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Categories 7-Day Forecast First Alert Doppler Weather Cameras Humidity 96% Winds 12.7mph View Full Forecast › 20° Colorado Springs ›
Categories 7-Day Forecast First Alert Doppler Weather Cameras Humidity 88% Winds 4.6mph View Full Forecast › 25° Pueblo ›
Union says Denver officers ordered not to wear riot gear DENVER (AP) - Denver's police union says officers' safety is being compromised by orders not... Read Story ›
Thursday Weather: Sunny & Warm (Rinse & Repeat) Colorado Springs hit 60 degrees on Wednesday afternoon. Pueblo warmed to 62 degrees. Those Wednesday... Read Story ›
UNLV hires high school football coach LAS VEGAS (AP) - Bishop Gorman High School coach Tony Sanchez is set to take... Read Story ›
Slum study sought for Lower Westside PUEBLO - Pueblo City Council is expected vote tonight on proposed resolution asking the Pueblo... Read Story ›
Pueblo County records first death from flu A person has died from influenza in Pueblo County, according to Public Health officials. 60... Read Story ›
Union says Denver officers ordered not to wear riot gear DENVER (AP) - Denver's police union says officers' safety is being compromised by orders not... Read Story ›
1 year 1 month ago Broncos Postgame quotes from AFC Championship win EXECUTIVE VICE PRESIDENT OF FOOTBALL OPERATIONS JOHN ELWAY On what this team has accomplished this season "I tell you what, it has been a terrific group, they have worked their tail off this whole year, I am excited for them. They have been - the coaching staff,... Read Story › Share: Facebook Twitter Google Plus
1 year 1 month ago Broncos halftime notes The Denver Broncos lead the New England Patriots by a score of 13-3 at halftime in today's AFC Championship Game. The Broncos are 12-0 all-time in the postseason when leading at halftime, including 4-0 in conference championship games. Today's announced attendance of 77,110 fans represents the second-largest home crowd... Read Story › Share: Facebook Twitter Google Plus
1 year 1 month ago Manning has 214 yards passing; Broncos lead Pats 13-3 at half Peyton Manning is 18/25 for 214 yards and a touchdown pass, as the Broncos lead the Patriots 13-3 at halftime of Sunday's AFC Championship Game at Denver's Sports Authority Field. Manning's TD pass was a one-yarder to tight end Jacob Tamme in the second quarter. The Broncos defense... Read Story › Share: Facebook Twitter Google Plus
Play Black Forest Selects New Fire Chief Play Air Academy Hockey, Athlete of the Week Play Thousands of kids in need this Christmas Play Improving Stormwater drainage in Colorado Springs Play K9 coming to Canon City Police Dept. Play Report released about safety lapse in Pueblo abuse case Play Pit Bull Trial Play Your Healthy Family Play Pit bull released and reunited with his family Play Caught On Cam: Fiery Rescue Play Santa Delivers A Miracle Play New hospital gown gives full coverage Play City Council and Mayor Bach Battle over Budget Play Urban Renewal hopeful for city loan Play PD: Vandals do over $40K in damage to Pueblo school Play StopFraudColorado.gov targets scammers 1 2 3 4


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Have you seen the tablets that just came out?
A slow year for tablets finally kicks into gear. Check out the bad boys that debuted this week.
Road Trip 2011: The Paris Air Show is a place to check out the latest and greatest, as well as some classic civilian airplanes.


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Co-worker Conundrums
Posted By: Mona Hickey
I went back to work at eight weeks. The biggest fear I have is that my milk is going to dry up. I can't stress out because it zaps milk supply! How do I keep zen about something I have become obsessed with?
The other week, I was leaving my desk to pump in the ladies room. I was carrying the large bag with my breast pump inside, reading for my afternoon pump session when one of my male co-workers looked at me and said, "Oh, are you heading out? Beer-thirty?"
I know what he must have seen. A woman with her bag walking out the door, the clock above signaling, "Hey, who wants an early afternoon? It's Beer-Thirty somewhere!"
If this co-worker had been a woman, I might have felt more at ease to say, "I'm just going to pump, Sistah Friend." But he was a man with whom our lengthiest conversations have been at the copy machine while we both tried to figure out why it was printing on 11x17 inch paper. I hadn't talked to him at all about my baby, except for the time he pointed to my large belly and said, "Congratulations," to which I responded, "Thanks."
I was clueless as to how to answer such a light inquiry. Telling him I was going to pump would be more information than he wanted, like when someone asks how's it going and you answer with how your mother is driving you crazy because she is now lactose intolerant and wants all the cheese removed from your house during her next visit. You should have just said, "I'm fine! Everything's peachy keen!"
While I know that many of my co-workers are well-meaning, it's an office and gossip can fester and spread. It can only take one uninformed person to mention how many times I'm away from my desk to cause others to question why I'm so cavalier with breaks and for the "Who does this lady think she is?" line of questioning to begin.
I'm in a weird in-between area. I'm not embarrassed by breastfeeding or pumping. I want to declare that as an employee I need and deserve the space and time to pump so I can be a functioning and contributing colleague. At the same time, I don't want to discuss these intricacies with just anyone. I just spent 41 weeks with a large pregnant belly, an obvious physical sign that announced, "Hey! I had sex to get this way!" Plus during those weeks, I had to field questions from people who felt they had access to my decisions on childcare and even asked me point blank if I was going to have a vaginal delivery. Take me out to dinner before you begin on the nether regions investigation! I'm a lady!
Sometimes I wonder about my male co-workers. I can understand that the younger ones might not have had the same exposure to the challenges of a breastfeeding working woman, but what about the men with wives and children? Surely the conversation must have been raised at some point. Did their wives, partners, girlfriends, etc. never mention the subject at all? Even if there were no breastfeeding woes to be had and it was all triumph, did they never say to these men, "My breast pump works/doesn't work/is a superhero"? Maybe they didn't listen, they tuned out any boob-related conversations.
I didn't ramble on about my breastfeeding to him. Instead I just laughed, told him I was headed to the ladies. "Beer-thirty? Pa-shaa! I wish."
And I did wish. Although it was for a few other things.
1:12pm on Monday October 4Comments
I do tale the male members of my department that I'm going to pump. I'm close to them, and so I feel comfortable. However, if it was someone I didn't know well, I say I'm going to a meeting. That's what I use to explain to my students, too.
I have been there! I could never figure out the best reply besides, "I'm not leaving yet!". Oh well.


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It's "warm and fuzzy" feelings all
round for in-game
advertisers, according to these predictions from MarketingSherpa and Yankee Group. While in-game advertising isn't
top of the list for corporations, with only 10% of respondents quizzed admitting to immediate plans in the area, it's
certainly on a lot of radars.
Slightly more disturbing is the chart of predicted growth for games-related
advertising from May 2005; between advergaming and in-game ads, the end of this decade will see games as an extremely
viable platform for advertisers if these predictions are anywhere near correct.
[Via Cathode Tan]
Featured Stories
Off the Grid: The Witcher Adventure Game and Star Wars Imperial Assault
Posted on Feb 3rd 2015 2:15PM


