text:
You are currently browsing the category archive for the 'General' category.
November 11-17 marks University Press Week 2012! All week long, presses around the Web will be hosting special posts as part of a UP Week Blog Tour. The Digital Digest will be following the tour with a daily round up.
Princeton University Press: "A Conversation with the Co-owner of Labyrinth Books"
Local independent bookstore owner Dorothea Von Moltke speaks with Princeton's Jessica Pellien on what university press books mean for her business: "our focus throughout the store and nowhere more than with university Press books is to give books a long life … they just need to still seem relevant to a deeper understanding of our past, present, or future."
Indiana University Press: "University Presses: An Essential Cog Within Our Society's 'Sophistication Machine'"
Former IU Press intern Nico Perrino compares UPs' role in scholarship to loading docks at a factory, a stage in a theater, or tables at a restaurant: a basic necessity for sharing the creative products of scholars and authors with the world. (And a special shout-out to Indiana UP for organizing this week's blog tour!)
Fordham University Press: "Why University Presses Matter"
Press Director Fredric Nachbaur wrote his post in the aftermath of Hurricane Sandy and the destruction wrought on his home city of New York and native state of New Jersey, reflecting on how the work of university presses and their authors have, in times of tragedy, helped us understand the events of the moment.
Texas A&M University Press: "The Value of a University Press"
TAMU author and Houston Chronicle business columnist tells the story of how he came to write and publish a book with the Press, a book that itself told the story of his father's journey from an electrician with a hobby to a foundational practitioner of nautical archaeology—and the role the Press played in that story of a man and a fascinating field of knowledge.
Georgetown University Press: "We speak your language!"
Press publicist Jacqueline Beilhart was inspired by a journalist's offhand comment to canvass AAUP members on their commitments to publishing language acquisition materials in Less Commonly Taught Languages (LCTLs). The resulting list of languages whose learning is supported by university presses (scroll…scroll…keep scrolling…) is a clear testament to how uniquely this kind of publishing connects us across place and time.
Friday's leg of the tour begins at New York University Press.
November 11-17 marks University Press Week 2012! All week long, presses around the Web will be hosting special posts as part of a UP Week Blog Tour. The Digital Digest will be following the tour with a daily round up.
The University of Chicago Press: "Scott Esposito on Wayne Booth"
To read literary critic and editor, Quarterly Conversation, Scott Esposito's persuasive case for the enduring importance of Wayne Booth's Modernist Dogma and the Rhetoric of Assent is to know that it is the power of the ideas we publish that is "why university presses matter."
The University of Minnesota Press: "What Was a University Press?"
Read excerpts from Press Director Doug Armato's recent plenary talk at the Charleston Conference, by all accounts a stimulating exchange of ideas between Doug, California Press Director Alison Mudditt, and the conference's overflowing audience of librarians and publishers.
The University of Illinois Press: "Write for the World"
Musician and writer Stephen Wade (author of Illinois' Fine Print* selection, The Beautiful Music All Around Us) riffs on the words of former UI Press Editor Judith McCulloh and celebrates university presses' "commitment to humane scholarship" as embodied in such storied projects as the Music in American Life series.
The University of Nebraska Press: "Why University Presses Matter"
UNP's Bison Books Manager Tom Swanson looks at how the Bison Books imprint embodies the regional commitments of university presses and how presses such as Nebraska give us "a voice for our place."
Syracuse University Press: "Why University Presses Matter"
Laurence Hauptman (SUNY Distinguished Professor Emeritus of History, SUNY New Paltz, and scholar of Native American, New York, and Civil War History) explains what university press editors and staff meant to his development as a scholar and author, and to the development of essential fields of research in Northeastern Native American history.
Thursday's leg of the tour begins at Princeton University Press.
Back in August, we asked member presses to think about their work in a new way: geographical impact. What better way to show university press "contributions to culture, the academy, and society" in the modern, global publishing economy than to visually illustrate their reach? This was the idea behind the Mapping Our Influence project.
Using the Google Custom Maps tool, we developed an iconographic key to represent authors, subjects, and other points that might be plotted. The simplicity of the Google Maps construct allowed us to imagine a variety of maps: a season's worth of titles, a disciplinary list, a regional focus. But of course, soon maps started rolling in—38 to date—and the virtual pushpins took on a rainbow of new meanings.
Melissa Pitts, director at University of British Columbia Press, piloted the Maps project with Valerie Nair, Assistant to the Publisher, and the press's current work-study student. UBC Press mapped authors and subject matter from the latest season, and then got creative with adding events and awards. (Their map is here.) Clusters of pins color the Vancouver and Toronto areas, scattering thickly across Canada and down through the US, reaching west across the Pacific to Japan and New Zealand, east across the Atlantic to northern Europe and Israel.
And yet, with markers blooming like party balloons or bright speech bubbles—"we're here! and here and here and here!"—across the globe, Pitts notes that the map is most definitely a work in progress. It currently represents 2011 and 2012 publications, which Pitts plans to continue to expand with new seasons. She's considering integrating it into the publication process for each new book, carrying it beyond University Press Week.
Future iterations, possibly to be used in meetings with the university administration, may build off of other presses' ideas—like that of University of New Mexico Press.
New Mexico's map is a monochromatic blue: 367 pins representing libraries around the globe that have purchased 2012 publications. (See the map here.) Unsurprisingly, the US has transformed to a sea of blue, with outliers marking off libraries around the globe, both public and university—in Peru, South Africa, Malaysia, China…the list goes on.
"We did consider several options including maps showing the locations of our authors or the subjects of our recent books (or a combination of several metrics)," writes New Mexico director John Byram. "The problem was capturing and representing data that succinctly reflected the Press's global footprint most dramatically. A map showing the location of libraries who purchased our new books in the last calendar year seemed to offer the best opportunity to represent the influence we have as a publishing operation both for scholars and for the general public."
Like Pitts, Byram has plans to update the map; he's already shared it with the press's faculty advisory board and the university administration. Temple University Press Director Alex Holzman has done the same: "It's become my favorite new toy in presentations to both administration and faculty. Temple's been emphasizing its international presence in recent years and I've been saying that our books have a presence on every continent except possibly Antarctica. Saying it is one thing; all these pins provide a fabulous graphic showing it. I also think the map is a great acquisitions tool. What author doesn't want to daydream about people around the world reading their work?"
Holzman is referring to the unique elements of the Temple map: the press also mapped 2012 authors and subjects, but on top of that, two more colors to denote, first, countries where local publishers have licensed rights for their particular languages, and second, every country where Temple books have been purchased. (Take a look here.) The former, language rights, pop up in Brazil, India, South Korea, and more; the latter, purchases, truly cover the globe—and from 2012 titles alone. Says publicist Gary Kramer, "we were happily amazed at the extent of what we were able to cover with just this one year of data". And Holzman is already brainstorming new maps for the coming years: "I could think of a few—course adoptions come to mind—but I'll let Gary and Brian [who plotted the map] take a break first!"
November 11-17 marks University Press Week 2012! All week long, presses around the Web will be hosting special posts as part of a UP Week Blog Tour. The Digital Digest will be following the tour with a daily round up.
The MIT Press: "Thoughts for the Day After University Press Week"
MIT Editorial Director Gita Manaktala surveys some of the major shifts in scholarly publishing, from a university press at the leading edge of many of those transitions.
The University of California Press: "Why University Presses Matter"
Rachel Lee (UC Press Library Relations Manager) looks at why university presses should matter to librarians: as a "partner engaged in work that sustains academic research."
The University of Hawaii Press: "Why University Presses Matter"
Barbara Watson Andaya (Professor of Asian Studies, University of Hawaii; Editorial Board Member, UH Press) examines the importance of university presses for smaller disciplines and developing fields of knowledge. The UH Press editorial commitment to Southeast Asian Studies, publishing both within the English-speaking world and reaching out to the local region, is a snapshot of the "global university press."
Wilfrid Laurier University Press: "University Press Week Feature: R. Bruce Elder"
Film scholar Elder (whose latest book Harmony & Dissent is WLUP's Fine Print* selection) discusses the urgent need for a humanistic study of technology; and holds up the university press monograph as the form best suited to support this kind of sustained intellectual endeavor.
The University Press of Florida: "Hands-on Education"
Three UPF interns—Claire Eder, Samantha Pryor, and Alia Almeida—reflect on what they brought to and what they've learned from their work at the Press. From falling for a book as its marketing campaign is developed, to seeking and finding greater challenges and strong mentorship, to the delights of "Death, Deformity, Disembowelment, [and] Dismemberment", the day-to-day work of university presses is revealed through fresh eyes.
Wednesday's leg of the tour begins at The Chicago Blog.
Fine Print* (*and digital!) is an online gallery of titles—books, journals, online collections, and reference works— from AAUP members, developed in celebration of University Press Week 2012. Presses were asked to select one title from their full catalog of publications that they felt exemplifies the work they do. Here, Johns Hopkins University Press—with 134 years of history to choose from—shares how they made that decision.
by Jack Holmes, Director of Development, Johns Hopkins University Press
It is easy to imagine that all the presses participating in the AAUP Fine Print* project had difficulty selecting just one publication to represent a legacy that might include decades of publishing, numerous subject areas, various formats, and many distinguished achievements.
That was certainly true for us at the Johns Hopkins University Press as we considered our Fine Print selection. We might reasonably have chosen the American Journal of Mathematics, which J. J. Sylvester founded in 1878 and which remains a centerpiece of our journals publishing program. We thought Project MUSE, the highly regarded online collection of journals and books, would be a compelling choice because it represents the innovation and success not just of our press but of the broader community of university presses, libraries, and scholars who collaborated to create it and work to sustain it. We could have chosen any of several discipline-changing titles, from Jacques Derrida's Of Grammatology to Carlo Ginzburg's The Cheese and the Worms, to highlight the capacity of key scholarly works to revolutionize how we think about certain subjects. We could, of course, sensibly select one of our best sellers. And it turns out that our best-selling title also gives us one of our best stories to tell.
