text:
When Jeff Mayers first set eyes on the 440-acre Longboat Key Club & Resort, he immediately saw opportunities for growth.
Mayers, who took over as the resort's general manager late last year, wants to expand the ways the club reaches visitors and add to what is considered a solid member base.
Mayers believes his timing is good, too, since the club is among the few high-rise lodging offerings on all of tony Longboat Key, following the demise of The Colony Beach & Tennis resort in August 2010.
Mayers, 50, hopes, too, to leverage experience gleaned as general manager of the Sawgrass Marriott Golf Resort & Spa, in Ponte Vedra Beach, where he worked for four years.
That property was purchased in July 2006 by a partnership led by Dublin developer Patrick Kelly, who also had planned to develop the former Sarasota Quay land into a $1 billion mix of condos, hotel rooms, offices, retail space and restaurants.
"A lot of people like to compare the coastal destination of Ponte Vedra Beach with Longboat Key," Mayers said. "And while there is a similar quality of life between both regions, the golf component and proximity of championship-level golf courses really sets that property apart."
Ponte Vedra Beach is known for its Professional Golf Association course and championship events hosted there.
But Mayers faces challenges at the Longboat Key Club that go beyond a lack of professional golf nearby.
For starters, he takes over the day-to-day resort operation from a general manager who, while polarizing to some, had steered the property for nearly a decade and garnered accolades from many in the tourism industry. Michael D. Welly, who left the resort last fall following its purchase by Ocean Properties Inc., had been at Longboat Key since March 2004.
As general manager, Mayers also is likely to become embroiled in a contentious - and unfinished - plan to expand the resort.
But tourism boosters maintain he is up to the job.
"Jeff Mayers is very savvy and is working for a company that lives and breathes tourism, and that makes a huge difference," Virginia Haley, president of Visit Sarasota County, said of Ocean Properties.
"It looks like they are going to be very aggressive in our market, and we welcome a company that's core mission is in tourism."
The Longboat resort's "club" component is new to Mayers, he admits, but in time he hopes to better integrate and expand the many spa, golf, tennis, dining, maritime and meeting space services the club's 250 members and guests can use while there.
For now, though, Mayers is confident the Longboat Key Club is peerless in Southwest Florida - even compared with luxury lodging properties such as The Ritz-Carlton Sarasota, a 266-room hotel that also has a beach club, golf course and spa available to hotel guests and members.
"We're constantly updating what we have to offer," Mayers said. "All of our services are exclusive to members and guests. We're the only beachfront property on Longboat Key that offers all of that at one location."
Prior to the Sawgrass Marriott, Mayers worked as a general manager at Interstate Hotels & Resorts in Greenville, S.C.; PCH Hotels & Resorts in Mobile, Ala.; and in the Orlando and St. Petersburg hospitality markets.
Despite numerous legal setbacks to a plan to add 350 residential and hotel units, a new clubhouse, a four-story convention center and a spa and fitness center at the Longboat Key Club, Mayers is hopeful the resort will continue to evolve.
Former owner Loeb Partners Realty said the planned $400 million renovation was critical to keeping the club viable in a more competitive environment, but the sluggish economy and a series of legal battles have stalled the expansion for more than three years.
Ocean Properties, which owns the Lido Beach Resort and other high-profile hospitality holdings in Florida, acquired the Longboat Key Club in October. The company is expected to eventually resubmit Loeb's stalled expansion plans to the Town of Longboat Key for approvals.
The plan remains in limbo, Mayers acknowledged, and the expansion's future remains uncertain.
But Mayers notes that Ocean Properties is a patient owner, an attribute that could bode well.
"Ocean Properties are not short-term holders," Mayers said. "They are interested in investing a significant amount in the properties they own."
Longboat Key Club: New manager, new owner, old expansion struggle
When Jeff Mayers first set eyes on the 440-acre Longboat Key Club & Resort, he immediately saw opportunities for growth.


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For stunning tower designs and superior functionality, the world's top boat builders turn to Xtreme Tower Products (XTP). XTP has assembled an internal staff of designers and engineers focused on bringing the most innovative and exciting ideas to life; meanwhile all XTP manufacturing craftsmen ensure product excellence through the use of superior materials and processes.
Expertise in engineering, exhaustive testing, and passion for wakeboarding gives XTP a comprehensive understanding of what it takes to lead the industry. We not only know what makes a functional wakeboard tower, but which tower models are selling the most boats from the best boat manufacturers – because XTP is making them! As the original equipment manufacturer of wakeboard towers, wakeboard racks and accessories for the world's top manufacturers, XTP products complement boat design and create an exciting edge to the sport of wakeboarding.
Located in Maryville, Tennessee, XTP neighbors many boat manufacturers who were also attracted to the area for the abundance of lakes and waterways.
It is convenient for XTP engineers to head to the water to put the latest wakeboard tower design through comprehensive maneuvers and endurance testing. (It's an ugly job but someone has to do it.)
- The world's largest wakeboard tower manufacturer.
- Innovative and attractive tower designs for boat builders.
- Functional solutions that incorporate the lines, layout and purpose of each vessel.
- Design and materials customized to each customer.
- XTP products are made in the US for quality control and on time delivery.
- Design, Engineering and Manufacturing work hand in hand to achieve highest quality products at competitive pricing.
But XTP's advantages don't stop there. As part of the Marine Accessories Corporation family, XTP has access to a host of sister companies that excel in the their respective categories. These relationships frequently result in collaborative projects that raise the bar on the boating experience.
For example, although XTP specializes in working with boat builders to develop custom towers for new models, XTP designers have also developed a line of universal-fit towers sold by Monster Tower to retail customers so they can add a tower if their boat didn't come equipped with one.
XTP also works with the canvas experts at Great Lakes Boat Top to integrate weather protection into tower and accessory designs. A recent collaborative effort resulted in the XB - the next generation of Bimini tops for pontoon and deckboat applications - affording a sleek, stylish design that also affords mounting areas for lights and accessories.
XTP manufactures Z5 Tilting Cargo Racks to add a new level of functionality to wakeboard towers on the world's top towboats. And the newest addition to the XTP manufacturing line up is TurboSwing, the transom mounted towing solution for outboard boats - replacing pylons and freeing valuable deck space.
The list goes on. Each day brings new challenges and new opportunities for XTP to develop innovative solutions and products to make boating better.

subset: commoncrawl


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The UPD78916x microcontroller is 8-bit 78K0S core microcontroller for general purpose.
Key Features:
- Operating voltage:
- VDD = 1.8 to 5.5 V (µPD78916x, 78916x(A))
- VDD = 4.5 to 5.5 V (µPD78916x(A1), 78916x(A2))
- Max. frequency: 10 MHz
- ROM capacities: 16 KB mask ROM
- RAM capacities: 512 bytes
- 44-pin plastic LQFP and 48-pin TQFP package
- Minimum instruction execution time changeable from high-speed (0.2 µs: Main system clock 10.0 MHz operationNote) to ultra-low speed (122 µs: Subsystem clock 32.768 kHz operation)
- I/O ports: 20
- Serial interface: 1 channel
- 3-wire serial I/O mode/UART mode selectable
- 8-bit resolution A/D converter: 4 channels
- Timers: 6 channels
- 16-bit timer: 1 channel
- 8-bit timer/event counter: 2 channel
- 8-bit timer: 1 channel
- Watch timer: 1 channel
- Watchdog timer: 1 channel
- Multiplier: 8 bits x 8 bits = 16 bits
- Vectored interrupt sources: 10
- Operating ambient temperature
- TA = -40 to + 85°C (µPD78916x, 78916x(A))
- TA = -40 to +110°C (µPD78916x(A1))
- TA = -40 to +125°C (µPD78916x(A2))
Pin Count / Memory Size Lineup:
Below you will find information to support the development of your application.
You can find an explanation of orderable part numbers here.
Resources for Software and Hardware
|My Renesas
|Create a My Renesas account to use our tool download services, receive e-newsletter/update notifications, and take advantage of our other services.
|Information for studying and learning about microcontrollers and microprocessors.
|Frequently asked questions and useful hints for development.
|A forum and community site to share technical information, questions and opinions with others who use Renesas products.
|Watch videos related to this product.
Hardware Design Support
|Characteristics data
|Information on observed values. Please use this as reference data when developing your set.
The information contained herein has been provided by a member of Renesas Partners. This information is provided on the Renesas website provided for convenience and informational purposes only. Renesas is not responsible for the contents of this page or any changes or updates to the information posted on this page. Certain links provided herein permit you to leave this site and enter non-Renesas sites. These linked sites are not under control of Renesas. Renesas is not responsible for the contents of any linked site or any changes or updates to such sites. These links are provided for convenience and informational purposes only. The inclusion of any link does not imply endorsement by Renesas of any linked site.
Renesas's Publication of information regarding third-party products or services does not constitute an endorsement regarding the suitability of such products or services or a warranty, representation or endorsement of such products or services either alone or in combination with any of Renesas's product or service.