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Domin-8 Me was originally known in Japan as "Take On Me". A hentai love-comedy created by Sessyu Takemura. It started out as sexual blackmail of Hiraku Ohno when Tsuda caught a compromising photo of her in school. Tsuda quickly realizes he was never forcing her into anything.
Domin-8 Me (Take On Me in JPN) is a hentai comedy/romance manga series created by Sessyu Takemura. It originally began publication in Core Magazine's Megastore Comics in 2004. The story follows the sexual and romantic exploration of the two main characters.
When digital photography nerd Tomonori Tsuda accidentally shoots an up skirt photo of classmate Hikaru Ohno, he discovers that she isn't wearing panties and she's far more of a freak than anyone ever knew -- there's... THINGS up in there! He gamely tries to use the photo to pressure the statuesque (six foot one of fun fun fun!) Hikaru into sex, only to have the tables turned on him as they embark on a wild, woolly, and very wet sexual relationship in which games, domination and humiliation play an enormous part. Soon Hikaru's older-but-immature sister Kei, Hikaru's jealous childhood rival Ryoko, and her (very lucky) boyfriend Koichi are drawn into the vortex of lust and perversion, resulting in three-ways, four-ways, and five-ways, with penetration combinations you have to see to believe, and more money shots per square inch than any other MangErotica comic
Eros Comix (April 17, 2007)
In Japan, the series was originally titled with the English name of "Take On Me". The US publisher, Eros Comix, most likely altered the title to Domin-8 Me in order to avoid any possible copyright issue with the 1985 hit song entitled "Take On Me" by the band known as A-ha.
Hikaru Ohno is a tall 6'1" student who is both beautiful and enigmatic. Most find her hard the approach and no one can figure out what she's thinking. One day, Tomonori Tsuda dropped his camera and caught a picture accidentally under her skirt. It revealed she wasn't wearing underwear and had a sex toy inserted inside her. The short, timid class-mate thought he was blackmailing Hikaru into a sexual relationship, but she later revealed that she had a crush on him before. She was planning on seducing him, and the two began a wild and torrid sexual affair that was originally just between the two of them, but more joined in.
Tomonori Tsuda is a short 5'3" student who was frequently bullied and had a hard time getting a date. By accident, Tomonori dropped his camera and caught a picture under the skirt of Hikaru Ohno. He used the photo to convince her to let him have sex with her. His guilt at blackmailing Hikaru was mostly overpowered by the repeated sex the two had. When he tried to apologize and end the relationship, Hikaru revealed he never forced her to do anything. She had liked him for awhile and was planning to seduce him eventually. The two began their affair that blossomed into a romance between the two.
Kei Ohno is the elder sister of Hikaru Ohno, but her lot in life kept her short and under developed. Even at the age of 26, she is still a virgin and unable to find a guy. The men her own age refused to date her because of her young appearance. and the men who would date her were complete creeps. Her sexual frustration build in her as a short fuse on her temper, and she tends to violently lash out at people who mock her looks. When she discovers Hikaru's affair with her classmate, Kei invited Tomonori over to try and seduce him behind her sister's back. After being discovered, Hikaru consented to allow Kei to use her boyfriend to lose her virginity, and she occasionally joined in their trysts, afterward.
Ryoko Enatsu is the childhood friend and intense rival of Hikaru Ohno. The two have been neighbors since they were infants, but Ryoko could never win against Hikaru. As a woman, she's beautiful, dark-haired, and an unashamed dominatrix. She's the manager of the school's baseball team, and the star pitcher Koichi Tatsukawa is her loyal love-slave. He obeys her every command and Ryoko challenged Hikaru to a competition of who had the better boyfriend. Despite Ryoko's cheating, Ohno won, and Ryoko was caught into Hiraku's web of sexual adventures with Koichi.
Koichi Tatsukawa is the school's star picture on the baseball team, but no one knows that he's also the willing love-slave of the team manager Ryoko Enatsu. He enjoys following her every command and loves the abuse. She follows her command to challenge Hikaru's boyfriend Tomonori in baseball. After they lost this bet, Koichi and Ryoko found themselves caught Hikaru's sexual adventures. Though privately Ryoko may treat him like an animal, he does know that she also loves him.
Jose Emilio & Xavier Tsuda Soriano Bros. are the cousins of Tomonori Tsuda from Sweden. They are a pair of mixed descent twin boys who are bi-sexual and dress as girls. They are obsessed with things they see as cute and move to Japan. They had aimed to have Tomonori's virginity, but lost out to his girlfriend Hikaru Ohno. After they meet Hikaru's smaller, older sister, they immediately fell for how cute she is, and wanted to become her lover. She fell for the pair of twins, and became caught into their nearly endless lust.
Book # | Name | Rating | Release Date | |
Take On Me 2 |
Oct. 19, 2007 | ||
Domin-8 Me |
July 31, 2004 |
Name | Domin-8 Me |
Name: | Take On Me (テイク オンミー) |
Romaji: | Teiku On Mī |
Publisher | Eros Comix |
Start Year | 2004 |
Genres | |
Themes |
Add a new theme
Aliases | Take On Me |
We don't have any info about Domin-8 Me's related franchises. Help us fill it in! |


