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What White People Fear

stephley — Sun, 21 Mar 2010 08:02:22 -0700

By Robert Jensen, YES! Magazine
Posted on March 19, 2010, Printed on March 21, 2010
http://www.alternet.org/story/146040/

In the struggle for racial justice, it’s time to pay more attention to the fears of white people.

In a white-dominated world, that may seem counterintuitive. In the racial arena, what do we white people have to be afraid of?

There are lots of things to fear in this world, of course; race is not the only aspect of life in which people face injustice and inequality. A majority of people of all colors (including working-class and poor whites) struggles economically in a predatory corporate capitalist system, and all women, regardless of race, cope with gender discrimination and the threat of sexual violence in a male-dominated world.

But what fears could white people have as white people?

Understanding the fears behind the racial politics of both conservative and liberal whites can help guide strategy for changing a society in which wealth and well-being are still tied to race. And make no mistake, there is still a racialized gap between white and non-white America on measures of wealth and well-being-income, home ownership, graduation rates, access to health care, infant mortality, etc. In fact, the gap between white and black America on some of these measures is greater today than in the immediate aftermath of the major legislative achievements of the civil rights movement, and on some measures the rate of improvement is so glacial that it will be decades, if not centuries, before we reach equality. The legislative achievements that ended legal apartheid in America were a great victory, but the economic apartheid that remains is a reminder of our failures.

Put bluntly: The United States abolished a formal apartheid system but remains a white-supremacist society. After more than a decade of writing and speaking about these issues, which has sparked lots of feedback from all political angles, here’s what I have concluded about white folks and our fears.

Aren’t We Special?
For conservative white people, the dominant fear is of someday living without the privilege that comes with whiteness. Polite conservatives defend the primacy of “Western civilization.” More reactionary whites are openly racist about the threat that non-white peoples pose to “our way of life.” Both versions defend the existing distribution of wealth and power, even though many of the working-class and poor whites who endorse such views have access to precious little wealth or power. Race is used by white elites today, just as it was in the nation’s formative years, to drive a wedge between people who would otherwise come together to challenge those elites. Divide-and-conquer strategies, it seems, never go out of style.

Liberals are quick to denounce both the thinly veiled and the openly reactionary conservative racism. But what of the fears of liberals? White liberals might reject the very idea that they are afraid, citing their support for diversity and multiculturalism. But my experience suggests that while white liberals reject assertions of white supremacy, many fear the loss of white centrality. They are willing to renounce the idea that white people are superior, as long as they are allowed to live comfortably in a world where white is the norm.

In short, both the conservative and liberal positions are based on the same underlying assertion: “I’m white, and I’m special.” Conservatives are more likely to say it openly, while liberals tend to offer platitudes about racial justice while avoiding the risks required to make good on anti-racist principles.

What remains obscured is the distinctly uncivilized nature that Europeans and European Americans exhibited during their barbarous conquest of much of the world. The inherently fragile sense of white self-importance that emerges from that history is at the core of white fears-at some level, we all know that the truth of the depravity of white supremacy belies claims of white superiority.

In the institutions that adopt the liberal view, diversity is just fine (as long as whites remain in control) and multiculturalism can flourish (as long as white norms remain dominant). Institutions defined by the values and practices rooted in white Europe can open up to non-white people, as long as we white people remain comfortable. In such a white-defined liberal world, “people of color”-abstracted into a single group, erasing the particularity of people-are welcome, even sought after, to prove that we have transcended white supremacy.

Getting Uncomfortable
This analysis of the dynamics of mixed-race settings is hardly original. Non-white people have long recognized that white liberals are happy to engage with folks who aren’t white as long as their white-centric worldview isn’t threatened, and that white groups are happy to have non-white members as long as the power dynamics don’t change.

I observe all this not from some arrogant high ground, but as someone stuck in the same dynamic, struggling to get out. I know that for all my writing and political work on racial justice, I still feel most comfortable in settings where my understanding of the world defines the interaction, no matter the racial composition of the group. Rather than pretend otherwise, I start with that reality and search for ways to move forward.

I have a choice: I can rest comfortably in the privileges that come with being white, or I can struggle to be fully human.
A first step for me has been to question the value of the seemingly endless “race dialogues” that are popular in white liberal groups. In the pseudo-therapeutic setting of such dialogues, with more talk about personal healing than about political change, white people are guaranteed that we won’t be forced out of a white-defined world. White-dominated institutions-corporations, nonprofits, universities, government agencies-are happy to sponsor such dialogues, diversity trainings, and multicultural events, precisely because they don’t threaten the fundamental distribution of wealth and power.

