This device (Cat. no L02016) has been discontinued. The corresponding consumables (Cat. no L02017, L02011, L02012) are still available.
GenScript is now offering the new and upgraded eStain L1 Protein Staining device (Cat. no L00657).
Please click here to learn more about eStain L1.
The eStain® 2.0 Protein Staining System, applying GenScript's patent-pending electric staining technology (Figure 1), enables you to quickly, reliably and efficiently stain protein gels with Coomassie blue dye within 7 minutes or less. As a user-friendly unit, the eStain® 2.0 Protein Staining Device uses disposable eStain® 2.0 Protein Staining Pads containing Coomassie blue dye in proprietary electrode buffers, offering easy and convenient procedures without the need for additional buffers.
Figure 1. How eStain® 2.0 electric staining works. A certain voltage is applied to the graphite anode and titanium cathode of the eStain® 2.0 Device, driving negatively charged Coomassie blue dye reagents into the gel matrix between the eStain® Pads to stain the proteins and the free staining reagents out of the gel matrix to destain the gel.
The eStain® 2.0 Protein Staining System combines three steps of traditional Coomassie blue staining method into one single step to greatly reduce the time required for protein staining (Table 1). The protein gel staining is finished so fast that you can see the staining results immediately after electrophoresis.
Note: Competitor 3 also uses a microwave protocol which takes 15 to 30 minutes but often gives high blue background and requires extended destaining.
In addition to ease and convenience, the eStain® 2.0 Protein Staining System provides high detection sensitivity comparable to that of traditional tri-step method (Figure 2). In the end, you'll see sharp protein bands out of clear background.
Figure 2. High staining efficiency achieved using the eStain® 2.0 System. 7 ul New England Biolabs® Protein Ladder (P7703S) were loaded in each lane and separated on 4-20% Express PAGE Gels (Bis-Tris gel). The gels were stained either by eStain® 2.0 System (L) or by traditional Coomassie blue staining method (R) with CBB R-250.
The eStain® 2.0 Protein Staining System is created as a self-contained system. The ready-to-use eStain® Protein Staining Pads contain the required electrode buffers with Coomassie blue dye incorporated in the cathode buffer. No additional solutions and buffers are required. Furthermore, the proprietary formulation does not contain methanol, therefore, the used eStain® Pads need no special treatment before disposal. With eStain® 2.0 System, all you need to do is to simply assemble the eStain® Pads together with the pre-run gel, then press the run button (Figure 3).
Figure 3. Schematic workflow of eStain® 2.0 Protein Staining System.
The eStain® 2.0 Protein Staining System is designed to work with multiple types of mini polyacrylamide gels, including Tris-Glycine, Bis-Tris, Tris-Tricine, and Tris-Acetate gels, etc.
What's the difference between eStain® 2.0 Protein Staining System and original eStain® System?
What's the difference between eStain® 2.0 Protein Staining System and conventional Coomassie blue staining methods?
What's the difference between eStain® Protein Staining Pads R-250 and G-250?
Can the eStain® Protein Staining Pads be used on blotting device to stain protein gels?
Is eStain® 2.0 Protein Staining System compatible with mass spectrometry and 2D electrophoresis?
Can I stain very thin (less than 1 mm) or very thick (more than 1 mm) gels using eStain® 2.0 Protein Staining System?
What is the recommended temperature for using eStain® 2.0 Protein Staining System?
A: eStain® 2.0 Protein Staining System is the upgrade product of original eStain® 1.0 System. The eStain® 2.0 Protein Staining Device is a totally redesigned electric staining unit. The stylish and durable design delivers a more user-friendly unit with extended service life. A larger LCD screen on the control panel clearly displays all the parameters. A waste tray is added to the right side of eStain® 2.0 Device to collect liquid waste and simplify the cleanup. The optimized circuit and control program increase reliability and reproducibility. The eStain® 2.0 Device uses a new eStain® 2.0 Graphite Electrode (L02017) which cannot be used on original eStain®1.0 Device. The eStain® Protein Staining Pads (R-250, L02011 and G250, L02012) are compatible with both eStain® 2.0 System and original eStainTM1.0 System .
Why should I use eStain® 2.0 Protein Staining System?
A: The eStain® 2.0 Protein Staining System is an innovation in protein electrophoresis analysis. It is designed to quickly, easily and reliably perform protein gel staining with Coomassie blue dye within 7 minutes or less. This system can greatly shorten your workflow and save your valuable research time for subsequent analysis.
A: Conventional Coomassie blue staining methods rely on Brownian motion and require three steps including fixing (or washing), staining and de-staining (or washing), which results in a long and tedious process. The eStain® 2.0 Protein Staining System applies GenScript's proprietary electric staining technology. A certain definite voltage is applied to the graphite anode and titanium cathode to drive the negatively charged Coomassie blue dye into the gel matrix to stain the proteins and to push the unbound Coomassie blue dye out of the gel matrix to destain the gel. The eStain® 2.0 System integrates the three steps into a single step and significantly reduces the time required for protein staining analysis.
A: The eStain® Protein Staining Pads are the consumable part of eStain® 2.0 System. Each pack of eStain® Protein Staining Pad contains an eStain® Cathode Pad presoaked with proprietary cathode buffer with CBB dye R-250 or G-250 incorporated, and an eStain® Anode Pad presoaked with proprietary anode buffer. Similar to semi-dry blotting, the eStain® Cathode Pad and eStain® Anode Pad act as ion reservoirs and the eStain® Cathode Pad also supplies negatively charged CBB dye for protein staining.
A: The eStain® Pads (R-250) have incorporated Coomassie blue dye R-250 and make dark blue protein bands. The eStain® Pads (G-250) have incorporated Coomassie blue dye G-250 and deliver bright blue protein bands. Customers can select R-250 or G-250 eStain® Pads according to their color preference.
A: No. For best results, one pack of eStain® Protein Staining Pad is used to stain one gel. Discard used eStain® Pad after each staining.
A: No. The eStain® Protein Staining Pads are designed to work with eStain® 1.0 and eStain® 2.0 Protein Staining Devices. If they are used on blotting device, we can't guarantee satisfactory staining results.
A: During the electric staining process, the eStain® 2.0 Graphite Electrode will absorb ions from the anode pad while losing carbon composition, which will change the conductivity of the graphite electrode, thereby affecting the staining results. For best staining results, after 100 uses, the worn eStain® 2.0 Graphite Electrode should be replaced with a new one; the graphite electrode should also be replaced when staining performance is significantly reduced.
A: The eStain® 2.0 Protein Staining System is designed to work with multiple homemade or precast mini polycrylamide gels, including Tris-Glycine, Bis-Tris, Tris-Acetate and Tris-Tricine gels, etc. For specially formulated gels, optimization of the staining time may be needed for best results.
A: Using eStain® 2.0 Protein Staining System, one gel can be stained for each run.
A: The eStain® 2.0 System utilizes Coomassie blue dye R-250 and G-250 as staining reagents. They have similar detection sensitivity down to dozens of ng per protein band.
A: Yes. It is compatible with mass spectrometry and 2D electrophoresis just like conventional Coommassie blue staining methods.
A: No. To ensure optimum Western blot results, unstained gels should be used.
A: Yes. However, the staining time needs to be optimized. For example, 6 -7 minutes are needed to stain a 0.75 mm mini gel and 8-9 minutes are needed to stain a 1.5 mm mini gel.
A: For best staining results, it is recommended to use eStain® 2.0 Protein Staining System at room temperature (22 - 28 ℃). If temperature is below 22 ℃, users may need to extend the running time to obtain satisfied staining results based on gel thickness.
A: A tiny crack may develop at one of the two lower corners next to the titanium cathode due to thermal expansion difference between the lid material and the titanium cathode. However, it does not affect the staining performance of the device.
A: No. It will DAMAGE the device due to short circuit. We have placed a warning sign on the lid of eStain and the cover page of the User Manual.
It is hard to close the lid or the lid can't be closed tightly.
1. The lid is not closed properly.
2. Extra Sponge Cushions are placed in the anode tank.
1. Follow the instruction on Page 14 in the Manual to properly close the lid (figure 1).
2. Use 1 piece of Sponge Cushion when staining 1.5 mm gel; use 2 pieces of Sponge Cushion when staining 0.75 and 1 mm gel.
The stained gel has hazy blue spots.
The gel has not been destained sufficiently.
Invert the eStain® Cathode Pad, cover it back on top of the gel. Perform electric staining for 1 or 2 more minutes (figure2).
Blue spots observed at the bottom of the stained gel.
2. The eStain® 2.0 Graphite Electrode is installed in wrong direction.
1. Fix the spring on the contact rod located close to the triangle symbols.
2. Follow the steps described on Page18 in the Manual to install the eStain® 2.0 Graphite Electrode in correct direction (figure 3).
Ring-like spots observed on the protein bands.
1. Air bubbles trapped in the assembled staining stack.
2. Small gel pieces attached on the surface of the gel.
1. Use the small shovel supplied with eStain® 2.0 Device to press air bubbles out of the staining stack assembly.
2. Make sure to remove all the gel pieces by washing the gel in distilled water prior to staining.
The stained gel has very faint or nearly invisible protein bands with high blue background.
1. The staining time is not long enough.
2. The graphite electrode has been used for over 100 times.
1. Cover the gel with eStain® Cathode Pad again and then perform electric staining for 1 or 2 more minutes.
2. Replace the worn graphite electrode with a new one.
The stained gel has very faint or nearly invisible protein bands with clear background.
Do Not stain the gel using eStain® 2.0 System again. Instead, stain the gel using traditional tri-step method.
Excessive current is flowing through the device.
Check if the staining stack is properly assembled and ensure full coverage of the gel.
Incomplete electric circuit due to improper assembly of the staining pads.
Ensure the staining stack is assembled correctly: use the eStain® Anode Pad first followed by the gel, and the eStain® Cathode Pad.


Aluminium alloy castings, extrusions and sheet are cleaned here; a conversion coating is applied to prepare the parts for subsequent joining processes. Thanks to its size and speed of operation, FINOBA AUTOMOTIVE's fully automated and NC-controlled unit for washing, pickling and passivation offers manifold options and is suitable for huge production volumes. It has eight dip tanks, each with a capacity of of 10 m3, and this allows component-specific surface treatments to be carried out continuously on light-metal components up to 2,000 mm long.


