Hermes

Hallo all!~ The newest in my God's and Goddesses Series! Hermes: He is the messenger God. He leads souls to the underworld and such. He is a mischievous little bugger who liked messing with Apollo's sheep! He is also the fastest of the Gods. Sadly, this one has barely any melody whatsoever. I'm sure I'll get back to it later. Favorite if you like, comment even if you don't. Thanks ^_^

Poseidon's Key, Trailer by Dawn Avalon.wmv

In the 17th century Poseidon, god of the sea had a child which he named Layna... When she was still a child, pirates kidnaped her... But a storm threw her overboard... She was found and saved by a French family who lived on an island nearby... Until the same pirates came to her new home... Still they did not realize who she was... and left... Only to return 7 years later... This time they came looking for her... Layna, now known as Eleanora had to run and hide on board one of the pirate's ship... As a cabin-boy... And so for the pirate's of that ship the adventure begins...

Rotting Christ- Nemecic

Fukkin Greek Black Metal... Hail Greece!!!! Band:Rotting Christ Album:Theogenia Song:Nemecic Lyrics: Nemecic, Nemecic, come born! Come born, darkness child! Nemecic, Nemecic, last bust! Last bust, the holy rite! (repeat) (repeat chorus x1) Is this the land where sun brightly shines? Is this the existence of a heaven's sign? Is this the locus, the hallowed focus? Where grace, love and harmony combine? Is this the stead where reigns the light? Is this where hate bids? Hear those souls' cries: Do they beg? Do they smile? Do they follow the endless long line? Nemecic for the anxious heavy spirit! (repeat chorus) Lay down their souls with holy fears, And waters the ground with dismal tears. Soldiers of grief prepare, we are near, Fight the pash with shields but without spears. Hold by the whispers that summer breeze bears, And reign the land where all the woes bear. Hear those souls' cries: Do they beg? Do they smile? Do they follow the endless long line? Nemecic for the generation free! (repeat chorus)

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Locations in Greek Underworld: Rivers of Hades, Tartarus, Styx, Elysium, Lethe, Mnemosyne, Acheron, Erebus, Phlegethon, Cocytus, Eridanos Review

Locations in Greek Underworld: Rivers of Hades, Tartarus, Styx, Elysium, Lethe, Mnemosyne, Acheron, Erebus, Phlegethon, Cocytus, Eridanos Overview

Chapters: Rivers of Hades, Tartarus, Styx, Elysium, Lethe, Mnemosyne, Acheron, Erebus, Phlegethon, Cocytus, Eridanos, Asphodel Meadows. Source: Wikipedia. Pages: 53. Not illustrated. Free updates online. Purchase includes a free trial membership in the publisher's book club where you can select from more than a million books without charge. Excerpt: In Greek mythology, Elysium (Greek: ) was a section of the Underworld (the spelling Elysium is a Latinization of the Greek word Elysion). The Elysian Fields, or the Elysian Plains, were the final resting places of the souls of the heroic and the virtuous. Elysium is an obscure name that evolved from a designation of a place or person struck by lightning, enelysion, enelysios. This could be a reference to Zeus, the god of lightning/Jupiter, so "lightning-struck" could be saying that the person was blessed (struck) by Zeus (/lightning/fortune). Egyptologist Jan Assmann has also suggested that Greek Elysion may have instead been derived from the Egyptian term ialu (older iaru), meaning "reeds," with specific reference to the "Reed fields" (Egyptian: sekhet iaru / ialu), a paradisaical land of plenty where the dead hoped to spend eternity. The ruler of Elysium varies from author to author; Pindar names the ruler as Kronos, released from Tartarus and ruling in a palace: Other authors claim that Kronos remained in Tartarus for all eternity, and the judge was another, sometimes Rhadamanthys. Two Homeric passages in particular established for Greeks the nature of the Afterlife: the dreamed apparition of the dead Patroclus in the Iliad and the more daring boundary-breaking visit in Book 11 of the Odyssey. Greek traditions concerning funerary ritual were reticent, but the Homeric examples encouraged other heroic visits, in the myth cycles centered around Theseus and Heracles. The Elysian Fields lay on the western margin of the earth, by the encircling stream of Oceanus, and there the mortal...More: http://booksllc.net/?id=65131


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Update Post: Dec 24, 2010 12:40:27

Advertising and Translation Services Errors

Translation services for advertisements play a key role in new product launches. Having high quality multi-lingual advertising copy is therefore very important to marketing success...

When consumer products are launched on foreign shores, advertisement plays a big part in boosting awareness and thereby building a broad based market for the product. More often than not, it is the translation service for advertising copy that poses the biggest challenge at the point of launch, as it involves both linguistic as well as cultural adaptation to the target market.

In the U.S., for instance, there is a large Hispanic population within the country itself, and there is also a large overseas Hispanic market that American manufacturers would like to have access to. There is plenty of bi-lingual promotional literature including in-flight magazines that contain advertisements, and the occasional faux pas is there for everyone to see, and perhaps some readers may even derive some amusement from them. The word "advertising" itself, when translated to its Spanish equivalent, reads as "propaganda," which has other connotations in English.

To be really effective in the face of stiff competition, advertisers rely on high-quality, hard-hitting copy, and consequently are at pains to optimise their effort. Unfortunately, instances of translation bloopers and cultural mismatch are high, which can result in vast sums of advertising outlay going down the drain.

There are a number of examples of mis-translations encountered in advertising copy, which goes to show that businesses can't afford to treat the issue of advertisement translation lightly.

When Braniff International Airways claimed that they can fly "en cuero" they were talking about the comfy leather seats in the aircraft, but "en cuero" means "naked" in Spanish!

Frank Perdue of Perdue Farms claimed that "it takes a tough man to make a tender chicken" translated to Spanish, read that "it takes a sexually aroused man to make a chick affectionate."

A pesticide ad carried the promise that their product would kill all kinds of "bichos" -- unfortunately, the word "bichos" also refers to the male genitals.

The Swedish furniture giant IKEA christened it's new range of office desks "FARTFULL."

"Traficante" an Italian mineral water was well received by Spain's underworld - not surprisingly, because it translates as "drug dealer" in Spanish.

Even Parker Pen was not immune to translatorese: when they tried to launch their ballpoint pens in Mexico, the ad was intended to say "It won't leak in your pocket and embarrass you". Instead, the ads said, "It won't leak in your pocket and make you pregnant."

The catchy Coors slogan, "Turn it loose", when translated into Spanish, read as "Suffer from diarrhea."

The operating instructions for a German made refrigerator gave this instruction:
"WARNING - THIS APPLIANCE MUST BE EARTHED." While this makes perfect sense to anyone accustomed to the British style of speaking English, an American would conjure up visions of a pot of soil to be placed by the side of the fridge. It is more appropriate to use the word "grounded" rather than "earthed" in American English.

An American company used the "OK" finger sign on its product catalogue, blissfully unaware that it was regarded as an obscene gesture in many parts of Latin America. The catalogues had to be reprinted six months down the line.

In recent years, there has been a heightened demand for language translation services, with English-to-Spanish (and vice versa) taking precedence over other language pairs. Spanish advertisement translation services are in especially great demand, owing to the large Hispanic population in the U.S. As a result, Spanish translators, linguists, and graphic artists are some of the busiest people in the translation services industry today.

About the Author:
Armando Riquier is a freelance writer and expert translator who has worked with Tectrad for more than a decade. Tectrad's specialty business translation services will allow you to develop new foreign markets very effectively right from the start.

Melody-Orfeo & Euridice -Gluck - arr by Kreisler - Violin -Takako Nishizaki

Orfeo & Euridice: the Greek mythology as Gluck's opera. Orfeo's love for his wife Euridice could made possible Euridice to come back to life on earth from the dead that took her to the underworld of the death kingdom. Euridice was bitten by a snake while running away from Apollo's pressure. A force more than she could handle. Many young women nowdays are pressured to be a super- woman. The world demands them to be beyond their means of to be smart, successful and physically beautiful and desirable. But their attempt could be a just vain struggles. In the end they are bitten by the depression that leads them to smoking, drinking and drugging themselves into an addiction or death. If there is a strong LOVE /love from their men like the way Orfeo had for Euridice.... will sure to make them to endure and could survive from spiritual, mental, emotional and even early physical death. This perhaps could be vis-a-vis with men whom are also doubly pressured to make things going for their lives as the world spins and demands more faster and more complex in each growing day. Takako: I favor and love so much how she plays this particular piece. I feel the controlled calmness yet expressing all of its sweet sadness of emotion as if telling of a story that is long long time ago. There is no over dramatized emotion of one's feel. This quality is what draws me to her playing above all other famed perofrmers of this piece.

God Fear None The IronM / Studio Version

God.Fear.None performing live on Underworld's stage July 2008 / Studio Version

Orpheus and Eurydice Part 2

THIS IS NOT A BHSM VIDEO!!!! this video is about a greek god guy who falls in love with a nymph they get married she Eurydice gets bitten by a snake and is sent to the underworld where Orpheus goes and tries to rescue her, not ending very well for either one of them...

The Origin and Role of the Greek Gods

In classical-era mythology, twelve Gods and Goddesses ruled from Mt. Olympus.   Zeus was the deemed the king of the Gods and Hera his queen.  This pantheon of twelve Gods and Goddesses are considered the Olympians, representing primary aspects of life such as war, love and death.  Six male gods exist in the pantheon, two (Zeus and Poseidon) were born of Titan Gods themselves and overthrew their father to rule the universe.   Hades, their brother, also fought by their side, but after the victory he was given rule of the Underworld, so did not sit atop Mt. Olympus with his brothers.

