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Rudolph Valentino
From Conservapedia
Rudolph Valentino (born May 6, 1895 - died August 23, 1926) was a silent film actor. Born in Italy, Valentino immigrated to the United States in 1913, where he settled in New York and became a professional dancer. In September 1916 Valentino was arrested in connection with a blackmail and extortion scheme. Although the police records of that arrest have since disappeared, some biographers have alleged that Valentino was a participant in a "badger game", which is a confidence game. Other biographers suggest that he was an unwitting dupe who had no criminal intent but was picked up on the scene of a crime committed by others.
At about the same time, Valentino gave court testimony in the divorce case of a prominent socialite, Bianca De Saulles. When Bianca De Saulles was later arrested and charged with murdering her husband, Valentino moved to Hollywood. Some biographers have suggested that among the reasons for the move was to avoid any guilt by association or bad publicity from the De Saulles murder case.
In Hollywood Valentino initially had small roles as an extra, and then was able to land a few leading man roles in poorly budgeted movies. Valentino's breakthrough to star status came when he landed the lead in The Four Horsemen of the Apocalypse, a World War I film based on the popular novel by Vicente Blasco-Ibanez.
The Sheik, released in 1921, would become Valentino's signature role, the role for which he is still remembered today. Along with the discovery of King Tut's tomb, and the promotion of the Arab campaigns of World War I by T. E. Lawrence (also known as "Lawrence of Arabia"), The Sheik helped foster the Arabic craze of the 1920s, and for years to come "hip" young men of the time would be known as "sheiks", and their girlfriends as "shebas" (referring to the Queen of Sheba).[1] The Sheik was tremendously popular despite a fairly absurd story line, and Valentino would eventually reprise the role in Son of the Sheik.
Valentino went on to star in many more films, notably including the bullfighting epic Blood and Sand, and The Eagle.
Valentino married actress Jean Acker in 1919, but the marriage was a failure, and they were divorced two years later. Lurid speculation at the time and since has suggested that the reason for the marriage's failure was a relationship between Acker and the notorious lesbian dancer Alla Nazimova. Valentino went on to have a strong professional relationship with Nazimova (appearing opposite Nazimova in the film Camille), and his second wife Natacha Rambova, was also a protégé of Nazimova's. Nazimova herself was a fixture in the Hollywood community, and among other things would be the godmother of Nancy Davis, the film actress and future Republican First Lady (as Nancy Reagan[2]).
Valentino's death, probably from peritonitis, at the youthful age of thirty-one, led to one of the most elaborate and riotous funerals in New York City history, with hourly radio bulletins and huge crowds. In a typical Hollywood touch, Valentino's burial crypt (in Los Angeles) was for decades visited each year on the anniversary of his death by a mysterious "Lady in Black", whose identity has never been revealed.
- ↑ Jazz Age Slang
- ↑ Colacello, Bob (2004) Ronnie & Nancy: Their path to the White House - 1911 to 1980, Warner Books, p. 38
further reading
Walker, Alexander (1976) Rudolph Valentino, Penguin Books


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Founded in 1997, AWAL is a leading independent digital marketing and distribution company that enables artists and labels to release their music globally, whilst retaining ownership and control of their rights. AWAL is the trusted partner for more than 6,000 artists and labels. Early successes included Arctic Monkeys, and Editors, whilst AWAL currently distributes music from Moby, Beck, Radiohead, Thom Yorke, Nick Cave and the Bad Seeds, Prince and Gabrielle Aplin. AWAL also represent some of the leading names in comedy, including Tim Minchin, Russell Brand, Stewart Lee, Ed Byrne, Stephen Fry & Hugh Laurie… and many more.
AWAL has relationships worldwide with every major online retailer and DSP – from iTunes to Amazon, Spotify to Beatport, eMusic to Rdio. With fast turnaround from content upload to delivery in stores, AWAL is also a 'preferred supplier' to iTunes.
AWAL clients can view their sales online, on-demand and up to the previous day, plus every AWAL client can log in to their own BuzzDeck whereby sales data can be viewed in conjunction with social media and web site statistics.
Since 2011, AWAL has been integrated into the Kobalt Music Group, with Kobalt now providing AWAL with the expertise of a leading technology company, as well as unparalleled transparency in the reporting and accounting of data to its clients.
"I want to thank you for everything that you have done for Gabrielle over the past few months. Last week was a huge week for us and we couldn't have done it without you. It really has made the difference in our campaign."
James Barnes, manager of Gabrielle Aplin
"Gotta tell you, I could not be more pleased / impressed with AWAL. Thanks very much for making all of this so easy."
Michael Meisel, manager of Beck
"We were happy with the AWAL service because it completely revolutionised the way we distribute our music. Our digital percentage has tripled and we now reach a much wider audience through innovative ideas and a wider range of services. The guys at AWAL are incredibly creative and are always on hand to help with new projects or push a new idea forward – we're grateful to be working with them!"
Sarah Fulford, Chris De Burgh / Ferryman Productions
AWAL Digital Limited | Sheffield Technology Park | Arundel Street | Sheffield S1 2NS | United Kingdom | email@example.com AWAL Digital Limited is registered in England & Wales | Company Registration 4430703 | VAT Registration GB774150334 Registered Office 4 Valentine Place, London, SE1 8QH (do not send material to this address!)

subset: commoncrawl


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An Alabama lawmaker is proposing a bill requiring some sex offenders to be castrated before being released from prison.
Republican Rep. Steve Hurst of Munford is proposing the bill for the 2014 legislative session.
The bill would require sex offenders who are over the age of 21 whose victims were 12 or younger to be surgically castrated before being released from prison. Under the bill, the sex offender would be required to finance their own castration.
Rep. Hurst proposed a version of the bill last year but it didn't make it out of committee.
In 2012, nine states had laws involving chemical castration for sex offenders.
Alabama's 2014 legislative session begins Jan. 14th.
Copyright 2013 WAFF. All rights reserved.
A Texas brewery makes the first 99 pack of beer.
1812 Fairfield Avenue
Shreveport, LA 71101
(318) 222-1212
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Town Square
Resident cashes stolen checks, steals thousands
Original post made on Aug 10, 2011
Read the full story here Web Link posted Tuesday, August 9, 2011, 2:30 PM
Comments (7)
on Aug 10, 2011 at 12:29 pm
The three juveniles who vandalized Hap Magee Park that were cited and released, are their parents responsible for restitution? If not, they should be--pay for the damages as well as a penalty.
on Aug 10, 2011 at 5:32 pm
The three juveniles that vandalized Hap Magee Park. Who pays to repair the damage? The juveniles should do the repair and clean-up under supervision from one of our park people and then they should be banned from the use of the park until they can prove they can be respectful citizens, I feel their parents should pay for all the supplies it takes to put that Park back to its pre-damaged condition and they should also include all protective gear, so they don't get injured while doing the clean-up work! Since they had time to vandalize they should have time to do the repairs and clean-up!
on Aug 11, 2011 at 8:39 am
I agree with the comments posted but I think we as a community need to go beyond just the repairs. These kids need to understand what they have done. They need to spend community hours cleaning up around town, along the freeway and giving talks to other kids. I would suggest at least once a month on a Saturday for eight hours...just like a job...for a year.
on Aug 11, 2011 at 9:03 am
I hope the constables inquired as to whether these particular yout's were the ones who vandalized the dog park benches a few weeks ago, also at the Hap.
on Aug 11, 2011 at 10:53 am
Yes on restitution. But rather than saddle a park employee with the job of supervising, the parents of the vandals should supervise. And good idea- community service on Saturdays for a year. But NO on giving talks to other kids. That glamorizes the crime. (My kids learned all about drugs from student speakers in the classrooms at SRVHS who, while saying "no to drugs" were former users handed a captive audience where they elaborated re. the exciting effects of drugs, where to buy them and how to use them.) No public forum for the vandals- just a lot of work time.
on Aug 11, 2011 at 1:48 pm
An immigration hold put on Ricardo Mendoza? My goodness another illegal criminal ripping off Americans?
on Aug 15, 2011 at 3:27 pm
Simple lesson here. Unlocked residential and business mailboxes leave you vulnerable to check fraud and identity theft. Secure your mail to protect your credit and your good name. Mail contains a plethora of sensitive information for would-be identity thieves like Menoza.
