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Vacuum Cleaner Bags
Vacuum cleaning systems that offer the best cleaning ability – is that what you are seeking? It's also likely that you believe that cleaning ability is related to power or suction. Actually, it's not. While there's no single factor that determines the cleaning ability of the vacuum cleaner you use, understanding how vacuums work and how you can help maintain your vacuum cleaner to perform its best is important. Changing your vacuum cleaner bag is an important step in maintaining the efficiency of your vacuum cleaner. While most vacuum cleaners come with an indicator to help you determine when your cleaner's dust bag needs to be changed, you can perform a check yourself to see if it is over 50% full as that's when you need to replace it. Don't wait until the dust bag in your vacuum cleaner is completely full as it can reduce the suction and cleaning capacity of your vacuum cleaning system. If you use your vacuum cleaner frequently, it is recommended that you change vacuum cleaner bags once a month, especially if you are cleaning a large area over 2000 square feet or if your pet sheds a lot.
What you need the most when you are considering vacuum cleaner bag replacement is a bag that is well-matched with the model of your vacuum cleaning system. You can find original equipment manufacturer (OEM) or replacement type bags online. While both serve the purpose, that is enhancing the cleaning capacity of your vacuum cleaning system and providing you an easy way to get rid of all the dirt that you vacuum cleaner collects, you can choose one according to your budget and cleaning needs. At GoVacuum, we have got a vast range of vacuum cleaner bags from the biggest and the best brands around. You'll find them here at great prices and shipping offers. We are the vacuum cleaning system experts and can recommend the right bag for your existing system all while staying within your budget.
NSS Marshall 14/18 Bandit and Pacer 214/218 68-9-024-1 10 Pack Generic Vacuum bagsNSS Marshall 14/18 Bandit and Pacer 214/218 68-9-024-1 10 Pack Generic Vacuum bags use the highest quality Micro-Plus filter Learn More
NSS M1 PIG 10-9-886-1 3 Pack Generic Vacuum bagsNSS M1 PIG 10-9-886-1 3 Pack Generic Vacuum bags use the highest quality Micro-Plus filter media including Melt-Blown inner liner in order to achieve filtration efficiencies up to 99.9%. Learn More
NSS Pacer 12 & 15 7190461 10 Pack Generic Vacuum bagsNSS Pacer 12 & 15 7190461 10 Pack Generic Vacuum bags has Better filtration means cleaner air, less dusting, longer secondary filter life, at considerable savings. Learn More
NSS 329-082-1 Pacer 30 Vacuum Cleaner Bags, 3 Pk.NSS vacuum cleaner bags fits Pacer 30 wide area vacuum. These microfiltration bags use a proprietary blend of filter media called MicroPlus, which filter out up to 99% of particles smaller than 1 micron in size. Made of Biodegradable filter media. Replaces parts 3290821 and 3190791. 3 pack of generic NSS vacuum bags. Learn More
NSS 67-9-009-1 Outlaw Backpack Vacuum Cleaner Bags, 10pkNSS 67-9-009-1 Outlaw Backpack Vacuum Cleaner Bags, 10pk Learn More
Koblenz Model 5000 Series Canister Vacuum Cleaner Bags Canister Vacuum Cleaner Bags 4 PackWorks With: Koblenz 5000-5999 Koblenz AMG-198 Koblenz AMG-198A Koblenz A-5100 Koblenz A-5200 Koblenz A-5300 Koblenz A-5400 Koblenz A5400E Koblenz A5500 Koblenz Maxima Koblenz Endurance Description:4 Bags And 4 Filters In Pack Learn More
Koblenz 45-0807-3 Space Saving Storage Bags1X Koblenz 45-0807-3 Space Saving Storage Bags Reusable Triples storage space by removing the air in the bag air tight and waterproof Maximize closet space Protects against odors, dust and mold Double closure ensures air tight seal Each package contains three storage bags: 1 jumbo bag (47.25" x 31.5"), 1 medium bag (31.5" x 23.625") and 1 small bag (23.625" x 19.625"); Special Return Policy applies on this product - Return for refund (original purchase price only, shipping and handling is NOT refundable): 30 days from the Invoice date. - Return for replacement: No replacement is offered - 15% restocking fee may apply For more detail, please refer to Special Return Policy Learn More
4 Koblenz 45-0362-9 Microfiltration Disposable Paper Bags w/ 4 FiltersKoblenz Microfiltration Bags Learn More
Koblenz Infinity Canister Vacuum Cleaner Bags AC-3800, AC-3400, AC3200 VP-50Works With: Koblenz Infinity Koblenz AC-3800 Koblenz AC-3400 Koblenz AC-3200 Koblenz Style VP-50 Koblenz 45-0514A Koblenz 45-0514 Description:3 Bags In Pack, Genuine Koblenz Learn More
Koblenz Wet/Dry Vacuum Cleaner Filter Bags Wet/Dry Vacuum Cleaner Filter BagsWord with: Koblenz RT-3 Koblenz DV-3 Koblenz PV-100K Koblenz PV-2HD Koblenz PV-5HD Koblenz PV-250K Koblenz PV-2000 Koblenz PV-330K2 Koblenz PV-3000 Koblenz PV-500K Koblenz PV-5000 Koblenz PV-600K Koblenz SM-2 Koblenz SM-6000 Koblenz WD-20S Koblenz WD-200B Koblenz WD-250S2 Koblenz WD-300K2 Koblenz WD-330K2P Koblenz WD-330K2P Koblenz WD-360K2 Koblenz WD-400EM Koblenz WD-6HD Koblenz WD-600 Koblenz WD-600K Koblenz WD-800K Koblenz WD-900K Koblenz 45-0389-2 Koblenz 51-2400-09 Description:Koblenz Wet/Dry Vacuum Cleaner Filter Bags Koblenz All Purpose Wet/Dry Vacuum Cleaner Filter Bags, 3 bags and 1 retainer band in pack Fits Models: RT-3, DV-3, PV-100K, PV-2HD, PV-5HD, PV-250K, PV-2000, PV-330K2, PV-3000, PV-500K, PV-5000, PV-600K, SM-2, SM-6000, WD-20S, WD-200B, WD-250S2, WD-300K2, WD-330K2P, WD-330K2P, WD-360K2, WD-400EM, WD-6HD, WD-600, WD-600K, WD-800K, WD-900K 45-0389-2 51-2400-09 Learn More
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This promise drives everything we do. It makes every moment of your stay a special memory. It's in the smile that greets you and in the warmth and friendliness you'll feel while you are here. In every corner and at every moment, you'll notice an attention to detail that shows our passion and belief. It's the very essence of the Forbury, like spending time with an amazing family. We stay with you….
The Forbury has been described as 'The UK's Sexiest Townhouse Hotel' by The Evening Standard and the design and opulence is the talk of the fashionable set.
From the 86,000 Italian glass beads in the chandelier running the height of the building in the old lift shaft, to the opulent fabrics and wallpapers and attention to every single detail - there is simply no place in the UK as extraordinarily opulent and stunning.
Perfect gift for that special some-one.View now
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For us, increasing power output and reducing fuel consumption go hand in hand. That's why we are also especially proud of our comparatively low values as far as the latter is concerned. Efficient engine technologies – such as direct fuel injection (DFI), the auto start/stop function and intelligent cooling air flaps – as well as exhaust systems are essential to improving the fuel consumption and emission figures of our cars and to prolonging their service life. All Macan models comply with the EU 6 European emission standard and, thanks to our commitment to recycling, their components are over 95 % recoverable.
© 2014 Porsche Norge. Juridiske betingelser. Andre land.


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Viewing the King James Version. Click to switch to 1611 King James Version of 1 Timothy 2:5.
- King James Bible "Authorized Version", Cambridge Edition
Bible Verses like 1 Timothy 2:5 | Inspirational Image for 1 Timothy 2:5
<< Read the whole chapter of 1 Timothy 2
<< Read the entire book of 1 Timothy
For there is one God, and one Mediatour betweene God and men, the man Christ Iesus,
- King James Version (1611) - View 1611 Bible Scan
For there is one God, {and} one mediator also between God and men, {the} man Christ Jesus,
- New American Standard Version (1995)
For there is one God, one mediator also between God and men, `himself' man, Christ Jesus,
- American Standard Version (1901)
For there is one God and one peacemaker between God and men, the man Christ Jesus,
- Basic English Bible
For God is one, and [the] mediator of God and men one, [the] man Christ Jesus,
- Darby Bible
For there is one God, and one mediator between God and men, the man Christ Jesus;
- Webster's Bible
For there is but one God and but one Mediator between God and men--Christ Jesus, Himself man;
- Weymouth Bible
For there is one God, and one mediator between God and men, the man Christ Jesus,
- World English Bible
For o God and a mediatour is of God and of men, a man Crist Jhesus,
- Wycliffe Bible
for one [is] God, one also [is] mediator of God and of men, the man Christ Jesus,
- Youngs Literal Bible
2:5 For - The fourth verse is proved by the fifth; the first, by the fourth. There is one God - And they who have not him, through the one Mediator, have no God. One mediator also - We could not rejoice that there is a God, were there not a mediator also; one who stands between God and men, to reconcile man to God, and to transact the whole affair of our salvation. This excludes all other mediators, as saints and angels, whom the Papists set up and idolatrously worship as such: just as the heathens of old set up many mediators, to pacify their superior gods. The man - Therefore all men are to apply to this mediator, who gave himself for all.
1Ti 2:5 For [there is] one God. One God of all men, not many gods. Hence the One God desires equally the salvation of all his creatures. And one mediator between God and men. For all men. The gospel scheme is universal. The man Christ Jesus. Taking upon himself manhood in order to be the Savior of all men.
