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Submission Number:
International Center for Law & Economics
Initiative Name:
Hearing #1 On Competition and Consumer Protection in the 21st Century - Sept. 13-14 at Georgetown University Law Center
To whom it may concern, Attached you will find the comments from the International Center for Law and Economics. We are submitting four separate comments that cover topics 1, 2, 3 4. They are labelled accordingly. If you have any questions or remarks concerning our submission, you may contact either Geoffrey Manne (email@example.com) or Dirk Auer (firstname.lastname@example.com). Thank you very much for your consideration. Yours faithfully, Dirk Auer Senior Fellow in Law Economics

subset: commoncrawl


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Smashbox Click You're It Holiday Eye Palette Review, Swatches, Photos
The Smashbox Click You're It Holiday Eye Palette will probably bring back a memory or two from Holiday 2010 as it's pretty much a very similar palette from last year's release the only difference being the new packaging.
I don't have last year's palette handy but I believe the shades are all different however the packaging, concept, and selection of products is pretty much standard from holidays past.
If you can get jump over the rehash hurdle here you can definitely see the potential of the Click It You're It Holiday Eye Palette because it's actually quite a well done selection of colors.
This comes in a festive vinyl-like red box with a flip top lid and a full size mirror. It's a little bulky but I'd say it's perfectly travel friendly as the contents are pretty secure inside so no worries about anything cracking or breaking.
It's probably not the cheapest option around for $49 but it does have quality to back it up as hey, some of these super palettes from various brands can be cheap but they also contain cheap product…that's not what we want! Cheap price yes but please quality product.
The palette contains 15 shades of eyeshadow, 5 Cream Eye Liners, a mini Smashbox Photo Finish Lid Primer, and a small pocket that houses three get the look cards with six different looks you can create in as little as five steps. I personally like any makeup item that includes instructions particularly one as large as this palette since colors can be overwhelming and sometimes you simply can't figure out what goes where so the small get the look cards are a helpful extra that I greatly appreciate.
The range of colors here are pretty much dominated by cooler shades. I'd say you're looking at nine cool shades and six warmer ones. I personally like warmer colors so I was a little disappointed they didn't get enough love here. Overall, you're getting a nice range of various shades to create a variety of looks from soft and simple to a step more vibrant. I wouldn't call any of these colors bold or dramatic as they have softer pigmentation with a silky, blendable formula but they color pay off doesn't fall into the realms of as amazing as say a MAC Eyeshadow. I didn't have an issue with any one shade here, all of them had a very good formula and each shade contrasted well without creating muddy eye looks.
One thing I was surprised with was the cream liners which were soft, easy to apply, and glided onto my lash line without a hiccup. I expected a harder texture here but they prove almost as good as what you'd get from a full size potted gel eyeliner from Smashbox. I do worry about the packaging here though since the palette features a flip lid which easily lets air inside so the gel liners might potentially harden within a few months of purchase but I have to wait and see how they fare.
I am not a fan of Smashbox Photo Finish Lid Primer as it really isn't my ideal primer of choice since it really doesn't prevent fading or creasing. It's nice they included a mini and you might appreciate it's inclusion if you've never tried it before however I would have personally liked a brush of some sort rather than the primer.
I thought the fact that the shadows are embedded in a removable foam palette deserved mentioning as well since this makes for an easy way to remove the entire shadow and liner tray during application. You can slip the tray back in after use. This is also a plus since once you've used up all the product you can use the sturdy box as a place to store small trinkets, jewelry, or other makeup perhaps eyeliner pencils or potted shadows.
Smashbox didn't skimp when they made this palette as it features some very nice shadows and eyeliners which are on par with their standard collection of makeup. I'd have liked to see maybe a $39 price tag on it as this would be a way friendlier way to get makeup junkies interested. This one should appeal to Smashbox fans as well as newbie makeup users as it has a nice selection of products for creating simple looks in seconds.
Not bad Smashbox, I'm impressed.
Available now at www.smashbox.com


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Roost originated as a wholesale line of home furnishings and accessories with an emphasis on organic style and highly livable design. Over time, our extensive offerings have evolved to include holiday decor and jewelry. Our aesthetic is contemporary without being hard-edged. The majority of Roost products are designed by our small group of design associates and manufactured for us in workshops around the globe where we have had longstanding relationships. Our products are crafted with care from authentic, natural materials and artisanal fabrication techniques. We utilize recycled and repurposed materials whenever possible.
Inspired by fanciful antique knife rests, these bottle openers will complement your collection and decor beautifully. Sold individually. Made of forged iron Hand wash Measures 6" long and stands 2" high By Roost
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Our novelty salt and pepper shakers are the perfect table accent for any canine enthusiast. Dog lovers rejoice: these whimsical Dachshund novelty salt and pepper shakers will bring a smile. A unique hostess gift. by Roost Borosilicate glass with rubber stoppers 1-1/2"W x 7-3/4"D x 2-1/2"H
Taking it's influence from scrimshaw and using what is available to fashion functional objects, this bone has been carved to make a charming owl and mouse tape measure. You'll soon forget that the owl has caught his mouse prey as you reel him in by winding the owls wings! Measuring...
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The sinuous curves of these burnished brass mirrors offer a nod to the Art Deco era. Three vanity mirrors sit in hinged, curved brass frames. Dimensions of the 3 mirrors fully open 33.5" wide x 15" high By Roost
The unique, modern vesselsin our Vespa Collection are mouth-blown from thick, clear glass into crisp brass collars. While the glass is still hot, the edges are scissor-cut to create a smooth finish. Small: 5" Diameter x 8" Tall Large: 5" iameter c 13.5" Tall Brand: Roost
Thick linen panels are printed and over-dyed with color, then the reverse side of the panel is extensively hand stone washed to create interesting textural variations on both sides. The pillows are sewn with exposed bronze zippers. Feather and down inserts included. Cover is machine washable. 24" x 24" each...
Coil and curve the Saffon Serpentine Vase down a long dining table and fill it with your own garden blooms for an interesting fresh cut centerpiece. A sinuous row of 20 glass bottles fits into a structure of darkened zinc metal brackets that allow the vase to be twisted any...
Roost Rosewood & Brass Inlay Collection is made of Indian rosewood serveware in soft curving shapes with subtle hints of eye-catching brass. Three sizes of bowls are carved in organic shapes with pretty thin edges and inset with brass butterfly joint details. Small: approx 10" - 10¾" Dia x 3½"...
These brass trays will brighten your space with warm reflected light. Small: 13" Diameter, 1.5" Deep Large: 15" Diameter, 1.5" Deep Brand: Roost
Make sure your message or photo is noticed! Brass and wood stand out in elegance. 6" Tall Brand: Roost


