http://www.legrand.us/wiremold/at-home/surge-protection-and-power-stri ps/v20gb506-plugmold-multi-outlet-ivory.aspx#.UWBQ8r-wtzo

I also found ivory at Home Depot
http://www.homedepot.com/p/Wiremold-Legrand-Plugmold-6-Outlet-Ivory-Ha rdwire-3-ft-V20GB306/100657491#.UWBW5r-wtzo

One thing to remember - if you leave something plugged in all of the time - you will have the dangling cord - which is why I chickened out - in retrospect, I would have used an air/laser switch for my disposal and nuked the wall switch at that location.
Used only one switch for UCL and nuked the wall outlet in my baking area.
The corner outlet - take it or leave it - DH leaves his coffee machine plugged in.

2LittleFishies - mounted standard boxes under her cabinets.

Hope this is somewhat helpful.

Contrast is the design element of making dark surfaces work correctly for you in whatever context, even monochromatic color schemes. Using light colors for vertical surfaces and dark colors for horizontal surfaces moves the eye around the room, which makes it appear larger visually. The lower contrast of light on light can appear "bright" but generally doesn't "feel" as large because of the low contrast. The popular white on white kitchens would be very static and sterile without some type of dark surface in the mix somewhere for all of that light to play off of. There is nothing to stop the eye when you have white counters on white cabinets with a white floor. That dark element that creates a visual grounding could just as easily be the black slate of my 40 year old entryway as it could be the "current" popular dark wood. The design principle is the same, regardless of the material.

You CAN do dark on dark monochromatic schemes, (the opposite of the white on white kitchen) but again it's the light elements in the room that make it work in a balanced way and give the room the "lift" that it needs to relive the eye from all of the similar value elements. Think of a room with dark purple walls, black woodwork, and dark stained wood floors. Put in a dark red couch and oriental rug. Seems overpoweringly dark in your mind, right? Now, put in a white couch and add just a few white accessories like a leaning bookcase and chandelier. Keep the dark red oriental rug. The couch seems to "float" in the room, and now it works. The eye sees the space as visually larger because it moves from the light object to the light object, with the dark, "disappearing". (If the lighting is right, and that's a whole other discussion.)

Contrast between light and dark as a design element works, no matter if the materials are currently popular or not. And it's why most "safe and neutral" color schemes appear to be so bland and fail so spectacularly in the hands of non professionals. Mid toned beige on beige doesn't offer any contrast for the eye.

Narrowing Down Supplier/Fabricator:
1. Get quotes from all fabricators in your proximity for all the reputed stone suppliers. Between the fabricator and the stone supplier, I think there is a many-to-many relationship.
2. Talk to the lowest two, mid two and the highest two fabricators on how they will template the work, perform the installation etc. That should give a good assessment of why the prices differ.
3. Ask for references of previous work done. Contact references and ask them to share experiences. If possible, schedule an appointment with the references and go see the fabricator's work. Keep an open eye on how the seams look like, corners were cut, allowed distance between the wall and the stone, quality of polish work on the stone, quality of edging, time it took to do the install etc.

Narrowing Down The Stone:
1. Once you've narrowed down to the supplier and the fabricator and are ready to put slabs on hold, take a camera with you and click as many pictures of the slabs as possible.
2. Wet a cotton towel/rag and dab the interesting stone(s) with as much water as possible. See how quickly it absorbs the water and changes color.
3. Clean the entire slab and run your hand over it to identify any physical blemishes.

Ready To Order Stone:
1. Make a note of the slab number. If possible, take its picture too.
2. Make sure the supplier gives you a "hold confirmation" in writing, identifying the "full" slab numbers.
3. Ask them to mark your preferences on the confirmation if holding more slabs than needed.
4. Send a copy of the confirmation to your fabricator.
5. Re-affirm your preferences of slabs on hold and your requirements in terms of workmanship. Tell them clearly that you are not going to pay if the work is not to your standards.
6. Negotiate the deposit amount (In hindsight, our 50% now seems higher). Insist on making payment by "Credit Card".
7. MOST IMPORTANT: Be present physically when the stone is being delivered by the supplier to the fabricator. Make sure they are sending the slabs you want and they still intact.

Ready for Fabrication:
1. All edges touching any part of the granite should be firmly in place when they come for templating.
2. Keep an eye on how they are templating. You should be able to tell if they are focused on doing a good job or not.
3. Repeat the quality of workmanship you expect WRT gaps, edges, polish, seams etc. IMHO, on the fabricated stone, the edges touching the walls should be as straight as possible and the exposed edges should match the stone surface in terms of appearance, color and feel.
4. Re-iterate that you are not going to pay anything more if the work is not to your standards.
4. MOST IMPORTANT: Ask fabricator to not cut stone unless you've confirmed one more time which slabs they are going to use.
5. If possible, keep a close watch on your work by visiting the fabricator atleast once or twice before installation.
6. Take a tape measure and measure each cut slab to ensure it is the right size and will fit almost perfectly.

Ready for Installation:
1. Ensure the slabs are still the same.
2. Video record the entire installation process. This will help you replay what steps were done/missed.
3. Do not accept any BS on anything you do not like.
4. Make the remaining payment again using Credit Card.