text:
Hello there!
You've just opened the second Kasterborous Newsletter, our new weekly foray directly into your inbox.
Now, it is possible that you didn't receive the first newsletter; I've found that due to an issue at our end only 200 or so of the 800+ subscribers received it. This is clearly unfortunate, so if you would like a copy of the first edition – which was bursting at the seams with quality (so I'm told…) then simply reply to this message with the words "I WANT ISSUE 1" in the subject line.
This time around, all subscribers *should* be receiving their messages – fingers crossed!
So what have we got in store this week?
In this week's newsletter…
- The Doctor and Amy Face Classic Daleks!
- EXCLUSIVE: A Second New Companion!
- When Fandom Shames
- Classic Daleks Assemble for Doctor Who Series 7!
- The Lady Doctor Will See You Now
- Legendary Doctor Who artist Andrew Skilleter interviewed
- Shada by Gareth Roberts
- Win Shadaby Gareth Roberts
- Chris Boucher on Leela
Top News You Might Have Missed
Over the last seven days a series of emotive articles have appeared on Kasterborous, both as actual news items or as pieces inspired by events in the Whoniverse…
The Doctor and Amy Face Classic Daleks!
So hands up how many of you thought that when Steven Moffat told us last week we would be seeing all of the Daleks that you initially thought "wow, all the Dalek designs in one episode!" before checking yourselves and realising you were living in cloud cuckoo land?
Well, just when you thought it was safe to enjoy a day in the sunshine…
…they go and release an amazing photo.
Executive Producer Steven Moffat earlier tweeted this little beauty earlier today and to be honest it is probably the most adorable, fanw*nky thing imaginable, in a completely cool and amazing way.
EXCLUSIVE: A Second New Companion!
In addition to the casting of Jenna-Louise Coleman last month, we can exclusively reveal that a second as-yet unknown character has been cast in Doctor Who Series 7!
Played by perennial kitchen sink drama actress Justine Alexander (Coronation Street, Brookside, and seen here in publicity for The Crack), the Doctor's second female companion adds some new Roman spice to the time travelling.
According to our source, Alexander plays "Arial Verdana", a young, bored girl from Ancient Roman Britain who joins the TARDIS when it lands in St Albans around 3 AD. Since Doctor Who returned with such an impact in 2005, there have been calls for an unusual companion to be cast, one who is either from the past/future or an alien… basically, anything to break up the pattern of contemporary girls from the 21st century.
We're sure she'll amaze, and think you will be just as excited as the K team to learn of this new Latin character, who's experiences in the TARDIS with the Doctor and his other female companion could veer from Gothic to fantasy and take them to places as far apart as New York, Chicago, Geneva and Skaro.
While Series 7 feels like months away, it shouldn't be long before both characters turn up in the Doctor Who Magazine comic strip!
We await the official announcement and various comments from cast and executive producer and script writer Steven Moffat with anticipation!
[Note – this was, of course, an April Fool!]
When Fandom Shames
Do you know something? Doctor Who is massively intricate and multi-layered. Most of the time this is wonderful as it allows a show that has twisted and turned and revived itself in many ways over the years to be loved by so many.
However sometimes this sucks.
Casting tends to bring the worst out of Doctor Who fandom and its armchair producers, and the the casting of Jenna-Louise Coleman is such a time. Various online communities have found themselves littered – nay, soiled – by rather personal and sickening comments about the new companion, things that go way beyond getting slightly annoyed at her unimaginative use of the word "excited".
In fact, much as it sickens me to say, I'm certain that some such people are reading this. So this is for them.
You people really should be ashamed of yourselves. Why? Well, here's what David Tennant thinks of Jenna's casting:
"The people behind the show wouldn't have chosen her unless she's the best girl for the job, so I'm excited to see her on the show."
That's a man who not only starred in Doctor Who, first and foremost he's a Doctor Who fan, just like those so-called fans whose disgusting behaviour leads to present and future stars of the show being advised to avoid the Internet.
It's a disgrace.
So I'm going to make this clear: if you – yes you, reading this now – have written anything on the web that
disparages any Doctor Who star in such a way that they would be deeply offended, then frankly you can click the X in the corner of your browser and just get lost.
You're not welcome here. You're not a Doctor Who fan. You're a bile-filled disgrace to fandom.
Oh sure, you can come back here whenever you like thanks to the World Wide Web, but you'll know at the back of your mind that we're no longer speaking to you. We're looking through you.
Because if you're so small minded that you cannot accept a piece of casting – a process of which you weren't involved – then you clearly in the wrong place. There is no room in Doctor Who fandom for prejudice and hate, two of the very things that the Doctor stands against.
If you cannot emulate these most civil and moral of concepts, then you're clearly in the wrong fandom.
Shame on you!
Classic Daleks Assemble for Doctor Who Series 7!
Some interesting photos have emerged to add weight to this week's rumours that the next series of Doctor Who will feature all (or most of) the types of Daleks there have ever been. This includes the 'classic' Daleks as seen in the 1960s serials, all the way through to Steven Moffat's 'Smartie Daleks'.
The first picture is what looks to be a Genesis Of The Daleks era Dalek – notice the grey base and black hemispheres (not "etheric beam locators" – Ed?). This picture came from a chap called Andrew C. Smith on The Twitter.
The second picture is from new Executive Producer Caro Skinner's Twitter feed, in which she says that Russell T. Davies' Dalek has arrived on set. Then she shows us a picture of a Dalek that has nothing to do with Davies' era (not even Dalek Sec – the eye-stalk is too small) although there is a similarity between the two.
These pictures, combined with the publicity shot we've already seen of Matt Smith's Doctor and Karen Gillan's Amy Pond posing with a classic-style Dalek. One hopes they will use all these Daleks being in the one place to take them to London (bit of a trek from Cardiff, I know) and recreate the famous shot from The Dalek Invasion Of Earth.
I'm sure any Doctor Who fan worth their salt is already getting excited about the thought of so many Daleks in one place. Unless they're trying to destroy the universe. Again.
The Lady Doctor Will See You Now
What's all this? Another take on the "female Doctor" rumour? Surely River Song has all of the female qualities of the Doctor that we could possibly want?
Whichever way you look at it (and for reasons of sanity, we're firmly on the "Doctor should be male" side of the argument) this debate is set to run and run, even if the Time Lord makes it to regeneration 755 without having changed sex.
Reports in the Daily Express today suggest that following the 50th anniversary of Doctor Who, our hero will regenerate once again, this time changing sex. The lucky actress to play the part will – allegedly – be Lara Pulver, recently seen in Steven Moffat's Sherlock as Irene Adler.
"The 50th anniversary series will end with a very big twist," we're told. "The Doctor becoming a woman will give the show a new lease of life. Lara has already been mentioned as a real contender for the role."
"A new lease of life"? Just as well, then, because it has become so boring lately, what with the Silence and Amy's pregnancy and fake Amy and the Doctor's death and River Song's true identity and Churchill and… well, you get the point.
Pulver's a great actress and she would be great in Doctor Who. She might make a great Time Lady, but she wouldn't sell being the Doctor to me, nor, I suspect, the rest of the Kasterborous team.
But of course, before we rule it out completely let's consider the one time the Doctor did become a woman: Joanna Lumley in the 1999 Comic Relief special The Curse of the Fatal Death, written by… Steven Moffat.
(Remember, of course, that this is a rumour. And if it isn't, perhaps it's time to merge Kasterborous with Cult Britannia…?)
Andrew Skilleter chats to Anthony Dry, first published in 2005)
There is no doubt Andrew Skilleter is THE Doctor Who artist. His range of work has spanned across nearly three decades and has appeared on numerous media, from the Target range of novels, the BBC videos, BBC Doctor Who exhibitions, posters and postcards just to name a few!
He was the creator of Who Dares publishing in the 1980's which produced a fine range of Doctor Who merchandise some of which I still have lurking about to this day (thanks Dad)! Here he kindly talks to us in his first interview for ten years.
Andrew, what first got you interested in art, when did you realise that this was the type of career you wished to pursue?
It was in the genes on the maternal side. My maternal grandmother was a natural artist. She painted oils and was creative in all sorts of ways. And my Mother was a naturally gifted artist doing wonderful figurative work in her teens & excellent copies too. She still paints well today. I must have picked up an ability for copying images that I've used in all my genre work including Doctor Who, from both of them. I always wanted to be an illustrator as far back as I can remember producing my own in house magazines as a child; it was a vocation for me. Nothing else would ever do. I always wanted to be an illustrator.
What courses/qualifications did you undertake and at which university?
You flatter me! I scraped together enough 'O' levels to get to art college in Bournemouth, did a Foundation Course of one year then graduated to a three year Graphic Design course, all pre-computers of course. I tried, we all tried to get in elsewhere (I went for an interview for an illustration course in Bristol) but nobody would have us. I believe the Graphic Design course was set up for us otherwise it was the salt mines. I still can't recall if I ever did get a qualification but I saw the course through – I've never been interested in qualifications; just pursuing my goals. Now, with Photoshop, Illustrator etc. I guess qualifications & training must be really important.
What was your first artistic job upon leaving university or college?
I just pursued my ambition doing any freelance illustration work wherever I could get it. Learning on the job. I think my first job was for some London based magazine like the Economist – I just can't recall the name – well known, anyway & then due to my influences at the time I started, wrongly in retrospect, to pursue children's illustration. It was very patchy not helped by the fact that I have a tendency to disappear up cul-de-sacs and realise too late where I should have been! I got by in the early years by living at home, fortunate enough to have a large room in a nice house as bedroom/studio and tolerant parents. Of course, now everyone lives at home for ever!
When did your interest in Doctor Who begin?
It was regular viewing – I'm pretty sure the first TV set and the start of Who were about the same time. But I remember little of watching the very early years. But of course it really came into focus when W H Allen asked me to do the covers.
At the time of your first brief for Doctor Who, where you a fan of the show?
Always a tricky one to answer as I was never a 'fan' in the true sense of the word. We'd all watch it enthusiastically and in particular the Tom Baker years. I felt very comfortable watching it, very in tune with it whereas I didn't feel the same about other similar shows. Just part of Saturdays. An institution.
Did you have a favourite story or villain or particular character you admired? Were there any characters or stories you felt could have been better?
I enjoyed a lot of the Tom Baker stories but then the early ones with Hartnell & Troughton had tons of atmosphere – if I studied the listings I'd arrive at many others. So I'm going to cop out on this one – it's an interview in its own right!
Where did the idea of Who Dares come from, and what drove you to put the company into production, bearing in mind there was a lot of Doctor Who merchandising around at the time?
It was a combination of boredom, (sitting at home doing my day to day commissions weren't enough for a young Scorpio!), the fact that my brother had formed a publishing venture with a partner, I was involved with a new small company who got me involved in Star Wars art and the frustration that W H Allen were not going to do anything involving me for the 20th anniversary year. As far as other merchandising was concerned, despite the appearance, there was a real lull as I remember it – certainly it was the BBC Merchandising's view – they were desperate to see anything 'out there' to the extent I was able to start without having to pay anything up front. Just a tad different these days.
Who Dares was a great success, how closely did you work with John Nathan Turner during this period?
Well, it was in many ways but I'm still not ready yet to tell the whole story. But for both good & ill it changed my, our, lives for ever and it's repercussions still roll on. As for JNT, he was very hands on (in the nicest possible way) and everything I did was discussed and seen by him. I would try and get up to London personally with the art and/or ideas to show him. I was not as up front as I am today which was a shame as I think I could have forged an even closer professional relationship with him. But I could still be focused and go for it if I wanted to achieve something.
What was he like? Was he open to ideas or was he pretty stringent when he was dealing with the identity of Doctor Who?
