Franciscan Estate 2014 Magnificat Red Blend, Napa Valley 38919
It scored 96 points in Tasting Panel Magazine!
I vini californiani della famiglia Sebastiani (Sebastiani Wineyards and Winery - Sonoma, CA)
From an Italian Tv Special on Italian Americans in the United States (1978).
Comfort Inn Calistoga Hot Springs of the West 3 Stars Calistoga, California
Comfort Inn Calistoga Hot Springs of the West 3 Stars Calistoga, California Within US Travel Directory One of our top picks in alistoga. Located in the heart of Napa Valley Wine Country, this hotel is minutes from popular local attractions such as the Napa Valley Wine Train. Rooms include guest robes and iHome docking stations.
All spacious guest rooms at Comfort Inn Calistoga Hot Springs of the West include flat-screen TVs, refrigerators, beds with duvet covers and a coffee machine.
Hot Springs of the West at Calistoga uses an underground hot spring to naturally heat the outdoor pool and hot tub. Guests can relax and enjoy the benefits of benefits of the geothermal-heated mineral water after a day of wine tasting. Guests also have access to fitness centre with treadmills, an exercise bike and free weights. A business centre with fax and photocopying services is also available.
A daily hot breakfast is offered to guests of Comfort Inn Calistoga. Breakfast includes eggs, meat, yogurt, fresh fruit, cereal and more, including your choice of hot waffle flavors.
Local attractions include Old Faithful Geyser, the Petrified Forest and the Silverado Trail. Some of Napa Valley's most prestigious wineries including Sterling Vineyards, Markham Vineyards and Rombauer Vineyards are nearby.
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Comfort Inn Calistoga Hot Springs of the West, 1865 Lincoln Avenue CA 94515, USA
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Justin Bieber buys a multi-million dollar mansion in Ontario
From CTV Kitchener's Natalie van Rooy: Justin Bieber has reportedly bought a $5 million mansion in Puslinch Township.
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Suspense: The Name of the Beast / The Night Reveals / Dark Journey
The Number of the Beast (Greek: Ἀριθμὸς τοῦ θηρίου, Arithmos tou Thēriou) is the numerical value of the name of the person symbolized by the beast from the sea, the first of two symbolic beasts described in chapter 13 of the Book of Revelation. In most manuscripts of the New Testament the number is 666, but the variant 616 is found in critical editions of the Greek text, such as the Novum Testamentum Graece.
Most scholars believe that the number of the beast equates to Emperor Nero, whose name in Greek when transliterated into Hebrew, retains the value of 666, whereas his Latin name transliterated into Hebrew, is 616. The mark of the beast is used to distinguish the beast's followers. Revelation 13:17 says that the mark is the name of the beast or the number of his name. Because of this, it is widely thought among dispensationalists that the mark will be some future representation of the actual number 666. It has also been speculated that the mark may be an Imperial Roman seal, or the Emperor's head on Roman coins.
Suspense: Sorry, Wrong Number - West Coast / Banquo's Chair / Five Canaries in the Room
Banquo is a character in William Shakespeare's 1606 play Macbeth. In the play, he is at first an ally to Macbeth (both are generals in the King's army) and they are together when they meet the Three Witches. After prophesying that Macbeth will become king, the witches tell Banquo that he will not be king himself, but that his descendants will be. Later, Macbeth in his lust for power sees Banquo as a threat and has him murdered; Banquo's son, Fleance, escapes. Banquo's ghost returns in a later scene, causing Macbeth to react with alarm during a public feast.
Shakespeare borrowed the character of Banquo from Holinshed's Chronicles, a history of Britain published by Raphael Holinshed in 1587. In Chronicles Banquo is an accomplice to Macbeth in the murder of the king, rather than a loyal subject of the king who is seen as an enemy by Macbeth. Shakespeare may have changed this aspect of his character in order to please King James, who was thought at the time to be a descendant of the real Banquo. Critics often interpret Banquo's role in the play as being a foil to Macbeth, resisting evil where Macbeth embraces it. Sometimes, however, his motives are unclear, and some critics question his purity. He does nothing to accuse Macbeth of murdering the king, even though he has reason to believe Macbeth is responsible.
