HIGH END COCKTAIL TABLES - COCKTAIL TABLES


HIGH END COCKTAIL TABLES - MARBLE COFFEE TABLE SET



High End Cocktail Tables





high end cocktail tables






    high end
  • (High Ends) A misalignment of can body edges equal to 1/32" or more.

  • Denoting the most expensive of a range of products

  • In economics, a luxury good is a good for which demand increases more than proportionally as income rises, in contrast to a "necessity good", for which demand is not related to income.

  • Most sophisticated or expensive; Appealing to sophisticated or discerning tastes





    cocktail
  • a short mixed drink

  • an appetizer served as a first course at a meal

  • A cocktail is an alcoholic mixed drink that contains two or more ingredients — at least one of the ingredients must be a spirit.





    tables
  • Present formally for discussion or consideration at a meeting

  • (table) a piece of furniture having a smooth flat top that is usually supported by one or more vertical legs; "it was a sturdy table"

  • (table) postpone: hold back to a later time; "let's postpone the exam"

  • Postpone consideration of

  • (table) a set of data arranged in rows and columns; "see table 1"











Valerie Hobson




Valerie Hobson





LIKE MANY British female film stars of the Thirties and Forties, Valerie Hobson exuded breeding and class, but she also brought to her performances a delightfully sophisticated sense of humour and a refreshing element of spunk, whether as the wise-cracking heroine of Q Planes, the resourceful double agent of The Spy in Black, the haughty Estella of Great Expectations, the shrewd widow in Kind Hearts and Coronets, or, on stage, the dignified but determined governess Anna Leonowens in The King and I.

She was to display similar grit in her real life when her husband, the politician John Profumo, became notorious for his relationship with a call-girl who was also involved with a Russian official. In an admirable display of stoicism and loyalty, Hobson stood by her husband and they were to remain married until her death.

She was born Valerie Babette Louise Hobson, in Larne, Northern Ireland, in 1917, the daughter of a British naval officer who was serving on a minesweeper at the time. She was educated at St Augustine's Priory, London and started dancing lessons at three:

When we moved to Hampshire and I was five, I was taken to London twice a week to be taught ballet by Espinosa. These lessons were intended to "give me grace", but were precious training for the stage, which I'd been heading for ever since I grabbed a bath towel and pretended to be the Queen of Sheba, with nanny for an audience.

After training at the Royal Academy of Dramatic Art, she made her stage debut at the age of 15 in Orders Are Orders. Oscar Hammerstein II, who saw her in the show, spotted her lunching with her mother at Claridge's, went over to their table and offered her a small part in his production Ball at the Savoy, starring Maurice Evans, at Drury Lane. While appearing in the show, she made her first film, a minor thriller Eyes of Fate (1933).

Evans then asked her to appear with himself and Henry Daniell in the film version of L. DuGardo Peach's radio play The Path of Glory (1934), a satire on war so biting that it was taken out of distribution after one day. Hobson had a small stage role in Noel Coward's Conversation Piece, during the run of which she played the romantic lead in a popular screen adaptation of R.C. Sherriff's play Badger's Green. As the daughter of a developer whose plans will wreck a village's beloved cricket green, she complicates things by falling in love with the son of a protestor.

Her performance in the film led to tests for Hollywood and the offer of a contract by Universal Pictures. With her mother, the 17-year-old Hobson departed for the US, but was disappointed with the parts she was given. Ironically her first role, that of Biddy in the studio's version of Dickens' Great Expectations (1934) was eliminated from the final print - years later Hobson was to have notable success as Estella in David Lean's masterly version of the same tale.

The studio started her in B films (briefly as a platinum blonde), and though one of Hobson's subsequent American films is a true classic, James Whale's baroque Bride of Frankenstein (1935), the actress was unhappy with the other horror films and minor thrillers she was offered. Even in the best, The Mystery of Edwin Drood (1935) and Werewolf of London (1935), her roles were colourless. "I'd been there 18 months and learnt a great deal, but I was getting tired of horror pictures and doing nothing but scream and faint . . . In The Bride of Frankenstein, I was carried by Boris Karloff over almost every artificial hill in Hollywood." Universal in fact kept her screams in their sound library to use in subsequent horror movies.

Hobson returned to England in 1936, where in such films as the intriguing thriller No Escape (1936) she quickly established herself as a stylish leading lady. In this pre-war period Hobson reputedly also made more television appearances than any other actress. The producer Alexander Korda, after seeing Hobson's performance opposite Douglas Fairbanks Jr in Raoul Walsh's Jump For Glory (1937), tested her for the role of a colonel's wife on the North West Frontier in his production The Drum (1938).

