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You Are The Best Thing | Ray LaMontagne
Modern wall art inspired by the music from "You Are The Best Thing" by Ray LaMontagne. Lyrical Artworks are the original song lyric art prints and make a perfect and unique gift idea for any music fan.
PRINT ONLY - Prints are printed on thick matte paper with premium inks. "Print Only" options are unmatted and unframed. Image fills the entire paper for easy matting and framing.
MATTED PRINTS - Prints are matted between a white mat board and backing board, then enclosed in a resealable clear poly bag. Overall mat board size for the 8x10" print is 11x14", and the overall mat board size for the 11x14" and 12x16" prints is 16x20".
FRAMED PRINTS - Prints are matted* and mounted in a black wood frame with a 1.5" depth. The frame has an acrylic front, backing board and a kit with all you need for easy hanging: anchor plates, screws and wire. Overall frame size for the 8x10" framed print is 11x14", and the overall size for the 11x14" and 12x16" framed print is 16x20". *16x20" framed print is unmatted with an overall size of 16x20".


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Yes! As an authorized online retailer of Vera Wang products we will match our competitors' prices and also guarantee that you will receive a brand new, authentic frame with a full manufacturer warranty.
Click here to request a price adjustment.
We will replace any defective or damaged item free of charge to ensure 100% satisfaction. We will also allow a one-time exchange for another frame of equal or greater value, if you are unhappy with your initial selection. Read the complete Returns & Exchanges Policy...

subset: commoncrawl


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Kendall Multicolor Velvet Polka Dots Pillow Cover
Playful and fun, this textured pillow cover features a multicolor pattern of velvet polka dots. The geometric design is woven in yellow, gray, hot pink and orange velvet on a dark gray background. The pattern velvet fabric has a soft luxurious hand and will add style and sophistication to any space. The back of the cover is a coordinating solid gray velvet. Photographed on 17x17 cover (filled with 18x18 insert).
**This is a special order fabric. Fulfillment is subject to fabric availability. Please allow extra time for production. **
Sizing: Please review our Sizing Guide and Frequently Asked Questions. Finished cover measurements are taken across the middle.
Closure: Invisible zipper
Insert: Not included
Care: Dry clean recommended
Note: Pattern placement varies from pillow to pillow. No returns or exchanges are accepted on special order or clearance items. Please order a fabric sample to verify color and texture before purchase.
► Size options are listed with the recommended insert size, followed by the finished cover size in (brackets).
► For example: If you are using a 18x18 insert, order "Fits 18x18 insert (17x17 cover)" and we will make your pillow cover to fit appropriately.
► If you have an old cover that fits your insert well, measure your old cover and compare its dimensions to the size chart below to find the closest size. The size chart is designed for knife-edge inserts only (inserts without a gusset). Contact us if you require assistance.
|THE FINISHED COVER WILL MEASURE APPROXIMATELY (at arrows, in inches):
|For Most Fabrics
|For Heavyweight Fabrics Only
|Fits 12x18 insert
|11.5 x 17
|11 x 17
|Fits 12x20 insert
|11.5 x 19
|11 x 19
|Fits 12x24 insert
|11.5 x 23
|11 x 22
|Fits 14x18 insert
|13.5 x 17
|Fits 14x20 insert
|13.5 x 19
|13 x 19
|Fits 14x26 insert
|13 x 25
|13 x 24
|Fits 14x36 insert
|13 x 35
|13 x 34
|Fits 16x16 insert
|15.5 x 15.5
|15.25 x 15.25
|Fits 16x26 insert
|15.5 x 25
|15 x 24
|Fits 18x18 insert
|17 x 17
|17 x 17
|Fits 20x20 insert
|19 x 19
|18.5 x 18.5
|Fits 22x22 insert
|20.5 x 20.5
|20 x 20
|Fits 24x24 insert
|22 x 22
|21.5 x 21.5
|Fits 26x26 insert
|24 x 24
|23 x 23
|Fits 28x28 insert
|26 x 26
|25 x 25
► Don't see your size listed above? Request a custom size.
► The posted measurements are taken at the interior midpoints with the cover inside out.
► All covers are slightly contoured in shape and made with tapered corners for a professional appearance (no droopy corners!). For this reason, stated cover measurements are taken across the middle (not from corner to corner).
► Finished cover sizes are made smaller to best fit based on the insert size and fabric weight. For further explanation, please see this FAQ. The standard size chart is developed from actual testing on both feather and polyfil inserts commercially made and available on the market. The sizing is designed for your insert to fill out the cover completely for a full, plump appearance after stuffing in the manner shown in our shop's product photos and like pillows in interior design and architecture magazines. The finished pillow should have a nice, defined outline yet be comfortable to sit upon.
► Please allow for +/- 3% tolerance on measurements. Minor variances do not affect the fit. Our pillow covers are human-made and measurements may not be exact down to the millimeter.
► For additional help, please review our Frequently Asked Questions and Sizing Guide.
USA Shipping Rates
|Product Total
|Continental USA Shipping Rates (**excludes AK, HI, PR, USVI, Guam and others**)
|Fabric Samples
|$0.01 to $20.00
|$20.01 – $60.00
|$60.01 – $100.00
|$100.01 – $200.00
|$200.01 – $400.00
|$400.01 – $600.00
|$600.01 - $800.00
|$800.01 - $1000.00
|Above $1000.00
|$30.00 minimum
Shopping cart will provide estimate during checkout. Additional shipping may be billed based on final ship weight, dimensions and # boxes needed.
International Shipping Rates: Shopping cart will calculate based on your location and items in your cart during the checkout process. Postage of fabric samples internationally start at $4.00. International shipping quoted by our shopping cart does not include import duties, taxes, administrative brokerage/custom clearance fees that may be levied by your country and by the delivery company (post office, UPS, DHL, etc.). Buyer is responsible for any additional amounts charged by government agencies and delivery carriers for international shipments. Buyer is responsible for 2-way round trip shipping incurred if delivery is refused and/or unpaid duties/fees/taxes cause the package to be returned to sender.
International Shipments via US-based Freight Forwarders: If you specify a freight forwarder to receive your package, an additional $5.55 fee for signature required delivery will be billed to you. This is an additional security measure to verify receipt by your freight forwarder, who is responsible for sending the package to you overseas. At the time of delivery, UPS will require someone at the freight forwarding company to sign for the package. **This is a mandatory fee applying to orders shipping to freight forwarders from 5/14/22 onwards.**
Current Turnaround Times
Aloriam's pillow covers are custom made-to-order for each customer to fit the insert size you select. Fabric is individually cut by hand and sewn by machine. Our workshop's current turnaround times are as follows:
|For pillow covers made from in-stock fabrics:
|1 to 2 weeks
|For pillow covers made from special order fabrics:
|1 to 4 weeks
Domestic Shipments: Depending on your distance from Atlanta, Georgia, please allow 3 to 7 postal working days for delivery to your address from the date you receive your shipment notification. Most domestic orders are sent via the US Postal Service or UPS.
International Shipments: Transit times vary depending on shipping method:
- USPS 1sts class package international (for orders under $100 only): up to 4 to 7 weeks. Transit time to Canada, Australia and the UK tend to be in the 2 to 3 week range.
- UPS Worldwide or DHL Express (*may require surcharge for remote areas*): 3 days to 1 week
Transit time is longer during peak holiday periods. Please allow additional time for delivery.
If you want to request a specific shipping method and/or must have your order by a certain date, please state your wishes in the checkout textbook by clicking on "Add a note to your order" on the shopping cart page.
Rush Shipping
Please let us know your deadline and we will do our best to make it happen. Keep in mind that our pillow covers are custom made-to-order for you. Some fabrics require special order from supplier. If there isn't enough fabric on hand to sew your order right away, rush production will not be possible.
We reserve the right to bill a 15% rush fee on orders requiring weekend work or a 24-hour turnaround time. For example, if you place an order on Friday and require it shipped by Monday, or if you place an order on Wednesday and require it shipped Thursday.
To avoid disappointment, please first check with us as to the feasibility of a rush order before making your purchase.
Express next day shipping methods are not covered by our standard shipping rates and will be billed separately.


