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Infrared Heterodyne Detection. Teich's work at Lincoln Laboratory was principally directed toward using the then-new
carbon-dioxide laser to demonstrate that optical heterodyne detection could be achieved in the mid-infrared region of the electromagnetic spectrum.[1]
Using a Ge:Cu photoconductive infrared detector of quantum efficiency η ≈ ½ , he observed the detection of 2/η photons per resolution time of the receiver, which represents ideal quantum performance.
This work led to the development of an infrared heterodyne laser radar (lidar),[2]
as well as to instrumentation suitable for infrared laser Doppler velocimetry, aerosol-pollution measurements, and airspeed/windshear measurements.
Optical Heterodyne Detection. The high sensitivity of infrared heterodyne detection, and its suitability for use in laser radar,[3] led Teich to formulate a field-theoretical treatment of heterodyning to provide a deeper understanding of the process. This approach revealed that optical heterodyne detection could be understood in terms of the absorption of individual polychromatic photons, and that the double- and sum-frequency currents associated with classical electric-field heterodyning diminish as the photon-absorption regime is approached.[4]
He developed a three-frequency heterodyne-detection scheme that allowed some of the more stringent requirements of conventional optical heterodyning to be relaxed without loss of sensitivity; these include the availability of a priori knowledge of the Doppler shift of a moving target and the necessity of having a highly stable local oscillator.[5]
With his student Rainfield Yen, he showed that the three-frequency scheme was also useful for cancelling phase or frequency noise.[6]
He then considered several variations on the theme of nonlinear optical heterodyne detection,[7]
including heterodyne correlation radiometry.[8]
Photon Statistics and Point Processes. As a complement to studying optical heterodyne detection, Teich also investigated optical direct detection, particularly at the single-photon level. Working with his students and colleagues, he studied the photon statistics and point processes that characterize various sources of light, and examined how these descriptions are modified by intensity modulation,[9]
transmission through active and passive random media[10]
such as the turbulent atmosphere,[11]
random deletion,[12]
the imposition of detector dead time,[13]
and the presence of detector feedback.[14]
It turns out that the processes of refractoriness (dead time) and relative refractoriness (sick time) also play an important role in the process of action-potential generation, as is manifested in neural-counting statistics.[15]
Together with Paul Prucnal, he established that single-threshold detection represents optimal receiver processing under a wide range of conditions.[16]
Shortly thereafter, working with Bahaa Saleh, he examined the statistical properties of luminescence radiation and proposed a description based on clustered photon emissions.[17]
They went on to suggest that the noise arising from luminescence photon clusters generated at the glass faceplate of a photomultiplier tube could be mitigated by deliberately including dead time in the photodetector circuitry. They then incorporated that approach in the design of the star-scanner guidance system for the NASA/JPL Galileo spacecraft, which was subject to intense radioluminescence background radiation as a result of bombardment by copious Jovian gamma-ray and beta-ray emissions.[18]
Single-Photon Detection at the Retinal Rod. The human retinal rod serves as a highly sensitive detector of light that operates on the basis of optical direct detection. The classic sensitivity experiment carried out by Hecht, Shlaer, and Pirenne (HSP) in 1942, which made use of a Poisson source of photons emitted by a ribbon filament lamp and was conducted under the best possible viewing conditions, led to the conclusion that the absorption of seven photons at the retina was required to elicit the sensation of seeing.[19]
Forty years later, in 1982, Teich assembled a multidisciplinary team of physicists, psychologists, and engineers to remeasure the ultimate sensitivity of the human visual system using a photonics-based update of the HSP apparatus that incorporated a laser source.[20]
The first experiment carried out by this team, which used a Poisson source of laser photons, paralleled that of HSP. However, instead of finding that seven photons were required to elicit the sensation of seeing, the new experiment revealed that even the absorption of a single photon at the retina could be perceived, provided that the false-positive rate were permitted to be sufficiently high. Sensitivity and reliability were determined to be traded against each other over a broad range as the observer modified an internal decision criterion. Parameter estimates for each subject were determined by using the normalizing transform and probit analysis.[21]
Indeed, it was subsequently demonstrated by Teich and his student Tao Li that a single photon absorbed at the rod is converted into a macroscopic current pulse via a six-stage chemical amplification process with a gain of approximately 10 million — the retinal rod behaves as a chemical analog of the photomultiplier tube widely used in photonics.[22]
The second experiment carried out by the multidisciplinary team used an acousto-optic modulator to impose triangular intensity modulation on the laser light, thereby converting the bell-shaped Poisson photon-number distribution into a flat photon-number distribution, as had been established earlier.[23]
The resulting frequency-of-seeing curves were found to be substantially less steep than those obtained using Poisson light, and this enabled the effects of stimulus fluctuations on visual-system sensitivity to be determined.[24] The team concluded that the shapes of the traditional frequency-of-seeing curves observed by HSP could not be ascribed solely to the Poisson photon-number fluctuations of the stimulus flashes, as HSP had proposed, but also depended on the intrinsic noise of the visual system. They suggested that
nonclassical light, in the form of a photon-number-squeezed or heralded single-photon source, which is devoid of intrinsic noise, would be the optimal choice for determining visual-system noise at threshold. Although such sources did not exist at the time, various approaches for constructing them had begun to be set forth.
Squeezed Franck–Hertz Experiment. In 1983, Teich and Saleh conceived of pump-fluctuation control as a mechanism for generating a single-photon source, which is a form of nonclassical light. They suggested using a space-charge-limited version of the classic
Franck–-Hertz experiment in mercury vapor to generate antibunched and photon-number squeezed (sub-Poisson) light. These two features of nonclassicality are related but not identical.[25] In 1985 they created the first source of unconditionally photon-number-squeezed light using this method.[26]
In this approach, photon-number squeezing follows from space-charge-induced electron-number squeezing, which in turn is the result of an orderly stream of evenly spaced electrons engendered by Coulomb repulsion. The individual photon emissions from the mercury atoms are characterized by the Bernoulli state, and the counting statistics thus follow those of the binomial state of the quantized radiation field.[27] The latter interpolates between the number state and the coherent state, and can be antibunched, photon-number squeezed, and/or quadrature squeezed over certain parameter ranges. Photon-number-squeezed light from semiconductor sources has also been generated using pump-fluctuation control.[28] However, it is but one of a number of mechanisms available for generating nonclassical light.[29]
It had earlier been demonstrated that squeezed light is fragile and readily diluted by the random loss of photons and by the addition of background photons, which, when sufficiently strong, cause nonclassical light to behave like classical light.[30]
Nonclassical Light and Optical Components. Traditional optical components, even the simple beam splitter, can behave in unexpected ways when used with nonclassical light. The matrix representation of the lossless beam splitter belongs to the SU(2) special unitary group of unimodular, second-order matrices. For a general joint quantum state at the beam-splitter input, Teich and his student Richard Campos demonstrated that the joint photon-number distribution at its output is expressible as a Fourier series in the relative phase shift imparted by the beam splitter, and confirmed that balanced heterodyne detection can be attained.[31] Similarly, the matrix representation of the degenerate four-wave mixer belongs to the SU(1,1) special unitary group of matrices.[32] For a sufficiently strong pump field, the generation of quadrature-squeezed light can be achieved for arbitrary input quantum states by making use of a suitable combination of the output beams. Moreover, when properly interpreted, the SU(1,1) formalism also characterizes the degenerate parametric amplifier. Both SU(2) and SU(1,1) are subgroups of the Lorentz group O(3,2), with three space-like coordinates and two time-like coordinates, so that the cascade of an SU(1,1) device and an SU(2) device can yield squeezing for arbitrary input states when the pump is strong.
