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Exploring different make-up techniques and practices from the looks of the 1920s through the 1950s, this guide to creating authentic period faces offers instructions on how to simulate each look, from the curve of the lips to the arch of the eyebrow. Filled with photographs of famous starlets and icons such as Louise Brooks, Greta Garbo, Rita Hayworth, and Audrey Hepburn, as well as complete instructions for re-creating each star's look, this indispensable reference for creating vintage beauty and glamour explains how to achieve everything from bee-stung lips to the perfect Marilyn Monroe mole. Included are period colour charts for powder, rouge, lip colour, eyeshadow, and nail polish that can be taken to any beauty counter for comparison and colour matching to get an authentic look.










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How to Be a Movie Star: Elizabeth Taylor in Hollywood






A narrative account of Elizabeth Taylor's career, with particular attention paid to how the consummate movie star influenced and crafted her image over the years.

Product Description
In the 60s, Elizabeth Taylor's affair with the married Richard Burton knocked John Glenn's orbit of the moon off front pages nationwide. Yet, despite all the gossip, the larger-than-life personality and influence of this very human woman has never been captured. William Mann, praised by Gore Vidal, Patricia Bosworth, and Gerald Clarke for Kate, uses untapped sources and conversations to show how she ignited the sexual revolution with her on-and off-screen passions, helped kick down the studio system by taking control of her own career, and practically invented the big business of celebrity star-making. With unputdownable storytelling he tells the full truth without losing Taylor's magic, daring, or wit.
Readers will feel they are sitting next to Taylor as she rises at MGM, survives a marriage engineered for publicity, feuds with Hedda Hopper and Mr. Mayer, wins Oscars, endures tragedy, juggles Eddie Fisher, Richard Burton and her country's conservative values. But it is the private Elizabeth that will surprise--a woman of heart and loyalty, who defends underdogs, a savvy professional whose anger at the studio's treatment of her led to a lifelong battle against that very system. All the Elizabeth's are here, finally reconciled and seen against the exciting years of her greatest spirit, beauty, and influence. Swathed in mink, staring us down with her lavender eyes, disposing of husbands but keeping the diamonds, here is Elizabeth Taylor as she was meant to be, leading her epic life on her own terms, playing the game of supreme stardom at which she remains, to this day, unmatched.






