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baddiemrown · 5 years

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Women and Sex

Women and sex have had a love/hate relationship for some time. In society women have one of two choices when it comes to sex: you can either be a whore or a prude. Sex work is either exploitative or empowering. You can either be active or passive. There is no middle ground for women and sex, it is one or the other and whichever side you pick, define you as a person. Thankfully, as time goes on, there is more and more room for women to have a voice in the sex world. From pornography, to sex toys and sex work, women are taking control of the commodifiation of sex and standing up for their sexual rights.

Commodification means turning goods or services into something that can be bought and sold. The commodification of sex means that aspects of sex and sexuality are turned into goods that can be bought and sold (Brents, 2019). In a capitalistic society where consumerism is the basic foundation of the economy, buying and selling goods is a means of survival. The adult entertainment industry in America generates between $10 to $14 billion every year, making it a lucrative line of work that cannot be ignored (Comella, ?). Although the sex industry has been driven by male consumers for some time, women are taking back their sexuality and being proud of the fact that yes, women enjoy sex too. Ken Dorfman, the National Sales Manager for Doc Johnson’s, one of the largest sex toy manufacturers in the world made this point by stating that “one guy shopping alone- average sale $8. Two guys, $12. But one female shopping alone- average sale $83. Two females shopping together, $170.” The market for women is obviously out there and it is growing. As the discourse surrounding women’s sexuality changes, women are no longer ashamed to explore their sexuality, forcing the sex market to shift in order to meet the demands of female consumers who want quality products catered to their needs.

Pornography is another sex avenue that is changng for women. Something that used to be seen as degrading and exploitative is now a powerful tool for women to make a living and enjoy sex. During the postmodern era of sex, the heterosexual orthodoxy was very much male dominant, and was based on a gender binary of masculinity and femininity. Radical Feminist Andrea Dworkin challenged this ideology by inserting what being a woman in the 1980’s really meant in regard to identity, and she used porn as her reference. The very first sentence of Dworkin’s “Pornography” states that the word pornography means ‘writing about whores’, which, in ancient Greece, meant the cheapest, least regarded, least protected of all women (Dworkin, p. 297). Dworkin argues that the meaning of the word pornography has not changed, aside from the writing aspect which was now filming. She goes on to explain that whores only exist to serve men sexually and only within a male dominated society, whereas outside of a male dominated society the word whore would be “absurd and the usage of women as whores impossible” (Dworkin, p 298).

Pornography, while still controversial, is viewed in a much different light by some today. Angela Jones (2016), wrote an article in which she studied women who make a living by adult webcamming. Web cam models talk to customers in public chat rooms, and perform erotic shows at premium prices. Although Jones does write about the dangers of camming, such as being recorded, having personal information shared, and harassment- she focuses on how the women who cam find pleasure in their work. Many of the models that Jones interviewed said that by minimizing the dangers of sex work by being primariy web based, they understand their jobs to be pleasureable both sexually and affectually. Some women reported never being able to orgasm prior to web camming or that they could orgasm on their own before, but now find it easier to orgasm when with a partner. Others reported that their favorite private webcam moments happen when the model and the client just talk and develop intimate relationships.

Prostituion. Once criminalized, sex work activits are now fighting for sex workers rights, and to protect them from the dangers of their fields. Prostitution laws in the United States, Carol Leigh, author of The New York Times article “Labor Laws, Not Criminal Laws, Are the Solution to Prostituion” writes, “were developed from confused and contradictory impulses to punish and help sex workers at the same time”. At the time, the idea was that incarceration would help save prostitutes, which we now know is more harmful than helpful. As the secretary general of the United Nations once said, the current legislation “prompts governments to treat people as second-class citizens or even criminals.'' An example of laws that can be changed in order to benefit prostitutes are, in Canada, for instance, the court ruled against laws that prohibit prostitutes from working in doors, screening their clients, or hiring bodyguards. In addition, in New Zealand, “commercical sex is regulated not by criminal law, but by civil codes, business regulations, and the range of fair labor protections.”

Legal brothels in Nevada are another good example of legal prosituion in the US, and 84% of sex workers in Nevada reported feeling safe at their jobs. Barbara Brents, author of “Nevada’s Legal brothels make workers feel Safer”, found that workers feel safe at these brothels because of the police, their employers and their co-workers. Some women in brothels have pimps, some don’t, and some workers use the brothels as away to escape from abusive pimps or the dangers of illegal sex work.

