Google China takes on Baidu with legal music search (Updated)

Google is taking on Baidu in China by launching its own music search site—except this one will only point users to music that is free and legal to distribute. The site, located at and only accessible by Chinese Internet users, allows users to search by singer and song title. The search results will point to songs hosted by, a Chinese music site with financial backing from basketball star Yao Ming. Google's music site will be ad-supported, and the company says that ad revenue will be shared with and its music partners. HangZhou Night Net

Google's music search appears to be a direct response to the popular Chinese search engine Baidu, which has made a name for itself by providing deep links to seemingly unlimited quantities of illegal music. In fact, Baidu has finally come under fire for its MP3 deep-linking policies, as the Music Copyright Society of China and the IFPI have both filed lawsuits against the search engine for enabling rampant copyright infringement. The three labels represented by the IFPI are seeking maximum damages of 500,000 yuan (roughly US$71,000) per track on at least 127 tracks, totaling 63,500,000 yuan (US$9 million) in damages. That could just be the minimum, too, as the IFPI says Baidu may face damages in the billions.

Clearly, Chinese Internet users love music as much as the rest of the world, and there would be quite an uproar if Baidu were to shut down or stop deep linking MP3s. Google China believes that things don't have to be this way, though. "The Internet industry should by no means stand in the opposite camp against the music industry," Google China President Kai-fu Lee said in a statement to Reuters. "Google always believes profoundly that mutual interest, rather than monopoly, is the key to sustainable growth."

Because Google's Chinese music search isn't accessible from the US, we were unable to test it out firsthand. However, Music 2.0 has a few screenshots after taking the site for a spin, and claims that it's more impressive than similar international offerings like We7 and Spiral Frog due to the DRM-free nature of the MP3s. The downside to Google's offering over Baidu, though, is obviously that its selection is still quite limited— has yet to obtain licensing rights to most music, whereas Baidu makes it all (illegally) available.

Still, this is a small step against music piracy in China. By working with Top100 and Google to make music freely available and sharing in ad revenue, the labels are showing a commitment to compete with illegal distribution—while still making money. The next challenge will be to help grow Top100's and Google's catalog so that users will actually have a reason to make the switch from Baidu.

Update: Google contacted us about the revenue sharing situation in order to clarify some points. "Google does not share in the revenue generated by advertising in connection with its Music Onebox product in China," a Google spokesperson told Ars. "All ads visible on the product in connection with the product run on Top100's website and revenues from those ads are shared between Top100 and its music label and publisher partners."

VIA sales plunge as company repositions itself

July sales results for VIA are in, but they don't reflect the strong performance we've seen in other segments. VIA, the company behind the much-anticipated Nano processor, sold some $20 million in product through the month. That's a 7.58 percent increase over June, but a whopping 54.79 decrease year-on-year; company revenue in July 2007 was $44.1 million. The drop is not surprising, given the precipitous plunge in VIA's share of the GPU market, and it's the result of corporate repositioning. VIA has ceased (or almost ceased) providing chipsets to third-party vendors, and will focus entirely on its own brand of integrated boards and processors. HangZhou Night Net

VIA's decision to leave the third-party chipset business is the end of an era for the company, and it's hard not to wax the teeniest bit nostalgic about the company's past. Via has shrunk to a shell of what it was seven years ago, and it's hard to remember that there was a time when some predicted VIA could seriously challenge Intel for control of the motherboard chipset market. VIA ultimately lost that battle; the company refused to acknowledge consistent consumer complaints regarding product stability, and arrogantly assumed it could challenge Intel without a P4 bus license. NVIDIA ultimately stole most of VIA's AMD market share, while Intel, SiS, NVIDIA, and ATI took over the P4 market.

The story, however, isn't all bad. VIA chipsets provided P3 users with a viable (and vastly more affordable) alternative at a time when Intel's i820 was a disaster, and it provided AMD with the platforms that company needed to launch the Athlon and Athlon XP. When Intel chose to back the P4 with RDRAM, VIA was, for a time, the only DDR alternative to P4+RDRAM (very expensive) or P4+SDRAM (horrific performance). For all its blunders, the Taiwanese manufacturer played a crucial role in AMD's success—though some might argue that it also played a role in consumer perceptions of AMD as the less-stable alternative to Intel.

