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Macon County Line
Item #: AE4652
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|A series of deadly mistakes and misfortunes lead to a sudden turn-around in the lives of three young people when they enter a small Georgia town and find themselves accused of brutally slaying the sheriff's wife. Sequelled by "Return to Macon County" in 1975, starring Don Johnson and Nick Nolte.
|Directed by:
|Richard Compton. Producer: American International Pictures (A.I.P.).
|American International Pictures (A.I.P.).
|Alan Vint, Jesse Vint, Cheryl Waters, Geoffrey Lewis, Joan Blackman, Max Baer Jr.


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6 Ways to Control Your Cravings
You're feeling down -- and want a snack to perk you up.
Fight back: Stop and identify your emotions. Are you stressed? Did a fight with your husband put you on edge? Acknowledging your feelings can help you pinpoint the "why" behind a craving — and address the real issue head on instead of running to the fridge.
Why it works: A study from the University of Kentucky found that people who were the most in touch with their feelings were more likely to pick healthier options when ordering from a restaurant menu — regardless of how much they knew about nutrition.
"Being in tune with your mood lets you determine a more effective way to cope, so you don't end up reaching for that snack," says Dr. Kessler.
Bonus tip: Keep a food diary and make notes about your state of mind in the margins. This simple trick allows you to track your psychological connections to overeating. You can then brainstorm other ways to handle potential triggers.
There's a two-for-one sale on your favorite ice cream.
Fight back: Rather than stocking up, buy a smaller amount of your not-so-favorite flavor to keep in the fridge for guests and kids (a pint is cheaper than a quart anyway). The key is keeping around a tiny portion that doesn't entice you as much.
Why it works: "Think of this as a vaccine against cravings — exposure to a small amount will help you overcome the big problem," says Ayelet Fishbach, PhD, professor of behavioral science and marketing at University of Chicago.
Fishbach's research has found that making a temptation available renders it, well, less tempting. Over time, you'll build self-control and have a decreased desire for the food. And if you do end up giving in, you can't go totally overboard.
Bonus tip: Stash the pint in the back of the freezer, so you won't see the mint chip whenever you reach for frozen veggies.
The party buffet is calling your name.
Fight back: Distract yourself. Talk to a guest or help the host. Turning your attention to another activity will keep you from fixating on the food.
Why it works: Cravings live in your short-term memory, which holds only a limited number of things at once. A diversion helps by crowding out the temptation, and your brain is forced to refocus.
In a study from Flinders University in Australia, weight-watchers who were asked to imagine highly desired food and then were immediately exposed to something else (in this case, a flickering computer screen) reported a 30 percent reduction in cravings.
Bonus tip: Eat a healthy snack like an apple before you go to the party. "Distraction works only if you're not feeling unsatisfied," says Roberts. "When you're hungry, cravings are harder to control."
Your drive home takes you past your favorite fast-food joint.
Fight back: Take an alternative route to your house, even if it's a little bit longer. This strategy works when you're walking too. In fact, Dr. Kessler uses it himself — he loves the fried dumplings at the Asian take-out place in the San Francisco Airport, so he takes a different path through the terminal to keep them out of sight and prevent himself from indulging.
Why it works: If you stop for a bacon cheeseburger, cookies-and-cream milkshake, glazed chocolate doughnut, or any other fix often enough, it becomes what Kessler calls a habit-driven behavior. This means that just seeing the golden arches or driving onto the road that goes there will trigger the desire to eat the food again. Simply stay away and you're less likely to be drawn in.
Bonus tip: When it's not possible to go any other way, decide ahead of time on a couple of healthier items you will order if you end up stopping. At least you won't get caught making an impulse choice.
Movie popcorn -- it smells too good to resist.
Fight back: Mentally prepare. Before buying your ticket, acknowledge the urge by saying to yourself: "I will probably want to buy a huge tub of buttery popcorn, but I will go straight to my seat instead."
Why it works: Just the act of realizing that you crave something makes it easier to control, says Evan Forman, PhD, associate professor in the department of psychology at Drexel University in Philadelphia. It may sound simple, but being armed with this same type of self-awareness helped participants in a recent study resist bags of Hershey's Kisses. People who were instructed to "accept the craving" had fewer and less-intense thoughts about the chocolate than those who were told to suppress their desires. "The more you try not to think about something, the more you obsess over it," Forman says.
Bonus tip: If you love munching on something during a flick, it's hard to go cold turkey. So go for a low-cal option like sharing a box of Junior Mints with a friend. You'll save up to 1,000 calories and still get the satisfaction of snacking.
You're out with friends and they order unhealthy foods.
Fight back: Don't let their bad habits sway you — stick to your original healthy order, but choose a small splurge like sharing an appetizer of loaded potato skins, enjoying a glass of white wine, or having just a few bites of your friend's piece of cheesecake.
Why it works: Being more mindful of what you choose to indulge in will help you avoid overeating throughout the meal — a trap we frequently fall into, particularly when dining with female friends. According to a recent study from McMaster University in Canada, the more women who attend a meal, the more high-calorie foods they eat (for example, a woman dining in a group of four consumes nearly 800 calories, almost 200 more than if eating with just one friend).
Bonus tip: Invite a bunch of your friends over to a weekend lunch at your place and have everyone bring a healthy dish to share, like baked salmon or whole wheat pasta. It's much easier to control calories this way — just make sure your guests take home the leftovers.
Get Healthy Recipes
Originally published in the March 2010 issue of Family Circle magazine.

subset: commoncrawl


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Sara Harrison
Vinh getting ready.
Shooting men's fashion is a welcome departure to the regular womens fashion stories we produce. Playing with cute boys is always fun and Vinh was ready for our games of silliness. We play hard but we work hard too. Our photographer on set was Larry K and Brian Groppe, our Creative Director, tried really hard to keep us all in line.
It always astounds me when a young person reaches out asking to shadow a photo shoot. In this case, Alexa (far left) came down to watch how we put it all together. Next to her is Vinh in street clothes and then there's the one and only Christopher Padgett, our makeup artist, holding a fish stick. This all happened in the back of my Caddy.
Beautiful hats from Mister Hats, selected by Sarah Harrison. Photo by our awesome hairstylist, Lucy Hadskey at Secret Services. We shot at the old train station on South Main and ate some of the best pizza for lunch from Aldo's. Gosh, we had fun that day and to see the results of our shenanigans, pick up a November issue and gaze at the gorgeous photos in print.
For even more in Memphis living and entertainment news, be sure to follow Memphis magazine on Twitter and Instagram @memphismagazine, on Facebook and Pinterest!


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Summer Weather Safety
June 01, 2019
Summer doesn't officially begin until June 21 here in the Northern Hemisphere (the summer solstice is the day when the sun reaches its highest elevation, making it the longest day of the year), but summer weather often jumps the gun.
May 31 was National Heat Awareness Day, and the summer heat certainly seems to have settled in and made itself at home here in the waning days of spring.It is crucial to know the dangers of summer weather, and be prepared. Here are some helpful tips:
Remember the basics for beating the heat:
WATER, Shade, Sunscreen, Light Clothing.
And never, NEVER leave children or pets in an unattended vehicle. Even with windows cracked, the temperature inside a car can become deadly much more quickly than you imagine. #LookBeforeYouLock
Please look at this helpful infographic to see how quickly the temperature rises in a car.
Heat Exhaustion and Heat Stroke are grave concerns in the summer. If you experience symptoms of heat exhaustion or heat stroke, seek help immediately.
Heat is not the only dangerous type of summer weather. Tornadoes, Thunderstorms, Rip Currents, Hurricanes, Flood, and Wildfire all present risks, and it's helpful to be prepared in all types of weather.
Please read on and visit the National Weather Service Safety pages for more info.
National Weather Service
National Resources Defense Council


