Saturday, November 14, 2009

Sora Sushi Bar and Lounge Review

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Sora Sushi Bar and Lounge Review

Sora

On my recent trip to Disney World I was invited for a complimentary dine-around at Gaylord Palms Resort, which is a massive complex just outside of the “gates to the World.”

I’ll say in advance that I’m not usually one to leave Disney property all that much when I’m on a Disney trip. There are just too many things (including restaurants!) that keep my attention Disney-focused to spend precious vacation time elsewhere in Orlando. But visiting the Gaylord Palms was pretty eye-opening regarding what else is out there! Clearly, the chefs at Gaylord have been able to carve out a distinctive dining niche for the resort that includes interesting themed surroundings coupled with Really. Good. Food. While there, I visited four different restaurants; today’s review is of Sora, Gaylord Palms’ sushi bar and lounge. I hope you enjoy this first trip outside the gates!

Sora Entrance at Gaylord Palms Resort

Sora Entrance at Gaylord Palms Resort

The Atmosphere
Now, when I heard Sushi Bar and Lounge, I immediately thought, “Hmm…not really my speed;” even when I lived in New York City I wasn’t a “Bar and Lounge” person. But I can honestly say that this place is not at all intimidating. The restaurant has a relatively open floor plan, lined with comfy booths and offering views into the resort’s atrium and lobby (appropriate, as “Sora” means “blue sky” in Japanese). Walking into Sora doesn’t give the feel of a big city nightspot with blaring music and lights so dim you can’t see where you’re walking — it feels like a hip, but accessible place to pick up some appetizers, light dinner, and cocktails.

Sora Seating Areas

Sora Seating Areas

Sora Inside

Sora Inside

The Eats
While Sora is known for its innovative sushi menu, I was glad to discover that both the adventurous and the picky will find things to try here. And it’s a fun selection. If you take a look at the menu, you’ll see what I mean. You can even order a drink based on how you want to feel — Balance, Nirvana, Opulent, Divine, Distinct… .

Sora Menu

Sora Menu

We started with “Zen,” a delicious drink made with Zen green tea liqueur, Peach Schnapps, and Sauvignon Blanc. The presentation was stunning and the flavor was like nothing I’d ever tasted. I really enjoyed it and wished I could see how all of the drinks looked and tasted (maybe next time!).

Sora's Zen Cocktail

Sora's Zen Cocktail

If you move on in the menu, you’ll see a thorough sushi and sashimi menu that includes BBQ eel and octopus along with standards like tuna and salmon. You can also choose from soups, salads, starters, or dinners, such as sea bass and duck. Try the “omakase” — the chefs will prepare something just for you based on the catches of the day and what’s fresh from the farmer’s market!

BBQ Pork Bao Bun Sandwiches

BBQ Pork Bao Bun Sandwiches

We sampled the Bao Bun Sandwiches, which offered a choice of barbeque pulled pork, vegetable and tofu stir fry, or miso glazed fresh fish of the day, served with Asian slaw, sriracha mayonnaise, and lemon chili sauce. We were served the pork sandwiches, which were “Do-It-Yourself” — fun to put together and sample with the different sauces.

Sora's Bao Bun Sandwiches

Sora's Bao Bun Sandwiches

Another interesting twist Sora has introduced is offering “tapas”-style dishes like Lobster Fritters or Spicy Tuna Nachos in two sizes — “nosh” and “share.”

Overall
We were impressed with Sora. It’s difficult to make the “bar in a resort” into a destination, but the interesting drink menu and fun-to-eat dishes — along with the easygoing atmosphere — make it a great place to stop for pre-dinner cocktails or even a light dinner. If you’re a sushi-lover or a cocktail connoisseur, definitely give it a go.

Sora is open daily, serving food from 5:00 p.m. until 11:00 p.m. The bar is open daily from 4:00 p.m. until midnight.

