Looking For Cheap Roshe Run PRM Women Peppermint Candy Sail We Supply High Quality Cheapest Best Service Fast Delivery Online. Men Nike Free Run 3.0 V4 Tiffany Blue Quilted Where Can i Order Authentic Roshe Run PRM Women Peppermint Candy Sail Featured Items Are First Come Andrew Bynum said close out games were easy. What he forgot to mention is that they're only easy if you play well. Game 7, if necessary, would be Saturday at Staples Center. The Lakers got it all wrong to start Game 5, when they shot enough bricks to build a house at center court and couldn't take advantage of the Nuggets' early misfiring. Denver took the lead by the end of the first quarter and held it. Kobe Bryant's 3 pointer late in the third quarter got the Lakers within 66 63, and it seemed as if any minute they would rocket past the Nuggets and take control of a game Bynum expected them to win without any trouble. That's when the Nuggets went to work making the Lakers pay for their missed shots and misplaced confidence. Denver raced away to a 15 point lead in the fourth quarter, and appeared to be on its way to a series extending victory. The Lakers rallied behind 3 pointers on three straight trips from Bryant, getting within 98 96 with 59.1 seconds remaining. Andre Miller missed a jumper on Denver's next possession, but Bryant missed at the other end on a runner. After the Nuggets' Al Harrington made a free throw to make it 99 96, Bryant missed a 3 pointer and the Nuggets rebounded and called a timeout with 19.9 seconds to play. Ty Lawson could have sealed it with two free throws, but made only one. Ramon Sessions' 3 pointer got the Lakers to within 100 99, but Miller made two free throws after he was fouled with 12.8 seconds to play. The Lakers had two more chances to send the game to overtime. Bryant missed a 3 from the left wing and Sessions missed a 3 from the right. Bryant scored 43 points for the Lakers on 14 of 32 shooting. Miller had 24 points for Denver in a reserve role. The Lakers learned rather quickly it would take more than a glare and a stare to eliminate the Nuggets and advance to the conference semifinals against the Oklahoma City Thunder. The energetic Nuggets weren't about to go without a fight. It certainly didn't help the Lakers' cause that they couldn't seem to sink a shot from outside five feet in the first half. They made only 15 of their first 45 shots (33.3 percent) and trailed the Nuggets by 49 43 by halftime. The Nuggets led 76 65 going into the fourth quarter. To be sure, the Lakers' start wasn't as poor as their no show in the first half of Game 3 on Friday, and given all that went haywire, they could have been in far worse shape than to be down by only six points at halftime. After all, they were down by 24 points early in the second quarter in Game 3. But they recovered nicely and won Game 4 with a fourth quarter burst that included key 3 pointers from guards Sessions and Steve Blake. A victory in Game 5 figured to be a slam dunk. Next stop: Oklahoma City. After all, the Lakers were especially tough to beat when trying to close out a team on the first attempt. They were 7 for 7 after squandering a chance to send the Houston Rockets packing when they lost Game 6 of the conference semifinals in 2009. The Lakers have closed out the opposition on the first try in 11 of their last 12 times since 2008. They also have won 33 of their last 34 series when having a chance to close out their opponent at any point. They blew a 3 1 lead to Phoenix in 2006. So, when Bynum spoke Monday about the ease of winning close out games, perhaps he was speaking from experience, both good and bad..