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After 26-year old entrepreneur and activist Aaron Swartz killed himself last week, his family and friends laid some of the blame on federal prosecutors who had charged him with crimes for a 2011 hacking incident.
The contention was that the prosecutors behaved unfairly, painting Swartz's actions in the worst possible light and charging him absurdly harshly—enough to get him hit with a life sentence in prison.
The charges put Swartz's life on hold, and according to his friend Lawrence Lessig, bankrupted him. The stress and cost of preparing for a trial, Swartz's friends said, contributed to his suicide.
As I described in a previous article, legal situations like the one Swartz was in are unfathomably stressful. To a very large extent, your life is in the prosecutors' hands, and deciding to try to defend yourself is a risky, expensive, and all-consuming decision.
If you have "done it"—if you are guilty as charged—the much safer and less expensive route is to plead guilty and accept the consequences.
But this legal strategy depends on the prosecutor having treated you fairly and offered you a fair deal.
if you haven't "done it," or you are guilty only of lesser infractions, or if the prosecutor is insisting on a draconian admission and punishment that is way out of proportion with your actions, then the decision becomes even more difficult.
That's why "prosecutorial discretion" is so important.
Although our system does give the accused a right to defend themselves, the reality is that prosecutors have a huge amount of power and leverage—to the extent that prosecutors don't just act as "adversaries" in this system but as judge and jury. And if prosecutors use that power to force plea deals or harass or "bully" people, they can justifiably be accused of overreach.
In the wake of the Swartz tragedy, it seems important to figure out whether the prosecutors in the U.S. Attorney's office did, in fact, overreach.
Before sharing what I have learned on that question, I want to be clear about one thing: Although the stress of being prosecuted probably weighed heavily on Swartz and contributed to his decision to kill himself, it would be grossly unfair to suggest that the U.S. prosecutors "killed" him. Swartz had struggled with depression for years. And that depression—which is an extremely serious affliction—likely played the major role in his death.
The prosecutors in this case, meanwhile, like all prosecutors, have a difficult job, and they play a critical role in society. As long as prosecutors do their jobs fairly, they should not be held responsible for the stress and challenges in the lives of those they investigate and prosecute.
The key is whether the prosecutors do their jobs fairly. Or whether they abuse the power of their position to "make statements" or further their own goals and careers.
In the Swartz case, we can begin to determine that by asking the following questions:
- Was it fair for prosecutors to charge Swartz with the crimes they charged him with? (13 felonies in connection with a hacking incident in which Swartz spoofed his way into MIT's computer network, took steps to disguise his identity and defeat electronic efforts to stop him, and downloaded 4.8 million academic papers from the online service JSTOR).
- Did prosecutors offer Swartz a fair plea deal?
On the first question, based on the facts outlined in the indictment the prosecutors filed, which have not been proven, as well as the information that has come out by those who defend Swartz's actions, it seems that the prosecutors were acting harshly but within their rights.
Swartz, like many idealistic people in the tech and activist community, appears to have believed that information should be free and that Swartz was therefore just liberating information—academic papers—that should have been more freely available. But in the process of liberating these academic papers, Swartz seems to have broken laws. And even those who believe the prosecutors were unfair to him, like Lawrence Lessig, believe that he behaved unethically.
This analysis on The Volokh Conspiracy, which is written by law professors, concludes that most of the charges against Swartz were fair. Swartz's own attorneys, meanwhile, don't seem to dispute Swartz's alleged actions in the case: Rather, they are saying they would have won the case because the government violated search and seizure rules when it took one of his laptops. (Prosecutors should have to follow the rules, and if they didn't follow them, Swartz should have won his trial. But that's a different issue than whether he broke these laws.)
The alternate view is that, because Swartz's actions were essentially victimless, and because the owners of the service he hacked (JSTOR) and the network he used (MIT), did not take action against him, that the prosecutors should have just let it go or charged Swartz with a misdemeanor or other lesser offense.
This seems like the more reasonable view. Aside from slowing down JSTOR's service and creating an inconvenience, Swartz's actions didn't hurt anyone. "Stealing" a digital copy of something also does not have the same impact as stealing a physical thing, no matter how the action is portrayed. (It's not okay, by any means. But it is different. The "victim" in a digital theft still owns the thing—all that has been stolen is a copy. And because, in this case, the digital things that were stolen, academic papers, are generally available for free anyway—and because Swartz didn't do anything with his copies—it's not as though Swartz caused a major financial loss for JSTOR).
So based on an initial look at this question, my sense is that the prosecutors' charging decisions were very harsh but within the range of "fair." They took a hard-ass view, perhaps because one of them, Stephen Heymann, has made a career out of prosecuting cyber-crimes and clearly feels strongly about them. But they don't appear to have blatantly overreached. Swartz just had the bad luck to run into a prosecutor who was very passionate about defending the lines that Swartz appears to have crossed.
The second question is whether the prosecutors offered Swartz a fair plea deal.
According to Michael Daly in The Daily Beast, Swartz's attorney was lobbying for the following deal:
- Plead guilty to a misdemeanor
- No jail time
The prosecutors, meanwhile, were insisting on:
- Plead guilty to all 13 felonies
- 4 months in jail
Insisting that Swartz plead guilty to 13 felonies is undeniably harsh—arguably absurdly so in light of the circumstances of this incident. Importantly, however, the "4 month" jail sentence is vastly shorter than the effective "life imprisonment" that would have resulted from adding the sentences for all the charged felonies on top of one another.
Was the prosecutors' offer a fair deal?
Given that Swartz presumably believed that he had done something morally right if legally wrong, this probably seemed like an outrageously harsh sentence. And many Swartz defenders, who view his actions as unethical but harmless, agree.
It would have been extremely tough for Swartz to plead guilty to being a felon. And Swartz's attorney was, probably justifiably, worried about what might happen to him in prison. (This is unfortunately a reality that needs to be considered here.)
But it's also important to note that there is a big difference between four months in prison and "35 years in prison," which is the sentence you get if you just add up the sentences for all of the felonies. And Swartz does appear to have broken some laws.
Swartz's other option, meanwhile, was defending himself. Although Swartz's lawyer believes he had a good case, and although he would probably have been a sympathetic defendant, he obviously could have lost. And if he had lost, he would have been convicted of at least some of the felonies and gone to jail for much longer than four months. (The prosecutor's estimate, Swartz's lawyer told the Daily Beast, was 7 years—because the judge in the case is known for harsh sentences). And, regardless of whether he won or lost, Swartz's trial would have been extraordinarily stressful and time-consuming and would have cost him a fortune—a fortune that, according to Lawrence Lessig and Swartz's friends, he no longer had.
The bottom line, at least based on the information I've seen to date, is that the U.S. Attorneys in this case—Carmen Ortiz and Stephen Heymann—seem to have taken a very hard line on Swartz's case.
Whether Ortiz and Heymann took too hard a line, or whether they should have been fairer and more understanding in their plea offer, is a question that they should—and no doubt will—ask themselves frequently in the coming years.
And Aaron Swartz's case is certainly a good excuse for the country to evaluate how much power we place in the hands of prosecutors.
Swartz's death is a tragedy, regardless.
But if we can use it to make our system better, Aaron Swartz probably would take solace in that.
SEE ALSO: Aaron Swartz's Death Is A Tragedy—And Some Questions Need To Be Answered


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|#fedora-test-day (webirc)
What to test?
Today's installment of Fedora Test Day will focus on Automated Bug Reporting Tool (ABRT). This tool should help non-power users with bug reporting, making it as easy as a few mouse clicks. ABRT is a daemon that watches for application crashes. When a crash occurs, it collects the crash data (core file, application's command line etc.) and takes action according to the type of application that crashed and according to the configuration in the abrt.conf configuration file.
Bottom line: do not hunt the bugs with a pitchforks, rather use bugzappers/big light source to draw them from the dark and kill them easily at close range.
ABRT should be easy for users and very useful for developers and admins. Ease of crash/bug reporting and quick response from maintainers based on info from ABRT should make Fedora more stable and thus more attractive for users.
Who's available
The following cast of characters will be available testing, workarounds, bug fixes, and general discussion ...
- Development - Jiří Moskovčák (jmoskovc), Nikola Pajkovsky (npajkovs), Denys Vlasenko (dvlasenk), Karel Klíč (kklic)
- Quality Assurance - Kamil Páral (kparal), Michal Nowak (mnowak), Adam Williamson (adamw)
Prerequisite for Test Day
You will need either fully updated Fedora 13 system or a custom live image for ABRT.
Fedora 13 installation
1. If you don't already have existing Fedora 13 installation, you may install from Fedora 13 Beta RC3.
2. Then add ABRT development repository:
wget 'http://jmoskovc.fedorapeople.org/abrt.repo' -O /etc/yum.repos.d/abrt.repo
3. Fully upgrade:
yum upgrade
4. Check that you have ABRT version 1.0.9 installed.
rpm -qa 'abrt*'
5. Log out and log in again (this is important).
ABRT live image
This is a non-destructive live image that you just download, burn to CD/DVD and boot from it. You can also make a bootable USB stick from it by using liveusb-creator.
How to test?
Please follow each of following ABRT Test Cases and sum up the results in the table below:
- QA:Testcase ABRT CCPP addon - C/C++ tracebacks
- QA:Testcase ABRT python - python tracebacks
- QA:Testcase ABRT python better debugging - tests how EasierPythonDebugging works with python (see How to test for more info)
- QA:Testcase ABRT kernel - kernel oops
- QA:TestCase ABRT BlackList - package blacklist
- QA:Testcase ABRT GPG check - reporting crashes of signed packages only
- QA:TestCase ABRT GPG Keys - additional keys for signing packages
- QA:Testcase ABRT quota - limiting the space occupied by ABRT's cache
- QA:Testcase ABRT Plugins - configuring plugins
- QA:Testcase_ABRT_Bugzilla - Bugzilla plugin
- QA:Testcase_ABRT_Logger - Logger plugin
- QA:Testcase_ABRT_Mailx - Mailx plugin
- QA:Testcase ABRT Actions and Reporters - testing of action/reporting plugins
- QA:Testcase ABRT SOSreport plugin - SOSreport action plugin
- QA:Testcase ABRT Cron - periodical plugins using Cron
- QA:Testcase ABRT GUI MAIN - testing the GUI (probably already during the previous steps, so just to sum it up)
- QA:Testcase ABRT CLI - CLI interface
Test Results
Please report all bugs into Bugzilla against the abrt component.


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BOXY SHIRT, Mini Beans, Adults
Woven cotton button-up shirt with collar. Snap buttons down the front. Long sleeves with button slit on back. Uneven hem is longer from the back. Take a look into a measurement table to see the directional measurements of this item!
- Made from organic cotton
- Sizes XS-XL
- The model is 178 cm tall and wears a size S
Designed with love in Finland. Made with care in Lithuania.
Woven cotton - 100% cotton (organic)
MINI BEANS - Black/Cream
Note! To show some true love to your wonderful garment, check and follow the care instructions carefully.
Shipping and delivery
Delivery time
4-5 business days in Finland, 10 business days worldwide, when products are in stock. Shipping delays, weekends and holidays may affect delivery time.
Orders from papustories.com are delivered by Posti (Finland) to your closest pick-up location, and DHL Express (rest of the world).
Shipping costs
Shipping costs include the cost of shipping & packaging. The shipping costs depend on the order value and the delivery method chosen.
|Value of the order
|Shipping cost
|equal to or over 100,00€
|under 100,00€
|equal to or over 150,00€
|under 150,00€
|Other countries
|all orders
Shipment tracking
Once your order has been shipped, you will receive an email with a tracking code for your package. You can check the shipping status of your package.


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I got a casual text from my mom last night with big, big news.
"Sorry for the late arrival," it read.
Late for what? Turns out she was referring to an email she'd just sent regarding her Cairo-bound flight arriving late at night. Wait — my 75-year-old mom is meeting me in Cairo this fall? Even after she's tried to talk me out of this trip for the last three years? Sweet!


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|Allegro CL version 10.0
Unrevised from 9.0 to 10.0.
9.0 version
Arguments: name make-function &rest args
Returns a window that is intended as a non-modal window for an application. If the window has previously been created by calling find-or-make-application-window or add-application-window and it has not been closed, then the existing window is returned. Otherwise make-function is called to create the window, and that new window is returned.
This function calls find-application-window to find an existing
matching window if any. It will pass name as the
key argument to find-application-window, and pass the current
process as the subkey argument, and
t as the always argument.
name is an arbitrary symbol for identifying the window. No two windows that are made with find-or-make-application-window or find-or-make-pop-up-window should use the same name.
make-function should be the name of a function that takes args as its argument list, and which makes and returns a window whose name is name.
See also find-application-window, add-application-window, and remove-application-window.
Copyright (c) 1998-2019, Franz Inc. Oakland, CA., USA. All rights reserved.
This page was not revised from the 9.0 page.
Created 2015.5.21.
|Allegro CL version 10.0
Unrevised from 9.0 to 10.0.
9.0 version


