The initial treatment of acute traumatic proximal tibiofibular dislocation in anterolateral direction is closed reduction, the posteromedial dislocation requires open reposition and temporary fixation.
Department of Orthopaedic Surgery, Haukeland University Hospital, Jonas Lie Vei, 5021 Bergen, Norway.
Introduction: Acute traumatic dislocation of the proximal fibula occurs in an anterolateral, posteromedial, or superior direction. The dislocation is seen both isolated and in combination with other injuries of the leg. A dislocation is an uncommon injury. We have recently treated three patients with this injury which we believe will illustrate some treatment aspects.
Case 1: A 25-year-old man fell in a football match. He had pain in his leg especially proximally. There was a prominent fibular head on inspection. X-rays showed an anterolateral dislocation in the proximal tibiofibular joint. The dislocation was treated by closed reduction under spinal anesthesia. The joint was stable when tested subsequently. He avoided weight bearing for 2 weeks. At 6 months follow-up, the patient played football at the same level.
Case 2: A 63-year-old man caught his right foot in a net and fell immediate pain and minimal swelling proximally on the leg. It was diagnosed as a tibiofibular dislocation. A computed tomography (CT) scan was conducted to confirm a dislocation in an anterolateral direction while waiting for surgery, the dislocation spontaneously reduced. The patient was treated with a cast, with non-weight bearing for 2 weeks. Six months after injury, the patient was without symptoms. Case 3: A 45-year-old woman got a large object on the proximal part of her right leg. She had an open wound over her proximal fibula. We found a posteromedial dislocation. Through the wound, the fibular head dislocation was reduced and temporarily (for 6 weeks) fixated with a screw. At 6 months follow-up, there was no restriction of movement in the knee and the proximal tibiofibular joint was stable. She still had occasional pain with full weight bearing.
Conclusions: Anamnesis and clinical examination usually provide the diagnosis of proximal tibiofibular dislocation. X-ray (and CT scans) examination may be helpful. The treatment of acute traumatic dislocation is closed reduction. Open reposition and temporary fixation are required if closed reduction fails or if the joint is unstable (after reduction) and in the case of posteromedial dislocation. The prognosis is good if the joint is stable after closed reduction.
Keywords: Dislocation, proximal fibula, tibiofibular joint.
Acute traumatic dislocation of proximal fibula occurs in an anterolateral, posteromedial, or superior direction. The dislocation is seen both isolated and in combination with other injuries of the leg . Anterolateral dislocations occur most frequently and can be caused by a fall or twist where the ankle is inverted and in plantar flexion while the knee is in flexion (case 1 and case 2) [2, 3]. This mechanism, and therefore these injuries are seen in various sports. The posteromedial dislocation is often caused by a direct trauma to the fibular head (case 3) . From 1974 to 2014, there are about 30 cases mentioned in the literature . We have recently treated three patients with this rare injury, which we believe will illustrate some treatment aspects.
A 25-year-old man had a fall during a football match where his right leg was trapped under his body. He had pain over the ankle and especially proximally in the leg. Inspection revealed a prominent fibular head (Fig. 1). Stability testing of the right knee showed no instability and the peroneal nerve was intact. X-rays (of both legs/knees) showed an anterolateral dislocation in the proximal tibiofibular joint (Fig. 2). The dislocation was treated with closed reduction under spinal anesthesia. The joint was then stable when tested. He avoided weight bearing for 2 weeks. At 6 months follow-up, the patient played football at the same level as before the injury.
A 63-year-old janitor caught his foot into a net and fell. He experienced immediate pain and minimal swelling proximolateral on the leg. Stability testing of the right knee joint showed no instability and the peroneal nerve was unaffected. The injury was diagnosed as a proximal tibiofibular dislocation. Following a failed reduction attempt under local anesthesia, a computed tomography (CT) scan was conducted which showed dislocation in an anterolateral direction (Fig. 3). While he waited for surgery, the dislocation reduced spontaneously with a marked "pop." A new CT scan showed that the fibular head was back in place (Fig. 4). The patient had after-care with a long-leg plaster of Paris for 2 weeks and no weight bearing. After plaster removal, full weight bearing was allowed and 6 months after injury, the patient was symptom-free.
A 45-year-old woman was walking her dog when she got a large sheet of wood on the proximal part of her right leg. Stability testing of the right knee joint showed no instability and there was no peroneal nerve palsy. She had surgery for a lateral malleolar fracture. Peroperatively, we found an unstable, posteromedial dislocation of the fibular head. Through a deep wound (Fig. 5), the fibular head dislocation was reduced and temporarily (for 6 weeks) fixated with a screw (Fig. 6). Postoperatively, she developed a moderate form of complex regional pain syndrome that led to a slow recovery. She was non weight bearing for 6 weeks because of her malleolar fracture. At 6 months follow-up there was no restriction of movement in the knee and ankle. The proximal tibiofibular joint was stable. She still experienced occasionally some pain with full weight bearing.
A traumatic dislocation of the tibiofibular joint is an uncommon injury, comprising <1% of all knee injuries . Anterolateral dislocations are most common (85%), followed by posteromedial (10%) ,and superior (2%) .The literature has mentioned about 140 cases (108 +30) from its first description in 1874 until 2014 [1, 4]. They are mostly related to sporting activities . Left untreated, the patient may experience chronic pain and instability in the knee, abnormal gait and reduced sporting performance . Injury to the common peroneal nerve (transient) is rarely (5%) seen especially in posteromedial dislocations [3, 8]. A high index of suspicion is required in traumas with lateral knee symptoms and inability to bear weight. The mechanism of the injury and adequate physical examination will lead to right diagnosis. Bilateral AP X-rays (as in our patient 1) may be helpful, but the best option is to perform a CT scan (or magnetic resonance imaging) as we did in our patient 2. The function of the common peroneal nerve should be noted. The best treatment in an acute setting is not known yet. There is some agreement that the initial management of an acute traumatic anterolateral dislocation should be closed reduction (direct posterior pressure to the dislocated fibular head with the knee in (full) flexion and the foot externally rotated, in dorsiflexion and everted) . Others recommend immediate mobilization with the intention to provoke spontaneous reduction . We used spinal anesthesia in our patient 1, but one could try to reduce the dislocation first under local anesthesia in combination with muscle relaxation. This failed in our patient 2. There is no consensus as to the method or duration of immobilization or the weight-bearing status following closed reduction [4, 9]. There is at present no clear evidence for restriction of weight bearing or immobilization after a successful closed or spontaneous reduction . We did not use anyspecific post reduction rehabilitation protocol. Open reduction (with primary repair of the ligament structures) and (temporary) fixation are required if the closed reduction fails . In an acute setting of joint instability after closed reduction, the most common surgery described is also open reduction combined with (temporary) fixation . There is also no consensus as to the method and the duration of the temporary fixation. This varies between Kirschnerwire(s), pin(s), or screw(s) for 3–26 weeks in the literature [4, 11]. In our patient 3, we chose one-screw fixation for 6 weeks, with full range of motion in the knee and full restriction of weight bearing as long as the screw was in place, which we thought was a reasonable protocol based on the existing literature. We have no reason to believe that the residual symptoms in patient 3 were caused by our setup. We have a recorded 6 months follow-up of all three patients. After several years, none of these patients contacted our department/hospital, the only in the region treating these conditions. We have therefore reason to believe that there is no changing or worsening of the patients' complaints after this first 6 months follow-up.