Going forward, all of VIA's development resources will be focused on supporting and enhancing Nano, and the chip itself seems worth the effort. If VIA can secure even a handful of solid netbook/nettop design wins, the company's financials in the third or fourth quarters could be significantly better than they are now, and that will hopefully put the company back on the road to profitability.

As for the company's chipset days, I had some hair-pulling problems (SBLive!+ VIA 686b southbridge) but also quite a bit of fun. My first Athlon system was a Duron 700 running in a KT133A motherboard—the IWILL KK266 to be exact. I pencil modded the Duron to unlock the multiplier, pencil modded the voltage so it would boot at 1.85v, bought myself some Tonicom DDR166 SDRAM, and ran the whole thing at 1.06GHz on a 183MHz FSB.

Good times.

Mozilla mocks up possible Firefox successors in idea factory

Mozilla Labs this week took steps to open up its idea factory to wider outside input, asking for community help to develop the next big ideas that might power future browsers. Like any good research lab, the goal is not an immediate product but a set of innovative ideas that can be played with and debated without the pressure of an immediate implementation. HangZhou Night Net

Mozilla Labs' "concepts" can consist of three parts: ideas, mockups, or prototypes. The idea of throwing open the lab to more voices was all about hearing from… new voices (surprise!), so Mozilla wants to make sure that plenty of people can contribute, even if they can't hack code.

"You don’t have to be a software engineer to get involved, and you don’t have to program," says the announcement. "Everyone is welcome to participate. We’re particularly interested in engaging with designers who have not typically been involved with open-source projects. And we’re biasing towards broad participation, not finished implementations."

Ideas are simple text descriptions of a new concept. They're meant to be thrown out by anyone, then talked about and possibly taken to the next level, which is the mockup. Mockups turn ideas into pictures or video clips that illustrate how the idea might look and operate in practice. Finally, prototypes are fully interactive implementations of ideas, though they may not be "fully functional or pretty."

To illustrate the process, Mozilla commissioned three videos from UI designers, each showing possible ideas for browser development. While the "Bookmarking & History Concept" and "Mobile Concept" are both quite cool, the "Aurora" idea from Adaptive Path is certainly the most radical potential change to the browser's look and feel. Each concept is highly visual and therefore difficult to explain in words, but all three are worth a look.

The Aurora concept

For now, "contributing" a concept is something of a nebulous process. According to Mozilla, users should just "use your favorite method of sharing an concept with the world. If it’s an idea, blog about it. If it’s a mockup, put it on Flickr. If it’s a prototype, host it on your web site." The organization promises more structure is coming soon, however.

A future bookmarking system?

Mozilla wants to encourage outside innovation in other ways, too, including contests like the recent "Extend Firefox 3" challenge. The contest, which will give away a Macbook Air and other prizes any day now, seeks to recognize the best third-party extensions to Firefox 3.

While Firefox 3-specific contests are directly related to the browser, the broader call for "concepts" is not. The ideas developed could easily be gleaned by rivals, but Mozilla isn't worried. One of the odd benefits of being an open-source developer is that you don't need to be (and can't be) as secretive as most in-house commercial development.

While the concepts shown so far may never see release, they do provide more evidence of how the revitalized Mozilla has been driving browser innovation in the last few years. And not all of that innovation comes from Mozilla itself—AT&T has used the Mozilla codebase as the foundation for its experimental Pogo browser, which seems to be working through visual ideas that are at least superficially similar to some of Mozilla's concepts.

Review: Texas Hold ‘Em for iPhone makes pocket poker fun again

HangZhou Night Net

Although the recent Texas Hold 'Em boom in the United States has certainly slowed, there still is quite a bit of interest in the poker space. Games continue to be played both legally in casinos and illegally in people's garages, and the dedicated players are always looking to get better by playing more hands. While electronic poker machines have been around for a long time, few are as handy for a quick game as Apple's Texas Hold 'Em for iPhone.

To start a single player game, you first must chose the venue. The first is simply labeled "Garage." This venue is free to play and you can win up to $1,250 for placing first. The garage is what you would expect to see if you somehow stumbled into Infinite Loop contributor Erik Kennedy's dwelling: Apple computer models strewn about the shelves and old Apple posters on the walls. As you bring in more money, you can choose to play at more lavish casinos all the way up to Dubai, which has a buy-in of $100,000 and a payout of $1.25 million.

