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Republican presidential nominee Mitt Romney is expected to accept his nomination Thursday evening at the National Convention in Tampa. Still many are talking about the key note address New Jersey Governor, Chris Christie gave Tuesday night.
For it was a first for them to give speeches at a National Party Convention. As for whether or not either gained any votes for republicans, that is still to be determined, but both are catching headlines, good and bad, for their debut performances.
Romney is mostly catching praise for a speech which was supposed to highlight her husband's softer side, from the reputation of a serious businessman.
"She certainly fulfilled her mission," said Sherri Greenberg, Director of the Center for Politics and Governance at U.T. Austin.
When it comes to Christie's keynote address, he is catching more controversy. Christie did not mention Romney by name until 16 minutes into his speech. Some speculate he could be trying to make a name for himself if Romney loses in November.
"I've written a lot of political speeches and that is one I would write if I were trying to set somebody up for a future run," said Harold Cook, a democratic strategist.
Still Jonathan Saenz, with Liberty Institute, says he believes says both speakers simply trying introduce themselves to the national stage, while still campaigning for Romney.
"These are politicians, but they're also people and people want to get to know them. And I think that's what those two speeches were about. You got to know a lot about Ann Romney and you got to know a lot about Chris Christie from a personal level that I think a lot of people do appreciate," said Saenz.
Thursday night we will carry GOP presidential nominee Mitt Romney's speech in its entirety. He is expected to start speaking close to 9 p.m.
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The Recordings
Camille Saint-Saëns (1835-1921)
I have known Saint-Saëns' piano concertos for many years, being originally bowled over as a teenager by No.2, and then exploring all of them in Collard's performances on cassette. The sound quality of these cassettes was poor, and soon afterwards I obtained Pascal Rogé's recordings on CD. Although they made me aware of Saint-Saëns as an enjoyable romantic composer, I did not revisit these concertos for many years, and so it was with a renewed pleasure that I listened to them again to reconsider their qualities. I find them all well worth listening to, with lovely themes and imaginative moments, all effectively written for piano and orchestra in the romantic manner. France had not apparently produced a significant piano concerto prior to Saint-Saëns, and he was unusual for a mature romantic composer in producing five (between 1858-96), as well as four shorter works for piano and orchestra. He also wrote three violin concertos and two cello concertos and numerous other concertante works, the most well known being the Introduction & Rondo Capriccioso for violin and orchestra. Saint-Saëns was an excellent pianist and often played his concertos in concert.
Piano Concerto No.1 in D major, Op.17
The first concerto was completed in 1858 when Saint-Saëns was 23. It is a bright and energetic work, and very effectively written with sound formal organisation. I used to think this was a rather empty concerto, but after acquainting myself with it again I consider it an excellent work, especially when given a strong and persuasive performance such as Darré's. Saint-Saëns' themes can be rather square and self contained, but here they seem fresh and free flowing.
First Movement: Saint-Saëns, like Mendelssohn, dispenses with the orchestral exposition, but otherwise treats the first movement in classical form. A horn call (a) starts the movement, after which the piano enters with stirring strings and a short melancholy theme is given by wind (b). This leads to (a) played by the wind section which builds up and becomes the main tutti string theme. The piano then comes in to close the theme. The pretty second theme (c) is given, immediately followed by the light and attractive third theme (d). The piano takes it up and (b) returns, lyrically presented and extended by piano. This heralds the development section, which is seamlessly attached.
The development continues with an episode leading to bright passage work. The main horn theme (a) returns and is expanded upon by the piano. The second theme (c) also returns, nicely dramatised, leading to a theme which is in fact an inverted version of (c). This is expanded on in a developmental episode.
The main horn theme (a) returns, ushered gently into the texture as the reprise gets underway. The piano comes in with (b), and the main tutti version of the theme returns very much as it was in the exposition. A slight change of direction prepares for the second and third themes (c&d), which build up to another presentation of (b) on piano. This leads to an extended climax and the conclusion of the movement. The horn call theme (a) returns, which develops and leads to a wonderfully conceived climax and close.
Second Movement: The mysterious opening on low strings with pizzicato accompaniment is joined by the piano in lyrical accompanying phrases. The piano continues with it and the strings extend the piano's final phrase. This leads to two presentations of an arresting chordal passage given by the piano. Brahmsian orchestral phrases then follow, which the piano takes up and continues.
The mysterious string introduction returns with the piano accompanying phrases slightly varied, this time leading straight into the piano's chordal response passage. The piano expands on it, leading to a short cadenza. A unison string passage then leads to the piano's chordal response again, this time in the minor. This sinks down to the bass end of the piano's register and leads to an episode where the piano muses on various trills, alone and then with the orchestra, before the movement finally concludes.
Third Movement: The boisterous main theme (a) is given by piano and orchestra and is continued by orchestra in a tutti workout which is then concluded by the piano. The lyrical second theme (b) enters, but only as teasing phrases which are interrupted by the opening motif of (a). This builds up with a developmental passage consisting of (a) and (b) motifs and a piano climax.
A reprise of the main theme (a) then takes place, continued by the orchestra but cut short to reintroduce the second theme (b). It is again a brief reference only (this time in the wind) which is followed by an episode based on (a) given by piano. What follows is an expanded presentation of the second theme (b) given by the orchestra with a colourful and decorative piano accompaniment. The piano takes up the theme in a strong and bright manner with busy strings, and again presents it fully expanded leading to an orchestral climax and the victorious return of (a) and (b) from the first movement. The concerto then ends in an exciting manner with closing flourishes.
Piano Concerto No.2 in G minor, Op.22
The second concerto is perhaps Saint-Saëns' most popular, and quite different in mood from number one. It is much more witty and less classical in spirit, with subtle orchestral writing, particularly for the wind, long flexible melodies and brilliant piano writing similar to Mendelssohn's piano concertos. It was first performed by the composer in 1868, not long after he hurriedly wrote it, and he noted afterwards that he did not have time to practice it. This may account for why the concerto was not well received. The pianist and composer Stojowski, who himself wrote two notable late romantic piano concertos, famously remarked that it "begins with Bach and ends with Offenbach", and the concerto does indeed move from the heavy and sombre style of the first movement to the witty and suave brilliance of the second and third. The concerto is not long, but it is absorbing and excellently conceived with particularly memorable thematic material.
First Movement: A piano cadenza opens the movement with an ominous Baroque-style passage which leads to brilliant piano writing and dark, dramatic chords. This is taken up by the orchestra in a forthright style not far removed from Mozart's Don Giovanni, and dissolves into a plaintive falling oboe line. The main theme, a lyrical and doleful theme, is then given by piano, which leads to a more dramatic dialogue with the orchestra. The music becomes more tranquil, and then the second theme, a sentimental and delicate melody, is presented by piano and orchestra. This theme does not return. Light falling flourishes issue from the piano and the music slowly builds up in a climactic and increasingly dramatic episode with the change in mood well handled. The music becomes stormy, and this leads to thundering piano octaves. This episode essentially constitutes the development, although there is no strong sense of classical form.
This continues into the reprise of the main theme, given by the orchestra while the piano maintains the powerful solo writing. The piano continues with the theme, in the lyrical mood of the exposition, but with more decorative brilliance. This leads to a piano cadenza which starts with a new motif in a ruminating passage before the dramatic dialogue returns, now worked out without the orchestra. It leads to a climax, and is followed by a melancholy theme based on the new cadenza motif, which is later joined by the orchestra. This leads to a return of the opening piano solo, now in a hushed and mysterious mood with sustained orchestral accompaniment, all very lovely and effectively handled. This suddenly climaxes and returns to the mood of the opening with the original orchestral utterances, this time with accompanying piano flourishes, before the movement finally comes to a close.
Second Movement: The mood now completely changes, with a colourful and brilliantly witty scherzo, taking the place of a slow movement. It is, however, similar to scherzos found in other romantic concertos, most notably those by Litolff and Stenhammar. The change is not a jolt but is a natural continuation of the concerto. The timpani get the movement underway with a strong triple time rhythm. The piano enters with the theme, and each phrase alternates with the orchestra. The theme is repeated, and leads without ceremony to the lilting second theme. This suits the concerto well, and naturally leads to some wonderfully delicate and brilliant solo passages.
