Marthecaa.blogg.no

Ja nå skjer det saker i blogg verdenen. Plutselig spratt det opp en Marthe på topplista på blogg.no, så jeg måtte jo sjekke ut hva det dreide seg om. 

Det er jo alltid noe spesielt, når noen plutselig kommer til topps helt ut av det blå. 

Og ganske riktig. Hun hadde nemlig skrevet et innlegg om at folk kaller henne feit, om kropps idealet i dag og slankepress. Det finner man her http://marthecaa.blogg.no/1340926700_du_e_s_forbanna_feit_.html#comment

Og det skapte jo selfølgelig furiore blandt folk. Og det gjelder meg også. Altså, hvordan i alle dager kan noen kalle henne feit?? Altså, hvis hun er feit, hva er jeg da! Det blir ikke noe bikini bilder her med det første i hvertfall hehe. Nei, men ærlig talt, hun er da tynn.

Og noe som også er ille, er alle kommentarene om at hun er ei flott jente med former. Med former?? Hun er da helt vanlig slank. Ikke noen utpregede former her. Og det er helt greit.

Men hvis hun er ei jente med former, hva er disse da?

Da er vel disse damene feite da. Og jeg en flodhest. Jeg blir helt oppgitt jeg.

You'll be in my heart

Jeg syns den sangen her er så fin! Jeg hadde helt glemt den, selv om jeg tross alt hørte på den non stop hele skoleturen på Runde i 8.klasse, da jeg fikk låne Disney cden til Siw Anita. Det var ikke det at jeg brydde meg en døyt om Tarzan filmen, som sangen er fra. Men den er jo så fin!

Jeg tror ærlig talt jeg kunne giftet meg med Phil Collins. Han skriver jo så mange fine sanger og virker veldig hyggelig. Han skulle kanskje hatt litt hår da. Vært litt høyere, for han er ganske lav. Og vært sånn 20-30 år yngre. Men uansett.

Ehhem.... jada!

Blu-ray Review: The 39 Steps (Criterion)

The 39 Steps was Alfred Hitchcock's first major movie. Sure, he'd made over a dozen movies before, and had entered the suspense genre as early as Blackmail six years earlier, but The 39 Steps was the first time everything just came together: the master's favorite themes, his sense of humor, his timing and rhythm, and his personal touch. With this movie, he emerged, fully formed.

Robert Donat stars as Mr. Hannay, a Canadian on an extended business trip in London. He goes to a variety show and sees "Mr. Memory" (Wylie Watson), a man who can recite any fact. Soon, there's a commotion, and he ends up escaping the theater with a mysterious woman (Lucie Mannheim). She tells him that she's a spy and that the bad guys are close to catching her. She gives him a few bits of information and then is stabbed in the back. Unfortunately, now Hannay has become part of the plot, and worse, accused of her murder.

He follows the clues to Scotland, but secret agent bad guys are hot on his trail. He tries to get a blonde (Madeleine Carroll) on a train to help, but she tries to turn him in. Later, she turns up again, handcuffed to the hero (a favorite motif of Hitchcock's). In another amazing scene, Hannay finds refuge in a religious farmer's cottage. Hannay quickly picks up on the fact that the farmer's pretty young wife (a young Peggy Ashcroft) is miserable under the farmer's strict rule. He charms her into helping him, which leads to one of the movie's best jokes (involving a hymn book). And yet, these two minor characters are left with a moment of sinister threat.

The movie also employs one of Hitchcock's clearest uses of the so-called "McGuffin." Hannay is always trying to figure out what the "39 steps" of the title actually are, and the answer doesn't really matter; only the mystery does.

Perhaps the most miraculous thing about watching this movie 77 years later is just how effortless Hitchcock managed to combine all his particular concerns. He employs his favorite themes (such as the handcuffed lovers, or the falsely-accused man), humor, suspense, and wraps it all up in his particular look and style, and it's seamless. Not a thing feels forced or false. Hitchcock was one of the few filmmakers in history who could make the films that pleased him, but also knew how to play an audience without compromising his own vision.

As with all his best films, The 39 Steps makes it look easy.

