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We embarked in Adelaide, 5 days late. It was very easy getting aboard compared to reviews I've read about Perth and Sydney.
The Radiance is a nice ship. We took this ship in Alaska about 3 years ago. The refurbishing sure showed, fresh and clean.
Missed the Meet and Mingle so we did not connect with other Meet and Mingle members.
Australia, Tasmania and New Zealand were beautiful places. This cruise if definitely for the scenery. The weather was wonderful, sunny and on most days warm, 70's and 80's. The seas were fairly calm, except maybe a few rocky moments.
The only complaint from me was the food. It was not as good as it has been in the past.
I would recommend this cruise to anyone, but there were a lot of Aussies, understandably, and seniors...older seniors on board.
Hobart: Beautiful place and know as God's Waiting Room. Met a cousin. She picked us up at the port. She drove us up to Mt. Wellington! Beautiful view. It was very cold and sprinkling rain the day we were there. At lunch at the Royal Botanical Gardens. Wonderful time. Lots to do at the port, shops, restaurants and souvenir shops.
Milford, Doubtful, Dusky Sounds: Beautiful...wake up and enjoy the day! Spectacular scenery.
Akoroa, New Zealand: Resort city. Tendered here. City right where you tender, shops, restaurants etc. Can use internet a the library for free. One block off main street. Took excursion of countryside and to Christchurch. Wow!!! worth it. Also stopped at sheep farm for a sheep dog demonstration and sheep shearing. We were also served tea and biscuits before returning to the ship. Beautiful place.
Sydney,Australia: Nice city. Everything close by port and near city center. Lots to do. Took trip to Blue Mountains. Pretty, pretty.
We disembarked in Sydney. Very easy and right downtown in the city center at Circular Quay.


