School Spring Band Concert, 7 p.m., Crooker Theater, Brunswick High School, 116 Maquoit Road, Brunswick, 319-1910.
Thursday 5/31
Brunswick High School Spring Chorus Concert, 7 p.m., Crooker Theater, Brunswick High School, 116 Maquoit Road, Brunswick, 319-1910.
Saturday 6/2
Duo Duos, 8 p.m., Frontier Cafe, 14 Maine St., Brunswick, $10 advance/$12 door, explorefrontier.com.
James Cotton, 7:30 p.m., Chocolate Church Arts Center, 804 Washington St., Bath, $32 advance/$35 door, chocolatechurcharts.org.
Sunday 6/3
Oratorio Chorale, 3 p.m., Mid Coast Presbyterian Church, 84 Main St., Topsham, $10 suggested donation, oratoriochorale.com, 798-7985.
Bowdoin College Museum of Art, 9400 College Station, Brunswick, 725-3275.
Maine Maritime Museum, open daily 9:30 a.m.- 5 p.m., 243 Washington St., Bath, 443-1316 or mainemaritimemuseum.org.
Peary-MacMillan Arctic Museum, Hubbard Hall, Bowdoin College, 10 a.m.-5 p.m., Tuesdays-Saturdays; 2 p.m.-5 p.m., Sundays; closed Mondays, 725-3416, bowdoin.edu/arctic-museum.
Pejepscot Historical Society Museum, "CSI Brunswick: The Forensic Work of Dr. Frank Whittier," and "Pejepscot's Early Scots-Irish History," Monday-Saturday, 10 a.m.- 4 p.m., free, 159 Park Row, Brunswick, 729-6606.
Line Dancing, Thursdays 6 p.m., People Plus, 35 Union St., Brunswick, registration required, $20 per month, 729-0757.
Sage Swingers, Square and Round Dance Club, 6:30 p.m. Monday round dance workshops, Coffin School Cafeteria, Barrows St., Brunswick; 6:30 p.m. Tuesday square dance workshops, Jordan Acres School Cafeteria, Brunswick, 389-2568 or sage.squaredanceme.us.
Sidebar Elements
Zemya will treat listeners to a musical adventure around the globe featuring music from the Balkans, the U.K., Africa, the Americas and more at its performance on June 8 at Mayo St. Arts, 10 Mayo St., Portland. The show starts at 7:30 p.m. and tickets are $10. For more information visit mayostarts.org.
Nation & World
Stifling heat to rule the weekend for two-thirds of the Lower 48, with records in jeopardy
Nation & World
This was the first place to hear 'The Eagle has landed'
Nation & World
Britain warns of 'serious consequences' if Iran does not release British tanker
Nation & World
Hawaii officials want peaceful end to telescope protests
Nation & World
Pocket-sized shark squirts glowing clouds


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Voting for Mubarak is high treason
That's what I think. Sorry to be like most Egyptians in using labels and secluding people, but I'm not labeling people, but the act. The act of voting to Mubarak is a great disservice to this country.
The argument of the Mubarak supporters is that he is better than the alternative, Egyptians are not ready for democracy or for change even, let's maintain the status quo. High treason is looking after one's own interest at the cost of the group's interest, and that's what those who want to maintain the status quo are doing.
Is there a need to point out the terrible state this country is in, isn't it obvious? And yet all they think about is how it could get worse with someone other than Mubarak --instead of how it could get better. No wonder we're not getting anywhere. Many Egyptians are gutless and fearful, but worst of all is when they use that to serve their own interests, and these are the ones who screw this country for the rest of the citizens. Be passive and apathetic, but don't suck up and polish others because of fear and greed.
The streets are now full of banners of support to Mubarak. Most of the banners are put up by shops and business owners. Why would a butcher, a chicken shop, a balady cafe, a small business put up a banner supporting Mubarak. Do they really love him that much that they go through the hassle of putting up a banner paid for from their pockets? Are they forced to put those banners up by the NDP? If so, why aren't all the shops putting up banners? Will Mubarak see those banners personally and give them benefits that they're hoping for? I really don't get it, why do they put up those annoying banners with truly disgusting words, like "God has chosen you Mubarak", "Forever Mubarak", "The maker of the one united Arab Nation, Mubarak". One eih, we united eih, we Arab eih bass, Allah yekhreb beit elhartala. I wish they'd just stick to the new party's show slogans, "crossing to the future". Ofcourse we don't know what kind of future they're talking about, but whatever it is, now that all the bridges are destroyed, I'd like to know how they'll make that leap to whatever dark future they're talking about.
I really doubt that any of those who put up banners supporting Mubarak will actually go vote for him. They really want him as president, and they are sincere in protecting their interests by maintaining him as president (yeah, I'm reading their minds). But what's a secret vote compared to a big visible sign. It looks to me that all those who support Mubarak just want to protect their personal interests. If they are well off today, having a good business and managing well in that screwed up system of ours, then they want nothing to change. Maintain the tyranny, maintain the corruption, maintain the lawlessness, maintain social injustice, maintain the ignorance, maintain the cultural disorder and impairment, maintain the national weakness, maintain the lack of development and lack of economic growth --as long as I, am doing well.
Can there be that much fear and selfishness in people that they want the same person and the same regime with the exact same failure mechanisms rule us for 30 continuous years. A whole generation has seen nothing but failure. Isn't it enough? For God's sake, can't we hope for any better, can't we think any better of ourselves, don't we deserve any better? Do we really think that low of ourselves?! Do we not deserve any better than this mere state of survival that we're in, a painful survival. Do we not deserve to produce, develop, grow, excel, and lead? Is that it for us, and we should just try to maintain the lousy survival state we're in until we die. Those whom are supporting Mubarak apparently think so. Some of them think that they, and only they deserve any better, and to hell with all the rest.
Why would I ever vote for the same person who's failed to develop this country in a quarter of a century. Even if he's done no harm, if he's not a tyrant and hasn't stolen a penny, the guy is incompetent. He failed. To say the least, we're stagnant, if not disintegrating. He's had more than enough time, more than enough resources, more than enough ideas, and he simply failed to develop this country. All those businessmen whom are benefiting from him and his impotent system in power, or are afraid of not showing their support to him lest he turns on them, wouldn't it be a no brainer for them to fire an incompetent employee. You train the employee, give him more than one chance, give him time and resouces, and he keeps on failing, pulling your business back, wouldn't they fire him on the spot. Now, apply the same standards on the president, or is it because he's having the most critical job in the country and has all the threads in his hands he's free to mess up as he wishes! Well then don't fire him, but have some mercy on the rest of us and take down those pitiful banners.
AlDostour newspaper has a cute comparison table reminding us of Mubarak's 24 years of rule in Egypt compared to 22 years of Mahatir's rule in Malaysia. Even by a dictatorship standard, he's failed.

subset: commoncrawl


text:
Rise of the showboat donor
LAS VEGAS — Anthony Scaramucci was in his element.
The fast-talking hedge fund manager, who stands about 5 feet 8 inches on a good day, was recounting for a small clutch of well-wishers the conversation he'd just had with Magic Johnson (6 feet 9) at the hedge fund conference Scaramucci was hosting at the Bellagio hotel and casino here this month. The height disparity couldn't be overcome even by "standing on my wallet," Scaramucci quipped.
