Welwyn Hatfield District Council election, 2002

The 2002 Welwyn Hatfield District Council election took place on 2 May 2002 to elect members of Welwyn Hatfield District Council in Hertfordshire lemon press drink, England. One third of the council was up for election and the Conservative party gained overall control of the council from the Labour party.

After the election, the composition of the council was

The results saw the Conservatives win a majority of 4 on the council after gaining 3 seats from Labour clothes lint remover. The Conservatives gained seats in Hatfield West and Sherrards wards, as well as one of the 2 seats being contested in Hatfield North, where 3 recounts were needed to separate the top 4 candidates who all finished within 17 votes of each other. The Liberal Democrats failed to win any seats, but came second in 4 wards and were within 22 votes of the Conservative winner in Handside ward. Overall turnout in the election was 35.3%, a rise of about 3% on the 2000 election after all voters were able to get postal votes for the first time.

Robert Kurtzman

Robert Kurtzman (Crestline, 25 novembre 1964) è un regista, produttore cinematografico e creatore di effetti speciali statunitense.

Kurtzman iniziò la sua carriera nel 1984 quando si trasferì dalla sua città natale di Crestline in Ohio, a Hollywood in California, per trovare uno sbocco lavorativo nel suo interesse per gli effetti speciali top uniforms in college football.

Nel 1988, al fianco di Greg Nicotero ed Howard Berger, formò il K.N.B. EFX Group, uno studio di effetti speciali che vanta la fama di aver lavorato in oltre 400 pellicole e progetti televisivi. La K wholesale glass water bottles.N.B how to tenderise beef steak. ha vinto numerosi premi, incluso un Emmy Award nel 2001 per il loro lavoro sulla miniserie TV fantascientifica Dune – Il destino dell’universo. Il team fu nominato all’Oscar nel 2006 per il trucco di Le cronache di Narnia – Il leone, la strega e l’armadio.

Dopo essersi fatto notare nel campo degli effetti speciali, Kurtzman iniziò a dirigere e produrre film. Il suo primo lavoro fu Dal tramonto all’alba, per il quale scrisse il copione originale, fece da co-produttore e creò gli effetti speciali. The Demolitionist divenne noto come il debutto cinematografico del regista. Diresse anche Wishmaster – Il signore dei desideri, nel quale ebbe anche un cameo.

Nel 2002, Kurtzman ha abbandonato la K.N.B. EFX Group. Kurtzman e sua moglie, Anne, si trasferirono con la famiglia di nuovo a Crestline, in Ohio, e aprirono la loro compagnia di produzione, la Precinct 13 Entertainment plastic sports water bottles, un chiaro riferimento a Distretto 13: le brigate della morte di John Carpenter, film che il produttore ha spesso cercato di imitare (la trama del suo primo lavoro, Dal tramonto all’alba sembra ricalcare la seconda parte di Distretto 13, infatti). Fondata nel 2003, la Precinct 13 è una casa di produzione di effetti speciali per il cinema e la televisione. Nel 2006, essi hanno prodotto il loro primo film intitolato The Rage.

Urueña

Urueña is a municipality located in the province of Valladolid, Castile and León insulated stainless steel water bottle, Spain youth football uniform set. According to the 2004 census (INE), the municipality has a population of 213 inhabitants.

The streets and stone houses have been restored to those of a medieval town. It still retains much of the city walls with two gates and the castle ohio football uniforms. The parish church, Santa María del Azogue , was built in gothic-renaissance styles.

It also has four museums. Outside the walled enclosure and within walking distance is the Romanesque-style Ermita de Nuestra Señora de la Anunciada (Hermitage of Our Lady of the Annunciation) and the ruins of an old monastery. Evidence of prehistoric inhabitants have been found in the region.