A Q&A with William J. Mann, Author of How to Be a Movie Star

Q: There have been more books on Elizabeth Taylor than just about any other star in Hollywood. Why do we need another one?
A: As entertaining as some of those books have been, none has really explored how she did it--how she created the culture of celebrity that we have today. Elizabeth Taylor really invented the modern enterprise of fame. Everyone from Madonna to Britney to Miley Cyrus is taking a page from her book.
Q: How were you able to chart this phenomenon?
A: It's helpful to understand how Hollywood works. Publicists and press agents would like us to think everything is spontaneous and real. Hey, those two stars making a movie together just happened to fall in love on the set! That it also provides a publicity bonanza is completely separate. There was no coordination, no manipulation. At least that's what they'd like us to think.
Q: Was that true for Taylor then? Were her legendary romances all manufactured for how they'd play in the press?
A: Not at all. Elizabeth was and is a passionate, independent woman. She always believed in what she was doing. For example, I chronicle the frantic press coverage and feverish public interest in her first marriage, when she was just 18, to Nicky Hilton--who, incidentally, was Paris Hilton's granduncle. As a romantic teenager, Elizabeth was gung-ho about making the marriage work--no matter that MGM was stage-managing the whole thing. They pushed this innocent girl into a marriage that turned out to be abusive and traumatic for her all so they could publicize a film, Father of the Bride, which was timed to come out at the same time. So Elizabeth was a movie bride at the same time as she was a real-life bride, but real life had far more dire consequences.
Q: So that must have been an early lesson for her in star-making, albeit a very difficult one.
A: Certainly she learned early on how the game was played. But what's wonderful about Elizabeth is that she never became jaded or cynical or dishonest. In fact, I think she's one of the most authentic stars ever to come out of Hollywood. She never lied to the public the way other stars did. But previous biographies have limited their approach to simply chronicling her passionate heart--without taking into account how these romances and marriages and scandals actually benefited her career. She really did fall in love with Eddie Fisher and Richard Burton while they were married to other women. But that didn't mean she and those around her didn't understand just how advantageous the headlines could be for Elizabeth.
Q: But it's always been said that the scandals with Fisher and Burton threatened to end her career, that the studios worried the public would turn its back on such a "scarlet woman."
A: That's just the spin. That's what they had to say. It was the old conventional wisdom. But Elizabeth is actually a very important figure in terms of celebrity culture. More than anyone else, she bridges the divide between Old Hollywood and New Hollywood. Old Hollywood, represented by the studios and conservative columnists like Hedda Hopper, expected the scandals to destroy Elizabeth. Indeed, they did their best to make sure she was penalized. But Elizabeth, who was being advised by a new breed of canny publicists and agents, knew that in this emerging Hollywood, there really was no such thing anymore as bad publicity.
Q: She was pretty damn famous, wasn't she? Far more famous than anything we have today, like Britney and Paris and the rest?
A: Absolutely. Especially in the 1950s and 1960s, when everything she did made headlines. Husbands, romances, movies, health crises, diamonds. John Glenn was making his historic orbit of the Earth but many newspapers still went with the Taylor-Burton scandal in Rome as their top story.
Q: And this then became the norm for celebrity culture? It changed the concept of "news."
A: Exactly. In the past, serious publications wouldn't lower themselves to cover movie stars. But suddenly there were editorials about Elizabeth Taylor all across the country. She was an enormous cultural influence. She showed that one could still be famous outside of the old studio structure by engaging her own team of personal managers and press agents. As a child and teenaged star, she learned all those valuable lessons at MGM. Then she took what she had learned and made it work for her on her own. And turned out to be an even bigger star outside the studio than she was before.
Q: Was she a better actress or a better movie star?
A: I think Elizabeth would acknowledge that she excelled more often as "movie star" than she did as "actress." But she could really be damn good at times. Here's something that sets her apart from these modern-day stars who, whether they know it or not, are following her playbook. Elizabeth understood that fame is an exchange with the public. For every headline there needed to be a good movie. You had to give something back. She never simply coasted on her fame. Instead, she turned in some truly outstanding performances in A Place in the Sun, Giant, Cat on a Hot Tin Roof, and Who's Afraid of Virginia Woolf--there are others, but those are her four best, in my opinion.
Q: She's known for so many health crises. There was the time she almost died in London and the whole world watched and waited for news. How true was all that?
A: Everything's true with Elizabeth. Whether or not she was as critical as she and those around her claimed, there's no doubting the sincerity of the experience for her. But even still, that shouldn't discount just how brilliant she and her publicists were in using that experience to her advantage. A year before, in the wake of the Fisher scandal, she had been tarred as Hollywood's home-wrecker. Now she was hailed as Lazarus back from the grave. In the book, I document the fascinating process of how this particular episode played out in the press and then climaxed with her winning her first Academy Award. It's a perfect illustration of the book's title:How to Be a Movie Star.
Q: So you're saying that Elizabeth Taylor was far more shrewd than we've been led to believe.
A: Absolutely. Far, far more shrewd. You know, "smart" has never been the first word that comes to mind when we think of Elizabeth Taylor. Glamorous, beautiful, alluring, sure. But in fact she was perhaps the smartest of all the old stars in knowing how to both maintain her fame and preserve a real private life as well. She didn't sacrifice personal happiness on the altar of fame, as so many others did. She had both.
Q: Would modern-day Hollywood exist without Elizabeth Taylor?
A: Well, it sure would look a heck of lot different. Elizabeth was the first female star to demand a million dollars a picture and a percent of the grosses. The deals she struck in the early 1960s really changed the financial structure of Hollywood. When she heard not long ago that Julia Roberts was getting something like twenty million a picture, she just smiled and said, "I started it." I think it's a perfect irony that a woman who so loathed the old studio system helped create the business model that replaced it.
Q: What else do you reveal about Elizabeth that we never knew before?
A: There's considerable new information on her mother, a fascinating woman in her own right, as well about as Mike Todd, Elizabeth's third husband who really set her on the road to the kind of extraordinary fame she eventually enjoyed. There are some important re-considerations on how she met and married Todd, and the same with Eddie Fisher, and then Richard Burton. It's so important to understand these people's lives in context with everyone else that was happening around them, and I attempt to do that here with Elizabeth, to not have her life read like pages from some old Photoplay magazine.
Q: But to do that, you need fresh sources. Did you find new sources writing the book?
A: I was fortunate to get many people close to Elizabeth to speak with me, both on and off the record. I was also able to get my hands on important documents that had never been used before or severely under-utilized. A journal kept by the producer of Who's Afraid of Virginia Woolf allowed me to get an inside, up-close view of the making of that picture. George Stevens' personal papers recreated the intimate day-to-day production of Giant and A Place in the Sun. Then there were Hedda Hopper's private letters and Mike Todd's FBI files and records from the MGM legal department and depositions Elizabeth gave in the lawsuit Fox brought against her. You really have dig out this new stuff or else you end up relying on old newspaper clippings, which are recycled by every biographer.






