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Color Options from American Patchwork & Quilting October 2012
Maple Leaf Farm
Designer: Bobbie Ashley
Cultivate a trio of techniques--hand and machine appliqué and hand embroidery--on a throw that has a harvest theme.
Maple Leaf Farm Color Option
Winter Wonderland
Blue and green combine perfectly in quilt tester Laura Boehnke's quilt. This color pairing--beyond traditional holiday colors--allows you to display your quilt longer so you can get more mileage out of your seasonal decor. Fabrics are from the Winter Menagerie collection by Jason Yenter for In the Beginning Fabrics.
Maple Leaf Farm Staff Color Option
Sometimes busy prints can produce rich color rewards, as was the case in senior editor Elizabeth Beese's version, which uses a collage print as its focal point. The variety of scale and colors in the main print belies the simplicity of the piecing in this elegant, easy throw. Fabrics are from the Explorer collection by Punch Studio for Hoffman California Fabrics.
Pixie Sticks
Designer: Sandy Klop of American Jane Patterns
Need a recipe for chevron success? Mix bright solids with a secret ingredient--a single print in several colorways. Sweet!
Pixie Sticks Color Option
Retro Zigzags
For her version quilt tester Laura Boehnke took a different slant, placing like fabric pieces in horizontal, rather than vertical, rows. She aimed for contrast in colors and patterns between rows, even when you had adjacent pink rows. Fabrics are from the Veranda collection by Verna Mosquera for FreeSpirit.
Pixie Sticks Staff Color Option
Deliberate placement and minimal contrast were editor Jill Abeloe Mead's color goals for her watercolor-inspired version. She used her design wall to plan the waves of color. The natural variations in batiks lend themselves well to blending colors effortlessly. Fabrics are from the Artisan Batiks: Dotty Dot roll-up (precut 21⁄2"-wide strips) by Lunn Studios for Robert Kaufman Fabrics.
Back on Track
Designer: Carrie Nelson of Miss Rosie's Quilt Co.
Head in the right direction by employing basic tools--an acrylic ruler in this case. Cutting corners simplifies the piecing of what appears to be a complex block.
Back on Track Color Option
Designer Carrie Nelson so enjoyed making Back on Track that she created a second version with a few differences. In the original quilt, Carrie used a single background to unify the scrappy blocks. Because the second color palette was a bit more controlled, she opted to make the background and border scrappy instead. Carrie also added pink sashing squares and limited the sashing strips to browns and tans.
After making blocks for the original quilt, Carrie decided she wanted the Xs to "float" inside the blocks so she gave each block a separate border of the background fabric.
Back on Track Color Option
Crossing Paths
Repeating a color in every phase of your quiltmaking provides continuity. For that reason, quilt tester Laura Boehnke used black print sashing in her version. Repeating the black print coordinates from the blocks unifies the quilt center overall, and the black in the paisley border print ties it all together. Fabrics are from the Vintage Vibe collection by Faye Burgos for Marcus Fabrics.
Crack the Code
Designer: Scott Hansen of Blue Nickel Studios
It may be difficult to see at first glance, but a single block--alternating in light and dark colorways--forms the basis for a stunning quilt.
Crack the Code Color Option
Tropical Twist
Quilt tester Laura Boehnke's version of Crack the Code emphasizes the sashing. Her choice of bright blue corrals the mix of vibrant batiks within each block of her color-infused quilt. Fabrics are from the Gumdrop Tonga Batiks collection from Timeless Treasures Fabrics.
Crack the Code Staff Color Option
Design director Nancy Wiles used her favorite print in multiple places on her single-block version. The repetition of a fabric in any quilt design helps unify the overall look. Fabrics are from the Bukhara collection from Dear Stella.
How Sweet It Is
Designer: Jennifer Bosworth of Shabby Fabrics
A hint of appliqué, including scalloped "doilies" and three-dimensional buds, highlight a patchwork of pieced blocks.
How Sweet It Is Color Option
Flower appliqués are most often rendered in realistic colors, but quilt tester Laura Boehnke didn't let realism stop her from choosing a palette that better matches her decor. Laura's decision to use a large-scale abstract print for the setting squares makes the resulting throw appear more intricate than it actually is.
Fabrics are from the Earthtones collection by Norman Wyatt, Jr., for P&B Textiles.
How Sweet It Is Staff Color Option
In intern Ivy Christianson's interpretation of How Sweet It Is, the stars recede and pinwheel centers pop around an hourglass square on point that forms where the four blocks come together. The faded look of the lighter prints minimizes the distinction between the pieces that form the background. Fabrics are from the Gentle Flowers Vintage Bloom collection from Quilt Gate.
Harvest Rows
Designer: Betsy Chutchian
Halloween hues and striped sashing set the tone for a scrappy quilt composed of vertical strips.
Harvest Rows Color Option
Southwestern Plains
Fussy-cutting and deliberate placement of a directional print, such as the stripe quilt tester Laura Boehnke used for the sashing of her version, directs your focus to the quilt center. Fabrics are from the Desert Dreams collection by Kensington Studio for Quilting Treasures.
Harvest Rows Staff Color Option
Assistant editor Jody Sanders pulled from a stash of 1930s reproduction prints to make a straight-set interpretation of Harvest Rows. In addition to making four Big Dipper blocks (each one with four matching hourglass units rotated to form a pinwheel), Jody made five additional hourglass units--four for the border and one she trimmed to 2" square and used as a sashing square in the center of the quilt.
Under the Big Top
Designer: Tamara Barfels of Daisy Ridge Quilting and Design
Step right up and use a circus of colorful pieces to put on quite a show. It's easier than it looks! Keep your curves smooth with a combination of fusible web and rickrack.
Under the Big Top Color Option
Wheel of Fortune
Tame the riot of color by narrowing the palette to just a couple of colors and adding a neutral, like in quilt tester Laura Boehnke's quilt. With the addition of brown as a neutral to the green-and-blue palette, her single-block version does just that. Fabrics are from the Robin collection by Erin Ries and the Impressions Moire collection, both from Clothworks.
Under the Big Top Staff Color Option
Executive editor Jennifer Keltner flipped the script for her monochromatic wool version, using a stripe for the background and tone-on-tones for the appliqués. She whipstitched each piece in place with matching-color threads so the stitching would show as little as possible.
Delightfully Frightful
Designer: Lisa DeBee Schiller
Add a whimsical touch to your decor with pillows more likely to charm your guests than spook them.
Delightfully Frightful Color Option
Ornate Floral Pillow
For even quicker home decor, fussy-cut a beautiful large-print fabric to use in place of the center appliqué. If you can't locate matching ribbon, use a strip of coordinating fabric (bias-cut so it won't fray). Fabrics are from the Ruby collection from Timeless Treasures Fabrics.


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An Interview With Gerald S. O'Loughlin
August 26, 2011
One of the the twentieth century's great faces, Gerald S. O'Loughlin traversed the usual postwar character actor's path: study under legendary acting teachers, Broadway and live television experience, middle-aged pilgrimage toward movies and filmed television on the West Coast. If you don't know him from his regular roles in The Rookies or Our House, then you'll remember him from guest-leads in a few hundred television episodes or supporting parts in films like In Cold Blood, Ice Station Zebra, and The Organization.
Short, stocky, balding, and with an unmistakably Noo Yawk-tinged voice, O'Loughlin (pronounced O-LOCK-lin) was a casting director's blue-collar dream. His curriculum vitae is full of cops, hoodlums, jailbirds, GIs. Though many of these characters were tough guys – O'Loughlin himself was a marine lieutenant during the war and then the occupation of Japan, and not shy about pointing that out – some had a more sensitive mien, luckless little guys pushed around by life or fate or bad women. O'Loughlin, Strasberg-trained and shrewd, found the humanity in these stock roles, always playing the unexpected side of the material. He had his roster of Method tics – count how many times, in how many different roles, he folds his arms across his chest. His voice was lugubrious, almost a drawl, but O'Loughlin enunciated his words in an almost singsong way; that habit, coupled with his instinct for underplaying, made O'Loughlin one of the most touchingly straightforward personae on television. On The Rookies, the Aaron Spelling-generated cop drama that made O'Loughlin a quasi-star, the producers seemed to think they were getting a screamer, a dull clone of the square-jawed police boss that Tige Andrews played on Spelling's similar Mod Squad. Though you could see why the young cops quaked in his presence, O'Loughlin threw in his usual curve. His Lieutenant Ryker was a voice of reason, a veteran who had seen everything and gave out his orders in affirming tones of calm, patience, and resignation.