Babu John's comment on 2014-10-04 23:34:40:
No dought, there is one God and one mediator between God and men,My Jesus Christ.Not saints and mother Mary.
Ruban's comment on 2013-10-02 10:59:03:
He is the son of God so he is the mediator. That's all.
Michael Ugochukwu Mbuko's comment on 2013-09-23 19:59:54:
No matter what, all we have is one God. No Shiva, or whatever but just one God and one mediator. No Mary or whatsoever but Jesus Christ. Praise God.
Raphaelmasuku's comment on 2013-06-28 04:34:34:
the fact that there is an intermidiator(the man Christ)simply implies that there is a serious disagreement between man and God
Question's comment on 2013-03-03 12:28:54:
I have a very realistic Hebraic question. I originally got into this dilemma respective of Psalm 110:1 and the Hebrew "adoni". I had been taught that the Hebrew "adoni" only referenced a non-deity (human) or a created angelic appearance. However, when I was reading and researching the subject, I discovered a brief notation in acclaimed BDB lexicon on page 11 that declared this same Hebrew "adoni" is defined to be a "Theophanic angel" (Theophany) with respect to both Joshua 5:14 and Judges 6:13. This BDB cited Theophany then Joshua 5:14 and Judges 6:13 would leave no debate as to the fact that the Hebrew "adoni" can indeed mean a Deity as well as a non-deity. The Hebrew "adoni" is cited some 195 times in the MT but only these 3 Passages can actually suggest a Theophany and Deity. Your response to this concern will be most appreciated. Barney
Servillano Valdez's comment on 2013-02-21 17:14:47:
For further understanding and knowledge about the deity of God.
Share your own thoughts or commentary here...


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Hello Everyone, Today I'm sharing a canvas focusing on monochromatic color… and the color of choice, you guessed it.. ORANGE!
A Canvas Corp Canvas, some texture paste, a foam stamp and then bring on the paints. I used Sugar Maple, Pumpkin Spice, Italian Sunset and Butternut squash Glimmer Mist and Hopi Glaze.
These gorgeous shades of orange remind me of a beautiful sunset.
Be sure to keep checking back to see all the fun 'Color Theory" inspired projects from the Design Team this month. I'm excited to see what they all have up their sleeves:)
Thanks for stopping by! Vicki
my blog: "This Art that Makes Me Happy"


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We take great care to ensure you receive the right auto parts the first time. Stop letting the dealership overcharge you for Acura RSX AC Condenser parts. We are undeniably one of the biggest discount Acura RSX AC Condenser parts store on the net today. Don't be a bystander any longer, order from us. Call us at (800) 240-4620 with any questions regarding Acura RSX AC Condenser parts. We have literally hundreds of thousands of auto parts in stock to suite whatever needs you have. If you cannot find some Acura RSX AC Condenser parts you are looking for, email us at email@example.com to find out if we can get it.
William M. - Lake Havasu City, AZ: Thanks for a really good job on (my order). The quick delivery was great and the parts were properly protected from damage. Thanks again.


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Felicia Zhang
Felicia Zhang (born September 22, 1993) is an American ladies figure skater who currently competes in pair skating and single skating. She competed in pairs with Taylor Toth from 2009 to 2011. Together, they are the 2010 U.S. Junior champions. She currently skates with Nathan Bartholomay. Zhang started skating at the age of 7 after attending a skating birthday party. She graduated from West Windsor-Plainsboro High School South in June 2011. In singles, Zhang won the novice bronze medal at the 2008 U.S. Championships, and placed 6th on the junior level at the 2010 U.S. Championships. Zhang teamed up with Taylor Toth in 2009. They won the junior gold medal at the 2010 U.S. Championships. They finished 9th at the 2010 Junior Worlds. They moved up to the senior level for the 2010 season and competed in the Grand Prix at Skate America, where they finished 7th, and Trophée Eric Bompard, where they finished 5th. On March 10, 2011, Zhang and Toth announced their partnership had ended. She teamed up with Nathan Bartholomay. They train in Ellenton, Florida. They were eighth at the 2012 U.S. Championships. (With Taylor Toth) (as singles skater)  ( Wikipedia article )
Personal facts
- Date of birth
- 1993-09-22


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Atenolol Chlorthal /50-25 TbUpdated
Larry Graf Says:
I have dry mouth, cold feet/hands, real tired/all the time, Do you know of anything to help with this.Reply to this thread
Showing Replies 1 - 7 of 7
1David Says:
At first I thought you might be showing signs of Iron or B12 deficiency, but you are definitely experiencing the side effects of Atenolol.
Please follow the link below and scroll down to the section called Side Effects, as it shows all the side effects you are coping with:
I think the obvious solution is to consult your doctor and hopefully find a replace so you can discontinue using this horrible medication. There are plenty of natural (side effect free) methods to control and lower high blood pressure. I know this from personal experience.
Please post back if you have any questions or concerns regarding this.
Please follow the link below and scroll down to the section called Side Effects, as it shows all the side effects you are coping with:
I think the obvious solution is to consult your doctor and hopefully find a replace so you can discontinue using this horrible medication. There are plenty of natural (side effect free) methods to control and lower high blood pressure. I know this from personal experience.
Please post back if you have any questions or concerns regarding this.
2sediq Says:
thank you for your input on the side -effects of Atenolol.You also mention that there are various natural medication /remedies for the "replacement of Atenolol"-could you please recommend some of these natural medicines and whether they are just effective as atenolol.I was also under the impression although i hate the Atenolol, it must be taken, as prescribed,irrespective whether natural medicine is used or not-or is this just another marketing tool not to lose revenue on the atenolol.I also believe that the other side effect of atenolol is addiction because you tend to become anxious at intervals after taking the tablet forcing you to take it again.
3Mother Superior Says:
In Dec.,2011, I had gallbladder surgery. Grossly infected liver & pancreas with severely depleted potassium. I had been taking Atenol/Chlor 50-25 for a long time, so potassium was depleted by that, according to the doctor. Following successful surgery and massive antibiotics, I was put on Atenolol 50 mg 2X daily. It's NOT keeping bp down like the Atenol/Chlor 50-25 had been doing! Couldn't I go back to Atenol/Chlor WITH the potassium and monitor it to see if it would reduce bp as prior to surgery. It was 132/72 or less before, but with Atenol 25mg, I am lucky if it is below 146/72. Help! I need to have it below 140/70 for my job responsibilities.
4Ram Says:
Can my mom use B-12 vitamin 1000 mcg along with ATEN-50? She is > Age 50.
5Davy Says:
I am taking atenololchlorthal 50-25TB & amlodipine-benazepril 10-20 mg & clopidogrel 75 mg once a day and now I have red spots and itching over my whole body. Is any of this medication causing this. thank you
6Nickie Says:
I have been taking Atenenol for one year. I was fighting Systolic Hypertension and couldn't get it down. I also take Lisinopril 30mg. Two months ago my Dr. Doubled the dose and added the Chlorthal. Almost to the day my pulse dropped into the 40s. I am a runner but I've always been a runner. My resting heart rate is normally 60. Thank goodness for the info available on the Internet. I'm heading to my heart Dr. For medicine switch. Another valuable lesson is that perhaps the general Practitioner isn't the best one to be prescribing BP meds.
7melissa Says:
Can this drug cause you to gain weight?
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After playing his junior career in Red Deer and Lethbridge, Ron joined the Flyers in the 1982-83 season and remained with them for nine seasons. Ron served as the Flyers' captain from 1989 to 1991 and was reunited with Rich in 1983, when Rich joined the team. Ron was traded to the Blues in 1991 where he was coached by his big brother, Brian. In 1994, Ron was on the move again, heading to the Nordiques who, in turn, sent him to the Islanders then next year.
Ron signed with the Bruins after only one season in New York, but left the team after the 1995-96 season to join the Sharks. His brother, Darryl, became the head coach the next season, but he was once again on the move, signing with the Flames for the 2000-01 season.
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A First Data Corp. analysis showed that May 2013 U.S. consumer spending was up 6% in dollar volume compared to May 2012. That's stronger growth than in April 2013, which was up 5.1%.
The electronic commerce and payment processing company said that warmer weather across the United States supported shopper foot-traffic and helped drive sales of spring and outdoor seasonal merchandise. May also saw growing strength in equity and housing markets, which fostered more consumers spending confidence.
Transaction growth was up to 5.8% in May 2013, the highest growth since November 2012.
The report said May retail dollar volume growth was 5.5%, up from April's 4.3% growth.
The report said that all retail categories saw year-over-year dollar volume growth--the first time that's happened since January of this year.
Housing market momentum helped drive growth in sales at Building Material & Garden Equipment Dealers.
"The combination of warmer weather, lower gas prices, an increase in home prices, and a record-breaking stock market encouraged shoppers to spend in May," said Krish Mantripragada, SVP, Information and Analytics Solutions, First Data. "Credit card dollar volume and transaction growth accelerated and continued to surpass both PIN and Signature Debit growth. Overall healthy spending growth points toward encouraging consumer resiliency and increased confidence."
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Where can I get a bag just like the big black one Leighton Meester wore with a red jacket in Star Tracks? – Alex The Gossip Girl star gets into character as the always-fashionable Blair Waldorf with a black patent Robert Clergerie "Titan" bag on set in Manhattan. Get Leighton's bag, $975, by calling the Robert Clergerie store at 212-207-8600.
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I am moving soon, and it's probably the biggest move I have ever made in my life. It's big because I've lived a long time in one location, and I have a lot of stuff. I forgot how much stuff I had. I don't hang on to every little last thing, but I do hang on to a few things that I think will be important someday – or just fun to look at again.
