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The Game
The Lipscomb University Bisons (0-0, 0-0 A-Sun) host NAIA Freed-Hardeman (2-0, 0-0 TransSouth) in their sole exhibition of the 2009-10 season. Game time is 7:00 p.m. (CT) in Allen Arena.
Lipscomb returns 11 players and four starters from last year's squad that went 17-14. The Bisons won nine consecutive games before losing to Jacksonville in the Atlantic Sun Tournament semifinals to close out their season.
Freed-Hardeman also returns 11 players from their squad that went 24-10 before bowing out in the first round of the NAIA tournament.
Freed-Hardeman hosted the Lionbacker Classic defeating Harris-Stowe State College Friday evening 103-73 and Auburn University Montgomery Saturday evening 79-77.
Last year the Bisons defeated Freed-Hardeman 63-59 in an exhibition at Allen Arean. Brandon Brown led Lipscomb with 14 points and 6 rebounds while Adnan Hodzic added 13 points and 7 rebounds. Shun Trevillian led Freed-Hardeman with 13 points and six rebounds.
Online Radio: Lipscomb Sports Network, www.LipscombSports.com (Jonathan Seamon, play-by-play; Benjamin Seamon, color analyst)
Online Video: ASun.TV (Lipscomb Sports Network audio feed)
Quick Hits
- Lipscomb was 12-4 in Allen Arena last year and is 57-11 since the start of the 2004 season.
- The last time Freed-Hardeman beat Lipscomb was an 88-58 victory on their home court on Feb. 16, 1998.
- Hodzic has scored in double figures in 27 consecutive games, a Lipscomb NCAA-era record.
Honor Roll
Junior center Adnan Hodzic was a unanimous selection to the A-Sun preseason All-Conference team. Last year Hodzic was named to the postseason Atlantic Sun All-Conference team. Sophomore Brian Wright was named to the Atlantic Sun All-Freshman team last year.
Poll Action
Lipscomb was picked to tie for first place for the Atlantic Sun Regular Season title and win the Atlantic Sun Championship in the preseason coaches poll. Lipscomb and Jacksonville each received 111 votes with Jacksonville receiving five first place votes to Lipscomb's four. The Bisons were picked to finish second in the media poll. Jacksonville was picked first by the media.
Departing Players
The Bisons have lost Michael Lusk and Thomas Pfaff to graduation. Lusk and Pfaff were the only remaining Bisons from the 2006 squad that earned a bid to the National Invitational Tournament (NIT). Lusk played in 122 games, starting 85. He averaged 8.6 points, 3.5 rebounds, and 3.6 assists during his final year. Pfaff played in 112 games, starting 33 for the Bisons. He averaged 5.0 points and 3.9 rebounds in his final campaign.
Lipscomb also lost point guard Jimmy Oden who transfered to Middle Tennessee State in the offseason.
Newcomers Welcome
Lipscomb welcomes five new players to its roster this year. Last year the Bisons signed three players to National Letters of Intent.
Brandon Barnes from Chapel Hill High School in Douglasville, Ga., and Zach Brown from William Mason High School in Mason, Ohio, will join the Bisons backcourt next year. Serbian native Milos Kleut of North Cobb Christian in Kennesaw, Ga., will provide another big body in the Lipscomb post.
The Bisons received a key addition in the late spring when point guard Johnny Lee announced he will join the Bisons squad after graduating from George Washington University. Lee played three years at the Atlantic 10 school. Through a transfer exception that allows players to transfer without penalty after they complete an undergraduate degree, Lee will be eligible to play immediately.
Guard Jerry Macon of Southfield High School in Southfield, Mich., was added to the squad in June.
In addition to the five newcomers, the Bisons will place three new players on the court this year that redshirted last season. Guard Jacob Arnett and forward Matt Shaw will see action this year after sitting out their freshman season as redshirts. Sophomore center Justin Glenn will also wear the Lipscomb jersey for the first time this year after sitting out last year after transfering from Centenary College.
Bisons in Allen Arena
Lipscomb is 76-33 in Allen Arena. Since the start of the 2004 season, the Bisons hold a 57-11 advantage over visiting opponents. Lipscomb recorded its 50th win in Allen Arena on Jan. 7, 2007 with an 89-68 victory over Mercer. Allen Arena hosted the 2008 and 2009 Atlantic Sun Conference Tournaments.


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About This Activity
Welcome to MudManX, an adventure race like no other. Designed with the assistance of US Special Forces and with obstacles inspired by the 4 primary elements...Earth, Wind, Fire & Water, our insane 5+ kilometer courses will transport you back to the early days of mankind, when we were forced to do battle with mother nature for our own survival.
Let your primal instincts and will to survive be your guide as you fight your way over, under and through dense mud pits, fiery trails, icy cold water and for those who make it to the end, the Xtreme Aftermath Party awaits!
Event schedule and times
FIRST TRAX elite waves run every 15 minutes from 9:30-10:15am. All other scheduled waves start promptly at 10:30am with up to 200 runners per wave and continue every 30 minutes throughout the day. Please arrive at least 1 hour before your scheduled wave time to park and go through check-in, bag check, etc. Packet pick-up will be on race day at the check-in tent. Ample parking will be available. More information is available on our website at www.MudManX.com and at Facebook.com/MudManX.

subset: commoncrawl


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Just thought we might share some of our own personal life experiences with the Yorkshire Terries.
We have always had dogs in our life, sometimes small ones sometimes large one, but most of the times both large and small together. Also please understand that regardless of the size combination or quantity, at all times they have been our pets and part of the family. For the earlier times we enjoyed the toy poodles as the small dog, with a lot of the reason being because of the many different colors and combinations.
We had always known some people that owned and loved their Yorkies, and we came so close many times to owning or own Yorkies. We just loved their outgoing individual personalities and long beautiful shiny flowing coats. The one thing that always seemed to keep it from becoming a reality was when we would go to pick one out, they all looked the same. It was the one thing that always stood out, it was the lack of individuality in the looks department. Then it happened….We were introduced to the Parti Yorkie. So now you get the fantastic individual personalities and the total uniqueness of a Parti Yorkie look! We love them and believe that you will to! So some people might need to know how the Parti Yorkies came to be, if that might be you, please click on the link below on how the Parti Yorkies came to be. The other interesting thing we have found out about the Parti Yorkie and the Parti Yorkie Carrier is how the color combination comes out when they are having puppies. Below is the average percent for each type produced for each litter of four Yorkie puppies. Any one litter, except for the first 2, may have more or less of Parti color, Parti Gene Carrier or traditional Yorkie color.
Parti Color bred to Parti Color = All Full Parti Color puppies
Parti Color bred to Traditional Color = All Parti Gene Carrier puppies
Parti Color bred to Parti Carriers = 2 Parti Color and 2 Parti Gene Carrier puppies
Parti Gene Carriers bred to Traditional Color = 2 Parti Gene Carriers and 2 Traditional Color
Parti Gene Carriers bred to Parti Gene Carriers = 1 Parti Color, 2 Parti Gene Carriers and 1 Traditional Color
The Parti House
Ben the stud is ready to Parti............The Gang the morning after.............Then there was Panda in the box