The main theme returns, moving to the minor. A developmental episode ensues, modulating in a sequence, and eventually leads to references of the second theme which are rather subdued. However the music makes a sudden change in mood, with arresting motivic interplay between the piano and orchestra based on the timpani's opening phrase. This leads to the reprise of the main theme.
The main theme is not repeated this time, but leads straight into the second theme and the piano's delicate continuation on the theme. This fades away and leads to a last reference to theme given by horn and concluded on piano, a nice touch. Falling orchestral phrases are answered by the piano and the timpani and piano asnwer each other in phrases based on the opening. The movement closes in a delicate light hearted manner.
Third Movement: This movement is a frantic Tarantella started by the piano. The main theme is repeated and leads to some brilliant solo passage work and a passage defined by a series of trills. This in turn leads to a climax and a muscular exchange of gestures with the orchestra.
The main theme returns and is developed in a sequential manner, each sequence ending with the familiar trills. The trills then form part of a long episode which sees the piano presenting nothing but trills while the orchestra present a series of hymn-like phrases which quicken towards a climax and some muscular octaves from the piano based on the exchange with the orchestra.
The reprise of the main theme then takes place, very much as it had done at the start of the movement, leading to the glittering solo passage work and the trills passage. This again leads to the muscular exchange, but continues into a dramatic new episode with a sequential series of rising chords. The resulting solo passage work suddenly comes as light relief and is very effective as it dances its way to the strong conclusion of the movement. Saint-Saëns certainly knew how to close out a concerto.
Piano Concerto No.3 in E flat major, Op.29
The third concerto was first performed by Saint-Saëns at the Leipzig Gewandhaus in 1869, but it was not well received. It is believed that the audience was disturbed by the harmonic daring of the andante's opening, something that seems difficult to believe today. The concerto is one of Saint-Saëns' least known, though given an alert performance it comes across as an attractive romantic utterance with plenty of good things in it. The rather banal main theme of the third movement, and the way it suddenly asserts itself after the beautiful slow movement, is perhaps the main let down. The slow movement itself is brilliantly handled, with much imaginative orchestration and wonderfully warm romantic themes, in contrast to the second concerto. The concerto is a return to a more classical formal model, though it is not without its own individual touches, especially in the third movement.
First Movement: The concerto starts quietly, with low rippling piano arpeggios and the main theme (a) slowly unfolding in the orchestra. There is build up of tension and eventually the piano takes it on and delivers a fuller and brighter version of it. This if followed by an orchestral tutti version of the theme before a strident unison bridge phrase (b) is introduced and developed both by the orchestra and then the piano. After the climax comes to a close the piano muses on a new theme (c), and the movement becomes more tranquil. The theme is then given in a lyrical manner by the piano. The soloist has at this point embarked on a long solo section which continues to a lyrical rendition of the main theme (a), and this in turn leads to the introduction of a delicate third theme (d). This is followed by a climax.
The development gets underway straight away with a strong exchange based on the main theme (a), followed by a powerful episode. This eventually gives way to (c) in the orchestra which leads to a dramatic episode with the piano, all nicely achieved. A tranquil mood then returns, with lyrical wind utterances on (c), and the piano then muses on (d) to an accompaniment of trills. This is the last we hear of this theme which was sensible thinking, because it would otherwise outstay its welcome and put the breaks on the movement's conclusion. As we have already seen in the second concerto, Saint-Saëns liked to keep his reprises moving, and had no problem omitting themes from the exposition.
An effective moment now takes place as a flute presents the main theme (a), which heralds the start of the reprise. This is followed by a tutti on the main theme, very much it was in the exposition. Immediately after this the strident passage (b) returns, again effectively as it was in the exposition, and moves straight into the second theme (c). It is lyrical and brief, and is followed by more references to the main theme combined with (c), as the music strives towards the movement's close. Then the piano returns to (c) in a passionate work out, followed by a climax and yet another return of the main theme before the movement reaches its strong and effective conclusion.
Second Movement: A mysterious falling unison string line with rising wind is answered my equally mysterious piano chords. This is followed by the main theme, a long, warm and richly romantic string melody. It is effectively in two parts, both with important thematic material. The piano enters with the more sombre second theme, a lyrical unison melody against low strings. After a series of falling phrases in the piano part the main theme returns and leads to a very beautiful episode in which the second part of the main theme is given against a highly attractive piano accompaniment. At the end the strings become long and beautifully floating lines.
The piano then gives the reprise of the main theme in full, and this leads to the reprise of the second theme, played by cellos against a piano accompaniment. This includes the falling phrases which close the theme. Finally, and a great touch, the falling line which opened the movement briefly returns. It is now played by wind which gives it a chilly, ethereal quality. However, the mood suddenly changes, with an air of expectancy, as a new motif is introduced which forms the main theme of the third movement. The movements are attached.
Third Movement: The mood suddenly becomes bright and cheerful, with the main theme given in full by the piano. The last phrase includes a three note rhythmic motif (x) which returns later in the movement. After a climax the orchestra give the theme again in a tutti work out which is continued in a dialogue with the piano. This calms down and what seems like the second theme is presented in a lyrical orchestral passage including some attractive piano decoration. However, this does not return, and the second theme proper, a rollicking tune full of high spirits, is given which is again extended by dialogue with the piano, before leading to the main theme reprise. This is prepared with expectant first theme motifs, as at the start of the movement.
A reprise of the main theme takes place, given by piano again. This climaxes and the orchestra give the main theme again in a similar tutti work out as in the exposition, followed by a dramatic exchange. This leads to a development of the (x) motif in an impressive, dramatic, and partly contrapuntal episode. References to the main theme follow in a further episode, after which the second theme returns extended by piano. The closing section now gets underway, in a musical style not unlike Tchaikovsky, in which (x) returns and in fact becomes a perky little theme in its own right. It returns again in the orchestra after further references to the main theme, as the concerto finally reaches its impressive close. Saint-Saëns' use of form in this movement is worthy of note, as he effectively dispenses with a sandwiched middle development section and incorporates it into the reprise to great dramatic effect.
Piano Concerto No.4 in C minor, Op.44
Saint-Saëns first premiered the fourth concerto in 1875, and it represents a greater maturity and a change in style from the previous concertos. It is influenced by Liszt, with its thematic transformations and more fluid form which is not confined to the traditional three movement plan. It is conceived in a more symphonic style, while still making the most of the solo piano's role, and represents one of Saint-Saëns' greatest achievements. I used to think this concerto dragged and was slow to get airborne, and indeed it can in a ponderous performance such as Rogé's, but the dramatic outline is well worked out across its two almost equal sections, with moments that are solemn, lyrical and reflective, as well as those that are glittering, joyful and jubilant. The thematic material is memorable, if rather four-square and predictable in shape, and its transformations are natural rather than contrived. The piano and orchestral writing is imaginative and effective, as the composer had already demonstrated in his earlier concertos. Together with the second concerto, first cello concerto and third violin concerto, it represents one of Saint-Saëns' most popular concertos.
First Section: The concerto starts in solemn mood, with a steady and sighing main theme. Each phrase is repeated by piano, and the whole theme is repeated in what are in effect two variations. This leads to a falling motif in the piano (x) and then to a mysterious bridge passage of oscillating notes based on the sighing motif of the main theme. This rises in sequence and leads to a hymn-like theme, the second theme, and one that is particularly important, played by the wind with decorative interjections from the piano. Although not immediately obvious, the theme shares a kinship with the main theme. The piano extends it with a theme of its own which is very much based on the second theme. Rich lower strings then give the opening phrase of the second theme, which is again extended by the piano in flowing, lyrical phrases similar to before. A beautifully luminous section then takes place, with piano and some wonderfully imaginative orchestration. This is followed by a decorative falling sequence from piano with orchestra which is effectively an inverted version of the second theme. It doesn't particularly convince as being a natural progression from what came before, attractive though it is, but it does naturally lead to what is effectively the tranquil coda, an extended version for piano of the piano theme against a calm orchestral accompaniment.
