Here are some Christmas Nail Ideas for all nail lengths.
Here are some Christmas Nail Ideas for all nail lengths.
Merry Christmas or Happy Holidays to those who celebrate!!!
If you are reading this you are probably wondering what to wear for Christmas Eve or Christmas Day. Well look no further I will help you with your dilemma and help you figure out what to wear for your holiday dinner! Here are the following options and of course feel free to customize the looks for your comfort:
You heard of the ugly Christmas sweater, now there’s a ugly Christmas sweater dress. Now you can wear the ugliest and comfiest thing for the holidays.
Do not feel like wearing a dress or maybe you are going to bed afterwards? We got you covered!
Going to a work holiday party? Here are some options to choose from to get inspired from:
And lastly some casual outfit ideas:
And my personal favorite…
Enjoy your Holidays and Happy New Year 2019!!!!!!!!!!!!!!
This is the research behind my Fashion Final for class TA 107. I recommend this class to anyone interested in fashion and costume designing.
The Edo period (江戸時代 Edo jidai) or Tokugawa period (徳川時代) is the period between 1603 and 1868 in the history of Japan, when Japanese society was under the rule of the Tokugawa shogunate and the country’s 300 regional daimyōs. The period was characterized by economic growth, strict social order, isolationist foreign policies, a stable population, “no more wars”, and popular enjoyment of arts and culture. The shogunate was officially established in Edo on March 24, 1603, by Tokugawa Ieyasu. The period came to an end with the Meiji Restoration on May 3, 1868, after the fall of Edo.
Kabuki (歌舞伎) is a classical Japanese dance-drama. Kabuki theatre is known for the stylization of its drama and for the elaborate make-up worn by some of its performers.
Female performers played both men and women in comic playlets about ordinary life. The style was immediately popular, and Okuni was asked to perform before the Imperial Court. In the wake of such success, rival troupes quickly formed, and kabuki was born as ensemble dance and drama performed by women—a form very different from its modern incarnation. Much of its appeal in this era was due to the ribald, suggestive themes featured by many troupes; this appeal was further augmented by the fact that the performers were often also available for prostitution. For this reason, kabuki was also called “遊女歌舞妓” (prostitute-singing and dancing performer) during this period.
The modern all-male kabuki, known as yarō-kabuki (young man kabuki), was established during these decades. After women were banned from performing, cross-dressed male actors, known as onnagata (“female-role”) or oyama, took over. Young (adolescent) men were preferred for women’s roles due to their less masculine appearance and the higher pitch of their voices compared to adult men. In addition, wakashū (adolescent male) roles, played by young men often selected for attractiveness, became common, and were often presented in an erotic context.Along with the change in the performer’s gender came a change in the emphasis of the performance: increased stress was placed on drama rather than dance. Performances were equally ribald, and the male actors too were available for prostitution (to both female and male customers). Audiences frequently became rowdy, and brawls occasionally broke out, sometimes over the favors of a particularly handsome young actor, leading the shogunate to ban first onnagata and then wakashū roles. Both bans were rescinded by 1652.
Noh is often based on tales from traditional literature with a supernatural being transformed into human form as a hero narrating a story. Noh integrates masks, costumes and various props in a dance-based performance, requiring highly trained actors and musicians. Emotions are primarily conveyed by stylized conventional gestures while the iconic masks represent the roles such as ghosts, women, children, and the elderly. Written in ancient Japanese language, the text “vividly describes the ordinary people of the twelfth to sixteenth centuries”. Having a strong emphasis on tradition rather than innovation, Noh is extremely codified and regulated by the iemoto system.
Noh masks (能面 nō-men or 面 omote) are carved from blocks of Japanese cypress (檜 “hinoki”), and painted with natural pigments on a neutral base of glue and crunched seashell. There are approximately 450 different masks mostly based on sixty types, all of which have distinctive names. Some masks are representative and frequently used in many different plays, while some are very specific and may only be used in one or two plays. Noh masks signify the characters’ gender, age, and social ranking, and by wearing masks the actors may portray youngsters, old men, female, or nonhuman (divine, demonic, or animal) characters. Only the shite, the main actor, wears a mask in most plays, even though the tsure may also wear a mask in some plays to represent female characters.