Active in the Los Angeles branch of the Actors Studio until just a few years ago, O'Loughlin now resides in the Motion Picture Country Home in Woodland Hills. Scheduling did not permit a visit, but over the course of several phone conversations this spring O'Loughlin shared some favorite stories from his life and work. Just as many of his working-class characters seemed to be closet intellectuals, O'Loughlin was full of surprises, beginning with the fact that he enjoyed a more privileged upbringing than any of the mopes he played on screen. He spoke with a disarming frankness not only about his adventures on the stage and in front of the camera, but of his struggle with alcoholism and his long-term relationship with a movie star nearly twenty years his junior.
Tell me a bit about your background and your childhood.
My father was a lawyer and a Phi Beta Kappa at Columbia. Just a brilliant, wonderful guy. Everybody was crazy about him. He had some papers to look up in Cuba, and it was in the middle of the winter. He went down to Cuba, which was tropical, and he contracted diarrhea and amoebic dysentery together. He came back to New York and it went into what is called a dormant period, the dysentery. The following summer, it recurred, and they simply did not know what he had until the autopsy. I think I was four and a half when he passed away.
I was raised by my mother. Her mother was in the house, and an old maiden aunt was there. I was surrounded by a lot of women. A cook, a [housekeeper], a nurse. My father left us well taken care of. My mother never had to go to work. She took care of me and the two old ladies.
I grew up in a house on 145th Street and St. Nicholas Avenue. It wasn't a brownstone, it was a graystone. They're a little fancier, a little more luxurious. My grandfather, my mother's father, was a prominent civil engineer, Charles Dodd Ward. He came from an old Jersey City family. When the Army Corps of Engineers was laying their plans for the Panama Canal, my grandfather was, just from a scholarly standpoint, very interested in looking over their shoulders. He looked at the Army Corps of Engineers' plan, and he recommended that one change be made. The French De Lesseps plan had a thing called the Gatun Dam, and he recommended that they extract the Gatun Dam out of the DeLesseps Plan and insert it into the American one. And that would save the government, in those days, forty million dollars. He delivered this hypothetical paper before the American Society of Civil Engineers, and those hypothetical talks were always put into print and available to everybody. And the Army Corps of Engineers said, "Shit, he's right. Put it in." So they did. He got credit for it in many books, but they couldn't get him a job because Teddy Roosevelt was one political party and my grandfather was the opposing one.
Did you know during the war that you wanted to be an actor when you came back?
Yes, I knew then. I had to gratify my family first by getting a degree, and the easiest thing for me to get a degree in was mechanical engineering. So I spent a couple of years doing that. But once I finished college, I went to an acting school in New York called the Neighborhood Playhouse, also on the G.I. Bill, for another two years.
The Neighborhood Playhouse was dominated by the legendary Sanford Meisner. Tell me what you learned from him.
His key ingredient for actors was, "What do you want?" What do you want in the scene? What do you want from the person? In other words, in its simplest form it would be, "I want to borrow some money."
So that would motivate your performance of the material.
Yes. You get to do it in a very easy way by improvising. Then later on when you get the lines down, hopefully there's still some carryover from what you had in the improvisation.
How many other students were there?
I would say twenty-six, perhaps, in each of the classes. There were two classes, like juniors and seniors. Leslie Nielsen was in the class ahead of me.
After that you joined the Actors Studio?
Not immediately. I did some summer stock, and finally Sandy Meisner wrote a letter to Lee Strasberg. I'd done an audition for one of his people, and they wanted me to do another. But the letter that Sandy Meisner wrote Lee Strasberg clinched it. He said, "You don't have to do another audition. You come highly recommended."
What did you learn from Strasberg, and at the Actors Studio in general?
Strasberg took us into what is called sense memory. Sandy Meisner just was strictly an action person: What do you want? He was very cautious about doing the sensory thing. But sooner or later I think most of us fooled around with it. It's a valuable tool.
At the same time you were doing a lot of live television.
Oh, yes. I did a soap that I'll never forget. I had a scene with a woman who was older than I was. I think she was my landlady. I had a speech like, "You remind me of my mother. You're a regular such-and-such." And I couldn't remember, when we went on the air, what such-and-such was. So I came up with a Jewish expression, "You're a nudnik!" I solved the problem that way.
I was in another soap when they first started using tape. Somebody accidentally erased the tape – there were two tapes and they erased them both – and we had to shoot two shows in one day. What a mess. I had an offer to do a movie, but [first] I had to get them to let me go. I said, "Could you let me out of my contract so I can do a movie?" He said, "We'd be happy to." They were so glad to get rid of me.
Oh, I had difficulty with my lines sometimes.
Were there other things that went wrong when you were on the air live?
I don't think so. [But] I know I walked onstage once, and I had a glued-on mustache. The downstage side of the mustache was separating from my skin. I heard a woman in the first row say, "Your mustache is coming off!" So I put my finger up on my moustache and pressed it back against the spirit gum.
I had a nightmare on stage with Bonnie Bedelia. I was in a play and we were out of town before coming into New York. It was a terrible play, but anyhow. She was sitting facing the audience, and I was sitting sideways to the audience, and we were talking. I was sitting in a chair, and I had my arms out around the arms of the chair and into my pants pockets. I thought it was a quirky, kind of a creative way to sit in a chair, in a play that could use any kind of a crutch that was available. What I didn't realize was that the chair had recently been glued by the stagehands. They should've put it someplace where it couldn't be used until it dried out, but somehow I wound up sitting in it. But at the same time I had a hangover, and I started to feel a little vertigo, as if the chair was leaning. I said, "Oh, that's the hangover." And I kept on talking, and I kept on leaning, and finally, slowly, this chair was pulled apart like taffy. Went down to the floor and tipped over to the left, to my left side, never taking my hands out of my pockets. And I got up and took the broken chair and put it over by the side of the set. Got a good chair, and brought that back to the set. I sat down, and I looked at Bonnie Bedelia's eyes. She had her hand covered over her mouth. And I have never seen anybody's eyes so full of water. I mean, they were flooding over with water, she was laughing so hard, trying not to give into it. I think [the play] was Happily Never After [1966].
Do you remember doing Mister Peepers?
Yes, I did one or two. I was a school bus driver in one of them.
You also did a live show with Ralph Meeker, a Goodyear Playhouse called "The Darkness Below" (1952).
That was really terrific. It was about a mine cave-in. These two guys were prisoners in a mine cave-in, and the idea behind the story was, in ordinary day-to-day life, one was a bum and the other was like an Arrow shirt man. When they get into the mine cave-in, they change roles. There was a flashback, and in the flashback I had to [change wardrobe] – I was in a set of overalls that could be removed, and underneath it was a blue serge suit.
Kim Stanley was in that. We had the dress rehearsal, and the director was giving notes after our last rehearsal, just prior to the actual broadcast. He had a little pad in front of him with different actors and what he wanted to say to them. When he came to me, instead of saying it out loud – he was a bit of a prude – he wrote a little note on a piece of scrap paper to the effect of, "When you kiss Kim, do not stick tongue in her mouth." Which I was not doing. I was just giving her a gentle, affectionate kiss. But he thought I was up to some mischief. So I said to myself, well, this one moment in this show, apparently I'm in good territory with my acting. I'll just leave it alone. So I gave her a very nice, chaste, affectionate kiss.
Let me ask about some of your theater work. What was your Broadway debut?
The thing that catapulted me from Off-Broadway was a play by Frank Gilroy called Who'll Save the Plowboy? He's a terrific writer. It was kind of a very heavy barrage of dialogue, monologue-type dialogue. It's like learning a piece of music or something. Once I got it down, you could hear the audience respond. Very effective. It was a beautiful piece of writing and I benefitted from it tremendously, as did the young woman, Rebecca Darke.
It was done Off-Broadway at the Phoenix Theatre. Robert Montgomery was in the audience, and as a result of seeing me in that he put me in a play [Calculated Risk, 1962-1963] on Broadway, which was not successful at all. But at least I got cast by Robert Montgomery in a Broadway play! Why it was sort of a weak play was it had been a British television show about the stock market, about a hostile raider in the stock market. I played the hostile raider. That's when I came on the stage with my mustache flapping in the breeze.
Do you remember doing Clifford Odets's Golden Boy (1952)?
Yes. That was an ANTA production. Lee J. Cobb played the father. He was wonderful, just a real force to watch. In the evening after the performance we used to go to the bar and grill, and he was at a table with four or five other people, about ten, fifteen feet away from where I was. I heard the punchline of a joke, and I never found out what the rest of the joke was. But the punchline of the joke, which he told with a thick Jewish accent, was "Fuck around vit Hopalong Cassidy, boy, hah hah hah!" I was so in awe of him, I didn't have the guts to go up and say, "What's the rest of that joke?"