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His back-slapping braggadocio and shrewd marketing — he's a regular CNBC contributor who is starting his own weekly TV show — have made him a star on Wall Street. He also paid more than $100,000 to place his firm's logo in Oliver Stone's 2010 sequel in the "Wall Street" movie franchise. And his big giving and ability to get his pals on the street to do the same have made him a big deal in Republican finance circles.
The Mooch — a play on his last name used by everyone from Tony Blair to Kevin Spacey — is now seen as a validator who can steer major Wall Street money to hedge funds and super PACs alike. He's courted by fund managers and ambitious Republican politicians and big-money operatives like Paul Ryan, Scott Brown and Karl Rove.
( Also on POLITICO: Why Geithner drives liberals nuts)
His SALT Conference — named for his SkyBridge Capital fund (the full name is SkyBridge Alternatives Conference) — is a major to-do: a self-styled Davos meets Wolf of Wall Street that attracts top names from Hollywood, sports and politics. A-listers who spoke this year included Magic, Blair, Brown, Rove, Ryan, Spacey, Valerie Jarrett, David Petraeus, David Plouffe and Larry Summers.
But the Mooch's conference is only partly about the speeches and panels. Most of the 1,800 or so finance types who attended treated it as networking opportunity wrapped in a party-time Vegas atmosphere — a tone set by Scaramucci, the conference's frenetic chairman, who seemed to be everywhere at once.
After bragging about his chat with Magic, Scaramucci shifted his attention to a group of four attractive young ladies seeking an audience. "Look, you have beautiful women at the SALT Conference," he said, putting his arms around the waists of two of his new conversation partners, to whom he boasted of his dance moves before being rushed off by a handler for a live appearance on a nearby CNBC set.
( Also on POLITICO: Pols have bigger tax woes than IRS workers)
Scaramucci's meteoric rise has tested traditional clenched-jawed mores in finance and especially in politics, where discretion and the ability to avoid attention are prized. The Mooch — who favors custom-made Loro Piana pinstriped suits and participated in a 2009 CNBC program called " Untold Wealth: The Rise of the Super Rich" that showed him walking by a golden harp in his living room — is not one to shun the spotlight.
In 2012, he boasted that he was "one of the top raisers" for Mitt Romney's campaign, and about the time he spent at Romney's New Hampshire lake house, while filling his Twitter feed with a mix of sensitive campaign finance information and a stream of backstage photos and glimpses of the Romneys and other top Republicans.
Any minor headaches he may have caused the Romney folks paled in comparison to the PR disaster he caused for Rove around the 2012 Republican convention, when Scaramucci told a Bloomberg Businessweek reporter the time and location of a closed-door fundraiser for Rove's Crossroads outfit. The reporter recorded the event and wrote a story that quoted Rove urging Republicans to "sink Todd Akin," the Missouri Senate candidate whose cringe-inducing comments about " legitimate rape" were tanking his candidacy and dogging other Republicans. "If he's found mysteriously murdered, don't look for my whereabouts!"
The story prompted apologies from Rove and from Scaramucci to Rove, whose Crossroads groups backed out of a Manhattan fundraiser the Mooch had been planning.
Yet, Crossroads did accept $100,000 from SkyBridge a few months after Election Day. And Rove was back at SALT for the second year in a row (though the speaking fee SkyBridge paid probably had something to do with that), while Romney's finance director, Spencer Zwick, was a registered guest and Scaramucci next month is planning to attend a Romney investor summit organized by Zwick next month in Park City, Utah, as well as the Koch brothers' donor seminar in Aspen, Colo.
Rove's office referred questions about his presentation, which was off the record, to his speaking agency, which did not respond. Zwick also did not respond to an email asking whether he attended SALT.
The increasing willingness of the political class to turn a blind eye to megadonor antics reflects an evolution in political money: the biggest donors have become so powerful that operatives and politicians are loath to cut off anyone who can cut six- and seven-figure checks — no matter what kinds of problems they might cause.
( Also on POLITICO: Full finance policy coverage)
Whether it's Michael Bloomberg's headline-grabbing threats against Democratic senators or Ken Langone's comparison of populist appeals in his own Republican Party to the rise of the Third Reich, politicians and operatives still return to controversial billionaires who can help provide the huge sums of cash increasingly need to win. And the donors have little incentive to tone it down.
Langone, the billionaire Home Depot co-founder, was at it again at SALT, telling attendees that they should be proud to be in the 1 percent because, while "money doesn't buy happiness, try poverty. That doesn't do very well either." He added a nasty swipe at his erstwhile nemesis Eliot Spitzer, the disgraced former New York governor who tormented Wall Street. "I don't like him now, but if I projected how I feel when he dies, I think I'll feel better than I do right now," Langone said.
"There have always been emerging bundlers and political money raisers who believe so passionately in their political philosophy, who have a personality that is out there," said Georgette Mosbacher, a GOP finance doyenne who spoke at SALT. "And thank God there are, because Anthony is one of those who does embody those Republican principles, as a job creator, as an entrepreneur and as a businessman who believes in the free market."
But a top GOP operative who has worked with Scaramucci said donors like him are approached warily.
( Sign up for POLITICO's Morning Money tip sheet)
"If you're doing the cost-benefit analysis of whether you want to host an event with them or accept money from them, then the first question you ask is how much they're going to give," said the operative. "If they're going to give a million, we'll find a way to deal with them."
A conservative Wall Street executive who has raised money for Republican candidates and committees said that calculation barely points in favor of Scaramucci.
"He has the profile of Sheldon Adelson, but not the bank account," said the executive. "Do people take him seriously? I think they do because of his image and his brand, more so than because of his political giving. The only thing similar between his politics and his business, including SALT, is that it's all about him."
Scaramucci and SkyBridge have combined to donate $333,000 to Republican candidates and causes since 2011. And the company hired Amanda Ober, a well-regarded fundraiser who raised money for Romney's 2008 campaign and other Republicans, to help coordinate Scaramucci's political activities, as well as the SALT conference.
He also has given undisclosed contributions to groups in the political network helmed by billionaire industrialists Charles and David Koch and has scored coveted invitations to their last few donor seminars. The Kochs, Scaramucci told POLITICO, "are the most misunderstood people in the United States. If you met them, you'd find them to be the most generous, charitable and honorable people in the country. I love those guys. They're my boys."


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Because surfaces and objects in typical spaces reflect light, they can play a part in lighting efficiency as extensions of the lighting system. By controlling room surface reflectances, light levels can be improved, creating opportunities to save energy.
If light is not absorbed by a surface, it is reflected or transmitted to other surfaces. Because surfaces with lighter finishes have higher reflectances, they promote interreflections in the space. These interreflections can soften shadows, reduce contrast and reinforce uniformity. They can also increase light levels and perception of brightness.
Which brings us to efficiency. The coefficient of utilization (CU) goes beyond lighting fixture efficiency by considering the effect of the space dimensions and reflectances. A given fixture may emit some of its light directly toward the workplane and some at a nearby wall. Because the wall reflects some of this light to the workplane, the reflectance of the wall, expressed as the fraction of light reflected instead of absorbed, must be considered. The higher the reflectance, the more light is reflected from it, which translates to higher application efficiency or delivered lumens at the task.
This is all expressed in the CU, which gives designers a tool they can use to compare two different fixtures within a given environment. Specifically, fixture manufacturers publish CU tables for their products in the photometry report.