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Monaco off to winning start
Emmanuel Riviere threatened to upstage Monaco's expensive summer imports in Saturday's 2-0 victory at Bordeaux - but €60 million man Radamel Falcao had the last word.
A bumper crowd at the Stade Chaban Delmas came both to usher in the new Ligue 1 season and to check out the wealth of talent recruited by ambitious Monaco in the few months since their promotion in May.
Falcao was the star attraction while James Rodriguez, Jeremy Toulalan and Ricardo Carvalho also stepped out in principality colours, but it was the understated Riviere who finally opened the scoring nine minutes from time.
In the dying stages Colombian hitman Falcao, who had been bought on the strength of his formidable scoring record at Atletico Madrid and Porto, would deliver his first goal for Claudio Ranieri's men to rubber-stamp the victory.
Alexandre Lacazette scored twice as Lyon enjoyed the biggest winning scoreline of the first day of the Ligue 1 season with a 4-0 thrashing of Nice.
Lacazette opened the scoring after just 12 minutes but Remi Garde's side raced away with the match in the second half.
Clement Grenier added a second eight minutes after the break and Lacazette got his brace after 67 minutes with Yoann Gourcuff adding a stunning free-kick in injury time.
Valenciennes opened their season with an emphatic 3-0 win over 10-man Toulouse at the Stade du Hainaut.
The Nord region club impressed and surprised on their way to an 11th-placed finish last term and the early signs point to another successful season following a one-sided encounter.
There appeared to be a case of mistaken identity when Uros Spajic was dismissed for a foul in the 35th minute. Maor Melikson converted the penalty but Steeve Yago had been the man under suspicion from the VA players in the build-up.
Perhaps rattled by the events of the first half, Toulouse allowed their hosts to pull away to a comfortable victory as Jose Saez and Gregory Pujol helped themselves to a goal each after the break.
A goal by Filip Djordjevic and a Julian Palmieri own goal saw Nantes claim a 2-0 victory over Bastia in their first match back in Ligue 1 as both teams finished the opening match of the season with 10 men.
Nantes' Jordan Veretout was given a second yellow card for arguing with the referee before Bastia were reduced to 10 men when Araujo Ilan was sent off for violent conduct.
Mevlut Erding scored a late winner as Rennes got a 2-1 victory against Reims.
Vincent Pajot put the home side ahead in the eighth minute but saw his early score cancelled out just before half-time by Grzegorz Krychowiak.
However, Erding ensured Rennes got their season off to a winning start when he slotted a low shot past Reims goalkeeper Kossi Agassa in the 84th minute.
Elsewhere, Divock Origi's first-half goal ensured that Rene Girard's reign as Lille manager got off to a winning start with a 1-0 victory against Lorient tonight.
Evian were unable to hold on to an early lead at the Parc des Sports as they drew their first match of the season 1-1 against Sochaux.
Fabrice Ehret put the home side ahead in the fourth minute and Evian kept the visitors at bay for 50 minutes before Roy Contout netted the equaliser.
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The old adage "less is more" rings true for women who take heartburn medications like Nexium, Prilosec and Prevacid. A recent study published in the Journal of Clinical Gastroenterology found that most women can tolerate lower doses of these medications while experiencing the same reflux-fighting benefits, thus reducing their risk of long-term side effects.
The study involved 100 participants, approximately half male and half female. All participants had been diagnosed with erosive esophagitis and had been on long-term therapy with a proton pump inhibitor (PPI). Researchers had half the participants reduce their PPI dose for a period of eight weeks, and had the other half continue to take their regular dose. Gastrin levels were measured both before and after treatment.
The results showed that females had overall higher levels of gastrin than males. However, women were three times more likely to tolerate half their normal PPI dose compared to men.
PPIs are among the highest-selling classes of drugs in the United States, but recent studies have linked these drugs to serious complications with long-term use. In 2010, the Food and Drug Administration (FDA) issued warnings about the increased risk of fractures associated with PPI therapy. Additional evidence shows that PPI users may be at increased risk of kidney disease, dementia, heart attack, and nutrient deficiency. Higher PPI dosage is linked to a greater risk of side effects (Source: The Legal Examiner).
While the results of this study only showed successful step-down treatment for women, most patients can naturally reduce their need for heartburn medication through lifestyle and dietary modifications. These include:
- Losing excess weight
- Eating smaller portions
- Avoiding heartburn triggers like alcohol, caffeine and fried or spicy foods
- Finishing meals 2 to 3 hours before lying down
- Wearing loose-fitting clothing
- Giving up smoking
- Elevating the head of your bed when sleeping


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Tag: Ibiza yoga
Pretty Knitty
Journeying thru the fiber world, learning new skills, being challenged and making connections.
How to do yoga
all about Yoga
Just a little crunchy.
Knitting Wool yarn hand-dyed
Spin A Yarn
yarn hoarder...accessories fanatic...lover of all things creative
Meilindis Creations
Woolgathering | Fibrebending
Skein Heroine
Bringing Plant Colour to British Wool
Handmade By Zan
A blog about crafting in general, by a knit designer, indie yarn dyer.
busy hands, quiet mind
The Eclectic Handcrafter
A blog about Knitting, Cross Stitch, Crochet and Lace Making
Exploring the world one fiber at a time
stgeorge knits
Never not knitting
yarn and pencil
a creative life on the spectrum
slowing down to savour life's creative moments
Knitting, Fiber Art, and Lofty Thoughts
Pointless Overthinking
Understanding ourselves and the world we live in.
Heffalump ramblings
Thoughts along the journey to finding my best self


