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Table Of Contents
Fields are responsible for rendering and data conversion. They delegate to validators for data validation.
Field definitions¶
Fields are defined as members on a form in a declarative fashion:
class MyForm(Form):
name = TextField(u'Full Name', [validators.required(), validators.length(max=10)])
address = TextAreaField(u'Mailing Address', [validators.optional(), validators.length(max=200)])
When a field is defined on a form, the construction parameters are saved until the form is instantiated. At form instantiation time, a copy of the field is made with all the parameters specified in the definition. Each instance of the field keeps its own field data and errors list.
The label and validators can be passed to the constructor as sequential arguments, while all other arguments should be passed as keyword arguments. Some fields (such as SelectField) can also take additional field-specific keyword arguments. Consult the built-in fields reference for information on those.
The Field base class¶
- class wtforms.fields.Field¶
Stores and processes data, and generates HTML for a form field.
Field instances contain the data of that instance as well as the functionality to render it within your Form. They also contain a number of properties which can be used within your templates to render the field and label.
- __init__(label=u'', validators=None, filters=(), description=u'', id=None, default=None, widget=None, _form=None, _name=None, _prefix='', _translations=None)¶
Construct a new field.
- label – The label of the field. Available after construction through the label property.
- validators – A sequence of validators to call when validate is called.
- filters – A sequence of filters which are run on input data by process.
- description – A description for the field, typically used for help text.
- id – An id to use for the field. A reasonable default is set by the form, and you shouldn't need to set this manually.
- default – The default value to assign to the field, if no form or object input is provided. May be a callable.
- widget – If provided, overrides the widget used to render the field.
- _form – The form holding this field. It is passed by the form itself during construction. You should never pass this value yourself.
- _name – The name of this field, passed by the enclosing form during its construction. You should never pass this value yourself.
- _prefix – The prefix to prepend to the form name of this field, passed by the enclosing form during construction.
If _form and _name isn't provided, an UnboundField will be returned instead. Call its bind() method with a form instance and a name to construct the field.
To validate the field, call its validate method, providing a form and any extra validators needed. To extend validation behaviour, override pre_validate or post_validate.
- validate(form, extra_validators=())¶
Validates the field and returns True or False. self.errors will contain any errors raised during validation. This is usually only called by Form.validate.
Subfields shouldn't override this, but rather override either pre_validate, post_validate or both, depending on needs.
- form – The form the field belongs to.
- extra_validators – A list of extra validators to run.
- pre_validate(form)¶
Override if you need field-level validation. Runs before any other validators.
- form – The form the field belongs to.
- post_validate(form, validation_stopped)¶
Override if you need to run any field-level validation tasks after normal validation. This shouldn't be needed in most cases.
- form – The form the field belongs to.
- validation_stopped – True if any validator raised StopValidation.
- errors¶
If validate encounters any errors, they will be inserted into this list.
Data access and processing
To handle incoming data from python, override process_data. Similarly, to handle incoming data from the outside, override process_formdata.
- process(formdata[, data])¶
Process incoming data, calling process_data, process_formdata as needed, and run filters.
If data is not provided, process_data will be called on the field's default.
Field subclasses usually won't override this, instead overriding the process_formdata and process_data methods. Only override this for special advanced processing, such as when a field encapsulates many inputs.
- process_data(value)¶
Process the Python data applied to this field and store the result.
This will be called during form construction by the form's kwargs or obj argument.
- value – The python object containing the value to process.
- process_formdata(valuelist)¶
Process data received over the wire from a form.
This will be called during form construction with data supplied through the formdata argument.
- valuelist – A list of strings to process.
- data¶
Contains the resulting (sanitized) value of calling either of the process methods. Note that it is not HTML escaped when using in templates.
- raw_data¶
If form data is processed, is the valuelist given from the formdata wrapper. Otherwise, raw_data will be None.
To render a field, simply call it, providing any values the widget expects as keyword arguments. Usually the keyword arguments are used for extra HTML attributes.
- __call__(**kwargs)¶
Render this field as HTML, using keyword args as additional attributes.
Any HTML attribute passed to the method will be added to the tag and entity-escaped properly.
If one wants to pass the "class" argument which is a reserved keyword in some python-based templating languages, one can do:
This will output (for a text field):
<input type="text" name="field_name" value="blah" class="text_blob" id="field_name" />
Note: Simply coercing the field to a string or unicode will render it as if it was called with no arguments.
- __html__()¶
Returns a HTML representation of the field. For more powerful rendering, see the __call__ method.
Many template engines use the __html__ method when it exists on a printed object to get an 'html-safe' string that will not be auto-escaped. To allow for printing a bare field without calling it, all WTForms fields implement this method as well.
- name¶
The HTML form name of this field. This is the name as defined in your Form prefixed with the prefix passed to the Form constructor.
- short_name¶
The un-prefixed name of this field.
- id¶
The HTML ID of this field. If unspecified, this is generated for you to be the same as the field name.
- label¶
This is a Label instance which when evaluated as a string returns an HTML  construct.
- default¶
This is whatever you passed as the default to the field's constructor, otherwise None.
- description¶
A string containing the value of the description passed in the constructor to the field; this is not HTML escaped.
- errors
A sequence containing the validation errors for this field.
- process_errors¶
Errors obtained during input processing. These will be prepended to the list of errors at validation time.
- widget¶
The widget used to render the field.
- type¶
The type of this field, as a string. This can be used in your templates to do logic based on the type of field:
{% for field in form %}
 {% if field.type == "BooleanField" %} 	 {{ field }} {{ field.label }}	 {% else %} {{ field.label }}	 {{ field }}	 {% end %}
 {% endfor %}
- flags¶
An object containing boolean flags set either by the field itself, or by validators on the field. For example, the built-in Required validator sets the required flag. An unset flag will result in False.
{% for field in form %}
 {{ field.label }} {% if field.flags.required %}*{% endif %}	 {{ field }}
 {% endfor %}
Basic fields¶
Basic fields generally represent scalar data types with single values, and refer to a single input from the form.
- class wtforms.fields.BooleanField(default field arguments)¶
Represents an <input type="checkbox">.
- class wtforms.fields.DateField(default field arguments, format='%Y-%m-%d')¶
Same as DateTimeField, except stores a datetime.date.
- class wtforms.fields.DateTimeField(default field arguments, format='%Y-%m-%d %H:%M:%S')¶
A text field which stores a datetime.datetime matching a format.
For better date/time fields, see the dateutil extension
- class wtforms.fields.DecimalField(default field arguments, places=2, rounding=None)¶
A text field which displays and coerces data of the decimal.Decimal type.
- places – How many decimal places to quantize the value to for display on form. If None, does not quantize value.
- rounding – How to round the value during quantize, for example decimal.ROUND_UP. If unset, uses the rounding value from the current thread's context.
- class wtforms.fields.FileField(default field arguments)¶
Can render a file-upload field. Will take any passed filename value, if any is sent by the browser in the post params. This field will NOT actually handle the file upload portion, as wtforms does not deal with individual frameworks' file handling capabilities.
Example usage:
class UploadForm(Form): image = FileField(u'Image File', [validators.regexp(u'^[^/\\]\.jpg$')]) description = TextAreaField(u'Image Description') def validate_image(form, field): if field.data: field.data = re.sub(r'[^a-z0-9_.-]', '_', field.data) def upload(request): form = UploadForm(request.POST) if form.image.data: image_data = request.FILES[form.image.name].read() open(os.path.join(UPLOAD_PATH, form.image.data), 'w').write(image_data)
- class wtforms.fields.FloatField(default field arguments)¶
A text field, except all input is coerced to an float. Erroneous input is ignored and will not be accepted as a value.
For the majority of uses, DecimalField is preferable to FloatField, except for in cases where an IEEE float is absolutely desired over a decimal value.
- class wtforms.fields.HiddenField(default field arguments)¶
Represents an <input type="hidden">.
HiddenField is useful for providing data from a model or the application to be used on the form handler side for making choices or finding records. Very frequently, CRUD forms will use the hidden field for an object's id.