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New Henes Gift Enables First Step Toward Institute of Quantum Phenomena at Michigan Tech
Michigan Technological University's Physics Department sees itself poised on the brink of greatness. Richard and Elizabeth Henes agree. Longtime and generous supporters of Michigan Tech, the couple has donated another $700,000 to the University to upgrade research facilities in Fisher Hall, including infrastructure improvements.
"This latest gift will help Michigan Tech continue to build an outstanding physics department that is working at the cutting edge of modern physics," said University President Glenn D. Mroz. Building and improving our facilities helps attract and retain researchers at the forefront of their fields, he explained. Both goals are priorities of a $200 million capital campaign now under way.
Michigan Tech currently has interdisciplinary strengths across the university in areas of quantum phenomena, largely nanotechnology and computing. This new gift will set the stage for greater emphasis i n the area where quantum physics meets biology. This interdisciplinary work will define this century's advances in technology.
The Department of Physics is already making quite a reputation for itself. "Physics is one of the most research-active departments in the College of Sciences and Arts," said Ravindra Pandey, chair of physics. "Three of Michigan Tech's last four annual faculty research awards have gone to physics researchers. "
"We are deeply grateful to Mr. and Mrs. Henes for providing state-of-the-art research facilities where our faculty and students can pursue 21st century physics, involving quantum mechanics," Pandey said. "Their gift creates an unprecedented opportunity to advance quantum physics research at Michigan Tech.
The gift is the first step toward establishing a Henes Institute of Quantum Phenomena. Its mission will be to provide national leadership in investigation of processes linked together on the interdisciplinary theme of "quantum world," said Pandey.
Henes, a mechanical engineering alumnus, and his wife have also endowed a chair in mechanical engineering and a professorship in mathematical sciences, as well as an endowed scholarship at Michigan Tech. Shuanglin Zhang holds the Richard and Elizabeth Henes Professorship in Mathematical Sciences. A search is under way to fill the Richard and Elizabeth Henes Chair in Mechanical Engineering with an emphasis on energy systems, as part of a current Strategic Faculty Hiring Initiative in Next Generation Energy Systems.
A native of Menominee, Mich., Henes earned a Bachelor of Science in Mechanical Engineering from Michigan Tech in 1948, followed by a law degree from the University of Michigan. After moving to Arizona, he founded Henes Manufacturing Company, Henes Products and Henes Stamping. He also became a successful real estate investor in Phoenix. He and his wife now divide their time between Paradise Valley and Flagstaff, Ariz.
The couple is committed to helping the University prepare the next generation to compete in a demanding technological world.
" I believe that advances in physics and math will provide the basic information to support technical advances in all areas at Michigan Tech," said Henes. "I would really like to see this happen."
Michigan Technological University is a public research university, home to more than 7,000 students from 54 countries. Founded in 1885, the University offers more than 120 undergraduate and graduate degree programs in science and technology, engineering, forestry, business and economics, health professions, humanities, mathematics, and social sciences. Our campus in Michigan's Upper Peninsula overlooks the Keweenaw Waterway and is just a few miles from Lake Superior.


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Archive-name: genealogy/german-faq/part4
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Last-modified: 2005/01/01
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soc.genealogy.german Frequently Asked Questions List, Part 4/4 Copyright (c) 2005 by Jim Eggert, firstname.lastname@example.com Version 2.9, 1 Jan 2005. All Rights Reserved.
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LONDON - He is Baraladei Igali, Nigerian wrestling coach, as far as the 2012 Olympic information system is concerned. No biographical data provided.
But his compact, powerful build and purposeful gait are unmistakable. The only thing unfamiliar about Daniel Igali as he strides angrily through the media mixed zone Thursday at London's massive Excel Centre, waving off a Nigerian television crew that wants to interview him, is his scowl.
"No, I am very upset with that match!" he shouts, and the beautiful TV reporter seethes with frustration.
"We have come all this way, paid all this money, we want to give him publicity and he will not talk to us. Unbelievable!" she says.
Well, perhaps not so unbelievable.
The fire still burns in the little political refugee who won an inspirational gold medal for his adopted country of Canada on the last day of the 2000 Sydney Olympics, and it's burning hot in the moments after his 72-kilogram wrestler, Amarachi Obiajunwa, has been lopsidedly dispatched by a Chinese opponent in a swift 69 seconds.
"When you know the level of your athletes, and the performances don't match their abilities, that's frustrating," Igali says, further infuriating the TV crew by stopping to talk to a Canadian writer.
"I have two female athletes here, Blessing [Oborududu] and Amarachi, they came here and have not competed the way I expected them to. I am not happy. I obviously expected that there were some people who would beat them, but even if they would beat them, they would put up a fight.
"But Blessing lost to someone she shouldn't have lost to yesterday, and Amarachi is a give-and-take match, she could win this match if she wrestled up to her potential but ..."
But neither of them has what Daniel Igali had, and still has. He was inducted into the International Wrestling Hall of Fame here a little over a week ago, and long ago became the catalyst that inspired a generation of Canadian grapplers.
His impact is still being felt here in London, which may be why the Canadian team's pre-Games news conference was held in a room that featured a giant-sized poster of Igali.
At 38, the smile that lit up a nation 12 years ago is not coming out today, but the kindness remains. There haven't been many more heartwarming images of Canada's Olympic past than Igali spreading the Canadian flag over the centre of the mat in Sydney after his gold-medal victory over a Russian, doing a little dance around it, then getting on his knees to kiss the maple leaf.
He remained in Canada after seeking asylum following the 1994 Commonwealth Games and earned a degree in criminology from Simon Fraser University - after the Sydney Olympics he even ran for office in the 2005 provincial election, winning the Liberal nomination in his home riding in Surrey, but lost to the NDP candidate.
"Really, it's been good. I'm having a lot of fun back in Nigeria," he says. "My whole family is there, I grew up there. My grandma is almost 90 now, I lost my dad in 2002, so my mom is a widow ... I was thinking it was time for me to go back and be with them, at least for the foreseeable future."
He is back in the village of Eniwari, where he's a member of the Bayelsa provincial house of assembly and the technical director for Nigerian wrestling. He still maintains a residence in Surrey, where his partner Franca and their two children, son Ediladei, 6, and one-year-old daughter Ediere (Ella) live, and spends a couple of months a year there.
It's not ideal - "Obviously there's a lot of time management involved," he said - but commuting halfway around the world is a long way from the poverty of his youth, wrestling over food with 20 siblings. He is constantly promoting his Daniel Igali Foundation, which raised $600,000 to build an education/sports academy named for his "surrogate Canadian mother", Maureen Matheny, in Eniwari. The academy has 11 classrooms, a gym, an auditorium, a library, a computer room and a six-room accommodation complex; 60 students are enrolled there.
And he remains passionate about his wrestlers. He just wishes they were as attentive. He sees every opening, and wonders why his students do not. He knows what he would do, and struggles - like so many great athletes - to convey, as a coach, what he did as a competitor.
"It is very upsetting to see," he says, "and I'm a coach and you should be positive about everything, but they are adults and there is some responsibility on the part of the athletes, too, and I personally think this was bulls—t."
He doesn't think he's asking too much, but the great ones never do. It doesn't take much to get him wound up again.
"Initially, I did have that [problem]," he admits. "I would see somebody in a position, and I'm like, 'How can she not do that, what is wrong with that?' But now I've developed a lot more as a coach, and so I don't expect that all of them are going to wrestle the way I wrestled.
"They all have their individual attributes and traits and I accept that, but I also am on the mats with them, I wrestle with them every day and I know the level of all the female athletes here. I came here with the expectation that with the kinds of draws we had, someone would at least wrestle for a bronze."
Nigeria's best hope for a medal, Sinivie Boltic, wrestles on Sunday, the final day of the Olympics. He is ranked fifth in the men's 96kg class, the highest world ranking of any Nigerian athlete at the Games.
"Wrestling has become an important sport in Nigeria," Igali says. "People, including the country's president, will watch all our matches live on TV at home - and my wrestlers know that. People at home do not care about a world championship, but they care a lot about the Olympic Games, so there's a lot of pressure."
He excuses himself and heads backstage to talk to his wrestler. The Nigerian TV woman will have to wait.


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Budapest: A Cultural History
Oxford University Press, 2007 - 237 páginas
The views of Budapest by the River Danube are unparalleled in Europe. On one side the Buda Hills reach almost to the riverside, with Castle Hill and Gell rt Hill offering outstanding panoramas. Pest, linked to Buda by a series of imposing bridges, with its mixture of late nineteenth-century Historicist and early twentieth-century Art Nouveau architecture, is still very much a "turn-of-the-century" city.
For more than fifty years prior to the Second World War, Budapest was one of the outstanding cultural capitals of Central Europe, on a par with, and in some ways ahead of, Vienna and Prague. Now no longer "hidden" behind the Iron Curtain, much of that old atmosphere has returned. With its rich and often turbulent history, its unique thermal baths, its excellent public transport system, its street caf s and broad-ranging cultural scene, Budapest is a captivating metropolis, currently being rediscovered as one of the liveliest cities in the region.
* City on the Danube: Straddling the majestic river, Budapest's setting is unique; bridges and baths, cafes and squares; an architecture than recalls the pre-1914 era.
* City of fusions: Bart k and Kod ly fused folk and classical; the tradition continues with Budapest's vibrant mixture of live folk, gypsy, klezmer and jazz.
* City of the unknown: Breaking through the barrier of the Hungarian language, often described as impenetrable, presented here are writers and poets deserving international recognition.
Dentro del libro
20 páginas coinciden con painting en este libro.
żDónde está el resto de este libro?
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By the Danube I
Avenue of Dreams
City of Cafés
Derechos de autor
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Términos y frases comunes
Andrássy appeared artists Arts associated authorities Bartók Baths became Bridge Buda Budapest building built café called Castle celebrated central centre century changes Church communist completed constructed continued culture Danube decades designed early established Europe example exhibition fact famous figure former given gypsy Habsburg Hall Heroes House Hungarian Hungary Hungary's issue Italy Jewish Jews József known Kossuth late later least literary literature lived Magyar major March means memorial monument Museum nature noted official opened original painting Palace Park parliament particularly party performances perhaps period Pest played political popular published reflected remained represented river Royal rule Second seen side social sometimes Soviet square stands statue street style tér Theatre theme took traditional turned utca writers wrote


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ELISA, Enzyme ImmunoAssay or EIA, is a biochemical technique used mainly in immunology to detect the presence of an antibody or an antigen in a sample. The ELISA has been used as a diagnostic tool in medicine and plant pathology, as well as a quality control check in various industries. In simple terms, in ELISA an unknown amount of antigen is affixed to a surface, and then a specific antibody is washed over the surface so that it can bind to the antigen. This antibody is linked to an enzyme, and in the final step a substance is added that the enzyme can convert to some detectable signal. Thus in the case of fluorescence ELISA, when light of the appropriate wavelength is shone upon the sample, any antigen/antibody complexes will fluoresce so that the amount of antigen in the sample can be inferred through the magnitude of the fluorescence.
i am interested to have a movie (animation) of ELISA that is a immunological assay