It is member of the , a network of villages in which second-hand and antiquarian bookshops are concentrated.

view of urueña walls

view of urueña

street

urueña walls

urueña walls

Castle of urueña

Hermitage and walls

Hermitage

Church of Saint Mary of Azogue

Joaquin Díaz Ethnographic Museum

Coordinates:

Raoul Mayer

Raoul Mayer of Radolphus Majoris of Rudolf De Meyer, (ca. 1355 – 22 december 1437) was proost van Sint-Donaas in Brugge en diplomaat in dienst van de Bourgondische hertogen.

Mayer was afkomstig uit het bisdom Amiens. In 1378 was hij student aan de universiteit van Orleans. Hij werd licentiaat in beide rechten.

In 1380 begon hij aan het curriculum van een clericus: kapelanie in Montdidier – 1386: prebende van kanunnik in Doornik – na 1400: prebende van kanunnik in Amiens. In 1403 werd hij raadsheer van de koning van Frankrijk in het baljuwschap en in de stad Doornik top rated glass water bottles. In 1407 werd hij raadsheer bij de hertog van Bourgondië Jan zonder Vrees. Tussen 1411 en 1414 vervulde hij verschillende diplomatieke opdrachten.

Op 26 maart 1411 verkoos het kapittel hem tot proost van Sint-Donaas en op 15 juli werd hij geïnstalleerd, in aanwezigheid van Jan zonder Vrees. Er ontstond een jarenlange controverse tussen het kapittel en de proost, die weigerde een eetmaal te geven aan de kapittelgemeenschap op het feest van de kerkwijding. De ruzie werd pas in 1420 bijgelegd.

In februari 1417 nam hij deel aan onderhandelingen met Engeland. Na de dood van Jan zonder Vrees (1419) werd hij raadsheer en rekwestenmeester bij Filips de Goede. In 1419 was hij lid van de Vlaamse delegatie voor de vernieuwing van de handelsakkoorden met Engeland top bpa free water bottles. In juli 1421 was hij één van de gevolmachtigden die onderhandelden over de aankoop van het graafschap Namen. In 1424 was hij aanwezig op de bijeenkomst van de regentieraad in Gent.

In 1426 werd hij aartsdiaken van Boulogne in het bisdom Terwaan. Hij bleef ook tot aan zijn dood proost van de kerk van Saint-Amand in Dowaai. Kort voor zijn dood nam hij ontslag als proost van Sint-Donaas.

Daniel Jacob Wilster

Daniel Jacob Wilster, född omkring 1664, död 1732 i Sankt Petersburg sports water jug, var en dansk sjömilitär i tjänst för i tur och ordning Danmark, Sverige och Ryssland best steel water bottle.

Han började militärtjänstgöring år 1683 vid flottan och hade 1711 avancerat till schoutbynacht, men dömdes 1712 från sin tjänst, eftersom han inte hindrat en svensk konvoj att löpa in till Göteborg. Han beviljades dock av kungen avsked på egen begäran.

Wilster gick därefter över till fienden Sverige. I slaget vid Jasmund 1715 där den danske viceamiralen Just Juel stupade förde han befäl på örlogsskeppet “Stockholm”. Han utnämndes därefter till viceamiral. År 1716 kommenderade han i Östersjön en svensk flotta på 16 skepp, med vilken han jagade danske amiralen Ulrik Kaas’ eskader.

En tid därefter lämnade han, missnöjd, svensk tjänst och gick över till rysk militär, blev viceamiral och medlem i amiralitetskollegiet 1721 small stainless steel thermos, chef för marinakademierna 1727 samt var mellan 1729 och 1730 stationschef i Kronstadt.

Media depictions of body shape

Body shape refers to the many physical attributes of the human body that make up its appearance, including size and countenance. Body shape has come to imply not only sexual/reproductive ability, but wellness and fitness. In the West, slenderness is associated with happiness, success, youth, and social acceptability. Being overweight is associated with laziness. The media promote a weight-conscious standard for women more often than for men. Deviance from these norms result in social consequences. The media perpetuate this ideal in various ways, particularly glorifying and focusing on thin actors and actresses, models, and other public figures while avoiding the use or image of overweight individuals. This thin ideal represents less than 5% of the American population.