Dislocations of the proximal fibula are rarely seen. The anterolateral dislocation is most common. Anamnesis, mechanism of the injury, clinical examination, and high index of suspicion usually provide the diagnosis. X-ray examination (especially bilateral AP) may be helpful. If in doubt about the diagnosis, a CT scan is the best option. Treatment of acute traumatic dislocation is closed reduction during muscle relaxation. Based on the literature and our limited experience, open reduction, and temporary fixation are required if closed reduction fails, if the tibiofibular joint is unstable (after reduction) or in the case of a posteromedial dislocation and of course, when there are progressive neurological symptoms of the common peroneal nerve. The prognosis is good if the tibiofibular joint is stable after closed or spontaneous reduction. Posteromedial dislocation gives more frequent complications.
The treatment of acute traumatic proximal tibiofibular dislocation is closed reduction. Open reduction and temporary fixation are required if closed reduction fails, or if the joint is unstable (after reduction) and in the case of posteromedial dislocation.
1. Ogden JA. Subluxation and dislocation of the proximal tibiofibular joint. J Bone Joint Surg Am 1974;56:145-54.
2. Halbrecht JL, Jackson DW. Recurrent dislocation of the proximal tibiofibular joint. Orthop Rev 1991;20:957-60.
3. Ahmad R, Case R. Dislocation of the fibular head in an unusual sports injury: A case report. J Med Case Rep 2008;2:158.
4. Weme RA, Somford MP, Schepers T. Proximal tibiofibular dislocation: A case report and review of literature. Strategies Trauma Limb Reconstr 2014;9:185-9.
5. Horan J, Quin G. Proximal tibiofibular dislocation. Emerg Med J 2006;23:e33.
6. Goldstein Y, Gold A, Chechik O, Drexler M. Dislocation of the proximal tibiofibular joint: A rare sports-related injury. Isr Med Assoc J 2011;13:62-3.
7. Chiu C, Sheele JM. Isolated proximal tibiofibular dislocation during soccer. Case Rep Emerg Med 2015;2015:657581.
8. Lyle HH. Traumatic luxation of the head of the fibula. Ann Surg 1925;82:635-9.
9. Burke NG, Robinson E, Thompson NW. An isolated proximal tibiofibular joint dislocation in a young male playing soccer: A case report. Cases J 2009;2:7261.
10. Ashraf MO, Jones HM, Kanvinde R. Acute traumatic fracture dislocation of proximal tibiofibular joint: Case report and literature review. Injury 2015;46:1400-2.
11. Kruckeberg BM, Cinque ME, Moatshe G, Marchetti D, DePhillipo NN, Chahla J, et al. Proximal tibiofibular joint instability and treatment approaches: A systematic review of the literature. Arthroscopy 2017;33:1743-51.
How to Cite This Article: Krukhaug Y, Schrama J C. Acute traumatic proximal tibiofibular dislocation: Treatment of three cases. Journal of Orthopaedic Case Reports 2019 Jan-Feb; 9(1): 98-101.


This easy Instant Pot mushroom farro risotto is the perfect healthy weeknight dinner with earthy mushrooms and nutty, whole grain farro.
Risotto has always been one of my favorite Instant Pot dishes. It was one of the first dishes I ever made in my Instant Pot and has turned out perfectly ever since. Risotto is such a labor of love on the stovetop, and so simple in the Instant Pot.
Start by turning the Instant Pot on "Saute" and press the Saute button until it's on "More." Add the butter to the stainless steel pot. When it's melted add a finely chopped onion and cook for about a minute.
Then add sliced mushrooms and cook for 3 more minutes, stirring occasionally. You can use any type of mushroom here – I've made this successfully with shiitake, baby bella, and white button mushrooms before. Finally, add some garlic and saute for another minute.
Add the farro and vegetable broth and stir, scraping up anything that has stuck to the bottom of the pot. This helps to prevent the dreaded "Burn" error.
Note that if you do get a "Burn" notification it sounds a lot worse than it is. It just means that some stuff is stuck to the bottom of the pot. It happens to me when I haven't used enough liquid or when I've used a tomato- or cream-based sauce that is touching the bottom of the pot. To remedy the situation, release the pressure, open the lid, and stir well, scraping up any bits on the bottom of the pot. Try turning the Instant Pot on again for the remaining time. If it burns again, then release the pressure, take off the lid, and turn the pressure cooker on "Saute" to cook the rest of the way.
Lock the Instant Pot lid in place. Close the pressure release valve and press the "Pressure Cook" button until it's on "Normal" and press the "Pressure Level" button until on "High" (High is the default). Press the +/- buttons until it says 00:10 for 10 minutes.
When done, let the Instant Pot naturally release for 10 minutes (just do nothing and it will start counting up). Then press the "Cancel" button to turn off the Instant Pot and quick release the remaining pressure by opening the pressure valve, steering clear of the steam.
After the pressure is released and the float valve falls, remove the lid. It will still look a bit soupy. Turn the Instant Pot back on "Saute" and leave to simmer uncovered for about 3 minutes, stirring frequently. Then add the Asiago cheese, thyme, and salt and mix in well. Turn off the Instant Pot and serve.
Looking for more Instant Pot rice dishes? Check out this Instant Pot enchilada rice, shrimp risotto, or easy rice and beans. If you try this recipe for Instant Pot Mushroom Farro Risotto, leave a comment and a review below to let me know how you liked it!
This easy Instant Pot mushroom farro risotto is the perfect healthy weeknight dinner with earthy mushrooms and nutty farro.
Place the stainless steel pot in the Instant Pot. Press the "Saute" button until it's on "More." Add the butter.
When the butter is melted, add the onion and cook for about a minute, then add the mushrooms and saute for 3 more minutes. Finally, add the garlic and cook for another minute, stirring occasionally.
