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Laura Mackenzie

Laura Mackenzie



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WIRED Middle East: Inside the Middle East’s hidden, conspiracy-driven anti-vax movement

For Ali Khalifa, it’s like having the “mark of the beast.” The 41-year-old Algerian is not warning against worship of the antichrist, fretting over biblical sea monsters, or debating the meaning of the number 666. He suggests that the modern-day sign of the devil may be both very real, and far unlike any described in the Book of Revelation. These days, it’s administered via needle by doctors and aid workers—the foot soldiers, as some believe, of an evil global elite.


MacKenzie-Childs

MacKenzie-Childs, Ltd. is a manufacturer of ceramics and retailer of hand-painted imported furniture and home décor, based in Aurora, New York, and founded in 1983 by Victoria and Richard MacKenzie-Childs. [1] [2] [3] [4] [5]

The company entered Chapter 11 bankruptcy protection in 2000, and in 2001 Pleasant Rowland, founder of American Girl, purchased MacKenzie-Childs, Ltd. In 2005, the company laid off several workers, including the founders. [6] After Rowland restructured her management team in 2006, MacKenzie-Childs, Ltd. became profitable again. In 2008 Rowland sold MacKenzie-Childs, Ltd. to Lee Feldman and Howard Cohen, part owners of Twin Lakes Capital.

In 2006, MacKenzie-Childs, Ltd. sued founders Victoria and Richard MacKenzie-Childs citing trademark violation, as their last name and trademarks referencing it had allegedly been sold off in the bankruptcy proceedings. [7] [8] [9]

In 2014, Castanea Partners, a private equity firm, invested in Aurora Brands, the owner of MacKenzie-Childs, Ltd. [10] In 2018 MacKenzie-Childs, Ltd. acquired Patience Brewster Inc. [11] Patience Brewster, an Upstate New York book illustrator and ornament designer, joined the company's creative team, supporting the design and development of products for the Patience Brewster by MacKenzie-Childs collection.

MacKenzie-Childs, Ltd. is well-known for its annual Barn Sale, which in 2017, drew more than 26,000 shoppers to the company's 65-acre property in Aurora, making the event one of the premier draws for tourists in Cayuga County, New York. Held over four days, the sale draws shoppers from around the globe who come for discounts that range from 40 percent to 80 percent. [12]


Why did Mackenzie Phillips leave One Day at a Time?

By November 1979, it had become impossible for the cast and producers of One Day at a Time to ignore the escalation of Mackenzie Phillips' drug use. According to a 1980 report in People, her colleagues on the show concluded that her newly hoarse voice, extreme weight loss and chronic exhaustion were the result of cocaine abuse. She was told to take six weeks off to "rest and put on some weight," with the understanding that she would use the time to pull herself together.

When she returned to the set, the situation had not improved. Two weeks later, Phillips was given a choice: she could either voluntarily leave the show "for personal reasons" or be publicly fired. She eventually agreed to a statement declaring her exit was by "mutual agreement."

While Phillips' manager, Pat McQueeney, downplayed the actress' drug use to People, those who worked on the show told a far different story. "She has a drug-related medical problem," said Barbara Brogliatti, head publicist for series creator Norman Lear. "She just can't work. I consider this firing a step toward saving a child's life. The kid's in real trouble."


Laura Mackenzie - History

Originally Published in the June 2013 Entertainment Guide

Laura MacKenzie with pipes, concertina and gemshorn on settee from MacKenzie’s Gifts.

You cannot be much more of a “townie” than Laura MacKenzie, even though she left Northfield for a while before returning in 2011 to live on the same street where she grew up. Laura’s roots here are strong: Her paternal grandfather Kenneth J. McKenzie (the spelling was changed to MacKenzie by Laura’s father, Donald) was the only Northfield mayor elected to three successive terms and her maternal grandfather, Thomas E. Rankin, was a distinguished Carleton College English professor. Her parents, Don and Marian MacKenzie, ran a well-known Northfield gift shop on Division Street, called MacKenzie’s, for more than 25 years. Laura has been making a distinctive mark on the local music scene while continuing her career of accomplishments beyond her hometown.

After meeting Laura a couple years ago, I started taking note of references to her that were popping up in the media. The Star Tribune called her a “Celtic music wizard” who is “one of the Land of Lakes’ best-known exponents of pan-Celtic culture on flutes, whistles, bagpipes, concertina and vocals.” I saw regular news items about her appearances at the Cedar Cultural Center in Minneapolis, known as one of the best world music venues. Last year she was awarded a $25,000 McKnight Fellowship to pursue her musical passions.

