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1965 was the first full year of production for what was originally a student model, the Mustang® guitar. The model was destined for bigger things though, and was eventually seen slung over the shoulders of artists including David Byrne, John Frusciante, Kurt Cobain, Todd Rundgren and Adrian Belew to name only a few. This reissue Classic Series '65 Mustang has great color and cosmetic options, and many period-correct details (body wood, logos, etc.).
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Tried this guitar a year ago in my local shop randomly and my goodness, it was amazing. I never knew my ears could vibrate in awe till that moment. The guitar quality is top notch. The Classic Series '65 Reissue Mustang is Made in Japan and those guys really know their stuff. Not a big fan of the other Mustang versions out now.
In terms of weight and neck "fatness", it's on par with a Strat. It's also actually half an inch or so taller than a Strat! Body size looks small but it's just because of the the slightly deeper cuts in the middle. There's no contour on this model, so expect a Tele-like rest against your body.
Frets are really nicely spaced. More comfortable for your average sized hand in my opinion that non-short scale guitars. Rosewood fretboard has a really nice grain on mine.
Finish is modern, I'd like a nitro personally but this is good too. Shines nice when polished.
The vibrato system is really great. Sensitive and responsive. If you find it too sensitive, just lower the bar thing and you're good. Tuning stability may be an issue if it's not setup properly. Make sure there's graphite or grease on the saddles and nut. That usually solves most unstable tuning issues. The vibrato bar goes into a slot on the bridge and tighten it in the slow with a hex screw. Not my favourite feature since you either have a loose, dangling bar to remove it quickly or a tight bar and not being able to remove it easily.
The sound, ah it's superb. Both pickups sound incredibly transparent, balanced and open. Think that's to do with the low resistance. However, that may be a problem if you're trying to play heavily driven stuff. I just add a boost before my drive to solve that. The classic Fender twang is spot on while having a special Mustang character to it. The out of phase position is really really twangy and cool. Love it but may be a bit sharp sounding.
The price could be a little cheaper but eh if you like it, get it!
jonoh248 owns this item
I have a 1978 black Fender Mustang. I purchased it brand new from the factory from employee sales back then. I'm 58 years old now. I was 21 years old when I got this guitar. Mine has the contour on the back and, it is heavier than the 65s I've seen and played before. It also has metal buttons on the tuners instead of plastic. It was my first good guitar! I had a Japanese Decca hollow bodied electric before this guitar. This is a great guitar. The pickups are strong enough and clean. I own other Fenders Stratocasters, Telecasters and a P Bass. I have small hands so the neck on this guitar is easy for me to play. Since I learned to play on a nylon string classical, I can handle fatter necks but, I don't prefer them. I still play my Mustang and it still sounds excellent. It has wear marks but, it only shows that it is 35 years old and has been played. I don't go for the roadworn stuff because I rather wear it out myself. I usually play my Deluxe Stratocaster, Highway One Telecaster, one of my two Les Pauls or my Peavey JF-1. When I do play my Mustang I love the way the Rosewood fret board sounds on this guitar. I had tried different pickups on it but, I wound up putting back the OEM ones. I would love to get one of the new hard tail ones with the humbuckers. I wish they did not ask so much for them. Mustangs are the goods! I was playing one before Kurt Cobain even played guitar. I'm proud of the fact that Hendrix and Johnny Winter tried them out before also. These are another great Fender product!
JACSTRAT owns this item
I got this like 8 months ago and it's my first guitar, to me it is the most beautiful Fender guitar and the most special one, sometimes underrated and other times recognized for what it is: Something amazing, little and well done.
I got big plans for it and I hope to spend the rest of my life learning and making songs and music with this cutie.
Ance owns this item
The Fender '65 reissue Mustang is a fantastic guitar with accurate vintage detail, tone, my favorite body shape, short scale and dynamic vibrato. It's definitely a contender for best Fender guitar, which was unexpected as it's a student's guitar. This student guitar exceeded people's expectations and earned a reputation as an awesome Fender guitar with a good price in the past, which makes me wonder what you are thinking charging an amount a signature guitar would cost for a moderate level instrument. So in conclusion, the '65 reissue is a good guitar but with a huge price.
|Model Name:
|Classic Series '65 Mustang®, Rosewood Fingerboard, Daphne Blue
|Model Number:
|Daphne Blue
|Body Material:
|Body Finish:
|Body Shape:
|Neck Material:
|Neck Finish:
|Gloss Urethane
|Neck Shape:
|"C" Shape
|Scale Length:
|24" (610 mm)
|Fingerboard Radius:
|7.25" (184.1 mm)
|Number of Frets:
|Fret Size:
|String Nut:
|Synthetic Bone
|Nut Width:
|1.625" (41.3 mm)
|Position Inlays:
|Truss Rods:
|Vintage-Style Heel Adjust
|Truss Rod Nut:
|Vintage-Style Slotted
|Neck Plate:
|4-Bolt Vintage-Style
|Bridge Pickup:
|Single-Coil Mustang
|Neck Pickup:
|Single-Coil Mustang
|Master Volume, Master Tone
|Pickup Switching:
|On/off, phase slider switch for each pickup (in/out)
|Pickup Configuration:
|Floating Bridge with Dynamic Vibrato Tailpiece
|Hardware Finish:
|Tremolo Arm Handle:
|Vintage Mustang® Tremolo Arm
|Tuning Machines:
|Vintage-Style with Aged White Plastic Buttons
|4-Ply White Pearloid
|Control Knobs:
|Black Plastic
|Fender® USA 250R, NPS, (.010-.046 Gauges)
|Unique Features:
|Vintage Correct Styling that includes: '65 Mustang Headstock and Bridge Plate Logos, White Tipped Vintage Tuning Machines, Vintage Appropriate Gap Between the Control Plate and the Pickguard
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Hey NB! I was wondering what everyone's favorite weather/time of year was.
Is it Fall, Winter, Spring, or Summer?