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Terms of service
The general Terms and Conditions of Sale detailed below govern the contractual relationship between the 'User' (hereafter also referred to as 'You' or the 'Customer') and 'graziellafinejewellery.com' (hereafter also referred to as 'We' or the 'Website'), belonging to the company Graziella Fine Jewellery. Both parties accept these Conditions unreservedly. These general Conditions of Sale are the only conditions that are applicable and replace all other conditions, except in the case of express. written, prior dispensation. We maintain that, by confirming your order, you have read and do unreservedly accept our general Conditions of Sale. These Terms and Conditions of Sale are important to you and Graziella Fine Jewellery as they are used to protect your rights as a valued customer and our rights as a business.
Changes to the Terms of Service and the Website
graziellafinejewellery.com is a work in progress, and as such things may change, be added or be taken away. We reserve the right to update the Website and these Terms of Service from time to time, at our discretion and without any notice. It is solely your responsibility to keep up-to-date with the latest Terms and Conditions by checking back regularly. Your continued use of the Website following the publishing of updated Terms of Service will be taken to mean that you have read and agree to the changes.
Access to the Website
We work hard to ensure the Website is always up and available, but we can't guarantee that the Website will not have downtime for any reason. We reserve the right to close the Website for short periods of time for general maintenance, but will attempt to keep this to a minimum. We will not be liable if for any reason all or any part of the Website is unavailable at any time, for any length of time.
Parts of the Website require you to input a password to access certain features. This is to be able to give you details relevant to your order whilst still keeping them private to you. To do this, as part of our security procedures, we require you to register an account with graziellafinejewellery.com by entering your email and choosing a secure password. We highly recommend that you choose a strong password that is hard for others to guess, and you log out from your account at the end of every session. There is a password reset procedure in case you forget your password. You must treat your account log-in information as confidential, not disclosing it to any third party and only using graziellafinejewellery.com in person. If you think there may have been any breach of security then it is your responsibility to notify us immediately and if log-in is possible, to change your password.
It is a condition of your use of the Website that all the information you provide on the Website is correct, current and complete. We reserve the right to disable any user account in our sole discretion, at any time for any or no reason, including if, in our opinion, you have failed to comply with any provision of these Terms of Service.
We do not guarantee that the Website or any content provided on the Website is error free. We manage your personal data according to our Privacy Policy.
Product information
Graziella Fine Jewellery takes great care when putting product information, descriptions and images on-line but will not be held responsible for any mistakes or omissions to any information given.
The prices indicated on graziellafinejewellery.com are shown in US Dollars and do not include delivery. The delivery costs are clearly shown and invoiced at the end of the order in addition to the price of the products. We reserve the right to modify our prices at any moment but this will be indicated to you on the order at the time the order is placed. If an obviously incorrect price appears on our website and is not corrected on your total at the time of order completion, for whatever reason (human error, technical error etc.), your order will be cancelled and the payment refunded to you, even if it has been initially validated.
We will always endeavour to fulfil your order once completed and paid for. If a product should become unavailable after your order has been confirmed and paid for, we will refund the price you paid for the product within 30 days following the date of payment. If your order includes products that are temporarily unavailable, we will send the available products out first and will follow with the outstanding items once they are available again. We will refund the shipping fees for the rest of the order. If relevant, we will offer you a replacement for an unavailable product, a product of equal price and quality. If you accept the replacement, and then wish to return it to us in the conditions outlined under Right of Return, the return postage will be covered by us. If you choose to decline this offer, and the original product is permanently unavailable, we will reimburse the price of the unavailable product.
Secure payment
Graziella Fine Jewellery currently offers Visa, MasterCard, American Express, Discover, Diner's Club, & PayPal to pay for your order. These payment options use advanced SSL encryption to keep your transaction secure and do not cost you anything to use (Graziella Fine Jewellery is charged as the seller, you are not charged as the buyer) so you will not pay any extra for your order. You do not need to hold an account with these Merchants to use these methods of payments.
Your order will be delivered to the address you indicated when your order was placed.
Graziella Fine Jewellery does everything in its power to respect the delivery times indicated on the website. We cannot, however, be held responsible for the consequences of a late delivery or the loss of a package caused by a third-party contracted to make delivery, or by you, or because of some unforeseen event or an Act of God. In the event where you do not receive your package, an investigation will be conducted with the carrier and may take several days upon receipt of your claim. During this period of investigation, no reimbursement or re-delivery will take place.
Right of Return
Graziella Fine Jewellery allows you 7 days to return a product that you are not satisfied with your online purchase. Your right of return starts from the moment your order is delivered. You can return the product to us within this time frame, at your own expense, with your invoice and a completed and signed returns coupon. Note that in-store return policy is different form online return policy.
If an item has been altered for you prior to shipping, we will not accept returns. Alterations include but are not limited to: Sizing, shortening of chains, bracelets or anklets, link removal of watches, switching stones etc…
We do not accept returns on special orders or custom order. All sales are final on such orders. Special orders include but are not limited to, special size request, special stone request, special length request, special metal request, etc…
We request that you send us the merchandise by registered post and that you purchase insurance with your carrier for the value of the merchandise. This is necessary should they lose or damage the goods. Shipping fees remain the customer's responsibility. The present right of return only applies to products that are returned in their original, complete condition. Any product that has been damaged, is not in its original packaging, or has packaging that has been worn beyond simply opening the product, will not be refunded. The deadlines mentioned above are effective from the date of receipt of the order.
For reimbursements:
- If the product is returned within 7 days of its delivery, the User will be reimbursed via the same payment method as was used initially.
Privacy and protection of personal data
The details you give us are essential for the processing and delivery of your orders, for billing and for the establishment of warranty contracts, therefore failure to provide these details will result in the cancellation of your order. By registering on the Site, you agree to provide us with sincere and true information as it concerns you. Communicating false information is contrary to the present general Terms and Conditions.
You have the permanent right to access and rectify all the information that concerns you, in accordance with European texts and national laws in place (article 34 of the law of 6 January 1978). You can at any time make a request to Graziella Fine Jewellery to find out what personal information we hold concerning you. You may at any time, and by request, modify this information.
Cookies record certain information stored on your hard drive. This information enables us to generate statistics based on data from visitors to our site and suggest products that might interest you according to the items that you selected when you previously visited the site. Cookies do not contain any confidential information about you.
Intellectual ownership
All the content on graziellafinejewellery.com website (illustrations, texts, names, brand names, images and videos) is the property of Graziella Fine Jewellery. Any partial or total reproduction of this content, by any means and on any support, is subject to prior and express authorisation by Graziella Fine Jewellery. All information, content and files is protected by International law concerning intellectual ownership and copyright. graziellafinejewellery.com cannot give you the right to copy, display or distribute content that you do not have the intellectual rights to. All fraudulent use of this content that violates the rights held by a third party constitutes an offence of forgery, which is severely punished under the Intellectual Property Code.
Graziella Fine Jewellery will not, under any circumstances, be held responsible if a user violates rights held by a third party through his activities on the site.
Waiver and Severability
Any failure of Graziella Fine Jewellery to exercise or enforce any right or provision of the Terms of Service shall not constitute a waiver of such right or provision. The Terms of Service constitutes the entire agreement between you and graziellafinejewellery.com, and governs your use of the service, superseding any prior agreements (including, but not limited to, any prior versions of the Terms of Service). If any provision of these Terms of Service is held by a court of competent jurisdiction to be invalid, illegal or unenforceable for any reason, such provision shall be eliminated or limited to the minimum extent such that the remaining provisions of the Terms of Service will continue in full force and effect.
Feedback & Comments
Any opinions left on the Website by graziellafinejewellery.com customers are screened and moderated by Graziella Fine Jewellery . If the comments infringe on the law or are inappropriate (abusive publicity, defamation, insults, out of context commentary...), Graziella Fine Jewellery reserves the right to refuse or modify it.
Contacting Us
If there are any questions regarding these terms and conditions you may contact us using the information below.
793 Taunton Road East
Oshawa, ON L1K 1L1
(289) 240-8177
Whitby Mall
1615 Dundas Street East
Whitby, ON L1N 2L1
(905) 576-0014


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Prime Engineered Flooring Oak Chevron Silver Stone Brushed Uv Lacquered 14/3mm By 90mm By 510mm
Or call: 0203 869 0900
Wood and Beyond are importers and specialist suppliers flooring, worktops, decking and their accessories. The range includes solid, engineered, laminate and vinyl click flooring, solid wood worktops from European oak and walnut, as well as hardwood and composite decking.
Wood Flooring Type
Engineered flooring option is perfect, no matter which room in your home you're re-flooring. Engineered wood flooring is cleverly constructed so it doesn't expand and contract in the same way as solid wood floor. Made up of layers of different types of wood, it is topped off with solid hardwood, which means it looks just like solid wood but is more versatile.
Wood and Beyond offers a range of products FSC®-certified (FSC® C147698). [ View Certificate ] All our wood products are fully compliant with the UK Timber Regulation.
All our flooring is covered by a 20 year domestic/residential Product Manufacturer's Warranty. In order for the warranty to be effective, all flooring must be installed by a professional fitter in accordance with the manufacturer's installation guide (view more installation details under Installation and Maintenance section of this product).
This warranty is against manufacturing defects only, for full details and warranty exclusion please read our [Warranty Information].
Warranties typically cover manufacturing defects, and they do not extend to damages or scratches resulting from improper handling, use or wear and tear. This is why some claims might be denied if the damage falls outside the warranty's scope. Proper care and maintenance are essential for ensuring the longevity of our products
More Information
Oak is a wood that is known for its strength and long life. You can be sure by choosing this option that you're getting a strong and long-lasting product. Oak wood flooring allowed colour variation between planks which can vary from light to dark shades.
Wood is a completely natural product and as such has features such as knots, colour variation and sap. In order to help you know what to expect when you choose wood, it is graded when it is lumbered. The wood used in the construction of these flooring boards is graded 'prime', with a more uniform appearance and only a minimal number of small knots further more you can accept colour variation and various knots size 10-15mm.
"Due to the nature of wooden products, description and images should only be used for guidance."
Product Finish
Finish | Brushed UV Lacquered
This type of finish gives the wood floor an extra strong protective coating and has a slightly country look to it as the brushed effect creates a naturally textured surface. Brushed UV lacquered finish is a very popular finish which gives the floor a stunning visual look that will transform any room. Brushed UV Lacquered finish is matt/satin.
When you've received your flooring, you should within one hour store it inside, completely flat and in sealed boxes until you are ready to lay it. Boxes should be kept inside your house (not in a garage or other outbuilding). During storage, please make sure that your flooring is well away from extreme heat (radiators) and moist areas (recently plastered walls, damp basements etc). We recommend an acclimatizing period of at least one week, during which time flooring needs to be kept in sealed boxes at room temperature. Engineered flooring need to stay in the boxes at the room temperature for 48 hours (for installation without underfloor heating) or 7 days (for installation with underfloor heating) and the room temperature must be at least 21-22 degrees Celsius for 7-14 days - the floor surface temperature must be a minimum of 21 degrees Celsius - the air relative humidity must be between 40% and 65%.
Samples | Order for free!
Free sample are available to order. The sample will allow you to feel the high quality of our wood and see its beautiful rich markings. We aim to dispatch the sample within a day so you won't have to wait long. Simply choose the 'Free Sample' option and complete the secure checkout process.
We strongly recommend to order a sample and not relay only on the photos on the web.
Due to the nature of the products, description and images should only be used for guidance.
Installation & Maintenance
We recommend treating your flooring with accoradance to our maintenance guides every 3-12 weeks (depends on traffic and need) with the following:
|Finish Type
|Maintenance product
|UV Oiled Floor
|Every 3-6 weeks especially in areas with high traffic
|UV Lacquered Floor
|Every 3-6 Weeks especially in areas with high traffic
|HardWax Oiled Floor
|One or two layers after the flooring installation and another coat every several months especially in areas with high traffic
Please always try on an offcut or a small corner to see that you are happy with the result before applying on your floor.
Delivery and Returns
Please note that all our deliveries are kerbside.
- London and Essex £40
- Cumbria, Devon, Cornwall and some areas of Wales and postcodes TA, DT £78
- Any area of England and Wales not mentioned above £78
- Scotland (excluding Scottish Highland and some areas on the Lowlands) £144
- Scottish Highland, Republic of Ireland, Channel Islands, Isle of Man, Isle of Wight - please contact us for a quote
- Any area of England and Wales not mentioned above charges may vary and will be quoted via the system - for further info please contact us.
- For deliveries into Europe please call one of our sales advisors on 0203 869 0900 or email us on email@example.com
Returns and refunds
If we receive a cancellation request from you and you have accepted delivery of your products, you must return the goods to us, at your own expense, to the following Kent address, where our warehouse is located: CKR Services, Crossways Cargo Centre, Galleon Boulevard, DA2 6QE.
For more information about Delivery and Returns please click here.


