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Pull up a chair, sit back and relax because that gorgeous Gothic Geisha, Annie is here to put on a spectacular erotic show for your pleasure!
A great lover of fashion and exquisite lingerie Annie takes you on a journey through her extensive wardrobe of sexy items! From pink fishnet pantyhose to see-thru lace body stockings and then to silk corsets pulled tight – Annie is one of those girls who just loves to dress to tease!
And you get to enjoy the view as she dresses and undresses, all the while showing off that perfectly petite body in her usual uninhibited style…
Sensual, flirtatious and ultra-hot – enjoy a private audience with Annie!
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Art prints & frames, handmade in England since 1982
Here you'll find masters of Modernism, with Klee, Kandinsky and Mondrian featuring heavily. Abstract geometric prints make a bold statement and provide the ideal centrepiece to a modern interior. These artworks are often minimal, with a focus on colour and contrast, so even the largest prints won't clutter a room.


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Something Wagging This Way Comes
An Amateur's Musings on Dogs and Their People
I'm a dog-crazy gal who loves pondering the amazing bond between humans and canines. It's all about the relationship. Read More…
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A Taste of the Good Life on Lake Las Vegas
Ravella at Lake Las Vegas • Henderson, NV
Escape Kit
- A One-Night Stay for Two in an Upgraded Lake View King or Double Room ($79)
- Or, a One-Night Stay for Two in an Upgraded Lake View King or Double Room with a $100 Spa Credit and a Glass of Champagne for Two ($149)
- Included Valet Parking
- Combine Unlimited Vouchers to Extend Stay
The Destination
Fifteen minutes from the electric Las Vegas strip, peace and quiet are the headliners and scenic lakeside views the jackpot when you make an Escape to Lake Las Vegas. With reflections of the Sierra Nevadas dancing on placid blue waters and lush golf greens and verdant palm trees permeating the grounds, this man-made paradise is a veritable oasis in the desert.
The Digs
Located on a colorful, cottage-dotted coastline, the Italian-style Ravella at Lake Las Vegas is a sure bet when it comes to opulent accommodations. Fluffy feather beds, overstuffed pillows, rich mahogany furniture, and marble bathrooms befit a centuries-old Italian estate—but that Old World charm comes with modern perks like free Wi-Fi, flat-screen TVs, included valet parking, and lake or desert views.
The Diversions
Let mangia be your mantra on this Escape. Arrive in style with a cocktail and then sit down for dinner at the Firenze Lobby or, during the warmer months, the poolside Lagoon Bar & Grill. Savor breakfast or lunch at Medici Café, where each dish is freshly made from ripe, juicy, and local produce. Indulge in a little me-time at the The Spa at Ravella for a massage or other body treatment, or tee off on the private SouthShore Golf Course's rolling greens. MonteLago Village's Tuscan villa-style shops offer numerous outlets for retail therapy; and, for a night on the wild side, the neon-lit Las Vegas Strip just 15 minutes away.
"349: That's the number of suites and rooms at Ravella. And while the resort has several resorty touches, like a spa and golf, the lakey aspects include kayaking and canoes. Something about sinking an oar into the waves 17 miles off-Strip pleases."-- NBC Southern California
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- Airfare not included
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Used Surfboards
Rider Shack has a great selection of used surfboards. We have boards to meet any budget and stock used surfboards for surfers of all skill levels. Our used surfboard list is changing frequently so be sure to check back or give us a call if you don't see what you need. Be sure to check out our used surfboard buyer guide so you can get a great board for a great price.
Buying a used surfboard can be a great way to save some money and help get you into the sport of surfing. It can also be an affordable way to upgrade your equipment without too much of a dent to your pocket book. Used surfboards come in all shapes, sizes and conditions. We have tried our best to create a rating system to help you choose the right used surfboard based on your needs.
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SANS GWAPT Exam?
I'm responsible for working with developers and scanning websites at my job with external vulnerability scanners.
My question is that I'm not a "developer" and would taking the GWAPT test be way too over my head? I recently passed the GCIH exam and wanted to take something that would give me a better understanding of XSS, SQL injection, etc.


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Thu, Jul 28, 2011 at 9:18 AM
continued lmaooooo
is it that yall want me to be w/a particular person so u chase everyone else off? i need everyone of yall to comment on this! and don't FRONT either. ;) and if so, who is this MYSTERY MAN? I'd like to know barbz. -_-


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96" Regency Upholstered Sofa
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The Regency period, a hybrid of neoclassical, Indian, and Chinese design, was 19th-century Britain's escape from the everyday. We salute Regency style with our upholstered reproduction of the classic sofa, inspired by the refinement of the period and bestowed with neoclassical scrolls at arms and back.
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Communion with Nature in Central Oregon
Lake Creek Lodge • Camp Sherman, OR
Escape Kit
- A Two-Night Stay in a Cabin for Two People, Sundays through Thursdays ($135) or Fridays and Saturdays ($165)
- Or, a Two-Night Stay in a Cabin for Four People, Sundays through Thursdays ($195) or Fridays and Saturdays ($225)
- Combine Vouchers to Stay Up to Four Nights
The Destination
When central Oregon's wheat farmers desired a quiet mountain vacation at the turn of the 20th century, they traveled to the cabins of Lake Creek Lodge, set on the Metolius River in the thick of the 2.6-million-acre Deschutes National Forest, home to more than 1,600 miles of hiking and biking trails. While a lot has changed since those first visitors cast a line in the river, the sentiment remains the same.
