Bouncers

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The Romans had a position known as the ostiarius (doorkeeper), initially a slave, who guarded the door, and sometimes ejected unwanted people from the house whose gate he guarded. The term later become a low-ranking clergy title. [9] props used are four white handbags belonging to the female patrons of the club, and a blond wig is used in one scene in the second act. Robin Barratt – Respect and Reputation – On The Doors, in Prison and in Life, Apex Publishing, June 2010, ISBN 978-1-906358-81-5 Within Buddhist lore, the Nio, the twin guardian statues who decorate the entrances of temples, dojos, and various places related with religious importance, are believed to be the embodiment of wrathful deity bodhisattvas such as Vajrapani, Mahasthamaprapta, Vajrasattva, Acala, or various figures within Buddhist legend who accompanied Gautama Buddha during his journeys to spread his teachings to protect him and aid in cases needing justified force. a b "Nightclub Bouncers Tell All – Tales from behind the velvet rope". The Boston Phoenix. Archived from the original on 10 February 2008 . Retrieved 2 February 2008– via BostonNightclubNews.com.

In the Weimar Republic in the Germany of the 1920s and early 1930s, doormen protected venues from the fights caused by Nazis and other potentially violent groups (such as Communists). Such scenes were fictionalised in the movie Cabaret. Hitler surrounded himself with a number of former bouncers such as Christian Weber; [21] the SS originated as a group designated to protect party meetings. [22] Eric also plays various other parts such as Maureen, a patron of the club and a friend of Rosie, Elaine, and Suzy. As Maureen he describes himself as fat but cuddly. All four girls carry white handbags to the club. Snake-room (logging) (from Logger's Words of Yesteryears – Sorden, L.G.; Isabel J. Ebert; Madison, 1956". Archived from the original on 29 September 2007 – via wisconsinhistory.net. Hill, Peter B. E. (26 January 2006). The Japanese Mafia: Yakuza, Law, and the State. OUP Oxford. pp.23, 285. ISBN 9780199291618 . Retrieved 8 May 2014.

Carlin, Norman F.; Gladstein, David S. (1989). "The 'Bouncer' Defense of Odontomachus ruginodis and Other Odontomachine Ants (Hymenoptera: Formicidae)". Psyche. 96 (1–2): 1–19. doi: 10.1155/1989/96595. Ivan Holiday Arsenault – The Bouncer's Bible, Turner Paige Publishing, 15 January 1999, ISBN 1-929036-00-0 There were monologues where the tempo of the play needed to be slowed down, but there were rapid interplays of dialogue between characters when they needed to maintain the upbeat rhythm. Much of the script rhymed too. This added to the humour in the play! Some specific scenes were particularly impressive. In some dancing scenes, only the four actors managed to effectively give the impression of being caught in a crowd of people. They pushed, shoved, crawled, and mopped sweat from their brows; everything appropriately exaggerated.

In early Nazi Germany, some bouncers in underground jazz clubs were also hired to screen for Nazi spies, because jazz was considered a "degenerate" form of music by the Nazi party. [23] Later during the Nazi regime, bouncers also increasingly barred non-German people (such as foreign workers) from public functions, such as 'German' dances at dance halls. [24] The door supervisor from the Ohio-Bar in Berlin in 1948 Director Miriam Mussa (with extremely able assistance from cast member and movement director Zain Salim) wrings gallons of energy and inventiveness from the four actors, who sing, dance, bump, grind, mince and wrestle their way through two hours plus of showtime. Wells, Helen M. (2004). "Is there a place for covert research methods in criminology? A different approach" (PDF). Graduate Journal of Social Science. 1 (1): 1–19. ISSN 1572-3763 . Retrieved 19 November 2020. This cookie is used by Issuu analytic system to gather information regarding visitor activity on Issuu products. Addins: Fire Marshal Training, Mental Health Awareness Training, Introduction to Risk Assessments Training, Workplace Health and Safety Training, Mechanical Restraint Training, CCTV training, Handcuff training, and more…