While most applications we've seen thus far have not taken advantage of the iPhone's multiple screen orientations, Texas Hold 'Em does a great job of using both the landscape and portrait modes. When the iPhone is vertical, you get a face-to-face view of the game. You can see each player's face, their reactions when it is their turn to act, and the look when they slide their chips into the middle of the table. While I have now played over 40 games, thus far, I spend the majority of my time in the other mode so I haven't yet seen the "secret tells" that the developer says are included. In this mode, you simply tap on your pile or on the pot to see just how much money you have or what is at stake.

In portrait mode, you get an overhead view of the table, including how much money each player currently has and what they did on the current hand (raise, call, fold). Since you can't see their animated faces in this view, you can tap on any one of their avatars and view vital statistics, like how many times each player has won, lost, checked, called, folded, and raised in the current game. This comes in handy deep into the game when someone goes all-in; you can tell right away whether that player plays every hand or has folded 16 of the last 17.

The controls are very good; the entire game can be played with a single finger while holding the device with one hand. Folding can be done simply by flipping your cards into the pot, and going all-in is similarly simple. To bet or call, you simply tap your chips or chip count and a right-to-left wheel pops up, allowing you to easily raise and lower your bet with a simple spin. One small issue with the otherwise very good system is that, when you spin the wheel, it just goes and is imprecise. If you want to bet $500, you are more likely to get $503 or $517 than exactly $500.

While it certainly helps to know what you are doing, the game caters to beginners by putting a hand ratings list in the help menu, and by using a clever system for rating your current hand. To activate this system, all you need to do is tap on your current cards and a meter that goes all the way around your cards will light up. If you have pocket aces before the flop, your meter will be lit up like Vegas at night. 7-2 off suit? Not so much.

While the game is very well done and certainly a lot of fun, there are a few downfalls. The multiplayer function allows only for multiplayer play on the same WiFi network. If you have a buddy you want to play across the country in Portland, and you are in Baltimore, you had better have one hell of an omni-directional WiFi antenna. The statistics tracked by the application could also be significantly improved. It is nice to see your winnings, the biggest pot you have won, your best hand, and games played, but it would be even nicer if the developers added the number of hands played, number of all-ins, and other relevant poker stats. Last, but certainly not least, is the game's affect on battery life. All I can say is that if you intend on playing a lot, you might want to invest in some sort of awkward battery life extender.

For anyone who enjoys the occasional game of poker, for $4.99 this really isn't a bad price. With the ability to tap through animations, you can finish a game very quickly. It really is a handy little poker game to have with you all the time.

Name: Texas Hold 'Em for iPhone (iTunes Link)
Publisher: Apple
Price: $4.99

AT&T has head in the clouds with Synaptic Hosting

AT&T has become the latest company to launch a cloud computing service with its launch of Synaptic Hosting. The service provides pay-as-you-go access to managed hosting, providing computing, storage, security, and networking on an as-needed basis. HangZhou Night Net

In 2006, AT&T purchased USinternetworking, an application service provider offering managed hosting of enterprise applications like PeopleSoft and SAP. Synaptic Hosting combines this technology with AT&T's 38 global data centers. The company will upgrade five of its data centers into "super data centers"—three in the US, one each in Singapore and Amsterdam—to provide the infrastructure for large-scale computing applications.

Synaptic Hosting builds on virtualization technology. Customers will get a virtual environment with storage, operating system, network connectivity, a certain amount of processing power and memory, with management and monitoring facilities from AT&T. This virtual environment will be burstable so that it can get access to more resources as required. As well as the basic system infrastructure, Synaptic Hosting also offers management of applications like web servers and database servers, including configuration, patching, and other maintenance. And if customers have specific needs, dedicated hardware is also available. Synaptic Hosting, therefore, offers the benefits of cloud computing—ease of scaling, broad application support—with the hands-off convenience of software-as-a-service.

The target customers are those with variable capacity demands; for example, online retailers that have a Christmas rush, or the US Olympic team website (which uses Synaptic Hosting today). This variable demand is one of the big motivators behind the idea of cloud/utility computing; it allows businesses to satisfy their peak demand without having huge amounts of excess capacity during quiet periods. When a site only sees a lot of traffic for two weeks in every four years, this is a very valuable feature.