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Obesity and Exercise
In recent years, obesity has been presented as a major epidemic of the western world. In Norway, obesity is also considered a growing problem and health authorities and medical professionals continuously remind people to exercise to avoid weight gain. Women (in particular) seem to be accused of becoming obese as a result of poor self-control or lack of adequate knowledge about exercise and diet. At the same time, several researchers have pointed to the ways exercise has become a part of consumerism: exercise is primarily performed to achieve physical change, the 'healthy-looking body' (Berry 2008; Dworkin and Wachs 2009; Sassatelli 1999, 2007). In Norway, where fitness in the 1990s was characterized by a strong focus on health and functionality, there has also been a shift toward the looks-orientation of other westernized countries (Steen Johnsen 2004). Feminist researchers (Engelsrud 2009; Haravon Collins 2002; Lloyd 1996; Maguire and Mansfield 1998; Markula 1995) have criticized fitness activities aimed at women accusing them of promoting sexual commodification rather than empowering women to be 'healthy.' This article takes a critical approach to the growing public interest in obesity, pointing to the negative, 'unhealthy' aspects of the current fitness and exercise movement. Large women are often caught between contradictory meanings of the 'healthy-looking' body. In this article, we will show how large women deal with obesity in a Norwegian exercise context.
Phenomenological Framework
Our approach to research is especially influenced by the phenomenological concept of "the lived body" which transcends perspectives of the body as a physical object (Merleau-Ponty 2002). According to Merleau-Ponty (2004), the lived body reaches out in the world and the lived body is an active, perceiving and experiencing body. The lived body is a subject and an object, visible and viewing; touched and touching—always both at the same time, yet the two sides of the body cannot be reduced to one another. The lived body not only perceives, but also produces a spatiotemporal field around itself. This spatiotemporal field around the subject sensitizes the subject to how much movement is possible in a specific situation. As Maurice Merleau-Ponty so clearly states ". . . it is never an objective body that moves, but a phenomenological body" (2002). From a phenomenological perspective the body is first and foremost a body-subject and a lived body and not an object to be controlled (Svenaeus 2000). Taking a phenomenological approach enables us to sensitize the relation between women and exercise as an experienced phenomenon. Consequently, our questions are: How do women who are defined as obese experience exercise? What are their interests and 'investments' in exercising?
The data collection was carried out in a medical context that offered group exercising practice for obese persons in an average Norwegian city. The material was derived from participant observation during the exercise practice as well as interviews with five female participants. The training space was typical and similar to the commercial fitness context. The space was equipped with different recourses for exercising: training machines, weights, training cycles and apparatus designed for exercising different muscle groups. The walls were covered with representations of the skeleton and anatomical outlines of muscle groups. In line with the images and training machines focusing on different body parts, the training program was closely related to this organization of the space. The program was organized as circle training, one exercise per station, accompanied by pop music.
The five women who were included in our study represented a diverse sample in terms of age, weight histories, marital status, education and area of work. One of the women had a university degree, two of the women had a college degree, and two had no formal education after high school. They were aged 35 to 63, years and when we met them they had been overweight for more than ten years. The labels 'large,' 'overweight,' 'fat' or 'obese' have different cultural values, and as we already stated our informants mostly used "large" when they spoke about themselves in the interviews. They had in common that living as large and heavy has been more or less their continuous situation. Moreover, all five women portrayed themselves as people that had tried numerous diets and exercise programs in different contexts before attending the treatment program in a medical context. Segregated to a separate training space, the large women already experienced that their bodies were problematic and wrong as judged by others. Doctors had recommended that they participate in this program which they had agreed to follow up for at least one year. In addition, they allowed the physiotherapist to call them if they were prevented from coming.
Research Considerations
One of the authors (KSG) participated in the circle training and conducted the interviews. She still recalls the informal and social atmosphere that predominated when she joined the group on her first observation day. With pop music in the background, she observed how the participants were making social small talk before the class started. Some of the participants had placed themselves near the bicycles ready to start warm-up activities, whereas others were eagerly talking to the physiotherapist. They all seemed to know each other quite well. By contrast, the researcher felt quite uncomfortable standing by herself with pen and notebook. In addition, she noticed how several of the participants stared at her, and this made her worry about their reactions when she went about observing and writing notes 'about them.' Her mind was filled with questions: "How would they react?" "Would they feel stared at?" "Would they feel provoked?" The strategy made her less visible and more comfortable as a researcher. Moving together changes the focus from visual perception to bodily engagement where the senses, sweating and heart beats contributes to 'forgetting' oneself. In this situation she felt more included in the group through moving. She even joined in the small talk during the intervals, enabling her to gain first-hand experience of the exercisers' reaction to the training. One remarkable experience was the difficulty and intensity of the program. KSG felt exhausted at the end of the first class, and felt that she did not experience any 'advantage' of having a smaller body, in doing the program.
Qualitative Interviews
Bearing her first-hand experiences with the group in mind, KSG conducted in-depth interviews with five of the female participants at a place of the women's own choosing. Our intention was to interview the women once again after they had finished the program; meaning after 12 months since this was a one-year course. However, the physiotherapist in charge of the group became seriously ill. The treatment therefore stopped after 10 months and a new group treatment did not start until 4 months later when the physiotherapist had found a substitute. Their expressions and answers were followed up by further questions in order to clarify the content and illuminate the uniqueness of each woman's experiences. Similarly, KSG would encourage the women to "give an example" when they talked about experiences that needed clarification or expansion of a topic. As the interviews were done face-to-face, both topics and order could be adjusted for each encounter based upon the researcher's perception as to what seemed most appropriate. This approach brought up several novel topics. For example, the women were eager to talk about their negative experiences with training and physical activity prior to joining the treatment program. The interviews were tape-recorded with the women's permission and transcribed verbatim enabling quotations to be highlighted in the presentation of the results. Each interview lasted between 1.5 to 2 hours, resulting in a total of 140 pages of transcribed texts. To maintain confidentiality, pseudonyms are used throughout this article. The study was approved by the Research Ethics Committee of Medicine in Norway.
Analysis of the Material
Our analysis can be described as following Kvale and Brinkman's (2009) idea of research as "bricolage." In this eclectic form of generating meaning, the researcher adapts mixed approaches moving freely between different "analytic techniques and concepts" (Kvale and Brinkman 2009). Our analysis consisted of several phases. Although the phases overlap and interplay, we will describe this process as a stepwise procedure for the sake of clarity. Our final step of analysis consisted of "meaning interpretation" (Kvale and Brinkman 2009). Meaning interpretation goes beyond a restructuring of the manifest meanings of the text to a deeper or more critical interpretation of the text. According to Kvale, "the researcher has a perspective on what is investigated and interprets the interviews from this perspective (1996). This kind of interpretation goes beyond what the informants have said directly so as to reveal the opinions and relations that are not evident. At this stage of analysis, it was quite useful to have Nyheim Sarkese as a critical reader. As a sociologist with a feminist approach, she focused particularly on Judith Butler`s understanding of gender as a social practice. This made us pay particular attention to the ways the women talked about the training as exemplifying taking action in relation to their weight. Moreover, their repetitive argument that "diets don't work" could now be interpreted as a decisive move toward a qualitatively different kind of intervention that was proportionate to the problems that they faced. From this perspective, they could be seen as positioning themselves as subjects—or credible women—actively involved in the work of weight management rather than its vilified objects. At the same time, their decision to join a treatment program could be seen in terms of submission, since the women were accepting their doctors' advice to get professional help with their weight problems. Moreover, they had agreed to join the program for at least one year. In this sense, they revealed a sense of being out of control of their weight loss project, expressing their need to hand over control to a health professional rather than seeing it as a matter of individual responsibility. The position the women obtained in the interviews illuminated some ambiguous and contradictory positions. They were regarded by themselves and others as both subjects and objects of the "war on obesity." Based on the interviews, we organized the analysis around three main phrases: "Is it inside me or not?" "I want to see results" and "We are not here for fun."
Certain experience of discomfort and dissatisfaction seem to characterize women's negotiations with the choices during exercise sessions. Even in cases where they had quit after a short-time membership, they spoke vividly about the gaze of other members as an uncomfortable and painful memory. Negative experiences, nevertheless, in a Norwegian context, encompasses 'normal' cultural meanings. 'No pain, no gain' and 'not giving up exercising,' despite emotional strain and anxiety is consonant with dominate cultural ideas. (Dworkin and Wachs 2009). One woman said: "Sometimes I felt sick before going to the fitness training. I couldn't stand the idea of being stared at." In the beginning, she tried to suppress her negative experiences: "I decided not to care. But it did not work. I felt sick and miserable and decided to quit." Another common expression was: "I really felt like a failure. I have pain in my knees, in my back, in my groin." Even though our material stems from exercising in a medical context the experiences are ambiguous and intertwined with strong sensations and emotional memories. Discomfort and comfort were changeable and led to fluctuating emotions in our informants' talk about the training. They indicated that their bodies hurt as a result of the training. Training was unpleasant, wearisome and tedious at times, but still they continued to do it. This finding may be linked to a perception that losing weight demands both willpower and discipline, and that tolerating discomfort is seen as a sign of control over one's own body. From a phenomenological perspective the body is first and foremost a body-subject and a lived body and not an object to be controlled. However a large female body, may, if we borrow an expression from the Swedish philosopher Frederik Svenaeus (2000) be experienced as 'unhomelike' in the world and its limitations and size attain a thematic, explicit focus that may be reinforced by the bio-medical knowledge upon which the treatment program is based.
Exercising and dieting without success affected the participants in the study and contributed to the production of shame and self blame. One woman explained: "It was really depressing. It is so depressing when you realize that this is not something I will be able to go through with. I wouldn't make it this time either." She explained that she started worrying about her mental strength and figured that she must be "mentally weak" because she could not lose weight without regaining it soon after. Significantly, these understandings are also evident in the interviews with the other women. Dominant expressions concern the way the discourses about 'eating less, exercising more' are presented by the health authorities and the medical professionals. One woman said: "They think it is just about eating less and then you will become thinner. But here is something inside your head that blocks." In a similar vein, other women blame their "heads": It is inside me, I think it is placed between my ears, inside my head, like a mental block, because I know what to do. I know what's wrong, but still I am not able to lose weight. There must be something wrong with me . . . with my head. To use expressions like "mental block" and "something wrong with my head," locating constant worries and feelings of shame and failure "inside me," can be understood as the dualistic and hegemonic language that both phenomenology and feminist theory have criticized. The idea of representing women as "mentally blocked" can be traced back to the early nineteenth century (Johannisson 1996). Medical technology and power have contributed to legitimizing specific models of illness applied to women. When our informants used the expression "mental block" about themselves, this expression clearly does not only stem from "inside" the women, but refers to specific labels that have defined women within the history of medicine. That this feeling is closely linked to cultural norms of masculinity and femininity was not part of the women's interpretation of their experience—for them, "it is just me" that has a weaker mental state. Body shape becomes a sign of each woman's 'inner' personality—be it either 'mental weakness' or 'strong motivation.' Being slender and well-trained is associated with self-discipline and control, whereas being fat has negative connotations: laziness and lack of self-discipline.
I Want to See Results
The women's interest in results took up considerable time during the interviews. Results were measurable effects in the visible body shape and synonymous with losing weight. All but one of our informants lost weight while they participated in the training program. According to the physiotherapist a 'normal' loss of weight is from 5 to 15 kilos. The defined weight loss was described as "a result" that has motivated them to continue with the program. The values of losing weight and thereby obtaining results were emphasized in various expressions like: "I wanted to see results, and that's what I got here. And that is what kept me going here." Although the women placed great emphasis on the importance of seeing results from the training program in measurable weight loss, they were also anxious about developing bulging muscles. As a cultural idea our informants expressed gaining muscles as unwanted and unpleasant: "But I don't want muscles. And anyway, you're supposed to have long muscles." This informant expressed a definite perception of how the body is supposed to look. It must be both slender and firm – with little body fat and long, slender musculature. The feminist sociologist Pirkko Markula (1995) identified the dominant ideas of postmodern aerobicizing female bodies that aim at being "Firm but Shapely, Fit but Strong, Strong but Thin." By using this striking title to her article, Markula addresses how narrow ideas of the female body appear to be central and unavoidable components of exercising in a fitness context. Because an obese female body can be seen as a failure or even as an offence against cultural ideas of the body, health and gender, these ideas have a considerable impact on obese women. Several aspects of the results indicate that this includes avoiding the development of prominent musculature. The guidelines of the program are also based on the assumption that this is the sort of change that is to be affected. One woman described the goals of the program as: "How to get small muscles and large muscles and no muscles. How the body reacts to different things. So then I wondered if I should use 30 kilos and do 50 repetitions or 50 kilos and 20 repetitions." As a result, they stuck strictly to the program and did not increase the weights appreciably. Moreover, measurable weight loss alone was not considered to be a satisfactory result by the women. The women also desired a feeling of freedom, engagement and the feeling of "a kick." When they had developed a taste for measurable results they became occupied with the idea of losing even more. One of the women expressed that she would not be satisfied until she had taken off 30 kilos, because: If I really want to reach my ideal weight and get into . . . how should I put it . . . liberating form so that nothing is weighing me down, then I do have to lose 30 kilos. So I have a long way to go really. But it's in here (points to her heart). I really, really want to lose weight so that I can feel free.
Simone de Beauvoir (2000) has argued that freedom is a central phenomenon that women must fi ght for, and to achieve freedom (even if it is always limited) from today's cultural western ideal by gaining a critical distance from the limiting body ideals perpetuated in the worlds of media and medicine. Our material indicated that the exercises that large women are performing are not adapted to who they are and what they feel during moving. Even if they are training in a separated space, their practice follows mainstream 'normal' ideas about exercise and little attention is given to their personal experiences and abilities. Since achieving results is important, making great efforts tends to be a key aspect of the exercise and a prerequisite for attaining the various physiological effects. Efforts were confirmed by encouraging the women to continue "giving their all." By "giving their all" the potential for good health was communicated as obtainable. The instruction played on the present potential for improvement, the will to stretch oneself and "go for it." It seemed that attempts to ignore discomfort created fatigue, irritation and alienation. However, to experience and display oneself as functioning well, and being presentable, gives social advantages and credibility as a modern successful woman. Health becomes synonymous with the individual self-presentation that can be exhibited through the body, whether this is an individual physiological goal or a firm body. However, as Sassatelli clearly states, achieving this "result" depends on spending one's spare time in making oneself physically desirable (2007). Interestingly, in Norway these kinds of norms are not quite new ones. On the contrary these ideas have a long and manifest significance in sport and outdoor life in Norway, as core activities and often as a collective phenomenon. However, in Norway (Steen-Johnsen 2004) traditional activities have decreased and activities like aerobic and fitness training have become increasingly important due to the symbolic power of commercial fitness practices. In this context, we find it especially interesting that the women talk a lot about how they should exercise to lose weight and at the same time get a more slender, well-trained body. In addition, because achieving training results is central, pushing the body is regarded as a necessity. When physical discomfort or pain is felt, it is interpreted first and foremost as a sign that the body is still too heavy or in bad 'shape.'
In contrast to tradition of Norwegian sport and outdoor life which is regarded as pleasurable in itself, it was unusual to hear women's exercise discussed in terms of enjoyment and pleasure. Pleasure was regarded as a reward after exercising. During exercise lessons it was common to hear the instructor motivate them to endure the lesson with sentences like: "You will soon be finished." The tendency to take a position where pain and negative experiences resulting from the exercises must be tolerated seemed to be a normal attitude. However, the heavy bodies of our informants meant that their skeletons were subject to great strain during exercise. Their willingness to forego pleasure in order to follow the difficult program appeared to be having some negative consequences. One participant said: "I find that I hurt a lot in the afternoon and evening, but I think the reason is that I'm still very overweight and it puts a strain on my knees." Despite the knee pain, she thought the training was beneficial: The fact that you actually exercise your whole body, you go through all the muscles in the body. I think that is very important, not least because of all that about burning up fat. And you have to make a bit of effort to get it going, as it were. One aspect of the physical discomfort is tolerance. Some of the women had experience with alternative forms of exercise. One had completed a course in Mensendieck gymnastics, and had very positive experience of this kind of exercise, which she found very suitable for her. She mentioned that the slow exercises, in particular, are comfortable. She took these courses for almost three years. I didn't lose weight, though. But it was nice finding the muscles. Feeling how they worked. And it was a very gentle pace and very pleasant, really. It suited me then, in a way . . . It was nice. So I did that for several years.
The only problem with the gymnastics she liked was that one did not lose any weight. Comparing this program with that of the overweight groups where training with weights is uncomfortable for the body, the participant said: "It was awful in the beginning. I could hardly manage anything. I had to push myself. That was heavy-going. It was a strain." She found pushing her body both alienating and disagreeable. She talked about how the training put her in a sort of position outside herself, in contrast to the more comfortable exercises which suited her. She gave her reasons for deciding to persevere as follows: "The others keep going, so I must also keep going. That helped to motivate me . . . And if I don't carry on I'll be really round." This example shows that pushing oneself is understood as necessary for losing weight. However, the discomfort of pushing oneself is moderated by being part of a group, which made it easier to continue the training. By witnessing the efforts of the others exercising in the same room, seeing that the others "can stand" physical discomfort and persevere, she wanted to do the same. This seems like another kind of social construction of how to be a 'good' woman, along with the others perpetuated by the media and the medical world. From the descriptions of the participants, "pushing oneself" was interpreted as a culturally positive value. Our informants stated that they take advantage of each other's desires to "be fit": I have the impression that everybody who goes to our course is very serious and really give it all they've got. They really want to be fit, is my impression. They're not coming here for fun, in other words. They aren't. To exercise in a challenging and strenuous way helped form a positive perception in the group that one is serious about losing weight and "getting results." With regard to their own efforts, the women performed exercise in a "resolute" way and were "never slack." One participant says: " Sometimes I think I can't face [attending the program] . . . And there are mornings when I really don't feel like it. But then you get dressed and go and it passes . . . No, I have never been absent unless I've been sick. Then . . . and then I know that [I have to] . . . get dressed and stop messing around . . . I have to get tired, because if I don't get tired, then there's no point my being here. And when I go home I have a very good feeling—that I've done it today too . . ." This excerpt from the interview indicates that even though this participant dreaded the exercise program, she was determined to work hard in order to get results in return for her efforts. The cultural idea of exercise engages in an agreement to lose weight. The women seemed conscious of this requirement. One of the main messages in this treatment program was, as shown previously, the importance of "focusing" and "keeping up the pace" of the training so as not to gain weight again. In the earlier excerpt, the good feeling after exercise might refer to the feeling of a good conscience as a result of doing one's duty once again. Another woman talked in a similar way: "If I don't exercise I get so fat. . . . But the feeling after [exercise] is very good.
Then I feel better in a way. I guess I can say that I feel more cheerful." She talked about the training as something she ought to do—a sort of duty which is not fun at the time, but which yields positive results afterwards: both physical (her body is not "as fat") and psychological (she feels better mentally). By becoming aware of how the others see them as overweight women, the women adopted an external perspective on themselves, which made them feel uncomfortable and ashamed of themselves. Moreover, it enhanced their view of themselves as fat and unattractive. According to Merleau-Ponty, the feeling of shame is closely connected to sensing the gaze of others. The objectifying gaze of others is a tacit premise that works directly on the bodies' kinaesthetic and emotional self-awareness. To normalize these bodily states the continuous work to change one's appearance moderates the tension between self and cultural ideas.
As a response to being controlled by the weight, the "inner picture" of an acceptable body does not harmonize with what our informants saw when they look in the mirror. They often questioned how their large bodies relate to their personality. Culturally inappropriate bodies are at stake in negotiations about "who am I." Being large can contribute to a perception of the body as an appendage to the personality. The body is perceived mainly as problem. Hurtful comments about their body as "outer objects" were commonplace. Insecurity and loss of attractiveness, however, did not stop the women from still hoping to get back the old body, the one they had before the children arrived. Their concern with changing the shape of their bodies was perceived as an important value. Questions that might be posed in line with such experiences are: Who is changing? What does it mean to like or not like one's body? Obviously, no outer relationship between "me and my body" exists and as Merleau-Ponty (2002) might have said: I belong to my body and the body belongs to me. Not like other things belongs to me, and not as a thing I can manipulate as an object outside me. Moreover, living with a large body, certainly made our informants critical of their bodies, the body became a "thing" that they did not like. Since the body belongs to the person and the person to the body there is, however, no way of escaping this 'reality.' The visibility of the large body might function as a confi rmation or manifestation of the undesirable side of living with a body that 'nobody' appreciates. Drawing on de Beauvoir's (2000) description of "the narcissist," we might say that the women who participated in this study were striving to become someone else, unsuccessfully. All the plans to change gained an important place in their lifeworld. They continuously lived with that idea that they one day would reach stable weight. Our data indicated that the large women developed a somewhat self-observing relationship with their bodies. From Merleau-Ponty's perspective, the lived body is always subject and object, visible and viewing, touched and touching, yet the two sides of the body cannot be reduced to one another. Therefore, phenomena are always determined through their relationship with one another. De Beauvoir (2000) might argue that the women may seem to be at risk of alienation when they focus solely on body change instead of experiencing the exercise. The responsibility for changing one's body shape diverts attention from the discomfort and pain when they exercise. Remaining in a professionally controlled training program may lead to a feeling that they cannot continue the training on their own. In other words, their feelings of not being good enough are reinforced and their perception of themselves as 'the other' further internalized.
Managing the pace of the exercise program was a struggle for many interviewees. While struggling with intensive exercise to change their bodies into the 'healthy' ideal, they did not have an opportunity to dwell on the excessiveness of such behaviour. As Haravon Collins so clearly puts it, being objectified is bad enough, but being ordered around is blatantly oppressive, particularly when the instructors assume that all of the participants are there for the same purpose: slimming down and shaping up (2002). Although some experiences of strain and effort may be part of 'normal' exercise, being under constant pressure can be counterproductive for obtaining good health. For example, while bio-medical sources state that exercise produces favourable effects on health when measured by a number of physiological variables, other research shows that excessive exercise can result in ill health (Kenttä 2001). In addition, exercising relentlessly reduces the chances of exploring movement from one's own perception of the situation. The actual moving and the flow of movement seem to be undermined and not promoted. Instead, feelings of loneliness and vulnerability were viewed as 'something wrong' rather than valuable experiences that might create awareness of space and one's own bodily history. In spite of the fact that the exercising caused pain and discomfort, the interviewed women kept up with the program. Our material shows that the potential to enjoy exercise could help women to resist the western individualization processes. But this possibility is deferred in favour of a continuous pressure or obligation to obtain a thinner body shape. The interviewed women felt pressure when they were constantly told to push even further, make greater efforts, keep at it, and give what they could. These values may shed light on why the feelings of loneliness and vulnerability arose during exercise and why these feelings increased with a lack of opportunity to discuss the difficult experiences with others. Instead, the women were expected to deal with these feelings on their own. Although the feelings were suppressed, during exercise, the women's movements became visible and 'naked': heavy sweating and breathing were exposed and expressed. On the one hand these bodily reactions helped to affiliate the obese women to 'normal' women who exercise. On the other hand, it is exactly these expressions that contribute to stigma against body size. Sweating and being out of breath are often connected with fatness and this intensified the sense of the judging gaze of others by the large women, particularly, as the large women are culturally accused of becoming obese as a result of poor self-control or lack of adequate knowledge about exercise and diet.
We emphasize that women defined as obese did not want to lose weight solely for the sake of health, but were also struggling to become 'normal' women. The result of exercise is given priority, not the expressive and kinaesthetically subjective body. However, if large women are seen to make a visible effort to become smaller, this can provide them with credibility as 'normal' women. However, exercise with a focus on effort may contribute to an objectification of the body. As de Beauvoir argued (2000) when the body's subjective experience is considered secondary, the body, due to a lack of freedom and human transcendence, becomes objectified. The women in our study certainly described their training as something they ought to do: a duty which is unpleasant, but which yields positive 'physical' and 'psychological' results afterwards. It was obvious that they emphasized the effects of training. The measurable effect also receives most focus in the medical context where the training results are regarded as the only valid knowledge. While our analyses strongly indicated that participating in exercise increased large women's credibility as 'normal' women, it was rarely possible or realistic that they would attain the ideal slim, hard, fit and energetic body. Therefore, success measured through the reduction of body size is problematic. On the one hand, obese women are portrayed as lazy, unethical and acceptable by others in the world of media and medicine. Women are, thus, expected to be responsible for their choices and actions. On the other hand, women who are defined as obese exercise in space that is segregated and 'sheltered' from official public spaces with other 'normal' women and thus, are already judged as 'abnormal.' Doing exercise moderated feelings of shame and marginalization, but our informants do not experience true empowerment. Living in a patriarchal world but surrounded by critical voices we propose that women defined as obese should resist the traditional and mainstream ideas about exercise and give more attention to their personal experiences and abilities. Aware that we may be putting yet another requirement onto large women, this position is in line with advocates of size acceptance in the U.S. (Bernell 2000; Shanker 2004). Currently in Norway, there are no programs yet that aim to build on large women's (and men's) embodied experiences. Neither are the culturally shaped ideals about femininity problematized by linking them to the ideals of improvement through hard (individual) work. From a sociological perspective, women are no longer defined, as they traditionally were, by responsibility for and caring toward others, which can be considered oppressive. Instead women receive praise for 'caring about themselves' and taking responsibility for their own health. However, for obese women, taking care of themselves in a medically orientated exercise context is not particularly enjoyable. On the contrary, an oppressive sense of duty overrides ideas of individuality and expressivity that are characteristic of late modernity.
In this article, we have shown that large women who exercise to lose weight experience repetitive fluctuations of weight, but still hope to find the perfect training program. However, the type of exercise that has been chosen for them provides little opportunity to go beyond a gendered framework. Due to collective cultural norms there seems to be a mutual agreement that slim, well-toned bodies represent the ideal 'normal' woman. In this medical context, to be considered a woman who wants to change and who accepts being instructed toward a changed body size, achieves a more credible feminine identity. However, the routine of the training program prevents the exploration of personal kinaesthetic experience and reflective subjectivity. The large women seem to be 'forced' to (re)produce the idea that they should work to change their bodily appearance. The article illustrates how women, who are defined as obese, express the importance of getting visible results from the training. They had nearly no fun and instead of enjoying the exercise experienced pain, discomfort and dissatisfaction. They, nevertheless, persisted with their exercise program. This article demonstrated that public training programs offered to women defined as obese engage them in an attempt to obtain an impossible body ideal. These programs are necessarily not suitable for large women. Rather, these programs can result in the participants' constant dissatisfaction and ill health.