Banquo's role, especially in the banquet ghost scene, has been subject to a variety of interpretations and mediums. Shakespeare's text states: Enter Ghost of Banquo, and sits in Macbeth's place.[28] Several television versions have altered this slightly, having Banquo appear suddenly in the chair, rather than walking onstage and into it. Special effects and camera tricks also allow producers to make the ghost disappear and reappear, highlighting the fact that only Macbeth can see it.[29]
Stage directors, unaided by post-production effects and camera tricks, have used other methods to depict the ghost. In the late 19th century, elaborate productions of the play staged by Henry Irving employed a wide variety of approaches for this task. In 1877 a green silhouette was used to create a ghostlike image; ten years later a trick chair was used to allow an actor to appear in the middle of the scene, and then again from the midst of the audience. In 1895 a shaft of blue light served to indicate the presence of Banquo's spirit. In 1933 a Russian director named Theodore Komisarjevsky staged a modern retelling of the play (Banquo and Macbeth were told of their future through palmistry); he used Macbeth's shadow as the ghost.[30]
Film adaptations have approached Banquo's character in a variety of ways. In 1936 Orson Welles helped produce an African-American cast of the play, including Canada Lee in the role of Banquo.[30] Akira Kurosawa's 1957 adaptation Throne of Blood makes the character into Capitan Miki (played by Minoru Chiaki), slain by Macbeth's equivalent (Captain Washizu) when his wife explains that she is with child. News of Miki's death does not reach Washizu until after he has seen the ghost in the banquet scene. In Roman Polanski's 1971 adaptation, Banquo is played by acclaimed stage actor Martin Shaw, in a style reminiscent of earlier stage performances.[31] Polanski's version also emphasises Banquo's objection to Macbeth's ascendency by showing him remaining silent as the other thanes around him hail Macbeth as king.[32] in the 1990 telling of Macbeth in a New York Mafia crime family setting, Men of Respect the character of Banquo is named Bankie Como played by American actor Dennis Farina.
Suspense: Stand-In / Dead of Night / Phobia
The program's heyday was in the early 1950s, when radio actor, producer and director Elliott Lewis took over (still during the Wilcox/Autolite run). Here the material reached new levels of sophistication. The writing was taut, and the casting, which had always been a strong point of the series (featuring such film stars as Orson Welles, Joseph Cotten, Henry Fonda, Humphrey Bogart, Judy Garland, Ronald Colman, Marlene Dietrich, Eve McVeagh, Lena Horne, and Cary Grant), took an unexpected turn when Lewis expanded the repertory to include many of radio's famous drama and comedy stars — often playing against type — such as Jack Benny. Jim and Marian Jordan of Fibber McGee and Molly were heard in the episode, Backseat Driver, which originally aired February 3, 1949.
The highest production values enhanced Suspense, and many of the shows retain their power to grip and entertain. At the time he took over Suspense, Lewis was familiar to radio fans for playing Frankie Remley, the wastrel guitar-playing sidekick to Phil Harris in The Phil Harris-Alice Faye Show. On the May 10, 1951 Suspense, Lewis reversed the roles with Death on My Hands: A bandleader (Harris) is horrified when an autograph-seeking fan accidentally shoots herself and dies in his hotel room, and a vocalist (Faye) tries to help him as the townfolk call for vigilante justice against him.
With the rise of television and the departures of Lewis and Autolite, subsequent producers (Antony Ellis, William N. Robson and others) struggled to maintain the series despite shrinking budgets, the availability of fewer name actors, and listenership decline. To save money, the program frequently used scripts first broadcast by another noteworthy CBS anthology, Escape. In addition to these tales of exotic adventure, Suspense expanded its repertoire to include more science fiction and supernatural content. By the end of its run, the series was remaking scripts from the long-canceled program The Mysterious Traveler. A time travel tale like Robert Arthur's The Man Who Went Back to Save Lincoln or a thriller about a death ray-wielding mad scientist would alternate with more run-of-the-mill crime dramas.
Suspense: Heart's Desire / A Guy Gets Lonely / Pearls Are a Nuisance
One of the series' earliest successes and its single most popular episode is Lucille Fletcher's Sorry, Wrong Number, about a bedridden woman (Agnes Moorehead) who panics after overhearing a murder plot on a crossed telephone connection but is unable to persuade anyone to investigate. First broadcast on May 25, 1943, it was restaged seven times (last on February 14, 1960) — each time with Moorehead. The popularity of the episode led to a film adaptation, Sorry, Wrong Number (1948), starring Barbara Stanwyck. Nominated for an Academy Award for her performance, Stanwyck recreated the role on Lux Radio Theater. Loni Anderson had the lead in the TV movie Sorry, Wrong Number (1989). Another notable early episode was Fletcher's The Hitch Hiker, in which a motorist (Orson Welles) is stalked on a cross-country trip by a nondescript man who keeps appearing on the side of the road. This episode originally aired on September 2, 1942, and was later adapted for television by Rod Serling as a 1960 episode of The Twilight Zone.