Traditionally, onryō and other yūrei (ghosts) had no particular appearance. However, with the rising of popularity of Kabuki during the Edo period, a specific costume was developed. Highly visual in nature, and with a single actor often assuming various roles within a play, Kabuki developed a system of visual shorthand that allowed the audience to instantly clue in as to which character is on stage, as well as emphasize the emotions and expressions of the actor. A ghost costume consisted of three main elements:
TRANSLATION: faint spirit, ghost
ALTERNATE NAMES: obake, shiryō, bōrei; other names exist for specific kinds
HABITAT: any; commonly found in graveyards, houses, or near the place of death
TRANSLATION: grudge spirit, vengeful ghost
HABITAT: found all throughout Japan
DIET: none; survives solely on its wrath
APPEARANCE: The most dreaded type of yūrei is the onryō. They are the ghosts of people who died with such strong passions –jealousy, rage, or hatred – that their soul is unable to pass on, and instead transforms into a powerful wrathful spirit who seeks vengeance on any and everything it encounters. Onryō appear as they did when they died. Often they were victims of war, catastrophe, betrayal, murder, or suicide, and they usually display wounds or marks indicative of the way they died.
INTERACTIONS: Their motive is always the same: vengeance. Onryō are easily powerful enough to swiftly kill any person; however, they prefer letting the object of their hatred live a long life of torment and suffering, watching those he knows suffer and die. They inflict a terrible curse on the people or places that they haunt. This curse can be transmitted to others through contact like a contagious disease, creating a circle of death or destruction that is far more devastating than any ordinary ghost. They make no distinction in whom they target with their grudge; they just wants to destroy. Moreover, this vengeance can never be satisfied as it can for most ghosts. While most yūrei only haunt a person or place until they are exorcised or placated, an onryō’s horrible grudge-curse continues to infect a location long after the ghost itself has been laid to rest.
Occasionally, an onryō’s curse is born not out of hatred and retribution, but out of intense, passionate love which perverts into extreme jealousy. These onryō haunt their former lovers, exacting their wrath onto new romances, second marriages, their children, and eventual end up destroying the lives of the ones they loved so much in life. Whatever the origin, the onryō’s undiscriminating wrath makes it one of the most feared supernatural entities in all of Japan.
LEGENDS: Unquestionably the most well-known onryō, and one whose grudge-curse exists to this very day, is the ghost of Oiwa: a young woman who was brutally disfigured and then murdered by her wicked and greedy husband in an elaborate plot. Her story is told in Yotsuya Kaidan, The Ghost Story of Yotsuya, and has been retold many times, in books, ukiyo-e, kabuki, and film. Like with Shakespeare’s Hamlet, legend has it that a curse accompanies her story, and that those who retell it will suffer injuries and even death. To this day, producers, actors, and their crews continue to visit the grave of Oiwa in Tokyo before productions or adaptations of Yotsuya Kaidan, praying for her soul and asking for her blessing to tell her story once again.
MORE INFORMATION: They are one of the most feared and relentless forms of yūrei, as their destructive power is enough to cause death and, sometimes, natural disasters, due to the fact that they are Earth-bound spirits (jibakurei).
Their appearance is eerie, often a mutilated, decayed form of their former body, representing the evil nature of their grudge that leads to death.
They are often delivering curses, famines and diseases with them, destroying whatever they touch, as they only exist through blind revenge.
Getting rid of them is almost impossible as they often returns after being exorcised or are just too powerful to be contained.
However, their curse can still be avoided as it does not spread without victims. Their activity area is and will still be limited to the place they are haunting, unless someone spread the curse to further places like a contagious disease.
They are one of the most prolific ghosts in popular culture, often sources of eerie urban legends (Hanako-san, Teke Teke, Kuchisake-onna…) and also appearing as main antagonists in Japanese horror films (Ringu, Ju On, Carved, Teketeke…).
TRANSLATION: slit-mouthed woman
HABITAT: dimly-lit streets and alleys
DIET: none; though enjoys hard candy
APPEARANCE: The spirits of the dead who were killed in particularly violent manners – abused wives, tortured captives, defeated enemies – often do not rest well. One such spirit is kuchisake onna, the ghost of a woman who was mutilated, come back to wreak vengeance on the world. Her name comes from the deep, bloody gash which runs across her face, grinning from ear to ear. She appears at night to lone travelers on the road, covering her grizzly mouth with a cloth mask, a fan, or a handkerchief.
INTERACTIONS: Kuchisake onna sneaks up on her victims in the dark and then asks them if they think she is beautiful: “Watashi, kirei?” If the victim answers yes, she pulls off her mask, revealing a red, blood-dripping, grotesque mouth. Then she asks in a grisly voice if they still think she is: “Kore demo?” If her victim answers no or screams in terror, she slashes him from ear to ear so that he resembles her. If he lies and answers yes a second time, she walks away, only to follow her target to his home and slaughter him brutally that night.