Reference:

Brents, B. (2014, January 23). Nevada’s Legal Brothels Make Workers Feel Safer. New York Times. Retrieved from https://www.nytimes.com/roomfordebate/2012/04/19/is-legalized-prostitution-safer/nevadas-legal-brothels-make-workers-feel-safer

Comella , L. (n.d.). Remaking the Sex Industry: The Adult Expo as a Microcosm.

Dworkin, Andrea, “Pornography,” pp 297-299 in Jackson and Scott, eds., Feminism and Sexuality, NY: Columbia 1996.

Jones, A. (2016). “I Get Paid to Have Orgasms”: Adult Webcam Models’ Negotiation of Pleasure and Danger. Signs: Journal of Women in Culture and Society, 42(1), 227–256. doi: 10.1086/686758

Leigh , C. (2012, April 19). Labor Laws, Not Criminal Laws, Are the Solution to Prostitution. New York Times. Retrieved from https://www.nytimes.com/roomfordebate/2012/04/19/is-legalized-prostitution-safer/labor-laws-not-criminal-laws-are-the-solution-to-prostitution

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plasticpokedex · 6 years

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NY Toy Fair 2019 photos!

Tomy come back

#greninja #blaziken #haunter #gyarados #dragonite #wicked cool

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tokupedia · 6 years

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Hasbro at the 2019 NY Toy Fair

Hasbro showed a bit of what is to come later in 2019 at the New York Toy Fair this weekend and will continue advertising and wooing potential business deals until the 19th.

While some Hasbro fans were wowed by the reveal of a Ghostbusters/Transformers crossover (yes, really), Ranger fans were given the star treatment at the show.

The announcement that we have only 2 weeks until PR Beast Morphers debuts, which will premiere on March 2nd was first up, followed by a large cavalcade of merchandise:

Beast Morphers

Beast X Morpher - To my surprise, the device I thought was a weapon/blade attachment with the toy was in fact a key. The Beast X Morpher will act similar to the Zeonizer or Turbo Morpher, where an input key device must be inserted to activate morphing. The toy version also has cool features such as motion and voice activated sounds!

Power Rangers Playskool - for the Ranger fans who are moms and dads

Micro Morphers - a new toy line designed around tiny, cute, and affordable collectible figurines.

A display of actual Power Rangers props were shown off, including one of the Daizyujin suits from Zyuranger which was flown in all the way from Japan by Toei.

Wave 1 of the Lightning Collection toyline was announced, as well as a few new additions such as a Gamestop exclusive Goldar figure and the Red Beast Morpher Ranger who will be part of the second wave of figures.

Hasbro announced their Pulse e-shop site had launched, the website gives Hasbro fans a convenient and direct shopping experience from the company as well as integrate HasLabs and a premium subscription service that lets hardcore Hasbro fans get toys that aren’t even in retail yet first before anybody else. Hasbro hopes that by embracing e-retail this way, they can overcome the financial growing pains of losing Toys R’ Us as a merchandise distributor due to the retailer’s bankruptcy and closure that seems to be haunting them these past few quarters.

Hasbro also announced for the first time since the 1990s, the Power Rangers would be going on tour for a live show.

Of course, the cherry on top of this wonderful fandom sundae was the announcement of the next arc of the Boom! Studios MMPR comic and it is a doozy...

The story’s sixth arc is called Necessary Evil and Issue #40′s cover shows us the White Ranger, with Boom! confirming he is set to debut in this arc. What little details there are is that Ryan Parrott will be in the metaphorical driver’s seat of this story, taking over as head writer of the main book in June. (Which leaves the future of GGPR in worrisome doubt, but I’m sure Hasbro and Boom! have a plan to change writers or at the very least end the book on a high note with Ryan).

The team only teased a few ideas, such as the aftermath of the Shattered Grid universe restarting event being revealed as it delves into the “possible consequences of the Greater Good”. This might mean some of the side effects of the restoration of reality (the “broken glass” analogy they mentioned) that the Three Emissaries warned about may test the Rangers as small or big aspects of their very lives may change.

Of course the arrival of the White Ranger means a certain red and silver Emperor of Evil won’t be too far behind, but we’ll cross that bridge of discussion when we get there.

In the meantime, let’s continue to be excited about what Hasbro has to offer in the coming year!

