"Osama," the first film made in post-Taliban Afghanistan, is a gripping small story with big implications about what happens when a desperate family commits the unthinkable crime — sending a daughter out in boy's clothing to earn a living.
In the cinema of witness, a movie's merit lies largely in its fidelity to the reality of oppression. Yet the film has to have more — else it would only be journalism. In the first film made in post-Taliban Afghanistan, writer/director/editor Siddiq Barmak succeeds, skillfully and without a false note, in making an engrossing drama of life under the Taliban. It is an Ockham's razor of narrative and image which reaches out from the screen and cuts the viewer; more than the heart bleeds as the twelve-year old protagonist (Marina Golbahari) negotiates her impossible world.
Written and directed by: Siddiq Barmak.
Cast: Marina Golbahari, Arif Herati, Zubaida Sahar, Gol Rahman Ghorbandi, Mohamad Haref Harati, Mohamad Nader Khadjeh, Khwaja Nader, Hamida Refah.
In Dari with English subtitles.
The film takes place sometime after the rise of the Taliban, and opens with a scene of a demonstration. Women clad in blue burqas cascade down a dusty hill, demanding the right to work to feed their families. These are women without men, who were taken over years of war and chaos. Notwithstanding the chanted qualification to the women's demands, "We are not political!" the Taliban know what Western feminists teach: the personal is the political. Through weapon and water cannon, the Taliban break up the demonstration.
Barmak conveys the violence obliquely. The agents of the Taliban are left out of frame, and the carnage is mostly symbolic. A ruined burqa washes down the street as the demonstrators scream and flee pell-mell. Barmak's indirect approach evokes the nature of Taliban repression. It is not excessive; no massacre is needed. Just enough to sow fear and terror. Throughout the film, Taliban agents are omnipresent to police even the slightest departure from prescribed gender conduct, even in private spaces. Their malevolence, even without violence, is strongly felt.
The young protagonist, not named, gets caught up in the demonstration, and she is terrified. To her pre-adolescent eyes, the ubiquitous Taliban men are inexplicable bogeymen, raw representives of menace. But for lack of any other option, the mother (Khwaja Nader) insists that her understandably trepid daughter pass as a boy, and go out among the bogeymen to work. Although the request seems extreme, the mother is simply applying the logic of deception that allows every woman to survive. Throughout the film, women must dissemble constantly, pretending that they are mourning when they are celebrating, and pretending that they are with a male relative when they are not. Passing, in one form or another, is the norm.
However, the girl's act of deception is made difficult when she is drafted, along with every other village boy, into the local madrassa, a religious school. Her inability to execute boyish rites of masculinity — she can't even tie a turban — begins to give her away to her schoolmates. In a desperate attempt to allay suspicion, the girl's one ally, a beggar child (Arif Herati) who is in on the deception, christens her Osama. Yes, she is named after Osama bin Laden, who is deemed an ideal of manhood, a warrior. But even one of the madrassa's clerics (or rather, a satyr in cleric's clothing) intuits the girl's femininity, likening her to a nymph.
Without giving away too much, the remainder of the film follows the logic of its premises faithfully and creatively. The narrative unspools amidst a sequence of striking and symbolic imagery: an abyss of a well, a ruined lawcourt, a thread of locks. It is a looking-glass world where womanhood is a tragic flaw, but nonetheless has utility for the men in charge. The resolution of the film brings this home, proving that gender disempowerment, no matter what ideology sustains it, ultimately keeps women where men prefer them most.
Osama benefits from its spare production (it is the first post-Taliban film, made on the only 35mm camera in the country). Cinematic minimalism provides the perfect feel to a story about lack of freedom in a spartan nation. The performance of the young girl — a non-professional found in the street — is natural, conveying all the terror and confusion of her situation. Most importantly, the story is gripping and unflinching, and Barmak (who cites Russia's Andrei Tarkovsky and Iran's Abbas Kiarostami as influences) deploys a subtle symbolism, and memorable imagery, which reinforces the narrative arc. The result is a film of power, with its despair on its sleeve.
Barmak's indirect approach evokes the nature of Taliban repression. It is not excessive; no massacre is needed. Just enough to sow fear and terror.
Of course, a detached observer might cast a wary eye towards this film's reception in America, given the political establishment's interest in Afghanistan and reductive view of Islam. Will this film contribute to the new Orientalism which demonizes Islam and rationalizes armed intervention? Will this film contribute to the idea that Taliban Afghanistan was merely a unique aberration — now an artifact — in squashing the rights of women beneath a reign of men?
These questions and others must be asked, but Barmak can likely be absolved from any complicity. His film is a local one, concerned with the specific techniques of fear and control through which the Taliban ruled. He makes no generalization of Islam, but condemns a police society where women must surrender any semblance of life upon pain of death. To the extent that his film is a well-imagined dramatization of a life under that poisoned social model, it deserves its accolades, and an audience.
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This tasty dessert is sure to be a crowd pleaser.
With all the holiday treats going around, you may be tempted to over-indulge. Luckily, you can have your cake (or tart) and eat it too! Try this healthy holiday recipe that your friends and family are sure to love.
Coat a 10-inch cast iron skillet with 1 ½ tablespoons butter. Sprinkle 6 tablespoons sugar into the pan. Arrange 7 pear halves, cut side up, in a circle around the edge of the pan. Place the remaining pear half in the center. Cover the skillet and place over medium-low heat. Cook, without stirring, for 15 minutes. Place the pan in the oven and bake for 5 minutes.
Place 1 ½ teaspoons butter and oil in a bowl. Microwave for 30 seconds, or until the butter melts. Lay 1 phyllo sheet horizontally on a flat work surface. Brush lightly with the butter mixture. Sprinkle 2 teaspoons sugar evenly over the phyllo. Place another phyllo sheet vertically on top of first. Repeat the procedure twice with the rest of the butter mixture, sugar, and phyllo. Fold the edges to form a 9-inch circle.
Place the phyllo circle in the pan over the pears, pressing gently. Bake at 400 degrees for 16 minutes until the filling is bubbly and the crust is browned. Remove from the oven and allow to stand for 5 minutes. Place a plate upside down on top of pan, invert the tart, and serve!
All of us at One Body Studios in La Habra, California would like to wish you and your loved ones a happy and healthy holiday season!


