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MCCARTHY Family History
Mac Cárthaigh- anglicised MacCarthy, McCarthy, MacCarty, MacArthie, Carthy et al. Woulfe gives the root as Cárthach, Old Celtic 'Caratacos', meaning 'loving' ('Sloinnte Gaedheal is Gall', 1923). That must remain conjectural; one thing not in doubt is the antiquity of the M(a)cCarthy surname, derived from Cárthach, Lord of the Eóghanacht of Cashel, who died in 1045 in the deliberate burning of his residence by the O'Lonergans, according to 'The Annals of the Four Masters'.
Generally, MacCarthy has retained its prefix 'mac' (=son (of)), more usually anglicised as 'Mc'. Of course, the old red herring that Mac is Scottish and Mc is Irish (or was it the other way round?) should by now be dead and buried. Carthy without its prefix is occasionally found but Carty is usually attributable to any of several independent O'Carty septs scattered about Ireland deriving from same Cárthach forename.
M(a)cCarthy is in the top 12 names in Ireland, and looks set to stay there; the majority in Ireland today being found in Co Cork. The McCarthys' stamping ground was always south Munster, where, as purported descendants of Olioll Olum (or Ailill Ólom), king of Munster in the 3rd century(!), they claimed to have an Eoghanacht paternal bloodline (this name deriving from Olioll Olum's son Eoghan). The McCarthy Surname Study, testing the Y-DNA of over 300 present-day McCarthys and variants of the name, has clearly shown that this provenance is not valid. The traditional paternal origin in Cárthach's great grandfather Ceallachán of Cashel, king of all the Eoghanacht peoples for a number of years off and on before his death in 954, has been validated, but Y-DNA indicates that Ceallachán's paternal ancestry is of a completely different paternal bloodline. About 20% of today's McCarthys do, though, descend from Olioll Olum, but ironically these have acquired the name by means other than descent in their paternal ancestry from the eponymous Cárthach.
From the time of Cárthach's death, there are frequent references to his progeny throughout the 'Annals', so important a role did they take, particularly after the high king of Ireland's 'sponsorship' of the MacCarthys in the mid twelfth century. Certainly, Ruaidrí Ó Conchobair wanted to help the MacCarthys, by now the most powerful family in south Munster reputedly evolving from Eóghanacht origins, to establish the kingdom of Desmond. This would thus drive a wedge through Munster territory, ensuring that the Ó Briain kings, who had held the upper hand in their dynastic power struggle with the MacCarthys since the time of Brain Bóru(mha) a century and a half earlier, were restricted to North Munster (the kingdom of Thomond).
In the Pender 'Census' of 1659, carried out by William Petty's officials, McCarthy (or variants thereof) are listed among the 'Principal Irish Names occurring in towns, baronies and cantreds as follows:
Co Cork
Cork City, 17 families of McCarthey; Ibawne and Barrymore, 19 McCarty; Kinalea 23 Carthy; Kinalmeaky 6 McCarthy; Killbrittaine, 23 Carthy; Carbery East, 26 Ó Carthy, Carthy Oge and Carthy (see above re these names); Carbery West, 24 McCarthy; Orrery and Kilmore, 11 Carthy.
However it is obvious from the abundance of occurrences of names such as McDaniell, McOwen, McTeige and possibly McDonough (where not representing O'Donoghue), that the names of many were simply given, or at least recorded, in the format M(a)c + Father's forename, and this concealed many McCarthys. Ó Finine and Reagh, the name of the leading McCarthy sept in West Cork, were also likely McCarthys..
Co Limerick
Connologh Barony, Carty/McCarty 18.
Co Waterford
Barony Cosmore & Cosbride, Carty/McCarty 7.
There are no instances of the name in the Census returns for Cos Tipperary and Kerry, but the above note about concealment of McCarthy names again applies.
By the mid nineteenth century and the Griffith's 'Valuation' of households, the most common variant of the name seems to have been McCarthy, and the ensuing counties had the most: Cork 2094 + City 204, Kerry 715, Limerick 280 + City 30, Waterford 129.
The Registrar's figures for births in 1890 reveal that most occurred in Munster (438) with the next highest number in Leinster with a mere 35! The counties with highest numbers were Cork (with more than half the total Irish figure, which was 481), Kerry and Limerick.
A mere glance at the historical background indicates Co Cork as MacCarthy Heartland. The three great divisions of Clan Carthy were MacCarthy Mór [big, great], actually based in Kerry, MacCarthy Reagh ['swarthy'] and MacCarthy of Muskerry.
Two favourite historical MacCarthy figures of mine are [abundant choice!]:
Finin MacCarthaig, king of Desmond, 13th century resistance fighter; he curbed the Norman expansion in Munster.
Donough MacCarthy [1594-1665] Viscount Muskerry; he was a shrewd and intelligent operator in the upheavals of the mid 17th century. After the Confederacy of 1641, he was a builder between religious and ethnic sectarian interests, in facing the main threat: Cromwellian tyranny. In this he wasn't aided by the extreme catholic faction, headed by Rinuccini, the papal legate. The Muscrys [sic] held Blarney Castle.
Among their many foundations, Cormac MacCarthy (killed 1138) added the famous Romanesque chapel named after him to the assembly of ecclesiastical buildings on the Rock of Cashel.
The Cormac Mór who lived in Blarney castle temp Elizabeth 1st, known as the 'Baron of Blarney', attended the Parliament in London in 1578. He also became a Protestant. A tale has it that his consistently evasive letters, in response to Queen Elizabeth's demands roused her to call his protestations 'blarney'. So started the legend that kissing the Blarney Stone would convey eloquence.
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Through generations of attempted assimilation the nations of the Haudenosaunee Confederacy have held fast to their cultures and traditions. Today they are expressing their story through their own people with the introduction of HaudenosauneeConfederacy.ca. An excellent resource for students and teachers alike, this website shares cultural information in historical and contemporary contexts through the eyes of the Haudenosaunee. The website will provide a voice for the Haudenosaunee people in new media while providing engaging information to Aboriginal and non-Aboriginal audiences. The Haudenosaunee welcome you as you explore the unique culture held close to the hearts of their people.
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- Format: Paperback
- Copyright: 08/01/2004
- Publisher: Simon & Schuster
- Newer Edition
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Table of Contents
Read moreEditors' Preface | ix | ||||
Shakespeare's Macbeth | xiii | ||||
Reading Shakespeare's Language: Macbeth | xv | ||||
Shakespeare's Life | xxiv | ||||
Shakespeare's Theater | xxxii | ||||
The Publication of Shakespeare's Plays | xli | ||||
An Introduction to This Text | xlv | ||||
The Tragedy of Macbeth | |||||
| 1 | (192) | |||
Textual Notes | 193 | (4) | |||
Macbeth: A Modern Perspective by Susan Snyder | 197 | (12) | |||
Further Reading | 209 | (12) | |||
Key to Famous Lines and Phrases | 221 |
Supplemental Materials
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The Used, Rental and eBook copies of this book are not guaranteed to include any supplemental materials. Typically, only the book itself is included. This is true even if the title states it includes any access cards, study guides, lab manuals, CDs, etc.
Read moreSurviving documents that give us glimpses into the life of William Shakespeare show us a playwright, poet, and actor who grew up in the market town of Stratford-upon-Avon, spent his professional life in London, and returned to Stratford a wealthy landowner. He was born in April 1564, died in April 1616, and is buried inside the chancel of Holy Trinity Church in Stratford.
We wish we could know more about the life of the world's greatest dramatist. His plays and poems are testaments to his wide reading -- especially to his knowledge of Virgil, Ovid, Plutarch, Holinshed'sChronicles,and the Bible -- and to his mastery of the English language, but we can only speculate about his education. We know that the King's New School in Stratford-upon-Avon was considered excellent. The school was one of the English "grammar schools" established to educate young men, primarily in Latin grammar and literature. As in other schools of the time, students began their studies at the age of four or five in the attached "petty school," and there learned to read and write in English, studying primarily the catechism from the Book of Common Prayer. After two years in the petty school, students entered the lower form (grade) of the grammar school, where they began the serious study of Latin grammar and Latin texts that would occupy most of the remainder of their school days. (Several Latin texts that Shakespeare used repeatedly in writing his plays and poems were texts that schoolboys memorized and recited.) Latin comedies were introduced early in the lower form; in the upper form, which the boys entered at age ten or eleven, students wrote their own Latin orations and declamations, studied Latin historians and rhetoricians, and began the study of Greek using the Greek New Testament.
Since the records of the Stratford "grammar school" do not survive, we cannot prove that William Shakespeare attended the school; however, every indication (his father's position as an alderman and bailiff of Stratford, the playwright's own knowledge of the Latin classics, scenes in the plays that recall grammar-school experiences -- for example,The Merry Wives of Windsor,4.1) suggests that he did. We also lack generally accepted documentation about Shakespeare's life after his schooling ended and his professional life in London began. His marriage in 1582 (at age eighteen) to Anne Hathaway and the subsequent births of his daughter Susanna (1583) and the twins Judith and Hamnet (1585) are recorded, but how he supported himself and where he lived are not known. Nor do we know when and why he left Stratford for the London theatrical world, nor how he rose to be the important figure in that world that he had become by the early 1590s.
We do know that by 1592 he had achieved some prominence in London as both an actor and a playwright. In that year was published a book by the playwright Robert Greene attacking an actor who had the audacity to write blank-verse drama and who was "in his own conceit [i.e., opinion] the only Shake-scene in a country." Since Greene's attack includes a parody of a line from one of Shakespeare's early plays, there is little doubt that it is Shakespeare to whom he refers, a "Shake-scene" who had aroused Greene's fury by successfully competing with university-educated dramatists like Greene himself. It was in 1593 that Shakespeare became a published poet. In that year he published his long narrative poemVenus and Adonis;in 1594, he followed it withThe Rape of Lucrece.Both poems were dedicated to the young earl of Southampton (Henry Wriothesley), who may have become Shakespeare's patron.
It seems no coincidence that Shakespeare wrote these narrative poems at a time when the theaters were closed because of the plague, a contagious epidemic disease that devastated the population of London. When the theaters reopened in 1594, Shakespeare apparently resumed his double career of actor and playwright and began his long (and seemingly profitable) service as an acting-company shareholder. Records for December of 1594 show him to be a leading member of the Lord Chamberlain's Men. It was this company of actors, later named the King's Men, for whom he would be a principal actor, dramatist, and shareholder for the rest of his career.
So far as we can tell, that career spanned about twenty years. In the 1590s, he wrote his plays on English history as well as several comedies and at least two tragedies (Titus AndronicusandRomeo and Juliet). These histories, comedies, and tragedies are the plays credited to him in 1598 in a work,Palladis Tamia,that in one chapter compares English writers with "Greek, Latin, and Italian Poets." There the author, Francis Meres, claims that Shakespeare is comparable to the Latin dramatists Seneca for tragedy and Plautus for comedy, and calls him "the most excellent in both kinds for the stage." He also names him "Mellifluous and honey-tongued Shakespeare": "I say," writes Meres, "that the Muses would speak with Shakespeare's fine filed phrase, if they would speak English." Since Meres also mentions Shakespeare's "sugared sonnets among his private friends," it is assumed that many of Shakespeare's sonnets (not published until 1609) were also written in the 1590s.
In 1599, Shakespeare's company built a theater for themselves across the river from London, naming it the Globe. The plays that are considered by many to be Shakespeare's major tragedies (Hamlet, Othello, King Lear,andMacbeth) were written while the company was resident in this theater, as were such comedies asTwelfth NightandMeasure for Measure.Many of Shakespeare's plays were performed at court (both for Queen Elizabeth I and, after her death in 1603, for King James I), some were presented at the Inns of Court (the residences of London's legal societies), and some were doubtless performed in other towns, at the universities, and at great houses when the King's Men went on tour; otherwise, his plays from 1599 to 1608 were, so far as we know, performed only at the Globe. Between 1608 and 1612, Shakespeare wrote several plays -- among themThe Winter's TaleandThe Tempest-- presumably for the company's new indoor Blackfriars theater, though the plays seem to have been performed also at the Globe and at court. Surviving documents describe a performance ofThe Winter's Talein 1611 at the Globe, for example, and performances ofThe Tempestin 1611 and 1613 at the royal palace of Whitehall.
Shakespeare wrote very little after 1612, the year in which he probably wroteKing Henry VIII.(It was at a performance ofHenry VIIIin 1613 that the Globe caught fire and burned to the ground.) Sometime between 1610 and 1613 he seems to have returned to live in Stratford-upon-Avon, where he owned a large house and considerable property, and where his wife and his two daughters and their husbands lived. (His son Hamnet had died in 1596.) During his professional years in London, Shakespeare had presumably derived income from the acting company's profits as well as from his own career as an actor, from the sale of his play manuscripts to the acting company, and, after 1599, from his shares as an owner of the Globe. It was presumably that income, carefully invested in land and other property, which made him the wealthy man that surviving documents show him to have become. It is also assumed that William Shakespeare's growing wealth and reputation played some part in inclining the crown, in 1596, to grant John Shakespeare, William's father, the coat of arms that he had so long sought. William Shakespeare died in Stratford on April 23, 1616 (according to the epitaph carved under his bust in Holy Trinity Church) and was buried on April 25. Seven years after his death, his collected plays were published asMr. William Shakespeares Comedies, Histories, & Tragedies(the work now known as the First Folio).
The years in which Shakespeare wrote were among the most exciting in English history. Intellectually, the discovery, translation, and printing of Greek and Roman classics were making available a set of works and worldviews that interacted complexly with Christian texts and beliefs. The result was a questioning, a vital intellectual ferment, that provided energy for the period's amazing dramatic and literary output and that fed directly into Shakespeare's plays. The Ghost inHamlet,for example, is wonderfully complicated in part because he is a figure from Roman tragedy -- the spirit of the dead returning to seek revenge -- who at the same time inhabits a Christian hell (or purgatory); Hamlet's description of humankind reflects at one moment the Neoplatonic wonderment at mankind ("What a piece of work is a man!") and, at the next, the Christian disparagement of human sinners ("And yet, to me, what is this quintessence of dust?").
As intellectual horizons expanded, so also did geographical and cosmological horizons. New worlds -- both North and South America -- were explored, and in them were found human beings who lived and worshiped in ways radically different from those of Renaissance Europeans and Englishmen. The universe during these years also seemed to shift and expand. Copernicus had earlier theorized that the earth was not the center of the cosmos but revolved as a planet around the sun. Galileo's telescope, created in 1609, allowed scientists to see that Copernicus had been correct; the universe was not organized with the earth at the center, nor was it so nicely circumscribed as people had, until that time, thought. In terms of expanding horizons, the impact of these discoveries on people's beliefs -- religious, scientific, and philosophical -- cannot be overstated.
London, too, rapidly expanded and changed during the years (from the early 1590s to around 1610) that Shakespeare lived there. London -- the center of England's government, its economy, its royal court, its overseas trade -- was, during these years, becoming an exciting metropolis, drawing to it thousands of new citizens every year. Troubled by overcrowding, by poverty, by recurring epidemics of the plague, London was also a mecca for the wealthy and the aristocratic, and for those who sought advancement at court, or power in government or finance or trade. One hears in Shakespeare's plays the voices of London -- the struggles for power, the fear of venereal disease, the language of buying and selling. One hears as well the voices of Stratford-upon-Avon -- references to the nearby Forest of Arden, to sheepherding, to small-town gossip, to village fairs and markets. Part of the richness of Shakespeare's work is the influence felt there of the various worlds in which he lived: the world of metropolitan London, the world of small-town and rural England, the world of the theater, and the worlds of craftsmen and shepherds.
