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Columbus Zoo Closes 2009 by Breaking Attendance Re
Commitment to Conservation
Cool New Bears Arrive at the Columbus Zoo and Aqua
Get Half Off Admission While it Lasts
Rare Bonobo Born at the Columbus Zoo
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Zoo Names Tom Stalf To Serve As Assistant Zoo Dire
Polar Frontier Opens May 6
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Bird is the Word
Otterly Adorable!
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Baby Gorilla Coming To Columbus Zoo
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Party Animals Mark Your Calendars For One Wild Nig
Treat Dad To A Free Trip To The Zoo On Fathers Day
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Another Rare Kiwi Hatches At The Columbus Zoo
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Jungle Jacks Conservation Cup - Not Just For The B
Rwandan Fete To Support Conservation Efforts In Ce
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Its The Year Of The Turtle - Lets Shell-A-Brate
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Its Beginning To Look A Lot Like Wildlights At The
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Hank Brings Hope For Elephants
Colo Queen Of The Columbus Zoo Celebrates Year 55
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Half Off Admission And Free Days A Ray Of Light Af
Meet Hank Columbus Zoos New Big Man On Campus
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The Columbus Zoo to Publish Books
Media Alert:
Tuesday, March 23, 2010
March 23, 2010
Jennifer Wilson
Communications Manager
POWELL, Ohio – The Columbus Zoo and Aquarium is announcing its launch into the book publishing business with its first book Frenemies for Life.
Frenemies for Life, by John Becker, Ph.D isthe Zoo's first book to be released and focuses on the conservation story behind the Zoo's cheetahs and Anatolian Shepherd Dogs. In late 2008, the Zoo welcomed two male cheetah cubs (Ro and Reh) into its Promotions Department. A few months later, two female Anatolian Shepherd Dog puppies (Ruth and Reese), joined the cheetah brothers. Since that time, the four animals have been raised side by side and have become the best of friends. However, this extraordinary animal friendship symbolizes a conservation story in the wild – one in which the dogs save wild cheetahs by being their worst enemy. Frenemies for Life explores these parallel stories – delving into how the best of friends here at the Zoo would be bitter enemies in the wild.
Geared toward children ages 10 and above, Frenemies for Life is available for purchase now at the Columbus Zoo and will be available nationwide starting August 2010.
After researching what it would entail to contract out one book for publishing, the Zoo discovered that it could just easily – and cost-effectively – create its own publishing company. This idea was enthusiastically embraced by former Executive Director Jeff Swanagan and the Zoo staff. Book publishing gives the Zoo the opportunity to tell all of the amazing stories that occur at the Zoo every day and having its own publishing company will also allow the Zoo to take its messages and stories to a wider audience – both locally and nationally.
Columbus Zoo and Aquarium is open 363 days a year 9 a.m. to 6 p.m. from Memorial Day weekend through Labor Day and 9 a.m. to 5 p.m. after Labor Day. General admission is $12.99 for adults, $7.99 for children ages 2 to 9 and seniors 60+. Children under 2 and Columbus Zoo members are free. The Zoo was named the #1 Zoo in America by USA Travel Guide and is accredited by the Association of Zoos and Aquariums (AZA.) For more information and to purchase advance Zoo admission tickets, visit
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The Rotary Club of Savannah held a luncheon Monday to give the 3rd ID's Rear Detachment Brig. Gen. John Hort the opportunity to give the city of Savannah an idea of what the 3rd ID is doing for the country.
Brig. Gen. Hort is responsible for all 3rd ID at Fort Stewart and Hunter Army Airfield personnel and operations while Gen. Robert Abe Abrams is deployed to Afghanistan. He spoke the rotary to give an operational update of where all the troops are, as well as details of their missions and the progress made.
"We do not always see or hear about the progress, but there is a lot of great work going on throughout the entire country, which is great news," said Brig. Gen. Hort.
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Immaculate Beauty. New Summer Weeks added! in San Francisco
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vacation rental description
Beautiful classic SF Victorian home that has all of the latest state-of-the art upgrades available for July and 1/2 of August 2013. The home was newly designed with new furniture and beds, beautiful eat-in gourmet kitchen, dining room, 2 sitting rooms. This 3 bedroom home also has a rec room with a new, comfortable pull-out queen size sofa bed. Cute and private garden with BBQ, heat lamp and outdoor seating for 6.
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Prices are for time period of June 21 - August 9, 2013 only. Minimum of 1 week rental.


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Hampshire Rotary clubs dig deep at annual fundraiser (From Andover Advertiser)
When news happens, text AND and your photos or videos to 80360. Or contact us by email and phone.
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Hampshire Rotary clubs dig deep at annual fundraiser
7:00pm Tuesday 4th December 2012 in Hampshire Business
HAMPSHIRE'S Rotary clubs dug deep at their recent annual fundraising dinner.
Nine Rotary clubs from across the county raised an impressive £1035 through ticket sales and a raffle.
The dinner, held at the Haskins Garden Centre restaurant in West End, Southampton, was organised by Shaun Butler with the help of other members.
More than 120 Rotarians contributed, meaning disadvantaged children can now enjoy a day out to Paulton's Park. Funds will also be used to purchase equipment for the disabled.
Matt Hill, general manager at Haskins, said: "The Rotary evening was our first major event last year after the restaurant reopened and we were delighted to welcome back our VIPs."
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Seven years on, has the Hunting Act 'failed spectacularly'? (From The Argus)
Get involved: Send your news, views, pictures and video by texting SUPIC to 80360 or email us.
Seven years on, has the Hunting Act 'failed spectacularly'?
12:00pm Wednesday 14th November 2012 in News By Kimberly Middleton, Assistant News Editor
Seven years of living under a law designed to stop fox hunting has not dampened involvement in this controversial countryside pursuit.
In fact the meets are as strong as ever – with people forced to rally around to defend the tradition, reigniting interest, according to the Countryside Alliance.
"Hunting remains in good heart" and "support is strong" said the group's executive chairman Barney White-Spunner in the latest weekly newsletter.
Under the headline 'The Hunting Act has failed spectacularly' he argues more people now follow hunts: 86% have the same number or more members and nearly all feel better or equally supported by the local community.
Mr White-Spunner added: "The Hunting Act was an attack on rural people rather than an attempt to improve animal welfare, which is why it has failed so spectacularly."
The figures have reinvigorated calls from pro-hunters to scrap the "pointless" legislation.
But among the positivity and team spirit this year saw the county's first prosecution.
Video footage led to four Crawley and Horsham Hunt members being fined after being found guilty of hunting a wild animal – a fox – with a dog.
And South Downs Hunt Sabs' Simon Russell, said the Countryside Alliance's figures are not reflected on the ground.
"They keep saying it's more and more popular and more people are going out but that's not our experience.
"It's the same people, same faces, I don't think the numbers have changed at all in the last ten years, it's pretty static."
He added: "There has been a number of prosecutions but getting one is extremely difficult.
"They constantly claim when they kill an animal that it was a mistake, it's the default stance now."
Disrupting hunts
The saboteurs have been attempting to disrupt hunts across the county in recent weeks, including on the Balcombe Estate, north of Haywards Heath, and in Eridge, near Crowborough.
Despite the prosecution and continued protests, meets continue across East and West Sussex.
The Countryside Alliance's director of campaigns, Tim Bonner, said: "Currently all of the hunts in Sussex are robust.
"In some areas, especially where there remains active animal rights and anti-hunt groups, a lot of police time can be wasted on what's a completely pointless piece of legislation."
Conservative MP Charles Hendry, who would support a vote to reverse the law, said hunts in his Wealden constituency are still strong.
He said: "Wealden's always had an above average level of support. I haven't seen that diminish, but I can't say if it's gone up.
"The intensity of the opposition has declined. It could be because we don't see the big demonstrations and the conflict between the two sides, so it's easier to support it than had been the case previously. Antagonism has subsided.
"Clearly it has to be done within the confines of what is now possible but I suspect on Boxing Day we will see huge turnouts."
Active hunts
It's a view reflected by director Mr Bonner. He said: "I think in many ways hunting is as open and active as it has ever been.
"Some people thought the new legislation would stop hunting all together. It was a case of if you couldn't go to the football you would play golf instead.
