Dear Santa Claws; STAR TREK Collector’s Onyx And Diamond Ring/

Solid sterling silver with STAR TREK emblem on black onyx, genuine diamond accent. Starship images on sides, motto engraved inside. Gift box.

Price:
$119.00 US

Now it’s possible to wear an out-of-this-world tribute to STAR TREK in a bold men’s jewelry design unlike any other, the STAR TREK Collector’s Ring! Any fan of the interstellar sci-fi TV classic will immediately recognize the gleaming, sterling silver STAR TREK insignia – worn by all U.S.S. Enterprise™ crew members on their uniforms – set into black onyx and centered with a solitaire diamond as bright as a nearby star. This fine jewelry exclusive from The Bradford Exchange isn’t just a statement of style; it’s also an authentic collector’s treasure for fans everywhere.

Surrounding the genuine black onyx stone with the bold, diamond-studded STAR TREK emblem is a solid sterling silver ring of impressive design. On both sides, raised-relief images of the U.S.S. Enterprise™, each showing a different view of the ship, add important detail. One image features the STAR TREK logo, and the other calls out the official Constitution Class starship designation number NCC-1701. As a final authentic touch, the inside of the ring is engraved with the motto: SPACE: THE FINAL FRONTIER™. To wear this ring and boldly go in style anywhere, don’t wait. Demand from STAR TREK fans is expected to be high, so be sure to order now!

Features

 

This exclusive STAR TREK collector’s ring from The Bradford Exchange features:
  • A authentic collector’s tribute to one of the most popular sci-fi sagas ever, in a fine jewelry design available exclusively from The Bradford Exchange
  • This STAR TREK collector’s ring features the unmistakable emblem of the starship U.S.S. Enterprise™ on the table of the ring, boldly sculpted in solid sterling silver and set into genuine black onyx
  • At the center of the emblem is a dazzling solitaire diamond, as bright as a nearby star
  • This collector’s ring is impressively handcrafted in solid sterling silver for a rugged, substantial look
  • Each side of the ring features a raised relief image of the U.S.S. Enterprise from a different angle, one engraved with the STAR TREK logo and the other with the official NCC-1701 Constitution Class number for the ship
  • As a final authentic touch, the inside of the ring is engraved with the famous motto – SPACE: THE FINAL FRONTIER™
  • Arrives in its own custom presentation case, perfect for safekeeping or for gift-giving
  • Certificate of Authenticity
  • Available in sizes 8 to 15 (includes half sizes)

Buy This Item Now:
STAR TREK Collector’s Onyx And Diamond Ring

STAR TREK Collector’s Ring: Exclusive Design Boldly Goes Where No Men’s Jewelry Has Gone Before!

Item no:
104166002
Price:
$119.00 US

Captain Kirk’s Guide to Women

Captain Kirk's Guide to Women

This back order ships on 01/05/2011.
SKU:
CSTM1544
 
$13.99
Casanova, Don Juan, James Bond — these are men of legendary romance, but only one man can boast that his seductive powers take him boldly where no man has gone before: James T. Kirk.

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

 

Star Trek Stained Glass Art With Black Lacquered Frame

Item no:
109912001

Star Trek Stained Glass Art With Black Lacquered Frame

Star Trek Illuminating Stained Glass Panorama Wall Decor

Guaranteed Christmas Delivery!

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

Price:
$169.95 US
s&s
$17.99 US

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Description Features

Description

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!

Features
This exclusive collectible STAR TREK™ stained-glass panorama from The Bradford Exchange features:
  • 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

Elaine Kaufman, Who Fed and Fussed Over the Famous, Dies at 81

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 »

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.

Tunes to Play After You’ve Been Fired

By JON PARELES
Published: December 3, 2010
It takes spunk and strategy to make music as proudly rickety as the Walkmen’s songs. The bottom kept falling out of their music, precisely as planned, when the Walkmen performed at Terminal 5 on Thursday night.

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.

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As Hamilton Leithauser let loose his high, cantankerous yowl, he might have been accompanied by just a lone strummed guitar chord or itchy two-note jabs, or stingy drum-rim pattering and a few distant bass notes. In “Victory,” from the band’s latest album, “Lisbon” (Fat Possum), Mr. Leithauser sang, “My lord, where’s the satisfaction?/It’s all uphill for me.” The full band would come crashing in like a punk buildup and then suddenly evaporate, leaving his voice hanging by itself like Wile E. Coyote after pursuing the Road Runner off a cliff.

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.

A version of this review appeared in print on December 4, 2010, on page C6 of the New York edition.