Dark Matter eLiquid
Enjoy the wonderful flavor of our latest VapeSafe eLiquid - Dark Matter.
Dark Matter tastes like German chocolate cake. For those of you who have not had the fortunate to try a piece German chocolate cake recently, this is a great way to experience the flavor without getting any of the calories. German chocolate cake is a layered cake filled and topped with a coconut-pecan frosting. Traditionally sweet baking chocolate is used for the chocolate flavor in the actual cake. The robust filling and topping is a caramel made with egg yolks and evaporated milk. Once the caramel is cooked, coconut and pecans are stirred into the mixture. Finally, rich chocolate frosting is spread around the sides of the cake to hold in the filling.
Dark Matter eLiquid by VapeSafe captures the essence of German chocolate cake. Dark Matter eLiquid delivers plumes of vapor and rich chocolatey flavor that you'll want to enjoy again and again. Try Dark Matter today!
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Once a Cigar Maker: Men, Women, and Work Culture in American Cigar Factories, 1900-1919 (Working Class in American History)
Product Type: Book
Product Price: $26.00
Manufacturer: University of Illinois Press
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Description
Between 1912 and 1919, the Universal Film Manufacturing Company credited eleven women with directing at least 170 films, but by the mid-1920s all of these directors had left Universal and only one still worked in the film industry at all. Two generations of cinema historians have either overlooked or been stymied by the mystery of why Universal first systematically supported and promoted women directors and then abruptly reversed that policy.
In this trailblazing study, Mark Garrett Cooper approaches the phenomenon as a case study in how corporate movie studios interpret and act on institutional culture in deciding what it means to work as a man or woman. In focusing on issues of institutional change, Cooper challenges interpretations that explain women's exile from the film industry as the inevitable result of a transhistorical sexism or as an effect of a broadly cultural revision of gendered work roles. Drawing on a range of historical and sociological approaches to studying corporate institutions, Cooper examines the relationship between institutional organization and aesthetic conventions during the formative years when women filmmakers such as Ruth Ann Baldwin, Cleo Madison, Ruth Stonehouse, Elise Jane Wilson, and Ida May Park directed films for Universal.
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