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16 K&B Design Trends for 2014
Innovative and traditional trends define homeowners' needs and creative designs.
By Tim Gregorski, Editor in Chief January 6, 2014
This article first appeared in the PR January 2014 issue of Pro Remodeler.
For the past three years, remodeling spending has continued to increase partly due to a consistent number of kitchen and bath projects. In 2011, remodeling spending was $276 billion for homeowner and rental improvement repair, $284 billion was spent in 2012, and 2013 was projected to hit $317 billion by the end of the year, according to the Remodeling Futures Program at Harvard University's Joint Center for Housing Studies.
In the last five years, U.S. homeowners, on average, spent $28,030 to remodel their kitchens with costs varying widely at different budget levels, according to research provided by Houzz. Nationwide, the average cost for a high-end kitchen was $54,942, for a mid-range kitchen $22,390, and $7,133 for a lower-budget kitchen.
Professional Remodeler's
Top 8 Kitchen Trends for 2014
1. Open kitchen design
2. Kitchen lighting
3. Countertop material, black color
4. Refaced kitchen cabinets
5. Apron/farmhouse sinks
6. Appliance finishes
7. Kitchen islands
8. Floating shelves
Top 8 Bath Trends for 2014
1. The bathroom spa experience
2. Stand-alone tubs
3. Radiant heating
4. Multigenerational design
5. High-quality faucets
6. Diverse color palettes
7. Freestanding and hovering vanities and cabinets
8. Natural stone and custom tile
The average cost of bath remodeling in 2013 was $18,538, which was down slightly from 2012, according to the National Kitchen & Bath Association.
Because homeowners are investing in kitchen and bath projects, 94 percent of remodelers indicate they generated at least some of their business from kitchen remodels in 2013, according to the recent Professional Remodeler Kitchen & Bath Trends Survey (see Investment Continues in Kitchens and Baths). The survey also finds that 96 percent of remodelers generated some of their 2013 business from bath-related projects.
Furthermore, 77 percent of remodelers generated at least half of their business from kitchen remodels in the past year, up 15 percentage points from 2012. Additionally, 79 percent of remodelers generated at least half of their business from bathroom remodels in the past year, which is on par from the percentage recorded for this category in 2012.
As part of the survey, we also asked remodelers to identify the latest kitchen and bath trends incorporated into these projects. As a result of their aggregated responses combined with research culled from a variety of remodeling industry resources, Professional Remodeler assembled this list of 16 Kitchen & Bath Design Trends for 2014. PR
Seventy-seven percent of the respondents to the Houzz Kitchen Trends study indicated they prefer their kitchens to be open to other rooms. In addition to more space, respondents also indicated they prefer to incorporate a kitchen island as well.
As more homeowners embark on major renovations of their home, many have been opting for a larger, open kitchen to connect with at least one adjoining living area in order to evolve their kitchen into the home's social hub.
"Regardless of the age of my clients, their number one request is, and they all use the same term, 'We want a kitchen where we can hang out with family and friends.' The open kitchen design supports a much more relaxed and informal way of living, which I find is the way most people want to live," says Mick DeGiulio, principal, DeGiulio Kitchen Design, Wilmette, Ill.
The kitchen of today is the new living room. The open-kitchen trend is here to stay because homeowners who have adopted the design are increasingly pleased with the results.
"I've never had a single client who said they wish their kitchen was smaller or they wish they had not opened the kitchen to other living areas," says DeGiulio.
Homeowners are even eliminating a formal dining room so they can incorporate that space into the kitchen in an effort to create space they will actually use everyday.
"The open kitchen design has changed the hierarchy of home design. Today, for many people, the kitchen has become the priority. It's occupying the choice space in a home in terms of best views and square-footage allocation. It is receiving the same attention to architectural detailing and appointments you would see in more public spaces such as living rooms and dining rooms. This also means it has become a priority in terms of budget," says DeGiulio.
See Kitchen Trend #2.
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As energy-efficient LED lighting continues to evolve in terms of applications, the lights continue to be popular for both kitchen and bath applications.
"I'm seeing LEDs improve in their color and dimmability. I'm also seeing LEDs show up in more fixtures including remodel-friendly can lights, vanities, and appliance interiors," says Jamie Gold, a San Diego-based industry consultant and author of "New Kitchen Ideas that Work" (Taunton Press, 2012).
Because LEDs last much longer than any other type of light bulb available on the market, they are a great solution for homeowners who are looking for a low-maintenance option. The LED bulbs also burn much cooler than incandescent, Xenon, and Halogen bulbs, making the LEDs more versatile and safer.
For kitchen applications, LED strip lighting is excellent as an under-cabinet light.
"It's dimmable and burns very cool so it won't heat the inside on the cabinet like Xenon and Halogen bulbs. We also use small LED pucks in glass and open cabinetry to add ambiance or a focal point," says Leslie Lee, designer, Normandy Design Build Remodeling, Hinsdale, Ill.
As for natural lighting, it is always preferred in a kitchen design. The key is finding a proper balance of natural and artificial light for the day-to-day kitchen tasks.
"When natural light is just not available in the kitchen, additional ceiling, cabinet, and wall lighting can be added to help compensate for a lack of natural lighting," says Lee.
According to the Fall 2013 Kitchen Trends Study by Houzz, which included 7,812 homeowners and registered Houzz users in the U.S. and Canada who are planning or in the midst of a kitchen-remodeling project, 94 percent of respondents are planning to change their kitchen countertops. Fifty percent prefer granite while 36 percent prefer quartz countertops, both of which remain the most popular countertops currently used in kitchens. Some homeowners have taken to mixing different types of material for their kitchen countertops.
"We've seen a trend toward people straying from the traditional, perfectly matched look in the kitchen," says Shelia Schmitz, editor of Houzz.
The mixing of countertops can be functional as well; using a butcher block in an area for food preparation or stone in a serving space are two examples.
Waterfall countertops, where the material drops over the side of a kitchen island, are becoming more common in contemporary kitchens.
In terms of colors, the use of black kitchen counters in either granite or quartz will increase in 2014, according to the Zillow Digs Home Design Trend Report for 2014.
"We are seeing more black granite that is honed or has a leather finish," says Adam Hunter, owner, Adam Hunter Inc., West Hollywood, Calif. Hunter says the black countertops provide a tasteful, yet dramatic look especially when paired with a lighter-colored countertop such as marble or light gray for contrast.
Budget-conscious homeowners who want to update the look of their kitchen are opting to reface their kitchen cabinets rather than replace them.
"We have seen more clients want to do a remodel later, but do not want to invest the amount required for a full remodel with new cabinets. This is because of cost. The fact that a client can opt to just do the refacing of the cabinets and not replace the countertops allows them to have their kitchen remodeled at a significantly less amount than a complete remodel that includes new countertops, plumbing, and electrical, in addition to new cabinets," says Vince Nardo, president, Reborn Cabinets, Anaheim, Calif.
Using open shelf and glass-front cabinets that display the kitchenwares is a growing trend among kitchen-cabinet options, according to the Zillow Digs Home Design Trend Report for 2014.
"As the kitchen has become a central meeting place for family and friends, presentation has become a priority for many homeowners. It is now fashionable to display almost everything in the kitchen from dishes to pot and pans," says Kerrie Kelly, founder, Kerrie Kelly Design Lab, Sacramento, Calif.
Colored cabinets including gray and off-white remain the preeminent colors homeowners prefer. In some kitchens, colors tend to be broader based on geographic location.
"Some color trends tend to be more specific to the Pacific Northwest color palette, which includes subtle earth-tone hues such as charcoal, blue, and green," says Suzie Atkin, design consultant, Neil Kelly Co., Portland, Ore.
Kitchen-sink styles are constantly changing and evolving. Currently, the sink of choice is the apron or farmhouse sink.
"The apron or farmhouse sink has a very traditional style and some might even say a rustic look in certain applications," says Jim LaVallee, principal, Epic Development, Atlanta, Ga. "The general trend we see across the country, and especially in cosmopolitan areas, is a push toward cleaner, simpler lines on the interior of the homes whether mixed with a traditional and contemporary exterior. The apron sink, with a flat simple front, integrates well into this look."
To ensure cleaner lines in a kitchen with an apron sink, cabinet doors should be flat or in a simple shaker style. A stainless steel apron sink also matches well with stainless steel appliances, according to LaVallee.
The U.S. market for consumer appliances is expected to grow 3.8 percent to $56 billion in 2014, according to Euromonitor International, an independent consumer-market research firm.
Stainless steel is still the favorite because it's a good neutral and works well in a variety of environments, according to John Petrie, president, National Kitchen & Bath Association.
In an effort to tap into the market share stainless steel appliances has in American kitchens, appliance manufacturers launched more furniture-like appliances with rounded edges and handles, less metallic sheen, and in different colors. Appliances in white with hints of metal as well as a softer, natural gray matte finish have started to make their way into homes.
In the Houzz Kitchen Trends study, 65 percent of respondents prefer stainless steel appliances, 16 percent want to integrate appliances into cabinetry, 12 percent prefer white or colored appliances, and 7 percent indicated they prefer to combine appliance finishes such as paneled, fully integrated refrigerators and dishwashers.
