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Samuel Adams Hallertau Imperial Pilsner - Boston Beer Company (Samuel Adams)
Displayed for educational use only; do not reuse.
Ratings: 771 | Reviews: 653 | Show All Ratings:
4.98/5 rDev +22.7%
look: 4.5 | smell: 5 | taste: 5 | feel: 5 | overall: 5
This beer is sorely missed! It was the first hop monster I had, and I had it at a time when I was not keen on the hop--much more into the malty beers. But this was a home run with me right off the bat. I wish Jim Koch and team would make it again. Anyone know if they will?
In short, this beer is so dry and yet so creamy. Quite an amazing beer!
Serving type: bottle
05-19-2013 01:18:17 | More by Icedogs
4.2/5 rDev +3.4%
look: 3.5 | smell: 4 | taste: 4.5 | feel: 4 | overall: 4
This beer pours out as a traditional style pilsner with a yellow colored body. The head is what sets it apart from most pilsners. The retention on this is very good. The smell of the beer is super hoppy and very inviting. The taste is very hoppy as well and really makes this pilsner more enjoyable than just the normal grassy flavor that most have. This brew is more like an IPA in my opinion which really tastes great. The mouthfeel remains light and drinkable. Overall this brew is very good and I'm looking forward to having it again.
Serving type: bottle
05-24-2011 22:04:51 | More by Knapp85
4.08/5 rDev +0.5%
look: 4.5 | smell: 4 | taste: 4 | feel: 4.5 | overall: 4
Great vibrant yet hazy yellow and orange frothy head. Big grassy hop aroma from this one.
This is a taste for hopheads, built into an imperial pilsner. Sam Adams doesn't make their ipa's usually with that much hops, strange they went big on this one, and I like the results. Quite bitter, but zesty, lemon citrus hop flavors driving the bitterness. Has a little bit of the lager yeast flavor that was complimented by the massive hop burst. Don't know if this is exclusively hallertau, but whatever proportion, it works nicely to create a strong ass beer worthy of spring early summer time.
Serving type: bottle
04-26-2011 16:57:00 | More by Beerandraiderfan
4.22/5 rDev +3.9%
look: 4 | smell: 4 | taste: 4.5 | feel: 4 | overall: 4
A: Bright orange color, translucent, very appealing
S: Imagine shoving some hops up your nose, very floral, spicy smell really enjoyed the nose in this one.
T: Initially very citrusy and spicy. Turns into a very bitter and crisp flavor.
M: Smooth, good amount of carbonation
D: It is a good beer I really think this is one of the better Sam Adams beers that is available.
Serving type: bottle
04-03-2011 05:49:30 | More by LiquidBread219
4.45/5 rDev +9.6%
look: 4.5 | smell: 4.5 | taste: 4.5 | feel: 4 | overall: 4.5
This is a review for 2007 Samuel Adams Imperial Hallertau Pilsner. I also poured a 2008 to compare next to it. Both were cellared upright and served in a Sam Adams perfect pint glass.
2007: Audible hiss when cap popped. White billowy foam head. Burnished cloudy gold. The '07 surprisingly had a stronger scent of hops. Sharp bitterness, lemony hops. Toffee sweet malt - pineapple? Whiff of alcohol. Great Brussels lacing. Soft mouthfeel. Really tasty.
2008: Barely a hiss when popped. White billowy foam head. Rich orangey glow. Both the '07 and '08 were very similar, however the '08 surprisingly had a fainter scent of hops. Sweet malt nose, grapefruity hops. Smooth mouthfeel - almost like from a cask. Would figure the '07 would have been mellower. Sweetness on finish but minimal aftertaste. Excellent beer. The '07 likely just kept better than the '08.
They ever going to release this again?
Serving type: bottle
12-05-2010 03:11:08 | More by Mess
3.88/5 rDev -4.4%
look: 4.5 | smell: 4 | taste: 4 | feel: 3.5 | overall: 3.5
A: deep amber, orange color, strong lacing, small head size.
S: strong malt with decent hops playing back-up.
T - very intense bitterness, slight citrus in the background.
M: very thick syrupy body. leaves me wanting to drink more but constantly have a thirsty feeling.
D: A MUST HAVE for any hop head! This is not for beginner beer drinkers. Not a session beer, probably best to be shared with others to savor each sip.
Serving type: bottle
12-04-2010 20:49:33 | More by BeerLover99
3.98/5 rDev -2%
look: 4.5 | smell: 4.5 | taste: 4 | feel: 4.5 | overall: 3
This beer pours a copper color with a slighty off color head. The smell is an intense noble hop character. The taste of this beer is extremely bitter. The bitterness lingers a long time! The mouthfeel is thick for a pilsner. This is a sipping beer. Its not bad, but wow it is an imperial!
Serving type: bottle
11-15-2010 01:43:33 | More by arboristfish
3.78/5 rDev -6.9%
look: 3.5 | smell: 3.5 | taste: 4 | feel: 4 | overall: 3.5
Pours an orange-ish color with a light tan head. In the aroma, hallertau hops stand out with a nice dry malt. In the taste, dry hops, dry malt which is quite balanced, with a small hint of alcohol. A smooth and medium to big bodied mouthfeel, with a dry, small hop and small alcohol hint in the aftertaste. Big hops and a small alcohol hint, quite IPA like, but you can tell it is a pilsner. Good nonetheless.
Serving type: bottle
10-27-2010 20:13:05 | More by OWSLEY069
3.53/5 rDev -13.1%
look: 4 | smell: 3.5 | taste: 3.5 | feel: 3.5 | overall: 3.5
Courtesy of Archer liquors, I get to open a bottle I haven't seen since the beginning days of my tasting experiences. Can't say I had strong memories of this one +/-; can't say that this will be anything like the 1st time. But glad to give it a shot.
[L] A glowy orange. Very hazy. Head is slightly darker than white but significantly lighter than tan. Just a tilt back on the glass leaves rings of sticky lacing.
[S] Upon first impression, it just smells like an ordinary, citrusy ASA/DIPA. Upon further quaffing, the pilsner malt, and noble hops come through. Though I'm still not sure I dig the Imperial Pilsner label.
[T] THIS is the beer Sam Adams NEEDS. This is the beer that hop heads WANT. Great DIPA qualities. The hops in this beer are amazingly intact. Front and mid body they seem to dominate the palate. Gritty pale, and caramel tastes appear. Finishes a very astringent bitter; like sucking a rind. Me likes that, though. Some dry, crackery pilsner malt wraps things up. You could definitely tell this beer is not fresh.
[F] Feel is very nice. Very soft and mild, with a decent carbonation. Not extremely sweet; but very dry and bitter.
[D] If this were available more often, I could see myself doing 2 in an evening. Hell; 1 lends a decent buzz @ 8%. 2 would definitely push me to move on to something more, though. I imagine a fresh one would be even more enjoyable, and tongue-numbing.
Overall, this probably should be slipped back into rotation at Boston Beer. Can't really say this beer has "peaked", but if you still have one, drink now, or pass it on. Not even sure why Archer hung onto it for so long. It's collecting nothing but novelty and dust. Enjoy!
Serving type: bottle
10-12-2010 13:47:49 | More by 3FaveryRogue
4.18/5 rDev +3%
look: 4.5 | smell: 4 | taste: 4 | feel: 4.5 | overall: 4.5
has become VERY hard to find this, but I found it and am promptly reviewing it:
I suspect this 4-pack has been cellared for a year or more - Les at Majestic Liquor tells me it was in the back.
A modest one finger head that settles to a film, with great lacing. Pours thick, orange-amber brew.
S: lite on the nose really I get much more malt than hops.
T - rather sweet brew, nicey balanced with a hoppy bite. really this is great but not as hop heavy as I expected.
M super heavy body. nice carbonation - no ABV bite but the buzz pulls thru well
D: approaching perfect. drink em up!
Serving type: bottle
08-15-2010 05:16:47 | More by burnerfinger
4/5 rDev -1.5%
look: 4 | smell: 4 | taste: 4 | feel: 4 | overall: 4
Beer review from BA Mag Aug 2007.
Thank the beer gods that Boston Beer Company brought their Imperial Pils back. It received rave reviews from us two years ago, so let's give this year's version a go.
Hazed amberish orange, the haze coming from the insane amount of hops being used here. Not a huge head, but the lace stays for the duration of the drink. Big, pungent, grassy, herbal and alcoholic notes with a biscuity malt aroma, all of which comes forth in a sort of perfume. Smooth and creamy with a full body. Explosive flavor to start, huge hits of juicy hops that go from fruity to bitter and resiny. The malt character is solid enough to hold its own, even though the balance is pushed way off to the hoppy side. Bitterness comes in waves and eventually takes over as the palate dries. Finishes with a seemingly never-ending hop flavor.
Pretty damn amazing and certainly a benchmark for this new American style. A sure pick for any hophead, beer geek or extreme beer lover. Pretty much any funky blue-veined cheese will make a good pairing.
Serving type: bottle
07-06-2010 14:05:50 | More by BeerAdvocate
4.18/5 rDev +3%
look: 3 | smell: 4.5 | taste: 4.5 | feel: 4 | overall: 3.5
12 oz. bottle tried 14 Nov 2007.
Large white-yellow head. Well carbonated. Surprisingly cloudy orange yellow color. Smells resiney, floral, A says like bubblegum. Well hopped, floral, fruity. Lots of malty sweetness too. Some green fruitiness. Alcohol fairly noticeable. Medium body, mouthfeel like 1% milk.
A good deal of gorgeous hop flavor (A).
Serving type: bottle
06-28-2010 05:38:46 | More by htomsirveaux
3.98/5 rDev -2%
look: 4.5 | smell: 4 | taste: 4 | feel: 3.5 | overall: 4
an extra from Hopstoopid120 - thanks
best before jan. 2009
pours a very cloudy amber orange with a big 2+ finger head with good retention and left notches all down the glass
smell - is malty carmel bready malts with some floral hops in the background
taste - i pick up the hops now - pine and grapefruit very juicy and bitter - the malts are strong - sweet bready carmel - reminds me of some bw's
mouthfeel is medium to heavy body that coats the mouth with hop resin - very smooth
drinkability was good - a very interesting beer that i hope SA brings out of retirement so i can try one fresh
Serving type: bottle
02-15-2010 01:21:24 | More by jsh420
3.78/5 rDev -6.9%
look: 4 | smell: 4 | taste: 3.5 | feel: 4 | overall: 4
Time to drink this one, it's been in the cellar for too long and is past its best by date. Given it's high alcohol content I'm sure it will be fine, though the hops may have faded some. Poured from a 12 oz. bottle into a pint glass.
A- Hazy orange, small white head. Lots of lacing.
S- Caramel and biscuity malt, floral hops.
T- Not surprisingly the caramel and biscuit malt background is there. The hops have clearly faded from what they once were but are still there and are pleasantly balanced with the malt.
M and D- Medium bodied, good carbonation. I would drink more of this...but I think this may be one of the last bottles around so that will probably not be a possibility unless SA brews more.
What I like about this is that unlike some other imperial pilseners I have had that end up just tasting like IPAs or DIPAs, this one actually tastes like a double pilsener. Very interesting beer.