A2 subtitled "Dedicated To Rashan Roland Kirk 1936 - 1977" All selections published by Benpin Music (BMI), except B2 Onaje Music Publishing Co. (ASCAP) Recorded at Conway Recorders Inc, Los Angeles. Mixed at Different Fur, San Francisco. Mastered at Kendun Recorders, Burbank. Manufactured by Phonogram, Inc., A Polygram Company. Distributed by Phonodisc, Inc.


Alternate panel for v1 or v2 of the Shuffling Clock Multiplier Breakout module by 4ms.
NOTE: Version 2.1 of this module has pushbuttons instead of toggle switches. See the other version of this panel and make sure you're getting the right one.


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Q: Couldn't find method when clicking a button I am having an issue where I would like to send a message from one layout(activity_main) to another(activity_display_message) by clicking a Button. But it is generating an error when it's clicked. Android tries to call the onClick method public void sendMessage(View view) but is unable to find it (despite it being declared in MainActivity).
The error given by the Android Monitor is :

Could not find method sendMessage (MainActivity)(View) in a parent or
  ancestor Context for android:onClick attribute defined on view class
  android.support.v7.widget.AppCompatButton with id 'button'

Details of my code are below.
MainActivity.java
import android.os.Bundle;

import android.support.v7.app.AppCompatActivity;

import android.view.View;
import android.view.Menu;
import android.view.MenuItem;
import android.widget.EditText;
import android.content.Intent;

public class MainActivity extends AppCompatActivity {
    public static final String EXTRA_MESSAGE = "com.example.lunatello.bdsapp.MESSAGE";
    @Override
    protected void onCreate(Bundle savedInstanceState) {
        super.onCreate(savedInstanceState);
        setContentView(R.layout.activity_main);

            }

    @Override
    public boolean onCreateOptionsMenu(Menu menu) {
        // Inflate the menu; this adds items to the action bar if it is present.
        getMenuInflater().inflate(R.menu.menu_main, menu);
        return true;
    }

    @Override
    public boolean onOptionsItemSelected(MenuItem item) {
        // Handle action bar item clicks here. The action bar will
        // automatically handle clicks on the Home/Up button, so long
        // as you specify a parent activity in AndroidManifest.xml.
        int id = item.getItemId();

        //noinspection SimplifiableIfStatement
        if (id == R.id.action_settings) {
            return true;
        }

        return super.onOptionsItemSelected(item);
    }
    public void sendMessage(View view){
        Intent intent = new Intent(this, DisplayMessageActivity.class);
        EditText editText = (EditText) findViewById(R.id.editText);
        String message = editText.getText().toString();
        intent.putExtra(EXTRA_MESSAGE, message);
        startActivity(intent);

    }
}

activity_main.xml :
<?xml version="1.0" encoding="utf-8"?>
<android.support.design.widget.CoordinatorLayout xmlns:android="http://schemas.android.com/apk/res/android"
    xmlns:app="http://schemas.android.com/apk/res-auto"
    xmlns:tools="http://schemas.android.com/tools"
    android:layout_width="match_parent"
    android:layout_height="match_parent"
    android:fitsSystemWindows="true"
    tools:context="com.example.lunatello.bdsapp.MainActivity">

    <android.support.constraint.ConstraintLayout
        android:layout_width="match_parent"
        android:layout_height="wrap_content"
        android:theme="@style/AppTheme.AppBarOverlay">

        <Button
            android:id="@+id/button"
            android:layout_width="wrap_content"
            android:layout_height="wrap_content"
            android:layout_marginEnd="16dp"
            android:layout_marginRight="16dp"
            android:layout_marginStart="16dp"
            android:layout_marginTop="16dp"
            android:onClick="sendMessage (MainActivity)"
            android:text="@string/button_send"
            app:layout_constraintRight_toRightOf="parent"
            app:layout_constraintTop_toTopOf="parent"
            tools:text="@string/button_send" />

        <EditText
            android:id="@+id/editText"
            android:layout_width="183dp"
            android:layout_height="40dp"
            android:layout_marginLeft="16dp"
            android:hint="@string/edit_message"
            android:textColor="@android:color/black"
            android:textColorHint="?attr/colorControlHighlight"
            app:layout_constraintBottom_toBottomOf="parent"
            app:layout_constraintLeft_toLeftOf="parent"
            app:layout_constraintTop_toTopOf="parent" />