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A soft, stylish all-day and all-night wardrobe staple with smart magnetic fasteners that makes changing time painless. With our no over-the-head design, simply open the outfit, insert baby, and BOOM, DONE! - the footie practically closes itself. Machine wash as directed.
- Silky soft, sustainable, eco-friendly Modal fabric
- PRE, NB, and 0-3M sizes open neck to upper thigh and have built-in mitten cuffs to protect newborns from scratches
- Starting at 3-6M sizes, footies open neck to crotch with a roomy seat for easy changes
- Starting at 9-12M sizes, footies have grippy feet and follow snug-fit standards (consider sizing up in snug fit sizes)


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13.0964069 77.5787436
Muthoot FinCorp Gold Loan
- Yelahanka New Town
- No 945, 1st Floor, 16th B Cross Road, LIG 2nd Stage
Yelahanka New Town
Bengaluru - 560064
- Opens at 09:30 AM
- Call Directions
Enquire Now
Nearby Muthoot FinCorp Gold Loan Branches
Featured Services in Yelahanka New Town, Bengaluru
About Muthoot FinCorp Gold Loan
Muthoot FinCorp Ltd. offers Gold Loans and Two-Wheeler Loans at very competitive & affordable rates. We also offer Small Business Loans, Affordable Housing Loans, Used-car Loans, Domestic Money Transfer, International Remittance, Foreign Exchange, Insurance Products & Services, Wealth Management Services for the common and Hallmark Gold Jewellery & Gold Coins at affordable rates.
Muthoot FinCorp is the part of Muthoot Pappachan Group (also known as Muthoot Blue), which has over 3600 branches across India.
Please visit your nearest Muthoot FinCorp branch or call us on 18001021616 for more details and assistance.
The address of this branch is No 945, 1st Floor, 16th B Cross Road, LIG 2nd Stage, Yelahanka New Town, Bengaluru, Karnataka.
Business Hours
- Mon 09:30 AM - 05:00 PM
- Tue 09:30 AM - 05:00 PM
- Wed 09:30 AM - 05:00 PM
- Thu 09:30 AM - 05:00 PM
- Fri 09:30 AM - 05:00 PM
- Sat 09:30 AM - 05:00 PM
- Sun Closed
Discover More With Us
Parking Options
- Street parking
Payment Methods
- Cash
- Cheque
Get Direction To Muthoot FinCorp Gold Loan
Nearby Locality
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Gold Loan branch near me Home Finance Agent Near Me Muthoot FinCorp Branch Near Me Gold Loan Interest Best Loan Finance Agency near Me Loan Against Gold Loan On Gold Gold Loan companies Muthoot FinCorp gold loan rate Best Loan Finance Agency Gold Finance Company Near Me Gold Finance Company Home Loan Near Me Auto Loan Near Me Best Home Loan Best Insurance Company Near Me Best Life Insurance Company Money Exchange Services Best Foreign Exchange Company Near Me Money Exchange Office Near Me Two Wheeler Loan Near Me Best Gold Finance Near me Used Car Loans Near Me Fixed Deposits Near Me Best Finance company Best Finance company near me Financing Company Near Me Branches of Muthoot Near Me Gold Financing Agent


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GPS Map of Album "Creative Works"
About Me in Short
My name's Arthur Lookyanov, I'm a private tour guide, personal driver and photographer in Moscow, Russia. I work in my business and run my website Moscow-Driver.com from 2002. Read more about me and my services, check out testimonials of my former business and travel clients from all over the World, hit me up on Twitter or other social websites. I hope that you will like my photos as well.
See you in Moscow!


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I love this story of the Mexican villager and the American Investment banker,
probably because I relate so much to it! Enjoy it!
The American investment banker was at the pier of a small coastal Mexican village when a small boat with just one
fisherman docked. Inside the small boat were several large yellow-fin tuna. The American complimented the Mexican on the quality of his fish and asked how long it took to catch them.
The Mexican replied, "Only a little while."
The American then asked why didn't he stay out longer and catch more fish?
The Mexican said he had enough to support his family's immediate needs.
The American then asked, "But what do you do with the rest of your time?"
The Mexican fisherman said, "I sleep late, fish a little, play with my children, take siesta with my wife, Maria,
stroll into the village each evening where I sip wine and play guitar with my amigos. I have a full and busy life."
The American scoffed, "I am a Harvard MBA and could help you. You should spend more time fishing and with the
proceeds, buy a bigger boat and with the proceeds from the bigger boat you could buy several boats. Eventually
you would have a fleet of fishing boats. Instead of selling your catch to a middleman you would sell directly
to the processor, eventually opening your own cannery. You would control the product, processing and distribution.
You would need to leave this small coastal fishing village and move to Mexico City, then LA and eventually NYC
where you will run your expanding enterprise."
The Mexican fisherman asked, "But, how long will this all take?"
To which the American replied, "15-20 years."
"But what then?"
The American laughed and said "That's the best part. When the time is right you would announce an IPO and
sell your company stock to the public and become very rich, you would make millions."
"Millions.. Then what?"
The American said, "Then you would retire. Move to a small coastal fishing village where you would sleep late,
fish a little, play with your kids, take siesta with your wife, stroll to the village in the evenings where you
could sip wine and play your guitar with your amigos."
Anybody up for a little fishing???
Don't worry Be Happy!


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Are your baby monitor & cords at least three feet from the crib. Learn more. #babysafety
Join our email list for tips & resources from our experts.
Buck and Penny Bowhall are the owners of Safe Baby, serving parts of Tennessee and Kentucky. They have been helping families with childproofing since 1996.
10 Tips for Buying Safe Toys
Fall Safety Tips
How to Anchor Furniture
The International Association for Child Safety (IAFCS) is a network of child safety professionals and babyproofers. As experts in their field, IAFCS members have the unique experience, knowledge and skills to help make your home a safe place for your little ones.
©2023 The International Association for Child Safety. | Privacy Policy | Site design by Visible Logic, Inc.