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Maurice Bessman’s adaptation uproots and transports Pontefract 1984 to Liverpool 2018(-ish). The success of the production (and it is, largely, successful) hangs on unflagging energy of the cast and the renewed capacity of the text to speak to a diverse Liverpudlian constituency. In this, their first production (upgrading from a sellout studio show), Boisterous Theatre Company fully lives up to its name and, judging from the closing ovation, tonight’s crowd really gets it. Herbert, Ulrich (1997). Hitler's Foreign Workers: Enforced Foreign Labor in Germany Under the Third Reich. Cambridge University Press. p.8. ISBN 9780521470001 . Retrieved 8 May 2014. Cowardly' bouncers terrorising pub, club patrons". The Australian. 28 February 2007. Archived from the original on 14 September 2012 . Retrieved 7 January 2019. {{ cite news}}: CS1 maint: bot: original URL status unknown ( link) It’s over 40 years since the first version of Bouncers was staged at the Edinburgh Festival, some 35 years since, in its mature form, it set out on the road to international success. For a play that reflects the contemporary world so acutely, that’s a long time, not long enough for it to become a period piece, but too long for it still to appear up to the minute. Gunfight at bar leaves one wounded, another in custody", New Hampshire Union Leader, 15 April 2007, archived from the original on 26 September 2007 , retrieved 12 May 2007

Instead of props excellent use is made of sound. For instance the actors make a great job of imitating hair dryers in the salon as the girls get ready for their night out, and throughout the show there is good use of sound in the various scenarios. He wears a large gold signet ring on the middle finger of his right hand. Eric is the philosopher of the group who makes intelligent observances on life. He works out in the gym and boasts of his prowess on the bench press. There is an air of menace surrounding all the bouncers, but Eric has a violent temper which bubbles over when goaded by his rival Judd. Penglase, Charles (1997). Greek Myths and Mesopotamia: Parallels and Influence in the Homeric Hymns and Hesiod. Psychology Press. p.27. ISBN 9780415157063 . Retrieved 8 May 2014.Dry ice is used as well as rotating lights, like those of a mirror ball, projected onto the arches creating a 1980’s atmosphere in the disco.

As already stated very few props are used in the show because much of the action is mimed or sound is used to illustrate what is taking place on stage. Apart from the chairs, and the DJ’s microphone the only other Chandigarh's brawny female bouncers 'man' nightclub". Nerve of India. 28 July 2008. Archived from the original on 17 July 2010. Jason Dyson – Door Supervisors Course Book – National Door Supervisors Qualification, Highfield January 2010 ISBN 978-1-906404-84-0 In Canada, bouncers have the right to use reasonable force to expel intoxicated or aggressive patrons. First, the patron must be asked to leave the premises. If the patron refuses to leave, the bouncer can use reasonable force to expel the patron. This guideline has been upheld in a number of court cases. [44] Under the definition of 'reasonable force', "it is perfectly acceptable [for the bouncer] to grab a patron’s arm to remove the patron from the premises". However, "Only in situations where employees reasonably believe that the conduct of the patron puts them in danger can they inflict harm on a patron and then only to the extent that such force is necessary for self defence". [44] This said, the second act develops in structure so that when the final dance routine arrives it feels as though the piece has come satisfyingly full circle. And it is in these closing minutes that the outstanding cast, with no more dramatic delivery to consider, really let themselves go.

At least one major ethnographic study also observed bouncing from within, as part of a British project to study violent subcultures. Beyond studying the bouncer culture from the outside, the group selected a suitable candidate for covert, long-term research. The man had previously worked as a bouncer before becoming an academic, and while conversant with the milieu, it required some time for him to re-enter bouncing work in a new locality. [35] The study has, however, attracted some criticism due to the fact that the researcher, while fulfilling his duties as a bouncer and being required to set aside his academic distance, would have been at risk of losing objectivity—though it was accepted that this quandary might be difficult to resolve. [36] George Rigakos – Nightclub: Bouncers, Risk, and the Spectacle of Consumption, McGill-Queen's University Press May 2008 ISBN 978-0-7735-3362-2