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Encryption software
Encryption software helps to you protect the privacy of your email messages, documents and sensitive files.
Why you need encryption software
• Sending sensitive messages and files over the Internet is dangerous as all emails are transmitted in an unsecured form. If you need to send sensitive information over the Internet you should encrypt it first.
With encryption and decryption software you can safely send sensitive messages and files
• Need to safely store sensitive information on your computer?
Encryption software works with both – text information and files. Just select what you want to encrypt, and encryption and decryption software helps you keep documents, private information and files in a confidential way.
Encryption software
Nowadays when more and more sensitive information is stored on computers and transmitted over the Internet, we need to ensure information security and safety. Encrypt sensitive information to protect your privacy!
One of the most common uses of encryption is encrypting emails. Sending sensitive messages, documents and files over the Internet is like sending a postcard as all emails are transmitted in an unsecured form. It doesn't depend on if you send emails via public and private networks. Your message is totally open to interception by anyone along the way – so anybody – your ISP, your boss, etc. can read your emails. Even if you connect to your server and send your emails via SSL, it only means that your emails can't be seen while transmitting between you and your server. When your email reaches your server, it can be seen by your email service provider. Then your server usually sends your email to the recipient in an unsecured way and your email can also be easily seen by anyone.
Private network, where email goes directly to a mail server and resides there until it is retrieved, also doesn't provide necessary security level, as you email can be seen e.g. by network administrator, your boss, etc.
Of course, you may believe that your personal email does not contain any private information, but everyone has got something to keep in secret from his family, neighbors or colleagues. It could be financial, social, or professional secrets. There is really only one sure way to protect your email privacy – email encryption.
Encryption and decryption software
Encryption software categories:
– Disk encryption software
– File encryption software
Text encryption to encrypt text, messages, emails and instant messages
There are lots of encryption programs that could be used for both file and email encryption.
Data encryption is an essential part of protecting computer privacy as it ensures the privacy of information that you store on your computer or email by preventing third parties from recovering the original data.
With encryption software you can encrypt and decrypt the entire disk, files, folders, private messages, emals, etc.
When you choose encryption software, first of all check for the features that you really need depending on if you need to encrypt the entire disk, emails, files, etc. The more options encryption software offers, the more complicated it is. So encryption software specifically designed for email encryption is much easier than file encryption software that supports email encryption by transforming emails into files.
Symmetric encryption
Symmetric Encryption (also known as private key encryption) is a type of encryption where the same secret key is used to encrypt and decrypt information or there is a simple transform between the two keys.
A secret key can be a number, a word, or just a string of random letters. Secret key is applied to the information to change the content in a particular way. This might be as simple as shifting each letter by a number of places in the alphabet. Symmetric algorithms require that both the sender and the receiver know the secret key, so they can encrypt and decrypt all information.
AES 256-bit key encryption
AES provides strong encryption and was selected by NIST as a Federal Information Processing Standard in November 2001 (FIPS-197). Currently, there are no computers that could break the encryption key in a reasonable amount of time (it will take millions of years). A password, or more precisely its hash (SHA 256), is used to protect the encryption key. Neither the password nor its hash is stored anywhere. If the password is not correct, it will be impossible to get the encryption key and consequently to decrypt information.
Multiple encryption
For more security and to prevent Brute Force attack some encryption tools allow you to encrypt the same text or file multiple times -just set number of passes for multiple encryption.
Public Key Encryption
Asymmetric encryption (Public Key Encryption) uses different keys for encryption and decryption. The encryption key is public so that anyone can encrypt a message. However, the decryption key is private, so that only the receiver is able to decrypt the message. It is common to set up 'key-pairs' within a network so that each user has a public and private key. The public key is made available to everyone so that they can send messages, but the private key is only made available to the person it belongs to.
The sender and the recipient must have the same software. The recipient makes a pair of keys – public key and private key (both keys can be unlocked with a single password). Public key can be used by anyone with the same software to encrypt a message. Public keys can be freely distributed without worrying since it is only used to scramble (encrypt) the data.The sender does not need the recipient's password to use his or her public key to encrypt data. The recipient's other key is a private key that only he or she can use when decrypting the message. Private key should never be distributed since the private key assures that only the intended recipient can unscramble (decrypt) data intended for him or her. The recipient can freely distribute the public key without worrying since it is only used to scramble the data.


