Cheap Medical Equipment : Fed Catering Equipment
Cheap Medical Equipment
- any medical equipment used to enable mobility and functionality (e.g. wheel chair, hospital bed, traction apparatus, Continuous Positive Air Pressure machines, etc.).
- Medical equipment is designed to aid in the diagnosis, monitoring or treatment of medical conditions. These devices are usually designed with rigorous safety standards. The medical equipment is included in the category Medical technology.
- Charges for the purchase of equipment used in providing medical services and care. Examples include monitors, x-ray machines, whirlpools.
- relatively low in price or charging low prices; "it would have been cheap at twice the price"; "inexpensive family restaurants"
- (of prices or other charges) Low
- Charging low prices
- brassy: tastelessly showy; "a flash car"; "a flashy ring"; "garish colors"; "a gaudy costume"; "loud sport shirts"; "a meretricious yet stylish book"; "tawdry ornaments"
- (of an item for sale) Low in price; worth more than its cost
- bum: of very poor quality; flimsy
American Diagnostic Corporation 1024 Nylon Medical Bag in Black
Here is a heavy duty, padded medical bag that is designed to protect your most valuable medical equipment. The medical bag is a multi-pocketed, heavy-duty nylon medical bag. It has a 19mm foam padded bottom with a double zipper opening for the main compartment. The main compartment is 10 1/2" x 91/2" x 43/4. The two interior zippered pockets are 6 1/2"x4". The bag includes an adjustable removable webbed shoulder strap and two contoured handles for easy carrying. Inside are 11 gusseted pockets of varying sizes. The bag measures 131/2" x 9" x 51/2" (closed) and weighs 1 lb. One year warranty.
Baldy Mountain in the background.
A copper and gold mining town that began in 1866 when a local Indian gave a Soldier from Fort Union a "pretty rock" in gratitude after the soldier gave medical care when he was injured. By the end of 1868 there were 400 people living in Elizabethtown, and there were sawmills, saloons, gambling halls, and a 'red light' district.
Mines attracted Settlers from Texas who brough herds of cattle and another industry to this little town.
E-town kept growing and the first crude structures were replaced by 5 well-built stores, a drug store, 7 saloons, 3 dancehalls, 2 hotels, a brewery, and a flour depot. The saloons boasted dance floors, gaming tables, and bars that were 100-200 feet long.
The sawmill was kept busy providing lumber for commercial buildings and private homes. By 1869, E-town had about 100 buildings and by late in the same year enough families had joined the miners to require a schoolhouse and a Protest
ant church. A Catholic parish soon followed.
In 1869, Scranton and Aken started the first newspaper, the Elizabethtown Lantern, selling it later to William D. Dawson who renamed it the Railway Press and Telegraph. Dawson had strong views which he expressed freely, and it was noted in the Colorado Miner that he had whipped up townspeople into "a furious rage" so displeased were they with his newspaper.
In 1870, Elizabethtown boasted 7,000 residents, seven saloons, three dance halls, five stores, a school, and two churches. One of several hotels, the Mutz Hotel was built by George W. Mutz, a rancher and cattleman of the area. That same year, the territorial legislature recognized the rapid growth of the area, created a new county, and named it after Vice President Schuyler Colfax. Elizabethtown was designated to be the Colfax County seat.
For about five years E-Town reigned as one of New Mexico's most important towns, but mining operations began to diminish dramatically. The fever cooled as mining costs started to out-weigh the volume of ore produced.
A few minor operations continued, but most of the residents moved on in search of better opportunities. The settlement was reduced to about 100 residents and lost its "county seat" status to Cimarron in 1872. Cimarron remained the Colfax County seat for ten years, before passing it along o Raton.
By 1875, Elizabethtown was a virtual ghost town but it was given a second chance in November, 1878 when the Atchison, Topeka and Santa Fe Railroad advanced its track from Trinidad, Colorado into New Mexico. Now, ore could be shipped much cheap
er and investment in Elizabethtown area mines once again increased along with the population. E-Town was reborn!
Saturday-night dances, complete with a fiddle band were so popular that people would travel several miles over mountain roads to attend. When snow covered the roads, sleds replaced wagons and folks danced their cares away. The dances were said to have been "nice" affairs; where participants dressed in their most elegant clothes and everyone was on their best behavior.