The Digs
Turn off technology and cue up the sounds of rustling leaves, curious birds, and a meandering creek outside your door. Several of the cabins still stand from resort's early days, and most are pet friendly. Cook up a feast in your fully furnished kitchen and eat at the table on your screened porch. After stories are told and plates are cleared, play a friendly game of pool or ping-pong at the lodge. Later, doze off with a book by the lodge's fireplace, then whip up a homemade meal in your cabin. Or, hit the lodge for homemade soup, bread, and pastries, plus a cup of joe from the espresso bar.
The Diversions
• Hiking and biking in the Deschutes National Forest
• Fishing on the Metolius River
• Skiing at Hoodoo Mountain Resort
"We biked, hiked, fished, swam, slept, and had wonderful family time. I loved that there was no phone, TV, or Internet in our cabin. It slowed us down and encouraged us to really be together. Now we understand why people have returned to LCL for decades."-- TripAdvisor
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- Other conditions apply • PAID AND PROMOTIONAL VALUES EXPIRES ON April 30, 2013 • PAID VALUE DOES NOT EXPIRE • PAID VALUE EXPIRES ON April 30, 2018 • PROMOTIONAL VALUE EXPIRES ON April 30, 2013 • Enjoy By April 30, 2013
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Omelet Station
Chef preparing fresh omelets with choice of Ham, Peppers, Onions, Tomatoes, Mushrooms, Spinach, Cheese Eggs Prepared to Order
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The 'big guns' of Culture Warriors
Through their art and culture, the artists in Culture Warriors: National Indigenous Art Triennial tell the stories of their communities in an incredible diversity of 'voices' – humble, venerated, spiritual, customary, poignant, satirical, political, innovative and overt. Among the thirty-one artists featured in the Triennial, a core group of dedicated and significant artists deserve singular focus. Jean Baptiste Apuatimi, Philip Gudthaykudthay, John Mawurndjul, Wamud Namok and Arthur Koo'ekka Pambegan Jr are fêted through major installations of their work in the exhibition, and through essay contributions in the accompanying exhibition publication. Colloquially referred to as 'the big guns', their respective careers span the four decades since the 1967 Referendum (Aboriginals). Culture Warriors ensures that their work is seen and celebrated during their lifetime.
Jean Baptiste Apuatimi, the only female artist in 'the big guns', is a Tiwi elder whose traditional name is Pulukatu (female buffalo) and dance Jarrangini (buffalo). Apuatimi began working as an artist alongside her husband, acclaimed Tiwi elder and artist, Declan Apuatimi (1930–1985). Earlier this year, Jean talked with Angela Hill, Art Centre Co-ordinator at Tiwi Designs, about her art and culture:
My name is Jean Baptiste Apuatimi. I am a painter. My husband Declan Karrilikiya Apuatimi taught me how to paint. I love my painting, I love doing it ... Now I am doing that. Painting makes me alive.1
Apuatimi learnt by assisting her husband with his art-making and had her first solo exhibition in 1991. She has created a striking series of large canvases especially for Culture Warriors, which include figurative representations of tutini and pukumani objects, and body painting. A tiny figure, she nonetheless has a powerful presence, accompanied by a wicked sense of humour, declaring herself 'a famous artist now', through her inclusion in Culture Warriors.
Philip Gudthaykudthay, one of the last conversant Liyagalawumirri speakers, was born c. 1925 and is a senior custodian of the Wagilag creation narrative. Gudthaykudthay's totem is Burruwara, the native cat, which has seen him endowed with the nickname of 'Pussycat'. In 1983 Gudthaykudthay was the first Central Arnhem Land artist to have a solo show at a contemporary gallery, Garry Anderson Gallery in Sydney, making him possibly the first Aboriginal artist in Australia to hold a solo exhibition in a contemporary artspace.
Although consistent in his artistic output, since being awarded an artist fellowship from the Aboriginal and Torres Strait Islander Art Board in 2006, his creative well-spring has been replenished, and he has produced a magnificent series of badurru (hollow logs) for Culture Warriors in his characteristically elegant and spare miny'tji (clan body design) and rarrk (cross-hatching), quite distinct from the larrakitj and lorrkon from Yirrkala and Maningrida, respectively.
I'm botj [boss] here. Ramingining … Me, number one painter … Right up from painting, Milingimbi, Ngangalala, Ramingining, Maningrida, now come here, Ramingining. Stop here. Number one painter here. Bark, finish 'im up here; canvas, finish 'im up here. Hollow log. All painting here. Me, number one.
John Mawurndjul is a member of the Kurulk clan of Kuninjku-speaking people of Western Arnhem Land. He is without doubt the most renowned Kuninjku artist working today, with an international reputation and lauded as a 'maestro' by former French president Jacques Chirac at the opening of the Australian Indigenous Art Commission for the newest Parisian museum, Musée du quai Branly, in June 2006.
My work and my rarrk (cross-hatching) have changed a lot since I started painting a long time ago [late 1970s]. That was with my brother [Jimmy Njiminjuma] and together, we have changed the rarrk and started to paint in a new style. We are new people … Now, I concentrate on painting important places, my land, my djang [sacred places]. I paint the power of that land … I keep thinking, I keep finding new ways, new styles for my paintings. I just can't stop thinking about my paintings.
Mawurndjul's representations of Mardayin and sites associated with his traditional country of Milmilngkan – on bark and hollow logs – have become increasingly refined in his expert use of rarrk. Mentored and inspired by great classical Kuninjku artists such as Peter Marralwanga (Mawurndjul's wife, Kay, is Marralwanga's daughter and an artist in her own right) along with Yirawala and his elder brother Jimmy Njiminjuma, Mawurndjul's artistic and cultural mastery was acknowledged when he was awarded the Clemenger Contemporary Art Award in 2003, and honoured in the solo exhibition Rärrk: John Mawurndjul journey through time in Northern Australia at the Museum Tinguely, Basel, in 2005.