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The Return Of The Kings Of Kustoms
Fortunately, a few stories just write themselves in the world of rods and customs, and thankfully this is one of those historic pieces that I was able to be a part of. When it comes to the two cars and the people in this story, much is known and very well-documented in historic writings in magazines through the last six decades, as well as the most recent documentation in the pages of The Rodder's Journal (numbers 38 & 40).
This compilation of facts did not allow this writer much ground for traditional tale telling, as it may have come across mostly as rehashing the known facts already told in a variety of published writings. That was until I had an epiphany during the initial interviewing phase. As I prepared to make contact with the key players with these cars, I figured I'd let them tell much of the story themselves. An interesting side note is that while a more famous or beloved rod and custom pair would be hard to find, these two cars have previously never been on the cover or featured inside the pages of Rod & Custom (or photographed together), so it's a truly historic moment for us all! If you want a more detailed account of the parts and hardware that went into these two cars, you can find it on our website, www.rodandcustommagazine.com.
So, without further adieu, let us present some behind-the-scenes questions about a pair that needs no introduction: The Sam Barris Merc and the Ala Kart.
Player 1: Roy Brizio. Born into a hot rod family, Roy developed a place in history for himself building high-quality hot rods from a very early age, and building up one of the most successful street rod businesses in the country.
R&C: You've become one of the go-to guys for accurate restorations of historic rods and customs-previously the McMullen '32 roadster, Edelbrock Sr.'s '32 roadster, and the Jack Calori '36 Ford coupe. Is the process more of a challenge, a curse, or both?
RB: Actually, it's an honor to be asked and have someone trust you to be responsible for such an important job, because you only have one shot to get it right. You don't want to be the guy who screwed up a historic car.
R&C: You built the Ala Kart model kit many times as a kid for a special reason. Explain.
RB: Every year, Al Slonaker would throw a big party for the Grand National Roadster Show participants, and show manager Mel Fernandez would have a big cake for the dinner. When I was about 12 years old, Mel asked me to build a model to put on the cake, and it happened to be the Ala Kart. I continued making the models for the cake for a few years. A few decades later, Don Tognotti asked me to build a King T kit for the cake for the 50th anniversary party. It was funny making a model kit at home at night after working on real cars all day.
R&C: Were you surprised how well both Barris cars were preserved?
RB: Yes! We were lucky. Tommy Lee buying Sam's Merc was the best thing that could have ever happened to it, because he took such good care of it for 50 years. The same thing with the Ala Kart; a guy in Arizona had it for years and never messed with it. At one point, Boyd was supposed to buy it and planned to redo it with a modern chassis. Thank God that didn't happen! Greg Sharp is the one responsible for me getting a shot at the car-he had the scoop and offered it to me first. I said, "Give me a week and I'll find a buyer." I called everyone I knew and at the time no one wanted to step up. Eventually, I talked (John) Mumford into it.
R&C: Do you intentionally try not to leave any evidence you worked on the cars opposed to the way the original builders unintentionally left evidence of their handiwork?
RB: No. The biggest goal is to not embarrass, yourself because these cars are so well known and beloved and will always be under the microscope. You have to draw the line on things you leave as they were built and other areas you make stronger to keep the cars from falling apart. These cars are fragile, and traveling with them is an issue.
R&C: Is "over restoration" a constant concern and problem when you are trying to preserve history?
RB: It's the process of making the correct decisions. You don't want to finish and have people saying, "I can't believe he did that," and we went to great lengths so they couldn't. Blackie and George say the Ala Kart is nicer than it ever was, but you don't want to go too far with that.
R&C: Any other restorations you would like to be part of?
RB: One car I always thought was really bitchin' was the Orange Krate. My whole young life revolved around the Oakland Roadster Show, and I remember so well seeing that car and building the model kit. I'd love a chance to work on the real thing.
Player 2: John Mumford. A serious collector of many different types of automobiles, his heart belongs to the early rods and customs that prowled the streets during his high school days.
R&C: Were you always a fan of the Sam Barris Merc and the Ala Kart?
JM: I was always a fan of the Merc after I saw the car in person while attending Santa Monica High. I hadn't originally been a fan of the Ala Kart-I was more of a "traditional" hot rodder. These cars weren't something I specifically pursued, but after I had the Ala Kart, I joked to a friend that I needed the Sam Barris Merc, not even knowing if it still existed. From that discussion, I was eventually connected to Tommy Lee, and we bonded once he knew what a fan I was of Sam and he eventually allowed me to obtain the car.
R&C: Restoring the Ala Kart was a very tough decision. I know at one time you had elected to keep it unrestored. What finally persuaded you to fully restore it?
JM: It was a tough decision because how many cars still have all their original parts untouched for decades? Bruce Meyer and Pete Chapouris said to leave it alone. I'd go back and forth on the idea, because it's such a phenomenal piece of history. If anyone was going to restore it, Roy was the one guy who could do it. We talked about patinaing in the missing paint (stripped while Junior Conway started to restore the car), but that was not the perfect solution. A full restoration became the only decision, and (laughs) I held it over Roy that he would get a crack at it if he finished a couple of my other cars.
R&C: What's your own personal best story about the cars you haven't seen published already?
JM: I'd have to say when it all started to sink in how important the cars are when Roy had the shop open one day and a bunch of guys on a Goodguys tour stopped by and all at once spotted the Ala Kart. They immediately started crawling on the floor to get a closer look and calling their buddies on their cell phones to say, "I'm right here looking at the real Ala Kart!" It was surreal, like they were meeting an old movie star.
Player 3: Bill Ganahl. Another example of a multi-talented hot rodder and custom enthusiast born into the hobby.
R&C: You've worked on a pretty impressive list of restorations of famous hot rods and customs (Calori's '36 Ford, McMullen's '32, and Edelbrock's '32); how did the Ala Kart and the Sam Barris Merc differ?
BG: To me, these cars are much more prominent. The Ala Kart is more iconic than all the rest. It's a caricature of a hot rod. The cars differed for me personally since I respected the Ala Kart, but was not a personal fan. As I restored the Ala Kart, it became apparent why it was so important. But, working on the historic customs like the Calori '36 and Sam's Merc have made my career. Sam's '49 is arguably the first one ever chopped, and to me nothing could be more important.
R&C: Which of these two cars was more difficult to restore?
BG: The Ala Kart was, by far, better documented, making it much easier to correctly put it back exactly as it was. Very few pictures of Sam's Merc exist, and absolutely no pictures or details exist on the interior. Underneath the Merc, we restored it back to absolutely stock with the minimal modifications that were made originally.
R&C: These cars have "fingerprints" from workers in the past, and you work hard to preserve that. What are your fingerprints?
BG: I tried not to leave any. That's the problem you face with over restoration. I tried to keep as much of the old stuff as possible. There's a spinner hubcap mounted over the rearend in Sam's Merc that has been there forever-we left it there. My fingerprint is in the preservation that I did, and I hope that is appreciated.
R&C: Is it a challenge or a curse to try and keep a car 100 percent correct?
BG: Both. I take it as a challenge and enjoy the process wholeheartedly. I have to thank Roy for affording me the time to do it right. Research is key, and I was lucky we had the time to fully research the cars as much as humanly possible. I'd wake up at 3 a.m., worrying about finding the correct parts.
R&C: Any other famous car you'd like a crack at?
BG: Bring 'em all on! In particular, if I had a choice I'd say the Quesnel Merc because the chop is perfect. It's my favorite of all the chopped Mercs.
Player 4: Darryl Hollenbeck. One of the new "heroes," this talented painter has laid the beautiful paint on some of the finest recent restorations of iconic rods and customs.
R&C: Were you impressed with the original build quality of these cars?
DH: Especially with the Merc; underneath it, all the original custom metal work was really nice. It was very impressive! The stripped Merc is indicative to all Sam's work. The fadeaways were formed from one piece of sheetmetal, and the way they were leaded into the doors made them very heavy. I would bow down every morning in respect when working on these two cars.
R&C: These two cars are very well known for their paint; did that make these jobs any different?
DH: Luckily, while Junior (Conway) was restoring the Ala Kart, he traced patterns of all the scallops before stripping the paint. Also, the colors on the Ala Kart changed before and after it was repainted when it burned during an engine fire in the '60s. To get the right colors, I talked it over extensively with Junior. To match the color on the Merc, we rubbed out the original dash that still wore the original green Sam had sprayed on it.
R&C: Do the new paints make it hard to replicate the finishes from the past?
DH: No. The main difference with the old lacquers was that they were too transparent. The new finishes are better because they are much more consistent and far more advanced.
Player 5: Blackie Gejeian. A true icon who has done it all, from being an early AMBR winner to a successful race car driver and longtime car-show promoter.
R&C: As an early AMBR winner (1950). you set the seed for the Ala Kart, correct?
BG: My car was the first car with a chrome chassis, so when the Ala Kart came along, I made sure it was just as detailed underneath with a completely chromed chassis.
R&C: How were you involved with the Ala Kart ?
BG: My friend, Richard Peters, bought a '29 roadster pickup, so we went down in 1957 and visited George Barris. We got together at a restaurant, and as George drew on the napkins, little by little the Ala Kart was born. About that time, I finally said "Let's eat!" George opened the menu and said, "That's it! We'll call it the Ala Kart !" After that, the name just stuck.
R&C: You own a number of AMBR winners from the past-why not the Ala Kart?
BG: I worked for 10 years with the guy in Arizona who owned the car. He had the car for sale in Hemmings for $90K, and 25 years ago that was way more than the going rate for an old hot rod. I tried to get Richard to buy it, but he just wasn't interested. The guy in Arizona was going to put a new street rod chassis under it, and luckily Junior came in and bought it for a customer. I'm really glad Roy eventually bought it and did a triple-A job restoring it.
R&C: Were you surprised at the reaction when the Ala Kart redebuted at the '08 GNRS?
BG: If you look at the history, back to the early days, there was never anything like the Ala Kart; it has always been special. It was always a 100 percent car, but after the restoration it was a 110 percent perfect car. It deserved the reaction it got at that show.
R&C: You have always stayed very current; should the Ala Kart have won the title of America's Most Beautiful Roadster in 2008, or is that just old romanticism?
BG: In everybody's hearts, we all wanted the Ala Kart to win. The car was always so far out there, and it's still one of the nicest. The judging sheets couldn't find anything wrong with the car. It brought back a big part to all of our lives and probably should have won.
Player 6: Tommy Lee. The long-time owner and caretaker of the Sam Barris Mercury.
R&C: Back in the beginning, did you purchase "The Sam Barris Merc" or just a cool custom cruiser?
TL: I knew what the car was-it was widely known-but the cars weren't worth anything in those days (1957). Before I got it, the car had been stolen and partially stripped, but it was one of the only chopped Mercs in New Jersey. The guy who owned it was away in the service, and after it was stolen and recovered, he told his dad to sell it. That's when I stepped in.
R&C: Did the car always stand out as a "California Custom"?
TL: It stood out because most guys could only afford a used Ford shoebox. I didn't have any money, either, but the president of my club, the Drivin' Deuces, talked me into buying it. The car was chopped and painted, and that put me in tall clover. It was the kind of car you could take your mother out for a ride in and be proud about it.
R&C: Were people bugging you for years to buy the Merc?
TL: Yes, off and on, I always had people interested. Kirk White was one who was always interested, but I wanted to be different because everyone sells their cars. One time, at dinner with the family, I mentioned that someone wanted to buy the Merc, and all at once everyone stopped eating and someone said, "You can't do that-it's part of the family." Ultimately, I sold it to the right guy, John Mumford. He is a gentleman and a man of his word.
R&C: Was it an accident or on purpose that you owned the car for so long?
TL: It was definitely a conscious effort to keep the car all those years. I took good care of it because the Jersey winters would eat it up. The Merc was like family, and I always had two cars so I could park it during the winter. An example of how special the car was to me goes back to 1960 when I got married. We were expecting our first of five children, and Christmas was coming up. My wife wanted a new vacuum and totally despised the chopped Merc. I had a really nice '50 Merc four-door daily driver I sold to buy the vacuum. That meant for that winter we had to drive the chopped Merc that had no door panels (they were stripped when it was stolen), no side windows, and no heater (it was originally a Southern California car with no heater from the factory). That winter, I would just wrap up my wife and new baby in Army blankets when we had to go somewhere. Luckily, the louvers I punched in the hood and the heat from the Buick Nailhead I installed would keep the windshield clear enough to drive in the brutal Jersey winter.
Player 7: Richard Peters. The original owner of the Ala Kart and lifelong friend of Blackie Gejejian.
R&C: How did you get into hot rods?
RP: Prior to the Ala Kart, a buddy in high school had a hot rod I would take to car shows while he was away in the Army. After that, I got into boating and had a pleasure boat and a race boat. After I flipped one of my boats, my wife told me I needed to give up the boats or the marriage-and I'm still married, 52 years later. I kept the fuel-injected Red Ram out of the race boat; soon after that, a friend had a stock '29 roadster pickup for sale and those elements became the beginning pieces of the Ala Kart .
R&C: Was it strange when the Ala Kart went from a hot rod to its own phenomenon?
RP: I never dreamed of the car doing what it did. When I originally went to George, I wanted a driveable car. George, Blackie, and I got together at a Bob's Big Boy and George drew it up in a series of sketches on napkins and came up with the concept of using airbags on the front like they were doing on the new Cadillacs. Once we had a game plan, Blackie and I built the chassis in Fresno while George did all the bodywork down at his shop. We where in a big hurry to get it ready for the Oakland show.
R&C: Did you have any idea how many kids got hooked on hot rods because of the Ala Kart and the model kit?
RP: I had no idea. I was talking to someone recently while waiting to get on an airplane and another person overheard us and said, "Are you talking about the Ala Kart ? I know that car inside and out! I've built the model kit many times." That blew us away. When I sold the car to AMT, I was busy making a living and the car eventually just disappeared. I was lucky that when I did sell it I got twice as much as I spent on it.
R&C: Most guys changed their cars from show to show for extra points. Why did the Ala Kart not get changed?
RP: There was nothing really to change. The first show, it wasn't running, but there was nothing there that could even compete with it. After that first show, we tore it completely back down and perfected it. I was convinced I would win the AMBR title the second time around. I was just as confident I could have taken it a third time, but I pulled it from competition so my brother-in-law, Chuck Krikorian, could win with the Emperor, also built by Barris.
R&C: What was your feeling walking up to the Ala Kart at the '08 GNRS?
RP: I'll tell you, I didn't know whether to jump for joy or just start crying, but it did bring tears to my eyes. I looked it over and was surprised that they even duplicated the tinfoil-covered jackstands the way we displayed it in 1958. John Mumford said the most special thing to me; he said, "Richard, this will always be your car; we are just the current custodians."
Player 8: George Barris. Simply, the King of the Kustomizers.
R&C: Did you ever have any idea the Ala Kart or your brother's Mercury would have such longevity?
GB: I didn't know any of this would last more than a year or two when we first got started. I started in 1940 in Sacramento and then moved to Los Angeles. Sam joined me in 1944 after his time in the service. Later, I started the Kustoms of Los Angeles club and displayed the cars we built at local shows. It was just day-by-day fun in those early days.
R&C: Is the Ala Kart one of your personal favorites, and if so, why?
GB: It's one of my favorites because of what happened to make it a reality. In 1957, my shop burned down and I lost 15 cars. The fire stopped at a wall and only one car survived-what would eventually be the Ala Kart. I wanted to give up the shop, but the Fresno Armenians (Blackie Gejeian and Richard Peters) made me stay to finish their car. I got totally re-inspired by them when they would drive for hours every day from Fresno to Los Angeles to work on the car and bring me parts. The plan for the Ala Kart started in a restaurant drawing it on napkins. I knew I wanted something different than a stock grille and special airbag suspension because everything had to be different. The underside had to be as nice as the top because all the cars at that time were daily drivers and not detailed underneath. The passion we all shared for this project was the encouragement I needed to carry on.
R&C: The Ala Kart touched an entire generation of hot rodders because of the model kit, and it's still one of the best-selling kits in scale-model history. What makes it so beloved?
GB: When we hooked up with AMT in 1960, it was a great kit; everyone loved it and it just grew on people. The car just had a special charisma. It's the only scale car that the Danbury Mint has had to release four times because of demand, and they are working on a fifth release to commemorate the 50th anniversary of the Ala Kart. Every time I go out, I still sign the special Hot Wheels version that was released a few years ago.
R&C: Is Sam Barris best represented in style and talent by his own '49 Mercury or a different car?
GB: By his Mercury, definitely for his craftsmanship. When he joined me, he was a true craftsman. When we go out today we still say "Barris Brothers" because Sam was such a big part of what we did together.
R&C: Is George Barris best represented in style and talent by the Ala Kart?
GB: I'd say so, yes. What I created with that car will always be number one! We were all totally amazed when it did not win the AMBR award after the restoration. Roy Brizio did such an amazing restoration, and it was incredible when he and John Mumford drove the car into the hall just like the old days!
R&C: How are you best described: a kustomizer, a promoter, or a master showman?
GB: I think it's a little bit of everything. I was one of the originators, and I wanted to be a great promoter of the sport. I go to a show every weekend of the year to all different cities, states, and countries, and I want to positively promote the car lifestyle.