If you were a member and logged in you could track comments from this story.
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Erik Lamela and Nicolas Gaitan have been called up by injury-hit Argentina for Wednesday's friendly with Germany.
Recalled Australian batsman Phil Hughes has helped his team to a strong position at stumps on day one of the first Test against Sri Lanka.Hughes wasn't able to cap off his return to the Test side with a century on Friday, but his 86-run knock at Blundstone Arena in Hobart was a driving force behind Australia reaching 4-299 by the end of the day.
|PSV loan Isimat-Mirin from Monaco
|Milan snaffle Atalanta´s Bonaventura
|Lamela and Gaitan called up to Argentina squad
|Manga moves to Cardiff
|Palace secure Fryers signing
|Biabiany Milan deal falls through
|Colchester turn to Humes
|Sinfield announces international retirement
|Djokovic sees off Kohlschreiber
|Czech Republic v United States: Klinsmann focussed on the next era
|Alvarez completes Sunderland loan move
|United seal Blind deal
|Transfer Deadline Day: Bundesliga Round-Up
|Williams cruises past Kanepi into last eight
|Iniesta removed from Spain squad
|Sunderland swoop for Coates
|Diame completes Hull City move
|Astros relieve Porter of duties
|Hamilton vows not to give up
|Denmark v Turkey: Olsen forced to contend with limited striking options
|Stambouli signs for Tottenham
|Hamburg capture Tottenham´s Holtby
|Republic of Ireland v Oman: O´Neill making no promises to Given
|Biabiany makes Milan move
|Hernandez walking in Sanchez´s footsteps at Real Madrid
|Morocco v Qatar: Zaki´s plans hit by injuries
|Atletico complete Cerci capture
|Augsburg duo head for exit
|Moores looking ahead to World Cup success
|Minaar set for landmark World Championships
|No worries for Munir after calf scare
|Injury issues rumble on for Rossi
|Germany v Argentina: Messi out of action as World Cup finalists renew acquaintances
|Chalobah seals Burnley loan switch
|Medojevic presented at Eintracht Frankfurt
|Chan condemns Kumhkum to early exit
|England v Norway: Time to banish World Cup demons
|Hull break transfer record to sign Hernandez
|Messi to miss World Cup final rematch
|England aim to save face at Edgbaston
|Australia seek response to ´embarrassing´ loss
|Sunny to replace Gazi in Bangladesh squad
|Facey charged as part of match-fixing investigation
|Southampton question Taider´s commitment after terminating loan
|Paderborn sign Getafe´s Rafa
|Cech refuses to rule out move
|Sea Eagles´ last-gasp win marred by Buhrer injury
|Mata wishes Kagawa well
|Balotelli omission not ´a message´ - Conte
|Real confirm Hernandez signing
|UEFA open proceedings against Legia
|Colchester part company with Dunne
|Skjelbred swaps Hamburg for Hertha
|Ndoye wants more history for Senegal at FIBA Basketball World Cup
|Hofmann heads to Mainz on loan
|Alex Marquez to race in Moto2
|Burnley buoyed by George´s arrival
|El Ahmadi rejoins Feyenoord
|Carlisle sack Kavanagh
|Hamburg loan Green from Bayern
|Alonso targets Seedorf´s Champions League record
|Herrera wishes Hernandez success at Real
|Van der Vaart back in a fortnight
|Vermeer sparks anger over Feyenoord move
|Blind thrilled by United move
|Bencic thrilled after Jankovic upset
|Rodgers hails England trio
|Koscielny withdraws from France squad
|Federer grateful for rain delay
|Smith signs contract extension


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It turns out that, not just once, but at least twice over the past three months, in late December and then again in early March, the U.S. Department of State's Review of European Security Issues has recognized that the "official death toll" from the wars in Bosnia and Herzegovina, ca. 1992 – 1995, is dramatically lower than had been almost universally accepted as recently as last fall: On the order of 100,000 people on all sides in the wars there, civilian, military, and paramilitaries included.
Notice, in particular, the rather frank admission in the second paragraph of the December 30 blurb: "As recently as November, U.S. officials marking the 10th anniversary of the end of the war said the death toll ranged between 200,000 and 300,000 – a range that has been widely cited by government officials and media accounts for a decade."
Indeed. When the death of Slobodan Milosevic was announced in the early morning hours of March 11, the former U.S. Ambassador to the United Nations, and a chief architect of both the American policy with respect to the Dayton Accords of late 1995 and the American-led NATO-bloc aggression over the Serbian province of Kosovo in the spirng of 1999, Richard Holbrooke, began making the media rounds. (Including an op-ed in the March 14 Financial Times wherein Holbrooke wrote that Milosevic "started four wars (all of which he lost), causing 300,000 deaths….")
Whereupon Holbrooke continued to mouth the 300,000 figure—without anybody to challenge him.
Thus, on Saturday, March 11, the U.S.-based Cable News Network (CNN) conducted an interview with Holbrooke, which CNN has since excerpted and re-run multiple times. Particularly during the first weekend of Milosevic's death, March 11-12.
As CNN's Betty Nguyen set the stage ("CNN Saturday Morning News," 11:00 AM EST, Transcript # 031105CN.V28):
NGUYEN: We wanted you to take us back. You helped create this Dayton Accord, which essentially ended the Balkan war.
Take us back to that time. You spent a lot of time there.
What was going on at the time and how did you create this? How did you help stop the violence, stop the killing, because over a qtr of a million people died in that?
HOLBROOKE: Well, Milosevic started four wars. He lost them all. The biggest of them all was the one in Bosnia, where over 300,000 people died, two-and-a-half million homeless. And we bombed him in August and September of 1995. We should have done this much earlier.
In a nutshell, here is the history of the American involvement in the dismemberment of Yugoslavia. Lie about the nature and scope of the conflicts. Stoke up mass hysteria about events on the ground—including sexed-up claims about Greater Serb Aggression; a sexed-up "joint criminal enterprise" involving ethnic Serbs and only ethnic Serbs; and a sexed-up genocide. Stall. And stall. And stall some more. Blocking every effort by other negotiators to bring an end to the fighting. And in the end, bomb—then move in and take over behind the kind of multilateral facades that only a neocolonial regime has at its command.
The 1992-1995 war in Bosnia-Herzegovina (BiH) was Europe's deadliest conflict since World War II, but newly released official statistics show that fewer people died than were previously reported. The BiH Research and Documentation Center has identified 94,000 people — civilians and soldiers – who lost their lives in the war, the Defense Department's Southeast European Times reported December 19.
The researchers presented their findings at a conference in Banja Luka, Bosnia, on December 16. Mirsad Tokac[a], the chief of the research center, specified that the figure refers to the number of victims whose identity is known, while the actual death toll probably exceeds 100,000. As recently as November, U.S. officials marking the 10th anniversary of the end of the war said the death toll ranged between 200,000 and 300,000 – a range that has been widely cited by government officials and media accounts for a decade. In 2005, the population of Bosnia was 4 million. (See related article.)
—- "Review of European Security Issues — A Look Ahead For 2006," December 30, 2005
Thirteen years after it was first filed, Bosnia-Herzegovina's case against Serbia-Montenegro for violation of the 1948 Genocide Convention will be heard publicly by the International Court of Justice (ICJ) in the Hague — the principal court of the United Nations for disputes between States — the U.N. News Service reported February 27. Public hearings began the day of the announcement.
Numerous individuals already have been charged with crimes against humanity by the separate International Criminal Tribunal for the Former Yugoslavia (ICTY) in connection with violence committed during the breakup of Yugoslavia in the 1990s. A formal study by the government of Bosnia and Herzegovina concluded in 2005 that 100,000 people were killed in the country's 1992-1995 war for independence. Many were singled out based on their ethnicity.