The more efficient the fixture is in its application, the higher the light level. Therefore, less light is required to be produced by the lighting system, which may translate to fewer fixtures or lamps or more flexibility in selecting the light output of the system based on lamp output and ballast factor. The result can be reduced capital costs and/or energy and maintenance costs. The biggest impact, of course, will be with lighting equipment that relies more heavily on room surfaces to distribute light, such as indirect lighting.
Suppose we will be lighting a room with a 30 percent ceiling reflectance, 50 percent wall reflectance and 20 percent floor reflectance. The room cavity ratio (RCR) is 3. Looking up a RCR of 3, we get a CU of 0.19 for a particular 100 percent indirect suspended linear fluorescent fixture. If required lumens = maintained light level (foot-candles or fc) area/ballast factor CU light loss factors, and if our target maintained light level is 35 fc, the ballast factor is 0.88, and the overall lighting loss factor is 0.75, then 63,000 lumens are required for this space.
Now suppose lighter finishes are used that raise ceiling reflectance to 80 percent—this is, after all, a 100 percent uplight fixture, so 80–90 percent is recommended—with wall reflectance increased to 70 percent. Looking at the CU table for the fixture, CU is now 0.64, which reduces our lumen requirement to 19,000 lumens—70 percent less, which can be leveraged for capital and operating-cost savings.
As shown, controlling surface reflectances can affect overall application efficiency, particularly when indirect fixtures are being considered.
What are ideal surface finishes? The first rule is to avoid dark surfaces, which can create uncomfortable contrasts and absorb light, unless they are required by the interior design. This not only goes for walls and ceilings, but also for furniture, partitions, cabinets and other objects in the field of view. Note, however, that darker colors can be useful for accent bands or for furniture, wainscoting and floors below the workplane. If the ceiling is unavoidably dark, consider increasing the brightness of walls through accent lighting, wallwash fixtures, etc.
Light-colored materials have a higher reflectance. The color does not have to be white; high-reflectance (70-plus percent) pastels are available. When possible, the surface should be matte instead of specular (glossy), which lessens glare by diffusing the reflected light.
Meanwhile, the Illuminating Engineering Society offers suggestions in its recommended practice guides for different building types, as does the ASHRAE Advanced Energy Design Guides, a series of publications providing methods for exceeding the ASHRAE 90.1 1999 energy standard by 30 percent. The Advanced Energy Design Guides, for example, recommended a reflectance of 20 percent for floors and the following:
• 80-plus percent (90 percent if indirect lighting) for ceilings and 70-plus percent for walls and 2.5-plus feet vertical partitions in offices
• 70 percent (80–90 percent preferred) for ceilings and 50 percent for walls in K–12 schools
• 80 percent (80-plus if daylight zone) for ceilings and 50 percent (70-plus percent if daylight zone) for walls in small retail buildings
• 85 percent for direct lighting and at least 90 percent for indirect and/or daylighting for ceilings and 50 percent (70 percent for walls adjacent to daylight apertures) for walls in small hospital and healthcare applications
• 80 percent for ceilings and 30 percent for walls in warehouse and self-storage buildings
Controlling room surface reflectances can play a significant role in improving light levels, lighting efficiency and visual comfort.
DILOUIE, a lighting industry journalist, analyst and marketing consultant, is principal of ZING Communications. He can be reached at www.zinginc.com.


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In Matthew 16:18, Jesus said, "I tell you that you are Peter, and on this rock I will build my church, and the gates of Hades will not overcome it." The disciple to whom Jesus addressed this statement was named Simon. But Jesus changed his name to Peter (Greek, Petros), which means "rock." The Reformers claimed that because the usual Greek word for rock, petra, is slightly different from Petros, Jesus must have been contrasting Peter with the rock. They claimed that it was really Peter's statement that Jesus was the Christ that was the "rock" upon which Jesus would build His Church.
But Jesus spoke to His disciples in Aramaic, not Greek, and in Aramaic, the same word, Kepha, would have appeared in both places in the sentence. Therefore, most modern Protestant scholars have abandoned the Reformers' argument and they now agree with the Catholic Church that Peter was the rock to which Jesus referred. For example, Protestant scholar Oscar Cullman, writing in the Theological Dictionary of the New Testament, writes,
The Aramaic original of the saying enables us to assert with confidence the formal and material identity between p tra [petra] and P tros; P tros = p tra. . . . The idea of the Reformers that He is referring to the faith of Peter is quite inconceivable . . . for there is no reference here to the faith of Peter. Rather, the parallelism of "thou art Rock" and "on this rock I will build" shows that the second rock can only be the same as the first . It is thus evident that Jesus is referring to Peter, to whom he has given the name Rock. . . . To this extent Roman Catholic exegesis is right and all Protestant attempts to evade this interpretation are to be rejected.[1]
Also, David Hill, a Presbyterian minister at the University of Sheffield wrote,
It is on Peter himself, the confessor of his Messiahship, that Jesus will build the Church. . . . Attempts to interpret the 'rock' as something other than Peter in person (e.g. his faith, the truth revealed to him) are due to Protestant bias, and introduce to the statement a degree of subtlety which is highly unlikely.[2]


text: /* * Copyright (c) 2000 Apple Computer, Inc. All rights reserved. * * @APPLE_LICENSE_HEADER_START@ * * "Portions Copyright (c) 2000 Apple Computer, Inc. All Rights * Reserved. This file contains Original Code and/or Modifications of * Original Code as defined in and that are subject to the Apple Public * Source License Version 1.0 (the 'License'). You may not use this file * except in compliance with the License. Please obtain a copy of the * License at http://www.apple.com/publicsource and read it before using * this file. * * The Original Code and all software distributed under the License are * distributed on an 'AS IS' basis, WITHOUT WARRANTY OF ANY KIND, EITHER * EXPRESS OR IMPLIED, AND APPLE HEREBY DISCLAIMS ALL SUCH WARRANTIES, * INCLUDING WITHOUT LIMITATION, ANY WARRANTIES OF MERCHANTABILITY, * FITNESS FOR A PARTICULAR PURPOSE OR NON-INFRINGEMENT. Please see the * License for the specific language governing rights and limitations * under the License." * * @APPLE_LICENSE_HEADER_END@ */ #ifndef __DSX500DIT_H__ #define __DSX500DIT_H__ /* * Traverse the NetInfo hierarchy, looking for the "suffix" * property and/or the domain name (which we map to an * organizationalUnit). * * The "suffix" property behaves like the "serves" property, * ie. it is stored a subdirectory of /machines, and * refers to the child entry. Indexes must match up with * the serves property, for example: * * /machines/trane * serves "./network" "trane/local" * suffix "" "ou=John Coltrane" * * Note the blank suffix property value so that the * suffix matches up with the child domain serves * value. A special case of the suffix property is * in the root domain, where (rather than determining * the suffix for a child domain) the value of the * property determine the suffix for the current domain. * * If a dsstore handle is passed in that refers to * a NetInfo server, then the working domain is * determined from that. If a dsstore is passed in, * then the working domain is determined from the * "master" property in the root directory. If there is * no "master" property, then the suffix is "" and * no parent/child referrals are returned. * * We also return referrals to parent and child domains. */ #include <NetInfo/dsdata.h> #include <NetInfo/dsengine.h> typedef struct { dsdata *local_suffix; /* local DN suffix */ dsattribute *parent_referrals; /* parent context/referrals */ u_int32_t child_count; /* number of child referrals */ dsattribute **child_referrals;/* subcontext/referral chain */ u_int32_t retain; /* reference count */ } dsx500dit; dsx500dit *dsx500dit_new(dsengine *s); dsx500dit *dsx500dit_retain(dsx500dit *i); void dsx500dit_release(dsx500dit *i); #endif __DSX500DIT_H__


text:
Colin Kaepernick wasn't heading into any training camp quarterback competition this summer.
