How to apply clown make up - Cheap makeup palette.
How To Apply Clown Make Up
- Duke students: Please notify the Duke Marine Lab Enrollment Office if you would like to apply for a summer tuition scholarship. You are required to submit a letter of recommendation from academic faculty and a brief statement of purpose, i.e.
- 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"
- constitution: the way in which someone or something is composed
- The composition or constitution of something
- The combination of qualities that form a person's temperament
- 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"
- Cosmetics such as lipstick or powder applied to the face, used to enhance or alter the appearance
- a rude or vulgar fool
- act as or like a clown
- a person who amuses others by ridiculous behavior
- Behave in a comical way; act playfully
how to apply clown make up - Strutter's Complete
Strutter's Complete Guide to Clown Makeup
It takes know-how to create a professional looking clown face. Contrary to popular belief a proper clown face is not worn as a mask. It should be designed to compliment the natural features in the face in order to enhance the clown's expressions. In this book, Jim Roberts, a.k.a. "Strutter the Clown", describes the different types of clown faces and how you can design a unique face of your own. He provides detailed step-by-step directions for applying makeup to create the three basic clown face types: Whiteface, Auguste, and Tramp. Included are tips on powdering, applying rubber and putty noses, how to handle eyeglasses, handling common makeup problems, and proper makeup selection and removal. It includes full-colour, close-up photos which offer step-by-step directions for applying makeup.
MY LOVELY HORSE (Father Ted & Eurovision)
Ireland failed, yet again, to win the Eurovision. I endured quite a bit of it this year for the first time since 1994 (Riverdance?) and cannot remember a single tune from it. I genuinely didn't enjoy it; it's not that good really. I liked the Jedward song; but it was a bit like an enjoyable street entertainer; you stop to watch it, enjoy it and move on humming the tune, delighted that you saw something nice – then suddenly you cannot remember the tune. And you didn’t really catch the lyrics in the first place. For me, the biggest loss in the Eurovision Song Contest is the fact that the songs aren’t actually songs. Yes they’re words set to a tune but surely a song has to be more than that? The words and notes have to strike a chord but most of what I heard was instantly forgettable. Depending very much on your age you might remember the words and tune of the PUPPET ON A STRING (1967), most of us are probably familiar with ALL KINDS OF EVERYTHING (1970) and other winning songs like WATERLOO (1974). But how many people know the songs that won in the last five years? I haven’t heard any song make it as a popular song since A LITTLE PEACE (1982). I do not think that I am being a snob by stating that I believe a song is something that you should be able to sing. If the top-selling domestic single was entered the line up might have been far more interesting. Maybe if the best selling single from 2010 was used to represent the country in 2011: JOE McELDERRY would sing THE CLIMB for Ireland, TINIE TEMPAH would have sung PASS OUT for the United Kingdom; LENA would have sung SATELLITE for Germany CHRISTOPH MAE would have sung DINGUE DINGUE DINGUE for France and MANUEL CARRASCO would have represented Spain singing QUE NADIE. All of these songs have sold well in the respective countries and are more representative of successful songs. Of course OZAN DOGULU & SILA would have represented Turkey singing ALAIN DELON which is likely to be a lovely song too. I can’t say that I am familiar with any of the songs I have listed so they would all compete at an equal level. Now I appreciate that Lena won the actual Eurovision in 2010 and that explained her high sales in Germany. However there is only so much research that can be expected off any man using Wikipedia as his source for an academic fact! It also seems that Beyonce would be representing most of the 43 countries if the domestic rule didn’t apply. Or maybe leave it as it is and grumble about the fact that every village west of the Oder declares itself a nation simply to give twelve points to the neighbouring village-state. It always amazes me that people are upset when this happens. We almost seem to believe that these people should appreciate the way we interpret music in the west. Maybe they don’t like the style? The preening boybands of the west are quite unlike their strutting brothers in the east. And the sequined chanteuses of the west in their dresses designed by Grainne Seoige just aren’t as agile and unencumbered by clothing as their sisters in the east. The songs didn’t do it for me – I went off into psychology mode. And I noticed a difference in the performances of east and west. Bluntly put, eastern contestants danced with a primeval acceptance of assigned gender roles (read Frasier’s Golden Bough, all of it not just the dust cover!); the men did their war-dances and their women wove webs of lure and intrigue. Their western cousins, by comparison, were trying to seduce...., you know, to seduce... well, who knows? The headlines screamed; ARE JEDWARD GAY? The correct answer to that question is; IT’S NONE OF YOUR BLOODY BUSINESS! The question is more interesting than the answer is. That question reveals that we do not know what or who is being addressed in their performance. Audiences identify with characters, and as most songs are about love/romance/sex, identification is essential. Let’s be honest, Jedward is marketed to a cosmopolitan market. In its effort to reach everybody it ended up reaching very few for longer