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Un Uomo Nuovo: How I Learned to Look, Act, Eat, and Think Like an Italian Gentleman in Just Three Days
It's not that GQ's Michael Paterniti had tried to be stylish and failed. Style was just something he'd never thought much about. We decided to give him an education. The school: a hilltop village in Umbria. The teacher: self-made philosopher king, emperor of cashmere, Brunello Cucinelli
On the day the unexpected package arrives, I'm wearing—and bear with me, because this matters—my favorite torn Levi's, circa 1998, a gray, well-worn tee, an old flannel shirt, and a blue sweater with a hole in the right elbow. On my feet is a pair of furry L.L.Bean slippers that gave up the ghost during the late Bush years. Similar ensembles have caused me, in various moments, to be mistaken for homeless, misconstrued as a past-due college student, and celebrated for assorted fashion faux pas including, once, the wearing of not one but two sweater-vests.
Sloppy casual has always been my default look. My preppier classmates in high school would sometimes sport two, three, even four shirts at a time—Lauren, Izod, Brooks Brothers, all collars-up— while I wore secondhand faded olive German-army fatigues and this cool T-shirt with a troll on it. And when that T-shirt disintegrated, a T-shirt with a stick-figure guy falling through space. And after that, later in my T-shirt Hall of Fame, one that simply said 'UPSTATE'. After college, at my one brief dress-up job, I wore some truly awful suits, all cheap, complemented with clownish ties that I imagined as some sort of protest against conformity. But then years pass, old rebellions die. You realize that sloppy casual is also its own kind of masquerade, and one day you find you can't even dress right for a funeral (it's dark colors, stupid!), and you begin to ask yourself: What's my problem?
And now, here on the kitchen table, sits the promise of a sartorial awakening, a brown box festooned with colorful tape, written over with words in Italian. Tearing it open, I discover three wrapped bottles of olive oil and then an oversize burnt-umber tome with a crest bearing the initials bfc. Stamped on the back is a regal coat of arms that depicts a castle and a winged lion wearing a crown, below which runs the legend Solomei, AD MCCCXCI. When I open the book, I'm greeted by the image of an idyll: green fields below, olive and pine trees clinging to a hillside, and then ancient steeples and turrets rising from a lit stone village at twilight.
On another page appears the portrait of a man—the town's patriarch? He sits atop bales of a snow white substance like clouds, grinning impishly, tan with a head of dark hair, adorned in a gray tux, with a black propeller bow tie, pant legs riding high enough to show off his socks and exquisite caramel-colored suede shoes. In his hands is a pillowed ball of this soft gossamer, but here it's as if he's caught a huge piece of popcorn as it popped.
Folded into the pages is a note, a confirmation of my approaching trip to visit the village and its master on the mountaintop. Dear Michael, the tudoed man writes, I'm very glad that you are coming to Solomeo...to see what we have been doing with our "hands" during these years.... I would be most happy if you felt right at home with us. He signs off with a sort of benediction: _Wishing you health and serenity, Brunello. _
I arrive in Rome to a once-in-twenty-five-years snowfall. Or that's what they say. People seem crippled merely by the idea of it. Estimated travel times are quadrupled, quintupled. It will take forty minutes to get to the bottom of the Spanish Steps. "But they're just outside of the hotel," I protest.
"The ice and snow," says the doorman. "No one has the right clothes for this."
Goodness, that's funny: The city's in crisis because there're not enough plows or salt...but the Romans are in crisis because they don't have the right clothes? In America, we just throw on "another layer," as if slathering mayo. But this is a country where the drama, the gesture, the seriousness and comedy of the lightfilled moment, the squiggly line between simplicity and grandiosity, and the shoe or fabric worn, all of it, is everything. I've always loved this about Italy—the dichotomy of this hard-boiled practicality versus warm, showy indulgence. Being partly Italian, or rather having an Italian last name, I've always dreamed of really becoming partly Italian, of eating piles of mouthwatering fettuccine in the piazza, speaking a language that demands music over mumble, and yes, if I'm honest, perhaps dressing a little better. Seeing pictures of my Italian grandfather as a young man, newly arrived in America— dressed so nattily in a double-breasted suit, round-ponced-collar shirt, thin tie, leather shoes, and straw hat—I've always attributed some great mystique to him, some intangible, wondering: What was up with that guy? What did he have that I don't? I suppose that, in part, is what I hope the tudoed man may teach me.
I've been asking around about this Brunello Cucinelli, and here's what I've learned: In fashion circles, Cucinelli is—to quote an e-mail from my way-morefashionable brother—"a god. Like insanely nice clothes, timeless, beyond trends."
"A man of substance in a surface world," another knowledgeable source tells me.
"The most important designer you've never heard of," says another.
"A quiet peacock."
"The philosopher king: He'll teach you more in an hour about life than anyone I know."
Curiosity piqued, I dive into the burnt-umber Book of Brunello, which is part memoir, part history of his adopted village, Solomeo, and part marketing campaign for a company he claims is guided by "new humanism." Brunello Cucinelli has been labeled the King of Cashmere for his abundant use of the material in his high-end clothing line, which favors a dusky palette (no black, ever! ). With such global appeal, the brand sold $320 million worth of clothing last year. But as he points out in his memoir, Brunello started from scratch.
Born to a farming family, the third of three boys, he first studied to become a surveyor, while his brothers took blue-collar factory jobs. An unmotivated student, a lover of the bar life, he had the idea to free cashmere sweaters from their beige purgatory. Why? Because he'd noticed women wearing cashmere sweaters, baggy with rolled-up sleeves, belonging to their husbands or boyfriends. There weren't any such sweaters for women to buy—and he trusted they'd gravitate to a brighter palette. Although he had barely even touched cashmere before, he went to a local factory and bluffed an order to be paid later, based on droves of imaginary buyers. When the sweaters came back in oranges, pinks, a nice yellow, he instantly sold out.
How he'd traveled from being that 25-year-old dreamer, forced to disguise his voice on the phone to create the appearance of having a receptionist, to the 58-yearold chief of a company that today makes every conceivable type of clothing, as well as home goods, and employs over 700 local people—while increasing profits in quantum leaps—is a more involved story, one that includes repeated pilgrimages to Mongolia in search of a grail (the perfect cashmere from the chin of goats) and the subsequent conquests of luxury markets in Italy, Germany, the United States, and now China. In the book he claimed to have accomplished all this by reading his favorite philosophers: Socrates, Plato, Seneca, St. Augustine, St. Francis, Marcus Aurelius.
In my world, "luxury end" tends to be a piece of clothing that costs $200 (and still most likely emanates from a factory in China). That's the most I'll usually spend on one item, not because I can't afford to spend more but because I've never really wanted to, have always found what I need for roughly that amount, or much less. Cucinelli's clothes, on the other hand, are extravagantly priced: a pair of cotton knit cargo pants for $800, a cable-knit cardigan for $2,000, a purple mélange cashmere wool tweed blazer for nearly $3,000. Whether it's genius marketing or an extension of certain philosophical precepts that Brunello himself follows, from Socrates to Kant, the implicit argument seems to be that wearing a well-made shirt, sweater, anything, not only feels good but dignifies a human being. And more, these aesthetic choices make you a better man and citizen.
In the Roman bar that night at the fancy hotel, two separate parties of Americans are in attendance—one in black athletic turtlenecks, casual polos, and black sneakers, the other sporting the Scranton stylings of Dunder Mifflin's Dwight Schrute. They sit gabbing about TV shows and iPhone apps when a group of suitably glamorous Italian women blow in on a cold zephyr and quickly absorb the pale pageantry. It's La Dolce Vita colliding with happy hour at Buffalo Wild Wings: In synchrony, the women turn on their collective high heels and stiletto back into the ersatz Arctic in search of real Italian gentlemen.
This is the way to Brunello: out of Rome, up the autostrada (the city bowing to the open expanse of country), cloverleafing at the Orte exit toward Terni (the coruscating stony hills and declivities of near purple earth), and then on to Perugia and seven more miles through the fallow fields and olive trees of Umbria, as the road climbs to Solomeo, a story village of 400 inhabitants, most of whom work, in one way or another, for Brunello.
The designer first came to Solomeo over forty years ago and met the woman he would marry, Federica Benda, who lived here. He, too, was reared in a small village nearby (Castel Rigone, founded in a.d. 543), grew up without electricity or running water, and immediately fell in love with Solomeo: the solitude, the beautiful vistas, the intimacy. But like many Italian villages abandoned by its residents for the promise of jobs in the city after World War II, the town was near death, crumbling in on itself.
As his business took hold, Brunello moved his operation there and bought his first property, the castle and its tower, in 1985 for $150,000. And then he bought more. Today he owns or has helped renovate most of the historic buildings in Solomeo—from the meticulously restored eighteenth-century brick-and-stucco church at the village center to a newly finished theater (patterned after the extant Renaissance theaters in Parma and Sabbioneta) and the Accademia Cucinelli, in which Brunello's arts foundation resides, with its lovely library open to all, its grand piano, and its oversize fireplace. If Solomeo was once dying, Brunello has worked not just to save it but also to style it with a patron's hand. The piazza has been rebuilt; the quaint houses bear trussed roofs and ironwork on their doors and windows. In springtime the Brunello-built pergolas overlooking the valley burst with flowers.
Solomeo is divided into two levels, what the people here in conversation call "down below" and "up above." Down below, bordering the fields, is the company's headquarters, a low-slung modern white complex that houses Brunello's corporate office; while up above, on the hill, is the old village with the original Cucinelli fabbrica, or factory, housed in a renovated fourteenth-century castle. It is here that the cashmere arrives from Mongolia and China, the silk from Italy, the suede from South Africa, and here that the workers begin to stitch and weave the sleeves and capes of the Cucinelli clothing line.
Fifty yards up the road from the cobblestone hive of activity, behind iron gates and a security guard, is Brunello's lordly residence, an august, sprawling villa with pools and gardens, where he lives with Federica and their two daughters. On a ceramic tile hung by the iron-gated entrance appears a message attributed to Socrates: love of knowledge echoes in our hearts and nourishes great thoughts.
Strolling the village that first afternoon, with the edifying thud of bootheels on cobblestone, the whine of metal gate hinges opening and closing somewhere in the near distance, I'm subsumed by a feeling. Perhaps it's the gray light that filters into gold as the clouds open, perhaps it's the confusion of ancient ghosts in an old place that has been thoroughly modernized, but on that hill it feels as if I'm walking inside a monument, a monument to an idea, that the past can indeed be resurrected. And that it can have immediacy and application in this modern world of ours, though we show so little time and regard for our own history. Brunello's ceramic tiles keep appearing, speaking insistently, even a little imperiously, from the ages, a reminder that the village patron is also the village scholar:
When our soul is full of feeling, our words are full of meaning—Vauvenargues. You were not born to live like brutes but to follow virtue and knowledge— Dante. Beauty will save the world—Dostoyevsky.
That first evening Brunello, acting as CEO of Brunello Cucinelli SpA, is entertaining investors from abroad, here to drill down on the company's upcoming plan to take 30 percent of itself public. And though we're scheduled to meet the next morning, there's a moment at twilight, as the church bell sounds just before evening mass, when I catch a glimpse of him from afar as he leads a group from the fabbrica to the theater. Among the dark shapes, bundled and hunched—jotting notes, working phones, processing numbers, all of those money people seemingly anonymous in aspect and attire—Brunello is almost buoyant (truly like a bobbing buoy on some vermilion sea), bursting with a kind of casual ease and good-natured enthusiasm that shoots its own ions. He gesticulates, he calls out, gathers and enraptures all the little ducklings in line, flares like a comet, and then he disappears through an enormous wooden door just as the night shifts one more shade to dark.
The next morning, Brunello enters his office whistling, in gleaming light, upright and tan, wearing his neat stubble, cotton moleskin cargo pants, a white shirt, a tie, and a blue cashmere blazer with red-spotted pocket square. And yes, he looks as if he's stepped off a yacht (isn't this a prerequisite of high-end designers?)...but also as if he's just left the sidelines of a soccer match featuring the team he owns...or is just back from a meander in what he calls "the woods of spirituality" above his home.
"Why do Italian men always enter whistling?" he asks me, aware that I've noticed, maybe wanting me to notice, the whistling. He wags a finger, smiling. "That's a question for later." He has me sit, sits himself. We're in a room big enough to fit a couple of Cessnas, at a long wooden table that is his desk, bookshelves bearing the carefully arranged stuff of his world: his leather-bound books by history's great philosophers, bos of Cuban cigars, glass vessels full of cashmere in every shade of an Indian spice market. There's a small mountain of soccer balls, lamps with cashmere shades and cords, and piles of blank paper from which he picks out two sheaves, lays them on the table, and makes columns to organize his day, his thoughts, your desires. ("Order and tidiness is the first law of heaven," he proclaims.) "If it's okay with you," he announces while scribbling, and then points to the sheet, "today we talk about life—and tomorrow, fashion."
And so begins the symposium. Listening to Brunello Cucinelli is like getting your own personal tutorial with a very glamorous, fatherly professor. He is charming and solicitous, speaking in an urgent, musical voice. Associates say he is both disciplined and happy, as well as extremely meticulous. When it comes to business, he's known as savvy and calculating. You see, he says, it was St. Benedict, "this very rigorous man, who taught me the most important thing: Look after your mind through study, your soul through praying, your body through ercise— and then work."
To this end, it is essential to divide the day in a pleasing way, to make room for thought and pleasure. Brunello says he rises at six, swims for an hour, then does a series of yoga postures called the Five Tibetans. The workday begins at eight, often with a thirty-minute walkabout, sometimes solo, sometimes with designers or builders, about reconstruction plans for the village. "We work hard here, quickly and efficiently," he says. "We break for ninety minutes at lunch, and this place is empty at six. I tell my staff, 'Give me your best, and then go home and live your life.' I've never asked anyone to work harder, but I've told plenty that they needed rest."
Brunello smiles. He makes it sound so easy, so attainable, this balance, this good health. He scribbles a square on a piece of paper and labels it Business, then a circle at the bottom, which reads Profits, and an X off to the side with the word Brunello, like some etched trinity. "I believe in capitalism," he says. "I need to make a profit, but I would like to do it with ethics, dignity, morals. It's my dream." In order to attain it, the value of the day's apportionment, and "the gap when we meet ourselves again," can't be overstated. "Otium," he declares. "It's Latin for the art of doing nothing, in a constructive way. It's as important as work itself. The other night I was sitting, staring at the fire—this is something I do frequently—and my wife came in and watched me for a while and said, 'What are you looking at?'
" 'The fire,' I told her. 'It helps me think.' She shook her head—but that night it was me who went to bed drunk on nice thoughts."
If you spend time with Brunello Cucinelli, one thing you instantly realize is the power of the narrative that he's created for himself (the story of how a little village, with the Keebler work of many hands, reimagined how the world could be), the rooted depth of his self-actualization (farmer's son turned benevolent baronial fashion magnate), and his fervent belief in resurrecting "dignity," as he has it, by reviving Solomeo—the name itself a clarion call of some new dawn—while trying to take a "humanistic" approach to the 700 workers who do his bidding. In the canteen, employees, who are regularly given Cucinelli clothes as gifts or at deep discount, can eat a three-course lunch, often with handmade pasta, for $4. The theater has become the locus for cultural happenings, including one of the country's finest provincial music festivals. There's a medieval street fair that lasts nine days. And in Italy's uncertain economy, there's the simple fact of having a job, especially one in an organization that stresses pride in one's craft and contribution. (And it's a favor returned, it seems, by a workforce bearing serious, focused expressions, hustling hard to please the boss.) All of this also goes into your handcrafted $1,580 cable-knit sweater. It is what gives the garment dignity, says Brunello. And for him, dignity can be cultivated and expressed in many ways, big and small.