Serving type: bottle
02-04-2010 07:15:52 | More by Shumista
2.6/5 rDev -36%
look: 4 | smell: 4 | taste: 2 | feel: 3 | overall: 2
They should rename this imperial to Totalitatian, because this is a "mother" of a pilsner...totally overwhelms my palate with bitter pine and grapefruit hops, it best described as hopjuice. For my palate, this is like the aged very expensive smelly cheese someone brings to your dinner party....
Serving type: bottle
11-05-2009 21:06:00 | More by WCBCFrank
District of Columbia
3.55/5 rDev -12.6%
look: 3.5 | smell: 3.5 | taste: 3.5 | feel: 3 | overall: 4
Appearance: This beer had a nice cloudy orange characteristic with a nice head.
Smell: I don't know, hops? There is some malt in there, but you really are getting that hops aroma up front.
Taste: If you don't like herbal intense hop flavor, you will not like this beer. It has some malt but you are just getting a real hops experience. If you breathe through your mouth, that floral aroma stays with you. This beer was a lot of fun.
Mouthfeel: Now this is complicated. I did not like the first sip. It was like chewing the hops. But as my palate got acclimated to the beer, it was actually quite smooth and refreshing.
Drinkability: Be nice to this beer. I can see that some people dont like the style. But I can say i really liked it. Not usually what I go for, but a good beer overall.
Serving type: bottle
09-30-2009 21:23:47 | More by pzrhsau
New York
3.75/5 rDev -7.6%
look: 5 | smell: 3.5 | taste: 4 | feel: 4 | overall: 3
Presentation: It was poured from a brown 12oz bottle into a pint glass. The label reads best before Jan. 09 and it was sampled on 6-24-09.
Appearance: The body has a deep orange amber color with a few random and tiny bubbles of carbonation here and there. Its clarity is very good as well. The head is very thick and creamy with about a two and a half finger thick ness. It is light tan in color and very long lasting which makes for nice sticky rings of lacing on the glass.
Smell: The aroma is really rich and full of leafy/spicy hops and pale bready malt.
Taste/Mouth: The flavor, like its aroma, has an intense spicy/leafy/herbal hop character. It is in you face with hops and bitterness. Under this heavy layer of hops is a simple and very modest pale bready malt flavor. There is just enough malt presence in there to remind you that this is a beer and not just a bottle of hop extract. It finishes with slowly with a strong hop flavor and bitterness that clings to tongue and feels like it is pulling the enamel off of your teeth. The palate has a full, thick body and slick texture with light carbonation.
Notes: This is a big, full hop bomb and I even sampled it a few months passed its freshness date. I love hops and the flavor was very good but I am not the biggest hop head in the world so for me the drinkability was low on this one. A little bit of this goes a long way.
Serving type: bottle
09-18-2009 16:57:07 | More by generallee
4.22/5 rDev +3.9%
look: 4 | smell: 4 | taste: 4.5 | feel: 4 | overall: 4
I decided to buy another 4 pack of this today as I forgot to review it some months ago when I first had it. Poured a light and bright orange amber. Nice spicy hop aroma, but I remember it being a little more pronounced the first time. As far as the hops, the taste was more of the same...a little less intense than I remembered, but I did notice some malts this time. I don't remember that aspect. It's spicy and floral on the hops and slightly sweet on the malts. Mouthfeel is same as remembered with a very rich and creamy feel. I've never been a fan of pilsners, but I really like this...probably because it's stretching the style a bit.
Serving type: bottle
09-12-2009 00:48:43 | More by alkemy
4.58/5 rDev +12.8%
look: 4 | smell: 5 | taste: 4.5 | feel: 4.5 | overall: 4.5
This beer is as advertised: Intense.
A: Cloudy enough to render this opaque. Brassy body with a thin white head.
S: You just got clubbed in the nose with a Hallertauer Hop bat. Yeah, so this should be expected but, this is has a big hop aroma. Pithy, pulpy, pine needles, grapefruit, and lemon zest. Very aromatic.
T: The question that immediately runs through your mind as this floods your mouth is "What was the safety word, again?" Then you begin to like it. Yeah you do...You like that immense bitterness and the utter abuse of hops here, don't you? Yeah, you like the explosion of flavor in your mouth with each swallow of this delicious brew, don't you? This review is making you feel dirty, isn't it?
M: Full is an understatement on the body. The carbonation is ridiculously close perfect but just a hair high.
D: If you do not like this beer you are either A) a Zima fan, B) not a Hop fan, or C) dead.
Serving type: bottle
08-19-2009 18:21:34 | More by DeathbySexyBT
4.33/5 rDev +6.7%
look: 4 | smell: 4 | taste: 4.5 | feel: 4 | overall: 4.5
Ruby-orange and cloudy. Almost a pink hue to the orange color. Nice head retention on a creamy head of foam that has a cream color to it. Some tiny prickle.
Very faint hops in the nose. The nose actually has me braced for some big sweet malt. The hops starts to come alive a little more with repeated sniffing or perhaps with time to aerate. Perhaps this is how Bavaria smells.
Floral hop attack and for sure some malt sweetness. The hops seems to keep the malt in check where many beers the malt controls the hops. Very little aftertaste. There is a definite floral character to the flavor that is almost sweet.
I like the smell.
Its a thickish mouthfeel and actually looks thick while its being poured.
Some residual hops for an aftertaste. The floral sweetness is the only thing I could do without, but it makes "this beer" "this beer" now doesn't it.
Serving type: bottle
07-25-2009 03:29:30 | More by Ragingbull
3.7/5 rDev -8.9%
look: 4.5 | smell: 4 | taste: 3.5 | feel: 4 | overall: 3.5
A little difficult for me to grade since it's a bit unique and I haven't had any of the small handful of imperial pils on the market.
A) Hazy orange beer. Billowy white head. Tight, tiny bubbles in the head.
S) Malty sweet and hoppy. So this is hallertau.
T) Big, syrupy sweetness. Hugely bitter that washes out most of the syrup. Monstrous. A little medicinal.
M) Medium Mouthfeel, medium carbonation.
D) Higher than expected. The big IBUs keep the malt in line.
Serving type: bottle
07-21-2009 17:11:27 | More by esv
4.28/5 rDev +5.4%
look: 4 | smell: 4 | taste: 4.5 | feel: 4.5 | overall: 4
A: pours a cloudy orange with a thick and creamy white head and nice lacing
S: Smells like hallertau hops... in other words, this beer is extremely floral mixed with dried fruit. smells fantastic
T: there is a huge hop flavor here, i surprisingly enough get a slight caramel/toasty note in the deep background (if you let it sit in your mouth for a second).
M: Really thick and smooth, very creamy. finishes dry
D: If you like hops this one has them. Don't know if I could drink a bunch of this but its good.
Serving type: bottle
07-16-2009 20:43:24 | More by LyonsHead
4.35/5 rDev +7.1%
look: 4.5 | smell: 5 | taste: 4.5 | feel: 4 | overall: 3.5
12 oz bottle poured into a Pilsner Glass. Enjoy by January 2009 (a wee late) Special thanks to Sweemzander for this one!
A - Very slightly hazy orange/amber with a stable two finger white head that slowly went down leaving legs, a rocky surface, and spots of sticky lacing.
S - Bursting with aroma! This beer is obviously filled with the Hallertau noble hop variety but it brings with it a bouquet of other aromas like fruits; slight orange citrus, apple sweetness, pear, and a white grape dryness. Also in the aroma is a blob of sweet honey and a strong backbone of sweet malts.
T - Yep. That is an intense hop experience like the bottle says. The bursting-at-the-seams level of Hallertau is delicious if not strong, bitter, dry, and fruity. Pine and citrus are mellow but present as well as the malty backbone to level the extreme hop addition out slightly.
M - Rich and creamy smooth with a dry finish that's got one hell of a bitter kick. Low carbonation on the tongue.
D - Hmm, this is an incredible big beer but I don't really know if I'd want more than one per sitting. That's a wallop. For the age it doesn't show it being "old". I'd love to try a fresh one and see how much more intense the experience is.
Serving type: bottle
07-10-2009 03:22:02 | More by BeerFMAndy
3.9/5 rDev -3.9%
look: 3.5 | smell: 3.5 | taste: 4.5 | feel: 4 | overall: 3
This came in a bottle. It had probably mellowed a little because it sat in my closet for a few months. The beer is a little cloudy somewhere between yellow gold and brown. More on the lighter side but not light like a typical pilsner. The smell is a little too malt/sweet scented. It tastes a lot like a double IPA except with more intense hops if you can beleive that. The sweetness in the scent doesn't come through too much in the taste. The beer has a decent aftertaste with citrus being the dominant flavor. The intense hop taste makes this beer not so drinkable. I couldn't really go past a single. Definitely worth a try.
Serving type: bottle
07-06-2009 22:38:17 | More by bheilman
4.38/5 rDev +7.9%
look: 4 | smell: 4 | taste: 4.5 | feel: 4.5 | overall: 4.5
I normally scoff and roll my eyes when I see things like "an INTENSE hop experience" or "reckless quantities of hops" on a bottle's label. So, as I try this for the first time, I'm doing just that.
Poured into a pint glass, it looks a little DIPA-ish, but kinda cloudy and possibly a bit lighter in color. Nice foamy head, but you'd expect that with the "reckless" hops.
Aromatics do indeed show a big hop blast of the piney sort....
I'll be damned. The bottle wasn't kidding. This comes off as an alternate-universe DIPA, and an intense one at that. Flowery, spicy, honeycombed hops with just a ton of perceived bitterness. Some sweet malt does try to fight through, but is overwhelmed by the hops. Very nice hop character here. I can almost perceive a hint of bitter chocolate as well, which struck me as odd but pleasurable.
Feel is big and resiny, carbonation has a "soft" feel I like.
I haven't had many imperial pilsners, but this one shoots to the top of the list. Quite a beer, and one that lives up to the claims on the bottle. My only complaint is that I have no clue what to pair this with. I tried it with some pretty bold, spicy Mexican food...and the beer overwhelmed the food. Maybe this one is cheese-only for pairing purposes. Other than that, very drinkable, if you're in the mood for a different kind of hop fix. It's nice to try a big bastard of a hoppy beer that doesn't use traditional American hops. As I said, it's like an alternate-universe DIPA.
The BBC really does make some f'ing intensely flavorful beers when it wants to. This is one of them.
Serving type: bottle
07-06-2009 14:15:09 | More by Patrick999
Samuel Adams Hallertau Imperial Pilsner from Boston Beer Company (Samuel Adams)
91 out of 100 based on 771 ratings.