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Updated Nov 14, 2013 - 1:31 pm
Noah gives life to his ark in film's first trailer
By 987ThePeak.com
Originally published: Nov 14, 2013 - 10:48 am
Originally published: Nov 14, 2013 - 10:48 am
Before there was a Titanic, Noah's ark soared the open seas. A few thousand years later, the classic biblical tale will hit the big screen.
The first trailer for Darren Aronofsky's "Noah" debuted on Thursday, breathing new life into the massive ship.
The film follows the religious story of Noah, played by Russell Crow, who attempts to protect his family from an impending flood. To do so, he builds an enormous ship that houses the world's remaining animals.
Emma Watson, Logan Lerman and Jennifer Connelly also star in the film.
"Noah" anchors down in theaters on March 28.
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The Royal Opera House in Covent Garden Is Up and Running With Sophisticated New Systems
As historic opera houses go, the Royal Opera House has had quite a history. It is sometimes referred to simply as Covent Garden, as it sits in the historic London neighborhood of the same name; the very neighborhood where wholesale flower markets once bloomed abundantly. Today, the markets have been replaced with numerous chic boutiques and restaurants, and the Covent Garden area is one of the most popular tourist destinations in town. Even the rather upscale Royal Opera House took advantage of this popularity by adding a row of shops under arcades that face the market, adding not only a source of funding for the project, but also an anchor to its surroundings.
Revenue was a subject of great interest as the costs of the Royal Opera House renovation continued to climb. The entire undertaking was referred to as elitist by certain politicians as controversy about the project swirled in the press. Of course a budget of over £200 million ($360 million US) is nothing to be sneezed at (England's National Lottery monies helped with the funding). Once it is all running smoothly, the ROH will be one of today's most technically advanced opera houses.
And that of course was one of the main goals of a project that took almost three years to complete. In fact the ROH closed in the summer of 1997 and reopened on December 1, 1999, with a royal performance for the Queen. Technical tweaking continued through the summer of 2000, to harness all of the sophisticated backstage machinery that is now in place.
Home of the Royal Opera and now the Royal Ballet, and host to touring companies such as the Kirov Ballet and Opera companies, the Royal Opera house is the latest update of the one that was built in 1858 on a 2.5—acre parcel of land (after fires destroyed the first two theatres built in 1785 and 1842 on this site). Architects Jeremy Dixon and Edward Jones of London's architectural firm of Dixon Jones BDP were the principal architects for this current rebuild, with Tim Leach and Anne Minors as project architects.
The current complex is actually five separate buildings: a combination of the old opera house whose historic E.M. Barry facade has landmark status; the adjacent Floral Hall; a new wing which houses the new box office on the ground floor, and administrative offices and workshops upstairs; the side stage area also containing wardrobe and dressing rooms; and the 1988 Phase One building, which in part houses the Royal Ballet.
The classic 2,200—seat auditorium is the centerpiece of the house. The sightlines in its sweeping horseshoe shape were improved during the recent restoration, with a re-raking of the orchestra level, new angles for the side boxes, and additional seating in the upper levels. All seats in the auditorium were supplied by Quinette Gallay of Montreuil, France. There are 531 seats in the stalls, 299 in the stalls circle, 221 in the grand tier, 226 in the balcony tier, and 906 in the amphitheatre. The house has space for 18 wheelchairs and 54 standing places.
Gerriets in France made the house curtain, while England's Royal College of Needlework created the royal crest that forms the top of the proscenium arch. A false proscenium, manufactured by Telestage of Bury-St-Edmunds in England, alters the masking and sightlines as required. Normal playing height is 25' and the normal width is 36'. These sizes can be increased to a maximum height of 39' and a maximum width of 49'. The stage measures 23m deep by 32m wide, wall-to-wall.
The auditorium's gilded decor runs from the deep red plush of the seats to the delicate robin's egg or Wedgwood blue, gold, and white domed ceiling. The painting and gilding was done by the UK firm of Hare and Humphries, which specializes in the restoration of Grade 1—listed buildings. The dome is cleverly lit with 75W MR16 Microspot zooms, shining through new holes in its perimeter.
The dome also contains stage lighting positions, which are easily accessible as technicians can simply walk up to the individual instruments. Five panels, or shutters, at the back of the dome lower and reveal stage lighting and followspot positions. The end windows (numbers one & five) contain three ETC Source Four 10° fixtures with Rainbow scrollers. The middle window (number three) contains six additional ETC Source Four 10° fixtures, also with Rainbow scrollers, plus a 19° conductor's special. The two outer middle windows (numbers two & four) each contain two Limelight 2kW xenon followspots provided by Lighting Technology Ltd. in London.
In the very center of the dome, in the position originally occupied by the chimney of the 1858 gas chandelier, are eight ETC Source Four 10° fixtures with Rainbow scrollers, and as they are packed closely into small spaces, their focus is essentially fixed. All of the lighting instruments in the dome are installed behind acoustic windows so as not to disturb the audience with technicians' conversations or noise from scroller fans. These areas are an enlarged version of the system installed by Martin Carr (now of the UK firm Carr & Angier located in Bath) in 1964. The dome also conceals the huge ducts for the silent new air-cooling system in the auditorium (the noisy cooling plant is in another building).
The new stage lighting system was one of the major priorities of the renovation project. "The goal was to provide enough flexibility for the range of productions that take place here," explains Mark White, who served as theatre consultant for the ROH renovation. "The last major update to the lighting was by Paul Weston of Strand in 1964," he points out.
"Getting English Heritage to agree to our requirements for modern lighting positions turned into an exercise in diplomacy," White adds. "Their view, with which we had some sympathy, was that the audience should walk into the room and see essentially the same things that audiences saw in 1858. Consequently the number of lighting positions are limited, although we ended up with more side positions than when the house closed and legitimized the use of the upper amphitheatre slips as box booms.
"It was recognized from the start that we could not hang lanterns on the fronts of the balcony tiers. We had to hang the instruments tucked up as tight as possible to the soffit underneath each seating level, but this gave rise to two problems. The first was sightlines, particularly as Anne Minors had raised the seating in order to improve the view from the rear rows, and the second was the proximity of the lanterns to the audience both in terms of them being able to touch them if they stretched hard and also the possibility of radiant heat being a nuisance on their faces," White continues. "Not only were we limited in the size of the instruments, but also in the acoustic performance, firstly in terms of the filament rattle and then in the thermal cycle noises, the ticking noises like a central heating radiator makes," Fortunately the Source Four instruments initially, and then sometime later, the Strand SL, both passed muster with the acousticians."
The new system in the main house includes an ETC Obsession II console with 4,608 channels (2,048 for conventional fixtures and house lights and the rest for moving lights and color scrollers; there is also a second Obsession II console in the 396—seat Linbury Studio Theatre). ETC Sensor dimmers are also installed in both theatres. The main house has 1,348 dimmers, located in two dimmer rooms, one in the roof above the auditorium and the other nine floors below, underneath the stage for the stage-area circuits. Five-hundred-and-sixty-four non-dim circuits are also provided via DMX-controlled contractors. The Linbury Studio Theatre has 414 dimmers plus 60 non-dims located in the scene dock.
All lighting in the auditorium (except the safety lights, such as exit signs) is controlled by the ETC-NET network installed by ETC Europe Ltd. Integrated with it is an ETC Unison architectural control system which controls the worklights on stage plus the house lights. David Gray served as ETC's project manager, with Michael Lichter as ETC's installation manager. "The fixed equipment occupies DMX universes one through four, and universes five through nine are distributed via Gray Interfaces opto-isolated amplifiers to feed the moving lights," White explains.
The lighting fixture inventory includes a range of conventional fixtures provided by Lighting Technology, which reports that the £470,000 ($734,000) of equipment is the largest lighting order of its kind ever placed in the UK. The more than 1,700 instruments provided by Lighting Technology include fixtures from ETC, Strand Lighting, Robert Juliat, James Thomas, CCT Lighting, and ADB, as well as items from Rainbow (color scrollers), Smoke Factory, Doughty Engineering, Rope Assemblies, and SES.
Moving lights proved a little more complicated. Arup Acoustics, the acoustician for the project, did not approve of any fixtures with fans, as they were considered too noisy. Instead, the ROH team came up with some automated alternatives, including a truly European combination of 15 French Robert Juliat 2.5kW PCs with German yokes by LichtTechnik and the all-American entry of 30 ETC Source Fours coupled with AutoYokes from City Theatrical. These were provided by White Light in London, and installed and maintained by The Moving Light Company, White Light's specialized automated lighting division.
"The ROH has placed an order for a further 40 Source Four AutoYokes fitted with indexable gobo rotators, and has taken delivery of 10 High End Systems Studio Spots from Lightfactor Sales Ltd.," notes White. "These do not have fans, and although originally considered as incompatible with a tungsten rig, improvements made them acceptable."
Nine additional LichtTechnik Yokes are paired with Arri Junior 5kW fresnels fitted with custom dichroic reflectors with Rainbow 12" scrollers to "further enhance the automated overhead lighting rig, reducing changeover times and offering designers further flexibility for the 2000-2001 season," says Dave Harvey, lighting manager for opera productions at the ROH. Seven Wybron CXI color changers are used for a fixed-focus ballet front wash in front-of-house Source Fours.
Another automated fixture, Le Fantôme, is being developed expressly for the ROH by Wynne Willson Gottelier in the UK, combining Robert Juliat 2.5kW HMI zoom profile spots with custom 360° x 360° rotating heads. "It's quiet and it saves a lot of space," says Tony Gottelier of WWG, who adds that Le Fantôme is also equipped with automated zoom and focus, remote framing, automated iris, and a built-in color scroller. This unit will be manufactured by Juliat and distributed by Decoupe in the UK, making its public debut at the PLASA trade show in London this month.
AC Lighting Ltd. in London supplied the ROH lighting department with one WYSIWYG 2000 and six WYSIWYG 500 systems from Cast Lighting in Toronto, so that they can now use WYSIPAPER, WYSICAD, and WYSIWYG collectively as visualization and paperwork software, with rendering for up to 2,000 DMX channels. Mike Falconer of AC Lighting worked with Harvey and other members of the lighting staff, including Nick Reid, head of lighting control, on the system setup.
"There is a rep plot and we try to keep them to it," says Harvey, referring to the outside lighting designers that work in the house. "They get a designer's pack with ground plans, lighting plans, and tech specs." The lighting managers' office (in addition to Harvey, the other lighting manager is John Charlton) is the first contact the designers have in the production process; they then work with a production team made up of seven crew members who remain with the show throughout (the ROH has four such teams that are assigned on a rotating basis to each production in the house. There are also two daily running crews of 28 multi-skilled stagehands that work one day on, one day off. The new lighting booth is located at the back of the stalls, or orchestra level, with a direct view of the stage.
Another major area of concern was the updating of the stage machinery and rigging. "The goal was to make the shows and rehearsals go on more easily," says White. "The stagehands just couldn't keep moving things around the way they did in the old days." In fact, some of the machinery, rigging, and elevators that were just replaced dated from the turn of the 20th century. "They were still working," says White, "but they couldn't lift heavy weights and it was all manually operated. The new stage machinery enables you to get a piece of scenery into exactly the right place in the shortest amount of time."
To do this, a series of 27 rolling stage wagons (each 48' x 16') with 43 elevators, manufactured and installed by the UK firms of Rolls Royce Engineering and Clarke Chapman Engineering respectively, are now in place. These make it possible for a set to be built in the set assembly area and transported to a rehearsal room, onto the stage, or into the side stage storage areas. Each wagon can potentially move up to 16 tons of scenery. The control system for the wagons was built by Bat-Alpha (Bobach) of Langenfeld, Germany.
Twenty-one of the wagons are used for opera productions and therefore have standard solid wood floors, each with 26 traps; the other six have sprung floors designed for ballet (and only one has traps). The sprung ballet floor was custom built for the ROH by Swift Horsman in the UK. "Jeffrey Phillips (ROH technical project manager) tried various "rates" of floors with the Royal Ballet dancers," explains White. "They selected the combination of timber and neoprene suspension they liked best."
"The wagons can move as directed by a cunning system using toothed belts designed by internationally-known UK mechanical designer Mike Barnett," explains White. Remaining at stage level the wagons can move into the side stage, rear stage, set assembly area, or opera rehearsal room. They move like pieces in an interlocking puzzle; compensating elevators sink to allow the passage of up to three linked wagons, then rise back to stage level when the wagons have cleared. An open height of 36' allows scenery to move from space to space on the wagons. Massive fire- and soundproof doors, weighing as much as 58 tonnes approximately 63.8 US tons) separate the spaces as needed.
The new automated rigging in the main house was manufactured by Krupp IndustrieTechnik in Germany and installed by Statec, the German firm that has taken over Krupp's stage machinery company. Unusual Rigging in the UK was also involved in a portion of the onsite installation. The system includes: 108 cross-stage automated bars of Unitruss from James Thomas Engineering and Triple E that are 78' long and can handle one ton of scenery each; 18 lighting battens; six up and down stage linesets; and 30 point hoists for up to 1/2 ton each. The electric-powered Krupp winches sit nine levels above the stage.
Stage Technologies Ltd. in the UK provided the automated control with its Nomad motion control system and 10 portable control consoles. "There are 36 points you can plug the controls into," White notes. "You can take it where you're going to use it. That's what's so good about the Nomad, you can take it to where the operators can see what they are doing." Stations are located at stage level as well as in the new flytower, which is layered with lighting and rigging galleries up to the grid that sits 120' above the stage.
This new height allows complete shows to be flown up to grid level, while the current show occupies the stage and intermediate levels. The flytower is outfitted with a mobile cloth gantry (provided by Street Crane Express of Sheffield, England), or rolling platform that is stored in the rear stage, and has a cherrypicker attached to it, allowing work to be done at various levels in the air.
It may seem odd, but scenery storage for the ROH is in Wales, 160 miles away, the practicality being that it is less expensive to drive it back and forth, than rent the massive amount of storage space that would be required in London. The loading dock is in the new section of the building along Bow Street, and the scenery pallets (the size of ocean-going containers) that come into the building in semi-trailers are carried on the trailer three floors down to a large storage center that holds up to 28 pallets. Here they are unloaded by the driver. "These can be moved back up to the stage level set-building area as needed by stage technicians using the get-in lift and a system of pallet dollies and battery-driven tugs," explains White.
Nine separate elevators in the orchestra pit allow versatile configurations: two large elevators at the front of the pit allow access to the store room located underneath the stalls; three double-deck elevators in the middle of the pit can be raised to form a forestage extension; two double-deck elevators at the sides normally have audience seating at the upper level and players underneath, but can be lowered to normal pit level to provide an enlarged pit for opera by Wagner or Strauss and other productions requiring a larger-than-normal orchestra. All of the platforms move by means of four Gala Spiralifts each. The conductor elevator and the prompt box elevator are hydraulically powered. The orchestra elevators were installed by BBB in Weiden, Germany.
There are six double-deck stage elevators, each measuring 48' by 8' (and just under 9' high), which can sink either 14' numbers one through four) or 20' below stage (numbers five and six). They can all rise to 9' above stage level at a maximum speed of 2'/second carrying 15 tonnes. Six powered trap lifts can be wheeled into place in any of 78 positions. The elevators were built by SBS in Dresden, Germany.
Arup Acoustics, a division of Ove Arup and Partners in London, served as acoustician for the Royal Opera House renovation. Their principal goal was to make sure that the positive qualities of the existing acoustics in the auditorium were retained. These include high vocal quality and an even pit/stage balance, so that the musicians and singers do not overpower each other.
Since this is a historic "preserved" auditorium, the extent of the acoustic work was limited, but in some areas where sightlines were improved, the "soundlines" were as well, by removing carpet and sound-absorbing panels to increase reverb and warmth. Metal panels with plywood reflective backs and perforated metal covering acoustic-absorbent material in the orchestra pit can be adjusted manually to reflect or absorb sound as desired.
Arup also worked on the reduction of background noise (aided by the new, quieter lighting and rigging systems), as well as the new air-conditioning system (a welcome relief for ROH patrons). This is a similar system to the one Arup devised for the Glyndebourne Opera House, with air coming in under the seats and extracted through the ceiling.
"Our main challenge was sound isolation around the building. There is a lot of activity taking place all over a small site in the middle of London. The goal is to keep unwanted noises out, and keep the sounds in the rooms as they should be," notes Jeremy Newton, Arup's project manager for the ROH. "The large scene dock doors help with the necessary high-level sound isolation."
Acoustic isolation of the Linbury Studio Theatre, which is located below street level and under one of the opera rehearsal rooms, was one of Arup's main challenges. "The room sits as a box in a box and sits on rubber pads isolating it from the ground and the rest of the building," Newton explains. "The studio theatre also has a limited variable acoustic system with panels than can fly in and towers than can move as needed."
While there is limited sound reinforcement in most productions at the ROH, the sound system is used for playback of sound effects, or any recorded music that might be required, as well as amplification of off-stage singers. "Most modern opera written since 1950 was written with some amplification in mind," says Eric Pressley, head of sound for ROH. "Also, when 19th-century operas were written, the scenery was a wooden frame with canvas and off-stage voices could be heard. Today we have to amplify anything sung off-stage, as the sound can't get through the solid scenery. And weather. There is a lot of thunder in opera."
The new elements in the sound system, many of which are custom-designed for the Opera House, were installed by Cranford Audio in the UK. Loudspeakers include 20 XTA DP200 loudspeakers in the main auditorium, 50 Ethos Acoustics custom-designed, under-balcony loudspeakers, 30 ATC SCM20 self-powered monitors for rehearsal room playback and in the Linbury Studio Theatre, and custom speakers with ATC mid-range components, Volt low-frequency components, and a variety of high-frequency units. These are built into the front of the stage.
"We needed high quality, high output in a very small space," explains Pressley, in regard to the custom units. He also wanted all of the sound to come from the stage, and since the proscenium arch and false proscenium can move, there were very few permanent positions available. There is no central cluster above the stage, as Pressley favors sound that comes from the pit, the stage, or surround speakers.
Additional equipment includes 200 Chord Electronics 280W mono amplifiers (split between two amp rooms that feed all of the speakers: one above the auditorium ceiling over the orchestra pit; the other in the basement). The Calrec Q-series mixing console is generally used in a front-of-house position in one of the side boxes (its alternate position in a balcony requires the loss of revenue-producing seats).
One of the most interesting architectural features of the Royal Opera House is the ornate white iron and glass Floral Hall, with its Crystal Palace roof line that has been integrated into the new Bow Street facade. This structure was built in 1859 as part of Covent Garden's fruit and vegetable market. When the market moved away from the area, the Opera House used it as storage space. Old elements have been forged with new ones where needed, and Floral Hall has been restored with lobby areas on the ground floor and a beautiful public space upstairs under the barrel-vaulted roof. Bar service and some chairs and tables for snacks make this the place to be during intermission.
The Opera House is now up and running, with an ambitious schedule of opera and ballet that puts its technical capabilities to the test on a daily basis. The controversy has subsided (the English press has other fish to fry these days) and it's on with the show at Covent Garden, where the elegance of a 19th-century theatre has been married to the kind of state-of-the-art technology that will define opera house design throughout the next hundred years.
Royal Opera House, Covent Garden
Technical staff
John Seekings, operations director
John Harrison, commercial director (former technical director)
Mark White, theatre consultant
Jeffrey Phillips, project manager
Geoff Wheel, head of technical
Dave Harvey, lighting manager
John Charlton, lighting manager
Eric Pressley, head of sound
Nick Reid, head of lighting control
Dixon Jones BDP
Jeremy Dixon and Edward Jones, principal architects
Tim Leach and Anne Minors, project architects
Arup Acoustics, Ove Arup Partners
Rob Harris, project director
Jeremy Newton, project manager
Krupp IndustrieTechnik/Statec winches and rigging
Unitruss: James Thomas Engineering and Triple E
Nomad Control System: Stage Technologies Ltd.
Stage wagons
Rolls Royce Engineering and Clarke Chapman Engineering
Control system: Bat-Alpha
Lighting suppliers
AC Lighting (WYSIWYG), Lighting Technologies (conventional fixtures),
White Light/The Moving Light Company (automated fixtures), Lightfactor Sales
(High End Systems Studio Spots), Wynne Willson Gottelier (Le Fantôme)
Selected lighting equipment
Audio installation
Cranford Audio
Selected sound equipment
(20) XTA DP200 loudspeakers in main auditorium
(50) Ethos Acoustics custom-designed under-balcony loudspeakers
(30) ATC SCM20 self-powered monitors for rehearsal room playback and in the Linbury Studio Theatre
(1) Calrec Q-series mixing console
(200) Chord Electronics 280W mono amplifiers