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New York Apartment with Elegant British Style
A Manhattan apartment gets a dose of British style
Could there be a more life-changing move than one from a stately home on London's leafy Hampstead Heath to a condo on New York's Upper West Side? That little jolt of corporate reality is exactly what Lynn Eichenberger faced a few years ago when her banker husband, Stephen, was transferred back to the United States after 10 happy, child-rearing years in England. London had become home for Lynn. So the mission for architect James Wagman and interior designer Celerie Kemble was as much psychological as physical—they needed to transform an architecturally ordinary duplex on the 21st floor of a Depression-era tower into a place with the kind of Old World character and grace their homesick client had grown accustomed to.
Wagman was very familiar with the building, having worked previously on eight of its apartments (including his own mother's), and he knew all the tales. "This apartment was Ethel Merman's at one point," he says, "and not much had been updated since."
A substantial renovation seemed the answer. "It was a full gut," explains Kemble. "We spent most of our time standing around in the freezing cold in the bare bones of the place, but we still wanted to stay at the end of the day and have a cup of tea. This job was all about nice people being nice to each other, which is kind of rare."
The most dramatic alteration in a spectacularly dramatic overhaul was the redesign of the entry. Originally, guests walked through the front door and found themselves in a claustrophobic stairwell. "It was like walking into a mouse house—it was the apartment's Achilles' heel," Kemble recalls. Wagman borrowed from the Arts & Crafts aesthetic of 19th-century architect H.H. Richardson to deliver an elegantly redesigned foyer. An array of highly waxed mahogany panels now stretches from floor to ceiling and climbs the stairs to the second-floor library, beautifully realizing Lynn's dream of an entry "not grand but still awe-inspiring."
At every opportunity, Kemble and Wagman chose beautifully crafted traditional design, then punched it up with joyful hits of the unexpected. Take the dining room's striking green walls. "We definitely had some back-and-forth about that color," laughs Kemble, "James and Lynn weren't high on painting the whole room—moldings included—in the same dark color. It sounded crazy to them." Wagman admits, "We did fight Celerie tooth and nail over that dining room lacquer. In retrospect it was foolish, because now it's the nicest room in the house."
Today, natural light streams across the gleaming antique table and chairs the Eichenbergers brought back from abroad, and Kemble proudly describes the room as "a box of reflected light with a beautiful deep-teal glow."
In the large living room, Wagman raised the room height to a majestic 13 feet by removing a 1960s dropped ceiling. Kemble promptly covered the expanse of walls in an ethereal pale aqua silk. "I think silk creates an emotional response," she says.
"The walls are more of a fog than a dead end; they're more mood than flat color."
The living room is divided into two well-appointed seating areas—one for more formal affairs with two sofas separated by a delicate glass coffee table, plus two French-style bergères upholstered in sage green. The opposite end of the room accommodates comfy club chairs that swivel to face a television hidden behind a sliding panel in a built-in bookshelf. A bold-textured rug unifies the room while also quietly stealing the scene.
"The pile and pattern of this rug remind me of the maze at Hampton Court Palace," says Lynn happily. "But my husband teases Celerie that next time we visit London we'll have to find an antique Oriental rug for the living room. Her eyes get very wide, and she says, 'NO!' "
"I like Oriental rugs, too, but in moderation," Kemble offers. "Too many antique carpets get musty fast."
Mustiness was never going to be an issue with this team, even with the profusion of antiques and ceramics that Lynn had collected in London. "Her color palette is blues, greens, and yellows—I call them happy botanical colors," says the designer, "and although Lynn has extremely traditional taste, she let me go a little more vibrant, do traditional with a dollop of modern."
Like the raspberry and kelly-green bedroom that's set aside for visits from Lynn's two grown daughters. "I'm from Palm Beach, so pink and green come easily to me," Kemble notes, "and this palette makes the girls' room fun and fresh and different from the rest of the house."
In contrast, the master bedroom is a soft buttery yellow cocoon of silk upholstered walls—a treatment Lynn really wanted. "I think it's a very comfortable kind of thing in a bedroom," she says, "like something you'd see in a great hotel."
But Lynn's favorite space, and the room in which she spends most of her time, is the kitchen. Wagman combined three small rooms to give Lynn, a former caterer who loves to cook, an expansive kitchen. New French doors lead out to a 2,800-square-foot terrace that wraps the apartment and has astonishing views of Central Park and the Manhattan skyline. "The terrace was just raw space originally," says Wagman, who reimagined it with a regal (and very English) row of columns and an outdoor living room.
In the summer, Lynn's pots overflow with herbs, hydrangeas, and espaliered apple trees. She grills outside all year long. When Lynn, Stephen, and their children (Sarah, 28, Emily, 26, and Sean, 24) all manage to cross paths for one of Lynn's alfresco meals, apartment life must seem far closer to those pastoral years across the pond than to the clamor of Manhattan streets below.
Photography: Pieter Estersohn and John Bessler
Produced by Jenny Bradley
Architect: James Wagman, James Wagman Architect, LLC, 277 Broadway, Suite 1201, New York, NY 10007; 212/337-9649, jameswagman.com.
Interior designer: Celerie Kemble, Kemble Interiors, 224 W. 30th St., 13th Floor, New York, NY 10001; 212/675-9576, kembleinteriors.com.
Wall covering (Ice Blue dyed silk wallpaper): De Gournay, 212/564-9750, degournay.com.
Ceiling and trim paint ("Crème de Mint #2036-70): Benjamin Moore & Co., 888/236-6667, benjaminmoore.com.
Sheer drapery ("Colibri"/Celadon #F2658011): Pierre Frey, 866/707-1524, pierrefreycom.
Area rug ("East End" in color #AD1381, Collection 1074): Patterson, Flynn & Martin, 212/688-7700, pattersonflynnmartin.com.
Pair of sofas ("Carter" #5425-84, by Alexa Hampton); sofa fabric (#2934-11, ivory velvet): Hickory Chair, 800/349-4579, hickorychair.com.
Sofa end tables ("Terrific Table"): Ballard Designs, 800/536-7551, ballarddesigns.com.
Tablecloth on end tables ("La Scala Stripe" #26-18, by Jagtar): Arnitex, 866/794-9777, arnitex.com.
Table lamp ("Mirabella"): Festoni, 713/830-1077, festoni.com.
Coffee table: Amy Zook Antiques, 917/991-9605, amyzookantiques.com.
Eglomise top on coffee table (custom): Miriam Ellner, 212/807-6316, miriamellner.com.
Pair of bergères: Greenwich Living Antiques, 203/274-5130, greenwichlivingantiques.com.
Table between bergères (custom): Kemble Interiors, 212/675-9576, kembleinteriors.com.
Vases on windowsill (antique, Chinese cabbage vases): Pagoda Red, 773/235-1188, pagodared.com.
Elegant Living Room in Restful Colors
An armchair from Hickory Chair swivels to face a television hidden behind a sliding panel in the built-in bookcase. A Patterson, Flynn & Martin rug grounds the room.
See details of the living room on the following slide.
Pair of lounge chairs ("Eton" #320-51); fabric (#3041-10, white solid): Hickory Chair, 800/349-4579, hickorychair.com.
Pillow on lounge chair ("Lucy"/Marine #8-2553-LG): Groves Bros., 817/921-4450, grovesbros.com.
Side table beside chair (custom, ivory shagreen): Kemble Interiors, 212/675-9576, kembleinteriors.com.
Wall sconce (#BLW2002): Nicholas Antiques, 212/688-3312, nicholasantiques.com.
Built-in cabinets: design by James Wagman Architect, 212/337-9649, jameswagman.com.
Fabrication: Urban Architectural Interiors, 718/292-1266, urban-interiors.com.
Console (Louis XVI, by Maison Jansen): Greenwich Living Antiques, 203/274-5130, greenwichlivingantiques.com.
Sophisticated Palette and Sumptuous Fabrics
Ivory-colored velvet from Hickory Chair covers the living room's furniture. Nailhead trim adds clean-lined details, while the sofa pillows lend sophisticated color.
Rooftop Terrace Garden
Potted plants and topiaries give the rooftop terrace the feel of a lush garden high above the city.
See more of the terrace on the following slides.
Balcony Sitting Area with a View
Lacy outdoor furniture from Richard Schultz provides a place to perch and admire the Manhattan skyline.
Furniture (Richard Schultz Topiary Collection): All Modern, 800/615-9703, allmodern.com.
Outdoor Living Room
Steps from the kitchen, a configuration of outdoor furniture and a fireplace sit underneath a shady pergola on the terrace.
Mantel: design by James Wagman Architect, 212/337-9649, jameswagman.com.
Fabricaton: Propylaea, 718/401-9393.
Installation: Foundations Group, 212/924-1724.
Lounge chairs (Barcelona Collection): Janus et Cie, 310/652-7090, janusetcie.com.
Table beside lounge chair ("Fiori"): Country Casual, 800/289-8325, countrycasual.com.
Flooring: existing.
Wood Paneled Entry Hall
Walls sheathed in waxed mahogany contrast with the matte texture of the limestone-and-marble floors.
Flooring ("Giallo Elena"); small squares ("Emperador Dark"): Pro Design Inc., 718/274-4444.
Demilune: owner's collection.
Flooring: existing.
Warm Upstairs Hallway
Curved shelves at the top of the stairs take the atmosphere of the upstairs library into the hallway.
Paneling and bookcases: design by James Wagman Architect, 212/337-9649, jameswagman.com.
Fabrication: Urban Architectural Interiors, 718/292-1266, urban-interiors.com.
Lights in bookcases: Studio James Long, 212/255-5495, studiojameslong.com.
Hanging light ("Crystal Pendant" #SM-5264-16): Artsy Lights, 212/759-9672, artsylights.com.
Breakfast Room in Blue and White
The breakfast nook's vintage Murano glass chandelier inspired the room's blue-and-white palette. A custom curved bench covered in a Clarence House toile is Lynn's favorite spot for morning tea.
Wall covering ("Block Print Stripe" #BP710): Farrow & Ball, 888/511-1121, farrow-ball.com.
Ceiling and trim paint ("White Dove" #OC-17): Benjamin Moore & Co., 888/236-6667, benjaminmoore.com.
Cabinetry: Smallbone of Devizes, 212/288-3454, smallbone.co.uk.
Dining table (custom): Kemble Interiors, 212/675-9576, kembleinteriors.com.
Side chairs ("Amsterdam Side Chair" #1552-02, by Suzanne Kasler): Hickory Chair, 800/349-4579, hickorychair.com.
Chair-seat fabric (faux leather): discontinued.
Armchairs: custom.
Toile armchair fabric ("Santorini"/Blue Toile #34050-3): Clarence House, 800/221-4704, clarencehouse.com.
Chandelier: owner's collection.
Drapery and valance ("Ground Cloth II"/Oyster #2631070): Schumacher, 800/523-1200, fschumacher.com.
Bright and Open Kitchen
Wagman reconfigured three small rooms to create the spacious kitchen. Steps lead to the terrace where the family enjoys alfresco meals along with views of the city.
Cabinetry: Smallbone of Devizes, 212/288-3454, smallbone.co.uk.
Cabinetry finish ("Mascarpone" #AF-20): Benjamin Moore & Co., 888/236-6667, benjaminmoore.com.
Backsplash (pillowed Carrara Bianco): Artistic Tile, 877/237-4097, artistictile.com.
Island faucet ("Single Hole Kitchen Faucet with Sidespray" #U.4710. by Perrin & Rowe): Rohl, 800/777-9762, rohlhome.com.
Gas range; hood liner ("Pro Hood Liner" #PL582212): Wolf, 800/222-7820, subzero-wolf.com.
Stainless steel hood cover (custom): Wainland's, 800/843-9237, wainlands.com.
Countertop: Carrara Bianco marble.
Pendant lights ("Romeo Babe S Suspension Lamp," by Philippe Starck, discontinued): Flos, 866/389-3567, usa.flos.com.
Counter stools ("Amsterdam" #1552-04, by Suzanne Kasler): Hickory Chair, 800/349-4579, hickorychair.com.
Seat fabric: discontinued.
Traditional Dining Room in Vibrant Turquoise
A Murano glass chandelier commissioned by Lynn in London lends the lacquered walls even more sparkle. Kemble tucked grass cloth between the ceiling coffers to bring the eye up and make the room feel taller.
See dining room details on the following slide.
Wall paint: custom.
Ceiling and trim paint ("Atlantic Deep" #19-4726, by Pantone): custom mix at local paint store.
Dining table; dining chairs; chandelier (Murano); area rug: owner's collection.
Drapery and chair-seat fabric ("Yvonne"/Wheat #8500-T): Groves Bros., 817/921-4450, grovesbros.com.
Sconces (by Maison Bagues): antique.
Art (by Giovanni Battista Cecchi): owner's collection.
Tabletop Details
Dainty details in the dining room, like lacey antique placemats and vintage Lucite napkin rings, give the room an air of classic British taste.
"We wanted to stay at the end of the day and have a cup of tea," says designer Celerie Kemble.
Dinner plate ("Fortuny"/Teal); dessert plate ("Aegean Filet" #AG6202): L'Objet, l-objet.com.
Flatware ("Albi"): Christofle, christofle.com.
Stemware ("Vega"): Baccarat, us.baccarat.com.
Napkin ring (vintage Lucite knot napkin rings); placemat (antique); napkin (antique): owner's collection.
Handsome Mahogany Library
A sleeper sofa from Mitchell Gold + Bob Williams turns the wood-paneled library into a makeshift guest room when needed. The area rug from Merida lightens the space.
See more of the library on the following slide.
Paneling (Quartersawn Khaya): design by James Wagman Architect, 212/337-9649, jameswagmanarchitect.com.
Fabrication: Urban Architectural Interiors, 718/292-1266, urban-interiors.com.
Sofa ("Classic English Arm Sofa" #811-0122); sofa leather (#2206): Mitchell Gold + Bob Williams, mgbwhome.com.
Center pillow on sofa ("Papyrus"/Marsh #PA-02): Katie Leede & Co., 646/707-3569, katieleede.com. Through Holland & Sherry, 212/355-6241, hollandandsherry.com.
Ottoman (custom): Kemble Interiors, 212/675-9576, kembleinteriors.com.
Ottoman fabric ("Grande Tour"/Raphael #516-90): HBF Textiles, 828/328-2064, hbftextiles.com.
Table lamps ("Espresso Grosso" #65173, by Frederick Cooper): Wildwood Lamps, 252/446-3266, wildwoodlamps.com.
Sisal rug ("Madison"/Tan): Merida, 800/345-2200, meridameridian.com.
Pair of chairs ("Odette"): Mitchell Gold + Bob Williams, mgbwhome.com.
Chair fabric ("Lago"/Pinolo #DE10307): Holland & Sherry, 212/355-6241, hollandandsherry.com.
Pillows on chairs ("Amun Stripe"/Charcoal #AMS-02): Katie Leede & Co., 646/707-3569, katieleede.com, through Holland & Sherry, 212/355-6241, hollandandsherry.com.
Pillow trim ("Ground Cut Fringe"/Chocolate #CF3004-17): Schumacher, 800/523-1200, fschumacher.com.
Purple throw: Rosemary Hallgarten, 203/259-1003, rosemaryhallgarten.com.
Floor lamps ("Bostwick" #65072, by Frederick Cooper): Wildwood Lamps, 252/446-3266, wildwoodlamps.com.
Table between chairs ("Chairside Table" #SF5148): Century Furniture, 800/552-5552, centuryfurniture.com.
Drapery ("Palpana"/Siena #DE11281): Holland & Sherry, 212/355-6241, hollandandsherry.com.
Library Desk Niche
Wagman designed a mahogany-enveloped niche overlooking Central Park as a built-in work area for Stephen. Kemble made it comfy with a wing chair from Hickory Chair.
Wing chair ("Isaac Wing Chair" #382-55); fabric ("Saltaire Fern Leather"): Hickory Chair, 800/349-4579, hickorychair.com.
Desk lamp ("Dorchester Table Lamp" #CHA8188/ABB, by Visual Comfort): Circa Lighting, 877/762-2323, circalighting.com.
(Clockwise from front right): Homeowner Lynn Eichenberger and her golden retrievers Molly and Maui, Celerie Kemble, James Wagman and Anne Bannon of James Wagman Architect, and Kristen Wilson from Kemble Interiors.
Butter-Yellow Master Bedroom
An Art Deco-style archway references the building's pre-war architecture and adds charm to the space. Draperies, headboard, and bed skirt are fashioned from a striped fabric from Pierre Frey.
Wall fabric (#2836-11, cream textured plain): Hickory Chair, 800/349-4579, hickorychair.com.
Ceiling and trim paint ("White Dove" #OC-17): Benjamin Moore & Co., 888/236-6667, benjaminmoore.com.
Area rug ("Madrisa Freilage" 800): Patterson, Flynn & Martin, 212/688-7700, pattersonflynnmartin.com.
Bed (custom): Kemble Interiors, 212/675-9576, kembleinteriors.com.
Striped headboard, bed skirt, and drapery fabric: Pierre Frey, 866/707-1524, pierrefrey.com.
Bed cover; throw: D. Porthault, 212/688-1660, dporthault.com.
Wall sconces ("Simple Scallop Wall Sconce"#BBL2017, by Barbara Barry, with custom shade): Circa Lighting, 877/762-2323, circalighting.com.
Bedside chest ("Commode with Fluted Carving" #GUS046, Gustavian Collection): Chelsea Textiles, 908/233-5645, chelseatextiles.com/us.
Benches under window ("Ian Bench" #5423-30, by Alexa Hampton): Hickory Chair, 800/349-4579, hickorychair.com.
Bench fabric ("Cabaret" #REG01003, discontinued): Zoffany, 212/319-7220, zoffany.com.
Charming Master Bath
Mirrored cabinets from Robern stand out against walls covered in Farrow & Ball's "Broad Stripe" wallpaper.
Wall covering ("Broad Stripe" #ST 1309): Farrow & Ball, 888/511-1121, farrow-ball.com.
Flooring; wall tile: Calacatta Gold.
Vanity cabinet: design by James Wagman Architect, 212/337-9649, jameswagman.com.
Fabrication: Urban Architectural Interiors, 718/292-1266, urban-interiors.com.
Mirrored cabinet (custom): Robern, robern.com.
Countertop: Honey Onyx.
Sink ("Normandy"); faucets ("Opus"): Waterworks, 800/899-6757, waterworks.com.
Pink-and-Green Girl's Bedroom
Dressed in a lively Muriel Brandolini print, the headboard harmonizes with a raspberry bed skirt in a Cowtan & Tout linen.
See more of this bedroom on the following slide.
Headboard (custom); bedside table (custom): Kemble Interiors, 212/675-9576, kembleinteriors.com.
Headboard fabric: Holland & Sherry, 212/355-6241, hollandandsherry.com.
Bed linens ("Ansonia"/Azalea, by Matouk): Fine Linens, 877/454-6366, finelinens.com.
Bed-skirt fabric ("Jules"/Rose Indien #4759-17): Cowtan & Tout, 212/647-6900, cowtan.com.
Fabric on bedside table (#28864.97, colorway discontinued): Kravet, 888/457-2838, kravet.com.
Table lamp (#1648 in finish #103): Slip, 828/324-4500, weareslip.com.
Wall sconce ("Dorchester Swing-Arm Wall Lamp" #CHD5101, by Visual Comfort): Circa Lighting, 877/762-2323, circalighting.com.
Area rug ("Balcony 27"/Evergreen on White): Patterson, Flynn & Martin, 212/688-7700, pattersonflynnmartin.com.
Art (collection of prints): owner's collection.
Green-Backed Bookshelves
Bookshelf interiors are painted green, a touch Kemble says brings order to the colorful chaos of books.
Roman shades: Holland & Sherry, 212/355-6341, hollandandsherry.com.
Desk chairs ("Alexandra Side Chair" #1516-23, by Suzanne Kasler): Hickory Chair, 800/349-4579, hickorychair.com.
Desk-chair fabric (#28864.97, colorway discontinued): Kravet, 888/457-2838, kravet.com.
Green paint on bookshelves ("Bunker Hill Green" #566): Benjamin Moore & Co., 888/236-6667, benjaminmoore.com.
Lovely Lavender Guest Bedroom
A pair of gold swing-arm lamps from Ralph Lauren Home flank the guest bed, which is dressed in a lavender alpaca throw and graphic pillows designed by Kemble for Schumacher.
Bed (custom mahogany headboard): Dog Productions, 718/782-7711.
Purple bed cover (Alpaca throw): Rosemary Hallgarten, 203/259-1003, rosemaryhallgarten.com.
White bed linens ("Lowell"): Matouk, matouk.com.
Black-and-white pillows ("Betwixt"/Black and White #65683, Celerie Kemble Collection); Schumacher, 800/523-1200, fschumacher.com.
Art above bed (Cacophony, by Christopher Wilcox): Natural Curiosities, 323/906-1083, naturalcuriosities.com.
Bedside tables ("Bedside Table One Drawer" #MID039, Mid-Century Modern Collection): Chelsea Textiles, 908/233-5645, chelseatextiles.com/us.
Wall lights flanking bed ("Hunton Swing Arm Wall Light"): Ralph Lauren Home, 888/475-7674, ralphlaurenhome.com.
Area rug ("Felted Cable"/Pearl): Merida, 800/345-2200, meridameridian.com.
Chair ("Jessie," discontinued): Schoolhouse Electric Inc., 800/630-7113, schoolhouseelectric.com.
Wall covering: faux suede.
Ceiling and trim paint (Decorators White): Benjamin Moore & Co., 888/236-6667, benjaminmoore.com.