Second Section: The second section gets off to a bright start with an extended passage based on the falling motif (x). This leads to the main theme, now given in the section's brighter tempo. This eventually heralds the 3rd theme, a wonderfully joyous and alive inspiration given by the piano and orchestra. It too shares a kinship with the main theme in its rising and then falling pattern. This continues and leads to a final phrase consisting of a contrapuntal musing on the theme. There is then an orchestral tutti on the third theme, which leads to the strong return of (x), given as at the start of the section. The main theme again returns as at the start of the section, before the music dies away with references to (x) given by the piano. There then ensues a more serious string passage (y), which initially builds up in a fugal style, and is based on the piano extension theme. This becomes more intense and heralds the return of the second theme from the wind, followed by the piano extension them. The (y) passage returns and climaxes, eventually leading to a bright brass passage and trills from the piano and orchestra. This then leads to the last big theme of the concerto, the fourth theme which is a bright transformation of the hymn-like second theme. It is given by piano, together with the repeats of each phrase and a more animated final phrase which closes on a climax. An orchestral tutti then takes up the theme, which builds up through further phrases from the fourth theme, leading to a strong passage on brass which is also based on the fourth theme. The fourth theme is then again given in full, with the piano given a decorative accompaniment, which leads to a climax and a very finely handled orchestra tutti on the fourth theme. This ushers in the coda, with a wonderfully fast flowing piano figuration and an imaginative orchestral accompaniment. The excitement and jubilation is excellently built up and concludes with bright, strong and convincing closing gestures.
Piano Concerto No.5 in F major, Op.103
The fifth concerto is a late work, and was first performed in 1896, some twenty years after the fourth, again with the composer as soloist during a Jubilee Concerto to commemorate his debut fifty years before. This is a darker work, and although it has many bright moments, these often become turbulent and stormy, casting longer shadows than the previous concertos, and with less of the joyful exuberance which typified his earlier concertos. Though less popular that the second and fourth concertos, I have always considered this one of my favourites, particularly due to its quite original, highly memorable and dramatic, and richly lyrical middle movement. I always thought the outer movements were weaker, but listening to Darré in particular has persuaded me that this perhaps isn't the case. Saint-Saëns shows the same imaginative treatment of the orchestra as he had showed in his previous concertos, but this concerto also displays a greater exploitation of piano sonority and colour, and includes some quite distinctive and original moments, particularly in the middle movement. Indeed, the concertos could almost be programmatic, particularly in the second and third movements. Some of the piano writing, particularly in the first movement, is in a heavy Brahmsian style, and some of the themes have a Brahmsian feel to them as well.
First Movement: The movement starts imaginatively with wind chords and pizzicato strings. The piano then presents the main theme, which is similar in its phrasing to the main theme of Brahms' fourth symphony. It is a perky theme, but tinged with melancholy all the same. This is repeated by the orchestra with an imaginative piano accompaniment. A rhythmic motif (x) then heralds in a bridge theme (y) which are repeated in sequence as the music moves to a strong orchestral tutti based on a new motif (z) which is similar to (x) but is also melodic. Piano and orchestra, particularly the wind take this up and this leads beautifully into the main second theme, a rather sentimental melody which shared a kinship with the main theme. This leads to a climax based on another motif related to the main theme, and (x) then returns into the texture. The piano then gives passionate falling phrases before they die away and (x) reappears, followed by a cheerful close.
An extension of the (x) motif then introduces the development section with a more steely and determined mood change. The main theme returns, now in a darker guise, and this undergoes a powerful development with strong orchestral phrases and dark muscular piano writing reminiscent of Brahms. This launches the piano into a passionate episode in which the main theme is again developed with the orchestra. This falls away in an arresting passage which retunrs to the second theme in a reflective passage that turns out to be the preparation for the Reprise. This is all handled very successfully.
The main theme returns, as does a brighter and more playful mood, with a slight change at the end to prepare for (x) and the bridge theme (y) in a new key. Theme (y) is repeated in the minor, and the orchestral tutti on (z) returns. The reprise of the second theme then takes place, on wind this time, with intricate piano decoration, and this is extended to a close. Motif (x) returns, and so does the passionate falling piano phrases, and this is followed by lyrical falling wind phrases which act as a preparation for the beautifully tranquil coda. The piano muses on the second theme, before the music becomes brighter and leads to a quiet and effective close. Two things are worth noting about the reprise. Firstly, all the main themes are recapitulated in true classical style, unlike the second and third concertos, and the movement doesn't end strongly as the earlier first movements had done. This befits the emotional feeling of the movement, as well as preparing nicely for the second movement.
Second Movement: A striking change of mood now takes place, with a more exotic musical language which belies the predominantly western style of the first movement. A rhythmic string texture starts it off, and the piano responds with powerful octave gestures. A recitative then ensues, with the piano musing for two phrases before leading to a more lyrical third featuring highly effective piano sonorities. Closing gestures and dreamy phrases then lead to the close of the section.
A new section gets underway, with the second main theme. This appears to be based on a Nubian love song which Saints-Saëns heard being sung by Nile boatmen. It is very lovely, and sensitively and imaginatively handled, and leads to the second part of the theme, which is initially given by oboe. Strings then return with the first part, in a rich and romantic style, and a brighter and more colourful third part is presented, with wind and piano trills and more lyrical passages. This is repeated, and the second part then returns, given by the piano. This leads to a third theme, an evocative and colourful theme from the piano with subtle use of orchestral colour. According to the composer, the accompaniment of this theme is intended to represent chirping crickets and croaking frogs, which adds to the pictorial nature of the music.
This moves to the mood and exotic musical language of the opening section, and an improvisatory style based on the recitative which again displays imaginative and subtle piano as well as orchestral writing. The closing phrases return, and lead to the opening string texture and more improvisatory piano writing which is more lyrical and reflective than before. This is all handled very well, and the movement closes in excellent fashion.
Third Movement: The pictorial nature of the concertos continues in the third movement. Saints-Saëns remarked that it expressed "the joy of a sea-crossing, a joy that not everyone shares", and this feeling comes across very persuasively in Darré's recording. The movement starts with rhythmic piano chords (a), which are intended to represent the thudding ship's engines. These rise and give way to a frothy piano theme (b) that then leads to strong accents in a brief exchange with the orchestra. A salty wind swept theme (c) is then given which is not really significant enough to be called a main theme, particularly as it is not fully recapitulated later in the movement. This leads to (b) again and the movement builds up in a dramatic episode with sighing woodwind phases that had essentially already appeared in (b). A new theme (d) is then given, a lyrical and romantic theme which leads straight into another theme (e), a yearning and alert melody which is then repeated in the orchestral wind with piano accompaniment. This continues in an impressive passage which effectively extends and develops the theme, becoming more dramatic as it goes.
This leads to a dramatic and stormy development of the rhythmic piano chords (a) which also sees references to (b) and (c) incorporated into the texture as well as other motifs.
Eventually the storm clouds depart with the reprise of themes (d) and (e), the former altered and used as a return to the mood of the opening, and the latter repeated by the piano before the music builds in passion with a final reference to the third theme, followed by responding piano octaves and a bright orchestral close. After two substantial movements Saints-Saëns keeps this final movement taught and comparatively brief.
Allegro Appassionato for Piano and Orchestra, Op.70
Rapsodie d'Auvergne for Piano and Orchestra, Op.73
"Wedding Cake", Caprice-Valse for Piano and Strings, Op.76
This short occasional work dates from 1886. It was originally a wedding present for the composer's pianist friend Carolin de Serres. It is a witty and entertaining piece, nicely written for piano and strings.
The piano starts it off with a colourful opening passage (a1) which is reminiscent of Chopin. This leads to a more relaxed second phrase (a2). An innocent string theme then follows (b), before the opening piano theme (a1 and a2) return. The string theme (b) is again presented, with added colour from the piano. This ends with an altered reference to (a1).