Tell me about playing Stanley Kowalski in A Streetcar Named Desire.
It was exciting. I played it under relaxed conditions in summer stock one time, up in Boston. Lee Falk had a theater in Boston. It was a great experience, wonderful. The writing is so brilliant, so foolproof. Later on [in 1956] I did it in a not exactly Off-Broadway but not exactly on Broadway, some kind of a delicate thing Actors Equity worked out, with Tallulah Bankhead. Frances Heflin, Van Heflin's sister, played Stella.
How was Tallulah in that role?
You'd be surprised. She was able to run a gamut of emotions from excitement to abject pity. She was all right. One time we were in Palm Beach, rehearsing. We were doing a technical run-through for the lights and the sound. So we were doing stop and go, stop and go. We stopped, and she and I were standing nose-to-nose. As we were going through our paces, she impulsively gave me a kiss. Now, close up, she looked like my grandmother. She was well on. But I tried not to wince or anything like that. And she looked me dead in the eye, knowing full well what's going on in my mind, and said, "Just you remember, young man, I had a one-night stand with Gary Cooper!"
Was Tennessee Williams around for that production?
Yes, he was around. He had a little too much to drink once in a while. I heard one time he went out through the audience in the intermission, saying, "Miss Bankhead is pissin' on mah play!" But by and large he was well-behaved, and so was she. I was glad when it was over, though.
I don't know, the pressure. She drew enormous pressure. She also drew the gay claque. They would sit way up in the balcony. There's a moment where she and Mitch come back from a date, and before they go in the house they're looking at the constellations, and she's talking about the Pleiades. She said [the line] "Those old girls aren't getting any tonight." As she said that, she's looking right up at the top balcony where all the wild, mischievous gay people are sitting and raising hell. And they go wild!
Did Williams say anything to you about your performance?
I don't think so. He was probably disappointed in it. Marlon Brando was marvelous.
Did you come up with your own interpretation of Stanley that was distinct from Brando's?
Oh, I tried. I tried to do my own colors. It's beautiful writing. It's impossible to avoid stopping a show when you play Stanley, when the woman says, "You get up and wash your filthy hands, you greasy Polack!" And he tells them all off: People from Poland are Poles, not Polacks, and what I am is one hundred percent American!" And he swipes the silverware and the plates off the table and says, "My place is clear. You want me to clear your places?" The audience just goes wild. Always stops the show.
You were in the stage version of One Flew Over the Cuckoo's Nest (1963-64), as Cheswick.
Kirk Douglas. I understudied him, and he wanted to look at the play from out front, so I went on for him once. I look back on my experiences doing that play, a mad, chaotic kind of a scramble. It just seemed to take that form.
What was Kirk Douglas like?
Oh, no way to describe him. He was like a shark. Very aggressive. He held it up; he did his part. He did the part well. That was not really a relaxed, pleasant experience. It was just kind of a mad scramble.
Do you remember A Cook For Mr. General (1961), directed by Fielder Cook?
Not much of a play, but I had such a great part. A compulsive liar, would talk to anybody and tell them a huge lie. At the end of the play, he's a witness in a court-martial. He tells a huge lie, and at the end of his testimony, he says, "Private So-and-So slipped and fell and lost his balance, and his fist accidentally came up as he was trying to catch his balance and accidentally hit Lieutenant So-and-So in the jaw." And it proceeded with, "And we were having a very intellectual discussion." The interrogator says, "I see. And what was this very intellectual discussion?" And I used to go blank. Totally blank, every night. He would whisper it under his breath, and I would remember it and say, "Psychoanalysis." The audience just went insane.
Why did you go up on that particular line?
Because he was in the middle of a lie. He would be blank. And the reality of that got hold of me! The fellow that was playing the interrogator was nice enough to throw me the line every night. I should have taken him out to dinner, and I never did. And I got such a laugh on that, that the audience stopped the show. They laughed so hard that they went into a round of applause.
You were one of the leads in Lovers and Lollipops (1956; pictured above), a great, New York-lensed independent film by Morris Engel and Ruth Orkin, who made The Little Fugitive.
That's the first movie I ever did. I had to pay three hundred dollars to join the Screen Actors Guild. It was sort of fun. They were very loose. It was the second movie they'd made.
Another of your early films was A Hatful of Rain (1957).
We shot the exteriors in New York and the interiors in Hollywood, at Twentieth. I loved Eva Marie Saint. Shelley Winters did [her role in] the play. Harry Guardino was on the stage, but I got Harry's part in the movie.
What do you remember about Fred Zinnemann, who directed it?
What a lovely, gentle man. A good director in every way. Just a pleasure to be around.
He came out of a Hollywood tradition that was very different from your theatrical training.
He was able to help me with that problem. In other words, there's a scene in A Hatful of Rain where I'm standing in a doorway, and I spin my head around from right to left. I was snapping it too vigorously, and he commented that that's okay for the stage, but just turn it in a more slow, normal way. Which I did, and I realized the value of it immediately.
I understand you were close to the actress Sandy Dennis.
Yeah, we lived together for seven years, in New York.
Tell me about her. What was she like?
Extremely gifted, extremely talented, and a lovely, lovely woman.
How did the two of you meet?
We were both understudies in a William Inge play called Dark at the Top of the Stairs. I understudied Pat Hingle, and she understudied two people, Eileen Heckart and somebody else.
She usually played neurotic or high-strung characters. Was she like that off-screen?
No, not really. One time when we lived together – I myself was a dyslexic, and I was going to a psychiatrist, and I was bemoaning my fate – how it was a terrible job to keep a checkbook balanced and accurate, and the psychiatrist said, "Did you ever think of adding a column of figures twice?" And I said no. It was true – I never did. I got through college, I was studying engineering, I took it for granted that I could handle the figures. I never did that. So I started adding them twice, and I was elated at the results. I went out and rented a little electric adding machine, and I loved it! Punch up the combination and then press the button to print, and it would go click-click-click-click-click. It was a ball! I really had a good time. And she came into the room while I was doing it one day, and I looked at her and she looked at me, and she said, "Oh, I hate that look on your face, when you're like that."
I said, "Well, that's because you don't bother with that. In your life you" – how did I put it? – "you just go running around to department stores, charging things up and then going on the road, and then I have to pay for them." She had half a glass of water in her hand, and she threw the water out of the glass at me. I jumped up and grabbed her and shoved her back into the shower with her clothes on. It was all good-natured and fun. But not long after that she left me.
Boze Hadleigh's book Hollywood Lesbians includes an interview with Dennis, in which he suggests that she was bisexual or gay.
I never heard that. I know that she left Gerry O'Loughlin, an Irish alcoholic, for Gerry Mulligan, an Irish . . . he used all kinds of substances. From one to the other. But I don't know anything specific about her lesbianism.
Were you still a couple when she made Who's Afraid of Virginia Woolf in 1966?
We were not still together, but we were friends. I stopped in on the set and said hello to her one time. We'd essentially split up by that time.
Tell me about Elia Kazan, who directed Dark at the Top of the Stairs.
One day he said to me, "You sound too much like I do." He was telling me I didn't have a southern accent. My character was from the South. So I worked on it. But Kazan was an interesting person. The first time I met him, I shook hands with him, and he deliberately pulled me over to my right, forced me off balance. An interesting way of forming a relationship with somebody. But he was very gifted, and accomplished a lot.
Why did you move from New York to Los Angeles in the mid-sixties?
I made a lot more money once I moved out here. Living in New York, if you were lucky, you'd get one or maybe two plays a season. Nine times out of ten they're not successful. Do a little summer stock. So there's not much money in New York, but the minute I moved out here I was making $40,000 a year. In those days that was good money.
Were there any casting directors who used you a lot, who boosted your career?
Well, I married one. Meryl Abeles was her maiden name. No, actually, her maiden name was Cohen, but she had been married to a guy named Abeles. Then she changed her name to O'Loughlin. She put me in a good part in a two-hour special about the Civil War, called The Blue and the Gray.
What do you remember about Richard Brooks, who directed In Cold Blood?
He's one of these professional marines, wants to make sure you know he was a marine. Like, I read Truman Capote's book before I did any work or anything. In the book, the cop that I played, when he got to Las Vegas and arrested the boys, his sinuses kicked up. That's the reality that took place. So I wanted to play this one scene with a handkerchief in one hand, like I was wiping my nose. Richard Brooks said, "What the fuck is that?" I explained it to him. I think in the end he let it go.
