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Charles Boyer in History Is Made at Night (1937)
French stars, as film historian David Shipman has noted, don't translate well. Some never quite catch on, like Simone Simon. Others, like Danielle Darrieux, loathe the place and barely try. Nowadays even the tireless promotional efforts of Messrs. O'Reilly, Limbaugh and their ilk, to whom the French have become a sort of all-purpose homme de paille, haven't given French actors an opportunity to break into the screen-villain racket the way the Brits have. Over the years most French actors have chosen to work on their side of the Atlantic, with perhaps the odd submission to criminal misuse in something like Green Card as an income supplement. The biggest exception was and remains Charles Boyer.
The Siren believes what made the difference for Boyer, more than his talent or those eyes that photographed so beautifully, was his incredible chocolate ganache of a voice. Even the admittedly hilarious Pepe le Pew, conceived as a take-off on Boyer's seductive turn in Algiers, doesn't really diminish the impact. When Boyer speaks, you melt.
In History Is Made at Night, the bizarre but endearing 1937 Frank Borzage movie, Boyer acts opposite Jean Arthur, another player with a celebrated voice. Their scenes are something to hear, this duet of a throbbing French bass and the American whose vocal line someone once called "a cross between Donald Duck and a Stradivarius." Arthur plays the abused wife of a shipping magnate (Colin Clive), who is some kind of evil even by our sadly expanded 21st-century standards. This is a man capable of trying to sink an ocean liner just to kill two of its 3,000 passengers--his wife and the man she loves. Arthur loves Boyer, naturellement. He plays a head waiter who can attend to the needs of his snooty patrons, protect a gentle old man in his employ, and mix the perfect salad dressing.
Borzage, the great romantic, gives the movie a completely two-tone effect. When Clive is on screen, the melodrama is played to the hilt. When Boyer is around, things sparkle, the jokes fly, Jean Arthur tangos in her negligee. It is an odd combination, with the potential to give the viewer whiplash, but it works.
The Siren can't discuss Boyer without mentioning another of his gifts: his incomparable way with a hat. In History, Boyer's impeccable brim is at just the right angle to convey menace, when he punches out a thug menacing Arthur; newfound love, as he goes to meet her after their first night together; bewildered hurt, when he finds she is married. No one wore a hat like Boyer, no, not even Bogart.
[Corrected 11/11/06, with thanks to Ray Davis.]
Labels: Actors and Acting, Charles Boyer, Frank Borzage, movies in brief
"Why Are You Talking French?"
The Siren has mentioned her film-book collection, an oddball assortment of film biographies, criticism, star autobiographies and interview anthologies. One book, however, stands apart for her, and probably for anybody who reads a lot about film. It is Otto Friedrich's City of Nets: A Portrait of Hollywood in the 1940s. Friedrich was a historian who approached Tinseltown the same way he approached his other urban histories, of Paris and Berlin. To read his book is to get a picture of Hollywood high and low, from the studio heads, to the union guys on the lots, to the mobsters that both had to contend with. Friedrich also wrote elegant prose, something one encounters too little in Hollywood books.
Anyway, the Siren has two favorite passages in this book. One is the story of Dimitri Tiomkin, David O. Selznick and the "orgasm music" for Duel in the Sun. This is the other one, tucked away in a footnote. A week from Monday, the family Campaspe flies to Paris for a small rest. The Siren (who will still be posting from there whenever possible) will thus be exercising her meager French. Guess that is what made her think of this:
At an executive meeting at MGM, Nicholas Schenck was fretting about [producer Mervyn] LeRoy's failure to stay within his budget on The Wizard of Oz, and [Louis B.] Mayer presented the young Joseph Mankiewicz as an experienced writer and director who could explain such things. When all the executives turned to Mankiewicz for an explanation, Mankiewicz felt some irresistible impulse to evoke Victor Hugo and blurted out, "I suppose LeRoy s'amuse." Schenck said, "What?" Mankiewicz repeated his inspired line. Somebody said, "That's French." Schenck said, "Why are you talking French?" "All I could think of," Mankiewicz said later, "was 'Why am I here?'"
Hope everyone had a happy and restful weekend.
Posted by The Siren at 7:56 PM 4 comments:
Labels: Anecdote of the Week, David O. Selznick
Whirlpool (1949)
The trouble with Whirlpool (1949), an Otto Preminger film noir about a housewife in thrall to an evil hypnotist, is that its best mysteries aren't on screen.
Mystery No. 1: Why is Gene Tierney so little known to people other than old-movie buffs, while Marilyn Monroe (for example) is known to the dumbest mallgoer in the farthest corner of the land? Tierney had the more beautiful face. She made great, easy-to-love movies: The Shanghai Gesture, Heaven Can Wait, Dragonwyck, The Ghost and Mrs. Muir, Leave Her to Heaven, Laura, Where the Sidewalk Ends, Advise and Consent. She struggled bravely with mental illness and the tragic fate of her first child, Daria. She was a consummate professional who managed to work not once, not twice, but four times with the legendarily obnoxious Otto Preminger, a director who had far less fragile actors tearing their hair out. Monroe, on the other hand, drove even "women's director" George Cukor crazy with her inexcusably self-centered behavior. Marilyn had an affair with John F. Kennedy, but so did Tierney, and Tierney almost married him. Seriously, what does it take?
Mystery No. 2: Why Richard Conte, in his Whirlpool role or most others? He's so stolid, an actor who could beat the hell out of Susan Hayward (in I'll Cry Tomorrow) and still make the audience yawn. In this film he plays an allegedly brilliant psychoanalyst who can't see that his wife (Tierney) is a. unhappy, b. a kleptomaniac, c. not lying to him when she says she didn't have an affair with Jose Ferrer. When the crusty detective (Charles Bickford, who else?) tells the great shrink his wife's motive for murder was infidelity, Conte's expression is that of a man who's been told the kitchen ran out of manicotti.
Mystery No. 3: What did the film's hair stylist, Marie Walters, have against Tierney?
There are some pleasures in Whirlpool. Jose Ferrer, in only his second film role, has a high old time playing David Korvo, the silky con man who uses hypnosis to draw Tierney into his schemes. The actor lets his warm, insinuating voice suggest why a woman might look beyond his homeliness. Talented Barbara O'Neil, who should have made more movies, plays Korvo's first victim, nobly trying to warn off Tierney. Overall, despite Preminger at the helm, it's dated and the hypnosis angle doesn't have much juice, if it ever did. Mr. Campaspe walked in on a big scene, observed Tierney for less than a minute and remarked, "She's hypnotized." Not much mystery there.
Labels: Actors and Acting, Gene Tierney, George Cukor, Marilyn Monroe, movies in brief
Ten Underrated Films
It's so late in spring it's almost summer, but the Siren is sprucing up once again, adding some wonderful film bloggers she somehow never put on her Blogroll: Matt Zoller Seitz and the crew at The House Next Door, That Little Round-Headed Boy, Edward Copeland on Film and Mr. Middlebrow (he's not all movies, but I like his style, so on he goes).
Back in April, Mr. Middlebrow issued a challenge, taken up by TLRHB among others, to name "10 movies you consider overlooked, underrated, offbeat and in general deserving of not being forgotten." The one rule is that the movies you choose must never have won a major award (and preferably have not been nominated for Best Picture, either). Well now, the Siren knows she is late to the party, and she doesn't want to get too list-happy, especially since she just did one of these things for Edward Copeland's blog. However, she went over the submissions in Mr. Middlebrow's comments, and to be blunt, there aren't enough old movies on the lists to suit her. I mean, good movies and all that, but must they all be in color? And must they be quite so macho? So here's her list:
1. Portrait of Jennie (William Dieterle, 1948) Ignore the ludicrous voice-over at the beginning (complete with gathering cloudbanks) and let yourself be swept away by this full-throttle romance, a film unafraid to say that deeply felt love is an artist's truest inspiration. Jennifer Jones gives her best performance, aging from a little girl to a full-grown woman. If you go over to IMDB you'll see more reviews than usual for such an old movie, but it still deserves a far wider fame.
2. The Diary of a Chambermaid (Jean Renoir, 1946) Paulette Goddard, in real life sort of a Lorelei Lee with intellect, got only a few roles to showcase her unique quality--the hint of a mercenary soul under that heart of gold. Goddard produced this one with her husband, Burgess Meredith (one hell of an odd couple, huh?), resulting in her best performance, her Chaplin films notwithstanding. Jean Renoir's adaptation of Octave Mirbeau's novel has both fans and detractors, as well as those who prefer Luis Bunuel's version, but the Siren thinks this one is swell. It's a dark little farce about class, money and sex, with an outstanding Francis Lederer as the sinister valet. Diary hits many of the same themes as La Regle du Jeu, and perhaps that is why it gets short shrift, since few are the movies as good as Renoir's masterpiece. But Renoir's worst movies are better than many directors' best, and this is far from his worst. Of course it isn't available on DVD but it pops up on TCM every once in a while.
3. All This, and Heaven Too (Anatole Litvak, 1940) This big-budget version of Rachel Field's bestseller didn't fulfill box-office hopes at the time, and to this day it's a bit of a stepchild. The main character, a gentle governess, isn't what you expect from Bette Davis, the central romance remains unconsummated, and the historical background (the 1848 revolution) is one that gets a "whaa? whaddya mean, no Bastille?" response from most Americans. Still, it's the Siren's favorite Bette Davis movie, a sweeping melodrama with a dead-sexy turn by Charles Boyer as the tormented Duc de Praslin. Barbara O'Neil, usually the warm, understanding mother figure, here plays Boyer's Duchesse as the most ghastly, unmaternal harpy imaginable. O'Neil manages to keep just enough of the woman's pathetic (and, for 1940, suprisingly explicit) desire for her husband to make it a truly fine performance.
4. Madeleine (David Lean, 1950) One of the Siren's side interests is crime, but as with film her fascination is with the old or very old. Madeleine Smith, tried for murder in 19th century Scotland, is an enigma as great as Lizzie Borden. Did Madeleine poison her lover? did he commit suicide in an attempt to implicate her? David Lean's subtle, sexy take on the celebrated case starred his wife, Ann Todd, and though she looks nothing like the raven-haired Smith she does a superb job. This, Lean's first effort to tackle a piece of actual history, is criminally unavailable at the moment but scheduled for release in 2008. It's good enough to mark your calendar for.
5. The Strawberry Blonde (Raoul Walsh, 1941) James Cagney plays a two-fisted dentist, an even better conceit than "James Cagney plays a two-fisted inspector for the Bureau of Weights and Measures." Jack Carson plays a heel, five words that are enough to get the Siren to rent anything. Rita Hayworth is the hard-to-hold title character and Olivia de Havilland is Warner Brothers' notion of what a wallflower girlfriend looks like. It is hard to describe this rather whimsical, genre-crossing movie, except to say that it outranks both its predecessor and its remake.
6. Two-Family House (Raymond De Felitta, 2000) The Siren's favorite overlooked movie so far this century won the audience award at Sundance, then vanished from the radar. That's a pity, because it's the perfect indie Christmas movie, the tale of the self-redemption of a sad-sack Staten Islander.
7. Bachelor Mother (Garson Kanin, 1939) Ginger Rogers and David Niven in an incredibly funny screwball comedy. Plot summary is pretty useless, it's all there in the title. The pleasure is from the dialogue and Niven's timing, as when he defends the honor of a baby with "Of course he talks! Why, he can recite the first line of Gunga Din!"
8. Three Came Home (Jean Negulesco, 1950) Based on the memoirs of a woman who spent World War II interned in a Japanese prison camp, this harsh drama does perpetuate some stereotypes. Claudette Colbert, as good as she is here, should have let herself get a little more mussed. But Sessue Hayakawa plays the Colonel in charge of the camp as an honorable man well aware of the codes he is breaking. And late in the film, a scene between Colbert and Hayakawa brings them together and breaks the audience's heart.
9. The Young in Heart (Richard Wallace, 1938) A family of con artists finds themselves in a quandary when their old-lady mark starts to win their affections. Janet Gaynor's last starring role, and a very funny film. Best scene: Roland Young and Douglas Fairbanks Jr., seeking gainful employment with no very lively desire to succeed. Second-best scene: Young arriving for his first day of (gulp) work.
10. Seven Sweethearts (Frank Borzage, 1942) Not a classic, maybe even not that good, but this is my list so I'm putting it up anyway. If fairy tales aren't your thing, stay far away. If, however, you have a soft spot for Borzage the true romantic, wait for this one on TCM. Reasons to watch include S.Z. Sakall (the bartender from Casablanca) flinging his accent all over the place, a funny and self-deprecating turn by Marsha Hunt, and a magical scene between Van Heflin and Kathryn Grayson in a rain-soaked car.
Posted by The Siren at 7:29 PM 23 comments:
Labels: Bette Davis, Charles Boyer, Frank Borzage, Ginger Rogers, Jack Carson, James Cagney, Jean Negulesco, lists, polite dissent, TCM
Moonrise Postscript: Gail Russell
When Jane Fonda was preparing to play a washed-up alcoholic in The Morning After, the actress maudit she researched was Gail Russell. Many performers claim to be shy, but Russell really was, and afflicted with stage fright so acute she often would throw up before takes. As early as her first starring role, in 1944's The Uninvited, she started to smother her fear with drinking. The 1950s began with one drunk-driving conviction and ended with another; in between the parts got fewer and smaller. She died in 1961 of an alcohol-induced heart attack, age 36. It was a long, sorry decline from her run of good movies in the 1940s, including Angel and the Badman, the Witness forerunner with her lifelong friend John Wayne; the adorable Our Hearts Were Young and Gay, as a young American breezing through Europe; and Moonrise. In that last Russell shows all the things that could have earned her enduring fame. She was beautiful, of course, with near-perfect bone structure and eyes that photographed pure silver in black-and-white. On film she seemed not seductive, but delicate, full of tender mercies. Russell makes you believe this improbably gorgeous schoolteacher could love Dane Clark, with his twitchy fears, sketchy past and frequent disappearances. In Moonrise, as in Angel and the Badman, she's the rock that saves a good man from a bad end. In real life, Russell could have used someone like that herself.
Labels: Actors and Acting
Moonrise (1948)
The last time I saw Girish, we discussed our admiration for Frank Borzage. The director brought poetry to every genre he tackled. Girish kindly lent the Siren his videotape of Moonrise (1948), a late high spot in the director's career, and she was wowed.
It has a remarkable, pitch-dark opening, depicting a man's hanging for murder and the subsequent effect on his son. One cut moves from the trap door opening underneath the prisoner's feet, to an infant crying in his crib, seemingly at the sight of a rag doll that dangles over the cradle with a string around its neck. The shot gave the Siren a jolt of shock and terror like she seldom experiences.
Danny (Dane Clark), the baby in the opening sequence, continues haunted by his father's fate. Early in the film Danny kills a rich tormenter (Lloyd Bridges), essentially in self-defense. But with the doom-laden illogic of a typical film noir protagonist Danny drags the body off into the swamp and goes back to a waterside dance club to continue his courtship of the winsome Gilly (Gail Russell).
Moonrise is set in a small swamp town, apparently in the South although you'd never know it from the characters' accents. Cinematographer John L. Russell uses tightly framed shots that give a sense of Danny's world closing in on him, but also have an unusual, vivid beauty. The swamp waters glitter, a ruined house where Gilly and Danny meet has a fairy-castle quality.
The plot spins out from that initial moment of violence, but this isn't a typical film noir, as this excellent Senses of Cinema post points out. Despite its dark themes and brooding look, the Siren thinks maybe Moonrise doesn't qualify at all. The film is too warmly sympathetic to Danny's plight. Real noir starts from the premise that people are no damn good, and proceeds to reaffirm that, step by step. Borzage probably couldn't have taken that viewpoint on a bet. Moonrise instead makes the classically humanist point that criminals are not born, they're made--and can be un-made with sufficient compassion.
Danny isn't really a criminal in any sense. Not only does he lack the requisite animal cunning, he lacks even a simple sense of self-preservation. The town's gentle deaf-and-dumb orphan (Harry Morgan) tries to give Danny a knife he left at the crime scene, but Danny is too wild with worry to even notice. The sheriff (Allyn Joslyn)--no Javert, but instead a goodhearted homespun philosopher--shows up at a fair Danny is attending, and instead of trying to brazen it out like a crook Danny goes haywire in spectacular fashion. In the end Borzage and screenwriter Charles Haas have the audience rooting for Danny to get caught, to end the poor guy's suffering.
All in all, a beautiful movie that makes you wish Borzage had been able to do more after his 1920s-30s heyday. The least this American master deserves is more of his films on DVD, since not all of us have a Girish Tape-Lending service in our lives. The Siren is glad she does.
Posted by The Siren at 9:09 AM 3 comments:
Labels: Frank Borzage, movies in depth
Alida and Me
On a beautiful day in Brooklyn two weeks ago, the Siren sat down in a cafe, opened a newspaper and read that Alida Valli had died at age 84--and felt real sadness, because her daughter is named Alida.
Little more than three years ago Mr. C. and I had a lot of fun discussing names for our boy-girl twins:
"Lucy and Desi."
"Bill and Hillary."
"Nixon and Agnew."
"Nixon and Agnew? which name does the girl get?"
and so forth. When we finally got serious I went through some old movie books and hit on the name Alida, because it is beautiful and unusual but also simple and pronounceable. (Hail Girish, the only one of my film-mad friends who responded to "my daughter's name is Alida" with "Valli" as fast as any game-show contestant.) David O. Selznick marketed his Italian find as just Valli, hoping to echo the single-name impact of Garbo. In this, as in so many of his later-life decisions, he was wrong, because her first name is the business.
The Siren treasures her small connection to Alida Valli, one of the few she has to the Golden Age. When I graduated college, I went to work at a literary agency. One of our clients was Oscar de Mejo, Valli's first husband. I loved his courtly voice and beautiful manners on the telephone, and (yes, I am this starstruck) I also loved the idea that he gave me three degrees of separation from Orson Welles. AND Carol Reed AND Alfred Hitchcock AND Gregory Peck.
So Alida it was, though I had seen only two of the first Alida's films. She made a lot of good movies, but is most remembered for three: The Paradine Case, a minor Hitchcock that the Siren still enjoys a lot; Senso, a legendary Visconti film that the Siren prays will be released soon on DVD; and The Third Man, without question the actress's defining role for audiences outside Italy (and probably inside Italy too).
Good lord she was beautiful, "head-swivelingly beautiful" as Martin Scorsese put it, so stunning that even the hideous raincoat she wears for most of Carol Reed's masterpiece can't douse her light. The opaque, rather chilly quality she had in The Paradine Case was antithetical to a true femme fatale and hurt the movie. But in The Third Man, it's perfect. Her character, Anna, is as hollow and burnt-out as Vienna. Her eyes show life only when Harry Lime is mentioned. That he's worthless doesn't matter; he is all that connects her to the emotions the war blasted away.
The original Alida had bad bumps in her admirable 100-movie career, including a false accusation of fascist sympathies (someone claimed she had an affair with Goebbels!) that almost kept her out of the U.S., a stint in Hollywood that didn't last long enough and a scandal that sidelined her for about three years after she returned to her native Italy. That's just the professional side, and it was fairly minor compared to what her personal life dished out. After the Nazis pushed into Italy, she laid low for a while to avoid having to do propaganda films. Her first love, a fighter pilot, was killed in action. Her mother was shot (though not mortally) by anti-fascist forces for suspected collaboration. The scandal that almost ended her career saw her confirming a man's alibi in a celebrated murder case.
Each phase of Valli's life found her picking up and moving on, to Hollywood after Europe was leveled, back to Europe when Hollywood turned cold, to the theater when movies proved scarce or unfulfilling. And, with confidence even many non-famous beauties don't possess, when the wrinkles began to come, Alida Valli let 'em come.
Mr. Campaspe has Mediterranean coloring, and when the Siren talked him into the name "Alida," she envisioned a daughter with Valli's dark hair and olive skin. In one of life's little practical jokes, my daughter is a green-eyed blonde, a different kind of beauty altogether. But as I read more about Alida Valli's life, I realize I dreamed of the wrong inheritance. My Alida would do better with just her namesake's resilience and grace.
Labels: Actors and Acting, Alfred Hitchcock, Alida Valli, David O. Selznick, foreign films, in memoriam, Orson Welles
A Sad Explanatory Note
The wonderful film critic and blogger Matt Zoller Seitz suffered a terrible blow last week with the sudden death of his wife, Jennifer. Edward Copeland, a longtime friend of Jennifer's, was understandably too torn up to continue with his original plan for the Best of the Best Pictures Poll. The Siren sends her deepest sympathy to Matt, his family and to Edward. Edward, with great dedication, has moved the deadline for his poll to midnight tonight, Friday, May 5.
Posted by The Siren at 5:16 PM No comments:


The Savannah River National Laboratory (SRNL) — located in Aiken, SC — is the applied research and development laboratory at the U.S. Department of Energy's (DOE) Savannah River Site (SRS). The laboratory applies state-of-the-art science to provide practical, high-value, cost-effective solutions to complex technical problems. SRNL technologies are used to detect weapons of mass destruction, clean up contaminated groundwater and soil, develop hydrogen as an energy source, support the need for a viable national defense, and safely manage hazardous materials.
The Authenticated Sensor Interface Device reads data, encrypts the information, and distributes it electronically to multiple locations, providing a one-way data pathway that segregates each destination to prevent cross-party data manipulation.
The SRS was constructed to produce the basic materials necessary in the fabrication of nuclear weapons — primarily tritium and plutonium-239. Five reactors were also built in an effort to produce these materials for the nation's defense programs. In support of these efforts, the Savannah River Laboratory was created in 1951 and soon became the second-largest research facility for operator E.I. DuPont de Nemours and Company.
The original Savannah River Laboratory included five main facilities: a main laboratory for process development and experimental research; the Waste Disposal Facility to handle waste created by the laboratory; the Pile Physics laboratory, which contained experimental reactors; and CMX and TNX. CMX was established to determine the treatment needed for cooling water in reactor heat exchangers and TNX was used to determine operational information for separations. The laboratory quickly expanded to include a health physics laboratory, equipment engineering laboratory, and temporary labs such as a fluid pressure bonding laboratory and a mockup of a reactor tank. Since that time, the lab changed its name to the Savannah River Technology Center and is now the Savannah River National Laboratory.
SRNL has evolved to be designated as the only national laboratory for the Department of Energy's Office of Environmental Management and is the nation's only complete nuclear material management facility. Since its earliest days, SRNL has developed technologies to enhance the safety and cost-effectiveness of the Savannah River Site's work with tritium, a radioactive form of hydrogen gas that is a vital component of the nation's nuclear defense. SRNL continues its support of a robust nuclear weapons stockpile through deployment of improved technologies and testing of components to ensure stockpile safety and reliability.
Research includes technologies to separate, stabilize, package, transport, store, account for, and dispose of spent fuel, plutonium, and other nuclear materials to ensure they do not represent a proliferation or environmental risk and to support global threat reduction. SRNL provides support for homeland security initiatives in fields that include emergency response, urban search and rescue, border protection, and law enforcement support.
The Additive Manufacturing Unique Serialization methodology embeds a unique serialization structure within an additive-manufactured part.
Historically, the laboratory's experts have developed highly sensitive analytical equipment and techniques to measure the environmental impact of the Savannah River Site's radiological operations. That same expertise goes into the development of technologies and techniques for detecting and identifying chemical, biological, and radiological materials to address homeland security goals. SRNL's expertise in robotics, surveillance systems, and specialty equipment is being applied to a broad range of needs, from vision systems for use in search and rescue missions, to low-cost robots for disabling improvised explosive devices, to medical devices for first responder physicians.
Successful technologies in homeland security include the Intelligent Personal Radiation Locator, the Standoff Radiation Detector System, the CRAWDAD boat-mounted radiation detector test, and the DOLPHIN small vessel radiation detector test.
In collaboration with Hadron Technologies, SRNL has developed a microwave system to support gas sample analysis as part of the SRS national defense mission. Laboratory experimentation has shown that the new form of hybrid microwave is capable of performing functions that traditional microwave systems could not achieve. The system achieves extremely high temperatures by enabling materials that usually do not react to absorb microwave energy and rapidly heat up. Metals — which normally cannot be introduced into a microwave system — not only can be treated in the system but are actually used to help increase the temperature of the lower chamber, enabling faster degradation of waste materials. Equipment using these technologies could destroy a wide variety of substances ranging from medical wastes to harmful viruses and drugs such as methamphetamine, while still allowing for DNA analysis of the destroyed material.
SRNL has extensive experience in supporting the intelligence needs of the United States. SRNL employs its expertise in nuclear technologies, Weapons of Mass Destruction (WMD) signatures, and regional security analysis to examine foreign programs in support of DOE, the intelligence community, and other U.S. government organizations.
In 2010, the Federal Bureau of Investigation (FBI) and SRNL opened a new laboratory for the forensic examination of radiological material and associated evidence, located at SRNL. These laboratory facilities provide the FBI with a flexible radiological containment laboratory where experts can safely conduct forensic examinations on items of evidence associated with radiological material. SRNL conducted several years of development to adapt FBI forensic protocols for application in radiological labs. SRNL also provides radiological crime scene training to FBI agents from around the country who are members of the FBI's Hazardous Materials Response Teams and provides training for the FBI Laboratory's Hazardous Evidence Analysis Team.
Radiation detection and the creation of new technology is vital to the security of public and private interests. From government facilities, to sports venues and utilities, the need for technology detection is paramount. SRNL offers numerous NIST-traceable sources, specialized nuclear materials, and calibration equipment and assists in the development and testing of that equipment.
Technologies leading to improved prediction and assessment of the transport of air- and water-borne contaminants through novel applications of model ensembles and robust methods for synthesizing predictive models and field measurements.
Regional to local assessments of long-term climate change to predict potential vulnerabilities to future industrial activity or identify/predict weather phenomena that trigger adverse ecosystem response.
Techniques to bridge gaps between model predictions and meteorological observations leading to improved predictions of the contribution of renewable energy generation to the electrical grid.
ATG conducts a comprehensive meteorological monitoring program that includes a local network of 12 meteorological towers with extensive databases. Two of these towers are located in industrial corridors of Augusta, GA as part of mutual aid agreements with local county emergency management agencies. These data are linked to a suite of environmental transport models for predicting the potential hazards of routine or unplanned contaminant releases to workers or the public. Additional assets managed by ATG include a tower facility near the SRS equipped for meteorological and trace gas measurements at multiple levels up to 329 meters, the 30-m Aiken Site Ameriflux tower equipped for measurements of carbon and water vapor flux within a forested canopy, and a vertically pointing lidar (ceilometer) for detecting clouds and aerosols in the atmospheric boundary layer.
Mesoscale meteorological modeling, hydrological modeling, contaminant transport, and fate modeling and assessment on regional to local scales.
Meteorological instrumentation, real-time data collection systems, and database management.
Design and execution of data collection and analysis objectives for field experiments involving tracer releases.
Emergency response hazard consequence modeling and assessments.
Weather forecasting, climate characterizations, and severe weather phenomena risk assessments.
Regulatory air quality modeling and assessments.
Climate predictions and long-term vulnerability assessments.