Laura MacKenzie with wooden mid-19th century style flute.

I knew of her talent, and her sheer joy in sharing her love of music, from going to Traditional Irish Music Sessions, which she organized soon after she moved back to Northfield. They were held first at the Contented Cow, then Hogan Brothers and now are at the Rueb ‘N’ Stein (503 Division St.) every Wednesday night from 7 to 9 p.m. Musicians and listeners come to enjoy “jigs, reels, airs, the occasional song, good spirits and good company,” as the gatherings are described in the Entertainment Guide. Laura told me participants learn from each other by paying attention to what the others are playing: “They make notes and they go home and learn the tunes and come back – that’s just exactly what it’s all about.”

Laura MacKenzie's senior photo, Northfield High class of 1969.

Laura (known as Laurie in her youth) started playing flute in fourth grade at Washington Elementary School, taught by band director Jim Anderson in what she remembers as a “chilly, dark, kind of dank basement” of the school. Choir and madrigals were also important to her in junior high and high school, under Yosh Murakami (an inspiration to many students from 1951 to 1968). “Yosh was very charismatic,” Laura said. “We all just loved him, would do just anything for him and sang well for him.” She also played flute in both the band under Russell Pesola and the orchestra under Paul Stoughton in high school. All in all, she had “wonderful, wonderful musical experiences” in Northfield schools.

Her Scottish heritage was not emphasized as she was growing up. In fact, Laura didn’t realize until she was in college that the Rankin name on her mother’s side of the family was Scottish. She did know the MacKenzie name was Scottish, of course, and she got a somewhat odd reminder of that from her father, Don MacKenzie, one Christmas in the 1960s. He gave her an envelope with $50 in cash with a note that it was “For bagpipes.” Since they had never talked about her playing bagpipes and Scottish music was not heard much amidst the Scandinavian songs more common to Northfield, Laura accepted the money politely but was “kind of embarrassed by this present.” It was not until after her father died in 1971 that “Something snapped for me and now I play at least a half a dozen different types of bagpipes and never looked back.”

Left to right: Anna Vasquez, Carolyn Boulay and Laura MacKenzie as the Supremes in Lorie Line’s Pop Chamber Orchestra, c. 2004.

After Laura graduated from Northfield High School in 1969, she went to Beloit College in Wisconsin with a double major in classical music and anthropology. Beloit had a system where students took a term of four months off to work somewhere in a field connected with their major. Laura went to Scotland because her sister, Rhoda (a Carleton College graduate), was living there. Laura worked in the traditional music archives of the University of Edinburgh School of Scottish Studies and found herself “stunned” by the traditions found at “this treasure trove of field recordings of traditional singers and pipers and fiddlers and Gaelic speakers.”

Through her work Laura was able to meet “some real traditional Scottish musicians,” including an elderly piper that her supervisor took her to meet at the end of a long, narrow, “kind of mysterious” alleyway not far from the Edinburgh Castle. She took lessons from him “on the practice chanter for the highland pipes,” an instrument for learning piping techniques for the Scottish highland pipes. He introduced her to the classical music, called pibroch, as well as marches and reels and jigs. Laura said she was “enthralled with my lessons and I loved it so much that I went back to Beloit and wanted to dedicate my recital to this pipe major, George Stoddart.” Her approach to music had changed and she “wasn’t so keen” on being a musician in the Western classical sense, which created a falling out with the music professors at Beloit. So Laura cancelled her recitals for the music major and spent time finishing up a degree in anthropology. But her studies of anthropology and music brought her to the study of ethnomusicology, the anthropology of music, which “made me think about the context I wanted to practice music in, in my own community.”

Left to right: Sean O’Driscoll, Frank McCourt and Laura MacKenzie in McCourt’s “Irish Stew” at St. Paul’s History Theatre, 1992.

After graduation from Beloit, Laura spent half her time in Northfield to be with her widowed mother, Marian, and half her time in St. Paul where she found others who shared her passion for traditional music. In Northfield she worked for S. Eugene Bailey, the Carleton College Orchestra director who had a rare music business downtown.