That Shakespeare inhabited such worlds we know from surviving London and Stratford documents, as well as from the evidence of the plays and poems themselves. From such records we can sketch the dramatist's life. We know from his works that he was a voracious reader. We know from legal and business documents that he was a multifaceted theater man who became a wealthy landowner. We know a bit about his family life and a fair amount about his legal and financial dealings. Most scholars today depend upon such evidence as they draw their picture of the world's greatest playwright. Such, however, has not always been the case. Until the late eighteenth century, the William Shakespeare who lived in most biographies was the creation of legend and tradition. This was the Shakespeare who was supposedly caught poaching deer at Charlecote, the estate of Sir Thomas Lucy close by Stratford; this was the Shakespeare who fled from Sir Thomas's vengeance and made his way in London by taking care of horses outside a playhouse; this was the Shakespeare who reportedly could barely read but whose natural gifts were extraordinary, whose father was a butcher who allowed his gifted son sometimes to help in the butcher shop, where William supposedly killed calves "in a high style," making a speech for the occasion. It was this legendary William Shakespeare whose Falstaff (in1and2 Henry IV) so pleased Queen Elizabeth that she demanded a play about Falstaff in love, and demanded that it be written in fourteen days (hence the existence ofThe Merry Wives of Windsor). It was this legendary Shakespeare who reached the top of his acting career in the roles of the Ghost inHamletand old Adam inAs You Like It-- and who died of a fever contracted by drinking too hard at "a merry meeting" with the poets Michael Drayton and Ben Jonson. This legendary Shakespeare is a rambunctious, undisciplined man, as attractively "wild" as his plays were seen by earlier generations to be. Unfortunately, there is no trace of evidence to support these wonderful stories.
Perhaps in response to the disreputable Shakespeare of legend -- or perhaps in response to the fragmentary and, for some, all-too-ordinary Shakespeare documented by surviving records -- some people since the mid-nineteenth century have argued that William Shakespeare could not have written the plays that bear his name. These persons have put forward some dozen names as more likely authors, among them Queen Elizabeth, Sir Francis Bacon, Edward de Vere (earl of Oxford), and Christopher Marlowe. Such attempts to find what for these people is a more believable author of the plays is a tribute to the regard in which the plays are held. Unfortunately for their claims, the documents that exist that provide evidence for the facts of Shakespeare's life tie him inextricably to the body of plays and poems that bear his name. Unlikely as it seems to those who want the works to have been written by an aristocrat, a university graduate, or an "important" person, the plays and poems seem clearly to have been produced by a man from Stratford-upon-Avon with a very good "grammar-school" education and a life of experience in London and in the world of the London theater. How this particular man produced the works that dominate the cultures of much of the world almost four hundred years after his death is one of life's mysteries -- and one that will continue to tease our imaginations as we continue to delight in his plays and poems.
Copyright © 2003 by The Folger Shakespeare Library
Shakespeare's Theater
The actors of Shakespeare's time performed plays in a great variety of locations. They played at court (that is, in the great halls of such royal residences as Whitehall, Hampton Court, and Greenwich); they played in halls at the universities of Oxford and Cambridge, and at the Inns of Court (the residences in London of the legal societies); and they also played in the private houses of great lords and civic officials. Sometimes acting companies went on tour from London into the provinces, often (but not only) when outbreaks of bubonic plague in the capital forced the closing of theaters to reduce the possibility of contagion in crowded audiences. In the provinces the actors usually staged their plays in churches (until around 1600) or in guildhalls. While surviving records show only a handful of occasions when actors played at inns while on tour, London inns were important playing places up until the 1590s.
The building of theaters in London had begun only shortly before Shakespeare wrote his first plays in the 1590s. These theaters were of two kinds: outdoor or public playhouses that could accommodate large numbers of playgoers, and indoor or private theaters for much smaller audiences. What is usually regarded as the first London outdoor public playhouse was called simply the Theatre. James Burbage -- the father of Richard Burbage, who was perhaps the most famous actor in Shakespeare's company -- built it in 1576 in an area north of the city of London called Shoreditch. Among the more famous of the other public playhouses that capitalized on the new fashion were the Curtain and the Fortune (both also built north of the city), the Rose, the Swan, the Globe, and the Hope (all located on the Bankside, a region just across the Thames south of the city of London). All these playhouses had to be built outside the jurisdiction of the city of London because many civic officials were hostile to the performance of drama and repeatedly petitioned the royal council to abolish it.
The theaters erected on the Bankside (a region under the authority of the Church of England, whose head was the monarch) shared the neighborhood with houses of prostitution and with the Paris Garden, where the blood sports of bearbaiting and bullbaiting were carried on. There may have been no clear distinction between playhouses and buildings for such sports, for the Hope was used for both plays and baiting, and Philip Henslowe, owner of the Rose and, later, partner in the ownership of the Fortune, was also a partner in a monopoly on baiting. All these forms of entertainment were easily accessible to Londoners by boat across the Thames or over London Bridge.
Evidently Shakespeare's company prospered on the Bankside. They moved there in 1599. Threatened by difficulties in renewing the lease on the land where their first playhouse (the Theatre) had been built, Shakespeare's company took advantage of the Christmas holiday in 1598 to dismantle the Theatre and transport its timbers across the Thames to the Bankside, where, in 1599, these timbers were used in the building of the Globe. The weather in late December 1598 is recorded as having been especially harsh. It was so cold that the Thames was "nigh [nearly] frozen," and there was heavy snow. Perhaps the weather aided Shakespeare's company in eluding their landlord, the snow hiding their activity and the freezing of the Thames allowing them to slide the timbers across to the Bankside without paying tolls for repeated trips over London Bridge. Attractive as this narrative is, it remains just as likely that the heavy snow hampered transport of the timbers in wagons through the London streets to the river. It also must be remembered that the Thames was, according to report, only "nigh frozen" and therefore as impassable as it ever was. Whatever the precise circumstances of this fascinating event in English theater history, Shakespeare's company was able to begin playing at their new Globe theater on the Bankside in 1599. After the first Globe burned down in 1613 during the staging of Shakespeare'sHenry VIII(its thatch roof was set alight by cannon fire called for by the performance), Shakespeare's company immediately rebuilt on the same location. The second Globe seems to have been a grander structure than its predecessor. It remained in use until the beginning of the English Civil War in 1642, when Parliament officially closed the theaters. Soon thereafter it was pulled down.
The public theaters of Shakespeare's time were very different buildings from our theaters today. First of all, they were open-air playhouses. As recent excavations of the Rose and the Globe confirm, some were polygonal or roughly circular in shape; the Fortune, however, was square. The most recent estimates of their size put the diameter of these buildings at 72 feet (the Rose) to 100 feet (the Globe), but they were said to hold vast audiences of two or three thousand, who must have been squeezed together quite tightly. Some of these spectators paid extra to sit or stand in the two or three levels of roofed galleries that extended, on the upper levels, all the way around the theater and surrounded an open space. In this space were the stage and, perhaps, the tiring house (what we would call dressing rooms), as well as the so-called yard. In the yard stood the spectators who chose to pay less, the ones whom Hamlet contemptuously called "groundlings." For a roof they had only the sky, and so they were exposed to all kinds of weather. They stood on a floor that was sometimes made of mortar and sometimes of ash mixed with the shells of hazelnuts. The latter provided a porous and therefore dry footing for the crowd, and the shells may have been more comfortable to stand on because they were not as hard as mortar. Availability of shells may not have been a problem if hazelnuts were a favorite food for Shakespeare's audiences to munch on as they watched his plays. Archaeologists who are today unearthing the remains of theaters from this period have discovered quantities of these nutshells on theater sites.
Unlike the yard, the stage itself was covered by a roof. Its ceiling, called "the heavens," is thought to have been elaborately painted to depict the sun, moon, stars, and planets. Just how big the stage was remains hard to determine. We have a single sketch of part of the interior of the Swan. A Dutchman named Johannes de Witt visited this theater around 1596 and sent a sketch of it back to his friend, Arend van Buchel. Because van Buchel found de Witt's letter and sketch of interest, he copied both into a book. It is van Buchel's copy, adapted, it seems, to the shape and size of the page in his book, that survives. In this sketch, the stage appears to be a large rectangular platform that thrusts far out into the yard, perhaps even as far as the center of the circle formed by the surrounding galleries. This drawing, combined with the specifications for the size of the stage in the building contract for the Fortune, has led scholars to conjecture that the stage on which Shakespeare's plays were performed must have measured approximately 43 feet in width and 27 feet in depth, a vast acting area. But the digging up of a large part of the Rose by archaeologists has provided evidence of a quite different stage design. The Rose stage was a platform tapered at the corners and much shallower than what seems to be depicted in the van Buchel sketch. Indeed, its measurements seem to be about 37.5 feet across at its widest point and only 15.5 feet deep. Because the surviving indications of stage size and design differ from each other so much, it is possible that the stages in other playhouses, like the Theatre, the Curtain, and the Globe (the outdoor playhouses where Shakespeare's plays were performed), were different from those at both the Swan and the Rose.
After about 1608 Shakespeare's plays were staged not only at the Globe but also at an indoor or private playhouse in Blackfriars. This theater had been constructed in 1596 by James Burbage in an upper hall of a former Dominican priory or monastic house. Although Henry VIII had dissolved all English monasteries in the 1530s (shortly after he had founded the Church of England), the area remained under church, rather than hostile civic, control. The hall that Burbage had purchased and renovated was a large one in which Parliament had once met. In the private theater that he constructed, the stage, lit by candles, was built across the narrow end of the hall, with boxes flanking it. The rest of the hall offered seating room only. Because there was no provision for standing room, the largest audience it could hold was less than a thousand, or about a quarter of what the Globe could accommodate. Admission to Blackfriars was correspondingly more expensive. Instead of a penny to stand in the yard at the Globe, it cost a minimum of sixpence to get into Blackfriars. The best seats at the Globe (in the Lords' Room in the gallery above and behind the stage) cost sixpence; but the boxes flanking the stage at Blackfriars were half a crown, or five times sixpence. Some spectators who were particularly interested in displaying themselves paid even more to sit on stools on the Blackfriars stage.
Whether in the outdoor or indoor playhouses, the stages of Shakespeare's time were different from ours. They were not separated from the audience by the dropping of a curtain between acts and scenes. Therefore the playwrights of the time had to find other ways of signaling to the audience that one scene (to be imagined as occurring in one location at a given time) had ended and the next (to be imagined at perhaps a different location at a later time) had begun. The customary way used by Shakespeare and many of his contemporaries was to have everyone onstage exit at the end of one scene and have one or more different characters enter to begin the next. In a few cases, where characters remain onstage from one scene to another, the dialogue or stage action makes the change of location clear, and the characters are generally to be imagined as having moved from one place to another. For example, inRomeo and Juliet,Romeo and his friends remain onstage in Act 1 from scene 4 to scene 5, but they are represented as having moved between scenes from the street that leads to Capulet's house into Capulet's house itself. The new location is signaled in part by the appearance onstage of Capulet's servingmen carrying napkins, something they would not take into the streets. Playwrights had to be quite resourceful in the use of hand properties, like the napkin, or in the use of dialogue to specify where the action was taking place in their plays because, in contrast to most of today's theaters, the playhouses of Shakespeare's time did not use movable scenery to dress the stage and make the setting precise. As another consequence of this difference, however, the playwrights of Shakespeare's time did not have to specify exactly where the action of their plays was set when they did not choose to do so, and much of the action of their plays is tied to no specific place.
Usually Shakespeare's stage is referred to as a "bare stage," to distinguish it from the stages of the last two or three centuries with their elaborate sets. But the stage in Shakespeare's time was not completely bare. Philip Henslowe, owner of the Rose, lists in his inventory of stage properties a rock, three tombs, and two mossy banks. Stage directions in plays of the time also call for such things as thrones (or "states"), banquets (presumably tables with plaster replicas of food on them), and beds and tombs to be pushed onto the stage. Thus the stage often held more than the actors.
The actors did not limit their performing to the stage alone. Occasionally they went beneath the stage, as the Ghost appears to do in the first act ofHamlet.From there they could emerge onto the stage through a trapdoor. They could retire behind the hangings across the back of the stage (or the front of the tiring house), as, for example, the actor playing Polonius does when he hides behind the arras. Sometimes the hangings could be drawn back during a performance to "discover" one or more actors behind them. When performance required that an actor appear "above," as when Juliet is imagined to stand at the window of her chamber in the famous and misnamed "balcony scene," then the actor probably climbed the stairs to the gallery over the back of the stage and temporarily shared it with some of the spectators. The stage was also provided with ropes and winches so that actors could descend from, and reascend to, the "heavens."
Perhaps the greatest difference between dramatic performances in Shakespeare's time and ours was that in Shakespeare's England the roles of women were played by boys. (Some of these boys grew up to take male roles in their maturity.) There were no women in the acting companies, only in the audience. It had not always been so in the history of the English stage. There are records of women on English stages in the thirteenth and fourteenth centuries, two hundred years before Shakespeare's plays were performed. After the accession of James I in 1603, the queen of England and her ladies took part in entertainments at court called masques, and with the reopening of the theaters in 1660 at the restoration of Charles II, women again took their place on the public stage.
The chief competitors for the companies of adult actors such as the one to which Shakespeare belonged and for which he wrote were companies of exclusively boy actors. The competition was most intense in the early 1600s. There were then two principal children's companies: the Children of Paul's (the choirboys from St. Paul's Cathedral, whose private playhouse was near the cathedral); and the Children of the Chapel Royal (the choirboys from the monarch's private chapel, who performed at the Blackfriars theater built by Burbage in 1596, which Shakespeare's company had been stopped from using by local residents who objected to crowds). InHamletShakespeare writes of "an aerie [nest] of children, little eyases [hawks], that cry out on the top of question and are most tyrannically clapped for 't. These are now the fashion and...berattle the common stages [attack the public theaters]." In the long run, the adult actors prevailed. The Children of Paul's dissolved around 1606. By about 1608 the Children of the Chapel Royal had been forced to stop playing at the Blackfriars theater, which was then taken over by the King's company of players, Shakespeare's own troupe.
Acting companies and theaters of Shakespeare's time were organized in different ways. For example, Philip Henslowe owned the Rose and leased it to companies of actors, who paid him from their takings. Henslowe would act as manager of these companies, initially paying playwrights for their plays and buying properties, recovering his outlay from the actors. With the building of the Globe, Shakespeare's company, however, managed itself, with the principal actors, Shakespeare among them, having the status of "sharers" and the right to a share in the takings, as well as the responsibility for a part of the expenses. Five of the sharers, including Shakespeare, owned the Globe. As actor, as sharer in an acting company and in ownership of theaters, and as playwright, Shakespeare was about as involved in the theatrical industry as one could imagine. Although Shakespeare and his fellows prospered, their status under the law was conditional upon the protection of powerful patrons. "Common players" -- those who did not have patrons or masters -- were classed in the language of the law with "vagabonds and sturdy beggars." So the actors had to secure for themselves the official rank of servants of patrons. Among the patrons under whose protection Shakespeare's company worked were the lord chamberlain and, after the accession of King James in 1603, the king himself.
We are now perhaps on the verge of learning a great deal more about the theaters in which Shakespeare and his contemporaries performed -- or at least of opening up new questions about them. Already about 70 percent of the Rose has been excavated, as has about 10 percent of the second Globe, the one built in 1614. It is to be hoped that soon more will be available for study. These are exciting times for students of Shakespeare's stage.
Copyright © 2003 by The Folger Shakespeare Library
Excerpted from Macbeth by William Shakespeare
All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.


