Carpet made from corn - Area rugs raleigh nc - Carpet cleaning in cleveland.

Carpet Made From Corn

carpet made from corn
  • A large rug, typically an oriental one
  • A thick or soft expanse or layer of something
  • rug: floor covering consisting of a piece of thick heavy fabric (usually with nap or pile)
  • form a carpet-like cover (over)
  • A floor or stair covering made from thick woven fabric, typically shaped to fit a particular room
  • cover completely, as if with a carpet; "flowers carpeted the meadows"
  • Made or formed in a particular place or by a particular process
  • (of a bed) having the sheets and blankets set in order; "a neatly made bed"
  • successful or assured of success; "now I am a made man forever"- Christopher Marlowe
  • produced by a manufacturing process; "bought some made goods at the local store; rope and nails"
  • A North American cereal plant that yields large grains, or kernels, set in rows on a cob. Its many varieties yield numerous products, highly valued for both human and livestock consumption
  • The chief cereal crop of a district, esp. (in England) wheat or (in Scotland) oats
  • tall annual cereal grass bearing kernels on large ears: widely cultivated in America in many varieties; the principal cereal in Mexico and Central and South America since pre-Columbian times
  • The grains of this
  • feed (cattle) with corn
  • preserve with salt; "corned beef"

Paramount Building
Paramount Building
From the Top of the Rock, Rockefeller Center, Midtown Manhattan, New York City, New York, United States DESCRIPTION AND ANALYSIS Summary Located in the heart of Times Square, the Paramount Building made a significant contribution to the development of the world-famous theater and entertainment district. Built in 1926-27 and designed by the firm of Rapp & Rapp, who were among the best-known and most prolific designers of elaborate movie theaters in the 192 0s, it served as the Eastern headquarters for the Famous Players-Lasky Corporation, (forerunner of Paramount Pictures), whose entrepreneurial founders played a major role in promoting the revolutionary motion picture medium. The building's distinctive massing is exemplary of the innovative setback skyscraper type of the 1920s, while the ornamental details are classically inspired, a hallmark of Rapp & Rapp's style. The striking silhouette of the upper stories is enhanced by four giant clock faces, which were conceived to create a memorable image of the the Paramount trademark in the minds of moviegoers, and a crowning glass globe. The Paramount Building, which once housed the Paramount Theater, stands as as an important reminder of Times Square's boom in the 1920s during the early years of the motion picture industry. The History of Times Square1 The Times Square area, recognized world-wide as a major entertainment center, has played an important role in the cultural life of New York City in the twentieth century. Known today as the Broadway theater district, this area encompasses the largest concentration of legitimate playhouses in the world. With the meteoric rise of the the motion picture industry, Times Square in the 1920s was also transformed by the arrival of elaborate and luxurious movie theaters, or "palaces," which celebrated this popular and new form of entertainment. Complete with fashionable hotels such as the Hotel Astor (demolished), restaurants, and dance halls, Times Square began early in this century to attract visitors and New Yorkers alike to its thriving night life. The area also became home to scenery, lighting, and costume companies, and the offices of agents and producers, thus creating a busy hub of activity in all branches of the entertainment business. It was fitting, therefore, that the Famous Players-Lasky Corporation, (now Paramount Pictures) while still in its infancy selected Times Square for its East Coast headquarters and showcase theater. The development of the Times Square area was primarily a result of the steady northward movement of Manhattan's population, abetted by the growth of mass transportation. A district of farmlands and rural summer homes in the early 1800s, Lang Acre Square (now Times Square) evolved into an urban center following the opening of the Grand Central Depot and the completion of the Third and Sixth Avenue Elevated Railways in 1871. In 1904, New York's subway system began operation, with a major station at Broadway and 42nd Street. At this time, the area was also renamed Times Square in honor of the recently erected Times Building. The theater district, which had existed in the midst of stores, hotels, and commercial buildings along lower Broadway for most of the nineteenth century, moved northward along Broadway in stages, locating first at Union Square, then Madison Square, and then Herald Square. By the end of the century, the district was extended even further north by far-sighted theater managers, such as Oscar Hammerstein, who opened the Lyric in his Olympia Theater complex on Broadway between 44th and 45th Streets in 1895. Before the installation of electric street lamps, long Acre Square, which had been chiefly occupied by carriage shops and livery stables, was a dark and dangerous area popularly known as "Thieves' Lair." By the 1920s, the peak of Times Square development, the Con Edison Company estimated that one million lightbulbs were" contained within the famous marquees, signboards, and advertisements that lit up what had come to be known as the Great White Way. This phrase is credited to an advertising businessman named O.J. Gude, who recognized the exciting potential of electric sign display by installing the first in 1901, on Broadway and 23rd Street, which advertised a seaside resort.5 Apart from periods during the World Wars, the brilliant streams of light and color have continued to emanate from Times Square. The Client: The Paramount Corporation Forerunner of Paramount Pictures, the Famous Players-Lasky Corporation was headed by some of the most enterprising entertainment entrepreneurs of the century. It was formed in 1916 when the Famous Players Film Company and the Jesse L. Lasky Film Company merged. (In the early 1920s, the Paramount name and trademark began to appear in advertising and publicity, although the name was not officially changed to the Paramount Famous Lasky Corporation until 1928; the office building and the k8u0UstTlzJ7avl47JIAMlnoEhM=&h=435&w=615&sz=  k8u0UstTlzJ7avl47JIAMlnoEhM=&h=435&w=615&sz=
