"Papa. Read my the four little pigs and the BIG BAD POUF." With emphasis on the big bad "POUF", we begin the fascinating journey of the pigs and the rehabilitation of the "Pouf".

My granddaughter (age 2) loves the story and when ever we come to the Big Bad she says the "POUF" part. It rather sounds like a French pastry.

The fourth pig, as everyone knows, is Momma pig, she sent the defenseless little pigs out the door with a warning, "the BIG BAD "POUF" likes to eat little pigs." Seems to be a common malady of "Poufs" and Humans.

The BIG BAD "POUF", we are told, watched from the top of the hill where he lived. He was a considerate "Pouf"... letting the little pigs build their straw, sticks and bricks houses before offering to be a building inspector to test the strength of straw and sticks. The "Pouf" condemned the first two houses... huffing and puffing and all of that. All the hair on the little pigs chin could not stop the tinsel strength test performed by the Big Bad "Pouf".

Everyone knows that brick is stronger than straw and sticks but we have a Big Bad "POUF" that begs to differ.  Consequently, he ends up in hot water, much like Humans who make bad decisions.  Not the brightest and smartest choices made in Pig/"Pouf" Land.  At least this pig did not put the lid on the *** and have "POUF" for lunch.

The "POUF" became a reformed "Pouf" staying on his hill top.  No more Big Bad for him.  Kind and gentle. A NEW "POUF"!

Now 60 years ago the Building Inspector in this story got into hot water and became the lunch of the brick house pig. The other two pigs became lunch of the "POUF" but I suppose I will not be telling that to my two year old any time soon.  

There are many versions of the story. Things have changed over the years.  The Three Little Pigs live happily ever after and the "Pouf" now stays up on the hill and is a GOOD BOY.  Getting into hot water can be a life changing moment... provided the lid is NOT put on the kettle.  Moral to this story... stay away from pigs who carry hammers, trowels and squares. Or.  Don't be a blow hard.

(c) 02/14/2012 by John Stevens

BOUCHE-MIGNONNE lived in the mill,
Past the vineyards shady,
Where the sun shone on a rill
Jewelled like a lady.

Proud the stream with lily-bud,
Gay with glancing swallow;
Swift its trillion-footed flood
Winding ways to follow;

Coy and still when flying wheel
Rested from its labour;
Singing when it ground the meal,
Gay as lute or tabor.

'Bouche-Mignonne,' it called, when red
In the dawn were glowing
Eaves and mill-wheel, 'leave thy bed;
Hark to me a-flowing!'

Bouche-Mignonne awoke, and quick
Glossy tresses braided.
Curious sunbeams clustered thick;
Vines her casement shaded

Deep with leaves and blossoms white
Of the morning-glory,
Shaking all their banners bright
From the mill-eaves hoary.

Swallows turned their glossy throats,
Timorous, uncertain,
When, to hear their matin notes,
Peeped she thro' her curtain.

Shook the mill-stream sweet and clear
With its silvery laughter;
Shook the mill, from flooring sere
Up to oaken rafter.

'Bouche-Mignonne!' it cried, 'come down;
Other flowers are stirring:
Pierre, with fingers strong and brown,
Sets the wheel a-birring.'

Bouche-Mignonne her distaff plies
Where the willows shiver;
Round the mossy mill-wheel flies;
Dragon-flies, a-quiver,

Flash athwart the lily-beds,
Pierce the dry reeds' thicket;
Where the yellow sunlight treads,
Chants the friendly cricket.

Butterflies about her skim-
Pouf! their simple fancies
In the willow shadows dim
Take her eyes for pansies.

Buzzing comes a velvet bee;
Sagely it supposes
Those red lips beneath the tree
Are two crimson roses.

Laughs the mill-stream wise and bright-
It is not so simple;
Knew it, since she first saw light,
Every blush and dimple.

'Bouche-Mignonne!' it laughing cries,
'Pierre as bee is silly;
Thinks two morning stars thine eyes,
And thy neck a lily.'

Bouche-Mignonne, when shadows crept
From the vine-dark hollows,
When the mossy mill-wheel slept,
Curved the airy swallows,

When the lilies closed white lids
Over golden fancies,
Homeward drove her goats and kids.
Bright the gay moon dances

With her light and silver feet,
On the mill-stream flowing;
Come a thousand perfumes sweet,
Dewy buds are blowing;

Comes an owl and greyly flits,
Jewel-eyed and hooting,
Past the green tree where she sits;
Nightingales are fluting;

Soft the wind as rustling silk
On a courtly lady;
Tinkles down the flowing milk;
Huge and still and shady

Stands the mill-wheel, resting still
From its loving labour.
Dances on the tireless rill,
Gay as lute or tabor;

'Bouche-Mignonne!' it laughing cries,
'Do not blush and tremble;
If the night has ears and eyes,
I'll for thee dissemble;

'Loud and clear and sweet I'll sing
On my far way straying;
I will hide the whispered thing
Pierre to thee is saying.