#hasbro #new york toy fair #2019 #power rangers #toys #collectibles #comics #boom! studios #white ranger #tommy oliver #shattered grid #ryan parrott

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fred-frederator-studios · 6 years

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Arlen Schumer: The Frederator Interview

Arlen Schumer is the designer and illustrator of our Frederator Fredbot, the robot that’s inspired so many variations.

You read that right.

We all hear so much from fans about our “red robot” that I thought the time was right for Arlen to design something for us again, 20 some-odd years after his first.

So here it is! The 2019 Frederator New Year’s poster. (You can see some of the poster’s development work here.)

Arlen’s not only a fantastic artist/designer, but he’s a prolific pop culture historian with some great books and essays to his name, and a thriving lecture series on some of the famous (and even more unsung heroes) of comic book art.

How did Arlen Schumer come to Frederator? And how did Arlen come to art, specifically, comic book art? As you can read below, he and I have known each other and worked together for several years, even pre-Frederator.

All this and more, in the first Frederator interview of 2019.

Hi Arlen. When did you start drawing?

I grew up in Fair Lawn, New Jersey, a great place in the early-mid ‘60s, with equal parts bucolic American suburbia and small-town Rockwellian, pop culture ambiance—everything from an uber-Jewish deli like Petak’s to Plaza Toy & Stationery, which had a classic 20th Century soda fountain: it was there, after school, that I read all the comic books of my youth while drinking chocolate egg creams (with a pretzel log, natch). And because Fair Lawn, like all of New Jersey, was in the shadow of New York City, I grew up on all that pop culture through television, not just the 3 networks but the 3 local stations that showed everything from the old Universal monster movies to The Little Rascals to The Three Stooges to the George Reeves Superman TV series.

One of those local TV shows, a children’s show called Diver Dan, which was filmed in black & white to look like it took place underwater—the actor, in a deep-sea diver’s suit (with a helmet that never revealed his face, so he was like a superhero), walked slowly like he was underwater, surrounded by pop fish hanging by wires—triggered my interest in drawing, as I watched my brother draw him first, and copied him. I’ve been drawing ever since!

What was the first comic you fell in love with?

Giant Superman Annual #7 (Summer ’63): Not only is its cover the hands-down greatest of all the great multiple-panel Superman Annual covers that Superman Artist of the Baby Boom Generation (and my first favorite artist) Curt Swan drew in the ‘60s—not only does it feature perhaps the greatest single Superman figure ever rendered by Swan (in pencil; head of DC coloring Jack Adler did the hand-painted grey wash tones over it) or any Superman artist, before or since—but it is the first comic book cover I can recall ever seeing, when I was five years old, in summer camp that year. What an image to come into the wonderful world of comics by!

What was your first professional job as an artist?

My summer job between freshman and sophomore years at art school (Rhode Island School of Design), creating black & white line illustrations for a t-shirt silkscreening company in Fair Lawn.

I know that you count Neal Adams as a primary mentor? Were there any others?

Neal Adams was one of two Gods of Comic Book Art in the late-‘60s: the other was Jim Steranko, who was described as the Jimi Hendrix of comics, because Steranko’s career was as meteoric in its rise, and as short-lived. Though Steranko didn’t die in ’70 like Hendrix, that’s when he left Marvel Comics after less than 4 years of explosive and experimental works—and, like Hendrix, his impact on both the art form and its audience was in converse proportion to the relatively small amount of work he turned out. In particular, Steranko’s design sense and typographic talents were a tremendous influence on my choosing to major in Graphic Design at RISD.

It was sometime in my junior year there that I must’ve written Steranko a fanboy letter, gushing about those very things—and much to my shock and surprise, he wrote me back, inviting me to come see him in his home/studio in Reading, PA! So I took a bus from Providence, RI to Reading, and spent the day with Steranko—except I barely remember a thing about it! Why? Because I think I was having a Dr. Strange-like ectoplasmic out-of-body experience the whole time I was with him—I, a fan, spending quality time with one of the Twin Gods of Comics!!!

He wanted me to leave RISD and begin working with him as his apprentice! I couldn’t believe what he was offering me; I remember the bus ride back to Providence in a daze, feeling the utter cliché come to life of my future like the road in front of me: I could either stay on the main highway of getting my college degree, or take that exit ramp and join the circus! What do you think I did?

