Christine Nielsen: "The truth is I did it for the fun, not the money," says Nielsen, 28, who made the cover. She insists that getting naked boosted her damaged self-esteem. "When you lose your job it takes something out of you, and doing Playboy has given me my confidence back." And an estimated six-figure boost to her bank balance.

Courtnie Parker, 27, laid off as an Enron recruiter last December, was the only model to avoid frontal nudity in the pictorial because she didn't want to offend her grandparents.

Nielsen had no such qualms. "I say if you do it, go all the way. I was worried about telling my 91-year-old grandmother, but she said she didn't have a problem with it. Her only concern was that after I did the layout I didn't get involved with the mafia. I guess in her era that happened."

In the Society of the Spectacle, three hundred Women of bankrupt Enron applied for the Playboy photo shoot. Ten were selected to become 15 minute celebrities (See Photo shoot). They hope that their fame and exposure will get them into modeling or acting, and pay some bills. The four Women of Enron are on tour all over America, greeting adoring spectators.

Nielsen calls from a cell phone in the back of a stretch limo shepherding her around New York City all day for appearances. By 11am she has already done a radio interview and a photo shoot. It sure beats sitting behind a desk in Houston trying to make sense of numbers that don't add up (Guardian Unlimited, 2002).

Enron workers appealed to their union to get some settlement out of the Enron bankruptcy ($13,500, minus any payments they have already received, based on their salary and length of employment). According to Rev. Jesse Jackson, "The workers could not pay their house notes, could not pay their medical bills. They were in desperation"(Houston, 2002).

Enron Women of Enron Theme is related to Mighty Man Club and to Cowboy Capitalism Themes. Themes inter-relate. For example, Enron's vice president told writer,Marie Brenner (Vanity Fair March, 2002), that he openly displayed at Enron headquarters, a hottie board to rank the sexual allure of Enron women (Zahn, 2002). Secretaries who traded sexual favors for positions near the top, were known as French Lieutenant’s Women. The dramatic theme of “power over [people] through exploits” was extended to males over males, also. The rhythms that resulted from these themes were characteristically hard, fast, and loud as each member vied for dominance in the concentrated spectacle of the “Mighty Man Club." Some Enron traders and executives built the worst kind of male fraternity culture.Peraino, Murr and Gesalman (2002: 27-28) reported that Enron executives frequented Treasures, a “gentleman’s club” in Houston, and put their lap dance and drink charges on Enron credit cards. “Enron traders on their lunch break would buy a bottle of Cristal champagne (put to $575) and repair upstairs to the VIP Room” (p. 27).

SEPTET analysis traces oppressive themes and counter-themes and all the multiplicity of Poetic elements create Enron Metatheatre. There are themes of sexist, fear-ridden (rank and yank), and 'Mighty Man' workaholic working conditions for on and off stage performers. The theme of Enron oppression in Houston gets replicated in diffusing global spectacles.

Out of each situation of oppression and its antithetical contradiction, there emerges carnivalesque of resistance. For example, in 1992, Enron invaded a Guhagar village, situated in at lush tropical paradise, to spread their global energy empire. On the hilltop, above their village, Enron crews cut back the jungle to build the world's biggest electricity generating plant. They surrounded the ugly-looking energy plant with its chimneys with razor wire fences. Inside the razor wire perimeter, Enron also built several Florida-style homes for Enronites. There was resistance to oppression. Simple farmers and fishermen became Enron protesters and for a decade had their limbs shattered by police; 1,000 were dragged off to jail to face charges. The brutal treatment of peaceful village-protesters against the energy plant led Human Rights Watch to accuse Enron of complicity in human rights abuses in a 1999 report.

There is a shrouding themes of oppression of villagers in India in free market and deregulation Star Wars dialog (rhetoric), in the all the hype about Enron being the New Economy hero of Free Market capitalism. Meanwhile Enron was beating out rhythms of global predation and oppression, within ideological frames of hidden tragedy and comedy, until the integrated (concentrate & diffuse) global spectacles disintegrated into megaspectacles . In short, all the Septet elements came into play in a theme analysis of Enron.

ARISTOTLE'S THEMES Defined by Aristotle (350 BCE) as what Burke (1945) will call purpose:

Augusto Boal (1979) and Paulo Freire (1970), for example, extend critical dramaturgy to a more neo-Marxist critical theory Themes of LJM span what Freire (1970: 86) calls a “thematic universe” defined as a complex of “generative themes.” Antenarrative plurality is exhibited in the LJM transactions as partnerships are created, transformed, then dissolved. The antenarrative quality of LJM themes is that they are not isolated, but are intertextually connected, dynamic, and interpenetrating (to other off-the-balance-sheet partnerships). Dialogs about system reform, push along the LJM themes in what Business Week (March 4, 2002: 18) called a “flurry of rhetoric about tighter accounting rules includes the use of metaphor and more responsible corporate boards. And then a long silence until the next time.”

Themes of LJM (raptor partnerships_ span what Freire (1970: 86) calls a “thematic universe” defined as a complex of “generative themes.” Machiavellian characters are players shrouded in themes of romantic deregulation and ‘free market’ capitalism and Star Wars dialog, but beneath the mask, there is a dictator. And there is the voice of the voiceless, who are not permitted onto the center stage of Global or Metatheatre to talk of their themes of oppression.

The transfer for blame from Enrongate scandal to the Arthur Andersen scandal (they drove the getaway car) kept the Bush administration from spiraling into their Watergate. The U.S. press no longer traces the links between Bush Jr, Al Gore, Clinton, and Bush Sr. and Enron themes. They generative theme analysis work by the media has moved to where the spotlight shines. The Rise of Enron to the seventh largest American corporation is accompanied by a generative “theme of silence,” the face of Enron is veiled and spectators and actors are unconscious of the limit-situations of oppression in the chaotic-frenzy of the New Economy (Freire, 1970). After the fall, the themes moves from scandal, to fraud, to Bush (Enrongate), and on to Andersen, then WorldCom.