Always charming and pleasant to me and very open to new ideas and anything that would promote the show. I think he liked me but I must have been in awe of him in the sense that he was the bloody producer of Doctor Who, and I but a humble artist! But he loved the visual and and my art; I suspect he liked having creative people around him. But I was never one, to my disadvantage sometimes, to become part of a clique. And Doctor Who & cliques seem to go together, mores the pity. I was a professional enjoying myself and I supposed I always kept a little distance.
Was 'The Tardis inside out' his idea?
Does no-one read Blacklight anymore? I devoted a whole chapter to it! Actually the idea came from Brenda Gardner, a charismatic Canadian who was the Doctor Who & Children's Editor at W H Allen when I first started doing Target covers. She left and eventually went on to form Piccadilly Press which is still going strong – she & it are much respected in the publishing industry and she is a rare independent in a world of publishing corporations. We'd worked together since the W H Allen days and she dreamed up the idea of bringing JNT & I together to do a book. I was the enabler, the go-between. As I said, for the full story buy/borrow a copy of Blacklight, wherever you can find it these days! It's in many libraries. As for it.
In my opinion, one of the best Doctor Who books to be produced ever, was Cybermen, a collaboration between yourself and David Banks. How much planning had to go into that title?
Well that opinion does seem to be shared by others given a recent DWM poll putting it as one of the best Who books of any category, ever. That's a pretty pleasing accolade. Loads of planning and as usual reality meant I couldn't realise all we wanted. But we did pretty well. The project took ages to get going – it almost became a myth before it was published!
Was Cybermen a personal project or were you/Who Dares approached over the concept?
Very personal. Started as a notion in my head, received an agreement from the BBC that I could do it and then I had to enlist help. Again Blacklight tells the whole story but in a nutshell a chance meeting at a Brighton Who convention with David Banks meant it took a whole new direction and without him it would never have happened. We remain great friends today and in fact I'm more in touch with him than ever these days and of course we've just recently revisited his Doctor Interviews that we released as tapes about 15 years ago, now on CD, marketed by 10th Planet.
Did you ever meet any of the series lead actors, and did they ever give you any time for material in any particular pieces of illustration?
Quite a few – I met Troughton, Pertwee who looked at my paintings, Davison, Colin Baker who was extremely approachable, as was Sylvester McCoy. Colin of course had to pass all my illustrations of him and once I did this personally in his London theatre dressing room. Sylvester kindly posed for me on location and the portrait for the Who Dares 1990 calendar that never appeared (but was reproduced in Blacklight) was based on a photograph I took of him. Dear Don Henderson was so taken with the calendar painting of him as Gavrok, he bought a load of calendars and the original!
Did any of the leads question their likeness in your illustrations, for example i know Peter Davison had an issue about how he was portrayed by other artists who worked on the novel covers resulting in several photographic covers for Target books?
I'm sure privately this may have happened on occasions – I think I've read of this elsewhere many years afterwards, but as my portraits were nearly all pretty good likenesses, there were few problems. Strangely, it was a very small Colin Baker face that caused some problems and I had to amend. It's easier working large with a likeness.
Was there anyone associated with Doctor Who that really impressed you, whether it was someone involved in the TV show, DWM or the merchandising industry in general?
This is a difficult one after all this time. There were so many that helped me and were just so supportive. Chris Crouch at BBC Merchandising who made it possible for Who Dares to make a start, Julie Jones at BBC Exhibitions, Sarah (then) Andrews at BBC Video and of course JNT himself. David Banks made an immediate impact – he is just an impressive human being! I had a lot to do with DWM over the years and a succession of editors all, to this day, supportive.
Do you have a favourite piece of work associated with Doctor Who?
One favourite is impossible – The Deadly Assassin video cover, as an original, still impresses me. But there are other pieces than I like for differing reasons.
Which Doctor do you favour drawing?
I think Tom Baker, Troughton, Hartnell but again it doesn't mean I don't enjoy the others!
Do you have any Who-related image in your head that you have been unable to realise?
I certainly did have when I was in the thick of it. Now it's all a different ball game and I have to see. Of course the new Doctor now demands my attention ASAP!
How did you feel when the show ended in 1989 and did you worry that it might affect you professionally?
It obviously did effect things but remember I was always a general illustrator. I wasn't sorry to see the show go – because of the pantomime content I just couldn't watch a lot of last year or so.
Which artist do you currently admire and what was the last piece of work you saw that inspired you to work?
Actually, there is no-one in particular now. I mean where are the artists now? The illustration industry is decimated, Photoshop reigns supreme, the designers have all the work! There really is no career for most people as a dedicated illustrator in the UK. So names I might pluck out like Jim Burns, an exact contemporary, are artists I respected years & years ago. Of course there are artists out there but I don't see their work – Pete Wallbank keeps the flame burning but I only occasionally see his work because we keep in contact.
What are your expectations of the new series and what do you think of the casting choices?
Hands up, I should have answered this before the series was aired! I knew it must be good on some levels given the amount of build-up. But like most people, I'll have to watch a few to get into to it all. It is after all not produced for people like me! The most shocking thing that I find incomprehensible professionally is that Eccleston has quit already. But the second show was a bit of a roller coaster, a lot of fun and impressive to watch but a whole new ball game.
Do you think the new series should retain continuity from the show or shy away as much as possible?
This is down to the BBC, the executive producers and Russell T. This is for a new generation and the continuity is less important than before. By the way, it is compulsory to have 'T' in your name to be a Who producer?
With the rejuvenation of the new series, have you found commissions based on Doctor Who work have increased?
I still do private Who commissions and certainly in general I'm experiencing a greater interest in my work now but not necessarily because of the new series. But now it's on, I'm running with it! I welcome private commissions as it keeps me painting traditionally.
What are your plans for the future? Is there anything exciting in the pipeline?
It's all up for grabs. I could go this way or that, traditional or digital. Mix it. A little too much choice. It's really a question of external dynamics and the time I have outside commissioned work that comes in. I've certainly some career decisions to make, some to execute. I'm keeping extremely busy at present and it's the most lively time for years but largely still punching below my weight creatively. I have to refocus, reinvent my career. I'm still creatively alive and now have the digital world at my fingertips.
If any further of David Banks ArcHive CDs are released by BBC Audio, I'll be doing the covers which will be good. I was filmed last year in London for inclusion in a BBC DVD feature but have just learnt I've been cut. Ouch! But there may be another bigger opportunity in that area later this year.
It is the right time now for a sequel to Blacklight – another art book. So if anyone can help, contact me now! There are new Who pieces already and growing but I'd like to widen it to incorporate other of my SF and Fantasy work.
And then there's the writing that I never get enough time for. This is not Doctor Who but various novel ideas I have in progress. You see, I was a natural writer as at school – exceptional, I now realise. But I was set on being an illustrator and the writing kind of got lost over the years but keeps trying to resurface. I need to do it but when ones instincts are to work to external deadlines, it's hard to write 50.000 words plus purely in a vacuum! I've other projects on the go too.
Certainly the new Doctor Who show opens up new opportunities for me and I've enlisted help in this direction as I'm always full of ideas but with so little time to realise them. So this could be interesting and should lead to exciting possibilities. It would be great to hear from Russell T. – he must have 'consumed' my work in earlier years!
I have to re-do and re-launch the website too when I can and to do it properly this time. I must apologise to all those who have visited it earlier on that I've been literally unable to add to it, to realise my ambitions for it. I want it as a major live site and it will happen. I have the help to hand now to make sure that it will be properly registered and linked to ensure it becomes a well visited site. Anyway, thanks to everyone who's bothered to visit it to date.
Kasterborous would like to thank Andrew for his time and wish him all the best in the future.
Shada Reviewed
I love reading, but barely have time to do it.
This is naturally a bit of a problem, and has resulted in me installing Kindle apps on virtually all compatible hardware in my house, enabling me to grab a few pages in-between trips to the bank, while waiting for a bus or train, etc.
So the prospect of finding the time to get into Gareth Roberts much-anticipated adaptation of Shada was something that I was dreading. How could I give it the attention that it would deserve?
Would my review be accurate?
Fortunately, I needn't have worried. It seems that I've simply been picking up the wrong books of late, and should stick to Terry Pratchett and other amusing writers rather than the dry and dour line that currently passes for Doctor Who books.
Gareth Roberts – he of The Shakespeare Code, The Unicorn and the Wasp and more recently The Lodger and Closing Time – has seeming achieved the impossible by writing a book that feels like Douglas Adams while sorting out various problems with the existing Shada scripts and adding his own voice.
The result is something of a triumph, elevating this title away from its possible fate of "curio" to "classic".
I don't use the term lightly. I'm from the generation of Doctor Who fans for whom new episodes came in the shape of books and comics back in the 1990s and early 2000s. As well as being a long-time admirer of Roberts' books, I've seen a fair few amazing tales told, such as the original Human Nature (Paul Cornell) and various books by Lance Parkin and even Laurence Miles.
There was some wonderful tales told during these years, published by Virgin and later BBC Books, but since 2005 the attitude to Doctor Who in print has largely been one of "cynical tie-in". This started to change with Michael Moorcock's occasionally confusing The Coming of the Terraphiles and Dan Abnett's The Silent Stars Go By but I'm confident that this range of longer books aimed at older fans has finally come of age with Shada.
But what of the book itself? Well, Essentially it is a book about a book, and brings with it all of the intrigue that you might expect from such a conceit. Gareth Roberts has written a story that feels… right, taking scripts, camera scripts and early notes and creating – if I may again be so bold – the definitive version of this "lost" and incomplete Doctor Who adventure, 33 years later.
Had Douglas Adams himself been sat at the typewriter working on this adaptation I don't think he would have created a work quite as good; I'm a fan of Adams and his famous Hitchhiker's Guide to the Galaxy but if the money and time had been available to him I get the feeling he would have took Shada into a whole new direction, given the chance.
What Roberts does is somehow consolidate Adams' original works, successfully builds upon the characters we already know, adds a few new ones and – amazing as it might seem – out-Adams Adams.
Never edging towards pastiche, this book is told with affectionate and respect, with the voice and confidence of Douglas Adams' storytelling shining through on every single page.
If for some ridiculous reason you haven't purchased a copy of Shada yet, you will find it available in hardback for a quite economical £10!
So after all of that, what better prize to give away this week than a copy of Shada itself?
All you have to do is reply to this email with the subject line amended to: PROFESSOR CHRONOTIS and we'll announce the winner in next week's newsletter.
Huge congratulations to last week's winner, Tony Pendry, who should be receiving his audio copy of Genesis of the Daleks, read by the great Tom Baker, in the next few days.
Chris Boucher on his attempt to escape the constraints of the archetypal companion with Leela.
Nothing's impossible (apart from actor and director proof scripts of course) but unless you want to change the whole approach of the show – introduce a narrator say, and/or personalise the Doctor's reality and make him the absolute and only focus of everything (that idea appealed very much to TB I think), the companion is the simplest story-telling set-up. As you suggest you do have to try and justify the questions however and it's difficult to do that without suggesting dependant helplessness (and all the screaming and fluttering that implies) or aggressive stupidity (and all the screaming and arse scratching that implies).
Dependence without helplessness and ignorance without stupidity should equal companion without screaming. I think Leela was a reasonable try and at a time when patriarchal religions seem to be reasserting their hold on the persecuted, the frightened and the gullible I'm quite proud of her and her attitudes.
Chris Boucher was speaking to Gareth Kavanagh.