Noise in Avalanche Photodiodes. The avalanche photodiode (APD), a semiconductor photodetector that relies on the internal amplification of charge carriers (electrons and holes), is useful as a photon detector for both classical and nonclassical light.[33] Its operation is analogous to that of the photomultiplier tube, which functions via the internal amplification of electrons; the retinal rod, which is governed by intrinsic chemical amplification; and the polymerase chain reaction, which uses the recombinase polymerase amplification of a particular DNA sequence. Teich and Saleh reasoned that the excess noise introduced by carrier clusters in the APD multiplication region could be mitigated by endowing the device with dead space, in analogy with the use of detector dead time to mitigate the noise introduced by luminescence photon clusters at the faceplate of a photomultiplier tube. In a series of papers coauthored with Majeed Hayat and Joe Campbell, they established the statistics of the APD multiplication processes and associated noise, and demonstrated that incorporating dead space in the device design yielded a class of ultralow-noise APDs suitable for use in fiber-optic communication systems, as well as a class of single-photon avalanche diodes (SPADs) with optimal breakdown-probability characteristics.[34]
Noise in Fiber-Optic and Neural-Network Amplifiers. Using an analysis similar to that carried out for avalanche photodiodes, Teich, together with Li and Diament, derived the statistics of the photon amplification process and noise produced in fiber-optic amplifiers.[35]
This work contributed to the development of optical amplifiers with improved performance.[36] As an illustration of how an analysis in quantum photonics can be carried over to computational neuroscience, McGill and Teich co-opted the statistical treatment of optical amplification to describe the flow of neural events in human sensory systems.[37]
As an example, the visual-system neural network, fed by the rod, comprises multiple stages of amplification at its manifold waystations, beginning with the retinal ganglion cell. The concatenation of a large number of amplification stages, each with small gain, can be modeled as a birth-death-immigration (BDI) branching process comprising amplification (birth), loss (death), and the ingress of spontaneous events (immigration). The absorption of a single photon at the retina then gives rise to a large collection of action potentials at the various visual nuclei in the brain, much as a single photon presented at the input of an optical amplifier results in a vast collection of photons throughout its length.[38] In both cases, a Poisson number of events presented at the input yields a noncentral-negative-binomial number of events at the output. This quantitative result is more accurate for determining fiber-optic system performance than is the Gaussian approximation usually used in photonics, and it also offers (yet another) neural-based rationale for the origin of the Weber–Fechner Law in sensory detection.
Hensen's-Cell Vibrations in the Cochlea. As an example of quantum photonics in the service of cellular neuroscience, Teich and his students Suzanne Keilson and Conor Heneghan, together with Shyam Khanna at the Columbia University Medical Center, and Mats Ulfendahl and Åke Flock at the Karolinska Institute in Stockholm, carried out optical heterodyne measurements of the vibratory motion of individual, μm-size cells in the Organ of Corti over a period of several years.[39]
In the course of these studies of auditory function, which made use of wavelet analysis,[40]
Hensen's cells were observed to vibrate even in the absence of external acoustic stimulation. This suggested the possibility that spontaneous vibrations originating at the outer hair cells might be responsible for spontaneous otoacoustic emissions (SOAEs).[41]
Fractal Character of the Auditory-Nerve-Fiber Spike Train. While assessing the manner in which information associated with cochlear cellular vibrations is transmitted to higher auditory centers via individual fibers of the auditory nerve, Teich and Khanna examined the connection between different acoustic stimuli and the signature action-potential sequences they generated.[42] The mathematical representation of a sequence of action-potential occurrences, like that of a sequence of photon registrations, is a stochastic point process. Indeed, the techniques developed for studying the statistical properties of various forms of light in photonics can be directly carried over to the study of how different acoustic stimuli give rise to particular action-potential sequences in the domain of computational neuroscience. Unexpectedly, neural-counting experiments conducted with significantly longer counting times than those conventionally used revealed the fingerprints of fractal fluctuations in the action-potential patterns.[43]
Working with his students and with his postdocs Stefan Thurner and Markus Feurstein at Columbia, and with Murray Sachs and his student Winston Woo at Johns Hopkins, Lowen and Teich made use of wavelet analysis[44]
to show that the fractal features became more prominent as the counting time increased, and that this behavior was present in cat auditory-nerve-fiber spike trains both in the presence and in the absence of acoustic stimuli.[45]
Other researchers subsequently recognized that fractal behavior was manifested not only in auditory nerve fibers of the cat, but also in auditory nerve fibers of the chinchilla, chicken, and rat.[46] Similar behavior was soon discovered at higher auditory centers as well, including the cochlear nucleus, lateral superior olive, and inferior colliculus.
