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Superman Returns: Special Edition (US - DVD R1)
Gabe thinks the Man of Steel got a bum wrap on his flawed return to film...
After 5 years away from Earth, searching the exploded remains of his home planet Krypton, Superman has returned. The only problem is that in his absence, the world has moved on. Lois Lane is engaged with a son, and has won a Pulitzer Prize for an editorial entitled "Why the World Doesn't Need Superman". But the depressed Kryptonian isn't the only man back in the limelight, Lex Luthor has rebuilt his empire, and thanks to the fact that Superman wasn't around to testify at his hearing, is free from prison.
Superman Returns, in this humble man's opinion, should've been garbage. First of all, we live in a time where the character has become painfully quaint. A world where even Tim Burton's representation of Batman seems too childish. When it was released less than 20 years ago, audiences were shocked by its PG-13 nature. Batman can be coloured much darker than Burton represented him, but Superman? Superman's a boy scout, a relic, and boy scouts and relics belong in museums, not in modern cinemas.
I'll also mention the sad fact that I don't really like Richard Donner's original film, or films if you count the second movie, and I knew that director Bryan Singer wasn't planning on rebooting the series. Superman Returns is a semi-sequel to Superman II. Donner's films have aged poorly, and I honestly see them in the same campy light I see the old '60s Batman series. I appreciate their existence, and readily acknowledge that without the original film I wouldn't have Spiderman or Batman Begins, but I just don't like the film, and was not looking forward to a multi-million dollar direct follow-up, no matter who was behind the camera.
And who was behind the camera, but the man who ditched the X-Men franchise. X-Men 2 is most likely my favourite superhero film ever made, and it ended on one of the best cliff hangers a fan could possibly ask for, the reflection of the Dark Phoenix. I can't help but be "very disappointed" in Singer for his decision to leave the franchise in the hands of Brett Ratner and a series of Fox executives with only money on their minds. I blame Singer as much for the utter failure of X-Men 3 (which was released a little over a month before Superman Returns) as I do anyone else.
Watching the film in theaters this past summer, I was already expecting to be under whelmed and unimpressed, and shockingly enough I wasn't, not completely. The film opens with the same credit music and title graphics as the original. Everything's happy and silly, but as Bryan Singer's name faded, so did all those dated, warm-fuzzy feelings. Despite the production's assurances that Superman Returns would be a continuation of Donner's films, this is a much darker, and more modern film. It isn't dark in that bloodthirsty way most modern comic book films like Batman Begins or Blade tend to be, Superman Returns is a shockingly melancholy film. It's concerned with emotion and levity even more than spectacle or entertainment. It is this sad streak that was the film's ultimate downfall, but it's also the only thing that made the film at all memorable to me.
Warner Bros. shouldn't have been surprised by the fact that their $270 million investment didn't show a return based on the returns and public opinion of Universal's 2003 comic book release, Hulk. Hulk was an artistically and emotionally ambitious film released to an audience that wanted to see smashing. It's a flawed film, but one that I adore, and one that cannot be accused of being unoriginal. The overall idea of Superman Returns, a superhero film featuring an infinitely powerful character feeling sorry for himself and lost in the world, is very similar to that of Ang Lee's giant green box-office flop. If Hulk was a superhero movie by way of a Chinese opera, Superman Returns is a superhero movie by way of a trashy romance novel as written by someone like Arthur Miller. Kind of.
I had to ask myself what Singer saw in the character, other than a fetishistic love for the original film. What was it about this superhero that made him willing to leave a series he built from the ground up in the incapable hands of a bunch of Fox bean counters? Well, Singer makes very personal films. X-men 2 (in my opinion his best film), is a pretty obvious metaphor for feeling out of step with the rest of the world. Singer seems to have an abundance of angst and alienation, and Freud would tell you this was due to the fact that he was adopted and is gay. Who could possibly be more alienated than a homosexual in America but a mutant. And who could possibly be more alienated than a mutant but an alien. And, of course, who could be more alienated than an average alien on earth? Why, an alien that is the last remaining member of his entire species.
The adoption angle is key, as everyone knows (or at least everyone with a general knowledge of the character) that Superman himself was adopted. This is magnified by one of the film's most maligned plot points, one that I cannot go into without a bit of spoilage. Skip the rest of this paragraph if you haven't seen the film. I am speaking of the inclusion of Superman's son by Lois (which must be disturbing to Lois, as she had her mind erased at the end of Superman II, and must not remember ever having sexual intercourse with the Man of Steel), which at first seems like a cheap ploy for drama, but by the end of the film actually makes sense. As Superman stood over his sleeping child, willing to let his child be raised by mortals as he was, I finally got that the character was suppose to bring about an emotional circle for our hero. It does create a problem for the possible sequel though.
The majority of average people (i.e.: not critics) I've spoken to complained about the lack of action in the film. I have to agree. I really could've done with a fistfight between Superman and someone like Zod, or Braniac, but we only get a few scenes of the Man of Steel saving people from large-scale disasters. There is one ingenious sequence at about the 40-minute mark where Superman saves a falling jet full of reporters, and sets it down in a baseball field. The ingenious part comes in not with the actual action of saving the plane, which is nice, but in the fact that Superman makes his reappearance to the world in the most public way possible. It's funny, and humour is lacking in the rest of the film. The whole thing is rather down hill from this point.
But the problem isn't so much the lack of action, but the lack of normal superhero intrigue. Somehow, with more millions of dollars at their disposal than any film in history (allegedly), Singer and company forgot to write an interesting overall story. X-men seemed like an unfinished film due to Fox's budget and time restraints, but despite the brief run time Singer managed to introduce characters and conceive of a threat for them to quash. With Superman the writers had a chance to really open up the canvas with a pre-existing character that was already part of the public zeitgeist, and they have Lex Luthor concoct another real-estate scam? Don't get me wrong, it's a really great scam, but we've seen that already.
Luthor is still an intriguing character, thanks in no small part to Kevin Spacey who strikes a nice balance between funny and frightening. This isn't the harmlessly wicked Luthor of the Donner films, but a very angry Luthor bent on revenge. Well, revenge and a real estate scam. It's too bad the character is so neglected by the writing staff. I would've pushed the opposing nature of the hero and villain a little more.
With a runtime of two and a half hours, it's maddening that almost nothing really happens. The theme of alienation and solitude is a nice one, but when the film meanders like a Kabuki show on downers it's all a bit too much. By the time Luthor's plans finally come to fruition the 90% of the theatrical audience was checking their watches. A long movie isn't a problem so long as there's still a bunch of plot to plough through, but here it's indulgent. I understand that the importance of Lois and her fiancé's relationship is important, but sticking by them during two elongated, Superman-less action scenes is unnecessary (not to mention a waste of a massive budget). I would've cut these scenes, which would be unfortunate because it would mean cutting James Marsden, a good actor, from another superhero movie (the guy was royally screwed on X-3).
Cinematically, this is a freaking gorgeous film, from cinematography to costume design (I like the new look, the old suit looked like a Halloween costume). I wish that Metropolis itself was more stylized, as only the Daily Planet set looks like anything special. I'd heard somewhere that Singer was looking to create an Art Deco look to the film to set it in the same sort of non-existent, style-bending timeline, like the Batman animated series, or Sky Captain and the World of Tomorrow. I see a bit of this in the finished film, but not as much as I'd really like. Despite this, the look of the film is striking, just in a slightly less overtly stylized way, and I'm happy to say that it looks a Hell of a lot classier than the Donner films.
I can't wrap this rather lengthy little review up without mentioning Superman himself, Brandon Routh. Routh had some huge shoes to fill, as Christopher Reeves' rendition of the character is one of the most popular and enduring film characters of all time. Even I liked him in the role. Singer was smart to cast an unknown, and his choice paid off in spades. I can't imagine Nic Cage, or any of the other name actors once attached to role holding a candle to Routh, who embodies both the Man of Steel and his bumbling alter ego positively perfectly. He's a joy all around, and I hope he has a successful career in the future. He deserves it. Between Routh and Hugh Jackman, Singer is officially 2 for 2 in the field of casting unknowns as popular comic book characters. I'll also give some quick props to Parker Posey, who's adorable and hilarious in her supporting role. Another great choice.
Big budget blockbusters are filmed in digital HD more frequently these days thanks to George Lucas (even if you hate the man's films, you have to acknowledge his contributions to modern film). Superman Returns is no exception. Unfortunately, the fact that I know it was meant for an HD presentation means I'm less willing to let video quality inadequacies slide.
Overall the image is very pretty, and so long as sequences are well lit they look great. Colours are bright, and edges are crisp and solid. Problems arise in darkness. Dark backgrounds are wrought with noise and blocking. Shadowed skin tones suffer from some cross-colouration, and even digital blocking in some of the more severe cases. I'm very curious about the Blu-ray and HD DVD releases. Did Warner Bros. put all there effort into the next gen formats and dump on those of us still unable, or unwilling to shell out the cash for a next gen player, or do all the transfers suffer from these problems? This is a top tier presentation on some levels, but it's nothing as stunning as other filmed in HD (not HD-DVD) releases like Revenge of the Sith, or even Wolf Creek.
DTS fans will be bummed by the lack of a DTS track, as the only track available is an old fashion 5.1 Dolby Digital one. Perhaps a DTS track could've been even more spectacular, but I find complaints very hard to come by here. This is an equally aggressive and subtle track that strikes an amazing balance at even high volume levels. The LFE track is almost too much at times, but it rarely overpowers the rest of the track. Dialogue is clear and centered, and discernable even during louder sequences. The immersing quality of the mix is best displayed during the sequences on New Krypton, where one can hear the sound of the ground creaking with growth and the sky rocked with thunder.