The Criterion Collection originally released this movie on DVD back in 1999, and now they have added a remastered DVD and an extraordinary new Blu-ray edition (with an uncompressed monaural soundtrack). The disc includes the old commentary track, recorded by Marian Keane, but includes a new liner notes essay, by David Cairns. The disc also includes the Lux radio broadcast and production design drawings from, both on the old DVD. New extras include "Hitchcock: The Early Years," a documentary about Hitchcock's pre-war years, footage from a 1966 TV interview with Hitchcock, a visual essay by scholar Leonard Leff, and audio excerpts from Francois Truffaut's interviews.

Tips: Billige hairextensions

Snublet tilfeldigvis inn på Luxstyle.no i dag, pga en annonse på facebook. Og der er det salg på extension!

Så om noen har tenkt på å kjøpe seg det, hvorfor ikke bestille der? 

Jeg har ikke prøvd det før, men det virker da som folk er fornøyde. 

Det koster altså 400 kr for en pakke med 80 gram på 50 cm. Og håret er asiatisk. Etter hva jeg har erfart, burde man da ha en pakke for tykkere hår, hvis man har ganske langt hår fra før av. Og to pakker for lengde og fylde, hvis man har kortere hår. Vi vil jo ikke ha rotte hale heller. 

Her i hvertfall link: http://luxstyle.no/extensions.php

Blu-ray Review: The Hangman (1959)

Every so often, someone tries to make a case for Michael Curtiz as one of the great directors. He was a superb craftsman, no doubt, as is evidenced by his expert work on such disparate movies as Captain Blood (1935), The Adventures of Robin Hood (1938), Angels with Dirty Faces (1938), Casablanca (1942), and Mildred Pierce (1945), among others. But at the same time, he was comfortable, working for Warner Bros. for most of his life, and never exhibited much of an individual personality in his films.

The Hangman is an interesting case, because it came late in Curtiz's career, and made at a different studio, Paramount. Curtiz had made his fair share of Westerns, perhaps most notably the slick, full-color Dodge City (1939). Comparatively, the black-and-white The Hangman feels rather low-budget, and it results in some inspired moments.

Robert Taylor (Devil's Doorway) stars as U.S. Marshal Mackenzie Bovard (known as "the hangman"), on the trail of a robbery suspect, Johnny Bishop (Jack Lord). The marshal has no description of Bishop, and so he goes to a former girlfriend of Bishop's, Selah Jennison (Tina Louise, of "Gilligan's Island"), offering her $500 to rat out her old flame. The marshal arrives in the small town where Bishop is now residing and confides in the local sheriff, Buck Weston (Fess Parker, of The Jayhawkers). He believes that all humans are basically corrupt and that Selah will show up, even when she said she wouldn't.

Just when the marshal starts to believe that some good might exist in the world, Selah does turn up, and he takes out his disgust on her. Yet, she's not so corrupt, as she pretends that Bishop isn't Bishop and tries to warn her old friend away; this is done purely out of goodness, and not romance, since Bishop is newly married and with a baby on the way.

In one remarkable scene, the marshal buys Selah new clothes -- she works as a clothes washer and can't afford anything nice -- and sends her walking across the street. All the men in town stop dead in their tracks, make comments and wolf whistles, or just simply crash into one another. Tina Louise is certainly beautiful, but Curtiz portrays the scene as uncomfortable for her, as if she's trapped. She takes no pleasure in this attention, and it's powerful stuff.

Likewise, Curtiz plays funny games with interiors in this movie. In many Westerns, the hero wouldn't be caught dead checked into a hotel, but the marshal gets a room for himself and one for Selah. The movie introduces an old busybody who develops a crush on the marshal and tries to sabotage him out of jealousy; it's the interior version of the Old West.

Indeed, Curtiz keeps his Western slightly off-kilter throughout. Some of the typical Western thrills we have come to expect are slightly subverted, up until and including the ending, when Selah must make her choice between the marshal and the adoring sheriff. Yet the black-and-white cinematography, music, and editing are all classically pristine, just like in any other Curtiz production. Dudley Nichols, a sometimes heavy-handed writer best known for his collaborations with John Ford, adapted the screenplay. W.R. Burnett reportedly also worked on the screenplay, without credit.