text:
For more information, contact:
Dr. L Robert Barber University of Guam CNAS/ANR, UOG Station Mangilao, Guam 96923
Email:firstname.lastname@example.com Phone: 671.735.2087
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subset: commoncrawl


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Linked by Thom Holwerda on Fri 25th May 2012 19:09 UTC
Pocket-lint has a rumour up that Facebook is interested in acquiring Opera to kickstart their own move into the browser market, to compete with Mozilla, Google, and Microsoft. While it would mean much-deserved recognition for Opera, I actually hope such a deal does not go through - for entirely selfish reasons.
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Oh, I hate the word, "apps".
A while ago, the facebook app was quite different from the site. Nowadays, the site and the app are exactly the same. So, I really wonder if it is just a "site-dedicated-browser" indeed.
As for facebook-opera. I hope Opera will remain independent. No facebook browser please. Besides all of that, from my experience, it always felt to me opera was less-supported by facebook then gecko or webkit based browsers.


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Klynn is a citizen of Ireland, former citizen of Croatia.
Klynn was born 14th March 2009. In his lifetime he had many roles and held many positions.
Back then in Bosnia and Herzegovina - list is long. From minister and vice Minister of Foreign Affairs, state military unit commander, country president candidate (lost by 2 votes against a Serbian political takeover), all the way to Minister of culture and Party president.
Since he arrived to Ireland he was twice Minister of Immigration, Dáil member and Party president.
Klynn has been the member of numerous political parties in numerous countries. Here is his political party history up to January 2013
- Hrvatski Liberalni Demokrati (HLD), Croatia
- Party president of Liberalna Stranka (LS), Bosnia and Herzegovina
- Stranka Ujedinjene eBiH (SUeBiH), Bosnia and Herzegovina
- Narodna Alijansa (NA), Bosnia and Herzegovina
- Narodna Partija (NP), Bosnia and Herzegovina
- Irish Independent Party (IIP), Ireland
- Party president of Irish Union Party (IUP), Ireland
- Futyjeva Diktatura, Egypt
- Party president of Eire Aonair (EA), Ireland
Klynn is currently Commander of Ordo Hereticus, he was the 2nd Commander of The Wild Geese military unit.
Here is the military unit history of Klynn in chronological order:
- DRAKE (as a member, then as a commander)
- OSeBiH (Deputy commander then Commander)
- Irish Citizen Army (ICA)
- Irish Army (IA)
- Lock'n'Load
- The Malcontents / The Wild Geese


text:
All Time Favorite is Fried Green Tomatoes firstname.lastname@example.com
I go back and forth...Biscuits or Fried Chicken? It's to close to call :) Thanks for the opportunity, chellebee66(at)gmail(dot)com
I love southern pecan pie with bourbon sauce.
I wanna make that pot roast!! oh, and the ham and cheese braid :)
Hi! I am your newest follower and was hoping that you would stop by my blog and follow me back!www.enjoyingtheepiphany.comThanks,Sarah
Those biscuits look divine! Wow!
My favorite Southern recipe isGumbo.
Breakfast-biscuits and gravy. Dinner-chicken and dumplins..Don't need a lunch after all that LOL I am so hungry now. :-)
I might make some jambalaya, but will have to use dang ol brown rice.....