Picture this: Saturday morning, you wake up to a tray of freshly baked cinnamon rolls that are perfectly glazed and ooey gooey and the best way to kick off your weekend. Isn't that just the best? While we'd love a warm cinnamon roll at just about any time of day, we've got a twist on the classic…and it's wayyy easier to make than traditional cinnamon rolls.
This cinnamon roll caramel corn is ridiculously good. It's got the ooey gooey cinnamon component – that dries into deliciously crackly bites of popcorn – and is glazed with a tasty almond bark drizzle that ties the whole thing together. Once this stuff sets you can break it up into chunks of cinnamon roll goodness that are perfect for sharing at parties. People might not know that they've been missing cinnamon roll caramel corn in their lives, but they'll never forget it once they take that first bite!
You're going to whip up a cinnamon mixture that gets tossed with the popcorn, then that's going to bake to perfection; its time in the oven is just enough for the cinnamon syrup to caramelize and develop more flavor – yum. Then you melt your almond bark or white melting chocolate and drizzle it over the popcorn, just as you would glaze your toasty cinnamon rolls. Don't just take our word for it, make this caramel corn for yourself and see how good it is!
Preheat oven to 250º F and line a baking sheet with parchment paper.
Combine popped popcorn and pecans in a large bowl.
In a separate, microwaveable bowl, whisk together brown sugar, cinnamon, nutmeg and salt, then add corn syrup and butter.
Microwave mixture for 30 seconds, stir, then microwave for 2 minutes. Stir, then microwave for another 2 minute, or until bubbly.
Carefully remove from microwave, then stir in vanilla extract and baking soda. (It should bubble and foam up, that's normal).
Pour mixture over popcorn and pecans, tossing until everything is evenly coated, then transfer to lined baking sheet.
Place in oven and bake for 20-30 minutes, stirring occasionally. Remove from oven and set aside.
Place almond bark or melting chocolate in a microwaveable bowl and microwave in 30-second increments until melted and smooth. Drizzle over popcorn, then let set. Break into pieces and enjoy!


This is the fourth installment of a series highlighting TV industry thought leaders who spoke at or attended WideOrbit Connect 2018. Check out other interviews in the series here.
In this video interview from Beet.TV, WideOrbit CEO Eric Mathewson explains that the company's software is the system of record for national cable networks and TV and radio broadcasters. Since the company launched in 1999, WideOrbit has collaborated with station groups on systems and software that accelerate their business.
What can stations expect next? Mathewson says, "Even more automation is on the way." Improvements in programmatic technology spell progress for media buyers and sellers.


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Q: Automating Microsoft Access with C# instead of VB6 Is there a version of Microsoft Office Access uses C# instead of VB6 for native automation?  If so how do I go about using it - is there some way to switch it or activate it?

A: Not natively, no. But here is an article on how to do some basic automation functions externally using C#:
http://support.microsoft.com/kb/317114
It's not integration in the sense that you can write macros in it, but it will give you a reasonable level of control.

A: Yes you can but it's not like flipping a switch on and off.
Automating Access with C#

A: May be this will help:

*

*How to automate Microsoft Access by using Visual C#
Another article for MS Access and C# connection:

*

*Simple Movie Database in C# using Microsoft Access

redpajama_set_name: RedPajamaStackExchange


Directions: Write a five paragraph essay on any topic of your choice.
As homework, select another topic, use MyndBook (MyndBook.com/go.php?to=306_1396) to create a note map of your ideas before you write the essay. Compare both of your essays and see how brainstorming and planning helps improve your essay.


Booked a Gig? Book the Day!
Michael is a consummate professional – we love working with him!
Question: When you book an event, how much of the day should you plan on giving to the show? How long should you expect to be there?
Answer: All day. All. Day.
Wait – Really? All DAY?!
Well, yes! I know it seems extreme if you haven't worked a lot of events, but hear me out.
Do you see how that sometimes works? Good – it's important to know that we are not trying to waste your time. You might ask why you're even there early to begin with; I mean, after all – you're just doing a hand balancing act at 9:00 pm! Believe me – we get it, sometimes we're asking ourselves the same thing. The easiest answer boils down to two things: transportation, client. If we need to send everyone in the same van, ground acts are going to be there earlier and stay later to accommodate the aerialists. If this doesn't work for you, another option is to plan your own transportation on your own dime. BUT, consider that this may be a client issue. Often, clients want everyone there early so they don't have to worry, or they want everyone there for rehearsal, or they want a little sneak peek at what they're getting. Remember – the client signs our paycheck, and in essence signs yours too. We advocate heavily for our artists, but if the client wants to see you, you'll be there.
You let us know when we booked you that you were only available after a certain time, or needed to leave at a certain time. Totally acceptable, as it places the onus on us as to whether or not to cast you knowing your time constraints.
You're trying to squeeze something else into your day. It's perfectly fine to ask for time parameters for an event – we'll give them to you if we know them. That said, know that things change all the time in events, and you should be prepared to cancel whatever else you're squishing in if something shifts.
If you're doing someone a big favor. The bigger the favor, the more leeway you have.
First, let me say that I've spent a good deal of my professional life being too big for my britches, literally and figuratively. It's practically de rigueur for artists stepping into a cut-throat market to pose, posture, and puff up in the face of their competition; I surely did my share, and suffered for it.
Knowledge is good. Experience is good. Knowing what you don't know? Extra good.
Now, before you say, "How do I know what I don't know??!!", I invite you to think that through. There are lots of levels in the knowledge/experience game, but let's condense it down to three for the sake of the inter-webs.
High Level/Expert – You know your stuff, and have been at it a long time. You are recognized by your peers as an expert in your field, and your advice and input is often sought.
Mid-Level – You have a solid knowledge base, and have been working hands-on for a while. You have a good sense of the multiple elements that make up your chosen field (ex: rigging, performance, training, marketing, etc.), and have a clear understanding of where you need more education or experience.
Low-Level – You're just starting out. Most of your knowledge is theoretical in the sense that you haven't been able to put much of it into practice yet.
BONUS LEVEL – Delusional. You have no idea what you're doing, people routinely tell you so, you ignore them and proclaim yourself a god. Your foolishness knows no bounds. Try not to take anyone with you.
Now, no matter where you fall on the knowledge/experience spectrum, one thing is certain: you still have more to learn. The trap of pride is that it keeps us from acknowledging this – the high level expert may think she has no more to learn and become rigid, the low level novice may pretend to know more than she does, and place herself and others in danger, or just make foolish choices.
So, what? Where does all this leave us? Well, pursuing humility and it's best friend, wisdom.
Someone once told me that, even when I was VERY sure about something, I should occasionally preface statements in my head with, "I might be wrong, but…". This helps us remember that things change: new facts come to light, we gain an different understanding of something, we see another way in which things could be done, etc. It doesn't mean not having well-informed, strong opinion; it does mean keeping our ears open for ideas, knowledge, and perspectives we might have missed the first time around.
For newbies, become little sponges. Little pro-active sponges. Do your homework, ask questions, google until your fingers bleed. Don't wait for someone to spoon-feed you information you are ultimately responsible for having, and don't try to bluff your way through it all. DO present yourself professionally, and consider pursuing a mentoring or apprentice situation (ideal – you can learn oodles of stuff, ask tons of questions, and comfortably acknowledge what you don't know).
Opinions are not facts. All opinions are not equal – some are better informed than others.
Be careful where you get your information – consider the source.
Ask yourself, "Why should I believe that?" Is it from a credible source? Does it have the ring of common sense to it? Is there hard science to back it up?
Are you researching to get a better understanding of something, or to "prove that you're right"? There's a big difference.


The Alaskan Way Viaduct closes for good Friday night, so get your final drives in while you still can. In the meantime, let's take a look back on some of the finer (and not so fine) aspects of the structure that's graced Seattle's waterfront for the better part of over half a century.
The Viaduct was first opened to traffic piecemeal between 1953 and 1959, originally spanning 4.7 miles, and costing over $16 million to build (adjusted for inflation, that's roughly $136 million today).
Fast-forward all the way to 2001, and you'll hear about damage sustained in the Nisqually earthquake. Damage assessments not long after that found the viaduct to be an extreme risk in the case of another major earthquake.
A 2009 video from the Washington State Department of Transportation confirmed as much, painting a vivid fire and brimstone picture of what exactly would happen to the structure in another earthquake.
In that same year, plans were drawn up to replace the viaduct with a two-mile tunnel — bored by a drill affectionately named Bertha — under downtown Seattle, after the city considered over 90 different ideas.
The project was slated to finish in 2014, but numerous delays, malfunctions, and even a sinkhole, set things back considerably, and now here we are today.
After the three-week closure of SR 99 kicks off Friday night, no commuters will be spared.
"It's going to affect everybody driving into [the city], riding buses, however you get in and through the city of Seattle," Seattle Mayor Jenny Durkan said in a Thursday press conference.
The hope for all of this is two-fold, in providing a freeway route through downtown Seattle that won't cause untold death and destruction in the event of an earthquake, and opening up the city's scenic waterfront neighborhood.
In the meantime, let's all say goodbye to the viaduct once and for all: At the end, it was an extreme hazard to the safety of anyone who drove over it, but it was our hazard, and one with a place in Seattle's history.