"When you're finished eating, your plate—the arrangement of what's left—should have its own dignity!" he says.
"When your cigar is done, you let it burn out on its own, you don't stub it out. That's dignity!"
"You must sit with an upright carriage. If you find someone slouching, they don't have the same dignity. They lose all fascination!"
We asked Brunello Cucinelli to name five things he'd have a hard time living stylishly without. Here's what he chose and why.
Marcus Aurelius,
Meditations. I have read it numerous times, and it always teaches me something new. Aurelius writes about how you need to let yourself feel internal peace for what you've accomplished. [#image: /photos/55840e7a3655c24c6c977d15]||||||Watch
Patek Philippe— ultimate craftsmanship and quality. [#image: /photos/55840e7a09f0bee56442f0ea]||||||Food
Fresh bread and olive oil—the simple flavors that I grew up with. Ercise guide
Five Tibetan Rites. A stretching-and-breathing technique similar to yoga. I have been practicing this every morning for the past few years, and it has had a very tangible e`ect. My hair has grown thicker, and I can see the display on my phone after years of needing glasses. [#image: /photos/55840e7a09f0bee56442f0e1]||||||Clothing
A perfectly tailored gray one-and-a-half-breasted blazer or suit. I travel often, and this is something I must always have with me. It must always accentuate the shoulders and chest, to create a more flattering look.
All the minutiae of dignity matter: the fine stitching on a sweater, for instance, or the subtle color matchings that have become one of Brunello's trademarks. Why is this? Because in a world of mass production and a fair amount of random chaos, it's intoxicating to believe that the individual human being still matters— and that someone is bearing down on these details, on the quality of what might be worn against "the dignity" of your skin. If living well is one of Brunello's fixations (he lists "the five c's"—cashmere, cognac, chocolate, cigars, and champagne—as the essence of the good life), he also considers it a responsibility. And that responsibility extends to how you dress and the philosophy of dressing well.
In his twenties, Brunello is quick to admit, he had many ideas about who he thought he might be: "It changed every two weeks. I wanted to be a writer, a philosopher, a monk." What he knew, though, was that he wanted to make something that might last. This idea of conservation, of lastingness, perhaps had something to do with being a farmer's son, with not just the cyclical nature of agriculture but also the fact that his family had little money and so he wore the same shoes and trousers every day. Even when once a year his mother would buy him a new pair of green pants, he would immediately take a hoe and bury them. "Green is not my favorite color," he says. "I didn't mind my clothes, but I did mind a bit when the children called me a 'farmer,' because it was meant to be something despicable: poor, uneducated, dressed differently."
Still, Cucinelli's mother read Dante and the legend of King Arthur by candlelight in the evenings. Brunello, the youngest boy in the family, became a voracious reader and a bit of a dreamer. Signorino, his older brothers called him, an endearment and a critique that suggested he was "a delicate young nobleman." Perhaps it was true: He gravitated to the allure of making something high-end, something aspirational. Which is how he came to the idea of cashmere, a fabric that had symbolic power. "You never throw out a cashmere sweater, do you?" he says. "I've worn a sweater of mine for many years, and my wife told me the other day, 'Perhaps it's time to say good-bye to this one,' and I said, 'Never—at the very least we'll use it to dust the furniture.' "
But more than just the quest for longevity and quality, there seems to be something else in it for Brunello, something important and profound that he can't quite put words to. Instead, he tells a story. After the World Trade Center collapsed on September 11, he went up into the castle tower, with its fifteenthcentury frescoes depicting important scenes from Italian history, and found himself thinking about Hadrian, the great Roman emperor, who built the Temple of Venus and rebuilt the Pantheon. There was a lesson, a reassurance, in that sort of permanence. This is the world. How many people have died for it! And yet we go on.
When he tells this story, I ask what that might have to do with fashion, with the work of his own life. "This jacket that I'm wearing is eight years old," he says. "I don't want to throw it away. It will go in my wardrobe eventually, and I will revisit it. For me, it's like gazing upon the frescoes. This is where fashion touches eternity.
"The dead never die," he says. "They're always among us."
Brunello has promised something special for the next day. He's volunteered to show me how to dress as an Italian gentleman. I've not been dressed since the days of diapers, and even in the hands of a maestro, I'm skeptical, assuming that old defensiveness. I'm certain that I can't be salvaged—"You're the only adult I know who wears Crocs as dress shoes," my wife tells me—because surely I don't want to be.
We are standing now in another large white room that adjoins Brunello's office, a room packed with Brunello Cucinelli menswear, soft cashmere sweaters arrayed in all the colors of some dusky candy rainbow, cashmere suits that hang comfortably from the hanger, leather and suede shoes of all varieties waiting for feet. There are blazers, scarves, and ties, all begging to be worn. Brunello's soldiers glimmer in and out, bustling and assessing, assembling at his command "a look" that might work for me.
When I fall into a litany of my various sartorial afflictions, he steps back and squints at my ensemble, a fairly innocuous uniform of J.Crew jeans, flannel shirt, Patagonia sweater. "Be honest," I say, then hold my breath for the damage. "Why not!" he says to my surprise. "You appear young, sporty, intellectual. You look American." Two out of four, and one is a reach, but I'll take it. But why do I look American—what's the giveaway? "The American wears three layers," says Brunello, "always the T-shirt, another shirt, and a sweater. The Italian man never wears the T-shirt. This is not good or bad. I like the way the gray of it matches the sweater. But we don't do this."
And he's off and running. "The hair, hands, and shoes are very important to the Italian gentleman," he declares. "The hair, even if there's no raw material there, you can tell if it's been cut. The hands can't be overestimated, because we talk with our hands, and so they must be tidy. But the shoes, the shoes for us are the most important. You could be wearing a great suit, but if the shoes are no good, you lose all of your fascination.
"Look," says Brunello, "the whole idea of wearing clothes is not to look ridiculous."
Yes, I want to shout, this is my mantra, too—exactly! But then we are dressed as polar opposites, Brunello and I. Rather than even try to look good—expressing one's aspiration or flair or idiosyncrasy—rather than trying to own the clothes I wear, which seems, for some reason, an act too revealing, too intimate, too much of a risk, I've unconsciously veered the other way. My disguise says, "Pay no attention to the man behind the curtain— and while you're at it, pay no attention to the curtain, either." Or: "I'm too busy for the vanity of clothing." But what does that say about my dreams, then?
Now Brunello's hand flutters for the pocket square in his blazer pocket. He's wearing light gray pants, a thin blue tie, and a blazer that resembles oatmeal in color, though I see flecks of the Umbrian countryside in fall, an underlying purple hue, a shade from a Fra Angelico painting... What is the color of the blazer he wears? The pocket square is white with red dots trimmed in brown and floats about a quarter of an inch from the pocket, but now Brunello yanks it another quarter inch. "Ridiculous," he says, then replacing it to its original form: "Fashionable."
It's true: With the pocket square out a little, he's a man calling attention to himself, begging attention. With the pocket square tighter in, he's a confident man who knows he has your attention. The point, he says, is to dress by a set of rules that you then break by your own personal style. For instance, one of Brunello's great icons, the Fiat scion and exquisite tastemaker Gianni Agnelli, was a man with a classic style of bespoke suits, personalized and made wholly original by his sense of sprezzatura, a series of odd yet deliberate flairs—the wearing of hiking boots, a fine watch worn over a shirt cuff. Like this, you have to feel fashion in order to be fashionable. That is, the gesture must come from within, from the voice of your own inner stylings. In Brunello's case, if you look more closely at the classic package he presents dressed in his own clothes, there is a smattering of little anomalies: the belt that he buckles but doesn't guide through the loop; the elevated pant cuffs (either by rolling or tailor, never higher than the socks, but enough to show them and the all-important shoes); the unbuttoned collar points and the tie tied with the bottom panel being slightly longer than the top (its own version of Agnelli's famous askew tie). "This is the Cucinelli way," he says.
I put the clothes on, at first a white shirt with a gray suit. I might wear a suit once or twice a year, uncomfortably, but this is almost instantly different. That is, I can't feel the suit. I know it's on my body, but it floats. And so I float a little, too. Brunello adds a blue tie, a white pocket square. ("An Italian only wears white for the most formal occasion," he says. "You are winning an award, you are stepping up to make a speech. This is what you wear.") I'm wearing cashmere socks, cordovan leather shoes. He fusses over me, steps back smiling, circles deliberately, veers in to yank my lapels, button a button, shake out the pant cuffs, then steps aside and directs me to the mirror. I approach sheepishly. Minus the hat, what I see reflected back is my grandfather, a man to my mind of great fascination and dignity. For one brief flicker, I'm him.
There are other "looks" Brunello assembles for me, a mix of what he calls "casual chic, sporting, and intellectual," none of which I could ever imagine wearing at first, let alone wearing at home, but that feel so organic once on, so uplifting that I thoroughly regret the moment when I have to take them off. (His voice patters on: You are walking across campus to teach your class... You are boarding a plane on assignment... You are giving a reading.) As we go along, trying and shucking clothes, I'm reminded of something Brunello said to me when we first sat to talk. He was remembering his youth, the hours of sitting with his father and grandfather, who'd been orphaned in Assisi as a child. Being farmers, they talked about the weather endlessly, the possibility of what was to come. They sat and watched the sky.
Explaining this, Brunello paraphrased Kant—that the philosopher was "fascinated by two things: the starry sky above and the moral, ethical world inside"—and then lamented how we humans of the modern world spend so much time looking down: down at the computer or screen before us, down in our worry, down at our lack and want and absence. "How many people do you know, Michael, who spend time looking at the sky? I try to look up at the sky as much as I can," he says.
The suggestion is contagious. Wearing the clothes in that light-filled room, I find myself looking up through the window at clouds carried by the wind and bright patches of a blue I can't name either.
I w e a r t h e last outfit to lunch in the library: a pair of cashmere khakis, a collared jersey, a gray sweater, and a sienna-colored sport coat with café au lait–colored dress shoes. I love it. According to Brunello, I could do almost anything in this outfit, even play some impromptu soccer, if I were so inclined to try out for his soccer team. It's weird, I confess, but I've never been more joyful in nice clothes before. Everything feels so light and comfortable, so soft to the touch. What are my dreams now?
Brunello's assembled a bunch of male workers to join us to eat. He's asked these compagnos to dress up a little. All the men are somewhere in their early twenties to near 60, and what he means to show is that his clothes look good on anyone, that this is not fashion for an 18-year-old anorexic that the salesman is pretending looks good on us.
The food arrives, antipasto, breaded zucchini, cheeses, pâté, good bread, red wine. The subject again is the good life, the necessary life of the Italian gentleman. But what if you don't have the money for the Cucinelli label? What if your fate is not tothe- manor-made-because-youhad- the-bright-idea-to-spin-acashmere- empire-out-of-nothing? Brunello waves a hand dismissively. "I've always lived like this. Years ago I was reading my books of philosophy and taking notes. And when I sold my first fifty-three cashmere pullovers, I felt like Alexander the Great. It's not quantity, it's what you appreciate. It's how you embellish the world.
"Now, when you write a sentence, Michael, you're working for the world. You're trying to embellish it with beauty. When you prepare for the day, you should try to smell nice. I shower two or three times a day. You open your closet and ask yourself: Am I slightly more serious or joyful today? With whom will I meet, and do I want them to think I'm an intellectual or an industrialist? I take twenty minutes to dress, giving myself three options, depending on weather. It takes at least three times to get my tie right. But it doesn't matter what the clothes, you try to match your colors with love, one bright color, the rest neutrals. And this is how you embellish the world, too."
(Regarding the question of how you smell—Brunello is deadly serious about it. He tells the story of calling a meeting of one hundred employees and announcing, "There are two people here who smell bad, and I would like to urge you to take measures." When I ask if that's a little extreme, he responds by saying, "Oh no, not at all. If I work with you nine hours a day and you smell, then you're ruining my life.")
I ask the well-dressed men at the table what they think makes the gentleman, and Brunello blurts out, "Oh, good night!" as if afraid to hear the answer. One offers that it's important "to know how to behave," when to say and do the right thing, kiss your mother-in-law's hand, for instance, hold the door. Another says, "It's important not to stand out," to be part of the harmonious whole in manner, dress, and attitude by enhancing it.
But Brunello is intent on adding to a definition that goes beyond his nobly delivered polemics (...Only listen to the Rolling Stones in the morning, Mozart's "Requiem" when it's time to concentrate...). It goes back to responsibility, the obligation of the human being to other human beings—this is the legacy of the Italian gentleman: to work, to make something with one's hands to leave behind. There's the fashion empire, yes, but there's also the construction and renovation (Solomeo; the 2,300-year-old Etruscan Arch in Perugia; the 500-patient hospital he's just built in Malawi). "But I don't possess any of this," says Brunello.
"That's the secret: I consider myself a guardian, here to keep it a while. My house is 300 years old and will have another owner someday. But this is the world as it's always been: Something grows, rises, and dies, and from the ashes something else is made. We are tiny custodians."
Here, Brunello looks down at his steepled hands and up again, seemingly moved. "I was sitting before the fire the other night, thinking a lot about the farmer's son, me, who once wore the same shoes every day. And my granddaughter was asleep on the couch, and I was talking to her softly. And I was telling her, 'You know that all of this work is for you. And that I work for the world, too. And the world to come.' When you think like this, living a good life is easy. It comes down to one question only: Can you be satisfied with what you have tonight?
"That's the whole secret of life!"
I leave in a blizzard, a down-flood of pearl-moth snowflakes that crystallizes in drifts and sends the Italian motorists fishtailing. Solomeo recedes behind that white veil, accompanied by a small pang in my newly filled American heart. It's as if I've had a glimpse of something I shouldn't have, some garden with apple, a little wonderland in which everyone is swaddled by Mongolian goat hair, and now I fear the spell is destined to wear off. And I must return to my own closet.
When I said good-bye to Brunello, he told me that "the world needs more people who are serious, enlightened, and with an elegant spirit." As if it might be important to spread the word. And he left me with something to wear while in Florence, some slacks, a sweater, a blazer. He didn't implore me to try to change my ways but, in the tradition of the Stoics, had laid a path. Besides, he'd already dignified me as "sporty," even if in that American way. But then something happens that day after arriving in Florence, as I wander the streets before heading home. At the hotel, at the monastery San Marco, admiring the Fra Angelicos, I seem to pass as Italian, for several people try speaking with me in our native tongue before registering the dumb expression on my face.
Later, out on the street, an older Italian woman carrying shopping bags asks directions to the Piazza San Marco, where I've just been. Without uttering a word, smelling good, I remove from my blazer pocket a map, sketch with my tidy finger the direction she should take. When I'm finished, she regards me briefly, and says, "Grazie."
"Prego," I say back, then go whistling the alleys for home.