In St. Paul, an old Irish pub called O’Gara’s hosted Irish music sessions a couple times a week, presided over by Martin McHugh, a musician who had emigrated from Ireland in the 1950s. “He taught us tunes and how to play for dancers,” said Laura, and she and others who were “hooked” on this music formed an Irish dance band called the Northern Star Céilí with McHugh. Laura played flute, Irish style wooden flute and tin whistles with the band from 1976 to 1983 in dance halls around the upper Midwest, helping spark a revival of this form. She also studied Irish step dancing herself.

In the mid-’70s, Laura and her group of friends decided to go to Ireland “to see if we were getting this music right.” Every year or so Laura (with or without companions) would “save up all my pennies and take a backpack and a tent and a sleeping bag and go over for a few months just for the music,” hitchhiking from place to place. Laura said she was just “compelled to do this” in order to play with musicians at their sessions and she called it a “golden period of time, really wonderful.” She was able to learn from many musicians “that are considered legendary in the history of Irish music,” most of whom are now deceased.

“Laura and the Lads” – Michael Bissonnette, Laura MacKenzie and Gary Rue

In 1984, Laura worked as a production assistant for Garrison Keillor’s show Prairie Home Companion for a year and could have continued working for National Public Radio, but “I wasn’t interested in becoming a lifer there.” She wanted to be able to concentrate on her music and impending motherhood, as she and then-husband, musician Dean Magraw, were expecting their son Dugan.

Motherhood and music worked out well, with Dugan going along with her to many kinds of musical events and with Laura’s mother Marian helping out with her grandson. By this time, Marian MacKenzie was Marian Rolvaag, since she had reconnected with Karl Rolvaag at their 50th Northfield High School reunion in 1981 and married the former Minnesota governor in 1982. MacKenzie’s Gifts was closed and the couple resided in northern Minnesota before returning to Northfield a few years later, before Rolvaag’s death in 1990. Laura said that Karl Rolvaag by that time had gotten through rough patches in his life, was still a beloved politician and was a great stepfather for her and a wonderful grandfather for her young son, as well. Laura said, with a laugh, “I got to be half-Norwegian for a few years.” (Laura’s mother died in Northfield in 2003.)

Laura MacKenzie and Dáithí Sproule

Laura’s talents have provided her with many unique professional opportunities. In 1985, she was selected to be in the original concert series in New York City called “Cherish the Ladies,” which featured noted women in Irish music in America. In 1992, Laura performed for several months with Sean O’Driscoll (currently a member of the Irish Rovers) and Frank McCourt in Irish Stew at the History Theatre in St. Paul. The work was made up of portions of what came to be published as McCourt’s Pulitzer Prize winning book Angela’s Ashes. In 1996, Laura produced the music and performed as a musician in the onstage cast of She Stoops to Conquer at the famed Guthrie Theater. Laura told me that was the “best job I’ve ever had, for the wonder of working so closely and for so long with that level of professional artistry.”

From 1997 until 2005, Laura did extensive touring with Lorie Line’s Pop Chamber Orchestra. It was a time of Riverdance, of jumping on the “Celtic bandwagon,” and Laura said she was hired “as kind of a novelty/specialty act in her ensemble, playing pipes and some whistle and flute.” Laura found that she was adept at theatrical choreography and what Laura calls “stunt piping,” as she made her way through throngs on stage. Vast sums of money were spent on “fantastic costumes,” with frequent changes of clothing, jewelry, wigs and shoes. “I learned how to run in stiletto heels as well as dance in them,” Laura told me.

Laura has been given many awards and honors, including recognition as a Master Folk Artist by the Minnesota State Arts Board (1998), receiving a Bush Foundation Fellowship in Traditional and Ethnic Performing Arts (2009) and winning a 2012-2013 McKnight Artists Fellowship for Performing Musicians. Out of the 94 soloists and ensembles who applied for the McKnight, four of the seven finalists were awarded $25,000 to support their careers on the basis of performances in front of a panel last year. Laura said she “pulled out all the stops” to demonstrate her versatility on wooden flute, tin whistle, concertina, Scottish smallpipes and border pipes. She also sang, did some pieces accompanied by piano, percussion and guitar, talked a bit about traditional music, “all within 20 minutes. I worked h-a-a-a-a-rd during that 20 minutes!” she said.