Zeus - King of the Gods

Zeus was King of the Gods and ruler of Mt. Olympus.    He was the youngest son to Cronus and Rhea, Titans who were themselves children of Ouranos and Gaia, the sky and Earth in classical Greek mythology.  Zeus overthrew his father Cronus with the aid of his two brothers, Poseidon and Hades in a ten-year battle known as the Titanomachy, or more popularly as "The Clash of the Titans."  Zeus fathered many of the characters in Greek mythology with Goddesses, deities and mortals alike.  Greek artists frequently portrayed Zeus either astride his throne ruling over Olympus or striding forward with thunderbolt in hand.  Jupiter is the Roman equivalent of Zeus.

Poseidon

God of the seas, bringer of earthquakes and brother to Zeus and Hades.  He was given reign of the seas after the battle of the Titans.  He is perhaps the most iconic of the Greek gods, his trident a familiar and pervasive symbol.  The ancient Greeks believed he had the ability to offer calm waters for sailing and bountiful fishing expeditions, but when angered would smash his trident into the ground causing earthquakes and tidal waves.  He was a popular god and considered the protector of many Greek cities.

Apollo

Apollo was perhaps the most multi-faceted God, seen as God of light and the sun; prophecy and truth; healing and medicine; music, art and poetry.  Son of Zeus and Leto, he has a twin sister, the virgin Goddess Artemis.  He was regarded as the most handsome of the Gods, always depicted as youthful and clean-shaven.  He was considered to have both great capacity to heal and to bring forth pestilence and plague.  His symbols are the bow, lyre and laurel.  He is also known as "Apollo" by the Romans.

Ares

The God of war was named Ares.  The Greeks viewed him more as the God of bloodlust or slaughter.  Ares was seen as unpredictable, chaotic and barbaric.  It was his half-sister Athena who acted as goddess of strategic warfare.  The vulture and dog were the sacred animals of Ares.  The Roman God Mars was connected to Ares, but he was also seen as a God of agriculture and held in higher regard by mortals.

Dionysus

Born to Zeus and the mortal Semele in the city of Thebes, Dionysus was regarded as one of the gods of the epiphany or "gods that come."  He was the God of Wine, Merriment and Ecstasy and fittingly a popular god often honored with festivals.  Writings of the time contend that he possessed an androgynous beauty and long, flowing locks.  This could be the influence of one tale that suggests Hermes was tasked by Zeus to hide the boy away to protect him from the vengeful Hera.  Hermes took him to his mortal relatives and commanded that they raise the boy as a girl to deceive Hera and protect him.

Hephaestus

Regarded as a gentle and compassionate god, he was the god of metal, blacksmiths, artisans, craftsman, metallurgy, volcanoes and fire.  Thrown from Mt. Olympus by his mother Hera, he is the only God depicted as repulsive.  He was also described as lame, due to the injuries he suffered in his fall from Mt. Olympus.  Hephaestus is credited with the creation of many of Greek mythologies most magnificent weapons and tools including:  Hermes' sandals and helmet, the Aegis breastplate, the armor of Achilles, Helio's chariot, Eros bow and arrow and the thrones at Mt. Olympus.  The Romans named this god Vulcan.

Hermes

With wings on his sandals, Hermes was possessed of great speed and assumed the role of "messenger of the Gods" and transporter of souls to the Underworld.  He was the only God permitted to enter the realms of Heaven, Earth and the Underworld.  Like all Gods, he was possessed of fallibility:  the impulse to steal.  This shortcoming earned him the honor of God of Thieves.  The son of Zeus, Hermes was a trusted ally of the king of Gods and frequent confidant.  He wore a "petasus" (a shallow, round hat) and was often portrayed with wings on his shoulders along with his famed winged sandals.  The Roman incarnation of Hermes is Mercury.

Hades

Brother of Zeus and Poseidon, Hades fought alongside his brothers in the Titanomachy, helping to destroy their father Cronus and begin the rule of the Olympian Gods.  After their victory in the battle of the Titans, Hades and his brothers divided rule of the world.  Drawing lots, Zeus was given the sky, Poseidon the seas and Hades the underworld.  Popular notions of Hades are a bit distorted, probably from Christian views of hell.  In Greek mythology, Hades was a benevolent ruler who sought balance in the Underworld, but was capable of rage and vindictive actions if crossed.  Hades is associated with Cerebus, the three-headed canine that helps guard the underworld and the Helm of Darkness given to him by the Cyclops' prior to the Battle of the Titans. 

Rob Mabry is a former military journalist, screenwriter, father of five and ecommerce entrepreneur. He owns Balance Bikes 4 Kids, a learning bike store offering a large selection of balance bikes and wood bikes that help young children learn to ride a bike by focusing on mastering balance first.

The Hebrew God YHWH As Two Faced Androgynous Deity

It is widely acknowledged that the name of the Old Testament Hebrew God, YHWH, was not derived from the Hebrew language, though the word appears to share the common Afro-Asiatic etymological roots of the Hebrew words "hay" ("living/ being") and "hawwah" ( derived from the Hebrew root of the verb "to be").

The common Afro-Asiatic root of the Hebrew word "hay" is ubiquitous in the sub-Saharan Niger-Congo group of African languages. In the Yoruba language of West Africa, for instance, the root occurs in words meaning "life," "mother," and earth. Similarly, the Afro-Asiatic root, "h-w-h," of the Hebrew word "hawwah" (Eve) is found in words meaning "life, " "being" and woman in the language of the Yoruba.

The divine name, YHWH, might have been derived from a form which combined the common Afro-Asiatic roots of the Hebrew words "hay" and "hawwah;" a form commonly found in the Niger-Congo languages of Africa as a generic term for divine spirits. Thus, in the Fon language of the vodu (voodoo) culture of Dahomey, West Africa, "Yehweh" is a synonym for vodu and it means "divine spirit." In the Ewe language of southern Togo, also of West Africa, " Yehweh" means "spirit."

Among the West African Yoruba, Yewa is the chthonic goddess of death and the underworld. She is the Virgin Mary of the Yoruba pantheon in heterosexual relationship with the sky god Sango in the circumstances of his death and spiritual resurrection. The name YHWH might, therefore, be of Hamitic derivation, and might have found its way into the languages of the Guinea Coast Africans, whose languages belong to a different class, by cultural diffusion over centuries of close contact with the ancient Hamitic languages of East Africa(the family of languages classed "Hamitic" are a subgroup of the "Afro-Asiatic" family of languages).

The Genesis account of the "generations" of the "male heavens" and "female earth" carries strong Hamitic conceptual undertones which Moses (the ancient Egyptian name "Masi" is in widespread use as a personal name among African peoples) might have become acquainted with while growing up in the Upper Egyptian dominated culture of the New Kingdom which had intimate cultural and historical links with the African Kingdom of Kush which lay to its south. We are told, in the Old Testament scripture, for instance, that Moses had a Kushitic wife whom Mariam and Aaron(Moses' siblings) disapproved of.

The Genesis act of unification of the gods into the singular personage YHWH reflects an age-old practice of Ancient Egyptian theologians. Ancient Egypt had a constantly splintering myriad of synthetic gods derived from the unification of a plurality of divinities: Amun-Re, Ptah-Sokar-Osiris, Hamarkis-Kheper-Re-Amun. Thus, in the act of unification of the myriad of gods in YHWH, we see the imprint of Ancient Egyptian enculturation on Moses. Moses, however, achieved a grand unification of the Godhead rather than the partial unifications that Ancient Egyptian theology remained limited to.

The book of Genesis identifies the name YHWH with the antique Kushitic civilization. We read the following words in the Book of Genesis: "And Kush was the father of Nimrod who became the first great conqueror in history. He (Nimrod) was a mighty roving conqueror before YHWH; for which reason the saying goes: Like Nimrod a mighty roving conqueror (gibbor sayid) before YHWH."

The significance of association of the name YHWH with the legendary hero of an antique Kushitic civilization is generally missed in the context of the anti-Hamitism of ancient Semitic culture, even as the significance of the identification of the Hamitic-Jebusite King Melchizedek with the Hebrew "Most High God" (el elyon) is usually ignored.The evidence is that Semitic culture and civilization matured on the pre-existent matrix of the Hamitic culture of the ancient Egyptians, even as the culture of barbarian Germanics was nurtured on the pre-existent matrix of Latin civilization. And just as the Reformations signaled the coming of age of Germanic civilization, so also did the emergence of Semitic culture witness a revolution involving an assertion of the Semitic identity by rising anti-Hamitic sentiments (thus the genocidal policy of the Hebrews in Canaan would be explained away as divinely approved).

The popular interpretation of the statement: "Nimrod was a mighty hunter before YHWH," forces a negative connotation on an otherwise neutral text. The saying: "Like Nimrod a mighty hunter before YHWH," can be interpreted as a compliment. Similarly, the saying may be construed to imply a God-devotee relationship between YHWH and Nimrod (one might say, in this sense, that even as Nebuchadnezzar was a mighty hunter before his god Marduk, so was Nimrod a mighty hunter before (his god) YHWH).

The culture of Israel had been exposed to strong Hamitic influence in the four and a half centuries of sojourn in Egypt(the Hebrew scripture classifies the ancient Egyptians among the "sons of Ham"). The significance of the fact that Moses had a Kushitic wife becomes glaring when we realize that the Jews acquired the tradition of circumcision from Hamitic cultures which had practiced circumcision since prehistoric times. The African scholar Modupe Oduyoye has demonstrated in his work, Afro-Asiatic Interpretation of Genesis, a strong Hamitic undertone of thought in the garbled ideas expressed by the Hebrew writers in the Genesis creation account.