Add the farro and broth and stir, scraping up anything that has stuck to the bottom of the pot. Then lock the lid in place. Close the pressure release valve and press the "Pressure Cook" button until it's on "Normal" and press the "Pressure Level" button until on "High" (High is the default). Press the +/- buttons until it says 00:10 for 10 minutes.
After the pressure is released and the float valve falls, remove the lid. It will still look a bit soupy. Turn the Instant Pot back on "Saute" and leave to simmer uncovered for about 3 minutes, stirring frequently. Then add the Asiago cheese, thyme, and salt and mix in well.
Turn off the Instant Pot and serve.
This looks like pure comfort, I love it!
Good luck! Let me know how it turned out for you!


Wrist-band.com manufactures wristbands only 100% silicone, unlike the flimsier and lower-quality rubber bracelets offered by others. Our wristbands are manufactured to the EXACT specifications and quality of the popular LiveStrong wristbands.
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Is there a mold charge, setup fee, or any other hidden fees?
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We will do everything in our power to make sure your order meets your specifications and time requirements. Should a problem arise with an order, your sales executive will do everything he/she can to create a solution.
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Do you ship outside the US, to APO/FPO addresses, or to a PO Box?
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In footer please click track order. From there you can enter your order number and your E-mail address and one of our sales representative will reply back to you with the status and tracking number of your order.
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Yes, you can split the sizes of wristbands, but there will be $40 mold fee.
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Is this known problem at the moment?
We have 670 accounts under one MCC, number of rows won´t exceed 5.000 but still the query gets frozen and not working.
Sadly, it is a known issue with the AdWords API that it cannot handle pulling large numbers of accounts. You will need to reduce you account list, possibly split them into smaller chunks and run as separate queries, so the API is able to process them.
Could this also be related to your other forum post or is that a different data source?


These Millennium Falcon themed Stan Smiths from the Star Wars x Adidas collaboration might not look like much, but they can make the Kessel run in less than 12 parsecs. Based on Han Solo's modified YT-1300 smuggling vessel, these Stan Smiths are done up in white with detailing on the uppers designed to make them look like the famous Corellian freighter. Available now at Schuh-You, you had better tell Chewie to punch it if you want to get your own pair before they sell out.


After Marin Čilić won US Open, tennis devotees in Croatia have another treat ahead of them. Bluesun CRO Circuit brings over 600 tennis players from 60 countries to Bol, where they will participate in a series of ITF Pro tournaments in the Bol Tennis Centre. All the ultimate heroes of the white sport began their hard path at the Futures tournaments. Novak Đoković, Rafael Nadal, our Marin Čilić, as well as numerous kings of this noble sport started their journey to success exactly at tournaments of this category. And, after a long 15-year pause, Mr. Felix Lukas organizes ITF Futures tournaments – Bluesun Cro Circuit for young male and female tennis players in Bol from May to the end of September, 2015, under the patronage of the President of the Republic of Croatia, Ivo Josipović, D.Sc.! The participants and visitors of Bluesun CRO Circuit will like the vicinity of the famous beach, Zlatni rat, which is a mere 5-minute walk from the tennis courts. The neighbouring Bluesun hotel Elaphusa has such modern facilities in the offer as the Ella Night club, the superior Thalasso Wellness centre, a bowling alley and a golf simulator. The Bol Tennis Centre is a complex of 26 tennis courts on earth, which used to host the WTA "Bol Ladies Open" tournament between 1991 and 2003, at which Ana Kurnjikova, Amelie Mauresmo, Arantxa Sanchez and many others participated. This is a superior tennis centre located in one of the most luxurious Croatian destinations. You have quality tennis courts, tennis equipment, helpful staff, and first-rate tennis schools at disposal. Tournaments are a part of the Golden Circuit series, consisting of as many as 20 ITF Pro tournaments, which makes as much as 5% of all the tournaments from the Futures series in the world. Over 1000 male and female tennis players participate in the tournaments of the Golden Circuit series, within which there are 10 male and female tournaments. If you are a fan of this refined sport, you surely know that playing tennis, after which you can refresh yourself in Zlatni rat, is the most precious gift in which you can indulge in this half season.


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Speech & Music. . .
by DamnedFool | Dec 4, 2016 | Uncategorized | 0 comments
(The Fool is currently taking a sabbatical to have a sex change operation and work on a show of her/his/its own.)
I'm thinking about the wild difference between face-to-face interactions and mediated ones. At the far end of the spectrum are emails and Facebook posts, then there's a mid-ground of telephone calls and actual written, posted letters (different from emails because of the lack of instant transmission), and finally there's the scrum of the Farmer's Market and the holiday party and the local bar.
My experience is that understanding and empathy and downright friendliness happen better face to face. I've arrived at some encounters with a mighty load of irk and found myself finishing with a hearty laugh and a hug, or at least a sense of release.
When we first traveled to Europe, we had been told that the French were arrogant snots. Our first in-depth encounter was with young farmers who rescued us from our broken-down scooter near Nancy, welcomed us into their home, gave us shelter overnight, fixed the damn scooter, and would absolutely not take payment. Ha.
Five generations ago, few people traveled far from their birthplace and communication was sparse and infrequent. Migrants from Europe to the US took leave of their past beloveds and knew they were unlikely to ever hear from them again. If Cousin Jenny slipped up and had a bastard, few would know, and if Grandpa died, it might be a year before anyone on this side of the pond got the word.
But if someone in the village had a disastrously hard childbirth, food appeared and children were cared for and the laundry somehow got done. If Frank got drunk and busted Luke's jaw, sometimes the community could set things toward an even keel again. Not always—I'm not that naïve—but sometimes.
Now the human population is gushing out new lives beyond our wildest imaginings, Facebook and Twitter are reaching into some very strange places, and Truth is as hard to catch as a feral cat. An unnervingly large number of folks take their pleasure in generating instant hatred at warp speed.
Is it possible to take a step back? Take a good look at the woman sitting at the bottom of the post office steps and actually see her, maybe just smile, maybe give money, or more audaciously, have a human conversation?
The young women trapped in the Triangle Shirtwaist fire knew they weren't going to make it out alive, but when they jumped toward their death, many of them were holding hands. Touching and seeing and listening isn't going to rescue us from disaster, if that's what's hurtling down the chute, but at least we can hold hands.
—From CB—
I've always had a longing to make music, but it'll never happen. In fifth grade, I took lessons on the cornet, but after a couple of years in the grade school band, I gave it up. In high school, I took singing lessons: I was told I had a beautiful bass-baritone, and my teacher had sung solo with the Met. But I had zilch musicianship and no sense of pitch—rather, I could always tell when I was off but couldn't tell where to go. In college, I took two half-credit courses in music theory and sight singing, got D's in both, and gave up a promising career—promising to be non-existent. I found other modes of performance.