The government of Bosnia-Herzegovina first filed its case in March 1993 against the state then known as the Federal Republic of Yugoslavia, according to a press statement released by the ICJ. (See statement on the ICJ Web site.)
In July 1996 the court determined that it had jurisdiction to adjudicate on the dispute on the basis of Article IX, on State responsibility, of the Genocide Convention.
To be held at the ICJ's seat in Hague, the hearings on the merits of the case are expected to last until May 9.
For background on U.S. policy in the region, see Southeast Europe.
—- "Review of European Security Issues," March 3, 2006
Nice racket. Don't you think?
"War-related Deaths in the 1992–1995 Armed Conflicts in Bosnia and Herzegovina: A Critique of Previous Estimates and Recent Results," Ewa Tabeau and Jakub Bijak, European Journal of Population, Volume 21, June, 2005, pp. 187-215
Population Losses in Bosnia and Herzegovina 92-95 Project, Research and Documentation Center, Sarajevo
"The Bosnian Genocide Promoters," ZNet, February 15, 2006
"Counting Bodies in Bosnia and Herzegovina," ZNet, March 25, 2006


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New litter of CKC Boxer puppies born on 5-10-14 and 6-5-14. These beautiful Boxers are ready to go home. You can visit us at www.BroadMeadowFarme.com to see photos and info. Our Health Guarantee is included and the puppies have been wormed, tails docked...More info Email a friend
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TV picks: Thursday, March 23
DRAMA. This international love fest — Kiefer Sutherland's return to television — settles into its regular timeslot tonight as widower Martin's (Sutherland) emotionally detached, mute son draws global connections to a seemingly unrelated flight attendant, cancer patient, magician and mobster after a robbery at a pawn shop.
Series premiere, 9 p.m., Fox
"Project Runway"
REALITY. Mondo Guerra has a second shot at the title he should have won in Season 8. (He's up against fellow all-stars Michael Costello and Austin Scarlett in tonight's finale.) Don't get it wrong this time, Klum.
Season finale, 9 p.m., Lifetime
"American Idol"
REALITY. The final 10 are revealed when one singer is sent packing tonight.
8 p.m., Fox
"The Secret Circle"
DRAMA. Cassie and Adam learn that their love is cursed. Like, literally cursed. Because they're witches.
9 p.m., The CW
COMEDY. Jeff's narcissism reaches new heights. Funny, we didn't realize it hadn't already hit the ceiling.
8 p.m., NBC


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The Heater Blog of the St. Petersburg Times reports that the Tampa Bay Rays have traded second baseman Akinori Iwamura to the Pittsburgh Pirates. It's unknown at this time what the Rays have received back from Pittsburgh in exchange for Iwamura:
Still working on what they are going to get back, but the Pirates do have some young arms and some young catching. Will be interesting to see if the Rays are paying any money to upgrade the quality of the return - that's what they did in the Aubrey Huff deal, and that Ben Zobrist guy turned out okay. Expect an official announcement tonight, when it will be Wednesday morning in Japan and the Rays can talk to Aki.
As SB Nation's DRays Bay explained in detail back in September, dealing Iwamura is more about money than skill level. Iwamura was set to make $4.85 million from the Rays this season if they exercised an option and kept him.
Iwamura is also coming off knee surgery, which kept him out for the majority of the season.


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On March 24, one billion people across the globe got their first look at the Kodak Theatre, centerpiece of the Hollywood & Highland development in the heart of the movie capital, and new home to the Academy Awards. What they saw is a space, designed by the Rockwell Group and Theatre Projects Consultants, that strives to both evoke a sense of Hollywood fun and glamour and serve the nearly overwhelming technical needs of the Oscar night production. Of course, March 24 is only one date on the calendar; the Kodak Theatre has to perform capably year-round.
"So much of what was going to make this theatre unique was being built to be a great, state-of-the-art home for broadcast, as well as a great venue for live theatre the rest of the year," says David Rockwell, principal of the New York-based Rockwell Group, and star attraction in the world of architectural design. "It unites movies, TV, and live theatre in a multi-platform way: The Oscars are produced as a tribute to the world of film, and it will be seen by most people on TV. But so much of what makes that broadcast special is the relationship between the audience and the performers."
Rendering courtesy Iomedia/Rockwell Group
It's an understatement to say that most people will see the Kodak Theatre, which has an upper capacity of almost 3,600 seats, on TV. The theatre actually opened in November, and has already hosted live performances of the Hollywood Bowl Orchestra, The Nutcracker with the American Ballet Theatre, Melissa Etheridge, and Barry Manilow; following the awards, the Broadway musical The Full Monty will open there. But according to David Taylor, project manager from Theatre Projects Consultants (TPC), "More people will see the theatre in that one telecast than would see it from sitting down and watching performances there in 115 years."
Key players in addition to Theatre Projects and the Rockwell Group include executive architect Altoon & Porter and design architect Ehrenkrantz Eckstut & Kuhn, both Los Angeles firms, and acoustician Robert Mahoney, who was charged with creating an amplified musical theatre house. But driving everyone's work was David Malmuth, the visionary on the whole Hollywood & Highland project. Starting in 1997, he worked with the City of Los Angeles to persuade TrizecHahn Development Corporation to take on this one-and-a-half-block, 1.2-million-sq.-ft. piece of Hollywood Boulevard revitalization, at a cost of $615 million.
There was a precedent: when Malmuth worked for Disney, he had helped anchor the redevelopment of New York's 42nd Street with the restoration of the New Amsterdam Theatre (a project TPC also worked on), now home to The Lion King. Just as the pride of place given to Broadway's legacy rescues that block from being completely overwhelmed by crass commercialism, the Kodak Theatre confers class and a sense of local history on the Hollywood & Highland complex, which also includes the new Renaissance Hollywood Hotel, but is essentially a big, upscale shopping center.
Interior photo: Timothy Street Porter/Rockwell Group
TrizecHahn Development Corporation, a San Diego-based subsidiary of Toronto real estate giant TrizecHahn, hired Malmuth as senior vice president and project executive (he has since left the company), and he quickly got in touch with Academy of Motion Pictures Arts and Sciences (AMPAS) chairman Bruce Davis. "He called me out of the blue, but his timing was very fortunate," says Davis. "We had been having problems with each of the two venues that we had been bouncing between for the previous 20 years or so. We had never been able to get quite as much time in Dorothy Chandler Pavilion as we needed, because it was heavily booked with other events. And at the Shrine Auditorium, where we liked the size of the theatre, we had some audience flow problems. Some of these problems later cleared up, but by that time we were excited about the idea of the new theatre." (It should be noted that the City of Los Angeles, which ponied up $94 million for the theatre, actually owns it; the Academy simply rents it for the month of March. Eastman Kodak bought the naming rights in 2000.)
Davis had to pitch the idea to the Academy Board of Governors — conceivably a tough sell. "At the time, Hollywood was a pretty seedy neighborhood. On the other hand, David Malmuth had credibility, because he had worked in Times Square, and Hollywood at its worst was never as bad as that. But our governors were instantly galvanized by the idea. They saw the theatricality, if you will, of bringing the Academy Awards back to the neighborhood that has become synonymous with the art form. And as long as we were going to do this, we thought we might as well design a theatre that was really specifically for doing our show. That was the intriguing thing, that we could really improve many of the conditions that we had found in all the other places that we've done the show over its history."
In 1929, the first Oscar ceremony was held at the Roosevelt Hotel, directly across Hollywood Boulevard from the Kodak Theatre. It was in there that several project participants gathered almost five years ago to overlook the site that would represent the Academy's 21st-century public face. AMPAS had quite a laundry list of needs. "There were a lot of specific requirements that you might expect, like size of the stage and number of seats," says Rockwell. "They wanted a space in which people are going to feel really connected to the experience of the show, even from the upper balcony. They were also interested in comfort, the ease of getting to the stage from the orchestra, how many balconies there were and how deep, what the stair width was to allow people to get in and out, the size of the bathrooms, materials, finishes, and colors, how you get cable from trucks through the theatre…there were a lot of technical issues and a lot of issues that had more to do with a theatre that works emotionally for AMPAS."
