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Hunks Punch Lunks: The Fascist Sex Cult Of The Professionals
Taylor Parkes
, April 1st, 2014 07:38
Taylor Parkes celebrates the strange and sometimes unsophisticated, yet hypnotically rewarding, representation of "the hardest men in the world": The Professionals
I once lived above a shop in Archway. You reached the flats through a door from the street, with a lock which often got stuck; sometimes the only way to get it open was with a good, solid flying kick. On those occasions – as a grown man of 23 – it was impossible not to then go charging up the concrete stairwell firing an imaginary pistol, sending imaginary terrorists tumbling from on high, always flipping over neatly so that they'd land on their backs. Most likely I'd have been wearing a leather jacket with epaulettes and a pair of slim-fit cords at the time. Infected, I was, at an early age; some things stay with you.
Like The Professionals. Yeah, it's schlock. It's also the most peculiar, the most surprising, the most grotesquely fascinating programme of its day. What's more, it constitutes some of the funniest television ever made – and that's not laughter of derision, either, it's laughter of delight. Because The Professionals isn't just crap. If that were the case it'd be fun for fifteen minutes and then punishingly dull, like The Young Doctors, or one of those Fifties sci-fi movies about Communists from outer space. It's not just crap – it's much more than that.
The Professionals is not art, but neither is it purely kitsch. Rather, it's that most hypnotic and strangely rewarding of phenomena, the good-bad TV show. Aesthetically atrocious, morally questionable, ludicrous from top to bottom... and yet so hugely entertaining on its own terms, you can't look away. At root, a rollicking action show. Then, beyond that: worlds of wonder. A unique synthesis of lowbrow flash, outrageous violence and dumbfounding, mind-poaching implausibility that's more enjoyable than it has any right to be; more enjoyable than almost anything. Genuine thrills, ridiculous spills, and a vanished Britain on display. Laurie Johnson's devastating theme tune; the fact that Bodie runs like a girl. The Professionals, surely, is the very epitome of the good-bad TV show – has there ever been a better, shitter one?
(It's also a conduit for some pretty appalling but very interesting right-wing propaganda, but we'll get to all that stuff in a bit.)
Anyway, as of today, series 1 of The Professionals is available on Blu-ray, which for longtime fans is a somewhat bigger deal than it sounds. The Pros has looked ghastly for a very long time – rather like old US Army footage of nuclear tests in the Nevada desert. There's a simple reason for this: all previous video and DVD releases, as well as those heavily-edited ITV4 repeats, were sourced from copies of gnarly old broadcast prints, made in the early 90s using a now-obsolete film-to-video conversion system which didn't work properly – darkening the picture, smearing the detail, tinting everything a nauseous green.
Properly restored for the first time ever, from negatives once thought lost, it now looks every bit as lovely as you'd hope, if not a little lovelier. There are all the usual issues with HD remasters of very old shows (a wash of grain when you get up close, colour grading so extreme that when the boys don matching scarlet tracksuits in 'Long Shot' your eyeballs melt down your cheeks), but otherwise this looks fantastic, an improvement so absurdly huge you could laugh out loud – though not half so loudly as you'll laugh at that rarely-seen first-series title sequence, Bodie and Doyle hurling themselves around an assault course like a couple of eight-year-olds playing army... such exhilaration! Such a total lack of coordination! Right there: the magic of The Professionals.
Ahh, that unyielding machismo, worn so painfully tight... so tight, in fact, that the very fabric of reality is distorted. Only in The Professionals could you hear a line like "Mr Cowley, I'm the secretary of the National Gay Youth Organisation. I'm not a homosexual myself, but many of my friends are." This stuff is dizzying, incomparable. Camp, yes, but camp does not cover it. This is something else.
Bodie and Doyle: the hardest men in the world. The hardest – indisputably. Over the course of the series we meet international terrorists, underworld enforcers, leather-coated killers from the Eastern Bloc... none of them leave a scratch on these bastards. The casting, then, is quite extraordinary. Brawny Lewis Collins at least looks like he could handle himself in a pub fight, but poor Martin Shaw looks exactly what he was: a pretty-boy actor, rattlesnake skinny and five foot eight when he stood up straight. Shaw hurling seven-foot Yardies around the room without breaking sweat is one of the most bizarre things ever seen on a screen – but then, part of the programme's charm is that we're expected to take so much on trust. Yet to upgrade to the Ford Capri, the boys are, in several of these episodes, chasing the world's most dangerous men in an off-white Triumph Dolomite. Anything is possible.
This first series isn't the best, particularly not if you're looking for things like sharp dialogue, careful plotting and long-term character development, but then if you're looking for these things you've already wandered quite some way off course. We're talking about dialogue like this:
"Where's the raid?"
"It's tomorrow night. At Barrowsby."
"What, the nuclear fission waste recycling plant?"
...and an approach to character development which leaves the end credits looking like this:
Pretty Girl – Suzanne Danielle
or this:
Handsome Negro – Tony Osoba
But series 1 has a batshit flair the programme never quite recaptured. Check out those squealing shifts of gear between ham-fisted humour and attempts to be "gritty": one minute we're supposed to be laughing at Bodie and Doyle's surreally witless banter, the next a cosy middle-class family are taken hostage and a terrorist punches mum in the face in front of little Billy. Since they couldn't yet afford to shoot on location in central London, things keep kicking off in leafy corners of the Home Counties: Amersham, Rickmansworth, Burnham Beeches. You can barely move on the mean streets of Marlow for left-wing extremists with fluttering accents, hanging out the side of Cortinas, pumping bullets into startled golfers.
It looks different to the later series, too – curiously static, unnervingly old-fashioned. Most bizarrely of all, half of it's dubbed like a kung-fu movie: Roger Lloyd Pack, Trigger from Only Fools And Horses, turns up as a sinister Carlos-The-Jackal-like assassin, and is something of a hoot with his shades, medallion and Iggy Pop haircut... then when he opens his mouth and somebody else's voice comes out, good luck with breathing.
There are all sorts of reasons why The Professionals is so unexpectedly strange and mesmeric, but the main one is its creator: the semi-legendary Brian Clemens, exemplar of a certain breed of talented hack now all but extinct.
Clemens began as a jobbing scriptwriter on British B-movies, rattling off screenplays for the famously parsimonious Danziger Brothers ("For a long time the Danzigers didn't have any studios of their own... they'd move in anywhere there were still sets standing around from big movies. They'd come to me and say 'Look, we've got two weeks to shoot, so we want you to write something for these sets, and it must have the Old Bailey, a submarine and a mummy's tomb in it.' So I'd write it to order. And nobody believes that they made movies like this once, but it's absolutely true"). By the late Fifties he'd made the inevitable move into television, involved in the creation of the Patrick McGoohan series Danger Man, and then The Avengers, the show which made his name. Approached in 1977 by Brian Tesler, head of London Weekend Television, to come up with a weekly adventure series, Clemens devised The A Squad, a show about an elite anti-terrorist unit. This would be streamlined into The Professionals, following the fortunes of a shady and suspiciously handsome Home Office department with carte blanche to kill or fuck anything they felt like: the very imaginary CI5.
Clemens' formula for the new show was so beautifully bizarre because – like the Danzigers – he used whichever bits of other people's stuff just happened to be lying around. In line with Tesler's request, he sketched out a tough and superficially realistic post-Sweeney world, filled with terrorism and urban violence... then within that world he placed the unnatural dialogue and unlikely bad guys of the 1960s action series on which he'd cut his teeth. He threw in an awkward approximation of the wisecracking gunplay of American cop shows, very big at the time... then, by necessity, set the result in south-east England's sleepiest suburbs. So it is that Doyle – trying to look like a hard nut – forces a shotgun under the chin of a mobster on a high street in Windsor, in front of a takeaway called Mr Chippy. So it is that Britain is saved – in the nick of time! – from a nuclear bomb in a bowling alley in Hemel Hempstead. (This episode, 'Stake Out', also features one of the series' greatest ever lines, as Cowley swings into action: "We'll need a Chopper – and the nuclear bomb squad!" One imagines the nuclear bomb squad sat around with their feet up, swigging from cans of lager: "Is that the phone ringing?" "Nahhh... can't be.")
Casting was rushed, but they got lucky. For the role of George Cowley, CI5's peppery supremo, Clemens wanted Clive Revill, but was more than happy to settle for reliable old pro Gordon Jackson. The other two leads were cast and recast: until surprisingly late in the day, Bodie and Doyle were to be Anthony Andrews and Jon Finch.
Finch was a proper Shakespearian actor with a good, flinty screen presence, but he was an awkward bugger; even Alfred Hitchcock struggled to keep him in line on the set of Frenzy. Clemens had a great deal less time and a great deal less patience, so when Finch, having already accepted the part of Doyle, announced that of course he could never play an ex-policeman, so that bit would obviously have to be changed, he was sacked on the spot and replaced with Martin Shaw – though if Clemens thought this relative unknown would be so glad of the work that he'd shut up and get on with it, he was sorely mistaken. The dashing Anthony Andrews suited Clemens' original concept of Bodie as a smooth ex-military man, but he and Shaw were mates, and their chummy relationship gave their scenes an inappropriately cosy feel. A few days into filming on the first episode, Andrews got the elbow.