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L: 20 cm. H. 23 cm. D. 6 cm. Strap: 73-131 cm.
At Adax official webshop we deliver your package with GLS.
We ship Worldwide.
All orders are shipped from our warehouse in Denmark within 1-2 weekdays from order placement. Orders placed on a Friday after 11.00 AM will be shipped the following weekday. If the delivery time is estimated to be longer, we will contact you immediately by e-mail. You are then entitled to cancel your order. In a busy everyday life it can be a challenge to be home within the hours for package delivery. Therefore it is completely up to you to decide whether you want the package delivered to your home address or at your work. All packages will be shipped with GLS and they guarantee safe delivery straight to an address of your choosing.
Use Adax Protection Spray or Adax Balm to protect and preserve the natural appearance of the leather


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Special to Crime Magazine
In 1928 Al"Scarface" Caponebecame the first big-time mobster to journey to Miami and stay, at least for part of the year. Capone was at the pinnacle of a criminal career that was making him the most famous gangster in America history. By the late 1920s, Capone's flamboyant style had captured the imagination of mainstream America, and he was a high-profile celebrity, just like the famous athletes and movie stars of his day.
Born on January 17, 1899, to Italian-American parents, Al grew up on the mean streets of Brooklyn. At 5' 10' tall and 225 pounds, the beefy gangster was a born street fighter. More than a few times Capone ended up in a vicious knife fight, which explains how Capone got his nickname. Tough men could wet their pants in his presence, knowing Scarface could have them killed with an eye blink.
Jack Woodford, a writer of pulp fiction and Scarface's friend, was interviewed at length about his recollections of Capone. The interview was published in 1985 as a book titled My Years with Capone: Jack Woodford and Al Capone, 1924-1932. Woodford remembered Capone as "not an overly a brave man… with many different personalities." Woodford elaborated: "He was at his best when a couple of guys were holding his victim so that he was free to wield a baseball bat without fear of retaliation. Occasionally, he lost his head out of shear fury. Al had a terrible temper. He was a classic temperamental artist. He would go into a rage when thwarted, though most of the time he was sweet and reasonable as a lamb. People with the artistic temperament always have several different personalities."
Capone's criminal career soared when he came under the wing of Johnny Torrio, one of the bright lights in New York City's criminal world, who taught him the ropes of the gangster life. Around 1915, Torrio moved his operations to Chicago, where his uncle, Big Jim Colosimo, was the godfather of organized crime. Meanwhile, back in New York City, Scarface had brutally killed a man in a brawl. Fearing arrest by the police, Capone accepted Torrio's invitation to come to Chicago, and in 1919, he headed west with his wife and child. About a year later, Al's brother Ralph followed him to Chicago, where the Capone family shared an apartment while the brothers worked for Torrio in the vice trade.
The Capones arrived in the Windy City at about the time Prohibition became the law of the land. Colisimo's extensive vice, gambling and labor racketeering operations made him Chicago's leading gangster. Big Jim was a large man and an imposing presence who liked to flash his wealth, especially the many expensive diamonds he wore. The ambitious Torrio prodded Colisimo to take advantage of the lucrative opportunities that Prohibition provided. Buy breweries, begin setting up illegal stalls and establish a bootleg distribution network, the nephew urged his uncle, but to no avail. Big Jim was content to make his money the old fashion way: through, gambling, extortion, and so forth. For Torrio, Uncle Jim had become a roadblock to his ambition and he had to go.
Torrio selected trusted lieutenant Al Capone to do the hit. At 3 p.m. on May 11, 1920, Colosimo arrived at his restaurant, the Colosimo Café, which served as the epicenter of his criminal empire. At 4:25 p.m., Colosimo left his office in the café and made his way to the other side of the restaurant, where he entered a vestibule that was closed off by glass. A few minutes later, shots rang out. Big Jim's private secretary found her boss in the vestibule, dying with a bullet behind his ear. Later it was learned that the hit man, Al Capone, took time to rifle through Colosimo's pants and flee with a large wad of cash. Torrio and Capone were pulled into police headquarters for questioning. "Mr. Colosimo and me both loved opera," a sad faced Scarface told police officers. "He was a grand guy."
Torrio remained in charge until January 1925, when some fellow Italian American gangsters shot and nearly killed him. The godfather survived but decided he had enough of the gangster life. He retired and moved to Italy with his elderly grandmother.
At 25 years of age, Al Capone was now head of Chicago's biggest gang. The young gangster rose to the occasion. Two years later, The New Yorker magazine was calling him "the greatest gang leader in history." The authorities suspected that he was behind numerous murders and were certain he operated several successful speakeasies and prostitution rings, but they could not prove anything. Capone cleverly portrayed himself as a civic leader and family man who looked out for the poor and led his neighbors to believe he worked as a second-hand furniture dealer.
From 1925 to 1929, Scarface literally ran Chicago. "The Capone gang became strong and powerful," recalled Virgil Peterson, the operating director of the Chicago Crime Commission, in a 1948 article he wrote for the Journal of Criminal Law and Criminology. "Officials in city, county and state government owed their positions to this organized group of criminals. The police department completely capitulated to this lawless element. Legitimate businesses took Al Capone into partnership in order to obtain the protection from violence, which the duly constituted authorities were unable or unwilling to provide. A large number of businessmen paid tribute to this gang of outlaws."
In late 1927, Big Bill Thompson, Chicago's mayor, embarked on a cross-country tour in the hope that he could drum up support for a possible presidential bid. Thompson was an unpredictable, eccentric character. During the 1927 mayoral election, Thompson held a debate between himself and two live rats, which he portrayed as his opponents. Al Capone had supported Thompson's bid for mayor and probably played an important role in helping him win, but when Big Bill took office, he announced his intention to clean up the Windy City of vice and crime.
According to Woodford, Thompson planned to "stick it to Al by encouraging the Chicago police to harass Al's organization regardless of its largesse. Consequently, Al decided to stay low until Big Bill had gotten this presidential nonsense out of his system. To this end, we held a press conference in December 5, 1927, to announce that Al was going on a vacation to St. Petersburg, Florida. All the newspapermen came up to the Metropole (the Chicago hotel serving as Capone's headquarters). We fed them caviar and champagne and unmarked envelops containing thousand-dollar bills. Al told the news dogs that while he was on vacation the town's imbibers were going to have to make their own liquor arrangements."
The press conference was a diversionary move. Scarface had actually headed for Los Angeles. The Chicago police, however, were on to Scarface and they tipped off their Los Angeles colleagues. Capone tried to register at the swank Biltmore Hotel, but the manager had the temerity to ask the most dangerous gangster in America and his entourage to leave. Scarface blew his top, tried to intimidate the manager, and when that did not work, told the manager to stick it. The Chicago police warned Scarface he was not welcome back in Chicago. Given the heat, the gangster thought it best that he begin looking for a temporary sanctuary. He visited the Bahamas, New Orleans, and St. Petersburg, Florida, but holing up in of those locales did not seem like a good move.
Finally, Capone decided to stop in Miami for a few days while he planned his next move. He liked the city and decided to stay at least for a while. For $2,500, he rented a bungalow on Miami Beach for the winter season and made a couple of big deposits in some local banks using the alias "A. Brown."
It did not take long for Miami to learn of the famous gangster's arrival. A Mrs. Sterns owned the property that Capone had rented through her real estate agent. The woman was dismayed to learn that her tenant, A. Brown, was actually none other than the legendary gangster from Chicago, Al Capone. She waited anxiously through the winter season fully expecting the mobster, his family and associates to turn her property into an animal house. But after the Capones left and she inspected her property, she was surprised to learn that her tenants had done no damage. Indeed, they had even left her gift sets of fancy chinaware and silverware, as well as several unopened bottles of wine.
Then Mrs. Sterns learned that the Capones had stuck her with an unpaid $780 telephone bill. Or so she thought. One day soon after, an attractive, well-dressed blond women pulled up to Mrs. Sterns' door in a Cadillac. It was Mrs. Al Capone. "So sorry, I completely forgot about the bill," Mrs. Capone explained. "I want to pay it now." Mrs. Capone handed Mrs. Sterns a $1,000 bill and said: "Never mind the difference. We may have broken a few things, but this should cover it."
In addition to the beach bungalow, Capone rented a suite on the top floor of the nine-story Ponce de Leon Hotel in downtown Miami. Scarface befriended 24-year old Parker Henderson Jr., the hotel manager, whose father had once served as Miami's mayor. The young man became Scarface's gofer and helped the mobster get money when he needed, thereby keeping the local authorities in the dark about the mobster's finances. John Kobler, Capone biographer and the author of Capone: The Life and World of Al Capone, described how the arrangement worked: "From Chicago, one of Capone's associates would send a Western Union money transfer to "Albert Costa," an alias adopted for that purpose. Henderson would then trot down to the Miami Western Union office, sign in for the transfer, disguising his handwriting, cash it, and deliver the money to Capone." Between January and April l928, Henderson collected $31,000 for Scarface in this manner.
Miami reacted to Scarface's arrival as if he had brought along the Bubonic Plague. James M. Cox Sr., a former Ohio governor, a 1920 U.S. presidential candidate, and owner of the Miami Daily News (formerly known at the Miami Metropolis), launched a page one editorial campaign to help keep Capone out of the greater Miami area. The newspaper seemed to follow Scarface's every known move. Some of the headlines read: "No, Miami is not for sale;" "Capone seeks U.S. protection while in Miami;" and "Mrs. Scarface is here as Scarface plans to arrive Tuesday."
In Tallahassee, Florida's capitol, Gov. Doyle E. Carlton issued an order to all the sheriffs in the state, informing them that Mr. Capone was to be arrested on sight and tossed into the slammer. Capone hired Vincent Giblin and J. Fritz Gordon, two of Miami's best lawyers and later to be circuit court judges, and the legal battle was on.
Scarface devised a strategy of divide and conquer. He knew Miami was hurting economically. The real estate market had still not recovered and the tourists were staying home. He met with Miami's Chief of Police Leslie Quigg. "I have no intention of engaging in criminal activity," Capone told the police chief. "But I need to know if I should stay or leave." Quigg's answer: "You can stay as long as you behave yourself."
Capone held a press conference where he tried to charm Miami's city fathers. Capone showed why he had reached the pinnacle of Chicago's criminal underworld. The godfather waxed lyrical about Miami, hailing it as "the garden of America, the sunny Italy of the New World" and announced his intention of buying a home. Moreover, he hinted, many of his friends may come to Miami and bring money with them. If permitted, he would open a restaurant, and if invited, join the Rotary Club.
Later James Sewell, a Republican campaign worker, told a federal investigator:
