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Make Up Artistry Training





make up artistry training






    artistry
  • art: a superior skill that you can learn by study and practice and observation; "the art of conversation"; "it's quite an art"

  • Creative skill or ability

  • The history of Artistry can be traced back to when Edith Rehnborg, the wife of Nutrilite owner Carl Rehnborg, spearheaded the efforts in producing skincare products from Nutrilite plant concentrates, then named Edith Rehnborg Cosmetics (ERC), marketed via Nutrilite Products, Inc (NPI, former

  • Significant artistic skill





    training
  • The action of teaching a person or animal a particular skill or type of behavior

  • The action of undertaking a course of exercise and diet in preparation for a sporting event

  • education: the result of good upbringing (especially knowledge of correct social behavior); "a woman of breeding and refinement"

  • (trained) shaped or conditioned or disciplined by training; often used as a combining form; "a trained mind"; "trained pigeons"; "well-trained servants"

  • activity leading to skilled behavior





    make up
  • 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"

  • 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"

  • Cosmetics such as lipstick or powder applied to the face, used to enhance or alter the appearance

  • constitution: the way in which someone or something is composed











HOLY NAME CATHEDRAL




HOLY NAME CATHEDRAL





North State Street at Superior Street
HOLY NAME CATHEDRAL PARISH WILL CONTINUE TO OFFER A FULL SCHEDULE OF MASSES DESPITE THE FIRE THAT CLOSED THE CATHEDRAL AFTER AN EARLY WEDNESDAY MORNING FIRE IN THE CATHEDRAL ATTIC.


February 4, 2009, CHICAGO: The cathedral remains standing on Wednesday after a major fire but suffered serious damage.
The extra-alarm fire was contained around 8:45 a.m. but the attic of the iconic church is severely damaged.
Firefighters were on the scene at Holy Name Cathedral on Wednesday night. The 134-year-old structure remains standing and inside the damage is minimal. A lot of water poured into the sanctuary damaging several of the columns and soaking the cardinal's hats called galeros that hang from the rafters.
"We just had a meeting here last night and we walked out and everything was fine and then this morning I turn on the television and they talked about fire in the roof and I couldn't believe it," said Rob King, Holy Name Young Adult Board member.

Father Matt Compton awoke at 5:30 a.m. on Wednesday morning to the sound of sirens. He went door to door through the rectory to help evacuate. And then when it was safe he and the fire department chaplain removed the Blessed Sacraments from the altar.
"Without that there's no catholic church," said Fr. Matt Compton, Holy Name Cathedral.
Flames were shooting from the roof when firefighters arrived quickly from the station down the street. Their challenge was to get a 500 hose into the smoke-filled attic up a narrow ladder... And over a catwalk with loose wooden planks.
"It's totally different environment from what you're seeing like in the movies or something, just totally different," said John Martinez, Chicago Fire Dept.
Francis Cardinal George says the roof will likely have to be rebuilt. But considering the seriousness of the fire he is thankful the damage is not worse.
"Chicago has always bounced back from fires so I think that we'll bounce back from this," said Cardinal Francis George, Chicago Archdiocese.
It is going to be a trying time for parishioners who were moved to an auditorium for several months for major repairs in the sanctuary last year.
"I'm also concerned for the Parish community," said Moses Spencer. Where are we supposed to worship?"
Fire department officials are not ready to say what the cause of the fire was. Some ideas include work that was going on or an electrical problem.
Severe damage to cathedral attic
It was a worker - part of the renovation project at Holy Name - who first discovered the fire. It didn't take long for the flames to grow feeding on the old, heavy timber in the roof. Tower ladder trucks poured the water on from outside, but without an inside attack the cathedral quite likely would have been lost.
"We had fire blowing through the roof, and there's heavy smoke conditions up in the attic area and when you walked in you could see water cascading down," said Lt. Eric Brodersen, Chicago Fire Dept.
To get at the fire from inside, firefighters had to run nearly 500 feet of hose through the front door, straight up a vertical ladder, through a three by three opening into an attic filled with smoke, and somehow make their way on narrow wooden planks.
"They had to crawl through so much - loose boards, a thirty foot drop to a ceiling 100 years old," said John Martinez, Chicago firefighter.
Martinez was in the second group of firefighters who were sent in. The first group led the attack until they were called back amidst concerns the fire might be getting away - but finally enough water from above made it manageable again.
There is a lot of clean-up ahead inside the sanctuary where several inches of water had to be drained. It'll likely be months before Mass can be held in the church again. Holy Name will need a new roof, and restoration on columns and sections of the ceiling that collapsed creating water spouts.
At one point, the basement had about a foot of water in it. But remarkably, the sanctuary was not damaged by fire. The cardinals' hats, or galeros, which are suspended from the ceiling, got wet, but appeared intact.
Over at Engine 42, Truck 3, they're aware things could've gone much differently, but didn't.
"The roof could've come in and the building would have been a total loss," said Lt. Dan Torrise, Chicago Fire Department.
"We focused on getting the job done. It's teamwork really," said Lt. Brian McKermitt, Chicago Fire Department.
"We're going to be open, starting tomorrow, in the parish center in the downstairs level and on the club room for a full schedule of five Masses," said Fr. Dan Mayall, pastor. "On the weekend, we'll be open with regular scheduled Masses in the auditorium, which is located in the same building."
A worker replacing wooden supports with steel ones reported the fire.
"I don't know the materials, but I know it was structural repair that has been