There is no doubt in my mind that there will be a double dip on this DVD. Every extra here points to more available, and the possibility of a sequel is looking more and more realistic. This 2-disc set isn't a complete disappointment, but is lacking nonetheless.
The first disc is completely barebones. The second disc starts with almost 3 hours of behind the scenes production diaries. It's very, very obvious that there was a lot more of this stuff, and the editing choices here seem random and curious. There is a whole bunch of good info, and viewers do get a first hand view of the filmmaking process, but there is something definitely lacking. The footage is best when it shows us a bit of Singer's dark side. According to several accounts from the set of X-Men 2 the director can be very hard to work with. Alan Cumming, Halle Barry, and other cast members have stated unspecific problems on several occasions since the film's release. Only notoriously nice Hugh Jackman has kept his mouth shut, though apparently his relationship with Singer was also rocky.
I'm also happy so much attention is paid to Spacey and Routh. Spacey seems to have become a bit of a diva over the years, but his stand-up comic roots make him ever entertaining to watch work. Routh appears to be the nicest guy in the world. He's always warm to the behind the scenes crew, almost painfully modest, and one can really see the reasoning behind Singer's selection. Surprisingly, Kate Bosworth, who played Lois Lane, is somewhat ignored in the footage. I'm curious about this, as I thought she was the one weak link in the cast. Perhaps there were some problems being saved for another DVD release.
The deleted scenes are incomplete and consist mostly of quiet moments on the Kent family farm. Singer has spoken publicly about a trashed scene of Kal-El visiting the remains of Krypton, and the production diaries feature another deleted scene between Superman and Daily Planet boss Mr. White. My guess is that there's at least another hour of deleted footage, which may explain the extraneous budget. The best of the included scenes is one where Clark realizes his mother is dating an old family friend. He deals with the revelation in a surprisingly selfish fashion, adding to his selfless final act arch.
The features are finished off with a brief featurette about the compositing process made on old footage of Marlon Brando. The fact that this is the closest we get to an in depth look at the digital effects of the film (there's some footage of the mo-cap process on the production diaries) is another clue pointing to a deluxe release in our future. There's also a small collection of trailers for Superman Returns and various video games featuring the character.
A flawed film, no doubt, Superman Returns is better on a second viewing. It's melancholy nature may turn off most viewers, but those willing to take such a sad journey are lucky enough to enjoy some top notch performances and a striking visual look. It isn't quite the overwhelming romantic tear-jerking Singer wanted it to be, but it also doesn't deserve the mediocre fate it seems to have inherited. The DVD has a flawed video transfer, but a great audio presentation, and some decent special features. I've no doubt that a double dip is in our future, but I think at least a rental is in order. Super-fans really should give it a second chance.
Review by Gabriel Powers
Some material may be inappropriate for children under 13
Disc Details
Release Date: 28th November 2006
Discs: 2
Disc Type: Single side, dual layer
RCE: No
Video: NTSC
Aspect: 2.40:1
Anamorphic: Yes
Colour: Yes
Audio: Dolby Digital 5.1 English, Dolby Digital 5.1 Spanish
Subtitles: English, Spanish, French
Extras: "Requiem for Krypton: Making Superman Returns", Resurrecting Jor-El, Deleted Scenes, Trailers
Easter Egg: No
Feature Details
Director: Bryan Singer
Cast: Brandon Routh, Kate Bosworth, Kevin Spacey, James Marsden, Parker Posey
Genre: Action and Drama
Length: 154 minutes
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Three people from Allegheny County, including a young boy, died Wednesday evening when the minivan they were riding struck a tree in Brady Township, state police said.
Kimberly A. McLaughlin, 31, of McKees Rocks was driving south on Route 173 just after 6 p.m. when the van crossed into the northbound lane and traveled into a yard.
The vehicle hit a tree stump and then slammed into a tree, state police said.
McLaughlin and her front seat passenger, Terry W. Cramer, 42, of Coraopolis, died at the scene. The couple's son, Terry W. Cramer Jr., 3, was taken to Butler Memorial Hospital, where he died a short time later.
McLaughlin's two other children, ages 1 and 11, who were in the van, were seriously injured and taken to Children's Hospital of Pittsburgh of UPMC.
Police continue to investigate the crash.

subset: commoncrawl


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997 St. Sebastian WayAugusta, GA 30912706-721-6597
1446 Harper StreetAugusta, GA 30912706-721-5437 (KIDS)
1003 Chafee Ave.Augusta, GA 30912 706-721-2426
1447 Harper StreetAugusta, GA 30912-5536706-721-CARE (2273)
1120 15th StreetAugusta, GA 30912706-721-2273 (CARE)
1411 Laney Walker Blvd.Augusta, GA 30912706-721-6744
821 St. Sebastian WayAugusta, GA 30912706-721-2971
1220 West Wheeler PkwyAugusta, GA 30909
6135 Roosevelt Highway Warm Springs, GA 31830
2011 Westend DriveGreensboro, GA 30642
Augusta University Medical Center
1120 15th Street
Augusta, GA 30912-5536
List of Services
Parking Map
For appointments, referrals or more information, please contact the Medical Center at:
706-721-2273 or 1-800-736-CARE (2273),
or request an appointment online.
If you are dropping off or picking up an inpatient, having an endoscopic procedure, outpatient surgery, a mammogram, an X-ray, visiting the Augusta Multiple Sclerosis Center or the Rehab Department, or other services offered at the Medical Center, please park in the 15th Street Parking Deck. Enter the deck where it says "Patient/Visitor Parking."
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French Connection, The (US - BD)
Gabe's eyes are popped by Popeye Doyle's high definition adventure...
After a hard day on the job, New York city super-detectives James 'Popeye' Doyle (Gene Hackman) and Buddy 'Cloudy' Russo (Roy Scheider) take a break at the Copacabana, and witness a suspicious celebration by known drug runners. Doyle's instincts get the better of him, and soon the team is running surveillance on the runners. When a mysterious French accent comes over the wire tap, the cop instincts are piqued again, and the chase is on.
When people talk about the '70s on film, there are three films that immediately jump into my mind—Sidney Lument's Dog Day Afternoon, Tobe Hooper's Texas Chainsaw Massacre, and William Friedkin's The French Connection. These films don't encompass all of the era's most lasting and popular styles, and don't even come close to representing all the best of the era had to offer (where's Dawn of the Dead, The Godfather, Star Wars, One Flew Over the Cuckoo's Nest, etc, etc), but they viscerally define the rough and tumble, post-documentary style that came into the American mainstream at the time. All three movies are perfect examples of the brand of punch-to-the-face realism modern filmmakers have been trying to rediscover for decades.
With the release of successful remakes of My Bloody Valentine and Friday the 13th, it appears that Texas Chainsaw Massacre inspired revisionism has seen its day in the sun, and that modern horror audience are moving towards the slightly more easygoing slashers of the 1980s. However, the continued popularity of Bourne Supremacy inspired action thrillers tells me that we aren't done with the 1970 all together. The action films of my childhood (the 1980s and '90s) were defined by big-budget pyrotechnics and state of the art special effects. Despite a continued obsession with digital effects, since the turn of the millennium popular filmmakers have dabbled more in (simulated) low-tech action violence. One name consistently quoted by these filmmakers is The French Connection, to which Bourne Supremacy director Paul Greengrass virtually prays too in every one of his non-documentary features. But the influence can also be seen in subjectively opposed Sci-Fi action like Michael Bay's Transformers.
But the film isn't just bravado direction from a young director with something to prove (it's interesting to note that Friedkin wouldn't ever shoot anything this natural again in his career, even in his follow-up cop films like Cruising and Live and Let Die in L.A.), The French Connection also features a fantastic story, based on a fascinating real-life case, and three equally brilliant, but entirely different lead performances. The story, which is complex, is told at an almost alarming pace, even taking time for the centrepiece car chase, yet the audience learns everything they'll ever need to know about the characters. There isn't a millimetre of wasted film, which has helped to sustain the movie's popularity for almost forty years.
First the good news: The French Connection works in HD. Some older films gain nothing from the upgrade, but this is not one of them. The renewed clarity of the image is breathtaking within the first scene (though not the first shot, which is a grainy zoom). Detail levels are generally realistic, without making the film appear artificially modern. The stock doesn't lose any of its grit or grain to over-cleansing (there aren't any major issues with artefacts, just minor flecks of dirt), but minus the noise issues of the standard definition DVD release, and plus some additional detail, I'm positive this is the closest most of us will come to seeing the film during its original run…had it not been for one little thing…
…Someone's taken the effort to 'correct' some of the film's colours. The early French scenes, and scenes taking place in the police headquarters are relatively unaffected, but night scenes, overcast outdoor scenes, and especially bar scenes, are definitely altered. Warm flesh tones, oranges, and browns, are desaturated, while all the neon lights are pushed, creating stronger blues and reds. The process kind of makes the film look like a Brian DePalma or Michael Mann release from the early '80s, which all is fine and good, but to my mind's eye not The French Connection. I think French Connection, I think lots of grim, brown, New York streets, not neon Miami (even the new release box art is brown and yellow). Even when things aren't neon, they're pretty bluish, and unfortunately modern.
We're not quite talking the same level of re-timing seen on Anchor Bay's 25th anniversary release of Halloween (which many fans will remember as way too blue), or even the recent Blu-ray release of the Godfather (which was an improvement, by the way), and in the long run I'm thinking this is still the preferred way to view the film, but fans will notice the difference. The advantage to this new colour-timing is a bunch of bottomless blacks, and some richer contrast levels, thanks to Friedkin's insistence on bleeding the colour into a black-and-white version of the film (it's all very technical, there's a featurette on the disc for you). I also have to admit that I got used to the new colours pretty quickly.
