text:
The wait is over! Download the BeerAdvocate app on iTunes or Google Play now.
Get 12 issues / year of BeerAdvocate magazine for only $9.99!
Blackberry Lambic - Upland Brewing Company
Displayed for educational use only; do not reuse.
Ratings: 284 | Reviews: 94 | Display Reviews Only:
Reviews by mdm46410:
3.93/5 rDev -7.5%
Poured from a 750ml corked bottle and served in a tumbler. This beer poured a clear, red-tinged orange hue with a one-finger thin head of off-white foam that slightly lasted. A small amount of slippery lacing was left around the glass. The aroma included sweetened berries, wet hay, oak, and a faint sourness. The flavor was also lightly sour, and fruity sweet. Just enough acidity to cut through the sweetness. A hint of oak and clean wheat are also present. The mouthfeel was medium-bodied and had moderate carbonation. Crisp and aggressive on the tongue. This was by far the best carbonation out of all the Upland lambics I have tried. All in all, another solid beer. Not the funkiest, or most interesting lambic, but still enjoyable.
01-15-2009 03:17:41 | More by mdm46410
More User Reviews:
4/5 rDev -5.9%
06-16-2014 12:23:47 | More by tectactoe
3.63/5 rDev -14.6%
750ml bottle poured into a tulip glass. Bottled on 10/11/10
The pour is a rich deep cloudy crimson purple. A lavender purple head forms on the top and sticks around a long time. Minimal lacing. This beer is just looks great and enticing.
The aroma has some funky earthy brett notes, the fruit comes through then in medium intensity with a sharp acidity. A minimal diasetyl aroma.
The first thing that I taste is the sharp acidity that then transitions into a very earthy dirty brett funk. The fruit is medium low in taste but lends a bit of persieved sweetness in the middle. It finishes with a sharp acid bite.
Mouthfeel is medium sweetness in the middle and really drys out for the finish. Carbonation is a bit strong, prickly even. I'd prefer it with a tad less carbonation, it just adds to the acidity.
Overall this is a decent beer and middle of the road in terms of upland lambics. I find Upland lambics very hit or miss but applaud the experimentation of the different fruits.
04-06-2011 01:38:46 | More by weatherdog
4/5 rDev -5.9%
08-30-2014 18:20:48 | More by jose_alehouseSD
New York
4.5/5 rDev +5.9%
05-03-2013 20:28:28 | More by joel66
3.75/5 rDev -11.8%
07-13-2012 14:06:17 | More by Skye1024
4.25/5 rDev 0%
11-18-2013 20:11:52 | More by BrandonDZ
Yukon (Canada)
4.75/5 rDev +11.8%
03-12-2013 09:54:00 | More by jaminjohnson
3.5/5 rDev -17.6%
750ml corked and caged bottle and it was a gusher.
Pours a dark purple with lots of chunks of blackberry in it, a small white and purple head. Nose is super bland and tame.
Taste is all berries and tart but its well balanced and very drinkable. Mouhfewl is really creamy and mellow. With a crisp fruity finish.
11-26-2011 01:01:37 | More by kingcrowing
4/5 rDev -5.9%
04-22-2012 19:23:36 | More by bpfrush
New York
4.25/5 rDev 0%
04-14-2014 02:12:20 | More by dogfishandi
4.49/5 rDev +5.6%
Bottle (2012)
Acquired via trade
Thanks, MeisterSmudge!
(Aged for 1+ year)
A pretty dark pink, ruby, and violet. Very small ring of near-white bubbles atop. Head fades quickly and leaves the glass clean on the way down. Appropriate, and a very pretty color.
Really nice combination of funk and lactic sour character in the aroma. There's not a lot of earth or runk in the aroma, but the fruit and sour character are expressive and appealing enough where it's not really missed. There's a bit of oak, but the star is the fruit. Juicy, smashed blackberry/skin is nice.
As with the aroma, this is a wonderful combination of delicious, vibrant, expressive fruit, oak, and sharp lactic sour character. Clean, discernible flavors. Perhaps my favorite of the Upland Lambic series. This is delicious.
Medium bodied with medium-high carbonation.
Fantastic. One of my absolute favorite American sours. Terrific.
05-31-2013 02:36:51 | More by ehammond1
South Carolina
2.68/5 rDev -36.9%
Upland Blackberry Lambic from a bomber (thanks BShine) at the 2014 RBWG in Asheville.
Sour funky blueberry/blackberry.
Vinegar (which I can't abide) but mostly gone in the taste.
Too wild and unbalanced. Uses Belgian yeast but doesn't match typical Belgian quality.
02-14-2014 04:45:30 | More by chinchill
4.25/5 rDev 0%
07-31-2014 15:00:08 | More by stereosforgeeks
4.05/5 rDev -4.7%
Bottle poured into a GI tulip. Part of NWI tasting group New Years Day.
A - Total gusher that gushed for a good 90 seconds. It was the color of a blackberry and it was hazy. It actually had the consistency and look of orange juice with the color of a blackberry. Small layer of foam on the side of the glass
S - Tart blackberries, oak, balsamic vinegar, lemon peel and a slight Brett funk make up the nose
T - Tart white and balsamic vinegar, lemon and slight oak. The finish is very dry and tart to the point that makes you almost want to pucker up and get a drink of water. Overall, the blackberries don't really stand out much or make much of a presence as the vinegar takes over.
MF - Light and effervescent with lots of carbonation. Finish is dry from the lemon tartness and a light oak presence remains on the tongue
O - Solid lambic that is more tart and vinegary than fruity. This is a good one but nothing great. However, definitely worth a try if you can get ahold of one. I do wish it was a bit fruiter instead of so much overpowering vinegar since it's a fruit lambic
01-02-2013 20:02:27 | More by jeonseh
New Jersey
3.75/5 rDev -11.8%
04-12-2012 03:44:32 | More by acurtis
4.25/5 rDev 0%
01-30-2014 00:31:28 | More by mdaschaf
4.5/5 rDev +5.9%
02-03-2014 19:00:19 | More by UWBadgerFan4Life
Ontario (Canada)
3.95/5 rDev -7.1%
An American lambic, and a new classic.SilverX's bottle. Grape coloured body with a great foamy pinkish head. Tart, a little acidic, funky. Great drinkability, aboe average mouthfeel as lots of real blackberry sediment in here, seeds in my glass. A power shake, lunch, a great bottle to share.
07-06-2011 18:15:03 | More by Sammy
New York
3.85/5 rDev -9.4%
Thanks to Claaark (Sean) for this one. Shared with capra12 and schen9303 at an Upland tasting. Poured from a corked and caged bottle (batch 42-09, bottled 10/11/10) into a Darkness snifter. Paired with the fruit.
Beer pours a .5 finger, powdery pink-purple hard with moderate retention. Color is a cloudy, deep purple. Patchy lace with good cling. Stunning color pushes this one above average.
Nose is sweet blackberry with a slightly plastic and rubber background. Brett and wet hay funk mildly present. Appetizing and appropriate but not overly aromatic.
Opens sweet blackberry, tart middle. Puckering fruit. Brett, band-aid, and hay towards the end. Dry finish with a tart aftertaste. Fruit prominent throughout. Very simple but robust.
Light to medium bodied with moderate carbonation. Smooth and silky in the mouth. Dry going down with a tart finish and a slightly lingering aftertaste. Pretty standard.
The fruit is very prominent in this Upland offering and although simple, it packs a big, flavorful punch. A solid and very unique take on the lambic style.
07-24-2011 14:45:25 | More by SpeedwayJim
4.25/5 rDev 0%
01-12-2014 19:15:19 | More by schmidtmattsays
3.5/5 rDev -17.6%
01-27-2012 00:53:35 | More by grownfool
5/5 rDev +17.6%
11-14-2011 23:03:19 | More by Photekut
4.5/5 rDev +5.9%
03-24-2013 22:39:53 | More by Gonzoillini
4.25/5 rDev 0%
03-23-2014 15:05:20 | More by StoutItOutLoud
Blackberry Lambic from Upland Brewing Company
94 out of 100 based on 284 ratings.