The timeless stainless steel look continues to blend well in kitchen designs, although the appliances must effectively blend in with the entire design to avoid being the focal point of the kitchen.
"Integrating appliances into the cabinetry is particularly desirable in open-floor homes, where the kitchen can be seen from many rooms and multiple stainless steel appliances may draw unwanted attention," says Houzz's Schmitz.
Kitchen islands are a multipurpose area used to create extra space for prep work, storage, and dining, and serve as the social hub for gatherings with family and friends.
"The kitchen is the heart of the home and that's where most of the time is spent. Having an island also allows families to be together. For example, a parent can be cooking while their children are working on their homework on the island," says Liz Lee, senior designer, Sun Design, Burke, Va.
The diverse kitchen island can include the main sink, bookshelves for cookbooks, and cooking surfaces with large expansive hoods that extend past the range or cooking surface with no wall cabinets flanking the hood.
"Islands have become a given in most kitchen remodels and designs. It is something most clients expect and want included in their kitchens. How much seating is required and the clearances needed can impact the design of a kitchen island and can be a challenge," says Rebekah Zaveloff, co-founder and director of design, KitchenLab, Chicago.
An island with clean lines and traditional design works well in most style of homes and works with both stained and painted finishes. From a decorative standpoint, the island is the focal point of the room and should have stylized elements such as a unique finish or decorative lighting that includes antique brass and accents.
"Our clients like the island to have a substantial feel with furniture-like qualities. Most prefer an island that is one level that still allows for seating but offers a large, open surface for entertaining as well," says Laura Barber, designer, Normandy Design Build Remodeling, Hinsdale, Ill.
Breaking away from the concept that every last inch of wall space must be host to some sort of closed storage, floating shelves help break up the wall into lighter, less-obtrusive space free from a wall of hanging cabinets.
"The floating shelf is a very simple, yet attractive architectural element. Its appeal is simplicity. Light and airy, floating shelves complement any contemporary design very well," says Fabian Genovesi, design consultant, Neil Kelly Co., Portland, Ore.
By leaving sections of walls behind the floating shelves open, it facilitates the use of color throughout the kitchen. The brighter and bolder color schemes allow homeowners to move away from the traditional whites and neutral colors used for kitchens. By incorporating lights into the shelves, the kitchen walls can become even more attractive when color and light are combined.
Floating shelves can also bring a sense of casualness into the space making it less formal and more open to conversation based upon the items that may be placed on the shelves, according to Genovesi.
Stained-wood veneers and glass tend to make up the most popular materials used for floating shelves. They can also be used as part of the home's structure, which are then covered by drywall or plaster and painted.
"I have also created massive floating shelves with weathered wood beams, live edges, and stone embedded into walls," says Genovesi.
See Bathroom Trend #1.
Many homeowners seek a bathroom that provides a relaxing and comfortable retreat from their hectic lives. The bathroom spa experience brings that sense of serenity to a homeowner.
"A spa-like bathroom can come in many forms, but is generally a clean-lined, contemporary space with a mix of rich, textural elements blended with polished surfaces, neutral earthy tones, and natural materials," says Normandy Remodeling's Barber.
In the bathroom spa experience, storage is important because clutter should be kept to a minimum.
In the shower, elements like steam, multiple showerheads, therapeutic body sprays, and even music are all ways that can enhance the showering experience.
Stand-alone baths are popular and offer different bathing experiences such as bubble-massage, massaging jets, heated tub surface, and even chromatherapy. Radiant-heated floors feel luxurious underfoot and are a great feature in the cold winter months.
"There are many options available to homeowners today to create a customized spa-bath experience in their home, regardless of the size of their space. We begin and end the day in the bathroom so make it a space you can enjoy," says Barber.
One aspect of the bathroom spa experience that homeowners are incorporating into their bathroom remodeling projects is the stand-alone tub. If homeowners want a tub experience in 2014, it's likely they will select a stand-alone tub as a structural element, which takes up much less space in the room than the old tiled-in tub deck. In some cases, the stand-alone tub may be more aesthetic than functional.
"It seems the stand-alone tub, in the eyes of our clients, is much more the for 'look' than actual functionality and day-to-day usage," says Bill Shaw, president of William Shaw & Associates, Houston.
Cost is another issue when comparing a stand-alone tub with a deck-mounted drop-in bathtub. The cost of the deck material, steps, surrounding materials, and accessory pieces of the deck are lower when compared with the cost of the stand-alone tub and the related plumbing hardware.
"The cost of the free-standing tub has significantly increased, so we find most of the time, there is not a significant cost issue. The final decision is usually about the look versus function," says Shaw.
As homeowners opt for bathroom designs that offer more comfort built into space, the installation of radiant heating systems has also risen.
"With newer, easy-to-install radiant heating systems, that luxury is becoming more attainable for homeowners. It's no longer just a feature you'd build into a whole-house new construction project," says author and consultant Gold.
In the 2013 Houzz & Home survey, 34 percent of respondents indicated energy efficiency was a driving factor in remodeling projects. Radiant heating in the form of in-floor warming systems contributes to energy efficiency while also adding another layer of comfort to the homeowner. Ceramic, slate, and marble tile in the bathroom offers the aesthetic appeal to the bathroom while a radiant heating system can quietly and uniformly heat the bathroom without the need for forced-air heat. Radiant-heated floors continue to radiate heat even after the system has been turned off.
Radiant heat is available in three forms: air-heated radiant, water-heated radiant, and electric-heated radiant. Electric-radiant heating is typically used to heat a bathroom because it is the easiest system to install and requires little maintenance when heating a smaller space.
The family bathroom is one of the few rooms in a home that can meet the different needs of multiple generations, therefore the design of a family bathroom must be diverse as well as practical. It must be useful for people of all ages, abilities, and sizes.
One aspect of multigenerational bathroom design has been the introduction of curbless or zero-threshold shower stalls with a channel drain, according to members of the Milwaukee chapter of NARI.
"The initial investment is larger, but in the future, as family members get older, they may have trouble getting in and out of a traditional shower and at some point, if they need to use a wheelchair, this type of shower would allow for easy access," says Gordon Caesar, president, Bath and Kitchen Specialists Inc., Brookfield, Wis.
Other multigenerational design options include replacing lower toilets and sinks with a taller option that requires less stooping or bending; larger 32-inch doorframes in the bathroom as well as other rooms within the home to ensure there is enough clearance for a wheelchair; and space underneath the sink to allow for a wheelchair to roll right up to the wash basin.
"We work with a lot of aging-in-place homeowners who choose to remodel their bathrooms for more functionality and easier use as they age and their capabilities to use the existing bathing and toileting rooms change. Most of the bathrooms we remodel are barrier free designs and will include and/or plan for installation of grab bars in the future or for the project," says Joseph Irons, president, Irons Brothers Construction, Shoreline, Wash.
Because the bathroom continues to evolve as a personal space designed to ensure maximum relaxation and comfort, high-quality faucets must be timeless, stylish, and practical.
Single-lever faucets specifically designed in an arc manner and combined with stain-free materials such as chrome have proven popular throughout the U.S; however, the finish may differ depending on geography. According to the NAHB Research Center, chrome is most popular in the Northeast, while polished nickel is often most specified in the Southeast and Mountain regions.
The overall style of the home also dictates faucet style as well; for example, in a contemporary space, the faucets should be clean and simple. Streamlined contemporary sinks built into eco-friendly natural cabinets mesh well with high-quality fixtures.
"Our clients have been requesting better faucets for both their bathroom and kitchen projects. They like both the look, feel, and efficiency of the better-made faucets and they are willing to pay for the better-quality items that will last longer," says Cathy Doucet, interior designer, Doucet Remodeling & Design, Stoneham, Mass.
Varying shades of blue, green, gray, and purple continue to be popular colors due to their calming nature. Vibrant colors should be used in smaller amounts as accents to complement a room's dominant color as well as in light fixtures and backsplash tiles, for example.
"Grays, whites, black, and charcoal greens have been trending as the neutrals an entire space may be designed in. It's much easier to then add in the pop of color for focus, and less expensive to change it out later when the trend or desire for that specific color has faded," says Neil Kelly Co.'s Atkin.
Bolder colors as the focal point of a bathroom is considered a risk because of the cost associated with changing these colors if it filters down beyond the walls into countertops or fixtures.
For smaller bathrooms, freestanding vanities with furniture styling continue to be admired by homeowners. Some standalone vanities can provide a great deal of storage while creating a spacious feel surrounding the vanity.
"In the most recent bathroom renovations, we have found homeowners are still looking for the most storage. Most homeowners want a more spacious and inviting space, creating their own 'spa' regardless of the size of the room," says Doucet.
Hovering or cantilevered vanities have also seen an increase of interest lately.
"Because they are open underneath the countertop, you can tile the floor up to the wall, adding to the continuity of the bathroom's appearance, says Jake Ruiz, owner, Quality Remodeling Specialists Inc., Pewaukee, Wis.
Designing a bathroom that uses the same natural stone and custom tile for the walls, floors, and corners is one trend contributing to the open design of a bathroom, according to members of the Milwaukee chapter of NARI.
"Today, an emerging trend is to have the layout of the bathroom be as open as possible, says Quality Remodeling Specialists' Ruiz. "Rather than the shower being a closed-off space in the corner, walls and floors are often designed using the same tile. This style makes the bathroom feel like one continuous space and not compartmentalized."