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I'm not surprised that Michael Gerson, architect of "compassionate conservatism," has convinced himself that this generation of Republican leaders is carrying on in his footsteps (via Mike Allen):
Obama's overreach has also produced another conservative reaction – a Reform Conservatism. The key figure here is Paul Ryan … Its brain trust includes thinkers such as Yuval Levin, James Capretta and Peter Wehner. The reform movement … looks for ways to achieve the ends of the welfare state both through more private means and more efficient public means. … Speaker John Boehner has adopted Ryan's reform approach as the de facto ideology of the House Republican majority. [Emphasis mine]
The Ryan budget does a lot of things. It flattens the tax code and dramatically cuts taxes for high-income earners. It caps federal spending at 20 percent of gross domestic product, and it calls for higher military spending. It turns Medicaid into a block grant for the states, and gradually shifts Medicare to a private insurance plan.
Here's what we know about these ideas. Over the next ten years, Ryan's tax plan would cost the federal government $4.6 trillion in revenue on top of the $5 trillion it costs to permanently extend the Bush tax cuts. Ryan, in other words, would engineer an unprecedented financial windfall for the wealthiest Americans. Everyone else would have to pay for it.
His Medicaid plan would cut the program by $800 billion over the same period, and cause 14 million people (at least) to lose their health care coverage. His budget would cut food stamps by $133 billion over the next decade, and cut the Pell Grant program to nonexistence. Non-defense discretionary spending would all but vanish. Veterans' health care, medical and scientific research, highways, education, national parks, food safety, clean air and clean water enforcement, and law enforcement would be on the chopping block, along with funds for low-income housing and other programs to assist the working poor.
This is neither compassionate nor an attempt at achieving "the ends of the welfare state through more private means and more efficient public means"—it's a whole scale attack on the idea of social responsibility. Paul Ryan doesn't call for new charity, and he doesn't even attempt to provide incentives for these newly enriched rich people to give away their money. It's simply Robin Hood in reverse; taking from everyone to give the most privileged. The methods might be new, but the idea—that the strongest, most powerful people deserve the spoils of civilization—is as old as human history. Paul Ryan is but one in a long line of people who have worked to enrich the wealthy at all costs.
And here's the thing. As Gerson describes, this idea—that the rich don't have enough—has been embraced by the Republican Party writ large:
"Mitt Romney has embraced the outlines of the Ryan budget and Medicare reform with more enthusiasm that I suspected he would. … Reform Conservatism is intellectually and politically ascendant. It would be the governing agenda of the next Republican administration.
Gerson says that the terms of the debate this fall will be between "Reform Conservatism" and "Obama's surprisingly unreconstructed liberalism." Now is not the place to define Obama's liberalism, but even if it were, this is wrong. The 2012 election isn't a debate between two variations on welfare state capitalism—it's a choice between two visions of American society. Will the United States be a place of solidarity between people? Will we build a society where everyone has the tools to succeed? Will we care for the least advantaged in the best way that we can? Or will we indulge the hyper-individualistic id of American life, and create a place where opportunity is reserved for those who already have it, and everyone else is left to defend themselves against the unbridled market?
Believe me when I say that I'm not exaggerating for the sake of the election. The Ryan/Romney/Republican is a complete departure from the post-war political consensus in a way that wasn't true of Ronald Reagan, George W. Bush, or even McCain/Palin. Ryan wants to return to a world of tremendous social and economic injustice, and the GOP has signed on wholeheartedly. It's alarming, and those of us who fall within the liberal tradition, that's a necessary and reasonable response.