Kaepernick seized his opportunity in 2012, turning erstwhile starter Alex Smith into a bystander during the San Francisco 49ers' run to Super Bowl XLVII.
To the credit of both men, Kaepernick and Smith maintained a good relationship despite the uncomfortable nature of the situation. A day after the Niners agreed to trade Smith to the Kansas City Chiefs, NFL Network's Amber Theoharis asked Kaepernick how he felt about the news.
"Of course, nothing can be finalized yet. Whether Alex is with us or he's somewhere else next season, he's been a great teammate to me," Kaepernick said in an interview that can been seen on Thursday at 7 p.m. ET on "NFL Total Access." "(He's) been a great friend, a great mentor. So anywhere he goes, or if he's still with us, he's gonna be successful."
Kaepernick was asked what he'll miss about Smith on game day.
"I think the biggest thing with Alex is he was always in my ear, making sure I was seeing the defense," Kaepernick said. "Did I see safeties do this? Did I see the rotation? Did I see things like that? Just making sure I have mental clarity when I step on the field."
Kaepernick isn't known for being outspoken with the media (this might be a considerable understatement), but Smith's change of scenery is good for both quarterbacks. Smith gets a fresh start and a starting job, while Kaepernick gets to be The Man in San Francisco without any of the soap opera elements concerning the man he supplanted.
Everybody wins.
Follow Dan Hanzus on Twitter @DanHanzus.


text:
Robert Pattinson may still be better at selling tabloids than movie tickets.
The "Twilight" star's latest film, "Cosmopolis," opened in limited release this weekend and took in $72,327, according to an estimate from distributor Entertainment One Films. Playing in three theaters, that amounted to a per-location average of $24,109 -- a decent figure, but one far behind some of the year's more successful releases. By comparison, Wes Anderson's breakout success "Moonrise Kingdom" took in an average of $130,749 in the four theaters it launched in back in May.
"Cosmopolis," directed by David Cronenberg, debuted at the Cannes Film Festival this spring to mixed response, and has since divided critics -- the film notched a 64% fresh rating on Rotten Tomatoes. The movie, adapted from Don DeLillo's novel of the same name, stars Pattinson as a young billionaire who begins to lose his mind when his business loses an immense amount of money over the course of a day.
The $19-million production arguably received more publicity than other films of its size due to the recent headlines involving Pattinson. The 26-year-old actor's face has been plastered all over tabloid covers since July, when photos surfaced of his "Twilight" co-star and girlfriend Kristen Stewart cheating on him with a 41-year-old director. Last week, Pattinson emerged for the first time since the scandal because he had promotional duties for "Cosmopolis," including an interview with The Times.
With the fifth and final "Twilight" film slated to hit theaters in November, Pattinson has yet to prove he is a major box office draw outside of the vampire series. His biggest non-"Twilight" success was last year's period romance "Water for Elephants," which grossed a respectable $117 million worldwide but had the advent of a popular co-star in Reese Witherspoon. And his Sept. 11 drama "Remember Me" didn't prove to be especially memorable with U.S. audiences, taking in $19 million in 2010.
Follow Amy Kaufman on Twitter @AmyKinLA


text:
A Spanish woman who faked her own kidnapping told police that she wanted "to find out what her husband would be willing to do for her."
The oddness took place in Madrid, where a guy received a ransom text demanding the money and including photos of his wife, bound. He was instructed, of course, not to go to the cops. He did. And they found her in a mall, "in perfect health." She's been detained by police, although it's unclear what her punishment will be. In 2008, a woman was sentenced to three-year-a-half years for extortion; but she'd faked her children's kidnapping seven times. In any event, the woman in this case doesn't appear to have been merely after money; as she told police, it was instead a test of her husband's devotion. Whatever happens, we hope counseling will be involved.
Spanish Woman Fakes Kidnapping To Test Husband: Police [AFP]


text:
TUSCALOOSA | In a long and busy life, Dr. Jim Hughey seemed to try out several careers. He served in the Navy during World War II, rising to the rank of commander, before practicing dentistry in Tuscaloosa for 43 years, serving on numerous professional associations in his field.
TUSCALOOSA | In a long and busy life, Dr. Jim Hughey seemed to try out several careers. He served in the Navy during World War II, rising to the rank of commander, before practicing dentistry in Tuscaloosa for 43 years, serving on numerous professional associations in his field.
Long before retirement, he kept a full calendar, working on behalf of arts and other organizations in the area, from the board of the Tuscaloosa Symphony Orchestra to the founding board of public radio station WUAL, to the Fine Arts Society at the University of Alabama and Focus on Senior Citizens, Tuscaloosa Emergency Services and his beloved Tuscaloosa Rotary Club.
Even with all that on his slate, Hughey made great strides to improve the health and life of the community: He moved to have Tuscaloosa become the first city in Alabama to get fluoridated water, in 1951, and added dental services to the first Head Start program. He advanced the cause of integration in the city, pushing for Rotary to admit its first black member, Harold Stinson, then president of Stillman College.
Hughey died Tuesday at his home, five days short of his 96th birthday.
Retired UA professor of journalism Frank Deaver knew his fellow Rotarian for about 45 years.
"When I moved here in 1969, he was one of the first people I met," Deaver said. "He made a point of welcoming me, and making me feel at home in the new club."
When Hughey joined the Tuscaloosa Rotary in 1948, he was the youngest member of the club; three years later, he became its youngest-ever president. Hughey continued serving until his health began failing in the past year or so, Deaver said.
Birmingham had been slated to become the first fluoridated city in the state, but paranoid suspicions of a Communist plot averted that; Hughey worked behind the scenes to bring fluoridation into Tuscaloosa, Deaver said.
In 1968, he began urging Rotary to integrate, proposing Stinson for membership. The board approved Stinson by a vote of 4-3, but bylaws required that three negative votes tabled an issue. A few years later, Hughey tried again. Deaver retains the two-page letter Hughey typed up for the board.
In it, he wrote: "The truly responsible black citizen wants the same thing that the truly responsible white citizen expects: to be accepted for what he is, no more, no less." Hughey went on to ask if there was truly not one black person in all the state worthy of Rotary. If not, "This leaves us with the only obvious true answer: Our prejudice."
The letter went on to stress how Rotary's acceptance of Stinson could be hugely significant in the city: "In a few years it will seem unreal that intelligent business and professional leaders could have failed to make such a notable contribution by the acceptance of such a simple truth."
This time the vote passed unanimously, and Stinson became the first black Rotarian in the state of Alabama.
But Hughey also worked in quieter ways. Amelia Heath, former executive director of Focus, remembers him as one of the truly committed board members, always supportive, kind and dependable.
"He was such a community-minded person," she said, "one of those people that literally worked full time as a retired person. When you wanted him to come to a meeting, he had to look at his calendar. But he gave his time so freely. We all remembered him as a pleasant, hard-working person, and very generous. Every agency literally runs on volunteers ... and you can't mail it in. You've got to show up.
