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2012 Budweiser Shootout at Daytona lineup announced The 34th annual season opening event, which is a fan favorite for NASCAR fans, will launch Speedweeks at Daytona International Speedway on Saturday, Feb. 18, 2012. and will air live nike free 5.0 sale on FOX Sports and MRN Radio. (Courtesy photo by John Harrelson/Getty Images for NASCAR). "The criteria for the 2012 Budweiser Shootout ensures race fans that the best NASCAR Sprint Cup drivers will battle for a coveted cheap nike free run shoes victory on the historic high banks," Daytona International Speedway President Joie Chitwood III said. "Throughout its long history, the Budweiser Shootout has produced plenty of fireworks on the track and race fans can expect another exciting star studded night of racing as we kick off the new NASCAR season." "The 2012 Budweiser Shootout at Daytona has all of the ingredients to be one of the most exciting races in the event s 30 plus year history," said Rob McCarthy, vice president, Budweiser. "We can t think of a better way to kick off a new season than by continuing this great tradition and watching the best drivers in NASCAR battle it out under the lights at Daytona." "By taking the top 25 competitors in last year s driver points and combine that with former race winners at Daytona, you have all the ingredients for an extremely deep and talented field of drivers for the 2012 Budweiser Shootout," said Robin Pemberton, NASCAR vice president of competition. "When you take a look at the roster of drivers that this entails, I have to believe this is one of the most competitive fields that have ever been assembled for this event." The 2011 shootout drivers wave on stage during pre race ceremonies prior to the NASCAR Budweiser Shootout at Daytona International Speedway on February 12, 2011 in Daytona Beach, Florida. (Courtesy photo by Jerry Markland/Getty Images for NASCAR). The Budweiser Shootout will be a 75 lap event (187.5 miles) and will consist of two segments 25 and 50 laps. Officials said that both green flag mens nike air max laps and yellow flag laps will count and between segments there will be a 10 minute pit stop to allow for teams to pit to change tires, add fuel and make normal chassis adjustments. Crews will also be permitted to work on cars and will black air max 1 be allowed to perform functions they would do on a normal pit stop in a regular NASCAR Sprint Cup event. In addition, all work must be performed on pit road or in the garage. Officials also said that changing of springs, shock absorbers or rear ends will not be nike free run women permitted.

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2012 Haute Couture Runway Show Karl Lagerfeld has designed the most spectacular haute couture garments for decades for the House of Chanel. His design aesthetic and discriminating eye for texture, fit and all things beautiful has gained him much deserved notoriety in the fashion world. Karl Lagerfeld is a fashion history maker and runway rule breaker. He marches to the beat of his own drum and the fashion world would love to be his percussion section. It is partially due to Karl Lagerfeld talents that Chanel is synonymous with class, status and stature within the fashion community and all around the globe. It comes as no surprise that Chanel s nike air max 2013 mens haute couture collection ruled the runway at Paris Fashion Week this season. More Photos The House of Chanel s FW 2011/2012 Haute Couture Runway Show does not disappoint. nike air force max The juxtaposition of the tailored tweeds in metallics, grey and black; the brocade black trench coat cut to perfection; the elaborate beadwork; and the luxuriously nike free run kids feathered hems were genius! The draped pieces as well as the more structured pieces added an excitement to the runway which paved a way for the pleated fabrications. The footwear of the moment were boots and pumps. Many knee high boots and black pumps were showcased with the garments. Karl Lagerfeld s vision came to life with a backdrop of somber air max leopard lighting and sparkling, darkened floors. The garments left nothing to be desired, attendees left this affair full on high fashion. You can find Chanel at the Chanel Boutique in Highland Park in Dallas, TX at 100 Highland Park Village, Dallas, TX 75205, Telephone (214) 520 1055. To read Trina s Bio and more of her articles, please click her picture above. nike free run 2 Shoe enthusiasts, please subscribe to Trina s National Shoe Articles.

