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Gallup: Americans Want More Energy from Solar, Wind, Natural Gas
A Gallup poll conducted in March found 76 percent of Americans want more domestic energy from solar power, followed by wind (71 percent) and natural gas (65 percent).
Only 46 percent of survey respondents want to emphasize the production of oil and 37 percent want more nuclear power, while coal is least popular with 31 percent of Americans wanting to prioritize its production, according to an article on Gallup's website.
Gallup's results are based on telephone interviews conducted March 7-10, 2013, with a random sample of 1,022 adults, aged 18 and older, living in all 50 US states and the District of Columbia.
Although Republicans and those living in the South are slightly more supportive of oil and coal than Democrats and those living in other regions, still, Americans in every region strongly supported solar (at 74 percent or higher in every region, including the South.)
A telephone poll conducted in December 2012 by ORC International for the nonprofit Civil Society Institute (CSI) and Environmental Working Group (EWG) found Americans are not opposed to more domestic energy production via natural gas, but they are unwilling to achieve it by sacrificing clean water, increased energy efficiency, and expanded wind and solar power in the process.
- Six Essential Steps to Drive Effective Energy Management
- How to Use Lean Tools to Cash In On Environmental and Energy Savings
- Sustainability Reporting for Commercial Real Estate: GRESB
- 2014 Insider Knowledge Report
- Integrating sustainability into your ERM framework
- Trends in Energy Management: Where Should Your Next Investment Be?
- Essential Guide to Lighting Retrofits and Upgrades
- 2013-20114 Winter Polar Vortex
- Sustainability Careers: Unlocking Hidden Employment Potential
- 2014 Environmental Leader Product and Project Awards
- Energy Efficiency Requires Engineering Efficiency
- Integrated Building Optimization: A Crucial Convergence of Demand-side and Supply-Side Energy Management Strategies
- Driving Productivity and Profit with Industrial Energy Management
- Energy Procurement in 2014: Products & Programs to Optimize Savings
- BUYING STRATEGIES IN A VOLATILE MARKET: What Businesses Need to Know about Retail Electricity Procurement


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MBHB Partners Named to Best Lawyers in America 2015 Edition
We have worked extensively with issues related to industrial chemicals, consumer-product compositions, processes and methods of manufacture and catalysis, waste management technology, process chemistry, surfactants and detergents, and organic synthesis of both small molecules and polymers. We are experienced in preparing and prosecuting chemical patent applications in both the organic and inorganic areas, for compositions such as:
We have also worked with the manufacturing processes and equipment related to chemical engineering.
We are not just chemical patent attorneys, we also have extensive experience preparing patent portfolios as well as trademark portfolios, PTO interferences and licensing agreements. With a number of our attorneys holding advanced degrees in chemistry and chemical engineering, our firm has true depth in this area. Our expertise in physical and applied chemistry, surface chemistry, agricultural chemistry, nanotechnology, and environmental science spans numerous industries, from industrial manufacturing to cosmetics. We have high level chemical engineers who can analyze all the issues regarding the composition of the intellectual property as well as the legal issues.
In the U.S. Supreme Court's decision today in Alice Corp. v. CLS Bank International, the Court affirmed the invalidity of Alice's patents for computer-implemented methods of reducing settlement risk. This case reached the high court after a severely split Federal Circuit could not agree whether language of the claims met the patent-eligibility requirements of 35 U.S.C. § 101. At the heart of this case was the Federal Circuit's confusion over the impact of the Court's 2012 decision, Mayo Collaborative Services v. Prometheus Laboratories, Inc.

subset: commoncrawl


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tag:blogger.com,1999:blog-81285986500877370632014-10-17T06:05:59.675+11:00the rachel papersWriting, art, motherhood and everything in betweenRachel Powerhttp://firstname.lastname@example.com:blogger.com,1999:blog-8128598650087737063.post-20099705626822052452014-08-25T13:07:00.004+10:002014-08-25T20:42:51.483+10:00The art of learned selfishness

I still have a strong memory of the day a lecturer stood in front of my art history tutorial to declare that, to date, there had been no great women artists.

Of course there was the inevitable outrage from students in the room, who argued that it was the definition of greatness that was the problem: that the themes and forms taken up by women didn't fit the patriarchal categories of "great art". We identified the cultural and institutional barriers that historically stopped women from becoming practicing artists. We listed all the female artists we thought worthy of recognition...

After the class, there was the bitter aftertaste: the familiar, niggling suspicion that we were merely being toyed with. It was all a bit of a game with these male teachers, stirring the pot before standing back to enjoy the predictable reaction from the latest batch of naive, dogmatic young things.

But I was also genuinely troubled by the question. Are there really no great women artists? What makes an artist "great", anyway? Or, more to the point, what enables an artist to become great? Because surely no-one could sensibly argue that women didn't have equal capacity for greatness...

I began doing some research about the lives of the women artists we had mentioned in the class... (Can you see where this is heading?) Yep. That is the day I realised that almost every one of the female artists named was, either by choice or circumstance, childless. There may have been the odd exception, but even then they tended to be either wealthy enough to avoid much of the hands-on care or to have abandoned their children altogether (not always happily or freely).

I have often thought about that tutorial and wished I knew what I know now. I would have a simple answer.

Art is all about time. There is no way of making great art without investing huge amounts of time into the practice of it. And time is what most women still don't have.

I could go on – and have, in previous posts over the years – but I don't think I could put it any better than Helen Addison-Smith in her article "Yes, Men Are Better Writers", published in the current edition of Overland. As she says:

'Good writing' does not emanate from the penis but it does emanate from material conditions. Writing takes time – great swathes of clean, empty time, unsullied by children or housework or deep worry about money or skincare routines. To be a writer is to be selfish enough to grab time and spend it churning words around, even though you are not getting paid very much, hardly anybody cares about what you're doing, and even fewer people think that it's any good.

Men are better at being selfish than women. They are better at it before the having of children, but they really come into their own after the having of children. While women generally see the immediate needs of the shorties as taking first priority, men are able to keep themselves as the focus and so spend less time and energy bringing up children.

In the comments, there are those accusing Helen of being "reductive and rather silly". But surely sometimes being intentionally reductive – and a bit silly – is the best way of driving home a point and provoking a debate. That doesn't mean there isn't truth at its core.

If it wasn't for Varuna: The Writers' House I would barely have written a word since having children. As Helen implies, while there are creative women who want kids – and want to make art about (or in spite of) their lives – the only answer is for them to be supported in practicing the art of selfishness, at least on occasion. Rachel Powerhttp://email@example.com:blogger.com,1999:blog-8128598650087737063.post-31764432189345420242014-08-19T17:27:00.002+10:002014-08-19T22:42:59.951+10:00Come Worry With Us - a review

My friend Katie and I went to see the thought-provoking doco Come Worry With Us (not a great title) the other night at the Melbourne Film Festival.

There was something so gratifying for me in seeing this film — not only because (much like Mary Trunk's film Lost in Living) it was such a perfect actual and visual representation of all the themes and ideas in The Divided Heart. But also because I felt like it backed up the original impetus for my book: that motherhood can be challenging for all working women, but has its own very particular set of difficulties for artists.

I often got what seemed a very defensive reaction from potential publishers (and, later, reviewers) to my desire to focus on artists — the whole "what makes you so special?" question — when I never understood why delving into the specific experience of one group of people was in any way devaluing the experiences of others. Neither did I assume there wasn't plenty of cross-over with the experiences of non-artists, but I still strongly believe that the kind of dedication any creative practice requires makes for a particularly fraught situation for those who want or have children.

Come Worry With Us perhaps presents an extreme version of this situation in focusing on a couple who are bandmates in an experimental rock group, Thee Silver Mt Zion Memorial Orchestra — a band dedicated to both creative and personal integrity. Their boisterous, largely instrumental (though with vocal elements) music has a small but faithful audience and they intentionally keep ticket prices to a minimum. With baby Ezra in the mix, they remain dedicated to their decision to share both income and costs evenly, including those related to touring with a toddler.

Having a child proves the ultimate challenge not only on a practical level for parents Jessica and Efrim, but also on an ethical one. They are confronted with the way a child demands a different kind of engagement with the conventional world, especially on the financial front.

As father Efrim says, the world of touring musicians is the opposite to everything a child requires: they are stuck in a bus when he should be outside running about and they are working when they should be getting their child to bed. And the cost of the bus and the nanny almost cancels out any money they make.

That said, amid the obvious trials, some of the loveliest scenes are those between little Ezra and his parents' bandmates, who are like second parents to him, and witnessing his own growing love of music.

The film illustrates the seemingly inevitable gender division that occurs after having a baby, all the more dramatic for a couple who has never subscribed to traditional roles and been very much equals. In the early days after their baby's birth, for practical reasons, Jessica stays home with baby Ezra while Efrim tours with his other band.

Despite this split, I found myself somewhat irritated by father Efrim's insistence that while Jessica was doing much of the hands-on care, he was bearing the brunt of the anxiety about providing for his family. While his financial concerns were real, she expresses similar fears about the threat to her creative endeavours and the need to find more stable work.

At one point Jessica's best friend, a visual artist, makes the astute comment that while she'd like to have kids, she thinks she'd much rather be a father than a mother.

