#Gimbel Bros.

[ajl1963]

Edgard Sforzina (1881 - 1941)

Union Terminal, Cincinnati (Photo via DrivingForDeco) This article is an exclusive interview with Denise E. Allen, granddaughter of Edgard Sforzina an early French designer, decorator, and architect of L’ Art Moderne ~ Art Deco. … Denise: Anthony and Chris, thank you for the opportunity to discuss my grandfather, Edgard Désiré Sforzina. … How did this project come about? To preserve our…

[soshadysoquiet]

The delightfully wild time discrepancies in TUA

Can we talk about the time skips in Season 1 for a moment:

My personal head-canon is that Five is having A Whole Heap of flashbacks because we see him stalking Lance for hours before finally blinking into the car to threaten him, at which point it seems to take them hours to get back to the lab for it to blow. I like the idea that at some point on that Drive Lance was just sitting in the car sweating as this psychotic child who is obsessed with eyeballs is just fully zoned out next to him, possibly drunk, holding a knife to his neck just to be like 'uh, we're here, have been for an hour' when he finally comes around.

Also how long was there between him ditching Klaus at Medi-tech and that night when he finally goes to find Dolores? Was Five just riding around in that taxi all day? Swapping taxis and doubling back on himself to make sure he's not being followed? Did he have special errands to run (get alcohol, get coffee) in between zoning out. Was he just lurking outside Gimbel Brothers for the perfect moment? I choose to imagine he was just struggling to even keep track of reality without necessarily knowing, what else was his fevered little mind doing? We know he doesn't like to waste time. I imagine he walks towards Gimble Bros, has a black out, thinks 'I must get coffee and be well presented for my wife this won't do' gets coffee, gets alcohol too because why not at this point he's having a rough week, goes back to Gimbles, balks at all the people there, hides in an alley, drinks, blacks out, goes to get more coffee, realises it's midnight and finally goes to pick her up. Meanwhile Hazel and Cha Cha have been lurking around outside for hours waiting for him to show up just so they can ruin his reunion.

At least Five's absences are explainable in this way. Because then were have these two: Luther and Diego.

They turn up, find Five's van as Hazel and Cha-Cha are in the building setting fire to the joint, and ramble off to the library.

They arrive what seems like hours later (its then dark out when they leave)

Five in this time has: arrived shortly enough after they leave to be there when the building blows up, gotten his spare alcohol stash and mannequin from the back of said van, gotten TO the library, gotten smashed and had the time to write all over the walls.

What were Luther and Diego even doing? Could they not find the library? Go to the wrong one? Stop for burgers? Or did Five accomplish all of the above in a blind fevered speed following the Meritech incident? I don't think so, because we also have time for Patch to show up, investigate, follow a trail to the motel, wait there at least ten minutes where it's dark. At least an hour has to have passed.

All of this is wildly hilarious to me, and I love it, I love to think of why; Five zoning out at least makes sense, he's got to be on the mental edge of capability at this point. But what were Diego and Luther doing??? Someone should write that side quest where they're both incapable of finding the library but too stubborn to get a cab so they just walk in circles snarking at each other.

[wildbeautifuldamned]

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[vonter-voman]

RIP Norman Gimbel, lyricist for the Wonder Woman theme.

Songwriter Norman Gimbel,  whose works won him an Oscar, Grammy and admission to the Songwriters Hall of Fame, has died. He passed on Dec. 19 at his home in Montecito, Calif. at age 91, according to a tribute posted by BMI.

Gimbel’s lyrics to Roberta Flack’s Killing Me Softly and Jim Croce’s I Got A Namewere just some of the highlights of a catalog that reads like a compilation of 20th century hits. His lyrics graced the English language version of the The Girl from Ipanema and the TV themes to Happy Days and Laverne & Shirley; he earned an Academy Award with David Shire for Jennifer Warnes’s It Goes Like It Goes; he was the Best Original Song winner for 1979’s Sally Field starrer Norma Rae; and shared the Grammy Song of the Year with longtime writing collaborator Charles Fox in 1973 for Killing Me Softly.

Gimbel and Fox wrote more than 150 songs together, including the Oscar-nominated Richard’s Window (from 1975’s The Other Side of the Mountain) and Ready to Take a Chance Again (from 1978’s Foul Play).

Their TV themes also included The Paper Chase, Lifestyles of the Rich and Famous, and Wonder Woman.