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African art
This article needs additional citations for verification. (January 2009) |
African art is a term typically used for the art of Sub-Saharan Africa. Often, casual observers tend to generalize "traditional" African art, but the continent is full of people, societies and civilizations, each with a unique visual culture. The definition may also include the art of the African Diasporas, such as the art of African Americans. Despite this diversity, there are some unifying artistic themes when considering the totality of the visual culture from the continent of Africa.[1]
The term African art does not usually include the art of the North African areas along the Mediterranean coast, as such areas had long been part of different traditions. For more than a millennium, the art of such areas had formed part of Islamic art, although with many particular characteristics. The Art of Ethiopia, with a long Christian tradition, is also different from that of most of Africa, where Traditional African religion (with Islam in the north) was dominant until relatively recently. [2]
Most African sculpture was historically in wood and other natural materials that have not survived from earlier than, at most, a few centuries ago; older pottery figures can be found from a number of areas. Masks are important elements in the art of many peoples, along with human figures, often highly stylized. There is a vast variety of styles, often varying within the same context of origin depending on the use of the object, but wide regional trends are apparent; sculpture is most common among "groups of settled cultivators in the areas drained by the Niger and Congo rivers" in West Africa.[3] Direct images of deities are relatively infrequent, but masks in particular are or were often made for religious ceremonies; today many are made for tourists as "airport art".[4] African masks were an influence on European Modernist art,[5] which was inspired by their lack of concern for naturalistic depiction. Since the late 19th century there has been an increasing amount of African art in Western collections, the finest pieces of which are now prominently displayed.
Later West African cultures developed bronze casting for reliefs, like the famous Benin Bronzes, to decorate palaces and for highly naturalistic royal heads from around the Yoruba town of Ife, in terracotta as well as metal, from the 12th–14th centuries. Akan goldweights are a form of small metal sculptures produced over the period 1400–1900; some apparently represent proverbs, contributing a narrative element rare in African sculpture; and royal regalia included impressive gold sculptured elements.[6] Many West African figures are used in religious rituals and are often coated with materials placed on them for ceremonial offerings. The Mande-speaking peoples of the same region make pieces from wood with broad, flat surfaces and arms and legs shaped like cylinders. In Central Africa, however, the main distinguishing characteristics include heart-shaped faces that are curved inward and display patterns of circles and dots.
Eastern Africans, in many areas shorter of large timber to carve, are known for Tinga Tinga paintings and Makonde sculptures. There is also tradition of producing textile art, .[3] The culture from Great Zimbabwe left more impressive buildings than sculpture, but the eight soapstone Zimbabwe Birds appear to have had a special significance and were presumably mounted on monoliths. Modern Zimbabwean sculptors in soapstone have achieved considerable international success. Southern Africa's oldest known clay figures date from 400 to 600 AD and have cylindrical heads with a mixture of human and animal features.
Thematic elements[edit]
- Artistic creativity or Expressive individualism: In Western African art in particular, there is a widespread emphasis on expressive individualism while simultaneously being influenced by the work of predecessors. An example would be Dan artistry as well as its presence in the Western African diaspora.[7][8]
- Emphasis on the human figure: The human figure has always been the primary subject matter for most African art, and this emphasis even influenced certain European traditions.[5] For example, in the fifteenth century Portugal traded with the Sapi culture near Côte d'Ivoire in West Africa, who created elaborate ivory saltcellars that were hybrids of African and European designs, most notably in the addition of the human figure (the human figure typically did not appear in Portuguese saltcellars). The human figure may symbolize the living or the dead, may reference chiefs, dancers, or various trades such as drummers or hunters, or even may be an anthropomorphic representation of a god or have other votive function. Another common theme is the inter-morphosis of human and animal.
- Visual abstraction: African artworks tend to favor visual abstraction over naturalistic representation. This is because many African artworks generalize stylistic norms.[9] Ancient Egyptian art, also usually thought of as naturalistically depictive, makes use of highly abstracted and regimented visual canons, especially in painting, as well as the use of different colors to represent the qualities and characteristics of an individual being depicted.[10]
- Emphasis on sculpture: African artists tend to favor three-dimensional artworks over two-dimensional works. Even many African paintings or cloth works were meant to be experienced three-dimensionally. House paintings are often seen as a continuous design wrapped around a house, forcing the viewer to walk around the work to experience it fully; while decorated cloths are worn as decorative or ceremonial garments, transforming the wearer into a living sculpture. Distinct from the static form of traditional Western sculpture African art displays animation, a readiness to move.[11]
- Emphasis on performance art: An extension of the utilitarianism and three-dimensionality of traditional African art is the fact that much of it is crafted for use in performance contexts, rather than in static ones. For example, traditional African masks and costumes very often are used in communal, ceremonial contexts, where they are "danced." Most societies in Africa have names for their masks, but this single name incorporates not only the sculpture, but also the meanings of the mask, the dance associated with it, and the spirits that reside within. In African thought, the three cannot be differentiated.
- Nonlinear scaling: Often a small part of an African design will look similar to a larger part, such as the diamonds at different scales in the Kasai pattern at right. Louis Senghor, Senegal's first president, referred to this as "dynamic symmetry." William Fagg, the British art historian, compared it to the logarithmic mapping of natural growth by biologist D'Arcy Thompson. More recently it has been described in terms of fractal geometry.[12]
Until recently, the designation "African" was usually only bestowed on the arts of "Black Africa", the peoples living in Sub-Saharan Africa. The non-black peoples of North Africa, the people of the Horn of Africa, as well as the art of ancient Egypt, generally were not included under the rubric of African art. Recently, however, there has been a movement among African art historians and other scholars to include the visual culture of these areas, since all the cultures that produced them, in fact, are located within the geographic boundaries of the African continent. The notion is that by including all African cultures and their visual culture in African art, laypersons will gain a greater understanding of the continent's cultural diversity. Since there was often a confluence of traditional African, Islamic and Mediterranean cultures, scholars have found that drawing distinct divisions between Muslim areas, ancient Egypt, the Mediterranean and indigenous black African societies makes little sense. Finally, the arts of the people of the African diaspora, in Brazil, the Caribbean and the southeastern United States, have also begun to be included in the study of African art.
African art takes many forms and is made from many different materials. Jewellry is a popular art form and is used to indicate rank, affiliation with a group, or purely for aesthetics.[13] African jewelry is made from such diverse materials as Tiger's eye stone, haematite, sisal, coconut shell, beads and ebony wood. Sculptures can be wooden, ceramic or carved out of stone like the famous Shona sculptures,[14] and decorated or sculpted pottery comes from many regions. Various forms of textiles are made including chitenge, mud cloth and kente cloth. Mosaics made of butterfly wings or colored sand are popular in west Africa.
The origins of African art lie long before recorded history. African rock art in the Sahara in Niger preserves 6000-year-old carvings.[15] Along with sub-Saharan Africa, the western cultural arts, ancient Egyptian paintings and artifacts, and indigenous southern crafts also contributed greatly to African art. Often depicting the abundance of surrounding nature, the art was often abstract interpretations of animals, plant life, or natural designs and shapes. The Nubian Kingdom of Kush in modern Sudan was in close and often hostile contact with Egypt, and produced monumental sculpture mostly derivative of styles that did not lead to the north. In West Africa, the earliest known sculptures are from the Nok culture which thrived between 500 BC and 500 AD in modern Nigeria, with clay figures typically with elongated bodies and angular shapes.
More complex methods of producing art were developed in sub-Saharan Africa around the 10th century, some of the most notable advancements include the bronzework of Igbo Ukwu and the terracottas and metalworks of Ile Ife Bronze and brass castings, often ornamented with ivory and precious stones, became highly prestigious in much of West Africa, sometimes being limited to the work of court artisans and identified with royalty, as with the Benin Bronzes.
Influence on Western art[edit]
Westerners had long misunderstood African art as "primitive." The term carries with it negative connotations of underdevelopment and poverty. Colonization and the slave trade in Africa during the nineteenth century set up a Western understanding hinged on the belief that African art lacked technical ability due to its low socioeconomic status.
At the start of the twentieth century, artists like Picasso, Matisse, Vincent van Gogh, Paul Gauguin and Modigliani became aware of, and inspired by, African art.[5] In a situation where the established avant garde was straining against the constraints imposed by serving the world of appearances, African art demonstrated the power of supremely well organised forms; produced not only by responding to the faculty of sight, but also and often primarily, the faculty of imagination, emotion and mystical and religious experience. These artists saw in African Art a formal perfection and sophistication unified with phenomenal expressive power. The study of and response to African Art, by artists at the beginning of the twentieth century facilitated an explosion of interest in the abstraction, organisation and reorganisation of forms, and the exploration of emotional and psychological areas hitherto unseen in Western art. By these means, the status of visual art was changed. Art ceased to be merely and primarily aesthetic, but became also a true medium for philosophic and intellectual discourse, and hence more truly and profoundly aesthetic than ever before.[citation needed]
Influence on Western architecture[edit]
This section does not cite any references or sources. (June 2014) |
European architecture was strongly influenced by African art. Pioneers like Antonio Sant'Elia, Le Corbusier, Pier Luigi Nervi, Theo van Doesburg and Erich Mendelsohn were also sculptures and painters; Futurist, Rationalist and Expressionist architecture discovered in Africa a new repertoire of proto-symbols; in a formal level, the space is now composed by single forms that do not only refer to human proportions and scale, but to its psychology; surfaces are modelled by geometric patterns. During the 50's, European architects transformed buildings into big-scale sculptures, replacing unnecessary decoration (so criticized by Adolf Loos), by integrating textured murals and large bas-reliefs in walls. During the 60's, African Art influenced Brutalism, both in language and symbolism, particularly in the late Le Corbusier, Oscar Niemeyer and Paul Rudolph. The powerful work of John Lautner reminds of artifacts from the Yoruba; the sensual projects of Patricio Pouchulu honour the bare wooden sculptures of the Dogon and Baoulé. Unlike Europe, African art never established boundaries between body art, painting, sculpture and architecture; thanks to this, Western architects can now extend towards different art expressions.
Traditional art[edit]
Traditional art describes the most popular and studied forms of African art which are typically found in museum collections.
Wooden masks, which might either be of human, animal or mythical creatures, are one of the most commonly found forms of art in western Africa. In their original contexts, ceremonial masks are used for celebrations, initiations, crop harvesting, and war preparation. The masks are worn by a chosen or initiated dancer. During the mask ceremony the dancer goes into deep trance, and during this state of mind he "communicates" with his ancestors. The masks can be worn in three different ways: vertically covering the face: as helmets, encasing the entire head, and as crest, resting upon the head, which was commonly covered by material as part of the disguise. African masks often represent a spirit and it is strongly believed that the spirit of the ancestors possesses the wearer. Most African masks are made with wood, and can be decorated with: Ivory, animal hair, plant fibers (such as raffia), pigments (like kaolin), stones, and semi-precious gems also are included in the masks.
Statues, usually of wood or ivory, are often inlaid with cowrie shells, metal studs and nails. Decorative clothing is also commonplace and comprises another large part of African art. Among the most complex of African textiles is the colorful, strip-woven Kente cloth of Ghana. Boldly patterned mudcloth is another well known technique.
Contemporary African art[edit]
Africa is home to a thriving contemporary art fine art culture. This has been sadly understudied until recently, due to scholars' and art collectors' emphasis on traditional art. Notable modern artists include El Anatsui, Marlene Dumas, William Kentridge, Karel Nel, Kendell Geers, Yinka Shonibare, Zerihun Yetmgeta, Odhiambo Siangla, Elias Jengo, Olu Oguibe, Lubaina Himid, and Bili Bidjocka, Henry Tayali. Art bienniales are held in Dakar, Senegal, and Johannesburg, South Africa. Many contemporary African artists are represented in museum collections, and their art may sell for high prices at art auctions. Despite this, many contemporary African artists tend to have difficult times finding a market for their work. Many contemporary African arts borrow heavily from traditional predecessors. Ironically, this emphasis on abstraction is seen by Westerners as an imitation of European and American cubist and totemic artists, such as Pablo Picasso, Amedeo Modigliani and Henri Matisse, who, in the early twentieth century, were heavily influenced by traditional African art. This period was critical to the evolution of Western modernism in visual arts, symbolized by Picasso's breakthrough painting "Les Demoiselles d'Avignon."[16]
Contemporary African art was pioneered in the 1950s and 1960s in South Africa by artists like Irma Stern, Cyril Fradan, Walter Battiss and through galleries like the Goodman Gallery in Johannesburg. More recently European galleries like the October Gallery in London and collectors such as Jean Pigozzi,[17] Artur Walther[18] and Gianni Baiocchi in Rome have helped expand the interest in the subject. Numerous exhibitions at the Museum for African Art in New York and the African Pavilion at the 2007 Venice Biennale, which showcased the Sindika Dokolo African Collection of Contemporary Art, have gone a long way to countering many of the myths and prejudices that haunt Contemporary African Art. The appointment of Nigerian Okwui Enwezor as artistic director of Documenta 11 and his African centred vision of art propelled the careers of countless African artists onto the international stage.
A wide range of more-or-less traditional forms of art, or adaptations of traditional style to contemporary taste are made for sale to tourists and others, including so-called "airport art". A number of vigorous popular traditions assimilate Western influences into African styles such as the elaborate fantasy coffins in shapes such as airplanes, cars or animals of West African cities, and the banners of clubs.
By country or people[edit]
This section does not cite any references or sources. (October 2012) |
The primary ethnic groups in Mali are the Bambara (also known as Bamana) and the Dogon. Smaller ethnic groups consist of the Marka, and the Bozo fisherman of the Niger River. Ancient civilizations flourished in areas like Djene and Timbuktu, where a great variety of ancient bronze and terra-cotta figures have been unearthed.
The Bambara people (Bambara: Bamanankaw) adapted many artistic traditions and began to create display pieces. Before money was the main drive of creation of their artworks they used their abilities solely as a sacred craft for display of spiritual pride, religious beliefs and display of customs. Example artworks include the Bamana n'tomo mask. Other statues were created for people such as hunters and farmers so others could leave offerings after long farming seasons or group hunts. The stylistic variations in Bambara art are extreme sculptures, masks and headdresses display either stylized or realistic features, and either weathered or encrusted patinas. Until quite recently, the function of Bambara pieces was shrouded in mystery, but in the last twenty years field studies have revealed that certain types of figures and headdresses were associated with a number of the societies that structure Bambara life. During the 1970s a group of approximately twenty figures, masks and TjiWara headdresses belonging to the so-called 'Segou style' were identified. The style is distinct and recognizable by its typical flat faces, arrow-shaped noses, all-over body triangular scarifications and, on the figures, splayed hands.
- Masks
There are three major and one minor type of Bambara mask. The first type, used by the N'tomo society, has a typical comb-like structure above the face, is worn during dances and may be covered with cowrie shells. The second type of mask, associated with the Komo society, has a spherical head with two antelope horns on the top and an enlarged, flattened mouth. They are used during dances, but some have a thick encrusted patina acquired during other ceremonies in which libations are poured over them.
The third type has connections with the Nama society and is carved in the form of an articulated bird's head, while the fourth, minor type, represents a stylized animal head and is used by the Kore society. Other Bambara masks are known to exist, but unlike those described above, they cannot be linked to specific societies or ceremonies. Bambara carvers have established a reputation for the zoomorphic headdresses worn by Tji-Wara society members]. Although they are all different, they all display a highly abstract body, often incorporating a zig-zag motif, which represents the sun's course from east to west, and a head with two large horns. Bambara members of the Tji-Wara society wear the headdress while dancing in their fields at sowing time, hoping to increase the crop yield.
- Statuettes
Bambara statuettes are primarily used during the annual ceremonies of the Guan society. During these ceremonies, a group of up to seven figures, measuring from 80 to 130 cm in height, are removed from their sanctuaries by the elder members of the society. The sculptures are washed, re-oiled and sacrifices are offered to them at their shrines. These figures - some of which date from between the 14th and 16th centuries - usually display a typical crested coiffure, often adorned with a talisman.
Two of these figures were ascribed great significance: a seated or standing maternity figure called Guandousou - known in the West as 'Bambara Queen' - and a male figure called Guantigui, who usually appears holding a knife. The two figures were surrounded by Guannyeni attendant figures standing or seated in various positions, holding a vessel, or a musical instrument, or their breasts. During the 1970s, numerous fakes from Bamako which were based on these sculptures entered the market. They were produced in Bamako.
Other Bambara figures, called Dyonyeni, are thought to be associated with either the southern Dyo society or the Kwore society. These female or hermaphrodite figures usually appear with geometric features such as large conical breasts and measure between 40 and 85 cm in height. The blacksmith members of the Dyo society used them during dances to celebrate the end of their initiation ceremonies. They were handled, held by dancers and placed in the middle of the ceremonial circle.
Among the corpus of Bambara figures, Boh sculptures are perhaps the best known. These statues represent a highly stylized animal or human figure, and are made of wood which is repeatedly covered in thick layers of earth impregnated with sacrificial materials such as millet, chicken or goat blood, kola nuts and alcoholic drinks. They were employed by the Kono and the Komo societies and served as receptacles for spiritual forces, and could in turn be used for apotropaic purposes.
Each special creative trait a person obtained was seen as a different way to please higher spirits.
Dogon art is primarily sculpture. Dogon art revolves around religious values, ideals, and freedoms (Laude, 19). Dogon sculptures are not made to be seen publicly, and are commonly hidden from the public eye within the houses of families, sanctuaries, or kept with the Hogon (Laude, 20). The importance of secrecy is due to the symbolic meaning behind the pieces and the process by which they are made.
Themes found throughout Dogon sculpture consist of figures with raised arms, superimposed bearded figures, horsemen, stools with caryatids, women with children, figures covering their faces, women grinding pearl millet, women bearing vessels on their heads, donkeys bearing cups, musicians, dogs, quadruped-shaped troughs or benches, figures bending from the waist, mirror-images, aproned figures, and standing figures (Laude, 46-52). Signs of other contacts and origins are evident in Dogon art. The Dogon people were not the first inhabitants of the cliffs of Bandiagara. Influence from Tellem art is evident in Dogon art because of its rectilinear designs (Laude, 24).
Dogon art is extremely versatile, although common stylistic characteristics – such as a tendency towards stylization – are apparent on the statues. Their art deals with the myths whose complex ensemble regulates the life of the individual. The sculptures are preserved in innumerable sites of worship, personal or family altars, altars for rain, altars to protect hunters, in market. As a general characterization of Dogon statues, one could say that they render the human body in a simplified way, reducing it to its essentials. Some are extremely elongated with emphasis on geometric forms. The subjective impression is one of immobility with a mysterious sense of a solemn gravity and serene majesty, although conveying at the same time a latent movement. Dogon sculpture recreates the hermaphroditic silhouettes of the Tellem, featuring raised arms and a thick patina made of blood and millet beer. The four Nommo couples, the mythical ancestors born of the god Amma, ornament stools, pillars or men's meeting houses, door locks, and granary doors. The primordial couple is represented sitting on a stool, the base of which depicts the earth while the upper surface represents the sky; the two are interconnected by the Nommo. The seated female figures, their hands on their abdomen, are linked to the fertility cult, incarnating the first ancestor who died in childbirth, and are the object of offerings of food and sacrifices by women who are expecting a child. Kneeling statues of protective spirits are placed at the head of the dead to absorb their spiritual strength and to be their intermediaries with the world of the dead, into which they accompany the deceased before once again being placed on the shrines of the ancestors. Horsemen are remainders of the fact that, according to myth, the horse was the first animal present on earth. The Dogon style has evolved into a kind of cubism: ovoid head, squared shoulders, tapered extremities, pointed breasts, forearms, and thighs on a parallel plane, hairdos stylized by three or four incised lines. Dogon sculptures serve as a physical medium in initiations and as an explanation of the world. They serve to transmit an understanding to the initiated, who will decipher the statue according to the level of their knowledge. Carved animal figures, such as dogs and ostriches, are placed on village foundation altars to commemorate sacrificed animals, while granary doors, stools and house posts are also adorned with figures and symbols.
There are nearly eighty styles of masks, but their basic characteristic is great boldness in the use of geometric shapes, independent of the various animals they are supposed to represent. The structure of a large number of masks is based on the interplay of vertical and horizontal lines and shapes. Another large group has triangular, conic shapes. All masks have large geometric eyes and stylized features. The masks are often polychrome, but on many the color is lost; after the ceremonies they were left on the ground and quickly deteriorated because of termites and other conditions. The Dogon continue an ancient masquerading tradition, which commemorates the origin of death. According to their myths, death came into the world as a result of primeval man's transgressions against the divine order. Dama memorial ceremonies are held to accompany the dead into the ancestral realm and restore order to the universe. The performance of masqueraders – sometimes as many as 400 – at these ceremonies is considered absolutely necessary. In the case of the dama, the timing, types of masks involved, and other ritual elements are often specific to one or two villages and may not resemble those seen in locations only several miles distant. The masks also appear during baga-bundo rites performed by small numbers of masqueraders before the burial of a male Dogon. Dogon masks evoke the form of animals associated with their mythology, yet their significance is only understood by the highest ranking cult members whose role is to explain the meaning of each mask to a captivated audience.
Kenyan art has changed much in the post colonial years. Painters emerged in the 1950s after training in Makerere University College; they include such artists as Elimo Njau Elizabeth Karuga. The 1970s saw the self-taught African painters mostly inspired by the demand for original African paintings. These include the Ancient Soi, Macua Ngethe, and Moses Gichuiri. Kenyatta University also produced artists but more so taught in western art styles of painting. Among these include John Dianga and Moses Gichuiri. Others include the late Dr. Sylvester Maina, Stephen Mayienga and others. The '80s was the produced many contemporary artists. From Teachers Training colleges came Stephen Mbatia, Rix Butama, Shake Makelele, and Meube to name but a few. From the University of Nairobi School of Fine Art and Design came the following artists: Bulinya Martins and Sarah Shiundu. The two by virtue of having learned many basic techniques in design are highly innovative both in style, use of color and execution. Unlike most contemporary Kenyan artist they paint using oils, acrylics and watercolors and/or combination. Pure abstract art is rare in Kenya. Most artists paint semi-abstract with distorted human figures. The initial paintings by Bulinya Martins were a combination of cubism and original African abstractions. The late Mainga's abstractions were 2D and highly embellished on leather. As for material, the use of Acrylics and oil is more frequent than watercolors. Oil paint is by far the preferred medium today and it lasts much longer. The art items in Kenya include sisal baskets, elephant hair bracelets, Maasai bead jewelry, musical instruments, silver and gold jewelry, soapstone sculptures, wooden carvings, tribal masks, Maasai figurines, paintings, prints and sculptures. These art items are available in the arts and craft markets and shops throughout the main tourist centers of Kenya.
Cloth in Kenya also represents interesting art, with batik cloth, kangas (women's wraparound skirts) with patterns and even Kenyan proverbs printed on them and kikois (type of sarong for men) that come in many different colors and textiles. Kenya offers African jewelry containing cowry shells, and soapstone carvings from Western Kenya, carved by the Gusii and Abagusii ethnic groups in Kisii stone.
The Fang people make masks and basketry, carvings, and sculptures. Fang art is characterized by organized clarity and distinct lines and shapes. Bieri, boxes to hold the remains of ancestors, are carved with protective figures. Masks are worn in ceremonies and for hunting. The faces are painted white with black features. Myene art centers around Myene rituals for death. Female ancestors are represented by white painted masks worn by the male relatives. The Bekota use brass and copper to cover their carvings. They use baskets to hold ancestral remains. Tourism is rare in Gabon, and unlike in other African countries, art is not spurred on by commerce.
In the northern part of Botswana, women in the villages of Etsha and Gumare are noted for their skill at crafting baskets from Mokola Palm and local dyes. The baskets are generally woven into three types: large, lidded baskets used for storage large, open baskets for carrying objects on the head or for winnowing threshed grain, and smaller plates for winnowing pounded grain. The artistry of these baskets is being steadily enhanced through color use and improved designs as they are increasingly produced for commercial use.
The oldest evidence ancient paintings from both Botswana and South Africa. Depictions of hunting, both animal and human figures were made by the San people dating before civilization over 20,000 years old within the Kalahari desert.
Burkina Faso[edit]
Burkina Faso is a small, landlocked country north of Ghana and south of Mali and Niger. Economically, it is one of the four or five poorest countries in the world. Culturally, it is extremely rich. In part this is because so few people from Burkina have become Muslim or Christian.[19] Many of the ancient artistic traditions for which Africa is so well known have been preserved in Burkina Faso because so many people continue to honor the ancestral spirits, and the spirits of nature. In great part they honor the spirits through the use of masks and carved figures. Many of the countries to the north of Burkina Faso had become predominantly Muslim, while many of the countries to the south of Burkina Faso are heavily Christian. In contrast many of the people of Burkina Faso continue to offer prayers and sacrifices to the spirits of nature and to the spirits of their ancestors. The result is that they continue to use the sorts of art that we see in museums in Europe and America.[20]
One of the principal obstacles to understanding the art of Burkina Faso, including that of the Bwa, has been a confusion between the styles of the Bwa, "gurunsi", and Mossi, and a confusion of the Bwa people with their neighbors to the west the Bobo people. this confusion was the result of the use by French colonial officers of Jula interpreters at the turn of the century. these interpreters considered the two peoples to be the same and so referred to the Bobo as "Bobo-Fing" and to the Bwa as "Bobo-Oule." In fact these two peoples are not related at all. Their languages are quite different, their social systems are quite different, and certainly their art is quite different. In terms of artistic styles the confusion stems from the fact that the Bwa, "gurunsi'" and Mossi make masks that are covered with red white and black geometric graphic patterns. This is simply the style of the Voltaic or Gur peoples, and also includes the Dogon and other peoples who speak Voltaic languages.[21]
Côte d'Ivoire[edit]
The Baoulé, the Senoufo and the Dan peoples are skilled at carving wood and each culture produces wooden masks in wide variety. The Ivorian people use masks to represent animals in caricature to depict deities, or to represent the souls of the departed.
As the masks are held to be of great spiritual power, it is considered a taboo for anyone other than specially trained persons or chosen ones to wear or possess certain masks. These ceremonial masks are each thought to have a soul, or life force, and wearing these masks is thought to transform the wearer into the entity the mask represents.
Côte d'Ivoire also has modern painters and illustrators. Gilbert G. Groud criticizes the ancient beliefs in black magic, as held with the spiritual masks mentioned above, in his illustrated book Magie Noire.
Tinga Tinga art has roots in decorating hut walls in central and south Tanzania. It was first in 1968 when Edward Said Tingatinga started to paint on wooden sheets with enamel colours when Tinga Tinga art became known. The art of the Makonde must be subdivided into different areas. The Makonde are known as master carvers throughout East Africa, and their statuary that can be found being sold in tourist markets and in museums alike. They traditionally carve household objects, figures and masks. Since the 1950s years the socalled Modern Makonde Art has been developed. An essential step was the turning to abstract figures, mostly spirits (Shetani) that play a special role. Makonde are also part of the important contemporary artists of Africa today. An outstanding position is taken by George Lilanga.
Persisting for 3,000 years and thirty dynasties, the "official" art of Ancient Egypt was centred on the state religion of the time. The art ranged from stone carvings of both massive statues and small statuettes, to wall art that depicted both history and mythology. In 2600 BC the maturity of Egyptian carving reached a peak it did not reach again for another 1,500 years during the reign of Rameses II.
A lot of the art possesses a certain stiffness, with figures poised upright and rigid in a most regal fashion. Bodily proportions also appear to be mathematically derived, giving rise to a sense of fantastic perfection in the figures depicted. This most likely was used to reinforce the godliness of the ruling caste.
See also[edit]
- ^ Suzanne Blier: "Africa, Art, and History: An Introduction", A History of Art in Africa, pp. 15-19
- ^ Carol Kino. "When Artifact 'Became' Art". The New York Times. Retrieved 2014-12-12.
- ^ a b Honour & Fleming, 557
- ^ Honour & Fleming, 559–561
- ^ a b c Murrell, Denise. "African Influences in Modern Art", The Metropolitan Museum of Art, April 2008. Retrieved on 31 January 2013.
- ^ Honour & Fleming, 556–561
- ^ Richard Majors; Billson, J.M. (1993). Cool Pose: The Dilemma of Black Manhood in America. Touchstone. p. 56. ISBN 9780671865726. Retrieved 2014-12-12.
- ^ Vangheluwe, S.; Vandenhoute, J. (2001). The Artist Himself in African Art Studies: Jan Vandenhoute's Investigation of the Dan Sculptor in Côte D'Ivoire. Academia Press. p. 19. ISBN 9789038202860. Retrieved 2014-12-12.
- ^ Suzanne Blier, "Africa, Art, and History: An Introduction", A History of Art in Africa, p. 16
- ^ A History of Art in Africa, p. 49
- ^ O'Riley, Michael Kampen (2006).Art Beyond the West (2nd ed.). New Jersey: Pearson Education. ISBN 0-13-175152-2
- ^ Eglash, Ron: "African Fractals: Modern computing and indigenous design." Rutgers 1999
- ^ "The Use of Haematite, Tiger's Eye Stone and Ebony Wood for African Jewelry". Squinti African Art. Retrieved 2012-01-15.
- ^ "What is African Art". Squinti African Art. Retrieved 2012-01-15.
- ^ ""New" Giraffe Engravings Found". The 153 Club. Archived from the original on 12 June 2007. Retrieved 2007-05-31.
- ^ Richardson, John (2007). A Life of Picasso: The Cubist Rebel, 1907-1916. New York: Knopf. ISBN 0-375-71150-3.
- ^ Magnin, André (2005). Arts of Africa: Jean Pigozzi's Contemporary Collection. Milan: Skira. ISBN 88-7624-296-1.
- ^ Enwezor, Okwui (2010). Events of the Self: Portraiture and Social Identity: Contemporary African Photography from the Walther Collection. Göttingen: Steidl. ISBN 978-3-86930-157-0.
- ^ Roy, Christopher D. "The Art of Burkina Faso", Art & Life in Africa, University of Iowa.
- ^ Roy, Christopher D. Art of the Upper Volta Rivers, 1987, Paris: Chaffin.
- ^ "Art & Life in Africa - The University of Iowa Museum of Art". uiowa.edu. Retrieved 2014-12-12.
- Hugh Honour and John Fleming, A World History of Art, 1st edn. 1982 (many later editions), Macmillan, London, page refs to 1984 Macmillan 1st edn. paperback. ISBN 0333371852
- A History of Art in Africa (2001) Monica Blackmun Visonà et al. Prentice Hall, New York ISBN 0-13-442187-6
- Roy, Christopher D., "The Art of Burkina Faso", Art & Life in Africa, University of Iowa.
Further reading[edit]
- Beidelman, T.O., "Promoting African Art. The Catalogue to the Exhibit of African Art at the Royal Academy of Arts, London", Anthropos, Vol. 92, H. 1./3. (1997), pp. 3–20, Anthropos Institute, JSTOR
- Breunig, P. (ed.) (2013). Nok - Ein Ursprung afrikanischer Skulptur. Frankfurt: Africa Magna Verlag. ISBN 978-3-937248-38-7
- Ezra, K. (1988). Art of the Dogon: selections from the Lester Wunderman collection. New York: The Metropolitan Museum of Art. ISBN 0870995073.
- Ezra, K. (1992). Royal art of Benin: the Perls collection. New York: The Metropolitan Museum of Art. ISBN 9780870996320.
- LaGamma, A. (2000). Art and oracle: African art and rituals of divination. New York: The Metropolitan Museum of Art. ISBN 9780870999338.
- LaGamma, Alisa (2003). Genesis: ideas of origin in African sculpture. New York: The Metropolitan Museum of Art. ISBN 0300096879.
- Rachewiltz, Boris de (1966). Introduction to African Art. Peter Whigham (translator). New York: New American Library.
External links[edit]
- www.TrueAfricanArt.com - Information and sales of original African paintings from 10 countries and 60 African artists.
- www.TingaTinga.info - Encyclopedic information about Tinga Tinga art
- www.TingaTinga.org - The official website of Tinga Tinga Arts Co-operative Society from Tanzania
- V ideos on African art and life in Africa http://www.uiowa.edu/~africart/List_of_DVDs/Index.html
Wikimedia Commons has media related to African art. |