The 36-Hour Day: A Family Guide to Caring for People Who Have Alzheimer Disease, Related Dementias, and Memory Loss, by Nancy L. Mace and Peter V. Rabins, is indeed JHUP's best-selling book, with more than 2.5 million copies sold in the five editions published since it first appeared in 1980. It has been called a legend, a bible, and the best of its kind. We are proud to include it as the Johns Hopkins University Press title in the AAUP's Fine Print* collection.
How The 36-Hour Day landed on the JHU Press list, how it almost never found a publisher, and how it ties our press to esteemed friends and colleagues at Johns Hopkins also adds up to a good university-press story, one that we believe echoes the shared mission, values, and aspirations of all AAUP's member presses.
By the late 1970s, Alzheimer Disease was becoming increasingly known but remained barely understood among the general public as the cause of dementia and memory loss in older patients. Managing the condition medically within psychiatry or geriatric departments was becoming more common, and the psychiatry department at the Johns Hopkins Hospital was one of the first in the nation to establish a special unit for patients with dementia. As growing awareness of the disease brought more frequent requests for advice and information, two members of the program staff at Hopkins, Nancy Mace and Peter Rabins, collaborated on a short booklet advising caregivers on understanding the disease, helping the person with dementia, and coping with the challenges of the caregiver's role. The booklet was mimeographed repeatedly by the department, and requests for copies continued to increase. With the department overwhelmed by requests, Mace and Rabins explored the possibility of expanding the booklet into a book, but they were turned away by numerous commercial publishers who didn't see a market and found the topic depressing and uncomfortable.
In the lore of our Press, JHUP author and Psychiatrist-in-Chief at Johns Hopkins, Dr. Paul McHugh, advised that Mace and Rabins "talk to the Press." The 36-Hour Day found an appreciative home here, and our press embraced the mission of publishing trusted, expert medical information for general readers. Our successful series, Johns Hopkins Press Health Books, with some fifty similar books available in print and digital formats, is part of this legacy.
While the good The 36-Hour Day has done in the world is arguably beyond measure, we can point to at least some of the numbers that suggest the scale of its impact and success: five editions published since 1980, the most recent in 2011; sales in excess of 2.5 million copies, not including mass market paperbacks, which were published for three of the five editions; praise and affection generated over the years that easily matches those sales figures; massive review attention and numerous awards from both professional and advocacy organizations; strong e-book sales and an audio-book edition in production. With dozens of books about Alzheimer Disease now available for general readers, The 36-Hour Day remains the leading resource for caregivers, one of the few titles that B&N will never allow to go out of stock.
For all of us at JHUP, The 36-Hour Day and its success are a somewhat larger-than-life expression of the hope we always have when we publish a book or journal under the Johns Hopkins imprint. We want to deliver knowledge, discovery, and expertise to the people who need it. We want to publish works that have an impact, whether on a small circle of scholars in a dedicated field of study or on the hundreds of thousands of readers who are informed and comforted by a book like The 36-Hour Day.
That is our aim with 200 new books each year and with every new issue of the 80 journals we publish. But few works the Press has published match the reach and impact of The 36-Hour Day, and we salute and thank our friends and colleagues, Nancy Mace and Peter Rabins, for their exceptional work and achievement.
There are stories behind every title in the Fine Print* gallery. Browse the slideshow and immerse yourself in the breadth and depth of university press publishing.
November 11-17 marks University Press Week 2012! All week long, presses around the Web will be hosting special posts as part of a UP Week Blog Tour. The Digital Digest will be following the tour with a daily round up.
Harvard University Press: "My Blue-Bound Loves"
Anthony Grafton (Professor of History, Princeton University; co-editor, The Classical Tradition) writes of being seduced by the physical and intellectual beauty of the Oxford Classical Texts. The seriousness, the courage, and the beauty of university press publishing still draw him to the stacks.
Duke University Press: "Why University Presses Matter"
Judith Halberstam (Professor of English, American Studies and Ethnicity, and Gender Studies, University of Southern California; author, The Queer Art of Failure) advocates for university presses as supporters of radical knowledge and the cross-pollinators of culture, learning, and unlearning.
Stanford University Press: "Steve Levingston on Why University Presses Matter"
Levingston, Nonfiction Editor of the Washington Post Book World, picks out a few favorite university press titles reviewed in the Post and the Political Bookworm—memorable for the continuing fascination of the conversations the books inspired, and illustrating what we mean when we say that university presses "contribute to an informed society."
University of Georgia Press: "Small is Better: Why University Presses are Sustainable Presses"
Claire Bond Potter, (Tenured Radical, Professor of History at the New School for Public Engagement, and co-author of Doing Recent History) writes the "bottom line" of university presses: "We can help you write the book you want to write, and we get it to your readers. That's publishing."
University of Missouri Press: "Why Do We Need University Presses?"
The extraordinary co-organizers of the "Save the University of Missouri Press" campaign, Ned Stuckey-French (professor of English, Florida State University; author, The American Essay in the American Century) and Bruce Miller (sales representative and President, Miller Book Trade Marketing) explore what people don't know about university presses and the works that "stay on shelves for years, get taught in our schools, and change the way we think."
by Lorri Hagman, Executive Editor, University of Washington Press
A Books That Matter Essay
Stories Old and New: A Ming Dynasty Collection, Vol. 1, compiled by Feng Menglong, translated by Shuhui Yang and Yunqin Yang (University of Washington Press, 2000)
Stories to Caution the World: A Ming Dynasty Collection, Vol. 2, compiled by Feng Menglong, translated by Shuhui Yang and Yunqin Yang (University of Washington Press, 2007)
Stories to Awaken the World: A Ming Dynasty Collection, Vol. 3, compiled by Feng Menglong, translated by Shuhui Yang and Yunqin Yang (University of Washington Press, 2009)
Some people spend thousands of dollars and endure hours of exhausting air travel to vacation in exotic places. But among the perks of my editorial job at the University of Washington Press in the summer of 1998 was being paid to boat down rivers and trek through mist-shrouded mountains in southeast China and to tiptoe into ancient monasteries and palaces, with eloquent and entertaining locals as my guides. This travel was, alas, only in the mind, but I relished it every day—an eight-hour minivacation in both space and time. My purported task was to copyedit the 1,270 manuscript pages of the English translation of Stories Old and New, a set of forty vernacular short stories collected in the late Ming dynasty (1368-1644) by the most knowledgeable connoisseur of popular Chinese literature of his time, Feng Menglong. My true mission, however, was deeper and more subversive: to undermine cultural stereotypes by providing the English-reading world with an unmediated view of Chinese culture and society.
Back then, I still was doing occasional copyediting in addition to acquiring books in Asian studies and various other fields. At its best, copyediting can be like tackling a cleverly constructed crossword puzzle, a self-contained and satisfying task—not something I care to do full-time, but an entertaining diversion. Normally, it's preferable to have a new set of eyes for copyediting, to spot things that the author and acquiring editor no longer have the objectivity to see, but Stories Old and New required a copy editor with Chinese-language training, and I was the only such person available. So I both acquired and copyedited the manuscript.
Pausing in front of the text and multipage style sheet (one for each story, as well as a list of recurring terms) and shifting my gaze out the office window westward toward Puget Sound and the Olympic Mountains, I would sometimes reflect that I had just surfaced from a time in which China was already an old and marvelously complex civilization, but the city of Seattle would not be founded for another two and a half centuries. The stories were so rich, so varied, that collectively they illustrated just about everything one needed to know about late imperial China—from history to religion to family structure. When the first Chinese edition was published in 1620, compiler and editor Feng Menglong wrote in the preface of the power of fiction:
Just ask the storytellers to demonstrate in public their art of description: they will gladden you, astonish you, move you to sad tears, rouse you to song and dance; they will prompt you to draw a sword, bow in reverence, cut off a head, or donate money. The faint-hearted will be made brave, the debauched chaste, the unkind compassionate, the obtuse ashamed. One may recite the Classic of Filial Piety and the Analects of Confucius every day, yet he will not be moved so quickly nor so profoundly as by these storytellers. (p. 6)
Shuhui Yang, a professor of Chinese language and literature at Bates College, had first written to us in 1996 about the translation of Stories Old and New that he and his wife, Yunqin Yang, a simultaneous translator at the UN, were completing. I had long been familiar with Feng Menglong's work, and in my student days had even presented a paper comparing a courtesan in one of the stories to a famous courtesan in Sanskrit literature, a paper that was eventually published in the Journal of South Asian Literature. But the Yangs didn't know that; our collaboration on this project seemed pure serendipity.
After the publication of Stories Old and New, I was surprised but delighted to learn that the Yangs were forging on with translation of the two remaining volumes in Feng Menglong's trilogy of collected short stories, known collectively as the Sanyan: Stories to Caution the World and Stories to Awaken the World. Like Stories Old and New, each volume contained forty stories. Translating the three volumes—a total of 120 stories in 4,300 manuscript pages—was a labor of love on their part, as neither received professional credit or pay (beyond very modest royalties) for this work. My colleagues were understandably concerned about the difficulty and expense of producing these oversize volumes, but with generous title subsidies from the Chiang Ching-kuo Foundation and Bates College, along with creative typography and thin paper, we were able to publish all three.
Although English translations of a handful of the stories had been published in various anthologies, these were always abridged, omitting the many snippets of verse that are strewn throughout the stories, counterposed with the text, such as this one from "Chen Congshan Loses His Wife on Mei Ridge" (Stories Old and New, p. 342"):
Upon returning to his own yamen, the inspector held a banquet to celebrate the victory. With the slaying of Tiger of the Mountain, indeed,
His fame spread throughout the Nanxiong region;
His skills in the martial arts won praise from all.