Did you remember that The French Connection opened with two of the biggest, loudest, and most abrasive notes in film history? Well, after you hit play on this new lossless, 5.1 DTS-HD Master Audio track, you won't forget again. As in the case of digital video enhancement, some older films don't work well with modern audio re-tooling. Once again The French Connection isn't one of them. Thanks in part to Don Ellis' take no prisoners score, and the consistent New York street noise, the track is always busy and impressive. The score sounds quite crisp, almost as if it's been re-recorded for this release. The spatial representation of the orchestra is somewhat wider than the previous release, and the bass levels are much more aggressive. The dialogue, most of which was recorded on set, under less than ideal conditions, so it hasn't aged perfectly, but it still manages to mix rather convincingly into the new-fangled surround mix.
There are a couple of minor instances of the surround and stereo channel street noise sounding a bit artificial in the mix. It's hard to compare, but it seems there were some added effects on this mix. There are also a few cases of voices that wonder into the surround channels being a bit too high in volume. The inclusion of the original Mono track (in two channels) is greatly appreciated, because even as a non-traditionalist, I can appreciate its texture and mix. If you chose to watch the film in its original mono, however, do yourself a favour and at least watch the celebrated chase in surround, beginning with the sniper scene.
I should also note the disc's final track (of eight), which is Don Ellis' isolated score. Watching the entire film this way is not recommended, as there are long periods without music that won't be very interesting in complete silence, but everyone might want to visit the track at least a few times during viewing. Presented in Dolby Digital 5.1, the isolated score sound fantastically clean, and features some surround work not plainly apparent during regular play. The DD track is lacking the super bass of the DTS track, but it's only a minor quibble.
Many of this new release's extra features can also be found on the two-disc DVD CE release, including two commentary tracks, one with director William Friedkin, and the other a scene specific chat with Gene Hackman and Roy Scheider. Friedkin has recorded several terrible commentary tracks in his day, often loudly narrating the on-screen events, but here he hits it out of the park, remembering to not only describe his intricate filming process, but to let the audience in on the real case the film was based on. The Hackman/Scheider track is also a fact-filled odyssey (the actors recall a few stolen shots that Friedkin didn't, and let us in on a young director's dark side), but the actual talking is pretty minimal. The new addition on the first disc is a trivia track, which might be the densest of its kind I've ever seen. Not only did I learn a couple spare facts about the making of the film and the real case, but I now know the origin of the derogatory term 'Frog'.
Disc two starts with the deleted/extended scenes section. There are eight scenes total, running about eleven and a half minutes, with an introduction from Friedkin, optional commentary from Friedkin, and the valuable play-all option. The final film is an unstoppable force, and the strict pacing is a valuable asset, so the deletion of these scenes was a good idea, however, the scenes themselves aren't bad. In fact, they offer an occasionally shocking insight into the characters. The scenes are presented in hi-def, but mastered from 16mm, so they can only look so good. The soundtrack is rough, but clear enough to understand the dialogue.
Then the new extras start with 'Anatomy of a Chase', a twenty minute, hi-def look at the film's heart-stopping chase scene (not surprisingly). Billy hosts a trip to the original site, which looks remarkably similar to how it looked thirty-eight years ago, and literally walks us through the scene starting shoot-out. The director then interviews producer Phil D'Antoni as they walk beneath the elevated train tracks. Then the duo jumps in a brown Pontiac, which is then driven by the film's police advisor along the route taken in the film. It's a very cute featurette, and a fun addition, but doesn't really offer any new information.
'Scene of the Crime' is a companion piece to 'Anatomy of a Chase', covering the filming of another car scene, where the production, with the help of the police, caused an artificial traffic jam to recreate a real life event.
'Hackman on Doyle' sort of defines itself with the title, it's an eleven minute interview with Gene Hackman, who chats about the film. A lot of his thoughts are scene specific, and already found (basically) on the scene specific commentary track, but it's still interesting information. I recommend watching this interview instead of listening to the track, though you will miss out on Roy Scheider's thoughts (as the actor died before he could give his thoughts for this disc).
'Friedkin and Grosso Remember the Real French Connection' is again, a pretty descriptive title. Friedkin basically sits down with retired detective Eddie Grosso (the character played by Scheider in the film), and the two discuss the details of the famous case, and compare them to what was filmed. Much of this stuff is, again, available through the commentary track, but this particular featurette has a fair share of additional information. Not to mention the fun of hearing the story from the horse's mouth, so to speak. These nineteen minutes are probably the best of the Blu-ray's new additions.
'Color Timing The French Connection' is a reasonably in-depth thirteen minute look at the film's latest re-mastering, the one that kind of bugged me as a fan. Friedkin defends his recreation pretty well, but I'm still not convinced that this process was necessary for this particular film. The featurette is very similar to one that can be found on New Line's special edition release of Seven, where the old and new versions of the film are directly compared while the technician and Friedkin narrate the process.
'Cop Jazz: The Music of Don Ellis' also speaks for itself. This ten minute featurette mostly covers the composer's French Connection work. It's a technical little exploration, going into the details of Ellis' love of the quarter tone (which is apparently the basis for much of his music, not just this score), Friedkin's sparing use of the music, and nice breakdowns of every major cue in the film. The only problem with the featurette is the absence of Friedkin himself, who's largely present everywhere else on the disc. Musical historian Jon Burlingame has to infer and guess a lot about the director's intent.
'Rogue Cop: The Noir Connection' is a fourteen minute discussion with film historians Alain Silver and James Ursini, who discuss the film's importance in modern film history and compare and contrast it to classic film noir and crime films. The historians run through 'good cop, bad cop', working class jealousy, difficult boss, and other traditional, classical noir themes, and find a spot for the reality based French Connection within the tradition. I could watch a feature length documentary on these themes as compared to films beyond The French Connection, such as Melville's Le Samourai, DePalma's Scarface, Fincher's Seven, and even popular television like CSI.
Things are wrapped up with the two documentaries that last saw release with the DVD set, the Mark Kermode hosted, fifty-three minute 'The Poughkeepsie Shuffle', and the sixty minute 'Making the Connection: The Untold Stories of The French Connection'. These are the only non-HD extras on the set. Following the new extras, and the old commentaries, these docs are a bit repetitive, but are still ultimately quite fascinating, especially 'The Poughkeepsie Shuffle'. For anyone not already acquainted with the behind the scenes story, or the true story behind that, I'd suggest starting with 'The Poughkeepsie Shuffle', moving onto the new featurettes, taking a listen to the commentaries, and a final look at 'Making the Connection'.
The French Connection belongs in a small collection of films which can be truly be called perfect. I honestly believe that nothing that could be done to make it better and that it will stand the test of time so long as society hasn't evolved to a point that language and ocular input doesn't make logistical sense. This new Blu-ray release isn't perfect thanks to some recent fiddling with the colours, but it approaches perfection, and genuinely works in high definition. There aren't many new surprises in the extra features, but there also wasn't much room for improvement from the last go-around. The only reason for Blu-ray owners not to buy this is their tolerance for the new colour-timing.
*Note: The images on this page are not representative of the Blu-ray release.
Review by Gabriel Powers
Existing Posts
I've read bad things about the colour timing which is putting me off of purchasing.
I like this Blu-Ray disc, the colour fits the story better, and there are tons of extras that I really like. The next few evenings I'm watching the extras, more than 8 hours
Well, yes, I suppose. He didn't digitally remove anything.
One could argue that he did subtract from the original then.
Friedkin didn't add or subtract anything, he just f**ked with the colour timing.
I suppose I was thinking more of his changes to Crusing (Pacino sniffing poppers in the bar) and all those extra subliminal bits in The Exorcist: TVYHS.
S**t, I forgot Akira came out today...
Anyway, I'm being a huge nitpicker here guys, it's still the same movie, and it still looks good, it just looks different. If you aren't a massive fan you aren't even going to notice.
Anyway, I'm being a huge nitpicker here guys, it's still the same movie, and it still looks good, it just looks different. If you aren't a massive fan you aren't even going to notice.
Damn, this review is making me regret the fact that I passed up on buying this, in favor of the Akira Blu-ray, at Best Buy today.....
Friedkin didn't really pull a Lucas here (and I am with you on that idiotic phrase as well). The film's content is exactly the same as it was back in 1971. The color scheme is indeed different and, at first, a bit jarring. But I got used to it pretty darn quick. People, including a friend of mine, are pretty upset with the new color scheme on this Blu-ray. Truth be told, I think it actually fits the story better.
Friedkin didn't really pull a Lucas here (and I am with you on that idiotic phrase as well). The film's content is exactly the same as it was back in 1971. The color scheme is indeed different and, at first, a bit jarring. But I got used to it pretty darn quick. People, including a friend of mine, are pretty upset with the new color scheme on this Blu-ray. Truth be told, I think it actually fits the story better.
If Friedkin changed the color timing for this release, then shouldn't we be celebrating it as it's 'how the director intends it'?
I know he has extensively dabbled with Exorcist and even made some changes to Cruising, so it seems like he is revising his films for the home viewing market.
But is this is case of George Lucas raping our childhoods (God, I hate that phrase) or Francis Coppolla giving us GF the way it is meant to be seen?
I know he has extensively dabbled with Exorcist and even made some changes to Cruising, so it seems like he is revising his films for the home viewing market.
But is this is case of George Lucas raping our childhoods (God, I hate that phrase) or Francis Coppolla giving us GF the way it is meant to be seen?
I saw the first 2 minutes of this film, but good review Gabe.
Fantastic review Gabe. And I agree with your views on The French Connection. Its a shame to think that in todays PC world a movie as raw and vibrant mightn't get made today, or if it did it would probably be so sanitised it would lose its colour.
