JEROME ALEXANDER MAKE UP : MAKE UP


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Jerome Alexander Make Up





jerome alexander make up






    alexander
  • Alexander is a common male first name, and less common surname. The most famous is Alexander the Great, the King of Macedon who created one of the largest empires in ancient history.

  • Harold (Rupert Leofric George), 1st Earl Alexander of Tunis (1891–1969), British field marshal and statesman

  • European herb somewhat resembling celery widely naturalized in Britain coastal regions and often cultivated as a potherb

  • king of Macedon; conqueror of Greece and Egypt and Persia; founder of Alexandria (356-323 BC)





    make up
  • The composition or constitution of something

  • 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"

  • 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

  • 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"





    jerome
  • Saint Jerome (c. 347 – 30 September 420) (formerly Saint Hierom) (Eusebius Sophronius Hieronymus; ???????? ????????? ?????????) was an Illyrian Christian priest and apologist.

  • (Roman Catholic Church) one of the great Fathers of the early Christian Church whose major work was his translation of the Scriptures from Hebrew and Greek into Latin (which became the Vulgate); a saint and Doctor of the Church (347-420)

  • 1414 Jerome is a main belt asteroid with an orbital period of 2018.2528546 days (5.53 years).











jerome alexander make up - Alexander, Revisited:




Alexander, Revisited: The Final Cut (Two-Disc Special Edition)


Alexander, Revisited: The Final Cut (Two-Disc Special Edition)



Now available is an all new and completely unrated version of Oliver Stone's incredible epic film, loaded with nearly 40 minutes of additional never-before-seen footage, that takes the film to a new level of realism and intensity. Restructured and expanded into two acts with one intermission, Oliver Stone's vision is delivered the way he originally conceived and intended. With the new, unrated and graphic battle scenes and unadulterated sensuality, it's the movie you couldn't see in theatres, now available on DVD for the very first time!
DVD Features:
Introduction
Theatrical Trailer

For better or worse (and in this case, it's mostly for better), Oliver Stone's Alexander Revisited should stand as the definitive version of Stone's much-maligned epic about the great Asian conqueror. Following the DVD release of his previous Director's Cut, Stone offers a video introduction here, explaining why he felt a third and final attempt at refining his film was necessary. Essentially, he's using this opportunity to re-create the "road show" format of the Biblical epics of the 1950s and '60s, with a three-and-a-half-hour running time (with an intermission at the two-hour mark) including 45 minutes of previously unseen footage. Stone has also significantly restructured the film, resulting in substantial (if not exactly redemptive) improvements in its narrative flow. Alexander (played in a torrent of emotions by Colin Farrell) is dying as the film opens, his final moments serving to bookend the film's epic story, which incorporates flashback sequences to flesh out the Macedonian king's back-story involving the turbulent battle of fate between his father, King Philip (Val Kilmer) and his scheming sorceress mother Olympia (Angelina Jolie, ridiculous accent and all), who insists that Alexander is literally a child of the gods.
In Stone's final cut, epic battles remain chaotic (although Alexander's strategy is somewhat easier to follow, with on-screen titles indicating left, right, and center during his army's greatest maneuvers) and the ultra-violent battles are more graphically gory than ever (hence their "unrated" status). The animalistic lovemaking of Alexander and his barbarian bride Roxana (Rosario Dawson) is slightly extended (with Dawson as ravishing as ever), and Stone's additional footage also improves the overall arc of Alexander's relationship with his closest generals and male companions, although his most intimate homosexual encounters remain mostly discreet. As Alexander Revisited makes clear, the film's weaknesses remain unavoidable, but Stone deserves credit for recognizing how a longer running time, and more disciplined narrative structure, would bring Alexander closer to the respect it never earned from critics and filmgoers alike. This is unquestionably a better film than it used to be, leaving us to wonder why it took three separate efforts to shape Alexander into its best possible presentation. --Jeff Shannon










77% (6)





odard, Miéville & Lynne Sachs: Movie-making and the Stubborn, Unruly Galaxy of Childhood




odard, Miéville & Lynne Sachs: Movie-making and the Stubborn, Unruly Galaxy of Childhood