The main theme proper is given (c), a jolly and lyrical string theme with piano accompaniment. This again leads to references to (a1) before the close. The second theme is then presented (d), a lyrical and reflective melody which extends into a light and romantic episode joined by strings. This features a passage with numerous ornaments, and leads to a brief rise in tension which soon dissolves.
Reprise of (a1), repeated with strings, and (a2) with strings. The initial string theme (b) is reprised and repeated with piano accompaniment. Its ends with references to (1a) and a brief climax.
The main theme (c) is now given by piano with scurrying stings, ending with references to (a1). There is then a reprise of the second theme, which modulates and is altered from the original. This is cut short as the light extension passage which follows is used to bring the piece to a quick and witty close.
'Africa' Fantasie for Piano and Orchestra, Op.89
© Copyright 2004, Barry Meehan

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Aaron Kirchoff
Rushville Republican
A pair of Hoosier Heritage Conference teams will meet Saturday in the Richmond Semistate as No. 6 Mt. Vernon (Fortville) takes on the No. 7 Lady Lions.
The two teams are very familiar with each other and both have had success in the past several years. The Lady Marauders are looking to return to the Class 3A state title game two years in a row and the Lady Lions are hoping to return since their run in 2010.
The Lady Lions (22-3) and Lady Marauders (21-4) played early in the season this year at Memorial Gym. Mt. Vernon escaped town with a 68-66 victory.
Mt. Vernon is led by HHC Player of the Year Erica Moore (18.9 ppg). Despite playing only 15 games due to injury, Moore also led the team in rebounding with 112.
Sydney Shelton averages 18.5 ppg and is second on the team in rebounding.
Rachel Houck is the other Lady Marauder averaging in double figures with 12.0 ppg. She also led the team in assists (95) and steals (105).
The Lady Lions also have three players scoring in double figures.
Mackenzie Campbell averages 15.1 ppg. Sarah Cook averages 12.4 ppg and Keragan Niehoff averages 11.0 ppg.
Niehoff has been the most valuable player for the Lady Lions this season. Along with averaging double figures in scoring, she leads the team in rebounding with 269 (11.2 per game and 103 on the offensive end), over 100 rebounds more than second on the team in Cook with 150. Kelsi Ash has grabbed 133 rebounds. Niehoff is also one behind Mikayla Dougherty (62) in assists with 61. Dougherty also leads the team in steals with 57.
In the other Class 3A semistate, No. 2 Hamilton Heights (22-2) faces No. 4 Benton Central (22-3) at Crown Point.
The Lady Lions and Lady Marauders will hit the floor at the Tiernan Center following the 1 p.m. Class A semistate game between Southwestern (Shelby) (21-4) and Vincennes Rivet (21-4).


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|Born: December 12, 1992
Height: 6′ 2″
Weight: 213
Bats: Right
Throws: Right
Signed: Int. FA, Pittsburgh Pirates, 2011
How Acquired: Int. FA
Birthplace: Venezuela
Agent: N/A
|Osuna was one of several Latin American outfielders at the lower levels of the Pirates' system who showed the potential to develop into good prospects. While the others (Willy Garcia, Luis Urena, Gregory Polanco) are tall, lean players whose skills were still very raw when they reached the GCL, Osuna was already strongly built and had much better current hitting ability. He was originally a pitcher, but signed with the Pirates as a hitter after his velocity dropped. He has a very good approach at the plate, especially for his age, as he seldom chases bad pitches. He moved to first during the 2011 season and is likely to stay there. He's not exceptionally agile around the bag.
Osuna was one of the better power hitters in the VSL in 2010, leading the league in HRs at age 17.
Got off to a very fast start in the GCL and, although he cooled off a little, he continued to hit well all summer. He had almost as many walks as Ks, which is impressive for an 18-year-old who hits with power. He fanned just a little more than once every nine ABs. He played left field initially, but moved to first about halfway through the GCL season, probably to make way for the other, faster outfielders. He had two errors in twenty games, so the move at least wasn't a disaster. He got into two games at State College at the end of the season. BA rated him the 5th best prospect in the GCL.
The Pirates moved Osuna to West Virginia, where he was the regular first baseman. For most of the season he didn't hit especially well or poorly, except for a blistering hot July when he hit 336/366/645 with nine HRs. His power needed time to pick up, as he didn't hit a HR until well into May. He doesn't have great bat speed and so much of the time hits the ball to the opposite field. He didn't strike out a lot, but his walk rate dropped well below where it had been previously. He had a reverse platoon split, posting an OPS of .673 against LHPs and .817 against RHPs.
Osuna's hitting fell off considerably at Bradenton, especially his power. He had a more conventional platoon split than the year before, with a .698 OPS against LHPs and .628 against RHPs. He struggled severely on the road in the extreme pitchers' environs of the Florida State League, posting a .528 OPS. He hit fairly well at McKechnie Field, at .798.
Osuna took a big step backward in 2013. In his favor, he played the season at age 20, which is young for high A. He wasn't overwhelmed, as his relatively low K rate shows. The Pirates will return him to Bradenton in 2014.
|Baseball Reference–Minors
|2014: Minor League Contract
|Signing Bonus: $250,000
MiLB Debut: 2011
MLB Debut: N/A
MiLB FA Eligible: 2016
MLB FA Eligible: N/A
Rule 5 Eligible: 2014
Added to 40-Man: N/A
Options Remaining: 3
MLB Service Time: 0.000
|December 5, 2009: Signed by the Pittsburgh Pirates as an international free agent.


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Our solid beeswax taper candles are hand poured using lightly filtered all natural beeswax from the USA. All of our beeswax tapers are clean burning & dripless. Each hypo-allergenic beeswax taper candle uses a lead-free cotton wick.
Add the finishing touch to your table setting with these elegant beeswax taper candles. Show your romantic side and light up the face of the one you love with a set of tall taper beeswax candles. Tapers are suited for tables and fireplace mantles.
Our beeswax candles are naturally honey scented. Scent varies slightly based on honey, pollen, and propolis present in the beeswax.
A candle's scent throw varies based on personal sensitivities and environment.
Burn time is a close approximation and will vary somewhat based on your environment and burning preferences.
Our burn times are conservative averages based on our testing. Proper wick maintenance helps.
Our "Natural" color beeswax candles are a light golden yellow color. This color varies a little between each batch of beeswax.
The color is determined by the remaining pollen and propolis in the beeswax. About beeswax candles.
We hand pour all of our beeswax candles and the dimensions listed may vary just a little with each candle.
Beeswax shrinks a bit during cooling, making it more art than science for final sizing.
Note - Our beeswax taper candles have an approximate base width of 7/8" and fit most standard size taper holders.
100% Natural Beeswax
Beeswax is a renewable all natural product with no additives or fillers. It's non-toxic properties make it perfect for a clean burning and bright fuel source as a beeswax candle. Unlike most of the manufactured paraffin candles, beeswax is hypo-allergenic, great for people with allergies or other sensitivities and those of us who want a safe, clean burning candle in our homes.
All Natural Wick
Bee Hive Candles' philosophy is creating beeswax candles that are all natural and safe to burn. We use lead-free cotton and other natural wick in every beeswax candle we make. Be wary as some imported paraffin candles still contain lead wicks. Our lead-free wicks have been selected for each beeswax candle to provide a bright flame and optimum wax pool to prevent tunneling.
Incredibly Long Burn Times
Bee Hive Candles' solid beeswax candles are the most durable and long lasting candles you can own. They burn brighter, longer, and cleaner than any other type of candle. Compared by burn time, beeswax candles are usually a better value than paraffin, even when beeswax appears to cost more. Try our beeswax candles, the incredibly long burn time will simply amaze you!
Hand Poured & Hand Finished
We pour each and every solid beeswax pillar, taper, votive, and tea light by hand. It takes a practiced hand to ensure each candle is poured correctly - we don't want any air bubbles, loose wicks, cosmetic streaks or imperfections. Once the beeswax candle has cooled and been removed from the mold, we inspect each candle to ensure it's quality. We have no "factory second" beeswax candles; if the candle doesn't make the quality inspection, it goes right back into the wax melter.
