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After that interview, we set up an interview with poet Brian Turner, whose poems took Nagl back to his days fighting in Iraq - back to the ghosts he tried to put away. Turner was a team leader for the 3rd Stryker Brigade Combat Team. It was the first Stryker brigade to be sent into the combat zone in Iraq in 2003. Turner's book of poems about Iraq is called "Here, Bullet."
Let me ask you to read the title poem from your collection "Here, Bullet."
BRIAN TURNER: Sure. (Reading) Here, bullet. If a body is what you want, then here is bone and gristle and flesh. Here is the clavicle-snapped wish, the aorta's opened valves, the leap thought makes at the synaptic gap. Here is the adrenaline rush you crave, that inexorable flight, that insane puncture into heat and blood. And I dare you to finish what you've started. Because here, bullet, here is where I complete the word you bring hissing through the air, here is where I moan the barrel's cold esophagus, triggering my tongue's explosives for the rifling I have inside of me, each twist of the round spun deeper because here, bullet, here is where the world ends, every time.
GROSS: When you wrote that poem, which side of the bullet did you think of yourself being on?
TURNER: It was coming towards me. And that poem has a lot of bravado to it, and I think that's really just the fear masking itself. I'd say about 80 percent of that poem is fear, and then there's 20 percent of sort of an ugly psychology of finally wanting to meet that moment - because so often, as an infantry soldier, what I actually experienced wasn't direct combat, but was indirect attacks against us: roadside bombs, snipers, mortar attacks, those types of things.
GROSS: Did you write that poem while you were in Iraq?
TURNER: I did. I wrote this book while I was in Iraq, except for two or three poems.
GROSS: What's the closest you came to the bullet actually hitting you?
TURNER: One of the times I remember, for example, is going around a traffic circle in Mosul, and the vehicles have to slow down to make the circle. And as we were going around this, there's many streets, of course, that sort of spiral out of those circles, and from one of them, a guy fired a rocket-propelled grenade, an RPG, that slammed in the back of our Stryker, an event that made me think about people that might be trying to kill me. And I remember writing in my notebooks that night, questioning whether or not, if I could meet that person tomorrow and if we could break bread and sit down at a table and eat lunch together and eat and talk, would he still fire at me the day after that? Or would I fire at him, you know? And I still don't know the answer to that.
GROSS: Was it after that that you wrote the poem?
Yes, it was, actually. There were a few events. There were two or three different rocket attacks in the space of about a week, and I think it was shortly thereafter that I wrote that poem. I wrote it in about 10 to 15 minutes. It's one of the fastest poems I've ever written, if you discount like 20 years of study prior to that. But I wrote it while listening to the Queens of the Stone Age, this rock band, and as sort of wallpaper music so I couldn't hear people outside. And I wrote it, and it's verbatim what it was when I wrote it. And I took it, and I folded it up and I put it in a Ziploc bag and I carried it in my chest pocket the rest of the time that I was in country. And it seemed sort of like a talisman, an acknowledgment of where I was.
Forgive me for bringing this up, but had a bullet or an IED found you that would have been with your remains.
TURNER: Yeah.
GROSS: And if it was legible, it kind of would have been your epitaph. Were you thinking that when you carried it with you?
TURNER: I can't really remember exactly what I was thinking, as far as that goes; but prior to going over to Iraq, I was chosen, my company did it, to take this one class with the mortuary affairs specialist. He was a sergeant first class. He taught me, if they're on a battlefield, for example, if there were, say, 40 people killed and we came across the scene, and I was supposed to come out.
And they would secure the area, and then I was trained on how to mark the area and to properly bag the remains of people and body parts and things like that. And I saw him again in Kuwait, and then I saw him again in Mosul in the dining facility.
And I remember, it felt sort of like death was following me. Because I knew that if I did die and that poem was with me in my pocket, then my body would be processed through him, and he would maybe read it somehow. You know?
GROSS: I'm going to ask you to read another poem from your collection "Here, Bullet." And this is called "What Every Soldier Should Know."
TURNER: This poem begins with a quote from Rousseau, which says: To yield to force is an act of necessity, not of will. It is at best an act of prudence. "What Every Soldier Should Know." If you hear gunfire on a Thursday afternoon, it could be for a wedding, or it could be for you. Always enter a home with your right foot; The left is for cemeteries and unclean places. O-guf! Tera armeek is rarely useful.
It means, stop! Or I'll shoot. Sabah el kahir is effective. It means good Morning. Inshallah means Allah be willing. Listen well when it is spoken. You will hear the RPG coming for you. Not so the roadside bomb. There are bombs under the overpasses, in trash piles, in bricks, in cars. There are shopping carts with clothes soaked in foogas, a sticky gel of homemade napalm.
Parachute bombs and artillery shells sewn into the carcasses of dead farm animals. Graffiti sprayed under the overpasses: I will kill you, American. Men wearing vests rigged with explosives walk up, raise their arms and say Inshallah. There are men who earn $80 to attack you, $5,000 to kill. Small children who will play with you, old men with their talk, women who offer chai. And any one of them may dance over your body tomorrow.
GROSS: GROSS: Brian, I know you're completing a new book now. Are you still writing about combat in Iraq?
TURNER: I'm actually writing about what I feel is missing back here. I was trying to write poems that were in Iraq, the poems that I'd started over there but never were finished, and I found that they weren't working. And I realized that, you know, of course I'm no longer there, so I can't write those poems.
But I started looking around and seeing that, you know, we're a country at war, but disturbingly, I don't see war like in Marfa, Texas, or Fresno, California, where I'm from. I'm not seeing it in my daily life. I'm not experiencing. And yet there are these sort of imagistic rhymes all around us.
I went into Lowe's Home Improvement Center, for example, and I was buying some nails. I started looking at them, and I realized that there was a type of scaffolding nail, double-headed nail, that looks a lot like the firing pin inside my weapon that I used to carry.
And then, like, when you go to the register and you pay for the cash, and the register slides open, that shuh-shuh, that sound when it slides, sounds a bit like a machine gun being charged. And the fan blades above, you know, they're imagistically rhyming a bit with the rotors of a helicopter, for example.
So these are the poems I'm writing now. I'm writing about the soldiers that have come back. What is that experience like for us, as we come back? And then, what is experience like as a nation? It seems to me a bit obscene that we can bury so many people in the earth and yet know so little about them. And that's what I'm writing about now.
GROSS: Brian Turner, thank you so much for talking with us.
TURNER: Oh, no, it's an honor. Thank you.
GROSS: Brian Turner, recorded in 2008. He's the author of the poetry collections "Here Bullet" and "Phantom Noise." Transcript provided by NPR, Copyright NPR.
NPR transcripts are created on a rush deadline by an NPR contractor. This text may not be in its final form and may be updated or revised in the future. Accuracy and availability may vary. The authoritative record of NPR's programming is the audio record.


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Dog Harness in Turquoise Grey Blue Plaid Tartan Fabric
Dog Harness in Turquoise Grey Blue Plaid Tartan Fabric
PURCHASING INFO - I'm blessed to be a busy shop, everything is made to order by myself. My make time is 7 days (then shipping time). If you need this sooner please contact me prior to ordering.
* Fabric outer
* Polypropylene webbing inner
* Fully adjustable
* Choice of fittings
* Heavy duty sewed on stress points
If you decide to have your item personalized, this is done with our Embroidery machine, with a satin finish thread. All of Waggy Bum Dog Boutique can be hand washed in detergent and air dried flat.
Wear and tear will naturally occur over time, so keep those pups safe by checking your items regularly and replace when necessary. Don't forget to check out the rest of our designs in store.
Can't find what you are looking for. We love custom designs, just pop us a message to discuss your requirements.
PLEASE NOTE Pattern placement may vary Colours may differ slightly due to different screens eg phone/laptop/tablet etc
PLEASE NOTE due to their nature, I do NOT recommend the METAL buckles for boisterous/active dogs or dogs that pull on the lead. The standard plastic buckles are better suited. Always ensure collars are inspected regularly for wear and tear. The metal buckles are a Zinc Alloy THIS IS A SOFT METAL ALLOY THAT BREAKS UNDER STRAIN they are coated so discolouration will occur over time. WAGGY BUM is NOT RESPONSIBLE for any damage caused due to breakage of buckle due to misuse.
Shipping, Returns & Privacy Policy
Shipping, Returns & Privacy Policy
Customs and import taxesBuyers are responsible for any customs and import taxes that may apply. I'm not responsible for delays due to customs.
I gladly accept returns, exchanges and cancellations
Contact me within: 3 days of delivery
Dispatch items back within: 7 days of delivery
Request a cancellation within: 24 hours of purchase
The following items can't be returned or exchanged
Because of the nature of these items, unless they arrive damaged or defective, I can't accept returns for:
Custom or personalised orders
Items on sale
Conditions of return
Buyers are responsible for return postage costs. If the item is not returned in its original condition, the buyer is responsible for any loss in value.
Privacy policy
European Union's General Data Protection Regulation (GDPR)
GDPR comes into effect on 25 May 2018 giving individuals in the European Union more transparency, rights, and control over how their personal information is used and processed by businesses.
When buying from me, the seller, I use the following methods to receive payment by Credit or Debit Card selected at checkout.
Please visit the individual data controllers identified (as listed below) to review their policy on keeping your personal information safe
Privacy Policy
Waggy Bum takes the privacy of your information very seriously. This policy explains how and for what purposes I use the information I collect about you. Should you have any queries please contact me via the contact form and I will do my best to answer your questions.
In order to operate my business the following information will be collected from you:
Your name, address, email address and phone number when making a purchase;
This information will be collected from you so that I can:
process orders/payments submitted by you to communicate with you about your order verify your identity where necessaryto fulfill your order check the progress of orders in the postal system UK and/or International obtain views or comments on the service I provide contact winners of any competitions or special offers I may run from time to timecarry out marketing analysis and make general improvements to my sites for the purpose of Tax and providing evidence of transactions to HMRC Tax Office
I will not use your information to send you information about my products and services - to keep updated please follow me on social media
I will share this information with no one outside of Waggy Bum or as is necessary for the above purposes without your specific permission other than as stated above, unless required to do so by law for example, if required by a court order or for the purposes of the prevention of fraud or any other crime, I will not disclose any of your personal information without your permission.
To ensure your personal data is kept secure at all times all devices, computers, laptops, mobile phones I use for my business purposes are either encrypted, password or passcode protected with all firewalls and antivirus software updated weekly or more frequently as required, and all files password locked. Any printed documents such as receipts are held in a locked cabinet and will only be used as stated above. I ensure all security is the best it can be to mitigate any potential risks and safeguard your privacy from unauthorised access and improper use.
Third party web sites
I cannot be responsible for the privacy policies and practices of other sites even if you access them using links from our Sites. I highly recommend that you check the policy of each site you visit and contact its owner or operator if you have any concerns or questions.
If you have linked to this website from a third party site, I cannot be held responsible for the privacy policies and practices of the owners or operators of that third party site, I highly recommend that you check the policy of that third party site and contact its owner or operator if you have any concerns or questions.
Transferring your information outside of Europe
If I transfer your information outside of the EU, I will take steps with the aim of ensuring that your privacy rights continue to be protected as outlined in this privacy policy.
If you use our services while you are outside the EU, your information may be transferred outside the EU in order to provide you with those services. Outside of the European Union ("EU") data protection laws may not be similar to those within the UK.
Business address
Waggy Bum
Pond Barn, Backridge Farm