This project has taken weeks, because I am purging as I go. Letting go of things I no longer need, in an attempt to make the move a little easier, and in an attempt to make life a little easier. I have a little saying on my desk that says, "She left pieces of her life behind her everywhere she went. It's easier to feel the sunlight without them, she said." And that makes a lot of sense to me. It certainly is easier to feel the sunlight when you let some things go.
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7 Tips on Applying for Scholarships
How to handle the process with accuracy and ease
When applying for college scholarships it is important to make the best impression possible. The application process is in many ways like any other interview process. Chances are your first interaction will be written (digital or hard copy) so it is important you market yourself to stand out from the competition. In this case, "bragging" isn't all bad.
Bellevue University is now accepting applications for institutional scholarships for the Spring term through January 31, 2013.
Here are seven tips any student applying for scholarships should consider:
Start your search early. Sounds simple enough, but the more time you have to find scholarships that you are qualified for, and the more time you have to build a case for why you should receive it, the better. Rushing to complete paperwork at the last minute can lead to oversights, spelling and grammatical errors or cutting corners; all of which can seriously hurt your chances of being selected.
Leave no stone unturned. It's absolutely a great idea to apply for scholarships that can cover all your tuition, but don't rule out the smaller opportunities. Look for scholarships not only at the state and national level, but within your local community as well. Ask people who have been through the process to help you generate additional leads. Consider opportunities that are based on your ancestry, creed, religious affiliation, or gender. In addition, take into account the places you volunteer, your employer or memberships in professional organizations.
Be sure to observe individual scholarship deadlines. Chances are you may be applying for several scholarships; prioritize these to make sure you turn in the requested information on time.
Provide complete and accurate information. Being on time is just one piece of the puzzle. Being accurate, truthful and complete is just as important. If you knowingly falsify information on a scholarship application, you could be disqualified. While it may feel redundant as you are repeating your information for the tenth time, remember this is the first time those awarding each specific scholarship get to meet you (online/on paper). So be sure to proofread your application and have someone else review it to make sure there are no oversights.
Line up your references. If you need a letter of recommendation or two, do you have a plan of who to ask? Are you able to have a standard letter that you have several copies of, or can you connect with this person and receive a customized version that meets your time frame? Keep in mind the time it takes a recommender to write a really good reference. Avoid waiting until the deadline to ask someone. Not only may they tell you no, they may rush through it in order to complete it on time, thereby not providing a really good reference.
Know your bio. What are some relevant achievements (academic and non-academic), awards received, leadership roles held, extracurricular involvement, etc. you have that you would want to mention? If you are filling out several applications this may seem redundant. Create a list by category and include dates so that as you fill out the forms you can make sure you are not missing any valuable information while still tailoring each application to the criteria for that scholarship.
Be aware of the FAFSA. You'll probably see references to the Free Application for Federal Student Aid (FAFSA) in a lot of financial aid information. Filling out the FAFSA is an important step, as this transmits your financial information to the schools of your choice. Many needs-based scholarships require that you complete the FAFSA regardless if you plan to utilize federal funding. If it is too early to complete a FAFSA, just keep this important task on your radar.
Missing deadlines, submitting incomplete or inaccurate information or failing to make the best impression can automatically eliminate you from scholarships for which you are a seemingly well qualified candidate. With some careful planning, and a commitment to quality throughout the process you can work to make your application shine.
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Aeon Scientific wins 2014 Swiss Technology Award12000 views this monthNAO Next Gen now available for a wider audience4628 views this monthEvolving swimming robots to study origins of extinct vertebrates2233 views this monthRobots, soldiers and cyborgs: The future of warfare2221 views this monthTen lessons for farm drones2150 views this month25 holiday gift ideas for RoboGeeks (2014)2074 views this month5 areas in robotics that will transform society and their economic impact1889 views this monthAre agricultural robots ready? 27 companies profiled1879 views this monthUp and flying with the AR.Drone and ROS: Getting started1847 views this month
Grishin Robotics invests in RobotAppStore
For Grishin Robotics, the future is in the clouds.
Grishin Robotics are investing $250,000 into RobotAppStore, an online marketplace for robotics applications. It seems that Grishin is betting on the robotics industry following the same patterns as the smartphone or personal computing industry. But can robotics be compared to either personal computing or smartphones, given the lack of a unified robotic platform or even a common robotic function?
Elad Inbar, the founder of RobotAppStore believes that we are seeing the same sort of convergence in robotics as happened in the mobile phone industry. In the early days of the phone industry, developers used to have to build a different ring tone for every single model of phone, even phones from the same company. This convergence in robotics owes a lot to the development of ROS and the increasing use of COTS or common technologies.
Since opening in 2011 in San Francisco, Elad and RobotAppStore have built up an inventory of hundreds of apps for dozens of different robots, from the Roomba vacuum cleaners, to Spheros, AR Drone quadcopters and humanoids like the Aldebaran Nao robots. The apps range from the entertaining, like a Roomba delivering a birthday cake and singing "Happy Birthday", to the eminently practical, like an app giving an early overheating warning for the Nao.
The market feedback is that consumers who purchase one robot app, go on to purchase all the available apps for their robot. Inbar also finds that many people who contact the RobotAppStore don't have a robot yet, but see the AppStore as a gateway to learning more about robots, so he's launched Robopedia, a 'wikipedia for robots'. Another way that Inbar is building the ecosystem of cloud robotics is by providing support for robot app developers, creating documentation to help developers make a career out of writing software for robots.
The personal robotics market is a rapidly growing industry – estimated by ABI research to hit the $18 billion mark in 2015. According to RobotAppStore estimates, based on figures provided by UNECE, IFR, ABI Research and BCC Research, more than 30 million programmable robots have been sold to date.
"Robotics is a combination of good hardware and software – thus, the important role of a project like the RobotAppStore in the market ecosystem is unquestionable. The concept of 'Cloud robotics', which implies ability of all robots to connect to the internet, share a common knowledge database and seamlessly upgrade their functions in real-time, is a soon-to-be future; one reminiscent of the of personal computer industry. We believe that the strong team behind RobotAppStore coupled with their ability to leverage the advantages of having strong community already built around the product, can make this future closer", said Dmitry Grishin, founder of Grishin Robotics, Co-Founder & CEO of Mail.Ru Group.
"The support provided by Grishin Robotics is a great vote of confidence in our plans for the company," said Elad Inbar, Founder & CEO of RobotAppStore. "It shows their belief in our vision and the importance of the marketplace for robotics applications. The robotics industry has reached its tipping-point with broad market acceptance, usability of robots, and the ability to extend the robots' capabilities. Being a part of Grishin Robotics' portfolio provides high synergy with other robotics companies and better resource utilization. We are excited to use this funding to secure our place as THE market-leader of the consumer and educational robot-apps™ industry. I would like to thank our community of developers, and invite awesome and creative developers to join us!"
I interviewed Elad Inbar, founder of RobotAp Store, for the Robot Startup Series, where he speaks in more depth about Grishin's investment in RobotAppStore and the synergy of their vision of cloud robotics.
Follow @robotlaunch


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Cast of The Legend of Kitty Knight
Catharine "Kitty" Knight
Portrayed by: Amy G. Moredock – Betterton, MD
Amy has had the good fortune to portray a number of interesting characters since she moved to the Eastern Shore. At Church Hill Theatre, she has played Maggie the Cat in Cat on a Hot Tin Roof, Regina Hubbard in Little Foxes, and Elvira Condomine in Blythe Spirit. Recently Amy portrayed flighty barmaid Tulip in an off-Broadway production of the Burgundy Wine Mob, a script written and directed by local play-wright Earl Lewin. Amy is extremely honored to have been given this opportunity to portray such a strong and interesting figure in Kent County's history and equally honored to be working with such a talented and dedicated group of friends and neighbors in this historic event.
Rear Admiral George Cockburn
Portrayed by: Robert L. Bryan, Jr. – Kennedyville, MD
Robert is a descendant of Dr. Edward Scott who lived in Georgetown Crossroads (Galena) in 1813, and wrote an account of the British Navy's burning of Georgetown. It is one of the few accounts surviving today. Robert has performed in various productions at Church Hill Theatre and the Prince Theatre in Chestertown, and is throughly enjoying playing the haughty Admiral Cockburn.
Capt. Henry D. Byng
Portrayed by: Jacob Simpson – Galena, MD
Jacob has always been a fan of local history. When he heard about the casting call for this production he felt it was something he had to do. Jacob has gained experience from his theatre classes at Kent County High School. He is a local of the area and knows the legend well and is enthusiastic about the chance to recreate this historical event.
School Master Dennis Donlevy
Portrayed by: Michael Codeiro – Dover, DE
Mike was cast as an extra in the independent film "The Dish and The Spoon". This lead to acting classes and an offer to model. His last acting job was to portray William Moore, Sussex County delegate to the constitution ratification convention in the historical theater play "FULLY, FEELY AND ENTIRELY" in the Old Delaware State House.
Countess Donlevy
Portrayed by: Lori Duhamell – Galena, MD
This is Lori's acting debut. She has always had a love of history, especially that of her hometown, and the story of Kitty Knight is one of her favorites. She is excited to be given an opportunity to take part in the reenactment – she just couldn't pass it up!
Fannie McNeil
Portrayed by: Dorothy "Teddi" Zia – Millington, MD
Teddi has played in many productions at Abbey Theatre in Philadelphia, PA. She has also had various parts in commercials and movies. Teddi is excited to be involved in such a fun and worthwhile experience in this rendering of the burning of Georgetown and the legend of Kitty Knight. Teddi is also the understudy for Kitty Knight.
Narrator 1
Narrated by: Jane Jewell – Chestertown, MD
Jane Jewell is a writer, editor, and photographer. She has been active in community theater, having appeared on stage at the Prince Theater and Churchill Theatre in such productions as "Arsenic and Old Lace", "Last of the Red Hot Lovers", and "South Pacific". With her husband Peter Heck, she wrote and produced an historical-musical revue called "The Great War and The Lost Generation." Jane also works with Chestertown's Music in the Park summer concert series. She lives in Chestertown, with her husband Peter Heck, two cats, and way too many books.
