This natural homemade glass cleaner is 3 simple ingredients to clean glass and windows without streaks. DIY glass cleaner cost pennies to make and you won't go back to the store bought stuff.
My mom always made our own homemade glass cleaner. I remember her getting out a large bucket and some newspaper and going to town on a glorious spring weekend.
Obviously, spring is when you really make sure your windows are clean. Something about the open windows and fresh air really makes you want to deep clean the house.
Cleaning the mirrors is an easy task for me. I hate seeing fingerprints or smudges on it.
But other glass like windows is hard… Because little hands… let's be truly honest…. mouths and tongues can reach them and get the glass all nasty in the matter of seconds.
I'm not sure what it is with kids and babies about licking windows. But for some reason it is thrilling and my perfect children (insert sarcasm) love licking windows and rubbing boogery noses all over.
That doesn't even include the dog that also likes to lick and rub her nose all over the windows.
Basically, this is me telling you how disgusting the glass in my house can get and which in turn tells you how awesome this DIY glass cleaner is.
Why should you switch to natural DIY glass cleaner?
The FDA doesn't have super strict standards and they don't even make companies disclose all of their ingredients.
If you are new to the world of natural cleaners, I would recommend to start researching the cleaning products in your home. My first go to is look up the product on EWG or the Think Dirty app to see what rating of that cleaner is.
Both of these apps give products a rating based on safety. I usually try to keep all my cleaners to a 1 or a 2 rating.
If you don't have access to the app when your at the store you can flip over the bottle and look at the ingredients. Now many of the ingredients you probably can't pronounce, even more natural cleaners. If you see the word fragrance, that is a big red flag.
Fragrance is a blanket term for hundreds or even thousands of chemicals and has been linked to hormone disruption and cancer. So if you see this, place the cleaner back on the shelf and slowly back away.
Thankfully, this homemade glass cleaner is a simple switch that only takes a minute or so to make. You can even add pure essential oils to give it a "clean" smell.
If you have hard water, you may have to use distilled water. Hard water can leave streaks on glass and mirrors.
Use a towel that will not shed little fuzzies. Microfiber towels work great.
If you don't want to use rubbing alcohol you could always use vodka.
Since this is a water based product use it quickly to avoid bacteria.
Add essential oils that are great for cleaning like lemon, wild orange, or melaluca. Make sure to use a glass bottle when adding essential oils, because they can break down regular plastic.
How do you make natural homemade glass cleaner?
In a 16 oz spray bottle add in rubbing alcohol and vinegar.
Fill the rest of the spray bottle up with water. Use distilled if you have hard water.
Spray on dirty glass surfaces like glass, windows, and mirrors. Don't spray too much.
To make them extra squeaky clean, you can wipe them down with newspaper (only the black and white newspaper).
What is the best homemade mirror cleaner?
This one of course. Simple ingredients mixed together and sprayed on glass is a super effective way to clean mirrors.
Want more natural cleaning posts? Check these out!
15 Tips for a naturally clean home– learn how to clean your house from top to bottom naturally.
DIY All-Purpose Cleaner goes from the kitchen to the bathrooms.
Homemade Furniture Polish is a simple natural recipe to help clean and polish wood furniture.
Mix into a 16 oz spray bottle.
Spray onto glass, mirrors, and windows and wipe clean.
What are your favorite natural cleaners?


Wisdom Teeth usually do not push through the gums until people are in their twenties. Often, there is little space at the rear of the jaws for wisdom teeth to come easily through the gums and can become impacted. Some impacted wisdom teeth may cause several problems, in that case, the Oral and Maxillofacial surgeon may recommend that they be removed.
Do your early consultation with Dr Simon Briggs.


The lightwell webiste has been updated, and now includes images from the MUTV Thursday Focus set designs that I completed last summer.
This was one of a number of projects that have been waiting to be added to the site. Still to be added are the digital backdrops for ABC News in Australia, and the Newtek Tricaster based virtual sets for the Met Office.
I am currently working on the design and production of a batch of virtual sets for the Met Office. The Met Office, based in Exeter, have their own studio facilities equipped with the Newtek Tricaster. The pre-packaged sets that come with the Tricaster are poor and overly generic, so the Met Office approached Lightwell to deliver a superior quality, bespoke solution. The final versions of these sets are due to go live later this summer, but The Met Office were so pleased with some of the original concepts I produced, that they have already began using these in some of their online webcasts (see above).
The final versions of these virtual sets will feature a fully resolved design and be of higher resolution and finished to a greater level of accuracy and detail.