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1 46 Must Have Design Books List
1. 1,000 Graphic Elements: Details for Distinctive Designs – Often, the small, delightful details make a piece shine, similar to the way unique buttons on a white shirt can give it an entirely new look. This book explores 1,000 of these embellishments available to graphic designers across all kinds of projects, from books to brochures, invitations to menus, CDs to annual reports.
2. Marks of Excellence – Finding the roots of trademarks in heraldry, potter's marks, monograms, and other such ancient devices, this book traces the history of the corporate visual lexicon and produces a taxonomy of the commercial age. An alphabetical section covers motifs from animals to waves, with short definitions and analyses beautifully complemented by daringly cropped and crisply photographed images. Pictures of this quality and interest would steal the show in most volumes, but the text stands up well to the challenge of images that gain force because of the familiarity of their subjects (corporate trademarks), and the unusual sense that the book's context lends to them. Marks of Excellence is a worthwhile exploration at the modern language of ownership.
3. Typography: Formation +Transformation – Rather than being eclipsed by new technologies, modern typography has become a powerful medium for visual experimentation and personal expression. Creativity alone, however, is not enough to ensure the success of typographic communication. To transform even the simplest piece of information into a sophisticated message, the typographic designer must grasp theories and aesthetic principles that have shaped visual communication for centuries. Typography: Formation and Transformation explains and illustrates how these principles are key to a typographic design that captures the reader's attention and helps to comprehend and understand the intended message.
4. The Elements of Typographic Style – This lovely, well-written book is concerned foremost with creating beautiful typography and is essential for professionals who regularly work with typographic designs. Author Robert Bringhurst writes about designing with the correct typeface; striving for rhythm, proportion, and harmony; choosing and combining type; designing pages; using section heads, subheads, footnotes, and tables; applying kerning and other type adjustments to improve legibility; and adding special characters, including punctuation and diacritical marks. The Elements of Typographic Style teaches the history of and the artistic and practical perspectives on a variety of type families that are available in Europe and America today. The last section of the book classifies and displays many type families, offers a glossary of typography terms, and lists type designers and type foundries. The book briefly mentions digital typography, but otherwise ignores it, focusing instead on general typography and page- and type-design issues. Its examples include text in a variety of languages–including English, Russian, German, and Greek–which is particularly helpful if your work has a multinational focus.
5. Why Not 1? – Why Not? Is a collection of the most notable work of the British graphic design company Why Not Associates over the last ten years. Ranging from party political broadcasts for the Labour Party through postage stamps, to an installation design for a 300-metre typographic pavement set in stone and steel, as well as award-winning Booth-Clibborn titles such as Typography Now: The Next Wave and In Soccer Wonderland. Why Not? includes the rejected design ideas as well as those that were implemented, providing a superb examination of typographic experimentation and its fusion with photography.
6. Why Not Associates? – Why Not's versatile and innovative work has set arresting new standards in an image-saturated world. This inspiring survey brings together their most recent work and shows how they have refined their typographic style as they explore new media, exhibition design, and architecture-scale urban pieces. More than 1500 images, specially selected and arranged by the designers themselves, are accompanied by texts that explain their unique creative process and offer useful insights to designers seeking inspiration. Over 1500 color illustrations.
7. Paper Graphics: The Power of Paper in Graphic Design – Paper can be an elegant solution to the challenges of graphic design. Paper Graphics examines the many ways paper choice influences design with striking examples of work from top firms (both US and overseas) gathered to offer readers creative inspiration, know how, and fresh ideas. Collected in these pages you will find graphic design in which the qualities of the paper itself inspired or directed the finished piece. Seven chapters present more than 200 inspiring examples of graphic design.
8. Experimental Formats and Packaging: Creative Solutions for Inspiring Graphic Design – EXPERIMENTAL FORMATS examines the shape and size of the designed page and reveals how decisions made at this initial stage of the design process have a huge impact on the finished design. Today with so much information being projected through screen in a conventional horizontal format, it is appealing to see shapes that are more unusual and more stimulating. The book provides examples of how contemporary designers are pushing the boundaries in this area and explores exciting questions such as how to make a book that does not look like a book.
9. Type and Typography – While writing and alphabets go back thousands of years, the history of typography is a long, rich, and unique one-spanning from the movable type used to set Guttenberg's 42-line Bible in 1455 to today's 21st-century computer-designed typefaces. Type and Typography is the definitive guide for every designer who works with type and layout. Carefully structured and brimming with clear examples, it covers every aspect of typography, from a historical introduction to language, writing systems, and alphabets; following with the development of letterforms and moveable type; and finishing with the evolution of the amazing digital systems available today. In addition, you'll discover a valuable "road map" that helps you navigate among the bewildering variety of typefaces available, as well as scores of no-fail techniques for using type as a meaningful element of design and layout in all media. Plus, this comprehensive guide features a complete glossary of terms, two fascinating timelines, and much more.
10. Handwritten: Expressive Lettering in the Digital Age – An introduction by design historian Steven Heller places the contemporary work in a broader context of design. At the heart of the book are hundreds of examples, presented in creative themes: "˜scrawl'; "˜scratch'; "˜stitch'; "˜simulate'; "˜shadow'; "˜suggestive'; and "˜sarcastic'.
11. Logo Font & Lettering Bible: A Comprehensive Guide to the Design, Construction and Usage of Alphabets and Symbols – This book is a hands-on guide to the entire process of making logos and fonts and even icons, all of which, essentially, start with the ability to draw letterforms. The intent of the book, in fact, is to enable the user to end reliance on "OPF" (other people's fonts) and learn to draw your own custom logos, fonts and lettering! This book has been almost unanimously acclaimed by professional letterers, logo designers and font creators, both young and old. It is currently in use as a text in many typography programs and several Design college educators have stated it is one of the few texts that "students are actually happy about having to purchase."
12. A Smile in the Mind – This book gathers together the best examples of graphic wit over the past three decades. It includes work from over 300 designers in North America, Britain, Europe and Japan, offering designers a friendly read, a helpful source book, and a trigger for ideas. Highly recommended.
13. Paperwork (Phaidon Colour Library) – hardcover won acclaim: this paperback edition will reach new audiences with a more affordable price tag and an excellent display of design works from around the world.
14. Typography Now: The Next Wave – First published in 1991 to wide acclaim, Typography Now: The Next Wave rapidly established itself as the one indispensable guide to new experimental typography. Now available in paperback, this is the ground-breaking international survey that plotted the changing landscape of letter forms – from anti-professionalism of Edward Fella to the neo-modernist rigour of 8VO, from Zuzana Licko's Emigre fonts to Barry Deck's type for an imperfect world, from the extraordinary, deconstructed telephone book to seminal projects from Cranbrook Academy of Art.
15. Pen and Mouse: Commercial Art and Digital Illustration – Much has been said about how the computer has murdered creativity. More has been said about how everything that comes out of it, or looks like it came out of it, is great. Pen and Mouse reflects a third attitude that traditional technologies and the computer come together to produce great work. And great work is what is inside, the variety, intelligence, and beauty of which can shift the imagination of any visual artist. Alongside these works there are over 40 interviews breaking apart the titles of illustrator, designer, and artist and presenting a multifaceted answer to that age-old question of the relationship between craft and technology.
16. Business Cards: The Art of Saying Hello (Business Cards) – Over 300 cards are grouped into sections reflecting different design approaches: Typography, Photography, Materials, Illustration and Found Objects. Proving just how inventive you can be with a limited space, this book is a rich source of ideas and inspiration both for designers and anyone wishing to make a statement with their business card.
17. David Carson: 2nd Sight: Grafik Design After the End of Print – While The End of Print showed the world Carson's radical new approach, his rejection of the traditional 'rules' of communication, 2ndsight examines the creative process behind the work, and considers the broader implications of his intuitive approach to graphic design. Intuition is central to the book's thesis, and its meaning and influence is explored both in Lewis Blackwell's writing and in the evocative texts by leading designers and thinkers interspersed throughout the book.
18. Soak Wash Rinse Spin – Soak Wash Rinse Spin investigates the cycles of the Tolleson Design creative process through a textual and graphic layering of information involving four phases: research (the intake of as much information as they can gather), collaboration (with the client and with the other members of the creative team), visual exploration (the workbook process, which includes refinements and the examination of multiple options), and environmental influences (consideration of the ultimate purpose of the solution).
19. Life Style – More manifesto than monograph, Life Style is the first book to document Bruce Mau's creative process and studio practice. Written by Mau and designed by his firm, the book is a singular album of perceptive, always thought-provoking, and often playful statements about the visual and cultural trends that influence today's design culture. This collection of essays, observations, and personal anecdotes interspersed with project documentation manifests Mau's unique world view and his belief that form and content are inseparable.
20. Los Logos – A book that is a definite 'must have' for each and every graphic designer in the world.
21. Tres Logos – Tres Logos is a state of the art visual encyclopedia on the current state and evolution of Logo Design.
22. The Creative Business Guide to Running a Graphic Design Business – This is the graphic design industry's go-to guide for operating a successful business. The four sections cover organization, marketing, personnel, and operations, and provide the necessary tools unique to the specific management styles and operation agendas of a design firm. A complete appendix of business forms is also included.
23. Graphic Design Solutions, Third Edition – Outlines step-by-step procedures readers can apply to solve design or advertising problems. Includes projects and exercises throughout. Contains more than 275 full-color illustrations. Provides web design, web logos, annual reports, branding, and portfolio projects.
24. Visual Workout: Creativity Workbook – This one-of-a-kind workbook for graphic designers, which may be used independently or in conjunction with Graphic Design Solutions, 2E by Robin Landa, will stimulate your imagination and enable you to flex your creative design muscles. The exercises in this workbook expand upon graphic design applications and each exercise presents a creative problem intended to stimulate visual thinking, encourage sketching and ideas, and, most importantly, prompt you to try new approaches.
25. Business and Legal Forms for Graphic Designers (3rd Edition) – For designers who are about to set up their own office or for those who feel their design practices lack real organization, this book could be immensely helpful. It provides straightforward information, a usable business system as well as a variety of business and legal forms that can be copied and put into immediate practice in any graphic design studio
26. Graphic Designer's Guide to Pricing, Estimating & Budgeting Revised Edition – This brand-new and completely updated edition offers practical guidelines for setting rates, dealing with clients' budgets, preparing an estimate, and establishing profitability. Readers will also discover step-by-step strategies for pricing on the Internet, negotiating effective pricing with clients, and developing options to traditional pricing. Plus, the easy-to-read sidebars throughout this valuable guide offer dozens of creative, resourceful success tips for running a top-notch business.
27. Graphic Artists Guild Handbook: Pricing & Ethical Guidelines (Graphic Artists Guild Handbook of Pricing and Ethical Guidelines) – Graphic Artists Guild Handbook: Pricing & Ethical Guidelines, 11th Edition is the industry bible, containing information all graphic artists and their clients need to buy and sell work in a totally professional manner. This edition has been revised and updated to provide all the information you need to compete in an industry moving at lightning speed.
28. Real World Print Production (Real World) – Translating inspiration to the printed page has always been a challenge. The advent of desktop publishing granted new levels of power and control to the layout artist and graphic designer, but it hasn't eliminated the traditional pitfalls. In fact, it's introduced a few new ones. Sometimes managing the disparate elements of fonts, images, colors, and more, while dealing with the quirks of various layout applications makes even the bravest designer and production editor long for the hands-on days of moveable type.
29. Thinking with Type: A Critical Guide for Designers, Writers, Editors, & Students (Design Briefs) – This is a well-structured and well-written text with refreshing examples from a wide range of designers. These examples reinforce the concept that successful design and typography come from critical thinking and that there is no one style or approach that is "correct."
30. Color Design Workbook: A Real-World Guide to Using Color in Graphic Design – Color Design Workbook invites readers to explore color through the language of professionals. As part of the Workbook series, this book aims to present readers with the fundamentals of graphic design. It supplies tips regarding how to talk to clients about color and using color in presentations. Background information on color such as certain cultural meanings is also included. Color Design Workbook breaks down color theory into straightforward terms, eliminating unintelligible jargon and showcases the work of top designers and the brilliant and inspiring use of color in their design work.
31. Design for Communication: Conceptual Graphic Design Basics – Text encourages students to develop and master the basic conceptual thinking and technical skills that distinguish graphic designers from desktop technicians. Offers an appreciation and understanding of visual elements and principles of design through creative assignments that encourage experimentation and the development of personal methodology.
32. How To Be a Graphic Designer Without Losing Your Soul – How should designers manage the creative process? What's the first step in the successful interpretation of a brief? How do you generate ideas when everything just seems blank? How to be a graphic designer offers clear, concise guidance for these questions, along with focused, no-nonsense strategies for setting up, running, and promoting a studio, finding work, and collaborating with clients.
33. The Anatomy of Design: Uncovering the Influences and Inspirations in Modern Graphic Design – An iconic collection of design work presented in fresh and useful format. The selections include all kinds of design work including posters, book and record covers, packages, catalog covers, and more.
34. Starting Your Career as a Freelance Illustrator or Graphic Designer – If you get overwhelmed by the image you may have of what the life of a freelance illustrator is like, read this book. It is encouraging, while also being very practical. It tells you that you can start a career as a freelancer, but with a few practical IFs attached. Follow his advice and answer his questions honestly. Then ,if practical, take a deep breath, jump in and have a blast at FINALLY doing something with your life that you LOVE.
35. Fingerprint: The Art of Using Handmade Elements in Graphic Design – Inside you'll find examples of work that showcase a variety of design methods, including mixed media, illustration, letterpress, screenprinting and collage. You'll find inspiration in examples from outstanding designers and see how traditional elements can make a more powerful statement than anesthesized computer-only work. Fingerprint also includes insightful essays on the power of the handmade by Debbie Millman, Jean Orlebeke, Jim Sherraden, Martin Venezky and Ross Macdonald.
36. The Graphic Design Business Book – What graphic designers need is The Graphic Design Business Book, packed with directly relevant strategies for creating a business plan, managing a studio, presenting portfolios, marketing on the Web, keep clients happy, and more, including sample contract forms and listings of professional organizations""all contributed by experts in their fields. Every graphic designer needs a copy of The Graphic Design Business Book.
37. Notes on Graphic Design and Visual Communication – Notes on Graphic Design and Visual Communication is the most essential graphic design book written. Despite being very thin in quantity of pages, this book holds an enormous amount of graphic knowledge. This book is a great reference and reminder of the basic elements that make graphic design and visual communication effective! Every student in any graphic design program should buy this book!
38. Type, Image, Message: A Graphic Design Layout Workshop – This book changes all it. It gives designers the practical know-how to combine type and image for dynamic effect as well as to use them in contrast to create tension and meaning in design. Creating strong layouts is the most important as well as the most challenging of any project. This book inspires through excellence by exhibiting great design work then deconstructing the processes in simple visual terms.
39. Making and Breaking the Grid: A Graphic Design Layout Workshop – Making and Breaking the Grid is a comprehensive layout design workshop that assumes that to effectively break the rules of grid-based design one must first understand those rules and see them applied to real-world projects.
40. Publication Design Workbook: A Real-World Guide to Designing Magazines, Newspapers, and Newsletters – Readers will develop a clear understanding of publication design through a comprehensive and accessible workshop-style format. Fundamentals of form and content are included, along with diagrams to further textual understanding. This is the most complete book for designers on applied publication design principles combined with an awe-inspiring collection of the best work from around the world.
41. U&lc : Influencing Design & Typography – U&lc magazine (Upper & lower case) was a defining voice in graphic design worldwide between 1970 and 1999. It was in some ways a lifestyle magazine for the desgin community providing a fascinating intersection of popular cultural and graphic design in the last quarter of the 20th century. The list of editorial contributors to U&lc is long, and many prominent designers worked on designing entire issues. Their best work is showcased in this book through the reproduction of selected covers, stories and illustrations from the nearly 120 quarterly issues that were published. This book also contains an introduction and four informal but in-depth chapters on the background, context, use of design and typography, and the people involved in making U&lc happen over the years.
42. Layout Workbook: A Real-World Guide to Building Pages in Graphic Design – More than a collection of great examples of layout, this book is an invaluable resource for students, designers, and creative professionals who seek design understanding and inspiration. The book illuminates the broad category of layout, communicating specifically what it takes to design with excellence. It also addresses the heart of design-the how and why of the creative process.
43. Wolfgang Weingart: My Way to Typography – The book itself is a lesson on layout and impeccable typesetting. Mr weingart lead us in a trip through tipographics arts, the book is an outstanding example of engineering freedoom, A R T. I flip the book for less than 2 minutes,enough to know this is the kind of book you have and you travel with it every once in a while. a book with an incredible echo.
44. The Designers Complete Index (Boxed Set) – This super-cool boxed set contains all three of Jim Krause's best-selling "Index" books, including Idea Index (graphic effects and typographic treatments), Layout Index (your secret weapon for effective, dynamic layouts) and Color Index (over 1100 color combinations with CMYK and RGB formulas). Each volume is packed with hundreds of stimulating ideas, creative solutions and practical instructions.
45. Paul Rand: A Designer`s Art – This is not a tutorial or a how to, but a why. Why things work, why they don't, and why it is important to know about its history. Learn the importance of this medium, its impact on industry, and its place in the arts.
46. Design with Type – Design with Type takes the reader through a study of typography that starts with the individual letter and proceeds through the word, the line, and the mass of text. The contrasts possible with type are treated in detail, along with their applications to the typography ofbooks, advertising, magazines, and information data. The various contending schools oftypography are discussed, copiously illustrated with the author's selection of over 150 examples of imaginative typography from many parts ot the world.
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Authorship of Obama's own love letters disputed
Author Jack Cashill on how 'clunkers' become 'sophisticated'
Author and WND columnist Jack Cashill, whose works include "Deconstructing Obama: The Life, Loves and Letters of America's First Postmodern President," says revelations in Vanity Fair's excerpts of a coming Obama biography simply raise more questions about just exactly who wrote what in Barack Obama's history.
That's because excerpts from Obama's writings, love letters to a girlfriend, quoted by biographer David Maraniss in his coming book, "Barack Obama: The Story," are smooth, erudite and grammatically fluent, as opposed to the "clunkers," clichés and calamities from other documented examples of Obama's writings.
In a column in today's WND, Cashill cites some of the other work that has been linked positively to Obama's authorship.
"In the Harvard Law Record letter, which is less than 1,000 words long, Obama has three sentences in which nouns and verbs fail to agree, including the very first one: 'Since the merits of the Law Review's selection policy has been the subject of commentary for the last three issues, I'd like to take the time to clarify exactly how our selection process works,'" Cashill cited.
He explained, "In the Harvard of 1990, with his name fully emblazoned upon his work, Obama was not hesitant to share syntactically challenged clunkers like this one: 'No editors on the Review will ever know whether any given editor was selected on the basis of grades, writing competition, or affirmative action, and no editors who were selected with affirmative action in mind.'"
"Huh?" Cashill wondered.
Maraniss, in the Vanity Fair excerpt, quotes from writings purportedly from the pen of Obama that include, "But I will hazard these statements – Eliot contains the same ecstatic vision which runs from in Münzer to Yeats."
Read Jack Cashill's column on Obama's writings.
"Recall that Obama, in the words of friendly biographer David Remnick, was an 'unspectacular' student. A Northwestern University prof who wrote a letter of reference for Obama reinforces the point, telling Remnick, 'I don't think [Obama] did too well in college,'" wrote Cashill.
"And yet writing longhand, presumably from memory, Obama has the wherewithal to put an umlaut over the 'u' in Münzer. In college, I was an Honors English student and a Classics minor, not a political science major like Obama. I had not even heard of Münzer before reading this letter."
He continued, "That Obama could embark upon a sophisticated, spontaneous discussion of T.S. Eliot – he claimed not to have read 'The Waste Land' for a year and never bothered 'to check all the footnotes' – should have alerted Maraniss."
"Nowhere in 'Dreams' ("Dreams from My Father, purportedly written by Obama) is there any mention of T.S. Eliot, Münzer or Yeats or any of the themes in this letter…"
He continued, "Totally missing from 'Dreams' too are the more exotic words in the [Obama] letter to McNear: ecstatic, mechanistic, asexual, stoical, moribund, reactionary, fertility, dichotomy, irreconcilable, ambivalence, plus 'hazard' and 'counter' used as verbs, as in 'I will hazard these statements' and 'Counter him with Yeats and Pound.'"
He said the New York Times owes its readers "some proof of the letter's legitimacy," such as a hard copy of the letter, whether it was typed or handwritten, and other details.
That's because there was no spellcheck installed in those days. At that time, in the early 1980s, college students typically typed documents or wrote them longhand.
That makes the transformation from what is documented to have been Obama's writings to the quotes in the biography excerpt more startling.
For example, attributed to Obama is: "The belief that moribund institutions, rather than individuals are at the root of the problem, keep SAM's energies alive." Noted Cashill: "Random commas, misuse of 'moribund,' should be 'keeps.'"
Another case: "What members of ARA and SAM try to do is infuse what they have learned about the current situation, bring the words of that formidable roster on the face of Butler Library, names like Thoreau, Jefferson, and Whitman, to bear on the twisted logic of which we are today a part." Noted Cashill: "A syntactic disaster from beginning to end."
"The letter that Maraniss reproduces, by contrast, is exquisitely punctuated and free of all such errors. The author of the letter even uses his or her participles correctly," he said.
In his book, Jack Cashill makes the case that unrepentant terrorist Bill Ayers is the true author of Barack Obama's highly acclaimed memoir "Dreams from My Father."
Even Google apparently is on board with Ayers' authorship of the award-winning book.
A search on Ayers' name in Google's books section lists "Dreams" among his works.
"Google knows so much about us already that privacy activists are alarmed. What data are its algorithms sifting through to come to the conclusions that yes, the stylistic parallels to Ayers' other books are formidable and Barry never showed any sign of an ability to write this way before or after," writes Thomas Lifson at American Thinker.
Lifson pointed out that Christopher Anderson's "friendly biography" of the Obamas "includes the information that Obama found himself deeply in debt and 'hopelessly blocked.' At 'Michelle's urging,' Obama 'sought advice from his friend and Hyde Park neighbor Bill Ayers.'"
"So the company that supposedly knows more about us than we know ourselves also knows who wrote 'Dreams from My Father,'" he writes.
Cashill's book notes Obama told an audience of teachers in July 2008, "I've written two books. I actually wrote them myself."
One of those would be the 1995 "Dreams," which was called by Time magazine "the best-written memoir ever produced by an American politician."
Cashill, however, reports that he found nothing in Obama's history that could suggest he was capable of writing such a book. In fact, his book describes what happens when a citizen journalist discovers a game-changing reality, such as Ayers' authorship, that the media refuse to acknowledge.
In 2008, Obama pocketed $1,512,933 for another book, "Audacity of Hope," and another $949,910 from "Dreams." In 2007, his book royalties were $3.9 million total; in 2006, $570,000; in 2005, $1.4 million.
WND reported in 2009 that Ayers has claimed to have written "Dreams."
Ayers declared to a National Journal reporter, "Yes, I wrote 'Dreams From My Father.'"
"Here's what I'm going to say," Ayers said according to a report in Talking Points Memo. "This is my quote. Be sure to write it down: 'Yes, I wrote 'Dreams From My Father.' I ghostwrote the whole thing. I met with the president three or four times, and then I wrote the entire book."
Cashill earlier reported that in the retelling of his life in "Dreams," Obama "embellishes and fabricates at will. He is particularly cavalier with dates. He gets these wrong as often as he does right."