ORIGIN: During the Edo period, a large number of kuchisake onna attacks were blamed on shape-changed kitsune playing pranks on young men. During the 20th century, the blame began to be placed on ghosts, serial killers, and simple mass hysteria, resulting in many kuchisake onna sightings over Japan. A number of clever young people claim to have outsmarted them by delivering quick, confusing answers, or by throwing money or hard candy at her, buying themselves enough time to escape from her wrath and lose her in the darkness.
TRANSLATION: nothing but blackened teeth
ALTERNATE NAMES: often referred to as a kind of nopperabō
HABITAT: dark streets near shrines
APPEARANCE: Late at night a disturbing yokai can be seen loitering near temples and shrines, dressed in beautiful wedding clothes. She calls single young men over to her, who are seldom able to resist her charms. Until of course, they see her up close…
From behind, an ohaguro bettari looks like a beautiful woman wearing a kimono – often a newlywed in her bridal gown. She appears usually at twilight outside of a temple, or occasionally inside a man’s own house, disguised as his wife. At first, her head is concealed, or turned away from any viewers. Any man struck by curiosity who comes closer to speak to her or to get a better look at her face will be surprised as she turns to reveal her face: an ugly, white, featureless dome slathered in thick makeup, with nothing but a huge, gaping mouth full of blackened teeth. She follows up this initial shock with a horrible cackle, sending the man running away and screaming in terror.
ORIGIN: Ohaguro bettari is very similar to noppera-bō in appearance and demeanor. Because of this, she is often blamed, like nopperabō, on a shape-shifting prankster kitsune, tanuki, or mujina looking to have a laugh at the expense of an unwitting human. It has also been suggested that she is the ghost of an ugly woman who was unable to marry. Accurate eye-witness reports are hard to come by due to the embarrassment of the victims at having fallen for such a silly gag. However as no deaths or injuries (other than to pride) have been attributed to ohaguro bettari, and because sightings are rare, a mischievous shape-shifting animal yokai seems to be the most plausible explanation.
Well this is the last blog post for this class CT 101.
The Struggles I have faced in this course:
I have encountered many problems in this course but one thing is for sure, I still dislike Adobe Photoshop. Last semester I took a TA class about Computer Stage Design and while I did learn valuable skills, Photoshop gave me nightmares. The problemI have with Photoshop is that it feels like you should of had some sort prior knowledge with a computer editing program.
Another problem, well it is not really a problem, is coming up with a permanent name for my website. I always change my username because I am unsure what to call myself because my interests changed and not to mention I want a name that stands out. The name I chose for my website is simple because I think I do not need some fancy website name to inform readers they are on a fashion website.
What I learn in this course that I will take with me?
Would I recommend this course to others?
I was recommended to take this course by other journalism and ct majors. And I have to say I did enjoy this taking course and the valuable information I learned. So yes I would recommend this course to others who want to learn how to create a website and other cool techniques.
Will I maintain and keep up this website?
I do not think I will be to afford this website after the year is up due to personal issues and reasons. Although I think will be using this website a lot because I am a journalism major and it would help my career if I had some material online.
The Grade I think I have earned:
I think I had earned a C- in this course only because I feel like I could of put a little more effort into the course. Not to mention most of my assignments were late. I would not be surprised if I receive a horrible grade because I did not work hard enough for a higher grade. I also feel I was not creative enough in this course. It was hard for me to come up with something to write about because I did not want to make a mistake.
On Friday October 26, 2018, I went to see the play Milk Like Sugar by Kirsten Greenidge in the small theater here at York College. The play Milk Like Sugar was about a sixteen year old teenage girl name Annie Desmond who made the decision to get pregnant with her friends. Annie Desmond is played by Ky’Quana McAllister. Talisha is played by Khadijah Myers-Nell. Margie is played by Kassandra Rodriguez. Keera is played by Rayna Sealy. Myrna is played by Amanda Gardner. Malik is played by Gandhy Beauvil and Antwione is played by Rilwan Alaka.
As the play progresses the light, youthful, and optimistic energy that was felt in the beginning of the play soon turns dark, mature, and heavy. While at the tattoo parlor Margie reveals that she is pregnant after this Talisha dropped the bomb revealing her idea that she and Annie should get pregnant as well so that all their babies can grow up together like sisters. The energy still felt light and optimistic even though the reality of being a teen mom is not an easy one due to the hardships that mother will face now. Although the topic of teen pregnancy is a serious issue especially in urban communities the energy still felt pure even if you felt like face palming yourself due to the characters not understanding the severity of the situation.