Some candle makers will ship you their product directly after removing it from the mold where it is often unleveled, uneven, and simply unattractive. We've always taken the time to carefully hand finish each candle so that our beeswax candles are as stunning to look at as they are beautiful to burn.
Smoke & Soot Free
No one wants their home to be covered in candle soot, which is a common result of burning paraffin candles. An excellent way to prevent this from occurring while still enjoying the beauty of a candle is to use beeswax candles. When burned in a draft free environment with a wick trimmed to 1/4" a beeswax candle will burn bright and clean without smoke or soot.
Naturally Dripless
While there are not any candles that should be allowed to burn unattended, beeswax candles burn safer than others with minimal maintenance. Beeswax candles are naturally drip free and do not require chemicals to make them dripless like paraffin candles. The molecular structure and higher melting point of beeswax makes beeswax candles much better at holding their wax pool. This fact combined with a properly maintained wick and draft free environment will prevent drips from occurring.
Natural Honey Scent and Color
Our beeswax comes direct from beekeepers in the Pacific Northwest where the honey bees fly among raspberries, fireweed, and wildflowers along the winding Nooksack River. The resulting wax is a beautiful shade of yellow that has a natural aromatic honey fragrance. We simply reshape the bees' creation; the color and the scent are created by the hardworking bees. We do not add anything to our beeswax and only filter out the large particles that could interfere with the flame.
Beeswax May Have Health Benefits
Negative ions, which can make you feel better, are most commonly found near moving water, such as crashing waves, thunderstorms, and waterfalls. The moving water causes the surrounding air to move and that along with sunlight and radiation breaks apart molecules of air. The broken pieces end up with extra electrons making them negative ions.
While it is still debated and not yet scientifically proven, it is believed that there are other natural negative ion generators too, including our specialty, beeswax candles.
Our naturally colored beeswax candles do not contain any dyes or additives. The raw beeswax we use comes from the hive as a light golden yellow color, which we call "Natural" when we refer to the candle's color. The natural color of beeswax is determined by the remaining pollen and propolis in the wax; this color varies a little between each batch.
All of our color-added beeswax candles (Holiday Red, Hunter Green, etc.) contain a small amount of dye to achieve their crisp vibrant colors.
The dyes we use for our colored beeswax candles are formulated with eco-friendly ingredients. They offer excellent color consistency and strength for crisp, clean, bright candles. The colored dye makes up a very small percentage of the overall beeswax candle, much less than 1/10th of 1%.
The dyes do not contain hazardous solvents or additives (such as naphtha or naphthalene used in other dyes). The dyes are never tested on animals. No dye ingredients are on the California Prop 65 list of cancer causing ingredients.
Our brightly colored beeswax tapers give you more choices when burning beeswax and are an easy way to add a splash of excitement to your candle arrangements. Our natural colored beeswax does not contain dye.
Available in a variety of shiny colors. 100% pure beeswax, lead-free wick.
Our colorful beeswax candles can be kept polished for a shiny modern look or let their age show by allowing the bloom to appear over time.
The bright color is a great backdrop for showcasing the white antique finish of the bloom.


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Quick hello to everyone: I run SB Nation's Villanova Wildcats blog - The Nova Blog. When the news of the Jazz signing Scottie Reynolds broke earlier today, I reached out to the SLC Dunk team to see if they wanted any info on Reynolds - who's been out of the limelight since he graduated from Villanova. So here we are!
If you're familiar with college basketball, you're probably pretty familiar with Scottie Reynolds. After nearly attending Oklahoma, Jay Wright snatched him up late in the recruiting process and brought him to the Main Line. He was thrust into the starting lineup as a freshman and responded with some pretty big performances.
Then of course, he made national headlines by guiding Villanova to the 2009 Final 4 after he hit a game-winning shot against Pittsburgh in the Elite 8. And yes, any chance to link to that clip, I'm linking to it.
By now, you're probably seeing what is readily apparent - Scottie Reynolds is a pretty good scorer of the basketball. That much cannot be questioned. But there are concerns about his athleticism and physical stature that led to him going undrafted in 2010. How many All-Americans can say that?
I do believe that Reynolds can be a success in the NBA. Sometimes, you need to throw the physical stats out the window (DeJuan Blair wasn't considered tall enough by most scouts) and realize that when you can play, you can play. After the jump I'll talk more about the pro's and con's of Reynolds' game.
As mentioned above, Reynolds' greatest strength is his offense. He's got a great first step and while he doesn't have the elite handle, he's very crafty with the ball and uses his body well when driving to the hoop. When he gets there, he does a great job of drawing contact and finishing. Reynolds also posseses above-average range to knock down the 3-ball. He's probably not considered elite here either, but he's not known for that skill, so it's a bonus that he typically is between 35-40% from beyond the arc.
Most important however, is his mid-range game. He does have an elite-level mid-range jump shot. This is important because at just 6'1" and 180-or-so pounds, he's going to have trouble finishing at the rim with the trees in the NBA. So his ability to pull up and knock down the 10-12 foot jump shot is big.
Reynolds is also a high-character guy. He's not the type that going to cause trouble in the locker room or be a headache for a coach. He'll keep his head down and work hard for the benefit of the team. Exactly the type of guy you want on your bench.
Now, to be fair, there are concerns. The biggest being that he doesn't have a true position. He was a shooting guard in college who handled some point-guard duties, but isn't big enough to guard NBA 2's. So his future appears to be running an offense if he's going to make it in the NBA. And because he never really did that at 'Nova, there's definite concern on his ability to do that.
His defense has also been called into question, and rightly so. He's got a great ability to jump passing lanes and steal, but in iso-defense, he lacks the lateral quickness (and frankly, desire) to stick with an NBA-caliber athlete. So there is some liability there.
The thing is, I don't think the Jazz signed him to play a huge role. If he can come off the bench to give some guards a break for a few minutes a game, that's great. If he can add some offense (which he can), that's even better. I don't think Utah envisions him as a 20-25 minute player. Probably not even a 12-15 type of guy.
But if Scottie Reynolds can give you 5-10 minutes a game and provide an offensive spark, I think fans will walk away happy. If pressed into a role more expansive than that, I think his flaws (defense, athleticism) may start to shine a little too bright.
I'm excited for Scottie Reynolds to get a chance in the NBA, and I think you'll all appreciate the hard work and will to win that he brings to the hardwood if/when you get the chance to see him play.


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If you have been charged with driving under the influence of alcohol or drugs in Georgia and you are under the age of 21, you can receive serious penalties and punishments if convicted of the offenses, and a DUI or DWI conviction could have serious lasting collateral consequences.
For example, a juvenile DUI offender could face a license suspension, jail or prison sentence, steep fines, a criminal record and/or community service. Even if your criminal record is expunged or sealed, you still may be required to disclose the DUI to certain educational programs, such as college or graduate schools and on certain job applications.
If you have been charged with an underage DUI in Atlanta, it is essential to contact an experienced DUI defense attorney today who will begin crafting your legal strategy to help you avoid the most serious penalties and repercussions to your alleged offense.
Atlanta Underage DUI Lawyer
If you have been charged with a juvenile drinking and driving offense in Atlanta, or any of the surrounding areas in Georgia, including Roswell, Smyrna, Lawrenceville or Marietta, contact Benjamin Von Schuch, Attorney at Law. Benjamin Von Schuch is a former prosecutor who understands how the DUI case is being prepared against you and how to effectively use any defenses to achieve a reduction or dismissal of your charges. Call today for a free consultation at (678) 948-7811 about your alleged underage drunk driving offense.