My favorite weather is Summer! The best memories of my life have been made during summertime.
even tho its heartbreaking....i still say winter
Winter, and I prefer stormy weather, generally with a slow, soft rain and lightning, or a downpour. A quiet, slow snowfall is also something I prefer.
Spring. I'm a spring baby anyway. March 20th. lol
In the winter its summer and in the summer its winter
70 degrees and windy..Around may/june the air feels nice.
Fall for the looks, summer for the weather.
The winter is the best , i love wearing jackets , scarfs...stuff like that
Fall. It is somewhat colorfull and peaceful...
Spring. I love the rain.
Nothing like a cold rainy winter's day with some hot chocolate and some soothing piano.
Fall. I love the leaves changing colors, the not too cold/not too hot temp and my birthday is in the fall.
Summer, I love warm weather.
Winter, Spring is nice too
Fall :D
all of them except summer
Fall weather is my fav :D
a sunny day just above 75 degrees with the air smelling crisp and fresh aka Spring
I love Summer. ^^
I like Summer due to the school break; however, my favorite is probably Winter. That is because I like the cold better than the heat.
Winter, I love the purple sky!
Winter, I love that freezing feeling.
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Find out more here!
LD: Chris Bushell
Sapphire Touch
Titan Version 8 has arrived
Details here
VJ: Ben Miles
Media Server: S8
Available now!
'Because We Can' Tour
Server: Infinity 8
Regular online training sessions via Go-to-Meeting every Thursday for both Titan and Ai, exploring the latest software features.
The Avolites Go to Meeting provides you with a tool to view our simulator and view every button press during the training session on your screen.
You will be able to view features shown by our trainer and have the ability to ask questions.
Webinars take place at:
10am* and 5.00pm* (GMT) – Titan session
11.30am* and 2.00pm* (GMT) – Ai session
Read More...
Feature Focus
Freeze/Release Fixture Values:
If you prefer your fixtures to release their values once you press clear at the end of programming, hold down the Clear button, and select 'clear options' from the softkeys. In there you'll find an option to toggle from 'Freeze current values' to 'Release to playback values'. Freeze is the 'Avo' way, where your fixtures remain in their current state until told new information, Release is more similar to some other moving light consoles.
Read More...


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Remember that Walden's Title IV Code is 025042.
For educators who want to become a principal or administrator at the education specialist level, Walden University's Ed.S. in Educational Leadership and Administration program is designed to help you develop the knowledge and skills to become a licensed principal.*
Our curriculum is focused on preparing you to:
This is a unique, scholar-practitioner educational leadership degree program that's grounded in current research. This program is designed to provide students with opportunities to respond to authentic case studies, participate in school leadership experiences, work side by side with principal mentors, and develop the ability to impact social change.
The Ed.S. in Educational Leadership and Administration is approved for principal licensure in Minnesota and Ohio. Its curriculum is aligned with the standards of the Interstate School Leaders Licensure Consortium (ISLLC), the Educational Leadership Constituents Council (ELCC), and the National Policy Board for Educational Administration (NPBEA).
Gain a general understanding of the guidelines and requirements of the principal preparation program with the Principal Candidate Guidebook (abridged version). After you download the guidebook, please call 1-866-492-5336 to speak with your enrollment advisor for assistance in reviewing the information.
An Education Specialist degree, sometimes referred to as a Certificate of Advanced Graduate Study (C.A.G.S.), is ideal for educators who want to remain working in the field but who would like to increase their influence and impact on their learning communities.
Find information about Walden education programs and licensure requirements.
Find detailed information for this program, including possible occupations, completion rate, program costs, and median student loan debt.
If your goal is to teach in a classroom or become a principal, our specific licensure and endorsement preparation programs are designed to help you get there. Learn More
This program can be completed in as little as 20 months. Time to completion may vary by student, depending on individual progress and credits transferred, if applicable. For a personalized estimate of your time to completion, call an enrollment advisor at 1-866-492-5336.
*Walden is approved by Minnesota and Ohio to offer the Ed.S. in Educational Leadership and Administration program that leads to principal licensure. Walden is also approved by Ohio to offer the M.S. in Education, Educational Leadership and Administration, which leads to principal licensure in Ohio.
Individuals interested in principal licensure in states other than Minnesota and Ohio may qualify for the license by virtue of completing a state-approved program; however, individuals must review their state's regulations to ensure the program meets all requirements, paying particular attention to any requirements specific to out-of-state program completers.
Walden enrollment advisors can provide guidance on licensure issues; however, it remains the individual's responsibility to understand and comply with all state licensure requirements. Walden makes no representation or guarantee that completion of Walden coursework or programs will permit an individual to obtain state licensure or endorsement.
#Each Field Experience course is one credit. Field Experience begins in the second half of the second semester and is taken simultaneously with the required three credit courses.
Education professionals in this course work toward building an understanding of the philosophy, requirements, and community of Walden University, the Richard W. Riley College of Education and Leadership, and the Ed.S. in Educational Leadership and Administration (Principal Preparation). They complete a pre-assessment, develop an individual learning plan, and submit their field experience application and plan. They also begin their exploration into school leadership by focusing on the structures of school organizations and leadership styles.
Effective principals influence the quality of teaching by understanding how to recognize outstanding teaching and facilitate improvement by communicating how and why learner-centered teaching enhances the achievement of every student. The latest research on education, teaching, and learning is introduced to education professionals in this course. Education professionals gain understanding of how research informs different approaches to instruction as they examine specific, research-based principles that account for differences in what and how students learn. Through case studies and discussions, they demonstrate strategies and plans to help their school move forward, provide purpose and direction for students, and help students and a school work through change.
Effective principals work to foster shared understanding of and commitment to making sure that every student learns and succeeds; this requires the ability to communicate and the capacity to create conditions and processes that foster collaborative problem solving and decision making. Education professionals in this course explore the characteristics of effective leaders. They learn how to model open and responsive communication as well as how to create time and use tools to ensure that such interactions are common within the school and throughout the school community. They also explore the role of schools in communicating with and drawing upon community resources of various types, including public agencies and organizations that serve youth and families. Through this course, education professionals work toward establishing the personal, ethical, and moral platforms to become effective leaders who model and promote ethical and productive civic behavior.