"But that was never going to happen.
"People are incredibly passionate about hunting and are absolutely certain that fox hunting is justifiable and humane."
He added that the hunt supporters were more determined than ever.
He said: "People have rallied around their hunts as they have come under attack."
He said stereotypes of "the arrogant rich riding rough-shod through the countryside" could not be further from the truth.
Mr Bonner added: "The hunting people have a huge respect for the fox which is something that can be very difficult to understand in the modern world."
He said there were numerous new faces in hunting, with Mr White-Spunner adding it can only bode well for the future.
Saboteurs tell of violent attack by masked gang
In October 2012 anti-hunt campaigners claimed to have been attacked by a group of masked men.
The Hunt Saboteurs Association said three of its supporters had to be treated for head wounds in hospital after clashes at the Southdown and Eridge Fox Hunt in Firle near Lewes.
A 28-year-old man was arrested on suspicion of assault and has been bailed until December 3.
The Countryside Alliance at the time said people involved in the clash had no association with the hunt.
'Just a waste of time'
No one was prosecuted under the laws in Sussex in 2010, sparking claims the bill was a "massive waste of police time".
The Countryside Alliance said between 2005 when the bill was introduced and 2009 just four people were fined in Sussex – all in 2009.
Alice Barnard, chief executive of the Countryside Alliance, said at the time: "With the opening meets of the hunting season just around the corner, these statistics are a damning indictment of the expensive and failed Hunting Act."
But in May 2012 Sussex saw its first convictions for breaking fox hunting laws.
Neill Millard, Rachel Holdsworth and Andrew Phillis, from the Crawley and Horsham Hunt, were found guilty of hunting a wild mammal with a dog.
Video was captured of hounds "in full cry" chasing a fox at hunt meets at Marlpost Wood, Southwater, and Shermanbury Place in January 2011.
It was the ninth prosecution under the Act involving a pack of hounds since the ban came into force in February 2005.
At the time hunt monitors said the verdict would put more pressure on local groups to abide by the law.
Simon Wild, who shot some of the footage of the meets that was used as evidence, said: "This has done our credibility a great deal of good with police.
"I am sure we will be able to build up the pressure on this hunt and other hunts in the area."
But the Countryside Alliance said it was "very disappointed" at the result.
Tim Bonner said: "This was a long and complicated trial.
"We never believed |there was the evidence to sustain a conviction and we still don't believe so."
The Hunting Act
The Hunting Act 2004 outlawed hunting with dogs – particularly fox hunting, but also the hunting of deer, hares and mink and organised hare coursing – in England and Wales from 18 February 2005.
The Labour Party came to power in 1997 with a manifesto saying: "We will ensure greater protection for wildlife.
"We have advocated new measures to promote animal welfare, including a free vote in Parliament on whether hunting with hounds should be banned."
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Comments (11)
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1:31pm Wed 14 Nov 12
voiceofthescoombe says...
Well if you will enclose all the common land deny the working man any chance of hunting his own supper unlike say in france italy or germany.
dont be suprised when the urban masses take revenge. Pox on everyone involved.
1:41pm Wed 14 Nov 12
Jimmy Stewart's Imaginary Rabbit says...
1:44pm Wed 14 Nov 12
Jimmy Stewart's Imaginary Rabbit says...
Would have been interesting to know what the candidates thoughts were - although I don't care enough about the hunting issue for it to make a difference to me.
1:56pm Wed 14 Nov 12
John Steed says...
1:58pm Wed 14 Nov 12
Dave in Hastings says...
Poppycock! This statement is incorrect on several counts.
"He said stereotypes of "the arrogant rich riding rough-shod through the countryside" could not be further from the truth."
Yes of course why didn't I realise this - I know loads of people on the whitehawk estate with the surname of 'White-Spunner' - NOT!
When are these arrogant Countryside Alliance people going to get the message. The majority of people think that fox hunting is barbaric and has no place in a modern civilised society.
If they want to go riding around the fields chasing a scent, then fine; I'm sure Mr White-Spunner could outrun them for long enough to give the participants a bit of exercise. Better beware of 'accidents' though when the hounds catch up with him!
2:30pm Wed 14 Nov 12
RickH says...
2:30pm Wed 14 Nov 12
mazthegob says...
Tony Armstrong - UKIP
Katy Elizabeth Bourne - The Conservative Party Candidate
Ian Chisnall - Independent
Godfrey Daniel - Labour Party Candidate
David Rogers - Liberal Democrat
to Sussex police Chief Constable Martin Richards
Chief Crown Prosecutor for the South East Area (Sussex)Roger Coe-Salazar
I write to you today to ask for clarity and confirmation with regard the police roles concerning fox hunting meets in the county of Sussex,
I understand the police cannot be at every single hunt that happens in Sussex and nor would i expect them to. That is why Hunt Monitors attend these events every Saturday and sometimes weekdays, to collect evidence of illeagal hunting to help the police prosecute hunts that are breaking the law. But what we do expect is an even and fair policing when the need to have the police attend is warranted.
With this in mind, can to confirm or deny that yourselves or senior collogues or members of your staff investigating a crime etc have any kind of membership of hunts in Sussex both East and West, that you do not attend events held by such hunts and yourselves are totally impartial and will up hold the law concerning illegal hunting (Hunting Act 2004) and acts of crime against monitors.
The reason for asking for this clarity is that there seems a very big difference of policing for the hunting community and the policing for hunt monitors, for example three weeks ago hunt monitors where attacked savagely and £400 pounds of equipment was stolen by 10 supporters of a local hunt who wore masked, the police where called (and a ambulance for the injured who had to go to hospital) the perpetrators where pointed out to the officers (who still had the stolen items on themselves, a pair of glasses and a video camera). But the officers refused to search these persons or arrest them and stated that they could not and the injured and witnesses had to go to a police station and give formal complaints. Because of this monitors where again attack with injuries to more monitors and this police had to attend again. Because of the actions of the first attending officers evidence was lost (finger prints on equipment, possible blood on hands etc ans monitors where attacked again. (the equipment where not recovered)
I find this very strange and troubling on many points. If this had happened the other way round, a monitor would be arrested on the spot, a member of the hunting community only has to point a finger at a monitor and state that something had happened and said monitor is arrested,
also why do the police seem to turn a blind eye to other criminal behaviour such as driving on the highway unlicensed or tax and uninsured quad bikes and 4x4 etc young people driving horse box's on a 3.50 ton license instead of a 7 ton licence, non matching number plates etc and even on occasion above the drink drive level, why is this so when monitor vehicles are regularly stopped and expected with a fine tooth comb etc
Why do Sussex police give a totally different kind of service for each parties, are the police protecting the hunting folk and support them are Sussex police bias for the hunting community and against the monitors, why did Sussex police officers help fifty hired hunt supporter with sticks, remove monitors from public footpaths who where behaving completely legally and civilised and why did the same police officers turn a blind eye when the monitors where being focibly remove from these footpaths they where being verbaly abused threatend, kicked at the back of the legs and hit about the head, the officers just stud by,
hunt monitors over the last 10 years have had broken arms,ribs, nose's, massive rounds to the head, black eyes, broken jaws nerve damage, being knocked unconsciousness, have car windows smashed, tyres slashed, dead animal left on doorsteps, vehicle rammed at speed etc.
We feel sooner than later a monitor will loose their life, were telling you this because if it happens, it will be because Sussex police have left thing as they are and will not stop the violence to monitors, it will be Sussex polices fault someone has died.
7:07pm Wed 14 Nov 12
SuzieB says...
However, when the Countryside Alliance say that numbers have increased since the Hunting Act was passed they fail to realise that this could be BECAUSE there shouldn't be a kill. But we should never take the hunt's word for these figures. I was out monitoring my local hunt in West Sussex last Saturday and the numbers on the hunt were very depleted. Loads were out on the opening meet the week before but that's just a social occasion on the calendar.
And one last point - this isn't a rural versus townie issue. I have many good friends born and brought up in mid Sussex villages and not one of them supports hunting. Many of those on hunts are nouveau riche wannabees from towns.
Keep the Act but close the loopholes. Just because some choose to break the law doesn't mean we scrap it.
9:09pm Wed 14 Nov 12
MIDNIGHT COWBOY says...
