What's New as of January 2016 We’re constantly reinventing the equipment and expendables industry. And inventing and finding new products. All of it is done with one goal in mind: To save you time and money – and make your production run smoother. The only place you’ll get them? When you call Wits End. Hotel hair/ make-up vanity mirrors Makita hand held hair/mu blowers Black tall directors chairs Beatbox by dr.dre boomboxes 14-gallon can cans w/nozzle Red carpet runners 4ft. x 10ft, 15ft, 20ft & 25ft. Hair & make-up hydrolic “style” chairs Roll over images to interact with slideshows.Portable Trade Show Director's Chairs These Canvas Folding Director's Trade Show Chairs are the kind of trade show accessory that makes your life easier, show after show. Don't rent when you can save money by purchasing and have your logo imprinted onto the seat back. Our selection of Director's Chairs are made from no-sag canvas and kiln-dried hardwood to give years of service and comfort.
They are Easy to carry, ship and set-up at any presentation or event. Directors's Chairs are available in a wide range of popular colors or we can match your company pantone colors. Order a plain canvas chair or an imprinted folding chair with your custom message on the back to reinforce your name and logo. This catalog has no sub-catalogs. Branded Bar Height Director's Chairs Not Sure Where to Start? Directors Chair w/ Full Color Logo Buy personalized directors chairs with your printed logo for a trade show or special event. These original directors chairs are available in two heights. The heavy-duty 14oz. cotton canvas seats and backs support up to 225lbs. An environmentally friendly product made from rubberwood trees that are at the end of their rubber producing cycle. If you have any questions about choosing the right custom directors chair for your exhibit please call us toll free at 1-855-536-3385 or contact us by email. w/ Full-Color Imprint (Table Height)
Table height chair (34″ tall). Includes printing of your artwork in one color. w/ Full-Color Imprint (Bar Height) Bar height chair (44″ tall). Directors Chair (Table Height)Unimprinted, available in ten fabric colors. Directors Chair (Bar Height)Life Directors Chair Cover Bring new life to tired outdoor chairs with the Life Director’s Chair Cover. This stylish cover is made from 100% UV, water and mould resistant polyester and is available in four sophisticated colourways: smart black, a graphic geometric print, a gorgeous deep navy and a timeless navy stripe. The Life Director’s Chair Cover gives you the opportunity to change up the entire look of your outdoor furniture without going to the expense of replacing it. It enables you to prolong the longevity of your furniture, too. Mix and match different covers or stick to one matching print – either way, you’ll love both the practicality and the creative opportunities this versatile chair cover provides.
100% UV, water and mould resistant polyester. Store when not in use. D58 x W45 x H58/80cm. Please refer to the garment on receipt for care symbols,and view our full care instructions reference guides here Wash:Sponge/Wipe with Damp Cloth.Bleach:Do Not Bleach.Iron:Do Not Iron.DryClean:Do Not Dryclean.Drying:Do Not Tumble. Name (A - Z) Name (Z - A) 140 items, scroll to loadThe word auteur is thrown around more and more to describe rap’s greatest minds, but the release of Compton makes one wonder whether anyone deserves this tag more than Dr. Dre. There is no doubt that Kanye West’s albums are robust orchestrations with countless moving parts, but his reliance on readymades of sound, bits of already existing crate glory, belies his role as hip-hop’s resident curator. An auteur, properly designated, creates fully formed cinematic worlds — or at least the soundtracks to them. And, as Jon Caramanica points out in his excellent review of Compton, Dre’s “real peers” are film composers — he mentions John Williams, but Bernard Herrmann makes more sense to me — who “communicate emotional direction with broad, legible strokes that set the tone for the details to be sprinkled atop them.”
Dre’s long-awaited third album opens, fittingly, with a cinematic prologue that proves the city of Compton is not only the set or setting of this feature, but, as the cliché goes, its protagonist. “Compton was the American dream,” it begins before dovetailing into a refreshingly stone-faced expression of black politics — a move that unionizes the album not only with Dre’s originary work with N.W.A., but also with Compton’s young geniuses, Kendrick Lamar and Vince Staples (who spent plenty of time there). The narrative is unsparing (it reminds me of Dickens’ masterfully dark opening to Bleak House) in the way it mocks white flight (“Whites don’t buy houses in Compton anymore”) and broaches the unsayable: “Juvenile gang activity, muggings, small robberies make some blacks want to leave.” Compton’s first proper song, “Talk About It,” opens with Dre acolyte King Mez, who promptly trucks the themes of the intro into familiar territory. (“Fuck Glocks,” says Mez, “I’m all about Fort Knox.”)
Still, Mez knows this all makes more sense than it would on a record less rooted in a physical location — he’s trading in a Watch the Throne logic of money over guns, but he’s talking to actual people in Compton. Anyway, it doesn’t take long before the principal arrives. “I just bought California,” Dre raps in a way that embellishes the track’s insane percussiveness. Compton is layered with moments like this — that join an almost ballistic, carnival-esque atmosphere with drums that will inspire many iterations of the word “propulsive.” Frankly, for those of us who, like A$AP Rocky, thought To Pimp a Butterfly good but a little too jazzy, Compton is an immediate relief. This is to say that Compton is a good time. It’s also so huge and muscular and weird that its component parts will take weeks of listening to fairly assess. Nevertheless, at least one fact of the album asserts itself: the features, of which there are many, are quality. In his role as auteur, Dre has often chosen to stay in the background.
Here it’s a mix: Compton is an ensemble, and he proves himself by doing what other directors don’t always do — he makes those around him better. If Drake and Kanye West have been recently criticized for overshadowing the talents they cultivate, Dr. Dre might be pitched as the the counterexample. On Compton, Lamar, Snoop, even Xzibit (!) — they’re all either better than usual or at least at the top of their game. The only exception is Eminem, whose verse on “Medicine Man” is a grandstanding act of inadvertent self-parody reminiscent of Jay Z’s verse on “Monster.” It’s also worth mentioning that Compton shows once and for all that Eminem has been superannuated by Kendrick Lamar — who, let’s all admit, often sounds like him. This album had room for only one of the two. And it’s Lamar on “Deep Water” who steals the scene, so to speak. It’s obvious that he’s reigniting a stray beef with Drake, who will not be so keen to respond this go-round. Still, the verse is more of a teaser, and if Compton lasts it will be seen as just one good moment among many — you don’t fast forward to the good parts of a favorite film.