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CATEGORIES Action, Deals, RumorMonger, Fandom, Scripts, Comic/Superhero/Geek, Movies, CinematicalNow I know what you're thinking after you read that headline, but no, Wesley Snipes will not be playing a member of the African-American Nationalist/Civil Rights group. Neither, in fact, will he be playing an Israeli Mizrahi Jew, a member of the Chinese Rock Band, or British serial killer Donald Neilson. No, the Black Panther we are looking for here is the member of Marvel superhero team The Avengers, and is most notable for being the first African-American superhero in mainstream American comic books. T'Challa (The Panther's real name) is the king of African nation Wakanda, and has been known to spend significant amounts of time with X-Men member Storm.
Anyway, Snipes recently reminded us of a Black Panther project which has been on the vague rumor horizon for some time now. Snipes told Men's Fitness magazine: "We're actually talking about doing Black Panther -- he was the first African American superhero. He was around before Blade. He's the original. We've already done a lot of work on it. We hope to have a director soon."
If this happens, we can add it to the crazy number of Avengers titles on the horizon -- we've got Thor, Iron Man, Captain America, more Incredible Hulk, and even a silly old Ant Man picture on the way. If all these titles actually fall into place under the new Marvel war chest we are looking at serious combination potential for an Avengers film.


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Summary: Help keep your Microsoft Word 2000 documents from prying eyes.
If you're concerned about your Microsoft Word 2000 document's security, you may want to password protect it. This way, you can help ensure your document does not get read and/or modified by the wrong individuals.
To enable password protection, start up Microsoft Word 2000 and open up the document that you need protected. Click the "Tools" menu then "Options". On the multi-tabbed dialog box that follows, select the "Save" tab. To prevent unauthorized opening of your document, type in a password under "Password to open". To prevent unauthorized modifications, type in a password under "Password to modify". Press "OK" to close the dialog box. Word will then ask you to confirm your password(s).
Realize that password protection is not fail-safe. It can be cracked. However, for many instances, this protection may be good enough for your documents.
Add: Del.icio.us | Digg | Furl | My Yahoo!
Last Modified on: July 13, 2008, at 12:04 A.M. EDT
Return to the Microsoft Word 2000 page.

subset: commoncrawl


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Eminent Doman
Arlington County election results 2012Comment
Check out local 2012 election returns from Arlington County.
Virginia approves constitutional limits on eminent domainComment
Virginia voters approved an amendment to the Commonwealth's Constitution limiting government taking of private property.
2012 election: Eminent Domain to be decided in VirginiaComment
If you live in Virginia, you run a slight risk of the government taking over your land. The reason: eminent domain.
Virginia Senate passes eminent domain amendmentComment
Supporters of the amendment say it protects individual property rights. Opponents say it will make the costs of public projects more expensive for state and particularly local governments.
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The Queen Latifah Show Weekdays at 4pm on ABC7!Watch "The Queen Latifah Show" weekdays at 4pm followed by Leon Harris and Alison Starling on ABC7 News at 5. Click here to find out more about "The Queen Latifah Show!"


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In recent weeks, the irrepressible Rob Ryan has been seen holding a play card advertising a cheesesteak emporium. Now he's up to something a bit more traditional in celebration of Thanksgiving.
There are only reasons to love Rob Ryan.
Unfortunately, the Cowboys are really being gobbled up by the Redskins. RGIII and his teammates are making mincemeat out of Dallas in front of their home crowd. Tony Romo is getting the stuffing knocked out of him. The Redskins are really on a roll. They kind of have the Cowboys by the yams right now. The defense is getting run over and the offense is getting pie-faced. The fans are so depressed they're going to go home and listen to the Cranberries.
I guess maybe Rob shouldn't have run the full turkey defense after all. Better luck next time, Rob.


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DALLAS - A quarter of a billion cars drive U.S. roadways, and these days, computers run most all of them.
But experts warn hackers might not be far behind.
"I think it's very likely in the future, if we don't do some things now," said Jeff Farr, an Information Technology strategist.
Hacking computers in cars is not a far-fetched idea.
Two years ago, Austin police arrested Omar Ramos-Lopez for disabling the engines in 100 vehicles.
Farr said hackers could plug directly into your car's computer, or hypothetically, they could access it wirelessly using the remote or Bluetooth.
To prove the vulnerability, researchers even loaded a bug into one car's computer using a music CD.
"When they put the CD into the player, it allowed them to get to the braking system," Farr said. "I'm not sure they were able to do anything to the braking system, but they got there. That's the big deal here."
The fear is that hackers could compromise your car, shut off the engine or disable other safety features.
Right now, the likelihood of this remains low, but other experts also warn it's an emerging threat as cars continue to advance and rely a lot more on computers and technology.
At least three major studies by McAfee, the University of Washington and the University of California at San Diego issued similar warnings recently.
Before selling your car, Farr suggests drivers also wipe their car's computers clean and delete contacts and GPS locations like your home, work and child's school.
E-mail email@example.com


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September 1, 2014
The 'Cola Wars' Just Got Fun Again
Posted on Jul 5, 2006
This tale of corporate theft is too good to miss: Insiders at Coca-Cola got nabbed in a sting operation when they tried to sell trade secrets about a new soft drink to the folks at Pepsi.
Square, Site wide
Previous item: Report: Company to Probe Coulter Plagiarism Charges
Next item: Mediterraneans Have All the Fun, Fewer Heart Attacks
New and Improved Comments
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By R. A. Earl, July 5, 2006 at 8:55 pm Link to this comment
I don't care who steals what secrets just so long as NO ONE TAMPERS WITH THE FORMULA THAT ENABLES ME TO USE EITHER COKE OR PEPSI TO GET THE BUGS OFF MY WINDSHIELD!
That, by far, is either product's greatest value.
Next to oil and bottled water, I can't think of a bigger rip-off than soft drinks. Nothing like putting 5 cents into the manufacture and distribution of a product that sells for $1. It's a license to print money!


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Sixth Annual Integration Bee
Thursday, 25 April, 2013
The Integration Bee is a calculus based competition that is like a spelling bee except, instead of spelling words, the contestants compute integrals. There are cash prizes for the top performers in both the high school and college division. Registration is FREE! For more information and to register, see www.scranton.edu/academics/cas/math/bee2013.shtml or contact Dr. Muir, firstname.lastname@example.com, at 941-6580.
Contact:Stacey Muir
Phone: 941-6580
Website: Click to Visit


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More than 20,000 people in various venues in London on Friday attended the British Zionist Federation's "Minute for Munich" program that was promoted via social media.
A short memorial service at the Israeli Embassy that was organized by the Zionist Federation was streamed live online Friday.
About 200 people marked the Minute for Munich in Trafalgar Square, reciting memorial prayers and lighting memorial candles. Afterwards, they waved British and Israeli flags in front of media covering the event.
The families of the victims of the 1972 Munich massacre, in which 11 Israeli Olympics athletes and coaches were murdered by Palestinian terrorists, have mounted a global campaign to get the International Olympic Committee to hold an official moment of silence at the Games. The IOC continues to reject the call, despite its being endorsed by President Obama, GOP presumptive presidential nominee Mitt Romney, the US Senate, the German Bundestag, the Canadian and Australian parliaments, about 50 members of the British Parliament, the Israeli government and Jewish organizations worldwide.
Video streaming by Ustream
Also speaking at the ceremony, British Zionist Federation Chairman Harvey Rose lashed out at the Olympic Committee for it's decision. "Shame on the IOC, for not appreciating and recognizing what the Olympics is all about...shame on the IOC for its clear anti-Israel bias," he said.
In a further development surrounding the issue, Culture and Sports Minister Limor Livnat announced that she would stand in protest at the Olympic Games opening ceremony on Friday evening, over the Olympic Committee's refusal to hold a minute of silence.


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Elementary Secondary Education Act (ESEA)
Compliance Monitoring
These documents can be downloaded and completed. Upload completed document into the ALEAT filing cabinet:
Cycle 6 Forms
- Statement of Assurance
- Equitable Participation Form 2003 Word
- Title I Services to Eligible Students in Private Schools 2003 Excel
Other Resources
- 2013-14 Affirmation of Consultation Form
- Sample Agenda-Program Design Workshop 2003 Word
- Sample Agendas for Consultation with Private School Officials 2003 Word
Most downloadable documents on the Arizona Departments of Education's Website require Adobe Acrobat Reader. If you do not have Adobe Acrobat Reader 9.0 or higher, please click on the image to download a FREE copy. You may request the document in its original format (if available) through the contact listed on the page.
For information and tools to help make Adobe PDF files accessible to users with visual disabilities, go to Access Adobe.
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Tel: (602) 542-4392
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Email: firstname.lastname@example.com


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Limit Rodger's chances by giving Mendenhall the rock. The Steelers are going to have to use their ground and pound game early and often in this one to help them win. We all saw how hard Mendenhall ran against a very good Jets run defense, and how he dominated the half himself. The Jets had 5 possessions in the 1st half which consisted of 3 punts, 3 three and outs, a fumble which was returned for 6 and a FG to end the half. That's the defense that has to show up against Aaron Rodgers and the Packers. If Mendenhall gets off to a quick start then it will allow Roethlisberger to get more time in the pocket to find his guys. However as we saw in the 1st half of the Jets game if the run game is working you don't need to pass. However if the Steelers get off to another good start and open up a big lead they can't play a lackluster defense where they dont bring the pressure, because as we saw the Jets almost overcame a 24-0 game. The Packers are not the Jets and can score in a hurry, so when you get off to a lead they need to just build on it and stop the Packers offense because when playing against Rodgers, no lead is safe. But like I said it's going to come down to how Mendenhall plays, he's the most important part of the Steelers offense, as we saw him control the 1st half of the Jets game and the Steelers won the game with Mike Wallace and Hines Ward combining for 3 catches 20 yards. Also Big Ben will have to limit his turnovers against a defense that gets after the ball. When the Steelers do throw, watch out for guys like Heath Miller, Antonio Brown, and Emmanuel Sanders to be surprise guys to make the big play.
On the defensive side, the Steelers should only focus on Rodgers, Greg Jennings, Donald Driver, and James Jones as James Starks should be no threat to the best run defense in the game. I'm a huge fan of this Steelers linebacker core with James Harrison, James Farrior, Lawrence Timmons and Lamar Woodley. Rodgers is extremely mobile and picks apart defenses when they bring the pressure but there is no better linebacker core that he has faced before. The Steelers should bring the pressure from the left, right and middle all game and keep Rodgers on the ground. The more he winds up on the turf the more uncomfortable he will be, and with Rodgers confidence sky high right now that's the best thing the Steelers defense can do. Ike Taylor will have his hands full with a speedy Greg Jennings but safeties Troy Polamalu and Ryan Clark will have to do a good job at being aggressive and getting after the ball.