From opulent to sophisticated, and matte finish to highly polished, the broad array of natural stone and custom tile options provide high performance and durable surface with an endless number of style options. PR
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Judy Garland, Frank Morgan, Ray Bolger, Bert Lahr, Jack Haley, Billie Burke, Margaret Hamilton, Charley Grapewin, Pat Walshe, Clara Blandick
L. Frank Baum (novel, "The Wonderful Wizard of Oz"), Noel Langley, Florence Ryerson, Edgar Allan Woolf
The Greatest Picture in the History of Entertainment.
We click our heels in anticipation. There's no place like home and no movie like this one. From generation to generation, The Wizard Of Oz brings us together - kids, grown-ups, families, friends. The dazzling land of Oz, a dream-come-true world of enchanted forests, dancing scarecrows and singing lions, wraps us in its magic with one great song-filled adventure after another. Based on L. Frank Baum's treasured book series, The Wizard Of Oz was judged the best family film of all time by the American Film Institute. And this never-before-seen restoration looks and sounds better than ever. We invite you to embark for the Emerald City on the most famous road in movie history. Dorothy (Judy Garland), Scarecrow (Ray Bolger), Tin Woodman (Jack Haley) and Cowardly Lion (Bert Lahr) await you on the "Yellow Brick Road" and "Over The Rainbow".
$2.7 million.
Fullscreen 1.33:1
English Dolby TrueHD 5.1
English Dolby Digital 5.1
English Monaural
French Monaural
Spanish Monaural
German Monaural
Italian Monaural
Portuguese Monaural
• Audio Commentary with Historian John Fricke and Archival Interviews Of the Film's Cast and Crew
• Music-and-Effects-Only Audio Track
• Sing-Along Feature
• "The Wonderful Wizard Of Oz: The Making Of A Movie Classic" Documentary
• "The Wonderful Wizard of Oz" Storybook
• "Prettier Than Ever: The Restoration of Oz" Featurette
• "We Haven't Really Met Properly…" Supporting Cast Profile Gallery
• "Memories of Oz" Featurette
• "The Art of Imagination: A Tribute to Oz" Featurette
• "Because of the Wonderful Things It Does: The Legacy of Oz" Featurette
• Harold Arlen's Home Movies
• Outtakes and Deleted Scenes
• Tornado Tests
• "From the Vault" Archival Clips
• Audio Vault
• Stills Gallery
• Theatrical Trailer Gallery
• "Off to See the Wizard" Animated Clips
• "Victor Fleming: Master Craftsman" Documentary
• "L. Frank Baum: The Man Behind the Curtain" Documentary
• "Hollywood Celebrates Its Biggest Little Stars!" Featurette
• The Dreamer of Oz TV Movie
• 1910 The Wizard of Oz Silent Film
• 1914 The Magical Cloak of Oz Silent Film
• 1914 His Majesty, The Scarecrow of Oz Silent Film
• 1914 The Patchwork Girl of Oz Silent Film
• 1933 The Wizard of Oz Cartoon
Disc Three:
• MGM: When the Lion Roars Documentary
Disc Four:
• Digital Copy
• Limited Edition 70th Anniversary Watch
• Original 1939 Campaign Book Reproduction
• Behind the Curtain of Production 1030 52-Page Commemorative Book
• Replica of the Original Movie Budget
The Wizard Of Oz [Blu-Ray] (1939)
The Wizard of Oz may well be the most "critic-proof" film of all-time, but that wouldn't stop me if I had something negative to say. However, I don't, as this was a thoroughly delightful movie that has barely aged a day since 1939.
Like many of you, I used to watch Oz every spring when it made its annual reappearance on CBS. Happily, it's just as much fun - and maybe more so - than I remembered; this is a completely wonderful little film.
Although Oz is regarded as a children's film, I think that designation restricts it far too much. My childhood days are a distant memory but I thoroughly enjoyed it, and I'm not one to suffer through junk due to nostalgia, as I've discovered through recent viewings of other favorites of my youth. Oz certainly delights kids, but it works equally well for adults, largely due to the extreme charm of its performers.
Judy Garland may have been a little old for Dorothy as written in L. Frank Baum's book, but she really seems to be the perfect age for the character. After all, it makes more sense for this young woman to experience feelings of disconnection and rebellion than for a nine-year-old kid to go through that. Garland plays the part in a somewhat childish way but doesn't attempt to make Dorothy a little kid and the character seems richer for that emphasis.
The supporting cast really shines. I'd like to choose a favorite from the Scarecrow (Ray Bolger), the Tin Woodman (Jack Haley) and the Cowardly Lion (Bert Lahr), but I can't; each actor is so perfect that none of them can surpass the others. Add to that Margaret Hamilton's delightfully scary turn as the Wicked Witch of the West and you have one of the all-time great supporting casts.
The film's make-up artists deserve equal billing, however, as their work so thoroughly brings out these characters. Even 70 years later, I can't imagine that modern make-up and effects could seem more rich and well-integrated. All of these characters were done up in their definitive appearances, and that's not just because we're so used to them that way. I really could not discern any flaws that should have been corrected.
Also, the effects for Oz seem shockingly strong for such an old film. Obviously newer work could add much more pizazz, but I still really bought into all the magic and fantasy. It helped that a surprising number of effects happened in camera; I expected many more cutaways, which would make it easier to fake things. Instead, we see quite a lot occur right before our eyes, and that helps make the whole experience more convincing.
In all of Hollywood history, no one has experienced a year like 1939 went for director Victor Fleming. Me, I'd be happy with one classic under my belt, but that guy also helmed Gone With the Wind, the eventual winner for Best Picture. Between the enormous box office success of Jurassic Park and the critical acclaim of Schindler's List, Steven Spielberg had a great 1993. Also, Francis Coppola's 1974 was pretty strong with The Godfather Part II and The Conversation. However, neither approached Fleming's 1939. He directed two of the most-beloved pictures ever that year, both of which appear within the top ten on the AFI "100 Greatest American Movies" list.
None of which would matter if the film really wasn't that good. However, the AFI picked The Wizard Of Oz as the best children's movie of all-time for a good reason. It's a terrific piece of work that remains as entertaining now as it did 70 years ago.
The Blu-ray Grades: Picture B+/ Audio B/ Bonus A+
The Wizard of Oz appears in an aspect ratio of 1.33:1 on this Blu-ray Disc. While not too many problems appeared in this transfer, it didn't quite achieve the splendor one might expect.
The film's first 20 and final three minutes were shot in sepiatone, whereas the remainder of the movie was filmed in Technicolor. Overall, the sepiatone scenes looked good, as they displayed positive sharpness and solid dark levels. Grain seemed a little heavy at times, but I believe this emanated from the source material. I noticed a couple of specks and one pesky hair during the movie's conclusion; otherwise those segments were clean.
The color segments showed improvements but suffered from some concerns of their own. The main problem stemmed from sharpness. Close-ups looked nice, and many wider shots seemed fine as well. However, more than a few of the latter appeared moderately fuzzy and lacked great definition. Jagged edges and shimmering created no concerns, and I noticed no edge enhancement. Print flaws seemed absent for the most part; I saw maybe one or two specks and that was it.
Colors were excellent. The tones came across as quite lively and dynamic throughout the film. This was the kind of flick that could show off the Technicolor, and the transfer did so. Blacks were quite dense, while shadows appeared visible and clear. If not for the softness, this would have been an "A" level image.
The Wizard Of Oz has been remixed into a Dolby TrueHD 5.1 soundtrack. In terms of soundfield, the new track didn't tamper terribly with the basic elements. The sound still stuck pretty closely to the center channel for the most part. Mainly it used the sides and rears for music, though some effects spread out as well. Check out the tornado sequences for some of the most prominent examples of that usage.
While the extra channels served the effects acceptably well – and even tossed out some stereo material in the rear – the music seemed less successful. This wasn't a real stereo mix for the score and songs. The track faked it in some ways but usually stayed with broad mono. This worked okay in that it wasn't a distraction, but I can't say it added anything to the experience; it simply spread the elements across the channels.
Quality seemed good for its era. Dialogue lacked tremendous clarity but was reasonably distinctive and concise. I noticed no edginess and found the speech to seem consistently intelligible. Effects showed pretty good definition, while bass response complemented things well; a few of the louder scenes offered nice low-end.
Music showed the track's age the most clearly but remained acceptable. Some of the songs were noticeably tinny, and there wasn't a lot of range to the score and tunes. Still, this was to be expected of material recorded in 1939, and I thought these elements came across fine for their age. I couldn't rave about this remix, but it acted as a fairly natural extension of the original monaural material.
Speaking of which, this disc included that original mono mix. Unfortunately, I didn't get the impression anyone put much effort into its restoration. I thought the mono track was more brittle and less full than the 5.1 mix, and it also demonstrated a lot of noise. Usually I prefer original audio to remixes, as they often come across as more accurate and natural. That wasn't the case here. I'm not wild about the broadened soundfield of the 5.1 track, but it presented superior sound so it's the one to pick.
How did the picture and audio quality of this Blu-ray compare to those of the 2005 CE DVD? Audio was essentially a wash, and that didn't surprise me. Lossless 1939 audio is still 1939 audio; it's not like compression did much to rob it of its natural splendor. The sound was fine given its age, but I didn't think the TrueHD mix was any better than the DD one.