Georgia Juvenile Driving Under the Influence (DUI)
Any juvenile who is under the age of 21 and drinks and drives in Georgia is subject to the state's zero tolerance laws. This means if a minor under the age of 21 is pulled over on suspicion of DUI, and the law enforcement officer finds the juvenile has a blood or breath alcohol concentration level over 0.02, they can be arrested for DUI automatically. The means a juvenile DUI offender does not have to blow over the state's legal limit in order to be arrested, they merely have to have any detectable amount of blood in their system.
According to O.C.G.A. § 40-6-391(k), a juvenile or driver under the age of 21 can be charged with driving under the influence (DUI or DWI) if they drive or are in actual physical control of a motor vehicle while:
- They are under the influence of alcohol;
- Under the influence of drugs;
- Under the influence of any glue aerosol or other toxic vapor;
- Under the combination of any alcohol or drug; or
- There is any amount of marijuana or controlled substance present in the juvenile's blood or urine.
A child, or juvenile, is defined under Georgia law in O.C.G.A. § 15-11-2 as any individual:
- Who is under the age of 17,
- Under the age of 21 who committed an act of delinquency before reaching the age of 17 and who has been placed under supervision of the court, or
- Under the age of 18 who is alleged to be a "deprived child" or "status offender."
Repercussions to a Juvenile DUI in Atlanta
A juvenile DUI is generally punishable as a misdemeanor for a first and second offense. This offense can result in a fine up to $1,000 and/or a jail sentence up to one year. A first DUI conviction is subject to a minimum fine of $300 and imprisonment of no less than ten days. A second juvenile DUI conviction is subject to a minimum fine of $600 and a jail term of no less than 90 days.
A third underage DUI conviction is classified as a high and aggravated misdemeanor offenses, which is punishable by a fine ranging from $1,000 to $5,000 and/or imprisonment from 120 days to 12 months.
Juvenile DUI offenders may also be required to complete community service, attend a DUI a DUI Alcohol or Drug Use Risk Reduction Program and/or attend a clinical evaluation. Further, underage DUI offenders are not permitted to plea nolo contendere to their offense; they must plea either not guilty or guilty.
Underage DUI License Suspensions in Atlanta
According to O.C.G.A. § 40-5-57.1, an individual who is under the age of 21 can receive a driver's license suspension after a conviction for certain offenses, including driving under the influence of alcohol or drugs in Georgia, as defined in O.C.G.A. § 40-6-391.
A conviction for a first offense can result in a license suspension for up to 12 months. A juvenile can apply to have their license reinstated after this period has expired, but is not eligible to have a hardship license during the suspension. However, if their BAC was under .08, they can apply to reinstate their license after the six month probation. If the juvenile's BAC was .08 or higher, their license cannot be reinstated until the 12 month period is over. They are also not eligible for a hardship license during the suspension period.
If the juvenile receives a second DUI within five years, their license can be suspended for a period of three years. If they receive a third or subsequent DUI conviction, they will be considered a habitual violator, which can ultimately result in a driver's license revocation.
For DUI suspects under the age of 21, OCGA § 40–5–67.1(b)(1) requires the arresting officer to give an implied consent warning that provides:
"If you submit to testing and the results indicate an alcohol concentration of 0.02 grams or more, your Georgia driver's license or privilege to drive on the highways of this state may be suspended for a minimum period of one year."
Georgia's DUI statutory scheme also provides that the implied consent warning "need not be read exactly so long as the substance of the notice remains unchanged." OCGA § 40–5–67.1(b). The failure to properly read the implied consent warning to a person under the age of 21 years old can result in the suppression of any evidence that the person refused to submit to a breath, blood or urine test.
Benjamin Von Schuch, Attorney at Law | Fulton County Underage DUI Attorney
Contact Benjamin Von Schuch today for a consultation about your underage driving under the influence of alcohol or drugs offense throughout Fulton County in Georgia. Benjamin Von Schuch is an experienced DUI attorney in Atlanta who will make every effort to achieve the best possible outcome in your situation.
Call (678) 948-7811 for a consultation about your alleged juvenile or under the age of 21 DUI offense throughout Atlanta in Fulton County, Georgia and the surrounding areas of Cobb County, DeKalb County, Clayton County and Gwinnett County.


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|Project by pintodeluxe
|posted 1295 days ago
|8532 views
|20 times favorited
|22 comments
I finally made a zero clearance throat plate for my Dewalt 12" chop saw. I don't know why I never did this before. A scrap of 1/4" mdf worked well. All it took was two layers of tape on the aluminum rim under the insert to bring it flush with the table.
I always used a plywood fixture that screwed to the miter saw if I needed a splinter-free cut. That worked fine if you were only making square 90 degree cuts. This zero clearance insert moves with the table – just like the factory insert- so you can cut at any angle.
The limitation is that it will only prevent splintering on three sides. You can still get some minor imperfections on the edge of the board against the fence. Still, an improvement over my old fixture for most cuts.
-- Willie, Washington "If You Choose Not To Decide, You Still Have Made a Choice" - Rush
22 comments so far
#1 posted 1295 days ago
Great Idea!! I will be borrowing that one.
-- Rob V
#2 posted 1295 days ago
ya me to, always thought about making one, if it was possible. but now it is i gues
-- Ben L
#3 posted 1295 days ago
Well done, I need to do the same to my Dewalt too
#4 posted 1295 days ago
I need to do this also
-- Paul Lemiski, Ontario Canada, Custom Wooden Rocking chairs and tables http://www.canadianwoodworks.com
#5 posted 1295 days ago
If you clamp a piece to the fence you'll hav no tearout at the fence and you won't need to turn on your laser ether. The cut at the fence shows were the blade is cutting.
-- Darrell, making more sawdust than I know what to do with
#6 posted 1295 days ago
I used to screw a piece to the fence but now I clamp it so I can reposition the MRF/MDO when I need an angle. Make sure and have it a little long to start with because you use it up fast once you start flipping back and forth cutting angles.
-- Darrell, making more sawdust than I know what to do with
#7 posted 1295 days ago
I wish they made insert from heavy metal, it would stay flat.
#8 posted 1295 days ago
Thanks for the idea. Got a new 12" slider and was going to use the full fixture backing but will give this a try.
-- Deeds not Words.
#9 posted 1295 days ago
I just made 4 fo them for my table saw this weekend as well. Nice work.
-- Ken, "Everyday above ground is a good day!"
#10 posted 1295 days ago
Pinto, I've been meaning to do this too. Maybe this will motivate me. :) Thanks for posting.
@ Steven H – Right before you change your blade or get it sharpened, fashion a thick aluminum insert, cut it, then send your blade off to get sharpened. Actually, that sounds like a great idea. Well… I think a nice thick wooden one would be just fine.
-- Backer boards, stop blocks, build oversized, and never buy a hand plane--
#11 posted 1295 days ago
Great idea. Think I'll put that to use.
-- Joe, Cumming, GA
#12 posted 1295 days ago
I say Brilliant! Or at least very clever…thanks.
#13 posted 1295 days ago
Great idea. I'll be making some of these this weekend. Thanks for sharing.
-- Bob, Burnsville, NC
#14 posted 1295 days ago
I was cross cutting yesterday on my Dewalt and cussing the tear out . Know what I am doing today. Thanks
#15 posted 1295 days ago
Looks a good idea – and your adjustable left side back guide is pristine (unlike mine – which I forgot to move when doing a bevel cut LOL )
-- Don, Somerset UK, http://www.donjohnson24.co.uk
showing 1 through 15 of 22 comments
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Brandon Knight Scouting from NBA Playbook
Sebastian Pruiti of the fantastic NBA Playbook blog breaks down the newest Piston guard. I urge you to check out the video, but here's a summary: GOOD: Good ball-handler. Can penetrate but doesn't finish explosively. Avoids defense around the rim with nice floater. Nice shooting form. BAD: Not an instinctive passer. Handles traps poorly. Turnover prone. Occasionally poor shot selection. Tip of the hat to PistonPowered.


