Very Good Condition
2008
Very Good Condition
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US $3.99
How to preserve your wedding gown in good condition as your big day?
Being a bride to be,when you tried your wedding gown on, it was a dream. Now that the wedding is over, you might not want to part with the perfect wedding dress you wore on your big day. If you want to keep your dress – and keep it in good condition – you’ll have to get it cleaned and preserved, which is the process for cleaning and properly packaging your wedding gown for storage.
For those who consider a good wedding gown preservation, some want to keep their wedding dress as an heirloom to be passed down to future generations, or they want to resell it. Some want it as a keepsake for themselves or will eventually make it into a Christening outfit or baby bedding for their children, according to the companies that preserve wedding gowns.
If brides don’t properly care for their wedding dress, it’s almost as if they’re throwing it away. After all, over time, stains will set, the gown may turn yellow, and the fabric could be damaged.
Wedding gown preservation costs anywhere from $150 to $500, depending on the level of service you require and the type of wedding dress you purchased. Usually, you bring or ship your dress to a wedding gown preservation company or dry cleaner that provides this service. Then, a staff person analyzes the fabric, beading, and other details to determine how to best clean it.
The cleaning process often begins with the hem because it is usually the most soiled. Most professionals scrub the hem by hand and spot treat any stains. The biggest culprits are grass, mud, perspiration and body oils, make-up, and sugar (from wedding cake or wine), say professional cleaners. Some of the most difficult stains to remove, say professionals, are Georgia red clay, self-tanner residue, and White-Out, which some brides use to cover up other stains that are already appearing before or during the wedding.
After the wedding dress is cleaned and either steamed or pressed, the cleaners properly fold it and place it in an acid-free archival chest with a display window. Sometimes, accessories, such as veils and garters are cleaned and preserved as well. Then, the package is returned to the owner. Depending on the cleaner you use, the waiting time could be anywhere from three to twelve weeks.
About the Author
www.eastbridal.com
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Good Condition $15.98 Description not provided. |
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Antique Car Lantern in Good Condition $29.99 Antique Car Lantern in Good Condition - Photographic Print |
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Very Good Eddie $10.49 Very Good Eddie |
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Very Good Skating $10 Very Good Skating - Stupid Videos |
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A Very Good Year $9.99 Dan Dipaolo A Very Good Year - Art Print |
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WATSON,RUSS: IT WAS A VERY GOOD YEAR $10.13 WATSON,RUSS: IT WAS A VERY GOOD YEAR |
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Human Condition $14.99 Track Listing: 1. Human Condition, The, 2. Step Inside, 3. Hands of Time, 4. Avalon, 5. Number With a Name, A, 6. Now is Now, 7. Let It Go, 8. Crown of Thorns, 9. You Look Good To Me |
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On the Human Condition $29.48 The potential to clone, augment, and repair human beings is pushing the very concept of the human to its limit. Fantasies and metaphors of a supposedly monstrous and inhuman future increasingly dominate films, art and popular culture. On the Human Condition is an invigorating and fascinating exploration of where the idea of the human stands today. Given the damage human beings have inflicted on each other and their environment throughout history, should we embrace humanism or try and overcome it? Dominique Janicaud explores these urgent questions and more. He argues that whilst we need to avoid apocalyptic talk of a post human condition, as embodied in technology such as cloning, we should neither fall back on a conservative humanism nor become technophobic. Drawing on illuminating examples such as genetic engineering, the novel Frankenstein, the legendary debate between Sartre and Heidegger over humanism, and the work of Primo Levi, Domnique Janicaud also explores the role of fantasy in understanding the human condition and asks where the line lies between the human, inhuman and the superhuman. |
