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Some things don’t plug into your iPod.

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www.OhMiBod.comMusic-Driven Vibrators

(Lick &)placestamphere

Some things don’t plug into your iPod.

Some things do.

www.OhMiBod.comMusic-Driven Vibrators

Some things don’t plug into your iPod.

Some things do.www.OhMiBod.comMusic-Driven Vibrators

The Boston Symphony Orchestra is one of the most beloved musical institutions in the world. Through the generous financial support of more han 12,000 individuals, companies, foundations, and government agencies, the BSO presents more concerts annually than any other symphonic organization in America. The Orchestra also remains dedicated to education and community outreach.

Boston Symphony Orchestra 301 Massachusetts Avenue, Symphony Hall

Boston, MA 02115 Phone: 617.266.1492 (M-F: 10-5pm)

Tickets: 888.266.1200 (M-F: 10-6pm; Sat: 12-6pm

Russian posters.indd 1 10/6/10 3:15 PM

The Boston Symphony Orchestra is one of the most beloved musical institutions in the world. Through the generous financial support of more han 12,000 individuals, companies, foundations, and government agencies, the BSO presents more concerts annually than any other symphonic organization in America. The Orchestra also remains dedicated to education and community outreach.

Boston Symphony Orchestra 301 Massachusetts Avenue, Symphony Hall

Boston, MA 02115 Phone: 617.266.1492 (M-F: 10-5pm)

Tickets: 888.266.1200 (M-F: 10-6pm; Sat: 12-6pm

Russian posters.indd 3 10/6/10 3:15 PM

Annual Report 2010

Raise Your Glass

Take Pride in Your Beer.

The heart and soul of The Boston Beer Company comes to life in our three breweries. In 2010 our team of brewers brewed and packaged 30 distinct styles of beers and eight fl avors of Twisted Tea. We introduced nine new products, including the new Samuel Adams® Barrel Room Collection of three Belgian-style beers—American Kriek, New World Tripel, and Stony Brook Red.

For the past two years, the Boston Beer Co., maker of Samuel Adams beers, has been working with Germany's Weihenstephan Brewery, the world's old-est brewery, to create an entirely new style of beer. Boston Beer founder Jim Koch and Weihenstephan director Josef Schradler announced this morn-ing that the collaboration is complete. The new beer is a champagne-like ale called Infinium.

The two brewers claim Infinium is the first new beer created under the German beer purity law, called the Reinheitsgebot, in more than 100 years. (Under the law, only four ingredients -- malt, hops, yeast, and water -- can be used to make beer.) Koch says it's a deep golden, bubbly ale with a fruity aroma and contains 10.3 percent alcohol, more than twice that in a Sam Ad-ams Boston Lager.

Our Beer. Your Beer.

THE BOSTON BEER COMPANY, INC. AND SUBSIDIARIESCONSOLIDATED BALANCE SHEETS

(In thousands, except share data)

December 26,

2010

December 27,

2009

ASSETS

Current Assets:

Cash and cash equivalents $ 55,481 $ 9,074

Accounts receivable, net of allowance for doubtful accounts of $199 and $255 as of December 26, 2010 and December 27, 2009, respectively

17,856 18,057

Inventories 25,558 22,708

Prepaid expenses and other assets 9,710 16,281

Deferred income taxes 4,425 2,734

Total current assets 113,030 68,854

Property, plant and equipment, net 147,021 147,920

Other assets 1,508 1,606

Goodwill 1,377 1,377

Total assets $262,936 $219,757

LIABILITIES AND STOCKHOLDERS’ EQUITY

Current Liabilities:

Accounts payable $ 25,255 $ 20,203

Accrued expenses 48,531 46,854

Total current liabilities 73,786 67,057

Deferred income taxes 13,439 9,617

Other liabilities 2,556 3,055

Total liabilities 89,781 79,729

COMMITMENTS AND CONTINGENCIES

Stockholders’ Equity:

Class A Common Stock, $.01 par value; 22,700,000 shares authorized;10,142,494 and 10,068,486 shares issued and outstanding as ofDecember 26, 2010 and December 27, 2009, respectively

101 101

Class B Common Stock, $.01 par value; 4,200,000 shares authorized;4,107,355 shares issued and outstanding

41 41

Additional paid-in capital 111,668 102,653

Accumulated other comprehensive loss, net of tax (359) (431)

Retained earnings 61,704 37,664

Total stockholders’ equity 173,155 140,028

THE BOSTON BEER COMPANY, INC. AND SUBSIDIARIESCONSOLIDATED STATEMENTS OF INCOME

(In thousands, except share data)