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Trail Running - Section 3
Tired of that same old route on campus? Come trail running! We'll get you out on the spectacular local trails, provide training tips, teach you how to navigate in the woods, and run you over hill and dale, through forests, fields, and mudpits. It will be a confidence-building, life-changing, attitude-adjusting experience. We'll start easy and gradually build over the duration of the course, but you should be able to run comfortably for 50 minutes. Group pace. No one will be left behind. Attendace policy: You can miss two classes and still receive credit.
Course Schedule
The Essentials
First Class:
Equipment Needed:

subset: commoncrawl


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Are there any teeth to Big Jim's latest threat? Is some sort of pay scale coming sooner rather than later? And does understanding Roman numerals still make Ohio St. fans dizzy and nauseous?
Nebraska spotting Minnesota 14 points could make things interesting in Lincoln this weekend.
The 2012 Big Ten Media Days kick off today. Here's today's schedule. Coaches press conferences wlll be shown live on BTN and streamed on BTN2GO. WoohoO!!!!!
The Big Ten seems have a lot of excuses about why they can't complete in baseball. Does the success of Stony Brook and the potential of Kent State make them look silly?
Bowl executives are uninvolved with the future of the BCS...that could be the biggest sign that a playoff is coming.
There will be no college football playoff system that doesn't include the current bowl system because of the Rose Bowl. I hate the Rose Bowl more than ever. Oh, and relegation.
A look at some of the Big Ten's baseball schedules shows why the conference isn't taken seriously at the national level. This must change if the conference is serious about getting a team to the College World Series.
Conference realignment is about to go nuclear. The ACC seems poised to go to 16 teams with Syracuse, Pitt, and now UConn and Rutgers. Oklahoma and Oklahoma State are headed west, and now it seems Texas Tech and Texas will join to create the Pac-16. The SEC needs to add teams as well. With the death of the Big East and Big XII, does this finally nudge Notre Dame into the Big Ten?
Tom Osborne's patience comes to fruition.
Big 10 Countdown #11 - Can the Huskers Come Out and Play?
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NEWBERRY, SC – North Georgia cruised out
to a 20-point halftime lead before running away from Newberry
College with an 82-63 victory Saturday evening at the Eleazer Arena
in non-conference action.
The Saints improve to 4-0 on the season in their final tune-up before jumping into Peacb Belt Conference action Monday evening in a clash of unbeaten teams as North Georgia travels to Francis Marion University to take on the 6-0 Patriots.
North Georgia found themselves with a nine point lead midway through the first half, but a 16-1 run down the stretch put the Saints up by 24 points with just 4:33 remaining in the half. Senior LaBrian Lyons put a lid on the first period with a fastbreak dunk with 37 seconds remaining to give North Georgia a 45-25 lead at the break.
The second half saw the Saints pick up right where they left off in the early going, using a three-pointer from Andre Morgan, and a three-point play the old fashioned way by Myron Talbert to give North Georgia what would be their largest lead of the game at 51-25 with 19:10 remaining in the contest.
Newberry (6-2) was able to get back into the game as Brett Goodwell sent a running layup home with 5:37 remaining in the contest to cut the Saints' lead to just 12 points at 71-59. North Georgia answered right back however, with seven straight points to push the lead right back to 19, a lead that would be the final margin in the Saints 82-63 road victory.
Michael Moynihan led the way for the Saints with 20 points on 7-7 shooting from the free throw line, while Lyons tallied 17 points of his own while grabbing five rebounds. Morgan chipped in 14 points and five steals, and Talbert reached double figures with 11 points.
Goodwell led Newberry with 27 points and six rebounds, while Grant Domsic added 12 points in 38 minutes of action.
The Saints will travel from Newberry College to Florence, South Carolina, where the Patriots will be waiting Monday evening at 7:30 p.m. as both teams open PBC play.


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Spinach and Olive Pesto
Recipe Summary
Recipe Servings: 4 portions
Recipe Preparation Time: 5 minutes
Recipe Cook Time: 0 minutes
1 8-ounce bag baby spinach
1/2 cup pine nuts
3 cloves garlic, peeled
1/4 cup freshly grated Parmesan
10 black olives, preferably Nicoise pitted
1/4 cup Lucini® Organic Limited Reserve™ Extra Virgin Olive Oil
Salt and freshly ground black pepper
Place ingredients into food processor bowl. Pulse until thoroughly mixed about 15 seconds. Toss with the pasta of your choice or use as a Bruschetta topping or as a crust for Roast Chilean Sea Bass.
Recipe by:
Lucini's work with small regional farmers, celebrated chefs, health and wellness experts continues to provide us with an unmatched selection of ingredients and gourmet recipes to share.


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ECU Men's Golf To Open Season This Weekend In Chapel Hill
Pirates among 14 teams competing at the Tar Heel Intercollegiate
ECU Men's Golf Begins Quest For Return Trip to NCAA Finals
The Pirates open the fall portion of their 2012-13 schedule at the Tar Heel Intercollegiate
As A Freshman (2012-13): Did not participate in any events during the season.
High School:Home schooled as a part of the Pamlico Christian Academy ... Seven-time Eastern North Carolina Junior League Golf Champion ... 2008 Coastal Plains Junior Amateur Overall Champion ... Coached by Gordon Fulp ... Three-year basketball letterman for the T.E.A.C.H. (The Eastern Association of Christian Home Schools) Trailblazers ... Served as tem captain as a senior ... Named the team's offensive MVP as a junior.
Personal: Born Joshua Braxton Chandler on March 29, 1993 ... Parents are Ricky and Bess Chandler ... Has a younger brother, Matthew (13) ... Intended academic major is business.