Oprah Winfrey: Karaoke contest brings Orlando man $50,000


Robertweddle Orlando's Robert Weddle had a fine run in Oprah Winfrey's Karaoke Challenge.

The rock singer finished third in the karaoke contest and collected $50,000. On her show today, Winfrey announced the results after 2.5 million viewers voted.

"I went into it like I felt I had already won," said Weddle, 31. "For me the money is fantastic. Now I can close this chapter. I'm hoping for alternatives. I'm hoping to continue this and that this is just the beginning."

The money is nice, but a job would be nicer for Weddle, who has been unemployed eight months. He was a customer-service rep at a medical-publication company.

"I want to move forward and do something sustainable," Weddle said. "It's up to me. I need to make something happen."

Soul singer Abraham McDonald of Los Angeles won the contest and collected $250,000. Country singer Donnie Denny of Hertford, N.C., was the runner-up and earned $100,000 for his efforts.

Weddle raves over Winfrey. "She's awesome. Magnanimous is a fitting word for her," he said.


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On The Town: True Blood Stars At Florida Hotel

It might surprise you that vampire blood is like your blood.

They both save lives.

If you're familiar with the hit HBO series, you know that V-juice can improve the health and libido of humans who drink it. Vampires drink synthetic blood so they don’t have to kill humans to survive. So, the actors are in town hoping you will donate blood during their very first True Blood Convention.

It kicked off Friday at the Florida Hotel and Conference Center at the Florida Mall.

Actor Todd Lowe was the first to arrive. He plays "Terry," a shell-shocked veteran. The actors will get fired if they reveal too much about the new season - season 3, but this is what we could get out of him.

“I'm incredibly tight-lipped,” Lowe said. “I can tell you I got the first two scripts just before I came here to Orlando and I poured through them veraciously. They're great and I'm dying to tell someone."

To find out why the actor was a bit late for our interview (it's good knowing he's living it up in Otown), and to see why Melbourne is dear to him, click to Channel 300 - Central Florida on Demand. Click on Entertainment then Celebrity Interviews.

The blood drive happens Nov. 14, 10 a.m. – 6 p.m., and Nov. 15, noon – 6 p.m. Florida's Blood Centers tells us your blood is used within 2-3 days after you donate it!

Everyone who donates gets a black "Tru:Blood" T-Shirt (and ladies, they actually have Size S.)

The convention is $40 general admission per day. There'll be photo opps and panel discussions with the celebrities, even a buffet banquet where you can mingle. The True Blood Convention also includes a big Maquerade Ball Saturday night and special breakfast auctions.

Sam Trammell (Sam Merlotte), Nelsan Ellis (Lafayette), Allan Hyde (godric), and Ashley Jones (Daphne) are expected to be there.

Central Florida on Demand will be here all weekend to find out what these celebrities are really like. It's always interesting to see how they interact with obsessed fans.

Wednesday, November 11, 2009

Lack of extremes Jekyll and Hyde

Lack of extremes
Jekyll & Hyde
Through Nov. 28 at Greater Orlando Actors Theatre
669 Cherry St., Winter Park
407-872-8451
www.goatgroup.com
$18

Dr. Henry Jekyll has been mixing his drinks again – literally. One particular cherry-red concoction – formula HJ7 – could be providing him with quite a kick, shifting his normally placid personality from friendly to fiendish. The resulting identity has a penchant for murderous behavior and particularly nasty romantic proclivities. In fact, his qualities are so different from the good doctor’s that he even has his own moniker – Mr. Edward Hyde.

Robert Louis Stevenson’s 1886 Gothic tale, The Strange Case of Dr. Jekyll and Mr. Hyde, was transposed into a smash Broadway musical, Jekyll & Hyde, in 1997. The show’s book, music and lyrics are by Steve Cuden, Frank Wildhorn and Leslie Bricusse. The Greater Orlando Actors Theatre is currently staging the work under the direction of Paul Castaneda, with Don Hopkinson serving as musical director.