As for visuals, they showed moderate improvements solely due to the higher resolution of Blu-ray. Conversely, though, the format's greater potential made flaws more apparent, especially in terms of sharpness. The DVD got away with more softness because it lacked the crisp potential of Blu-ray. Still, the Blu-ray did look noticeably better than the DVD; just don't expect a breathtaking revelation.
The Blu-ray includes the same disc-based extras along with some new components. I'll mark Blu-ray exclusives with blue print.
On Disc One, we open with an audio commentary. This combines a running, screen-specific chat from film historian John Fricke along with many archival clips. In that category, we get notes from actors Jack Haley, Ray Bolger, Buddy Ebsen, Margaret Hamilton and Jerry Maren, producer Mervyn LeRoy, makeup artist William Tuttle, assistant/extra Dona Massin, Barbara Freed-Saltman (daughter of associate producer Arthur Freed), John and Jane Lahr (kids of actor Bert Lahr), and Hamilton Meserve (Margaret Hamilton's son).
Fricke dominates the chat. He covers pretty much everything you would want to know. Fricke talks about the adaptation of the story and contrasts the movie with the original book and other versions, casting and concerns in that area, the problems confronted by the actors, makeup and costumes, sets and visual design, songs and music, issues related to the directors, and many production notes. Fricke clearly knows his stuff, and he makes sure we get a fine education in all things Oz.
The archival interviews sprinkle between Fricke's comments well. They let us know some behind the scenes elements and provide quite a few fun stories. Hamilton proves especially entertaining as she chats about her casting. All of this adds up to a terrific little commentary.
For another alternate audio experience, we can check out Oz with a music-and-effects track. It should come as no surprise that this eliminates the dialogue to leave solely score, songs, and effects. It presents these with monaural audio and offers an intriguing way to examine Oz.
Let loose your Karaoke side via a Sing-Along Track. This simply takes the movie's standard audio and plops some lyrics on screen. The words light up at the right time to help us croon along with them. I have no use for this feature, but maybe someone will like it.
Continuing on Disc One, we find The Wonderful Wizard of Oz Storybook. In this charming 10-minute and 22-second feature, Angela Lansbury reads parts of the original L. Frank Baum book while we look at its illustrations. It offers a nice way to check out the story.
For a look at the film's transfer, we head to the 11-minute and 23-second Prettier Than Ever: The Restoration of Oz. It offers a glimpse of the various processes along with comments from technical operations VP Rob Hummell, mastering VP Ned Price, lead technical director Paul Klamer, digital restoration operators Cathy Quiroz, Steven G. Banks and Sheila MacMullan, digital restoration supervisor Steve Sanchez and telecine colorist Janet Wilson. These sorts of programs always tend to be self-congratulatory, and that occurs here as well. However, we get some good notes on the various challenges, so check this out if you're curious about what it took to restore Oz.
In We Haven't Really Met Properly…, we get information about the movie's primary supporting players. Taken via the "Play All" option, these last 21 minutes and 15 seconds. We learn more about actors Frank Morgan, Ray Bolger, Bert Lahr, Jack Haley, Billie Burke, Margaret Hamilton, Charley Grapewin, Clara Blandick and Terry the dog. With nine participants packed into 21 minutes, we don't get a lot of detail, but these snippets offer a decent overview of the various performers' careers.
Next we head to The Wonderful Wizard Of Oz: The Making of a Movie Classic. Produced by Jack Haley Jr., this 50-minute and 45-second program is hosted by Angela Lansbury and provides a very nice look at the project. The piece combines early 1990s interviews with older clips. We hear from Oz actors Judy Garland, Ray Bolger, Jack Haley, Margaret Hamilton, Jerry Maren, and Meinhardt Raabe plus director King Vidor, special effects supervisor Arnold Gillespie, producer Mervyn LeRoy, and composers Harold Arlen and EY Harburg. We also hear from actor Robert Young, Garland's kids Liza Minelli, Lorna Luft and Joey Luft, author's grandson Robert A. Baum, and actor's son John Lahr.
The program looks at the novel's path to production, casting, the background of author L. Frank Baum and his Oz books, its adaptation and the script, the score and songs, directors, the exploits of the Munchkins, special effects, costumes, makeup and the rigors of the shoot, publicity, the film's reception and awards, and its legacy. Though "Classic" definitely advocates the notion that Oz is a legend, it doesn't make out the project to have been a rosy experience. Early on Jack Haley tells how everyone thinks it must have been delightful to make the flick and responds "like hell it was fun!" We learn many negatives attached to the shoot in this solid overview. It's an excellent and entertaining overview of the film's creation and its legacy.
A 2001 Turner Classic Movies program called Memories of Oz runs 27 minutes and 35 seconds. It offers remarks from Jane Lahr, Raabe, Massin, Maren, actors Mickey Carroll, Karl Slover, Margaret Pellegrini, Clarence Swenson, Ruth Duccini and Buddy Ebsen, filmmaker John Waters, Oz collector Willard Carroll, The Munchkins of Oz author Stephen Cox, and "Oz-ocologist" Woolsey Ackerman. The show compares the book and movie, its themes and era, notes from the production such as sets and choreography, the performers and relationships, costumes and makeup, merchandising, the reuse of Oz materials in other films, and its legacy.
Some of the material in "Memories" also appears elsewhere, but we get plenty of fresh information. The show particularly emphasizes the Munchkins, so that adds a new perspective. I also like the notes about merchandizing and the glimpses of Oz props and costumes in other flicks. This turns into a useful little program.
After this we get the 29-minute and 40-second The Art of Imagination: A Tribute to Oz. Narrated by Sydney Pollack, this piece includes statements from filmmakers Peter Jackson, Rob Bowman, Martha Coolidge and Nicholas Meyer, composers Howard Shore, Don Davis and Randy Newman, actors Sean Astin, character effects designers Tom Woodruff Jr. and Alec Gillis, cinematographers John Hora and Allen Daviau, composer/lyricist Richard M. Sherman, entertainer Michael Feinstein, costume designers Colleen Atwood and Albert Wolsky, production designer Henry Bumstead, editors Joel Cox and Anne V. Coates, production designers Kevin Conran, Corey Hope Kaplan and Gene Allen, makeup effects artist Rick Baker, and visual effects designers Harrison Ellenshaw and John Dykstra.
"Tribute" looks at MGM in the Thirties, the movie's score/songs and their performances, the film's visual design including sets, makeup and costumes, visual effects, the use and complications of Technicolor, and impressions of the movie. Programs that consist of appreciation from filmmakers not involved with the flick in question often turn into little more than praisefests. Some of that occurs during "Tribute", but there's enough insight on display to make it worthwhile. "Tribute" gets into the music and production design quite well; it digs into them much better than anywhere else in this package. Those elements make this a good show.
Because of the Wonderful Things It Does: The Legacy of Oz lasts 25 minutes. Hosted by Brittany Murphy, it presents notes from Fricke, Jane and John Lahr, Willard Carroll, Raabe, Pellegrini, Swensen, USC film professor Drew Casper, Books of Wonder owner Peter Glassman, cartoonist, Oz illustrator and author Eric Shanower, Jim Henson Company co-CEO Lisa Henson, theatre historian Mark Evan Swartz, transpersonal psychotherapist/Baum's granddaughter Gita Dorothy Morena, and Oz impressionists Kurt S. Raymond and Elaine Horn.
As implied by the title, "Legacy" looks at Oz's afterlife. It discusses the movie's TV airings, reissues of the books and spin-off efforts, influences on other works, interpretations of the story, Oz collectors and various efforts of fans, and the movie's continued presence in pop culture. "Legacy" offers a decent overview of the flick's life after its theatrical release. Some of these are pretty freaky – those impressionists just ain't right – but it provides a reasonably interesting view of how the film's persisted for all these years. Don't expect great societal interpretation, but you'll get a fair synopsis of different topics.
For some behind the scenes materials, we head to *Harold Arlen's Home Movies is exactly that: color shots taken by the songwriter on the set. We get four minutes and 38 seconds of this very cool film.
We continue with Outtakes and Deleted Scenes. The first of these is an extended version of the Scarecrow's "If I Only Had A Brain". Significant portions of his dance routine were cut and they're restored here. The result is a lengthy (four minutes, 40 seconds) but entertaining number. I was pleasantly surprised by the quality of the material; it integrates nicely with the original footage.
An alternate version of "If I Only Had A Heart" appears as well, this time performed by Buddy Ebsen. He had originally been cast as the Tin Woodman but had to drop out after getting ill from the make-up. This 80-second segment offers production shots of Ebsen as the TW accompanied by audio of his version of the song. It's an interesting look at an Oz that could've been.
A similar piece occurs in "Triumphant Return to the Emerald City". Like the "Heart" clip, we find audio of a song - a reprise of "Ding! Dong! The Witch Is Dead!" - plus production stills. This part goes for two minutes and is also quite fascinating.
