Double Bull Blinds. Shutter Accessories

Double Bull Blinds

double bull blinds
    double bull
  • On dartboards configured with a bullseye consisting of two concentric circles, the outer circle is commonly green and worth 25 and the inner circle is commonly red and worth 50 points. Hitting the innermost ring of this type of bullseye is a "DOUBLE-BULL". (See also: "BULLSEYE")
  • The center portion of the bullseye, worth 50 points
  • window coverings, especially vertical blinds, wood blinds, roller blinds, pleated blinds
  • Deprive (someone) of understanding, judgment, or perception
  • Confuse or overawe someone with something difficult to understand
  • A window blind is a type of window covering which is made with slats of fabric, wood, plastic or metal that adjust by rotating from an open position to a closed position by allowing slats to overlap. A roller blind does not have slats but comprises a single piece of material.
  • The blinds are forced bets posted by players to the left of the dealer button in flop-style poker games. The number of blinds is usually two, but can be one or three.
  • Cause (someone) to be unable to see, permanently or temporarily
double bull blinds - Primos Dark
Primos Dark Horse - Groundswat Blind
Primos Dark Horse - Groundswat Blind
The Primos Double Bull Dark Horse Ground Blind is the Cadillac of ground blinds. It has plenty of room for multiple people to sit comfortably. The Dark Horse weighs less than 20-Pound, which makes transportation to and from the field easy. The silent slide window adjustment system and the shoot through netting make this a great blind for the bow or gun hunter. The Dark Horse comes available in Ground Swat Camo. The Primos Double Bull Dark Horse features Primos Double Bull’s Silent Slide window system which spans a full 180 across the front of the blind and adjusts from 1” to 20” vertically. You can “open” the window or cover it with shoot-through netting.

