August 29, 2019 // Archive

Date based archive
29 Aug

Brilliant, brave, clever, and creative, journalist Molly Ivins spoke out against the follies of government and the suffering brought on by social inequities. Raised into Texas oil wealth, she spent her youth voraciously reading books. She was different from her classmates in other ways; by the time she was twelve she was six feet tall. She went on to Smith College and the Columbia University Graduate School of Journalism.

Ivins’ first job in what would be a whirlwind career was at the Minneapolis Tribune where she worked with gusto as the paper’s first female crime-beat reporter. Returning to Texas, she became a political reporter for the Texas Observer, covering the state legislature. She also worked at The New York Times, where she wrote the obituary for Elvis Presley, but her style was too unorthodox for the paper. She returned home to work for the Dallas Times Herald and later the Fort Worth Star-Telegraph.

In her last years before her death from cancer in 2007, as an independent journalist, she wrote a column that was syndicated to more than 400 outlets. She became famous for taking down politicians, and raising up social inequalities. Her passion for fairness, competence, and justice was expressed through cutting and insightful humor.

Janice Engel, the gifted director of this hilariously witty documentary, interviews Ivins’ friends, family, and colleagues to present her larger-than-life personality and her impact on journalism. She makes a wise decision to use film clips and stories to showcase the full range of Ivins’ humor. Here are just a few or her comic barbs:

  • On Texas: “It has always been a laboratory for bad government.”
  • Her assessment of Dan Quayle in 1988: “I found him dumber than advertised. Put that man’s brain in a bumblebee, and it would fly backwards.”
  • What about Newt Gingrich? She characterizes him as “the draft dodging, dope smoking deadbeat dad who divorced his dying wife.”
  • She once described Bill Clinton as “weaker than bus station chili.”
  • What it means to be a Texan? “I’m a Texan. I drive a pick-up truck. I drink beer. I cuss. I hunt. I’m a liberal. So what? “
  • What about being a progressive in Texas: “If you were a progressive in Texas, if you couldn’t laugh, you weren’t going to last.”
  • And last but not least, Ivins coined the nickname “Shrub” for former President George W. Bush.

As we watched the extraordinary life of this political pundit, champion of the people, successful columnist, and best-selling author, we marveled at her vision of journalism as a high calling when it speaks out against the principalities and powers that keep people down.

Dan Rather commends her pluck and Rachel Maddow says, “She was not afraid to be angry, but she made a case that she was doing it because it was deserved, and she made you laugh while she was doing it. I don’t know anybody else who does that now.”

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29 Aug

Robert Hall is a fairly large producer in the Paso Robles region of California, with a focus on everyday wines. This budget merlot punches right at its weight class, offering a blunt and simple wine that feels built specifically to sell for $9 per glass at your local Chili’s. Weighty up front with notes of well-sweetened, dried berries and gummy prunes, there’s also a beefy character here that starts on the nose and never lets up straight through to the finish, which is otherwise surprisingly herbal, almost dusty at times. Weird, and not overly satisfying — and nothing like any merlot I’ve come to know.

C / $14 / roberthallwinery.com

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2016 Robert Hall Merlot Paso Robles

$14

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29 Aug

The Bay Area is lousy with picturesque bridge views, but Rock Wall Wine Co. surely ranks as having one of the best. At the edge of what was once the Naval Air Station Alameda, the winery has an unobstructed panorama of the Bay Bridge and the San Francisco skyline, with a fog-encased Sutro Tower often poking out behind.

This is the daily backdrop for Shauna Rosenblum, Rock Wall’s winemaker and newly minted president. Inside an old naval airplane hangar that’s been turned into an urban winery, she and her team produce one of the most eclectic lineups of any California winery, turning out 10,000 cases of everything from sparkling Pinot Blanc to Ciliegiolo and Charbono. She oversees Rock Wall’s bustling tasting room, whose outdoor seating extends almost up to the bay itself and which gets about 80,000 visitors a year.

But things are a little different for Rosenblum in 2019. This marks the first year she’s running Rock Wall without her father, business partner and mentor Kent Rosenblum, who died unexpectedly last year at age 74 following complications from knee surgery. Father and daughter founded Rock Wall together in 2008 after Kent sold his original winery, Rosenblum Cellars, to Diageo.

“Harvest didn’t stop just because my dad died,” says Rosenblum, 36, as we walk from the big tasting room tent toward the hangar. Twelve hours after his death, she still had to harvest Zinfandel from St. Peter’s Church Vineyard in Cloverdale.