After the network sustained the program during its first two years, the sponsor became Roma Wines (1944--1947), and then (after another brief period of sustained hour-long episodes, initially featuring Robert Montgomery as host and producer in early 1948), Autolite Spark Plugs (1948--1954); eventually Harlow Wilcox (of Fibber McGee and Molly) became the pitchman. William Spier, Norman MacDonnell and Anton M. Leader were among the producers and directors.
The program's heyday was in the early 1950s, when radio actor, producer and director Elliott Lewis took over (still during the Wilcox/Autolite run). Here the material reached new levels of sophistication. The writing was taut, and the casting, which had always been a strong point of the series (featuring such film stars as Orson Welles, Joseph Cotten, Henry Fonda, Humphrey Bogart, Judy Garland, Ronald Colman, Marlene Dietrich, Eve McVeagh, Lena Horne, and Cary Grant), took an unexpected turn when Lewis expanded the repertory to include many of radio's famous drama and comedy stars — often playing against type — such as Jack Benny. Jim and Marian Jordan of Fibber McGee and Molly were heard in the episode, Backseat Driver, which originally aired February 3, 1949.
The highest production values enhanced Suspense, and many of the shows retain their power to grip and entertain. At the time he took over Suspense, Lewis was familiar to radio fans for playing Frankie Remley, the wastrel guitar-playing sidekick to Phil Harris in The Phil Harris-Alice Faye Show. On the May 10, 1951 Suspense, Lewis reversed the roles with Death on My Hands: A bandleader (Harris) is horrified when an autograph-seeking fan accidentally shoots herself and dies in his hotel room, and a vocalist (Faye) tries to help him as the townfolk call for vigilante justice against him.
With the rise of television and the departures of Lewis and Autolite, subsequent producers (Antony Ellis, William N. Robson and others) struggled to maintain the series despite shrinking budgets, the availability of fewer name actors, and listenership decline. To save money, the program frequently used scripts first broadcast by another noteworthy CBS anthology, Escape. In addition to these tales of exotic adventure, Suspense expanded its repertoire to include more science fiction and supernatural content. By the end of its run, the series was remaking scripts from the long-canceled program The Mysterious Traveler. A time travel tale like Robert Arthur's The Man Who Went Back to Save Lincoln or a thriller about a death ray-wielding mad scientist would alternate with more run-of-the-mill crime dramas.
Suspense: Lonely Road / Out of Control / Post Mortem
The program's heyday was in the early 1950s, when radio actor, producer and director Elliott Lewis took over (still during the Wilcox/Autolite run). Here the material reached new levels of sophistication. The writing was taut, and the casting, which had always been a strong point of the series (featuring such film stars as Orson Welles, Joseph Cotten, Henry Fonda, Humphrey Bogart, Judy Garland, Ronald Colman, Marlene Dietrich, Eve McVeagh, Lena Horne, and Cary Grant), took an unexpected turn when Lewis expanded the repertory to include many of radio's famous drama and comedy stars — often playing against type — such as Jack Benny. Jim and Marian Jordan of Fibber McGee and Molly were heard in the episode, Backseat Driver, which originally aired February 3, 1949.
The highest production values enhanced Suspense, and many of the shows retain their power to grip and entertain. At the time he took over Suspense, Lewis was familiar to radio fans for playing Frankie Remley, the wastrel guitar-playing sidekick to Phil Harris in The Phil Harris-Alice Faye Show. On the May 10, 1951 Suspense, Lewis reversed the roles with Death on My Hands: A bandleader (Harris) is horrified when an autograph-seeking fan accidentally shoots herself and dies in his hotel room, and a vocalist (Faye) tries to help him as the townfolk call for vigilante justice against him.
With the rise of television and the departures of Lewis and Autolite, subsequent producers (Antony Ellis, William N. Robson and others) struggled to maintain the series despite shrinking budgets, the availability of fewer name actors, and listenership decline. To save money, the program frequently used scripts first broadcast by another noteworthy CBS anthology, Escape. In addition to these tales of exotic adventure, Suspense expanded its repertoire to include more science fiction and supernatural content. By the end of its run, the series was remaking scripts from the long-canceled program The Mysterious Traveler. A time travel tale like Robert Arthur's The Man Who Went Back to Save Lincoln or a thriller about a death ray-wielding mad scientist would alternate with more run-of-the-mill crime dramas.