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This is some fragile ball of mud we're riding.
NASA scientists say the Chilean earthquake shortened Earth's day and shifted the globe's axis.
Not to worry, they add — the effects were measured in microseconds and centimeters. I wasn't a physics major, but even I know this doesn't mean the planet is going to spin out of its orbit. So, I've been asking myself why I'm so intrigued, if this was an all but meaningless planetary hiccup.
Forget the science lesson. Really, it's a visceral reminder that nothing is permanent. It's one of those jolts that momentarily broadens your outlook to a cosmic level, that shows the vulnerability of the world's existence, including your individual fly-speck part of it. The everyday worries of jobs, the economy, wars, terrorism, crime, disease, and whatever are plenty enough reasons already to keep you feeling mortal. Now comes evidence that even the enduring Earth itself can suffer a kick in the teeth.
Somehow, the unplanned global clock change and axis adjustment is way more real than the distant threat of a comet or asteroid someday doing a corner-pocket pool shot to the planet. This quake-speedbump thing actually happened, like an event in a science fiction script come to life. I almost expect a towering otherworldly presence to boom through the windows, "Insignificant mortals, cower before me."
I know my days are getting shorter anyway, but this is ridiculous.


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So basically i won free tickets in the t mobile contest and i cant attend. So through all this trading i thought of a good way to get rid of them
Basically they are free
The only requirement is to enter the other Contests in the upcoming weeks. Enter David Lee. The next time you win tickets i have the right to take those as a trade from these tickets. If by chance i cant go....You keep the tickets
Sound fare to me so comment in the post and leave your email if you are interested


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Oakley Pit Bull Sunglasses in Polished White/Black Iridium for $64.99 (low by $30)
- Oakley Plaintiff Sunglasses in Polished Chrome/Chrome Iridium for $79.99 (pictured, low by $34)
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Oakley Vault cuts up to 70% off a selection of sunglasses and replacement lenses, with prices starting from $11.99. Shipping starts at $3.91 or get free shipping on orders of $50 or more. A couple of best bets, each with free shipping:


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The latest round of major nominations were released today with the WGA nominations. Like much of the rest of the previous announcements, the only surprise was the lack of surprises. Four of the five Original Screenplays earned other nominations in that category or other guild nominations. That number rises to five out of five for Adapted Screenplays. There's little doubt about what films are Oscar contenders at this point. The Documentary films category is a little more contentious, but it usually is.
The categories and nominations are...
- C.S.Strowbridge
Date posted: 2012-01-05


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Town Square
Should Menlo Park stop or expand its red-light camera program?
Original post made on Aug 19, 2013
Read the full story here Web Link posted Monday, August 19, 2013, 9:09 AM
on Aug 19, 2013 at 9:31 am
Why would the Menlo Park council continue to do business with REDFLEX?
on Aug 19, 2013 at 9:46 am
Because it brings revenue into the city. These cameras are NOT about safety. They're all about revenue generation.
on Aug 19, 2013 at 9:56 am
redflex is the cautionary tale to consider when someone insists on outsourcing essential city services
someone greased some palm: there were no red-light accidents at those intersections that have a red light. Still none. But reflex gets 5 grand a month.
increase the yellow. send redflex home.


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Since 90% of Acme Packing Company posts are about our offensive line, or the lack of, I started checking out the OL stats on Football Outsiders.
They do some interesting analysis and it was kind of surprising to see the stats on the Packers.
The far right column (in blue) proves what we all know, our pass protection is horrible.
However, our run blocking was much better than I would have predicted. Our "Adjusted Line Yards" is 15th in the league and our short yardage game is ranked 5th.
Our runs of 10+ yards are very poor, but that could be because Grant falls down if you breathe on him and he leans forward too much.
Anyways, thought people would find this interesting.


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Stoddard County Sheriff Carl Hefner says a 32-ydear old man has died after being shot in the shoulder and neck. He was reportedly hunting in the Otter Slough area around 8 o clock Monday morning. Hefner says he had injuries to his left shoulder and some pellets embedded in his neck. He was taken to a hospital in Dexter and later flown to the Saint Francis Medical Center. Officials are saying it was an accident. The name is not yet released until all family is notified.
Return to: Local News Blog


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As we all know Monta Ellis is a dynamic scorer and shooter and would be the solution to the Wolves shooting guard problems. However, not a lot of people have mentioned the possible acquisition of him. I was reading an article today and it said apparently the Wolves already inquired about Ellis before the 2011 draft.
* Minnesota was willing to talk about a package involving F Michael Beasley and C Nikola Pekovic in return for Ellis.
* The GSWs apparently asked to expand the deal to include the Timberwolves' No. 1 pick in last year's draft, which was 2nd overall and turned out to be Derrick Williams.
The sources say the Warriors didn't flat out say no to Minnesota, but wanted more.
I for one, would be reluctant to give up Pek, but the article later goes on to say that Pau Gasol could possibly be a solution to the Wolves problem. So I propose something along the lines this trade.
Wolves Receive: Monta Ellis and Matt Barnes.
Warriors Receive: Pau Gasol and Derrick Williams.
Lakers Receive: Michael Beasley, Utah's 1st round pick, Warriors 2013 1st round pick and Wes Johnson.
I think the Lakers would be the most reluctant for this trade, as it just has them stockpiling 1st rd picks (they already have 2 this year).
Tell me if you like this trade, and if not propose one of your own in the comments.
ESPN Trade Machine link:
It 'fails' due to some money issues but I'm not in the position to figure that kind of stuff out. I have no idea if that could be fixed (I optimistically think so).
Link to the Article I mention


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Newburyport Daily News
---- — To the editor:
On Saturday during Merrimac's annual Old Home Days, the Merrimac Fire Department came together and held a boot drive to support Shriners Burn Institute.
We would like to thank everyone for their donations. With your support we were able to raise over $2,500.
Merrimac Fire Department


