The décor is easy and soft hued in the style of a recently renovated Ramada.
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" Elsewhere the hypnotic and soft-hued arrangements take hold like the patiently rollicking "Flowers" and the languid and silky "Lynard Bassman.
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From baby pink paired with creamsicle orange to a lavender and light green combo, read on to find your soft-hued rainbow manicure inspiration.
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When the soundtrack goes electro-pop, the soft-hued lighting (by Jeanette Oi-Suk Yew) and music (by Larry Heinemann) converge to feel, fleetingly, less like Russia than Virgin America.
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While the story certainly skirts (if not embraces) sentimentality and the overripeness of melodrama, the production's soft-hued style — and the sometimes wry tone of Mr. Martin's book — keeps it from curdling into treacle.
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In the pack, you'll find satin-bow lace-ups in a pale-pink wash, metallic Velcro high-tops in high-shine gold and silver, and soft-hued steppers that offer the perfect alternative to boring white ones.
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Then a young senator from Illinois, Mr. Obama stands before a washy background of blue-and-gray stripes, but Ms. Peyton's adoring, soft-hued portrait appears shatteringly sad now that the promise so many saw has been annulled.
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Its release was delayed until after Falling Joys disbanded and appeared in June 1998 on Anchor & Hope, distributed by Shock Records. Liz Armitage of The Canberra Times described the album as an "almost country-medieval record". Australian musicologist Ian McFarlane felt it was "a low-key and low-fi album of soft- hued country 'n' blues tunes" containing "sparse folk/pop tunes and quiet love songs". The duo toured to promote the album.
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Higgie's first solo album, Soon Will Be Tomorrow, is a collaboration with Conway Savage (from Nick Cave and the Bad Seeds). She had started work on the "low-key and low-fi album of soft-hued country'n'blues tunes" in 1996, which was released in June 1998 via Anchor & Hope/Shock Records. Higgie provided lead vocals, guitar and bass guitar; while Savage played piano, organ and keyboards as well as singing. It was recorded by Matt Crosbie at Exeter House, Mount Victoria and co-produced by Higgie and Crosbie.
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The old latticed windows, the stone porch, the walls, the roof, the chimney-stacks, were rich in crayon touches and sepia lights and shades. The trees behind were fine, bold, and spreading; the cedar on the lawn in front was grand, and the granite urns on the garden wall, the fretted arch of the gateway, were, for an artist, as the very desire of the eye." Charlotte Brontë; Shirley (1849) Elizabeth Gaskell described the house when discussing Shirley: "From the ‘Bloody Lane’, overshadowed by trees, you come into the field in which Oakwell Hall is situated... The enclosure in front, half court, half garden; the panelled hall, with the gallery opening into the bed-chambers running round; the barbarous peach-coloured drawing- room; the bright look-out through the garden-door upon the grassy lawns and terraces behind, where the soft-hued pigeons still love to coo and strut in the sun, – are described in Shirley. The scenery of that fiction lies close around; the real events which suggested it took place in the immediate neighbourhood.
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