It was predictable: I grew up in a household with no music whatever, except Your Hit Parade on TV, and Lawrence Welk. I remember a couple of country-western songs—"Your Cheatin' Heart" and "Ghost Riders in the Sky" and "Cool Water"—but those lit no sparks. As a teen I bought Elvis records and Beethoven symphonies, but somehow I never really felt I was listening: I was working to listen. I wanted desperately to be someone who listened to it, whatever it was, and could feel it.
That's never really changed. Marrying a musician and forcing her into being a composer gave me a few insights. And starting to dance in my fifties offered a new channel of comprehension: if I could move, I could hear and be present in its time. But just sitting there, no.
Yet there's seepage. In my seventies, I think I've become more fluid emotionally, sometimes more volatile, though I'm still very much Iowa-bred. I like to hear acoustic stuff with lyrics out front. I like Steve Reich & Roger Waters & Peter Gabriel. I've always been willing to take the ride with Beethoven. I just discovered Mahler last year and go nuts with his fireworks displays: his orchestral virtuosity is such that you expect him to make sausages emerge from the woodwinds. We can afford now to go to the SF Symphony once in a while, and though I've refrained from dancing in the aisles, I love it.
My newest thirst-quencher is Shostakovich. Plugged into my iPod at the gym and walking home, I've ploughed my way through a bunch of symphonies & quartets, a couple of concerti. Somehow, though knowing only the raw outlines of his difficult life and not really being able, in musical terms, to express what I mean, I feel his presence in his music more than any other composer I've ever heard. The rage, the tenderness, the mortality. It would be an enrichment for me to understand the musical technique, but it's a blessing beyond measure to be enwrapped in the music.
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Those of us in theatre are constantly challenged by the dominance of film. Sure, the film director can spend a year or two on the work, can spend millions, can call on a range of styles, from realism to dream fantasy to vast spectacle, far beyond the feeble reach even of Las Vegas or Broadway theatre. "But," we say with religious fervor, "we're live."
But who cares? True, a circus trapeze artist is infinitely more thrilling than a filmed one: we're seeing it really happen, and there's real flesh at risk. But that very presence makes such extremity more problematic in live theatre. Shakespearean duels on stage, the better choreographed they are, the more they take us out of the story's illusion into mental fuzz: what if the actors make a mistake? how did they learn all those move? The same with nudity: suddenly there's a disjunction between our sense of the character and our sense of the naked actor.
It's true, certainly, that in our KING LEAR, there's a circus-act fascination with its being live: two old actors juggling puppets for an hour and forty minutes, running sound & lights from a laptop, memorizing all those lines — with the sheer chutzpah to force us to watch this grim bloodbath. Amazing.
But is that what we really want? If they're thinking about how I learned all those lines, are they fully engaged in the story? Is it just a circus act? I love circus acts, but I don't want to be one.
Yet I can see from our first days of taping for an eventual DVD of the production. Any straight fixed-camera recording

redpajama_set_name: RedPajamaCommonCrawl


For students who receive federal financial aid and who withdraw (including transfers and leaves of absence) from ALL classes on or before 60% of the term has elapsed, FCSL will calculate, according to federal regulations, any amounts disbursed that must be returned to the Title IV programs.
Step 1: Determine the percentage of the enrollment period the student attended before withdrawing (days attended divided by total days in the period).
Step 2: Determine the amount of Title IV aid earned by multiplying the total Title IV aid for which the student was awarded by the percentage of time enrolled.
Step 3: Compare the amount earned to the amount disbursed. If more aid was disbursed than earned, determine the amount of Title IV aid that must be returned by subtracting the earned amount from the disbursed amount.
Step 4: Allocate the responsibility for returning unearned aid between the school and the student according to the portion of disbursed aid that could have been used to cover institutional charges and the portion that could have been disbursed directly to the student once the institutional charges were covered.
You will be billed for any amount due to FCSL as a result of Title IV funds that were returned that would have been used to cover FCSL charges.
IMPORTANT: Please reference the Withdrawals and Refunds tab of the Finance link on this site for further information.


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WhatsApp Test Transfer chat history to a new number
New features in a beta version of WhatsApp, reports WABetaINfo. This site is picking out such beta versions of WhatsApp in search of new features. Earlier, the site had already encountered the upcoming potential for chat history To find a side From Android to iPhone or vice versa.
Even now, this WhatsApp chat log is still impossible to take with you. Anyone switching from iPhone to Android now has to leave all chats, photos, and videos in WhatsApp.
It is actually possible to switch to a new phone number while keeping the chat history, but that includes Number of steps. Moreover, switching from number is only possible as long as there is no switching from Android to iPhone or vice versa.
Simplify the steps
WhatsApp will simplify such a switch in a future update. There will then be one menu option to switch to a new phone. This option explicitly asks if the phone number has also been swapped. WhatsApp says the step was introduced once: Transferring chat history is only possible when switching phones and not after.
It is not yet known when the new functionality will be available to all users. This is likely related to chat log encryption, which is also a step that WhatsApp is still working on.
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The Big Picture: Conceiving a Digital Edition of Jane Addams' Papers (2017)
Presented at the Women's History in the Digital World Conference, July 6, 2017, Maynooth University.
Early in 2014, when I was working at the Margaret Sanger Papers, I was approached by one of our federal funders — the National Historical Publications and Records Commission, or NHPRC. The Sanger Papers had almost finished its work on our four-volume book edition and the Jane Addams Papers needed a new editor. Was I interested in taking it on?
The Jane Addams Papers was, like the Sanger Project, one of a handful of women's editions started in the 1970s and 1980s as microfilm editions.
Jane Addams, born in 1860, was an American social worker, Progressive philosopher and activist for peace, woman suffrage, child labor reform, and social welfare. Addams is best known for co-founding Chicago's Hull-House, a social settlement in 1889. The author of eleven books, hundreds of articles and speeches, Addams won the Nobel Peace Prize in 1931. At her death in 1935, the New York Times called her "perhaps, the world's best-known and best-loved woman."[1]
The Addams Papers was one of the first women's editions, begun in 1976 by Mary Lynn Bryan, almost ten years before the Sanger Project.
After publishing an 83-reel microfilm and a detailed subject index by 1995, Bryan and her editorial team were working on a six-volume print edition of Jane Addams' papers. They published two volumes and were working on a third volume, covering the years 1899-1900. Bryan was ready to retire after completing Volume 3, but had not been able to find a successor.