After so many years, when life has gained its normal pace after that incident, in this small corner of the globe, I am sitting with a laptop - feeling content and relaxed that one by one my short term goals (desires) are getting achieved.
Evolution and weeding (in terms of human relationships) go on side by side in my life! My peace of mind started returning since September 2009 and I feel healed internally – thanks to some people around me! My sister's wedding on 23rd September 2009 (the greatest source of satisfaction for me) and other short term goals – all my desires started materialising between August and November 2009. 2010 started quite nicely in respect to materialistic aspects and continues to do so till now. I can only thank and be grateful to God for being so generous towards me. I didn't get derailed inspite of all the emotional struggles that I'd to go through, in the last eleven years.
At times when I look around, I get a feeling that academic qualification, knowledge and capabilities are not important in life. Ego massaging, sycophancy, gaining sympathy of the people around by talking about one's personal problems or using charm would ensure growth in some areas of life! Yet, I thank my stars that I didn't compromise with my principles (by doing all these things) under any circumstances. My upbringing would not allow me to do so! That is my greatest satisfaction on the personal level!
Never mind! Time wasn't with me earlier but I'm hopeful that the scene is changing now. The attainment of these short-term goals only direct towards a better tomorrow! I am sure that I'd be able to achieve my bigger goals too without compromising with my principles!
The more I see these things happen, the more humble I feel and my roots go deeper into the ground. At the same time, I feel strangely calm internally. Now it is time to do something more significant in life!
The concept of rebirth can also be well explained with the help of the myth of Phoenix (Greek name), the mythological bird offered in sacrifice to Ra, Sun god in ancient Egypt. The Phoenix was the symbolic representation of the death and rebirth of the sun. In Egypt, it was called the Bennu, said to be a living manifestation of Osiris, springing forth from its heart. The bird, which was similar to an eagle, possessed a splendid golden-red plumage that made it look like as if it was wrapped in flames. According to some versions, the Phoenix was shown in flames rather than in feathers. The Phoenix lived in Arabia. Some legends say that only one Phoenix lived at one time and lived for 500 years. At the end of its life-cycle, the Phoenix built a nest as it was dying and set the nest on fire and was consumed by the flames. After its death, a new Phoenix would then arise from the ashes and thus the Phoenix was reborn. This cycle was repeated over and over again.
According to other sources, the 'Thunderbird', a powerful spirit bird in Native America, is represented as the 'Phoenix'. It is said that in China, Feng-huang (a bird) symbolizes the union of Yin and Yang, a sign of both Peace and Disharmony. The Greek poet Herodotus wrote in one of his passages from his writings of The Phoenix's legend that the Phoenix comes back every 500 years in order to search the body of its predecessor. After making a myrrh egg, the Phoenix puts the body of its predecessor inside it, and takes it to the Temple of the Sun located in Egypt.
500 years later, Tacitus and Plinius agreed that many of the ancient myths were confusing so they investigated the chronology of The Phoenix. Through their studies, they concluded that The Phoenix lived an equivalent to a Platonic year; calculations determined by the alignment of the Sun, the Moon and the five planets known at that time needed to return to their original positions which in our time represent a period of 12.994 years.
The ancient ones believed that this enormous astronomical cycle was complete provided, all conditions of the planetary influence were the same. In other words, The Phoenix was considered similar to a mirror of the universe. By the end of the 4th century, Claudianus had written some verses about an immortal bird, able to reborn from its ashes, an heir to itself, and a witness of that time.
The Phoenix from another of the Chinese Mythology offers another description. Under another name, Feng - it's depicted as a bird of shining colors, very much like a pheasant. In remote times, The Feng supposedly frequented the gardens and palaces of righteous Emperors. As with all mythological creatures the versions, significance and the characters tend to vary according to culture and their belief.
Phe (Phoenix) is a constellation in the Southern Hemisphere of Earth near Toucana and Sculptor named by John Bayer in 1603. This constellation is almost universally recognized as a bird. The Phoenix cluster is a dense expanse of unexplored stars, named for the Phoenix Asteroids in the 20th Century film "Dark Star", by John Carpenter.
The Phoenix in Future History - Aside from the name "Phoenix", a city in the south-western portion of the former United States, The Phoenix's future history begins on April 4th, 2063. The day Zephram Cochrane first launched his Phoenix, an old Titan V nuclear missile modified with small crew cabin and twin warp nacelle engines into history. Rising from the ashes of World III, from an abandoned missile complex in central Montana, the Phoenix was the first vessel to break the warp barrier, precipitating the First Contact with a group of Vulcans on a survey mission and as a result, a rebirth of prosperity for Earth was created as it spread its wings out into the stars.
With a name steeped in Mythology, Astronomy, History and Tradition, Task Force Phoenix springs forth from the ashes of United Alliance and all that has come before, served proudly by Fleet Members from the North American Continent and Around the World.


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Home Article PRO CHOICE COALITIONS.
PRO CHOICE COALITIONS.
by Ezra Klein
I've always had a fair amount of sympathy for pro-choicers who find abortion morally problematic and conduct some of their hand-wringing in public. The fury directed at them often seemed a bit out of proportion to the banal misgivings they expressed. But over at Tapped, Scott Lemieux gives the clearest explanation I've heard of why it's actually pernicious for political types to spend all their time emphasizing their moral struggles with the issue:
Good coalition-building on reproductive freedom would consist of emphasizing agreement (the stupidities and inequities of using inevitably arbitrary state coercion to force women to bring pregnancies to term, the greater effectiveness of the broad panoply of pro-choice policies in reducing abortion rates by reducing unwanted pregnancies) and de-emphasizing moral conflicts. People object to Sullivan and Saletan because they emphasize the latter rather than the former -- and especially in Saletan's case, in fact denying that abortion is morally complex but that people who don't share his moral views are simply wrong -- and argue almost exclusively on the political terrain favored by anti-choicers. Creating conflicts where no necessary ones exist -- like writing yourself out of the pro-choice movement because you think there are moral problems with abortion -- is coalition-fracturing. Acknowledging that many people find abortion immoral can be the start of a pro-choice argument, but it can't be the end of one.
Obviously, not every Slate article should be evaluated in terms of its worth to the progressive coalition, but insofar as certain writers have carved out a space which isn't pro-life, but is simultaneously anti-pro-choicer, it's a fair topic for criticism.
Ezra Klein is a former Prospect writer and current editor-in-chief at Vox.
Read more by Ezra Klein

redpajama_set_name: RedPajamaCommonCrawl


We're proud to work with a dedicated and supportive team of people.
A team approach is the best way to make a positive difference to the lives of children and young people in care. Every single person who works with us at Key Assets is focused on this goal and works hard to support foster children, families and carers in a professional way.
We recruit our employees with care and great consideration. Our people, just like the children and young people in our care and their foster carers, come from a wide range of backgrounds with many different levels of experience. Our diversity helps us provide the best support possible to carers, children and young people and external stakeholders.
We make sure Key Assets is a positive and welcoming organisation for everybody.
Our employees have access to a range of benefits while making a positive difference.
Interested in working for us? Take a look at our current career opportunities and get in touch.


text:
How Tickled We Were !
Coogan's Run
1990's, 1990's BBC Comedy, TV Comedy
British Classic Comedy Talk to Galton and Simpon - Hancock, 1961
Galton and Simpson's Legacy Of Laughter, Interviews
Clare In The Community
Tagged leonard rossiter
The Funny Side Of Christmas – 1982
1980's BBC Comedy
The Funny Side Of Christmas - 1982 The Funny Side Of Christmas was a one off BBC Christmas offering broadcast in 1982, presented by Frank Muir and featuring mini episodes/sketches of some popular BBC comedies,...
It's The One With The Hippo !
The Fall and Rise of Reginald Perrin, 1976 The Fall and Rise of Reginald Perrin was originally a series of novels written by and developed into a sitcom by their author David Nobbs.There were three series...
Pygmalion Smith
Pygmalion Smith, 1974 Part of the BBC's long running Comedy Playhouse series, that had started life as Galton and Simpson's Comedy Playhouse for two series, before the BBC realised the potential of it to find ...
The Perishers
The Perishers, 1979 Another popular newspaper cartoon strip that made it to TV screens. The Perishers featured the among others the voice of Leonard Rossiter.The TV series ran for one series of twenty epi...
Rising Damp – The Movie
Rising Damp - The Movie, 1980 Almost two years after the TV series finished, Rigsby hit the big screen with Rising Damp - The Movie.Failing to capture the magic of the TV series, there was no new storyline...
1970's ITV Comedy, TV Comedy
The Course Of True Love Never Runs Smooth In Rising Damp Without doubt ITV's finest sitcom and definitely worthy of it's classic status.Rising Damp ran for twenty eight episodes over four series between 19...
Leonard Rossiter's Last Work – Tripper's Day
1980's ITV Comedy
Tripper's Day - 1984 Viewed by some as a classic today, but not critically acclaimed at the time, Tripper's Day is largely remembered as Leonard Rossiter's last work. Sadly the actor died between the broadcas...
Rising Damp – Christmas Special
Rising Damp - For The Man Who Has Everything - Christmas Special - 1975 Despite running for 4 series Rising Damp only ever had 1 Christmas episode. It came at the end of series two while Frances De La Tour wa...
The Commercial Break
British Classic Comedy's Commercial Meltdown We often feel that ITV don't get the credit they deserve for some of their comedy output. They were of course were the first channel funded by commercials. Over t...
If There Weren't Any Blacks….
1970's, 1970's ITV Comedy
....You'd Have To Invent Them A one off made for television play from the pen of Johnny Speight. Made by London Weekend Television for ITV and originally screened in Black and White in 1968.This dark, but...