Diversity can be a dynamic contributing factor to a rich learning environment in which individual differences are honored and respected. However, to harness the opportunities of diversity, leaders must also acknowledge differences among learners, in addition to biases, discrimination, prejudices, and stereotypes. Education professionals in this course explore and analyze these issues, in addition to the complexities, responsibilities, and opportunities associated with leading schools with diverse student populations. They also focus on one of the most challenging tasks facing schools today—to increase the achievement of students placed at risk because of limited facility with English and/or physical, mental, and emotional disabilities. Education professionals explore diverse and inclusive approaches proven most effective in supporting English-language learners and students with special needs to reach high standards of performance.
In this course, education professionals explore selected general legal principles, case and statute law, and law-making agencies that impact leaders and educational institutions. They also examine a variety of key content areas, including but not limited to the legal status of the local school district; the role of federal, state, and local governments; the governance of schools; and the policies, rules, and regulations related to school organizations. Education professionals also engage in a variety of discussions and applied assignments focusing on rights, responsibilities, and obligations of administrators, teachers, students, parents, and school boards; community education; civil rights, collective bargaining; torts and contracts; and legal research. They also gain practice in the development of policy to meet regulations and constitutional provisions.
Education leaders must use data extensively to guide them in defining needs, setting and prioritizing goals, monitoring and evaluating progress, and identifying effective strategies for improvement. Through this course, education professionals focus on developing knowledge for data-driven decision making and the critical skills necessary to meet the needs of all children and to reach accountability expectations. A special emphasis is on the definition of action for effective schools: continuing analysis of the gaps between goals for student learning and actual student performance. Education professionals gain practical experience developing a strategic plan and collecting, analyzing, and using data for school improvement and student learning.
Research on effective schools provides guidance on the most productive ways to organize time, people, money, technology, and other resources. In this course, education professionals learn how to use these resources most effectively and how to use research to develop a strategy that defines the most important priorities, the overall educational design, and the organizational structures that best align to necessary goals for improvement. They also examine ways to link whole-school strategic plans to effective instructional practices and improved use of time and money, ensure individualized attention where needed in subject areas, evaluate alternative paths to school improvement, invest wisely in improving teaching quality, and organize staff and use other resources in new ways that allow focused investment in teaching and learning.
Effective principals develop capabilities to foster cultures for learning based on mutual respect among students, teachers, staff, parents, and the larger community. Education professionals in this course learn strategies for fairly and effectively administering discipline and resolving conflict. They work toward understanding and using individual and group differences and potential conflict as opportunities for developing the dispositions, knowledge, and skills that result in social competencies essential to civic participation and interpersonal effectiveness in school and beyond. Additionally, they examine and discuss issues related to safety and violence in schools, considering methods of prevention and ways to respond to unsafe and violent situations.
To effect positive change and high levels of learning, school leaders must understand the foundational principles of teaching—curriculum, instruction, and assessment. In this course, education professionals make connections between these components, and they learn about issues that principals must consider as they plan to adopt and implement a new or substantially revised program designed to enhance student learning in a content domain. They also examine ways to ensure that content standards, curriculum materials, assessment, instruction, professional development, and parental and community involvement, among other initiatives, align in ways that foster student achievement in literacy and math.
Education professionals in this course examine human resources policies and practices for recruiting, selecting, hiring, inducting, developing, evaluating, and retaining or dismissing school personnel. They learn the importance of identifying teachers' needs for professional growth as well as ensuring that teachers have the opportunity and motivation to participate in ongoing professional development that focuses on enhancing learning for every student. Education professionals also learn to identify characteristics of productive teacher evaluation processes and programs and distinguish between supervising teaching and supervising learning. Additionally, they explore how to evaluate school personnel through a process and structure that is productive and supportive; motivates improvement; results in retention of highly competent staff members; embodies standards of due process; and takes into account the provisions of the contractual agreements between the staff and their districts.
Field experiences provide education professionals with authentic opportunities to apply learning as well as to expand understanding and ability. Building knowledge, skills, and dispositions for field experiences, education professionals also participate in two residencies in which they have the opportunity to meet face-to-face with faculty members to learn and hone skills, develop dispositions, and discuss ways to ensure productive and successful field experiences and meet the demands of the profession they are studying. The program requires a minimum of 320 hours or 40 eight-hour days (across 12 consecutive months) in elementary school, middle or junior high school, and high school settings as an administrative aide to a licensed and practicing school principal. Field experience must include at least 40 hours or 1 week at each level that is not a part of education professionals' primary teaching experience.
*Time to completion may vary by student, depending on individual progress and credits transferred, if applicable. For a personalized estimate of your time to completion, call an enrollment advisor at 1-866-492-5336.
*Tuition and fees are subject to change.
Call 1-866-492-5336 for information about a full range of options for:
When you choose Walden's educational leadership program, you can benefit from the flexibility of online learning and from MobileLearn®. Offered exclusively at Walden, MobileLearn not only enables you to choose where and when you learn, it also gives you the ability to choose how you learn. Learn more.
Find out more about what defines Walden's Ed.S. in Educational Leadership and Administration program:
The exit evaluation is a required component of the principal preparation program. It is a culminating activity/assessment that provides an opportunity for you to showcase your successful completion of all components of the program.
During the exit evaluation, which is conducted virtually with a team of representatives from the university and licensed principal-practitioners, you will be asked to discuss and show:
Successful completion of the exit evaluation is a requirement for graduation. You will also need to have passed the School Leaders Licensure Assessment Exam (SLLA) by this time. Upon completion of the program requirements, Walden will recommend you to the Minnesota Board of School Administrators for licensure as a preK–12 principal in Minnesota or to the Ohio State Board of Education for building principal licensure (grades preK–6, grades 4–9, and grades 5–12). To obtain an Ohio principal license, individuals must also pass Praxis II – Educational Leadership: Administration and Supervision (#0411).