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The Posthuman Condition $10 Synthetic creativity, organic computers, genetic modification, intelligent machines &endash; such ideas are deeply challenging to many of our traditional assumptions about human uniqueness and superiority. But, ironically, it is our very capacity for technological invention that has secured us so dominant a position in the world which may lead ultimately to (as some have put it) 'The End of Man'. If we are really capable of creating entities that exceed our own skills and intellect then the consequences for humanity are almost inconceivable. Nevertheless, we must now face up to the possibility that attributes like intelligence and consciousness may be synthesised in non-human entities &endash; perhaps within our lifetime. Would such entities have human-like emotions; would they have a sense of their own being? The Posthuman Condition argues that such questions are difficult to tackle given the concepts of human existence that we have inherited from humanism, many of which can no longer be sustained. New theories about nature and the operation of the universe arising from sophisticated computer modelling are starting to demonstrate the profound interconnections between all things in reality where previously we had seen only separations. This has implications for traditional views of the human condition, consciousness, the way we look at art, and for some of the oldest problems in philosophy. |
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The Human Condition $13.58 When a long-running band loses its original singer of 30 years, it's something big. The Human Condition is Saga's first album without Michael Sadler in the front seat, so its release was met with anticipation. Fans should fear not: new singer Rob Moratti, drafted from the Toronto group Final Frontier, does a more than competent job, although liking or disliking him will depend on your attachment to Sadler and your willingness to accept change. Does he fit Saga's sound? Definitely. Is he a good singer? No doubt. Is he Sadler? No. Moratti has a medium-high hard rock voice (where Sadler's range was medium-low), and he likes to push it. The band has reacted to this new range and youthful energy with a harder-edged sound that pushes the guitars up front, and a newfound level of complexity in the songwriting, something that archs almost back to Generation 13. Fans will detect the subtler artistic changes, while more casual listeners will simply feel that Saga is rocking out more. Otherwise, The Human Condition is a typical Saga album, with a loose and self-explanatory unifying theme (speaking of "concept album" would be pushing it), some pretty strong and uplifting tracks, a couple of dreadful ones, the rest falling in between. The opening seven-minute title track is as close to epic prog rock as Saga ever got. It has powerful riffs, a good melody, and inventive arrangements, all tied down by the square-as-ever rhythm section, the one element that keeps reminding you that Saga is an arena rock band, not a prog rock one. "A Number with a Name" and "Crown of Thorns" are other highlights, two tracks with better, sharper writing than anything found on Trust or Network. Sadly, these strong moments are counterbalanced by clunkers like "Now Is Now" and the closing "You Look Good to Me," terribly insignificant. Overall though, The Human Condition displays a band in sound shape, a band reacting healthily to what constitutes a major change. ~ François Couture, Rovi Performers: Brian Doerner - Drums; Ian Crichton - Guitar; Jim Crichton - Bass, Keyboards; Jim Gilmour - Vocals, Keyboards |
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Inhuman Condition $16.98 Human beings tend to fear the things they don't know, and that is often sensible, given the lurking.dangers that confronted our distant ancestors. But sometimes we need to examine carefully the things we think we know: the pet shop owner in town, the teenage girl who lives next door, the people with whom we work, or the nice man who walks his dog each evening in our neighborhood. The stories in this collection will drive that point home, and perhaps give you reason to re-define the word "inhuman."Kate Thornton's imagination is only exceeded by her talent as a storyteller. From the sci-fi fascinations of Mare Tranquillitatus to the darkly provocative Working in the Suburbs, Thornton takes us on an impish joy ride through a mind field of criminal intents. Inhuman Condition is a rare and evocative find among story collections. -Darrell James, Award Winning Author of Body CountIn Inhuman Condition, noted short story author Kate Thornton has compiled some of her finest tales into one fun and exciting read. Whether you are a fan of science fiction, crime fiction or just good fiction, you will enjoy this diverse collection that smacks of the same juicy eeriness as found in classic Twilight Zone episodes. - Sue Ann Jaffarian, best-selling author of the Odelia Grey, Ghost of Granny Apples, and Fang-in-Cheek mysteries |