Each character although different in their upbringings, personalities, and viewpoints of life, had their own dilemma that they had to go through whether they wanted to or not. The actors who performed these characters played them very well and you could feel the emotional intensity of the scenes as if you were in their shoes. Rayna Sealy who plays Keera made me hysterically cry due to her portrayal of the character. Keera presents herself as a religious goody two shoes who comes from a loving two parent household however once Annie gets closer to her, her facade begins breaks apart. As Annie begins to Keera has a breakdown and reveals the truth of her upbringing and how she deserves to live in a happy two parent household. I felt that this part of play impacted me deeply due to the fact that I too longed for a perfect two parent household. The way Rayna Sealy played Keera made me cried hysterically and I had to discreetly wipe my eyes from the tears that were threatening to pour down my face. Rayna Sealy’s portrayal of Keera was very impactful to me and reminded me of my childhood.
Another scene that impacted me was when Talisha lifted up her head revealing the fresh large bruise on her eye and cheek. When my aunt was in her last year of high school, she met a man who ended up causing her to take her own life twenty-three years later. He was extremely and violently abusive of her and never wanted her to finish school or get a job that paid more than he earned. The January of this year she took her life because she couldn’t deal with the pain anymore. When I saw Talisha with that bruise it just made me feel anxious because I know what her future may become if she does not escape it soon.
Milk Like Sugar by Kirsten Greenidge was extremely impactful to me in a way that made me feel deeply sad. It connected to me deeply because I remember when I was in high school and faced similar situations. I remembered being peer pressure into doing things that could of have life altering consequences and I’m grateful that I never did fell for it. The play reminded me of why I wanted to always improve myself and help others especially those who are younger than me because I never want someone make a mistake that will cost them their future or ruin certain experiences.
I was in the play Big Love. The following is my experiences from the play.
Although I am glad Big Love is over, I think I am truly going to miss the moments spent with my cast mates and back stage crew, some of who are my friends. I have performed in plays before college in a program called Opening Act where I acquired skills that helped me with acting. Big Love was the first college play that I performed in that was not a class midterm or final.
Big Love by Charles L. Mee was about these fifty brides who were forced to marry fifty grooms who are in fact their cousins. The three brides and three grooms that the play focuses on are Constantine, Nikos, Oed, Thyona, Lydia, and Olympia. Constantine was played by Jun Hong. Nikos was played by Ishaq Cooke. Oed was played by Ryan Denis. Thyona was played by Katreena Straut. Lydia was played by Starshima Trent. Olympia was played by Nataly Guzman. Piero was played by Yasiel Sanchez. Giuliano was played by Akijah Hall. Leo was played by Jonathan Rodriguez. Bella and Eleanor was played by me.
Big Love was the first play I ever performed in college and it was the most challenging one for me in my honest opinion. I was playing two characters who had two completely different personalities. Bella was grandmother and a mother of thirteen sons, whose father had passed away from a heart attack. She was the most challenging for me to play as because she was supposed to be played by someone with an Italian accent or at least an accent of some sort. Which of course I did not had since the only language I speak fluently in is English and even though I do know Spanish. I do not speak Spanish enough to form an accent. I had to search up YouTube videos of Italian accents so I could practice with it. In the end people liked my accent and thought it was believable but I still think it could of been better and maybe someone else should of been chosen for the role of Bella.
When I originally auditioned for the Fall 2018 plays, I wanted to be casted in Milk Like Sugar but instead I got casted in Big Love. The role I casted for was origninally only Eleanor. Eleanor is upper middle class, housewife, who is visiting Italy with her husband. She is very loud, talkative, and outgoing. When I playing her I was trying to channel every loud and obnoxious women I ever encounter in my lifetime. The audience did not like Eleanor which made me happy because I did not like her either.
Overall, my experiences in Big Love were pleasant despite a few situations where certain castmates were giving others notes. If I was asked to recommend acting to anyone I would in a heartbeat.
Here are my steps to help your hair recover its curls again:
Now that the holiday season is finally upon us, the temperature is starting to drop which means frigid temperatures and dry hair. If you are like me, you probably like to use heat on your hair which we all know is terrible for your hair.
In the past I had made the mistake of using too much heat on my hair without using at least heat protection spray. I would apply rollers to my hair then place my head in the dryer. After the dryer, I would blow-dry hair to straighten out the roots. And lastly I would use the flat iron or straightener to get that pin straight look.
Obviously, that is a lot of heat on hair that has no barrier of protection. Heat protection will not protect your hair completely from the harsh heat but it will help minimize it. Here are some tips you should do to help protect your hair.