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ALIST Open Bar "Passport to the World 2013" New Year's Ball
Monday, December 31, 2012 at 9:00 PM - Tuesday, January 1, 2013 at 2:00 AM (PST)
The largest upscale New Year's event in Northern California the past 7 years, with SOLD OUT shows every year - so please get your tickets soon!
Both General Admission and VIP tickets include all of your drinks for the evening.
View event video by clicking on image below
This is it! Get set for an amazing end to 2012 as we bring you the most anticipated event of the year- the sophisticated, fun, and upscale A.List New Year's Eve Ball at the luxurious Westin St. Francis!
This glitzy, landmark event truly embodies what this great city of San Francisco has to offer! Come experience for yourself the exciting and diverse mix of music, fashion, art, culture, sophistication, and charitable causes as we take you into 2013 in style at the largest and most amazing event in town - "Passport to the World NYE Ball!"
Special Guest performance by 80's cover band - The Spazmatics! The Spazmatics have performed for Jessica Simpson, a former US President and more! "nerds that rock" :)
Venture all throughout the 30,000+ sq feet going from room to room, experiencing different music and entertainment in each! 3000+ balloons in the midnight balloon drops, the largest in SF!
Featuring all of the following (subject to change):
* Large theme-based props/decor in each of the main rooms
* Hosted bar where all of your beverages are included
* An edgy, stylish, and sexy fashion show
* Great live bands playing both covers and originals
* 15 of San francisco's best dj's spinning your favorite music
* Live Art taking place right before your very eyes!
* Stilt-walkers/Exhibitionists tantalizing your visual senses
The Countdown has begun... join us at 'Passport to the World 2013'!
NO REFUNDS, so please plan accordingly prior to purchase
In order to purchase these tickets in installments, you'll need an Eventbrite account. Log in or sign up for a free account to continue.