Several well-mannered young men, riding good horses, flashing plenty of money, and claiming to be cowboys, arrived at one dance; the floor manager introduced them so all might enjoy the evening. The single women of E-Town were enraptured by their manners. These young men became part of the social life in several of the surrounding towns. Not until later, when they were captured, did townspeople learn these young men were actually members of "Black Jack" Ketchum's outlaw gang. The notorious outlaw gang had terrorized the 4-corner states in the late 1890's, robbing trains, stores, and killing men during their crimes or shoot-outs when they were threatened. Black Jack Ketchum was hanged in Clayton, New Mexico on April 26, 1901 and is buried in the Clayton Cemetery. In 1901, the Oro Dredging Company began the work of erecting a monstrous dredge, fondly christened the Eleanor. The enormous piece of equipment, born of the machine era, posed numerous challenges in its transportation through the mountain passes to E-town. Piece by piece, the dredge was hauled from the railhead at Springer via mountain roads and water. The dredging company built a dam three miles from E-town and hauled the biggest pieces on a large boat. By August, 1901 the dredge began production and handled up to four thousand cubic yards of dirt a day. In its first year of operation, the Eleanor paid for herself and cleared $100,000, mining a remarkable one-quarter of all the gold found in New Mexico that year.
In September 1901 Dr. L. L. Cahill purchased the La Belle drugstore and moved it to E-town. LaBelle was another mining camp in the area that permanently died in 1901. Mining continued, but tragedy struck E-town in 1903 when fire caught in the second story of one of the largest retail establishments, the Remsberg Store. In the dry mountain conditions the flame
Whatever happened to THE VICTIM...
...was nothing compared to what she did to Aurora!
You have to wonder what Aurora's management was thinking--it's not like there hadn't been a precedent, back in 1964, when they had to withdraw the "Madame Tussaud's Chamber of Horrors Guillotine" kit off the market due to parental group objections to its violent nature. You would have thought they would have still remembered that in 1971, and realized that a series of kits like the "The Hanging Cage", "The Pendulum", "The Pain Parlor", "Gruesome Goodies" and--most especially--a hot young babe called "The Victim" (every kit labeled "Rated X--for Excitement") were going to create a firestorm of protest
from both the religious right and the radical feminists over "...promoting sex and sadism among children."
With the storm breaking the very week Aurora was taken over by family-oriented Nabisco, it was no surprise that Nabisco would fire the entire Aurora management staff and substitute their own, who would play it safe with re-issues of non-controversial kits and cheap
plastic "toy" kits that were so safe they were unmarketable. Nor was it any surprise that after six years of such pre-planned failure, Aurora would cease to exist.
That part of the story is fairly well known, at least among the modeling community, but I've always wondered about--and never seen discussed--the depiction of "The Victim" herself.
The "Monster Scenes" may well have been the Golden Spike, but they weren't the only nail in Aurora's coffin. By the Seventies, Aurora's customer base had grown up--we were in college, in Vietnam, or starting our careers. Many of us had put aside building models altogether, and those of us who remained in the hobby wanted something more. Aside from its figure kits, Aurora was always something of a joke in the modeling world, its aircraft and military vehicle kits comparing not just unfavorably but downright pathetically with the offerings of "quality" American kit makers like Revell, Monogram, and Renwal, or those of Britain's Airfix and Frog. And when Tamiya and the rest of Japanese kit manufacturers invaded the U.S. in the early Seventies with their precision-engineered, fine-scale kits that made Revell, et. al. look klunky by comparison, Aurora looked very lame indeed.
Which is why I wonder about "The Victim". The "Frankenstein" figure that was part of the "Monster Scenes" series was based on the Boris Karloff classic. "Dr. Deadly" was a generic Forties-Fifties-Early Sixties mad doctor type (I always figured he was a Nazi war criminal, wanted for performing medical experiments in the concentration camps). "Vampirella" was a Sixties icon, but to anyone with an interest in the subject she was obviously a descendant of the "good girl art"--or even Irving Klaw's fetish photos and art--of the Forties and Fifties. And the torture devices and mad scientist equipment were exactly what you would have seen in any Universal or American International or Hammer horror movie of the Forties, Fifties, or early-to-mid Sixties.
"The Victim" seemed oddly out of place in that line up. Perhaps it was just an effort to make the series modern, make it seem "hip" or "with it" or otherwise "relevant" to the model builders of the Seventies But, I wonder...? "The Greatest
Generation" hadn't become so great yet--they were still just the parental generation who, in Archie Bunker's words, "fought in The Big One" (with the inherent implication that Vietnam was "The Little One, So Quit Whining About It"), the parental generation we were all, one way or another, in the natural order of things, rebelling against. Had the series been released ten, or even five, years before, "The Victim" would undoubtedly have been a classic "Scream Queen", along the lines of Julie Adams or Barbara Nichols, in the tattered remnants of an evening gown or cocktail dress, and looking right in place with the other kits in the series. Was the more modern depiction of her as some kind of cross between a barefooted Ali McGraw hippie chick and a hot-pants'd-and-halter-top'd Katherine Ross sorority hottie a subconscious (or perhaps not-so-subconscious) dig by Aurora's fought-in-the-Big-One management against us, their children, who were abandoning them...?
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