Year Ended

December 26,

2010

December 27,

2009

December 29,

2008

REVENUE (net of product recall returns of $13,222 in fiscal 2008) $453,446 $436,332 $380,575

Less excise taxes 38,393 37,932 38,928

Net revenue 415,053 398,400 341,647

Cost of goods sold (including costs associated with product recall of $9,473 in fiscal 2008)

201,235 214,513 152,288

Gross profit 213,818 183,887 189,359

OPERATING EXPENSES:

Advertising, promotional and selling expenses 121,560 132,901 124,457

General and administrative expenses 36,938 34,988 24,574

Impairment of long-lived assets 1,049 1,936 3,443

Total operating expenses 159,547 169,825 152,474

OPERATING INCOME 54,271 14,062 36,885

Other income, net:

Interest income 112 1,604 4,252

Other (expense) income, net (16) 174 507

Total other income, net 96 1,778 4,759

Income before provision for income taxes 54,367 15,840 41,644

Provision for income taxes 23,249 7,752 19,153

NET INCOME $ 31,118 $ 8,088 $ 22,491

Net income per common share —basic $ 2.21 $ 0.58 $ 1.58

Net income per common share —diluted $ 2.17 $ 0.56 $ 1.53

Weighted-average number of common shares — basic 14,059 13,927 14,193

Weighted-average number of common shares — diluted 14,356 14,341 14,699

The accompanying notes are an integral part of these consolidated financial statements.40

The accompanying notes are an integral part of these consolidated financial statements.39

Graphic Standards Manual

5FONTS

Logo ULTRA ITALIC & MEDIUM ITALIC, All Caps

Headings ULTRA ITALIC & MEDIUM ITALIC, All Caps

Subheads MEDIUM ITALIC, ALL CAPS

Copy Book

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GOTHAM HTF

INTRODUCTION 3LOGO 4FONTS 5COLORS 6STATIONERY 7EXAMPLES 11

6COLORS

Rich Black:

C 60 M 60 Y 60K 100

Solar Yellow/ Pantone DS 5-2C

C 0 M 18 Y 100 K 0

Tints of the two primary colors may be used. Colors may not be added to headlines or subheads of

publications. Black and white versions of the logo must always be shown in full black or full white, only

when making a watermark can a tint of the logo be used.

we’re all drug mules.

Plastic doesn’t disappear, it really just turns to dust. It ends up in the earth, in our ground water, and in our air.

It’s in all of our lungs.

Americans use 1,500 plastic water bottles per second.

We’re ALL ADDICTED TO PLASTIC.

stop plastic addictionHEROIN CRACK

do a line...

you wouldn’t snort it,so why breathe it?

Plastic doesn’t disappear.

Plastic bags take up to 1000 years to break down, and even then, it really just turns to dust.

It ends up in the earth, in our ground water, and in our air.

All Together NowH o m e O f f i c e 1 0 1G r e e n D r e a m sMaking Space WorkSustainable Mattresses

cultural perspectives from the everydaycontext magazine

the melbourne suprem

ecy

Melbourne is a city of layers, with the best-kept secrets veiled beneath ever-changing skies and polite façades. International events like the F1 Grand Prix and the Australian Open tennis tournament greet visitors with exuberance, but the real Melbourne, like its inhabitants,is less overt and reveals itself reluctantly.

From its founding around 1835, Melbourne’s past can be traced in a fraying tapestry of historic buildings, from the Victorian boom time of the mid- to late 19th century, through the Federation era, during which the first unique Australian style was established, to the prosperous domestic idyll of the 1950s. Fragments of that modernist ideal can still be found, mostly in the sprawling suburbs, which have now joined former satellite towns to form one vast, flat mass of housing surrounding Port Phillip Bay.

Without the spectacular topography of Sydney or the sunny climbs of Perth or Brisbane, this southern city has had to create its own character and, in doing so, has developed a healthy self-confidence.

Story by Helen Kaiser / Photos by Peter Bennetts

cultural perspectives from the everyday

December 2010

In the last decade, Melbourne has thrived, fostering a burgeoning creative force, which has radically changed the urban and cultural landscape. Architectural patrons, both civil and civic, have become increasingly adventurous, propelling the surge in cutting-edge buildings. The contemporary art scene is dynamic and innumerable festivals fill the calendar. In every alley, basement, and attic, enterprising spirits are creating hole-in-the-wall bars, multimedia galleries, collaborative design studios, and experimental dining experiences. They are neither obvious nor attention-seeking, but they bubble away beneath the surface of a prospering culture.

Capturing all of this manic energy on film gives photographer Peter Bennetts a virtual all-access pass to the city. The widely published, quietly spoken Bennetts shared his local favorites with Habitat.