This article explores the tenuous associations of the Hebrew God YHWH with the West African Yoruba goddess Yewa(the Yoruba of West Africa insist that their ancestors had been immigrants from the Nile region via the Lake Chad region). That YHWH might originally have been a Kushitic androgynous cosmic deity may be explored in the peculiar trans-sexual character of the the cross-dressed (transvestite), fire-breathing West African god of thunder, lightning and atmospheric disturbances, the redoubtable Sango (Candomble: Xango), Oba Koso (King of Kush). The Yoruba goddess Yewa ("Our Lady," "Our Mother") is the female earth deity ("IYAWO") associated in Yoruba mythology with Sango, King of Kush, at his death. Sango, according to the Candomble system, triumphs over death by seducing Yewa (YHWH), the virgin goddess of the underworld, and by this feat he reclaims his life. The goddess Yewa(YHWH) thus, becomes a model of the spirit possession medium in the spirit possession cult of Sango. The spirit of Sango, in turn, becomes the mythical seed of the heavens fallen to the earth: the bini ha-loyim (sons of God) who observing the beauty of the daughters of men (binot ha-'adam) chose wives from among them and produced as sons, the ha-gibbor-iym (men of fame, heroes of old).

While the male element in the character of Sango is strongly emphasized, the female (Yewa) element to the personality of the double-faced deity was preserved, not only in the female dominated priesthood of the god in pre-colonial Oyo, but also in the association of the god's Edun ara (double/twin thunder stones/celts) with the earth. The Alaafin (King) of Oyo, the direct descendant of Sango, was held in legal custody by a coterie of titled ladies who, as a group, represented the greatest concentration of power and authority in the entire Kingdom. This clique presided exclusively over the mysteries of the cult of Sango associated with the throne of Oyo. The Iya Mode was the chief medium of Sango. She was the living oracle of the spirit of Sango, and even though she was a woman, she was universally addressed as "Father." The King of Oyo humbled himself before no mortal besides the Iya Mode and the mediums under her care, for when a medium is possessed by the spirit of Sango, she is considered the "selem" incarnation of the god himself. The Iya Kere was the most powerful single individual in the entire palace, and in the kingdom of Oyo. Nothing happens in the palace without her consent. She could hold up affairs of state by withholding the royal insignia and other symbolic paraphernalia of state function. She was the head of the Ilari (the King's body guards), and even the King's "Chief of Staff," the male Osi'Wefa was subordinated to her.

The double-head of the thunder god's axe, in Yoruba tradition, is a symbol of the essentially two-faced androgynous (Sango-Yewa) nature of cosmic deity in his-her synthetic sky-earth identity (which explains why Sango is the patron deity of twins in the Yoruba pantheon of gods). In Yoruba tradition, the double axe-head of Sango is usually mounted on a female figurine: a representation of the Sango's feminine alter ego or doppelganger, that is, the chthonic goddess Yewa, in her model role as spirit possession medium in Sango's afterlife deification (Sango is supposed, like Jesus, to have died by hanging). The Yoruba believe, like Christians do, that the god Sango lived on, in the skyey realms, after he had apparently died on the stake, watching over mankind and punishing the wicked with lightning bolts from the heavens.

The writer, JohnThomas Didymus, is the author of "Confessions of God: The Gospel According to St. JohnThomas Didymus." ( http://www.resurrectionconspiracy.com/ ). If you have found the article informative you are invited to read the article: HETEROSEXUAL DUALISTIC METAPHOR IN GENESIS CREATION STORY on his blog: http://johnthomasdidymus.blogspot.com/2010/05/heterosexual-dualistic-metaphor-in.html

Driving to Greece

Driving to Greece and the Greek Islands should take careful planning well in advance. To just pack up a car and set off would be a massive mistake. Certain factors must be considered to enable a trouble free journey.

Planning advice

Get your car serviced by a reputable garage and also get European breakdown cover by a reputable company eg. AA or RAC

Decide when and which ferries you wish to take as your travelling days depend on the sailing times. You must decide how long journeys should take. You can download routes and approximate times by using sites on the internet eg. Michelin or AA guides.

When driving to Greece, arrange to get to the ferry ports allowing about 2 hours or more prior to sailing in case of breakdown or traffic problems. Ferries do try to load up very methodically and generally sail on time.

From Yorkshire, UK, where we live, we try to leave home at about 6am to catch a ferry at about 2pm from Dover to a French port (either Calais or Dunkirk).

Norfolk Line do an inexpensive crossing and from Dunkirk you will have a good direct route to the French/Belgium motorway in the direction of Lille. From Lille we always head for Tournai-Mans-Charleroi and Namor, then on to Arlon before getting to Luxembourg, on the E42 and then onto the A4 route.

Luxembourg is the cheapest place in Europe to fill up with fuel, so a break here is usually welcomed. Depending on how far you wish to travel each day, planning for overnight stops is required.

Cheap accommodation can be found on most routes and good clean and reasonably cheap accommodation includes Accour hotels, B&B, Formula One hotels. Most hotels do a continental breakfast at a small charge.

The route through Luxembourg is easy and you can be through it in 1/2 hr to 3/4 hr. We found the route to Metz and Nancy to be the quickest and easiest route. It is clearly marked and easy to follow.

Once you are back in France and heading for Metz, there is a pay motorway, the E25, which gives an easy route to Strasbourg. There are alternative routes which go through Nancy and the St.Die tunnel to Selestat in the Alsace region of France, but we have experienced delays and poor roads while using this route.

It is an easy motorway system to and through the city of Strasbourg which is clearly marked all the way on a very straight road and on to Selestat, Mulhouse/Basil towards Switzerland.

Due to the customs delays at the border, we usually take a break at one of the above mentioned hotels in order to have an early start through Basil and into Switzerland.

On entering the Swiss border, there is a road tax which covers your vehicle for one year and a coloured sticker is placed on your windscreen. This is a cost of about £25. You soon realise why you have to pay this fee as the roads through Switzerland are scenic, good and have many long tunnels where delays are normal. The scenic areas are excellent and you can also find good refreshment/wash/shower areas.

The best route from here is the A2 to Luzern and to head for the 15 mile long tunnel at St.Gothard. It usually takes us 1-2 hours to get through the delays leading to the tunnel. So be aware.

After coming out of the tunnel, the road heads through the Italian sector of Switzerland and heads for Bellinzona, still on the A2 and on to the Swiss/Italian border at Como. On passing the border into Italy, the road changes to the A9 heading for Milan.

Warning

We found the Italian drivers to be very impatient and regularly tail gate while flashing their lights and regularly sounding their horns. Just smile and be patient with them.

When you planned your route you should have decided on the most suitable Italian port to sail from. Our destination is to the island of Kefalonia so we personally found the Venice line to be best and by turning left on the Milan ring road onto the 'pay' motorway, the Venice route is clearly marked and on leaving the motorway at Mestre there is just a short journey to the Venice dock area.

Our ferries leave at approx 6pm and we are on the Minoan Line or Venuris Line. Other ports are at Ancona, Bari and Brindisi at the foot of Italy. The overnight ferries are the cheapest but you must consider the petrol and motorway charges through Italy before rejecting the luxurious but expensive Superfast ferries.

From Bari and Brindau, the Agoudemus line sails to the island of Kefalonia while other ferries sail to Corfu, Igiamenitsa and on to Patras on the Greek mainland.

The sailing from Venice takes 36 hours and gives a restful cruise. The views of the Grand Canal and St. Marks square are wonderful and not to be missed. The ferries which sail to Patras means that to get to Kefalonia island, the 2 hour 'Blue Star' island ferry, which runs 3 journeys daily to the island. Times can be checked on bluestarferries.gr on the internet. Patras is a busy port town and a minimum stay here is advised if possible.

The ferry to Kefalonia goes to either the port of Sami or to Argostoli, the capital of the island. An alternative ferry goes to Poros on Kefalonia from Killini, which is about 50 miles south of Patras and is the cheapest, quickest route to the island.

Rooms on the Venice/Greece ferries are adequate and meals are usually good. The cruise heads down the Grand Canal and down the full length of Italy and calls into Corfu, then to Igiumenitsa on the Greek mainland before heading into Patras. Recommended ferries are the Minoan, Superfast, Venturis and the direct Agoudemous ferry.

Tickets can be pre-booked on websites by English speaking staff at the agents offices or by booking on the websites.

Greece

Travelling in Greece is frustrating as you regularly get inconsiderate drivers, double parking, no indicators, driving erratically and extreme speeding.

The hazard of motor bikes and scooters is the same as on all Greek islands as it is a cheap and regular means of transport.

Parking is usually easy but beware that many of the greek cars have bumps and dents in them.

Driving to Greece can be extremely enjoyable so I hope you plan carefully and enjoy your trip.

Have a safe journey.

http://www.choose-greek-islands.com

Ancient Greek Deities

Although they seem to be things of the past, reminders of ancient Greek deities are all around us. When you read the following names, more than a few will look familiar.

Ancient Greek Deities

The Greek Pantheon was a polytheistic system of thought and religion that assumed its Greek deities existed independently and individually. Their roll was to rule diverse aspects of the mortals every day life. Myth and culture is gathered in the Pantheon from where the deities leave toward their corresponding realm.

Due to the Hellenic polytheist beliefs in ancient times, deities formed relationships with each other on a more human scale. Compared to one-deity approaches in many modern religions, Greek deities had a surprising number of human limitations and weaknesses. Contrary to other religions, none of the ancient Greek deities was omniscient or omnipotent, although their power was beyond the mortals' limit.

All Greek deities had the same origin as minor deities ruled by the Titans. They later overthrew the Titans in an epic battle. Some of the most renowned are:

Aether - God of the upper air

Aphrodite - Goddess of love and beauty

Apollo - God of the light, music, prophecy, poetry, and healing

Ares - God of war, primarily violent war and bloodshed

Artemis - Goddess of the moon and the hunt

Athena - Goddess of war, wisdom, strategy

Chaos - Non-gendered deity of the nothingness

Chronos - God of eternal time

Demeter - Goddess of agriculture

Erebus - God of darkness

Eros - God of love

Gaia - Titan Goddess of the Earth

Hades - God of the underworld, the death and the earth wealth, his realm receives his name.