text:
You limited your search to:
Partner: UNT College of Visual Arts + Design
Decade: 1950-1959
Year: 1951
Collection: Texas Fashion Collection
Date: 1951
Creator: Dior, Christian
Description: Hat of silk faille. The body of the hat is made of woven straw, covered with beige/off-white silk faille. The shallow, domed crown is made in two parts - the upper shallow dome, and a collar into which the upper crown is inset. The upper edge of the collar is pipped in black. The shallow sloping brim is similarly constructed, with an inner band and then outer section with a black pipped edge between the sections. The crown is unlined, revealing the woven straw. The brim segments are lined in the same faille of the outside of the hat. Around the inside of the crown is an inner hatband of cream grosgrain ribbon, two which is attached a black elasticized cord to secure the hat to wearer's head. A small red/brown stitch on the inner hatband indicates the front of the hat. Designer's label sewn to inner hatband: "Christian Dior / Paris / Made in / France"
Contributing Partner: UNT College of Visual Arts + Design
Pillbox Hat
Date: 1951
Creator: unknown
Description: Pillbox hat of paisley velveteen. The circular, domed hat is made of a velveteen fabric with printed paisley pattern in shades of green, red, brown, purple, cream, etc. At top of hat is a ball of the same materials. The entire hat and ball have added sewn-on colored rhinestones scattered throughout, and small gold beads. Lined in black cloth, with black grosgrain ribbon inner hatband. Sewn into inner hatband is retailer's label: "Innes / Wichita" Purchased at the Innes store, Wichita, Kansas.
Contributing Partner: UNT College of Visual Arts + Design
Pillbox Hat
Date: 1951
Creator: Amy
Description: Pillbox hat of red velvet with red feather trim and lace interior lining. Designers Label: "Amy / New York"
Contributing Partner: UNT College of Visual Arts + Design
Skirt Suit
Date: 1951
Creator: Adrian, Gilbert
Description: Ecru worsted wool two-piece suit. A: Jacket with center front opening with four beige plastic buttons with bound button holes, first two spread apart by 2" next two spread apart by 10". Collared. Motif of concentric arced inserts, 1.175" wide each, starting from shoulder point, arcing down past second button. This upside down arc repeats on the back with a rainbow meeting the shoulder's center. On front, two more arc inserts motif repeat, with the rainbow arc stretching over the smaller reversed arc between the sections of buttons. One-piece set in sleeves with double elbow darts. Lined in beige silk faille. Retailer's label at center back collar: "Neiman-Marcus" Designer's Label at front right jacket lining: "Adrian / Original" B: Unlined A-line skirt of same fabric with lapped zipper covered by triangle pointed waistband tip on the left side. Waistband 1 3/8" wide. Four darts total, two in front, two in back. Pinked edge to seam allowances. Hem tape attached to 3" wide hem edge with machine stitch, tape hand based to inside of skirt with blind hem (slip stitch) stitch.
Contributing Partner: UNT College of Visual Arts + Design

subset: commoncrawl


text: The San Francisco 49ers have arrived at CenturyLink Field and are warming up in preparation for the NFC Championship Game. When the 49ers arrived earlier in the day, the team took some Vine video as they came off the bus. You can check out the Vine below. They also put together a great re-mix of the Colin Kaepernick Beats by Drew commercial using his arrival for today's game. Check it out HERE.


text:
The Kurdish Globe
Shvan Goran--Duhok
In a humble room in which the walls are decorated with children's simple but ambitious drawings tens of the refugees, children are sitting on the ground and chairs doing various activities.
Over one hundred children attend the Child Friendly Space in Domiz Refugees Camp every day. They do a wide range of activities which the center has provided, including play and recreation such as games, sports, art, drama and music, as well as child protection activities, such as children's rights awareness and hygiene promotion. In addition to these, they're learning to read and write Kurdish letters.
Parween Abdul Aziz , one of the center organizers says that many children of the camp have a lack of confidence as they're far from their homes and some of them have seen bodies and blood in conflict areas of Syria, that's why they've sent them to "Doctors without Borders--and psychological centers in the camp so as to be treated.
Parents prevent their children from going out due to lack of public places such as parks and resting places, that's why when they're attending the center, they feel very confident and they don't want to go back home soon, the center hasprovided a safe and secure environment for them.
Parween refers to the lack of green areas and parks in the camp which affect the children, adding that sometimes children in the center draw the camp with green areas, indicating that they want green areas.
The center has conducted many workshops for the parents in order to deal with children in a good manner, because as Abdul Aziz claims, many parents hurt their children and beat them when they are disturbing their parents, and this is due to the high psychological stress they're experiencing.
Child Friendly Space has been opened by ACTED, a French Organization, since June this year for Syrian Refugees in Domiz Camp and it is supported by UNICEF.
On the other hand, more than 1200 students continue their study in the camp. They started going to the schools from thebeginning of September in special halls provided by KRG inside the camp.
SadeeqSharo, Director of Media at Duhok Education Directorate told the Globe that the KRG supplied education requirements for refugees in Domiz camp. He stated that all required equipments have been supplied, such as desks and books, adding that the education process in the camp is going on in a normal manner and students can study from the first to ninth stage in Arabic language.
Sharo said that the Minister of Education along with a delegation from directorate of Education in Duhok and UNICEF visited Domiz camp recently and observed the manner of building some new halls for the refugees, children in order to facilitate the process of education in the camp, as student numbers are still increasing.


text:
Gears of War Lady with a Pink Lancer Assault Rifle
Straight from comic-con 2010, this DEADLY weapon, even though in pink (not that I have anything against pink)... still looks pretty evil.
[ source ]
Straight from comic-con 2010, this DEADLY weapon, even though in pink (not that I have anything against pink)... still looks pretty evil.
[ source ]
Go [ adrianomudri ] and browse through all the pics... so cool looking. There is even an Iron Man version in there as well. Now, all we need is these to be a reality and for a select few of us to be RICH as fuk.
Robot arms are awesome !!! and now for $85 you can purchase some of your own (oh the power of the american dollar).. go here to [ etsy ] and buy away. Hint: while using these arms, its best to be 100% fully nude.
"Arm yourself with giant cardboard robot arms! Perfect for giant robot hugs, super high high-fives, & terrorizing small children. "
[ via gizmodo ] and thanks Nathan for the heads up
If you remember back a bit, EricPowerUP made a fun little Paper Zelda, and now he has made Paper Mortal Kombat finishing moves in all their paper guts and glory. Oh the memories...
Well god damn... Vegas Baby indeed... After getting this tattoo done, you might as well lay down a good chunk of cash on the roulette wheel and see what your tattoo karma has gotten you. Anyway, apparently this beast is sitting on the side of Mikey over at [ sweet wolf shirt ] and it is an unfinished piece of work. Good work sir.. and good luck with the rest!
Sick. Here is an extended trailer for Wings of Liberty, and this time it is highlighting Jim Raynor and how bad ass he is. Cinematically, this game looks to be quite the experience and I am loving the visual detail and complexity of the storyline.
"This extended trailer was released as the final unlockable reward from Blizzard Entertainment's Join the Dominion! promotional site."
What a cool picture of Crew Chief Sgt. Fred Oser, after retrieving two 240 Bravo Machine Guns from the UH-60 Black Hawk in Iraq. Sick.
[ source ]
Originally posted up on twitter this evil Ukulele of death is quite gnarly looking. Plus, who doesn't love Neil Gaiman, he is no one trick pony. Only problem is that there seem to be no strings! AIR PLUCKING FTW \m/
I don't know which is cooler... this video of cool glowy viles OR the guy's computery deep voice. Anyway, this is a really cool and really geeky video to watch. Who knew making a glow stick could be so interesting. Next time you are pumping copious amounts of Methylenedioxymethamphetamine (MDMA) into your system, just think about how much science is going on in those pretty bracelets of yours.
Teabagging is back in style (thanks GOP!!!) So, get down with the Earl Grey, fill up your fancy teabag ball sack looking.. tea... bags... and well, start brewing.
Facebook | Twitter | Tumblr | RSS Feed | Feedburner
Copyright © 2009 - 2013, Obvious Winner.
[ About Us - Privacy Policy - Issues? ]