Also omitted were Feng's interlinear and marginal notes, often deliciously irreverent, such as the following (in italic) from "The Courtesans Mourn Liu the Seventh in the Spring Breeze" (Stories Old and New, p. 219):
From that time on, he grew more dissolute in his ways and went so far as to take up residence in the courtesans' quarters. On a tablet of the kind that was held by officials, he wrote, "Liu of Three Changes, Imperial Poet Designate." Before he called on a courtesan, he would first send over this tablet and she would then prepare wine and dishes and bedding for the night. (What a carefree life! This is better than serving as an official.)
Even Chinese editions of the stories have omitted elements of the original, such as sexually explicit passages, which the Yangs translate in full. Their translation of the three-volume collection is the first—and probably will be the only—complete, unabridged English translation of this milestone work in world literature. An important editorial feature that is apparent only when the stories are seen in Feng's original arrangement is their thematic pairing.
The flavor of the Yangs' translation is captivating. Feng Menglong had collected stories hither and yon, modifying and even, perhaps, freshly composing some of them himself (much as the Grimm Brothers had done in Europe). The language of the stories is not classical but vernacular Chinese, a form that reflected the grammar and usage of common speech. Although easier for those of us who are not Confucian scholars to understand, Feng's Ming-dynasty common speech is several centuries old. One of the things I love about the Yangs' translation is the slightly old-fashioned cadence of the English phrasing, which reflects Feng's language: things happen "in a trice," or to "all and sundry" (as in the extract above). Although the Yangs' command of English is among the best I've ever observed in non-native speakers, I wondered how they had been able to capture that subtly old-fashioned tone. When I asked about this, Yunqin's response was, "Dickens, of course!"
After immersing myself so deeply in his world through the course of three volumes and 120 stories, I felt that I knew Feng Menglong personally and, curiously, that, were he to time-travel to my world as I had to his, he would not be perplexed or intimidated by twenty-first century culture. With his broad mind and deep curiosity, he would have eagerly engaged with the contemporary intellectual and social scene, recognizing new and fascinating variations on the same old stories.
Helping to bring this trove of cultural gems to the English-speaking world was a privilege and a delight. Translators Shuhui Yang and Yunqin Yang were model "authors," and we were assisted generously in the multivolume project by scholars such as Bob Hegel (Washington University), Wilt Idema (Harvard), and Andrew Plaks (Princeton). Bob wrote a capstone foreword for the final volume, and he also organized an Association for Asian Studies roundtable discussion in 2009 celebrating the completion of the set. The Yangs spoke on the process of translation; I contributed an editor/publisher's perspective on the challenge of editing, producing, and financing such a large project; and several professors of Chinese literature discussed the use of the Sanyan stories in the classroom. The following year, another AAS panel focused on the content and style of the stories. Participants uniformly agreed that the rich content of these stories augment teaching on any aspect of traditional Chinese society. As rare, unofficial records of popular culture, they are priceless.
Sadly, despite its importance, literary translation is not adequately encouraged or rewarded. Academic departments do not count it toward promotion and tenure; publication subsidies and book prizes usually exclude it; and, with rare exceptions, translated literature does not sell well. Yet, I believe that, over time, books like our Ming Dynasty Collection trilogy, which enable readers to experience another culture directly, through native eyes, will matter more in advancing cultural understanding than will analytical works. Good translations allow readers to connect deeply with other times and places; to observe them first-hand; to experience amazement at both differences from and similarities to one's own culture; to, for a moment, forget self and place and time.
While reading a chunk of the first draft of volume 3 on my commute to work one morning back in 2006, I was so mesmerized by "The Grateful Tiger" that I missed my bus stop:
But they had hardly gone a few paces when a sudden strong gust of wind blew out all the lanterns and torches. A yellow-striped tiger with bulging eyes and a white forehead was seen leaping down from midair. The crowd shrieked and ran pell-mell in all directions.
They thought their lives were in danger;
Their souls took flight in fear.
When the wind died down and the tiger was gone, everyone cried out, "Thank heaven!" They relit the lanterns and the torches, and as they were preparing to go on with their journey, the sedan-chair carriers exclaimed, "Oh no!" Of the two sedan-chairs, one was now empty. A look with a torch confirmed that the bride had disappeared. . . .
Reluctantly, I disembarked at the next stop and trudged uphill to the office, wistful for the Ming.
by Niko Pfund, Publisher, Trade & Academic, Oxford University Press (USA)
A Books That Matter Essay
Sojourner Truth: Slave, Prophet, Legend, by Carleton Mabee (NYU Press, 1995)
The Spitting Image: Myth, Memory, and the Legacy of Vietnam, by Jerry Lembcke (NYU Press, 2000)
Like most university press directors, I could pen an entire collection of essays on books with which I have been proud to be associated. I'll focus here on two books that I acquired and edited at NYU Press rather than published, since an editor's involvement is always more direct than a publisher's. Both of these books provide a wholly original and counterintuitive perspective on a familiar topic, in both cases a subject rife with emotion, passion, and conflict.
In the early 1990s I came across the manuscript of a revisionist biography of legendary abolitionist and women's rights activist Sojourner Truth by Carleton Mabee, a SUNY historian who had won a Pulitzer Prize in 1944 for his biography of Samuel F. B. Morse, and was immediately intrigued. I was especially struck by his contention that Truth never actually uttered the phrase with which she is most famously associated, "Ain't I A Woman?," spoken defiantly, it had long been believed, to a hostile crowd uneasy about the establishment of a direct link between women's rights and abolitionism, at an 1851 women's rights convention in Akron, Ohio. Instead, Mabee claimed, Truth's speech was met enthusiastically. The hisses and catcalls that purportedly rang out from the crowd were in fact the later embellishment of Frances Gage, one of the organizers of the conference, in a chronicle written years after the fact. Mabee further contended that the famous phrase was not in fact Truth's at all, but rather of Gage's later manufacture, basing his claim on an examination of both Truth's and Gage's use of language in their speeches and writings, and a review of newspaper accounts in the days immediately following the conference, which contained no mention of any such expression.
While the Akron convention may have been devoid of the specific dramas attributed to it, the publication of Mabee's book itself made for some moments of considerable drama at the 1993 Berkshire Conference of Women Historians. Mabee was perhaps 30 years the senior of his fellow presenters, and was, if memory serves, the only man and the only white person on the panel. Appearing alongside a panel of Truth biographers at one of the conference's best-attended sessions, held in the large auditorium at Vassar College, Mabee's presentation of his findings was greeted respectfully by the other panelists.
The excitement began during the Q&A, when a member of the audience stood up, wearing a black "Silence = Death" t-shirt, and claimed that Mabee's work was motivated solely by his desire to tear down an iconic female figure. The time has passed, she said angrily, when we should let a white man guide our interpretation of the life of a prominent African-American woman. Carleton remained impassive and a hush fell over the audience, as I sat squirming in the front row.
After a tense few moments, the Princeton historian Nell Painter, who was at the time working on her own biography of Truth and thus had every reason to feel ambivalent about Mabee's work appearing before hers, took the microphone. Painter began by saying that it was she who had invited Mabee to the conference. His work, she continued, was important and, er, truthful, rooted in imaginative archival research and fact. Her own work would make use of his when her book (which was widely considered the definitive biography of Truth upon publication) was released. As 300 women historians sat rapt, she concluded that the time had happily passed when scholars of women's history needed to shore up their subjects as a means of validating the field of study. Sojourner Truth, she said was a remarkable and potent historical figure, and no one should feel the need to erect—or sustain—mythical scaffolding to prop her up.
Debates over identity politics were roiling the humanities in 1993, but Painter's remarks were met with loud, sustained applause.
Some topics act as a canvas onto which we project our pre-existing beliefs. Rather than engaging with other perspectives to challenge and test those beliefs, too often we simply search for empirical evidence—however selectively chosen or disingenuously applied—to support our established sense of how the world *is*. And so there are few more gratifying experiences as a publisher than contributing in some small, vicarious way to changing the way we think.
The Vietnam War, as a barometer of America's trajectory as a nation and global power, is clearly such a topic. And, of all the contested iconography that came out of that war, the image of the American soldier returning home, crisply uniformed and eagerly anticipating a family reunion, only to be met by an anti- war protestor who spits on him and calls him "baby killer" has been one of the most potent and most resilient.
Only, claimed Holy Cross sociologist Jerry Lembcke, in his book The Spitting Image: Myth, Memory, and the Legacy of Vietnam, it never happened. Not once, at least not according to any available evidence other than individual memories, which are, as oral history has shown us, notoriously changeable over time.
When I first encountered it, Lembcke's argument struck me as overstated. Surely, I thought, this must have happened at least a few times and then been exaggerated; why else would everyone think it had? But the further I read and the more Lembcke and I discussed the project, the more persuasive I found his claim. The spectre of the hippy protestor (most often a woman, frequently wearing a flowery dress, almost always in the San Francisco airport) spitting on the returning vet was first given life, according to Lembcke, in the film Coming Home with Jon Voight and Jane Fonda, and then became culturally institutionalized in the mumbling monologues of Sylvester Stallone in the Rambo films. In fact, the only Vietnam-era episode Lembcke unearthed of someone being spat upon occurred during a rally by Vietnam Veterans Against the War when an anti-war protester was spat upon by another veteran countermarching with the Veterans of Foreign Wars.
Even as I found Lembcke's argument increasingly persuasive, I failed in my attempt to get him to address why so many returning soldiers absorbed this claim of having been spat upon into their own autobiographies, and how the obvious unease that Americans felt in welcoming home veterans of a "lost war" was translated by soldiers into feelings of having been spat upon. Here I should note that I sent a draft of this piece to Jerry, who disagreed with my recollection here: "I think I did address the question why veterans say they were spat on. The stories are a form of scapegoating, i.e., blaming the loss of the war on home front betrayal and gendering those stories with girls or young women (or male longhairs) cast as spitters. The stories also conjure the image of the spat-on `good veteran' that displaces from public memory the real-life anti-war veteran with whom the public is uncomfortable. The book's contribution to the study of myth-construction is some of what has given it the legs it has."
