Music Legs® one piece sheer backseam thigh high stockings with wide lace band and attached garter belt.

Onesize (5'~5'10", 100~175lbs).

Sheer thigh high stockings with backseam from Music Legs®. 100% Nylon.

Onesize (5'~5'10", 100~175lbs).

Sensational Italian made ultra-opaque (120 denier) legging in comfort microfibre, from Intimidea®.

Ankle long leggings (footless tights) in soft comfort waistband. With cotton gusset for comfort.

See sizechart at:
http://www.newlook.com.sg/sizechart.asp?style=ND92018

Sensational Italian made opaque legging in plait/rib pattern. 70 denier, from Intimidea®.

Sheer to waist. Calf long leggings (footless tights) in soft comfort waistband. With flat seams and cotton gusset for comfort.

See sizechart at:
http://www.newlook.com.sg/sizechart.asp?style=ND92057

Beautifully made Italian ultra-opaque low waist woman tights in comfort microfibre.

Sheer to waist. Matt. Soft waistband with cotton gusset for comfort.

See sizechart at:
http://www.newlook.com.sg/sizechart.asp?style=ND92015

Sensational Italian made graduated compression tights in 70 denier. Gives you a relaxing feeling and benefits from the anti-tiring effect with tonic and massage action.

Control top with in soft comfort waistband. With cotton gusset for comfort.

See sizechart at:
http://www.newlook.com.sg/sizechart.asp?style=ND92011

Sensational Italian made ultra-sheer tights in 8 denier. Sheer to waist with invisible toe.

Flat seams for comfort. Cotton gusset for convenience. Semi-matt.

See sizechart at:
http://www.newlook.com.sg/sizechart.asp?style=ND92019

Sensational Italian made fitness cyclist short pants. Knitted with containing special techno fibre with "X-Force" to provide high resistance and durability.

Made with precious soft microfibre for extra comfort and support. Cotton gusset for added protection and comfort.

See sizechart at:
http://www.newlook.com.sg/sizechart.asp?style=ND61007

Beautifully made Italian lingerie - bandeau in comfort microfibre. Anotomic with light support.

Strapless for the sensational look and feel.

See sizechart at:
http://www.newlook.com.sg/sizechart.asp?style=ND11317

Beautifully made Italian lingerie - Beverly Hills bra in comfort microfibre. Anotomic with light support.

Fine straps for the sensational look and feel.

See sizechart at:
http://www.newlook.com.sg/sizechart.asp?style=ND11147

Sensational fitness T-back bra from Italy. Special techno fibre with "X-Force", providing high resistance and durability.

Made with precious soft microfibre for extra comfort and support.

See sizechart at:
http://www.newlook.com.sg/sizechart.asp?style=ND11192

Stylish Italian made You&Me cotton singlet for man. Natural style and comfort for the skin.

See sizechart at:
http://www.newlook.com.sg/sizechart.asp?style=ND20221

Stylish Italian made "V" neck half sleeve T-Shirt. Luxurious seamless T-shirt in soft microfibre for extra comfort.

See sizechart at:
http://www.newlook.com.sg/sizechart.asp?style=ND20023

Stylish Italian made round neck T-Shirt, half sleeves "raglan". Luxurious T-Shirt in soft microfibre for extra comfort.

See sizechart at:
http://www.newlook.com.sg/sizechart.asp?style=ND21845

Beautifully made Italian T-Shirt in comfort microfibre.

Lollo neck half sleeve for the sensational look and feel.

See sizechart at:
http://www.newlook.com.sg/sizechart.asp?style=ND21162

Sensational Italian made teddy with V neckline and long sleeves in laced trim.

Seamless in soft microfibre for comfort. Eye-and-hook crotch area for convenience.

See sizechart at:
http://www.newlook.com.sg/sizechart.asp?style=ND51079

Spear shaped ear decor dangle hooks over ears. Sparkling ear-ring look-alike.

Do not require pierced ear holes. Suitable for young children or adults without pierced ear holes.

Fashion earring in open-leaf pattern design with multi mini clear man-made stones embedded along and a larger one located at center top.

Fish hook for convenience closure.

Comes with display card.

Floral lace bodystocking from Music Legs™. Exquisite look with sexy spaghetti straps and mini bows and straps on the back. Seamless. Open crotch. Black color only. Onesize (5'~5'10", 100~175lbs).