I stayed in school and got my diploma a year later. Had it been freshman year, maybe I would have left; but not when I was a year away from matriculating—not to mention honoring my mom’s sacrifice of putting me through school financially. But I’ve remained in touch with Steranko ever since, and feel both fortunate and unique, that I am the only fanboy who grew up to not only work for one of the Twin Gods of Comics (I ended up working for Neal Adams 3 years after I graduated from RISD), but almost worked for the other, too!

And then, Fred, there was—YOU! You were one of the first great professionals I met/interviewed with after I graduated from RISD and moved to New York City, when you were still at Warner-Amex having just created the MTV always-changing logo [actually it was Manhattan Design; I was the company creative director]. You impressed me as someone who was “real,” who didn’t hide behind a phony “professional” mask. We stayed in touch after that, and you gave me my first real breakout illustration job when I went solo as a freelancer a few years later, designing and illustrating an animated 30-second spot for a radio station, working with Colossal Pictures in LA (who later became Pixar)—and a NY metro-area billboard to go along with it!

Since then, we’ve done a bunch of great things together, up to and including this Frederator poster! And I’ve watched you wade through your own career waters as a multi-dimensional leading man, wearing so many different hats over the years—the decades—which has inspired me to cultivate my own Renaissance Man attributes. I’ve always described you to others as a mensch, the ultimate New York pro who’s got a great big beautiful heart an d soul to match his creative mind. If I could ever be described that way one day, I would consider that to be the highest compliment I could ever receive!

How about the mentors that you never met?

My father died when I was only four months old; my mother raised my older brother (by a year and a half) and I herself. Neither of my grandfathers was alive, and, though I had a handful of uncles, I would only see them a few times a year at family gatherings. So I had to find surrogate father figures elsewhere—and I found them in the American Pop Culture I grew up with in the’60s, in roughly this chronological order: Sean Connery’s James Bond, my first idealized masculine role model (the first movie I ever recall seeing, when I was around four-five years old, was Dr. No, the first Connery Bond, at a drive-in theater); Twilight Zone’s Rod Serling, a pop prophet of moral righteousness in the vast television wasteland, looking cool as all get-out in those incredibly tight TZ introductions—all of my artworks based on the series can be seen as my ways of honoring Serling’s legacy as a son would honor his father’s; and the superheroes in comic books, first and foremost Superman and Batman (the Yin-Yang of the genre), pseudo-paternally teaching me right from wrong, good from evil, and standing up and fighting for one’s beliefs. These are the things I suppose sons learn from the fathers, as well as their religious and academic authority figures. But “Everything I Needed to Know I Learned in Comic Books”!

You've published a few pop culture histories, and given countless lectures on various great, neglected figures. What got you started as an historian?

I don’t know how any artist in any genre or medium, if they truly love their work, cannot also be equally-interested in the history of that art form. When Keith Richards plays any of his classic Rolling Stones licks, he knows which black bluesman he nicked it from; filmmakers like Spielberg and Scorsese know the history of film like they know their own films. And the history of comics is as rich in artistic triumphs (and personal tragedies) as the histories of the other major 20th Century art/entertainments: film, television, popular music and rock and roll.

When I was a senior at RISD, for my degree project, I toyed with designing an exhibit of comic book art, and when I went looking for a theme, the only subject that seemed both worthwhile of my passion for the material and deep enough for the demands of the assignment was one based on the comics I grew up with in the 1960s, and the artists who drew them, the twin founts from which I drew the inspiration to become an artist. Though I never did that exhibit (I ended up doing a giant autobiographical photo-comic instead), I kept the ideas and images that I gathered, in the hopes that one day I’d use them in some other form. Many of those 1979 layouts are the same ones I’ve used in my book published in 2003, The Silver Age of Comic Book Art; its introduction, in which I place the images and ideas encountered throughout the book in a socio-political, historical framework, is composed of essentially the identical concepts from my aborted exhibit idea.

The idea to do a book instead on this period of comic book history goes back even further, to 1970, when Jim Steranko, on the heels of his amazing barnstorming stint at Marvel Comics, wrote, designed and published the first of his twin-volume History of Comics, which remain the best books of their kind, and were—and continue to be—a source of inspiration. Except they were about The Golden Age of Comics (circa 1938-1950), the period Steranko grew up with and was affected by, not The Silver Age of Comics (circa 1956-1972) that I, and the entire Baby Boom Generation, was turned on to.