Gimbel was born in Brooklyn, NY on Nov. 16, 1927. His career started in music publishing, working for David Blum and Edwin H. Morris on Teresa Brewer’s hit Ricochet Romance and Andy Williams’s 1956 hit, Canadian Sunset.

Broadway also beckoned, and he collaborated with Broadway composer Morris “Moose” Charlap on the musicals Whoop-Up in 1958 and The Conquering Hero in 1961. also working with Frank Loesser, who wrote the now-villified song Baby It’s Cold Outside.

Hollywood was next. Gimbel arrived in 1967 and immersed himself in the film and TV music world, working with composers Lalo Shifrin, Elmer Bernstein, Bill Conti, Quincy Jones, Burt Bachrach and eventually Nelly Gimbel, his daughter.

His songs graced such films as The Phantom Tollbooth (1970), Where’s Poppa? (1970), A Troll in Central Park (1994) and Lady and the Tramp 2: Scamp’s Adventure (2001).

Survivors include sons Peter and Tony, the latter who ran his publishing company, and daughters Nelly and Hannah. No memorial details have been announced.

https://deadline.com/2018/12/norman-gimbel-dies-grammy-and-oscar-winning-songwriter-for-film-tv-was-91-1202527042/

[isfjmel-phleg]

The “Book Wanted” section of Publishers’ Weekly, May 29, 1920 lists a request from Gimbel Bros., Philadelphia for a number of titles, including “Psmith in the Country” and “Mike by P. Y. Wodehouse.”

And though of course the former is either a mistake for Psmith in the City or some reader’s vain hope that such was a sequel, it sounds to me like a lost Psmith novel about him visiting Mike in Lincolnshire and raising Cain somehow.

[erockcle]

Well, friends, here we are.

Higbee's v. Joseph Horne's. May Company Ohio v. Kaufmann's. Halle Bros. v. Gimbel's. Panini's Bar & Grill v. Primanti Bros. KeyBank v. PNC Bank. The Flats v. The Strip. Hough v. East Liberty. Settler's Landing Park v. Point State Park.

CLE v. PGH.

Right here, right now.

BROWNS 2022: The Rustbelt Wars. Welcome to Round One.

[haloloading204]

Al B Sure Nite And Day Download

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Al B Sure Songs

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In Effect ModeStudio album by ReleasedMay 3, 1988RecordedFall 1986 - Spring 1988 Unique Recording Studios New York City, New YorkGenreNew jack swing(1)Length38:25LabelUptown, Warner Bros.ProducerAl B. Sure!, Kyle West, Teddy RileyAl B. Sure! chronology

In Effect Mode (1988)Private Times..and the Whole 9! (1990)

In Effect Mode is the debut album by Al B. Sure!. It was released on May 3, 1988 on Uptown Records with distribution handled by Warner Bros. Records. It was one of two albums by Sure! that was released under Uptown that were not issued under its parent company MCA Records.

Background and recording(edit)

Sure! got his initial start when he performed at the 1987 Sony Innovators Award, an annual talent showcase that awarded people who showed promising talent.(2) Music producer Quincy Jones handpicked Sure! as the first winner of the contest. Warner Bros. Vice President of black music Benny Medina offered Sure! a recording contract to record his debut.

Sure! got his start in the music industry singing background vocals on Heavy D. Dmg mori seiki usa sales incminew. & The Boyz' 1987 debut Living Large. He appeared on the song 'Dedication' as well as the singles 'Don't You Know' and 'Moneyearnin' Mount Vernon' due to being childhood friends with group member Edward 'Eddie F' Ferrell.(3) That friendship lead to him meeting Andre Harrell, who brought Sure! into the fold at his newly established imprint Uptown Records.(3)

Sure! initially wanted to make his debut as a rapper, but later decided to focus on R&B after listening to the music his cousin Kyle West was making.(4) As a result, he enlisted West as the co-producer for his debut album. Sure! and West wrote virtually all the songs together, save for their cover of Lori Lieberman's 'Killing Me Softly' - which was popularized by singer Roberta Flack - and 'If I'm Not Your Lover'.

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West recalls recording In Effect Mode as lacking direction because neither he nor Sure! had any idea what they were doing.(3) Because of Sure!'s last minute change from rapping to singing, he had to learn how to write songs and melodies in a short period of time.(3) Within the span of six months, he made the transition from being a rapper to being a singer.