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ANNOUNCEMENT - Proposed Tuition, Fees, Room and Board 4-4-18
Norfolk State University was established by §§ 23-174.1 through 23-174.7 of the Code of Virginia (Ann. 1950) as a corporation under the name of the Board of Visitors of Norfolk State University. The University is under the control of the Virginia General Assembly at all times.
The Board of Visitors consists of 13 members appointed by the Governor for terms of four years subject to confirmation by the Virginia General Assembly. Of the persons appointed, four are alumni of the University--three of whom may be nonresidents of the Commonwealth. Board members are eligible for reappointment for an additional term.
The Board is governed by a set of By Laws, which articulates the Board's role and responsibilities.
Norfolk State University, a comprehensive urban public institution, is committed to transforming students' lives through exemplary teaching, research and service. Offering a supportive academic and culturally diverse environment for all, the University empowers its students to turn their aspirations into reality and achieve their full potential as well rounded, resourceful citizens and leaders for the 21st century.
Norfolk State University will be recognized nationally as a premier public institution with outstanding signature academic programs, innovative research, and community engagement opportunities.
Norfolk State University's strength lies in its core values. They form the foundation for the University's actions and reflect what is important to the members of the Norfolk State University community and the Hampton Roads region.
Excellence – We are dedicated to fostering a culture of excellence in all facets of the University through the highest educational standards for student achievement, stellar faculty teaching, innovative research, dedicated service and creative co-curricular activities.
Student-Centered – Students are our top priority, and we are committed to helping them become globally competitive in an enriching, stimulating and supportive environment.
Diversity & Inclusiveness – We foster a multicultural campus respecting all people, cultures, ideas, beliefs, identities, socio economic backgrounds, and perspectives. We train our students to become leaders in an ever-changing global and multicultural society.
Integrity and Civility – We expect everyone to be accountable for his or her actions and to engage in honest, ethical behavior. We value the contributions of each person, treating all with respect and civility, and affirm our shared responsibility for institutional success.
Engagement – We continually enhance the university's role and influence in affairs of local and global communities by promoting educational attainment, cultural enrichment, and economic development.
Pride – We display great admiration for the University and its rich history and legacy.
Financial Empowerment – We aggressively pursue expanded and more diversified revenue streams.

redpajama_set_name: RedPajamaCommonCrawl


text:
Open Wed-Sun 11-5pm. Day reservations required.
WHWLYS21
When Home Won't Let You Stay
Migration Through Contemporary Art
The American Library
Migration—the movement of people and cultures—is a story of who we are and how we got here over time. Millions of people move for myriad reasons, from fleeing war and religious persecution to seeking better education or financial security. The United Nations estimates that one out of every seven people in the world is an international or internal migrant who moves by choice or by force. In this era of mass migration, and amid ongoing debates about it, When Home Won't Let You Stay: Migration through Contemporary Art considers how contemporary artists respond to the migration and displacement of people worldwide. The exhibition borrows its title from a poem by Warsan Shire, a Somali-British poet who gives voice to the experiences of refugees. Through artworks made since 2000 by artists born in more than a dozen countries, this exhibition offers diverse artistic responses to migration, ranging from personal accounts to poetic meditations.
The Cantor Art Center's presentation of When Home Won't Let You Stay has particular resonance with the histories of displacement, migration, and immigration shaping California and the Bay Area. the bay Area is sited on the ancestral land of the Muwekma Ohlone people, who were forcefully displaced by Spanish-Mexican settlers and the westward expansion of the United States. This region is further defined as a major site of entry for immigrants from China, Japan, the Philippines, India, Vietnam, Mexico, and other Asian and Latin American countires. From the Gold Rush and the building of the transcontinental railroad to the state's agricultural boom, California has offered economic opportunity for both immigrants and internal migrants. Silicon valley's tech industry has continued to attract and employ people from all over the world, contributing to California's status as the most common destination for new immigrants to the United States.
Due to the current COVID-19 pandemic, temporary border closures and restrictions on travel are impacting migrants, immigrants, and refugees in dire ways. The closure of the University and mandates to shelter in place have resulted in dislocation and even homelessness for students, as well as unprecedented shifts in everyone's relationship to home. By considering place and movement together, historically and in the present moment, When Home Won't Let You Stay presents migration as a transformative force that continues to shape our region, our nation, and our world.
This exhibition is organized by Ruth Erickson, Mannion Family Curator, and Eva Respini, Barbara Lee Chief Curator, Institute of Contemporary Art/Boston.
The Cantor Arts Center presentation is organized by Maggie Dethloff, Assistant Curator of Photography and New Media, and Jessica Ventura, Curatorial Assistant.
We gratefully acknowledge support from the Halperin Exhibition Fund.