Leave it to Jean-Luc Godard and Anne Marie Mieville to figure out how to use television to reveal the latent brilliance of a child. Created for French television during the radical days of the late 1970s , “France/tour/detour/deux enfant” (1978) is an intimate, provocative and quotidian video essay that uses avant-garde cinema’s techniques in a visual experiment that will change anyone’s perception of the developing mind of a human being.
Tonight Lynne Sachs will discuss the way that “France/tour…” influenced her own work as she reflects on the presence of childhood in her twenty-year film career. Beginning in her early twenties when the ambiguity of femininity seemed daunting and problematic to more recent years when motherhood has given her quick access to the conundrums of youth, Sachs, like Godard and Melville, ponders her relationship as an artist to this unavoidable eighteen year odyssey. Sachs will screen Photograph of Wind (3 min., 2001), Atalanta: 32 Years Later (5 min. 2006), and The Last Happy Day (38 min.) in their entirety along with brief scenes from The House of Science (1991) and Wind in Our Hair (2010).
Program:
France/Tour/Detour/Deux Enfants by Jean Luc Godard and Ann Marie Mieville
(excerpt from 12 part TV series, 1977, France)

Godard and Mieville take a detour through the everyday lives of two children in contemporary France. Sachs will present excerpts from the series.

Photograph of Wind by Lynne Sachs
(4 min.,16mm, b&w and color, 2001)

“My daughter’s name is Maya. I’ve been told that the word maya means illusion in Hindu philosophy. As I watch her growing up, spinning like a top around me, I realize that her childhood is not something I can grasp but rather – like the wind – something I feel tenderly brushing across my cheek.” (Lynne Sachs)
“Sachs suspends in time a single moment of her daughter.” Fred Camper, Chicago Reader

Atalanta: 32 Years Later by Lynne Sachs
(5 min. color sound, 16mm to video, 2006)
A retelling of the age-old fairy tale of the beautiful princess in search of the perfect prince. In 1974, Marlo Thomas’ hip, liberal celebrity gang created a feminist version of the children’s parable for mainstream TV’s “Free To Be You and Me”. Now in 2006, Sachs dreamed up this new experimental film reworking, a homage to girl/girl romance.
“Very gentle and evocative of foreign feelings.” George Kuchar
The Last Happy Day by Lynne Sachs
( 38 min. 2009)

The Last Happy Day is an experimental documentary portrait of Sandor (Alexander) Lenard, a Hungarian medical doctor and a distant cousin of filmmaker Lynne Sachs. In 1938 Lenard, a writer with a Jewish background, fled the Nazis to a safe haven in Rome. Shortly thereafter, the U.S. Army Graves Registration Service hired Lenard to reconstruct the bones — small and large — of dead American soldiers. Eventually he found himself in remotest Brazil where he embarked on the translation of “Winnie the Pooh” into Latin, an eccentric task that catapulted him to brief world-wide fame. Sachs’ essay film uses personal letters, abstracted war imagery, home movies, interviews, and a children’s performance to create an intimate meditation on the destructive power of war.
“A fascinating, unconventional approach to a Holocaust-related story … a frequently charming work that makes no effort to disguise an underlying melancholy.” George Robinson, The Jewish Week
Excerpts from:
The House of Science: A Museum of False Facts
(30 min., 16mm,1991)

“Throughout The House of Science an image of a woman, her brain revealed, is a leitmotif. It suggests that the mind/body split so characteristic of Western thought is particularly troubling for women, who may feel themselves moving between the territories of the film’s title –house, science, and museum, or private, public and idealized space — without wholly inhabiting any of them. This film explores society’s representation and conceptualization of women through home movies, personal reminiscences, staged scenes, found footage and voice. Sachs’ personal memories recall the sense of her body being divided, whether into sexual and functional territories, or ‘the body of the body’ and ‘the body of the mind.’” (Kathy Geritz, Pacific Film Archive)

Wind in Our Hair/Con viento en el pelo
(16mm, Super 8 and digital on video, English and Spanish, 2010)

“Inspired by the writings of Julio Cortazar, whose work not only influenced a generation of Latin American writers but film directors such as Antonioni and Godard, Lynne Sachs’ Wind in Our Hair/Con viento en el pelo is an experimental narrative that explores the interior and exterior worlds of four early-teens, and how through play they come to discover themselves and their world. “Freedom takes us by the hand–it seizes the whole of our bodies,” a young narrator describes as they head towards the tracks. This is their kingdom, a place where–dawning fanciful masks, feather boas, and colorful scarves — the girls pose as statues and perform for











Perry Avenue Historic District




Perry Avenue Historic District





Bedford Park, Bronx, New York City, New York, United States

The Perry Avenue Historic District, located in the Bedford Park neighborhood of the Bronx, is an exceptionally well preserved row of nine Queen Anne-style houses dating to the early 20th century. The homes, located on the northwest side of Perry Avenue between Bedford Park Boulevard and East 201st Street, were constructed between 1910 and 1912 and were designed by architect Charles S. Clark.

