That's not even fair. That's so friggin' cute! AAAAH!

The one kid's mini-sports jacket is priceless.

Now if you really want to cry...

http://www.washingtonpost.com/wp-dyn/content/article/2008/11/06/AR2008110603948.html?nav=emailpage

Oh, god! Stop! I can't handle all the cuteness! And rachelhelen, I actually whimpered out loud reading that WaPo article. I've spent eight years being bitter and disenchanted, it hurts when I try to use my hope muscle and my optimism bone...

I haven't been on here in a while and I've been having Feministing withdraw! This was a nice welcome back, so sweet, beautiful, and adorable all at once.

And the children shall lead us.

Creative potential is often revealed when one connects things others see as unrelated. Each element might be small but brought together the whole is large. This is how the creative or cultural industries concept initially developed. The individual music, film, graphics, theatre, dance and visual arts sectors were relatively small and usually assessed in isolation, yet when the interconnections between sectors were identified and their overall scope and scale assessed, it was realized they made up roughly 4 per cent of most developed economies and in major cities like London more than 10 per cent.

All major cities in the world have now cottoned on to their potential. Rather like water, electricity or IT, they are now seen as part of the physiology that makes any economy work. Apart from providing products in their own right, such as music or film, they can add symbolic value to any product or service. Encouraging these industries is one of the most powerful means of enhancing the city’s identity and distinctiveness, while simultaneously creating employment and generating social capital. In a world where every place is beginning to feel and look the same, cultural products and activities mark one place from the next. And tangible difference creates competitive advantage.