    </android.support.constraint.ConstraintLayout>

</android.support.design.widget.CoordinatorLayout>

DisplayMessageActivity.java :
import android.content.Intent;
import android.support.v7.app.AppCompatActivity;
import android.os.Bundle;
import android.view.ViewGroup;
import android.widget.TextView;

public class DisplayMessageActivity extends AppCompatActivity {

    @Override
    protected void onCreate(Bundle savedInstanceState) {
        super.onCreate(savedInstanceState);
        setContentView(R.layout.activity_display_message);

        Intent intent = getIntent();
        String message = intent.getStringExtra(MainActivity.EXTRA_MESSAGE);

        // Capture the layout's TextView and set the string as its text
        TextView textView = (TextView) findViewById(R.id.textView);
        textView.setText(message);
    }
}

A: Change xml to something like this:
 <Button
            android:id="@+id/button"
            android:layout_width="wrap_content"
            android:layout_height="wrap_content"
            android:layout_marginEnd="16dp"
            android:layout_marginRight="16dp"
            android:layout_marginStart="16dp"
            android:layout_marginTop="16dp"
            android:onClick="sendMessage"
            android:text="@string/button_send"
            app:layout_constraintRight_toRightOf="parent"
            app:layout_constraintTop_toTopOf="parent"
            tools:text="@string/button_send" />

A: Just put android:onClick="sendMessage" on the layout, without the need to provide the view. Because the view is provided automatically.

A: The XML is requesting a method literally named sendMessage (MainActivity) that accepts a View parameter, of which methods cannot contain parenthesis or spaces.
You have public void sendMessage(View view){, so the onClick should use that method name. The Activity is irrelevant because your layout can be loaded in any Activity or View.