Hemera - Goddess of daylight

Hephaestus - God of fire and the forge

Hera - Goddess of marriage and the family, sister and wife of Zeus

Hermes - God of commerce, travel, and thieves. Messenger of the gods

Hestia - Goddess of the hearth and domestic life that gave her place in the Mount Olympus to Dionysus

Nyx - Goddess of night

Pontus - Titan God of the sea

Poseidon - God of the sea

Tartarus - Titan God of the depths of the underworld

Uranus - Titan God of the heavens

Zeus - King of the Gods and God of thunder and lightning

As you can see, the long list of Greek deities is rather amazing when compared to one-deity religions such as Christianity and Islam. Regardless of the religious connotations, the names of these figures are often found in modern civilization although Roman translations are often used. For instance, Ares has been translated in Roman to Mars, the God of War and name of the 4th planet from our sun.

Greek deities represent a unique view of religion held by ancient Greeks. If the opportunity presents itself, you should read the Greek classics to gain an understanding of the rather emotional actions of the deities.

Richard Monk is with FactsMonk.com - a site with facts about everything.

Clash of the Titans Costumes - Godly Ensembles For This Year's Halloween

Clash of the Titans is a fantastic movie retelling the story of Perseus, a half-god, half-mortal son of Zeus who embarks on a quest to stop Hades and his minions in the Underworld from casting evil upon all the Earth. The epic setting and the powerful portrayal of characters has what made this movie such a big hit. No doubt about it, this Halloween, Clash of the Titans costumes will also be very memorable.

Perseus Costume

The son of the Zeus, the father of the gods himself, is Perseus, a warrior so fierce and brave that he defeated Medusa and the Kraken sent by Hades. There is an officially-licensed costume for Perseus and it is available in adult and children's sizes alike. The costume includes a tunic, molded body armor, arm gauntlets, and shin guards. It also comes with a fake muscular chest and abs to depict the half-god warrior.

Other Clash Of The Titans Costumes for Men

A unique idea different from other Clash of the Titans Halloween costumes is to go as Hades. While everyone else is planning to dress as the protagonist for Halloween, you can set to take on the Underworld with the traditional long black tunic and black cape included in the officially-licensed Hades costume. The set also has arm guards and leg guards. Additionally, you can also get a wig and fake beard set to complete your Underworldly undertaking.

Or you can also dress up as Calibos, the former king of Argos who was banished from the city and is now commissioned by Hades to complete his mission of ruling over the mortals through fear and destruction. Calibos was a warrior, but the movie shows almost half of his armor already gone. A molded armor is included in the Deluxe Calibos set, along with arm gauntlets, shin guards, as well as fake scarred skin, a fearsome max, and molded finger tips. For the budget-conscious, you can simply buy the silver arm gauntlet and recreate Calibos with your own makeup skills and a bit of artistic ingenuity.

Clash of the Titans Costumes for Women

Io is a beautiful mortal who was cursed to agelessness when she refused to be seduced by one of the gods. You can replicate Io's costume with a classic one-sleeved white dress reminiscent of the Greek goddesses Athena and Aphrodite along with the brown cloak that she hides herself in whenever she watches over Perseus.

However, if you want a more godly-like identity for Halloween, dressing up as Athena or Aphrodite is a no-brainer. It's simple enough; wear a body-fitting white dress, preferably one-sleeved, and don a silver arm gauntlet if you are Athena, gold if you are Aphrodite. If you can't find a good enough dress, you can fit into the sheets yourself, and make sure all the folds and clips are found in the right places. You can also get the official Aphrodite wig, made of adorable pink curls topped with a shell hairpiece.

Accessories for Clash of the Titans Halloween Costumes for More Zing

Keep in mind that you will need these accessories to complete the look you are going for:

1. The Sword of Perseus. Certainly, no warrior is going to war without his loyal sword. Perseus' is made of copper and is styled with intricate Greek writing.


2. The Shield of Perseus. This definitely comes with the sword.


3. The Sword of Calibos. Not some shiny and majestic sword like Perseus, but certainly a dangerous, jagged sword that has slain many skilled warriors.

Best Place To Buy Costumes

Whether you are looking to buy a Clash of the Titans Perseus costume or maybe an Athena costume this Halloween then the site I recommend is BuyCostumes.com. It has the best deals and selection online and makes picking a great costume super easy and fun.

Lineage 2 Music Video

My first try of a Music Video from Lineage 2. www.L2-Underworld.de

Anne Sofie Von Otter&Barbara Hendricks-Gluck"Orphée et Eurydice"Viens,Viens Eurydice, suis-moi

CW Gluck "Orphée et Eurydice" 1859 Berlioz Version "Viens, Viens Euridice suis-moi" Anne Sofie Von Otter - Orphée Barbara Hendricks - Euridice John Eliot Gardiner - Conductor Orchestre de l'Opera de Lyon Paintings/sculptures (after titles): 1. Auguste Rodin? (1840 -1917) 2. Auguste Rodin (1840 -1917) 3. Auguste Rodin (1840 -1917) 4. Eugène Delacroix (1798 -1863) 5. Louis Ducis (1775 -1847) 6. Jean Raoux (1677--1734) 7. Auguste Rodin? (1840 -1917) 8. Peter Paul Rubens (1577 - 1640) 9. Johann August Nahl the Younger (1752-1825) 10. Jean-Baptiste Camille Corot (1796 -- 1875 ) ~ Orphée (Orpheus)~ In Greek mythology, Orpheus was a musician who sang and played so beautifully that even animals, rocks, and trees danced to his tunes. He was the son of Calliope, the Muse of epic poetry, and of the god Apollo. It was Apollo who gave Orpheus his first lyre, the instrument that he always played. Orpheus accompanied Jason* and the Argonauts on their quest for the Golden Fleece* and used his music several times to ease their journey. On one occasion, he calmed the sea with his playing; another time, he saved the Argonauts from the deadly Sirens by playing so loudly that they could not hear the Sirens' songs. He also stopped the Argonauts from quarreling with a song about the origins of the universe. Orpheus fell in love with the nymph Eurydice. Shortly after their marriage, Eurydice was bitten by a snake and died. The grieving Orpheus refused to play or sing for a long time. Finally he ...

Digital Orpheus: The descent to the underworld

Video by Bebe Beard (bebebeard.info sound by Lou Cohen (ruccas.org cambridgedome@comcast.net). Part II of a series exploring aspects of the myth of Orpheus. In this clip, Orpheus descends to the underworld to reclaim his loved one, Eurydice.

THE GREEN MAN - Second Part_MSWMM.wmv

www.sibeliusmusic.com Here is a god from the beginning of time which pervades all cultures from Africa to Asia to Europe. He is The Green Man, The Great Horned god, Cernunnos, Herne, Pan, Janus, Tammuz, Damuzi, Osiris, Dionysus. He is The Celtic God of fertility, animals and the underworld. The Hunter, Egyptian Lord of the underworld, Greek god of vegetation and vine and the woodlands. The Green Man symbolises the cycle of life, death and re-birth. The music carries us forwards into more culturally diverse ages and eventually into the 20th century. The Green Man and his various manifestations are still celebrated in music and dance and whatever takes the peoples fancy. A Morris is danced on a village green one spring Sunday afternoon, the birds are singing, the church bells are sounding. Time has no meaning for The Green Man, and into the 21st century he and his culture are celebrated in Rock music.

GHOSTS - Part III - Eurydice Underground

Watch in High Quality! Filmed in London, UK as part of the Nine Inch Nails "Ghosts" Film Festival. Inspired by "Ghosts" we created a 22 minute short film recontextualizing the classical Greek myth of "Orpheus & Eurydice". Improvised and shot on the go. ---- A failed leap year proposal leads to a wrong time/wrong place for Eurydice. As she descends into the underworld - literally the underground where the dead continue on, she is unable to. Caught up in her memories and love of Orpheus she tries to catch the right tube home. Lost in the underworld, a chance meeting with a sympathetic Izanami (the Goddess of creation and death) leads to her eventual return to the overworld. Upon her arrival she discovers that Orpheus has moved on after her death. She decides to leave him in the land of the living after witnessing his new found happiness and returns to the underworld. Part I of V ------ Music from Nine Inch Nails "Ghosts"

Assyrian Art and the Royal Warrior

In the 9th century BC, Assyrians controlled a region that extended from the border of Egypt to the Persian Gulf. The Assyrians identified themselves through warfare and a divine belief in their duty to enforce their gods on the territories they had vanquished. The first people to use iron weapons, they were masterful strategists who mastered using horse drawn chariots in battle.

Their army was well-trained and relentless, so many foes simply surrendered to the Assyrians without a struggle. The opponents who resisted faced an advanced military force with battering rams, charioteers and rolling siege towers that were a huge tactical advantage.

Not surprisingly, the ancient art of Mesopotamia suggests that hunting had an important symbolic value for the culture. This was certainly true of Assyria where many of the works of Assyrian art depict the Royal Hunt. The Royal Hunt was an important ritual that established the Kings domain over brute nature, and demonstrated his courage. By participating in the Royal Hunt, the King added to his own prestige and a heroic reputation. There is certainly exaggeration in the depiction of these activities, but the reliefs suggest that the kings were generally worthy rulers.

Ancient Assyrian art also offered a glimpse into the ceremonial aspect of the Royal Hunt. In many of the reliefs discovered by archaeologists, the king is shown offering up animals as a sacrifice to the sun God Nergal. Known as the god of war, this Mesopotamian deity also ruled the underworld.

Of all the animals hunted by the king and his royal party, the lion presented the greatest challenge and prestige. From his chariot, the king would bring down the lion with either or bow or spear. When the lion was injured and down, the king would dismount the chariot and finish the lion off with his blade. It's unclear just how much assistance he might have had in dispatching his prey, given glorification of the king in this art.