Hidden fields are like any other field in that they can take validators and values and be accessed on the form object. You should consider validating your hidden fields just as you'd validate an input field, to prevent from malicious people playing with your data.
- class wtforms.fields.IntegerField(default field arguments)¶
A text field, except all input is coerced to an integer. Erroneous input is ignored and will not be accepted as a value.
- class wtforms.fields.PasswordField(default field arguments)¶
Represents an <input type="password">.
Other than the fact that this makes a password input field, this field functions exactly like a text-input field.
- class wtforms.fields.RadioField(default field arguments, choices=[], coerce=unicode)¶
Like a SelectField, except displays a list of radio buttons.
Iterating the field will produce subfields (each containing a label as well) in order to allow custom rendering of the individual radio fields.
{% for subfield in form.radio %}
 {{ subfield }}	 {{ subfield.label }}
 {% endfor %}
Simply outputting the field without iterating its subfields will result in a
 list of radio choices.
- class wtforms.fields.SelectField(default field arguments, choices=[], coerce=unicode, option_widget=None)¶
Select fields keep a choices property which is a sequence of (value, label) pairs. The value portion can be any type in theory, but as form data is sent by the browser as strings, you will need to provide a function which can coerce the string representation back to a comparable object.
Select fields with static choice values:
class PastebinEntry(Form): language = SelectField(u'Programming Language', choices=[('cpp', 'C++'), ('py', 'Python'), ('text', 'Plain Text')])
Note that the choices keyword is only evaluated once, so if you want to make a dynamic drop-down list, you'll want to assign the choices list to the field after instantiation.
Select fields with dynamic choice values:
class UserDetails(Form): group_id = SelectField(u'Group', coerce=int) def edit_user(request, id): user = User.query.get(id) form = UserDetails(request.POST, obj=user) form.group_id.choices = [(g.id, g.name) for g in Group.query.order_by('name')]
Note we didn't pass a choices to the SelectField constructor, but rather created the list in the view function. Also, the coerce keyword arg to SelectField says that we use int() to coerce form data. The default coerce is unicode().
Advanced functionality
SelectField and its descendants are iterable, and iterating it will produce a list of fields each representing an option. The rendering of this can be further controlled by specifying option_widget=.
- class wtforms.fields.SelectMultipleField(default field arguments, choices=[], coerce=unicode, option_widget=None)¶
No different from a normal select field, except this one can take (and validate) multiple choices. You'll need to specify the HTML rows attribute to the select field when rendering.
The data on the SelectMultipleField is stored as a list of objects, each of which is checked and coerced from the form input. Any inputted choices which are not in the given choices list will cause validation on the field to fail.
- class wtforms.fields.SubmitField(default field arguments)¶
Represents an <input type="submit">. This allows checking if a given submit button has been pressed.
- class wtforms.fields.TextAreaField(default field arguments)¶
This field represents an HTML <textarea> and can be used to take multi-line input.
- class wtforms.fields.TextField(default field arguments)¶
This field is the base for most of the more complicated fields, and represents an <input type="text">.
{{ form.username(size=30, maxlength=50) }}
Field Enclosures¶
Field enclosures allow you to have fields which represent a collection of fields, so that a form can be composed of multiple re-usable components or more complex data structures such as lists and nested objects can be represented.
- class wtforms.fields.FormField(form_class, default field arguments, separator='-')¶
Encapsulate a form as a field in another form.
- form_class – A subclass of Form that will be encapsulated.
- separator – A string which will be suffixed to this field's name to create the prefix to enclosed fields. The default is fine for most uses.
FormFields are useful for editing child objects or enclosing multiple related forms on a page which are submitted and validated together. While subclassing forms captures most desired behaviours, sometimes for reusability or purpose of combining with FieldList, FormField makes sense.
For example, take the example of a contact form which uses a similar set of three fields to represent telephone numbers:
class TelephoneForm(Form): country_code = IntegerField('Country Code', [validators.required()]) area_code = IntegerField('Area Code/Exchange', [validators.required()]) number = TextField('Number') class ContactForm(Form): first_name = TextField() last_name = TextField() mobile_phone = FormField(TelephoneForm) office_phone = FormField(TelephoneForm)
In the example, we reused the TelephoneForm to encapsulate the common telephone entry instead of writing a custom field to handle the 3 sub-fields. The data property of the mobile_phone field will return the data dict of the enclosed form. Similarly, the errors property encapsulate the forms' errors.
- class wtforms.fields.FieldList(unbound_field, default field arguments, min_entries=0, max_entries=None)¶
Encapsulate an ordered list of multiple instances of the same field type, keeping data as a list.
>>> authors = FieldList(TextField('Name', [validators.required()]))
- unbound_field – A partially-instantiated field definition, just like that would be defined on a form directly.
- min_entries – if provided, always have at least this many entries on the field, creating blank ones if the provided input does not specify a sufficient amount.
- max_entries – accept no more than this many entries as input, even if more exist in formdata.
Note: Due to a limitation in how HTML sends values, FieldList cannot enclose BooleanField or SubmitField instances.
- append_entry([data])¶
Create a new entry with optional default data.
Entries added in this way will not receive formdata however, and can only receive object data.
- pop_entry()¶
Removes the last entry from the list and returns it.
- entries¶
Each entry in a FieldList is actually an instance of the field you passed in. Iterating, checking the length of, and indexing the FieldList works as expected, and proxies to the enclosed entries list.
Do not resize the entries list directly, this will result in undefined behavior. See append_entry and pop_entry for ways you can manipulate the list.
- __iter__()¶
- __len__()¶
- __getitem__(index)¶
FieldList is not limited to enclosing simple fields; and can indeed represent a list of enclosed forms by combining FieldList with FormField:
class IMForm(Form): protocol = SelectField(choices=[('aim', 'AIM'), ('msn', 'MSN')]) username = TextField() class ContactForm(Form): first_name = TextField() last_name = TextField() im_accounts = FieldList(FormField(IMForm))
Custom Fields¶
While WTForms provides customization for existing fields using widgets and keyword argument attributes, sometimes it is necessary to design custom fields to handle special data types in your application.
Let's design a field which represents a comma-separated list of tags:
class TagListField(Field):
widget = TextInput()
def _value(self):
if self.data:
return u', '.join(self.data)
return u''
def process_formdata(self, valuelist):
if valuelist:
self.data = [x.strip() for x in valuelist[0].split(',')]
self.data = []
The _value method is called by the TextInput widget to provide the value that is displayed in the form. Overriding the process_formdata() method processes the incoming form data back into a list of tags.
Fields With Custom Constructors¶
Custom fields can also override the default field constructor if needed to provide additional customization:
class BetterTagListField(TagListField):
def __init__(self, label='', validators=None, remove_duplicates=True, **kwargs):
super(BetterTagListField, self).__init__(label, validators, **kwargs)
self.remove_duplicates = remove_duplicates
def process_formdata(self, valuelist):
super(BetterTagListField, self).process_formdata(valuelist)
if self.remove_duplicates:
self.data = list(self._remove_duplicates(self.data))
def _remove_duplicates(cls, seq):
"""Remove duplicates in a case insensitive, but case preserving manner"""
d = {}
for item in seq:
if item.lower() not in d:
d[item.lower()] = True
yield item
When you override a Field's constructor, to maintain consistent behavior, you should design your constructor so that:
- You take label='', validators=None as the first two positional arguments
- Add any additional arguments your field takes as keyword arguments after the label and validators
- Take **kwargs to catch any additional keyword arguments.
- Call the Field constructor first, passing the first two positional arguments, and all the remaining keyword args.
Considerations for overriding process()¶
For the vast majority of fields, it is not necessary to override Field.process(). Most of the time, you can achieve what is needed by overriding process_data and/or process_formdata. However, for special types of fields, such as form enclosures and other special cases of handling multiple values, it may be needed.
If you are going to override process(), be careful about how you deal with the formdata parameter. For compatibility with the maximum number of frameworks, we suggest you limit yourself to manipulating formdata in the following ways only:
- Testing emptiness: if formdata
- Checking for key existence: key in formdata
- Iterating all keys: for key in formdata (note that some wrappers may return multiple instances of the same key)
- Getting the list of values for a key: formdata.getlist(key).
Most importantly, you should not use dictionary-style access to work with your formdata wrapper, because the behavior of this is highly variant on the wrapper: some return the first item, others return the last, and some may return a list.