One more time! "Over the Rainbow" uses the same synthesis of audio and production photos to show us a reprise of the classic song. This was to take place as Dorothy is imprisoned in the Witch's tower, and I have to say that it offers an amazing performance from Garland. If she's not really crying, it sure sounds like she is; her rendition is absolutely heart breaking, and a cold, nasty sucker like me doesn't usually feel that way. Maybe it wouldn't have worked so well with the image, but as it stands, I think they should have kept it in the film, though it might have been so upsetting that it could have too greatly disrupted the tone of the movie.
The final deleted scene shows the legendary "Jitterbug". Even Oz know-littles like myself had heard about this; it's a complete dance number cut from the film. This segment uses the usual audio/production picture method, though it also includes some cool home movies from songwriter Harold Arlen that show the rehearsals.
After this we find eight minutes and 14 seconds of Tornado Tests. These let us see stabs at creating a twister, and they're interesting to view as they offer a nice look at the era's visual effects. We get eight clips from Off to See the Wizard. Apparently this was an ABC TV show in 1967 that presented some old MGM family-oriented films. In addition, some cartoons were animated by Chuck Jones to come before commercials or to announce the next week's program. Eight of these appear; we get four "back to the show" entries, each of which last 30 seconds, and four "next week" clips, each of which run 20 seconds. This was another entertaining part of the DVD. (Keep an ear out to hear Mel Blanc in the mix, by the way.)
Under the banner From the Vault, we locate three elements. "Excerpts from the Texas Contest Winners 'Trailer'" shows a newsreel-esque clip of some folks from - duh! - Texas who were allowed to check out the filming; the 90-second piece is a fun little glimpse at the past. We also get the "Another Romance of Celluloid' Short", a 10-minute and 28-second clip that was used to show how electrical power was used in movies. The excerpt in question shows some behind the scenes shots of some Oz sets. It's a neat piece of history.
Lastly we find "'Cavalcade of Academy Awards' Excerpt" offers a brief look at that newsreel-style program. We see about two minutes and 20 seconds of the piece, most of which shows the presentation of Garland's special Oscar.
A number of different elements appear in the "Audio Vault". In the Jukebox, a ton of alternate takes of songs and other music-related piece can be found; all in all, there's more than four hours and 45 minutes of audio in the "Jukebox". Some of this is fun for more casual fans - I particularly enjoyed the clips of Munchkin vocals that hadn't yet been altered - but most of it will most likely appeal mainly to die-hard Oz fans. The variations tend to be pretty small for the most part, so you have to be very well acquainted with the film to notice the differences. Still, it's a great addition and one sure to be fascinating to some.
Leo Is On the Air offers a 12-minute program that essentially acts as a long radio ad. It's a promotional piece and nothing more, but it's funny how interesting old bits like this are; it's cool to check out the advertising techniques of old-time Hollywood.
Another audio program called Good News of 1939 appears. This hour-long radio show is part of a running series from the period and it's a comedy/variety program hosted by Robert Young. We hear many of the main cast members - Garland, Bolger, Morgan and Lahr - perform songs and routines, and we also find pieces like Fanny Brice's "Baby Snooks" bit. It's kind of an odd little show, but it's fun to have as a historical piece.
The "Vault" ends with a 12/25/1950 Lux Radio Theater Broadcast. In this hour-long piece, we get a recreation of Oz. It features Garland and no other original cast members. The movie doesn't translate well to radio, mainly because it was such a visual flick; here Garland has to describe much of what we see in the film. She also oversings "Over the Rainbow" something fierce and kills the original rendition's lovely simplicity. The radio show is cool to hear for historical purposes but it doesn't work well on its own.
As we move to the "Stills Galleries", we get many more components. One note before I detail them: many of these sections include brief text discussions of the material. I found these helpful as they explained what it was we were about to see. The tone could even get a little catty at times, such as when an early look for Dorothy referred to her as "Lolita Gale".
Oz on Broadway includes 17 shots related to that old production, while Pre-MGM offers 17 screens of book art and photos from pre-1939 films. *Sketches and Storyboards presents 14 screens of information, with some concept drawings and basic storyboards. *Costumes and Makeup Tests gives us 54 screens that entertainingly depict the evolution of the characters' appearances. (That's also the section that provides the majority of the snotty comments I described earlier.) Richard Thorpe's Oz provides 32 photos of scenes from that director's early stabs at the production, while Buddy Ebsen has eight shots of that eventually-replaced actor as the Tin Man.
The 273 photos of Oz Comes to Life follow the characters on the Yellow Brick Road and in Oz along with some other components. Behind the Scenes provides seven simple candid shots of the participants. *Portraits gives us 73 frames of publicity stills; I really enjoyed all of these, even the unretouched photo of Garland, which offers a neat look at a little studio trickery. *Special Effects gives us 29 screens of materials that relate to the effects; these are mainly documents that discuss the effects and different aspects of them, and were the least interesting aspect of this area. *Post Production Stills gives 10 more frames of work on the movie after shooting completed.
Deleted Scenes looks at 18 shots from cut sequences. The section goes ahead with 32 Original Publicity shots, 14 photos from the movie's New York premiere, 11 pictures from its *Hollywood premiere, nine from the 1940 Oscars ceremony, and 11 posters from foreign countries in Oz Abroad. Finally, Oz Revivals includes seven advertising and merchandise shots.
Disc One ends with six different theatrical trailers. We find a teaser called "What Is Oz?" which was apparently used prior to the 1939 Hollywood engagement of the film, and it's a trippy little piece. The 1940 "Loew's Cairo Theater Trailer" was used to promote some new Egyptian theaters and shows some unused bits of Oz.
Next come two ads from 1949. The first is a fairly traditional preview, but the second is much more unusual; it was aimed at the adult audience and tries - in many odd ways - to attract an older crowd. A "Children's Matinee" trailer from 1970 appears - which is as patronizing and condescending as the "adult" clip is odd - as does another reissue preview from 1998. One odd thing about it: it's been letterboxed, which crops part of the original theatrical image! I don't know if that's how it played during the reissue, though a listing on IMDB indicates that this seems to have been the case. How odd! (And am I the only one who finds this piece's barrage of reminders that everything's been "digitally remastered" amusing? Companies love to use those buzzwords to tell us how terrific the new version must be, although the process doesn't necessarily connote improvement.)
As we move to Disc Two, we find elements that take a look at the creators of Oz and other versions of the story. These open with L. Frank Baum: The Man Behind the Curtain. In this 27-minute and 35-second program, we learn about the author via archival materials and interviews. The latter include notes from Fricke, great-granddaughter Gita Morena, great-grandson Robert A. Baum, Annotated Wizard of Oz author Michael Patrick Hearn, Bancroft Library deputy director Peter Hanff, Hotel Del Coronado Director of Heritage Programs Christine Donovan, and theater historian David Maxine.
As implied by the title, the program digs into the life and career of author Baum. It tells us of his childhood and marriage, his movement into writing, the creation of Oz and its sequels, and his many endeavors after its arrival. The show digs into his life well and offers a nice overview of his work. The piece goes by a little too quickly but it offers a solid synopsis.
Victor Fleming: Master Craftsman runs 34 minutes, eight seconds as it looks at the film's director. It features comments from filmmaker William Friedkin and Francis Lawrence, critic/film historian Leonard Maltin, Victor Fleming: An American Movie Master author Michael Sragow, author/film historian Rudy Behlmer, Bombshell: The Life and Death of Jean Harlow author David Stenn, director's son William Wellman, Jr., and actor Gene Reynolds. "Craftsman" provides a pretty standard bio of the filmmaker, as it looks at his life and film career. It gives us a reasonably concise overview of its subject matter and allows us to learn more about the legendary director.
We focus on the tiny actors via Hollywood Celebrates It Biggest Little Stars!. It goes for 10 minutes, 23 seconds as it concentrates on an event to celebrate the performers who played Munchkins. We hear from L. Frank Baum's great-grandchildren Robert and Claire, Hollywood star petitioner Ted Bulthaup, and actors Margaret Pellegrini, Meinhardt Raabe, Karl Slover, Jerry Maren, Clarence Swensen and Mickey Carrol. We don't learn much here, but it's a nice little tribute for the Munchkin performers.
A 1990 TV movie called The Dreamer of Oz lasts one hour, 32 minutes and 48 seconds. John Ritter plays Baum in a tale that looks at the author's life. It starts at the 1939 premiere of Oz; a reporter corners Baum's widow Maud (Annette O'Toole) and lets her tell his story in flashback. It emphasizes alleged roots of many aspects of Oz.
How accurate is the biography offered here? I don't know, but it's a reasonably entertaining account, at least. The videotaped project looks awful – did this come from someone's old VHS copy? – and it's somewhat schmaltzy, but it's acceptably enjoyable.
The rest of the disc examines cinematic takes on Oz prior to 1939. We get five silent versions: The Wonderful Wizard of Oz (1910 - 13 minutes, 15 seconds), The Magic Cloak of Oz (1914 - 43:15), The Patchwork Girl of Oz (1914 - 50:43), His Majesty, The Scarecrow of Oz (1914) (59:03), and The Wizard of Oz (1925 - 1:11:47). We also get a cartoon The Wizard of Oz from 1933 (8:13).
The 1910 take is pretty terrible but worth a look since it was the first screen representation of Oz. Cloak isn't much better, but at least it gives us a story other than Wizard, which makes it of interest. Oddly, I don't think the tale on which it's based was part of the "Oz" line; from what I read, this was a fantasy piece Baum wrote separate from the "Oz" universe. I guess they added "Oz" to the title for commercial reasons.