There doesn’t seem to be the conformity in Melbourne that is apparent in other Australian cities. Do you think the city is enjoying an increased confidence in its architectural expression?

Absolutely. And we are relatively affluent. Opportunities abound. So you would expect creativity to flourish under such luxurious circumstances. We’ve got great design schools and, really, everything we have is as good as anywhere in the world. We all live on the coast looking out to the horizon and we know what’s behind us. From that position comes confident expression.

The other thing about Australian creativity and architectural culture is that we’re well traveled. And yet we choose to come back. I’m a bit like Dorothy-I click my heels and say, “There’s no place like home.”

Melbourne’s not as geographically impressive as Sydney, but are there still vistas that stop you in your tracks?

Flat Melbourne’s certainly not our flashy northern sister, but Sydney’s one shot. You’d photograph for a lifetime to get the essence of Melbourne. The Yarra River is really Melbourne’s chief geographical feature, but the city is more famous (rightly so) for its parks and gardens. The Carlton Gardens are home to the World Heritage-listed Royal Exhibition Building, and behind it is the

Melbourne Museum, which symbolizes for me the resurgent confidence of the late 1990s. It is at once gray and colorful, low and soaring.

On the south side of the Yarra is the Tan track, a 2.3-mile running track that circumnavigates the Royal Botanic Gardens. Here you can be passed, quickly, by the likes of Olympian Cathy Freeman while you see some great buildings, like architect Robin Boyd’s

Captions:

Across the Yarra River, Melbourne’s skyline has grown dramatically since the 1980.

The Royal Exhibition Building, completed in 1880 for the International Exhibition, is the first World Heritage-listed building in Australia.

Royal Domain, a fine 1950s apartment tower, and the Shrine of Remembrance, perhaps Melbourne’s most recognizable building-certainly its most symbolic. I love that if all its vertical lines were projected, they would meet at a point 1.4 miles above the building. Why? I don’t know! From there you view the inner city down St. Kilda Road, Melbourne’s great boulevard. It’s here, more than anywhere else, where I feel the city’s continuously shifting light, weather, and seasons. And it’s from here, before the Princes Bridge, flanked by the King’s Domain and the National

Gallery of Victoria, that I would choose to view this city.

As a photographer, what do you think makes Melbourne unique?

The ever-changing light. Here we famously get four seasons in one day, which can be a bit miserable in winter. Apart from being cold, it often rains, and the light is diffuse-the clouds are low and it’s not really an eerie fog that we get so much as just flat light. Whereas in summer the light here is what you would expect anywhere in Australia: It’s harsh and direct,

provides great contrast, and is the ultimate revealer of form, like probing an object with a laser.

If you were to guide a visitor through the inner-city grid, where would you take them?

You have to walk to really see Melbourne; that way, you’ll get glimpses of notable architecture from the Victorian era through late postmodernism. Coasting down Flinders Lane you’ll catch framed views of Federation Square set against

We all live on the coast looking out to the horizon and we know what’s behind us. From

that position comes confident expression.

Visitors should get their digital camera ready for the drive into the city. It really sets you up

for all that Melbourne can be.cobblestones-a public space that’s been widely embraced by Melburnians-and some Gothic revival and urban art projects. You’ll continue past Anna Schwartz’s serious contemporary art gallery, see the view south to Flinders Street Station and north to the neo-Gothic beauty Manchester Unity Building, and pull up at cafés, bars, and

restaurants in Centre and Degraves lanes. It’s cool-hunter central!

Which of the city’s highlights have enduring appeal for you?

We talk a lot about Melbourne’s laneways. While there’s not any one you’d name over another, they’re an enduring legacy of our city’s founding fathers.

Also, there are some of the best examples of Victorian building in the world here, like South Melbourne Town Hall and Melbourne Trades Hall. These public buildings are on the tops of hills and you get glimpses of them as you drive or [ride the] tram or walk around Melbourne.

And you can’t forget Melbourne Gateway. You really know you’ve arrived when you drive down the Tullamarine Freeway, past “the cheese stick,” through the speed tube. Visitors should get their digital camera ready for the drive into the city. It really sets you up for all that Melbourne can be.

Any great new public works?

Melbourne Museum, Federation Square, Southern Cross Station, and the Australian Centre for Contemporary Art by Wood Marsh are the best examples. I like to think that each is diametrically opposed to the others, and geographically they almost take up opposing sides of the city. It’s as if they’re better for the presenc e of the others; the total is more than the sum

Continued on pg. 10

cultural perspectives from the everydaycultural perspectives from the everyday

December 2010