"I don't believe there is a politician in town who didn't solicit Capone's financial aid." Sewell alleged that Capone gave money to all kinds of Miami politicians. In his 1946 autobiography, "Journey Through My Years," Miami Daily News publisher Cox wrote: "Capone spent money like water when business in every channel was depressed. He made large contributions to the campaigns of candidates for office. It was the law-enforcing brands of government, of course, which claimed his attention. It was pretty well established that to one candidate he donated $30,000."
Cox recalled how one day a well-dressed man walked into his office and laid a $500,000 check down on his desk. It was to be the first payment on the purchase of Cox's Miami Daily News newspaper for $5 million. "The property was not worth that amount at the time, and there was not the slightest doubt in my mind that Capone interests were behind the offer," Cox wrote. He rejected the offer and the emissary left without incident.
Scarface used Parker Henderson as a front man to buy a permanent residence: a $40,000, 14-room Spanish style bayfront estate at 93 Palm Avenue that beer brewer Clarence Bush had built in 1922. Henderson took the property in his own name and then leased it to Capone. Capone gave Henderson $2,000 as a binder and soon gave him an additional $2,000, the first of four annual payments.
In the coming months, Capone spent a small fortune, about $100,000, to turn his home into a fortress with heavy wooden doors and concrete walls. Florida State Attorney Vernon Hawthorne sought a court order that would allow the authorities to padlock Capone's estate on the grounds it was "a public nuisance and a source of annoyance to the community as a harbor for all classes of criminals and desperate characters. J. Fritz Gordon, Capone's lawyer attacked the state attorney's move as a scheme by Hawthorne, the state attorney, and Miami Daily News publisher James Cox to help Hawthorne's election campaign. The court ruled in Capone's favor, advising the gangster: "Appreciate your citizenship and aid officials in enforcing the law."
Amid the controversy, Capone settled in to his PalmIsland estate and began enjoying his time in the MagicCity. He drove around the area with his bodyguards and associates in his seven-ton armor plated limousine. He golfed and played tennis, although he was not good at either. He was known to go into a rage and smash his racket or club. The mobster spent much of his time at the Palm Island Club, where he had acquired a quarter interest, and the gambling room of the Villa Venice, a 14th Street gambling casino where he retained a controlling interest. He also liked to frequent a SouthBeach dog track and the Fleetwood Hangar Room.
He bought his clothes at the Sewell Brothers' Store on East Flagler, spending as much as $1,000 at a time on suits, silk shirts and underwear, shoes and socks, and on at least one occasion, a $100 Panama hat. Jack Sewell worked at the family store and waited on Capone and the friends he brought with him. Capone befriended Sewell and he became a frequent visitor at the mobster's PalmIsland home. One time, while arriving at a poker game, which was in progress, Sewell saw nothing but $1,000 bills on the table. "Capone was getting up as I walked in," Seward recalled in a June 23, 1968 Miami Herald interview. 'I'm quitting,' Capone said. 'These scoundrels have taken me for $250,000.'"
Sometimes, Capone would hire an airplane at $60 an hour to fly him and members of his entourage to Bimini in the Bahamas for a picnic. Pilot Eddie Nirmaier, who flew Capone, recalled: "I charged $150 for the trip to Bimini and Capone would tip me $100. Capone and his mugs would eat salami sandwiches and drink beer—the beer they bought at Bimini—and we would return. It was a pretty expensive picnic."
While enjoying his time in Miami, Capone did not neglect his business interests in Chicago. Even though Scarface was the Windy City's most powerful gangster, there were times when he had to show the criminal underworld who was the boss. In 1929, Capone was still involved in a vicious gang war with his most dangerous rival, George "Bugs" Moran, the boss of the North Side Gang, formerly headed by Dion O'Banion until he was murdered at his florist shop in 1926. Bugs had no doubt who killed his former boss and he had been trying to whack Scarface ever since. On one occasion, James "Machine Gun" McGurn and several other associates of the Capone gang drove six cars past a hotel in Cicero, Illinois, a Capone stronghold, where he and some of his men were having lunch, and sprayed the building with more than 1,000 bullets.
On the morning of February 14, 1929, Moran sent six of his gang members to a garage on Chicago' North Side to pick up a liquor shipment that highjackers were ostensibly offering at a fantastic price. It was actually a trap financed by Al Capone and planned by his associate, Machine Gun McGurn. While Moran's men waited inside for the shipment to arrive, a Cadillac carrying four men dressed as policemen and accompanied by two men in civilian clothes, arrived. "The policemen told the six waiting gangsters and a mob hanger on, who, unfortunately for him, happened to be at wrong place at the wrong time, to line up against the wall and keep their hands in the air. Believing the gunmen to be police officers, the seven men did as they were told. The phony policemen produced guns and opened fire. When the shooting stopped, the blood-splattered bodies of Moran's men lay on the ground. Six of them were dead; Frank Gusenberg survived and was taken to hospital where he died after refusing to identify the gunmen.
But Bugs Moran, Capone's primary target, had escaped death. When Moran received news of what became known as the St. Valentine Day Massacre, he was quoted as saying, "Only Capone kills like that."
While the most spectacular gangland slaying in mob history was going down in Chicago, Scarface was 1,300 miles away at a party at his Palm Island estate, providing him with a perfect alibi, at least as far as connecting him to direct involvement in the St. Valentine Day's Massacre. Attending were 100 guests from all walks of life—gamblers, entertainers, sportsmen, gangsters and politicians—many of whom had come to Miami for the championship boxing match between Jack Sharkey and Young Stribling. The guests feasted on an elaborate buffet and drank expensive champagne served by Scarface's bodyguards. After the party, Scarface met with the Dade County solicitor, and answered questions about the St. Valentine's Day Massacre in Chicago. Eventually, Capone testified about the killings before a Cook County grand jury, but he was never indicted. Meanwhile, he increased his security staff in Miami from 10 to 20 bodyguards.
In May and June 1930, Miami's political establishment and business leaders did their best to try and force Capone to leave Miami. Proceedings were held in private in the Dade County Courthouse, where a parade of prominent Miami citizens testified about what a menace Scarface was to Miami. The first witness, "Midwife" Carl Fisher, who had lost a fortune in the 1929 stock market crash, claimed Capone's presence in Miami depressed property values. The witnesses who followed were just as unconvincing as Fisher. As Stephen C. Bousquet pointed out in a 1998 Florida Historical Quarterly article: "Under sharp questioning by Capone's attorneys, many (of Miami's high powered witnesses") testified that they had never actually seen Capone and could not provide eye witness accounts of illegal acts. Most of those who testified, in fact, had formed their opinions of Capone solely based on news accounts." On June 14, 1930, the judge threw out the petition to kick Scarface out of Miami, ruling that nothing in Florida state law allowed for the expulsion of someone from a city simply because its good citizens thought that a particular person was undesirable.
But Capone's luck had started to run out. In 1929, he was arrested in Philadelphia for carrying concealed weapons, and within six hours, he was sentenced to one-year prison term. Nine months later, on March 17, 1930, Capone was released for good behavior.
By now, Capone was having a problem of a different kind. He, like other gangsters from the 1920s, believed that the money made from illegal gambling was not taxable income. In 1927, however, a court ruled that gambling profits could indeed be taxed. Capone had cleverly avoided a paper trail when it came to showing how much money he had raked in from his criminal activities. He kept nothing in his own name, filed no income-tax returns and declared no assets or income. Front men did all of his business for him.
But Scarface was not as clever as he thought. The Internal Revenue Service went to work, and in 1931, a Chicago court indicted Capone for income tax evasion covering the years 1925 to 1929 and for failing to file tax returns for the years 1928 and 1929. Uncle Sam charged that Capone owed $215,080.48 in taxes from his gambling interests. A third indictment charged Scarface with violating the Prohibition Law from 1922 to 1931. Capone pled guilty, mistakenly believing that, by doing so, he could plea bargain the charges. But when James H. Wilkerson, the presiding judge, said there would be no deal, Capone then changed his appeal to not guilty. He also tried to bribe the jury, but the judge changed the jury panel at the last moment. Scarface ran out of moves, and he was found guilty on 18 of the 23 counts. Judge Wilkerson sentenced Scarface to 10 years in federal prison and one year in county jail. Capone also had to serve a six-month contempt sentence for failing to appear in court.
In May 1932, Scarface was sent to the Atlanta Federal Penitentiary, the country's toughest federal prison, but he corrupted the prison authorities and was able to live comfortably. Among his accoutrements were a mirror, typewriter, rugs and even a set of the Encyclopedia Britannica. Later, Capone was sent to Alcatraz where security was tighter and the system treated him like a typical prisoner.
In December 1938, prison officials at Alcatraz revealed that Capone was suffering from Peresis (brain damage caused by syphilis) and was now a mental patient. No one knows for sure how Capone contracted syphilis, but it is believed he got the disease in Chicago from a prostitute before he was married. On January 17, 1939, Capone's 40th birthday, prison officials transferred Scarface to Terminal Island Penitentiary in Los Angeles. On November 16, he was released from custody and sent to a Baltimore hospital for brain treatment. After his release from the hospital, Capone was brought to his Palm Island home in Miami, where he lived a reclusive life with his close family members. He would only leave his estate on special occasions, such as his son's marriage at St. Patrick's Church on Miami Beach.
By 1942 penicillin was available in extremely limited supplies, but Capone's doctor managed to get some for him, making Capone one of the first syphilitic patients to be treated with antibiotics. Still, Capone's condition worsened. Capone biographer John Kobler described Capone's last days: "The curse of neurosyphilis from which Capone was suffering is unpredictable. The victim seemed normal, now disoriented, his speech unintelligible, a prey to tremors and epilepsy-like seizures. In even his best period Capone lacked mental and physical coordination. He would skip abruptly from subject to unrelated subject, whispering, humming, and singing as he chatted. Despite his gross overweight, he walked rapidly with jerky—automan-like motions."
On January 21, 1947, America's most famous gangster collapsed from a brain hemorrhage. Six days later Capone died; he was 48 years old. Miami's unwanted citizen was buried in plot 48 in Chicago's Mount Olive Cemetery before a small group of mourners.
The Magic City, however, had the final word. In a scathing editorial titled "Let us blush", the Miami Daily News blasted Scarface's legacy: In part, it read: "To the eternal disgrace of our country, he did not go to prison for the blood he spilled, the violence he perpetuated. He went to prison, the irony of it, for failing to pay his taxes on his ill-gotten gains. The man we could not crush for his robber's racket and murderous goons, we could only reach for his failure to split his profits for ourselves, the government!"
Ron Chepesiuk (firstname.lastname@example.com) is award winning freelance investigative journalist and documentary producer. He is a two-time Fulbright scholar to Bangladesh and currently Indonesia and a consultant to the History Channel's Gangland documentary series. His true crime books include Drug Lords, Black Gangsters of Chicago and Gangsters of Harlem. His two forthcoming books include The Trafficantes: Godfathers from Tampa, FloridaThe Mafia, CIA and the JFK Assassination (an e-book in February, 2010) and Sergeant Smack: The Lives and Times of Ike Atkinson. Kingpin, and his Band of Brother (June 2010).