text:
Local 713-364-0314 Toll Free 877-202-0835
Texas Medical Malpractice Trial Lawyers
Do patients have rights in the emergency room?
On behalf of Steven Davis of Davis & Davis, Attorneys at Law posted in Failure to Diagnose on Thursday, June 13, 2019.
Medical providers in the United States are bound to follow certain rules and procedures to ensure that their patients are treated with respect and provided with safe and comprehensive care. For example, Texas doctors must receive informed consent from their patients before undertaking certain medical actions. When doctors and nurses have time to review their patients' cases and prepare for their visits, meeting these standards may seem straightforward.
However, when medical personnel must make snap decisions on critical patient cases, it may become more difficult for them to provide their patients with balanced and comprehensive care. In emergency rooms, doctors and other staff must quickly assess, treat, and remedy their patients' ailments. They may not have time to read a patient's complete medical history and may have to act based on the most acute problem in front of them.
Despite the demands placed on emergency room doctors and staff, patients in these facilities still have rights. For example, they must be seen in a timely manner to determine if they have a critical need. If they do, they must be stabilized so that their condition does not further deteriorate as they await additional care. Cases that cannot be handled in emergency facilities must be appropriately transferred to new care locations.
Emergency rooms must document the patients that come in for treatment and record how their cases are handled. An emergency room is not a place where the rules are ignored, and patients who receive substandard care may suffer harm from their treatment. Any form of medical malpractice committed in a hospital or emergency room may be actionable under the personal injury laws of the state.
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Trust is vital for our social and economic well-being. It allows us to work, buy, sell and vote with some reasonable expectation that our behavior will be met with fairness and good will. Trust is crucial in the relationship between patients and health care providers, but it has been on the decline in recent decades.
There are steps health care leaders and public health officials can take to show they deserve to be trusted. Clear, transparent communication and a history of fulfilled trust are important, and health care providers can build trust by disclosing conflicts of interest; creating expectations for long-term relationships; and promoting shared interests and smaller power differences with patients.
Will you tell me what you're doing?
Are you doing it to help me or help yourself?
Trust, of course, requires trustworthiness. In 1966, more than three-fourths of Americans had great confidence in medical leaders; today, only 34 percent do. Compared with people in other developed countries, Americans are considerably less likely to trust doctors, and only a quarter express confidence in the health system.
Trust is the cornerstone of the doctor-patient relationship, and patients who trust their doctors are more likely to follow treatment plans. Trust is one of the best predictors of whether patients follow a doctor's advice. Trust is also critical for patient satisfaction, and makes it more likely that patients keep seeing the same doctor.
Waning trust in the health system is partly a result of the sometimes well-founded public perception that its key players pursue profits at the expense of patients. All institutions are imperfect, and some are plainly corrupt. A degree of skepticism is inevitable and important. But when doubt becomes pervasive, it can erode the glue that binds society together, and the medicine that keeps us healthy.


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The Evolution of Jazz
This practice ended before the slaves were emancipated, but remains a contributing factor to the music. African music, combined with European influences, resulted in jazz.
Creoles were not free from French and Spanish rule until the Louisiana Purchase was signed in 1803. They came from the Caribbean and were an educated, upper class group, some of whom played at the Opera House. Segregation laws were enforced in 1894 and the creoles were pushed to the poor side of the city. Their musical styles mixed and brought jazz to life.
Numerous Creoles, along with African-Americans who were recently freed from slavery, often made their way by performing. Racial segregation was rampant, but so "was the powerful and constant desire of the American Negro to make his mark, to belong, to participate effectively in a predominantly white culture. And music was one of the few avenues to fame and fortune" (Stearns, 55).
African-Americans commonly joined vaudeville and minstrel shows, employed as musicians, magicians, comedians, acrobats, actors, and dancers – sometimes burlesque. Others played music on the piano, which came to be called ragtime, in bars and brothels. Storyville of New Orleans became the epicenter of early jazz. Then brasses, drums, and reeds, played by marching bands at funerals, became traditional jazz instruments. Self-taught bands commonly performed in traveling vaudeville shows, which spread the music farther both North and West of Louisiana.
"By 1920, according to Frederic Ramsey, Jr., there were over forty outstanding jazzmen from New Orleans to Chicago. Looking back, it now seems almost like a family affair. And in a sense, it was. for the general public and even white jazzmen knew almost nothing about it" (Stearns, 164). That year, the Jazz Age was just beginning, and not everyone was happy about it. Prohibition began that year. An onslaught of speakeasies opened and jazz was a major part of the upbeat entertainment inside of them. Soon enough, jazz was viewed as a threat to old-fashioned values and considered immoral by many.
The music lasted through controversy. " the 'twenties were the crucial years during which jazz established itself for better or for worse. Certain patterns emerged during these years, patterns which help explain how jazz grew and spread, and hence the nature of the music. Of all the technological advances – the phonograph, radio, microphone, talking picture, juke-box, and television – which hastened and shaped the spread of jazz, the phonograph is by far the most important single factor" (Stearns, 190). Caucasians helped to popularize the genre when they adapted it themselves, but they couldn't take over it.
Though it took time for African-American musicians to take advantage of the phonograph, the opportunity finally arrived in 1922. Kid Ory's Original Creole Jazz Band became the first African-American group to record their music. Over twenty subgenres developed in the decades to follow. Swing, bebop, dixieland, gypsy, cool, and soul jazz are only a handful of them. Performers chose one and made their marks.
"Battles of music, once known as 'carving contests', have occurred frequently in the history of jazz… The first and archetypical legend in jazz is the life of Charles 'Buddy' Bolden, who never lost a carving contest. He was almost eight years old before the dances at Congo Square


In our continuing coverage of the bombings of clinics in Syria operated by Doctors Without Borders (also known as MSF, for Médecins Sans Frontières), we have reported on the medical charity's many frustrations after repeated attacks on its facilities, some of which are thought to have been deliberate. Two more hospitals were bombed earlier this week, probably by Russian forces assisting the Syrian government. On Thursday, the charity said it did not give the GPS coordinates and data to the Syrian government for some of the clinics that were attacked for fear they would be re-targeted.
According to the Associated Press, repeated attacks on clinics led staffers to ask the charity to not disclose its facilities' GPS information to the Syrian government, which has been engaged in a bloody five-year battle with various rebel forces. A Monday attack on a makeshift hospital in Maarat al-Nu'man killed at least 25 people.
According to MSF operations director Isabelle Defourny, it was a difficult decision to withhold the information. "It was a huge discussion inside MSF, and mainly with the medical directors of the health facilities that we support inside Syria," Defourny said. "The staff of the hospital (and) the director of the hospital didn't know if they would be better protected if they give the GPS or not." As Defourny noted and NPQ reported, an MSF-run hospital in Kunduz, Afghanistan was bombed last October by American warplanes despite the fact it was known to be a medical facility.
Although the Syrian government was kept in the dark after recent attacks, ambassadors from other countries were informed of the GPS coordinates, a telling portrayal of how the Assad regime is perceived. But MSF withheld the full truth and complete information about its medical facilities to the ambassadors.
"We gave to the Russian ambassadors in Paris (and) in Geneva coordinates for three hospitals located in very intense conflict zones, but not for all of them, and it was a decision taken together with the medical staff of the health facilities that we support," said Defourny.
Over the course of the war, Assad's administration has refused to grant Doctors Without Borders permission to provide medical aid throughout the country. But MSF has continued to set up clinics in opposition-held areas, exposing its personnel to the threat of bombings.


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News / South Africa
ANC will not keep Zuma in power until end of 2018 – Malema
The EFF leader says he does not think Ramaphosa will be able to unite the ANC as the governing party's new leader.
Julius Malema. Image: The Citizen Newspaper
With pressure mounting on newly elected ANC president Cyril Ramaphosa to remove President Jacob Zuma from office to avoid two centers of power between Luthuli House and the Union Buildings, EFF leader Julius Malema says he believes Zuma will be recalled before the end of this year.
In an interview with Energy FM on Monday morning, Malema claimed Zuma would only voluntarily step down from office should he be granted immunity from the slew of state capture and corruption allegations he faces.
"I don't think that the ANC will keep Zuma until the end of this year. There are talks already happening and his condition is that he must be given immunity and his family," Malema said.
He said the EFF would take the ANC to court should the governing party grant Zuma "immunity". In December last year, the Constitutional Court handed down judgment that the National Assembly had failed to put in place proper rules regulating a procedure for section 89(1) of the Constitution, which deals with the removal of the president from office.
The highest court in the land ordered parliament to make such rules without delay following legal action by the EFF along with other opposition parties represented in parliament.
"If they decide to give Zuma immunity we will take them to court again and we will win. Our law doesn't recognize giving people immunity. We will charge him and he will be arrested," Malema said.
The EFF leader also slammed Ramaphosa's leadership, saying he did not think the deputy president would be able to unite the ANC.
"We are not formed on the basis of anti-Jacob Zuma. We are an organization advancing the call for our 7 non-negotiable Cardinal Pillars. Cyril Ramaphosa doesn't have potential to unite the ANC.
"The ANC is sick to the core. Placing a healthy head on an ailing body will result in the head being sick. That conference [ANC 54th national conference] was a concussion," he said.
Zuma's fate in the balance
For more news your way, follow The Citizen on Facebook and Twitter.
African National Congress (ANC)


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Updated: Montreal restaurant added to measles contamination sites
Authorities have listed possible sites and administered vaccines in the hopes of avoiding an outbreak of the highly contagious disease.
Katelyn Thomas, Montreal Gazette & Montreal Gazette
A Montreal restaurant has been added to the list of sites were measles contamination was possible, the Quebec health ministry announced.
A fourth person carrying the virus was at the Pizza Pita Décarie restaurant at 6415 Décarie Blvd. on June 26 between 4 p.m. and 6 p.m. Anyone who was in the restaurant in that time frame and is exhibiting symptoms between now and July 14 is urged to call 811.
For the past three weeks health officials have administered antibody injections to people who might have been exposed to measles in Laval in an attempt to avoid an outbreak of the highly contagious disease.
The pre-emptive action is being taken after a contagious person visited public spaces in the area, including Carrefour Laval. The doses of antibodies are being administered to unvaccinated individuals who are most at risk, such as infants under the age of one, pregnant women and people with weakened immune systems, before the window of time for treatment runs out.
People who are less at risk of complications but haven't been vaccinated can get the measles vaccine, but for it to be effective against recent exposure, they must do so as soon as possible.
"If, for example, someone had been in contact with the measles case in the shopping centre and that person is unvaccinated, that person has to rush to get a vaccine because after three days, the vaccine is unlikely to stimulate the immune system fast enough to prevent the disease," said Gaston De Serres, a medical epidemiologist at the Institute national de santé publique du Québec.
Those who visited the affected areas but have received the standard two doses don't need to receive additional vaccines.
"The risk, if you had received your two doses, is minimal. Really, really, really small," De Serres said. "For these people, there's no recommendation to do anything."
We assume that people born before 1970 have all been infected by the wild virus and are pretty much all immune to this virus."
According to De Serres, people who were infected before 1970 are also considered protected.
"We assume that people born before 1970 have all been infected by the wild virus and are pretty much all immune to this virus," he said.
But in two of the three measles cases reported so far in Laval, the people had been vaccinated.
Those who become infected with the virus despite having been vaccinated will experience the symptoms in a milder form, according to De Serres.
"What we saw in 2011 when there was a big measles outbreak in Quebec was that those who had two doses of measles (vaccines) were far less likely to be hospitalized for measles and had less severe symptoms," De Serres said. "Those who received one dose and became sick were more comparable to unvaccinated individuals."
The main symptoms of measles include a high fever and the appearance of red blotches or rashes.
De Serres said it's much less common for people to become infected when they are in highly vaccinated populations because of "herd immunity."
"Herd immunity is the protection of unvaccinated individuals due to the high level of immunity in the population," De Serres said. "If you're someone who is unvaccinated against measles and you live surrounded by 99 other persons who are immune — either due to the vaccine or because they were infected years before — then the likelihood of you to get in contact with the virus will be very limited."
Updated: Number of possible Laval measles contamination sites increases
In contrast, unvaccinated people living in populations that aren't highly vaccinated have a higher chance of becoming infected. De Serres referenced the 2015 measles outbreak in Lanaudière, which he said took place in a religious, unvaccinated community. Approximately 160 cases were reported. The community "agreed to comply with control measures" to prevent the spreading of the disease to the wider population, he said.
"They accepted to stay home," De Serres said. "They transmitted measles between themselves and mostly within their own families, but they accepted to stay home and not to do their usual activities outside home to avoid contaminating other individuals."
The cases in Laval come after a measles outbreak was declared in Montreal in May when the disease was transmitted to a health worker who potentially came into contact with more than 400 people. Thirteen cases of the measles have been reported in Quebec in 2019, seven of which were in the Montreal area.
kthomas@postmedia.com
twitter.com/katelynvthomas
Need for social housing main topic during Ville-Marie council meeting Construction magnate Accurso being sued for $485,000 in unpaid fees
Man charged after cyclist damages STM bus in road rage incident
Kirkland making playground more accessible for kids with disabilities
St-Viateur Bagel and Arcade Fire lend Montreal twist to Stuber movie