subset: commoncrawl


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Pedal Free Swing Car 79cm - Blue
It's the new ride-on phenomenon in children's toys! Pedal free, it's great for both indoor and outdoor use. Definitely fascinate and delight your children for the coming years!
This awesome ride-on toy is not hard to understand at all! Just by swinging the steering wheel to and fro, your children will be able to control the speed and direction easily. With up to 130kg weight capacity, it is great fun for adults too - so everyone in the family can get out their swing car for some family competition time!
Quiet and averagely priced, this swing car is a unique toy for your children.
Note: Only for children above 3 years old and above.
* Heavy duty material with 130kg capacity
* 79cm length - Largest in the market so far
* Pedal free design - Just swing the wheel to and fro
* Stable construction
* Moves in a slow speed - Safe and enjoyable
* Simple and low noise operation
* Installation kit included for simple assembly
* Compliant with Australian Standard
* Suitable for kids above 3 years old
* Colour: Blue
* Steering wheel material: PP
* Riser plate material: PP
* Maximum weight capacity: 130kg
* Package weight: 4kg
* Size: 79 x 36 x 40.5cm
Package Contents
1 x Pedal Free Swing Car
1 x Assembly Manual


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9-year-old boards plane without ticket
| Minneapolis
A 9-year-old runaway went through security, boarded a plane at the Minneapolis-St. Paul International Airport without a ticket and flew to Las Vegas, an airport spokesman said Sunday.
Security officials screened the Minneapolis boy at the airport shortly after 10:30 a.m. Thursday after he arrived via light rail, Metropolitan Airports Commission spokesman Patrick Hogan said. The boy then boarded a Delta flight that left for Las Vegas at 11:15 a.m.
The flight was not full, Hogan said, and the flight crew became suspicious midflight because the boy was not on their list of unattended minors. The crew contacted Las Vegas police, who met them upon landing and transferred the boy to child protection services, Hogan said.
"It's hard to piece anything together from his stories why he got on the flight and went to Las Vegas," Hogan said.
Minneapolis police Sgt. Bill Palmer said officers talked to the family after Las Vegas police contacted them. A family member told police the boy ran away and was last seen earlier Thursday.
The boy had been at the airport on Wednesday as well, Hogan said. Video shows him grabbing a bag from the carousel and ordering lunch at a restaurant outside of the security checkpoints.
He ate and then told the server he had to use the bathroom. He left the bag and never returned to pay, Hogan said. Airport officials returned the bag to its owner.
Delta and the Transportation Security Administration said in separate statements that they were investigating.
Hennepin County Child Protection Services also was looking into it, Palmer said. County spokeswoman Carolyn Marinan said Sunday she couldn't confirm or deny the agency's involvement because the case involves a juvenile and data privacy issues.
The boy was expected to return to the Twin Cities, but Hogan didn't know Sunday if that had happened yet.


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Coolvetica is a scratch built, sans serif font, based on an American chain store logos circa 1970. This was an era where everyone was modifying Helvetica. Not only for logo designs but even font designers were at it. The Photo Lettering Inc. catalog was loaded with playful helvariations.
Even Letraset chimed in with Shatter, Formula One & Isometric. Coolvetica recreates that 1970s custom display lettering look with really tight kerning and funky curls. The tails on the R and a have been left out to allow even tighter spacing. This is not a text font. Coolvetica is a pure display font, intended for big, funky headings and titles. The 1999 version of Coolvetica had a G with a swash tail. Th current version still contains a swash G, but it's accessed as a "stylistic alternate" in OpenType savvy applications. Coolvetica has class based kerning, math symbols, fractions and numeric ordinals. Don't forget to read the files inside the zip for details. Updated in 2012.


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We have shared the official Nipda Blue Sea Quad 3G Stock Firmware ROM (Flash File) on this page. The Firmware comes in a zip package that contains the original Firmware, Flash Tool, USB Driver, and How-to Flash Guide.
Nipda Blue Sea Quad 3G Stock Firmware ROM (Flash File)
You can use the Stock Firmware (Flash File) to re-install the Mobile OS on your Mobile Devices. You can also use it to fix the device if facing any Software-related issue, IMEI issue, or Bootloop.
File Name: Nipda_Blue_Sea_Quad_3G_011215_SPD.zip
File Size: 328 MB
Flash Tool: SPD Flash Tool
How-to Flash (install): Follow Tutorial
File Size: 328 MB
Flash Tool: SPD Flash Tool
How-to Flash (install): Follow Tutorial
How to Flash Nipda Blue Sea Quad 3G Stock Firmware
- Download and Extract the Nipda Blue Sea Quad 3G Stock Firmware on the Computer.
- Once, you have extracted the Package, you will get the Firmware, Flash Tool, Driver and How-to Flash Guide.
- Install the provided USB Driver on the Computer.
- Once Driver is installed, Open Flash Tool on the Computer.
- Once the Flash Tool is Launched, Connect your Device to the Computer using the USB Cable.
- Click on the Download or Upgrade button on the Flash Tool to begin the Flashing process.
- Once the flashing process is completed, Disconnect your Nipda Blue Sea Quad 3G device from the Computer and Restart the Device.
Readme Once:
[*] Flash Tool: If you are looking for the latest version of SPD Flash Tool, then head over to SPD Flash Tool page.
[*] Take a Backup: We recommend you take a backup of your data before flashing the Stock Firmware, as flashing the Firmware will delete personal data from the device.
[*] Credits: On firmwarecare.com, we only serve the original Firmware released by the device manufacturer in its original state. We have Scanned the Firmware using the Malwarebytes Premium before sharing it online.


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Men's Group Meeting
Join us for an intimate and thought provoking connection on current men's issues every Tuesday night at 7:30 PM at The Wall Las Memorias Project Office, located at 5619 Monte Vista St., Los Angeles, CA 90042.
The discussion topic for this meeting is: Unhealthy Relationship Dynamics
Participants are challenged to create community through empowerment and encouraged to find common understanding in culture, sexuality, peer education and brotherhood. For more information contact Edwin Flores at (323) 257-1056 ext. 37 or email [email protected]
April 19, 2016 at 7:30pm - 9pm
The Wall Las Memorias Project Office
5619 Monte Vista St
Los Angeles, CA 90042
United States
Google map and directions
Edwin Flores · · (323) 257-1056 ext. 37