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2012 high school football preview STRENGTHS: The Red Raiders, who haven t had a winning season since they were 6 4 in 2006, have a new beginning. Michael Tucci is dedicated and committed to the program for the long haul. He will see his players not just on the field, but in the classroom. Tucci is a history teacher at the school. The womens nike free 3.0 v5 Red Raiders also have a big, physical offensive line anchored by left tackle Reggie Browley. WEAKNESSES: The Red black nike air max Raiders lack depth with two returning senior starters in David Shupp and Josh Stewart. They are also learning a new system nike air max for women with a first year coach, who is taking over for Marwin Walling and Devlin Culliver, who held the job for several months in the offseason. In Walling s three years as head coach, nike run free the Red Raiders went 7 23. Tucci is confident Reggie Browley is going to be a big time Division nike free flyknit women I recruit. This summer he received a few looks while attending camps at Ohio State, Toledo and West Virginia. Browley has size (6 foot 6, 310 pounds) and lots of talent. He also excels off the field with the highest grade point average on the team. UNDERCLASSMAN TO WATCH: Alonzo Turner is the only returning starter among the skill positions on offense. He ll also be in the middle of an experienced defense. Turner is athletic and tested on the big stage, having qualified for the Division II state wrestling tournament last winter.

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2012 October I thought this was a great blog and had definitely some thought provoking elements to it. I liked the way you really tried to understand from an audience nike air max limited edition point of view why the show has such a huge fan base and critical acclaim. The scene you referred to I agree is particularly moving and telling of Don as a character and ties well into the themes of the text as a whole. I thought there was possibly room for discussion of how the costume, set, props and dialogue functioned within this scene and the intented effects the devices used in this scene had on audiences and audience reception for this scene in isolation. I personally felt as you said this scene demonstrated Don s emotional flaws and perhaps the notion the he really wants to go back to that place but cannot find the way? I thought there was a deep sadness to this scene as well as being one of a positive emotion. I am in total agreement with you that I am now hooked on Mad Men and will be watching all five season. Overall a great blog post. The carousel maybe functioned as a metaphor for how we view the past the romantised notion of the past and in a sense a romaticised notion of the context this piece was set in? How does this tie into seriality and narrative complexity? Does it ask us as fans to engage on a deeper level? I thought this was a very well constructed piece. I particularly agree with your point about Peggy really evolving into the strong, confident women and that she in a way represents the feminist movement. Could it be said also that this scene is telling of the way Men are constantly demanding women to be beautiful, confident and happy and that no matter what a woman does she is constantly being judged and that so much is accepted of her that she feels like she is never good enough? I liked the way you discussed how the show is character driven and how it ties into the theme of narrative complexity and quality TV. Maybe the only thing that needs to be discussed is how the scene is constructed and the elements that nike free outlet go into making Peggy the character she is. Particularly liked the way you articulated how the show builds a relationship and asks its audience to engage with it thus creating space for a strong fan culture. I liked the way you contextualised the core themes and gave a backstory to the scene you were going to discuss. I too feel that this scene is very important to not only the understanding of the episode but gives deep insight into characters and core themes of the text. I had never thought of Don as a master of illusion before and that he was selling the perfect family, I thought this was an interesting observation. I liked the way you established how camera angles, dialogue, positioning and gesture helped articulate this scene to be what it was. I thought you constructed the cause and effect elements of audience reception well. Is it possible that this is for Don a sad moment where he is truly realising that this is a place he wants to be but has no idea how to get back to it? I feel that maybe this is one of Don s true moments of transparency and I think it definitely plays with surface images and what appears to be and what is and that there is a great sadness for him that he doesn t know how to go back. Showcase piece: Seriality, Big Love, Mad Men, Social and political context and commentary Posted: October 11, 2012 at 11:29 pm The focus of this piece will be on the concepts of seriality and how narratively complex series use seriality and long story arch s as opposed to traditional resolutions at the end of each episode new nike free and how this allows for a deeper/richer exploration of key themes and ideas and building a complex story world. Additionally I shall explore soap opera associations with seriality and how this is traditionally associated with low cultural forms and gendered towards females. How Narrative complex series can be used as a platform to explore and really contextualise social and political contexts and reflect the changes and values in society. That narratively complex texts can be a rich source of social commentary. It has been explored by some television theorists the way television has been gendered in the past and "Television, as an industry and as an object of study has been gendered from the start. In post war America, it arouse as a medium primarily for women, who were in charge of the domestic sphere and consumption patterns." (Imre