The album's first single 'Nite and Day' was the first song recorded for In Effect Mode. West wrote and recorded the music in January 1987, but decided to abandon it when he couldn't compose any lyrics for the song. Over a month later, Sure! heard the music and wrote only a chorus for the song, but had yet to write any verses.(3) By the time they went to the recording studio, Sure! had completed the song. Despite having yet to record an album, everyone in the studio felt the song was going to be a huge hit.(3)

Producer Teddy Riley was called in to give the album some direction. He wasn't around long enough to oversee it due to being called in to work on Keith Sweat's debut Make It Last Forever.(3) He produced two songs for In Effect Mode: 'If I'm Not Your Lover' and 'You Can Call Me Crazy', however only 'If I'm Not Your Lover' made the final track listing.(3) 'You Can Call Me Crazy' was later included on Guy's self-titled debut with Timmy Gatling's lead vocals and Sure! contributing uncredited background vocals.(5)

Al B Sure Oooh This Love Is So Download - Engcoaching

Reception(edit)

Professional ratingsReview scoresSourceRatingAllmusic(6)The Village VoiceB+(7)

Released on May 3, 1988 as a joint venture between Uptown Records and Warner Bros. Download free sql setsbitsoftsoftsc. Records, it was a huge success, having made it to #20 on the Billboard 200 and #1 on the Top R&B/Hip-Hop Albums Chart (where it remained for seven weeks). Produced with his cousin Kyle West, five singles were released from the album, all of which made it to the Billboard singles charts: 'Nite and Day,' 'Off on Your Own (Girl),' 'Rescue Me,' 'If I'm Not Your Lover' and 'Killing Me Softly.' A French-language version of 'Night and Day' ('Nuit et Jour') was also recorded, but it only appeared on the 12-inch maxi-single of the original.

Track listing(edit)

All songs are written and composed by Al B. Sure! and Kyle West, except where noted

'Nite and Day' – 4:03

'Oooh, This Love is So' – 4:39

'Killing Me Softly' (Norman Gimbel, Charles Fox) – 4:51

'Naturally Mine' – 4:14

'Rescue Me' – 3:57

'Off on Your Own (Girl)' – 4:09

'If I'm Not Your Lover' (Al B. Sure!, Timmy Gatling) – 4:07

'Just a Taste of Lovin' – 4:22

'Noche y Dia' – 4:03

Personnel(edit)

Les Davis, Teddy Riley – guitars

Kyle West – keyboards, keyboard programming

Al B. Sure! – lead and backing vocals, horn arrangements, drum programming, recording engineer, mixing

Rodney Grant – keyboards, keyboard programming

Michelle Amar – speech and spoken word

Tabitha Brace, Sharon Harris, Terri Robinson, Todd Auston – backing vocals

Michelle Boissierre – translation (English to Spanish)

Al B Sure Songs

Technical

Ken Collins, Roey Shamir – recording engineers, mixing

Benny Medina, Andre Harrell – executive producers

Carlton Batts – mastering

Kav Deluxe – design

Calvin Lowery – art direction

Deano Mueller – photography

Charts(edit)

Chart (1988)Peak positionBillboard Pop Albums(8)20BillboardTop Soul Albums(8)1

Singles(edit)

YearSingleChart positions(9)US PopUS R&B1988'Nite and Day'71'Off on Your Own (Girl)'451'Rescue Me'—3'Killing Me Softly'80141989'If I'm Not Your Lover'—2

See also(edit)

External links(edit)

References(edit)

^Eddy, Chuck (March 2011). 'Essentials: R&B Rubs Hip-Hop the Right Way and the New Jack Swing Era Is Born'. Spin. New York: 84. Retrieved March 15, 2013.

^'Sony Global - Sony History Chapter19 Non-Japanese Directors Join the Board'. info. sony.net. Retrieved 2014-02-19.

^ abcdefghAl B. Sure! co-producer Kyle West recalls the making of In Effect Mode (1988) | Return To The Classics

^Williams, Chris. 'Al B. Sure! co-producer Kyle West recalls the making of In Effect Mode (1988) | Return To The Classics'. interview. soulculture.co.uk. Retrieved 2014-02-09.

^'Class Of '88: GUY'. interview. allhiphop.com. Retrieved 5/6/2014.Check date values in: |accessdate= (help)

^Theakston, Rob. Al B. Sure!: In Effect Mode > Review at AllMusic. Retrieved 27 September 2011.

^Village Voice review

^ ab'Al B. Sure! US albums chart history'. allmusic.com. Retrieved 2011-09-27.

^'Al B. Sure! US singles chart history'. allmusic.com. Retrieved 2011-09-27.