Fractal Shot Noise. The rate process underlying the fractal behavior of the auditory-nerve-fiber spike train was determined to be a form of shot noise with a 1/f-type spectrum. In the course of studying this process, Lowen and Teich constructed a linearly filtered Poisson process with a power-law decaying impulse response function, which led to a new form of shot noise — fractal shot noise.[47]
Fractal shot noise exhibits several unusual properties, including power-law behavior in many of its features and convergence to a Lévy-stable (rather than Gaussian) amplitude probability density over certain parameter ranges. Together with Robert Turcott, Lowen and Teich then confirmed that a Poisson-transformed version of fractal shot noise, which is a special fractal doubly stochastic Poisson process (FDSPP), suitably characterized the auditory-nerve-fiber spike train.[48] This model also turns out to properly describe the photon statistics of Čerenkov radiation generated by a random stream of charged particles in a dielectric medium,[49] thereby providing an example of computational neuroscience in the service of quantum photonics. Fractal shot noise, along with its Poisson-transformed cousin, also find application in other arenas where self-similar phenomena play a role, such as computer network traffic and earthquake occurrences.[50] Certain other fractal-based processes also exhibit a 1/f-type spectrum; one example is the alternating fractal renewal process that is a generalization of Mandelbrot's fractal renewal point process.[51]
Fractal-Based Point Processes in Computational Neuroscience. Teich and Lowen recognized that the fractal behavior observed in the spike trains transmitted via on auditory nerve fibers in the early 1990s had a broader presence in neuroscience. Indeed, in the late 1990's, in experiments conducted with Ralph Siegel, and with Ehud Kaplan and his student Tsuyoshi Ozaki, similar behavior was observed in the cat visual system.[52]
Also in the late 1990s, studies carried out at Columbia with Mu-ming Poo and his student Sydney Cash revealed the presence of fractal behavior in neurotransmitter exocytosis at the synapse.[53]
Others subsequently discovered fractal behavior at the suprachiasmatic nucleus and in presympathetic- and sympathetic neural discharges,[54] as well as at other loci. In 2005, Lowen and Teich collected a substantial array of findings related to fractal-based point processes in the biological and physical sciences and assembled them into a monograph.[55][56] A lecture summarizing the central role of fractal-based point processes in neural information transmission, heart rate variability, and computer network traffic was presented in 2009.[57]
Entangled Photon Pairs in Quantum Photonics. Teich's research in physics and photonics at Boston University followed the trajectory he had begun at Columbia: investigating the characteristics of nonclassical light. In particular, he studied the unique features of (and technological opportunities offered by) entangled photon pairs generated via spontaneous parametric down-conversion (SPDC). This is a nonlinear optical process in which a small proportion of the photons incident on a nonlinear optical material spontaneously split into twin photons linked by the conservation of energy and conservation of momentum. In the domain of nonclassical light, the study of entangled photon pairs is a judicious choice since random deletion, scattering, and additive noise are less deleterious than for squeezed light. Together with a number of colleagues, principally Bahaa Saleh, Alexander Sergienko, Giovanni Di Giuseppe and Silvia Carrasco; and a talented collection of students; he examined a collection of properties, behaviors, and applications of entangled photon pairs, for which representative citations are provided:
Entangled-Photon Microscopy (EPM). Among the areas investigated in detail was the absorption of entangled photon pairs by atoms and solids. Those studies suggested that the unique features of quantum entanglement could be useful in implementing a quantum version of two-photon microscopy that would offer improved imaging.[72]
Classical two-photon microscopy makes use of laser light, so the photons arrive randomly in time. Hence, the absorption of a pair of photons within the intermediate-state lifetime of the absorber requires a large photon-flux density, which can damage the specimen. In contrast, entangled photon pairs arrive synchronously, so that the required photon-flux density for absorption is reduced and so too is the potential photodamage. Using entangled photons has the further advantage that, at sufficiently low photon-flux densities, the absorption is directly (rather than quadratically) related to the incident photon-flux density. It also has the merit that the sum of the photon energies is sharp, rather than broad. This work was carried forward in a collaboration with Michael Kempe and Ralf Wolleschensky at Carl Zeiss Jena.[73]
A lecture summarizing the features of entangled photon pairs and their application to entangled-photon microscopy and quantum optical coherence tomography was presented in 2013.[74]
Quantum Optical Coherence Tomography (QOCT). The studies of quantum entanglement detailed above led Teich, along with his colleagues and students Ayman Abouraddy and Magued Nasr, to develop an interferometric imaging technique known as quantum optical coherence tomography (QOCT).[75]
Together with its polarization-sensitive cousin (PS-QOCT), investigated by his student Mark Booth,[76]
and in contrast with its classical counterpart (OCT),
this imaging modality has the salutary property that it is not degraded by the presence of even-order sample dispersion.[77] QOCT has been used to axially image a biological specimen, and A, B, and C scans have been collected.[78] QOCT resolution can be substantially enhanced by making use of ultra-broadband light generated by specially fabricated chirped, quasi-phase-matched, lithium-tantalate structures. The use of broadband superconducting single-photon detectors further improves the resolution. A review article that details the development, advantages, and limitations of QOCT and QMOCT (quantum-mimetic OCT) in relation to OCT was published by Teich, Saleh, Franco Wong, and Jeffrey Shapiro.[79]
Teich continues to pursue his research interests as Professor Emeritus in Columbia University and Boston University. In the domain of photonics, he is investigating the origin of the inverse-square photon-count power spectral density at baseband observed for a broad variety of light sources. These fluctuations extend to < 1 μHz and were first observed in his laboratory at the Boston University Photonics Center.[80] Working with Bahaa Saleh, the Third Edition of Fundamentals of Photonics (Wiley) was published in 2019.[81] His efforts in computational neuroscience are directed toward elucidating the role of fractal stochastic processes in sensory-system action-potential sequences,[55] and toward assessing the diagnostic value of various heart rate variability (HRV) measures for patients with cardiac dysfunction.[82]
He is also studying the detection laws of audition and vision in the context of models that integrate physiological and psychophysical function, and also incorporate neural amplification, particularly those with antecedents in his work with Gerard Lachs and William J. McGill.[83]


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USA (1,235,301) > Mississippi (22,513) > Hinds County (700) > Brownsville (22)
NOTE: Additional records that apply to Brownsville are also found through the Hinds County and Mississippi pages.
Mississippi, Birth Records, 1912-present Mississippi State Department of Health
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text:
news from
, saturday
State: 7.3.2004 , 6 pm
Turkey defends Title
Turkey successfully defended its title at the World Team Championship 3-Cushion in Viersen. In an highly dramatic final Semih Saygier and Tayfun Tasdemir defeated first tme finalist Belgium by 4:3 sets. Semih Sayginer started of with a 3:1 win over Frédéric Caudron. When Tayfun Tasdemir a long time later reduced his deficit versus Peter de Backer to 1:2 Turkey had clinched gold because they had an unbeatable advantage of 16 points. But the Belgiums smelled already the taste of success when Peter de Backer missed three match balls. To the great joy of the numerous Turkish fans in Viersen Tasdemir made his fourth setball and secured the title once again for Turkey.
7.3.2004, 1.30 pm
Belgium reach the final of the world champ in Viersen for the first time ever. There they will meet defending champion Turkey.
Matchwinner for the Begians in the semi-final versus Spain has been Peter de Backer, who beat Alfonso Legazpi by 3:1 sets. Although Frédéric Caudron lost to Daniel Sanchez by 2:3, Belgium hat a 5:4 set advantage.