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A Coryell County man is behind bars after an overnight standoff. The incident occurred Thursday on County Road and lasted until Friday afternoon when 40-year-old David Ray Sneed was eventually arrested.
The Sheriff's Office was called to the home by CPS about a family violence incident. Sneed's 14 year-old daughter called the deputies alleging that her father had assaulted her and pointed a gun at her.
When deputies arrived on scene Sneed allegedly fired numerous shots on them.
He is now in the Coryell County Jail and faces multiple charges including family violence and aggravated assault on a public servant.
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This year, Swiss replica watches launches the first Planet Ocean models which 37.50 mm in diameter housing Rolex Replica responds to the aspirations of women looking for the technical qualities and Replica Watches Canada attributes of diver's watches offered by this collection but prefer to wear smaller parts.


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CeBIT 2009: OpenStreetMap Wins Two Linux New Media Awards
Linux New Media AG has presented its annual awards for outstanding contributions to Open Source at CeBIT 2009 in Hannover. The OpenStreetMap project ended up garnering two of the six Linux New Media awards.
The free Internet geographic mapping service OpenStreetMap won recognition in the Most Innovative Open Source Project category. In his award presenter's speech, Simon Phipps, Sun Microsystems' chief Open Source officer, lamented that up to now his homeland England hadn't had any free cartography material. Michael Buege and Dirk-Lüder Kreie accepted the award for the project and praised the combined work of the 100,000 or so people who contributed to the Geographic Information System (GIS). OpenStreetMap also came away with the coveted Outstanding Contribution to Linux and Open Source award, given consistently every year. The other awards pick up themes of the current conference.
The trophy for the Friendliest Open Source Hardware Vendor went to Intel, with Asus, IBM and Sun also nominated. Award presenter Peter Ganten of LIVE Linux lauded Intel not only for their contributions to the Linux Kernel, but for their advocacy of open standards. Appropriately, Ganten recalled the beginnings of Linux, when Linus Torvalds wrote a kernel for Intel's i386 processor.
Oliver Zendel from the German National Agency for Information Security (BSI) presented the award for the Security category, which core developer Markus Friedl accepted for OpenSSH and for which he gratefully thanked its users.
Special to this conference was the category Mobility, with the award presented by Professor Jean-Pierre Seifert of the Technical University of Berlin to Google's Dan Kegel for the Linux-based Android mobile platform.
Knoppix inventor Klaus Knopper handed over the Best Open Source Programming Language prize, this year hotly disputed among the jury. The distinction went to Python. "The thing can do anything," Knopper expressed. Martin von Löwis of the Python Foundation accepted the award for the Python community.
A jury of over 200 community and industry experts nominated the candidates for the Linux New Media awards and determined the prize winners. The commendations for special accomplishments in Open Source are given by Linux New Media AG, publishers of Linux Magazine Online.
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Issue 167/2014
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Tag Cloud
Tool Predicts Which Websites Will be Compromised
Carnegie Mellon researchers say 3 million pages could fall down the phishing hole in the next year.
SSH Key Management Guidelines
The US government rolls new best-practice rules for protecting SSH.
Knoppix 7.4 Released
Klaus Knopper announces the latest version of his iconic Live Linux system.
PHP Attack Puts WordPress and Drupal at Risk
All websites that use these popular CMS tools could be vulnerable to denial of service attacks if users don't install the updates.
Heartbleed Bleeds On
According to a report, many potential victims of the Heartbleed attack have patched their systems, but few have cleaned up the crime scene to protect themselves from the effects of a previous intrusion.
Drone Brain Goes Open Source
DARPA and NICTA release the code for the ultra-secure microkernel system used in aerial drones.
Password Management Services Vulnerable to Attack
Should you trust an online service to store your online passwords?
New Raspberry Pi Adds Two USB Ports
New B+ board lets you build cool things without the complication of a powered USB hub.
Microsoft Grabs No-IP.com Domains
Redmond rushes in to root out alleged malware haven.
Firefox Steps into 3D
New initiative will bring futuristic virtual reality effects to the web surfing experience.