Scarecrow follows along similar lines. It also isn't good, and it makes little sense. Of historic interest: the credits indicate that L. Frank Baum wrote and directed this one. Patchwork doesn't halt this parade of silliness either. Like the others, it's cool to have for historical purposes, but it comes almost totally free from entertainment value.
If nothing else, the 1925 Wizard offers by far the most professional of the silent efforts. It also gives us a look at Oliver Hardy without Stan Laurel; Hardy plays a farmhand and the Tinman. Other than it values in a historical manner, though, this thing's a dud. It takes the story into lame tangents and mostly presents lame slapstick. It's not a good movie.
Finally, the cartoon version of Oz also can't be called a good piece of work. However, it's the most entertaining of the bunch, even though it takes its own weird liberties. The Lion is nowhere to be found, and the Wizard possesses real magical powers. Much of the action concentrates on his tricks and ends with a bizarre segment that involves a giant egg. This one has historical value beyond curiosity: it used the conceit of Kansas in black and white and Oz in color.
Over on Disc Three – a standard DVD, by the way – we get a three-part film that looks at the history of MGM. 1992's MGM: When the Lion Roars runs six hours, five minutes and 36 seconds. Hosted by Patrick Stewart, it includes interviews with story editor Samuel Marx, production manager Joe Cohn, directors Clarence Brown, Stanley Donen, Vincente Minnelli, George Cukor, William Hannah, Joe Barbera, John Huston, Richard Brooks and King Vidor, editor Margaret Booth, makeup supervisor William Tuttle, scenic artist George Gibson, screenwriter/studio head Dore Schary, contract dancers Dorothy Raye and Dorothy Tuttle, publicist Jim Mahoney, Senior VP – Administration Roger Mayer, Variety editorial supervisor Roger Bart, former MGM/UA owner Ted Turner, and actors Lew Ayres, Freddie Bartholomew, Jackie Cooper, Helen Hayes, Maureen O'Sullivan, Eleanor Boardman, Lillian Gish, Van Johnson, Ricardo Montalban, Luise Rainer, Mickey Rooney, Roddy McDowall, Jerry Maren, June Allyson, Katharine Hepburn, Esther Williams, Cyd Charisse, George Murphy, Debbie Reynolds, Gene Kelly, Charlton Heston, Ernest Borgnine and Richard Chamberlain.
The film starts with MGM's founding in 1924 and takes us through their first hit (He Who Gets Slapped), other prominent projects, and various ups and downs that affected them. We get occasional biographical details about various actors, filmmakers and studio personnel.
That's a pretty brief description of a documentary that lasts more than six hours, and though it's accurate, it doesn't do justice to the scope of the project. A normal studio overview would run through the big-name films and barely slow down for anything other than the most legendary. By contrast, Roars allows itself to tarry, so we get a surprising amount of detail about a wide variety of movies.
Heck, the documentary doesn't even get to 1939's Oz and Gone with the Wind until its halfway point! An ordinary show would rush to reach them quickly, but this one makes sure the studio's formative years really get their due. No, Roars doesn't discuss any of them in tremendous depth, but it gives us more than normal, and it also provides a good look at behind the scenes issues at the studio. Roars is a fascinating, valuable documentary.
Like many other releases these days, Oz comes with a Digital Copy. This lets you plop the flick onto your computer or portable viewing contraption. Most people find it useless, but I'll bet someone out there digs it. I've never met that person, but he/she must exist!
While that concludes the disc-based materials, this 70th Anniversary Ultimate Collector's Edition features some other components as well. First we find Behind the Scenes of Production 1060, a 52-page hardcover "commemorative book". It includes production and promotional photos, replicas of various documents, biographies, and script pages. It offers a tasteful and classy collection of materials.
We also locate an Original 1939 Campaign Book Reproduction. It packs tons of period advertisements in one place, all of which serve "a picture that is truly a triumph for exploitation", according to the cover. Man – I had no idea publicists were so cynical even in 1939! This is a fascinating document and a great addition to the set.
On one sheet, we get a Replica of the Original Movie Budget. It's not the most amazing piece, but it's a vaguely cool slice of history.
Want to show the world your love of Oz? Slap on the UCE's Limited Edition 70th Anniversary Watch! You might expect a cheap digital POS here, but the watch is actually a pretty decent analog affair. I probably won't ever wear it, but I think it's a quality piece.
Does this set lose anything from the 2005 CE? Yes, but not much. All of the disc-based components reappear. We do fail to get some paper materials. The 2005 CE had a "1939 Kodachrome Portfolio" and a 1939 Promotional Portfolio. Both were pretty cool, so it's too bad they don't reappear here. The new paper pieces help compensate, however.
Even as a bitter, hateful adult, I continue to find The Wizard of Oz enchanting and delightful. Oz has endured over all these years for a reason: it's a completely fantastic movie. The 70th Anniversary Ultimate Collector's Edition gives it the royal treatment. Both picture and sound seem very good, and the collection of supplemental features is absolutely terrific.
With a list price of almost $85, the Oz Blu-ray doesn't come cheap. I think big-time fans of the film will want to shell out for it, but those with less intense interest may want to wait for the inevitable Less Super-Duper Edition. If you're willing to drop some serious coin, though, I think you'll be happy with this package.
To rate this film visit the Collector's Edition review of THE WIZARD OF OZ

redpajama_set_name: RedPajamaCommonCrawl


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2020 Movies Archive
Attack (2020) Movie Released Date, Cast
dvarininkas September 14, 2020 Bollywood Movies, Up Coming Movies No Comments
Attack is an upcoming 2020 Indian Hindi-language action thriller film directed by Lakshman Raj Anand, produced by Dheeraj Wadhavan, Ajay Kapoor and John Abraham under the banner of Wadhavan and Kapoor and JA Entertainment's JA Entertainment. The
Bhuj: The Pride of India (2020) Movie Released Date, Cast
Bhuj: The Pride of India is an upcoming Indian Hindi-language war action film based on historical true events directed, co-produced and written by Abhishek Dudhaiya. Read: Bhool Bhulaiyaa 2 (2020) Movie Released Date, Cast Set during the
Prithviraj (2020) Movie Released Date, Cast
dvarininkas August 31, 2020 Bollywood Movies, Up Coming Movies No Comments
Prithviraj is an upcoming 2020 Indian Hindi-language historical period drama film, directed by Chandraprakash Dwivedi and produced by Aditya Chopra under his production house Yash Raj Films. It is about the life of King Prithviraj Chauhan and
Satyameva Jayate 2 (2020) Movie Released Date, Cast
Satyamev Jayate 2 is an upcoming 2020 Indian Hindi-language action film directed by Milap Javeri and produced by Bhushan Kumar and Nikhil Advani under their respective banners T-Series and Emmy Entertainment. Starring John Abraham and Divya Khosla
Toofan (2020) Movie Released Date, Cast
Toofan is an Indian Hindi language sports film. The film is directed by Rakesh Omprakash Mehra and produced by Ritesh Siddhwani, Farhan Akhtar, Rakesh Omprakash Mehra, P.S. Bharati, Rajiv Tandon. The film will be released on October
Haseen Dillruba (2020) Movie Released Date, Cast
Haseen Dilruba (English: Beautiful Lover) is an upcoming Indian Hindi Movie mystery thriller film directed by Binil Mathew and produced under the banner of Color Yellow Productions by Anand L. Rai and Himanshu Sharma. The film stars
Sadak 2 (2020) Movie Released Date, Cast
Sadak 2 is an upcoming Indian film directed by Mahesh Bhatt and produced by Mukesh Bhatt under his banner Vishesh Films. The film is a sequel to the 1991 film Road. The sequel stars Sanjay Dutt, Pooja
Khuda Haafiz (2020) Movie Released Date, Cast
Khuda Haafiz is an upcoming Indian film. The film is directed by Farooq Kabir and produced by Kumar Mangat Pathak and Abhishek Pathak. The film stars Bidyut Jamwal and Shibaleka Oberoi in the lead roles. The film
Honest Thief (2020) Movie Released Date, Cast
dvarininkas August 26, 2020 Hollywood Movies, Up Coming Movies No Comments
Honest Thief is a 2020 action movie. Produced by Mark Williams, written by Williams Steve Alrich. The film stars Liam Neeson, Kate Walsh, Robert Patrick, Anthony Ramos, Jeffrey Donovan and Jay Courtney. The movie "Honest Thief" is
Secret Society of Second-Born Royals (2020) Movie Released Date, Cast
The secret club of the second-born royals (original title: Secret Society of Second-Born Royals) is an American fantasy action film by Anna Mastro. The main roles are played by Peyton Elizabeth Lee, Skylar Astin and Élodie Yung.


I was doing podcasts before podcasts were cool--like two solid years before Serial.
SO TAKE THAT SARAH KOENIG!!!!
Over the next few weeks, I am going to be re-posting some of my old interviews so that they can be accessed by anyone who might find them useful. It's also an opportunity for me to take a stroll down memory lane.
I took a break from the podcasting thing last year for a variety of reasons, most related to the significant time commitment. To be sure, I don't miss the hours and hours spent editing and streamlining interviews. But I do miss the conversations with interesting people.