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Behind The Bits No. 2 - Paul F. Tompkins (Part 2 of 2)
Behind The Bits No. 2 - Paul F. Tompkins (Part 2 of 2)
08/20/13 at
Indoor Living
In the world of music, a behind-the-scenes look is quite common. Whether it's in the form of a studio video, social media update, or released demo, music listeners have a general idea of what a band or artist is going through in the weeks, months, and years leading up to a new album. That type of peek behind the curtain is far, far less frequent in the world of stand-up comedy--or at least it was. With my new weekly (for now) column
Behind The Bits
, I'm going to be speaking with some wonderful comedians to get a glimpse into their process, see where they draw their inspiration, and hopefully get a little background on great jokes they themselves have written.
What follows below is the conclusion of the wonderful talk I had with Paul F. Tompkins; it picks up directly where last week's installment left off (and if you haven't read Part 1, it can be found
). In it, we discuss Paul's relationship with the podcast. Covering his introduction to the medium, how he adds characters to his repertoire, and a surprising amount about one of his fan favorites, there's a lot to love here if you're a big podcast listener. I also manage to ask a number of questions that prompt Paul to start his answers by saying 'no,' and there's also a chance that one of us doesn't make it out of the interview alive. So read on below, if you dare.
**Note: The interviews in this column contain references to jokes, albums, and other comedians that may only be known or recognized by those with more than a cursory knowledge of comedy. When things veer into lesser-known territory, I will try my best to link to the appropriate materials.**
So then if they don't present themselves like that, do you ever find yourself in the middle of one of the aforementioned riff suites, notice that something is hitting a little harder than all the other adlibbed material, and then try and make a point to work it into your actual act in the future?
Not really, and that stuff kind of comes and goes, because its really kind of absurdist stuff. I tend to feel Ive gotten everything I can get out of those jokes; you know, Im asking questions like 'if foundation is the bones and the skeleton of a house, what are the internal organs?' I dont think I can get much more from that.
So you are quite the staple in the stand-up world, but Id be remiss if I didnt mention your relationship with the podcast scene, which youre almost more synonymous with now. Youre a fan favorite on just about anything on the
network, and I love the
Pod F. Tompkast
, but Im curious, how did you first get involved with that medium?
Probably the first one I did was
Jimmy Pardo
s? Thats most likely. You know, theres a great community of comedy here in Los Angeles, and a lot of people started doing podcasts, and I started guesting on them, and it honestly all happened very quickly, and I love it. I love podcasting, I really think its a great medium, and I think its terrific that its still so democratic and that anyone can do it. Im not one of those people wholl make jokes about there being too many podcasts, I really just think its a great thing. I have gotten a little more choosy about which ones I lend my time to, just because my time has become more finite and theres other stuff that I want to do, and in truth, because of all that, I havent really given enough time to my own podcast lately, so you know, Im just defining all of this as I go, which I think a lot of people are, but I think its a great thing.
It really is, because theres overlap between podcasts and sketch, and theres a lot of overlap between podcasts and stand-up, but theres a certain magic--
**A loud crashing noise occurs on the other end of the line**
Cody, hello? Podcasts, magic?
Are you being robbed, or did you just knock over a bunch of large boxes?
] No, I moved some pens, but apparently I did it in front of an amplifier.
] Yeah, you moved a couple writing utensils, I thought your house burnt down.
No, I think Im alright. Anyways, what were you saying?
Essentially, theres so much overlap between all the potential ways to do comedy, but at the same time, theres a certain magic captured only by podcasts; something you cant find anywhere else. To me, thats the most amazing thing.
Oh, yeah, absolutely, I think if you are a comedy fan, as I am--Im not just somebody who makes comedy, but I consume comedy--this is such a great time. Theres so much comedy, its so easy to get, and its free. Its amazing. I listen to way more podcasts in my car than music these days, and especially in Los Angeles, a place where you have to drive a lot, its a real godsend. Its a great thing to have, so yeah, I absolutely love it.
And just, no matter what your tastes are comedically, theres a podcast that represents it.
Yes! Absolutely.
You do a lot of characters on these podcasts -- almost exclusively, unless youre on something like
Who Charted?
where youll play yourself -- and these characters, they run the creative gamut from John C. Reilly all the way to Andrew Lloyd Webber; seemingly unrelated people. Is there a process that you use to decide which character youre next going to tackle? Ive always been curious about that.
No, its always kind of come about by accident sort of. You know, a lot of the characters I do on my podcast or on
Comedy Bang! Bang!
came about from voices that I started doing on Best Week Ever, when I was working on that. Sometimes we would write for that show, and instead of just making a joke about a topic, we would act it out, and I would become those people, so thats where I first did Andrew Lloyd Webber and Ice-T and Cake Boss. John C. Reilly, I think that came about from me and my friends quoting lines from Boogie Nights, because I love that movie and I love John in that movie. We all realized oh, this is a voice I can do and once I started doing the voices on Comedy Bang! Bang!, I started thinking I wonder what other voices Ive done in the past that Ive just never used for anything, and then I started some of the other ones.
Thats such an unexpected yet obvious explanation. Youre just hanging out with your friends, quoting Boogie Nights, and someone says hey, you do a really good John C. Reilly so you just run with it.
Yeah, pretty much.
Not only do you improvise basically everything when you take the guise of these characters, Im assuming, but you also have to know kind of just a general knowledge of their career to date to be able to really play them.
Well, yes and no. What I try to do is start from a place of reality, but then take it to a strange place, like taking Garry Marshall and making him not just the creator of Happy Days, but also someone whose life goal is to hunt the Loch Ness Monster, but thats also to keep it from being mean. To me, doing those characters is not about ridiculing the person in real life--
Or attacking their real work.
Yeah, its more whats a ridiculous thing this person would
do? You know? And that, to me, is the fun. You try avoid just rambling off career highlights and quoting lines from their movies; it goes beyond wondering what this person is doing in real life. The goal is what is a weird thing that I can make a facet of their personality that is also not just an insulting, mean thing?
Thats a very good point, because when youre playing somebody like Werner Herzog, at some point the joke will come up that he does not understand conventional humor; super, super dark things are what he finds hilarious. Do you ever start to feel like youre walking that boundary, that maybe youre getting a little too mean?
No, I dont think thats a very good example, because Werner Herzog is somebody with a really great sense of humor. Hes very funny in a very dark way. Theres a book that he wrote that is his journal of working on the film
. That particular movie had a really miserable shoot, and theyre all out in the Amazon jungle, and the crew is doing this really crazy thing that the crazy character in the film is also doing, which is dragging a riverboat over a mountain. And so, in order to tell the story of this insane person who does this insane, they themselves actually have to do the insane thing, you know? And so his journal about that movie, which is called Triumph of the....ohh, itll come to me, but its all about these miserable experiences that hes having and its hilarious. He knows what hes doing. Theres a very funny comedic actor named
Chris Tallman
. Hes terrific. He worked on the movie
Rescue Dawn
, which was directed by Werner, and he played the DJ, and he told a very funny story on the Sklar Brothers podcast. When the cast was first getting all together, Werner Herzog was introducing everyone, and saying what role they played in the film, and he gets to Chris, and he says [
Turns on his Herzog accent
] This is Chris, he will be playing the DJ. He will either be our salvation or our doom, and then moves on to introduce the next person. Nobody else got as poetic of descriptors or as singled out, and it was such a burden to put on him, but its so obviously funny! He has a real sense of humor about his bleak outlook on life, and so the impression that I do of him is very true in the way that he talks with people.
Im apparently going to have to check out that book then.
Oh, you must. Its such a hilarious book. And I have the title now. Its
Conquests of the Useless
, and its all about the making of the film
So lets say that Chris comes to you with this great Werner story, or youre watching Cake Boss and something spectacular happened on that particular episode. Do those little moments factor in when it comes to picking and choosing which character will appear on which podcast episode? Let me phrase that better, do you just do whichever character you have the most material for at the time?
No, honestly, it all comes down to who did I do last, actuallly. Especially Bang! Bang!, since Im such a frequent guest on there, it gets hard to keep the rotation fresh. And actually, Scott recorded a bunch of episodes in advance because he was working on the TV show at the same time, and so he would take a day out of the week where he would record two or three episodes, and then do that for three or four weeks in a row, so Id sometimes end up being on two weeks in a row, which is very unusual. So it had gotten to the point where I had done all of my characters on previous episodes that had all dropped in the space of a couple months, and so I was stuck thinking of one I could do, and thats actually what led to me doing Richard Harrow, the character from Boardwalk Empire, the guy who has half a face. You know, hes got that spooky mask on half of his face. That was a voice I knew I could do, and so I thought well, this could be fun to do, and as luck would have it, my friend Matt Gourley of the
podcast had a Richard Harrow mask, because he had gone as him for Halloween a couple years ago, so I figured oh, this is great, Im gonna do it. The first time I did it on stage was actually for one of the Superego live shows, and it was really fun to do, so I thought Id do it for Comedy Bang! Bang!, and come up for a funny way to explain why Richard Harrow would be there, and then that was really it. Time crunches like that open a door and they force to think okay, whats new that I can do that nobody else has done? What can I stake a claim on?
And you brought up Superego, which is a fantastic podcast in its own right -- check it out everybody, if you can -- but you do stuff like that, and you also work with the
Thrilling Adventure Hour
which are quite different beasts from things like the Pod F. Tompkast and Bang! Bang!. Do you have to prepare yourself differently when youre doing something like Beyond Belief [
A Thrilling Adventure Hour segment in which Tompkins and actress Paget Brewster play socialites who can see ghosts
]? Whats the process like for that?
Theyre all really the same. Whats great about those things respectively is Thrilling Adventure is written out. Youre literally just reading the script, and the scripts are great. I do get to make character choices, and the guys who write it, Ben Acker & Ben Blacker, are very collaborative, and they like to let the cast come up with different things, so I wont really improvise much. I wont really even change words, unless I think Ive found a word thats easier for me to say or I think this word should come at the end of this sentence for that joke to hit better, but even that is very rare. For Superego, its all improvised, so theres nothing to prepare for. I just show up, try and live in the moment, and follow along with what those guys are doing, because theyre seriously skilled improvisers, and they make me better.
Were you involved much in the
War of Two Worlds
project, when those two podcasts collaborated?
Yeah, I guested on a number of those episodes. That was a lot of fun. Having people from these two drastically different families all together in the same room was an absolute blast.
One more question, and not to completely define your career by podcasting, but youve done a few appearances on
Doug Loves Movies
where youll be yourself but youll also do a character at the same time. How do you deal with the challenge of essentially having to do twice as much work?
Its really exciting, and I really like doing it, because it requires I stay on my toes, and I like the challenge of making sure that I am really representing everyone Im playing equally so that it sounds just like any other episode of Dougs show, you know? The hardest part for me honestly, is when -- because sometimes Ill do three characters, and sometimes Ill do myself and two characters -- and so the hardest part for me is remembering to be myself more, and interject more as Paul, because its so much fun to be those characters. What I really want to do, and not like Im going to fool anybody, but Id love to make people forget as much as they possibly can--
That its you playing all these parts.
That its me, yes.
I feel like youd have a much better chance at succeeding at that when they do their in-studio episodes.
Yeah, I agree.
But then thered be no audience, so whats the point?
] Also, yes.
Maybe my best half-second idea. Why did I even say that?
No, I get what youre saying, that would be a thousand times easier, but its just too much fun doing it as a stunt in front of the live audience.
Well, Paul, I have to say, I think our time has just about run out, but I cant thank you enough for taking some time out of your schedule to talk to me. Youve been amazing to talk with, so I guess Ill just ask lastly, is there anything else you would like to plug?
Yes, I would love to bring up my web talk show
. Its a talk show, its me and one guest, we get some great, interesting people, and we have an in-depth chat over drinks, and I really love doing it, and Id love even more people to be aware of it. Have a good one, Cody. Tell your friends theyre being a bunch of absolute punks. Was that right?
I'd like to thank Paul once again for being an absolute delight to sit down with, and thus concludes the first full interview for Behind the Bits. As always, drop a comment or PM if you have a recommendation for a comic you'd like to see on a future
Behind the Bits,
and make sure to stop by the AP.net homepage every Wednesday for new installments. We've hit the ground running, friends. Many cool talks lie in store.
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If you have a query on an aspect of business, why not try BRAVE's online enquiry service. Your enquiry will be forwarded to one of our expert local advisors who will usually reply within 3 working days.
Needless to say, an emailed question & answer is not intended to replace a 90 minute one-to-one advice session, but if you just have a quick question, take advantange of this free service.
There is a short registration process to go through before you can ask your first question, but once completed you can then ask as many questions as you like without re-registering.
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Janice Rose-Brown (second left), Director of Operations, PR and Events at the Jamaica Football Federation (JFF), presents the symbolic cheque valued at US$2,300 to Audrey Budhai (right), Director Children and Family Programme, CDA, during a handing over ceremony at the JFF headquarters on Thursday. Sharing in the moment from (left) are Alfredo Montesso, assistant head coach; Roy Simpson, team manager; Reggae Boy Alvas Powell, Carla Francis-Edie, CEO Child Development Agency; Maxine Smith, Glenhope Nursery Manager; and Errol Stevens, another Reggae Boy. The donation was accrued from the per diem and match incentives of the management staff and players of the Reggae Boyz team from the last World Cup Qualifying game and made to the Glenhope Nursery, which caters to children under the age of eight years old. The players, who visited the Nursery prior to their historic 2-1 win over the United States of America on September 7, here at the National Stadium, have pledged to continue supporting Glenhope Nursery for the duration of the World Cup Qualifying campaign, and in a recorded message from team captain Luton Shelton, he urged corporate Jamaica and indeed every Jamaican to partner with the JFF and the Reggae Boyz to support the children at Glenhope Nursery.
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Maps and Map Sites
From The Polish Family History Forum
These are all links to mapping services that may be of use when trying to locate people living and deceased.
- Mapa Szukac
- A great resource for locating places in Poland. This online mapping tool is Polish and includes quite detailed maps of the major cities and towns of modern Poland. Even the smallest villages can be located easily.
- Google Earth
- This toy from Google is brilliant for the USA. It is not so good for the rest of the world but will still help you to find larger towns and even the smaller villages you are looking for. I found the village in Poland where my father was born. It has changed very little since the 19th century.
- Google Maps
- This is potentially the most useful mapping tool of all. You can browse the world using the either satellite or map view or both. Sign up for a more customised experience. Once again it does not provide as much detail once you leave the USA but is still very, very good.
- Multi Map
- A reasonably good online mapping tool. Not so useful for smaller localities.
- Map Quest
- Another online mapping tool that may be useful.
- The Fuzzy Gazeteer
- This is a neat site that allows you to search the world for place names even if you are not sure of the exact spelling. It is not a map site as such but may prove even more useful.
- New Provinces of Poland
- This site features two maps side by side. These are maps of the provinces (wojewódzstwa) before and after the redistribution in 1998.
- EuroWave: Warszawa
- A detailed road map of modern Warsaw.
- Polish Maps and Towns
- A comprehensive list of links to sites containing contemporary and historical maps of Poland. A great resource but make sure your pop up blocker is switched on and working.
- 3rd Military Mapping Survey of Austria-Hungary
- This is a brilliant resource. It was first published in 1910 and contains detailed maps of the whole of southern Poland at that time.
<googlemap lat="52.749594" lon="21.621094" type="map" zoom="5">52.241256, 19.072266, Polish People's Republic</googlemap>


