Bindi Ballet

Иглы для электроэпиляции Ballet (Балет) F2 позолоченные. Золотая игла Балет - покрыта не содержащим никеля 24х-кратным золотом. При электроэпиляции преимущества позолоченных игл Баллет очевидны - меньший отек и покраснение, кожа быстрее приходит в норму. Иглы в виде одной детали (односекционные) имеют большую твердость и жесткость и хорошо справляются с сопротивлением при вводе в волосяной канал. В упаковке 50 позолоченных игл.
Существуют два типа игл с толщиной основания 0,8 миллиметров (К-иглы, K-shank) и с толщиной основания 1,25 миллиметров (Ф-иглы, F-shank). К каждому виду иглодержателя подходит только один тип игл - K или F. Ознакомьтесь с инструкцией к вашему аппарату для электроэпиляции и найдите соответствующую информацию.

Толщина острия

K2/F2 - 0.055mm

K3/F3 - 0.075mm

K4/F4 - 0.1mm

K5/F5 - 0.125mm

K6/F6 - 0.15mm

Иглы для электроэпиляции Ballet (Балет) из медицинской стали - наиболее доступный вариант от Балет. Стальная игла Баллет изготовлена из сплава никель-хром, который используется в производстве хирургических инструментов. Используются на нормальной коже, не склонной к аллергическим реакциям на металл. Иглы в виде одной детали (односекционные) имеют большую твердость и жесткость и хорошо справляются с сопротивлением при вводе в волосяной канал.

Самый распространенный, универсальный и сравнительно недорогой вид игл. К недостаткам стальных игл без покрытия можно отнести редкие случаи аллергических реакций на никель, который может содержаться в игле.

Существуют два типа игл с толщиной основания 0,8 миллиметров (К-иглы, K-shank) и с толщиной основания 1,25 миллиметров (Ф-иглы, F-shank). К каждому виду иглодержателя подходит только один тип игл - K или F. Ознакомьтесь с инструкцией к вашему аппарату для электроэпиляции и найдите соответствующую информацию.

Толщина острия

K2/F2 - 0.055mm

K3/F3 - 0.075mm

K4/F4 - 0.1mm

K5/F5 - 0.125mm

K6/F6 - 0.15mm

Лицензионное издание, выпущенное на виниле. В альбом вошли следующие композиции: Act I. Of Rage And War, Gutter Ballet, Temptation Revelation, When The Crowds Are Gone, Silk And Steel, Act II. She's In Love, Hounds, The Unholy, Mentally Yours, Summer's Rain

André Previn; The London Symphony Orchestra - Tchaikovsky: The Nutcracker (Complete Ballet)

Tchaikovsky - Andre Previn, London Symphony Orchestra, Ida Haendel – Swan Lake (Complete Ballet) - 3LP

Лицензионное издание, выпущенное на виниле. В альбом вошли следующие композиции: Walton*, Royal Opera House Orchestra Covent Garden*, Anatole Fistoulari Fa?ade (Suites For Orchestra). Fanfare (Suite 2, No. 1), Scotch Rhapsody (Suite 2, No. 2), Valse (Suite 1, No. 2), Tango Pasodoble (Suite 1, No. 4), Swiss Yodelling Song (Suite 1, No. 3), Country Dance (Suite 2, No. 3), Polka (Suite 1, No. 1), Noche Espagnole (Suite 2, No. 4), Popular Song (Suite 2, No. 5), Old Sir Faulk (Suite 2, No. 6), Tarantella Sevillana (Suite 1, No. 5), Lecocq*, Royal Opera House Orchestra Covent Garden*, Anatole Fistoulari Suite From The Ballet - Mamzelle Angot. Overture, Act I No. 3: Mazurka, No. 5: Tempo Di Marcia, Act II No. 8: Tempo Di Gavotte, No. 11, Act III: No. 13: Finale

Альбом “Live At The Roundhouse” — это живая запись с солд-аут-шоу группы в культовом лондонском клубе, которые прошли в мае 2019 года. Получивший щедрую порцию одобрения от музыкальных критиков и фанатов, концерт в The Roundhouse смог запечатлеть бунтарскую энергию и смелый дух рока раннего Pink Floyd — по-настоящему величественной группы, которая изменила всю музыкальную историю XX века. Альбом “Live At The Roundhouse” увидит свет на виниле в наборе из 2СD и DVD и на Blu-Ray. Также в ограниченном мировом прокате состоится и кинопремьера концерта. Трейлер фильма, который выйдет на экраны 10 марта, уже доступен для просмотра здесь. История Nick Mason’s Saucerful Of Secrets началась со встречи старых друзей — барабанщика и сооснователя Pink Floyd Ника Мейсона, сессионного басиста группы Гая Пратта, лид-гитариста Spandau Ballet Гэри Кэмпа, экс-гитариста The Blockheads Ли Харриса и звукоинженера Дома Бекена. Вместе они решили засесть в студию и поиграть ранние песни Pink Floyd — те, что вышли до «Dark Side Of The Moon» и которые не игрались в живую на протяжении нескольких десятилетий. Всего несколько месяцев спустя, 20 мая 2018 года, группа встретилась вновь — и дала выступление в лондонском клубе Dingwalls. Выступление ветеранов, ставшее для основателя группы Ника Мейсона первым клубным концертом с 1967 года, встретило воодушевление и радость публики — и задало энергию для одного из самых интересных live-коллективов, возникших после Pink Floyd.