text:
Melbourne Cup Day provided some mixed results for two of the major telecommunication providers with Telstra reporting a drop in data traffic and Vodafone experiencing a spike in SMS, voice and data traffic.
According to Telstra's executive director of networks and access technology, Mike Wright, data usage actually dropped by 18 per cent during the Melbourne Cup while mobile phone calls on the national Telstra network decreased by a third. In addition, email traffic declined by 33 per cent.
"We saw significant decreases in all forms of traffic over our networks as soon as 3pm [AEST] came and the horses entered the starting gates," he said in a statement.
Alcatel-Lucent powers up Flemington Next G network
Sportsbet manages Melbourne Cup traffic spikes with storage array
Flemington racecourse to trot out Wi-Fi system by 2013
"This was most stark with SMS traffic dropping by approximately a third at 3:06pm as the race was being run, then surging by about 75 per cent above the daily average at 3:10pm when the race finished."
On a state-by-state basis Western Australia experienced the largest drop off, with 42 per cent less calls made while the race was on.
Northern Territory came in second with a 37 per cent decrease and South Australia reported a 34 per cent drop in calls according to Telstra stats.
According to Wright, the only area where there was an increase in traffic at the time of the race was through Telstra's Official Racing Network iPhone app where people were able to live stream video footage of the Cup.
The app was released on 31 October this year and provides racing fans with replays, results, form guides, live odds, horse profiles, race commentary and the latest racing news.
The app is the result of a partnership between TVN and Telstra, which has exclusive rights to provide live streaming of all Victorian races, including the Melbourne Spring Racing Carnival, and Sydney metropolitan races.
However, the app has also been made available to Optus, Vodafone and Virgin Mobile users. According to Telstra, Android and iPad editions of the app are planned for early next year.
A Vodafone Australia spokeswoman told Computerworld Australia that the telco encountered spikes in SMS, voice and data traffic before and after the Melbourne Cup as customers took to their phones to share tips and indicate wins or losses after the race.
"We also saw a network spike immediately after Oz Lotto's $100 million draw on Tuesday night," she said.
Optus was contacted for comment by Computerworld Australia but a spokesman said it had no Melbourne Cup statistics available.
Follow Hamish Barwick on Twitter: @HamishBarwick
Follow Computerworld Australia on Twitter: @ComputerworldAU, or take part in the Computerworld conversation on LinkedIn: Computerworld Australia Derek Lau
Join the CIO Australia group on LinkedIn. The group is open to CIOs, IT Directors, COOs, CTOs and senior IT managers.