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The 2014 recipients of Sterling College's highest alumni award, the Distinguished Service Award, have devoted their lives to serving God and the health and well-being of others. R.C. "Corky" fs69 and Mary (Creswell) '69 Trotter were recognized for their service at Sterling's 122nd commencement ceremony held on Saturday, May 17, 2014.
Each year, two Sterling College students who reflect the ideal Sterling College graduate receive the Professor Fran Jabara Leadership Award in conjunction with the Outstanding Male and Female Graduate award. This year, the award was presented to Nathan Ehresman of Wichita, Kan., and Emily Walker of Sterling, Kan.
Former Professor of Chemistry Dr. Curtis Beechan was conferred the rank of faculty emeritus during Sterling College's commencement exercises on Saturday, May 17, on the East Cooper Lawn. Beechan taught at the College since 1986.
On Saturday, April 26, 2014, the new baseball scoreboard on the Sterling College baseball field was dedicated. The scoreboard was damage last year in a wind storm. Florence Hill, a 1950 graduate of Sterling College, was visiting the campus last fall and saw the damaged scoreboard. She was wanting to do something for her alma matar. Florence met her sweetheart, Ollie, at Sterling College. He was a avid baseball fan and she was excited about the opportunity to honor his life by donating the funds to buy the new scoreboard.
The Class of 2014 will graduate from Sterling College on Saturday, May 17, at 9:45 a.m. Graduation activities begin Friday morning with a senior breakfast sponsored by the alumni office. A senior dinner and Baccalaureate will take place Friday evening. Wayne Hardy '75, pastor at Kirk of the Hills in Tulsa, Okla., will deliver his speech, "Remember Who You Are," at 7:30 p.m.
The Sterling College Athletic Training Program had 16 students recognized by the Kansas Athletic Trainers' Society for outstanding academic achievement. Based on grade point average and academic standing, KATS recognized 107 students from across the state of Kansas who attend athletic training programs accredited by the Commission on Accreditation of Athletic Training Education.
On Friday, May 2, Sterling College inducted 13 students into the college chapter of National Honor Society, Alpha Chi. An induction ceremony was held in Cornerstone on the campus of Sterling College to welcome the top 10 percent of the junior and senior class into this elite group of students.
Sterling College announced that Caitie Stineman '12 came back to her Alma Mater as the executive assistant to the office of the president and the human resources specialist on Monday, May 5.
Students in the Global Impact class, an honors class at Sterling College, traveled to Wichita and Oklahoma at the end of April to see how other groups of Christians are addressing the issues of suffering throughout the world.
Sterling College has again proven to be a national force in debate. Placing 14th in overall team sweepstakes, Senior Jacob Skala, Junior Brandon Hoesli, and Freshman Darren Kootz-Eades competed against the top debate teams across the United States at the National Forensic Association National Championship Tournament April 17-21 in Michigan.