To its credit, GOAT has managed to cram the expansive creation into its less-than- cavernous Cherry Street space with a cast of 30 well-costumed performers who sing acceptably and move comfortably in the small acting area. The leads include John Gracey as Jekyll, Erin Brenna as Lucy, Scherezada Morales-Roman as Emma, Rob DelMedico as Utterson and, in a departure from the standard modus operandi, Stephen Pugh as Hyde.

While the acting and vocalizing are generally up to snuff, GOAT’s production suffers from a lack of the sort of special effects that can convert a middling book and score into a spectacular theatrical experience. For instance, instead of the same actor transforming himself from Dr. Jekyll into Hyde amid an array of optical illusions and flashy stagecraft, Gracey and Pugh must dart on and offstage as nimbly as they can, replacing one another in full audience view. More often than not, the seams show.

In addition, directors Castaneda and Hopkinson have decided to mic their actors, who must then battle a taped score played back at unsuitably high levels. Since the audience is never more than 10 feet away, the overkill is completely unnecessary. Lastly, how to light the tiny space with an audience on three sides totally stymied the tech crew – at least half the show is performed in relative darkness, and impenetrable shadows mar many scenes.

Fans of the musical will enjoy renditions of such popular tunes as “This Is the Moment” and “Someone Like You,” and GOAT is to be commended for tackling this theatrical behemoth. But on the scale of good versus evil, this Jekyll & Hyde falls somewhere between the two.

Comments on this story:


Report this comment On 11/11/2009 2:37:47 AM, Anonymous said:

Let me start off by thanking you, Al for reviewing our production. I'm glad you came and that you seemed to enjoy at least some of what we did. To respond to some of what you wrote (and I hope there is no offense taken as none is intended): 1. The lack of special effects was a directorial choice. We had more in there in our original concept, but the story in the end is a human story about the duality of man. On stage, it should be about the people and the themes, not about disappearing furniture, movie style effects involving the Jekyll/Hyde transformations or magic tricks. 2. The darkness, again, was a directorial choice. To me, Jekyll and Hyde is about goodness/light attempting to break through the evil/darkness that is within each of us. If everything is well lit and beautiful, then to me Jekyll's final act/victory is shallow. 3. I respectfully disagree on the miking of actors and the sound levels of the score. This show is known for its beautiful, full and lush orchestration. To not give that to the audience in order to not mic the actors was a choice I was unwilling to take. I guess all I'm really trying to say is, since "the acting and vocalizing are generally up to snuff", then any blame lies with my choices as director. And that I can live with, because I firmly believe that my musical director, assistant director, choreographer, cast and crew have done an unbelievable job with this show. Thanks, again, for the review. And hope to see you again, soon! Paul Castaneda Artistic Director Greater Orlando Actors Theatre www.goatgroup.com Thanks again for the review!

Report this comment On 11/11/2009 12:45:15 PM, Anonymous said:

Well Said Paul....everyone sees something different...

Report this comment On 11/11/2009 2:15:12 PM, Anonymous said:

I think that there are some technical issues with the space, but I fail to believe that the lack of special lighting fx completely deterred the audience from the story. I also feel that the technical aspects of a show should some how reflect the time period it is written as, and not be made the central focus of the audience. I agree with what is said here of the tracks being loud at times, but I would have liked to have seen more written of the story and the performances.