It has been stated that the increase in eating disorders over the past several decades has coincided with an overall decrease (pound-wise) in women’s ideal body weight portrayed by the mass media. A group of researchers examined the magazines Cosmopolitan, Glamour, Mademoiselle, and Vogue from 1959 to 1999. Fashion models became increasingly thinner during the 1980s and 1990s, making the thin ideal even more difficult for women to achieve. Photos depicting the models’ entire bodies significantly increased in number from the 1960s to the 1990s. From 1995 to 1999 models were dressed in far more revealing outfits than they were from 1959 to 1963.

Women’s magazines have been criticized for their conflicting messages, with an emphasis on food, cooking, child rearing, and entertaining. 75% of women’s magazines contain at least one ad or article about how to alter one’s appearance through cosmetic surgery, diet, or exercise. 25% of the women’s magazines surveyed included tips for dieting or messages about weight loss. Many women’s magazines focus on how to lead a better life by improving physical appearance. Men’s magazines provide information about hobbies, activities, and entertainment in order for men to better their lives.

Much of the research pertaining to how the media effects body image examines the change in models and magazine articles over time. Garner, Garfinkel, Schwartz, and Thompson paid particular attention to the difference in body shape of Playboy centerfolds over a 20-year period. They found that over the years, the body mass, bust, and hip measurements decreased; however, the height increased. They also determined that the Playboy centerfolds were 13%-19% lower than the normal body weight for women of their age (Cusumano, Thompson 1997). Other studies found that over the years, magazines like Seventeen, YM youth sports uniforms, and Cosmopolitan all had an increase in articles pertaining to diet and exercise. Anderson and DiDomenico (1992) compared women’s and men’s popular magazines and found that diet and exercise articles appeared more than 10 times as much in women’s magazines than men’s.

Modeling and fashion industries have come under fire in recent years for embracing and promoting an ultra-thin appearance. The majority of elite models are around 20% underweight vintage football tops, which exceeds the anorexia nervosa indicator of 15% underweight. Many models have died due to complications from their dangerously underweight bodies, including Isabelle Caro.

In 28 primetime situational comedies analyzed by researchers in 2002, 33% of the central female characters were below average weight. As the thinness of a female character increased, the number of compliments she received from men did as well. Research has shown below average weight female characters are over represented, while above average weight female characters are underrepresented in situational comedies as compared to the norms of the US population. Primetime television shows that appeal to a primarily female audience, such as Friends or Ally McBeal are helmed by young, attractive, and thin women smartphone waterproof pouch. Extremely skinny or emaciated women are shown on fashion industry related shows, like House of Style.

Male characters often negatively comment on average and above average weight females’ body shapes and weights and audiences usually react by laughing. Male characters are not immune to unfair representation. 33% of male characters were below average weight and 13% were above average weight. By comparison, approximately 30% of men in the US are overweight. In 2003 a study was conducted on ten top-rated American primetime fictional television programs. 33% of female television characters were underweight.

A study was done of 10 primetime television programs on each of the 6 major TV networks (ABC, CBS, Fox, UPN, NBC, and WB) with the largest Nielsen audience ratings during the 1999–2000 season. Of the 1018 characters on all of the shows 14% of females and 24% of males were overweight or obese. These numbers represent less than half the percentage of overweight or obese males and females in the general population. Overweight female characters were less likely to be considered attractive, display physical affection, or to connect with romantic partners. Overweight males characters were less likely to interact with friends or romantic partners and less likely to talk about dating. Overweight males characters were often shown eating. These statistics are representative of the fat stigmatization present in many US television programs. The small number of fat female television characters that do exist are consistently depicted in relation to thinner, highly sexualized female characters. These characters are used as props, against which thinner women are compared, judged and valued.