I already own FC and the sequel on dvd so I'm slightly torn whether to buy them again, maybe when the price reduces a bit.
I know you only review what you get sent but I'd be very interested to read your thoughts on French Connection 2 at some point, I think its a fantastic sequel.
I already own FC and the sequel on dvd so I'm slightly torn whether to buy them again, maybe when the price reduces a bit.
I know you only review what you get sent but I'd be very interested to read your thoughts on French Connection 2 at some point, I think its a fantastic sequel.
Nice review Gabe. This one is a no brainer for me. Got to see it on the big screen this past summer and it felt new to me all over again. Still my favorite car chase.
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Disc Details
Release Date: 24th February 2009
Discs: 2
Disc Type: Blu-ray Disc
RCE: No
Video: 1080p
Aspect: 1.85:1
Anamorphic: No
Colour: Yes
Audio: DTS-HD Master Audio 5.1 English, Dolby Surround 2.0 English, Dolby Mono 2.0 English, Dolby Digital 5.1 Spanish, Dolby Digital 5.1 French, Dolby Digital 5.1 Isolated Score
Subtitles: English HoH, French, and Spanish
Extras: Director Commentary, Actor Commentary, Trivia Track, Trailers, Deleted Scenes, 'Anatomy of a Chase', 'Hackman on Doyle', 'Friedman and Grosso remember the real French Connection', 'Scene of the Crime', 'Cop Jazz', 'Colour Timing the French Connection', 'Rogue Cop', BBC Documentary: 'The Poughkeepsie Shuffle', 'Making the Connection: The Untold Stories of The French Connection'
Easter Egg: No
Feature Details
Director: William Friedkin
Cast: Gene Hackman, Roy Scheider, Fernando Rey, Tony Lo Bianco, Marcel Bozzuffi
Genre: Action, Crime, Drama and Thriller
Length: 104 minutes
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K&N Filter 57-0512 - K&N Fuel Injection Performance Kit fipk For Citroen C3 1.4l Hdi L4 Ohc 70bhp; 2002-2009.
57 Series Gen II Air Intake Kits (FIPK''s) are built for many different vehicles and represent a dramatic improvement over a K&N O/E replacement filter alone; they use only non-metallic rotationally molded tubes that can reduce air temperature and decrease intake sound over a metal tube. Restriction can exist BETWEEN an air filter and the engine reducing the benefit of a K&N Air Filter. The weakest link in the airflow chain robs a vehicle of its natural horsepower. Often that weak point is the factory air path leading to the Engine. K&N Air Intake Kits virtually eliminate air path restriction by replacing the air filter and the entire air path to the engine. The aerodynamically engineered tube drives a massive amount of air into an engine, which translates into POWER.
K&N 57 Series kits are truly state-of-the-art. We start with the largest conical shaped high-flow air filter we can fit into the engine compartment while using factory holes and mounting points. This extra filter size provides even more airflow at lower restriction than a standard K&N O/E replacement filter that is limited to the size of the factory air box. The oversized air filter also captures and holds more dirt increasing the service life before a cleaning is required (up to 100,000 miles). When possible, the filter is isolated from high engine temperature by a heat shield designed to lower the temperature of the air entering the engine, which increases horsepower. Next we attach the filter to a rotationally molded tube made from interlaced High Density Polyethylene (HDPE). This process allows us to precisely shape the tube to reduce turbulence and accelerate airflow into the engine. This is why some of K&N tubes have unique shapes that are specifically engineered for each application. Finally the tube is connected to the engine with adapters made from high strength materials such as silicon and reinforced nylon and ensures long life. Put all this together and you have the best high-flow intake system available today.
Calif CARB notice: Some Typhoon Air Intakes are not legal for use in California and other states adopting California emission standards while others are CARB exempt and 50 state legal. Check the K&N catalog or website vehicle parts search for specific CARB status. 63 Series Intakes (AirChargers) are street legal in most states. They are not legal for use in California and other states adopting California emission standards. Please verify Calif. CARB status with the KN website or by calling them direct on all air kits.
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Legal: Some or all of these parts may not comply with Federal, State, Province, and/or Local laws, ordinances, and regulations. Buyer takes all responsibility to ensure that any modifications or upgrades that have done conform to all applicable laws and regulations for road use, especially pertaining to safety and emissions. LMPerformance is not responsible for buyer not complying with Federal, State, Province, and/or Local laws, ordinances, and regulations. This policy shall be in force for all past, current, and future purchases from LMPerformance, Inc.
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Search Terms: 570512 57-0512 KN57-0512 KN570512 K&N Filter K&N Fuel Injection Performance Kit (fipk) For Citroen C3 1.4l Hdi L4 Ohc 70bhp Induction Cold-Air Kits K&N Fuel Injection Performance Kit (fipk) For Citroen C3 14l Hdi L4 Ohc 70bhp 2002 2003 2004 2005 2006 2007 2008 2009
History and information about K&N Filter and their products.
K&N AIR INTAKES, THE ULTIMATE WEAPON IN THE HORSEPOWER WARS Most of our High-Flow Air Intakes can be purchased for less than $350. On the 2003 Ford Mustang SVT®, we actually achieved a 30 horsepower increase. Even our typical air intake gains are in the range of 8 to 16 horsepower. To send an average V-8 down the road at 55 mph, it takes about 17 horsepower. Considering this, you begin to realize just how much of a difference our intakes can make when you step on the gas. We're proud of these intakes because after you bolt one on, you'll know something's different…VERY DIFFERENT!
GET THE MOST OUT OF YOUR CAR OR TRUCK Most people are aware that our High-Flow Air Filter can increase horsepower over a traditional disposable air filter. An air filter change alone however, cannot eliminate other types of air restriction built into the vehicle at the factory. These can be found in the size of the air box and the air path running from the air box to the engine. That's where air intakes rule the road. They completely replace the factory airflow assembly including the filter, air box and air path. More and more people are discovering the monster power available from a well-engineered air intake and we sell over 200,000 air intakes every year, so go ahead and wake the sleeping giant in your car.
GUARANTEED HORSEPOWER We will not sell an air intake that does not provide a measured increase in horsepower and torque (acceleration). Our air intakes are proven to increase horsepower and torque on a rear-wheel dynamometer (think treadmill for cars). These thoroughly engineered air intakes provide huge increases in power that a customer will definitely feel when they accelerate.
Product lines include: K&N Fuel Injection Kits, FIPK, K&N 77 Series High Flow Air Intakes, K&N Typhoon Air Intake Systems, K&N AirCharger, K&N 57i Air Induction Kits, K&N Cold Air Intake Filters, and Stock Replacement Air Filters.
Back as far as 1969 K&N ENGINEERING has been in the business of perfecting automobile filters and, in fact, they were the inventors of the high flow cotton air filer and they have been working ever since then to improve your car's filter with a dedication to perfection of product and customer satisfaction. In the K&N facility in Riverside, California, they go about the task of researching and developing air filters and air intake systems and now have a potpourri of more than 5,000 products bearing their logo and; furthermore, the inimitable K & N products can be found in more than thirty countries around the world. There is a reason K & N assure you of their quality with a million mile warranty and the reason is their belief in the excellence of their product and because of their place in the aftermarket performance industry as the world's foremost manufacturer of washable performance air filters and air intake systems.
If you need more power, consider the gains that can be achieved by installing a K&N intake kit on your car and weigh that against the cost of this relatively inexpensive modification and I think you will agree that it is worth it for the resultant improvement in your car's performance. And you don't need to worry that a new K&N intake kit will give your car's engine too much air because every engine is designed to draw in only a particular volume of air and this depends on your car's bore, stoke and cylinders so this is not a problem. Consider K & N's history of success and its unparalleled place in the annals of aftermarket performance air filters and air intake systems when deciding on a new air filter or, better yet, a new and improved air intake system and then peruse the multiplicity of products available on the LMPERFORMANCE web site and find the one that will make a difference in your vehicle the minute it is installed. Take advantage of the more than fifty years of experience K & N has and use it to your benefit and let LMPERFORMANCE help you get the right part at the right price.
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Wellness Gardens
When time is spent in an office or indoors day in and day out, some can lose that connection to the outside world. And that loss of connection can lead to higher stress levels and more health ailm ...View Article
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The day after Thanksgiving is a milestone of sorts in America. It reminds us of just how quickly the year has gone by— and how close we are to the holiday season. This realization— coupled with the fabulous sales at major department stores and malls everywhere— helps make the day after Thanksgiving our biggest shopping day of the year. And until we flip the calendar over to a new year, the chaos just doesn't let up.
"Our bodies have the capacity to do a little more than we normally do," says Dr. Scott Bautch, past president of the American Chiropractic Association's (ACA) Council on Occupational Health. "But our bodies do not adapt very well to doing a lot more than we normally do. Since the added demands of this season can stress the capacity of our bodies, we need to do everything we can to help ourselves. Eat right, drink plenty of water, stretch, exercise and take a few minutes to slow down and reflect on what the season is all about."
So relax and enjoy the holidays! Dr. Bautch and the ACA encourage you to consider the following tips to help keep you and your loved ones healthy, happy and safe this season.
"During the holiday season, we're running at absolute maximum capacity, which can lead to stress and even depression," says Dr. Bautch. "Why do so many people become depressed around the holidays? We need to stretch and stay hydrated to increase our capacity, so we are not overwhelmed by the activities of the season."
"We actually need to eat better than normal during the holiday season," explains Dr. Bautch. "On average, people gain five to six pounds during the holidays. And heart attacks occur more often during the holidays as well. Eating a heavy meal and then running out on an exhausting shopping trip can be very dangerous."
"Shopping with children is just a bad idea," says Dr. Bautch. "If your hands are loaded with shopping bags, you may not be able to hold your child's hand, which could increase the chances he or she might wander away from you. Take whatever steps necessary to not have to bring your child along."