"It was a matter of very, very careful meetings to make sure that the theatre would really work in the way we needed it to work," says Davis. Representing the Academy were stalwarts from past awards shows. Frequent Oscar producer Gil Cates was consulted, as was Emmy-winning director Louis Horvitz, lighting designer Bob Dickinson, production designer Roy Christopher, live sound mixer Patrick Baltzell, projections designer David Taylor (not TPC's David Taylor), and music director Bill Conti, who laid out masking tape in the AMPAS headquarters lobby to show exactly what kind of orchestra pit he wanted, one that could comfortably hold 77 musicians and instruments.
Out of all these talks and preliminary plans came several mandates. The stage was to be, at 150' × 76', one of the largest in the country, with plenty of wing space and load-in capability, including a loading door at the back of the stage. The seating capacity for the Oscars was to be, if much less than the 6,000-seat Shrine, at least greater than the Dorothy Chandler, where a number of seating positions were lost to television equipment or blocked by camera cranes. With that in mind, a media "cockpit" lift was to be installed in the middle of the orchestra, taking into consideration audience sightlines. And the extensive cabling required for the show was to be rendered as invisible as possible.
"It's based on many precedents," says TPC design director Brian Hall, who cites the classic Broadway house as exemplified by the New Amsterdam, and the grand movie palaces of the past — one of which, the still-operating Grauman's Chinese Theatre, is just west of the Hollywood & Highland development. "But it's one of the few theatres in the world where modern technology meets tradition. The Kodak had to be a large studio space for producing the Academy Awards, and it had to do it in a way that people could sit in comfort and watch a show." The result, he says, is "a great American theatre."
For viewers and attendees, the Oscar experience will start, appropriately enough, at the arrivals area on Hollywood Boulevard. The Kodak Theatre is set back from the street, and fronted by a towering portal, which is designed by Rockwell. From here, a two-story Awards Walk, also designed by Rockwell, leads to the theatre; on Oscar night, the black-and-white terrazzo floor will be laid, naturally, with red carpet. A retail component is included along the walk, which AMPAS was adamant about disguising for the ceremony, so bronze bars for curtaining off store facades are part of the design. For most of the year, the only sign of an Academy presence on Awards Walk are backlit glass plaques for each Best Picture winner on a series of limestone portals. There are 144 of these plaques in place; more will need to be installed around 2072.
"The whole space becomes kind of a broadcast studio, with rods built in for sound and lighting," says Rockwell. "You see the portals with the Best Picture awards, and this stair with lead mosaic tile comes swooping down like a fabric piece. The red carpet path in here will become like the ultimate cocktail party."
The party continues in the five-level lobby, which centers on a large spiraling stairway and is topped by an oval, uplit dome. Rockwell specified a number of elegant finishes in the lobby, including cherrywood stair balustrades and newel posts capped with backlit cast glass, silver leaf accent on the walls, and most aptly, wall panels made of a glass bead material from Forms + Surfaces called Silver Screen; when front-lit, the panels indeed have the reflective look of a move screen. Rockwell conceptualized the Awards Walk and lobby area first, he says, partly because "so much of what makes going to the theatre special is everything that leads up to it."
Interior photo: Timothy Street Porter/Rockwell Group
Of course, the main attraction is the auditorium itself, where form, function, and style share equal billing and are often impossible to separate. The look of the space is comparatively flamboyant, as befits a theatre that wants to project a Tinseltown buzz. The colors are bold and warm, dominated by cherrywood finishes, the deep plum of the velvety chair upholstery, and by the fabric wrapping the outer-wall acoustical panels, which blend in a Mondrian-style ombre pattern upward from red to blue.
The auditorium is capped by a silver-leafed "tiara": an elaborately looping structure, inspired by the floor pattern of Michelangelo's Campidoglio and Busby Berkeley's ever-expanding choreographic shapes, that both supports and disguises an immense ceiling grid. Reflective ribs from the tiara extend down between the theatre's boxes, creating a continuous flow from wall to ceiling. The mirroring form of the house and proscenium reinforce the seamless enclosed feeling. "We did a lot of research into large houses that seemed to work, from Radio City Music Hall to Louis Sullivan's San Francisco Auditorium," says Rockwell. "There seemed to be a relationship between the shape of the proscenium and the rest of the house, that acted as a kind of camera iris to focus your attention on the stage."
The form of the seating is a Theatre Projects classic: a widely curved and shallow front orchestra, with a parterre and three balconies stacked and raked to bring all the seats as close to the stage as possible. Four boxes progress on either side from the balconies to the proscenium; the overall impression, says Davis, is of a house that's "wrapping around you and hugging you." "It has a feeling of a house of 2,000 seats," says Hall.
Since everyone attending the Oscars should, in the words of Rockwell, feel like "a VIP of sorts," extensive sightline studies were conducted to ensure views from all seats were not only good, but something more: "There's no seat that has a view of the stage that isn't framed by other audience members," says the designer. The intimate feeling extends to those onstage. "You can stand at the lip of the stage, and just feel how close all of the audience feels." That sense of proximity should also come through to the viewer at home, given that the Academy Awards tends to involve more audience shots and interaction than other televised shows with a live audience. "Around the time we were planning this, Shakespeare in Love came out," Rockwell says. "That reinforced the notion of the Globe Theatre, and how people surrounding the performance added to the excitement."
That's particularly true if a number of those people are movie stars, who will be filling the front orchestra on Oscar night. Not everyone up close will be as recognizable as Jack Nicholson in his sunglasses, but all should have a potentially major role in the night's proceedings. "One thing that was very interesting for us in working with the Academy was their requirements for the nominees," says Hall. "I think there are generally about 750 of them, and we designed the lower part of the orchestra to accommodate them, for easy access to the stage." Embedded structure on both sides of the orchestra pit provides support for those stairs the lucky winners get to climb.
If needed, some nominees in the lesser categories can spill over into the parterre, which will also hold the media pit in its front center position. (Many of the roughly 300 seats the Kodak will lose to telecast requirements March 24 are from here.) The design of this 29' × 8' broadcast center, which will contain all the show's sound mixers and consoles, Vari*Lite consoles, three cameras, two cranes, and TelePrompter, was crucial to the Academy. "One of our ongoing irritations has been the big central camera position, with a guy riding a boom right in the middle of the auditorium, and the TelePrompter right below that," says Davis. "It renders all of the seats behind it pretty awful." The media pit and step-up parterre rear seating effectively take care of that problem.
"An absolute driving force of the design of this building is the relationship between the stage floor and all the technology and people in the media pit," says Taylor. "There's no other place like it — a solid environment for cameras and people and controllers, but which also can be seen over, and where people in front of those cameras are out of the way. When the Academy goes elsewhere, they have to rip out hundreds of seats. We did a whole mess of 3D visualizations — views from the podium back, and from the cameras back to the podium." Beyond the media pit, there are four side camera positions, and seven positions at the second balcony, while more technicians and a press box are housed in a large booth at the back of the auditorium.
The lighting system in the Kodak Theatre is designed mainly for legit purposes, with a number of front-of-house positions and circuits on the elliptical bridge that makes up part of the ceiling structure. The backbone of Bob Dickinson's huge lighting rigs for the awards are Vari*Lites, yet as Taylor says, "the house rig is very supportive of Vari*Lites, but doesn't include them."
What it does include are 446 ETC Source Four ellipsoidals and 120 Source Four PARs, along with 80 Altman focusing cyc lights, Lycian followspots, and Morpheus color faders, all provided by Entertainment Lighting Services. The lighting console is an ETC 1,500-channel Obsession II with full dual processor crate and full designer remote. One possibly hyperbolic statement made about the theatre is that it contains more power than any other performance space in the world.
