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Michael Bierut
Helmut Krone, Period.
Print advertisement for Polaroid. Copy by William Casey, photograph by Bert Stern, art direction by Helmut Krone, Doyle Dane Bernbach, 1958
A strange gulf exists today between the worlds of design and advertising. That makes it easy to forget that one of the greatest designers that ever lived was an advertising art director: Doyle Dane Bernbach's Helmut Krone.
Long before branding became a buzzword, Krone intuitively understood how graphic design could define an institution's personality. "The page, " he once said, "ought to be a package for the product. It should look like the product, smell like the product...Every company, every product, needs its own package." Without ever designing a logo — often without even using a logo — he created corporate images that endure to this day. How many companies can be said to "own" a typeface the way that Volkswagen does Futura Bold? They have Helmut Krone to thank for that.
Finally, nearly ten years after his death, the man has received the treatment he deserves: a beautifully designed, relentlessly researched, and gracefully written volume by Clive Challis, Helmut Krone. The book. Graphic Design and Art Direction (concept, form and meaning) after advertising's Creative Revolution . (Or via Amazon UK .) The title is long, but Challis backs up every word in the book's 268 lavishly illustrated pages. It leaves me with no doubt that something I once suspected is, in fact, true: Helmut Krone is God.
Print advertisement for Volkswagen. Copy by Julian Koenig, art direction by Helmut Krone, Doyle Dane Bernbach, 1959
I sense that bit of hero worship would be scoffed at by many of those who knew Krone personally, which I never did. Another admirer, George Lois , once called him "a complex kraut" with a "dour, Buster Keaton face," "a fidgety perfectionist who worked with deadly Teutonic patience." And indeed, some of his simplest, clearest, most effortless-looking work was the product of brutal sweat.
Take, for instance, the tangled route to the legendary ad for VW that came to emblemize an entire decade's worth of creative advertising. According to Challis's book, Krone's original headline was "Wilkommen." The client rejected it — rightly so — and pulled "Think small" from the last line of Julian Koenig's copy. Could that be the headline? "He hated it with a passion. With a passion!" remembered his then-colleague Lois, who was at DDB working on VW's van account. "I suppose," Krone asked (and you can sense the exasperation), "you want me to make the car small?" After some back-and-forth (Krone also tried making the headline itself small), the final layout was painstakingly created. Said Koenig: "A little car up in the upper left corner at a little angle — which was the peculiar genius of Helmut."
It is hard to imagine today the impact that this kind of advertising had in the early sixties, where most cars still had big fins and most ads for them featured polo ponies and people in evening wear sipping champagne. The understatement, the conversational tone of voice, the utter lack of glamor all foretold a revolution in the making. Yet, typically, Krone's revolutionary art direction was plunked securely on an absolutely conventional, even boring, layout, then called "old JWT No. 1" after the lumbering Madison Avenue standby J. Walter Thompson: two-thirds image above, centered headline, three columns of body copy below. No one knew like Krone did the power of taking the ordinary and making a subtle, transformative alteration. "There's a German word for it," he once said. " Umgekehrt — turned around slightly." Krone built his reputation on thousands of such slight turns.
Print advertisement for Avis. Copy by Paula Green, art direction by Helmut> Krone, Doyle Dane Bernbach, 1963
Challis's book is filled with this kind of detail. Born in 1925 to immigrant parents in Yorkville, Manhattan's German enclave, he attended the High School for Industrial Art, where he hoped to become a product designer. But exposure to the work of the city's hottest young designer, Paul Rand, and the one of the country's most acclaimed ones, Lester Beall, convinced the 18-year-old Krone that his future might lie with print. He followed naval service in WWII with postwar classes with Alexey Brodovitch and a stint at Esquire . Then, at the age of 29, he joined the best ad agency in town, Doyle Dane Bernbach, then a vertible murderers row of art directors, all championed by the groundbreaking genius Bill Bernbach. With the exception of a few years in the early seventies, he would spend his entire career there.
Krone was addicted to "zigging when everyone else was zagging." His ads for Avis followed the triumph of VW, but neatly turned the JWT No. 1 formula on its head: little picture, big body copy, set in a fastidiously modified version of Eric Gill's Perpetua Bold. "No one was using it," Krone said. "I liked the fact that it was so unautomotive. Rather it was bookish, literate." Krone wanted people to read the copy. Perpetua still figures in Avis's promotional material 40 years later. Like with VW's Futura, Krone made a choice, stuck with it, and made it stick.
And, in Avis's case, without resorting to something he hated: a logo. "I've spent my whole life fighting logos," he said when he was inducted to the Art Directors Club Hall of Fame. "Logos say 'I am an ad. Turn the page.'" It was amazing how often he succeeded in vanquishing them, or better still, replacing them with something better. His famous series of "famous faces" for Polaroid, for instance, bore no corporate signature but rather a silhouetted image of someone experiencing that then-magical product in use. Towards the end of his book, Challis devotes a spread to counting off Krone's breakthroughs. Ads with no headlines. Headlines as captions. Photographs as logo. Typeface as brand. No headlines or copy. No product, just a sea of white. The shock of the new, delivered in sharp, precise little doses.
Print advertisement for Audi. Photograph by Manny Gonzalez, art direction by Helmut Krone, Doyle Dane Bernbach, 1978
Print advertisement for Porsche. Copy by Tom Yobaggy, photograph by David Langley, art direction by Helmut Krone, Doyle Dane Bernbach, 1979
An attempt to start his own agency in the early seventies didn't work; Krone seemed to enjoy not only the friction of straining against conventional advertising, but against the conventions of an established workplace. His work in the years following his return to DDB continued to startle. I remember one of my design professors bringing in one of his poetic magazine ads for the Audi Fox to us to admire: clearly, it was influenced by fashion advertising, but how daring to transpose that suggestive language to the world of cars. The same magazines would sometimes also feature Krone's ads for Porsche. I was studying under Swiss-trained teachers, but Helvetica was never like this. "I wanted to make the entire page like the car, which is strictly Braun," he later told U&lc . "I'm not into Swiss design. But I decided, for this, I have to be. So I brushed up on it...I used Swiss design principles, but because of its exhuberance I called it American Swiss."
That combination of discipline and joy, of casual ease (to "brush up" on something we were spending five years studying!) and Teutonic precision: this is what makes Helmut Krone special. The most surprising discovery unearthed by Challis is his claim that Krone introduced into current practice a custom that, like some many other of his breakthroughs, we now take for granted: the use of a full stop, or period, after a headline. That period — "Think small." — was the hallmark of DDB's celebrated forthrightness. And more: "Putting a full point in a headline was an act of sedition," writes Challis. "It broke the pace and invited inspection — maybe even circumspection — of the statement. Of course this is exactly why Krone used one: he had statements to make which he wanted to be examined."
Let there be no doubt: these statements are still worth examining. And, with this book as a resounding full stop to an amazing body of work, Helmut Krone, indisputably, gets the last word.
Oddly enough I can't find this on Amazon. Is it available in the States?
Posted by: MartinE on August 24, 2006 09:49 AM
And who is the individual with the upturned moustache--the subject of the Polaroid photograph? I also admit a curiosity in knowing if the photograph was actually produced by a Polaroid (perhaps I am jaded by contemporary product quality, but that seems too finely detailed, too sharp to be a Polaroid shot).
Posted by: the Brightside on August 24, 2006 10:49 AM
Read the credit beneath the photo: "Salvadore Dali." The reason for the sharpness: as indicated, its a "60 second portait".
Posted by: felix sockwell on August 24, 2006 10:57 AM
Posted by: g on August 24, 2006 11:21 AM
Ah, so that heat I've been feeling is the flush in my cheeks and not the Texas weather.
I can't read the credit beneath the photograph. And I'm familiar with Dali's work, but don't have the familiarity to recognize his face on sight. Apologies.
Posted by: the Brightside on August 24, 2006 04:10 PM
I also admit a curiosity in knowing if the photograph was actually produced by a Polaroid (perhaps I am jaded by contemporary product quality, but that seems too finely detailed, too sharp to be a Polaroid shot).
I recommend researching more Polaroid photography. Polaroid cameras and film have been used to create some spectacular photography...Polaroid isn't (wasn't?) limited to snapshots of kids on Santa's lap. :)
Posted by: jaclyn on August 24, 2006 05:21 PM
The One Club (NYC) store also has the book for sale.
http://www.oneclub.org/oc/store/?p=17
Posted by: Craig Welsh on August 24, 2006 08:45 PM
The book will soon be on my bookshelf. By the way, are you a filmographer, Craig?
Posted by: David on August 25, 2006 12:37 AM
According to the book, these "big head" ads were for a new (in 1957) Polaroid black and white film "so sensitive that pictures could be taken by the light of one candle"... There was a tendency to see the Polaroid as a gimmicky camera, and the aim of the campaign was "to alter the perception of the film as 'not up to much'."
"The ad campaign was founded on a lie: the implication was that the camera and the film could produce the picture shown. The film was excellent, but the camera wasn't that good. 'You never could get pictures like that,' recalled Bob Gage. 'The camera had limitations, you couldn't get in close.' "
There is a lot more to this campaign, which is all detailed in the book. The amount of research Challis did is really staggering... He dug out every ad for each campaign, Krone's first portfolio, notes, etc. An expensive read, but well worth it.
Oh yeah, I found the book at the Strand bookstore, in NYC. They might still have a few copies.
Posted by: Ricardo Cordoba on August 29, 2006 01:06 AM
Such Shallow Comments for such a Great Design Genius.
In the Words of Ric Flair. NOW WE GO TO SCHOOL.
What the Editorial doesn't state, not sure if my Brother St. Michael was Privy to this 411 Not certain if the Monogram on Helmut Krone share this information.
Helmut Krone was employed at Sudler Hennessey by Design GOD Herb Lubalin whom Recognized his Genius from Offset.
Helmut Knone's PROWESS of the Printed page can be Directly Attributed to HERB LUBALIN where he Honed, Sharpened and learned to Manipulate Letterforms and Imagery to make Advertising POP.
Terminology I disdain in Today's Creative Climate. Much of of what is considered POP Advertising is nothing more than Fizzle. Akin to sticking a Pin in a Balloon.
Helmut Krone certainly was the Unchallenged Master and Leader of POP Advertising.