I have been involved in many of those events myself, as a facilitator or a participant, and I have learned from them (typically as much from my failures as successes). The most important lesson I take away is that race dialogues are not enough. As long as we stay confined in a safe world that doesn’t challenge power, we guarantee failure-if our goal really is to change the distribution of that power.

There’s no easy recipe for this kind of challenge, but we move in the right direction when we seek out places where we don’t feel comfortable, looking for relationships in which we can help change the dynamic. For me, that means putting myself in situations where I have to face my fear of being seen-or, more accurately, being seen-through-by non-white people. What if I step into those uncomfortable spaces and non-white people see the ways in which I hang onto some sense of my own supremacy/centrality? What if they see the ways in which I haven’t shaken off my racist cultural training?

A desire to confront that fear has led me, over the past year, to organizing efforts with the Workers Defense Project. It’s a local group that advocates for workplace justice for immigrant workers, addressing problems such as wage theft within a larger social justice framework.

This project has forced me to cross lines around race and ethnicity, class, language, and age. The members and staff are predominantly Latina/Latino and working class. They speak Spanish and/or English, while I’m monolingual in English, and the leaders of the group include a number of people who are at least two decades younger than me.

The collaboration between WDP and the Third Coast Activist Resource Center (a predominantly white group to which I belong) to buy and renovate a building for a progressive community center has gone forward with explicit conversations about all these differences and how they affect decision-making. The trust necessary to move forward has been built slowly over time, and I’m aware that the WDP staff and members are watching for signs that we are serious about establishing a truly egalitarian relationship.

As tricky as this Latina/Latino-white collaboration can be, we also recognize that a successful community center with progressive politics cannot leave out African Americans, the third largest racial group in Austin. That means not just casting around for some black people to add to the mix, but engaging in serious discussions with people from that part of the community to find out what kinds of collaborations are needed and possible. Austin is a white-dominated city, but that’s no guarantee that black and Latina/Latino groups will automatically come together; such alliances have to be built as carefully as any other. For us white folks in the mix, our contribution is to use the resources we have to aid in that process-not trying to control it, but also not pretending to be detached.

While there is a lot of dialogue necessary in this work, the dialogue is focused on a common goal: to provide office space for organizers, rehearsal space for artists, meeting space for the community, and a place for people to get to know each other. That common goal doesn’t mean we will naturally, or easily, put aside differences, but it means we all have a tangible stake in our collective success.

My interest in this project flows from moral and political principles-a belief in the dignity of all and the struggle to eliminate hierarchy in all forms. But I would be naïve or dishonest if I pretended that was my only, or even my most powerful, motive. In the end, I have committed to this project out of selfishness-I would like to claim my full humanity before I check out of this world. To do that, I have to move beyond the framework of conservative versus liberal and adopt a truly radical politics.

I have a choice: I can be white-that is, I can refuse to challenge white supremacy or centrality-or I can be a human being. I can rest comfortably in the privileges that come with being white, or I can struggle to be fully human. But I can’t do both. Though the work is difficult, the choice for those of us who are white should be easy.

Has anybody read Bethenny's Book, "Naturally Thin"

KAT0002 — Wed, 01 Apr 2009 09:27:26 -0700

hey housewife fans, Bethenny has a book out I think it's called, "Naturally Thin"
I am thinking about buying it. I hope she has some of her recipes in it. Has anybody read it?

Shades of Grey

CCee — Mon, 22 Feb 2010 05:00:19 -0800

Hi everyone,
Nic was feeling very tired this week and wanted some pampering. I was of course happy to oblige and when I did her makeup I wanter her to look very refreshed.