Steranko himself might have been inspired by the first great book about comic book history, Jules Feiffer’s 1965 The Great Comic Book Heroes, even though it’s more of a handful of wonderfully written, witty essays on specific Golden Age superheroes Feiffer followed avidly as a boy, accompanied by reprints of the origins or earliest adventures of those heroes. Feiffer may not have realized what it was like to be an 8-year old comic book fan in 1966 and hear that there was actually a book in the Fair Lawn public library about comics!

How did you come to design the Fredbot?

When you asked me to come up with my take on the classic Japanese-influenced sci-fi trope of the giant-monster-attacks-the-tiny-people back in 1997 for your first Frederator brand image—but make it a robot, and make it look like you [I don’t remember this last part], to boot—I immediately thought of the animated robot Gigantor, one of the first Japanese anime to reach American shores in the wake of the Batman TV series in 1966. Once I started drawing my version of Big G, it was a no-brainer to add the distinctive Seibert horned-rim eyeglasses, topped by the equally-distinctive Seibert eyebrows, and voila! Fredbot!

OK, I know you love Bruce Springsteen. How come?

I believe there are Four Pillars of Rock & Roll, in roughly chronological order: Elvis, Dylan, the Beatles, and Jimi Hendrix, representing the greatest voice, lyrics, band, and guitar; hence, The Four Pillars.

Like Elvis, Bruce is a singular, dynamic presence with a commanding vocal power; his lyrics and songs have stood the test of time and made him the only one of the many “new Dylans” to actually live up to the label, living a true, real rock & roll life while writing it down, The Great American Novel but on records, great American songs chronicling not only his life and career, but that of the postwar generation that has come of age with him, timeless anthems like “Born To Run,” “Thunder Road” and “Born in the USA,” just to mention three of his greatest hits; with The E Street Band, Bruce captured the sheer joy, enthusiasm and positive energy of the early Beatles; and, like Hendrix and any of the other guitar gods—Clapton, Page, Van Halen, The Edge—Bruce has played searing, soulful, melodic leads with the best of them.

But Bruce isn’t one of those rock & roll pillars—he’s the rock & roll roof built over them, the complete rock & roller, putting it all together as no one has before. Bruce Springsteen is, quite simply, the promise of rock & roll...delivered.

His uncompromising and unparalleled creativity, body of work, attitude, and performance and work ethic have been an inspiration to me since I first heard the song “Born to Run” over a tinny AM car radio when I was 17 years old in the summer of ’75. Especially when I lecture, I employ what I call the “Springsteen Performing Style,” which is to give your 110% all to your audience, whether it’s 10 people or 10,000 people.

Bruce is also a bonafide moral leader for our age, doing what a true leader should be doing: living his life by example, and using it to inspire and exhort others to do the same.

He is the true President of the United States.

Thanks for the interview Arlen. And of course, thanks for the Fredbot! Happy New Year!

#Arlen Schumer #Fredbot #frederator #poster #2019 #The Frederator Interview #posters #illustration #interview #artist #graphic design