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Roberta Bondar concerned with Ottawa band using her name
Letter from Bondar's lawyers suggests name that doesn't include both 'Roberta' and 'Bondar'
Canada's first female astronaut thinks the public might assume an Ottawa band using her name is endorsed by her, according to a letter sent to the band by her legal team.
The Roberta Bondar band, meanwhile, makes "steamy noise rock" sounds (that's from their website) in Ottawa.
On Wednesday, a member of the band announced to her bandmates and friends on Facebook that a cease and desist letter had arrived from the real Roberta Bondar.
The letter — from lawyer Jonathan Colombo of the Toronto firm Bereskin & Parr LLP — says that while Bondar is "in one sense, flattered" by the choice of name, she's also "concerned that her name is being used without her consent and, more importantly, that Canadians who discover your brand will assume that your band is connected with or endorsed by Dr. Bondar."
Case closed, with a happy ending
But don't worry, everyone, the case is closed. And it's even got a happy ending.
On CBC Radio's All in a Day Thursday afternoon, host Alan Neal asked band member Lidija Rozitis: "Are you willing to change the name?"
"Oh yeah, totally," she said.
Bondar's publicist, Christine Yankou — who was also a guest on the show — said Bondar would love to meet the band the next time they play in Toronto.
It's worth mentioning that Roberta Bondar isn't the only Ottawa band using a real person's name (or something a lot like it).
The electronic trio Silkken Laumann has managed to get away with it by not spelling Silkenn Laumann — the Canadian Olympic rower's name — exactly right.