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The Atlantic-10's basketball prowess appeared to take a hit when the Temple Owls left the conference for the Big East, but it appears that they've replaced them with a basketball school that will help them retain their status as a top basketball conference. According to a report at ESPN, Butler will leave the Horizon League for the A-10 on Wednesday. The move will take effect in the 2013-14 basketball season.
Butler is far and away the biggest name currently in the Horizon League, who could be hurt significantly by the departure. The A-10 are also rumored to be in talks with Colonial Athletic Association basketball powers VCU and George Mason. If they add those two teams in addition to Butler, they will almost certainly be regarded as the best men's basketball conference outside of the current power six.
If VCU and George Mason do not join while Charlotte -- rumored to be bolting for Conference-USA -- stays put, the A-10 will have 14 members for the 2013-14 basketball season.


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New Orleans, La. - The passing of former Louisiana representative Lindy Boggs Saturday was met with an outpouring of remembrance and respect from public figures across the state. Here is what some of them had to say:
"We learned of the death of the Honorable Lindy Boggs this morning. I have been in touch with her family to offer the prayers and condolences of the people of Louisiana and especially New Orleans. Mrs. Boggs was an active member of St. Louis Cathedral Parish and her funeral Mass will take place at the Cathedral at a time to be announced later. We thank God for her life of faith and her life of service to the people of Louisiana and beyond. May she know the fullness of God's peace and Love." - New Orleans Archbishop Gregory Aymond
"As the first woman elected to Congress in Louisiana, and as the first female Chair of the Democratic National Convention, Lindy no doubt left her mark on history. She lived a life of service, carrying on for those who couldn't and speaking up for those who didn't have a voice in the halls of Congress. Lindy was a true fighter, but she did it with incredible grace and the people of Louisiana are grateful for her service. The thoughts and prayers of my family and of the people of Louisiana are with Lindy's family." – Gov. Bobby Jindal
"Lindy was a grand lady who served as both a pioneer and a trailblazer for her beloved State of Louisiana, and she will be dearly missed," Scalise said. "As a Member of Congress and later an Ambassador to the Vatican, Lindy effortlessly balanced her role as a respected leader and a mother, and always carried herself with dignity and grace. Lindy's passion and charm live on in the hearts of those that had the honor of knowing her, and my thoughts and prayers go out to the Boggs family." - Congressman Steve Scalise
"My thoughts and prayers are with the Boggs family as we all mourn the loss of a true legend, Ambassador Lindy Boggs. I am grateful for the opportunity to have known Lindy. She was a first class public servant who had many firsts
"Lindy Boggs was truly the perfect example of leadership, never afraid to fight for justice and demand equality. To know her is to know a woman who loved her family, her country, and the many people she served. She took the responsibility of service seriously, and the 2nd Congressional District and the state of Louisiana are better for it. She demanded respect across the globe, not because of her words, but because of her actions; a woman who was small in stature, but big in heart. I am grateful for the opportunity I had to celebrate her while she was still with us. We acknowledged her birthday and her body of work earlier this year at the U.S. Capitol during Women's History month. I pray we all find comfort in her tenacity, accomplishments, and sacrifices." - Congressman Cedric Richmond
"Our hearts are heavy in Louisiana today as we learn that Ms. Lindy is at long last reunited with her beloved husband, Congressman Hale Boggs. His untimely death began the second chapter of Lindy's life, and out of that tragedy, she took on the mantle of public service with uncommon grace. Her self-effacing charm came from a lesson learned from her grandmother -- that one could accomplish anything by simply allowing others to take the credit. A pioneer in the fight for civil rights, Lindy also championed the cause of economic equality for women -- a fight we carry on today. Every woman that has a credit card in her wallet or a mortgage for her home can thank Lindy Boggs for her legislative skill in ensuring protections for gender and marital status were included in the Equal Credit Opportunity Act. As we continue to push for legislation that guarantees women equal pay for equal work, we know that Lindy helped to pave the road we walk on. Our thoughts and prayers are with Ms. Roberts, Mr. Boggs and the rest of Ms. Lindy's family as they mourn their dear mother, grandmother and great-grandmother." - Louisiana Democratic Party Chair Karen Carter Peterson
we lost a legend who served as an inspiration to people throughout the country. Lindy Boggs was the epitome of dignity and grace. She helped build the stage
upon which so many female elected officials stand today. As a U.S.
congresswoman for New Orleans, Lindy was well known and respected by both sides
of the aisle because she served with integrity and fairness while always
fighting hard for her district. The people of New Orleans will forever be
grateful for her tenacity on their behalf. She was a national and international treasure, and the world is a better
place because she lived. I am thankful to have called her a friend, and my thoughts and prayers go out
to the Boggs family." - New Orleans Mayor Mitch Landrieu
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By Times Staff
Gloucester Daily Times
---- —
Elderflowers may not be the first things that you think of when making a Champagne cocktail. Neither is orange peel perhaps. However, these two ingredients completely transform the cocktail into a purely unique gem.
The small white elderflowers are typically used to make a sweet distilled drink called a cordial. St-Germain is the first liqueur in the world created in the artisanal French manner from these freshly handpicked blossoms. Adding St-Germain to Champagne adds a subtle floral taste.
Mixiologist Zach Wilks often substitutes a white, sparkling wine for the Champagne.
Another way to transform the cocktail is to add orange bitters and orange peel. Be careful with the bitters, as a little go a long way. And as if the cocktail was not unique enough, add an orange peel. The oils from the peel will add a subtle orange flavor to the drink.
Champagne Orange Cocktail
1 ounce St-Germain Elderflower Liqueur
2 ounces Champagne or sparkling wine
1/2 teaspoon orange bitters
1 orange peel
1. Pour the St-Germain Elderflower Liqueur into a Champagne glass. Pour in the Champagne, leaving a little room on top. Splash in the bitters.
2. Peel the orange with a vegetable peeler, avoiding the pith or white part. Curl and place into the glass. Enjoy.
Recipe courtesy of mixologist Zach Wilks, wilksandwilson.com, 2013.