redpajama_set_name: RedPajamaStackExchange


text:
SWSL Green Man Festival Diary 2007
Sunday 19th August
(With photos courtesy of Jenni and Mel.)
Urgh - wine headache. Back to sleep...
We pack up the tents and load up the car - my how organised we are! We may be hemmed in on all sides by ominous-looking clouds, but directly overhead it's blue skies and the hot sunshine is enough to warrant breaking out the suncream.
I finally find out the Newcastle v Villa score - 0-0. The cat was dead.
The Literature Tent is packed for what is billed as a Mojo interview with STEPHEN MALKMUS, but which turns out to be a few fumbling questions from a grizzled old hack from the aforementioned publication (aren't they all?) and a lot of questions from the floor. In his drawling American accent that's so laid-back it's practically horizontal, Malkmus talks about everything from his childhood and spending a night in the cells as a teenager after being caught walking across roofs, to Pavement's first British gig, in Derby, after which a hen party came downstairs and demanded to be kissed by all the men present: "We thought, 'Wow, if this is what gigs in England are like...". When he discusses his influences and musical passions, it's revealing that he's as enthusiastic about Fairport Convention as he is about the Dead Kennedys. We learn that he and the Jicks are here at least partly on the recommendation of David Berman, whose Silver Jews played the festival last year, and more importantly that given the choice of sharing a desert island with a robot or a gorilla, he'd choose the latter, particularly if it was female...
If Lou Barlow hadn't already nabbed the name The Folk Implosion for himself, it would have been the perfect moniker for THREATMANTICS (Green Man Cafe) - not that the one they've chosen doesn't convey something of their thrashing, gnashing folk-punk spirit. Unfortunately, though, with half of Cardiff again seemingly in attendance, it's only 'Don't Care' that really shines, and that primarily because the ongoing technical issues result in an exasperated Ceri taking his frustrations out on his guitar.
My third Pieminister pie of the weekend, a Chicken of Aragon. Swiftly followed by another half, this time a PM. Jenni has started measuring out how much money we have left between us in terms of how many pies it'll buy. Honestly, we'll be nicking TVs soon to fund our habit...
I may often enthusiastically embrace music at the more avant-garde end of the spectrum, but surely DIRECTING HAND (Green Man Cafe) are just taking the piss? Alex Neilson may be an impressive free-drummer (which means he hears and plays rhythms all of his own), but the wailing vocalist is unbearable. Her sharpest critic turns out to be one of the barmen: "WHATEVER YOU'RE DOING TO HER, SHE DOESN'T LIKE IT! That's the sound of cats in a bag in the river..."
MISTY'S BIG ADVENTURE (Main Stage) are firm favourites around Andy Pryke's way (which is, incidentally, their own - Moseley in Birmingham), and with their answer to Bez - a blue-faced man in a red smock with blue stuffed gloves attached to it who goes by the name of Erotic Volvo - jigging about the stage, it's not hard to see why. The polar opposite of Directing Hand's po-faced "serious" art, Misty's nevertheless only succeed in inspiring the same reaction in me - one of revulsion. Musically I soon find their mish-mash of chirpy pop and two tone with liberal doses of brass unfathomably irritating; add to that the curious combination of a Colin Hunt style wackiness that feels forced and a sneeringly superior attitude to others that shines through 'Fashion Parade', and you've got a band I don't want to go near again in a hurry.
Parents, time to cover your children's ears: here comes MALCOLM MIDDLETON (Main Stage), the incorrigibly and delightfully foul-mouthed "other half" of Arab Strap, armed with songs like the cheerily and stoically upbeat 'We're All Going To Die' and recent single 'Fuck It I Love You', dedicated to the nearby Moorish food stall. Most affecting of all is 'Blue Plastic Bags', performed solo, though everything he plays showcases perfectly that familiar blacker-than-black humour and pathetic lyrical scrabbling around for crumbs of comfort. Having stepped out from behind the drunkenly swaying shadow of Aidan Moffat, Middleton proves himself a more than capable frontman in his own right, chastising us as "a bunch of bastards" for not joining in when urged to do so by the lyrics and complaining: "We were planning on doing a cover - we'd rehearsed 'Whole Lotta Love', but some cunt played it last night". The only hope for those parents whose kids' ears remain uncovered is that the Glaswegian accent renders all this unintelligible.
Away from the stages it's time for the annual children's parade, for which assorted youngsters have been busy preparing all morning. Now they file past wearing cardboard antlers and bashing bongos like Keith Moon with a sugar rush, soaking up the applause of rather longer-in-the-tooth festival-goers like myself.
A stranger sidles up to me to share a knock knock joke. It turns out to be eminently groanworthy, but I appreciate the sentiment all the same.
Free copies of the latest Mojo, the music magazine with the policy of only haivng dead people as cover stars. This issue it's Keith Richards - OK, so not technically dead, but he certainly ought to be dead, the stuff he's put himself through.
Ahoy there, it's THE EARLIES (Main Stage)! Our paths seemed destined never to cross, but at last they have and I find myself stood next to a bunch of drunkards wearing animal masks, watching the nine-strong psych-pop combo (is it really nine, or is the cider making my eyesight go wobbly?) that's equal parts Texas and Burnley launch into another jam. But with nothing quite igniting despite the force of numbers, and with the spectre of The Beta Band lurking in the shadows, my interest soon wanes and I wander off in search of more cider.
If anyone can be assured of an enthusiastic reception at Green Man, it's GRUFF RHYS (Main Stage). The latest fruits of his day job with Super Furry Animals, Hey Venus!, may be on the verge of release, but here he is, sat behind a desk inside a giant cardboard mock-up of a TV screen and the BBC2 test card, playing in support of this year's solo adventure Candylion. The album's title track might bear testimony to Rhys's claim that its "cornerstones" are "the soft vocal sound of Psychocandy-era Jesus & Mary Chain coupled with the sonic sweetshop of daisy age hip-hop", but the relentless rhythm of opener 'Gyrru Gyrru Gyrru' and the layered experimentation of 'Cycle Of Violence' are equally arresting. But inevitably it's 'Skylon!', the 14 minute opus which brings Candylion to a close, that steals the show; a tale of a hijacked plane and a defused bomb, it sees Rhys performing at the front of the stage in a lifejacket, his musician accomplices in pilots' uniforms and a terrorist appearing from the wings with some TNT to act out the drama. All very daft, but more than enough to make me think I should have probably caught him at Glastonbury as well.