text:
Excellent product
Henschel® Breezer Mesh Hat with CoolMax® Band, Khaki
Item # UDX7-90438
- Google+
- Details & Specs
Breezer Mesh Hat with CoolMax® headband! Soft, breathable, and packable hats. BIG BUCKS OFF!
The CoolMax® Headband pulls moisture away, leaving you drier and cooler. The Hat's brim and top are made of cotton twill, and the crown is mesh to let air through. Wide 3" brim. 1" band adds style. Hat crushes for easy packing. Leather chin cord.
State Color and Size, as available in the Shopping Cart below. Act Now!
- Reviews
Customer Reviews
hat fits good, well made and light
Love the shirts.
Great hat. Wore it everyday on our trip to Aruba, and it performed magnificently. Took everything I threw at it, including packed in a suitcase, windy and sandy beaches, and lots of sunshine. Not a hint of a sunburn on my head or face due to this great hat! The chin strap was nice, too, to keep it where it belonged on those windy Aruba days.
Wife loves her hat!
Just what I needed to keep the sun off my neck and face during outdoor activities, you can't go wrong with Henschel. I bought one of each color, very happy with my purchase.
Don't Forget
Rayovac® Blood Tracker 3-in-1 LED Hat Clip LightBuyer's Club $11.69 Non-Members $12.99
3-Pk. of 5-LED Cap LightsBuyer's Club $17.99 Non-Members $19.99
You May Also Like
Guide Gear® Fedora HatBuyer's Club $22.49 Non-Members $24.99
Mossy Oak® Shapeable Outback Hat, Infinity CamoBuyer's Club $29.99 Non-Members $29.99
Guide Gear® Packable Nylon Breezer HatBuyer's Club $17.99 Non-Members $19.99


text:
WARNER ROBINS -- Caden Johnston didnt enjoy the previous two meetings he had with the Peach County Trojans.
Johnstons Demons lost each of the past two years by a combined six points.
There was no such heartbreak Friday night.
The Demons (2-0) rolled up 504 yards of offense -- 387 coming on the ground -- in a 54-21 romp over the Trojans at McConnell-Talbert Stadium.
Its almost like payback, said Johnston, the Demons' quarterback. Its sweet, especially to beat them by the margin we did. ...Props to them for the rest of the season. I hope they go win a state championship. That was a big win for our morale and a confidence boost for our team.
The Demons became the fourth school to score more than 50 points against the Trojans, and it was the most points allowed by Peach County or its predecessor Fort Valley High since 1947.
Jacquan Burns rushed for 138 yards, and Danny Hite Jr. added 127 yards and three touchdowns on the ground in the victory. Johnston added 117 yards passing.
I thought we had improved some in the off week and during this week in practice, Warner Robins head coach Bryan Way said.
Greg Williams led the Trojans with 338 yards passing, with 148 going to Saire Davis and 141 to Tyler Gibson.
The Demons didnt start the way they closed.
They settled for field goals on three of their first four possessions -- Matt Monday made four in the game -- and struggled to finish off drives.
The offense starting rolling following Mondays third field goal, which kicked off a run of 20 unanswered points for the Demons, who led 26-7 at the half.
Peach County (1-2) remained in the game with a 73-yard touchdown pass from Williams to Gibson on the third play of the third quarter.
The Trojans forced a three-and-out and were poised to get the ball back down just 12 early in the third quarter, but a roughing the punter penalty extended the drive for Warner Robins.
The Demons scored seven plays later on a 9-yard run by Hite Jr.
Peach County would close the gap to 12 points again following a 49-yard touchdown pass from Williams to Davis with 3:57 left to play, but that would be as close as the Trojans would get.
Warner Robins scored three unanswered touchdowns to close the game, with Jacob Jamerson kicking off the run on a 2-yard dive late in the third quarter.
You dont ever want to think this, but I knew it was going to take a little time, Peach County head coach Chad Campbell said. Its game three, and weve got to start seeing a little better results. Theyre not first time starters any more.
Jane Hammond of the Center for Collaborative Journalism contributed to this report.


text:
The LSU-Southeastern game was suspended due to Friday night's inclement weather.LSU had runners on first and third with two down in the bottom of the first inning when the game was called.Southeastern was held scoreless in the top of the first.The game will resume Sunday at 1 p.m.
Copyright 2013 WAFB. All rights reserved.
844 Government
Baton Rouge, LA 70802
(225) 383-9999
EEO Report
Closed Captioning
WAFB FCC Public File
WBXH FCC Public File


text:
Brazilian Jiu Jitsu History
Gracie Brazilian Jiu Jitsu is
an efficient and practical self-defense system and martial art that
incorporates the use of joint manipulation, chokes, and other various
submissions. The techniques and skills can be used effectively against
adversaries of any size as students learn to use leverage and technique to
overcome larger and stronger opponents.
In 1914, Japanese Jiu Jitsu
Champion Esai Maeda migrated to Brazil
where he was instrumental in establishing a Japanese immigrant community. Here
he taught Jiu Jitsu to Carlos Gracie and his four brothers, and in 1925, they
opened the first Jiu Jitsu academy in Brazil.
One of the brothers, Helio
Gracie paid special attention to leverage within the art, making it possible
for a smaller opponents like himself (135 lbs) to defeat a larger one. He and
his brothers began modifying and enhancing the basic techniques to make them
effective for a person regardless of his/her stature. Thus began the
development of a new and more effective art – Gracie Brazilian Jiu-Jitsu.
For more information contact Robert Azcarate-Bascherini.