Installed in the space are 800 permanent ETC Sensor dimmers, but, Taylor continues, "We also put a huge amount of accessible power adjacent to those dimmers. We weren't throwing power around the building in a very expensive way; there's a place to put the Academy's rental dimmers, and the Vari*Lite racks, very close to where our racks are." A flexible lighting ethernet system offers a choice of DMX in all control locations.
The house sound system infrastructure is installed by SPL, designed in conjunction with Baltzell and Engineering Harmonics' Dave Clark, to meet Broadway and broadcast A/B routing requirements, with 248 loudspeaker circuits distributed in A/B pairs among 105 locations. Equipment includes 80 Renkus-Heinz A/B loudspeakers for frontfills, boxes, and underbalconies, eight single-channel JBL speakers covering seats in the "nosebleeds," 42 channels of QSC amplifiers, and BSS Soundweb networks for lobby paging and other capabilities. A portable house sound reinforcement system, which will not be used for the Oscars, was provided by IPR Services. It includes two identical Meyer Sound arrays flown on either side of the proscenium, each comprising six Meyer MSL-4 two-way speakers for downfill and balcony coverage and two DSP4P two-way boxes for additional balcony cover; two DF-4 two-way cabinets to bolster downfill coverage; three UPA2Ps for short-throw fill; and two 650P subwoofers to handle the low frequencies for the floor and balcony, with another 650P positioned on the downstage wing.
Taylor says, "We decided pretty early on that the best way to spend the money was on infrastructure. We absolutely filled the building with fiber and copper, with tielines. We designated two operational zones for the building — front-of-house and lobby, and auditorium and backstage. We have a SVC hub in the front-of-house area, and then we have a vast central equipment room at the northwest corner of the basement level below the stage. Everything in terms of patching and termination is there, and incoming systems can just roll into the room, which joins to the cable tunnel as well."
Said tunnel is just one piece of a complex system designed to manage the miles of cable needed to power an enormous undertaking like the Oscars. This was another common headache from past productions that the Academy was eager to alleviate. "If you went to the Shrine," says Hall, who along with Rockwell and other key figures attended the last several shows, "there was foot-high gaffer-taped cable everywhere." Taylor says that TrizecHahn project manager Doug Curtis "beat us up every day about cable management systems. We needed to get a cable from anywhere to anywhere, out of view of the audience."
Rockwell's form-and-function sense yielded particularly ingenious results here, as those aforementioned ribs extending down from the decorative ceiling structure double as cable distribution shafts from the catwalks, which branch off into troughs inside the pretty, backlit cast-glass balcony and box fronts. (Six of the 24 boxes, by the way, are to be used strictly as platforms for projection screens and other equipment during the Oscars.) The cable runs then continue into the basement, hooking up with tunnels that lead under Hollywood Boulevard and into remote production trucks. "Rockwell did some beautiful work on the architecture, but as an armature for equipment and technology, it also works beautifully," says Hall.
The 64'-wide, 35'-high proscenium is covered by what Taylor calls the "fastest house curtain in the world," designed by Rockwell in a grid pattern of alternating iridescent colors. The main stage space encompasses a 114' × 70' area, with 89', 6" to the grid. Pook Diemont & Ohl has installed a rigging system that includes 79 underhung single-purchase counterweight linesets with side tabs, ladder battens, and a 2,100lb capacity. In addition, a forestage grid extends 48' over the proscenium wall. "They've ripped holes in the Shrine ceiling every show to hang stuff up," Taylor explains. "Not only do we have a great forestage grid with elevator access to it, but we also extended that with arena rigging beams beyond to the first catwalk. If you want to hang a car over the center of the auditorium, you can do it."
We could go on to discuss the Kodak Theatre's 60 toilet fixtures for men and 80 for women (is that enough?), or its dressing-room capacity for more than 100, or the Winner's Walk that takes newly Oscared luminaries from the stage to the second-balcony level to the pressroom. And don't forget the adjacent, 40,000-sq.-ft. Grand Ballroom (designed by Diane Wong), where the Governor's Ball will be held after the ceremony, and which offers sweeping views of the Los Angeles skyline and the Pacific Ocean. Views that should remind one of the mythic Hollywood that, for one night of the year, the Academy Awards still manages to conjure, and the Kodak Theatre means to perpetuate.
Kodak Theatre Project Credits (partial) Hollywood & Highland developer
TrizecHahn Development Corporation
Project executive: David Malmuth
Project manager: Doug Curtis
Executive architect
Altoon & Porter
Principal-in-charge: Gary Krenz
Design architect
Ehrenkrantz Eckstut & Kuhn
Kodak Theatre/Awards Walk architect
The Rockwell Group
Principal-in-charge: David Rockwell
Kodak Theatre planner, theatre and equipment designer
Theatre Projects Consultants, Inc.
Project manager: David Taylor
Director of design: Brian Hall
Rigging specialist: Michael Nishball
Principal-in-charge: Richard Pilbrow
Acoustical consultant
Robert F. Mahoney and Associates
Dimming and control
Electronic Theatre Controls
Sound system designer
Engineering Harmonics
Project managers: Dave Clark, Philip Giddings
Rigging and curtain
Pook Diemont & Ohl, Inc.
Brintons US Axminster
Auditorium seating
Theatre Solutions, Inc.
Performance lifts
PDO, using Gala Lift technology
Lighting system supplier
Entertainment Lighting Services
Electrical contractor
Sound system contractor
Portable house sound system
IPR Services
Construction manager
McCarthy Building Companies, Inc.


text:
It was a heartbreaking day Thursday at one area school after students at a Kansas City charter school were told they wouldn't be coming back to their campus next year.
Teachers at Gordon Parks Elementary, near 37th and Wyoming streets, said it was awful to have to tell their students that next Wednesday would be their final day at the school because the state is shutting them down for good.
Devastated parents said that teachers and staff cared about the students and did wonderful work, but the Missouri education board said after years of woeful academic performance that they could not justify allowing the school to remain open.
Some supporters say strides were being made, but the state refused to consider those improvements.
The school was supposed to be open until June 28, but now parents are left scrambling as they look for childcare, teachers have to search for new jobs and students are left dealing with heartache.
Children crying replaced the usual laughter that fills the hallways after students at Gordon Park Elementary were told the bad news they never saw coming.
"The school is closing. (I feel) sad. (I'll miss the most the) learning and teachers," said third-grader A'yana Walker.
"Because I've been here since kindergarten and it hurts my feelings that the school is going to close," said third-grader Precious Williams.
On Tuesday night, the Missouri Department of Elementary and Secondary Education, known as DESE, decided to shut down the school because of low state test scores.
But teachers said the state board isn't looking at the big picture. Ninety-eight percent of the students who attend the school live in poverty and the staff works hard to help the struggling families overcome many obstacles.
"We eliminate the barriers. Food, we send it home. We eliminate the barriers so they can focus on the learning," said Family Outreach Coordinator Wadandra McBride.
"We have a lot of staff that have been with them for a long time. Close relationships. It's a family here, not just a school - just a family," said teacher Stacia Milius.
The board president said the state has never even visited their school to see the impact they are making on the children's lives. He said they based their decision solely on last year's test scores and they haven't even had a chance to review the scores of this year's testing to see if any progress was made.
"It was shocking to see the disinterest by the DESE board on our student population. They didn't really seem to connect at all with the 98 percent of children below the poverty line and seemed not to care about children and in the cause that we serve," said Board President Douglas Curry.
Now all 230 students who were planning to fill the classrooms until June 28 have been told their last day is next Wednesday and parents like Joya Trice are in a big bind to find childcare.
"Very blind sided. I can't believe that happened, like I just thought this school would continue to progress and progress," she said. "It's going to be a burden to find somewhere to go, like real fast, in a week's time. Who knows how good that will happen? I'm just shocked. My mind can't process this right now."
Now many are left wondering where the students will go next school year. The school is having an enrollment fair Wednesday at 4 p.m. The goal is the help the parents review their options, like what charter schools they can look at, as well as schools in the district that are near their homes.