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Jim Hart: The Art of Juggling
" Sometimes I think, is this just too much, is this too wide a spectrum; but, in all honesty, I just love it all so much. But I do wonder, as I get older, if I'll close some things off and focus on one thing more than another. But, in a way, I hope not. "
An alumnus of Chetham's School of Music and the Guildhall School of Music and Drama, he was awarded the John Dankworth "Most Promising Musician" award in the BBC Big Band of the Year competition for his drumming, and his skill as a vibraphonist earned him the British Jazz Award for "Rising Star" in 2006, and for miscellaneous instrument (vibes) in 2007.
An avid juggler since his youth, his ability to keep several things up in the air at once has served him well as a musician. In addition to fronting two different bands under his own name, this multi-instrumentalist is also a much sought-after sideman whose wide-ranging collaborations, despite his youth, are already too numerous to mention. His recordings have earned him rave reviews from the Guardian, the BBC, and All About Jazz, and foreshadow a bright future for Jim Hart the vibraphone.
Chapter Index
Formative Years
All About Jazz: You began playing piano and drums when you were four. You must have come from a musical family?
Jim Hart: Yes, certainly there was always music going on around the home. My mum was always into folk music, she used to run a folk night in Birmingham when she was a teenager and in her early twenties. So, she used to play guitar and sing.
My dad was always involved with choirs, particularly male voice choirs. My brother, who is four years older, is a trumpet player, so he was really involved in music and there was a lot of music at home.
There was a lot of support when I expressed an interest, and they were very helpfulproviding me with lessons and encouragement.
AAJ: So, how did the piano come about?
JH: We did have a pianomy dad plays piano. So, there was one in the house and I was keen to play it. And I also started with drums at the same time because I wanted to do both. I was playing drums before there was a drum kit in the house, I was playing pots and pans pretty regularly.
AAJ: That shows a lot of commitment from your parents to let a small child loose on drums.
JH: Yes, I was probably about five when I got a kit at home. I went to take lessons and they told me to come back later because my hands were too small. They said, "Come back next year when you can reach the pedals."
AAJ: What kind of music were you exposed to around the house?
JH: Because my brother was older, he was already taking trumpet lessons. The only guy who was around was a jazz trombonist, so through him he actually got introduced to jazz quite early.
So, some of the earliest things I remember, apart from male voice choir things, was some of my mum's Joni Mitchell, Joan Baez and people like that. Some of the things that really made an impression on me were Miles Davis's Sketches of Spain (Columbia, 1960), Oscar Peterson, you know we had just a few jazz things in the house, it was mostly through my brother.
AAJ: Did your brother stick with music?
JH: He left it for quite a long time when he was eighteen or nineteen, but now ten years later he's gone back to it in a very keen way. He's in an amateur band, and he called me the other day and said they've already got thirty gigs booked this year. He's playing jump-jive music and he was in a reggae band before, so he's really actively involved.
It's a shame he quit back then because he was a very good jazz player and improviser, but he's getting his chops back together and sounding good.
AAJ: You started playing jazz when you were around ten, so who were some of your first jazz heroes?
JH: Chick Corea was my biggest hero for years. My piano teacher was from Philadelphia and heavily influenced by Chick. So, we worked on a few transcription things, like "Spain," "No Mystery," and things. So I listened to quite a few of his records, especially the Return to Forever stuff.
Oscar Peterson would have been another of my big heroes, the trio with Ray Brown. I had compilations of various sax players, and I was into Julian "Cannonball" Adderley without really knowing who he was. He was one of those guys who was on a compilation, and I just loved his sound. Of course later I really got into him and discovered his whole legacy and who he was, and the enormous amount of stuff that he did.
When I was sixteen I went to music school in Manchester, so for me that was a real period of consolidation. I met a couple of guys who had really big record collections. So I started to explore in much more depth names that I knew, and recognized what they did, but I really didn't know that much about them. People like Miles, Cannonball, John Coltrane, and Birdyou know, basically I got to check out nearly all of their records. I got to know their various bands and understand how it really all fit together.
AAJ: How about in terms of drums, who impressed you?
JH: Yeah it wasn't until I got to Chethams (School of Music) that I really started to take jazz drumming seriously. Up until that point I played a lot of funk, but I really wasn't focused on jazz drums. As a child I'd always been into Buddy Rich, later I got into Sting and Vinnie Colaiuta, and groove players. I guess I kind of knew about Roy Haynes, Elvin Jones and definitely Max Roach.
But I really didn't take jazz drums too seriously until I met Dave Hassell. He was my drum teacher in Manchester and he encouraged me to look at these guys in more depth, people like Philly Joe Jones and Roy Hayneswho is my favorite drummer of all time. So Dave really introduced me to him and showed me what an amazing musician he is.
And Tony Williams, Billy Higginsyou know, just seeing how many amazing personalities there were in music, and their scope and depth on drums.
London Years
AAJ: How important to your musical development was your extra curricular musical activity with other like-minded students at Chethams?
JH: It was phenomenally important. We had the opportunity to play all day long if we wanted to. Because I was there in sixth form, and most of the guys who were interested in playing jazz were around the same age, we had a fair amount of freedom and obviously great facilities at our disposal.
So, we were at that age where we were all able to play, but we hadn't done a lot of playing with other people. We spent so much time hanging out and listening to music, playing each other music, and discovering music together. Then we would go and try to play it. So that really prepared me for Londonyou know, that approach is definitely how it works on the scene here in London. I think it will probably be like that for the rest of my life. It's great, you meet new people and you expose each other to new music, and you play together and you just keep that enthusiasm and that energy for making music.
I once lived in a house with six jazz musicians. We lived together for seven and a half years. We had two big playing spaces, one of which was my room and the other was another room. It was just an amazing life. We just hung out and explored music together, we practiced, wrote, and listened.
AAJ: Were you split between drums and piano?
JH: Yeah, I was starting to get my jazz drum thing together, but I was probably more advanced and comfortable playing jazz on piano.
AAJ: What were some of your fondest memories at Guildhall in London?
JH: That's a good question because I had quite a mixed experience at Guildhall. I guess the fondest memories would be the same as at Chethams, meeting lots of new players who were at a higher level. There was a player, Andrew McCormack, who was in my year, and he was a phenomenal pianist who was already really advanced and leagues ahead of the rest of us. We lived together for a while and he was from London, so he also knew lots of players from the London scene. So I met a lot of his friends, people like Tom Skinner, who ended up as the drummer on my first Gemini recording Emergence (Loop Records 2006).
Some of the teachers were great. I really liked Martin Hathaway and Simon Purcell, they had a very methodical and interesting approach to teaching improvisation, which is such a hard thing to do. Pete Churchill was a phenomenal teacher of harmony with whom I had piano lessons.
I didn't have such a great time as a drummer there as a student, but I did have a great time playing there. It's really where I started developing my kit playing, but I wasn't too happy with the drum tuition I was having. I eventually let it fall off because it didn't match up to the work I had done with Dave Hassell at Chethams, and I also started thinking more about vibes at this time.
Speaking of Vibes
AAJ: Piano and drums would seem to be an ideal foundation for anyone who is interested in playing the vibes?
JH: Yes. Once each term we would do a small recital, about half an hour, so for one of these recitals I decided I would do one tune on vibes. So for half of the program I played drums with a piano trio and then I had another drummer come out and I played something I composed for vibes.
I really enjoyed it, and I got some great feedback from other students who said, "Wow, we haven't heard you do that before, that was great!" But I didn't do it again for about another year. I probably had left college by the time I did it again. I was hanging out with a great flautist, Gareth Lockrane, who knew that I played vibes and that I had a set down in CornwallI didn't mention this before, but a very good friend of my first piano teacher gave me a set of vibes which I still haveset up next to me now. An old Trixon set. He just got too old to play it, so he gave it to me when I was about eleven. So I always had this instrument around at home.
It's weird that I didn't get more into it earlier, I never really thought much about them.
AAJ: Do you think that perhaps it was advantageous that you learned piano before you concentrated on vibes?
JH: Potentially yes, because I did a lot of gigs on piano when I first left college. I did a residency in a bar, and it was a duo residency, so I would just call whomever I wanted. Most of us at that age were happy to work through a bunch of standards for fifty quid and a steak dinner.
So I did that three times a week, and I don't think I would have been able to do that as a vibe player. I did that for two or three years and it was great, I learned so many tunes doing that. So yes, you're right, it was a very formative period for me, and advantageous for my piano chops.
So it was really Gareth Lockrane who offered me some gigs with him if I would bring my vibes up to London from Cornwall. So I brought them up and began practicing, and he was true to his word and gave me some gigs [laughing] and put some outrageous charts in front of me that I couldn't really playhe really roasted me.
Then Gwilym Simcock, who was really a good old friend from Chethams, called me to work with his band on vibesand the rest is history. So it was those two guys who really gave me a break as a vibes player.
AAJ: You thanked Joe Locke on one of your CDs, could you expand on that?
JH: So, Joe and I are quite close and good friends now, and that's something I'm really happy about because I just think he's an amazing force for good in the world.
I met him when he came to the Royal Academy of Music in London. One of the guys I lived with was a student there, so after I left Guildhall I used to go there and hang out a lot with him and Gwilym, and I got to know the head of the music department. So he called me up and said that Joe was going to do a masters class there, and because they didn't have any vibes players at the college at that time he asked if I'd like to come and sit in so Joe would have someone to work with.
So, of course, I went and sat in on this master class and that was kind of the beginning of our friendship. He was very encouraging and very nice about my playing, picked out some holes, and asked me if I would like to come to New York and study with him.
I did think hard about doing it, and decided against it, but I did take the opportunity of getting together with him for lessons several times when he came to London. I would always go back to the Academy when he came overwhich he was doing fairly regularly for masters classes. So we saw each other quite a bit and he helped me with my playing.
He started following what I was doing in terms of recording, and a couple of times he sent me emails and called me up out of the blue just to encourage me. He would say something like, "Hey man, I'm listening to your record and I think it sounds great, keep doing what you're doing." He's talked to other people about me and has been very gracious, so I've very grateful to him.
When I was in New York recording with Michael Janisch he lent me a set of vibes for a week out of the kindness of his heart. So I'm in his debt.
AAJ: At first blush it seems vibraphone players are at a disadvantage as soloists compared to keyboardistsfour mallets vs. ten fingers. After thinking about it, I suspect that is conceptually wrong because a pianist is generally soloing with the right hand, while a vibraphonist when soloing is constantly alternating between the left and right hands. As an outsider, I would guess that symmetry coupled with the tactile quality of physically hitting the notes, makes the vibes an exhilarating instrument to play?