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Organic U.S.A. family farm hard red winter wheat, selected for purity and high protein. Its high gluten content makes excellent all-purpose flour for bread and baked goods. Cracked or whole wheat berries make excellent sweet porridge. Its sprouts brighten salads and sandwiches. 100% whole grain, fiber rich, a good source of protein, thiamin B1, niacin B3, magnesium, and copper. kosher pareve
EDEN Hard Red Spring Wheat is U.S.A. family organically grown and Eden chosen for purity and high protein. Its high gluten content makes excellent all purpose flour for bread and baked goods. Eden Hard Red Spring Wheat is the same wheat as hard red winter wheat but is planted in the spring for late summer harvest. Store it dry, cool, and in the dark until ready to use or grind. For best baking results, grind the wheat into flour just before use.
Nutrition Facts
EDEN Hard Red Spring Wheat is low in fat and saturated fat, cholesterol free, very low sodium, and rich in healthy fiber. According to FDA, "Diets rich in whole grain and other plant foods, and low in total fat, saturated fat, and cholesterol may reduce the risk of heart disease and some cancers." Also, "Low fat diets rich in fiber-containing grain, fruits, and vegetables may reduce the risk of some types of cancer, a disease associated with many factors." EDEN Hard Red Winter Wheat is a good source of protein, thiamin B1, niacin B3, magnesium, and copper.
Uses for EDEN Organic Hard Red Spring Wheat:
• Grind into an excellent all purpose flour for making bread, bagels, pizza dough, pretzels, crackers, pancakes, waffles, and a variety of yeasted baked goods such as cinnamon and dinner rolls. It is ideal for making seitan, a nourishing wheat gluten cooked in shoyu soy sauce and water, and dried wheat gluten called 'fu' in Japan
• Wash, soak, and sprout to brighten salads, sandwiches, and home made juices.
• Reset your mill to make cracked wheat for cereal or wheat pilaf.
• Soak and boil with Organic EDEN Aduki Beans or pressure cook with brown rice. When combining with brown rice you must soak the wheat first for 6 to 8 hours, or overnight, then pressure cook or boil so the wheat and rice are tender at the same time.
• Boil or pressure cook whole for a delightful, chewy, completely satisfying, and versatile porridge.
Boiling and Pressure Cooking Directions:
Wash the wheat berries thoroughly, rinse and drain. Place in a bowl with cold water to cover and soak overnight, or for 6 to 8 hours, before cooking to soften. This soaking water may be used to cook the grain. Another method is to patiently dry roast the wheat after washing. Roast it in a heavy or cast iron skillet stirring constantly over a medium flame until the berries are golden brown and release a sweet nutty aroma.
To boil wheat berries put 2 1/4 to 2 1/2 cups of water per cup of wheat, or wheat and aduki beans, and a pinch of EDEN Sea Salt in a heavy pot. If adding aduki beans, do not add salt until the last 10 minutes of cooking. Cover and bring to a boil. Reduce the flame and simmer for 2 to 3 hours. For porridge add more water and cook longer until creamy. For pressure cooking place the wheat, or wheat and rice, 1 1/2 to 2 cups of water and a pinch of EDEN Sea Salt in the cooker. Secure lid and bring to pressure. Reduce flame to medium-low and cook for an hour and fifteen minutes. Remove from the flame and allow pressure to come down before removing the lid.


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The beloved and critically acclaimed LEGO® Star Wars™ franchise is back. LEGO Star Wars III:The Clone Wars, combines the epic stories and iconic characters from the Star Wars universe and hit animated TV series Star Wars: The Clone Wars™ with all new gameplay features.
Players will enjoy brand new game mechanics allowing them to create, control and explore in a galaxy far, far away like never before. Promising breathtaking visuals as well as new characters and levels, the game also features the signature tongue-in-cheek humor from the LEGO universe. With over 20 story-based missions and 40 bonus levels spanning the entire Clone Wars era, LEGO Star Wars III: The Clone Wars will allow fans to explore endlessly and laugh their way through the Star Wars galaxy in the most humorous, accessible and action-packed LEGO game to date.
- New Story – For the first time, players will experience their favorite stories from Star Wars: The Clone Wars, retold in the amazing LEGO world that fans know and love.
- Massive Ground Battles – Brand new to the LEGO Star Wars experience, players will take control of battalions of clone troopers against the relentless droid army – building bases, deploying vehicles and calling in reinforcements to defeat opponents.
- SceneSwap – Authentic to the Star Wars experience, a new feature allows players to take control of multiple teams in separate locations. Working together to complete various objectives, players will control each team through the press of a button, while playing in single player or in multiplayer co-op modes.
- All New Boss Battles – For the first time in the LEGO Star Wars franchise, fans will fight against massive bosses as seen in The Clone Wars animated series, including Gor, the epic Zillo Beast and many other favorites.
- Multi-Layered Space Battles – Players will be able to take off in their favorite ships to navigate and fly through multi-layered combat throughout the galaxy.
- New Combat Abilities – Characters will have more dynamic moves allowing players greater freedom to battle their opponents. Characters will also have new lightsaber abilities including Lightsaber Cutting, Lightsaber Throwing, and Lightsaber Climbing. The game will also feature new grappling abilities allowing players to climb their way through puzzles and defeat enemies.
- Explore the Galaxy – Players will be able to explore exotic locations in a variety of ships throughout 16 different star systems. Fans will play as villainous Separatists, the noble Republic heroes or even as bounty hunters, tracking down characters across the galaxy.
- Expanded Force Abilities – Using the Force in all new ways to control LEGO objects, players will solve puzzles, access new areas, pick up and throw enemies – even turning them into weapons.
- Brand New Clone Weapons, Vehicles and Characters – New clone weapons including rapid fire guns and rocket launchers, as well as all new massive capital ships to explore, such as Anakin Skywalker's flagship the Resolute and Grievous' devastating warship , the Malevolence. Players will also navigate through the galaxy in new vehicles such as the Republic gunship, Clone Turbo Tank and even Anakin's Jedi Intercepter and the Twilight.
- Fans will also discover their favorite classic characters such as Darth Vader, Chewbacca and Luke Skywalker.
- Puzzle Solving – The game will feature all new puzzles that reward creative thinking through the use of teamwork and unique building situations only possible in a LEGO galaxy far, far away.
- All new lighting and animations – A brand new engine brings characters to life, giving players a whole new level of control in a vibrant environment, unlike anything ever seen before in a LEGO game.
- Split Screen – Improved dynamic split screen for multi-player co-op with jump in/jump out abilities for friends and families to play together.


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Members enjoy access to all archived content, including thousands of PDFs and hundreds of Ebooks – all free!
To join: make a $25 (or more) tax deductible donation to ChessEdu.org and we will send your log in details for one-year access. (It may take up to 72 hours to receive your log in.)
In Trial by Tactics you are shown the position just before the tactic occurs and then asked to visualize the winning sequence. Thereby emulating a real game scenario. We intersperse these puzzles with end...
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Nanny Lane is a child care website meant to help you find a babysitter in your area. Our child care services include background checks, PLUS, and payroll.
Before beginning the search for a babysitter, it's important to understand what you're looking for and if a babysitter is the right choice for your child care needs. There are lots of benefits to hiring a babysitter such as getting the flexibility of having some more time for yourself or with your partner. When hiring a babysitter, first, you should explore the differences between a nanny and a babysitter. If you're looking for occasional child care, babysitters are the right choice for you, but if you're looking for more frequent care, a nanny may be better for your needs.
From there, you can think about what you expect your babysitter to handle so that you can create a profile for nannies to reach out to you. The boundaries for babysitters' duties can vary from family to family. However, in general, a babysitter is responsible for making sure your kids' needs are met, including things like ensuring they have opportunities to play and be active. When tasks go beyond child care, for example to housekeeping, laundry, or meal preparation, it's good practice to communicate these expectations with your babysitter before hiring them. Along with the different duties that you ask for, experience and location in Hoboken can impact how much you pay your babysitter.
Once you start connecting with prospective babysitters, the next step is to conduct an interview. To make things a bit easier, here's a list of some babysitter interview questions to consider asking:
During the hiring process, it's essential to ask for references and by asking their references questions you gain a better understanding of they will fit in your family. As you get closer to hiring a nanny, be sure to run a background check to ensure your kids are in good hands. When evaluating a babysitter that you're considering hiring, make sure you're setting the foundation for a good relationship with your babysitter. You can do this by being clear about your expectations around babysitter responsibilities and compensation, and of course, by being friendly and welcoming!
And of course, as you learn how to hire a babysitter, Nanny Lane's nanny services are here to help you along the way.


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Unlocking Sony Xperia Z3 Compact
For unlock Sony Xperia Z3 Compact following options are available. If you don't know which option use for unlock your phone, please contact us. We will help you choose the right product for your phone.
What our customers say about unlocking
Unlocking instruction for Sony Xperia Z3 Compact ?
How to enter a network unlock code in a Sony Xperia Z3 Compact:
1. Turn on the phone with an unaccepted simcard inserted (simcard from a different network)
2. Phone should ask for network unlock code
3. Type NCK code in order to unlock the main network like T-Mobile, Orange etc.
Type SPCK code if the phone is locked in a subnetwork like Tesco.
How to check SONY Xperia Z3 Compact code counter:
1. Turn on the phone whithout sim card
2. Type *#*#7378423#*#*
3. Select Service info
4. Select SimLock
5. Check where is X
6. If X is on NETWORK, SUBSET or PROVIDER and value is more than 0, you can unlock your phone.
7. If it is 0 unlock by code is NOT possible. The counter is blocked.
If the code counter shows all 0 it cannot be unlocked, because there are no tries left to unlock it.
Second way to check counter
1. Turn on the phone whithout sim card
2. Lock screen
3. Press sequence: Menu, Back, Back, Menu, Back, Menu, Menu, Back
4. Select Service info
5. Select SimLock
6. Check where is X
7. If X is on NETWORK and value is different than zero, you can unlock your phone.
8. If it is zero unlock by code is NOT available. The counter is blocked.
These messages will appear on the screen of your Sony Xperia Z3 Compact when you insert an unaccepted simcard.
Important !!! Sony Xperia Z3 Compact with a blocked code counter will still ask for a network unlock code.
Even if you enter the correct code it won't work with a blocked code counter.
The code counter can be reset only by an official Sony service.
One of these codes is a NSCK code which is used in most Japanese networks like Docomo, Softbank etc.
Those networks cannot be unlocked with the standard NCK code.
Sony Xperia Z3 Compact usually asks for this code as soon as you insert an unaccepted simcard ( from a different network ).