In any event, the book was widely reviewed upon publication, including an above-the-fold feature piece in the purple "Life" section of USA Today. Every review was met with incredulous, often irate readers' responses as well as with other letters best distilled as "finally!" Jerry was tireless in engaging with all perspectives. His work compelled precisely the sort of debate that both author and editor had hoped for.
Given what a dicey proposition it is to accuse others of having in effect embraced a false consciousness—or, put more bluntly, having made things up—about their own autobiographies, Jerry faced some challenging moments during the promotional campaign for the book. At a reading at Clark University, a group of VFW members assembled outside before the talk and then marched in, taking up most of the front row seats. Within a few minutes of Lembcke's opening comments, they began shouting comments and questions like "Where were you during the war?" Happily, Lembcke is not a shrinking violet. He didn't shy away from these encounters but was even animated by them and welcomed the engagement, however fierce, holding his ground and giving as good as he got.
Influential books have a long life, and so The Spitting Image has seen several revivals. The 2006 film Sir! No Sir! featured the book, giving it its biggest post-launch boost. Manohla Dargis, the New York Times critic, favorably reviewed the film, specifically mentioning the book. Seven years after the book's publication, Sir! No Sir! served as a second launch of sorts for The Spitting Image. More recently, the LA Times editorialized about President Obama's 2012 Memorial Day speech and built its critique around The Spitting Image, citing the book favorably.
Jerry continues his revisionist ways, most recently publishing a book about Jane Fonda, Hanoi Jane, with the University of Massachusetts Press. He reports "a donnybrook at the Waterbury CT public library in 2010 where a group of about 20 veterans decked-out in "I'm Not Fond 'a' Fonda" t-shirts picketed outside and then entered the auditorium where they forced an early end to my talk and then intimidated other attendees in the Q&A to the point where a police officer stepped to the front of the room to cool things down."
I just hit my quarter-century mark in scholarly publishing. Writing this piece, and reliving the experience of publishing these two books, affirms for me yet again how much I love the work we do, how valuable that work is, and how lucky we are to be academic publishers.
Scholarly presses are better known for publishing the results of archival research: documentary editions, works of history, sociological studies–all the amazing scholarship that is supported by memory institutions and records repositories. But as cultural institutions with long and storied histories of their own, presses often light upon some pretty amazing archival finds in their working files. During this Archives Awareness Month, we've happened on a couple of stories of such recent finds:
* While working on a massive contracts digitization project, Peter Froehlich, Rights & Permissions Manager of Indiana University Press, came across the press's original contract with one Jorge Luis Borges for the book Borges at Eighty: Conversations. Borges happened to be visiting Bloomington and signed the contract in person; attached was a photo of the occasion featuring the great writer and the Press's then-editor, now-director Janet Rabinowitch. The Press is now working with the University Archivist to preserve this wonderful history.
* Penn State University Press is working on a reprint of a seminal work on the poetics of Maurice Sendak, by John Cech, originally published in 1996. In the marketing files for the original edition, PSU Press Marketing & Sales Director Tony Sanfilippo found a letter to Sendak about how the press might use some of his illustrations, marked up in Sendak's handwriting with a personal note to Tony's predecessor. Perhaps even more appealing to a university press sales director, Sendak also appended an order for a copy of Penn State's The Photographic Experience! (The story of how the reprint finally came to fruition is also worth reading, so flip over to Tony's blog for the full tale.)
There have to be hundreds, even thousands, of stories like this–please share some of your favorites in the comments!
by Meredith Morris-Babb, Director, University Press of Florida
A Books That Matter Essay
The Fosse Style, by Debra McWaters, Foreword by Ben Vereen (University Press of Florida, 2008)
"Dance as though no one was watching." When the opportunity to acquire books in dance can into my life, I tour jetté-d at the chance. What better way to express one's love for dance then through books for everyone?
I love the ballet and all of its force of emotion and music, but my heart is drawn to jazz dance, specifically, the dances and choreography of Mr. Bob Fosse, Mr. Jazz Hands himself. Now there was a man who knew how to break from the known, go to the edge with unflinching conviction, guided by a vision and style that remains unique and complete. His signature movements were so subtle yet so powerful in their expression, sensual in their delivery, cynical in their purpose, provocative in their meaning. Most people regard him as the guy behind Cabaret and Chicago, and those musicals do indulge in his singular style. But if you want to see classic Fosse, watch him as the Snake in "The Little Prince." It's like Robert Downey, Jr., as Tony Stark—only that man could play that part so well. Fosse simply was the snake. However, I am drawn to other works—The Pajama Game with Gwen Verdon dancing "Steam Heat," and the movie All that Jazz with the number "Bye-Bye Life." How many performers get to choreograph their final performance? Genius.
What bothered my editorial sensibilities though, were the Fosse knockoffs; those crass imitators who saw nothing more than hip thrusts and cocked wrists as Fosse-style. Here, in Bob Fosse as much as in the dances of Merce Cunningham and Twyla Tharpe, was the American jazz style. So was this magic to be lost simply because Fosse never had a dance company? Stars have had their careers made with his dance—Shirley MacLaine and Liza Minnelli still make his dances the center of their one-person shows. You know it when you see it, and, if you know it, you know when it is done badly. So the editor in me wanted to codify that style, capture that genie of technique and pedagogy in a Fosse-style bottle.
About four years after making my move to the University Press of Florida, a press with a strong list in music and dance, my chance arrived. The Carr Center for the Performing Arts at the University of Florida had booked the show Fosse!, a retrospective of Fosse's work created by Ann Reinking, a protégé and romantic partner of Fosse's, in collaboration with Gwen Verdon, his wife and mother of his daughter. The three-act musical is a marvelous tribute and a wonderful documentary of Fosse's evolution as a choreographer. Of course, I had contacted Ann Reinking about a book project, but she expressed no interest. I wanted to meet the person who was staging and directing the show—perhaps here was the author for my dream book. It turns out, in a surely serendipitous sign, that the dance director, Deb McWaters, was living in Tampa.
Deb and I hit it off immediately. We both shared the same vision and the need for a collaborative effort to preserve that which we both found precious and special in Fosse's work. Many issues needed to be fleshed out before we could begin with a proposal, however, much less a contract. Were the dances in copyright? Did Nicole Fosse, his daughter and artistic estate heir, own the trademark on his image, name and use? What was Reinking's role going to be? Did the estate of Gwen Verdon have any say? Was this going to be a legal nightmare like a book on Michael Jackson or Elvis Presley? Almost, almost…
First, we contacted Nicole Fosse. We received approval to do a book on the dance style of Fosse using the production Fosse! as the basis, but Reinking would have to pre-approve everything. Well, that made sense, and we proceeded with the estate's permission. But of course, things never go quite that easily. For reasons that are still unclear, Ann Reinking suddenly opposed the idea, stating that if anyone should do this book it should be her, an idea she had already declined once.
I wrote to the Fosse estate lawyers asking if the dance moves (not the choreography) were trademarked or copyrighted in anyway. In other words, was there anything preventing us from showing moves as being in the Fosse STYLE but not recreating any single Fosse dance in toto. The lawyers reluctantly agreed that we could proceed in this manner, but of course that meant no endorsement from either the family or Ann Reinking. This was the dilemma. Do we honor the wishes of the ex-girlfriend, or do we preserve for posterity that which was not going to be done otherwise, for it was evident that this denial of participation had a personal element in it. Deb, it appeared, had fallen out of favor and no longer was of the tribe. But Reinking made it quite clear that she had no intention of creating such a book herself or with Fosse's daughter. Posterity or publicity: that was the question.
We opted for posterity.
The book required defining Fosse's funky names for all of the moves and postures, then photographing dancers performing them. This was very challenging as Fosse's choreography is filled with small, subtle, nuanced, movements. Fosse once described himself as "turned in:" rounded shoulders, knocked-knees, and fallen insteps all lead Fosse to create a closed-up, tightly wound, style with bursts of unexpected openness and freedom. The signature wrist rolls are called the "Soft-Boiled-Egg Roll," and are to be performed as if holding an egg. Sequential photography to show the Fosse version of the Mosh Pit ("The Clump") and its variations the "amoeba" and "seaweed," the hat flip with fingers extended, and so on, were needed. Fosse's dancers are so highly stylized, yet you can see how easily a dancer can put their own mark on this choreography.
How to capture this? Dance is so visual, all mirrors upon mirrors, that dance technique is quite demanding to capture on film. We opted to use both male and female dancers, two of each, to demonstrate how personal the movements could be. Each movement was done in at least three sequential photos. The book was divided into body parts because that was how Fosse taught his classes. The book closes with a sequence of photographs from the earlier chapters that show how the moves can be put together into a Fosse-style dance. We really wanted to re-create "Bye, Bye, Blackbird," but the lawyers said "no." So we created a fake Fosse dance using Fosse-style moves. It worked brilliantly. Deb was able to capture in the narrative how necessary it was for dancers to perform a move perfectly AND improvise within the style, for the dancer to be utterly fearless because the first eight counts belong to them alone.
As we neared the end of both our budget ($1200 for the photography alone!) and our endurance, Ben Vereen called me out of the blue. Yes THAT Ben Vereen. He had heard about the book and offers to write a foreword. Hallelujah, the Fosse angels are here! The foreword is a loving tribute, and Deb is most gracious in her acknowledgements even to Reinking. Once final piece was needed: the essay or prologue that would place Fosse into the dance historical context. Why did this man's vision matter? What did he contribute? Dance critic and historian Mindy Aloff provided the prologue and we were done.
The book has done reasonably well, but it did not earn back its costs in Year One. It remains a solid if not stellar backlist contributor. But that was not the point. Deb, I, and all the dancers put into the written record, for all the ages, the genius that was Bob Fosse. That is so satisfying and rewarding. Because every time I walk into a big meeting or presentation I always think…
"Give 'em the old Razzle Dazzle….."