The small, bracket like structure rests on the top of your camera, usually positioned in the center, just above the optical viewfinder. Some manufacturers position the hotshoe on compact cameras on the users left side when looking through the camera opposite the shutter button. If the hotshoe has a protective cover, slide it back towards you to remove it. This will reveal the hotshoe's metal surface with circular contact points flanked by two raised brackets. The hotshoe closely mirrors the size of a postage stamp. The hotshoe on the camera allows for an external flash unit, flash extender or off camera flash cord to attach to your camera. External flash units give you the ability to illuminate subjects positioned further away than the camera's built in flash can reach. Most built in flash units emit light a maximum of 10 to 12 feet, while an external flash unit can reach well beyond 150 feet, depending on the model. Flash extenders, created as an accessory for compact cameras, are smaller in size, have less features and lower power output when compared to external flash units. But, at a fraction of the cost, a flash extender can on average increase the camera's flash power to reach 20 to 25 feet. Off camera flash cords connect a flash unit to the hotshoe via a 3 to 4 foot cable. This allows the photographer to hand hold the flash unit and get creative with directional lighting. The cord also allows the flash to mount to a flash bracket, making the flash sit approximately 12 inches higher than usual above the camera. This distance helps reduce shadows behind subjects and the occurrence of red eye reflections. Your camera's hotshoe will have either one round metal contact point or a pattern of multiple points. If you have one contact point, your camera utilizes a fully manual external flash unit. Your camera and flash will not communicate exposure data, therefore you program with the flash for the approximate distance between the camera and subject for each scene. If you notice several contact points, your camera has a dedicated hotshoe and can utilize fully automatic flash units. Once attached the flash and camera will exchange data about each scene, allowing you to use the flash in an automatic mode. You won't need to change the flash settings each time your subject changes his distance from the camera. To ensure compatibility, use a flash unit made by the same manufacturer as the camera. Due to the configuration of the contact points, flash units are not interchangeable among camera brands. Hotshoes can accumulate corrosion. With periodic use, you'll probably never notice any visual build up of the white, flaky debris, but you may notice a lack of electronic connection between the accessory and the hotshoe. To keep the metal contact points clean, rub a pencil eraser over the metal parts of the hotshoe and the metal contact points on the base of the accessory. Wipe away any eraser shavings, and you're done. Try to clean your hotshoe once a week if you use it daily. If you only use your camera for special events or a few times a month, clean the hotshoe once a month. Roshe Run PRM Women Peppermint Candy Sail ,Wmns Nike Free Run 3 Cool Grey Silver Sail University Red Men Nike Free Run 3.0 Total Orange Neon Reflective Silver Wolf Grey Men Nike Free Run 3.0 V4 Black Gym Red Wolf Grey Nike Free Run 3 Anthracite Gray Reflect Silver New Green Women Men Nike Free Run 3.0 V4 Gym Red Reflective Silver Pro Platinum Women Nike Free Run 3 Gym Red White Reflect Silver Volt Men Nike Free Run 3.0 Chrome Yellow Reflect Silver Platinum White Men Nike Free Run 3.0 V4 Wolf Grey Reflect Silver Blue Glow Men Nike Free Run 3.0 Chrome Yellow Reflect Silver Platinum White Intro VO: Welcome to the Ideas Lab Predictor Podcast from the University of Birmingham. In each edition we hear from an expert in a different field, who gives us insider information on key trends, upcoming events, and what they think the near future holds. Lucy: Our podcast today was recorded on the 16th January 2014 in the Barber Lecture Theatre in conversation with Dr Richard Clay who is Senior Lecturer in the History of Art at the University of Birmingham. It a question and answer session following a special screening of Richard documentary for BBC4 called Tearing up History, which has been produced by Furneaux and Edgar. So the questions and answers that follow are recorded after the screening and we re recorded some of the questions just to make the sound a little bit clearer for the podcast. So I began by asking Richard what the challenges were of taking his research and transferring it into something for the screen. Richard: Yeah I do, I have a go. I going to talk loud because it a lecture theatre so I going to project. Is that going to cause you level problems? So, in that programme in one hour, 57 minutes, we trying to sum up what is God, I old now Probably 25 years of my life work, you know, I been focusing on this stuff for such a long time and it trying to figure out which are the bits that are going to be of interest to a broader audience and I used to talking to really smart young people here at the university who have chosen to study the topics I talking about. And I write books that hardly anybody reads but they buy them or they read them because they really interested in it. So the great challenge was trying to sort out the key points of a really complicated story that I know a lot about that would really carry the key messages and that was enormously challenging, really hard, frustrating some of the time and getting into discussions with the production team about I want this in but actually it was really really good for me I think. I think it really helped me to re approach my own work, look at it and think a bit harder than I have to do most of the time professionally about how relevant quite a lot of the things I talk about actually are to the world I live in. It kind of reminded me in a way of why I started studying iconoclasm in the first place. In a weird way it was this has only just occurred to me a kind of re visiting of who I was in my 20s, you know, when I was starting to decide I wanted to study Art History from below, I wanted to study iconoclasm