Andrea Stern performs with Laura MacKenzie as “Willow Brae”

Laura made use of some of her McKnight funds on a recent trip to Ireland and Scotland. In Ireland she attended a flute meeting of 48 wooden flute players in a small village in West County Cork, with five master musicians of different styles giving presentations and classes. Even traditional music does not stay static, Laura told me, as playing styles are still evolving. It was exciting for her to learn firsthand from the players things which can’t be taken from recordings or YouTube. She also went to the Lowland Border and Piper Society annual meeting in Scotland. One of the few Scottish smallpipe players in Minnesota, Laura enjoyed the chance to get “kind of refreshed” with these players.

The project closest to her heart of late has involved producing the CD The Master’s Choice, which had its launch on May 17 at the Celtic Junction in St. Paul. The CD features her mentor in Irish music, Martin McHugh, playing traditional Irish music on button accordion with Laura on flute, whistle and concertina and Dáithí Sproule of the Irish super group Altan on guitar. Laura said she has been thrilled to be able to honor McHugh in this way for his role in sustaining traditional Irish music in Minnesota, as well as for inspiring her life’s work.

Laura presents concerts, programs and workshops at festivals, schools and other community venues, both as soloist and with others. She has duo programs with Gary Rue, Dáithí Sproule, Ross Sutter (as Ross & MacKenzie), and performs as Laura MacKenzie and the Lads, Willow Brae (with harpist Andrea Stern) and Northern Gael (with Sutter and Danielle Enblom).

“Ross and MacKenzie” – Ross Sutter and Laura MacKenzie.

Laura’s partner, Gary Rue, is on the faculty of McNally Smith College of Music and has an impressive musical background, as well. He is a performer, composer, songwriter, creator of more than 70 musicals for theater and was music director of Hall of Fame singer/songwriter Gene Pitney from 1986-2006. He is known locally for playing in the rock group Sleepers. Laura said his playing guitar with her is “quite a departure from the music he spent his life cultivating,” and it was a challenge at first, but “now people are really impressed with the unique quality that he brings to this type of music.” The couple really enjoys and appreciates all types of music.

Laura gives lessons on an array of wind instruments at her office/studio at Celtic Junction in St. Paul (thecelticjunction.com), which has become a community hub for Celtic traditional music since its founding in 2009, and in her Northfield home. Tracks of songs can be heard and CDs ordered from her website lauramackenzie.com, which also has biographical information, pictures and a schedule of Laura’s upcoming performances this summer in Minnesota (Cannon Falls, Bloomington, St. Paul, Hovland, Hokah, Red Wing and Rochester), Wisconsin (Danbury and Bayfield), Ohio (Dublin) and Vermont (Huntington).

Laura returned to live in Northfield for the “quality of life of the home base,” at a time when she still has the “strength and energy to keep bouncing all over with my career” while also becoming “a contributing member” of her hometown. She appreciates the many cultural advantages of living in a town with two colleges, Carleton and St. Olaf, which are “so open and welcoming” to collaboration with the community. And she loves being able to go out and about “without fear, for the most part,” having lived before in parts of the Twin Cities where “I would run from my car to my back door.” She said, “My first few months in Northfield, every day I could feel that the built-up layers of the city defense shell were cracking and shedding and falling into the streets as I would go for walks. A wonderful feeling.”

And it is wonderful for Northfield to have the “Celtic music wizard” back home.


Mackenzie FitzGerald Origins

I support the older version of Mackenzie origins documented by George Mackenzie, I Earl of Cromartie. On 9 January 1266, King Alexander III granted Gerald (Colin) Fitzgerald the Barony of Kintail by royal charter at Kincardine to recognise his bravery in battle against the Vikings at Largs.[9] Alexander II had built Eilean Donan castle in 1220 and Alexander III appointed Gerald its Castellan (or Constable), in 1266. Gerald was apparently hunting Alexander in 1266 when a wild stag burst out of the woods and would have charged the king but for Gerald. Alexander III further rewarded Gerald by approving the Mackenzie stag's head for Gerald's arms.[10] Gerald, who was then apparently already called Callam (Colin) after an earlier battle honour had a son called Kenneth and Kenneth also named Gerald's grandson Kenneth. The name Mackenzie was initiated at that point by calling Gerald's grandson Kenneth son of Kenneth. Since this name was in Gaelic, he was probably Coinneach mac Coinneach, with the first Coinneach softened into Kenneth. This version is reported as being corroborated in the Fitzgerald family records.[11]