text:
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text: Kinect ownership means you've got to keep a good ten square feet of space totally free to play in, and that's nearly impossible for many inner-city, bedroom and dorm-room gamers. Fortunately for them, Nyko has developed a solution so simple it's positively genius -- clip-on lenses that reduce the distance the Kinect can see, bringing players closer to the TV. After the break you'll find a video and press release -- but more importantly, the Nyko Zoom is available right now for $29.99 in all good retailers, and some of the bad ones too, probably.


text:
Latest incident of young girl left kneeling in corner during Bible class reinforces need for urgent law change
This morning's Herald photo of a young girl kneeling by a rubbish bin during a 'Christian' class at Red Beach School has shocked me to the core.
I had naively thought that this kind of treatment of non-conforming children had gone the way of the cane and the strap, but no, it appears 'One Way Jesus' is alive and well in New Zealand schools.
The United States of America is much maligned among many of my colleagues on the leftward side of New Zealand politics.
However, America's resolute constitutional stand on secularism in publicly funded schools is something I admire hugely, and is well overdue in Aotearoa.
This is an issue that has simmered away for decades, with irregular eruptions of parent discontent, for example in April this year, and the recent emergence of a facebook group 'Keep religion out of schools' failing to bring about any visible movement for change.
We live in a secular state. There is no state religion in New Zealand.
The last census in 2006 showed that while Christianity is still big here, with 55.6% of those who answered the question on religion identifying as some form of Christian, I reckon this is far from any kind of mandate for the ongoing provision of Christian education in state schools.
The same census also demonstrated that there were large increases in people affiliating to some non-Christian religions – for example, Sikhism – up 83%; Hinduism – up nearly 40%; and Islam – up by more than 50%.
In addition, 34.7% of respondents – well over a million people – stated that they had no religion at all, also an increase on the previous census.
My guess would be that these trends have only intensified in the period since.
I cannot see what justification there is in 2012 for allowing any one form of religion to teach its creed within state schools. I believe that:
- Sections 77-79 of the Education Act 1964 should be repealed so that the Churches Education Commission, formerly the Bibles in Schools League, should no longer have privileged access to state primary schools.
- Serious consideration be given to introducing the study of philosophy and comparative religion to all state schools, in age appropriate ways, alongside the introduction of civics (political and economic) education.
- School-based instruction in any particular religion should be available only in schools which are of a religious nature, where parents and students have made a deliberate choice for this form of education.
A further related point arising from the shocker contained in this morning's article is the treatment of pupils who have asked to be excused from attending Christian education at their primary school.
Requiring a 7-year-old girl to kneel in the 'naughty corner' by a rubbish bin in front of her whole class while religious education is being carried out is nothing short of psychological if not physical abuse.
I hope that serious questions are now being asked at all levels of Red Beach School's parent and teacher community.
I also wonder how many other children are having this kind of humiliation inflicted on them every week – and how many more are sitting through so-called 'Values in Action' classes because of the fear of what will happen to them if they don't conform?
This archaic, barbaric nonsense should stop right now.
I would love to know the policy of each of our political parties in relation to this matter.
I have to admit the much - and deservedly - maligned Education Minister Hekia Parata could earn a good few brownie points, even with me, if she took action on this immediately.
But I also know that if I was still a Member of Parliament, I'd be drafting a private member's bill today, instead of writing a blog.


text:
Cecil Beaton
English, 1904–1980
Bengali Labourer, c. 1943
silver print on paper
25.3 x 24.3 cm
Collection of the Winnipeg Art Gallery; Acquired with funds from an anonymous donor
Celebrated portrait photographer Sir Cecil Walter Hardy Beaton was renowned during the 1920s and 1930s for his images of elegance, glamour, and style. Considered a groundbreaking fashion photographer for the techniques that he employed, Beaton was a major contributor to Vogue. His celebrity also stemmed from photographing some of the most famous film stars over the course of his career. During World War II, Beaton was commissioned by the British Ministry of Information as an official war photographer, and it was during this time that he travelled to India and recorded many memorable images, such as this work. This sensitive, almost overly romantic, approach to creating a picture characteristizes Beaton's series of portaits of the working class in Bengal.
Gallery Hours
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- Wednesday 11am-5pm
- Thursday 11am-5pm
- Friday 11am-9pm
- Saturday 11am-5pm
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- Closed Monday


text:
Who hasn�t had a bad customer service experience? Readers share theirs with me all the time. I�ve had plenty myself. A recent encounter reminded me that it was time to once again remind consumers of their power.
At some point or another � maybe even fairly regularly � most consumers experience a moment of incredulity over how our requests or comments to a business are handled.
Here was my recent run-in: A business that I�ve been using for quite a few years took an item that was in great shape and returned it in poor condition. Since it was given to them to restore to as close to perfect as possible and came back all messed up, it was truly an epic failure.
Instead of apologizing or trying to find a solution, excuses and accusations were returned.
It was intensely disappointing to find that years of commitment as a customer was worth nothing to the business. Ultimately, it shouldn�t have mattered whether I was a long-time customer or a new one, the response should have been apologetic with an effort toward mending the broken trust.
There was simply no question in my mind about what happened while the item was in their possession. But they doubted my version and instead of setting a tone that acknowledged how it looked from where I sit, they hurled accusations at me about the original condition of the item.
Seriously? It probably wasn�t the best idea to suggest to an angry and disappointed customer that the item must have been flawed from the start. It wasn�t.
So, rather than deal with a business that offended my sense of good customer service, I went to a competitor, which quickly remedied all that the other establishment had failed at. I exercised my power as a consumer and urge you to do the same.
If you aren�t happy with a product or service, take your money elsewhere. While I was disappointed in how the first business conducted itself, it was empowering to shift my loyalties. When you spend your hard-earned money, it feels a lot better when you have a positive feeling about whom you�re doing business with.


text:
Harman to buy Danish commercial lighting company
Staff reports
Harman, the Stamford-based maker of audio and infotainment equipment for the automotive, consumer and professional markets, agreed to acquire Martin Professional of Denmark, a provider of lighting solutions for the entertainment, architectural and commercial sectors, for 110 million euros, or $145 million.
The deal is subject to regulatory approvals and customary closing conditions, and is expected to close early in 2013, Harman said in a statement on Dec. 19.
"With the acquisition of Martin Professional, our strategy to provide system solutions to our customers will be further enhanced as we will be able to offer a full audio and lighting electronics solution for the live stage and events as well as permanent avenues and installations," Dinesh C. Paliwal, chairman, president and chief executive officer, said in the statement.
Martin's lighting installations have been used at concerts by Lady Gaga, Lenny Kravitz, and Linkin Park; special events such as the Olympics and Commonwealth Games; venues such as Wembley Arena in London; television productions such as "X Factor" and the "MTV Music Awards," as well as numerous cinema, retail and infrastructure facilities.
Founded in 1987, Martin Professional is a unit of Aktieselskabet Schouw & Co., a holding company traded on the Nasdaq Copenhagen Stock Exchange. Martin reported revenues of approximately $150 million in fiscal 2011 and employs over 450 people across its operations.
Harman's shares, which rose 0.3 percent on Thursday to $43.51 have gained 17 percent this year.


