Make Your Own Vertical Blinds

    vertical blinds

  • 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.
  • A series of thin slats that hang in front of a window, which can be turned as a group close with a slight overlap to block the window
  • Strips of fabric [louvres] suspended vertically from a headrail. Immensely practical blind which comes into it’s own on larger sizes


  • engage in; “make love, not war”; “make an effort”; “do research”; “do nothing”; “make revolution”
  • Form (something) by putting parts together or combining substances; construct; create
  • give certain properties to something; “get someone mad”; “She made us look silly”; “He made a fool of himself at the meeting”; “Don’t make this into a big deal”; “This invention will make you a millionaire”; “Make yourself clear”
  • Alter something so that it forms or constitutes (something else)
  • brand: a recognizable kind; “there’s a new brand of hero in the movies now”; “what make of car is that?”
  • Compose, prepare, or draw up (something written or abstract)

make your own vertical blinds

Leisure Suit Larry Box Office Bust

Leisure Suit Larry Box Office Bust
It was Codemasters that snagged this title from the dust cloud surrounding Activision Blizzard’s mid-2008 supernova of intellectual properties, though for what reason is truly a mystery. Team 17’s Leisure Suit Larry: Box Office Bust is an awful, awful game. Anyone who played it before release must have realized this, yet here it is sitting on store shelves. It’s frustratingly unpolished, devoid of any kind of wit or charm, and packed with tiring, at times infuriating challenges. While the PC and Xbox 360 versions available now may be budget priced at $20 USD, this game is nearly impossible to recommend.

I say nearly impossible because Box Office Bust does offer something not found in that many videogames: sexually explicit dialogue. Cursing and not-so-subtle references to the shape and function of certain body parts is injected into almost every line of speech, of which there’s quite a bit, and that’s just fine. The problem is, while it’s all crude and inappropriate and refreshingly politically incorrect, it’s just not funny. And this is coming from someone who’s rarely laughed harder than at a Jim Norton live show. It may be bearable at first, but the obviousness of the majority of the humor, which often just boils down to characters blatantly pointing out physical features, just doesn’t stay interesting for the duration of the game’s surprisingly long run. In the game you play as Larry Lovage, the nephew of the original Larry. The goal is to expose a plot to torpedo a movie studio, and to do so you must guide Larry through a number of small sandbox levels featuring a bunch of different gameplay styles implemented with the finesse of a blind giraffe. You get a hand-to-hand fighting system that makes Dreamfall’s combat seem like Virtua Fighter, sloppy third-person platforming, tedious stealth sequences, shooting galleries (yes, with weapons), and a number of fetch quests and timed challenges. The worst part is, it seems the script writer was aware of how poorly designed and pointless of the majority of the missions are, and had Lovage point out how silly moving a crate or finding a certain number of items within a set time limit is.

"Oh that’s right, introduce a timer to place me under undue and unnecessary pressure," says Larry near the game’s beginning. We have the same complaint! Apparently the only real joke in Box Office Bust is on the player. Even after the game calls out how terrible some of its challenges are, it still forces you to perform them successfully to proceed.

Since you have to do these challenges to get to the story bits, and since the story and character interaction is generally so repetitive and so very irritating, you wind up with a play experience that never offers anything to look forward to. Every successive sequence, be it dialogue or gameplay, is either so boring you’ll want to skip ahead or so exasperating you’ll want to skip your input device out the nearest window.

A lot of the frustration caused can be attributed to horrible camera and control systems. The game takes place in several locations, from the main movie studio lot hub world to a number of "dream sequences" set in spots like the Wild West ("Beefcake Mountain") and the Titanic (called "Bytanic" in the game). In all, you’ll find platforming sequences ruined by a camera that throws a temper tantrum almost every time you near a vertical surface. It makes trying to navigate environments, a process already maddening because of Larry’s imprecise handling and a lack of definition as to where the edges of platforms actually are, absolutely tortuous.

It certainly doesn’t help that Larry has a health bar and takes falling damage. Topple from any perch of significant enough height and you’ll frequently find yourself back at a mission’s beginning. This creates loops of restart situations during timed platforming sequences, such a rock climbing section in the Wild West area where Larry will, unless you’re lucky, fall to his death not through any fault of your own, but because the camera decided to do a surprise 180 degree orbit. Perhaps nobody was really expecting fantastic gameplay here, but what’s offered is just embarrassing. It’s difficult to understand who this game was being made for, really. Any fans familiar with the Al Lowe era of Larry titles are likely going to be turned off by the shift in gameplay structure, any new players are going to be turned off by the hideous gameplay, and anyone who just wants to hear a bunch of dirty words and puns isn’t going to find anything but a few chuckles here and there, and to get them you’re forced to dig through layers of dreadful mechanics.

