Paul Weiland guided the coming with music video, in which Stevens leads a ceremony of women out of the sewage systems and down the streets of London. เปิดวาร์ปสาว released a cover variation of “Some Girls” as a solitary in 2006. The song was identified as the very best Pop Record of 2004 via the Popjustice ₤ 20 Songs Reward. そ し て, Mouth, mouth, tongue, spit, teeth, Vore, bite, feet, butts,
There are numerous activities that can trigger this block including sending a certain word or expression, a SQL command or malformed information. The STEM-EDX map at a magnifying of 20,000 × shows that the biggest proportion of the ground is chalk (in blue in Fig. 3h), with a smaller quantity of lead white (in red in Fig. 3h). [newline] The manner in which the lead white fills up the voids in between the large chalk bits showed that the ground layer is extremely portable. The varying fragment dimension of the lead white in the ground, with its distribution as lumpy aggregates and small particles is consistent with pigment made according to the so-called Dutch stack process 
High resolution multispectral infrared reflectography (MS-IRR) [19, 20] was performed in order to obtain a much more complete visualisation of exactly how the dark underlayers were used. MS-IRR (50 µm/ pixel) was done using two camera systems, the first of which consisted of a Si CCD electronic cam and filter that established the spooky sensitivity to 900– 1100 nm. In the resulting image (Fig. 4b), some infrared-absorbing brushstrokes beneath the surface area were disclosed, but generally in areas where the top paint layers are optically fairly slim. Within the Girl’s headscarf and yellow coat, some folds portrayed in the upper paint layers appear light in infrared photography, as opposed to some infrared-absorbing paint of the underlayers which show up dark. Nevertheless, in a lot of the painting, the infrared-absorbing brushstrokes below the surface area continue to be partly or totally obscured by the optically thicker surface area paint. In 1994, samples were extracted from the light (example 25) and dark (sample 14) components of the Woman’s jacket, placed as cross-sections, and checked out with light microscopy and SEM-EDX 
This is assumed from the SEM-EDX backscatter image (Fig. 11b), which reveals that the lead white bits at the surface are amorphous, in contrast to the distinctive white bits in the rest of the layer  At high zoom, the underlayer( s) are in some cases visible along the sides of fractures, or where the upper layer of paint is thin or abraded. Within her jacket, on the left side where the upper paint is light yellow in colour, the underlayer is a light warm-brown (Fig. 9a). On the other hand, the shadows of the folds up and towards the back of her garment, the underlayer is darker (Fig. 9b).
Aesthetic examination of the remains of the original tacking margins– folded out around all 4 sides– showed that they are not painted, but just covered with the light cozy greyish ground  This recommends that the ground was applied while the canvas was on a large structure, then relocated to a filter with smaller sized measurements prior to Vermeer began painting  On the X-radiograph photo or movie, faint curved strokes near the bottom side of the painting show where the ground is somewhat thicker; this recommends that the ground had the uniformity of a thick paste, and was used with a rounded guide’s knife [14, 15]
Every one of Vermeer’s canvases that were looked into by Costaras  were located to have a closed, ordinary weave. Where the fibers were evaluated, they were established to be flax, showing bed linen strings. The MS-IRR false-colour photo additionally exposes overlapping layers along the contour at the rear of her headscarf (green arrow in Fig. 8). The side of the yellow knotted textile– from atop her head right along the ‘tail’ of the headscarf– was painted on top of the carbon black underlayer of the history. It is unclear whether this is a pentimento to make the headscarf broader, or whether Vermeer deliberately wanted the dark paint to be somewhat noticeable in order to produce a refined change where the headscarf fulfills the history.
AvL did light microscopy and SEM-EDX evaluation at the Ateliergebouw, Amsterdam. RE did the information management for the job, did the computer-assisted thread-level canvas evaluation, lens-corrected and stitched the 3D digital microscope photographs, stitched and signed up the technical pictures, and evaluated the text. EL did the assessment with the 3D digital microscopic lense, provided the appropriate images, and created the section with the experimental method. Microscopic analyses of the ground of Girl with a Pearl Jewelry showed that it contains chalk and lead white (made according to the Dutch pile procedure), with some planet pigments (including umber) and possibly a great black pigment. Additional findings regarding the sort of lead white and binding medium were made using logical techniques that are not reported in this paper. Lead isotope evaluation located that the lead ore in the ground followed various other North paintings, and came from a British resource 
SEM backscattered-electron pictures of the uncoated examples were gotten at the Ateliergebouw (Workshop Structure), Amsterdam, with an FEI NovaNano SEM 450 variable stress electron microscopic lense at reduced vacuum cleaner (70 Pa), and a speeding up voltage of 20 kV. The SEM was outfitted with a Thermo EDX system to generate elemental structure of the pigments within the layers. Johannes Vermeer’s Girl with a Pearl Earring (c. 1665), from the collection of the Mauritshuis, the Hague, is so iconic that the public might not recognise it as a reduced relief three-dimensional object. Layers beneath the surface area– canvas, ground and underlayers– play an important function in the paint’s look however are, partly or totally, concealed beneath the surface. The thread matter from the recent thread-level canvas evaluation resembles the searchings for of the Counting Vermeer job  They determined cusping extending more than 5 cm right into the painting on all four sides, but did not compare key and secondary cusping.
This confirms the results from the evaluation by Groen et al. , but defined that the linseed oil had actually been prepared by heating  Vermeer made subtle adjustments or modifications (pentimenti) during the paint procedure. Where the initial stage includes carbon black, some modifications can be identified using MS-IRR. Vermeer moved the Girl’s ear upwards and repainted the earlobe and ear canal with a brown paint that does not soak up infrared (Fig. 5).
An alternate circumstance is that he used the lines to re-establish some contours on top of the underlayer (Fig. 10b). The Lady’s yellow jacket is an example of how Vermeer exploited the aesthetic result of the underlayer(s) to develop the distinction between light and shade. The comparison in between the front (lit) slide of the jacket and the back (darkness) is apparent in the noticeable light photograph (Fig. 6a). On the front of the coat, the top layer of paint has a nontransparent yellow– brown colour. On the Woman’s back, and where the folds up in the material are in darkness, the nuances of colour array from greenish to bluish.