It has long been maintained and generally accepted that the Mackenzies are descended from Gerald (called Colin) Fitzgerald or Cailean Fitzgerald, who descended from Otho who accompanied Edward the Confessor to England and became a key advisor in Edward's court, for which Otho was created Baron of Windsor.[12] At this point some Clan historians confused the Fitzgerald record. George and Alexander Mackenzie both stated that John Fitzgerald FitzThomas, I Earl of Kildare was the father of Gerald called Colin, the father of the Mackenzies. This assertion is not supported by my source Sir E Mackenzie-Mackenzie, who records that Gerald - soon to be called Colin - was a step-brother of John, Earl of Kildare.[13] It seems understandable that the mother of a newly-created earl would leave a higher profile record than a previous wife, to explain the confusion. Moreover, Sir E Mackenzie-Mackenzie states explicitly that he had access to the Leinster Fitzgerald records. The confusion over the name for Colin is further explained by Goddard Henry Orpen in his opus Ireland Under the Normans.

Orpen explained that Celtic tradition often provided a man a new name to honour some great deed. Gerald FitzGerald fought at the Battle of Callan in Northern Ireland in 1061 and evidently Gerald earned both honour and merit. It was that Battle Honour that initiated a name change. The battle inflicted heavy casualties on the Fitzgeralds and the homelands were wasted by the native Irish. Since Orpen noted that the Fitzgerald hero left Ireland for neighbouring Kintail Scotland, the change of place might have facilitated his simultaneous name change. There Gerald, (perhaps already called Callan, or Colin), met Alexander III whose land was about to be invaded by the Vikings. (At the end of the 1263 Battle of Largs there were an estimated 16,000-24,000 dead Vikings: this was no small brawl.) Fitzgerald help from a proven warrior with his own men would have been valuable in those circumstances. An historically documented hero of the Battle of Largs is 'Peregrinus et Hibernus nobilis ex familia Geraldinorum' deemed to be the same Colin Fitzgerald.[14] His son and grandson were apparently each named Kenneth, with the grandson being named Kenneth mac Kenneth, but in traditional Gaelic spellings - not English. As time increased the social exposure of the Highlands to the English and their language, the Gaelic was replaced by softened Anglicised spelling to become Kenneth Mackenzie.[15]

Sir Alexander was quite right to complain about the putative Fitzgerald link. The version which George Mackenzie recounted was neither credible, nor in accord with the Fitzgerald records. Sir Alexander further complained about Fitzgerald naming conventions and that too is a reasonable complaint. I have found inconsistency in Fitzgerald names, which can be borne out by examination of the records. Some early Fitzgeralds are named after places (de Windsor, and de Carew are early examples), their mothers, their own triumphs, etc. Naming traditions were evidently not consistent in the mediaeval age.[16]


Former USPA Executive Director Laura MacKenzie, D-2121, Passes Away

The first and only female executive director for USPA, Laura MacKenzie passed away after a long illness on Saturday, May 22.

MacKenzie was the executive director of the United States Parachute Association from December 1, 1976, until March 1978, and was the first staff member hired by then-Executive Director Donald Beach when USPA moved from Monterey, California, in 1975. As the executive director, MacKenzie handled everything from hiring staff, accounting and office administration to acting as assistant meet director of the 1976 USPA National Championships.

An avid supporter of skydiving competition and the U.S. Parachute Team, MacKenzie made a lasting impact on the sport of skydiving, especially during her time at USPA Headquarters. She wrote a column each month during her tenure titled &ldquoThe Washington Update,&rdquo which she used to update members and encourage industry-wide support and donations for the U.S. Parachute Team. In the March 1997 issue of Parachutist, MacKenzie writes a letter celebrating a milestone to fellow parachutists:

&ldquoThe United States Parachute Team is now a separate corporation. Most importantly, it has an IRS section 170 (c) status, which means: All contributions to the U.S. Team are tax-deductible!&rdquo

In her letter to members from the October 1977 issue, MacKenzie explains some of the benefits of moving USPA Headquarters to Washington D.C.:

&ldquoThe move to Washington D.C. has enabled USPA to develop closer communications with the FAA. Now, after two years, the FAA has come through with the answers to some of our petitions. They have determined that an Emergency Locator Transmitter (ELT) is not required to be installed aboard aircraft engaged solely in parachute jumping operations. This is a step in the right direction for both parachutists and the FAA. This change will save money for drop zone operators and therefore you, the skydiver. We&rsquore looking forward to more fruits in our developing relationship.&rdquo