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Macbeth is a play by William Shakespeare (1564—1616)[1].
The full title of the play is The Tragedy of Macbeth
- 1 The original text
- 2 Translations
- 3 South African productions of the original text of Macbeth
- 4 Adaptations of the original play
- 4.1 International versions seen in South Africa
- 4.2 South African adaptations
- 4.2.1 Umabatha by Welcome Msomi
- 4.2.2 Macbeth the African opera by Brett Bailey
- 4.2.3 MacBeki - A Farce to the Reckoned With by Pieter-Dirk Uys
- 4.2.4 macbeth.slapeloos by Marthinus Basson and cast
- 4.2.5 The Okavango Macbeth by Alexander McCall Smith
- 4.2.6 The Tragedy of Macbeth by Walter Greyvenstein
- 5 Sources
- 6 Return to
The original text
Originally written c. 1600 and thought to have been first performed in 1606. Shakespeare's shortest tragedy, it was first published in the Folio of 1623, possibly from a prompt book.
It is a well-known theatrical superstition that the play is cursed and that its title is not to be spoken aloud. It is then often referred to as "The Scottish Play" instead.
Besides translations into virtually all the European languages, and a multitude of other global languages, including three of the South African languages
International translations
South African translations
1950: Translated into Afrikaans by L.I. Coertze.
1959: Translated into Xhosa by uMacbeth by B.B. Mdledle.
1965: Translated into Afrikaans by W.J. du P. Erlank
1982: Translated and adapted into Zulu as Umabatha by Welcome Msomi.
1982: Translated into Tsonga as Macbeth by Felix M. Shilote and Charlotte Nkondo. Published: Braamfontein : Sasavona, 1982. 1st Edition.
South African productions of the original text of Macbeth
Always a popular work, this play has been performed in various guises in South Africa, including excerpts used as parts of Shakespeare readings and other performances by individuals such as Mrs Greig (1851 and possibly 1853).
1854: Mr Nightingale, the Port Captain, obtained the African Theatre for two (unspecified) nights in 1854, to put on scenes from Macbeth with the mariners of Simonstown, under the patronage of the Lt. Governor. (Bosman, 1928: pp. 409.)
1859: A scene from Macbeth (performed "in character" by Captain Nightingale), by the amateurs of "the Royal Naval Theatre of the H.M.S. Megaera" in the Simon's Town Theatre on 28 March, along with Fish out of Water (Lunn), Make your Wills (Mayhew and Smith) and The Thumping Legacy (Morton). (Bosman, 1980: p. 165.)
1859: A scene from the play performed by the Charles Fraser and his company in Cape Town with Ben Bolt (Johnstone) and To Paris and Back for £5 () on 9 May.
1860: Performed on the Eastern Cape border on 15 October by the Sergeants of the Regiment (North Lincolnshire Regiment of Foot), with The Camp at Chobham as afterpiece. The Macbeth cast consisted of Sergeant T. Murnane (Duncan, King of Scotland), Corporal G. Brown (Malcolm, his son), Drummer J. Murray (Donaldbain, his son), Sergeant-major T. H. Smith (Macbeth, General in the King's Army), Private A. M'Laughlin (Banquo, General in the King's Army), Sergeant J. Lydon (Macduff), Sergeant F. Edwards (Lennox), Sergeant J. Chesters (Rosse), Sergeant J. Roberts (Monteith), Sergeant J. Murray (Caithness), Drummer J. Murray (Fleance, son to Banquo), Sergeant H. Davies (Siward, Earl of Northumberland, General of the English Forces), Lance Corporal J. Davies (Young Siward, his son), Sergeant T. Coughlin (Seyton, an officer attending on Macbeth), Corporal [T. [M'Kay]] (First Murderer), Sergeant J. Murray (Second Murderer), Sergeant J. Hanrahan (Doctor), Corporal T. M'Kay (Wounded Soldiers), Sergeant T. Coughlin (Porter), Lance Corporal J. Davies (Lady Macbeth), Sergeant J. Quinn (Gentlewoman attending on Lady Macbeth), Sergeant H. Davies (Hecate), Lance Corporal J. Davies (First Witch), Sergeant J. Quinn (Second Witch), Corporal G. Brown (Third Witch). (See the entry on the North Lincolnshire Regiment of Foot for contemporaneous commentary on the performance.)
1860: Performed on the Eastern Cape border on 29 October by the Sergeants of the Regiment (North Lincolnshire Regiment of Foot) once more, this time with My Son Diana as afterpiece.
1942: Produced by Henry Miles at the Standard Theatre, 1942.
1950: Produced in Afrikaans by African Theatres in association with National Theatre Organisation, and directed by Gwen ffrangçon-Davies, with André Huguenet (Macbeth), Anna Neethling-Pohl (Lady Macbeth), M.S. du Buisson (Duncan), Johann Nell (Macduff), Gert van den Bergh (Malcolm) and Berdine Grünewald (Lady Macduff). It was staged in Johannesburg and eventually in the Alhambra Theatre in Cape Town. (Source: Leonard Schach: The Flag is Flying, 62)
1967: Produced in Afrikaans in the W.J. du P. Erlank translation of 1965. Directed by Fred Engelen, presented by University Theatre Stellenbosch in 1967, performed in the H.B. Thom Theatre, subsequently in the Van Zyl Hall, in the Cango Caves, Oudtshoorn. Décor, costumes and lighting by Elaine Aucamp and Pieter de Swardt. Tine Balder as Lady Macbeth, Fred Engelen as Macbeth, Charles Fryer as Banquo. Other members of the cast were Jocelyn de Bruyn, Johan Esterhuizen, Ben Dehaeck, Mees Xteen. The three witches were portrayed by Gretchen Holzapfel, Rahila Steyn and Bettina Camerer.
1967: Presented by René Ahrenson and Cecilia Sonnenberg at Maynardville, directed by Leslie French starring himself as Duncan, King of Scotland, Michael Atkinson as Macbeth, Michael Newell (Malcolm), Peter Curtis (Banquo), Cecilia Sonnenberg (Lady Macbeth), and others.
1971: Presented by NAPAC Drama at the Alhambra Theatre, Durban, directed by Michael Meacham, from 7 September 1971.
1972: Presented by CAPAB Drama opening at the Nico Malan Theatre on 15 May 1972, directed by Bernard Brown, with Michael Atkinson as Macbeth, Marika Mann as Lady Macbeth, aslo starring Keith Grenville, Ronald France, Phillip Birkinshaw, Michael Drin, Stephen Gurney, Christopher Prophet, Peter Curtis, John Whiteley, Pietro Nolte, John Ramsbottom, Glynn Day, Liz Dickand others. Set designed by Keith Anderson, costumes by Jennifer Craig and Penny Simpson.
1979: A Rhodes University Drama Department production was directed by Roy Sargeant in May, lighting design by John T. Baker of CAPAB and Ken Robinson, starring Lawrence Hilton and Paul van Zyl.
1980: Ron Smerczak starred in the play with Sandra Prinsloo with direction by Leonard Schach at the Alexander Theatre in 1980.
1981: Directed by Philip Grout in a CAPAB production in the Nico Malan Theatre in 1981, starring Sandra Duncan as Lady Macbeth, Roger Dwyer as Macbeth, Tom Holmes, Alan Swerdlow and Sean Taylor as his sons, John Whiteley as Duncan. Others in the cast were Diane Wilson, Neville Thomas, Nigel Daly, Deon van Zyl, John Dennison, Paul Bosman, Blaise Koch, Phillip Boucher, Russel Savadier, Liz Dick, Clare Stopford and Mary Dreyer. Decor and costumes by Penny Simpson, lighting by Leon Benzakein, music by Ian Kellam. This production was also staged at the H.B. Thom Theatre on 14 April.
1985: Presented by Young People's Theatre at the Little Theatre, Cape Town, directed by Phyllis Klotz, starring André Jacobs, Terry Norton and Shirley Johnston, among others. Design by Jenny Gillis.
1989: Directed by Gina Benjamin for SODA, Wits Theatre.
1990: Presented by NAPAC, first performance The Drama, the Natal Playhouse on April 4, 1990. Direction Nicholas Ellenbogen, design Peter Cazalet, lighting design Graham Eales. The cast: Sean Taylor as Macbeth, Lady Macbeth played by Brenda Radloff, John Whiteley, David Dennis, Gary D'Alessandro, Ian Hadfield, Graham Weir and others.
1990: Staged by PACT, directed by Dieter Reible, with Graham Hopkins/Jonathan Rands (Macbeth), Bill Curry (Duncan), Terence Reis (Malcolm), Wayne Robins (Donalbain), Graham Hopkins (Banquo), Jonathan Rands/Christopher Wells (Macduff), Sandra Prinsloo/Mitzi Booysen (Lady Macbeth), Mitzi Booysen/Sandra Prinsloo (Lady Macduff), Dale Cutts (Everyman I), Martin Le Maitre (Everyman II), Andre Odendaal (Witch), Embeth Davidtz (Witch), Dan Sebogodi (Witch) and others.
1992: Staged by PACOFS, directed by Desmond Hughes, with Dawid Minnaar (Macbeth), Ernst Eloff (Duncan), James van Helsdingen (Malcolm), Hannes van Wyk (Donalbain), Pieter Brand (Banquo), Zane Meas (Macduff), Anton Welman (Lennox), Nigel Kane (Ross), Nico Luwes (Menteith), Isadora Verwey (Lady Macbeth), Corien Pelt (Lady Macduff), Marga van Rooy (Witch), Christo Compion (Witch), Petro-Nelise Trichardt (Witch) and others. Decor by Johan Badenhorst and costumes by James Parker.
1996: Presented by CAPAB, directed by Marthinus Basson with Keith Grenville as King Duncan, André Roothman as Macbeth, Terry Norton as Lady Macbeth, Joshua Lindberg as Banquo, Nicholas Dallas as Donaldbain, also featuring Diane Wilson and Graham Weir and others. At the Nico in Cape Town and the National Arts Festival, 1996.
1997: Directed by David Peimer, Nicole Krowitz and Monique Garden for SODA, Downstairs Theatre.
2000: Presented by University of Stellenbosch Drama Department in the H.B. Thom Theatre, directed by Johan Esterhuizen with André Weideman as Macbeth.
2006: an Actors Centre production directed by Mark Graham, assisted by Dorothy-Ann Gould, in 2006 in the Tesson Theatre. Carl Beukes as Macbeth, Ilanit Shapiro as Lady Macbeth, David Dennis as Duncan, David Butler as Banquo, Nick Boraine as Macduff, Sivan Raphaely Lady Macduff. Decor by Denis Hutchinson, choreography by Ivan D. Lucas.
2008: Student production by the Drama Department at the University of Pretoria, directed in the Die Maskerteater theatre by Estelle Zeeman
2013 Presented in the PEMADS Little Theatre, as a joint production between PEMADS and the Port Elizabeth Shakespearean Festival. Directed by Lesley Barnard, with Gareth Bain, Helen Flax, Andrew White, Robert van den Ordel, Liz Yates, Mark Farrow , Yolande Farrow and David Roll.
Adaptations of the original play
Macbeth has been adapted numerous times and in a variety of ways over the ages, notably into an Italian opera by Giuseppe Verdi, Orson Welles's 1936 controversial "Voodoo Macbeth"[2] and theatrical works by Heiner Müller and Charles Marowitz, as well as a range of films. Here we consider only those versions created and/or performed in South Africa.
In addition there have been a number of burlesque and/or travesty versions of the play, including works by Francis Talfourd (1847), .
International versions seen in South Africa
Macbeth Travestie by Francis Talfourd
Also referred to as Travestie of Macbeth in some cases, and called an "Extravaganza" on occasion.
A travesty or burlesque version of Shakespeare's play in two acts, written by Francis Talfourd (1828-1862)[3] and first performed at Henley during the Regatta on June 17 1847, published by E.T. Spiers in Oxford in the same year.
South African performances
1858: Performed in the Cape Town Theatre by Sefton Parry and his company on 23 March, and referred to as an "entirely new Extravaganza". Also performed were The Lady of Lyons (Bulwer-Lytton) and with The Dancing Barber (Selby).
1861: Performed on the Eastern Cape border on May 27 and 3 June by the Sergeant's Dramatic Club (North Lincolnshire Regiment of Foot), with an opening recitation, in character, of Lord Macaulay's Lay of "Virginia," by Sergeant-Major T. H. Smith and John Dobbs (Morton) as afterpiece. The Travestie cast consisted of Colour-Sergeant P. Fox (Duncan), Sergeant G. Brown (Malcolm), Dr J. Murray (Donaldbain), Sergeant-Major T. H. Smith (Macbeth), Sergeant T. M'Kay (Banquo), Sergeant J. Lydon (Macduff), Sergeant G. E. Gill (Rosse), Private J. F. Gay (Lennox), Private W. Dansie (Family Physician), Corporal T. Smith (Family Porter), Corporal J. Davies (Lady Macbeth), Private J. Durney (Gentlewoman), Corporal J. Logan, Private W. Dansie and Private J. F. Gay (The Three Witches). "Apparitions, Murderers, Messengers, and an army of 200,00 Men (more or less) who have been expressly engaged on this occasion, - with the Enemy." (For more on contemporary responses to the performances, see the entry on the North Lincolnshire Regiment of Foot)
1867: Performed on 4 March 1867 during a Benefit Performance for the Somerset Hospital in Cape Town was arranged by the officers of the 9th Regiment, led by Captain Borton, and performed in the Theatre Royal in association with Mrs Marie Duret and Mrs Cooper. It also featured the regimental orchestra, led by Signor Bonicoli and a performance of Lend Me Five Shillings (Morton).
Macbeth (opera) by Giuseppe Verdi
An opera in four acts by Italian composer Giuseppe Verdi (1813-1901) [4] it was based on William Shakespeare's play of the same name and first performed in Florence, Italy in 1847.
Shakespeare's Macbeth by Heiner Müller and Tjaart Potgieter
A German adaptation of the play by Heiner Müller (1929-1995)[5], done in in 1971 it was entitled Macbeth, or Macbeth after Shakespeare in English translation.
Another English translation of Heiner Müller's work was done by the South African playwright and director Tjaart Potgieter and given the title Shakespeare's Macbeth
South African performances
1989: Presented as Shakespeare's Macbeth by CAPAB Drama, directed and produced at the 1989 Grahamstown Festival by Marthinus Basson (who also designed the costumes). Gustav Geldenhuys assisted the director. Design by Reiner Leist. Lighting by Malcolm Hurrell. Ron Smerczak as Macbeth, Antoinette Kellermann as Lady Macbeth. Also featuring Norman Coombes, Li Newman, Damon Galgut, David Clatworthy, André Roothman, Diane Wilson, Ralph Lawson, David Butler, Bo Petersen, Mark Hoeben, Pauline O'Kelly, Warrick Grier, Neels Coetzee and others. This production was also staged at the Nico Malan Theatre, opening 15 July 1989.
A Macbeth by Charles Marowitz
South African performances
1973: Directed by Charles Marowitz for PACT Drama in the Alexander Theatre, starring Siegfried Mynhardt, Molly Seftel, Billy Matthews and Ken Leach.
South African adaptations
Umabatha by Welcome Msomi
A Zulu reworking of Shakespeare's Macbeth . First published by Heinemann, 1998.
South African performances
1970: First presented in the University of Natal's Open Air Theatre under the direction of Pieter Scholtz and Elizabeth Sneddon in 1970. It also travelled to London in 1972, where it played to acclaim in the *** theatre.
1974: Staged in Maynardville by Rene Ahrenson and Cecilia Sonnenberg with The Zulu Theatre Company.
1978: Performed in the Baxter Theatre, directed by Phillip Msomi.
1995 and 1996: A new production of Umabatha, written and directed by Welcome Msomi, played seasons at the Civic Theatre and the Playhouse Theatre.
1998: Revived and once more taken to London
2001: played in London to acclaim once more, as part of the Celebrate South Africa Festival in London.
2016: Produced by University of Pretoria's Drama Department as their contribution to the 400th year commemoration of Shakespeare's birth. Re-interpreted (with references to the current political situation) and directed by Josias Dos Moleele, choreographed by Luyanda Sidyia, with set design by Karabo Legoabe and costume design by Nthabiseng Makone. Members of the Usuthu community theatre groups from Atteridgeville and Mamelodi form part of the cast. Performed in the Masker Theatre, Pretoria, 20 – 23 September.
Macbeth the African opera by Brett Bailey
The opera was adapted into an African setting by Brett Bailey in 2014. "Shakespeare's story of ambition, treachery and witchcraft is set in the Great Lakes region of Central Africa, amongst the wars and ruthless exploitation that tear this invisible corner of the world apart." (Programme note at the first production)
Performance history in South Africa
2014: The premiere production of Brett Bailey's African adaptation was staged by Third World Bunfight at the Artscape in Cape Town, designed and directed by Bailey, with a cast of ten black South African opera singers, including Owen Metsileng (Macbeth), Nobulumko Mngxekeza (Lady Macbeth) and Otto Maidi (Banquo) and twelve South African musicians. Verdi's music was arranged for the African setting by Fabrizio Cassol and conducted by Premil Petrovic. Choreography by Natalie Fisher. The same production was subsequently staged in various countries across Western Europe.
2015: Staged in Australia, New Zealand, South America and Europe.
MacBeki - A Farce to the Reckoned With by Pieter-Dirk Uys
A farce broadly based on Shakespeare's Macbeth, providing a comic and satiric version of the events surrounding the deposition of Thabo Mbeki, South Africa's second president after Apartheid, using the Scottish play as a framework. Originally devised and written for production by University of Cape Town students.
South African performances
2009: First produced by the University of Cape Town Drama Department, directed by Christopher Weare in the Little Theatre, Cape Town on the 25th February, 2009, with Themba Mchunu, Lerato Motshwarakgole, Gabriel Marchand, Gerald Dhunrajah, Rudi Swart, Chase Downs, Rosa Whitcher, Mpho Kgosana, Abongile Kroza, Mandisi Sindo, Siyabulela Sikawuti.
2009: The first professional production at the Market Theatre in 2009, directed by Pieter-Dirk Uys, with Fezile Mpela, Nthati Moshesh, Lizz Meiring, Mpho Osei-Tutu, Coco Merckel, Sello Sebotsane, Kenneth Fok and others. Costumes by Thando Lobese, Set/Props. Nicholas de Klerk. Lighting Declan Randall.
Published by Peninsula , in association with Junkets Publishers, 2009.
macbeth.slapeloos by Marthinus Basson and cast
(Translation: "macbeth.sleepless". Also written Macbeth, slapeloos.)
An adaptation of Shakespeare's play, using the original Afrikaans translation by Eitemal (nom de plume of W.J. du P. Erlank), and adapted by Marthinus Basson and the cast.
South African performances
2014: Performed at the Klein Karoo Nasionale Kunstefees (KKNK), produced by Hugo Theart and TEATERteater, in association with Clover Aardklop and Artscape. Directed by Marthinus Basson, with Dawid Minnaar, Anna-Mart van der Merwe, Jana Cilliers, Antoinette Kellerman, Stian Bam, Charlton George, Ludwig Binge, Edwin van der Walt en Senzo Madikane. Lighting design by Albert Snyman and choreography by Estelle Olivier.
2015: Performed at the Baxter Theatre with the same cast.
The Okavango Macbeth by Alexander McCall Smith
Adapted into a chamber opera set in Southern Africa, entitled The Okavango Macbeth by Alexander McCall Smith.
The Tragedy of Macbeth by Walter Greyvenstein
This is an adaptation of the original Shakespeare work as a one-act play, for educational use. Published in Drama, Action and Interaction by Academica Publishers, 1989.
"Macbeth (opera)" in Wikipedia [7]
Facsimile version of the Macbeth Travestie by Talfourd (3rd edition), The Internet Arhive[8]
Third World Bunfight website [9]
Trek, 7(12):17, 1942.
Theatre programmes (CAPAB), 1972, 1981.
The Zulu Theatre Company theatre programme (Maynardville), 1974.
Newspapers clippings and photographs of the 1967 production, collected by Johan Esterhuizen.
PACT theatre programme, 1990.
PACOFS theatre programme, 1992.
Petru & Carel Trichardt theatre programme collection.
Beeld, 23 February 2006.
National Arts Festival programme, 1996
Aardklop 2013 Programme
Macbeth finds new home in PE's Little Theatre Bob Eveleigh (Artslink 02/11/2014 10:20:05)
Marié-Heleen Coetzee. 2016. "uMabatha takes centre stage", Artslink, 09/18/2016[10]
North Lincoln Sphinx Vol 1, No 3. November 1, 1860.
North Lincoln Sphinx Vol 1, No 7. June 13, 1861.
North Lincoln Sphinx Vol 1, No 8. September 30, 1861.
Go to ESAT Bibliography
Return to
Return to PLAYS I: Original SA plays
Return to PLAYS II: Foreign plays
Return to PLAYS III: Collections
Return to PLAYS IV: Pageants and public performances
Return to South African Festivals and Competitions
Return to The ESAT Entries
Return to Main Page