In 2007, analysts sampled 135 scenes featuring overweight individuals from popular television programs and movies and coded for anti-fat humor. The majority of anti-fat humor found was verbal and directed at the individual in their presence, with no regard for their feelings. Self-deprecating fat comments were much less common than those about or directed at another person. Male character were three times more likely to engaged in fat commentary than female characters. Media programs containing fat stigmatization content often are popular and have high ratings, suggesting that the general public finds it acceptable to overlook such remarks in the context of the story.

According to Renee Hobbs, EdD, associate professor of communications at Temple University, the average teen girl gets about 180 minutes of media exposure daily and only about 10 minutes of parental interaction a day. Girls often take drastic measures in an attempt to become like the media images they view. Many end up with very low self-esteem and dangerous eating disorders. Elissa Gittes, MD, a pediatrician in the division of adolescent medicine at Children’s Hospital of Pittsburgh says “We’re seeing girls at younger ages starting to be dissatisfied with their bodies, proactively trying to change them, and feeling like they need to emulate something different than what their bodies can do.”

In 2009 a content analysis of 150 top-selling video games found that games rated for children depicted female characters as significantly thinner than female characters in games rated for adults. Females in video games had significantly larger heads, but smaller chest sizes, waists, and hips than the average American woman.

In 2001 British newspaper The Independent wrote about the silhouette of American TV stars like Calista Flockhart and Sarah Jessica Parker and compared it to that of the women in Pop group Destiny’s Child saying, “The lollipop silhouette long-favoured by the female stars of American sitcoms, which involves disproportionately large heads wobbling atop stick-thin bodies does not say rich and it doesn’t say clever. It says take me to a clinic. The New Athleticism, however, sends out a rather different set of messages: strong, confident, independent woman.”

Surgeon General Richard Carmona speaks of obesity as the “terror within” and says “unless we do something about it, the magnitude of the dilemma will dwarf 9–11 or any other terrorist attempt.” The news media has been criticized for its alarmist and overly dramatized reporting on the issue of weight and obesity. By using key words such as “war” or “epidemic” in their reporting, the news media attracts greater attention to the issue. News reports likely reinforce the stigma of fat bodies, linking them to disease and likening fatness to a health behavior instead of an inalterable trait.

In September 2011 nationally syndicated columnist Michael Kinsley, the founding editor of Slate magazine, wrote harshly critical remarks about New Jersey governor Chris Christie and his weight. Kinsley wrote “New Jersey Governor Chris Christie cannot be president: He is just too fat . . .why should Christie’s weight be more than we can bear in a president? Why should it even be a legitimate issue if he runs? One reason is that a presidential candidate should be judged on behavior and character . . . Perhaps Christie is the one to help us get our national appetites under control. But it would help if he got his own under control first.”

A content analysis done of children’s videos and books found that 72% of videos and 7.5% of books placed emphasis on physical attractiveness. In 60% of videos, a character’s love for another depends on physical appearance and attractiveness. Examples include Cinderella, where the prince invites maidens to the ball to select a bride and Beauty and the Beast, where the Beast falls in love with Belle purely based upon her physical appearance. In 72% of videos and 10% of books characters with thin bodies have desirable traits. In 84% of videos and 10% of books female physical attractiveness is associated with kindness, sociability, and happiness. While 60% of videos portray female thinness, only 32% show male muscularity. No physical attraction is shown between a slender character and an obese character, with the exception of Beauty and the Beast.

In 64% of children’s videos and 20% of books obesity is related to negative traits. Obese characters are often shown as evil, unfriendly, cruel, and unattractive. Ursula from The Little Mermaid is an obese, unattractive octopus. In 40% of videos and 20% of books at least one obese character is disliked by others. Obese characters are shown thinking about food or depicted in setting related to food in 52% of videos and 20% of books. Children’s media is perpetuating the “what is beautiful is good” stereotype through its portrayals of thin and obese characters.

