Vacation Schedule- Archived show from the Majority Report 1- Janeane and I interview George Carlin- we are live on Monday!
Yes it’s true, Sports television’s latest rising star is having a birthday today…Dec.6th 2010.
I love her very much, Dad
Captain Kirk’s status as an interstellar stud is proven by his ability to seduce any woman, in any situation, in any part of the galaxy. From high-society princesses to unbalanced Orion slave girls, from gender-switching shape-shifters to emotion-deprived androids — they all swoon, acquiesce, and malfunction from just one kiss.
But a single question remains in the minds of millions: How does he do it?
Captain Kirk’s Guide to Women is the first book to answer this question by probing deeply into Kirk’s character, charisma, and seductive techniques, making it possible for any man to model himself after the Casanova of the Cosmos. It is also the only warp-powered romance manual written with enough wit, charm, and humor to help the female of the species make first contact. Employing meticulous research, along with fanatic-level detail and the kind of pointy-eared logic even a Vulcan would find fascinating, Captain Kirk’s Guide to Women shows you how to be as effective as Captain Kirk.
Author: John “Bones” Rodriguez
Paperback, 96 pages
- Item no:
A FIRST! Officially licensed, favorite character montage from the original series of STAR TREK. LED lights illuminate, hanging device, 22-1/2″ wide!
Measures 12-1/2″ H x 22-1/2″ W
- $169.95 US
- $17.99 US
Live long and prosper™ with an out-of-this-world tribute to the voyages of the Starship Enterprise™! Now, and for the first time ever, bring home the excitement of STAR TREK™ with this first-ever STAR TREK panorama, officially licensed and available exclusively from The Bradford Exchange.
This thrilling panorama tribute features favorite STAR TREK characters including Captain Kirk, Spock, Dr. McCoy and more against a misty backdrop of intergalactic space, faithfully re-creating all of the bold colors of The Original Series on hard-fired stained glass. With a flip of a switch, the celestial scene radiates a cosmic glow as a hidden system of 16 LED lights illuminate the translucent glass. Stellar demand is expected from loyal STAR TREK fans and sci-fi enthusiasts, so don’t wait to order this limited-edition STAR TREK decor. Order now!
- Brilliantly showcase your love for the original series of STAR TREK™ with this first-ever illuminated STAR TREK stained-glass panorama, exclusively from The Bradford Exchange
- Handcrafted and hard-fired stained glass features favorite STAR TREK characters against a misty backdrop of intergalactic space
- Captain Kirk, Spock and Dr. McCoy take center stage while U.S.S. Enterprise™ characters are featured on the right and infamous rivals are featured on the left including the Klingons, Romulans and Talosians
- Lights up! With the flip of a switch, 16 LED lights built into the frame illuminate the celestial scene for up to 50,000 hours of soft illumination
- Arrives fully assembled within a sleek black lacquered wooden frame with a golden plaque featuring the trademark STAR TREK emblem at the base
- Includes a hanging device for easy display and immediate enjoyment
- An out-of-this-world addition to your collection or a perfect gift to a loyal STAR TREK fan
- UL listed adaptor included; plugs into any standard household outlet
- Edition is limited to 95 firing days, so order now
- Hand-numbered with matching Certificate of Authenticity
- Measures 12-1/2″ H x 22-1/2″ W; 32 cm H x 57 cm
By ENID NEMY
Published: December 3, 2010
Elaine Kaufman, who became something of a symbol of New York as the salty den mother of Elaine’s, one of the city’s best-known restaurants and a second home for almost half a century to writers, actors, athletes and other celebrities, died Friday in Manhattan. She was 81.
Michael Falco for The New York Times
Elaine Kaufman of Elaine’s in 2005. More Photos »
Rooms: The Saloonkeeper’s Sanctum (February 5, 2009)
City Room: Memories of Elaine: An Appreciation (December 3, 2010)
Diner’s Journal Blog: Elaine Kaufman is Dead at 81. Long Live Elaine’s (December 3, 2010)
Her death, at Lenox Hill Hospital, was caused by complications of emphysema, said Diane Becker, the restaurant’s manager.
To the patrons she knew at her Upper East Side establishment, Ms. Kaufman was the quirky, opinionated, tender-hearted and imposingly heavyset proprietor who came in almost every night to check on things and schmooze, moving from table to table and occasionally perching herself on a stool at the end of her 25-foot mahogany bar.
With those she did not know, her demeanor varied; some accused her of being rude, though she indignantly denied that she ever was. As she put it, she had little time to explain to dissatisfied customers why they were being directed to tables in the back, known as Siberia, or led to the bar or even turned away, when they could clearly see empty tables along “the line.”
The line was the row of tables along the right wall of the main room, extending from the front to the back and visible from the entrance. Those tables were almost always saved for the most valued regulars, with or without reservations. One regular was Woody Allen, who filmed a scene for “Manhattan” at Elaine’s.
Elaine’s, in fact, was a scene, a noisy restaurant and bar celebrated as a celebrity hangout that all but shouted “New York” to the rest of the country, if not the world. For Billy Joel, in his 1979 hit “Big Shot,” the very name connoted the uptown in-crowd. (“They were all impressed with your Halston dress/And the people that you knew at Elaine’s.”) And in the new movie “Morning Glory,” with Harrison Ford, Diane Keaton and Rachel McAdams, the indomitable Ms. Kaufman herself makes a cameo appearance.
