One of my favorite rooms in America is the Reception Hall at Homewood House, a lovely Federal house in Baltimore, Maryland. Homewood was built in the first decade of the nineteenth century by Charles Carroll of Carrollton (1737-1832), a signer of the Declaration of Independence and at the time one of the richest men in America. He built it as a wedding present for his wastral son, Charles Carroll, Junior (1775-1825), who married Harriet Chew (1775-1861) of Philadelphia in 1800. Originally a fashionable country seat on 130 acres, Homewood House today is the centerpiece of the Homewood Campus of Johns Hopkins University. The University meticulously restored the house in the 1980s and operates it as an historic house museum, open to the lucky public. Homewood House, Baltimore Maryland Image courtesy of same Boy and I first visited Homewood House in the late 1990s, shortly before we bought Darlington House. We were dumbfounded. Not only had the building been beautifully restored by Johns Hopkins, but its rooms were exquisitely and perfectly furnished with the loveliest of period antiques and furnishings, befitting the house's elevated heritage. While all of Homewood's rooms are lovely, the one that I revisit again and again in my mind's eye is its sublime Reception Hall. View into the Reception Hall Image courtesy of The Magazine Antiques When touring Homewood House one enters the Reception Hall through a beautiful, leaded glass, windowed interior doorway. The Hall's walls are dramatically painted a gorgeous, vivid, grassy green. In contrast, the trim is painted white, the baseboards are painted to resemble black marble, and the doors are grained mahogany. The floor is covered with a canvas floorcloth, strikingly painted with a white-and-black diamond faux-marble pattern. On it sits a reproduction Brussel's carpet, made for the room from a pattern of 1807. View of the Reception Hall Image courtesy of Homewood House, by Catherine Rogers Arthur and Cindy Kelly The Johns Hopkins University Press, Publishers, Baltimore and London (note, the color of the walls reads more blue in this photo than is the case) One of the room's walls is covered with a collection of eighteen of William Russel Birch's first edition of Views of Philadephia, c. 1800, framed in eglomise mats and gilt frames. Against the periphery of the room sit ten English mahogany chairs, c. 1790, sleekly upholstered with green haircloth. Detail of the Reception Hall Image courtesy of The Magazine Antiques (note, this is a closer approximation of the Hall's actual green color) The Reception Hall contains several noteworthy sculptures, including a marble bust of Alexander Hamilton, after one by Giuseppe Ceracchi, and a nineteenth-century bronze copy of a fifth-century B.C. bust by the Greek sculptor Polyclitus. View from the Reception Hall through the back hall to the door to the garden Image, courtesy of The Magazine Antiques Homewood House's Reception Hall was designed to be used for multiple purposes. It could be used for dancing or dining, and in the summer may have been one of the coolest rooms in the house. Front and back doors open to take advantage of breezes that would have made it more comfortable on a sultry Baltimore evening. The Reception Hall set up for dining in the summer Image courtsey of Homewood House Along one of the Reception Hall's walls stands a mahogany and inlaid sideboard, or slab table, a piece of furniture frequently seen in halls in grand houses of the period. Above it hangs a beautiful gilt-framed convex mirror. The Reception Hall, showing the sideboard wall Image courtesy of Homewood House So what is it, exactly, that excites me about Homewood House's Reception Hall? It is a large, handsome room of generous proportions; The architecture is symmetrical and restrained; It is exquisitely furnished with clean-lined furniture and beautiful ornaments; It is not over-furnished, relying instead on the architecture for impact; and It is beautifully and dramatically painted with the most wonderful, gorgeous green walls, set off by white trim and a graphic black-and-white floor. But, I must confess, it really is the green of the room's walls that makes me weak at the knees. The green paint used in the Reception Hall was an important statement of the Carrolls' status. Green pigment had been difficult to achieve successfully until the discovery that copper oxide would yield a green pigment that remained true. New and fashionable at the time Homewood was built, green paint was very expensive. Boy and I fell in love with the green of Homewood's Reception Hall, and we took away with us a chart of Homewood's restoration paint colors that was available when we visited the house more than a decade ago. Homewood House's paint colors Shortly after visiting Homewood we acquired Darlington House, all of whose rooms were covered with mid-twentieth century wallpaper at the time we bought it. In planning what we would do at Darlington, which is also a Federal period house, we thought we would paint our much smaller and far less grand hall the same green color as the one at Homewood. Imagine our surprise when we stripped Darlington House's hall of its wallpaper and found that it had originally been painted almost the same green as the Reception Hall at Homewood House. Here is a photograph of the stair in our hall at Darlington House, showing the walls in their unrestored state: Darlington House's hall, prior to restoration photo by Reggie Darling We have since restored Darlington's center hall walls to their original vivid, grassy green color, based on analysis of the paint that had survived 180 years of multiple redecorations of the room. You can see images of the restored hall here and here. Pretty cool, what? Homewood House Museum 3400 North Charles Street Baltimore, Maryland 2128-2608 (410) 516-5589 www.museums.jhu.edu/homewood.php

