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DAKAR, Senegal (AP) — The family of a well-known Senegalese drummer says that Doudou Ndiaye Rose has died at the age of 85.
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Until very recently, I was an ardent partisan of the conservative view on marriage. By the time this column makes it out into the blogosphere, the Marriage Equality folks will almost certainly have marched up Capitol Hill and walked away with all the marbles.
And if not now, then very soon.
You have caught me alone and away from the so-called traditional marriage camp. In truth, I am AWOL. I have abandoned my position and now find myself wandering the battlefield of the culture war.
Look, in that blown out Fox (news) hole, it’s the mangled corpse of Ben Carson’s credibility.
A lot has happened to prompt my flight. I’ve met some gay people, for one. They’re nice, and I can’t help but want them to like me. It’s hard to judge them when their relationships seem to be working out better than mine.
For two, I live in New Orleans. Being anti-gay marriage in New Orleans is like being the only Neo-Nazi in Tel Aviv.
That’s not to say I’m bending to social pressure; rather, living among sincere real-life examples of my supposed enemy has thrown my own guile into sharp relief.
Finally, I’ve come to the realization that as a deeply religious person, my choice to let a 1,400-year-old book dictate how I live my life must seem strange to you, perhaps as strange as gay marriage seems to me.
Maybe we can find common ground in that strangeness?
As a young undergrad and student columnist, I defended the “one man, one woman” position with zeal. In doing so, I fear I wounded many people. I vowed never to do that again, and this is my first attempt at writing on the subject since those heady, self-righteous days.
It would be easy to take a week off and slide quietly back into the news cycle to comment on an issue that doesn’t reveal the blood on my hands — but in my experience, cowardice makes for bad punditry.
It’s poetic irony that the Confederate flag would die in the same year that marriage equality is born.
This is my second contribution to HuffPost, my first was an appeal to my fellow Southerners to rise above and beyond General Lee’s battle flag.
A call to surrender that racist emblem to history.
I guess that puts me in, what? The year 1866?
Above all else, I beg your patience. There are millions like me, we’re not bad people — just products of a different time and place.
I was raised by my grandparents. People born in Mississippi. In 1940.
I swear to God I am trying to be a better person. I hope you’ll understand just how serious of an oath that is coming from the right.
I’d like to go back to the traditional marriage camp and let everyone know we’ve lost, but my former comrades have taken to the hills — to prosecute a guerrilla war, no doubt.
I’m afraid nothing good will come of that.
This is your moment of triumph, and you’ve fought hard to get here. Let those of us on this side figure out how to deal with our strays — or perhaps we could work it out together.
In parting, I would not blame you for refusing my surrender. All actions have an equal and opposite reaction, after all.
In fact, I do believe I see some shadowy figures… down there, in the comments section.
They appear to be erecting a gallows.
I wish we’d never had this goddamned fight, I wish I’d never been so callous.
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Ukraine has been in the forefront of international thought a lot recently (and not for particularly pleasant reasons), but its reach has extended far beyond the front page—whether you were aware or not, the Ukrainian influence has fully arrived in our closets. Think that groovy boho embroidered peasant blouse was nationless? Think again. Whether it’s festival girl du jour Alexa Chung, wearing an embroidered peasant shirt hailing from the Eastern European region with a pair of denim cut-offs, or the Slavic red patterns on the runway at Valentino spring 2015 couture (complete with models sporting traditional braid crowns), Ukrainian traditional costume has knowingly and unknowingly permeated fashion for years, and now the spotlight on the country’s aesthetic is in full swing once again. Only this time, it’s hailing from the motherland.
The sudden rise and appreciation of Ukrainian traditional dress on an international level can be credited to Vita Kin, the designer of Vyshyvanka by Vita Kin, who uses the name for the traditional Ukrainian blouse, a vyshyvanka, in her label’s name. Recently, the designer has become an international sensation, with local fashion fixtures like Asya Mkhitaryan wearing the designer’s version of a zhupan (a traditional Ukrainian jacket) to Paris Fashion Week, while street style stars like Anna Dello Russo and Leandra Medine are taking the bucolic style from the countryside onto Western asphalt. “Ukrainians have a unique method of decorating clothing with embroidery, and that’s always impressed me,” says Kin about her designs via email. “I adapted this ancient heritage into a modern context, adding a seventies vibe, when clothing was more relaxed and friendly. It’s a bohemian eccentricity in a very luxe execution.” That execution is her distinctly modern translations of the straight-from-the-village vyshyvanka in shades of marmalade with crude scenes of birds and flowers in a thigh-skimming sky blue dress, or in a full length frock replete with Gzhel style embroidery soon to be sold on an international platform (courtesy of Matches) and in Kiev-based concept stores. For a bit of context, a few years ago the idea of a Ukrainian citizen wearing traditional costume on the street was considered costume at best, a dowdy faux pas at worst. Flash forward to this month, where due to the quick rise of requests, Kin is overwhelmed with interest, and can no longer accommodate individual orders or samples for shoots.