Of course, it was an unspoken rule among the customers never to appear overly impressed or distracted by the famous. This was New York, after all. But there were exceptions, Ms. Kaufman recalled. Mick Jagger was one. (“The room grew still,” she said.) Luciano Pavarotti was another. (“Everyone stood up and applauded.”) And Willie Nelson proved irresistible. (“He kissed all the women at the bar.”)
Once, when a newcomer asked directions to the men’s room, Ms. Kaufman replied, “Take a right at Michael Caine.”
Ms. Kaufman opened her restaurant in 1963, along an unfashionable block on Second Avenue just north of 88th Street. Soon a loyal clientele began to form, as if by chain reaction.
Almost from the beginning there were writers, many of whom were granted credit privileges when cash was low or nonexistent. And the writers — Gay Talese, George Plimpton, Peter Maas, Dan Jenkins, Joseph Heller, Mario Puzo, Frank Conroy and others — drew editors: Clay Felker, Willie Morris and James Brady, to name a few.
Then came the theater, film and television personalities, eager to meet literary lights. And they, having added to the growing cultural cachet of Elaine’s, soon attracted the famous from other arenas — sports figures, politicians and gossip-column society — all wanting to be part of the scene.
Elaine’s flourished, despite its less-than-stellar reputation for food. For 14 years, it was the site of the New York Oscar-night parties hosted by Entertainment Weekly. “I live a party life,” Ms. Kaufman said in an interview in 1983 in The New York Times. “Elsa Maxwell used to have to send out invitations. I just open the door.”
Elaine Edna Kaufman was born in Manhattan on Feb. 10, 1929, one of four children of Joseph and Pauline Kaufman. Brought up in Queens and the Bronx, she graduated from Evander Childs High School in the Bronx and worked at the stamp department at Gimbels, a wholesale fabric house and the long-gone Astor Pharmacy, where she was night cosmetician. She also sold cigars and checked hats at the Progressive Era Political Club in Greenwich Village before being introduced to the restaurant business by Alfredo Viazzi.
Mr. Viazzi, a former seaman and struggling writer, owned Portofino, a Greenwich Village restaurant popular with publishing and downtown theater people, and in 1959 he and Ms. Kaufman, having begun a romantic relationship, joined forces in running it.
When she broke up with Mr. Viazzi four years later, she “took my pots and pans” and decided to open her own restaurant. “I couldn’t afford to open in the Village,” she said, “so I found an Austrian-Hungarian restaurant in an area of the Upper East Side which was Siberia then.” She bought it with a partner for “$10,000 or $12,000,” she said. (Within eight years she was the sole owner.)
Many of her old patrons followed her uptown, and neighborhood celebrities like the painters Helen Frankenthaler and Robert Motherwell, who were married at the time, began dropping in. She was also discovered by the columnists Dorothy Kilgallen and Leonard Lyons.
During the first year, Ms. Kaufman waited on tables herself; one summer Elaine Stritch, unwilling to do summer stock, tended bar.
The restaurant’s indifferent décor — the comedian Alan King once said the place was “decorated like a stolen car” — changed little through the years. The rummage from junk shops and $5 light fixtures remained, but one feature continued to grow: the framed covers of books by authors who ate and drank there. Several hundred of the covers festooned the walls between the main dining area and the adjoining Paul Desmond room — named after the jazz saxophonist, another regular — which was used for overflow crowds, private parties and sometimes B-, C- and D-list people.
By JON PARELES
Published: December 3, 2010
Chad Batka for The New York Times
The Walkmen: Hamilton Leithauser led his band, who shared a bill with the groups Tennis and School of Seven Bells, at Terminal 5 on Thursday.
The Walkmen got started during the New York City rock renaissance of the early 2000s, alongside bands like the Strokes and the Yeah Yeah Yeahs. But its music now sounds just right for a certain recessionary mood: bleary, frustrated, cranky, heartsick and gallows-humored. It could easily accompany the aftermath of a drinking binge following a layoff. Mr. Leithauser, wearing a business suit with no necktie and his white shirt cuffs hanging out, was slouchy and angular by turns, lobbing his vocal lines across the hollows in the music.
The lyrics greeted countless letdowns, romantic and otherwise, with a sardonic shrug. “I was the only one left at the right time,” Mr. Leithauser sang over a kind of country oompah in “Canadian Girl.” “Only I’m still hanging on.”
Soon a five-piece horn section joined in, giving the song a brass-band lift despite itself. Mr. Leithauser introduced “Woe Is Me,” from “Lisbon,” as “a real sad one.” It put an Afro-Caribbean lilt behind lines like, “Lost my nerve and I lost my head/just about everything I had.”
What might read as self-pity was, in the Walkmen’s music, anything but. For comedy and tension, the whole band knows how to place things just a little bit off kilter: a woozy piano line, a split-second pause before a big drumbeat. The songs lurched and stomped, built up and collapsed and dusted themselves off again, more than ready to face the next shattered expectation.
School of Seven Bells brought cosmic positive thinking to the bill. Its music — based on rich, surging guitar drones and the clear-eyed vocals of Alejandra Deheza — springs from the Beatles’ “Tomorrow Never Knows” by way of U2, with vaguely Indian melodies carrying ruminations like, “My heart finds a dream in these unseen hues, in the untouchable.” In the swell of the music, sound trumped sense.
Tennis, opening the show, is a stripped-down throwback to the surf-rock and girl groups of the 1950s and ’60s, with familiar chord progressions behind Alaina Moore’s reassuring melodies. But sharing the bill with the Walkmen, Tennis sounded like timid neatniks, too content within their genre.