The NHPRC was primarily interested in ensuring that the book edition would be completed, but from the first, I wanted to create a digital edition. Back in 2009, when I gave the presidential address to the Association for Documentary Editing,[2] I challenged the editing community to reach for broader audiences through digital technology. I believed then, and even more strongly now, that providing free access to as many documents as we could must be our primary goal. That meant revisiting the microfilm rather than digitizing the existing books, which only represent about 3% of the papers. And I wanted those documents to reach the broadest audience possible, including students both young and old. In many ways, as I thought about whether to take on this project, I thought about that speech and realized that it was time to put my money where my mouth was.
Where would we host it? How would we build it? And how should be envision it?
Institutional Host
I contacted Ramapo College of New Jersey, a small state liberal arts college, about hosting the Addams Papers. It was my alma mater and I had worked closely with them while I worked at the Sanger Papers, supervising Ramapo interns and joining their alumni board. When the Addams opportunity arose, I worked with Dean Stephen Rice of the Salameno School of Humanities and Global Studies to develop a project that worked to meet one of the College's fundamental goals–providing students with hands-on work in digital humanities, providing them with experience working with primary sources, and working in public history. Addams' work in social welfare was also of interest to the College's school of social work, and her international connections offered an opportunity to explore the history of the early 20th century in global terms.
As with all projects, one of the first steps was to think through permissions and copyright. Nothing could proceed without that. Jane Addams' unpublished writings are in public domain. Check! The major repositories of her papers, the Swarthmore Peace Collection and the University of Illinois at Chicago were enthusiastic. Check! And perhaps most surprisingly, the microfilm publisher, Proquest, agreed as well. Check! We would have to clear the rest of the permissions and copyright, but it was do-able.
One important question was whether the Addams Papers had created a database to control information on the documents, because that would help determine how we would approach creating a digital edition. They had not. In some ways, this made things easier for us, if a bit more time-consuming. We did not have to work with legacy data or try to wrestle it into some more modern system. It meant that we could think creatively about what the Addams digital edition should be and what it should do.
What we had to work with was the microfilm itself and the guide and index.
The Jane Addams Microfilm and Guide
The Addams Papers contains correspondence, legal documents, financial records, diaries and calendars, writings, and Addams' reference files. It also includes the records of the Hull-House Association, board minutes, real estates and financial records, records of the many activities and groups that met there, scrapbooks and reports of activities and research conducted there. It also includes a file of newspaper clippings.
The Addams Papers conducted a search for documents from 1975-1983, querying over 1,000 archives, libraries, and major newspapers. I knew that we would need to revisit the search, as more archival collections have been deposited and described since 1983, and because the Internet now allows us to locate collections in far-flung archives from our desks. A quick search of archival and newspaper databases pointed to some 75 collections that needed to be searched.
The Addams microfilm guide is unique, I think, in that it tried to index subjects. Its editors indexed documents by author and recipient, but also indexed mentions of people. For large topics, like Jane Addams, Hull-House, and the Women's International League for Peace and Freedom, they provided some subject access. It wasn't as detailed as a book index, but it certainly offered some guidance. Strangely, though, the index did not indicate document dates, which made it a bit more difficult to use. The guide also included a listing of all correspondence by date, organized by "letters from" and "letters to" Jane Addams. This list does not include any names. This allowed me to, slowly, count the numbers of documents in each year, which helped me get a better sense of the extent of the project.
I decided to focus first on correspondence and writings first. I wanted to work with Addams' diaries as well — which, sadly, are more like appointment books than reflective notes on her life — but I moved them to the second tier after seeing how difficult they are to read. They may be more useful to researchers as a spreadsheet and mapped chronology than as texts. Looking only at correspondence and writings, I counted about 21,000 documents.
But then there was the handwriting!
One look at Addams' hasty scrawl and I knew that simply providing digital images of these documents, even if rich with description, would not make them accessible to a broad audience. Students, the general public, younger people in general, heck, even I had trouble reading some of them! While a fair percentage of the documents on the microfilm were typed, the handwriting would serve as a real barrier to wide use. While it was one thing to create metadata and images for 21,000 documents, it was another to also provide transcriptions.
Transcribing documents is an essential editorial task. It makes difficult texts legible, and in a digital medium, also makes them searchable. Adding 21,000 transcriptions to our digital edition would add a new dimension to the project and many more hours of work. But it would make the edition much more useful to our audience. We had to think through:
How we wanted to represent difficult text– words that we can't read, or words that were crossed out or overwritten.
How we wanted to deal with misspelled or abbreviated words.
How we wanted users to search transcriptions.
And it was at this point that we needed to give some hard thought to the technological platform we would use.
For a good twenty five years we have been told that scholarly editions had to use XML because it was platform independent and allowed rich content encoding of documents. I had worked on a small digital edition of Margaret Sanger's speeches and articles, which was built using the Text Encoding Initiative and XML.[3] In that edition we used encoding to track people, organizations, and titles of works mentioned. We used metadata stored in the TEI header to identify the author, date, publication source, and developed a detailed list of subjects. While TEI and XML are powerful tools, it seemed to me that they were overkill for the basic kinds of encoding we wanted.
Working with TEI with an ever-changing staff of student interns and workers was a challenge. While students took to encoding, their work was difficult to proofread at the level we were accustomed to. We had to ensure that the tags were applied correctly, that the TEI files were valid, and that the metadata was properly constructed. And we had to proofread the transcriptions on the public site in order to correct any errors that crept in after encoding. We did not include images in our edition, as most of the documents were published and not terribly interesting to look at. But the main problems we had with our TEI site were publishing it to the web, as well as upgrading it as guidelines changed. The site looked good in 2003, but by 2015 it looked tired and we did not have the programming skills or funding to improve its appearance. When the TEI released P5, its newest guidelines, we were still stuck in a variant of P4, which meant that none of the new web publishing tools worked with our edition.
Looking at other TEI-based projects, available as digital editions, I found that few of them offered the kind of searchability and flexibility I hoped to offer to readers of the Addams Papers. In fact, since starting the Sanger digital edition in 2003, it did not seem TEI-based editions had advanced very far in how they looked or operated. I was also reluctant to take on a TEI-based project at a college that did not have support for digital humanities work. TEI is a remarkable tool for working with complicated text, but I didn't think that it was the best fit for us.
I wanted to include the images and build rich descriptive metadata, and wanted something that would be stable but easier to work with. I had used Omeka to build a digital archive for teaching, and decided to adopt it for the digital edition.