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We are very pleased to announce our newest site - ATK PREMIUM !! This site features stunning women from all over the world in sexy, intimate potrayals which allow the viewer to get closer to the model and understand the persona behind the images and video. If you enjoy artistic pics as well as explicit hardcore then be sure to check out what ATK Premium has to offer. Please click on the banner above to find out more! In conjunction with the opening of our newest site we are pleased to show more pics of another beautiful model, Nia Nacci who is 18 years old, 5'8" tall and weighs 115 lbs lbs. Her favorite position is . She is from Tulsa, OK. Thanks go to BMB/Wanton Photography for the pics. We have many more pics of Nia Nacci in our ATK Premium members area. We also have over 120 other beautiful models in our ATK PREMIUM members area. CLICK HERE to find out more.
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Download Nia Nacci Zip Set 2.99 KB


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Product Overview
The Site-Lite Laser Bore Sighter uses the latest laser technology to provide superior boresighting accuracy. Super-strong magnets in the arbor securely centers the laser within the muzzle for consistent accuracy. A unique system of adapters and O-rings fit 22 to 50 caliber handguns and rifles, 20 and 12 gauge shotguns and muzzleloaders. To boresight, level the scope with the included Scope Reticle Leveler and Leveling Target. Then input your specific rifle and ammo data into the included Ballistic Targeting System software program to create a custom laser boresighting target. Next, place the laser spot on the target, align your scope with the target crosshairs and you're boresighted for up to 300 yards.
- All models (SL-100, SL-150, SL-500) fit 22 to 50 caliber handguns and rifles, 20 and 12 gauge shotguns and muzzleloaders
- Standard red laser
- Two 357 S.O. or equivalent LR44 batteries included
- One hour continuous run time
- Ultra bright red laser (3x brighter that SL-100)
- One CR2 battery included
- 40 hour continuous run time
- Ultra bright green laser (50-100x brighter than red lasers)
- One DL123 battery included
- 10 hour continuous run time


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Our Fitness Blog
9Round - Its a Party
Hey, hey, hope all is well! As I am sitting here at corporate headquarters, I have a good ear on what is going on in the Butler Road 9Round. I'm listening to the manager Reidar calling drills, playing Kool (I spell Kool with a K and you should also). Anyway, it's blowin' up over there! He has fresh music, awesome drills, and he is motivating! It makes me realize it is impossible to get bored at a 9round gym.
When you are having so much fun, it distracts you from how hard you are actually working. I'm feeling kinda left out from all the fun over there! Well we all know how hard it is to keep teens interested in things for a long period of time. Wow when I was in High School classes lasted 45 minutes and that was way to long for me. If I only had some kind of 30 minute circuit math class to keep me interested!
So what's my point? I have parents come in all the time worrying that there teenager will lose interest. I respond with much confidence "That will not happen. Just look around". And it doesn't happen. 9round gyms are so fun it's like a PAAARTY with some great punch. Not only does the workout change every day, the round changes every 3 minutes, the songs on the radio are constantly jammin', and it's all orchestrated by our corporate certified 9Round trainers.
Be cautious with joining 9Round: It is a very addictive over the counter medication that does not cause drowsiness, it actually causes energyness!!! And yes that is a word. Well I can't wait any longer wait I am itching to get my wraps on and get over to 9Round and enjoy the Paaaaarty, so I will see you there.
If you are not a member yet I have some advice for you: CLEAR YOUR KEY CHAIN OF ALL OF THE GYM MEMBERSHIPS YOU NEVER USE AND PUT A 9ROUND TAG ON THERE AND YOU WILL ALWAYS BE INVITED TO THE PAARTY. -JUSTIN


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Black Keys, Korn, Chevelle All Score High Debuts on the Billboard 200 Chart
Despite pop stars and Christmas albums ruling the charts, rock acts are claiming their spots on the Billboard 200 tally.
The Black Keys debut at No. 2 on the chart with their new album 'El Camino,' which was beat out for the No. 1 spot by crooner Michael Buble's 'Cristmas' album. 'El Camino,' which sold 206,000 copies in its first week, features the current hit single 'Lonely Boy.'
Korn seems to be on the right path, as their new dubstep album 'The Path of Totality' takes the No. 10 spot with 55,000 units sold. The record features collaborations with Skrillex, Downlink, Noisia, Kill the Noise and others. The band continues to push the envelope and it seems that taking risks musically and creatively is paying off.
Rock trio Chevelle come in at the No. 20 (43,000 copies sold) with their latest album 'Hats Off to the Bull,' which is the band's follow up to 2009's 'Sci-fi Crimes.' After touring with Bush and Filter this year to support the new disc, Chevelle are playing a handful of headlining dates this month.


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Students investigate magnetic fields in two and three dimensions, and compare the magnetic field of a pulsar to that of the Earth and other astronomical objects. This is Activity 3 of the Supernova Educator Guide developed by the XMM-Newton and... (View More) GLAST E/PO programs. The guide features extensive background information, assessment rubrics, student worksheets, extension and transfer activities, and detailed information about physical science and mathematics content standards. Note: In 2008, GLAST was renamed Fermi, for the physicist Enrico Fermi. (View Less)
Audience: High school
Materials Cost: $1 - $5 per group of students
Materials Cost: $1 - $5 per group of students


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Educational Programs
The following educational programs are currently offered by the Student Counseling Center Staff. These programs average 50 minutes in length, however adjustments can be made, if needed.
*You may click on the program you would like, fill out the Outreach Request Form and then submit it. Someone from the counseling staff will contact you about your request.
*Listing alternative dates and times will increase our availability.
*The SCC staff will not be able to honor every request, due to other job responsibilities, but will make every effort to honor as many as possible.
* Outreaches are arranged from 8 am to 4 pm Monday through Friday. To request presentations after 4 pm, please call Jan Chapel at 974-2215.
* Contacting us early in the semester will enable us to better meet your needs.
*If you request a PowerPoint presentation, the equipment will need to be available.
If you have a specific request for a program not on this list,
please call us at 974-2215 and we may be able to accommodate your needs.