and because I felt it was a way of telling the story of most people encounters with art in a way that art historians tended to ignore. So that both a sort of serious answer and a slightly weirdly autobiographical answer. Lucy: I think you probably had the best audience here for your film that it will ever have because when it on telly, the depressing thing is people there will be on Twitter, they be doing the ironing, you know, while everybody here is sat beautifully and watched for a whole hour. Richard: I was sat with my colleagues and one of them and because you podcasting this I not going to name her was I think either tweeting or texting or something. Lucy: She was obviously tweeting about how brilliant it was. Richard: Yeah, maybe, yeah. Or maybe she was tweeting her colleague next to her about it and asking for her view, I don know. Lucy: The first question from the floor was, has Richard learnt anything about his subject through doing a documentary? Richard: And did I learn something in a new way. Yeah. Richard: For example so look, most of the knowledge that comes across in the film I already knew, mostly it was in my head, you know, the dates, the places, the facts, the images, what we should go and look at, that kind of how we did the film. We figured out, we were going to tell a chronological story where we shoot so we figured where the locations were and then got there, so there would be a conversation where the director would say what are you going to talk about? and I say going to talk about this and he say and then we shoot it and sometimes I get it first time and most of the time I get it second or third time. So a lot of the time I wasn really learning a lot on site. I been to those places, I looked at this stuff before, but some of it was really new. The bit I liked best in the film, and there are bits of it that make my skin crawl and I really uncomfortable with and I embarrassed about and I don think they right. The bit I liked the best was the bit with the wall, with the Latin graffiti which embarrassingly I misread. It says omnia communia and it doesn it says omimea communia, just in case any theologians noticed! So that was amazing and that was a totally serendipitous find. It was being in Paris that meant that I saw it so we were staying on the Saint Louis and every morning you might have to edit this out because I don how the university feels about people talking about smoking in their podcasts but every morning I go downstairs and smoke a fag and I stand on this street and on the first morning I looked down the street and I thought oh, there a church there. On the second morning I thought oh, there a church there, maybe I should go and have a look at it. And I got as far as the main doors and I thought that amazing, all the Fleur de Lys have chipped out. Next morning I went down and thought I go and have a look at it further down the church like it a long church, right, but you know second day there a door with a triangle and there an inscription by the Revolutionaries, they used to store records here during the Revolution Third day, fourth day, whatever, I realised there was this crucifix and that evening I looked it up on my iPhone and there was and I would never have noticed that if I hadn been out and had time to look. And if I in the hotel, I looking up online now, using the Biblioth nationale every hour. I don actually go out and stand in the street really. So there's a lot of time where they setting up the shot and I just standing and thinking and to have a whole week to reflect on this stuff is really good. Lucy: The next question from our audience was whether there was any pressure to sex up the content for the screen. Richard: I just like to make it clear to the podcasters that the person who asking this question has never been in my lecturers. No, not really. I think we wouldn have been there at all if it wasn't for the fact that I thought they thought that I could communicate what I had to say in a way that was engaging. The pressure around, for want of a better phrase because maybe there isn one, up the way I deliver what I have to say about my research, hadn come from the makers or from the BBC. It had come years ago really and sorry, Lucy, but it kind of was Lucy and her team who came to me because they thought I was a good communicator and I had stuff to say and asked me to talk. And then they had to deal with the fact that I wasn actually very good on camera and they filmed me and it was really boring and we all agreed it was a bit boring. So we left it for a while and I thought about it for a bit and concluded it was boring because I was sitting down and it would be more interesting if I was walking around because the people who have been to my lectures, I tend to walk and think and talk at the same time. So they've worked quite a lot with me on, you know, get to the point, how do you make it more interesting. So there wasn't really any pressure and the weird thing is when you with a film crew, what they need is for you to deliver. So the pressure isn conducive, they bend over backwards to the point where I could take the piss out of them about it because they talk about you as being talent and they will do whatever they can to make you not feel pressure, which I not used to that. Lucy: Apart from standing on lots of roundabouts where you look perilously close to being run over a few times. Richard: No, that was exciting. That was exciting. And climbing over that wall with the terrifying sharp spikes in very anatomically terrifying positions, that was exciting too. That was scary actually. Lucy: Another question from our audience for Richard was whether there were any problems with getting access to the graffiti artist and showing his work. Richard: There was a debate with the assistant producer beforehand and we were talking about venues and stuff and she said you want to talk to a graff artist? I said but they got to be really good or I not interested and she found What and the stuff that you saw on the film, the only bits I slightly uncomfortable about it because I standing outside saying what amazing art but you can see the stuff which is actually inside. So What allowed us to use his footage of a film he made which is available online which is astonishing, absolutely astonishing. They just transformed this entire car park; there incredible work in there and Philip Glass allowed him to use the music free and then he allowed us to use the music free. 