What was the atmosphere like on the set during the hanging scene at the end?
Well, it was just like you would imagine it was. I must say I read the book carefully, and somewhere in the book, during the hanging, it mentions that in a hanging it usually takes nineteen minutes before they can get a reading of no pulse. I didn't mention that to the director, because I didn't get along with him too well, but I did mention it to John Forsythe. I told John Forsythe about the nineteen minutes, because we were getting ready for the second hanging and so forth, so he told Richard Brooks, and nineteen minutes was a consideration [in the staging of the scene].
It was a little shocking, going to the actual places where the murder took place in Kansas. It was a little spooky. We actually shot the murders in the actual house where they took place. I was still drinking, so I had hangovers sometimes.
You struggled with alcoholism during your career, didn't you?
I'm not supposed to broadcast that I went to A.A. But I got sick and tired of being sick and tired, so I found a way to stop drinking.
Was that becoming a problem for you professionally?
Probably. You can't hide it. I did come to work drunk once. Shortly after that I stopped.
That was during Ice Station Zebra (1968)?
One day they passed out the call sheets for tomorrow morning. I looked at the call sheet and I had nothing to do but stand around. I was nothing more than an extra, literally. I came in with a – not even a hangover, I was still drunk from the night before. They had decided that I was behaving myself so well before that that they were going to do me a little favor, and write a little scene for me, where Rock Hudson had gone up on the ice cap and I took over the submarine. And I just was incapable of even doing a half-assed job of it. It was a terrible feeling. So that really broke the camel's back. Not long after that I came to A.A.
Patrick McGoohan, who was in Ice Station Zebra with you, was a famous drinker.
He always had a light odor of scotch. Not overpowering. I've been up against heavy [drinkers]; he sipped mildly throughout the day. Never caused any trouble; always knew his lines. I was very impressed with him. He was a terrific actor.
What do you remember about Twilight's Last Gleaming, another movie with an all-star cast and a military setting?
The movie was not that great, but I have a scene in that – the idea is that Charles Durning was the president of the United States, and I was like Alexander Haig had been for Nixon. An old buddy. I have a scene with Charles Durning where I bawl him out – he's my boss, but we're old friends. It's a great scene. I'll tell you how good it was. They had a little debut in Washington D.C. for that movie, and there was a top brass, an admiral in the navy, and he and his wife and I were introduced to each other at a little cocktail party before going in to see the movie. We were very stiff with each other and not comfortable at all. Then we went in to see the movie, and when the movie was over he threw his arms around me and he said, "You were terrific!"
What do you remember about Robert Aldrich, who directed it?
Terrific! There's the other director I would nominate as an all-time great. He's a terrific director, and a very warm guy. I had a special toupee made. There was an assistant director, and he had a crew cut, and I wanted a toupee that looked like that. This guy, a wigmaker in the Valley, he made me just what I wanted. A kind of a half-assed crew cut. Siegfried Kreike, he came from a wigmaker family in Germany. Robert Aldrich came up to me and said, "I've got to tell you, ordinarily, I hate toupees. But that one is great."
How did you get the part on The Rookies?
The casting director was an old friend of mine, Bert Remsen. I knew him back in New York. He just said, "I'm putting you in that part."
Bert Remsen is better known as a character actor. Tell me about him.
You may have heard how he had his accident that forced him to walk with a cane. He'd been working as an actor on that set the day before, and the day before that, but he was through. But he happened to be in the neighborhood, so he stopped by and walked in to say hello. And he saw this Chapman Crane starting to fall, and he shoved four or five people out of the way and it caught him. He was a real hero. And because he wasn't working, he could get no medical benefits. Because he wasn't supposed to be there as part of his job that day. He was in the neighborhood and he stopped by to schmooze.
Who were some of the other actors on The Rookies?
There was Georg Stanford Brown. Sam Melville. Michael Ontkean, who eventually left and was replaced by somebody. Kate Jackson. I think I was sort of a father image, and was a little bit distanced from them, but on good terms.
Do you feel like you were ever typecast in a certain kind of role?
Not really. I sort of enjoyed being a lieutenant on The Rookies. Maybe because I was a lieutenant in the Marine Corps. After The Rookies, they offered me The Love Boat. The part that Gavin MacLeod got.
Why did you turn that down?
Because I was insulted. This is a dilemma that only an actor can get into. I play lieutenants with the police department, I don't play captains on an excursion cruiser! Playing The Rookies was so embedded in me, I scorned the other one. Today, I wish I had not reacted that way. I'd have a couple of million more dollars. I think they ran for eight years.
Does that mean that Aaron Spelling, the executive producer of both those shows, was a fan of yours?
Not really. He was the one that came to me and tried to get me to do it. It was the network, I think. Aaron Spelling would have been glad to get rid of me, but the network wanted me to do the captain of The Love Boat.
Why would Spelling have been glad to get rid of you?
I don't know know. I never felt that he liked me that much. Maybe it's because I didn't like him that much! Just chemistry.
The Rookies would have run two or three more years, but ABC got a new president, and he came in with a lot of pet projects. So The Rookies just suffered the consequences.
Was Our House as good an experience as The Rookies?
Not quite as good, no. I had more fun on The Rookies. More demanding scenes to play.
Tell me about Wilford Brimley.
He's a fine actor.
Were the two of you close, as your characters were, during Our House?
Not really.
You directed episodes of The Rookies and Family, another Aaron Spelling production.
I directed two, but directing turned out to be not so good for me. I'm a dyslexic. I can't think fast. Being a director is the hardest work in the work in the world. You have to plan the scenes, how you're going to shoot them, how many cameras. It was really tough work, trying to shoot at least twenty pages a day. I directed two shows and I was happy to leave it up to somebody else. You've got to work your ass off the night before, you work all day long, and you go back and start it all over again. Actors are spoiled. When an actor is working, during the day, if he's not needed for half an hour, he goes to the trailer and gets a little snooze. You can't do that when you're directing.
The Defenders "Kill or Be Killed" (1963) The famous urban legend about the death row inmate (O'Loughlin, of course) who kills a guard in an escape attempt just as he's cleared of the original crime. O'Loughlin seizes upon the man's justifiable paranoia about the legal system in this classic Larry Cohen teleplay.
The F.B.I. "Ordeal" (1966) O'Loughlin drives a truckload of nitro across a treacherous mountain pass, in this near-one-man show, swiped from Clouzot's classic The Wages of Fear and directed by our friend Ralph Senensky. O'Loughlin "had a terrible time learning how to shift gears in a truck. I never did pick it up."
Mannix "Comes Up Rose" (1968) O'Loughlin does his take on Elisha Cook, Jr. in this neo-noir, the best of his several variations on hen-pecked nobodies who take up a life of crime to please a femme fatale (in this case, hubba hubba Sheree North).
Hawaii Five-O "The Box" (1969) Playing a hard but smart lifer, O'Loughlin (above) faces off against the man who took his Love Boat role – a giggly Gavin MacLeod – in this tense prison riot story.
The Rookies "Time Is the Fire" (1972) In the first episode to focus on O'Loughlin's character, Lt. Ryker suspects that a young kidnap victim is the long-lost daughter he gave up for adoption. O'Loughlin's big scene is a long, Emmy-caliber monologue in which he lays out Ryker's tragic backstory to nurse Jill (Kate Jackson).
Correction, 9/6/11: O'Loughlin's military rank has been corrected in the second paragraph. He was a lieutenant, not a sergeant. Thanks to Charlie Ziarko and Stuart Galbraith IV for helping to arrange this interview.
24 Responses to "An Interview With Gerald S. O'Loughlin"
August 26, 2011 at 4:47 pm
Fantastic interview with one of my favorite character actors! I guess he deserves a rest after his many years in the business, but I wish we had even more O'Loughlin appearances to enjoy. He certainly doesn't talk like someone who is going to be 90 in December!! His answers are clear and precise and he has "his" opinion. I'm glad you asked him about the little remembered "Twilight's Last Gleaming" (which needs to come out on DVD), he even mentioned his favorite scene, which is certainly mine too. Is there more to the interview?
August 26, 2011 at 7:22 pm
A very fine interview. Mr. O'Loughlin still seems terribly sharp; his comments and anecdotes are wonderfully candid. I respect that "this is all that there will be… in this space," but it would be very interesting to learn of his observations on working on Frank Gilroy's DESPERATE CHARACTERS feature film and his strange, hard-to-forget small role in Ken Russell's CRIMES OF PASSION.