Stephen was my first interview for the Marginalia Review of Books and we discussed his book, The Last Segregated Hour: The Memphis Kneel-Ins and the Campaign for Southern Church Desegregation. We actually recorded this at the 2013 meeting of the American Academy of Religion, so it was one of the few face-to-face interviews that I did.
Here's the interview, followed by the opening paragraphs of my review of the book. I plan to add all of these to my new "Podcasts" page for easy access and cataloging.
In the introduction of The Last Segregated Hour, Stephen Haynes mentions the Walgreens in his Memphis neighborhood. In 1960, civil rights protesters were arrested there, and store managers soon removed their lunch counter instead of integrating it. Today, any memory of this store's contested history has all but faded away. In contrast, Haynes insists that longtime residents of Memphis who glance at Second Presbyterian Church (SPC) instantly recall biracial groups protesting the church's segregation policy in the mid-1960s. Similarly, many still sardonically refer to Independent Presbyterian Church (IPC) as "First Segregationist." "Clearly," the author resolves, "the moral standing of churches in this and other communities makes it difficult for people to forget, let alone excuse, what they perceive as immoral behavior on the part of church representatives."
With this comparison, Haynes vividly outlines his book's contribution to the history and historiography of civil rights. Church protests—or "kneel-ins"—were small in number across the South. But these prayerful petitions left indelible marks on the region's physical, social, and religious landscape. Alas, Haynes laments that historians have given scarce attention to this topic. His book begins to fill this gap by using the Memphis kneel-ins of 1964–1965 as a point of departure for investigating the protests and their legacy. . . .


Mosquitoes are not just pests for humans. They will pierce any living creature that has blood flowing through its body. Mosquitoes can carry a variety of diseases, including encephalitis and malaria. If you own any horses it is a good idea to coat them with a mosquito repellent, but you don't need to purchase a mosquito repellent that is full of harsh chemicals.
1- Place 16 oz. of vodka in an empty spray bottle. This is the base of your homemade horse mosquito repellent.
As an avid Arabian lover I am blessed with 2 arab geldings who make every day special. Their loving attitudes, expressive eyes and forgiving natures inspire me to constantly learn more.


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Q: not able to connect to 3307 running on mysql using terminal I have two instance of mysql running on server. i.e on port 3306 and other on 3307
I remote login to my server using ssh.
After login using sudo user when i try to connect to mysql server running on 3307, but it takes me to instance running on 3306
Commands which i tried for mysql login.
mysql --port=3307

After login in i run the below command
mysql> show variables like '%port%';

I get the below output.
+---------------------+----------------+
| Variable_name       | Value          |
+---------------------+----------------+
| extra_port          | 0              |
| innodb_support_xa   | ON             |
| large_files_support | ON             |
| port                | 3306           |
| report_host         | 192.168.XX.XXX |
| report_password     |                |
| report_port         | 3306           |
| report_user         |                |
+---------------------+----------------+
8 rows in set (0.00 sec)

Please help
EDIT
 netstat -tlnap |grep mysql

Output of above command.
tcp6       0      0 :::3306                 :::*                    LISTEN      23788/mysqld
tcp6       0      0 :::3307                 :::*                    LISTEN      28934/mysqld
tcp6       0      0 192.168.XX.XXX:3306     172.29.XXX.XXX:61548    ESTABLISHED 23788/mysqld
tcp6       0      0 192.168.XX.XXX:3306     172.29.XXX.XXX:62479    ESTABLISHED 23788/mysqld
tcp6       0      0 192.168.XX.XXX:3306     172.29.XXX.XXX:62334    ESTABLISHED 23788/mysqld
tcp6       0      0 192.168.XX.XX:3306     172.29.XXX.XXX:62390    ESTABLISHED 23788/mysqld
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News: City Loop is this Saturday at RMIT!
With five more sleeps until Soothsayer and I OH YOU join hands and transform the hallowed inner-city grounds of RMIT this Saturday for City Loop, it's time to start planning your day. We're thrilled to release the set times and the food and bev line up accompanying the inspired and forward-thinking line up featuring the likes of CC:DISCO!, Cut Copy (DJ set), Kllo, Channel Tres and many more.
What's more we're welcoming NYC brewery Brooklyn Brewery who will be serving up their much loved Brooklyn Lager, Summer and American ales. Thatchers are on the ciders, with Absolut serving up vodka and Jameson on Whiskey. Melbourne's most iconic food trucks Taco Truck and Beatbox Kitchen will be serving up their signature burgers and tacos all day.
There are still a handful of tickets available via Moshtix, so grab yours while you still can! Come get lost and found again at City Loop.
An electronic music specialist at FBi Radio, Andy Garvey is the voice of weekly radio show Pure Space + triple j's Saturday night Mix Up. With an ear finely tuned to the workings of the diverse local and international dance music community, Andy introduces some of the world's most interesting electronic acts to Australia's airwaves. Off air Andy continues to light the fire under packed club floors around Australia with her eclectic mix of carefully curated tracks having recently warmed floors for Julio Bashmore, Kornel Kovacs, Mall Grab and Cyril Hahn among others.
With a mutating style of unrelenting quality, Fester has made his mark in esteemed company, supporting Detroit monoliths Theo Parrish, Moodymann, Omar S and Kyle Hall, the Mood Hut massive and top selectors Floating Points and Ben UFO. He's welcomed with open arms across state borders, having played Inner Varnika, three years of Strawberry Fields, legendary Melbourne club The Mercat and Perth leisureplex Connections. Listen to his Red Light Radio mix here.
Channel Tres – the latest signing to GODMODE (Yaeji, Shamir) has unleashed his single and video Controller. Featured in Complex's 'Best New Artists of the Month,' Controller was named as an 'Essential New Tune,' by BBC Radio 1's Pete Tong, and has received support from Annie Mac, Toddla T, Phil Taggart, Tom Ravenscroft and Jaymz Supernova in addition to NPR. 'Controller' and follow up single 'Jet Black' feature on Channel Tres' self-titled debut EP which is out now!
DJing has always been an essential part of Cut Copy's career. Dan Whitford began his career as a hip-hop scratch DJ. The band have moved on to DJing globally as a main stage attraction on both rock and dance festivals, as well as superclubs, underground dance parties and fashion events. DJing is a source of inspiration to Whitford and Hoey, generating both song and remix ideas for the band. It is an opportunity to get close to their fans, a way to have fun, and spread fun. Cut Copy DJ sets are a mix of cutting-edge dance music and classic rock, pop and disco, all expertly mixed together. Anything goes. Dan will be spinning tunes at City Loop.
house into non-stop, well-above-boiling-point live shows. It's an 11-piece disco band performing songs you know and love, deep cuts you've never heard of and original disco, including their first ever recorded original track 'All My Love' which dropped today! Known to most metropolitan fire brigades as the high energy fire wardens of the infamous 'Dance Party: Disco Inferno' party series, this group of devoted musicians and performers have created something truly unique within the Melbourne party scene.
become a 'one to watch' in the underground scene.
First emerging in 2014, Kllo's (the project of Melbourne cousins Chloe Kaul and Simon Lam) progression culminated in the release of their heavily-celebrated debut album Backwater late last year. The record saw rave reviews globally, with their blend of R&B, UK garage, and 2-step resulting in a wave of new supporters. The duo has built a strong name for themselves both abroad – playing to sold-out crowds across North America, Europe and a recently announced debut Asian tour – and locally, having appeared at festivals such as Laneway, Splendour in The Grass and Pitch Festival. 2018 has seen the release of the Pitchfork-approved single 'Potential', a track that represents the sound of Kllo in the present.
Love Deluxe found a home for his music within the burgeoning Australian label Soothsayer, and channelled his heart, sweat and funk into his musical offerings. Written, produced and recorded by the man himself, Love Deluxe's songs are a luscious cocktail of the producer's world through rose-tinted glasses. Numbers like 'Cool Breeze Over The Mountains' and the title track float through space and time with a hypnotising blend of funk and disco, while'Spice of Life' is at its core is a sauntering poolside anthem with its shimmering saxophones and sweaty guitar licks. After seeing a packed out dust pit at this year's Sugar Mountain, just try and stand still during one of Love Deluxe's sets!
Mildlife take the musical canvas, rip the lids off the paint tins, and throw vibrant slashes of colour into kaleidoscopic jams. The four-piece bonded over the desire to push musical boundaries on record, and developed a tight live shows bolstered by wild improvisation. The bands debut Phase, released earlier this year, mines jazz, psych and disco for its irresistible groove. The album has been praised by the likes of Gilles Peterson, Mount Kimbie and The Guardian, whilst receiving various accolades from radio stations around the world. Listen to 'The Magnificent Moon' here.
Miss Blanks has quickly established herself as one of the most important new voices among the Australian music landscape. With fire music, hot style, and a stage presence like no other, she is blowing up the scene in a way that's too loud for people to ignore. With explosive early singles, 'Clap Clap' & 'Haters feat. Aywin', she flexed hard and saw the industry clamber to celebrate this powerful musical force from Brisbane. Her debut EPDiary Of A Thotaholic sent her trajectory even higher. Hers is a message of confidence, sexuality, positivity and empowerment. With support from triple j, Complex, i-D/Vice, Billboard, Rolling Stone, Redbull, Acclaim and an ever-growing fanbase, she is not to be missed or messed with.