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CATEGORIES Action, Drama, Fandom, Home Entertainment, Movie Marketing, Trailers and Clips, Features, Trailers and Clips, Movies, CinematicalUPDATE: We've been asked to take down the trailer as it hasn't been approved for distribution yet.
Note: You might want to kick up the speakers a bit here; this one comes in a tad low.
Above you will find the first trailer for the film Traitor, starring Don Cheadle, Guy Pearce and Jeff Daniels. The wild thing about this film is that Steve Martin (yes, THE Steve Martin) came up with the idea for Traitor, though he left scripting duties to writer-director Jeffrey Nachmanoff. Based on what we see above, Traitor seems like one of those "have fun figuring it out" types. Pearce plays a straight-edge FBI agent who heads an investigation on international conspiracy, where all clues lead back to former U.S. Special Operations office, Samir Horn (Cheadle). Thus begins what appears to be a dangerous cat and mouse game between the two -- with Daniels playing a veteran CIA contractor with his own agenda.
What I'm liking about this one is that Cheadle looks pretty rough, tough and ready to rumble -- and we don't get to see him much in roles where he can beat the living hell out of anyone within shouting distance. Go Don Cheadle! That guy always gives a tremendous performance, so no matter what I believe Traitor will be worth the watch just to see Cheadle in action. But let us know what you think.
Traitor hits theaters on August 29.


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First class education with a distinctly Christian world view…
At Ada Christian School, our mission is to equip students for service in God's world. We believe the best way to do this is to encourage all students to grow and mature fully in Christ by integrating Christian truths and principles into all areas of learning, while constantly striving for excellence in all academic disciplines.
Click on the topics below to explore Ada Christian School…
The Christian Education Experience
The Christian Education Experience
Elementary School Experience
Elementary School Experience
Tuesday, August 26, 2014
Wednesday, August 27, 2014
Friday, August 29, 2014
Monday, September 1, 2014
Tuesday, September 2, 2014
- 1 of 8
- ››


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» Raging River
Basin Weather Stations
» King County Flood Alerts
USGS Gage Name
Time, Date
Flow Change
This data was requested from USGS at 8/20/2014 11:22:31 AM.
The next request for USGS data is expected in approximately 2 minutes from when this page was loaded.
c.f.s. = cubic feet per second. King County provides funding to the United States Geological Survey (USGS) to support the operation and maintenance of river and stream gages and related systems. The term "gage" is defined as an instrument for measuring or testing. USGS uses the term "streamgage" to describe their equipment that obtains estimates of the amount of water flowing in streams and rivers. More information about USGS streamgages
Other Flood-related Information
Flood Photo Viewer
Video of the Election Day Flood, November, 2006:
Raging River flood photos, November, 2006
» Snoqualmie River Flooding Information
» Return to the The Flood Warning System
» Visit King
County Flooding Services


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Dutchtown City Alderman Shirley Moss said the city is in desperate need of volunteer sandbaggers.
"We are under the gun," Doyle Parmer, who is help organizing the effort, said. "The water is coming quick."
Parmer says the area has seen it's share of damaging flood waters in recent years.
"We got to keep families and children from getting wet," Parmer said. "We need sandbaggers badly. The next two days it's very critical."
According to Moss, there is a threat of rising water and she is afraid that homes will flood.
Volunteers can go to the intersection of Highway 74 and 25. Moss said they already have sand and bags, they just need workers.
For more information, you can call her at 573-450-4720.
Copyright 2013 KFVS. All rights reserved.
Hershey Company has unveiled its new corporate logo.
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After getting a couple of the obvious ones out of the way, we move into more uncertain territory; Pitcher of the Year. I have gone back and forth on this, whether to make it exclusive for starters, or to include relievers. I decided that since there is a separate award for relievers, I might as well make this one exclusive for the starters, which I think makes things nice and muddied.
Personally, I am little torn on it. Without considering facts, going based on a gut reaction, I'd probably say Bruce Chen, but I may be crediting him for both this season and last year.
The advanced metrics will tell you to vote Felipe; he tied Jeff Francis in fWAR in about two-thirds of the innings.
How much credit do you give for Luke Oplakia's second half of the year?
Tough call for me, so I leave it to the community.


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The San Francisco 49ers and Seattle Seahawks will be conducting a variety of press conferences this week, and they will be readily available for your viewing consumption. Teams do press conferences throughout the week, but during the NFC Championship Game (and Super Bowl), we see a great number of press conferences.
You can view the press conferences on the stream above, at 49ers.com/live, or on NFL Network. They start at 11:55 a.m. PT, although that could push to noon. These Wednesday press conferences appear to be the only ones available on NFL Network, but that might change.
Normally, Jim Harbaugh meets with the media Wednesday and Friday. This week, he will be available Wednesday, Thursday, and Friday. Normally Colin Kaepernick does one session on Wednesday, in front of his locker. This week, he will be in the media tent Wednesday and Friday.
The Seahawks will conduct press conferences as well, and they also will be available on NFL Network. Today, we'll have Pete Carroll, Russell Wilson, Richard Sherman and Earl Thomas. They start at 12:25 p.m. PT. I don't believe CSN Bay Area will be streaming them.
- All 22 Breakdown of Anquan Boldin's Monster Game
- 49ers-Seahawks referees: Gene Steratore to be lead official
- NFL mock draft 2014: Getting ready for the East-West Shrine Game
- 49ers vs. Seahawks, NFL playoffs 2014: A prospector's guide
- PFWA awards: Eric Reid claims rookie award, veterans get All-NFL respect


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St Benedict is a beautiful and comfortable home built in 1881, and is decorated in the style of the late Victorian period.
In summer guests may take tea on the lawn, in winter they may sit in the drawing room in front of a roaring fire. Dinner is available in the Victorian dining room with a choice of traditional recipes prepared 'below stairs' and served via the dumb waiter. The full English breakfast is served country house style from warm serving dishes on the sideboard.
There are two second-floor double bedrooms with sea views and another on the first floor. Each room is decorated and furnished with meticulous period detail but with contemporary comfort in mind. Each guest room has its private bathroom decorated and furnished in 19th century style with a deep rolltop bath and lashings of hot water.
In addition, there is a large twin bedroom on the basement floor with its own private shower room and WC.
We will do our best to make your visit to St Benedict an opportunity for you to be well looked after in unique and unforgettable surroundings.
Contact details
81 Pevensey Road
St.Leonards on Sea
East Sussex
construction a long couldn't.
direct: 01424 434973


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|Home | Software downloads | Submit | Drivers | Codecs | Linux | Scripts |
Register today to earn up to $100 playing poker on
Register today to earn up to $100 playing poker online! Get this special Welcome Bonus from Multiplayer-Poker when you open a player account today. After installing the software, simply register and make a deposit so you can play at real money tables. Then, as you play poker for real money, we convert your bonus into cash paid directly to your account. Think of it as a little reward just for having fun!
dlTube.net did not scan Multiplayer Poker 1 for viruses, adware, spyware or other badware.
For your own safety, we recommend that you always have an antivirus, with virus definitions up to date, installed on your computer when downloading and installing programs from the web.
Audio : Business : Desktop Management : Developer Tools : Drivers : Games : Graphics : Home & Education : Internet : Network Tools : Security : System Utilities : Video : Web Authoring


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Radio presenter sends brogues to Ronaldo (From Asian Image)
When news happens, text your photos and videos to 07747488605. Or contact us by email or phone.
Radio presenter sends brogues to Ronaldo
10:30am Thursday 19th April 2012 in Sport
A Bavarian radio presenter has sent a pair of traditional Bavarian brogues to Cristiano Ronaldo after the Real Madrid forward allegedly had three pairs of football boots stolen before his side's Champions League defeat to Bayern Munich.
Munich police are reportedly investigating after Ronaldo, Mesut Ozil and Karim Benzema allegedly had belongings stolen from their changing room before the semi-final first leg at the Allianz Arena.
Bayern 1 presenter Stephan Lehmann, who is also the Bayern Munich stadium announcer, appealed today to his listeners for a pair of brogues to send to Ronaldo and some were donated by a shoe maker, the radio station said on its website.
"We need Bavarian brogues, size 43, for the most expensive footballer in the world," Lehmann said, www.br.de reported.
The package also included a personal note to Ronaldo, telling him he would look "really snazzy" in the new shoes.
It read: "Dear Cristiano Ronaldo.
"Hospitable people live here in Bavaria. We may steal maypoles, but not shoes. We therefore wanted to replace what you lost. Here are a pair of genuine Bavarian brogues for you. With them you won't be able to score any goals, but you will look really snazzy.
"Kind regards, Stephan Lehmann and the Bayern 1 team."
Madrid lost the game last night 2-1. The second leg will take place in the Spanish capital next week.
Comments are closed on this article.