In a relief currently on display in the British Museum, the Assyrian king Ashurbanipal is depicted riding on horseback, bow raised. He is hunting wild donkeys which at the time were considered a nuisance. It was thought to be a very noble and worthy activity for the king to hunt the herd of wild asses and thin the population. The last great king of Assyria was Ashurbanipal. He was king at the zenith of Assyrian dominance but the empire crumpled shortly after his death.

The Assyrian wall reliefs we see today in museums suggest that hunting lions was wildly popular and the lion population was severely impacted. Lions were imported in from other regions and release for the purpose of hunting. This conclusion can be drawn from some Assyrian wall reliefs that show a lion being released from the cage.

Rob Mabry is a former military journalist, screenwriter, father of five and ecommerce entrepreneur. He owns the Balance Bikes 4 Kids, a specialty store offering a large selection of balance bikes and wood bikes that help young children learn to ride a bike by focusing on mastering balance first.

The High Court of Osiris - Louvre museum

Osiris (Greek language, also Usiris; the Egyptian language name is variously transliterated Asar, Aser, Ausar, Ausir, Wesir, or Ausare) was an Egyptian god, usually called the god of the Afterlife. Osiris is one of the oldest gods for whom records have been found; one of the oldest known attestations of his name is on the Palermo Stone of around 2500 BC. He was widely worshiped until the suppression of paganism by the early Christian church under Theodosius I in the later fourth century. The information we have on the myths of Osiris is derived from allusions contained in the Pyramid Texts (ca. 2400 BC), later New Kingdom source documents such as the Shabaka Stone and the Contending of Horus and Seth, and much later, in narrative style from the writings of Greek authors including Plutarch and Diodorus Siculus. Osiris was not only merciful judge of the dead in the afterlife, but also the underworld agency that granted all life, including sprouting vegetation and the fertile flooding of the Nile River. The Kings of Egypt were associated with Osiris in death — as Osiris rose from the dead they would, in union with him, inherit eternal life through a process of imitative magic. By the New Kingdom all people, not just pharaohs, were believed to be associated with Osiris at death if they incurred the costs of the assimilation rituals. Osiris was at times considered the oldest son of the Earth god, Geb, and the sky goddess, Nut as well as being brother and husband of Isis, with ...

Ancient Greek Agora South Side

From pre-historic times, there was always a road that crossed the south side of the Agora, even before it became the centre of the City, and which still exists today, beyond the archaeological site. In the 6th century, two significant structures were located at either end of this road: to the west, the main Athens courthouse, the Heliaia, and at the other end, the monumental fountain Pausanias called the Enneakrounos. After the Persian Wars, the Southern Stoa and the Mint of the Athenian Republic were added. During the Hellenistic years, it became the commercial centre of the city, with three colonnaded areas forming a large rectangle open on the west side near the courthouse. Other structures included: a new southern Stoa, aligned with the Heliaia, a small eastern Stoa which was the official entrance to the complex, and a stately Middle Stoa which can still be distinguished by the reddish colour of its ruined columns. Unfortunately, the successive capture and destruction of the Agora, and the restorations which followed, altered the original layout of the site, since the same building material was re-used on new buildings. Crucial dates in the various changes were the siege of Athens by the Roman general Sulla in 86 BC and the Herulian raid in 267 AD. After the 3rd century, the south side of the Agora ceased to be the commercial centre, and the ruins of old porticoes were covered by other buildings. Finally, in about 1000, this pagan site was hallowed by the building of the lovely Byzantine church of the Holy Apostles. All these changes make it somewhat difficult to understand the chronology of the south side of the Agora as seen today in its excavated ruins.

Of the stoae on this side of the Agora, the long Middle one stands out. Built in the 2nd century BC, it occupied an east-west position, was about 148 m. long, 18 m. wide and was surrounded by 160 unfluted Doric columns. The interior of the building was divided in two lengthwise by another long colonnade. Characteristic marks have been found on the sides of some columns which testify to the existence of a wall joining them together, up to a certain height, creating a back wall to the shops housed in it. A similar low wall probably connected the interior columns leaving passageways at certain intervals. This large stoa was built on top of some older ruins, and then later, as more interior space was required, the initial layout was changed. The public offices were built in the 2nd century AD, and rested on the north part of the Stoa right next to the ancient boundary mark.

Then the narrow sides east and west were opened out and the Middle Stoa became the shortest route for citizens to take as they crossed from one end of the Agora to the other or, if they wished to leave by the central Panathenaic route which cut across the site diagonally. Finally, by the 5th century AD, most of the remains of this structure had been covered over by various unrelated buildings, thus chronicling the decline of the Athenian Agora.

The visitor to the site can identify the ruins of the Middle Stoa immediately owing to its red stones and the remains of three rows of columns. Stepping through the fallen wall and crossing the width of the stoa, one can see to the left the old rainwater drain which used to be under the ground. Across the way and a little higher up is the base of a poros stone wall; these are the minimal traces remaining of the great Athenian court of Heliaia.

The Heliaia was one of the first buildings to be constructed on the road through the south side of the Agora. The courthouse may initially have been an open space, but in the early 5th century, a large square structure was built with thick walls, many rooms and an inner colonnade. On the exterior western wall was a public fountain, the largest in the Agora, the monumental construction of which showed that it served the needs of many citizens. On the north wall of the Heliaia vestiges are discernible of another type of fountain dating from the 4th century: it was a water clock, which is why the fountain was called Clepsydra. The water came underground from the large fountain to the west; it passed through a hole in the wall of the Clepsydra and filled its deep basin before finding the corresponding outlet on the opposite side. This overflow appears to have activated some system which indicated the time. The existence of such a device on the wall of the main Athens courthouse confirms how important it was for the citizens to know the exact time of the trials. This hydraulic clock ceased to function when the Middle Stoa was built, as this spot became the entrance to the city's commercial centre. The extensive building in the space in front of and beside the Heliaia did not affect the courthouse at all. It was greatly damaged during Sulla's siege and rebuilt only to be totally devastated in the 3rd century AD.

The dispensing of justice was one of the major concerns of the citizens of Athens. We know that courts existed as early as prehistoric times: from the supreme court of the Areopagus where murders primarily were tried, to the people's court of the Heliaia, founded by Solon the Lawgiver in the 6th century. But the most novel aspect of the Attic courts was certainly that of the Phreattys in Piraeus, where trials were held of persons who were not allowed to enter the state of Athens. In such cases, the judge and jury stood on the beach while the accused, with Solomon-like logic, would be in a boat beside the shore.

Trials took place only on days considered to be favourable; they should never coincide with the convening of the Assembly of the People, since the citizens participated in both of these state functions. Although any citizen who wished to do so could attend the Assembly, jurors were selected for the courts by complex procedures, beginning with the annual draw of six thousand men, the Heliastes, i.e. 600 from each tribe. These free citizens had to be more than 30 years old, and to have no penalty or fine outstanding. After their election, the Heliastes received their juridical identification card: a metallic plate containing their name, their father's name, the Deme to which they belonged, and the letter of the alphabet that represented their tribe. All these elected citizens had to be ready to present themselves at the courts for the entire following year.

To determine who would go to which courts, the Heliastes had to go through another draw held using the stone allotment machine found on the Agora site. These machines were a miracle of inventiveness to prevent corruption, and avoid the possible bribery of public officials, by applying the very simple measure of non-permanency. Nobody knew in advance when and in what court he would serve, or even whether he would serve.

On the previously appointed days on which certain cases were to be tried, the preparation would begin very early in the morning with the setting up of the allotment machines. These large upright stone plaques had horizontal rows of holes grouped in columns and each column was under a letter of the alphabet indicating the tribe. One machine that was found to have 11 columns even though there were only 10 tribes, has made scholars hypothesise that there may have been occasional temporary tribes: perhaps to honour some important figure of the times.

On the left side of the machine was a pipe starting at the top in the shape of a funnel and ending with a narrow opening at the bottom. Black and white cubes would be placed in this pipe. Each Heliastis would already have placed his metal card in the container representing his tribe, from which names would be drawn at random. In this first draw all tribes took part, other than the one which held the office of prytanis at that time. The persons whose names were drawn would place their cards under the relevant letter on the allotment machine. There were as many cubes in the pipe as there were names in the shorter column, while the cards which were at the bottom of this smaller column were automatically cancelled. Each cube that fell concerned the horizontal row for all ten tribes. A white cube meant election, a black exemption from judicial duties for the day.

The employee responsible then took the identity cards of the citizens who had been thus selected and presented them to the Archon in confirmation of legality. Then another draw followed which determined the court at which each one was to present himself. The entrances to the courts each had a different colour, and this was why the judges of the day would take a rod with the colour of the court in which they were to serve. In this way, there was no possible justification of error; as for the rods, symbol of judicial authority, they may possibly have been an echo of the royal sceptre from the much earlier times, when the hereditary leader was also the judge. After this draw as well, the cards were sent to the court where their owners were to serve. The Heliastes got them back after the trial, along with their fee.

At the entrance to each courthouse, the judge of the day was supplied with two ballots, metal discs with a raised part in the centre. The one was was solid, meaning acquittal, the other had a hole in it, meaning conviction. The total number of judges always had to be an odd number, so as to avoid the problem of a tie vote which would have made it difficult to enforce decisions. Citizens being charged, having already gone through a preliminary examination by the Archon, would come to face the final decision.

The procedure for each trial started with the plaintiff explaining why he had brought the charges. Then the accused spoke in his own defence, after which the judges would vote "innocent" or "guilty" according to their conscience. If the accused was judged to be guilty, a new procedure began, with the plaintiff first proposing a sentence, then the convicted person would counter-propose another; ultimately the judges would vote on which of the two opinions they considered most correct. There was always a water clock which restricted the time people could speak, both the plaintiff and the defendant, to six minutes.