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Reduce the indifference factor, not the fear factor
by Geoffrey Miller · Published Monday, 6 October 2008 · Updated Wednesday, 13 November 2019
Note: this post originally appeared on 'Douglas to Dancing', a blog I maintained from 2007-9 on the ACT New Zealand political party. The blog was an extension of the thesis I wrote about the Act Party in 2007, From Douglas to Dancing: explaining the lack of success of ACT New Zealand and evaluating its future prospects (PDF).
The New Zealand Herald has two articles on ACT in today's paper. One is a "Q&A session" with ACT leader Rodney Hide in today's edition, which doesn't offer a lot of new information, alhough it's interesting that when quizzed on economic policy Hide chooses to prioritise "certainty" for investors above the more punchy "tax cuts" message normally favoured. According to Hide there has been "policy uncertainty" in economic matters with the Labour-led government. I'd like to see Hide elaborate about what he means by "certainty".
The other article is a general overview of ACT's fortunes called "A[CT] needs to reduce the fear factor". Again, there's nothing particularly new but the last section which considers what ACT "needs to do in the campaign" is worthy of comment:
Reduce the fear factor associated with the "slash and burn" politics linked to Sir Roger Douglas when he was Labour's reforming finance minister. Convince voters that Act's policies are aimed at increasing the wealth of working New Zealanders, not just big business.
Convince right-leaning voters that Act could have some impact in a National-led government.
This cuts to the core debate over the merits of bringing back Douglas to ACT in 2008. If he was meant to be a "circuit breaker" for the party, it hasn't worked – ACT is polling at virtually the same level now as it was last year – less than two per cent. So at this stage perhaps we should mark down Douglas's return as a mistake: he has brought the party zero extra support. Even worse, Douglas has given the party a headache by reaffixing what the Herald calls the "fear factor" to ACT, with all the connotations of the unpopular 1980s economic reforms. Is this interpretation correct?
I might have tended towards this view in the past, but now I'm not so sure whether Douglas has had any effect – for better or worse. Looking at the latter, I think it's more of an "indifference factor" than a fear factor. Devoted ACT supporters which since 1994 have made up 1-2% of voters have been energized by Douglas's return – but the party hasn't been overwhelmed by an influx of new supporters. ACT's core supporters were always going to vote for ACT – now they actually want to.
A pertinent comparison from the "other election" could be how the addition of Sarah Palin to the Republican ticket has sparked new enthusiasm in the party's base, but has not brought over many moderate voters. Republicans were always going to vote for John McCain – now they actually want to.
Granted, the return of Douglas may have rekindled some of the distaste for ACT for some politically aware people. But these people were never going to vote for ACT anyway. Moreover, there haven't been any anti-ACT campaigns start up (as in the 1990s, when Sue Bradford led her unemployed rights marches against the party). The indifference to ACT and Douglas today is illustrated well by fellow blogger and University of Otago lecturer Dr. Bryce Edwards, who recently recalled his own activism against the party in the 1990s:
I last saw Douglas speak in about 1994 at the University of Canterbury. I actually organised a lot of publicity on campus for the talk by putting up hundreds of posters denouncing Douglas for his rightwing radicalism and warning people about his upcoming talk to students. Of course, this had the counter affect, and I think my friends and I were inadvertently responsible for helping Douglas fill the auditorium (and dozens were turned away from the large venue).
Edwards contrasted this event with his experience of Douglas in 2008: instead of filling an auditorium of university students, he was giving a watered-down speech to a sleepy business audience which "didn't appear terribly enthused by Douglas and his 'vision'…[v]ery few questions were asked; long silences occurred." Edwards concluded that the "'Roger Douglas comeback' is definitely without the Rogernomics, and nothing that is going to revitalise the fading A[CT] party."
Why has the "fear factor" reduced? A major factor I think is that there are so many people now who have no direct memories of the 1980s reforms, with the two main groups being all voters aged under about 30 and recent immigrants. Above all, many voters have since moved on: if Rogernomics were new and different twenty-five years ago, much of the policy (if not the most radical components) has already become part of the wallpaper. It seems natural that Telecom is a private company. It seems normal that we pay 12.5% GST. And no-one is calling for reintroducing farming subsidies – not even the farmers themselves.
So if there is in fact no "fear factor" to eliminate, what else could be the problem? One month out from the election, I think the answer is the question of relevance. The Herald hints at this in the final line – that ACT needs to make voters believe that it will have some effect in a National-led government. Somehow, ACT needs to convince voters to vote ACT for its tactical ability, above all via a "keep National honest" message.
I think the time is largely over for ACT to try and convince voters to choose the party based purely on the merits of its policy. Instead it needs to get voters on election strategy. In short, ACT needs to talk down the likelihood of National gaining a clear majority and talk up the necessity for a coalition partner:
Can National/John Key be trusted?
Do you want to give National a blank cheque for 3 years?
Will National really reform the country or is it just "Nationalabour"?
Would you prefer Maori Party or ACT to be National's coalition partner?
Do you want the Maori Party/New Zealand First to hold National to ransom?
Election strategy is also about stressing the "value-for-money" messages which ACT successfully trialled in Epsom in 2005. Get Hide and Worth. Get Wang and Wong. Or use the Hillary Clinton line: get change and experience.
We're entering the final phase…
Tags: Act Partyfear factorRodney HideRoger Douglastactics
Ansell's new ad
by Geoffrey Miller · Published Wednesday, 29 October 2008 · Last modified Wednesday, 13 November 2019
Attacks on ACT from left and right – an Easter bonus for the party?
by Geoffrey Miller · Published Friday, 21 March 2008 · Last modified Wednesday, 13 November 2019
A 'Critic'-al view of ACT – part 2
by Geoffrey Miller · Published Friday, 25 July 2008 · Last modified Wednesday, 13 November 2019
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If your goal is to get close to the water, you won't have to look any further. The community of Vanderbilt Beach is a Gulf-front and Bay-front community that offers some of the most beautiful, unobstructed water views in Naples. A mix of stunning condominium high-rises and elegant single-family homes, Vanderbilt Beach redefines the term "waterfront." Its West-of-U.S. 41 location is also one of the most prestigious in Southwest Florida and the local amenities are unmatched anywhere else. Vanderbilt beach is the Gulf coast community all others strive to emulate.


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End SARS: How Police shot my son over N100 bribe - Woman cries to Akwa Ibom judicial panel of inquiry
0 0 Saga Gist Thursday, January 7
A-47-year old widow from Nkek, Ukanafun Local Government Area of Akwa Ibom State, Mrs Mfon Udoidiong, on Thursday, narrated to the judicia...
A-47-year old widow from Nkek, Ukanafun Local Government Area of Akwa Ibom State, Mrs Mfon Udoidiong, on Thursday, narrated to the judicial panel on incidences of police brutality how one sergeant Idongesit Ekanem shot her son dead when he failed to offer N100 bribe to the said officer.
Narrating her ordeal before Justice Ifiok Ukana led panel at the high court in Uyo, after resumption from a two week break, Mrs Udoidiong said her late son, Mr Imo Udoidiong, a final year student of the Uyo City Polytechnic, came home to collect money for his project.
She explained that she pleaded with the boy to stay a while to enable her to gather the money adding that his late son accepted and later went to a nearby stadium to watch a local football match.
She said after some hours, the son's friend identified as Ubong Monday came to announce that her son was shot dead by a police officer who demanded money from him when he failed to give him.
Udoidiong said the family of the police officer involved only supported her with two hundred thousand naira to buy coffin and bury the son, adding that since then she was neglected and the police had not shown concern.
"Family of the police officer promised to give me 1, 000,0000 naira for me to move on with my life. But till today, nobody has given me anything.
"They (family of the suspect) only gave me 200,000 naira to buy coffin to bury my son.
On his own, the witness Ubong Monday who was an eyewitness told the panel that the deceased was his classmate in secondary whom he met on his way to buy spare parts.
Monday narrated that late Udoidiong asked for assistance to reach where he was going since he was using a motorcycle.
According to him, "close to Ukanafun stadium, some policemen stopped us and demanded N100 before we could pass.
"We told them that we do not have money to give, and my friend went down from the motorcycle to meet the leader of the patrol in their vehicle for explanation.
"Then the senior officer told them to allow us to pass. When Udoidiong tried to climb back the bike, Ekanem (the suspect) came with his friend and attacked him with sticks for reporting him.
"Not satisfied, Ekanem went and brought a gun and shot Udoidiong at a close range and he died instantly."
However, when the panel asked the respondent, Sgt Ekanem why he shot the victim, he simply replied "it was an accidental discharge."
Meanwhile, the Counsel to the petitioner, Mr. Augustine Udoh has prayed the court to drag the suspected policeman who was said to have been dismissed from service to appear for questioning on the matter.
He also demanded compensation in the sum of N100,000,000 for the irreparable loss
However, the Panel adjourned the case to January 21, 2021 for further hearing.
Saga Gist - Top Source for Nigeria News: End SARS: How Police shot my son over N100 bribe - Woman cries to Akwa Ibom judicial panel of inquiry
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