#composite bonding London

[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.

[kaadentals]

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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.

[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.

[theserenityinviolence]

High-School Compositions.. :D

[Disclaimer; This was written under the pressure of time (In about 1hr 10-15mins) during an English paper. There are many things I wish to change upon re-reading it, but for the sake of keeping a record of my progress I’ve kept each word, each line exactly the way I wrote it in the paper at the time.] 

The Lake 

Every now and then, in the pubs and bars of Little Kemsforth, the topic of the Pewsburys and The Lake resurfaced. Through generations, stories have been passed down, each more wild than the last. Everybody in the town knew the Pewsburys, some say they were the oldest family in these parts, and while Old William Pewsbury was an odd fellow, his fore-fathers left behind a good few stories. 

There is plenty of nonsense in these parts about the history of the property of The Lake, but listen naught to fairy tales, but only what I tell you. 

Old William Pewsbury and his son hold nothing interesting, so let us go back two generations on the Pewsbury family tree, to Old William’s grand-father, Wilforde Pewsbury. 

Wilforde and Richard, the charming and handsome twins of Little Kemsforth. 

They grew up to be decent young men, and the pride of the Pewsburys. It was extremely rare to witness a bond such as they shared. Together, always, forever. 

After school, Richard went to college in London, leaving the family estate and business in the hands of his brother, including The Lake. He spent 5 years in London, then returned to Little Kemsforth with a gorgeous young wife and a formidable character. He moved back into the family estate and lived with his brother and his wife. 

His brother, Wilforde, bitter with his brother for leaving and jealous of his success, had the better part of the family property and also his brother’s favourite, The Lake and its grounds. 

Wilforde, charming as ever, and single, took a liking to Richard’s wife and decided on an exciting evening by The Lake with her to satisfy his demons. 

Richard, on his evening walk, ran into Wilforde and his wife at the height of their adventures, in a fury, he shot his wife. 

Savagely the two brothers rained their fists on each other, and in bitterness never spoke again. Richard died of cancer, three years after their fight. Wildforde killed himself after burying his brother, leaving everything to his wife and son. 

Wilforde’s legacy continued, until I was born, William Pewsbury Junior, son of Old William. 

Throughout everything, there was one watcher. A cursed, pained soul… The Lake. Often I spend evenings like today with my sweetheart by The Lake, giving its tortured soul a glimpse of love, of affection. My lover and I hope to cure this forsaken Lake of the damage my family dealt it. Hoping once again, to make its grounds green, and its water blue. This will be the story of William Pewsbury Junior, the story of the lake.

- Ocvid

[chatfieldbraces]

Hope, your confusion is resolved and you can make informed decision Chatfield Dental Braces, Dentist London whether to undergo composite bonding treatment or not. In case you have made up your mind to achieve a flawless smile using composite bonding then go to an experienced dentist with a good reputation. During the consultation with a dentist for composite bonding Prices London near me, you can raise your concerns related to it and clear them beforehand including the associated cost.

[smilecliniclondon]

Smile Clinic London offers affordable prices on composite bonding all over London. For more information about the treatment please feel free to visit us. We possess the necessary expertise and experience to resolve your problem. Our track record in handling this type of cases is simply excellent. 

[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.

[alisondentaldesign]

Enhance Your Smile with Composite Bonding: A Comprehensive Guide by Garden Dental and Implant Clinic in London

In the bustling metropolis of London, where style and sophistication converge, Garden Dental and Implant Clinic stands as a beacon of excellence in dental care. Renowned for their commitment to innovation and patient-centred care, they offer a wide range of services to help you achieve the smile of your dreams. Among these transformative treatments, composite bonding emerges as a popular choice for individuals seeking to enhance the appearance of their teeth with natural-looking results.

Understanding Composite Bonding:

Composite bonding, also known as dental bonding or cosmetic bonding, is a versatile and minimally invasive cosmetic dental procedure. It involves applying a tooth-coloured composite resin material to the surface of the teeth to improve their appearance. Whether you're dealing with chipped, cracked, discoloured, or misshapen teeth, composite bonding offers a simple yet effective solution to enhance your smile.

The Garden Dental and Implant Clinic Difference:

Located in the heart of London, Garden Dental and Implant Clinic is renowned for its dedication to excellence in dental care. Led by a team of experienced professionals, they combine state-of-the-art technology with personalized attention to deliver outstanding results tailored to each patient's unique needs and desires.

Personalized Consultation:

Your journey towards a more beautiful smile begins with a comprehensive consultation at Garden Dental and Implant Clinic. During this initial appointment, their skilled dental professionals will take the time to listen to your concerns, assess your oral health, and discuss your treatment options in detail. Whether you're interested in composite bonding or other cosmetic dentistry procedures, they will work with you to develop a customized treatment plan that aligns with your goals and budget.

Artistry and Precision:

At Garden Dental and Implant Clinic, they understand that achieving natural-looking results requires both artistry and precision. Their talented dental team possesses the skill and expertise to seamlessly blend the composite resin with your natural teeth, creating a flawless, harmonious smile that enhances your overall facial aesthetics.

Minimally Invasive Treatment:

One of the key advantages of composite bonding is its minimally invasive nature. Unlike other cosmetic procedures that may require extensive tooth preparation, bonding typically involves minimal removal of enamel, preserving the integrity of your natural teeth. This means less discomfort, faster recovery, and immediate results – allowing you to enjoy your stunning new smile without delay.