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Chasing Shadows
Chasing Shadows
Craig Phillips, Swati Avasthi
"A superb novel about grief, friendship, and mental illness, mixing in graphic-novel elements and themes from Hindu mythology." —Publishers Weekly, Starred Corey, Holly, and Savitri are closer than family until a random act of violence shatters their world. A gunman shoots at their car, leaving Corey dead, Holly in a coma, and Savitri the sole witness to the crime. When Holly wakes up, she is changed—determined to hunt down Corey's killer, whatever the cost. Savitri fears that Holly is running wild, losing her grip on reality. Friends should stand by each other in times of crisis. But can you hold on too tight? Too long? Swati Avasthi delivers a riveting novel that will appeal to fans of Laini Taylor and Laurie Halse Anderson. "Haunting, mesmerizing and intense." —Kirkus Reviews, Starred "[A] visceral story of love, grief, and madness that is both action-packed and psychologically acute." —The Horn BookFrom the Hardcover edition.
Book Details
- Fiction
Age Level:
- Mature Young Adult

subset: commoncrawl


text:
Built Vs. Bought
Related Video
Quick, who wins? We're talking road-course times for the ultimate hot rodded, old ponycar versus a top-of-the-line, new ponycar. The time has come when it's a legit question. Today's hardcore Pro Touring old muscle cars have matured into serious performers without being rowdy race cars, and late-models are finally making horsepower like they really mean it. It's not like 1982, when the all-new Z28 out-cornered any old muscle car (no matter how stiff the springs or how new the KYB Gas-a-Just shocks), and the older muscle cars dominated on the straightaways (no matter how many bolt-ons you tried on your new Z28's anemic 305).
Let's see if hot rodding ingenuity can finally outcorner serious late-model muscle.
Player: '69
While the Red Devil uses out-of-the box suspension from Detroit Speed DetroitSpeed.com, Mark put his super secret tuneup on the shock valving using a shock dyno. The only other alteration to the Detroit Speed suspension--Mark swears--is the addition of a support brace for the rear Panhard-bar frame bracket. The system includes the company's complete hydro-formed front subframe as well as the rear Quadra-Link that ditches the stock leaf springs in favor of a four-link and coilovers.
Getting back to the GM parts well, the Red Devil uses ZO6 Corvette tires (Goodyear Supercar G2s in 275/35-18 and 325/30-19) and brakes with 355mm (14-inch) front discs with six-piston Brembo calipers and 345mm (13.5-inch) rears with four-piston calipers. Most miraculously, Stielow has retro-fitted GM antilock brakes to the '69 using factory parts and a few custom items of his own, and he has it totally dialed. He says, "I've given away a lot of my secrets over the years--in my book, or in magazines, or for anyone who asks--but I'm not ready to give up the key to the ABS just yet. It took way too much work. It's my edge right now." Speaking of which, you do know the grossly unfair advantage here, right? Stielow is a GM engineer and has access to all the good toys and the most knowledgeable people.
Player: '12
The new Camaro ZL1 comes from an engineering team loaded with guys who love performance. Virtually every part of the car was either reviewed or updated for use on the ZL1, offering far more than just a bigger engine stabbed into an SS. The engine is a 6.2L, supercharged LSA with 580 hp and 556 lb-ft of torque, and our test car had the six-speed manual trans. The ZL1 weighs 4,120 pounds empty, 570 more than the Red Devil. With less power and more weight, the result might be a foregone conclusion.
But that's when we get to the "far more than just a bigger engine" part. Stielow had to outrun the ZL1's sophisticated Magnetic Ride Control suspension, where the shock damping rates are adjusted in milliseconds based on sensor input about the car's attitude on the track. Combined with advanced stability controls, independent rear suspension, and larger brakes than on the Red Devil (14.6-inch and 14.4-inch rotors) the ZL1 is a serious contender. The tires are 285/35ZR20 and 305/35ZR20.
The Challenge
Our comparison involved trips around the long version (2.14 miles) of the road course at GingerMan Raceway GingerManRaceway.com in South Haven, Michigan. It's important to note that both cars were on the same Goodyear Supercar G2 tires, though the sizes differed. Our driver was Mark Stielow himself, plenty qualified thanks to years of seat time and wins at many Pro Touring shootouts. He's a driving instructor at the GM Milford Proving Ground. He has lots of experience with both cars and with the track.
But where would Stielow's allegiance fall? We asked straight out if he was going to sandbag the Red Devil to keep his job or soft-pedal the ZL1 to make himself look like a hero car builder. He swore he'd go "as hard as I can" in both cars. After ride-along laps with the author at shotgun, the competition involved one entry lap, five hot laps, and one cool-down.
See The Action Video
First off, Stielow proved he wasn't going to cheat the ZL1 guys back at headquarters. Several weeks earlier, Automobile magazine had used Alex Lloyd--an '07 Indy Lights champ who also placed Fourth at the '10 Indianapolis 500--to run the ZL1 around GingerMan in 1:44:53. Stielow went 1:42:05, a significant 2:48 quicker. Perhaps weather conditions had something to do with the difference, but Stielow put down what's probably the quickest-ever lap in a stock ZL1 at GingerMan. While we won't say Chevy cheated-up our loaner test car, we'd be surprised if it didn't make sure to send us a flawless example.
But Red Devil won, posting a best lap of 1:39:58, slapping the ZL1 by 2.47 seconds.
We also tested 60-0 braking. The cars were amazingly close: ZL1, 107.4 feet and Red Devil 107.1. Stielow says, "It shows both cars have the same tires and good ABS."
As Steilow says, "more power and less weight win the day." But there's a little more to it than that. We used GPS-based Vbox devices to plot the speed and g-forces on the cars, and they confirmed our suspicions: They performed almost the same in the corners (with an edge to the ZL1), and the higher-powered Red Devil trounced the ZL1 in the straights.
We used our infrared temperature gun to check brake and tire temps after each session. The Devil's front and rear calipers were at 275 and 155 degrees, and the ZL1s were 360 and 270. As for tires, the fronts on the '69 were 150 degrees and the ZL1's were 160 (temps were remarkably even across the tread with both cars). Why did the old car run cooler brakes and tires? It's lighter. The Red Devil was clearly the more difficult car to drive, not only because it has a lot more power but also because the suspension is not as forgiving. The ZL1 gives a lot more courage to the average driver.
Do you care about comfort and convenience? The ZL1 wins that--by a lot--although it feels like you're looking out through the slots in an armored truck compared with the visibility of the '69. The Red Devil is the tightest '69 we've ever ridden in, and we did it with the air conditioning on. It has more interior noise than the ZL1, but you couldn't possibly care because it also has one of the greatest exhaust notes ever heard.
While Stielow builds some of the most refined driving cars in the muscle-car world, they are still hot rods with hot rod quirks. At one point, the Devil had fuel-starvation because the tank was low. It also heated the intercooler more quickly, the result of overspinning the blower. Because of that, the '69 ran race gas during our test, "just to be safe because it's a really expensive engine."
Now, some bench racing. The Motor State Challenge Pro Touring competition was held at GingerMan the weekend prior to our test, but on the shorter, 1.88-mile track (one turn was bypassed). There, the Red Devil set the quickest track time for a vintage car--3.2 seconds better than the next quickest vintage racer (the '69 Camaro driven by Kyle Tucker from Detroit Speed) and also quicker than 26 of the 28 late-model cars on site. Of course, a huge part of that was driver skill. Now check this out: On the 2.18-mile course used on our test day, the ZL1 ran quicker than 28 of the 93 cars that were timed on the 1.88-mile version of the GingerMan track. Hence our bench-racing conclusion: The ZL1 has the capability to outrun nearly any old Pro Touring car. Except the Red Devil.
Let's talk money. You're not going to get a ZL1 for less than about $57,000. Meanwhile, Stielow tried to tell us the Red Devil could be built for around $100,000 in parts. We called BS, and he eventually admitted we weren't jerks for claiming $200,000 to $250,000. Take your new ZL1 to Lingenfelter and spend, oh, $13,000 to make 720 hp, and you're right there with the Devil for a price difference that gives you enough change to buy two or three more ZL1s. But does that make you cool?
Practicality: ZL1. Style and speed: Red Devil.
What's G-Force?
G-force is gravitational force, which is a measurement of an object's acceleration compared to that of free fall, and therefore tracks only the acceleration resulting from forces other than gravity. However, the measurement is expressed as a multiple of the effects of standard gravity. Positive g-force makes you feel heavier; negative g-force makes you feel lighter (like going over the top of a hill on a rollercoaster).
The Stielow Legacy
Any Pro Touring fan knows Mark Stielow as the hero of the movement; he even claims to have named it. He also wrote the 212-page book about it (shown here), which you can buy at MarkStielow.com. He's built Camaros often and well, so we've shown the progression of the famous ones here. He's also the man behind the Quadra-Duece (a heavily hyped, all-wheel-drive '32 Ford that, through changes of owners, was never completed according to Mark's vision), and his one Chevelle (Malibu)--a '64 called Malitude.
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text:
Army vs Stanford F
Stanford defeated the Army Black Knight's 34-20 at Michie Stadium at the United States Military Academy in West Point, NY on Saturday, September 14, 2013Read More
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text:
HJ Series Jaw Crusher
Mining Machines overviews
According to the actual needs of customer, on the basis of introducing and absorbing advanced technology at home and abroad, our company designs a modern high performance crusher, HJ series high efficiency jaw crusher. It is based on the design concept of low input - high output, integrating the characteristics of low power - high productivity. Practice has proved that HJ series jaw crusher, with its excellent performance, reliable quality and high cost-effective, has won the trust of customers around the world, being an ideal upgrade alternative of the traditional jaw crusher
Learn More About Peter&X® HJ Series High Efficiency Jaw Crusher
1. High Performance. The model has a large output, by the optimization of the trajectory of movable jaw plate and the cavity, to determine the optimum engagement angle and stroke property values, so that the productivity of this model has risen considerably with the same power.
2. High stability. By the optimization of the whole structure and the counterweight section to determine the structure of flywheel and driving wheel and the weight of counterweight section, so its function of vibration has been greatly improved. Compared with the same unit jaw crusher, HJ series possess a greater stability.
3. High reliability. Heat-treated forged eccentric shaft, extra large bearings, "E" frame, labyrinth seals, etc, making equipment sturdy and durable, more reliable.
4. Easy maintenance and operation. Advanced side fender bolt system makes the replacing of the side shield more faster; reasonable machine structure makes it more convenient for discharge setting and replacement of toggle plate. All this can effectively shorten the operation and maintenance time.
5. Wide application. HJ series jaw crusher has a compact structure, compared with the same unit jaw crusher, it possess a smaller footprint. So that it can play a greater role in the limited space to suit a variety of crushing process.
Working Principle
HJ series high efficiency jaw crusher is composed by the parts of frame, rotor, insurance device and adjusting device of discharging opening. And the supporting parts are lubrication system, and adjusting system. Motor drives the wheel by triangular belt, and then drives eccentric shaft to move the moving jaw, when moving jaw moves moving jaw plate to fixed jaw plate, the materials are crushed or chopped. When moving jaw plate that is driven by moving jaw keeps away from fixed jaw plate, the crushed materials are discharged from the discharging opening, which is under the jaw plate. Along with the continuous rotation of motor, the crusher crushes and discharges periodically.


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Win a custom Chrome messenger bag as this week's prize for Free Fridayz. You can only win if you get your drawing in by Fri afternoon.
This week's theme: "AAAAAAAAhhhhh Holes"
~email yours to freefridayz (at) fecalface.com, and be sure to include the words "Fecal Face" (NOT in photoshop) on your drawing so we can insure it's actually yours.
Arlin Ffrench from Vancouver got thier drawing in


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Ohio State University chemists and their colleagues have created a new material that overcomes two of the major obstacles to solar power: it has an absorption spectrum that closely matches that of the solar spectrum, and it generates long-lived excited electrons that should allow solar cells to generate electricity more efficiently.
To design the hybrid material, which combines electrically conducive plastic with metals, including molybdenum and tungsten, the chemists first explored different molecular configurations using the high performance computing systems at the Ohio Supercomputer Center. Then, with colleagues at National Taiwan University, they synthesized molecules of the new material in a liquid solution, measured the frequencies of light the molecules absorbed, and also measured the length of time that excited electrons remained free in the molecules.
The chemists found that the new hybrid material emits photons in two different energy states — one called a singlet state, and the other a triplet state. While both energy states are useful for solar cell applications, the triplet state lasts much longer than the singlet state — which improves the ability to harness their power, explained Malcolm Chisholm, Ph.D., distinguished university professor and chair of the department of chemistry at Ohio State.
At this point, the material is years from commercial development, but Dr. Chisholm added that this experiment provides a proof of concept — that hybrid solar cell materials can offer unusual and beneficial properties.
Project lead: Malcolm Chisholm, Ph.D., The Ohio State University
Research title: The remarkable influence of MM delta orbitals with oligothiophenes
Funding sources: National Science Foundation & Ohio State's Institute for Materials Research, together with Wright Center funding for photovoltaic initiative for commercialization


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Go forward in time to October 2012.
On Friday I landed into Epiphany master the first iteration of a new feature that us the Igalia webkit hackers and the GNOME design team have been collaborating on for a while. We codename this feature the overview but, in its first iteration, you can think more of it as a speed dial for new pages, that will allow you to quickly jump to the pages you frequent more often when opening a new tab or window.
This will certainly be the most prominent new feature of Epiphany in GNOME 3.6, and we believe you'll love it. Personally, I think that this is a huge usability improvement, but I'm much more excited about the possibilities this brings from here on. For 3.8, our plans are more ambitious, but I guess that we will talk more about it when the time is due.
Go backwards in time to August 2012.