text:
DJ Akaba comes out with the visuals of his hit Onome which features Shoki crooner and Sprisal artiste Alhaji Orezi. The video was shot on locations in Festac, Lagos by talented director Patrick Ellis. Captivating video.
Download & Enjoy!
Also Download
Submit your comment
1 comment on this postSubmit yours
Download Latest Movies & Games On Tatafo Droid
1 pingback on this post

subset: commoncrawl


text:
- Hebrew
- Hebrew He"brew, n. [F. H['e]breu, L. Hebraeus, Gr. ?, fr. Heb.
1. An appellative of Abraham or of one of his descendants,
esp. in the line of Jacob; an Israelite; a Jew.
[1913 Webster]
There came one that had escaped and told Abram the Hebrew. --Gen. xiv. 13. [1913 Webster]
2. The language of the Hebrews; -- one of the Semitic family of languages. [1913 Webster]
The Collaborative International Dictionary of English. 2000.


text:
Although this CastleVania game here is a lot like the older one, Legacy of Darkness has a all new storyline, 4 playable character now, plus there is more secrets to unlock this time then ever before. LOD has a lot of action and horror for fans of this classic series.
The story of Legacy of Darkness actually takes 8 years before the events in the original CastleVania 64 and the minions of Count Dracula are preparing the resurrection of their master. The evil minions of Dracula plan to revive their lord by finding and stealing any super natural being with special powers or just sacrifice any one with innocent blood, what ever it takes! This is where you come in as you control a new character named Cornell, the story starts off as Cornell returns to his village only to see it ablaze and your sister is now kidnapped by Dracula forces, if you don't do something than she'll be part of a sacrifice ritual.
What makes this character so unique is that Cornell has the ability to transform into a cool Werewolf. The Werewolf option uses your hearts and it has no new moves that Cornell doesn't already have but the wolf is a lot quicker with his attacks and has improved defense and strength. If used wisely your Werewolf can really rip threw his opponents but watch out for your hearts or you're gonna be sitting duck later on. Another cool feature in this game is the power up option for your secondary weapons like the Knifes, Axes, Boomerangs, and Holy Water. For example; if you collect the same weapon like a second Axe, the Axes you throw now will now have powerful lightning strikes attached to it. Some levels may look familiar to people who played CastleVania 64 but many of the missions are edited differently to keep things fresh. One good example of this is in the Mansion maze where a young boy named Henry actually follows you this time instead of running away like that scary young kid did.
CastleVania Legecy of Darkness looks just like the first CastleVania 64 game. The only thing different here is the darker feel of the cinemas, in one of the opening real time cinemas, you'll even see a naked girl covered by a single cloth while she's laying on a coffin, Death is ready to down his sickle on her. The game includes a High Resolution feature thanks to Expansion Pak but doesn't improve anything and it looks like it just weakens the frame rate so I just leave it off. It much better on the eyes.
Moving on to the sound, I absolutely love the music in the level 5, the Art Tower! It sounds like something that was out of Symphony of the Night for Playstation. Some stages have very quiet background music but that's helps add to the eerieness of the horror here. The sound effects were also well done with all the trademark monsters like bats, giant serpents, and skeletons sounding like they should.
Like in any 3D game the camera is very important. The game's camera has now been improved because there are now only has two different setting; Normal and Action to limit any confusion. Normal view has the camera behind the character while Action view is a free moving camera which be better for one on one battles. It's up to you to set it to the right setting during gameplay but sometimes the camera will be on a fixed angel so there can be little you can do, but it still works well and I had very little problems here. Jumping can be one of the most challenging part of CastleVania LOD so learning the camera and the controls is very important. Sure, the controls are a little confusing at first but after a few plays you'll get use to all the buttons. If you played the first CastleVania 64 then you should be right at home here.
I don't get it? Games like Metal Gear Solid get tons of hype and attention but nobody cares that it's a 3D game this time, while the CastleVanias for N64 get loads of critics because they are in 3D? Lame magazines like GameNow have even dared to call the N64 CastleVanias as the series Most Embrassing Moment. "Morons!" Remember that a lot of games actually get better in 3D like Grand Theft Auto III, GTA Vice City, and the James Bond titles. I can understand why people love 2D CastleVanias like Symphony of the Night and Circle of the Moon, those games were some of the best games for their respective systems but don't knock this awesome game in the process, Konami still did a great job here. If you manage to finish the game, the game doesn't end, you now have the option to play as a older Henry. The interesting thing about his rescue mission is his weapon: a gun! CastleVania LOD even lets you play as Reinhardt and Carrie so it like you're getting the first CastleVania for free. That really increases the replay value. I still think this game was way better than other horror games like Resident Evil in my opinion because of the better control and storyline too. "CastleVania LOD is a even deeper action game and a great choice for adventure seekers who have an N64!" Better than the first one for the N64 overall and a must for Castlevania fans.
*Gamepak needed to save
*Rampak compatible
CastleVania Legacy of Darkness 87/100
For 1 player only
Rated (T) for Teen
graphics: 8/10
sound: 8/10
gameplay: 8/10
replay: 8/10
This review is also on:
StarSoldier 2007
(Ryan Genno)
All in all I loved the game, but it was still just an awesome remake of the original. The game was extremely easy but funner than the original. Although the game was kind of a disappointment, it is the best game for the N64. If you need to know how to find all the children in Henry's mission, I'm gonna tell you now as they appear in the game:You find Anthony on ledge in Forest of Silence, Bess in left tower of castle wall(where you find the roast beef),Clark in cove in the hedge maze right by the thorn fence, Florence on ledge near gargoyale at the outer wall, Diana in far moon room in the under ground tunnel and Edward in the underground waterway(Note:You must find the children in the order I said). If you liked or didn't like the original Castlevania, you should still rent legacy of darkness. I bought and after three months, I still love and play it.


text:
Author Tags: Aboriginal Authors
A Shuswap member of the North Thompson Indian Band, Harold Eustache revisited a traditional story for his first novel Shuswap Journey (2004) about the abduction of Shuswap women by a tribe from over the Rocky Mountains during the period of early colonization. A chiefs daughter relates her predicament as her father looks for her in the Rockies. The idea for the story was passed along from Eustaches great-great aunt. Augusta Tappage confirmed such abductions occurred in her memoir The Days of Augusta.
Shuswap Journey (Theytus, 2004)


text:
Dance, Jimu Robot, dance! (And teach me coding)
This build-your-own robot kit is remote-controlled and programmable, and it's got some really cute moves.
This build-your-own robot kit is remote-controlled and programmable, and it's got some really cute moves.
This affordable neckband-style headphone looks a little cheap, but its lightweight design and decent sound prove appealing
Chances are you might be on your smartphone right now…watching YouTube. But how does your phones battery cope with YouTube? We've taken the best smart phones and tested how long they last with YouTube videos running continuously. Taking the phones you picked from our previous
Which format would you choose? Both 21:9 and UHD offer their unique characteristics but is one better than the other? Yes… but that depends on usage. LG 27UD88 – http://geni.us/jzIxw7 LG 34UC98 – http://geni.us/TTbZ LG 34UC98 Review – https://www.youtube.com/watch?v=00PBeWTJbb0&list=PLknCNmc8uMa5DqS_jUeaWMPaBaUM8laU5&index=3 SUPPORT our Sponsor GET 10% OFF
Mirrorless cameras are on the rise with fantastic low light abilities and 4K video capture! Will Fujifilm impress with the new X-T2? Stay tuned for our full review! Subscribe ► http://bit.ly/SubHWC Watch on Vessel: http://bit.ly/2aiSe1P Support HWC while shopping at NCIX and Amazon ♦NCIX (CA)
*** ENTER TO WIN *** Microsoft Surface Pro 4 here: https://gleam.io/Bzqo7/hardwarecanucks-and-microsoft-canada-surface-pro-4-giveaway (Canadian residents only, QC excluded) We're trying a new format this time around w/ sponsored content (Microsoft Store Canada ad) better integrated into the video itself. 🙂 Subscribe ► http://bit.ly/SubHWC Unit provided free of
Thermaltake Core P3 Build [Part 2] Component Install – Support us by becoming a Patron! http://www.patreon.com/hardwareunboxed Check prices now: http://amzn.to/2ahI1OK Check out the written article here: VIDEO INDEX 0:00 – Giveaway announcement! 0:24 – Intro 0:46 – The Build 11:30 – Conclusion & next up!
Got Android envy? Here's how you can add features to your Apple device that make it more Google-y.


text:
It only takes a minute to get started. Fill out our uncomplicated sign up form and login to the website.
This step is voluntary but will greatly enhance your chances of getting interest from other over 40s members on the site. Tell people about yourself, your pasttimes and upload some good photos of yourself.
Use our website's advanced search to encounter over 40s members who are up to your requirements. Or just scan through listings and encounter daters that you like.
Identified someone who is attractive to you? Send them a few words or just a wink and see what they say. With a little luck you'll be on your way to uncover the love of your life.
It's quick and easy