Approximately 92% of women feel pressure to conform to the standards of beauty which the media perpetuates. After viewing images of women with “ideal” body weights, 95% of women overestimate their body size and 40% overestimate the size of their waist, hips, cheeks, or thighs. Those with eating disorders, such as anorexia nervosa or bulimia nervosa, show a significant increase in overestimation of body size after viewing such images. Similarly males who are exposed to body-related advertisements show an increase in body dissatisfaction and depression. Men shown advertisements containing images of exceptionally muscular men were shown to be dissatisfied with their own musculature, not their body fat, after viewing such advertisements. This finding is consistent with previous evidence that states muscularity is more important than body fat in men’s body satisfaction.

The correlation between media image and body image has been proven; in one study, among European American and African American girls ages 7 – 12, greater overall television exposure predicted both a thinner ideal adult body shape and a higher level of disordered eating one year later. Adolescent girls are the most strongly affected demographic; “More and more 12-year-old girls are going on diets because they believe what you weigh determines your worth,” Cutler observed. “When all you see is a body type that only two percent of the population has, it’s difficult to remember what’s real and what’s reasonable to expect of yourself and everyone else.”

Put simply, the beauty ideal in American culture is: thin. “Large populations of ‘average’ girls do not demonstrate clinically diagnosable eating disorders—pathologies that the culture marks as extreme and unhealthy—but rather an entirely normative obsession with body shape and size,” Cutler said. “This ongoing concern is accepted as a completely normal and even inevitable part of being a modern girl. I think we need to change that.”

Statistics And Interesting Facts

1.) More than 40% of consumers say that information found via social media affects the way they deal with their health.

2.) 90% of respondents from 18 to 24 years of age said they would trust medical information shared by others on their social media networks.

3.) 18 to 24 year olds are more than 2x as likely than 45 to 54 year olds to use social media for health-related discussions.

4.) 19% of smartphone owners have at least one health app on their phone. Exercise, diet, and weight apps are the most popular types.

5.) 41% of people said social media would affect their choice of a specific doctor, hospital, or medical facility.

Body image is a huge problem especially in young teens. Media makes it hard for young girls and boys to feel attractive enough. Media shows people what they are supposed to look like, and defines what beauty should be. Most people in this world cannot fall under the standards of what media says beauty should be, and the pressure of that can be devastating and harmful to teens. According to one study, using actual body size based on teens’ reports of their height and weight, the researchers found that overall, overweight or underweight teens were only slightly more likely than normal-weight teens to have suicidal tendencies. From the study, they found that about 19 percent said they had considered suicide in the previous year and about 9 percent said they had attempted it. About 65 percent of students were in the normal-weight range, but only about 54 percent perceived themselves as “about the right weight.” Some thought they weighed too much; others thought they were too thin. There have been so many studies done that have shown the effects media have on a persons body image. Everyone should feel beautiful and happy with the way that they look, and not let media tell them they should be ashamed in any way.

Adam Blackley

Adam L. Blackley (Melbourne, 22 februari 1985) is een Australische honkballer van 1 meter 85 lang en 100 kilogram zwaar.

Blackley glass water bottle lifefactory, een linkshandige werper sweater pill shaver, begon zijn loopbaan bij de Australische hoofdklassevereniging Cheltenham Rustlers glass voss water bottle. Hier speelde hij zowel in de junioren als senioren in de hoogste klasse tot het seizoen 2006. In 2003 tekende hij een contract bij de Boston Red Sox die hem vervolgens liet uitkomen in de clubs in de minor leagues, Greenville Drive in de South Atlantic League en de Lowell Spinners uit de New York-Pennsylvania league. In de wintertijd (zomer in zijn eigen land) bleef hij uitkomen voor zijn vereniging Cheltenham Rustlers.

Tevens maakt hij deel uit van het nationale honkbalteam van zijn land waarvoor hij in 2006 uitkwam tijdens de Intercontinental Cup en in 2008 tijdens het Olympisch kwalificatietoernooi in Táijhong in Taiwan. In 2009 zat hij wel in de voorlopige selectie maar kwam niet uit voor het team.