Beautifully Italian made 20den semi-matt woman pantyhose. Sheer to waist with flat seam. Soft waistband with cotton gusset for comfort. See sizechart: http://www.newlook.com.sg/nd/sizechart5.jpg

Beautifully Italian made 20den semi-matt woman pantyhose in low waist>. Sheer to waist with flat seam. Soft waistband with cotton gusset for comfort. See sizechart: http://www.newlook.com.sg/nd/sizechart3.jpg

Beautifully Italian made 100den opaque pantyhose in comfort microfibre.

Sheer to waist. Matt. Soft waistband with cotton gusset for comfort. Nero color only. Sizes 1/2, 3, 4 and 5.

See sizechart:
http://www.newlook.com.sg/nd/sizechart5.jpg

Beautifully Italian made highly stretchable sheer 20den pantyhose with backseam by Intimidea. Sheer to waist with nude toe. Soft waistband with cotton gusset for comfort. Semimatt look. See sizechart: http://www.newlook.com.sg/nd/sizechart3.jpg

Sensational Italian made highly stretchable sheer stayups stockings in 20den by Intimidea®. Comfort silicone lace band. Semi-matt look. See sizechart: http://www.newlook.com.sg/nd/sizechart2.jpg

Sensational Italian made pantyhose highly stretchable sheer women pantyhose in 15den from Intimidea®. Matt look. Reinforced panty area. See sizechart: http://www.newlook.com.sg/nd/sizechart5.jpg

Sensational Italian made pantyhose highly stretchable sheer women pantyhose in 15den size 5 (XL) from Intimidea®. Matt look. Reinforced panty area. See sizechart: http://www.newlook.com.sg/nd/sizechart5.jpg

Sensational Italian made stayup stockings with black backseam in 20den by Intimidea®.

Comes with precious silicone lace band in distinctive stripes pattern. Boarded with foot shape for the better fitting and extra comfort.

See sizechart: http://www.newlook.com.sg/nd/sizechart2.jpg

Sensational Italian made Fishnet tights from Intimidea®.

Knitted in thick durable fibre with more spandex for greater stretchability. With highly elastic comfort waistband. Comes with cotton gusset.

See sizechart: http://www.newlook.com.sg/nd/sizechart2.jpg

Seasons fashion jegging denim from Intimidea®, combining leggings and jeans into one. Microfibre leggings with jeans effect and orange stitches.

Contains breathable microfiber which is highly comfortable. Seamless for additional comfort.

See sizechart: http://www.newlook.com.sg/nd/sizechartg2.jpg

High waist shaping brief with control and shaping effect in high compression. Beautified with jacquard pattern.

Specially designed to smooth the tummy, push up the backside, shape the hips, support the back and improve posture.

Drop 2 sizes! This line guarantees an exceptional support even for the fuller sizes, for smooth look in clothing.

Having pure silver ions encapsulated inside the yarn, this active garment comes with permanent anti-bacterial and anti-odour property.

Sizechart for Slip Controlbody Silver:

Stock replenishment for the following styles of Intimidea® collection:

The Smithsonian Magazine reminds us that "Barns are painted red because of the physics of dying stars", summing up a more detailed post by Google employee Yonatan Zunger on the nature of stars, the atmosphere, and cheap paint found on barns.

This Is What Happens When You Repost an Instagram Photo 90 Times is actually a lovely little demonstration of how JPEG artifacts, edge detection, automatic sharpening, and whatever else Instagram does by default to photos stacks up to quickly make an image decay and deteriorate via processing. The video demonstrates the effects in a nice quick time-lapse way as well.

What color is this dress? is a really strange phenomena currently seen taking over twitter, as people see a blue dress with black lace while others insist it is white with gold. So far, no one can tell why exactly it is happening, other than it is baffling for both sides.

Famous scenes from R-rated films, done in a children's book style by Josh Cooley, an artist at Pixar.

Stryper is back with “When We Were Kings,” a solid album with big riffs and an even bigger message…

Talk about a well-oiled machine…

Measuring marijuana intoxication in drivers has become more confusing since adult-use marijuana was legalized in Arizona…

When Diana Madaras opened Madaras Gallery, naysayers were aplenty…

After his 2013 album “Set You Free” debuted at No. 1 on the Billboard 200 chart, Gary Allan should have had it easy. And by all appearances, he would…

Cat-Scan.com is one of the strangest sites I've seen in some time. I have no idea how these people got their cats wedged into their scanners, or why.

Ursula K. Le Guin's Revolutions - "Le Guin's work is distinctive not only because it is imaginative, or because it is political, but because she thought so deeply about the work of building a future worth living."