Held in convenient locations, face-to-face residencies give you important opportunities to:
At the end of each residency, you will submit a reflection paper that demonstrates the advancement of your learning during each residency. See the locations and dates of residencies that are available to current students.
Days: Three (completed between course numbers three [EDUC 7201] and five [EDUC 7203])
Format: Large group presentations; small group discussions on key topics and issues related to educational leadership; role playing opportunities; case study analyses; Q&A sessions; and one-on-one interaction and advising with faculty.
Focus: The focus of the residencies is to prepare you for productive and successful Field Experience. Your time is structured to allow you to engage in professional discourse regarding questions and concerns about your Field Experience, as well as all other aspects of the Ed.S. in Educational Leadership and Administration program.
Days: Three (completed between course numbers seven [EDUC 7205] and nine [EDUC 7207])
Focus: Relating your Field Experience to the Minnesota Board of School Administrators Core Leadership and Principal Competencies.
For more information about how Ed.S. in Educational Leadership and Administration residencies enhance your academic experience, call 1-866-492-5336.
Field Experience is required and an integral part of this program. Field experience offers:
Your Field Experience spans 12 months and is worth a total of six credits. Time-wise, you will spend 240 hours at the school level of your primary teaching experience and 40 hours each at the levels in which you have not taught.
Duration: 320 hours or 40 eight-hour days across 12 consecutive months, or a full year, (begins after course number three (EDUC 7201) and ends at course number nine (EDUC 7207).
The pre-assessment and individual learning plan is a self-assessment of your current status in relation to the knowledge, skills, and dispositions of effective school leaders. You will have an opportunity to take stock of your ability to manage time and consider ways to more effectively juggle the demands of work, life, and your degree program. Through a series of steps, you will reflect on your current abilities; read current research; view video segments of national experts; participate in a case study focused on articulating the knowledge, skills, and dispositions of effective school leaders; and then envision the type of school leader you hope to become.
Timing: Completed during the first course, EDUC 7002 – Foundations: Educational Leadership and Administration.
A copy of the initial individual leadership plan will be added to your ePortfolio, and you will have an opportunity to revise this plan throughout the program as your understanding and expertise continue to grow.
Situational observations are your opportunity to demonstrate an integrated application of the Minnesota Core Leadership and Principal Competencies.
Timing: Two observations take place during your field experience. A third observation during Residency 2 will be based on a "simulated" situation involving a case study.
Graduates of this program will be prepared to:
For assistance in deciding which online degree program fits your goals, request information or speak with an enrollment advisor by calling 1-866-492-5336. A list of international toll-free phone numbers is available for students outside the United States.
© 2014 Walden University


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Harold Bauer – The complete recordings
APR7302 Download only
Paderewski – His earliest recordings
APR6006 for the price of 1 — Download only
Emil Gilels – Schumann, Beethoven, Liszt & Prokofiev
APR5663 Download only
In the Night
Studio Master: CDA67996 Best of 2014 Studio Master FLAC & ALAC downloads available
Percy Grainger – The complete 78-rpm solo recordings
APR7501 Download only
Vladimir Horowitz – The complete solo European recordings
APR6004 for the price of 1 — Download only
Book 1 No 1: Des Abends
Book 1 No 2: Aufschwung
Book 1 No 3: Warum?
Book 1 No 4: Grillen
Book 2 No 1: In der Nacht
Book 2 No 2: Fabel
Book 2 No 3: Traumes Wirren
Book 2 No 4: Ende vom Lied
The eight Fantasiestücke (there was originally a ninth piece, but Schumann omitted it from the collection and it was not published until 1935) do not form a unified cycle in the sense that Carnaval does. They were designed more for the drawing-room than the concert-hall, though writing to Clara Wieck on 12 February 1838 Schumann recommended individual pieces for public performance—in particular, 'Des Abends' and 'Traumes Wirren'. Curiously enough, he thought 'In der Nacht'—surely one of the very finest pieces in the series—too long for such a purpose. As for Clara, she confessed that her favourites were 'Fabel', 'Des Abends', 'Aufschwung', 'Grillen' and 'Ende vom Lied'.
Schumann divided the Fantasiestücke into two Books, each having its own tonal centre. Three of the four pieces in Book I are in D flat major. Significantly enough, the exception—'Aufschwung'—sets off as though it is to be in B flat minor, the closest relative among the minor keys to D flat major; and the first of its two contrasting episodes is actually in D flat. Not until the very end does the main theme at last cadence with deliberate abruptness onto the home chord of F minor.
'Des Abends' is among the most perfect and intimate of all Schumann's piano miniatures. Its smooth melody is syncopated throughout (it is the left-hand accompaniment that maintains the actual beat); and when it passes to the inner voice in the second half of the opening section, it undergoes a further shift in relation to the bar-line. The pianist playing this piece finds his thumbs interlocked virtually throughout.
Following the dramatic intensity of 'Aufschwung', with its upward-surging melody, the question posed in 'Warum?' seems to be of secretive innocence. The piece is much shorter and simpler than the remaining numbers, and could almost have been designed for Kinderszenen—the collection Schumann composed immediately after completing the Fantasiestücke. The end of its second half links back to its repeat, but it does not provide a real conclusion the second time through. Instead, the circular, repetitive nature of the closing bars leaves the music hanging in mid-air, as though on a genuine question-mark.
The melodic contour of 'Warum?' is taken over in the opening bars of the good-natured 'Grillen'—another piece that begins by approaching its home key obliquely. Schumann wanted it played with humour—a concept he later described (apropos his Humoreske Op 20) as being characteristically German—a happy combination, as he put it, of 'Gemütlichkeit' and wit.
Of the pieces in the second Book, both 'In der Nacht' and 'Traumes Wirren' unfold in a constant swirl of semiquavers—dark and intense in the former (though it has a warmer, more lyrical episode in the major), dazzlingly light in the latter. There are more cascading semiquavers in the middle section of 'Fabel', though for the rest this piece alternates a slow, smoothly expressive phrase (the 'once upon a time', perhaps, suggested by the piece's title) and a much quicker staccato idea. The final piece makes a return to the slightly pompous Biedermeier style of 'Grillen', and once again the pianist is instructed to play it good-humouredly. But the coda introduces a new element of poetry into the proceedings, and the nostalgic final bars echo the opening melody in slow-motion, and as if from afar.
from notes by Misha Donat © 2005


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Musanze Caves
- Details
- Last Updated on Wednesday, 04 December 2013 15:42
The Musanze caves offer in-depth understanding of geological history and development of the earth.