MacKenzie was an active skydiver in the &rsquo60s and &rsquo70s and was on two U.S. Parachute teams, 1969 at the Adriatic Cup in Portoroz, Yugoslavia, and 1972 World Championships in Tahlequah, Oklahoma. She was Women&rsquos Star Crest Recipient #2 and was a part of the first all-women 8-way star in Elsinore, California, on July 28, 1970. A strange quote from Parachutist says, "The tireless organizers decided that if there was enough time and light left at the end of the meet, the girls would be allowed to have a go at it." Jean Schultz and MacKenzie made the 2-way base in 15 seconds. Sheila Scott docked third. Ann Gardiner made the star a 4-way. Diane Bird made the fifth dock. Luena Garrison and Linda Padgett came in sixth and seventh and Patty Croceito finished the formation. They broke the star just above 3,000 feet, and they all landed to cheers from the observers on the ground. Carl Boenish, Ray Cottingham and John Randall filmed the dive.

MacKenzie is survived by her godson, Dylan, who writes &ldquoGodmother, skydiving champion, guitar player, cat owner, social worker, dog lover, fabric artist, blackbelt. Laura took one final jump into the unknown this past weekend. The world is better for having known her. She is missed.&rdquo


Seduced by History Blog is hosting a month-long contest in August. One winner will receive a ‘basketful of goodies.’ All you have to do is check in on each blog during the month, look for a contest question to answer and September 1-5, 2011 send in your answers to [email protected]

Prizes award to one lucky winner include: Victoria Gray’s book "Angel in My Arms", "Spirit of the Mountain" package from Paty Jager, Cynthia Owens’ book "Coming Home", a Kansas basket from Renee Scott, Anna Kathryn Lanier’s ebook “Salvation Bride and gift basket, “Stringing Beads - Musings of a Romance Writer” by Debra K. Maher, Eliza Knight’s ebooks “A Pirate’s Bounty” and “A Lady’s Charade”, Anne Carrole’s book “Return to Wayback,” a 4 gb jump drive, a $25 Barnes and Noble gift card, and more!

All entries must be received by midnight Monday, September 5, 2011 to be eligible for the drawing. A winner will be chosen from all those eligible on or about September 6, 2011 and contacted by email. Odds of winning will depend on the number of total number of entries received.


The History Behind MacKenzie-Childs' Most Iconic Pattern

No brand mixes patterns quite like MacKenzie-Childs, the
playful ceramics manufacturer that has graced Yankee living rooms and kitchens since 1995. And within the MacKenzie-Childs stylebook, no pattern is as popular as the "Courtly Check," glowing, almost burnt-looking black-and-white motif.

I wanted to know where the Courtly Check originated, so I asked Rebecca Proctor, MacKenzie-Childs'creative director. "Who knows where the spark actually ignited?" Ms. Proctor replied. "It might have been Italian black and white marble floors from a Venetian Palace that started it, or ancient hand woven
textiles from Africa? Was it inspired by a chess tournament, or Jean Cocteau's socks? One thing we do know is the black and white check certainly has its place in history and seems to resonate with everyone."

Proctor went on to explain that as far as she can remember, MacKenzie-Childs' checks first appeared as a thin border composed of two rows
in varnished oil on the bonnet and base of their hand-painted armoire. Visually, it
seemed the perfect punctuation mark to an heirloom piece, but
it also served as a barrier to divide two other patterns, as seen below.

Then, in 1995, MacKenzie-Childs launched a collection
of hand-painted enamelware fondly referred to as Roasted Marshmallow, which featured a new twist on the
black and white check. The pattern was part of the Camp MacKenzie-Childs
collection, designed for casual outdoor use and glamping, but they soon
discovered that it worked when layered onto formal place-settings.
The deliberate but spontaneous use of additional colors dragged through each
check made it unique--no two pieces were alike. The addition of
caramel-like amber tones pulled through the creamy white and black checks was
reminiscent of the look of marshmallows perfectly toasted over an open fire. A
few years later, an editor referred to MacKenzie-Childs as the court jester of
tabletop and upon that comment Roasted Marshmallow was renamed more
appropriately as Courtly Check.


Watch the video: What About Us P!nk - Laura Mackenzie Choreography (August 2022).