Narrator 2
Narrated by: Peter Heck – Chestertown, MD
Peter Heck is a reporter for the Kent County News. He is also the author of six mysteries starring Mark Twain as a detective, and four comic science fiction novels in collaboration with the late Robert Aspirin. Peter was also an editor at Ace Books, a division of Putnam Publishing in New York City. When not writing (or reading) he can often be found playing guitar or chess. He lives in Chestertown, with his wife Jane Jewell, two cats, and way too many books.
Directed by: John Caroll – Galena, MD
This is John's directorial debut, as well, he is one of the event coordinators for the weekend. An avid local history buff, John is thrilled to lead this production and hopes that all will enjoy. In addition, John will play one of the marauding British Navymen.
Assistant Director & Historical Consultant
Directed by: Kevin Hemstock – Millington, MD
Kevin is a former editor at the Kent County News and one of the most sought after local historians in Kent County. He currently operates Old News, a genealogical and historical research service, and continues to work on a book about the 1892 murder of Dr. J. Heighe Hill. Kevin will also play the role of a torch carrying British Marine.
British Marine 1
Portrayed by: Victor Heavlow – Galena, MD
British Marine 2
Portrayed by: Kevin White – Millington, MD
British Marine 3
Portrayed by: Piers Heriz-Smith – Millington, MD
British Marine 4
Portrayed by: Joshua Baumann – Galena, MD
Georgetown Villager 1
Portrayed by: Margie Heavlow – Galena, MD
Georgetown Villager 2
Portrayed by: Ann R. Polakovic – Wilmington, DE
Georgetown Villager 3
Portrayed by: Judith Drummond – Earleville, MD


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For surgery (or minor repairs) in the field
Based on the design of WWII medic bags, this handy tool roll is updated with rugged, stain-resistant Fire Hose canvas. Loaded with pockets and slots for everything from insulated drivers to chisels, plus slots for pens, flashlights etc. Efficiently packs the tools of your trade, so you can complete every job with surgical precision.
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I got this for my husband, a truck driver who keeps lots of small electronics and peripherals in his rig. This bag makes it so much easier for him to organize his GPS, iPad, phone, ereader, etc. and to pack them up for home time. Great for a gadget love on the move!
Best Uses
Good durable roll-up for compact unit for small tools
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Battery Charge Q
Battery. Was left alone, without a charger for about 6 months. I charged it up a week back using a Ctek charger.
Hooked it up again today. The charger has an indication for Currently Charging / Maintenance, which comes on anytime the voltage drops below 14V.
Once 14.4V is reached again, there is an indicator for Fully Charged.
The charger is switching between the ]Currently Charging / Maintenance mode and Fully Charged mode very frequently.
For 50 seconds it'll indicate Fully Charged. Then, for 2-3 seconds, it'll indicate Currently Charging / Maintenance. And it just keeps cycling like that.
Is this normal? 0.4V loss every 50 seconds...
Should I junk it?
Full disclosure: I tried hooking up hooking up the starter motor (standalone, detached from the bike) directly to the battery just a moment ago before I hooked it up to the charger. There was a loud noise during which I flinched and closed my eyes and found the motor about 4 inches away...
Could be toast but I'd have it load tested first. Most places that sell batteries can test it for you for free. If it severely discharges under load and doesn't recover quickly, it's toast.
What kind of battery is this?. :ear
Leaving a battery alone for 6 months could easily result in it being toast, especially if it wasn't fully topped off before sitting. I try to top off my batteries every couple weeks at a minimum.
Careful using a freshly charged battery to test a starter, doesn't take much of a spark to blow up a freshly charged L/A.Lesson learned a very long time ago.
:huh 14.4V for fully charged?
12.9V is fully charged. Anything over that means the battery is being actively charged at a high rate.
All out there somewhere. May even be in the C-Tek litterature/owner's manual. Most of it is there:
Are you sure this charger is working properly? You're assuming it is, and it might not be. "Rest" the battery as suggested above and check the voltage with a digital volt meter (Harbor Freight gives them away). If it reads low (<12v) you could try a less fancy charger and see what happens. It couldn't hurt.
Really need to know what kind of battery it is (AGM, flooded wet cell). If it is a wet cell, is the electrolyte level correct?
A wet cell battery can be tested with a hydrometer (even the cheap "count the floating balls" version) and that will tell you the state of charge or if you have a weak or dead cell.
With AGM, you can't use a hydrometer, and some form of load testing would need to be done. (Load testing a wet cell is great entertainment, watching the bad cell fizz). Not that I'm their salesman, but HF has a 100amp tester for $25. The 500amp for $60 is overkill for bike batteries, but would let you load test bigger (car/boat) batteries as well.
We await more info...:ear
More info:
Yuasa YTX9-BS
Don't have a voltmeter. Gotta buy one. Away I go.
Why don't you just put the battery in the bike and try it? If it works its good. Make sure to check the charge rate in the bike .
Harbor Freight....Eh! we are Canadians. Cheap at Canadian Tire and cheap all right I already returned 2 of them.
Funny thing is I was getting abnormaly high voltages out of a battery, did not make sense for that new Odissey. Hum....went inside and got my other exact same meter. Voltages back to normal.:huh
Low battery in the cheap meter was giving me higher voltages on testing.:wink:
Can't trust them cheap tools, got to have 2 of them to doublecheck the readings....:lol3
Gonna order a Fluke.
I'm no Thomas Edison, but I've never noticed a difference in the meters - I have a decent but rather low-end Circuitmate and a drawerfull of HF meters I got free with coupons. I'm intrigued (and a little worried). I'll have to do a test on them.
At work they sent some of our people to a troubleshooting class, and they were given some of the saddest tools and meters I'd ever seen - HF meters are like Flukes compared to those things - most of them broke during the class and none lasted more than a few months afterwards.
That:Yuasa YTX9-BS
Buy a Hydrometer and....safety glasses....rubber gloves....and a big box of baking soda. Keep water hose handy and wear your old clothes just in case.:wink:
Trust me on the safety part....I use to fill batteries in my youth, nothing to be complacent about those however harmless they may look to some.:eek1
$20.00 meters from CT are more than good enough for what most of us will do with them. Good warranty anyway at CT....:rofl I think they do have a low battery warning, I guess I'll have to read the manual(s) if ever again I get strange readings. Or ride next door and borrow his really good one.
Mind you....I have never counted my meters, I have a few, one permanently with the bike's tools. All good enough for what they are.And one to mount in the dash, very bad things can happen on my bike if attempting to start it with a low battery. Bad as in....very expensive to fix.No letting that "Magic Smoke" escape....:huh
Not much need for them with an Odissey battery altough I have done the tests with the battery left connected untendered for 5-6 weeks. All good....!:clap And much safer to handle.
If, and only if, you go for the cheap(er) CT meter, try the switch in the store, that's what broke on mine twice. One never even worked right out the box, the other one failed early but you can tell if the switch action isn't smooth at first. The other twos.....no problems in 3+ years just have to remember to keep a good battery in there and turn them off after use.
Motors....batteries.....and maybe even meters, nothing should really sit for a long time and yes 6 months is a long time, without some preventive maintenance, much cheaper and lots less aggravating that way.
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Free NFL Tickets Come To A Halt After Roof Collapse Forces Game To Detroit
December 13, 2010 12:40 PM
According to news reports, the Detroit Lions have stopped distributing free tickets to Monday night's football game between the Minnesota Vikings and the New York Giants. The game is slated to take place in Detroit, Monday evening, after the roof collapsed in Minnesota Sunday, due to heavy snow accumulations.
According to the team,there was an "overwhelming response" to tickets for the Vikings' home game that was moved to Monday at Ford Field in Detroit after the Metrodome's inflated roof collapsed.
The Lions did say that those fans holding tickets to the Giants-Vikings game scheduled in Minneapolis will be admitted and given preferred seating in Detroit.
Ford Field has a seating capacity of 64,500.
C.C. Mitchell


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The Cat
There's a hidden trail near my house in San Diego, that feels very remote and peaceful even though it's right in the middle of town.
It's a narrow path, with a high bluff on one side and a steep canyon on the other. Once you're on it, all you can hear is the crunch of your feet on the ground.
And once you're on it, you either complete the walk or you turn around and go back out. It's about 3 miles from beginning to end and there are no exits along the way.
"Beautiful Old People are Works of Art"
"Beautiful young people are accidents of nature, but beautiful old people are works of art." – Eleanor Roosevelt
Click here to a fascinating study of how faces aged.
These faces are still all loveable, but in many, you can see the results of a lifetime of being locked into repeating patterns of thought and feeling…
You'll Never Be Bored Again!
When someone asks me where I live, I often say, "On an airplane." And it's only half-jokingly – I spend a lot of time in the air and in airports, on my way to teach a workshop or do consultations.
But here's the thing – when you know face reading, the airport is a fascinating place to be! Every face tells a story about who that person really is inside, what their life has been like, and what your experience with them will be.
You Mean I'm Supposed to Be Like This!
When I teach professional trainings for people to coach and consult using this work, I always do in-depth demonstrations of readings while the students observe.
It's always everyone's favorite part of the workshop because they get to watch, live and in person, the process of someone discovering for the very first time how deeply they can be recognized and understood. It's often quite a holy moment.
Reading Barack Obama's Face
I read President Obama's face during the 2008 campaign and saw many qualities that I've since seen demonstrated during his presidency. But I also noticed a few characteristics that could cause people to have misperceptions about what to expect from him, and I've seen these come true as well.