There were various types of sentences. The most common were: a cash fine, deprival of civic rights, seizure of the convicted person's property, even exile. There were also moral penalties, such as e.g. forbidding unfaithful wives to wear jewellery. The penalty of imprisonment did not exist then as a means of correction, although there are known cases of citizens who were condemned to death for acts of blasphemy, treason against the homeland or failure to obey the laws. This ultimate punishment was carried out either by flinging the condemned person over a precipice, starving him to death or obliging him to take poison, as in the case of Socrates.

The trial of the great philosopher has given us not only a wealth of information about the judicial system of Athens, but also a psychological profile of its citizens, as seen in their opposition to someone who defied the rules of the community. Procedure may have been flawlessly observed, but the irony of the accused, regarding the flagrant lack of serious charges, may very likely have led some of the Heliastes to vote against him, since there were only thirty more votes against him than votes to acquit him. Certainly, a major moment in the pioneering people's court of Athens was the day on 399 BC when the convicted Socrates prepared to present himself to the prison for those condemned to death and addressed a magnificent message of forgiveness to his judges saying: "The time has come for us to part - I to death and you to life. Which of us is going to something better, no one knows but God".

At a fair distance from the Heliaia, at the northwestern foot of the Areopagus, the ruins of the prison have been identified, where the events which we know so well from the Platonic dialogues "Criton" and "Phaedon" were enacted. In the former, Socrates' favourite pupil Criton proposed that his teacher escape, because for religious reasons his execution had been postponed. It was the custom in Athens that every year the ship Paralos would sail to Delos for the feast of Apollo. When the boat was on this sacred mission, it was not permitted to take human life because Apollo, as god of light, loathed death. The wealthy Criton, wishing to save the philosopher, came to the prison and revealed his plans. Then in a dialogue of remarkably condensed ethical content, Socrates refused to be saved and explained the reasons why a shameful escape could never be equal to an honest death. And that, if the citizens, in order to gain a few years of life, considered disobedience to the laws as a minor offence, then the State would collapse.

The dialogue "Phaedon" described the last day of Socrates' life and at the same times, provides us with details about the prison, which have been confirmed by excavations, such as that the philosopher washed before drinking the hemlock. Indeed, on the floor of one of the prison rooms, a hole was found for a basin and pitcher which would have been full of water for the use of the prisoners.

Having already bade farewell to the members of his family, the condemned man discussed with his friends, as he waited for dusk, the customary hour for executions. His composure and the sorrow of those present have given us moments of incomparable tension and calm: two contradictory elements which characterised Socrates' whole life.

At the appointed time, the guard appeared, having already mixed the poison.
We do not know exactly what else was in the hemlock; but it seems to have been prepared in small amounts, as would appear from the tiny, thimble-like cups found on this site. Socrates drank the liquid calmly and began walking up and down his cell to hasten the action of the poison, which brought a slow paralysis starting from the lower limbs until it reached the heart. When his legs started to give way, he sat on the bed, still talking. But when the paralysis crept higher, he asked his pupils to withdraw because the moment of death is ugly and should not be seen by anyone. When he was alone, Socrates covered his head with his robe and quietly gave up his spirit.

East of the Heliaia, the South Stoa I was built in the 5th century, following the direction of the public road. This point was higher than the level of the Agora proper and would certainly have offered a panoramic view of the temple of Hephaistos and the other buildings on the site. Today we reach the level of the South Stoa by walking up some stairs from the site of the ancient courthouse.

The excavations have shown clearly that this stoa had fifteen rooms, almost equal in size, the back wall of which was the stone retaining wall for the public road. The rooms were divided by brick walls and opened out onto a double colonnade overlooking the open space on the north side. There seem to have been twice as many outer columns as inner ones. Very few traces have remained of this colonnade, although the rooms can be clearly distinguished. On the floor of one room is an elevated section around the walls, a feature characteristic of symposium halls, as the couches of the dinner guests were raised slightly higher than the floor. This detail, as well as the position of the stoa next to the courthouse, has led archaeologists to speculate that this may very possibly have been quarters for public officials, who would not or could not be absent from their posts. Let us not forget that many of them came to the Agora at dawn to perform their civic duties.

The South Stoa I was abandoned during the Hellenistic period with the creation of the business centre, and quite a bit of the material from this site was used to build the South Stoa II, on a line with the renovated Heliaia, and forming a rectangle with the other Stoae on the site. The facade of this building consisted of thirty Doric columns; one facade touched the wall of the Heliaia and the opposite one was incorporated into the Eastern Stoa, where the official entrance to the complex from the main Panathenaic Way was located.

The back wall of South Stoa II rested on part of the retaining wall that supported the older, South Stoa L In its centre was a recess for another public fountain. The wall of South Stoa II is a typical example of the many vicissitudes of structures on this site. Its bottom part was built of carefully cut poros stone; on top of this is masonry from the Hellenistic period; the Romans covered one part of it with mortar and finally it was used to support a later aqueduct. The Stoa itself was abandoned during the Roman years and became a working area for the masons who had been assigned to improve the Agora. The commercial centre moved eastward toward the Stoa of Attalos and the new Roman Agora; the entire south side was allowed to fall into ruins and, in the general indifference, to be partially covered by other buildings.

In Attica, with minimal rainfall, it has always been important to secure an adequate water supply. From Plutarch we learn that Solon had instituted laws encouraging the residents to dig wells in times of water shortage. The office of the Epoptis (Superintendent) of the fountains was an elected one and the citizen entrusted with it had the power to impose fines on persons caught taking water illegally from the state water pipes. When Themistocles was elected to this office, he took the money obtained from these fines and commissioned a bronze statue showing a girl carrying water from a fountain. He saw this same statue adorning the city of Sardis in Asia Minor, having been plundered from Athens during the Persian Wars, during his later exile from the place of his birth. Plato, in his Laws, pointed out that the overflow from the fountains should properly be used to water public gardens. Even the Roman architect Vitruvius left instructions about how to find underground water and what kind of pipes should be used to distribute it. The 400 or so wells which have been uncovered in the Agora have shown us the extent to which this vital detail of survival concerned the Athenians. This was even expressed in art, for there were quite a few cases of vase painters being inspired by the charming procession of girls to the nearest public fountain and the wonderful balance of full water jars carried on their young heads.

Often the walk to the fountain was of particular significance, such as in the case where water was being carried to bathe a bride-to-be. Then women, preceded ceremonially by a flute-player, would go to the Kalliroe spring. Thucydides noted that this spring was along the course of the Ilissos river, near the present day chapel of Ag. Photeini, a district which was until fairly recently called the Kalliroe Rema. During the years of Peisistratos, a fountain was built which Herodotus referred to as Enneakrounos. Some centuries later, the traveller Pausanias wrote about the famous fountain of the same name in the Agora, which was built near the only natural spring on the site. These three different references have given archaeologists rich grounds for dispute.

Indeed, right beside South Stoa I, the ruins have been found of a magnificent fountain from the 6th century BC, built by Peisistratos. The presence of groundwater was confirmed both by the dampness of the ground close to the surface and by the other fountain buildings nearby. It is likely that there was a very ancient spring here with a constant flow of water at all seasons of the year - a true "kalliroe" (good flow) - which gave Peisistratos an opportunity to offer his fellow citizens yet another public work to preserve his fame for posterity. Perhaps there was more than one fountain called "enneakrounos", which means "nine spouts". In any event, this was the best known and perhaps oldest fountain in Athens, as shown by an archaic pipeline which supplied it with water from some point to the east. The building was long and narrow and probably roofed, having an entrance with three columns on the northern facade and a regular wall at the back where the water pipe ended. On the inner sides of the Enneakrounos, there were basins over a marble floor which the terracotta pipes would fill with water. The residents of the district would come to these basins to fill their water pitchers, which were round in shape with a small base and narrow mouth, equipped with three handles: two in the middle to assist the lifting of the vessel when it was full of water, and one near the mouth to help empty it. The water was brought to the homes by servants, mainly girls, although in "Lysistrata" there is a line in which the heroine, an Athenian lady, complains about the crowds at the public fountain.

The sufficiency of water in the area is also confirmed by the ruins of a structure which was right beside the Enneakrounos, and which many scholars have identified as the state Mint. There are traces of a courtyard which had rooms around it, with a running water installation and a furnace for casting metals. But the most important finds were bits of unprocessed copper which was usually used in the minting of coins. Part of this building was covered in later years by a magnificent Nymphaion, the Roman equivalent of a Greek fountain.

Nymphaia were initially sanctuaries dedicated to nymphs, charming fairies of the Greek pantheon. There were dryads of the forests, naiads of the waters, nereids and oceanids of the waves. Since nymphs were closely linked with nature and water, it became customary to build their sanctuaries on water sources and call them nymphaia. This impressed the Romans and gave them the opportunity to use the same term for the monumental buildings with which they adorned cities under their rule, and at the same time, to make practical use of the waters. A characteristic example of such a Nymphaion was the large fountain called Peirene at the entrance to the Agora in ancient Corinth. Somewhat similar, but on a smaller scale, was the Nymphaion in the Athenian Agora: it was semicircular in shape, with a northern facade and a very thick wall in which there were probably niches designed to receive statues of their owners; another well known Roman custom. The excavations here turned up the statue of a young woman, considered to be the 2nd century AD copy of an original from the classical period. The indolent position and delightfully unkempt female figure holding a pitcher in her left hand offer eloquent testimony to the tedious task of carrying water every day, even for a nymph.

But the existence of water was responsible for yet another change of worship on the site where, in about 1020 the lovely Byzantine church of the Holy Apostles was built. This was the period when Athens had become an insignificant village in Christian Byzantium, and its inhabitants, who had gathered around the rock of the Acropolis at "Rizocastro", built churches to exorcise the taint of their forefathers' idolatry, using the plentiful, choice building material provided by the ruins of the ancient monuments. The water on the site would have been regarded as "Agiasma" (holy spring) making it particularly blessed.