Türkey defeated France in the round of the last four. Semih Sayginer has beaten Jérémy Bury by 3:1. When Tayfun Tasdemir equalized versus Jean-Christophe Roux to 2:2, Turkey was leading unbeatable by 5:3 sets.
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text:
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How big do Pitbull Terriers grow?
How big do Pitbull Terriers grow? The American Pit Bull Terrier varies in size: males are normally about 18–21 inches (45–53 cm) in height and around 35–60 pounds (15–27 kg) in weight, while females are normally around 17–20 inches (43–50 cm) in height and 30–50 pounds (13–22 kg) in weight.
At what age is a pitbull fully grown? When do Pitbulls stop growing? Pitbulls usually stop growing around 12 to 18 months of age, and they shouldn't get any taller after this age. As for their mature weight, that can take up to 3 years to reach.
Can pit bulls weigh 100 pounds? That means pit bulls range in size. Breeds such as American Staffordshire Terrier, Staffordshire Bull Terrier, and Cane Corso mixes weigh in the 30-40 lb. range, while mastiff mixes can weigh well over 100 lbs. As mentioned above, the average pit bull weighs in around 55-60 lbs.
How much should a 1 year old pitbull weigh? When your pitbull reaches 6 months old, 40 to 60 pounds is an average ballpark. At one year of age, that increases to 50 to 75 pounds. Males often weigh a few more pounds than females.


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US Masters 2012: The Aussie six pack
Here is a thirst-quenching look at the six Australians teeing it up at the 2012 US Masters.
Six Aussies take to Augusta National this week, hoping to become the first to ever win the green jacket. But with every man, his swing coach and his caddie offering up their thoughts on how each of them will go, we've decided to take a different look at the pack of six Australians in a language many of us can relate to.
Adam Scott is commonly agreed to be the best looking bottle in the pack, with some suggesting the best in the carton. Easy to differentiate from the others since moving to the successful long neck bottle a few years ago, Scott proved a big hit among the Aussies at the 2011 US Masters but still left drinkers with a bitter after taste. There are high expectations for a smoother finish this year.
Geoff Ogilvy is tried and true at winning big awards both at home and internationally. In particular in 2006, which was the last time an Aussie brew won a major award. While Ogilvy hasn't been seen in many esky's over the summer, it has become a popular hair-of-the-dog option since last Movember. Some loyal drinkers think a resurgence from the frothy Ogilvy is not far away, with many having hops this week.
The alcohol free Aaron Baddeley was expected to mature into a fine ale after it surged onto the market winning lofty Australian awards in its infancy. A shaky 2012 has some wondering if this brew has been lightstruck but here is a drink that thrives on consumer confidence. A good start on Thursday could turn this cold-filtered brew into a full-bodied stout on Sunday.
Jason Day is another non-alcoholic brew which still somehow manages to get a lot of Aussies quite drunk at clubs all over the country. Day was hugely popular on Australian palates during 2011 and it remains to be seen if any hangover remains. A worrying bottling issue regarding the legs of this lager has become apparent this week which may see drinkers favour a different batch for the weekend.
John Senden has only appeared on tap twice at the US Masters. On both occasions the keg ran dry and wasn't available to patrons over the weekend. Senden though has the most consistent flavour of the pack with beer connoisseurs devouring it in droves this year. While not nearly as popular or well-known as the Day or Scott lager, Senden would make a good case to share over the long weekend.
Bryden Macpherson is a little different from the rest of the bunch. Brewed in Melbourne, MacPherson is still an amateur ale and makes an appearance in the Augusta esky courtesy of winning the best new brew at the British Amateur Championship last year. The first Australian to do so since 1954. Still very much fermenting in the bottle, the MacPherson is largely an unknown taste but it has been suggested it may be more like a Coopers Vintage and may get better if you put(t) it down for a few years.
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text: Allklear, a local food technology company in Hong Kong, came to Runnovation to hold an award ceremony and a new product launch. One hundred and twenty guests, internet celebrities and investors were invited to the event that night. Miss Hong Kong, Miss Lisa-Marie Tse, served as the presenter. Allklear is a future food technology company originating from Hong Kong. It combines nature and innovative technology to develop and produce a new generation of future healthy food. That night, the new products launched by Allklear combined space-level scientific research technology, which coincides with the concept of Runnovation's commitment to innovative technology. In addition, through this event, more young people, especially Internet celebrities, can get to know Runnovation, so as to achieve the publicity effect. After the event, many internet celebrities posted the event online and tagged Runnovation.


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54 seconds hard core prevention and control! Qingzhou police started the drone shouting mode to publicize epidemic prevention and control knowledge
· lightning on February 3 recently, the public security special patrol police in Qingzhou, Shandong Province, in view of the actual situation of many residential areas in the urban area and many high-speed intersections in their jurisdiction, used drones to carry tweeters to publicize epidemic prevention and control knowledge at important points in the urban area, such as main road crossings, stations and high-speed intersections, and carried out patrol prevention and control
zhangshuangwei, a police officer, told us that the method of drone shouting was adopted to carry out epidemic prevention publicity, which expanded the publicity area and achieved no blind spots. Compared with other methods, drone shouting can also avoid close contact between people, and the public also feel very novel and highly accepted
over the urban area of Qingzhou, the drones that kept shouting became a different scenic spot. People passing by photographed this "new move" of epidemic prevention and control
"this kind of equipment with corresponding functions can be used to support typical concrete structures and bridges (full-scale and model) such as beams, columns, slabs and frames The static load, dynamic load performance test and dynamic load fatigue life test methods for steel truss, rubber bearing, fastener assembly, steel strand anchorage, all kinds of springs, slings, slings, ring connectors, steel rails and their welded joints, automobile chassis, automobile front and rear axles, locomotive bogies and various large components are very novel, which can draw the attention of pedestrians. I think it is very good. " Mr. Yang, a citizen who stopped to take photos, said
lightning, Chen Yu must comply with the relevant experimental method standards. Qiqing state TV, Wang Quan, Dong Jin reported that
want to tell the truth? Please log in to sunshine online (), call 96678 or assume that you can't handle the question, or log in to Qilu's official microblog () to provide clues. Qilu advertising, sincerely invite partners
I recommend to you the notice on the prevention and control of tax policies
Qilu's apprentices become comrades in arms! The greeting way of Shandong medical staff going to Huanggang is tearful
the holiday is coming to an end. After enterprises and institutions return to work, the canteens of the majority of units will also restart. The canteen is a densely populated place. If there is a new type of pneumonia transmission, it will endanger the health of many diners
Shandong Province reported 16 newly confirmed cases of pneumonia infected by novel coronavirus
Shandong enterprises joined hands to ensure the production and supply of epidemic prevention materials
Shandong Province reported a total of confirmed cases of pneumonia infected by novel coronavirus
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5th Annual Surf-n-Turf Race
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We had the good fortune of connecting with Stefani Petrillo and we've shared our conversation below.