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There's a warmth and radiance to our bright basket arrangement, which beautifully captures the spirit of a departed loved one. Handcrafted by our expert florists, and filled with vibrant blooms, it is typically brought home after the services by a family member, bringing hope and light to them when they need it most. •Basket arrangement with red carnations and hypericum; orange spray roses; yellow roses, sunflowers and cushion poms; pink Stargazer lilies and snapdragons; purple liatrus and monte casino; accented by soft, lush greenery and yellow bow •Appropriate for the funeral home •Arrangement measures approximately 28"H x 24"L •Our florists use only the freshest flowers available, so colors and varieties may vary
Order by 5:30 PM PST for same day pickup or delivery!
* Fee charged in addition to the Standard Delivery Fee
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In these lessons, students will learn how to respond to the play not just as a piece of writing, but as a piece of drama. Tasks include: researching previous productions and adaptations to broaden their understanding of the text; a prompt book activity, asking students to imagine their own staging of Lady Macbeth's sleepwalking scene in Act 5, Scene 1; and a list of practice exam questions with an emphasis on the text in performance.
In order to benefit fully from these lesson plans, we recommend you use them in the following order:
- Text in Performance
- Language
- Characters
- Themes
- Contexts
If you would like to teach the play in greater detail, use these advanced KS4/5 Lesson Plans. If students are new to the play, we suggest you start with the introductory KS3 Lesson Plans.
These lesson plans are available in the Downloads section at the bottom of this page. To download resources, you must be logged in. Sign up to access this and other exclusive features. Activities mentioned in these resources are available in a separate downloadable 'Student Booklet', also at the bottom of this page. The 'Teachers' Guide' download explains how best to use Teach Shakespeare and also contains a bibliography and appendices referencing the resources used throughout.
Key Questions for Students:
Can I ask questions to help me find out about the new Globe Theatre?
Can I research in detail one way in which the Globe Theatre incorporates original theatre practices in its work?
Key words: archive, authentic, costume, original practices, pronunciation, questions, research, sources, vision
Prologue: Opening Discussion
Students should look at the following four images which are included in the Student Booklet: Stephen Fry dressed as Malvolio, and Mark Rylance dressed as Olivia in the 2012 production of Twelfth Night; costumes being fitted backstage before a production of Twelfth Night in 2002; Mark Rylance applying make up backstage; musicians from the 2008 production of The Merry Wives of Windsor.
Also show the following video, which is a speech from Richard II performed in Original Pronunciation by Ben Crystal.
Students should:
- describe what is contained in each image and the video
- explain the connection between the images and the video
The connection is 'original theatre practices'. Students could also be asked for their view on whether they feel the things that are pictured are relevant to modern theatre. This question should provoke and set up a debate that will be important to return to in the course of the activities that follow.
Enter the Players: Group Tasks
1) In the hotseat
Who was Sam Wanamaker? Why did he want to rebuild a Shakespearean theatre on Bankside? How long did the process take and what hurdles were encountered and overcome along the way? How similar is the new Globe to the original one (building methods, building materials, use of any modern technologies) and how much do we know for certain about the first Globe? Students are going to research Wanamaker and the building of the new Globe Theatre by interviewing 'Sam Wanamaker', who you are going to play. Support students in advance of the interview in their drafting of a variety of questions. The fact sheets on this website and books such as Barry Day's This Wooden 'O': Shakespeare's Globe Reborn are useful resources for the purposes of your research in preparation for this 'teacher in role' activity. Students can also access these fact sheets at home, via the Globe website.
2) Original practices
Show students the definition from the Globe glossary of 'Original Practices':
This is a term used to describe a production that explores methods used in Elizabethan or Jacobean theatre. Strictly speaking, the term Original Practices defines a particular approach used by the Globe when Mark Rylance was Artistic Director. Under Dominic's direction the Globe is continuing to explore some of these techniques.
Some Globe productions have actively sought to follow original Elizabethan and Jacobean theatre practices. These practices include:
- costume
- pronunciation
- use of authentic musical instruments and sound effects
- all-male companies
Students could choose one of these areas and research it. This research could be used in a class discussion about the value of such practices 400 years later, when language, technology and cultural attitudes are very different.
Macbeth has been staged several times at the new Globe since it opened in 1997, with the title role played by Jasper Britton (2001), James Garnon (spring 2010), Elliot Cowan (summer 2010) and Joseph Millson (2013). The Joseph Millson version is available on a Shakespeare's Globe DVD, and extracts from the James Garnon version are featured throughout these materials, as are stills from all four productions. What can students find out about these different productions using production images, these resources, theatre reviews, the Adopt An Actor archive, etc.? Give students time to investigate this rich archive of actor interviews from past productions. Students could be given the name and headshot of a particular actor from one of the productions; they should then research that particular production, and how the actor prepared to play the character in question. N.B. There is a full cast list for all four productions in the Globe Education Shakespeare for GCSE Macbeth book, and in our Previous Productions archive.
Exeunt: Closing Questions for Students
What was Sam Wanamaker's vision in rebuilding the Globe? To what extent do I think this has been achieved?
How can researching how Shakespeare was performed in the past be of use to actors today?
Suggested plenary activity…
Where would students prefer to see a production of Shakespeare? At the Globe or in a modern theatre? Outdoors? On screen? Why?
Aside: Further Resources
- What happened to the original Globe theatre? What steps have been taken in modern times to prevent history repeating itself? Students can read a factsheet about the new Globe here: shakespearesglobe.com/uploads/files/2015/04/reconstructed_globe.pdf.
- Ben Crystal writes in Shakespeare on Toast (pp.52-54) about the connection that can be achieved between the actors and the audience in the reconstructed Globe.
Epilogue: Teacher's Note
Students could listen to the speech from Macbeth featured on this Original Pronunciation CD as part of their investigation into the language of that speech.
Key Questions for Students:
Can I evaluate the importance of movement work and choreography in productions of Shakespeare?
Can I analyse how different actors who have played Macbeth have communicated with the audience using body language, facial expression and other movements?
Can I apply these insights to my own ideas for staging a very physical scene?
Key words: body language, character, choreography, facial expressions, fight scenes, jig, Macbeth, Macduff, movement, stage directions , swordfighting
Prologue: Opening Discussion
Pick out quotations from the following interview with Kenneth Branagh, in which he describes stage fighting: telegraph.co.uk. Give these quotations to students and ask them which aspect of acting on stage they think Branagh is describing here.
Explain after brief discussion that an actor was fighting with Sir Kenneth in a production of Macbeth, when he was hit with one of the real swords that are used for the battle scenes. The actor was checked over by on-site medics and continued with the performance, but after the curtain dropped he was taken to hospital to be checked over.
Ask students to discuss the following two questions in pairs:
- How might the shape and layout of the Globe's stage make particular demands of actors?
- In which parts of the play do fighting scenes take place that need carefully rehearsed movements?
Enter the Players: Group Tasks
1) What does a choreographer do?
Students will find some interview questions and answers from a Globe choreographer at 2011.playingshakespeare.org/text-performance/choreography and from a Globe text and space coach at 2011.playingshakespeare.org/text-performance/text-work.
Now ask students to answer the following questions in as much detail as possible:
Which other parts of Macbeth might require choreography?
Can you make notes about how you would stage one or more of the following:
- the apparition scene
- the witches as they chant their spells
- the banquet
- Birnam Wood
- the final jig (see 'Aside')
2) Becoming Macbeth
Macbeth begins the play as a brave man of action, but as he plots with his wife to kill the king we see other aspects of his character. A variety of stills from different scenes in Macbeth could be printed off; students could comment on the actor's use of body language, facial expressions and other movements. Students could compile their findings in a gigantic graph for class display, which tracks the changes in Macbeth's situation and character as the play progresses. They could use annotated images, key quotations and explanatory comments to support their ideas. students could also find quotations from actors who have played Macbeth from the Globe's Adopt An Actor blog posts and interviews, looking in particular for ideas about:
- the physical demands of the part of Macbeth
- the most physically demanding scenes in the play
- any evidence of the actors working with choreographers, fight coordinators, voice and space coaches
- how these collaborations supported the actors with their performances as Macbeth
3) Over to you: combat scene
Ask students to consider how they would stage the final battle between Macbeth and Macduff in Act 5 Scenes 7 and 8. How naturalistic would the fighting be or would it be more stylised? Ask students to work in pairs, recording their ideas on a storyboard sheet in the Student Booklet. You could also ask students to bring some of these images to life in their own tableaux, and even take photographs to which captions/quotations could be added.
Exeunt: Closing Questions for Students
How important are a character's movements in a play?
Should all movement on stage be planned and rehearsed? Why?
How can a character's movements affect our reactions to them?
Suggested plenary activity…
Ask students to find three stage directions from the play and to write some detailed notes about how that stage direction might be interpreted in the Student Booklet. This could be completed for homework.
Asides: Further Resources
- All performances of plays in Shakespeare's time would have ended with a dance or 'jig' involving the whole company of actors. This is a tradition that continues to this day at Shakespeare's Globe as you can see in the clip below, which also includes the fight between Macbeth and Macduff, Macbeth's death and Malcolm's restoration to the throne. What is the effect of a jig coming after these dramatic scenes?
- Each of the following words is used by Shakespeare to mean a weapon or piece of armour, but the words also have other meanings with which we may be more familiar. What do these words mean when Shakespeare uses them in a military context? 1. crest; 2. carriages; 3. foil; 4. hanger; 5. partisan; 6. pike; 7. target; 8. tuck
Epilogue: Teacher's Note
The learning sequences that follow – about performing the parts of Lady Macbeth, the Witches and the Porter – make several references to actors' appearance and movement on stage.
Key Questions for Students:
Can I find out about how different actors have approached the role of Lady Macbeth?
Can I understand and empathise with the perspective of an actor approaching a role, and also those who support actors in approaching key scenes?
Key words: actor, character, costume, entrance, exit, interpretation, Lady Macbeth, motivation, movement, prompt book, props, stage manager, voice
Prologue: Opening Discussion
Show students three stills of Sinead Cusack, Harriet Walter and Laura Rogers, all of whom have played Lady Macbeth. Students should work in pairs to find a suitable quotation to accompany each image and explain why they chose it. (Prepare an assortment of quotations to choose from to support all or some students if necessary.)
Enter the Players: Group Tasks
1) Playing Lady Macbeth
Students read three accounts about approaching the role of Lady Macbeth. In groups of three, students take one account each and feedback to each other about how their actor approached the role. They should focus on:
- the creative ideas they brought to the role
- any anxieties or misgivings about the role
- how all of this translated into the performance they gave as Lady Macbeth
Students could summarise some of their findings in the Student Booklet, adding some of their own ideas about playing Lady Macbeth too.
2) Focus on stagecraft: stage manager
What does a stage manager do? By following this link (2011.playingshakespeare.org/text-performance/stage-management), students can find out more about the stage manager's role and about some of the terms they might use. In their notes and feedback, students should emphasise that the role of the stage manager involves a great deal of coordination of different artistic and technical inputs.
3) Over to you: sleepwalking scene
If students have completed the previous task, they will have found out more about what a 'prompt book' is. For this activity, students are going to be creating a prompt book version of Act 5 Scene 1 in the Student Booklet.
The prompt book should include:
- any cuts that are being made to this scene
- notes about entrances and exits, and about positions (blocking)
- notes that have been agreed with the actors about important aspects of their performances (use of voice, body language)
- notes about costumes and props in this scene
Exeunt: Closing Questions for Students
What are some of the different ways in which Lady Macbeth has been interpreted by actors?
How would I approach this role as an actor, a director or a stage manager?
Suggested plenary task…
Create a spider diagram to show the different kinds of creative input that contribute to a performance. This could include: the actor, fellow actors, Shakespeare, audience members, musicians, costume designer, prop maker, choreographer, composer, etc.
Asides: Further Resources
- Lady Macbeth is an important noblewoman, but her role would have been domestic rather than political. The responsibilities of noblewomen like her would have included running the household and entertaining guests.
- Students could read and explore U. A. Fanthorpe's poem inspired by the sleepwalking scene, 'Waiting Gentlewoman'.
Epilogue: Teacher's Note
The prompt book task could be used to assess reading, speaking and listening, particularly if students run through a rehearsal of the scene. Students could take on the following roles: the actors (Doctor, Waiting Gentlewoman, Lady Macbeth); the director; and members of the stage management team. This discussion should be as broad as possible to emphasise the cooperation and collaboration a play requires.
Key Questions for Students:
Can I develop ideas about how the scenes featuring the witches could be staged?
Can I support my ideas with textual evidence?
Key words: actor, character, context, motivation, music, review, sound effects, stagecraft, witches
Prologue: Opening Discussion
Students should read the extract from David Bevington's This Wide and Universal Theatre (2007), which is featured in the Student Booklet on the Playing the Witches page. Students should create a timeline, extracting key information about the spectacular effects used in various productions of Macbeth from the seventeenth, eighteenth and nineteenth centuries. What are Students' views about some of the staging ideas described in this account?
Enter the Players: Group Tasks
1) Playing the witches
a) Ask students to read the following blog post by actor Paul Chahidi who played a Witch at the Globe in 2001.
"We want the audience to have fun and really enjoy the scenes with the witches. The costumes for the witches are the same for the other characters, but we will now be wearing glasses with misted lenses. The scene will not be like the traditional witches' scene as there will not be any burning cauldrons, we cannot dim the lights and the witches will not be reacting in the usual way. There will also be some salsa dancing! I think that the way we are staging this scene will have a great impact on the first appearance of the heroes Macbeth and Banquo.
I do not know how the audience is going to react to this. Some people may be disappointed that the production is not realistic in its representation, however, I think that we are working in the right way. It will be thrilling if these ideas work, as they are so strong."
Is there anything that students find surprising about this account?
b) Now ask students to listen to – or read transcripts of – a series of podcasts by actress Janet Fullerlove, who played one of the Witches in one of the 2010 Globe productions. This involves a considerable amount of reading/listening and students could work in groups, dividing the task between them before feeding back to each other. Students should make notes about each of the five podcasts, noticing any ways in which the actress's ideas and decisions about playing the part changed and evolved over time.
2) Focus on stagecraft: music and sound effects
Give students a range of topics to research and feedback on:
- musical instruments in Shakespeare's time
- the use of music in productions at the Globe
- why jigs were performed at the end of performances
- Thomas Middleton's authorship of some parts of the witches' scenes
3) Over to you: apparition scene
How do students imagine Act 4 Scene 1 and the apparitions in particular? If you were staging this scene, how might the stage, props, costume, music and sound effects be used in creative ways? Students are going to be the designer for this scene, imagining a range of ways to create powerful effects; these should affect both Macbeth and the audience. If there is time, students could develop some of their ideas in a presentation to the class that includes a performance of one short section of the scene and a commentary on the decisions they made about staging it.
Exeunt: Closing Questions for Students
How would you make the witches' scenes both spectacular and also thought-provoking on a deeper level?
How would you want the audience to interpret the witches in your production?
Suggested plenary activity…
Students could give feedback to each other following their presentations.
Asides: Further Resources
- In Act 4 Scene 1, Shakespeare makes use of the trapdoor through which actors or props (such as a cauldron) could appear.
- There is an short essay about the witches at 2011.playingshakespeare.org/themes-and-issues/the-witches on the Playing Shakespeare with Deutsche Bank microsite.
- Witches were popular on stage at the time Macbeth was written. They appear in several plays of the era, such as Thomas Middleton's The Witch in which Hecate's song also appears.
Epilogue: Teacher's Note
There are further Key Stage 4 materials about the witches' language and about attitudes to witchcraft in Shakespeare's time which can be found in Historical and Social Contexts.
Key Questions for Students:
Can I comment on the significance of the Porter scene in the play as a whole?
Can I compare and evaluate different viewpoints and arguments about the Porter scene?
Key words: actor, character, comedy, context, improvisation, interpretation, motivation, Porter, symbolism, topical, visual effects
Prologue: Opening Discussion
Ask students to make brief notes in the Student Booklet about what happens immediately before Act 2 Scene 3 lines 1-40, and what happens immediately afterwards. Draw out from their feedback that the Porter's appearance has a practical function, to allow – as Ben Crystal puts it – 'the blood-soaked actors playing the Macbeths to change and wash'. But is that all there is to this scene? Invite students to consider as they read the scene:
- its effectiveness as comic relief
- its effectiveness dramatically and symbolically
Enter the Players: Group Tasks
1) Getting to grips with the scene
Show images of the Porter from different productions. The pictures should demonstrate that the Porter can be played a variety of ways, for example, as a young or old man (or woman). You should emphasise that there is scope both for comedy on stage (staggering around, peeing, being sick), and for creating quite chilling effects, since the Porter jokes about being the porter to the gates of hell. Students could then listen to David Tennant's audio version of the beginning of this scene (youtube.com/watch?v=Yr4jULsh9Lg), as they read Act 2 Scene 3 lines 1-40. Students could make notes on how Tennant makes the scene funny and also brings out its darker elements.
2) Topical comedy
Ben Crystal writes that 'Some of the jokes have a 400-year-old sociological reference underpinning them, so are not easy to understand'. Ask students to speculate about how this scene can be made to seem relevant and funny for a 21st century audience.
Show students the 2010 Globe version of the beginning of this scene below, featuring the actor Russell Layton playing the Porter. As with the Tennant version, students should listen and make notes about what is funny about the way the scene is staged and acted; this time, they should take account of visual effects – costume, props, body language, etc. They should also think about how the darker and more dramatic aspects of the scene are dealt with in this version.
Explain that unlike the first version they heard which was entirely faithful to Shakespeare's script, in this version a decision was made to improvise some topical material. Students could consider the following questions:
- Q) What has been added to the scene?
- Q) Why do you think this material been added?
- Q) What is your personal view about the effectiveness of these changes?
3) Differing views
The Romantic poet and critic Coleridge argued that, 'This low soliloquy of the Porter, and his few speeches afterwards, I believe to have been written for the mob by some other hand'. In his book Shakespeare's Language, the critic Frank Kermode describes the Porter scene as 'the hinge of the play', arguing that 'the knocking connects the scenes, connects what went before with what comes after Duncan's death'. Students could work in fours, with one pair taking Coleridge's view and the other pair taking Kermode's view. Each pair should write a few sentences and provide some evidence to support the view they are taking. After hearing both sides, the group should then discuss their own views in light of the points and evidence given.
Exeunt: Closing Questions for Students
What is the importance of this scene both practically and in terms of the ideas and themes of the play?
Suggested plenary activity…
Ask students to imagine they are involved in staging this scene (either as actor or as director). To what extent would they try to bring out the comedy of the scene and how would they do this? To what extent would they bring out the darker and more serious themes of the play in this scene and how would they do this? Students could work in pairs and present their ideas in the form of a dialogue between actor and director.
Asides: Further Resources
- 'Knock, knock, knock. Who's there, i'th' name of Belzebub?' There is a popular theory that 'knock knock' jokes have their origins in this very scene. Students could improvise some topical knock knock jokes about different professions of modern times.
- Students could find out more about Will Kemp and Robert Armin, the actors who played many of the comic parts in Shakespeare's plays when they were first staged.
- Not only does the Porter refer to himself as 'devil-porter', but Macbeth's servant's name 'Seyton' sounds exactly like the word 'Satan'. What might the significance of this be?
Epilogue: Teacher's Note
Students could research other portrayals of the Porter on stage or screen and/or other critical viewpoints on the significance of this scene as a homework task.
Key Questions for Students:
What are some of the different possibilities when producing Macbeth on stage and on screen?
How varied are the interpretations of Macbeth by different directors that I have researched?
Key words: adaptation, close up, colour, connotation, director, mise en scene, lighting, long shot, shot, still
Prologue: Opening Discussion
Distribute sets of cards, some with short descriptions of some famous screen versions of Macbeth and some with stills from those productions. Examples could include Akira Kurosawa's Throne of Blood (1957), Roman Polanski's Macbeth (1971), or Macbeth with Michael Fassbender (2015). Students should match the still to the film it is taken from. Take feedback, ensuring students explain how they worked out their answers.
Enter the Players: Group Tasks
1) Macbeth on screen
Distribute larger versions of the images used in the starter activity, one per group of three or four. Students should analyse the still in detail, looking at:
- what kind of shot it is (e.g, long shot, close up)
- lighting (e.g. light source, what's in shadow)
- use of colour (colour palette, contrasts, connotations and symbolism of colours)
- mise en scene (what's in the frame, how the frame is composed)
Through class discussion, build two brainstorms showing some of the different possibilities of stage and of screen when performing a Shakespeare play.
2) Research
Together students build up a gallery of images and an archive of research about different productions of Macbeth on stage and screen, including reviews of those different productions. Different pairs or small groups could research particular productions and become 'experts' on that particular production. Allocate productions to ensure that across the class, a mixture of stage and screen versions are researched. Students could collaborate to produce a timeline of productions as a class display.
3) Assessment task
Individually, students choose one element of the play, either a character or a particular scene. They should prepare a slideshow presentation, comparing and evaluating different interpretations, and expressing some personal opinions and preferences. In order to acquire their evidence, they should consult their classmates who are by now experts on various productions. Students should make as many connections as they can to the text itself, and to how it has been interpreted in the various versions of the play they are examining. As listeners, students could make notes about words and phrases that their fellow students have used to compare and contrast different versions; these words and phrases could then be collected in a word and phrase bank.
Exeunt: Closing Questions for Students
How has Shakespeare's Macbeth been interpreted in different ways on stage and on screen?
What is my personal response to some of these different portrayals and interpretations?
Can there be such a thing as a definitive version?
Suggested plenary activity…
Students construct a complex sentence comparing one particular aspect of two different productions using some of the language from the word and phrase bank.
Aside: Further Resource
- The BFI has produced materials about Film Language in general and about a number of examples of Shakespeare on film, including Olivier's 1944 Henry V and the 2010 version of Othello starring Christopher Eccleston as Iago.
Epilogue: Teacher's Note
As extension work, students could bring in research about other productions they have studied independently. The individual presentations can be assessed for speaking, listening and reading.
Key Questions for Students:
Can I demonstrate awareness and understanding of Macbeth as a text written for the theatre in my essays?
Can I write about the dramatic effects of Shakespeare's text on stage in an insightful way?
Key words: actor, director, drama, glossary, jargon, performance, script, stage directions, text, theatre, vocabulary
Prologue: Opening Discussion
Show students the following sentence:
The man who is being Macbeth in this story talks on his own about how he is thinking and feeling about killing the king in the next part.
Ask them to work in pairs to find five ways to improve the language used so that it is:
- more clear in its meaning
- more precise in its use of the language of drama and theatre
- more appropriate for an essay
One or two pairs could share with the group the improvements they made and why. What is the effect on the reader of clear, precise and appropriate vocabulary choices?
Enter the Players: Group Tasks
1) Glossary
As a class, students compile a detailed glossary of drama and theatre terms and include this in the Student Booklet.
2) Different ways of writing about the text in performance
Students might be asked to write about Macbeth in performance in more than one way, e.g.
- a review of a production they have seen
- a commentary from the point of view of an actor in relation to a specific scene
- an interview with an actor or director
- advice from a director to an actor about playing a particular part
- a commentary to accompany a moodboard, where the director is explaining their vision for a new production
- a comparison of different interpretations of Macbeth on stage and on screen
- an essay focusing on the play in performance
Students could identify the Text type, Audience, Purpose and appropriate level of Formality for these different kinds of tasks.
3) Question bank: text in performance
The following tasks can be used in the modelling of planning and drafting written tasks, as well as for students' more independently produced work for assessment:
- Write a review of a production of Macbeth you have seen.
- Explain to a group of actors, designers, etc. your vision as director for a new production of Macbeth, aimed at attracting more teenagers to watch Shakespeare plays.
- What advice would you give to the actor playing Lady Macbeth in Act 5 Scene 1? Make reference to at least two other parts of the play within your answer.
- Re-read Act IV Scene 1 lines 37-115. Describe in detail how you would stage this part of the scene and explain the reasons behind your decisions.
- Compare how the character of Macbeth is portrayed in three different stage or screen versions of the play. Ensure you refer extensively to the text in your answer.
- To what extent would you agree with the literary critic Frank Kermode that the Porter scene is 'the hinge of the play'?
Exeunt: Closing Questions for Students
How can I demonstrate my understanding of Macbeth as a work of drama to be performed?
To what extent should I write about performing the text when I'm writing about characters, language or themes for an essay?
Suggested plenary task…
Focus marking of work in progress against individual curricular targets.
Aside: Further Resource
- The tasks in the question banks can be used as the basis for devising further tasks to suit the needs of your own class, curriculum and syllabus.
Epilogue: Teacher's Note
For more detailed guidance for students on revising and writing about Macbeth in exam conditions, see the materials in the Student Booklet.