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Japanese Govt. Downgrades Its View On Its Economy As China Slows Down
The Japanese government has, for the second time in the last three years, downgraded its headline assessment of its economy on Wednesday because of factors such as a cooling down of exports into China because of a slowdown in the Chinese economy. The Japanese government however refused to say that the economy had fallen into recession.
The world's third-largest economy is "recovering at a moderate pace while weakness is seen recently in exports and industrial production in some sectors," said Japan's Cabinet Office in the March edition of its monthly economic report.
The report clearly brought down its expectations from the Japanese economy which it had earlier assessed is on a path of recovery and was moving along at a moderate pace. That position about the economy had been maintained by the Japanese government since January last year. The only other time in the last more than three years that the view and outlook on its economy was downgraded by the Cabinet Office was back in March of 2016.
However, it also believes that the phase of growth in the economy that started back in December 2012 is still continuing unabated and the economy was based on robust indicators including a solid private consumption scenario and capital expenditures. According to the latest report of the Cabinet Office and a government official present at the press briefing, those two components of the economy account for almost 70 per cent of the total gross domestic product of the country.
Economists however pointed to a key indicator of economic trend released earlier this month which showed indications that the Japanese economy could have peaked already last fall and that the economy has since then entered into a recessionary phase. This view is primarily cited by strong government critics who blame the Shinzo Abe government of being over optimistic.
But according to experts, the answer to the question about whether the growth phase of the economy in the most recent time had managed to surpass the Izanami Boom from 2002 to 2008 is not possible to be answered by either the assessment made by the Cabinet Office nor the indicator or the coincident index of business conditions.
Many believe that answering that question can primarily and best be done by a seven-member panel of academics and private-sector economists who are tasked with retrospective determination of the duration of economic cycles after close scrutiny of more data and such an effort can take as much as year to get completed and an answer reached at.
Saying that it is "almost flat, and weakness is seen in some sectors", the assessment of industrial production by the Cabinet Office was downgraded by it in its latest report.
It said exports had a "weak tone" while private consumption is "picking up" and business investment is "increasing," which were the same as they had opined in their report the previous month.
The report said that in the near future, close attention needs to be paid to the outcome of the trade war between the United States and China and the outlook of the Chinese economy given that the economic growth in the second largest economy of the world has slowed to a nearly three-decade low.
(Source:www.japantimes.com)


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GE Hitachi and DTE Energy to Advance ESBWR Development
WILMINGTON, N.C.--(BUSINESS WIRE)--GE Hitachi Nuclear Energy (GEH) and DTE Energy (NYSE:DTE) today announced plans to explore advancing the detailed design of the Economic Simplified Boiling Water Reactor (ESBWR).
In May, DTE Energy received the first-ever ESBWR-based combined construction and operating license from the U.S. Nuclear Regulatory Commission (NRC). DTE has not made a commitment to build, but is keeping the option open, given the long-term environmental and economic advantages of nuclear power.
"DTE and GEH will further expand our cooperation by determining resource requirements and developing plans to advance the ESBWR design, enabling DTE Energy to be in a position to more readily begin work should the utility decide at a later date to add more carbon-free, base load power to its energy mix," GE Hitachi Chief Operations Officer Jay Wileman said. "We view this as a very positive and important step in the continued commercialization of the world's safest reactor."
With its advanced, true passive safety systems, the ESBWR is the world's safest approved nuclear reactor design based on core damage frequency. The reactor can cool itself for more than seven days with no on-site or off-site AC power or operator action, uses approximately 25 percent fewer pumps and mechanical drives than reactors with active safety systems and offers the lowest projected operating, maintenance and staffing costs in the nuclear industry on a per-kilowatt basis.
Dominion Virginia Power has also selected the ESBWR as their technology of choice for a potential third reactor at the North Anna site. That project is expected to be licensed by the NRC next year.
About GE Hitachi Nuclear Energy
Based in Wilmington, N.C., GE Hitachi Nuclear Energy (GEH) is a world-leading provider of advanced reactors and nuclear services. Established in June 2007, GEH is a global nuclear alliance created by GE and Hitachi to serve the global nuclear industry. The nuclear alliance executes a single, strategic vision to create a broader portfolio of solutions, expanding its capabilities for new reactor and service opportunities. The alliance offers customers around the world the technological leadership required to effectively enhance reactor performance, power output and safety.
GE Hitachi Nuclear Energy
Jon Allen, +1-910-819-2581
jonathan.allen1@ge.com
GE Power & Water
Shaun Wiggins, +1-518-385-5992
shaun.wiggins@ge.com
GE Hitachi Nuclear Energy (GEH) and DTE Energy announced plans to explore advancing the detailed design of the Economic Simplified Boiling Water Reactor (ESBWR).


An application which converts your mobile into a full-fledged music player. Just shake the device to move to next song even when the phone is locked. Exciting features like sleep timer, change the look and feel with themes, pick random songs and play easily without creating playlist, repeat, shuffle, create your own playlists and much more makes it a complete package for music lovers. The Night glow theme helps visibility during night. Supports mp3, wma, wav and midi formats.
* Supports mp3, wma and midi formats.
This entry was posted in Music Players, Nokia N8 Applications on by Admin.


Manzairaku was founded in 1716 during the Edo period in the Ishikawa Prefecture, surrounded by the natural beauty of Hakusan City.
Hakusan City is known throughout Japan for its high-quality water and clean air. Its pure natural resources made it the first city approved by the Japanese government as a Geographical Indication for sake production.
Manzairaku has been exporting their sakes to other parts of Asia for years but are only now finally landing in the U.S thanks to our friends at Sake Suki.
"Manzairaku" translates to "be happy always" (Manzai – always, and Raku – happy) and we will be following that suggestion now that we have our first sake brewery in the portfolio.


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Elasmobranchii Carcharhinidae Genus Carcharhinus Carcharhinus longimanus
Oceanic whitetip shark OCS
Dorsal surfaces bronze to greyish. Newborns and small juveniles with black tips to most fins; in specimens over 130 cm TL black tips fade, and first dorsal, pectoral, pelvic and caudal fins develop mottled white tips. Ventral surfaces paler.
Maximum size up to 350 cm TL; birth size 55–77 cm TL.
Circumglobal in all tropical and warm temperate waters.
Oceanic and pelagic from the surface to at least 152 m, usually well offshore and only close to land when continental shelf is narrow.
Feeds primarily on pelagic bony fish and cephalopods, but also stingrays, seabirds, turtles, marine gastropods, crustaceans and marine mammal carrion. The white mottled fins may mimic schools of baitfish, which attract tuna and mackerels. A very dangerous shark which is responsible for many open-ocean attacks after air or sea disasters. Length at maturity is at 175–200 and 168–198 cm TL for females and males respectively. Age at maturity is around 5–7 years for both sexes in Papua New Guinea. Reproductive mode is viviparous with yolk-sac placenta with a gestation period lasting 12 months with no apparent reproductive seasonality. Females probably breed every second year, and give birth to 1–15 pups.
Occasionally caught by shark and tuna longline and tuna gillnet fisheries. Utilised for its fins (high value in adults), meat, skin and cartilage.
Carcharhinus albimarginatus differs in having first dorsal and pectoral fins enlarged and broadly rounded (vs. not enlarged, pointed).
to Carcharhinus albimarginatus


I have spent many years of my art career involved in the creation and production of commercial art. Throughout those successful, creative and ground breaking professional endeavors, I continued to pursue my personal, creative vision, including adding to my accomplishments a Masters of Fine Art degree in painting from The American University in Washington, DC, while producing artwork for a number of private collections. Today, my work incorporates the lessons of my fine art training with the disciplines of the commercial art world. I'm painting images as a way to stop time, to really see and experience that image (a place, a person, a scene) at that moment in time, and to feel what the light and shadow, created by its existence, has to say or to ask. I look for images that ask me questions about existence, loneliness, beauty in the face of chaos, and that add color to life. Working from one or more photographs and sketches, I draw and redraw the image, sometimes on fields of one or more tinted ground colors that define mood or underlying spatial relationships in the composition. Incrementally, I build the composition with layers of colors to a final defining of the light and shadow, that envelop the objects in the painting. Perhaps it's my raison d'être is to create in all things that I do. Painting is a way to create a visual statement about my orientation to seeing, feeling, and existing. It is an opportunity to share the results of what I create in a painting with others, that can bridge the singularity of existing, invite others in, and allow them to have their own experience with these images that may ask the unanswerable, but are engaging nonetheless. My work is in over forty private and corporate collections.