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Unabashedly entertaining at an efficient 91-minutes, "The One I Love" is an extremely confident first feature, with some really fun things to say about identity…
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Chaz Ebert and Steve James will discuss "Life Itself" at the 2014 Chicago Humanities Festival.
"Life Itself" screens at 7:30pm Monday, August 25th, at the Tivoli Theatre in Downers Grove.
White privilege, lived.
An FFC Review of Kim Beyong-seo and Jo Eui-Seok's South Korean thriller "Cold Eyes."
An FFC Review of Kim Beyong-seo and Jo Eui-Seok's South Korean thriller "Cold Eyes."
An FFC looks at the horrible situation in Ferguson, MO and what it says about where we are and where we're going.
A feature about John Alvin, movie poster artist and the subject of "The Art of John Alvin."
An interview with Harvard Business School professor Anita Elberse, author of "Blockbusters: Hit-making, Risk-taking, and the Big Business of Entertainment."
You've seen houses with pumpkins in the windows and skeletons hanging from the trees, but you may never have seen such elaborate displays as the ones constructed by Victor Bariteau, Manny Souza, and Matthew and Richard Brodeur. On their lawns, corpses rise from graves, skeletons dance, dead victims hang from wrecked cars, ghosts float and eerie music haunts the air. In some cases, there are "tours" with scary blasts of air and grotesque faces popping out of the dark.
These displays are a labor of love, presented for free, although we discover that the haunted house hobby has inspired a small industry, annual conventions and inspirational talks by haunters. When Victor Bariteau's IT job is outsourced and he gets a year's severance, he decides to invest the whole amount in creating Ghoulie Manor, a year-round attraction, even while admitting that people who have tried similar ventures tell him not to count on making any money.
All three families have cluttered home workshops in which they make ghastly masks, animated props and yawning graves. They also haunt, if that is the word, local garage sales. What looks like a shabby old sofa to you may look to these guys like it belongs in a creepy Victorian parlor.
This all costs a fair amount of money, although Bariteau enlists the labor of neighbors, ordering them around like an impatient drill sergeant. The father-and-son team of Matthew and Richard Brodeur are a mystery; there's no hint of how they earn their income, if any, and although Matthew's wife seems affectionate, she also seems mystified.
Most enthusiastic are Bariteau's wife and one of his daughters, who helps him paint and nail. Wandering around his almost-finished yard one year, a few days before D-Day of Halloween, he thinks one day they may remember their participation fondly. "And if they don't, they can throw out all this stuff. I won't need it anymore."
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An FFC looks at the horrible situation in Ferguson, MO and what it says about where we are and where we're going.
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The U.S. Department of Energy is look for a chief data officer.
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Two years ago, Michael Pineda was one of the best young starters in the world, and Jesus Montero was one of the best prospects in the world. If we look at pictures of ourselves back then, will we all be wearing butterfly collars and bell-bottoms? Seems like another world.
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I ( Grandma ) took Reece to McDonald's for a Strawberry / banana smoothie and he just couldn't wait ! He got a brain freeze and I grabbed the camera ! He is 9 yrs old.
This give new meaning to " Chill out " !
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Moderated mediation
Mplus Discussion
Structural Equation Modeling
Student 09
posted on Monday, January 16, 2012 - 4:33 am
using the multiple group analysis in Mplus, I would like to test whether an indirect effect differs between two subsamples (group a & group b).
For each group, I requested the indirect effect by using the model constraint command.
y2 ON y1 (p1a);
y1 ON x (p2a);
NEW (ind_1);
Ind_1 = p1a*p2a;
MODEL group b:
y2 ON y1 (p1b);
y1 ON x (p2b);
NEW (ind_2);
Ind_2 = p1b*p2b;
This syntax yields the two indirect effects (ind_1 & ind_2). But now I wonder how to test their difference – how would I constrain these parameters to be equal, given that they come from two different groups?
Bengt O. Muthen
posted on Monday, January 16, 2012 - 11:03 am
You should use a Model Constraint where you define their difference - this will give you the test as a z score:
NEW (ind_1 ind_2 diff);
ind_1 = p1a*p2a;
ind_2 = p1b*p2b;
diff = ind_1-ind_2;
Lisa M. Yarnell
posted on Thursday, March 29, 2012 - 3:16 pm
Can I run a moderated mediation analysis as a two-group model, employing the MODEL INDIRECT command?
In other words, can MODEL INDIRECT be used in conjunction with a grouping variable, allowing for tests of moderated mediation?
Linda K. Muthen
posted on Thursday, March 29, 2012 - 5:00 pm
You can run moderated mediation using multiple group analysis but you can't use MODEL INDIRECT. You will need to use MODEL CONSTRAINT to compare indirect effects across groups. MODEL INDIRECT does not have this function.
Valerie Simon
posted on Sunday, July 01, 2012 - 8:51 am
How do I test whether multiple indirect effects differ between 2 groups? The model includes paths from 2 Xs (ext2, stigma2) through a single mediator (ai_t) to 2 DV's (VDATE, PDATE).
I used the model constraint language as per Bengt's response above to create the 4indirect diffs...
ai_t on ext_pt2 (a1a);
ai_t on STIGMA2 (a2a);
PDATE on ai_t (b1a);
VDATE on ai_t (b2a);
ai_t on ext_pt2 (a1b);
ai_t on STIGMA2 (a2b);
PDATE on ai_t (b1b);
VDATE on ai_t (b2b);
NEW (ind_1 ind_2 diff);
ind_1 = a1a*b1a;
ind_2 = a1b*b1b;
diff = ind_1-ind_2;
NEW (ind_3 ind_4 diff);
ind_3 = a2a*b1a;
ind_4= a2b*b1b;
diff = ind_3-ind_4;
NEW (ind_5 ind_6 diff);
ind_5 = a1a*b2a;
ind_6 = a1b*b2b;
diff = ind_5-ind_6;
NEW (ind_7 ind_8 diff);
ind_7 = a2a*b2a;
ind_8 = a2b*b2b;
diff = ind_7-ind_8;
Mplus will run a single constraint test but when I include more than one I get an error message saying that I've entered an already used parameter. Although true, each indirect is comprised of unique pairs of parameters. Is there a way to simultaneous test differences in the 4 indirect effects?
Linda K. Muthen
posted on Sunday, July 01, 2012 - 10:48 am
Please send your output and license number to
Lisa M. Yarnell
posted on Monday, March 25, 2013 - 10:55 pm
In using the MODEL CONSTRAINT option to define new parameters for one's model, does this increase the number of parameters estimated and hence affect degrees of freedom?
A five-knownclass model in which I used MODEL CONSTRAINT to define an a*b indirect path (to test for mediation) had different degrees of freedom than I expected, and I wondered if this is because I added parameters to the model through using this command?
Linda K. Muthen
posted on Tuesday, March 26, 2013 - 11:36 am
If you put a constraint on a parameter in MODEL CONSTRAINT, this can affect the degrees of freedom. If you define a new parameter, this should not.
Lisa M. Yarnell
posted on Tuesday, March 26, 2013 - 3:16 pm
Thanks, Linda. Can I label parameters that are class-specific estimates in a knownclass model, then use those class-specific labels to constrain parameters within classes? For example--would this work?
[gender] (gen_m_w);
gender (gen_v_w);
[gender] (gen_m_cn);
gender (gen_v_cn);
gen_v_w = gen_m_w*(1-gen_m_w);
gen_v_cn = gen_m_cn*(1-gen_m_cn);
Linda K. Muthen
posted on Wednesday, March 27, 2013 - 6:44 am
Yes, you can label class-specific parameters.
Allison Elledge
posted on Thursday, February 13, 2014 - 11:17 am
Hi Dr. Muthen,
Similar to Student09 in Jan 2012 of this thread, I am interested in testing whether an indirect effect differs between two groups.
On Jan 16 2012, you wrote:
You should use a Model Constraint where you define their difference - this will give you the test as a z score:
NEW (ind_1 ind_2 diff);
ind_1 = p1a*p2a;
ind_2 = p1b*p2b;
diff = ind_1-ind_2;
I ran my model with this syntax, but I want to be sure that I am looking in the right place in the output and interpreting correctly. My understanding is that I should be looking at the third and fourth columns of the model results section, under "New/additional parameters." This section of my output looks like this:
New/Additional Parameters
My understanding is that for DIFF, Est./S.E = 0.039 and p = .969, meaning that the population means are equal across groups. This would mean that the indirect effect is not moderated by the variable I used to group (weight status). Am I interpreting this correctly? Thank you!
Bengt O. Muthen
posted on Friday, February 14, 2014 - 11:50 am
That's correct. One cannot reject that the two indirect effects are equal.
Allison Elledge
posted on Saturday, February 22, 2014 - 6:44 am
Thank you for your response. As a follow up question related to my model, I found partial measurement invariance across gender in my initial invariance testing (at the weak level). Once freeing one parcel loading on my independent latent variable, the chi sq diff tests held for weak and strong invariance. My understanding is that I would need to free this loading across gender groups in my structural model. However, I am already specifying two groups for my moderated mediation analyses. Can I also specify two separate groups by gender to account for that partial measurement invariance? If so, what would that syntax look like? And how would that change my interpretation of model fit and the diff score created to determine moderation? Thank you!
Bengt O. Muthen
posted on Saturday, February 22, 2014 - 3:58 pm
Sounds like you would then have 4 groups (2 x 2). In which case you can e.g. specify gender-invariance of the slopes involved in the moderated mediation. Just label the parameters according to the equalities you want to specify.
Allison Elledge
posted on Friday, May 02, 2014 - 2:07 pm
Is there a way to determine probability of finding group differences in a multiple group analysis, post-hoc? I ran a moderated mediation model using a multiple group analysis and did not find significant moderation. This may be because one group only had 29 participants in it, compared to 95 in the other. I am wondering if I can determine the probability of detecting group differences, given the numbers that I had? Thank you!
Bengt O. Muthen
posted on Friday, May 02, 2014 - 4:19 pm
You can do a Monte Carlo simulation - see the UG chapter 12. This would give you an idea of the power to reject equality.
posted on Tuesday, August 26, 2014 - 7:48 am
I d like to follow up with this discussion. I understand that when difference test Shows insignificant p value, it means the indirect effects are equal. Is the difference test in mplus a heterogenity test in its nature?
I checked some statistical mateirals. Some researchers used a relatively subjective approach, comparing the Mediation sizes (the coefficients) or simply look at whether the indirect effects are full v.s parital v.s non effects in different groups. They sometimes skipped the difference test. or they consider the Group difference existed (e.g., when full Mediation in one Group and partial in another), although in the difference test result p is not significant. I would love to get a comment from Dr. Muthen.
Bengt O. Muthen
posted on Tuesday, August 26, 2014 - 3:33 pm
Q1. I don't know what a heterogeneity test is in this context.
I think it is good to carry out a test.
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The Los Angeles Police Department apprehended one of the suspects in the Bryan Stow case on Sunday, and they're hoping the arrest will lead to the second person involved with the beating, as well as the person suspected of driving the getaway car.
Giovanni Ramirez, 31, was arrested at an East Hollywood apartment and charged with assault with a deadly weapon after attacking Bryan Stow, and then kicking him while he was unconscious on the ground. The arrest was a big first step for the LAPD, according to the Los Angeles Times:
Charlie Beck, chief of the Los Angeles Police Department, called the arrest "a huge step" in the investigation into the beating that rocked the beleaguered Dodgers organization, Major League Baseball as a whole, and many Angelenos who have grown fed up with the sometimes violent segment of the Dodgers fan base that police say is dominated by gang members.
The LAPD talked about Ramirez's gang ties here, a twist to the case that makes all sorts of sense. Assaulting someone just because of the favorite sports team he arbitrarily selected seems unthinkable to just about everybody. But that's almost the job description, so to speak, of a gang member. Except for the part about sports.