Legendary Design Icon George Lois was also a member of Lubalin's 40 member Design Team at Sudler Hennessey which included other noted Design Luminaries.
The Agency later became Sudler Hennessey Lubalin.
That was the Era of Great Art Directors Gone. Where are they NOW to Fill the Shoes of Helmut Krone and other Great Art Directors.
Others come to Mind, Arnold Varga, BBDO, Bob Gage, Art Shipman for Neiman Marcus, Reba Sochis whom Headed her own Ad Agency was a GODDESS and Master of Manipulating the Printed Page injecting Humor. Others to numerous to mention.
None of the Aforementioned are the Beneficiary of a Monogram, it's unfortunate.
DAMN, I was taken aback for a minute TO AN ERA LONG GONE. The GREAT ART DIRECTORS TODAY are THE ALL KNOWING and POWERFUL CLIENTS who entertain themselves by Managing Designers with their Purse Strings.
From what I'm told by Designers that are of Helmut Krone' Era, George Lois is absolutely Accurate in Terms of Helmut Krone's Character and Demeanor.
Those of you that Joyfully, Willingly, Unhesitantly, Unashamedly, with Considerable Pleasure share Horror Stories of PAUL RAND's Behavior, Demeanor and Character Professionally and in the Classroom. Multiply EVERYTHING you ever HEARD about PAUL RAND three times and you're GOT HELMUT KRONE!!!!!!!!!!!
He was No Choir Boy. He was Tolerated because of his Genius.
In reference to the Corporate Identity issue, or Mr. Krone's indifference to Logos. I'd like to share a Passage from Elinor Selame's Book on Advertising, Helmut Krone and the Corporate Identity issue.
Once management has accepted the inevitability of an identity change, and has gotten a fairly good idea of the costs that might be involved, the one question that invariably gets asked-usually out of earshot of the design consultant-is, "Why can't we handle this thing ourselves, in-house?" Or, "Why not turn it over to the advertising agency? What are we paying them for, anyway?"
The answer to the first question should be obvious: For the same reason doctors do not diagnose members of their immediate families. They may have the knowledge and skill, but they may lack objectivity.
As for the second question: The ad agency is paid to create advertising for
the here-and-now. In the volatile advertising business, people tend not to think too far into the future.
"Advertising agencies," he feels, "believe advertising conquers all. Personally, I don't think they are philosophically prepared to accept any other alternatives, and will take on this kind of work only reluctantly, as a client accommodation."
He may be right. Several years ago, Helmut Krone, the legendary art director of Doyle Dane Bernbach, hailed in a Wall Street Journal ad series for being a visionary, was quoted rather immodestly as having "spent [myjlife fighting logos. Logos say, 'I'm an ad, so turn the page. . .' I just don't leave out the logo. I give the client something better."s
This, from the agency that gave us the Volkswagen "Beetle," which has long been the living "logo" for West Germany's so-called Wirtschaftswunder-its remarkable postwar economic recovery. One devoutly hopes that the day he was interviewed, Mr. Krone had his tongue in cheek, since it is an article of faith in his profession, as in ours, that any mnemonic device that triggers recall while giving the client more bang for his buck can't be all bad.
Elinor Selame
The First Lady to Found A Corporate Identity Consultancy in America.
My Opinion below.
It took COJONES to say what Helmut Krone said about Identity work. Especially in an Era when Advertising was Considered a Charlatan and Smoke and Mirror Practice.
Purist Designers were Crying, "There's No Truth In Advertising".
Practitioners of Identity more than likely Laughed at his erroneous assertion. The Comment Raised some Brows It didn't change anything.
Unfortunately, Mr. Krone was Misguided in his lack of understanding of Identity Practice the same as Tom Wolf was Misguided about the Merit
of Abstract Identities.
Great Identities live Forever in our Hearts and Minds.
Great Print Advertising is used to Wrap Yesterday' and Today's Garbage.
Rarely Do I Embrace Creatives that Do Not Embrace Identity Design.
I make an Exception for Helmut Krone his Ads were as Symbolic and Dynamic
as a Picasso or Pollack Painting.
When you can Grab Attention, Capture Hearts and Minds with Type and Imagery.
The Message becomes the Identifier.
Posted by: DesignMaven on August 29, 2006 08:26 PM
Maven, never fear, Clive Challis's book goes into amazing detail on every aspect of Helmut Krone's career, including his tenure at Sudler and Hennesey. I could not begin to do it justice in my short piece.
There are also plenty of allusions to the "difficulties" of working with Krone, particularly as a copywriter. An interesting difference between Paul Rand and Krone seems to be that while Rand worked in (near) isolation for most of his career, Helmut Krone seemed to need to be around people to do his work, even if those relationships were stormy ones.
Posted by: Michael Bierut on August 30, 2006 12:06 AM
Big Bro:
I knew I couldn't ONE UP you.
Aware you were more than Likely Privy to Mr. Krone working at Sudler and Hennessey with
the Late Great Herb Lubalin.
Must've been something in the WATER at
Doyle Danne Bernbach, Ehhh!!!!!
Nevertheless, that was the Golden Era of Advertising and Design.
The Internet and Blogging has virtually killed Print as we know it today.
I wonder what Mr. Krone would think of the Internet, as a Communication, Marketing, Advertising and Design Medium?
The Late Great Robert Miles Runyan caught Down Wind of the New Technology and Retired saying he wanted NO PART of this new Technology.
Can you imagine Robert Miles Runyan not embracing Information Technology, and finding
new ways to Develop and Solve Clients Problems via The Information Highway.
The Game has Changed Forever.
Just ask the Postal Service who tried to Persuade Congress to Tax Internet Service Providers because The Postal Service is losing Millions of Dollars because the public is No Longer Sending Letters.
As a Friend of Mine said and not the Sharpest Pencil in the Box.
The Post Office Marketing and Communication Executives Should've SAW IT COMING.
I'll Definitely BUY Helmut Krone's Book.
I've Alway's Been a Disciple and Acolyte of his work.
The thing about Krone is that, uniquely, he managed to continue to conflate two disciplines that would later become separated: Graphic Design and advertising Art Direction.
He was in a unique position to do that - he was a key instigator of the Creative Revolution where those two disciplines, once integral, started slowly to separate. Leading to today, when they're perceived as totally different animals (Art Directors seeking to suppress graphic design, which they see as too elitist and style obsessed - and Graphic Designers turning their back on things which seem too overtly conceptual, too wanton, or too 'uncool').
Interestingly, Design Maven's point about Herb Lubalin illustrates this pluperfectly. Lubalin, in the early-sixties was a highly conceptual designer but by the mid-seventies was almost completely concerned with form - mostly letterform - and seems to have forgotten about 'concept' - well, high concept anyway. Much the same trajectory as those of most design groups.
What the Krone book seems to me to do is to untangle these two webs: the 'form' route, from the 'concept' route. Challis explains that this is what he set out to do in his Introduction, having straddled both disciplines in his working life. And the book does it. This is what makes this book so important. In fact, I can't think of anything else that even tries to do it. Stephen Heller's 'Eye' Link article on the relationship of graphic design as the child of advertising; the discussion in Draft magazine Link of the Krone book by Erik Kessels and Paul Belford, but other than that... nada. Two paths. Never to meet again since they seem to have split in the mid-sixties.
Maybe, the Corporate Identity thread (see above) is a case of this: all practitioners of 'communication' becoming craft obsessed and not seeing the bigger picture of just establishing a communication – one that intrigues and involves. If it does that then the identity of the client is established as one that the reader forms a re/new(ed) relationship with, crafted, prescribed, corporate logo or not.
If graphic design is concerned with giving form to communication, then graphic designers should also have something relevant to say about the content of the communication. If art direction is concerned with the content of communication it should also concern itself with the form of the communication, and not attenuate the form to comply to advertising norms. Krone spent an entire career on this cusp. "I'm bored to death with art directors… An art director sits down with a writer and when they've got a concept they put it down with a coloured marker. They've done their job. For me that's where it starts." Link Sounds like Krone was a graphic designer to me. And Beirut seems to think so too (thanks MB for starting the discussion).
Get the book for the hundreds of communications - great designs (and the few not-so-great) - that it contains. But don't think of it as another eye-candy monograph. Read it. It made me think about what I was doing – and what I should really be doing.
It will probably do the same for you.
Posted by: Alain on September 1, 2006 06:37 PM
Ads sell. Design tells.
Posted by: Joe Moran on September 1, 2006 09:25 PM
Sometimes right. But too pat.
Maple syrup bottle labels help sell Maple Syrup.
The straightforwardness of Insurance forms sells the insurance company.
The London subway map sells the idea of the tube as the most direct form of transport (but in reality it's nearly as wiggly as the other forms). All graphics as 'selling' by 'telling'.
Krone's ads for VW, for Avis,for Porsche, culminating in the superb Polaroid Time Zero ads all told - about features and aspects of the service. The way he designed them enhanced their message. All advertising art direction as thought-about graphics.
The point I was trying to make (and Krone made) is that the form of the communication is the communication. Something that's often forgotten, at least consciously. And that's why his advertising work is especially relevant to graphic design.
Posted by: Alain on September 2, 2006 06:29 AM
Unless I'm not reading rigiht ... Mr. Rand and Mr. Ogilvy had very different ideas on Telling vs. Selling.
Are either right or better?
Mr Rand and Mr Ogilvy were two very different people, with different trades (professions?) and practised different disciplines.
Apart from the Kaiser ads Rand had rarely to inform (tell?) in his ads - most of his products were household names.
Ogilvy's were nearly all new imports. And he told all the time. Not least because he was a copywriter, but also because he was the great exponent of 'long copy'. In fact all his writings on his trade denigrate the art director.
Both he and Rand would probably have mutually disdained each other. Though both respected the intelligence of the reader/viewer.
So. On your original 'selling' 'telling' analysis, Rand represents 'sells' not least because Ogilvy so comprehensively represented 'tells'.
So again no pat answers.
Krone of course, synthesized both and made intelligent communications aimed to intelligent beings.
That help?
Posted by: alain on September 12, 2006 11:54 AM
Alain,
YOU ROCK SIR!
Your insight is much appreciated.
Posted by: Joe Moran on September 12, 2006 01:08 PM
My father, John Martinez, had the pleasure of working with helmut in the post-war era as a graphic designer. He has luminous stories detailing the interaction between him and Helmut, who took him under his wing.
Posted by: philosoap on October 11, 2006 01:27 PM