p392) Gender in determining taste dispositions with seriality (series) traditionally appeal to the females with emotional, personal and open ended narratives while males identify with episodic (resolve narratives which include problem solving and resolution). Narrative complexity challenges this as it combines multiple genres and takes a unique approach to narrative that can appeal and accommodate the interest and taste dispositions of both genders and explore high and low forms of television. For example HBO series Big Love combines the low form Soap Opera Genre and well as the high form tragedy genre. And as discussed by Imre, "Melodrama, which has by now permitted virtually all television programming, targets air max women the emotionally available consumer within the home." (Imre 2009 p 392) but then goes onto say that, "Thanks to the simultaneous global deregulation and conglomeration of media industries, these post feminist shows, along with other "quality" programs, have travelled beyond the implied English speaking, gender conscious audience whom their predecessors addressed." (Imre 2009 p394) Meijer looks at the way quality audiences play a role in narrative complexity and says that traditional quality genres includes quality genres such as news and documentaries. (Meijer 2008 p1) Not only is Big Love quality television and a narratively complex text but it is also a platform to explore alternative lifestyles in religious fundamentalism, family values, and the stereotypes that surround them and really in essence what constitutes a family. It gives us a way of understanding something that might be foreign to us (Although I do realise it is a construction with an argument for alternative lifestyles and free will). But it also identifies along with shows such as True Blood that undercurrent of social tension and move towards change to embracing alternative lifestyles and this is set in the context of the Gay rights movement across America at present. So in this way television is a very real practice cultural practice in gaining insight into how we as human being relate to one another and the core concerns the society in which we are embedded in. The text by Scolari talks about hyper television as something that is (Scolari 2008 p4). This ties into Kackman and Mittell arguments well that television is a legitimate cultural art for that can be educational and good for you. Kackman says that narratively complex texts make commentary on the world and asks us to engage with it and television, "It is now discussed in aesthetic terms previously reserved for the relatively more legitimate popular art form of cinema."(Kackman 2010) To expand on this Mittel explores narrative complexity as a new form of storytelling and cultural identification. Our ability to engage with a text comes from our cultural understanding its requirement for us to engage in the world of the story requires a viewer that as discussed earlier is a quality audience with the capacity and the means to view an understand the social and political currents running as a subtext. "Our recognition of certain characters as meaningfully conflicted, their narrative and moral dilemma agonizingly or beguilingly puzzling, is a cultural identification."(Mittell 2009) This ties directly into the operational aesthetic a term by Mittell to explain that it is not only a textual feature but furthermore something fans do to the text by going into public forums and engaging and commenting on texts in online communities and giving direct feedback to the creators and sharing the knowledge about the text to make it richer in collective intelligence communities. Not only do narratively complex text have the ability to contextualise current social and political issues in modern day society through cleverly constructive narratives based on seriality but they also have the ability to recreate the past and shed some light on issues prevalent to that time and period. For example I like the way series like Mad Men challenge our romantised notion of the past. That it shows a realistic representation of a historical period and is able not just to set the context in terms of setting and placing historical moments nike free 2.0 that make us realise that it is part of that period (Kennedy shooting, Marilyn Munroe dying) but it gets to the heart of the undercurrent of social tensions, desires, expectations of that particular society and how this shapes and motivates characters. It shows a complex world of various forms of not only femininity but also masculinity. The way we as an audience are positioned to like the flawed protagonist of Don Draper as an anti hero says a lot about productions ability to manipulate its audience through music, gestures and placing beautiful people in not such beautiful circumstances. Furthermore even in the context of Man Men it looks at the roles of men and women and that in advertising Ad campaigns they target the women who is at home watching television and will the product. I will leave with this last thought. Television is a vital cultural tool in our understanding our society. We can learn so much about ourselves and the social and political issues in society through rich texts such as Big Love and Mad Men that are rooted to realism and even if they have other elements and the presence of other genres are able to depict the issues as they are rooted to realism and that allows us to identify with them as being a realistic representation/construction of a version of the truth. Imre, A, 2009 Gender and Quality Television: A transcultural feminist project Feminist Media studies, vol 9, no 4, RMIT complete mass communication database. Kackman, M, 2010, "Flow favorites: Quality television, melodrama, and cultural complexity" University of texas, Austin. Mittell, J, 2009, More thoughts on soap operas and television seriality Middlebury college. Posted: October 11, 2012 at 11:08 am Narrative complexity is a term commonly categorised by the following according to Television theorist as; having an emphasis on building a unique story world, is character centred/driven, combines/multiple genres present, addresses previously taboo subjects takes a promiscuous approach to genre and has a slower plot development that is serial based.