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These teal satin flats have been covered in pearl trim and Swarovski crystal jewelry pieces and then hand painted with gold trim to make the tiny lace seashell appliques pop - they are a work of art.Available in full and half sizesThese flats are dyeable. See last picture for examples of color choices available. If you have a specific color that you'd like to match I can do that too :)Thanks for looking!-Kate

Leading up to this celebratory evening, the Town of Danville held special events throughout the year, including movies, concerts and teen events. Attendees are requested to RSVP at http://vt100years.eventbrite.com/. For further information, visit http://www.villagetheatreshows.com/ or call 925-314-3400. “Perspectives: Life in Cambodia and Vietnam,” features photos by Athenian High School art students and is on exhibit at the Village Theatre Art Gallery through Saturday. Children are invited to work with the high school students to create a unique photo collage from the reproduction of these images from 4 to 5:30 p.m. Friday. Preregistration is required to ensure adequate materials are available. The program is free but subject to cancellation due to low enrollment. For further information, call 925-314-3400 or register at www.danvillerecguide.com (bar code 33936).

On Monday, we celebrate Veterans Day to honor our current and former military troops, mermaid's slipper bridal ballet flats wedding shoes - any size - pick your own shoe color and crystal color In the weeks leading up to Veterans Day, 24 streetlight banners in downtown Danville have honored active troops and veterans from Danville, featuring their names, ranks and branches of service, Mark Marcotte, of Danville, led the coordination of names, He said 36 banners will be available for recognition next year, Mark’s son, Brock, is serving in the Marines, Mark said Brock has a banner, as does his late best buddy, Marine Lt, Cpl Joshua “Chachi” Corral, for whom the Danville Fallen Soldier Memorial is dedicated, To sign up for a banner for a Danville veteran or service member, contact Mark at mkmarcotte@aol.com..

Rebellion ends at the moment of embrace. There’s only so long you can convincingly rage against the machine, when your rage is what fuels it. This moment is where we find Eminem and M.I.A., each with a new album — his “The Marshall Mathers LP 2,” hers “Matangi” — and engaged in alternate versions of “This Is 40.”. The barbarians have become brands capable of altering corporate bottom lines. Eminem has hawked oceans of Brisk Iced Tea, fleets of Chryslers and more records than any living rapper. An Oscar gleams on the 41-year old’s mantel in his Kmart mansion in suburban Detroit. Mathangi “Maya” Arulpragasam, 38, has similarly turned cultural sedition into immense success. The daughter of a revolutionary displaced by the Sri Lankan civil war has her own Versace line. Her young son is a scion to the Seagram’s liquor fortune.

Eminem may shout out his underground bona fides on the new album’s “Legacy,” but he’s as responsible as anyone for the mainstreaming of hip-hop, The first “Marshall Mathers LP” transcended genre, It was wincingly profane, emotionally unnerving and captured the millennial zeitgeist, As Eminem put it: The underground spun around and did a 360, You could use the same phrase to describe M.I.A, flipping off 111 mermaid's slipper bridal ballet flats wedding shoes - any size - pick your own shoe color and crystal color million viewers during the 2012 Super Bowl halftime show, The act earned her a $1.5 million lawsuit from the NFL, A response comes on “Matangi’s” “Boom Skit,” in which she assails those angry that she tried to “steal Madonna’s crown.” Her politics are muddled, but the message is clear: neither truffle fries nor television time mitigate her desire to savage those “who don’t get our underground.”..

Eminem’s definition of “underground” specifically referred to a schism in hip-hop culture; M.I.A.’s encompasses the global disenfranchised. The first “Marshall Mathers LP” became a touchstone because Eminem spoke for the millions who dressed, walked and talked like him. “Matangi” implicitly reproaches that same fair-haired, light-eyed majority — or anyone reaping the dividends of economic inequality. While their creative differences might be stark, both spend much of their latest records exploring what’s left to rebel against.

M.I.A.’s fourth album is a dialectic disguised as a dance party, In interviews given last year, she blamed delays on record label executives dismayed at her shift towards positivity, Still, there’s plenty of vitriol mermaid's slipper bridal ballet flats wedding shoes - any size - pick your own shoe color and crystal color aimed at multinational oligarchs, government surveillance and those “whose guns point the wrong way.”, “ATENTion” spotlights the plight of dispossessed refugees, complete with an uncredited writing assist from WikiLeaks founder and M.I.A, comrade Julian Assange, There’s “Bring the Noize,” which takes its name from Public Enemy, and rants against banks, bad tattoos and how she’s the “overweight, heavyweight, female Slick Rick.”..

But “Matangi” also doubles as an exploration of metaphysical and carnal concerns. Its title comes from the Hindu tantric goddess of speech, music and knowledge. There are two songs with the lecherous crooner the Weeknd. The opener is “Karmaggedon,” which reconciles her sky-is-falling past with a nascent desire for inner peace. Even at her most mellow, M.I.A. remains a pop subversive. Whether you buy into the quasi-revolutionary rhetoric or not, she resists initiation into the realm of top 40 cliche. There are no melodramatic ballads, cynical radio grabs or cameos from the hot rapper du jour. “Matangi” is a pan-global, post-Internet tantrum of bhangra beats, hip-hop, Bollywood music, dancehall, EDM and the occasional jazz harp. While it can get tedious, it finds M.I.A. refining her sound and self-identity. It’s engaging but still keeps you at arm’s length. It’s club music for those who can’t countenance (or afford) the bottle-service scam. The influences are acknowledged without nostalgia. What’s left to rebel against is converted into a multimedia art experiment.

Eminem’s aims are comparatively vague, “I’m all out of Backstreet Boys to attack,” he laments on “Evil Twin,” a rare highlight from “MMLP2.” The semi-sequel finds him at a crossroads, scanning the horizon of broken-up boy bands and faded pop stars he once reviled, “Who’s left? Lady Gaga? Mess with the Bieber? Nah,” he continues, It’s an honest admission that the war is over, Yet much of the album ironically finds him lobbing stale and dated pop culture salvos towards a world where CNN brings next-day analysis of Miley Cyrus twerking, He’s the last one making mermaid's slipper bridal ballet flats wedding shoes - any size - pick your own shoe color and crystal color jokes about Kevin Federline, Lorena Bobbitt and O.J, Simpson..

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