I used Smashbox - Photo Finish Foundation Primer Light as a base (applying it with a MUFE Foundation brush) followed by a mixture of Smashbox - Hig Definition Healthy FX Foundation in L3 and Make Up For Ever - HD Foundation in 155 Medium Beige. I mixed these two together because the Smashbox Foundation is her perfect shade but I wanted her to have a natural tan and mixing a darker foundation created this. To make her look fresh, I used Smashbox - Photo Op, Under Eye brightener under her eyes and on the tops of her cheekbones. I used a light dusting of Make Up For Ever - Super Matte Loose Powder in 12 Translucent Natural pressing it in with the puff.
I used Bourjous Blusher in 92 Santal (I think, the name has worn off) to contour under her cheeks. I used her own L'Oreal eyebrow pencil, but I used it with an angled eyeliner brush by Models inc. to apply it. I placed some of the eyebrow pencil on the back of my hand (warming it up) and then picking it up with the brush to apply it in her brows, giving a softer and more angelic brow.
I then applied white from the Make Up For Ever - Flash Colour Case with a Sephora - Professionnel All Over Shadow Brush - Small #22. I blended this up to slightly above the crease. I then used a Sephora - Colorful Mat Mono Eyeshadow - Mat No. 06 (matte white) Item # 936310 with my "new" Illamasqua - Blending Brush 1 I set the white and applied a little extra in her inner corners. I then took up Illamasqua - Pure Pigment in Lust on the inner half of her lid. The shimmer catches the light and makes it look even brighter then the white. On the outer V, I used Sephora - Colorful Mat Mono Eyeshadow - Mat No. 02 (matte grey) Item # 936211. I placed the colour on the outer V and blended it with my Laura Mercier - Eye Colour Brush, this brush blends wonderfully and I reapplied the grey again with the Laura Mercier - Eye Crease brush to add a little depth and blended it again slightly. This applying, blencing and reapplying means the makeup will stay on longer.
I lined the outer half of her eyes with Stila - Smudge Pot in Jet Black and my Smashbox - Arced Liner Brush no. 21 starting halfway and keeping it very very thin. The mascara Nic is wearing is Rimmel Sexy Curves in Intense Black 003.