The burning of schools in Vuwani, Limpopo impact negatively on the right of children to access education and also effectively reversed all the gains already made in improving education.
According to media, police and government reports, as of Sunday, 8 May 2016, 24 schools had been burnt and/or vandalised in Vuwani, Limpopo. This was allegedly done in protest of a High Court decision that threw out the community's bid not to be moved into the new Malamulele municipality. These actions have been strongly condemned by most commentators, including political parties, trade unions, civil society, the State and on social media.
Included in the destructive fires that decimated school buildings were toilets, textbooks and furniture. All these things can be rebuilt and replaced in time using a large amount of money, but most critically the (immediate) futures of children and their families have been placed on hold and possibly damaged. This in a province that has been struggling to ensure that black pupils from historically (and currently) marginalised, rural and poor communities have an education that is on par with those in historically more advantaged areas. These schools are mainly located in the Bungeni, Vuwani, Vreboom, Masia and Mashau areas. According to the Department of Basic Education (DBE), 42 664 pupils have been affected by the forced closure of schools in the district. That is 42 664 pupils' rights to basic education infringed.
On Friday, 6 May 2016, a team from SECTION27 and Basic Education For All (BEFA) set off to Vuwani. We have been working in the province and district for several years trying to ensure that the right to education is realised through the provision of safe toilets, textbooks, furniture and better infrastructure to schools, so were anxious to see for ourselves how bad the damage was and to meet with community members, pupils and educators.
Estimated costs for the reconstruction of the schools is north of a staggering R400 million, excluding contents, in other words this involves buildings only. To put this in perspective, the Limpopo Department of Education's (LDoE) 2016/2017 budget that caters for the province's 4 062 schools is R930 million. The rebuilding of these 24 schools would account for almost half (43 percent) of the budget if the LDoE does not get it from other line items.
In the past three years, 16 classes, an administration block and a nutrition centre had been built. Its problems with furniture, water and infrastructure became a thing of the past. While challenges still existed in relation to sanitation (some toilets had been built at the bottom of a slope and are negatively affected during the rainy season), the school is on the province's sanitation plan.
Last week, protestors vandalised the school and burnt a building to the ground. Years of work towards realising quality basic education for pupils, who were already playing catch-up, went up in smoke in an instant.
However, it is important to note that not all the problems of the LDoE can be placed at the feet of protesting community members in Vuwani. According to Statistics South Africa, only about one in 10 (10.8 percent) of schools in Limpopo had access to a library, a quarter (25 percent) had an administration block, less than one in 10 (7.8 percent) had a laboratory and less than three-quarters (67.4 percent) have access to piped water prior to this tragedy. The LDoE further stated that the Council for Scientific and Industrial Research (CSIR) social audit on schools infrastructure in Limpopo found that there was a shortage of 6 217 classrooms in the province.
Furthermore, according to the LDoE budget speech, the interim CSIR report highlighted that there was a shortage of 40 448 toilets, the vast majority (33 669) of which were pit latrines that need to be replaced.
In addition, in the aftermath of the Supreme Court of Appeal's December 2015 judgment in the Limpopo textbooks case, which found that every pupil has the right to their full complement of textbooks before the start of the school year, SECTION27 and BEFA have been monitoring textbooks delivery and sending reported shortages to the LDoE. Four years after the first textbooks case and three weeks into the second term of 2016, we have received over 17 000 reported textbooks shortages from three of the five districts in the province we have monitored. We will be visiting the remaining districts in the next couple of weeks.
The case of Vhafamadzi Secondary School illustrates the point that problems did exist in Limpopo education. BEFA and SECTION27 have been working with the School Governing Body of the school to improve the infrastructure and sanitation since 2014. The school caters for 844 learners (416 boys and 428 girls). All 24 classrooms were dilapidated prior to the protests. There were dangerous cracks in classroom walls that were placing pupils and educators alike in danger and there was an urgent need for new classrooms. Only three of the classrooms survived the fire(s).
Parents and community members also protected Avhatondwi Primary School. Sadly, arsonists burnt parts of it in the early hours of Saturday morning. It wasn't because of a lack of trying on the part of the community.
Leaders, including the Minister of Basic Education, Angie Motshekga, visited parts of Vuwani, highlighting the importance of quick, decisive, collective action. Similarly, throughout our visit, the South African Police Service was heavily present and very helpful.
Ngqabutho N. Mpofu is the Communications Officer of SECTION27, a legal advocacy organization. This article first appeared in the Daily Maverick.