Although Rosenblum had been the face of Rock Wall for years, and had been solely in charge of the winemaking since its inception, her father’s death still thrust her into uncharted waters. “Right after my dad passed away I became president and chairman of the board overnight,” she says. “And it was learning on the go.” To add insult to injury, the next week Rock Wall’s general manager suffered a heart attack (he lived, but did not return to his job), and soon afterward, the company’s chief financial officer left. All this, right in the middle of the busy harvest season, was a lot to shoulder.

Rosenblum recounts this stressful season with an air of gravitas that feels rare for her. The winemaker is generally irreverent and unguarded, with a boundless grin and a seemingly infinite store of energy. She’s a conductor of positivity (especially when it comes to lifting up other women: Her wine tanks, instead of numbers, are labeled with names like Sansa, Arya, Ayesha and Katniss).


“I thought I was an adult before,” she says. But suddenly, she had to take up tasks that were completely new to her, all at once: dealing with the city of Alameda for permitting issues (she’s trying to get permission to put up a walkway of murals), negotiating with insurance agents, managing the farming of vineyards that her father had owned or leased. She even became the de facto facilities manager and learned how to patch a roof leak by herself.

She’s embraced this new era with some new, and even unorthodox, business decisions. She started by cutting off her wine distribution in all but three states. “I was losing $19 a case on distributed wine,” she explains, since distributors take a cut of the final price. But she suspected that Rock Wall might be able to sell everything itself, without the help of wholesale, through its tasting room and its 4,000-person wine club. (She sends every wine club member a 50 percent discount coupon on their birthday.) Her suspicion proved correct. “I was able to trim over $500,000 in expenses over the last 10 months,” the new president says proudly.

The bigger shift, though, was already taking place before Kent’s death: Rosenblum’s ongoing journey to find her own voice as a winemaker.

That’s no small feat when your dad is Kent Rosenblum. With Rosenblum Cellars, he helped define modern California Zinfandel, and also helped spark a movement of urban winemaking in the East Bay. A veterinarian who began making garage wine as a hobby, Kent and his wife, Kathy, eventually built their namesake winery into one of the state’s most recognizable, paving the way for a generation of Zins made in a rich, generous, extracted style.

After the Diageo sale, “everyone assumed Rock Wall was going to be just like Rosenblum Cellars,” Rosenblum says. “But we’re so completely different.” Those assumptions clearly weren’t accounting for the new role of Kent’s strong-willed daughter.

Rock Wall still makes plenty of Zinfandel, embracing historic old-vine sites just as Rosenblum Cellars did, but under Shauna Rosenblum’s direction the wines have a lighter, fresher aspect to them. A wine like the 2016 Rock Wall Alegria Vineyard Zinfandel, for example, has a core of juicy, plump blue fruit but is still herbal, spicy and savory.


And her extensive wine list — she makes 42 wines in total, which is a ton — betrays her penchant for wines that express a lot more nuance than just jammy fruit. She makes a zesty, lemony Albariño, a gorgeously floral Fiano, a velvety and tart Nebbiolo. Sparkling wine accounts for more than half of Rock Wall’s production: “We’re selling 50 cases of sparkling a week by the glass out of the tasting room,” Rosenblum says.

Eleven years into the formation of Rock Wall, Rosenblum’s wines resemble little of what her father was producing in the ’80s and ’90s. “It took me a while to realize that the jammy Rosenblum (Cellars) profile was from letting grapes get super ripe, giving them a 10-day cold soak, and then they’d start fermenting,” Rosenblum laughs. That sort of process can result in wines that dazzle while young but then disintegrate prematurely. Her own efforts at Rock Wall, in the beginning, resulted in wines that edged toward 15% and 16% abv; today’s wines tend to hover closer to 14%.

“Now, if grapes come into the winery riper than we’d like, we sometimes just add some sparkling base wine,” Rosenblum says. Grapes for sparkling wine are picked ultra-early to retain maximum acidity, so they can balance out a heavier lot.

“I’ve really enjoyed finding my own voice,” she says.

As we taste through a selection of her wines in Rock Wall’s brand-new Reserve Tasting Room — a private space inside the hangar that they’re now using for group visits — I can feel Rosenblum’s fiercely independent sensibilities and simultaneously sense the presence of Kent. Two bottles of Cabernet Franc embody this tension. The first wine comes from the Holbrook Mitchell Vineyard in Yountville, a site that Kent had worked with since 1979. It tastes like chocolate and violets, coating the mouth with silkiness.