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Supreme Court Rejects Challenge To Law Banning Gay Therapy
The Supreme Court has rejected a challenge to California's law that bars mental counseling aimed at turning gay minors straight.
The justices on Monday let stand an appeals court ruling that said the state's ban on so-called conversion therapy for minors doesn't violate the free speech rights of licensed counselors and patients seeking treatment.
The 9th U.S. Circuit Court of Appeals ruled last year that California lawmakers properly showed that efforts to change sexual orientation were outside the scientific mainstream and have been rejected for good reason.
Liberty Counsel, a Christian legal aid group, had challenged the law along with other supporters of the therapy. They argue that lawmakers have no scientific proof the therapy does harm.


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Document Sharing is a great way to upload a file or presentation for others to view and download. But what if you accidentally upload the wrong document, or perhaps others are uploading files that you, as the host, would rather not be visible?
You can easily manage this now, as you can delete a document at any time. Just ensure that you are logged into your account when you join your episode so that you have host privileges enabled. In the 'Chat' box on the right hand side of your Live Studio, you will now see the option to 'Remove' a file. If the document is still being presented, be aware that you will first need to click on 'Stop Presenting' before you can remove the file.
Note that you can also prevent anyone from sharing anything in the Chat box other than a moderator and/or registered user by choosing the relevant option next to 'Allow'.