Photographs from How to Be a Movie Star: Elizabeth Taylor in Hollywood
(Click on Images to Enlarge)


1939: Elizabeth with her mother Sara, and brother Howard1941: Elizabeth's first publicity photo, Universal Studios


1945: Elizabeth posing with Roddy McDowallEarly 1950s: Publicity photo (photo not included in the book)










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My son's girlfriend adopted the ugliest dog she could find at the local animal shelter… and then she moved into an apartment where she couldn’t have pets. So… I was under the impression that “Shiloh” would be staying with us only until my son could find another home for him. I guess he found a home… he’s been with us for more than a year!

Shiloh is a miniature poodle-mutt of sorts. He is an older dog that had not been neutered (until his adoption), and so he had developed some bad habits, such as “marking” everywhere… in the house. It's not a "bladder control" potty-training issue, but rather a possessive, territorial, Napoleon-complex-thing ("THIS is mine... and THIS is mine... and THIS is mine..." and so on). This situation has necessitated for him to be “diapered” while inside. So, this little tiny scruffy dog wears a “diaper” (usually a tube sock tied around his waist with a lady’s maxi-pad strategically placed to absorb fluids) while in the house.

Shiloh is sort of a “fugly” dog to begin with… add to this a really bad haircut and a “diaper”, and he is truly a pathetic sight.

Interestingly, Shiloh doesn't seem to be humiliated, depressed, or even bothered by his "feminine" impediment! He's completely oblivious! And it works great!

Instead of a poodle, I call him a “piddle” (because he pees)… or most often “Mr. Piddle-Poo”. Despite his bad habit, Shiloh is a sweet, good-natured little lap-dog that has added messy joy to our lives… And he's truly SO MUCH cuter with a proper haircut!











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Charles Stewart Parnell




Charles Stewart Parnell





The Charles Stewart Parnell Monument
Parnell was a protestant landlord whose family estate was at Avondale, Co. Wicklow. He was first elected to parliament in the Meath by-election of April 1875 and joined the Home Rule Party led by Isaac Butt. Parnell was only twenty-nine when he entered parliament. His mother, Delia Stewart, was American. He received most of his education in England, and later on fell in love with an English woman, Mrs. O’Shea. Yet he appeared to despise everything English. Parnell, on entering parliament, found that he could give vent to his anti-English feelings by joining Joseph Biggar in obstructing the work of the House of Commons. They did this by making extremely long and boring speeches on any matter which lay before the House. The obstructionists attracted support in Ireland and in Fenian circles and as they became more popular the prestige of Butt decreased.

On 21 October 1879, Davitt founded the Irish National Land League in Dublin with Parnell as President. The main objectives of the League were to provide tenants with a fair rent, fixed tenure and free sale. The long term aim was that farmers would own the land (peasant proprietorship). The Land League became a hugely popular movement overnight. The Land League taught the Irish farmers to stand on their own feet and assert their rights. Gladstone became Prime Minister for the second time in April 1880 and hoped to pass an emergency Land Bill through parliament that summer. When he was defeated in the House of Lords, the Land League took law into its own hands.