Report this comment On 11/11/2009 2:21:07 PM, Anonymous said:

This reviewer seems to have walked into the show with a list of preconceived notions of how Jekyll and Hyde should be executed. While opinions are like a**holes (and they all stink), it's too bad that his opinion of this show is limited to that of a "spectacle" filled with flashing bells and whistles. Al, wouldn't the seams surface far greater with cheeseball, hocus-pocus effects? This isn't Wicked, and we're not trying to Defy Gravity here. As Paul stated, it runs much deeper than flash and 'razz-ma-tazz': It is a tale of duality and the struggle of living in a society torn apart, a message all-to-relevant in today's times. Goat Group stripped the play down to its bare bones in an attempt to reveal the true monster within. The result served to astonish not only audiences, but the cast themselves (I, being among them): We're not as separate from what drives our inner demons as we'd like to believe. That is true theatre....no "illusions and flashy stagecraft" attached. My name is Adam McCabe, and I should have been born with a sock in my mouth. Thanks! ^_^

Report this comment On 11/11/2009 2:49:15 PM, Anonymous said:

P.S.....No offense meant in my words! Enjoy GOAT's quality theater (and dashing performers) at affordable prices! *bows out* -Adam

Report this comment On 11/11/2009 2:57:05 PM, Lamar said:

I'd like to see the work, but there's something at odds about miked actors in a stripped down production. It's like a guy who wears prescription eyeglasses AND earrings.

Report this comment On 11/11/2009 3:06:46 PM, Anonymous said:

Well I mean...."stripped down" doesn't exactly mean we're going to light our actors by candlelight either. Certain steps are a necessity. Let's be real here.

Report this comment On 11/11/2009 3:27:51 PM, Lamar said:

I was thinking of The Fantasticks.

Report this comment On 11/11/2009 6:16:35 PM, Anonymous said:

Interesting how whenever GOAT receives a bad review TONS of individuals post against said reviewer. Whether here or against Elizabeth Maupin. Funny how that happens isn't it?

Report this comment On 11/11/2009 6:24:42 PM, Anonymous said:

First, I am blown away that a director would comment on a public forum about a review of his production. That is poor theater etiquette, in my opinion. A director and company of cast and crew must produce and perform the best product they can deliver and let it speak for itself. A play or any other live performance art is to be appreciated and judged by each individual viewer. Whether or not the audience "gets" the particular directorial choices is irrelevant. If the choice doesn't play well, if it doesn't land, then that is a judgement the production must live with and learn from. I have been a member of the Central Florida theater community for 12 years and I would be mortified to be associated with an organization that would behave in the manner that GOAT's director has exhibited here. As to the production itself, I did see the show on Opening night. I had high hopes as it is one of my favorite musicals. I saw the original broadway run with Linda Eder and Sebastian Bach. Needless to say I thought the broadway production was flawless and have been in love with the music and book ever since. At intermission of GOAT's production I was ready to walk out and ask for a refund. $33 dollars for two tickets was an astronomical price for the level of production they offered. While the ensamble numbers we "acceptable" the soloists were generally week with the exception of Hyde and Emma. Lucy continually showed that her part far exceeded her capabilities as she was often off key and off pitch. Overall felt the acting placid, the cast generally looked confused, nervous or like they were trying to remember their lines. There was little genuine interaction and emotion. Again, with an exception of Hyde and one or two admirable performances by ensamble cast members. I also thought that the relationship between Lucy and Hyde was misrepresented in this production. Lucy's character as a whole seemed to miss the mark of the intended arch. First we see her a some victorian english version of a valley girl with a terrible affected accent, then she is a wimpering lamb. Her arch may have been helped without the omision of Good & Evil (a song performed in broadway version) which was apparently stripped from the show in favor of Bring on the Men as a women's ensemble number. The choreography was uncomfortable to sit through at such a close proximity to the cast. Further, the inclusion of the child cast member in the scene was a tasteless choice. Lucy is intended to be a strong and confident character who shows small but increasing moments of frailty only to Jekyll due to his kindness toward her. The actor's portrayal of this role in GOAT's production was weak, whiny and lacking in depth. As for the technical aspects of the show, the faults were numerous. First I will point out the distraction of hearing the stage manager talking through the entire production from the tech booth. I was sitting in the furthest possible seat from the booth and still I could hear her and her crew talking through the entire production. Second, the execution of lighting cues often showed errors and caused distraction. Dead characters were being helped off the set in full light while characters performed ballads in total darkness. Whether the cast couldn't hit their marks or the lighting was poorly focused I do not know. However I do not see the directorial advantage to having your actor's face in darkness while they are lit from the knees down. Their is a proper way to use shadow and light to convey emotion in a scene, this production looked messy, unpolished and hap-hazard in the area of lighting. Set changes were messy and loud. Backstage the cast could be heard dropping things, cursing when they presumably bumped around in the darkness and occasionally were shoved out of stage without their proper props. Additionally the blocking either had me straining to see the focal character over ensamble members in my face or dizzy at seeing the characters pacing needlessly back and forth along the same three-foot path every actor took from the first mid-stage platform, back down to their downstage right mark and back upstage again. The constant need to move the characters was not supported when the stage right audience area still spent most of the show looking at backs. More often then not the cast was directed straight out or to the downstage right corner. There were decent performances and even a few very good numbers that were mired by poor technical planning, poor direction and other partially substandard performances.