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Media Information
Conservation Efforts
Conservation matters at the Aquarium. South Carolina is one of the most bio-diverse states in the nation, and our conservation initiatives help to protect the denizens of our streams and rivers, wetlands and marsh, our shoreline and the ocean. Signature programs extend from charismatic species like sea turtles and sharks to less-heralded but vitally important sentinels like freshwater mussels and the rare robust redhorse. Field conservation comes with a cost, and the Aquarium's commitment to conservation is firmly rooted in partnership. While sea turtle rescue and rehabilitation was not in the original plans upon opening 12 years ago, the Aquarium responded to the call put out by the state's Department of Natural Resources and launched a critically important hospital and rescue effort. The Aquarium has also tackled the issue of sustainable seafood head on by partnering with local seafood suppliers and restaurants. The robust redhorse initiative includes federal and regional government partners, energy companies and local universities.
South Carolina Aquarium Conservation Facts
South Carolina Aquarium Conservation Success Story
One of the Aquarium's most popular and successful conservation programs is the Sustainable Seafood Initiative. The program was developed in 2001 and is designed to promote the use of local and sustainable seafood in the state's restaurants. The program helps ensure that consumers have fish for the future by teaching our partner chefs about sustainable and local seafood, assessing their menus, and encouraging consumers to dine at one of our partner restaurants. To date, more than 90 restaurants in Charleston and across the state have made the pledge to serve only sustainable seafood. Learn more.
Energy Efficiency
Air Quality
Water Conservation
Staff Involvement
Planning for the South Carolina Aquarium began in the early 1980's after Mayor Joseph Riley visited the Shedd Aquarium in Chicago, and decided South Carolina should house its very own aquarium. After choosing Calhoun Park as the location in 1985, and breaking ground ten years later in 1995, the Aquarium opened to the public on May 19, 2000.
The $69 million cost of building and opening the Aquarium was committed from the City of Charleston, Charleston County, the State of South Carolina, the Economic Development Administration, an environmental settlement, and numerous private donations. While the City owns the Aquarium building, the facility is leased and operated by the Aquarium Board of Directors as a not-for-profit corporation, led by Ken Seeger, Chairman of the Board of Directors. The Aquarium is a 501(c)(3) registered private not-for-profit corporation. As such, the Aquarium relies on the generosity of individuals, corporations, and foundations to fulfill its mission of education and conservation of the aquatic environments of South Carolina.
The Aquarium, jutting out 200 feet into the Charleston Harbor, offers a state-of-the-art environmental learning center that encompasses the entire spectrum of the Southeast Appalachian Watershed as found in South Carolina: the Mountains, the Piedmont, the Coastal Plain, the Coast, and the Ocean. The Aquarium's 93,000-square-foot building includes nine galleries featuring more than 5,000 amazing aquatic animals, from river otters and sharks to loggerhead turtles and American alligators, within approximately 50 exhibits. Currently the Aquarium holds 6,243 specimens of animals within 350 species and 12,000 specimens of plants within 215 species.
Aquarium Milestones Timeline
October 1995: Groundbreaking.
May 19, 2000: The Aquarium opens to the public.
August 2000: First turtle released from the Aquarium's Sea Turtle Rescue Program.
Fall 2000: The free Structured School Program begins educating teachers and students from across South Carolina.
October 31, 2000: First 'Fish or Treat' Halloween event.
May 2001: Caretta, a female loggerhead sea turtle, becomes a resident of the Great Ocean Tank.
July 18, 2001: The 1 millionth visitor arrives from Laurens, S.C.
September 2001: The Aquarium receives its Association of Zoos and Aquariums (AZA) accreditation.
March 2002: UFO (Unbelievable Flying Objects) exhibit opens including two macaws, Marvin, and Joey.
September 2002: Kiawah, the red-tailed hawk, arrives.
October 2002: The Sustainable Seafood Initiative begins to promote wise seafood choices in local restaurants.
November 2002: First Scuba Do Fundraiser.
February 2003: Pandora, the reticulated python, tries to escape while being transported to the Aquarium.
March 2003: Debut of Name That Tuna, the Aquarium's first game show dive program.
April 2003: Ace, the baby river otter, is rescued and brought to the Aquarium.
October 2003: The first member's travel program takes place in the Galapagos.
March 2004: Secrets of the Amazon exhibit opens, the first major exhibit entirely designed and built by Aquarium staff.
June 2004: Local high school students begin working at the Aquarium as part of the High School Intern Program.
July 2004: Wreckfish Reef, the children's play area, opens.
Winter 2005: The Aquarium holds its first Group Sleepover. Conservation program, Oyster Time, is launched.
April 2005: Maya the anteater goes on exhibit.
May 19, 2005: The Aquarium's Five Year Birthday.
August 22, 2005: The Aquarium welcomes its three millionth visitor.
Fall 2005: Jetty, a rehabilitated loggerhead, was the Aquarium's 16th turtle to be released back into the wild.
January 2006: The Aquarium welcomes Kevin Mills as President and CEO.
June 2006: Pablo Pawcasso opens as the Aquarium's first Animal Art Exhibit.
Summer 2006: Live feed allows the public to observe Sea Turtle Hospital activities.
Fall 2006: The Aquarium receives AZA Diversity Award for the High School Intern Program.
January 2007: A full-time position, devoted completely to the Sea Turtle Rescue Program is created.
Fall 2007: The Aquarium's eatery, the Sea Turtle Café opens.
March 2007: The Aquarium receives AZA accreditation for the second time.
March 2008: Camp Carolina opens, a major new exhibit located in the Countess Alicia Spaulding-Paolozzi changing exhibit gallery.
February 2009: Expanded Touch Tank experience opens on the Aquarium's second floor featuring an Atlantic stingray touch pool.
March 2009: Opening of Penguin Planet, a limited-time only experience featuring four Magellanic Penguins.
February 2010: The Aquarium Retires Opening Debt of $11.5 Million.
March 2010: The Aquarium welcomes Alabaster, an extremely rare Albino American Alligator into the completely renovated Blackwater Swamp exhibit.
May 2010: Former Vice President Al Gore is awarded the Legacy Award at the 2010 Environmental Stewardship Award Ceremony.
May 19, 2010: The Aquarium celebrates its Ten Year Birthday.
March 18, 2011: The renovated Saltmarsh Aviary opens with the Feed the Stingray experience.
April 2011: Dr. Sylvia Earle is awarded the Legacy Award at the 2011 Environmental Stewardship Award Ceremony.
May 2012: Madagascar Journey, the Aquarium's largest changing exhibit opens to the public in the Countess Alicia Spaulding-Paolozzi changing exhibit gallery.
December 27, 2012: The Aquarium's Sea Turtle Rescue Program releases the 100th sea turtle treated and rehabilitated at the Aquarium's Sea Turtle Hospital.
April 2013: Ted Turner is awarded the 2013 Environmental Stewardship award.
May 2013: The Aquarium's Animal Care Exhibit opens to the public.
Structured School Program (SSP)
Education Leadership Partners
Program Goal
The overall goal of the Structured School Program is to set a standard of excellence in education through the creation, implementation, and continual assessment/refinement of standards-based instructional materials and programs that improve the quality of science education for South Carolina students and teachers.
Program Objectives
Web Based Curriculum
Teacher Workshops
Program Success
To ensure program success, the following elements have been incorporated into the on-site portion of the Structured School Program:
Interpretive Programs
Aquarium Rovers: Education Outreach Program


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-- Fun, Facts, and Trivia
The Dirksen Center wants to help teachers teach better by giving them the opportunity to use technology to create, customize, and share online learning activities in their classrooms. The Center wants to help students learn more by bringing educational resources together in one place that provide new ways to learn about Congress interactively.
Learning Legislation Lingo
State legislatures usually draw congressional district lines, but federal courts sometimes draw districts when the original plans lose a constitutional challenge. The majority party, to maximize the chances for its candidates to win elections, often draws the boundaries. Governor Elbridge Gerry of Massachusetts approved a bill in 1812 creating such an oddly shaped district that his critics called it a "gerrymander." Learn more about gerrymandering and how it relates to the reapportionment and redistricting of congressional seats by completing the printable worksheet posted on Congress for Kids. Find Congressional Districts: 108th Congress at: http://www.congressforkids.net/games/houseofrep/2_legislativebranch.htm
1. The U.S. states of the Southwest and West
have gained representatives, and those of the Northeast and Midwest lost
them, through the process called _______ that followed the last few federal
2. True or False: The U.S.
Supreme Court has ruled that states may not place a legal limit on how
many terms their elected congressional representatives may serve.