KCTV5 talked to the state education officials Thursday afternoon about their decision to revoke the charter.
"Our biggest concern was academic performance, because they are performing significantly lower than other public schools in Kansas City and throughout Missouri," said spokesperson Sarah Potter during a phone interview.
The department also issued a written statement about the decision.
"After careful review of the Gordon Parks Elementary charter school, the State Board of Education voted unanimously not to renew its charter school application and strongly urged the sponsor to close the school. Since 2007, academic performance at the charter school sponsored by University of Central Missouri-Warrensburg has been significantly lower than public schools in Kansas City and throughout Missouri."
Applications for charter schools last for five years. They have to renew the application at that point.
Gordon Parks was originally granted an extension through June 30. When the board looked at their renewal application for this year, they decided they could not let the school remain open.
KCTV5's DeAnn Smith and Dave Jordan contributed to this report.
Copyright 2013 KCTV (Meredith Corp.) All rights reserved.
A woman who was texting while driving was impaled by guardrail pole.


text:
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Improving visibility: there are four seats available for every performance in the front row of the Royal Shakespeare Theatre stalls and Swan Theatre stalls for people with either a visual or a hearing impairment. Please ask Box Office staff about the availability of these seats when booking your ticket.
Theatre access: both the Royal Shakespeare Theatre and Swan Theatre have lift access to all levels of the building. There are wheelchair spaces on all levels of the Royal Shakespeare Theatre and on the ground floor of the Swan Theatre. Adapted toilets are available on all levels of the Royal Shakespeare Theatre and on the ground floor and first gallery level of the Swan Theatre.
Hearing impaired customers: the Royal Shakespeare Theatre and Swan Theatre auditoria are fitted with a loop system as are the Box Office, cloakroom and shop counters which provides a louder and better quality sound directly through the hearing aid. Headsets can also be borrowed free of charge for performances from the cloakroom. These amplify the sound of the performance.
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A - The Company's objectives laid down in its Royal Charter are to conserve, advance and disseminate the dramatic heritage of Shakespeare and to advance the dramatic art, both in the United Kingdom and throughout the world. For information about the RSC's vision, please visit Our Work.
Q - Will the RSC perform in a venue in my local area?
A - We are always interested to hear from venues that are keen to accommodate an RSC production. Schools can engage with the RSC in their local area through our Learning and Performance Network.
Q - How do I submit a script to the RSC for feedback?
A - Unfortunately the RSC does not accept unsolicited scripts but we do try to see as much new work as we can.
Q - Is the theatre available for hire?
A – The RSC has a selection of spaces available to hire for a range of uses such as conferences, meetings and filming projects. The newly transformed building also has a wedding license. More information on commercial hires.
Q - Can I raise money for my charity at the theatre? Can the RSC donate prizes to my fundraising event?
A - The RSC is itself a charity but supports many other charities. We make annual collections for a theatrical industry charity, Acting For Others, World Aids Day, The Poppy Appeal and Comic Relief. In addition, we make relevant appeals on behalf of local, national or international incidents. The RSC receives many requests throughout the year from individuals and organisations requesting sponsorship or donations and it is always with regret that we cannot assist with such requests.
Q - What do I do if I have lost an item at the theatre?
A - If you think you've lost something, we may be able to help you get it back.
First you should phone 01789 272 443. If there is no reply leave a message and your call will be returned as soon as possible. Please provide a detailed description of the property, being sure to note any unique attributes or identifying features. Information regarding the date of the loss, the performance you were watching when you lost the item and the seat in which you were sitting will also help us narrow down the search.
All items found within the theatre are kept by our lost property department for one month from date they are found. After this time any lost items becomes the property of the Royal Shakespeare Company and the item will be used for the RSC's charitable purposes, recycled or disposed of responsibly. All personal data is removed from property and securely destroyed.
Once we have confirmed that we have found your property it may be collected from the Royal Shakespeare Theatre by prior appointment. If it is necessary to return an item to you by post then the item will be weighed to calculate the cost of postage. We ask that you send the equivalent amount of money in stamps, before we post the item out to you.


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Do you have drawers or boxes overflowing with your kids' artwork?
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This paper models the thermal upgrades at one of Conservation Groups pilot sites looking at present modelled energy performance against post intervention performance. It considers the differences between the various evaluations systems and why these might occur as well as comment on the suitability of the Energy Performance Certificate when used in traditionally constructed buildings....
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Saturday, August 25, 2012
© Copyright 2014 Gwinnett Daily Post
SNELLVILLE -- Some of the smallest things in life can make the biggest impact, even around the world.
The Little Gym of Snellville has joined forces with Soles4Souls, an international charity that collects shoes and distributes them to people in need around the globe, to gather 1 million used or outgrown pairs of shoes by the end of the gym's 2013 season.
"The 'Big Hearts, Little Shoes' program is a natural fit with what we do at The Little Gym," said Paul Mazurkiewicz, the gym's owner. "While gymnastics and physical skills form the basis of our classes, our curriculum provides for a well-rounded experience for children. 'Big Hearts, Little Shoes' is a perfect complement to our 'Citizen Kid' focus on life skills that help children grow into well-rounded citizens of the world."
During the 2012-13 season of classes, parents may donate shoes to the Soles4Souls drop boxes located in the lobby. The shoes will be shipped off to the international charity, which will distribute the shoes to people living in extreme poverty or recovering from a natural disaster.
"The program provides an interactive way for children to learn the value of charity and for parents and children to participate in a cause together," said a release from The Little Gym of Snellville.
The Little Gym of Snellville is an experiential learning and child physical development center for children between the ages of 4 months through 12 years old.
For more information about the campaign, visit www.TheLittleGym.com/BigHeartsLittleShoes.
More like this story
- GGC professor collects 1,600 pairs of shoes for charity ( January 18, 2013 )
- Surgeon provides shoes for homeless ( December 3, 2009 )
- LARSON: Trickum teacher puts heart and sole into Holocaust awareness ( April 13, 2012 )
- Kind soles: 10-year-old collects shoes for homeless ( July 16, 2011 )
- GAC's Puzas steps up with program to get cleats to kids in Nicaragua ( September 29, 2012 )


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10 Reasons Why Cats Are Badasses
20 Epic Ballers Ballin' on a Budget
25 Laziest Americans Ever
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2013-14 (Junior Season):
Named the recipient of the George P. Swift Jr. Men's Golf Scholarship.
2012-13 (Sophomore Season):
Saw action in four events for the Bulldogs, highlighted by a 13th-place effort in the Bulldog Battle and a 14th-place finish in the Forest Hills Collegiate.
Named the recipient of the George P. Swift Jr. Men's Golf Scholarship.
2011-12 (Freshman Season):
Saw action in seven events for the Bulldogs, highlighted by a third-place finish in the Northeast Tri Match and a 16th-place showing in the Furman Intercollegiate.
Fired a first-round 6-under 66 in the Furman Intercollegiate to match the fourth-lowest loop in school history.
Had two other rounds in the 60s: a 4-under 68 in the Adams Cup and a 3-under 69 in the USF Invitational.
Named to the Athletic Director's Honor Roll for the Spring Semester.
Named the recipient of the George P. Swift Jr. Scholarship.
Amateur/Junior Highlights:
Qualified for the 2012 U.S. Amateur.
Came in third in the 2012 Southeastern Amateur and had a top-20 effort in the 2012 Dogwood Invitational.
Came in second in the 2011 Southeastern Amateur.
Helped lead Austria to a second-place finish in the 2011 European Boys Team Championship.
Placed 25th in the 2011 Dogwood Invitational.
High School:
Graduated from Lowndes High School.
Led Lowndes to the state championship and earned medalist honors.
Born May 1, 1993.
Son of Peter and Mary Straka.
Twin brother, Sam, is also a golfer for the Bulldogs.
Majoring in Pre-Business.