Wamud Namok is rightly acknowledged as one of the most learned elders of the Arnhem Land escarpment known as 'Stone Country', and is the last of the painters of the magnificent rock art galleries of the region; his final work, a simple, dynamic kangaroo and hunter in white ochre, was created in 2005. From the Kundedjnjenghm people, Mok clan, Wamud Namok was born c. 1926 at Kukkulumurr, Western Arnhem Land, and, as his name suggests, his elevated, graceful physique was often seen traversing the length and breadth of Arnhem Land in his early adult years.
Now residing at his outstation at Kabulwarnamyo, Bardayal paints sparingly, passing on his traditions to his grandsons, who sit quietly watching him as he paints. Although his hand is now somewhat unsteady, his great skill as an 'old-style' rock art painter is evident in the stunning barks and works on paper which have been secured for Culture Warriors. Bardayal may scrape back some of the ochre pigments on the bark canvases or paper sheets when dissatisfied with a particular line, but the stature of his figures – creation beings and totemic animals – remains unchallenged. Whereas Mawurndjul continually works on refining his sublime rarrk, filling the entire surface of his canvas, Bardayal's painting reflects a fidelity to his cultural traditions, with the figurative elements reigning supreme.
Arthur Koo'ekka Pambegan Jnr is one of the most respected Winchanam ceremonial elders in Aurukun, a community based on the western side of Cape York Peninsula in far north Queensland. Pambegan Jnr comes from a family of great standing in the community, learning his cultural traditions through his father, Arthur Koo'ekka Pambegan Snr (also an artist and cultural activist of great renown) who was among the first of the Wik-speaking people to live at Aurukun, a mission established by the Moravians at Archer River in 1904.
I'd just say … I WON'T STOP DOING IT. This belong to all of us. We share it together … we share our culture and you sharing your culture. The culture, what you see in the carvings, in the body painting, what you see in the canvas, they more important, because this is the way we are, not going to lose it.
Pambegan Jnr is known for his wonderful sculptural installations of ancestral stories, Bonefish Story Place and Flying Fox Story Place. The distinctive art of Aurukun – trademark body-paint design worn by performers in a set of horizontal stripes, alternating red, white and black2 – has also enjoyed a gradual move into the art market in the past twenty-five years, with younger artists encouraged by elders such as Pambegan Jnr. He is equally renowned for his skill and acumen as a ceremonial dancer and leader. Culture Warriors presents the first works on canvas by Pambegan Jnr alongside his installations.
It has been a great honour to work with such inspirational artists and cultural activists, whose work and lives inspired the title of the inaugural National Indigenous Art Triennial.
Brenda L Croft
Senior Curator, Aboriginal and Torres Strait Islander Art
Curator, Culture Warriors: National Indigenous Art Triennial
1 From an essay with Angela Hill, 'Jean Baptiste recorded this introduction in Tiwi at Nguiu, Bathurst Island, on 3 February 2007 which was transcribed and translated by Margaret Renee Kerinauia'.
2 Peter Sutton, essay for the exhibition catalogue accompanying Culture Warriors.
Vernon Ah Kee
Born in North Queensland, Ah Kee is of the Kuku Yalandji, Waanji, Yidindji and Gugu Yimithirr peoples. He has been living in Brisbane for over twelve years. His art is primarily a critique of Australian popular culture, specifically the Black/White dichotomy. Over five years he has tailored text as the visual. Humour, biting and black, aerates the slogans which otherwise might miss their target in the Australian audience and rebound on the artist in an angry and depressing squalor. As it is, the signs are profoundly beautiful, pithy and poetic, while hitting hard.
Vernon completed a Bachelor of Visual Arts (Hons) at the Queensland College of Art, Griffith University, Brisbane, majoring in drawing and screenprinting. He is an Associate Lecturer and is currently completing his Doctorate of Visual Arts at the Queensland College of Art.
Jean Baptiste Apuatimi
Jean Baptist Apuatimi was born on Bathurst Island, one of the Tiwi islands, c. 1940. Her mother and father's country is Marlawu and her skin group/moiety is Japajapunga (March fly). Her Dreaming (dance) is Jarrangini (buffalo). Apuatimi works primarily in ochres (natural earth pigments) on canvas, paper and bark. She also carves wood sculpture.
The Apuatimi family are renowned Tiwi painters, printmakers, ceremonial singers, dancers and sculptors. Declan Arakike Apuatimi, who lived at Nguiu, Bathurst Island, was one of the most acclaimed exponents of Tiwi visual arts and a revered singer and dancer. The development of his distinctive, smaller and more realistic carvings for a non-Aboriginal audience occurred in the 1950s. A highly regarded carver, his work included figurative sculpture, fine ceremonial ornaments, spears and clubs. Declan's widow, Jean Baptist works on bark, and has become a significant artist of her generation.
Destiny Deacon was born in 1957 of K'ua K'ua and Erub/Mer peoples in Maryborough, Queensland. She completed a Bachelor of Arts (Politics) at The University of Melbourne in 1979 and a Diploma of Education at La Trobe University, Melbourne in 1981, after which she commenced working as a history teacher. She began taking photographs in 1990 and first exhibited her work that same year. Deacon held her first solo exhibition, Caste Offs, at the Australian Centre for Photography, Sydney in 1993.