The second Cab Franc is from a vineyard that Rosenblum found on her own in 2016, the Heringer Vineyard in Clarksburg (Yolo County). It carries just 13.6% alcohol by volume, considerably leaner than the Holbrook Mitchell’s 14.2%. It’s gorgeously green, with the impression of dried sage, Moroccan mint leaf and cranberry.

Both taste like Cabernet Franc; neither is what wine industry wonks would call “varietally incorrect.” Both are beautiful, balanced wines. One is richer, the other leaner. One is more Kent, the other more Shauna. Thank goodness that Rock Wall, now more than ever, can be both.

Esther Mobley is The San Francisco Chronicle’s wine critic. Email: emobley@sfchronicle.com Twitter: @Esther_mobley Instagram: @esthermob

If you go

Rock Wall Wine Co. 11:30 a.m.-8 p.m. Monday-Saturday, and until 6 p.m. Sunday. Happy hour 4-6 p.m. Monday-Friday. 2301 Monarch St., Alameda. 510-522-5700 or http://www.rockwallwines.com/

A tasting of five wines costs $20, waived with bottle purchase. Wines by the glass range from $9-$16. During happy hour, glass prices are half off. Personalized tastings are also available in the Reserve Room, by appointment only ($40-$100). The casual restaurant Scolari’s at the Point operates a window on-site, where visitors can order pizza, sandwiches and salads.

The Naval Air Station Alameda is now home to a number of tasting rooms and production facilities. Neighboring Rock Wall are Faction Brewing, the Rake, Almanac Beer Co., Hangar One, St. George Spirits, Urban Legend Cellars and more.

— E.M.


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29 Aug

Power

Coloured Raine Power 9-Pan Eyeshadow Palette ($39.00 for 0.44 oz.) is a new, limited edition eyeshadow palette that contains a deeper, purple/plum-themed mix of hues. There are five shimmers and four mattes. The shimmers all have a more emollient, denser/thicker nature to them and most felt a bit more cream-like as a result.

The mattes were the least consistent as the pigmentation ranged from semi-sheer to nearly opaque, though they were all buildable, and they varied in how readily they blended out. The mattes were improved when used over an eyeshadow primer, so the palette will work better for someone who typically uses a primer with their eye looks.

Truth

Truth is a bright, medium purple with subtle, cool undertones and a frosted sheen. It had good color payoff in a single layer, which adhered well to bare skin and diffused nicely along the edges. The consistency was denser, more emollient, and felt more like a heavily-pressed cream than a traditional powder eyeshadow. It wore well for eight hours on me before creasing slightly on me.

Legacy

Legacy is a pale lavender with cooler undertones and a sparkling finish that shifted from cooler violet to slightly warmer, pink-lavender. It seemed to have a more translucent base, so the coverage came more from all of the shimmer and sparke, while the translucency made it easy to use as a layering shade on top of other eyeshadows (like Truth–great combo!). The brand listed this shade as a topper, so the way it worked and the coverage level seemed as expected. The texture felt emollient to the touch and blended out well without fallout. The color stayed on nicely for eight hours before fading visibly.

Respect

Respect is a medium-dark, warmer reddish-copper base with flecks of pink-to-blue shifting sparkle. The consistency was emollient, heavier and thicker to the touch, and it worked best with fingertip application. If you’re less inclined to use fingertips, a flat, synthetic brush would be your next best bet, which I preferred over a wet brush. It had good color coverage in one layer, which was buildable to full coverage. The eyeshadow applied evenly and blended out nicely without causing fallout. It lasted well for eight hours on me before creasing faintly.

Snitch

Snitch is a rich, burgundy red with subtle, cool undertones and a semi-matte finish. It had barely-there micro-shimmer that seemed to help it blend out more readily but didn’t actually impact the finish, as it appeared quite matte in practice. It had nearly opaque pigmentation in a single layer, which was buildable to full coverage. The texture was soft, lightly powdery but rather smooth, so I expected more blendability than I experienced but was workable. I’d recommend using a lighter hand and placing color initially with a smaller, more detailed brush and then using a clean brush to diffuse and blend out. This shade wore well for eight and a half hours on me before I noticed fading.