text:
Darth Maul
From Uncyclopedia, the content-free encyclopedia
"That bastard Maul got what he deserved, now he's not just one, but two pieces of sith."
Viktor Lyubov (Russian: Виктор Любов) (Born April 22, 1874), was an infamous agent of the GRU, better known by his Codename, Darth Maul.
edit Early life
Born in Hell, Viktor was the son of Boris and Natasha Lyubov. Viktor's father was a soldier in the Tsarist army, his mother was a common housewife.
For the first few years of his life Viktor was determined to become a doctor, but the Revolution attempt of 1905 caused a great change in the young man, following the Revolution he officially joined the Bolshevik Party. His loyalty to the party, Lenin's ideals and Lenin himself soon caught Lenin's attention....Viktor soon became very popular within the Party. Also, his strange fascination with tater tots drove him closer to the dark side.
edit GRU career (1918-1998)
Viktor joined the GRU as soon as it was established by Vladimir Lenin, he was given the Codename Darth Maul. The early days of his career involved suppressing the activities of opponents of Bolshevik control over Russia and removing any enemies Lenin had within the Party, by 1922 he had adopted the infamous red and black face paint and black robes... the attire that would later cause his infamy to reach new heights.
edit The Great Patriotic War (1942-1945)
During the Great Patriotic War, Darth Maul played a central role during the Battle of Stalingrad, mammothly aiding in the efforts to drive Nazi forces out of the city. He was given several medals and awards for the operations he carried out over the course of the war.
edit The Justice League led Coup in the Soviet Union (1953)
During the brief period that the JLA's Government were in power, Darth Maul and several other GRU agents covertly passed information onto the U.N. in order for them to make Chuck Norris 's infiltration of Russia run smoothly.
edit Soviet war in Afghanistan (December 1979 - February 1989)
Darth Maul PcCartney was one of the many GRU agents deployed to Afghanistan for the purposes on Intelligence gathering as well as direct combat duties. Over the course of the war, he became very good friends with fellow GRU and Spetsnaz operative Philip Henry.
edit First Chechen War (1994-1996)
Darth Maul was also assigned intelligence gathering activities during the First Chechen War.
edit Sith career (1998-1999)
During the First Chechen War, Darth Maul's lightsaber skills caught the attention of Senator Palpatine. Darth Maul was approached by Palpatine and was offered a job as a Sith Lord, he refused at first, but after the Russian Government realized they may be able to use the Sith to not only revive the Soviet Union, but spread the Soviet sphere of influence into outer space, Maul was ordered to accept the job offer so he did.
edit The Trade Federation War with Naboo/Death(1999)
Darth Maul PcCartney was sent to capture Queen Amidala and eliminate the two Jedi who had been dispatched by the Galactic Republic to settle the conflict and protect the Queen. Maul just barely failed in this task on Tatooine, and thus, he thirsted for revenge.
Darth Maul battled Obi-Wan Kenobi and his master Billy Connolly (known as Qui-Gon-Yinn) on Naboo. Upon arriving on Naboo, Maul went straight at the two Jedi, ignoring the geisha Queen and allowing her to escape. In a vicious duel during the Battle of Naboo, Maul fended off both of his Jedi opponents with the help of his over sized double-bladed lightsaber, which together with his muteness and spiky hair practically made him the main character of a JRPG. After separating the Jedi Master from his Padawan, he proceeded to separate Qui-Gon Jinn chest cavity.
The young Kenobi, enraged at his master's death, struck out at Maul with a furious assault. Obi-Wan had learned in just one film, what it took Luke three to learn: that explosive anger, not calm self sacrifice wins battles. Maul eventually Force-pushed Kenobi into a pit. He taunted the Padawan, who dangled helplessly by a ledge, realizing it might not be a bad idea to buy a grappling hook as he watched his lightsaber fall down into the abyss. However, Kenobi calmed himself and connected with the Force, before making a spectacular leap out of the shaft grabbing Jinn's lightsaber from afar. Obi-wan wasted no time in striking as he landed from his jump, Maul barely had time to smile as his bifurcated body tumbled down. As he fell down to his
death robot legs, Maul suddenly became more architecturally attuned of the daily hurdles faced by the galaxies handicapped community: wondering how come reactors never had any safety railings, or why the queen's palace had no ramps for hover wheelchairs. Needless to say his fashion career was over, he would never again model as much as a two piece.


text:
Condition Details
Style: 20526810 Color Code:
Satellite radio and the interweb have shredded the novelty of tuning into your favorite college radio station and hearing the crackle of LPs and the nerdy chatter in between songs. We can?t promise the geeky music history lessons, but this collection of freaks and geeks will bring you back to the golden age of college radio. Throw on some black lace, dye your hair blue-black, and tighten up the laces on those Doc Marten?s.


text:
Tyrone Perez Dead
December 29, 2011 by staff
Tyrone Perez Dead, Actor Tyron Perez was found dead inside a vehicle in Valenzuela City Thursday night, police said.
According to Senior Superintendent Wilben Mayor, Perez's body was found dead at the backseat of a black Toyota Altis parked along the service road of the North Luzon Expressway in the vicinity of Barangay Ugong, Valenzuela.
Police said Perez died of a gunshot wound on the right side of his head from a caliber .22 firearm.
The gun was found beside the victim's body.
Police said they are looking at the possibility that the wound may have been self-inflicted. Investigations are still ongoing.
Perez, 26, first stepped into the limelight when he joined a television network's reality talent show in 2003.
He was recently a part of the defunct ABS-CBN television drama series, "Mula sa Puso."
Perez also appeared in the December 3 episode of "Maalaala Mo Kaya," where he played the love interest of Ejay Falcon's character.
Please feel free to send if you have any questions regarding this post , you can contact on
Disclaimer: The views expressed on this site are that of the authors and not necessarily that of U.S.S.POST.


text:
LiquidKeyboard lauded by top tech talent scouts
Developed at the University of Technology Sydney (UTS) and currently at second iPad prototype stage, the LiquidKeyboard is a virtual QWERTY keyboard for touch screens and surfaces which adapts to the user's natural finger positions.
LiquidKeyboard allows users to 'feel' the keys and use all ten fingers for typing, increasing input speed and reducing hand fatigue. It compensates for the lack of tactile feedback on smooth touch-sensitive surfaces by adapting to the finger position and by following finger touch points. Fingers can rest on the screen without moving the keys' positions and both hands can type in the traditional way on larger devices such as the iPad.
Tech23's third annual event on 23 August invited innovative young companies in the tech space to give a five-minute presentation to showcase their business model to an audience of over 400 potential investors, partners and clients. LiquidKeyboard was one of 18 ventures showcasing their technologies in an open forum.
Opened by NSW Deputy Premier, Andrew Stoner MP, the day brought together representatives from various sectors - research and development, entrepreneurs, investors, and enterprise customers – to celebrate Australian innovation.
Winning an Innovation Island prize means the inventors will meet with Dean McEvoy, CEO & Co-Founder of the highly successful Spreets daily deals website venture.
UniQuest Managing Director, David Henderson, said LiquidKeyboard's achievement reflected the growing interest in and support for innovations originating from university research.
"While touch screen technology is now the norm, consumers are demanding even more personalised adaptations and the LiquidKeyboard technology aims to meet that demand. The award from Tech23 shows that this kind of responsive research is valued by the industries and individuals currently investing in innovation," Mr Henderson said.
"The forecasts are that by 2015, more than 50 percent of PCs purchased for users under the age of 15 will have touch screens. The LiquidKeyboard is one of several innovations UniQuest is working on with UTS researchers to add value to existing technologies in the ICT sector and respond to the expectations of the digital generation."
UTS-based UniQuest Manager of Innovation and Commercial Development, Leigh Angus, said the technology was attracting interest from a variety of potential commercial partners.
"To really accelerate the development of this technology onto the market we're keen to hear from more surface or touch computing hardware manufacturers, and also software developers who may be interested in licensing this technology as an enhancement to their current product range," Ms Angus said.
The LiquidKeyboard technology could also be applied to larger tablet computers, touch-sensitive surface interfaces like dual-screen laptops and kiosk systems, one or two-handed interfaces for vehicle/machine control such as wheelchairs, projected displays with an infra-red finger position tracking device, and data gloves.
A demonstration of technology can be viewed at www.liquidkeyboard.org
File Library
Contact Profile
UniQuest Pty Limited
Established by The University of Queensland in 1984, UniQuest is widely recognised as one of Australia's largest and most successful university commercialisation groups, benchmarking in the top tier of technology transfer worldwide. From an intellectual property portfolio of 1,500+ patents it has created over 60 companies, and since 2000 UniQuest and its start-ups have raised more than $400 million to take university technologies to market. Annual sales of products using UQ technology and licensed by UniQuest are running at $3 billion. UniQuest now commercialises innovations developed at The University of Queensland and its commercialisation partner institutions: the University of Wollongong, University of Technology Sydney, James Cook University, University of Tasmania, Mater Medical Research Institute, and Queensland Health. UniQuest also provides access to an expansive and exclusive network of independent academics to tailor a consulting or project R&D solution to meet the diverse needs of industry and government, facilitating some 500 consulting, expert opinion, testing, and contract research services each year.
UniQuest is also a leading Australasian provider of international development assistance recognised for excellence in technical leadership, management and research. Working with agencies such as AusAID, NZAID, the Asian Development Bank and the World Bank, UniQuest has developed and implemented more than 400 projects in 46 countries throughout the Pacific, South-East Asia, the Indian sub-continent and Africa.
Leanne Wyvill
W: www.uniquest.com.au
Leigh AngusP: + 61 2 9514 4986


text:
You ARE dictating how you think others should live. Think about it this way, how would you feel if a group of people came to you and said "You have to divorce your wife, because we think it is bad that you are married to her. You can live with her, but don't you DARE even think about marrying her, because we think that your marriage is a sham." Do they have the right to tell you who you can be married to? No, they don't... just like you don't have the right to tell any other adult in this country who they can be married to.KiMare wrote:
STILL no logical counter to this fact;
At it's most basic essence, marriage is a cross cultural constraint on evolutionary mating behavior.
Gay couples are the picture of defective failure. Mating behavior gone abusive with NOTHING to show for it.
STILL no logical counter to this fact;
A fruit tree bearing fruit.
A fruit tree not bearing fruit for some reason.
A nut tree who never bears fruit wanting to be a fruit tree.
A nut tree hanging fruit on it's branches pretending to be a fruit tree.
Even funnier?
The claim that if the government doesn't 'require' fruit trees to bear fruit, then it is discrimination not to call nut trees fruit trees too!
<quoted text>
Are you a blonde? "It is not logical to counter a wrong assertion with logic?"
I'd suggest you have no counter because it is perfectly logical. Simply in it's analogy and indisputable...
Humor me and try.
By the way, I gave no statistics or studies.
<quoted text>
I'm dictating nothing. Simply made an analogy that destroyed an attempt to dictate reality.
It is also clear you freed your mind and lost it.
All you have is Texas big blonde...
You are against what is different, but you are different... aren't you a hermaphrodite? Being both man and woman, using your own views you shouldn't be able to be married to a woman or a man since you have both in you. If you marry a woman, you have essentially made a lesbian marriage. If you marry a man you have also made a same sex marriage. So, Mr/Mrs Kimare... by your own thought process YOU should not be allowed to have a legal marriage because it is a sham. I am pretty sure hermaphrodites used to be judged as freaks of nature in the past and put into circus side shows. Maybe we should stick with that tradition since traditions seem so important to you?
It also seems you have a prejudice against blondes... You are just a person full of hate and bigotry. Just that you know, though, I am not a blonde, and even if I was it would have no bearing on my IQ.