Make sure to add the North Kildare Chamber of Commerce Summer Business Expo to your diary taking place Thursday 26th of June at Sheehy Motors, Naas, Co. Kildare. An ideal opportunity to meet with local businesses and see what Kildare has to offer.
I'll be taking a stand showcasing some of my Interior Design Schemes and Designer Headboards so make sure to pop by and say 'hello'. This is a free event with over 2,000 visitors expected, super guest speakers, music, raffles, barbecue etc and of course MC Kathryn Thomas.


text:
Online Store Plan a Visit
Early American Transportation Innovation
1920's Era Gas Station
Dirt Riding USA, presented by J&P Cycles
CHOPPER STORY and 2 WHEELS+MOTOR
Dirt Track Heroes
Then Came Bronson
Quarter MileStone
Scooters!
Win this 1951 Panhead
1966 Ducati 250 Scrambler
Long before the glorious, and race winning Ducati vee-twins hit the streets in 1972, Ducati was a manufacturer of traditional single cylinder street and sport/race bikes. Some were utilitarian, others with chassis and engines honed to win races like the post-World War II Moto Giro Italia.
Ducati had not built any motorcycles before World War II. Starting with the 50cc Cucciolo in 1946, for about 25 years Ducati focused on sporting and utilitarian single cylinder bikes up to 350 cc's, then moved up to 750cc V-Twins in 1972. Their focus before the War was electrical devices like condensers, radios, shavers, calculators and cameras, even refrigeration equipment. Transforming bicycles into motorcycles, filling the needs of the Italian population, getting them to work after the devastation of World War II is what drove Ducati to its success in motorcycle manufacturing.
With the 1966 model year, Ducati made the move to design machines with the off-road look popular by the mid-1960's. This "narrow case" 250 was derived from the Diana street bike. Hence it was not a serious contender in scrambles or dirt track racing events but offered a trim performance look then popular in Europe, England and the United States. In 1972 the much more potent RT450, largely designed for the U.S. market, came available. The RT, for Road & Track, was designed at the request of the U.S. distributor, Berliner. To prove its mettle the RT 450 was entered in the 1971 International Six Days Trial and the Italian team returned home with several medals. Testing the "scrambler" styling theme again for the 2015 model year, Ducati successfully resurrected the theme in several displacement categories and trim levels.
This 250 scrambler is among interesting "bevel drive" Ducatis on loan to the National Motorcycle Museum including a great early 900SS. There's also a radical Ducati MH900evoluzione designed by Pierre Terblanche in honor of the Ducati Mike Hailwood win at the Isle of Man Senior TT in 1978.
Engine: Single Cylinder Four-Stroke
Type: Air-cooled, Desmodromic** OHC
Ignition: Battery & Points
Carburetor: 29mm Dell'Orto
Bore & Stroke: 74mm x 57.8mm
Lubrication: Wet Sump
Displacement: 249cc's
Compression Ratio: 9.7:1
Horsepower: 18HP
Starting: Kick Starter
Exhaust: Straight Pipe, Stock
Transmission: 5-Speed
Clutch: Multi-plate, Wet
Final Drive: Chain
Frame: Single Down Tube to Double Cradle
Suspension: Hydraulic Fork, Swingarm, Shocks
Brakes: 180mm Drum / 160mm Drum
Wheels / Tires: 3.50" x 19″ / 4.00″ x 18″
Wheelbase: 52 Inches
Top Speed: 78mph
**Desmodromic valve trains use two cam lobes to control opening and closing of each valve; one cam lobe opens the valve, the second cam lobe forces the valve shut. Most engines use one cam lobe to open the valve, but a coil spring to close it.
Bennie E Howard says:
Thank you. I really enjoy the motorcycle history and pictures. For some reason this article reminded me of the Bultaco. In about 1968 or 69 I was watching a cross country motorcycle race. A friend won the race on a Bultaco. He missed seeing the checkered flag and did an extra lap. By the time he got back to the finish line he was so exhausted he could not hold his Bultaco up while people were congratulating him. I ask Sid if he wanted me to take his bike to his pick-up. Well that was my first on a Bultaco and i unintentally popped a wheelie in the dirt taking off.but i got it to his pick-up without laying it down . I was impressed with the power. I know, now days the dirt bikes are a lot more powerful and i am just an ole geezer glider riding a GL1800. Thanks again for the motorcycle history lessons that rattles memories in my head.
Bob Fox says:
Nice looking bike. I had a BSA 250cc I iced raced and short tracked in Michigan in the early 60's. This bike reminds me of that one. Love the horn, nice touch.
Thanks for pic
Bob Zeliff says:
I have long been a fan of Ducati Singles. I would love to own or at least ride a Diana.
I think they are bueatiful, so simple, so sparse and such great design.
Please revise. This bike does NOT have desmo valve gear, which Ducati didn't put on their singles until the early 1970's. Prior to the v-twins, they also made a 450cc single – all three displacements (250, 350, 450) were ultimately produced with desmo valve gear.
Roger, Bob, Bob and Bennie,
Thanks for your comments, and Roger, for your correction. This 250 is a bevel drive, but does not have desmodromic valve actuation. Not all bevel drive Ducati were Desmos, including some of the V-Twins.
Tom Carter says:
The story seems to imply that 1966 was the first year of the Scrambler. Since I have a restored 1964 250 Scrambler, I think they were around in 1964, for some reason I thought maybe even before, but maybe not. I worked in a Ducati dealership in the early 60's and we sold 3 1964 models. I got one, my best friend bought one and I am not sure who got the other. The restored bike I have is the one that belonged to my friend.
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Chesswood Group Limited Announces November 2021 Dividend
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[19-November-2021]
TORONTO, Nov. 19, 2021 /CNW/ - Chesswood Group Limited (TSX: CHW) today announced that a dividend in an amount of three cents per share ($0.03) has been declared for the month of November, payable on December 15, 2021 to shareholders of record at the close of business on November 30, 2021.
Chesswood Group Limited for the purposes of the Income Tax Act (Canada) and any similar provincial legislation advises that the dividend declared for the month ending November 30, 2021 and all future dividends will be eligible dividends unless indicated otherwise.
About Chesswood Group Limited
Through two wholly-owned subsidiaries in the United States and three subsidiaries in Canada, Chesswood Group Limited is North America's only publicly traded commercial equipment finance company focused on small and medium-sized businesses. Colorado-based Pawnee Leasing Corporation, founded in 1982, finances a highly diversified portfolio of commercial equipment leases and loans through relationships with over 600 brokers in the United States. Tandem Finance Inc. provides financing in the U.S. through the equipment vendor channel. In Canada, Blue Chip Leasing Corporation has been originating and servicing commercial equipment leases and loans since 1996, and today operates through a nationwide network of more than 50 brokers. Vault Credit Corporation specializes in equipment leases and commercial loans across Canada, allowing for customizable financing solutions while catering to a wide spectrum of credit tiers, equipment types and sectors by offering industry-leading service levels, experienced underwriters and account administrators. Vault Home was launched in September 2021 and focuses on providing home improvement and other consumer financing solutions in Canada.
Based in Toronto, Canada, Chesswood Group Limited's shares trade on the TSX under the symbol CHW.
To learn more about Chesswood Group Limited, visit www.ChesswoodGroup.com.
The websites of Chesswood Group Limited's operating businesses are:
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Richard Cartwright's blog
Submitted by Richard Cartwright on Thu, 09/08/2011 - 01:03
The last couple of weeks have seen amazing announcements by giant American tech companies. However, all the announcements were linked by how horribly they were handled by the respective corporate leaderships.
First, Hewlett-Packard, in one earnings call, 18 August, 2011, not only killed all production on webOS-based hardware, the Veer, the TouchPad and Pre 3, but effectively killed the future of the webOS operating system. However, this was collateral damage compared to what HP CEO Leo Apotheker did to the Personal Systems Group (PSG), the part of the company that actually makes laptops, desktops, monitors and printers. Mr. Apotheker announced that:
"We see the opportunity for PSG to compete and win in the PC marketplace and our Board has authorized to us explore strategic alternatives for PSG. We intend to evaluate a range of options that may include, among others, a separation of PSG from HP to a spinoff or other transaction."
In plain language, Apotheker said "We want to get out of the manufacturing business because we think we are not making enough money. Will someone please buy this part of the company?" Not only did the value of the stock of HP drop twenty percent the next day, over time it became clear that no one wanted to buy the PSG and existing customers put purchases on hold and considered making equipment purchases elsewhere than HP.
Second, America Online (AOL), who owns many tech blogging sites such as Engadget, purchased the tech blogging site TechCrunch from its founder Michael Arrington about this time last year for a reported $30 million US. A few months later, AOL purchased the Huffington Post and the services of its founder Arianna Huffington as the head of a AOL Media Group, to whom Mike Arrington would be reporting as editor in chief of TechCrunch. Fast forward to last Thursday where Mike Arrington announces his formation of a new venture capital firm, CrunchFund. AOL announced it was investing $10 million USD in the venture. Additionally, Mike Arrington would continue at TechCrunch. Normally American journalists are not allowed to report on companies that they may have a financial interest in, so this arrangement resulted in a great deal of criticism.
Any ethical criticism of Mr. Arrington's continued role at TechCrunch was immediately overshadowed by the reaction of Arianna Huffington, who was apparently never informed or consulted about the new venture of Mr. Arrington, and who stated that Mr. Arrington was finished at TechCrunch and no longer worked for AOL Media. Later, an AOL spokesman confirmed that Arrington no longer worked for AOL at all. Both of these statements contradicted statements that AOL's CEO, made to the media less than 24 hours before. Finally, it was stated that Mr. Arrington did still work for AOL in something called AOL Ventures. The confusion is still ongoing as evidenced by posts by both a TechCrunch reporter and Mr. Arrington himself. The story is ongoing and it still is not clear what is going on.
Most recently, Carol Bartz was fired as CEO of troubled American search engine company Yahoo. The firing itself was not that unusual: the fact that it was done over the phone was. We know that Ms. Bartz was fired over the phone because she let the entire company know it through an all hands e-mail to Yahoo staffers that was "sent from her iPad". Normally, a CEO of a major corporation is told face to face that their services are no longer required and usually given time to get the office cleaned out before the change is announced. If a CEO is fired as was Ms. Bartz, then it usually means police officers are waiting to carry them off. This is not the case here, as reports are surfacing that the firing snub will be cushioned by a $10.4 million USD severance package. It's now being reported that Yahoo's Chairman of the Board, Roy Bostock, was in the air traveling to the western US and Ms. Bartz was likewise traveling east at the time of the firing. Once the decision to sack Ms. Bartz was made, it was thought best to get the news to her as soon as possible. That excuse does not wash because the movements of CEOs of major corporations are mapped out well in advance, and the chairman of the board is certainly privy to that information. If a large corporation is taking a decision to let the head of the company go, then prudent thinking would require knowing where the head that you are putting on the chopping block is going to be.
Is this a pattern of corporate miss-steps, or just odd happenstance? Only time will tell.
HP no longer manufactoring Electronics?
Wow, I have over heard that HP will be making electronics but not for mass instead no they will be making it for corperation and white colar 9 to 5. Since they have bought out Compaq some years back it would only make sence to leave the HP brand to business and use there compaq band line to average joe and or students alike.
But to go as far now as to say "No we wasted money on technology lets do something else" is like well its simply like buying a roll royce and then selling it and using the money to buy a used honda instead.
If you follow the chronology of HP and Palm you will see they sold it before then recently bought it back. This is them putting their Prodical Son to Death. Their Prodgy was not doing as good as they would have liked it to with large sums of money. There were issues with WebOS and perception. It was NOT Marketed Well, the Campaigns were Milk Toast. No hard hitting in your face marketing that would have cost gazillions of dollars to show that WebOS is technically the Best OS on the Best Hardware (CPU ARM 11). I was a fan at one time, then made a mistake and went to Nokia, learned from that and moved over the Samsung and a Google Phone. Since now a Rooted Nook Color and have been happy ever since. I used Palm from Pilot to Treo 650 and 755. But this latest insanity by HP is REPREHENSIBLE. Fire Sale then announce another Fire Sale following it? WTFO? Oh we are putting it to bed but, OH MY, What Quick Sales we had. Boy we did have market penitration. OMG. Lets have another run.... We can get rid of the parts and make very little more. This company has COMPLETELY and UTTERLY Lost its way and the Current Leadership needs REMOVED with PREJUDICE.
This decission has me foregoing any purchases with HP as a whole. When my 6310 dies, it dies. I am looking at Casio or Cannon or anything that is NOT HP. I have heard this from other corporations too. Buy Lexmark Stock folks, HP is in a Death Spiral and no one is at the controls that has a clue how to fly.
Give me a break and announcing that PC's and laptops were going away too someone buy them..... HFC....
The Board Room has completely Lost their Mind.