"When wrapping presents, it's a good idea to 'stretch the opposites,'" says Dr. Bautch. "In other words, if you are leaning forward when wrapping your gifts, stretch backward when you are done."
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Rockford Register Star
Byron senior Kelsey Hildreth showed her heels to the rest of the state, winning the Class 1A girls indoor 3200 meters in 10 minutes, 49.20 seconds Saturday at the Illinois Top Times track meet in Bloomington.
Hildreth won by a whopping 23 seconds over runner-up Adrienne Brauer of Porta in what is regarded as the indoor state track meet.
Dixon brought home a pair of titles in Class 2A. Lexy Duncan dominated the girls long jump, winning by eight inches with a leap of 18 feet, 3.25 inches and Simon Thorpe won the boys 1600 by five seconds in 4:20.76. Dixon's Cody Songeroth was second in the 3200 in 9:46.93.
Also in the Class 2A girls: Boylan's Kelsey Person, Erica Lowry, Kristina Kladar and Delaney Appino took fifth in the 3200 relay in 9:56.22; Rockford Christian's Payton Jones qualified 12th and missed the finals in the 60 meters in 8.11; and Freeport had Ellie Willging finish fourth and sixth in the 3200 and 1600, Lakonka Collins sixth in the 400, Kyliah Hughes ninth in the shot put and Ashley Simmons missed the 60 finals by finishing 23rd in qualifying.
Winnebago and Dixon had the only locals in the Class 2A boys. Winnebago's Nathan Ambrose, Jeff Swanson, Allan Daly and Nolan Peterson took sixth in the 1600 relay in 3:32.10, while Chris Smith took ninth in the shot put (47-6) and Ian Klindera didn't clear the opening height in the pole vault. For Dixon, Kylian Lally was fifth in the 400 in 52.27 and JD Gieson eighth in the long jump at 20-1.5. Dixon also took ninth in the 1600 relay and 11th in the 3200 relay and Reid Deets, who qualified 20th, and Gieson, who qualified 10th, failed to place in the 60 meters and 60 hurdles, respectively.
In Class 1A girls, Lutheran's Claire Mesa was seventh in the 800 (2:26.99), while Byron had Paige Holloway take ninth in the high jump (5-0), Megan Headley finish 10th in the 200 (27.66) and the Tigers' 800, 1600 and 3200 relay teams place ninth, 12th and 13th.
In Class 3A girls, Hononegah's Patrice Jones was fifth in the 200 (26.32) and sixth in the 400 (59.81), while Jefferson's Kendra Moreno was ninth in the pole vault (9-3). East's De'Khja Cross-Hardy (16th) and Tamera O'Neal (20th) failed to qualify for the finals in the 60 meters and 60 hurdles, respectively.
In Class 3A boys, Jefferson's Anthony Mazzola finished third in the pole vault (14-6), Belvidere North's Todd Berkenpas was sixth in the high jump (6-2), Harlem's Jared Kern sixth (52-6.25) and Kyle Kling 10th (50-7.25) in the shot put and Jefferson's Gerado Castillo, Aaron Minneyfield, Mike Rodriguez and Luis Davila took ninth in the 3200 relay (8:19.93).


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DENVER – Calling on Coloradans to "punch holes in the darkness," Gov. John Hickenlooper laid out his response to massive wildfires and gun violence Thursday in his third State of the State address.
The speech contained Hickenlooper's most detailed vision yet of what he wants to accomplish as governor, from a statewide water plan to mental-health improvements to reforming the Taxpayer's Bill of Rights.
The twin menaces of drought and gun violence colored much of the speech.
Hickenlooper paid homage to Coloradans who suffered during a horrific summer that saw the state's most destructive wildfires and one of the worst mass shootings in American history.
"We have an obligation to prevent similar tragedies, to do good, to bring light to darkness. We have an obligation to represent the best that is Colorado," Hickenlooper said.
Hickenlooper originally responded to the Aurora movie theater shooting last July by saying it wasn't the right to time to discuss the politics of guns while victims still were mourning.
Coincidentally, a day before the Connecticut elementary school shooting, he said Colorado should start the conversation about guns, and he emphasized his new position Thursday.
"We shouldn't be restrained from discussing any of these issues. Our democracy demands this type of debate," he said.
He called for universal background checks for all gun sales – a line that brought a standing ovation from Democrats and silence from Republicans.
"Surely, Second Amendment advocates and gun-control supporters can find common ground in support of this proposition: Let's examine our laws and make the changes needed to keep guns out of the hands of dangerous people," Hickenlooper said.
He also called for the Legislature's support for a "comprehensive overhaul" of the mental-health system. He outlined what he had in mind last month – legal changes that make it easier to find people with mental-health troubles and get them treatment, either with or without their consent.
The governor called for a statewide water plan by 2015.
"While expanding reservoir capacity makes sense, and rotational fallowing of agricultural land shows great promise, every discussion about water should start with conservation," he said.
He touched only briefly on two of the hottest issues in the Legislature in 2012. He called on lawmakers to quickly pass bills to create civil unions for gay and lesbian couples and college tuition discounts for the children of illegal immigrants. With Democrats firmly in control of both the House and Senate, passage of both bills is a foregone conclusion.
The speech was "probably a little more than 50 percent bipartisan, I'd say," said Senate Minority Leader Bill Cadman, R-Colorado Springs.
But Cadman worried about Hickenlooper's call to reform the Taxpayer's Bill of Rights and other constitutional amendments that keep property taxes low and set a minimum amount of school funding.
"A lot of the proposals are a little bit pie in the sky in a speech like this. We need to get down to details," Cadman said.
Rep. Mike McLachlan, D-Durango, liked what he heard, especially on Hickenlooper's renewed call to pass a civil-unions bill.
"I think the people in Colorado elected us to create the vehicle for civil unions. That was something the House was visibly divided on," McLachlan said, noting the standing ovation from Democrats and no applause from Republicans.
Hickenlooper separated from his wife, Helen Thorpe, last year, but she attended Thursday's speech and sat in the front row.
"On a personal level, I appreciate Helen being here today. Even with the changes in our life, she remains a beacon of light to me and Teddy for all that is good and just," Hickenlooper said.


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Wendell Barnhouse is a nationally-known and respected columnist who has spent over 20 years covering collegiate athletics. He has reported from 25 Final Fours and more than three dozen bowl games and has written about the Big 12 and its schools since the conference's beginning. Barnhouse will be updating the Big 12 Insider on happenings and behind-the-scenes information about the conference.
Kansas senior guard Angel Goodrich, a Native American, is proud of her Cherokee heritage and she provides a positive role model.
Another great read, this one from ESPN.com's Jason King, on the long, hard journey Jamari Traylor endured to become a Kansas basketball player.
Fred Hoiberg, in his third season as Iowa State's coach, is bringing back the glory years he was part of as Cyclones player.
C.J. Barnes of Basketball Prospectus has plenty of evidence and reasons as he defends Texas coach Rick Barnes.


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1954 Topps #110 Harry Dorish (White Sox) Baseball cardPrice = $ 21.95
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Select a different Sport or Vintage Baseball Cards set Enter words,partial words,partial words with wildcards (*) or a phrase in quotes.
1959 Topps Yankees displays vintage 1959 Topps Yankees cards.
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In hockey, there were a few sets issued in the 1910's and while O-Pee-Chee issued some sets in the 1930's, the real modern sets began in 1951 with the itroduction of Parkhurst's first set.
In racing, while cards go back as far as the early Indy car days of 1911, modern racing sets began in 1988 with the issues released by MAXX.
1956 Topps Baseball CardsI have a fondness for the 1956 Topps issue. When I first started collecting back in 1964, my friends and I would wander nearby neighborhoods in search of "old cards". Back then, the oldest cards we ever found in dealing with other kids were 1957 Topps.
Eventually I saw my first 1956 Topps card - I was hooked. It was larger, on a thicker, fluffier card stock making it look much, much older than the just 1 year younger 1957. We even thought they looked "ancient" !!!
We changed neighborhoods in 1966 leaving my childhood friends behind. Before I left, I gave away all my cards except for a small cigar box full of my favorites and I stopped collecting. I had a great 3 year run but I sure wish I would have been collecting in 1966 and 1967 with those tough high numbers. I would have loved to have had a cigar box full of them in place of my hoard of 1964 Topps Felix Mantillia and Gary Peters cards.
The regular 1956 Topps baseball card set is one of my favorites. Topps again went with a slightly larger (3-3/4" by 2 5/8") horizontal card design, similar to their 1955 Topps cards. Several of the portraits are even the same used on 1955 Topps cards and even back to 1954 Topps.
1956 Topps was the first issue to feature team cards and checklists. In addition Topps also included cards of the 2 league presidents, William Harridge and Warren Giles.
With Bowman now gone, Topps could again make cards of Mickey Mantle who was missing from Topps issues since 1953. Once you get past Mickey Mantle, this is a fun and relatively simple set to complete as there are no high numbers or extremely expensive rookie cards with Hall-of-Famer Luis Aparicio being the top rookie.
The set contains over 200 variations making things quite interesting for master set collectors.
Most variations deal with the card stock (gray and white card back variations).
There are also several cards that have color line variations on the card front. Most notably is the Ted Williams card which has either no line over his name or a thin green, red, blue, or yellow line between the white border for a total of five variations. Whitey Ford and Early Wynn also have no line or a thin red or yellow line. In addition, many team cards had 3 different variations with the team name either on the Left, Centered or Right.