text:
Vpn network setup jobs
Virtualbox host: windows 7, guest Fedora 26, Network setup is NAT and host-only. Issue is that when the host opens a vpn connection then guest loses dns and cannot resolve internet addresses. I have already looked at natdnshostresolver1 and natdnsproxy1 and played with linux networking but unable to fix it. I will enable Google chrome remote
we would like to build an app which is using shadowsocks protocol that can run in the backend as VPN service on iphone.
For Windows, Mac, Android, iOS and possibly dd-wrt Searching for a developer capable of doing a VPN client development and Integration based on existing app. Something similar to Astrill or Xpress vpn but much simpler - limited to 1 or 2 methods of connection and most of the development is already done and freely available online (some edit/development
Need help installing a signed SSL certificate from GoDaddy on a Ubuntu [url removed, login to view] 8/Apache2 environment. Must be able to watch process via VPN so that it can be replicated on other servers. This is the first of several projects geared towards a security minded linux admin.
I need a vps that supports more than 255 rotative ips using instances and vpn, to webhost an app that we developed. Thanks !
...Native. It's just 1 screen with a button to connect to the VPN. I've already created a layout with button state changes and persistence. The only thing missing is the actual connection to the VPN. What needs to be done: - After the button is clicked, connect / disconnect the device from the VPN (credentials and IP will be provided) Here is a quick 15-sec
Hi, I have a VPN application which is made by C#. This application has some bugs and need to add 1 feature. Debug tasks: UI problems and debug codes (UI made by Windows form). Feature to be add: Adding WebRTC protection. I have source code. *Source code will be provide to you only if I award the project* If you want to see some codes you
...Fire ( tv ) ( Stick ) VPN Client coded. I will supply my data file that works in open vpn client android. I want the client to see the main screen asking them to login once logged in it will keep them connected untill they reopen the app and disconnect. This has already been done by [url removed, login to view] so im wanting
...need a swift library that will completely handle all VPN settings. It must do the following: - Create new VPN Connections - Support all protocols too (L2TP over IPSec) / PIKEv2{ - Set the Password & Shared Secret - Remove existing VPN Connections - Connect Any VPN - Disconnect Any VPN The library should be compatible with OSX 10.10 and
Hi, I need VPN Apps Development for Android. If you nkow this Development please Contact me . Skype: [url removed, login to view] WhatsApp: +8801707384005
Im looking for a simple basic vpn application where user put's user name and password for vpn in all other settings are hard coded. I dont mind if you use source code for this project DEVICES Must work on android and fireos ##################################### there is already a working application coded by a 3rdparty company that works
I need someone to set up a new Wordpress site on my VPN server and make sure that the SSL and DNS are set up correctly. The site also needs to be reviewed for security so that it doesn't get hacked continually. If the work is done well, I'd like someone who i can use on an ongoing basis for support and ad hoc web and server work.
VPN PANEL for Admin/Sub Admin/Sub Reseller/Reseller/Client.... PANEL FEATURES: - Single page app (SPA) - easy integration for existing vpn servers (OPENVPN) - single login or multiple login per user package availed - disconnect your vpn session directly from panel. - disconnect vpn users direct from panel for admin - 4 user groups (Sub-Admin, Reseller
Establish VPN link between AWS and Azure using SoftEther VPN. The startegy is: LAN to LAN Bridge VPN for Cloud
Nossa aplicação deverá encaminhar autenticação via SAML para o ADFS do nosso cliente ([url removed, login to view]). A...([url removed, login to view]). Assim que as credencias forem autenticadas, o ADFS encaminha de volta para nossa aplicação com as informações que precisamos. A utilização do LDS via vpn...
I need the same kind of idea from this company [url removed, login to view]
We would like to configure a VPN Juniper SSG5 connection and able to telnet 3 party server
Hi there, saw your profile and thought you'd be a good match. I have 3-4 websites I want to monitor for prices. I have ...quick refresh of the queries (5min of real work), but on some months the scripts might need to be adjusted, hence a constant $100 to cover the effort. Ideally you'll be using a VPN as well. Sound like something you'd want to do?
...[url removed, login to view] [url removed, login to view] [url removed, login to view] ________________________________________________ Task description translation: - From Spanish into Brazilian Portuguese. - Implement translation directly
...wewnętrznej, - Konfiguracja i dostosowywanie sprzętu komputerowego do bieżących potrzeb zespołu, - Monitorowanie poprawności działania infrastruktury IT, - Konfiguracja VPN - Obsługa strony www - Wsparcie w zakresie marketingu internetowego Oczekiwania: - Odpowiedzialność - Uczciwość - Pozytywne nastawienie - Zaradność


text: Cuisinart SS-300 Single Serve Brewing System - Powered by Keurig $98.99 $235.00 + Free Shipping Amazon Coupons See Deal Flag this deal Edit deal What's the matter? Choose a reason Dead deal Duplicate Bad link Spam Inaccurate No value Alive again Comments (4) marryjane Mar 23, 2013 i like Cuisinart equipment and this one keeps my respect Reply Cancel additc Mar 22, 2013 white one is $6more? is it worth it to match my ipphone? Reply Cancel Dexterous Mar 22, 2013 Lil price drop, gains some coffee Reply Cancel kimeeb Mar 01, 2012 $3 price drop. Reply Cancel Load More Comments


text:
Puli 2nd Day Box Office Total Collection
Puli 2nd Day Box Office Total Collection,1st day Box office collection 2nd day box office collection 3rd day box office 4th day box office 1st weekend box office collection Puli cast names all details on BoxOfficeTotalCollection.In
After the marvelous 'Baahubali', we were good to go for a reprise with 'Puli', yet another period dream from the South. In any case, this one, likewise brimming with lords and rulers and subjugated villagers and a great looking youthful sovereign who will set everything right, is a smashing bore.
Puli 2nd Day Box Office Total Collection
Vijay plays the valiant Maru Dheeran, significant other of the beautiful Pavazhmani (Shruti Haasan), who makes a go at pursuing off after her into the place that is known for the blue-peered toward 'vetaals'. He is joined by a few jokesters, and a talking winged animal. In transit, he gets together a couple of little individuals who are there entirely for entertainment, a turtle who can see the future, and a snarling enormous dark feline. Also, a couple of different things, the describing of which is significantly more excruciating than the viewing.
I was trusting urgently that Sridevi, who plays the underhanded princess Yaman, would liven things up. She, and her accomplice in-wrongdoing, the malice wazir and the genuine terrible fellow (Sudeep). She clears the floor in her long, elaborate outfits, flicks her sharp claws, and goes stroll about on dividers. In any case, nothing kept me from nodding off: not the once in a while great PC design, nor the battle scenes, and unquestionably not the dull-as-ditchwater melody and-moves. Wheeze.
To begin with Day aggregate Box office Collection Worldwide= 36.6Cr.(Almost Confirmed)
Second Day aggregate Box office gathering Worldwide 02-Oct-2015 = 35.87 Cr.(Not Confirmed)
1st day box office collection,2nd day box office collection,3rd day box office collection,4th day box office collection,5th day box office collection,Puli box office collection,Puli 1st weekend box office collection


text:
Adrian Lahoud, Architecture, architecture competition, Blur Building, Diller Scofidio + Renfro, FOA, MoMA, reinterpretation, Storefront for Art &, The Peak Leisure Club, Yokohama Port Terminal, Zaha Hadid Architects
It is not often that competitions come along that aim to intensify architectural discourse through the insistence of architectural design. Quite often they offer a dalliance into either side of the discipline, but in a new competition by Think Space there is a definite attempt to wrestle architectural culture from its own inertia or confusion.
The evocatively titled Past Forward is a competition devised by guest curator Adrian Lahoud, through Think Space — a web-based platform for conceptual ideas operating under an annual theme. The competition, open to practitioners and students in architecture or other associated fields, raises certain disciplinary questions through revisiting specific canonical architectural projects over the last thirty years: Zaha Hadid Architect's The Peak Leisure Club (Hong Kong, 1983); FOA's Yokohama Port Terminal (Yokohama, 1994); and Diller Scofidio + Renfro's Blur Building (Yverdon-les-Bains, 1999). The project selection is calculated and premeditated. Each project was itself won via competition, and each resulted in significant disciplinary resonance in technological, infrastructural and critical terms, with projects that presented new attitudes to the ground, surface and atmosphere.
The brief for the competition is straightforward upon initial consideration: to design a project on a site of a notable, architecturally-significant building using the same competition brief as the previous winning entrant; but its subconscious layering lurks just below the surface. It seems that what Past Forward asks of its entrants is not merely a competition entry, but the initiation of architectural debate. It does not announce solutions, nor aspire to. Instead, the brief surreptitiously reveals the current conceit of the architectural profession. Entrants are tantalized by the prospect of designing or redesigning a project by a recognizable architect — a classic catch-22 whereby the entrant has to choose to return to or ignore these "singular moments of disciplinary transformation". It is quite probable that what will prevail from this competition is repetition in a guise, and it could lead to some form of ideological or aesthetic mimicry. But the new entrants could also propel the project into unchartered territory.
As a title, Past Forward entices. It suggests an inflection back towards an outmoded expression for video or audio tapes; the idea of re-runs that revisit the previously documented or heralded. But is this to suggest nostalgia or to identify a warning? It is quite possibly the latter. Lahoud believes that there has been a lack of serious intellectual investigation from the discipline, given the considerable changes to the social and political culture within the competition's identified timeframe. He states that the projects identified here are "points of reference" and important, conceptual innovations that signify a disparity with contemporary architectural culture. The competition is more of a call-to-arms than a meek attempt at producing vacuous renderings with no technical possibilities — the present scourge of the profession. In academe, as well as in the profession, designers evolve or repeat projects, regurgitate precedents, re-examine theories and rework styles. However, in this form of justification there is an inherent lie. Past Forward aims at highlighting a larger socio-cultural predicament; a form of noble lie, where architectural discourse and practice seems pent up on pining for attention, expunging its energies on projects that lack direction either in programmatic or problematic concerns. As Lahoud states, Past Forward "aims to hold a mirror to the discipline to reflect the changes of the last thirty years." In this respect, the title becomes emblematic of the essence of the competition's purposes.
By challenging entrants to not repeat a project is in itself a complex brief, because in repetition, familiarity can be a consoling passenger. However, in a competition that challenges the entrant to reinterpret an existing, seemingly successful, project, where does it leave the juror? Given that the panel for each of the three competitions will be critiqued by their "parent", it creates a dilemma on both sides: how does the entrant revamp, revive or rethink a project that burns into the very soul of the discourse; and, how does a "parent" juror judge a project that could repeat or devolve their own canonical project? This subtle layer provides intrigue for both sides of the competition.
The competition is now open to registration with all competitions launching simultaneously on 27 April and concluding on 17 July 2012. Past Forward culminates in New York, with the winning entrants exhibiting at Storefront for Art and Architecture, and a symposium at the Museum of Modern Art bringing together each of the three projects' architects, in a bid to ignite a conversation about the shifts and transformations evidenced across the different projects, both past and present.
Adrian Lahoud, Architecture, architecture competition, Blur Building, Diller Scofidio + Renfro, FOA, MoMA, reinterpretation, Storefront for Art &, The Peak Leisure Club, Yokohama Port Terminal, Zaha Hadid Architects