If anything, though, the response which greets grizzled old bluesman SEASICK STEVE (Folkey Dokey Stage) is even more rapturous. With his Southern drawl, enormous beard, well-worn baseball cap and dungarees, he is every inch ZZ Top's gas-pumpin', gun-totin', cotton-pickin' dad, and when the former trainhopping hobo who was taught guitar at the age of eight by someone who used to play with Tommy Johnson (yes, really) starts singing slide-guitar-heavy songs about goddamn bitin' bugs and fantasies of shooting abusive stepfathers, you can almost hear the spirit of Jack White circa 2002 purring with excitement. No doubt he would have felt right at home in the Rumpus Room late last night. But he's not quite as easy to pigeon-hole as that might suggest, having produced Modest Mouse's first two albums, and the rapport he quickly creates and establishes with the crowd, as much through his affable between-song banter as through the songs themselves, is the warmest I witness all weekend.
More beards, which I was expecting, but an absence of quirky acid-fried folk, which I wasn't. DEVENDRA BANHART (Main Stage) seems instead to be content to plow a ponderous 70s rock furrow, drifting occasionally off into Grateful Deadisms and country that's been drugged into submission. We're already on our way back to the Folkey Dokey Stage when he and his band surrender the stage and limelight to a singer-songwriter from Newcastle whom they've plucked out of the crowd. A nice touch? Well, perhaps - except, as someone points out, it's a bit lazy even for a twenty-something hippy to grab the money and get someone else to do part of the work for nothing. And what if her choice of song turns out to be a 20 minute long prog-rock epic? We're not around to find out.
HERMAN DUNE (Folkey Dokey Stage) - bearded, naturally - already have something of an affinity with Wales. Associates of Cardiff oddball popsters The Wave Pictures, the cosmopolitan trio much beloved by John Peel recorded their latest album Giant at a studio (or should I say "stiwdio"?) near Mount Snowdon. Brewers of a strangely compelling concoction of anti-folk, bittersweet pop and surf guitar, they're one of the festival's more understatedly charming bands, and with the tent filling gradually throughout the set, it's evident that Wales has something of an affinity with them.
"Festivals schmestivals" was Herman Dune frontman David's perspective until he went to Reading '95, where he saw Pavement - and suddenly everything changed. And here's STEPHEN MALKMUS himself, to close out the festival on the Main Stage with his outfit The Jicks. His first words are "We've been told there's no leeway for running over - that sounds kinda cryptic" and though I'm not quite close enough to see, I can tell there's a mischievous twinkle in his eye. Judging by his apparent inability to remember how some of the songs kick off and the between-song ramblings (about everything from "1987 shirts" and the shitness of Kasabian via the robot v gorilla dilemma from the Q&A to the merits of getting your butthole waxed), he's spent all afternoon as I have: on the cider. A couple of old favourites aside (never knew 'Pencil Rot' was about impotence, but it figures), the set is comprised almost entirely of new material. This is a gamble that could backfire, but so good are the new songs that that's never even remotely a possibility. The poppy 'Walk Into A Mirror' is a definite single-in-waiting, but by contrast most of the new tracks aired tonight - 'Hopscotch Willie', 'Baltimore Again', 'Out Of Reaches' - are long, free, groovy hairs-standing-up-on-the-back-of-the-neck indie rock jams, with the emphasis on "rock" thanks to Malkmus's guitar wizardry and the skin-pounding of newest Jick, former Sleater-Kinney and current Bright Eyes drummer Janet Weiss (having heard him talking up her influence on the band earlier in the day, I can really see what he meant). Put simply, it's light years better than my previous encounter with him, and the new record is now an absolute must-have. Reappearing for an encore of 'Animal Midnight' and 'Baby C'mon', Malkmus jokes that he's texted the local farmers and they've given permission for the show to go on. If only it could go on even longer.
They say good things come to those who wait. Well, bad things come to those who enjoy themselves heartily at music festivals - namely, Monday mornings. As we head back to Cardiff, I find myself wishing our car had actually been stuck in the mud - that way, we could have prolonged the fun for a little more.
Posted by Ben at 8:36 PM
swisslet said...
When I saw Devendra Banhart he did the same trick of pulling someone out of the crowd, apparently at random...who then played a fairly decent song, albeit one in which he rather painfully imitated Banhart's folky singing style. Fair enough, I supposed, he has paid to get in after all, so presumably he's a fan. Hm. He turned out to be mates with Banhart's guitarist and had been following the tour.
They're plants!
Pie Minister rules.
skif said...
Well, reaction to music is a personal thing indeed, but for me Misty's are the best fun-time pop band around. My ladyfriend is obsessed with them, more so than I, but there has never been any time when I've seen MBA when they haven't improved my mood.
I take your points about 'Fashion Parade', but then again I don't mind the Shoreditch bubble taking a vaguely absurdist pin-prick every now and then, however pious the stabber might come across.
Also, Grandmaster Gareth is possibly the nicest man in the world which for me makes his curmedgeonly stage-schtick all the more amusing.
ST: The Devendra Banhart thing was a bit suspicious. A few years ago I think Green Day were getting people out of the crowd to play guitar with them on one song - but they definitely weren't plants. I'm having a long overdue weekend in Abingdon next weekend - which inevitably means we'll be heading into Oxford for a slap-up Pieminister meal...
Skif: I'd honestly expected to like Misty's Big Adventure, so when I finally saw them and not only disliked them but disliked them a lot, it genuinely surprised me. I take your point about 'Fashion Parade' - the Shoreditch bubble does need bursting every now and again - but I just thought it's rather clumsily done. That's music, though, eh? I say tomato, you say potato...
Quite so. I think it's fair to say that 'Fashion Parade' is my least favourite MBA lyric, so I can certainly understand how it's approach might get under the skin somewhat.
Enjoy the pies!

