REAR WINDOW SUN SHADES. REAR WINDOW

Rear window sun shades. Purple awning pastries. Aquarium canopy hinge.

Rear Window Sun Shades


rear window sun shades
    rear window
  • car window that allows vision out of the back of the car
  • Rear Window is a 1954 American suspense film directed by Alfred Hitchcock, written by John Michael Hayes and based on Cornell Woolrich's 1942 short story "It Had to Be Murder".
  • Tru Calling is a supernatural drama television series that aired on the Fox Network. The series premiered on October 30, 2003, and ran for two seasons before it was cancelled during its second season, with the final episode airing on April 21, 2005.
    sun shades
  • A space sunshade or sunshield can be described as analogous to a parasol that s or otherwise reduces some of a star's rays, preventing them from hitting a planet and thereby reducing its insolation, which results in less heating of the planet.
  • can also refer to the sun-shading eyepiece-type, although the term is not exclusive to these. Also in use is the derivative abbreviation, shades.
rear window sun shades - Car Window
Car Window Curtain (s) by Sunfade
Car Window Curtain (s) by Sunfade
PORTABLE ADJUSTABLE CURTAIN For Cars, Vans, Trucks, SUVs, Boats, RVs,............ Protects the passengers from heat and harmful Sun rays. An ideal product to have in any car. There are many types of auto sunshades in the market today, but none as conveniently adjustable as this polyester mesh curtain. It quickly sticks on a side window by two strong suction cups. Slides along a cord you adjust to any length by an innovative, patented method. Here are some of its unique features and advantages over the other sunshade products.