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Pecan Sticky Rolls
This recipe has not been reviewed. Be the first to rate this recipe!
From the kitchen of Ira Schoppa
This recipe has been on northpole.com from the beginning… since 1996! We hope you enjoy this classic North Pole recipe. Let us know your opinion by submitting a review!
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Recipe Details
Bake Time: |
minutes |
Tags: | Contains nuts, Kid friendly, Quick & easy |
1/2 cup sugar
1/2 cup packed brown sugar
1/4 cup butter
1/4 cup lemon juice
1/2 teaspoon ground cinnamon
1/2 cup chopped pecans
2 (8 ounce) cans refrigerated crescent rolls
Preheat oven to 375 degrees.
In small saucepan, combine sugars, butter, lemon juice and cinnamon.
Boil for 1 minute. Reserving 1/4 cup. Pour remaining mixture in a 9" round cake pan.
Sprinkle with pecans.
Do not unroll crescent dough, cut each roll into 8 slices.
Place rolls cut side down in pan.
Pour remaining 1/4 cup mixture over rolls.
Bake for 30 minutes. Loosen sides. Do NOT remove pan.
Allow to cool for 5 - 10 minutes, remove pan and serve.
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Top contacts
+084 123 742 114
Addresses of shops
Salmon and Tuna Nigiri
We are all about fresh, furiously flavorsome authentic Japanese street food and sushi.
Worldwide, sushi is not only fashion established in luxury restaurants, but a super healthy food offered at a very affordable price. Top-quality products and uncompromising performance at good prices - that is what we offer!
Sushi is a favorite food of many people around the world. Until recently it was considered to be an exotic delicacy. But once you experience it, you became addicted.
We offer only "Locally prepared" and "Fresh daily" Sushi. They contain all natural ingredients.
The one thing all our food has in common is… Shinsen! It`s Japanese for fresh, and we love it. That`s why we serve all our dishes the day they`re made - with lots prepared right in front of you in our open kitchens, by our expert chefs.
Our tuna is frozen at -60 C, right on the boat - that means the same freshness and quality as fish served 24 hours from being caught. That`s because we know great taste comes from great ingredients. As for our salmon, our partners only catch fish of superior-grade quality, with the speediest fish to fork timeline. All our fish is hand scaled, hand filleted, hand pin-boned, hand trimmed and hand packed. You really have to hand it to us.


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Frequently Asked Questions
How do I contact Discovery?
Where can I make my insurance premium payment?
What form of payments can be used to pay my auto insurance premiums?
What if I can't locate my policy Declaration or other related paperwork?
If my policy is canceled or expired, can I contact Discovery and make an electronic payment?
Do you write insurance for motorcycles?
What do I do if I am involved in an auto accident?
- Contact the police
- Collect the loss information including: description of and specific damages to all involved vehicles
- Collect the names, addresses, and phone numbers of all individuals involved including all witnesses
- Immediately notify Discovery of your claim by phone or by completing the on-line form
If my car is not drivable, can I rent one?
Should I obtain an estimate of my damages?
How long after reporting a claim to Discovery will it be before someone contacts me?
What limits of liability does the State of North Carolina require I maintain on my vehicle?
Our normal business hours are Monday through Friday 8:00 AM to 5:00 PM with the exception of our Claims and Policy Service departments, which are open until 7:00 PM. Claims Reporting is open 24 hours a day, 7 days a week. Claims Reporting is for reporting new claims only.
Our mailing address is PO Box 200 Kinston, NC 28502.
Our telephone number is (800) 876-1492.
You have a couple of options including mailing your payments to PO Box 200 Kinston, NC 28502, visiting your agency, or by contacting our office at (800) 876-1492 to make an electronic payment.
You can also make a payment right here on our website by going to Manage Policy.
If you choose a company sponsored pay plan, Discovery accepts: Visa, MasterCard, Discover debit and credit cards and electronic checks. We also offer automatic monthly deductions from a checking or savings account. : If you are interested in signing up for ACH payments, please contact our office or your agent and request an Insured Authorization for Automatic Credit/Debit be provided to you for completion. Fees may be associated with these types of payments.
If you choose to finance your premium, your agent will provide you with the form of payments that the finance company will accept.
You may contact Discovery's Customer Service Department and request a copy or contact your agent.
No. If your policy is canceled or expired, you must contact your agent for further instructions.
We currently only provide insurance coverage for personal automobiles.
To ensure reimbursement, you should not rent a car until authorized by a Discovery Claims Representative.
It is not necessary for you to obtain an estimate. Discovery will assign an appraiser to inspect the damages to your vehicle.
Discovery makes every effort to contact you the following business day after receipt of your claim.
The North Carolina Financial Responsibility Laws require that automobile liability coverage be maintained. The minimum coverage requirements are $30,000 Bodily Injury for each person, $60,000 total Bodily Injury for all persons in an accident and $25,000 for Property Damage. North Carolina General Statute 20-279-.21 requires Uninsured and Underinsured Motorist Coverage limit, not less than the minimum Bodily Injury and Property Damage limits required for your vehicle. Higher limits are available, and we recommend you discuss with your agent your specific needs.