Jessica really sums up the central dilemma when she asks: "How can I be the kind of mother I want to be and keep doing the thing I love? Is it selfish or is it the best thing to do for your kid — showing them that you're doing what you love?" Rachel Powerhttp://email@example.com:blogger.com,1999:blog-8128598650087737063.post-45709844966758391072014-08-12T23:01:00.000+10:002014-08-12T23:08:15.040+10:00Chaos and creativity

It is always so lovely to hear from readers of The Divided Heart. I've been lucky to get hundreds of letters and emails over the years, and every time I am struck by how articulate and thoughtful -- and candid -- these messages are.

It is humbling to get such heartfelt responses from women who are often arguably a lot further along in their creative careers than I am, but for whom the book still struck a nerve. It is also especially gratifying to hear from readers who tell me that the book was what enabled them keep hold of that elusive creative thread when everything else in their lives was telling them to give up and let it go.

Most recently, I got an email from painter (and mother of five!) Jasmine Mansbridge, who after reading The Divided Heart shared her "thoughts on being an artist and a parent" on her blog.

She writes there about how a lack of time for art creates a kind of urgency that ends up driving greater productivity. It is such a potent fantasy -- that idea of having endless time rolling out in front of you to create without disruption or distraction. And yet, even at times when my creative frustrations are through the roof, I know that if I had all the time in the world for writing and drawing, I would likely only freeze under the pressure. You'd just find me down at the local cafe drinking my tenth coffee and pretending to myself it was all part of the process...

As my kids have gotten older, I can now look back and see what an incredibly fruitful time those early years with small children were for art. Yes -- manic and exasperating, but also intense and rich and full in all the right ways.

Thank you to everyone who has written to me (especially those who I may have neglected to respond to -- that includes the reader who wrote me a particularly long and gut-wrenching letter in an envelope I threw out before realising that it meant I'd lost the return address -- I have felt terrible about this ever since!). Your words mean a lot. Rachel Powerhttp://email@example.com:blogger.com,1999:blog-8128598650087737063.post-59209393027355360102014-08-05T22:01:00.001+10:002014-08-05T22:03:11.236+10:00Taking the baby on tour: new doco screening at MIFF

I wish I'd thought of making this film! Ah well, it exists now - and that's the important thing...

Come Worry With Us (screening at this year's Melbourne International Film Festival) is about the "struggle to balance parenthood with the realities of life as a working, and therefore touring, musician".

I know nothing about the band - and haven't seen the film yet - but it sounds like something anyone interested in the crazy parenting/creativity combo should know about. Here's the blurb:

...when Thee Silver Mt. Zion Memorial Orchestra members Jessica Moss and Efrim Menuck welcomed their son Ezra to the world, and to their by-necessity nomadic lives, the old pressures of financial insecurity, artistic integrity and life-work balance are joined by the new challenge of raising a family.

Adding further complications are Jessica's realisation that she has fallen into the traditional role of mother, and Efrim's dual obligations with Thee Silver Mt. Zion and his other band, Godspeed You! Black Emperor.

Award-winning filmmaker Helene Klodawsky follows the band on the road as these pressures begin to mount, producing an honest, beautifully shot profile that will speak not just to fans of post-rock but to anyone struggling with the 21st-century anxieties of making a living while maintaining the integrity of an artistic life.

Come Worry With Us is screening on August 13 and 16 at 9pm - book tix here.Rachel Powerhttp://firstname.lastname@example.com:blogger.com,1999:blog-8128598650087737063.post-79638030964151533142014-07-25T20:06:00.002+10:002014-07-26T08:52:45.865+10:00Interviewing Lily

After a somewhat difficult time, I feel like I'm finally emerging into the light and it is so wonderful to have the energy for living (and not merely subsisting) again.

Yesterday, I interviewed the incredible artist Lily Mae Martin, who will be the first new addition to a reissue of The Divided Heart: Art and Motherhood.

It felt so satisfying to be exploring this territory again - especially with someone as gifted and as generous as Lily, who has often shared her candid musings about the experience of art and mothering on her former "Domestic Berlin" site and now on her website blog.

I feel quite overwhelmed by my admiration for Lily's work. Her mastery of the art of drawing is beyond extraordinary.

I feared her words might temporarily be drowned out by the cries of small babies (cafes are so much the domain of new mothers during the day nowadays), but my trusty voice recorder app didn't fail me and I happily re-listened to what was a beautiful interview last night. (I don't think I'll ever fully recover from the trauma of losing most of that interview with Rachel Griffiths all those years ago...)

So, what this means is that a new edition of The Divided Heart is finally taking shape.

Thank you to everyone who still chances by this blog on occasion. I'll keep you posted on developments...

Oh, and while I'm here, I have to mention that my friend and fellow-traveller, Clint Greagon - of Reservoir Dad fame - has finally published the book he's been threatening to write for years.

I haven't got my hands on a copy yet, but Kerri Sackville says: "If David Sedaris had got married and had kids, he would have been Reservoir Dad. Fall-on-the-floor funny, sharp, witty and just a little bit sexy."

Yep, that sounds like Clint.

If you fancy reading about the travails of a stay-at-home dad with a wicked sense of humour and a penchant for saying it like it is, Reservoir Dad: He's Got it Covered is your book.Rachel Powerhttp://firstname.lastname@example.com:blogger.com,1999:blog-8128598650087737063.post-10097080775001108032014-05-02T15:23:00.000+10:002014-05-07T21:57:41.198+10:00Books and blogs

It's been a long-time between drinks for me and my blog. I haven't been so well of late, but things are looking up and I wanted to let people know about a few things on the horizon:

Firstly, on May 29 at the Northcote Library I will be having a chat with Stella Prize-winning author Clare Wright about her book, The Forgotten Rebels of Eureka. Also women, writing, politics, creativity... ie. we'll just be having a good ol' gab-fest and we'd love you to join us.

Secondly, you should all read this lovely interview with Clare Bowditch over at Gab Williams' book book blog blog (along with all her other wonderful posts) - where she mentions that she'd "marry 'The Divided Heart' by Rachel Power". Well, shucks, if only she'd asked, I reckon The Divided Heart would've said quite liked to marry Ms Bowditch too!

And thirdly... I feel very sad - and more than a little distressed - that The Divided Heart is no longer in print and no-one can get their hands on a copy. I still get lots of lovely messages from readers, but also from prospective readers seeking a copy and I hate that I can't supply them with one.

So I'm in the beginning stages of seeking some new interviews with the plan of creating an updated edition. I don't know whether I will need to self-publish or if I'll find a willing publisher, but I am determined to find a way to get TDH out there again. Watch this space... Rachel Powerhttp://email@example.com:blogger.com,1999:blog-8128598650087737063.post-62939269519590287802014-03-06T11:02:00.000+11:002014-05-02T15:23:50.488+10:00Free online streaming of 'Lost in Living' on March 8

Watch the trailer for 'Lost in Living'

To celebrate this year's International Women's Day, filmmaker Mary Trunk is making her wonderful film, Lost in Living, available to stream for free online for 24 hours.

This is a chance to see Mary's profound look at the lives of four creative women as they struggle to navigate family, work and creativity.

The film will be available on demand on March 8 from 8am PST time (that's US time - currently 11 hours behind Australia) for 24 hours.

Rachel Powerhttp://email@example.com:blogger.com,1999:blog-8128598650087737063.post-20573383489650323912013-12-08T21:28:00.003+11:002013-12-08T23:27:17.092+11:00Divided hearts

Currently on in Sydney is an exhibition that the artists say has taken its name from my book.

When they contacted me to ask if they could name their exhibition "The Divided Heart", I had to move beyond a fleeting sense of possessiveness and remind myself that before the book was printed, it was my publisher who said: "I've found the name of this book; I think it's "A Divided Heart".

I always feel slightly embarrassed that the title wasn't my idea, because it's clearly so right. My only suggestion was the shift from 'A' to 'The'!

It is not a phrase I have any ownership over. It does nothing more than describe the experience that so many mothers instinctively relate to.

So much that is written about being a mother and an artist uses exactly the same, if not very similar, words. And when my book is reviewed, this is the phrase that most often gets quoted as resonating with the reader:

"A divided heart; a split self; the sense that to succeed at one means to fail at the other."

These artists generously asked my permission to use some of those words, but really it's just that, in terms of using them as a title for the a creative response to the experience of being artist and mother, my book just got in first. The feeling is universal.

"The Divided Heart" is a group exhibition about navigating a balance between creativity and motherhood. It is on now at Gaffa Gallery in Sydney.Rachel Powerhttp://email@example.com:blogger.com,1999:blog-8128598650087737063.post-91193890168548800822013-11-22T12:06:00.001+11:002013-11-24T00:01:07.510+11:00Spreading the love: Big Hearted Business Virtual Conference launched today

There are a lot of amazingly creative people out there. Then there is that rare beast who is both a startling talent and who also wants to use that talent to create some real change in the world.

If you know Clare Bowditch like I do, you'll know that when this woman believes in you, she becomes not only your friend but your greatest champion.

Through all the time in which she has been cultivating her own creative career, Clare's determination to see others succeed – to bring her friends along with her – has been an equally mighty, passionate force.

That means that there are times – those times when you feel less than deserving of her persistent faith in your potential – when that can be wee bit confronting. It's not always easy to face up to your deepest desires. But Clare will remain determined to see those around her be the best they can be; to help you find a way to do the things that actually make you happy.

As a long-time friend of Clare's, I've been lucky enough to be among the beneficiaries of her constant encouragement over the years. But with Big Hearted Business, she's now sharing the love far and wide, so everyone can get some of that tough (and oh-so-warm) love in their lives.