Deacon has since exhibited extensively in both Australia and overseas, including participation in the exhibition Mistaken Identitites as part of Africus, the inaugural Johannesburg Biennale in 1995. Deacon also works with video, and is a writer, broadcaster and performer. She was raised in Melbourne, and lives in Brunswick, where she works from her living room/studio.
Virginia Fraser is an artist and writer. Originally trained as a newspaper journalist, she went on to obtain a BA in Fine Art (Media Arts) from Phillip Institute of Technology, Coburg and Bundoora, Australia, and an MA in Fine Art from the Victorian College of the Arts, Melbourne. Her involvement with experimental and art film as a viewer, writer, curator, and then as a maker, began in the late 1970s. Works produced in the 1980s include: 'An Ordinary Day', and 'What is Success?' (with Dianne Duncombe), and 'How to Make a 35mm Film'. Since 2000, she has been working with light and objects to alter empty, partly empty, and furnished spaces in public and semi-public places.
A more than decade-long working relationship between Destiny Deacon and Fraser has produced, among other things, several collaborative videos, including: 'Jump (1999); 'Forced into images' (2001); and 'Matinee' (2003).
Julie Dowling was born in Subiaco, in Perth, Western Australia in 1969. She has risen to increasing artistic prominence since her graduation from Perth Metropolitan TAFE with an Associate Diploma in Visual Arts Management in 1995, and a Bachelor of Fine Art from Curtin University in 1992.
Dowling's first showing in the eastern states was at Boomalli Aboriginal Artists Co-operative in the group exhibition On a mission in 1995. Her work draws on the traditions of oral history and she has taken on the role of collating and documenting family and community history in portraiture. Dowling's artwork is somewhat unusual in contemporary Indigenous visual art in that it consists of portraits of family and community members, painted from life and imagined via the conduit of stories handed down through the generations.
Treahna HAMM
Treahna Hamm was born in Melbourne and grew up on the Murray River in Yarrawonga 150 km from where her Koori family lived. Sensitivity to the land is intrinsic to her identity and people, the Yorta Yorta. Her work appears in collections around the world and she has lectured and practised throughout the US, Europe and Australia.
Treahna is currently completing a PhD at RMIT University entitled "Reconnecting with Family" Exploring Individual and Community Stories
Through Narrative and Artwork".
Gordon HOOKEY
The bold paintings and mixed media installations of indigenous artist Gordon Hookey are overtly political and provocative, utilising iconic Australian imagery juxtaposed with quick wit and scathing humour to comment on the meeting of Aboriginal and non-Aboriginal Australian cultures. Presented in an explosion of raw emotion and frustration, Hookey brings to the foreground a number of historical and contemporary political issues, from deep seeded matters on Indigenous injustices, to the war in Iraq, the relationship between Australia and other Western Countries, immigration, and federal politics.
Hookey's brightly coloured canvases are inspiring in their spirit. Rich in visual puns and wild political cartoons, they explore those issues and questions that are current in contemporary society, 'screaming loud what people are whispering.'
Born in 1961 Cloncurry, Queensland, Hookey is of the Waanyi people.
John Mawurndjul
Kuninjku bark painter and sculptor, John Mawurndjul, was born in 1952 at Mumeka, an important camping site for members of the Kurulk clan on the Mann River. He grew up at Mumeka and surrounding seasonal camps with only sporadic contacts with non-aboriginal people. In the late 1970's he was tutored in painting by his elder brother Jimmy Njiminjuma and uncle Peter Marralwanga, from whom he learned to use rarrk, the cross-hatched infill, in new and innovative ways. During the late 1980's he started to produce large and more elaborate paintings with complex arrangements of figures, rapidly capturing the attention of critics and winning the Rothmans Foundation Award for best painting in traditional media at NAAA and the first prize at the Barunga Festival Art exhibition in 1988.
More recently, in 2000 his work was featured at the Sydney Biennale and in 1999 and 2002 he won the bark painting prize at the Telstra National Aboriginal & Torres Strait Islander Art Award. He was awarded the prestigious Clemenger Contemporary Art Prize in 2003. More recently, he worked on a major commission for the new Musee du Quai Branly that opened in June 2006, his work featuring as an integral part of the architecture. He is today influencing other Kuninjku artists to paint in his style and creating a whole 'school' of artists, leading an exciting and contemporary Australian art movement.
Danie Mellor was born at Mackay in 1971. He currently lives in Canberra and teaches in print-media and drawing at the Canberra School of Art, Australian National University, where he is completing a doctorate. His art centres on the rainforest area around Cairns. This region is home to his mother's family and holds a spiritual and cultural significance for him.
In his printmaking Danie Mellor has mostly used the technique of mezzotint. This process allows subtle gradations of tone and detail and was discovered around the mid eighteenth century. This coincided with colonial settlement in Australia when many of the local plants and animals were illustrated by botanists such as Joseph Banks. In his colonial-style prints Danie Mellor subtly reclaims the landscape by juxtaposing images of native and introduced flora and fauna — for example, a kangaroo with a bull — to symbolise two different peoples and cultures.
More recently Danie Mellor has explored sculptural media, making metal shields and a series of ceramic dogs. The shields are constructed of reclaimed steel and are decorated with contour land maps which resemble the totemic designs of traditional wooden shields and body painting.
From http://www.visualarts.qld.gov.au/storyplace/artist_mellor.htm
Born on Badu Island in 1973 Dennis Nona was taught the traditional craft of woodcarving as a child. As an adult, the artist has developed this skill to create incredibly intricate and beautiful linocuts, etchings and sculptures.
The artist holds a Diploma of Art from Cairns TAFE, a Diploma of Visual Arts in Printmaking from the Institution of Arts, Australian National University, Canberra and is currently completing an MA in Visual Arts at Queensland College of Art, Griffith University, Brisbane.