Not long after, Curtiz made a very good John Wayne Western, The Comancheros, which would make a good double bill with The Hangman. Olive Films has released this rarity from the Paramount vaults on a nice-looking new Blu-ray with no extras. Western fans should not pass it up.

#Ma'BuenoQueHeAsiii

Review: Take This Waltz

Take This Waltz, the second feature film directed by actress Sarah Polley, is a crushing, but breathtaking look at romance -- the kind rarely, if ever, portrayed in movies.

Polley's previous film, the outstanding Away from Her, delicately explored longing and heartbreak. Here she goes a step further.

In Take This Waltz, writer Margot (Michelle Williams) is happily married to chef Lou (Seth Rogen). On a business trip, Margot meets the handsome artist Daniel (Luke Kirby). They flirt on the plane and in the cab ride home, but are both shocked to learn that they live just across the street from one another.

Margot resists the temptation to continue seeing Daniel, but it happens anyway, as if beyond her control. Soon, she must make a tough decision.

The movie has more than its share of brilliant scenes. In one, Margot and Daniel take a whirling, spinning carnival ride, with romantic lighting and the sounds of the Buggles' "Video Killed the Radio Star."

The dizzy, giddy mood is interrupted as the lights suddenly snap on, like a slap of ugly reality.

In an even more complex scene, Daniel -- who makes a living pulling a rickshaw -- gives Margot and Lou a ride, simultaneously painting Lou as morally superior, but physically inferior.

Oddly, both men treat Margot with a measure of cruelty -- Lou and Margot play cheerfully brutal little games with one another -- as if cruelty and love were somehow inseparable.

Moreover, in several sequences, Polley uses water, both refreshing, and destructive, as a theme.

In a particularly notable scene, Margot and her sister-in-law (Sarah Silverman) take a shower after an aerobic swim class. Polley plants her camera center stage to capture all the women, Williams (early 30s), Silverman (early 40s) and a group of much older women, fully naked, from head to foot. Their conversation, appropriately, is about how everything shiny and new eventually becomes old and tarnished.

Indeed, this is a harsh lesson that Margot learns in the film's final stretch, which goes in startling directions long after an ordinary romance would have ended.

Williams is extraordinary in a role both deep and rudderless, and Silverman, cynical and grounded despite her character's battle with alcoholism, matches her.

Polley must have been in a dark mood when she wrote this original screenplay, named after Leonard Cohen's 1988 song, but like the song it also contains moments of great beauty, passion, and awe. It's an exemplary achievement.

Sminke tabber

Det er ikke alltid like lett å få sminke til å se ut som det skal. Spesielt ikke når man skal bli tatt bilde av. Hvor mange ganger har man ikke sett seg i speilet før en fest og tenkt at man ser bra ut. Helt til man dagen etter får stygge bilder slengt i fleisen når man logger på facebook. Story of my life!

 Noen ganger er det nemlig sånn at med en gang noen tar fram et kamera og knipser vilt blir man forvandlet til en helt annen person. En person med pudderfjes, rouge i farts striper over ansiktet, øyenskygge i øyenbrynene og mascara på kinnet.

Nå har jo det litt med alkoholen å gjøre også selfølgelig, men det er også sånn at sminke forandrer seg etter lyset og spesielt i blitz. Og derfor kan det være lurt å sjekke sminken i forskjellig lys og ved å ta et bilde av seg selv, for å sjekke at alt er som det skal. 

 Jeg har da gjort mange brølere opp i gjennom, men heldigvis er jeg ikke alene! Bare se her:

Rouge som er for rosa og som matcher øyenskyggen. (Kunne sikkert også nevnt for tynne øyenbryn, for mye foundation og for hard øyesminke, men jeg er av den typen som liker det så...)

Pudderfjes.

For lys concealer.

 Synlig nese kontur. Altså glemt å duse ut de mørke linjene.

Solpudder på bærtur. Huff det er stygt å le, for dette er virkelig forferdelig. Men jeg må bare!

For mørke øyenbryn. Øyenbryn trenger ikke være samme farge som håret. De kan godt være opptil to nyanser lysere, ellers ser man veldig streng ut.

For mye gultone i foundationen.