Clare really believes that with the right knowledge and support you can "Do What you Love, Make Money, Save the World (even just a little bit)" – and the enormously generous speakers at her BHB Conference offered the practical, living proof of how.

Since that event, I've heard from so many women who've said the conference finally gave them the permission, the confidence and the tools to forge ahead with their creative lives.

If, like me, you were there, you probably can't wait to re-live it and finally get down all those pearls of wisdom you wish you'd written down at the time!

And if you weren't among the lucky few to win a golden ticket, Big Hearted Business has launched its BHB Virtual Conference 2013, so that you can watch all the best bits anyway.

This virtual version is a "super-highlights treasure-chest" of the finest moments from the BHB Conference 2013. It includes talking videos, downloadable audios and transcripts of most of the keynotes, stories, question-times and exercises.

And most importantly, thanks to Catherine Deveny, you'll learn how to develop serious "F*ck off Status" – some of the best advice you could get on putting fears and doubts in their place and getting on with the creative dream!Rachel Powerhttp://firstname.lastname@example.com:blogger.com,1999:blog-8128598650087737063.post-8599945461095013892013-11-13T23:32:00.000+11:002013-11-19T21:43:39.659+11:00Motherhood, time and the art of surrender

For my birthday this year, my partner gave me the most thoughtful possible gift: a week at Varuna, the writers' centre in the Blue Mountains.

I have been to Varuna several times now, and each time induces a different emotional response -- sadly, often characterised by an existential crisis on the first or second day that finds me wandering the streets of Katoomba in a state of panic about my neglected creative "practice".

Between full-time work and my family's needs, my life feels almost entirely controlled by external demands, so time at Varuna is usually the first chance I've had to stop and really think for months. This time, after a particularly busy period at work, I also seemed to have completely lost the ability to structure my own time and felt completely at sea!

Of course once you finally get your bearings, you realise it's already Wednesday and what felt like a luxurious surfeit of time stretching out in front of you suddenly seems to be spiralling rapidly toward the inevitable end date. But a luxury it still is. A chance to once again glimpse the possibilities, if nothing else. Each time helps me remember that to write is really just to pay attention to what's around you -- so simple, but so easily lost in the chaos of "normal" life.

Angst-ridden moments aside, each time I'm at Varuna there are also lovely instances of synchronicity. Years ago, I was doing a residency alongside poet Kylie Rose, who left a book outside my door: Object Lessons by Eavan Boland. It was the perfect thing at the perfect time. Boland provides such an acute description of the new relationship with the sensory world (and therefore, peculiar form of creative power) that comes with mothering that she almost single-handedly inspired the conclusion to the book I was working on, which became The Divided Heart.

Julienne van Loon

This time, writer Jane Messer just happened to mention a Griffith Review essay, "The Play of Days", written by Julienne van Loon, a novelist who was at Varuna at the same time as Kylie Rose and myself all those years ago. At the time, she had recently won the won the Australian/Vogel Award for her first book, Road Story.

I recall discussions with Julienne and the other residents about the feared threats motherhood might pose to a successful writing life. So it was doubly fascinating for me to not only discover that she had had a baby but that her experience had been characterised by such blissful surrender to her son's agenda-free pace, amid all the risks that that state poses to our "selfhood", which she describe so beautifully in her essay:

I have taken twelve months leave from my usual work to be home with a new baby, and one of the biggest adjustments I had had to make is to arrive at a new understanding of time, one measured only by the fragile, mutable pattern of basic human needs: sleep, food, warmth, contact. ... And it doesn't matter. Unless you can't shake the itch for something more meaningful to do.

Yep, that pesky itch...
Rachel Powerhttp://email@example.com:blogger.com,1999:blog-8128598650087737063.post-79662160290940730002013-05-02T00:03:00.001+10:002013-05-02T00:04:16.008+10:00In Conversation with Jo Case

This Sunday author Jo Case and I will be having a good ol' yarn (but in public) about her wonderful, moving and very important new memoir, Boomer and Me: A memoir of motherhood, and Asperger's.

The event is at the The Sun Bookshop in Yarraville at 11am. Jo has written a very candid memoir about coming to terms with what it all means when her son is diagnosed with Asperger's. We'd love to have others join the conversation.

The event is free but if you want more info, you can ring 9689 0661 or email firstname.lastname@example.com.Rachel Powerhttp://email@example.com:blogger.com,1999:blog-8128598650087737063.post-6532821323055508392013-04-10T23:38:00.002+10:002013-04-11T10:09:35.915+10:00Why you must see "Lost in Living"

It has taken me two weeks to write about Lost in Living here since a copy of the DVD arrived it in my mailbox.

I just haven't been able to find the words to encompass my feelings about this remarkable documentary.

Still now I don't know how to express my admiration and gratitude for it. The final film is even more wonderful than I expected it to be when I first heard from director Mary Trunk a couple of years back and watched the early footage she shared online.

Made over eight years, Lost in Living has been a labour of love for Mary, and the time and passion she's invested is evident. It is such a moving and profound document of the situation for mothers trying to maintain their work and their identity as artists.

It never ceases to amaze me how familiar and universal the issues are for creative women: the guilt and frustration, as well as the perspective and motivation, that comes with motherhood. The terrible feeling of being constantly torn in two... And what a comfort it is to hear other women describe the same feelings we all struggle with.

As Caren says: "I still don't know how to make art without having time!"

Lost in Living features four utterly candid and down-to-earth artists: painter and mother of seven Marjorie Schlossman; prolific author Merrill Joan Gerber; and friends actor and filmmaker Kristina Robbins and visual artist Caren McCaleb.

Together, these women offer great insights into the nature of creativity, the complexities of mothering and the intensity of friendship between women. It is fascinating to see the contrast between the experience of the two older women -- the isolation they have felt and the impact of that on their relationships -- and that of the two younger artists, whose barriers are more personal than societal.

There is nothing I can say here that could do this film justice or describe the power it had on me. Watching Lost in Living, I cried bucketloads. I've seen no other film so successfully investigate the fraught relationship between motherhood and art, and all I can do is urge you to do everything you can to get your hands on a copy.

While you wait for it to arrive, you can read this great interview with Mary about motherhood and the creative process. Rachel Powerhttp://firstname.lastname@example.com:blogger.com,1999:blog-8128598650087737063.post-76298037492659954522013-03-27T21:36:00.000+11:002013-04-02T16:44:57.809+11:00Does it matter enough?

Pic: Lucy Feagins. Photo by Sean Fennessy

In response to the comments on my previous post, I just want to say a couple of things - things I wanted to say in my talk at the Big Hearted Business Conference but didn't find time/space for.

Firstly, that whole idea that if you want it enough - that if you are a "pure" or "true" enough artist - you will make it happen... Personally, I've never been completely sold on this.

In The Divided Heart, Sally Rippin mentions author Chester Eagle's statement that "If it matters, it'll get done. If it doesn't get done, it didn't matter enough." I have since thought about this notion a lot!

For much of history, becoming an artist hasn't been an option for the vast majority of women. And so, if in order to become an artist a woman felt forced to abandon her children, or to avoid have any in the first place, it's not really fair measure of their desire to become an artist.

That may sound extreme, but even now women are overcoming the vestiges of that attitude (even if only within their own minds), and the biological instinct to put their children first. Of course I also know men who have struggled to hang on to their creative dreams once they have a family and feel the pressure to be chief breadwinner.

I feel like I've met many people over the years who could be great artists but just never managed to overcome their fears or their lack of confidence or the external barriers (real or imagined) to really give it a proper crack - and that to me is the ultimate tragedy. Because I know that it has and does matter to them.

These are the people I'm trying to speak to every time I talk about giving yourself permission to be creative!

Among the students I went to art school with, the ones who've made it have not necessarily been the most talented or the "truest" ones (though many were that too, of course, Clare Bowditch among them). They were generally the most confident, ambitious and determined ones. The ones who gave themselves permission - and who just got the work out there.

I couldn't help but notice how much Catherine Deveny's line "I'm not a perfectionist, I'm a completionist" resonated with people!

There are as many different ways to be creative as there are creative people. Not everyone has to be a capital-A artist (in the traditional mode), as the conference demonstrated so beautifully. Now, more than ever, art/craft can be done on any scale, and there are myriad ways of getting the work out there, sharing it around - and potentially a good living from it.

BHB speaker Lucy Feagins was also among those students I studied with back in the late '90s - and now she's one of the world's most successful and influential design bloggers. Not everyone has to be a practicing artist, as such. There are just as many creative careers based on a love of art made by others.

If the BHB conference reminded me of anything, it was the importance of living passionately, whatever we decide to do.Rachel Powerhttp://email@example.com:blogger.com,1999:blog-8128598650087737063.post-11523522578073375442013-03-25T17:51:00.002+11:002013-03-26T13:07:12.444+11:00Art, motherhood and the Big Hearted Business Conference

Pic: Kylie Lewis

On the weekend I was lucky enough to be among the speakers at Clare Bowditch's Big Hearted Business Conference. What a mind-blowing experience!

When I wrote The Divided Heart almost five years ago, I could never have predicted that it would mean something to other people. As I said in my talk, I just wrote the book I needed to read.

I had no idea how to maintain my own creative life amid the competing demands from my children, partner, work, housework, parents, friends...