Peabody to hold 'topping off' ceremony

The Peabody Hotel Group plans to hold a “topping off” ceremony on the new 35-story, guest tower at the Peabody Orlando on Nov. 11.

The industry tradition, which will celebrate the completion of the concrete shell of the building, also will include a tribute to Veteran’s Day, as a 20-by-38-foot American flag is expected to be flown from the tower’s 30th story, said a news release.

The event also will feature a red carpet march of the Peabody ducks, the release said.

The new 690,000-square-foot, 750-room guest tower will nearly double the Peabody’s previous room capacity. The $450 million expansion also includes a 450,000-square-foot addition to the hotel’s existing convention space, renovation of 57,000 square feet of existing public areas, a 15,000-square-foot upscale spa and a grotto-style pool complex, an English garden, a hiking trail, boutiques and a new restaurant building, along with a 2,200-space parking garage.

The project is slated for a January 2011 completion, with the convention center space being the first to open in July 2010.

Winter Park-based SCA Design Group was the project architect, and Balfour Beatty Construction in Orlando is the general contractor.

Alan Grayson

Congressman Alan Grayson in Mount Dora this Saturday for fundraiser at Pisces Rising from 2:30pm to 4:30pm.

Word and Image/Word as Image

AUG 22, 2009 – NOV 29, 2009

Featuring works by artists from Albrecht Dürer to Ed Ruscha, this exhibition examines the relationship between word and image in prints over the course of more than 500 years, from the Renaissance to today. Comprising nearly 70 works, the exhibition is assembled from the permanent collection of the Portland Art Museum and local private collections.

The exhibition focuses on four groups of works, beginning with late 15th- and 16th-century prints, which tend to convey clear messages with a close correlation of text and image. This section includes a page from the renowned Nuremberg Chronicle, the most lavishly illustrated book of the late 15th century.

Prints of the 17th and 18th centuries often present ambiguous messages, particularly in commentaries about society, as in works by by Francisco de Goya and Cornelis Dusart.

With the emergence of Pop art in the mid 20th century, prints drew from everyday subject matter, common objects, and consumer culture, as in Andy Warhol’s large-scale renditions of S&H Green Stamps, Robert Rosenquist’s layered corporate logos, and Roy Lichtenstein’s comic-book style portrayals of melodramatic or violent subjects.

From the late 20th century to the present, artists have explored language as a subject, used text in conceptual or paradoxical ways, and explored social concerns. In Ed Ruscha’s Drops, from 1971, the letters in the word ‘drops’ are formed illusionistically with drops of water. Bruce Nauman’s Eat Death, a lithograph of 1973, evokes disturbing associations, and Edgar Heap of Birds’ 2006 monotype series addresses issues relating to indigenous peoples of North America.

Other artists represented in the exhibition include Odilon Redon, Käthe Kollwitz, Georges Braque, Claes Oldenburg, Robert Rauschenberg, and Jenny Holzer.

