ANTIQUE ROUND END TABLE. CHEAP WOOD TABLES
Antique Round End Table
- A table is a type of furniture comprising an open, flat surface supported by a base or legs. It may be used to hold articles such as food or papers at a convenient or comfortable height when sitting, and is therefore often used in conjunction with chairs.
- (End tables) are small tables typically placed beside couches or armchairs. Often lamps will be placed on an end table.
- (End tables) Usually bought in pairs, they accent the style of the coffee table or other furniture. Usually placed at the end of the sofa, it is a very important piece of a living room set.
- made in or typical of earlier times and valued for its age; "the beautiful antique French furniture"
- old-timer: an elderly man
- A collectible object such as a piece of furniture or work of art that has a high value because of its considerable age
- shop for antiques; "We went antiquing on Saturday"
- Pass and go around (something) so as to move on in a changed direction
- a charge of ammunition for a single shot
- Give a round shape to
- from beginning to end; throughout; "It rains all year round on Skye"; "frigid weather the year around"
- Alter (a number) to one less exact but more convenient for calculations
- wind around; move along a circular course; "round the bend"
Trio Of Storytellers: Hans, Mary, And Gloria (You've Got To Read The Description)
That other fellow creeping into the photo is either Greg Benne or Tom DuBois, think it's Tom but I can't be sure. Obviously, if the photographer were more skillful, he wouldn't be there. A photograph with Mary and Gloria together is predictable in nature---I don't know if they knew each other before my party, but kindred spirits they were indeed. But to get Hans there in the same shot---that's a coup. Hans was my carpenter---he made frames for me and fixed stuff that I broke. One time I took a job making a kitchen countertop for a woman, and when I failed to perform adequately, Hans stepped in and finished the work. I paid him more than she paid me, which is kind of a capsule history of my business life. Hans was the second Austrian carpenter I employed in Springfield. Mr. Mohr was the first. I had an old desk that I dragged out to Missouri (well, it went to Arkansas first) and Mr. Mohr made the top lie flat and got the drawers working right, and generally made the desk shipshape. He didn't, however, refinish the desk, and it's still an unfinished, shipshape mess, one of those "Roundtoit" projects that one never gets "Roundtoit." When I went back to try to get Mr. Mohr to do something else for me, I discovered that he had died. I'm guessing that his widow led me to Hans. Hans had a decent amount of English, but it was heavily accented, and it had some gaps, like a record that skips, and the skips got me in trouble on at least one occasion: I asked Hans to do three separate projects for me, #1, #2, and #3. Hans made one iteration of project #1, two iterations of project #2, and three iterations of project #3. There was no overcoming this language deficit---I paid for all six iterations. Hans got his start in carpentry in Austria as an apprentice (no doubt, though I don't rememeber the details) to a boat-builder. How much of his training came in Austria, and how much came after he immigrated to the States, I'm not sure. He was drafted into the Germany Army and served during WWII. I guess he was on the Russian front. What he did in the military I'm not sure---my impression was, he tried as best he could to stay out of trouble. He told me that one day he and some other guys were moving artillery shells (or something) in an ammunition dump. His buddy suggested (or he suggested to his buddy) that they go get something to drink. They had to walk around a little hillock, and no sooner did they get on the other side than there was an enormous explosion. They ran around to the other side of the hill, and there they found twenty-two of the fellows they had been working with blown to bits, bodies everywhere, "hanging out of trees." Of course, the war went badly, and soon it was clear that German defeat was merely a matter of time. Like any sane German, Hans and his buddies wanted to get as far away from the Russians as possible. They found themselves trapped on a peninsula (I think this whole episode is a rather famous historical sidenote) and, in a last desperate attempt to escape, loaded onto boats and headed out into the North Sea. At some point, during the night, it became necessary for them to transfer from one boat to another. As he was trying to move (how, I don't remember---either he didn't say, or the language-difficulty prevented me from understanding, or I've forgotten) from one boat onto the other, Hans fell in to the frigid water. I've been in that situation myself (though I was drunk to boot) and know something about the desperation one feels. He said that he thought he was lost---caught between the two boats, rocking with the waves, when suddenly a hand reached down from one of the boats and caught his flailing arm and pulled him back on board. And what seemed to be most significant to the story was that he never knew who saved him. Naturally, he ended up in a Russian prison camp. He had more than a few stories about that experience too. The one I remember most vividly concerns a day when the mail was handed out. Hans said one guy in his barrack got a letter from home and sat down on his cot to read it. The letter contained terrible news: an allied bomb had destroyed his family's apartment block, and his mother, his grandmother, and his sisters (I've taken liberties with the details because I don't remember exactly what the truth was) were dead. Hans said the fellow sat on his bunk with the letter in his hands, and in the course of the next hour or so, his hair turned white. After the war, he ended up in Kansas City where he met his wife (she was from Austria too) and then made his way to Springfield. Hans did high-end work---he made the set for one of the local tv station's newscast (the desk) and he did a lot of work on the cabinetry for the library at what's now Missouri State University. Why he dabbled in my little projects I don't know. He mostly made frames for me, and I've got eight of my photographs in frames