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If you happen to buy the most recent (and dare I say best) issue of Amid Amidi's excellent Animation Blast, you will be treated to a breezy article on the making of a forgotten animated feature that was released during the not-so-hot-for-animation year of 1983. TWICE UPON A TIME is hardly a film that rolls off the lips of animators very easily. No listing on best-of lists. No pages devoted to it in most (if any) animation books. The film will probably offer a quirky tilt of the head like a dog hearing a high pitched noise for your average Joe Q. Moviegoer. What little is remembered of this small and unassuming film is murky. Cloudy. Bordering on urban legend. "Say, didn't Lucas direct that one?" Sigh. No, he didn't. But he did have a hand in getting it produced. Interested now? I was when I found out about this odd fact. In fact, exactly how I found out about this film was murky in itself. I don't really know how I found out about TWICE, but I do remember renting it back when you rented only VHS's. The box cover was faded. It looked dated. I rented it because of two things: 1) George Lucas was involved; and 2) It was supposedly animated using an unusual process of cut paper and lit from behind. This I had to see. The problem is, I don't really remember much about it after that. Why? What happened? Did I just succumb to the fates of this poor film? Was this an alternate to that crazy videotape in the horror film, THE RING, but instead of being killed off by a black-haired spook child, anyone who watches TWICE UPON A TIME will immediately forget about it, forever keeping this quirky little film in total and complete obscurity?
Apparently, writer Taylor Jessen didn't fall prey to the fates. Jessen, who writes on occasion for AWN, has probably been the most vocal advocate for this forgotten film, first writing about it back in 2004, to mark the 20th anniversary of its airing on HBO. Featuring "where are they now" interviews and updates on the main principals of the film, the article, along with the one in the Blast, revived my curiosity. Jessen's writing is engrossing. I couldn't help but get so immersed in the story of the film's battered production, of the way it was dropped after two weeks in theatres, how mastermind and director John Korty created Lumage, an animation technique that was basically translucent cutout fabric, how cameraman (and now big-time Hollywood director) David Fincher and Henry Selick (yes, the one and the same) almost got into fisticuffs, how a house was transformed into a make-shift studio, how tons of backgrounds and artwork were practically given away after production to a complete stranger off the street, etc. TWICE is a subject that Jessen holds very near and dear to him, remembering with fervent glee the PG version with cuss words (they were exorcised in the lasderdisc version released later), and reciting favorite lines with his sister as some sort of secret animation society, population: 2. TWICE UPON A TIME has never been released on DVD. It's not on any list of upcoming releases. This movie needs a white knight. Taylor just might be that knight. He's got his work cut out for him, however. Warner Bros, the company who owns the negative, has no interest in releasing it, apparently. Why? What's wrong with it? Is it any good?
After watching it recently, I really enjoyed the film. The pacing is a bit slow, but that's to be expected from a feature film released before the proliferation of MTV's quick cuts and fast edits. The animation is quite impressive, especially when you take into account that it's all done with cut paper. It's stop-motion with effects done in camera. To make all of it look effortless is no easy task. The animators had to cut out each and every character in order for them to move. Mind numbing! Crazy technique, but I think it's worth it. There are some scenes that are really amazing to watch, with jaw-dropping backgrounds and gorgeous scenery. I couldn't stop noticing all the beautiful layouts and colorful environments. The way the light filters through the translucent paper (pellon) gives the entire film a feel of a stained glass window coming to life, with rich textures and a warm glow. The characters are lovable oddballs, possessing some great voices from actors who were known for their improvisational skills and extreme dry wit and humor. The story is paper thin, however (pun intended), and the film suffers from the dreaded "dated" syndrome. It totally reeks of early 80's, thanks to the forgotten pop tunes that are scattered throughout the film. For a movie about getting stuck in time, it literally is stuck in time.
Image courtesy of John Baker.
But that doesn't mean that TWICE UPON A TIME should be forgotten. It's a landmark film for stop-motion animation, and for animation in general. There's some great animation as well as some great visuals -- it deserves to be seen and studied by animation professionals. It boggles the mind why there's a constant flow of direct-to-DVD releases of the wretched LAND BEFORE TIME series, yet TWICE UPON A TIME sits on a shelf somewhere, probably lost in a dark warehouse. Why is there not a DVD release of TWICE? How hard would it be to get it out there, offering a chance for it to find a whole new audience?
What can be done about this? Who knows. But if you want to know more, please read Taylor Jessen's previously mentioned article online first. Then, order Animation Blast #9 to read his other article on the making of the film. And lastly, keep reading...
I finally cornered the mad busy Taylor Jessen to talk with him about TWICE UPON A TIME, to see if there have been any updates since writing his two articles on the film.
WARD: So after your pieces on TWICE UPON A TIME on your site and in the Animation Blast, has there been any new developments with the film?
TAYLOR: Negative still collecting dust somewhere. Wikipedia entry still hopelessly inaccurate. Former TWICE UPON A TIME animators very pleased. (They'd love to get that overtime pay someday, though.)
Image courtesy of John Baker.
Has there been any talk in the industry about getting a decent print of this film released onto DVD? Anything?
None that I know of. Last year I sent copies of Animation Blast to George Feltenstein, Ronnee Sass, and George Parker at Warner Home Video. But of course it's one thing to think that a movie's making-of story is interesting, and it's quite another to decide that reissuing said movie on home video would make financial sense for your corporation. Let's be honest, the only people who know about this film are animators and a few wise-ass GenX-ers who saw it on HBO back in the day. We're a fickle crowd. Financially, reissuing some much-beloved Astaire & Rogers musicals or a box set of The O.C. is a much safer bet, and no doubt there are many catalogue titles that are a higher priority for WHV.
Who holds the distribution rights to the film - isn't it Warner Bros.? Is there any way that Warner Bros. could be persuaded to do something about this? Online petitions, perhaps? I mean, it's just sitting on the shelf, right? Collecting dust?
I believe that Warners holds the rights, since Alan Ladd told me that if he had George Lucas' money he'd buy it back. I don't know that there's any way to persuade Warner Bros. to reissue TWICE on home video. Online petitions are highly unlikely to work (witness the battle to get Vivian Stanshall's Men Opening Umbrellas Ahead album reissued at Warners). In John Korty's words, "All it takes is for someone with clout to get interested."
But there are several reasons to continue to think positively: First, no one who is now in charge at Warner Bros. probably cares about this film one way or the other. That's an advantage, all things considered. Back in 1983, with Ladd Company turning into a profit sink after releasing good but profit-challenged movies like BLADE RUNNER and STAR 80 and THE RIGHT STUFF, many WB executives probably wished they could just pick up Alan Ladd's little production shingle and dump it in the Yangtze. Now BLADE RUNNER's a classic, and TWICE UPON A TIME is just forgotten. That's a start. Second: despite the fact that Warner doesn't have a projectable print, I think it's very likely that the negative is safe and sound and probably very clean. You'd be amazed how good a film can look when a studio simply packs it in an airtight can and forgets about it for twenty years. Take PLAGUE DOGS, a film by the makers of WATERSHIP DOWN, which came and went in theaters in the mid-1980s. Rent that DVD tonight and prepare to be shocked – super-clean, vivid colors, looks like it was shot last week. (Also prepare to have your evening ruined, in the best possible way. You will cry buckets.)
What does Korty think about all this?
I don't think Korty thinks about this film much anymore. He's moved on. The latest film project of his that I know about, and I laughed helplessly at the beauty of it when he told me, involved Korty going up to people on the street with a digicam and asking them "So what's your screenplay idea?" His interviewees would then expound their ideas over three to five minutes. He later strung them together into a feature-length documentary. Presto!
How hard was it for you to get a hold of all the people involved with the film for interviews, etc, for your articles? Was it easy for some to talk about their experiences of working on the film, hard for others?
It varied. Almost everybody was willing to talk to me until the cows came home. Animator Will Noble was a little reticent at first. Producer Sue Kennedy is a librarian now and has more or less relegated that part of her life to history. Editor Jennifer Gallagher was bloody impossible to find – my notes from trying to track her down run to four pages – but she was more than happy to talk for an hour long-distance from Germany. With David Fincher I really lucked out; he was in preproduction on Lords of Dogtown when animator Carl Willat called him up and suggested he talk to me. David phoned me up and we set up an interview in his Hollywood office, and we ended up yakking for three damned hours. How in hell could a man this busy afford to give some animation writer three hours of his time to talk about a movie on which he was basically a camera assistant? Simple – there was someone on the production of Dogtown who wanted him for a meeting and David wanted to avoid that meeting. I was his excuse.
Actually there is one person on the crew that the crew and I particularly wanted to re-connect with whom we never found, and her name is KERRY PETERSON. If anyone out there knows what became of Kerry, if she has a new last name, or where she may be, PLEASE let me know at Ironybread at Earthlink dot Net.
Image courtesy of John Baker.
Did you find any obstacles in writing your articles on TWICE?
I wish George Lucas had talked to me. I queried his office about an interview several times over several years, both while he was in production on Episode III and after it was released. He passed. And I wish I had been able to find that super-collector who went up to Korty when Korty Films was closing up shop and took so much animation art off of Korty's hands. He still hasn't come forward.
In your articles, you mention that there's stuff that was filmed but never made it in the movie. Care to go into more detail?
There are a lot of shots that the animators described that didn't make the final cut. Some of them got saved on various animators' demo reels. There's Greensleeves' death scene, which was originally meant to play right before Ralph gives the last unused dime back to FGM. There's an early scene with Ralph done when he was still voiced by Bud Cort. And Korty talked about a live action sequence that had to be cut: When Ralph and Mum are futzing with the hands of The Clock and time is fast-forwarding and rewinding, you can see just a few frames of what looks like a struggle involving some nuns in an elevator. What's actually going on there is that they're battling an inflatable woman. In a two-and-a-half-minute scene that was shot but didn't make the final cut, there are some nuns in an elevator, and a man enters carrying sex doll in his briefcase. And slowly it starts to self-inflate. The man with the suitcase is a talented pantomime named Geoff Hoyle.
Mark West animated a scene that was supposed to be inserted right after the nightmare with Ralph and Mum in the office: In the original cut, the paper cutter blade comes down on Mum, and Ralph can't find him after the nightmare is over. He thinks Mum's been shredded. He spends the next part of the movie really down, and he's wandering around the frozen landscape when he sees the Balloon guy in the park. Ralph goes into his ear, and starts wandering through the memories in the guy's head. He used to be a pilot, and his head is full of images of planes and flight, and at the end of the tunnel there's a child's drawing of a plane - and Ralph finds Mum there.
There's other footage and audio that may still exist. Brian Narelle says Entertainment Tonight came to the studio at one point, and later they broadcast a four-minute piece about the production. There's probably a demo version of the song "Twice Upon a Time" with vocals by Michael McDonald in one of Michael's storage units. And we hope somewhere there's a tape of the sessions at Abbey Road with the London Symphony Orchestra, because Maureen McDonald describes how the complete version of "Life Is But a Dream" does something we never knew about: "The amazing part comes right where they faded it out [after the lyric "...like dreams do", before the Fig is attacked by the vulture], which always bummed us out, because there was this huge bridge section that Mike wrote that really is a great moment."
Is it crazy to think that maybe some of this footage could be put in a Special Features section if TWICE gets released on DVD?
Licensing the outtakes would probably be a breeze, because it's all Korty Films copyright. It all depends on what the animators kept for their demo reels. The Korty Films archives on TWICE UPON A TIME is very very small because of what happened when the studio closed, but a lot of animators kept workprint footage as resume material. Which is yet another example of how, in the end, the artist is usually his/her own best archivist. The bigger the company, the more likely the thing will be saved. On Lilo and Stitch, they animated a very funny Big Chase Scene Finale where an airliner did a 90-degree barrel roll between a row of buildings and knocked the ice cream off a pedestrian's ice cream cone. That footage still exists, because there is a Disney Archives. On the other hand Harley made all those great translight backgrounds for TWICE UPON A TIME. Those don't exist, because there was a garage sale. When we catch ourselves thinking "Boy, I hope somebody's keeping this footage/artwork/music" it's probably a sure sign that the answer is no, so when in doubt, we must always remember to pony up the cash for that DigiBeta/hi-res scan/CD dupe and make that digital clone and take it home and wrap it in plastic and KEEP IT!
After watching the film, I couldn't help but notice how, um, dated it felt, mostly with the songs. Do you think that this could be one of the reasons why TWICE UPON A TIME is not high priority in WB's eyes to release the film on DVD?
Definitely. Actually as we know the equation is very complicated but in this case that may be the variable that counts most. Every studio would like every film in its catalogue to be a revenue stream, but every DVD title is an investment in terms of restoration/authoring/art direction – so before they make it the home video department has to figure out how to sell it. Popular titles sell. Historically important titles get made even if they don't sell because they generate prestige. TWICE UPON A TIME is a tough sell because it's not popular and not everyone is convinced it's historically important.
Let's line up TWICE UPON A TIME against, say, OUTLAND. They're both Warner Bros. / Ladd Company films, and they're both still not in profit. OUTLAND stars Sean Connery – major audience draw. It had a wide theatrical release and has been recycled endlessly on TV, so lots of people have seen it. Plus the movie is still not in profit. Three really good incentives to squeeze some more blood from that stone and get it out on DVD. Result: yes, it's available on DVD.
TWICE UPON A TIME has no star name attached except George Lucas, and he skews sci-fi, NOT animated comedy, so already you're confusing people if you put his name on the box. TWICE is not in heavy rotation on TV so very few people have seen it – Ralph, Mum, and Botch are not familiar faces. There will not be high demand for this DVD. So already Warners is taking a chance on making their costs back just by paying to put it out.
In the end you're left with a movie that has no cultural baggage, because it's just a complete blank to almost everyone. A lot of the motivation behind a DVD reissue could simply come from whether or not the decision-makers at Warner Home Video like it – or think their kids would. I don't think they do, and yes, the music is probably a big reason why not. The movie suffers that terrible Pop Disease where you put what you know is a sure-fire hit song in your movie, and then you wake up in ten years and realize that you ended THE ADDAMS FAMILY with a song by MC Hammer. WHEN THE WIND BLOWS also has the Pop Disease. Those original songs by Roger Waters and David Bowie simply screamed NOW! in 1986, and now they just scream THEN!
Of course you can take all this theorizing and COMPLETELY DISREGARD IT, because ROCK AND RULE got its own two-disc special edition, and there's even a DVD of THE LAST UNICORN. If THE LAST UNICORN can get its own DVD, anything can.
Do you think that hey, since Lucas has tinkered with his baby, the original STAR WARS films, that maybe, just maybe, he would be willing to do the same with TWICE UPON A TIME?
Somebody might want to tinker with it, but Lucas won't. He couldn't even find the motivation to sit for a one-hour phone interview about TWICE UPON A TIME.
What was it like connecting with people who worked on a film that made such an impression on you when you were young?
This was nothing short of magic. I relate to this film first of all as a fan. By making this film, this crew made me laugh. I respect that a lot. So connecting with the crew, the actors and the animators and the creators who made this film so damned funny, was like meeting Rod Rescueman.
Since CG hasn't entirely made stop-motion obsolete, do you think that there are people out there willing to give Lumage a try? Or has technology made it virtually moot? Or do you think that it's not really worth all the trouble?
There are two reasons to do traditional Lumage animation: one, to do Lumage animation, and two, to produce animation in a Lumage style. If you consider only the second reason, there's no practical reason to do traditional Lumage at all. Lumage has three basic parameters: The characters are made of Pellon. The backgrounds are translucent and lit from behind. The animation is performed in cut-out. So consider the Pellon first: Use acrylics and it looks X. Dip it in a bucket of paint and it looks Y. Dab at it selectively with watercolors and it looks Z. Add movement from frame-to-frame and it can take on any quality from a solid block of color to a wild boil. But all of that can be simulated in CGI. Despite all its complexity as a physical object with light shining through it, when you simulate it Pellon becomes just another texture whose behavior is more or less predictable. Even that watercolor boil can be simulated if you introduce a defined randomness. Then there's the backgrounds – at Korty Films they used huge transparencies with blown-up photos or painted designs. Again, easy to simulate in CGI. Then there's the cut-out style, with that signature funky, jerky movement. South Park has been doing that digitally for years. So if your goal is simply to create something that looks like Lumage, you don't need to do traditional Lumage. You can do it in the computer. No fuss, no mess.
What worries me is that no one's doing Lumage for the first reason, which is to do Lumage. Animating in coiled wire requires a unique skill set. Animating in sand requires a unique skill set. Flash, After Effects, cotton balls, Lumage, Maya, all these animation techniques require unique skill sets. And I don't think it behooves us to decide that we have nothing left to learn from Lumage. The more skills you know, the better an artist you are, no matter what your medium. And everyone who's transitioned from traditional animation to 3D knows that even though they're very different skill sets, there's always thing A that the animator learned over there in the Traditional world that helped enormously when it came time to do thing B over here in CGI. Imagine what we still can learn from Lumage. And the materials are certainly there. We still have Pellon, we still have transparencies, we still have light boxes, we still have big planes of glass. Animators can do it, so animators probably should do it, because a good artist never stops learning. That's the personal enrichment angle. Which is to say nothing of the aesthetic angle. I love how Lumage looks, and I want more. And it doesn't have to look like it did when Korty did it – the field is wide open. Here's this amazing technique that one American studio used for twenty years, and then they stopped, and that was it. Think of all the copper left down in that mine!
What's next for the film?
What's next is, an animation producer or director who grew up with TWICE UPON A TIME and loved it needs to bite the bullet and do another film just like it. We need a new animated feature done in exactly the same style. Or maybe something that looks like Lorenzo. Or Toot Whistle Plunk & Boom. Something where you can tell the designers have cast off the shackles and are having the time of their lives. It must come from an established animation studio who can sell it based on the performance of their previous features, but it can't look or sound like any of those features. It has to get that visual style and that improv sensibility out there in one film, and this film must look and sound as unlike Shrek as possible. The voice direction has to be improv-driven, which means it has to be guided by animation people who've already worked in that milieu. Tom Snyder's Soup2Nuts team could do it, or maybe Christopher Guest could do it using his repertory company, Shearer and O'Hara and Levy et al, who as a group have logged some impressive hours as animation voice-over professionals.
The point is, a production entity with an established brand has to take TWICE UPON A TIME into its hearts and RIP IT OFF, MERCILESSLY. We need another movie with all the glee and all the memorable characterizations and all the beautiful oddball design sense of TWICE. Once that happens, and audiences learn to read the style, the TWICE UPON A TIME DVD reissue will take care of itself.
For the uninitiated, where can one go to view TWICE? What's the best possible copy out there?
For optimum viewing, purchase a laserdisc player (very possible) and the TWICE UPON A TIME laserdisc (very impossible). If you don't want to get that involved, buy the VHS. Five copies are currently available for $42 and under from the big webseller with the river in the title.
Thanks, Taylor, for taking the time to answer my questions about TWICE UPON A TIME. Let's hope that we'll be seeing this lost animated gem available again one day.
Thanks for asking. Skål! And remember everybody: KERRY PETERSON. First person to find her gets a copy of Animation Blast and a free can of Buzz Cola. Email me at ironybread at earthlink dot net.
Thanks to Taylor, I've got some images from various sources about the making of the film. (Click on each image to view it larger.)
From ASIFA-Hollywood's GRAFFITI newsletter, 1981:
The following images were from American Cinematographer, May 1983:
This is a great shot of animators' hands carefully preparing nightmare bombs on cut-out images of workers in the office scene:
Camera set-up of the office scene:
Various sequential cut-outs of Mum:
Here's a storyboard sequence with some potential gags by Kai Pindal:
Frivoli character cut-outs:
Below are some screengrabs of the film. Oh, and a word or two about these screengrabs before you see them: they were taken from a VHS copy of a VHS copy of the film. So, we're talking not the best quality here. And I apologize for that. But it's some way for you all to get some sense of what this film looks like, to excite and inspire you. More will be posted with Part Two. Again, click on each image to view larger:
This is the end of Part One. What's in store for Part Two? Why, an interview with the art director of TWICE UPON A TIME, Harley Jessup! Expect that, along with some more screengrabs soon.
UPDATE: Click here for Part 2.