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Wondering what trends Fall 2011 will bring? From retro bombshell hair to metallic lids and lips, this season beautifully blends classic and modern. Elle teaches you how to master the season's hottest hair and makeup.
Metallic Touches with Matte Skin
Dab cream shadow onto the inner corner of eyes for a brightening effect, or pat an icy-hue powder over crimson lips. "The silver gives that metallic finish, and the red warms it up—more sensual and feminine," says Estée Lauder creative makeup director Tom Pecheux. Matte skin makes ethereal touches stand out. Combat unwanted shine with pressed powder and blotting papers.
Statement Blush with Nude Lips
Focus color on the apples and cheekbones (above the jawline could be mistaken for an unfortunate rash), and stick to a pink hue—mauve or bronze shades aren't as "youthful," says McGrath. Nude lips give an artful contrast to exaggerated blush and "keep the focus on the skin."
Navy Nails with Rounded Tips
Since dark shades show wear and tear faster than a neutral tone, prep nails with a base coat. "It gives the polish something to adhere to so it won't chip as quickly," says Mike Potter, creator of Knock Out Cosmetics, who used the shade backstage at DKNY's New York show. Bonus: A base prevents the polish from staining the nail.
The 'Hitchcock' Bouffant with a Side Part
Prep wet hair with a volumizing spray, then blow-dry. Back-comb (and comb and comb) at the crown for desired height, then coil into a French twist, securing with pins. A side part gives a "'60s feel, yet stylized," says Guido Palau, Redken creative consultant. GET THE REST HERE!
Rihanna's Best Hairstyles [PHOTOS]
Your Guide To Wearing Nude Makeup
Rest In Power: Notable Black Folks Who We've Lost In 2023
Ime Udoka's Alleged Mistress Revealed As 34-Year-Old Married Mormon Kathleen Nimmo Lynch
Love Triangle: Remy Ma Seems Unfazed By Cheating Allegations [WATCH]
Anthony Anderson Ordered To Pay Ex-Wife $20K A Month In Spousal Support, Social Media Chimes In
The Streets Think Remy Ma Allegedly Cheated On Papoose With A Battle Rapper
Nia Long Name Drops Ime Udoka's Alleged Mistress & Slams Boston Celtics
Tight Ends: Miami Dolphin Tyreek Hill Wants To Become Porn Star After Retiring, Social Media Has Thoughts
Dwyane Wade Says It Was Difficult To Open Up To Gabrielle Union About Being Unfaithful


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Job Information
Deloitte International Tax, Manager, Value Chain Alignment in New York, New York
Are you a strategic thinker with first-hand knowledge across a variety of industries? Do phrases like "global effective tax rate reduction" and "efficient global cash utilization" peak your interest? Do you enjoy providing international compliance and consulting services to U.S and foreign multinational clients while identifying complex tax issues? If you answered "Yes" to any of these questions, you should consider a career in Deloitte's International Tax Services practice.
What you'll do
As a Tax Manager, you will work within an engagement team and draw on experience in accounting and taxation. You will provide tax compliance and consulting services to multinational clients on the tax implications of their international operations; and you will identify complex tax issues and provide tax analysis and recommendations for these entities and their affiliates.
Responsibilities will include:
Assisting clients with their implementation of specific international tax structures and processes
Overseeing complex tax computation projects for clients in diverse industries
Researching and preparing materials for consulting projects related to tax planning considerations
Providing leadership, counseling, and career guidance for the development and motivation of the engagement team
Supervising Senior and Tax Consultants
The Team
At Deloitte Tax LLP, our International Tax team helps multinational clients with their global tax planning and compliance needs. We offer a full-range of tax services and work collaboratively to help clients meet the challenges of a rapidly evolving market and regulatory environment. Our team members are highly-knowledgeable and have diverse backgrounds in transactional analysis and support, compliance and planning for inbound and outbound businesses, supply chain and intellectual property advising, transfer pricing, transformative business modeling, and more. Join us, and help clients optimize their tax functions and take strategy to the next level. Learn more about Deloitte International Tax.
Qualifications Required:
5+ years of experience providing tax planning services or preparing and reviewing client work, preferably with a focus on international taxation
Bachelor's degree in Accounting, Finance or other business-related field
Previous Big 4 experience, public accounting or consulting experience
Ability to travel 25%, on average, based on the work you do and the clients and industries/sectors you serve
One of the following accreditations obtained:
Licensed CPA in state of practice/primary office if eligible to sit for the CPA
If not CPA eligible:
Licensed attorney
Enrolled Agent
Other - foreign equivalent of the above and various tax technology accreditations may be acceptable based on business review and approval
Experience participating in strategic planning initiatives
Experience working in a fast-paced, team environment
Strong research and verbal and written communication skills
Strong executive presence
The wage range for this role takes into account the wide range of factors that are considered in making compensation decisions including but not limited to skill sets; experience and training; licensure and certifications; and other business and organizational needs. The disclosed range estimate has not been adjusted for the applicable geographic differential associated with the location at which the position may be filled. At Deloitte, it is not typical for an individual to be hired at or near the top of the range for their role and compensation decisions are dependent on the facts and circumstances of each case. A reasonable estimate of the current range is $111,090 to $235,170.
You may also be eligible to participate in a discretionary annual incentive program, subject to the rules governing the program, whereby an award, if any, depends on various factors, including, without limitation, individual and organizational performance.
All qualified applicants will receive consideration for employment without regard to race, color, religion, sex, sexual orientation, gender identity, national origin, age, disability or protected veteran status, or any other legally protected basis, in accordance with applicable law.


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Today, the Tacoma News Tribune takes a long look at the blossoming friendship between Ichiro and Ken Griffey Jr. Among the many touching revelations: Griffey will tickle Ichiro until he calls out what one might describe as a safe word.
Ichiro is apparently happy for the first time in years, and if the News Tribune's Larry LaRue is to be believed, this has a lot to do with Ken Griffey Jr. and his magic fingers:
Ichiro Suzuki spreads a towel on the carpeted floor in front of his locker, lies on his back and begins doing stretching exercises. From Ichiro's blind side, Ken Griffey Jr. pounces, gets his hands deep under Ichiro's armpits and digs in with his fingers.
Ichiro's laughter is almost childlike – genuine and uncontrolled – and after about five seconds he screams the magic word to make Griffey stop.
Junior stands up, walks back to his locker and sits down. Ichiro lies quietly for a moment, letting his body relax, then goes back to stretching as if nothing had happened.
"He's the only teammate I would ever let do that. In Japan, all relationships are respectful, so no one would ever do that to me," Ichiro said. "If someone else did it here, I'd probably punch them in the face."
Their relationship is secure enough that Griffey can offer frank appraisals of Ichiro's looks:
Each day when Ichiro enters the clubhouse in street clothes, Junior goes through a five-point rating process.
"I'd wear that shirt," he said in Denver. "The pants, no. That belt? No. Shoes? Yeah, I might wear those. But that man purse? No (bleeping) way. You're 2-for-5 today."
And then there are all the long, lingering looks into each other's eyes:
Griffin, the trainer, said walking through the clubhouse in that final hour before a game, Ichiro and Junior can be a bit unnerving.
"Sometimes they'll each be at their locker, just staring at one another," he said.
Ichiro, at 35, is putting up the best numbers of his career, a fact that some attribute to that reliable chimera, clubhouse chemistry. It's a lot of nonsense, of course, but there's something intriguing about the idea that Ichiro is hitting a robust .360 because he at last has a teammate to tickle him.
A happier Ichiro? Mariners can thank Junior [News Tribune, via Enjoy the Enjoyment]


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Silverhill Communities
Silverhill is a small town located along Highway 104 and County Road 55, offering quality living in a rural area between Robertsdale and Fairhope. The town is known for the Wales West Light Railway, which is a popular attraction for families looking for a quick afternoon excursion on a replica mountain railway. Silverhill is part of the Baldwin County Public Schools system, but only has one local school, Silverhill Elementary School. Central Baldwin Middle School and Robertsdale High School are a 5-minute drive from the center of Silverhill.
Several local shops and restaurants are situated along Highway 104 at the intersection of County Road 55, giving this area an historic, downtown feel. The area is also home to Navy Outlying Field Silverhill.