text:
So Fabulous Pitillo Mid Heel Patent Platform Shoes (extra wide fit) - Nude
- In Stock
5 reviews
- Delivery
- Next day delivery available
So Fabulous! Mid Heel Patent Platform Shoes - Nude
These patent platform heels by So Fabulous! elevate your autumn winter wardrobe with their super chic appeal.
With a wide fit design ensuring comfort with every step these heels are the perfect choice to add to your work-to-weekend wardrobe. In a classic nude hue, these shoes are a versatile choice as they work flawlessly with your ever-changing style.
Wear these shoes with So Fabulous! skinny jeans and a printed shirt for a daytime look with city chic style.
Useful info:
- Platform shoes by So Fabulous!
- Wide fit shape
- High-shine patent upper
- Heel height: 3 inches
So Fabulous Colour Block Button Back Jumper
- In Stock
2 reviews
- Delivery
- Next day delivery available
So Fabulous! Colour Block Button Back Jumper
This colour block jumper by So Fabulous! adds classy sentiment to your new season wardrobe.
With bold blocking of nearly nudes, this jumper is a sleek piece to add colour and instant impact to your daytime looks. The slim fit design creates an elegant silhouette, while the angular pattern flatters your figure. The button back fastening is a playful touch and also makes this a great layering option.
Wear this jumper with So Fabulous! jeans and Shoe Box boots for a daytime look you'll look oh-so-classy in.
Useful info:
- Jumper by So Fabulous!
- Colour block design
- Button fastening to back
- Three-quarter length sleeves
- Worn length: 29 inches
So Fabulous! Sequin Panel Dress
This sequin dress by So Fabulous! is inspired by the decadent style of ancient Greece - the perfect choice for your new season looks.
Full sleeves, a flirty skirt and a chic elasticated waist work together to add oomph to your curves, giving you a figure-flattering silhouette. Sequin panelling adds a shimmering touch of summer to your look and helps to sleek your shape.
Wear this dress with So Fabulous! court shoes and a Ted Baker clutch bag for a perfectly pretty evening outfit you'll love being seen in.
To keep me looking So Fabulous! please hand wash me only.
Useful info:
- Dress by So Fabulous!
- Sequin panelling
- Elasticated waist
- Worn length: 38 inches
So Fabulous Pitillo Mid Heel Patent Platform Shoes (extra wide fit)
- Low stock, selling fast
165 reviews
- Delivery
So Fabulous! Patent Platform Shoes with Mid Heel - Extra Wide Fit
Every fashion-savvy woman needs a pair of everyday heels she can call upon when she wants to chic up her outfit and these patent platform shoes by So Fabulous! will do just that.
From our plus size label, these courts come in an extra wide fit keeping your tootsies all-day comfy without compromising on style. The round toe is classic as is the mid heel that lifts your looks elegantly. Available in a range of colours, they are timeless in black, summer perfect in nude, sophisticated in navy and make a statement in red. The patent finish is a smart, sophisticated finish.
Wear these patent court shoes with a pair of So Fab! cigarette trousers and a printed chiffon blouse for a gorgeous 9-5 outfit. Dress up your favourite pair of Curve or Straight jeans by adding these heels and a cute printed top to complete your chic look.
Useful info:
- Platform shoes by So Fabulous!
- Extra wide fit
- Patent finish
- Round toe
- Heel height: 3 inches
So Fabulous! Swing Mac Coat
This swing mac by So Fabulous! is the stylish solution to beating the weather in the new season.
This jacket is a modern take on a classic– you'll look So Fab! in the flirty swing shape. Button through fastening and adjustable belt details give this piece its iconic mac look while also ensuring a great fit.
Wear this coat with a jersey dress and ankle boots for a cool yet casual daytime look.
Useful info:
- Swing mac by So Fabulous!
- Buckle detail cuffs
- Button through fastening
- Waisted belt fastening
- Functional front pockets
- Fully lined for smooth fit
- Worn length: 34 inches
So Fabulous Joan Bow Front Extra Wide Fit Mid Wedge Shoes
- Low stock, selling fast
24 reviews
- Delivery
These wide fit, mid wedge shoes by So Fabulous! are a versatile choice – perfect for adding an elegant lift to your summer looks. Their wide fit adds extra comfort to your day-to-evening style.
These wedges are a great day-to-night style – pop them on first thing with skinny jeans and a shirt and swap into a wrap dress when it's time to head for dinner. The bow detail is a girly touch that'll soften your looks.
Wear these shoes with the So Fabulous! lace skater dress and a cropped blazer for a chic evening outfit.
Useful info:
- Mid wedge shoes by So Fabulous!
- Bow front feature to front
- Wide fit
So Fabulous Shawl Collar Cardigan (Available in sizes 14-28)
- Low stock, selling fast
10 reviews
- Delivery
So Fabulous! Plus Size Shawn Collar Cardigan
This shawn collar cardigan by So Fabulous! wraps you up in style all season long with its chunky knit appeal.
Draping over your casual wardrobe this cardigan enhances your curves with its waist belt fastening. The wrap over style minimises your bust and narrows your shoulders creating a sleek silhouette. Full sleeves and an Aran style knit make this the perfect cover-up for those pesky April showers.
Wear this cardigan with So Fabulous! leggings, lace-up pumps and a jersey tee on your next day off. Grab a cross-body bag to sling over you while you catch up over coffee.
Useful info:
- Cardigan by So Fabulous!
- Available in sizes 14-28
- Shawn collar feature
- Aran knit detail to front
- Wrap over style
- Waist belt fastening
- Two front pockets
- Worn length: 32 inches


text: END 10-10 Agnes M. Schanen, age 95, of Black River Falls, WI. and formerly of Port Washington, WI. died Friday, Oct. 5, 2012 in the Pine View Care Center in Black River Falls. Funeral services will be at 11 A.M. Wednesday, October 10, 2012 at Buswell Funeral Home (715-284-2231) 106 So. 2nd St.; Black River Falls. Entombment will be in St. Mary's Cemetery in Port Washington, WI. Relatives and friends may call at the funeral home on Wednesday from 10 A.M. until the time of services at the funeral home.


text:
The Associated Press
Washington — Two fierce competitors who've given their all, President Barack Obama and Republican Mitt Romney now yield center stage to voters for an Election Day choice that will frame the contours of government and the nation for years to come.
After a grinding presidential campaign that packed suspense to the finish, Americans head into polling places in sleepy hollows, bustling cities and superstorm-ravaged beach towns deeply divided. All sides are awaiting, in particular, a verdict from the nine battleground states whose votes will determine which man can piece together the 270 electoral votes needed for victory.
Obama has more options for getting there. So Romney decided to make a late dash to Cleveland and Pittsburgh on Tuesday while running mate Paul Ryan threw in stops in Cleveland and Richmond, Va. Obama opted to make a dozen radio and satellite TV interviews from his hometown of Chicago to keep his closing arguments fresh in voters' minds.
Both sides cast the Election Day choice as one with far-reaching repercussions for a nation still recovering from the biggest economic downturn since the Great Depression and at odds over how big a role government should play in solving the country's problems.
"It's a choice between two different visions for America," Obama declared in Madison, Wis., asking voters to let him complete work on the economic turnaround that began in his first term. "It's a choice between returning to the top-down policies that crashed our economy, or a future that's built on providing opportunity to everybody and growing a strong middle class."


text:
Just like fad diets for humans, popular diets for your pets come and go. However, there's one particular pet diet trend that gives us pause: ASPCA experts say raw food diets for pets that include raw meat, eggs and milk may be dangerous for your furry friends. We typically recommend that pet parents opt for well-balanced, high-quality commercial and cooked foods instead.
The American Veterinary Medical Association (AVMA) agrees. In studies published in AVMA's journal, homemade and commercial raw food diets for dogs and cats were found to contain dangerous bacteria like E. coli and Salmonella, just to name a few. Other tests showed that unprocessed food diets can lead to nutrient deficiencies or excess that can cause serious illnesses in pets. Also, pets chewing on raw bones can lead to obstruction or perforation of their gastrointestinal tracts, and fractured teeth.
If you don't want to feed your dog or cat a commercial diet, consider a homemade diet that will diminish the risks of foodborne illnesses. These meals should be thoroughly cooked and need to be formulated by a veterinary nutritionist or by your veterinarian to make sure they're nutritionally sound.
If you are passionate about feeding your pet raw foods, please consider the following tips.
- Work with your veterinarian to ensure that your pet's diet is nutritionally balanced.
- Avoid feeding raw foods in homes with babies and toddlers (who put lots of things in their mouths), the elderly and those with compromised immune systems.
- Practice regular hand washing before and after feeding pets.
- Practice appropriate disposal methods when cleaning up pet feces.
For more information about pet-safe diets, consult your veterinarian and check out our complete list of people foods that are dangerous to pets.
Tell us in the comments below: Do you feed your pet raw foods or a homemade diet?
Wow! How much were you guys paid by pet food companies to write this article?! I can't believe that you are trying to argue against a diet that has fed cats and dogs for THOUSANDS of years before humans intervened and started giving them illness-inducing crappy, cooked foods? Sorry if I come off angry, but frankly, I am!!!
Download the Best 245 Secret Homemade Dog Food Recipes
Here are healthy recipes proven to improve health and behavior like magic. http://www.sunshine.best-online-solution.com


text:
Andrew Lloyd Webber's new musical, The Woman In White, took scenic designer William Dudley back to his roots in an odd way. "I studied to be a landscape painter in the mid-1960s when the world went abstract," he says, admitting that he fled his London art school for the comfort of the theatre. "The theatre had a real sense of social purpose in those days, with plays by Beckett and Pinter."
To create the projected scenery for The Woman In White, which is set in the Victorian era, [see full story on page 18] Dudley was able to "paint" beautiful landscapes on the computer, creating 3D animations using a software package called Cinema 4D. In effect, he was creating a series of kinetic landscapes with figures. "The actors are the figures," he points out. "The projected environment comes to life when the first actor walks on stage."
Dudley brought along a book of paintings by British painter Atkinson Grimshaw (1836-1893) when he met Lloyd Webber for the first time to discuss The Woman In White. "I thought the style of the paintings was right for the style of the show," says Dudley, who then discovered that Lloyd Webber owns the largest private collection of Grimshaw's work (the director and designer then went by helicopter to see the Grimshaw collection in a museum in Leeds, England). "I love his paintings and the light in them," Dudney notes. "He did wonderful scenes that capture the magic of London streets lit by gaslight at night."
To render one of the mansions in his 3D animations, Dudley used a variety of sources including plans and photographs of a house in Holland Park that had been bombed in WWII. He photographed the one wall left standing, as a reference only, and recreated the rest. "For the house where the girls live, I wanted a warm brick look, like a happy estate in a Watteau painting," he says. "I also wanted to quite differentiate between the two houses, with a spooky gothic house for Glyde." Dudley based this one on a real house as well, what he refers to as a gothic horror that the English National Trust had just bought. "It was built around the same period as the play, 1869-70," he says. "We photographed it, then rendered it using assumed measurements." The moves through the houses, from front door to staircase, for example, are done by moving the viewpoint, as if a camera moved through the 3D models to create the "shots."


