#composite bonding London

[bonddental]

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[smilecliniclondon]

Composite bonding is a very popular and effective orthodontic dentistry treatment in London that uses tooth-coloured composite resin material to enhance your smile. It is a cosmetic treatment for teeth. Composite bonding also helps to improve the appearance of your teeth. Read more: https://marketresearchtab.com/practice-7-healthy-habits-to-increase-the-longevity-of-your-composite-bonding/

[smilemakeoverslondon]

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[chatfieldbraces]

Compared to the cost of other options like porcelain crowns, porcelain veneers, composite crowns and composite veneers this treatment is reasonably priced. Moreover this is a non invasive procedure that does not damage the natural structure of the tooth. As far as the prices ofComposite Bonding London, UKare concerned it varies from case to case as well as practice to practice. Usually the cost ranges from £250 to £350 a tooth.

[thousandsmilesdentalclinic]

Whether you need a single tooth enhancement or a full mouth Composite Bonding transformation, our expert cosmetic dentists utilize the latest techniques and premium materials to deliver natural-looking, long-lasting results.

[kaadentals]

Damaged Teeth, Want Fast Solution, Go For Composite Bonding | KAA dentals

At KAA Dental, composite bonding is a revolutionary advancement in the provision of customised and exquisite smile and dental makeovers in Cardiff utilising dental ceramics (porcelain veneers) or composite resin (white filler material). composite bonding starting from £250 per tooth (with 0% financing option available for 12 months)

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[khruschevshoe]

You know, it's rather interesting to me that Taylor Swift's parasocial relationship with her fans is honestly more akin to a YouTuber than a writer's. When I scroll through her tag on tumblr/Twitter, it's far more regarding the connection to her personal life/relationship developments than the actual metaphors/fictional story she might be telling. Everything comes back to how her songs reflect back on her relationships with Joe/Matty/Travis/Jake/insert ex-boyfriend here. And what fascinates me about it is that even though she complains about it, she leans into that very perception because it strengthens the parasocial bond.

The marketing for TTPD so clearly being about Joe Alwyn and the songs to Matty Healy. The marketing/video for Red TV so CLEARLY being about Jake Gyllenhaal, with so many of the new lines in All Too Well specifically being digs at him (I'll get older but your lovers stay my age, casting an actor that looks like him for the video, specific lines in I Bet You Think About Me). The fact that songs like Getaway Car and Bejeweled and Gorgeous and London Boy and Lavender Haze being picked apart at time of release and long after for signs of relationships crumbling. The way she uses surprise songs in relation to her relationship development with Joe/Matty/Travis. The damn TTPD "stages of grief" playlists where she deliberately undid/changed the meanings of old songs just to keep her audience speculating on her love life.

It's not sexist to point out that her wielding her love life is a marketing tool and that the strongest connection to her audience isn't the strength of her writing/the composition of her music- it's her deliberate crafting of a connection between her music and her personal life, leaving the audience invested in her music as an extension of Taylor the Person/Girlfriend rather than Taylor the Artist.

[vickyvicarious]

THE EXCITEMENT and joy even just in how Mina says the date...!

The way she says "has been ill, that is why" with such utter relief. And then "I am not afraid to think it or say it, now that I know." - the way she's been so diligently refusing to put words to her fears and how happy she is that she doesn't have to anymore.

The letter by her heart is SO GOOD. The fact that she cried all over it and then tucked it against her heart, god. Mina is so evocative about love.

"Lucy will bring my trunk to London and keep it till I send for it, for it may be that ..." - I guess this means that she won't need it if she is getting married and moving in with him right away? Not really sure.

God, I love how she calls him "my husband." He already is in her heart and mind, and as soon as is physically possible she wants to make sure he is legally too. She is so eager to be reunited with him, and in as permanent a way as possible.

...and then an abrupt tonal shift.

"He is usually respectful to the attendant and at times servile; but to-night, the man tells me, he was quite haughty." honestly, Renfield plays a role so knowingly all the time. I may have to write a separate post about this at some point, maybe later on for spoiler reasons, but. It's very deliberate use of resources/appeal to those with power over him.

by the way, I love every single time Renfield speaks. LOVE his voice.

The little laugh in Seward's voice when joking about religious mania, man he sounds super condescending today.