Omeka, if you have not heard of it, is an open-source digital content management system created by the Roy Rosenzweig Center for History and New Media[4] and designed for small archives, museums, and other cultural heritage sites. It uses the Dublin Core metadata to store data in a MySQL database. It can export the metadata records in XML and other formats. Omeka was designed to be easy to work with. It uses entry forms to build rich metadata and allows projects to customize the entry screens to help insure that data goes in cleanly. Omeka shines in other ways–chiefly its ease in publishing your digital content on the web. After the difficulties of transforming XML for publication on the web, Omeka's simple check box to publish an item seeme a wonderful feature. Another was the ability to extend Omeka by using and developing plugins. These are small modules that can be added to customize your content, adding, for example, the ability to map your data by adding the Geolocation plugin, or add text pages to your site by using the Simple Pages. plugin.
I spent time looking at other Omeka-built sites and other digital editions to think about what we wanted.[5] Seeing the kinds of resources that other projects provided helped us think about what we wanted our edition to do. But working with the documents themselves was equally as important.
One thing we lost by selecting Omeka was the ability to encode our transcriptions. Rather than use brackets around an iffy word, we could have encoded it as <unclear> and indicated why in the tag. Or we could have tracked the editorial changes Addams made to a document, indicating where text was deleted and where it was added. I was willing to give up that small advantage. Most of our documents did not have a lot of complexity, and it seemed that we could still show those complexities intellectually using typography.
One of the things that I and other editors of women's papers have devoted our lives to is making these primary sources available. We had always been limited by the technologies that were available and the perceptions of what was "important" enough. When projects based on the Founding Era were publishing comprehensive book editions of everything their great white man ever touched, women's projects were relegated to the "microfilm ghetto." We were told that we couldn't get funding for book editions that included more than a tight selection of between 1 and 5 percent of what we had put on microfilm. And just as we started completing our 4 or 6 volume sets, we learned that the book was "dead." Then once digital publication of editions began, it was the Founding Fathers' volumes that went up first, leaving women's projects also in a technological ghetto.
Going first meant that the Founders' editions had to figure things out on their own, and they chose to work with publishers—and thus developed a digital edition model that tried to replicate their books in a digital format, employing a paywall to try to recoup costs. Demand for free access resulted in more funding that made transcriptions, but not annotations available for free through the Founders Online version of the Rotunda Founding Era. But as the bar for digital publication has been lowered, projects like the Addams Papers are actually in a good place. We have more options for publishing digital editions, we can include images as well as transcriptions, and we can design our editions for the public and provide free access.
This, for me is the most exciting part of working with the Addams Papers digital edition. Women's papers, hidden in archives or on microfilm for so long, can finally be truly accessible to the public. If we do our jobs right, they will be more accessible than some of the "great men." And this accessibility comes not just from the fact that the site is open access, it is also in the way that we are designing it—to make the documents both accessible and understandable by a broad audience.
Administering the Project
One of benefits of designing a digital edition system from scratch is that you can build a tool that can also help run the project. When you are adding features to an existing or long-term project, you often end up working in several systems. My goal in using Omeka was to track as many things as possible within the system.
Copyright and permission management — We needed to be able to identify documents that need permissions, and to have an easy way to update them as permissions were secured. As we complete a set of documents, we can generate lists of people that need to be cleared and start the process.
Work flow management — We need to know what steps are completed for each document in the process of writing descriptive metadata, transcribing the text, translating the text, and researching We want to be able to access documents that need to be proofread, research that needs to be done, and documents that are ready to be published. We also want to track the history of changes to the digital record.
Counts — We can get up to the minute information on the number of documents, people, organizations and events. We can see how many are in each stage of work.
We found that one of Omeka's advantages — its simple one click publication process –quickly became too simple for our needs. Our documents were complex, made up of three parts–images, metadata, and transcriptions (and in some cases translations). In addition, we had to track repository permissions and copyright. And we needed to insure that an editor had reviewed the student work, proofreading metadata and transcriptions. When was a document ready to publish?
We could have waited until everything was cleared and proofread, like we would in a book edition.
We can publish documents or parts of documents in stages as work is completed.
To publish an image, we need both repository permission and copyright.
To publish a transcription we just need copyright.
To publish metadata only, we don't need any permission.
We hold back documents that need more work.
We can use the varying status fields to organize our work.
The more fine-grained publication process available in digital publication also opened new questions for us. Editors don't like to admit it when we can't read something, and when it comes to book publication, we might review a document over and over until publication, trying to resolve an illegible word. With digital publication we have an opportunity to publish parts of the edition as soon as they are ready, and we also have the opportunity to correct problems seamlessly. This opens up the question of when a transcription is ready to be published. Should we publish when there are a few illegible words, on the assumption that providing 95% of a transcription is better than none, or should we wait until we have gone over it over and over? I think that we should provide the 95% now and continue improving the transcription as we go. We welcome help from our readers—we want to allow readers to comment, suggest readings of words or interpret what a document is saying in the comment section.
Annotation and Contextualization
One of the things that editions do that separate them from digital archives is that they provide context for the texts, usually in some form of annotation. While we are working on traditional print volumes that will highlight a very select group of documents, we had to think carefully about how we would provide context for readers of the digital edition. With over 21,000 documents, it was not feasible to provide the same kind of intensive annotation that we will create for the book edition. We don't have the staff or time for that, and it would replicate the work done for print.
In many ways, the metadata that we gather around each document serves as annotation.
When we identify dates, authors, and assign subjects, map points, and tags we are helping contextualize the documents and are helping users find documents that are related to their interests. Part of the process of deciding upon what metadata we want to gather is trying to think about what our different audiences might be looking for. How might a student researcher want to access documents as opposed to a scholar or graduate student? How might our contributing archives want to see the documents they own?
We also needed the capability to add comments to a specific document, explaining issues that only relate to that text. We might note that the enclosures mentioned in a letter were not found, that page 3 is missing, or clarify the dating of a document. All of the other annotations we create are stand-alone, a main entry on the topic that is linked to every mention.
When we thought about what kind of information we could add consistently, we turned to the kinds of things that most historians look for — people, places, events, organizations, and publications. As we were already highlighting those relationships in the documents, it seemed well worth it to provide a short identification of each one. We envisioned building a sort-of web-based encyclopedia of resources about Jane Addams' world which would serve as a resource on its own, as well as a way to navigate the documents.
We gather metadata about these people, creating a rich network of the Progressive Era, including politicians and laborers, women suffrage leaders, peace activists, and Chicago's movers and shakers. And as we enter more and more documents, our network expands and grows as Addams broadened her reach. Many of these people are not readily findable on the web, and our entries provide citations that allow readers to find out more. Addams began her work locally in her neighborhood, then expanded to Chicago, to state-level activism, and then to the national stage. We are just beginning to explore Addams' international connections. Is it a lot of work? Yes, no doubt, but it is work that helps researchers whether they are interested in Jane Addams or not, and it provides context for our texts. Readers decide whether or not they want to follow the links to learn more about those described in the documents.