AT&T is describing Synaptic Hosting as enterprise-class; unlike services like Amazon's EC2 and S3, Synaptic Hosting offers service-level agreements, rapid support, and management of off-the-shelf applications, and the company believes that this enterprise-level support sets AT&T's cloud computing capabilities apart from anything else on the market. AT&T's objective is to provide a cloud platform suitable for the enterprise, and Synaptic Hosting's combination of the provision of the full stack (computing, storage, networking, operating system, and perhaps applications) along with service guarantees is the company's first step towards that. For customers bitten by Amazon S3's recent outage, the greater guarantees of AT&T's system may be very appealing.

This move by AT&T shows that the cloud computing market, although still young, is maturing fast. Using utility computing to provide IT infrastructure is still only a small market—some 5 percent of all data center outsourcing, according to a recent Gartner report—but it's one that's already worth $5 billion. With the availability of enterprise-ready solutions, this is an area sure to see further growth.

Sony bets on Rocketboom distribution for push into new media

Aiming to step up its new media game, Sony Pictures Entertainment has acquired worldwide, exclusive distribution rights to Rocketboom, one of the oldest news-oriented video blogs. Not much will change at the show for now, but Sony hopes that acquiring a successful show can bring some sizzle to its web-based video entertainment network, Crackle. HangZhou Night Net

Rocketboom launched in October 2004 as a short vlog (video blog) that featured commentary on everything from mainstream news to Internet culture and anything else noteworthy. Distributed in a multitude of file formats and distributed by a range of channels, and via RSS, the show's ubiquitous presence and zippy format helped garner it a sizable audience of a few hundred thousand daily viewers. After the introduction of a new host and commercials in mid-2006, Andrew Baron, the show's producer, claimed that Rocketboom's audience had risen to 400,000 daily viewers, though BusinessWeek disputed that claim.

Setting aside traffic numbers, Sony's negotiations for exclusive distribution rights to Rocketboom marks a new chapter for the site as Internet video matures. It should also bring some eyeballs to Crackle, Sony's "multi-platform video entertainment network and studio." Originally known as Grouper, a user-generated content (UGC) competitor to YouTube, Sony acquired the company in 2006, ditched the UGC angle, and rebranded it as Crackle. With a new focus on professionally produced video and multiple audience-centric channels, Crackle has finally begun enjoying more positive traffic growth over the last six months, though numbers from a few stats-tracking services paint slightly different pictures. comScore says Crackle has risen from around 1 million unique monthly visitors in April 2008 to over 3 million in June, but in September 2007, a cofounder told VentureBeat that the site had 20 million uniques.

Regardless of Crackle's current traffic stats, Sony has high hopes for Crackle content syndication and the audience that Rocketboom can bring along with it. The Rocketboom distribution deal is said to be in the seven-figure range, and while Sony and Crackle never answered Ars Technica's requests for comment, Baron declined to give us an exact number. In addition to the vlog's current distribution formats and channels, Rocketboom will get integrated into the PS3, PSP, Sony BRAVIA televisions via BRAVIA Internet Video Link and, naturally, mobile partners. Sony will also take total control of Rocketboom's ad sales.

In a blog post on his personal site, Baron speaks about the changing new media landscape being a primary catalyst for this decision. "The hyperbole surrounding the free ability to podcast, videoblog and in general publish and distribute video to the world with the touch of a button is an old story now." Baron details Rocketboom's steady growth as an independently produced Internet video show, as well as adventures in advertising and syndication, then finishes on "the complete package" that Sony offers as the reason behind the partnership. Allowing Sony to take over distribution and ad sales will leave Baron to focus on Rocketboom content, which he maintains complete creative control over.

Sony's exclusive acquisition of Rocketboom distribution rights is one that may not pan out for some time. While Sony's gaining a decently sized audience for what is probably a small price and Rocketboom gets to remain Rocketboom, Crackle has yet to garner its own significant audience—let alone become profitable.

Athletes, cheaters, and statistics

With the start of the summer Olympics in Beijing just days away, the attention of many throughout the world is turning towards athletic competition and the national pride it can bring. However, even with all the celebration and pageantry, the specter of doping weighs over the games more heavily than ever before. HangZhou Night Net

In order to ensure a level playing field for all athletes, the World Anti-Doping Agency, International Olympic Committee, and individual national delegations have worked together to establish testing protocols designed to catch athletes who, despite the growing sophistication of testing methods, choose to pharmaceutically enhance their chances. In this week's Nature, Dr. Donald A. Berry, chair of the Department of Biostatistics at University of Texas, writes that the methods used to catch doping athletes have substantial statistical flaws.