Emma Watson look from Harry Potter Premiere 07-07-2009

CCee — Mon, 22 Feb 2010 05:01:14 -0800

Hi everyone,
A while ago I already told you I was planning to do the look Emma Watson was wearing on the Harry Potter Premiere 07-07-2009:
I did the look this Friday and I made a full tutorial out of it for you. Starting with the eye we're going for: . As you can see it's slightly golden in the inner corner going to a more rose golden brown on the outer corner and a shimmery silver on the lower lash line.Of course her picture was taken in summer when the light was more yellow and mine in fall when it's all grey outside.The finished eye:
All good makeup starts with a good base. I started with a tester by SkinCeuticals called Prevent Serum 10 AOX+ this neutralizes free radicals, defends against environmental damage, and helps prevent premature signs of aging. I've had this mini bottle for a while but never used it because it smells really badly. But today I chose to use it because I thought: "Medicine is supposed to taste badly, maybe this smells horrible but works wonders." And it really is amazing, my skin is soft but also I have a healthy glow again and a few scars I have are lessening.... so I'm really loving this . As a moisturizer I'm using my Shiseido's The Skincare Range's Day Moisture Protection SPF 15 (at night I use their Night Moisture Recharge Light) and the eye cream I'm using is Elizabeth Arden's PREVAGE® Eye Anti-aging Moisturizing Treatment.
I'm using Talika - Lipocils again because my lashes are growing shorter and shorter by the day, I don't know if it's the weather, stress or the Rimmel mascara I'm using lately, but they need some extra care. At the moment I look like this:
I recently acquired the Beauty Blender. I have a love-hate relationship with this thing. I love how easy it is to apply makeup with it, but it eats makeup and it's hell to clean. To use a Beauty Blender you dampen it (under a faucet and then you squeeze all the excess water out with (first without and then with a towel).
Another "new" thing is the Make Up For Ever HD Primer in 00 Neutral and Foundations I got about 3 weeks ago. I finally emptied my Smashbox - Healthy FX HD foundation in L3 and I wanted the MUFE foundation for over 6 months. But in the stores here they don't have the perfect shade for me. Soooo I got the 140 Soft beige (slightly too light but perfect for the middle and end of winter) and the 155 Medium beige (too dark but perfect for the hight of summer). Both foundations together create a perfect colour for me right now. I do have a tendency to use the 140 in the centre of my face and the 155 to contour with when I'm going out. The finish I get is amazing, especially on camera .
The MUFE lift concealer is also something that I had trouble with finding my colour, the 3 Neutral Beige (on the left) is too yellow and the no. 1 Pink beige is too light. The no. 2 was too dark and looked horrible on my skin, so again I mix these two to get the amazing colour I need. I sometimes use more of the no. 1 on the inner corners and more of the no. 3 on the outer corners.... but basically it all depends on how my circles are appearing that day. My makeup looks like this at the moment: As you can see the concealer does have a tendency to crease if you don't set it immediately. Today it's also a little too light for some reason but I found a solution for that, by using the Undercover Pot in no. 3 by Laura Mercier. In this pot contains a Secret Camouflage (which works perfectly around my nose) and an Secret Concealer for under your eyes which, when you use a little amount, makes the concealer under my eyes look perfect when I use it over the MUFE concealer. I usually set this with the translucent powder also in this pot and the Laura Mercier Camouflage Powder Brush but I just cleaned it and it's drying so I'm using the velours puff by Laura Mercier. . Now this sounds like a lot, and it can be, if you use loads of product, the key to a "natural" look is layering thin layers to create the perfect canvas. So no plastering your skin away. It's all little bits that create a flawless look.
Because as you can see in the picture of Emma, she has amazing cheekbones, but also much contouring going on. To achieve sort of the same look on me, I use Smashbox which is this colour: I apply the blush (first on the apples of my cheeks) and then because this contouring product is a powder I powder the rest of my face first (with the Translucent Laura Mercier powder and Velours puff again) and then I use my Illamasqua - Highlighting brush to contour. I use this brush because it's PERFECT for this kind of thing. It places the colour where you need most depth and then you blend with what's left on the brush and the end result is superb.
I really love the Urban Decay DeLuxe Shadow Box and I use it more then any other palette I own. I have most of these colours as singles as well simply because that's easier to bring with me if I'm staying over at a friend's house. (I have singles of Fishnet, Honey, Heat, Sting, Graffiti and Adore).
The colours I'm using for this look are Shag, Honey and Scratch. I started with my Primer Potion and then used Shag the slight goldeney neutral which I applied with my Smashbox - no. 15 Definer brush. I placed the colour mostly on the inner 1/3 and then blended over to halfway down my lid. To make the colour slightly more golden I used Honey over this. You might ask why not take a more golden tint, well the answer is that I need the makeup to stay bright for long and these DeLuxe colours really keep their pigmentation through the day and night. Also it's more subtle then a gold if you combine Shag and Honey. My eye now looks like this:
I used Scratch on the outer 1/3 of my lid and then blended it into the rest of the colours already on there. This colour is a pinkish champagne colour and you really don't see the actual colour on the picture properly.
To darken the crease somewhat to create depth and add some extra warmth to the look I took up my Smashbox which is still available in the Smashbox - Runway Glam Kit if you open the Shadow and Liner palette you find three cream eyeliners and 4 eyeshadows: I used the shadow most to the left on the top part of the palette. It's a copper colour which I applied with my "new" Illamasqua - Blending Brush 1. My eye now looks like this: .
I've been loving the Illamasqua products I have and that's why I didn't use a silver under my eyes but a silvery green. I HAD to use Illamasqua - Pure Pigment in Lust. As you can see the lid has a "stopper" which keeps the pigment from becoming a mess if you travel with it and I have brought this with me almost everywhere for over a month now so it's doing it's job as you can see.
The mascara I'm using is from the Sephora Lash Stash brought out last year. This year there is one out as well, but this mascara is not included in the current lash stash.
My eyes now look like this, almost done:
All I wanted to add was a little extra brightness in the inner corner and on the waterline. I used L23 Champagne from Make Up For Ever Aqua Eyes. Final eyes:

Wed, 31 Dec 1969 16:00:00 -0800

5 Easy Ways to Plump Lips

D-Lee — Fri, 01 Jan 2010 16:45:43 -0800

Lips often grow thin and lose color over the years, and pesky little lip lines can add years to your face. But you don’t have to be a celebrity to get a sensuous, shapely pucker. Try these 5 tips to help you fill out your pout, smooth chapped skin, and fake a natural youthful look.

Use a Nightly Lip Rejuvenator
Apply a treatment product made with peptides and hyaluronic acid, ingredients that plump lips and soften lines. Try Peter Thomas Roth Un-Wrinkle Lip $30 at sephora.com

Exfoliate with a Washcloth
Before putting on lip color, lightly run a damp washcloth over lips. This increases circulation to boost fullness and provides a smooth canvas for color to adhere to.