text:
Frazier Healthcare has raised a $377 million fund, one of the largest in recent years by a Seattle venture firm. The firm, whose portfolio includes Achaogen, Atterocor, Portola Pharmaceuticals and other firms, had targeted $300 million. "We are very appreciative of the support that we received from existing limited partners and pleased to have brought in… Read More
Frazier Healthcare files to raise a $400 million venture fund
Frazier Healthcare, a 21-year-old venture capital firm with offices in Seattle and Silicon Valley, has filed documents with the Securities and Exchange Commission to raise up to $400 million for its seventh venture fund. The firm was founded by former Immunex Chief Financial Officer Alan Frazier, and now includes general partners James Topper, Patrick Herron,… Read More


text:
Rethinking Time
August 2014
Customer expectations and technology are both moving at an accelerated rate. Satisfying the former hinges on your ability to keep up with the latter. Doing this will require car wash operators to view product life cycle timeframes from a new perspective
Numbers Guy
Why Convert Your Best Customers?
When introducing a monthly pass program, your best customers will join and spend less. Here's why that is not such a bad thing.
Product in the Spotlight
Tablet Touchscreen Terminal™
Our lightweight but rugged, user-friendly tablet is a point-of-sale terminal and a powerful marketing tool rolled into one.
Featured Owner
John Hammond
Syracuse Car Wash
Challenge: Cutting the price of monthly pass plans by over 37% turned out to be "one of the best moves" John Hammond ever made to increase revenues at his Syracuse, Utah Flex Serve.


text:
When an elderly man is murdered with a ceremonial dagger, Morse's investigation leads him to an isolated and dreary school for girls. Digging into the school building's disturbing history, he learns of a series of murders that took place almost 100 years before to the day. As the centenary approaches, Morse races to prevent the ghosts of the past from crashing into the present.
'Overpass Light Brigade' tells the story behind Wisconsin's Holders of the Lights using innovative time-lapse photography and interviews with founding members and other activists. The film showcases OLB's simple, beautiful approach to performance art and action that beckons any who want to creatively join public discourse and voice concerns an elitist political system clamors to quiet. From CET Cincinnati & ThinkTV Dayton. The 25 films in this year's PBS Online Film Festival are guaranteed to amaze, move and excite you. WATCH, VOTE and then SHARE your favorites through July 31.
Fourth of July with KCPT VIDEO
Join us Friday, July 4, LIVE on KCPT from 7:00 to 8:30 p.m. for the 2014 A Capitol Fourth concert. Hosted by Tom Bergeron, the show will feature performances by Frankie Valli, Michael McDonald, Patti LaBelle, Jordin Sparks, Kendall Schmidt, Sara Evans, John Williams and the National Symphony Orchestra. Afterwards, enjoy an encore presentation of the Bank of America Celebration at the Station recorded Memorial Day, 2014: Michael Stern and the Kansas City Symphony are joined by special guests The Texas Tenors, General Richard B. Myers, Jim Birdsall, U.S. Air Force Band of Mid-America Brass Ensemble and Staff Sergeant Albert…
Endeavour writer Russell Lewis, Inspector Morse novelist Colin Dexter, Executive Producer Michelle Buck and stars Abigail Thaw and Anton Lesser on casting the role of Endeavour Morse, and the accessible, intuitive talent they found in Shaun Evans.
Meryl Streep's discussion of beauty is animated by PBS Digital Studios as part of their Blank on Blank web series.
Come fall at Mill Creek Middle School, some students will get to build something in their math and English language arts classes other than equations and essays: wind turbines. English teacher Kristan Langton and math teacher Amber Boyington were two of 70 teachers from around the world who were invited to spend a week at Honeywell's "Green Boot Camp" at the San Diego Gas & Electric Energy Innovation Center. Now in its sixth year, the boot camp hosts middle school educators, most of whom are science teachers, for a five-day workshop on new ways to teach sustainability and environmental issues.…


text:
Verizon and Google have entered into an agreement to jointly develop wireless devices based on Google's open source Android mobile platform.
During a teleconference Tuesday, Verizon CEO Lowell McAdam and Google CEO Eric Schmidt outlined the companies' new strategic partnership that will see them working together to develop Android-based smartphones, PDAs, and netbooks, and to deliver users with applications sold through the Android Market app store. Verizon says that it will have two Android-based handsets on the market by year-end with more to come by 2010.
[ Get InfoWorld's 20-page hands-on look at the new generation of mobile devices, and see how the BlackBerry, iPhone, Windows Mobile, and more stack up against business needs, all from InfoWorld's editors and contributors. ]
One year on, Android's not quite there yet
Schmidt said that Google's partnership with Verizon was a significant development for the Android platform as it would give Android users access to what he described as the top wireless data network in the United States.
"It's a fact that Verizon's data network is the best," he said. "In terms of its reach, its scalability, and its performance, there's no question."
However, Schmidt also praised Verizon for its evolving attitude toward opening up its network to more third-party applications, devices, and open source operating systems. Schmidt said that Google has been pleasantly surprised to see Verizon take a more positive stance toward network openness, as the company had traditionally expressed opposition to opening up its network to outside devices and applications.
"From the standpoint of working with Verizon, we had known of their reach, but we did not know that they would take a leadership position on openness," Schmidt said. "It has been surprising, but they have decided to embrace a different philosophy that's more compatible with the Internet."
Two years ago, Verizon sued the FCC over the open-access rules that it placed on a block of spectrum in the 700MHz auction. Since then, however, Verizon has taken steps to transform its image into a company that promotes more openness on its network. Specifically the carrier has embraced the Android platform and has given its customers the option of connecting to its network through outside devices.
During a question-and-answer session after the companies' joint announcement, McAdam also said that Verizon would support Google Voice on its Android handsets once they were officially released later this year. Google Voice, an application that Google developed to enable users to switch wireless carriers without changing their phone numbers, sparked controversy in recent months after Apple allegedly rejected the application for use on its popular iPhone device. In particular, Apple allegedly told Google executives it had concerns that Google Voice would "alter the iPhone's distinctive user experience by replacing the iPhone's core mobile telephone functionality and Apple user interface with its own user interface for telephone calls, text messaging, and voice mail." McAdam, however, said that Verizon had no such concerns that Google Voice would render its own wireless network redundant.