text: I won't begin to make suggestions for future raid content, as I have not raided in about ten years. On a positive note: while there are certainly aspects of the group game that I would change if I had the power, that list is much smaller and easier to digest than the raid side of the game. What I can do, however, is highlight the reasons I stopped raiding. By and large, my list is probably not worth reading; I certainly have no expectation that my reasons for increased disinterest in raiding over time are shared with anyone. My reasons distill to the following: there have been too many evolutions/devolutions of the game over the course of time to make raiding enjoyable for me. As similar issues accrue I tend to think other people will stop raiding/playing as well. Underfoot. Excessive use of emotes with extreme reaction times and extreme punishments for missing the required action(s). I want to play a fantasy role-playing game, not Simon Says. The prevalence of third-party programs being used to assist people playing the game. I have never and will never use one of those programs (to include voice chat, parsing, audio triggers outside of game, etc.). I'm not even speaking of programs that are used for cheating (or could be), as I /ignore anyone in game if I discover they use them . . . and I certainly wouldn't be knowingly guilded or grouped with them. The inability to head back to solo old raids after many years, just to experience the content and maybe snag a cool clicky/weapon/whatever. When it became clear that this type of raid (forever un-soloable) was more and more common . . . I was less and less interested to even try current raids. I had/have no desire to support content creation that a large segment of the player base has no hope of ever completing due to designed restrictions (DoD, PoR, UF, HoT and probably many if not all of the expansions since then). I probably would have swallowed this pill if the raids were in the static zones, but as instances there is no reason to say: you can't come in here when you're level 999 and beat the snot out of these baddies because reasons. This one might sound odd, but . . . that in-game chat feature you could use from the patcher without logging in. I really hated losing that. Trying to coordinate with people on different servers was a bit of a hassle when that went by the wayside. I hated losing EQPlayers as well . . . I could check which people had/were missing which flags, aa, etc., on my own time. Sure, it wasn't perfect, but it was better than having nothing. There are other tangents I could go on, but the real final straw for me was when gear became a non-choice. Standardized focus effect slots really irk me, too (as does the task window). There is no gear planning of consequence for anyone.