They are located in the volcanic region of Rwanda where different lava flow layers dating from 65 million years
ago have created the Albertine Rift Valley. The launched Caves are two kilometres long underneath.
The Musanze caves is the newest Rwanda touristic product. Moreover, there are still plenty of adventure to
be experienced in the area including the Buhanga Eco-park known for coronation of Rwandan former kings,
the panoramic view of the twin lakes namely Burera and Ruhondo, Karisimbi Volcano climbing, Bisoke Volcano
climbing, trek to Dian Fossey grave, golden monkeys trekking and the famous mountain gorillas trekking.
Volcanoes Destination Home
- Details
- Last Updated on Monday, 20 May 2013 10:50
The Volcanoes in the Volcanoes National Park
- Details
- Last Updated on Wednesday, 17 April 2013 11:20
Most of the volcanoes forming the magnificent Virunga Mountain range chain are dormant, except for Mount Nyiragongo at 3462m and Mount Nyamuragira at 3063m above sea level, in the DRC. The most recent eruptions date of 2006 and January 2010. The highest volcano is Mount Karisimbi with 4507m, with the oldest volcano being Mount Sabyinyo which lies at 3634m. Mount Bisoke, Mgahinga, Mikeno and Muhabura volcanoes are the other volcanoes within the Volcanoes National park. There is a crater lake, Lake Ngezi on Mount Bisoke.
Gorilla Permits FAQs
- Details
- Last Updated on Monday, 29 April 2013 10:00
Please find FAQs on Gorilla Permits and related answers.
Dian Fossey Tomb Trail
- Details
- Last Updated on Wednesday, 17 April 2013 11:22
The Mountain Gorillas survive thanks to Dian Fossey, a researcher who was buried at her research center alongside these mountain gorillas to which she dedicated her life. The trail leading to her tomb and Karisoke Research Center is a beautiful yet challenging 1 hour 45 minute hike up steep slopes where orchids, birdlife and even occasional mountain gorillas can be seen.


text: michael_jackson15560-225×300 By Bristol September 27, 2011 2:57 PM Share on Facebook Share on Twitter Category: Share on Facebook Share on Twitter More Leave a comment Send to a friend! Print this page Pin it! Reddit This! Share on Tumblr! More from K945 Take an Interactive Journey With Coldplay's New 'Ink' Video 14 Songs For Your Awkward Family Dinner These Cafeteria Rules Rule Drew Brees Pranks Walmart Customers Best of the Web


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Spivs and Sirens at Dolce & Gabanna
In stark contrast to Tom Ford's ethos of guarding the details of his new collection by only showing it to a handful of top fashion editors and forbidding them from reporting on it let alone taking pictures of it, the Dolce boys operate a policy of access all areas. The catwalk at their permanent show space at the old Metropole theatre in Milan is flanked by huge screens which live-stream the goings on backstage... models having their hair and make up done, Domenico picking out some last minute accessories, Stefano and the show stylist Tabitha Simmons checking that each model looks perfect before she steps on to the catwalk - facinating stuff. It meant that before the show even started we all knew that the collection was a play on the masculine/feminine theme that the pair have returned to many times over their career and that stars and musical notes were the prints of the season.
Model of the moment Arizona Muse (how could a girl with a name like that not be a star?) opened the show to the strains of Bowie and Jagger's 'Dancing in the Streets'. Dressed in knee-length trousers, a shrunken double breasted jacket and pork pie hat, she was followed by Candice Swanepoel - all va va voom in a lace panelled, star emblazoned second skin shift dress - and the spivs and sirens theme was set.
For the spivs, oversized double breasted jackets, skinny pants (often sequined) and fat ties ruled, with boyish brogues and braces completing the look. Meanwhile the sirens sashayed down the runway in sexy frocks cinched with skinny belts threaded with purses or small pouch bags (chic bum bags if you like) and accessorised with black ankle socks worn with point toe stilettos, structured lady bags and huge dangling star earrings. There was some cross-over; Chanel Iman wore a sparkling pink sheath dress with a mannish double breasted jacket, silver brogues and a pork pie hat perched on the back of her head.
The Dolce boys are always good for a picture perfect show finale and this one was didn't disappoint; the spivs and sirens streamed en masse onto the catwalk like a riot of monochrome to Bowie's 'Modern Love', it was the perfect end to a vintage Dolce & Gabanna show.
- Siobhan Mallen in


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Allegretto [8'17]
Blues: Moderato [5'20]
Perpetuum mobile: Allegro [3'57]
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|Alina Ibragimova (violin), Cédric Tiberghien (piano)
For both Debussy and Ravel, originality was important: Debussy's motto was 'toujours plus loin' ('ever further') and Ravel was fond of exclaiming about his own discoveries that 'personne n'avait fait ça' ('nobody has done that before'). If Ravel's Quartet is to some extent a homage to Debussy's, there are enough differences between the two works to make charges of plagiarism untenable. Similarly, whereas a superficial glance at the two men's violin sonatas of 1923–7 and 1917 reveals a pair of three-movement works in G major, they are in fact concerned with utterly different materials and techniques.
Ravel said that his aim was to explore the basic incompatibility of violin and piano, and this lends an uneasy quality to much of the music. The long melodic line that starts the first movement looks, on paper, 'romantic'. But Hélène Jourdan-Morhange, the violinist to whom he dedicated the sonata, felt it was suited rather to an oboe or a clarinet and spoke of the 'indifference' it requires. In any case it is soon interrupted by an angry, snapping little phrase in the piano's left hand—'You needed to hear Ravel, with his nervous fingers rather square at the ends, attacking this passage!'