text:
Wednesday, 25 May 2011
Game of Thrones: Season 1, Episodes 4-6
The fourth episode, Cripples, Bastards and Broken Things, is written by the show's 'lorekeeper' and script editor, Bryan Cogman. This change in voice (the first three were written by producers David Benioff and D.B. Weiss) is noticeable in that we get a lot of exposition-heavy scenes. Viserys tells Doreah about the Targaryen dragons, Tyrion taunts Theon about his people's defeat in a rebellion ten years ago and we learn that King Robert likes to fool around on the side. It's all interesting stuff, but it slows down the action and feels a little clunky. Luckily, there's no such problem at the Wall, where we get a self-contained narrative in which Jon Snow welcomes a new recruit, Samwell Tarly (excellent work by John Bradley-West), and protects him from the bullying of Ser Alliser Thorne (similarly great work by Owen Teale). This results in a terrific scene where Thorne spells out exactly what members of the Watch are expected to do and the conditions they have to live in beyond the Wall, where soft boys like Sam will die like flies when the winter comes.
It's a notable scene because in the books Alliser Thorne is something of an incidental character. Not undeveloped (he has some great material in Book 2) but definitely more background than here. The TV writers have taken a leaf from GRRM's book in making both Thorne and Viserys into more ambiguous figures, still antagonistic but with more understandable motivations and backgrounds.
The fourth episode thus gets points deducted for clunkiness but added for the great material at the Wall and also for the brutal tourney scene, where Conan Stevens is introduced as the imposing Ser Gregor Clegane, before finishing on a terrific high as one of the most memorable scenes in the novel - Catelyn's confrontation and 'arrest' of Tyrion at the Crossroads Inn - leaps straight from the page to the screen. It's a tribute to Peter Dinklage's acting that as much as we sympathise with Tyrion, it's also the case that he's been right about everything so far and been rather smug about it, so seeing the grin wiped off his face here is oddly satisfying.
The fifth episode, The Wolf and the Lion, fires along on all cylinders. The tourney continues to unfold, resulting in a confrontation between Gregor and his brother. We also meet Loras Tyrell (Finn Jones), the Knight of the Flowers, whose arrogance in combat and easy charm with the commoners is ripped straight from the books. What appears to be different is the establishing of him in the TV series as Renly's kingmaker. Whilst not incompatible with the novels, it's something not clearly established, but it's a reasonably effective idea (especially if Mace Tyrell is behind the suggestion, as Loras's dialogue hints). Loras and Renly's relationship, which is low-key and mostly off-page in the novels, is more overtly established here, and is an effective way of establishing Renly's character (which is very different to the books, but his self-doubt and apparent reluctance to seize the throne distinguishes him from Robert and Stannis).
The fifth episode is also effective in dropping the Wall and Vaes Dothrak threads to focus on events in King's Landing and the Eyrie, where Tyrion is dragged before the stark-raving Lysa Arryn and her over-coddled son Robin (changed from the novels, apparently to avoid confusion with Robert and Robb) in one of the more bizarre scenes from the series to date. The Eyrie is established in just two scenes as a great castle that has become a bizarre madhouse under Lysa, which again is somewhat different from the books but is again effective. In fact, the Eyrie itself is radically different from the novels, losing the waycastles, the Gates of the Moon and the memorable ascent of the mountain. Whilst it's still an impressive design, it's one of the first times with the imagery that what we get on-screen falls disappointingly short of the books.
Back in King's Landing we get a number of new scenes, but this time less concerned with establishing backstory than character. So Cersei and Robert get a disarmingly candid conversation about their relationship which is played for all its worth by both actors (Mark Addy in particular has silenced those critical of his casting to make for a memorable Robert, a mixture of bluster, humour, bitterness and frustrated rage), whilst Conleth Hill delivers several excellent performances as Varys in quick succession. Maisie Williams continues to impress the most out of the younger cast, making Arya funny and sympathetic but also admirable and slightly worryingly psychotic. But the best scene of the episode is held for last, as Sean Bean and Nikolaj Coster-Waldau do great work as Eddard and Jaime cross swords. Coster-Waldau plays Jaime to perfection as he enjoys the fight, is slightly surprised to find someone who is almost as good as him, and then gets pissed off when one of his soldiers interferes with the fight. Great stuff.
The sixth episode, A Golden Crown, continues the fine work as Tyrion, after negotiating with a demented jailer, convinces the redoubtable Bronn (Jerome Flynn) to fight on his behalf. Flynn - light-years from his roles as a trooper in Soldier, Soldier or as a chart-topping easy listenin' singer - nails Bronn's greed and total lack of honour in the effectively brutal fight that results and gives us a great line: "You do not fight with honour!" "No, he did."
Back in King's Landing Syrio continues training Arya and gets another brilliant line: "There is only one god and his name is Death. And there is only one thing we can say to Death: 'Not today'." At this point I would happily campaign for a Syrio spin-off series. We also get a great scene where Eddard makes a rash pronouncement in the throne room (with perhaps unnecessary commentary from Littlefinger) and later realises the truth of the secret that Jon Arryn died for.
However, as the title indicates, the most momentous events are held for across the Narrow Sea. Harry Lloyd saves his best for last here as Viserys realises how powerless and unloved he is, pushing him to acts of desperation and foolishness (with more terrific work by Iain Glen as Jorah Mormont) which eventually prove terminal. The final scene is a powerful and effective restaging of a key scene from the novel.
Game of Thrones is starting to really hit its stride. Moments of clunky exposition aside, the show is definitely building momentum and energy as it approaches the point in the books where all hell breaks loose.
104: Cripples, Bastards and Broken Things (***½)
105: The Wolf and the Lion (****½)
106: A Golden Crown (****½)
Forthcoming: You Win or You Die (29/5/11), The Pointy End (5/6/11), Baelor (12/6/11), Fire and Blood (19/6/11).
5 comments:
- jamie said...
Do you (or anyone else for that matter) have any idea when the series will make it to DVD? It sounds like it's really getting very good, and I'm more certain now that I want to pick up the series, when I wasn't so sure at the beginning.
Also I'm glad to see that Arya is slightly psychotic, that's a good sign for sure.
- 25 May 2011 at 23:55:00 GMT
Great piece Wert! I'm really pleased with the adaptation so far and think the writers/directors have done everything they can to keep fans happy and attract people who have not read any of the books.
My only fly in the ointment is events across the sea, the Dothraki just are not working for me. This is probably because of budget, it's got to be hard to put 40,000 men on horseback convincingly so everything looks small scale.
Can't wait for the last 4 episodes, especially looking forward to Baelor (which I believe GRRM wrote) because I'm pretty sure I know what happens then on the steps of a certain Sept.
- 26 May 2011 at 09:25:00 GMT
Viserys's 'crowning' was fantastically horrible. My girlfriend (not generally a fantasy fan, apart from Harry Potter, so I'm glad she's getting into GoT) said Syrio looked like Robert Downey Jr; I think he looks like a cross between Downey and Moss from The IT Crowd.
It's been a while since I read the first book - or any of the books, it's been that long since Feast - but the series seems like a very faithful reproduction. My only gripe is that some of acting - or, more specifically, some of the phrasing has been a bit wooden. For instance, there are too many overly emphasised 't's within words - it almost seems like the actors have been told not to drop their 't's.
- 26 May 2011 at 14:28:00 GMT
- Adam Whitehead said...
The DVDs should be out in early 2012, though there's a small chance they might be out pre-Christmas to capitalise on that market.
GRRM wrote 'The Pointy End', the eighth episode.
- 26 May 2011 at 15:35:00 GMT
- Jebus said...
seanmay's just ruined Syrio for me, now all I'm gonna see is Moss whenever he's on-screen - you bastard! :)
I've really enjoyed the series and agree that the Dothraki side of things hasn't been brilliant though I've really like Jorah. There are a few minor niggles (they really didn't show the passage of time in melting the gold very well) but overall I'm very happy with the series.
I've seen episode 7 and it's an absolute CRACKER, so can't wait for ep 9.
I'm having a viewing party this weekend with some fellow BwB and a few new to the show which should be a fun mix. 6 eps in a row all in HD - woo hoo! Might have to break out some mulled wine.
- 26 May 2011 at 23:28:00 GMT


text:
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Gary Frayn necesitaba un nuevo diseño de impreso o envases y lanzó un concurso de diseño en 99designs.
Un ganador ha sido elegido entre 60 diseños de 15 diseñadores freelance.
Advanced Energy Group, LLC http://www.advancede.com
Advanced Energy Group, LLC (AEG) is an organization formed to provide energy services to owners and developers in the commercial, manufacturing and industrial markets.
AEG's turn-key services include:
*Energy assessments and modeling
*Tax incentive awareness and understanding
*Mechanical and electrical implementation
*Financing and cash flow analysis
*Post project measurement and verification
AEG's target audience are owners and developers of commercial, manufacturing and industrial facilities. Many of these owners are not aware that within thier existing cost of operations there are thousands of dollars that can be saved and reinvested in their facility. The State of Oregon offers numersous incentives and rebates that in most applications, can result in a 50% savings for the cost of the project. An owner would work with AEG for a number of reasons:
1. To reduce their total cost of operations
2. To modernize their faciltiy and improve the value of their asset
3. To be perceived as "Going Green" as it the right thing to do
4. The energy savings can pay for other critical investments
5. They may be interested in getting thier building LEED certified
First and foremost the intention of this design is to create a one page (front and back) brochure that can be used to help market our services. Our intention is to maintain a similar look and feel in creating the home page for the website. Our logo and colors can be seen at http://www.advancede.com.
I want the brochure to hi-light:
1. The notion of identifying and finding savings in existing buildings (energy costs)
2. Plant a seed that their are thousands of dollars availabe from incentives and rebates to use to modernize and improve thier buildings
3. Should list concepts like 5 year ROI's or less, 50% of the project improvements can be paid through incentives, etc.
4. AEG is a turn key service - we are the owner's liason through the entire process and coordinate all aspects of identifying the costs, to applying for incentives, to implementing the improvements and financing the project.


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What would a search engine find if you input the terms "path to a great career"? For David Arthur, mathematics and computer science was the correct search result.
David is a software engineer at Google Inc. One of the world's top software companies, Google is consistently ranked as one of the best places to work in the world. David works mainly on the Google advertising system, which involves tasks such as improving the infrastructure, adding new features, and improving algorithms.
"Math comes up again and again at Google," says David. Probability theory, statistical models, and algorithms help to ensure the accuracy of Google searches, determine optimal ad placement, and analyze changes to the system. "We decide what ads to show and where to show them based on a sophisticated auction that balances Google's revenue, user happiness, and advertiser happiness," says David.
Originally from Toronto, David received his B.S. in mathematics and computer science from Duke University and his PhD in theoretical computer science from Stanford University. Though David's Ph.D. is in computer science, he says his Ph.D. thesis was "100 pages of mathematical proofs, with no computers anywhere to be seen!"
David's thesis is only one example of how the worlds of mathematics and computer science intersect. "If you look at algorithms, complexity theory, cryptography, or even machine learning, you'll see fields that could have just as easily been called math as computer science," says David. "Computer scientists got there first, but the questions they ask are mathematical in nature, and only math can solve them."
As a high school student, David became hooked on math by participating in mathematics competitions. "They were more interesting and more beautiful than what I had learned in school, and I liked the competitive aspect," says David.
In 1999 and 2000, David was a member of the Canadian student team to the International Mathematical Olympiad (IMO). In 2000, David received a gold medal and was only 4 points away from a perfect score. Participating in the IMO was an unforgettable experience for David. "The IMO was a chance to see something beautiful, to meet people from across the world, and to excel at something I cared about," he says. Today, David carries on supporting Canada at the IMO, having acted as the Deputy Team Leader for the 2009 and 2011 events. "It is no less inspiring to meet the world's best mathematicians now than it was ten years ago," says David.