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DLUX® Yoga and Pilates 1/4″/6.35mm thick mat pad offers superior comfort and impact absorption. Designed for yoga and Pilates practice by helping you support your body, maintain correct alignment and hold posture firmly. By release tension, surrender to the pose and allow the power of yoga to work for you.
Constructed from Eco friendly durable and long lasting foam ensuring a high quality mat. This material offers relative properties and resistance to many common oils and lubricants. Water-resistant and non slip and very easy to clean. Just use sponge/cloth & mild soap, wipe with dry rag and air dry. It can be use for picnics, beach, camping etc. This yoga mat is great for those artist with great creative mind and imagination to make it their own.
This package is great for those how wanted to start there on gym/fitness center, large even or just want to stock there business with are terrific yoga mat.


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If you even remotely care about the aesthetics of your computer, you've probably wished at some point that one or more of your components were a different color. For instance, I prefer my computers to be basic black all over, but more than once have been driven to install a beige part because it was what I needed at the right price.
Up until this weekend, I didn't think there was really anything to be done, short of making a mold of the offending part and recasting it in a different color plastic or resin, which is way too much work for such a small annoyance. There's spraypaint, of course, but it's tacky, IMHO; I can almost always identify a spray-painted surface, and although there are good spray paints for plastics on the market today, any kind of finish that leaves a coating on the surface can affect critical dimensional tolerances and impede fit or performance. And it may eventually wear off.
Turns out, however, that there are dyes for plastics, which is counter-intuitive for me because I think of a dye as requiring a porous substrate, and I don't generally think of plastics as porous. To find these products, the googlon is "vinyl dye," and the conventional market is folks restoring automobile interiors. These dyes, although they come in spray cans, are not paints. Their colorants actually adsorb onto absorb into the polymer itself and do not leave any kind of coating behind. To do so, they must soften the plastic surface with a solvent, so they can negatively affect its glossiness, but most of the plastic I'd want to dye isn't high-sheen, anyway. Here's a nice tutorial from GideonTech.com.
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Wal-Mart will be coming down harder on suppliers who violate its global sourcing standards, the company said Tuesday.
The nation's largest retailer said it will implement a "zero tolerance" policy for any supplier who subcontracts work to factories without its knowledge. Effective March 1, Wal-Mart (WMT) will sever ties with suppliers who don't comply. The company previously gave suppliers three chances to address issues.
The changes come in the wake of a deadly fire in November at a Bangladesh apparel factory that manufactured items for the retailer. Wal-Mart said the Tazreen Fashions factory was not authorized to produce merchandise for the retailer, and that a supplier had subcontracted work to the factory without permission.
As it stands, Wal-Mart conducts thousands of audits each year on factories that supply private-label and non-branded goods to Wal-mart. The audits, completed by independent firms, happen every six to 24 month to assess safety and work conditions.
But there is no transparency in the findings and no way for consumers to hold them accountable, according to Scott Nova, executive director of the Worker Rights Consortium. Wal-Mart's audit reports aren't published online, nor are they shown to factory workers.
The retailer will tighten its auditing regulations, requiring factories to pass audits before a supplier is allowed to do business with them. But the new policy does not say that the results will be made public.
"They're essentially saying, 'Trust us that this time we really mean it,' but neither you nor I are going to know what happened in the audits," said Nova.
Related: The cost of cheap clothes at Wal-Mart, Sears
As part of the new rules, Wal-Mart will require all factories in Bangladesh to undergo an electrical and building safety assessment from an independent agency.
"While an overall global approach is necessary, there is a need for heightened attention to the risks specifically related to building structure in Bangladesh," the company said in a 10-page letter to suppliers Tuesday.
Another problem: While fire regulations will be tighter across the board, they still don't require external fire escapes, which Nova calls the most important safety feature in factories. Wal-Mart's policy states that external fire escapes are preferable, but not mandatory.
"The most urgent reform is the most expensive reform, which is why it won't get done with the prices Wal-Mart requires of them," he said. "But if they don't create these exits, then the factories aren't going to be safe."
Wal-Mart said that its building safety reviews will make sure there are clear, safe exits for workers to escape safely in the event of a fire.
"Just because it doesn't say we're requiring external fire escapes doesn't mean that we're not going to require safe exits," said Brooke Buchanan, a Wal-Mart spokeswoman.
Nova said these new policies are just a drop in the bucket -- rhetoric that's gussying up the same regulations that haven't worked in the past.
He said there is no reason for anyone to believe that Wal-Mart is serious about following through, since the retailer squeezes its suppliers so much on price that the factories can't afford to make upgrades.
"Factories aren't going to be able to afford the significant investments Wal-Mart's asking them to make," he said.


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OutLoud, a new StoryCorps project, records and amplifies the voices of the LGBTQ community.
Now 70, Patty Woods looks back to the late 1970s, when she met a woman who would become her partner — and leave a long-lasting mark on her life, despite the fact they were not able to be open about their relationship.
"I was working in a restaurant and she would come in every day for lunch. I was like, 'Oh my God, I want to know her,' " Woods tells her friend, 22-year-old Cedar Lay.
"And I just insisted on finding ways to get together with her. And one night, we went out to dinner and we came back to my house. And we were having some cocktails, and I said, 'I just want to tell you something, after that if you want to leave, I understand.' "
"I proceeded to tell her that I was lesbian and that I was interested in her, as more than just a friend. There was music going on, and she stood up, and I thought, 'Well, she's leaving.' And she grabbed me and she started to dance. And then we kissed," Woods says. "It was the most romantic time in my life. It was like something from a movie. And that was my first kiss."
"We had very strong feelings for each other, but both of us were closeted. I would introduce her as my best friend."
"When she got cancer, I said, 'I just wouldn't want to live if anything happened to her.' I'd never felt that feeling about anybody. It was the most difficult time of my life. I took care of her, and people thought I was such a good friend."
"She wanted to tell her family, my family, but we both felt nobody would understand. If they accepted us as being close friends, and we could continue to spend the time together, we still were better off than threatening that private time."
"And when she eventually died, I had to pretend I was grieving my best friend. And I never really could openly let people know what a loss I had."
"She was more than my best friend. I feel she was my soul mate."
Audio produced for Tell Me More by Nadia Reiman.
Copyright 2021 NPR. To see more, visit https://www.npr.org.


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Do you think that someone could steal 150 million dollars and get away with it? Well, the truth is that such a theft is taking place every single hour of every single day. The federal government is stealing 150 million dollars an hour from our children and our grandchildren and Barack Obama thinks that is a good thing. The new Obama budget projects a $1.33 trillion federal budget deficit for the 2012 fiscal year. That is significantly higher than the $1.15 trillion that the Congressional Budget Office was projecting because it includes a whole bunch of stimulus spending that the Obama administration plans to do. So let's do a little math. When you divide $1.33 trillion by 365 days, you get 3.6438356 billion dollars. So on average, the United States will be adding more than 3.6 billion dollars to the national debt every single day during fiscal 2012. And when you divide $3.6438356 billion by 24 hours, you get 151.8 million dollars. So on average, the U.S. national debt will be going up by more than 151 million dollars every single hour during fiscal 2012 if Obama has his way. This is a theft from our children and our grandchildren that is so vast that it is almost unimaginable.
The 2012 budget deficit that the Obama administration is projecting would be equivalent to approximately 8.5 percent of GDP. We simply cannot afford to be running these kinds of outrageous budget deficits year after year.
At the moment, the U.S. national debt is sitting at a grand total of $15,355,838,921,022.16. That is an amount that is so large that it is hard to even put into words.
At this point our national debt is greater than 100% of our national GDP. We are on the road to national financial disaster and yet our politicians keep piling up debt at a rate that is absolutely mind blowing.
The Obama administration is projecting that budget deficits will go down "in the future", but that is what our politicians always do. They always promise that the budget picture will improve "down the road", but that never actually happens.
According to the Bush administration, we were supposed to be swimming in huge budget surpluses by now.
So how did that work out?
Our politicians always promise to cut spending, but it never actually comes to pass. We are always told that cutting spending would be too damaging to the economy "right now" but that they will definitely start cutting things later on.
For example, just check out this recent quote from White House Chief of Staff Jack Lew….
"The time for austerity is not today," Lew told NBC News "Meet the Press." "If we were to put in austerity measures right now, it would take the economy in the wrong way."
They always put budget cuts off for another day. They never want to do anything that could hurt the economy right now and threaten their chances in the next election.
The Republicans were the same way. Vice President Dick Cheney once famously said "deficits don't matter", and the Bush administration ran up horrific budget deficits.
Both political parties have let us down horribly.
Both political parties have voted over and over to steal gigantic mountains of money from our children and our grandchildren.
But our founders never intended for this to be the case. In fact, Thomas Jefferson once stated that if he could add just one more amendment to the U.S. Constitution it would be a complete ban on all borrowing by the federal government….
I wish it were possible to obtain a single amendment to our Constitution. I would be willing to depend on that alone for the reduction of the administration of our government to the genuine principles of its Constitution; I mean an additional article, taking from the federal government the power of borrowing.
Thomas Jefferson believed that it was fundamentally immoral for one generation to run up debts which must be paid back by future generations. Basically, he believed that such debts represented theft on a grand scale….
And I sincerely believe, with you, that banking establishments are more dangerous than standing armies; and that the principle of spending money to be paid by posterity, under the name of funding, is but swindling futurity on a large scale.
But that is what we are doing today. We are borrowing gigantic mountains of money which we expect our children and our grandchildren to pay back.
We have come to think of this as "normal", but the truth is that this theft is absolutely disgusting and if future generations get the chance they will curse us for what we have done to them.
Somewhere along the way, we seem to have lost all common sense when it comes to government spending.
The truth is that all of this does not have to be complicated. The following is what Clint Eastwood recently said about our budget problems….
"It's such a basic thing," Eastwood said. "Your parents always tell you when you don't have a dollar in your pocket, you don't spend two dollars. And that's kind of a basic philosophy of life."
Doesn't that make sense?
So why are we being so stupid?
When Ronald Reagan was elected, the U.S. national debt was less than 1 trillion dollars. Today, the U.S. national debt is over 15.3 trillion dollars.
We are absolutely drowning in debt, and yet the Obama administration wants even more spending.
Some of his plans for "extra spending" during fiscal 2012 were detailed in an article posted on CNBC….
For more immediate job programs, the White House will urge $350 billion in short-term job spending, as well as a six-year transportation and infrastructure program that would cost $476 billion. He will ask for $60 billion to refurbish at least 35,000 schools and help state and local governments hire and retain teachers, firefighters and police officers.
This is insanity.
Thanks to all of this debt, a national financial nightmare is an inevitability at this point. As I have written about previously, if the U.S. government stops spending so much money we are doomed, and if the U.S. government continues spending so much money we are doomed.
The problem that we are now facing was once beautifully described by Ludwig Von Mises when he made the following statement….
There is no means of avoiding the final collapse of a boom brought about by credit expansion.
The alternative is only whether the crisis should come sooner as a result of a voluntary abandonment of further credit expansion, or later as a final and total catastrophe of the currency system involved.
We are rapidly reaching the "final and total catastrophe" once described by Ludwig Von Mises.
We inherited the greatest economic machine in the history of the world from our forefathers, and we will be known as the generation that totally destroyed it.
Future generations will inherit a collapsed economy and the biggest debt in the history of the world.
But we all prance around like we are the smartest people that have ever existed on the face of the earth.
The rest of the world is laughing at us.
So why don't some honest politicians step forward and tell the American people that we need to stop spending so much money?
Well, first of all there are very few honest politicians on the national level.
Secondly, most of the money that our government spends is money that is taken from the pockets of some Americans and transferred into the pockets of other Americans. Large segments of our population have become absolutely addicted to getting government checks, and it would be political suicide for any politician to propose significant cuts to those checks.
Well over 50 percent of the federal budget is spent on social programs that put dollars directly into the pockets of the American people. As Bill Whittle describes in the video posted below this is a way that our politicians buy votes. The American people tend to love politicians that feed their addiction to government money….
If we keep going into so much debt, how long can our system possibly continue functioning?
Well, as we have seen in Greece, a government debt spiral will keep on going until the day that it simply stops working anymore.
A day of reckoning is coming. We don't know if it will be this year or next year or several years from now.
But it is coming.
Our politicians should be doing something about it, but they continue to spend money like tomorrow will never come.
What we are doing to our children and our grandchildren is absolutely immoral.
How in the world can we steal 150 million dollars an hour from them?
We are literally stealing the future from those that will come after us.
Do you think that they will thank us for that?