A poem by Warsan Shire
B. 1988, Kenya; lives and works in London and Los Angeles
No one leaves home
unless home is the mouth of a shark.
You only run for the border
when you see the whole city
running as well.
Your neighbours running faster than you,
the boy you went to school with
who kissed you dizzy behind
the old tin factory
is holding a gun bigger than his body,
you only leave home
when home won't let you stay.
No one would leave home unless home
chased you, fire under feet,
hot blood in your belly.
It's not something you ever thought about
doing, and so when you did—
you carried the anthem under your breath,
waiting until the airport toilet
to tear up the passport and swallow—
each mouthful making it clear that
you would not be going back.
You must understand,
no one puts their children in a boat
unless the water is safer than the land.
Who would choose days and nights
in the stomach of a truck,
unless the miles travelled
meant something more than journey.
No one would choose to crawl under fences,
be beaten until your shadow leaves you
raped, then drowned, forced to the bottom of
a boat because you are darker, be sold,
starved, shot at the border like a sick animal,
be pitied, lose your name, lose your family,
make a refugee camp a home for a year or two or ten
stripped and searched, find prison everywhere
and if you survive
and you are greeted on the other side
go home blacks, refugees
dirty immigrants, asylum seekers
sucking our country dry of milk,
dark, with their hands out
smell strange, savage—
look what they've done to their own countries,
what will they do to ours?
The dirty looks in the street
feel softer than a limb torn off,
the indignity of everyday life more tender
than fourteen men who look like your father,
Between your legs. Insults easier to swallow
than rubble, than your child's body
in pieces—for now, forget about pride
your survival is more important.
but home is the mouth of a shark
home is the barrel of the gun
and no one would leave home
unless home chased you to the shore
unless home tells you to
leave what you could not behind,
even if it's human.
No one leaves home until home
is a damp voice in your ear saying
leave, run now, I don't know what
I've become.
Featured Exhibition Artworks
Woven Chronicle
A Life Full of Holes: The Strait Project
Electrical wires, speakers, circuit boards, and fittings; single-channel audio (sound; 10:00 minutes)
Courtesy Reena Kallat Studio and Nature Morte, New Delhi
Woven Chronicle is a cartographic wall drawing that, in the artist's words, represents "the global flows and movements of travelers, migrants, and labor." Kallat uses electrical wires—some of which are twisted to resemble barbed wire—to create the lines, which are based on her meticulous research of transnational flows. Wire is an evocative and contradictory material: it operates as both a conduit of electricity, used to connect people across vast distances, and as a weaponized obstacle, such as the fences used to erect borders and encircle refugee camps. Kallat's family was splintered by the Partition of India in 1947 upon independence from Britain, which divided the country geographically along religious lines and induced the movement of more than ten million people in one of the largest forced migrations in human history. Woven Chronicle speaks to this personal memory—and collective history—in its material presence, merging the artist's research on migration with metaphors of violence, and accompanied by an ambient soundscape that evokes the steady hum of global movement.
Yto Barrada
Life Full of Holes: The Strait Project
(Born 1971 in Paris, France; lives and works in Tangier, Morocco and New York, NY)
The Strait of Gibraltar is a highly surveilled waterway between Spain and Gibraltar to the north and the Moroccan port cities Ceuta and Tangier to the south; it is also the narrowest distance between Africa and Europe (approximately 8.9 miles, or 14.3 km, at its narrowest). As the point where the Atlantic Ocean and the Mediterranean Sea meet, the region has long been a highly contested political arena for the movement of people. Today, Tangier maintains a large population of migrants who are held in limbo as they await passage, whether to Europe, or elsewhere. Yto Barrada began the series A Life Full of Holes: The Strait Project in 1998 to witness the tension between the Strait of Gibraltar's allegorical nature and harsh reality. For Barrada, the work also carries a personal meditation on class and nationality. As a French and Moroccan citizen, she is free to cross the border while thousands are not. "In my images I no doubt exorcise the violence of departure, but I give myself up to the violence of return," says Barrada. "The estrangement is that of a false familiarity."