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bloojayoolie · 5 years

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Beautiful, Bodies , and Children: LEVEL 1 for Good Behavior- Beautiful Girl with freckles and gorgeous eyes- Microchipped and up to date on vaccines- Needs a Loving New Home Anastasia 72122, 2 yrs old, 59.6 lbs At Brooklyn ACC waiting for Love INTAKE DATE: 08-09-2019 Level 1 pup with freckles and gorgeous eyes! It's beauty queen Anastasia! Anastasia is very sweet, very cute and affectionate ~ and she looking for her loving forever! Please share! MY MOVIE Anastasia ~ https://youtu.be/jC0B5Tj6bhc ANASTASIA, ID# 72122, 2 yrs old, 59.6 lbs, Brooklyn Animal Care Center, Large Mixed Breed Cross, White / Brown Female, Found Stray Shelter Assessment Rating: LEVEL 1 No young children (under 5) Medical Behavior Rating: Green BEHAVIOR NOTES Summary: Leash Walking Strength and pulling: Hard pulling Reactivity to humans: None Reactivity to dogs: None Leash walking comments: Sociability Loose in room (15-20 seconds): Soft body, tail high, ears erect, stress yawn, play bows, explores somewhat, readily accepts treats softly, accepts contact Call over: Approaches readily, then moves away, approaches again Sociability comments: Handling Soft handling: Neutral-soft body, tail high, sits down, soft head turns, closed mouth, ears neutral, leans into and accepts all contact Exuberant handling: Soft, remains sitting, soft head turns, closed mouth, ears neutral, leans into handler, rests head on lap and accepts all contact Handling comments: Arousal Jog: Engages in play with handler, soft and loose; Jumps up softly, does not escalate Arousal comments: Prior to starting jog, somewhat jumps up, softly then sits down Knock Knock Comments: Pulls hard toward door when assistant exits, turns and approaches handler, jumps up; No response to knock; Approaches assistant readily, soft and loose, soliciting attention Toy Toy comments: Grips and moves away; Engages in play with assess-a-hand; Grips and relinquishes, readily trades PLAYGROUP NOTES - DOG TO DOG SUMMARIES: Anastasia was surrendered to the care center as a stray so her past behavior around dogs is unknown. 8/12-13: Anastasia appeared a bit conflicted when meeting a novel male dog, offering some play signals, bows and bounces but remains tense and grumbles a few times when the male dog runs away from her. 8/14: Anastasia was introduced to a novel female dog today. She greets the female with a tense posture and squared shoulders. Her leash is held due to her body language. The novel female walks away from Anastasia and they both explore the pens. Anastasia stiffens and her lips quiver when exchanging a face to face greet. FUN FACTS: Summary (1): Anastasia understands the cues for "sit" and "down." INTAKE BEHAVIOR: Date of intake: 9-Aug-2019 Summary: Friendly, accepted contact; Allowed all handling MEDICAL BEHAVIOR: Date of initial: 10-Aug-2019 Summary: Affectionate; Allowed all handling ENERGY LEVEL: Anastasia has been observed to exhibit a medium level of energy during her interactions in the care center. We cannot be certain of her behavior in a home environment, but we recommend that she be provided daily mental and physical stimulation as an outlet for her energy. BEHAVIOR DETERMINATION: Level 1 Behavior Asilomar TM - Treatable-Manageable Recommendations: No young children (under 5) Recommendations comments: No young children (under 5): Due to Anastasia's overall anxiety and leash-pulling behavior, we feel it would be best for her to be placed in a stable home environment with no young children to ensure her success. It is advised that the new adopters should be able to exercise safe and appropriate management when handling Anastasia, allowing her to acclimate and decompress at her own pace. Force-free, reward-based training only is advised, as well as utilizing guidance from a qualified, professional trainer/behaviorist. Potential challenges: Anxiety Strength/leash pulling Potential challenges comments: Anxiety: Anastasia exhibits anxious behavior during her interactions in the care center, where she has been observed to pant, pace and exhibit some displacement behavior when uncomfortable. Please refer to the handout for Generalized Anxiety. Strength/leash pulling: Anastasia was observed to display leash pulling due to her strength. Please refer to the handout on Strength/leash pulling. MEDICAL EXAM NOTES 20-Aug-2019 Progress Exam History: Intake 8/10/19: Stray, noted hypotrichosis, dermatitis, healing wounds on pinna. Started malaseb baths. 