Speaking at Ennis on 19 September 1880, Parnell declared : “When a man takes a farm from which another had been evicted you must shun him on the roadside when you meet him, you must shun him in the streets of the town, you must shun him in the shop, you must shun him in the fairgreen and in the marketplace, and even in the place of worship, by leaving him alone, by putting him in a moral Coventry, by isolating him from the rest of his country as if he were the leper of old, you must show your detestation of the crime he has committed”. This type of “moral Coventry” was used in the cast of Captain Boycott, a County Mayo land agent, who was isolated by the local people until his nerve broke. This led to a new word entering in to the English language, boycotting.

Parnell became the accepted leader of the Irish nationalist movement during the years 1880-1882. He was referred to as the “Uncrowned King of Ireland”. Parnell received considerable financial support from America which he used to channel funds into the Irish Parliamentary Party. (Parnell went to America in 1880 with John Dillon and collected more than 26,000 pounds). Unrest about the Land Question erupted at times into violence. The British government passed a new Coercion Act. Parnell and other leaders were arrested in October 1881 and the League was put down. Gladstone came to terms with Parnell in March 1882 with the “Kilmainham Treaty”, (Parnell was at this time in Kilmainham Jail). The prisoners were released, the agitation about the land question was discontinued and the policy of land reform begun with the Land Act of 1881 continued. On the release of Parnell, Lord Frederick Cavendish was sent to Ireland as chief secretary to begin a new era of peace, but on the day he arrived, he and his under-secretary, Burke, were murdered in the Phoenix Park by members of a secret society, the Invincibles. Parnell condemned the murders and despite the setback Gladstone’s attitude to Parnell and the Home Rule question remained basically unchanged. Parnell always believed that solving the Land Question should be the first step on the road to Home Rule. In December 1882, when the suppressed Land League was replaced by the Irish National League, he ensured that the new organisation was under the control of his party and that its primary objective was the winning of Home Rule. By 1884, Parnell’s authority was so secure that he was able to impose a party pledge. He managed to unite the party into a single unit under his own command and finally overcame one of Issac Butt’s greatest difficulties.

The general election of 1885 was a huge success for Parnell. His party won every seat outside eastern Ulster and Dublin University. Gladstone, who had won a victory for the Liberals in England, convinced by Parnell’s success and gave the Home Rule Movement his support for the rest of his career. The Home Rule Bill of 1886 met with fierce opposition from the Conservatives who saw it as a betrayal of empire and of the loyalist and Protestant elements of Ireland. Gladstone lost office in the general election of 1186, the first in Britain to be fought on the Home Rule question. This marked a turning point in British relations with Ireland, as for the first time a major political party had committed itself to granting at least a measure of self-government to Ireland.

In 1887, the Times of London published a series of articles,











Sigma 50-150 1:2.8 II APO HSM lens and hood




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I'm over the moon getting the Sigma 50-150 f2.8 used for a very decent price.
This lens has been discontinued recently to make way for a new version with Optical Stabilisation. Since Pentax DSLR has in-body stabilisation, OS is not necessary but the extra weight is quite significant. Even at slightly less than 800g, this lens is heavy. An OS version can only be heavier, especially as AFAIK, it has a tripod collar.
An alternative to this lens would be the Pentax DA* 50-135 f2.8 (or Tokina equivalent on Canikon) but it is just way too expensive just for weather sealing. Don't want to reveal the price I paid but I can tell you I save enough money opting for this lens to buy a Limited!
This lens will be my dedicated portrait lens. Focus is fast and silent so probably some short birding is possible. And since the lens neither rotates nor extends during zooming and focusing, I'm tempted to use my Opteka 10x close up filter on it for quick macro.









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So...

Yeah...

Where to begin?

Well, first of all, Tristen's eyes are wonky yet not wonky. This was the first thing I noticed about her. Her left eye is distinctly higher in the socket than her right eye...yet her pupils are level. This is why I tend to frown on inset eyes in anything but BJDs. They inevitably get fucked up. I love the color and expression of her eyes though. Her makeup and eyelashes are flawless.