text:
Beyond question, the most significant cultural change in the past 10 years has been the spread of technology into nearly every sector of life.
We notice the most intimate changes – such as the ubiquity of driving while texting, or the rise of the so-called "Internet of things," wherein everyday objects possess networked connectivity.
But the biggest changes are taking place at the level of America's largest, most influential systems. Finance, for instance, is now dictated by high-frequency trading. National security has been transformed by the advent of mass surveillance and data collection – the heir to the "total information awareness" concept that once drew so much outrage.
These sweeping developments pose pressing political questions. Public opinion is still largely on the side of Silicon Valley – thanks to the appeal of gadgets and connectivity. Over the past four years, the perception of tech companies has stayed positive, while the perception of banks, for instance, has stayed in the tank.
America's tech titans would be mistaken in thinking they can sit back and coast on this goodwill. With every passing year, our masters of tech will be increasingly judged by their political views. Federal regulations being what they are, tech companies are looking to follow every other industry into Washington and become master lobbyists. Silicon Valley is training its efforts on a few major issues like immigration, taxation and, of course, internet regulation – doling out campaign cash to both parties, as Wall Street long has done. Inevitably, industry leaders will be asked to weigh in on the political issues of the day. And many of them will.
Ultimately, however, Silicon Valley big shots need to go on the record with regard to the influence of their own products on our political life itself. We're not just worried about the potential for abuse as technology more fully penetrates our world. We face additional concerns over the consequences of its overuse.
As Evgeny Morozov writes at the Guardian, the new "smart world" Silicon Valley has created presents a massive political choice. Since "so much of our everyday behavior is already captured, analyzed and nudged," we're starting to wonder whether we should "rely on laws" instead of "sensors and feedback mechanisms." Dazzled by buzzwords like "evidence-based," "results-oriented," "data-driven" policy, we face the temptation to sideline entirely democratic political processes like representation, deliberation and judgment.
Many large businesses are now fully committed to the fashionable "corporate citizenship" model, where social and cultural causes routinely receive a share of revenues. But even if they're not always focused on maximizing profits in the short term, corporations still often think as if, in an ideal world, every person on earth would use their product. Instead of profit maximization, the key concept is customer maximization.
But that concept impacts real life much differently, depending on what product we're talking about. The world wouldn't look much different if everyone drank one Coke per week. If everyone is dependent the Internet, however – from their thermostat to their dating life to their career – then planet Earth will be truly transformed.
As yet, no clear voice has emerged from Silicon Valley cautioning that too much Internet, tech and data may not be a good thing – especially in the realm of politics. Now, it's true that many Americans just don't think anyone possesses enough cultural authority to determine how much technology is too much. This is a free country, after all. Who's to say who should and shouldn't fill their lives with as much tech as they like?
Nevertheless, Americans are uncomfortable with the way technology has enabled big business and big corporations to penetrate the intimate details of our identities and our personal affairs. Going forward, our leading tech figures can no longer stand pat while citizens agonize over that experience. Real tech leadership means insisting that political freedom is one boundary which innovation should not freely cross.


text:
Tafelmusik is proud to perform at four wonderful Toronto venues throughout our regular concert season.
The majority of our concerts take place at our home venue, the newly revitalizaed Trinity-St. Paul's Centre, Jeanne Lamon Hall.
Tafelmusik also performs at:
427 Bloor Street West  Locate
273 Bloor Street West  Locate
Pay parking lots are available nearby. For more details on parking, visit rcmusic.ca. Located on Bloor Street between the Royal Ontario Museum and Varsity Stadium, The TELUS Centre for Performance and Learning is easily accessible from both the Bloor-Danforth (St. George station) and Yonge-University (Museum station) subway lines.Â
5040 Yonge Street  Locate
The Toronto Centre for the Arts is just minutes north of Highway 401 by car and pay parking lots are available nearby. For more details on parking, visit tocentre.com. Toronto Centre for the Arts is accessible from the North York Centre station, located on the TTC's Yonge subway line.
178 Victoria Street (main entrance is located on Shuter St., just east of Yonge St. and north of Queen St.) Â Locate
Pay parking lots are located nearby, including indoor parking at the Eaton Centre. The closest subway stop is Queen, located on the TTC's Yonge subway line. For more information visit masseyhall.com.
Our annual institute for emerging artists. January 4—10, 2018. MORE INFO


text:
Get high altitude for your neck with this luxuriously rich lifting cream that instantly hydrates, tightens and firms neck and chest area. ArcticLift™ smooths away imperfections and plumps up skin for a lifted, toned and youthful appearance. Formulated with Rejuvelle, a proprietary cactus pectin with amazing water binding properties, to immediately hydrate and fill sagging neck skin. Skin's texture is perfected and strengthened, firmed and lifted. So chin up and smile at the results!
Free U.S. Shipping. Period. View Our Shipping Policy
Return Policy: This product is non-returnable
Return Policy: View Our Return Policy
Special Shipping Requirements: ORM-D Class
ORM-D classified products such as aerosol sprays, nail polish, perfume and products with high alcohol content may only be shipped by UPS Ground within the Continental US.
Availability: In Stock
|Mon - Thur
|9 - 6 p.m. CT
|9 - 5 p.m. CT
|9 - 3 p.m. CT
|Sun / Holidays


text:
The Sensex and the Nifty ended the day higher led by a gains in metal stocks and on the back of coal reforms initiated by the government. The Sensex ended the day with gains of 145 points, while the Nifty rallied 48 points in trade.
Leading the set of gainers from the Nifty were Bhel, Gail and Sesa Sterlite. All of these stocks ended the day higher by almost 4 per cent.
Other stocks that gained ground in trade were ICICI Bank and Hero Motor Corp. Nifty stocks that saw some reaction in trade were Mahindra and Mahindra and Sun Pharma.
Coal India on the other hand fell after the government announced new reforms for the sector. Shares in Punjab National Bank lost a huge 3 per cent after the bank's results lagged estimates. HDFC Bank on the other hand ended the day flat after its quarterly results matched expectations.
Mid cap stocks had a good session in trade with Arvind, Sail leading gainers on the index.
PSU banking stocks has a good session and ended the day higher, though shares of Punjab National Bank disappointed the markets.
Meanwhile, markets across Asia ended the day mostly lower, while Europe was trading with gains.


text:
If you feel that you are finding it difficult to afford your prescription medications, then you should probably start using a Canadian based pharmacy in order to procure that which you need. If you opt this way you would be a little skeptic about its authenticity and trustworthiness. When I was looking amongst the many available options, I came to know about the Universal Drug Store which is a Canada based pharmacy and I found that it was so good.
I went on to find myself what it could offer and I got all of these questions being answered.
How many convinced customers does the Universal Drug Store have?
One of the convincing reasons that persuaded me to go for this source is that it had a lot of satisfied customers. I understood that, the more they have (customers), the better it is. I felt happy because a lot of customers were using this site and they were giving referrals as they were pleased with the service that was offered. Around 5,00,000 customers visited UDS regularly. This informs me that it is a well-recognized and renowned store. They have a number of dispensaries all of which are regulated by the government officials who are all well qualified.
How long does it take to find what you are looking for?
The nicest thing with Universal Drug store is that you will find it very convenient and easy to find what you are looking for. You just have to make use of their drug search feature so as to get what you want. You can also mail or fax them your prescription, the choice is yours.
How will I know that what I get is safe?
The prescriptions you furnish to them are being handled by a licensed pharmacist. You do not have to worry any time thinking of what you might get and neither do you have to worry for the quality of the medicine you ordered. You just have to make sure that you have a prescription with you ready and you can get exactly what you want.
Type of medications you can get
I do not want something that would limit my choices of what I want unless I do not have a prescription. You can get all sorts of popular medications from here as they even sell highly expensive. For instance, drugs like Cialis or Viagra can be costly but these could only be the meds I have a prescription for. I do not find any problem with Universal Drug Store as they have a number of popular medications and also highly effective and quality generic pills.
Our rating
What I mostly liked about UDS is that they have endless sources in order to make sure that you always get what you are in need of. Their customer service is very much appreciable and they also are able to answer any tough questions you post, so do no worry, your queries are not left unanswered.