JH: It's an exhilarating instrument to play, that's for sure. Very physical because the notes are so big. If you think about a piano, you can spread an octave between your thumb and little finger. The vibes only has three octaves, and it is almost as wide as if you spread your arms out side to side. So you're covering a lot of distance for a short range of notes. So in order to play a line that might require you to move your hand six inches, you're moving your whole body, swinging your hands left to right, so it's quite physical and that gives you a certain feeling. But in terms of the ten fingers vs. four mallets thing, I tend to make more of a comparison to the guitar in terms of putting down a line and being able to comp.
With piano you can play a line and a chord, but with vibes or the guitar, you play a line or a chord. It's not really possible to play a line and put a chord underneath it.
AAJ: Can you also think of it in terms of let's say a saxophone? Okay, with vibes you can play chords, but when you're soloing on sax or vibes you're alternating between hands.
JH: Well I try to integrate chords into what I'm doing, that's something I practice quite a lot, playing chords in the spaces of the lines. That's what all my favorite guitarists do, so actually I listen a lot to how guitarists do this, like Bill Frisell, John Scofield, Kurt Rosenwinkel, and Wolfgang Muthspiel. And I really try to think about how they will go from single note lines to even just two or three note chords, and change the texture of a line.
Like tonight I have a trio gig with Mike Janisch and Dave Smith, and for me that's really an ideal situation to use the vibes to its full capacity. You're never really comping fully behind a front-line soloist, maybe just behind the bass solo. So if I'm just playing a single note line in this formation it's going to sound a bit thin, so you really have to think about combining all of your techniques to come up with a rich musical texture.
AAJ: Speaking of guitar, I noticed on your first solo CD you have a piece where you get an electric guitar sound out of your vibes.
JH: Yeah, I use a pickup system on the vibes so I go through a guitar amp. So I do have the option of adding some distortion, or delay. You know the vibraphone is actually a pure sound, it's one of my slight frustrations with the instrument, I'm really envious of guitarists because I don't have that option of pulling out different harmonics and overtones from the notes, bending the notes, or bringing out different frequencies by slightly damping the strings or whatever it might be. It's a difficult instrument to make sound human, you probably have the least ability to affect the note.
AAJ: Have you given much thought to any technical enhancements?
JH: Sometimes I use a double bass bow, so that way I can start from nothing and crescendo into the note. And using a rubber mallet you can bend a note, so I do a bit of that. And using the guitar effects, like a ring modulator, distortion, delay, and a bit of reverb to sometimes exaggerate the feeling of what I'm playing.
AAJ: When you compose do you switch back to the piano, or stick with the vibraphone?
JH: It varies. I used to always write at the piano and then find that some of the things wouldn't work well on the vibes. So starting with my second CD Narrado (Loop, 2010) I wrote most of it on the vibes. Now I use Sibelius a lot, it's is a software that allows you to compose on the computer. Then to see if it works I'll go to the vibes or the piano.
I've discovered over the last ten years from transferring what I've learned on the piano to the vibes, I've found that much of it just doesn't work. Either you're dealing with five or six note voicings or the thing simply isn't playable. So you have to find a way of getting that same feeling on the vibes with its limitations.
It's been quite interesting and actually it's probably helped my piano playing. I've had to throw a lot of unnecessary notes away, and refine five or six note voicings down to the four most important notes. I get it down to that and then everything is a choice, so it's really been rather educational finding the most important sounds.
AAJ: Are you disciplined about your composing, or do you just wait until it comes to you?
JH: [Laughing] I'm quite good with deadlines. When I have things I need to write for I find I don't have difficulty coming up with stuff. I don't write all year long, or every day.
AAJ: On your three solo releases you cover a wide range of styles, from the freedom of Gemini, to the sensitive interpretations on Words & Music (Woodville, 2010), your tribute to the art of song. On all three, as well as your work with Neon, I get the sense that you aren't discovering something new, rather you already seem to be very much at home all over the musical map.
JH: Thank you, and I do feel like that, and sometimes it worries me in terms of the perception of my musical identity. You know, I play drums with Cleo Laine, and I play a lot with people like Alan Barnes doing things like Benny Goodman projects, and I do all this stuff with the Loop Collective which is mainly pretty much avant-garde, then I do my Gemini which isn't quite as avant-garde but still a bit left field, and then my quartet which is pretty straight ahead.
So sometimes I think, is this just too much, is this too wide a spectrum; but, in all honesty, I just love it all so much. But I do wonder, as I get older, if I'll close some things off and focus more on one thing than another. But, in a way, I hope not, you know what I mean?
AAJ: Sure, in a way it's a natural process of all the interaction you've got going.
JH: Yeah, everyone's got something different to bring and to say, so it brings out a different part of me. I just hope I can hold on to my own voice all the time, regardless of the situation.
I was watching an amazing thing online, Hal Galper's master class. He was noting that the strength of a good jazz musician is to be in various situations and still retain your own voice.
Odds & Ends
AAJ: What's something that you've got on your iPod that might surprise your fans?
JH: I play drums in a really cool blues/rock originals band called Sister Mary and the Choirboys, and we're all into a duo from the States called The Black Keys, it's a guitarist and singer and a drummer, and that's something outside the jazz world. They've got a really cool album called Brothers (Nonesuch, 2010) and I'm listening to that quite a lot and it's really good.
AAJ: Speaking of Neon, Here To There (Basho, 2007) with Stan Sulzmann and Gwilym Simcock is a great recordingsaxophone, vibes, and grand piano without drums or bass. On the final cut, "Sweets," Simcock also overdubs a French horn and Sulzman overdubs flutesit's such a great sound.
JH: Yeah, that's Stan all over that tune and it's just a really great piece of writing and arrangingbeautiful. I forget about that as we never played it live because of the overdubs, but yeah that is a really great tune, and it's nice to hear Gwilym on French horn, I don't think he does much of that anymore because he's so busy with his piano playing. But it's also great seeing him get European wide, perhaps worldwide recognition. He's flying really high and that's great, but I miss playing with him as regularly as I used to.
AAJ: I'm curious about your attitude towards overdubbing, I noticed you haven't overdubbed any piano or drums on your recordings so far.
JH: It's not because I'm against it. I think when you're in the studio and you've got those facilities available to you, it's definitely an option. I'm totally in favor of it, I guess the only reason I haven't done it is because I haven't felt the need on those sessions. [Laughs] I always get great drummers to work with, so there's no point in saying, "Well, I going to overdub myself on this one, you just go get a pizza or something."
I have got this new project with Ivo Neame that we're premiering at the Loop Festival in March which is called Duo Plus. He's a great sax and pianist, so we're doing this thing where he plays both, and I play drums and vibes. We mix it up with all the different combinations, there can be drums and sax, vibes and piano, vibes and sax. We've done a few gigs like that recently, and Rory Simmons a great trumpeter from the Loop Collective happened to be there, and he came and sat in. And suddenly there's this fifth instrument and all these new combinations.
So we're going to have him on a few tunes as the "plus" and we're going to have Orin Marshall who's an amazing tuba player from London who will also join us for a couple of tunes. So Ivan and I have been writing a bit for that, and with the tuba you can almost have a piano trio. It's going to be exciting and I'm going to get to play quite a bit of drums on that. That will actually be the first time I get to play drums on music that I've written.
AAJ: I noticed you spent some time in Brazil, I wonder if you could share a bit from that experience.
JH: Oh God, where to start. The overriding feeling I had coming back from Brazil was the sense of injustice that I came from a country where folk music was no longer celebrated by the folk.
In Brazil it seems like everyone you meet is connected with the music of that country somehow, even if they just dance, or sing. There's this tremendous wealth of traditional music and the majority of the country seem to know all of the songs.
There's live music everywhere, and if the band starts playing one of these songs, the entire place is singing along. And this happened everywhere we went in Brazil. It was like, wow, this is amazing! And it's great music, it's like jazz standards, they've got these rich harmonies, killing grooves, and everyone singing and dancing. I just felt the entire country placed an enormous importance on their culture.
So I came back and I thought, I can't think of a tune in England [laughs] apart from "We Are the Champions," "God Save the Queen," a line from "Auld Lang Syne," or "Happy Birthday" that everyone would know. I just thought, this is so sad. I think in other countries it's like that too. Like in Ireland, Wales, and Scotland they've got that strong folk roots, so I'm surrounded by the countries who've got this rich folk tradition, and yet we don't have it.
But the music of Brazil is amazing, I was in love with it before I went, and I discovered so much more when I was there. I got to see the Olodum drummers in Salvador. I knew them from when they collaborated with Paul Simon on the Rhythm Of the Saints album (Warner Brothers, 1990).
That was just incredible, the power of it. They were up on the stage and then the audience was below them and facing them, they were all dancing in unison doing the same dance, and the drummers were all kind of swinging back and forth as they played. Salvador has a real African feel to it, much more so than in the South in Rio or Sao Paulo. So there was this face-off between the drummers and the dancers and the energy in the room was just amazing.
We were standing to the side so we could see the drummers to the right and the dancers to the left, so that was definitely one of the most powerful experiences I took away from the trip. The beat of the drums was just hypnotic.
AAJ: Do you have any hobbies outside of music?
JH: I'm quite a keen juggler, I've always juggled since I was about thirteen. I took it quite seriously, I actually thought about going down that road and being a street performer, or joining a circus or something. I've got a few circus skills, I can ride a unicycle and my dad was a gymnast, so I was always kind of interested in acrobatics. So I keep my juggling up, and I enjoy swimming regularly. I sail, I windsurf, and I surf when I go home to Cornwall. So those are my interests, but some are harder to keep up here in London.
AAJ: I know you were in the States, but it's a bit difficult for Europeans with the work permits and everything. But I was wondering if there are some Americans you are interested in working with?
JH: I did a collaboration with Ralph Alessi here last year. He's a great trumpet player from New York and one of my favorite musicians on the planet. We did about a week's worth of gigs and I hope that's the first of many. I'd really love to work with him again, it was really some of the most enjoyable music making I've ever done, and I'd really like to do more with him again. We also recorded one of the gigs and if it's okay with him we'd like to release it, it was with my trio, Mike Janisch (bass) and Dave Smith (drums.)
So I'm planning a trip to New York in June and I'm hoping to meet up with him then.
AAJ: Anything else on the horizon?
JH: The new Neon Quartet will be touring in the UK from mid April to mid May, I think we've got about ten gigs lined up.
AAJ: So just for fun. Let's say you get to be part of a seven piece band made up of your musical heroes who are no longer with us, who would they be, and if you could only play the music of one composer who would it be?
JH: So it would be Elvin Jones on drums. I'd like to get Dennis Irwin on bass, it was really sad that he died last year, not old at all, he was an amazing bassist. Thelonious Monk on piano [laughs] and find out what that would be like! Coltrane on tenor sax and Miles on trumpet. Finally, Roland Kirk on flute or whatever else he happened to have with him. And seeing that Monk is in the band, we could do Monk's music.
Selected Discography
Neon Quartet, Catch Me (Edition Records, 2010)
Jim Hart Quartet, Words & Music (Woodville Records, 2009)
Jim Hart's Gemini, Narrada (Loop Records, 2009)
Neon Quartet, Here To There (Basho Records, 2007)
Jim Hart's Gemini, Emergence (Loop Records, 2006)
Photo Credit
Pages 1, 2: Courtesy of Jim Hart
Page 3: Mike Stemberg