Among the other Athenian churches built at about the same period - Kapnikarea, Sts Theodore and St Eleutherios beside the Cathedral - the church in the Agora is distinctive for its height and its tall narrow dome. It is a cruciform church, each arm of which ends in an apse. Later a narthex was added on the western side, increasing the space available for liturgical needs, but built at a lower level than the church proper because of the uneven ground. There were three stairways from the narthex to the church: a main entrance and two side ones. The wall paintings we can see today in the narthex belonged to one of the demolished churches in the area and were brought here when the church of the Holy Apostles was restored in 1956. At that time, all later additions were removed, as services had ceased to be held there in 1952.

The interior of the nave is dominated by a dome supported on four columns with different capitals. Three of these columns were built during the restoration; the only original one is the first one on the right; its capital is decorated with lotus leaves. There are traces of 17th century wall paintings which had been plastered over, but were preserved when the church was restored with love and care by architect J. Travlos. The work was funded by the American School of Classical Studies which had undertaken the entire excavation of the ancient Agora, and proved that Athenians had never stopped living and worshipping their gods on this site.

North of the Byzantine church are the remains of the Roman Nymphaion together with the drain, which passed under the ground of the Eastern Stoa and the commercial centre to join up with another in the Heliaia area and ending in the main pipe near the Tholos. But this point in the Eastern Stoa underwent enormous changes owing to the various buildings which covered it during the post-Byzantine period. Today we can make out traces of an octagonal building as well as a few giant grinding stones with the characteristic notches signalling their function.

Right behind the church of the Holy Apostles is what remains of a temple built during the Roman years with material from older, abandoned sanctuaries. This was shown by some Doric column drums that have been identified as belonging initially to the temple of Demeter at Thorikos, near Laurion. This detail, as well as the parts of a large statue found on the site of what must have been the inner shrine of the temple, make it very likely that the building was the temple of Demeter that the tireless Pausanias reported having seen near the most sacred Eleusinio.

The name of the goddess Demeter is derived from Earthmother, and indicates her mission clearly: to feed the faithful like a mother, blessing the grains which were called "demetriaka" (the modern Greek word for cereals) after her. Thus, when Pluto, god of the Underworld, kidnapped Demeter's only daughter, Persephone, the goddess became angry and stopped fostering vegetation. A terrible famine fell upon the land and the people begged Zeus to intercede. Then the father of the gods decided that Persephone should come up to earth for eight months, and spend the other four months in Hades with Pluto. This was because the sly god of the underworld had given her a red pomegranate seed, binding her to him eternally. This myth enabled the ancient Greeks to explain the vegetation cycle: the dark earth received the seed, held it for a few months and then returned it to the earth as a living plant.

When Demeter lost her daughter, she began looking frantically all over the world for her. The search lasted for nine days and ultimately led her to Eleusis where she was looked after by people who tried to give her back her zest for life. Nobody recognised her of course, since the goddess had disguised herself as a poor old woman. When she found her daughter again, Demeter did not forget the city which had given her shelter during the days of her suffering. She gave the parents of the Eleusinian family of Eumolpides the exclusive right to be her priests and conduct her rites, and she granted the young Triptolemos her winged chariot so that he might go round the world and teach mortals how to cultivate cereals. Because of Demeter's favour, her Mysteries came to be established in Eleusis, and at the same time it became the custom to call the goddess' sanctuaries Eleusinia.

Take a look at Greece Travel Guide and learn more about Ancient Athens and the Acropolis of Athens.

Murder Nurse as Persephone @ Geek Goddesses.

Performed for Geek Girl Productions "Geek Goddesses" show at Public Assembly in Brooklyn, NY - 09/28/10. Song: "Slept So Long" - Disturbed. (Queen of the Damned Soundtrack) Persephone, Goddess of the Underworld. Info: Appearance: Persephone appears as a beautiful young maiden, just on the edge of womanhood. Symbol or Attribute: The pomegranate. The narcissus, which Hades planted in a meadow to entice her to pluck it; pulling on the flower opened up the Underworld and Hades sprang out, carrying her off. Strengths: Loving and lovely. Weaknesses: Beauty so ravishing it attracts Hades' unwanted attention. Spouse: Hades, with whom she must stay part of each year because she ate a few pomegranate seeds in the Underworld. Some Major Temple Sites: The spooky Nekromanteion, still visitable today. Basic Story: Hades springs out of the earth and captures Persephone, dragging her off to be his queen in the Underworld; her dad Zeus told him it was okay to take her as his bride, and Hades took him a bit literally. Hades was also her own uncle, which didn't make this exactly a myth of good family mental health. Her distraught mother Demeter searches for her and stops all foods from growing until she is returned. Even Zeus has to give in and help work out a deal - Persephone stays one-third of the year with Hades, one-third of the year serving as a handmaiden to Zeus, and one-third with her mother Demeter- ... an interesting ancient balancing of family, spouse, and career. Interesting ...

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Brush Up Your Mythology! Review

Brush Up Your Mythology! Overview

Greek and Roman tales are more popular and influential than ever and can be seen in all aspects of our modern culture. Brush up Your Mythology! takes an irreverent look at those gods and spirits whose myths and legends have become commonplace today. Chaos, Mother Earth, and Cupid appear, along with the origins of the days of the week and an alphabetical listing of all the important gods and goddesses. Black-and-white illustrations further enliven this terrific reference book.

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Update Post: Nov 26, 2010 05:40:18

How to Select and Register a Name for Your Security Company

Your name is everything with business. The right name can make your business, while the wrong name can put you out of business. You need to ensure your company has a name that matches what you do and gets the point across to your customers. If your customers don't understand your name, they may choose not to do business with your security company.

Five Considerations for Your Business Name

Finding the right business name does not have to be difficult. All you have to do is follow these five tips to creating a great business name that will help your security company gain customers.

1. Your business name needs to be easy to spell and pronounce. If your security company name is complicated it will be very difficult for your customers to remember it. That is not to say you shouldn't have a unique business name, but a business name like Cerberus may seem unique since that is the name of the Greek guardian of the underworld, but it can be hard to remember. First, your customers may not get the reference; they may not know how to say it and they may not be able to spell it. If they can't spell it, it will be difficult for them to find you in the phone book.

2. Your security company name needs to have a visual element to it. This will make it much easier to remember for your customers. Think of apple and its recognizable logo. If your company name is simple and easy to spell, and you can incorporate it into a visual logo, then your company will be able to create brand awareness with customers. Humans learn by seeing images when we read and listen. Not to mention a good visual name can be a great advertising tool as well.

3. Make your company name have a positive feeling towards it. Remember Cerberus? That is the Greek guardian of the underworld, but is the underworld, or Hell, what you want your customers to think of when they see your company name? When you choose a name it will fall within the categories of positive, neutral and negative. When you choose a name, use words that have a positive connotation to them. In the security company world, you want to express security and the feeling of safety. A good example of this is Shield Security Systems. The shield is a representation of security and strength, and that helps to create a positive feeling for customers. A good choice for a company name is Castle Security. Castles have a positive connotation and they represent strong security, which is important to your customers. Castles can also make great logos. In contrast, Straw House Security would be a bad choice because there is nothing secure about a straw house.

4. When you choose a company name for your security company, make sure you represent what your company does in the name. Try and have words like "secure", "shield", "fortress" and "castle" because they represent security. Your company name needs to give your customers an idea of what you do. Not putting the word "security" in your business name would be a big mistake.

5. While John Smith's Secure Strength Security Company may seem like a great name to you, it is way too long for your customers. Your business name needs to be short. Think of some of the most famous brands on Earth, "Pepsi", "Adidas", "Nike", "Wal-Mart" and "K-Mart". These names are all short and to the point. Your business name needs to fit easily on a business card, be easy to type into a browser and be easy to remember. Instead of John Smith's Secure Strength Security Company, a better name would be Smith's Security.

Registering Your Company Name

Once you have chosen your company name, you will need to register that company name in your state. One reason to do this is to help when you are being paid from customers and to aid in tax benefits during tax time. It also ensures there is not another company with that same name in your state. Try these websites to register your company name:

1. Thomas Register

2. Niten Research Corporation

3. Mahtta Trademark Company

4. Legalname.com

5. Mark Monitor

Choosing the right company name and registering it is one of the first steps you take in creating a security company that gives you financial security and gives your customers the security of peace of mind.

Pam Neely writes about how to start a handyman business, including how to choose a name for a handyman business.

Check Out HADES: An entry from Macmillan Reference USA's <i>Encyclopedia of Religion</i> for $5.90

HADES: An entry from Macmillan Reference USA's Encyclopedia of Religion Review

HADES: An entry from Macmillan Reference USA's Encyclopedia of Religion Overview

This digital document is an article from Encyclopedia of Religion, brought to you by Gale®, a part of Cengage Learning, a world leader in e-research and educational publishing for libraries, schools and businesses. The length of the article is 1772 words. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser. The second edition of this highly regarded encyclopedia, preserving the best of the first edition's cross-cultural approach, while emphasizing religion's role within everyday life and as a unique experience from culture to culture, this new edition is the definitive work in the field for the 21st century. An international team of scholars and contributors have reviewed, revised and added to every word of the classic work, making it relevant to the questions and interests of all researchers.

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Update Post: Nov 24, 2010 05:20:36

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The Percy Jackson and the Olympians, Book One: Lightning Thief Deluxe Edition Review

The Percy Jackson and the Olympians, Book One: Lightning Thief Deluxe Edition Feature

• ISBN13: 9781423121701
• Condition: New
• Notes: BRAND NEW FROM PUBLISHER! BUY WITH CONFIDENCE, Over one million books sold! 98% Positive feedback. Compare our books, prices and service to the competition. 100% Satisfaction Guaranteed

The Percy Jackson and the Olympians, Book One: Lightning Thief Deluxe Edition Overview

Book Description

In this stunning collectors' edition of The Lightning Thief, Percy Jackson's world is brought to life with eight full-color plates by the series jacket artist John Rocco. The edition comes in an elegant slipcase with a ribbon bookmark, rough edges, and cloth cover--a perfect keepsake for fans of this truly epic series.