I still struggle with the feeling that creativity is a complete indulgence, especially when compared to the needs of my children. And I still question whether I am a good enough writer to make it worth all I have to ask of myself and my family in order to keep it up.

But as I tried to express in my talk, the most important reason to make art — the reason that trumps anything you could list in the "cons" column — is because you need to. Because it connects you to the world, because it makes you see things differently, because it makes you feel alive.

It was impossible not to notice how few men were at the conference (though bravo to the blokes, who generously participated in what was a fairly female-centric discussion). The room was packed to the brim with vibrant, animated, remarkable women, and as a result, the question of how to be an artist and a mother was a major theme.

Women are just so hungry for information about how to reconcile these two seemingly incompatible aspects of their life and identity: creativity and motherhood.

But much more than that, women need reassurance that they have a right to keep their own passions at the forefront of their lives.

So many women approached me throughout the day with tears in their eyes, concerned that their desire to be "more then just a mother" was hurting their family. The tie between women and their children is so intense, we seem hardwired for guilt!

Every speaker at the conference reminded us that what our kids need most is a mother who is living a passionate, fulfilled life.

I hope my talk on "Giving Yourself the Permission to be Creative" played some small part in helping women believe that keeping their own interests alive is the best thing they can do not just for themselves and their family, but also for the world at large.

For a lovely sense of the day, check out the extraordinary Lily Mae Martin's sketches on her blog, Berlin Domestic or Pip Lincolne (Meet Me at Mike's) wonderful photos, and join the BHB facebook page to stay in the loop on future events.

Rachel Powerhttp://firstname.lastname@example.com:blogger.com,1999:blog-8128598650087737063.post-83408000504513162312013-03-06T14:17:00.000+11:002013-03-07T11:53:21.857+11:00Just because. So there.My response to Salsa's comment on the previous post was getting so long I thought I may as well write it as a post.

She said that she's at the point of considering giving up the idea of continuing with writing/editing while her son is young, especially when it's for dwindling pay or no pay at all, and with its the demands on her time and the "need for obsessive-level focus".

"I can't break through and I can't manage my life with a small child and a household on top of it all. I've worked for the last seven weeks and the house has descended into shit and I'm giving my son about 50%."

I can't even begin to express how much I can relate to this feeling! And, sadly, my kids are now 8 and 11 and I still feel this way.

It can be such a no-win situation for women trying to work, especially in low-paid jobs and/or jobs that demand a lot from us. I feel constantly frustrated that whenever I try to do my own work (especially the unpaid creative work that I do on top of my day job), everything else falls apart. The house turns to shit, the kids feel neglected and I start to resent... well, everything in turn: my family for making me feel guilty about my work; and my work for taking me away from my family.

The times that I give up on my creative work completely (which happen frequently), everything else seems to run so smoothly. Which then feels like a kind of punishment - a message that says: "See! Everything could be so wonderful if only you gave up on your own silly little dreams."

Sometimes I can go along like this quite happily for a long time, convincing myself that no book I could write could be worth tipping my life back into chaos - or more chaos than it's already in, even when I'm not writing!

But there's only so long I can carry on like this before I start feeling spiritually bereft. My life is all too full, but my soul (for want of a better word) is empty. It begins to feel like a literal grieving.

Now that I'm nearing 40, this grief of sorts has taken on an extra dimension. I can see my life rolling out in front of me. I can see how easily I could spend the next 20 years (if I'm lucky enough to have that time, touch wood) continuing to relegate my own desires to the bottom of the pile until it's too late.

That's why, when people tell me that they want to give up, I tell them that giving yourself permission to give up can be vital, for a time. It can be a necessary breather. But I also think it's really important to find some way to keep the flame flickering.

Yes, mothering and nurturing others are hugely important roles. But women have every right to want more than a life of housework, supermarkets and ballet/footy runs.

Amid all the intense demands that life throws at women - I think I've felt almost continually overwhelmed from the moment my first child was born! - we have to keep sight of our own needs.

Remember that everyone around us suffers when we're feeling deeply unsatisfied. And the world suffers as a whole when women decide to give up on their dreams because it seems easier to take the path of least resistance.

You can't let go of the things that make you feel alive - even when you can only visit them for 10 or 20 minutes a day. Of course we all have to be realistic, but we also need to guard against a wholesale downgrading of our expectations for our lives.

Even when 10 minutes a day is all we can claim for ourselves, at least it's sending out a message that says: "See - Crazy Domestic Life! I know you're doing everything in your power to make me give up, but here I am! I'm not going away and I don't owe you any justifications. I've got something I want to do with this life - JUST BECAUSE. Just for me. So there."

P.S. Happy Women's Day for March 8, friends! xxRachel Powerhttp://email@example.com:blogger.com,1999:blog-8128598650087737063.post-10802639768861290842013-02-28T11:31:00.002+11:002013-02-28T11:41:11.667+11:00"I feel like I'm being rubbish at both."A few years ago, I read an interview with musician Tracey Thorn (Everything But the Girl, Massive Attack) where she spoke about giving music away altogether after having her three children.

Thorn and her partner, bandmate Ben Watt, had taken the kids with them on tour — and then decided that they were never doing that again!

"That tour was just weird," Thorn said. "I was putting the kids to bed at the hotel then racing off to soundcheck and I remember thinking, I don't like doing both. I feel like I'm being rubbish at both. So I took a unilateral decision to stop."

Watt agreed: "To be honest, it was never easy. When you throw kids and family into it something has to give. You can't keep all that going at the same time. You'd go mad."

For several years, Thorn was a full-time parent, not even jotting down lyrics in her notebook. But she did keep a journal about her life, which she described as "just a list of events of marginal interest" that would never see the light of day.

Well, I hope some of those thoughts have crept onto the pages of her new memoir, Bedsit Disco Queen: How I Grew Up and Tried to Be a Pop Star, because sometimes those so-called "marginal interest" notes are exactly the kind of things others want and need to hear! And knowing Thorn's lyrics, I suspect they're far from boring.

If you're reading this blog, then the interview with Tracey Thorn on Radio National's Books and Arts Daily yesterday is essential listening.Rachel Powerhttp://firstname.lastname@example.com:blogger.com,1999:blog-8128598650087737063.post-82961104983069135312013-02-03T10:18:00.002+11:002013-02-04T21:01:25.502+11:00Clare Bowditch is making it POZIBLE

I know that Clare Bowditch, singer-songwriter extraordinaire, needs no introduction from me.

If you've read The Divided Heart and watched her career blossom over the years, you will know just what a stellar job she's done of combining family life with the demands of high-pressure work in the music and TV industries.

And if you've read interviews with Clare or seen her perform live, you'll also know what an unusally warm, honest and big-hearted soul she is. A woman with bucketloads to give!

So lucky for us, this is just what Clare is planning to do next: use her experience of forging a successful creative life to help others do the same. And to get things going, she's set up a Pozible Campaign for her Big-Hearted Business.

She's got loads of goodies for supporters. But I'll let Clare tell you about that:

Over the years, some of you have come to my shows, drunk a little too much, and trapped me in corners with questions like:

- Can you come over to my house for Devonshire tea and Pimms Cups? (Yes!)
- Can I come over to your studio and record with you and Marty? (Yes!)
- Can you make a surprise video proposing to my partner for me? (Yes!)
- Have you got any rare super-fine merch for sale? (Yes!)
- Can you help me work out how to make my living as an artist? (Yes!)
- My job is freaking boring. Can you come over and make it fun? (Oh YES!)

Today, the answer is a very sincere YES, to all of the above. To cash in, all you gotta do is get your buttski over to our new Big-Hearted Business POZIBLE CAMPAIGN. Please share the link far and wide!

In advance, thanks for supporting this: it means a lot, you'll see why.

If you want a little insight into what Clare's Big-Hearted Business will be all about, watch her inspiring TED talk below:

'Falling in love with your muse' Clare Bowditch at TEDxLittleLonsdaleStWomen, 1 December 2012 from Emily Hehir on Vimeo.Rachel Powerhttp://firstname.lastname@example.com:blogger.com,1999:blog-8128598650087737063.post-78524931064112898132012-12-04T17:34:00.001+11:002013-02-05T22:04:01.024+11:00Launching Karen's book: what I said on the day

Karen (left) and me (seated)

A few people have asked me to put my speech from the launch of Karen's book up on my blog. On the day I ad-libbed and went off on a few tangents, but here's the core of what I said:

We're here to launch Karen's book, Crying in the Car: Reflections on Life and Motherhood – which may look slight but packs a way bigger punch than its size suggests (a bit like Karen).

When Karen's book arrived in the mail, I tore open the package, opened to the first page, read a few lines and then did that thing you do when you know a book's going to hit a nerve. I immediately closed it and put it down. (I also knew it was going to make me a bit jealous.)

Then I took a deep breath, made myself a cup of tea and opened it up again.

If you haven't read Karen's book yet, she opens by talking about running into a friend at a bookstore, who asks her if she was working on any significant projects. To which she responds with those familiar lines that "she's got a lot going on, blogging takes up most of her creative space"... blah blah blah. That's when I closed the book. See? Didn't take long!

I too get that confronting question all the time: "So, what are you working on? Are you writing a new book?" I expect most of the people in this room know how loaded that question is — dare I say it: especially for women; and even more so for mothers, whose domestic workload is so huge and so invisible.

And I suppose that brings me to how I know Karen and why she might have asked me to launch this book.