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To learn more about our services, call us at 864-707-5560 or 864-621-9242 or request a quote by clicking below:
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[page 1480, column 2, continued:]
THERE is something to be said in palliation of Poe's intemperance in drink. His natural sensitiveness, his excessive love of approbation, his domestic afflictions, and his constant struggle with poverty, were causes which sometimes might have driven him to drink. He himself urges that one of these things, his wife's serious illness, was the cause; but he had been guilty of these excesses at Richmond and elsewhere when his wife was in perfect health. I think that poverty and the recklessness it sometimes engenders had more to do with this defect. Drunkenness, undoubtedly, is very frequently the cause of poverty, but poverty sometimes leads to drunkenness. Poe never received one-half what he deserved for the best of his productions, and his masterpiece, "The Raven," only brought him thirty dollars, when any of our leading magazines of the present day, were it offered now for the first time, would consider it cheap at a hundred. It must be considered, however, that the prices paid at that time for literary work of excellence were not one-half, and scarcely one-quarter of that given now for productions of merit. The taste of our people has enlarged with it. On the other hand the cost of living then was much less than now.
But while his occasional lapses from sobriety may be readily excused, his constant mendacity and deceit are capable of only one explanation. The intellectual faculties of Poe overbalanced all the rest, and the animal faculties dwarfed the moral. A reference to [column 3:] some of his acts will show that he had little sense of right and wrong whenever need or resentment provoked him, and could no more be held responsible for many things that he did, than could a lunatic or an idiot. His audacity in asserting that I had borrowed money from him from time to time when he, poor fellow, rarely received five hundred dollars a year for his work, and I, especially at the time he lays his charge, was in receipt of a large salary and perquisites from official sources, when all our common acquaintances knew the facts, shows that he was perfectly reckless in his statements — a recklessness only excusable on the ground of moral idiocy. Two instances selected out of others are quite enough, as in these he himself furnishes the evidence.
One of these was his obtaining under a false pretense, through Griswold, a sum of money from the publishers of the latter's book, "The Poets and Poetry of America." One day in Philadelphia Poe met me, and said: "I have a good joke on Griswold"; and then proceeded to detail it. "I told him," said he, "that I thought he had made a capital book of his 'Poets and Poetry of America,' and I'd like to write a favorable review of it; but I was pressed for money, and couldn't afford the time. He bit at the bait like a hungry gudgeon, and told me to write the notice, and as his publishers could use it he would pay for them my price. So I wrote, and handed it to him, and he paid me."
"Well?" I asked; for I saw nothing in that but one of the tricks of the trade.
"I knew he wouldn't read it until he got home," continued Poe; "but I should like to have seen his face when he did."
"Wasn't it favorable, then?"
"Favorable? Yes, to the amateur in scalping. I abused the book and ridiculed him, and gave him the most severe using up he ever had or ever will have, I fancy. I don't think he'll send that to his publishers; and I'm quite sure they wouldn't print it if he did."
"It is a good joke — of its kind," was my answer. "You did not keep the money?"
"Keep it? No, indeed; I spent it at once."
In a letter written to F. W. Thomas in 1842 (vide Woodberry's book, page 175) he says of this transaction:
"About two months since we were talking of the book when I said I thought of reviewing it in full for the Democratic Review, but found my design anticipated by an article from that ass O'sullivan, and that I knew no other work in which a notice would be readily admissible. Griswold said, in reply: 'You need not trouble yourself about the publication of the review should you decide on writing it, for I will attend to all that. I will get it in some reputable work and look to it for the usual pay, in the meantime handing you whatever the charge would be.' This, you see, was an ingenious insinuation of a bribe to puff his book. I accepted his offer forthwith, and wrote the review, handed it to him, and received from him the compensation, he never daring to look over the manuscript in my presence, and taking for granted it was all right. But the review has not yet appeared, and I am doubtful if it ever will. I wrote it precisely as I would have written under ordinary circumstances, and be sure there was no predominance of praise."
He evidently had not the slightest notion that he had been doing a dishonorable thing, even according to to his later version of the matter.
The Boston affair shows his lack of moral perception in a yet stronger light. He came to my room one day in the autumn — if my memory serve me right it was in October — looking so haggard and with such lack of his customary neatness, that I saw he had been on a drinking bout, and taxed him with it. He admitted the truth of the charge, averring that he would never be guilty of it again, but said he was in sore straits. He told me that he had been invited to deliver an original poem in Boston, for which he was to be paid, and had not written a line of it. I advised him to write and postpone the matter on the ground that circumstances had prevented him from carrying out the contract, and go to work to complete his task. He replied that he wanted the money; and when I told him he couldn't expect it until he earned it, said he had thought of a plan, and so went off. The next thing I heard was through the Boston papers that he had delivered an old printed poem instead of the one expected, and that he had let out the fact afterward over some wine. Lest there be some doubt as to the facts, I give Poe's own statement, extracted from an article in The Broadway Journal of November 1st, 1845, as follows:
"Still, with their vile ingratitude staring us in the eyes, it could scarcely be supposed that we would put ourselves to the trouble of composing for the Bostonians [page 5, column 1:] anything in the shape of an original poem. We did not. We had a poem (of about five hundred lines) lying by us — one quite as good as new — one, at all events, that we considered would answer sufficiently well for an audience of Transcendentalists. That we gave them; it was the best that we had for the price, and it did answer remarkably well. Its name was not 'The Messenger Star' — who but Miss Walters would ever think of so delicious a little bit of invention as that? We had no name for it at all. The poem is what is occasionally called a 'juvenile poem,' but the fact is it is anything but juvenile now, for we wrote it, printed it and published it before we had fairly completed our tenth year. We read it verbatim from a copy now in our possession, and which we shall be happy to show at any moment to any of our inquisitive friends.
"We do not ourselves think the poem a remarkably good one; it is not sufficiently transcendental. Still, it did well enough for the Boston audience, who evinced characteristic discrimination in understanding, and especially applauding, all those knotty passages which we ourselves have not yet been able to understand. As regards the anger of the Boston Times and one or two other absurdities — as regards, we say, the wrath of Achilles, we incurred it, or rather its manifestation, by letting some of our cat out of the bag a few hours sooner than we had intended. Over a bottle of champagne that night we confessed to Messrs. Cushing, Whipple, Field and a few other natives — who swear not altogether by the frogpond — we confessed, we say, the soft impeachment of the hoax."
A similar instance was his engagement before that time to deliver a poem before a New York society at a certain date. In this case a fit of intoxication lasting some time prevented him from fulfilling his engagement. I think in this, however, he did not receive money in advance for neglected work.
Another instance of this same lack of a sense of right and wrong, of which I was the victim, might be given; but enough has been written to show that Poe, from the defects in his moral constitution, must be relieved of responsibility for many of his crooked actions. As a poet, Poe stands, in the narrow line which he voluntarily chose, and to which his genius was particularly fitted, facile princeps among his contemporaries. In his "Coliseum," and one or two earlier minor pieces, he showed power in a path which he abandoned. As a prose writer, he entered a gloomy and morbid line, and showed masterly skill in developing the darker shades of human motive and action. While he strongly enough showed some appreciation of such poems as the "Florence Vane" of Phillip Pendelton [[Pendleton]] Cook, and the "Old" of Ralph Hoyt, he had no love for productions in general that arouse the tender feelings or elevate the heart of humanity. His dislike of Longfellow's work was possibly prompted by jealousy; but his distaste of Burns was because of the strong contrast between the latter and himself. He carried this so far as to assert in one of his criticisms that Burns had written nothing which any magazine of the time would accept. That might have been true then, but is not true now. If "Tam o' Shanter" and the "Cotter's Saturday Night" were offered in manuscript for the first time at the present day, no editor of a leading magazine would suffer either to leave the office. Burns wrote for all humankind. He had pathos, tenderness and a love for his fellow-men. His humor was without malice, and his wit without venom. Poe wrote for a few. His work was in the fantastic, the weird and the terrible; and he had no sympathy with human beings. His malice was without humor, and his venom without wit.
Of the, domestic life of Poe, which while in Philadelphia I had ample opportunity of observing, I have nothing to say. I was a guest. But I never visited his house while in New York, and, except on one or two occasions, never called on him in that city. He visited me frequently at my room, however, as I have before stated. I would gladly have whitened his memory if it had been possible; and as it was not would have given him the charity of silence. The attacks of his injudicious friends upon me have forced me to this partial exposition of his life; but I have suppressed much, because I did not consider any more was necessary for my own vindication. Had I not been assailed, Gill and the rest of them might have made an apotheosis of mendacity, meanness and ingratitude without any remonstrance from me.
Since writing the above, I submitted the manuscript to Mr. Lane, in order to be sure that I had given accurately these facts, especially in regard to the closing of The Broadway Journal, with which that gentleman was familiar. The manuscript was returned, with the following note, which I submit to the reader:[column 2:]
ELIZABETH, N. J., July 23d, 1896.
My dear English: — I have carefully read the paper you handed me, relative to your troubles with Mr. Edgar A. Poe, or rather with his biographers and critics, as well as with himself. With a positive knowledge of much which it contains, and floating memories of other portions, I do not hesitate to indorse it as correct, and, under the circumstances surrounding the case, quite gentle in tone.
For a long time, and especially during our combined New York experiences, you had the capacity of being a perfect irritant to Mr. Poe, especially when the poet was lost in the inebriate. When entirely himself, and free from the grip of his enemy, such a condition was not apparent, for then he was gentle and respectful to you as to his other acquaintances and friends. How often he has rushed into my room, excitedly exclaiming, "Where is English? I want to kill him." Fortunately, on these many occasions you were employed in your Custom House duties, and easily escaped assassination; not that I supposed you were in any real danger from the exasperated poet, who had no weapon with him but his tongue, which, tho bitter enough when he chose to let it loose, could not "kill." Naturally I objected to having my apartment the place for a scene of violence, and was pleased that you were out of the way, nor did I wish for the discomfiture of Mr. Poe; for I felt assured that in the event of a personal conflict the odds were all against a favorable result for the author of "The Raven," an assurance justified by a subsequent experience, when he was severely and properly punished for his maudlin desire to attack you. His animosity to you was developed by a criticism you had published on something he had written which criticism was decidedly spicy, and he, tho fierce almost to the verge of brutality upon the writings of others, could not patiently endure antagonistic opinions on his own productions. You will probably remember how our warm-haired poetic friend of Philadelphia, Henry B. Hirst, gave Mr. Poe mortal offense by his parody on "Never Seraph shook a Pinion over Fabric half so fair," by changing it as follows: "Never nigger shook a shinbone in a dance-house half so fair," etc. Hirst never regained the regard of Poe after this flippant use of one of his poetic gems.
All the incidents connected with my short experience with The Broadway Journal are truly stated, as far as my memory recalls the unimportant events of half a century ago.
Altho it is proper for you, my old friend, to defend your reputation, even at the expense of others, I most sincerely regret that, at this late day, the weaknesses of that distinguished writer should be brought again to public notice. I could add much to the slime which has flowed over his memory, but will not. His friends, many of whom knew nothing of him, except by his writings, have been injudicious, and have tried to bury his transgressions in the supposed wrong-doings of some of his contemporaries, thereby arousing defenses, which, as in your case, keep the memory of his ill-doings alive and to the front. In thinking over the failings of Mr. Poe, much consideration should be given to the difference in the circumstances of his youth and those of his later years. During the period when his only resource was his pen, which gave him but small returns, his wants were largely in excess of his ability to procure what they demanded, and, no doubt, the misery arising from this cause drove him to submerge his troubles in that which made his manhood disappear, and brought to life all that was ungentle in his nature. The character of his writings was such that he could not rapidly produce, which in conjunction with the then low prices attainable for literary work kept him continually on the rack of poverty. It is not difficult to be decently gentle and agreeable in prosperity, but to face smilingly the aggravations of want is not possible to many natures, and surely was not to his.
The page numbers reflect the numbering within the volume, and are given within parentheses. Page numbers are also given within the issue, making page 1480 equivalent to page 4, and 1481 to page 5.
[S:1 - IND, 1896] - Edgar Allan Poe Society of Baltimore - A Poe Bookshelf - Reminiscences of Poe [Part 04] (T. D. English, 1896)