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Prince George, Son of the Duke and Duchess of Cambridge, Was Christened Today
Today, one of Prince George's many milestones took place in St. James's Palace in London. Jason Welby, Archbishop of Canterbury, baptized three-month-old Prince George Alexander Louis at the royal chapel in a short, private ceremony. The archbishop expressed today's significance in a YouTube message saying, "As a nation we're celebrating the birth of someone who in due course will be the head of state. That's extraordinary. It gives you this sense of forward looking, of the forwardness of history as well as the backwardness of history."
By Marlisse Cepeda
Differing from the baby's very public debut, only 22 people witnessed this rite of passage. Among the guests were immediate family, godparents and their spouses. As for those selected as Prince George's godparents, seven individuals hold that honor, including Zara Phillips (William's first cousin), William van Cutsem (a childhood friend of William's), Jamie Lowther-Pinkerton (former private secretary to William and Kate), Oliver Baker and Emilia Jardine-Paterson (both college pals of Kate), Hugh Grosvenor (an earl and the son of the Duke of Westminster, a good friend to grandpa Prince Charles) and Julia Samuel (friend of Princess Diana, Prince William's deceased mother). The selected godparents are a break from the usual all-aristocrats cluster previous royals have selected as godparents.
The christening's location also steers from tradition; it's the first royal baptism in recent history not to take place in Buckingham Palace. St. James's Palace has special importance for Prince William, as his mother's coffin rested there before her funeral in 1997. Meanwhile, Prince George's attire did keep with custom: He wore a lace and satin gown.
Congrats to the royal family on their child's christening!
Marlisse Cepeda Web Editor Marlisse is the Web Editor of WomansDay.com, and she hails from Bronx, NY.
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Q: Video file location of dynamic wallpaper preview in system preferences i want to know the location of the little video that keeps on playing in a loop when we select a dynamic wallpaper ( Catalina for eg) and turn it to dynamic mode in system preferences.
Anyone knows where it is stored?

A: It's not a separate video.
The preference pane loads the different components of the HEIC and fades between them.
Evidence:

*

*Creating your own dynamic wallpaper only requires the HEIC and the animation plays in the preference pane fine without needing to also create a video.

