Contemporary Drop Leaf Tables

contemporary drop leaf tables
  • Dating from the same time
  • a person of nearly the same age as another
  • Living or occurring at the same time
  • Belonging to or occurring in the present
  • belonging to the present time; "contemporary leaders"
  • characteristic of the present; "contemporary trends in design"; "the role of computers in modern-day medicine"
    drop leaf
  • A hinged table leaf
  • a hinged leaf on a table that can be raised and supported by a bracket
  • A type of table having a hinged leaves that hang vertically when not in use, allowing for saved space. The leaves are supported by brackets, when raised, which enlarges the usuable surface of the tabletop.
  • A hinged extension flap to a table, dropping vertically when not in use, which can be supported horizontally by a swing leg, a fly bracket or a loper. It's often made using a rule joint, but may be a butt.
  • (table) a set of data arranged in rows and columns; "see table 1"
  • (table) postpone: hold back to a later time; "let's postpone the exam"
  • (table) a piece of furniture having a smooth flat top that is usually supported by one or more vertical legs; "it was a sturdy table"
  • Postpone consideration of
  • Present formally for discussion or consideration at a meeting
contemporary drop leaf tables - 3 pc
3 pc Drop Leaf Dinnette Set - Black
3 pc Drop Leaf Dinnette Set - Black
The Three Piece Saddle Pub Table Dining Set will add contemporary style to your dining room without taking up too much valuable space! The table set includes a double drop leaf table that has a surface area of 36" x 36" when folded up, and two comfortable stools with curved seats. When you do not need to use this table set, fold down the leaves and tuck the stool under the table and be amazed at the space you save! When the leaves are down the table measures 36" x 24". All the pieces in this set are constructed from solid rubber wood and feature leg stretchers on both the table and stools for strength and stability. Save space and add elegant style with this gorgeous three piece dining set! Comes in black. Assembly level/degree of difficulty: Moderate.