One thing that many digital editions lack is subject access. Many people think that if you can search the document text that you don't need subjects. While text searching provides impressive results, it is not the same as an interpretive subject index. An example might be the category "Jane Addams, and family." Addams rarely uses the word "family" in the letters she writes, she might use "sister," "brother," or "nephew," but more often not. Editors group documents in which Addams discusses her family or corresponds with them in a way that explores her relations with them.
Subject indexing is an intellectual process by which we analyze document content and create a system of knowledge to organize it. We expect to see it in a book, but not necessarily in a digital edition. With the increased numbers of documents we can fit into a digital edition, subject searching becomes essential– it helps readers cut through the forest to the trees that they are interested in. We built a list of subject terms to be used in the edition by consulting other editions, histories of the Progressive Era, and Addams biographies. We do occasionally add new subjects, but usually do a search to locate any previously entered documents that might have fit it.
We only track subjects for the document texts, not for the biographies, organizations, events and publications. But we think that some readers might want subject access to those entries. We decided to use tags as a broader level of subject access, but one that applied both to documents and identifications. So if you search for "Medicine" you will get documents that discuss medicine, health care, sicknesses, and medication as well as entries about doctors, medical conferences, and events. We think that this quick sorting of digital items will appeal to people who are exploring themes covered in the edition.
Reaching New Audiences
The purpose of preparing all this metadata, digitizing images, transcribing, and research is to reach a broad audience. Many editors see their primary audience as a small community of scholars, but I think that one of the greatest advantages of digital publication is that we can reach many, many more people. So the Jane Addams Papers is geared towards serving that broad audience, consisting of school kids working on History Day projects, teachers who want to create primary-source teaching materials, high school and college students working on papers, genealogists and individuals trying to trace their family history, and those working for social change who are interested in their history. Scholars and digital humanists too, of course! But if we are honest, we know that scholars will find us and know how to read these documents– it is our more general audience who needs an easy to navigate and flexible website.
We want to explore using digital tools to analyze, study, and present Addams' life and work, and to enable others to create their own digital work based on our project. We want to be able to export the data we are gathering on Addams' networks–tracking participation in events, organizations, and documents– so that interested scholars can build social network diagrams and conduct research on the changes in Addams' network over time. How interesting would it be to see what happened to Addams' contacts during World War I, when she was considered a pariah for opposing the war? Do those who cut her off then return by 1931 when she was awarded the Nobel Prize? We can look at the historical figures that Addams discusses in her writings, or analyze the gender of her associates to see whether she worked largely in a community of women. We can map her comings and goings and determine how much (or little) time she was spending at Hull-House in her later years.
Scholars may want to run Addams' writings through text analysis software to look for changes in rhetoric, or compare her writings to male Progressives to see differences in approach on similar topics. To enable these kinds of collaboration we need to provide an easy way to export our data for scholarly use in other platforms.
We also want to reach out to the public and invite them to join our site, and ask questions or make comments on the digital edition. We want to build a crowdsourcing portal where people can transcribe documents or create metadata. We are thinking about experimenting with allowing our readers to rate documents, to enable a new sorting option – highlighting the "best" documents on Jane Addams' views on peace — which might help younger and more casual users to find the most relevant documents quickly. Relying on crowdsourcing to replace student or editorial work isn't our goal, and I don't think that there is any way to guarantee participation, but there are sites that have attracted great interest. If we can build a committed group of volunteers, we may be able to start digitizing other sections of the microfilm, like Addams's early letters, the Hull-House records, or her diaries.
We are exploring the idea of creating spaces for scholars, students, and teachers for their own research on Addams. They could save searches of documents, comment on them, and repurpose them for digital exhibits. A teacher might present a series of documents with questions for students to answer; a high school student might create an exhibit on an event or topic, bringing in their own illustrations and writing their analysis. A scholar might create an exhibit comparing Addams to another figure, or embedding digital maps, timelines, and visualizations that they created using the digital edition. We would want these kinds of research to be a part of the digital edition in a separate navigational space, but think that seeing how others use and interpret the documents will be a great help to our readers. Hosting their creations will make our edition a richer place.
Just last week we received funding from the New Jersey Council for the Humanities to explore additional outreach options. We will work with teacher's education students at Ramapo College to create primary source-based lesson plans, and write guides to help middle- and high school students develop National History Day projects. This national program encourages students to use primary sources for their interpretations, and the competition includes presentations at the regional, state and national level in categories ranging from individual and group papers, exhibits, websites, and performances. Each year they focus on broad themes like this year's "Taking a Stand in History."
A New Kind of Edition
With the Jane Addams Digital Edition, we are rethinking our roles as scholarly editors. Publishing in digital media had changed what editions can be and who uses them. Free digital publication of historical documents has already expanded our audience in ways that we could not always anticipate. We are now one Google search away from the 3.6 billion people with access to the World Wide Web and that is a heady responsibility.[6] Rather than continue down a narrow path designed for scholarly book publication, we need to open up the edition and share what we do with the world.
[1] "Jane Addams, A Foe of War and Need," New York Times, May 22, 1935.
[2] Cathy Moran Hajo, "Scholarly Editing in a Web 2.0 World," October 16, 2009.
[4] For more on Omeka, see https://omeka.org/.
[5] For links to Omeka-based site see https://omeka.org/showcase/ and http://omeka.org/codex/Sites_Using_Omeka.
[6] Internet Live Stats (http://www.internetlivestats.com/internet-users/) accessed on June 28, 2017.
Cathy Moran Hajo
Scholarly Editing in a Web 2.0 World (2010)
The sustainability of the scholarly edition in a digital world (2010)


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"Last year, I got nervous in the beginning, playing in front of the crowds and everything," Miranda said. "Now I just worry about doing my job. As long as the team is winning, I'm happy."
Pics of Paul Conway arriving at PDX.


Uncharted 4 A Thief's End and the wait is finally over when you have the Hands on the Final Chapter of Nathan Drake's Journey. We Will be guiding you will all the information of Uncharted 4: The Thief's End, from weapons, characters, collectibles to treasures location and walkthrough Map in this Uncharted 4 The Thief's End Wiki Guide. So done with the waiting, let's get started with the Chapter 1 Walkthrough.
As you start with the New Game, you will find Nathan and Sam(Brother) on a Boat where they are trying to escape from the Pirates and the Enemies who are behind the same treasure. You must Find the way to escape from these enemies so once the cutscene is over Hold R2 to Accelerate the Boat and let Sam handle the Gang. I know you are too busy enjoying the graphics, but for now, we need to escape. The only Root is straight and slight left.