*Watching file events shows the following file loads when changing desktop background selection from The Beach to The Lake; no video file is loaded.
  501   1528 com.apple.preference.desktopscre  15 /System/Library/Desktop Pictures/The Beach.heic
  501   1528 com.apple.preference.desktopscre  15 /System/Library/Desktop Pictures/.thumbnails/The Beach.heic
  501   1528 com.apple.preference.desktopscre  15 /System/Library/Desktop Pictures/The Lake.heic
  501   1530 VTDecoderXPCService   4 /System/Library/PrivateFrameworks/AppleGVA.framework/Resources/Info.plist
  501    398 Dock          34 /System/Library/Desktop Pictures/The Lake.heic
  501   1528 com.apple.preference.desktopscre  16 /System/Library/Frameworks/VideoToolbox.framework/Resources/default.metallib
  501   1528 com.apple.preference.desktopscre  16 /System/Library/Frameworks/VideoToolbox.framework/Resources/default.metallib
  501    398 Dock          34 /System/Library/Desktop Pictures/The Lake.heic


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Q: jQuery Off Screen Nav I'm trying to write a simple jquery function to add classes to my html for an offscreen nav transition. I can do this easily by using .toggleClass, but I want to use an if statement that if the nav is out clicking on the body (anything other than the nav) will hide it again.
I've set up a demo codepen. Can anyone let me know where I'm going wrong?

A: $('body !nav')

is not a valid selector. What you should do is add a listener to the document:
$(document).click(function() {
  // Stuff you want to do on a click
});

This will capture all clicks that aren't handled by another function. Then, capture the clicks that happen on nav:
$("nav").click(function(e) {
  // Stuff that should happen when nav is clicked.
  e.stopPropagation();
});

A: Two things to fix here:
1) Use stopPropagation() (Documentation) on the nav click to avoid registering a body click (the event bubbles up by default):
$('nav').click(function(e) {
    e.stopPropagation();
});

2) Use the :not selector (Documentation):
$('body:not(nav)').click(function(e) {
    if( $('nav').hasClass('active')){
        $('nav, #wrapper').removeClass('active');
    }
});

Updated Code Pen

A: try this:
$('a#menu').click(function(e) {
  e.preventDefault();
  e.stopPropagation();
  //this should just be .addClass but to demonstrate functionality I've left it as .toggleClass
  $('nav, #wrapper').toggleClass('active');

});

//how I want it to work

//on click of anything besides nav, if the active class is on the nav, take off the active class
$('body:not(nav)').click(function(e) {

  if( $('nav').hasClass('active')){
    $('nav, #wrapper').removeClass('active');
  }

});


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Top 10 places to see in Dubai
Top Restaurants to check out i..
Fun things to do while in..., Middle East, Middle East
Dubai; one of the seven Emirates of the United Arab Emirates is one of the most visited tourist destinations globally. Informally Dubai is known as the world of unparalleled marvels. I have put together a list of the top ten places to see in Dubai.
This includes the very touristy state of the art architectural structures, world tallest building(Burj Khalifa),world's largest man-made island(The palm Jumeira), the largest Shopping mall, world's only seven-star hotel, the longest dancing fountain,longest automated metro and the world's cheapest public ferry transport (at the Dubai Creek), amongst many other superlatives under its belt.
These are many other factors have placed Dubai at a pedestal when it comes to tourism. I visited Dubai and came up with this guide that might help a first-timer check a few things off their bucket list.
1. Burj Al Arab-
The ostentatious sail-shaped Burj Al Arab (Tower of the Arabs) is the beacon of fine hospitality for the luxurious spirit. It is an icon of Dubai's architecture Spanning 280 meters. It hosts some of the best restaurants in the world with 56 floors in its expanse. Guests get to choose from the over 202 finely furnished duplex suites with over the top views of the Dubai skyline and blue oceans.
The image I shot with my phone from Jumeirah beach
An up-close at the entrance of Burj Al Arab still shot with my phone.
2. The Dubai Mall
The Dubai Mall has rightfully earned its place as the2nd largest mall in the world. The Mall has 4 floors- with over 1200 business stores and services. Visitors are treated to more than just a shopping experience. Walking through the alleys of The Dubai Mall is like a festival of sorts. Inclusive of a luxury hotel, restaurants and cafes it offers a shop and dining experiences for the millions of visitors trooping in the mall.
Dubai Mall Aquarium
Electronic shops in Dubai Mall
An eatery Inside Dubai Mall
Inside Dubai Mall
One of the many designer shops inside Dubai Mall.
The famous waterfall inside Dubai Mall
Outside Dubai Mall
A post shared by Bonita (@bonitaonsafari) on Jul 31, 2019 at 8:17am PDT
3. Palm Jumeira.
The palm Jumeira gets its name from its silhouette of a palm tree in an arch.it is an eye-catching beauty from above and a charm on earth. The island is an artificially fashioned archipelago dotting villas on the fronds and business suites, retail stores, and apartments on its trunk. The architectural mastery of the Palm Jumeira is awe-striking yet more amazing is the serenity undisrupted by the blend of business and pleasure that Palm Jumeira is. The Atlantis is also located at the Palm Jumeirah.
Image courtesy of bayut.com
At one of the edges of the Palm
The Atlantis
4. Dubai Creek
Joining the Persian Gulf and the Ras Al Khoor bird sanctuary is the Dubai Creek. Away from the bustle of the city, the creek sets the ambiance for the ultimate offshore experience. Visitors are treated to the choice of cable car service or a dhow cruise in the blue waters of the creek. Whichever way you choose to cruise the creek you are guaranteed the spectacle of dolphin shows and an opportunity to sample the heritage of Dubai is one of its most ancient Museums.
5. Dubai Museum
In its walls lies the undertones of Dubai's ancient life before civilization and spans the growth of the bub that now stands. From antique monuments to original samples of a visit to the Dubai Museum allows one a front-row seat to the hushed life of Dubai before the rise of the skyscrapers and metropolitan cityscape. It is the well-preserved heritage of the locals.
Demonstration of ancient Dubai
Inside the Master bedroom of the ancient Emirati's home.
6.Dubai Fountain
The wave of Music finds its home in the spectacle that is the Dubai Fountain. Paying off —-years of modern engineering water shoot 500 feet into the sky in a perfect symphony of choreographed music. The fountain rises and falls to the chords of genres of classical music and contemporary pop. The fountain can be viewed from a lot of different places and offers a once in a lifetime chance to see music dance.
7. Jumeira Beach
The white sand beach of Jumeira is located along with the scenic views of landmarks such as the Burj Al Arab. Its length is awash with pristine white sands a popular attraction for visitors. It is complete with a beach hotel allowing guests to dine and relax. Guests enjoy an array of activities including picnic barbeques, children activities.
Burj Khalifa as seen from Jumeirah beach
8. At the top of Burj Khalifa
Looking down on the world from the Burj, the momentous skyscraper is arguably every traveler's dream. Dubai unfolds below the eyes from the highest observation deck in the world which takes less than a minute on the elevator 452 meters above the ground. From the top one can see the breathtaking skyline of Dubai and major landmarks such as The Burj Al Arab.
At the top of Burj Khalifa
9. Dubai Frame
The Dubai Frame is an Architectural landmark that speaks for itself. The award-winning creation that blends the wild beat of Dubai life and the calm pulse of its past in a picture frame creation that rises as two pillars and is joined by a 93 M long bridge glass panel. The frame offers a different perspective from either side and represents the beauty of Dubai.
A post shared by Bonita (@bonitaonsafari) on Aug 7, 2019 at 8:26am PDT
10. Desert Safari
Meet the culture of Dubai. A Desert safari is a must-have on the itinerary of any tourist to Dubai. An adrenaline-raising drive across the sand dunes complete with traditional dances, authentic cuisine and camel rides the desert safari is the complete package. Watch the sunset over the beautiful landscape and enjoy a starry night out and camping activities with your crew.
Desert Safari ready.
There you have it! What are the other places to see that I have left out in this list?
Dubai, Dubai Creek, Dubai Mall, Dubai Museum
Meet Rebecca Amo,the unapologetic globe trotter!