text:
Years ago, in a sly commentary on the enduring nature of celebrity, Saturday Night Live ran a skit called "He May Be Dead, But He's Still Elvis," in which the King of Rock & Roll's sequined suit, hung on a hanger with a spotlight and microphone, toured the US to the adoration of thousands of loyal fans. Thanks to the latest video projection technology, Frank Sinatra ups Elvis big time in Sinatra: His Voice. His World. His Way, a live show that meshed old television and film footage of Ol' Blue Eyes with jazz guitarist John Pizzarelli, a full orchestra, a gospel choir, larger-than-life puppets, even the Radio City Rockettes-all in a highly theatrical setting.
Conceived and directed by theatre vet Des McAnuff, and produced by Radio City Entertainment, this special production, which was staged at Radio City in October, highlights rare footage of Sinatra singing some of his greatest hits on moving projection screens, each a different size and configuration, along with other moving and still images of the entertainer in concert, in studio, and in his private life. This flood of visual imagery runs in frame-synch within the context of the live performance, which is part concert and part documentary, mixing autobiographical facts of the entertainer's life with live music and staging. The result is a tightly integrated piece that pushes the boundaries of what video projection can contribute to the stage. The design team for the production includes multimedia design by Batwin + Robin Productions, sets by Robert Brill, lights by Howell Binkley, costumes by Gregg Barnes, sound by Dan Gerhard, and puppets by Michael Curry.
"Frank's presence was the prize," says Brill of his experience working on the project. "It's not like working on a new play where you don't know how the audience will respond." For the design team, the challenge was to create an environment stylish enough to present the most elegant of icons, but flexible enough to showcase each era of a career that spanned most of the twentieth century. Oh, and it had to work with some of the most cutting-edge technology in use today.
Brill was brought onto the project even before it was pitched to Radio City Entertainment, because, as he says, "we started from nothing, there was no treatment. The design was evolved so that we could think about the project in visual terms to help develop the piece on paper." The eventual look of the show, what Brill calls a "landscape of moving surfaces," had to work on the scale of Radio City Music Hall and accommodate production numbers featuring the Rockettes and the live band.
Clips from Sinatra's performances and family home movies were projected onto four moving screens, one bottom half-screen, and one full sheet screen, all framed in a stainless-steel laminate that also covered the proscenium portal. Even a moving stretch limousine that delivers the Rockettes onstage for the song "I'm Gonna Live 'Till I Die" is in a classic metallic Mercedes Benz silver. "I tried to keep everything tailored and handsome and present him in a dignified, austere setting," says Brill. The designer allowed himself a little more fun with the song "Come Fly With Me," creating an airport lounge with a bright sixties sofa, inflatable escape slide and an airplane tail that glides past the window using Frank's favorite color, orange.
The airplane tail and escape slide are pushed on and off stage by stagehands, making "Come Fly With Me" the lowest-tech production number in the show. Many of the other entrances and exits were staged on automated units, courtesy of Stage Command Systems by Scenic Technologies; they include the band, which moved in three sections, a large stair unit from the pit to the apron of the stage, left and right units, an Apollo rocket and a self automated limousine. The overhead projection screens were double-automated so that they could be flown in and out and also travel onstage, so between 20 and 30 motors were used during the show.
Not all the moving units were automated. In one sequence, the members of the Rat Pack — Frank Sammy, Dean, Joey, and Peter — are represented by 15' tall puppets manipulated by cast members and created by Michael Curry Design of Oregon. To make them at home the design team created a larger-than-life Sands Casino sign and booze cart.
One of the more technically challenging vignettes in the show involved taking a clip of Sinatra singing "One For My Baby (And One More For The Road)" in a bar and, through blend of staging and projection magic, adding John Pizzarelli, a sax player, and a bartender into the clip. The effect was achieved by setting up a bar onstage that mimicked the bar in the clip and coating the surfaces with a gray material called Chromatte, discovered by Scharff Weisberg, that enables the image the camera picks up to be manipulated.
"The bar onstage didn't need to be painted chromakey blue or chromakey green, which would have been ugly, explains Scharff Weisberg president Josh Weisberg, who made the discovery. "This material has these reflective beads in it; you shine a bright blue light on it and it turns into chromakey blue, at least as far as the video is concerned. The light is a ring of LEDs that mount on the camera lens. We had a compact camera on an arm built into the bar."
For this scene, as well as the others, Sinatra, who famously refused to do second takes, was anything but difficult. "Frank was very cooperative," Brill quips, "and he was always on time."
Scenery was provided by Scenic Technologies, Chicago Scenic, Cigar Box Studios, F&D Scene Changes, and Centerline Studios. Technifex designed and built the finale special effect, a 3D Pepper's Ghost special effect used for the song "New York, New York. Other effects, including pyro, were provided by Jauchem & Meeh. Properties were provided by Prism Production Services. Flying effects, including floating astronauts, for, appropriately enough, "Fly Me To The Moon," were provided by Flying By Foy. Joe Lambetta served as Brill's associate.
Ol' Bluescreen
If Brill was responsible for creating the frame around Sinatra, it was up to Batwin to create the portrait. A little over a year ago she was given the opportunity by the Sinatra estate to see if there was some fresh source material for a tribute to the star. "The estate let us go into the Sinatra vault," she explains. "I hired Keith Robinson, the project's film transfer supervisor, to do the research; he set up right in the vault to start looking at what was there. We didn't know if we had a show until we went in there."
What they found was gold, according to Batwin. "It was from 1958-59, a variety show he had done for TV. Sinatra had used a 35mm camera and he also recorded the audio with four separate tracks. His voice was on one track, so his voice was separate from the instruments, which we couldn't believe. Knowing the whole idea of the show was to have a live 40-piece orchestra playing with Sinatra's voice, it was very exciting. We found 45 songs recorded this way."
Once it was established that they had the source material necessary, the process of putting together the show began. "We transferred all the film to digital video just so we could look at everything. Then the editing process began: What were the best songs? What did we want to use?" The only issue was the narrow scope of time the footage covered in Sinatra's career; the team ended up having to use some video, but kept it to a minimum. Batwin explains, "Video was a little more of a challenge; it was 40 years old and the voice wasn't separated, so it was a harder to use."
A request by video-savvy director Des McAnuff established Batwin's next step with the found film footage. "It was Des's vision to rotoscope. He wanted it all to be on a black background so it is timeless, and we aren't in a certain time period, so you feel like Frank is there with you. Later, during the design process, it was decided to add color to the backgrounds. At the beginning of the show it is black and white, then we add sepia next, and then we start to add other colors." Guava and Alter Image were responsible for the rotoscoping, which involved over 60,000 frames used in 16 songs.
The transfer from film to digital format was left to an older technique as well. "We ended up using a liquid gate transfer, where actually it goes through a gate with liquid that cleans the film and then takes a digital image of each frame," Batwin explains. "We made them 2K files. Then we dropped down to the HD because that is less then 2K, so we were in great shape."
The end results were worth all the work, says Batwin, "Every step from cleaning the film, to how we transferred it, to the color grading, to the restoring, to looking at each step of the rotoscoping, to adding the background and keeping it as high-resolution as possible, to HD — it was so many steps to when you saw him really big, and it really held up. It had a film quality and I was really pleased with it."
Batwin approached Josh Weisberg of Scharff Weisberg in the early stages of the design process to discuss control for the projection. There would end up being six video screens, two 19' × 19', two 25' × 35' and one rear projection 35' × 50' screen, as well as an 18' circular screen. The RP screen was Aeroview 100 from Stewart Filmscreens and the front projection screens were Stewart Ultramatte 130s, all of which were built for the show and track on stage horizontally, vertically, or even diagonally using screen-tracking automation provided by Scenic Technologies.