Define Your Lips
Line the outer edge of your lips first, then fill in completely. "This creates a barrier that accentuates fullness and reduces lipstick bleeding," says NYC celebrity makeup artist Laura Geller. Try a plumping liner like Lip- Fusion Micro-Injected Collagen Lip Plumping Pencil $28 at fusionbeauty.com or sephora.com with collagen microspheres to add volume. For a natural effect, choose a clear or skin tone or one that's the same shade as your lip color.

Opt for a Soft Pink Gloss
This universally flattering hue and shiny, moisturizing formula reflect the most light, so lips look bigger. For best results, pick a plumping version, which is made with ingredients derived from menthol that slightly swell lips for a few hours. Try L'Oreal Paris Infallible Never Fail Plumping Gloss $10 at drugstores.

Pick a Balm with SPF
Use a balm with a built-in SPF of at least 30 before putting on gloss and liner; reapply when touching up lip color. UVA rays can degrade collagen, making lips look thinner.

hangzhou body massage

fengwei21 — Wed, 23 Dec 2009 21:58:34 -0800

Christmas is fast approaching a time when, massage guangzhou clubs offer different kinds of massage services, massage promotions is endless unless you see, you are welcome to visit, massage technicians will provide you with a new look a more comprehensive massage services Fingrkht, we The service is absolutely the best!
The needs of male and female athletes are very different, and these differences are apparent in all phases of athletic medical care -- from diagnosis, to treatment, to massage or physical therapy efforts.
An ailment exclusive to female athletes is the female athlete triad, a triumvirate of disorders that have a domino effect on one's overall health. The three components of this affliction are disordered eating, amenorrhea (or loss of menstrual periods for three consecutive months), and osteoporosis (or a thinning of bone tissue and loss of bone density). Affected athletes are best helped when each component of the triad is addressed and treated separately - and massage and sports rehabilitation therapy are helpful treatment options for this condition.
Athletes of both genders must focus on developing many of the same attributes in their bodies: strength, balance, endurance, precision. However, women are more likely than men to participate in sports and athletic endeavors that focus on body weight, size, and appearance. Gymnastics, figure-skating, ballet, and cheer-leading/color guard are some examples of these image-focused sports. In ballet, for example, the pre-pubescent figure is regarded as ideal, and bodily markers of adult female estrogen levels, such as visible breasts and hips, are taboo at many dance schools.
Many adolescent girls and women become image-obsessed, focusing on cutting their caloric intakes as much as possible, while continuing to train at the same vigorous, competitive levels. Once a person begins a calorie-restricted diet, it can be difficult to stop - many dieters report starvation-induced euphoria and delight at their shrinking bodies. The starvation method of weight loss is detrimental to training athletes, who typically have lower-than-normal body fat levels to begin with. A girl or woman needs at least 18 percent body fat to menstruate, and once body fat drops below this level, menstruation can cease. In girls who have not yet begun their periods, the onset of menstrual bleeding (menarche) can be delayed for years.
The cessation of menstruation is problematic because it upsets the female body's natural estrogen levels. As estrogen levels drop, bone density loss and bone weakening can occur. Estrogen in women has a protective effect on the skeletal system, enabling bone development during adolescence, and halting bone loss throughout early- and mid-adulthood. Adolescent amenorrhea can prevent a female athlete from building peak bone mass; adult amenorrhea can speed up the process.
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Hottest Cut

salimen — Thu, 03 Dec 2009 09:43:32 -0800

Agyness Deyn
BOB

If you're thinking about a bob like Deyn's, consider your face shape. If it's long and narrow face (like hers), ask for a cut that's aligned with the top of the lips, advises hairstylist Chris McMillan of Chris McMillan The Salon in Beverly Hills. "This length gives her face a bit of fullness," he says. If you have a rounder face, go for a chin-length style with bangs swept all the way to one side. This cut works on both fine and thick textures, but not on curly hair. "If you've got thick, curly hair, stay away," says McMillan. "It'll turn into a wavy ball."

LONG AND LAYEREDNicole Richie

"This is a sexy, easy, Bohemian look," says hairstylist Chris McMillan of Chris McMillan The Salon in Beverly Hills, of Nicole Richie's cut. Request layers that start at the collarbone. Bangs keep the style from looking too stringy, but they shouldn't be too thick or too thin.

