[75724] in Daily_Rumour
If you're diabetic or even pre-diabetic you still have time.
daemon@ATHENA.MIT.EDU (Your Blood Sugar)
Thu Jun 29 06:19:58 2023
Date: Thu, 29 Jun 2023 12:19:56 +0200
From: "Your Blood Sugar" <bloodsugar@nimance.digital>
Reply-To: "Your Blood Sugar" <bloodsugar@nimance.digital>
To: <rumour-mtg@bloom-picayune.mit.edu>
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<div><span style="font-size: 16px;">Hi,</span></div>
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<div><span style="font-size: 16px;"><strong><a href="http://nimance.digital/Y6SzGKPXuQMEvsB76Wlb7gksM7k__2bqCrqa3YCoy8cHuUg1">This tiny purple berry </a></strong>can help you pee out high blood sugar. </span></div>
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<div><span style="font-size: 16px;">It sounds weird. </span></div>
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<div><span style="font-size: 16px;">But folks who've tried it no longer need Metformin or insulin...</span></div>
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<div><span style="font-size: 16px;">Instead... </span></div>
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<div><span style="font-size: 16px;">Their blood sugar is now stable - even if they eat "cheat" food like pasta, pizza, and pie.</span></div>
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<div><span style="font-size: 16px;">Simply eat this berry and<i><u> in less than 1-hour </u></i>it will: </span></div>
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<div><span style="font-size: 16px;">1 Help you pee out sugar<br />
2 Restore healthy A1C levels<br />
3 And boost your energy</span></div>
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<p align="center"><a href="http://nimance.digital/Y6SzGKPXuQMEvsB76Wlb7gksM7k__2bqCrqa3YCoy8cHuUg1"><img src="http://nimance.digital/d28086af13e130ecd7.jpg" /></a></p>
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<div><span style="font-size: 16px;">What's more... </span></div>
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<div><span style="font-size: 16px;">So if you'd like to FINALLY regain control over your blood sugar... </span></div>
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<div><span style="font-size: 16px;"><strong>==><a href="http://nimance.digital/Y6SzGKPXuQMEvsB76Wlb7gksM7k__2bqCrqa3YCoy8cHuUg1"> This "tiny purple berry" could be exactly what you're looking for.</a></strong> </span></div>
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<div><span style="font-size: 16px;">To your health,<br />
Justin </span></div>
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<span style="color:#ffffff;"> Whitman consistently “courted the camera, displaying himself like a show horse” (2006, 4). Thus, an 1877 staged portrait of Whitman holding an artificial butterfly helped shift his authorial identity from renegade to iconic elder of American litera- ture. As Blake has noted, “The butterfly descends to us today as a testament to Whit- man’s remarkable merger of poetry and publicity” (3). For Whitman, photographs may have been more productive of reputation-shaping than money-making, but his concerted efforts to manage these images signal an astute awareness of authorship’s potential link to celebrity identity. Among America’s novelists, no author better understood the power of the photo- graphic portrait than Mark Twain, whose cultivation of celebrity cut across virtually every strategy for self-promotion available throughout his career. Twain circulated images of himself along with copies of his pen-name signature, another recurring element in his effort to achieve what several scholars have likened to a logo or trade- mark. Dressed in his white suit, with his white hair and mustache as visual comple- ments, Samuel Clemens posed for photographs as Mark Twain in the same way that he posed on stage as a folksy lecturer, masking his rhetorical sophistication in homespun humor. For Twain and others of this generation, the public talk also cultivated celeb- rity. With transportation systems improving, the traveling author would have found such promotional journeys less cumbersome than in earlier decades. Still, this work remained grueling, even if also energizing in its capacity to unite author with audi- ence. Most American writers would never achieve the earnings from lectures of a Charles Dickens, who reportedly brought in more than $100,000 for his 1867 US tour, or reach the kind of celebrity status associated with Napoleon Sarony’s 1882 photos of the traveling literary performer Oscar Wilde. Furthermore, women writ- ers would be restricted in their ability to use this tool because of gender-based con- straints on public presentations, leading Harriet Beecher Stowe to sit on stage while others read for her. But Stowe’s Connecticut neighbor Mark Twain excelled at using the lecture format to bolster his income and his image. As just one example of Twain’s successfully integrating his lectures with other dimensions of authorial identity management, we can look to a short speech he delivered in Montreal, Canada, in December of 1881. Beginning with self- deprecating jokes, he shifted to a more serious point, the link between his visit to Canada and his campaign for international copyright: “I did not come to Canada to commit crime . . . but to prevent it. I came here to place myself under the pro- tection of the Canadian law and secure a copyright. This is a rather cumber- some way to fence and fortify one’s property against the literary buccaneer, it is true; still, if it is effective, it is a great advance upon past conditions, and one to be correspondingly welcomed.” Twain’s commentary on copyright was leavened with jocular analogies, yet aimed at recruiting allies; he hoped “a day will come when, in the eye of the law, literary property will be as sacred as whiskey, or any other of the necessities of life.” The vocal techniques Twain employed so well in his lifetime are not retrievable in print today, but the adept navigation of tone, and his balancing accessibility with a challenge of the status quo, demonstrate why he was such a star author. Notes Twain, “In this age of ours, if you steal another man’s label to advertise your own brand of whiskey with, you will be heavily fined and otherwise punished for violat- ing that trademark; if you steal the whiskey without the trademark, you go to jail; but if you could prove that the whiskey was literature, you can steal them both, and the law won’t say a word” (“Dinner Speech”). Though known for such vociferous support of copyright, Twain appreciated how piracy helped to disseminate his early writings, thereby garnering a wider audience for works like “The Celebrated Jumping Frog” (1865). Twain’s strong late-career ad- vocacy for perpetual copyright probably had more to do with concerns about his family’s financial future than with a consistent philosophy. Thus, Twain’s assertion of proprietary rights over his oeuvre near the close of his life can be seen as part of a larger, hands-on effort to claim textual ownership. He was effective for much of his career at shaping publication processes, including such decisions as who would illus- trate his works. In that context, Twain’s move to form his own publishing business, though a financial failure, could be seen as part of an ongoing effort to maintain textual control in an increasingly complex marketplace. Certainly, Twain did score the ultimate victory of long-term renown, as evident in responses to the 2010 release of his autobiography, which quickly climbed bestseller lists. </span>
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