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Condition Critical $5.58 Condition Critical, Quiet Riot's follow-up to their number one, multi-million-selling commercial breakthrough Metal Health, is nearly identical to its predecessor. Not only do they repeat the hard-driving pop-metal hybrid to the last detail, they even throw in another Slade cover. Like on Metal Health, the Slade cover on Condition Critical ("Mama Weer All Crazee Now") is the finest moment on the record -- it's the only time the riffs have a solid hook and the melody is memorable. However, the rest of the record is well produced and sounds good, even if the quality of the songs is somewhat poor. ~ Stephen Thomas Erlewine, Rovi Performers: Chuck Wright - Vocals (Background); Randy Bishop - Vocals (Background); Carlos Cavazo - Vocals (Background), Guitar; Frankie Banali - Drums, Percussion; Kevin DuBrow - Vocals (Background), Vocals; Pat Regan - Keyboards; Rudy Sarzo - Guitar (Bass) |
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Critical Condition $7.99 In the heat of a passionate encounter, ecstasy suddenly turns to terror for renowned geneticist and TV personality Dr. Kathleen Sullivan. Stricken by a brain hemorrhage, she is rendered completely paralyzed and speechless . . . but still utterly aware; a prisoner inside her own body. Kathleen is rushed to a Manhattan hospital, her chances of survival slim. Even if she pulls through, the likelihood that she’ll sustain permanent brain damage is near one hundred percent. But neither outcome can compare to the insidious fate in store for her masterminded by the very people entrusted with saving her life. As her lover, ER chief Richard Steele, watches and waits for a miracle, Kathleen becomes a pawn in a clandestine plot that runs deeper than medical politics–and reaches into the highest echelons of power at New York City Hospital. Placed in the hands, and at the mercy, of revered Chief of Neurosurgery Dr. Tony Hamlin, Kathleen descends into a waking nightmare. Powerless to resist the sinister experiments she is subjected to, and unable to cry out for help, she must fight desperately to communicate her tortured, trapped thoughts to Steele–before her tormentors can carry their bizarre and potentially lethal work to its completion. Ruthlessly determined to achieve their goals, the secret cabal of ambitious physicians will go to any length to avoid discovery, defy the law, and make medical history at all costs . . . even the human life they are sworn to preserve. For anyone who has ever had a mortal fear of hospitals, and the sense of powerlessness that often transpires within their cold, sterile corridors, Peter Clement’s Critical Condition will provide chilling new nightmares–along with infectious suspense. From the Hardcover edition. |
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The Inhuman Condition $206.48 At the origin of this volume, a simple question: what to make of that surprisingly monotonous series of statements produced by our societies and our philosophers that all converge in one theme - the importance of difference? To clarify the meaning of the difference at stake here, we have tried to rephrase it in terms of the two major and mutually competing paradigms provided by the history of phenomenology only to find both of them equally unable to accommodate this difference without violence. Neither the ethical nor the ontological approach can account for a subject that insists on playing a part of its own rather than following the script provided for it by either Being or the Good. What appears to be, from a Heideggerian or Levinasian perspective, an unwillingness to open up to what offers to deliver us from the condition of subjectivity is analysed in these pages as a structure in its own right. Far from being the wilful, indifferent and irresponsive being its critics have portrayed it to be, the so-called 'postmodern' subject is essentially finite, not even able to assume the transcendence to which it owes its singularity. This inability is not a lack - it points instead to a certain unthought shared by both Heidegger and Levinas which sets the terms for a discussion no longer our own. Instead of blaming Heidegger for underdeveloping 'being-with', we should rather stress that his account of mineness may be, in the light of contemporary philosophy, what stands most in need of revision. And, instead of hailing Levinas as the critic whose stress on the alterity of the Other corrects Heidegger's existential solipsism, the problems into which Levinas runs in defining thatalterity call for a different diagnosis and a corresponding change in the course that phenomenology has taken since. Instead of preoccupying itself with the invisible, we should focus on the structures of visibility that protect us from its terror. The