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It seems as though the Cubs ClubHouse Store at Woodfield mall is now selling Fukudome TShirts and Jerseys.
It just so happened that my Girlfriend and I went to Woodfield yesterday and much to my shigrin the shirts where proudly on display. Needless to say I purchased a Dome Shirt along with a Soriano shirt. When chatting with the store manager who rung me up, She stated that the shirts had just arrived in the store that morning as well as the Cubs Club house store at Water Tower place and that these are the official shirts.
(if someone could be so kind to post the picture in the room here, that would be much obliged)


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Audacious, bold, daring, and perhaps even a little crazy — the producers of the stage version of The Lord of the Rings must have been all that, plus some, to undertake the daunting task of bringing J.R.R. Tolkien's famous literary trilogy, The Lord Of The Rings, to the stage. At a reported cost of almost $30 million, The Lord Of The Rings (LOTR) premiered in March at Toronto's Princess of Wales Theatre, with the Canadian government hoping that hobbit fans from around the globe would flock to see Bilbo and Frodo, and their assorted friends and enemies, including the slimy Gollum, in the new high-tech version of Middle Earth.
The creative team is primarily British, starting with director Matthew Warchus, plus set and costume designer Rob Howell, sound designer Simon Baker, lighting designer Paul Pyant, and the folks from The Gray Circle, a London (UK) based moving-image design firm, who provided the projected images. The only North American on the design team, New York City-based Gregory Meeh, provided the special effects. Their challenge was to provide a fresh look at material beloved by millions who have read the books or seen the recent movies, while condensing three volumes into a mere three-and-a-half hour production, which is more like an epic pageant with music (and a cast of 70 actors, singers, and musicians) than a typical Broadway-style musical.
Hobbits cavorting in the lobby and chasing fireflies in the theatre, plus an organic set with tree roots stretching out from the stage along the proscenium and into the theatre, envelop the audience in Middle Earth. The back-story of how Bilbo Baggins finds himself with a magical ring is told through a series of shadow play images at the top of Act One. The curtain then goes up on Bag End, Frodo Baggins' home in The Shire, where the hobbits live happily. Frodo is now heir to Uncle Bilbo's mysterious ring but thinks nothing of it until Gandalf the wizard shows up to tell him that the ring is quite dangerous, and he must take it to Rivendell. As all Tolkien fans know, that is the beginning of a long and arduous journey undertaken by the Fellowship of the Ring.
"This show is a combination of musical theatre and a complicated play, as well as spectacle on a scale not seen outside of Las Vegas," says producer Kevin Wallace, who cites influences such as Nicholas Nickleby and Cirque du Soleil. Wallace also put LOTR in a historical context, noting that Tolkien wrote the books post WWI, in the 1930s, as the British Empire was decreasing in power, wishing to create a prehistory for the British isles as well as celebrate the role of the individual in society (enter Frodo Baggins) and describe the world of elves and wizards, before the world was given to mankind.
An Organic Approach
When approached over three years ago to design the sets and costumes for LOTR (originally planned for a premiere in London's West End), Rob Howell admits his first response was panic. "We all thought is was a crazy idea and wondered how to fit this epic material into the musical theatre format," he says. "We all felt a little discomfort in the beginning." But once the designers realized that you can't make LOTR into a traditional book musical, like Hello Dolly!, for example, they realized it was okay to be different.
"We understood it would not be the usually clean, sharp polished lines and production values, but rather a more organic and natural world," Howell explains. "The textures and colors are not normally part of musical theatre. We are asking the audience the engage in a different way and use its imagination. We're telling them there's not much here, so let's summon it up together. The physical production is a springboard." The design concept is based on circles, from a round LED screen to tree rings, hobbit holes, and a central turntable.
LOTR also has what Howell calls, "colossal energy and technology." But great efforts were made to hide the "how" and let the audience see just the "what." This was important to Howell, who wanted the audience to respond to the theatricality of the moment, rather than be awed by the technology. The evil Black Riders, imposing men on horseback, are a good example of this: "We had the resources to create fully remote-control, technically complicated horses, but we didn't want to do that," says Howell. "We wanted the audience to see what we were doing and have them included in the solution. They can see that the Black Riders are actors on stilts with large skeletal horses."
The decision to begin with shadow play (one light fixture casting shadows onto a muslin scrim) was to inform the audience that the production could be about small-scale storytelling. "They know it will go to all the engineering and technology," says Howell. "But it can also be about two people on an empty stage. But beginning this way, the audience is not shocked later. And we can create the proper arc for the production."
One of the most stunning design statements is the set for Lothlorien, a refuge for the Fellowship of the Ring along their arduous journey. "This is the place where the high elves live," Howell explains. "It is a sanctuary of undiluted peace, of amazing wonder and beauty. I asked myself what kind of space would feel like a sanctuary and a protective environment." The result is half a bubble made of organic textures (trees, bark, and leaves) with five arms, each with seven smaller branches. This motorized, semi-circular set piece revolves to create a kinetic bower or what Howell describes as "fully three dimensional. You can see it from all aspects as it turns."
To costume the various cultures within the story, Howell used a distinct silhouette to define each group. "I want the audience to be able to tell within 10 seconds of someone walking onstage who they are, in terms of age and status," he says. His silhouette for the elves is subtle: draped fabric falling from their right sleeve. "Every elf has this detail, from the wood elves to the high elves," says Howell. "The drapes are a symbol about elfishness; a subconscious way of saying that's how they are."
In contrast, the evil orcs (who are sent by the evil Wizard Sauron to steal back the ring) are defined by the fact that they are all bent over on short crutches to give them a menacing animal appearance, with the crutches also serving as weapons. "The crutches define their movement and give them a believable strangeness, like an experiment that went wrong. Their mouths are held open by dental braces, and their skin looks stitched together," says Howell.
Then, there are the hobbits themselves. "One wanted to use every trick in the book to shorten them, so there are no vertical details, just rounded shoulders, tummies, and bottoms to enhance the shortness of the actors, even if it is just an optical illusion." To further this illusion, the tree roots that surround the hobbits' home are scaled larger than life, so that when the hobbits are alone in the space, they seem smaller than a human being would be." Gandalf, on the other hand, is helped to look taller by a long, vertical robe.
Perhaps the most interesting costume is that of Gollum, a hobbit that seems to have self-destructed due to the evil powers of the ring. "The costume was based on the physicality of the actor. The original sketches for the character were just another signpost," Howell adds. The actual costume, made of cheesecloth dipped in a silicone material and applied to the actor's body, allows him total flexibility as he rolls and slithers around the stage. "It's as if his skin is unraveling, like an old rag doll or someone covered in bandages," says Howell.
In designing the show, Howell knew there were certain risks: "Did I dare to be so bold as to say, 'This is what we think the world looked like before it was given to mankind?' If there are 2,000 people in the audience, there are 2,000 different versions. I am aware of the designer's responsibility and how I had to be sensitive. This is a cherished story."
A High-Tech Turntable
The centerpiece of Howell's scenic design is a large revolving stage with 17 different hydraulic lifts. Manufactured by Delstar Engineering Ltd in the UK, the turntable itself moves via electric motors. Built to fit together like a large jigsaw puzzle, the lift was stripped down to fit into containers and shipped to Toronto by sea, then bolted together on site. "First, it was assembled in a rehearsal studio for several weeks," notes Andy Hardy, an engineer at Delstar. "Then, it was moved to the theatre in pieces and put together again."
To house this 35-ton turntable that measures 14m (46') in diameter, the Princess of Wales stage was rebuilt, with a removable section taken away along with its concrete support. A new steel supporting structure was installed. Automation control is by Silicon Theatre Scenery BV from The Netherlands. "The whole central structure, with a 12m (39.37') diameter, rotates together, and there is an outer revolve of 2m (6.5') in diameter that has no elevators," says Hardy. Small, various shaped LEDs are embedded in the deck so the actors know where they are in the dark.
The central elevator brings actors from the trap room 3.2m (10.5') below the stage to a height of 3m (9.84') above the stage at its full height. Eight lifts around the central elevator can go as high as 2.6m (8.5'). The overall effect of all the turning of the revolve, while the various lifts are raising and lowering in infinite patterns, is spectacular and most effective when Gandalf reappears triumphant in the center of the stage, on the central lift, all in white and ready for battle.
The movement of the turntable is extremely silent, thanks to the hydraulic system. Pumps in a parking garage beneath the theatre feed the system 800 liters (211.33 gallons) of hydraulic fluid per minute. "Delstar has built a lot of revolves," says Hardy, "but never one with so many elevators."
