HUSQVARNA VIKING(R) Meets Demand From Quilters On-the-Go: Launches Compact ...
01.01.70
HAMILTON, BERMUDA, Oct 17, 2011 (MARKETWIRE via COMTEX) --
Quilters everywhere can now enjoy their favorite HUSQVARNA VIKING(R)
features wherever they go in the new compact and lightweight
H|CLASS(TM) 100Q sewing machine. Just launched by HUSQVARNA
VIKING(R), a global leader in sewing machine design and
manufacturing, the H|CLASS(TM) 100Q sewing machine's portable size
and carrying case make it a perfect quilting companion for social
sewers on-the-go. The computerized H|CLASS(TM) 100Q sewing machine
boasts more than a dozen time-saving features, including 20 quilting,
utility and decorative stitches, HUSQVARNA VIKING(R) snap-on presser
feet, speed control slide, and a start and stop button that allows
users to sew without a foot control.
"Many of our loyal HUSQVARNA VIKING(R) sewers desired a well-equipped
machine they could easily bring to quilting classes or travel with
them on their sewing visits to friends' houses and sewing guild
events," said Katrina Helmkamp, CEO of SVP Worldwide, producer of the
HUSQVARNA VIKING(R), SINGER(R), and PFAFF(R) sewing machine brands.
"In response to this demand, we developed the HICLASS(TM) 100Q sewing
machine -- its manageable weight, small size and hardtop carrying
case allow for simple transportation, making it even easier for
sewers to spread the joy of sewing to their friends and family."
Source: MarketWatch (press release)
Interview With Conrad Pope
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It takes many skilled hands to keep Hollywood running as the stars take their bows- an army that includes personal assistants, makeup artists and publicists, all of whom are sure to step out of the way of the glaring flashbulbs. Then there’s the even less sexy caste of the studio machine called “below the line,” the mostly unrecognized visual effects artists, writers, production designers, editors, costumers and other skilled craftspeople who allow the stars to shine- their own jobs eased on the steam of even more obscure laborers chained to computers and sewing machines. Yet these toiling men and women are no less important for being several steps further down the media-hungry ladder.
When it comes to the BLT category of film composing, its few truly successful composers command similar underlings to provide the “additional music” and orchestrations that let allow their work step out in its Sunday best, sometimes without acknowledgement of what it took their score to shine. It seems that Conrad Pope has done nearly every imaginable duty for the composing biz’s biggest names, often under his own moniker, and sometimes with nary a mention for the numerous, big-budget likes of “Jurassic Park,” “What Women Want,” “Star Trek: Nemesis,” “The Wolfman” and “Julie & Julia.” But when it came to his own music, Pope notable scores accompanied less auspicious productions like “Metalbeast,” “The Rising Place,” “Lloyd” and “Pavilion of Women.” All shouted of a musical ability that deserved a real shot. Now after several worthy tries, it’s time for Pope to take his real, long-awaited, and well-deserved Hollywood bow with a movie, and score that just might get the ultimate recognition in town. And standing next to Pope for the occasion is a woman who’s likely engendered the most burnt flashbulbs in tinsel town history.
Source: Film Music