Nadat in 2008 de Boston Red Sox zijn contract beëindigden kwam hij uit voor de El Paso Diablos, een dochterclub van de California Angels en in Australië voor de Victoria Aces. In 2009 kwam Blackley naar Nederland om uit te komen als werper voor de Amsterdam Pirates. Hij won zijn eerste vier wedstrijden in april en mei en verloor de vijfde tegen HCAW. Hij is de jongere broer van Major League-werper van de Philadelphia Phillies mobile phone holder running, Travis Blackley.

Ernst Plhak

Ernst Plhak (* 7. Dezember 1888 in Wien, Österreich-Ungarn; † nach 1925) war ein österreichischer Kameramann beim italienischen, US-amerikanischen und zuletzt deutschen Film.

Plhak hatte nach dem vierjährigen Besuch eines Wiener Gymnasiums seine berufstheoretische Ausbildung an der Technischen Hochschule seiner Heimatstadt und bei Josef Maria Eder an der Graphischen Lehr- und Versuchsanstalt erhalten. Bereits zuvor war Plhak zur bis dahin kaum entwickelten Kinematographie gestoßen, als er 1903 bei der Wiener Dependance von Pathé Frères als Bürolehrling begann. 1905 wechselte er in die dortige Verkaufsabteilung. Zur Fortbildung nahm ihn Wiens Pathé-Filialleiter anschließend nach Paris, wo die Konkurrenzfirma Gaumont vorübergehend Plhaks neuer Arbeitsgeber wurde. Von dort ging Ernst Plhak 1908 zur Clarendon Film Company nach London und im Jahr darauf zu zwei Filmgesellschaften nach Turin und Rom. In Turin, damals das Filmzentrum Italiens, will er an frühen Großproduktionen der Pasquali Film wie “Die Herrin des Nils”, “Fürstin Montecabelo” “Pompeji” beteiligt gewesen sein. 1911 traf Ernst Plhak erstmals in Berlin ein, wo er jedoch keine Beschäftigung fand clear waterproof bag, und reiste anschließend nach Chicago weiter, wo er bei der Selig Polyscope Company nach eigenen Angaben “viel Geld verdient” haben will.

Der Ausbruch des Ersten Weltkriegs trieb Plhak wieder zurück nach Europa. Nach sechs Monaten Einsatz als Soldat traf Ernst Plhak erneut in Berlin ein, wo er nunmehr als eigenständiger Kameramann arbeiten durfte. Zu seinen ersten Arbeiten im Kaiserreich gehörten (vermutlich 1916) mehrere kurze Lustspiele mit Dorrit Weixler in der Hauptrolle. Ernst Plhak fotografierte anschließend eine Reihe von bisweilen sensationsträchtigen Stoffen, vor allem mehrteilige Dramen und Melodramen wie Die Memoiren des Satans, aber auch so unterschiedliche Literaturverfilmungen wie Die Marquise von O. (nach Heinrich von Kleist), König Nicolo (nach Frank Wedekind), Lederstrumpf (nach James Fenimore Cooper) und Schwarzwaldmädel (nach der gleichnamigen Operette von August Neidhardt und Leon Jessel). Mit Marie Antoinette drehte Plhak gegen Ende seiner Karriere auch einen aufwendigen Kostüm- und Historienfilm aus der Hand Rudolf Meinerts. Dieser Streifen refillable water bottles, den er unter der Anleitung des erfahrenen Aufnahmeoperateurs Max Faßbender fotografieren durfte, sollte Plhaks ambitionierteste Arbeit bleiben. In den Jahren der Hyperinflation (um 1923), als er keine Aufträge mehr als Kameramann erhielt, will Plhak nach eigenen Agaben “für viele amerikanische Firmen in Berlin gearbeitet” haben. Wenig später (nach 1925) verliert sich Plhaks Spur.