Revenge

Revenge is a light-medium copper with warmer, orange undertones and flecks of peach-to-pink shifting sparkle. It had nearly opaque color payoff that adhered well to bare skin, but it seemed slightly chunky and had a more loosely-pressed feel to it, so there was a bit of fallout if I wasn’t careful. On the flip side, as it wasn’t so thick and dense in the pan, it was easier to apply and blend out with all types of brushes/techniques compared to the other duochrome shades in the palette. It stayed on nicely for eight hours on me fading visibly.

Deception

Deception is a muted, rosy mauve with warmer undertones and a matte finish. It had semi-opaque color coverage that was buildable, but the texture was slightly drier and thin, which I did find made an impact on application–it just was harder to really diffuse and blend out. It was easier to work with over an eyeshadow primer but still required some fussing. This shade lasted well for eight hours on me before I noticed any fading.

Alibi

Alibi is a deep, plummy purple with warm undertones and a frosted finish. It had opaque pigmentation with a denser, slightly firmer consistency that felt more silicone-heavy. The color applied fairly well to bare skin, but I highly recommend using a flat, synthetic brush and pressing and gently pushing the color into place. At this point, it’s more of a modification of technique to use with the heavier, silicone-based formulas we’re seeing (which tend to have a nice depth and overall adhesion, so tradeoffs). It wore well for eight hours on me before fading slightly.

Betrayal

Betrayal is a medium-dark, reddish-berry with subtle, cool undertones and a matte finish. It had semi-opaque, buildable color payoff that applied evenly to bare skin and blended out without too much effort, though I’d recommend using an eyeshadow primer with it. The texture was lightly dusty in the pan and thin without being too dry. It stayed on well for eight and a half hours on me before fading noticeably.

Testify

Testify is a muted, medium-dark plum with warmer undertones and a mostly matte finish. It had semi-sheer to medium coverage in a single layer, which was buildable to more semi-opaque coverage with two to three layers. The texture seemed slightly stiffer, thin, and on the drier side, which all contributed to it being less workable. I’d definitely say that a primer was necessary for this shade, as it helped to mitigate some of the stiffness and improved blendability. The color lasted nicely for eight hours on me before I noticed any fading.

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29 Aug

Health, Nutrition, Parenting

Body Image and Eating Disorders: Not for Girls Only

Dear Mr. Dad: I’m completely convinced that my son has an eating disorder. When he was little, he was always a little on the heavy side. At about 11—right when puberty hit—he suddenly started dieting. At first, I was proud of him for taking charge of his own weight. He looked really good and seemed happier with himself. But he kept right on dieting, to the point that he began to look skinny. To make matters worse, he’s talking about wanting to lose more weight. Thinking our son might be really sick, my husband and I took him to our pediatrician, who said he was fine and told him to put on some weight. I asked whether our son could have an eating disorder, but the pediatrician just smirked. What should we do?

A: Two things: First, get yourself a new pediatrician. Of the 30 million people in the U.S. who suffer from eating disorders, about a third are male. As are about half of all those who binge eat, purge, abuse laxatives, fast, and do other extreme things to lose weight. But far too many medical professionals, including your pediatrician, are too attached to the idea that girls and women are the only ones affected.

Second, find a mental health professional who has experience treating eating disorders. As with pediatricians, many therapists have trouble acknowledging that boys and men can be affected. Finding the right mental health person will be essential if your son needs extended outpatient or inpatient treatment. Most eating disorder programs and facilities don’t accept males. That, of course, makes it harder for boys like your son to get the treatment they so desperately need.

Click here to read the rest of this article.

Author: Armin Brott

Armin Brott is the proud father of three, a former U.S. Marine, a best-selling author, radio host, speaker, and one of the country’s leading experts on fatherhood. He writes frequently about fatherhood, families, and men’s health. Read more about Armin or visit his website, mrdad.com. You can also connect via social media: Facebook.com/mrdad, @mrdad, pinterest.com/mrdad, linkedin.com/in/mrdad, plus.google.com/+mrdad.


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29 Aug

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29 Aug

In December 2008, GM closes its assembly plant in Moraine, Ohio; 2,400 union workers lose their jobs. But then hope appears on the horizon when Cao Dewing, a Chinese billionaire called “The Chairman,” opens a branch of his global auto-glass manufacturing company in Moraine. Fuyao Glass America hires 1,000 Americans to work side-by-side with Chinese counterparts with experience at other Fuyao plants.

The Americans earn much less than they had at GM. One worker, Jill Lamantia, a forklift operator, had been living in her sister’s basement. Although she is able to get a new apartment, she still feels that the workers need a union to negotiate for better salaries and benefits; others with different grievances agree. But the Chairman is vehemently against any unionization of the plant.