Early on, Batwin and Weisberg hoped to have the imagery appear to track along with the screens. "When Josh came back from NAB," recalls Batwin, "he found a way to move the image on with the screens." What Weisberg had found was the Montage switching system manufactured by Vista Systems. Montage is used to switch sources, size and crop display windows, and move those display windows across the image map, all while maintaining image quality. "The great thing about Montage is that it can handle just about any video signal there is," Weisberg explains. "Typically with a display device, if you switch from sending out a VGA signal and then you change it to a XGA signal, the display is going to blink or glitch. We didn't get this with the Montage."
"The biggest challenge of this project was to make the video windows move with the screens," Weisberg continues. "It ended up being a manual programming coordination feat. What we had to work from was the dynamics of the screen movement, because obviously it is a lot easier to move electrons than it is to move these huge screens. The issue was that we didn't get to see these dynamics until we were in the theatre, and in the theatre we didn't have a lot of time to make this programming happen. It took us many overnight hours to dial it in accurately." The extensive Scharff Weisberg team included production manager John Ackerman, video systems engineer Barry Grossman, projection engineer Bryan Dominick, Montage programmers Randall Briggs and Greg Byrnes, still images programmers Jon Kiphart and Lars Pederson, show control programmer John Sacrenty, and projection technician Juan Mateo.
Scharff Weisberg chose the Medialon Manager timeline-based show control system, programmed to control source decks, the Montage switcher, and all the projectors. In addition to the moving video there was a plethora of high-resolution still images. The Dataton Watchout system was used to format the still images and play them. "We have used Watchout before and I was so pleased with the quality of the high-resolution stills next to the HD," says Batwin. "They worked beautifully together. We had the idea of Frank being taken out of his background, and we played with that in the stills and had the background moving separate from the foreground. Giving Watchout the elements to work with and it could program that way."
With all the effort to maintain image quality, the choice of projectors was important. Scharff Weisberg provided Batwin with Digital Projection Lightning 28sx units as well as a couple of Digital Projection Thunder 10000sx and two Barco SLM RDM-10 units. Six of the 28sx units were used for front of house, in three pairs, left, center, and right, which were dual-converged. Two more pairs of 28sx units were focused on the house walls for sequences projecting 60' × 90' images. Onstage, for rear screen duty, the main RP sheet was a 50' × 35' sheet with triple stacked 28SXs using .62 lenses. The show's big finale is a rendition of "New York, New York" featuring a 3D Pepper's Ghost effect of Sinatra, in raincoat and hat, in a center stage box with the Manhattan skyline in the background, with was achieved with a pair Thunder 10000 DSX units. Lastly, two Barco R10s were used to hit a circular screen. "Essentially all seven projectors wanted to occupy the same physical space," says Weisberg. "The three triple-stacked projectors had the first priority and then everything else had to move around them."
Despite the massive amounts of technology used on Sinatra, Batwin says the emotional reaction from the audience was the big pay off. "People were crying after the show. Some of them remembered seeing Frank when he looked like that and he sounded like that, and they felt like they had just seen him again."
It's Frank's World
When director Des McAnuff and the producers of Sinatra first approached lighting designer Howell Binkley about the show, he was intrigued by both the scope of the project and the venue in which it was to be staged. "I was overwhelmed by what they were challenging me to do," he recalls. "I thought, 'I have never done anything like this before, and I think I am ready.'" Of course, then he got into Radio City Music Hall. "It was my first time as a designer in Radio City, and I'll tell you, when I got to the tech table and started to turn stuff on I was like, oh, my gosh! It is huge! It was a reality check."
Binkley's design approach was to always support the projection work. "I never wanted to interrupt the text of the show: Frank and the images. It is about sculpting the stage, allowing the media to have the whole realm, and never interrupting the media. It was just about me being able to cut through and around all the screen choreography, sculpting the light."
His color pallete tended to follow the look of the rest of the production, starting in black and white, then gradually cross-fading into sepia tones, followed by blues and a variety of other color strokes. To achieve his design vision Binkley's plot relied heavily on moving lights. "It was a huge moving light-driven show. The conventional package was very moderate. I couldn't have done it without the moving lights, couldn't have done it with a conventional system." The lighting gear included Vari*Lite VL-3000™ spots, Martin Mac 2000 profiles and wash units, ETC Source Fours and Source Four PARs, Wybron Coloram II scrol-lers, GAM Film FX, DHA Digital Light Curtains, City Theatrical accessories, Color Kinetics 12" iColor Coves, MDG hazers, and Morpheus Double Hung Flip Truss. Control was provided a Vari-Lite Virtuoso DX console and an ETC Obssession II.
Binkley credits his programmer, Tom Celner, for his invaluable help on the project. "I bring the programmer in very early, and I want the programmer to have his or her tool of choice. With a show the size of Sinatra — I mean, there were 14 universes in that board — Tom's board choice was the Virtuoso. It was the right choice, especially at the speed of which we had to work during the tech process."
Time was the biggest obstacle for a show of this magnitude, and it required a schedule that made a long tech week look like a vacation, explains Binkley, "It was an intense schedule. They were very long days, 8am to midnight for three weeks, but we were dealing with technology that had never been done before. Sometimes we would hit a loophole and you would have to stop for three or four hours while stuff got rebooted, fixed, and this and that. With the team that was there, everybody was professional. We had some of the best stagehands in the world; Jim Eisner, the production electrician, he and his crew were fantastic." Binkley was equally pleased by the support he got from InLight Gobos of Texas; he got black and white photographic images from Linda Batwin that InLight turned into hi-res gray scale glass gobos for the VL3000s. "They were right with us, 24 hours a day; whatever we needed, InLight would burn it and send it right back to us. They were phenomenal, hands down, absolutely great work."
As for designing in Radio City, Binkley happily points out, "I think one of my favorite things in the show was my preset. I have the house lights at a glow and I lit the ceiling of the theater and it just bounced. It is the only place in the world you can get away with it."
Swingin' Style
Not everything on a project of this magnitude is difficult. For costume designer Gregg Barnes of Tiny Inc. Costume Design, clothing Pizzerelli for "One For My Baby" was probably the easiest part of the show. Rather than recreating Sinatra's classic Burberry trench coat, he visited the famous fashion house and found that they still made the same model. Like Frank, some things never go out of fashion.
Sinatra's style was so classic that Barnes was often able to recreate his look without having to make drastic costume changes. He explains, "Frank a lot of times wore a gray suit, so we used the same suit and matched the tie and the pocket square and the hat." Although there are eight different suits in the film footage, the designer managed to get away with using only two on the live actors.
Unfortunately the costume department was not immune from technological bugs. For the number, "I Won't Dance," film footage of Frank with a bevy of beauties in ball gowns had been colorized, and Barnes had to recreate the dresses for the live action on stage. Problems arose when the colors showed slightly different on whatever computer or projection screen they were viewed. Barnes says "We layered a lot of tertiary color underneath the primary color on the top layer, so if we had a problem Howell could basically color correct us on the spot."
Fortunately very few of the clips were colorized, and Barnes was able to frame the show in black and white and use color to differentiate between time periods in Frank's life. The designer felt this was especially fitting as Frank's career spanned the eras of black-and-white movies and Technicolor®. He says, "In the beginning, all the footage was in black and white, until the home movie when Nancy was a little girl, and so from that point on all the costumes are in color." This is also true of the the band members, who exchange traditional tuxedos from the beginning of the show for white jackets that change mood with the lighting.
A big challenge to the designer was providing heightened glamour within the budget. One large production number for the song "I'm Going To Live 'Til I Die" was originally designed with long red dresses for the Rockettes, but it became infeasible to make a new set of clothes for the number. Fortunately Barnes, who has been designing for the Rockettes for years, remembered a silver mini-dress covered in mirrors he had created several seasons before and which would work very well in the swinging sixties period of the show. He says, "It's a tap number and the short dress showed off their legs so in the end it worked out well."
Though the run of Sinatra: His Voice. His World. His Way at Radio City was relatively brief, there is talk that it may yet find a permanent home on the Vegas Strip. No doubt Frank — not to mention Dino, Sammy, and the rest — would drink to that.