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Peter Rogers (1914 - 2009) & Gerald Thomas (1920 - 1993)
Peter Rogers (1914 - 2009) & Gerald Thomas (1920 - 1993)
Peter Rogers Producer who made his name with the naughty Carry Ons Peter Rogers, who has died aged 95, was best known as the cinematic equivalent of the risque seaside postcard artist Donald McGill. But he became a British institution, the highly successful producer of more than 30 Carry On films, with their broad innuendoes (of the doctor with hypodermic in her hand looking at naked male patient and saying "Just a little prick" variety) completely by accident. He made his first, Carry On Sergeant, for about ?70,000, which was small beer even in 1957. The British film producer Sydney Box had received a script by the then popular novelist and ex-journalist RF Delderfield. It was called The Bull Boys, and had begun its creative life as a play about the complications in the love lives of two ballet dancers brought about by military conscription. Box, unable to get anyone to finance it, passed the script on to Rogers and his director-partner Gerald Thomas. Rogers switched the focus from the romantic to the comic. He produced, with Thomas directing, a broad comedy about conscription. Shot speedily at the Queen's Barracks, Guildford, Surrey, and with a cast on modest fees, it was an unexpected commercial success, and the beginning of a cult that would spread to many other countries including Japan, Russia and the US, where Carry On Nurse (1959) ran in one Los Angeles cinema for two and a half years. The first Carry On was a success that neatly encapsulated Rogers's working methods for the rest of the films. There were, however, some differences in procedure. Rogers and Thomas showed the first rushes of Carry On Sergeant to executives of the financiers in Wardour Street, whose verdict was: "You think this is funny? It's a load of rubbish!" Rogers's response was to stop sending the rushes. Instead he completed the film, and only then, with the money already spent, asked the executives their opinion. By that stage, there was little the suits of the day could do but release the film and hope it was not too much of a disaster. Rogers refused to watch the film with a preview audience, arguing that this habit indicated that the producer and director did not know what they were doing or what they wanted. Indeed, throughout his career, Rogers refused to watch his comedies with an audience, saying that it would be torture if they did not laugh in the right places. He relied on his own judgment and showed every sign of enjoying the ribald puns and horseplay devised by the scriptwriter Talbot Rothwell (often after Rogers had rung him up with ideas while in the bath), though protesting that he personally preferred vintage Punch magazine humour. Carry On Sergeant earned ?500,000 in its first seven years, a remarkable return on investment by the standards of the faltering British film industry. With Rogers's next, Carry On Nurse, the nucleus of a virtual repertory company that would stay with the Carry Ons for years began to form: the camp Kenneth Williams, the dozy Kenneth Connor, the weighty Hattie Jacques, the stick-insect Charles Hawtrey, the lumbering Bernard Bresslaw, the curvaceous Barbara Windsor and Joan Sims, and occasionally the outlandish Frankie Howerd, starting with Carry On Doctor (1967). All these actors were offered a fixed fee. If any of them argued about money they would see the waspish side of the normally urbane and deaconesque Rogers. The star was the Carry On, Rogers would pronounce - actors were expendable, as he would be expendable one day, but the Carry Ons would carry on. After the fourth in the series, Carry On Constable (1960), Rogers offered to create a "commonwealth", in which all the players would be paid a percentage of the profits. The actors rejected this because they could not make up their minds about how the profits would be distributed among major and minor roles. This rejection of his idealistic idea suited both Rogers' sense of humour and his pocket. As it was, he acquired two Rolls-Royces, a Bentley and other luxury cars. He had a fine house in Beaconsfield, Buckinghamshire, which had once been occupied by Dirk Bogarde at the height of his fame as a Rank star. Once he also had, to quote him, "six bullocks, three dogs, two ponies, a donkey and a wife, in that order". His wife, Betty Box, with whom he produced over 100 non-Carry On films, could afford to take such jests in good part. On leaving King's school in his native Rochester, Rogers started work as a journalist on the Kentish Express, while moonlighting as a writer of plays that were taken up by BBC radio. By the late 1930s, he was an assistant producer in West End theatre. Ill-health confined him to hospital and writing religious scripts for J Arthur Rank during the second world war, and in 1946 he joined Rank's Gainsborough Studios in north London. There he met Sydney Box, and his younger sister Betty; in 1949 he married her, and received his first associate producer credits. By 1953, he
Graham Court Apartments
Graham Court Apartments
Harlem, Manhattan Graham Court Apartments, commissioned by William Waldorf As tor, was constructed in 1899-1901 as part of the great Harlem real-estate boom. Designed by the firm of Clinton & Russell, architects known for their many apartment houses, hotels, and early ccnmercial skyscrapers in New York City, it is one of the signal achievements in the history of the apartment house in New York City. Quadrangular in plan and built around a central courtyard, Graham Court is one of the few apartment houses of this type in New York City. Stylistically the building recalls an Italian Renaissance palazzo in a conscious effort to evoke an image of luxury. Today it is one of the premier reminders of the urban development of Harlem at the turn of the century. The area of Manhattan known today as Harlem was originally named Nieuw Haarlem by the Dutch in 1658. It remained much the same, the site of farms and large estates, prior to the middle of the nineteenth century? many of the most prominent families of New York City owned land here. Though the city's grid plan of 1811 included Harlem, it was not anticipated that the arean would actually become developed for quite seme time. In 1837, however, the New York & Harlem Railroad was opened to Harlem, thereby helping to foster the transition from a rural to a suburban comnunity. Several small villages as well as isolated shanties were scattered throughout the area in the mid-nineteenth century; these were populated largely by recent Irish immigrants. Harlem was annexed to New York City in 1873 as Manhattan's population grewth proceeded northward. In the 1880s elevated rapid transit lines extended to Harlem, followed by subway routes at the turn of the century, providing the crucial transportation links to lewer Manhattan. Harlem rapidly became an integral part of the urban fabric of the city. Between the 1870s and 1910, accompanying the opening of the transit lines, single-family rowhouses, tenements, and luxury apartment houses were constructed in record numbers in two major waves of speculative development. Commercial concerns and religious, educational, and cultural institutions were established to serve the expanding population. West Harlem, in particular, was developed as a prosperous and fashionable neighborhood for members of the affluent classes, who lived in attractive browns tones and in luxury apartments buildings, which included such amenities as elevators and servants quarters, along Seventh and Lenox Avenues. The largest and finest of these luxury buildings was Graham Court, conmissioned by William Waldorf As tor. The New York Tribune in 1899 noted the "sharp demand for buildings of the character represented in Mr. Astor's proposed improvement. "1 The residents of this Harlem were mainly established and wealthy New Yorkers of British, Irish, and German stock. At the same time, a poorer population settled in the fringe areas, those with less desirable land conditions and less access to public transportation. Recent Italian immigrants settled in East Harlem, while a substantial number of Eastern European Jews migrated from the Lower East Side. The speculative over-building of rowhouses and apartments resulted in a Harlem real estate bust in 1904. This real estate climate, combined with a number of other factors, helped to provide an unprecedented opportunity for the black ccranunity in New York City, then largely centered on the West Side, to rent attractive housing in Harlan. By 1910 the significant migration of blacks to Harlem had begun, which eventually resulted in Harlem becoming the urban cultural capital of black America. The Astors and Graham Court The Astor family, which had extensive real estate holdings in Manhattan, had cwned land in Harlem from the 1840s. John Jacob As tor I (1763-1848), a German immigrant, was at the time of his death the wealthiest man in America; his wealth, originally accumulated in the fur and China trades, was largely concentrated in New York City real estate after 1834. Successive major inheritors of the As tor fortune were William Backhouse As tor I (1792-1875), John Jacob AStor III (1822-1890), and William Waldorf Astor (1848-1919). The latter Aster ventured, for a time, into politics; he was elected to the New York Assembly (1877) and Senate (1879), and was appointed Minister to Italy by President Chester Arthur in 1882. After a period as a writer, Astor became manager of the family estate upon his father's death in 1890, and had a personal worth estimated at $100 million. He immediately removed his family to England, expressing a distaste for the United States; he became a British subject in 1899 and eventually was made a baron, then viscount. Despite his residence in England, Astor was responsible for the construction of a number of lavish hotels and apartment buildings in New York City and had substantial real estate holdings here (worth an estimated $66 million in 1916). The Waldorf Hote

double bull blinds
double bull blinds
New Primos Crusher Blind Waterproof And Scent Tight Fabric Includes Double Bull Frame Pak
The Crusher features the most technical ground blind fabric ever. It is made from a multi-layer, sonic welded fabric. The outer shell is a non-reflective crushed fabric that is sonic welded to a complete blackout interior. The result is a blind that naturally blends in with its surroundings with no shine and natural shadowing. The multi-layers help the blind to be extremely water resistant and scent tight. The black innermost layer eliminates your profile inside the blind.The Double Bull hub system reduces the force required to open the blind by 50%. The newly designed magnesium hub produces a high tension, rock solid framework. As an added benefit the hub is over-molded with rubber to eliminate hand pinch.