Steven Begnar and Julia Reichert serve as the co-directors of American Factory, and they are careful not to villainize either group caught up in this complicated working situation. The Chinese are used to putting in long hours, living in crowded apartments, and having only a few days a year off from work. Wong He, a furnace operator, talks about how much he loves his job, even though it means he only sees his wife and young sons twice a year in China.

But he and the other Chinese can’t get used to the expectations and working habits of the Americans. They think they are uncommitted, inefficient, and sloppy in their work. Tensions continue to build at the factory even after a group of Americans go to China to see how Fuyao operates there.

Begnar and Reichert cut to the heart of the contrast between American and Chinese attitudes toward work, management, company loyalty, and concern for the quality of life outside the factory. We were reminded of Ron Howard’s 1986 feature film Gung Ho about the takeover of a shut-down water plant by a young Japanese executive and his management team. As in this documentary, the American workers are angry when they are ordered to increase their productivity.

Culture clash is at the core of this documentary, which, we decided by the end, is too bad. The workers have more in common than not, and as we watched the Chairman tour the plant to see how new mechanical arms are replacing people on the floor, we realized the workers should be talking about the role computers and robots will play in all their futures.

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29 Aug

Bank documents thought missing appear to have resurfaced, shedding new light on a controversial winery foreclosure.

By W. Blake Gray | Posted Thursday, 29-Aug-2019

Their winery is gone, their vineyard is gone, and a lot of their money is gone, but the Sterling brothers are persisting in their racial discriminatory lending lawsuit against the bank that seized their properties in Sonoma and Mendocino Counties.

The suit, a countersuit filed against Bank of the West in 2015, seemed destined to fail until late December 2017, when the bank produced documents that lent enough credence to the Sterlings’ argument to keep it going in California Superior Court. Many of those documents the bank had earlier denied having, according to filings in a related bankruptcy case.

It’s difficult to predict how the suit might end up, but the Sterlings made some interesting arguments in court in Santa Rosa last week in a hearing on a motion for summary judgment.

Most notably, the Sterlings, who are black, claim that Bank of the West did not offer them an opportunity to refinance their loan, even though their winery was profitable, while Bank of the West offered the white owners of BR Cohn winery five different refinances of their loans even though, according to the Sterlings’ attorney’s testimony in court, BR Cohn had larger debts and was losing money.

I asked Philip J. Terry, attorney for Bank of the West, for comment for this story. He said he would contact his client and get back to me. Two days later he called to yell at me and threaten me that I would be violating a court order if I wrote anything. Terry similarly threatened a different Wine-Searcher reporter on a story earlier this year, and actually issued a subpoena which was quashed by an attorney retained by the First Amendment Coalition. So all comments from Terry in this story were made in open court, where I identified myself as a journalist to judge Nancy Case Shaffer before last week’s hearing began.

To be very clear – and save the First Amendment Coalition some work – I have not seen the sealed Superior Court file. I only know about BR Cohn what I read in a 2015 story in the (Santa Rosa) Press Democrat, and what I heard in an open court session last week after identifying myself as a journalist.

The Sterlings, who owned Esterlina Winery in Mendocino County, took out a loan from Bank of the West to buy the larger Everett Ridge winery in Sonoma County in 2006. Craig and Eric Sterling, who owned Cole Ranch vineyard in Mendocino County, co-signed as personal guarantors.

In 2017, those properties were sold by a bankruptcy court, after a decade of argument between the Sterlings and the bank, and while the lawsuit was ongoing. The Sterlings have appealed the bankruptcy court’s ruling, based on the new evidence turned up in the state court lawsuit, and they have been granted a hearing at the federal Ninth Circuit Court of Appeals, which is somewhat unusual in a bankruptcy case.

The Sterlings have good jobs outside the wine industry. Craig Sterling is an attorney, and Eric Sterling is a physician. They got into the wine industry in 1995, when their father began growing grapes in Sonoma County, and little by little they grew their business until they had $1 million in annual sales. By 2005 it seemed like a good time to buy the larger Everett Ridge facility and move the family wine business to Healdsburg.

The Sterlings allege that, though bank records show they were approved for a traditional loan, they were not offered one. Instead, they were offered only a high-interest “bridge loan”. After that, rather than being offered a traditional refinancing, they were only offered a “loan swap” that locked them into high interest rates, even after the 2008 economic downturn sent interest rates plummeting. They allege that although the loan swap was held by Bank of the West’s parent company, Bank of the West said it was impossible to change the terms of the loan. They also allege that Bank of the West’s parent company did modify loan swap agreements for other customers.