Nona has documented with his linocuts the ancient myths and legends of his island and the wider Torres Strait that had previously been transmitted by oral story telling and dance. Today they are central to a cultural revival and elders now refer to them to help them to relate ancient stories to others. These were fast fading from common knowledge and being lost to new generations of Islanders.
Arthur Koo'ekka Pambegan Jr was born in 1936 in Aurukun on the Western side of Cape York in Far north Queensland. His language is Wik-Mungkan and his ceremonial group is Winchanam. Some of his totems include: Walkalan-aw (Bonefish Story Place), Chicharrak (Willy Wagtail), Tiin-tiin (Peewee), That (Green frog).
Arthur Pambegan Jr continues to live at Aurukun on Cape York Peninsula and is a senior member of the Wik-Mungkan language group and an Elder of the Winchanam ceremonial group. He was taught to carve by his father Arthur Pambegan Snr.
Christopher Pease was born in 1969. He is descended from the Minang people of the Denmark area on the south coast of Western Australia. The Minang are part of the Nyoongar nation. He is the first child in his family in five generations to be raised by his biological parents. His mother, Sandra Hill and brother, Ben Pushman, are also noted artists.
Pease studied graphic design at Perth Technical College in the late 1980s and began work as a designer on The Independent Aboriginal Newspaper. In recent years Pease has been teaching art in the Contemporary Aboriginal Art course at Curtin University of Technology and local TAFE courses in Perth.
Pease's work is concerned with Indigenous heritage and identity, particularly in relation to Nyoongar culture. He has spent considerable time researching the visual language and iconography of his people. Pease also focuses on contemporary Nyoongar and broader Indigenous identity and the ongoing impact of non-Indigenous culture on Nyoongar culture from the earliest days of contact in the early 1800s until the present day. A significant reference in his work is the Waugyal (large serpent), an Ancestral being of high regard in Nyoongar cultural beliefs.
Elaine Russell, from the Kamileroi language group was born in Tingha, northern New South Wales, in 1941. She spent her childhood in La Perouse, Sydney and later, on the Aboriginal mission at Murrin Bridge with her family. In 1993, Russell enrolled in a visual arts course and was able to realise her lifelong ambition to be a painter. Her work has been exhibited in museums and galleries around the world.
At about age 12, Russell entered the local art competition and won first prize of a trip to the Philippines. Her mother refused to allow Russell to go, fearing that it was part of the government assimilation policy to have her daughter removed from the family. Russell can remember children 'disappearing' from the Murrin Bridge Mission, never to be seen again.
Russell's colourful animations of life at the Mission in the 1950s dominate her work and illuminate her childhood experiences showing everyday activities like playing, camping, gathering bush foods and mission management that her family experienced. The Lachlan River features strongly in her works and show how important the river was to the people at the Mission and how it was used. Her works show a happier side to Mission life that are often held in the memories of those who lived there and not often exposed to the greater public.
Christian Thompson
Born in 1978, Gawler, South Australia, Christian Thompson is one of Australia's leading conceptual installation artists. He is a Bidjara man of the Kunja Nation from southwest Queensland and is also of German Jewish heritage. His mother's family is from Gundagai in New South Wales. Christian spurns historical classification: "my work like myself is in a constant state of flux".
Christian's work relies heavily on the relationship between objects, space and history. His work has been shown both nationally and internationally and is held in the National Gallery of Australia Collection, the National Gallery of Victoria Collection and the Aboriginal Art Museum Collection in the Netherlands. His work has been exhibited extensively internationally in Thailand, Netherlands, Finland, Singapore, Canada, France, Italy and New Caledonia.
Christian also works as a freelance curator and writer and has curated various exhbitions including 'What's Love Got To Do With It?, RMIT Gallery, 'High Tide – Contemporary Indigenous Photography', Linden Centre for Contempoary Art, 'If You Only Knew', City Gallery Melbourne and 'White Hot – New Art from Different Places', Hush Hush Gallery and City Lights.
Judy Watson
Judy Watson was born in Mundubbera, Queensland, in 1959. She is a descendant of the Waanyi language group of north-west Queensland. Judy studied at Darling Downs Institute of Advanced Education and received a Diploma of Creative Arts in 1979, followed by a Bachelor of Fine Arts from the University of Tasmania and a Graduate Diploma of Fine Arts from the Gippsland Institute of Advanced Education. She has travelled and lived in many countries and in many parts of Australia.
Judy joined Boomalli Aboriginal Artists Co-operative in the early 1990s and has participated on numerous advisory committees, funding Boards and Councils. In 1995 she received the Moët & Chandon Fellowship and in 1997 along with Emily Kam Kngwarray and Yvonne Koolmatrie, Judy represented Australia in fluent: Australia's representation at the 47th Venice Biennale.
Until recently she was a lecturer at the School of Fine Arts, University of Northern Territory, Darwin, and has recently relocated to Brisbane. Judy is represented by key commercial galleries in Brisbane, Sydney and Melbourne and her work is held in many major public and private collections within Australia and overseas.