In came former Merseybeat drummer and ladies' hairdresser Lewis Collins, a somewhat limited actor – his "range" being more of an oscillation between smirking and glowering – who'd recently appeared with Shaw in an episode of The New Avengers, Clemens' iffy 70s reboot with Joanna Lumley and Gareth Hunt. The two had got on very badly. Clemens remembered this personality clash – or "spark", as he preferred to call it – and, deciding it was just what he was after, signed the pair to a four-year contract. And incredibly, he was right: while Collins and Shaw would never be friends, and their acting styles clashed horribly, somehow the partnership worked to perfection. In the show's five-series run, there's not a single scene in which Bodie and Doyle are both onscreen which is not wonderfully watchable.
These early episodes are Clemens in excelsis. Not one line of the dialogue bears the slightest resemblance to anything anyone would ever actually say; logic and reason are abandoned; a strange kind of excitement is the only thing that matters. In 'Close Quarters', Bodie has a fortnight off because he's been shot in the hand, so he takes Nick Drake's sister out on the river at Marlow – only to chance upon the very boathouse in which the leaders of the Baader-Meinhof gang are staying whilst on a jolly to Britain. Despite only being able to use one hand, and having to wet-nurse a terrified woman who looks like Nick Drake, Bodie captures Andreas Baader (the gang have all been given false names – perhaps the producers were worried they'd write in and complain? – but it's not hard to work out who's meant to be who). He flees to a nearby vicarage, pursued by three angry RAFers all toting machine guns which they must have found lying around somewhere. In a subtly symbolic moment, the vicar tries to make peace with the terrorists and is shot to smithereens – although, as ever when people die in The Professionals, nobody gives a shit. Anyway, a thrilling siege ensues, and Bodie sees off the whole Baader-Meinhof gang, quite literally single-handedly – although of course, the task of dispatching the lady terrorist falls to Ms Drake, because we couldn't possibly see Bodie do that. A nice day out for her, then. Unsurprisingly, we don't see her again. Still, she learnt a valuable lesson: hot lead is the only language Marxists understand.
Equally awesome is 'Heroes,' written by Sapphire & Steel creator PJ Hammond, but tweaked by Clemens to the point where PJ insisted his name be removed from the credits. There's an assassination: thugs hold up a van, blasting off the doors with plastic explosive and taking out the bloke who wanted a Waldorf salad in Fawlty Towers with a sawn-off shotgun from point-blank range. This happens on the Tring bypass, in broad daylight, with traffic backed up for 500 yards. As you'd imagine, everyone immediately gets out of their cars and walks towards the killers: an old man goes up to the one with the gun and pulls off his mask for no particular reason. Someone gets out a cine camera and starts filming them; a couple of lorry drivers pinch a bulldozer from a nearby roadworks and shunt their car down a grassy bank. So the assassins run away, firing the sawn-off shotgun randomly into the air as they go – someone picks up one of the lamps from the roadworks and throws it after them. It's all a bit peculiar. Anyway, these have-a-go heroes make it onto the Nine O'Clock News, and are all set to testify in court. But Doyle reads the paper one morning and sees that – oh dear – the press have published their names and full addresses. They've somehow resisted the temptation to include detailed floor plans of their homes with dodgy window latches circled, but hey – it's bad enough as it is. The lads are sent on a bodyguard job, which climaxes with Mad Tommy (the CI5 agent whose extraordinary zeal is explained by the fact that "his whole family were wiped out by terrorists") blowing two of the baddies out of a dinghy with a grenade launcher, while Bodie shoots the other two from behind a motorised lawnmower. Having watched the whole of Sapphire & Steel, every surviving episode of Ace Of Wands and his contribution to the children's supernatural series Shadows, I can say without hesitation that 'Heroes' is by far the least realistic thing that PJ Hammond has ever written.
But there's so much depth; a depth of horseshit half the time, but depth nonetheless. In every episode I watch – and this is probably the fifth or sixth time I've seen most of these – I'll notice something new and have to rewind the disc to double check that I didn't just imagine it. Near the start of 'The Female Factor', Doyle picks up a framed photograph of Cowley which is lying around in his front room. A framed photo of his boss. He's also got an album by Magma. Yes, Magma. Because that's the kind of music people like him listen to. Doyle out of The Professionals, Steve Davis... you know, those kind of people.
The Professionals is not just a laugh-at-the-trousers programme – if it were, I'd not bother with it – but its strong sense of time and place is certainly part of the appeal. Like most programmes shot on location it is, aside from anything else, a fascinating time capsule. What The Sweeney is to worn-out mid-1970s Britain (tin ashtrays, floral headscarves, bent-faced men in grey slacks and platform shoes kicking each other in the bollocks), so The Professionals is to the very late 70s and very early 80s: huge microwaves, Harrington jackets, Eddie Kidd in a neon nightclub drinking Harp from a glass with a handle. This first series was shot in the second half of 1977, but in a Britain already setting up for the 1980s: sleek and bleak.
This short-lived aesthetic is arguably the 20th Century's ugliest, but it's dear to me, because it informed my first imaginings of adult life. At this most impressionable age I was impressed upon by prime-time television, aspirational advertising and the cosy certainties of school, in which Britain was a neatly-ordered social democracy where bakers baked, butchers butchered and filled-in forms would sort out anything untoward. I could see my future already: living a life of luxury with Imperial Leather soap, smoking cigarettes in airports or behind the wheel of a TR7. Drinking spirits and wearing rings in warmly-lit low-ceilinged bars, ministered to from cradle to grave by the wholly benevolent hand of The State. It's no wonder I went fucking mental.
The main thing I learnt from television of this period, though – and this most certainly applies to The Pros – is that whenever one man walks into a room in which another man is sitting, the second man will get up and pour them both a large neat whisky, in the middle of the day. Often the first man will down it in one, and then hold out his glass for another. Were people just half-pissed all the time in those days? How did anyone get anything done? Yet this is one of the trappings of late 70s and early 80s manhood which is still very much within reach. I might start keeping Scotch in a decanter on a silver tray on my sideboard for the next time someone visits me in the early afternoon. The rent assessment officer would appreciate that, I think.
Lewis Collins' Bovril advert, 1984
Something else which makes The Professionals so fascinating is its passionate embrace of what we might call the swinging right wing. These days, the popular perception of 1970s television scriptwriting is that from Play For Today to Doctor Who, it was the preserve of the rock-hard Left. In fact, there were plenty of prominent writers whose work leant steeply to the Right: Wilfred Greatorex, Ian Mackintosh, Charles Gidley Wheeler. By the second half of the decade, in television as in life, those voices were getting louder.
Practically the first thing you hear in Channel 4's 1996 documentary about The Professionals – included in the extras here – is some shit-fool TV critic guffawing: "The best thing about The Professionals was that it was politically incorrect!!!" This may well have sounded reasonable (if not terribly insightful) at the time, when not being Ben Elton was the most important thing in the world. These days, worn down by Little Britain and Ricky Gervais and Jimmy Carr, the steady thickening of troll culture and concomitant erosion of human decency, that smugness and lack of foresight inspires impotent fury. You want to scream back: "It's you – it's your fucking fault! You fucking Nineties idiot!" (For some of us, it must be said, this reaction does involve an element of Caliban's rage.)
Anyway, "politically incorrect" is a rather misleading term here, because The Professionals isn't trying to get a rise out of anyone, nor does it think of itself as transgressive. Rather, it's set in a deeply peculiar right-wing fantasy world, where this is just how things are. A world where everyone – but absolutely everyone – seems to read the Daily Express. Where the only people with left-wing sympathies are naïve rich kids trying to be clever and foreigners with machine guns. Where you can earn your very own file at CI5 by being "photographed on an anti-National Front march... signatory of a petition against the Ecuadorian military dictatorship... nothing much else".
In this world, you can spot the bad 'uns a mile off: they all have Che Guevara posters. Keith Barron's army-jacketed eco-terrorist has worse than that. He has CND posters. Naturally, it's not long before he's holding the country to ransom, threatening to release a powerful hallucinogen into the water supply unless the government acquiesce to his evil demands. "What does he want?" asks Bodie. Cowley sucks his teeth and scowls. "Cease manufacture of chemicals for biological warfare, and destroy all stocks. Yes, a nutty idealist..."
This is a strange world. In it, a millionaire's young daughter, who thinks she's been abducted, sits in a car with Doyle – her apparent kidnapper – and hitches up the skirt of her school uniform: "Aren't you going to ravish me?" Small wonder that on the subject of women Bodie and Doyle, both in their thirties, talk to each other like teenage virgins. Phil Davis out of Quadrophenia takes Pamela Stephenson hostage, holding a gun to her head with one hand and an unpinned grenade down her bra with the other. Bodie surveys the scene through binoculars, reporting back: "He's holding a Webley .44 and... (whistles) a 38B cup!"
In 'Killer With A Long Arm', Greek terrorists plan to assassinate King Constantine II at the Wimbledon Men's Singles Final with some kind of super-gun fired from the window of a block of flats two miles away. You can tell they're Greek because on their hideout wall they've got a picture of the Acropolis, and a poster from a travel agents with "GREECE" written on it, in English. Of course, the whole thing's really an excuse for cracks about homosexuality and plate-smashing, and to cast Diane Keen as a terrorist's moll, lasciviously running her fingers along the barrel of their enormous gun. In the final scene, having confiscated the weapon, the lads set it up in Cowley's office and use its telescopic sight to spy on a woman undressing in a distant flat. "She's about five foot seven, heavily freckled... and a natural blonde!" leers Cowley, knocking back a glass of Scotch. Fade to black on those three old dogs, with their stupid, chortling faces.