The second thing I noticed was that her earrings suck ass. They're typical MGA style with the dangly plastic silver shit, but the dangly part is stuck on a hook that doesn't close well enough. The dangles don't dangle so much as constantly fall off.

The rest of her jewelry is fine. I like the ring and bracelet on the right hand and I love both bracelets on the left.

Clothing quality is typical MGA. Those stockings? Sewn to the skirt. And one stocking has a gaping hole so the part the foot goes through hangs almost freely from the leg of the stocking. Typical MGA quality control. But everything was easy to get on and off, so points for that.

Now aside from the eyes, we come to my next biggest problem with this doll. HER HAT STAINED HER GODDAMN HEAD. Right in the middle of her forehead where I can't possibly get her wig to cover the mark. Bratz lovers who always whined when the prototype hat disappeared? Count your fucking blessings. You would have had tons of stained dolls. So my poor Tristen is permanently in this hat.

The wig isn't as bad as Arizona's shitty quality hair or Melrose's "Hi, this is my wig cap" style, but it is a lot more coarse than I expected. It's smooth and brushes nicely, but it's not soft or silky. Comes off fairly easily, but it's not dropping on the floor as much as her earrings do.

I measured her head for those that want to order higher end wigs for these girls. It was a little less than 6".

Body quality is...just okay. I'm used to dolls of this size being higher end, so it's weird for me to feel the lightness of this body. It feels cheap. But it IS cheap. This isn't a $150 Tonner here. The poseability is good, but not as good as Monster High. You go to pose her and expect the arms to go a little farther than they do. I like the overall shape of the body. Hands and feet are pretty.

By the way, 16" doll stuff WILL NOT work for these dolls. It's too big. You could use purses or maybe jewelry or something, but no clothes or shoes.

I'm really disappointed. I wanted to like this line. Hell, I wanted to LOVE this line. But I don't. I have an overpriced doll with a stained head, crappy earrings, a rough wig, and confusing eyes. And a sadly pretty face. A really, really beautiful face. A cute outfit and great shoes.

Lots of potential that MGA just couldn't deliver on.











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COVER GIRL MAKE UP MIRROR. BEST MINERAL MAKE UP.



Cover Girl Make Up Mirror





cover girl make up mirror






    cover girl
  • Cover Girl, Shawn Colvin's third full length album, was released in 1994 on Columbia Records. As the title hints to, all of the tracks are cover songs. It received a Grammy nomination for Best Contemporary Folk Album.

  • A female model whose picture appears on magazine covers

  • a very pretty girl who works as a photographer's model

  • A cover girl is a woman whose photograph features on the front cover of a magazine. She may be a model, celebrity or entertainer. The term would generally not be used to describe a casual, once-off appearance by a person on the cover of a magazine.





    make up
  • makeup: an event that is substituted for a previously cancelled event; "he missed the test and had to take a makeup"; "the two teams played a makeup one week later"

  • Cosmetics such as lipstick or powder applied to the face, used to enhance or alter the appearance

  • constitute: form or compose; "This money is my only income"; "The stone wall was the backdrop for the performance"; "These constitute my entire belonging"; "The children made up the chorus"; "This sum represents my entire income for a year"; "These few men comprise his entire army"

  • The composition or constitution of something

  • The combination of qualities that form a person's temperament

  • constitution: the way in which someone or something is composed





    mirror
  • (of a reflective surface) Show a reflection of

  • reflect as if in a mirror; "The smallest pond at night mirrors the firmament above"

  • Keep a copy of some or all of the contents of (a network site) at another site, typically in order to improve accessibility

  • polished surface that forms images by reflecting light

  • Correspond to

  • a faithful depiction or reflection; "the best mirror is an old friend"











cover girl make up mirror - Bad (Spec)




Bad (Spec)


Bad (Spec)



No Description Available.
Genre: Popular Music
Media Format: Compact Disk
Rating:
Release Date: 16-OCT-2001

"We wanted a tough album," producer Quincy Jones recalls in a bonus interview on this special edition of Bad. Though the 1987 blockbuster would appear to be Michael Jackson's most personal statement to date--9 of its 11 cuts were written solely by him--its appeal also rested more on craft than the idiosyncratic art of Thriller and Off the Wall. At the same time, most of Bad has aged well in spite of its digital brittleness and MIDI treatments of gems like Jimmy Smith's organ solo on the title track. While the third best of his first three Epic solo discs, Bad carries a lot of what people love about Jackson's music. This disc also benefits from two fine outtakes, the exciting, uptempo "Streetwalker" and the Carpenters homage "Fly Away." Either could easily have extended the record's run of hit singles. --Rickey Wright










89% (5)





Look.