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US Military to conduct "Walking Dead" Zombie Apocalypse psy-op
October 30, 2012 Leave a comment
What is the intelligence community working on?
By JULIE WATSON | AP | OCTOBER 30, 2012
Move over vampires, goblins and haunted houses, this kind of Halloween terror aims to shake up even the toughest warriors: An untold number of so-called zombies are coming to a counterterrorism summit attended by hundreds of Marines, Navy special ops, soldiers, police, firefighters and others to prepare them for their worst nightmares.
"This is a very real exercise, this is not some type of big costume party," said Brad Barker, president of Halo Corp, a security firm hosting the Oct. 31 training demonstration during the summit at a 44-acre Paradise Point Resort island on a San Diego bay. "Everything that will be simulated at this event has already happened, it just hasn't happened all at once on the same night. But the training is very real, it just happens to be the bad guys we're having a little fun with."
Hundreds of military, law enforcement and medical personnel will observe the Hollywood-style production of a zombie attack as part of their emergency response training.
In the scenario, a VIP and his personal detail are trapped in a village, surrounded by zombies when a bomb explodes. The VIP is wounded and his team must move through the town while dodging bullets and shooting back at the invading zombies. At one point, some members of the team are bit by zombies and must be taken to a field medical facility for decontamination and treatment.
"No one knows what the zombies will do in our scenario, but quite frankly no one knows what a terrorist will do," Barker said. "If a law enforcement officer sees a zombie and says, `Freeze, get your hands in the air!' What's the zombie going to do? He's going to moan at you. If someone on PCP or some other psychotic drug is told that, the truth is he's not going to react to you."
The keynote speaker beforehand will be a retired top spook former CIA Director Michael Hayden.
"No doubt when a zombie apocalypse occurs, it's going to be a federal incident, so we're making it happen," Barker said. Since word got out about the exercise, they've had calls from "every whack job in the world" about whether the U.S. government is really preparing for a zombie event.
Called "Zombie Apocalypse," the exercise follows the federal Centers for Disease Control and Prevention's campaign launched last year that urged Americans to get ready for a zombie apocalypse, as part of a catchy, public health message about the importance of emergency preparedness.
The Homeland Security Department jumped on board last month, telling citizens if they're prepared for a zombie attack, they'll be ready for real-life disasters like a hurricane, pandemic, earthquake or terrorist attack. A few suggestions were similar to a few of the 33 rules for dealing with zombies popularized in the 2009 movie "Zombieland," which included "always carry a change of underwear" and "when in doubt, know your way out."
San Diego-based Halo Corp. founded by former military special ops and intelligence personnel has been hosting the annual counterterrorism summit since 2006.
The five-day Halo counterterrorism summit is an approved training event by the Homeland Security Grant Program and the Urban Areas Security Initiative, which provide funds to pay for the coursework on everything from the battleground tactics to combat wounds to cybersecurity. The summit has a $1,000 registration fee and runs Oct. 29-Nov 2.
Conferences attended by government officials have come under heightened scrutiny following an inspector general's report on waste and abuse at a lavish 2010 Las Vegas conference that led to the resignation of General Services Administrator Martha Johnson. The Las Vegas conference featured a clown, a mind-reader and a rap video by an employee who made fun of the spending.
Joe Newman, spokesman of the watchdog organization Project on Government Oversight, said he does not see the zombie exercise as frivolous.
"We obviously are concerned about any expenditure that might seem frivolous or a waste of money but if they tie things together, there is a lesson there," Newman said. "Obviously we're not expecting a zombie apocalypse in the near future, but the effects of what might happen in a zombie apocalypse are probably similar to the type of things that happen in natural disasters and manmade disasters. They're just having fun with it. We don't have any problems with it as a teaching point."
Defense analyst Loren Thompson agreed.
"The defining characteristics of zombies are that they're unpredictable and resilient. That may be a good way to prepare for what the Pentagon calls asymmetric warfare," Thompson said.
Organizers can also avoid the pitfalls of using a mock enemy who could be identified by nationality, race or culture _ something that could potentially be seen as offensive.
"I can think of a couple of countries where the local leaders are somewhat zombie-like," he joked. "But nobody is going to take this personally."