Her next film, the comedy-thriller This Man Is News (1938), was the first to display Hobson's innate flair for comedy and was favourably compared by critics to America's "Thin Man" films, with Hobson and Barry K. Barnes as a pair of wise-cracking, cocktail-drinking married sleuths. "It had an extraordinary success," Hobson told Brian McFarlane a few years ago. "As a nation we hadn't made a high comedy successfully until then. When they put it on at the Plaza there were queues literally round the block to see it."

A sequel, This Man in Paris (1939), was even better than the first. Both films were produced by Anthony Havelock-Allan, with whom Hobson fell in love, and they were married in 1939. Meanwhile the Korda production Q Planes (1938) had consolidated Hobson's stardom. As the sister of Ralph Richardson











Day 97 (December 16th): Game Face!




Day 97 (December 16th): Game Face!





Sometimes I just seriously loathe like... all people. Ever. Ugh.

Or maybe just the junior accountants working for one of the most renowned international accounting firms. Douchebags. Sixteen year old kids at their high school prom behave better than they did at their corporate Christmas party.

But my faith in humanity was restored through the consumption of "Jamaican Me Crabby" Benedict and jugs of Jamaican Rum Punch over a late brunch with Jada at the Reef today, after which I promptly returned home, got a nice phone call from Paul and then napped on the living room floor (I fell asleep wrapping presents!) for 6 hours.

Which, actually, makes me a bit of a turd because I inadvertently gave Peter the brush-off by sleeping through the better part of the evening. Forgive me and maybe we can go out tomorrow?

******

And now, the semi-serious/long-standing/somewhat-pretentious HOW TO BE A BETTER BAR/RESTAURANT/NIGHTCLUB/VENUE PATRON GUIDELINES (A.K.A. "Dear Last-Night's Guests...") which have been composed by myself and 7 other co-workers over the span of about four years:

- When you're walking around in a bar/restaurant/nightclub/venue/crowded space, LOOK IN THE DIRECTION YOU'RE WALKING. This prevents unfortunate incidents like you walking into the waitress who is trying to balance 14 cocktails on her tray and causing it to flip over and spill onto everyone within a 10 foot radius.
- Do NOT chill out in the stairwell/walkways/in front of the bar/traffic routes! The reason we have tables/dancefloors/open spaces is to keep you out of the areas people (ex: the staff) need to use to get from point A to point B. I'm trying to work to service YOU and your fellow patrons. How am I supposed to pick your drink up at the bar on the other side of the room when you're blocking the stairs and regaling your peers with the story of how you hooked up with Nancy in processing at the last two work events and you're hoping to pull off a hat-trick tonight (BTW, classy!)?
- When I politely say "Excuse me/Pardon me/May I please sneak past you?" don't look at me like I'm speaking Latin, roll your eyes and then turn back and ignore me. With your off-the-rack/ill-fitting suit, spackled on bottle-and-a-half of hair gel, uneven and slightly fading spray-tan and pungent drugstore cologne that you clearly BATHED in while getting ready tonight, I am by no means under the delusion that you're King Shit, so mind your manners and get your shuffle on.
- "Please" and "Thank you." Learn them. Love them. If it poses a challenge for you I'll happily write them out on convenient cue cards that you can reference when the occasion arises.
- Think back: Have you seriously ever heard anyone working in this industry use the expression "The customer is always right"?
- Do not try to sneak into our bathrooms to have sex. It's disgusting. People pee (and sometimes puke) there. Does that make you randy?
- Is it really so much to ask for you to try to refrain from swallowing each other's faces while I'm trying to take your drink order? I didn't pay to see the show so I don't want a sneak preview for free.
- I'm all for people going all out and having fun at their parties. Drink yourself silly, dance up an uncoordinated storm, laugh/cry/scream as much as you want, puke in the (or on your way to) the bathrooms. We expect as much and we're prepared for it and we've all been there ourselves at different points so we're certainly not going to begrudge you that. I'm actually completely serious.
- Don't EVER think that we value your patronage enough to put up with your abuse/bullshit (verbal or physical). By kicking you (and your wallet) out, we have made room for one more person who has been waiting outside (and his wallet) who is so happy to get in that he's going to behave himself and have a good time. Your money isn't worth any more than his.
- Touch me and die (or expect to be kicked out in within 5 minutes). My body is not public domain. Would you reach across and grab the clerk ringing through your purchase at the GAP?
- I wear a nametag that clearly indicates my name is none of the following: sweetheart, babycakes, hot stuff, pumpkin, doll, cupcake, beautiful, temptress, gorgeous, angel, smokin', legs, cutie-pie, wench, mchottie, sweetie, heartbreaker, love, lovely, girl, hottie, muffin, sweetie-pie, honey, miss thang, cutie, honeybuns, misstress, honeypie, sugar, lover, maneater, your-future-wife, babydoll, firecracker. Are we clear, sugartits?
- Make nice with your bar staff and they will make nice with you. Common courtesy actually works!

/END ANGRY WORK RANT!









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