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Power To The People!
Power To The People!
JOHN LENNON and YOKO ONO (talk to Robin Blackburn and Tariq Ali) Tariq Ali: Your latest record and your recent public statements, especially the interviews in Rolling Stone magazine, suggest that your views are becoming increasingly radical and political. When did this start to happen? John Lennon: I've always been politically minded, you know, and against the status quo. It's pretty basic when you're brought up, like I was, to hate and fear the police as a natural enemy and to despise the army as something that takes everybody away and leaves them dead somewhere. I mean, it's just a basic working class thing, though it begins to wear off when you get older, get a family and get swallowed up in the system. In my case I've never not been political, though religion tended to overshadow it in my acid days; that would be around '65 or '66. And that religion was directly the result of all that superstar shit--religion was an outlet for my repression. I thought, 'Well, there's something else to life, isn't there? This isn't it, surely?' But I was always political in a way, you know. In the two books I wrote, even though they were written in a sort of Joycean gobbledegook, there's many knocks at religion and there is a play about a worker and a capitalist. I've been satirising the system since my childhood. I used to write magazines in school and hand them around. I was very conscious of class, they would say with a chip on my shoulder, because I knew what happened to me and I knew about the class repression coming down on us--it was a fucking fact but in the hurricane Beatle world it got left out, I got farther away from reality for a time. TA: What did you think was the reason for the success of your sort of music? JL: Well, at the time it was thought that the workers had broken through, but I realise in retrospect that it's the same phoney deal they gave the blacks, it was just like they allowed blacks to be runners or boxers or entertainers. That's the choice they allow you--now the outlet is being a pop star, which is really what I'm saying on the album in 'Working class hero'. As I told Rolling Stone, it's the same people who have the power, the class system didn't change one little bit. Of course, there are a lot of people walking around with long hair now and some trendy middle class kids in pretty clothes. But nothing changed except that we all dressed up a bit, leaving the same bastards running everything. Robin Blackburn: Of course, class is something the American rock groups haven't tackled yet. JL: Because they're all middle class and bourgeois and they don't want to show it. They're scared of the workers, actually, because the workers seem mainly right-wing in America, clinging on to their goods. But if these middle class groups realise what's happening, and what the class system has done, it's up to them to repatriate the people and to get out of all that bourgeois shit. TA: When did you start breaking out of the role imposed on you as a Beatle? JL: Even during the Beatle heyday I tried to go against it, so did George. We went to America a few times and Epstein always tried to waffle on at us about saying nothing about Vietnam. So there came a time when George and I said 'Listen, when they ask next time, we're going to say we don't like that war and we think they should get right out.' That's what we did. At that time this was a pretty radical thing to do, especially for the 'Fab Four'. It was the first opportunity I personally took to wave the flag a bit. But you've got to remember that I'd always felt repressed. We were all so pressurised that there was hardly any chance of expressing ourselves, especially working at that rate, touring continually and always kept in a cocoon of myths and dreams. It's pretty hard when you are Caesar and everyone is saying how wonderful you are and they are giving you all the goodies and the girls, it's pretty hard to break out of that, to say 'Well, I don't want to be king, I want to be real.' So in its way the second political thing I did was to say 'The Beatles are bigger than Jesus.' That really broke the scene, I nearly got shot in America for that. It was a big trauma for all the kids that were following us. Up to then there was this unspoken policy of not answering delicate questions, though I always read the papers, you know, the political bits. The continual awareness of what was going on made me feel ashamed I wasn't saying anything. I burst out because I could no longer play that game any more, it was just too much for me. Of course, going to America increased the build up on me, especially as the war was going on there. In a way we'd turned out to be a Trojan horse. The 'Fab Four' moved right to the top and then sang about drugs and sex and then I got into more and more heavy stuff and that's when they started dropping us. RB: Wasn't there a double charge to what you were doing right from the beginning? Yoko Ono: You were always very
Last night there came again before my soul everything that I had so often seen as a child concerning the life of the ancestors of the Blessed Virgin Mary. I saw it all in a series of pictures just as I did then. If only I could tell it all as I know it and have it before my eyes, it would certainly give great joy to the Pilgrim In my miserable state I was greatly revived by contemplating these pictures. As a child I was so certain of all I saw that if anyone told me any of the stories differently, I would say straight out: ‘No, this is how it is.’ And, indeed, I would have let myself be killed rather than deny that it was thus and not otherwise. Later on, life in the world confused me, and I kept silence. The inner certainty has, however, always remained with me, and last night I once more saw everything even to the smallest details. When I was a child, my thoughts were always taken up with the Crib and the Child Jesus and with the Mother of God, and I often wondered very much why people told me nothing about the family of the Blessed Virgin. I could not understand at all why so little had been written down about her ancestors and relations. In the great longing which I had, I then received a multitude of visions of the Blessed Virgin’s ancestors. I must have seen them back to the fourth or fifth generation. I saw them always as wonderfully pious and simple people inspired by a quite extraordinary secret longing for the coming of the promised Messiah. I saw them always living amongst other men who, compared to them, seemed to me rough and barbarous. They themselves, I saw, were so quiet, gentle and kindly, that I often said to myself in great anxiety about them: ‘O where can these good people find a refuge, how are they to escape from those rough, wicked men? I will seek them out and will be their servant, I will fly with them into a wood where they can hide themselves; I am sure I shall still be able to find them!’ So clearly did I see them and believe in them, that I was always afraid and full of anxiety about them. I always saw these people leading a life of great self-denial. I often saw that those among them who were married bound themselves mutually to observe continence for a time; and this gave me much joy, though why this was I could not clearly say. They practiced these separations chiefly when they were occupied with all kinds of religious ceremonies, accompanied by incense and prayers. From these I perceived that there were priests among them. I often saw them moving from one place to another, leaving large homesteads and retiring to smaller ones, in order to lead their lives undisturbed by wicked people. They were so devout and so full of longing towards God that I often saw them alone in the field by day, and by night, too, running about and crying to God with such intense desire that, in the hunger of their hearts, they tore open their garments at their breasts, as if God were about to burn Himself into their hearts with the hot rays of the sun, or to quench with the moonlight and starlight their thirst for the fulfillment of the Promise. I remember pictures like these came to me when, as a child or as a young girl, I was kneeling and praying to God, alone with the flock in the pastures, or at night on the high fields above our farm; or when, in Advent, I walked through the snow at midnight to the Rorate 33 Mass of the Fourth Sunday in Advent. devotions in St. James’s Church at Coesfeld, three-quarters of an hour away from our cottage at Flamske. The evening before, and in the night, too, I prayed much for the poor souls in purgatory. I thought that in their lives they had perhaps not been eager enough for grace; perhaps they had given way to other desires for the creatures and goods of the world, had fallen into many faults, and were now yearning to be released. So I offered up my prayer and my longing to God our Savior for them, trying as it were to pay their debt for them. I got a little benefit, too, for myself, for I knew that the kind Holy Souls, in gratitude to me and because of their constant desire for help by prayers, would wake me at the right time and would not let me oversleep. And so they did; they floated round my bed like little flames, little dim, quiet flames, and woke me just in time for me to be able to offer up my morning prayer for them. Then I sprinkled myself and them with holy water, put on my clothes, and started on my way. I saw the poor little lights accompanying me in a regular procession; and on the way I sang with true heart’s desire: ‘Drop down dew, you heavens, from above, and let the clouds rain the Just One.’ And as I sang, I saw here and there, in the wilderness and in the fields, the beloved ancestors of Our Blessed Lady running about and crying for the Messiah; and I did as they did, and came to Coesfeld always in time for the Rorate 44 Mass of the Fourth Sunday in Advent. Mass, even when the Holy Souls led me, as they sometimes did, a v

contemporary drop leaf tables
contemporary drop leaf tables
Catskill Craftsmen Contemporary Harvest Table with Drop Leaf
Catskill Craftsmen has become the nation's leading manufacturer of ready-to-assemble domestic hardwood kitchen islands, carts, and work-centers. Catskill Craftsmen manufactured items are made from naturally self-sustaining, non-endangered North American hardwoods, primarily Northern Yellow Birch. Lumber is purchased from area sawmills, then dried, manufactured, and packaged on site. All sawdust, shavings and waste materials generated during the manufacturing process is converted into wood pellet fuel, and used to heat homes. This classically designed table features a chrome towel bar/drawer pull, a large capacity drawer with full extension glides, two slatted shelves, leveler feet which help stabalize the unit, and a thick butcher block top which is safe for food preparation. A drop leaf adds 12 inches of table top space for the entire 46 inch width of the unit. This unit is constructed of solid Northeastern Hardwood and ships with an oil finish.