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ROCKY RIDGE — Opening day of the two-week firearm deer hunting season offered Chris Guay a chance for some peace and quiet and camaraderie with family.
Guay, of Jessup, took to the field Saturday with his father-in-law and wound up bagging a five-point buck.
It had been about four years since his last hunting excursion, he said, mostly because his free time has been taken up with his three young children.
"I like to get out in the woods and enjoy nature and try to outsmart the buggers," he said, standing near his kill, about to be skinned and butchered at Rob's Deer Shop.
Winds early in the morning were not ideal for deer hunting — the winds can frighten the animals — though conditions were better than he expected, Guay said.
According to the Maryland Department of Natural Resources, Frederick County has maintained the highest harvest of deer in the state for the past two seasons.
During the 2010-11 season, 7,942 deer were killed in Frederick County, the highest countywide figure for the state, according to the DNR.
The 2011-12 season's harvest in Frederick County increased by 5.5 percent to 8,378, DNR figures state. Deer hunters statewide harvested 98,029 deer during the 2011-12 bow, muzzle-loader and firearm seasons, roughly similar to the previous season's 98,663 deer. Additionally, last season's harvest was the fourth highest on record.
With the help of family members, Rob Eyler runs Rob's Deer Shop, right next to his father's car repair shop, Eyler's Service Center.
He said opening day of firearm season is typically one of his busiest, though on Saturday business was a bit slow as hunters brought in about 15 or so by midafternoon.
Weather plays an important part in the success of the day, he said. Still, he expected more to arrive as the day wore on into evening hours.
Paul Miller and his son, P.J., brought the seven-point buck Paul shot to Rob's shop, as well.
"The man does an excellent job," Paul said of Rob's skinning and filleting into cuts of meat he enjoys winterlong.
The Millers said they saw a dozen or so deer in the morning on their family property in the area.
But just which deer a hunter decides to go after depends on the hunter, Paul Miller said. He prefers bucks.
P.J. said he was not discouraged by his lack of success Saturday and said he planned on hunting through the week with his father.
"It's an experience for me," P.J. said.


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Due to COVID restrictions and wildfire recovery, please call wineries to confirm tastings before visiting.
Derived from a dream over a decade ago to a thriving Artisan winery in Yountville, CA Napa Valley.
hope & grace began its journey in 2001 with a small production of Pinot Noir from the Santa Lucia Highlands. Today we are a modest producer of 3,000 cases annually; focusing on limited production, single vineyard, 100% varietal Cabernet Sauvignons, Pinot Noirs, Malbec, Semillon, Chardonnay & Dry-Riesling.
With the passion, talent and expertise of 30 years of winemaking, Charles hand selects the finest grapes, combined with premium French Oak barrels to craft balanced, elegant, cellar worthy wines. Charles and business partner Tiffani opened their tasting salon in the charming town of Yountville, in 2006, creating a beautiful and warm atmosphere for guests to visit and enjoy the hope & grace wine collection.
hope & grace wines
6540 Washington Street
Yountville, CA 94599
Just a few steps north of Bouchon Restaurant
Plan a trip to hope & grace Winery on our interactive winery map:
Artisan wines, rotating art exhibit, friendly and charming wine staff!Music in Tasting Room: Lounge Music
Wine clubs are a great way to stay connected to your favorite wineries.
To join the wine club, visit www.hopeandgracewines.com or call 707-944-2500.
"SWIRL" hope & grace wines official wine club! Quarterly shipments of 3 to 4 bottles our limited release and library wines - Complimentary tasting and shipping for members!
Join today: 707-944-2500 or www.hopeandgracewines.com
The offer listed below is valid for all Napa Valley residents age 21 and over.
We offer a two for one tasting on our "Classic Tasting"


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Combine an amplified listener and a short-range FM transmitter into one "novel" project with Covert Listening Book. The latest in our beginner-friendly series of Weekend Projects, this project does require some light soldering and fine tuning, but once you've gathered all the parts, it won't take long to build. Place the circuit inside a hollowed out book and stow it on a shelf disguised by other books. Then, with the aid of a radio receiver that you've tuned to the transmitting channel, listen in as even whispers are amplified into discernable conversations.
This project will show you how to combine two readymade components into a new device. We built ours into a hardcover book, but the circuit could just as easily be enclosed inside a stuffed animal or a plastic toy. Just don't use anything metal as it will limit the range of the transmitter. And if you come up with a new design for this stealthy listening device, send us an email about your build.
See all of the Weekend Projects posts


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Health department has food safety tips for turkey
SPRINGFIELD, Ill. (AP) — Thanksgiving is less than a week away, so it's a good time to remember food safety.
That's the message from the Illinois Department of Public Health, which has some tips for people planning to roast a turkey.
Fresh or frozen? If you choose fresh turkey, buy it no more than two days ahead, and be sure you have room in the refrigerator.
Frozen turkeys should be thawed in the refrigerator, not on the kitchen counter. Allow about 24 hours per five pounds of turkey. A 15-pound turkey could take three full days to thaw in the refrigerator.
Calculate cooking time carefully and use a meat thermometer. Turkey is safe to eat when it reaches 165 degrees Fahrenheit.
More food safety tips are on the health department's website.
Online: http://www.idph.state.il.us/public/hb/hbcook.htm
News from The Associated Press, and a taste of the great journalism produced by AP members and customers. Managed 24/7 by these editors: apne.ws/APSocial Read more ›