August 26, 2011 at 9:51 pm
Thank you! I love learning more about guys like this. I had no idea about his life with Sandy Dennis. And I'm glad you found room for "The Box," which, next to THE ROOKIES, is what I always associate with him.
August 29, 2011 at 11:42 am
Fine interview, Stephen. Isn't it strange; I directed Gerald in four shows, but learned much more about who he really was reading your interview than I did from the 25 to 30 days I spent with him on the soundstages.
August 30, 2011 at 10:19 am
"Death Chain" on DAN AUGUST.
August 30, 2011 at 7:40 pm
Stephen: Thank you for a fine interview with Mr. O'Loughlin. Interestingly, I thought his character on "Our House" was a gentle departure from his usual roles and played perfectly against the gruff Wilford Brimley character. However, it appears from his perfunctory responses regarding this series that the experience wasn't very rewarding.
November 21, 2011 at 11:59 am
Gerald was best man at my wedding in New York in 1965 to Sidney Kay, and subsequently, god father to one of our twin boys. I think of him often, sometimes have the privilege of chatting with him on the 'phone and am always uplifted by the experience. One of my fondest memories is the time I made dinner for him in the flat he and Sandy Dennis had shared. I shopped for the ingredients and cooked a dish: Coq au Vin, which Gerry/O'Lock pronounced delicious, and, elbow slipping off the table, said: ". . . happiness comes to 85th Street!" (We were somewhere on the upper West side of New York, so I may have the address wrong.) I miss him terribly: he is one of a kind. HAPPY BIRTHDAY, Gerry. and much love. Joan Kay.
December 2, 2011 at 12:44 pm
I had lost contact with my uncle Gerald. I met him at my age eleven and lost him at my age fifty five or so, all thanks to my multiple marriages and cell phones. What a well written interview, wow am I happy I googled his name today. A very Happy December Birthday to you Uncle Gerald, with much love from Anne Urbahn Mulvey Norton Ricciotti Slocum
July 12, 2012 at 9:37 pm
Had the fun of escorting Gerry around when he was in Ireland picking up an Irish accent for an upcoming play or film around 1958.He was staying with an elderly aunt who ran a home for retired Protestant missionaries.He was glad to "get out and about" with non religious people and a taste of Irish pub life
Ernie Sievewright Vancouver Island Canada
August 31, 2012 at 8:13 pm
Enjoyed the interview greatly. The first time I saw Gerry in anything was when he played Pete Banas in the soap opera, "The Doctors", back in the mid/late '60's. I thought he was adorable…still do. Please give him my best love.
August 14, 2013 at 9:23 am
You must check out his episode of 'Judd For the Defense' ("A Swim with Sharks"), which was recently posted on Youtube. He plays a "working stiff" to the hilt! He had two other memorable roles for me: John Cappelleti's daddy in 'Something for Joey' and the fed who made Charles Bronson spill his guts in 'The Valachi Papers'.
December 23, 2013 at 7:27 pm
Thank you, so much, for the interview! Gerry has been one of my favorites since "The Rookies." I had the pleasure of meeting him once, many years ago. Such a lovely, great guy!
January 31, 2014 at 9:24 pm
My father attended engineering school at Lafayette College and knew Mr. O'Loughlin.
December 26, 2014 at 1:49 am
I met Jerry in the Actor's Studio in LA. We worked together and became friends, He's inspired me and been very supportive (and amused) by my doings and I've learned a a great deal from him. I love to watch him on the stage or in front of a camera. No false moves. Very rooted. Very connected. So specific in everything he does. He loves the process of creating- the exploration. He builds parts. He's a craftsman like a carpenter is a with wood, Jerry is in the substance of spirit. Women love him. Because of the way he loves them. Authentic. Nuts and bolts. Meat and potatoes. A good man, a real Irishman, a real mensch. An actor, yeah, an artist. Always, his own.
September 25, 2016 at 5:51 pm
Great interview. One of those actors who always seemed to be on tv when I was growing up and it's easy to see why. I didn't know he had passed away until I Googled his name tonight. He's left a wonderful legacy of entertainment. May he Rest In Peace.
June 6, 2017 at 4:45 am
Fascinating interview! I was an apprentice and he was an actor at a summer stock theater in the 50s. I had a huge crush on him !
October 18, 2022 at 3:52 pm
He was also great in a first season episode of 12 O'Clock High's "Here's to Courageous Cowards".


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Under-the-radar players to watch for in Super Bowl
Like Rod Martin in Super Bowl XV, Carl Banks in Super Bowl XXI and Tracy Porter in Super Bowl XLIV, these players have a chance to forever be enshrined in Super Bowl lore as heroes nobody saw coming.
LaMichael James, RB, San Francisco 49ers
Frank Gore is the main man for the 49ers, but don't fall asleep on LaMichael James. James didn't even take a single snap until the month of December. He was stuck behind Gore and Kendall Hunter on the depth chart, and the 49ers didn't feel the need to rush him into action as a rookie. But when Hunter went down with a torn Achilles tendon at the end of November, James rose to the challenge and took over for his teammate in style. James is a speedy back who possesses surprising power. In his short time as Gore's backup, he's carried the ball 35 times for 180 yards (5.14 yards per carry) and one touchdown (including playoffs).
Bernard Pierce, RB, Baltimore Ravens
Ray Rice is one of the NFL's best running backs, and the Ravens absolutely need him to play well in Super Bowl XLVII, but he's not the only back capable of having a huge impact on the outcome. Bernard Pierce has been one of the unsung heroes to Baltimore's postseason run in 2013, and he's actually outgained Rice on the ground in two of the team's three games thus far. Pierce gained 532 yards and one touchdown on 108 carries (4.9 yards per carry) during the regular season. He really stepped his game up to another level this January, rushing for 169 yards on 27 carries (6.3 yards per carry) in the postseason.
Video coverage of Super Bowl XLVII
Tarell Brown, CB, San Francisco 49ers
No doubt the secondary of the San Francisco 49ers will be tested multiple times in Super Bowl XLVII. The Atlanta Falcons completely annihilated the 49ers through the air in the first half of the NFC Championship Game, but Tarell Brown and his mates buckled down and shut it down in the second half. Brown is an unheralded member of the 49ers defense. Carlos Rogers, Donte Whitner and Dashon Goldson receive most of the national attention, but Brown has been playing at a high level all year long.
Pernell McPhee, DE, Baltimore Ravens
After a promising start to his young career in 2011 (six sacks), Pernell McPhee's sophomore season wasn't nearly as productive, as he struggled with a knee injury for part of the season. But McPhee has come on strong of late, with four tackles, one sack and a forced fumble in the playoffs. A strong performance from him against the 49ers in Super Bowl XLVII is absolutely necessary if Baltimore has any hope of slowing down San Francisco's rushing attack.
Ted Ginn, WR/ST, San Francisco 49ers
Ted Ginn only caught two passes for the 49ers all year long, and only one for three yards so far this postseason. He isn't a reliable receiver, but boy, can he make plays with the ball in his hands—which is why he's such a dangerous punt returner. Ginn has only returned two punts thus far in the playoffs, but his 20-yard return early in the fourth quarter against the Atlanta Falcons put the 49ers offense in Falcons territory and resulted in the game-winning drive.
— Bleacher Report


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Our Best Casserole and Hotdish Recipes
Chicken-Broccoli Bake
A flurry of curry adds zest to this classic casserole combo of chicken, broccoli and cheese.
Spinach-Mushroom-Sausage Pierogi Bake
You don't get much easier than this recipe from Jan Valdez of Chicago! Saute a few ingredients, stir in cream cheese to make a sauce, and dump it all over frozen pierogis in a casserole dish. (You don't even need to thaw the pierogis!)
Hash Brown Casserole
A crispy, savory crust of cheese, crushed cornflakes and butter tops a combination of ham, hash-brown potatoes, cubed cheese, condensed soup and sour cream. A potluck favorite!
Download our FREE printable collection of 10 top casserole recipes
Pizza Pasta Skillet Casserole
A blanket of gooey cheese and the oven-crisped pepperoni make this casserole a guaranteed kid pleaser. Of course, you can switch up the ingredients as easily as the toppings on a pizza. Classics like sweet pepper, black olives and sausage are all fair game—but we'd hold the anchovies!
Cheeseburger-and-Fries Casserole
This might be the easiest casserole you ever make, with just four ingredients and 15 minutes of prep time. The recipe comes from an Elkader, Iowa, reader who entered it in the Midwest Living® "Heavenly Hotdish" contest. Kids of all ages will probably douse the stick-to-your-ribs meal with ketchup.