8/14: Demodex found on skin scrape. Gave bravecto. Today, 8/20: Noted vomiting, diarrhea, nasal discharge, Subjective: QARH, no coughing/sneezing. Diarrhea FS 6-7/7 and vomit noted in kennel. Objective: T: 101.4 P: WNL R: WNL BCS: 5/9 OP: Mucous membranes pink and moist. CRT <2. EENT: Eyes, ears clear bilaterally, no discharge noted. Moderate mucoid discharge from nares. PLN: Small/soft/symmetrical/nonpainful CV: No murmurs or arrhythmias, pulses strong and synchronous. RESP: Eupneic, no crackles/wheezes GI: Soft, nonpainful, no palpable masses or foreign bodies. UG: female intact, no mammary gland tumors, no discharge INT: Hypotrichosis appears unchanged from previous exam. Wounds on pinnae unchanged, appear to be chronic. No ectoparasites or masses noted. MS: Ambulatory x4, no pain on palpation of epaxials NEURO: Mentation appropriate, cranial nerves intact, no deficits noted. Assessment: -CIRDC -Vomiting/diarrhea (r/o dietary indiscretion vs gastroenteritis vs foreign body) -Hypotrichosis -Wounds on pinnae (chronic, no otitis noted) Prognosis: Fair, will likely need long term dermatologic care Plan: -Start metronidazole 15 mg/kg PO q12h x 5d until 8/25 -Start proviable 1 capsule PO q24h x 5d until 8/25 -Start enrofloxacin 10 mg/kg PO q24h x 14d until 9/3 -Start doxycycline 10 mg/kg PO q24h x 14d until 9/3 -Start LRS 20 ml/kg SQ q24h x 3d until 8/22, first dose given -Start cerenia 1 mg/kg SQ q24h x 3d until 8/22, first dose given -Recheck day 7, re-start skin treatments when CIRDC resolves -Recommend dermatology consult with placement 14-Aug-2019 Vet Statement Demodex positive skin scrape 8/13 Bravecto 60 lb dose given PO today 13-Aug-2019 Spay-Neuter Waiver Documentation [Spay/Neuter Waiver - Temporary] Your newly adopted pet has been diagnosed with ( DEMODEX) and the staff veterinarians are issuing a TEMPORARY waiver from the spay/neuter requirements of the City of NY. Follow up care at your regular veterinarian is recommended to ensure continued treatment through to the resolution of the issue. At the time of a full recovery you may choose to have your veterinarian perform the spay/neuter surgery, or make provisions to return the pet to ACC for sterilization. 13-Aug-2019 Skin scrape -- Positive for Demodex mange. 10-Aug-2019 DVM Intake Exam Estimated age: 2y Microchip noted on Intake? no History : found stray Subjective: BARH, good appetite, no elimination concerns Observed Behavior - allowed all handling, affectionate Evidence of Cruelty seen - no Evidence of Trauma seen - no Objective P = wnl R = wnl BCS 5/9 EENT: Eyes clear, ears clean, no nasal or ocular discharge noted Oral Exam: unremarkable adult dentition PLN: No enlargements noted H/L: NSR, NMA, CRT < 2, Lungs clear, eupnic ABD: Non painful, no masses palpated U/G: female intact, no scar or tattoo noted, no leakage or discharge MSI: Ambulatory x 4, skin free of parasites, no masses noted, hair coat has a few areas of hypotrichosis, no scale, discharge or erythema noted. There are crusted scabbed wounds to the pinna bilat. Healing, no discharge. CNS: Mentation appropriate - no signs of neurologic abnormalities Rectal: visually normal Assessment hypotrichosis dermatitis wound Prognosis: good Plan: skin scrape for tomorrow Malaseb baths q3d until 8/16 CTM ear wounds for proper healing SURGERY: Okay for surgery * TO FOSTER OR ADOPT * If you would like to adopt a NYC ACC dog, and can get to the shelter in person to complete the adoption process, you can contact the shelter directly. We have provided the Brooklyn, Staten Island and Manhattan information below. Adoption hours at these facilities is Noon – 8:00 p.m. (6:30 on weekends) If you CANNOT get to the shelter in person and you want to FOSTER OR ADOPT a NYC ACC Dog, you can PRIVATE MESSAGE our Must Love Dogs page for assistance. PLEASE NOTE: You MUST live in NY, NJ, PA, CT, RI, DE, MD, MA, NH, VT, ME or Northern VA. You will need to fill out applications with a New Hope Rescue Partner to foster or adopt a NYC ACC dog. Transport is available if you live within the prescribed range of states. Shelter contact information: Phone number (212) 788-4000 Email [email protected] Shelter Addresses: Brooklyn Shelter: 2336 Linden Boulevard Brooklyn, NY 11208 Manhattan Shelter: 326 East 110 St. New York, NY 10029 Staten Island Shelter: 3139 Veterans Road West Staten Island, NY 10309 *** NEW NYC ACC RATING SYSTEM *** Level 1 Dogs with Level 1 determinations are suitable for the majority of homes. These dogs are not displaying concerning behaviors in shelter, and the owner surrender profile (where available) is positive. Level 2 Dogs with Level 2 determinations will be suitable for adopters with some previous dog experience. They will have displayed behavior in the shelter (or have owner reported behavior) that requires some training, or is simply not suitable for an adopter with minimal experience. Level 3 Dogs with Level 3 determinations will need to go to homes with experienced adopters, and the ACC strongly suggest that the adopter have prior experience with the challenges described and/or an understanding of the challenge and how to manage it safely in a home environment. In many cases, a trainer will be needed to manage and work on the behaviors safely in a home environment.

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