In the 1860s, the neighborhood now known as Bedford Park lay entirely within the vast property owned by the Jerome Park Villa Site Improvement Company of financier and noted sportsman Leonard Jerome. In 1866, Jerome leased a 230-acre tract of the land for use as the Jerome Park Race Track. Seeking to ensure the racetrack’s accessibility and promote development in the area, Jerome persuaded the Township of West Farms to finance a paved boulevard. He then began to sell off his other Bronx properties, including the tract that would become Bedford Park. In the 1870s, streets were laid out and blocks were subdivided into house lots. Although the first buildings were not erected until the early 1880s, within a decade the neighborhood was home to 560 residents who resided primarily in free-standing Queen Anne-style homes, generally on large lots with ample space for gardens.

Bedford Park continued to develop in the years that followed, aided by transportation improvements such as the extension of elevated lines to nearby Fordham Road in 1900 and to Bedford Park in 1902 and by construction of the Mosholu Parkway. By the first decade of the 20th century, the boundaries of the neighborhood had expanded and the population had grown to approximately 2,000 people.

In 1910, the Third Avenue elevated line (“El”) and the Interborough Rapid Transit (IRT) Company’s Broadway-Seventh Avenue line of the New York City subway were extended to areas of the Bronx north of Fordham Road. That same year, Bronx developer George D. Kingston purchased the lots that would become the Perry Avenue Historic District. Kingston subdivided the three ample lots into ten parcels of approximately 25 feet by 107 to 110 feet and hired architect Charles S. Clark to design some modest homes. Clark, who had done previous residential work for the developer, is also credited with institutional, industrial and commercial structures throughout New York City. Among Clark’s notable projects is a similar row of Queen Anne-style houses designed in 1908, presently designated as part of the Longwood Historic District.

The three-story Queen Anne-style homes of the Perry Avenue Historic District are characterized by alternating facades of orange and red brick and feature unifying details such as masonry quoining, splayed lintels, modillioned iron cornices, hipped-roof dormers and sloping, imbricated-slate roofs. The prominent three-sided porches of nos. 2971 through 2977 and the projecting porticos of nos. 2979 through 2987 are supported on slender Ionic columns that further unify the row. Although plans initially called for ten fully-attached homes, only nos. 2979 through 2987 were completed as such, with nos. 2971 through 2977 constructed a few months later as free-standing structures. All nine of the homes are picturesquely sited, raised above fieldstone walls that enclose small front yards and which lend the structures a markedly suburban feel.

From the 1920s to the 1950s, Bedford Park underwent a major transformation with the construction of the large apartment houses that now principally define the neighborhood. The houses of the Perry Avenue Historic District, however, remain remarkably intact, serving as a potent visual reminder of the origins of this Bronx neighborhood.

Early History and Development

The Dutch colony of New Amsterdam began with the arrival of the first Dutch settlers in 1624, a party of approximately 110 men, women, and children headed by Captain Cornelius May of the Dutch West India Company. Lured by the promise of a brisk fur trade, the number of settlers grew and the Company soon began to encourage settlement outside of Manhattan’s fortified southern tip. Willem Kieft, who assumed directorship of the Dutch West India Company in 1638, actively promoted the Company’s ambition of large-scale settlement, “purchasing” large tracts of land in northern Manhattan, present-day Kings, Queens and Bronx counties, and what is now Jersey City, New Jersey, from the Native Americans who inhabited the area since long before European colonization.

In 1641, Jonas Bronck (c. 1600-1643), a Scandinavian immigrant to the Dutch colony, became the first recorded white settler in the area of the present-day Bronx, purchasing a 500-acre tract of land known as Ranachqua by the Native Americans (roughly translated as “end place”) on the peninsula between the Aquahung and Harlem Rivers (see Figure 19). The settlement came to be known as Bronck’s Land (aka Broncksland), and the Aquahung river that la









jerome alexander make up








jerome alexander make up




Hot in the City 2: Sin City






From the author who brought you the blazingly hot French Quarter comes the sequel, Sin City…
Diana Marsh is trying to change her wicked ways and be the good girl her family has always wished for. But when a business trip takes her to Las Vegas and straight into the arms of Marc Davenport, a man she's been flirting with via e-mail and phone for months, all bets are off. The city's aura of sin lures Diana immediately—she decides to seize her last chance to let all her inhibitions go, and Marc is just the sexy man to do it with.










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