"His attitude was the same towards me" Seward is soooo offended, I think it's part of why he gets so abruptly dismissive and scornful, all 'he'll probably think he's God himself next!'. It's because Renfield, in acting dismissive to him, is placing him on equal level with the attendant. Renfield acting like he's more important than both of them is obviously madness, but acting like Seward himself isn't the most important one in the asylum staff especially is discrediting his status. It also is denying the bond they have. Not that I think Renfield ever considers his relationship with Seward as any kind of special bond, but the doctor sure does. He talks about his pet madman, his friend Renfield, etc.... And by being so dismissive and uninterested here, by treating him just like the attendants, Renfield is essentially denying that outright. He gets a bit upset and lashes out with dismissive talk about Renfield being mad.

I really like the little echo on the asylum voices. Also, once again, the sound quality of the phonograph recordings.

Classic Seward being a dork reciting chemical compositions to his audio diary. "I have thought of Lucy, and I shall not dishonour her by mixing the two" - I wonder if this line is more about him not wanting her linked with his abnormalities (needing to take a sleep aid), or maybe hints at him knowing he's likely to have dreams about her if he goes to sleep while thinking of her. If so, whatever dreams he may have, he seems to think they wouldn't be appropriate/fair to her.

The way he says "errant swarm of bees" is so funny

"He is a selfish old beggar anyhow." coming right after Renfield petitioning Dracula's door. Man, the contrast between Renfield's emotion and wavering voice - and Seward's casual mockery about it - is very striking. Once again I think part of this is Seward being angry about being shut out/embarrassed/having to hunt him down. But it's pretty upsetting how his reaction to Renfield behaving in uncontrollable ways is to dismiss (what he assumes are) his motives, to dehumanize him ("more like a wild beast than a man") and physically restrain him.

[chatfieldbraces]

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[1aorthodontics]

Composite bonded tooth are pretty easy, simple and free from hassles assures a dentist at 1A Orthodontics who provides composite bonding at reasonable cost in London over the years.

[burlveneer-music]

Molly Lewis - On the Lips - don't know if I'm ready for a full-on lounge/exotica (re)revival, but it's the perfect milieu for a whistler

Consider this your invitation to Café Molly, a lounge bar like they don’t make them anymore. The lights are low, the martinis are ice cold, the banquettes are velvet, and the stage is set for the electrifying talent of whistler Molly Lewis. Molly’s soft-focus cocktail music conjures up visions of classic Hollywood jazz clubs, Italian cinema soundtracks and lingering embraces between lovers. After the exotica stylings of The Forgotten Edge EP and the tropicalia-indebted Mirage EP, Molly wanted to encapsulate the sound of Café Molly for her debut album On The Lips, a dreamy tribute to classic mood music. That spellbinding sound, which usually comes to life in Los Angeles, has also popped up in Mexico City dancehalls, graced the runways of Paris and London Fashion Weeks, and made a magical appearance at a children's fairyland. Molly Lewis’s love for this smoky corner of the world doesn’t end with her songwriting. She is a devotee and an archivist, capturing and enlivening the pieces that endure. She was a regular at the legendary shows by Marty and Elayne, the lounge duo who spent almost 40 years playing LA’s Dresden bar. The duo came to global fame after an appearance in 1996’s Swingers and kept going long after that spotlight faded, finally finishing their nightly residency after the death of Marty at the ripe age of 89 last year. “That felt like the end of an era,” says Molly. But there are still flashes of that world to be found, and she finds them. “I’ve been spending a lot of time in New York lately, where there are a lot more of those moody, classic jazz bars,” she explains. Over the past few years Molly has flexed her one-of-a-kind musical skill alongside Mark Ronson on the Barbie soundtrack, as well as with Dr Dre, Karen O, actor John C Reilly, Mac De Marco, fashion houses Chanel, Gucci and Hermes, and folk rock royalty Jackson Browne. After a performance with longtime friend Weyes Blood on Burt Bacharach’s The Look of Love during a Café Molly evening at LA’s Zebulon, Molly supported the singer on a US tour, introducing her sound to a brand new audience. “I forget sometimes that what I do has that factor of surprise and uniqueness – it is something that most people have never seen before,” says Molly. She too might never have entered the idiosyncratic world of whistling had she not as a teenager seen the 2005 documentary Pucker Up, which details the International Whistling Competition. Equally amused and bemused by the eccentric event, in 2012 she competed herself. Spending her early twenties in Berlin she then moved to LA to work in film – and returned to the contest in 2015 to take home first prize. One evening Molly did a turn at an open mic at the Kibitz Room, a tiny late-night bar inside historic LA deli Canter’s. Her display led to appearances at performance art happenings across the city, and she soon caught the ear of independent record label Jagjaguwar. On The Lips was recorded with producer Thomas Brenneck of the Menahan Street Band, Budos Band, Dap-Kings and El Michels Affair, at his newly-built Diamond West Studios in Pasadena. The pair bonded over the work of 1960s soundtrack composers Alessandro Alessandroni and Piero Piccioni, and, with something of an open door policy during the sessions, a stream of acclaimed musicians ended up across the album’s 10 tracks. With her intoxicating compositions, and wry brand of stagecraft (she might not be singing up there, but she can sure tell a joke) Molly Lewis looks set to join her heroes in the storied lore of the Los Angeles lounge scene and beyond. So pull up a chair, order your favorite drink, and prepare to fall for On The Lips.  PERFORMER LINE-UP: On The Lips Molly Lewis - Whistle, guitar, vocals Joe Harrison - Flute, bass Eric Hagstrom - Drums, clave Thomas Brenneck - Organ Written by: Molly Lewis