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Leaders / Style
Ifeoma Ubby's OliveAnkara Represents A New Generation of Female Entrepreneurs Who #ChooseToChallenge
Ifeoma Ubby left her home in Italy to pursue her post-doctorate studies in Singapore, and then left her established career in Molecular Biology to manage her fashion label OliveAnkara. In an exclusive interview, we find out about her passionate outlook on life and more in this International Women's Day Special.
Mar 08, 2021 | By Joseph Low
The theme of this year's International Women's Day is #ChooseToChallenge and Ifeoma "Ify" Ubby is no stranger to challenges. In university, she pursued a degree in Molecular Biology. Despite it being a largely male-dominated field of study, she followed her passion and attained a PhD in Human Molecular Genetics from Scuola Normale di Pisa. When it came to doing her post-doctoral studies, she decided to challenge herself further and took up an overseas position in Singapore at the National Cancer Centre (NCCS), leaving behind the comfort and familiarity of Europe—the continent she had grown up in. While doing her PostDoc, she founded a fashion label, OliveAnkara, in 2017.
In 2019, following the conclusion of her post-doctoral research, she took a leap of faith and switched from an established career as a Molecular Biologist to managing OliveAnkara full time. We interviewed Ify to find out more about her colourful life and what drives her to #ChooseToChallenge.
You're of Nigerian descent but were born and grew up in Italy. What was your childhood like and how did it influence your personality and outlook on life?
I was born and raised in Italy, near Venice, where my parents moved from Nigeria in the early Eighties. I grew up surrounded by Italian people, culture and taste, but my Nigerian roots always played an important role. I have been exposed to African cultures a lot during my youth, especially thanks to the big Nigerian community that grew in Italy during those years.
One aspect that always fascinated me when attending family gatherings was the colourful clothing that men and women were wearing. I fell in love with African fabrics, and this love never faded.
How was it like transitioning into life in Singapore and how did you overcome the challenges along the way?
Moving to a new country is equal parts exhilarating and scary. You never realise quite how strongly tied to the culture of your home country you are until you move abroad and are faced with a culture that is markedly different [from] your own. I decided to move here focusing mostly on my scientific career, so expectations were not really a thing, but I definitely felt the change. I had a friend that was already living here since 2012 and he was enthusiastic about Singapore. [My husband and I] didn't have any experience in Asia so we came here with an open mind and a lot of curiosity. The trick is to embrace it, instead of letting it get the best of you.
We opted for moving to a new country because we wanted some adventure and because I found a PostDoc position at the National Cancer Center. Getting adjusted for us started with leaning into the experience and getting the most out of it that we could. After almost 8 years we are still here and we are not planning to go anywhere, this means that we found a place to call home and we really love Singapore and consider it our home now.
OliveAnkara started as a passion project to fill a gap in Singapore surrounding African fashion. What made you decide to make the switch from an established career in molecular biology to committing fully to fashion?
"How did you know it was time to leave? How did you really know? Why?" I get this question a lot. How'd I know it was time to jump from my motivating, nice, stable, science job? Well, I had ZERO intention of starting a business. OliveAnkara happened almost by chance. I didn't start with the idea of bringing Africa to Singapore, but rather just to make my own clothes with the fabrics I love and couldn't find here. I made some other garments for myself and for some friends. The response was so good and I realised that I was very passionate about it. In January 2019, I decided to try going full time with OliveAnkara. It was a very hard decision to leave science for OliveAnkara, it was purely a leap of faith. [Three and a half] years later, here I am!
My motto was and still is, no regrets, follow your passion, it will never be a failure because you have tried. In the end, we only regret the chances we didn't take. And now I am on a mission of spreading the beauty of African inspired fashion to this side of the world.
How would you describe OliveAnkara's style and what do you want your wearer to feel when they don your clothes?
CNY 2021 Cheongsam Collection
We believe in the freedom to express ourselves. At OliveAnkara we love the impact and vibrancy of colours and cultures of the African diaspora and beyond. We embrace the beauty of many cultures so that you can have that extra dash of excitement in your closet! Our collections are designed to make women feel gorgeous while being comfortable in their own skin. My dream is to see women of all colours wearing a garment by OliveAnkara.
Apart from the African influences, how did growing up in Italy shape the way you design your collections?
Growing up, I've always been attracted by the joyful colours of African fabrics and inspired by the craftsmanship of Italian fashion, the flawless attention to detail. It's no exaggeration to say that Italian fashion's influence and creative output has been and continues to be prolific. What more would you expect from a country for whom the concept of la bella figura (directly translating to "the beautiful figure", but meaning "to make a good impression") is as ingrained in its culture as Aperitivo hour?
The idea of presenting your best self, the way you dress, the food you eat, what's in your home, Italian fashion is all about that. It's not for nothing that Italy is a world leader in architecture and furniture, too. When I design new collections it's never about making one perfect thing that can't be replicated, but a series of things and making each one perfect each time.
What are some practices that OliveAnkara has adopted in order to come as close to zero waste as possible?
OliveAnkara production approach is oriented towards two main concepts: to be a so-called slow fashion brand, where quality and uniqueness are above quantity and mass production. We create small collections and limited editions and we try our best to reduce waste and optimise processes. We put quality and design ahead of quantity and trends. We don't make clothes that last a season, we aim to make timeless clothes. Even as we grow as a brand and plan to increase our production, we will always work with the intent of creating something that is respectful of the planet and the people involved in the process. We also work towards a zero-waste philosophy, we create our accessories by using the off-cuts from the previous collection. We always try the best to be as close as possible to the concept of sustainability.
With everything you've accomplished so far, you're definitely a great inspiration to many women around, particularly women of colour. How do you feel about that?
Ah, thank you! I feel great, I love to see the interest and curiosity. People were very curious to know the story, the origin, and know more about the fabrics and the brand. Consumer education is a crucial part for me, a lot of people here don't know anything about the history, the origins, the meanings of the fabrics we use and most of all the culture. I don't see myself as an ambassador yet, but I would love to become one, cause it would mean I am doing a good job and achieving my goals as a person and as a brand. I never felt it was a burden, I rather see it as a blessing and I am thankful for it. I would love to spread a message that goes beyond past history and borders, and inspire people to know more and understand better not only African fashion but also the meanings and stories behind it.
Molecular biology and science, in general, is a largely male-dominated field. What advice would you give to young women aspiring to step into similarly male-dominated career fields?
Just be yourself and be passionate about what you are doing. If you fail, you will become smarter, If you succeed, you will gain even more self-confidence and emotional and financial rewards. Last but not least fight for yourself.
What has the learning curve been like for you with regards to setting up your own fashion label in Singapore, especially since you have a niche in African designs?
We are so proud to see how the brand is organically growing in the last few years and to see more and more people becoming aware of the West African Culture.
What are your plans for OliveAnkara moving forward?
For almost a year now we have been working on a project that will bring meaningful changes to the brand in terms of sustainability, production and expansion. We are working towards making our supply chain transparent and trackable and increase our production in a clean and ethical way. We want to expand beyond the Singapore market, and we want to do it by keeping our pillars at the centre of the project. We will have exciting news coming up in 2021 but we do not want to spoil the surprise now, so keep following us to find out what will happen!
If you were to name one mentor who has inspired you, who would that be?
Would be a lie if I will give you only one name, I had many and I still have many. This question would need 6 pages to answer and it still wouldn't be complete! But my family is the one that keeps inspiring me.
Lastly, any words of advice for female entrepreneurs?
Never be afraid to follow your passion. But to turn your passion into a profitable business is something you need to learn even more. No doubt, doing a business comes with its own risks as we are investing money and time. Start small with one product line, then develop the brand from there, in a way that feels consistent and carries forward the same design DNA. If you have enough passion for your business idea, nothing can stop you. Pursue your dreams and believe in who you are and what you are doing. Don't be afraid to ask for help. You can learn from other people and their experiences. Because out there is a tribe of successful women who have your back!
To find out more about OliveAnkara, do follow their Facebook and Instagram @OliveAnkara. Alternatively, you can also head over to their website oliveankara.com
Image Credit: Courtesy of OliveAnkara
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