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Karma is a gallery located in the East Village, New York. The gallery represents Gertrude Abercrombie, Henni Alftan, Alvaro Barrington, Dike Blair, Will Boone, Mathew Cerletty, Jean Conner, Andrew Cranston, Ann Craven, Robert Duran, Louise Fishman, Mark Flood, Marley Freeman, Robert Grosvenor, Reggie Burrows Hodges, Paul Lee, Keith Mayerson, Paul Mogensen, Thaddeus Mosley, Woody De Othello, Nicolas Party, Maja Ruznic, Kathleen Ryan, Tabboo!, Mungo Thomson, Matthew Wong, and Manoucher Yektai.

First, a report said Reggie Bush would be stripped of his Heisman. Another said he wouldn't. Who knows who's right? In the end, it probably doesn't matter. Pro football isn't about what you did in college but what you've done lately.

The other evening Reggie and Boy had what I consider to be the type of New York evening that I fantasized about having one day, back when I was a young and callow lad, before I moved to this glittering city more than thirty years ago. It included a generous mix of cocktails, a gallery opening at the city's most magnificent museum, dining in an impossibly smart restaurant, and meeting new, interesting, and noteworthy people. And it all took place in the most beautiful and fashionable part of the Upper East Side of Manhattan. Reggie was livin' the dream that night. Well, at least his dream at this stage of his life . . . Sitting Room, ca. 1820, by Johann Erdmann Hummel Stiftung Stadtmuseum Berlin Okay, Hipsters, you can have your Meat Packing Districts, your Nolitas, your Chelseas, and your Williamsburgs. Reggie truffled his way through those gritty parts of town when he was younger, too. Now he is quite happy to be a boring, middle-aged investment banker living and frollicking in what you might consider to be the stuffy and dull old UES. And he's quite happy if you should feel that way, too, since that means there's more room for him and his kind right where he wants to be. But I digress . . . The Family Circle, ca. 1830, by Emilius Bærentzen Statens Museum for Kunst, Copenhagen Our evening began with attending an opening cocktail party for a new exhibition at the Metropolitan Museum of Art, where we were the fortunate guests of one of the museum's curators. It was for Rooms With a View: The Open Window in the 19th Century, a charming show of early nineteenth-century European paintings and drawings of interiors with views through windows. Most were painted by German, Scandinavian, and Baltic artists during the neo-classical and Biedermeier periods, and many are on loan from museums and collections in central Europe. View of Dresden, 1824, by Karl Gottfried Traugott Faber Staatliche Kunstsammlunger Dresden, Galerie Neue Meister The paintings are intimately scaled and precisely and skillfully executed, and quite lovely to look at. They are a fascinating record of interiors and furnishings of early nineteenth-century continental Europe, including many of the artists' own studios or homes, and are well worth studying at length. This is not a show that one should breeze through—it merits close and careful observation. I plan on returning to see it again soon. I have already spent several hours reading its well-written, highly informative, and profusely illustrated catalogue so that I will be better informed when I return to see the paintings again. The curator of the show, Sabine Rewald of the Metropolitan, did a superb job. I highly recommend that you make plans to see the show, Dear Reader, as it is a not-to-be-missed, absolute gem. Interior from Amaliegade with the Artist's Brothers, ca. 1829 by Wilhelm Bendz The Hirschsprung Collection, Copenhagen Afterwards, in need of more sustenance than visual stimulation, vodka, and cheese balls, we headed over to Swifty's, where Robert Caravaggi was kind enough to give us a table on the spur of the moment and without a reservation. The place was packed! As one often does at Swifty's, during dinner we fell into a pleasant conversation with a couple sitting at the next table to ours (the tables are very close together at the restaurant, so one is rather cheek-to-jowel with one's neighbors). They were quite jolly and chatty, and we had a delightful time speaking with them. Interior with Young Woman Tracing a Flower, ca. 1820-1822 by Louise-Adéone Drolling Saint Louis Art Museum Looking around the room, I noticed that David Patrick Columbia of New York Social Diary was also there, so I stopped by his table and said hello to him and his guest. On our way out we passed James Andrew of What Is James Wearing?, whose blog I am a regular reader of and who is a sometime commenter on mine. We stopped and introduced ourselves to him and his dining companion, and they couldn't have been nicer. We had a lovely evening! View from the Artist's Studio in the Alservorstadt toward Dernbach, 1836, by Jakob Alt Albertina, Vienna And to top it off, the next morning we were invited to a cocktail party by the couple we sat next to at dinner at Swifty's, and with whom we exchanged contact information at the end of the evening. We were delighted that they invited us to their party and that we were able to attend it, and we had an absolutely marvelous time at it. One does so adore living the life in New York . . . The exhibition's catalogue Rooms With A View: The Open Window in the 19th Century April 5 through July 4 The Metropolitan Museum of Art 1000 Fifth Avenue New York, N.Y. 10028 All images taken from the show's catalogue, except for the final photograph, by Boy Fenwick

LIFE presents photos made before, during and after the first-ever version of the Super Bowl.

