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Tempat Jual Obat Pengencang Payudara Ayla Breast Care NASA Alami di Lebak

AYLA BREAST CARE

KRIM PERAWATAN PAYUDARA ALAMI

Di pengujung tahun 2014 ini, PT NASA (Natural Nusantara) secara resmi meluncurkan AYLA Breast Care, Produk perawatan payudara dengan bahan alami sehingga aman digunakan untuk bisa mewujudkan harapan Anda sebagai wanita yang selalu ingin tampil indah dan proporsional.

Memiliki payudara indah, kencang dan proporsional pastilah selalu menjadi dambaan setiap wanita. Saat ini, sudah banyak cara untuk dapat mewujudkan hal tersebut, akan tetapi kalau anda menginginkan itu bersifat alami, maka semua itu bakal bermuara pada estrogen, hormon alami di dalam tubuh yang bisa membuat seseorang menjadi terlihat perempuan. Estrogen disini bertanggung jawab dalam mengatur siklus menstruasi dan pertumbuhan payudara.

Begitu pentingnya hormon estrogen pada wanita hingga membuat para ahli berusaha mendapatkan estrogen dari alam dan tumbuh-tumbuhan yang dikenal dengan nama Phytoestrogen. Dari banyak penelitian didapatkan bahwa kandungan Phytoestrogen yang paling tinggi terdapat pada tanaman sejenis umbi-umbian yang bernama Pueraria mirifica. Pueraria mirifica mempunyai zat aktif yang bernama Miroestrol dan Deoxymiroestrol yang sudah terbukti 3.000 kali lebih kuat dibandingkan estrogen dari kedelai (Dr. Garry Gardon MD).Gambar AYLA Breast Care NASA

Ayla Breast Care merupakan krim perawatan payudara yang memiliki bahan aktif dari ekstrak Pueraria mirifica.

Manfaat AYLA Breast Care NASA

Manfaat dan khasiat yang akan didapatkan dengan memakai krim perawatan payudara Ayla dari PT NASA diantaranya adalah:

  • Merawat dan mengencangkan payudara.
  • Melancarkan peredaran darah dalam payudara.
  • Memelihara kesehatan payudara.

Komposisi AYLA Breast Care

  • Aqua
  • Stearic Acid
  • Pueraria mirifica root Extract
  • Citric Acid
  • Dimethicone
  • Triethanolamine
  • Metil Paraben
  • Propil Paraben

Keunggulan AYLA Breast Care

  • Sudah menerapkan Nano Technology Plus Bioenergy sehingga lebih efektif dalam pemakaian karena lebih mudah dan cepat diserap serta lebih hemat karena dosis pemakaian lebih irit.
  • Telah memiliki ijin Balai POM sehingga Anda akan lebih aman dan nyaman dalam menggunakannya. POM NA 181 401 004 62

Cara Pemakaian AYLA Breast Care

  • Bersihkan payudara dengan air hangat terlebih dahulu agar proses penyerapan krim dapat berjalan dengan baik.
  • Gunakan kurang lebih 30 menit sebelum tidur.
  • Oleskan krim secara merata pada seluruh bagian payudara kecuali pada bagian puting.
  • Lakukan pijatan dengan gerakan melingkar dan perlahan.
  • Untuk hasil lebih optimal, lakukan pijatan melingkar selama 10-20 kali dan diamkan hingga kering dan menyerap.

Bisa tampil cantik dan menawan di hadapan sang suami tercinta adalah sebuah kepuasan tersendiri bagi seorang istri. Bukan menjadi rahasia umum lagi bahwa salah satu hal yang disenangi seorang suami adalah melihat istrinya tampil cantik dan memiliki tubuh yang indah.

Anda pernah memakai Cream Pembesar Payudara Lainnya tapi tidak ada perubahan yang signifikan sesuai keinginan Anda???

Segera beralih dengan memakai AYLA BREAST CARE NASA, Anda akan memiliki Ukuran Payudara yang Proposional yang di bantu oleh TEAM AHLI HERBALIS dari TOKO OSHIMURA. FREE KONSULTASI !!!


TOKO OSHIMURA adalah Distributor Resmi yang memasarkan produk-produk kesehatan herbal produksi PT Natural Nusantara (NASA). Kami melayani pembelian retail/eceran maupun dalam partai besar. Untuk pembelian bisa dilayani dengan cara belanja offline langsung melalui kantor pemasaran kami maupun dengan cara delivery ke alamat yang Anda inginkan.

Order Anda tergaransi sampai ke alamat dengan jasa pengiriman berasuransi. Apabila terjadi kerusakan barang atau kehilangan barang selama masa perjalanan pengiriman jarak jauh menggunakan jasa ekspedisi, maka 100% produk akan diganti.


Ghostly Voices From Thomas Edisonís Dolls Can Now Be Heard

Though Robin and Joan Rolfs owned two rare talking dolls manufactured by Thomas Edison’s phonograph company in 1890, they did not dare play the wax cylinder records tucked inside each one.