Retrieved from 'https://en.wikipedia.org/w/index.php?title=In_Effect_Mode&oldid=1000693713'

'>

Nite and Day' is a song made 'in the style of' Al B. Sure! / The duration of this file is 4:03.

This file was commissioned by a private client and created in MIDI format. We do not offer our custom work for download on our website. Please contact us (click here) to enquire about this file.

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[lookingbackatfashionhistory]

• Woman's Dress: Bodice and Skirt. Maker: French (?) . Probably made for Gimbel Bros. Place of origin: Possibly made in France Date: ca. 1905 Medium: Blue and white checked silk plain weave, cotton machine lace.

[princessgracekelly1956]

The Philadelphia Inquirer - January 27 1956

Grace ‘Look’ in Windows

by JUDY JENNINGS

“We selected Grace Kelly several months ago as a typical American girl - one whom the public would like,” said Philadelphia born Kay Sullivan, now a partner of the Mary Brosnan Studios, New York, which sculptures mannequins to be used in store displays.

As it was impossible for Gimbel Bros. to bring Philadelphia’s Princess-to-be in the flesh for their fashion show this week they presented Miss Sullivan’s Sculptured Philadelphia Princess in a replica of the wedding gown Grace wears in her forthcoming picture, “The Swan.”

Though Kay Sullivan has been away from the Quaker City much of her lifetime, she was born here - the daughter of Mr. and Mrs. John Henry Sullivan, who now reside in Bayside, N.Y.

FINE ARTS GRAD

Much of Kay’s childhood was spent in traveling, since her father was head of a department store chain. The family returned to live here from 1929 through 1935 and it was then that Kay attended the Pennsylvania Academy of Fine Arts for four years and also studied privately under Albert Laessle.

She has exhibited her portraits at the Pennsylvania Academy of the Fine Arts and in the National Academy, New York.

COMMERCIAL ARTIST

The sculptor’s work now is almost entirely commercial. For the past 14 years she has been creating mannquinns for the Brosnan Studios. Time was when she not only created the faces (from pictures or live models) but the bodies as well. “But that was too wearing. I now do all the faces of women but have two assistant sculptors, sometimes three or four, for the rest of the detail.”

So far, 12 figures have been done of Grace Kelly and her “line” (as it is called in the trade), to exhibit the Philadelphia star’s unerring sense of fashion.

[lupinoschums]

Ida Lupino, who appears in Warner Bros, film, “In Our Time”, models a smart costume of raw silk with accessories of the same fabric. The dress, of kelly green has self colored violets tucked in at the waist. Gloves and hat are of natural raw silk, wile the bag is of natural, kelly and brilliant fuchsia......

From the Sophie Gimbel Custom Collection----Saks, Beverly Hills.

[gravitascivics]

GRATUITOUS UNDERTAKING

[Note:  This posting is a continuation of a report on the development of a civics unit of study. This unit is directing students to formulate informed positions on a governmental topic:  ground rules overseeing tort law.  It is being developed in real time.  Writer wants to identify his basic source of information, the Great Course’s course, Law School for Everyone.[1]]

In continuing this account’s review of tort law, this posting begins with an everyday sort of experience.  Everyone has driven down a road, usually paved, and seen one of those white X’s indicating one’s vehicle is about to cross a railroad track.  The X is there to provide a warning.

Since there is usually no train approaching, one does not stop, but one might slow down a bit and make the effort to hear if one is.  If a noise is heard, one would probably slow down even more and see if a train is coming and one knows to yield to it since the train won’t stop.  After all, that train is much bigger and, if hit by it, it will cause a great deal of damage to the vehicle and poses the possibility of serious injury if not death.

Then there are those crossings, the ones that are on busy streets, where there is a signal or even a descending barrier to indicate a train is about to cross.  But those warnings didn’t always exist; there were trains in the thirties, but no such warnings.  Well, instead, in those days, there were, at some crossings, watchmen.

A watchman (this writer does not know whether there were watchwomen) spent most of his days in a hut or shanty.  The job of this person was to, upon knowing a train was approaching, get out of the hut and warn people the train was about to arrive.  It should be noted, this was a voluntary service that apparently had been offered for some time.  In other words, there was no law mandating this service.

One day around the year, 1930, in Cleveland, Ohio, Stewart, in his truck, approached the crossing and there was no watchman present and so Stewart proceeded to drive his truck across the tracks. Low and behold, a train came and smashed the truck.  Stewart sued claiming negligence on the part of the Erie Railroad Company who set up the watchman hut and hired a watchman to man it.