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Ability: Create Fluidic Rift
Overview[edit | edit source]
The Create Fluidic Rift ability creates a rift that pulls in enemies while creating bubbles of fluidic space that seek out foes. It is generated by the [Console - Universal - Enhanced Fluidic Conduit Projector], which is obtained with the Undine Kiwavi Bio-Cruiser (T6) or by the standard, non-passive version of the console obtained with the Undine Dromias Bio-Cruiser (T5).
Basic Information[edit | edit source]
- Profession: Any
- Locale: Space
- Game Description: Pierce the dimensional divide that separates normal space from Fluidic Space, causing a rift that will pull in nearby foes, while releasing bioplasmic "bubbles" into the local region. By carefully modulating the energy emissions that create the rift, the user can control the volatility of these bubbles, causing them to have negative effects only on nearby foes - even those native to Fluidic Space. These negative effects will slow the target while dealing plasma damage.
Detailed Information[edit | edit source]
- Used by:
- Player
- Non-Player Character
- Target: Foe
- Ability Type: Rift Near Target: Pulls Foes and Creates Debuffing Bubbles
- Range: 10 kilometer Range
- Activation: 0.6 sec
- Starts cooldown: 2 min
- Self
- Modified by:
- Skills
- Exotic Particle Generator
- (Improves Exotic Damage)
- Exotic Particle Generator
- Stats
- None
- Skills
- Trained by:
- This ability cannot be trained
Ability Ranks[edit | edit source]
|Ability/User Rank
|Ability Effects