10:33am Thu 15 Nov 12
Heathen Earth says...
11:41am Thu 15 Nov 12
Cash Bull says...
Tall Ho!
Comments are closed on this article.


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Every year, more than 3,000 scientific abstracts are accepted for oral and poster presentation at the Society's annual meeting.
Urge Congress to find a balanced approach to deficit reduction that does not involve further cuts to biomedical research
Published on: May 01, 2013
Dr. Gotlib indicated no relevant conflicts of interest.
Yildirim E, Kirby JE , Brown DE , et al. Xist RNA is a potent suppressor of hematologic cancer in mice. Cell. 2013;152:727-742.
Equality between the sexes is not just a social and economic imperative. On a biologic level, X-chromosome inactivation (XCI) ensures balanced gene expression between males and females. A major effector of XCI is the long, non-coding RNA, Xist, a 17-kb X-inactive specific transcript that is a component of the X-chromosome inactivation center on the inactive X chromosome. Transcriptional silencing of one X chromosome commences during embryonic development and mechanistically is mediated by Xist RNA coating of the X chromosome and cis-silencing of X-linked genes through binding of polycomb-repressive complexes. Although expression of Xist continues in the post-embryonic state, some in vitro models indicate that Xist may not be required to maintain XCI since its deletion does not always lead to reactivation of the inactive X-chromosome.
After XCI is established, the biologic effect of deleting Xist is unclear. A corollary issue is whether reactivation of X-linked genes occurs, and if so, what are the consequences? It is known that individuals with supernumerary chromosomes (e.g., males with a XXY karyotype) exhibit an increased risk of developing various types of cancer. In addition, certain tumors are characterized by X chromosome aneuploidies, including loss of the inactive X, duplication of the active X, or acquisition of additional X chromosomes. However, the causal relationship between these abnormalities and tumor initiation or progression remains uncertain.
Using murine models where Xist is conditionally deleted in hematopoietic stem cells after establishment of XCI, Eda Yildirim, Jeannie Lee, and colleagues at Harvard Medical School demonstrate a direct link between Xist and development of cancer. Those investigators created two types of mutants by deleting Xist from either the inactive X in 100 percent of cells or from the inactive X in 50 percent of cells and from the active X in 50 percent of cells. Although pups were born normally, mutants started to die at 1.5 months, and only 10 percent were alive after two years of monitoring. Notably, lethality was restricted to females (and was similar in frequency between the two types of mutants), whereas males and controls demonstrated no pathology. Mutant animals frequently exhibited the clinical and laboratory features of a chronic myelomonocytic leukemia or erythroleukemia. Histopathologic analysis of necropsied mice confirmed features of an overlap myeloproliferative/myelodysplastic syndrome. With progression, animals died of a wasting illness characterized by a predominantly myeloid hyperproliferation accompanied by massive splenomegaly. In these cases, histopathology revealed progressive reticulin fibrosis, leukoerythroblastosis, and extramedullary hematopoiesis involving the spleen and liver, consistent with myelofibrosis. Histiocytic sarcoma, sometimes widely metastatic, and multi-organ lymphoplasmacytic vasculitis were also recurrent disease features of the mutant animals.
Transplantation experiments confirmed that the MDS/MPN phenotype is derived from a hematopoietic cell rather than from a stromal cell origin. In addition, HSCs with deleted Xist exhibited qualitative and quantitative defects, including impaired maturation and a reduced capacity to repopulate lethally irradiated hosts. Gene expression profiling of Xistmutants showed a significant upregulation of expression of X-linked genes, confirming that Xist is in fact required not only for initiation of XCI but also for maintenance of XCI. Changes in expression were not confined to X chromosome genes but also affected the autosomal genome, resulting in perturbation of molecular pathways involved in DNA replication, chromosome segregation, cell-cycle regulation, and hematopoiesis.
In addition to its role in equalizing the dosage of X-linked genes, these experiments implicate the long, noncoding RNA Xist as a sentinel against the development of cancer. Although murine models demonstrate that the sequelae of Xist loss are restricted to females, these data refocus the spotlight on X chromosome aneuploidies and their pathogenetic role in different cancer types, regardless of gender. Unraveling how X reactivation drives a cascade of genome-wide changes and ultimately tumorigenesis is the next chapter in this fascinating story.
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Professional advancement opportunities at Regis range from one credit courses in industry specific areas, such as Personalized Medicine (RA 631) or Chinese Medical Device Regulation (RA 633), to 4-6 course certificate programs in areas including Communication for Healthcare Professionals, Integrative Health, Gerontology, Heath Informatics, and more.
The design and flexibility of our Professional Advancement opportunities cater to the needs of adult learners. Hybrid (half online/half on campus), turbo (4 day accelerated options), and weekend courses enable adults working full time to gain professional development needed to advance or change their careers.
Most Professional Development opportunities may be pursued without applying to a program at Regis, so students can choose to enroll as a non-matriculated student. For a list of professional advancement opportunities this semester, or to schedule a time to meet with an advisor, contact The Office of Graduate & Professional Programs – firstname.lastname@example.com or 781.768.7330.


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RALEIGH, N.C. (AP) - A Democratic candidate for North Carolina governor says he won't release his tax returns even though primary rival Bob Etheridge released his financial records as he officially filed to seek the state's top job.
State Rep. Bill Faison said Wednesday he doesn't plan to discuss his returns even as a third leading Democratic candidate - Lt. Gov. Walter Dalton - said that he would after Etheridge invited them to do so.
Faison said he won't release tax records save for W-2 income statements associated with his legislative work because his income is associated with small businesses that involve other people.
Leading Republican candidate Pat McCrory re-affirmed Wednesday that he won't release returns because he considers them private records.
Attorney General Roy Cooper has a clear ride to another four years as North Carolina's top law enforcement job after no one filed to run against the Democrat.
The State Board of Elections reports on its web site that only Cooper turned in candidacy papers for attorney general by the filing deadline at noon Wednesday. Barring an unlikely bid by an independent candidate, Cooper will be elected to a fourth four-year term.
The former state legislator from Rocky Mount faces no opposition despite negative publicity in 2010 about past shortcomings at state crime lab involving the testing of blood evidence. Cooper has otherwise been a popular statewide candidate who has been mentioned frequently as a future candidate for governor or U.S. Senate.
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Youth Olympics feature: Seth Rider
17/08/14 - With the women's race done & just one day to go until the lads get their shot on the international stage at the Youth Olympic Games in Nanjing, we get to know the USA's Seth Rider. Having gotten started... |Full Story
Australia's Brittany Dutton is Nanjing 2014 Youth Olympic Champion
16/08/14 - Australia's Brittany Dutton rode a gutsy solo bike breakaway to claim Youth Olympic gold in Nanjing on Sunday August 17 and continue Australia's stellar success in women's triathlon competition at the... |Full Story
Ruben Ruzafa reigns supreme in Zittau
16/08/14 - In a race that has been dominated by Conrad Stotlz (RSA) each of the last three years, Spain's Ruben Ruzafa avenged his missed world title from last year, winning the men's 2014 ITU Cross Triathlon World... |Full Story
Katrin Müller dominates for first Cross Triathlon title
16/08/14 - Germany's own Katrin Müller capitalized on her recent European championship title to make big moves on a challenging bike course to win her first ITU Cross Triathlon World Championships in Zittau. Flora... |Full Story
Stephanie Jenks: A small town girl with big hopes
16/08/14 - Depending on how you measure, Nanjing is not even in the top 10 biggest cities in China. But for USA triathlete Stephanie JENKS, of Aurora, Iowa, such rankings mean little. "The [population of the]... |Full Story
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DVDs:Animals and Nature:Animals and Wildlife:The Grizzlies DVD Exclusive
Monster of the imagination and monarch of the wild, the great grizzly bear has long played a part in myth and legend. Despite man's combined fear of and fascination with the grizzly, the bear survives today only by consent of his one real contenderman. Travel from Alaska's Brooks Range to Wyoming's Yellowstone National Park for a fascinating portrait of this powerful intelligent and extremely aggressive creature in The Grizzlies.