The only errors in the set are a handful of uncorrected errors the most famous of which is card #31 of Hank Aaron which actually pictures Willie Mays sliding into home. Card #135 Mickey Mantle is also an interesting card. The card pictures Mantle leaping into the stands and making a fantastic catch. An awesome play to put on this great card - right ? Only problem is that on the real play, Mantle missed the ball. If you do some research you can find the exact photograph that the card was painted from. The artist did a great job and in his version, Mantle makes the catch ! And as always for vintage Topps sets, take a quick look at Don Mossi and his famous ears !
Collectors of 1956 Topps should also take a look at their side issue '1956 Topps Pins'. In addition to their 1956 Topps baseball card set, Topps released their 1956 Topps Pins set using the same portrait photos as the cards. In the end, collectors of the day preferred cards to pins and Topps cut back the 1956 Topps Pin set from a planned 90 pins to just 60.
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1956 Topps baseball cards Checklist and Prices
1961 Topps Baseball Cards AUTOGRAPHED Set info/informationBy now you all heard of the rash of counterfeit autographs on the market.
The following autographs all come with auction house LOA's (Letters of Authenticity) from the top authenticators in the hobby - PSA/DNA or James Spence !!!
The 1961 Topps baseball card set included 587 standard size 2˝" x 3˝" cards (#1-#598 with several skipped numbers). 2 cards were accidently numbered #463, one of them (the Braves Team card was supposed to be card #426).
The 1961 Topps set included the following special "subsets":
* League Leaders (10 cards)
* World Series highlights (10 cards)
* Highlights (11 cards)
* MVP's (16 cards)
* Checklists (7 cards plus several variations)
* Team cards (xx cards)
* Special Multi-Player cards (xx cards)
* Managers (xx cards)
* Topps Rookie All-Star Trophies (xx cards)
* Sporting News All-Stars (#566-#589)
1961 Topps was the first of the very popular and continuing Topps Rookie All-Star Trophies subsets. Cards from the last series (#523-#589) are scarce "High Numbers" making the set fairly expensive to complete.
MLB Baseball expansion led to one of the least attractive aspects of the 1961 Topps baseball card set. The American League made several changes. The Los Angeles Angels were added, the Washington Senators became the Minnesota Twins and a new franchise was granted to the Washington Senators who also debuted in 1961. Possibly because of these team changes, many players had their portrait photos taken without their baseball caps. Not only did most of the players look awful without their caps, they looked more like your old, not so handsome uncle then athletes!
Card backs were black print on an army green background on a dark card stock making them somewhat difficult to read. TOP ROOKIES: #35 Ron Santo, #141 Billy Williams, #417 Juan Marichal, Willie Davis, Zoilo Versalles & Jim Maloney; are popular players but still reasonably priced.
More interesting tid-bits from the 1961 Topps set:
Card #1 features All-American basketball player Dick Groat
Collectors of 1961 Topps cards may also want to take a look at 3 other baseball issues Topps released that year: a Topps Dice Game, Topps Magic Rub-Offs and a series of Topps Stamps.
Although some dealers and collectors consider this set boring, with it's clean design, many special subsets
and multiple cards of some of the games top stars including 6 Mantle's I rate it much higher.
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1961 Topps Autographed baseball cards Checklist and Prices
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Recommended links
- US State Games - Pick a state or the US.
- Keyboarding Practice - Typing games to build skills.
- Math Facts Practice - Have fun drilling on math facts.
- Learn about Syllables - A great lesson with activities.
- Play Hig Pig (rhyming games) - The best free time word game.
- Online Crossword Puzzle - Crossword puzzles for all levels.
- Figurative Expressions Games - What does "a piece of cake" mean?
- Letter Blocks - Practice forming words from letter blocks.
- Word Roots - Games that teach word roots to unlock English.
- Educational Games - Learning games for kids.
- Build English Vocabulary - Games to build language skills.
- Online Writing Courses - Time4Writing classes run eight weeks.
- Online Interactive Curriculum - PreK-12th afterschool & homeschool subscription site.


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For security reasons, please Log Out and Exit your web browser when you are done accessing services that require authentication!
Welcome to the Rice University CAS Service
Be wary of any program or web page that asks you for your NetID and password. Secure Rice web pages that ask you for your NetID and password will generally have URLs that begin with "https://" and end with ".rice.edu". In addition, your browser should visually indicate that you are accessing a secure page.
Information Technology Services
If you've forgotten your password, you can use http://iforgot.rice.edu or call the IT Help Desk at 713-348-4357.


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|Click to return to
Baseball-Cards.com Vintage cards: baseball,football,basketball & non-sport
1982 Donruss #405 Cal Ripken ROOKIE (HALL-of-FAMER) (Orioles) Baseball cardPrice = $ 39.95
NM/MT to NM
Select a different Sport or Vintage Baseball Cards set Enter words,partial words,partial words with wildcards (*) or a phrase in quotes.
1959 Topps Yankees displays vintage 1959 Topps Yankees cards.
Bowman Mantle displays all Bowman Mickey Mantle cards, old and recent.
Miami, for bargains escorts to our weekly baseball card auction!
Escorts to lowest baseball card supplies prices New York City.
Below are some tidbits on baseball and sportscard collecting.
Visit our web site for more info on vintage and current
baseball, football, basketball, hockey, sports and
non-sport cards and card collecting.
(part 2)
In hockey, there were a few sets issued in the 1910's and while O-Pee-Chee issued some sets in the 1930's, the real modern sets began in 1951 with the itroduction of Parkhurst's first set.
In racing, while cards go back as far as the early Indy car days of 1911, modern racing sets began in 1988 with the issues released by MAXX.
1974 Topps DECKLE EDGEThis 72-card test issue set was released with a very limited distribution on only the East Coast around Massachusetts making them quite scarce. They were Officially simply called "Topps Baseball Photos" but their serrated or "DECKLED" edge gave them the name they go by today. The 2 7/8" x 5" inch cards were sold in either a 2 card pack with gum or a 3 card pack with no gum for 5 cents.
The cards were meant to have the look of the black and white movie star photos from the 1950's and feature a black & white photo with a blue facsimilie autograph on the front. The backs make this very scarce test issue even more interesting ! They feature handwritten script of the player's name, team, position & date and location of the photograph as well as a mock newspaper article on the player's career.
This was Topps 2nd "Deckle Edge" issue, their first being their smaller and much more common 1969 Topps Deckle Edge which were inserts in certain series of packs of 1969 Topps cards.
Variations of 1974 Topps Deckle Edge do exist, making this issue even more fun and challenging to collect. The backs can be found in either gray or a much scarcer white version. Also, a more limited proof version with non-scalloped edges exists and occasionally can be found.
Click for complete
1974 Topps Deckle Edge checklist and prices
1964 Topps Stand-UpsTopps most popular 1960's test issue !!!
Blank-backed and unnumbered, these standard size cards were called "Stand-Ups". "Stand-Ups" refers to a type of card that was die cut around the player's picture. The background section then could be folded in half, so the card could stand up by itself while the player's picture stood alone. Directions for folding are on the background and when folded only the green background remains. 1934-36 Batter Up and the 1951 Topps All-Star sets are 2 other popular standup issues.
Thanks to the green and yellow borders and the likelihood that most cards have been heavily folded, 1964 Stand-Ups are extremely difficult to obtain in top grades.
The 77 card set features color photographs of the player on yellow and green backgrounds. 22 of the 77 cards were single printed making them twice as scarce and much higher in demand.
The set is packed with Hall-of-Famers including MICKEY MANTLE, Willie Mays, Sandy Koufax, Roberto Clemente, Carl Yastrzemski, Al Kaline, Brooks Robinson, Don Drysdale, Ernie Banks, Hank Aaron, Willie McCovey and more !!!
Click for complete
1964 Topps Stand-Ups checklist and prices
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Sherriel Dean Johnson died March 1, 2013
Sherriel Dean Johnson of Hickory Flat went to be with the Lord March 1, 2013 at the age of 73. He was born March 10, 1939 at Hickory Flat, Arkansas to Daniel and Opal Ward Johnson.
He was retired from the Arkansas Forestry Commission. In his early years he worked pipeline construction. He was a member of the Harris Chapel Church where he served faithfully as Sunday School Superintendant, as a Sunday School Teacher and as a Church Trustee. He was a member of the Pangburn Masonic Lodge #483 and the Pangburn Order of Eastern Star #501. He loved and was loved by his family and neighbors.
He was preceded in death by his parents, a brother Max L. Johnson, and a sister Janel Johnson Hahn.
He is survived by his wife of 52 years, Carolyn Martin Johnson; his son, Lynn Johnson of Prairieville, Louisiana; and his daughters, Carla Johnson Altom and her husband, Randy, of Hickory Flat, Arkansas, and Marla Johnson Engle and her husband, Lee, of Hickory Flat, Arkansas. Mr. Johnson is also survived by five grandchildren and six great grandchildren; his brothers, Dale Johnson of Michigan and Larry Johnson and his wife, Judy, of Searcy, Arkansas; and his sister, Nelda Sexton and her husband, Richard, of Pangburn, Arkansas. Mr. Johnson is also survived by other relatives and a host of many friends.
The family wishes to express their appreciation to the doctors and Jana Aday for their special care.
Visitation will be held on Sunday, March 3, 2013, from 4:00pm – 6:00 p.m. at Olmstead Funeral Home.
Funeral services will be held on Monday, March 4, 2013, at 10:00 a.m. in the Olmstead Chapel, officiated by Bro. John Cates. Pallbearers are Frankie Reaper, Eric Reaper, Michael Altom, Russell Gilbert, J.J. Stephens, and Benny Hensley. Honorary pallbearers are Wayne Altom, Jesse Johnson, Robert Young, Cody Swaim, and the Arkansas Forestry Commission. Interment with Masonic Rites will follow in the Henderson Cemetery.