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Adewale Akinnuoye-Agbaje -- you may remember as Mr. Eko on "Lost" or from "OZ" -- co-stars in the new "Pompeii" movie as Atticus, a champion gladiator trying to buy his freedom with one last fight.
"Atticus is a relic in this. He's ferocious with what he has to do because he has to stay alive to win his freedom," Adwale told Shadow and Act. "But just having a platform to show the different layers of a character that big. He's not simply a badass, he's a badass with a heart and principles. And also the relationship with him and Kit Harington's character. We go from foes to bros. It's a nice journey.
"And then to stand in the face of death and destruction, and to be that mighty. And then you've got that black fist up there [mimics raising his fist in the scene]. I said, "I've gotta do this." And it's really a credit to the writers, because as a black actor you don't get iconic roles in tentpoles. You just don't. So when you see that in your career, and I've been working 20 years, it's like yo, that's a winner."
When you see Atticus on screen, it really is Adewale, not a double. But he admits, it took a month-long training period for him and the other actors to get into top shape."We went to gladiator boot camp about four weeks before the start of principal photography. Paul and the producer Jeremy Bolt really set up the structure for I and Kit and the rest of the cast to get into this Adonis kind of shape. What it consisted of was basically four hours working in the gym, six days a week, for four weeks. Two hours of fight training with weaponry, an hour of weight training, an hour of running, and this nutrition diet that we were put on that really helped sculpt our bodies."
Adewale Akinnuoye-Agbaje joins Steve Edwards and Lisa Breckenridge on Good Day L.A.
Fun Facts About Adewale Akinnuoye-Agbaje: (Source: Wikipedia)
1) He is a British actor and former fashion model, best known for his roles as Lock-Nah in The Mummy Returns, Nykwana Wombosi in The Bourne Identity, Mr. Eko on Lost and Simon Adebisi on Oz.
2) Akinnuoye-Agbaje was born in Islington, London. His parents are Nigerian, of Yoruba origin. He has a law degree from King's College London and a Masters in Law from the University of London.
3) His best known acting roles have been as the imposing convict Simon Adebisi in the 1990s HBO prison series Oz, and as Mr. Eko on ABC's survivor drama Lost. He was also in an episode of New York Undercover. He has numerous film credits since he began acting in 1994 and has appeared in many top films, including The Bourne Identity, in which he played a deposed African dictator, Hitu the police officer in Ace Ventura: When Nature Calls, Lock-Nah in The Mummy Returns, and Heavy Duty in G.I. Joe: The Rise of Cobra.
Twitter: @Adewale
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This summer, my plan was to do very selective radio listening, read no newspapers or news magazines, and leave my television screen profoundly, mercifully blank. There were books to read, others to finish, a few to read again. It was a lovely summer, and I was pleased with the decision to recuse myself from what had become since January The Only Story Worth Telling. Although I wanted cognitive space for my own pursuits, averting my gaze was not to bury my head. I was eager for information, yet suspicious of the package in which that information would be wrapped. I have been convinced for a long time now that, with a few dazzling exceptions, print and visual media have thrown away their freedom and chosen jail instead—have willingly locked themselves into a ratings-driven, money-based prison of their own making. However comfortable the prison may be, its most overwhelming feature is loss of the public. Not able, therefore, to trust reporters to report instead of gossip among themselves, unable to bear newscasters deflecting, ignoring, trivializing information—orchestrating its minor chords for the highest decibel—I decided to get my news the old-fashioned way: conversation, public eavesdropping, and word of mouth.
I hoped to avoid the spectacle I was sure would be mounted, fearing that at any minute I might have to witness ex-Presidential friends selling that friendship for the higher salaries of broadcast journalism; anticipating the nausea that might rise when quaking Democrats took firm positions on or over the fence in case the polls changed. I imagined feral Republicans, smelling blood and a shot at the totalitarian power they believe is rightfully theirs; self-congratulatory pundits sifting through "history" for nuggets of dubious relevancy.
I did not relinquish my summer plans, but summer is over now and I have begun to supplement verbal accounts of the running news with tentative perusal of C-span, brief glimpses of anchorfolk, squinting glances at newspapers—trying belatedly to get the story straight. What, I have been wondering, is the story—the one only the public seems to know? And what does it mean?
I wish that the effluvia did add up to a story of adultery. Serious as adultery is, it is not a national catastrophe. Women leaving hotels following trysts with their extramarital lovers tell pollsters they abominate Mr. Clinton's behavior. Relaxed men fresh from massage parlors frown earnestly into the camera at the mere thought of such malfeasance. No one "approves" of adultery, but, unlike fidelity in Plymouth Rock society, late-twentieth-century fidelity, when weighed against the constitutional right to privacy, comes up short. The root of the word, adulterare, means "to defile," but at its core is treachery. Cloaked in deception and secrecy, it has earned prominence on lists of moral prohibitions and is understood as more than a sin; in divorce courts it is a crime. People don't get arrested for its commission, but they can suffer its grave consequences.
Still, it is clear that this is not a narrative of adultery or even of its consequences for the families involved. Is there anyone who believes that that was all the investigation had in mind? Adultery is the Independent Counsel's loss leader, the item displayed to lure the customers inside the shop. Nor was it ever a story about seduction—male vamp or female predator (or the other way around). It played that way a little: a worn tale of middle-aged vulnerability and youthful appetite. The Achilles' heel analogy flashed for a bit, but had no staying power, although its ultra meaning—that Achilles' heel was given to Achilles, not to a lesser man—lay quietly dormant under the cliché.
At another point, the story seemed to be about high and impeachable crimes like the ones we have had some experience with: the suborning of federal agencies; the exchange of billion-dollar contracts for proof of indiscretion; the extermination of infants in illegal wars mounted and waged for money and power. Until something like those abuses surfaces, the story will have to make do with thinner stuff: alleged perjury and "Lady, your husband is cheating on us." Whatever the media promote and the chorus chants, whatever dapples dinner tables, this is not a mundane story of sex, lies, and videotape. The real story is none of these. Not adultery, or high crimes. Nor is it even the story of a brilliant President naïve enough to believe, along with the rest of the citizenry, that there were lines one's enemies would not cross, lengths to which they would not go—a profound, perhaps irrevocable, error in judgment.
In a quite baffling and frustrating manner, it was not a "story" but a compilation of revelations and commentary which shied away from the meaning of its own material. In spite of myriad "titles" ("The President in Crisis"), what the public has been given is dangerously close to a story of no story at all. One of the problems in locating it is the absence of a coherent sphere of enunciation. There seems to be no appropriate language in which or platform of discourse from which to pursue it. This absence of clear language has imploded into a surfeit of contradictory languages. The parsing and equivocal terminology of law is laced with titillation. Raw comedy is spiked with Cotton Mather homilies. The precision of a coroner's vocabulary mocks passionate debates on morality. Radiant sermons are forced to dance with vile headlines. From deep within this conflagration of tony, occasionally insightful, arch, pompous, mournful, supercilious, generous, salivating verbalism, the single consistent sound to emerge is a howl of revulsion.
But revulsion against what? What is being violated, ruptured, defiled? The bedroom? The Oval Office? The voting booth? The fourth grade? Marriage vows? The flag? Whatever answer is given, underneath the national embarrassment churns a disquiet turned to dread and now anger.