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Stix Sport Headlight
Stix Sport Headlight
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Regular price MSRP 250.00
Regular priceUnit price per
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0 - Available
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The benefits of versatile lights for use at night or during the day are huge, and with the Stix Sport headlight, youÕll enjoy a strong, bright light to guide you at night, while receiving the peace of mind that you get from a light that beefs up your daytime visibility and safety. This tiny headlight packs a big punch, with 70 lumens of wide-angle light that can be seen from multiple directions. Its six light modes provide multiple options for day or night, while runtime is up to 14 hours, depending on the mode you choose. The Stix is easily and conveniently charged via USB.


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"I am committed as I have been previously to bringing the power of belief in the artist back to the forefront.
I share a unique view of an artist and as well as the business of music. I, with the help of many others, have ran a successful business for the last five years in the midst of the "Digital Change." My concentration and effort will be to the artist to succeed in their dreams and goals. I've been a part of watching and participating in the success of many great women and men including Beyonce, Rihanna, Jay-Z, Kanye West, Mariah Carey, Celine Dion to name a few. Music means more than just a download, it's life to the culture and also the people who listen. This is a new exciting yet critical time for music – 'You Meet Change with Change!'"


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ARIES (March 21 to April 19) You might feel bolder as each new success falls into place. But caution is still advised through the end of the week. Until then, a step-by-step approach is best.
TAURUS (April 20 to May 20) That cooperation you request could come at too high a price. Since few can beat the Bovine at being clever and resourceful, why not see what you can do on your own?
GEMINI (May 21 to June 20) Aspects favor a quieter time spent getting closer to the people who are especially important to you. There's always much more to learn and appreciate about each other.
CANCER (June 21 to July 22) The concerned Crab will act to resolve workplace misunderstandings before they get out of hand and cause more-serious problems. Co-workers rally to support your efforts.
LEO (July 23 to August 22) What the Big Cat might see as a disturbing act of disloyalty might just be a failure of communication on both sides. Take time for mediation rather than confrontation.
VIRGO (August 23 to September 22) Be more patient with those who seem unwilling to accept your version of what's right. The fact is, there's a lot more to learn on all sides of this issue.
LIBRA (September 23 to October 22) It should be easier to assess the facts you'll need to make an important decision. But don't commit if you still have doubts. There could be more you need to know.
SCORPIO (October 23 to November 21) Your excitement level remains high as you continue working on that new project. Expect some setbacks. But on the whole, all will move pretty much on schedule.
SAGITTARIUS (November 22 to December 21) It might be wise to be more prudent with expenses right now. But your financial situation should soon clear up, and you could be back shopping, happily as ever.
CAPRICORN (December 22 to January 19) You might prefer sticking with your current schedule. But some newly emerging information could persuade you to consider a change. Keep an open mind.
AQUARIUS (January 20 to February 18) You might want to reject a suggested change. But it could be wise to go with the flow, at least for a while. You can always return to your first plan if you like.
PISCES (February 19 to March 20) You're bolstered by both the practical and poetic sides of your nature as you maneuver through some unsettled emotional situations. Things ease up by week's end.
BORN THIS WEEK: People reach out to your generosity and wisdom, and consider you a trusted and treasured friend.
© 2013 King Features Synd., Inc.