For lyse nude lips. Nude lips må tilpasses hudfargen man har. Jo lysere man selv er, jo lysere lepper kan man ha. Men hvite er ALDRI nude, det er hvite. Ellers er hun jo veldig pen da!

Alt for lys foundation, og for lange øyenbryn. Been there, so done that! hehe.

Mange har jo lest at å legge litt lyst skimmer der øyenbrynet går ned i en knekk, åpner og løfter øyene.

Og dette er vel kanskje et slags forsøk på det...?

Review: Savages

At one time, a new Oliver Stone movie came out like a threat. Natural Born Killers used a pulp screenplay to say something incendiary about the callousness of media. Soon after, he downgraded with U-Turn. Clearly his heart wasn't in pulp for pulp's sake. Savages continues in that vein.

Aaron Johnson and Taylor Kitsch star as Ben and Chon, growers of primo pot in Laguna Beach. Ben is laid-back and Zen, while Chon is hardened ex-military. They're good enough buddies that they share a girlfriend, known as "O" (Blake Lively). When Ben and Chon refuse to sell their outfit to a larger operation, "O" is kidnapped.

That's about it, for 129 minutes. Working from Don Winslow's novel, Stone's movie tries to cook up some twists and turns, but they depend on these simplistic characters trying to interact or look as if they care. For example, the movie requires Ben to "man up" for certain scenes, but not for others, and it's totally arbitrary. The movie very simply turns to vapor when these guys are onscreen.

Thankfully, Stone livens up with his supporting roles. Benicio Del Toro (who licks Lively's spittle off his face), John Travolta, and Salma Hayek add some much-needed insanity, if only momentarily. For his part, Stone occasionally fiddles with the movie's colors, turning things sun-baked yellow, or tropical fishtank rainbows, but mostly he's asleep at the controls.

In his heyday, Stone wrote a truly lunatic drug movie, Scarface, which earned the word "savage." Savages is more like a snooze.

Review: The Do-Deca-Pentathlon

Brothers Mark and Jay Duplass (The Puffy Chair, Jeff Who Lives at Home, etc.) have done it again, using their sharp writing, appealingly hangdog characters, and no-frills filmmaking, to come up with another winner. Even better, they have cooked up some strong characters and believable family relationships and played them out in an economic 76 minutes. Despite the focus on two brothers, the wife, mother, and son characters are not left behind. 

Middle-aged Mark (Steve Zissis) prepares to take his wife and son back to his childhood home for his birthday party. He hopes his brother Jeremy (Mark Kelly) won't be there. Years earlier, the brothers held a competition, "the do-deca-pentathlon" -- 25 events, including push-ups, pool, arm-wrestling, and breath-holding -- that ended controversially and left their relationship in tatters. But Jeremy does arrive, and it's not long before the brothers start ripping at each other. And thus, the competition begins anew, but Mark must keep it a secret from his wife (Jennifer Lafleur), who fears that it will put Mark under too much stress. Will the brothers' conflict finally be resolved, or will it tear the family apart in the meantime?

Actors Kelly and Zissis conjure up a genuine brotherly chemistry and turn in a couple of emotionally raw -- and physically demanding -- performances. The movie deals with the potentially uncomfortable modern-day man-child syndrome but it points to love and acceptance as a possible solution, and it does so with a generous helping of humor and levity. Indeed, the balance of comedy and drama here is just right, and the movie never runs out of steam, heart, or laughs.

Review: Beasts of the Southern Wild

Beasts of the Southern Wild comes out of the film festival circuit with the kind of hype that filmmakers only dream of. The New York Times reported that it was the best movie to play at Sundance in two decades.

It's certainly not the best movie, but it's one of the most marketable. It has many traditional aspects that critics love, and will probably ride a wave of critical hype -- and therefore dutiful audience appreciation -- to a few Oscar nominations.

Set in the fictional section of New Orleans called "the Bathtub," the movie focuses on six year-old Hushpuppy (Quvenzhané Wallis). She makes a strikingly lovely centerpiece icon with her big head of hair and her little rubber rain boots. She narrates the tale in a quasi-Malickian tone, using her imagination for embellishment, such as conjuring up conversations with her dead mother.