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SHEPHERDSTOWN - Twenty-one artisans celebrate summer and handmade during the Over the Mountain Studio Tour's annual Summer Show and Sale at the War Memorial Building in downtown Shepherdstown, Friday through Sunday.
A celebratory opening gala will take place Friday from 5-7 p.m. Artists will exhibit their freshest work and be available for conversation amid live music, snacks and drinks.
Saturday and Sunday, the festivities will continue. The public is invited to stop in to say hello and catch a glimpse of the wares of the artisans of the annual autumn Studio Tour.
Article Photos
Anne Bowers
All tour members will be represented, including pottery, basketry, stained glass, furniture, jewelry, fabric arts, paintings, drawings, hand-hewn bowls, needle artistry, wearable art, polymer clay, cabinetry and printmaking.
"The Summer Preview Show gives the artisans of the tour a reason to gather under one roof for a weekend and have a great time together," said Joy Bridy, wood-fired potter and fifth-year tour member. "We want to share the genuine sense of enjoyment and connection with the larger community, from the Farmers Market visitors and Contemporary American Theater Festival-goers to the locals strolling down the sidewalk."
For more information, visit www.studiotourwv.org.


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There is nothing at all "underdog" about Beilein's sixth team at Michigan, which sits at 9-0 overall and No. 3 nationally in both major polls. But to hear Beilein tell it, there are more similarities between his Wolverines teams and some of his WVU squads than many realize.
"You look at a Zack Novak [a former Michigan guard] ... I've called him Johannes [Herber], compared him to Johannes like crazy -- or Alex Ruoff," Beilein said, referring to two of his stars at West Virginia. "Our point guard play, you don't know how many times I tell Trey Burke what a tough son-of-a-gun J.D. Collins was, or some of the things from how Darris Nichols used to play.
"I don't know if we'll ever find another [Kevin] Pittsnogle, because he was so unique in his talent. We've got a guy on the top of our zone right now, a couple guys that play very much like Tyrone Sally and Da'Sean Butler. So I think there's a lot of similarities."
The popular perception is that there are many stark differences in the style of basketball preached by Beilein and that of his successor at West Virginia, Bob Huggins.
It's certainly true that Huggins' squads play a more aggressive brand of man-to-man defense than Beilein's ever did in Morgantown. The Mountaineers under Huggins have traditionally been strong rebounders, something that was perhaps the single-biggest Achilles' heel for Beilein's teams at WVU.
But Beilein said he simply hasn't played against Huggins' teams or watched them enough to know just how sharp the contrast of styles is. Instead, he noted there is one important similarity between the two successful head coaches.
"I think we both get our young men we get to coach to reach their potential and really maximize their talent," Beilein said. "I think when you're the coach at Walsh and Akron [as Huggins was], or when you're the coach at Le Moyne and Canisius [as Beilein was], you have to do that, or you're not going to win.
"As a result, we took that same philosophy when we had opportunities at Cincinnati and West Virginia, or at West Virginia and Michigan. We put application to them. That's where I think we're similar. How we do that may be different. I don't know, because I've never seen Bobby's teams practice. But I hope we both would agree that we get the most out of our teams."
"I was very happy for West Virginia, for those young men on that team, for the program, the university and the state of West Virginia," Beilein said of his feelings when that run occurred. "We had so many friends and so many people who were so good to me and my family during that time [at WVU], and I was very happy for them.
"I know the passion there is for that basketball team in that state. They made the Beilein family very happy during our five years. There you are, coaching your son, and he's out there playing -- a walk-on at one time -- and they're embracing your whole family. You can't help but be happy for them. We also had Michigan State in that same Final Four, so being in Indianapolis, that was an interesting time for me to be sitting watching those teams play. But I lived through it, and everybody is in a good place right now."
"You have to make those decisions," Beilein said. "I love rebuilding programs. I hoped we could do one more, and the University of Michigan ended up being that choice. When people say, 'Is that a better recruiting class?' I never will say those things, because the people who rank those things don't know what a lot of us coaches know.
"You take some of those teams we had at West Virginia, some of the teams we had at Richmond, the teams we have at Michigan, and even at Canisius, those young men were really good players. Really good players. I'll let the other people determine if it's better recruiting or not. I'm very fortunate to have coached at both places."
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Computer Science 3 - Glider Winch Host Manager
Student Team: Gisela Arreola-Gutierrez, Matthew Dargen, Alex Williams
Advisor: Dr. Shawn Bowers
Sponsoring Organization: WinchEngineer Group
Liaison: George Moore
Project Background:
This project develops software that manages operations of a tension controlled battery-electric winch and as such is a vital component of a larger project that implements a prototype for new method for launching sailplanes. This new method will yield improved performance and increased safety over current internal combustion engine driven winch technology. It will contain a database manager to hold launch parameters for glider/pilot combinations, a wizard to generate new entries into the database, selection and transfer of database entries for parameterization of an embedded controller responsible for real-time winch control over a USB interface, data logging and graphical display of real-time system data during and from previously logged operations, and system status displays and diagnostic support. An opportunity may exist to interface with a prototype of the embedded controller which is another senior project under Electrical/Computer Engineering.
Project Goal:
To produce a modular, well-documented open source software package to be used by groups constructing physical instances of this open source winch design preferably structured so that it is agnostic to the operating system environment. Possible OSes: Windows, Linux, Android. Selection of an appropriate open source development license, environment, and establishment of a repository will be components of the project.
Project Deliverables:
Tested, documented modular software package that will form the software foundation for this winch project. Project will employ open source development tools and APIs as much as possible.
Project Management and Communication Expectations:
Liaison will provide a high level system design support for the project. Project requirements will be established and tasks and schedule defined at the beginning of the project. Liaison will meet weekly with design team for coordination and will be available during interim periods for emerging issues. There will opportunities to interact with other experienced, senior engineers involved in the larger winch development project.
Project Research:
Project outputs will become publicly available open source code.
Click to download the overview of the larger project, further details on this project, and brief descriptions of related projects
Contact Information
Academic Director:
Toni Boggan
Phone: 509-313-3913
Faculty Director:
Steven Zemke
Phone: 509-313-3554
502 E. Boone Avenue
Spokane, WA 99258-0026
Phone: (509) 313-3523
Fax: (509) 313-5871
Email: email@example.com


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Meet our girl, Dot! Dot carries a lush, effervescent floral scent perfect for every eclectic and spontaneous woman. The packaging channels Marc's energetic polka dot pattern along with our signature over-sized cap.
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The Dot Holiday Gift Set includes 3.4 oz. Marc Jacobs Dot Eau de Parfum, 2.5 oz. Dot Body Lotion, 2.5 oz. Dot Shower Gel, and 0.33 oz. Dot Rollerball, housed in a deluxe container.


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Home > Research > Publications > Annual Reports > 1992-93 Annual Report
In Memoriam
June 7, 1904-May 2, 1993
It is difficult to describe in a few words the rich and varied career of Thorkild Jacobsen. Members who attended the opening lecture in October 1991 heard Jacobsen, then 87, spin mesmerizing tales of his early days in the Oriental Institute. Jacobsen came to Chicago from his native Denmark in 1928 and began work on the Assyrian Dictionary staff. That was before the construction of the present Institute building, when the research headquarters and fledgling museum were located in Haskell Hall and the Institute was not yet ten years old. Jacobsen described staying in a downtown hotel with the gunfire of Prohibition era gangs audible in the background. James Henry Breasted was then midway through his term as founding Director, an august figure with whom the lowly research assistant was unlikely to have much contact. Jacobsen remained with the Institute for almost three and a half decades, holding a variety of posts ranging from research assistant, field Assyriologist, and archaeologist to Sumerologist, member of the editorial board of the Assyrian Dictionary, and Director. He became one of the world's foremost scholars on the ancient Near East and substantially shaped Oriental Institute research projects in ways that continue to the present day.
Jacobsen's scholarly work encompassed a variety of fields-archaeology, history, literature, religion, and grammar-to each of which he made seminal contributions. He was able to present minutely detailed research, such as his work on Dionysios bar Salibi's Syriac commentary on the book of Job, his critical edition of the Sumerian King List (published in 1939 and still the definitive edition), and his study of the textile industry at Ur. He pioneered new methods, such as his introduction of the archaeological surface survey to southern Iraq and his recreation of early Mesopotamian political history through literary as well as documentary sources. With Seton Lloyd, he discovered, surveyed, and published the traces of a seventh-century b.c. Assyrian aqueduct constructed by Sennacherib to provide Nineveh with water. His creative reconstructions of early Sumerian religion from literary sources and from comparative material stimulated a host of studies, positive and negative, reacting to his views. His translations of Sumerian poetry and his explanations of the intricacies of the Sumerian verbal system illumined these areas with fresh ideas. His visionary syntheses which drew on a full range of archaeological and philological experience, wide reading, and reflective insights into the human condition had an impact far beyond the immediate area of Mesopotamian studies.
At the culmination of his career here, Jacobsen served as third Director of the Institute (1946-1950), as Dean of the Humanities Division (1948-1951), as an Editor of the Assyrian Dictionary (1955-1959), and as Professor of Social Institutions (1946-1962). He was responsible for reopening the excavations at Nippur (dropped by the University of Pennsylvania a half century before) and for recruiting two refugee scholars, Leo Oppenheim and Benno Landsberger, who played crucial roles in bringing the Assyrian Dictionary to publication. A creative humanist with an intense personal vision of scholarship and its priorities, he could not always convince others to share his views; and this led in turn to successive resignations, as Director, as Dean, as Editor, and finally as faculty member. This escape from joint enterprises freed Jacobsen for some of his most interesting later work in the fields of Sumerian religion and literature. In 1962, he accepted a visiting professorship at Harvard, which became a permanency the next year. He retired in 1974, but continued in active research, delivering his final address, as President of the American Oriental Society, less than two weeks before his death.
- J. A. Brinkman
Home > Research > Publications > Annual Reports > 1992-93 Annual Report


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Welcome to Win it Wednesday, November 7, 2012.
If you have any giveaways on your blog or want to share any great sweeps- Enter in Mr Linky below. Make sure your link goes straight to your giveaway or we may delete it.
happy winning,
This Post Contains Affiliate Links - Disclosure Policy