LONG AND LAYEREDRashida Jones

A style with long layers and side-swept bangs is ideal if you have naturally wavy hair-or if you're growing out blunt bangs. Ask for layers, from the jaw down, says hairstylist Chris McMillan of Chris McMillan The Salon in Beverly Hills, who cuts Jones's hair. The bangs look best chopped to eyebrow-length, with slightly longer pieces on the sides.

BOBSelma Blair

Growing out a chin-length cut? Blair's long, shaggy bob is "a great transitional style for short hair," says hairstylist Chris McMillan of Chris McMillan The Salon in Beverly Hills. Ask for a haircut that hits the collarbone, with bangs that are slightly past your eyebrows. This look works best with a bit of body, so McMillan recommends applying a volumizing mousse, when hair is damp, then tousling hair and letting it air dry.

SHOULDER LENGTH
Gwyneth Paltrow

Not all haircuts are meant to look brand-new; Paltrow's style resembles a bob that's been growing out for a few months. To get that effect, "ask for a blunt cut that falls just above the shoulders and has absolutely no layers," says hairstylist Sally Hershberger of the Sally Hershberger Downtown salon in New York City. Then, ask her to "thin out the ends with scissors or a razor so they look slightly jagged." A cut like this can be worn wavy or flatironed pin-straight.

SHOULDER LENGTHKate Moss

If you're growing out blunt bangs, this is a great transitional cut, especially if you have fine to medium hair with a slight wave. "Ask for a shoulder-length style, cut with scissors and a razor, layered from the cheekbones down," says hairstylist Garren of the Garren New York salon. "It's also slightly layered at the crown, and the bottom is all one length, which gives it a disheveled look." Spritz on texturizing spray and part your hair on the side. Let it dry naturally, then mess it up with your hands or a large-tooth comb for a beachy, sexy look.

SHOULDER LENGTHLiv Tyler

"Liv's cut is about as blunt as a haircut can get-there are virtually no layers," says hairstylist Garren of the Garren New York salon. "Ask your stylist to make it collarbone-length in the front and just a touch shorter in the back. You should be able to part it on the side or in the center, and if it starts to feel too severe, make some gentle waves with a curling iron.

SHOULDER LENGTHCate Blanchett

Anyone aiming to make fine hair look fuller should check out this cut-which requires a few cheek-length layers around the face, and very little else. "Ask for very blunt ends all the way around and a few face-framing pieces in front that start just below the eyebrows," says hairstylist Chris McMillan of Chris McMillan, The Salon in Beverly Hills.

SHOULDER LENGTHHilary Swank

This cut proves that opposites attract. "The soft, textured feel perfectly balances strong features like Hilary's," says hairstylist Garren of the Garren New York salon. "Ask for a choppy, textured cut that's about ten inches long with layers that start at ear length and go all the way around the head-that means no bangs, and no face-framing pieces." One warning: "This cut will make fine hair look scraggly, so if that's what you have, stick with something more blunt," he says.

SHOULDER LENGTHCatherine Zeta-Jones

If you have wavy or curly hair, this is the best cut to keep from looking like Little Orphan Annie. Simply tell your stylist that you'd like "a bell-shaped, shoulder-length cut with long layers," says Babaii. "The layers should start mid-neck, and there shouldn't be any short pieces anywhere. It's meant to look sleeker on top and bouncy on the ends."

GAMINERihanna

She took a risk with this deconstructed pixie-but Rihanna's gotten nothing but rave reviews from day one. "This is the perfect cut for someone who's a little edgy and isn't afraid to stand out," says hairstylist Jimmy Paul of the Bumble and Bumble salon in New York City. "The back and sides should be boy-short and layered to the head, the top should be heavily layered and full, and the front bang section should be eye-length and very choppy. It isn't meant to look perfect."

Victoria Beckham

If you want to play up your eyes and cheekbones-and you're brave-try Beckham's short pixie. It flatters heart- or oval-shaped faces, but not round ones, says hairstylist Garren of the Garren New York salon, who gave her this cut. "It can be worn on or off the face," he says. "Ask your stylist to make it very feminine, and shaggy at the neckline with short, piecey bangs. The shortest bangs should be one inch long over your forehead. Work a light silicone pomade through your hair, using your hands, for definition."

BANGSCamilla Belle

On hair that's thick and straight, this cut has a cool '60s vibe. (It makes all other textures fall flat and look stringy.) "Tell your stylist you'd like your bangs to start very far back on your head and end just below the eyebrows," says Garren. "They should also be very blunt, very thick, and perfectly straight, with no layers-and the rest of your hair should be, too."