GULUMBU YUNUPINGUBorn c. 1945 in northeast Arnhem Land, as a child Gulumbu Yunupingu lived at Yirrkala and went to school in the old Mission until she married. She is a member of a renowned family from Yirrkala, the Yunupingu family of the Gumatj, Rrakpala clan, her homeland is Biranybirany and her moiety is Yirritja moiety. Gulumbu's father was the renowned cultural activist, artist and senior man Munggurruwuy (c. 1907–1978), who was married to Makurrnu, from a Galpu clan. The oldest sister of well-known activists Gularrwuy and Mandawuy Yunupingu, her recently deceased sister was also a highly regarded print-maker. Gulumbu is an artist of extraordinary skill who is as confident in weaving mats and stringing shells as she is in painting barks and hollow logs. She has also studied as a Health worker through Miwatj Health where she has applied her extensive knowledge of bush medicine. Her knowledge of bush plants and medicine, together with her health worker studies, has been incorporated into her extremely full life as a respected elder of her community, mother and grandmother.


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The Quapaw Quarter Historic District's Crown Jewel
The Empress of Little Rock • Little Rock, AR
Escape Kit
- A Two-Night Stay in Standard Room: The Washburn-Welch Room, The James H. Hornibrook Room, or Petit Jean Room ($199)
- Or, a Two-Night Stay in a Spa Suite: The Victoria's Garden Spa Suite, Chatelaine Anniversary Spa Suite, or the The Majestic Spa Suite ($299)
- Daily Two-Course Candlelit Breakfast
- Bottle of Champagne and Handmade Gourmet Chocolate Truffles
- 20% Off a Carriage Ride for Two (Based on Availability and Must Be Booked at Time of Reservation)
Southern comfort and Old World British refinement come together with an Escape to The Empress of Little Rock, an elegant Victorian bed and breakfast in the heart of Arkansas listed on the National Register of Historic Places and named "Best of the Best" by AY Magazine for the past 11 years.
Sleep like a prince or princess inside this Queen Anne-style manse in your king- or queen-size feather bed, and allow your stress to slip down the drain of your clawfoot soaking tub or hydrotherapy massage jet shower (based on room choice). Spa suites all include Jacuzzi tubs.
Wake each morning to a two-course candlelit breakfast, where you'll find no shortage of ways to work off your cream of apple soup and shirred eggs en croûte calories in The Natural State.
Go antiquing in nearby Hot Springs or soak in the hot thermal baths for which the region is famous. Check out the William J. Clinton Presidential Center and the River Market district in Little Rock, visit the Old Mill from Gone With the Wind, or trek to Toltec Mounds Archeological State Park to see one of the largest archeological sites in the Lower Mississippi River Valley.
Let your Victorian senses give way to Venetian side dishes when you dine at Ciao Italian Restaurant. Sample savory Mediterranean dishes worth taking off the white gloves so you can lick the last of the sauce off your fingers. Then, drink in the sweet southern air with a carriage ride for two (based on availability).
Whether you pay in dollars or pounds, or speak with a Southern drawl or a European accent, your stay at this luxurious B&B will be the crown jewel of your Little Rock getaway.
"We will never forget our wonderful stay at The Empress. It is a magnificent Victorian mansion with stellar service and the most delicious gourmet breakfast!"-- BedandBreakfast.com
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Roots of Impunity
1. The Murder of Wali Khan Babar
On January 13, 2011, Wali Khan Babar, a 28-year-old correspondent for Geo TV, was driving home after covering another day of gang violence in Karachi. Babar was an unusual face on the airwaves: Popular and handsome, he was a Pashtun from Zhob in Baluchistan near the border with Afghanistan. For Geo, it was a rare boon to have a Pashtun in Karachi, and so the station planned to send him abroad for training to become an anchor.


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Tibetan / Vajrayana
Vajrayana Buddhism is most closely associated with Tibet and can be characterized by the figure of the siddha, the master whose spiritual realization is so profound that he or she has power over the phenomenal world, and in whom the profundity and vastness of absolute truth is fully and completely manifested. Many of our most well-known authors come from this tradition of Tibetan Buddhism .
[Note: The tags for the various schools are not definitive as many books span multiple traditions, etc. They are meant to use as a starting point for exploring this collection.]
Living Beautifully
with Uncertainty and ChangeWe live in difficult times. Life sometimes seems like a roiling and turbulent river threatening to drown us and destroy the world. Why, then, shouldn't we cling to the certainty of the shore—to our familiar patterns and habits? Because, Pema Chödrön teaches, that kind of fear-based clinging keeps us from the infinitely more satisfying experience of being fully alive. The teachings she presents here—known as the "Three Commitments"—provide a wealth… Read More
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Leadership Exchange: Multichannel Marketing
Leadership Exchange: Multichannel Marketing
James: What are some of the challenges of multichannel marketing? What difficulties are you seeing?
Monique: It's figuring out the technology ("the pipes") as well as the touch points. Both of those axes are challenges at the moment. You're getting more and more of each. We're seeing this year a lot more awareness about the universe of the patient journey, and what are the different touch points. So, very simply said, am I going to Target to get my script refilled? Then, am I speaking to a diabetes educator who's in the aisle or am I tuned to TV or do I have an iPhone—and am I using apps or search? Then am I still a heavy TV user or not, and what do I watch? We've had clients say to us, "We want to be on someone's shoulder and see what happens to them." You've got so many more options at every point now that it's exploded. It's so hard to figure out did they turn left or right? What's the tendency? And to segment people in a meaningful way. Are they über-seekers where they're always on the ball and they want to know? Or are they more passive and listen to what the doctor says? And then maybe your health insurance is going to say to you: "Too bad, this is what we're going to pay for. It's great that you did three hours of research, but we can't help you." So we're trying to figure it all out.
Debra: That's exactly the point. The patient walks in and asks for something, the physician prescribes it, the pharmacist goes to fill it but then the payer basically says, "We're not covering that."