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National Geographic DVD Exclusives
For the first time ever, National Geographic presents its programming in DVD-R format. Available exclusively through this site, you can now own more of our award-winning specials and documentaries in a high-quality DVD format.
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Customers who purchase programs in the NG DVD Exclusives Library will receive a non-interactive, play only disc. There is no chaptering information on these DVDs, but there are chapter marks approximately every five minutes, which make it easy to fast forward through a program. The DVD-R format provides the digital video and audio quality you expect from all of our DVDs.
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Women's Reading Glasses
Gels Wideline$48.00The Gels Wideline Collection combines high quality materials with a fashion driven aesthetic. The Widelines are feather light reading eyewear made out of bendable TR90 memory plastic that can be easily adjusted for maximum comfort. The Gels Widelines feature distortion free/scratch resistant lenses that are attached to the frame using a precise compression mounting system. The rich, elegant color combinations perfectly compliment both men and women. All Scojo New York frames have a one year warranty and are available in 8 powers. Learn More
Sport FX$112.00The perfect balance between sport and style, the Sport FX reading glasses have a premium in both. Made from ultra lightweight and durable TR-90 the Sport FX reader is perfect for that outdoor lunch meeting or a trip to the beach. • Adjustable nose pads • 100% UV Protection • Optical quality lenses • Scratch resistant coating • Handmade frame • Premium hard case included Learn More
Sport TX$112.00The Sport TX features polarized polycarbonate bifocal lenses that eliminate glare and protect against scratches. *All Sales Final. Limited Quantities Available. Learn More
Sport UX$112.00
Out of stockCombining a soft, slender shape with an inventive material gives the Sport UX a unique flavor. The Sport UX features polarized, bi-focal lenses that eliminate glare and increase clarity. The UX is made out of lightweight matte acetate that provides maximum comfort and durability. The Sport UX is available in two outstanding colors and three powers. The Sport UX also provides 100% UV protection. *All Sales Final. Limited Quantities Available. Learn More
Birthstone Readers$27.00Inspired by the 12 gemstones correlating with the calendar year, Scojo New York's Birthstone reading glasses express their character with a splash of color and elegance. Individually stunning and outstanding as a collection, the Birthstone readers offer a light-weight frame embellished with jewels. • Optical quality lenses • Scratch resistant coating • Handmade frame • Case included • Size - A 50 | ED 51 | DBL 16 | TEMP 135 Learn More


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Square Eyelet Roller Blind
- In Stock
2 reviews
- Delivery
Square Eyelet Roller Blind in 6 width options
Ideal for aiding privacy, this roller blind is a contemporary twist on a classic product.
In an array of 8 stylish colours, the blind features a sleek chrome-effect square eyelet detail at the hem for modern elegance. It comes ready to hang with a child safe sidewinder action. The blind also comes with full instructions and can be trimmed to size if necessary.
With a maximum drop of 165 cm, it's available with the following width options:
- 60 cm (2 ft.)
- 90 cm (3 ft.)
- 120 cm (4 ft.)
- 150 cm (5 ft.)
- 180 cm (6 ft.)
- 210 cm (6ft. 10 inch)
Useful info:
- Square Eyelet Roller Blind
- Chrome effect square eyelet detail
- 8 colour choices
- 6 width options available
- Ready to hang
- Child safe sidewinder action
- Can be trimmed to size
- Full instructions included
Hamilton Roman Blind
Made to match the beautiful Hamilton décor range, this Roman blind features the same elegant appliqué detail that gives this collection a desirable contemporary-chic.
Available in a range of elegant colours, the Hamilton Roman blind will filter and diffuse sunlight, while providing your home with an added sense of privacy.
Drop is 160cm.
Available in 5 width options:
- Blind width 60 cm (24 inch)
- Blind width 90 cm (35 inch)
- Blind width 120 cm (48 inch)
- Blind width 150 cm (60 inch)
- Blind width 180 cm (72 inch)
As part of the Hamilton range, this Roman blind goes beautifully with the linen-look appliqué detail eyelet curtains and Hamilton curtain tie-backs (see item numbers DDB5M and 2D826).
Useful info:
- Hamilton Roman blind
- Available in a range of colours
- Will diffuse light and provide privacy
- Easy to put up
- Coordinating items sold separately
- Drop 160cm
Lunar Thermal Roman Blind
Made to match the stylish Lunar collection, these thermal roman blinds will complement your décor while providing an extra barrier against the cold,
Available in a range of vibrant colourways, - including chocolate, cranberry, linen, navy and orange - these striking, modern blinds have updated the traditional style.
As part of the Lunar range, these thermal roman blinds look fantastic paired with the thermal eyelet curtains for a cool, contemporary style that could save you money by keeping your home warmer (see item number A7R8L).
Drop is 160cm.
Choose from the following sizes:
- 61 cm (24 inch)
- 90 cm (36 inch)
- 120 cm (48 inch)
- 150 cm (60 inch)
- 180 cm (72 inch)
Useful info:
- Faux silk thermal roman blinds
- Faux silk textured material
- Blackout property provides extra privacy
- Matching lined curtains and tie-backs available separately
- Drop 160cm
Blackout Roller Blind in 4 width options
Whether you want to block out sunlight, or an awkwardly placed street lamp, this blackout roller blind is ideal for making your room as dark as possible.
In a range of 7 colours, there's one to suit your space, whether you're looking for vibrant or neutral. All fittings and instructions are included, and it's child safe too, with a sidewinder action that can be top-side or face-fixing.
With a maximum drop of 165 cm, the blind is available in the following width options:
- 60 cm
- 90 cm
- 120 cm
- 180 cm
Useful info:
- Blackout Roller Blind
- 7 colour options available
- 4 width options available
- Drop: 165 cm
- Sidewinder action
- Child safe
- Fittings and instructions included
Matching curtains available.
Drop 160 cm (63 inch) approx.Colours: Chocolate, Red, Plum, Green, Indigo, Teal, Taupe, Natural, Black. Cotton. Wipe clean only.
Faux Silk Blackout Roman Blind
Made to match the luxurious faux silk lined curtains, this blackout Roman blind will complement your luxe décor.
The blackout aspect of this faux silk roman blind provides an added sense of privacy and in blocking light is perfect for those who love a lie in at the weekend.
The faux silk material gives this product a beautiful texture that is soft to the touch, while the roman blind design is updated with an all-over textured colourway.
A traditional fitting with a contemporary edge, this blackout Roman blind will look beautiful paired with the faux silk lined curtains (see item number NW251).
Drop: 160cm.
Choose from the following sizes:
- 61 cm (24 inch)
- 90 cm (36 inch)
- 120 cm (48 inch)
- 150 cm (60 inch)
- 180 cm (72 inch)
Useful info:
- Faux silk blackout Roman blind
- Faux silk textures material
- Blackout property provides extra privacy
- Matching lined curtains and tie-backs available separately
- Drop 160cm


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Car lovers came together Sunday for a good cause. The Michiana Corvette Club held its 33rd Annual Automotive Swap Meet on Notre Dame's campus. All makes and models of car parts, tools, and accessories were for sale. It was a five dollar donation to get in and all the money goes to local charities. The Vice President of the club said there's no need to keep the money for themselves. "We're not out to make a profit, we're just in it just to be near car people," said David Godfrey.
All the money made today at the swap meet will be divided between three or four charities including Camp Millhouse and YWCA.
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Augusta, GA (WJBF) -- At the golf house at the GRU Augusta sports complex, Kevin McPherson is finishing up some work before he leaves for Coastal Carolina. The Jaguars men's golf coach announced Tuesday that he is leaving his current post in the middle of the fall season for what he calls his dream job in his hometown of Conway, South Carolina.
Among the perks of his new job, McPherson will now have an assistant coach, something he didn't have here. It's also a program not dealing with a name change, but while he says the transition from Augusta State has been difficult, especially for a men's golf program that won a pair of titles as ASU, he says it didn't play into his decision.
McPherson says the opening was unexpected, and he wishes the timing could be better. But he didn't want to pass up an "opportunity of a lifetime," and then live to regret the decision.
He says his now former players at GRU Augusta were very supportive of his decision even though they hate to see him go.
McPherson says the Jaguars program is in very good, and he thinks they will be competing for national titles soon. He also says he's been contacted by a number of coaches interested in the job, and he hopes to have some input in the hiring of his replacement.