Hushpuppy's father Wink (Dwight Henry) gives her the "tough love" treatment, as if to prepare her for the end of the world. At one point, he simply disappears. When he returns he wears a hospital gown and wristband. (He has "movie sickness," the only symptom of which is a lethal cough.) Then the rains come, and the entire town floods. Wink and a few stubborn residents come together to help each other survive. (The movie has some wonderful cooking sequences.)

Finally, in the last section, Hushpuppy goes on a kind of spiritual odyssey that is easily the best part of the film. She meets a ship's captain who eats nothing but chicken biscuits, and says they make him feel "cohesive." Hushpuppy responds that she'd like that, too. In the end, several giant "beasts" make their way to Bathtub, and straight to Hushpuppy. The movie itself isn't clear if they're a dream, or what they represent, but the press materials suggest that they are ancient creatures freed from melting glaciers by global warming.

So what's the problem, then? To start, the movie opens on Hushpuppy exploring young life around her, looking at baby birds and animals and cradling them in her hands. This should be an extraordinarily delicate moment, but first-time director Benh Zeitlin films it with a clumsy hand-held camera, now a standard-issue visual staple of "independent" movies. The tiny life sits in Hushpuppy's tiny hand, and the camera jerks wildly all over the scene, ruining the mood.

If Zeitlin was trying for a Malicky mood here, then it only goes to prove why Malick's smooth, carefully composed shots work better than lurching hand-held camerawork, which continually draws attention to itself rather than the images.

Another pet peeve: any movie set in New Orleans these days has something to say about Hurricane Katrina, and all the political and climate-related politics associated with it. To the movie's credit, it doesn't actually mention "George W. Bush" or "climate crisis," but it does show images of white city people trying to forcibly evacuate the residents of Bathtub, who wish to stay. The movie takes a side on this issue, whether or not it wants to admit it.

Then there is the theme of the dying father, which seems played for pathos, given the child's point of view. The movie only suggests, rather than dealing with, the father's sickness, which seems like an easy way to get the needed drama without really facing the issue.

Only the movie's last stretch manages to get to the place the movie seems to want to go: a weird balance between imagination and reality. If the movie wants nothing more than to create and sustain a mood, it fails in this until this last reel. The bulk of it, with its hand-held "realism" and the mawkish plot devices, is far too calculated. I envy those critics that saw something "unusual" and "magical" or even downright "weird" in this movie. For me, it was all too ordinary. (If you're looking for something unique, set in Louisiana, about a little girl, and that employs "magical realism," may I recommend Eve's Bayou instead?)

However, I have nothing bad to say about the performances of Ms. Wallis and Mr. Henry, who, with no training, have provided the movie with its greatest strength: their faces and their spirits.

una realidad!!

Review: Neil Young Journeys

Jonathan Demme will be forever known for The Silence of the Lambs (1991) and a handful of other feature films, but horror and suspense has been such a tiny part of his career. At least half his time has been spent making documentaries and music videos, and especially documentaries about music. He made one of the greatest, the Talking Heads concert movie, Stop Making Sense (1984). Now, over the past half-dozen years, he has quietly made a trilogy about that great American rocker Neil Young.

Neil Young: Heart of Gold (2006) showcased Young's then-new album Prairie Wind. I somehow missed the second entry, Neil Young Trunk Show (2009), but now the third, Neil Young Journeys, is here. This one comes from a solo show at Massey Hall. The material is focused on his 2010 album, Le Noise, including tunes like "Love and War," "Walk with Me," "Hitchhiker," "Peaceful Valley Boulevard," and "Sign of Love." It's hard to argue that the new songs are as poetic as the older ones. They're more literal, more blatantly upset about war and more appreciative of love.

He also performs a handful of classics: "My, My, Hey Hey (Out of the Blue)," "Ohio," and "Helpless" among them. Some of them spring powerfully to life, and others don't. One of the most stunning moments comes on a rare song, "Leia," sung with such aching tenderness that you want to weep. Demme films Young in long, unbroken close-ups, sometimes taking in the bare stage and rarely looking at the audience. Unfortunately, he also uses a tiny camera mounted in or near the microphone, which shoots right up Young's nostrils; this can be disconcerting to look at for long minutes at a time.