Ernst Plhak war seit dem 1. Juli 1916 mit Lotte Thude verheiratet, einer ehemaligen Betriebsleiterin bei Alfred Duskes’ Filmproduktionsfirma Literaria Film.

als Chefkameramann (Auswahl)

Eugene Hritzuk

Eugene Hritzuk is a Canadian curler from Saskatoon, Saskatchewan. He is a former World Senior men’s champion skip.

Hritzuk has won two provincial championships as skip, once in 1985 and again in 1988 best running water belt. This qualified him for the Brier both times. At the 1985 Labatt Brier, he finished the round robin with a 6-5 record lixit glass water bottle. He had to play in two tie-breakers, which he won to get to the semi-final, where he lost to Northern Ontario’s Al Hackner. At the 1988 Labatt Brier water jugs for sports, he finished the Brier with an 8-3 record, and lost to Alberta’s Pat Ryan in the final. It would be his last Brier.

Since then, Hritzuk has been a successful seniors curler, and has represented Saskatchewan at the Canadian Seniors Championships in 2002, 2005, 2006, 2008, 2009 and 2012. He won his first Canadian Seniors Championship in 2008. Hritzuk won the World Senior Curling Championships in May 2009. Hritzuk has also represented Saskatchewan at the Canadian Masters Curling Championships in 2010, 2012, 2013, 2014, and 2016 dishwasher safe water bottle, winning the Canadian Masters Championship in 2014.

Juan Bell

Juan Bell Mathey (March 29, 1968 – August 24, 2016) was a Dominican baseball player who played in the major leagues, primarily as an infielder, from 1989 to 1995.

Bell was originally signed by the Los Angeles Dodgers in 1984 at the age of 16. After spending four seasons in the Dodgers minor league system, he was traded to the Baltimore Orioles along with relief pitchers Brian Holton and Ken Howell in exchange for Eddie Murray.

Bell saw his first major league action the following season, getting called up from the minor leagues in September, 1989. Between that season and 1990, Bell played in 13 games, mostly as a pinch runner. In 1991, Bell got his chance at regular playing time, splitting time at second base with Billy Ripken alongside Billy’s brother, Cal Ripken, Jr., the Orioles’ regular shortstop. However, Bell hit just .172, and the next spring he lost his roster spot to Mark McLemore and was sent back to the minors.

In August 1992, Bell was traded in August to the Philadelphia Phillies for infielder Steve Scarsone, and Bell was back in the majors. In 46 games as the Phils’ regular shortstop over the remainder of the season, Bell hit .204, but it was enough to allow him to stick with the big club in spring training. Once again, however, Bell’s bat was not up to the task, as he hit just .200 in 65 at bats before being placed on waivers.

Bell was claimed by the Milwaukee Brewers, who gave him his most extended shot at a regular job yet best water bottle. Bell responded with what was his best season, batting .234 with career highs in home runs (5) and RBI (29). The following spring, he was released by the Brewers, who had signed Jody Reed in the offseason to play second base.

In the next two seasons, Bell would get additional trials from the Montreal Expos and Boston Red Sox. He even set a career high in batting average (.278) in 1994 with the Expos, although it was in just 97 at bats. He spent most of those two seasons in the minor leagues, though, and continued to play in the minors until 1998, finishing up his career with the Syracuse SkyChiefs in the Toronto Blue Jays system. Bell ended his career with a batting average of just .212 in 329 games.

Bell played some ball from 1999 to 2000 with Elmira Pioneers of the Northern League, as well as Cafeteros de Córdoba and Campeche Piratas of the Mexican League.

Bell died of kidney disease in Santo Domingo, Dominican Republic on August 24, 2016.

Juan was the younger brother of former major league slugger George Bell. Their brother thermos bottle parts, Rolando Bell, played two seasons in the Dodgers’ system as well. He had a son named Joanthony Bell.