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26 may 2011
The Chocolate Watch Band
by Bruce Eder
Back in the mid-'80s, the Chocolate Watchband were trapped in an odd paradox (which actually wasn't that bad a place to be for a band that didn't exist anymore). They hadn't played a note together in almost 15 years, but their original albums were changing hands for $100 apiece or more, and a series of vinyl reissues, first as bootlegs from France and later legit ones from Australia, were selling around the world, and in numbers that only increased as more people had a chance to hear them. What's more, the group's sound was starting to be emulated in the work of then-current bands, playing obscure clubs in places like New York's Chelsea district and other locales as far east as the District of Columbia, made up of teenagers who were too young ever to have seen or heard the Watchband play, and living 3500 miles east of where the Watchband played out its existence, and most of its gigs, two decades before. The group had reached this paradoxical situation -- non-existence juxtaposed with a burgeoning cult of admirers around the world -- simply by being the best garage band of the '60s; or, at least, the best one ever to have had a serious recording career.
Indeed, they were a unique phenomenon -- based on their recordings, they were a world-class garage punk act, if that's possible, beating the Ramones to the punch by a decade, and showing more consistency than, say, the Litter, and more originality and range than the Shadows of Knight. While American bands of the period usually either detoured into folk-rock on their way to more elusive flights of languid psychedelia, or fell back on gimmicks and dumbing down their image (à la Paul Revere & the Raiders) to sell records, the Watchband retained an amazing purity of purpose and intent -- they owed a considerable (and undeniable) debt to the Rolling Stones for various elements of their sound, but they kept pushing the envelope, at least in intensity, and may even have matched the Stones in their psychedelic ventures when the time came to ante-up musically; they were like the Stones imbued with the more reckless and creative spirit of the Pretty Things. And in another reality, with their intensity and purposefulness -- lead singer David Aguilar can still stir listeners on his best records 40 years later -- the Watchband might've been America's Rolling Stones. They had the sound to do it -- and left behind a buzzsaw-textured rendition of one classic Bob Dylan song, and even gave the Kinks some serious competition with their cover of Ray Davies' "I'm Not Like Everybody Else" -- but not the breaks. Indeed, no sooner was the group out of the starting gate when they were compromised and then done in by a combination of internal conflicts and managers and producers with their own agendas. So this world-class act didn't find a concert audience outside of California for 30 years, and never charted a record nationally, and if you ask most casual '60s rock fans about them, you'll probably get little more than a blank stare. In fact, most will probably remember their AVI Records labelmates the Standells more clearly, because they actually managed to chart a few singles, even though they were a lesser band.
The Chocolate Watchband got its start at Foothill College in Los Altos, California in 1965, when guitarists Mark Loomis and Ned Torney -- both ex-members of the Chapparals -- joined in a fledgling outfit that later included Danny Phay (vocals), Rich Young (bass), Jo Kemling (organ), and drummer Peter Curry (soon succeeded by Gary Andrijasevich). This early Los Gatos-based version of the Watchband emerged in 1965, just as the British Invasion was starting to crest, and, with their raw, lean sound built on British Invasion-style R&B and pop/rock, achieved great popularity at the college and the surrounding area. They never made any official, commercial recordings, but a pair of demo tracks that surfaced in the '90s reveals a solid performing unit with some inspired playing -- especially on the lead guitar -- and an attractive if not necessarily bracing overall sound, and a lot of potential. Most of the latter seemed destined to be unrealized when Torney and Phay took an offer from a rival group -- the Otherside, which had formed out of an earlier band called the Topsiders -- and abandoned the original Chocolate Watchband, with Kemling following their lead. Loomis found a temporary berth with a very busy surf band called the Shandells, but wanted to play to an audience older than the pre-teens who attended their shows; he also saw no reason why he couldn't take another run at success, especially as the exiting members had made no attempt to keep the Chocolate Watchband name -- he got Andrijasevich back, and recruited ex-Topsider guitarist Sean Tolby (who'd also been left high-and-dry by the personnel switch), and then grabbed the Shandells' bassist Bill Flores. That still meant finding a lead singer to replace Phay, and it was just about then that he discovered David Aguilar, who was (nominally) a biology major at San Jose State University -- Aguilar also sang like a punk god, had a stage presence to rival Mick Jagger, excellent musical sensibilities, and could even write songs.
Thus was reborn the Chocolate Watchband in the spring of 1966, and what re-emerged was a much more powerful and impressive unit. They didn't play in front of people until they'd done some crash development of a proper stage act in Loomis' garage. They hit the ground running, playing the best white R&B-based rock heard anywhere this side of London, with a stage act that rivalled that of the Rolling Stones for excitement (and wasn't hurt by the presence of Brian Jones-lookalike Sean Tolby on rhythm guitar). The fact that they played Vox instruments only helped, making them look incredibly cool and their music -- already very potent -- sound like little else that was being heard around the Bay area. They secured the services of a manager who, in turn, got them signed to Green Grass Productions, a company co-founded by ex-Four Preps vocalist Ed Cobb, which had a recording deal with Capitol Records by way of the latter's Tower Records subsidiary. They played gigs with the early Jefferson Airplane and Big Brother & the Holding Company, and looked to be headed for that same level of possible success that those acts were already seeing. There was one false start, however, in the form of their debut single, "Blues Theme" -- an instrumental written by Mike Curb and originally cut by Davie Allan & the Arrows for the movie The Wild Angels -- it was getting radio play, but the original label had declined to issue a single on it, so Cobb and company jumped in with the Watchband, rush-releasing their version to try and grab some sales and attention -- the record was credited to the Hogs, owing to the tune's being associated with a biker movie, and the presence of the sound of a Harley on it; though they couldn't have known it, this wouldn't be the last time that the Watchband's identity was an issue on their records; and for reasons that seem bewildering, it came out on the kid-oriented Hanna-Barbara Records label, home of soundtracks to The Flintstones and other cartoons. The presence of the delightfully bizarre, satiric Zappa-like "Loose Lip Sync Ship," credited to Aguilar and Loomis as composers, on the B-side, only added a final piece of weirdness to the puzzle of that first release. The single never charted, but it was still a good record, and not a bad beginning.
The band was playing locally to bigger audiences and for larger fees than ever by the fall of 1966, and it was around that time that events around them were to help create ripples in their career. That summer, the district in Los Angeles known as the Sunset Strip -- renowned in the '40s and '50s for nightspots like Ciro's and, later, Dino's (owned by Dean Martin and immortalized in the TV series 77 Sunset Strip), but more recently home to clubs featuring rock & roll, including the Whisky A-Go-Go -- saw a massive influx of teenagers and younger twenty-somethings, with long hair and attitude; they were a long way from the '50s habitues of the area's nightspots, and their presence led to a decision by the police and L.A. County Sheriff's office to crack down on nighttime activities. That, in turn, led to a series of escalating conflicts between cops and teens throughout the fall of 1966, culminating in a violent confrontation at a club called Pandora's Box, where rocks and garbage were thrown, people on both sides were hurt, and property was damaged. That incident made the news and led to the closing (and bulldozing) of the club -- whose luckless owners probably hadn't paid enough money to the right local officials -- and the whole event made it into song and popular culture in the context of protest music, Stephen Stills penned his wryly ironic, vaguely ominous "For What It's Worth," which was duly turned into a hit by Buffalo Springfield, and on a cheesier but more visceral level, American International Pictures generated the film Riot on Sunset Strip, an exploitation movie par excellence rushed out to theaters in early 1967. The Standells (who were also managed by Cobb and Green Grass) provided the title song, and the Chocolate Watchband turned in a couple of excellent numbers, "Don't Need Your Lovin'" and "Sitting There Standing," and managed to appear in the movie, which has since become a '60s cult classic.
Everything seemed to be moving in the right direction, including a second single, "Sweet Young Thing" b/w "It's All Over Now, Baby Blue," that oozed excitement and punk defiance. The A-side, authored by Ed Cobb, was as salacious as anything that the Rolling Stones or Them had ever issued, and even had the temerity to half-quote the central sitar riff from the Stones' recent single "Paint It Black," while Aguilar seemed to sum up the searing passions of the Stones' 13-minute "Goin' Home" in just three minutes, and mostly the last 30 seconds of the song -- with every instrument on the record seemingly cranked up to 11 and over-mic'ed, it was a larger-than-life performance issued on Tower's subsidiary Uptown label in December of 1966; the A-side was supported by a rendition of Bob Dylan's "It's All Over Now, Baby Blue" that used Them's arrangement as a jumping-off point but pumped up the wattage and gave Aguilar a great vocal canvas to work with.
They followed this up in February of 1967 with "Misty Lane" b/w "She Weaves a Tender Trap," which was a somewhat more lyrical, melodic song than they'd been working with. It had a great beat and was a good showcase for Aguilar and company, and was also perhaps a bit closer to the sort of records that Loomis hoped to be making. The B-side, authored by Cobb, was a piece of soft pop balladry, complete with an overdubbed reed and horn accompaniment that had the bandmembers playing at midtempo with an acoustic instrument or two in evidence, and Aguilar in an almost languid performance; it was pretty enough, and a credit to everyone involved, but it wasn't what the Watchband was about. In retrospect, the members might've become concerned about precisely what was going on behind the scenes and what the thinking of their management was, but they were busy playing lots of gigs, not only in the Bay area but all over California, and whatever their feelings about some of the music on the singles, those at least represented the group's work and the records were getting played on the radio locally.
Soon after came the two songs for Riot on Sunset Strip, which ended up on the movie's soundtrack album, and a fourth Watchband 45, "No Way Out" b/w "Are You Gonna Be There (At the Love-in)" -- and after the seeming digression of "Misty Lane," the band seemed to be back in its own bailiwick, with a double-sided piece of garage punk gold. "Are You Gonna Be There (At the Love-in)," which ended up being used in the exploitation movie The Love-Ins (in which the band was supposed to have a major role but mostly ended up on the cutting room floor, as a result of some sort of havoc they created on the set), still resonates 40 years later as a moment of triumph for everyone, and the Cobb-authored "No Way Out" wasn't far behind, a shimmering piece of full-blown psychedelia with a killer performance by Flores and Andrijasevich in the opening, and Loomis' guitar laying down a jagged psychedelic blues lead line, while Tolby's instrument chimed and crunched away in the background while Aguilar intoned the spaced-out lyrics; even the tape effects and distortion at the end were handled with restraint and class.
That record came and went in June of 1967, heralding the Summer of Love. The Watchband set to work cutting their first LP, which duly showed up in September of that year with the title No Way Out, and to the shock of the members, they discovered that only a pair of tracks, "Come On" and "Gone and Passes By," had made it onto the album intact. The vocals on almost half the record (including the opening track) had been given over to Don Bennett, a singer and songwriter (and co-author of "Are You Gonna Be There (At the Love In)"), and two of the tracks were by an entirely different band altogether, a studio group put together by engineers Richard Podolor and Bill Cooper. The album's flaws seemed to lead to the exposure of fissures just beneath the surface of their success. The first to go was Loomis, who could play practically anything but whose taste ran to more lyrical sounds -- he was getting tired of the Watchband's high-energy, blues-based sound on-stage -- and he cut out for the Tingle Guild, a folk-rock band, with Andrijasevich in tow. Their exit prompted David Aguilar to split, leaving Bill Flores and Sean Tolby as the sole active members of the Watchband.