Comes with new shaft, bushings, washer, and coil spring. Acted as an early way of warming up your motor in cold conditions. Opens flap as motor warms.
Questions: What is the O.D. of the bushings in your kit? I have an Omix ADA kit that would require a 35/64 hole that would be way bigger than the existing one's in the manifold.
Questions: Do you sell the flap?
We have the 'stop' but the flapper inside is used only.
Questions: What is worse case scenario if the heat riser spring is not connected? Attempting to drill out the bolt (it was froze in the manifold) I broke an easy out in the drilled out bolt trying to remove it. Now I can't connect the bracket that holds the spring. I live in the south and don't plan to drive it in cold weather.
I would leave it in the open position and it is ok in warm weather.
That would be a used item only for the 6-226 engine. Please call us toll free.
Questions: How is the flapper attached to the rod? The one I removed appeared to be welded.
Some were welded some were held in with 2 small flat head screws.
Questions: I can hear the flapper very loudly in my 46' cj2a. when the motor is running. Does that mean it is broken, or damaged and need to be replaced?
It should be spring loaded. Make sure the spring is still there and under tension.
Questions: How do you know if the heat riser is working? will you see a physical movement?
Yes, it will open the flap up. You will see the counter weight move.
Questions: Having problems removing old bushings, do the need to be drilled out or punched out? Any certain way does it all go back?
You can typically punch them out.
Yes, we can get this good used. Please call us toll free.