Posterous, the micro blog and social network acquired by Twitter, will be shutting down on April 30.
The announcement was posted by CEO and Founder Sachin Agarwal on the official Posterous wall. He stated that since being acquired, they had continued to make it easier for people to share their thoughts and images, and that they will now do that 100% via Twitter.
Posterous started in 2008 and currently boasts about 4 million users. When the platform was acquired by Twitter last year, Agarwal stated that they would provide users with plenty of notice if there were going to be any major changes. Turns out those statements were rather prophetic.
Fortunately, long-time Posterous users aren't completely without options. Posterous is providing a mechanism to backup and download all of your content at once, and you have a couple of months to go through old posts if you want to be more selective.
Click to request a backup of your Space by clicking "Request Backup" next to your Space name.
Alternatively, WordPress and Squarespace have built in importers that users can utilize to grab all their old posts and migrate.
Recently, an increasing number of content marketers have recommended using social networks as their website and blogging platform. I am talking about using a Facebook Page instead of a website, or using Google+ for all your blog posts.
Proponents have argued that these networks are cost-effective and provide so many more built-in features and easy access to readers. And all of those points are true.
However, the most critical point is that as social network users, we do not own our content.
If your account is deactivated or, as with Posterous, the entire network shuts down, you'll lose everything. And it's not as though Posterous is an exception. Maybe you've heard of Google Buzz? Or perhaps you've read about the MySpace rebirth, but indications are that the New MySpace won't be bringing with it any of the posts or content from the Old MySpace.
Businesses should always invest in a comprehensive website, and then use whatever social networks and other services they can find that will help promote the business and engage other people. Do not depend on any single network, and definitely don't leave your unique content on someone else's platform. We've recommended using tools like SocialSafe to make sure all your posts and content are saved, just in case.
If you're a current Posterous user, I'd love to hear from you. Were you shocked by this news or did you see it coming? Will you be switching to a different platform?


Photographer and professor of photography at Tufts University and the School of the Museum of Fine Arts in Boston, Jim Dow's work can be found in many prestigious public collections including the Museum of Modern Art New York, Museum of Modern Art, and the Library of Congress Washington DC. Dow is also the recipient of the 2014 Focus Lifetime Achievement Award.
Nancy Cohen's works are comprised of many mediums: handmade paper, found objects, resin and, for the past 10 years, glass. She chooses a basic form and, using it repetitively, transforms the object into rays of morphed forms that crawl across the surface of a wall. Cohen's themes are based in particle physics, mathematics, and chemistry.
Natasha Trethewey was born in Mississippi to professor Eric Trethewey and social worker Gwendolyn Ann Turnbough. The daughter of a mixed-race marriage, she spent time in Atlanta with her mother and in New Orleans with her father. Trethewey earned an MA in English from Hollins University, and received an MFA in poetry from the University of Massachusetts. In 2012 she was named Poet Laureate of the state of Mississippi and the 19th Poet Laureate of the United States.
Richard Ashrowan is a moving image artist who lives and works in the Scottish Borders. He works primarily with 16mm film and HD video, creating short single channel films, immersive video installations and live multi-projector performance experiments. His works are exhibited at artist-led spaces, galleries and film festivals around the world.
Bill Brown is a filmmaker, a photographer, and an author who has produced the films Buffalo Common, Confederation Park, Hub City, Mountain State, The Other Side, and Roswell. He is the author of all 14 issues of the zine Dream Whip and the book Saugus to the Sea. He lives in Chapel Hill, North Carolina.
Bill Pivetta has worked on hundreds of film projects, including independent films, commercials, music videos and features. He is an Instructor at Appalachian State University in the Department of Theatre and Dance, The Carolina Film Institute, and The Blue Ridge Film Institute.
Karen Yasinsky is an artist working primarily with animation and drawing. Her video installations and drawings have been shown in many venues internationally including the Mori Art Musuem, Tokyo, P.S. 1 Contemporary Art, NY, UCLA Hammer Museum, L.A. and Kunst Werke, Berlin. She is the recipient of a Guggenheim Fellowship and teaches at Johns Hopkins University in Film/Media Studies.
Mariette Pathy Allen has been photographing the transgender community for over 30 years. Through her artistic practice, she has been a pioneering force in gender consciousness, contributing to numerous cultural and academic publications about gender variance and lecturing throughout the globe.
Phil Solomon (M.F.A. Massachusetts College of Art) is an internationally recognized filmmaker and has been teaching both film history/aesthetics and film production at CU since 1991. Professor Solomon's work has been screened in every major venue for experimental film throughout the U.S. and Europe, including 3 Cineprobes (one-man shows) at the Museum of Modern Art and two Whitney Biennials.
Thomas Drysdale has been awarded the MacDowell Fellowship and the Distinguished Teaching Medal, New York University. His videotapes have been exhibited at the Walker Art Center, Joslyn Museum, the Kitchen Art Center, Bronx Museum, P.B.S: (WNET, N.Y.). Tom has had photographs published in Art News, American Photographer, Photographies and L'Architecture: Sujet ou Pretext?
One of the founding figures of the Chinese independent documentary film movement, Wu Wenguang has been working in recent years on the Memory Project, a wide-ranging documentary history of China's Great Famine (1958-1961), featuring interviews with thousands of famine survivors.


Retirement is a time for relaxation, reflection, and pretty much whatever you want it to be. It's a time to pursue your passions, find out what you're capable of, and enjoy a vivacious life as you cross from a young whipper-snapper into old age. While there are countless reasons to love retirement, here are a few of our favorites, in no particular order.
Once you've reached retirement, you've already put in your time. You did what you were supposed to and you played by the rules, so now it's your time. It really is your party, and you can do what you want to. After 45 years of working your tail off and saving wherever you can, it's your time to relax.
Or not. You can do what you want. Go visit the places you've always wanted to — whether it's across town, the country, or the world, just go. Wear your sneakers because they're comfy and carry a fanny pack because it's convenient. There's no need to impress anyone, and no reason to do anything you don't want to. It's your party; do what you want to.
If you're like most people, you probably spent a considerable amount of time throughout your life striving to fit into what society dictated was normal. But let's face it, you've always been a little odd. Congratulations, you've joined an age group where pretty much everyone is a little weird. Now that you've hit retirement, by all means, let your weird flag fly high. And by all means, own that flag.
So you've never had an artistic bone in your body, but you've always wished you did. Once you retire, you can take a sculpting class and learn how to let the inner workings of your imagination run wild as you navigate the eccentricities of your own mind.
If it suits you to wake up at 4:00 a.m. and read the newspaper while monitoring the morning traffic speeds on your block, all from the comfort of the rocking chair on your porch, you're in luck. If an early morning skydiving jaunt is more your style, have at it.
Maybe your working career was really hectic and there wasn't a lot of structure in your routine. Now you can have whatever routine you want. All puns aside, it is hip to be square!
Sure, you'll still have bills to pay and gentle responsibilities, but they will be the bills and responsibilities you've chosen for yourself. After decades of planning and saving for this time to come, carefully calculated investments and strategically planned equity-indexed annuity guarantees, you can finally live comfortably off the fruits of your labor.
So you'll still have worry after all, but it'll be a different kind of worry than what you've likely grown accustomed to during your working years. Instead of worrying about work deadlines and raising a family, now you'll worry about more important things, like what to make for supper, how your grandkids liked their Christmas present, or whether the neighbor's dog is in your rose bushes again.
If you're lucky enough to have children and grandchildren in your life, once you retire you'll be able to really be a fixture in their lives. This isn't to say you should linger and be a pest. No, rather, you'll just be able to be around to watch them grow up. Attend their school functions, pick them up when their hearts are broken come middle school, and serve as a stand-in for times when their parents need a breather.
Grandkids are a blessing — they will keep you young, and if you do it right, they will be happy you're there to be a part of their lives. Now who could argue with that?
After years and years of looking forward to and working relentlessly to save enough money for your retirement, you deserve to make it whatever you want it to be. It's your life and you've worked hard to earn the luxury of enjoying your retirement years. Whether your ideal retirement is a quiet life at home with your family, traveling the globe to explore new places, or maybe a combination of both, make it yours. Ultimately, the best reason to love retirement is the same reason to love life itself — because it's yours, and only you can decide what to make of it.