Slideshow Images:
Panneau—Publicité de lotissement touristique—Briech 2002 [Hoarding—advertising for a tourist development—Briech 2002], 2002
Courtesy the artist and Galerie Polaris, Paris
Rue de la Liberté, Tanger 2000, 2000
Le Détroit de Gibraltar—Reproduction d'une photographie aerienne—Tanger 2003 [The Strait of Gibraltar—reproduction of an aerial photograph—Tangier 2003], 2003
Salon de première—Ferry de Tanger a Algésiras, Espagne—2002 [First class lounge—Ferry from Tangier to Algeciras, Spain—2002], 2002 Private collection
Usine 1—Conditionnement de crevettes dans la zone franche, Tanger 1998 [Factory 1—Prawn Processing Plant in the Free Trade Zone, Tangier 1998], 1998
From the series A Life Full of Holes: The Strait Project, 1998–2003
Arbre généalogique [Family Tree], 2005
Courtesy the artist and Pace Gallery, New York
All chromogenic color prints
(Born 1962 in London, England; lives and works in London, England)
The American Library, 2018
Hardback books, Dutch wax-printed cotton textile, gold-foiled names, and website
Rennie Collection, Vancouver
The American Library consists of six thousand volumes wrapped in vibrantly colored Dutch wax-print fabric. Many are embossed with the names of first- and second-generation immigrants or their descendants, or those affected by the Great Migration in the United States. All those named have made a mark on American culture: they include writers ranging from W. E. B. Du Bois to Grace Lee Boggs, Toni Morrison, and Teju Cole; artists such as Ana Mendieta; and industrialists such as Apple innovator Steve Jobs. These individuals span race, gender, and class, recasting how ideas of otherness, citizenship, home, and nationalism acquire their complex meanings. The fabric also reflects the complex interactions among cultures: introduced to West Africa in the nineteenth century through English and Dutch colonial trade as a mill-printed derivative of patterned batik cloth from Indonesia, the fabric has become synonymous with West African fashion and a key material for Yinka Shonibare CBE, RA, who was born in London and raised in Lagos, Nigeria. The American Library is an imaginative projection of a nation whose commonly told origin story is one of immigration.
Explore The American Library
Engage With "When Home Won't Let You Stay"
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Now in its 37th year at the gallery, the BP Portrait Award exhibition once again displays and celebrates a wide variety of talent – but feels a bit too sombre to be enjoyed properly.
If there is one exhibition that celebrates life and individuality in all forms it is the BP Portrait Award, which this year saw judges having to whittle down from 2,500 entries from eighty countries to a select group that is now on display at the National Portrait Gallery.
The quality of entries must have been extremely high, judging by the paintings that are on show here, from Daniele Vezzani's portrait of his daughter Francesca, extremely life like and challenging in the subject's gaze to Eileen Hogan's self-portrait grim on first impression but extremely honest, there isn't any angle not covered.
What makes this exhibition so rewarding is the way in which the artists have clearly used a mixture of traditional and modern techniques to create a new and vibrant type of portrait, showing how portraiture has evolved and can continue to be developed. It's just a shame that it feels a little bit grim and serious.
The majority of the subjects aren't smiling and in one case (the second prize winner in fact) Silence by Bo Wang actually shows the artist's grandmother in a hospital bed in her final battle with cancer. As heart wrenching and powerful as the image is, it feels oddly inappropriate to have something that personal documented.
However, on the positive side, the exhibition reveals the wide variety of emotions and the complex nature of human behaviour, getting beneath the surface of a person's appearance and allowing their personality to shine through.
Stand out portraits include Teri Anne Scoble's The 271 to Arsenal (Xavier & Max) which is wonderfully relaxed and natural and this year's winner of the BP Portrait prize Girl in a Liberty Dress by Clara Drummond, a subtle and haunting piece of work.
Overall, it is an exhibition that is worth visiting for anyone with an interest in seeing how portraiture has developed and changed, but be prepared to feel ever so slightly serious when you emerge.


text:
Kali Uchis Osheaga, Montreal QC, August 4
Photo: Chris Bubinas
By Courtney Baird-Lew
Kali Uchis is a woman who knows her power. Stepping onto the stage amid yesterday afternoon's heat wave wearing a matching bra and shorts combo, her long ponytail swinging behind her, she was the embodiment of Latina sensuality; the crowd screamed with every move of her hips.
Touring in promotion of her critically acclaimed Isolation, Uchis uses her personal hardships and infuses them with reggaetón, funk and R&B, bringing private thoughts into a very danceable public space. Opening with "Dead to Me" and moving through "Rush" off 2015's Por Vida with an excellent backing band driving the beats, Uchis moved across the stage, throwing in the occasional twerk and salsa step.
Moving through "Tyrant," "Feel Like a Fool" and "Loner," which opens with "I don't want to be your cigarette/I don't want to be your ashtray," she took a quick interlude to earnestly explain that these were, indeed, personal experiences and that she was thankful to the crowd for being with her on this journey. She continued on throughout her short, sweet set with more of her brilliantly produced tracks, hitting the majority of her notes and the crowd eating her up with a spoon.
A post shared by Exclaim! (@exclaimdotca) on Aug 5, 2018 at 8:08am PDT
More Kali Uchis
Check Out Our Osheaga Music and Arts Festival Profile
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