'So What' is a man on a mission, he an incredibly smart, motivated man. There was no question he was going to work with us once he met me but he said, you know, come down and meet us and he warned the assistant producer that if he didn like me that would be it. But we struck it off. What could have gone wrong? Lucy: Next I asked Richard whether having been through the process of producing a documentary has affected the way that he now watches television. Richard: No, not really. I just don ever watch TV very much. That the truth. The iPad a total revolution to me because it means I can just, you know, I can watch the entire series, every series, of the West Wing repeatedly and I don have to watch anything else apart from Newsnight. I know that might not be quite what you want to hear but it basically the truth. I watch so little telly and I remember talking to the director and the exec and commissioning editors and they say to me who do you think good in broadcasting? and there be an embarrassing silence and I say Paxman? I not a very TV literate man. Lucy: Many members of our audience were postgraduate students in History of Art and the next question was from one of them and that was to ask Richard, having made a documentary would that change the way he approaches teaching the French Revolution. Richard: If the budget allowed, I take you all to Paris and teach you it all in the wild. That would be miles better but otherwise, you know, given the limitations of the lecture theatre or a seminar room, there not, I don think there that much I can do differently. I have found myself this year teaching the French Revolution to undergraduates and I taught a couple of sessions on iconoclasm differently actually, on reflection. So the first one was entirely about more recent and contemporary acts of iconoclasm and it very much around the do we call this? debate and do we call it vandalism, do we call it iconoclasm, do we call it destruction of art, do we call it sign transformation? I never really had the nerve to just do that and to miss out the historical stuff and I can remember if any of my undergraduates I not sure if I recognise them if my undergrads were here now on Friday, we be doing the historical stuff so you need to do the reading. We got Master students in but yeah, actually this isn quite answering the question but you started, Lucy, by asking me about compromises that might have had to have been made and in some ways the most fundamental compromise is that everything I done on French Revolutionary iconoclasm allowed me to in my late 20s start to re imagine how I talk about it and to introduce this idea of sign transformation and talk about value and meaning and apply semiotics to it and I did have the ambition of kind of trying to do a TV programme that was much more engaged with that, the basic tools of semiotics, but the director and producer weren comfortable with that. So there are little bits like a little bit where I looking very pleased with myself and I saying they melted these bells down and that the transformation of symbols That like me getting my own back on the director and I was having a bit of banter with him in Paris saying explained the transformation of signs to the cameraman he totally gets it So anyway, maybe we get another chance at this and see if I can do that. Lucy: The next question that Richard was asked was to what extent was he involved in the editing of the programme. Richard: So quite a bit but not completely, which is good because it suited me. So there was a kind of relationship, there had to be a relationship of trust that I been clear with the production company because we been in discussions for a year and a bit well, probably two years that it was about whether I could trust them or not as to whether I bother doing it, that I didn want to be a TV star, that I had something to say and I had to be allowed to say it my way and I wouldn want to put my name to something that I was uncomfortable with and I ended up just really trusting the fact that they would, they wanted to hear what I had to say and they would honour whatever I felt was right or wrong. So on the other hand, you can ask an art historian to edit a film. I know nothing about film. I know marginally more now having been involved in making one but they did the amazing work of taking this enormous amount of footage which we shot in weird orders and stitching it into a narrative that we only every talked through really. That was their work. So I saw a first edit of it in full and in the edit suite and the exec producer came out and said it starts in the wrong place, that it started very full on with What and it should start much more gently, it BBC Four, you going to have to ease people into this, start with Versailles, start with the Jacques Andr I think it was, that kind of thing, and work up to that. So I sat in on that. I thought it was great, the first edit and they re edited it and then I had another viewing with them and we talked through it and we did voice overs. So during the voice overs I was editing the voice overs saying not saying that, I want to say this and they just be fine with it most of the time or they say can say that, how about this? A bit of negotiation, a bit of horse trading. Lucy: And he was asked who wrote the script for the voice overs. Richard: This is one of the amazing things of working with people in TV, you learn about what they do on a week by week basis. These people get up to speed on a topic incredibly quickly and the next week they working in a totally different area. There isn such a thing as a dull dinner on a shoot because you talking to people who are, you know, week what are you doing, Pete? week, cameraman? I got to go to Siberia, I really worried about it because it 24 hour sunlight and there will just be no breaks you know, are you doing there? we digging up a woolly mammoth. Some Koreans are going to clone