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Oak Creek, WI
CrossFit Milwaukee is the best place in town to get in shape. It's a great facility with everything you would need to meet your desired fitness goals. Most importantly, Ryan is an excellent trainer. He is very knowledgeable about health and fitness and it's easy to see how much he loves to pass that knowledge on to others.
To handle the demands of my job as a firefighter, I need to be in the best shape possible. CrossFit has improved my strength and endurance dramatically in only a short period of time. I am a firm believer in the CrossFit method as the best way to reach top performance. The great thing is that anyone can do it no matter what your fitness level. It's definitely worth a try. I know you will get hooked just as I have.
- Aaron
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Olympic Weightlifting is back at CrossFit Milwaukee!!!
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Oak Creek, WI
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Front-Ends Software
WikyBlog : Wiki / Blog CMS WikyBlog is a CMS/Groupware application written in PHP/MySQL that fuses collaborative editing features of wikis with user friendly publishing characteristics of blogs. MediaWiki derived wiki syntax, AJAX enhanced, UTF8 and extendable (google maps).
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neo-Portal customization, squared the most customizable portal: full i18n localization support; OS, web server, database independent; output: XHTML, PDF, RSS, TXT, RTF, WML, and more...
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Brownbag Application Suite To provide a bunch of useful applications for daily use. The first of those applications was donated by NIH\'s DECA, it\'s called REX and is a Request/Bug tracker. All applications will be Struts 1.1 and greater based.
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bonzeye, bonZeye, bonsai, bonsi, BonPsi ((( bonzeye, bonZeye, bonsai, bonsi, BonPsi ))) a Volumetric Botanical Visualization for File Hierarchy Interfacing Goals: platform independence and consistency across devices, personalized and familiar tree-like branching structure, custom 2D overlays
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- Crochet
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- Knit
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- Quilt
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- Sew
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- Card & Paper
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- Needlecraft
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- Beading
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- General Crafts
Online Classes Home » Crochet » Learn to Crochet
Skill Level: Beginner |
Ellen Gormley has been crocheting since she was about 10 years old, but didn't begin her design career until 2004 when she began staying home with her children. She stitched more than 80 afghans before becoming a full-time crafter who "gets paid to play with yarn!" Within the crochet community, Ellen is particularly well-known for her stylish bead crochet and join-as-you-go crochet and motif designs. Ellen has more than 200 published designs including garments, bags and accessories, and home decor. Ellen has been published in numerous crochet magazines and has written two books, Go Crochet! Afghan Design Workbook, published in 2011, and the recently released Learn Bruges Lace, published by Annie's. She is the instructor of Annies Learn to Crochet and Learn to Bead Crochet video classes and is also one of the crochet experts featured on Knit and Crochet Now! which airs on PBS. In 2013, Ellen was named editor of Annies Crochet! magazine. Other Classes Taught by
Ellen |
Customer Reviews for Learn to Crochet:
It stopped several times and now when I tried to click to continue watching. I see nothing but a black video screen with a note that the class is currently unavailable try later. Very frustrating.
Annie's Customer Service
Mervat - We will contact you to help resolve your issues with the video.