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TSAA(USA Archery) Outdoor Tournaments In Texas and Elsewhere |
Tournaments are conducted using the USAA's Rules, which in turn
depends on the FITA/World Archery rules.
Judges are certified by the USAA and while any tournament can be held, in order
to be certified by the USAA it must have certified Judges who in turn make sure
that the event meets the rules.
Outdoor tournaments can be a lot of fun. They are certainly more challenging than an indoor event, and many JOAD archers discover they really like it! Preparation: So you have registered and paid your
entry fee, now what? First verify your classification - are you a Junior,
Cadet, Cub, Bowman? Use this age calculator. Then
take a look on this table
to see what your distances are. (If you discover you didn't register the right
division, just email the tournament director BEFORE the deadline and it won't be
a problem). At the longer two distances, you get FOUR minutes to shoot SIX arrows each end. For the two shorter distances, you get TWO minutes to shoot THREE arrows. This is plenty of time, but you need to include this in your practicing at home. During the tourney you have twenty seconds from when the double whistle blows until shooting commences. Dress Code: you need to comply with the USAA dress code if you want to shoot at most tournaments. Check here for the dress code rules. EVERY ARCHER MISSES SOONER OR LATER! Even at the "big" National tournaments archers will have misses. They are a normal part of shooting arrows such far distances. So do not be surprised if you miss, and don't be embarrassed - it happens to the best of us! Depending on the type of field and grass or weeds, the arrows may submarine under the surface and become harder to find. DO pay attention to where you arrow went - high/low, left/right? Most events will have at least one metal detector present - why? Because missing is not unusual! Enough on Missing, let's move on. First, it is likely you will be sharing your target. Depending on how many archers and how many target bales there are, you could have up to three other archers shooting at your target with you! If there are four archers on a target, then it is said that there are "TWO LINES" of archers. Each archer gets assigned a letter, and only two letters (archers) shoot at the target at a time. The first line of two archers of each target are "A" and "B", and the AB line archers all stand the line and shoot their arrows. Then another "line" of archers gets up, the "C" and "D" archers, while the AB archers get to sit down and wait. Once both the AB and CD lines have shot, then everyone goes to the targets to score and pull. And they take turns going first each end. The judge will use a sign on the field to show whether AB or CD will start out the next end. There are OTHER lines in outdoor archery besides the AB/CD lines. There is an archer area line, that marks where the public has to stay, so that archers get to sit separate from the public. Archers can come out of the area, but the public isn't supposed to go into it. Then towards the targets from this waiting area, there is an equipment line, between where the archers sit (usually in canopies for shade) and where the bows are left when not in use. There is a waiting line, where archers stand with their bows while waiting for the two whistles to advance to the shooting line. There is, of course, the shooting line where you stand to shoot. There's another line, in front of the shooting line, for marking the area where dropped arrows can be picked up and shot. And there are lines, hash marks, ON the shooting line to mark your space in front and behind the next archer, so that everyone knows where to put their feet and their spotting scope. Spotting Scope? You get to use a telescope after you shoot an arrow, to see where the arrow went. When you are looking at a target that is 50 meters or more away, it's important to figure out which arrows are yours and where they are on the target, so you can adjust your sight. So archers use a spotting scope to try and pick out their nocks and fletchings colors. Many archers will carry several different colors of nocks, so they can switch their nock colors if there are too many of the same color on the target. Nothing more frustrating than mistaking someone's arrows for yours- You keep adjusting your sight but the arrows don't change - because you are looking at someone else's arrows! aieeee! Some archers use a pair of binoculars, especially at the shortest distance, but for the really long distances, say 70 or 90 meters, you will need a strong scope. A lot of archers will SHARE their scope with the other archer, so that they do not have to remove the scope from the line. It's no big deal - if you don't have a scope, talk with the other archers on your target - most of the time the archers decide among themselves who is going to be A, B, C, or D. It makes sense to pair up a right handed and left handed archer so they BOTH can face towards the scope, and share it. That gives them both more room. If two archers both have scopes, they usually decide to share the strongest power scope, naturally. Ok. What all do you take? For a good checklist, you can review the X Files JOAD issue right here . Many families will bring a pop-up canopy to provide shade for the event. Some archers stay with their families, but most will tend to gather in the archery waiting area so they can talk with their competitors/friends. It's often said as a half-serious complaint by archers that "shooting gets in the way of my socializing" - you will make some good friends, regardless of how you shoot, provided you want to. During official practice you will be allowed to shoot arrows - usually for 45 minutes - but check with the officials to be sure. Since you have four distances to shoot in the event, you will need to make sure you have marks on your sight bar for each. You should start with the LAST distance you will be shooting, practice there till you get the best mark on your site. Then move to the next distance, etc., till you end up with the distance that you are going to shoot for score first. Makes sense, right? Just as during the real shooting, the practice ends will be timed, and so you need to figure out where the timers are. Most use traffic lights, but some will use either countdown timer displays or else colored flags. Whatever is used, be sure you know where to look, and once you know that, keep a relaxed eye on it so you will know when it is yellow time. Take enough arrows. You have to shoot SIX arrows per end at your longest distances, and you need to have at least one backup arrow for broken nocks, dropped arrow, or breaks. The more arrows you have the better you can warm up and practice with, as well. Take backups. You should have a backup string that you have "shot in" but not worn out, just in case the serving falls off or the string breaks on your "good" string. Extra: Fingertab, arm guard, release, the small things that you rely on. Remember that if you have a mechanical failure of ANY kind, you hold your bow up and step back from the line, and make eye contact with the nearest judge. You do NOT shout or speak - no messing with the other archers still shooting. You will be allowed time to fix the problem and shoot makeup arrows - so do not get stressed out. Remain calm, like you do when shooting, and all will be ok. If you do not have the piece you need to repair your bow, ASK those around you. Archery is a rare sport of sportsmanship where the guy you are trying to beat is willing to give you the equipment help you need, in order to get back into competing with him. I've seen it time and again. The director of shooting (the DOS) says five minutes till the shooting starts. Go to the bathroom. Check your gear. Close your eyes and prepare mentally. GET READY. Watch the other archers, and go to the waiting line. When two whistles sound, go to the shooting line. When you hear one whistle, just like indoors, you start shooting until you hear any whistles blow (either two toots if the next (CD) line is going to shoot or else three toots if both lines have shot and it is time to score and pull). Ok, you've shot your first end of arrows and the DOS has just blown three whistles. Time to walk, score and pull. First, go to the shooting line and look down - you will find a clipboard or two with your two scorecards on them. MAKE SURE your FULL NAME is on both of them and fill out any other information such as gender , bowtype, and classification. Take them to the target. TWO people need to score. If there are more than two on the target, then the third person CALLS the arrows out and the fourth will help the others as needed. Surprisingly, this is the point (just after the first end has been shot) where many people introduce themselves by name and find out the names of any archers on the target they don't already know. DO NOT TOUCH the target stand, the target butt, the target face, or the arrows until after scoring is completed. It could be considered cheating. Clear? If there are only two archers on the target (known as a "single line", then usually the archers from an adjacent target will "cross over" to call, and you do the same for them. So the custom is, one archer calls out arrow scores and two other archers write. Each scorer adds the arrows up SEPARATELY from each other. This is simple. The idea is that the scorers doing the writing double-check each other to catch mistakes. If you are scoring, do not just go along with what the other scorer thinks the score is. Each scorer adds the arrows up and then one speaks the end score loud enough for all other archers to hear. The other scorer CONFIRMS or CORRECTS, and the same for the running score of each archer. If you are one of the scorers: NEVER ERASE an arrow score unless all archers on the target initial an arrow score change!!. OK? IT IS A FITA RULE! If you are unsure about what to do, that is when you hold your hand up, look for the red shirt, and yell "judge"! The judge comes over, whips out a red pen (ONLY JUDGES GET TO USE RED PENS) and makes the correction and initials the change, making it official, or makes an arrow call.. You are allowed to make corrections yourself to any other part of the scorecard, just do it according the rules. So what happens if you do make a change to an arrow and it is initialed properly/not done by a judge? Let's say that scorecard turns out to be for a NATIONAL RECORD, or just for a tie place. If there is an illegal score change then the score can be TOSSED OUT. How would you feel then? Just remember that both scorecards are going to be "official" and turned in, and MAY be sent to the USAA or even to FITA. Don't be sloppy and don't change arrow scores. Make sure your full name is on both of your scorecards, by the way! There are two or three "tricks" to scoring arrows in your
head: Most scorers start out with type 1 adding, and then graduate to type 2 when someone is kind enough to show them - it is the easiest to do "in your head". A few, the stranger archers, readily enjoy using type 3. Do not use a calculator, you don't have the time. With a little practice, say a couple of ends, you will find you can readily add the score in your head. You will also keep track of "hits" for each end, as well as the score for the "end" AND a running total for each distance. You will then carry that running total into each next distance as well. Once you have figured out the score for the end for the archer and the running total, wait for the other scorer, and then confirm the results before you move on to the next archer's score. After the shooting is finished for the day, you will also count up the total number of hits, "Xs", TENS, total for each distance (round), and confirm these with the other scorer. You will sign the card, as will the archer for the card. Many will take the scorecards back to the waiting area for this, so they can sit down and use calculators for the final tallies. If you are the "caller": Carbon Arrows are very strong lengthways, they have to be. But the carbon arrows are NOT strong when stressed from the side, on a small area like what happens when you squish two of them together. What can easily happen is that the strands INSIDE the shaft break, changing the stiffness of the spine of the arrow. You won't see any damage outside the arrow, it just won't be the same as your other arrows. When scoring for the end is done, place both clipboards in front of the target face-down so that wind will not blow them away nor make them flutter (that would be a distraction during shooting). Keep them far enough in front of the target that there is no danger someone would hit the arrows in the target while bending over to pick them up. During rainy weather you will be given ziplock bags to put them in to keep them dry. Don't let the bags blow away while scoring! The National level tournaments will have "runners" to collect the scores for the "leader boards" - every end, or every other end, a volunteer comes by with a piece of paper for you to write everyone's running totals on so that the spectators can know who the top scorers are. One scorer takes the paper and writes on it while the other scorer reads everyone's running totals out. Return to the waiting area. If you shot first for the last end and there are two lines (AB and CD lines) then the other line gets to go first next - you will alternate throughout the distance, each distance. USUALLY if there are two lines, scoring takes so long that the tournament will have only two distances on one day, and the other two distances the next day. You have to check the tournament information ahead of time to know whether to plan on one or two days for the event. You get a break for lunch, depending on what the Tournament Director decides. If you leave the field for lunch, be aware that the tournament waits for no man, and there is no "equipment failure" provision for your car. When you are done at one distance, the archers are usually required to move the target stand to the next distance. They are not heavy, just bulky, and if it is windy then it requires extra care. After a short break while the judges inspect the positions and the volunteers stake down the stands you will start the next distance, so whenever you move your target stand, move your sight! What if it rains? You get wet. Fortunately, you still get to shoot, so take a set of wet-weather clothes - like long sleeve tight-fitting shirts that won't interfere with the bowstring but that will keep you warm enough. Lots of archers get the shirts made for bicyclists, and if you live "up north", you might consider kayaker clothes which are VERY warm. Hats are good for keeping the water out of your collar and off of your glasses if you have to wear glasses. Take a stake and some rope to stake the tripod of your spotting scope down so it doesn't blow over and break. Likewise, if you take a popup tent, be sure to stake it down, and use extra guy ropes and stakes if storms are possible. At night, drop the frame at least, and remove the tarp top for safety sake (and to make it less of a target). Once all four distances have been shot, the two scorers tally up all the scores and sign the cards. Each archer must INSPECT THE TWO CARDS and compare the results. If necessary, do a final check of the math, before signing both cards and turning them in to the TD. By signing your card, you are swearing your card is correct, so be sure. Any errors found afterwards will not go in your favor, but might result in an award place being taken away. That would be ummm, embarrassing. You will usually get one card back after they have been inspected. Shooting outdoors is really the natural way to shoot archery, compared to shooting indoors during the winter. Most archers prefer it, wind, rain, sun, bugs, and all. Why? Because it is FUN. |
Back to HOME JOAD HOME |