"And I'm awestruck that he was married for 71 years," to Emma Geraldine "Jerry" Hammack, she said.
The Hugheys lived in the Highlands until the April 27, 2011, storm destroyed their house, after which they moved to Capstone Village retirement home. Deaver and his wife went to visit the Hugheys there about a week ago. Although propped up in bed, the former dentist, nicknamed "The Music Man," sang a Rotary song for the Deavers.
"Rotary used to be much more of a singing group than it is now, and he loved to sing," Deaver said. "Last week, he sang while we were visiting, not very well, but lustfully, with great determination."
Memorial services will be at 11 a.m. Friday at Christ Episcopal Church, with a reception following in the Parish Hall. The Rev. David Meginniss and the Rev. Catherine Collier will officiate the service. A private family burial will precede the service at Tuscaloosa Memorial Park.
In lieu of flowers, contributions may be made to Christ Episcopal Church, 605 Lurleen Wallace Boulevard, Tuscaloosa, 35401; or to the David Thomas Hughey Memorial Music Scholarship at the University of Alabama, U of A Advancement, Box 870122, Tuscaloosa, 35487.


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What could be more fun than an evening stroll in the crisp December air down the Pearl Street Mall in Boulder? Stopping for drinks of course! With the mall lit up by holiday lights and musicians playing carols, walking along the mall is even more festive. We're going to start on the east side and head west down the mall. Here is a holiday pub crawl in nearby Boulder that we hope you enjoy.
Photo by Carrie Dow
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The teacher-education program at Hope College has earned a 70, the highest score possible, on the Michigan Department of Education Teacher Preparation Institution Performance Scores Report released this summer.
Hope and the University of Michigan at Ann Arbor had the best performance scores, each with 70, among all teacher-preparation institutions in Michigan for the 2010-11 academic year according to the report, which was reviewed by the State Board of Education earlier this month.
Hope has consistently ranked as one of the state's top programs, receiving an "Exemplary" rating, in the annual listing since the report's inception in 2005. The college was one of four institutions ranked second in the previous, 2009-10, report, announced in 2011. Hope was one of two institutions tied for first place in 2007.
"Our program is strong," said Dr. Laura Pardo, professor of education and chairperson of the department. "We match what we teach to the students to the standards required by the state, and we regularly review our program to assure that we prepare our graduates to be successful as teaching professionals."
The college's department of education prepares students to teach in elementary and secondary schools. Each year, the department annually recommends approximately 150 graduates to the State of Michigan for teacher certification. The department currently has 12 full-time faculty.
The teacher-education program at Hope provides prospective teachers with a blend of classroom instruction and field experience. Students participate in field placements beginning with their first course in the program, Educational Psychology, a model that continues through a culminating semester spent student teaching. The student-teaching placements are available not only locally but also through off-campus programs including in Chicago, Ill.; Philadelphia, Pa.; the Rosebud Indian Reservation in South Dakota; and Liverpool in the United Kingdom. An on-going relationship with Interaction International has also provided student-teaching opportunities in nations including India, Kenya and Thailand.
Student-led chapters of two national professional organizations, the Student Council for Exceptional Children (SCEC) and the Association for Supervision and Curriculum Development (ASCD), offer professional development and service opportunities for teacher-education students. Students in the program also have the chance to gain additional experience through activities by volunteering with local organizations that work with children, such as the Children's After School Achievement (CASA) and Upward Bound programs based at Hope.
Graduates of Hope's education program teach in public and private K-12 schools around the country, and abroad. Hope education alumni also serve as Peace Corps volunteers, counselors in elementary and secondary schools, curriculum coordinators and supervisors, school administrators and college professors.
The Michigan Department of Education developed criteria for ranking each of the state's teacher-preparation institutions. This was done to meet the new requirements attached to the federal Title II Higher Education Act (HEA) requiring states to monitor the performance of their teacher-education programs. Rankings are based on the following criteria: the percentage of students who enter and complete the program, survey results of exiting student teachers, survey of classroom teachers who supervise student teachers, responsiveness to state need in preparing candidates in high-need subjects (mathematics, sciences, world languages and special education), as well as preparing teachers from ethnic minorities-diversity need, teacher candidates' scores on the Michigan Test of Teacher Competency (MTTC), and periodic program review by the Michigan Department of Education.
The more than 30 programs ranked in the state's report include programs at private and public colleges and universities. The other programs' scores range from 20 to 68.


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I am an American girl who has seen Tim McGraw live 18 times and as traditional as they come. I do not, however, participate in baby showers. This ceremonial welcoming of a baby rarely treats birth with reverence. I believe women can - and should - birth naturally and breastfeed their babies. The American way of having babies is in crisis. This is an educational blog; exploring birth, breastfeeding, & attachment parenting. I am a Natural Childbirth Educator and this is my voice.
Monday, May 24, 2010
Hooter Hiders
If you are not familiar with the term "Hooter Hider," (still sexualizing the breast by referring to it as "hooters" and implying that they should be hid for the purpose of breastfeeding) you are probably familiar with what they are. I've seen them called different things - Udder something-or-other (we are not cows and we do not have udders), etc. -- but they are all pretty much the same thing. It's a piece of fabric that ties around a mom's neck and acts as a cover-up while she breastfeeds her baby. They have become quite trendy, like an "accessory" I heard one mom describe, and this is my concern.
One of the reasons I am such as advocate for breastfeeding is because of the closeness this provides for both mom and baby. Baby gazes up into mom's eyes and often smiles while nursing -- getting emotional just remembering this tenderness -- and mom can look into her baby's eyes, stroke her baby's hair or cheek. It's a very comfortable exchange.
By putting this cloth between the two of you, you miss out on that exchange. It becomes only about nourishment, not "nursing." Breastfeeding is hidden, but everyone knows what she's doing. I feel more uncomfortable around a mom using one of these cover-ups than I ever felt with her casually nursing her baby.
Have you ever heard that when a woman nurses her baby around other women, it gets oxytocin flowing in the other women? I love to see a woman nursing her baby, stroking her baby's head, so in love with this baby. In contrast, when I know a baby is under there, all I can think is how hot he must be (I had a baby that sweat like crazy every time he nursed) and how sad it is that he can't look at his mama and she's not looking at him.
So, are women that embarrassed of nursing in public? Are you afraid of offending people? Are you afraid of people seeing part of your breast for a split second? Or are you afraid of the roll of fat hanging over your jeans? (I was always much more conscious and concerned about that!) What has driven women to start using these cover-ups?
I should quickly point out that I would much rather see a mom using a cover-up than a bottle, whether it's breastmilk or formula. If you really can't get over the embarrassment factor, by all means...
I would just like to see women taught by other women how to breastfeed comfortably without all the cover-ups. Breastfeeding should be casual and comfortable for mom and baby. I can't imagine that either one is very comfortable with this cover-up situation, especially baby. Mom might feel more emotionally comfortable, but I highly doubt that she is physically comfortable. Let's get to both places.
There are lots of companies that sell nursing clothing. A few of my favorites include: Motherwear, Expressiva, and Glamourmom. Ladies, this is much more empowering to be able to have a simple opening in your clothing to have access to your breast to nurse your baby. You don't have to lift any clothing. No blankets or cover-ups. No sweating. Your baby will thank you.
Ultimately, let's not hide breastfeeding. Let's make it casual and comfortable, as it's meant to be. Happy nursing!