The recent frenzy over Kin’s designs aside, it’s worth considering whether the rise of Ukrainian traditional costume in fashion is more than just au courant street-style bait. Historically, Ukrainians have attempted to separate themselves from the perception of their country as only “Little Russia,” especially now, when the political state is one of unrest (from the demonstrations in Maidan square to Russia’s invasion of Crimea). There is a school of thought that the recent use of Ukrainian dress isn’t just a fashion statement, it’s a unifying statement. “I think that all type of vyshyvankas are extremely beautiful and I am proud to see people wearing them, but to me fashion in the sense of culture is not about obvious references,” says Mercedes-Benz Kiev Fashion Days creative director Daria Shapovalova, “I think [traditional dress] is connected to the fact that Ukraine is experiencing this moment in politics.”
As for those “not so obvious” interpretations of Ukrainian natural dress, they exist in the avant-garde frontier of Ukrainian fashion. There is Karavay (a label beloved by Ukrainian editors) who keeps their clothing classic, dotting the arms and bust of a black diaphanous gown with delicate Slavic-style embroidery of flowers, or translates the traditional pattern onto a tight, curve-skimming zip-up dress. There are also the more abstract interpretations, like those from Ukrainian designer Ksenia Marchenko of Ksenia Schnaider, who pixelates and enlarges traditional Slavic patterns, sometimes while still utilizing typical curve-emphasizing Ukrainian silhouettes. “Being inspired by Ukrainian traditions is huge trend now here. Our prints from spring 2015 and fall 2016 were our answer to the situation in Ukraine, revolution and war,” says Marchenko. “When designing prints for our collections, [design partner] Anton Schnaider was thinking about the perception of Ukraine in global minds. The idea of uncertainty of all things Ukrainian is transferred through the use of blurred traditional Ukrainian ornaments.” But one thing that is decidedly still in focus, at least when it comes to Ukrainian fashion? Traditional roots are here to stay, whether it is in Kiev—or Paris.
The post Your Favorite Bohemian Garb Is Actually Traditional Ukrainian Costume appeared first on Vogue.
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When picturing the typical American family, you can forget about a “Leave It To Beaver”-type image. Currently, 54 percent of kids in this country don’t live in a home with two heterosexual parents in their first marriage, according to a recent Pew Research Center report.
“It’s important to keep in mind that what many define as ‘traditional’ is based on a 1950s-style family,” Gretchen Livingston, Senior Researcher at Pew and author of the study, told HuffPost in an email. “But in many ways, the 1950s and early 1960s were an anomaly, especially in terms of the fact that people were marrying quite young and also having relatively large families.”
Nowadays, only 46 percent of kids live in that aforementioned “traditional” family. Instead, 15 percent of today’s kids are living with two parents in a remarriage, 34 percent live with an unmarried parent, 4 percent live with cohabiting parents and 5 percent don’t live with either parent.
For perspective, 73 percent of American kids lived in a “traditional” family home in 1960, while only 9 percent lived with an unmarried parent.
Livingston said that the decline in marriage over the last 50 years can explain the increasing number of kids living with single or cohabiting parents. It’s also now more socially acceptable for people to cohabit, marry later and have kids outside of marriage — 41 percent of births today are happening without a walk down the aisle, according to Pew.
Then, of course, there’s the rise of divorce. The divorce rate may have peaked in 1981, but it’s still contributing to the shift away from the 1960s “traditional” family structure.
Moral of the story? When it comes to family, abnormal is the new normal.
Divorce – The Huffington Post
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Michigan’s Wheatland Traditional Arts Weekend (TAW), under the auspices of the redoubtable Wheatland Music Festival, is pure heritage arts at their best. The TAW happens May 27-29, in Remus, Mich. For ethnic, regional and roots music and dance, come to TAW. What exactly are “traditional arts?” Think of it this way. Those are “traditional arts.”
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