Celebrity Make Up Secrets - Models Prefer Makeup.
Celebrity Make Up Secrets
- A celebrity (sometimes referred to as a celeb in popular culture) is a person who is easily recognized in a society or culture.
- A famous person
- The state of being well known
- a widely known person; "he was a baseball celebrity"
- fame: the state or quality of being widely honored and acclaimed
- 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"
- constitution: the way in which someone or something is composed
- Cosmetics such as lipstick or powder applied to the face, used to enhance or alter the appearance
- The combination of qualities that form a person's temperament
- 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"
- The composition or constitution of something
- (secret) information known only to a special group; "the secret of Cajun cooking"
- (secret) something that should remain hidden from others (especially information that is not to be passed on); "the combination to the safe was a secret"; "he tried to keep his drinking a secret"
- Something that is kept or meant to be kept unknown or unseen by others
- Something that is not properly understood; a mystery
- A valid but not commonly known or recognized method of achieving or maintaining something
- (secret) not open or public; kept private or not revealed; "a secret formula"; "secret ingredients"; "secret talks"
celebrity make up secrets - Reggie's Face
Reggie's Face Painting: Emmy Award-Winning Make-Up Artist Reveals His Beauty Secrets For African-American Women
Oprah's long-time make-up artist shares his celebrity beauty secrets for African-American women. This wonderfully lavish yet practical book discusses the beauty secrets of some of America's most beautiful and popular African-American celebrities. It tells us how vocalist Leontyne Price colors her lips to enhance their glorious size and how actress Robin Givens shades her cheekbones to make them her most exquisite feature. Drawing from Wells's extensive client list, it examines the most alluring physical attributes, as well as the beauty flaws and remedies of stars such as Chaka Khan, Diahann Carroll, Oprah Winfrey, Iman, Whitney Houston, and more. Wells tells Black women which colors would best accentuate their features and offers application techniques to enable a woman to look her best at all times. Taking into consideration women with light, medium, and dark skin tones, he offers color palates for foundation, powder, blush, eyeshadow, and lipstick. Especially tailored to women of color, this informative and easy-to-use guide is a must-have for the woman who knows that with a little help she can look like a celebrity too.
Dr. KENNETH ANGER I
Godfather of American Experimental Cinema (Fireworks, Lucifer Rising, Scorpio Rising), writer of the Hollywood Babylon books and notorious black magician associated with Anton LeVay, Mick Jagger and Jimmy Page. Here is my article that appeared in Bizarre Magazine: ANGER RISING “Don’t disobey me. Do as I say and don’t talk back!” waspishly screamed the author, artist and filmmaker, waving his fist and practically foaming at the mouth. This was not really an interview; this was more like a strange brief encounter with Kenneth Anger. “I can be charming,” he explained staring straight into my eyes, “but I’m not going to be!” This is a man whose volatile temperament is renowned and recently due to a rare medical condition hadn’t slept for six months. I had been warned though… “He is Mr. Anger,” cautioned a neighbour of the cantankerous director while I awaited his arrival in the lobby of his apartment block. Actually, the author of the Hollywood Babylon books – insightful, salacious and scandalous tales behind the real film industry – and experimental filmmaker described by the American Film Institute as “the magus of cinema”, should be addressed fully as Dr. Kenneth Anger, since he was recently bestowed an honourary doctorate in humanities. Those that do not observe his wishes are risking the very nature of their existence – he is renowned for placing hexes and curses upon those that cross his path, his own beliefs surrounded by the Thelema religion and the black magick rites of Aleister Crowley. My questions were pitched during car journeys, a trip to Grauman’s Chinese Theatre, a tour of his youthful haunts in Hollywood – populated by many black magicians it seems - and a light lunch off Sunset Boulevard. All were interlaced with wonderfully detailed