Rings Of Video
Art director Yuri Tanaka of The Gray Circle created the imagery for LOTR, with input from Howell and Warchus on tone, texture, and quality of the images. "What's important is not that we have the LED wall with its endless potential that can be an excuse for real scenery," notes Howell. "Rather than a series of figurative images, the imagery and projections are more for mood and atmosphere. They have to share the stage with the actors in a three-dimensional environment that is textured with energy and dynamics. It was clear we did not want to use pictorial references, but rather use the LED wall as a luminous light source adding texture and color."
The projections begin at the top of the show, on a round LED display comprised of 109 Unitek V9 LED modules, creating a screen 12.5m × 9.25m (41' × 30.35'), hanging 1" above the stage floor. It is the most upstage scenic element, with just a crossover between it and the upstage wall of the theatre.
This circular screen, which echoes the shape of the large turntable, is served by two Barco SLM G5 DLP projectors (5,000 ANSI lumens). Both project the same image, overlapped for additional brightness and contrast, as well as having the advantage of a backup projector. These projectors are located front of house on the lower balcony. Two Panasonic 7700 DLP projectors (7,000 ANSI lumens), placed in the upper balcony, cover the stage, the cast, and the wings. "These projectors were chosen for their quiet operation due to close proximity to the audience," explains Malcolm Mellows, project manager for XL Video in London (UK), who provided the video gear and video system design and whose installation crew included Gerrard Corey and Chris Isaacson.
The stage floor is highlighted by a Barco SLM G5, hung over the stage and pointing down vertically, to provide texture and, at times, to extend the organic nature of the images on the upstage LED display. The FOH Panasonic projectors can be used for this as well.
Playback is via three High End Systems Catalyst™ Pro 3.3 media servers with a dedicated operator, Dan Malloy. Ian Galloway and Simon Pugsley served as the Catalyst programmers. "Resolutions are native to the projectors (XGA 1024×768)," notes Mellows. "The LED display receives an SDI (serial digital signal), and all keystone correction, blending, dimming, projection shutter control, switching on/off, and system housekeeping stems from the Catalysts." XL Video supplied a HES Hog® 500 console for cueing and control.
"We spent two years prior to getting into the theatre doing tests for light levels, color saturation, and to see how the LED balances against the projections," Mellows says. The LED wall is used at 40% intensity, and to help soften the images, a Gerriets International RP screen is hung 2" in front of the LED wall to act as a projection surface. "You are actually looking at the RP screen, rather than directly at the LED," explains Mellows. "In this context, we don't need the brightness, but we need to blend into the environment of the set."
A Dark Journey
"We were in development for a long time," says LD Paul Pyant. "Rob Howell made models for every scene as well as computer models and animated sequences in [Maxon] Cinema 4D that allowed us to make changes digitally." The load-in for the lighting gear began in October 2005, with the lighting team starting to focus on December 12, 2005. "There was a six-week hang due to the size of the rig. It is not a huge stage, and every inch is filled," adds associate LD David Howe. "The rig was designed for flexibility as, at the time, the script had not been finalized." In the end, there are over 1,200 cues. "The lighting is cinematic at times, with as many as 50 people in a battle scene or as intimate as two people in a conversation," says Pyant. "The lighting follows a journey from light to darkness to a new dawning."
The overhead lighting rig is 99% automated. The workhorse is the Vari-Lite VL3000™, of which there are 82 in the rig, which includes over 160 automated luminaires from 30 Clay Paky Halo wash lights to 30 ETC Revolution® spots. The rig also includes 22 Martin Atomic Strobe units, three Robert Juliat Cyrano 1015 followspots, two Reich and Vogel beamlights with scrollers, three Arri 2.5kW HMI Fresnels, four Strand Tocatta effects projectors, three Strand 500W Bambinos, three Wildfire UV guns, six L&E ministrips, over 250 ETC Source Fours® of various sizes, 35 ETC Source Four PARs, and two TMB Source Four HMI PowerPARs, along with digital light curtains, and aircraft landing lights. There are also 82 Wybron CXI scrollers and 16 Wybron 4" Coloram scrollers. The moving lights are positioned virtually everywhere, including 12 side ladders that fly in and out, and require five distro racks.
The only conventional fixtures hung overhead are the Arri HMIs, with a few Source Fours on the very side pipes. The remaining conventional fixtures are all hung front of house, primarily on balcony rail, side booms, and on the side ladders.
Control includes one 8,000-channel Strand 550i console used as the primary board for the production lighting and an identical one for tracking backup. A Strand 520i console is used for special effects control, and a second Strand 520i serves as a moving lights remote to the 550i. There are 14 universes of DMX plus a wireless DMX setup including three City Theatrical DMX receivers and one transmitter.
Production electrician John Still uses Cast Lighting's WYSIWYG to do a rig check before performances, with the stage divided into nine sections. After the show opened, the lighting team took digital photos and video of every scene, employing Fast Focus Pro, software developed by the Royal Shakespeare Company, for video importing. The goal was to have a record of every cue and every moving light position, as well as create a digital bible for the show.
Pyant used different color palettes to help define various stage environments, including lighting the tree roots in saturated green to make them look like a leafy canopy of trees in midsummer. For a more autumnal look, the palette shifts to a mixture of amber, gold, and red (from Lee 777 Rust to Lee 09 Pale Amber Gold), taking advantage of the smooth color shifts possible with the Wybron CXI units.
For some of the highly technical sequences of the show — notably the big battle scene — the lighting designers, in consultation with stage manager John Gray, decided to run the sequences with SMPTE timecode. "Simon Baker and team supplied us with timecode, as these two sequences both had an underlying sound effect/music track, which the orchestra played on top of," says Howe. Jonathan Rouse served as moving light programmer.
"Initially, during the early technical rehearsals, I cued the lighting and special effects operators through the sequence, and then, as each cue became finalized, we 'learnt' the SMPTE timecode point via the Strand Console and attached a lighting cue or flash or sequence onto each point," Howe explains. "On average, the two pieces (approximately six minutes in length each) have 100+ cues and events within them, which would be a huge job for any stage manager to call and almost impossible to call at the 1/24th of a second splits we required. A.A. Rahman's score has a frequently changing rhythmical pattern, and therefore, precision is essential in the placement of the cues, especially when characters are performing a complicated sword battle in changing patterns of light, which produce safety concerns. By using SMPTE we can ensure everything runs perfectly each performance."
Fog For Frodo
As Frodo and friends travel from the comfort of their homes in The Shire to dark and dangerous lands, the scenic environment changes. In creating the special effects for the show, Meeh used atmospheric fog and wind to set a specific location, indicate changes of location, enhance the mood onstage, change focus, and accentuate transitions.
In addition, black confetti representing ash from the depths of the earth is delivered via large fans to engulf the audience during the scene when the Balrog, a giant monster awakened in the underground mines of Moria, "eats" Gandalf. "Eight pounds of confetti are used in each performance," notes Meeh. Two confetti blasters are located, one on each side, of the trap room. Airmagic in Toronto supplied the atmospheric equipment in the show.
Four 1HP fans from Performance Solutions are located in the trap room beneath the stage — a room that was specially pressurized, as Meeh explains. "The full stage turntable and lift structure had no provisions for delivering fog effects through the floor," he says. "As chilled fog tends to fall, and we could not install ducting, we have to create significant airflow up through the turntable in order to get it onto the stage." Liquid CO2 is kept in a bulk tank on the loading dock and runs to the trap room via insulated cryogenic tubing. "This saves labor, and it is more cost efficient to purchase in bulk," Meeh adds.
Control for the fog is via the Strand 520i console, with the Strand 550i console triggering the effects through a macro interface. As with the lighting, some of the more complicated sections are linked to the musical cues with SMPTE timecode triggering both Strand console.
Meeh was the last member of the creative staff to come on board, starting in late September and spending significant time in Toronto until mid-October, then full time through the opening in March. "For me, what is so spectacular is the fog control, because it's so hard to achieve," says Meeh, who notes that the producer, Wallace, was extremely supportive of the special effects. "He recognized their importance from the beginning, and even though I came in late, the effects were not just an afterthought. I had a great time working with Paul Pyant and Rob Howell, and Matthew Warchus had a definite vision," Meeh says. "That kind of strong guidance gives you a good starting point."
Sounds From Middle Earth
"The first show in this theatre was Miss Saigon," says sound designer Simon Baker of Autograph Sound in London. "The sound for that show was by Andrew Bruce, who was also involved in the sound design for the building." Bruce, of course, is the head of Autograph Sound, so Baker found himself in a familiar environment. The show, on the other hand, posed certain challenges.
"The set is very open and allows the sound to come through," says Baker. "But Lord of the Rings is such an epic show that it took everything I know about theatre sound. The full cinematic moments are hard in terms of gain structure, and you want the quiet moments to be as good as the loud ones." Baker spent six months in the theatre working on the sound design, the last six weeks of which included working with the cast onstage.