Yeah, the swinging right wing. The brutal law enforcers of 70s telly weren't just shorter, scruffier versions of John Wayne – they were more interesting than that. They were both here and there, the past and the future; part of the backlash against the 60s – or what they came to mean, culturally – yet unmistakably a product of that great collective loosening of ties. Already it was becoming clear which parts of what we now think of as "the 60s" were to be accepted by – and assimilated into – the British mainstream (harmless insolence, silly clothes, sex before marriage, lack of piety, funky basslines, television violence), and which were to be suppressed by any means necessary (basically, anything which posed an actual threat to anything else). The Professionals – like the vast majority of Western popular culture since – uses that first set of freedoms as a tool with which to close down the second.
Still, there was something unusual about The Professionals, something out of time. One reason why The Sweeney was a vastly more mature programme – I mean, apart from the obvious – is that it understood another of those 60s innovations, one which would prove the most useful tool of all: the total eclipse of deference by cynicism. In Cowley's office there's a photo of the Queen; in his head, the incorruptibility of British justice ("Perfect – or as damn near perfect as we can make it!"). Bodie and Doyle are hard-boiled but soft-headed: jaded and mercenary, they still do what they do out of some kind of patriotic impulse, some inarticulate ideal of nobility. Jack Regan would laugh in their faces, even before he clocked the perm.
None of this quite fits together, dramatically, and yet it has to be this way, because things like nobility and patriotism are very important to this programme. You see, The Professionals is more than "politically incorrect", it's... well, it's a little bit fascist. You'd have to be a very strange person to be unduly bothered by this, I think, because that would mean taking the programme seriously. Still, it can give you a little chill. In this endless struggle against terror, we're told, nothing is more useless nor more dangerous to innocent people than civil liberties and human rights. Certain things must not be questioned; neither must the violence used to safeguard them. Nothing is discussed. There are only certainties, and blind faith, and the patriotic subtext: don't think, feel. "I've no idea what your fight is about," Bodie's girlfriend says to the revolutionary in 'Close Quarters'. "I just know that somebody's got to stop you."
(By the way, for a man who's just been gloating about his intellectual superiority, his response is surprisingly petulant: "You vill die. All of you." Typically, he's wrong.)
Throughout this first series and occasionally beyond, the main characters lapse into awkward, sermonising speeches, hymning the glory of the British army and the rectitude of the British police: "Someone kills a cop, they stick two fingers up at the rest of us!" Inside a tower block, one of the production team has scrawled some fake graffiti (the quaint "ALL FUZZ ARE PIGS"), purely so that Doyle can react to it angrily. When a demonstration turns nasty and hapless coppers come under attack, the boys snort ruefully: "They'll get their heads kicked in... then the next day the papers will be full of 'police brutality'!" It's all decidedly creepy. Having shot and wounded a mentally-ill gunman, CI5 interrogate him using the authority of a doctor's note on which Cowley has faked the doctor's signature. "I want a lawyer", the teenager pleads, as Bodie and Doyle advance on him. "Why, son?" sneers Bodie. "Do you want to make a will?"
Even more explicitly than most action shows, The Professionals is steeped in the fascist conviction that the true test of manhood is to face other men in battle... and my goodness, doesn't it look sexy? Fantasy bleeds into reality here: politics and sado-masochism, the law of the jungle and the law of the land. These boys pound their opponents into the ground as a display of personal and ideological virility. Who could possibly resist?
And in The Professionals, every woman really does adore a fascist. Sure, those are two great-looking boys. But – with the exception of the cold-eyed left-wing lawyer from 'The Rack', who seems to have been built from the contents of Richard Littlejohn's wastepaper basket and is almost certainly a lesbian anyway – what gets the ladies going are beatdowns, being property, being anything other than free. See how fast they turn against their spotty left-wing eunuchs, for these beautiful boys and their fascist sex cult!
(Isn't this all a bit worrying? No. At least not while we continue to live in a society which finds The Professionals' brand of fascist machismo outrageously camp. To this day, plenty of women still fantasise about Bodie and Doyle – have a look online. But it's hard to say what Bodie and Doyle themselves would make of this, once someone had explained to them exactly what "slash fiction" is.)
Intriguingly, if not surprisingly, some effort seems to have been made from the start to balance – or at least obscure – the programme's shall-we-say tendencies. In the very first episode, which acts as a pilot, Cowley gives an introductory speech to a roomful of CI5 recruits, explaining to them – and us – just what this organisation is about. "Kick him in the goolies first; do unto others now what they're still thinking about. Oh, there'll be squeals, and once in a while you'll turn a law-abiding citizen into an authority-hating anarchist. Theeeeere'll be squeals, and letters to MPs... but that's the price they have and we have to pay to keep this island clean, and smelling – even if ever so faintly – of roses and lavender." Out in the corridor, he's teased by a chuckling Bodie; the speech was "a bit heavy," he jibes. "Fascist overtones, sir." Bad move – Cowley blows his top at him, and hobbles away on his gammy leg. Doyle gives Bodie a withering look. "Where do you think he got that leg?" he asks his partner. "Spain!" Oh yes. Of course. It's so easy to forget that in the 1970s the upper echelons of the British security services were packed with veterans of the International Brigades.
(The plot of that first episode, by the way, is beyond brilliant: a bunch of gangsters have hatched a plan to kidnap the Home Secretary, but CI5 figure that they won't know what the Home Secretary looks like, based on the fact that Bodie and Doyle don't know what the Home Secretary looks like. So Cowley puts on a hat and pretends to be the Home Secretary, and they try to kidnap him instead. "He'd arrive in a car pretty much like this, wouldn't he?" muses Cowley, sitting in a mustard-yellow Rover 3500.)
Occasionally, in a simulation of neutrality (like Question Time), the battle must be taken to the far Right. In 'Stake Out' the baddies are white supremacists from an unnamed African country, one of whom has a Yorkshire accent, and whose slogan – Keep Africa White – is perhaps a trifle optimistic. More memorably, in would-be season finale 'Klansmen', the boys take on a British Ku Klux Klan, and Bodie learns to stop being quite so viciously racist. Yes that's right, the guy you've been rooting for these past 12 weeks was a massive bigot all along, but don't worry, he's just changed his mind (and all it took was for a black doctor to save his life after a near-fatal stabbing). Cowley and Doyle, of course, are passionately anti-racist, like most people working for British intelligence at the time – although earlier in the series Doyle did solve a case with this razor-sharp bit of reasoning: "A big flash car, driven by a black guy... add 'em together and what have you got? A high class pimp!" So yeah, thanks very much for that, former Detective Constable Doyle).
Anyway, for one week only, The Professionals' world is full of black people who aren't pimps, or drug pushers, or visiting African royalty. These include a black nurse who Bodie racially abuses at great length while delirious, but it's OK, because at the end of the episode he saunters off with her on a date. A jealous Doyle turns to the conveniently-black CI5 agent standing next to him, and quips that they should start a new campaign, "to get rid of some of these damned whites!" Fans defend 'Klansmen' as "well-intentioned"; in truth its only intention is to attract publicity with controversial themes, in the crassest way imaginable. True, it takes the daring position that racism is bad. But as you watch a young black teenager, sympathetic but simple-minded, tending a wounded Doyle with the words "You're gonna have an eye blacker than my arse," you sense you're not in the hands of experts. It made uneasy viewing even at the time – ITV refused to show it. It's probably fair to say, though, that you'll never have seen anything quite like it. It's very definitely worth watching once, which may well be enough.
The principal cast were uncomfortable with 'Klansmen', but Martin Shaw was in uncommonly high spirits on the shoot, because the series, which he hated, was now almost over. The curly-headed malcontent could finally relax – as soon as the public saw how ludicrously bad this programme was, he thought, it would bomb, his contract would dissolve and he could go back to "serious" acting at last. Unfortunately for him, The Professionals turned out to be the smash hit of 1978. By the end of its first run it was pulling in seventeen and a half million viewers. For Shaw, there would be no escape... ever.
The thing is, Martin Shaw is not an easy man with whom to sympathise. Here's a quote from him: "The character's nature, pain and experience were all derived from my own. Every person has the fake inside him, and desires to be self-sufficient, and has the element of the mass murderer inside him." Yeah man. And here's another: "They say there are Cossacks who've lived to 140, and had over thirty children on a diet of yoghurt and milk."
He'll tell you that he's proved himself as a "serious" actor since – perhaps in Judge John Deed, a lunatic's propaganda vehicle, or maybe in Anglia Television's fondly-remembered The Chief – but he's remained so closely identified with Doyle that when in 1998 the driver of a London sightseeing bus climbed down from the cab and beat him up in the street in front of 30 startled Japanese tourists, most newspaper reports seemed genuinely confused as to why the 53-year-old Shaw had not just done a forward roll then shot the bloke three times in the chest.
It's easier to feel for Lewis Collins, whose post-Pros career went nowhere once he'd been rejected as the next James Bond. His one big hit was Who Dares Wins, a semen-splattered love note to the SAS so witlessly violent and thunderously right-wing that next to it The Professionals might have been scripted by Brecht; following that, he spent a decade running out of jungles with machine guns, straight to video. It was a sad decline for a man who'd always made a pretty likeable uber-macho government thug. Bodie was so clearly the man that Collins always wanted to be, he managed to redeem what should have been a loathsome character with sheer enthusiasm, like a big happy Alsatian. His death last year, at the age of only 67, was sad news indeed.