text:
Halloween in Hell: Hell, Michigan
October 3, 2016 — You need to know that this article was one of the hardest that I've ever written. You could almost say that it was…hell…to write. At first, I painstakingly attempted to avoid all the inevitable and terrible hell puns like that one. I wrote it completely straightforward, taking the high road like someone literally trying to escape from Hell. But after reading that draft, it still felt like I was punning every other line, and doing it weakly to boot. To avoid that, I'd either have to write the whole thing without putting any preposition in front of the name of this oddity or go all in on the puns. So I've gone all in. Because I love prepositions that much. May god have mercy on my soul.
So we went to Hell…Michigan. You should go to Hell, too.
I had two big misconceptions about Hell. The first was that it was an actual town. It's not. It's a subdivision of sorts. A small area of a town called Pinckney…which is not as easy a town to create T-shirts for: "On a Highway to Pinckney." See?
The community started when a guy named George Reeves built a couple of mills, a brewery, and a tavern in the same spot. He figured that if you can make a place where a man can earn a living and then drink that living away, you've got it made. I mean [in a whisper] that is all we ever wanted. How the area got the name is unknown. Wikipedia cites a few possibilities.
One completely unbelievable story is that a couple of German travelers disembarked there and commented, "So schon hell," which means "very bright," or something innocuous like that. Locals heard that third word and were like, "These Germs are right. This place is Hell." Another rumor can be chalked up to George Reeves himself who, in response to somebody asking what he should call his handful of buildings, purportedly said, "You can name it Hell for all I care." Then there's the usual story that the area kind of sucked, like all wilderness does (humans aren't made for the outdoors), and like Hell itself sucks. So they named it Hell. I buy this story. "This place is Hell," says one guy, slapping at a mosquito while a bear gnaws at his leg. "Dude," says the other who is slowly succumbing to exposure while he blissfully drinks his living away, "Let's start calling it that."
Whoever named it, whyever they did so, by the end of 1841, the name had stuck like a bat doesn't stick to Hell. Today, Hell is a mere clutch of three buildings—two restaurants and a gift shop—and a creek called Hell Creek.
But it's still a pretty cool place. You know. For Hell.
Let's start with where the hell is Hell: About 20 miles northwest of Ann Arbor. So in the southern portion of the state, a portion we just happened to be passing through on our Great Lakes road trip. And there was no way in Hell I was going to pass up the chance to play Dante in the Midwest. I'm not sure who would play the Michigan Virgil in that scenario. Maybe Alice Cooper. Or Tim Allen. No wait. Madonna. Definitely Madonna.
Driving through Hell was when my first misconception about it being a town was corrected. Quickly thereafter, my second one was corrected, as well. What I found, when I pulled into that dusty parking lot on that late July day wasn't a whole lot of fiery lakes and horny demons. Sure, I found that, but it was the minority. The place wasn't so much Hell-themed as it was Halloween-themed. Just the entrance sign with its cobwebs and spooky eyes and stock Halloween font and zombie hands told us that. Also its use of the word, "Hell-O-ween."
The restaurant on one side of the parking lot was called the Hell Hole Bar. A sign on its roof advertised "fresh pasties." Those aren't what you're thinking they are, nor are they pronounced the way you're thinking they are…which is something my wife learned red-faced at a previous Michigan restaurant. Pronounced with a soft "a," pasties are basically meat pies. And they're served in Hell.
In the past, the Hell Hole Bar was a general store from which you could send people "Greetings from Hell" postcards. I have one on the shelf in my study that a friend who beat me there a ways back sent me. Today, you can still do that, but you'll do that surrounded by tourists ordering those things that strippers wear and wondering why the servers are looking at them funny.
The side of the restaurant is painted orange and purple, with a witch, a skeleton, and a demon each painted into purple window frames. A sign in a Halloween font directs people to the "batrooms." Behind the restaurant is a large shed with a plywood jack-o-lantern facade.
The other restaurant is a few hundred feet down the road, the Hell Saloon. We didn't check this place out. The two dozen motorcycles in front of it kind of dissuaded us, even though the website advertises it as "family and biker-friendly." It's just a wide net that I didn't want to be caught up in despite the fact that the one time I accidentally took my family to a biker bar, it turned out to be a fine enough experience. I'll have to tell you that story at some point.
We spent most of our time in Hell at the building between these two restaurants, on the other side of the parking lot from the Hell Hole Bar: Screams from Hell. A pumpkin-shaped sign on the front of the building advertised "Halloween N Hell Stuf!" The point in the exclamation mark was an eyeball.
Inside, it was basically a Halloween store. Sure, you could by a "Beer in Hell is Safer than Water in Flint" T-shirt, but it was mostly filled with dangly skeletons and masks and candy. It also served ice cream. Because Pat Benatar was right that Hell is for children.
I bought my kids some, and the guy behind the counter gave me a two-dollar bill for change. It had been stamped in red with the phrase, "I've been thru Hell, Michigan." I did not ask him if it was better to serve in Hell.
We took our ice cream around back, under a gate that said, natch, "Gates of Hell," to a small putt-putt course and some wooden cut-outs of a witch on a broom and a demon. A shed-sized chapel on the grounds was so that people could get married in Hell.
As I gazed across Hell, it kind of all felt like an attraction past its prime, or maybe one that was just biding its time until October. Certainly the sweltering late July day was more Hell than Halloween. But it made sense that this is what Halloween in Hell felt like.
So I've been to Hell. And I wouldn't mind going back. Maybe in winter. When Hell freezes over.

redpajama_set_name: RedPajamaCommonCrawl


(a) CABLE COMMITTEE UPDATE: Rey reported the next meeting will be July 11 at which time rules and regulations will be discussed.
(1) ELECTION OF A CHAIRMAN: On a motion by Larissa, Tony Cogliandro was elected.
(2): SELECTMEN'S SALARIES: Tony stated he did not wish to take the chairman's stipend and would like to have it divided among the three of them. On a motion by Dennis it was so voted.
(3). APPOINTMENTS: The following were appointments were made: Eric Gallagher, Carl Davis, James Wilson, Richard Johnson, Barbara Seckar to the Mary Grant Nature Preserve Committee; Gregory Martin, Robert Meyers, Roy Trafton, Virginia Deboer, Elise Miller, John Moore, Tom Cashin, to the Comprehensive Plan Implementation Committee; Robert T. Gore, Emergency Management Agency Director; Peter H. Smith, Deputy EMA; Robert Anderson, Constable; Elias Thomas, Warrant and Finance Committee member; Leonard Turcotte, Zoning Board of Appeals member; .Ken Paul and Steve McDonough's appointments were revised to include Local Plumbing Inspector as well as Code Enforcement Officer and Deputy CEO.
(4) ROAD COMMISSIONER MOONEY: Scott asked that selectmen create a policy stating both Road Commissioner need to sign for disbursement of joint accounts.
(5) PURCHASE ORDERS: Dennis asked Lorraine to notify all department heads that they will be required to use purchase orders for all purchases within their department.
(6) TOWN CLERK'S VACATION TIME: Jennifer requested to carry over her two weeks vacation for 2008/2009 and combine with 2009/2010. The request was granted.
(7) 13TH STREET PROPERTY TO GO TO BID: Interest in the purchase of this property has arisen. Lorraine was asked to prepare the bids to go out, same as were written earlier this year.
(8) MEET WITH WARRANT & FINANCE COMMITTEE: Debbie Rix was elected chairman and Karl Hodgdon as vice chair. They will meet July 9 at 6 pm to receive assignments.
(9) OPEN BIDS FOR TOWN HALL REPAIR: Bids received were Iron, $39,900; Noon, $31,000; Murray, $38,510; Inglewood, $39,681; PJ, $25,600. All bids will be turned over to CEO Paul for his consideration and recommendation.
ANNOUNCEMENTS: Larissa announced she will be in the office from 1-4 pm Wednesday, 4-8 pm Thursday, and 9am to 1 pm on Friday. She and Linda will be attending training for assessing the first week of August. She is interested in forming a Town Committee to participate in the Apple Festival and would like anyone interested in being involved to contact her.


Layer Cakes are collections of 10" x 10" squares of fabric made by Moda Fabrics. They are similar to a charm pack but a larger size. Layer Cakes are available by collection and typically include 42 pieces of fabric, though the number may vary. Other manufacturers produce similar products such as Stackers, Crackers and Patty Cakes.


text:
Title: SPEW: A New York Glamrock Operadrama
Holdings: photo gallery, video (HIDVL)
Location: Cooper Union Great Hall, New York, New York, USA
Type-Format: performance, film
Cast: Performed by Jack Waters, Peter Cramer, Miss Understood, Hedda Lettuce, Mo' Better Lester, and Errol Grimes.
Credits: Created by Jack Waters and Peter Cramer; Musical accompaniment by Michael Messinger; Projection coordination by Carl George; Projection assistance by Dirk Hauska; Stage management by Bobby Fultz; Peter Cramer's and Jack Waters' costumes by the Costume Collection; Introduction to performance by Diane Torr.
Jack Waters and Peter Cramer SPEW: A New York Glamrock Operadrama (1992)
Jack Waters and Peter Cramer come of age as artists and gay men in SPEW: A New York Glamrock Operadrama (1992). Waters and Cramer express the personal as political through monologues while using visual and sonic elements to form a pastiche of opera. They reflect upon their personal and creative lives in the 1970s before the AIDS epidemic hit New York City in the 1980s. Waters and Cramer use classical and avant-garde forms to merge the differing aesthetics of the Uptown and Downtown art scenes. Montage is an important element that Waters and Cramer utilize throughout the performance. This culminates most notably with the projection of the artists' Black and White Study (1990)—an exploration of identity politics surrounding race and sexuality. SPEW can be seen as a reflection of Waters' and Cramer's artistic process as partners in art and life.
Jack Waters is a visual artist, filmmaker, writer, choreographer, and performer. Waters' artwork has been included in the exhibitions The Black Male (1995) at the Whitney Museum of American Art; Triple Threat (2008) at FRISE; Not only this, but 'New language beckons us' (2013) at New York University; NOT OVER: 25 Years of Visual AIDS (2013) and Ephemera as Evidence (2014) at La MaMa Galleria. He appeared as the lead character in the critically acclaimed film Jason and Shirley (2015), which was co-written and co-produced with Stephen Winter and Sarah Schulman, and screened at the Museum of Modern Art, British Film Institute, and Anthology Film Archives. Water's films are included as part of the Estate Project for Artists With AIDS and the AIDS Activist Video Collection at the New York Public Library. His personal papers are held at the Fales Library and Special Collections at New York University. Additional materials from his artistic career are housed at the Film-Makers' Cooperative and Allied Productions, Inc. As a journalist he has published articles on politics, cultural affairs, visual arts, film, and media. Waters was a founding contributing writer for Color Life, the news journal for LGBT and two-spirited people of Color, and for LGNY, New York City's LGBT news bi-weekly.
Peter Cramer is an artist and activist based in the Lower East Side of New York City. Cramer's performances, films, and installations have been featured in alternative spaces, museums, and cultural institutions across the world. His films are available through the Film-Makers' Cooperative, Fales Library and Special Collections, and Allied Productions, Inc. Cramer is an artist+ member of Visual AIDS—an organization that utilizes art to fight AIDS by provoking dialogue, supporting HIV+ artists, and preserving the legacy of the AIDS epidemic. He is the recipient of a NEA InterArts Fellowship and a grant from the US Virgin Islands Council on the Arts. Cramer received the Kathy Acker Award—a tribute given to members of the avant-garde art community who have made outstanding contributions in their discipline—established by filmmaker/photographer Clayton Patterson.
As life and art partners, Waters and Cramer have collaborated on a number of projects. Together, they co-created the nonprofit arts organization Allied Productions, Inc., served as directors of the art and activism collective ABC No Rio; and co-founded the community garden Le Petit Versailles. Cramer and Waters were a catalytic force behind the dance and performance collective POOL, which explored contact and improvisation utilizing theater, ritual, and activism. Their work has been written about in Alternative Histories: New York Art Spaces, 1960–2010 edited by Lauren Rosati and Mary Anne Staniszewski, and Gentrification of the Mind: Witness to a Lost Generation by Sarah Schulman. Waters and Cramer are the subjects of an oral history conducted by Art Spaces Archives Project at the Archives of American Art, Smithsonian Institution. Their video/photo installation Pride 2001-We Remember at the New York Public Library Donnell Media Center was featured in a nationwide broadcast of In the Life on PBS. The duo has collaborated on projects with Barbara Hammer, Geoff Hendricks, Sur Rodney (Sur), and Inbred Hybrid Collective. Their work has been featured at the Whitney Museum of American Art, New Museum, Center for Contemporary Culture Barcelona, FRISE, Anthology Film Archives, and MIX NYC, among other venues.
www.alliedproductions.org
www.visualaids.org/artists/detail/jack-waters
www.visualaids.org/artists/detail/peter-cramer
SPEW: A New York Glamrock Operadrama performance program
Permanent URL: http://hdl.handle.net/2333.1/80gb5rbx
Published in Franklin Furnace: Works