result? An account of difference that is neither ontological nor ethical, but 'mA]-ontological', and that can help us understand some of the problems our societies have come to face (racism, sexism, multiculturalism, pluralism). And, in the wake of this, an unexpected defence of what is at stake in postmodernism and in the question it has refused to take lightly: who are we? Finally, an homage to Arendt and Lyotard who, if read through each other's lenses, give an exact articulation to the question with which our age struggles: how to think the 'human condition' once one realizes that there is an 'inhuman' side to it which, instead of being its mere negation, turns out to be that without which it would come to lose its humanity? |
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Dust Jacket of Very Good Jeeves $34.99 Author: Sir Dust Jacket of Very Good Jeeves - Giclee Print |
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Blue Condition $10.17 It's a tribute to Bobby Caldwell's consummate songwriting skills that his three original compositions -- including the previously recorded, melancholy would-be classic "Stuck on You" -- fit in perfectly alongside standards by the likes of Cole Porter and Sammy Cahn/Jimmy Van Heusen on the very tradition-minded Blue Condition. Best known for easygoing R&B-flavored adult pop vocals, Caldwell reaches back and superimposes himself in front of lively big-band arrangements that recall classic Frank Sinatra, Tony Bennett and Bobby Darin recordings. He never approaches those idols in terms of vocal distinction, but that doesn't seem to be his point. He's more reflecting upon his inspirations than trying to emulate them, rewarding longtime fans with the sort of artistry they suspected might exist all along. The uninitiated, however, might enjoy all the surrounding pleasantries and wonder why we need another guy out there doing classics when he clearly doesn't measure up to those standards vocally. ~ Jonathan Widran, Rovi Performers: Brandon Fields - Woodwind; Emil Richards - Vibraphone; Evan Wilson - Viola; Gene Cipriano - Woodwind; Jodi Burnett - Cello; Joel Peskin - Clarinet (Bass), Sax (Baritone), Saxophone; Larry Bunker - Vibraphone; Laura Kuennen-Poper - Viola; Mathew Cooker - Cello; |
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Life Condition $13.58 Drummer Colin Stranahan is a student at the Monk Institute in New Orleans and an alumnus of the Denver School of the Arts, and began gigging when he was just 11 years old. Now in his twenties, he has released his third album as a leader, and it's both intellectually fascinating and visceral. What makes it even more impressive is that it manages to be both interesting and involving without the use of any chordal instruments: his trio consists of himself, bassist Chris Smith, and alto saxophonist Ben Van Gelder (tenor player Jake Saslow guests on two tracks, "For the Third Time" and "A Promise"). Playing without a piano or guitar to provide harmonic context can make a date like this one sound dry and abstract, and it's true that dryness and abstraction are sometimes the hallmarks of these tunes; but at their best (such as on a lovely rendition of "How Deep Is the Ocean" and the calm but inquisitive "Birthday Song"), the performers use that extra sonic space wisely, filling it with enough notes to make the music's structure clear, but not so many that it sounds crowded or frantic. At times, such as on the slightly more chaotic setting of Joe Henderson's "Inner Urge," things wander a bit and the music loses focus. But such missteps are rare, and are easily overshadowed by such highlights as the joyful romp of "A Promise" and a sharply reimagined version of Thelonious Monk's "Evidence." This is a very, very impressive effort from a major (and startlingly young) talent. ~ Rick Anderson, Rovi Performers: Ben Van Gelder - Sax (Alto); Colin Stranahan - Drums; Jake Saslow - Sax (Tenor) |
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It Was a Very Good Year $12.99 Track Listing: 1. It Was a Very Good Year, 2. Mystery Train, 3. She's My Baby, 4. One More Mile, 5. How Sweet It Is (To Be Loved by You), 6. I Can't Quit You Baby, 7. Sweet Sixteen, 8. Midnight Creeper, 9. (I'm Your) Hoochie Coochie Man, 10. You're So Fine |
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Very Good, Jeeves (Unabridged) $14.69 Jeeves, not only a tireless servant to the feckless Bertie Wooster, is the saviour of a good many other individuals as well.... |
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Very Good, Jeeves $23.36 Jeeves is not only a tireless servant to Bertie Wooster, but a savior of a good many other individuals as well. The list is long and includes Bingo Little, Sippy Sipperley, Tuppy Glossop, and Miss Dalgleish. |
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