Hi Stefani, how do you think about risk?
You know the saying "sink or swim"? I try to keep a "swim or swim" mentality when it comes to taking risks. Most of the risks that I've taken in my career/life have been somewhat impulsive. But they have all played a role of forcing me to grow into the next phase. Taking the leap towards something that feels right to you, even with the possibility of failing.. will at the very least create a new opportunity for growth.
Can you give our readers an introduction to your business? Maybe you can share a bit about what you do and what sets you apart from others?
My business, Skinthusiast Beauty, is all about embracing the enthusiasm I have for skincare and beauty overall. I'm one of those people that could go on forever, if you ask me "what's your favorite foundation?". My brand is so authentically me, and I think that's what I'm most proud of. I'm not only an esthetician and makeup artist, but my background as a visual artist & digital media major, translates into my love for aesthetics.
Prior to opening my studio, I had been a freelance makeup artist for 8 years. I decided to attend esthetician school while getting my Bachelors in Entrepreneurial Studies. Even though I felt so passionate about beauty; there were several moments that I thought I wanted to leave aesthetics. Every time I worked for somebody else in the beauty industry, I felt discouraged in my ability to make a living from a career in beauty. In 2019 I found myself staring at a screen for 8 hours a day, doing data entry at a software company; that's when I had the realization that I needed to focus on beauty and jump in with both feet.
Opening up the Skinthusiast Beauty Studio was an unexpected opportunity but something about it felt right. I always knew I wanted to open a business, I just didn't think 2020 would be the year I'd stop taking clients in my living room and open up an actual location.
A big lesson that I have learned as a solo entrepreneur is that, although the beauty industry can feel "crowded" at times and it may seem difficult to stand out…you will eventually attract your kind of people if you stay genuine with your brand. Once you have those ride-or-die clients, it feels silly to worry about trying to appeal to everyone.
Since opening my studio, I have found myself loving to educate my clients to understand their skin and giving them a less intimidating approach to skincare. I feel like {one of} my missions in life is to use my business to teach others that healthy skin vs. "perfect" skin, is the ultimate goal.
Any places to eat or things to do that you can share with our readers? If they have a friend visiting town, what are some spots they could take them to?
Oh did I forget to mention that I'm a total foodie!? Since I live closer to the Delray Beach area, I would recommend Elisabetta's Ristorante for a great plate of pasta paired with an Aperol Spritz, Hawkers for some delicious Roti + what I like to call an "adult Caprisun", The Wine Room for a unique wine tasting experience. Throw Social and The OG for a fun night out, and you can't go wrong with the beach (just don't forget your sunscreen).
Shoutout is all about shouting out others who you feel deserve additional recognition and exposure. Who would you like to shoutout?
This might sound extremely cheesy, but shoutout to my parents for letting me choose my own path when it came to my studies and career. Special thanks to my soon-to-be husband, for always letting me dream, while being my logical voice. Last but not least, all of my clients that have supported me through different moves…and if you came to me during the living room days, I literally wouldn't be here without you!
Website: https://skinthusiastbeauty.square.site
Instagram: @Skinthusiastbeauty
Other: Tiktok: @stefanipetrillo


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The Innovators 1980-1990: Jock of Gold
A prince of Hollywood vulgarity, producer Don Simpson demonised himself, but he also invented the modern blockbuster, argues Shawn Levy
To love Hollywood movies you must embrace vulgarity. Pneumatic actresses, unctuous executives, loud music, obnoxious machinery, legions of supernumeraries, mountains of food, oceans of drink, excesses that would give pause to Caligula - and that's just the wrap parties. Nowhere is hedonism practised as an aesthetic form so excellently as in Southern California, and it's therefore little wonder that the region's most prominent industry sometimes seems little more than an ongoing riot of over-indulgence.
On the one hand, you have the annual product: ten months, more or less, of horrifying lowest-common-denominator indulgences of violence, sex, slapstick and freeze-dried plotting, followed by two months of breast-beating sentimentality and sobriety, after which everybody turns around and gives the person standing next to them a prize, the most coveted of which is a golden statuette of a naked bald man covering his genitalia with a sword. On the other, you have the people involved: vainglorious, pampered, spottily educated and indifferently mannered, making their stupendous livings on the basis of the public's mercurial tastes and coating their inevitable insecurities in eccentricity and bullying as though to make their status seem in some way their due - royalty, in other words, without the sanction of primogeniture.
It's easy to decry what Hollywood is all about, but when you consider that entertainment, after aeronautics, is the chief US export, it also seems hopeless. People like what's vulgar about Hollywood. And though cineastes and cinephiles rail against the industry's characteristically low-brow products, it's like the geeks at a posh high school holding an anti-pep rally before the big homecoming football game: the sideshow becomes part of the larger spectacle that the paying crowds enjoy, a bit of a laugh before the serious business of escapism. Hollywood has, in fact, been compared to a high school - one with lots of money.
Extend that metaphor to individuals, and the late producer Don Simpson would have been a good bet to win the class vote for Least Likely to Succeed. He had the tools - he was a keen shaper of stories, had a sharp eye for new talent, and understood the spasms of the popular marketplace almost viscerally. He was, too, an Olympian of vulgarity: his life story (as recounted in Charles Fleming's 1998 biography High Concept) reads like a police report, filled with hair-raising sexual episodes, astounding escapades with booze and dope and crass and cruel fits of temper thrown at employees, waiters, maids and friends. He hired publicists to throw parties for him and verbally abused screenwriters in front of crimson-eared journalists. His vanities included plastic surgery, crash diets, new-age retreats and the purchase of multiple wardrobes, the better to match his ever-fluctuating weight. The toxicology report filed with his autopsy detailed a pharmacopoeia that would stagger a Scrabble champion: chlordiazepoxide, desmethydiazepam, trimethobenzamide and a few other unpronounceable goodies. He lived a life mixed of equal parts Monroe Stahr, Fatty Arbuckle, Robert Downey Jr and Harry Cohn: a perfect Hollywood animal, in other words.