"Imaginative fiction trains people to be aware that there other ways to do things, other ways to be; that there is not just one civilization, and it is good, and it is the way we have to be," Le Guin says in Arwen Curry's new documentary, The Worlds of Ursula K. Le Guin.[1,2,3,4] Le Guin spoke in defense of science fiction and fantasy, which were and often still are maligned or outright ignored by critics. But her statement admits another, deeper necessity: We must be trained to imagine. But imagine what? ... A feminist and a critic of capitalism, Le Guin must have known that progress was as much a necessity as it was an uncertainty. Nobody knows exactly what will happen when they set out to do what no one else has ever done. Le Guin's work is distinctive not only because it is imaginative, or because it is political, but because she thought so deeply about the work of building a future worth living. She did not just believe that a society free of consumerism and incarceration, like Shevek's homeworld, could exist; she explored how that society could be built and understood the process would be hard work, and probably on some level disappointing. The future is not a static thing; to its architects, it is always in motion, always mid-creation, never realized. Le Guin's utopianism perhaps explains why her characters exhibit a certain adaptability, as did Le Guin herself. In her work, she mostly eschewed great battles; a reader of her work should not expect to find a clash at Helm's Deep. A Le Guin character may be at war with his basest self, but the health of the body politic can be at stake at the same time. In The Left Hand of Darkness, Genly Ai only completes his mission to bring Winter into the Ekumen after he overcomes his own prejudicial beliefs about the people who live there. Le Guin found herself embroiled in a similar struggle, which she recounts to Curry. As acclaimed as The Left Hand of Darkness became, feminists criticized it because, while Le Guin's alien race changed genders, in their default state they used male pronouns. Genly is male, too. "At first I felt a little bit defensive," she told Curry. "But as I thought about it, I began to see that my critics were right." There's a quiet radicalism about her admission.

Yuval Noah Harari & Natalie Portman - "Yuval Noah Harari sits down with the award-winning actress, director, and Harvard graduate Natalie Portman to discuss his new book 21 Lessons for the 21st Century."[5]

0:57 The myth factory 2:22 The role of fictions 4:38 Fictions and co-operation ...

Balance of power: The Economic Consequences of the Peace at 100 - "Ann Pettifor finds astonishing contemporary resonance in John Maynard Keynes's critique of globalization and inequity."[6]

In December 1919, John Maynard Keynes published a blistering attack on the Treaty of Versailles, signed in June that year. The treaty's terms helped to end the First World War. Keynes's The Economic Consequences of the Peace[(fre)eBook] revealed how they would also pave the way to the Second... This is a bold, eloquent work unafraid of the long view. It contributed to the economic stability of the mid-twentieth century. And in a world still grappling with the socio-economic and environmental costs of globalization, Keynes's critiques — not least of the era's international financial system, the gold standard — remain powerfully germane.[7] Keynes censures the disregard of world leaders for the "starving and disintegrating" people of war-torn Europe. "The future life of Europe was not their concern; its means of livelihood was not their anxiety," he wrote. Keynes, however, was concerned for Europe's future. His book's significance lies in his revolutionary plan for financing recovery not just in Europe, but across the world. Keynes called for a new international economic order to replace the gold standard, which had held from the 1870s until the start of the war. That system had led to a form of globalization that benefited the wealthy, but impoverished the majority and ultimately destabilized both the financial and political systems... For a book published 100 years ago, the contemporary resonance is unsettling. Keynes writes: "England still stands outside Europe. Europe's voiceless tremors do not reach her ... But Europe is solid with herself." In another passage, he notes that the "principle of accumulation based on inequality was a vital part of the pre-war order of society". And in an era innocent of Amazon and containerized shipping, Keynes wrote that wealthy Londoners could order by telephone "the various products of the whole earth" and expect "their early delivery" to their doorstep. The globalized pre-First World War economy was the template for the modern one. Driven as it was by the international financial sector, the consequences of this economic system were predictable: rising inequality, economic instability, political volatility and war. Thus, a bankrupt Germany and its allies (the Central Powers) — all heavily indebted sovereign governments — were to endure increasingly frequent economic crises after 1919. Their creditors, the victorious Allied Powers, made no effort towards a sound and just resolution of these crises.[8,9,10]

Now's the time to spread the wealth, says Thomas Piketty - "His premise is that inequality is a political choice. It's something societies opt for, not an inevitable result of technology and globalisation. Whereas Marx saw history as class struggle, Piketty sees it as a battle of ideologies."[11]