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Dr Snyder was very kind to my 80 year old mother who was there for a skin check. She spoke directly to my mother, which was much appreciated by my mother and by me. Some professionals talk to me about my mother when the appointment is for my mother. Dr Snyder was thorough and efficient when looking at skin lesions and moles. She froze several moles off and did a biopsy on one. All of this took no more than 30 minutes. All of the instruments needed for treatment were right there, ready to use and so we didn't have to wait while the equipment was accessed. I was very impressed by Dr Snyder and by her office staff. Will recommend her highly. More
I looked around in Dallas and Austin for a dermatologist I could trust and visited a few different doctors before I finally found myself in Dr. Snyder's office. She is the only dermatologist I've found who talks to you like a real person. She understood that I was kind of scared about having weird moles - who isn't scared these days, the way the media totally freaks us out - and she talked me through every procedure. Her office staff were really down to earth too, it is a very nice office but doesn't feel intimidating. I would be comfortable going there with any concerns. Also as a total plus these days, they are completely flexible to helping you figure out insurance.....def not something every office is willing to deal with. More
One evening I was getting ready for bed, scratched my back, and came away with blood. I looked in the mirror and saw a mole that looked exactly like all the ones that I'd seen in brochures of what moles aren't supposed to look like. I researched dermatologists, called Dr. Snyder's office, and set up an appointment as soon as possible. Dr. Snyder did a full skin check, confirming that the mole was really funky looking, and did a punch biopsy straight away. Just under a week later I got a phone call from her confirming that it was a melanoma, and we made an appointment for a wide local excision. I had another atypical mole excised a few months post-melanoma surgery, and since then I've had regular skin checks and several biopsies. Dr. Snyder really knows her stuff, and her professional demeanor and ability to answer all of my questions in a straightforward way puts me at ease. She's friendly and nice, but she's more focused on the task at hand than trying to be my bestie. Given most of my appointments with her have involved wearing nothing but a hospital gown and/or being cut open, professionalism and efficiency are key. The office is clean and bright and the staff are super nice. Parking isn't free and there's a bit of a dipsydoodle to get from the parking garage down to the lobby to go up to the 4th floor, but I'm really happy to have found a doctor I can trust. More
Dr. Renee Snyder isn't cold. She's awesome. She has a dry sense of humor that I find hilarious. She puts you at ease with her professional, calm demeanor. The biopsy of my moles barely registered, pain-wise, and it was over quickly. She's very upfront and direct about medical information, and was patient with the questions I had. I wouldn't go anywhere else. Oh, and if you are not a high-maintenance, high-style kinda gal, don't be put off by the fancy office and pretty office staff...they are very helpful and accepting of everyone...makeup and stilettos or not. More
I have had 2 recent visits to "Snyderma Dermatology." My first appointment was a skin check to look for skin cancer, suspicious moles, etc. I saw the third doctor in the practice, Dr. A (can't remember her full name but she's the only Dr. whose last name isn't Snyder). Great experience, she took a thorough look at my whole body, measured a couple of larger freckles and moles and recommended I return in 6 months to re-measure and make sure the spots aren't growing. We discussed my options around removing a mole on my neck and she was very informative with no pressure. I expressed a desire to learn more about skin care treatments to prevent signs of aging. We talked briefly about some options and she recommended I come in to see Rachel, their aesthetician, for a complimentary visit, where I could learn more about products and procedures. This was fine by me because that is exactly what I wanted. My second visit was scheduled a week later. Rachel was right on time and very friendly. She spent close to an hour with me and was very informative. She wanted to know my concerns and goals and tailored her advice to those. She did not push products or services, and was very open with pricing. I loved my time with her. I purchased several products, which I had intended to do, that's why I came in. I was happy to hear that the soap and sunscreen I buy at Target are good products (yay for saving money there). Couple random notes: Yes, the staff is pretty and glamorous. I would hope so, as they are there to talk about having nice skin. They are also friendly. You do have to pay to park in the garage, this did not faze me. On the topic of Retin-A: yes, you can get a prescription for it. No, your insurance will not pay for it and it will cost you full price, not your prescription co-pay. Insurance will typically only pay for for Retin-A under 2 conditions: 1- you are under 18 and treating acne or 2- you have a Diagnosable skin condition such as Rosacea, and can show that you have tried other, less expensive medications to treat it. There is no way any insurance company is going to pony up the cash to pay for Retin-A for cosmetic reasons. Trust me, I've been down that road many times. So buying a retinol product from the office does not end up being more expensive that Retin-A. Also, Retin-A has a high concentration of retinol and it is better to start at a lower concentration (to see how your skin tolerates it) and work your way up. Great experience, I am planning to go back. More
I had never been to a dermatologist when I made my appt with Dr Renee Snyder. But after hearing more and more about skin cancer I decided it was time to get my moles checked. I called and found out she was booked a good 3 months in advance for full body screenings. The assistant offered me an appt to come in and get just a few moles looked at. So, I was prepared for a squeezed in appt. My wait time was minimal, 5 or 10 minutes. Dr Snyder checked the moles I was concerned about and ended up checking every mole on my body. It was a quick but very thorough check. She measured a couple big ones and had her assistant write the measurements down. There was one on my back that she said had an "angry border" so she suggested I have it removed and sent to the lab. She gave me a shot to numb the spot, sliced it off in seconds, and put a bandage on. It was painless and quick! She told me to leave the bandage on for 24 hours (no shower) which I did. She told me to put vaseline or aquaphor on it to speed healing and keep a bandage on it until healed. I followed her orders and it mostly healed within a week, completely healed in about 2 weeks. The most painful part was removing that initial bandage! Those bandaids are serious! I would absolutely recommend her again. Yes, I felt a bit rushed but that was absolutely expected and I am glad she was able to squeeze me in. More
Nice, knowledgeable, but a bit pricey. I've been to see her twice and to see her aesthetician Rachel once. Renee Synder diagnosed a minor skin condition the first time and the second time she removed a number of little skin tags around my eyes that were grossing me out. She did it just with plain scissors and rubbing alcohol, which made me wonder if I could have saved the $$$ and just done it at home, but I'm glad they're gone. The third time I went, I saw her aesthetician and, in a fit of post-breakup mid-life I-don't-know-what, decided to go for the chemical peel/ microdermabrasion combo which set me back about 150 clams. I looked like I had acne and a sunburn for the next 3 days, but now my skin feels baby-butt smooth, and a number of the weird little discolorations on it (that probably only I noticed anyway) seem to have faded. Anyway, if you are feeling vain and have a little money to burn I suggest you check these ladies out. Dr S suggested some really inexpensive over-the-counter wash and treatment for my face which will help help make up for some of the cost, at least. And *I* feel like I look that much more fabulous now, which is really what counts in the end. More