Tutorial: Full Kissable Lips Using Make-Up!

D-Lee — Sun, 22 Nov 2009 08:20:30 -0800

STEPS TO ACHIEVE A POUTY LOOK USING MAKE-UP!

I have used MAC cosmetics for this tutorial. It is a good idea to have a good set of professional cosmetic brushes. For the end result of this look, use any sheer light brown color OR use your favorite bright lip color. Either way is fine. I have just chosen a more daytime look here with a sheer light brown.

Exfoliate your lips lightly and apply a moisturizing lip balm. Around the actual lip line, apply foundation and lightly powder. do not apply this on the lips*

Using a shimmer powder, highlight the top of your lips (cupids bow) this will instantly give you a fuller top lip and also add definition or use a bit of lipgloss. Shimmer powder does work best however.

Using the highlighter, hightlight the two natural lines under your nose where your lips connect. some woman really love this technique because it instantly makes the area more prominent - the top lines outlined.

Using a flat powder brush, use one shade darker highlighter underneath the mouth - just a dusting in an upside down half moon swoosh. This draws more attention to your lips and creates a shadow effect under the lower lip. Using a large powder brush - highlight your chin area with the lighter color in a quick back and forth swoosh.

Using the shimmer highlighter, highlight the MIDDLE of your bottom lip. This creates a roundness and the appearance of a full bottom lip.

Apply lipstick (Here I've chosen a light brown sheer from MAC). Apply with a larger than normal lip brush. Flip your lip brush to the side and use the side of the brush to create the sharp line for your lips.
**Using bright colors will instantly add volume and attention to your lips or keep it more neutral (as you see here) for a more natural pouty lip for day.

Reapply shimmer to the middle bottom lip. You can also use gold lip gloss to achieve the same effect and apply a thin layer of clear gloss over.

and your all set! try it and tell me what you think!

How to Wear Red Lipstick

D-Lee — Tue, 24 Nov 2009 00:04:23 -0800

Red lips are appearing all over the red carpet.
Red is HOT right now! Is it because of the holidays?
Is it just a red HOT celeb and catwalk phase?
Red lipstick is timeless / always chic, but how do
you wear it without looking like a clown?

Different Ways to Do Red
Get passionate! Bobbi Brown shares her secrets for finding the right red for you.
By Bobbi Brown, A well-known makeup artist and author of three best sellers on beauty, Bobbi Brown is also the founder of her own multimillion-dollar cosmetics business.

Red lipstick is a staple and an easy way to make your everyday look festive. Despite what you may think, the red lip look is easy to achieve and very wearable. You don't have to be a makeup pro to pull it off and learn how to wear red lipstick. Rather than choosing your perfect red based on your skin tone or hair color, think about your style and the statement you want to make with red lipstick. In other words, find a red lipstick shade you're comfortable wearing.

High-Voltage Red
If you love bold color, look for blue-red (fire engine) and orange-red (tomato) shades. These are the strongest reds. A creamy, semi-matte formula is more fashionable than a totally matte lipstick. For more precise application, use a lip brush to paint color on instead of applying it directly from the tube. Apply it to the center of the top lip, and work out to the corners. Use short strokes, brushing the color on in thin, even layers. Follow the natural shape of your lip. Repeat this process on the bottom lip. For more intensity, apply a second layer.

Low-Key Red
There are a handful of easy and very subtle ways to wear red if you're a makeup novice or just want a more casual look. A red lip pencil can be very versatile; create your own shade by mixing the pencil with your favorite neutral or brown lipstick. Start by applying lipstick, then go over your lips with the pencil, lining and filling in. Or smooth lip balm onto lips, then fill in all over with the pencil. I also love the look of a red lip stain that goes on supersheer and gives lips that just-ate-a-Popsicle look. Lastly, if you'd like a high-shine lip, try a sheer gloss in cherry or purple-red.

Whether you go for a get-noticed red or something more subdued, remember that it's all about feeling good when you wear it.

Balancing Act
Strike a color balance between your lips and eyes. When your lip color is strong, it's best to keep the color on your eyes subtle, so those features don't compete with each other for attention. Pair your red lipstick with fresh, clean skin and a neutral eye area. Try skin-tone shades of eye shadow and classic black mascara. Eyeliner is optional--just keep it subtle.