#365Gratitude Day 282: Resolve — No starting. No stopping. Only doing.
Yesterday I went back to work, even though I'm still sick.
I had enough resolve to make my train, and even fix a technical issue on my own, which had been plaguing me for days.
Those sound like small victories, but small victories are the very best kind.
It's those quiet moments when I surprise myself I savor the most.


text:
Corey S. Davis
Network for Public Health Law
Federalism, Policy Learning, and Local Innovation in Public Health: The Case of the Supervised Injection Facility
St. Louis University Law Journal, Vol. 53, 2009
Scott Burris, Evan D. Anderson, Leo Beletsky and Corey S. Davis
Center for Public Health Law Research, Temple University - James E. Beasley School of Law, Center for Public Health Initiatives, University of Pennsylvania, Northeastern University - School of Law; Northeastern University - Bouvé College of Health Sciences and Network for Public Health Law
IDU, injection, police power, harm reduction
Closing the Gap: Case Studies of Opioid Access Reform in China, India, Romania & Vietnam
Temple University Legal Studies Research Paper No. 2009-25
Number of pages: 89 Posted: 12 Mar 2009 Last Revised: 29 Dec 2014
Evan D. Anderson, Leo Beletsky, Scott Burris, Corey S. Davis and Thomas F. Kresina
Center for Public Health Initiatives, University of Pennsylvania, Northeastern University - School of Law; Northeastern University - Bouvé College of Health Sciences, Center for Public Health Law Research, Temple University - James E. Beasley School of Law, Network for Public Health Law and Center for Substance Abuse Treatment, Substance Abuse and Mental Health Services Administration
pain, palliative care, drug treatment, morphine, policy
A Blueprint for Reforming Access to Opioid Medications: Entry Points for International Action to Remove the Policy Barriers to Care and Treatment
Number of pages: 67 Posted: 12 Mar 2009
Scott Burris and Corey S. Davis
Center for Public Health Law Research, Temple University - James E. Beasley School of Law and Network for Public Health Law
pain, palliative care, drug treatment, medication-assisted therapy, morphine
The Law (and Politics) of Safe Injection Facilities in the United States
American Journal of Public Health, Vol. 98, p. 231, 2008, Temple University Legal Studies Research Paper No. 2008-45
Number of pages: 26 Posted: 29 Jan 2008 Last Revised: 12 Mar 2012
Leo Beletsky, Corey S. Davis, Evan D. Anderson and Scott Burris
Northeastern University - School of Law; Northeastern University - Bouvé College of Health Sciences, Network for Public Health Law, Center for Public Health Initiatives, University of Pennsylvania and Center for Public Health Law Research, Temple University - James E. Beasley School of Law
HIV/AIDS, prevention, harm reduction
Action, Not Rhetoric, Needed to Reverse the Opioid Overdose Epidemic
Journal of Law, Medicine and Ethics, Vol. 45, pp. 20 - 23 (2017), Northeastern University School of Law Research Paper No. 294-2017
Corey S. Davis, Traci Green and Leo Beletsky
Network for Public Health Law, Boston University - School of Medicine and Northeastern University - School of Law; Northeastern University - Bouvé College of Health Sciences
Opioid, Epidemic
Racial Disparities in Injection-Related HIV: A Case Study of Toxic Law
Temple Law Review, Vol. 82, No. 5, pp. 1263-1307, 2011, Temple University Legal Studies Research Paper No. 2011-34
Number of pages: 47 Posted: 05 Nov 2010 Last Revised: 23 Apr 2014
Scott Burris, Evan D. Anderson, Ave Craigg, Corey S. Davis and Patricia Case
Center for Public Health Law Research, Temple University - James E. Beasley School of Law, Center for Public Health Initiatives, University of Pennsylvania, Temple University Beasley School of Law, Network for Public Health Law and The Fenway Institute, Fenway Health
HIV, Syringe Exchange, Pharmacy Law, Public Health Law
HPTN 058: Rapid Policy Assessment for China and Thailand
Family Health International, 2007
Number of pages: 194 Posted: 12 Apr 2007 Last Revised: 17 Feb 2010
Scott Burris, Corey S. Davis, Xiaoxing Fu, Indrajit Pandey, Zhengzhi Wang, Youchun Zhang, Somnaek Chatchawan, Wichulada Matanbun and Sukanya Isarangkun
Center for Public Health Law Research, Temple University - James E. Beasley School of Law, Network for Public Health Law, Renmin University of China, affiliation not provided to SSRN, affiliation not provided to SSRN, Renmin University of China, Chulalongkorn University - Social Research Institute, Social Research Institute and Social Research Institute
HIV, research, ethics, social risk
Breaking the Cycle of Preventable Suffering: Fulfilling the Principle of Balance
Temple International & Comparative Law Journal, Vol. 24, No. 2, p. 329, 2010, Temple University Legal Studies Research Paper
Number of pages: 36 Posted: 26 Feb 2012
Corey S. Davis and Evan D. Anderson
Network for Public Health Law and Center for Public Health Initiatives, University of Pennsylvania
opioids, pain, palliative care, drug policy
Access to Therapeutic Opioids: A Plan of Action for Donors, NGOs, and Governments
Temple International & Comparative Law Journal, Vol. 24, No. 2, 2010, Temple Law School Working Paper Series
Jessica V. Chiu, Corey S. Davis and Scott Burris
Independent, Network for Public Health Law and Center for Public Health Law Research, Temple University - James E. Beasley School of Law
controlled medicine, essential medicine, opioid medicine, pain, palliative care, drug treatment, drug policy, reform
Legal Innovations to Advance a Culture of Health
Journal of Law, Medicine and Ethics, Vol. 43, No. 4, p. 904, Winter 2015
Number of pages: 9 Posted: 08 Jan 2016
James G. Hodge, Kim Weidenaar, Andy Baker-White, Leila Barraza, Brittney Crock Bauerly, Alicia Corbett, Corey S. Davis, Leslie Frey, Megan Griest, Colleen Healy, Jill Krueger, Kerri McGowan Lowrey and William Christopher Tilburg
Arizona State University (ASU) - Sandra Day O'Connor College of Law, Network for Public Health Law, Network for Public Health Law, Network for Public Health Law, Network for Public Health Law, Gallagher & Kennedy, PA, Network for Public Health Law, Network for Public Health Law, Network for Public Health Law, Michigan Primary Care Association, Network for Public Health Law, Network for Public Health Law and Maryland Medical Cannabis Commission
Effects of an Intensive Street-Level Police Intervention on Syringe Exchange Program Use in Philadelphia, Pa
American Journal of Public Health, Vol. 95, p. 233, 2005
Number of pages: 9 Posted: 28 Dec 2005
Corey S. Davis, Scott Burris, Julie R. Kraut-Becher and David Metzger
Network for Public Health Law, Center for Public Health Law Research, Temple University - James E. Beasley School of Law, University of Pennsylvania - Perelman School of Medicine and University of Pennsylvania
Changing Law from Barrier to Facilitator of Opioid Overdose Prevention
2012 Public Health Law Conference: Practical Approaches to Critical Challenges, Spring 2013, Temple University Legal Studies Research Paper No. 2013-16
Number of pages: 5 Posted: 19 Apr 2013 Last Revised: 23 Jul 2013
Corey S. Davis, Damika Webb and Scott Burris
Network for Public Health Law, Temple University - James E. Beasley School of Law and Center for Public Health Law Research, Temple University - James E. Beasley School of Law
Harmonizing Harm Reduction and Law Enforcement: Strategies for Prevention, Monitoring, and Response
Number of pages: 28 Posted: 07 Feb 2009 Last Revised: 12 Mar 2012
Leo Beletsky, Umbreen Bhatti, Julia Graff, Basha Silverman and Corey S. Davis
Northeastern University - School of Law; Northeastern University - Bouvé College of Health Sciences, affiliation not provided to SSRN, American Civil Liberties Union (ACLU) - Foundation of Delaware, Brandywine Counseling and Community Services, Inc. and Network for Public Health Law
law enforcement, training, harm reduction, needle exchange
Major Trends in Public Health Law and Practice: A Network National Report
Journal of Law, Medicine and Ethics, Vol. 41, No. 3, 2013
Number of pages: 9 Posted: 16 Sep 2014
James G. Hodge, Leila Barraza, Jennifer Bernstein, Courtney Chu, Veda Collmer, Corey S. Davis, Megan Griest, Monica Hammer, Jill Krueger, Kerri McGowan Lowrey and Daniel G. Orenstein
Arizona State University (ASU) - Sandra Day O'Connor College of Law, Network for Public Health Law, University of Michigan at Ann Arbor - School of Public Health, Network for Public Health Law, Network for Public Health Law, Network for Public Health Law, Network for Public Health Law, Network for Public Health Law, Network for Public Health Law, Network for Public Health Law and Indiana University Robert H. McKinney School of Law
Unkept Promises: 'Law on the Books' and High Risk Populations in Thailand
Indrajit Pandey, Corey S. Davis and Scott Burris
affiliation not provided to SSRN, Network for Public Health Law and Center for Public Health Law Research, Temple University - James E. Beasley School of Law
Assessing Social Risks Prior to Commencement of a Clinical Trial: Due Diligence or Ethical Inflation?
The American Journal of Bioethics, Vol. 9, No, 1, pp. 48-54, 2009, Temple Law School Working Paper
Number of pages: 11 Posted: 04 Dec 2009 Last Revised: 11 Feb 2014
Corey S. Davis and Scott Burris
Network for Public Health Law and Center for Public Health Law Research, Temple University - James E. Beasley School of Law
human subject research, social risks, IRB, research ethics, injection drug use, HIV, HPTN
Harmonizing Disease Prevention and Police Practice in the Implementation of HIV Prevention Programs: Up-Stream Strategies from Wilmington, Delaware
Harm Reduction Journal, Vol. 9, No. 17, 2012, Northeastern University School of Law Research Paper No. 91-2012
Number of pages: 19 Posted: 13 May 2012 Last Revised: 11 Nov 2012
Leo Beletsky, Basha Silverman, Corey S. Davis, Julia Graff, Umbreen Bhatti and Melissa Santos
Northeastern University - School of Law; Northeastern University - Bouvé College of Health Sciences, Brandywine Counseling and Community Services, Inc., Network for Public Health Law, American Civil Liberties Union (ACLU) - Foundation of Delaware, affiliation not provided to SSRN and Santos Architecture and Graphic Design
Bundling Occupational Safety with Harm Reduction Information as a Feasible Method for Improving Police Receptiveness to Syringe Access Programs: Evidence from Three U.S. Cities
Harm Reduction Journal, Vol. 6, No. 16, July 2009
Corey S. Davis and Leo Beletsky
Network for Public Health Law and Northeastern University - School of Law; Northeastern University - Bouvé College of Health Sciences
harm reduction, law enforcement, policing, injection drug use, IDU
Engaging Law Enforcement in Overdose Reversal Initiatives: Authorization and Liability for Naloxone Administration
American Journal of Public Health, pp. e1–e7 (published online ahead of print, June 11, 2015), doi:10.2105/AJPH.2015.302638, Northeastern University School of Law Research Paper No. 229-2015
Corey S. Davis, Derek Carr, Jessica Southwell and Leo Beletsky
Network for Public Health Law, Network for Public Health Law, Network for Public Health Law and Northeastern University - School of Law; Northeastern University - Bouvé College of Health Sciences
Opioid overdose, naloxone