(Mittell 2006) Furthermore narrative complex texts target a niche audience or Quality audience with disposable incomes) Narratively complex texts are seen as challenging the medium and its boundaries. As defined by Mittell "At its most basic level narrative complexity is a redefinition of episodic forms under the influence of serial narration rejecting the need for plot closure within every episode that typifies conventional episodic form." (Mittell p32) Thanks to new advanced technologies flow is more easily achieved as the viewer is able to watch episode after episode on DVD or by recording the programs and therefore there is a lack of presence of the traditional formula of each episode needing to have a conclusion or some sort of resolution to a problem/issue/idea brought up at the start of the episode. Mittell also suggests that fan culture is stronger in narratively complex texts as they embrace them more passionately because there is a greater amount of ideas and content to challenge the viewer to engage with. We are also able to go deeper into the storyworld with the online blogs, websites, video games, dvd extras, behind the scene footage and webisodes. If we use HBO series Game of Thrones as our example for a narratively complex series in the first episode alone titled "Winter is coming" We see a complex story world created with the presence of multiple genres (fantasy, realism, political drama) and that elements of realism and fantasy are interwoven to build a rich setting in which the characters are able to interact. We see taboo themes of incest between the Targaryen siblings and the queen and her brother Jamie, we see high production values and we see a text centred around the surges for power and personal gain result in conflict with everyone operating on their own agendas and their own set of ethics/morals. The text is centred around Eddard Stark to begin with and one could argue that he is the protagonist of the series for the first season, I would argue as the text is so complex with interwoven narratives that Eddard Stark operates as the central thread that ties the overlapping plot lines together as a way of the fans really grasping and understanding how the characters interrelate, however as the season progresses Eddard Stark s importance to the narrative seems to diminish slightly and this is where the truly ensemble cast comes into play and the show is able to progress without Ned Stark after he is killed in season 1. AT the end of every episode we get a cliff hanger that makes us want to watch the next episode and ties into the idea of seriality and story arch carrying over seasons and series. Through this we can have a much richer exploration of characters, their motivations and generally more complex characters that reflect the realities of society and the human condition. The reliance on an ensemble cast is furthermore a reason why casting is so vital to narrative complexity. Quality Television is another term often associated and linked to narrative complexity. It is important to note that just because a program is narratively complex does not mean it is quality TV (same goes with a program being aired on a particular network) it must be based on individual merit and look at the character development across the series, the strength of the narrative, production and aesthetic values (there is such thing as bad narrative complexity). Imre looks at the term of popular quality in which the "Unique creator visions, multilayered storylines and characters, realism, and engaging plots that break taboos and address crucial social issues." (Imre p401) And lastly I just wanted to discuss the idea of Brand theory and networks constructing their identity based on genre, innovative and original narratives and how it schedules its programs based on this and projects an image of itself to its audience. Flow is constructed more efficiently in terms of programming and appealing to taste disposition if it is targeting a specific market and then schedule the programs accordingly. HBO comprises of unique narratives that challenge television conventions, in order to stay true to its form it needs to pilot shows that challenge the medium and its viewers. HBO constructs its identity as being different from other TV channels (but it is really connected to mainstream institutions through its ownership by time/warner media group). The wire is an example of a narrative complex text that is also quality television. The wire is a critically acclaimed series set in Baltimore Maryland USA. I guess its complexity really portrays a sense of Baltimore from multiple standpoints and explores different viewpoints and components of Baltimore as a city. It was written by a former journalist for the Baltimore Suns David Simon. Baltimore as a city and setting is vital in understanding this narrative as described by Simon, "Really about the American city, and about how we live together. It s about how institutions have an effect on individuals. Whether one is a cop, a longshoreman, a drug dealer, a politician, a judge or a lawyer, all are ultimately compromised and must contend with whatever institution they are committed to.(Wikipedia)" So in this sense we could explore the wire as an integral web of complex narratives taking a crime/city drama to a whole new level of sophistication. Baltimore as the setting for the series is vital in understanding the characters and how they move within that space, the confines of their professions/position in society, hostilities and tensions towards different groups in that society that portrays a realistic representation of a complex city. Subsequently once again long narrative applies as the series is plot driven and character development occurs through the plot.

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