So you wouldn't say Simpson was an unlikely mogul because of who he was but rather because of where he came from. Born in Seattle, Washington, in 1943, he grew up mainly in Alaska. That he emerged from this background to serve as president of production at Paramount Pictures and gross billions of dollars as an independent producer is akin to being a little boy from Reykjavik and becoming the most celebrated matador at the Feria de Sevilla. In the unlikely gap between his origins and his achievement, Simpson resembled far more the moguls who built the Hollywood movie industry - furriers and butchers and handglove salesmen and undertakers with names like Goldwyn and Warner and Mayer and Zukor - than he did his peers, the film-school poseurs who parlayed jump cuts into first-look deals and the MBAs who learned to stab one another in the back in talent-agency mail rooms. With his cocksure attitude, his self-made past, his instinct for the jugular and his ability to turn shit into gold, Simpson must have struck the old-timers he met as someone more like themselves than any of their own offspring, biological or corporate: his arrival on the lot at Warner Bros, where he got his first real Hollywood job in 1972, might itself have made a nice, if familiar, scene in a movie.
It wouldn't, however, have been a Don Simpson movie. From the time he first got on the payroll at Warner Bros, through his brief tenure at the top of the Paramount mountain and his high-flying days as a partner, with Jerry Bruckheimer, in the famed (and self-dubbed) Visionary Alliance, to his death by misadventure in 1996, Simpson was interested in only one sort of movie. A Don Simpson movie was a riot of motion and noise, focused on a comely young star, crammed with trendy music and fashions, and built around an underdog-makes-good story - with a few setbacks thrown in to stretch the drama out to the optimal 100 minutes. Simpson's oeuvre reads like a litany of the worst sort of Hollywood drek. Between 1983 and his death he co-produced Flashdance, Thief of Hearts, Beverly Hills Cop, Top Gun, Beverly Hills Cop 2, Days of Thunder, Bad Boys, Crimson Tide, Dangerous Minds and The Rock.
How could anyone go forth with such a slate of projects and not carry with him at least a sliver of self-loathing? It's partly because Simpson's movies were an extension of the man and his tastes. (As proof, consider that he cast himself in Days of Thunder as an Italian racing-car driver named Aldo Bennedetti.) He liked big, obvious women, cars, homes, offices, clothes and, perhaps most of all, movies. "I buy my popcorn," he once said, "and watch a movie and want to feel something." And, as his personal life attests, it took quite a stimulus to trigger a sensation in him.
But Simpson's body of work was not only a sensational act of self-expression. It was a concept that imposed itself on the whole of Hollywood movie-making. Simpson worked high in the corporate structure of contemporary Hollywood, and as an affect of his obsession with the smallest details of his films he not only codified his mini-genre, he made an industry template of it. Love or hate him for it, Simpson was a key inventor of the high-concept film, and his ability to blend together fleeting cultural fancies, manufactured celebrities, adolescent wet dreams and expensive effects machinery into excellent schlock - billion-dollar schlock - was a kind of genius. It's no exaggeration to claim that Simpson invented the modern Hollywood blockbuster - though whether he's being rewarded or punished for it in the next life is open to debate.
In the late 70s, working under Michael Eisner and Barry Diller at Paramount Pictures, Simpson drafted the most influential statement of purpose in recent Hollywood history, a document that validated the sort of film-making which sets the André Bazins of the world gnashing their teeth but which lines up the civilians outside the multiplexes from Tulsa to San Remo to Rangoon. "The pursuit of making money is the only reason to make movies," he declared. "We have no obligation to make history. We have no obligation to make art. We have no obligation to make a statement. Our obligation is to make money." But surely prestige counts for something? "To make money, it may be important to win the Academy Award, for it might mean another ten million dollars at the box office."
Simpson's memo was a mind-blowing rejection of every ounce of Hollywood treacle and cant about higher purposes and the public good, a naked embrace of the marketplace as the raîson d'ètre of the studio system. It's almost disappointing, then, that he went on to explain that what makes money is good movies - or, rather, good ideas for movies. "A powerful idea is the heart of any successful movie. The creative premise is what first attracts people to the product."
The concept, in other words, is the medium, not the cast, not the script and certainly not the director. Though the first could enhance the film (as long as it wasn't too pricey) and the second could sharpen it, the last held considerable potential to destroy it. As he told a journalist some years after writing his treatise, Simpson took exception to those who saw the director as the chief transmitter of meanings: "I don't believe in the auteur theory. The movie is the auteur. It tells us what it needs to be. We're here to serve the movie as mistress. No one person, director or writer is above the call of the final result."
Again, it's no shock to hear a producer denigrate the contributions of writers, directors or even stars to the finished film. Producers come aboard with the original idea, and the best never lose sight of that idea throughout the picture's inevitably arduous passage to the screen. This was as true for Gone with the Wind, Simpson knew, as for An Officer and a Gentleman, which he rescued from the Paramount slag heap. But close examination of the films Simpson produced demonstrates that his formula only worked if it was implemented on a grand, gross scale. Top Gun, the epitome of his technique, with a total worldwide gross of $344 million, reads like a haiku written on the side of an elephant.
The film actually opens with a music video: a montage of aircraft carrier action shots choreographed to Kenny Loggins' infernal song 'Danger Zone', one of the two hits digested whole by the film. (The other, Berlin's 'Take My Breath Away', won an Oscar for Best Song.) Immediately our swaggering hero Maverick (Tom Cruise) is established as both reckless and gifted; throughout the film the twinning of these traits is his simultaneous blessing and curse - a touch that must have struck the producer as positively Shakespearean. It gets him into Top Gun school, on the one hand, but dooms him to continual trespasses that eventually cost him the Top Gun trophy; it catches the eye of a comely physicist (Kelly McGillis) but reminds her to keep a prudent distance from him.
Indeed, despite everything that happens to him through the course of the narrative - losing the trophy, winning the girl, causing the accidental death of his only friend - this ambivalence never shifts or changes. Maverick starts out cocky and gifted; Maverick ends cocky and gifted. A similar consistency characterises the protagonists of Beverly Hills Cop, Flashdance, The Rock and, indeed, all of Simpson's films. Built around movies stars, they do nothing to violate the audience's expectation of what those stars are like. Casting, in the Simpson formula, is a form of narrative. As for the narrative, it moves with the clockwork certitude of a tide table.
After the opening sequence establishing Maverick's duality he moves to Top Gun school and meets his antagonist Iceman (Val Kilmer) and his indulgent commander (Tom Skerritt). Out cruising for skirt one night, he meets Charlie (McGillis) and fails, in his arrogance, to woo her. Voilá plot point one: Charlie, as fate would have it, is a Top Gun instructor. Maverick's lust and work are now intertwined.