Dr. Berry's analysis pertains mostly to testing for the metabolites of banned substances. Many synthetic forms of testosterone (far and away the most common form of doping among athletes) are metabolized and passed from the body through urine as a variety of derivatives that occur naturally. The metabolite concentrations in urine can vary based on diet and natural variations in hormone levels. The World Anti-Doping Agency determines whether an athlete has doped by testing for unusual ratios among these various metabolites that are indicative of synthetic hormone use.

This type of testing assumes that an unusual result is proof of guilt, a flawed form of reasoning known as the prosecutor's fallacy. As an example (lifted from Dr. Berry's commentary), consider a criminal suspect who is accused based solely on blood testing that matches only 1 out of every 1000 people. The prosecutor of the case may try to convince a jury that the odds of this person being guilty are 999:1, but in a city of 1,000,000 people, if there is no other evidence, the true odds of guilt are actually 1001:1 against. This, in essence, is the same reasoning applied to many forms of drug testing approved by the World Doping Agency; an athlete is assumed to be guilty simply by having a relatively rare test result.

Dr. Berry states that this does not mean we cannot determine cheaters by these testing methods—he argues that we simply need to apply the appropriate statistical methods to the tests. In order to determine whether a test result is simply unlucky or the result of doping, we need to know two statistical properties of the test: the odds that a true doper tests positive ('sensitivity'), and the chances that an honest athlete tests positive (one minus 'specificity').

Herein lies the problem – the Wold Doping Agency has neither conducted nor published the necessary studies to establish sensitivity and specificity in these metabolite ratio tests. An analysis of the case of Floyd Landis from the Tour de France, assuming reasonable values of sensitvity and specificity, indicates that there was between an 8 and 34 percent chance of registering a false positive. Given that he had eight different opportunities to test positive (far more than the average Tour rider because Mr. Landis was a front-runner throughout the race), the case against him suddenly looks substantially weaker.

It is important to note that the current statistics are equally as poor at proving innocence as they are at proving guilt. Considering the extreme ramifications of testing positive, however, the World Anti-Doping Agency owes it to the athletes to establish more statistical rigor in testing methods, and should be far more transparent when it comes to its methods. It is quite clear that, with current methods, some cheating athletes are going undetected while a finite number of innocent athletes are being ruined by false-positive tests.

Nature, 2008. DOI not yet available.

Notebook Nehalem may not pop for 12 months

Nehalem has been the talk of the tech industry for months, but a number of signs point towards a relatively slow launch from Santa Clara. While enthusiast-class Nehalem platforms are scheduled to arrive this fall, mainstream desktop parts may not hit the market until the third quarter of 2009 if leaked roadmaps are accurate. Road warriors, meanwhile, shouldn't hold their breath—Nehalem may not arrive in notebooks appreciably sooner than it does in mainstream desktops. HangZhou Night Net

DigiTimes has identified Intel's next-generation notebook platform as Calpella, and states that it won't arrive until 3Q 2009, or around the same time we expect new desktop parts. With the memory controller ensconced safely on-die, Intel will move its new mobile chipset to an integrated single-chip solution, codenamed Ibex Peak-M. The Ibex, in turn, will support both Clarksfield (high-end mobile, on-die memory controller, quad core) and Auburndale (performance mobile, dual-core part, integrated GPU). Intel first announced its intent to partner Nehalem with an integrated GPU earlier this year, although there's no word yet on how that GPU will compare with AMD's own Fusion project, or what sort of power consumption we'll see from the two devices. Current rumor suggests that Fusion (or at least some part of it) will be produced on TSMC's half-node 40nm process, but AMD has yet to clarify if Fusion's GPU will be on-die or on-package.