Here's another quote from Martin Shaw: "I don't find much in The Professionals to make me explore myself as an artist." The source for that one? Ummm... the 1979 Professionals annual.
Serious actor Martin Shaw advertises the Ford Capri, 1974
A Professionals annual? Absolutely. It may have been broadcast after the watershed, but this was very much a family show. It's strange to watch these episodes now, with their '15' certificate, and think that this is the programme me and my mates loved so much in a year I know was 1980, making me eight years old. Everybody watched The Pros, and no one's parents seemed to mind. Boys' own adventure; good clean fun. Yet nothing on terrestrial television these days is one half so violent – the rough stuff in The Professionals isn't as brutal as the toughest Sweeney episodes (e.g. the stomach-churning 'Taste Of Fear'), and can't always be taken 100% seriously, but it's so gleeful, and so relentless. The body count is stratospheric. When in a later episode, Bodie has a moment of reflection after blowing away another bastard, and mutters "It's not every day I kill someone I don't know", even eight year olds couldn't keep a straight face.
It's hard to communicate just how popular this programme was. None of it means very much now: TV Times awards, cheap plastic merchandise, shirtless centre spreads in My Guy and Patches. But this was a truly massive show. Every Monday, playgrounds would seethe with re-enacted mayhem; even summer repeats topped the ratings. Still, a couple of modifications were made for series 2. LWT complained that "fields and barns" were not the ideal backdrop for a hard-hitting action series – the incoming producer and script editor, too, felt those early episodes were "a bit highways and byways of Ruislip" – so they agreed a budget hike and the action moved to the rotting docklands, burnt-out warehouses and damp streets of London. New crew members were drafted in from Euston Films, experts in urban location filming; dialogue was now recorded live, actually spoken by the actor who appeared on screen.
And so, like many long-running series, The Professionals peaked with its second season. It's slicker, smarter and faster than the first, but retains that spark of absurdity. Here we find my own favourite episode, 'First Night': an Israeli diplomat is kidnapped outside the Royal Festival Hall, and CI5 receive a fuzzy black and white photo of him tied up to a chair. Analysis reveals that a blurry diagonal shadow in the corner of the frame is a bus trundling past the window – amazing what they can do these days – so CI5 agents are dispatched to the top deck of every single bus in London to study the passing houses, just in case they spot a kidnapped Israeli diplomat in somebody's front room. Bodie's in a foul mood, though, because he's just been rebuffed by a couple of girls he was chatting up in the CI5 canteen: "That blonde piece," he snarls, not looking out of the window. "I could have fixed her! This equality business – it doesn't do much for what the Spanish call cojones!" By the end of the episode he's much happier, as he gets to smash through the upstairs window of a suburban house in an armoured cherry-picker, machine guns a-blazing. Spare a thought for Doyle's latest squeeze, though, turfed out of the car when her beau gets an emergency call. "But we were going to the rock concert!" she wails.
The later series are still a lot of fun, but over time the campiness was surgically drained, and in its place came an unconvincing dourness, as though the writers would rather have been writing something else entirely. They couldn't have stuck with the feel of that first series forever – it was hopelessly dated even in 1978, with its improbable terrorist masterminds operating out of Borehamwood. But convoluted plots and downbeat endings never did mix that well with the programme's winning formula – hunks punch lunks – and besides, anyone trying to turn The Professionals into serious drama was onto a loser.
Always intended as an international hit, the show had taken off in a few other countries (it was a smash in West Germany, which had a near-insatiable demand for polizeidrama) but America wasn't answering the phone, which meant The Professionals could never do much more than break even financially, much to Clemens' chagrin. Already, its days were numbered. Collins and Shaw had begun to play up – especially Shaw, who trashed the show in an interview with the Daily Mail: "It's all been done before," he moaned, "so why bother to do it again?"
Both leads were becoming increasing frustrated with the lack of "character stuff" in the scripts, which was understandable. And yet, had it ever been credible that these never-off-duty, three-kills-a-week kinda guys would be laid-back charmers, cracking jokes and pulling chicks, rather than uncommunicative psychopaths, glassy-eyed and emotionally dead? Anything approaching realism was clearly out of bounds, so all attempts to "develop" the characters would inevitably end in farce. Bodie, a thug who spent time as a mercenary in Angola before joining up with the Paras and being seconded to the SAS, suddenly starts quoting lines from Keats into his radio transmitter ("Keats at seven in the morning, Bodie?" splutters an exasperated Cowley). Then he starts referring to Doyle by the pet name "D'oyly Carte".
Doyle, meanwhile, metamorphoses from lairy ex-copper into Guardianista – taking art classes, drinking wine and talking about Luis Bunuel in those occasional lulls between punching and killing people. "Listen, there are certain aspects of my job I'm not entirely happy with," he tells another short-term girlfriend (at last, a line that Martin Shaw could put his heart and soul into). Best of all is his shrugging excuse for lapsing into social worker jargon: "I read the Guardian!" Of course you do, mate. It's the paper of choice for teachers, public sector workers and employees of unaccountable Home Office departments which specialise in the extrajudicial killing of foreign nationals.
By the final series in 1982, the car's still speeding but there's no one at the wheel. It has indeed "all been done before", and while the quality's still quite high, its brave attempts to expand the format feel a little desperate. 'Discovered In A Graveyard' is a mini-Matter Of Life And Death: Doyle gets shot and lapses into a forty-minute dream sequence (Vaseline a-plenty on the fisheye lens). 'Lawson's Last Stand' is practically a comedy (crazy Colonel Lawson threatens to let off a canister of nerve gas in a Battersea park: "He wants the national anthem played on Radio 2, on the hour, every hour... forever"). It's all gone a bit too Buffy – maybe they should have thrown caution to the wind and tried a musical episode? Or perhaps a crossover episode, where Bodie and Doyle met Sapphire and Steel? The possibilities were endless, really.
Instead, with Martin Shaw now practically chewing through the bars of the cage, and even Lewis Collins sick of it all, the programme expired. Unlike most of its supporting characters, The Professionals came to a natural end.
The Two Ronnies: 'Tinker Tailor Smiley Doyle' (breathtakingly unfunny, yes – but still ten times funnier than The Comic Strip Presents: The Bullshitters)
I can't justify my lifelong love of The Professionals in terms of art, or whatever – it's schlock, it's camp, it's fascist nonsense – but that's of no interest to me. I can justify it in terms of fun, in terms of joy, in terms of what the unexpected does to the imagination. This is discomfiting comfort food, a certain kind of wonderful, the weirdest programme ever made. An antidote to everything; fabulous despite itself. Creepy and nasty and painfully funny – bewilderingly good television.
You can keep The Wire, man. You can keep that thing with the dragons. Give me something stranger and less sophisticated, something which does things it doesn't know it's doing, in ways it doesn't understand. I think it's more fun like that. Give me something good and bad; give me The Professionals. Give it the kind of praise it deserves.
The Professionals Mk1/ Available now on Blu-ray & DVD, and on iTunes in SD & HD Network Distributing
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Mar 31, 2014 1:17pm
This is a great read - do Lovejoy next pls
Mar 31, 2014 1:54pm
Seconded, massively entertaining read. Thanks.
Mar 31, 2014 2:06pm
Hugely entertaining article, thanks!
Mar 31, 2014 2:56pm
Yes - I'm equally mesmerised, horrified and amused by this when I happen to spot it's on and yes, I end up watching whole episodes repeated times even if I know them pretty much scene for scene. No idea why. A great read in many ways.
Mar 31, 2014 3:09pm
This has to be up for some kind of writing award.
The *good* kind.
Mar 31, 2014 3:11pm
I didn't think anyone else felt this way about The Professionals! Thank god. (Granted, the fact I never found it remotely camp probably says more about me than the prog.) The show's 'politics' are in reality often very *surprising* and far from the expected pro-forma right wing idiocy. And double YES, The Bullshitters was lazy patronising crap, on every level, from the profoundly overrated Comic Strip crew.
Mar 31, 2014 3:19pm
Terrific stuff.
You're correct regarding the German appetite for cop and detective shows. When I moved to Germany five years ago, one of the cable channels was *still* showing reruns of The Professionals.
Mar 31, 2014 3:38pm
Brilliant piece, Taylor. I've still got my Professionals annual somewhere, although the wall poster (and the massive one of Target, featuring Emmerdale randy grandad Patrick Mower, which was pinned up alongside it) has long gone. I've been enjoying the TV repeats of late, while The Sweeney (which I initially set out to Sky+ before noticing that The Professionals was on) seems dull by comparison. Bodie, Doyle and Cowley were great for all the reasons Taylor mentions. Fantastic television, watched and loved 30-plus years on for the thrills and the sheer strangeness of it all.
Mar 31, 2014 4:10pm
Great stuff from Taylor Parkes.
Mar 31, 2014 6:27pm
And then, Spooks!
You're right about the whisky thing. I seem to have been watching a lot of police procedurals lately, and I've become obsessed with the way that virtually all senior policemen (both men and women) drink neat whisky; frequently out of a bottle kept in their desk drawer or the filing cabinet.
Mar 31, 2014 7:20pm
In reply to Julian Bond:
Brilliant piece, Taylor Parkes. Only disagree with one thing: I thought the acting, and the interplay between Shaw and Collins, was sublime. They were on another level to everyone around them, pace maybe Jackson: a bunch of cardboard cut-outs. But C & S were endlessly watchable, and the banter between them utterly real. Collins' masterclass was Wild Justice, the one where Bodie loses his mind as he exacts revenge on a motorbike gang; a tour de force of super-naturalistic acting. Anyway, fantastic to see such a great, great programme (probably second only to The Prisoner in my TV book) being taken so seriously.