In the central 'Blues', Ravel gave vent to his enthusiasm for jazz, as in the opera L'enfant et les sortilèges and the two piano concertos. He wanted the opening piano chords to sound like the plucking of metal strings and the instrument to maintain an implacable rhythm, against which the violin can indulge in freer slides and wailings. On his American tour in 1928, he used this movement to try and convince the critics that jazz was the way forward for American music, and couldn't understand why they insisted in regarding it as unrespectable. Possibly they were aware of the undertow of pain in the movement. If so, the unrelenting finale only confirmed that this was not a typical work of the Silly Twenties. An earlier version of this movement had been more lyrical but, according to Ravel, not right for the work … and so ended in the fire. The American audiences did not know that Ravel was paying them a compliment by way of emulating Edgar Allan Poe, who wrote of the climax to his poem The Raven: 'Had I been able, in the subsequent composition, to construct more vigorous stanzas, I should, without scruple, have purposely enfeebled them, so as not to interfere with the climacteric effect.' Are beauty and truth synonymous, as Keats maintained? Or can energy and virtuosity be enough? Whatever the answer, for Ravel, as for us, the apparently effortless confidence of the String Quartet must have seemed a long way in the past.
from notes by Roger Nichols © 2010
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Lieutenant Commander
Joined: 23 Feb 2010
Posts: 228
Posted: Thu Dec 08, 2011 11:19 pm
Post subject: phaser damage to plasmas
Where is the rounding on plasmas. Before totaling plasma damage or after totaling plasma damage.
suppose you are hit by a plasma S, and 2 plasma F's in their first impuse of launch. So you are hit by 70 points in defensive fire. IN defensive fire you shoot the S for 7 points of damage and each F for 5 points of damage. before halving the damage to the plasmas.
How much damage hits the shield S-27, and f-18 and f -18 total 63.
or s-26.5, f-17.5 , f-17.5 total 61.5 rounding to 62.
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Posted: Fri Dec 09, 2011 1:10 am
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Dal Downing
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Posts: 556
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Posted: Fri Dec 09, 2011 1:30 am
Post subject:
If all plasma struck the same shield during the same impulse then all 3 warheads fuse into one super plasma explosion (treat as one volley not three). The you total defensive fire is subtract from you total warhead yield.
So 70 - 8.5 = 61.5 rounded up to 62 points of damage hits your shield.
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Lieutenant JG
Joined: 12 May 2009
Posts: 64
Posted: Fri Dec 09, 2011 1:31 am
Post subject:
Phaser damage, as you mentioned, is applied where every 2 points of damage reduce the warhead by 1 point. So in your example of 7 damage to the S and 5 damage to each of the F Torpedoes your damage is 27 from the S and 18 from each of the Fs. However the extra point of damage to each torpedo is not lost between phaser shots or even impulses. If the damage from your example had been from offensive fire at the torpedoes from an allied ship and then on the next impulse the torpedoes impact there target then the target gets to take a shot at them during defensive fire. Let us say for the target fires 2 phaser-1 9 more points of damage to the S and 1 phaser-3 at each of the F torpedoes doing 4 an 3 points to each torpedo. The damage the warhead straight would then be:
S torpedo (impacts on impulse 2 so full strength) : 30 - (7+9)/2 = 22
F1 (impacts on impulse 2 so warhead at 16): 16 - (5+4)/2 = 12 (note you loss the extra point of damage)
F2 (impacts on impulse 2 so warhead at 16): 16 - (5+3)/2= 12
So unless shooting to many phasers at a torpedo might completely destroy it and waste damage it is always better to fire all phasers at 1 torpedo. Note that this is different than in SFB where you have pseudo-torpedoes. In SFB it can be smarter to damage each torpedo a little if there is a chance some of them might be fakes.
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Fleet Captain
Joined: 23 Sep 2007
Posts: 1967
Location: Devon, UK
Posted: Fri Dec 09, 2011 7:33 am
Post subject:
pmiller13's answer is comprehensive and correct.
If I might clarify for emphasis, each torpedo is a different target and is scored separately. Although, as Dal Downing says, the torpedoes do give a single volley on impact (and they would also be combined with any drones that impacted that shield in the same impulse too!), they do
form a single warhead. Each warhead is discrete and separate for defensive targeting purposes.
The same is true when the salvo of torpedoes is in flight - any fire from defending ships they fly past en-route to the target is scored against them as individual torpedoes. At no point do they merge into a single warhead, either before or after impact. Sure, they are balls of sloppy fluidic plasma which you might think would mix up fairly easily like a cake mix - but they do not and cannot merge; they are separate entities with separate 'magnetic containment bottles' (and incidentally this is what is damaged by the phaser fire).
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Posts: 3498
Location: Dallas, Texas
Posted: Fri Dec 09, 2011 5:10 pm
Post subject:
pmiller and Kang basically got it right.
Fundamentally, you need to keep in mind that a plasma torpedo never has "half a point of warhead". The rule says, "[f]or every two points of phaser damage, the warhead strength is reduced by one point." That means if a plasma has taken one point of phaser damage, it's warhead has been reduced by zero points, not a half point. A plasma that has teken eleven points of phaser damage has its warhead reduced by five points, not five and a half.
Also, phaser damage on a single plasma is cumulative, and you track phaser damage, not warhead reduction, for the life of that particular plasma torpedo. So, if a Pl-S torpedo takes 9 points of damage on one impulse, and 11 points of damage on a second impulse (both before it hits), then takes 7 points of damage in defensive fire, the the warhead (assuming no other reduction) will have lost (9+11+7)/2 = 13 points from its warhead.