For the voice work, of which there’s plenty, the game utilizes the talents of recognizable names like Jay Mohr, Shannon Elizabeth, Artie Lange, and Jeffrey Tambor. Most of it is delivered decently by videogame standards, though a lot of it sounds like it was recorded in a submarine. You’ll also

Times Square Church

Times Square Church
Mark Hellinger Theater (Former Hollywood Theater), Midtown, Manhattan, New York City, New York, United StatesThe Mark Hellinger Theater survives today as one of the few intact grand movie palaces in Manhattan, as well as one of the historic theaters that symbolize American theater for both New York and the nation. Built for Warner Brothers in 1929 as the Hollywood Theater, it showcased movies and then vaudeville until 1934, when it was first converted for use as a legitimate theater.Warner Brothers was one of the great studios dominating American filmmaking in the 1920s. Having successfully developed sound movies, the company in 1928 embarked on a campaign to buy or build theaters in which to exhibit its new sound productions. In 1929, Warner Brothers hired Thomas Lamb to build a Broadway/Times Square showcase, the Hollywood Theater, to compete with the rival Paramount and Roxy theaters. The Hollywood was the last of the great movie palaces erected in the Times Square area during the 1910s and 1920s, and the only one there surviving intact today.Thomas Lamb was New York’s most prolific designer of movie theaters. Although active also in legitimate theater design, Lamb is best known for his more than 300 movie theaters, built all over the world. Of the enormous movie palaces he designed in New York, the Hollywood is one of the few surviving intact. Lamb’s design for the Hollywood, one of his last before the Depression put an end to the building of movie palaces, is extravagant within and most unusual without. Inside, the theater exhibits a lavish display of Baroque-inspired gilded plaster statuary and wall and ceiling paintings, in the tradition of the great movie palaces. The Hollywood’s exterior, however, is an unusual combination of modernistic elements.Warner Brothers and the TalkiesOne of the handful of giant studios dominating the young movie industry in the years after World War I, Warner Brothers Pictures was incorporated in 1923. The company had begun making films, however, in 1912,and its history dated back to 1906, when the four Warner brothers,Harry, Albert, Sara and Jack, began exhibiting silent films in a storefront in New Castle, Pennsylvania. The Warners’ first important full-length feature film, My Four Years in Germany, was released in 1918.In 1925, two years after its incorporation, Warner Brothers undertook several major changes which had a profound impact on its future. First, the company became a publicly owned corporation. Second, it changed its distribution policy, discarding the former "state rights franchise" system, in which individual distributors in each state held monopolies on Warner Brothers distribution rights, and opting instead to handle its distribution directly. Rather than creating a new company for this purpose, Warner Brothers acquired the Vitagraph Company, the oldest and best-known such company in the country. The third major change was a commitment by Warner Brothers to the development of sound movies.^In 1924-25, Western Electric had experimented with techniques for synchronizing silent films with taped speech and music. Warner Brothers began experimenting along the same lines. In 1926, as work progressed, Warner Brothers formed the Vitaphone Corporation to continue the development of sound movies. On August 26, 1926, at the Warner Theater in New York, Vitaphone presented Don Juan, a silent film with synchronized sound starring John Barrymore. Just over a year later, on October 26, 1927, Al Jolson premiered in The Jazz Singer, described by Warner Brothers as "the first Vitaphone feature length picture to include singing and talking sequences." Sam Warner, who had nurtured Warner’s commitment to sound and the creation of The Jazz Singer, died in Hollywood on the evening of its premier, apparently of exhaustion.With the success of The Jazz Singer, film exhibitors around the country, who had been reluctant to invest in the expensive technology required for the presentation of sound movies, began to convert, and the rush to sound was on. Warner Brothers followed up on its lead in July 1928 by presenting what it called the first "all – talking feature motion picture," The Lights of New York. This film was followed by Al Jolson in The Singing Fool.Later that same year, Warner Brothers moved to become a major exhibitor of its own new sound films, by purchasing the Stanley Company of America. In one stroke the company acquired control of over 225 Stanley theaters in the mid-Atlantic states, which it could then move to equip for sound. From 1928 until 1931, adding to the Stanley chain, Warner Brothers built many more theaters to exhibit its new sound films. In New York, Warner Brothers built a major movie palace, the Hollywood, to showcase its new sound movies in the Broadway theater district.The novelty of sound movies, and the great success of The Jazz Singer, helped make Warner Brothers a major force in the industry, and enabled the company