Long-lasting Results:

With proper care and maintenance, composite bonding can provide long-lasting results that withstand the test of time. By practicing good oral hygiene habits and avoiding habits like nail-biting and chewing on hard objects, you can help prolong the lifespan of your bonded teeth and enjoy your beautiful smile for years to come.

In the vibrant city of London, Garden Dental and Implant Clinic stands as a trusted destination for individuals seeking to enhance their smiles with composite bonding. With a commitment to excellence, artistry, and patient satisfaction, they are dedicated to helping you achieve the smile of your dreams. If you're ready to transform your smile and boost your confidence, schedule a consultation with Garden Dental and Implant Clinic today – because your radiant new smile awaits.

Garden Dental and Implant Clinic

610 Finchley Rd, London, NW11 7RX

020 8455 3310

info@gardendental.com

[skzrinasworld]

background !

| early life

rina was born and raised in chuncheon, south korea and has an older brother, the football player son heungmin. not much is known about her parents as both her and her brother want to maintain their privacy. she lived in korea until 2010 where her brother signed up for hamburg sv and later for bayern leverkusen in germany. finally, in 2015 they moved to london after heungmin's signing for tottenham. she lived with them until she got casted in one of her school's plays.

she’s been singing since she was 4 and took dance classes prior to her move to seoul. after she turned 12, her brother gifted her a notebook where she wrote her first songs. or at least, tried to.

after her move to seoul she remained as close as possible with her family despite the distance. she keeps constant contact specially with her brother, they grew up to have a special bond.

| trainee life

rina got casted by hybe formerly big hit in early 2016 and passed, immediately moving from london to seoul to start her training.

she wasn’t the best in rap for the first year of her training, but was very well-known among trainees and executives for her singing and dancing, having passed the 40 basic moves in about two weeks.

she also had interest in lyrics composition and song production. when chan found out, he was thrilled to work with her, and soon she became an official member of the pre-debut group 3racha.

she was one of the main picks for the potential girlgroup lineup who later would be lesserafim, but was pulled out after chan invited her to join stray kids. he made such a decision because he thought she would be an invaluable addition to the group, and saw that she worked and got along well with the others. after much consideration and talks with executives, rina was accepted to be a part of the group.

| debut

being the only girl in a group dominated by men meant facing backlash, but rina's addition to the mixture was so fundamental to the group and that helped the fans and general public to accept her inclusion. she ignores the criticism for the most part because she is aware of how hard she worked to debut, but there are times when it gets to her. thankfully, she has the boys by her side to reassure that her presence is vital to them.

she is well-known and respected in the industry and among fans for being an amazing and solid performer, being called the 4th gen ace as well as for being one of stray kids’ main lyricists and composers plus the fact that she is one of the most credited korean artists as of today.

sometimes, she is criticised because of her attitude and sometimes dry sense of humor and comments. she also received some backlash when people found out who her brother was through one of the former trainees of hybe who leaked her private kakao pictures with her family after he found out that chan recruited rina and not him. that lead people to start wondering until this day if she really deserved to debut or she made it because of the supposed connections her brother could've had.

masterlist

[normally0]

Perspectives Unveiled: Craig-Martin's Divine Reprieve

In the ethereal realm of artistic exploration, where visions of the past intertwine with the innovations of the present, Michael Craig-Martin emerges as a modern-day alchemist, weaving threads of tradition with the fabric of technological ingenuity. Amidst the digital tapestries of his creation, the Flagellation of Christ by Piero della Francesca stands as both muse and enigma, beckoning him into a realm of divine punishment reprieved.

Guided by the tenets of perspective established by the architectural visionary Alberti, Craig-Martin embarks on a journey of reinterpretation, unravelling the mysteries concealed within Piero's masterpiece. Through the lens of his digital brush, the timeless narrative of Christ's suffering is transmuted into a symphony of shifting colours and forms, a testament to the fluidity of interpretation.

In 'Deconstructing Piero,' crafted in collaboration with the London-based design group AVCO, Craig-Martin harnesses the power of randomized algorithms to breathe new life into the age-old canvas. Here, within the confines of the digital realm, the figures of Piero's composition take on a life of their own, fading and re-emerging in a dance of temporal uncertainty.

Yet, amidst the ever-changing tableau, a deeper truth emerges—a truth rooted in the very essence of architectural form. In the geometry of Piero's composition, Craig-Martin finds a divine symmetry, a framework for punishment transmuted into redemption. As Craig Martin meticulously deconstructs Piero's work, the architecture emerges not merely as a physical backdrop but as a conduit for profound symbolism. It becomes the framework for punishment, the very essence of Christ's ordeal, yet also offers sanctuary, a haven for spiritual contemplation and redemption.

The architecture is extracted from its earthly bonds, elevated to a realm where temporal uncertainty reigns. It becomes a vessel through which the divine punishment is both depicted and reprieved, a testament to the enduring power of artistic interpretation and the transformative nature of perspective. Within this artistic realm, architecture transcends its earthly confines, morphing into a sanctuary of divine redemption.

In the digital tapestries of 'Deconstructing Piero,' Craig-Martin invites the observer to journey into the labyrinthine depths of artistic interpretation. Here, amidst the shifting colours and forms, lies a testament to the enduring legacy of Piero's masterpiece—a legacy reimagined through the visionary lens of modernity, and illuminated by the divine light of architectural symmetry.