3. Gov. Elbridge Gerry signed into law an 1812
elections bill that included a salamander-shaped congressional district
sure to elect Republicans to office. As a result, strategically designed
election districts are now called _______s, and the act of drawing such
districts is called _______ing.
4. A representative who considers it his or
her job to express the district will of voters back home is often called
a _______, whereas one who emphasizes his or her own best judgment is
often called a _______.
Answers to February's issue of Fun, Facts, and Trivia link here: http://www.webcommunicator.org/funfactstrivia0203ans.htm
Do you have or know of an online activity you would like The Dirksen Congressional Center to feature on its new Web site for students -- Congress for Kids? The Center is currently seeking online activities that provide new ways to learn about Congress and the workings of the federal government interactively.
If you have questions or suggestions for online activities, contact Cindy Koeppel.


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Update 9:00 PM
Another grass fire today, this one burning more than 240 acres of government protected land. It started around 1:00 PM about 4 miles south of Hitterdal , Minnesota in a waterfowl production area. It's believed to be caused by a cigarette.
It's not the way Mike Bjorgan wanted to wake up from a nap. He says he looked out the window and saw the sky was pink and filled with smoke. Area fire crews rushed in and saved Bjorgan's horses, chickens and farm.
Clay County Sheriff, Bill Bergquist, says, "We can thank God that no buildings were taken here, but locally, we've had some where many houses have been taken."
Crews purposely burn areas by roads, power poles or buildings to try and keep the fire contained.
Bergquist says, "Just back burning to get them together." He adds that the whole thing, probably happened from someone making a bad decision.
"If I had to guess, I would say it was a cigarette, so it goes to show what happens just by simply throwing out a cigarette," says Bergquist.
With the dry weather, Sheriff Bergquist says people NEED to be more careful. And as crews finished up containing the fire, Mike Bjorgan says he'll sit back and be thankful his farm is safe.
Investigators haven't confirmed a cause, but say they have a strong feeling that it's cigarette related. Highway 32 is back open tonight after being shut down for a short period of time this afternoon.
Fire officials are battling a brush fire in Clay County. One farm was saved by firefighters.The fire started at around 1:00 about 4 miles south of Hitterdal.
The fire is burning towards the north, and has so far burned about 180 acres.Fire officials say it doesn't appear to be a threat to any additional structures. We'll have updates as we receive them. More info to come. . . .


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The first thing I did right out of college was to take off to see the world. When you're young, you can do with a bunk bed in a youth hostel and get all kinds of special deals and discounts on everything from lodging to a Eurail pass. You're healthier and better able to deal with the occasional bumps on the road like losing your passport or sleeping in an airport because of a missed flight. But the single greatest advantage you have is financial: the bills won't pile up while you're away from home because you won't leave a home behind.
When you take into consideration the 'opportunity cost' of travelling before you get ensnared by your career or tied down by your business and family obligations, you save a fortune by treating the travel bug early on in life.
Most entry level jobs pay minimal wages – just enough to cover the basics. So you won't be giving up much in the way of income or savings. By the time you're in your peak earning years – mid thirties to mid fifties – you'll have a slim chance of convincing the wife that you 'need' to walk away from that 100K sales job, hire a nanny for the kids and sign up for intensive tango lessons in Buenos Aires. Regardless of what the wife says, unless you're a college professor, your employer is unlikely to give you a sabbatical – even without pay.
Seeing the world the way it deserves to be seen takes time. You really pick up on the ambiance of a place when you have a few weeks to experience the leisure of random strolls and spending hours watching the foot traffic while sipping lattes at a favorite café. A couple of extended stays in Paris or Madrid can leave you with adequate linguistic skills – especially if you've already taken a few courses in high school or college. You can take time off from being a tourist and sign up for an intensive language program. It allows you to pick up the skills that will come in handy on future visits and will look real good on a resume – especially if you want to land a job at the State Department or with a multi-national corporation.
Young sojourners and old alike can experience mother earth on the cheap by booking round-the-world tickets. They offer some excellent value. Don't just compare prices, pay attention to the number of stops allowed, the expiration date and the flexibility to change your itinerary. Click below for some sample airfares and more information on Around the World bargain tickets. Notice the special deals for students.
A few years ago, I landed a job in New Zealand. Part of my compensation package was a trip home to Seattle every few months. Instead of buying a regular coach ticket to Seattle, I opted to pay a few hundred dollars more and booked a round-the-world ticket for $1800. It's an incredible rush to visit Sydney, Hong Kong, Cairo, Frankfurt, London, Seattle and Wellington in 15 days. I might have spent a few extra hours in the air but the shorter flights more than made up for it by cutting down on the jet lag. My ticket would have allowed me to squeeze in a side trip to Buenos Aires or Hawaii. Alas, I was a professional in my early forties and had to get back to work. In my younger days, I would have had the luxury of booking a three month trip with fifteen stops. So many places – so little time. So travel cheap and travel young, you will never forget it.
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The Frugal Nomad has travelled to over 40 countries and lived, studied and worked for extended periods of time in London, Paris, New York, San Francisco, Los Angeles, Miami, Wellington, New Zealand and Alexandria, Egypt. He calls Seattle home - for now.


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Croatia vs. Turkey was supposed to be the most interesting and most competitive match in the Euro 2012 qualifying playoffs. Both teams have a ton of talent, narrowly missed out on World Cup 2010, and played well at Euro 2008. While Nuri Sahin isn't playing for Turkey, they still have the likes of Arda Turan, the Altintop brothers and Mehmet Topul. Croatia have Luka Modric, among other stars. Competitive and entertaining, right?
Instead, Turkey got crushed at home in the first leg. Ivica Olic scored just two minutes in and Croatia had a 3-0 lead in the 51st minute. This tie was over before it ever really got started. There's not really any compelling reason to believe that Turkey can turn this result around in Croatia, and for that, it seems likely that Guus Hiddink will lose his job.
Croatia vs. Turkey kicks off at 2:05 pm ET and can be seen on ESPN3 in the USA. We'll have live coverage of this and every Euro 2012 qualifying match in our Euro 2012 Qualifying Playoffs, Second Legs StoryStream. For more on the entire world of football, visit SB Nation Soccer.


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50 amp Rexhall Aerbus 39' pusher with Intellitec EMS installed and a Hughes Autoformer.
Running 2 electric space heaters, one on low, Splendide washer, TV and associated equipment and some small loads and blowing Campground breakers on 50 amp hookup. Some weeks ago in the night I heard sounds like relays clicking on and off. Pedestal tests between 112 and 118 on each leg. Hughes Autoformer, mounted internally near transfer switch has the amber light flickering and only showing boost on one leg of park power. I thought it was the problem and took it out of the equation and sent an Email to Hughes but they seem too busy to respond.
My Intellitec 800 panel indicates I am on Gen Set and not on 50 amp shore power. Selector button does nothing but I understand the selector only works on 30 amp or less. When I tested the rig end of the Marine 50 amp cord it tested good on both legs. My gut tells me I am only getting one leg of 50 amps to the EMS. I have physical limitations and couldn't test transfer box output easily.
We have also had past anomalies with the Generac generator control board which shouldn't be involved in this equation.
Any ideas on where to look next?
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50 amp (100 total) Popping Breakers At 60 Amp Loads
Started by DavidWoodruff, Jan 16 2013 01:25 AMIntellitec Hughes EMS autoformer
1 reply to this topic
Posted 16 January 2013 - 01:25 AM
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Posted 16 January 2013 - 11:20 AM
Hi Dave and welcome to FMCA.
This link might help find your problem regarding the EMS 800 series.
This link might help find your problem regarding the EMS 800 series.
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