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Digidesign announced the release of Pro Tools® 6.7 software designed specifically for musicians. Pro Tools 6.7 software features comprehensive MIDI sequencing capabilities, while MIDI recording, editing, and mixing features are as easy to work with as audio.
The audio and MIDI feature set in Pro Tools 6.7 has been expanded to deliver tempo-dependent audio placement, tempo-dependent automation, graphic tempo editing, precise control of meter changes, MIDI step input, enhanced support for instrument plug-ins, MIDI Detective, and Beat Detective™ LE. Pro Tools 6.7 also brings true cross-platform parity for simplified session transfer with major MIDI functionality enhancements to Windows.
Pro Tools 6.7 software expands and enhances the Pro Tools 6.x feature set with features and benefits specifically designed to support the work of music composers. For instance, support for multiple plug-in outputs enables mixing and processing of individual sound sources from instrument plug-ins. There is step-by-step song composition with the MIDI Step Input window, which facilitates building complex or difficult MIDI tracks. With Beat Detective LE, Pro Tools LE users can now take advantage of many of the Beat Detective features previously only available to TDM users. The TC/E tool's support for MIDI regions enables users to expand or contract MIDI passages exactly as it is done with audio regions, allowing timing changes of individual MIDI regions without affecting the overall session tempo. New support for RTAS instruments on TDM Aux inputs provides better instrument plug-in integration, session organization, and LE/TDM session interoperability.
Pro Tools 6.7 features new and accelerated editing options. The new MIDI Detective functionality allows tempo maps and groove templates to be generated directly from "free" MIDI performances. The Tempo Editor pane allows precise drawing and editing of tempo curves, including nudging and trimming of tempo segments. Tempo and Time Operations windows allow flexible tempo curves, global insertion/deletion of time, and auto-editing of data when changing meter. Tick (musical tempo)-based Audio, Aux and Master tracks keep audio region start points and automation in perfect sync with MIDI. New Undo History window enables users to instantly and conveniently return to previous stages of a session's development
Straightforward management of external MIDI devices is available on Windows XP via the MIDI Studio Setup window and advanced patch name support. With Windows-based systems, support of MIDI Time Stamping and MIDI I/O provides accurate playback timing resolution, as continues to be the case on Mac-based systems as well. Non-administrator user support for Macintosh and Windows enables users who do not have administrative access to run Pro Tools unimpeded and allows IT professionals in facilities and schools to manage user preferences and access. Pro Tools 6.7 software requires a Digidesign-approved Pro Tools|HD®, Pro Tools|HD Accel, Digi 002®, Digi 002™ Rack or Mbox™ system running on Windows XP or Mac OS X.
Free upgrades and updates are available to Pro Tools/HD, HD Accel, and Pro Tools LE systems owners; for more information, visit Digidesign's website at www.digidesign.com. For full information regarding the Pro Tools|24 and Pro Tools|24 MIX Hardware Exchanges, visit www.digidesign.com/exchange. Please note that Pro Tools LE 6.7 software is not compatible with Digi 001® systems.
Pro Tools 6.7 Inclusion in New Pro Tools|HD Systems & Pro Tools LE Systems: Full Pro Tools 6.7 installer CDs will be included in shipping Pro Tools|HD and HD Accel systems beginning late October 2004, and in Pro Tools LE systems around January 1, 2005.


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Harajuku Lovers Love Perfume
By Gwen Stefani for Women
Harajuku Lovers Love Perfume by Gwen Stefani, Launched by the gwen stefani inspired deisgn house harajuku lovers in 2004, is a playful perfume bursting with exotic scents . The top notes include sparkling bergamot, pink pomelo, peach, and bamboo leaf mist, the middle notes include water peony, living hydroponic lace rose, jasmine sambac, nectarine, creamy paperwhites, and egyptian jasmine, and the bottome notes include ylang ylang, vanilla orchid, sensual musk, and blonde wood. All products are original, authentic name brands. We do not sell knockoffs or imitations. ... Read More
- G By Giorgio
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Gift Set - 1 oz Eau De Toilette Spray + Solid Perfume
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0.33 oz Eau De Toilette Spray
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Gift Set - .33 oz Eau De Toilette Spray + Solid Perfume
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3.4 oz Eau De Toilette Spray (Tester)
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Great prices, lightning quick delivery to my front door, packaged securely and in perfect condition. I have placed three orders without a hitch in the last two weeks
S. Hoff (Harleysville, PA)
REVIEW SNAPSHOT®by PowerReviews
- Great smell (36)
- Great value (29)
- Draws compliments (25)
- Clean & fresh (21)
- Long-lasting (17)
- Doesn't hold (3)
Best Uses
- Daily use (26)
- Anytime (24)
- Evening (11)
- Signature fragrance (11)
- Special occasions (9)
- Reviewer Profile:
- Natural style (15), Classic style (12), Adventurous style (11)
- Fragrance Type:
- Floral (27), Fresh/aquatic (15), Citrus/fruity (10), Powdery (8), Oriental/spicy (7)
Most Liked Positive Review
Different, but very good
This perfume was introduced to me by a little girl who wanted me to smell this new perfume her mom got her. Since then i was amazed on how different the smell was, but...Read complete review
This perfume was introduced to me by a little girl who wanted me to smell this new perfume her mom got her. Since then i was amazed on how different the smell was, but still an unforgetttable smell.
Most Liked Negative Review
It's not bad
I received this as a gift and I was really excited because the bottle is absolutely adorable! At first, I hated the scent. But now, it's not bad. However, I would recommend...Read complete review
I received this as a gift and I was really excited because the bottle is absolutely adorable! At first, I hated the scent. But now, it's not bad. However, I would recommend people to buy the sample pack with all 5 of them before getting the larger bottles since these are more expensive than some other fragrances.
Reviewed by 44 customers
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- Clean & Fresh
- Draws Compliments
- Great Smell
- Great Value
- Doesn't Hold
Best Uses
- Daily Use
Comments about Gwen Stefani Harajuku Lovers Love Perfume:
Those like sweet taste as sweet as the smiles suit for this perfume.
- Fragrance Type:
- Citrus/Fruity, Powdery
- Draws Compliments
- Great Smell
- Great Value
- Not Overpowering
- Sensual
Best Uses
- Anytime
Comments about Gwen Stefani Harajuku Lovers Love Perfume:
I use this perfume just about daily. It is light and flowery but still draws plenty of great comments. I usually use this at night but it's great for the day too. A lot of people are usually surprised that it is a Gwen Stefani perfume. I was happy to find the "tester" bottle because I got more bang for my buck. I already have the doll bottle so it didn't matter to me. So glad I found this site and I would recommend to a friend!!
- Fragrance Type:
- Floral, Fresh/Aquatic
- Draws Compliments
- Only Find This Online
Best Uses
- Daily Use
- One Of My Favs
Comments about Gwen Stefani Harajuku Lovers Love Perfume:
Easy to wear, lasts 4 to 6 hours on skin lots longer on hair etc
- Fragrance Type:
- Oriental/Spicy
- Great price
- Nice scent
- Not Overpowering
- Smell Alcohlic
Best Uses
- Anytime
- Daily Use
Comments about Gwen Stefani Harajuku Lovers Love Perfume:
This was a great buy I was surprised that it didn't smell aged it had the only thing it had like an alcoholic smell or polish remover scent to it mixed with the original smell
- Fragrance Type:
- Floral, Herbal
- Clean & Fresh
- Draws Compliments
- Great Smell
- Great Value
- Not Overpowering
Best Uses
- Anytime
- Daily Use
Comments about Gwen Stefani Harajuku Lovers Love Perfume:
Harajuku LOVE is a very fresh scent. I usually wear it to work each day or if I'm having a BBQ etc at the weekend.
Every single day I wear it, someone asks what scent it is.
There really isn't anything negative to say
- Fragrance Type:
- Floral, Fresh/Aquatic, Oriental/Spicy, Powdery
Displaying reviews 1-5
Previous | Next »