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There was a side of Schumann that was lost in a subjective day-dream, but there was also a more ambitious part of his personality that planned his career to a fault: thus the lieder of 1840 were self-consciously followed by new chapters: the symphony in 1841 and chamber music in 1842. It is very clear that for all his altruism it mattered greatly to him how he was regarded by the outside world; the careful fostering of the Robert–Clara legend is evidence enough of this. If the works of the left-wing rabble-rouser Heine from Hamburg, and the Catholic Silesian Eichendorff were inspired literary choices on the part of the Saxon Schumann, a poet like Reinick seems like a literary choice selected to befit a composer who aspired to the status of a national figure, someone transcending the state boundaries that had so long served German art with such variety and distinction. Reinick's poems represented a more central, if rather anodyne and artificial, tradition in the same way that Disneyland's mythology and the castle of Cinderella may claim to represent the history of a United States without a history of his own. In hymning the Rhine and the Fatherland Reinick steps outside the time-honoured concept of the regional poet and provides lyrics for an emerging Germany that are much more generalized: this is not a real country (at least not as yet) but rather a concept—Germany united by cosy religiosity on the banks of the Rhine, the mighty river in itself symbolic of the nation and a source of legend. In this kind of fairy-tale land all is sweetness and light 'mit Lust und Liedern'; lovers always become wives, and the elves play their part in revealing to the poet that what he needs above all is a pure-of-heart German girl. Of course Reinick was not the only poet to write on these topics in this way, but his Gedichte had early success partly because of the appealing and atmospheric drawings that went along with them.
from notes by Graham Johnson © 2009


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Latest update : 2012-02-24
Afghan-US relations under strain
Thousands of Afghans have taken to the streets of Kabul for a second day, outraged after learning that copies of the Koran were burnt at a US airbase. Bagram detention centre is at the heart of the controversy, long despised by many Afghans and even described as Afghanistan's own Guantanamo. President Karzai has renewed calls for it to be placed under Afghan control. Following on from another recent incident with US troops, diplomatic relations are under increasing strain.


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In a superb location at the bottom of the main slopes, the Planibel Hotel is a popular choice for British skiers and its convenience and flexible accommodation make it ideal for families and groups. Guests at the hotel enjoy half-board at the in-house restaurant, spacious lounges including a piano bar, and excellent spa facilities.
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Everett Eugene Helmuth
Dec. 16, 2012
PLYMOUTH — Everett Eugene Helmuth, 51, of Plymouth died at his home of an apparent heart attack Dec. 16, 2012.
Surviving are his stepmother, Edna Helmuth, Bremen; brothers, Lyle (Betty) Helmuth, Shipshewana, Wayne (Erma) Helmuth, Bremen; and sisters, Rose (Dannie Ray) Bontrager, Shipshewana, Lynette (Arlin) Bontrager, Goshen.
Visitation is after 2 p.m., Saturday at the family residence (3055 Birch Road). Funeral services will be at 9:30 a.m., Sunday at the Dennis Hochstetler residence (2735 Birch Road). Burial will be in Weldy Cemetery.
Verla Marie (Greenawalt) Gill
Jan. 17, 1929-Dec. 26, 2012
CULVER — Verla Marie (Greenawalt) Gill, resident of Jemison, Ala., died of natural causes in association with a long battle with Alzheimer's, at Miller's Merry Manor in Culver, at 12:03 p.m. Wednesday, Dec. 26, 2012, with family by her side.
Harold Walter
April 10, 1925-Dec. 27, 2012
TIPPECANOE — Harold Walter, 87, who was a resident of rural Tippecanoe, passed away unexpectedly Thursday, Dec. 27, 2012 at Kosciusko Community Hospital.
Harold was born to William F. and Naomi Sims Walter on April 10, 1925 at Valparaiso. He was joined in marriage to Irma "Sally" DeWitt on Nov. 6, 1949.
Herbert Kline
Aug. 18, 1922-Dec. 27, 2012
BREMEN — Herbert Kline, 90, of Bremen, passed away Thursday, Dec. 27, 2012 at his home. He was born Aug. 18, 1922 to Melvin and Arvilla (Rector) Kline in Union Township. Herbert married Frieda F. Weil on Jan. 6, 1942.
Herbert was a member of St. Paul's Lutheran Church in Woodland. He enjoyed fishing, playing cards, and watching the Colts and the Cubs play. He also loved spending winters in Texas.
PLYMOUTH — Plymouth's American Legion Post 27 Diamond Spyders had their annual banquet Thursday evening and honored a group of "team" members that never miss a game.
The Honor Guard of Post 27 was given a special commendation by the State American Legion Baseball organization for their service to the Plymouth program and to the American Legion in general. Plymouth's honor guard presents the colors at every legion home game at Bill Nixon Field in a manner unlike any other.
Boys basketball
Pike powers Bremen at Banker's Life Fieldhouse
Ethan Pike poured in 35 points, and Bremen edged out Fairfield in overtime to win its match-up with Fairfield at the Banker's Life Fieldhouse in Indianapolis Friday, 58-54.
Jacob Box scored 12 behind Pike's game-high 35 for the Lions, who won their third straight to move to 4-3 on the season.
Fairfield was led by Garret Scott's 21 and Brad Lantz's 17 and slides to 4-5.
• BREMEN 58, FAIRFIELD 54 OT
At Indianapolis
Score by quarters
Bremen: 11 23 31 47 58
Fairfield: 13 22 30 47 54
Verla M. Gill
Dec. 26, 2012
CULVER — Verla M. Gill, 83, of Culver died Dec. 26, 2012 at 12:03 p.m. at Miller's Merry Manor, Culver.
Visitation will be Monday, Dec. 31, 2012 from 1 to 3 p.m. at Van Gilder Funeral Home. Funeral will follow at 3 p.m. Monday at the funeral home.
Burial will be at New Oakhill Cemetery, Plymouth, on Wednesday, Jan. 2, 2013 at 2 p.m.
Van Gilder Funeral Home is in charge of arrangements.
Thomas Millard Morton
Dec. 18, 2012
ARGOS — Thomas Millard Morton, 70, of Argos died Dec. 18, 2012 at 1:14 p.m. at Saint Joseph Regional Medical Center, Plymouth.
Ross Divine, owner of Gun Town in Grovertown, said he's been selling more guns since the day of the Newtown, Conn. tragedy.
"Sales are up about 500 percent," said Divine Thursday, less than three weeks after the Newtown shooting. "The day of the shooting, that Friday, sales went up. It's connected with the publicity surrounding gun control, not so much the shooting at the school."