Lest you think, given the previous three installments in this series, that Reggie admires only rooms decorated in styles predating the turn of the 20th century, today's essay is about a favorite room that was decorated not only well in to that century, in the 1930s, but done up in a manner that could only have occurred after the advent of modernism. It is a room that has much to recommend it, I believe, and there is much to be learned from it, too. Wheeler library, gallery view The room in question is the library in the Lake Forest, Illinois, house of Mr. and Mrs. Leslie Wheeler. Designed by David Adler (1882-1949), one of the greatest residential architects of the first half of the twentieth century, the room was decorated by his equally talented sister, Francis Elkins (1888-1953), with whom he collaborated extensively. What an exceptional team they were, this superbly gifted brother and sister, and how lucky we are that so much of their work was photographed (in the case of this room, in 1934) and recently published in books by Stephen Salny and the Art Institute of Chicago. David Adler in 1904 Francis Elkins in 1938 I first came across David Adler's work, and the Wheeler library in particular, in the early 1980s when leafing through the pages of an out-of-print monograph on the architect that belonged to my dear friend George Pinckney, a fellow appreciator of traditional architecture. Looking for the first time at the photographs of the Adler houses featured in the monograph was an astonishment for me. Not only had I never heard of the architect, but I had also never seen such a concentration of handsome, well-appointed houses and interiors of the featured period, and all by the same hand. At the time, I was certainly familiar with the work of McKim, Mead and White, as well as other illustrious architects of their and earlier eras, but this was the first time that I saw a book with the work of an equivalent master of traditional residential architecture of a more modern and, for me, accessible period. Lots of books were available at the time featuring the twentieth century work of the masters of the International style of modern architecture, but little had yet been published on the work of their then less-celebrated, classically-inspired counterparts. This has only been remedied more recently, in the last fifteen or so years. The coveted Adler monograph; photo by Boy Fenwick Written by Richard Pratt and published in 1970, the monograph is David Adler: The Architect and His Work. It was and remains much sought-after by collectors, libraries, and practitioners of traditional (or classical) architecture, as it was the only book on Adler and his work available until recently. It was, as it turns out, a very valuable book, too, and could only be had at a price that reflected its rarity and the fevered demand for it. Looking through it for the first time I was determined to own a copy of it, but I was only able to do so many years later when my pocketbook could support such an extravagance. It remains to this day one of the treasures of our book collection at Darlington House. Wheeler library, fireplace wall The Wheeler library is a room that I return to again and again in my mind's eye, as it is not only a handsome room, but the stuff of fantasy for me: a special-purpose room dedicated to the pleasures of reading, set apart from the owners' other sitting and entertaining rooms. We have a room at Darlington, which we call our Snuggery, that