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25 Jan 2019 04:30
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Apel Ottoman
Fully upholstered ottoman available in 2 sizes with either saddle stitch or loop master stitch. Standard base or with eight small concealed casters (22″Diam. ottoman). GREENGUARD Certified. Suitable for contract or residential projects. Handmade in the USA.
22"Diam. x 17"H or 41"Diam. x 16.5"H
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Upholstery: a variety of fabrics and leathers.
Also available in COM or COL.
Please inquire for full list of material colors.


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JF Ptak Science Books Quick Post
I'm not sure that I understand this photograph and what is going on in it. I do know that it was made in 1918, and that the back is stamped "Photo by/Central News Photo Service/26-28 Beaver St., N.Y....", a product of not-very-discrete control of war images. The vast majority of photographic efforts of WWI were very deeply controlled, with little left to chance and uncontrolled. This lively image may be Doughboys inspecting female volunteers for lice--perhaps that was a job performed by these volunteers. Or something else, though I can't see what--the soldiers aren't using clippers, and they seem to be separating the hair.... So the subject matter isn't scrumptious, but the faces are--a break in the not-routine routine business of war.
[Doughboy: The origin of the term "Doughboy" is unclear, or varied, or rich, but it is at least pretty oldm beginning around the time of the Mexican American War in 1846-1848--evidently when the soldiers marched through dry, tough terrain they wound up being covered by earth with the color of dough. Doughboy.]


text: Harry and Charlie, the kids from 2007's superviral "Charlie Bit Me" YouTube video—which is closing in on half a billion views—make a humorous return in this new Ragú spot, where they recall the pain and degradation of the incident and its aftermath. It fits perfectly into Barton F. Graf 9000's ongoing "A Long Day of Childhood" campaign for the brand. The lyrics of the jingle for this new spot are particularly inspired: "Charlie bit my finger like a rabid opossum, but Dad kept on filming because he thought it was awesome." Good to see the parents still making a killing off these kids!


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The Ugly Truth – Movie Review
The Ugly Truth
It seems fitting that I'd mention this movie since a major part of this Blog is about dating and male/female interactions. An acquaintance of mine highly recommended the movie and assured me that it wasn't just another "Chick Flick." Taking into account that he is one of those macho ex-military dudes, I decide to go see it last night with a female friend of mine.
It did not disappoint. It's an overall fun comedy based around the main two characters: Abby played by Katherine Heigl, and Mike, played by Gerard Butler. Though you can make a case that characters are somewhat typical, it still makes the film no less entertaining. Abby is a hot slim blonde career women/control freak and Mike is a free willing, have a good time, easy going type of dude compounded by the fact that he is a bit of a male chauvinist.
You could say the plot is somewhat reminiscent of "When Harry Met Sally", but what this makes movie a bit different is that Gerard Butler's character, Mike, is inherently more likeable than Billy Crystals' could ever hope to be. Sure, he is a bit chauvinist (or a lot), he is crass, and blunt, but you can't help but like the guy, because at the end of the day, he is having fun with you, not at your expense. That the movie dares to push boundaries a bit and say things we'd normally only THINK (but not blurt out) is what really gives it a bit of an edge.
Mike giving Abby pointer on how to dress a little sexier, and learn to flirt better are not necessarily politically correct but they're part of the ugly truth the movie proclaims to deliver. The most memorable line for me was Mike's response to Abby regarding her wardrobe.
Abby: What's wrong with my wardrobe? It's nice, and it's efficient.
Mike: It is efficient. Problem is, no one wants to fuck it!
Half way through the film, I speculated that it was definitely written by a woman. I was wrong. It was written by 3 women. The movie does also portray Mike to be a chauvinist due to the fact that he's been hurt in poor relationships before. This may be cliché but there are elements of truth to that fact. Like a good buddy of mine, a major player who'd slept with 100s of women, used to say, "Usually behind every player/bad boy, is a guy who had his heart ripped from him at some point, or suffered through one terrible relationship. They may not admit it, but it's there."
This movie does touch upon that, but its message is actually beneficial. While critics may cry of sexism and chauvinism, the female screenwriters got it right. The Abby character is too controlling and that is a turn off to men. The Mike Character is a player but not a bad guy, and there are things to be learned from him.
If you're a guy who is looking at receiving Dating Advice, what can you learn from the Mike character?
- Social Intelligence. It's one of those things, I often discuss, but Gerard Butler's character, Mike, does intuitively understand what archetype he is dealing with. He likes pushing boundaries but has the social wherewithal to know when to stop short of making an ass out of himself.
- Being comfortable with oneself, and being genuine: While people's level of charisma will vary, the ability to be comfortable with oneself and a sense of authenticity will always be appealing.
- Being Fun and not taking oneself too seriously. You could break this down into more depth but really, if you can have fun with someone, you are off to a great start. Ability to have fun is a great barometer to gauge the start of any relationship.
Is the movie predictable? Absolutely. Most movies are. You seriously don't go to see Die Hard to see John McClain get killed, do ya? Most of us with a minimal amount of sanity wouldn't go on a roller coaster either if someone told us that it was going to fly off the tracks and splatter into a wall. We know it's going to end up OK, and yet we enjoy the ride. Nevertheless, a quick search on Google will show that critics killed the film, one calling it the worst film of the summer.
This film is a good ride, though you know what's going to occur at the end, and even if the love-connection is a bit lackluster, you'll still have a good time. The movie doesn't really show us why these two would ever fall for each other, and how in the world would a relationship between these two vastly different personalities last past 6 months. It doesn't matter. Comedies are meant to be around 90 minutes and they don't always have to time to give a glorious culmination, so the filmmakers are sometimes forced by the studio to have to wrap it up quickly. This film wraps up quickly as well, but it doesn't detract from its entertainment value. (Unless you're a professional critic.)
Enjoy and comment after seeing….