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Romus et Rapidus () is a river rapids ride operating at Parc Astérix, in Plailly, France. The ride evokes the Roman mythology tale of Romulus and Remus, the mythical founders of Rome. In 2006, a young boy fell from his raft and drowned in the ride's roaring current.

References

Water rides manufactured by Intamin

redpajama_set_name: RedPajamaWikipedia


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The James Bond 007 Dossier | Britain's last line of defence: Miss Moneypenny
<< GoldenEye / Omega Watch Ad from 1995 | Johnny Carson and Roger Moore Helium >>
28. May 2014 05:32
28. May 2014 05:32 by m | 0 Comments
This article was originally published in 1998 in Hecate, an Australian Academic Journal on Feminism. The same article also appeared in Women's Studies International Forum #22 in 1999. Using excerpts from the film scripts, the author, Tara Brabazon, examines the character of Miss Moneypenny as a feminist character in the James Bond films, feminism in the 1990s, and the relationship between feminist theory and politics.
Britain's last line of defence: Miss Moneypenny and the desperations of filmic feminism
I'm a bitch
I'm a lover
I'm a child
I'm a mother
I'm a sinner
I'm a saint
I do not feel ashamed
I'm your hell
I'm your dream
I'm nothing in between
You know you wouldn't want it any other way.[1]
-Meredith Brooks, Bitch
Good old Moneypenny. Britain's last line of defence[2]-James Bond, On Her Majesty's Secret Service
The fracturing of femininity is a strength of, as well as a problem for comtemporary feminism. No political label can encompass the plurality of women. Since suffragettes chained themselves to the gate of Number 10 Downing Street, the representational politics of subjectivity have been a central topic of gender theorists.[3] Without a metaphoric Boadicea to embody strength, the political objectives of contemporary feminism can seem tenuous and ambivalent. In response to these larger concerns, this paper explores a minor character from a long-running film series and demonstrates that even in the midst of saturating sexism, a voice of social justice and responsibility can speak. With the latest Bond film, Tomorrow Never Dies , released during the Christmas season of 1997/8, it is timely to evaluate a superspy's supersecretary.
Miss Moneypenny has been featured in more James Bond films than any figure except the title role.[4] She is the assistant to M, head of the British Secret Service. All agents, administrators, technicians and scientists must pass through the Moneypenny office and antechamber to reach the Imperial core. She is, as the Lazenby-Bond described her, 'Britain's last line of defence.' Moneypenny has been played by three different actors: Lois Maxwell,[5] Caroline Bliss (in The Living Daylights and Licence To Kill ) and Samantha Bond (in Goldeneye and Tomorrow Never Dies ). Moneypenny's scenes with James Bond have become a generic characteristic of the series.[6] The gender politics enacted through these semiotic snippets of text provide an insight into the desperations of filmic feminism. This paper introduces the character of Moneypenny, following the changes to her ideological configuration from 1962 to 1995, and concludes with an exploration of textual harassment and seduction.
Filmic feminism may seem a clumsy or awkward phrase, yet it acknowledges a political framework that stands for and against specific discourses, world-views and values. Recognition is made of a representational field while maintaining a politically astute identification of who speaks, who is spoken for and how subjectivity is constituted. As Judith Butler has stated:
Politics and representation are controversial terms. On the one hand, representation serves as the operative term within a political process that seeks to extend visibility and legitimacy to women as political subjects; on the other hand, representation is the normative function of a language which is said either to reveal or to distort what is assumed to be true about the category of women.
The relationship between feminist theory and politics is particularly convoluted and ambiguous when invoking desires for social justice in the cinema. There is a necessity to concede that the label of 'woman' is a signifier of contestation and anxiety. While statements about the fragmentation of the sisterhood are common, it is rare to watch the workings of desperation within a film's frame. Very few historical or semiotic spheres have persisted like the Bond phenomenon. The character of Moneypenny offers a useful site for an exploration of the crevices in patriarchy and normative categories.
Feminist readings of Bond films are frequently negative and generalized. As Lindsey has (over)stated:
The James Bond films ... depict women enjoying rape, especially since Bond is the 'good guy' and the supposed fantasy of every woman. Once raped they are then ignored by the male star. Rapes and murders are likely alternatives to women in token roles.[7]
Although Moneypenny is the token woman in the masculinist, colonial project of the British secret service, she has never been raped or murdered. Instead, the muffled eroticism of Moneypenny and Bond has survived for over thirty years, forming the longest unconsummated screen relationship. Wearing has suggested that 'women need to be depicted in situations in which they are active and autonomous, assertive and able.'[8] Miss Moneypenny performs a mode of femininity outside of marriage, fidelity and the private sphere. Certainly the character is framed by her attachment to men. Yet all forms of gender organization are historically specific and mobile, particularly in film. When strong binaries are presented, like an aggressive, powerful, financially-secure heterosexual man or a woman who is a home-maker, wife and mother, the ideologies of these formations are subsumed: they have become normalized. Only through the presence of anxious or contradictory binaries, such as a woman active in the public domain or a politically-active gay man, can the oppressive structures be revealed that determine the limits of acceptable behaviour. Bond is a primary representative of strongly heteronormative masculinist ideologies. Moneypenny's office is encased not only by the proverbial glass ceiling, but also glass walls. She can view power, but wields little. Moneypenny remains the woman behind the man (M) behind the legend (Bond).
Moneypenny is not a static figure: sexual politics and Bond films have changed markedly since 1962. Yet the workings of ideologies are difficult to trace and document without analysing the behaviours, institutions and texts that circulate in any society. Bennett and Woollacott described Bond as 'a moving sign of the times"[9]--but this description is probably far more appropriately applied to the superspy's supersecretary. As Bennett and Woollacott have suggested:
"The Bond girl" of the 1960s disconnected female sexuality from traditional female gender identities, reserving the latter virtually intact ... whilst articulating the former in male defined norms of genital sexuality.[10]
The obvious rupture in this reinscribed femininity is Moneypenny. She is neither a safely sexual nor predictably patriarchal performer. She remains a bitch,[11] a demanding woman who cannot be trusted.
From the first Bond film Dr. No , Moneypenny and Bond displayed a flirtatious but good-willed attachment.
Bond: Moneypenny, what gives?
Moneypenny: Me, given an ounce of encouragement. You never
take me to dinner looking like this James. You
never take me to dinner period.
Bond: I would you know, but M would have me court
marshalled for illegal use of government property.
Moneypenny: Flattery will get you nowhere, but don't stop
trying.[12]
The acknowledgement of flattery, rather than sexual harassment, renders Bond's comments benign and banal. In 1962, terming Moneypenny 'government property' was not framed as offensive. The consensual nature of the liaison allows for the negotiation of (in)dependencies. Pivotally, James Bond has a flexibility and freedom not possible within the limits of Moneypenny's office. In From Russia With Love , Bond is sent to fetch an encryption device. Moneypenny supplies his transportation arrangements.
Moneypenny: One plane ticket. Lucky man, I've never been to
Istanbul.
Bond: You've never been to Istanbul? Well, the moonlight
on the Bosphorous is irresistible.
Moneypenny: Maybe I should get you to take me there some day.
I've tried everything else.
Bond: Darling Moneypenny, you know I've never even looked
another woman.
Moneypenny: Really, James?[13]
Here, in the second Bond film, the representation of Moneypenny starts to change. The humour from this scene is generated because the filmic viewer knows that Bond looks at (and touches) many other women. However, Moneypenny is aware of the joke and doubts his intentions. By Goldfinger , Bond is more open to Moneypenny's advances.
Bond: And what do you know about gold, Moneypenny?
Moneypenny: The only gold I know about is the kind you wear on
the third finger of your left hand.
Bond: One of these days we really must look in to that.
Moneypenny: You could come around for dinner and I'll cook you
a beautiful angel cake.
Bond: Nothing would give me greater pleasure, but
unfortunately I do have a business appointment.
Moneypenny: That's the flimsiest excuse you've ever given me.
Well, some girls have all the luck. Who is she
James?
M: She is me, Miss Moneypenny, and kindly omit the
customary byplay with 007. He's dining with me and
I don't want him to be late.[14]
The Miss in Miss Moneypenny is significant. Operating outside the roles of wife and mother, the character challenges gender roles. Still, her desperation for a golden wedding ring is clear. Doyle and Paludi describe marriage as 'a rite de passage, an entrance into the world of adults.'[15] Moneypenny maintains a job with considerable responsibility. Operating. in the liminal social space between youth and old age, without the ideologically-saturated adjective of 'married,' is a complex semiotic site for women. The Spectre of the 'old maid,' although never mentioned in the films, hovers uncomfortably around her desk. By maintaining her singleness, Moneypenny does not allow the male/female, active/passive binary to stand. While she is helplessly romantic, she also actively pursues her quarry.
The ambivalence of the Bond/Moneypenny relationship not only adds raillery to their scenes, but inserts soap opera elements into the action film series. The banter continues in the next Bond film, You Only Live Twice .
M: Moneypenny, give 007 the password we've fixed up
with SIS.
Moneypenny: We tried to think of something you wouldn't forget.
Bond: And that is?
Moneypenny: 'I love you.' Please repeat it to make sure you've
Bond: Don't worry. I've got it.[16]
The 'romance' between Moneypenny and 007 in these early Bond films was humorous, but relatively innocuous. This reading was inculcated through the choice of actors: Sean Connery and Lois Maxwell were the same age and therefore able to engage in a more equitable exchange of ideologies and innuendoes. Moneypenny remained a semiotic suffragette: probing and questioning the limits of women's sexual and societal roles. As for the suffragettes however, the political effectiveness of her words in the long term is difficult to assess.
George Lazenby replaced Connery in the role. making Moneypenny's part even more pivotal to the survival of Bond. Moneypenny, along with M and Q, allowed for a continuity of plot and character development.
Moneypenny: Where have you been?
Bond: Much too far from you, darling?
Moneypenny: Same old James, only more so. Heartless brute,
letting me pine away without even a postcard.
Bond: Pine no more. Cocktails at my place--ust the two of
Moneypenny: Oh, I'd adore that, if only I could trust myself.
Bond: Same old Moneypenny. Britain's last line of
defence.[17]
This new Bond, who was the 'same old James, only more so,' claimed Moneypenny complicitly withheld from M the details of a sexual encounter between Bond and an Italian spy hiding in his closet.
M: Now come along Miss Moneypenny. Morning Bond.
Bond: Sir. Thankyou (to Moneypenny).
Moneypenny: Goodbye James, or should I say Ciao bello.[19]
Similarly, in The Man With The Golden Gun , Moneypenny is deeroticized, while Bond mocks her knowledge and ability.
Bond: Moneypenny, you are better than a computer.
Moneypenny: In all sorts of ways, but you never take advantage
of them. [20]
Through the Moore years, Moneypenny's role was reduced. She became an instrument of the plot. This tendency was clearly shown in Moonraker .
Bond: Good morning Moneypenny.
Moneypenny: But why are you so late?
Bond: I fell out of an aeroplane without a parachute.
Who's in there?
Moneypenny: Q and the Minister for Defence.
Bond: You don't believe me.
Moneypenny: No, and you should go right in.
Bond: Yes, Moneypenny.[21]
From this banality, the framing of Moneypenny became twisted and negative. Although Maxwell was the same age as Moore, she was aged through make-up and costuming. The Moneypenny scene is at its most destructive in For Your Eyes Only .
Moneypenny: James ...
Bond: A feast for my eyes.
Moneypenny: What about the rest of you.
Bond: I was just going to get around to that.[22]
Her facade is ragged, over-painted and old, compared to a youthful, muscular and tanned Bond. The age difference, rendered through performance rather than chronology, makes Moneypenny a figure of ridicule. Her vanity is confirmed though the on-screen application of makeup. Her 'weakness,' judged by the value of face rather than face value, allowed a fatiguing Roger Moore to be propped up as an ideal man. This archetype is a socially constructed image and permits the ambivalent but disturbing proto-feminism of Moneypenny to be rendered desperate and a visual joke.
By Octopussy , the ageing Moneypenny no longer had control over her own office. A younger, blonder woman was hired as her assistant.
Bond: Well I must say you've become more beautiful every
Moneypenny: I'm over here.
Bond: Well of course you are.
Moneypenny: And this is my assistant, Penelope Smallbone.
Bond: What can I say Moneypenny, except that she is as
beautiful and charming ...
Moneypenny: As I used to be.
Bond: I didn't say that.
Moneypenny: You're such a flatterer, James
Bond: You know there never has been and never will be
anyone but you.
Moneypenny: So you've told me.