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8:00 AM In Person Low Mass/ Liturgy of The Eucharist - 10:00AM Service Via Zoom
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Thankgiving Baskets
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Homecoming 2018 >
Music in the Garden
Sunday School Youth Sunday
Christmas Mass St. Elizabeth's
Christmas Eve Mass
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Feast of All Saints
Sanctuary Sunday 2017
International Food Festival
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Moments in Black History 2019
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Pastoral Letter April 24th
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Brad Kleiman in Concert
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UMHA - Workshop Canceled 6/15
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The Reverend Canon Andy J. Moore
Father Andy Moore was born in Tobago where he gained his primary and secondary education. He obtained a Bachelor's Degree in Theology from the University of the West Indies after attending Codrington College in Barbados. Fr. Andy was ordained a priest in on September 21st 1994 his birthday in the Diocese of Trinidad & Tobago.
His first assignment was assistant Curate at All Saints Church in Port -of -Spain Trinidad with a dual focus on youth ministry and Hospital chaplaincy at the Port-of-Spain General Hospital the largest in the country.
In September 1996 he was appointed Rector of St. Christopher's Parish which is comprised of five churches and tow church schools. During his stint he was able to build a new church in one district while performing major renovation on others. He led a successful stewardship drive which reflected in an increase in active membership.
His pastoral experience was recognized by the United Society for the Propagation of the Gospel (U.S.P.G) and was invited in 2000 to join an International team of missionaries in a program aimed at revitalizing churches in England and Wales.
In 2001 Fr. Andy and his wife Natalie migrated to the U.S.A. where he assumed duties as Chaplin of St. Joseph's Church school in Queens NY, in the Diocese of Long Island.
In 2003 Fr. Andy became the first African American to be appointed as Director of the International Seafarer's Center of the Seamen's Church Institute of NY & NJ an Episcopal affiliated ministry. He managed staff and volunteers who provided extensive ministry to the thousands of seafarers arriving within the largest Port complex on the east coast of U.S.
In search of new goals he accepted the call as Rector of St. Elizabeth's Episcopal Church NJ. He was installed as the third Rector of the church on April 19, 2009. Father Andy was installed as a Canon by the Diocese of Trinidad & Tobago in 2014.
In addition to his duties at St. Elizabeth's Canon Andy serves as a Chaplain at Overlook Hospital in Summit NJ.
Canon Andy is married to Natalie who is the Clinical Nutrition Manager at the Veteran Affairs Hospital in East Orange, NJ, and he is the proud father of Jerome, Adia and Zara.
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Activism facts for kids
Kids Encyclopedia Facts
Activism is action to make a change, or stop a change, in society. It can be trying to make a government change its laws, or trying to make people change what they do. There are many forms of activism. Activism is most associated with protests.
When activism is linked to art, the action, in street art is called artivism. Chinese artist and activist Ai Weiwei is a typical example.
Images for kids
Barricade at the Paris Commune, March 1871
Civil rights activists at the March on Washington for Jobs and Freedom during the civil rights movement in August 1963
A women's liberation march in Washington, D.C., August 1970
The longest running peace vigil in U.S. history, started by activist Thomas in 1981
Black History Month on Kiddle
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The usa boasts rankings of firms that provide an important illustration for teams which are marginalized in nationwide politics, from ladies to racial minorities to the negative. the following, within the first systematic learn of those organisations, Dara Z. Strolovitch explores the demanding situations and possibilities they face within the new millennium, as waning criminal discrimination coincides with expanding political and financial inequalities within the populations they represent.
Drawing on wealthy new information from a survey of 286 agencies and interviews with 40 officers, Strolovitch unearths that groups too usually prioritize the pursuits in their such a lot advantaged participants: male instead of woman racial minorities, for instance, or prosperous instead of bad girls. yet Strolovitch additionally unearths that many corporations attempt to treatment this inequity, and she or he concludes by way of distilling their most sensible practices right into a set of ideas that she calls affirmative advocacy—a type of illustration that goals to beat the entrenched yet usually sophisticated biases opposed to humans on the intersection of multiple marginalized staff. Intelligently combining political idea with refined empirical equipment, Affirmative Advocacy should be required interpreting for college students and students of yankee politics.
Erving Goffman is taken into account by means of many to were essentially the most very important sociologists of the post-war period. His shut commentary of lifestyle and his crisis with the ways that humans play roles and deal with the impressions they current to one another resulted in his pioneering production of a brand new dramaturgical viewpoint for sociology.
This new quantity of the SAGE Social Thinkers sequence presents a concise creation to the paintings, lifestyles, and affects of Émile Durkheim, one of many casual "holy trinity" of sociology's founding thinkers, in addition to Weber and Marx. the writer exhibits that Durkheim's viewpoint is arguably the main thoroughly sociological of the 3.
Within the fourth variation of crucial Criminology, authors Mark M. Lanier, Stuart Henry, and Desiré J. M. Anastasia construct upon this best-selling severe assessment of criminology, which has turn into crucial analyzing for college students of criminology within the twenty first century. Designed instead to overly complete, long, and dear introductory texts, crucial Criminology is, as its name implies, a concise assessment of the sector.


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Q: Sort a list in a descending order Say we have a list:
{{1/2, -(Sqrt[3]/2)}, {1, 0}, {1/2, Sqrt[3]/2}, {-(1/2), Sqrt[3]/2}, {-1, 0}, {-(1/2), -(Sqrt[3]/2)}}

now we want to sort that list by looking at the second component of each sub list (call it y coordinate for ease), i.e. sort it s.t. y is in the descending order. So we'd get
{{1/2, Sqrt[3]/2},{-1/2, Sqrt[3]/2},{1,0},{-1,0},{1/2,-(Sqrt[3]/2)},{-1/2,-(Sqrt[3]/2)}}

And yeah, I should mention that if there are more than one sub lists with equal y, we would additionally (sub)sort them by descending x (first component in each of the sub lists).
I tried to use SortBy, in different forms, but I don't seem to be able to figure it out by myself. I'd appreciate any help.

A: As suggested in the comments, the following works as desired:
Reverse[SortBy[list, N[Last[#]]&]].

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State capture inquiry: former SAA treasurer says she was manipulated
18 June 2019 - 15:19 By AMIL UMRAW
SAA's attempt to get a R15bn in its 2015 capital restructuring project was the focus of the state capture inquiry on Tuesday.
Image: AFP/GIANLUIGI GUERCIA
Former SA Airways (SAA) treasurer Phumeza Nhantsi told the state capture inquiry on Tuesday that she realised that she was being used as "a vehicle for people to enrich themselves" after she found out that the board of a company the airline wanted a R15bn loan from was chaired by ANC secretary-general Ace Magashule's sister.
SAA's controversial attempt to procure R15bn in its 2015 capital restructuring project formed part of the first leg of the commission's evidence on allegations of graft in SA's aviation sector - with Nhantsi finding herself at the centre of allegations set out by her predecessor, Cynthia Stimpel, who testified last week.
But Nhantsi says she was just following the instructions of SAA's board, led by Dudu Myeni at the time, and only realised much later that some of the decisions taken were wrong.
The first aspect the commission zoomed into was SAA's decision (which was eventually rendered unsuccessful) to appoint the Free State Development Corporation (FDC) to source the R15bn it needed to finance its debt.
Click here for the latest news and analysis of the state capture inquiry
According to Stimpel's testimony, after SAA issued a request for proposal (RFP) in February 2015, SeaCrest Investments proposed that it would lend the entire R15bn at an interest rate of 5.8%.
However, after a due diligence was conducted, SAA found that SeaCrest would not be providing the capital directly; the majority of the money would instead be supplied by a company called Grissag.
Grissag was to provide SeaCrest with the funds at a 4% interest rate, meaning that SeaCrest would earn the 1.8% difference when it forwarded the money on to SAA.
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The second option, which Stimpel said was "safer", was a consolidated loan from various banks offering SAA R4.3bn. Stimpel said SAA could have then gone out to tender for the remaining funds if this option was chosen.
But in a board meeting in December 2015 , a resolution was passed to exclude both the banks and SeaCrest and instead appoint FDC. The decision to appoint FDC - which had not originally tendered for the contract - was based on a letter by the company's chief financial officer Shepherd Moyo.
It indicated that the FDC was working with a foreign entity that could offer up the money at a lower interest rate of between 3% and 4%. It later emerged that the foreign entity was also Grissag.
SAA pilots vow not to 'sit back' while 'dysfunctional' airline flounders
The South African Airways Pilots' Association (SAAPA) says it may be forced to resort to industrial action unless a "competent leadership team" is ...
Nhantsi, who had taken over from Stimpel by that time, was tasked with finalising the deal.
"The company was paying interest of R1.2bn per year just to service the debt. If you look at the term sheet by Grissag, it would have saved the company money … But it looks like there were discussions before the discussions to form with FDC a joint venture with a potential funder which happens to be the same funder of SeaCrest," she said.
"Perhaps there were people who stood to benefit from the transaction using me to benefit from the transaction. It was not the correct decision. It was not in the best interest of the company."
Nhantsi said she consulted SAA's procurement team on whether the board's resolution flouted regulations, and that she was advised that it did not.
"I also called the Treasury team and explained what happened at the board meeting ... I told them that I engaged with the procurement team and they advised that it was allowed according to the SCM policy," she said. "I recall Stimpel was shouting and saying this is not allowed, that the FDC was not in the list of bidders. She kept on saying the board was wrong in declining, specifically, SeaCrest."
Former SAA treasurer says board 'ignored' R15bn loan recommendations
Former SAA head of treasury Cynthia Stimpel told the state capture inquiry on Thursday how Dudu Myeni and her board may have flouted procurement ...
SAA's SCM policy says that alternate offers may be considered provided other bidders are not prejudiced. But it can be interpreted differently in that this only applies to bidders who conformed to the tender process, not new offers that came afterwards.
Nhantsi said she understood it to mean that that SAA could take offers that did not go through the tender process because the other two bidders, namely SeaCrest and the banks, were rejected by the board.
But on recounting her decision, Nhantsi told the commission of a conversation she had with Moyo soon after the decision was made to appoint the FDC.
"In my discussion with Moyo at the time, he mentioned that the chair of the FDC board was the sister of Ace Magashule (then Free State premier) and at the time I couldn't link anything because I was coming from a professional background," she said.
"Now looking back … I see that in a way I was used as a vehicle for people to enrich themselves."
SAA's choice of the FDC was shut down by the national Treasury which instructed that the company, which is also state-owned, did not have the mandate to provide SAA with funds.
Nhantsi's testimony is continuing.
SAA requests R4bn urgent state funding as it appoints interim CEO
SA Airways requests urgent state funding as it appoints interim CEO
Former NPA boss Nxasana says Jiba told officials to 'dig up dirt' on him
Sacked senior prosecutor Nomgcobo Jiba allegedly led a campaign to discredit and embarrass former NDPP Mxolisi Nxasana after he was appointed head of ...
Reserve Bank reveals how Guptas stole millions
The state capture inquiry on Monday heard how the Gupta family allegedly used a letterbox company, Homix, to illicitly siphon millions of rands in ...