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I would like to give a heartfelt thank you to all 748 people who voted for me, many of whom I did not know. I'm extremely honored and humbled by the support I was shown. I have no regrets, and I'm proud of how I ran my campaign. I did not take any cheap shots on my opponents' personalities, where they worked, how they made their living or their motives for running. Everyone who knows me knows I'm an honest person to a fault and knows I don't hold back. When I did speak about my opponents, I based what I said on facts and I did so with dignity.
I also need to thank my wife and family. Julie had to make many sacrifices while I sought public office, and my three kids didn't see their daddy for 15 to 20 hours per week while I was knocking on doors. Last Wednesday, when my 4-year-old daughter woke up, I had to tell her that her daddy's best wasn't good enough this go-around. She said, "It's OK, Daddy, I voted for you." After that, all was well again in the Donovan household.
Somebody very close to me once said, "It's not worth doing unless you're having fun." Campaigning and knocking on doors was just that, and I can't begin to tell you what a great experience it was. I got to see jealousy and racism first-hand and doors slammed in my face, and was called not-so-nice names. However, I also got to meet a lot of new people and was able to talk to them about the issues of the election. I found it extremely rewarding to see so much enthusiasm for Chesapeake Beach and, really, that's what makes this a great town to live in.
Wes Donovan, Chesapeake Beach