Arrangements are by Olmstead Funeral Home. www.olmstead.cc


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Offered for purchase is a beautiful Tressemann & Vogt (T&V) Limoges Poinsettia Design Charger/Plate (c.1892-1930) hand-painted/decorated in the US or Canada as part of the Arts & Crafts movement. The plate is in excellent condition... no chips, cracks or repairs, although there are some surface scratches and wear from age and use. The plate is approximately 12.25 inches in diameter. The bottom is marked as indicated in the pictures.
18 other shoppers have this item in their Cart or Wish List
Fine Art Nouveau, Art Deco and Arts & Crafts Porcelain and Pottery
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text:
ROCKFORD — The City Council opted to pay a little more for the garbage hauler it knows.
Aldermen awarded a $77.6 million dollar contract Tuesday to Rock River Environmental Services to collect and dispose the city's waste for the next seven years.
They picked RRES, which has been the city's provider since 1999, over Advanced Disposal, which offered to do the work for about $800,000 less after factoring numerous incentives and rebates — or 17 cents less a month per home.
The $15.50 monthly sanitation rate for Rockford households is estimated to climb to $18.86 next year.
Aldermen considered putting one or two totes in front of every household, which would have further raised costs, they ultimately decided to keep collection as it is.
Bulk items, such as couches and furniture, will still be picked up every week, and trash collection will remain unlimited.
Residents will be given larger recycling bins — they'll have lids — and will be able to recycle small electronics as long as the item fits in the new bin.
Ald. Jeanne Oddo, D-8, said she's been happy with the service as it is.
"I've been inundated with 200 emails and 50 phone calls from residents about this," she said. "They understand the cost is going up, but they don't want to get rid of the current provider."
Costs would have risen had the council chosen Advanced Disposal, just not as steeply. Bills would have climbed to $18.69 a month with Advanced and the larger recycling bin.
The cheapest option was to keep the smaller recycling bins with Advanced, which would have cost residents $18.06 a month. The difference comes out to $67 more a home over the seven years of the contract, or just under $10 a year.
The city will get several new rebates and services with the new contract. Many of the rebates from RRES were offered in kind by Advanced.
The collector will split all recycling profits with the city, which varies from year to year. Rockford would have gotten $171,000 from the deal in 2011, but nothing this year because recycling has been so low.
RRES will also dispose of 4,000 tons of demolition waste for the city for free. That's the equivalent of hauling 80 demolished homes a year, an estimated $100,000 in savings.
Fees will rise every year by the rate of inflation set by the consumer price index.
Ald. Venita Hervey, D-5, cast the lone vote against the contract, saying the company's trucks have been carelessly tearing up streets in her neighborhood and ward since it started collecting the city's waste.
"It compromises your streets when they skid to a stop in front of each house," she said. "I've been complaining about it, and I've got skid marks in front of every house on my block. It's disrespectful. It shows a disregard for our residents and our money."
Greg Stanley: 815-987-1369; email@example.com; @greggstanley


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The TIGER range uses the synergy of two different silicones ensures comfort and performance. The softer material, which is in contact with the skin, produces a better seal, whereas the more rigid silicone is used to create a stronger structure where the goggles are subject to mechanical stress.
The exclusive RAS buckles are applied to the most rigid silicone, supporting the secure tension of the head strap and preventing deformation of the lens frame. The buckles are positioned closer to the head, reducing water resistance and vibration.
SIZING - the Tiger Mid typically fits females and young adults whilst the Tiger Liquid Skin and Tiger Race fits males and broad faced females.
HEAD Swimming Product.
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|Attention: DocWiki has reached EOL and will be decommissioned late January 2019.
IOS IP SLAs for IPv6 White Paper
From DocWiki
Cisco IOS IP Service Level Agreements (SLAs) are a portfolio of technology embedded in most devices that run Cisco IOS software that allows Cisco customers to analyze IPv4 and now IPv6 service levels for IPv6 applications and services, to increase productivity, to lower operational costs, and to reduce the frequency of network outages. IP SLAs uses active traffic monitoring--the generation of traffic in a continuous, reliable, and predictable manner--for measuring network performance.
IP SLAs has a large portfolio of operations created originally for IPv4. Today, the following Cisco IOS IP SLAs operations are supported for IPv6:
- Internet Control Message Protocol (ICMP) echo operation -- Used to monitor end-to-end response time between a Cisco router and devices using IPv4 or IPv6. ICMP Echo is useful for troubleshooting network connectivity issues, but cannot be trusted for accurate performance measurement.
- TCP connect operation -- Used to measure the response time taken to perform a TCP Connect operation between a Cisco router and devices using IPv4 or IPv6. Ideal to verify if a remote port / service is up and running.
- User Datagram Protocol (UDP) echo operation -- Used to monitor end-to-end response time between a Cisco router and devices using IPv4 or IPv6.
- UDP jitter operation -- Used to analyze round-trip delay, one-way delay, one-way jitter, one-way packet loss, and connectivity in networks that carry UDP traffic in IPv4 or IPv6 networks. Can also proactively monitor VoIP quality levels in your network, allowing you to guarantee VoIP quality levels to your users in IPv4 or IPv6 networks. This is by far the best operation for serious performance measurement.
Before you begin
Verify if the router image supports both IP SLAs and IPv6
First, make sure the version of Cisco IOS and your platform both support IP SLAs for IPv6. To complete this verification, you can use Cisco Feature Navigator. Cisco Feature Navigator is located at the following URL: http://www.cisco.com/go/fn.
Enabling IPv6 Routing and Configuring IPv6 Addressing
By default, IPv6 routing is disabled in the Cisco IOS software. To enable IPv6 routing, you must first enable the forwarding of IPv6 traffic globally on the router and then you must assign IPv6 addresses to individual interfaces in the router.
To enable the forwarding of IPv6 traffic globally on the router, use the following command in global configuration mode:
Router(config)# ipv6 unicast-routing
The following example shows how to configure an IPv6 address on an interface. This example starts in global configuration mode.
interface Ethernet0 ipv6 address autconfig
To learn more about IPv6 routing and address configuration, see the Cisco IOS IPv6 Configuration Guide.
Note: At least one interface with an IPv6 address must be configured before configuring the IPv6 options in IP SLAs.
Configuring IP SLAs
When at least one IPv6 address is configured, the IPv6 options of IP SLAs will become available.
Router(config)# ip sla 1 Router(config-ip-sla)# udp-jitter ? Hostname or X:X:X:X::X Hostname or A.B.C.D Destination IP/IPv6 address or hostname
All the operations are entirely identical to their IPv4 equivalent, and are configured the same way. There is no functional, performance, scalability or accuracy difference between IPv4 and IPv6.
Turning on the Responder
Some operations such as UDP Echo and UDP Jitter will require a responder. The responder is configured the same way as with IPv4:
Router(config)# ip sla responder
The responder is automatically enabled for both IPv4 and IPv6. There is no option to enable it only for one protocol, but this can still be done with access-lists.
Configuration Examples
Configuration example of an ICMP Echo operation:
ip sla 1 icmp-echo 2001::214:A8FF:FE7A:ED70 ip sla schedule 1 start-time now
Configuration example of a TCP connect operation:
ip sla 1 tcp-connect 2001::214:A8FF:FE7A:ED70 5566 ip sla schedule 1 start-time now
Configuration example of an UDP Echo operation:
ip sla 1 udp-echo 2001::214:A8FF:FE7A:ED70 5566 ip sla schedule 1 start-time now
Configuration example of a UDP Jitter operation:
ip sla 1 udp-jitter 2001::214:A8FF:FE7A:ED70 5566 ip sla schedule 1 start-time now
Configuration Examples using SNMP
IP SLAs for IPv6 can be configured by SNMP using both CISCO-RTTMON-MIB and CISCO-RTTMON-IP-EXT-MIB together.
snmpset -v2c -c public 10.48.164.20 rttMonCtrlAdminStatus.1 i 5 rttMonCtrlAdminRttType.1 i 6 rttMonEchoAdminProtocol.1 i 24 rttMonCtrlAdminNvgen.1 i true rttMonEchoAdminTargetPort.1 i 23 crttMonIPEchoAdminTargetAddrType.1 i ipv6 crttMonIPEchoAdminTargetAddress.1 s "11:23:45:67:00:08:00:09:00:00:00:00:00:00:00:02" crttMonIPEchoAdminSourceAddrType.1 i ipv6 crttMonIPEchoAdminSourceAddress.1 s "00:11:00:00:00:00:00:00:00:00:00:00:00:00:00:02"
Here is the detail of what was configured:
CISCO-RTTMON-MIB::rttMonCtrlAdminStatus.1 = INTEGER: createAndWait(5) CISCO-RTTMON-MIB::rttMonCtrlAdminRttType.1 = INTEGER: tcpConnect(6) CISCO-RTTMON-MIB::rttMonEchoAdminProtocol.1 = INTEGER: ipTcpConn(24) CISCO-RTTMON-MIB::rttMonCtrlAdminNvgen.1 = INTEGER: true(1) CISCO-RTTMON-MIB::rttMonEchoAdminTargetPort.1 = INTEGER: 23 CISCO-RTTMON-IP-EXT-MIB::crttMonIPEchoAdminTargetAddrType.1 = INTEGER: ipv6(2) CISCO-RTTMON-IP-EXT-MIB::crttMonIPEchoAdminTargetAddress.1 = STRING: "11:23:45:67:00:08:00:09:00:00:00:00:00:00:00:02" CISCO-RTTMON-IP-EXT-MIB::crttMonIPEchoAdminSourceAddrType.1 = INTEGER: ipv6(2) CISCO-RTTMON-IP-EXT-MIB::crttMonIPEchoAdminSourceAddress.1 = STRING: "00:11:00:00:00:00:00:00:00:00:00:00:00:00:00:02"
And the operation configuration created on the router:
ip sla 1 tcp-connect 3131:3A32:333A:3435:3A36:373A:3030:3A30 23 source-ip 3030:3A31:313A:3030:3A30:303A:3030:3A30 ip sla schedule 1 start-time pending
Additional Notes and Caveats
- Performance numbers might be slightly less accurate with IPv6 tests, primarily because for the moment the IPv4 microseconds timestamps cannot be used for IPv6. This problem affects both the sender and responder. CSCtd50484 and CSCte00862 are tracking these issues and we are working on it.