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Body Paint 2.0 Bib Short XL Black/red
List Price: $249.99
Our Price: $174.99
© 2014 The Colorado Cyclist Inc
Average Customer Rating:
Recent Reviews | Submit a Review
Castelli always seems to make a good thing better. The Castelli Body Paint 2.0 bib short is Castelli's most sophisticated short, so comfortable it practically disappears on your body. Virtually seamless construction uses a variable knit structure that stimulates your muscle output and capillary blood flow to help you perform at a higher level. Aero dimples on the fabric provide an aerodynamic advantage and improved moisture management. The light mesh bib provides superb breathability while seamless bib straps feel almost invisible. Castelli's revolutionary Progetto X2 chamois features an infinitely variable cushioning layer for unsurpassed ride-ability. Improved leg grippers maintain placement without restriction.
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President promoting Affordable Care Act positively
Updated: Tuesday, December 3 2013, 02:55 PM CST
WASHINGTON -- President Obama is beginning a determined push to put the Affordable Care Act in a positive light today.
The president is trying to refocus the public's attention on the broader benefits of the health care law, while playing down the enrollment issues tied to the health care website.
Today President Obama launches a big health care pr push.
He's encouraging Americans to sign up for health insurance but he's also trying to change public opinion about the law after two months of technical glitches and delays.
Republicans say it's too little way too late.
Boehner House GOP listen to constituents and people and protect them from a fundamentally flawed law.
The White House said yesterday that after two months of around the clock work, the technical problems at healthcare.gov were largely fixed.
There was a huge increase in traffic at the site - 750,000 visitors by 5:30.
There were still hiccups. Some users encountered delays, but now there's a waiting room that provides information on when traffic will clear up.
But some users are still not having much luck.
ABC News has followed Dan Howard of Pennsylvania for two months as he's tried to navigate the web site.
Dan Howard: Whenever I finish my actual log in, it says i can't go any further because I'm not verified that I'm me.
Howard got a cancellation notice from his health insurance company back in September. His biggest concern now is getting a new policy in time.
I had a heart attack nine years ago. I'm terrified of not having a policy on January 1st.
For the rest of the week, the White House will focus on a different aspect of the health care law.


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I will give you 1,000 acres of land on Planet Orgy for your people if you aid us in this military conflict.
Moderators: Almighty Benny, Blitzen, Silent-sigfig
Warhead wrote:my head burns with War.
mgb519 wrote:Seriously, you are now the first ever forum superhero.
Colette wrote:I hereby acknowledge Silverdream as the one and only forum troll as agreed in the bet.
Quantumsurfer wrote:No, I have 2 silver.
Warhead wrote:my head burns with War.
Natalya wrote:Kill The Peach +++ Abhor The Peach
Silent-sigfig wrote:motorhead fan wrote:Colette, why have they all got soup stains on they're coats
One characteristic of nerds is lack of hygiene
Bragallot wrote:Because they tend to be part of very very expensive licensed themes that are otherwise mostly cool and symbolize Lego's move to more licensed themes rather than 'parody' themes (Johnny Thunder, anyone?) that added characters to the actual Lego world.
Because of the super ugly over-detailed faces like the CloanTards and Anakin Skywalker.
Because so many have those stupid cheeklines.
Because we grew up with Yellows.
Because they make excellent villains.
Because it creates an excellent source for conflict to be used in Brikwars.
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I recieved this ring as an engament ring. I love it, and have had so many compliments on it. it sparkles and the color is beautiful. I wear it all the time and dont take it off. Love it!!
I recieved this ring as my engagement ring. I wanted something different than the standard one stone engagement ring. I looked at several other rings on different websites and kept coming back to this one. I was extremely satisfied with the product as it appeared on the website. Then as my fiance proposed and gave me the ring, I was stunned. The picture on the website gave it no justice at all! This ring was THE PERFECT ENGAGEMENT RING!!! I will be shopping for my wedding bands on overstock as well!!!
The ring is quite lovely. The black diamond is black, not grayish black- like some tend towards. It flashes nicely. The white diamonds are nice and sparkly. No great fire in the white diamonds, but they are as good as expected, maybe a little better. The fit is good and the prongs aren't pokey- which was a major factor in choosing this ring. My one complaint is that one of the prongs seems to be sticking up/out a bit. I'm going to have it looked at by a jeweler to see if the diamond is in danger/the ring needs fixing. The white diamonds aren't set quite exactly the same- as in they are just slightly tilted differently than the one next to it, but you need to look pretty closely to notice that. But for all intents and purposes this is a fantastic ring for the money. You can't get something like this for close to these prices. It doesn't overwhelm my small hand. Wonderful. Overall I'm very happy with it!
I Absolutely love this ring. My Fiance got this ring for me as an engagement ring and I couldn't believe my eyes when he asked. It has a very antique look to it. I have never seen a ring like it before and I get compliments on it all the time. Wouldn't of wanted any other ring. He did a great job.
Love my ring! I have only had it a few weeks but it's a great ring so far� I get a lot of compliments on it especially on how unique the black diamond Is. My only concern is finding a wedding band to go with it... it doesn't sit flush against my finger so I'm thinking there with have to be a gap but I'm sure it will still look great! If anyone has got a band with theirs I would love to see it!
I received this ring as an engagement ring. I seen many ring but this one was THE ONE. It caught my eye in an instant and set my heart on it. When my fianc� place the ring on my finger I couldn't believe how beautiful it was. It was as described. I love the black diamond, it matches my fianc�s rocker personality and I wanted something that would really make us one and this ring did that. I couldn't be any happier. I get so many compliments about my ring all the time. Amazing piece of jewlery.
I do absolutely love the way this ring looks, but I couldn't help but be a little disappointed with it. The profile of the center stone is very high, and those prongs are sharp! I've also only had it for a month and a half and the prongs are already pretty badly tarnished. The band is also practically hollow. I knew there were grooves, but I didn't quite realize how deep they were. All that said, most of those things are easily fixed by a jeweler. If possible, I'm going to have the stone lowered so it isn't constantly snagging on clothing, and have some additional gold set into the grooves to give it a little more substance. All those things aside, the ring is absolutely beautiful. The white diamonds are of a much higher quality that I had expected, and it's clear that much care was taken when they were being set. Nothing is out of place or crooked, and the metalwork between the stones really make it special. The black diamond has it's own kind of sparkle and is practically reflective. The size is perfect for a delicate hand, but I think the width of the stones would be too small for a larger finger. Even with the lack of metal issue, I wish Miadora had a matching band available for purchase as well. Not sure what I'm going to do for a wedding band!
The quality of the ring is fair. I bought two of this ring, and one had a spot over the black diamond that just ruined the look. Also the small diamonds surrounding the center stone barely had any sparkle. The purchase price was low, so I can't say I am surprised at the quality of the stones, but I was expecting more since other reviews were favorable. The design and style of the ring are beautiful. I think if the ring had better stones I would have kept it and I would have certainly paid more to get better quality. I think this ring would make a nice gift for a special occasion, but I would not recommend it as engagement ring.
Wanted something unique for my wedding ring, especially since my husbands ring was tungsten with a black band. Nervous about a black stone really. But found this ring with the antique setting and it spoke to! Had it for a year and a prong has chipped and the side had lost some color, but I get compliments every day and can't imagine anything else on my finger!
I just received this today. I ordered it last week and it got here in no time!! Supper fast shipping!! OK now on to the ring! I LOVE THIS RING!! I'm not supper girly so I was very worried what type of ring to get but once I watched the video I had to have this ring!! Its beyond my expectation. I love the color black and had no idea there was even a black diamond. I LOVE THIS RING !!! (LOL) It fits perfect its not too big but its not too small I've already had a few complements. It shines perfect too !! The black is a nice strong black color that's a plus!! The diamonds are lined perfect and shine great!! I will only get my rings from here now!! The fast shipping and awesome costumer service and the RING has me hooked on Overstock!! I will be recommending overstock from now on!! You will not be disopointed with this ring!!!!