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Coolest Celebrity "Got Milk" Ads!
Tuesday 9:19 PM, 17/11/2009
Demi Lovato is the latest celeb to lend her famous face in the cause to encourage Americans to drink more milk! She is one of hundreds of celebs who have done fun and cool "Got Milk" ads in the last few years, since the Dairy organisation of the USA started its campaign a few years ago, after milk sales went down dramatically in the 90's and almost ruined the dairy farming industry. What a fun way to get people to be more healthy! We love these ads, by Rihanna, Heidi Klum, Taylor Swift and many more! Take a look!
8 Comments
demi lovatos are so cool and hayden panettierestoo!!
i like demi lovato's and chris brown


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Okay, I may have hit rock bottom. I know I saw this subject a long time ago, but we have brought less pressing issues back from the grave, so here goes.
Have you guys tried the whole on-line dating thing? I put a profile up at Match.com and OKcupid.com, and I'm not sure what to think. At match, if you see someone who interests you, you can send them a 'wink' which tells them you like what you see. The great irony is that when I send a wink to someone, I often get the sound of crickets chirping, AKA no response. Meanwhile, people whom I am not interested in wink at me, when I am not into them at first glance (or they smoke, worship Satan, etc). Ahh, love in the modern age.
The reason I tried this is that I find it hard to meet women since I am not in school anymore. I meet some at work, but that is a party foul I have learned the hard way. I am not into the bar scene and it's not worth going to church to try and meet someone. On the bright side, I really don't care, I am pretty good company for myself, and I am somewhat young, so I am not in a rush.
Wow, this might be my lamest post yet, a new milestone. Anyway, if you would please, share with the class on the pros and cons, what works, what doesn't, etc.


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We offer discount to nonprofits, government agencies, and federal contractors
The AILA Career Center offers more than access to the best possible industry candidates.
AILA Doc No. 14040960 | Dated April 9, 2014 | File Size: 489 K
Download the DocumentUSCIS reminder that after 4/5/14, only the revised Form I-290B, Notice of Appeal or Motion, with an edition date of 1/23/14, will be accepted.
Cite as AILA Doc. No. 14040960.
Open the DocumentAmerican Immigration Lawyers Association
1331 G Street NW, Suite 300
Washington, DC 20005
Copyright © 1993-2015
American Immigration Lawyers Association.


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Fridays 8:00 PM on FOXFollow Glee
Glee Season 1 Episode 13
With sectionals fast approaching, Rachel reveals to Finn that Quinn's baby is not his but Puck's!
Finn therefore attacks Puck and leaves the glee club.
Since Will can't take the kids to sectionals, Emma volunteers and pushes the wedding back a few hours.
When they arrive, they realize the other glee clubs have copied their set list. Will confronts Sue, only to receive ridicule.
He meets up with Finn and has a talk with him about being special. Will leaves his car keys with Finn.
Emma confronts the other glee club advisors about their cheating.
Desperate, they try to come up with a new set list. Brittany and Santana admit being spies for Sue, but they want to be here more than anything. Finn adds the last ensemble song to the new set list, though he has not forgiven Quinn or Puck.
The kids give an amazing performance overall, though their chance of winning appears slim.
Will comes home to change and catches Terri. She reveals she's seeing a therapist and asks for forgiveness. Will rejects that and leaves.
He goes to Emma's wedding only to find it empty and Emma dumped. She admits her feelings for Will and says she resigned from school.
Figgins reprimands and suspends Sue, but she vows to come back meaner than ever and more determined to take down New Direction.
Meanwhile, the club won 1st place! They are about to start rehearsing for Regionals!
Will catches Emma as she's about to leave school and kisses her.
- Show:
- Glee
- Season:
- Glee Season 1
- Episode Number:
- 13
Around the Web
Glee Season 1 Episode 13 Quotes
Santana: Having sex is not dating.
Brittany: If it were Santana and I would be dating.
- Permalink: Having sex is not dating. If it were Santana and I would be da...
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I say we lock Rachel up until after sectionals. I volunteer my basement.
- Permalink: I say we lock Rachel up until after sectionals. I volunteer my b...
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Our Mission - To build a Christian community where non-religious and nominally religious students and their families are becoming deeply committed Christians
Monday, March 2nd
Lattes and Life Chats: 3:30pm-4:30pm, Starbucks @ 13480 Briar St
Wednesday, March 4th
6/7/8 Youth Group: 6:15pm-8:00pm, Student Center
Thursday, March 5th
Breakfast and Bible Study: 7:45am-8:30am, Winsteads @4971 W. 135th St
Time w/ Taylor and Andy: 4:00pm-5:00pm, Winsteads @4971 W. 135th St
Sunday, March 8th
Sunday School: 9:00am-10:15am, Student Center
Vibe-Worship Service: 10:30am-12:00pm, Student Center
Confirmation, 10:30am-12:15pm, C050
REZ HS: 6:30pm-8:00pm, Student Center
rezlife offers a variety of mission experiences for students including mission trips into Kansas City, domestic trips to destinations such as Dallas, Chicago, and Denver, and also international trips. Adults attending these trips will work beside students in missions, mentor students as they process the mission experience, and come beside the staff to implement the mission trip. These trips are currently offered during the summer months. Contact Deborah Comstock at email@example.com or any of the rezlife staff for more information.


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"This opens the disciplines to new ways of thinking," Professor Vrsmarty said. "Geoscientists may be keyed into numerical data, use of maps and other quantitative data while historians take narratives and look at other information to construct a picture.
Contact: Ellis Simon firstname.lastname@example.com 212-650-6460 City College of New York Source:Eurekalert |


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How to Do Harry Potter Nails
Love Harry Potter? Love doing nail art? Well now you can combine them and do Harry Potter Nails! Keep reading to find out how!
1Put on a base coat (optional) and paint all your nails a solid yellow or gold. If your color is thin, you might want to do two or three more coats.Ad
2Take out some black polish and a nail brush. Draw the HP logo on one of your nails. I did mine on the index finger. First draw one column. Then do an identical column with a small space for the finishing line to make the H in the HP logo.
3Now its time to make the P. first is the lightning bolt. You can draw a lightning bolt easily. Just do a line down, a line to the left, a line down , a line to the left, and so on. The length of your nail will depend on the length of the bolt. Then finish the P with a sort of a D shape at the beginning.
4Now you can add the finishing touches. You could either leave the rest of the nails like they are, or put black crackle (also called shatter) on the other nails. Once everything dries, put on a fast-drying top coat to conceal your design and also add a beautiful shine!Ad
We could really use your help!
sexual health?
cooking catfish?
bok choy?
- If you don't have a nail brush, you can use an old eyeliner brush, a paintbrush, or even a dotting tool!
- You also might want to use a nail art pen.
Things You'll Need
- Gold polish
- Black polish
- Base coat
- Nail brushes