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Select Route:
70' west facing cliff. Excellent rock with some large roofs. The sport routes here are spicy and many of them require a piece or two of gear. Somehow Ken Nichols was able to find 40 routes on this small cliff, most people only climb the 15 or so bolted routes that have been added down below in some line drawings/topos.
Getting There
Park at Crescent Lake Park, but a $25 annual parking pass is required, the parking lot is small (about 30 spaces), is shared by resident park users, and it is USUALLY gated between 5pm and 7am. Parking passes are sold at the Southington town hall (parks and rec. dept. - basement) during normal business hours. If you park there, hike east along the shore of the reservoir, then up to the crag. The gate closes at different times during the year so pay attention to the posted signs and dont be late getting out of there or you may have a long walk home.
Route List
Route descriptions are adapted from Hooked on Traprock - Rock Climbing in Central Connecticut, Ken Nichols, 1995 (out of print and somewhat rare/expensive).
Climbing Season
40 Total Routes
Featured Route For Historical Routes
Climb Phoenix over roof, then diagonal R to small LFC. More rope drag than the direct finish....[more] Browse More Classics in CT
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"We have been working for a year with the company to get this store in Dora," Stephens said. "Bottom line – Dollar General is coming to Dora. It's been an ongoing process of negotiations since about last June."
He said that resident Bobby Busby, who owned the property, was instrumental in the negotiations, as well as his son and city clerk Marcy Brown.
Stephens said the grand opening is scheduled for Aug. 24, if weather allows construction to continue on schedule.
The store will not be a full grocery, but will stock basic necessities that residents in that area had previously had to drive or walk out to the highway to purchase, as well as clothes and other items.
The location borders a large residential area, meaning that many residents who may not have transportation will be able to walk to the store.
"I feel like it's going to be in a great location," Stephens said. "It is going to be a great thing for the city and its residents."


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Just days ago, happy children played along Callison Highway, but that laughter has transformed into a deafening silence Tuesday night as police say 27-year-old Bryan Sweatt allegedly executed the parents of his girlfriend, Chandra Fields, and her two nephews aged 9 and 10 in before turning the gun on himself.
"We see them a lot, riding their dirt bike up and down," said Samantha Parente. "Just kids being kids."
Word of the murders spread fast in the small community Wednesday morning
"That was my nephew's babies," said Terry Bilt. "They were great kids."
"Of course as a mom, you think, what if that were my son? What if that were me," said Parente.
But there was also an air of complacency in the air today. Many residents we spoke to say they're simply used to violence in and around their community.
"We hear about death a lot, and a lot of things go on, and to tell you the truth, we go on every day, just not thinking about it after its over with," said Paula Nisha Edgerton.
Law enforcement officials say the incident was likely the result of a domestic dispute, an issue that strikes a chord with Parente, a neighbor from just down the road who recently ended her own abusive relationship.
"Women need to be more aware of what to look for when you're dating someone. What warning signs come about, that you should start getting away from," said Parente.
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1958 Ford Skyliner - this was my dad's car he was the 2 owner he bought it in I think 2003 had sum sheet... More
1934 FORD STREET BEAST. THIS IS A PROJECT CAR WITH LOTS OF PARTS TO BUILD IT. MUSTANG 11 FRONT END, DANA REAR END, DISC BRAKES,... More
1947 Ford Super Deluxe 4 door, This car with suicide doors and 14942 original miles is looking for a new owner. BODY - The body is... More
1966 Ford Mustang Convertible 289 '66 Ford Mustang Convertible 289, navy with blue interior, manual transmission, and sitting for many years. Excellent car for restoration... More
A400 project. In storage since 1955. No rust except surface in places. Can see original paint and some pin stripe. 98% complete. All the... More


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A female was seriously injured when she crashed her vehicle into a light pole on the West Side early Monday.
The crash happened a few minutes after 5 a.m. when the female crashed her vehicle into the light pole near West Van Buren Street and Oakley Boulevard, police News Affairs Officer John Mirabelli said, citing preliminary information.
The female was taken in serious condition to John H. Stroger Jr. Hospital, where her condition has since stabilized, Mirabelli said.
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The fundamentals of moving light programming start with understanding the individual parameters of the lights themselves, as discussed in the July issue of Entertainment Design. Learning how each parameter works, as well as making them respond the way you want, is the first step in broadening your moving light programming knowledge. From there, aspiring programmers need to understand how to set up their desk with the types of lights they'll be using, patch the lights, and create a window interface in order to navigate through all the views of their desk. After that, you'll be ready to learn about building palettes, also known as presets or libraries.
In this article, we'll get your console set up for programming, expose some of the techniques used in building palettes, and then dissect a few show looks to give you a first-hand peek at how groups and palettes are used. For the purposes of demonstration we'll be using the Wholehog II, but most of these same concepts can be applied to a wide array of moving light consoles.
Before any programming can begin, users need to get the console talking to the fixtures. This procedure is known as patching, which can be broken down into four sections:
1. Add fixtures to the console's schedule. The very first step to patching is to tell your console what type of and how many fixtures you will be working with. Most consoles will provide you with a large menu of fixture types to choose from, and some even include onboard editors that allow you to create or alter your own fixtures. The fixture library includes all the information on each of the fixture's parameters and parameter ranges. This library will also contain information about what parameter group the fixture's parameters will fall into by default when recording your palettes.
2. Assign control channel numbers to the fixtures. Once you've finished adding fixtures to the fixture schedule, you might wish to change the default control numbers of the fixtures to different starting addresses. The reason for this is mainly to aid in the timely recall of your fixtures when selecting them. If your system were to include 57 High End Systems Cyberlights(R) and 62 Vari*Lite VL5A(TM)s, you might want to separate these two types of fixtures into two separate numerical areas. Rather than numbering them in one block from 1 to 119, you might be able to recall the fixtures easier if the Cyberlights were numbered 1 through 57 and the VL5As were numbered 101 through 162. This technique is especially helpful when you have several different types of fixtures because you can separate your fixture types by blocks of hundreds. This way you always know that your Martin Mac500s start at 1, your High End Studio Colors(R) are in the 201 range, your Clay Paky Stage Scans are in your 301 range, and your conventionals are in the 401 range.
Feel free to use whatever numbering technique works best for you, but make sure you keep a consistent pattern of numbering throughout your rig. For instance, don't start one type of light from upstage right to downstage left and another type from downstage left to upstage right. This can make things very confusing.
3. Assign DMX addresses to the control channels. Each fixture in your rig should have its own starting DMX address. This is the address you can set at the fixture itself. Each fixture's unique starting address must not overlap with another fixture's address. Most of the problems encountered when firing up your system for the first time are due to a mis-addressed fixture. Changing the address to the correct one easily rectifies this problem.
To make this process easier, you may want to think of each fixture having two numbers. The control channel is the number that you will type in your console to select the fixture, and the DMX address is a hard number that you set at your fixture. You can call your fixture whatever number you want, but that number must correspond and be patched to the actual DMX number on the fixture itself.
4. Align the fixtures' pans and tilts so they all move in a uniform fashion. This procedure is known as fixture alignment. If your fixtures don't all move in the same direction, you will have to spend time thinking about which way to move the encoders or joystick on your desk every time you want to focus a fixture. You'll find yourself moving your encoder right to focus your fixture left or up to focus it down. Your focusing speed will become much quicker if your fixtures are properly aligned. The object of aligning your fixtures is to match your fixture's pan and tilt with your encoders, trackball, or other input devices on your console so that when you do turn your encoder right the fixture will follow.
To align your fixtures, you are presented with three options that can be used alone or together to give you every possible direction in fixture orientation. The choices are pan invert, tilt invert, and swap axis. Pan and tilt invert will change the direction a head will pan or tilt when moved on your encoder. Swap axis will swap pan for tilt so that when you pan a fixture it will actually tilt it and vice versa. These options can be used on individual fixtures or whole trusses.
One way to approach fixture alignment is to look at your system and find all commonly oriented fixtures and select them. You first want to check the tilt of those fixtures, so tilt them using your encoder wheel. Do all of the fixtures move upstage when tilted upstage? Check to make sure that your wheel movement matches the fixtures' movement. If it doesn't, then invert the tilt; if the fixtures are panning when your intent is to tilt them, swap the axis first, then check the fixtures' tilt.