holds many of our books; but I would not say that it is a library, per se. For our Snuggery is not the sole repository for our books, which are scattered throughout our house in bookcases and piles, and in it resides, also, our lone television. Frankly, we use our Snuggery more as a cozy, personal sitting room than we do as a place to read, contemplate, and study books. I would be thrilled to live in a house that had an actual library, such as the one the Adler/Elkins duo created for the Wheelers. Our copies of Adler/Elkins books; photo by Boy Fenwick So, what is it, exactly, that I so admire about the Wheeler's library? It is an attractive, symmetrical, well-proportioned room, embellished only with severe moldings and restrained architectural elements; it relies on the integrity of the materials for its beauty rather than surface decoration; It is a special-purpose room, designed for the holding and studying of the Wheeler's extensive collection of books, set away from the house's more public rooms; While clearly within a residence, it attractively resembles an academic library, with stacks projecting into the room at regular intervals; It is paneled and fitted out with pickled pine, a great favorite of mine; It is filled with an array of handsome furnishings spanning several hundred years, including English furniture from the eighteenth century and modern chairs and lamps by Jean Michel Frank--the modern master whose work Mrs. Elkins introduced and championed in this country; The modern upholstered seating is both stylish and commodious, and a comfortable place to wile away hours reading; The windows are hung with the simplest, plain curtains; It is fitted out with good, modern lamps and the niceties of comfort and convenience--one need not look too far for a place to rest one's drink or set one's pipe, if one smoked such a thing; The gorgeous, polished, antique parquet-de-Versailles floor is bare of carpets, giving the room a clean and fresh look, and it is scattered with boldly graphic Zebra skins--long before such skins had become the decorating cliche of the first decade of this century; And it has a gun rack! And not just any gun rack, either, but one built into the paneling and surrounded by a frame based on ones found on early English Georgian mirrors. Wheeler library gun rack Finally, the Wheeler library channels for me on a very personal level a number of academic libraries that I spent many pleasant hours in years ago, first as a student at Sherborne School, a boys' public school in England, and later as an undergraduate at Yale. Sherborne School library Image courtesy of Sherborne School Sterling Memorial Library Reading Room Image courtesy of Yale University Unless noted, all images are courtesy of Francis Elkins: Interior Design by Stephen M. Salny, published by W. W. Norton & Company. Additional images of the talented Adler/Elkins partnership can be found in Stephen M. Salny's The Country Houses of David Adler, also published by W. W. Norton, and in the Art Institute of Chicago's David Adler, Architect: The Elements of Style, published by the Art Institute in association with the Yale University Press.

Vacation How-To's: scoring a great room.

A buttoned-down office building in South Carolina adopts a Lowcountry vibe after its conversion into a luxury hotel.

Guide featuring images and a how-to for DIY project How To Make A Man Cave In The Basement Or Garage. Learn the pros and cons of each space and how to build it yourself!