Saturday, November 7, 2009

Office shooting suspect cracked, his lawyer says 'Unemployment, foreclosure, bankruptcy, divorce — all of the stresses'

ORLANDO, Florida - The engineer accused of fatally shooting one employee and wounding five others at the firm where he once worked is "very mentally ill" and crumbled under the stress of his divorce, bankruptcy and unemployment, his attorney said Saturday.

Jason Rodriguez, 40, was ordered held without bail at the Orange County Jail, where he is under suicide watch after Friday's shooting. His mother, Ana Rodriguez, also apologized Saturday, telling reporters she is "so sorry for everything that has happened."

"Sorry for the families involved. I'm really very sorry, it is very hurtful," she said.

Public defender Bob Wesley asked the judge at a brief court appearance Saturday that police and prosecutors have no contact with Rodriguez without his permission.

Wesley told reporters that Rodriguez "is a very, very mentally ill person" who lost his emotional stability because of the deep financial problems he was having.

'Stress overload'
"This guy is a compilation of the front page of the entire year — unemployment, foreclosure, bankruptcy, divorce — all of the stresses," Wesley said. "He has been declining in mental health. There is no logic whatsoever, which points to a mental health case. It looks like a classic case of stress overload."

Employees at Reynolds, Smith and Hills recognized their former co-worker when he drew a handgun from a holster under his shirt, police said, and killed Otis Beckford, 26, next to a receptionist's desk in an office at a downtown Orlando tower. He then walked into the office and unloaded several more rounds, wounding five other employees at the engineering firm he had been fired from two years ago.

Rodriguez was taken into custody several hours after the shooting. He has been charged with first-degree murder.

Police said Rodriguez told detectives he blamed the firm for recent trouble he had receiving unemployment benefits. As officers led him handcuffed into a police station Friday, a reporter asked him why he had attacked his former colleagues.

"Because they left me to rot," said Rodriguez, who recently told a bankruptcy judge he was making less than $30,000 a year at a Subway sandwich shop and had debts of nearly $90,000. He is the divorced father of a young son.

All the victims worked at Reynolds, Smith and Hills, where Rodriguez was an entry-level engineer for 11 months before he was fired in June 2007, the company said.

Beckford was hit by at least two bullets. The gunman then went into the common work area and opened fire on his other victims. The Orlando Sentinel reported that Beckford had a young daughter and a fiancee.

Hours after the shootings that paralyzed downtown Orlando, police tracked Rodriguez to his mother's home and ordered him to come out. He surrendered peacefully, apologizing as officers handcuffed him, police said.

"I'm just going through a tough time right now. I'm sorry," officers quoted him as saying.

The five wounded people were in stable condition at Orlando hospitals and police say all are expected to survive. Four of the victims, three men and a woman ranging in age from 23 to 49, were recovering Saturday at Orlando Regional Medical Center, said hospital spokeswoman Katie Dagenais.
The Legion Place building, where the shooting occurred, remained cordoned off Saturday with police tape. A few officers and crime scene investigators blocked the entrance to the parking garage. It was far different from the chaos that unfolded a day earlier, when stunned workers streamed out of the building.

Some workers returned to the building to get their cars. Others came back to get purses, wallets and other belongings they left behind in a scramble to get out of the building amid the shooting spree. Only workers with identification were being allowed in the building and had to be escorted by an officer. They were not allowed to stay and work.

Rodriguez worked on drawings in the firm's transportation group, but his supervisors said his performance was not up to their standards, and when he did not improve, he was fired. The company did not hear from him again.

"This is really a mystery to us," said Ken Jacobson, the firm's general legal counsel and chief financial officer. "There was nothing to indicate any hard feelings."

Rodriguez told detectives that the company had fired him without cause and had made him look incompetent. He told them he was unemployed for a year and a half before getting a job at a Subway, where he worked until recently.