Mar 31, 2014 10:43pm
So completely the best thing I've read (on here or anywhere else) in ages.
Mar 31, 2014 11:28pm
I did a degree in Eng Lit at Cambridge at the end of the '70s. In my third year i got myself into the small group tutored by the famous Marxist critic Raymond Williams, inventor of 'Cultural Materialism'. We used to go round to his rooms, and each week instead of studying some Great Work he would put on a 10-minute slice of The Professionals and then discuss it in detail. This is entirely true. I have no idea what careers the other students went into. Personally, I took the Marxist analytics that I learned from Raymond Williams and Roland Barthes, chopped off the tedious socialist moralising, and went on to a lucrative career in the ad industry.
Apr 1, 2014 4:38am
I love this article and I want to have its babies.
Total genius.
Apr 1, 2014 9:50am
"It's you – it's your fucking fault! You fucking Nineties idiot!"
Actual lol.
Apr 1, 2014 10:13am
Very funny (and comprehensive) piece. I loved the bit at the end of the opening credits when the three of them walked towards and then trampled over the cameraman.
Apr 1, 2014 11:18am
This was fantastic to read, and we know you're a bonefide fan by the use of the term "Pros" :-) I was born in '83, and got into the show because I fell in love with LC after seeing him in a Jack the Ripper drama with Michael Caine - so my mum directed me to Pros and I loved it so much and still do. It is daft and silly, but it's got such a charm to it.
Apr 1, 2014 6:31pm
First of all, congratulations to a witty and hilariously funny article. Having been a Pros fan myself since early childhood (in Germany - here we go), of course I can support your view on sexism, reactionary plot and dialogue as well as storylines with as many holes as swiss cheese. But - and here is the first of two "buts": Who cares? Who gives a damn. It's action, it's fun, it's still a classic - after more than 35 years. So Martin Shaw: live with it! The second "but": Taylor, please do not make the same mistake to underrate Lewis Collins' acting abilities as so many did before. It you had indulged a bit in his biography, you would have come across his three years acting studies at the London Academy of Music and Dramatic Art as well as some fine stage appearances before shooting the professionals. So his was not the "rags-to riches" or rather "Drummer-to Drama" Story as someone might conclude from your article.
But all in all: well done and very entertaining (your remark about female Pros fandom and slash will have some of the ladies concerned on the floor - roaring with laughter...)
Apr 3, 2014 11:57am
Superb! Thanks for writing it!
Apr 7, 2014 8:17pm
Easily my favourite popular culture writer; Taylor Parkes is a (ha!) national treasure.
Apr 8, 2014 5:20pm
Apr 8, 2014 5:20pm
Apr 9, 2014 11:34am
Bravo! That was the single best article I've ever read on the Quietus, fantastic writing! Some of my earliest memories are of The Professionals and my view of adult life was similarly informed, but beyond the hugely entertaining critique I thought you crammed some excellently observed social and cultural commentary in here. Your description of Who Dares Wins as a "semen-splattered love note to the SAS" is also possibly the greatest one-line dissection of a film I have ever read. Great stuff.
Apr 9, 2014 1:37pm
Terrific article - thanks Taylor.
Apr 16, 2014 3:22pm
I came across this by mistake, am a number of decades too young to really know what the Professionals is...but my god was this ready funny.
Thank you
Apr 18, 2014 8:28am
Brian Clemens was and is much more than "a talented hack," for fuck's sake. He was responsible for a lot of what made The Avengers The Avengers, which marks him as a genius, even if he never did anything else. His anthology show Thriller was like a lo-fi Hitchcock film once a week. He knew how ridiculous his stuff was, and was not interested in realism. He knew, in short, what the fuck he was doing. The talented hacks, surely now, are the ones who write the same old columns over and over again about all this stuff for ironic hipster columns.
Apr 19, 2014 7:49pm
In reply to Viva Clemens:
Surely "hack" just means anyone who writes for money, rather than for art? It's not necessarily an insult. Brian Clemens had no lofty ideas of himself as a serious writer, he just got on with churning out good solid entertainment. The fact that some of it is still interesting decades later means he was a talented hack, but he was still a hack. So what? I don't think the term's being used as an insult here, and if you think this article is "ironic" then I think you've misread it.
Apr 23, 2014 12:33pm
I really enjoyed this article! Wrong about the Comic Strip though. The Bullshitters was hilarious! Although The follow up 'Detectives on the edge of a nervous breakdown' was shit.
May 1, 2014 5:28pm
This is one of the fucking funniest things I've ever read, and I've been waiting years for someone to do justice to the unwitting genius of this program. I thought I was alone! Taylor, I want to buy you a pint over some tortuously homosocial banter.
RIP Lewis Collins and Lewis Collins's muscularly flared nostrils.
May 2, 2014 1:54am
What amuses me most about this article is that fans of The Professionals WILL take it on face value. Joking aside, Brian Clemens is undoubtedly the worst writer for tv Britain has produced- there are no similarly indepth analyses for his egregious series 'Thriller' because no person of reasonable intelligence could stand to write about it without wanting to kidnap Clemens & DEMAND an explanation for its sheer mindbending awfulness.
May 2, 2014 2:03am
In reply to Viva Clemens:
"His anthology show Thriller was like a lo-fi Hitchcock film once a week"
No, the series was an interminable collection of mostly plagiarised stories that were an insult to the intelligence, every story being as ludicrously implausible as the next. Clemens approach to writing is 'no one will notice'. His cynical lack of respect for the viewer is absolute.
May 2, 2014 2:39am
"The plot of that first episode, by the way, is beyond brilliant: a bunch of gangsters have hatched a plan to kidnap the Home Secretary, but CI5 figure that they won't know what the Home Secretary looks like, based on the fact that Bodie and Doyle don't know what the Home Secretary looks like"
Clemens takes this utterly implausible device to a ludicrous extreme ( after all you CAN just about buy into Bodie not knowing what the Home Secretary looks like, can't you? ) in the Thriller episode 'The Colour Of Blood'. Norman Eshley plays a serial killer terrorising the city, yet despite Eshley's face being on every newspaper's front page & on the tv news for weeks on end, a police officer FROM THE POLICE STATION DEALING WITH THE CASE does not recognise him in the story's most 'vital' scene.
May 11, 2014 7:22pm
In a sea of quietus articles about media subjectively meaningful to the author, this stands out a mile, as fond reaffirmation mixed with critical reality. It was quite in depth. Of note, evidently in contrast to the U.K., Australian tv exec's deemed The Professionals wholly unsuitable as family viewing & screened it quite late mid week. Likewise in contrast, my parents whilst fans themselves, wouldn't let me near it, being more or less same age as the author. I had to sneak outside & watch it through the living room window, sans sound. But I think author (and Martin Shaw) would agree it didn't absolutely require the dialogue to follow gist of a Professional's episode.
Jul 2, 2014 1:33pm
"The Bullshitters" is ace
Jul 8, 2014 3:46pm
Taylor Parkes - flipping great article. It is a mental show. Rewatching the entire series a few years back I was shocked at some of the stuff I missed when I was a young man. You sited almost everyone of my favourite episodes, pointed out all the brilliance and bonkersness of one of my all time favourite TV shows. I met gordon Jackson once and he was diamond. Martin Shaw was in my city playing Elvis in Alan Bleasdales Are You Lonesome Tonight in the late 80's. I tried a few times to catch him at the stage door but he would ignore me and not engage in any way at all. I heard from a friend working in the theatre at the time that to get himself in 'the zone' for playing the King he would sit in his dressing room talking to "Jesse" (Elvis' still born twin) in the mirror for an hour each night. His distain for the role that gave him a career, seemed (and seems) wrapped up in his own self importance that far out-weighed anything he has accomplished. Exceptional article, hats off to you!
Sep 4, 2014 2:37am
Taylor Parkes, please please PLEASE review the second series as well, due later this month on DVD and Blu-ray. This article is beautiful and deserves to be a series of articles for each season.


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06-20-03, 11:03 #1Registered User
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Unanswered: SourceSafe & Access 97 compile error
After creating a database from a SourceSafe project I get the error message "Compiler error method or data member not found" when I try to compile. If I delete the Record Source property and reenter the exact same text that I deleted then I can compile the form or report's code.
I did a SourceSafe compare and discovered that the only difference is in an internal field RecSrcDt. All References are there.
Anyone have an idea of what is going on and how to fix this?
06-20-03, 15:26 #2Grand Poobah
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are you referencing both ado and dao libraries?
what is the version of VSS and what is the version of Access?


text:
Reconfigurable Bandwidth Service Based on Optical Network State for Inter-Data Center Communication
The geographically distributed data centers for the rapid growth of worldwide cloud service bring the demand of massive inter-data center information exchange. Considering the capacity and costs, existing optical networks show their advantages to carry the non-interactive, delay tolerated and bulk inter-data center data. In order not to affect the real-time traffic, these bulk data is usually transferred between data centers when traffic load is relatively light. However, to transfer these bulk data in the same period of time may cause severe resource competition, and the network performance will deteriorate.