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Rather than spending time and money to bring on multiple contract workers, businesses are turning to creative and marketing managed services for their project needs.
The Real Cost of a Bad Hire
With one poor employee pick, hiring managers could be costing their companies a significant amount of money in expenses directly associated with a new hire, as well as indirect costs resulting from a bad fit possibly impeding production.
A Day in the Life of a Content Strategist
Planning search engine optimization strategies, writing and editing compelling content and analyzing metrics based around this content's performance – just another day in the life of a content strategist.
3 Ways Hiring a UX Designer Will Benefit Your Business
If you believe your digital platforms could use some work, consider hiring a UX designer to join the team.
High Demand, Low Supply: How to Get the UX Design Support You Need
As more organizations have adopted web-based platforms, their demand for UX designers has risen dramatically across the nation.
Look for These 5 Qualities When Recruiting UX Designers
Plenty of skills make up a strong user experience professional. In this blog, we dive into what to look for when recruiting UX designers.
Conducting a UX Designer Interview Like a Hiring Pro
When running interviews for different types of candidates, you look for a variety of distinguishing qualities: experience, work examples, interpersonal skills. Conducting a UX designer interview is no exception.
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A Day in the Life of a Web Content Manager
Planning content calendars, creating cohesive copy and editing web content across the organization – just another day in the life of a web content manager.
A Day in the Life of a Copywriter
Crafting high-quality content, managing website and blog copy and integrating search engine optimization into new and existing work – just another day in the life of a copywriter.
A Day in the Life of a Web Designer
Creating seamless web navigation, testing user experience and expressing technical information in a simplified way – just another day in the life of a web designer.
Different Types of Design Jobs: A Look into Visual Design, Graphic Design and Digital Design
As a designer, or hiring manager looking to hire one, you have a couple different avenues to look into when finding the best fit: visual design, graphic design or digital design. All are important, but each involves completely different skills.
A Day in the Life of a Technical Writer
Preparing instruction manuals, creating how-to guides and communicating complex, technical information in a simplified way – just another day in the life of a technical writer.
A Day in the Life of a Marketing Account Manager
What does a marketing account manager do? Communicates with consumers, supervises staff and oversees the completion of projects from start to finish.
4 Ways to Enhance Your Employee Onboarding Experience
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Why Creativity and Diversity in the Workplace are a Successful Match
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Making It Work with Millennials and Baby Boomers
How can you manage potential conflict in the workplace between boomers and millennials? Encourage mutual respect and understanding.


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A tent site I've bookmarked for the future:Me to ;D
A tent site I've bookmarked for the future:
I don't ave any experience with these but I thought they were pretty cool:
http://www.kodiakcanvas.com/ (http://www.kodiakcanvas.com/)
All-season*: Use year-round, but not designed for extreme winter mountaineering or heavy snow accumulations.*The awning is not designed for snow loads and should be stowed during winter campingnice "fall" tents but not worth the cost really if you cant put a stove in nor allow it to be set in the snow..
I can speak first hand of Davis Tent, as this is what I am using now (see my profile pic). These people (whom are themselves outdoorsmen) know what a good tent needs. I have found them to be salt of the earth and very accommodating in any request. I would look over their website (and many others too, so that you are informed), then call Davis Tent and talk to them. You will find that they have very good advice, and can help you learn some things. . . . This can be said for many other manufacturers, but I found that over the years, Davis has been the most helpful.ya i bounce back to them often.. so im glad to see more than one TSPer say yep this one..
I have been an elk hunter for many years and have camped in a number of different brands of tents (and owned a few of them myself). In my opinion, you won't find a better quality made tent with such quality fabrics, threads, craftsmanship, and design for the money. I have had zero issues with my tent and we use it.
I've always used an internal frame (which I would recommend), but what's nice about Davis Tent is that they design it (standard) with ridge poll sleeves. This way, if you are going to pack in with a mule or horse, you can chop down a tree and make your own poles.
Davis has got a lot of information on their website to help you figure some things out, start there.
if i recall you (nelson) hunt or have hunted above me..kindly hearding them down my way ;D
Yes, for many years now (without fail) . . . . Will be there for opening season this fall. Didn't get my first season tag, so we will be there for second season starting Nov 3rd. . . . You were going to do some baiting for me while picking mushrooms, weren't you ;)that's right! mushrooms were no good this year :( but ha i did spill some sweet mix for my goats via tree snag so that counts ;D
We will deer hunt here in the valley this year.


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Unfortunately due to Wales going into Lockdown, delivery will be arranged after the Lockdown is lifted in about in 3 - 4 weeks.
Due to the high demand our staff may not be able answer calls and/or emails immediately. We will ensure though that all customers will be contacted to arrange a delivery slot prior to delivery.
Rucksacks / Bags
Nuprol Daypack Olive rrp£49.99
Out of stock


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President Trump and visiting Brazilian President Jair Bolsonaro took shots at the mainstream media during a state visit at the White House, with both men attacking the "fake news" at a joint press conference.
Bolsonaro, who has often been called "Trump of the Tropics," is on his inaugural trip to the U.S. since his stunning election win, culminating in today's highly-anticipated first meeting between the kindred nationalist-populist leaders.
"May I voice my adoration and recognition to President Trump on this beautiful day where we seal a promising alliance between the two most promising and largest democracies in the Western Hemisphere," Bolsonaro said. "May God bless Brazil and may God bless the United States of America."
"May I say that Brazil and the United States stand side by side in their efforts to ensure liberties and respect to traditional family lifestyles with respect to God our creator… and against fake news."
Later in the press conference, President Trump praised his counterpart's adoption of Trump's signature 'fake news' phrase, asserting that their election wins were made all the more improbable by relentless negative coverage by globalist media.
President Trump says he's "very proud" to hear Brazilian President Jair Bolsonaro use the term "fake news" https://t.co/2fQNgKJFN3 pic.twitter.com/UHniKJ4kLL
— CBS News (@CBSNews) March 19, 2019
"The incredible thing is that we can win an election and we have such a stacked deck, and that includes networks, frankly," Trump said. "You look at the news, you look at the newscasts — I call it 'fake news.'"
"I'm very proud to hear the President use the term 'fake news,'" Trump said, gesturing towards Bolsonaro.
Bolsonaro also expressed his confidence that President Trump will be reelected in 2020.
"It's an internal affair, we will respect whatever the ballots tell us on 2020," Bolsonaro said. "But I do believe Donald Trump is going to be reelected."
President of Brazil, Jair Bolsonaro, and President Trump are meeting today at the White House. Alex delivers commentary on this breaking news.
Dan Lyman: Follow @CitizenAnalyst


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Pharmaceutical Microbiology
Pharmaceutical Microbiology is a connected branch of Microbiology. It includes the investigation of microorganisms related with the produce of pharmaceuticals e.g. limiting the quantity of microorganisms in a procedure situation, barring microorganisms and microbial side-effects like exotoxin and endotoxin from water and other beginning materials, and guaranteeing the completed pharmaceutical item is sterile. Other parts of pharmaceutical microbiology incorporate the innovative work of hostile to infective operators, the utilization of microorganisms to identify mutagenic and cancer-causing movement in forthcoming medications, and the utilization of microorganisms in the fabricate of pharmaceutical items like insulin and human development hormone.