The Rolfses, longtime collectors of Edison phonographs, knew that if they turned the cranks on the dolls’ backs, the steel phonograph needle might damage or destroy the grooves of the hollow, ring-shaped cylinder. And so for years, the dolls sat side by side inside a display cabinet, bearers of a message from the dawn of sound recording that nobody could hear.

In 1890, Edison’s dolls were a flop; production lasted only six weeks. Children found them difficult to operate and more scary than cuddly. The recordings inside, which featured snippets of nursery rhymes, wore out quickly.

Yet sound historians say the cylinders were the first entertainment records ever made, and the young girls hired to recite the rhymes were the world’s first recording artists.

Year after year, the Rolfses asked experts if there might be a safe way to play the recordings. Then a government laboratory developed a method to play fragile records without touching them.

Audio

The technique relies on a microscope to create images of the grooves in exquisite detail. A computer approximates — with great accuracy — the sounds that would have been created by a needle moving through those grooves.

In 2014, the technology was made available for the first time outside the laboratory.

“The fear all along is that we don’t want to damage these records. We don’t want to put a stylus on them,” said Jerry Fabris, the curator of the Thomas Edison Historical Park in West Orange, N.J. “Now we have the technology to play them safely.”

Last month, the Historical Park posted online three never-before-heard Edison doll recordings, including the two from the Rolfses’ collection. “There are probably more out there, and we’re hoping people will now get them digitized,” Mr. Fabris said.

The technology, which is known as Irene (Image, Reconstruct, Erase Noise, Etc.), was developed by the particle physicist Carl Haber and the engineer Earl Cornell at Lawrence Berkeley. Irene extracts sound from cylinder and disk records. It can also reconstruct audio from recordings so badly damaged they were deemed unplayable.

“We are now hearing sounds from history that I did not expect to hear in my lifetime,” Mr. Fabris said.

The Rolfses said they were not sure what to expect in August when they carefully packed their two Edison doll cylinders, still attached to their motors, and drove from their home in Hortonville, Wis., to the National Document Conservation Center in Andover, Mass. The center had recently acquired Irene technology.

Audio

Cylinders carry sound in a spiral groove cut by a phonograph recording needle that vibrates up and down, creating a surface made of tiny hills and valleys. In the Irene set-up, a microscope perched above the shaft takes thousands of high-resolution images of small sections of the grooves.

Stitched together, the images provide a topographic map of the cylinder’s surface, charting changes in depth as small as one five-hundredth the thickness of a human hair. Pitch, volume and timbre are all encoded in the hills and valleys and the speed at which the record is played.

At the conservation center, the preservation specialist Mason Vander Lugt attached one of the cylinders to the end of a rotating shaft. Huddled around a computer screen, the Rolfses first saw the wiggly waveform generated by Irene. Then came the digital audio. The words were at first indistinct, but as Mr. Lugt filtered out more of the noise, the rhyme became clearer.

“That was the Eureka moment,” Mr. Rolfs said.

In 1890, a girl in Edison’s laboratory had recited:

There was a little girl,

And she had a little curl

Audio

Right in the middle of her forehead.

When she was good,

She was very, very good.

But when she was bad, she was horrid.

Recently, the conservation center turned up another surprise.

In 2010, the Woody Guthrie Foundation received 18 oversize phonograph disks from an anonymous donor. No one knew if any of the dirt-stained recordings featured Guthrie, but Tiffany Colannino, then the foundation’s archivist, had stored them unplayed until she heard about Irene.

Last fall, the center extracted audio from one of the records, labeled “Jam Session 9” and emailed the digital file to Ms. Colannino.

“I was just sitting in my dining room, and the next thing I know, I’m hearing Woody,” she said. In between solo performances of “Ladies Auxiliary,” “Jesus Christ,” and “Dead or Alive,” Guthrie tells jokes, offers some back story, and makes the audience laugh. “It is quintessential Guthrie,” Ms. Colannino said.

The Rolfses’ dolls are back in the display cabinet in Wisconsin. But with audio stored on several computers, they now have a permanent voice.

Native American Actors Work to Overcome a Long-Documented Bias

Late in April, after Native American actors walked off in disgust from the set of Adam Sandler’s latest film, a western sendup that its distributor, Netflix, has defended as being equally offensive to all, a glow of pride spread through several Native American communities.

Tantoo Cardinal, a Canadian indigenous actress who played Black Shawl in “Dances With Wolves,” recalled thinking to herself, “It’s come.” Larry Sellers, who starred as Cloud Dancing in the 1990s television show “Dr. Quinn, Medicine Woman,” thought, “It’s about time.” Jesse Wente, who is Ojibwe and directs film programming at the TIFF Bell Lightbox in Toronto, found himself encouraged and surprised. There are so few film roles for indigenous actors, he said, that walking off the set of a major production showed real mettle.