This is a study of the rich and diverse range of musical responses to Shakespeare that have taken place from the seventeenth century onwards. Written from a literary perspective, the book explores the many genres and contexts in which Shakespeare and his work have enjoyed a musical afterlife discussing opera, ballet, and classical symphony alongside musicals and film soundtracks, as well as folk music and hip-hop traditions. Taking as its starting point ideas of creativity and improvisation stemming from early modern baroque practices and the more recent example of twentieth-century jazz adaptation, this volume explores the many ways in which Shakespeares plays and poems have been re-worked by musical composers. It also places these cultural productions in their own historical moment and context. Adaptation studies is a fast emerging field of scholarship and as a contribution to this field, Shakespeare and Music: Afterlives and Borrowings: develops theories and practices from adaptation studies to think about musical responses to Shakespeare across the centuries brings together in an exciting intellectual encounter ideas and methodologies deriving from literary criticism, theatre history, film studies, and musicology explores music in its widest context, looking at classical symphonies including the work of Berlioz and Elgar and operas by Verdi and Britten as well as Broadway musicals, film scores by Shostakovich, Walton, and contemporary performers, and the jazz adaptations of Duke Ellington and others. This is a timely study that will appeal to a wide readership from lovers of Shakespeare and classical music through to students of film and historians of the theatre.

Russian novels, poetry and ballet put the country squarely in the European family of cultures and yet there is something different about this country, especially in terms of its political culture. What makes Russia different? Maxim Trudolyubov uses private property as a lens to highlight the most important features that distinguish Russia as a political culture. In many Western societies, private property has acted as the private individual’s bulwark against the state; in Russia, by contrast, it has mostly been used by the authorities as a governance tool. Nineteenth-century Russian liberals did not consider property rights to be one of the civil causes worthy of defending. Property was associated with serfdom, and even after the emancipation of the serfs the institution of property was still seen as an attribute of retrograde aristocracy and oppressive government. It was something to be destroyed – and indeed it was, in 1917. Ironically, it was the Soviet Union that, with the arrival of mass housing in the 1960s, gave the concept of private ownership a good name. After forced collectivization and mass urbanization, people were yearning for a space of their own. The collapse of the Soviet ideology allowed property to be called property, but not all properties were equal. You could own a flat but not an oil company, which could be property on paper but not in reality. This is why most Russian entrepreneurs register their businesses in offshore jurisdictions and park their money abroad. This fresh and highly original perspective on Russian history will be of great interest to anyone who wants to understand Russia today.

In her vibrant works, the Brazilian painter Beatriz Milhazes fuses two very different worldviews. Her abstract compositions, which can be seen in a line with modernist masters from Henri Matisse to Bridget Riley, are saturated with the colors and light of her native country. Her paintings are strewn with symbols of everyday life in Brazil, invoking carnival, traditional craftsmanship, and motifs from baroque to pop, all choreographed in an exuberant visual rhythm. The colorful atmosphere has an irresistible exotic allure, but as in the works of Paul Gauguin, we find a broken paradise in which darker, more melancholic tones resonate, both in the promises of tropical life and those of modernist abstraction. In seeking this balance, Milhazes developed a special transfer technique in the late eighties, painting her motifs onto plastic sheets, gluing these to the canvas and letting them dry, and then peeling away the plastic once dry so that the paint remains on the canvas. This method allows the artist to layer surface upon surface and to achieve an iridescence somewhere between radiant aura and shimmering melancholy. Since her breakthrough in the early 1990s, Milhazes has extended the scope of her work to other media, producing screen prints, collages made of chocolate and candy wrappers, sculptures such as giant mobiles made of carnival decorations, site-specific projects that transform building façades into stained glass windows, and experiments with body and rhythm in collaboration with her sister Marcia’s ballet ensemble. This updated edition, which has been expanded to include works made as recently as 2020, explores all of the artist’s creative phases, from her beginnings to the present, with over 300 of her works. The book was created in close collaboration with the artist, in both the selection of images and specially designed pages between chapters. It includes a conversation with editor Hans Werner Holzwarth in which the artist unravels her working methods and talks about the ideas and cultural background behind her work. An art historical essay by David Ebony, a poetic dictionary of Milhazes’s key motifs by Adriano Pedrosa, and a detailed, updated artist biography by Luiza Interlenghi round off this comprehensive work.