Reading this blog, you may think we have it all together. Let me take you into the kitchens and a little fun group history.
And so it was with Chicken Bruschetta. J made this recipe almost a year ago and it got classified as a stinker. It was such a stinker that it got the label at my house as dogfood! If a recipe got labeled dogfood at our house, our second serving was cooked for our dog Lucy to eat. Larry, my DH, determined to never put that on the menu again!
We had another J join our group, who tried to convince us that is was really good recipe. After a couple of sessions of cooking with us, we let her put it on the menu. We discovered from J that you cannot pre-cook the meal. It is a meal that needs to be assembled and frozen with the meat uncooked.
Last night I thought I would pull the formerly notorious stinker meal from the freezer. I pulled it out and it smelled so good. I could smell the garlic coming through the foil. That is always a good sign. I did not tell Larry what it was until after he tried a few bites.
He declared it good. He called it really good! I announced it was Chicken Bruschetta - he stopped chewing and said 'no way'. Then he asked - who cooked it and made it better? Luckily, my DH is a great cook as well and will discuss food prep with me quite often.
I served this with zucchini fresh from my brother-in-laws' garden. The zucchini ws simply sauteed in butter with onions, season all, salt & pepper. Before I sat down to eat , what I thought was WOW what a great picture! It was nice to sit outside and eat a beautiful dinner.
Oh...I'm so glad that Larry liked the Chicken Bruschetta this time around.
I'm glad we can always give it a second try! Different cooks give it a different spin.
Your group is such a great idea! I suggested something like this to some friends, but I am interested is learning how your group works. Today my MIL brought a ton of beef from this steer in North Dakota to us, our freeze is full.
I really like the Chicken Bruschetta, but I have never done it freezer style. Glad it worked out this time.


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Superdry men's Arctic hooded Pop zip SD-Windcheater jacket. Keep warm with this essential jacket this season. Featuring a fleece lined hood and body, double layer collar, ribbed cuffs with thumb holes, a bungee cord adjustable hem, twin front pockets and one inside pocket. This jacket has a triple layer zip fastening and is finished off with an embroidered Superdry logo on the shoulder and the sleeves.


Hey we've spent a little time working on our home thing.
We have one place for you to go to find all the great music we have discovered on a multitude of websites over the years.
Dig around as we incorporate old and new support for Original Rock and Roll.


We have some 2 day mixed level Aerial Workshops classes for students who'd like to give a class a try, or those that just need an aerial fix!
Over the 2 sessions, Young Flyers will learn new tricks, moves and maybe even some drops on Silks, Hoop and Trapeze. Interrsperesed with stretching and games to give the hands a little break, it is an action packed session which promises to challenge and inspire budding aerialists. Grown ups are invited to come in at the end of the 2nd day to see what we've been learning and get a few snaps of the action!
Summer Camps - Thinking ahead!
Click on the week you are interested in to find out availability or to book!
This fun week long circus summer school is aimed at young people from 7-12, and 13-16 years.
The week will focus on developing aerial skills in silks, slings, hoop and trapeze, as well as a range of ground based Circus skills including acrobatics, handstands and hula hoop. Our Young Flyers will work with a team of professionals in a safe environment to develop their aerial skills as well as their strength, flexibility, and creativity. And on the last day, the students will have the chance to take part in an informal showing to family and friends to show what they have been learning.
Places are limited so booking is essential. Price is £350 for the course, 10am to 4pm daily with an informal showing on the last day. There is a £25 early bird discount for booking before the end of May.
"I sent my three daughters along for the first time and they came home absolutely buzzing. They loved trying out all the equipment and learning how to use the trapeze, hoops and silks. They found the time flew (excuse the pun!) and can't wait to go back. It is the top of their list of things to do.
Absolutely brilliant and beautifully run. Thank you very much."
"I learnt a lot and the teachers were encouraging and fun. I got lots of advice on how to perfect my moves. 5 stars Flying Fantastic!"
"Fun environment. Smiling, top level instructors."
"We covered lots of different things in just 2 days. I really enjoyed trying all three apparatus and lots of help given. All the teachers were amazing. Thank you!"


Little Egret is a small and elegant egret, with slight neck, black, thin, pointed bill and black legs with yellow feet.
Adult in breeding plumage has greyish-blue face and reddish lores. We can see two white long and fine feathers on the rear crown, extending from the nape to mid-neck. It also has "aigrettes", long feathers on the upper breast and recurved scapular feathers.
At this period, the base of the lower mandible is greyish. Feet are bright orange, even sometimes reddish for short time.
In winter plumage, the Little Egret has black bill, greyish lores and pale yellow or greenish-yellow feet. It lacks the long nape feathers, and the "aigrettes" on its body. Eyes are pale yellow.
Juvenile resembles adult in winter, with duller or greenish bill and legs, and greenish-grey feet, with less contrasts.
We can find several subspecies, E.g. garzetta, nigripes, immaculata, gularis, schistacea and dimorpha. They differ by feet, legs, bill and lores' colours. Size of the bill is different in some races such as gularis and schistacea.
Little Egret is rather silent away from colonies, but we can hear a hoarse "kgarrk" or a long "aaahk" when it takes off or during disputes on feeding areas.
Little Egret frequent a wide variety of open wetlands with fresh, brackish or salt shallow water. It is visible on river and lake's shores, in marshes, rice fields, flooded areas, sandy beaches, mudflats and mangroves, according to the range. It also follows cattle in drier areas.
This species usually frequents lowlands, but according to the range, it may be found between 1400 and 2000 metres of elevation.
Little Egret breeds in temperate regions of Europe, Asia, Africa and Australia. Most of populations are resident, but the northernmost birds migrate to Africa or Southern Asia. They migrate in large scattered groups.
Little Egret starts to colonize the New World. It breeds in the Bahamas and has been observed in Caribbean and Suriname.
Little Egret feeds alone or in small groups with other Ardeidae, but birds are fairly apart from each other and defend strongly their feeding area.
This bird feeds mainly on aquatic insects, crustaceans, small fish, amphibians, molluscs, spiders, worms, reptiles and small birds. It feeds by day, using several kinds of techniques such as the typical "food stirring". The bird stirs the sand or mud with one foot, in order to flush some preys, and then, when the prey is detected, it jabs it with its pointed bill.
Little Egret walks slowly in shallow water, or along the shores, but the commonest technique shows the bird standing motionless in shallow water or at the edge, waiting for prey coming close to it, and then it spears it with the bill. For this technique, the Little Egret may use the "upright" posture with erected neck and body, or the "crouched" posture with neck and body parallel to the ground.
This egret may also follow cattle in the fields, in order to catch insects, pursuing them by running after the preys.
This species feeds during the day, mainly in the early morning and in the late afternoon.
Little Egrets gather at roost with other heron's species in mangroves, reedbeds and dead branches over open water.
The breeding season starts after the male arrive first on the breeding area. It begins to collect nest materials for the nest-site. It tries to attract a female, but it also defends the site against the other males.
Little Egret performs courtship displays such as "stretch" display with raised head and neck, bill pointed upwards, while displaying the nuptial long feathers and the bright colours of the bare parts. Other displays are accompanied by bill-clappering. Some aerial displays show the male flying around the nesting-site with outstretched neck and sometimes legs hang down, while beating slowly the wings.
When the female is attracted, both mates still perform some aggressive displays, but little by little, the behaviour becomes less violent and the birds perform mutual preening at nest. Then, both adults build the nest and copulation takes place in it.
Little Egret flies with folded neck into the shoulders, and legs and feet held out behind the body. It can take off from the water. The long and broad wings are very powerful.
The flight is usually slow but strong. This bird usually uses flapping flight and is able to cover long distance flights during migrations.
Breeding season occurs between March and June in Palearctic, but it may vary according to the range in the other parts of the habitat.
Little Egret breeds in colonies with other Ardeidae species. Nest is placed on the ground or in reedbeds, in trees up to 20 metres above the ground, or in bushes, always near water or on it. The nest-site may be situated in flooded areas or wooded islands, but also in marsh vegetation.
Both adults build the nest. The male brings materials to the female which arranges them. It is a platform made with sticks or reed stems, and it is usually a flimsy structure.
Female lays 3 to 4 greenish-blue eggs every 1 or 2 days. Incubation starts with the first egg laid, and lasts about 21-25 days by both adults. They take turns of about 3-4 hours, and they perform some ritual displays with fluffed plumage and series of bows accompanied by calls.
At hatching, the chicks are covered with white down, and they have pink bill and legs turning bluish-grey very soon.
They are fed by both parents by regurgitation directly into the bill.
At about three weeks of age, young starts to climb into the close branches. They can fly at about five weeks and follow the adults for learning how to feed themselves. They fledge about 40-45 days after hatching. They roost every night at the colony with the adults.
Little Egret feeds mainly on aquatic insects, crustaceans, fish, amphibians, molluscs, reptiles, worms, spiders, and small birds.
Little Egret is not globally threatened at this moment.
As other egret species, it was persecuted for feather's trade in late 19th and early 20th centuries. Feathers were used for ornaments in women hats, and the birds were killed while they fed their young which, abandoned, dead in large numbers.
Today, this species, as other Ardeidae, is threatened by habitat loss and changes in the wetlands, pollution and competition for nesting trees.
However, Little Egret has recovered good numbers and expanded range thanks to protection of habitat and birds.