The trial court found in favor of the plaintiff and that decision was upheld on appeal.[2]  In the decision, the court used the term “trick.”  That is, by providing the watchman service initially – and in this instance depriving it – the railroad in effect tricked Stewart.  The court found this to be negligence and sided with Stewart.

This case illustrates another legal concept, gratuitous undertaking.  What’s that? A look at another case demonstrates it more directly.  In a famous, former New York department store, Gimbels, a woman began showing symptoms of a heart problem.  This came to the attention of a sales clerk that took the woman to a store infirmary. The store personnel then ignored her for hours.  She suffered a heart attack and died.  As this history earlier described – e.g., Yania v. Bigan – if the store personnel left her alone and let her die, the store would face no liability.  

But by initially assisting her, they became responsible as the court found in this 1935 case, Zelenko v. Gimbel Bros., Inc.  From the record of the case, the court judge wrote:  “Holding that, although the defendant may have had no duty to assist a customer taken ill in his store, once he undertook to render assistance, he assumed a duty of reasonable care in doing so …”[3]  

The “undertaking” refers to the Gimbel’s employee ushering the woman to the infirmary, something no legal duty called for; and, therefore, that act was gratuitous.  But once it was taken, a duty was formed.  There are various reasons for this duty.  For one, by placing the woman in the infirmary, it precluded anyone else providing help and this constituted a negligence and, therefore, subject to a viable tort claim.  

The act also established a relationship.  And certain relationships do entail duties.  They are contractual relationships that identify duties or are inherent in the contract one assumes.  A lifeguard has a duty to save a drowning person, a doctor has a duty toward his/her patients, etc.  

This reminds one of the Costa Concordia cruise ship captain who abandoned his ship when it ran aground.  The accident resulted in deaths and injuries and it also resulted in Captain Francesco Schettino serving a prison sentence.  That case was not American – it was Italian – but it does illustrate this contractual obligation and how the captain did not meet it.

This topic deserves the review of one more case, Kline v. 1500 Massachusetts Avenue Apartment Corporation.  In the next posting, this case will be highlighted. 

[1] Edward K. Cheng, “Torts,” Law School for Everyone – a transcript book (Chantilly, VA:  The Teaching Company/The Great Courses, 2017), 230-445.

[2] “Erie R. R. v. Stewart,” Case Briefs, Erie R. Co. v. Stewart, 40 F. 2d 855, 1930 U.S. App. Lexis 3270 (6th Cir. Ohio May 13, 1930, n. d., accessed September 30, 2018, https://www.casebriefs.com/blog/law/torts/torts-keyed-to-epstein/affirmative-duties/erie-r-r-v-stewart/ .

[3] “Zelenko v. Gimbil Bros., Inc.,” Case Text, 158 Misc. 904 (N.Y. Misc. 1935), n. d., accessed October 1, 2018, https://casetext.com/case/zelenko-v-gimbel-bros-inc .

[erockcle]

Higbee's v. Joseph Horne's. May Company Ohio v. Kaufmann's. Halle Bros. v. Gimbel's. Key Tower v. One PNC Plaza. 5th Street Arcades v. The Arcade Shops at Fifth Avenue Place. The Flats v. The Strip. Ohio Savings Bank v. Dollar Bank. Panini's Bar & Grill v. Primanti Bros. Tremont v. Shadyside. University Circle v. Oakland. Case Western Reserve University v. Carnegie Mellon University. Hough v. East Liberty. Beachwood Place v. Ross Park Mall. Public Square v. Market Square. Settlers Landing Park v. Point State Park. The flagship rivalry of American sports. The Rustbelt Wars. This is Round Two. BROWNS 2020: The Closing Ceremony. #YaySports #GoTeamGo #SundayAfternoon #SundayFunday #GetIntoTheCity #TheNewAmericanCity #ThisIsCLE2021 🏉🏈🏟 (at Cleveland, Ohio) https://www.instagram.com/p/CJmAUayprIK0Qm0CJ2NYBVsSfWUxGAl8IeOH580/?igshid=1gq43nxljv014

[lupinoschums]

Ida Lupino, who appears in the Warner Bros. film, “In Our Time”, models a smart costume of raw silk with accessories of the same fabric.  The dress, of kelly green has self colored violets tucked in at the waist.  Gloves and hat are of natural raw silk, while the bag is of natural, kelly and brilliant fuchsia........

From the Sophie Gimbel Custom Collection----Saks, Beverly Hills.

Photo by Henry Waxman