I'll discuss these below, as well as two other important things: 1) A change to his face that I've noticed since he became president; and 2) What he needs in order to get elected.
Before I get into the details, I need to make sure you understand my approach: The evaluation I'm doing of each candidate is objective, simply based on what face reading says about their personal characteristics. There is no veiled effort here to push any agenda or make negative or positive judgments. Continue reading
Reading Joe Biden's Face
So now I'll turn to looking at the faces of the Democratic candidates! I'll start with Vice President Joe Biden.
As I stated in the two previous articles about Ryan and Romney, I'm reading these faces objectively, conveying what face reading says about their personal characteristics. There is no veiled effort here to push any agenda or make negative or positive judgments.
Chinese face reading is an ancient branch of Chinese medicine, and is thousands of years old. Basically, it's a science about recognizing patterns. There are patterns in your face – for example, the size and shape of your features, and any wrinkles or markings that develop; complex details that can be read to reveal the deeper pattern of who you are inside. Continue reading
Reading Mitt Romney's Face
Following on the reading for Paul Ryan below, now let's take a look at Mitt Romney's face!
Please know that when I do a face reading for a politician, I need to set any of my personal views aside, and neutrally and objectively communicate the facts of what I see. So there is no veiled effort here to push any agenda or make negative or positive judgments. I am simply reading the information presented on his face.
And just to make sure this is clear – Chinese face reading is an ancient branch of Chinese medicine, and is thousands of years old. Basically, it's a science about recognizing patterns. There are patterns in your face – the size and shape of your features, any wrinkles or markings that develop; all these characteristics combine to reveal a deeper pattern of who you are inside. Continue reading
Reading Paul Ryan's Face
I've just sped through a nonstop teaching schedule for the first part of the year, followed immediately by plunging into writing my next book. Huff puff. But now, 67,913 words have sailed off to my editor and I have time to come up for air!
The news is full of politics, and if you're not yet feeling tired of all the posturing and manipulation, I admire your patience. While I'm not naturally interested in debating about the different candidates, at election time I'm always inundated with requests to read the candidates' faces, and in fact, it can be pretty fascinating to see who they really are inside.
Since Paul Ryan has just been announced as Romney's vice presidential running mate, I'll start with this fresh news and write about the other faces in the race in the coming days. Continue reading
Why Newt is Speeding Past Mitt….Could it be His Face?
Now that Herman Cain has dropped out of the 2012 presidential race, the news is full of surprised commentary about how quickly support is turning to Newt Gingrich rather than the assumed frontrunner, Mitt Romney.
But if you know face reading, you may not be so surprised. The reasons may be written in their faces. Continue reading
Your Four Gates
I just spoke with a woman who said as soon as she turned 50 her life seemed to have taken an emotional downturn, and she asked me if the reason could be read on her face. Continue reading


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|Posted By:
|Re: Mary Gammons Beds Eng
|Post Date:
|December 30, 2001 at 05:30:56
|Message URL:
|Gammons Family Genealogy Forum
|Forum URL:
Hi there,
Just read your message re Mary Gammons. I am also searching for 'Gammons' family from Bedford.
I do not know if you are aware but there are Microfisches that can be brought from The Bedfordshire and Luton Archives and records service. The address is:-
Riverside Buildings, County Hall, Bedford, MK42 9AP or telephone (01234) 228833/228777
They also have a website Http://bedfordshire.gov.uk/archive but I have only once managed to get into it.
Bedfordshire is the first English county for which all the pre-1812 parish records have been transcribed. The quality of some of the fisch are not that good but you may find your relatives.
If anyone has relatives in Millbrook, Steppingley or Thurleigh then I already have the fische and are willing (time permitting as I am studying and working full time) to look up a name for you. If you have any 'Gammons' family from Thurleigh then I could be related as that is where my relatives come from.
Good luck and Gods blessings for a Happy New Year to you all.


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Our mission is to provide IT services which allow our clients to harness technology, making it an asset to their business rather than a hindrance. We strive to provide IT solutions for small and medium enterprises which deliver commercial benefit and are flexible, robust and economical. We concentrate on the needs of our clients and explain things in plain English, and believe it is this that sets us apart.
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Hi! I am a Research Software Development Engineer in the Interactive Visual Media Group at Microsoft Research. Prior to my current position, I was a Research Scientist at ObjectVideo Inc. from 2007-2010. I received my M.S. in Robotics from Carnegie Mellon University in 2007. I received my B.E. in Computer Science and M.S. in Mathematics from Birla Institute of Technology and Science in India in the year 2005.
Research Interests
My research interests are in the broad area of computer vision. Currently I am working on projects related to large-scale image recognition. In my prior positions I have worked on various topics including: object detection, recognition, tracking, camera calibration and 3D modeling.
With BLINK for Windows Phone 8, you'll never miss the best shot. BLINK captures a burst of images before you even press the shutter, and continues to capture pictures after you've taken your shot.
- Edge Foci Interest Points
Unlike traditional detectors that compute interest points directly from image intensities, EdgeFoci uses normalized intensity edges and their orientations.
EdgeFoci and BiCE computation module (.exe)
Please see here for a list of my publications.
Contact information:
Microsoft Corporation
One Microsoft Way
Redmond, WA 98052
Tel: 425-703-3414


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by Elizabeth Kaye, Esquire
Lolita comes again: the book was banned, its author reviled, the first film version censored. Is there anything more about a lustful twelve-year-old nymphet that can shock American sensibilities? Yes; new film version of Vladimir Nabokov's 1953 literary classic; Cover Story
The Film Director Adrian Lyne, A Renegade Englishman inclined toward Irish stubbornness, had been intent upon filming Lolita, and he was doing it in the singular fashion in which movies are made: employing winter for a season meant to be summer, using a darkening day for an afternoon meant to be brilliant, and confronting, in the process, the unbounded tyranny of answered prayers. The crew, shielded by anoraks, faced away from the sharp San Antonio wind that raised stinging dust and released parched leaves from pecan and hackberry trees. Their camera focused on Lyne's redheaded Lolita, a fifteen-year-old in a red bathing suit, sprawling beneath a lawn sprayer that drenched her with spouting water as she frolicked with a panting male dog in a manner markedly erotic while puzzled passersby looked on.
"What's this movie about?" one asked.
"Some middle-aged guy" a grip answered, "who falls in love with a young girl."
"Based on a literary classic" said the unit PR woman. "Don't forget that."
"That's your department," he answered.
Lyne peered at the sky as if it were an unwelcome intruder. "We've got a suspicion of sun here," he said as he strode back and forth, biting his lip, propelled by the panic and bliss that accompany the bringing of desire into being.
"How are you, Adrian?" someone asked. Lyne smiled. Agitation abruptly dissipated; his seraphic face beamed. "Miserable," he said.
Then he called a cut, and the quivering young actress, silken skin chilled to the bluish pallor of bruises, was swaddled in dense towels and led away by the customary entourage of her mother, her teacher, and her body double. Her plight that bleak afternoon was suggestive of the twisted history of Lolita, both book and film, creations long fated to do time in the cold.
Written by Vladimir Nabokov in 1953, Lolita is a masterwork that was drafted in English by a Russian, a descent into the perilous terrain of human failing recounted by a narrator whom Nabokov described as "a vain and cruel wretch who manages to appear touching." The book popularized the words nymphet and Nabokovian, the latter meant to evoke an unorthodox author, a collector of butterflies who impaled his fictional characters with comparable permanence and precision.
Though the novel is not based on Nabokov's experience - his own marriage was impossibly ardent and joyous - it may be that his tenure as a professor provided its inspiration. A photograph displayed in Adrian Lyne's office shows Nabokov at Wellesley in 1945 among his female students. The girls wear bobby socks, Bermuda shorts, and immaculate blouses with sleeves rolled to the elbows. They have reached that ripening though tender season when girls are no longer adolescents but not yet women. In their midst, the middle-aged Nabokov appears not merely happy but somehow complete, having discovered at this American university a male intellectual's nirvana, where his most lucid lectures are lauded while he himself is extolled as handsome and engaging. The picture suggests a generative seed that will take root in the interior landscape of a writer who, though afraid to fly in airplanes, was entranced by the notion of space travel and could appreciate the way that everyday facts nourish the imagination.
Lolita charts the unraveling of Humbert Humbert, an urbane European beset by passion for a twelve-year-old American girl. Intent on being near her, he weds her irritating mother, who, upon discovering his fixation, dashes distractedly into the street and is conveniently run over by a passing car, leaving Humbert to wander the country with a youngster who has become his stepdaughter, his mistress, and his ward. With its innuendos and filigree phrasing, its delight in the minutiae of American kitsch, its summoning of that special desolation of being on the run after doing something irrevocable, Lolita is the ultimate road book, a literary sleight of hand both tragic and comic, harsh and tender. A uniquely perturbing and titillating work, infused with the particular cruelty of annihilative sex, it locates the precise but obscure juncture between high and low culture, between trash and art.
It is also a book that almost never was, since early on, Nabokov nearly burned his notes for the manuscript, then, less rashly, considered using a pseudonym for the finished novel. Initially, he sought to bring it out in America. "Would you be interested in publishing a time bomb?" he wrote James Laughlin of New Directions.
But with his time bomb rejected by every major American house, he settled for the publisher he attracted, Olympia Press, a Parisian outfit whose list ran to titles like White Thighs, With Open Mouth, and The Story of O. Its imprimatur assured that Lolita would be neither advertised nor reviewed, md it went unnoticed until January 1956, when Graham Greene designated it one of the three best books of the previous year. Unearthed, Lolita became entrenched as the literary work least likely to inspire neutrality. "It shocks," Harvey Breit noted in The new York Times, "because it is great art."
It was, wrote the editor of the London Sunday Express, "the filthiest book I've ever read."
