Lorelei Lee debuted in the sex industry at the age of 19,[1][2] deriving her stage name from Marilyn Monroe's character in Gentlemen Prefer Blondes.[3][4] She graduated from San Francisco State University in 2008,[1] and later pursued a master's degree in creative writing at New York University.[1] She has been awarded a National Foundation for Advancement in the Arts "youngARTS Scholarship".[5][6] She is best known for her performances as a fetish and bondage model, particularly on the pornographic site Kink.com, where she has also worked as a director.[7]
Although animal models cannot explain or reproduce all of the complex internal and external factors that influence eating behavior in humans, these models can enable researchers to identify the relative roles of genetic and environmental variables; this allows better control over these variables and provides for the investigation of underlying behavioral, physiological, and molecular mechanisms [11]. Animal models can be used to investigate the molecular, cellular, and neuronal processes that underlie both normal and pathological behavior patterns. Thus, animal models can advance our understanding of the many factors central to the development and expression of eating disorders.
A Tale Of Two Bondage Models
Although there is little evidence of continued food seeking/intake despite its possible harmful consequences (an index of compulsion) in rats [22,23] and mice [24], animal models that have reproduced this behavior indicate that adaptive food seeking/intake can be transformed into a maladaptive behavior under specific experimental conditions. An important key indicator of compulsive feeding is the inflexibility of the behavior, which can be assessed by temporally limiting the access to palatable food while the standard food remains available [48]. A flexible response would result in a change to available standard food, whereas an inflexible response would be revealed by neglect of the alternative, available standard food [48].
Using an animal model of binge eating sugar, Avena and colleagues found that when administered the opioid antagonist naloxone, rats showed somatic signs of withdrawal [29]. Similarly, Colantuoni and colleagues [43] investigated withdrawal induced by sugar deprivation and by the administration of naloxone, which increased withdrawal symptoms (teeth chattering, forepaw tremors, head shaking) in rats fed with glucose and ad libitum chow, similarly to rat models of morphine addiction. Behavioral and neurochemical signs of opiate-like withdrawal have also been reported in rats with a history of binge eating sugar without the use of naloxone [50]. Moreover, a high-sugar diet has been shown to elicit signs of anxiety and hyperphagia [51], and cessation of sucrose or glucose availability induced withdrawal-like states, with increased anxiety on the plus-maze [52].
In contrast to sugar-bingeing models, withdrawal-associated symptoms have not been reported using fat-bingeing models. In fact, after 28 days on the assigned high-fat diet, spontaneous restriction and naloxone-precipitated withdrawal did not increase anxiety in the elevated plus-maze or withdrawal-induced somatic behaviors and signs of distress [17,53,54].
Prefrontal DA and norepinephrine (NE) transmission has been shown to play a critical role in food-related motivation [62,71,72,98,99], as well as in the behavioral and central effects of drugs of abuse [100,101,102,103,104,105,106] in both animal models and clinical patients. Moreover, prefrontal DA and NE transmission modulate DA transmission in the nucleus accumbens under various experimental conditions [102,103,107,108,109]. In particular, altered D2R expression in the PFC has been associated with certain eating disorders and with drug addiction [14,71,72], and both α1 adrenergic receptors and D1R dopamine receptors have been suggested to play a role in regulating dopamine in the nucleus accumbens [102,103,107,108,109].
Known professionally as Demna, he has pumped out utterly bizarre ad campaigns. Including, but not limited to, a dystopian newscast hosted by its models and photos meant to evoke celebrities dodging paparazzi.
The label has deleted photos that featured children holding teddy bears that were clad in what appeared to be bondage gear after the images generated outrage on social media. As of late Tuesday, Balenciaga was still trending on the topic of fashion on Twitter.
Between 600 and 300 BCE, Jewish scribes in Jerusalem set out to record all the old tales of their people, handed down from generation to generation. What if the scribes had wanted to add a bit of spice to their tales to make them more interesting? Could they have used the myth of Sargon and made up the tale of Moses? It's certainly possible as we know the Jews were captured by the Babylonians in 587 BCE and held in exile in Babylon (modern Iraq) for some time. They could have picked up the Sargon legend there.
The Exodus story is of fundamental importance to black people, because within it we find a group of people who are enslaved and suffering from both economic and political bondage as well as, at times, genocide and infanticide. They call upon God to help, and what God does is respond by liberating them, crushing their oppressors and leading them into freedom. So the Exodus story has functioned as a paradigm for black people throughout slavery. Also in the contemporary world where the black people have found themselves in bondage, they've called upon God to free them as God freed the Israelites in the Exodus account.
The converse is also true. If you're dispossessed or part of the underclass you're going to see things within it which support your quest for justice and inclusion and that's true in terms of black communities when you read the Bible and the Old Testament. Looking at the Old Testament in the light of the history of slavery, colonialism and its overcoming, then God is a liberator, one who takes enslaved people out of bondage and into land flowing with milk and honey. We read the Bible in response to our own social location and that influences how we understand God.
This exhibition placed three white models, all lit from within, in a darkened gallery. They appeared as glowing totems, suggesting ancestral stories and hallucinatory visions. Each model sits on a solid pedestal nearly five feet high, and is encased in an impenetrable, shatterproof glass bonnet. A psychological distance is instantly enforced. Vision into catacombs of interior space is manipulated, modulated, and at times stymied, permitting only fragmented glimpses of a world of personal symbol, media compulsion, sexual bondage and ecstasy, and weird juxtaposition. Unwitting, we are placed in the position of voyeurs/intruders, a position that heightens the quiet drama of these eerie spaces and narratives. 2ff7e9595c
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