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There are a lot of areas of life where we need to separate fact from fiction. Who knew that the gas pump would be one of them?
From the best time of day to fill up to what kind of gas you should buy and whether you can use your cell phone while you're refueling, there are plenty of opinions swirling around. We're breaking down some of the most common ones out there so you can be informed and stay safe while you're at the pump.
Myth or Fact? You Shouldn't Smoke at a Gas Pump.
Findings point to: FACT
The American Petroleum Institute, the Petroleum Equipment Institute and safety officials across the country agree that you shouldn't smoke while you're pumping gas.
Gasoline is a flammable liquid, and there's always a risk when you're around it. However, the primary danger at the pump is not the gas itself but the gas vapors. Because these vapors are heavier than air, they can combust if they come into contact with anything flammable such as a smoldering cigarette butt, hot pavement or even a static spark. These can all turn into a very dangerous recipe for disaster.
Not only is smoking at a gas pump risky, it also may be against the law depending on where you're fueling up. States have different fines or penalties for smoking at (or within a specified distance of) a gas pump. So, the next time you're refueling, pay attention to the safety signs around you.
The takeaway: Drivers should follow the sage advice of the American Petroleum Institute: "Do not smoke, light matches or lighters while refueling at the pump or when using gasoline anywhere else."
Myth or Fact? You Shouldn't Use Your Cell Phone at the Pump.
Findings point to: FACT
But it may not be for the reason you'd expect. It is true that static electricity has the potential to cause an unexpected flash fire at the gas pump. And while the likelihood of this danger is low, it's still a real threat.
However, according to the Petroleum Equipment Institute, there has not been a documented case of a cell phone being the culprit of this type of fire. Rather, the issue here boils down to being distracted. According to the National Association of Convenience and Fuel Retailing, there have been incidents where a driver on their cell phone has driven away with the fuel nozzle still in their vehicle, thereby damaging their car and the pump.
The takeaway: The phone call, text message and scrolling through your Instagram feed can wait while you refuel.
Myth or Fact? You Shouldn't Go Back Into Your Car When You're Refueling.
Findings point to: FACT
You build up static electricity when you go in and out of your car. This is especially likely when the weather is cold and dry. And that built-up energy wants to go somewhere. According to the American Petroleum Institute, touching the pump handle without discharging that static could potentially start a flash fire.
The takeaway: Stay outside your vehicle until you're done filling up. (If the weather is less than ideal, make sure you're wearing proper clothing to ward off the elements.) If you absolutely have to get into your car while you're refueling, touch the exterior metal of your car before you grab the pump; doing so will help discharge any static electricity you may have picked up on the car seat.
Myth or Fact? You'll Get More Gas if You Pump on a Cold Morning.
Findings point to: MYTH
Some believe that you'll get more gas if you fuel up in the morning because the lower temperature will cause the volume of fuel to drop and its density to increase, which they argue could save you money. This is fair science when dealing with liquids and cold temperatures. But when it comes to the gasoline you pump into your vehicle, the logic isn't as easily applicable, and it all has to do with the way that gas is stored.
Because the supply tanks for gas pumps sit far underground, gasoline temperatures rarely change. So, you could essentially fill up during an ice storm and it wouldn't do much to the density of the fuel in the supply tanks.
The takeaway: Don't bother getting up at 4 or 5 a.m. just to get gas (unless you're already out and about). Fill up at whatever time is convenient for you. And read more about fuel economy to learn tips and tricks to get better gas mileage.
Myth or Fact? It's Bad to "Top Off" Your Tank.
Findings point to: FACT
Trying to squeeze in a few extra pumps of gas can cause more damage than you might think. First, you're paying for more gas than you need. Second, frequently topping off could actually harm your vehicle. According to GasBuddy, when you overfill your fuel tank regularly, it can cause damage to your EVAP system, which helps your vehicle process extra gas vapors. So, in the end, you could wind up with some pretty costly repair bills. Are those few extra pumps worth it?
The takeaway: When you hear the nozzle click and the pump stops, you should stop too.
Myth or Fact? Premium Gas Is Better Than Regular.
Findings point to: IT DEPENDS
Cars are designed to run best with a specific type of fuel. A higher-octane premium gas won't ignite as quickly, which explains why high-performance cars with high-compression engines often require higher-octane gas. This specialized fuel helps the engine work more efficiently while emitting less exhaust.
It is important to choose the correct type of fuel for your specific car. Using the right octane level can help your car run at its maximum efficiency and can prevent damage to your engine. Read about the differences between premium and regular gas to learn more.
The takeaway: Running a lower-octane fuel than your car requires will cause its performance to suffer, but a higher-octane fuel is unlikely to bring any added benefits. Your owner's manual will explain what type of gas is best for your car, or you can look inside your fuel door which should have a sticker specifying your car's fuel requirements.
Myth or Fact? Driving on Empty Is Bad for Your Engine.
Findings point to: FACT
Everyone knows (or should know) that running out of gas will cause your car to stall. But driving on empty can create even more damage below the surface. It can clog your fuel filter, damage your fuel pump and cause your engine to misfire, all of which can lead to a lot more problems down the road.
The takeaway: While every vehicle's fuel consumption is different (as are each person's driving habits), it's recommended to keep your tank at least one-quarter full at all times.
Looking After You
It's nice to have someone in your life who has your best interests at heart. Your insurance company should be as reliable as your best friend, someone you can count on.
At ERIE, we'll be there when you need us, and we'll get you back on your way right away. Learn more about auto insurance from ERIE or contact your local ERIE agentto discover the many ways we take care of our customers.
Article originally posted on www.erieinsurance.com(opens in new tab)
A better insurance experience starts with ERIE.
Haven't heard of us? Erie Insurance started with humble beginnings in 1925 with a mission to emphasize customer service above all else. Though we've grown to reach the Fortune 500 list, we still haven't lost the human touch.
Contact Bea's Insurance Agency today to experience the ERIE difference for yourself.