Baker was also faced with the challenge of blending various musical influences, from the music by A.R. Rahman, a leading composer from India, to the songs in Finnish by Värttinä, a popular folk music group from Finland, with some very unusual instruments in the pit, including folk fiddles, a jouhikko (a Finnish bowed lyre), and a nyckelharpa (a Swedish stringed instrument). "There are no traditional musical theatre numbers," notes Baker, "so the language of the sound is new and had to be understood."
Baker's rig includes 42 Meyer Sound Mica and M1D curvilinear array loudspeakers (many of which are hidden in the scenery) and two DiGiCo D5T consoles, one used for vocals and the second one for the orchestra. Recorded effects are played back via Apple's Logic Audio software sampler and routed via a 32×32 Out Board Electronics TiMax system. The audio equipment was provided by Sound Associates in New York City and installed by the Canadian sound team headed by Bob Shindle, with Al Merson providing production support. The system build and implementation was handled by Baker's US associate, Sten Severson. "Sound Associates provided back-up for everything, including the consoles, which have built-in redundancy and back up engines," adds Baker. "The success of the back-up system means it can all happen seamlessly."
One of the big challenges for the sound department was the large number of wireless devices (over 100), including 64 Sennheiser UHF bodypack transmitters (50 SK-5012 and 14 SK-50) worn by the cast. The wireless signals are picked up by eight UHF mainframes with eight receiver modules each. An additional four channels are used for wireless monitoring, four more for the "voice of God" system, and one for a radio link system. Two Sennheiser SMCD software systems allow remote monitoring of RF signal strength, audio level, active diversity channel, and transmitter battery status.
In addition, five Sennheiser MKH 40 RF condenser microphones and five Neumann U 87 multipattern are used in the orchestra pit, plus seven Sennheiser E604 and MD504 microphones used on the drums and percussion instruments. Two Sennheiser MKH 60 RF condenser shotgun microphones pick up ambient sound onstage. There are also 32 channels of Telex BTR 800 wireless communication for the crew and stage management and a Sound Associates TSM-100 touchscreen monitor with three TSM-100R remote stations, allowing the RF engineer to listen to any RF channel individually or by programmable preset groups.
"We went to Toronto and did a frequency sweep for Sennheiser," notes Richard Fitzgerald of Sound Associates, whose $2.5 million audio and communications system for LOTR includes 20 digital closed circuit TV cameras. "They need lots of shots so the operators of the turntable can see what is happening in the dark," he says. "The system is one-and-a-half to two times bigger than the usual Broadway musical. There's a lot of everything, the size of the cast, the size of the theatre. It's also a big theatre, and everybody has to be able to hear."
Same Time Next Year
The design team is now hard at work as momentum is gathering for the London version of LOTR, scheduled to open in June 2007. Once again under the guidance of producer Kevin Wallace, hobbits, elves, orcs, and black riders will rule the stage. "I believe in the power of the theatre, the power of collaboration, and a lack of fear," says Wallace. "I am always chasing the elusive, perfect performance."
Princess of Wales Theatre, Toronto, Canada
|Vari-Lite 3000 QSpot 1.2kW
|Vari-Lite 3500 QSpot 1.2kW
|Clay Paky Halo Washlight 1kW
|ETC Revolution Spots with Gobo Unit 1kW
|ETC Source Four 5° 10W, 750W
|ETC Source Four 10° 750W
|ETC Source Four 19° 750W
|ETC Source Four 26° 750W
|ETC Source Four 36° 750W
|ETC Source Four 50° 750W
|ETC Source Four 25-50 Zoom, 750W
|ETC Source Four PAR EA VNSP 750W
|ETC Source Four PAR EA MFL 750W
|ETC Source Four PAR EA WFL 750W
|TMB PowerPAR™ 575W HMI
|L&E Ministrip 6' 3-circuit EYF 750W
|Strand 500W Bambino Fresnel 500W
|Arri 2.5kW HMI Fresnel 2,500W with 15" Scroller and Robert Juliat Dowser
|Tocatta Effects Projector 2,000W with 10cm lens with VSFX Drive and Cloud Disc
|Reich & Vogel 1kW Beamlights with Color Scroller and Robert Juliat Dowser
|Robert Juliat Cyrano 1015 followspot
|DLC 8 lamp 250W with medium lamp 2.4kW
|Wybron CXI Scroller
|Wybron 4" Ram Scroller
|City Theatrical DMX Receiver
|City Theatrical DMX Transmitter
|1kW Symmetric Worklight 1kW
|Wildfire UV Gun
|Strand 550i 8,000 Channels, for Production Lighting
|Strand 550i as Tracking Backup
|Strand 520i for Special Effects
|Strand 520i as Moving Light Remote to Main 550i
ETC Sensor Dimmer Rack and Hard Power for ML
|Unitek V9 LED Display Module
|Barco SLM G5 DLP Projector
|Panasonic 7700 DLP Projector
|High End Systems Catalyst v3.3
|High End Systems Hog 500
|Gerriets International RP screen
Atmospheric equipment
|Le Maitre LSG Unit with Power Fogger 9D for low-lying fog
|MDG Atmospheric Hazer with Bowens Fan
|Look Solutions Viper Fog
|Look Solutions Orka Fog
|24" Mole Richardson Fan
|Reel EFX REII Fan
|Performance Solutions Custom 20HP Fans
|Performance Solutions Custom 5HP Fans
|Performance Solutions Custom 1HP Fans
|Custom Confetti Feed and Delivery setups
Mixing Desk
|DiGiCo D5T Surface
|DiGiCo D5Tc Theatre Control Surface
|DiGiCo D5Tre Remote Engine
|DiGiCo Mic/Line DiGiRack Card
ADR/Click Track Sub Mix Desk
|Yamaha desk
Sound FX I/O System
|Outboard Electronics TiMax
|TC Electronic S6000 Reverb Mainframe
|TC Electronic CPU and ICON
|TC Electronic EQ Station
|TC Electronic M3000 Reverb
|TC Electronics FireWorX
|Eventide Eclipse 3 Harmonizer
|TC Helicon Voiceworks
|Valvetronics GainRyder 3
|TC Electronic Finalizer 96K
|Mackie HD/96
|Marantz PMD340 Rackmount CD Player
|Alesis Masterlink ML 9600
|Rosendahl NanoClock
|Emagic AMT8 Midi Distribution
|Apple Logic 7.1 Systems
|MOTU 24 I/O audio interfaces
|Autograph 24-way audio changeover switch
|Glyph Firewire GT103 1U
|Glyph Firewire GT Key
Main Loudspeaker Systems
|Meyer Milo 120 Loudspeaker
|Meyer M1D Loudspeaker
|Meyer M3D-Sub
|d&b E3 Loudspeaker
|Meyer UPM-2P Loudspeaker
|Bose Accoustimass Loudspeaker
|LDS400 Loudspeaker
FX Loudspeaker Systems
|Meyer MSL-2A Loudspeaker
|Martin WSX Loudspeaker
|Martin Effect 5 Loudspeaker
|Meyer UPA-1P Loudspeaker
Wireless Loudspeaker Systems
|Systems comprised of:
|Sennheiser EK100 Portable Receiver
|Sennheiser SKM100 Portable Transmitter
|12V high-power ICE Amplifier
|YUASA 12V Rechargeable battery for EK100 & ICE Amp
|DC 2 Power Adaptor for EK100 & SKM100
|JBL Control 1 Loudspeaker
Foldback Loudspeaker Systems & IEM
|Meyer UPJ-1P Loudspeaker
|Meyer UPM-1P
|Galaxy Hotspots
|Anchor AN100 Monitors
|Sennheiser SR3054-U IEM TX
|Sennheiser AC300-U antenna combiner
|Sennheiser EK 3053-U
|Sensorcom Micro Buds IEM ear plugs
System EQ
|XTA Electronics DP428
|XTA Electronics DP226
|XTA Electronics DP224
|Meyer CP10 Parametric EQ
|Midi Solutions FS1 for mute
|d&b P1200 c/w E3 Card
|Lab Gruppen fP2600
|Lab Gruppen fP2400Q
|Lab Gruppen fP3400
|Crown Macro-Tech MA1202
Wireless Microphones
|Sennheiser SK5012 TX
|Sennheiser SK5012 TX Aerial
|Sennheiser EM1046 Rx UHF Module
|Sennheiser EM1046 Mainframe
|Sennheiser EM1046FA Fan Assembly
|Sennheiser EM1046Ri Input Module
|Sennheiser EM1046SA PSU
|Sennheiser EM1046AF Output Module
|Sennheiser EM1046 A0-Z Balance Card
|Sennheiser EM1046CI Chassis Interface Card
|Sennheiser EM1046LI Line Interface
|Sennheiser EM1046DI Display Interface
|Autograph Audio Remote Monitor c/w 2 outstations
|DPA Instrument Kit IMK4061
|DPA/B&K Type 4011
|DPA/B&K Type 4015
|DPA/B&K Type 4021
|DPA/B&K Type 4041
|Sennheiser MKH40
|Sennheiser e604
|Neumann U87
|Shure Beta 57
|Shure Beta 58
Miscellaneous Orchestra Pit Equipment/Vocal Booth Equipment
|Sonnifex RB-HD6 Headphone Amp
|Sony MDR7506 Headphones
|Aviom AN16/I-M Mic Input Module
|Aviom A-16D Pro
|Aviom A-16II Personal Mixer
|Formula Sound Q18 Mixers
|Formula Sound 3U Distribution Panel
|Galaxy Hotspots
|Lab Gruppen fP2400Q
|Genelec 1029A Monitors
Design Team
Producers: Kevin Wallace, Saul Zaentz
Director: Matthew Warchus
Set/costume designer: Rob Howell
Lighting designer: Paul Pyant
Sound designer: Simon Baker, for Autograph
Moving image direction: The Gray Circle
Special effects designer: Gregory Meeh
Production manager, Canada: Scott Whitham
Production managers, UK: Stepehn Rebeck,
Stewart Crosbie
Production stage manager: The. John Gray
Stage manager: Chris Porter
Moving light programmer: Jonthan Rouse
Automation engineer: Ralph Goyarts
Set design assistant: Andrzej Goulding
Asst. lighting designer: Heidi McDonald
Asst. costume supervisor, UK: Edward Gibbon
Asst. special effects designer: Michael Walton
Production carpenter, UK: Micky Murray
Production engineer, UK: Andy Hardy
Wig/make-up consultant: Chris Redman
Production Heads
Production carpenter: Mike Puhacz
Production automation carpenter: Kevin Dixon
Production electrician: John Still
Production properties supervisor: Grace Nakatsu
Production sound engineer: Al Merson
Head production sound mixer: Bob Shindle
Production wardrobe supervisor: Pamela Weston
Production hair, wig, & make-up supervisor: Helen Gregor
Carpentry crew heads
Head carpenter: Tom Locke
Lead fly system operator: Danny Walker
Asst. head carpenters: Brad Fraser, Steve McLean
Asst. automation head: John Beirne
Electrics Crew
Head electrician: Ron Montgomery, Jr
Lighting board operator: Michael Still
Asst. electrician: Robert Burns
Video operator: Danny Malloy
Deck electricians: Brian Benet, Douglas Hook,
Andrew Tennant
spotlight operators: Jason Linton (Lead), Mark Kelman, William Meadows, Sean Poole, Andrew Vukovic
Lighitng/Sound swing: Gregg Feor
Sound Crew
Asst. head of sound: Wayne Coyle
Deck sound: Viv Cowley
Band sound: Craig Kadoke
Production Suppliers
Engineering: Delstar Engineering Ltd, UK
Automation: Silicon Theatre Scenery BV, The Netherlands
Properties: Paragon Theme & Prop Fabrication Ltd.
Environment fabrication: FBX
Rigging: Vertigo Rigging
Lighting equipment: Q1 Show Technologies
Sound equipment: Sound Associates Inc.
Special effects: Airmagic
LED display & projection equipment hires: XL Video
Drapes and masking: Gerriets GB Ltd
Balrog construction: Kite Related Design
Additional scenery: Great Lakes Scenic Studios, Hamilton Scenic Specialties
Theatre engineering consultants: Quinn Dressel Associates
Additional lighting equipment: Christie Lights
Theatre Modifications: Guild Electric, Crossey Engineering Ltd.
Costumes: Seamless Costumes