24 comments:
- Kensie said...
Well I have used one of these, but prefer to just call it a nursing cover. I didn't use one much with Noah or Alyna, but with Lucas they were actually really helpful. Lucas was a distracted nurser. He would nurse, but any little movement, sound whatever, he would get distracted. With the cover, he actually did much better. And I want to point out that the nursing covers are actually designed so that you can see the baby. There is a little bit of webbing in the top that makes it pooch out and you can see straight down to baby and baby can see you. That is actually why I prefer the nursing covers to a regular blanket. It also lets in air so it is not hot hot in there. I made my own too and made sure to make it out of really light breathable fabric. There aren't a lot of places I am not comfortable nursing in, but with a baby that pops on and off often, it was nice to not have to worry about pulling up the shirt, pulling down the shirt, pulling up the shirt, pulling down the shirt, etc. etc.
- May 24, 2010 at 11:28 AM
- Hilary said...
I've loved breastfeeding both of my girls, both to almost two years old. With the first, I hid in a lot of backrooms when I was out and about and nursing, and I found it isolating and almost depressing at times.
With my second, I discovered nursing covers, and it opened up a whole new world for me. I also nursed uncovered far more often.
I have large breasts, and no matter how discretely I try to nurse, I've never managed not flashing a lot more than I'd like to (fat rolls included) -- so for me, this lets me be comfortable as I'm out and about and nursing my baby. Do I use them all the time? Of course not, 95% of the time I nurse uncovered and gazing into my little girls eyes (at home, as well as around many friends and family). But the other 5%, at my in-laws dinner table or while at a friend's wedding reception, I'm less self-conscious and have an easier time nursing if I'm covered up. (Sometimes I also use the cover to get 'undressed' and ready and get the baby latched on, then nurse uncovered, like in my Church's nursing lounge.) I also have found my baby and I can maintain eye contact most of the time with the nursing cover on (with the top part that has the plastic piece that holds it out). I also like that when nursing with one on, my baby would focus much more on nursing than on the many distractions of being out in public -- and sometimes it was the only way to get her down for a nap while out! :-)
For me, the nursing cover created additional opportunities for nursing in public, and has even had some unforeseen benefits in terms of a very light cover from wind while nursing outside, with more airflow than most of our blankets, as well as a creating a small secluded area where my baby and I can still see each other, but it blocks out everything else when we're somewhere busy or distracting. I don't use mine all the time, but it's a very appreciated 'accessory' in our diaper bag!
- May 24, 2010 at 11:37 AM
- Regina said...
I was going to say the same thing as the comment above. You most certainly can see your baby and your baby can see you while using the covers. And the material is as light as a sheet and doesn't blanket the baby at all. Obviously, we have talked and you already know my thoughts and how I very respectfully disagree with you. :)
But I don't think there is anything wrong with wanting a cute cover!!! (I have to throw this in here since I am the one who referred to it as an "accessory"). I am going to cover up one way or another, so why not use a cute, fun print?
I choose cute, fun diaper bags, clothes, slings, etc. so what's the difference?
Personally I would be extremely uncomfortable with people seeing even a small part of my breast, even for a split second!! Absolutely!! And I don't want to see anyone else's either. I think breastfeeding is awesome and rewarding and natural. But there are a lot of awesome and rewarding and natural things we don't do in front of other people...mainly strangers.
I totally understand what you are saying, and to an extent agree with you. I just don't think there is anything wrong with nusring covers, especially if it makes people more comfortable with breastfeeding. That is the ultimate goal...isn't it?
All of the websites you mentioned offer clothing to make breastfeeding as discrete as possible, so ultimately they all do the same thing, just in a different way.
- May 24, 2010 at 11:45 AM
- Sarah C said...
Oh Donna- I agree with you that it would be a beautiful thing for women not to need to "learn" how to nurse because they just were always around it- but we just are not there yet. I don't usually cover, but I think whatever gets people doing it is great. I think sometimes people are turned off to nursing because some women are very in your face about it. I can see why they are like that, but in the big picture it kind of makes all nursing moms look kind of militant. Does that make sense?
- May 24, 2010 at 11:50 AM
- Bill B said...
Both of my girls were the 'distracted' types, then as they got a bit older they played the "Drink drink Ta Daaa" game where they would detatch and look up at mommy with a big grin.
I see both sides of the issue and completely agree that mothers should not feel this beautiful and natural process need be hidden, but a great number in the population are not ready for natural... but they need to be educated to help make it better accepted.
Tall order for a new mom trying to enjoy that time with baby, to be charged with teaching strangers to accept a natural process. But let's hope that the Hooter Hider is a bridge to take a repressed, over-medicalized society to a more healthy natural place rather than make it the "required public-nursing" uniform. That would be a giant step backward.
Thanks for your posts!
- May 24, 2010 at 12:53 PM
- Sarah said...
I agree with you but our society isn' quite there yet. With my first, I was nervous and hid myself for the first few months. Then someone made me a nursing cover that I could see my daughter and was very thin. It opened up a whole new world to me. I found myself beginning to nurse wherever I was because I had this cover. By the time my daughter was 10-12 months old, I had practiced nursing so much that I no longer needed it. I also felt that a toddler under one of those covers looked silly. So for the second year of her life, I just nursed her without any cover and I got really good at nursing her so that none of my breast was exposed..people just assumed she was resting on me. With my second, I was an old pro at nursing and was not concerned about nursing in public at all. I did however find times where I used the cover again..especially in the beginning when they don't quickly latch on and you have to position them just right. Other times, it was becasue I was wearing a dress to church and didn't want ot go to the mother's lounge. He is now 15 months and it has been about a year since I have used it.
What I have learned it that it is a stepping stone to normalizing breastfeeding in general. If it gets women to feel confident nursing in public rather than on a toilet in a public bathroom, I say, "yay!"
- May 24, 2010 at 1:11 PM
- Diana J. said...
I bought a nursing cover but then decided not to use it on principle! So it hasn't been out of the bottom of the stroller in months and months. Not to mention that they're a bloody nuisance. I agree with your article; thanks for writing!
- May 24, 2010 at 3:11 PM
- Nicole Havrilla said...
Love your post. I need another Mom to teach me... bc I am shy with how big I am and not very graceful. :)
- May 25, 2010 at 1:00 AM
- KBH said...
I find covering with a blanket or cover up to be much more distracting than just wearing my glamourmom (or other strappy shirt) under a regular shirt and nursing by pulling the overshirt up and the undershirt down. It's pretty discreet, but as I've gotten more comfortable with NIP I don't even worry too much about being discreet. I mean, it IS discreet to FEED your baby the way it was meant to be fed. The worst thing about the cover ups besides the hassle is the implication that breastfeeding a baby "should" be hidden. I liken it to "nursing rooms" in public places, like a Target. They imply that nursing should be done only behind closed doors where no one can see.
- May 25, 2010 at 4:50 PM
- Donna Ryan said...
KBH, I couldn't have said it better. You summed it up just beautifully and eloquently: "The worst thing about the cover ups besides the hassle is the implication that breastfeeding a baby "should" be hidden. I liken it to "nursing rooms" in public places, like a Target. They imply that nursing should be done only behind closed doors where no one can see." Perfectly stated.
THIS is why I hate the cover-ups - and nursing rooms -- now that you mention it! Thank you.