By late 1956, Lolita was banned in France, and its British publication was delayed by an obscenity bill pending in Parliament. "My poor Lolita is having a rough time," Nabokov wrote to Greene. "The pity is that if I had made her a boy, or a cow, or a bicycle, philistines might never have flinched."
Two more years passed before G. P. Putnam's Sons became the sole publisher prepared to unleash Lolita on America's vestal citizens, generating a riptide in those becalmed years when the nation had succumbed to a postwar lassitude undispelled even by the combined assault of James Dean, Marlon Brando, and Elvis Presley "Over twenty-six hundred reorders today," Putnam wrote Nabokov the afternoon of its publication. Four days later, Lolita entered its third printing.
Nabokov's book became a movie in 1962, instigating a craze among teenage girls for heart-shaped sunglasses. Directed by Stanley Kubrick, this fashionable and notorious film was chiefly distinguished by james Mason's dexterous Humbert. For, as countless publishers had demonstrated, Lolita could instill apprehension in the previously unflinching. Faced with the project, Kubrick faltered, his much-touted sense of the bizarre finding expression only in the Peter Sellers role of Quilty, Humbert's nemesis.
Nabokov includes in his novel a mention of Lolita's and Humbert's untimely demises, she in childbirth, he of a heart attack while awaiting trial in prison, a denouement sufficient to satisfy the long-defunct Hays Code's insistence that God punish the wicked. But Kubrick planned an inexplicably upbeat ending in which Humbert makes an honest woman of Lolita while relatives bless the happy couple. A graft palpably destined not to take, it was eliminated from the script, for which Nabokov wrote early drafts that Kubrick discounted. The eventual product featured music by Nelson Riddle, a Humbert and Lolita who never kiss, and eroticism that starts and ends when he paints her toenails.
"How did they ever make a movie of Lolita?", began Bosley Crowther's review in The New York Times. "The answer to that question ... they didn't."
And Nabokov's credit as sole screenwriter would be neither the first nor last time in the film industry when bestowing credit was a means of assigning blame.
From the novel's emergence, readers either adored it or reviled it. Either way, Lolita was a staggering experience, albeit one subject to distinct limits in the 1950s, when, if sex with young girls was a prevailing male fantasy, it was also presumed to be primarily a fantasy. The term "sexual abuse" had not invaded the vernacular. Groups to recover memory did not exist. No statistics asserted that one in every five women had been sexually abused by her father or stepfather. And Humbert Humbert's predilections, devoid of real-life resonances, were less disquieting because readers felt assured that they were essentially fictive.
Only in the late 1980s did sexual abuse of children become that latter-day oxymoron: a familiar aberration. This occurred courtesy of the 1987 McMartin-preschool case, the nation's lengthiest criminal trial, with its weeping parents and testimony from studiously coached children. The charges of sexual abuse proved bogus. The suspicions they raised lingered, then spread like a bloodstain. At a time when authority everywhere was being questioned, previous certainties became doubted: the goodwill of priests and teachers; the conception of school and family as a haven.
In a riven America that was as conspicuous for the astonishing trash it tolerated as for the sanctimony with which that trash was deplored, it was no surprise that sexual abuse of children would be the sole act that solicited consensus. In the age of victim consciousness, abuse of innocents was, in a terrible sense, the right crime at the right time, one that everyone, regardless of party affiliation, religion, or class, could stand against. Plainly, the society that cannot safeguard its young cannot survive. And as stories of sexual abuse spilled into tabloids and talk shows, the revulsion they engendered was atavistic. With each revelation, notions about what constitutes abuse widened, until a six-year-old boy in a North Carolina public school was suspended for kissing the cheek of a female classmate.
The Western world, swamped in paranoia and litigiousness, was descending into bedlam by striving to keep bedlam at bay. Children were urged to sue their parents. Adults deleted from their behavior the most instinctive gestures. "We are bringing up a generation of children," said Jeremy Irons, who would play the role of Humbert Humbert in Lyne's movie, "who can be touched neither in anger nor in love."
Within a dozen years, the cure had become almost as malignant as the sickness.
There is the picture, and there is what its players bring to the making of that picture, what they hope the venture will prove, win, or refute. And the stakes were perilously high in an unforgiving world where everyone is two failures away from working in cable. Adrian Lyne, having made profitable films, stood to prove that he was capable of making a great one.
Lyne had emerged from the sharp-witted world of 1970s British advertising, where his career flourished but which he always despised. The men making commercials then - Lyne, Ridley Scott, Tony Scott, Alan Parker - were genuine talents, all wildly competitive, scheming to get their rivals' demonstration reels. "How did he do it?" Lyne would ask himself, running Ridley Scott's reels backward and forward. "Was it a track? Was it a zoom?"
"It had nothing to do with advertising," Lyne says now. "It had to do with learning to make little films."
Lyne emigrated to Los Angeles in the early eighties and made Foxes, his first feature. He was then persuaded to direct a script he had turned down,"just a silly fairy story, really," as he describes it, that seemed so unlikely to do business that Paramount sold a third of its interest a week before its release. The movie was Flashdance. In its wake, teenage girls, repeating the type of fad Lolita had sparked two decades earlier, wore sweatshirts that fell off one shoulder, and Lyne became the industry's most sought-after new director.
In those days, he would bound into Directors Guild screenings, burly, madly energetic, looking like the drummer in a fairly good rock band. In a town whose collective gaze is riveted to the bottom line, Adrian Lyne's success produced a curious self-righteousness as Flashdance - regarded as so commercial, so crassly like a music vide-took on demonic dimensions, and expanding numbers of mildly talented people agonized at the Polo Lounge over what it might do to their "art."
He went on to make 9 1/2 Weeks, Fatal Attraction, Indecent Proposal, pictures that had their adherents and their pickets. But they all made money, and some people never let him forget it. "You get it endlessly thrown at you that you're from advertising," says Lyne, "though I haven't done a commercial in ten years."
Yet the sniping fostered an energizing indignation, delivering Lyne from an insider's flabby self-satisfaction. As a commercial filmmaker, he had been known to feed audiences what they craved, reshooting Fatal Attraction's conclusion to satisfy the stated preference of survey groups. But Lyne was also refreshingly unguarded, ready to risk, to wager on instinct. He had adored Lolita since he'd read it in his mid-twenties. In 1990, the year he turned forty-nine, the property was optioned for him. For the next six years, his commitment to filming it never wavered, even as the climate became one in which his efforts could only be viewed as intrepid or as quixotic or misguided, the cinematic equivalent of smoking cigars in the presence of an emphysemic.
In February 1994, Lyne drafted a thirty-five-page outline and titled it "Preparatory Notes on Nabokov's Novel." A primary concern was what the audience would make of Humbert Humbert, the protagonist who is no hero." The movie should start in prison," Lyne wrote, ". . . because . . . if the audience understands that Humbert is paying his dues, it may help our case."
He turned first to James Dearden, who wrote Fatal Attraction. He then looked to Harold Pinter, whose efforts to address Lyne's concerns seemed likely to empty the theater with a stink bomb's efficiency. "My name is Humbert, you won't like me," begins Pinter's screenplay. "I suffer from moral leprosy. Don't come any further with me if you believe in moral values."
David Mamet tried next. But in early 1995, Lyne still had no script and was being backed into that final corner of what is known as development hell, where he needed to get one or abandon the project. Prepared to try anything, he took a suggestion from Richard Zanuck, then Lolita's producer, to read dialogue written several years earlier by the New Yorker writer Stephen Schiff for an unproduced film adaptation of the book.
Schiff had never written a script. He had never really aspired to write one, having tried his hand at Lolita out of attachment to the novel. Lyne hired him nonetheless, a viable index of what was either the director's vision or his desperation. "From our first meeting," Schiff recalls, "I was very aware of Adrian's fear that the audience would just hate Humbert. The concern was how do you get the audience, who understands that what he's doing is abhorrent, to view him as someone they want to spend time with?"
When Adrian Lyne began working on Lolita, Nabokov's book had sold fourteen million copies, yet, like any book made into a movie, it was better known for its filmed version, from which Kubrick excised Humbert's torturous history. Lyne had it reinstated, since this account, while not excusing Humbert's behavior, served to explain it and was so essential to understanding the material that Nabokov put it in the novel's opening pages: As a child, Humbert adored another child, Annabel Leigh. She was thirteen when she died of typhus. Humbert continued to seek her long after his own childhood concluded. "The poison was in the wound," says Humbert, "and the wound remained ever open."
Enchanted as much by Lolita's youth as by memories of his own, Nabokov's Humbert is the man who both comprehends and denies that he has grown too old for certain experiences. His desire for Lolita is a longing for what is no longer possible, a manifestation of the elemental wish of middle age: that the troublesome person one has become can be disposed of as naturally and efficiently as a snake shedding a skin.
In that reinvention - or so hope decrees - wrongs will be set right, the future will not repeat the past. And we will be conveyed forward and backward simultaneously, to an Eden that seems forever vanished. In this sense, Humbert is the deviant who is everyman, the everyman who is no man at all but an eternal boy who is big but not grownup, experienced but not adult, aged but not mature, brilliant yet stunted, as uncategorizable as Nabokov.
Adrian Lyne needed a Humbert. He considered Anthony Hopkins but decided he was too old; he considered Hugh Grant but decided he was too young. Then Lyne thought of jeremy Irons, whom he had encountered briefly when Irons visited Glenn Close on the Fatal Attraction set and with whom he had the flirtation that occurs between directors and actors when they first meet. "I wonder how we'd get on," Lyne had thought, watching Irons. "I wonder how he thinks."