I first met Karen at the launch of her children's book, Surprise, which happened to be illustrated by my wonderful friend and workmate Kim Fleming. There, Karen mentioned that she had read my book, The Divided Heart: Art and Motherhood, which initially came out my sense of creative frustration and ambivalence about writing and mothering — the fear that to succeed at one would mean failing at the other.

I wrote that book when my children were babies and then toddlers. Now they are 7 and 10 (scarily enough) and I've had a lot of time to reflect on what it means to be a mother and a writer (or any type of creative person), with all the struggles that entails. And there are a couple of things that I always say to mothers who talk to me about how hard they're finding it to make space for creativity in their lives:

1. You have to give yourself the permission to create. Don't wait for your partner to give you it (no matter how supportive he or she might be); don't wait for the world to give it to you (it won't -- the world is full of competing distractions and demands); and for heaven's sake don't wait for the kids to give you permission. Because they won't either. You need no other reason than that you need to do it, because it makes you more alive.

2. As a parent you have a lot less time, it's true — but what you lose in time you make up for in access to the some of the most universal and fundamental aspects of life. In many ways, if you are a creative person, you are in a uniquely privileged position as a mother.

This is where Karen is coming from on in her very impressive book. She has drawn on all those strange and unexpected situations that parenthood throws us into — playground politics, long-term relationships, the intense confrontation with our self that comes with being more vulnerable than you've ever been. All that is here inside these covers. Along with a great deal of humour.

So while we all have had those moments where we feel like we're making defensive excuses to friends in bookshops, Karen has found a way to move beyond the barriers life throws up and the fears that get in our way to make stuff happen anyway.

Before I wrote The Divided Heart, I have to admit that I was completely ignorant about the world of blogging. I was asked to start a blog by my publisher and suddenly I was plugged in to this incredible online community of mother bloggers, and Karen was there, right smack at the centre of it with her award-winning blog, Miscellaneous Mum.

This wasn't the world that I had heard rumours about: full of narcissistic ego-maniacs telling us what they ate for breakfast, lunch and dinner. Here was a bunch of women really sharing the truth of what it's like to be in that crazy and chaotic and occasionally creative world of new motherhood.

Readers of Karen's blog know how deeply reassuring people find her honesty about the ups and downs of family life, as well as her insights on reading and writing. But I can also say, as someone who tends to read a whole backlog of posts in one sitting, there is also something extremely calming about the lovely reflective mood of Karen's posts, which somehow manage to gather a whole lot of random thoughts into some cohesive, soothing whole.

That same capacity for revelation and for deep empathy is here, in Crying in the Car. And if blogging is the thing that got her "back into writing", as Karen has said — a way of flexing that muscle in short bursts and finding a voice — well, it has worked. There is one very confident voice on display in the material contained here.

Those who are regular readers of her blog know that Karen's had a really full-on year this year, health-wise, and yet she's still managed to write, publish and distribute this book, all under her own steam. It's an impressive feat. So perhaps now she can tick off that item on her "Living List" that says "Write a book (or twenty)".

Or maybe she's not going to scratch that one till she has indeed published twenty. Rachel Powerhttp://firstname.lastname@example.com:blogger.com,1999:blog-8128598650087737063.post-45860630346811023722012-11-27T22:18:00.002+11:002012-11-27T22:21:45.611+11:00Launching Karen Andrew's book, Crying in the Car: Reflections on Life and Motherhood

I am launching Karen Andrew's new book, Crying in the Car: Reflections on Life and Motherhood, at the Eltham Library this Saturday, December 1, at 3pm.

You may already know Karen's lovely writing through her award-winning blog, Miscellaneous Mum, where she writes about her family and her love of books and writing.

Karen is one of those amazing women who just gets stuff done! I didn't even know she wrote poetry -- and now suddenly here's this wonderful collection of her best essays, blog posts, short stories and poems, all of which explore the inherent contradictions in being alive in this world and at this time.

But more of that on Saturday...

You can read one of her stories at Parenting Express, here.

For more details, you can see the Facebook event for the book launch here.

And if you can't make it, you can order Karen's book here, or buy it in a good old-fashioned bookshop.

Hope to see some of you there... Rachel Powerhttp://email@example.com:blogger.com,1999:blog-8128598650087737063.post-307601812794010022012-11-15T14:48:00.000+11:002012-11-19T22:33:30.059+11:00Fragility and wonder: the music of Emma Tonkin

When I was writing The Divided Heart, I was always conscious that one of the most modest and talented artist-mothers in my midst was living right next door.

When I suggested to singer-songwriter Emma Tonkin that I should include her in my book, she scoffed and said something about not having a proper creative practice. And yet in her own discrete way, Emma never lets go of that delicate creative thread, even if sometimes she feels that she's only hanging on by a fingernail.

A tinkling piano and Emma's exquisite voice often reach me in the quiet hours when the children are asleep. Alive to the sensuous world around her, if at first you think she writes songs about the "small", listen closer...

What seems intimate becomes epic. Her music lifts you out of the chaos of living and transports you to somewhere defenseless, fragile and immense with wonder.

As the Age music writer Michael Dwyer says about her latest album, Cave of Lights: "A fire in the dark. Hope in the storm. Emma Tonkin's new album with the First Chorus Band of Singers is the gloriously redemptive sound of the human spirit alive in a house of skin and bone."

Emma's first album, The Anchor and the Albatross, showcased her unique feeling for melody. Add a swelling four-part harmony to those tunes (as the First Chorus Band of Singers do in Cave of Lights) and the result is nothing short of sublime.

So many creative mothers say to me that they don't really deserve to be called artists because they're not actually managing to juggle mothering and art with any great success. Or that they barely ever produce anything, so they don't deserve to be recognised alongside their more prolific counterparts.

But what makes a "real" artist, anyway? Emma's songs are pretty real, I know that much. And if it takes five or ten years to write a single book or release a single album, so be it. The world is still richer for having that work of art in it. And a life is all the richer for having created it, no matter how slowly.

So if you want to witness something really special, Emma Tonkin and the 25-strong First Chorus Band of Singers, led by Virgina Bott, will be performing at the Wonderland Spiegeltent (Docklands) on Saturday night in Melbourne from 8pm.

I will be there, celebrating what can be achieved in the wee hours and stolen moments -- beyond the laundry and the dirty dishes -- when the world doesn't even realise that you're quietly weaving some magic.Rachel Powerhttp://firstname.lastname@example.com:blogger.com,1999:blog-8128598650087737063.post-13420061921667120532012-11-09T22:40:00.005+11:002012-11-09T22:42:28.767+11:00There's a party goin' on...

I am on retreat at Varuna The Writers' House this week.

That means I am not meant to be surfing the internet. I am meant to be writing in monastic solitude, churning out the words in a state of wild inspiration with nothing to distract me but my own desperate attempts not to check the word count every ten seconds or eat yet another chocolate biscuit.

Which is why -- in an act of terrible timing on my part -- I have been missing the best possible festival I could have imagined.

But you don't have to miss out. If you are a creative mother of any variety, the Mother-Artist Network Festival is where you should be. Now!Rachel Powerhttp://firstname.lastname@example.com:blogger.com,1999:blog-8128598650087737063.post-22382018924823657122012-10-30T17:33:00.002+11:002012-11-01T22:02:19.367+11:00The poetry in the folding of laundry: have you discovered Lily Mae Martin?

I know I've been off the boil lately in the blogging department, but I've been conscious for a while that it would be utterly remiss of me not to let Divided Heart readers know about the extraordinary Lily Mae Martin.

If you haven't already discovered this impressive woman on your virtual travels, Lily is an Australian artist who has been living in the UK and Berlin over the past few years. But she has recently returned to Melbourne, as she discusses in her piece in the latest issue of Kill Your Darlings, "Kids in Berlin: Motherhood and Friendship".

I never ceased to be amazed by Lily's talent and creative output. Not only is she is mind-blowingly prolific in her main gig as a visual artist (I have no idea when this woman sleeps!) but she also maintains a blog, Berlin Domestic, full of searingly honest outpourings about the rocky creativity/parenting/partnering path.

As she has said: "Life as a parent is not what I expected. In retrospect I'm not sure what I had in mind, but I guess I thought that sometime after having my baby I would return to life and to work – that things would resume as normal only with the addition of a baby. This however was not the case.

"Then one day I thought – why not draw it? Why not write about it? There's a poetry in the folding of laundry, the sweeping of floors. An art in the food splatters and the cooking of countless meals."

Lily diarisies her days, churning out hundreds of sketches depicting scenes in the cafes and domestic spaces of everyday life. If this didn't keep her busy enough, though, she is also building a substantial body of meticulously rendered paintings, drawings and illustrations, the detail of which just blow me away. Hyper-realist in style but with something far darker and dramatic lurking beneath the surface, her works that simultaneously encompass the the beauty and brutality of existence.

Lily is a rare artistic talent. She is also rare in her openness and eloquence about the impact of parenting not only on her day-to-day life and art, but also on her relationship, her sexuality, her identity and her psyche.

I hope she inspires you as much as she does me.

Rachel Powerhttp://firstname.lastname@example.com:blogger.com,1999:blog-8128598650087737063.post-18014743766753949222012-08-25T14:20:00.004+10:002012-08-25T14:42:50.737+10:00Hearts universally divided around the worldYou may remember that a while back I wrote a post about a new documentary Lost in Living, being made by filmmaker Mary Trunk about "the messy intersection of motherhood and artistic expression".