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You can also hear me read this story on: Episode #26 of R.B. Wood's "The Word Count" podcast.
The theme for this podcast is "Those last few steps seemed the most difficult I had ever made in my life."
* * * *
The phone rang just as I was sitting down to eat. With my feet tender and swollen from a recent attack of gout, the only thing I wanted was to elevate my legs on the La-Z-Boy chair and watch the baseball game. On the fifth ring, I swore under my breath and put down my TV tray. Who the hell would let it ring so many times?
"Hello?" I said in a brusque manner, ready to snap if a telemarketer came on the line.
"Tony?" The woman's voice vibrated in my ear and immediately sent a shiver up my spine.
"Who's this?"
"It's Gina … from Vegas."
Her name bounced around in my head, and I struggled to match a face to it. "Gina … Frank's wife?"
"Yes, that's right."
I overheard a sigh. Was it relief or something else?
"I'm sorry to call you like this," she said, "but I didn't know who else to turn to." A sniffle, another sigh.
"Does Frank know you're calling me?"
"No," she said finally, "Frank doesn't know."
I wasn't surprised. I'd had a thing for Gina once—a big thing, but that was a lifetime ago. She left me and married my cousin Frank about fifteen years back, had a few kids, but the family never liked her. She was French, and her real name wasn't even Gina. It was Ginnette. To appease Frank's widowed mother who'd only call her "Gina," she had her name legally changed.
After a couple of years living under her mother-in-law's roof, she and Frank moved to Vegas and severed all ties with the family. Not long after, I'd heard rumors Frank beat her, that she deserved it. I didn't care to know the details. It was all family gossip to me. Gina had made her bed.
Now I listened as she told me the story of the last few years of her life with Frank. She begged me to help her, said she'd always trusted me. She wanted to do the right thing by the kids. I couldn't believe I'd be the only person she could turn to, but she swore she had no one else.
After I hung up the phone, I turned on the television and sat down with my Hungry Man dinner—roast beef, peas, mashed potatoes, and peach cobbler. I stabbed a piece of meat and broke it away from a white fatty film, which had crusted over the gravy. I immediately lost my appetite.
Why me? Couldn't Gina have called anyone else from the family to do this?
* * * *
I felt no obligation to Gina, but after thinking about her request for a day, I decided to do it. I heard the relief in her voice when I called her back, and at that moment, I knew she really didn't have anyone else. It upset me somewhat that she'd suffered so long in silence. Maybe a part of me still cared for her, even hoped that after all this was over, I might have a chance with her. Funny how I should be thinking with my dick at a time like this. I had no clue what she looked like anymore, but her voice still tugged at my heart, and her sexy French accent had not completely disappeared.
I arrived in Vegas Friday evening. The flight only worsened my gout. After removing my shoes on the plane, my feet had swollen and were throbbing by the time we landed. Squeezing into a pair of shoes I couldn't even lace up, I was in agony after I checked into my hotel room off the strip.
Gina had given me directions to where Frank would be the next morning, and the exact time he'd be there. She tried to sound casual about it. "Imagine me asking this favor of you, Tony, after all these years. I never thought it'd come down to this."
Neither did I.
"Don't worry," I said. "It'll be over soon, and you and the kids can go on with your lives."
* * * *
I arrived fifteen minutes early in a land of water fountains, palm trees, and immaculate greens. It was dark and overcast, unusual for a Vegas afternoon this time of year. I stood and watched the clouds drift through an empty sky. Quiet like death.
In the distance, I heard the drone of car engines headed my way. I stepped back from the path and leaned against a tree to alleviate the pressure on my right foot. I looked at my watch and saw Frank was right on time, just as Gina had said.
Three cars slowed down and parked by the side of the road twenty feet in front of me. A pause, and then it seemed all the car doors opened at once. I walked slowly toward the first car, one hand in my pocket, the other gripping a curved wooden handle.
To the right of me, I saw Gina exit from the second car followed by three teenagers. A crack of thunder, and the sky opened as she came toward me. I depressed the metal button of my umbrella and shielded her under its canopy.
"Thank you for coming Tony," she said and leaned in to kiss me on each cheek, as beautiful as the last time I saw her.
"I'm sorry about Frank," I said.
Gina gave a tiny smile. "He wouldn't listen, still smoking even as he lay on his deathbed."
I gave her my umbrella as a man approached and handed me a pair of white gloves. "Put these on," he said, "and follow me."
Along with the funeral director and four young, skinny lads who looked like they could use an extra meal, we carried the casket nearly thirty feet to Frank's final resting place.
Those last steps just about killed me.
If you enjoyed this story and would like to read a collection of erotic flash fiction and poetry, pick up my ebook Hot Flash, which includes two non-erotic Christmas stories too.
Available at Amazon.com and Amazon.UK.
There is a Kindle App for just about any electronic device (Click here to get one). If you own a computer, smart phone, iPad, or iPod touch, then you are able to download my e-books.
* * * *
Click on the cover and LOOK INSIDE to learn more.


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Last nite was presenting at JAX-UX an intro to writing x-platform native apps using C# and .NET Xamarin's MonoTouch and Mono (www.Xamarin.com).
Since it was held at JAX-UX - my emphasis was on UX, rather than on code examples.
If the world will not end on 12/21/12 - hopefully will be able to present this at JAXDUG and then we'll dive more into the code and deploying apps.
We talked about creating native apps with device-specific experiences, and how to share non-UI code across iOS, Windows 8 and Android.
Event link
Click here for pdf with the SLIDES Click here for the CODE examples from Xamarin.com


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Crop Residue Burning
The crop residue burning (CRB) program is designed to enable growers to burn under certain conditions while protecting public health from smoke impacts. The program is managed by DEQ on lands other than the five Indian reservations in Idaho.
Crop residue is defined as any vegetative material remaining in the field after harvest, or vegetative material produced on Conservation Reserve Program (CRP) lands. It includes whole fields, pastures, spots within a field or pasture, broken bales in the field that they were generated during the time of harvest, CRP lands, food plots, and blanching or flaming operations. It does not include vegetation along ditch banks, fence lines, orchard prunings, or forest slash piles.
Under the CRB program, growers must obtain approval from DEQ before burning by registering for a Permit-by-Rule at least 30 days before they want to burn. Detailed information on when and where the burn is to take place is required on the registration. A $2 fee per acre burned applies to crop residue burning. Crop Residue burning fees will be invoiced at the end of the year and invoices will be mailed out the first week of January. Growers with unpaid invoices from the previous year will not be eligible to burn until all fees have been paid.
Burn days are limited to weekdays during daylight hours only. Burning on weekends and state and federal holidays is prohibited. Burning can only occur in fields where the crop residue was generated.
The program requires DEQ to ensure smoke from authorized burns does not adversely impact institutions with sensitive populations, including public schools while in session, hospitals, residential health care facilities for children, the elderly or infirm, and other institutions with sensitive populations as approved by DEQ. DEQ Policy Memorandum 10-03 outlines the procedures by which other institutions may apply for sensitive population status and DEQ's process for evaluating and approving such requests.
Grower Information
Idaho Fire Safety Burn Permits
Individuals living outside city limits anywhere in Idaho who plan to burn for any reason—including crop residue burning and excluding recreational campfires— during closed fire season, must obtain a fire safety burn permit.
If you live inside city limits and you plan to burn, a permit from your local fire department may be required.
As a convenience to the grower, DEQ's crop residue burning application communicates with the Idaho Department of Land's (IDL) burn permits system to assist in issuing IDL burn permits. IDL burn permits for crop residue burning may only be obtained through DEQ's system. DEQ's crop residue burning application contains links to view the IDL burn permit. For questions about fire safety permits, contact IDL at 866-581-6498.
Grower Online Tool - Register / Pay Fees / Submit Post-Burn Report
Online registration is preferred. A hard copy paper registration form is also available.
Need help identifying your location? Google Earth | BLM Township, Range, & Section Display
For help registering for a CRB permit, click here.
If you need help with a spot and bale registration, click here.
If You Don't Want to Pay Online
Make check payable to:
Idaho Department of Environmental Quality
Send registration and applicable fees to:
Idaho Department of Environmental Quality
CRB Program
Crop Residue Burning Registration
1410 N. Hilton
Boise, ID 83706
Spot and Baled Agricultural Residue and Propane Flame Burning
These permits were developed to reduce the administrative requirements for burning very small amounts of residue while still protecting public health. Burning under these permits is only allowed on DEQ-designated burn days for the county where the field is located and within the designated burn window, which may include weekends and holidays.
A spot and bale agriculture residue burn permit is valid for a calendar year and requires a $20 nonrefundable permit fee, which is valid for no more than 10 acres per year and no more than 1 acre per day. Keep all burn records for two years from the registration date as DEQ may request these records.
DEQ evaluates air quality and meteorological conditions to determine whether burning under these permits is permissible. Burning may be allowed if pollutant levels are within an acceptable range and smoke is expected to disperse with minimal impact to public health and safety, including special consideration for institutions with sensitive populations (e.g., hospitals and schools).
Growers must have completed DEQ training in proper burning techniques and good smoke management within the past 5 years. Training may be completed online or at in-person training sessions. Note: this online training works best in Google Chrome, Mozilla Firefox, or Internet Explorer 10.
Annual Report
Each year DEQ prepares an annual report that reviews and analyzes the year's burn season. The report includes a summary of meteorological conditions affecting the burn season, an assessment of the burn-decision process and acres burned, an analysis of the causes of any measured air pollution levels above the program-defined concentration limits and an assessment of the circumstances associated with any reported endangerment to human health associated with a crop residue burn, a summary of trends in crop residue burning throughout the state, and a summary of program modifications and planned program improvements.
Advisory Committee
The next CRB Advisory Committee meeting will be held on February 18, 2020, from 9 a.m. to 12 p.m. at the DEQ State Office (1410 N. Hilton St.)