tales of old Hollywood, incredibly elaborate factoids, stories about his long list of celebrity friends and a politically incorrect stance on California’s black and Mexican communities. Kenneth Anger was born in 1930 into the land of make-up and make-believe, amidst the dream factories of Hollywood, California. Since his grandmother was a silent-film wardrobe mistress, he found himself quickly indoctrinated into the film industry, surrounded by the implausible glamour of Tinseltown. Aged four, he was cast as the changeling prince in A Midsummer Night’s Dream (1935) – which bizarrely featured James Cagney as Puck – and later he danced with Shirley Temple, the blonde-haired kid with a lollipop smile. But performing was just an element of his artistic repertoire, for as soon as he discovered his family’s home cinema camera, he quickly decided to make films. With only a mere seventeen years of life experience, he made his groundbreaking and influential Fireworks (1947), a dreamlike underground classic short with iconographic gay images of sailors who have lit candles for penises. Cineastes place it alongside Bunuel’s Un Chien Andalou (1929) and Jean Cocteau’s The Blood Of A Poet (1930) as a key experimental project that expanded the language of film. After a move to Paris he published Hollywood Babylon in 1959, which promptly became a bestseller in France. Expanded (though purported to be substantially toned-down) and released in America in 1975, it revealed Golden Age Hollywood scandals documenting famous falls from grace like Fatty Arbuckle and revealed the sordid secrets of the industry that were previously mere hush-hush gossip. Hollywood Babylon II later followed, this time with more contemporary skeletons unearthed like James Dean’s penchant for men stubbing their cigarettes on his torso. A third Hollywood Babylon book is now completed and after years of failed attempts to get it published – for it contains taboo stories about many living personalities who may sue – Anger is selling it by mail order only. Not included in the Hollywood Babylon books was a story of how a young Kenneth Anger was taken by his grandmother to meet Uncle Walt Disney, who was delighted to meet the “little Mousketeer”: “He put his hand in the middle my – you can print all this if you want, I don’t give a fuck. It’s true. And he did it with hundreds of boys, not girls. Walt Disney liked little boys. He was a closet pedophile. He never took their pants down or sucked them off or anything like that. But this is what happened. He put me on his lap. Slowly I felt within his pants about an eight-inch erection. Right in front of my grandmother. She knew he was a harmless eccentric but he was also a calculating monster.” Still reeling in shock at this particular image, I walked with the Dr. to the rental car for a tour of where he grew up. I asked him about any negative reactions he may have received from the publishing of the first two books. “I was only sued by one person,” he explains, almost surprised by the fact. “It was Gloria Swanson and she was proved by my clinical psychiatrist to be mentally unbalanced and emotionally deranged through the effects
The Mirror Crack'd (Guy Hamilton, 1980)
A THUNDERSTORM rages across the night landscape. Brief flashes of lightning reveal a great English country house, the sort inhabited by well-bred ladies and gentlemen who wear dinner clothes 24 hours a day and sometimes stoop to murder. Inside the house, in the drawing room, the assembled guests greet the newly arrived police inspector with apprehension. The inspector, not one to waste time, goes around the room, revealing, in turn, each person's awful secret, including the awful secret of the untrustworthy-looking butler with the big ears. Then, just as the inspector is about to tell all, the screen goes blank. As apparently happens with some frequency, the projector has broken down in the meeting hall of the tiny village of St. Mary Mead. The audience groans, the lights come up and Miss Jane Marple (Angela Lansbury) prepares to leave. She doesn't have to wait around to find out who did it. Miss Marple, as usual, knows. Miss Marple makes her exit, patiently explaining the solution as she goes, and thus is launched ''The Mirror Crack'd,'' a new Agatha Christie movie that is not really much different from ''Murder at Midnight,'' the marvelously hokey movie-within-the-movie that stars, among other familiar faces, Dinah Sheridan and Anthony