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09.08.2018 - Nestlé is exploring the use of blockchain technology to trace the origins of fruit and vegetables that...
15.03.2017 -
UK – Nestlé has announced it will remove 10% of the sugar
from its confectionery by 2018.
03.01.2017 - Global – Google has announced that it will be run on 100% renewable energy in 2017.
01.07.2015 - US – Nestlé's Lean Cuisine has given
its brand strategy a complete overhaul, moving away from diet...
13.05.2015 - UK – Nestlé's KitKat and Google's YouTube have joined forces to provide customers with the perfect break.
13.04.2015 - Newcastle, UK – Nestlé's Fawdon factory is using an anaerobic digestion plant to create energy from its...
10.02.2015 - A new report has found that leading US fast food, beverage
and grocery brands are wasting £7.48bn...
02.07.2014 - Swiss food and beverage company Nestlé is working on a long-term project to create food with...
09.09.2013 - Google and Nestlé join forces on new Android OS
28.07.2013 - PepsiCo dips into the US hummus market
23.08.2012 - Indonesians develop a thirst for milk products
07.03.2012 - Nestlé to cut out all artificial ingredients
29.01.2012 - A new playfulness in packaging is encouraging customers to engage with the products they contain....
28.11.2011 - Europe kept sweet by BRICs' taste for chocolate
12.05.2011 - Soft drinks brands could milk Chinese market
16.12.2010 - Bottled water sales continue to flow in
26.09.2010 - Nestlé R&D centre adds spice in emerging India
29.08.2010 - Coffee capsule war brews in Europe
10.06.2010 - Rise in South African retail spend kicks in
06.04.2010 - Coffee culture: A coffee-pot concept for two
24.02.2010 - Food companies fight for consumers in Dubai
05.04.2008 - Fiction Branding

subset: commoncrawl


text: SceneFour: Chad Smith, Rick Allen, Jose Pasillas, Chad Sexton, Dave Lombardo, Nick Menza, Carl Palmer, Stephen Perkins and Chris Fehn Toggle search bar MY CART ( ) BEST SELLERS CHRIS ADLER MARIO DUPLANTIER MIKE MANGINI MIKKEY DEE SCOTT IAN CHAD SMITH CARL PALMER THE RHYTHM OF LIGHT TWIST OF THE WRIST CINDY BLACKMAN SANTANA JOSE PASILLAS STEVEN ADLER CHAD SEXTON DAVE LOMBARDO MICKEY HART RICK ALLEN BILL WARD ART COLLECTIONS BILLY COBHAM CARMINE APPICE FRANK GAMBALE GENE HOGLAN STEPHEN PERKINS NICK MENZA TERRY BOZZIO STEVE SMITH DAVE WECKL FRANKIE BANALI ROY AYERS CHRIS FEHN MATT SORUM CHUCK D PAGE HAMILTON WILL CALHOUN THE FUNK ANGELO MOORE METAL ARTISTS BOOKS & VINYL EXHIBITIONS Search... Search Submit SELECT A CATEGORY CLOSE MENU Nav Menu 2 Nav Menu 3 Nav Menu 4 Nav Menu 5 Nav Menu 6 Nav Menu 7 Nav Menu 8 Home > BEST SELLERS > MICKEY HART > "Beam Man" by Mickey Hart Our Price: $1,500.00 Description Powerful in size and visual, Beam Man is an extraordinary example of rhythm as fine art. To construct Beam Man, each of Hart's fingertips were outfitted with light sources and through performance, the artpiece was born. Measuring 106" x 30", this powerful creation is nothing short of epic. There are just 15 Beam Man pieces available. All are numbered and signed by Mickey Hart. Measures 106" x 30" Giclee on canvas Edition 15 (All are numbered) Individually signed by Mickey Hart Ships with Certificate of Authenticity


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Wichita, Kansas Truck Driving School
2938 S. Minneapolis St. | Wichita, KS 67216
Earn your CDL in as little as five weeks. Kansas Truck Driving School will provide you with the skills and knowledge needed to become a professional truck driver and confidently enter the trucking industry. The mission of KTDS is to graduate students who are safe, courteous and professional. Students will learn proper driving techniques and defensive driving techniques. Kansas Truck Driving School emphasizes maximum safety standards as outlined by the State of Kansas and the Federal laws governing the industry.


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News Release
Renovations to begin on Hugh John Flemming Bridge03 March 2010
HARTLAND (CNB) - Renovations to the Hugh John Flemming Bridge in Hartland will begin later this month. The bridge will be reduced to one lane from Monday, March 29, to Wednesday, June 30, the date when Part 1 of the project is expected to be finished.
Transportation Minister Denis Landry made the announcement after department staff shared details with municipal officials, local businesses and emergency responders.
"The planned work includes rehabilitation of the east and west approach spans and bridge abutments," said Landry. "Crews will remove the concrete deck, curb and sidewalk areas; install new expansion and finger joint assemblies; and place new waterproofing and pavement on the approach spans."
The Department of Transportation has awarded a contract, valued at almost $1.3 million, to Atlantic Underground Services Ltd. of Riverview to do the work.
"There will be four scheduled closures, each for 72 hours, when concrete pours are undertaken for the new deck," said Landry. "The alternate route for all truck traffic will be Route 130 through Florenceville. School buses will have to modify their routes when the bridge is closed. Most farming equipment will have to use an alternate route during the full construction period due to the restricted width of the bridge."
The Hugh John Flemming Bridge is 50 years old and spans the St. John River near Hartland on Route 130 (formerly the Trans-Canada Highway).03-03-10