Every unequal society, he says, creates an ideology to justify inequality. That allows the rich to fall asleep in their town houses while the homeless freeze outside. In his overambitious history of inequality from ancient India to today's US, Piketty recounts the justifications that recur throughout time: "Rich people deserve their wealth." "It will trickle down." "They give it back through philanthropy." "Property is liberty." "The poor are undeserving." "Once you start redistributing wealth, you won't know where to stop and there'll be chaos" — a favourite argument after the French Revolution. "Communism failed." "The money will go to black people" — an argument that, Piketty says, explains why inequality remains highest in countries with historic racial divides such as Brazil, South Africa and the US. Another common justification, which he doesn't mention, is "High taxes are punitive" — as if the main issue were the supposed psychology behind redistribution rather than its actual effects. All these justifications add up to what he calls the "sacralisation of property". But today, he writes, the "propriétariste and meritocratic narrative" is getting fragile. There's a growing understanding that so-called meritocracy has been captured by the rich, who get their kids into the top universities, buy political parties and hide their money from taxation. Moreover, notes Piketty, the wealthy are overwhelmingly male and their lifestyles tend to be particularly environmentally damaging. Donald Trump — a climate-change-denying sexist heir who got elected president without releasing his tax returns — embodies the problem... Centre-right parties across the west have taken up populism because their low-tax, small-state story wasn't selling any more. Rightwing populism speaks to today's anti-elitist, anti-meritocratic mood. However, it deliberately refocuses debate from property to what Piketty calls "the frontier" (and others would call borders). That leaves a gap in the political market for redistributionist ideas. We're now at a juncture much like around 1900, when extreme inequality helped launch social democratic and communist parties.

Ideological differences in the expanse of the moral circle - "Do clashes between ideologies reflect policy differences or something more fundamental? The present research suggests they reflect core psychological differences such that liberals express compassion toward less structured and more encompassing entities (i.e., universalism), whereas conservatives express compassion toward more well-defined and less encompassing entities (i.e., parochialism)."[12,13,14,15,16,17]

• In Our Time, The Rapture - "Melvyn Bragg and guests discuss the idea that believers will vanish from the world, touching on religious entrepreneurialism, William Miller, dispensational modernism, premillennialism, and other such eschatological battiness."
• Medieval cannibal babies - "How a collective of intellectuals can engage in the production of unlikely stories to protect a cherished theory."
• Three Decades Ago, America Lost Its Religion. Why? - "'Not religious' has become a specific American identity—one that distinguishes secular, liberal whites from the conservative, evangelical right."[18,19]

Zadie Smith: Fascinated to Presume: In Defense of Fiction - "I could never shake the suspicion that everything about me was the consequence of a series of improbable accidents—not least of which was the 400 trillion–to-one accident of my birth. As I saw it, even my strongest feelings and convictions might easily be otherwise, had I been the child of the next family down the hall, or the child of another century, another country, another God."[20] We should all be reading more Ursula Le Guin - "Her novels imagine other worlds, but her theory of fiction can help us better live in this one."[21]