i found this really interesting(: read: By Cathy Newman Photograph by Steve McCurry She remembers the moment. The photographer took her picture. She remembers her anger. The man was a stranger. She had never been photographed before. Until they met again 17 years later, she had not been photographed since. The photographer remembers the moment too. The light was soft. The refugee camp in Pakistan was a sea of tents. Inside the school tent he noticed her first. Sensing her shyness, he approached her last. She told him he could take her picture. "I didn't think the photograph of the girl would be different from anything else I shot that day," he recalls of that morning in 1984 spent documenting the ordeal of Afghanistan's refugees. The portrait by Steve McCurry turned out to be one of those images that sears the heart, and in June 1985 it ran on the cover of this magazine. Her eyes are sea green. They are haunted and haunting, and in them you can read the tragedy of a land drained by war. She became known around National Geographic as the "Afghan girl," and for 17 years no one knew her name. In January a team from National Geographic Television & Film's EXPLORER brought McCurry to Pakistan to search for the girl with green eyes. They showed her picture around Nasir Bagh, the still standing refugee camp near Peshawar where the photograph had been made. A teacher from the school claimed to know her name. A young woman named Alam Bibi was located in a village nearby, but McCurry decided it wasn't her. No, said a man who got wind of the search. He knew the girl in the picture. They had lived at the camp together as children. She had returned to Afghanistan years ago, he said, and now lived in the mountains near Tora Bora. He would go get her. It took three days for her to arrive. Her village is a six-hour drive and three-hour hike across a border that swallows lives. When McCurry saw her walk into the room, he thought to himself: This is her. Names have power, so let us speak of hers. Her name is Sharbat Gula, and she is Pashtun, that most warlike of Afghan tribes. It is said of the Pashtun that they are only at peace when they are at war, and her eyes—then and now—burn with ferocity. She is 28, perhaps 29, or even 30. No one, not even she, knows for sure. Stories shift like sand in a place where no records exist. Time and hardship have erased her youth. Her skin looks like leather. The geometry of her jaw has softened. The eyes still glare; that has not softened. "She's had a hard life," said McCurry. "So many here share her story." Consider the numbers. Twenty-three years of war, 1.5 million killed, 3.5 million refugees: This is the story of Afghanistan in the past quarter century. Now, consider this photograph of a young girl with sea green eyes. Her eyes challenge ours. Most of all, they disturb. We cannot turn away. "There is not one family that has not eaten the bitterness of war," a young Afghan merchant said in the 1985 National Geographic story that appeared with Sharbat's photograph on the cover. She was a child when her country was caught in the jaws of the Soviet invasion. A carpet of destruction smothered countless villages like hers. She was perhaps six when Soviet bombing killed her parents. By day the sky bled terror. At night the dead were buried. And always, the sound of planes, stabbing her with dread. "We left Afghanistan because of the fighting," said her brother, Kashar Khan, filling in the narrative of her life. He is a straight line of a man with a raptor face and piercing eyes. "The Russians were everywhere. They were killing people. We had no choice." Shepherded by their grandmother, he and his four sisters walked to Pakistan. For a week they moved through mountains covered in snow, begging for blankets to keep warm. "You never knew when the planes would come," he recalled. "We hid in caves." The journey that began with the loss of their parents and a trek across mountains by foot ended in a refugee camp tent living with strangers. "Rural people like Sharbat find it difficult to live in the cramped surroundings of a refugee camp," explained Rahimullah Yusufzai, a respected Pakistani journalist who acted as interpreter for McCurry and the television crew. "There is no privacy. You live at the mercy of other people." More than that, you live at the mercy of the politics of other countries. "The Russian invasion destroyed our lives," her brother said. It is the ongoing tragedy of Afghanistan. Invasion. Resistance. Invasion. Will it ever end? "Each change of government brings hope," said Yusufzai. "Each time, the Afghan people have found themselves betrayed by their leaders and by outsiders professing to be their friends and saviors." In the mid-1990s, during a lull in the fighting, Sharbat Gula went home to her village in the foot

carpet made from corn
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