Monique: Exactly. What's determining the outcome? But then coming back to channels, I don't think it's about how many channels you can be on, it's which channels your audience likes. So for physicians, for instance, we're finding quirky things like certain segments want to text the rep or push click-to-call to be called. They may want live video but they really don't want the webinars and the e-mail marketing. You need to build your story and not every channel needs to have the same content. But just figuring out what's their style of wanting to communicate, even that is a challenge.
Karl: I think it's also about how deep you want to go, because that's when you get to micromarketing. So you start out with segmentation-based. You think you understand a group of customers and how they act and think. I think you have to have all the channels on and then you see how they engage and which they prefer. If you're not employing a channel in which your audience is seeking information, you're missing opportunities. Each of your customers is not going to have the same mix. There are physicians that like to go to speaker programs. They don't go to conferences. They go to your website often. They have limited access to reps. When you start out with segmentation about how a customer looks, multichannel marketing is also an ongoing process of validation. Is the segmentation right? Are they behaving in a way that we expect of them? And sometimes they will move segments. You had them classified one way, then you move them to a different segment.
James: So you're recalibrating and refining as you collect more and more data?
Janie: Yes, but sometimes that's very hard. When putting your plan together you may have all these grand ideas but you get all caught up in how to measure that. I mean, I can barely get through the data that I already get. Who's going to analyze this for me? How am I going to make decisions? If you don't have those resources at your disposal to measure what you should be measuring, sometimes that could keep you from venturing out. Tweaking is critical because you go out there with your best assumptions and if something doesn't work, you need to be able to tweak it right away.
Next page: Knowing when to pull the trigger


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SOAP Web Services Vulnerability Scanner/Methodology
I have been searching for tools to help test SOAP Web Services for vulnerabilities. I found on this very good site http://sectoolmarket.com/price-and-feature-comparison-of-web-application-scanners-unified-list.html that only commercial products perform VAs for Web Services.
The OWASP Testing Guide v3 (https://www.owasp.org/images/5/56/OWASP_Testing_Guide_v3.pdf) is good but is missing many things. I heard that the next version will cover Web Services in more details.
So in my search for free and open source tools, I found these:
1) WSDigger hasn't been updated since 2005 (http://www.mcafee.com/uk/downloads/free-tools/wsdigger.aspx)
2) WSFuzzer is good for what it does, but it doesn't cover everything...
3) Most people say they use SoapUI (very nice tool) linked with the Burp Suite (also very nice). Both tools support client certificate authentication. I can see great value in using these two tools after an automated vulnerability scan, but do you start your VA with them?
Also, there have been new little tools here and there, metasploit modules and other stuff, but not much in terms of automated vulnerability scans for XSS, CSRF, SQLi, XPATH injection and all the other WS-related vulnerabilities...
So do you guys know about better tools or methodologies?
Thanks in advance!
(aka H1t.M0nk3y)


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TNB: Climbing's Next Level
Instead, underfunded big comps fizzled like wet dynamite and competitors took their tights and tincture and went underground to stuffy plywood hovels. The reasons for the failure were as numerous as the ambitions that had hoped otherwise: Lack of organization; not enough media coverage (who wants to read about a comp?); lack of industry support (despite the millions of dollars shelled out by sponsors); and a format as bland as unsalted mashed potatoes (agreed).
But somewhere in there, over 20 years, climbing crept up to the next micro level, and the next, and the next. The changes were subtle, like growing a mustache, and passed unnoticed. There wasn't a big singular thunderclap event that transformed the game, rather it was an evolution taken in baby steps. Climbing gyms became sophisticated businesses with real walls. The best climbers were able to eek by on sponsor's dole and winnings without losing fingers working summers on oil rigs or fishing trawlers or selling weed. The World Cup got organized and even returned to the U.S. Elementary schools offered climbing programs.
We did take a shot to the heart this summer when the IOC passed over Sport Climbing as a demonstration event for the summer Olympics, but let's look in the mirror: Roped climbing is even less fascinating as a spectator event than baseball, which at least has corking and pine tar, and is now a demo event for the seventh time. Swing for the bleachers, baseball.
Curiously, Mixed Climbing did get the nod and next year is off to the deep freeze of Sochi, Russia, where it will be a demonstration event in the Winter Olympic Games. That Mixed Climbing—slamming tools into trash buckets of ice suspended from chains—made it to the Olympics got little fanfare, but there it is. At The Next Level while Sport Climbing was left behind. I suspect this happened because the Winter Olympics are in Russia, and Ice Team Russia is ranked number one in the world. But I remain hopeful. Gordon McArthur up in Canada has already build his own Olympic training facility, a timbered structure to behold that is up there with Noah's ark, and he will be a real threat.
Two weeks ago I did see the first sport-climbing competition that I would actually have reached into my pocket and paid serious cash money to attend. The Psicobloc Masters at Park City, Utah, was as spectacular as the naumachiae, or Sea Battles of the Colosseum. America's best male and female climbers hucked and lurched, free solo, up a 50-foot-high overhanging wall and fell not a few feet onto dusty pads, rather they plunged from many stories up into the blue waters of an Olympic-sized swimming pool. More than one climber emerged from the chilled depths gasping and stunned by the brutal fall. The crowd of nearly 4,000 was also stunned. Most had never seen such a spectacle, and pulled along by the current, roared in approval, some spilling beer all over themselves, others elbowing closer to the front for a better look. Beautiful women wandered about languidly caressing pet gazelles and hoping to lock eyes with him, Chris Sharma. Even the hardened VIPs with the special access wristbands and whisky up in the balcony seemed genuinely happy. Psicobloc felt like a real professional sporting event. The type we've been hoping for since Snowbird.