"The Carrier Bag Theory of Fiction,"[pdf] an essay Le Guin wrote in 1986, disputes the idea that the spear was the earliest human tool, proposing that it was actually the receptacle. Questioning the spear's phallic, murderous logic, instead Le Guin tells the story of the carrier bag, the sling, the shell, or the gourd. In this empty vessel, early humans could carry more than can be held in the hand and, therefore, gather food for later. Anyone who consistently forgets to bring their tote bag to the supermarket knows how significant this is. And besides, Le Guin writes, the idea that the spear came before the vessel doesn't even make sense. "Sixty-five to eighty percent of what human beings ate in those regions in Paleolithic, Neolithic, and prehistoric times was gathered; only in the extreme Arctic was meat the staple food." Not only is the carrier bag theory plausible, it also does meaningful ideological work — shifting the way we look at humanity's foundations from a narrative of domination to one of gathering, holding, and sharing. Because I am, despite my best efforts, often soppy and sentimental, I sometimes imagine this like a really comforting group hug. But it's not, really: the carrier bag holds things, sure, but it's also messy and sometimes conflicted. Like when you're trying to grab your sunglasses out of your bag, but those are stuck on your headphones, which are also tangled around your keys, and now the sunglasses have slipped into that hole in the lining. Le Guin's carrier bag is, in addition to a story about early humans, a method for storytelling itself, meaning it's also a method of history. But unlike the spear (which follows a linear trajectory towards its target), and unlike the kind of linear way we've come to think of time and history in the West, the carrier bag is a big jumbled mess of stuff. One thing is entangled with another, and with another. Le Guin once described temporality in her Hainish Universe (a confederacy of human planets that feature in a number of her books) in the most delightfully psychedelic terms: "Any timeline for the books of Hainish descent would resemble the web of a spider on LSD." This lack of clear trajectory allowed Le Guin to test out all kinds of political eventualities, without the need to tie everything neatly together. It makes room for complexity and contradiction, for difference and simultaneity. This, I think, is a pretty radical way of looking at the world, one that departs from the idea of history as a long line of victories. Le Guin describes her discovery of the carrier bag theory as grounding her "in human culture in a way I never felt grounded before." The stick, sword, or spear, designed for "bashing and killing," alienated her from history so much that she felt she "was either extremely defective as a human being, or not human at all." The only problem is that a carrier bag story isn't, at first glance, very exciting. "It is hard to tell", writes Le Guin, "a really gripping tale of how I wrested a wild-oat seed from its husk, and then another, and then another, and then another, and then another, and then I scratched my gnat bites, and Ool said something funny, and we went to the creek and got a drink and watched newts for a while, and then I found another patch of oats..." As well as its meandering narrative, a carrier bag story also contains no heroes. There are, instead, many different protagonists with equal importance to the plot. This is a very difficult way to tell a story, fictional or otherwise. While, in reality, most meaningful social change is the result of collective action, we aren't very good at recounting such a diffusely distributed account. The meetings, the fundraising, the careful and drawn-out negotiations — they're so boring! Who wants to watch a movie about a four-hour meeting between community stakeholders? ... We will not "beat" climate change, nor is "nature" our adversary. If the planet could be considered a container for all life, in which everything — plants, animals, humans — are all held together, then to attempt domination becomes a self-defeating act. By letting ourselves "become part of the killer story," writes Le Guin, "we may get finished along with it." All of which is to say: we have to abandon the old story.[22]

Future Tense Fiction: Stories of Tomorrow Has Arrived - "A thought-provoking excursion into the futures we would and would not want to live in."[23]

21-Year Old WWII Soldier's Sketchbooks Reveal a Visual Diary of His Experiences

A visual diary with 158 pencil sketches brings to life the wartime experience of noted architect Victor A. Lundy, who served in the U.S. 26th Infantry Division during World War II. In 1942, Lundy was 19, studying to be an architect in New York City. Excited about rebuilding Europe post-war, he and other college men enlisted in the Army Special Training Program (ASTP). But, by 1944, with D-Day planned, the Army needed reinforcements, and Lundy and his company were thrown into the infantry. Lundy couldn't believe it and recalled during an oral history interview that during lectures, he "never listened, I was busy sketching." But soon, "I sort of took to it. ... war experience just hypnotizes young men." Lundy, who is now 92, recalls his inability to listen during lectures. “I was busy sketching,” he admits. During his time in the infantry, he continued to sketch in his pocket-sized notebooks. The drawings, which were created between May and November 1944—when Lundy was wounded—take us from his initial training in Fort Jackson to the front lines in France. The vivid images show everything from air raids to craps games for cigarettes. A sense of longing for home is a recurring theme in his sketches, which include detailed drawings of his bunk as well as particularly dream-like drawing, titled Home Sweet Home, that shows a soldier lounging on a hammock. Lundy, who went on to have an acclaimed architecture career, donated his eight sketchbooks to the Library of Congress in 2009. The sketchbooks have all been digitally archived and are now available for viewing online. Lundy’s gift is a precious one, as in this age of continued war and terror it is more important than ever to learn from our past history.

CBC article here. May we all breathe the free air of our souls. Obituary here.

Beale Street Caravan brings the Sounds of Memphis to an international public radio audience with live concert performances from contemporary masters of blues, soul, folk, and rock ‘n roll. Hosts Pat Mitchell-Worley and Kevin Cubbins also feature segments from industry insiders, writers, and musicologists.

There's been a tremendous uptick in travel abroad since the lifting of COVID-related restrictions…

In the spring of 2020, Andrea Walker Warren and her husband, Matt Warren, found themselves in Munich, contemplating moving back to the United States…

There are what you might call "traditional" paths in academia that advance in a very linear way…

The weaponizing of words is poisoning our body politic…

The Washington State Liquor and Cannabis Board recently released sales and tax data from fiscal 2024 — July 1, 2023, through June 30, 2024…