Economic events over the next 12 months could conceivably alter Intel's launch plans, but right now a slow ramp seems to make the most sense. Integrating the memory controller, GPU, and processor in a mobile form factor is no small engineering challenge, and Penryn is competitive enough to keep the pressure off. Intel has all the time it needs to tweak Auburndale, and it wouldn't be surprising for the company to take it. revamped, Windows Live Clubhouse launched

Following the revamp of the Windows webpage in mid-July, Microsoft has updated the website. Although it doesn't follow the white and light blue themes of the new Windows and Windows Mobile pages on, it does have a similar look to it. currently features 11 Windows Live products (including five that have mobile versions). The new site also has a "See how people like you are using Windows Live" section (both on the homepage and individual product pages) for featuring Windows Live Spaces blog entries that offer related tips and stories written by Windows Live users. HangZhou Night Net

Senior Product Marketing Manager Marty Collins detailed how this site came to life: "We began developing this community-driven site about a year ago with some pretty basic questions: How can we help our customers help each other? How are they using Windows Live in creative ways that make their lives better and more fun? In the process, what can we learn about making Windows Live better?"

This user-generated content will arrive from the "Windows Live Clubhouse," a new Windows Live Space for enthusiastic Windows Live users that one must request permission to view. Content is driven to via tags, ratings, and comments; a user part of the Windows Live Clubhouse can use related tag on a Windows Live Space blog entry. The entry then gets aggregated through RSS so that other Windows Live Clubhouse members can rate it and comment on it. Each member also has a user page created automatically on that highlights Windows Live content from his or her Windows Live Space. The content that appears on the site will not be edited by Microsoft; if enough users positively rate a negative blog entry about a Windows Live service, it will still appear on

Further readingThe Space Craft: Your space could be highlighted on WindowsLive.comThe Windows Experience Blog: Launches with Community ContentMarketing Today: gives customers a voice

Review: Hand-draw animations on your iPhone with Flickbook

As long as you aren't an artistic perfectionist, many drawing applications on the iTunes App Store can be a lot of fun. While drawing with a finger isn't the most accurate or a comfortable way of getting your ideas into visual form, for a quick doodle, it can be fun. For some, it might even bring you back to your kindergarten days when your parents think that a drawing of your dog is a rocket ship. HangZhou Night Net

One of the newest drawing applications to hit the App Store is Flickbook, an old-school animation app from the developers of Bokeh and Misu, Ollie Wagner and Geof Pado. This is the way it was done before the days of computer-generated animations and 12 hand-drawn frames per second of animation. The results will give you something more reminiscent of Dr. Katz or The Simpsons circa the Tracey Ullman Show than today's Saturday morning cartoons.

The aim of Flickbook, not to be confused with FlipBook, is simplicity. The goal, the devs tell us, is for a user to be able to pick up the iPhone and go. To begin, you simply point and draw—a line follows your finger as you drag it across the screen. To create a new page, you simply touch the + sign that appears underneath the curled page once you begin drawing. After making a new page, the drawing on the last page is shown as an onion skin so the user can easily trace or judge where to make the next image in order to simulate movement. You can do this over and over again with no performance hit; the duo of programmers has used a different means of rendering the animations that involves very little memory footprint.

Drawing options are scarce; this was a conscious effort to keep things simple. While there aren't multiple brush sizes, an eraser, or even a plethora of colors, the developers do allow unlimited undo (just shake the iPhone) as well as color overlay, which allows for the creation of new colors through mixing and the darkening of present colors. Saving is somewhat unintuitively done by going to the "add document" icon in the upper right hand corner. Deleting a movie is done just like deleting an e-mail: by swiping a finger over the name from left to right.

There are three methods of playback: you can single-click the play button, which will lead to a steady playback of 12fps; double-click the play button, which will lock the movie in a loop; or you can scrub through the animations manually by dragging the slider through at the desired speed.

While the ability to save your creations and revisit them later is nice, the app's biggest downfall is the inability to export your animations. Since they are made up of multiple frames of still images, the movie can't simply be exported to the iPhone's camera roll. While this isn't a huge issue for everyone, for those who want to share their creations with people across the world, it may be a reason to wait for the next version of the software (according to the developers, the next version will include a means to share your creations). However, since it will be a free update, you could start playing now if this appeals to you.

Since simplicity was the name of the game in the development of this application, Wagner and Pado have certainly succeeded. For casual users, Flickbook will be more than enough to entertain. People who are really into this sort of thing will enjoy the app's performance, although they might miss some of the options present in more robust applications.

Name: Flickbook for iPhone (iTunes Link)
Publisher: Ollie Wagner and Geoff Pado
Price: $4.99