He told them the shop couldn't give him enough hours, and he later filed for unemployment. He expected to get a check recently but when it didn't arrive he blamed Reynolds, Smith and Hills, thinking it was harming his efforts to qualify, police said. He told police he could no longer support his family.

Rodriguez' bankruptcy filing and his former mother-in-law suggested he was plagued by money woes.

His ex-wife's mother, America Holloway, told The Associated Press that Rodriguez and her daughter, Neshby, were married for about 6 1/2 years before divorcing several years ago. They have an 8-year-old son who lives with Neshby in Kissimmee, about a half-hour away.

Holloway said the couple lived with her in Orlando for several years and that Rodriguez abused her daughter and once threw all her clothes into the street.

"I used to tell my daughter he was crazy," Holloway said. "He was always fighting, always yelling. There was always problems."

After the divorce, Rodriguez seldom saw his son, but he called last week while the child was at Holloway's house and the boy asked his father why he did not come over, too.

"He said, 'Because I don't have any money. I don't have a job. I don't have anything to eat. When things get better, I'll come see you,'" Holloway said Rodriguez told his son.

How Priceline Got Its Mojo Working Again

Of all the dot-com superstars that appeared in the ’90s, shone brightly and then disappeared from sight, few have been granted a second act. One exception is Priceline, which 11 years after it was founded — and 10 years after its stock price collapsed — is quietly thriving. It’s no superstar now, but it’s an interesting case study of how an online company once written off for dead can in fact age gracefully.

At its peak, Priceline’s “name-your-own-price” business model created a stir. Its founder, Jay Walker, trumpeted the idea as a revolution that would upend the travel industry, and a lot of smart people bought it. George Soros and Paul Allen invested their money, and the stock surged to a $15.7 billion market cap, larger than most airlines. Forbes called Walker a “modern-day Edison,” and Priceline expanded into new markets like gasoline and groceries.

The revolution was over before it began. Priceline’s stock peaked nearly a year before the Nasdaq did, and it just kept falling: By the end of 2000, its market cap had shrunk by 99 percent to $220 million. Forbes regretted its praise for Walker, admitting he “hasn’t lived up to our label,” and Walker left the company soon after. Priceline backed out of the gasoline and grocery businesses, retreating to online travel, where it faced increasing competition from Expedia, Orbitz and others.

But writing off Priceline as another failed dot-com also proved premature. Its approach wasn’t revolutionary after all, but neither was it a bad idea. Somewhat ironically, it took another market crash for Priceline to begin to deliver on its promise. Its stock, which has risen 265 percent in the past year, has joined the S&P 500 — the market’s way of saying you’ve finally arrived. Its capitalization is back above $7 billion, making it larger than Expedia.

In the first six months of 2009, Priceline booked $4.3 billion in travel services, an increase of 12 percent during a period when overall bookings declined by 8 percent. The company will update those numbers for the third quarter next week, and analysts are expecting bookings to grow by more than 25 percent, faster than many of Priceline’s online rivals.

What changed for Priceline? Its management avoided the hype about the revolutionary potential of naming your own price. William Shatner and Leonard Nimoy did refer to it in commercials, but Priceline waited patiently for the concept to take root — the way Amazon has been patient about free shipping, or Netflix has been about streaming movies online with no extra fee. The company has also expanded piecemeal, buying up smaller companies like Bookings.com when it could, and expanding abroad. It now offers travel in 78 countries.

There’s a lesson in Priceline’s riches-to-rags-to-riches story for other Web companies. A lot of people watching tech companies — especially ones like me who write about them — get all antsy about their ability to deliver on their promise. This comes up when we talk about companies like Facebook not being public yet, or Twitter looking for revenue.

But often, consumers move at a much slower rate. It can take years to grow comfortable with a new business model. There is a lot to be said about moving quickly in a fast-evolving industry. But there’s just as much to be said about being patient with the people who are going to make you money.

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