After getting expelled from yet another school for yet another clash with mythological monsters only he can see, twelve-year-old Percy Jackson is taken to Camp Half-Blood, where he finally learns the truth about his unique abilities: He is a demigod, half human, half immortal. Even more stunning: His father is the Greek god Poseidon, ruler of the sea, making Percy one of the most powerful demigods alive. There's little time to process this news. All too soon, a cryptic prophecy from the Oracle sends Percy on his first quest, a mission to the Underworld to prevent a war among the gods of Olympus.

This first installment of Rick Riordan's best-selling series is a non-stop thrill-ride and a classic of mythic proportions.

---

A Note for Amazon Customers from Illustrator John Rocco

Dear Readers,

When I was about eight years old I had the great luck of stumbling upon my father’s collection of Classics Illustrated comic books. I instantly fell in love with the stories of Robert Louis Stevenson, Mark Twain, H.G. Wells, and James Fenimore Cooper. Many years later, when I became interested in illustration, I discovered the beautiful hardbound editions of these stories featuring the arresting artwork of incredible artists like N.C. Wyeth, Howard Pyle, and Maxfield Parrish. What I love about their paintings is not just the beautiful draftsmanship, color and composition, but their ability to capture a moment that held the promise of swashbuckling adventure. That promise let me know that if I read the words surrounding that picture, I could unlock the adventure.

That promise is what I tried to achieve when creating the pictures for this incredible series. My approach has never been just to describe a scene from the book, but to create an illustration that offers tension and mystery--an image that provides just enough information to leave the viewer wanting to know more.

When I was asked to create images for the Deluxe Edition of Rick Riordan’s The Lightning Thief it was a dream come true. It was my chance to illustrate what I consider to be a new classic. The Lightning Thief has so many wonderful moments it was difficult to choose what to paint, but I knew I wanted to create a balance of dramatic scenes and quiet moments and to capture the spirit of Rick’s unforgettable characters. It has been my own great adventure to help bring this book to life in a new way, in color, on the page.

I hope you enjoy this Deluxe Edition of The Lightning Thief.

Yours,

John

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Illustrations from Percy Jackson and the Olympians: The Lightning Thief Deluxe Edition
(Click to Enlarge)

Percy and a Nereid	Percy and Annabelle on their way to Las Vegas	Percy at the Entrance to Mount Olympus

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Update Post: Nov 23, 2010 05:10:19

Alpha To Omega-Beginning To End-Alpha Dog Covers What Makes A Film Fine

What makes A Film fine?

The Story:
Written by Nick Cassavetes (John Q, The Notebook) also known for shared writing credits with Denis Leary for the screenplay of the movie Blow, it is based on a true story in which a series of events amongst a team of misguided youths ran inexorably out of control. Cassavetes developed his tale as a cautionary one, while at the same time allowing the audience to draw their own conclusions about the individuals and the morality at play.

On August 6, 2000, 15-yearold Nick Markowitz was seen just after noon, strolling down a road in West Hills, California. The previous night he had a run-in with his parents when they discovered drug paraphernalia bulging out of his jean pocket. He bolted. His parents, upon hearing his return in the middle of the night, resolved to hold any discussion until the following morning. They would never see him again.

The Plot:

As events unfold, a group of apparently voiceless teenagers, Tiko, (Fernando Vargas) Frankie, (Justin Timberlake), and Elvis, (Shawn Hatosy) fall under the spell of their drug-dealing friend, Johnny Truelove (Emile Hirsch) to the extent that not one of them sounds the alarm after helping Johnny cross the proverbial line by kidnapping the brother of a client, and holding him over the course of the next three days for ransom for a bad drug debt.

The story flows effortlessly into its own abyss and Cassavetes, who also directed, should be lauded for the conciseness and tightness of every frame. This tale has all of the elements of Greek Tragedy. In Greek Tragedy, the word "tragedy" refers primarily to tragic drama: a literary composition written for actors with a central character, a tragic protagonist or hero, who suffers some serious misfortune which is not accidental nor is it meaningless. It is significant in that the misfortune is usually connected to the hero's actions. This story has more than one central character. The hero is young Zack Mazursky, the antagonists - his brother Ben and Ben's nemesis, drug-dealer Johnny Truelove.

The Music:

Backed by a flawless and exciting soundtrack specifically designed to enhance the visual impact of the story, it unfolds as if one were watching it play out from a window as close as next door, a la Gladys Kravitz on Bewitched. From the opening refrains of Somewhere Over The Rainbow poignantly sung by Eva Cassidy behind visuals of home movies of various young boys and girls - to the pure street beats of Tupac Shakur - the soundtrack has everything in between, including David Bowie, Paul Bushnell, Citizen Cope, Lazarus, Mic Holden, Lowd, Tech N9ne, Miredys Piguero & Paul Graham and original work by Aaron Zigman and Nick Cassavetes. This exciting compilation is sure to make the soundtrack a music- industry winner.

The Cast:

Ben Foster plays big brother and, oh-so loose cannon, Ben Mazursky. The performance is a brilliant one, as tightly controlled as Mazursky is tightly wound. It is a riveting portrayal of a meth freak gone mad. He leaves you breathless by dint of his rapid switching from calm to convulsive in a heartbeat. Sometimes, the same heartbeat.

Younger brother Zack, (the name of real-life victim Nick Markowitz' dog,) is played with ethereal presence, by Anton Yelchin, (Taken, Jack and Hearts in Atlantis.) He radiates good and all things innocent. It is a perfect contrast to the rough and tumble teenage mayhem that surrounds him - teens with too much time on their hands and too much dope in their heads. The girls, who appear in various stages of wantonness, upon discovering that he is being held for ransom, give him the moniker 'Stolen Boy.'

Emile Hirsch, who was phenomenal in his portrayal of Jay Adams in Lords of Dogtown, is equally stellar in his role as Johnny Truelove; Cassavetes name for the story's real-life dealer and small-time hood, Jesse James Hollywood. His research on Jay Adams has stood him in good stead for this role as Adam's has had numerous run-ins with the law and has spent time in prison for assault and drug crimes as well as being a member of the Venice Suicidals street gang.

The part of Jesse James Hollywood's main man, Jesse Rugge, known in the movie as Frankie Ballenbacher, was played with a curious sensitivity by Justin Timberlake. Loose and light-hearted was the overall persona presented effortlessly by Timberlake. It was incongruous with the key part that Rugge played in the three days that culminated in the death of a fifteen-year old. One can only assume that the research Cassavetes did on his subjects led him to believe that Rugge had simply gotten in over his head and, in order to save face, went along with the caper to the point where he couldn't retract himself. There are clearly no winners in this story.

As the real story goes, Nick was taken to various houses in Santa Barbara [Palm Springs is substituted for Santa Barbara in the movie] over the course of three days and often ended up at Rugge's family home. In the movie, as in the court transcripts on the case, there was what can only be described as one long roving party that continued over the course of the kidnapping and took place at the many spots they visited, accumulating numerous witnesses to the kidnapped hostage along their route. In a Los Angeles Times article, Rugge's father, Baron Rugge (Chris Kinkade) said that, "I thought Nick was up here visiting." And that, "when I saw him, I saw him just to say 'Hi,' and 'Yeah, you can stay here if you want."'

As with most of the parents represented in this film, the senior Rugge's lack of attention or concern for the comings and goings of his son and his son's friends is telling. In the film, Cassavetes points a few fingers at parents who are too busy partying and hanging on to their own misspent youths to be of much use in child-rearing. Minutes into the film Johnny is arranging a large drug buy through his father Sonny, (Bruce Willis) an alleged underworld figure who hangs with an older, withered crony, Cosmo Gadabeeti, (Harry Dean Stanton) the man who ultimately handles the mess Truelove makes of his life by making it go away. For awhile.

The exception to this is Zack's mom Olivia Mazursky. Sharon Stone plays real-life mother to Nick and step-mother to Ben, Susan Markowitz. By the end of the film, Stones heart-felt portrayal of a mother's grief was so intimate that her pain brought tears to my eyes. Maybe it's because I'm a mother. I applaud her ability to get inside Markowitz' skin and allow her normally-gorgeous self to be seen as a middle age overweight basket-case with such flawless conviction.

Susan Markowitz, a formerly attractive sunshine-blonde, gained 65 pounds during the ordeal of the ensuing trials and attempted suicide twice. The in-your-face camera-work in Stone's final scene is reminiscent of director John Cassavetes work with his wife, actress Gena Rowlands, - and every bit as arresting.

Probably not by coincidence, Susan, (Dominique Swain) happens to be the name of the only sane one of this bunch of party animals. Hers is the only voice of reason raised amongst this group of stoners oblivious to the trajectory of their lark.

A lark that ended tragically when Elvis Schmidt, (Shawn Hatosy) in the role of convicted murderer Ryan Hoyt, fires a semi-automatic weapon into Zack at the edge of a pre-dug grave. Hoyt was convicted of shooting Nick in the head and torso nine times with a TEC-9 semi-automatic.

In November, 2001, he was found guilty of first-degree murder and he sits on Death Row at San Quentin, waiting to die by lethal injection. Jesse Rugge was sentenced to life in prison with the possibility of parole in five years. Two others received short sentences for their part in the caper.

Like the movie, River's Edge, the majority of the players flitting around the flame of this tragedy received punishment meted out by their own conscience.

One hopes that it screams long and loud.

Devorah Macdonald