This is where the band's history gets confusing. Flores and Tolby managed to put together a temporary lineup to fulfill the group's upcoming gigs -- Tim Abbott on guitar, Mark Whittaker on drums, and Chris Flinders as vocalist -- and they were good enough so that, as a live act, the Watchband barely skipped a beat. Flinders and Abbott left before the end of 1967, however, and once again the group was reduced to half a band. Aguilar came back for a short time, but by December of 1967 the Watchband, in terms of what it had started out to be or any of the original participants, was essentially history. That didn't dissuade their management or their label from exploiting the name -- Podolor assembled a group of studio musicians and put Don Bennett at the microphone once more, retrieved some outtakes from the original group's sessions, and a pair of songs completed by the band, and delivered The Inner Mystique. With its splashy collage cover and spaced-out digressions, it was a slightly late psychedelic release in February of 1968, but the content actually bridged several musical styles; the pure psychedelia was mostly Podolor's ex post facto creation in the form of the instrumental "Voyage of the Trieste" and the ornate, shimmering interpretation of "In the Past" (a track originally done by the Florida-based We the People). Speaking for the real Watchband, in defiant, sneering punk tones, was a glittering remixed version of "It's All Over Now, Baby Blue," a beautifully conceived and executed rendition of "I Ain't No Miracle Worker" (authored by Annette Tucker and Nancie Mantz, of Electric Prunes fame), and Aguilar's greatest musical triumph on record, his fiercely defiant rendition of Ray Davies' "I'm Not Like Everybody Else," where he and the band proved that they could hold their own with the Kinks as easily as the Stones.
The irony of No Way Out and The Inner Mystique is that, while they weren't fully (or, in the case of the latter, remotely) representative of the group's sound, they still constituted superb pieces of psychedelic garage punk. In later years, Tolby would explain that the group's albums were always a bit more psychedelic than the group was on-stage or on their singles, and didn't truly reflect their real sound. Cobb and Podolor wanted a certain kind of sound on the LPs that the band, even when it was intact, wasn't always prepared to deliver -- in an interview conducted in the early '80s, Cobb said that the group couldn't work in the studio without first indulging in the contents of "the box," which, like a psychedelic-era dessert tray, contained every popular controlled substance (including hallucinogenics) then circulating, and he gave that as the reason behind the reliance on Bennett and the "ghost" band put together by Podolor. To be fair, some of the Bennett-sung material, such as the cover of Wayne Proctor's "In the Past," may not sound like the real Watchband, but they were great records and shimmering examples of psychedelic punk with a great beat and memorable hooks. Additionally, the bandmembers have never corroborated Cobb's account, and it is difficult to believe that a band that was as tight on-stage as they were known to be, and with the reputations for brilliant shows, could have ever indulged too much in that kind of decadence; it would have shown up on-stage, and in the music, and they cut great singles.
Neither of the first two albums ever sold in huge numbers, as none of the singles connected to them ever charted nationally, but they did well enough so that Green Grass and Tower saw no reason not to go for a third bite of the apple. The company started with Sean Tolby, who had taken over lead guitar with the Watchband before the end, and he recruited Bill Flores into what became a kind of cross-generational Chocolate Watchband, featuring Loomis and Andrijasevich and original, 1965-vintage lead vocalist Danny Phay (who'd ended up, after the Otherside, in the Tingle Guild alongside Loomis and Andrijasevich). The resulting album, One Step Beyond, was -- with the notable exception of the driving rendition of Ashford & Simpson's "I Don't Need No Doctor" -- far more laid-back than any of the group's prior releases, reflecting the folk-rock sound that Loomis, Andrijasevich, and Phay had been generating. The songs were all originals and not bad, if not as exciting as the best work on the two prior LPs, and among those participating in the sessions was Moby Grape guitarist Jerry Miller, who played on "Devil's Motorcycle." With an album out and a lineup intact, the revived Watchband began getting bookings, and while Loomis was forced to back out for health reasons (replaced by Phil Scoma, of the Hydraulic Banana), the group did endure after a fashion until the beginning of 1970.
That probably would have ended the Watchband's story, but for the fact that their records were too good to ignore. They were mostly forgotten during the '70s, except by film cultists who discovered Riot on Sunset Strip from its frequent television showings and started seeking out their music. By the early '80s, however, the psychedelic-punk revival and the burgeoning interest in '60s garage rock (fostered by the release of the original Nuggets and other, similar, subsequent compilation albums) had gathered enough momentum so that their original LPs started changing hands for $100 or more per copy, and it wasn't too long into the decade before the rising demand led to the re-release of the Watchband's music, initially from Eva Records in France in pressings of dubious legality and quality, and later under actual license from genuine master materials, by an Australian label. The Inner Mystique, in particular, proved popular in this edition, which proceeded to sell by the gross to wholesalers and retailers on four continents. David Aguilar had moved onto a university professorship in the natural sciences, and other members were scattered across the map, but suddenly their music was in demand -- and newer bands, such as the Tryfles, began drawing on the Watchband for inspiration and source material. The reissue of their material on CD only raised the ante and the interest, as a best-of from Rhino Records was followed by Sundazed and Big Beat records' re-releases of the original LPs on CD, complete with bonus tracks during the early to mid- '90s and beyond. There was enough activity surrounding the group so that one bookstall worker in Union Square Park in New York used to brag of having been a member of the Watchband -- and people listened.
By the middle of the '90s, ex-members had discussed the possibility of a reunion, but no such event ever materialized until 1999, and by that time Sean Tolby was gone. With Aguilar, Tim Abbott (subbing for Mark Loomis, who pulled out), Bill Flores, and Gary Andrijasevich back together, and Michael Reese filling Tolby's spot, they played their first gigs in the spring of 1999. Those shows culminated in November of that year with their appearance at Cavestomp in New York, which resulted in the concert album At the Love-In Live! (2001); in between the Cavestomp gig and the CD's release, the Watchband issued the first studio album made up entirely of their own work.
It was a long wait, but it was worth it, especially the live album, as the band ran through their entire core repertory in excellent form. The event also got the group -- who seldom got much coverage off the West Coast -- their first ever coverage in The New York Times, 30 years after their last regular gig. And they're still at it, as of 2005, playing gigs in Europe and finally getting the worldwide recognition and fan adoration that should have been theirs in 1967.
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48 Hours in Atlanta
From the April 2013 issue of National Geographic Traveler
Atlanta thrives on paradox. An ever expanding vista of skyscrapers peeks above the canopy of trees that line its streets. The city strives to be a cutthroat business leader and is home to 15 Fortune 500 companies, but a spirit of southern hospitality still prevails (though these days you may as quickly be offered a Coke as a glass of sweet tea). "People tend to forget that Atlanta is young compared to other American cities," says author and illustrator Tray Butler, a Georgia native. "New York was founded 200 years earlier. Even Sunbelt superstars like Charlotte or Houston are technically our older siblings. What we have is a youthful exuberance, a kind of rebellious spirit, and yes, some growing pains. Atlanta is like a teenager: It can't stop changing." Conventioneers who visit only downtown (which empties of locals at night) miss the charm and diversity of the city's many singular neighborhoods.
Day One
Morning: A Sense of History
The Martin Luther King, Jr., National Historic Site spreads across 42 acres of downtown's Sweet Auburn district, long a hub of African-American businesses. At the King Center (where the civil rights leader and his wife, Coretta Scott King, are enshrined), procure tickets for daily tours of MLK's birth home. Details glimpsed in the two-story Victorian house wonderfully humanize the icon: It turns out he was a shrewd player of Monopoly, for example. Nearby Ebenezer Baptist Church, where King was co-pastor with his father, reopened in 2011 after four years and $8 million to restore the Gothic Revival building exactly as it was in the 1960s, including walls painted a warm peach and the original pulpit microphones that broadcast King's sermons.
Take a taxi about one mile south on Boulevard, the area's main thoroughfare, to the gently hilly Oakland Cemetery, established in 1850. Stroll under magnolias and oaks among monuments, obelisks, and mausoleums of some of the city's early wealthy families, as well as more than 3,900 graves marked "CSA," for Confederate States Army. Purchase the $4 map from the gift shop to find the humble headstone for Gone With the Wind author Margaret Mitchell. Refuel across the street, sipping on the city's most deftly made espresso at Octane Coffee. It shares space with Little Tart Bakery, a neighborhood favorite for quiche and pastries made using local, seasonal fruit.
Afternoon: Hot Shops
Once a badland of abandoned stockyards and mills, the city's Westside neighborhood recently transformed into a wonderland of refurbished warehouses full of bespoke shops. Urbane Billy Reid, where staffers will likely offer you a bourbon, in the Westside Provisions District complex and preppy Sid Mashburn in Westside Urban Market next door (a walking bridge joins the two redbrick complexes) offer different takes on dressing the southern gentleman in style. Mashburn's wife also runs a store, Ann Mashburn, featuring her in-house designs including shirtdresses and pencil and wrap skirts. Across the parking lot, design guru Jonathan Adler mixes whimsy with function in his eclectic shop, featuring items such as voluptuous glass lamps, pillows with psychedelic prints, and vases imprinted with a single, puckered mouth.
Evening: Dixie Dining
"Southern food is in vogue across the country, and in Atlanta, where we might have scoffed at our regional cooking in the past, we've embraced it as well," says Steven Satterfield, a Georgia native who is chef and co-owner of farmhouse-chic Miller Union in the Westside. Satterfield honors his roots without resorting to southern-fried clichés: Start with small plates meant for sharing, like the local farm egg baked in celery cream and served with wedges of grilled bread, and move on to duck confit nestled against cider-braised cabbage and whiskeyed apples.
Eating regionally means embracing the seasons, and no local chef highlights the region's larder better than Billy Allin, chef/owner of cozy Cakes & Ale in Decatur, the progressive town that is to Atlanta what Berkeley is to San Francisco. Allin weaves Italian and Mediterranean recipes among southern flavors on his changing menu. Look for dishes like pillowy gnocchi with lamb ragù and green tomatoes along with North Carolina trout roasted in the wood-burning oven and served with a tangy bacon and green onion mayonnaise sauce.
Day Two
Morning: Water World
Georgia Aquarium, across the street from downtown's 21-acre Centennial Olympic Park, measures more than 600,000 square feet and holds 10 million gallons of fresh and salt water, making it one of the world's largest aquatic zoos. Its many spectacles are worth the plunge, but start early to beat the crowds: Order tickets online to avoid lines and secure seats for Dolphin Tales, a show filled with special effects that manage not to detract from the leaping headliners. The whole visit takes at least three hours. Be sure to check out the rare, wide-mouthed whale sharks and the white, cuddly-looking beluga whales.
- Nat Geo Expeditions
Afternoon: Midtown Museums
In Midtown, the city's cultural hub, stop for a lunchtime oyster po'boy or a fried chicken salad at Empire State South, the restaurant owned by Top Chef judge Hugh Acheson.
The white, curving, unapologetically modernist building of the High Museum of Art, by Pritzker Prize-winning architects Richard Meier and Renzo Piano, stands out majestically along a verdant stretch of busy Peachtree Street. A touring exhibition showcasing the works of Mexican artist Frida Kahlo and her husband, Diego Rivera, is a current draw (on display through May 12). Be sure, though, to spend time with the permanent southern folk art exhibit on the top floor, full of quirky, poignant caricatures with names like "Take My Yoke Upon You and Learn of Me Saith Jesus." Museum of Design Atlanta, with its modern concrete-and-glass veneer, opened across from the High in early 2011. It has no permanent collection, so shows are in a constant, fascinating flux: Past exhibits included skateboard art, Italian motorcycles, and portions of the AIDS Memorial Quilt.
Evening: Laugh Out Loud
At the edge of Inman Park, a great walking neighborhood and Atlanta's first residential "suburb," planned in the 1800s, chef Robert Phalen uses imagination at his restaurant One Eared Stag. Adventurous carnivores will sigh over beef belly with pickled eggplant and roasted bone marrow with onion marmalade; tamer palates will love the chicken schnitzel and, for dessert, chocolate pot de crème. A few blocks away, Dad's Garage, home to the city's premier improv troupe, inspires belly laughs with outrageous, unscripted performers acting along loose themes like the Civil War or a genre of music (rock, hip-hop) chosen by the audience.


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