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$1,290—$2,000 1—3 bed 6401 Warner Avenue, Huntington Beach CA, 92647
from $1,290 1—3 bed
6401 Warner Avenue, Huntington Beach, 92647
Commute to Downtown Huntington Beach
The rent at Ocean Breeze Villas Apartments ranges from $1,290 for a one bedroom to a $2,000 three bedroom. Apartments in this building are about 20% less expensive than the Huntington Beach average.
This apartment is in Huntington Beach. Nearby parks include Lark View Park, Irby Park and Golden View Park.
Ocean Breeze Villas Apartments has a Walk Score of 54 out of 100. This location is Somewhat Walkable so some errands can be accomplished on foot.
Nearby schools include Spring View Middle School, Golden View Elementary School and Hope View Elementary School.
The closest grocery stores are M & P Market, Big Lots and Sprouts Farmers Market.
Nearby coffee shops include AOI Tea Company, Kathy May's Restaurant and Kathy May's Lakeview Cafe. Nearby restaurants include Esther's Place, Sebatiani's Italian Bistro and Steve's No 4 Charbroil.
Ocean Breeze Villas Apartments is near Lark View Park, Irby Park and Golden View Park.
Welcome home to Ocean Breeze Villas! Here you'll enjoy a peaceful getaway that's a rejuvenating sanctuary from today's hectic lifestyle. With refreshing ocean breezes and colorful pacific sunsets, luxurious living will quickly become second nature. Whether it's spending a day sunbathing at the beach, shopping on the town, or enjoying a challenging game of basketball, Ocean Breeze Villas has something for everyone! Residents feel right at home in our uniquely designed apartment homes. Choose from one, two or three bedroom floor plans with plenty of space and amenities. Our gourmet kitchens include breakfast bars, electric stoves and spacious pantries. Large closets and vertical blinds add to the beautiful appeal of our apartment homes. Visit our photo gallery and find out why Ocean Breeze Villas is the ideal place to live in Southern California! With a convenient location to the 405 Freeway and PCH, you're just minutes away from everything. At our community, you can enjoy some of the best shopping, dining and much more in the surrounding areas, or spend a sunny day at the beach. Ocean Breeze is perfect for any lifestyle!
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Huntington Beach, California, 92647
Some errands can be accomplished on foot.
Explore how far you can travel by car, bus, bike and foot from Ocean Breeze Villas Apartments.
Bus lines:
72 Sunset Beach - Tustin
0.1 mi
25 Fullerton - Huntington Beach
0.6 mi
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CNN Panel Torches Gingrich's 'Self-Immolation' Campaign, 'Murder-Suicide'
On Tuesday morning's Starting Point, CNN political analyst Ron Brownstein ripped candidate Newt Gingrich's campaign strategy as "murder-suicide." The harsh rhetoric was reflective of the network's attitude towards the candidate on Tuesday morning.
New Hampshire voters have not yet chosen their GOP candidate, but CNN's hand-picked political team apparently wanted to speed up the process of elimination of the field. For the second day in a row, CNN contributor and phony-conservative David Frum bashed the candidate, predicting he was "about to launch the most amazing self-immolation in American political history." [Video coming soon. Click here for audio.]
Brownstein used the term "murder-suicide" in reference to the negative attack ads against Mitt Romney from the Gingrich campaign and the super PAC which supports him. In the process of "self-immolation" – a term used by ABC's Jake Tapper about the GOP field – Gingrich would attempt to drag Romney down with him, Brownstein argued.
Later on in the 8 a.m. hour, host Soledad O'Brien scrutinized Gingrich's choice of words "unilateral disarmament" to describe a campaign free from negative ads. Gingrich had defended his attack ads on Mitt Romney noting that when faced with attack ads from his opponents, "if you unilaterally disarm, you might as well drop out of the race."
"When you hear a candidate talking about his fellow candidates and using the words unilateral disarmament, that's almost scary. I mean, how worried are you about the damage that Newt Gingrich could do to the front-runner?" O'Brien asked the former Republican governor of New Hampshire, Judd Gregg.
A transcript of the segments, which aired on January 10 at 7:06 a.m. and 8:35 a.m. respectively, is as follows:
DAVID FRUM, CNN contributor: And meanwhile, Gingrich, who is not in the top three again, is about to launch the most amazing self-immolation in American political history.
SOLEDAD O'BRIEN: As he brings down Mitt Romney, potentially.
RON BROWNSTEIN, CNN senior political analyst: Murder-suicide, not just immolation.
SOLEDAD O'BRIEN: I want to play a little bit of what Newt Gingrich said to me this morning when I asked him if he was being hypocritical in talking about -- complaining about Mitt Romney's super PAC power, and also having his own super PAC supporting him. Here's what he said.
(Video Clip)
NEWT GINGRICH, Republican presidential candidate: I think if you're faced with the reality, if somebody decides that's what they're going to do, if you unilaterally disarm, you might as well drop out of the race. He's decided that he would pin his entire future on shrinking his competitors rather than offering positive ideas. We came back and offered a very clear choice here, talking about his impact, for example, raising the computer tax on folks from New Hampshire, raising $730 million in taxes as governor of Massachusetts. So I think it's fair to draw a contrast between my record of fighting for tax cuts and the tax increases that he set up in New Hampshire – in Massachusetts as governor.
(End Video Clip)
O'BRIEN: (to Judd Gregg (R), former New Hampshire governor) So, governor, let's begin with you. When you hear a candidate talking about his fellow candidates and using the words unilateral disarmament, that's almost scary. I mean, how worried are you about the damage that Newt Gingrich could do to the front-runner?
- Matt Hadro's blog
- Login to post comments
Not even Rush thinks Newt's
Submitted by balboa on Tue, 01/10/2012 - 6:08pm.
Not even Rush thinks Newt's campaign is an actual attempt to be elected.
- Login to post comments
Rush tried to tear down
Submitted by redfish on Tue, 01/10/2012 - 6:35pm.
Rush tried to tear down Huckabee in 2008 also, saying that Huckabee was being a "Perot" and working with Democrats to prevent Romney from winning against McCain. He said he thought Huckabee knew he wouldn't win. Now he's accusing Gingrich of being a "Perot" by attacking Romney, and saying he thinks Gingrich knows he can't win.
Rush sings the same tune every election year, with a different candidate.
- Login to post comments
Rush was right about Huck.
Submitted by almostacowboy on Tue, 01/10/2012 - 7:46pm.
And Rush is right about Newt.
- Login to post comments
And he's right about Romney?
Submitted by redfish on Tue, 01/10/2012 - 8:07pm.
And he's right about Romney?
Which time was he right? In 2008 when he called him a true conservative, or in 2012 when he called him too moderate?
- Login to post comments
(Replying to redfish...)
Submitted by seanrobins on Wed, 01/11/2012 - 1:11am.
You really need to actually listen to Rush. He never said Romney way a true conservative in 2008. What he said was, it was Romney or McCain.....This time, there's no McCain, so the comparison is not there to make. Now, we've got other, better conservative choices. It ain't Mitt.
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2010-2012 Ford Mustang Duraflex R-Spec Front Bumper Cover - 1 PieceFITS GT/V6 2010-12 Mustang when GT grille is used.
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x = independently organized TED event
Theme: Ideas + Action = Change
Sapporo , Japan
August 19th, 2012
About this event
TEDxSapporoSalon is a meet up series aimed to spark creative community to gather curious minds and a place to explore new ideas and thinking.
TEDxSapporoSalon is a small monthly recurring event that keeps a TEDx community engaged between larger annual events.
At a TEDxSapporoSalon Event, attendees can watch TEDTalks and have discussions.
Additional Links
on Twitter
Venue and Details
Co-Working Space Dorinoki
North 1 West 4 Hinode Bldg, 9F
Sapporo , 060-0061
More about the venue »
This event occurred in the past.
See more TEDxSapporoSalon events »
Dilip BK Sunar
Dilip BK Sunar
Sapporo, Japan
- Taku Kuroda
- Co-organizer