text:
Malcolm Sargent
© National Portrait Gallery, London
Malcolm Sargent
by Bassano Ltd
bromide print, 22 June 1938
Purchased, 1996
Photographs Collection
NPG x84702
Sitterback to top
- Sir (Harold) Malcolm Watts Sargent (1895-1967), Conductor. Sitter in 46 portraits.
Artistback to top
- Bassano Ltd (active 1901-1962), Photographers. Artist or producer associated with 42747 portraits.
Placesback to top
- Place made: United Kingdom: England, London (photographer's studio, 38 Dover Street, London)
Portrait setback to top
Subject/Themeback to top
Events of 1938back to top
Current affairsBritain pursues its policy of appeasement. At the Munich Agreement, Britain, France and Italy agreed to allow Hitler to seize the Sudetenland area of Czechoslovakia. The agreement was seen at the time as a triumph for peace, with Neville Chamberlain returning home brandishing the paper agreement and saying 'peace for our time.' Within six months Germany had occupied the rest of Czechoslovakia.
Art and scienceGraham Greene publishes Brighton Rock. The novel follows the descent of Pinky, a teenage gang leader in Brighton's criminal underworld. The book examines the criminal mind and explores the themes of morality and sin - recurrent concerns for the Roman Catholic Author.
Glasgow hosts the Empire Exhibition; an £11 million celebration of the British Empire visited by 13 million people.
InternationalIn its pursuit of 'Lebensraum' (living space), Germany annexes Austria and parts of Czechoslovakia with little opposition from the League of Nations. At home, the Nazis continued their escalating persecution of the Jews with 'Kristallnacht' (the Night of Broken Glass), attacking Jewish homes, shops, businesses and synagogues, and taking Jewish men to concentration camps.
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