On the Waterfront




On the Waterfront





A SMALL but obviously dedicated group of realists has forged artistry, anger and some horrible truths into "On the Waterfront," as violent and indelible a film record of man's inhumanity to man as has come to light this year. And, while this explosive indictment of the vultures and the meek prey of the docksides, which was unveiled at the Astor yesterday, occasionally is only surface dramatization and an oversimplification of the personalities and evils of our waterfront, it is, nevertheless, an uncommonly powerful, exciting and imaginative use of the screen by gifted professionals.

Although journalism and television already have made the brutal feudalism of the wharves a part of current history, "On the Waterfront" adds a graphic dimension to these sordid pages. Credit for this achievement cannot be relegated to a specific few. Scenarist Budd Schulberg, who, since 1949, has lived with the story stemming from Malcolm Johnson's crusading newspaper articles; director Elia Kazan; the principals headed by Marlon Brando; producer Sam Spiegel; Columbia, which is presenting this independently made production; Leonard Bernstein, who herein is making his debut as a movie composer, and Boris Kaufman, the cinematographer, convincingly have illustrated the murder and mayhem of the waterfront's sleazy jungles,

They also have limned a bestial and venal boss longshoreman; the "shape-up" by which only his obedient, mulct, vassals can earn a day's pay; the hard and strange code that demands that these sullen men die rather than talk about these injustices and a crime commission that helps bring some light into their dark lives.

Perhaps these annals of crime are too labyrinthine to be fully and incisively captured by cameras. Suffice it to say, however, that while Mr. Kazan and Mr. Schulberg have not dug as deeply as they might, they have chosen a proper and highly effective cast and setting for their grim adventure. Moving cameras and crews to the crowded rookeries of Hoboken's quayside, where the film was shot in its entirety, they have told with amazing speed and force the story of Terry Malloy, ex-prize fighter and inarticulate tool of tough, ruthless and crooked labor leader, Johnny Friendly. The labor leader is an absolute un-regenerated monarch of the docks who will blithely shake down his own men as well as ship owners; he will take cuts of pay envelopes and lend his impecunious union members money at usurious rates and he will have his pistol-toting goons dispatch anyone foolish enough to squeal to the crime commission attempting to investigate these practices.

It is the story also of one of these courageous few about to "sing" to the commission—a luckless longshoreman unwittingly set up for the kill by Terry Malloy, who is in his soft spot only because his older brother is the boss' slick, right-hand man. It is the tale of Terry's meeting with the dead man's agonized sister and a fearless, neighborhood priest, who, by love and reason, bring the vicious picture into focus for him. And, it is the account of the murder of Terry's brother; the rampaging younger man's defiant testimony before the commission and the climactic bloody battle that wrests the union from the boss' tenacious grasp.

Journalism may have made these ingredients familiar and certainly more inclusive and multi-dimension, but Mr. Kazan's direction, his outstanding cast and Mr. Schulberg's pithy and punchy dialogue give them distinction and terrific impact. Under the director's expert guidance, Marlon Brando's Terry Malloy is a shatteringly poignant portrait of an amoral, confused, illiterate citizen of the lower depths who is goaded into decency by love, hate and murder. His groping for words, use of the vernacular, care of his beloved pigeons, pugilist's walk and gestures and his discoveries of love and the immensity of the crimes surrounding him are highlights of a beautiful and moving portrayal.

In casting Eva Marie Saint—a newcomer to movies from TV and Broadway—Mr. Kazan has come up with a pretty and blond artisan who does not have to depend on these attributes. Her parochial school training is no bar to love with the proper stranger. Amid scenes of carnage, she gives tenderness and sensitivity to genuine romance. Karl Maiden, whose importance in the scheme of this drama seems overemphasized, is, however, a tower of strength as the militant man of the cloth. Rod Steiger, another newcomer to films, is excellent as Brando's fearful brother. The pair have a final scene that is a harsh and touching revelation of their frailties.

Lee J. Cobb is muscularly effective as the labor boss. John Hamilton and Pat Henning are typical "longshoremen," gents who look at home in a hold, and Tony Galento, Tami Mauriello and Abe Simon—erstwhile heavyweight boxing contenders, who portray Cobb's chief goons—are citizens no one would want to meet in a dark alley. Despite its happy ending; its preachments and a s









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