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Love my 180 Akifusa Santoku.
Type: Posts; User: Zydecopapa
Love my 180 Akifusa Santoku.
This site just makes me want to spend lots of money. To many gorgeous knives like these!
Mine: Akifusa 240 gyuto. Zydecomama: Akifusa 180 santoku. Have been leaning on Moritaka 180 nikiri and Kato 165 santoku more - loving that carbon steel.
Hi Monty: What is the name of your team? Looks like a great pit!!
My first quality knife was a 180 mm Akifusa Santoku. That has since led to a 150 mm Petty, 240mm Gyuto and 210 mm Damascas Gyuto by Akifusa. A 165 mm Nikari, 240 mm and 360 mm Sujihika by Moritaka...


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Lots of great nominees to enter Rock & Roll Hall of Fame but Bon Jovi got snubbed again.
According to nj.com:
The Rock and Roll Hall of Fame has dissed Bon Jovi yet again. The platinum-selling, stadium-filling Jersey rockers are not on the hall's latest list of nominees, though mellow singer-songwriters (Laura Nyro, Donovan) and hip-hop (Beastie Boys, Eric B & Rakim) are well represented.
The biggest shoo-in, though, has to be Guns N' Roses, in their first year of eligibility. The group's impact on rock in the late '80s cannot be overstated. (The band, though very different from its original incarnation, is still touring, and will be at the Izod Center in East Rutherford on Nov. 17).
Other nominees are: the Cure, Heart, Joan Jett and the Blackhearts, bluesman Freddie King, the Red Hot Chili Peppers, Rufus with Chaka Khan, the Small Faces/The Faces, the Spinners, Donna Summer and War.
Joining Bon Jovi among the overlooked: Yes, Kiss, Chicago, Brian Eno, Willie Nelson, Gram Parsons, the Moody Blues, Hall and Oates, Rush, Jethro Tull.
Ballots will be sent to more than 500 voters, who will select artists to be inducted at the 27th annual induction ceremony, to be held in Cleveland on April 14. To be eligible for nomination, an individual artist or band must have released its first single or album at least 25 years prior to the year of nomination. The 2012 nominees had to release their first recording no later than 1986.


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You can also get answers from the ExploraVision community by posting your questions on our Facebook page.
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You can also reach us by phone at 1-800-EXPLOR9.


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Javascript must be turned on for some features of this website to work.
For immediate support call Lifeline on 13 11 14
For general support call us on 1800 099 340
Within Australia call 1800 099 340
From overseas call 61 2 8815 2319
Open Monday to Friday
between the hours of 8am and 8pm AEST
GPO Box 5283
Sydney NSW 2001
Witness lists, transcripts, exhibits, images and associated submissions are available for each case study.
After the hearing, the Counsel Assisting the Royal Commission will provide witnesses, and other people who were granted Leave to Appear at the hearing, a written submission detailing what was discovered during the case study.
The submission will outline key findings based on the hearing's evidence and the recommendations likely to come from them. The recipients of the submission may then provide their own written submissions in reply.
The Commissioners then consider this information when they form their final recommendations during the course of the Royal Commission.
The Royal Commission held its First Sitting at the County Court of Victoria on Wednesday 3 April 2013.
View the Royal Commission's schedule to see all upcoming public hearings. All case studies are listed below.
The public hearing will inquire into the experiences of men and women who were sexually abused as children at the Retta Dixon Home.
The hearing examined the principles, practices and procedures of the Melbourne Response.
The hearing examined the response of Swimming Australia Ltd to allegations of child sexual abuse.
The hearing examined the response of the Catholic Diocese of Wollongong to allegations of child sexual abuse against John Gerard Nestor.
The hearing examined the response of the Marist Brothers to allegations of child sexual abuse in schools in the ACT, NSW and Queensland.
The hearing examined the response of an independent school in Perth to concerns raised between 1999 and 2009 by teachers and others about another teacher.
The hearing examined the experiences of men who were resident at Christian Brothers' residences in Western Australia.
The hearing examined the handling by The Salvation Army (Eastern Territory) of claims of child sexual abuse between 1993 and 2014.
The hearing examined the responses by the Catholic Archdiocese of Adelaide, and the South Australian Police, to allegations of child sexual abuse at St Ann's Special School.
The hearing examined the response of the Catholic Church to the complaint made by John Ellis under Towards Healing.
The hearing examined the experience of women who were sexually abused as children, between 1950-1974 while committed in The Parramatta Girls' Training School and The Institution for Girls in Hay.
The hearing examined the response by the Catholic Education Office, Diocese of Toowoomba, to allegations of child sexual abuse.
The hearing examined the Salvation Army's response to child sexual abuse at boys' homes in Indooroopilly, Riverview, Bexley and Goulburn.
The hearing examined the establishment, operation and review of the Towards Healing process by the Catholic Church.
The hearing examined the handling of complaints and civil litigation concerning child sexual abuse in the North Coast Children's Home by the Anglican Diocese of Grafton in 2006 and 2007.
The hearing examined the responses of YMCA and police to allegations made in 2011 that Jonathon Lord sexually abused children in the care of YMCA.
The hearing examined the response of organisations, including Scouts Australia, Hunter Aboriginal Services and the then Department of Community Services, to information and allegations concerning Steven Larkins, the former CEO of Hunter Aboriginal Children's Services.
The Royal Commission held its First Sitting at the County Court of Victoria on Wednesday 3 April 2013. The transcript is available.
The Royal Commission into Institutional Responses to Child Sexual Abuse has today published two research reports by the Australian Institute of Criminology.
The Royal Commission will hold a public hearing in Darwin commencing on Monday 22 September 2014 into the Retta Dixon Home.


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It can be hard to locate specific hairstyle ideas on the Internet -- they're everywhere! So this helpful roundup is designed to save you some time. All of these celeb styles walked a red carpet at some point. Select based on the awards show, from the Grammys to the NAACP Awards, and everything in between!
1. Black Hairstyles - 2009 AMAs
2. 2010 Grammy Awards
Locs, Afros and braided twists fit right in with down-to-there ponytails and loose curls. This was a diverse showing, with Ledisi standing out in cherry-red locs that commanded attention! Jennifer Hudson and Gabrielle Union were among those keeping it sleek and simple with straight ponytails, while Mary J. Blige and Beyonce rocked the blonde hair like nobody else. If you're looking for something different, this is the gallery for you.
3. NAACP Image Awards - 2010
The looks at this awards show were full of flavor. Celebrities who sported short hairdos include Tracy Higgins (head-hugging and face-framing), Raven-Symone (newly shorn in a big way), Wendy Raquel Robinson (stunning as always) and Eva Marcille (simply beautiful). Of course, if long is more your style, there's no shortage of lengthy tresses, as worn by Keshia Knight Pulliam, Mya and many more.
4. 2010 BET Awards
The BET Awards are generally more laid-back and the creative hairstyles showcased here definitely reflect that! From braids on Jada Pinkett-Smith to Esperanza Spalding's dramatically long Natural, hairdos ran the gamut from short to long, and from straight to curly. Other celebs who represented include TLC's Chili, Ashanti, Ciara, Tatyana Ali, Cassie and Queen Latifah.
5. Long Black Hairstyles - 2009 BET Awards
This was the year Cassie sported that one-sided shaved 'do that everyone was talking about. Other, less talked-about, but no less dramatic hairstyles were worn by Zoe Saldana, Keke Palmer and Amerie, to name a few. This gallery is all about long lengths, so if your hair is already lengthy, or you're looking for extension ideas, be sure to check this one out.
6. Short Black Hairstyles - 2009 BET Awards
On the flip side of the long styles from this year are the short, chic cuts. Amber Rose wore what was arguably the hottest cut at the show, but Keri Hilson sported blonde-fringed curly bangs that were far from ordinary. Other ladies who rocked short snips include Estelle, Elise Neal and Wendy Raquel Robinson.
7. The 2010 Soul Train Awards
It was mostly long and straight, but at least Kim Fields shook it up with a bright frohawk that matched her dress. Chrisette Michele played it different with a stylish head wrap and no one could ignore Faith Evans in her sizzling red hair color. Who else was there with noteworthy hair? Try Janelle Monae and Keyshia Cole, for starters.
8. 2011 Grammys
This was one of the best award show hair showcases ever! Who's your favorite? And how can you pick?
- Esperanza Spalding's gigantic 'fro
- Nicki Minaj channeling the Bride of Frankenstein
- Carolyn Malachi's close-cropped cut
- N'dambi and her fluffy frohawk
- India.Arie keeping in simple but elegant
So many hairstyles, so little time.


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The Real Deal: Factory Supported 1978 Mazda RX3 IMSA racer This is one of only a few original factory supported cars from this era that... More
One in a Million: 1990 Mazda Miata Bright Orange Factory Color Test Car Truly one of a kind! To date, Mazda has produced approximately 960,000... More
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Rutgers Hires Siena's Brecht
The silly season continues to roll on. A nice, solid hire for the Scarlet Knights. Brecht has done a terrific job at reviving Siena over the last seven years. There were certainly bigger names involved in the Rutgers search, but Brecht isn't a boneheaded hire by any stretch of the imagination.


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All that plastic and re-shaped skin must be making Heidi Montag delusional. Spencer Pratt has decided that the new and improved Heidi would be perfect to replace Megan Fox in the Transformers franchise and put together a short audition tape for director Michael Bay.
Well..it's less of an 'audition tape' and more of an 'Spencer recording Heidi shooting a gun on his iphone' but you get the point.
There is no way in hell Michael Bay is going to cast Franken-Heidi as Shia Lebeouf's love interest in Transformers 3. Mostly because I'm guess Shia would say 'see ya later..no way I'm kissing that and fighting ginormous Autobots'.
Although….Michael Bay does love a trashy looking chick….