Next you'll want to check the pan of the fixture. When you align the pan of each fixture you should tilt them first. A simple rule I follow when aligning pan is to tilt all onstage overhead fixtures downstage and all front-of-house fixtures upstage to the stage before checking and aligning their pan. I do this because yoke fixtures (fixtures with an actual moving head) pan in opposite directions when tilted upstage or downstage of the fixture itself, so you must decide on an area either upstage or downstage of the fixture before aligning the pan of the fixture. Since I will mostly be focusing my onstage fixtures either overhead or downstage, I tilt the fixtures downstage of their enclosures to align their pan. For front-of-house fixtures, I tilt them upstage before aligning the pan because I know that in most instances, I will be focusing those units upstage of their enclosures and onto the stage.
After patching is completed, you should learn how your console navigates through its views. If the console provides user-definable views, this would be the point where you could set those up before you proceed. Once all of this is completed, you're ready to begin working with palettes.
What are palettes? Think of them as you would an artist's palette. When an artist paints, he or she uses a palette from which to choose colors. These colors can be straight out of the tube or mixed with other colors in order to provide the perfect blend; however, they're all organized on a palette for quick access. Without this palette, every time the artist wanted a new color, she would have to stop painting, pick another tube of paint, and mix a new color. This would become very time-consuming, not to mention frustrating, especially when trying to match the exact hue of color.
A programming palette is much the same concept, but with colors, gobos/beams, and positions replacing paints. A palette is an area where you can store frequently used parameter values for quick recall while programming your cues. These areas not only accommodate individual parameter settings but can also store combinations of parameters over some or all of your fixtures. The different types of palettes can vary on a per-console basis, but generally they consist of groups, positions, colors, and beams.
If you set up your palettes efficiently and keep a consistent method of organization, you'll find programming your cues to be much faster and easier. A large percentage of programming speed will be dictated by how efficient and organized your palettes are. It's very important to lay out your palettes in a logical order as well as descriptively label them so that when the time comes to select a palette, you'll be able to quickly recall where you put it.
Preset groups are stored selections of your fixtures. They enable quick access to many fixtures with the push of one button. They can be used to select all of a fixture type, a range of fixtures, odd/even fixtures, random selections of your fixtures, even single fixtures. Groups help to increase your speed and they should be used as much as possible to select the different parts of your system. To create a group, you simply select the fixtures you want in that group and record them in the groups window.
There are many strategies used when approaching the building of your groups. The importance of organization can't be stressed enough. As with most programming techniques, developing a consistent system that you can use to approach the building of your groups will help you to develop more speed.
Look at Figure 1. This is my main groups screen from the Cher tour, which I programmed for Patrick Woodroffe, and it is where I keep all of my most widely used groups. I usually start off by creating some groups that will select all of a certain type of light. As you can see, I'll reserve sections of the screen for groupings of similar types. The All-Groups were created on the top row starting with the first button on the left. Next, I'll cordon off areas of the screen for groups of a certain fixture type. If you look at my main Studio Spot groups, you'll notice that all groups pertaining to Studio Spots were organized into their own area, and likewise with Studio Colors. This helps me to find my groups when I need them without having to go searching.
Some of the selections I'll make for my main groups screen are All of a Truss (for each fixture type), and widely used groups such as Band Lights and Set Lights. I usually approach this groups screen with whole sections of fixtures in mind. I also reserve some space on this section for later on in the programming session, when the designer starts finding interesting combinations of fixtures to use on specific areas.
Note: It's vital that you keep your perception very sharp when it comes to the designer's frequent use of certain selections of fixtures. If the designer finds an interesting combination of fixtures, record that as a group on your main group screen. This way you are able to keep up when frequently asked to make changes to this new selection.
The next type I use is one that further breaks down a specific type of light into more detailed, less used groups. In Figure 2, I still retain some All-Groups so I can quickly select them while in my more specific groups screen. I also make single fixture groups and lay them out in a manner that will topographically resemble the rig. This helps me to pick out individual fixtures quickly when the designer requests them.
One very useful group I create is four random selections of the rig, each with different fixtures in them. These groups are used together to create random color, strobe, movement, and iris chases. I'll also use them to offset timing from each other in cues and FX. This enables me to create very complex, randomly displaced fly-ins/outs with ease.
When you first look at the plot, it's important that you understand what the designer's intent is for each lighting position. This will greatly aid in how you approach building your groups for that system. It's easy to go a little overboard when building your groups, which can cause clutter and consequently inhibit your speed. It's not the end of the world if you need to create a more specific group in the future; you can build it right there on the fly if needed. Just try to spend a good amount of time building some of the more sensible and widely used groups. Eventually, you'll get more of a grasp of how many and what types of groups you should start off with.
If you have access to a console beforehand, building groups is one of the many things you can program without having the system on hand. Jump on any opportunity to build things beforehand so you can spend more time on focusing and building cues and effects.
The position palette is a place to store pan-and-tilt information for quick access while programming looks. Position palettes, also known as preset focuses, are one of the more delicate operations of palette building; a fair amount of strategy and consideration should be used during their construction. Though often used for quick access, remember that a change made to a focus will also change all of the cues using that focus. This is a valuable tool because it allows you to update your whole show's focus from venue to venue just by changing the preset focuses. It is especially useful for touring shows, where the venue and the hang are usually different from day to day. The trick is to build preset focuses that can be used in many contexts so they can be re-used without making your show look too static.
In Figure 3, you can see some of the focuses I built on Cher. Notice the way they are organized into their own rows. I start with some point focuses such as down center, stage right, and stage left. Each row will encompass a different class of focuses such as washes, scenic elements, and aerial fly-out focuses. Eventually I'll use combinations of these focuses to quickly produce the overall focus of a look.
There are a few basic focuses you should always have: a down-center focus; a mid-center focus; an up-center focus; a center-wide tight wash; a full-stage wash; an apron wash; cycs and set washes, and several aerial focuses. From there, it would be wise to focus some fixtures on obvious acting areas such as lifts, platforms, and any auxiliary stages. If there is a band, build some band specials, then build a full band wash using those specials.
One focus that's good to have up your sleeve is a random focus. Whenever you've been building a lot of symmetrical looks, random is a nice departure from the norm, and you'll find that in the wee hours of the morning after programming all night, this focus can spark a new creative perspective on behalf of the designer. Pop it in every once in a while for maximum effect.
Again, it's imperative that you understand the intent the designer had when he or she specified each lighting position. Are there any special lighting positions that would merit the creation of a special focus? Are there any frequently used acting areas that you may be unaware of? These are the kinds of questions that you should be asking your lighting designer.
Before building your color palette, quickly review the color capabilities of your fixtures. Which ones have color wheels, and how many do they have? Do any of your fixtures have color mixing? What kinds of color modes can you put your fixtures in (snap, split, crossfade, m-speed)? These are factors that you should be aware of before building your color palette. Once you've figured out all of the color capabilities of your fixtures, you can start building your color palette based on your discoveries.
Figure 4 illustrates my standard color palette for color-mixing units as well as color wheel units. The top six rows consist of 60 color-mixing colors and the two bottom rows encompass the color wheels. I organize my color-mixing palette in chromatic shades, creating about five shades of each color of the spectrum. I then organize my color wheel colors below them in their own rows.
When building a color palette with color wheels, pay close attention to the order of the wheel. For every wheel, you should build a white or open in the first slot of that row. The next color on that row should increment one color up on that wheel. For instance, in Figure 4, palette 81 white is the Studio Spot's first color in that row. If the very next color on the wheel would be yellow, you should record palette 82 as yellow. Repeat this process until you get to the end of the wheel. If you keep all of your wheels organized like this, you will easily be able to tell the designer which color is closest to the one you are currently in. This also helps you determine what colors you would go through if you had to crossfade to a color on the other side of the wheel. The smoothest crossfade to a color on a color wheel is usually to the one right next door to the current color you are in.