Classic Chicken and Wild Rice Hotdish
Rich cream sauce stands in for canned soup in Minnesota chef Amy Thielen's spin on classic chicken and wild rice hotdish. The recipe comes from Amy's book The New Midwestern Table (clarksonpotter.com).
Sweet Potato and Black Bean Enchiladas
Doctored with onion, chili powder and cocoa, canned sauce becomes a stepping-stone to something deeper.
Savory Shepherd's Pie
Traditionally, shepherd's pie was a way to use leftover roast beef. Our shortcut recipe uses packaged beef roast.
Download our FREE printable collection of 10 top casserole recipes
Mexican Mac and Cheese
Pair Mexican flavors with pasta for this comfort-food casserole that includes sausage, salsa and Monterey Jack cheese.
Butternut Squash Mac and Cheese
The combo of butternut squash, rigatoni, bacon and smoked cheese makes for a delicious twist on traditional mac and cheese.
Wine-Tasting Lasagna
This is a great recipe for entertaining. If you're thinking about holding a wine-tasting party, the flavors of the red meat sauce and cheese-spinach layers in this colorful lasagna will complement the wines.
Cheesy Brat Casserole
This six-ingredient hotdish recipe from an Appleton, Wisconsin, reader features an all-star lineup of Wisconsin foods, including bratwurst, cheddar cheese and potatoes. "It's a quick, easy recipe," our reader says. "There's not much you can mess up."
Eight-Layer Casserole
A Waukegan, Illinois, reader contributed this homespun ground beef-and-noodle hotdish recipe. She said it is one of her favorites to take to church suppers. Make-ahead directions are included at the end of the recipe.
Chef Joe's Cranberry-Orange Chicken
Joe Schadler of Celebration River Cruises in Moline, Illinois, loves this make-ahead chicken casserole with its sweet-tart flavor. Off-the-shelf ingredients such as bottled French salad dressing and canned cranberry sauce make it a snap to put together.
Mexican Biscuit Casserole
This taco-flavored main dish is a potluck favorite from a Fargo, North Dakota, reader. Serve it with tortilla chips so your guests can scoop and eat.
French Spaghetti
Layers of creamy white and tomato-mushroom sauces crown this meatless noodle dish. You can serve it with a salad as a main course or spoon out smaller portions as a side dish.
Puffed-Up Pizza Casserole
This Italian-flavored dish was one of the winners in Midwest Living®'s "Heavenly Hotdish" contest. The recipe comes from a Maryland Heights, Missouri, reader, who says the casserole freezes and reheats well. Adjust the hot-pepper sauce to suit your taste.
Unforgettable Chicken Pie
This from-scratch deep-dish chicken casserole comes from a Caledonia, Michigan, reader. "It's not your run-of-the-mill chicken pie," says the reader, who adds a bit of pork sausage for farm-hearty flavor. "Anyone who tries it just can't get enough of it."
Hominy and Sausage Bake
Combine turkey or bison bratwurst, hominy and chopped potatoes for a hearty main dish casserole. Speed prep time by using canned hominy, if you like.
Eggplant, tomato, Parmesan cheese and ground beef are the heart of this fresh-tasting, easy version of a Middle Eastern dish. Serve with a tossed salad and hot, crusty bread.
Macaroni and Cheese Perfection
Forget what you know about store-bought packages—this is REAL macaroni and cheese. The children of cheese-makers Shelley and Randy Krakenbuhl accepted nothing else while they were growing up above the Prima Kase cheese factory in Monticello, Wisconsin. Here's the family recipe for Macaroni and Cheese Perfection, which Shelley prepares using Prima Kase's Emmentaler cheese and some Parmesan.
Chicken Alfredo and Rice Casserole
For a fast warm-up on a weeknight, put together this quick and easy version of classic chicken and rice casserole with refrigerated light pasta sauce, cubed cooked chicken and cooked rice.
Greek Pastitsio
Some call this dish (pronounced pah-STEET-see-oh) the Greek lasagna. Our version was inspired by the pastitsio served at a popular Detroit-area Greek restaurant. We use elbow macaroni and kasseri cheese (similar to provolone in flavor, but milder with a slight buttery taste). Just like lasagna, this dish is easier to serve if it stands about 10 minutes after baking.
Texas-Style Casserole
Patterned after a legendary Texas recipe, this irresistible main dish includes seasoned chicken stacked up with chili peppers, tortillas, sour cream sauce, and cheese.
Sausage-Wild Rice Casserole
Pork sausage and wild rice blend with onion, mushrooms and water chestnuts in an easy-to-make casserole. Add 2 cups cubed, cooked chicken or turkey to make it a main dish.
Mexican Polenta Pie
Great for a potluck or family dinner, this 12-serving casserole combines polenta with ground turkey, spices, black beans, tomatoes and Monterey Jack cheese.
Cheesy Italian Meatball Casserole
Combine Italian meatballs, three kinds of cheese, pasta and sauce for this easy, crowd-pleasing casserole.
Triangle Ranch Scalloped Corn
Diced green chile peppers give this cheesy baked dish character with some hotness. We like the crunch from the saltine crackers, too. The recipe comes from Triangle Ranch Bed and Breakfast in western South Dakota, where guests enjoy hearty meals prepared by B&B owner Lyndy Ireland.
Tuna Alfredo Casserole
Substitute any pesto you like in this easy, six-ingredient tuna casserole recipe.
Delightfully Light Green Bean Casserole
Classic green bean casserole gets a makeover with a lightened sauce that uses reduced-fat and reduced-sodium condensed soup. Put the side dish together in just 20 minutes thanks to canned and frozen ingredients.
Free printable casserole cookbook and more
Click below to download our free printable collection of 10 casserole recipes or other free printable cookbooks.Related Links
- Free printable casserole cookbook
- Free printable apple desserts cookbook
- Printable slow-cooker cookbook
- Printable sweet corn recipes cookbook
- Printable fall harvest recipes cookbook
- Printable 1st annual recipe contest cookbook
- Printable 2nd annual recipe contest cookbook
- Printable All-Time Best Recipes Cookbook
- Printable chicken recipe cookbook


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Regard Peul by Fabienne Arietti - 24 X 32 Inches (Art Print)SKU: GC-165-01
Regard Peul by Fabienne Arietti.
All of our fine art posters are made on thick, high-quality paper. Artistica Fine Art displays vivid, and sharp image quality and has an appearance that is guaranteed to satisfy your best expectations. Our fine art prints give you not only the best quality art reproductions but also a very competitive price.
Contact us about our Framing services!
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Gift Idea Canvas Print of a Metal Wall Art Sculpture
Beautiful framed canvas of reproduction print of a metal sculpture modern art.
The stretched canvas represent a baby hand grabbing a mum or dad's finger. A perfect inspirational gift for baby shower, mothers day, father day or any other celebration related.
This wall hanging art work is very modern and will give a beautiful style in you home interior design.
Supplied and framed on timber stretcher frame bars as the 2nd and 3rd pictures but without floating outer frame, even if showed on the mockup.
Our wall arts are printed, framed and packed in our workshop with the utmost care.
If you are not happy when you receive simply return it for a refund.
Our wall arts are printed, framed and packed in our workshop with the utmost care.
If you are not happy when you receive simply return it for a refund.
💫The First picture show what you are ordering
💫The second picture shows an example of our real prints
💫The third picture shows its stapled at the back( this may vary depending on some print and materials)
💫 the fourth picture show how carefully your order will be packed
💫 and the video shows the quality of the printing grade coming out straight out of our machines.
1 inch = 2.54 cm
- Printer on quality polyester Canvas
- Warer resistant but not waterproof
- stretched and stapled on 2cm timber frame.
- Printed on the latest of EPSON technology
- framed manually
- packed with extreme care.
- 260 gsm media
The colour of proportion may vary slightly;
- depending on the size you select, it will be cropped slightly
- light may vary depending on room lighting or screen intensity, please allow tolerances.
- choose the size carefully as this is what you receive, allow +/- 1 cm tolerance on the measurements.
- if the mockup picture show an outer frame, this will not be supplied, pur canvases are only supplied with back stretcher frame.
- mockup pictures are for illustration purposes.


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Climbing Wallpaper
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Download Climbing wallpaper images for any device and screen size. High quality Climbing wallpapers and images! Customize your desktop, mobile phone and tablet with our wide variety of cool and interesting Climbing wallpapers in just a few clicks.