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Saint Tropez 713B
Saint Tropez 713B
Information about shipping
Limitation on orders
We undertake to ship the products promptly following the sending of the order (provided that the order is accepted and confirmed by e-mail), usually within 24/48 working hours or even less, if the products ordered are available in warehouse. In the event that it is not possible to ship the goods within the indicated times, we will inform you by email indicating an estimated delivery day. If so, you will have the right to cancel your order and receive a full refund as outlined in the information email. The products fall under your full responsibility from the time of delivery.
Shipping times
All shipments, national and international, will be entrusted to GLS Italy with guaranteed delivery within 24/48h
Returns and Refunds
The returns of purchases on jfulleyewear.it are free. You have up to 14 days from the receipt of your order to make a return, with GLS Italy express courier. The procedure is quick and easy. It is not possible to return a Gift Card.
The refund (regardless of the return method chosen) is carried out by re-credit on a credit card or PayPal account depending on the instrument used during the purchase. If the purchase was made with cash on delivery, the refund will be made by bank transfer.Normally it takes 7-10 working days from the acceptance of the return to process the refund and credit it (timing depends on your bank or credit institution:in some cases it may take several days). In the event of a total return of an order, the shipping costs will be refunded, if incurred during the purchase. In case of partial return, however, the shipping costs will not be refunded (if paid). It will not be possible to refund any order if the return instructions are not followed correctly and/or the goods not returned in their original condition.
Dimensions mmm) CAL: 49/ Bridge: 21 / Temples: 145
Frame Speckled Brown
Auction White
Lenses Gradient Gray Metals Gold