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I recently got a hold of an old radio shack meter (realistic 42-3019) its an analog meter. I turned on my test tone in the AVR and the AVR manual says to set to 75db, So i am assuming the signal is -30dbfs That seems to work alright, but when i go and stick in my disney WOW disc and run the audio tones. It never really says what to set the db to, (says to pick between 78-85) and then set the sub 3db higher. The WOW disc tones are definitely louder so i suspected it might be a -20dbfs signal, so i set the volume to achieve 85 db and i found my volume ended up being a few ticks lower than when i set the speakers with my AVR tones (volume at 64 with AVR and then it was 61-62 with WOW disc) Doesnt at seem strange? Then when i jump to the sub test tone on the WOW disc the DB readings go way higher (like 95-100db) So to wrap it all up, my AVR tones set my sub at about 3.5 on the dial on the back of the sub Then i keep the same settings and the disney WOW disc shows that as reading at least 10db louder then what my AVR tones are giving me. The bass seems abought right now, if i dial the sub back with the disney disc the sub wont be loud enough i suspect. Just wondering if something is amiss or if i am missing something here?? Also, ive found alot of radio shack SPL correction value charts, but do i really need to use that for pink noise tones??? IIRC pink noise has alot of frequencies in the tone??
From what I've read, I would trust the audio test tones on the WOW disc more than the receiver's test tones. I'm interested in what other people here say about this. Does the WOW disc have separate test tones for HD audio and Dolby Digital, etc?
Really, it's all relative. The point of using an SPL meter to calibrate your speakers is to ensure that they all produce equal SPL at the primary listening position. Once you get them calibrated to each other, the volume control of the receiver adjusts the gain uniformly across the board. Setting the subwoofer level is the one speaker that is most set to personal taste - so the fact that you find it a bit more pleasing pumped up a bit is not unusual (or incorrect) at all. If it sounds good to you, that's all that matters. You've already done more to properly set up your system than at least 85-90% of the population out there, so sit back and enjoy it!
Yes, the correction numbers play a huge difference in calibration. For the sub, room interaction also plays a part. I'll be able to post more tomorrow.
Yes they do but the loudest tone will register on the meter. For example, my last sub had an inductance peak of 14db at 55hz. When I set the levels, the sub was boomy as heck on music but sounded weak on movies. I went to the next step and measured the in-room response where I found the uneven sub response. I added a sub EQ to flatten the sub response to + or - 3db from 100 hz to 15 hz. If I were you, I would use the WOW disc to set levels and then adjust the sub up until it sounds good. Then go the next step and use my instructions in this post to measure the sub's in-room response. http://www.hometheaterforum.com/t/312766/klipsch-sub-12-subwoofer#post_3831487
can you dumb it down for me some more lol? sorry i'm still learning. Do i just need to rip some sine waves and play them and record the readings and lay out my peaks and valleys?? What do i need to be able to adjust individual frequencies??
Yes. Some external EQ system will be required to flatten the response. The cheapest is BFD 1124p. It is not actually for home use; but gets the job done for sub duties. I am also using the same. It's easy. There is an ample literature available on home theater shack on how to set filters on bfd. Great piece of equipment, by the way.
1. Wsed a free piece of software called ToneGen to create .wav files of sine waves centered on each frequency measured in the PEQ spreadsheet. If you can set the level, set it at 0db. I made each file 7 seconds long. 2. Burn them to a disc. I put a 10 second pause between tracks to allow me to write down the SPL. I made track one the highest frequency (100hz or whatever it is). 3. Set up your SPL meter on a tripod at your listening position. It should be at ear level and pointed up at a 45 degree angle. 5. Play each tone and measure the SPL. I set the volume so that 40hz (or some tone close to that) measured 85db. As you go through the different frequencies, you may have to adjust the range setting on the meter. If you measure 20hz and it is below 80db, then you set the range down to the 75. 6. When done, enter the values into the spreadsheet. You will apply the correction values to the numbers by checking that option. 7. Look at the graph. A perfect graph should not vary more than 3db in either direction. In my case, I had a 14db peak at 55hz. Not good. 8. You can add virtual filters in the software to flatten the graph more. Once you get the simulated graph looking like you want, you can take the values from each filter and input them into a BFD. After step 6, you can attach the spreadsheet here where Faisal and I can tweak the filters for you if needed.
OK i played around some, I ripped a bunch of test tones (-30dbfs sine waves) I went from around 25hz to around 180 in 10 hz steps. I then set the volume to "reference" i think it is ( the same volume that produces 75 db pink noise in AVR test tone) I then ran each one and ran the tones. One problem i had is i set the crossover to 200hz ( I only have one stop crossover in reciever, cannot adjust each speaker) I notice even though i turned the crossover up, the mains still still started playing the tones as i went up in frequency... so i am not sure when the AVR started pulling bass from the sub and started pushing the mains, Is there any work around to this?? regardless here is the info i have. Hz is on left, RS meter reading in center and the corrected value on right (using internet correctionn tables) 25hz ..... 78db ..... 83db 30hz ... 83db .... 86db 40hz .... 88db .... 91db 50hz .... 89db .... 90.5db 60hz .... 80.5db .... 82db 70hz .... 78.5db .... 80db 80hz ..... 84.5db .... 86db 90hz .... 73.5db ..... 75db 100hz .... 80db ... 82db 110hz .... 87.5db .... 88db 120hz .... 83.5db ..... 84db 130hz ... 82.5db ..... 83db 140hz ..... 82.5db .... 83db 150hz .... 81db .... 81.5db 160hz ..... 81db .... 81.5db 170hz 77.5db .... 78db 180hz .... 83db .... 83.5db Like i said my AVR is a SR 313 entry level onkyo so it only has one bass crossover in my settings, i cannot adjust indivual channel crossovers. I could definitely hear the mains starting to push the tones but i'm not experienced enough to know when and how much and at what point, the crossover was set to 200 hz, i am assuming the AVR rolls off the sub and rolls on the mains rather than a hard cut off... i am assuming the low bass is all sub perhaps??? Either way here is at least some data, i guess have peaks in the 40-50 hz range??? maybe someone could help me interpret this data???
You have a 16db variance between 90hz and 40hz. That's terrible. Try the free software I mentioned and make a disc matching the frequencies in PEQ. Go through the same process and see what the results are. The graph can better tell you visually how bad things are. Plus the software can easily simulate how much a BFD will help. The $100 I spent for mine was some of the best money I spent on the audio side of my home theater.
Ok i can try moving it some, i am fairly limited to where i can move it ( on other side entertainment center) this setup in in my living room so i have furniture and tables to work around. What about the fact the mains start playing my test tones as the frequency raises??
AVR crossover is not a "brick wall"... It is a slope. I would fathom a guess that most AVR use a 12db/octave crossover. So...even "at 100hz"...the subwoofer is still doing a little bit by 150hz...And the mains start picking up by 80hz. If you have to, put your sub behind the seating area...or under a table. Your dip at 90hz suggests one hell of a room node...
From Brett's PM: The Measured Response Tab. The first column named Freq. The numbers you get on your SPL meter go into the 2nd column, Raw DB.
If you can't turn them off, disconnect them. We are trying to find the sub's in-room response and don't need phase issues coming into play. Once the sub is playing as flat as possible, we can look into phase.
First up, why do you want to cross your sub at 200Hz? If that's the crossover suggested by the AVR auto setup, then I assume you are using some bookshelf sats that rolloff at 200. In any case 200hz is way too high for the sub to cross, which will further trigger bass localization issues that are uglier to listen to than state IMO. In simple words your crossover point is way too high for the sub. Lower it if your speakers allow. I think there is something wrong in your auto setup routine that sets your crossover point this high or you didn't run it correctly. Even average satellite speakers offer -3dB point somewhere near 120Hz. If you still want to go with 200Hz crossover, you are pretty short of luck with PEQ spreadsheet. You can go as high as 112.5Hz (fine tuning engaged) in it to create filters. It cannot tame any peaks or valleys higher than that. The alternative is REW (Room EQ Wizard), which I and many other people use. The learning curve is steeper than that for the PEQ. But once you get the hang of it; it is very simple to use and you can very easily plot your in-room response in less than 10 seconds. I am not trying to complicate things for you, but just telling you the possibilities. In any case, as suggested by Robert, disconnect the mains and run the tones only with the subwoofer in the sound chain. Switch off any internal EQ so that you get an unaltered sub response. One very important thing.....You need fewer and wider filters. If you need more than max 4-5 filters to tame the response, change the sub location. The key is fewer and wider. Avoid narrow or notch filters. Once you get this out of your way, then engage your mains, put the AVR in 2-channel stereo mode. We can then adjust the phase but that comes in the next step.
Sorry. I didnt provide enough detail... I run my crossover at 80 hz.... The reason i set it to 200 was to get all the bass signals to come from the sub. i wasnt aware of a way to disable the mains and I didnt know just unplugging them would do the trick...... Even with the crossover at 200 I could hear bass starting to come from the mains at well before 200 Hz if I got real close to the mains
How do i make sure I'm getting a complete to the sub? My speaker config allows me to shut off center and mains and sub but only have large and small settings for fronts.... Im afraid even if i unplug mains the avr will still try to crossover even with just the sub
It doesn't make any difference with the subwoofer. I'm not sure "why you care" what the subwoofer does over 80hz. So, set your crossover at 80(unless the main speakers are tiny...then 120-150, whatever) and unhook the main speakers. This "issue"(which is a non issue) affects every single modern AVR made in the last 12 years. Even the "real ones"...