If your fixture has two or three color wheels, you should palletize each wheel into its own row, making sure that you record only the values for that particular color wheel; do not include other color parameters in your designated wheel's palettes. Doing so yields two or three rows of color wheel palettes that you can freely overlap and mix other colors from. When you do have more than one color wheel, you might want to consider mixing some other colors from both wheels combined and recording those colors in either a different row or into your color-mixing palette. This will make accessing those mixed colors much faster when trying to recall them.
Another variable to consider when building a color wheel palette is making sure that you are in the correct mode of the color wheel you are trying to palletize. Some color wheels have modes that only allow you to quick snap from one color to another or one to gracefully roll from one color to another. Other modes include the enabling of the speed or m-speed functions of that color. These modes will exist in different ranges on that color wheel channel. When I go about building my color palette, I usually record all of my colors on the wheels in a mode that allows me to be able to roll from one color to another with the fade time of the cue. If I want to snap from one color to another, I can still do so; I just have to decrease the fade time or speed for that individual cue.
So far we've talked about color wheel palettes; let's take a closer look at the color-mixing palette. The color-mixing palette uses subtractive color mixing to yield a large range of colors. Most color-mixing systems use three dichroic sets of variable leaves or disks in order to produce a color. These leaves are colored cyan, magenta, and yellow, the three primaries of the subtractive color-mixing system. A combination of two of these leaves engaged to completely interrupt the beam path will yield fire red, congo blue, and green (very close to the subtractive color-mixing system's secondary colors). To create any other colors in the spectrum, you can vary the degrees of level given to each leaf, which will consequently vary the amount of dichroic filter interrupting the beam path. Most useable colors reside within ranges of one leaf on its own or two leaves combined. Any more than two leaves at once yield strange and dirty colors.
The first color-mixing colors that I record in my color palette are the ones easiest to mix, the full primaries and secondary colors. To do this, I select my color-mixing fixtures, and the first color I record is magenta, which I place in the top right button of my screen. From there, I'll roll in the cyan leaf in addition to the magenta. Any guesses which color this might mix? If you said congo, you were correct. I'll record the congo just under the magenta. Next I'll completely roll out the magenta leaf and leave only the cyan leaf to be recorded. I'll record cyan under the congo. Now I'll add the yellow on top of the cyan, which will mix a green. I'll record the green just under the cyan. If I take out the cyan leaf, I'll leave only the yellow to be recorded under the green. This leaves me with just one more combination to record, which would be yellow plus magenta. This mixes a fire red.
If you look at Figure 5, you can see how the colors line up on the right side. From top to bottom we have magenta, congo, cyan, green, yellow, and fire. To the left of these colors I'll create about five lighter shades of each hue. When you combine two leaves such as cyan and yellow to mix a green, if you take the cyan out about 40% you will yield more of a yellow-green or chartreuse. Instead, if you take out the yellow leaf 40%, you will yield a blue-green or turquoise. With every combination you can have two possible hues of that color.
I organize my color-mixing colors from darkest to lightest going left. It's important that whatever organizational technique you come up with, you group similar shades of color together from darkest to lightest. When designers ask for a color, they rarely ask for it by the number of your palette; instead they'll say something like, "Give me a blue-green." It's then up to you to supply them with a blue-green. If they want a different blue-green, they'll usually give you some indication as to whether they want a more or less saturated one, or they'll simply say "lighter" or "darker" and sometimes "bluer" or "greener". If your colors are organized chromatically and from darkest to lightest, it will be easy for you to keep up and finally produce the exact color the designer is looking for.
The beam palette is where you keep all gobos, irises, frost levels, strobe levels, zoom, and any other parameter that may fall into the beam parameter group. Like the color palette, you should know the capabilities of your fixtures' beam characteristics inside and out before you determine to how to best create and organize your beam palette. Gobo, prism, frost, and lens wheels can each have different modes residing within the ranges of their parameters. It's up to you to find out what these modes are and to decide which modes of that parameter you are going to palletize. Figure 5 illustrates the technique I use to lay out my beam palette. As you can see, all gobo wheel opens, strobes, irises, frost stops, and clears line up in a column on the left side of the screen. Each wheel and parameter type has its own dedicated row of palettes, starting with the first slot on those wheels.
Starting with beam 1, I record an "open all" beam palette. This enables me to quickly open all the parameters within the beam group of whatever fixtures I'm working with. Next to the open all, I'll build an iris open and closed as well as a couple of beam sizes. If the instruments I'm working with have a lens focus or zoom parameter, I'll include that information into my iris palette so that my iris looks will always have a crisp edge to them. On that same row, I've recorded a strobe open and closed as well as some preset strobe levels. Notice how I separated the strobe palettes from the iris palettes. If you have the space to play with, separating two palette types on the same row will help you to distinguish them from one another.
The next row down is where I'll palletize my first gobo wheel. Like color wheels, I'll build my gobo wheel palettes in slot order starting with open. With gobo wheels, you might want to include lens focus, and if your fixtures possess it, zoom. If you do include lens focus and zoom, your gobos will always be recalled sharp. If you want more subtle textures, you can then throw them into a racked lens focus preset. Often your fixture's lens focus and zoom parameters will be slightly off from fixture to fixture. Tuning each fixtures lens focus and zoom to every gobo and recording those values in with the gobo palette will insure that all your gobos will be the same sharpness when their palettes are accessed. If your fixtures possess more than one gobo wheel, you should build separate rows of gobo palettes for each wheel, as illustrated in Figure 5.
If your fixtures possess rotating gobo wheels, it's important that you palletize different rotation speeds. Be sure you only record the rotational rate parameter into your palette; this way you'll be able to freely combine the palettes for your gobo wheel or wheels with your rotational rate to yield different speeds of rotation.
Other palettes to build include a row for frost levels, prism wheels, different zoom sizes, and lens focuses. Once you understand the logic behind building wheel-type palettes such as gobo or color wheels, you can apply that logic to many palette types.
Once you've taken the time to build and organize your palettes, building looks becomes so much easier and quicker to accomplish. It's now only a matter of assembling these pre-built elements together and recording your picture as a look. The better your organization, the quicker you'll be at accessing these elements. Let's take a glance at a few lighting looks to better understand how these palettes relate to a show. All of these looks were created with the palettes previously discussed.
In Figure 6, I started upstage with the Studio Colors washing the set. I added the circle Studio Colors to the stage in a center wide focus and colored them congo. Added to this were the floor and set Studio Colors in the floor fans position. They were colored with the loving amber color-mixing color on the color palette. Finally, I selected the B rear, E FOH truss, and pod Studio Spot groups and put them in the shatter gobo on the beam palette. I put the B and E trusses in the house positions and the pods into the blitz positions and was finished. It took about two minutes to create this look.
In Figure 7, the first thing I did was select the B rear truss Studio Spots and put them into the set wash position, lava gobo, light blue color wheel. Next I added color to the circular trusses by selecting the All Circle Colors groups and putting them in the toners position, then coloring them congo. I then selected the All Circle Spots group and put them into a spiral position. Once I've added the pod spots group and put them into the high out position, I'll reselect the circles along with the pods and color and gobo them at the same time.
In Figure 8, the Side Studio Colors group was selected and put into the shin wash position. Added to this was the Set Studio Colors group in the down-center position. Both of these groups were colored green. The Floor Spots group was then putinto the floor crosses position and colored yellow then put in the Blocks gobo. To add some top light, I selected the All Circle Colors group and put them in the three points position. To finish the look, I colored them lavender.
As you can see, even the most complex looks are comprised of these simple elements known as palettes, presets, and libraries. If you understand how to create palettes and organize them into a sensible interface, you will be able to assemble even the most complex looks. Add timing, effects, and a cue structure to your knowledge, and you'll be on your way to programming a show.


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Phillip Arme of Richmond died Friday, June 14, 2013. He was 58.
Mass of Christian Burial was at 1 p.m. Tuesday, June 18 at Assumption Catholic Church in Eden Valley with Rev. Frank Tomasiewicz officiating. Friends and relatives called from 11 a.m. to 1 p.m. Tuesday at the Williams Dingmann Family Funeral Home in Eden Valley.
Clifford Brandenburg of Watkins died Monday, June 17, 2013, at the St. Cloud DVAMC. He was 86.