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Family-owned and operated, Aquatite Basement Waterproofing Contractors has been a trusted name in Southern Ontario for over three decades. With a reputation built on quality craftsmanship and unparalleled expertise, the company has been serving the communities, including brisbane, ON, with pride and dedication.
Founded 32 years ago, Aquatite Basement Waterproofing Contractors has been a pioneering force in the basement waterproofing industry. Over the years, the company has garnered extensive experience in combating the challenges posed by water seepage and dampness in residential and commercial basements. With a deep understanding of the local climate and geological conditions, Aquatite basement waterproofing has developed proven and effective solutions tailored to the unique needs of Southern Ontario properties.
At the heart of Aquatite's success lies a family commitment to excellence. The company's core values of integrity, reliability, and customer satisfaction have been passed down through generations. When you choose Aquatite, you're not just hiring a company; you're enlisting the support of a tightly-knit family that takes immense pride in their work. The team at Aquatite treats each project as if it were their own, ensuring that every customer receives personalized attention and a solution that suits their specific requirements.
Aquatite Basement Waterproofing Contractors offers a wide range of services to address various basement waterproofing needs. Whether it's a small crack or a major foundation repair, the skilled professionals at Aquatite have the expertise to handle it all. Some of their key services include:
Aquatite utilizes advanced epoxy and polyurethane resin crack injection techniques to effectively seal and prevent water from infiltrating through basement cracks.
Installing interior weeping tile drainage systems helps in redirecting water away from the foundation, ensuring a dry and safe basement environment.
Aquatite's team is adept at exterior excavation and basement foundation crack repair, effectively eliminating the root causes of water intrusion.
The experts at Aquatite employ damp proofing techniques to create an impermeable barrier, safeguarding your basement from moisture infiltration.
Aquatite offers comprehensive drainage solutions, including drainage layers, drywells, and French drains, to manage water runoff efficiently.
Ensuring proper drainage around window wells and lateral areas is vital in preventing water accumulation and seepage in basement spaces. As seen in the diagram, to waterproof your window well a lateral drain is connected down to the footing of your basement to interlock with the other drainage system installed. This helps carry the water away from your home.
What sets Aquatite Basement Waterproofing Contractors apart from the competition is their unwavering commitment to delivering top-notch quality and ensuring customer satisfaction. From the initial assessment to the completion of the project, Aquatite's team maintains open communication with clients, ensuring they are involved every step of the way. The use of premium materials, combined with expert craftsmanship, ensures that each solution is durable, effective, and tailored to the client's needs.
As Aquatite Basement Waterproofing Contractors celebrates 32 years of service, they look ahead with a vision of continued growth and innovation. The company remains dedicated to staying up-to-date with the latest advancements in basement waterproofing technology and techniques. Aquatite's focus on professional development and investing in state-of-the-art equipment allows them to offer cutting-edge solutions to their valued customers.
If you are facing basement water-related challenges in Southern Ontario, including brisbane, ON, Aquatite Basement Waterproofing Contractors is the name you can trust. With a rich legacy of experience, a family commitment to excellence, and a comprehensive range of services, they are your go-to experts for all basement waterproofing needs. Experience the difference that Aquatite brings and ensure a dry, secure, and water-free basement for years to come.
Copyright @ 2008 AquaTite Basement Waterproofing Contractors / Foundation Concrete Crack Repair, All Rights Reserved-Reproduction of this site in parts or in its entirety without written consent prohibited. Note also all registered trademarks and copyright laws. We provide basement waterproofing solutions and are leading basement waterproofing contractors providing wet leaky basement waterproofing proven solutions in Southern Ontario. AquaTite Basement Waterproofing Contractors is committed to respecting the privacy of individuals and recognizes a need for the appropriate management and protection of any personal information that you agree to provide to us. We will not share your information with any third party outside of our organization, other than as necessary to fulfil your request.