Provided by: Institute of Electrical & Electronic Engineers Topic: Networking Date Added: Aug 2012 Format: PDF


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Dualit 4 Slice Toaster Newgen Azure Blue
Product code: GTDUAL47237
To add this product to your wishlist please login
The 4 slot NewGen toaster available in a selection of finishes, is perfect for the whole family, or canteen, and offers all the same functionality as the 2 slot NewGen, with defrost and bagel settings as well as Dualit's classic styling, mechanical timer and ejector lever. The selector control allows you to heat one, two, three or all four slots.
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- ^ "Master Harold...and the Boys" (Press release). The Colony Theatre Company. 26 September 2007. Retrieved 2008-10-01.
- ^ Fick, David."BWW Reviews: New 'MASTER HAROLD' Production at the Fugard Packs an Emotional Punch" BroadwayWorld, March 26, 2013
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|Developments on the manufacturing side of the
house can affect the clinicians conducting clinical
studies and must be communicated in a timely manner.
by Laurie Meehan
Social Media Manager
Polaris Compliance Consultants
Developing safe and effective drugs requires a coordinated effort across a diverse set of disciplines. This is easier to observe at some points in the process than at others. Once a product is well into human trials, it can be easy to forget that developments on the manufacturing side of the house can affect the clinicians who are conducting the studies.
Trialed Drug vs. Marketed Drug
A tablet, for example, is much harder to manufacture than a two-piece hard shell capsule because determining the appropriate compression for a tablet takes time. (Tablets that aren't sufficiently compressed will break apart in the bottle; tablets compressed too tightly may not dissolve as they should, earning themselves the entertainingly accurate moniker "bedpan bullets.") Rather than wait until a tablet form of the drug can be fully developed, to save time, sponsors would likely begin human studies using a hard shell capsule version.[1]
To ensure that clinical trial data for the Investigational Product (IP) are applicable to the ultimately marketed product, clinicians run bioequivalence for dosage form studies. These small pharmacokinetics studies may result in changes, such as dosage amount or frequency, if people do not metabolize the studied formulation and the final formulation the same way.
Stability Test Failures
When we hear of a pharmaceutical company having to "pull its product," we typically think of a recall scenario that involves consumers, distributors, and retailers. Recall procedures fall under the GMP umbrella, and are spelled out in great detail in 21 CFR Part 211. However, similar procedures may very well be required of clinical site staff, long before the product ever sees its first drugstore.
Before any clinical trials begin on a drug, manufacturers would have been conducting stability tests for months. But stability testing may continue for years after the start of human trials, and analysts could detect a variety of troubling conditions in the course of their work. Product can change color or break apart. Capsules can crack and leak. Microbes could begin to grow, especially in moister product. The container closure system itself could be problematic; it could leech contaminating material into the product, introducing impurities, or it could extract material from the product, diminishing its potency. Any of these findings could mean that study drug would need to be pulled from clinical sites.
No one expects site staff to have detailed quarantining and recall procedures; the Sponsor will tell site staff exactly what they need to do. But what would this look like?
1. Adulterated product that cannot be dispensed will need to be moved to a separate, secure area so it won't be confused with good product. It might need to be stored there for a period of time or shipped back to the Sponsor.
2. For certain, a site's drug accountability procedures will be center stage. The only way a site can successfully recall bad product is if it has -- all along -- closely tracked the amount of IP it has received, dispensed, and still has on hand.
3. Study participants who have any quantity of the bad product will need to be contacted, told not to use it, and told how to return it. (Note that this pertains to participants on the placebo arm as well, otherwise the blind will be broken.) Phone calls may not be sufficient; sites may need to invoke lost-to-follow-up procedures, such as sending registered letters. Remote, virtual trials, which often ship IP to participants, need to be designed to allow for the tracking and retrieval of bad product.
4. What should be done if it turns out some participants have already used the bad product? Unfortunately, that's one SOP you can't write in advance; it would completely depend on the nature of the IP and the problem it has, the vulnerability of the patient population, the protocol, the participant's proximity to the site, etc. Perhaps a careful case review to look for AEs associated with affected participants would suffice. More critical situations may require participants to undergo physical examinations or special testing. In some cases, study data associated with the use of the tainted IP would need to be identified and removed from the efficacy analysis.
5. These quarantining and recall activities must be carefully recorded. IRBs and regulators will want written proof that all suspect IP has been accounted for. Sponsors might consider sending a CRA to ensure adequate documentation.
This article is related to the Product Data Sheet:
To get the full details, please view your free Product Data Sheet.
No GxP is an Island…
GMP professionals manufacture, package, and label biopharmaceutical products. GCP professionals conduct clinical trials on those same products. These roles are very different from each other, yet they don't work in isolation. Formulation changes, stability testing, and re-labeling requirements represent three examples in which activities performed by GMP folks impact their GCP counterparts.
Laurie Meehan is the social media manager for Polaris Compliance Consultants, Inc. She writes the company blog and eNewsletter, manages the company website, social media accounts, and internal training platform. Prior to joining Polaris in 2008, Ms. Meehan worked at a major telecommunication R&D company and taught math and computer science at local university.
[1] "By the time clinical trials start, they know what ingredients go in the cookie, they just don't know how the cookie is going to turn out yet."
- Rosanne Sylvia-Heeter, Polaris Director of GMP Compliance and phenomenal cook
Watch Related Videos:Gaining a Competitive Advantage with MasterControl
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Part Number WP3390719 replaces: 279650, 3389639, 3389640, 3390719, 660877, 688841, 690198, 690798, 80004, WP3390719VP.
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Dryer not getting hot, got a code of F31
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Removed the back of the dryer taking off the screws. Found the disposable thermal fuse. Unplugged the 2 blue wires connected to it. Removed the screws holding the part in. Replaced the old part. Reattached the blue wires. Put the back on the dryer. And voila! That simple!I'm a 39 year old woman with absolutely no patience for tedious jobs, but this was so easy I felt good about doing it. And felt even better for saving lots of money by doing the repair myself.
I checked parts select.com and followed the guide lines,ordered the correct parts thanks to the web site help.parts arrived in 2 days,A very easy install and back to work drying clothes.Thanks parts select.
After unplugging the dryer, I removed the bottom panel in front. Remove the the filter inside the dryer and remove the filter housing below. There you can see the thermal fuse on the air duct, its white with two blue wires. You can check it with a ohmmeter after removing the wires. If its open its bad. Its held in place with two sheet metal screws. After replacing the thermal fuse the dryer worked fine. However I would suggest cleaning the air duct and the outside discharge opening. Hope this helps.
Did an Ohm test on the old Thermal Fuse found it to be bad. Replaced it with a new and the dryer is back to working great. Your suggestions saved approximatley $150.Thanks for the help.
We took the screws off of the back, took out the thermal fuse and replaced it with the new one.We watched a video of how to do it which made it so easy.Works great!
Checked online for symptoms.Pulled panel from front of unit (no tools required)Vacuumed all lint from unit to see if that was a problem.Removed the exhaust port which comes off with 3 hex head screws. Based on the symptoms, I pulled the wires off the thermal fuse and did a continuity check on it. There was no continuity, so I knew I needed that part. Since a common reason for that to fail is the cycling thermostat allows the dryer to get too hot, I replaced that thermostat as well, just to be safe. Due to closeness to the drum, I had to use a socket to remove the hex head screws on the two electronic parts.Total time was about 40 mins. to diagnose and 20 mins. to replace the parts and verify correct operation.
Used an inexpensive multi-meter to detect that there was no continuity through thermal cut-off (high end) or disposable thermal fuse. I identified these parts by reading your online schematic of the dryer. I noted that the flexible ducting had been crushed on the dryer which lead to the feasibility that the thermal cut offs, especially the thermal fuse could have burnt out. Ordered the parts on Monday, drying clothes again on Wednesday.
turned off the power and removed the back cover, checked the thermal fuse had no continuity. ordered new part. very easy Installed the new thermal fuse,.replaced the cover, turned on the power and worked fine.
With the help of YouTube, I was able to watch videos of how to disassemble and reassemble the dryer. I watched a video showing where the Thermal fuse and Thermostat was located as well as how to test them with a meter. I watched another video showing how to replace the drum belt, showing step by step instructions. Without YouTube it would have been a whole different story!
Unpluged dryer power cord.Removed lower front panel (two snap clips at top of panel)(Rear panel cannot be removed from this dryer). Removed blower/filter housing (held by two screws). Found blown fuse by using an ohm meter across the fuse terminals with one wire removed - no continuity. When new parts arrived, I removed two wires from fuse and four wires from thermostat. Removed two screws holding fuse and two screws holding thermostat, and removed both parts. I then reversed the above procedures.Dryer works great!Total cost, including shipping, was $47.76
I ordered the wrong part. It was pick and choose from the info provided.I checked again and found one that's 58% of the time the part.
i followed your instuctions for the gas dryer with the ohm meter which i had, and found the part that had 0 ohms. but i did clean all the lint out first that took more time. i was glad you had the diagram to show the parts and numbers. thank you, rich
Unplugged dryer, removed bottom front panel, removed fan cover. I used a 1/4 ratchet to remove 2 screws and the old fuse. Installed new fuse, fan cover, and front panel. Dryer works great!
Unplugged power cord. Removed rear panel screws and panel . Removed the two wires connected to part. Removed two screws holding part and replaced all components in reverse order.
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Copyright © 1999-2017 , Eldis Group Partnership. All rights reserved.


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it's an internet thing!
08:03 06 August 2009
A reclusive Asperger's sufferer has impressed the judges at this year's X Factor auditions.