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Latos shuts down A's with escape-artist performance
Scoreless start aided by Bruce's solo homer, Phillips' RBI single
CINCINNATI -- Reds manager Dusty Baker said it before Tuesday's game and reiterated it after his team walked off the field at Great American Ball Park with a 3-1 win over the A's.
After losing seven of the previous nine games, including a 15-2 blowout at the hands of the Cardinals on Sunday, what happened on the field Tuesday wasn't important, so long as the Reds found themselves on the winning end of the final score.
"It didn't matter how we won today," Baker said. "Fact is, we just needed a win. We needed to put all the negatives and stuff behind us and get rid of what happened the other day."
Much to the delight of Baker, starting pitcher Mat Latos made sure Tuesday was nothing but positive. The 25-year-old right-hander danced around trouble and gave up just four hits and three walks to go with a trio of strikeouts in 7 1/3 scoreless innings en route to his 11th win. The win marked Latos' third scoreless outing of the year and the first since he blanked the Cubs and Cardinals in back-to-back starts April 24 and 29.
And he did so without being able to effectively use two of his pitches for most of the night.
"I was scuffling today with the offspeed pitches," Latos said. "Curveballs around the neck and sliders below the toes. A lot of the credit has to go to [catcher Devin Mesoraco] on defense today. Actually, all of the credit, to be honest with you."
Mesoraco, who has been a bright spot at the plate recently, spent much of his night blocking Latos' pitches in the dirt. Perhaps more important, he figured out early what was working for Latos and stuck with it through the game.
"He's maturing and he's doing real well," Latos said of Mesoraco. "He recognized I didn't have my slider today, and I really didn't have any offspeed pitch today. I found it later on in the game, but he recognized I didn't have it early in the game, and we exploited what we thought was a weakness with them and it worked out."
That weakness was up and in against A's hitters, according to Latos, who recorded five flyball outs on Tuesday. And although the strategy turned out to be effective, Latos found himself in tough spots throughout the night.
In the first, he worked around a double and walk by forcing a groundout. Two innings later, he gave up a one-out triple to Coco Crisp, but he had little trouble getting Jed Lowrie to eventually pop out to end the inning.
Latos' toughest escape act came in the fifth, when first baseman Joey Votto watched Stephen Vogt's single sneak through the right side, and Crisp reached and moved to second on a fielding error by Brandon Phillips. That set up the A's with runners on second and third and just one out.
Once again, though, Latos avoided any damage by forcing a popout and, after loading the bases with a walk, a Yoenis Cespedes groundout.
Oakland manager Bob Melvin saw what Latos was doing against his batters, but they couldn't manage to beat him.
"Latos' ball got on you a little quicker than the velocity played," Melvin said. "He pitched up in the zone very well, got some strikes up there. Therefore we were having to swing at some of those up there, and we just couldn't get on top of it."
Following perfect innings in the sixth and seventh, Latos started the eighth by retiring his eighth straight batter, but his night ended after Lowrie then doubled.
Fortunately for the Reds, their offense had done enough by then that Latos exited holding a 3-0 lead.
Facing right-hander Dan Straily, who was making his first career start against the Reds, Cincinnati was led by its big guns on Tuesday night, including lefty slugger Jay Bruce, who opened the scoring by leading off the second with his team-leading 23rd home run.
Like the rest of the Reds' lineup, Bruce, who also made a stellar running catch in right field to save a run in the fourth inning, had never seen Straily, but he said that didn't bother him on Tuesday.
"You try not to think about the actual pitcher out there rather than the pitches that they're throwing," Bruce said. "It's just another fastball or whatever the pitch may be. I don't put too much stock in the actual pitcher that's throwing, just what the pitch is doing."
The Reds previously had a chance to score in the first inning with runners on the corners and just one out, but Phillips grounded into a double play. In the third, after a Shin-Soo Choo walk and Votto's second single, Phillips came to the plate faced with the exact same scenario. This time, he hit a single to right-center that brought home Choo and extended the Cincinnati lead.
Choo led off an inning by reaching base for the third time in the fifth, when he connected on his 26th double. Derrick Robinson followed with a sacrifice bunt to move Choo to third, but got even more after Jerry Blevins' throw to first sailed past Brandon Moss and allowed the Reds' third run.
The top five batters in the Reds' lineup combined for six of the team's eight hits, both RBIs and all three runs scored.
Aroldis Chapman, despite allowing a home run to pinch-hitter Derek Norris, recorded his 26th save with three strikeouts in the ninth.
With the Cardinals and Pirates both winning, the Reds remained six and a half games back of first-place Pittsburgh and four and a half games behind second-place St. Louis in the National League Central. Regardless of the standings, Latos and his teammates were happy to move on after a tough stretch of games.
"Couldn't tell you what happened last weekend," Latos said. "All I know is that we played the A's today, and we play the A's tomorrow. We won today, and we just have to take this day by day. We have to forget what happened and just basically prepare and be ready to come out the next day."


text: Baumann sets his sites on one of the largest urban parks in the world: Golden Gate National Recreation Area. The park, which includes Alcatraz, the Marin Headlands, and the original military fortifications surrounding San Francisco, was conceived as part of a trend to make national park resources more accessible to urban populations. Interviews include Frank Heaney, Alcatraz prison guard, Heather Booth, park interpretive ranger, and Stephen Haller, civil war historian. Baumann completes his journey by painting the high dunes of Fort Funston and Ocean Beach.Broadcast In: English Duration: 0:26:46


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Soldier's Home Summary
"Soldier's Home" is a short story by Ernest Hemingway in which U.S. Marine Howard Krebs returns home from World War I to find that even though he has been irreparably altered by the war, his hometown hasn't changed.
Howard Krebs returns to Oklahoma after fighting in WWI. His parents and friends view the war as a glorious venture, and they don't want to hear about the atrocities Krebs witnessed.
Frustrated and alienated, Howard lashes out at his mother. He quickly apologizes, however, and they pray together.
- Howard decides to move to Kansas City, where he can lead an easy, normal life.
The title of this story suggests a familiar American landmark and symbol: The soldier's home, a place for retired military to live and relive their war experiences. In this tale, however, the soldier's home is neither a haven for former soldiers nor an environment for reminiscing. It is the place to which Harold Krebs, a U.S. Marine who fought in World War I, returns to be alone and to face the lies that he and others utter about the war.
When Krebs returns to his hometown in Oklahoma, after having fought in various European arenas, he discovers that he has changed but that nothing in the town has changed. This dramatic difference between the returnee and those who stayed home sets up the basic conflict in the story: the dishonesty that is demanded for survival. It is demonstrated most clearly in the retelling of war stories, for the townspeople do not want to hear the truth about the atrocities of battle, preferring, instead, lies about the heroics of war. Krebs finds himself telling these lies because dishonesty is the path of least resistance, even though it causes a "nausea in regard to experience that is the result of untruth or exaggeration."
Alienated from his family and the local people, Krebs spends his days aimlessly, sleeping late, reading, practicing the clarinet, and playing pool. He makes no effort to relate seriously with anyone, including women, because he does not want the complications or consequences of relationships. He is home, but it is no soldier's home to which he has returned.
The climax of the story occurs during a conversation between Krebs and his mother. Initiating a discussion with her son about religion and a job—predictable maternal and midwestern topics—Mrs. Krebs leads Harold to tell still another lie. She asks him, "Don't you love your mother, dear boy?" Harold responds with total honesty, "I don't love anybody," causing Mrs. Krebs to cry and revealing her inability and unwillingness to hear the truth. Nauseated by his next statement but believing that it is the only way to stop her crying, he lies and tells her that he did not mean what he said; he was merely angry at something. Mrs. Krebs reasserts her maternal role, reminding her son that she held him next to her heart when he was a tiny baby, reducing Krebs to the juvenile lie: "I know, Mummy. . . . I'll try and be a good boy for you." Mother and son then kneel together, and Mrs. Krebs prays for Harold.
After this emotional lie, Harold Krebs decides to leave the Oklahoma town, go to Kansas City for a job, and live his life simply and smoothly. The former Marine leaves his home.
Extended Summary
The "Soldier's Home," in the title of this 1925 story by Ernest Hemingway, is not a retirement home for aged veterans but the childhood home of a former marine, Harold Krebs, who fought in World War I and has now returned to his mother's house in a small, Oklahoma town. The...
(The entire section contains 845 words.)
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My day job is in the Department of Portable Antiquities and Treasure at the British Museum, but today is a day off for me. Not to worry, I've found plenty of archaeology, or at least, Cultural Heritage, to keep me occupied! [Since the Institute of Archaeology runs a master's programme in Cultural Heritage Studies, I thought this would be allowed]
Yesterday, the Queen unveiled London's newest monument, a memorial to the men and women of the Royal Air Force (RAF) Bomber Command who gave their lives in service during the Second World War. The event was well attended by veterans and their families, and, coming 67 years after the conclusion of the war, could be regarded as overdue. Today I paid the monument a visit, and attempted to put it in context – amongst other monuments from the war, and also amongst the themes it addresses.
The Bomber Command Memorial is a marble open-topped temple surrounding a bronze sculpture of seven crew members posed as if returning from a mission
Doric columns, like the choice of building material, evoke classical values of the virtue of defense that are echoed in a quote from Pericles on the base of the statue. The monument is sited on the Green Park side of a large gyratory at Hyde Park Corner, inside of which are several other large war memorials and the massive Wellington Arch. So, whilst it dominates its corner of the roundabout, the new memorial is not out of place, and I thought if anything it mirrored rather nicely the neo-Classical (though Ionically columned!) entryway into Hyde Park.
The monument also commemorates all of those people from any country who have suffered at the hands of aerial bombing, and in doing so makes a deliberate gesture to those who would criticize any commendation of the efforts of men who wrought such destruction on German cities like Hamburg and Dresden. This is nice to see, and shows an awareness of the delicateness of the topic, which an earlier memorial did not. I am referring to the statue of Arthur Harris, the head of Bomber Command during the closing stages of the Second World War, which stands in front of the church of Saint Clement Danes on the Strand. The statue obviously commemorates the man, but a little plaque on the side also explains that it is erected 'in memory…of the brave crews of Bomber Command, more than 55,000 of whom lost their lives in the cause of freedom. The nation owes them all an immense debt.' According to my little book London's Monuments by Andrew Kershman (Metro Publications, 2007), when the statue of 'Bomber' Harris was unveiled in 1992, the attending crowd booed and threw eggs in disgust. However much one may make allowances for Harris' strategy of using his air fleet to attack centres of population (rather than strictly military or industrial targets) by saying that it ultimately helped win the war or was justified in the face of German attacks on British civilians, erecting an oversized statue in his honour was bound to be controversial.
What I found fascinating is the evolution of the capital's commemoration of the RAF's part in the Second World War over the last half century – and that you can see this evolution on a short walk or bike tour. Starting on the Strand, the church of Saint Clement Danes serves as the official RAF church and a memorial to everyone who has given their life for the force. Gutted in the war, it was reconstructed in the 1950s, and it's interior is bedecked with plaques, flags and books recalling all of the individuals, units, and battle honours of the RAF. However from the outside the church is rather inconspicuous as a memorial and if anything is only noticeable for its ecclesiastical nature amidst the large buildings of Aldwych. For many years after the war, the more obvious monuments to the RAF would have been those to individuals.
Harris's statue outside the church stands across the forecourt of Saint Clement Danes from another one erected in 1988, of his contemporary Hugh Dowding, who led Fighter Command during the Battle of Britain in 1940.
Down on Embankment, the figures of Lord Portal and Viscount Trenchard, giant figures in the development and leadership of the RAF, have stood watch since the 1960s and 70s.
It was only in 2005 that the memorial to the Battle of Britain was constructed on the Embankment opposite Trenchard and Portal. This piece honours the rank and file of the RAF and goes to the effort of listing every person who died during that conflict in 1940. Like the new Bomber Command Memorial, it shows an awareness of the importance of collective effort (and sacrifice) in the achievement of a nation's prosperity. This isn't a new phenomenon – witness the many memorials that sprang up after the First World War which gravely paid tribute to 'the noble dead'. However it is curious to consider that it is only 60 years after the event that London is in a position to feel that the statues of individuals do not pay due respect to the others who served and died for them.
I personally thought the new monument was fitting and a poignant reminder of the service of these individuals. Because of the negative associations of carpet bombing German cities, the airmen of Bomber Command have received (to my mind) rather less acknowledgement than they deserve. Certainly they have not been immortalized like their colleagues in Fighter Command, 'the few' whom Churchill said we owed so much to.
It is interesting to ponder what some future students of material culture will make of the dates and styles of these various monuments to the RAF. I wonder if, when they question why the British felt it proper and necessary to construct a memorial to the 55,000 people from Bomber Command killed in the Second World War, they will reflect on contemporary outrage over British involvement in the Iraq War and the continual disappointment of the campaign in Afghanistan.