Steel. What happens in the rest of ''The Mirror Crack'd'' is never quite as much fun as ''Murder at Midnight,'' but if you have an affection for the idiocies of this sort of fiction, you could do a lot worse. Miss Lansbury, asked to fill the sensible shoes of the late Margaret Rutherford, who played Miss Jane Marple in a series of M-G-M films in the early 1960's, chooses not to compete with memory but to create what is virtually a different character. Hers is a sweetnatured, quick-witted but not especially eccentric Miss Marple, a character who comes close to being self-effacing. It's an intelligent, legitimate performance but nowhere near as entertaining as Miss Lansbury can be when she's playing to the top balcony. ''The Mirror Crack'd,'' which opens today at the RKO Cinerama and other theaters, follows in the tradition of all-star Christie movies established by ''Murder on the Orient Express'' and ''Death on the Nile.'' The story, which has to do with homicide on the set of a big, horrendous-sounding American movie being made in England, has a cast that would have busted any movie marquee in the 1950's, when ''The Mirror Crack'd'' is supposedly set. Chief among the actors are Rock Hudson and Elizabeth Taylor, as an American film director and his reclusive actress-wife, who's making her screen comeback as Mary Queen of Scots; Tony Curtis as the film's producer, and Kim Novak as his actress-wife, a road-company Lylah Clare from Miss Novak's movie, who's scheduled to play Elizabeth I to Miss Taylor's Mary Stuart. Also on hand are Geraldine Chaplin, as a production secretary, and Edward Fox, as Miss Marple's nephew from Scotland Yard. That ''The Mirror Crack'd'' never builds up much momentum has less to do with Guy Hamilton's direction and the performances than with the screenplay by Jonathan Hales and Barry Sandler, which promises more sophistication than it ever delivers. Both Miss Taylor and Miss Novak, as larger-than-life silver-screen rivals of a certain age, get all wound up for some fancy, high-toned tongue-lashings, but the material isn't up to their power. It's too bad because each of them has the toughness and the wit to carry it off with some splendor. Mr. Hudson is subdued as the troubled director and Mr. Curtis is convincingly fast-talking, though like the leading ladies he must deal with lines that are meant to be sharp but that are too often blunt. Miss Marple is supposedly the principal sleuth on the case but, because she sprains an ankle early on, Mr. Fox does most of the legwork. His is the most comfortable performance in the picture. The settings (in Kent) are gently beautiful. More than anything else in the picture, these landscapes evoke Miss Christie's unthreatening kind of fiction. Who did it? If you haven't figured that out by the time the second murder happens, you should be sent to bed without your warm milk. THE MIRROR CRACK'D, directed by Guy Hamilton; screenplay by Jonathan Hales and Barry Sandler; director of photography, Christopher Challis; film editor, Richard Marden; music by John Cameron; produced by John Brabourne and Richard Goodwin; distributed by EMI Films Ltd. Miss Marple . . . . . Angela Lansbury Cherry . . . . . Wendy Morgan Mrs. Bantry . . . . . Margaret Courtenay Bates . . . . . Charles Gray Heather Babcock . . . . . Maureen Bennett Miss Giles . . . . . Carolyn Pickles Major . . . . . Eric Dodson Vicar . . . . . Charles Lloyd-Pack Doctor Haydock . . . . . Richard Pearson Mayor . . . . . Thick Wilson Mayoress . . . . . Pat Nye Scout Master . . . . . Peter Woodthorpe Ella Zielinsky . . . . . Geraldine Chaplin Marty N. Fenn . . . . . Tony Curtis Inspector Craddock . . . . . Edward Fox Jason Rudd . . . . .
celebrity make up secrets
InStyle, your celebrity and beauty authority, has amassed thousands of tips for getting your makeup perfect every single day. Ultimate Beauty Secrets is a timeless collection of the very best advice from our beauty editors, plus dermatologists, makeup artists, and gorgeous Hollywood stars. Packed with useful, uncomplicated ideas and stunning photos, Ultimate Beauty Secrets helps women of every skin tone achieve a glowing, polished look-whatever the season or occasion. Learn easy ways to:
Keep skin looking young
Shave time off your makeup routine
Create a sexy smoky eye in a flash
Make your lipstick last all night
With plenty of application how-tos and shortcuts, you'll spend less time in front of the mirror and more time looking fabulous.