The indignity and condescension by which the older Moneypenny is represented is to the detriment of the character and the films. Germaine Greer has suggested that 'the sight of women talking together has always made men uneasy.'[23] Such discomfort is not experienced by Bond, as he attempts to instigate competition between Smallbone and Moneypenny. By the final Moore motion picture, A View To A Kill , she is adorned in a floral frock for a day at the races. Bond simply asks: 'Don't you think it's a little bit over the top for the office?' As an excessive site, she becomes a camp figure, an aged aunt, rather than sexualized partner to Bond. Through her clothing, Moneypenny, like all women, suggests how her body is to be read and treated. Negrin has argued that 'one of the primary functions of women's clothing was to enhance a woman's erotic appeal to prospective suitors.[24] By making fashion a site for humour, her sexuality is muffled or perhaps even extinguished. It is significant that when the feminist movement was radical and active in the public domain, the representations of Moneypenny were at their most repressive and disapproving. Framing Moneypenny as the tortured spinster who no longer had a right to pine for the dashing hero, transformed the supersecretary into a warning beacon for ageing women. The commencement of what Susan Faludi termed a 'backlash'[25] is clearly witnessed in these Bond films from the 1970s and 1980s. Second wave feminism aimed to formulate connections between women but, during this era, Moneypenny remained isolated in her office.
Not surprisingly, when the Bond role moved from Roger Moore to Timothy Dalton, Lois Maxwell was replaced by a younger, blonder version, more suited to a Duran Duran video than a 007 film. She arrives as Q is briefing 007 for his next assignment.
Q: Her methods of killing include strangulation
between the thighs.
Moneypenny: Just your type, James.
Bond: No Moneypenny, you are.
Moneypenny: I'll file that with the other secret information
around here. [26]
As during the Connery years, humour re-entered the relationship. However for 'equality' to be constructed, Moneypenny had to be young and beautiful. The decline of Moneypenny's role signalled a loss of the plural representation of femininity within the Bond discourse. Through the Roger Moore and Timothy Dalton years, the Bond gender order became rigidified and binarized. Only with the arrival of Peirce Brosnan was the Moneypenny character revived.
Bond: Good evening Moneypenny.
Moneypenny: Good evening James. M will meet you in the
situation room. I'm to take you straight in.
Bond: I've never seen you after hours, Moneypenny.
Moneypenny: Thank you James
Bond: Out on some professional assignment--dressed to
Moneypenny: I know you find this crushing 007, but I don't wait
home every night waiting for some international
incident, so I can rush down here to impress James
Bond. I was on a date, if you must know, with a
gentleman.
We went to the theatre together.
Bond: Moneypenny, I'm devastated. What would I do without
Moneypenny: As far as I can remember, James, you've never had
Bond: Hope springs eternal.
Moneypenny: You know, this sort of behaviour could qualify as
sexual harassment.
Bond: Really? What's the penalty for that?
Moneypenny: Some day, you will have to make good on your
innuendo.[27]
This film was significant to the Bond series for many reasons. Firstly, Brosnan's performance of masculinity maintained a knowing display of codes and narratives. Importantly, the new Moneypenny was attractive, bright and efficient. Her clothes once more signify a desiring and desirable woman, who is able to demand rights in the workplace. Her availability, yet distance from Bond is reinforced by Moneypenny's recognition that she has never been 'had.'
By rendering Moneypenny sexual yet unattainable, the tension, conflict and humour of their relationship continues with a sharper edge. The power imbalance between them is narrowing. It is Moneypenny who enters the security code into the situation room, not Bond. The importance of hearing the words 'sexual harassment' in a Bond discourse must not be underestimated. As Doyle and Paludi have suggested, 'we need to think of sexual harassment as being not the act of a disturbed man, but rather an act of an over-conforming man.'[28] Bond is framed by a hyper-heteronormative masculinity. By Moneypenny reminding Bond of his responsibilities and limitations, the textual harassment of the character is brought to an end.
The gender order of the Bond discourse was changed radically through Goldeneye . Not only was Moneypenny renewed, but the inevitable occurred: M was played by a woman. She made her displeasure (and feminism) clear.
M: You don't like me, Bond. You don't like my methods.
You think I am an accountant, more interested in my
numbers than your instincts.
Bond: The thought had crossed my mind.
M: Good, because I think you're a sexist, misogynist
dinosaur, a relic of the cold war, whose boyish
charms although wasted on me obviously appealed to
that young woman I sent to evaluate you.
Bond: Point taken.
The presentation of a female head of the British Secret Service radically reframed the Bond character. A subordinated masculinity, particularly if the character is heterosexual, English and able bodied, is an odd vision in a patriarchal culture. It shakes (but does not stir) what Tolson has termed 'a masculine aura of competence.'[29] A successful masculine performance means that superiority to women must be affirmed in a myriad of contexts. With Bond possessing 'a female boss' and an assistant discussing 'sexual harassment,' filmic feminism does mark the textual frame.
Viewing the Bond films in chronological order, it is clear that feminism has had an impact on filmic representations. The backlash may continue, but the hegemonic reconfigurations of masculinity and femininity in Goldeneye and Tomorrow Never Dies demonstrate that significant changes are being made. Sommers may claim that 'I am a feminist who does not like what feminism has become,'[30] but Moneypenny has become, at least, indifferent. And Bond has been labelled a 'sexist, misogynist dinosaur.' Such a categorisation is completely appropriate, and a justifiable payback for the ideological wars fought over Moneypenny during the Roger Moore years (1973-1984). It seems that the point has been taken.
Patriarchal structures have the capacity to silence alternative stories, enacting an active and passive subordination of women and homosexual men in the workplace, leisure spaces, the home and streets. All these oppressions are made possible by evading discussion of men's power and domination. The feminist potentials from the past require an attention to popular cultural texts, such as film, television and fashion. Clearly, Moneypenny's representation in the Moore years configured ageing women as invisible and inept. Yet the potential of the character to move and build on this weakness permits the remaking of an unmarried woman. Instead of the doting, embarrassing spinster, Moneypenny is an active, intelligent and demanding woman, claiming her rights and reminding Bond that he is accountable for his actions.
The final part of this paper evaluates the politics of seduction for men and women. Jean Baudrillard was clear in his assessment: 'in my view the strategy of seduction is a happy, liberating power for women.'[31] The desperation of seduction remains absent from his analysis. The repeated textual embrace of Bond and Moneypenny raises specific questions about politics and sexuality. Yet, as Ellen Willis has stated, 'without contradiction there can be no change, only impotent moralizing.'[32] It would be too straightforward to saturate Moneypenny with the excesses of patriarchy; the role has actually demonstrated much alteration, subtlety and disquiet. Importantly, she has served to reshape and refocus the limitations of Bond's power. Women who seduce men summon the Spectre of the shrew--independent, demanding and wilful. However, unlike bad women from day time soap opera, Moneypenny has not been punished for her autonomy. Instead, the language of feminism ('sexual harassment') and the changes to societal structures (M being, in recent incarnations, a female), have altered both her demands and rights. Sexual experience means knowing the rules of sexuality, subjectivity and normality.
Sex remains a regulated discursive site. Sexual pleasure possesses contradictory social functions: it is not an end in itself, but linked to punishment or duty. To be normalized and naturalized, sexual intercourse must be situated in 'relationships.' Yet as Julie Burchill has stated, 'people who have relationships put the kettle on, talk things out and "grow",'[33] while 'sex was meant to be dirty, dangerous, and disturbing.'[34] Neither Bond nor Moneypenny are committed to each other: no rings have been exchanged and they never consummated their conversations. As with the Nescafe couple,[35] talking substitutes for sex.[36] Their desires permit the competent performance of gender differences. At times, these exchanges are dirty, dangerous and disturbing. Seduction opens out the potential for pleasure, yet is continually trailed by ambiguity and contradiction. Cinematic representations of seduction are what Sharon Willis has termed 'part of film's allure: as we read it, it also reads us.'[37] Film as a highly evocative ideological sphere reinforces, moulds, twists and subverts many aspects of a culture.
Moneypenny moved beyond the home and lived outside marriage throughout much of the post-war period. She remains a figure of strength and commitment during an era of changing social and political structures. Lindsey has suggested that: 'Movies are creations of male fantasies. Women need to invent their own fantasies and portray these as well.'[38] Such a statement undermines feminist theorists' recycling and reworking of filmic texts from the past. Even the most repressive of sites, like the action adventures of James Bond, offer a Moneypenny moment of humour, discomfort and rejection for 007. She provides a transgressive reinscription of the masculine, colonizing project while allowing the superspy to maintain a heterosexual performance. As the bitch, rather than the love, of Bond's life, she is not only Britain's last line of defence, but feminism's first foothold for attack.
1. Lyrics from Bitch, CD single, performed by Meredith Brooks, written by Brooks/Peiken (Capital Records, 1997).
2. James Bond, played by George Lazenby, On Her Majesty's Secret Service (United Artists: 1969)
3. For example, Julia Kristeva's theory of subjectivity highlights 'an open system' and 'a work in progress,' Tales of Love, trans. Leon S Roudiez (New York: Columbia University Press, 1987), 13-16, 379-382. Also, see Elspeth Probyn's Outside Belongings (New York: Routledge, 1996).
4. The character of Q, played by Desmond L!ewellen, was featured in all films except Dr. No and Live And Let Die .
5. Lois Maxwell appeared in the fourteen films following Dr. No . Her last screen appearance was in the last Roger Moore-Bond film, A View To A Kill .
6. Lois Maxwell stated that "the Moneypenny scenes have become like a Bond trademark," from P Haining, James Bond: A Celebration (London: Planet Books, 1987), 193. This book described Maxwell as "The woman who has made a culture figure out of a tiny part," 193.
7. J Butler, Gender Trouble (New York: Routledge, 1990): 1.
8. LL Lindsey, Gender Roles: A Sociological Perspective (Englewood Cliffs: Prentice-Hall, 1994), 312-3.
9. B Wearing, Gender.' The Pain and Pleasure of Difference (Melbourne: Addison Wesley Longman, 1996), 109.
10. T Bennett and J Woollacott, Bond and Beyond (Houndsmills: Macmillan, 1987), 19.
11. Bennett and Woollacott 242.
12. The word 'bitch' in this context signifies third-wave feminism, frequently linked with the UK writers Julie Burchill and Suzanne Moore. Although affirming distinct political objectives, these women claim the power and pleasures of popular culture. 13. Sean Connery and Lois Maxwell, Dr. No (United Artists: 1962).
14. Sean Connery and Lois Maxwell, From Russia With Love (United Artists: 1964).
15. Sean Connery and Lois Maxwell, Goldfinger (United Artists: 1964).
16. J Doyle and M Paludi, Sex and Gender (Madison: Brown and Benchmark, 1995), 95.
17. Sean Connery and Lois Maxwell, You Only Live Twice (United Artists, 1967).
18. Lazenby and Maxwell, On Her Majesty's Secret Service .
19. Roger Moore, Live And Let Die (United Artists: 1973).
20. Roger Moore and Lois Maxwell, The Man With The Golden Gun (United Artists: 1974).
21. Roger Moore and Lois Maxwell, Moonraker (United Artists: 1979).
22. Roger Moore and Lois Maxwell, For Your Eyes Only (Nutted Artists: 1981).
23. G Greet, The Female Eunuch (London: Palandin, 1971), 13.
24. L Negrin, 'The Meaning of Dress,' Arena Journal 7 (1996): 138.
25. S Faludi, Backlash: The Undeclared War Against Women (London: Chatto and Windus, 1991), particularly 99-103.
26 Timothy Dalton and Caroline Bliss, The Living Daylights (United Artists: 1987).
27 Pierce Brosnan and Samantha Bond, Goldeneye (United Artists, 1995).
28 Doyle and Paludi 172.
29 A Tolson, The Limits of Masculinity (London: Tavistock, 1985), 7.
30 C Sommers, Who Stole Feminism? (New York: Simon and Schuster, 1994), 18.
31 J Baudrillard, interviewed by S. Moore and S. Johnstone, 'Politics of Seduction,' Marxism Today, January 1989, 54.
32. E Willis, No More Nice Girls (Hanover: Wesleyan University Press, 1992), 18.
33. J Burchill, Sex and Sensibility (London: Grafton, 1992), 45.
34. Burchill 46.
35. A series of commercials in Australia and New Zealand for Nescafe Coffee feature the saga of a man and woman in the rural Antipodes moving on from their past lives and trying to establish a relationship. The couple have never been intimate, but persist in talking through their problems, always accompanied by a cup of black Nescafe.
36. The significance of that dialogue should not be underestimated. As Chris Weedon has stated in Feminist Practice and Poststructuralist Theory (Oxford: Blackwell, 1987), 'language is the place where actual and possible norms of social organization and their likely social and political consequences are defined and contested,' 21.
37. S Willis, 'Disputed Territories: Masculinity and Social Space,' Camera Obscura, vol. 19, 1989, 8. 38. Lindsey 315.
By Tara Brabazon
[Source: Hecate. 1998, Vol. 24 Issue 1, p93-104. / Women's Studies International Forum, #22, 1999. P.489–496.]
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GoldenEye Official Movie Souvenir MagazinePierce Brosnan is James Bond 007 in GoldenEye - The Official Movie Souvenir Magazine. CHARACTER P...Bond XVI Script TreatmentRead the original treatment for the James Bond film, Licence to Kill, written by RICHARD MAIBAUM and...The Official 1979 Moonraker MagazineThe007Dossier.com Presents: All 40 pages of the 1979 Collector's Edition of the official Moonraker m...