The film alternates sequences of Maverick's flight work and his romance almost systematically through the next hour, on opposing trajectories: as he does better with her, revealing his tender side and, finally, scoring, he does more poorly at school, continually losing out to the flawless Iceman and, finally, costing his flying partner Goose (Anthony Edwards) his life in a mishap. The death of Goose is, of course, plot point two. In a script that more closely paralleled events on planet Earth, it would be a life-shattering event. (And, to be fair, Maverick spends several minutes racked with ambivalence about it before zipping off to the Indian Ocean to shoot down three Russian MIGs in the film's hysterical and frightening coda.) But if Maverick didn't emerge as himself at the end of the film the audience would feel bamboozled - as would Simpson himself. His 100-minute foolproof methodology was based, he always insisted, on his own taste - and nothing in this film indicates he wasn't telling the complete truth. Top Gun is entirely repellent, without a single saving performance, storyline, joke, bit of dialogue or even action sequence, yet it made a superstar of Cruise and cemented Simpson's formula as the Hollywood gold standard.
The 80s were dominated by the sort of static, three-act storytelling exemplified by Top Gun. Simpson may have been among the first producers to make a religion of the format, but it was quick to spread through the industry and beyond, bizarrely, into the public. Screenwriting gurus, long attached to Hollywood like somewhat shameful barnacles, emerged into the light as stars who could help make you rich, like realtors or stockbrokers: Syd Field, Robert McKee, Linda Seger, Richard Walter. Their seminars and books reaped millions; every adult human being in Southern California seemed to be working on a screenplay - often with the likes of Top Gun as a model. If McKee, with his emphasis on "turning points" and "inciting incidents" and his careful deconstruction of film scenes, seems like Aristotle in comparison with the authors of such works as How to Write a Movie in 21 Days and 500 Ways to Beat the Hollywood Script Reader, he is nevertheless trafficking in formulas and truisms that mesh comfortably with Simpson's from-the-gut approach. Both seek validation in the big idea that instigates the film, and both look to previous successes to figure out "what works".
But consider that Simpson came to formulate his position at the end of a decade in which Hollywood most openly embraced directors as artists and you see another strain in his thinking. Simpson was one of the key forces of the establishment in the era during which the studios regained their autonomy over the world of movie-making. He led the counter-revolutionary charge against the Coppolas, Friedkins, Bogdanoviches and Scorseses of this world, revoking their licences to create costly, personal works of art with corporate dollars and reasserting the pre-eminence of conceptualisation, departmentalisation and marketing - all traditional purviews of the producer and the studio.
Simpson's bold assertion of the power of money and the marketplace would have seemed common sense to the likes of Darryl Zanuck and Hal Wallis, but it sounded positively unreal in the 70s. And when his beliefs yielded billions in box office, he killed off the industry's most indulgent decade for good and all. Why dither around with temperamental and unreliable artists whose films could lose millions? Better to knead a concept into a script through multiple drafts, throw in some inexpensive young faces (Eddie Murphy, Tom Cruise, Jennifer Beals, Will Smith), hire a malleable young director, preferably from television or advertising (Tony Scott, Michael Bay, Adrian Lyne) and go public with something calibrated to satisfy a demand that you're already assured exists. Simpson's treatise made it OK again for Hollywood to embrace both an old-fashioned production-line mentality and sheer, guileless greed. No wonder executives like Eisner, Diller and Jeffrey Katzenberg were prepared to put up with his shenanigans.
But Simpson's notions, after proving initially fruitful, wound up metastasising into a gargantua that had itself to be tamed. By the end of the 80s Katzenberg, who learned the business in part beneath Simpson at Paramount, was parroting Simpson's own dicta back to the world in another famous memo, this one aimed at cutting back on the sort of behemoth pictures Simpson specialised in. It's a measure of Simpson's vision - not to mention his stature relative to Katzenberg's - that his ideas could be mistaken for a refutation of themselves and still dominate the industry's thinking a decade after their codification. Even in its passing, the Simpson philosophy was the given against which such contemporary phenomena as the American independent film movement would posit itself. It is what we currently mean by 'Hollywood'. (And it wouldn't exactly get laughed off the dais by the honchos at Miramax, either...)
But it wasn't all there was to the man. If Simpson's taste for vulgar gestures drove him to success in Hollywood, it also helped make him acutely aware of exciting cultural currents that first bled into Hollywood movies through his works. He is universally credited, for instance, with being among the first film-makers to recognise the power of MTV, not only as a marketing tool but as a font of new aesthetic ideas. He realised that his films could include wholly self-contained music videos that would then air on the cable music network as, in effect, free advertising. And he was sensitive to the fact that an audience that had grown accustomed to a steady diet of briskly cut three-minute pop promos would demand similarly hectic pacing from movies.
More intriguingly, he discovered in the gay subculture of the 70s and 80s a series of signifiers and motifs that he would allow to infiltrate his works - perhaps unconsciously, raging heterosexual that he was. Top Gun is, famously, the subject of a Quentin Tarantino rant about latent homoerotica, but Flashdance and Days of Thunder have their curiously ambivalent moments and themes as well. As Peter Biskind puts it: "Simpson was to gay culture what Elvis Presley was to rhythm and blues, ripping it off and repackaging it for a straight audience." In this, as in his embrace of MTV, Simpson was yet again a pioneer, if not exactly an outright inventor.
These aspects of Simpson's work serve as proof that the man wasn't only about money-making, philistinism and crudity. His first movie job, after all, was publicising Performance in San Francisco, at which he succeeded splendidly by providing free wine and reefer to a preview audience that, not surprisingly, embraced the movie as a masterpiece. He was a counterculturalist at heart - in his fictitious past he depicted himself as something of a child outlaw - and if he didn't express as much in his movie-making, he screamed it out loud in his private life. Hence the irony of his being the one who came to close the door on the great Hollywood auteurs of the 70s - bearing in mind, of course, that it wasn't as if they themselves hadn't already done much to presage their own mass demise.
Along with Steven Spielberg and George Lucas, two coevals whose private lives and aesthetics would seem utterly opposed to his own hedonism and macho, Simpson was one of the handful of 60s people allowed to hold on to power after the indulgent 70s had given way to Reagan's 80s. To pull it off, he had to recant certain 60s values, to see in moneymaking the greater good and in arty self-expression a betrayal of mass desire. But then, the only hippies who suffered at his hands, truth be told, were the ones who felt they were entitled to make movies with $75 million budgets in the first place. Simpson never told the 70s auteurs they shouldn't make movies - he just didn't think a major studio should invest in them if they weren't money makers. (He refused even to entertain any of the projects brought to him by Pauline Kael when she'd been co-opted into working for Paramount by Warren Beatty.)
So he wasn't exactly Stalin, then. But you half-suspect that Uncle Joe - no stranger to vulgarity himself - would have liked him and his way of thinking and, maybe most of all, his films.


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An exciting initiative by Renfrewshire Council provides new and growing businesses with high quality workspaces at low cost and ongoing support.
Aspiring entrepreneurs and business owners in Renfrewshire considering their first retail space could find the answer in Start-Up Street – with new centers being developed across the region.