79% (16)
Shade, view, and breakfast
Shade, view, and breakfast
Dine' (Navajo) land - Monument Valley. Ho'zho is the term the Dine' use to describe the value, beauty, and harmony of the natural world. Day five of my 8 day road trip, I left my camp at Betatakin and started making my way for the Cedar Mesa area of Southern Utah, to do some hikes, I had not taken before. I stopped in Kayenta to gas up and try to no avail to find any place in town with block or cubed ice for my ice chest. Things run on "Navajo time" in Navajo country and that is how it should be. No sense being impatient. I found out that things (like the toll booth to Monument Valley), don't always open up when posted but rather operate on a much more relaxed and flexible "Navajo time". It is much better to go with the flow and smile, rather than get frustrated by it. In Kayenta I was driving north on the main street of town, when I saw a horse, accompanied or being harrassed by two border collies, step out on the main street of town and start walking down the middle of the road. I smiled and pulled out my camera; rolled down the window to take the "horse in town" photo, and the horse started toward my truck like I was going to give him a sugar cube. Meanwhile the town police vehicle, having spotted the potential traffic problem, made its way south, toward me, the horse, and the escort dogs, so I thought I had better get moving. In my rear view mirror, I could see the "Navajo solution" to the horse problem. The police turned on their flashing lights, hit the road siren briefly, and escorted the horse off the main street, without ever leaving their patrol car. LOVE IT! I had driven through Monument Valley many times over the year but must confess I had never slowed down and taken the time to do the 17 mile dirt road loop through the best rock forms in the monument and where John Ford and a young actor named John Wayne, made so many of their western movies including one of my favorites filmed in 1949 "She wore a Yellow Ribbon". The list of movies filmed in Monument Valley on Navajo land is impressive (close to 50). Here is a sampling: 1939 Stagecoach; 1949 She Wore A Yellow Ribbon; 1962 How the West was Won; 1969 Easy Rider; 1983 National Lampoon's Vacations (Chevy Chase running across the landscape); and in 1993 Forrest Gump with the classic "jogger on the endless highway scene". The Navajo reservation is the largest by far in the U.S. and the tiny Hopi Indian reservation is a tiny island WITHIN the Navajo reservation. Both tribes poke barbs and fun of each other. I have heard the Navajo refer to their Hopi neighbors as the "hopeless" tribe. The Navajo are also fiercely independent. The entire state of Arizona does not recognize daylight savings time, but just to show their indifference to conformity and the state of Arizona - - the Navajo do switch to daylight savings time (perhaps that is part of the confusion of when things open and close on "Navajo time"). After leaving Monument Valley, I got gas and block ice at Mexican Hat. I also ate a great late lunch at a cafe next to the San Juan River (Navajo stew; Indian fry bread; and a big vanilla milk shake). They let me charge my camera battery at the cafe while I finished my meal and played a round of pool. After Mexican Hat I headed up Butler Wash on the east side of the interesting Comb Ridge rock formation. There I took two "hot weather" hikes. The first to a petroglyph panel called by most: The Procession Panel. After that hike I went a short distance up the Butler Wash road and took a hike up the canyon and onto the Comb Ridge to the Monarch Cave cliff dwelling. This was one of my favorite hikes of the entire road trip. Beautiful little hike and the globemallow carpeted the canyon walls. After the two Comb Ridge hikes and a long day of driving from Betatakin, I decided that after sleeping in my truck for four nights, I need to "treat myself" to a motel room for a couple of nights. I drove up to Blanding and got a nice simple motel room for two nights, with plans to leave my room early Monday morning and take a 7 mile hike down Kane Gulch and Grand Gulch to the mouth of Todie Canyon, then back out the same way. That was the plan and that is what I did. ~~~~~~~~~~~~~~~~~~~~~~~~~~ May 12th through May 19th - - I traveled 9 states in 8 days, camping, driving back roads, visiting scenic and historic sites, and taking some great day hikes. These are some of the photographs from this solo "road trip". Day One: Home in Eastern Washington; Mountain Home, Idaho; Owyhee, Nevada and a very cold night camped at Wild Horse Crossing south of Mountain City, Nevada. Day two: NEVADA - - Mountain City; Elko; Wells; Ely (through a snow storm); Panaca. UTAH - - Enterprise, Veyo, to a warm and scenic enjoyable camp and hiking at Snow Canyon. Day three: UTAH - - Snow Canyon; St. George; Hurricane; to Fredonia, Arizona. Forest Service Road #22 and
Lever House
Lever House
Midtown Manhattan Lever House, situated on the west side of Park Avenue between East 53rd Street and East 54th Street is a 24-story glass and stainless steel clad office building composed of a vertical slab rising above a horizontal base. Its construction in 1950-52 heralded the beginning of a new wave of American skyscraper construction and a new synthesis of modernist architectural ideals. Since the time of its completion, its crystalline forms and glazed curtain walls have attracted world attention. It has assumed a major role in the literature of modern architecture and has been wide ]y recognized as a key monument in the evolution of the International Style. Lever House also heralded the almost complete transformation of Park Avenue that took place in the years following 1952. The mile-long stretch, of Park Avenue from the Grand Central complex to Last 59th Street changed in a single decade from an avenue of traditional masonry apartment houses to one of .lass and steel office buildings. Lever House was the first New York real estate venture to take advantage of a zoning provision which permitted a building to rise with no setbacks provided that the building covered only 25 percent of the lot. As a result, Lever House broke the tradition of "shaped tower" skyscrapers which had prevailed since the 1910s. Lever House introduced many innovations into skyscraper design that were to be much imitated. The most obvious was the use of glass covering almost 100 percent of the visible facades, as well as an integrally designed window-washing mechanism to keep it clean. It also introduced the concept of opening a portion of the ground floor to public use and of providing an open courtyard at its base. This last feature was later to become, in the form of the open plaza, almost a standard component of New York office building development. Above the ground floor the building serves solely to house the offices of the Lever Brothers Company, an American manufacturer of household products whose desire for a New York headquarters of outstanding design - resulted in a major architectural statement. Lever Brothers Company The Lever Brothers Company traces its American origi ns to iSSS when Vi lliam Hesketh Lever (1851-1925), a British manufacturer of "Sun 1i gh t" scum , toured the The Site In 1815 the site of the present Lever House was part of a farm owned by Charles McEvers, whose house stood on the western end of his property near Fifth Avenue.-^ His tract stretched from the imaginary line of Fifth Avenue to that of Fourth Avenue (later Park Avenue). The history of Fourth Avenue, however, really begins with the advent of the railroads. In 1834 the New York and Harlem railroad first carried passengers along newly laid tracks down the center of Fourth Avenue from 42nd Street to 96th Street. By 1848 the New Haven Railroad entered Manhattan along Fourth Avenue. Due to increased noise, smoke, and danger of fire and injury, the city government directed the railroads to depress the tracks along the avenue. As railroad traffic increased, more space was needed to lay additional tracks. By 1881 Fourth Avenue was widened to .140 feet. The trains ran in an open cut below grade south of 56th Street. On either side of the depressed tracks were 27-foot wide roadways and 15-foot wide sidewalks. North of 56th Street the tracks were partially covered over with a "beam tunnel." — consisting of raised planted malls running down the center of the boulevard. Within these planted malls open wells provided light and ventilation to the tracks below. The overall effect of the landscaped "beam tunnels" was widely admired,although the smoke and noise must have poured out from the open wells. In 1888 Fourth Avenue officially became known as Park Avenue. A drawing of Park Avenue from the 1870s shows substantial brownstone residences lining the side streets off Park Avenue in the Fifties and Forties.^ Most of the structures facing on Park Avenue itself appear to be one- or two-story carriage houses or commercial buildings. By 1885, the block between 53rd and 54th Streets on the west side of Park Avenue was completely built up with four- and five-story buildings. South of 53rd Street were located manufacturing buildings such as the Steinway Piano Factorv and the Schafer Brewery. By 1905 all this had changed. In conjunction with the reconstruction of Grand Central Terminal, the street was taken up again and new excavations were begun that took the full width of Park Avenue. The buildings on either side had to be propped up on steel "needle beams" to prevent their collapse. New double stacked tracks were constructed under grade. The nature of the new cleaner electric trains made it possible to rebuild Park Avenue solidly with no open wells. A generous planted mall was built down the center of the avenue, and park benches were placed along a central walk. The new Grand Central Terminal opene

