“[Up to this point], five states — Massachusetts, Connecticut, Iowa, Vermont and New Hampshire — and the District of Columbia grant same-sex marriage licenses.”
(A moment to ponder: This is not a “Moral majority” issue. I grow tiresome of that oxymoronic phrase. If this is about democracy for the common citizen, the issues of a specified religious affiliation should be irrelevant. I do not detest Christians (or whoever) for their religious dogmas, I am not being disrespectful to them by any means, but to claim that their respective belief supersedes that of all others, even to the point of influencing the LAW, that is where we have to take a stand. There is a reason for a distinct separation of Church and State (altho’ recent political punditry has blurred those lines considerably). We have a multifaceted and brilliantly diverse community in America. Do we as a nation truly take the phrase “In God we trust” to such a degree as to alter history and blatantly discriminate against citizens who have every bit the right as any to share in the federal and state protected and benefited rights of marriage? This prejudice has got to stop. It’s not a “Moral Majority” we are fighting against here, it is a “Moral selectivity” (and singularity)! And that sort of tunnel-like vision is a tragic and incomplete way to life—FOR EVERYONE. The sky is not going to breath fire, the ground will not uproot itself, this will not affect in any way or take away benefits from “straight” marriages—to even conjure up such ridiculous notions shows how drastic some are to continue this prejudice. This is the SAME EXACT argument we have heard not too long before over Interracial Marriage laws. It’s incredible how we as a country have collectively surrendered to amnesia in this regard. To grant same-sex marriage is not to bring hell fire upon anyone—how ludicrous to think that! It is a LAW. Please, allow me to repeat myself, IT IS A LAW, meaning, people will have the RIGHT to marry whom—as in another human being of flesh and blood, and emotions and fears as everyone else—under the protection and support of the state and government. EVERYONE should have this civil right. Period. Let us stop this exhausting and unproductive, cyclical argument over “moral standards” and start getting at the factual evidence and stop being relative about a democracy. We have to look at everyone involved, not just a specific group of people who decide what they think is right and wrong. There is nothing wrong about people sharing a life together and having that be recognized by the state. “Morals” have nothing to do with it; good old fashioned common, decent law-making does.)
acosmist - One who believes that nothing exists paralian - A person who lives near the sea aureate - Pertaining to the fancy or flowery words used by poets dwale - To wander about deliriously sabaism - The worship of stars dysphoria - An unwell feeling aubade - A love song which is sung at dawn eumoirous - Happiness due to being honest and wholesome mimp - To speak in a prissy manner, usually with pursed lips
Marilyn Monroe’s makeup has been the paragon of Glamour Girl makeup since the 1950s. While Marilyn already had a good grasp of cosmetics and glamour in her “Norma Jean” days, her look was polished by the studios, most of all through the genius of her personal makeup artist, Allan “Whitey” Snyder. He was her makeup artist throughout her career: from her first screen test at Twentieth Century Fox in 1946 to her funereal makeup in 1962.
Marilyn Makeup Step by Step:
1. Moisturize. Marilyn’s skin nearly always looked flawless. Use a makeup base primer to smooth out flaws and to keep makeup looking fresh. Recommended: M·A·C Prep + Prime (SPF 50).
6. False Eyelashes. These are available at every drugstore. If you’re unused to these, practice with the $2 pairs. Marilyn always used strips, never individual lashes.
7. Eyeliner 1. Whitey Snyder always lined the inside of Marilyn’s eye with a white kohl pencil — this is a trick still used by movie and stage makeup artists to make the eye appear larger and more open. Continue the line of white from the corner of the eye for about ¼inch (½cm), angling mildly upwards. Recommended: Philosophy Big Gorgeous Eyes
8. Eyeliner 2. Contrary to popular belief, Marilyn’s eyeliner was rarely black. Most often, it was brown or dark brown. You can do this with liquid or pencil, but a cake with brush (made wet) is the best option. Do a very narrow line right at lashline top and bottom, and continue out, as seen above. The two lines must not meet, so your white line doesn’t disappear and your eyes look smaller. Recommended: Make Up For Ever Paris, Professional. Eyeliner Cake, Brown #4.
9. Eyeliner 3. Above the thin line of brown on the upper lid, Marilyn always had an even thinner line of gold liner. Make sure to make the thinnest of lines or it will look obvious and tacky, instead of glamorous. Recommended: Urban Decay Liquid Eye Liner. Chains.
10. Red Dot. With either a lip pencil or a lipstick brush (bright red), the smallest red dot is placed in the inside corner of the eye to make the eye look brighter.
11. Eyeshadow. Marilyn’s eyeshadow was very subtle. Whitey Snyder applied some light brown shadow to the crease of Marilyn’s eyelid, and to the outer area below brow (1 & 2). He then added a shiny off-white to the center of the lid, brow bone, above the brow, and in the corner of the eye (3,4,5,6,7). I’ve exaggerated the contrasts in the picture to show you more clearly. Recommended: Hard Candy Eye Shadow Quartet - Old Skool.
TIP: Before applying eyeshadow, dust a generous amount of translucent powder under the eye — that way if any shadow falls under the eye during application, you can easily brush it off.
12. Contouring. To accentuate cheekbones, jawline, and make nose seem more narrow, Whitey Snyder would apply a contouring color with a blush brush below Marilyn’s cheekbones, on her temples, and around and under her jawline. This can easily be done with a good bronzer. Recommended: Chanel Irréelle Soleil Silky Bronzing Powder.
13. Highlighting. Apply a shimmer highlight on top of the cheekbone in a line all the way to the corner of the eye, on top of the chin, on the t-zone, and on the forehead.
14. Lips. Technicolor cameras had a tendency to turn all reds orangey, so on film, in order to get a “true red”, Whitey Snyder had to use a mixture of several bluish reds. In her personal appearances and private life too, Marilyn’s lipstick was a mixture of two or more shades. First, Whitey Snyder would line above Marilyn’s top lip with a white pen (you can use the same as for eyes, provided you sharpen in between to prevent bacteria) — this makes the top lip appear fuller. Then, he would smudge it a bit to blend in and powder it, so the line wouldn’t be obvious. Then, the lips were lined with a red pencil (notice, how the top lip is lined to come over the bottom lip. The outer edges were brushed with a darker red, the center of the mouth with a lighter red, to make lips look more voluptuous.
Gloss was applied, with a thicker dollop in the center of the bottom lip. For film and photo shoots they’d use Vaseline (a trick still sometimes used in glamour photography). Finally, a bit of the same shine used for highlight was applied on the “cupid’s bow”.
15. Powder. A final dusting of translucent powder to set all the makeup.
16. Mascara. A coat or two of black mascara was added to the lashes (both real and false). In that era, mascara was a cake mascara — mascara has since advanced greatly and we have great ones to choose from. Recommended: Diorshow Mascara.