Divine said that customers are purchasing guns in fear that they will be banned by the government.
ARGOS — Argos' girls basketball team overcame some early tournament jitters and ball handling problems to hand visiting West Central a 52-38 loss in the Winter Classic at home at Phil Weybright Gymnasium Thursday night.
Out point guard Jami Patterson, the Lady Dragons struggled bringing the ball up the floor against the Lady Trojans' fullcourt press with 10 turnovers in the first frame.
ARGOS — The Argos Dragons dropped the opening round game of the Winter Classic to the West Central Trojans 50-44 in overtime Thursday.


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Originally written on Fangraphs | Last updated 11/20/14
All offseason long, there were questions regarding whether or not the Yankees had done enough. The Yankees, understandably, have been confident in themselves, but the media has expressed its share of doubt. That was with the Yankees as previously constructed. Now the Yankees are constructed di...
PLAYERS: Curtis Granderson, Juan Rivera, Matt Diaz, Brian Cashman, Mark Teixeira, Mariano Rivera, Jason Spezza, Erik Karlsson, Melky Mesa, Zoilo Almonte, Thomas Neal, Adonis Garcia, Ronnier Mustelier, Johnny Damon, Bobby Abreu, Scott Podsednik, Alfonso Soriano, Michael Bourn, Nelson Cruz, Jose Tabata, Casper Wells, Jason Bay
TEAMS: New York Yankees, Ottawa Senators, Cleveland Indians, Los Angeles Dodgers, Boston Red Sox, Chicago Cubs, Texas Rangers, Pittsburgh Pirates, Seattle Mariners
TEAMS: New York Yankees, Ottawa Senators, Cleveland Indians, Los Angeles Dodgers, Boston Red Sox, Chicago Cubs, Texas Rangers, Pittsburgh Pirates, Seattle Mariners
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text: Agreed. So, in conclusion I agree with the armor potion idea. The defense+, Stam+ gem idea It's not so much for me hitting a socket bonus but getting the most from my gear. As Cataclysm comes closer I think tanks will realize that the days of straight armor, defense isn't half bad of course with the addition of dodge and parry (Who thinks parry should reflect spells? I do). If it was a competition of how much HP I could get I would re-roll which I won't do. Thanks for the help.


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Sunnery James and Ryan Marciano at Marquee Nightclub.
Guests are required to bring a printed copy of the e-mail confirmation, a valid photo I.D., and the credit card with which the ticket was purchased to the Box Office located at the level one door to obtain tickets. The door reserves the right to decline entry of any guest not in proper dress code. Marquee reserves the right to decline entry due to capacity issues. Visibly intoxicated guests will not be admitted to the venue. Marquee is a 21 venue. No minors admitted.


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Hughes AE et al. – These findings suggest the importance of emotional processing and self–control for health outcomes in adolescents with diabetes.
Hughes AE et al. – These findings suggest the importance of emotional processing and self–control for health outcomes in adolescents with diabetes.
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Day Off, Buenos Aires
Managed a good nights sleep in my shiny new room (identical to my previous one but an exact mirror image which is most weird. I keep walking into walls when aiming for the bathroom, etc). Spent the morning in the room working on show stuff and putting some thought into some longer term ideas about future U2 tours. This sounds a bit dramatic, but theres no better time to discuss live shows with the band than when we are in the thick of a tour. Right now its a very real, tangible subject, rather than the vague memory that it will be by the time we start the design process for the next time round. Ive no idea where well head next, but its interesting to think about, so I may as well make the most of having access to the whole band every day.
Spent the afternoon in another meeting discussing the forthcoming TV and film shoots, before finally escaping from the hotel and managing a stroll to the local park. It was a beautiful sunny Saturday afternoon and whilst weve been running round in ever decreasing circles, it seems that the rest of the world has been having itself a pleasant weekend. The park was busy, with a guitar player entertaining a recumbent audience and lots of little arts and crafts stall selling a familiar selection of homemade goods with a local slant. It was very very nice to get out.
Come 8pm or so the concept of dinner reared its head and I felt like it was time to make the effort to find a different part of the city. Ive been here for days and have barely left the block where the hotel is situated. Got a tip to find the Placa Dorengo in the San Telmo district that, I was told, had walking streets and typical restaurants, which sounded pretty on the money. Allen and I went by ourselves first of all, later being joined by some of the film lighting crew. Our contact had not lied to us, as Placa Dorengo turned out to be a small beautiful old square of picture book quality. We strolled around a bit and found a whole load of quaint looking places, plus some carnival activity, but in the end settled for the little place in the corner of the square and found a table outside. The square was very quiet as it was still early by Buenos Aires standards, but there was no shortage of fine food and vino tinto so we just got on with it.
Our companions arrived about 10ish, by which time things were livening up. A small band appeared in the square and before long a couple were tango-ing their feet off on a makeshift dance floor by the bandstand. The square was getting busy, as were the cafÈs and we could see through one of the cafe windows a couple tangoing on a table. It was a beautifully warm and still night and eventually, along the little sidewalk, a few other couples began practicing their steps. It was all overwhelmingly charming and hard not to feel like we were sitting on a film set. Here we are in Buenos Aires, where people really do tango in the streets. I think we all felt the absence of our respective better halves more keenly than usual, as this was a magical place and very much the kind best shared.
By 1am the place was really starting to get going, but we bailed as some of us have an early start in the morning. Ive bookmarked the Placa Dorengo though, and have a feeling Ill be back here before the weeks out. I have such great memories of tango in Buenos Aires from the PopMart tour when 20 of us took lessons from the very brave Delores, who dared to attempt to teach a road crew to dance. Her partner Juan turned out to be something of a name in tango clubland and took us to a few fabulous places. Sadly however, we have not been able to trace Juan and Delores this time round. I tried Google, but searching for tango lessons in Buenos Aires is like doing a search for taxis in Manhattan, so it seems were out of luck. Maybe theyll come to the gig and find us, you never know
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