According to reports, Scott James - who was once so fearful of being in the public that he spent most of his teenage years in his home in Stockton-on-Tees - overwhelmed the judging panel with his voice.
But the singer's rendition of 'You Raise Me Up' shocked all four members of the judging panel (Simon Cowell, Cheryl Cole, Dannii Minogue and Louis Walsh) and the whole studio audience.
Minogue said: "He came on stage and he was very particular about explaining his condition.
"He told us that because of his Asperger's syndrome and the fact that he'd been picked on, he hadn't left the house in seven years. But he just stood there calmly and told us that his singing teacher had been helping him to build his confidence.
"Then he started singing. You will not believe his performance when you see it."
Viewers will also see him sing Katy Perry's 'Hot 'n' Cold' and Faith Hill's 'There You'll Be'.
It remains unknown if James makes it through to the judges' houses stage.
Disclaimer: Supanet is not responsible for, and disclaims any and all liability for the content of comments written by contributors to this website


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Hisago Hakoben | White
Bpa Free
M Size
Usually dispatched within 24 / 48 hours (business days).
Simple and beautiful, the Hisago Series is now available! Its traditional design will add a Japanese touch to your meal!
Product description
This bento box comes with 2 compartments. Inside you'll find a seal to prevent spills.
You'll be able to carry it and enjoy your meal in this beautiful box decorated with a traditional Japanese gourd pattern.
The high quality of this box is perfect to receive your guests and enjoy your meal in a friendly way.
Comes with a band to keep the box closed.
Available in navy blue or white.
Product Details
- Capacity: 680 ml (upper 330ml, lower 350ml)
- Dimensions: 15 × 9.3 x 8.5 cm
- Materials: BPA-free plastic
- Dishwasher-safe and Microwave-safe (remove outer and inner lids first)
- Made in Japan, by Hakoya


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When you subscribe to Social Security Timing® software, you get not only the industry-leading software that identifies the best claiming strategies, but also an entire support team to help you answer Social Security and software questions. Subscribing is the first, and easiest, step to meet the growing demand for Social Security advice.
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Whether basic questions about the software or complex client cases with Social Security, our team of experts will find the answers.


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Consumer Reports Best and Worst in Class 2016 Apr 14, 2016 by Cedric (Driver Weekly)
Best Compact Car: Subaru Impreza
The Subaru Impreza beats out the other compact cars on the market for its spacious interior, available safety features, and range of options. Drivers can choose from a sedan or hatchback, depending on their needs in terms of cargo space, and there is available all-wheel drive. The Impreza truly excels regarding safety with a 5-star safety rating from the NHTSA and the status as an IIHS Top Safety Pick+ for 2016. In addition to the standard rearview camera, drivers can get an Impreza with forward collision mitigation featuring automatic braking, lane departure warning, and adaptive cruise control. One of the few disappointments about this compact car is the basic audio system, but both the sedan and hatchback models have generous cargo space, with up to 52.4 cubic feet after folding down the rear seats in the hatchback. The Subaru Impreza is one of the slower vehicles in its class, but it still provides enough power and acceleration for daily drives, and owners enjoy the ability to get up to 31 mpg combined.
Lowest-Rated Compact Car: Fiat 500L
Unfortunately for drivers of the Fiat 500L, this vehicle had the lowest reliability rating from Consumer Reports for new cars. Experts and owners point out the negatives of the driving position, stiff ride, and uncomfortable seats. Despite being a hatchback, the rear seats of the Fiat 500L don't fold flat, limiting the cargo space, and safety ratings could be better. In fact, the worst "Poor" rating for small-overlap frontal-offset impacts from the IIHS cancels out the top "Good" rating for moderate-overlap frontal-offset. However, the 500L did receive a "Good" rating in most of the other categories.
Despite the negatives, the 500L does still have some stronger elements. The passenger and cargo space are good, as is the outward visibility. There is also plenty of rear legroom and headroom, especially compared to its 2-door Fiat 500 counterpart. It is easy to slide into the front seats, which are comfortable and wide, but you will notice a lack of support during long drives. The available 6.5-inch touchscreen is also one of the faster and easier systems to use in a modern dashboard. Unfortunately, these features don't outweigh the drawbacks.


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Lyn Kelley, Ph.D., Certified Professional Coach has led hundreds of collection seminars and collected on hundreds of past due accounts. She shares with you everything you need to know about collecting money tactfully - without offending people. Specifically for service professionals and small business entrepreneurs.
Here's what you'll get:
©2014 GROW Publications (P)2014 GROW Publications
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Cuban foreign minister: We will not buckle in face of Trump's sanctions
Many of the changes that President Barack Obama made to Cuban policy, including restoring diplomatic relations and re-establishing direct flight service, will remain under Trump's Cuba policy, which bars Americans and US companies from any transactions that benefit the Cuban military.
However, Trump's criticism of the Cuban government for human rights abuses and the lack of multi-party elections made it clear that the thawing relations between the US and Cuba had stopped.
"It was a grotesque spectacle from the Cold War," Rodriguez said of Trump's speech. "The US government doesn't have the moral authority to give lessons on human rights or democracy. "
Trump's new policy is designed to hit the Cuban military, which controls a large part of the island's economy, including hotels, supermarkets and tour bus companies.
While Trump said the new measures are designed to help Cuba's small but…


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Maybe you haven't always loved having red hair…
If you're anything like me, your relationship with your red hair hasn't been a simple one. There were times when I would have give anything to be blonde, but now I wouldn't have it any other way. I love that I don't need to make an effort to wear bright clothes or daring designs and make up…I already stand out. Red hair also feels like a part of my heritage. It's existed for several generations of my family, and my having it means I have a visible part of my ancestors, a privilege that has been handed down, to me. The fact that it's so rare and a genetic gamble only make it so much more valuable. But that's just me…how about you?
Maybe you haven't always been a Redhead
Now that I finally love having red hair, I can fully understand why others would want to have it too. After all we have seen plenty of celebrities who look amazing with red hair but it's not their natural colour. Christina Hendricks, and Emma Stone are just two awesome examples. So for those who have chosen to have red hair, what has changed in your life since becoming a redhead? Is it a big part of your identity? Can you ever imagine going back?
Maybe you aren't even a redhead now…
Part of what I love about being a redhead is how many fans we seem to have, from our friends and families to people on the street and romantic connections. So if you're just a supporter of redheads, share what you love about us below.
Do you want to be featured in the site?
We completely respect your privacy and will keep your message to us private. If however you're happy to share your feelings about red hair with the redhead community it could really help some people to appreciate their own hair. So if you're happy for your comments, or part of your comments to be featured on the site (anonymously or not) tick the box at the bottom and use the name you'd like to be identified by in the 'Name' box [tdomf_form1]
See what others have said
I love being a redhead because when I walk into a room, there is an instant air of mystery and intrigue that people are just dying to know and understand.
– Krystal
I love that my whole immediate family have red hair – mum, dad and three children. I love that people admire my hair too. Recently someone at work told me that I had been referred to as 'the girl with the goddess hair' which made me feel beautiful (even though most of the time I feel pretty average). I love that I'm different and that people always ask how they can get the same colour. Hairdressers always ask me it's natural or dyed, and you think they'd be able to tell. I love all the different colours in my hair and how it changes with the seasons. I love my pale skin and just how primeval I look. I feel connected to generations before me and I can't wait to have some little red-headed children to carry on the genes.
– Anonymous
I love to be different! I didn't embrace my red hair and freckles as a child, but as I got older and came into my own, I adore it! A man whom I barely know, walked up behind me at a dinner party and whispered in my ear, "I think your freckles are sexy". I had chill bumps from head to toe.
– Kathy
I use to hate my bright red hair that always stood out like a sore thumb…but now after I discovered who I am and what make me beautiful and unique I've fallen in love with this odd hair color of mine…I love being a red head cause it not only suits my daring colorful personality but I feel unique, different and beautiful.
– Zelda
I believe there are a thousand reasons why I love being a redhead!My actual hair colour is dark brown and I can't lie,I love it but it's so common and I was tired of being common and conventional. After dying my hair red,I felt like I did a radical change on myself!Firstly,it felt weird then I grew loving it more and more by day 🙂
– Iris
I love the way babies and small children stare at my hair like it's the most fascinating thing they have ever seen, especially when they are so astounded by my freckles they have to touch me just to see if I am real.
– Mary
I love the way my red hair makes mens´ heads turn when I walk into a coffee shop and down the street! I´m a natural strawberry blonde/light ginger and I love the way my hair shines a strong firey gold.It makes me stand out from all the other girls.My boyfriend loves it when I wear a bright, deep red or even really dark lipstick against my pale skin&fiery hair. If you´re a red head too,condition it twice a week, get a good cut… and stand out and shine!=)
– Sophieanna
I absolutely love my naturally curly, naturally red hair! (Plus the pale skin and tons of freckles that goes with it). I love that I get second looks for my hair, that hairdressers tell me how people pay "big money" for my colour and curl, how every coach I have ever had has simply called me "Red", and how people I haven't seen in years will recognize me – just because of the hair! I have friends that are redheads by choice, not birth, but they still have the souls of a redhead and that gives us a special kinship. Above all, I love how having red hair make me feel passionate, clever, quick-witted, and above all – just plain sexy!
– Stacey
What's not to love? I have natural flair! I love that women are jealous of my color, I love that I can be seen anywhere, I love that people are automatically afraid of what my temper could be and that I make pale and freckled look good! I AM ONE PROUD GINGER!