We are been chased by a bunch of enemies on their boats and the only thing to deal with them is to Bump their boat when they get close enough, avoid taking turns simply head straight and let the enemy boat come to you and then Bump. Continue this until you come across a Big boat who are dropping mines at you so now it's time to take a slight left and head towards the mountains you see Up ahead.
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After the Boat crash, the story will take you back and you get to control Nathan when he was a Child. You are at St. Francis Boys(Orphanage) where Sister Catherine is lecturing you about the fight with another guy(Cutscene). You will here understand you Elder Brother Sam's Storyline and as every game does you will have a quick tutorial to get used to the controls and game Mechanics.
Once the Cutscene is over you will see Sam flashing a torch at you so what are you waiting for? Head outside the Window and Climb on the Left then the Container to get to the other side of the Window. You will see Sister Catherine and Father so stay in cover until Sister walk into the room. head right and loot at your File(Behavioral Report), then head towards the same room where Sister went. Let her move towards the window and smoke a little and wait until she heads back then Climb out of the Window.
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text:
Eggs Up Grill opening on Pelham Road, with more restaurant locations in the works
Lillia Callum-Penso
A breakfast all day concept with locations around the southeast is expanding its footprint with more restaurants in the Upstate. Eggs Up Grill, which last summer moved operations from Pawleys Island to Spartanburg, has announced plans to open another Greenville location at 3935 Pelham Road in April.
This will be the 4th Eggs Up Grill in Greenville (others are located on Woodruff Road, downtown and at McAlister Square). Other Upstate locations are located in Greer and in Anderson, two in Spartanburg, and a new location is also planned for 10903 Anderson Road, in Powdersville.
The Pelham Road location will feature a revamped menu that includes several new items like avocado toast and eggs, a breakfast burrito, sweet potato praline pancakes, and a pimento cheese burger.
Eggs Up serves breakfast, lunch and brunch and is open 6 a.m. - 2 p.m. daily. The menu features everything from benedicts, omelets, pancakes, waffles and French toast to burgers, sandwiches, wraps and salads.
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Eggs Up Grill currently operates 32 restaurants in three states – Georgia, North Carolina and South Carolina – and will be entering Florida in 2019, according tot he company.
The newest location in Greenville will be owned and operated by Dazz Collins, a former preschool teacher, who purchased the Woodruff Road location four years ago.
Collins described the restaurant as offering a "family-friendly, laid-back environment where everyone knows your name."
The 3,000-square-foot restaurant will offer seating for 90. The restaurant is currently hiring for both part-time and full-time front and back-of-house positions. Interested applicants may apply at 1939 Woodruff Road, or on the Eggs Up Grill website.
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Travelling in Australia and want to know the best things to see & do in The Grampians? Well, you've landed in the right place.
The Grampians region produces some of the finest wine in Victoria. We were lucky enough to visit Grampians Estate and Best's Wines, however there's a multitude of wineries and cellar doors to visit in the region.
The region is known for incredible Shiraz, however white wine lovers aren't left out – some of the best Riesling I've had the opportunity to enjoy comes from the area!
Love food? Then you'll love The Grampians! All of the eateries in The Grampians love celebrating the region's incredible local produce.
Our top picks? The Tasting Room at Steel Cutter's Cottage in Great Western is perfect for the discerning foodie, with their incredible range of tasting plates and gourmet fare. Open Thursday to Sunday, we highly recommended indulging in a long-lunch and experiencing the hospitality of owners and chefs, Rohan and Marlene.
And you can't miss Harvest Cafe in Halls Gap, which is open for breakfast, lunch and dinner (dinner on Friday and Saturday nights). Serving up delicious food and amazing coffee, the meals are complemented by a range of delish local provisions and wine.
The Views Restaurant at the Grampians Motel with its resident kangaroo, Lemon Tree, was a real treat too – think classic favourites served up with one of the most incredible views you could find.
The Grampians is famous for its lookouts, and some are even easily accessible by car – so you don't need to be a champion hiker to experience spectacular views!
We highly recommended visiting Boroka Lookout. It's just a short drive from Halls Gap and is extremely accessible with a paved walkway.
And PS.. don't forget to visit Brambuk – the National Park and Cultural Centre located in Halls Gap. It's the perfect way to start your visit to The Grampians National Park, where you can discover more about the Park and its Aboriginal culture.
Mackenzie Falls flows all year round, and is a fantastic way to spend a sunny day in the region. An easy drive from Halls Gap, there's two options to experience the falls – an easy walk to a lookout, or a slightly more challenging walk down to the Falls. We packed a picnic (created and curated by the team at Harvest Cafe!), and enjoyed our lunch in the sun at the base of the waterfall.
Our top tips for your visit to Mackenzie Falls? Wear comfortable clothes and shoes, and be prepared to work off your lunch as you walk back up the stairs! It's totally worth the walk to experience one of Victoria's most incredible waterfalls.
A visit to The Grampians is complete with abundant opportunities to see Australian wildlife in their natural habitat. From hordes of cheeky Cockatoos screeching overhead (and trying to woo you into sharing your lunch!), to mobs of Kangaroos grazing around town and elegant Emus, it's an experience sure to delight every visitor.
Halls Gap Zoo is a must-visit when you're in the region. It's the perfect day out for the whole family, with over a 160 species of native & exotic mammals (including cheetahs!), reptiles and birds.
Bring a picnic and spend the day wandering around the Zoo, or treat yourself to one of their 'Animal Encounters', such as feeding the Meerkats or a Reptile or Dingo encounter!
There's accommodation styles to suit every taste and budget in The Grampians. From family friendly cabins, to luxe retreats and camping grounds, you truly are spoiled for choice.
We stayed at The Vines in Halls Gap, a 3 bedroom eco-cabin that's part of The Harvest cafe. It's fully self-contained, so perfect for those who want to self-cater too!
The hospitality and friendliness of the locals in The Grampians region is legendary – everywhere we visited, we could have stayed for hours chatting! The knowledge and passion of the locals for their region is incredible, along with their innate friendliness.
I think the attitude of the people of the region can be summed up perfectly by the sign posted at The Views restaurant, 'Enter as Strangers, Leave as Friends'.
I am looking forward to visit Grampians April next year. Me and my friends are doing a road trip from Melbourne to Grampians. Is there any interesting places that we should/need to stop along the way from Melbourne to Grampians if you care to share 🙂 Thanks!
And the Gum San Chinese Heritage Centre in Ararat is a hidden gem – highly recommend spending a couple of hours here too.
Hi, do you know if the end of May a good time to do a road trip to the Grampians from Melbourne?
Anytime of the year is a great time to visit the Grampians. It cools down a little in May (as it's Autumn) so it's perfect for long hikes.