- May 25, 2010 at 8:55 PM
I completely agree with this post! I dislike the message I send about nursing if I use a Hooter Hider/Udder Cover (My GOD, could those names be any more offensive???). I choose to nurse where ever I am when my baby is hungry; while I do not show much breast at all, no one would die if they saw a quick inadvertent glimpse! :D It's just a breast. We really need to normalize breastfeeding again!
- May 26, 2010 at 7:50 PM
- Ritsumei said...
While I'm not a fan of nursing rooms at all - I feel a little "banished" to the "mother's lounge" sometimes, I may get a nursing cover this time around. My breasts are HUGE: I wore a J cup while I was nursing Monkey, and never got smaller than an E between pregnancies. It's hard to manage that much breast, and regardless of how natural nursing is, my breasts are my business and nobody else's. And this is my decision, and nobody else's.
I tell Monkey, now 3, "Bodies are private," as he learns to dress himself & deal with public restrooms and so forth. This is not only for modesty's sake, but to protect him from perverts out there. Unfortunately, our world if filled with Creeps and Kooks, and he needs to know that his body is his own for his own protection. The same thing, for the same reasons, applies to my body, including my nursing breasts.
While I understand your point, frankly, I don't appreciate hearing that it's "wrong" to use a cover, any more than I appreciate being "invited" to take my nursing baby to the Mother's Lounge at church. It's still someone else trying to impose their view of what's the "proper" way to feed my baby on me, regardless of my own considered opinion.
- May 29, 2010 at 11:55 AM
- Ivy said...
I loved nursing my babies, but found covering up to be very important for meal times -- even at home. Most of them were easily distracted, and I found showering everything, with every noise, to be very annoying.
Since I live in a cold climate, there were always plenty of blankets around. I would just tuck one into each bra strap, so it hung like a tent and I could see baby. This made nursing a treat for baby and me. As they got older, they would come running, with a blanket over their head, to let me know they wanted to nurse. Without the cover up, I don't think any of them would have nursed beyond a year of age.
- June 3, 2010 at 7:12 PM
- Sarah said...
I think "covering up" all depends on the situation. If I'm with a group of moms, I don't cover. If I'm at house church where men are around, I don't care how natural nursing is, I'm covered. If I'm in public, I almost always cover, but typically just hold a blanket so I can still have eye contact without others seeing everything.
I will say this - while I am pro nursing and think there is nothing wrong with it in public, I do think there needs to be a little modesty at play. Even as a nursing mom, I'm not one for boob-hanging-out-because-I-can nursing moms. And yes, it happens. So, cover or no cover? It all depends. If there are men, I will always be covered. If it's women, I figure they got what I got it doesn't really matter!
- June 3, 2010 at 10:43 PM
- Donna Ryan said...
In case I have not been clear, I think it is more discreet to nurse with appropriate clothing (people won't even know your are nursing) than using a cover. I'm not saying to let it all hang out.
- June 5, 2010 at 8:50 AM
- Hilary said...
Yeah, but no matter how hard I've tried to use appropriate 'nursing attire', my extremely large nursing breasts combined with my squirmy, noisy, distracted babies, I feel much more comfortable having something covering myself and my baby. :-)
I think women being comfortable nursing, whether it be 'all out there', discretely clothed, or covered in a nursing cover all play different roles in encouraging the general public towards understanding that nursing is natural and beautiful -- if I was uncomfortable and worried about nursing (by not being covered, in my case) I would be a less effective example to my friends and neighbors of a happy, proud, nursing Mama. I think everyone just has to do what comes comfortably to them and what works for their baby, (even if that's hiding out in a Mother's room and never nursing in mixed company) and people will be introduced to numerous kinds of nursing norms . . .
- June 5, 2010 at 10:51 AM
- Jessica said...
I agree with Ritsumei.I am also quite largely endowed and never cover up when I am in the privacy of my home. I want my kids to see what breasts are for and how a mom breastfeeds. However, in public it is hard to manage such a large chest and fussy baby or toddler. I would much rather feel more comfortable with a cover than being banished to a room because of my easily distracted baby, etc. Recently one of my friends was at a park nursing her baby with a cover on. Light weight so the baby wasn't hot and I could see her little chubby hand stroking her moms arm. I reached over and shook the little hand. The bonding still goes on and I know it goes on when there is no cover. I have no problem with a mom nursing without one, but feel that the breastfeeding advocates- which I feel I am- can be harsh in their judgment of a mom's comfort and using a cover. If the mom is able to breastfeed in public easier and more comfortably then the covers have done a good job.
- June 10, 2010 at 12:25 AM
- Ritsumei said...
Donna, the nice "nursing clothing" is (1)more expensive, and (2)doesn't work for everyone. I simply don't have the money required to get a whole set of clothing at $30 a top! Quite a few of the "discrete" methods of nursing left me feeling like everything was all hanging out... even before he started popping off & pulling away to grin at me, leaving me both smitten with my baby AND exposed! Nursing in my MobyWrap made me feel like he was going to be smothered. I've got too much breast there to be able to use some of the usual tricks. I wish they worked; it's be worlds more convenient! And it's not because I'm grossly fat either. While I would be happy with a bit less of me to love, I'm not a beachball.
My sister has a cover-up, and it's way easier than the blanket that I used, with the added bonus that she can see her little one while she uses it. She had her baby all to herself in there, their own private party, even when the room was full of people, which it often was while I was visiting. And it kept her from feeling like she needed to leave to feed the baby, which she would otherwise have done. Her cover has a little strip of boning in it, like what's used in a bra, to shape it so that only Mom can see in. They were definitely enjoying the process! I will probably either buy or make one for the baby I'm expecting this August. And, yes, I will be making it out of something I think is cute.
I don't think that there's going to be a one-size-fits-all sort of solution to the issues around nursing & covering & not covering. I don't believe there should be a one-size-fits-all solution. It's all so very personal. Saying, "Cover-ups ought to be done away with," is just as wrong as saying, "All women should go away to somewhere 'private' to nurse." Neither stance takes into account the myraid of circumstances, beliefs about modesty etc, or Mom & baby's personalities and preferences. Both statements represent loss of freedom, rather than respect for a woman's choices about her body.
- June 10, 2010 at 12:49 AM
I'm a bigger lady and found that using a tank top pulled down (so the neck was below my chest) and a shirt over it was the best nursing outfit for me. This allowed me to keep my belly covered while I pulled up my top shirt to nurse.
My chest is large. It is even larger when I was nursing my children. I never used a cover or felt like I was exposing myself to anyone when I was nursing in public.
Use what works for you, but don't beat yourself up about what someone might see. Most likely, no one is paying attention and if they are, they might be thinking back to their nursing days.
- June 22, 2010 at 9:17 PM
- Tereza Crump aka MyTreasuredCreations said...
so glad to see this discussion. :) I think covers or no covers it's really up to what the mother feels it's more comfortable.
I, too, have large breasts and breastfeed my children until after they are 2y.o. and in public. I have never hid in restrooms or under cover ups. I use one of those receiving blankets made of cotton as a burp rag and simply lay it on the part of my breast that gets exposed without covering my baby up.
I have nursed my babies like this walking around WalMart, in church, in restaurants, waiting rooms. Never had anyone complain or asked me to leave.
- July 27, 2010 at 11:57 PM
- Stacy said...