It never ceases to amaze me how universal the feelings are when it comes to the dilemmas women feel about combining their own creative needs and the needs of their children.

Like my approach with The Divided Heart, Mary took her own fears and confusion and sought out other women who might be feeling the same way. If you watch the trailer on her website (or below), you can already see what a powerful and touching film it's going to be.

In a lovely post Mary has just written about my book, she writes that because "Rachel was willing to be open herself, the women she interviewed opened up as well." Though we don't see Mary on camera, it's clear that the very same is true of her. Her subjects really let her in and, as a result, the footage is heartwarming and heartbreaking in equal measure.

Mary now has a rough cut of her film ready and she has launched a Kickstarter Campaign to raise the funds she needs to complete and promote her film. She needs backers, and every dollar counts. But all forms of support are welcome, whether it be a blog post or just a "like" on the film's facebook page.

And while I'm promoting amazing women, the link between Mary and I was British-born New Zealand photographer Parisa Taghizadeh, who contacted me after she read The Divided Heart. One of her recent projects is a series of portraits of women without their children, simply titled MOTHER.

Each image is a celebration of the individuality that, as she puts it, "gets pushed to the side and ignored after we take on our new role as mothers". It is astounding how potent and layered a seemingly straightforward portrait shot can be when you've added the label "mother", which has such strong cultural and personal connotations.

As I've just told Parisa, I've always been quietly fascinated with the question of whether you can tell if a woman has children just by looking at her. I can sometimes be a bit conceited in my belief that I can tell -- but have regularly been proven wrong!

Looking at her portraits, I was also reminded of how in those early days of parenting I so often longed to be alone, and then when I (rarely) was, I immediately wanted to let everyone I passed know that I was a mother. It had become such a strong point of pride and identity -- one I was more attached to that than I had realised. Rachel Powerhttp://firstname.lastname@example.com:blogger.com,1999:blog-8128598650087737063.post-4745617198399418462012-07-02T22:48:00.001+10:002012-08-25T14:31:58.116+10:00Education: the case for equity over elitismI wrote a piece for the MamaMia website, up today, about the future of education funding in Australia.
To me, it makes sense on every front to throw as much money as possible into giving all kids access to a top-notch education at their local school.

I find it particularly frustrating to see the campaign for greater education funding constantly sidelined by the debate about private versus public education.

This shouldn't be about where you choose to educate your own kids. This is about equity and trying to do all we can to give every child a fighting chance at maximising their potential, no matter their background or the size of their parents' wallet.

In constantly banging on about "choice", we forget that choice is still a luxury for most. Does that mean kids from poorer families are less deserving of high-quality teaching and facilities?

At the end of the day, this is also about the kind of culture and community we want to create and be part of: one where we care about everyone's right to a great education, or one that urges individual families to "buy" their kids "the best". What would you prefer?

The Gonski Review has recommended a comprehensive change to the way our schools are funded — directing money toward those with the greatest need — and called for an extra $5 billion to be injected into schools as a matter of urgency.

But so far the Gillard Government has failed to act.

As parents, we have a potent stake in the future and the power to push for change on behalf of all kids. If this all makes sense to you, please register your support at I Give a Gonski.

Rachel Powerhttp://email@example.com:blogger.com,1999:blog-8128598650087737063.post-13653675235324949302012-05-17T13:51:00.000+10:002012-05-21T21:44:59.933+10:00Life and time...

It's been a long time...

If only time wasn't so finite. I wish I felt time was less my enemy and more my friend! But as it is, I feel that with every project or activity I turn my energy towards, I'm forced to let a whole lot of equally meaningful things slide.

But certain things trump all else. And for me lately this has been the needs of my beautiful daughter.

People have always described my daughter as special. She is a dreamer, with large eyes and a tendency to stare, which draw people in. But now I look back and realise that when people called her "special" they might have been seeing more than they, or I, knew.

In the past year or so I have entered this whole new territory of having a "special-needs" child. My little girl's issues are mild compared to many, but they still require huge amounts of time and energy from my partner and I to help keep her engaged with learning.

It's all been a bit of a shock, admittedly, after having a son who seems to just soak up information by osmosis through the pores of his skin.

Anyway, to cut a long story short, that's where I've been. But I haven't finished with this darn blogging business yet. And in the meantime, I came up with some answers to some lovely questions from artist, blogger and all-round creative Jodi Wiley.

You can read them on her blog, Art by Wiley, where you can also see a really bad photo of a drawing I did of my son with me and my messy bedroom perfectly reflected in the glass! That's got to be a metaphor for something...Rachel Powerhttp://firstname.lastname@example.com


text:
Just took an Oatmeal Cookie out of the Cafeteria… Not allowed O.o I feel like such a rebel!
I SEE OBNOXIOUS GENDER NORMS AND HOMOPHOBIA AND SEXISM EVERYWHERE. It's like I've reached the next plane of existence...
Squidward is my spirit animal.
And I woke up even earlier than yesterday -__- FML I'm tired and mad that I can't get back to sleep.
What's with all these essays and reports on Tumblr? Where are your pictures fool? Take your writing ass to twitter!
girl you know i i i girl you know iii don't need candles or cake. just need your body to make birthday sex. yeah...
oh my lanta. so annoying. like..why?
nice mission


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4 Vintage Built Buildings HO Pieces Bachmann Plasticville Police Dept Water Tank
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GOBUY ~GSE&I~ HNAO BFTP EBSTGYou are bidding on group of 4 vintage HO gage built houses and buildings the first is a long red brick what looks like a goverment building ,next is a police station the third is a yellow what loks like a diner made by Ideal and last is a water tank this may be 027 gage these look to be complete and in very good condition I did not build them but someone took great pains in there assembly as they look great I will pack them well but still a piece or 2 may come loose in transit and will have to have some attention I believe these are from the 60's and 70's I will be listing a lot of Ho and N gageand a few 027 items in the coming weeks so bookmark me drop in often to see some great old buys(3) Any Questions please Message me. All fragile items are double boxed or bubble wrapped, to insure safe delivery it may cost slightly more, but is well worth it. Combined shipping is offered to save you money, so check out our other auctions. USA Buyer will pay actual postage + $1.00 "Other Countries S/H will be somewhat higher " WE NOW ACCEPT VISA / MASTER CARD THROUGH PAY PAL supreme supremewidgets supremeauctiononlinesoftware.widgets.FeedbackWidgetBasicFree.swf supremewidgets supremeauctiononlinesoftware.widgets.GalleryBasicFree.swf
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East Cox Ferry Road has a Walk Score of 14 out of 100. This location is a Car-Dependent neighborhood so almost all errands require a car.
This location is in Conway.
The closest school is Blackwater Middle School.
The closest coffee shop is Tropical Smoothie. Nearby restaurants include Twisted Pig BBQ, Highway 90 Cafe and Moe's Southwest Grill.
East Cox Ferry Road is near Williams - Brice Building - Kimbel Arena, Coastal Carolina University and Coastal Carolina University Brooks Stadium.


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Lanvin 2012 Spring/Summer Printed Calfskin Medium-High Zipped Trainers
French fashion powerhouse Lanvin offers a new rendition to its staple sneaker models for Spring/Summer 2012. Crafted with calfskin leather, the mid-top shoes highlight intricately designed patterns with numerous textured overlays and an interesting side zip closure. These new variants will soon hit shelves at select Lanvin retailers worldwide.
Date: Jan 25, 2012 / Views: 3 / Author: Rolly Ibanez


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Phillip Levine- what work is
Tags: philip levine poet what work is video poet laureate poetry short interview burial rites
Cannot wait to see him speak at the State of the Book on Saturday in Ann Arbor.
Exploring media archetypes, and Modern issues through short story forms.
A blog by Kyle Nevel
Powered by Tumblr. Minimal Theme designed by Artur Kim.


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If you haven't had a chance to check out the new music venue at the base of the Bob Kerrey Bridge, join us this Friday, June 21 at 6:30 p.m.!
Daniel Slosberg will portray Pierre Cruzatte, the one-eyed, half-French, half-Omaha Indian Missouri River boatman and fiddler that explored the Lewis & Clark Expedition.
Journey back 200 years to hear melodies, dance tunes and work songs of the era and learn how the adventurous expedition could not have succeeded without help from many Native American nations.
Following Slosberg, plan on enjoying a mix of rock, progressive jazz, folk and world music from Vlasis, a talented virtuoso that has thrilled fans all over the country as a solo act, as the lead guitarist for the Twin Cities art-rock band, Blue Canoe, and the band, One Nation, and as drummer and lead guitar for the popular Native American band, Brule´. Even playing unplugged, his guitar work is classified by one reviewer as "electric."
Bridge Beats final show will be held on Friday, June 28.