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SAT Bootcamp
Posted by Catalyst Prep, LLC ,
www.CatalystPrep.com or call 800.235.0056 with any questions. The Bootcamp is in Partnership with Suffield High School. Please note, registration for the Bootcamp is open to Suffield Students ONLY! If you are not a Suffield High School family, please call Catalyst to discuss other local Bootcamp options.On Saturday, March 1st & Sunday, March 2nd, students can come learn everything they need to know to outsmart the test! After Catalyst's SAT Bootcamps at Suffield High School, students will know how to write the perfect essay for any question they ask, how to avoid the biggest answer traps, and how to tackle every type of question that's guaranteed to be on the test! Cost is just $140. Class runs 9am - 1pm both days. Sign up at
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Disclaimer: This scientific independent research is provided by Aisle7 and is for informational use only. GNC provides this information as a service but does not endorse it. Likewise, Aisle7 does not recommend or endorse any specific products.I accept these terms
GNC Herbal Plus® Senna Leaf Extract
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GNC Herbal Plus® Senna Leaf Extract100 Capsules
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Natural Laxative*
* These statements have not been evaluated by the Food and Drug Administration. This product is not intended to diagnose, treat, cure, or prevent any disease.
- Supplement Facts
As a dietary supplement, take one capsule daily.
Serving Size 1 Capsule Servings Per Container 100 Amount Per Serving % DV Senna Leaf Extract (Cassia angustifolia & acutifoliae)(10% Sennosides = 12.5 mg) 125.00 mg ** ** Daily Value (DV) not established
This product contains Senna. Read and follow directions carefully. Do not use if you have or develop diarrhea, loose stools, or abdominal pain because Senna may worsen these conditions and be harmful to your health.
Consult your physician prior to using this product if you are pregnant, nursing or taking medication, or have a medical condition. Discontinue use two weeks prior to surgery. KEEP OUT OF REACH OF CHILDREN.
This product contains Senna. Read and follow directions carefully. Do not use if you have or developed diarrhea, loose stools, or abdominal pain because Senna may worsen these conditions and be harmful to your health. General Nutrition CorporationPittsburgh, PA 15222
- Health Notes
- Reliable and relatively consistent scientific data showing a substantial health benefit.
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- For an herb, supported by traditional use but minimal or no scientific evidence. For a supplement, little scientific support.
Our proprietary "Star-Rating" system was developed to help you easily understand the amount of scientific support behind each supplement in relation to a specific health condition. While there is no way to predict whether a vitamin, mineral, or herb will successfully treat or prevent associated health conditions, our unique ratings tell you how well these supplements are understood by the medical community, and whether studies have found them to be effective for other people.
For over a decade, our team has combed through thousands of research articles published in reputable journals. To help you make educated decisions, and to better understand controversial or confusing supplements, our medical experts have digested the science into these three easy-to-follow ratings. We hope this provides you with a helpful resource to make informed decisions towards your health and well-being.
This supplement has been used in connection with the following health conditions:
Used for Amount WhyConstipation 20 to 60 mg of sennosides per day for no more than ten days [3 stars]Senna is considered a stimulant laxative because it stimulates bowel muscle contractions. Senna is the most popular of these stimulant herbs.Bowel Surgery Refer to label instructions [2 stars]A double-blind trial found that senna may be an effective treatment for preparing the bowel for colon and rectal surgery, though people undergoing surgery should ask their doctor before using supplements.
Parts Used & Where Grown
The senna shrub grows in India, Pakistan, and China. The leaves and pods are used medicinally.
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My son was selected as a finalist in the Parents Magazine Cutest Kid Contest! Please help him win by voting for him, voting is from now until May 1st and you can vote daily!! Please Help!! http://photos.parents.com/parents-cover-contest-2011/17/2011/729
Help Cameron Win!
By: lissaann1982Subscribe Channel: Kids Location: Cedar Rapids Iowa
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Visitor Center Remodel 2014
Over the next several months there will be new changes coming to the Visitor Center. Presently we are remodeling the bookstore area to give it more of a country theme. Next the exibit area will get all new exhibits. Thank you for your patience and support
Oak Ridge Campground and Chopawamsic Backcountry Closure
Oak Ridge Campground and Chopawamsic Backcountry area will be closed December 1st, 2013 to February 28th, 2014.
Outside firewood is prohibited in Prince William Forest Park, unless it is certified USDA 'bug free' firewood. Dead and downed wood may be collected from designated areas for use while in the park. Help us protect the forest from invasive species!
Event Details
Multiple Days: 04/22/2013, 04/23/2013, 04/24/2013, 04/25/2013, 04/26/2013Location: All National Parks Fee Information: Fee Free Week
"America's great outdoors should be experienced by everyone," according to Secretary of the Interior, Ken Salazar. The fee free days will give both first time and repeat visitors a good reason to spend time in our National Parks.
The fee waiver does not cover expanded amenity or user fees for things such as camping.


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Beach Umbrellas
Beach umbrellas are popular beach sun shelter to protect your skin from the harmful UV rays of the sun and are a must-have to enjoy the beach to the fullest.Beach umbrellas are handy and are available in a plethora of colors, sizes, designs and fabrics. Many beach goers like the Canopy Beach Chair with built-in shade canopy on reclining chair for easy transport.
Beach Umbrellas: How to Buy
When selecting beach umbrellas consider the following:
Fabric: Consider the fabric that the beach umbrella is made of. You should opt to purchase something that is durable. Acrylic is the best fabric due to high strength, uniform quality, colorfastness, weather resistance.
Ribs: Frames constructed with fiberglass ribs and spreaders for more flexibility which will not kink or bend out of shape on beach umbrella. Its help the canopy from inverting during windy conditions. Steel Ribs are not as durable and likely to rust unless galvanized
A lightweight sun beach umbrella is always good for the beach, as you would have to carry it from and to your car. Good quality sun umbrellas are never heavy because they are made of light yet sturdy material. Beach umbrellas will aluminum pole and fiberglass ribs are lighter compared to steel poles.
Anchoring Device:
Beach umbrellas must have a good anchoring device. Most beach umbrellas have pointed bottom pole to ease in pushing the pole into the sand. Larger beach umbrellas will require beach umbrella anchor that go into the sand.
Tilt Feature:
This lets you position your beach umbrella for optimum shading. The tilt and lock mechanism allows the beach umbrella to be tilted in several positions for optimum shade coverage regardless of the suns angle. Use of tilt during windy conditions is not recommended. Tilt mechanism made from Chrome/Zinc material are more durable compared to plastic.
Shade Size:
Range from 6 foot to 9 foot in arch dimension. All the canopy size for umbrellas are measured by the arch and not straight line. The attractive valance adds shade area depending on direction of sun and tilted position of the beach umbrella.
Weather Resistance:
Any beach umbrella must be weather resistant. An beach umbrella made of rust-resistant aluminum or fiberglass parts is enduring.
Wind-Stabilizing Design:
Single wind vent at the top of the canopy facilitates airflow, allowing air to escape freely and preventing the beach umbrella from inverting during windy days or be battered by strong winds. Wider vent allows more air passage.
Blockage of UV Rays:
Ultra modern beach umbrellas can block upto 99% of the sun's harmful UV rays. Look at models that offer UPF of at least 50, higher being better. Beach umbrellas with silver coating on the fabric provide better protection and feels cooler under the shade.
Pole: The beach umbrella pole usually come in two part for easy transportation and storing of the umbrella. Folded length of beach umbrella varies from 24 to 58 inches. Pole diameter varies from 1 to 1.5 inches. Higher diameter provide better strength. Aluminum Poles are rust resistant and lightweight.
Beach Umbrellas: What We Offer
We offer a wide range of beach shelters like beach tent, beach cabana, pop up beach shelter and sturdy beach umbrellas. Designed to be lightweight for portability and durable for longer use.
- Solarteck Beach Umbrellas: These have vented double canopy which makes them stable during rough winds. Fiberglass frames make them flexible and strong.
- Clamp-On Beach Umbrellas: These too can weather strong winds. They can easily clamp onto your chair.
- Commercial quality Beach Umbrellas with break-resistant fiberglass ribbed umbrella and sturdy wooden pole for frequent use or business, resort, or hotel locations.
- Compact Folding Beach Umbrellas from 24 inches and upto 8 foot canopy diameter.
- Beach Umbrellas with Built-in Anchoring device.


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Fall TV: The Most Fashionable New Shows
Gabrielle Hurwitz, Lucky
Sure there's Sex and the City, Gossip Girl and Mad Men-shows where fashion is just as integral to the success of the series as the plot. But, unfortunately, not every TV show prioritizes wardrobe. Call us style snobs, but very few programs live up to our expectations when it comes to clothing. In our attempt to point our fellow fashion fans to a few series that rise above, we've rounded up the fall season's most sartorially-savvy new TV shows. Costume designers, take note.
More from Lucky magazine:
5 Drastic Ways to Change Up Your Look
15 Secrets from Top Dermatologists
Best Dresses For Your Body
The 40 Best Drugstore Beauty Products


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A rose by any other name might smell as sweet, but a blush by any other color will never compare with this gorgeous pale rose silk-and-lace thong from Fleur of England. Stunning, delicate, petal pink lace sits perfectly cheeky at the hips and delicate silk paneling is the perfect flush. But soft, what light!
May We Recommend?
Couture hand stitched guipure lace is perfect against the Italian tulle of this effortlessly luxuriously nearly naked triangle bra. It is stunning and truly beautiful.
This stunning silk and lace chiffon side-tie bikini is so perfectly, effortlessly glamorous that we'll get you to the South of France and leave you to your own devices.
Our favorite obsessions: stripes. lace. silk. barely there boudoir beauties. So, obviously this gorgeous sweet triangle bra is right up our alley.


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US: Barn Owl Door Hanger
Material List
- Craft Smart® Craft Paint - White, Orange, Yellow, Golden Brown, Lime Green and Black
- Sharpie® Marker - Black
- Darice® Foam Door Hanger
- Paintbrush
- Pencil
- Pattern Printed from Michaels.com
Project Instructions
Trace the patterns to complete the owl. Paint head and center of body with yellow.
Paint wings with yellow and white.
Paint rounded heart shape in the center of the owl's head White.
Paint two round circles using Golden Brown and white.
Paint beak and legs with orange.
Paint leaves with Lime Green.
Paint tree limb with Golden Brown.
Make two black dots for eyes, outline beak, leaves, and the bird feet with a Sharpie®.


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Click Here For More Photos
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