it You doing what?! What did you do last week? I was in America were you working on? I was working on this really worrying programme about psychosomatic illness that was actually self harm and it like wow, very very far out. So the director had got on top of the story really effectively. He wrote a first draft of the VOs the voice overs, check me out! and then he sent them to me, I edited, he edited, I edited. I got there, printed it out and then suddenly when you can see the film, you seeing the edits, you got to think and make the decision. I don like all of them but they OK. That was the only change that the BBC requested. Well, there were two changes: one, our voice over at the beginning, a new line, so it a clearer description of what you going to get to see and there quite a lot of multi split screen edits going on which I think are really good actually, so they wanted the sound effects taken out of those, it not very BBC Four. That was fine and in some cases not so many multiple images; they thought it would be confusing to viewers. Fine. Lucy: And what about the non script side of things such as the music and the pace of the programme. Richard: That nothing to do with me. I don disapprove of most of the music. So the director is a really interesting guy. He was in a band, a very successful touring band. He still a recording musician as a sort of hobby but makes money out of it. He very good as well as being an excellent director. He was choosing music and sending it to me. I did send stuff to him. I liked a lot of the stuff, everything actually he was coming up with. I loved the Nine Inch Nails stuff, he re introduced me to Nine Inch Nails and I haven listened to that for years and I realised that it was great, so that all down to him. The pace of it is down to him as well and then in negotiation with the exec, who because he was a commissioning editor, has a very good eye I think for what will or won work with this audience and there be a bit of challenge coming back to the director to re pace bits. But it really interesting to observe how that was being done. Roshe Run PRM Women Peppermint Candy Sail,For years there has been a stereotype that women love having a wide variety of shoes, but is it true? Do women really own more pairs of shoes than men do? Some do and there is nothing wrong with that. Women buy shoes to match outfits and to accommodate their daily activities. Variety is an integral part of happiness in our daily existence, and frankly, we could all benefit from a little change of pace in our outfits now and then. But these days men, women, and children all tend to have more shoes than ever before. This is because we now have shoes to fit a variety of special occasions. We have hiking boots, running shoes, dress shoes, and casual pairs. This is good for comfort, fabulous for fashion, and essential for accommodating our active lifestyles. But this mass of shoes also tends to pile up in a hurry. What are you supposed to do with all of them? Actually, organizing your shoe collection has never been easier than it is today. Here are a few great options for keeping you and your family footwear organized and accessible. Shoes can overtake your bedroom in a hurry. 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It has a zippered, see through cover so that you can easily identify the pair that you are after. Keep it on your closet floor or pull it out from under the bed using the functional handles. No matter where you put it, your shoes will be ready to wear when you store them inside of a Shoes Under organizer. Keeping things in order underneath your bed is a great way to utilize space, but many people have already thought of this idea. You might keep other storage boxes there or you could even have a bed frame that does not accommodate keeping things beneath it. If this sounds like you then you might be interested in the over door shoe rack. You can easily hook this incredible organization solution right over the back of your bedroom or closet door. Already have a mirror or your favorite poster hanging there? Have no fear, because you can also mount this shoe rack right onto your wall. It is available in sizes that can hold either 24 or 36 pairs of shoes. There is no reason to have your favorite articles of footwear scattered about with solutions like this one. When you live with a family or roommates the vestibule in your home can quickly turn into a messy pile of footwear. Many time you don wear the same pair of shoes every time you leave the house, yet you still have a few to pairs that you like to have ready by the door. This area can become disorganized in a hurry if there are multiple people living in the same household. With this melamine shoe cube you can have a handsome and effective shoe organizer available right when you walk in the house. These large cubbies are large enough to hold sandals, casual shoes, high heels, and even some boot styles. Want to spruce up your entryway even more? You can easily place framed photographs, potted plants, or other knick knacks on top of the shoe cube or even in one of the cubbies. This organization solution is made from laminated particle board and requires a little bit of assembly. You can purchase it in either 15 or 25 pair versions. Keep your footwear right where you need them with this fabulous item. Having a place to store your things is crucial to maintaining an organized household. Don let clutter invade your serene environment. Put things in their place with any of these handy organization solutions. The Key to Overcoming Procrastination 6 Ways To Beat the Distractions That Keep You From Getting Work Done Be More Productive and Get More Done by Clearing the Clutter What Does "Getting Organized" Really Mean? Business Systems: Don't Over Complicate Things Organizing for a Move Three Steps to Disaster Prep Create Systems to Organize Children, Husband Life So You Have Time to Explore Your Dreams Organize Your Goals She got the power! The lady with success tied around her little finger. Meet Linda Elze. force of nature, lovable champ, an example to us all. Worldprofit Sales Person of the Year, 2013

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