text:
Looking to sell or trade. If you see anything you like, PM me with an offer! US traders only.
Binary Domain - $8
Dead Rising 2: Off the Record - $11
Goldeneye Reloaded - $12
Homefront (no manual) - $7
Medal of Honor: Warfighter - $10
Mobile Suit Gundam Unicorn (JPN Import) - $25
Mobile Suit Gundam 00: Season 2 (Sealed)
Playstation Move Navigation Controller
Amazing Spider-Man
Beyond: Two Souls
The Last of Us
No More Heroes
South Park: Stick of Truth
$20/$50 PSN Card
Other offers
Anime Offers
American Hustle
Avengers Confidential: Black Widow & Punisher
Bottle Rocket (Criterion)
Fantastic Mr. Fox (Criterion)
Iron Man 3
Secret World of Arrietty
Space Pirate Captain Harlock (HK release)
Anime Offers
Edited by Squall835, 01 June 2014 - 04:46 PM.


text:
This is bad.
For the Cardinals, anyway.
Tony La Russa yanked starter Kyle Lohse in the fifth inning, which wasn't anything new; La Russa's been yanking his starters early in games throughout this series, and it's been working pretty well for him.
Until Game 4, anyway. Mitchell Boggs replaced Lohse in the fifth, and was greeted by Ryan Braun's go-ahead single. Boggs did escape more damage with an inning-ending double play, but Fielder ripped the ball and only second baseman Ryan Theriot's acrobatics kept the Brewers from a big inning.
But La Russa's relievers, who have pitched so brilliantly, just haven't kept the Brewers off the board in Game 4.
First there was Braun's single in the fifth. Then in the sixth, with Boggs still on the mound, Rickie Weeks singled and Jerry Hairston Jr. doubled. Weeks had to stop at third and couldn't score Yuniesky Betancourt grounded out, but he did score when Theriot, playing in for just such an eventuality, couldn't handle George Kottaras's grounder up the middle. Theriot got an error and the Brewers got a run, and now it's Brewers 4, Cardinals 2 in the middle of the sixth.
Meanwhile, Ron Roenicke has committed to Randy Wolf; Roenicke didn't pitch hit for Kottaras -- Wolf's personal catcher -- and he didn't pinch-hit for Wolf himself, who bunted for a sacrifice.
The eighth and ninth innings are Innings of Death when you're facing the Brewers. But the Cardinals' right-handed hitters still have time to hurt the lefty Wolf.


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For more information contact CCAC Public Relations
PITTSBURGH—The Community College of Allegheny County has partnered with the Coalition Against Violence and the Black Political Empowerment Project to host the launch and distribution of CAV's new anti-violence manual, "Strategies for Change: Building More Peaceful Communities." The manual will be shared at the Strategies for Change forum from 2:00 p.m. to 5:00 p.m. on Friday, October 18, at the Foerster Student Service Center on Allegheny Campus.
"Strategies for Change" is a comprehensive anti-violence manual identifying tactics to reclaim neighborhoods as healthy, safe and peaceful environments for families and children. The document calls upon citizens, government organizations, local groups and businesses to collaborate to further the anti-violence action plan.
"The Coalition Against Violence and the Black Political Empowerment Project have given our communities a blueprint to eliminate violence and implement peace for our children," said Rick Adams, assistant vice president for CCAC's Frieda G. Shapira Center for Learning Through Service. "CCAC is proud to host community leaders and other guests for the release of the new 'Strategies for Change.'"
Speakers scheduled for the event include:
Attendees will receive the "Strategies for Change" manual and a CAV community services directory. The Youth Document: Special Edition for Schools and Youth Programs will be available for guests from schools and youth programs. This event is free and open to the public. Individuals interested in attending should contact Janet Varvaro at 412.237.4412 or firstname.lastname@example.com.
About the Community College of Allegheny County (CCAC)
CCAC annually educates 33,000 credit students through 155 degree, certificate and transfer programs and offers noncredit and workforce development courses to nearly 30,000 students. The learning-centered institution's mission is to provide affordable access to quality education and offer a dynamic, diverse and supportive learning environment that prepares the region's residents for academic, professional and personal success in our changing global society. CCAC's quality programs enable students to transfer credits to 520 colleges and universities and support regional workforce needs with accessible instruction available day, evening, weekend and online in Allegheny County and beyond.


text:
Green Team
- > What is the Green Team?
- > How do I apply?
- > Academic Requirements
- > Recycling Guidelines
- > Upcoming Events
- > SC Going Green
- > Community Partners
- > Creation Care for Churches
- > Green Team Camp
- > Videos
- > Gallery
- > News
- > Upcoming Events
- > Service Learning Site
- > Potential Student Referral
- > Who is the Green Team?
- > College Sustainability Council
- > Directory
Green Team Southwestern is a KACEE Award Recipient
The Kansas Association for Conservation and Environmental Education (KACEE) has announced the recipients of the 2013 Excellence in Conservation and Environmental Education Awards. Green Team Southwestern is among the recipients.
Nominated by their peers, these awardees exhibit outstanding innovation, leadership and achievement, as well as collaboration and cooperation within and beyond the environmental education field.
"KACEE is pleased to honor these deserving individuals and organizations, who are so dedicated to environmental education in Kansas," said KACEE President Jeff Severin, director of sustainability at the University of Kansas.
Southwestern College earned a KACEE award. KACEE awards are given in several categories and recognize outstanding leadership, achievements, and collaborations by individuals and organizations with at least five years' experience in conservation and environmental education in Kansas.
Awardees will be recognized at an awards celebration hosted by KACEE on Friday, April 5, at Heritage Hall in Topeka. The event is sponsored by KACEE, the Kansas Department of Wildlife, Parks and Tourism, Capitol Federal Foundation, and the Westar Energy Green Team.