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Don't let your hands get dirty or people will think you are dirty.
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Top Links
main detailsbiographyby votesphoto galleryquotesFilmographies
by yearby typeby ratingsby votesby TV seriesby genreby keywordBiographical
biographyDid You Know?
photo galleryquotesTsarina Alexandra (Character)
from The Romanovs: An Imperial Family (2000)
Alternate Names:
Edit Credits- Rasputin (2010) Played by Diana Dell'Erba (as Zarina Alessandra Feodorovna)
- The Romanovs' Last Photograph (2007) Played by Helen Lennie (as Alexandra)
- National Geographic Presents: Mystery of the Romanovs (2007) (TV) Played by Nancy G. Heine (as Alexsandra)
- The Lost Prince (2003) (TV) Played by Ingeborga Dapkunaite
- Russian Ark (2002) Played by Anna Aleksakhina (as Alexandra Fyodorovna)
... aka "Russkiy kovcheg" - Russia (original title) - The Romanovs: An Imperial Family (2000) Played by Lynda Bellingham (as Empress Alexandra Fyodorovna) / Inna Churikova (as Empress Alexandra Fyodorovna)
... aka "Romanovy: Ventsenosnaya semya" - Russia (original title)
... aka "The Romanovs: A Crowned Family" - International (English title) (literal English title) - Rasputin (1996) (TV) Played by Greta Scacchi
... aka "Rasputin: Dark Servant of Destiny" - USA (video box title) - The Successor (1996) Played by Anna Zapryagalova (as Alexandra)
- Assassin of the Tsar (1991) Played by Olga Antonova (as Tsarina Aleksandra)
... aka "Tsareubiytsa" - Soviet Union (original title) - Anastasia: The Mystery of Anna (1986) (TV) Played by Claire Bloom (as Czarina Alexandra)
- A cárné összeesküvése (1977) (TV) Played by Éva Ruttkai (as Czarina)
- "Edward the King"
... aka "Edward the Seventh" - UK (original title)
- Good Old Teddy! (1975) TV episode, Played by Meriel Brook (as Czarina Alexandra)
- The Years of Waiting (1975) TV episode, Played by Meriel Brook (as Czarina Alexandra) - Rasputin (1975) Played by Velta Line (as Aleksandra Fyodorovna)
... aka "Agoniya" - Soviet Union (original title)
... aka "Agony" - Canada (English title) (imdb display title), International (English title)
... aka "Agony: The Life and Death of Rasputin" - USA (video box title) - "Fall of Eagles"
- The Secret War (1974) TV episode, Played by Gayle Hunnicutt
- Tell the King the Sky Is Falling (1974) TV episode, Played by Gayle Hunnicutt
- Dress Rehearsal (1974) TV episode, Played by Gayle Hunnicutt
- The Last Tsar (1974) TV episode, Played by Gayle Hunnicutt
- Dearest Nicky (1974) TV episode, Played by Gayle Hunnicutt
(1 more) - Nicholas and Alexandra (1971) Played by Janet Suzman (as Alexandra)
- "BBC Play of the Month"
- Rasputin (1971) TV episode, Played by Isabel Dean (as Empress Alexandra) - Ten Days That Shook the World (1967) (TV) Played by Barbara Jefford (as The Empress)
- Rasputin (1967) Played by Dorothée Blanck
... aka "J'ai tué Raspoutine" - Italy (original title)
... aka "I Killed Rasputin" - Ireland (English title) (imdb display title), UK - Rasputin (1966) (TV) Played by Anneliese Römer (as Zarin)
- Rasputin: The Mad Monk (1966) Played by Renée Asherson (as Tsarina)
- The Night They Killed Rasputin (1960) Played by Gianna Maria Canale (as Czarina Alexandra)
... aka "Les nuits de Raspoutine" - Italy (original title) - Raspoutine (1954) Played by Isa Miranda (as La tsarine Alexandra)
- It Was a Gay Ballnight (1939) Played by Zarah Leander (as Katharina Alexandrowna Murakina)
... aka "Es war eine rauschende Ballnacht" - Germany (original title)
... aka "The Life and Loves of Tschaikovsky" - USA (reissue title)
... aka "The Night of Destiny" - Hong Kong (English title) (première title) - Rasputin (1938) Played by Marcelle Chantal (as Tsarine Alexandra)
... aka "La tragédie impériale" - France (original title) - Rasputin and the Empress (1932) Played by Ethel Barrymore (as The Czarina)
- Rasputin, Demon with Women (1932) Played by Hermine Sterler (as Zarin)
... aka "Rasputin, Dämon der Frauen" - Germany (original title) - 1914, die letzten Tage vor dem Weltbrand (1931) Played by Lucie Höflich (as The Czarina)
- Rasputins Liebesabenteuer (1928) Played by Diana Karenne (as Zarin)
- Into Her Kingdom (1926) Played by Ellinor Vanderveer (as Czarina)
- The Legion of Death (1918) Played by Grace Aide (as Czarina)
- Tsar Nikolay II (1917) Played by Vera Orlova (as Empress Alexandra)
- The Fall of the Romanoffs (1917) Played by Nance O'Neil (as Czarina Alexandra)
Archive Footage:
- Premio Donostia a Ian McKellen (2009) (TV) Played by Greta Scacchi
Additional Details
Plot Keywords:
Fun Stuff
Tsar Nicholas II: Alexei spends all day with you. You hardly ever come to meals. I hardly ever seem to see you anymore.
Tsarina Alexandra: My place is where I am needed most.
Tsar Nicholas II: It must be hard to have so many people need you. I'll be patient. If I wait, my turn will come.
See more »
You may correct errors and omissions on this page directly. Clicking the 'Update' button will take you through a step-by-step process.


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Topic : Economic thinking |
Accept As it is just
1 comments
138 views
last activity : 03 15 2012 09:17:52 +0000
Insights into Economics
The first week of my coming back from US I figured out we lack lot of things and the reason I found that there is no one who understand Economics as a practicing profession. My ideas hasn't changed even after almost 22 years of my post American stay here and I believe this although one of the prime areas of administration of a Nation State is kept dormant ill taken care off by our nation.
So now I decide to expose why Economics and what for in a series of expositions into future and feel free to learn at your on pleasure. Please bear with me I can do it only at my on leassure.
We never had a good Economist to start with post independence and all those who built up a name for themselves did it by going abroad and learning from abroad like Prof. Amritya Sen and Bhagawathi.
So every exposition starts with a definition of the concept being exposed. So the definition of Economics. It is the study of efficient investments and how optimal logistics which is transportation and financing can be set to meet such efficiency.
So if optimal investments need to occur, the person who indulge in it should have an expectation to make private profits from his labor to invest and create profits which he need to reinvest. This he can achieve only if there is adequate demand in an economy. There arise the demand and suppy phenomenon. When the price of a product supplied is higher than one can afford (above ones endowment can accommodate) then one who has the need forfeits consumption now for a later time hoping to consume later when he hopes to improve on his or her endowment level. The suppliers are inturn willing to supply as the prices rise. Thus we have an upward slopping supply curve and downward slopping demand curve on a Cartesian co-ordinate graph with Price on y-axis and Quantity on x-axis.
Now if the environment is assumed Democratic the supplier cannot supply at a price beyond anybodies ability to pay for the product in which case the product won't clear the market and his inventories won't rise and he will fail in his mission. So it is the duty of the government who administer the environment to make sure that the citizen are well endowed to afford the products being sold and make sure that the vendors sell at efficient price levels. Moreover other factors like quality of durability under the price levels, durability and affordability are maintained for longer sustainability and prolonging of economic welfare the prime objective through choice of a citizen in a nation state.
It is also the duty of the government to make sure that adequate supply of products and services are available to the citizen under affordability criterion which is done through adequate maintainence of value of the currency. These will be covered later as to how to do it.
So as a reprieve I describe the first steps in Economics, the deman/supply curve and the effects of affordability and cost effect on its formation.
The next will be the reason why government exists and how they regulate the environment.
While going through the 'Unanswered' articles (some times we miss great articles, hence I go through this column first) I chanced upon your article. This is an excellent article. Then I looked at your article No.5. These articles are a 'must read' for younger generation. I am copying your other articles, i.e. 1 to 5 so that I can send it to my daughter. Many of her questions will be answered through these articles. Great work sir !!
1/26th of 10 is 0.36 and so if 0.36 holds value 10rupees then our economy is citizen friendly and efficient Paretto wise. |
If cannot insure away this risk as stated above, then the other solution is for the manufacturer to reduce the price to 1/26ths. This clearly shows how lopesided our currency policy has been. 1/26ths of 10 is around 0.66 and if this holds value of... |
Suppose we buy a ballpoint pen for Rs.10 with a product life of 6 months. if it conksout in a week this rate of replacement will force us to buy 26 pens in 6 mnts instead of 1 pen which tanatamount to a market risk of 2500% which happens from... |


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SwF??Submitted by Guestjim (not verified) on Wed, 07/13/2011 - 4:27pm.
That must stand for single white female. I wonder why?? Or it could stand for Stupid white female fits also. And to. 28451, show me in all the videos that were posted and the text messages that it was"obvious " sounds to me you watched the same one that dumb arse attorney did. Both of you are about clueless. »
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