Senegal Stick Flag - 4x6"
Senegal used the flag of France as its symbol for many years during the colonial period, but the end of the colonial era brought about a period of rapid change for the Senegal flag. The flag changed several times before it finally stabilized with the current design, which has represented Senegal for more than half of a century. The changes to the flag's design coincided with major political changes for the people of Senegal, so the Senegal flag history is a reflection of the nation's political history in the modern era.
The Senegal flag is made up of three vertical stripes of green, yellow, and red with a green star in the center of the flag. The red stripe represents life, sacrifice, and the willingness of the people to fight against underdevelopment in Senegal. The yellow stripe represents wealth. It is also a common symbol of education and high culture in Senegal due to its association with teachers. The star and the green stripe are symbols of Islam, which is the majority religion in Senegal. The color green also has some significance for most of the nation's minority religions. The three colors are taken from the Pan-African flag, which allows them to serve as a symbol of solidarity with the rest of Africa.
Senegal flag history begins with the colonial period, when Senegal became part of the French Empire. The government of France did not allow Senegal to have a colonial flag of its own in order to prevent the development of nationalist feelings that could lead to a rebellion, so the French flag flew over Senegal for most of that time. That policy changed when the decolonization movement began to take hold. Senegal became an autonomous territory in France and adopted a flag that consisted of a green field with a yellow star in 1958. It became part of the Mali Federation in 1959, at which point it adopted a flag with the same three stripes as the current flag that featured an abstract image of a human in place of the star. Senegal became fully independent shortly after, and it adopted the current flag of Senegal in 1960.


"A Course in Miracles" teachings is not the sole source of Course Teachings productions as there are numerous valuable sources of the course and other wisdom in the world, both new and old.
"Course Teachings" does not copyright the teachings and or the spiritual understandings that come from the widely distributed free manuscript and that may come only from within the learner, wherein lies the "authority of truth". Rather and simply, Course Teachings is present as the sole source of THESE particular productions of teachings, by Shirley Durden-Stone.


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Jay Elle Shines In "Ease Up (Into Love)"
"Ease Up (Into Love)" is off of Jay's "Ease Up" EP.
Honestly, it's impossible not to like Jay Elle. Not only is his music heartwarming, organic and nurturing, but he also has this pizzazz to him that is beyond charming. In "Ease Up (Into Love)," one of the singles off of his new EP, Jay finds a way into our souls, blessing us with a gem that oozes with feel-good vibes.
Jay nailed every single element about "Ease Up (Into Love)!" First and foremost, the instrumental that powers it is dynamic, as it features country vibes that I do believe has universal appeal to it. Over this instrumental, Jay sings glowingly about finding a way to excel whenever you get a chance to fall in love with someone. Personally, I enjoy the passion Jay shows throughout, the melodies he delivers, and most importantly, his astute advice on making yourself useful in a relationship.
Jay Elle, thank you for making the idea of falling in love literally sound calm and soothing!
OVERALL RATING (4.5/5)


The Crogan Adventures is author Chris Schweizer's blog for his series of historical graphic novels The Crogan Adventures.
Resources for Teachers provides a 23-page (PDF) guide to using Crogan's Loyalty as part of a middle school and high school social studies, history, language arts, or English curriculum. In Crogan's Loyalty two brothers, Charles and William Crogan are on opposite sides as conflict brews between the Colonies and England. The guide includes information and an activity about comics and graphic novels; information about principal actors during the period: patriots and loyalists, women, African Americans, Native Americans, Hessians, and teenagers; before, during, and after reading activities; discussion questions and activities; and literary terms and analysis questions.
Print Interviews provide author and book information for students, especially fledgling cartoonists.
Video and Audio segments are best used for giving teachers background on the stories and author. The videos are not the best quality and some a crude.
Teachers can email the author to arrange an author visit or arrange a video-chat through AIM, iChat, or Skype if distance or schedule makes a live visit impossible.