'Bouche-Mignonne, good night, good night!
Every silver hour
I will toss my lilies white
'Gainst thy maiden bower.'

“Ever since I started this job and anyone asks how I’m doing, I always say, ‘I’m great!’ ” Maayan Zilberman excitedly explains. And why shouldn’t she? The former Lake & Stars lingerie designer, who has since founded confections lineSweet Saba, happens to have the sweetest career around. Concocting a literal visual feast out of her Park *****, Brooklyn, kitchen and Fort Gansevoort Meatpacking pop-up shop, the Israeli-born polymath uses her background in sculpture and a biting sense of humor to create her vibrant, indulgent delicacies. Think sugarfied tubes of lipstick, rap mixtapes, and Rolex watches—with their raw handiwork and dead-on wit, these in-demand pieces match Zilberman’s equally enticing wardrobe. Hardly barefoot in the kitchen, Zilberman teeters about in her workspace in vintage Betsey Johnson Mary Janes, while throwing on a customized Adam Selman pearl-laced apron to protect her Prada skirts andProenza Schouler knits. Here, the dazzling candymaker reveals how she has always been more En Vogue than grunge, why she never forgoes a perfect press-on manicure, and her plans on taking Sweet Saba herbal.

From Jerusalem to Vancouver

I was born on a kibbutz, where the first clothing I had was a mix of unisex hand-me-downs, so I was given a pretty blank slate. When I lived in Jerusalem we were surrounded by several sects of Orthodox communities, and the fabrics associated with each group were inspiring to me. During those years, designer brands were becoming popular, and the only place I was seeing this was in the shuk [market] where one could find imitation Calvin Klein and United Colors of Benetton next to tzitzit and shawls. I think it was in the early ’90s that I first understood how to mix my ethnicity with fashion and food.

Also, one of the most influential books of my childhood was Color Me Beautiful, which the women in my family took very seriously. I learned at the age of 6 that I was a “Winter” and haven’t veered off course since. I still have the book and love to pull it out at parties. Later in high school in Vancouver, grunge was the big trend and there wasn’t much room for my sensibilities in that environment—even when I wore my Revlon Blackberry lipstick and grunged out with irony. I was always far more En Vogue and Versace than the Pacific Northwest could handle.

Taking Cues From ’90s New York City Street Style

When I first got to New York, when I was 15, one of the first things I discovered was all the music I could get on Canal Street. I used to buy mix CDs from girls in monochrome outfits and big name-plate earrings. They pointed me to Fulton Mall in Brooklyn, and that’s where I finally got pants that fit right and jewelry that reflected my personality—a departure from the stuff I’d received for my bat mitzvah.

A shift in style for me meant a tougher, more confident look, where a short skirt is a reference to an era, not a call for attention. Music and lyrics played a big part in teaching me about how to dress and how to feel feminine. I had a Versace quilted skirt that I wore a lot—it made me feel like the supermodels in the ad campaigns: Cindy, Claudia, Stephanie, et cetera. I also had a Jean Paul Gaultierdouble-breasted pinstripe suit that I’d wear casually. In fact, I’m still wearing most of my clothes from those days: Betsey Johnson floral dresses, Donna Karanbodysuits, a metallic Byblos pouf skirt, and a grommeted Pelle Pelle jacket.

Lingerie Beginnings

I studied sculpture at the School of Visual Arts, and for a year at the San Francisco Art Institute my major was “new genres,” a very ’90s thing. Right after I graduated from SVA, I did an artist residency with Ilya Kabakov at the Fondazione Antonio Ratti in Como, where they also manufactured some of the world’s most beautiful silks. A tour of their factory opened my eyes to a potential dip into fashion, but it wasn’t until I met a pair of women in New York City that same year looking to start a lingerie brand that I took a chance on garment design. I bought a bunch of bras and took them apart and figured out how they were put back together. I cofounded The Lake & Stars in 2007 with the desire to make a brand that was in line with the story I wanted to tell as an artist. Lingerie was a tool, a structure that gave me rules so I could tell a sci-fi tale while inherently delivering romance and *** appeal.

read more:http://www.marieaustralia.com

www.marieaustralia.com/short-formal-dresses

Aussi, la créature était par trop toujours la même,

Qui donnait ses baisers comme un enfant donne des noix,

Indifférente à tout, hormis au prestige suprême

De la cire à moustache et de l'empois des faux-cols droits.


Et j'ai ri, car je tiens la solution du problème :

Ce pouf était dans l'air dès le principe, je le vois ;

Quand la chair et le sang, exaspérés d'un long carême,

Réclamèrent leur dû, - la créature était en bois.


C'est le conte d'Hoffmann avec de la bêtise en marge.

Amis qui m'écoutez, faites votre entendement large,

Car c'est la vérité que ma morale, et la voici :


Si, par malheur, - puisse d'ailleurs l'augure aller au diable ! -

Quelqu'un de vous devait s'emberlificoter aussi,

Qu'il réclame un conseil de révision préalable.