Residents carried signs and marched down Ellsworth on the 4th of July in protest of the Peterson Companies' limiting the right to free speech in their Downtown Silver Spring complex. The Silver Spring Blogging Collective, as we are sometimes called, has accomplished a lot this year. Here's just a sample of what we've done this year: - In May, the Gateway Heliport Gallery hosted a Blogger Summit with a panel of speakers including myself, Henry from the Silver Spring Scene and Eric from Thayer Avenue and moderated by local activist Richard Jaeggi of Silver Spring Town Center. - Later that month, South Silver Spring held its first Block Party, heavily publicized on the Silver Spring Scene and a blog created by the South Silver Spring Neighborhood Association. - In June, Just Up The Pike was featured in a Washington Post story about local bloggers. so much more AFTER THE JUMP . . . County Executive Ike Leggett at a press conference announcing plans to open a Fillmore music hall in the former J.C. Penney Building on Colesville Road. - The following week, Congressman Al Wynn (D-Dist. 4) invited myself and Jen from the Penguin to his re-election campaign kickoff, consisting of a Metrorail-and-bus ride across Montgomery County to show his support of public transit. - In July, a group of local bloggers and photographers started the Free Our Streets blog to protest the Peterson Companies' limits on free speech on Ellsworth Drive, which it had leased from the County. Their efforts culminated in a march through Downtown Silver Spring held on the 4th of July which led to the County's affirmation of First Amendment rights in public spaces. - In September, County Executive Ike Leggett held a blogger briefing discussing the selection of a new host for the proposed music hall in the former J.C. Penney building. Two days later, the County announced that it had signed a letter of intent with international promoter Live Nation to run the venue. - In November, the Post's Marc Fisher named Karl of Silver Spring, Singular "Blogger of the Month," citing his blog's "entertaining and informative look into life" in Silver Spring. I'm completely blown away by how the Silver Spring blogosphere has exploded over the past year - and that wouldn't have been possible without the people who read Silver Spring blogs, write comments, and send tips. Together, we've become one of the D.C. region's "bloggiest" neighborhoods, so to say, and I'm looking forward to another year of laughs and love on the blog.

Julie Molina julie molina , uma garota de 16 anos com uma vida relativamente normal , mora com seu pai , seu irmão gêmeo (Willie) e seu irmão mais novo (Carlos) , ela é seus melhores amigos (Carrie , Flynn e alex) se conhecem desde que se entendem por gente , julie também é uma ótima cantora e compositora mas tudo muda após a morte de sua mãe... Luke Patterson Luke Patterson , um garoto de 17 anos , famoso , popular , rico , galinha e um pedaço de mal caminho como as pessoas gostam de chamá-lo , Luke tem uma banda chamada Sunset Curve , com seus melhores amigos (Reggie e Alex) , um ótimo cantor e compositor , guarda vários segredos , as únicas pessoas que sabem seus segredos são Alex é Reggie , nunca se apaixonou , mas será que a irmã do ficante do seu melhor amigo vai fazê-lo mudar de ideia ? Será que o amor irá mudar a vida desses dois adolescentes? oque será que vai acontecer quando Reggie e Luke atravessarem os portões do colégio Los Feliz? ⚠️HISTÓRIA ORIGINAL MINHA⚠️ ⚠️PLÁGIO É CRIME⚠️ Personagens originais da netflix ( e alguns originais meus) história relacionada a Juke ⚠️universo paralelo de Julie and The Phantoms⚠️ Nessa história os meninos estão vivos Começo: 17/02/21 Término:

Part of our new Soho Editions, this limited-edition print was created by Soho House Art Prize 2020 runner-up, Reggie Black. 'Get Home Safe' underlines the precarious nature of safety, travel, and the uncertainty of getting home. Based in Maryland, Black uses text to navigate trauma, alongside personal and collective fear to inspire with defiant hope and optimism. • Soho House Art Prize runner-up 2020, Reggie Black • Digital archival print on Somerset Satin Enhanced 330gsm paper • One colour and varnish screen print overlays • Edition of 40 • Print only • H48cm x W36cm