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Free Fight
Hendo's H-Bomb, Cro Cop's left kick, Liddell's right hand, Silva's front kick. They're all here...
When talking about number one light heavyweight contender Dan Henderson on a recent media teleconference to discuss Hendo's UFC 151 main event against 205-pound champ Jon Jones (Ed. Note - This bout has been cancelled due to injury), UFC president Dana White may have been preaching to the choir when he said, "He (Henderson) has fought everybody, at every weight class, and he's one of these guys that will always step up and take a fight. No matter who it is. He's knocked out the who's who - and if you look at his skill set, he's got an iron chin, never been knocked out, he's a great wrestler, and he's got knockout power in both hands."
All true. But maybe the knockout power in both hands thing doesn't really get its just due until you consider that Henderson's right hand has been respectively dubbed the "H-Bomb." And once it lands flush, more often than not it detonates on an unfortunate recipient's chin. The way many see it, Jones' chin will not receive a full seal of approval from fans and pundits until he eats one of those right hands and continues fighting. It's the big question mark surrounding this highly-anticipated championship fight, and Henderson can't wait to find out the answer.
So what other striking-based finishers can dare to stand with the "H-Bomb"? You're going to find out shortly.
Dan Henderson's "H-Bomb"
Sure, the left hook of the two-time Olympian took out Wanderlei Silva in their 2007 rematch, but it's Hendo's right hand that strikes fear into opponents around the globe. And if they're not afraid of it, all it takes is one tap for them to usually change their mind or wake up and ask the referee 'wha' happened?' And the scary part about the punch is that everyone knows that it's coming, but they still can't prevent the leg-wobbling and fight-altering effects it can have once it lands. For all Henderson's other talents in the Octagon, when his storied career eventually comes to a close, the "H-Bomb" is what people are likely to talk about.
Cro Cop's Left Head Kick
"Right leg hospital, left leg cemetery." With those ominous words, Croatia's Mirko Cro Cop set the tone for a career in which he became the most feared striker of his era. And what made his name in the sport was his left kick to the head, a thudding harbinger of doom that almost certainly would knock you out on impact if it landed. What was even more impressive is that Cro Cop didn't even need to throw it to gain his opponents' respect. The anticipation alone left foes open for a laser-like left hand or a whipping right kick, both of which produced their share of knockouts as well. And while Cro Cop made his name with his kicks, his most memorable loss – against Gabriel Gonzaga in 2007 – also came via head kick, making it clear that if you live by the sword, you can die by it as well.
Chuck Liddell's Right Hand
Over the course of seven fights in 2004 to 2006, Chuck "The Iceman" Liddell cemented his Hall of Fame legacy with a consecutive knockout streak unlike anything anyone had seen before. And the culprit for most of these devastating finishes was a right hand that could "ice" opponents as soon as he connected it to a chin. And Liddell wasn't knocking out any run of the mill opponents, as Tito Ortiz, Randy Couture, Jeremy Horn, Vernon White, and Renato "Babalu" Sobral all tasted the thunder Liddell packed in his right glove. So what was the secret? Maybe it was that Liddell didn't throw his right in a conventional fashion. Instead, he bent his elbow and swung the right down like a club. Throw in some speed and precision, and more often than not, a direct hit turned into a quick, crowd pleasing knockout victory.
Anderson Silva's Front Kick
When you talk about the arsenal of UFC middleweight champion Anderson Silva, you can spend hours breaking down the various moves that "The Spider" used to dismantle and defeat his opponents. But in the interest of saving space and giving some other fighters their time to shine, we'll narrow it down to one of his most recent signature finishing moves, a blistering front kick that took everyone by surprise – especially opponent Vitor Belfort - when he revealed it in the first round of the UFC 126 main event in February of 2011. Fired off with speed and precision, Silva nailed Belfort flush on the jaw with the kick, and "The Phenom" fell as if he were shot. The finishing punches were just window dressing as it was the kick – which Silva said was taught to him by action film star Steven Seagal – that truly did the job.
Mark Coleman's Ground and Pound
When you hear people refer to UFC Hall of Famer Mark Coleman as "The Godfather of Ground and Pound," it's more than just a sign of respect. It's a confirmation that without Coleman's innovative technique that mixed wrestling with devastating striking, the mixed martial arts world would look a lot different than it does today. A former Division I National wrestling champion for Ohio State University, Coleman moved into the world of MMA in 1996 with little knowledge of standup striking or jiu-jitsu. So "The Hammer" used what he knew best – wrestling - and once he got opponents on the mat, his superior strength and positioning would render opponents unable to move. And if they did move, they were greeted with an array of punches, elbows, and forearms, making it a miserable night for even the toughest of the tough in the Octagon. It's not what you would immediately think of when it comes to a striking finisher, but those on the receiving end over the years would disagree.
Jose Aldo's Flying Double Knee
Jose Aldo didn't get thrust into a WEC title shot after his debut win over world-renowned Alexandre Nogueira. Instead, the Brazilian bomber was masterly moved, pitted against solid competition that was expected to test him if not for the fact that Aldo made them look ordinary. Three consecutive knockouts of Jonathan Brookins, Rolando Perez, and Chris Mickle made him a must-see for WEC fans, but it was going to be Cub Swanson that was going to be the fighter to push Aldo harder than he had been pushed before. But that didn't happen. Instead, Aldo came out at the opening bell and landed not one flying knee, but two in quick succession, sending Swanson down to the mat grasping his face, which was sliced open by the assault. The fight took all of eight seconds and marked Aldo – the future WEC and UFC featherweight champion - as one dangerous man.


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Sherlock Wall Art Print
Sherlock Wall Art Print
Regular price
Rs. 455.00 INR
Regular price
Sale price
Rs. 455.00 INR
Unit price
- Final product doesn't carry PosterGully watermark. There might be a small signature from the artist.
- Poster Artwork is printed on 220 GSM high quality matte paper.
- Laptop Skin is printed on a high quality vinyl.
- Size is approximate and varies slightly based on aspect ratio.
- Free Shipping. Dispatched within 24-72 Hours
- The poster is securely packed in sturdy cardboard tubes which prevents any wear during transportation.
Additional Best Practices:
- We recommend reviewing our sizing charts and product descriptions carefully before placing an order to ensure the best fit and satisfaction.
- Please ensure that the shipping address provided during checkout is accurate. We cannot be held responsible for undelivered orders due to incorrect addresses.
- Please do check our refund policy.


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faint fawn
Faint Fawn is a paint color in our Yellow Paint Colors Family. It works great when used in bedrooms, living rooms, or dining rooms. To find the right paint colors for your next painting project, or to get expert color advice & painting tips, click here:
Paint Color AdviceTrim & Ceiling
Exterior Coordinating


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Connect & Subscribe |
The following is a visitor-submitted question or story. For more, you can submit your own sleep story here, or browse the collection of experiences and questions other visitors have shared here.
Changed your mind? Decided not to comment right now?
Return to Sleep Deprived With The Baby, Now The Baby Is Older And I Still Can't Sleep.
Join in and write your own page! It's easy to do. How? Simply click here to return to The Effects of Sleep Deprivation.
Welcome! This site is continuously being created by students of Dr. William C. Dement's Sleep And Dreams course at Stanford University.
We made this site as a call to action for people all over the world to live healthier, happier, safer, and more productive lives by learning about their own sleep. We have faith that reading the information provided on this site will motivate you to be smart about your sleep deprivation and strategic about your alertness in order to live life to your fullest, most energetic potential.
In fact, we challenge you to do so! What do you say, are you up for the challenge?
Interviews With Sleep Specialists: Insights Into the Worlds of Sleep Medicine & Sleep Business
America's Most Dangerous Disorder: What Is Sleep Apnea Doing To Your Sleep?
Sleep Debt: How Much More Will You Achieve When You Reduce Yours?
The Stages Of Sleep: The Journey Through The Night
Delayed Sleep Phase: You Want To Sleep But You're Not Tired Yet
Paralyzed at Night: Is Sleep Paralysis Normal?
Sleep In Words: Smart, Strange, and Funny Quotes About Sleep
Sleep Disorders In Children: What's Keeping Your Child From A Full Night's Rest?
Attacks of Pavor Nocturnus (a.k.a. Sleep Terrors, Night Terrors, or Incubus Attacks)
Publishing sleep stories and questions from our visitors is meant to create a forum for open and proactive dialogue about an extremely important portion of our lives (one that occupies 1/3 of it and affects the other 2/3) that isn't talked about enough. It is not meant to substitute a trip to the doctor or the advice of a specialist. It's good to talk; it is not good to avoid consulting someone who's profession it is to help you with this kind of stuff.
If you are in any way concerned about your sleep health, don't wait for an answer on here, and don't necessarily rely on them. See a sleep specialist in your area as soon as possible.
Dr. Dement's pioneering textbook has been the core text for Sleep and Dreams since 1980, but it has just recently been made available to the wider public for the first time.
In it you'll find a more detailed account of the most important things you need to know about sleep, alertness, dreams, and sleep disorders. Studies, statistics, plus plenty of Dr. Dement's classic anecdotes painting the history of sleep medicine.
Preface | Intro | Contents | Get A Copy
A revolution in personal sleep tracking, the Zeo is a wireless headband that transmits your brainwaves in realtime to a dock (pictured here) or your smartphone. The result? You can wake up and see exactly what stages of sleep you were in during the night! Unprecedented personalized sleep knowledge.
Ever woken up paralyzed? A surprising number of us have, believe it or not. But few know the actual causes of this phenomenon, and fewer still how to exert control over it. Dream researcher and sleep paralysis expert Ryan Hurd shares breakthrough insights into how to do just that.
Please Note:
The information found on this page and throughout this site is intended for general information purposes only. While it may prove useful and empowering, it is NOT intended as a substitute for the expertise and judgments of healthcare practitioners.
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