Derren Brown - TV Mentalist
Portraits of the TV mentalist Derren Brown - a set used as the main images on his website and also in various magazines. Here is the interview I did with him, way back in 2003 for Naked - Magazine of the Weird and Wonderful MIND BENDING: The art of Derren Brown’s brain-sucking! The melancholic whine of a violin solo punctuates the air. Leather-bound books adorn the antique shelves. Dark and brooding portraitures fill the walls and loom above staring down. A tiny parrot flies around the room as the dead eyes of stuffed animals watch ominously. You sip cautiously at your lapsing douching tea and await a flamboyant entrance from Sherlock Holmes. Instead enters a meticulously presented, goatee-bearded Lincolnshire-man, with frilly white shirt and crush-velvet jacket. This is in fact the esoteric flat of the enigmatic Mr. Derren Brown. He is the startling ‘psychological illusionist’ who has dazzled millions of television viewers with his Channel 4 specials and his own series Mind Control. He is also an accomplished painter, with dozens of large-canvas portraits of celebrities in his own inimitable style. Derren’s many skills have involved reproducing a successful seance, spoon-bending, passing the Zener card ESP test plus dozens of amazing feats of mind-reading. Yet Derren Brown claims to possess no psychic ability whatsoever, preferring to rely upon a variety of psychological techniques, magic tricks and showmanship. Determined to discover the truth behind this psychic veil, Naked interrogated the man just before he embarked upon a national tour of his live show and becomes an international superstar… NAKED: What is your background in magic? How did get interested in the mind control aspect? DERREN: I sort of had an interest in magic when I was young and I remember going out and buying a few little magic tricks and things. Then when I came to university I saw a hypnotist and just thought that this was what I wanted to do with the rest of my life. It just seemed such an amazing thing. But I didn’t really want to be a stage hypnotist. I was just very aware that when people booked a hypnotist they wanted people to take their clothes off and that wasn’t really what I wanted to be doing with it. So I started doing the close-up magic instead, which was a lot more flexible. Hypnosis would always depend on all sorts of conditions and the audience being right and all that. It was always a bit of a hassle, but I always retained an interest in the hypnotic techniques even though I was performing the hypnosis less and less. And I just thought that magic could be a lot more than it is or has been. I wanted it to be a bit more meaningful than someone just doing card tricks or making people vanish. It should get under peoples skin more. So I had this idea of combining the psychological techniques with the magic aesthetic and wanted to take people to the edge of their understanding of things. Doing it to create an effect rather than making people take their clothes off on stage. NAKED: Weren’t you a hypnotherapist for some time too? DERREN: Sort of. Unofficially. I was really just experimenting with the hypnosis that I had become so interested in. But it was just so boring listening to peoples problems all day. And also there’s just so much nonsense associated with that whole field, so easy to convince yourself you’re having an affect on people when you’re not. I actually went on a course – and I was just so horrified by the whole scene. It was so sickening and evangelical, just that sort of completely self-contained internal logic. It put me off doing all that sort of thing. NAKED: So was there any kind of mentor for you, or is it more of your own take on a whole different set of practices? DERREN: I had loads of favourite magicians. Now the one person who I consider my hero is a guy called Chan Kumasta back in the fifties. He was just superb. Kumasta had a great psychological handling of people and just such a joy to watch, a real genlemenly charm. He was a great performer with an incredible performance. He was Polish as well, so he had this great, strange East European charisma about him. He had so much presence it was fantastic. I think that his example struck me as the way to do it. I thought that would be a great thing to achieve in some form. NAKED: How do you choose your victims? Are some people more or less compliant than others? DERREN: It depends on the nature of the stunt and on having a certain psychological environment or someone in a particular psychological state in order to get it to work. For example, we had a chess expert on the show and played this mastermind game with him. In order for it to work, I had to get him in a particular state. It was important that I made it a real challenge and was quite arrogant with him really and put him in a quite quietly aggressive state. So sometimes it’s that. It’s all about patterns of predictability. In other situati