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Finding Charleroi payday loans in Pennsylvania, should not be impossible if you meet all the requirements that loan seekers should have in this state. Many lending companies are willing to assist you with your financial problems. However, when you request quick cash from these companies, you must always ensure you are able to abide by the terms of the loan repayment.
Also, confirm that the company is licensed to issue salary loans where you stay. Any loan can put you in debt if you rely on them to fund your budget every month. Therefore, it is essential to check on other cost-effective options for borrowing money instead of payday loans. With this guide at your disposal, you can always contact a lending company near you for quick cash.
It's the sort of credit you take when different emergencies happen. There are such examples as medical bills, house maintenance, car repair, etc. Of course, each customer has his own purpose.
Applying does NOT affect your credit score!
No credit check to apply.


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This past Wednesday, The Kosher Scene Radio Show did a live broadcast from Nargila Grill (1599 York Avenue – between E. 84 and E. 85th Street – New York 10028; Tel: 212.535.3700).
Nargila Grill is a Middle Eastern/Mediterranean type restaurant, the decor authentic Middle Eastern, with softly piped in music to match.
After the show we all enjoyed an incredibly delicious meal consisting of assorted Mediterranean salads, beef, lamb, and chicken kabobs. Each type of meat was done in a variety of styles and came on multiple skewers, each more succulent than the other!)
We are going back next Wednesday, to do another live show and to enjoy the owner's mother's Bukharian cooking. She comes in once a month to prepare some real delicacies. My mouth is watering just thinking about it. Why don't you join us at: Nargila Grill (1599 York Avenue – between E. 84 and E. 85th Street – New York 10028; Tel: 212.535.3700), next Wednesday evening? We'd love to meet you and we know you'll love the food! We'll leave the light on for ya. May we have the pleasure of seeing you there?


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Russian FM says Assad won't go
MOSCOW — Russia's foreign minister said Saturday that Syrian President Bashar Assad has no intention of stepping down and it would be impossible to try to persuade him otherwise.
After a meeting with Lakhdar Brahimi, the U.N.'s envoy for the Syrian crisis, Lavrov also said that the Syrian opposition risks sacrificing many more lives if it continues to insist on Assad leaving office as a precondition for holding talks on Syria's future.
Assad "has repeatedly said publicly and privately, including in his meeting with Lakhdar Brahimi in Damascus not long ago, that he does not intend to leave for anywhere, that he will stay to the end in his post, that he will, as he expressed it, defend the Syrian people, Syrian sovereignty and so forth," Lavrov said. "There's no possibility to change this position."
Brahimi warned that the country's civil war could plunge the entire region into chaos by sending hundreds of thousands of refugees into neighboring nations, but his talks in Moscow produced no sign of progress toward settling the crisis.
Brahimi and Lavrov both said after their meeting that the 21-month-old Syrian conflict can only be settled through talks, while admitting that the parties in the conflict have shown no desire for compromise. Neither official hinted at a possible solution that would persuade the Syrian government and the opposition to agree to a ceasefire and sit down for talks about a political transition.
Brahimi, who arrived in Moscow on a one-day trip following his talks in Damascus with Assad this week, voiced concern about the escalation of the conflict, which he said is becoming "more and more sectarian."
The envoy warned that "if you have a panic in Damascus and if you have 1 million people leaving Damascus in a panic, they can go to only two places — Lebanon and Jordan," and those countries may not be able to endure half a million refugees each.
Brahimi said that "if the only alternative is really hell or a political process, then we have got all of us to work ceaselessly for a political process."
Russia has been the main supporter of Assad's regime since the uprising began in March 2011, using its veto at the U.N. Security Council along with China to shield its last Mideast ally from international sanctions.
Lavrov said Russia would continue to oppose any U.N. resolution that would call for international sanctions against Assad and open the way for a foreign intervention in Syria. And while he again emphasized that Russia "isn't holding onto Bashar Assad," he added that Moscow continues to believe the opposition demand for his resignation as a precondition for peace talks is "counterproductive."
"The price for that precondition will be the loss of more Syrian lives," Lavrov said.
Both Brahimi and Lavrov insisted that efforts to end the civil war must be based on a peace plan that was approved at an international conference in Geneva in June.
The Geneva plan calls for an open-ended cease-fire, a transitional government to run the country until elections, and the drafting of a new constitution. But it was a non-starter with the opposition because of Russia's insistence that the plan leave the door open for Assad being part of the transition process and the fact that it didn't mention possible U.N. sanctions.
Brahimi said that while some "little adjustments" could be made to the original plan, "it's a valued basis for reasonable political process."
With the opposition offensive gaining momentum in Syria, there is little hope that the initiative would have any more chance of success than it had when it was approved.
Lavrov has said that Moscow is ready to talk to the main Syrian opposition group, even though it had earlier criticized the United States and other Western nations for recognizing the Syrian National Coalition for Opposition and Revolutionary Forces as the legitimate representative of the Syrian people.
On Friday, coalition leader Mouaz al-Khatib rejected the Russian invitation for talks and urged Moscow to support the opposition's call for Assad's ouster. Lavrov said Saturday that al-Khatib's statement was surprising after his earlier contacts with Russian diplomats in Egypt during which the opposition tentatively agreed on a meeting in a third country.
Lavrov said the coalition leader should "realize it would be in his own interests to hear our analysis directly from us."
Lavrov rejected the opposition claim that Russia's continuing weapons supplies to Assad's regime make it responsible for mass killings in Syria, saying that Moscow bears no responsibility for the Soviet-era weapons in Syrian arsenals. He said that defensive weapons such as anti-aircraft missiles that Russia has continued to supply to Damascus couldn't be used in the civil war.
"We aren't providing the Syrian regime with any offensive weapons or weapons that could be used in a civil war," Lavrov said. "And we have no leverage over what the regime has got since the Soviet times."
Georgy Mirsky, a leading Mideast expert with the Institute for World Economy and International Relations, a top foreign policy think tank, said President Vladimir Putin's stand on Syria is rooted in fear that joining international calls for Assad's resignation would make him look weak at home.
"It would look like an inadmissible concession to America, a virtual surrender. The Kremlin would lose its face, look like a loser," said Mirsky.
He wrote in his blog that Putin is resigned to Assad's eventual collapse and the loss of any Russian influence in a future Syria, but firmly opposes international sanctions. That stand allows Putin to tell his domestic audience that Russia has defended its ally until the end against overwhelming odds, said Mirsky.


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Submitted by rc-admin on
Recent literary studies have generally assumed that regionalism emerged around the turn of the nineteenth century in response to the consolidation of the modern nation-state, imperial expansion, and industrialization, all of which tended to efface cultural, and to some extent geographical, differences among sub-national communities. Yet during the long eighteenth century, various literary and cultural developments—from newspapers, novels, dictionaries, and poems, to antiquarianism, topography, travel writings, and statistical surveys— reflected, and arguably participated in creating, local and regional forms of community. No Place Like Home will explore the idea that regionalism and localism— or, more generally, the aesthetic expressions of sub-national cultural, political, or geographic identities —may have preceded, or at least accompanied, the rise of the nation-state. Our proposed collection aims to challenge "rise of the nation" narratives by exploring forms of regional and local affiliation in British literature and culture in the 150 years preceding the nation-state's emergence as the paradigmatic form of community in Western Europe. We are therefore soliciting contributions that investigate any of the following topics as they relate to British literature and culture between 1660 and 1830:
-- the emergence of regionalism as an aesthetic, cultural, and/ or political category
-- the development of the concept of the local (especially in contradistinction to the competing claims of the national and the global or cosmopolitan)
-- the evolution of discourses of "rootedness," "aboriginality" or other forms of sub-national belonging, identification, or community
Please send 500-word abstracts for essays of 5,000 to 7,000 words, along with brief academic CVs, to Evan Gottlieb (evan.gottlieb[at]oregonstate.edu) and Juliet Shields (js37[at]u.washington.edu) by September 1, 2009 .


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Coming from the Perl 5 world, or from some other background, you may think of the programming language and its implementation as the one thing, or at least things very strongly tied to each other. Perl 6 is different. The "official" part is the specification (the Synopses) and the tests suite. Perl 6 encourages multiple implementations. Any implementation passing the official test suite and fulfiling the Synopses may call itself "a Perl 6 implementation". While there is still no such implementation, there is alredy a few compilers in the ecosystem.
Rakudo is targetting the Parrot virtual machine, and it's the most complete implementation so far. Niecza is targetting .NET and is aiming to study performance issues. There is also Yapsi, whose "author has claimed that it's official for over half a year now, and not once been contradicted" :) We will be using Rakudo for our examples as it is the most complete implementation around and has the largest ecosystem built around it.