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Ellen Sommer
M.M. University of Missouri – Kansas City; B.M. Missouri Western University
Pianist Ellen Sommer has quickly established a reputation as a much sought-after collaborative pianist, chamber musician, and vocal coach. She performs extensively throughout the United States, Canada, Central and South America, and Europe. Most recent engagements have included concerts and master classes at the University of Costa Rica, performances at the International Double Reed convention in Birmingham, England, and a lecture recital with violinist Tami L. Hughes at the IUTGE workshop in Leibniz, Austria.
Sommer often serves as a pianist for regional, national and international competitions and festivals, as well as recital series and radio broadcasts. Additionally, she coaches and performs at the Sound Encounters Suzuki Strings camp and the Brian Lewis Young Artist Program in Ottawa, KS.
She is a founding member of Allegresse, an inspiring new trio for flute, oboe, and piano. Recently Allegresse was invited to present recitals and master classes and to adjudicate at the nationally known new music festival, FENAM in Sacramento, California. January 2012 Allegresse traveled to Puerto Rico giving performances and master classes in San Juan.
Ms. Sommer has collaborated on several professional recordings, including four under the auspices of Potenza Records. Most recently, Sommer collaborated with clarinetist Stephanie Zelnick on the recording, Diaspora: Music of Jewish Composers, and the recent Albany release, Legacy: Music for Violin and Piano by African-American Composers with violinist Tami L. Hughes. In addition to recording, Ellen performed the music of American composer, Bryan Kip Haaheim for the Showtime movie, Fall From Grace.
From 1994-2004 Sommer was on the keyboard and voice faculty at Missouri Western University, where her students received high honors in state and regional competitions. Currently Sommer is a Lecturer in Piano at the University of Kansas, School of Music. She performs regularly with several members of the KU music faculty, visiting artist recitals, and graduate students on recitals and concert tours. In addition, Sommer serves as administrator for the piano accompanying and chamber music programs at KU.
A graduate of the University of Missouri-Kansas City Conservatory of Music and Missouri Western University, Sommer has studied with Richard Cass, Jerry L. Anderson, Pia Sebastiani, Rita Sloan, and Robert Koenig.


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Stay connected with us to get the latest health and fitness news, innovative workouts, healthy recipes and wellness tips.
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You control the added sugar in these kiwi-lime popsicles.
Nutrition Profile: Diabetes Appropriate Gluten Free Diet Healthy Weight Heart Healthy Low Calorie Low Carb Low Cholesterol Low Sat Fat Low Sodium
Serves 8
Prep Time 30 min
Total Time 90 min.
Step 1
Pour water into a small saucepan, add sugar, lime zest and ginger. Stir over high heat until the sugar dissolves and the mixture comes to a boil. Remove from the heat and let cool to room temperature.
Step 2
Strain the syrup through a fine sieve set over a bowl. Stir in lime juice and food coloring, if using.
Step 3
Line 8 individual frozen-treat molds or small (2-ounce) paper cups with slices of kiwi, pressing them onto the sides so they are close together but not overlapping. Fill each mold or cup with the lime mixture.
Step 4
Freeze until beginning to set, about 1 hour. Insert frozen-treat sticks and freeze until completely firm. Dip the molds briefly in hot water before unmolding.


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Experience the excitement and terror felt by movie-going audiences when R.K.O released the original monster classic. Behold the discovery of the giant ape King Kong on Skull Island his terrifying battle against the prehistoric creatures who live there and his brutal murder of ships sailors that follow him. Special Features: Theatrical Trailer for Peter Jacksons King Kong (2005)
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Bear Mountain is the summit... | [ Sizes: Orig | Small | Thumb ] | |||
Bear Mountain is the summit on the left. the lake is Devils Punchbowl. Access to the summit is up the green chute across the lake. Don't go up the right hand chute, it deadends at a cliff. 26 July 2003 | Bear Mountain (Mountain/Rock) Dennis Poulin's Image Gallery Siskiyou Wilderness (Area/Range) Lakes of the Klamath Mountains (Album) Image Data
Image ID: 129643 Hits: 3984 Lat/Lon: 41.79600°N / 123.672°W Object Title: Bear Mountain is the summit... |


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McDonald's Southwest Salad w/Grilled Chicken
Best in the (South)West!
We're not gonna lie to you. We spend a lot of time ripping McDonald's apart. They deserve it, don't they?! Their menu is packed with crazy-fatty, insanely high-calorie stuff. But every now and then they do something right. First there was the low-fat ice cream cone (150 calories of sheer perfection!). Next, the Asian Chicken Salad (awesome and definitely the first-ever appearance of edamame at a fast food joint!). The latest GREAT thing to hit the Mickey D's menu is their limited-edition Southwest Salad with Grilled Chicken. It ROCKS. It has everything you'd ever want in a Southwest salad -- black beans, shredded cheddar, fire-roasted corn, tortilla strips (that taste exactly like Doritos!), and warm glazed chicken. Yum! And a jam-packed salad WITH dressing for 420 calories is pretty impressive. If you want to save 50 calories and about 3 grams of fat, use half the dressing (those packets are too huge anyhow). Remember to order it with the GRILLED chicken, though. Mess up and get the crispy and your salad will have 80 more calories and 7 more fat grams (no one needs those). Ronald, you've impressed us yet again. Nice work, clown!
Serving Size: one salad (with dressing)
Calories: 420
Fat: 15g
Sodium: 1,310mg
Carbs: 41g
Fiber: 7g
Sugars: 14g
Protein: 31g
*9 Points!
Chili's Southwestern Cobb Salad
Southwestern Screw-up!
Oh, Chili's. We have such a love/hate relationship with you. On one hand we despise your ridiculous ways (cooking everything in TOO much oil, spreading BUTTER on your burger rolls...WHAT is up with that?!). But on the other hand, we admire the quality of the food you serve at such insanely low prices, and the fact that you care enough to proudly feature an entire Guiltless Grill menu (not all of it's guiltless, but that's a story for another day). The thing that totally baffles us though, is the fact that you pack a gazillion calories into your salads. Salads should never have calories in the quadruple digits, Chili's. And you shouldn't need us to tell you that. Your Southwestern Cobb Salad features very oily fried chicken, bacon, cheese, corn relish, egg, and some embarrassingly fatty avocado-ranch dressing. All that adds up to over 1,100 calories and 75 grams of fat! That's CRAZY -- especially since you can get a lovely southwest salad at McD's that's not nauseatingly greasy, is cheaper and has a fraction of the calories. The choice is yours.
Serving Size: one salad (with dressing)
Calories: 1,120
Fat: 75g
Sodium: 2,830mg
Carbs: 59g
Fiber: 8g
Sugars: n/a
Protein: 56g
*28 Points!!
Today, July 17, is National Peach Ice Cream Day. Whip up an HG-friendly chilly peach treat to celebrate -- just blend some frozen peaches with 1/2 cup of low-fat vanilla ice cream. Yum!
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Asked by older at 12:43 PM on Sep. 28, 2010 in Crazy for Credits
Level 69 (2,285,492 Credits)
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Action: | Description |
Inspect | Windshield Washer |
Inspect | Wheels & tires |
Inspect | Seat belt restraint system |
Replace | Crankcase Oil Filter |
Inspect | Heater Hose |
Inspect | Headlamp Alignment |
Inspect | Exterior Lighting |
Inspect | Exhaust system |
Inspect fluid level | Cooling system |
Inspect | Cooling system hoses |
Change fluid | Crankcase |
Inspect | Air filter element |
Inspect | Air Conditioning Lines |
Car Brakes: How Do You Know When to Change Them?
By Zach Bowman For those who suffer a daily commute through heavy traffic, your vehicle's braking system can bring thousands of pounds of metal, plastic and empty Starbucks cups to a stop hundreds of times before you get to work. It goes without saying that these pieces wear out, but they do so slowly, meaning you may not notice they need attention until ...