- VRF-aware operations over IPv6 are not supported.
- Auto IP SLAs and auto-registration do not support IPv6.
- Multicast or anycast addresses are not supported.


text:
Terms And Conditions
The Main things you need to know are:
You will be sent an email to confirm your order and another email when we dispatch your order. You may also receive an email from our courier to state when they will be delivering your parcel. Please check your spam filters if you do not receive an email
Returns made after 28 days and up to 6 months will be issued with a credit note, repaired or replaced.
Lead times stated on our web site are not guaranteed and are for guidance ONLY
Bespoke made items such as signs cannot be cancelled once ordered and cannot be returned to us due to there bespoke nature.
WELCOME TO THE Cast in Style® Co Ltd WEBSITE TERMS AND CONDITIONS FOR USE. THESE TERMS AND CONDITIONS APPLY TO THE USE OF THIS WEBSITE AT https://www.castinstyle.co.uk. BY ACCESSING THIS WEBSITE AND/OR PLACING AN ORDER, YOU AGREE TO BE BOUND BY THESE TERMS AND CONDITIONS.
The https://www.castinstyle.co.uk website is operated by:
Registered in England No. 04483066
1A. Intellectual Property Rights
1A.1 All materials (including, without limitation, all designs, text, graphics and their selection and arrangement) on this website are the copyright of Cast in Style® Co Ltd or its licensors. No material on this website may be copied or reproduced in any form whatsoever, whether physical, electronic or otherwise, without Cast in Style® Co Ltd's express, prior, written consent. However, where "Printer Friendly" versions of any of the pages of this website are shown to be available, you may print out those pages and keep for your own, non-commercial, use.
1A.2 All brand names, product names and/or service names used in this website are trademarks, trade names, service marks or copyrights of Cast in Style® Co Ltd or its licensors. Any use of any such brand name, product name and/or service name without the express, prior, written consent of Cast in Style® Co Ltd may constitute an infringement of those rights and Cast in Style® Co Ltd gives no permission for the use of any such item in any way whatsoever.
2.1 You are deemed to place an order with us by ordering via our online checkout process. As part of our checkout process you will be given the opportunity to check your order and to correct any errors. We will send you an order acknowledgement, detailing the products you have ordered.
2.6. Bespoke custom made products, where by the item has been individually bespoke made for you, cannot be cancelled after 2 days from placing the order. The production of these items will begin after this time and cannot be cancelled after 48 hours from placing the order with us. Full payment will be taken at the time of placing the order and no refund will be issued after 48 hours from placing the order. These items cannot be returned and no refund will be given unless they have been incorrectly made by us. Any faults with bespoke items we will initially attempt to repair BEFORE any possible refund is issued for a faulty item.
The provisions of this clause 2.5 do not affect your statutory rights.
2.7 Lead times quoted on our web site are NOT guaranteed and are to be used as a guide ONLY. Whilst every effort will be made to meet lead times we are in no way responsible if they are extended beyond times stated.
2.8 We cannot be held responsible for workman who have been booked if lead times are not meet by us. Workmen should ONLY be booked once you are in receipt of the goods.
2.9 Whilst every effort is make to show correct stock levels on our web site we are not responsible if stock levels show are inaccurate.
2.10 We store the contract's content and will send you the details of your order via e-mail, our terms are available online. You can find the terms here at all times. The details about your recent orders can be found in your customer login.
3.1 All prices include VAT (where applicable) at the current rates. We reserve the right to express the price exclusive of VAT, but we shall show VAT separately and include it in the total price.
4.1 If you wish to cancel your order:
As our products can be heavy we recommend the web sites below to use as couriers. They will collect from you and deliver back to us and you can book it online. They are generally much cheaper than the post office and it is all tracked.
We suggest: www.interparcel.com www.parcelmonkey.com www.wedelivertheworld.co.uk
4.3 Damaged or missing claims must be made within 48 hours of receipt of purchase in writing either to our email address at firstname.lastname@example.com or our address above. We may also ask you to email us a photo of the problem to firstname.lastname@example.com
4.4 You may cancel your order at anytime for a full refund of the amount paid or an exchange credit as required by writing to us at our email address at or our address above .
4.5 The rights to return the goods to us as referred to in clause 4.2 or to cancel an order placed with us will not apply in the following circumstances: -
- to any products that we have bespoke made, customised or modified specifically for you, these items are marked with the banner below on the product page and include the items in the list below:
This product is individually bespoke hand made just for you
Please Note: This product is Non Returnable
- to custom bespoke made signs
- to custom bespoke made post boxes, including through the wall post boxes and wall mounted post boxes.
- to ANY CROFT FOUNDRY product. ( ALL of these products are hand made especially for individual customers)
- to custom bespoke made hook boards (coat hook boards)
- to any products that by their nature have a limited lifespan, such as flowers and fresh food
The provisions of this clause 4.5 do not affect your statutory rights.
4.6 The items listed in clause 4.5 cannot be returned and no refund will be given unless they have been incorrectly made by us. Any faults with bespoke items we will initially attempt to repair BEFORE any possible refund is issued for a faulty item.
4.7 In the event that the product has been used or parts are missing, we cannot give you a full refund. We would request you return the goods in the original packaging and in an unused condition with are the parts for that item included. In the event that a returned item has been used, is unsalable or parts are missing 100% of the original purchase price will be used as compensation, by us, for the item.
4.8 Bespoke custom made products listed in clause 4.5, where by the item has been individually bespoke made for you, cannot be cancelled once 2 days from placing the order has elapsed. The production of these items will begin after 48 hours from placing the order and cannot be cancelled after this time. Full payment will be taken at the time of placing the order and no refund will be issued after 48 hours from placing the order.
4.9 We will attempt to deliver to you twice, an email or text message will be sent by our courier. If after the second time the goods are returned to us due to you not being available to receive them, then a £25 administration fee may be applied to your card and cost of further attempts to re deliver will be bourn by you. The provisions of this clause 4.4 do not affect your statutory rights.
4.10 We are able to arrange a collection by our courier for a charge of £18 if you request this, but we suggest you book your own collection using one of the following courier services.www.interparcel.com www.parcelmonkey.com www.wedelivertheworld.co.uk
5.1 You are permitted to print and download extracts from this Website for your own use on the following basis:
7.1 Other than personally identifiable information, which is covered under the Privacy Policy, any material you transmit or post to this Website will be considered non-confidential and non-proprietary. We will have no obligations with respect to such material. We and our nominees will be free to copy, disclose, distribute, incorporate and otherwise use such material and all data, images, sounds, text and other things embodied therein for any and all commercial or non-commercial purposes.
8.1 Links to third party website's on this Website are provided solely for your convenience. If you use these links, you leave this Website. We have not reviewed all of these third party website's and do not control and are not responsible for these website's or their content or availability. We therefore do not endorse or make any representations about them, or any material found there, or any results that may be obtained from using them. If you decide to access any of the third party website's linked to this Website, you do so entirely at your own risk.
9.1 To register with https://www.castinstyle.co.uk you must be over eighteen years of age.
10.1 While we endeavour to ensure that the information on this Website is correct, we do not warrant the accuracy and completeness of the material on this Website. We may make changes to the material on this Website, or to the products and prices described in it, at any time without notice. The material on this Website may be out of date, and we make no commitment to update such material.
11.1 We, any other party (whether or not involved in creating, producing, maintaining or delivering this Website), and any of our group companies and the officers, directors, employees, shareholders or agents of any of them, exclude all liability and responsibility for any amount or kind of loss or damage that may result to you or a third party (including without limitation, any direct, indirect, punitive or consequential loss or damages, or any loss of income, profits, goodwill, data, contracts, use of money, or loss or damages arising from or connected in any way to business interruption, and whether in tort (including without limitation negligence), contract or otherwise) in connection with this Website in any way or in connection with the use, inability to use or the results of use of this Website, any websites linked to this Website or the material on such websites, including but not limited to loss or damage due to viruses that may infect your computer equipment, software, data or other property on account of your access to, use of, or browsing this Website or your downloading of any material from this Website or any websites linked to this Website.
12.1 These terms and conditions shall be governed by and construed in accordance with English law. Disputes arising in connection with these terms and conditions shall be subject to the exclusive jurisdiction of the English courts.
13.1 You may not assign, sub-license or otherwise transfer any of your rights under these terms and conditions
14.1The Cast in Style manufacturers 5 year guarantee only applies to products where this is stated.
14.4 The 5 year Guarantee on clothes airer does not include the rope or wood as part of the cover. This cover is only for all metal parts. This does not affect your statuary rights.
15.1 We request 30 days payment terms
15.2 Drop ship order will be paid immediately
15.3 You will not advertise or sell any of our products on any third party sales sites such as eBay, Amazon or any such other national or international media or auction websites.


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Item number LYVWT
V by Very Tiered Sleeve Brushed Snit DressThis brushed snit dress from V by Very features this season's tiered fluted sleeve to luxe up your everyday style. Its A-line silhouette is designed to flatter and the flared cuffs add swishy appeal.
Styling Ideas
Wear with tights and ankle boots for a chic winter look.