– Michelle
I LOVE being a geen eyed RedHead who is envied because my copper curls make me a fabulously unique indiviual that can kick butt in any situation and I have no need or desire to follow the flock.
– Colleen
Nine out of ten times being the only redhead present, you always get noticed. And our reputation, "fire in the head, fire in bed." It rings true.
– Andi
I love that I don't have to try to stand out. My hair does that for me and my personality just puts the icing on the cake! Being a redhead is something unexplainable but when you pass another redhead you give each other the look and that I love as well.
– Laura
I'm red and proud, and there are too many reasons to mention why I love it, but here are some; I love that my hair makes me different. I'm referred to as 'the girl with the red hair'. I love that it's the topic of conversation. I love that people want my hair and always remark about how beautiful it is. I love that with it comes freckles and pale skin. And I especially love that my hair shines like gold when the sun shines.
– Caroline M
I love it how my hair changes it's hue in full on sunshine, they're naturally very light chestnut but in the sun they go on fire!And they bring a lot of attention for that matter too! I feel so in touch with the nature and all it's colours…
– Karolina
Guys are attracted to me more! They know I'm a freak in bed and every boyfriend I have had has loved my hair:) I do have a temper but come on trust me I have way more fun than you do<3
– Anonymous
When I was younger I hated being a redhead… Everyone has told me my whole life that I am beautiful. Never believing them, just hating my red hair. But now I would not want to have any other color! I am in love with my self and my red hair! I am NOT plain. I am wild and weird and my red hair makes me POWERFUL! Ruadh gu brath!
– Amber H
I've had red hair all my life. I was picked on in school when I was younger for being tall and having red hair. When I got older everyone wants my color!!! They say "where did you get it colored"?…ugh I was born with it!! Now that I am getting some grey hairs it's wonderful, they look like highlights since red greys beautifully!!
– Lori
I love how my hair makes certain colour clothes really pop, and look so much richer than against other colours. I love how I never get lost in a crowd, my friends can always spot me easily. I love when people speak especially to comment on my hair, and how hairdressers fall over themselves to get their hands on it. And i particularly love that it gives me an excuse for having a temper!
– Laura K
I don't have red hair naturally – but I find that the colour suits me better than my actual natural hair colour (brown).. I have not been red for two years now (due to upkeep) and I recently did it again and I feel like 'ME' again
– Lucie D
I love being a red head because it makes me feel different from the rest. I embrace my natural red hair with fairest of the fairest pale skin and freckles I would not change it for the world and everybody in my family say my hair is stunning I am so proud.
– Gemma L
As a child I despised my red hair and green eyes… Now I wouldn't change it for the world!! We all know the names we're called "Ay, yo red" "Hey you with the red hair" "Hey ginger" I love LOVE them. Granted I do get tired of people asking if it's my natural colour, but then I love the compliments from complete strangers. I love how I can tell if someone is a natural or if it's from a bottle (you know what I'm talking about), and I love the freckles I get in the summer… I love, love, love, love, LOVE being a natural redhead!!
– Ashlee I
I love that I don't have to try to stand out. My hair does that for me and my personality just puts the icing on the cake! Being a redhead is something unexplainable but when you pass another redhead you give each other the look and that I love as well.
– Laura Rogusz
I haven't always loved my red hair but as I get older I have embraced my hair colour and wear colours that accentuate it. Nowadays, although a natural copper redhead, I use shampoos that intensify my red hair. I have discovered that redheads are generally more passionate and creative!
– Yvonne B
I never used to like being a ginger one, but I've grown into it. It's good to have a more unusual hair colour. Sometimes when I walk in front of a mirror I shock myself as I've not seen colourful hair on anyone else and I forget just how bright mine can seem. I particularly love the burning red when my hair's wet. A little bit more sun tolerance would be great, though.
– Abbie
What do you love about being a redhead? – I too struggled in adolescense with 'being different'… carrot top, freckle face, all the dreaded names and comments. I was obsessed in my 20's with changing my hair color constantly. It wasn't until after going platinum blonde and having to shave my head because my hair was desintegrating that I realized how lucky I am to have something no one could ever recreate. I stopped messing with my locks that day and have never looked back. My hair is truly me, one of a kind, and never the same twice in the same light. Why mess with success?
– Jody
I love that it makes me unique and different. I stick out from the crowd, and people are drawn to my look. People always say, is that your natural color? and I say, yes my parents gave it to me on my birthday! I love that God gave me red hair, i see it as my best feature and I proudly embrace my ginger!!
– Chelsey
What do you love about being a redhead? – All the compliments about the color of my hair! Women and men absolutely love it, I used to hate it when I was younger but would not trade it for anything now! My grandmother used to tell me that one day women would envy me because of the color, she was right! I have her to thank for it anyhow lol.
– SnowRed
I used to hate being a red head, I'm the only one in my immedeite family with red hair, and often it's been a source for people to tease me. Most of the people in my high school asked if I was adopted… but being a ginger can be great, and though sometimes I still wish I looked like I 'belonged' to my family… I just have to remind myself that I know I belong there… no matter what it looks like. I love the connection (or as my friends and I call it, the ginger club) every time I see another person with red hair there is an understanding between us, we may not even ever be friends but we 'get' each other.
– Jessica
I love the fact that red heads have been depicted as strong and fierce even if that comes with the temper and head-strong traits.
– Lily
I am copper ginger and I absolutely love it! I used to not like it a lot as a teenager, but then, gradually I fell in love with the color of my hair. I have no freckles, ginger eyes 🙂 that often turn green 🙂 I just cannot imagine having any other hair color. It seems to me that being a redhead is a whole different experience, not only due to the attention we get, or standing out, it is like something very unique on the the deeper, energy level. I love redheads, I am always amazed when I see one, I just smile in my heart and think : "this is gorgeous!" 🙂 it feels like an instant relation to them, it feels like I just know them. I think gingers are fiery, passionate and true people. I am very happy to be a redhead 🙂
– Kato
I love being a redhead because of the attention and preconceived ideas people have about us. I'm fascinated with men's fascination with us naturals. What I also love is so many of the girls that bullied me in grammer school for being a redhead actually tried dying it red in high school. What I don't like are the bottle reds who call themselves a redhead. There is so much more to being a redhead than the color of one's hair. Emma stone may have died her hair but she is no redhead. Bottle reds need to stop calling themselves a redhead and call themselves a bottle red, because they don't deserve the awesome title of redhead. Naturals rule and bottles just drool. Just saying.
– Stacy
I've always loved being a redhead, because it's so unique and beautiful, and the thing that makes me love it even more, is that people always envy it and ask me if it's real, and, of course, I reply with a yes!! People say to me that my hair is gorgeous and that it's the kind of hair color that they could get in a hair coloring bottle. Although, it can get a little annoying sometimes, I still love it, because it makes me feel so special. Plus, I am Scottish AND Irish, so it makes sense! :3 – Anon


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All the information you need in one place! Each Study Brief is a summary of one specific subject; facts, figures, and explanations to help you learn faster.
Copyright year: 2014Publisher: Corwin PressPublication date: 1/14/2014Binding: PaperbackPages: 264Size: 6.00" wide x 8.75" long x 0.75" tall Weight: 1.144Language: English
Eric Sheninger is the principal at New Milford High School located in Bergen County, New Jersey. He is passionate about establishing and fostering learning environments that are student-centered, collaborative, flexible, and capable of preparing all learners to succeed in the twenty-first century. As an educational administrator, he firmly believes that effective communication, listening, support, shared decision making, and the integration of technology are essential elements for the transformation of school cultures. Eric has emerged as an innovative leader in the use of social media and web 2.0 technology as tools to engage students, improve communication with stakeholders, and help educators grow professionally. Eric is a 2012 National Association of Secondary School Principals Digital Principal Award recipient, 2012 PDK Emerging Leader Award winner, recipient of Learning Forward's Excellence in Professional Practice Award (2012), a Google Certified Teacher, Adobe Education Leader, ASCD 2011 Conference Scholar, blogger for the Huffington Post, coauthor of Communicating and Connecting With Social Media and What Principals Need to Know About Teaching and Learning Science, and he was named to the National School Boards Association "20 to Watch" list in 2010 for technology leadership. He now presents and speaks nationally to assist other school leaders in embracing and effectively utilizing technology. His blog, A Principal's Reflections, earned Best School Administrator Blog in 2011 from Edublogs. Eric began his career in education as a science teacher at Watchung Hills Regional High School in Warren, New Jersey. He then transitioned into the field of educational administration, first as an athletic director and supervisor of physical education and health and then as vice principal in the New Milford School District. During his administrative career, he has served as district affirmative action officer and is the current president of the New Milford Administrators' Association. Eric earned a bachelor of science from Salisbury University, a bachelor of science from the University of Maryland Eastern Shore, and a master of education in educational administration from East Stroudsburg University. To learn more about Eric's work, visit http://ericsheninger.com , or follow @NMHS_Principal on Twitter. On August 22, Eric wrote a special feature for USA Weekend. Please click here to read his article, "What Teachers Want You to Know."
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text: I downloaded MSU from motorola support pages, but when i try to install it i get an error message, error sshot attached to the post. I tried googling it, but no help there. I tried changeing it using 'msiexec /qb', but that didnt help either. My version is Motorola_Software_Update_01.11.84_PROD. Anybody knows how to get around that?