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Ruben Brandt, Collector
The film is lighthearted but not frivolous, and the animation - a mix of computer-generated and hand-drawn - is so innovative and fun it's always…
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An article commemorating the 2019 Chinese New Year, the Year of the Sow.
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An article commemorating the 2019 Chinese New Year, the Year of the Sow.
Scout Tafoya celebrates "Sweet Movie" in his latest video essay about maligned masterpieces.
Far-Flung Correspondent Gerardo Valero reflects on one of his favorite movies, The Poseidon Adventure.
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"Thelma & Louise" is in the expansive, visionary tradition of the American road picture. It celebrates the myth of two carefree souls piling into a 1956 T-Bird and driving out of town to have some fun and raise some hell. We know the road better than that, however, and we know the toll it exacts: Before their journey is done, these characters with have undergone a rite of passage, and will have discovered themselves.
What sets "Thelma & Louise" aside from the great central tradition of the road picture -- a tradition roomy enough to accommodate "Easy Rider," "Bonnie and Clyde," "Badlands," "Midnight Run" and "Rain Man" -- is that the heroes are women this time: Working-class girlfriends from a small Arkansas town, one a waitress, the other a housewife, both probably ready to describe themselves as utterly ordinary, both containing unexpected resources.
We meet them on days that help to explain why they'd like to get away for the weekend. Thelma (Geena Davis) is married to a man puffed up with self-importance as the district sales manager of a rug company. He sees his wife as a lower order of life, to be tolerated so long as she keeps her household duties straight and is patient with his tantrums. Louise (Susan Sarandon) waits tables in a coffee shop and is involved with a musician who is never ever going to be ready to settle down, no matter how much she kids herself.
So the girls hit the road for a weekend (Thelma is so frightened of her husband she leaves him a note rather than tell him). They're almost looking to get into trouble, in a way; they wind up in a saloon not too many miles down the road, and Thelma, a wild woman after a couple of margueritas, begins to get caught up in lust after a couple of dances with an urban cowboy.
That leads, as such flirtations sometimes tragically do, to an attempted rape in the parking lot. And after Louise comes to her friend's rescue, there is a sudden, violent event that ends with the man's death. And the two women hit the road for real. They are convinced that no one would ever believe their story -- that the only answer for them is to run, and to hide.
Now comes what in a more ordinary picture would be the predictable stuff: The car running down lonely country roads in front of a blood-red sunset, that kind of thing, with a lot of country music on the soundtrack. "Thelma & Louise" does indeed contain its share of rural visual extravaganza and lost railroad blues, but it has a heart, too. Sarandon and Davis find in Callie Khouri's script the materials for two plausible, convincing, lovable characters. And as actors they work together like a high-wire team, walking across even the most hazardous scenes without putting a foot wrong.
They have adventures along the way, some sweet, some tragic, including a meeting with a shifty but sexy young man named J.D. (Brad Pitt), who is able, like the dead saloon cowboy, to exploit Thelma's sexual hungers, left untouched by the rug salesman. They also meet old men with deep lines on their faces, and harbingers of doom, and state troopers, and all the other inhabitants of the road.
Of course they become the targets of a manhunt. Of course every cop in a six-state area would like to bag them. But back home in Arkansas there's one cop (Harvey Keitel) who has empathy for them, who sees how they dug themselves into this hole and are now about to get buried in it. He tries to reason with them. To "keep the situation from snowballing." But it takes on a peculiar momentum of its own, especially as Thelma and Louise begin to grow intoxicated with the scent of their own freedom -- and with the discovery that they possess undreamed-of resources and capabilities.
"Thelma & Louise" was directed by Ridley Scott, from Britain, whose previous credits ("Blade Runner," "Black Rain," "Legend") show complete technical mastery but are sometimes not very interested in psychological questions. This film shows a great sympathy for human comedy, however, and it's intriguing the way he helps us to understand what's going on inside the hearts of these two women -- why they need to do what they do.
I would have rated the movie at four stars, instead of three and a half, except for one shot, the last shot before the titles begin. This is the catharsis shot, the payoff, the moment when Thelma and Louise arrive at the truth that their whole journey has been pointed toward, and Scott and his editor, Thom Noble, botch it. It's a freeze frame that fades to white, which is fine, except it does so with unseemly haste, followed immediately by a vulgar carnival of distractions: flashbacks to the jolly faces of the two women, the roll of the end credits, an upbeat country song.
It's unsettling to get involved in a movie that takes 128 minutes to bring you to a payoff that the filmmakers seem to fear. If Scott and Mount had let the last shot run an additional seven to ten seconds, and then held the fade to white for a decent interval, they would have gotten the payoff they deserved. Can one shot make that big of a difference? This one does.
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