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Oi! Some little toerag's been chewing its way through your library! There's nibble marks around the edges of the first seven pages of Wuthering Heights and the last page of The Cat in the Hat appears to have been marinaded in a light soy sauce!
Who is responsible for this book-munching mischief? A Blinkin' Bookworm with a pair of specs on? Well, you can't very well hit a bug with glasses, can you? Better stock up on cheesy romance paperback snacks while he makes himself at home.
Much to my own surprise, even though I have spent the last year locked away from the word scribbling like a mad thing and drowning in yarn, I have not one but two books out this month! Woot!
The first is the yarnstorming tome known as Knit the City, written and photographed by my Deadly Knitshade side.
The second is Stitch London, written by my Lauren O'Farrell side.
More on both of these soon.
To celebrate the release of my two ever-so-shiny books I'm releasing this free Blinkin' Bookworm pattern into the wild just for you.
Knit him up and leave him somewhere bookish, whether its on your own bookshelf, munching through manuscripts at your local library or nibbling novels at your favourite book shop.
You can also add any pictures of your Blinkin' Bookworm's journey to my Planet Whodunnknit group on Flickr. They'll soon have their very own page on this blog so your knits can be admired by Whodunnknit visitors. Cool, no?
There are book launches coming too. Squeeeee! Watch this woolly space…
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Love the wee bookworm and am delighted to see you have not one but TWO books published! I will definitely be adding them to my cyber-cart very soon Thanks heaps. . .
- Permission to Yarnstorm: Handmade Heroes! The Knit the City Book Launch | Knit the City - [...] can download the free Blinkin' Bookworm pattern over on Deadly Knitshade's Whodunnknit) So many books. Such a little belly. …


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MISSION – Jose Maria "Joe" Olivarez Sr., 89, passed away on Dec. 22, 2010, at Rio Grande Regional Hospital in McAllen.
Mr. Olivarez served in the Army Air Corp, Lighting Division 78, during WW II, and fought under General Patton in the battles of Schwammenauel Dam and Remagen Bridge. After his time in the military, he was active in the VFW as well as other military organizations. He was an active member of Our Lady of Holy Rosary in Mission, where he served on the parish council for the church and the Diocese of Brownsville.
He is survived by his children, Maria Luisa Pena of Mission, Sara Valdez Jr. of Mission, Joe Olivarez Jr. of McAllen, Berta Filut of Mission; eight grandchildren and six great-grandchildren.
Preceding him in death were his wife of 61 years, Maria Luisa Olivarez; his father, Manuel Olivarez; mother, Guadalupe Olivarez; stepmother, Maria Solis Olivarez; brother, Marcelino Olivarez; and sister, Severa Salinas.
A funeral mass was held Dec. 23 at Our Lady of the Holy Rosary Catholic Church in Mission with Rev. Oliver officiating. Burial followed at Rio Grande Valley State Veterans Cemetery in Mission under the direction of Ric Brown Family Funeral Home in Mission.
Serving as pallbearers were Robert Pena Jr., Daniel Pena, Michael Olivarez, Nathaniel Olivarez, Anthony Olivarez, Marcelino Olivarez Jr., Omar Olivarez, and Tomas Salinas Jr. Serving as honorary pallbearers were David Garza Sr., Joe Olivarez Jr., Bernie Pena, Ralph Valdez Jr. and Bill Filut.