With his fluent gait, his fastidious but unstudied bearing, Irons is one of few contemporary actors with sufficient style to have been a star in the 1930s. A man who relishes surprises and secrets and cultivates an enigmatic aura, he generates a considerable mystique drawn from temperament and intent. Gregarious yet restrained, ebullient but elusive, he is catlike, by turns amiable and edgy, establishing boundaries with people even as he connects with them. "I'm quite conscious of the effect I have upon the watcher," he says. And he knows that the impact of his work derives less from what he does than from what he insinuates.
"If you want an actor who isn't afraid of looking bad," Harold Pinter once told a director, "get Jeremy Irons."
But Irons didn't want to play Humbert. I've played enough weirdos," he told Lyne. "I need this like a hole in the head."
"Don't be so politically correct," Lyne said.
Irons's American agent liked the script, but the actor was warned against it by his English agent and everyone else whose opinion he trusted, i.e., the male star's coterie of wife, PR woman, makeup lady. Glenn Close, whose work with Lyne in Fatal Attraction lent her a change of type that revived her career, told Irons that Lyne was terribly protective of actors. She also said he shouldn't play Humbert.
Word of this reached Lyne. He was furious. That's a knee-jerk reaction, he thought. He called Glenn Close. "Are you saying," he shouted, "that I can't touch this subject?"
"It upsets me," Lyne recalls her saying, in a voice no calmer. "I've got a daughter."
"Perfectly understandable," said Lyne. "I've got two daughters. But the idea that you wouldn't do something, the idea of self-censorship, is more sinister than upsetting people."
Eventually, the shouting ceased. "All the work I'd absolutely decided I shouldn't do, but did," Lyne recalls Close saying then, "worked very well for me."
"I think she understood," Lyne would say later, "that I really loved the novel and that if you feel that strongly about a subject, there's a chance of it being half decent."
Glenn Close called Irons again. "Remember what we do," she said. "We do great roles with great scripts and great directors. And isn't this that?"
And I'm turning it down, thought Irons, because I'm worried about what it will do to my career?" Ludicrous! " All right, then," he said. "Let's be politically incorrect! Let's stir the waters!"
"Yes," Irons recalls Close saying, "even though, as the mother of a young girl, I still find it all very difficult."
It would be difficult for Irons, too. He also had children: two sons, aged ten and seventeen. And the professional risks sometimes seemed titanic. "I never stop thinking of them," he allowed midway through filming.
For Adrian Lyne, the project would be albatross, privilege, vindication, absorbing him so acutely that, editing the film in the midst of a late-summer heat wave, he failed to notice that he was heading to the cutting room each day in heavy winter clothes.
The Film industry is regarded as the outpost of the essential American ambition: to be rewarded with fame and riches for doing no more than being oneself. In fact, that industry is populated by dedicated people who seek to prove not merely that they have talent or can make money, for there are many talented moneymakers. The more substantial goal is to prove that they are serious.
Jeremy Irons was different. He did not need to prove his seriousness, because his body of work was so impudently eccentric, so brashly noncommercial. Apart from a stint in a Die Hard movie intended to demonstrate his willingness to play the Hollywood game, his nineteen film roles - among them, the Polish-speaking worker in Moonlighting, the lambent priest in The Mission, the accursed twins in Dead Ringers - pandered to no taste but his own, their selection driven by a resolve "not to be embarrassed at my retrospective" and by the incisive intelligence he is often convinced he does not have.
Coming from Cowes, on the Isle of Wight, he aspired to an easy existence of sailing boats and riding horses. He settled on acting for reasons of style. Drawn to the romance of the touring actor's life, he yearned to belong to a family of gypsics, to inhabit a world on wheels, to live with a bit of risk and constant change and, perhaps, the means to keep others at a distance. If he hadn't been an actor, he often thought, he would have liked to be a long-distance lorry driver.
He struggled. Then came Brideshead Revisited. One Sunday morning, shortly after his thirty-third birthday, he bought the papers, saw his face on the cover of four Sunday supplements, and knew that the game had changed. Having entered his profession for reasons not the least artistic, he stayed on to become a craftsman who loved honing a part. An actor who could seem, by turns, the embodiment of the sacred or the profane, he worked with a delicacy that affirmed that nothing is more profound than silence or more telling than simplicity. "There you are, you clever man!" Jessica Tandy exclaimed when he loped onstage in 1991 to take an Oscar for his portrayal of Claus von Bulow.
Still, he would say, "I always feel a charlatan." And he was uneasy around colleagues like Vanessa Redgrave or Ian McKellen. "They're artists," he told himself," and I'm not."
By the time he took on Humbert Humbert, Jeremy Irons did not need to prove his seriousness to anyone but himself.
There was never a career quite like his. If stars were paradigms of manly assertion, he became a star by playing that paradigm's opposite, the man who can neither master nor control his environment, who is doomed to be in the thrall of women. Like other polished Englishmen in American films, such as Cary Grant and Ronald Colman, he was regarded as desirable while displaying the perennially unappealing traits of desperation and dependence. Audiences, he believes, can be compelled by actors who are male rather than macho. "I think," he says "that I'm tough enough."
Onscreen, he was passionate, but beyond that, he was aggrieved, the dark eyes haunted, beseeching, as if scanning the near distance for impending disaster, his characters mired in the circumstance that most intrigues him: the agony that lurks beneath the appearance of normality. Ultimately, they were devastated beyond hope of redemption. "I don't expect much from the future," says his character in Waterland. "I'm gone, I'm history" As it happens, that line was written into the script by Irons.
When he tested for Humbert, he had a moment that assured Adrian Lyne that his instinct about Irons was faultless. "It was that moment when you know Humbert's a beaten man," Lyne told him. Once Irons took the role, Humbert Humbert seemed the point toward which he had long been tending.
On the set, he was perpetually questioning, suggesting, rejecting shortcuts and easy answers, his well-marked Penguin edition of Lolita ever nearby. Painstaking in his exploration of characters, he is loath to institute a similar exploration of himself.
"What are you thinking?" asked his wife, the accomplished actress Sinead Cusack, early in their nineteen-year marriage.
"I'm thinking about curtain rods," he said. And he seeks to stay focused on curtain rods, or their equivalents: locating doors for the house he built his family in Ireland, Rollerblading, gardening, playing guitar. Yet artistry and earthiness do not keep him from remaining, in some measure, the proper Englishman he insists he isn't, to whom introspection is vulgar, who perceives a man's task as assaulting that which is seeable, fixable, doable.
At work, he readily veered from that rigorous equation. Watching him film Lolita with a neophyte actress, observers speculated that Irons was doing a herculean job of hiding his real feelings of frustration. "My real feelings," he said later, were always what Humbert's feelings are. And anything else, any Jeremy thoughts, get right away."
And you can stay in those feelings?" he was asked.
"Oh, yes. I'm a daydreamer," he said.
Dominique Swain had never acted before, which gave her more to prove than anyone and less to lose. Raised in Malibu, in an unassuming house within a distant canyon, she was observant and smart, a verbal child who generally succeeded at what she did, the inevitable focus of attentive parents who described aspects of her conduct as "very Dominique."
Dominique's favorite movie star is Juliette Lewis. She has never heard of Paul Newman. When her costar introduced himself saying, "I'm Jeremy Irons," it meant nothing until she discovered that he had played Scar in The Lion King. He sang the theme song for her. "But I think he was kind of disappointed," she would say later, "that I didn't know any of his serious stuff."
She wanted to act, she says, "for attention. To be in the spotlight and have everyone's eyes on you and have control over the situation." She began going on calls when she was nine, auditioning for wholesome enterprises like bread commercials and The Brady Bunch Movie. When she tried out for Lolita, she hadn't auditioned in two years and had kind of given up. Her teeth were in braces.
She learned of the part from her manager at that time, Rich Leo, an obscure but dogged hustler with an eye on the main chance. He gave Dominique the novel. "It's all through Humbert's eyes," she told Leo. "Lolita doesn't have a point of view. I think I can give her one."
Dominique made a video, reading from the book, camping a bit. She sent it to Adrian Lyne, who liked her braces and the way she moved. He flew her to New York to audition. "She's unpredictable," he mused, watching her. "Endlessly inventive. Pretty much plays herself, really."
A few days later, the casting director called Dominique's house and left the message "She's our girl." And Dominique, having been driven from the airport to the audition in a town car, was conveyed back to the airport in a limousine.
On location, she was like her character, sensing her budding allure and playing on it. "Hi, guys," she would say, approaching Lyne and Irons with the unshakable insouciance of a model stepping onto the runway, entwining her slender arms through theirs. Irons maintained his distance. Lyne was captivated, introducing her as "my Lolita," laughing delightedly when she abruptly hugged him or contrived a bit of business.
"You always surprise me," he told her.
"I surprise myself sometimes," she said.
But her equanimity deserted her when she had to play the seventeen-year-old, pregnant Lolita, and she became so agitated that shooting was delayed a day. She had long dreaded that scene, and perhaps it signaled, in a film shot in sequence, that her experience with Lolita was reaching its end. "It was really nice," she said months later, "to have so many eyes on me." Although she was soon cast in another movie, it would be a while before anyone could know whether Dominique would avoid the fate of Sue Lyon, for whom playing Lolita in Kubrick's movie pretty much began her career and finished it.
When Jeremy Irons arrived at the initial location, in Wilmington, North Carolina, Dominique Swain had been there a month, rehearsing with Adrian Lyne. Irons saw that they had bonded. He felt excluded. Lyne, Irons suspected, had determined that one of them would control Dominique and wanted to make sure it was he. "That's totally crazy," said Lyne when Irons broached the matter. "I never thought about it. It's just that I have to nurture her because she's never done it before."
Dominique was so inexperienced, in fact, that in early rehearsals, Lyne fastened signs on the door, from top to bottom. Talk, listen. Talk, listen, they read. "That's so you'll remember," he told her, "that it isn't a question of waiting for your cue."