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This topic is for discussing and implementing a fastai benchmark, so that we have a way to detect regressions in the fastai performance. This project is not about comparing fastai to other frameworks.
The current stage of this dev project is discussing ways it could be implemented.
This is a wiki post, so please improve it if you have something to contribute.
Well, that's why it's incoming - I haven't thought it through, just feeding the queue based on user reports - as someone reported his training got ~6 times slower. It could be totally unrelated to fastai, but we have no numbers to tell one way or the other.
I since did a bit of reading on the topic, this is not something we could instrument in the test suite I think. And this is definitely not a problem of how this is implemented - so it's not about decorators. It's about how could we do a portable benchmark, given that every execution on the same computer is non-deterministic, and then how can you measure across completely different systems. It's a very hard problem.
Now let's say tag B got slower by 20%, how do you know which of the many tests lead to that? And what if some functions got much faster while others much slower, compensating for each other. It's a very complex problem.
If that were solved finding the guilty commit should be easy by bisecting the checkouts and repeating the same 5-step process above.
The non-deterministic nature of the machine learning algorithms can be remedied with a fixed seed. So this one is not a problem if done correctly.
And, of course, all that has to be done on the same setup. i.e. you can't compare my results to yours.
Of course, that doesn't mean this can't be done to detect obvious regressions, where performance drops by 20+%. We probably need to write a few test-like benchmarks and re-run those occasionally on the same setup against various recent tags. If CI setup gives instances with identical specs all the time, that would be a good way to have this automated. Or alternatively do all the benchmarks on the same instance.
And then I'm sure Jeremy would probably detect a speed regression by just looking at the speed of the progress bar. So perhaps we should just ask him.
p.s. But then the fastai API is still unstable, so how would one benchmark code if different releases require different API. So, the benchmark or the test suite would be different between each release. I haven't thought of it right away, and this comparing apples to oranges complication probably puts the last nail in the coffin. At least until the API is stable.
Its probably best to keep this task here simple, here we do simple functional tests with asserts and fake data, which should deliver repeatable results on any CPU.
What you describe would require more data, GPU runs and would be runnable with potentially different results on different machines. It might also require some smart debugging code added for tracking down memory consumption. And one might want to consider to add some (not all, too slow I suppose) of those performance tests to run on commits to find culprits immediately.
Maybe at some point one would run both layers of test with a simple flag-switch on some occasions, e.g. before major releases. Often though, these tests would run independently of each other.
Next to the links you shared, I could imagine other Deep Learning projects have best practices one might want to check here. Suggesting we discuss this topic with @sgugger and as you mentioned, probably Jeremy would also have an opinion here.
@Kaspar : no doubt it would be super helpful and relevant. I just suggest we separate different levels of testing and ensure they can run independently of each other.
Performance Tests can be notoriously complex, even more so if they are supposed to work as automated regression tests (which actually they should!). It would be great stuff though, hence I suggest we open a separate thread and define requirements and make a design there.
Happy to help there too, e.g. if there is a repeatable pattern and sth like a simple switch 'perf - test this object', could add this while touching test classes for the simple tests.
@stas thinking about it, I wonder if the best approach for this might be to redefine the task as a documentation chapter instructing folks, how to profile their fast.ai code.
If one automates this, chances are e.g. with nightly runs one would get a lot of false positives that sth is supposedly slow in code, which raises also the question what a proper time - benchmark per platform and task would be anyways.
If we would have a chapter here https://docs.fast.ai/: 'Profiling' and would pick an example (e.g. the one that was reported to you) on one cloud platform, e.g. google then whoever believes sth is slow could analyze the issue in detail and report it then. We could give an example test scripts for fit / fit_one_cycle with a bulkified version for fakes.py for data.
Just my 10 cents ;-)With more time on my hands, would love to help.
But with what to replace the '123' in the assert? Just taking the median of some runs like essentially described here and here from your above links, sounds good for 'normal' code but doing that for a fit function would require some extensive runs on different platforms and GPUs and be highly dependable on the specific setup chosen.
So, maybe in profiling, one would need to differentiate between the learners vs 'normal code'. While one could probably come up with metrics how long 'normal code' should run max, I doubt there would be too many issues. Analyzing the fit function might be more sth for a manual task, if one suspects an issue.
@Benudek, please, re-read Benchmarking fastai, checking absolute numbers measured in time is not a proper benchmark – it simply won't work because there are too many moving parts, and therefore the code never runs on a deterministic identical system, so you can't ever get 2 identical runs. So this approach would be very unstable, misleading and giving a ton of false alarms.
Again, we aren't talking about benchmarking user's code - you're inviting even more trouble since this will lead to an even less controlled environment, with users forgetting this and that, and result in a ton of false alarms. We need to benchmark fastai in a controlled environment.
IMHO, what we need is to start with a few simple training sequences (say, one text, one vision) with a fixed seed and that doesn't take hours, that will use a CI and the benchmark will be running the same sequences multiple times as described here (dumbbench or like it) for the current code base and a few other tags, say last 5 releases. This requires that the API of those releases relevant to those sequences doesn't change, so that we compare apples to apples. Over time more releases will be added so we get better reference points.
Then as the process gets polished and we learn more about it (nuances of fastai, pytorch, and DL code in general), more sequences can be added and hopefully the API stops fluctuating to support that or only the stable API is benchmarked.
ok, thx. yes - in a controlled environment where we can generate repeatable results that is ideal. I wonder actually about a scenario, where user A runs this on AWS and user B on GCP and we would see differences. Analyzing that might be hard to automate imho - therefore the idea to make a documentation section to instruct a manual analysis. Anyways, maybe that is hopefully more an edge case to be considered then.
Would think as you said, some tests with a subsequent, small design would be next step.
where user A runs this on AWS and user B on GCP and we would see differences.
You will always see a difference in such a case. You must benchmark apples with apples, and oranges with oranges, AWS is apples, GCP is oranges in this case.
fastai code runs very slowly on a CPU.
If every thing looks okay, I would like to begin by working on CPU comparison and eventually get to all of the above points mentioned.
I'm not quite sure what you're proposing, @krishnakalyan3.
Perhaps, if you use some examples it'd be easier to understand your intention.
And while you're at it, remember that DL training is done on GPU and inference on CPU/GPU so, ideally, GPU benchmarking should be of the highest priority. While pytorch training runs just as well on CPU, most of the time it's much much slower and thus you'd be addressing a tiny segment of use.
For now I just proposing benchmarking CPU inference. If possible compare it with other frameworks like TensorFlow.
This inference will be done on pre-trained models like resnet / vgg etc. Do you think there is value in doing this?.
I'm a beginner in DL, so hopefully some other more experienced users can answer that.
My main intention behind starting this discussion was to make sure we compare fastai to fastai - to ensure that the code base doesn't regress over time.
@stas thank you for your amazing contributions to the fast ai library. I am a beginner in DL too. Comparing fast ai to fast ai is the next thing I will take up.
Thank you for your kind words, @krishnakalyan3.
It might be of interest to this thread, but you can get the number of FLOPs and parameters using this (small) library. I made a PR and added all the stuff for fastai models, except the Flatten module which can be added as a custom module without any ops. In particular I wanted to count FLOPs of different models in this Kaggle kernel - which also handles Flatten.
This is interesting, @Tom2718. Thank you!
This will measure only the python side of things, correct? i.e. not CUDA which is where most of the heavy lifting is done. If we don't measure the whole system, how can we tell that we may have a regression, other than telling that there is more code being run on the python side?
I'm not so sure I understand what you mean. The number of FLOPs and parameters is not specific to python but rather to the model itself. It's abstracted away from whether you run on a GPU or CPU. It's not the entire picture of course but can indicate relative performance.


text:
Review: AFTER WRESTLING
by Lynn on March 5, 2018
At the Factory Studio Theatre, Toronto, Ont.
Charlie Kerr
Photo: John Gundy
Written by Bryce Hodgson and Charlie Kerr
Directed by Bryce Hodgson
Set by Bryce Hodgson
Costumes by Allie Dunbar
Lighting by Jacq Andrade
Sound by Miss Langley
Cast: Gabe Grey
Libby Osler
Anthony Shim
Such a disappointment when one considers this company's previous production here was the wild and creative Kill Your Parents in Viking, Alberta. After Wrestling is laboured in its efforts to be funny and no character is clearly thought out. A more critical eye is needed to cut and shape this effort.
The Story. To quote the press information: "After Wrestling is a slacker-comedy turned suicide-mystery in search of love, life, and death. Hogan and his sister Leah navigate old flames, new relationships, and their mental health in a booze- and grief-fuelled debate after the suicide of Hogan's best friend Gibby."
There is a cop named Jaggy who comes to Leah's house to investigate a complaint. Her brother Hogan is staying with her since his relationship with his girlfriend has broken up. Hogan is also grieving over the suicide of his friend Gibby. But each character has secrets from each other, which in the case of the brother, sister and Gibby is a reeeeeeal stretch.
Or as I would describe it, "desperate to be funny, loud, frantic, drivel."
After Wrestling by Bryce Hodgson and Charlie Kerr is about a group of misfits, also looking for love, but doing it in a frantic, almost frenzied way, that isn't very helpful.
The Production. Bryce Hodgson's set of Leah's apartment is very detailed, with shelves on the wall for spices, etc. and other components of a kitchen up stage. But it is also odd, in that we are looking at it, stacked up, with the living room downstage and behind it is the kitchen, not spread across the stage to see the various components of it clearly.
Bryce Hodgson directs this at a high, yelling pitch for the most part. Charlie Kerr also plays Hogan who doesn't seem to have a credible thought. I have no idea what kind of humour this is supposed to be: slapstick, farce, just witless? Dunno.
I thought the play could/should end three times—that's bad writing. If two characters end a relationship then why bring them together again in another scene to end the relationship again?
The cast deliver what can be seen as stream of consciousness dialogue. Quick, toneless, nonfluctuating voice. Wearying.
Comment. The two writers, Bryce Hodgson and Charlie Kerr, are so desperate to be hip and accessible to millennials they seem to have forgotten to write a play with characters that have depth and believability. There are four characters in it and no one seems to have any kind of real relationship that anyone else knows about. Leah and Hogan (the brother and sister) don't even seem to be in the same world they have so many secrets from each other. They are selfish, self-centred, not fully developed either as characters or recognizable people.
I've seen this company, Blood Pact Theatre, before and liked their work. It was for a play called Kill Your Parents in Viking, Alberta. It was very funny in a wild, weird way, but certainly had credible characters and an intriguing story. I said then of the company: "this is a group of young, emerging artists, many of them from out west who have settled here. Make them feel welcome. We want them back with more mayhem." I meant it.
But their next production here is After Wrestling and it's a self-indulgent miss-step. Come back with something better, please.
Produced by Blood Pact Theatre with the support of Storefront Theatre in association with Factory Theatre.
Opened: March 1, 2018.
Closes: March 18, 2018.
Running Time: 2 hours 15 minutes.
www.factorytheatre.ca