I also think it is a personal thing. My DD is 3 months old & I NIP all the time. When we are at home I don't use a cover, when we are in public I do. I have large breasts & it's almost impossible to not flash people. I feel it is better for me to feel comforatable & not feel like I have to hide or never leave the house.
I have made some nursing covers with the boning but only used them a couple of times. I have found the nursing hats work amazing. You can find them here http://www.moboleez.com/ . I use this every where - I can fold it back to see DD & get her latched on. Many people just think it is part of her outfit (they have boy colors too). A few people realize that she's eating & comment about how they wished they had something like that when they were nursing years ago.
- December 6, 2011 at 10:22 AM
- HaleeBurch said...
I am personally embarrassed by it. I feel like that part of my body is mine, and my husband's and not for anyone else to see. I know that breastfeeding is not sexual, and I don't want people to think of it that way, but I do try to be very modest and if it is inappropriate to be seen without a baby, then I feel like it is inappropriate to be seen with a baby.
In the privacy of my home, which close females I might could relax those standards somewhat, as I have changed many times in front of my sisters or girlfriends. But in public I am going to want a cover. And being as I am already so large busted that I have trouble finding suitable clothes/bras I just don't hold much confidence in the nursing clothes available. Perhaps if I had a pattern I could make my own... but it is unlikely that I will be able to buy a small waist with a 32I bust (or greater when nursing) since I can't find any of that now.
Also I have seen covers that came with boning in the neck so that eye contact does not have to be restricted.
- July 11, 2012 at 12:49 PM
- Katrina Lee said...
I agree with everything you have said 100% and I was born and live in America. It is a huge problem. I hate those terms that they label those covers. I nursed my daughter for 12 months, just thinking back about that bonding experience always brings happy tears to my eyes. I never covered her up and didn't care what people thought. Sadly I will say that throughout those 12 months and even when she was newborn and I nursed her in public I received so many nasty comments....dirty looks and some who outright tell me to go to a restroom or my car. My response, do you eat in a bathroom? No? Then get out of my face and I didn't ask for your opinion. My daughter was born in late November and went out to a resteraunt while Christmas shopping and she was hungry. The staff asked me to go to my car because I was "offending" other patrons. It was freezing outside!! I'm now expecting my 1st grandchild and am educating my daughter to go with breastfeeding and not to cover up just to make other people more comfortable! It does take away from the bond. And even if I was the type that wanted to cover up, o would never have been able to. She always got hot very easily. I had to our summer pjs on he'd on the winter...even as a newborn because she sweat so bad when she slept and covering her up would have really overheated her. There is nothing like the bond nursing brings between a mother & her child/children. It's kit something that can really be described either unless you have experienced yourself. I also had her 100% natural vaginally birth, yes it's painful but I'd like to see lots more women try it...I know my daughter is going all natural when she goes in labor, she has the same opinions on the subject.
And I'm completely offended by the names of these covers, I saw them while baby shopping with my daughter and was speechless. I'd like to know if a woman came up with those names, If so she really should be ashamed. It's completely sexist names.
- November 22, 2016 at 6:17 PM
- HaleeBurch said...
Katrina's reply brought me back here and my have things changed since 2012, before I was pregnant for the first time! I am on baby #3 and quickly learned with #1 how awful those covers are!!! Ha! It's interesting how experience changed perspective. Something I should keep in mind when frustrated at others who do not have the same views as myself.
Just recently I wrote a letter to my pastor, concerned about the new "Nursing Mother's Room", and the fear that it might be alienating or make it seem as though nursing moms should be hidden.
I also have had rants in the past year about the sexism/offensiveness of "hooter hiders" and "udder covers"
- November 22, 2016 at 8:36 PM


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German Grandmother Lives Without Money for 16 Years
Many people across the globe live on pennies a day. It's involuntary – homelessness, poverty, hunger and all the deprivations that go with having no money. But what person would choose a life where you live on nothing at all – literally, not a cent – to your name?
Shine.com reports that Heidemarie Schwermer, a 69-year-old German woman, did exactly that – for 16 years. The grandmother of three is the subject of the documentary film, "Living Without Money," by award-winning Norwegian filmmaker Line Halvorsen. The film, produced in 2010, is currently screening internationally and is also available on DVD (http://livingwithoutmoney.org/).
"I do this because I clearly feel it doesn't work the way it is," Schwermer says in the film's trailer.
The film, which will be screened next in Cape Town, South Africa, Jan. 30, details Schwermer's experiment to live completely without money for 16 years. The experiment stemmed from Schwermer's Tauschring – a swap shop where people could trade their items for other's goods or skills. According to Oddity Central, the store, named "Gibb und NM" (Give and Take), was an attempt to help the Ruhr area's large homeless population in Dortmund.
The grandmother herself had come from a background of deprivation as a refugee in World War II. When her Tauschring was successful, Schwermer decided to quit her job, give away most of her possessions and move out of her home, according to Shine.
She told the Austrian Times that she "had become irritated by the greedy consumer society" she was witnessing.
"After my apartment was emptied, I jumped around for joy," Schwermer says in the film's trailer.
Schwermer lived nomadically, trading different services for food and shelter. She detailed her experience in three books, beginning with The Star Money Experiment.
When Halvorsen heard Schwermer's story, he was inspired to create a film chronicling her money-free life.
"Heidemarie's unique story made me want to create a film that challenges the viewer into questioning their own relationship to money and possessions," Halvorsen told Shine.
The Bible says the love of money is the root of all evil. Schwermer would agree.
"Money distracts us from what's important," she says in the trailer.


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CHARLESTON, South Carolina (Reuters) - Democrat Elizabeth Colbert-Busch, sister of Comedy Central television star Stephen Colbert, will run for South Carolina's vacant Congressional seat, a state party official said on Friday.
The state will hold a special election on May 7 to fill the seat left vacant by Tim Scott, a first-term Republican who was appointed to the U.S. Senate this month. Scott replaced Republican Senator Jim DeMint, who resigned in December to head the conservative think-tank, The Heritage Foundation.
Candidate filing opened on Friday and closes January 28.
Colbert-Busch has not yet filed, said Amanda Loveday, executive director of the state Democratic Party, but her campaign has informed the state party that she will file on Tuesday.
Colbert-Busch is director of business development for the Clemson University Restoration Institute, which is building a wind turbine drivetrain testing facility in North Charleston, South Carolina.
She was previously director of regional sales and marketing for the South Atlantic and Mexico for Orient Overseas Container Line, one of the world's largest integrated international container transportation, logistics and terminal companies and a subsidiary of Orient Overseas International Limited.
According to Charleston Women in International Trade, of which she is a founding member, Colbert-Busch is the eighth child in the family of 11 children. The family includes her brother Stephen, the Charleston native who "ran" as an unofficial candidate in South Carolina's open Republican presidential primary last January by urging voters to cast their ballots for Herman Cain, who had dropped out of the race.
Colbert also formed a political action committee, Americans for a Better Tomorrow, Tomorrow, that spent $90,000 on advertising in the state. State Democrats were not amused, and urged Democrats not to vote in the Republican primary.
Colbert-Busch is an expert in government maritime relations and the ocean transportation chain, according to the women's business group.
Republicans interested in the seat include a number of state legislators as well as former Governor Mark Sanford who said this week that he will run for the seat. Republican Teddy Turner, the son of cable television mogul Ted Turner, has also said he will run for the seat.
Editing by Jane Sutton and David Gregorio