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NR 664.1033(11) (11) A closed-vent system shall meet any of the following design requirements:
NR 664.1033(11)(a) (a) Design a closed-vent system to operate with no detectable emissions, as indicated by an instrument reading of less than 500 ppmv above background determined by the procedure in s. NR 664.1034 (2), and by visual inspections.
NR 664.1033(11)(b) (b) Design a closed-vent system to operate at a pressure below atmospheric pressure. Equip the system with at least one pressure gauge or other pressure measurement device that can be read from a readily accessible location to verify that negative pressure is being maintained in the closed-vent system when the control device is operating.
NR 664.1033(12) (12) The owner or operator shall monitor and inspect each closed-vent system required to comply with this section to ensure proper operation and maintenance of the closed-vent system by implementing all of the following requirements:
NR 664.1033(12)(a) (a) Inspect and monitor each closed-vent system that is used to comply with sub. (11) (a) according to all of the following requirements:
NR 664.1033(12)(a)1. 1. Conduct an initial leak detection monitoring of the closed-vent system on or before the date that the system becomes subject to this section. Monitor the closed-vent system components and connections using the procedures in s. NR 664.1034 (2) to demonstrate that the closed-vent system operates with no detectable emissions, as indicated by an instrument reading of less than 500 ppmv above background.
NR 664.1033(12)(a)2. 2. After initial leak detection monitoring required in subd. 1., inspect and monitor the closed-vent system as follows:
NR 664.1033(12)(a)2.a. a. Visually inspect closed-vent system joints, seams or other connections that are permanently or semi-permanently sealed (e.g., a welded joint between 2 sections of hard piping or a bolted and gasketed ducting flange) at least once per year to check for defects that could result in air pollutant emissions. Monitor a component or connection using the procedures in s. NR 664.1034 (2) to demonstrate that it operates with no detectable emissions following any time the component is repaired or replaced (e.g., a section of damaged hard piping is replaced with new hard piping) or the connection is unsealed (e.g., a flange is unbolted).
NR 664.1033(12)(a)2.b. b. Monitor closed-vent system components or connections other than those specified in subd. 2. a. annually and at other times requested by the department, except as provided for in sub. (15), using the procedures in s. NR 664.1034 (2) to demonstrate that the components or connections operate with no detectable emissions.
NR 664.1033(12)(a)3. 3. In the event that a defect or leak is detected, repair the defect or leak according to par. (c).
NR 664.1033(12)(a)4. 4. Maintain a record of the inspection and monitoring according to s. NR 664.1035.
NR 664.1033(12)(b) (b) Inspect and monitor each closed-vent system that is used to comply with sub. (11) (b) according to all of the following requirements:
NR 664.1033(12)(b)1. 1. Visually inspect the closed-vent system to check for defects that could result in air pollutant emissions. Defects include, but are not limited to, visible cracks, holes or gaps in ductwork or piping or loose connections.
NR 664.1033(12)(b)2. 2. Perform an initial inspection of the closed-vent system on or before the date that the system becomes subject to this section. Thereafter, perform the inspections at least once every year.
NR 664.1033(12)(b)3. 3. In the event that a defect or leak is detected, repair the defect according to par. (c).
NR 664.1033(12)(b)4. 4. Maintain a record of the inspection and monitoring according to s. NR 664.1035.
NR 664.1033(12)(c) (c) Repair all detected defects according to all of the following:
NR 664.1033(12)(c)1. 1. Control detectable emissions, as indicated by visual inspection, or by an instrument reading greater than 500 ppmv above background, as soon as practicable, but not later than 15 calendar days after the emission is detected, except as provided for in subd. 3.
NR 664.1033(12)(c)2. 2. Make a first attempt at repair no later than 5 calendar days after the emission is detected.
NR 664.1033(12)(c)3. 3. Delay of repair of a closed-vent system for which leaks have been detected is allowed if the repair is technically infeasible without a process unit shutdown, or if the owner or operator determines that emissions resulting from immediate repair would be greater than the fugitive emissions likely to result from delay of repair. Complete repair of the equipment by the end of the next process unit shutdown.
NR 664.1033(12)(c)4. 4. Maintain a record of the defect repair according to s. NR 664.1035.
NR 664.1033(13) (13) Operate closed-vent systems and control devices used to comply with this subchapter at all times when emissions may be vented to them.
NR 664.1033(14) (14) The owner or operator using a carbon adsorption system to control air pollutant emissions shall document that all carbon that is a hazardous waste and that is removed from the control device is managed in one of the following manners, regardless of the average volatile organic concentration of the carbon:
NR 664.1033(14)(a) (a) Regenerated or reactivated in a thermal treatment unit that meets one of the following:
NR 664.1033(14)(a)1. 1. The owner or operator of the unit has been issued an operating license under ch. NR 670 which implements the requirements of subch. X.
NR 664.1033(14)(a)2. 2. The unit is equipped with and operating air emission controls according to the applicable requirements of this subchapter and subch. CC or subch. AA of ch. NR 665 and subch. CC of ch. NR 665.
NR 664.1033(14)(a)3. 3. The unit is equipped with and operating air emission controls according to a national emission standard for hazardous air pollutants under 40 CFR part 61 or 63, or corresponding provisions of subch. III of ch. NR 446 and chs. NR 447 to 469.
NR 664.1033(14)(b) (b) Incinerated in a hazardous waste incinerator for which any of the following conditions has been met:
NR 664.1033(14)(b)1. 1. The owner or operator has been issued an operating license under ch. NR 670 which implements the requirements of subch. O.
NR 664.1033(14)(b)2. 2. The owner or operator has designed and operates the incinerator according to the interim license requirements of subch. O of ch. NR 665.
NR 664.1033(14)(c) (c) Burned in a boiler or industrial furnace for which any of the following conditions has been met:
NR 664.1033(14)(c)1. 1. The owner or operator has been issued an operating license under ch. NR 670 which implements the requirements of subch. H of ch. NR 666.
NR 664.1033(14)(c)2. 2. The owner or operator has designed and operates the boiler or industrial furnace according to the interim license requirements of subch. H of ch. NR 666.
NR 664.1033(15) (15) Any components of a closed-vent system that are designated, as described in s. NR 664.1035 (3) (i), as unsafe to monitor are exempt from sub. (12) (a) 2. b. if the owner or operator does all of the following:
NR 664.1033(15)(a) (a) Determines that the components of the closed-vent system are unsafe to monitor because monitoring personnel would be exposed to an immediate danger as a consequence of complying with sub. (12) (a) 2. b.
NR 664.1033(15)(b) (b) Adheres to a written plan that requires monitoring the closed-vent system components using the procedure in sub. (12) (a) 2. b. as frequently as practicable during safe-to-monitor times.
NR 664.1033 History History: CR 05-032: cr. Register July 2006 No. 607, eff. 8-1-06; correction in (14) (a) 2. made under s. 13.92 (4) (b) 7., Stats., Register March 2013 No. 687.
NR 664.1034 NR 664.1034 Test methods and procedures.
NR 664.1034(1)(1) Each owner or operator subject to this subchapter shall comply with the test methods and procedures requirements in this section.
NR 664.1034(2) (2) When a closed-vent system is tested for compliance with no detectable emissions, as required in s. NR 664.1033 (12), the test shall comply with all of the following requirements:
NR 664.1034(2)(a) (a) Monitoring shall comply with Method 21 in appendix A of 40 CFR part 60, incorporated by reference in s. NR 660.11.
NR 664.1034(2)(b) (b) The detection instrument shall meet the performance criteria of Method 21 in appendix A of 40 CFR part 60, incorporated by reference in s. NR 660.11.
NR 664.1034(2)(c) (c) The instrument shall be calibrated before use on each day of its use by the procedures in Method 21 in appendix A of 40 CFR part 60, incorporated by reference in s. NR 660.11.
NR 664.1034(2)(d) (d) Calibration gases shall be all of the following:
NR 664.1034(2)(d)1. 1. Zero air (less than 10 ppm of hydrocarbon in air).
NR 664.1034(2)(d)2. 2. A mixture of methane or n-hexane and air at a concentration of approximately, but less than, 10,000 ppm methane or n-hexane.
NR 664.1034(2)(e) (e) Determine the background level according to Method 21 in appendix A of 40 CFR part 60, incorporated by reference in s. NR 660.11.
NR 664.1034(2)(f) (f) Traverse the instrument probe around all potential leak interfaces as close to the interface as possible as described in Method 21 in appendix A of 40 CFR part 60, incorporated by reference in s. NR 660.11.
NR 664.1034(2)(g) (g) Compare the arithmetic difference between the maximum concentration indicated by the instrument and the background level with 500 ppm for determining compliance.
NR 664.1034(3) (3) Performance tests to determine compliance with s. NR 664.1032 (1) and with the total organic compound concentration limit of s. NR 664.1033 (3) shall comply with all of the following:
NR 664.1034(3)(a) (a) Conduct performance tests to determine total organic compound concentrations and mass flow rates entering and exiting control devices and reduce data according to all of the following methods and calculation procedures:
NR 664.1034(3)(a)1. 1. Method 2 in appendix A of 40 CFR part 60, incorporated by reference in s. NR 660.11, for velocity and volumetric flow rate.
NR 664.1034(3)(a)2. 2. Method 18 or Method 25A in Appendix A of 40 CFR part 60, incorporated by reference in s. NR 660.11, for organic content. If Method 25A is used, the organic HAP used as the calibration gas shall be the single organic HAP representing the largest percent by volume of the emissions. The use of Method 25A is acceptable if the response from the high-level calibration gas is at least 20 times the standard deviation of the response from the zero calibration gas when the instrument is zeroed on the most sensitive scale.
NR 664.1034(3)(a)3. 3. Each performance test shall consist of 3 separate runs; conduct each run for at least one hour under the conditions that exist when the hazardous waste management unit is operating at the highest load or capacity level reasonably expected to occur. For the purpose of determining total organic compound concentrations and mass flow rates, average the results of all runs. Compute the average on a time-weighted basis.
NR 664.1034(3)(a)4. 4. Determine total organic mass flow rates by the following equation:
NR 664.1034(3)(a)4.a. a. For sources using Method 18.
- See PDF for diagram
Eh = Total organic mass flow rate, kg/h
Q2sd = Volumetric flow rate of gases entering or exiting control device, determined by Method 2, dscm/h
n = Number of organic compounds in the vent gas
Ci = Organic concentration in ppm, dry basis, of compound i in the vent gas, determined by Method 18
MWi = Molecular weight of organic compound i in the vent gas, kg/kg-mol
0.0416 = Conversion factor for molar volume, kg-mol/m3 (at 293 K and 760 mm Hg)
10-6 = Conversion from ppm
NR 664.1034(3)(a)4.b. b. For sources using Method 25A.
Eh = (Q)(C)(MW)(0.0416)(10-6)
Q = Volumetric flow rate of gases entering or exiting control device, as determined by Method 2, dscm/h;
C = Organic concentration in ppm, dry basis, as determined by Method 25A
MW = Molecular weight of propane, 44
10 -6 = Conversion from ppm.
NR 664.1034(3)(a)5. 5. Determine the annual total organic emission rate by the following equation:
EA = Total organic mass emission rate, kg/y
Eh = Total organic mass flow rate for the process vent, kg/h
H = Total annual hours of operations for the affected unit, h
NR 664.1034(3)(a)6. 6. Determine total organic emissions from all affected process vents at the facility by summing the hourly total organic mass emission rates (Eh, determined in subd. 4.) and by summing the annual total organic mass emission rates (EA, determined in subd. 5.) for all affected process vents at the facility.
NR 664.1034(3)(b) (b) Record the process information as may be necessary to determine the conditions of the performance tests. Operations during periods of startup, shutdown and malfunction may not constitute representative conditions for the purpose of a performance test.
NR 664.1034(3)(c) (c) For an affected facility, provide, or cause to be provided, all of the following performance testing facilities:
NR 664.1034(3)(c)1. 1. Sampling ports adequate for the test methods specified in par. (a).
NR 664.1034(3)(c)2. 2. A safe sampling platform or platforms.
NR 664.1034(3)(c)3. 3. Safe access to the sampling platform or platforms.
NR 664.1034(3)(c)4. 4. Utilities for sampling and testing equipment.
NR 664.1034(3)(d) (d) For the purpose of making compliance determinations, use the time-weighted average of the results of the 3 runs. In the event that a sample is accidentally lost or conditions occur in which one of the 3 runs must be discontinued because of forced shutdown, failure of an irreplaceable portion of the sample train, extreme meteorological conditions or other circumstances beyond the owner or operator's control, compliance may, upon the department's approval, be determined using the average of the results of the 2 other runs.
/code/admin_code/nr/600/664 true administrativecode /code/admin_code/nr/600/664/aa/1033/14/b/2 Department of Natural Resources (NR) Chs. NR 600-699; Environmental Protection – Hazardous Waste Management administrativecode/NR 664.1033(14)(b)2. administrativecode/NR 664.1033(14)(b)2. section true


Mario Ruiz has been named senior vice president of music and entertainment projects at Telemundo, after serving three years as senior vice president of talent and development strategy. Before joining the network, he was a consultant/executive producer for the Latin Academy of Recording Arts & Sciences. Follow Telemundo's Spanish-language news via Facebook and Twitter.


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Criterion's December slate with Roma & Heart of a Dog, plus Killing of America & Star Trek 50 set reviewed!
September 16, 2016 - 5:36 pm	| by	Bill Hunt
All right, I've been busy working on Blu-ray reviews for you these last couple days, and we have four to share with you now. Late yesterday I posted my thoughts on Magnolia's The Wave (aka Bølgen), which is a nifty little Norwegian disaster film from last year, as well as Madman Entertainment's excellent North Sea Hijack (1979), better known to Americans as ffolkes! The film stars Roger Moore and it's a great little gem. Best of all, though the packaging says Region B, the disc is actually an All Region release. Then today, our own Jim Hemphill has turned in his thoughts on Twilight Time's new double feature of the Frank Sinatra films Tony Rome (1967) and Lady in Cement (1968). Finally, I've just completed my thoughts on CBS and Paramount's whopping new 30-disc Star Trek: 50th Anniversary TV and Movie Collection Blu-ray box set, which as many of you know includes the first-ever release of Star Trek: The Animated Series on Blu-ray. That title will also be released separately on Blu-ray later this year, but in the meantime do check out our thoughts on the box set. [Read on here…]
The big release news today is that The Criterion Collection has just announced their December Blu-ray and DVD release slate, which is set to include a BD upgrade of Luis Buñuel's The Exterminating Angel (Cat #459 – Blu-ray) and Laurie Anderson's Heart of a Dog (Cat #846 – Blu-ray and DVD) on 12/6, followed by John Huston's The Asphalt Jungle (Cat #847 – Blu-ray and DVD) and Federico Fellini's Roma (Cat #848 – Blu-ray and DVD) on 12/13.
Also, Severin Films has just announced the Blu-ray, DVD, and Digital release of Leonard Schrader's notorious The Killing of America (1981) "shock" documentary (SRP $29.98 and $19.98 for the disc versions). Extras will include audio commentary with director Sheldon Renan and interviews with Renan, editor Lee Percy, and Mondo Movie historian Nick Pinkerton.
Kino Lorber has just announced a 4-pack box set release of their recent Depatie/Freleng animated Blu-rays – The Inspector, The Ant and the Aardvark, Roland and Ratfink, and Tijuana Toads – for just $79.95.
And I know we mentioned this the other day, but AMC and Anchor Bay have set Into the Badlands: Season 1 for Blu-ray and DVD release on 11/8. You can see the cover artwork below.
We'll leave you this week with a look at the Blu-ray cover artwork for many of the titles mentioned above (with clickable Amazon.com pre-order links if available)...
Have a great weekend and we'll see you back here on Monday. Stay tuned!
- Bill Hunt (@BillHuntBits)
Criterion December
Heart of a Dog
The Asphalt Jungle
Star Trek 50th Anniversary TV and Movie Collection
The Killing of America
Tony Rome
Lady in Cement
North Sea Hijack
ffolkes
DePatie Freleng Collection
The Exterminating Angel
Into the Badlands: Season 1
Contact Bill Hunt
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About Bill Hunt
Bill Hunt is the Editor in Chief of The Digital Bits, and the co-author (with Todd Doogan) of the Amazon Top 50 selling book The Digital Bits: Insiders Guide to DVD. Hunt founded The Bits in 1997, in the early…
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