Our stock is continually changing as cars come and go. You should enjoy the Alfa Romeo Giulia results below. You can browse and filter through our full selection of 112 available Alfa Romeo Giulia cars by using the search form on this page.


David began his professional career as a consultant with iVision in 2011. His initial focus was on Microsoft's System Center Configuration Manager doing application packaging and operating system deployment. David was able to follow his passion and made the transition to iVision's Application Development team in 2014, with a primary focus on SharePoint Development.
If you have ever developed a custom master page for SharePoint, you may have been faced with the challenge of trying to add a content editor web part to a master page. You may have researched this and found that it is possible to add a web part directly into your master page, however you would be unable to edit the web part from the browser rendering the content editor web part useless in this scenario. Fortunately, there is a way you can work around this constraint.


At the Bay House, we work hard to provide our guests with an experience that is exceptional in every way. That is one of the main reasons we are so thrilled to announce that our renovations are complete – just in time for all the spring weddings in Destin!
Many of you already know that our event venue is set in a remodeled 1950's home that offers guests views of the bay and over 2,000 square feet of indoor space to entertain. One of our largest projects was converting a storage room to open to the site's Great Room. Not only does the area feel more inviting, but it allows hosts' an additional way to personalize the layout for their upcoming event.
We also worked on adding to our long list of venue amenities. We refinished the bar top and added wheels to increase mobility, and installed an ice maker so that we can provide ice at each event in addition to tables, chairs, linens and an outdoor lounge area among many other things.
Learn more about the completed renovations and our waterfront event venue in Destin by viewing the online press release.
This entry was posted in Weddings and Events and tagged Destin, Wedding Venues. Bookmark the permalink.


Greetings to Medjugorje. On today's feast of St. John Vianny Cure of Ars, I ask Our lady and him for intercession that take with this youth festival, many young people about Jesus in his ministry can be to be witnesses of his love and healing, as spouses and parents, as priests and religious Christians. I'm definitely with you wholeheartedly and look forward to the many graces which Our Lady is giving these days.
Laura Carbarelo from Argentina, married for 2 years to an Italian. Medjugorje has transformed her life. It has changed after a visit to Medjugorje. She started to pray, to read the Bible and to fast.
Marguerite Peeters from Belgium. Was a journalist and is now active in a Christian community.
Svetozar Kraljevic. Director of Mother's Village.
Boys of the Community of the Merciful Father bear witness to their lives.
Alfred Ofner from Austria, a former firefighter. Got to know about Medjugorje in 1984. His vocation and physical healing are related to Medjugorje. He is currently in training to become a deacon.
Deanna Joy is English England School of Evangelism.
About 40,000 people worldwide were connected via the Internet with Medjugorje, 501 concelebrating priests stood at the altar, and many other priests donated the sacrament of penance.
463 priests concelebrated the Holy Mass.More than 46,000 people worldwide were connected to Medjugorje over the Internet.
Gabriele Kuby from Deutschlandist is the author talks about her experience and her encounter with God "Medjugorje is for me a very special place of repentance"
Draga Vidovic a guide from Medjugorje.
Was 15 at the time of the apparitions in Medjugorje. She has written a book about Medjugorje.
499 priests concelebrating donated many more to confession.


Joel Goldsmith (March 10,1892 – June 17, 1964) was an American spiritual author, teacher, spiritual healer, and modern-day mystic. He founded The Infinite Way movement. He was born in New York City on March 10, 1892. His parents were non-practicing Jews, who were married in New York City in 1891. Joel was their first child. They had another son two years later, followed by a daughter two years thereafter.


text:
est un jeu vidéo de rail shooter en trois dimensions développé par Nintendo EPD et PlatinumGames et édité par Nintendo, sorti avril 2016 sur Wii U. Il s'agit du sixième titre principal de la série Star Fox.

Trame

Système de jeu
Comme les précédents épisodes de la série, Star Fox Zero est un rail shooter dans lequel le joueur incarne Fox McCloud, à bord de son vaisseau Arwing, accompagné de son équipe composée de Falco Lombardi, Peppy Hare et Slippy Toad. Le joueur utilise le Wii U GamePad pour contrôler le vaisseau à l'aide des boutons et / ou du gyroscope. Tandis que l'écran de télévision affiche une vue à la troisième personne du vaisseau, l'écran du GamePad affiche une vue à la première personne affichant le cockpit.

Les vaisseaux peuvent se transformer en véhicules terrestres ; ainsi, l'Arwing peut se transformer en Walker, véhicule qui devait apparaître dans Star Fox 2 tandis que le tank Landmaster peut se transformer pour voler durant un temps limité. Le jeu marque l'apparition du GyroWing, une sorte de drone pouvant libérer Direct-i, un robot téléguidé.

Un mode coopération à deux joueurs est présent, dans lequel un joueur pilote le vaisseau pendant que l'autre s'occupe de tirer sur les ennemis.

Les amiibo Fox et Falco sont utilisables dans le jeu.

Développement
Star Fox Zero est développé conjointement par Nintendo EAD Group No. 5 et Platinum Games, avec une réalisation de Yugo Hayashi et Yusuke Hashimoto. Son développement débute à partir d'un prototype de jeu pour Wii.

Le jeu est annoncé lors de l'E3 2014. Il est ensuite présenté lors de l'E3 2015 sous le titre définitif de Star Fox Zero. Initialement prévue pour le , la sortie du jeu est repoussée au . Le jeu est proposé en bundle limité avec le jeu de tower defense Star Fox Guard

Voix françaises

Cette opus reprend le doublage français qui étais déjà présent dans Star Fox 64 3D :
 Martial Le Minoux : Fox McCloud
 Marie Zidi : Slippy Toad / Katt Monroe
 Patrick Delage : Falco Lombardi / Peppy Hare
 Michel Elias : le narrateur / Général Pepper / Wolf O'Donnell / Andross

Accueil
Electronic Gaming Monthly : 7/10
Famitsu : 35/40
Game Informer : 6,75/10
Gameblog : 6/10
Gamekult : 4/10
GameSpot : 7/10
GamesRadar+ : 2,5/5
IGN : 7,5/10
Jeuxvideo.com : 14/20

Notes et références

Liens externes

Rail shooter
Jeu Wii U
Star Fox
Jeu vidéo développé au Japon
Jeu vidéo sorti en 2016
Jeu Nintendo EPD
Jeu PlatinumGames

redpajama_set_name: RedPajamaWikipedia


The steel shot decision : what it means to birds and hunters.
Washington : Dept. of the Interior, Fish and Wildlife Service : for sale by the Supt. of Docs., U.S. Govt. Print. Off., 1976.
Waterfowl shooting -- United States.


Ottawa, Ontario – Kichesippi Beer have announced they will no longer sell bottles of their Natural Blonde. Starting in January the Natural Blonde will only be sold in 473ml cans at the LCBO and grocery stores.
Kichesippi found it challengingly and expensive to maintain a bottling and canning machine, so they have decided on going forward with just the canning machine. Their first bottle of Natural Blonde was produced in February 2012.


Get ready for your most sophisticated charcuterie board or cheese plate ever.
Convincing friends to come over for a wine and charcuterie night: easy. Putting that charcuterie board or cheese plate together the evening-of: so challenging as to be potentially tear-inducing. Unless the host or hostess is particularly well-versed in cheeses and prepared meats (plus crackers, nuts, fruit, and more), planning a beautiful, complementary, and tasty charcuterie board can be almost frightening, especially if the guests' tastes vary or are unknown.
Online, Crate & Barrel breaks down the composition of each cheese collection, telling potential cheese-buyers exactly what they'll get in their order and in what quantities. With a pre-planned charcuterie package, gone are the fears that the cheese flavors will clash or that the prepared meats won't go well with the mixed nuts. The glory of a pre-made plate is that there are no decisions to be made, and with Crate & Barrel's expert hosts at the wheel, home wine-and-cheese-night planners can be certain that the flavors will meld nicely and appeal to all tastes.
The cheese collections ship directly from vendors to locations within the 48 contiguous states (the collections are not sold in stores) according to the website. See the entire selection here.