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This Blog will note that it is now appearing directly
on the www.dawlishchronicles.com
website, which has been upgraded to improve appearance and readability. This
and subsequent bogs can be accessed from the box at the bottom of the Home
Page (or click on
Notifications of new articles will be provided, as
before, via Facebook and Twitter.
These blog articles will be accessible also through the
"Conflict" archive, which now contains some 200 articles, covering
naval and other history from the 17th to early 20th Century. Click here to see the listings.
I hope that you'll enjoy my blogs as much in the new format as in the old!
Best Wishes: Antoine Vanner


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Toyota Motor Corporation announced the launch of C+walk S, a pedestrian-mobility-assistance model and the second in the new C+walk mobility series, available at Toyota automobile dealers and rental/leasing stores from March 20, 2023. Toyota has also enhanced its standing-type model C+walk T as well as the C+pod. The C+walk T, compliant with the revised Road Traffic Act, will go on sale in May, and the C+pod became available for lease contracts on March 20.
With Japan's aging population, approximately 20% of people aged 75 or older have difficulty walking beyond 100 m, and those who go out are 10% lower than those under 65. Physical ability limits daily activities like shopping and going out. Toyota has continued to provide "Mobility for All" options, including the C+pod for local transportation and the C+walk series for sidewalks, creating a better mobility society. The C+walk S is a three-wheeled mobility vehicle that assists those who can walk but have difficulty walking long distances, comfortably traveling on sidewalks, and can easily detect road surface conditions ahead.
Toyota is researching with local governments and corporations a new business model using C+pod and C+walk series to address local community needs. For example, in cooperation with the local government, C+walk S has been used to help residents and tourists move around Hanawa Town Station in Fukushima Prefecture since around April. Toyota aims to complement regional transportation with mobility vehicles to achieve a better mobility society. The C+walk S price starts at JPY 498,000 ($4,463), while the C+pod price ranges from JPY 1,665,000 ($14,905) to JPY 1,731,000 ($15,506).


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Physics[gamma_] - The gamma_ 3D metric tensor
Calling Sequence
gamma_[i,j, matrix]
i, j
the indices, as names representing integer numbers between 1 and the space dimension (i.e. spacetime dimension - 1), they can also be the numbers themselves
optional, returns the matrix form for the given (covariant or contravariant) indices; if passed without indices it returns the covariant metric
optional, it can be definition, determinant, line_element, matrix, nonzero
The gamma_[i, j], displayed as γi,j (without _ in between γ and its indices), is a computational representation for the space 3D metric tensor. Note: to work with gamma_[i, j], a kind of letter to represent a space index must be set first using Setup, for instance entering Setup(spaceindices = lowercaselatin_is).
When Physics is loaded, the dimension of spacetime is automatically set to 4 and the metric is automatically set to be galilean, representing a Minkowski spacetime with signature (-, -, -, +), so the value 0, referring to time, points to the fourth place in the list of coordinates (indexing with 0 or 4 is the same). The relationship between the 3D metric gamma_[i, j] and the space components of the 4D metric g_ is as in equations (84.9) and (84.7) of the Landau and Lifshitz book [1]
where the signature is (- - - +). These definitions depend on the signature set and automatically follow any change of it that you can perform using the Setup command, as in Setup(signature = ...) where the right-hand side is any of (- - - +), (+ - - -), (+ + + -) and (- + + +).
An important distinction is made between the 3D spatial metric represented by Physics:-gamma_, related to the infinitesimal distance measured by one observer at a fixed point in space, expressed in terms of the spatial components of the metric g_ as shown above, and the 3D spatial metric of a hypersurface defined by a fixed constant value of t, the time, represented by Physics:-ThreePlusOne:-gamma3_, where the 3D line element is the infinitesimal spatial distance on this hypersurface, the distance measured by an Eulerian observer (whose velocity is perpendicular to the hypersurface), and so can be obtained from the 4D one by restricting it to constant time surfaces, namely γi,j=gi,j where the signature is (- + + +), as used in the context of the ThreePlusOne package.
By replacing g_ by gamma_ and all spacetime indices by space indices in the definitions of the Christoffel symbols and the Ricci and Riemann tensors you obtain 3D tensors, whose indices are lowered and raised using the 3D metric gamma_[i, j], the 3D versions of the corresponding 4D tensors (see after sec.88 in [1]).
When the indices of gamma_ assume integer values, it is expected they are between 0 and the space dimension (the spacetime dimension - 1), and the corresponding value of gamma_ is returned. The value 0 always points to the position of the time-like component, so with the signatures (- - - +) and (+ + + -) indexing with 0 is the same as indexing with 4, while with the signatures (+ - - -) and (- + + +) it is the same as indexing with 1. When the indices have symbolic values, say as in i,j, if i=j gamma_ returns the dimension of space. If the system can prove that i≠j (e.g. via assumptions), gamma_ returns zero whenever the metric is diagonal. Otherwise gamma_ returns unevaluated, after normalizing its indices taking into account that this 3D space metric is symmetric.
You can change the value of the 3D metric gamma_ in different ways by changing the value of the 4D metric g_, using Setup or g_ itself as explained in its help page. For example, among others, the simplest way to set the Schwarzschild metric and related coordinates is to enter g_[sc]
Computations performed with the Physics package commands take into account Einstein's sum rule for repeated indices - see `.` and Simplify. The distinction between covariant and contravariant indices in the input of tensors is done by prefixing contravariant ones with ~, say as in ~i; in the output, contravariant indices are displayed as superscripts. For contracted indices, you can enter them one covariant and one contravariant. Note however that - provided that the spacetime metric is galilean (Euclidean or Minkowski), or the object is a tensor also in curvilinear coordinates - this distinction in the input is not relevant, and so contracted indices can be entered as both covariant or both contravariant, in which case they will be automatically rewritten as one covariant and one contravariant. Tensors can have spacetime and space indices at the same time. To change the type of letter used to represent spacetime or space indices see Setup.
Besides being indexed with two indices, gamma_ accepts the following keywords as an index:
definition: when passed alone, gamma_ returns its definition, that is an equation with the metric on the left-hand side and the matrix form of the metric on the right-hand side, the same as when you enter the metric without indices (gamma_[]).
determinant: when passed alone, gamma_ returns the determinant of the all-covariant metric γi,j . Recall that the components of the covariant γi,j are not equal to the space components of gμ,ν unless g0,0=1 and g0,j=0. If this keyword is passed together with indices, that can be covariant or contravariant, the resulting determinant takes into account the character of the indices.
line_element: (synonym: lineelement) when passed alone, gamma_ returns the 3D line element for the 4D current metric expressing the differentials of the coordinates using d_.
matrix: (synonym: Matrix, array, Array, or no indices whatsoever, as in gamma_[]) returns a Matrix that when indexed with numerical values from 1 to the dimension of space it returns the value of each of the components of gamma_. If this keyword is passed together with indices, that can be covariant or contravariant, the resulting Matrix takes into account the character of the indices.
nonzero: returns a set of equations, with the left-hand side as a sequence of two positive numbers identifying the element of γ__i,j and the corresponding value on the right-hand side. Note that this set is actually the output of the ArrayElems command when passing to it the Matrix obtained with the keyword matrix.
In turn, some predefined values for the 4D spacetime metric can be set by indexing the metric with a name or a portion of it - see g_ - and in that way you can indirectly set the values of the 3D gamma_ metric.
The %gamma_ command is the inert form of gamma_, so it represents the same tensor but entering it does not result in performing any computation. To perform the related computations as if %gamma_ were gamma_, use value.
When Physics is initialized, the default spacetime metric is of Minkowski type. You can see the metric querying Setup, as in Setup(metric), or directly entering the metric as g_[], with no indices
The default spacetime of the Physics package is a Minkowski spacetime with dimension 4 and the time-like component in position 4, so when indexing 4D tensors the values 0 and 4 represent the same object. For example, when indexing the metric g_,
Systems of spacetime coordinates are:X=x1,x2,x3,x4
Note the character positive definite of this quadratic form. The symmetry property of gamma_ is automatically taken into account when the indices have symbolic values
You can always query about the letters used to represent spacetime and space indices as well as the dimension of spacetime (and so of space) via
The trace of the spacetime metric g_ is equal to the dimension and the trace of the space gamma_ metric is equal to the dimension - 1. Note the use of the sum rule for repeated indices, both for spacetime and space only indices
To set the scenario as a curved spacetime set the metric using Setup, for instance indicating the square of the spacetime interval. This can be done directly from g_. Choose for example the keyword Tolman and this also, automatically, implies on setting spherical coordinates as the differentiation variables for d_
Systems of spacetime coordinates are:X=r,θ,φ,t
Default differentiation variables for d_, D_ and dAlembertian are:X=r,θ,φ,t
The Tolman metric in coordinates r,θ,φ,t
Parameters: Rt,r,Er
Signature: - - - +
Use a compact display for these functions to avoid redundant repeated display of their functionality plus having derivatives displayed indexed by the differentiation variables
Erwill now be displayed asE
Rt,rwill now be displayed asR
The corresponding 3D line element
The matrix form: all of gamma_[], gamma_[matrix] and gamma_[i, j, matrix] return the all-covariant matrix
Or, for the matrix components of the all contravariant γ&i;,&j;, which as a matrix is equal to the inverse of the all-covariant γi,j, you can use gamma_[~i, ~j, matrix], with contravariant indices (prefixed by ~), or directly
The nonzero components
The nonzero components of the inverse of the metric, that is, the all-contravariant g&i;,&j;
By replacing g_ by gamma_ and all spacetime indices by space indices in the definitions of Christoffel you obtain the corresponding 3D tensor, i.e., the 3D Christoffel symbols, that allow you to express covariant derivatives in a 3D curved space (not spacetime)
You can use this to construct 3D versions, for instance for Christoffel and the Ricci and Riemann tensors, next define them using Define, and operate with them in 3D as with any other tensor of the Physics package, with the geometrical meaning of the Ricci and Riemann 3D tensors in curved space (see problems after sections 88, 89, 90, 92 and 95 of [1])
Defined objects with tensor properties
See Also
`.`, ArrayElems, Christoffel, convert, Coordinates, D_, d_, DifferentialGeometry[Tensor][gamma_], Einstein, Matrix, Physics, Physics conventions, Physics examples, Physics Updates, Tensors - a complete guide, Mini-Course Computer Algebra for Physicists, Ricci, Riemann, Setup, Typesetting, value, Weyl
[1] Landau, L.D., and Lifshitz, E.M. The Classical Theory of Fields, Course of Theoretical Physics Volume 2, fourth revised English edition. Elsevier, 1975.
The Physics[gamma_] command was introduced in Maple 2017.
For more information on Maple 2017 changes, see Updates in Maple 2017.
Download Help Document