[savage-kult-of-gorthaur]

"THE QUALITY OF THE PICTURES WAS SO GOOD. I HAD A STINT OF HAVING IT WITH ME ALL THE TIME."

PIC(S) INFO: Mega-spotlight on behind-the-scenes Polaroids of English post-rock/post-punk/experimental music group PUBLIC IMAGE LIMITED, c. 1980-'81. 📸: Jeannette Lee.

OVERVIEW: "In late 1978, one year after the tumultuous break up of the SEX PISTOLS, John Lydon (a.k.a. Johnny Rotten) launched his new band, PUBLIC IMAGE LIMITED, featuring his childhood friend Jah Wobble on bass, and Keith Levene, former guitarist for THE CLASH, on guitar. Lydon had had a rough time of it; by the time the Sex Pistols disintegrated, he had no money, no privacy thanks to the band’s enduring notoriety and no real control over his punk past (former manager Malcolm McLaren had staked claim to the SEX PISTOLS’ image, forbidding Lydon to use the name Rotten for future endeavours). As a result, he deemed that Public Image Limited would be different: a band-cum-company comprised of trusted co-collaborators.

Shortly after founding the band he approached Jeannette Lee, now best known as the co-director of iconic independent label Rough Trade Records, inviting her into the PiL fold as a “non-musical member” of the group to help with press, promotion and general administration. Thus ensued a magical period of innovation and cooperation which saw PiL rise to greater and greater heights, blazing an avant-garde, post-punk trail. Now, a new limited-edition book of Polaroid photographs taken by Lee during her three or four-year tenure with the group, and published by IDEA, sheds candid light on this formative period of the band’s history.

Lydon and Lee had met through Don Letts, the then-manager of famous punk-reggae clothing store Acme Attractions on the King’s Road (where Lee also worked), and bonded over a shared love of reggae and their north London council estate backgrounds. “He came to me and said, "I’m starting this new thing. I want to work with people that I trust. I don’t want to work with any more idiots,"" Lee recalls in an interview with Jarvis Cocker – a close friend, whom she also manages and who helped her compile the publication – for the book’s accompanying text. “There was no real job description: just like-minded people joining forces.” Alongside the key band members, these included Don Letts, Sheila Rock, Judy Nylon and Plaxy Locatelli, among others, all of whom set up office in Lydon’s house in Gunter Grove, between Fulham and the King’s Road, and spent their days, in Lee’s words, "making manifestos and then living according to them."

It is in this intimate setting that many of Lee’s pictures are staged, taken from 1980 onwards, after the purchase of her Polaroid SX-70 camera on a trip to New York. “The quality of the pictures was so good. I had a stint of having it with me all the time. Taking pictures everywhere I went,” she tells Cocker. Lee was a natural photographer, her snapshots rendered in dreamy hues and boasting compelling compositions. Some of the images from the book will be recognisable to PiL fans – such as the brilliant photograph of Lydon gazing furtively into a spiderweb-etched mirror, which was used as the cover for the "Flowers of Romance" single – while many more have never been seen, and offer viewers wonderful insight into the very private world of PUBLIC IMAGE LIMITED. There’s a picture of one member tenderly clasping a puppy, one of Levene sitting in front of a strawberry milkshake, traces of its froth forming a moustache across his top lip, another of Lee and a boater-topped Lydon grinning goofily into the camera: the softer, sillier side of punk."

-- ANOTHER MAG, "Behind-the-Scenes Polaroids of Public Image Limited’s Heyday," by Daisy Woodward, c. May 2017

Source: www.anothermag.com/art-photography/9825/behind-the-scenes-polaroids-of-public-image-limiteds-heyday.