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WHOops! When Doctor Who Gets It Wrong
Guest contributor Francis Milan looks at some of the mistakes over the years.
With a history spanning over four decades, and a fanbase who remembered every minute of it, the production team of the revived Doctor Who had little leeway when it came to Making It Up. Whereas it was once generally accepted that Susan named the TARDIS or that the Doctor was referenced as Dr. Who, now the mere mention of the Daleks being robots, or the TARDIS being spelled in lowercase letters (get your act together, DVD subtitle man) can have the community up in arms.
Times change when it comes to our tolerance of bloopers and canon blunders. Back in the early 60s, for example, the Peter Cushing movies were made; as wonderful as they were, could they happen today? Would the BBC have gotten away with selling the rights of Doctor Who's format to filmmakers who would essentially tear it to pieces and start afresh? Almost certainly not.
These days, getting it right is the bane of the production team's existence.
2005 was one of the most significant periods in the show's history. Doctor Who was making a long-awaited return to our screens, with Eccleston and Piper at the helm of the TARDIS, and the Beeb ensured the whole world knew it. The advertis-o-meter was reading off the scale as the duo's faces were pasted onto a billboards nationwide. Look at the photo to the right. Fans were outraged at the very sight of it. But why?
Are you there yet?
Yup. The TARDIS doors – one of Britain's most iconic thresholds – were opening outwards. Outwards! The forums exploded. The fandom was in disarray. Had 40 years of respectable, inward-opening TARDIS doors just been reduced to nothing? What if the Doctor and Co materialised inside a cupboard?!
Whether I exaggerate or not, the mere fact that a concern was raised somewhere in the dark depths of the web about a billboard backdrop goes to show that the fidelity of Doctor Who matters. Throughout New Who's début series, blunders continued to be made. In World War Three, what did Rose mean when she advised Jackie to check the middle shelf for vinegar when there were only two shelves in the unit? The next year, in The Idiot's Lantern, the Doctor and Rose intended to take their scooter for a spin around the streets of New York – so why did it have a British number plate? That's irresponsible, Doc.
There are issues which stem from an inconceivably long timeline of fairly strict canon. Who could forget the Metebelisgate? Just last year, Matt Smith's mispronunciation of the word 'Metebelis' (a planet Pertwee fans will remember well) motivated many a viewer to write to Doctor Who Magazine expressing their scorn. The Eleventh Doctor's stressing of the 'TEB' syllable differed from that of the Third Doctor's, who had originally opted to strain the 'BEE' syllable. Something left viewers feeling uneasy.
Of course, the classic controversy – the blunder which resurfaces with a vengeance time after time – is Dr. Who. Those early Who-makers must have wondered, back when creating the show, whether people would mistake the mysterious premise 'Doctor Who' to be our protagonist's name, and ever since, the Whoniverse has been trying to shake it off. Three years into the original series, the Doctor was even referred to as Dr. Who on-screen… er, probably. In The War Machines, supercomputer WOTAN spoke the legendary line, "Doctor Who is required". Wait, did he just…? Did he…? Woah. And in 1970, a cock-up in the title-sequence department gave serial The Silurians a Target-novel-esque prefix, as the story went to air as Doctor Who and the Silurians.
Do blunders like that grind your gears? Do you accept them for their charm? Or do you like to fix the errors with a continuity of your own?
In an infinite universe home to a man who knows all too well that anything's possible, who's to say that we can't find a way, logical or otherwise, to explain Doctor Who's sore spots? There's always a way. The Third and Eleventh Doctors differ on pronunciation as they do on their taste for wine. The Doctor's scooters are all fitted with psychic number plates. Mickey could have reorganised his kitchen cabinets during Rose's 12-month absence. WOTAN's an idiot.
This, for those who don't know, is the wonderful world of retconning. Believe me, I was a member of the fandom for eight years before wondering what that term meant. For those who watch the show from a critical yet loving perspective, retconning is a way of life.
For when Doctor Who Gets It Wrong, there is a retconner there struggling to set it straight again. They keep the show on track, and reaffirm our faith in the logic of the Who universe. Where would the show be without them? Wallowing in a pit of half-baked misery. Though no-one would notice, I suppose, because there wouldn't be any retconners there to notice. Nonetheless, we owe a debt to those members of the community who suggest a reason why Peter Cushing's Doctor is canonical, or why, in the opening shot of Rose, America appears to be bathed in sunlight despite it being the middle of the night there. (Though no-one's figured that one out yet – anyone?)
Retconners far and wide, I salute you. May we never have a worse habit.
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These so called mistakes are really just nitpicks. The scooter for example, yes it had a British number plate, but the episode was based in England not USA. It matters not where they were supposed to be, but where they ended up.
Anyway, the less Doctor Who goes to America the better. It maybe full of Aliens, idiots and religious nutters, but we don't need to be reminded of the fact.
And not a peep about The Boom Mike Guy (uncredited) in The Warriors' Gate. :)
What's a RetConner to do...
Half the stuff mentioned in this piece aren't actually blunders...
The Actors who played the Doctor called themselves "Doctor Who". Until the late 70s they were credited as "Doctor Who" (Dr. Who) and even Christopher Eccleston was credited as "Doctor Who". I hate how every Who Specialist, who actually just watched the new Series, outrages when somebody refers to the character like that.
I love all the little 'goofs'. They're part of the charm.
What ep was Metebelis mispronounced in?
I became a Whovian last year, and am in the middle of watching all Matts eps in order.
Can anyone tell me how the appearance of Peter Capalldi in Volcano day where his family is rescued by the tenth doctor is explained away ? In that episode he called the tardis a work of modern art.Maybe a story can be developed along the lines of Family of Blood episodes where the doctor entrusted all his memories to Martha Jones in a fob watch..?.Does anyone have any info on this oversight ?.After all Martha's appearance at the end of series two was down to her having a twin sister who was deleted by the Cybermen.That is the magic of writing stories,asking the question "What if ?"... anything can happen.
The thing that got me about the 2005 poster when it came out wasn't so much that the doors open out wards, more the fact that they appear to be attached to the side of the TARDIS....
"The next year, in The Idiot's Lantern, the Doctor and Rose
intended to take their scooter for a spin around the streets of New York
– so why did it have a British number plate? That's irresponsible, Doc." Not really. The scooter came from the TARDIS; why should we assume the Doctor would be itching to be in compliance with New York state licensing laws? It's not like such things have generally been a big deal to him anyway. (Plus, you can totally operate a vehicle in the US with non-US plates. They'd like you to eventually get local plates if you're moving in. But would he be pulled over for having British plates? No. In fact, I saw a British car in my home city in middle America not too long ago; they'd had it here long enough to have gotten Minnesota plates, but they'd kept the British ones too.)
One thing I noticed that is like someone to Clara-fy:
In JTTCOTT, the TARDIS is laying down. The Doctor and the trio of dudes are able to enter the TARDIS because it has "its own gravity field" or something. Why, then, does the Doctor need a rope in The Eleventh Hour when he jumps into the sideways TARDIS? He should just splat down on the floor as normal.
And what about when River jumped off the building running from the Silence? She would fall into the TARDIS, but if the gravity switches as you enter, wouldn't she fall onto the TARDIS floor with as much force as she was falling with? That would be a very bad death for River.
I guess TEH can be attributed to the "broken" TARDIS, but what about River? Does only the new TARDIS have its own gravity?
It really, REALLY annoys me when people call the Doctor, Doctor Who! But the rest of the mistakes don't really matter in my opinion.
I thought the Idiot's Lantern was set in the UK not New York?
It annoys me when, on the occasion someone calls the Doctor "Dr. Who" leagues of fans get up in arms with bloodthirsty cries of "he's the DOCTOR not DOCTOR WHO". Can people call him what they want? In universe, yes, it is simply the Doctor. But outside the show, he is more commonly known as Doctor Who. Ask a stranger in the street who their favourite Doctor is, and they'd be confused as to what you're talking about. Ask who their favourite doctor WHO is, and they'll know. Plus, if the actors themselves refer to the character as "Dr. Who", anybody can.
Who the hell cares? The doors have the ability to open inward and outward. That's it. Dr. Who is not a mistake. Saying "Dr." doesn't require a name after. That's it. "Doctor Who and the Silurians". Can't explain, but who the hell cares? The number plate. Your explanation is great. That's it. Metebelis pronounced different. He is a different incarnation, so that is the explanation. That's it.
I'm waiting for Three and Eleven to meet up and sort out the correct pronunciation of Metebelis once and for all...perhaps they should go back and ask one of those giant spiders
These are all minor details IMHO. And I think the early production crew really thought that his surname is "Who", as in one story (I think it was Fury from the Deep) he passes himself of as "Doctor von Wer", that is to say "Doctor [of] Who".
My honest thoughts.... I really couldn't care less about these sort of little errors. It just doesn't affect my enjoyment of the show. You say Metebelis, I say Metebelis, it doesn't matter. It's just a little error. That will be all.
There's a good case to be made that his real name is "Dr. who".
I'm surprised no one's quoted the TARDIS, herself, yet:The Doctor: Yes. Yes, I have actually rebuilt a TARDIS before, you know. I know what I'm doing.Idris: You're like a nine-year-old trying to rebuild a motorbike in his bedroom. And you never read the instructions.The Doctor: I always read the instructions.Idris: There's a sign on my front door. You have been walking past it for seven hundred years. What does it say?The Doctor: That's not instructions!Idris: There's an instruction at the bottom. What does it say?The Doctor: "Pull to open."Idris: Yes, and what do you do?The Doctor: I push!Idris: Every single time. Seven hundred years. Police box doors open out the way.The Doctor: I think I have earned the right to open my front doors anyway I want.Idris: Your front doors? Have you any idea how childish that sounds?The Doctor: Oh. You are not my mother.Idris: And you are not my child. hehe squee! :D
And this is why I cringe every time the current title sequence ends.
Never forget from Victory of the Daleks: As the TARDIS de-materialises, Amy's hair is blown back while Churchill's cigar smoke casually drifts in the opposite direction.
It's not THE Doctor either. THE is only when referencing him / himself in the 3rd person. As in "Don't worry, the the Doctor will be there when you need him." or. "I am the Doctor."
Correct usage, as demonstrated by Davros: "Welcome to my new empire Doctor."
I accept the massive mismatches as charm (eg the doors opening outwards - meh), but in the back of my mind I retcon smaller mistakes just so they don't bother me. For example, with the licence plates, I always thought that the Doctor originally got the scooter in the UK and figured that if he got in trouble in the US he could just flash his psychic paper and get away with it. After all, getting new licence plates is kind of a pain...
Great article. I cringed at the pronunciation of Metebelis as well and another strange moment was in Flesh and Stone when they jump up.
AMY: Doctor!
DOCTOR: It's just a corridor. The gravity orientates to the floor. Now, in here, all of you. Don't take your eyes off the Angels. Move, move, move.
The statement below struck a raw nerve :)
and the Beeb ensured the whole world knew it. The advertis-o-meter was reading off the scale
It's funny that, I was a massive fan of Classic Who but I had no Idea here in Australia that it was back. You can imagine my surprise when I came across The Shakespeare Code. A mixture of excitement and frustration that I had missed the first 2 seasons.
People need to stop being so freaking autistic about the "Doctor Who' stuff it's stupid.
@The Exploding TARDIS who is really the Rani! It was in Hide.
@The Exploding TARDIS who is really the Rani! Hide, I believe. He used the blue crystal there on the psychic girl who looked a lot like Verity Lambert.
Maybe when the Doctor jumped into his own timestream in NotD, different versions of him were throughout time and space like Clara was?
*sigh* The reason the Twelfth Doctor and the character from The Fires Of Pompeii look alike is because they're both played by the actor Peter Capaldi. That's it. There's nothing else to explain. Capaldi is an actor who happened to play a couple of different unrelated characters in a TV show.
@wetsun It was Martha's cousin, not sister. They just looked alike. As to Capaldi, it WILL be explained, apparently.
According to Moffat, it seems that RTD had an explanation for it (Capaldi was in TW, too), and he shared it with Moffat who seems to be interested in doing it.
Mind you, Moffat lies.
@Meh Meh Meh Meh Meh is in the Secret Play! Shh! Maybe it's to do with the speed at which they enter the TARDIS. River and The Doctor were both falling, whereas in Journey, they were entering normally...
@minifigureman11 If you watch the Classic DVD extras you will notice that all the actors etc call him Doctor Who so it has to be his name and be taken as canon :)
@troughton who? As long as they watch the show, who cares how they call him really?
@Dannie Madsen The Doctor was actually referred to as Dr. Who in at least the script of An Unearthly Child. It was a way that the producers, writers and directors referred to the character in the script because it was the title of the show. The mistake was bound to happen. I agree, I don't really view Dr. Who as a blunder, more as a kind of code set up by the production team in the early days of writing. It may set my teeth on edge hearing it said when talking about the character but as far as the people who say it go, why should they know any better? They call The Doctor, Dr. Who because they don't know any better, it's an understandable mistake.
...The rectonners care! You've just done a bit of retconning yourself. People care because it's fun to care. I think it's unfair to assume, on a Doctor Who website, that people don't take Doctor Who as seriously as many of them do. It's wrong to think there is any harm in striving to add some legitimacy to the Whoniverse when you cherish the show so much.
@The Finn The story you're thinking of is The Highlanders. Another example is when Hartnell's doctor introduces himself as Doctor Caligari in The Gunfighters:
"Doctor Who"?
"Yes, quite right"
@The Finn And then there's "Dr. Who and the Silurians". And the infamous "Dr. Who is required". And him signing "Dr. Who" on various occasions. And him being credited as "Dr. Who". Maybe the answer to the question was the question itself (how's that for confusing?).
@Malohkeh Agreed, My philosophy is that if it's good enough for Tom Baker
it's good enough for me :)
What Idris says in that episode, that is the fault in my opinion. Because it's true that "Pull to open" is written on the door, but it's the instruction of the little telephone-door, not the actual doors. I don't know how real police boxes were opening, though.
@Romanadvoratrelundar I never even knew that episode where set in the US
@Polyphase I think the problem with the ABC is that, due to their funding, they don't do a lot of external advertising. Back then you never read the TV guide or watched anything on their channel then you wouldn't know what was on - commercial channels did a lot of print advertising on billboards and the like, but the ABC just never bothered/couldn't afford it.
@Warisfiller Autistic? Sure it can be quite distracting when people point out little flaws and sometimes people over do it way to much but I'd say that you need to stop being so offensive and immature.
@YaelMoise @wetsun More to the point, why does it need to be explained? The fact that the sixth Doctor looked just like the guard commander on Gallifrey who shot the previous Doctor was never explained, despite the fact that it was an era in the show's production history where explaining away a continuity question was seen as sufficient grounds to commission a story. Put another way, if the regime that commissioned "Attack of the Cybermen" didn't feel the need to explain the current Doctor looking exactly like a supporting character from a couple seasons back, surely the current team can do so as well.
@Polyphase @minifigureman11 Do you mean all the actors or all the characters? Anyway, the show stopped referring to him as Dr. Who early on.
@Dannie Madsen Though I will admit, it can make things awkward continuity wise but it's not the worst continuity issue.
@MeglosProductions @The Finn Ah thanks, knew it was one of the black-and-whites :)
I believe the door opened inwards. The telephone hatch opens out wards. Unless of course you're watching the two Peter Cushing movies where the doors open outwards... And the main character is called Dr. Who.....
@Romanadvoratrelundar @Polyphase The funny thing is I do/did watch the ABC but it was series 3 before I saw an ad
@DonKlees @YaelMoise @wetsun That's what I keep saying as well. Let's NOT explain it. Leave it be. Like the little goof-ups mentioned in this article it's possible to just live with them. Not the big muck-ups, though (of which there have been a-plenty in both the classic series and the new series).
@Polyphase Wow, that's pretty poor in that case.


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Mishayla Greene, a Woodmore Elementary student, works on an iPad.
Photo by Dan Henry .
published Friday, March 21st, 2014
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To bring the technology infrastructure of Hamilton County Schools up to speed, school officials say they must spend millions more annually to hire new teachers, administrators and technicians.