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I have actually been dead once for over a minute at the age of around 3. My father was a doctor otherwise I would have remained dead for a bit longer and more permanently. He performed CPR and saved me that day and inflicted upon the world my verbal diarrhoea. And maybe I was too […]
Posts Tagged 'diarrhoea'
That One time When I kind of Died
Posted: 28th April 2014 by aseem.ace in ThoughtsTags: 72, atheist, cpr, dad, dark, death, diarrhoea, died, entity, family, heaven, hindu, lights, omnipotent, once, permanently, rejuvenation, ring, shit, stupid, the boy who lived, tunnel, verbal, virgins, white, world, zilch


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How to Make a Good Game: Brothers: A Tale of Two Sons
Ray Ivey plays Bad Game-Good Game, with this obviously being the good one
Part One: How to Design a Bad Game: I Am Alive by Ray Ivey
In Part One of this series, we examined a very bad game, I Am Alive, and explored what made it a Very Bad Game.
Today, we're going to examine what makes Brothers: A Tale of Two Sons such a Very Good Game.
Create a Game World I Want to Spend Time In
From my very first moment in the game I was entranced by the world of Brothers: A Tale of Two Sons. A slightly Nordic, mountainous, classic fantasy wonderland, the world I was dropped into was simply sumptuous. And that's just the beginning. The more I saw of the world, the more I loved it.
Give Me a Compelling Problem to Solve
The nuclear family at the center of the game has taken quite a beating lately. The game begins with Younger Brother sadly contemplating his mother's grave. In a wrenching flashback, you see her drowning right in front of her young son.
But the family's troubles are just beginning. It turns out Dad is deathly ill, and the only thing that can help him is a magic medicine that's located many dangerous miles away. It's up to Younger Brother and Older Brother to go find it and bring it back.
These are two boys who look to be about ten and fifteen at the most. And they have before them the daunting task of an enormous journey through a perilous land. The life of their only surviving parent is at stake.
Talk about a good setup! The stakes could hardly be higher.
So you begin the game with a strong sense of mission. And once begun, the game never forgets your goal. Your dire mission never leaves your mind for a moment as you make your way across mountains, valleys, rivers, caves, ice floes, and other assorted exotic wilderness.
Make the Controls Tight
Brothers: A Tale of Two Sons has a gimmicky control scheme: You control each brother at the same time, but with different buttons. It takes some getting used to, because many of the puzzles you have to solve require both boys to successfully manipulate the environment simultaneously.
The game warms you up to this admirably. The first thing you have to do is carry your sick father in a cart to the doctor. One brother has to grab the front of the cart, and the other brother has to grab the back, and you have to move in tandem. It's quite challenging at first, but the more you interact with the boys, the better you get at it.
Soon the boys will be climbing, jumping, swimming, and dangling their way through many treacherous environments.
Even if you're an experienced platform game veteran like I am, it's a fun challenge to succeed at the various challenges the boys face.
Make the Overall Game Elegant
Good design oozes from every pore of the game. First of all, there's the made-up language. What little dialog there is in the game is spoken in an untranslated foreign language. Which means the game is essentially dialog-free. This means there's nothing to get in the way of your concentrating on the boys' desperate mission.
The interface is also virtually invisible. After just a very few on-screen instructions during the first few minutes of the game, there's nothing up on the screen but the world the brothers are in. No HUD, no inventory, nothing. It makes for a very pure gaming experience.
Give Me Fun Challenges
Brothers: A Tale of Two Sons is full of puzzles. They mostly have to do with overcoming environmental obstacles. How do we get over this? How do we get through there? How do we avoid getting killed by this angry, violent giant troll?
Yes, even the "boss" encounters in the game are actually puzzles in disguise, not real battles.
Make it Fun to Just Be in the Environment
Brothers: A Tale of Two Sons is full of activities you can engage in that have nothing to do with completing the game. You can help a lonely sheep find new friends. Play instruments. Even be mean to a little girl (I felt bad about this one).
Don't Discourage Exploration
This is a BIG one for me. Can you die in this game? Yes, I died quite a lot, actually. But every time I did, the game restarted VERY close to where I had just failed. So I didn't have to replay big chunks of the game whenever I failed a challenge.
What this meant was that I felt free to fully explore every corner of the game's beautiful game world without worrying that I would regret it.
The Payoff
The combination of beautiful and compelling environments, elegant game design, high-stakes mission, strong story, rewarding exploration, and fun challenges added up to an EXTREMELY powerful gaming experience. By the time I finished this short game, it was clear that Brothers was the most emotionally involving game I had EVER played. And hey, I got to the final level of Q*Bert, so that's saying something.
So Let's Review, Shall We?
I Am Alive | Brothers: A Tale of Two Sons | |
Game world? | Ugly and monotonous | Wondrously beautiful and diverse |
Mission worth accomplishing? | Abandons mission fifteen minutes in | Relentless sense of mission |
Exploration? | Discouraged | Encouraged! |
Controls? | Loose and unreliable | Tight and simple |
Challenges? | Frustrating and arbitrary | Fascinating, entertaining and rewarding |
Verdict? | KILL IT WITH FIRE | TELL EVERYONE TO PLAY IT |
Part One: How to Design a Bad Game: I Am Alive by Ray Ivey


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Dear Colleague,
Grades have been submitted, Commencement done and now we can think of warm days, sunshine, and beach reading.
We want to send you off on summer break with some joy. This past academic year has not been easy – masks on, masks off, student absences, late assignments and zoom meetings - through it all you persevered. Somedays were harder than others.
Last Friday we celebrated our students at Commencement. Both the undergraduate and graduate ceremonies were filled with joy – students celebrated as they walked across the stage and family members cheered (some with ear piercing whistles). Smiles and hugs were everywhere. We should be proud of our role in getting students to this day.
The two student speakers gave personal and powerful speeches that embody the UMB student. The John F Kennedy award winner, MG Xiong, speech embraced community, inventing hope, and fostering belonging. The Philosophy and Public Policy major, a first-generation college student urged their classmates to remember they are human beings and not human doings and to at once be thankful but also to ask hard questions about what deserves a future. (1:39:00 https://www.youtube.com/watch?v=Yb5wxD5PbRU)
Graduate student Courtney Humphries, PhD in Environmental Science, story is like many, she came to UMB for a career change and found a place that nurtured yet challenged her. (1:32 https://www.youtube.com/watch?v=F16UuYIx3z8 )
In addition, the ceremony celebrated our colleagues who received the 2021 and 2022 teaching, scholarship, and service awards. Congratulations to Helen Poynton, Associate Professor of Molecular Ecotoxicology and Senior Lecturer Laurel Wainwright, Department of Psychology as the recipients of the Chancellor's Award for Distinguished Teaching. The Chancellor's Award for Distinguished Scholarship were awarded to Professor Christopher Fuchs, Department of Physics and Professor Mark Warren, Department of Public Policy and Public Affairs.
Senior Lecturer II Tony Van Der Meer and Visiting Professor Keith Jones, both of Africana Studies jointly received the 2021 Chancellor's Award for Distinguished Service. The 2022 award winner was Associate Professor of French Pratima Prasad. Each nominated and recognized by fellow faculty, exemplify commitment and dedication.
(video 1:12 to 1:32 https://www.youtube.com/watch?v=F16UuYIx3z8)
While relaxing, take a moment to watch the Commencement video clips and relish in your role in such a meaningful day. Celebrate your students and colleagues and know that even on our most challenging days, what we do is important, and shapes lives.
In other news……..Massachusetts Teachers Association (MTA) update
At the MTA Annual Meeting of Delegates, Max Page, professor of architecture at UMass Amherst was elected MTA president.
The MTA is asking members to join in the June 11 March for Our Lives Rally. Gather at 11:30AM at 20 Ashburton Place (MTA Boston Office) to walk together to the rally.
The MTA is supporting the Fair Share Amendment which is a ballot question on the November 8th general election ballot. For more information go to https://massteacher.org/current-initiatives/fairshare-ma .
Caroline Coscia Jeff Melnick
FSU President FSU Vice President
Senior Lecturer II Professor
Political Science American Studies
For information on the FSU, links to our contract and bargaining updates, and a calendar of events, see the FSU webpage


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- Comes with a set of attachments to help diffuse heat
Variable power and controls, allow a blow-dry customized to your hair type
- Two (2) Speed Setting (High, and Low)
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