Look.





Fix your hair. Spend hours on it. As if it's gonna help anything. Just one more minute, might cause some guy to actually look at it. Making that one lock perfect. Maybe someone will think you're pretty. Maybe it will help you convince yourself that you can be beautiful. So much time spent, it's taking up your life. Your face. Can't you even look at it without grimacing. Critiquing every flaw. Try to be perfect. Blemishes. You're not perfect. But cover them up anyways. Maybe someone will look at your face now and think you're pretty. Make your eyes pop. A little color. Make them stand out. Your eyes are so pretty. Maybe if someone looks at you, they'll see your eyes first. They'll love your eyes. They'll think you're pretty. Maybe a little lip gloss. No guy would want to kiss you with chapped lips. Maybe they'll like you more if your lips shine and your eyes sparkle. Stand back. You hate mirrors. They show you too much. Fix your hair a little. That one strand being out of place is driving you crazy. There, now you're prettier. Every angle. Check every angle. If someone sees you from behind. Is it perfect? Am I perfect? Will they like what they see. Stupid mirror. It's so critical. You're not pretty enough. There's nothing that can fix you. Maybe if you wear something nice. They'll see your clothes and think you're pretty. But you hate getting dressed. You have nothing to wear. Nothing. You're too fat for those pants. Stand on your tippy-toes like when you were little. Now your legs look slightly longer. A shirt. Shirts are bad. You just want to be pretty. Why is this so hard? Mirror, you need a mirror. Fix your hair. Why is everything ugly. Stand there. Look.
If I just had someone else's legs. Then I'd look good in these pants. Anyone else's legs would be better than mine. I need new shirts. My shirts are ugly. They make me look bad. My hair. Fix it again. I don't want anyone to see me. It's a bad day. Wear a sweatshirt. Put up the hood. Maybe. Just stay home. Stop trying to be perfect.
-amber swanson

i'm sorry this is so long. just me.











Who Is This Girl I See Staring Straight Back At Me?




Who Is This Girl I See Staring Straight Back At Me?






On the surface, my alter ego looks like a girl who doesn’t care about anything and doesn’t have any fears. However, although she may seem like she doesn’t care about anything, in reality, she cares too much about everything. While she may come off as being flawless and beautiful, she would actually be quite awkward looking if she took off the lip liner and put on some glasses. Instead of enjoying being a teenager, my alter ego fears it.My alter ego differs from my self portrait because my real self is having the best time she can possibly have with high school. In my self portrait, I am happy and carefree. While looking extremely nerdy, I am also extremely happy with the life I live. My alter ego could not say the same about her fake life. The aspect of me in my alter ego is the idea that I don’t care who thinks what about me. However, instead of acting on this in an “I’m going to be rebellious” kind of way, I act on it in an “I’m going to do the things I love and not care who laughs at me about it” way. To me, this makes life much more enjoyable. When I took my alter ego self portrait, I put on the most rebellious t-shirt I owned which, ironically, was a shirt from the seventh Harry Potter movie. I then opened up a make-up kit that I rarely used and explored the contents, finding products that I would never use in there, such as lip liner. I also teased my hair out so that it looked fuller. After I was in “costume,” I sat on the sink in my bathroom, where there are several bright light bulbs over head. I turned them all onto the highest lighting possible so that my hair would look lighter than its usual chestnut brown. I looked at the reflection of my camera’s LCD screen in the bathroom mirror so that I would get a proper headshot. After taking about 40 pictures, I selected the one that looked the least like me to be edited in Photoshop, where I covered out a couple of little zits and got rid of the red color cast that was over the picture.










cover girl make up mirror







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