text:
TRENTON, N.J. (AP) -- Atlantic City casinos have permission to open, but it's not clear when they'll be able to.
Gov. Chris Christie announced Friday that the roads to Atlantic City are reopening and that the city's casinos have permission to restart operations.
The 12 casinos have been closed since Superstorm Sandy was bearing down on the state last weekend.
Tropicana Casino and Resort President Tony Rodio, who also heads a casino industry group, says the casinos are working on the logistics of opening.
He says it's not clear yet when gamblers will be allowed inside.


text:
Shop the Best Espresso Machines
Are you in the market for cafe quality espresso shots at the push of a button? We have many superautomatic espresso machines for a quick morning latte fix. Or maybe you enjoy the ritual of espresso and are in pursuit of the perfect shot. If that's the case, we have one of the largest selections of semi-automatic espresso machines around.
Read detailed espresso machine product descriptions and user reviews, watch YouTube videos with Gail and Kat and learn about the care and maintenance of your home espresso machine.
Learn More about Espresso Machines
DeLonghi Magnifica ECAM 23210B Espresso Machine$999.95The DeLonghi Magnifica ECAM 23210B is one of the most compact superautomatics we have ever seen, but don't let its small size fool you. The Magnifica ECAM 23210B contains many of the features found on much larger and more expensive machines, such as an intuitive interface, removable water tank, automatic three hour shut off and energy saving mode, a professional quality burr grinder and a cup warmer. Learn More
DeLonghi PrimaDonna S De Luxe ECAM26455M Espresso Machine$2,999.95Have you ever wished for a machine that will make life a little easier? DeLonghi can help to ease you into morning with the PrimaDonna S De Luxe superautomatic espresso machine. With a patented Instant Frothing Device, you can rest assured the PrimaDonna has what it takes to create a perfect cappuccino, macchiato, or latte every time with a push of a button. Learn More
Delonghi PrimaDonna Exclusive ESAM6900.M Espresso Machine
Regular Price: $5,000.00
Our Price: $3,499.00There are undeniable classic pairings that stand the test of time (pass the milk and cookies, please!). Delonghi has taken classic pairings one step further by combining a duo so perfect, it rivals the most classic of romances. Step aside Romeo and Juliet, coffee and chocolate are here to stay! The Delonghi Primadonna Exlusive not only creates delicious coffee and milk based drinks with the touch of a button, but also has an exclusive carafe specially designed to heat and mix chocolatey drinks. Pair that with the large LCD screen and almost infinite programmability options, the possibilities become endless…and delicious! Learn More
DeLonghi Magnifica ESAM3300 Superautomatic Espresso Machine
Regular Price: $799.00
Our Price: $749.00The DeLonghi Magnifica ESAM3300 might be small, but it's packed with plenty of power and productivity-enhancing functions to deliver cup after cup of delicious roast. Magnifica ESAM3300's digital control panel with programmable settings, built-in burr grinder and one-touch foam system helps save you time. Learn More
DeLonghi Magnifica S Cappuccino ECAM 23450SL Espresso Machine$1,499.95The DeLonghi Magnifica S Cappuccino ECAM 23450SL Espresso Machine is a compact double boiler that still maintains all of the features of full-size automatic espresso machines. With an easy-to-use digital control panel and programmable menu settings you can control start time, auto off, temperature, coffee strength (five settings), and cup size (four settings). Learn More
DeLonghi Gran Dama 6700 Espresso Machine
Regular Price: $2,999.95
Our Price: $2,413.47It's as fetching as it is functional! Meet the splendidly silver Gran Dama 6700 from DeLonghi, the second iteration of DeLonghi's Gran Dama Super-Automatic espresso machine that offers marked improvements over previous models. Learn More
Out of Stock
DeLonghi ESAM5500 Perfecta Espresso Machine
Regular Price: $2,520.00
Our Price: $1,601.46The name says it all: Perfecta. DeLonghi's ESAM5500 Perfecta Espresso machine lives up to its impressive title by brewing professional-quality perfect shots and creamy drinks, all at the press of a button, (and all all at piping hot temperatures). Featuring the improved heating system, a built-in bypass doser and burr grinder, a large front-accessible water tank and the single-drink steam system that cuts down on the waste of milk, the Perfecta makes your coffee routine anything but routine. Learn More
DeLonghi Magnifica ESAM3500 Espresso Machine$1,499.95The Delonghi Magnifica ESAM3500 manages to deliver the understated power and robust features you've come to expect from Delonghi Super-Automatics, but with a little something extra on the side. Small and sleek, loaded with power and endlessly productive, this machine delivers cup after cup of delicious roast. Learn More
DeLonghi Gran Dama 6620 Espresso Machine$2,499.95It's as fetching as it is functional! Meet the splendidly silver Gran Dama 6620 from DeLonghi, a super-automatic espresso machine with enough high-tech, programmable capabilities to deliver impeccable espresso with ease. Learn More


text:
Reservations must be guaranteed with a major credit card. We accept VISA, MasterCard, Discover and American Express. Cash and travelers' checks are also accepted forms of payment.
If you find it necessary to cancel or change your reservation we will do our best to re-book the room. For cancellations greater than 14 days prior to your arrival date your deposit will be refunded less a $35 service charge. For cancellations within 14 days, you are responsible for the value of the reservation, less any value the inn is able to recoup. There will be no refund for rooms not re-booked. Reservations of 10 days or longer are considered a long-term reservation and have a one-month cancellation policy. Reducing the number of days in a stay is considered a cancellation and you will be subject to the same policy as stated above.
Deposit Amount
A 100% deposit is required for 2 or less nights, holidays, and special event weekends. A 50% deposit is required for stays greater than 2 nights. For corporate or group reservations please contact us for details.
Minimum Stay
Some weekends, holidays, and special events may require a two or three night stay. We will do our best to accomodate your reservation request.
Office Hours
The Office is open from 10 AM to 5 PM Monday through Friday and 9 AM to 6 PM
on Saturday, Sunday and holidays.
Check-in is between 3 PM and 6 PM. Please call if you will be checking in late so that we may accommodate your arrival.
Check-out time is 11 AM. You may arrange a late check-out, however an hourly fee may apply if your checkout interferes with the next guest's arrival.
On site parking is available at the Inn or the Meeting House.
The Clipper House Inn is a non-smoking property. Cigarettes, cigars, and candles are not allowed anywhere in the cottages or on the porches. Smoking is permitted by the fireplace in the garden only. Any violation in this policy will result in a cleaning fee of $250.
We love well mannered children of all ages. Cribs are available for infants.
We no longer accomodate pets. However, we can help you arange for a stay at the Bed and Biscuit (1 mile away) for your pet.
Each day you will recieve a fresh "breakfast basket" in your room. Our breakfast baskets include fresh fruit, pastries, & Clipper House breakfast specialties.
Occupancy of the cottages is limited to registered guests. Our rates are based on single or double occupancy only. Additional guests are $35 per person per night.
The Clipper House Inn offers magazines, books and conversation for your enjoyment. Each cottage is equipped with cable television, DVD/CD players, and books & games.


text:
Stanford senior forward Courtney Verloo has been named national women's soccer player of the week by both the NSCAA and Top Drawer Soccer, and Pac-12 Offensive Player of the Week, for her efforts in the No. 2 Cardinal victories over Santa Clara and Saint Mary's last week.
Read the full story here Web Link posted Tuesday, September 24, 2013, 12:32 PM
Town Square
National, Pac-12 soccer honors for Stanford's Verloo
Original post made on Sep 25, 2013
Posted by Soccer fan, a resident of another community
on Sep 25, 2013 at 11:25 am
on Sep 25, 2013 at 11:25 am
Great job! You've had a stellar season so far.


text:
The World and Everything in It is an audio news magazine produced daily (Monday-Friday), with a longer week-in-review program on the weekend. Hosted by Nick Eicher and Joseph Slife, the program features reports, interviews, and analysis from WORLD's editorial team.
Find a station near you that carries our weekend program, play our programs online, or access our podcasts by clicking the iTunes icon or the RSS icon in the right-hand column. (Note: To receive both the daily TW&E podcast and the weekend podcast, you must subscribe to each separately.)
Send comments or questions to email@example.com, or call 202-709-9595.
You are viewing a program segment.
Click here to view the full program.
Hour A, Segment 2
What to watch for in the upcoming presidential debates
Brett O'Donnell is the president of O'Donnell and Associates, a communications consulting firm in Northern Virginia, and currently a resident fellow at Harvard University's Institute of Politics.
President Barack Obama and Gov. Mitt Romney will face each other on Wednesday, Oct. 3 in the first of three televised debates.
Subscribe free to The World and Everything in It via iTunes or RSS.
Have a comment about this segment? Email email@example.com.