The project is already enjoying great success in Paisley where 30 small businesses benefit from the city's first-class George Street facilities and now two more Start-Up Street centers are being built in close neighbors Johnstone and Renfrew.
Subsidized premises costs cover office space, wifi and utility bills with access to meeting space, with rental costs increasing gradually until the business owner is ready to move in another commercial space in Renfrewshire.
Both the Paisley and Renfrew centers include a business manager on site to provide support and advice, while all centers have access to free Business Gateway advice, mentoring, workshops and masterclasses as part of the package. The initiative provides additional specialist support through a partnership between Renfrewshire Council and start-up charity, Launch It.
Launch It runs Start-Up Street Paisley on a day-to-day basis while providing a program to help young people overcome barriers and develop their business and entrepreneurial skills.
Start-Up Street Centers in Johnstone and Renfrew are progressing well and are each actively seeking their first batch of businesses.
In Renfrew, major renovations and upgrades are transforming vacant retail units on the town's Dunlop Crescent. External storefront improvements and interior implementation work are now complete, with internal fit-out commencing next month.
In Johnstone, the Start-Up Street facilities will focus on supporting health and wellness businesses and will be part of new Station Seven premises run by Active Communities, with businesses able to work with community groups and organizations. people using its facilities.
Start-Up Street is part of a series of initiatives supporting businesses and entrepreneurs in Renfrewshire. Another highlight, the popular InCube business incubator program, supports a thriving community of creative entrepreneurs and a one store unit retail academy in downtown Paisley.
Alasdair Morrison, Head of Economy and Regeneration for Renfrewshire Council, said: 'The initial idea came from a survey of local businesses which showed that many Renfrewshire business owners wanted to switch to the next step and open their first commercial space, but were put off by high costs and a lack of know-how.
"Start-Up Street provides the answer and since each center is based in a city centre, it also gives a significant boost to the local economy. Start-Up Street Paisley has been a huge success and it is hugely encouraging that many local entrepreneurs have taken up the offer and have been able to grow their business with the support on offer.
"With new Start-Up Street Centers opening very soon in Johnstone and Renfrew, we are creating the conditions for entrepreneurship to thrive in our region and we will see the full benefits in our local economy."
"If I hadn't launched SweetPunkz, I would have always wondered what if?"
Grant Fraser has always had a sweet tooth and, more importantly, an eye for business and when the second lockdown came last December, the 28-year-old business management grad took the opportunity to roll up his sleeves and dive in in the world of confectionery.
A self-confessed "chocolate fiend," it's a perfect match, online candy store, SweetPunkz, has proven to be a smash hit in just a few short months.
The home of his burgeoning business is Start-Up Street Paisley, and Grant is grateful for the opportunity and support that the Enterprise Center and its advisors have provided.
Grant said: "I've never taken this leap into a retail space before, but at Start-Up Street it's a ready-to-go package in a great environment, which means you don't have to need to focus on invoices, it's a security blanket that lets you focus your full attention on growing your business. When you become self employed you can feel lonely and you can start to feel lost so it's great to be here alongside other business owners and I've had great support from James [Edmonds – Grant's Council Business Gateway adviser]he has been my trusted man from the start and has helped me at every turn.
"I've been blown away by how quickly things have taken off, it's been a whirlwind. I've managed to build a fantastic product line and I'm still focused on growing the business.
Grant's company now offers a range of picks and mixes of over 85 options, including candy to meet many dietary needs, importing stock from as far away as the US, Dubai and India. Australia.
There are Friday night deliveries in Renfrewshire, his customers attracted by his quirky social media videos, including the Super Sour Challenge, which has gone viral on TikTok and raised a fantastic sum for the Scottish Health Association mental SAMH.
Visit Start-Up Street, call 0141 530 2406 or email [email protected] to find out more about Start-Up Street opportunities.
You can also find out more online at www.renfrewshire.gov.uk/Start-Up-Street


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supplements that increase testosterone It s just the right time to try, Wang Xiaoyun smiled, Zhang Jing, tell me.Take off the gloves, throw it in the trash can, take off the mask hat, I ll see him later.my old father also has a lot of jobs, but unfortunately, the old father can t speak English.On the second day, the Japanese attempt to transport weapons and equipment into Shanghai once again detonated major newspapers..
- Aghamir, M. K., Hosseini, R., & Alizadeh, F. (2006). A vacuum device for penile elongation: fact or fiction? BJU International, 97(4), 777–778. doi: 10.1111/j.1464-410X.2006.05992.x. Retrieved from https://www.ncbi.nlm.nih.gov/pubmed/16536772
- Joseph, J., Ziegelmann, M. J., Alom, M., Savage, J., Köhler, T. S., & Trost, L. (2020). Outcomes of RestoreX Penile Traction Therapy in Men With Peyronie's Disease: Results From Open Label and Follow-up Phases. The Journal of Sexual Medicine, 17(12), 2462–2471. doi: 10.1016/j.jsxm.2020.10.003. Retrieved from https://pubmed.ncbi.nlm.nih.gov/33223425/
- Marra, G., Drury, A., Tran, L., Veale, D., & Muir, G. H. (2020). Systematic Review of Surgical and Nonsurgical Interventions in Normal Men Complaining of Small Penis Size. Sexual Medicine Reviews, 8(1), 158–180. doi: 10.1016/j.sxmr.2019.01.004. Retrieved from https://pubmed.ncbi.nlm.nih.gov/31027932/
- Nikoobakht, M., Shahnazari, A., Rezaeidanesh, M., Mehrsai, A., & Pourmand, G. (2011). Effect of penile-extender device in increasing penile size in men with shortened penis: preliminary results. The Journal of Sexual Medicine, 8(11), 3188–3192. doi: 10.1111/j.1743-6109.2009.01662.x. Retrieved from https://pubmed.ncbi.nlm.nih.gov/20102448/
- Nugteren, H. M., Balkema, G. T., Pascal, A. L., Schultz, W. C. M. W., Nijman, J. M., & van Driel, M. F. (2010). Penile enlargement: from medication to surgery. Journal of Sex & Marital Therapy, 36(2), 118–123. doi: 10.1080/00926230903554453. Retrieved from https://www.ncbi.nlm.nih.gov/pubmed/20169492
- Veale, D., Miles, S., Bramley, S., Muir, G., & Hodsoll, J. (2015). Am I normal? A systematic review and construction of nomograms for flaccid and erect penis length and circumference in up to 15521 men. BJU International, 115(6), 978–986. doi: 10.1111/bju.13010. Retrieved from https://bjui-journals.onlinelibrary.wiley.com/doi/abs/10.1111/bju.13010