But for long stretches, while looking so closely at the man's face, you can begin to see the years of wondering, searching, and yearning. Demme also includes some odd backstage footage, such as a weird, solitary ritual -- involving what looks like beer and oranges -- that Young performs just before returning for his encore. Aside from the music, we get a glimpse of the man.

Additionally, between songs, Demme follows as Young and his brother drive around their Toronto hometown (in one of Young's beloved classic cars, a 1956 Ford Crown Victoria), checking out old sites and reliving old memories. Overall, it's not a dazzling or groundbreaking movie, but it's an awfully good one, showcasing one of our most durable and honest rockers. I won't say he's at his best here, because it's only partly true: he's always at his best.

Review: In the Family

In the Family sounds dreadful. It's almost three hours long, has a boring title, and tells the story of a custody battle. But don't let that deter you. This is actually a most astounding feature film debut, daring in more ways that one. It comes from Patrick Wang, whose background is mostly in theater. He also stars in the movie as an unlikely hero: Joey, a soft-spoken, gay Asian man with a soft Tennessee twang.

The movie doesn't openly explain anything, but we pick up as we go along that Joey works as a designer in Tennessee. He fell in love with one of his clients, Cody (Trevor St. John), who recently lost his wife and has a young son. Now it's six years later, and Cody and Joey have been raising the boy, Chip (Sebastian Banes), together, successfully and happily.

Unfortunately, Cody dies and his will -- not updated anytime recently -- stipulates that Chip goes to his sister. Joey finds that as the gay lover and the non-biological father, lawyers are not too eager to help him. Wang unfolds the story in long, matter-of-fact takes, which include flashbacks to earlier days with Cody (their first kiss). The story fleshes itself out in its own time.

One nearly wordless shot really struck me: as Joey and Chip come home from the funeral, the camera is mounted in the kitchen. It doesn't even matter that the characters must walk out of frame to get around the kitchen counter; it just happens. Joey sits down and begins sorting the mail. Chip gets Joey a beer and a soft drink for himself. Joey starts tossing the junk mail on the floor, and Chip retrieves it and places it in the recycling bin. As far as I remember, not a word is uttered. The plot isn't furthered in this moment, but volumes are spoken about these two characters. This may be the first time that Joey has handled the mail -- Cody was always in charge of that stuff -- and Cody and Chip are learning how to be father and son by themselves.

Even when the climax comes in the form of Joey's hearing, the powerful actor Wang pedals his big speech softly... it sounds like a breakfast table confessional, something that just happens rather than something that was planned to knock the audience out of their seats.

I'm not sure why most movies have developed a specific plunge-ahead tempo, ignoring the little moments between that can say so much more. In the Family says very little and moves hardly at all, but it captures invisible rhythms about our lives as human beings that very few American movies ever get close to. This is a truly remarkable film. Wang is currently self-distributing it, so please seek it out. It opened April 27, 2012 in San Francisco, and will hopefully continue to make the rounds around the country.

LOL

LANÇADO O NOVO UNIFORME DO CITY, Para 80 Mil Pessoas

Kompany e Noel estavam juntos na Bélgica, no festival Werchter Rock para o lançamento do novo Uniforme do city, onde foram fotografado pelo companheiro Citizen Kevin Cummins.

"O capitão do city e da Bélgica", anunciou Noel e sua banda, para a multidão 80.000 Pessoas no festival.

Depois da apresentação, a dupla se acomodou para assistir a Espanha v Itália Euro 2012 final. O novo Uniforme Home estará disponível para pré-encomenda a partir de 6 de Julho, a loja do City Terá a Nova Camisa disponível para as pessoas comprarem a partir de 26 de Julho.

"Baby, te tan pegando los Cuernos"

La joven actriz Selena Gomez esta dando mucho de que hablar por unas fotos donde se la ve muy feliz con un amigo de su novio.

Selena Gomez aparece en dichas fotos muy traviesa junto a Flores, quien es también amigo de Bieber.

Dichas fotos han generado rumores sobre una supuesta infidelidad de Selena Gomez pues se lo ve muy felices.

Si bien es cierto que Selena Gomez y Alfredo Flores tienen derecho a divertirse como cualquier pareja de amigos pero hay quienes han encontrado sospechosos sus juegos.