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National Security Agency Certifies Harris Corporation's SecNet 54(TM) Top-Secret Capable Secure Wireless LAN Product
Apr 09, 2007, 01:00 ET from Harris Corporation
ROCHESTER, N.Y., April 9 /PRNewswire-FirstCall/ -- Harris Corporation (NYSE: HRS), an international communications and information technology company, today announced that its new SecNet 54(TM) Secure Wireless Local Area Network product has received Type 1 certification from the National Security Agency's Commercial COMSEC Evaluation Program (CCEP). The product is crypto- modernization compliant and can be used in secure communications applications that require up to Top Secret/SCI Level Data (COMSEC). SecNet 54 supports the High Assurance Internet Protocol Interoperability Specification (HAIPIS) for High Assurance Internet Protocol Encryptors. This means SecNet 54 can interoperate with a HAIPIS 1.3.5 compliant Inline Network Encryptor, using pre-placed symmetric keys, if both devices have been properly manually configured. "This product has been anxiously awaited by the marketplace due to its modularity, versatility, small size, and up to Top Secret wireless and wired communications capabilities at high data rates," said Dan Pearson, president of the Department of Defense Programs business unit of Harris Corporation's Government Communications Systems Division. "We are very pleased that SecNet 54 has been certified by the National Security Agency (NSA) and believe it will play a key role as an enabling technology for a number of key defense and federal programs." Harris previously announced that it had been awarded a potential $41 million Indefinite Delivery Indefinite Quantity contract by the NSA to supply SecNet 54 Secure Wireless Local Area Network products and Key Fill Cables to approved customers. SecNet 54 products are Controlled Cryptographic Items that can be procured by organizations with COMSEC or DoDDAC accounts, including the U.S. Department of Defense and federal agencies. SecNet 54 is a first-of-its-kind cryptographic communications device with a modular architecture that supports numerous transmission mediums. In its initial release configuration of 802.11a/b/g, SecNet 54 is an "all-in-one" SWLAN product that can be utilized as either an edge or a networking device since it supports configurations for station, access point, wireless bridge and ad-hoc functionality. SecNet 54 offers point-to-point and point-to-multi-point solutions for data, video and voice over IP (VoIP). Using standard IEEE 802.11 wireless protocols, the product's high data rate of up to 54 Mbps makes it ideal for use in multimedia applications. It features line-of-site operating ranges of up to 100 meters indoors and up to 600 meters outdoors. Extended ranges are achievable with external antennas and/or power amplifiers. SecNet 54 combines the Harris Sierra(TM) II encryption processor with IP and Ethernet digital processing packaged in a flexible, split-module design. This allows for quick and easy utilization of standard communication technologies such as wired 802.3 Ethernet, ISDN/PSTN, wireless 802.11n and 802.16. These technologies will be addressed in future product releases based on customer demand. SecNet 54 offers users significant flexibility due to its modularity, ability to accommodate various data transmission modules, and small size (3.18 x 5.26 x 1.13 inches) and weight (less than 13 ounces). For more information about the SecNet product family, visit www.secnet54.harris.com. About Harris Corporation Harris RF Communications Division is a leading supplier of secure voice and data communications products, systems, and networks to military, government, and commercial organizations worldwide. Harris Corporation is an international communications and information technology company serving government and commercial markets in more than 150 countries. Headquartered in Melbourne, Florida, the company has annual revenue of about $4 billion and more than 14,000 employees - including more than 6,000 engineers and scientists. Harris is dedicated to developing best-in-class assured communications(TM) products, systems, and services for global markets, including government communications, RF communications, broadcast communications, and wireless transmission network solutions. Additional information about Harris Corporation is available at www.harris.com. Sound interesting? Find great jobs at Harris: www.careers.harris.com Forward-Looking Statement This press release contains forward-looking statements that reflect management's current expectations, assumptions and estimates of future performance and economic conditions. Such statements are made in reliance upon the safe harbor provisions of Section 27A of the Securities Act of 1933 and Section 21E of the Securities Exchange Act of 1934. The company cautions investors that any forward-looking statements are subject to risks and uncertainties that may cause actual results and future trends to differ materially from those matters expressed in or implied by such forward-looking statements. Statements about the expected value of the program to Harris are forward-looking and involve risks and uncertainties. Other factors that may impact the company's results and forward-looking statement may be disclosed in the company's filings with the SEC. Harris disclaims any intention or obligation to update or revise any forward-looking statements, whether as a result of new information, future events, or otherwise.
SOURCE Harris Corporation


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Instagram has updated its image effects/sharing app, adding features and adjusting two filters to look more like their version 1 equivalents. Instagram 2.0.1 offers the chance to add geotags images taken from your photo library or on your phone camera. This information is only kept on on your high-res files, not the shared version. The Earlybird and Brannan filters have also been tweaked to look more like the original versions, in response to user feedback. The update is available for download immediately.
What's New in V2.0.1
Good news! Instagram v2.0.1 is now available in the App Store! This release is a minor update from 2.0 that fixes many of the main issues that users reported, but also includes some big new features as well:
Better Location Support for Photos
We've heard loud and clear that users want better location support in Instagram. Today, we're releasing two major upgrades to location support:
1) Photos imported from your library
When you import a photo from your library to share on Instagram, we'll suggest a list of places near where the photo was taken (if location was recorded at the time of taking). Here's an example of how this works:
- Take a photo of the Eiffel Tower in Paris
- Fly home to New York City
- In NYC, import your Eiffel Tower photo to Instagram
- Tap on "Where?" to choose a location for the photo
- The locations will list the Eiffel Tower and other nearby places in Paris
2) Photos taken in Instagram
When you take a photo with Instagram, we'll save the location information in the original and filtered files of your photo on your phone. How this works:
- Take a photo in Instagram
- Upload the photo
- The high-res version of the photo is saved to your camera roll with geo information
This means you can use a service like Apple's Photo Stream to browse all your high-resolution Instagram photos on a world map. Currently, we do not send this information with images you upload, though this may change in the future. Read more about how this feature works in our help center.
Revamped Earlybird and Brannan Filters
Beginning in v2.0, the Earlybird and Brannan filters were accidentally altered. Thanks to the sharp eye of many of you we were able to catch this quickly. We've completely re-written the filters to act much more like the originals. Although we altered some filters intentionally, we've heard feedback on some filters (like Toaster) and are working hard on bridging the gap between old and new versions of these filters. We appreciate all the feedback we've received on filters – we're excited to improve on and introduce new filters in future releases.
Tilt-shift has softer cutoff
We noticed the blur on tilt-shift in v2.0 was more intense when applied after capture. In v2.0.1, we've made the tilt-shift preview consistent between screens and less intense. We still have a bit of work ahead of us before tilt-shift is perfect, but we are planning on releasing another update after this one to address those issues.
Tap to choose filters
We heard feedback from users that the filter picker in v2.0 made it difficult to compare between filters. In this release, you can just tap on a filter to select it, the same way you had in previous versions. The filter picker no longer has infinite scroll.
Fix for sending filter information to third-party sites
When you view your photos on third-party sites such as web.stagram.com, you'll be able to see what filter was used on the photo
Bug fix for black images
We fixed a bug where tilt-shifted photos would upload as black squares. If you continue to see this problem please let us know.
Save filter photo bug fixed
We fixed a bug where filtered photos would fail to save to the camera library even when the "save filtered photo" setting was turned on.
Other small bug fixes and improvements


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Hungarian Jewish Community Threatens Boycott of Official Holocaust Events
Jewish leaders feel nation has not fully faced up to its wartime past; Local Jewish leader: It was Hungarians who locked me up, not Germans.
Hungary's main Jewish group voted on Sunday to boycott official Holocaust commemorations this year unless they more clearly show the role of local citizens in the Nazi deportation and killing of Hungarian Jews.
The Hungarian Jewish Congregations' Association (Mazsihisz) decided to stay away from events marking the 70th anniversary of June 1944, when 437,000 Jews were sent to Nazi death camps within weeks, and set conditions for a change of position.
In total, about half a million Jews perished before the Budapest ghetto was liberated in 1945.
Mazsihisz chairman Andras Heisler said the group objected to plans for a Holocaust monument and memorial center in Budapest as well as the appointment of a new history institute director who seemed to excuse the Holocaust deportations.
"If we do not get a real answer from the government on these issues, our decision (on the boycott) will become final," he told journalists, adding he expected a reply within a few days.
A lack of consultations about the projects have upset Jewish communities, he said, adding: "The unity that Hungarian Jews showed in that respect is unprecedented since the war."
Almost seven decades since the end of World War Two, anti-Semitism remains a sore point in Hungary, whose 100,000-strong Jewish community is one of the largest in Europe. Jewish leaders feel the country has not fully faced up to its wartime past.
Prime Minister Viktor Orban's center-right government, which has publicly pledged zero tolerance for anti-Semitism, is set to win reelection in April and a boycott will not change that.
But it could further dent the government's image abroad, which critics say has overlooked anti-Semitism fanned by the far-right Jobbik party, weakened democratic checks and balances, and pursued unfriendly policies to many foreign-owned companies.
Conditions for events
Among Mazsihisz's conditions for joining the official commemorations is that the government scraps a plan to build a monument near the U.S. embassy in central Budapest that would depict Hungary as a victim of German aggression.
"Its symbolism would significantly contribute to averting the national responsibility," Mazsihisz said in a statement.
Hungary's wartime fascist government was an ally of Hitler and fought alongside his troops against the Soviet Union. Nazi Germany occupied the country in 1944 after discovering that Budapest, after heavy losses on the eastern front, was secretly trying to negotiate a surrender to the Allies.
Mazsihisz has criticised an official memorial center under construction at a Budapest train station that was once a hub for the deportations to the death camps. It says the centre plays down Hungarian collaboration in the Holocaust.
It also wants the government to remove the director of a new history institute because he called a 1941 deportation of tens of thousands of Jews "a policy procedure for foreign nationals."
The government has said it wants to commemorate all victims of events after the Nazi occupation on March 19, 1944.
"The victims of events after March 19, 1944 deserve empathy and an honourable commemoration," a spokesman said last month.
Hungarian Jews say Budapest had stripped Jews of nearly all their rights even before the Nazi occupation. "It wasn't the Germans who locked me up in the ghetto, but Hungarian soldiers and fascists," Gusztav Zoltai, a Mazsihisz leader, said.
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The organization formerly known as Northwest Colorado Council for Children and Families rolled out a new name and logo during its Tuesday board meeting.
The group is now called Connections 4 Kids.
Coordinator Barb West said the reason for the name change is simple.
"'Connections 4 Kids' kind of says what we do," West said. "'Northwest Colorado Council for Children and Families' really didn't.
"We're trying to brand and market so people can identify what we do."
The group's mission is to strengthen resources and services for children ages 8 and younger, and their families.
"All children and families in Moffat and Rio Blanco counties (should) have quality early childhood services and nurturing environments in which to thrive," according to the group's mission statement.
Board member Corrie Ponikvar said Connections 4 Kids receives operational funding from the Colorado Department of Education. The organization's board is comprised of representatives from area health clinics, schools and social services.
Together, the board members identify gaps in services within Moffat and Rio Blanco counties, Ponikvar said. Once gaps are identified, Connections 4 Kids works with existing entities to improve those services.
The group's four areas of focus are education, family support, mental health and health, Ponikvar said.
To fund improvements, West said Connections 4 Kids applies for grants from foundations like the Colorado Health Foundation.
West said so far the 2-year-old group has focused mainly on "building the council."
However, the group's first big project will soon come to fruition.
"We are in the process of launching 'Cavity-Free at 3,'" West said. "We're hoping to launch that in January, we're waiting on funding. That will bring teeth varnishing to children (ages) zero to 3."
Teeth varnishing is a procedure in which teeth are coated to prevent decay.
In addition to securing funding for the project, Ponikvar said Connections 4 Kids plans to teach area healthcare providers how to perform the procedure.
"We'll educate the providers," Ponikvar said. "Instead of looking past the teeth toward the tonsils, providers will perform an assessment on the teeth."
West said the teeth varnishing can also provide opportunities for health providers to discuss dental hygiene with parents.
"It's more about parent education than it is about the varnish, but it's the varnish that brings them," West said.
Board member Marie Peer, of the Moffat County Department of Social Services, said childcare may be an area of focus in the group's future.
"Some of the gaps I see are infant childcare," Peer said. "I think night and evening childcare is a gap."
West said members of the group avoid the term "daycare."
"'Daycare' implies care for the day," she said. "'Childcare' implies care for the child."