Directors weigh what they envision against what is possible. The trick is to develop enough craft to coax what you imagine into reality. With the shoot in progress, locations changed as Lyne, seeking to lend authenticity to Humbert and Lolita's road trips, carted his cast and crew across America - from New Orleans, with its looming magnolias and sycamores, to lowbred towns wedged among the sepia-toned hills of Texas, to the harsh stillness of the Las Cruces desert.
Days, then weeks, passed. Lyne took to waking in such a state that his wife felt like weeping when she watched him go off to the set. "What worries me," he told his cinematographer, Howard Atherton, "is how the fuck we're going to get through this work." Through it all, he took great care with his actors. "You have to tread like over eggshells," he noted later, "because these poor buggers are naked and you're wrong half the time." But with his own anxieties to tend to, he never let actors watch dailies with him. You need an hour to bad-mouth them and say they're awful and that you'll never work with them again," he says. "You need an hour just to have hysterics. You know what I'm saying?"
Inevitably, the societal rules violated by Lolita's saga were in force on the set. Dominique was not permitted to sit on Irons's lap unless a cushion was placed between them, and her nude scenes were played by a nineteen-year-old body double also enlisted to ran her hand up Humbert's thigh.
It was not that Dominique objected to playing sex scenes or being seen naked. The ruling precept was that an underage female is an innocent, though, like many American shibboleths, it was a tad simplistic. The book and film aspired to more realistic complexity. Their Lolita was an adolescent who, as girls do at that stage, alternates between being a child and a woman and, as such, is the seducer and the seduced, the perpetrator and the victim.
On the set, sexual scenes between Lolita and Humbert simply became the work at hand. Once you adjusted to them, they no longer seemed unusual. One night, the set was closed while everyone waited in the biting cold outside a tacky motel room, where Lolita wailed as Humbert lay in bed, listening. Then, wearing pajamas, red hair wrapped in rags, she stumbled toward him, pathetic and ludicrous, and fell into bed beside him. The scene caused no embarrassment. The principle in which the movie traffics had taken over, proving that the line between what is reasonable behavior and what is not can be moved so incrementally that a sea change can take place without being noticed.
At times, people working on the movie felt compelled to defend its subject, often for the oddest of reasons, among them that since girls must cease to be virgins, they may as well be deflowered by their fathers, who can, at least, be said to love them. One principal figure in the action, denying Humbert's calamitous effect on Lolita, invoked a female friend who had been sexually abused as a child yet had emerged miraculously unscathed. "Making a movie about something," Jeremy Irons would say, "isn't condoning it."
Early on, shooting in Wilmington, Dominique suggested to Irons how he might play the scene. "Don't tell me what to do," he told her sharply. Scared and embarrassed, she burst into tears. But Dominique Swain was a quick study, and filming Lolita was, in any case, an endeavor uniquely geared to hastening a young girl's growing up and to dismantling a grown man's defenses. One day, they prepared to shoot the scene in which Humbert forces himself on Lolita, sensing she has been with someone else. Astride her, he moves back and forth, devastated, weeping. "Who is it?" he begs. "Tell me, tell me."
Sex scenes were the most demanding for Irons, the hours preceding them the most uneasy. "That's when I keep quiet," said his assistant. And this particular scene was more formidable than many. The camera was right there. Dominique's mother was there. He was tired. They tried it once. It didn't work. They tried it again. "I can't do this," said Irons, nearly in tears, covering his face with his hands.
Lying beneath him, Dominique stared at him for a long moment. Reaching up, she peeled his hands from his face. She looked into his eyes, her gaze at once forthright and tender. "Yes you can," she said.
As the year neared its end, Irons awaited A break in the shooting of a movie for which he was required in nearly every scene and whose filming was so protracted, so intense, that the joke on the set, as the holidays approached, was that Christmas would be ten minutes. Matters that failed to faze him on some days troubled him on others, and then he would consciously deflect anxiety. "Where is Jerry?" he demanded one morning, looking for his wardrobe man. "I want to be cross with someone."
Filming Lolita had both galvanized and drained him. At his most accessible, Irons mm a romantic, but at bottom, he was a realist who understood that what you want does not always bear on what you get. "I hope people will see a tragedy and a love story," he told a friend in a rare speculation on how audiences might respond to the finished product. "I hope they'll laugh and cry and be very confused about why they're laughing and why they're crying."
Finally, the holiday break called, he set off for home with his youngest son, Max, who was visiting his father on location. "What time do we get to London, Dad?" asked Max.
"This is not the part of the journey to ask that question," replied Irons.
"Because we might get stuck in Dallas for fourteen hours."
"Why fourteen?" asked Max, but his father was on to another matter.
"You know how to make God laugh?" he asked. "Tell him your plans."
Max frowned. "I don't get that at all," he said.
Irons ruffled his son's blond hair. "Well," he said, "you may have to live a bit longer to get it."
Throughout the filming, everyone affiliated with Lyne's Lolita had stressed that his was no cinematic remake but a picture truer in form and spirit to Nabokov's novel. This was Lyne's abiding intent and the achievement of his meticulously assembled initial cut, in which the camera caresses Lolita's nubile form and Humbert has his way with her while she reads the comics. But this version might never reach a theater near you in its stark entirety, for Lyne, while adopting a rawly explicit approach to sexual concerns that Nabokov dealt with by inference, was contractually bound to deliver an R-rated film based on material whose nature strained the limits of NC-17 in its most unabashed reading.
Months after principal photography concluded in February 1996, the movie did not have a distributor. Speaking with the British press, Jeremy Irons fretted that it might never get one. "Every time he opens his mouth," grumbled one of Lolita's flacks, "we get in trouble."
In fact, the film's producers were not seeking distribution until the final print was ready, a procedure Lyne instituted with his flagrant 9 1/2 Weeks. Still, there were rumors. In one, failure of nerve prompted Lyne to domesticate the enterprise into "a $40 million art-house movie." In another, prospective distributors, chastened members of an industry denounced for licentiousness, were questioning Lolita's suitability for audiences.
"If I were doing a movie about a thirteen-year-old getting chopped up by cannibals," Lyne was quoted as saying, "there'd be no problem."
In time, dire tales about Lolita's fate became as much a part of Los Angeles mealtime fare as decaffeinated cappuccino, even if their most telling aspect was that the project's nature allowed them to fester. In june, at a reading of the novel given by Irons, a brief corrective was offered by the author's son, translator, and literary executor. "I have no doubt that Lolita will be an excellent movie" said Dmitri Nabokov, and I have no doubt that it will find an excellent distributor."
Soon after, Lyne told an Entertainment Weekly reporter, "Anybody trying to translate this novel into a film is doomed, because the novel is so extraordinary," and was appalled to find himself quoted around the world as saying, "This movie was doomed from the start." Following that misunderstanding, officials of Chargeurs, the French company financing the movie, instructed Lolita's participants to reserve discussions with the press for later.
In early September, one year after he began making Lolita, Lyne watched an edited segment of it. While shooting, he had forced himself to stay silent during a final scene, when Irons chose to play Humbert's first glimpse of Lolita, after years of absence, with a face that literally shook. "That was kind of over-the-top," Lyne thought, watching him do it. "Yet when you look at it," he told a colleague after screening it, "it breaks your fucking heart." Lyne had labored to be true to the novel. And his efforts, as had Nabokov's, had produced a reproof of human nature that also was an elegy for the human condition. "I think it will work," said Lyne, "if people can get past the subject matter."
Dominique Swain was restless. She missed the attention. Most of all, she missed Adrian Lyne, who had recently delighted her by sending flowers on her birthday and attending her school play. In summer, she had enrolled in junior lifeguard training, and the day it ended, her mother picked her up at the beach and drove her home. She leaned out the car window. "Goodbye, guys!" she shouted to her friends. No one responded. "Oh, God!" she said. "Nobody cares!"
Lately, she was staying out late, not calling home when she should. Playing Lolita had satisfied Dominique's longings but only temporarily, and now it was her turn to discover that answered prayers are hard to contend with. Her mother, not sure how to handle her, called Lyne. He promised to talk to Dominique, who was now sixteen, four years older than Lolita at the onset of her liaison with Humbert. But however much Lyne was compelled and intoxicated by the improprieties of Lolita, as a man in his fifties with a twenty-one-year marriage and a family, he understood that the standards one accepts in art are not necessarily those one lives by. So, reaching Dominique, a parental Adrian Lyne wanted to know, "Are you staying squeaky-clean, m'darlin'?"


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Billy Bob Thorton's Daughter Gets 20 Years in Florida Prison for Aggravated Manslaughter of a Child
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The child, Olivia Madison Garcia, who was Brumfield's Goddaughter, died of swelling and bleeding to the brain. Brumfield tried to explain away a 3½-inch fracture found on the girl's skull as a result of a short fall after the toddler tried to climb out of her playpen, but medical experts testified that a fall from such a short distance would not have caused such severe injuries.
Brumfield also waited more than two hours after the incident to call for help. After the accident she also fed the child bananas and painted her toenails.
Brumfield was convicted four months ago on manslaughter charges in the same courthouse as the Casey Anthony trial. Though she was acquitted of first-degree murder and aggravated child abuse charges.
Thorton has had little contact with his 32-year-old daughter since her birth. Thorton divorced Brumfield's mother in 1980, and did not keep up a relationship with his oldest child.
"He's pretty much made me feel like I've been shut out," Brumfield told Inside Edition in an interview back in 2001. "I mean, I have nothing against him. I love him. He's my father. I just want him to be around. I don't want to cry, but it's not fair to watch him on TV every day, and I can't even get a call."
Well, if Thorton wants to rekindle the relationship, he'll know where she'll be for the next 20 years.
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