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Jetpack Joyride: Back to the Future Trailer
Watch what happens when hero Barry Steakfries auditions for the role of Marty McFly in Back to the Future.
Watch what happens when hero Barry Steakfries auditions for the role of Marty McFly in Back to the Future.
Jetpack Joyride is now available on the PlayStation Network.
Barry's best friend Flash, a robot dog, is just one of many features in Jetpack Joyride version 1.4.
Check out the power of the x-ray specs featured in the 1.3 update for Jetpack Joyride dropping on April 26th, 2012.
Here's a trailer for Jetpack Joyride showcasing the Gravity Belt found in the 1.3 update.
Check out a new Freeze-O-Matic gadget trailer for Jet Pack Joy Ride.
The 1.3 update for Jetpack Joyride is the biggest yet, featuring a ton of gadgets that are available for purchase in the stash.
These are GameSpot's nominees for the Best Mobile Game of 2011.
GameSpot's Laura Parker assesses whether the growing influence of mobile games presents a threat or an opportunity for the wider video game industry.
We take a look at Jetpack Joyride, Edge Extended, and Squids. Plus, Johnny investigates the moral impact of board games on society.
Randolph Ramsay takes you through our top iOS games for the week ending September 2, 2011!
We bust out Barry Steakfries' signature hog in Jetpack Joyride.
A stray rocket ruins our run in Jetpack Joyride.
Here's the launch trailer for Jetpack Joyride.
This shows how you can customize your experience by leveling up, submitting high scores to social media sites, equipping Barry Steakfries, and updating your profile.
In this video, lead designer Luke Muscat and lead artist Sierra Asher give an inside look at the wacky vehicles that will be unlockable inside the game as well as ...
We head to Valve to talk all things single-player for the upcoming puzzler Portal 2, get comfy for a couch interview with a Motorstorm: Apocalypse, and check out what Aussie ...
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Ellen "Ellie" Rebecca Layne celebrated her fourth birthday Feb. 11 with a My Little Pony party.
She is the daughter of Joe and Missy Layne of Kingston.
Grandparents are Don and Becky Layne of Rockwood and Bob and Aggie Wilkerson of Lenoir City.
Ellie has an older sister, Annabeth.
Marriage licenses granted at the Roane County Courthouse from Jan. 13-Feb. 1:
Efrain Cardenas Gamboa to Tabitha Jane Pemberton Ostermayer
Wallace Edgar Teague to Lisa May Eatmon
Richard Edward Glass to Mona Fay Williams
Philip Jonathan Averill to Paula Joyce Davis Johnson
Michael Allen Fickey to Holly Melissa Howell
Jerry Allen Penticuff to Cordelia Dena Holt
Joshua Curtis Dunlap to Stephanie Annette Laudermilk Thomas
Babies born at Methodist Medical Center, Oak Ridge, to Roane County parents:
Jan. 23 — Taylor and Joe Lee Cunningham III, Rockwood. A boy, Joe Lee IV, 7 pounds, 7 ounces. Siblings: Triston Lee. Grandparents: Joe Cunningham Jr.; Karen "Mimi" Cunningham.
Jan. 25 — Kayla Cisson and Lee Sexton, Rockwood. A boy, Kysen Darry, 8 pounds, 4 ounces. Siblings: Jayden, Mikayla, Chelsea and Byron. Grandparents: Mitford Sexton and Mildred Sexton; Ronnie and Lesa Cisson.
Jacob Nathaniel Clark celebrated his first birthday on Jan. 30.
He celebrated with his father Shawn, his stepmother Susie, his brother Jonathan Clark, and other relatives and friends.
Taylor Ann Smith turned 5 years old on Nov. 21, 2011.
She celebrated with a Princess and Prince party with her family and friends.
She is the daughter of Will and Kristy Smith of Harriman.
Grandparents are Steve and Mona Bolden of Harriman and Diana Smith of Oakdale.
Great-grandparents are Mary Oran of Harriman and W.F. and Ruth Headrick of Oakdale.
Taylor has a 3 1/2-year-old brother, Liam.
Babies born at Methodist Medical Center, Oak Ridge, to Roane County parents:
Jan. 10 — Krystal and Kevin Hicks, Rockwood. A girl, Vivian Nichole, 7 pounds, 7 ounces. Grandparents: Tammy Hicks and Randy Hicks; Lisa King; Michael Gamble.
Jan. 12 — Emily Gale Cox, Harriman. A boy, Bronson Cole, 7 pounds, 12 ounces.
Marriage licenses granted at the Roane County Courthouse from Dec. 5-Jan. 9:
Brandon James Heichelbech to Rachel Elizabeth Wyatt
Stanley George Allbaugh to Donna Jean Chitwood Meredith
James Douglas Veysey to Debra Ann Wilson Ellis
Franklin Scott Harrison to Emelia Pearl Jones Harness
Tyler Uriah Simpson to Jessica Kyle Grosheider
Zachary Seth Gronda to Kaylah Ann Powell
Randy Lee Haese to Judy Elaine Haney Haese
Divorces granted Sept. 7-Nov. 15 at the Roane County Courthouse:
Brenda Kay Wyatt Campbell v. Robert Andrew Campbell
Sue Ann Jones-Taylor v. John Barton Taylor II
Jason Neil Wolfenbarger v. Lori Ann Wolfenbarger
Kimberly K. Hutchison-Blalock v. David Junior Blalock
Kim A. Kennedy v. Larry B. Kennedy
Stephanie (Kelly) Ferguson v. Michael (Brandon) Ferguson
David Lee Linney v. Chrystal Lea Linney
Whitney Suzanne Davis v. Travis Ray Davis
Julie Anne Kirkham of Rockwood and Richard Logan Colbert of Brentwood were married on Oct. 22 beside the Evins Mill Pond on the south lawn of the Inn at Evins Mill in Smithville.
The Honorable David Durham officiated during the double-ring ceremony.
The bride is the daughter of Philip and Lucy Kirkham of Rockwood. Her grandparents include David Kirkham of Rockwood and the late Mary Kirkham and the late James and Mary Elizabeth Frazier.
Babies born at Methodist Medical Center, Oak Ridge, to Roane County parents:
Dec. 22 — Margaret Elizabeth McGhee and Charles Edward Dotson, Oliver Springs. A girl, Charli Elizabeth, 5 pounds, 10 ounces. Grandparents: David and Sherrie McGhee.
Dec. 26 — Kayla Suzanne Gentry and Matthew Caleb Dagley, Harriman. A boy, Colton Matthew Elijah, 7 pounds, 13 ounces. Grandparents: Teresa Ellis; Tommy Gentry; Jerry Books; Tonya Freels; Chuck Freels.
Copyright © 2019
The Roane County News is your source for local news, sports, events, and information in Roane County and Kingston, Tennessee, and the surrounding area.


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Tuesday, August 23, 2011
Heritage Madurai.
23 comments:
- arundati said...
- August 23, 2011 at 9:30 PM
- Anpu said...
Archana - This place is Heaven on earth...gorgeous. Thanks for sharing...hopping back for another dekho...
- August 23, 2011 at 9:36 PM
- Indu said...
How absolutely beautiful!
- August 23, 2011 at 9:41 PM
love the two lamps on either side of the bed. gorgeous
- August 23, 2011 at 11:06 PM
- Shanthi said...
Gorgeous place Archana. I wish I had known this place last year :-), we were in Madurai last year with my daughter and 7 of her friends from Norway. But we enjoyed the temple and it is so gorgeous. Thanks for sharing.
- August 23, 2011 at 11:31 PM
- Preethi Vaidya said...
Such a beautiful place.. Thanks for sharing Archana. We'll have this place in mind when we go to Madurai.
- August 24, 2011 at 12:54 AM
I stayed at Kandalama in SL another space designed by geffeory Bawa and i got to stay in his Fav room..with absolutely amazing view.
- August 24, 2011 at 1:31 AM
I am from Madurai and this place used to the quarters for Madura Coats Managers. I went to the Coats School, Vikaasa, and hence, had a lot of friends who used to live there. It used to heaven on earth, even then...The Taj property in Pasumalai also used to be the quarters of the President of Coats and I think, was designed by the same architect...brings back wonderful memories
- August 24, 2011 at 3:25 AM
Beautiful Place! Will add it to my list!
- August 24, 2011 at 7:29 AM
- Aarthi said...
Enjoyed seeing my hometime in your pics on Flickr.
The plunge pool pictured here so reminds me of the water tank in my grandma's house(and many houses had that)
I used to be thrilled just to step in there to get buckets of water
- August 24, 2011 at 8:28 AM
- Bhavna said...
This place is gorgeous! These are the times when I wish the south was little closer to the north, and we could just drive over :)
- August 24, 2011 at 9:26 AM
- Shalini said...
Fantastic design....looks both contemporary and traditional.
- August 24, 2011 at 10:50 AM
- Sudha said...
in total awe of the place and ur pics..was waiting to see this post :)
- August 24, 2011 at 11:36 AM
- Hema said...
Archana, thanks for this post. This place is gorgeous! Loved the temple pond style pool with frangipani trees. Big fan of your blog :)
- August 24, 2011 at 12:43 PM
- kannanokannan said...
Thanks for Sharing :)
- August 24, 2011 at 6:36 PM
- Shweta said...
I am really inspired by your lodging choices. I also like the way you have clicked pictures. It really takes you there. Nice post again Archana.
- August 24, 2011 at 7:56 PM
- Divya Shankar said...
A separate world in itself :) Thanks for the many pics, literally a virtual tour. Hope you visited the Meenakshi temple and tirumala nayakar mahal at Madurai.
- August 24, 2011 at 9:23 PM
- Sans! said...
I am a huge fan of Geoffrey Bawa! Thanks for sharing :)
- August 24, 2011 at 10:58 PM
- PreeOccupied said...
I love all the photographs in this post. Lets me live in this gorgeous place vicariously.
- August 25, 2011 at 2:12 PM
- cocktail dresses said...
it is so beautiful and traditional..
pool is awesome..
this place looks so quite and refreshing.
- August 29, 2011 at 11:14 PM
- Anonymous said...
Thank you for sharing :)
- August 31, 2011 at 3:00 PM
- Saritha said...
Archana, this is rather eerie. I was in Colombo last week looking at Bawa's office that is now the Gallery Cafe/Bar/Restaurant. Missed seeing his other properties as it was the Ramzan holiday there.
BTW, the Madurai property used to be the quarters for the Madura Coats and Fenner senior employees. It also had a club house. I visited the place years ago when I lived tehre as a kid and a lot of my friends used to live there. Am glad to see it has been converted so beautifully retaining the essence of the place.
- September 4, 2011 at 3:49 AM
- Srinith De Silva said...
Greeting from Heritage Madurai! We appreciate your review and hope Heritage Madurai lived up to your expectations.While restoring the buildings and gardens we used material sourced from within 20 miles of Madurai.We have such talented artisans in India, we were happy to encourage them. You have understood the ethos of our property and that is truly special.
Srintih DeSilva
General Manager Heritage Madurai
- February 12, 2012 at 9:25 PM