than a few minutes. Could the average nineteen-year-old man in west Dublin identify with them? Mostly not! So who would? The answer to that is the source of the confusion about their sexuality. They are performers of a whacky show, a mixture of the traditional arts of the clown, the dancer and the singer. Their songs and costumes are the props of an act – beneath that act lie two young men with the same dreams, hurdles, skills and handicaps of every other nineteen-year-old man in west Dublin. But that is not visible through the act. The act does not connect with most nineteen-year-old men, they might like the catchy tune, but the act embarrasses them. It’s not what they are. And if it embarrasses him why should the Moldovans or the Latvians be expected to give it twelve points? And, to finish with Jedward I would draw to your attention that they are the fantasy of young girls and not of a continent that parties with t
Along Came Polly
Writer-director John Hamburg does everything he can to pair up Ben Stiller's stiff, safety-first corporate man with Jennifer Aniston's free spirit in "Along Came Polly," but the two are so fundamentally incompatible that story loses credibility long before the gags stop coming. Without the outrageous, talking-point scenes that broad, post-Farrelly exercises like this depend on, pic will do merely modest date biz in the dead of January, followed by better ancillary biz. Repping Hamburg's third project in a row with Stiller (both worked on "Meet the Parents," "Zoolander"), "Polly" is neither as outlandish nor as funny as their previous collaborations. "Polly" is, however, several shades better in all moviemaking departments than Hamburg's spindly 1998 Sundance debut, "Safe Men." In addition, the pic's aces supporting cast -- Philip Seymour Hoffman, Alec Baldwin, Debra Messing, Hank Azaria, Bryan Brown, Michele Lee and Bob Dishy -- mask the slightness of the odd couple foolery, making many weak scenes click. Their perfs are a testimony to how many fine actors in Hollywood are constantly in search of a good comedy. Even if his best man Sandy (Hoffman) is prone to falling on his ass, groom Reuben Feffer (Stiller) has a smooth wedding and start to his marriage to Lisa (Messing), capped with a St. Barts honeymoon. But cautious Reuben, ever aware of dangers as a risk assessment analyst for a big insurance firm, begs off a scuba diving venture led by Frenchman Claude (Azaria, initially naked, astoundingly buff and pouring on the mock accent). Later, Reuben discovers Claude and bride Lisa doing the nasty on Claude's schooner. Reuben returns to Gotham, where his boss, Stan Indursky (Baldwin, amusingly pitching his voice into a throaty New Yawk register), assigns him to do a full analysis on hot-shot Aussie CEO Leland Van Lew (Brown) to see if he's insurable. Meanwhile, best friend Sandy drags Reuben along to an art gallery opening where Reuben encounters Polly (Aniston), who's serving drinks. Between his inept way of approaching her and her borderline-insane indecisiveness, it's a miracle that they get together for a date -- but they do, at a Moroccan restaurant, which Reuben agrees to, even though he can't handle spicy food and has irritable bowel syndrome. Date literally ends in the bathroom of her sloppy downtown flat, shared with her blind ferret, with the floodgates opened to a wave of poop, fart and miscellaneous fluid jokes. Despite their horrific first date, Polly actually calls up Reuben for second go-round -- this time in an Indian restaurant where they happen to run into his parents Vivian and Irving (Lee, Dishy), and where Polly learns about Reuben's marriage-on-the-rocks. Not all of the above, and not even the fact that Reuben can't handle Polly's favorite hobby, salsa dancing, stops them from making love and then regularly seeing each other. Though obstacles are de rigeur in this kind of comic formula, the ones applied in "Along Came Polly" have the effect of reminding viewers of how unrealistic the pairing of Reuben and Polly is. While it's plausible that Reuben would want to loosen up a bit to attract Polly (which he does, taking salsa lessons with Polly's handsome and gay dance buddy Javier, played by Jsu Garcia), there's never any reason why a gypsy-style gal would have the time of day for such an uptight nerd. When the ultimate obstacle pops up -- Lisa having the gall to return and ask Reuben to have her back -- Hamburg's script clearly has no way out of its own situational cul-de-sac. Although the gags keep constantly rolling along, many wilt through sheer repetition (Sandy's horrific approach to playing basketball, Van Lew's crazed behavior) or through never quite realizing their full potential (a too-brief one with Stiller mishandling an art gallery sculpture is like a case of Jerry Lewis interruptus). Stiller brings only a portion of the nervous and physical energy he essayed for "Parents" or "Zoolander" or, for that matter, the dreadful "Duplex," helmed by Danny DeVito (who, with his now-divorced Jersey Films partners Michael Shamberg and Stacey Sher, produced "Polly"). Aniston does the job of playing a woman who's used to her own chaotic life, but she never looks like she's having fun in the role. Supporting clowns, on the other hand, give the movie what kick it has. Though his character is tangential to almost anything in pic, Hoffman revels in playing a frustrated former teen movie star experiencing hard times. Baldwin and Azaria create full-blown characters out of what are basically glorified cameo spots, while Brown frolics as a bull in a china shop. Pic looks and sounds as good as any recent Hollywood comedy, distinguished by Seamus McGarvey's crystalline lensing, Andrew Laws' well-observed design and a bouncy but not overly emphatic score by Theodore Shapiro. A Univers