Mass of Christian Burial will be at 10:30 a.m. Thursday, June 20, at St. Anthony Catholic Church in Watkins with Fr. John Brunner officiating. Friends may call from 4-8 p.m. Wednesday, and from 9-10 a.m. Thursday, at the Ertl Funeral Home in Watkins. Watkins Senior Citizens will pray the rosary at 4 p.m. Wednesday, followed by parish prayers at 4:30 p.m.; Legion Post #453 prayers at 6:30 p.m.; Watkins Lions Club prayers at 7 p.m.; and Knights of Columbus prayers at 7:30 p.m. Interment will be in the parish cemetery.
Elsie Pope of Mendota Heights, formerly of Kimball, died Monday, June 10, 2013, at United Hospital in St. Paul. She was 92.
Visitation will begin at 10 a.m., with Mass of Christian Burial to be held at 11 a.m. Monday, June 17, at St. Anne's Catholic Church in Kimball with Fr. Tom Olson officiating. Burial will follow at St. Anne's Catholic Cemetery.
John "Jack" Ruhland of Eden Valley died, June 13, 2013. He was 82.
Mass of Christian Burial will be held at 11 a.m. Friday, June 21, at Assumption Catholic Church in Eden Valley with Rev. Jerome Naduvathaniyil, OSB, officiating. Burial will be at St. Peter's Catholic Cemetery in Eden Valley. Friends and relatives may call from 4-8 p.m. Thursday, June 20, at Williams Dingmann Family Funeral Home in Eden Valley, and at church from 10-11 a.m. Friday, June 21.
James D. Nelson died peacefully at his Kimball home Thursday, June 13, 2013, surrounded by his loving family after a brief battle with cancer. He was 81.
Honoring Jim's wishes, a private family memorial will be held.


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The challenge
This newly built home in Chapel Hill is a modern play on Craftsman design with an open layout and distinctive architectural features. Two busy doctors requested a comfortable family room that reflected a stylish decor but also welcomed the antics of two active boys and a dog. Here's the inviting result.
Super space
The room was already painted in a pleasing gray color that acted as a neutral backdrop. While the owner also had wonderful foundation pieces, including furniture and a sisal rug, they left the room in a sea of beige. Our goal was to inject color, texture and interest with custom pillows, custom drapes, an area rug and lamps.
We first scheduled a redesign day when we experimented with the layout, tightening the furniture grouping for better flow and conversation. We positioned the homeowners' books and accessories high upon shelves, making the room child-friendly and adding color.
We then picked a rug to create the basis for our new color palette. The rug has a thin line of tan, referencing the couches, but also injects a jolt of blue and an interesting geometric fret pattern. The fabrics for the pillows add two more patterns, an ikat and a floral, also repeating the colors. The linen drapes provide neutral relief and a small band of tape that has a subtle swirl pattern in a lighter shade of blue and cream. The layering effect of color and pattern bring the room to life.
Our final task was to address the lighting. Lamps were placed to form a triangle of ambient and task lighting around the room, complementing the overhead recessed lighting. The three lamps also add more color and shape (blue-gray gourd table lamp, shapely white floor lamp and silver stacked ball floor lamp) and differing scale to the room.
The result is a space that's both child-friendly and stylish, satisfying all the needs of this modern, vibrant family.
Terrific trick
When styling a bookshelf, remember the books! We incorporated some, leaving room for future books, along with carefully chosen accessories. Books were grouped according to color – some standing and some stacked horizontally. We pulled color from the design scheme, repeating the blue in the Foo Dogs and the book spines. Mercury glass accents repeat the silver in the floor lamp. The resulting cohesive bookshelf still leaves room for a young couple to add to their collection in future years.
Not by the book
To layer or not to layer? Instead of getting rid of a perfectly good sisal rug, we opted to layer our new, colorful patterned rug over it. It provides the basis for our design scheme and a softer landing for little feet.
Form & Function
1914 Bernard St., Raleigh
919-831-2838 or formandfunction-raleigh.com


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Spoonful BTS Video released
Today we released another video in support of The View From Here. In this one, Lane "meets" his new bass – made from a hockey stick! Seriously… an actual, very used hockey stick!!
Check out the video to learn the… Continue reading
What is Servant-Leadership
Just before the turn of the millennium, I was introduced to Men's Wearhouse by my father. An off-hand comment from him was the beginning of a journey that has led me to my work with Larry Spears, the world's foremost… Continue reading
Save a Life


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You will see an additional shipping charge added to your order of either $10, $20 or $25.
The fee assessed is based upon the size of the product. Oversize items are excluded from shipping promotions.
- The Werewolf Full Moon Madness adult costume includes a gray and green 100% polyester shirt with attached fur at the neck and wrists and is completed with an amazingly realistic werewolf motion mask
- Special Features: The mask is adjustable and has Ani-Motion. It moves when you open your mouth!
- Materials/ Fabrics- Shirt: 100% Polyester Fur Portion: 84% Polyester, 16% Acrylic Fur Portion: 84% Polyester, 16% Acrylic
Customers most agreed on the following attributes:
[7 of 7 customers found this review helpful]
Comments about Full Moon Madness Werewolf Costume:
This was a hit scaring people at a costume party I went to,and scaring trick-or-treaters.There was a slight problem with the padding,but nothing more.It was overall the best costume I ever purchased.
Comments about Full Moon Madness Werewolf Costume:
It was great but the nose is really smushed down but you can't feel it
[9 of 10 customers found this review helpful]
Comments about Full Moon Madness Werewolf Costume:
Got this for my husband. The masked looked cool and did move after he added extra padding but only when he really tried not just when he talked. Also the fur on the chest was pretty bad and the back of the mask didn't close right and looked bad from the back. But My husband did like it. It looked great in the photos. So over all pretty good.
Comments about Full Moon Madness Werewolf Costume:
Mouth does not work as suggested. Very hard to get movement. Movement is minimal.
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Thursday June 14, 2012 2:16 pm
Ray-Ban introduces foldable Aviator sunglasses
Posted by Andru Edwards - Categories: Wearables, Design
Ray-Ban shades are popular enough as it is, but the company isn't resting on its laurels. Instead, it's introducing a new foldable model of its iconic Aviator sunglasses. This new addition to the 55-year old Aviator line will sell for between $195 and $295, depending on style. You can find them in some retail shops now, and they'll be available on the Ray-Ban site in short order as well if you'd rather purchase directly.
Read More | Ray-Ban
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Foldable Wayfarer were kind of hot, but these? Yeah, as a long time fan of aviators, I love it!
Try our sončna očala, find polarizirana sončna očala.. The best sunglasses shop
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Original Ray Ban Wayfarers were really cool anyway., but these folding Ray Bans are so ridiculously HOT!! Get em for the best price at http://yolodesignersunglasses.com before we're sold out.
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Memorial Day and Women's History
Note that for many of the histories listed, the only mention is of the men -- and not the women who inspired and lobbied for their actions.
- American Women Patriots
- Memorial Day Entertaining
- Memorial Day Recipes and...
- Women and the US Civil War
Memorial Day History and Women's History
While Veterans' Day in November is to honor all those who served their nation in war, Memorial Day is primarily to honor those who died in military service. Women played a key role in the beginnings of this holiday.
Ladies' Memorial Association
The women on Petersburg, Virginia, inspired the establishment of Memorial Day.
Mrs. Logan Inspired by Memorial Observances
In another step towards a national Memorial Day in the US, Mrs. Logan, wife of General John A. Logan, Commander in Chief of the Grand Army of the Republic (a Union veterans organization), wrote of the origins of Decoration Day or Memorial Day.
Celebrate Memorial Day
About's Home Schooling Guide tells the story of Decoration Day or Memorial Day.
Memorial Day
Darren Smith, Guide to US and Canadian Parks, writes of the history of Memorial Day.
Memorial Day Clip Art
About's Web Clip Art Guide, Bobbie Peachey, includes images of weeping women in her large collection of Memorial Day clip art.
The Origins of Memorial Day
From Kimberly Powell, some history of the custom of honoring those who died in military service.
Why Are Red Poppies Worn on Memorial Day?
Rod Powers, Guide to the U.S. Military, weighs in on the custom of selling and wearing red poppies on Memorial Day.
Memorial Day in New York City
What are some of the special events around the Big Apple for this holiday?