Para empeorar el caso, Justin Bieber no se encontraba presente en el lugar donde SelenaGomez y Alfredo se pusieron juguetones, generando de este modo rumores de un ‘affair’.

A pesar de los rumores Alfredo Flores se comunicó a través de Twitter con Justin Bieber, quien se hallaba con malestar.

El joven le escribió al ídolo:

‘@justinbieber Tengo una bolsa de hielo para tu dolor de cabeza. Te la llevo enseguida’.

Vale señalar que dicho tipo de fotografías dan a entender un posible romance entre ambos.

Hot in the city

Det er knall vær i Bergen i dag! På yr står det 22 grader og overskyet, men det føles varmere og graderstokken min viser nesten 25. Jeg er i hvertfall helt kokt!

 Det har heller ikke vært mange skyer å snakke om i løpet av de timene jeg lå oppe på terassen og stekte meg! Jeg er glad for at jeg har fri og kan nyte været, for i neste uke blir det bare regn, regn og atter regn. Men jeg syns det er litt koselig med regn også da.

Uansett, denne gangen var jeg flink og fornuftig og smurte meg inn med solkrem, som seg da hør og bør. Og ikke fuktighetskrem, så endte opp med bare litt solbrente tær denne gangen. 

Man lærer så lenge man lever.

Brunfargen er desverre ikke eksisterende....

Ashlee Simpson Profile and Images/Pictures 2012

Profile

Famous as: Pop rock singer
Popular for: Album "Autobiography" (2004)
Birth Name: Ashlee Nicole Simpson
Birth Date: October 03, 1984
Birth Place: Waco, Texas, USA
Height: 5' 4.5
Nationality: American
Hair Color: Blonde
Eye Color: Blue
Education: Attended Prairie Creek Elementary
Attended School of American Ballet, New York, USA in 1995
Father: Joe Truett Simpson
Mother: Tina Ann Drew

Ashlee Simpson

Ashlee Simpson

Ashlee Simpson

Ashlee Simpson

Ashlee Simpson

Ashlee Simpson

Ashlee Simpson

Ashlee Simpson

Jessica "La-Budusca" Simpson

Fue hace dos meses que la cantante dio a luz a su pequeña Maxwell, sin embargo en vez de perder, parece que ha ganado peso.


Las recientes imágenes de Jessica Simpson de camino al gimnasio han sorprendido pues a pesar de que Weight Watchers le pagará por bajar de peso, la cantante no sólo no ha logrado perder algunos de sus 25 kilos extras que ganó con el embarazo, sino que pareciera que ha ganado peso en estos dos meses desde que nació su hija Maxwell.
Ya desde embarazada, la cantante recibió varias críticas por no haberse cuidado durante esos nueve meses, sin embargo ahora que ha firmado un contrato de cuatro millones de dólares tiene el compromiso de perder lo antes posible sus kilos de más. Ella se ha comprometido a adelgazar y llegar a pesar 58 kilos. 

Para lograr su objetivo, Simpson lleva a cabo un estricto entrenamiento en el trainer Harley Pasternak, exclusivo gimnasio privado en West Hollywood, donde entrenan figuras como Jennifer Hudson, Lady Gaga y Katy Perry, entre otras, así lo dio a conocer el portal TMZ.

Además, la artista de 31 años, se somete a un régimen alimenticio que incluye cinco comidas al día y se ejercita igual número de veces por semana durante 25 minutos cada sesión.

Su alimentación es alta en proteínas, fibra, grasas saludables y carbohidratos de absorción lenta. Sólo puede ingerir pequeñas dosis de azúcar a la semana.


Por lo pronto a ella le tiene sin cuidado lo que dicen y ha comentado en su cuenta de Twitter:  “Para que todos sepan... Weight Watchers no ha puesto ninguna presión sobre mí!” y más adelante escribió: “Estoy tratando de ser lo más saludable que pueda y me siento muy bien!”.

Ya antes había platicado con la revista People: “Sería bueno sentirse cómoda en un bikini, pero ese no es mi objetivo”… “sólo quiero caber en los jeans!”, admitió Jessica.