Like with Perl 6, there is no "one Rakudo to rule them all". The Rakudo development team has decided to keep the compiler separate from the distribution. That means the Rakudo release is not a ready-to-use Perl 6 tarball, with modules, documentation and a virtual machine. That's what Rakudo Star is. First released about half a year ago, Rakudo Star contains the toolbox with everything needed for Perl 6 hacking: a release of Parrot virtual machine, the Perl 6 Book, a bunch of modules and the Rakudo itself.
Getting Rakudo Star
The Rakudo Star tarballs are located at https://github.com/rakudo/star/downloads. Go get one suitable for your system and become ready for Christmas… again!


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Garden Center Road Trip in Wisconsin
I brake for plants
I'm ankle-deep in coral bells, squinting at a plant tag, mentally weighing the price against how much I really want Heuchera 'Amethyst Myst'. Yes, it's one of my favorites, but here at The Flower Factory, 15 miles south of Madison, Wisconsin, I can choose from 66 other varieties.
It's a happy problem. For that kind of selection, I take at least one road trip every spring. It feeds a gardener's primal urge: Must hunt for plants.
Boring but necessary stuff -- like potting soil -- I can get from a blocky building with a parking lot the size of Nebraska. But for stuff that grows, give me a destination. I'm not alone: More gardeners are shopping at a local garden center than a mass merchant, according to a recent survey by the Garden Writers Association.
Pictured at left: Nancy Nedveck, co-owner of The Flower Factory, holds one of nearly 100 hardy geranium varieties they sell.
A lazy drive and a country-cute setting
Part of my fun is a lazy drive along a wooded country road where trees unfurl shimmering new leaves and I inhale the scent of freshly turned earth. My ideal garden center (sometimes called a nursery or farm) has a country-cute setting, display gardens and unusual plants. It's even better if there's a chicken scratching for grit, a friendly dog that comes over to sniff my feet and a style as charming as I'd like my own yard to have.
Pictured at left: Monches Farm, 15 miles northeast of Oconomowoc, Wisconsin.
The mother lode in Wisconsin
To plan my trip, I dredge the Internet and mine suggestions from friends. This year, I unearth a mother lode in southern Wisconsin. I craft a driving loop between Madison and Milwaukee, with the idea of hitting as many places as I can in just two days.
To haul everything, I rent a small SUV. It'd be more fun with a girlfriend, but none is available, so I settle for books on CD and set out from my Des Moines home.
Among the places on my itinerary: K&W Greenery, Janesville; Enchanted Valley Gardens, Evansville; The Flower Factory, Stoughton; Schonheit Gardens, Sun Prairie; Country Gardens Perennials, Oconomowoc, (920) 474-7324; Monches Farm, Colgate; Mayfield Nursery, West Bend; The Flower Source, Germantown; Minor's Garden Center, Milwaukee; Shady Acres Perennial Nursery, New Berlin; Yerke Frog Alley Greenhouses, Mukwonago; Wayne's Daughters, Caledonia; Mileaeger's, Racine and Sturtevant; Northwind Perennial Farm, Burlington.
Garden treasures
One of my first stops is The Flower Factory near Stoughton. My fellow plant nerds rave about this farm, which has more than 4,000 varieties of hardy perennials -- one of the largest selections in the Midwest.
I park beside a 100-year-old red barn and gape at row after row of plastic-covered hoop houses packed with garden treasures. Luckily, there's a map. A scale-model train (left) rolls along a track near a weathered shed, and a sandbox awaits children.
Dragon's head and more
In the sales areas, I don't hold back. New to me: dragon's head (Dracocephalum grandiflorum). It grows in partial shade with intense blue flowers. The Flower Factory sells 10 types of dragon's head. Really, I'm restrained getting only one. The price for my signature plant, 'Rozanne' geranium (the Perennial Plant Association's 2008 plant of the year) is excellent: only $7.50 for a 4-inch pot. I've seen them sell for twice the price. I'd better get two.
I want more (that's me, pictured at left). I buy more -- oh, so much more -- but at some point, I stop. Must pace myself.
Cute finds at Schonheit Gardens
At Schonheit Gardens (left), just east of Madison, there's a sweet-tempered dog named Shadow. Red outbuildings. Nice display gardens. And 'Dre's Dagger' for my fern collection. Then I find the troughs, lightweight plastic containers that resemble real rocks cut in half. They'll look way cute with miniature conifers and rock garden plants. I nab three.
It all looks appealing
Alliums and irises bloom in display beds at Schonheit Gardens. Purple looks so striking against the nursery's red buildings.
Monches Farm oozes charm
A short jaunt along winding, blacktop roads brings me to one of my all-time favorites: Monches Farm, 15 miles northeast of Oconomowoc.
The grounds ooze charm, overflowing with classical sculptures, urns and terra-cotta pots. Brick-lined paths lead to fields of potted plants.
Fancy chickens, including one that looks like it's wearing a large Russian fur hat, squawk near a stone coop. Elegant home decor fills a gift shop. Display beds and mature trees ring a farmhouse.
Peacocks at the farm
An iridescent peacock struts around at Monches Farm, sometimes cutting loose with an eerie shriek.
Irresistible flowers
It's drizzling, but I don't care. I pull a red Radio Flyer wagon to haul my 'Raspberry Ice' pulmonaria (deer don't like the fuzzy leaves) and a 'Scaredy Cat' plectranthus. A flat of hot-pink verbena (left) all but jumps into my arms.
Road trip, day two
I hit more garden centers before I call it a night. The next morning, I check the soil of each pot, watering lightly if one seems too dry. Got to keep my babies happy.
At this point, my loop gets a little jagged. North of Mukwonago, Yerke Frog Alley Greenhouses devotes an entire greenhouse to organic vegetables. I choose tomato plants and give the place mental points for its red barn. At the checkout, I smile when I overhear a customer tell her friend: "I don't smoke. I don't drink. So I buy plants."
A living postcard
I drive to garden centers in Caledonia and Racine, then move on toward Burlington. I thrill at the sight of puffy white clouds in clear blue skies and Holsteins grazing green grass. It's a living Wisconsin postcard.
By the end of the day, the SUV is full. My wallet is flat. I'm happy. It's time to head home, plant my goodies and plot the next trip
Visit public gardens
Steal great ideas from four public gardens located near my Wisconsin garden center loop: Rotary Botanical Gardens, Janesville (left, the early-blooming wildflower hepatica at Rotary gardens); University of Wisconsin-Madison Arboretum, Madison; Olbrich Botanical Gardens, Madison; and Boerner Botanical Gardens, Hales Corners.
(A version of this story appeared in Midwest Living® March/April 2008.)
University of Wisconsin-Madison Arboretum


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During our holiday to Portland in January, we visited the North Portland Cemetery also known as the Old Portland Cemetery. Thanks to a handy brochure I picked up at the Tourist Information Centre it was something we could do as a family.
The guide outlines some of the more notable graves in the cemetery. Each of those graves has a number marker. There are also arrows pointing to the next grave of interest. This made visiting the cemetery fun and educational for the small research assistant. Finding each of the numbered graves and reading the corresponding information in the brochure kept his interest on our circumnavigation of the cemetery.
The number one grave is the Robb family memorial. William was a local stonemason.
Despite fires in the past, the wooden fence around the Rankin grave still stands, the last of its kind in the cemetery. The grave belongs to Agnes, Margaret and Charles Rankin
Agnes died from blood poisoning in 1875.
Several members of the Haggestton family lie in the Haggestton plot. Frederick, Sara, Joseph, and John Haggestton, the children of Joseph and Mary Haggestton and Joseph and Mary themselves are all buried here. At the time of Joseph senior's death in 1907, he owned several properties around Portland. Nineteen properties, including The Royal Hotel, were auctioned on 20 February 1908. The Haggestton headstone was vandalised, along with others, in 1986. It was restored by Parker & Sons, a Portland stonemason.
The graves face out over Portland Bay where many of those buried first entered Victoria.
This unusual headstone dates back to 1841 before the cemetery opened. It belongs to six-year-old Henrietta Earls. Her mother Harriet was also buried in the plot in 1854.
You can read more about the cemetery on the link:


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On its surface, logistics seems straightforward – moving something from A to B – but the truth is that in many cases the relative success of a company's supply chain is a 'make or break' proposition. Lean manufacturing has more or less become the standard approach among the world's largest companies across nearly every sector, which is why many businesses are now turning to logistics providers for ways to help maintain a competitive edge.
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