text: Powerball Fever: The luckiest places in the KC area to play Powerball Stephanie Backus , Associated Press 12:45 PM, May 17, 2013 3:41 PM, May 18, 2013 Share Article Copyright 2012 Scripps Media, Inc. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed. Show Caption Hide Caption Previous Next Saturday's Powerball jackpot is now the highest jackpot in the game's history. At $600 million, the game surpassed the previous high -- $587.6 -- won by both the Hill family in Dearborn, Mo., and an Arizona resident. The largest lottery jackpot in U.S. history was $656 million in the Mega Millions game in March 2012. That was split by three tickets sold in Illinois, Kansas and Maryland. The Powerball game is played in 43 states, the District of Columbia and the U.S. Virgin Islands. A single ticket costs $2, and the odds of winning the jackpot are 1 in 175,223,510. So where are the luckiest places to buy a ticket on the Missouri side of the metro? Red X, 2401 NW Platte Road in Riverside QuikTrip, 11101 E. 40 Highway in Independence Marsh's Sun Fresh, 4001 Mill St. in Kansas City QuikTrip, 4510 NW Gateway Drive in Kansas City Hy-Vee, 301 NE Rice Road in Lee's Summit And the luckiest places to buy a ticket on the Kansas side? Hen House, 6900 W. 135th St. in Overland Park 7-11, 11724 Quivira Road in Overland Park QuikTrip, 555 N. 78th St. in Kansas City, Kan. Casey's General Store, 607 N. Webster in Spring Hill Lake Stop, 15621 158th St. in Bonner Springs Share Article A Share A A A Share Article


text: ...before anyone can answer. Do you have the latest print driver loaded for that printer? Don't know anything about Softplan but I do know that it relies on the printer's Windows print driver. Can you print in color from other applications to that printer successfully? Can you print in color from Softplan to other printers? Is there a "Print in black only" mode in the driver that might be selected? Is your Softplan configured to output CMYK or RGB (in Perferences or Setup, e.g.)?


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Jeter and Craig were charged with kidnapping and assault, among other accusations. Remmers was initially charged with assault with a deadly weapon and inflicting corporal injury on a minor, but not kidnapping, until more information came to light.
âThe ongoing investigation led us to believe that Mr. Remmers was aware of the situation in the desert,â Hall said. Hall would not say that Remmers directed the actions of Jeter and Craig, but a Corona Police Department news release said the boy was taken to Barstow âat Remmersâ request.â
Remmersâ attorney, Larry G. Noe, did not return a phone message seeking comment.
Steve Larkey, who has since left the church, said in an interview that he reported the alleged assault on the boy to Bell on March 26. Four days later, after not being contacted by police, Larkey reported his concerns to Corona City Councilman Steve Nolan, who employs Larkey at a restaurant. Nolan then contacted city officials, who met with police.
The news of the additional charges against Remmers pleased Jim Forbes, who along with about 20 other relatives and friends of church members attended Remmersâ hearing earlier Tuesday. Some squeezed into the third row of the gallery, incongruously sitting next to the defendants.
Forbesâ ex-wife, daughter and three grandchildren are in the church. Forbes and others have accused Remmers of âbrainwashingâ his congregants into believing that associating with their parents or other relatives would only bring them trouble. As a result, Forbes said, some people havenât seen their loved ones in years.
âWeâre here to support our families. We want them back,â Forbes said after the hearing. He said he hasnât seen three grandchildren in two years. âThe main reason why I am here and most of the people are here is because of the control Lonny Remmers exhibits over the church members.â
Judge Becky Dugan, after setting a Sept. 7 date for a preliminary hearing, ordered deputies to give the defendants an escort out of the court house. Some of the families had confronted Remmers after a previous hearing, but there was little trouble Tuesday.
Marian Craig, grandmother of Nicholas Craig and mother of Remmersâ wife, Lisa, said she tried to talk with Nicholas in the hallway before the hearing, but he rebuffed her.
Follow Brian Rokos on Twitter: @Brian_Rokos. And watch for his posts on the Crime Blotter blog: blog.pe.com/crime-blotter/


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Lemon with peel and ornament
By Nathan Peter
- Size
- 60 x 80 cm
- No of editions
- 10 (8 left)
We ship in 48 hours and if you are unhappy with your purchase, returns are free. (more info)
About Nathan Peter
Get to know Nathan Peter
Nathan pushes the realm of possibility
"I take pictures of everything, from architecture, to graffiti, to visual anomalies, all of which I then use as my own visual archive and catalogue."
Born in Minneapolis, Nathan Peter studied painting at the Rhode Island School of Design, before moving to London and now Berlin. Peter pushes the possibilities of his materials. He repeatedly applies paint and corrodes its layers away, creating a unique visual effect whose abrasive process often brings the canvases he is working on to the point of destruction. In doing so, he hopes to distill the essence of both the material he uses, and his practise. Peter has digitally woven several images together to create two prints for Absolut Art. The original images, including a classical still life of a peeled lemon as well as fragmented surfaces and patterns, are combined together to create a patchwork image.


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Speos De Phre, A Abou-Sembil $ 199.50 The exterior of the Speos of Phre, at Abou-Sembil, Nubia is wonderfully displayed in this 1852 lithograph. It is from Jules Gailhabaud"s Denkmaler Der Baukunst Volmue I (Memorable Architecture of the Ancient Times). Engraving by Bury from the original drawing by E. Prisse. Print is on 19th...
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A Date In Time Contact us! 2316 N County Road 350 WRensselaer, IN 47978United States Updated Wednesday, March 29 2017Product descriptions copyright© 2017 A Date In TimeAll else copyright© 1995-2017 TIAS.com All rights reserved.


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Tote Bag
Our quality crafted Tote Bags are hand sewn in America using durable, yet lightweight, poly poplin fabric. All seams and stress points are double stitched for durability. Available in 13" x 13", 16" x 16" and 18" x 18" variations, the tote bags are washable, feature original artwork on both sides and a sturdy 1" wide cotton webbing strap for comfortably carrying over your shoulder.
One of the elements of the Creative Pet Project pattern. Man's best friend, the dog!
The Creative Pet Project is a group of talented artists working to publish a charity book to help donate to a chosen animal cause.
Over 90 artists from around the world, with unique and different styles all blending together in one volume, because the love they have for their pets and nature.


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Paul Sherman
School: Georgia State University
Are you here to participate in one of our current school-based festivals? If so, choose your school and follow the instructions:
School: Georgia State University
Three people try and make a little easy money, and things don't go exactly as planned.
date posted: 2010-07-14 | views: 28 | type: Movie
3 guys playing cards and shooitn' the shit, and maybe something else too.
date posted: 2010-07-14 | views: 47 | type: Movie
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Full Name: | Paul Sherman |
School: | Georgia State University |
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Summary: In 2012 the FM website had 375 posts and 8,700 comments. I've learned much from writing these posts, and just as much from reading and responding to the lessons. Here are some of those that you might find of use, another in a year-end series of posts looking at 2012.
- Politics
- About Sources
- America the indoctrinated
- Erratum — seeing and acknowledging errors
- For More Information
(1) Politics
In October 2009 Mark Safranski (aka Zenpundit) classified the FM website as a paleoconservative. Three years and 15 thousand comments — mostly critical of our posts, attacking from all sides — have changed my views. A storm of facts and logic, pushing me to the center (in 2 dimensions: left-right, libertarian – authoritarian). Now the Political Compass calculator classifies my views as slightly left-libertarian, which seems roughly accurate.
Whatever the net or average result, the range of viewpoints on the FM website continues to span much of the political spectrum, just as described in 2009 by Politics of the FM site: radical leftist reformer or right-wing iconoclast? That's bad for business, alienating everybody at one time or other. Successful websites usually tap existing audiences, building around a political or ideological perspective.
We confronted that dilemma when founding the FM website in November 2008. I was told there was a audience for deep analysis of complex issues, beyond the simple certainties offered by most websites. Not a mass audience, but enough to make the project worthwhile. And so it has proven. The FM website gets aprox 85+ thousand hits per month, plus several thousand more in subscription traffic (plus hits where reposted elsewhere, such as at Roubini Global Economics).
(2) About Sources