text:
Hoax No. 2: 'Kindness In America' Memoir Writer Shot Himself
by Mark Memmott
We were very tempted earlier this week to post about the guy who said he's writing a memoir called Kindness in America and had gotten shot while hitchhiking across the country. Many sites picked up that oh-so-ironic story.
Then we got distracted. Probably by our shoes.
So it's with some sense of relief that we now pass along word that the sheriff's department in Valley County, Mont., says Ray Dolin made up the whole story about being shot. A man who had been taken into custody based on Dolin's claim has been cleared of wrongdoing.
If you're keeping track, this is our second hoax-related post of the day. These things usual come in threes. So keep an eye out for another one.
Copyright 2014 NPR. To see more, visit http://www.npr.org/.
Missing some content? Check the source: NPR
Copyright(c) 2014, NPR


text:
Hostel Indigo is a small, family owned hostel located in downtown Šibenik and surrounded by typical Mediterranean... More Info »
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The family owned business offers a house with stylishly furnished apartments suited for 1 to 6 people, placed in the... More Info »
Jadran Hotel - Sibenik is situated in the very heart of Sibenik, at the coastline, next to the UNESCO Cathedral of... More Info »
Hostel Globo is located in downtown Sibenik, under UNESCO protection, just 30 meters from the main bus station & 50... More Info »
Hostel Mare is a newly opened hostel, convenient and affordable accommodation for individuals and groups. Located... More Info »
An apartment with a an area of 157 m2 in the center Sibenik, the apartment is situated on one of the floors of an old... More Info »
Johnny's place Sibenik is situated in the centre of Sibenik The building has a view of f St. James cathedral and... More Info »
Studio apartment is located in the narrow center of the town of Sibenik, near the chruch of St. John, in the old... More Info »
Hostel Sibenik has a friendly and relaxed atmosphere. The Hostel reception is located on the ground floor and we have... More Info »
There are six double rooms in the house, all the rooms are with a private bathroom, air conditioning, refrigerator,... More Info »
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I have a 9 yr old son that has spastic quadriplegic cerebral palsy and cortical vision impairment. When he was diagnosed at 4 months we had no idea of all that this diagnosis entailed and how it would affect our lives.
Let me just say that it has been a different type of whirlwind. We have had our ups and downs with the ups winning. My son is totally dependent on us with all things like feeding, bathing, he is still in diapers, etc. He has started talking some which is wonderful.
Despite all this my son has made a positive impact on our lives. He has introduced my husband and me to a special world with wonderful people. Through my son I have met some of the most amazing children and adults that I would not have otherwise had the opportunity to meet.
We have experienced things and people that would have been lost to us otherwise. We have our moments of frustration like any other family but overall life is great. My son has opened my eyes in ways I never thought possible. I know he will probably always be with us and I will tell you that I look forward to a lifetime with him.
We all feel frustration, it is normal. In life there are all types of situations and ours is just a special one that adds adventure and hope and love. Our son is truly a blessing and will continue to enhance our lives.
Deana B.
Adairsville, GA
Visit Deana's Website: http://teamlittlejake.wordpress.com


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Woah fight at Walmart. The whole target line was talking about it. The guy started throwing movies...Shit got real! #BlackFriday #lol #done—
Abigail. (@AbbieEdwards30) November 23, 2012
Black Friday got its earliest start ever this year. In what has become an annual tradition the day after Thanksgiving, some shoppers were ready to score discount electronics by any means necessary. Those braving the Black Friday sales tweeted on-scene reports of fistfights at the nation's retail stores.
How's this for the holiday spirit?
This lady got punched in the face at Best Buy holyshit crazy ass Black Friday shoppers—
⚡Panat C⚡ (@_Panat_) November 23, 2012
Damn, #WestRoads got crazy this year… there was like a 5 vs. 5 group fight!—
★Ivan★ (@_Jets_) November 23, 2012
TeezyKeezy® (@TristaaaaannK) November 23, 2012
Small fight at Walmart in North Olmsted. Shopping still continues and long lines. Police are on the scene. #ohblackfriday—
Jenn Strathman (@JennStrathman) November 23, 2012
I just saw some lady get punched in the face at Best Buy.—
Derek Bytheway (@derekbtw) November 23, 2012
@WBIRAbby An then a fight broke out over a game and the entire game display fell over and the police arrested some people….#WALMART—
Whitney (@Just_Whitney_) November 23, 2012
This guy at best buy got mad this guy got the last laptop, so he punched the dude and knocked him out.. Seriously.—
Taylor Rogers (@TayyRogers) November 23, 2012
just got back from shopping and there was a fist fight at walmart ha ha—
eliza (@sobzayn) November 23, 2012
Big ass fight broke out in the best buy parking lot. l hope somebody recorded it and uploads it to worldstar! 😆😂😭—
Terrence (@tyon305) November 23, 2012
LMFAO @GeHardon just broke a shelf at Walmart trying to stand on it to see a fight on the other side, over a pillow pet. #mynightsmade—
Nathali (@Naathaaali) November 23, 2012
Just punched an old man that tackled me. Ohhh the joy of Black Friday shopping—
Nanette Cole (@nanettecole) November 23, 2012
Tackled … at Victoria's Secret?
@_iTzShowTime I would just like to clarify it was at Victoria secret. Fuck him I was so mad!—
Nanette Cole (@nanettecole) November 23, 2012
A fight broke out at best buy!!!—
Ozzy Baldazo (@Ozzbalddd) November 23, 2012
There was a fight and an arrest at best buy! Lol—
Allen Sinn (@vSiNN_) November 23, 2012
@JonDelano same thing happened at Best Buy in Cranberry when I was in line. Kids took vouchers and started selling high. Only 1 fight though—
Douglas Derda (@douglasderda) November 23, 2012
Fight at JC Penny damn!!! #ayyoo—
morgannnn. (@morganstrzok) November 23, 2012
Wow crazy black Friday sale at Walmart someone stole my mom's car keys, my roommate got punched while getting her tv crazy crazy people—
Dakota M. Dynes (@Blue199109) November 23, 2012
Fist fight in Walmart and the power went out at Target. #BlackFriday is complete—
Sara Bremer (@sbremer84) November 23, 2012
Just saw a fight at Walmart over cutting in line for a tv! So mad I didn't record it! #BlackFriday—
Timani Taylor (@MizzTimmyTay) November 23, 2012
Some "shoppers" were a lot more interested in face-busters than door-busters.
I wanna go to the mall to get into a fight not even to buy shit..—
Phil Caivano (@Phil_Caivano) November 23, 2012
The goal tonight while Black Friday shopping is too get in a fight with someone, I wanna be in the news—
Priscilla Agudelo (@priscilla_agu) November 23, 2012
Others figured they could save on the cost of a pay-per-view fight.
@hellie1014 lol I wanna go see people get pepper sprayed at best buy :( LOL—
a l e . . . (@aa_alex_xx) November 23, 2012
This better be worth it. I better see screaming customers. I better see a fight or something.—
Cristin Groetken (@crazycristinn) November 23, 2012
I am not ready to face all these Black Friday shoppers all day long. But, I do hope I see a fight. Those are so funny—
Kendra(: (@kendra_FTBS) November 23, 2012
If i do not see a fight tonight at the mall im gonna be sooo pissed!!! #blackfriday—
Elena Kelley (@ElenaHasSwagger) November 23, 2012
Note to mall-goers: there's a smarter way to check items off your Christmas shopping list:
I'll be shopping today….at home….online….in my pajamas. Those of you actually fighting crowds I have only one thing to say: Suckas!—
Little Miss Rightie (@LilMissRightie) November 23, 2012


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Effingham Daily News
---- — Frances J. Short, age 88, of Neoga, passed away at 4:30 p.m. Saturday, May 11, 2013, at Heartland Christian Village, Neoga.
Funeral services in her honor will begin at 11 a.m. Tuesday at United Presbyterian Church, located at 704 Locust, Neoga, with the Rev. Joe Marting officiating. Burial will be in Neoga Cemetery, Neoga. Visitation will begin at 5 p.m. today, May 13, at Mitchell-Jerdan Funeral Home, 1200 Wabash Ave., Mattoon. In lieu of flowers, her family requests that memorials in Frances' honor be made to the Neoga High School track program or United Presbyterian Church, Neoga. Online condolences may be left at www.mitchell-jerdan.com.
Born Nov. 26, 1924, in Mattoon, Frances was the daughter of Reaves and Nora E. (Richards) Wiley. She married James A. Short on May 29, 1944, in Neoga. He passed away in 2000.
Frances was a member of United Presbyterian Church, Neoga, and the United Presbyterian Church Women's Group. Other memberships included the American Legion Auxiliary for more than 45 years and The Order of the Eastern Star in Neoga. Frances enjoyed quiet time sewing and playing word games; loved spending time outdoors, golfing, mushroom hunting and spending time at Lake Mattoon; and enjoyed collecting Indian artifacts and rock collecting. However, more than anything, she treasured spending time with family and friends, especially while traveling.
Survivors include their children, Jim Short (wife, Linda) of Mattoon, IL, Bob Short (wife, Ruth) of Neoga and Mary Drake (husband, Steve) of Charleston; 10 grandchildren; and 17 great-grandchildren.
In addition to her husband, she was preceded in death by her parents; one son, Tim Short; and one sister, Jo Ellen Wiley.
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