But what didn’t surprise Mr. Wente was the content of the script. According to the actors who walked off the set, the film, titled “The Ridiculous Six,” included a Native American woman who passes out and is revived after white men douse her with alcohol, and another woman squatting to urinate while lighting a peace pipe. “There’s enough history at this point to have set some expectations around these sort of Hollywood depictions,” Mr. Wente said.

The walkout prompted a rhetorical “What do you expect from an Adam Sandler film?,” and a Netflix spokesman said that in the movie, blacks, Mexicans and whites were lampooned as well. But Native American actors and critics said a broader issue was at stake. While mainstream portrayals of native peoples have, Mr. Wente said, become “incrementally better” over the decades, he and others say, they remain far from accurate and reflect a lack of opportunities for Native American performers. What’s more, as Native Americans hunger for representation on screen, critics say the absence of three-dimensional portrayals has very real off-screen consequences.

“Our people are still healing from historical trauma,” said Loren Anthony, one of the actors who walked out. “Our youth are still trying to figure out who they are, where they fit in this society. Kids are killing themselves. They’re not proud of who they are.” They also don’t, he added, see themselves on prime time television or the big screen. Netflix noted while about five people walked off the “The Ridiculous Six” set, 100 or so Native American actors and extras stayed.

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But in interviews, nearly a dozen Native American actors and film industry experts said that Mr. Sandler’s humor perpetuated decades-old negative stereotypes. Mr. Anthony said such depictions helped feed the despondency many Native Americans feel, with deadly results: Native Americans have the highest suicide rate out of all the country’s ethnicities.

The on-screen problem is twofold, Mr. Anthony and others said: There’s a paucity of roles for Native Americans — according to the Screen Actors Guild in 2008 they accounted for 0.3 percent of all on-screen parts (those figures have yet to be updated), compared to about 2 percent of the general population — and Native American actors are often perceived in a narrow way.

In his Peabody Award-winning documentary “Reel Injun,” the Cree filmmaker Neil Diamond explored Hollywood depictions of Native Americans over the years, and found they fell into a few stereotypical categories: the Noble Savage, the Drunk Indian, the Mystic, the Indian Princess, the backward tribal people futilely fighting John Wayne and manifest destiny. While the 1990 film “Dances With Wolves” won praise for depicting Native Americans as fully fleshed out human beings, not all indigenous people embraced it. It was still told, critics said, from the colonialists’ point of view. In an interview, John Trudell, a Santee Sioux writer, actor (“Thunderheart”) and the former chairman of the American Indian Movement, described the film as “a story of two white people.”

“God bless ‘Dances with Wolves,’ ” Michael Horse, who played Deputy Hawk in “Twin Peaks,” said sarcastically. “Even ‘Avatar.’ Someone’s got to come save the tribal people.”

Dan Spilo, a partner at Industry Entertainment who represents Adam Beach, one of today’s most prominent Native American actors, said while typecasting dogs many minorities, it is especially intractable when it comes to Native Americans. Casting directors, he said, rarely cast them as police officers, doctors or lawyers. “There’s the belief that the Native American character should be on reservations or riding a horse,” he said.

“We don’t see ourselves,” Mr. Horse said. “We’re still an antiquated culture to them, and to the rest of the world.”

Ms. Cardinal said she was once turned down for the role of the wife of a child-abusing cop because the filmmakers felt that casting her would somehow be “too political.”

Another sore point is the long run of white actors playing American Indians, among them Burt Lancaster, Rock Hudson, Audrey Hepburn and, more recently, Johnny Depp, whose depiction of Tonto in the 2013 film “Lone Ranger,” was viewed as racist by detractors. There are, of course, exceptions. The former A&E series “Longmire,” which, as it happens, will now be on Netflix, was roundly praised for its depiction of life on a Northern Cheyenne reservation, with Lou Diamond Phillips, who is of Cherokee descent, playing a Northern Cheyenne man.

Others also point to the success of Mr. Beach, who played a Mohawk detective in “Law & Order: Special Victims Unit” and landed a starring role in the forthcoming D C Comics picture “Suicide Squad.” Mr. Beach said he had come across insulting scripts backed by people who don’t see anything wrong with them.

“I’d rather starve than do something that is offensive to my ancestral roots,” Mr. Beach said. “But I think there will always be attempts to drawn on the weakness of native people’s struggles. The savage Indian will always be the savage Indian. The white man will always be smarter and more cunning. The cavalry will always win.”

The solution, Mr. Wente, Mr. Trudell and others said, lies in getting more stories written by and starring Native Americans. But Mr. Wente noted that while independent indigenous film has blossomed in the last two decades, mainstream depictions have yet to catch up. “You have to stop expecting for Hollywood to correct it, because there seems to be no ability or desire to correct it,” Mr. Wente said.

There have been calls to boycott Netflix but, writing for Indian Country Today Media Network, which first broke news of the walk off, the filmmaker Brian Young noted that the distributor also offered a number of films by or about Native Americans.

The furor around “The Ridiculous Six” may drive more people to see it. Then one of the questions that Mr. Trudell, echoing others, had about the film will be answered: “Who the hell laughs at this stuff?”

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