rear window sun shades
rear window sun shades
Rear Window (Collector's Edition)
None of Hitchcock's films has ever given a clearer view of his genius for suspense than Rear Window. When professional photographer J.B. "Jeff" Jeffries (James Stewart) is confined to a wheelchair with a broken leg, he becomes obsessed with watching the private dramas of his neighbors play out across the courtyard. When he suspects a salesman may have murdered his nagging wife, Jeffries enlists the help of his glamorous socialite girlfriend (Grace Kelly) to investigate the highly suspicious chain of events… Events that ultimately lead to one of the most memorable and gripping endings in all of film history.

Like the Greenwich Village courtyard view from its titular portal, Alfred Hitchcock's classic Rear Window is both confined and multileveled: both its story and visual perspective are dictated by its protagonist's imprisonment in his apartment, convalescing in a wheelchair, from which both he and the audience observe the lives of his neighbors. Cheerful voyeurism, as well as the behavior glimpsed among the various tenants, affords a droll comic atmosphere that gradually darkens when he sees clues to what may be a murder.
Photographer L.B. "Jeff" Jeffries (James Stewart) is, in fact, a voyeur by trade, a professional photographer sidelined by an accident while on assignment. His immersion in the human drama (and comedy) visible from his window is a by-product of boredom, underlined by the disapproval of his girlfriend, Lisa (Grace Kelly), and a wisecracking visiting nurse (Thelma Ritter). Yet when the invalid wife of Lars Thorwald (Raymond Burr) disappears, Jeff enlists the two women to help him to determine whether she's really left town, as Thorwald insists, or been murdered.
Hitchcock scholar Donald Spoto convincingly argues that the crime at the center of this mystery is the MacGuffin--a mere pretext--in a film that's more interested in the implications of Jeff's sentinel perspective. We actually learn more about the lives of the other neighbors (given generic names by Jeff, even as he's drawn into their lives) he, and we, watch undetected than we do the putative murderer and his victim. Jeff's evident fear of intimacy and commitment with the elegant, adoring Lisa provides the other vital thread to the script, one woven not only into the couple's own relationship, but reflected and even commented upon through the various neighbors' lives.
At minimum, Hitchcock's skill at making us accomplices to Jeff's spying, coupled with an ingenious escalation of suspense as the teasingly vague evidence coalesces into ominous proof, deliver a superb thriller spiked with droll humor, right up to its nail-biting, nightmarish climax. At deeper levels, however, Rear Window plumbs issues of moral responsibility and emotional honesty, while offering further proof (were any needed) of the director's brilliance as a visual storyteller. --Sam Sutherland

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