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Krafla è una caldera di circa 10 km e con una fenditura lunga 90 km situata nel nord dell'Islanda nella regione di Mývatn. Il suo picco più alto misura 818 m, ha eruttato 29 volte ed è profonda 2 km.

Krafla include uno dei due più famosi crateri Víti con un lago all'interno, l'altro si trova nell'Askja (Víti in islandese significa inferno).

Krafla comprende anche l'area geotermale di Hverir, lungo la Hringvegur sul passo di Námaskarð del monte Námafjall, con vulcani di fango e fumarole attivi.

Tra il 1724 e il 1729 si ebbe il fenomeno dei fuochi di Mývatn causati dalla fuoriuscita di alcuni sfoghi dalla fenditura, fontane di lava si videro nel sud dell'isola e una colata lavica distrusse tre fattorie vicine al villaggio di Reykjahlid, tuttavia nessuno rimase ferito.

Nel 1977 è stata costruita una centrale elettrica da 60 MW per sfruttare l'energia geotermica.

Galleria d'immagini

Altri progetti

Collegamenti esterni

Vulcani dell'Islanda
Vulcani VEI-4


Nottingham Playhouse chief executive Stephanie Sirr has argued the importance of making theatres more environmentally sustainable, claiming doing nothing about it was "not an option".
Sirr also said theatres and local authorities had a "shared responsibility" to become more environmentally sustainable, and added that making venues more environmentally friendly was "a down payment on a guaranteed return".
Her views were echoed by leading theatre architect Steve Tompkins, who said cultural buildings should be central to the discussion about a more sustainable future for society.
Tompkins and Sirr were speaking at Building Culture, a conference where industry leaders discussed the sourcing, supply and financing of clean energy in cultural buildings. It was organised by charity Julie's Bicycle, which helps arts organisations act on climate change.
Sirr talked about the importance of collaborating with other organisations to tackle climate change, drawing on her own experience of improving energy efficiency at Nottingham Playhouse. The theatre underwent improvements in 2014 to make it more sustainable.
She said: "The thing about sustainability and environmental upgrading is that it is everyone's responsibility to improve the carbon footprint and protect the planet.
"Although what we are doing is not always interesting to the public, in terms of statutory bodies and local government, it's got to be done.
"We have got to improve the carbon footprint of our cities as well as our venues, so it's a shared responsibility.
She said: "I think we need to go to the people we work with and say, 'We have an issue we need to address, and we need to find a solution' – not in an aggressive way, but saying, 'We can't go on like this and how do we come to a solution?'".
Tompkins, co-founder of architects Haworth Tompkins, argued that cultural organisations have a responsibility to facilitate conversations about climate change.
He said: "We wouldn't be here if we didn't know that cultural buildings aren't just about putting on performances. For the arts, they are much more important. They are embedded in the crucial conversation we are all going to face up to in the generation to come.
"Cultural buildings are one of the key sites where we can start to talk about a different sort of future for our society as well as for the arts, and sustainability is a huge part of that.


text:
Allifathima March 8, 2016, 11:40am #1
The Grand Canyon (National Park), at Las Vegas, Nevada, USA, is a great tourist center.
Helicopter shuttle trip all the way from Las Vegas to the Grand Canyon is most fascinating.
The Grand Slam (tennis) tournament is conducted in Wimbledon, UK in June and July, every year.
Winning the gold medal for tennis at the Summer Olympic Games
in addition to the four majors is known as a "Golden Grand Slam".
Please correct the above.
Beeesneees March 9, 2016, 6:51pm #2
A helicopter shuttle trip all the way from Las Vegas to the Grand Canyon is very fascinating.
The Grand Slam (tennis) tournament is conducted at Wimbledon, UK in June and July every year. <–not factually correct, see sentence 4.
Winning the gold medal for tennis at the Summer Olympic Games in addition to the four major tournaments is known as a "Golden Grand Slam".


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