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Come to vancouversun.com/ nutrition at noon throughout the week for a series of live-chats with nutrition experts, dietitians, and foodies on the topic of eating healthily while not depriving yourself.
Our chat guests will answer your questions each day for an hour on a range of health and nutrition-based topics.
Guests include:
Monday 12pm: Jessica Begg - Registered Dietitian, Flourish Wellness and Nutrition
Tuesday 12pm: Ildiko Toth - Registered Dietitian at the Royal Columbian Hospital
Wednesday 12pm: Natalie Brown - Registered dietitian from WhiteRockDietitian.com
Thursday 12pm: Sharon Zeiler, Senior Manager, Diabetes Education and Nutrition, Canadian Diabetes Association,
Friday 12pm: Nanci S. Guest MSc, RD, CSCS - Registered Dietitian, sport nutrition consultant: 2010 Winter Olympics
To register a question, just click the box below and type into the space provided - we'll gather the questions and queue them for the live-chat ahead of time.


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The process described below is similar to what has been done in previous lessons and is to be used for both of the next Myth Madness match ups: Artemis vs Athena on one day and Demeter vs Hermes the next day. While it may seem redundant, remember that the more opportunities students have to write the more time there is to improve. Also, with these lessons they gain experience writing at length on a topic.
Acknowledging the opposing point of view (AOPOV) is an important aspect of argument writing. In order to develop this skill, students benefit from guided practice. First, they need to know how to approach it and then they need to know how to incorporate this element into their writing. This video offers some thoughts on the former and this chart of sentence starters addresses the latter. The sentence starters chart is from an excellent resource for teaching writing, The Comprehensive Persuasive Writing Guide by Barbara Mariconda and Dea Paoletta Auray (2003, Empowering Writers, LLC).
In previous lessons students were guided through the research process that is part of our Myth Madness unit and are now ready to apply those skills with greater independence. The first step is to read each source and note the characteristics, both weaknesses and strengths, of the two gods involved in the competition for most powerful god on Mt. Olympus (first, Athena and Artemis; next, Hermes and Demeter). It is important that on the organizer they note in which resource each fact appears in order to include at least one in-text citation in the final written piece. While students are at work, circulate among them checking in with each person by reviewing notes, addressing questions and offering advice and praise for good work. Two examples for on Athena and Artemis appear here and here. Two examples of research notes for Hermes and Demeter appear here and here.
The time has come to evaluate the strengths and weaknesses of the two gods in competition and make a decision for the one who is most likely to outwit, outlast, and outplay the other. Yes, this is a shameless borrowing of the Survivor motto, but it fits this task. When considering what makes a god 'strong' it is important to consider not only physical strength but also intellect and their ability to get along in social situations. Here are examples for Demeter and Hermes. Each student must defend their choice in a paragraph that includes the elements of argument writing: an issue statement, a strong claim, supporting details, explanations, and a conclusion. The argument map found in Common Core Literacy Lesson Plans, Ready-to-Use Resources, 6-8 by Lauren Davis (Eye on Education, 2013) is my favorite organizer for this type of writing. Two examples of student work for Athena and Artemis appear here and here. Two examples of argument maps for Hermes and Demeter appear here and here.


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The coins in the Bitterley Hoard were analysed by Dr Barrie Cook and Henry Flynn of the Department of Coins and Medals, British Museum.
The summary of their report can be seen below.
The hoard comprised:
Elizabeth I, silver: 46 shillings
James I
silver: 4 half-crowns and 20 shillings
Charles I,
Tower mint, silver: 31 half-crowns and 33 shillings
Charles I, provincial mints, silver: 1 half-crown
Charles I, Scottish coinage, silver: 1 30-shillings and 1 12-shillings
In total there are 1 gold and 137 silver coins. The gold was of the crown gold standard, 22 carat fine, and the silver of the traditional sterling standard over 90% fine metal. The face value of the silver coins was £9 6s., including the Scottish coins in English value terms; the single gold coin was originally worth 5s. but was later re-valued to 5s.6d., giving a total for the hoard of £9 11s.6d.
The latest coin is the Bristol half-crown dated 1643, produced between July 1643, when Bristol fell to Prince Rupert for the king, and March 1644. This places this group among the large number of hoards that were deposited in the early years of the English Civil War, never to be recovered until modern times.
The range of coins present is entirely consistent with such a date, with the appropriate representation of Tudor and early Stuart material. Apart from the gold coin, there are only two denominations present, the half-crown and shilling, making this a batch of quite highly selected material, without even sixpences, usually the third denomination present in large numbers in mid-17th century coin hoards.
The full Catalogue can be found here:
Further Reading:
Anyone interested in coin hoards from this period should have a look at the excellent study by Edward Besly.
E. Besly, 1988 English Civil War Coin Hoards British Museum Occasional Paper: 51 British Museum, London.
Peter Reavill
June 2012


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The compact MADI router for mid-sized studios
The are some tasks that require the complete works, a comprehensive solution, the full program. Yet there are other challenges where total flexibility is actually not necessary – challenges centred around one specific task.
That's the principle behind the Nova29 – the Lawo router that gets straight to the point. Specifically, this means that the Nova29 is the perfect router for up to a maximum of 16 clients. A network centre, based on MADI technology, universally applicable, and at a very attractive price.
Standalone or networked - a perfect solution
Up to 16 consoles on one router.
Do you have multiple broadcast studios and want to be able to react flexibly to future challenges? In that case the Nova29 is the perfect solution for you. It enables the connection of up to 16 MADI clients within a broadcast centre, be it mixing consoles or external equipment. The Nova29 is the ideal standalone solution, whose 1024 x 1024 I/O can be switched transparently, making it perfect for the transfer of proprietary formats, such as Dolby® E. Thus, the Nova29 is a universal router, adapting perfectly to the requirements of modern, mid-sized broadcast facilities.
Homogenous broadcasting facilities – with the seamless interconnection of all elements.
Today, the focus lies not only on individual products, but on comprehensive, networkable solutions that create perfectly integrated systems. The Nova29 makes this requirement a reality. Used together with Lawo's broadcast consoles, you can create an exemplary networking homogeneity for up to 16 participants. The result is a broadcast facility in which every component relies on the same logical elements, thereby guaranteeing the best possible integration. The advantage: many highlights of Lawo's mixing consoles can now be used across all products. You are no longer working with single components but on a comprehensive, fully compatible platform.
All features at a glance
16 MADI ports
- 1024 x 1024 I/O (in addition to internal signals)
- Transparent signal routing
- Compact 1 RU design
- Simple port redundancy, configurable with other Lawo products (zirkon, crystal, Nova17)
- Fast visual feedback with coloured LED indicators above each MADI port: 'Redundancy', 'MADI present', 'Port configured', 'Port not configured'
- Powered AC adaptor (included) or optional redundant power supply (951/25)
- Configuration/maintenance via zirkon.exe software and SOP Explorer
- Currently set crosspoints are retained if a new configuration is loaded
- Full compatibility with other Lawo products (zirkon, crystal, VisTool, panels, etc.)
- Sample rate switchable between 44.1 and 48 kHz
- Up to 30 panels can be connected
- MADI ports in 56 or 64 channel mode
- 256 loopbacks
- 128x8 GPIO via MADI (GPIO tunnel), GPIO network 10 x 32 + 10 x 10 VCAs
- 64 x 64 talkback matrix
- 64 mini mixers (stereo), each with one individual talkback input
- 128 PPMs (mono), each including Silence Detect, loopback available
- Integration of different protocols (DMS, KPF, NTP)
- Nova Connect included


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Xevin Investments offer include investment and advisory services. The fund is interested both in companies and projects in the initial phase of development, unable to achieve further business goals due to insufficient capital, and in thriving companies in need of additional investment to achieve their milestones in the pursuit of competitive advantage.
About Xevin Investments
We are a venture capital fund specializing in Internet with focus on Central and Eastern Europe markets.