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Bristol councillors approve joint plan for future development
A plan mapping out the policies and principles for future development across the Bristol region has been endorsed by city councillors.
Full Council approved the final draft of the West of England Joint Spatial Plan, which will be published next week for public comment before it is submitted to the Secretary of State for adoption.
The Joint Spatial Plan is designed by the four West of England councils (North Somerset, Bristol City, Bath & North East Somerset and South Gloucestershire) to provide the overarching development framework needed to guide housing, employment and infrastructure requirements until 2036.
Yesterday at Full Council, Bristol City Council councillors reviewed the latest document, which is the product of more than two years joint working with neighbouring West of England councils and two previous consultations.
Cllr Nicola Beech, Cabinet Member for Spatial Planning and City Design at Bristol City Council, said:
"It's absolutely crucial that we work closely with our neighbouring authorities to plan for the future. We need to think about where our children are going to live, their job prospects and how they will move around the region. By 2036 we need at least 102,200 more homes and to make sure the West of England area provides to this, the plan identifies capacity for 105,500 new homes, including 24,500 new affordable homes for rent.
"Our housing ambitions for Bristol are greater than the joint plan outlines and the Mayor has recently announced significant future projects to unlock more housing.
"We are working with our neighbours in a way we've never done before because we jointly recognise the need to shape our growth and plan carefully and soundly for the future. That's what this plan is all about – addressing our shared and growing needs as a region. The plan is a UK trailblazer as it's the first spatial plan of its type where four local authorities are working together to plan our tomorrow. By working together we have a chance to reach the best possible solution for all residents in the area regardless of which side of the boundary they happen to live in."
The four councils are continuing to develop a Joint Transport Study in order to help the region meet growing infrastructure demands and identify projects needed to upgrade existing transport links where there is already pressure on road and public transport networks.
The Joint Spatial Plan and its supporting evidence will be published online at http://www.jointplanningwofe.org.uk for public comment on 22 November. Members of the public will have until 10 January to comment on the plan.
Original press release from Bristol City Council:


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For the charges, first you must earn alist of what you would like the pipes, electric, framing, drywall, and so on. The expense of demanding plumbing is around $1000, except for complete pipes stuff that you must spend around $175. For most electric, at least you have to prepare 250 and $300 for your own shingles. Framing needs only $70; yet, tiling requires 835. The bathroom vanity lighting ideas also needs to think about the budget for shower spout bathroom that can spend approximately $730 and a $430 for paint trimming doorway. The total for these stuff is approximately $3700; yet , you also need to depend on the installment budget and labour, in the event that you need it. This setup and labour might cost approximately $1500 to $2000. Generally speaking, the quote budget to get a basement bathroom is around $4000 to $6000. However, naturally, if it's the case that you are fortunate, you are able to possess disregard for the materials. The reduction will help you to minimize the bathroom light and of course you can save money.
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These stylish Luna Lantern designs cleverly bring the moon within reach and to your home decor. These stylish circular lamps replicate the shape and aesthetic of the Earth's moon with a delicate paper design.
The moon is one of the most beautiful signs to see offering a soft glow to the night sky. These elegant Luna Lanterns replicate the soft crater texture of the moon with delicately laid paper sheets that give off a soft warm yellow light. The lamps range in size from as small as 3.2-inches to 23.6-inches depending on how large of a moon you'd like to incorporate into your home's decor. These lamps would be ideal to add to a bedroom to make it seem as though you're falling asleep each night under the night's sky.
These Luna Lantern Designs Replicate the Iridescent Glow of the Moon
Misel Saban — September 19, 2015 — Art & Design
References: indiegogo & incrediblethings


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Make a splash with our customizable drinkware collection! Choose from a wide variety of reusable cups, mugs, and tumblers, all available and ready to be personalized with your business' artwork or logo.
From insulated wine cups and trendy vacuum bottles to travel tumblers and squeezable sports bottles, quench the thirst of colleagues and clients while effortlessly promoting your company or event.
We offer low minimums on many of our drinkware selections, so you can stockpile a collection of cups and mugs to suit any season, event, or occasion.
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While selecting the sip-worthy items in our customized drinkware collection, we handpicked the most fun and sophisticated styles, resulting in a carefully curated assortment.
Our insulated stemless wine cups and copper mugs and tumblers look particularly stylish on a desk or conference room table, while our aluminum sports tumblers and fruit infuser bottles are elegant on-the-go options.
An Environmentally Conscious Collection
About 22 billion plastic water bottles end up in landfills each year. Reusable tumblers, cups, and mugs are an environmentally friendly alternative. Encourage employees, clients, and event attendees to go green with our customizable drinkware.


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|the significance of the cytoplasmic droplet in the disintegration of semen in guernsey bulls.
|parturient paresis and hypocalcemia in ruminant livestock.
|parturient paresis (hypocalcemia) is most likely to affect dairy cattle around the time of parturition. it causes progressive neuromuscular dysfunction and flaccid paralysis. older dairy cows, cows with a history of parturient paresis during a previous lactation, high-producing cows, and cows from the jersey and guernsey breeds are at highest risk for developing parturient paresis. nonparturient hypocalcemia may also occur and is related to events other than parturition, such as severe stress, t ...
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Anyone interested in taking my place? As I can no longer make it, two courses do you a good deal. Please contact me 07818822863 - Thanks.
Added by Jackie on November 29, 2019 at 10:30 — No Comments
Added by JOHN HYTTNER on November 26, 2019 at 17:09 — No Comments
I have some tickets for the production of A Christmas Carol at Lewes Little Theatre, for Monday 9th December @ 19:45 at the discounted rate of £6. This is an adaptation by Gary Andrews. There is a bar at the theatre and the nearest car park is only round the corner and is free after six o'clock. If you want to watch a trailer for the show, there is one on YouTube - look up A Christmas Carol by Charles Dickens at Lewes Little Theatre. I think you'll admit it is rather good!
Please let…Continue
Added by Wendy Tidman on November 25, 2019 at 19:12 — No Comments
I have some tickets for the production at Lewes Little Theatre of "A Christmas Carol" for Monday 9th December at the very reduced rate of £6. The performance starts at 19:45 and there is a good, reasonably priced bar on site as well as coffee and tea during the interval. Nearby car parks are free after 18:00 and only a short walk to the theatre in Lancaster Street. There is a YouTube clip to view - look up A Christmas Carol by Lewes Little Theatre. There is the possibility of tickets for…Continue
Added by Wendy Tidman on November 25, 2019 at 19:00 — No Comments
Hi all - Sorry but I've decided to cancel Saturday's work from Shoreham due to forecast of high winds and rain all day. Given the exposed route, it wouldn't be very enjoyable in these conditions. If you know anyone who was thinking of coming, would you mind letting them know in case they miss the announcements. Graham has kindly updated the main website.
Added by Carole Claridge on November 1, 2019 at 11:05 — No Comments
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