Psicobloc did have its shortcomings, and these are being bandied about online—mostly by pundits who weren't there. They say that the climbing was dangerous (climbing, dangerous?), that they couldn't understand the format (tip: the person highest on the wall is winning) and that the commentary was hard to hear (what did you say?) But, Psicobloc is the first child, the next will only get better, and if you were in Park City for the birth on August 2 you got to witness something special: Climbing going to The Next Level.
Update: Gordon McArthur disagrees with my characterization of Mixed Climbing and sent me a link to this video, to show off real World Class Mixed Climbing. After reviewing the video, I agree that there is more to mixed than aping around on frozen ice buckets. I hope he brings home a gold. Correction: An earlier version of this article noted that Patrick Edlinger won Snowbird in 1989. He won in 1988.


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A floppy orgasm, is basically cuming without the use of masturbation or an erection. It usually is the result of a prostate or rectal inspection accompanied by unusual pleasure. Also your weiner looks like the result of when Indiana Jones cracks his whip.
"Man, i wish i could have that nurse stick her fingers in my ass everyday, floppy orgasm central my good man"
by DeadMan Inc April 30, 2005
Put it this way, your weiner does some weird shit before you cum
by DeadMan Inc April 03, 2005


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UN.GIFT Publications
CSO HRW Forced begging of Talibes in Senegal
2010-10-05 13:22:00.0
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At least 50,000 children attending hundreds of residential Quranic schools, or daaras, in Senegal are subjected to conditions akin to slavery and forced to endure often extreme forms of abuse, neglect, and exploitation by the teachers, or marabouts, who serve as their de facto guardians. By no means do all Quranic schools run such regimes, but many marabouts force the children, known as talibés, to beg on the streets for long hours-a practice that meets the International Labour Organization's (ILO) definition of a worst form of child labor-and subject them to often brutal physical and psychological abuse. The marabouts are also grossly negligent in fulfilling the children's basic needs, including food, shelter, and healthcare, despite adequate resources in most urban daaras, brought in primarily by the children themselves.More information about human trafficking on the website of HRW.


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Halftime for the Brazilian press
2. The vicious cycle of impunity
By Sara Rafsky
When the World Cup kicks off in Brazil in June, the government of President Dilma Rousseff will be celebrating the country's emergence as a global powerhouse. The event, to be staged at sites across the country, will put the nation's vast and diverse territory on display, unlike the Olympics, which Brazil is hosting two years later in just one city, Rio de Janeiro. While the 2012 murder of a local soccer journalist in central-western Goiânia may run counter to the official narrative of success, it reflects the disparate realities of a country as immense as Brazil, and depicts a darker side of "the beautiful game."


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KLM keeps predicate 'Royal'
02 January 2013 | For another 25 years may KLM may continue to carry its Royal Crown.
KLM 'Royal' 93 years
Queen Beatrix of the Netherlands has extended the right of KLM to carry the predicate 'Royal'. A great honour, which was granted for another period of 25 years. KLM has carried the predicate already 93 years.
"KLM is exceedingly proud that Her Majesty the Queen has seen fit to bestow this honour upon us once more. This reaffirms just how Dutch KLM really is" says Peter Hartman, President & CEO of KLM.
KLM was founded on 7 October 1919. Even before its founding, Queen Wilhelmina granted KLM the predicate 'Royal'. This was extraordinary, because the predicate is usually only granted after at least a hundred years, and only if a company meets all kinds of high requirements.
'Royal' and the swan
The 'Royal' value of KLM previously came to expression in KLMs famous "Swan" advertising campaigns. The swan is associated with pride, reliability, quality, strength, style and royalty.
View the video 'KLM Swans'>
Read more about the predicate Royal>


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|Data Source:
|U.S. Census Bureau
Universe: Universe: People reporting single ancestry
Variable Details
|People Reporting Single Ancestry
|Universe: Universe: People reporting single ancestry
B04004063 Romanian
Percent base:
Aggregation method:
Relevant Documentation:
|Excerpt from:
|Social Explorer; U.S. Census Bureau; American Community Survey 2007-2011 Summary File: Technical Documentation.
|The 2007-2011 ACS 5-Year Summary File Technical Documentation -> Appendix A. Supplemental Documentation -> Subject Definitions -> Population Variables -> Ancestry -> Estimates Based on People -> People Reporting Single Ancestry
Includes all people who reported only one ethnic group such as "German." Also included in this category are people with only a multiple- term response such as "Scotch-Irish" who are assigned a single code because they represent one distinct group. For example, in this type of table, the count for German would be interpreted as "The number of people who reported that German was their only ancestry."


text:
UN.GIFT Publications
Needs Assessment Toolkit Chinese
2010-02-09 15:23:00.0
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The aim of this toolkit is to provide comprehensive guidance for assessing the criminal justice response to trafficking in persons in a given State. The toolkit contains a number of components that are crucial for curtailing the crime of trafficking in persons. Due to the fact that this crime has multiple layers, the toolkit broadens the scope of traditional criminal justice responses by including all relevant actors and measures involved in appropriately prosecuting the perpetrators and adequately assisting the victims of trafficking in persons. This is the Chinese version. This publication is also available in: Russian and EnglishMore information about human trafficking on the website of UNODC.


text:
Monitoring day to day vulnerability scan results
Challenge i m finding is to export the CSV and then take out Falsepositives.Then i need to implement action of resolving the vulnerabilties by forwarding to technical teams. Also it very difficult to keep the track of vulnerabilities on excel.
Lookin for the best practise & automate process of vulnerability tracking so as to work on proactive solutions and to identify the count of vulnerabity reported on each system through every scan cycle