© California Outdoor Properties
| The family’s Cole Ranch property makes up an entire AVA and has been put up for sale.

The Sterlings’ attorney said in court that bank internal documents showed that a refinance would reduce the Sterlings’ interest payments enough to allow them to keep the loan current, but the bank did not offer them a refinance. At the same time, Bank of the West offered BR Cohn five refinances.

“There is no evidence of BR Cohn being treated differently,” Terry, the bank’s attorney, said in court last week. “These two borrowers were radically different. The BR Cohn project dwarfed the Esterlina project. It’s important to point out that BR Cohn had to be sold. The fact that Esterlina’s loan didn’t work out the way they wanted is not evidence of discrimination.”

Indeed, both BR Cohn and Esterlina were sold to pay off bank debt. But the Sterlings’ attorney alleged that BR Cohn’s loan was moved to the “managed asset” division for risky loans in 2011, and BR Cohn winery was not sold until 2015, while Esterlina was placed in the managed asset division in 2015 and the bank moved to sell Esterlina in 2016. The Sterlings’ attorney said that at the time the wineries were sold to pay debt, Esterlina had positive net worth and was profitable, while BR Cohn had negative net worth and was operating at a loss.

The Sterlings engaged in a risky strategy to get out of their bank loan: they stopped paying, forcing Bank of the West to sue them. This is because bank loan disputes are subject to arbitration, whereas a lawsuit gets a debtor their day in court. In the Sterlings’ case, this has turned out to be many days, in two different courts.

“The bank is not required to refinance a loan,” Terry said in court. “These claims are cynical attempts to avoid making payments on commercial debt.”

By April 2015, the Sterlings were overdue on $7.2 million in loans from Bank of the West, according to bankruptcy court records. After BR Cohn was sold, Bruce Cohn told the Press Democrat that his debts had reached $25 million.

Terry said in court that the Sterlings failed to pay property taxes and franchise taxes, and failed to fulfill the bank’s financial reporting, and that the bank proposed two “forbearance agreements” in 2014 and the Sterlings rejected them.

“The difference between what happened with BR Cohn and what happened with Esterlina was not evidence of racial discrimination,” Terry said in court.

In the bankruptcy court case, the Sterlings offered to buy Cole Ranch from the court for the same price as the eventual buyer, plus a share of whatever money they earned in the superior court case, with a minimum guarantee of an additional $25,000. The bankruptcy court rejected the offer in a ruling made before Bank of the West produced the internal communications that appear to strengthen the Sterlings’ case.

When BR Cohn was sold, the sale of the winery was sufficient to pay off the bank loan, according to Judge Shaffer, so the Cohn’s personal guarantees were not seized. The sale of Esterlina was not sufficient to pay off the Sterlings’ loan, so the bank went after Cole Ranch.

The Sterlings allege that Bank of the West tampered with the sale of Esterlina by informing the potential buyer of their financial situation, and the buyer subsequently lowered the price offered for Esterlina.

The state court case has gone on so long that the presiding judge, Judge Shaffer, has moved from civil to criminal court in Sonoma County. Last week’s hearing was interrupted several times by a jury asking questions about a battery trial of a man in state custody – an unusual setting for a bank case.

Last week’s hearing was for Judge Shaffer to rule on a motion by Bank of the West for summary judgment. She is supposed to issue a ruling on that motion within 30 days of the hearing. If she does not grant a summary judgment, a trial date should be set.

A settlement is also possible, but it would be strictly financial, as Esterlina has new owners and has been renamed. Cole Ranch was up for sale again as of last month; however, the real estate company making the sale, California Outdoor Properties, now lists it as “sale pending,” so it may be beyond the Sterlings’ grasp. All they can hope for now is restitution, and, perhaps, validation.

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29 Aug

Frisky Business

Colour Pop Frisky Business Pressed Powder Blush ($7.00 for 0.21 oz.) is a light-medium peach with warmer undertones but leaned slightly pink. The texture was soft, a little powdery in the pan, but felt silky and smooth to the touch. It had semi-opaque pigmentation–though the formula markets itself as buildable–in a single layer, which could then be built up to full coverage. The powder applied fairly evenly and blended out without too much effort, but it could have been easier to work with overall. It wore well for seven and a half hours on me before I noticed fading.

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