RESTORED: 3/23/22: LINK RESTORED 5/5/23
We have become a generation that is totally self absorbed and concerned only with appearances. I can’t believe even men today are spending money on beauty treatments, anti-aging treatments, skin enhancements and youth serums. At what cost?? Are you so concerned with how nice you will look as you march into HELL??
I tried selling beauty products at one point in time. On a tour of the factory, I learned that Collagen comes from aborted fetuses and it is in makeup. That was my first clue. I have spent my life researching and learning about everything I can. We are living in a day when you cannot afford to be naive! You must not just take things at face value! NOTHING is as it APPEARS! The devil has turned everything upside down. Evil is good and Good is EVIL. EVERYTHING is a LIE.
I will tell you what GOD told me. If you want to know if ANYTHING is something you should have anything to do with, FIND THE ROOT. The ROOT is the only thing that matters and EVERYTHING ELSE is a LIE! A COVER UP. A DECEPTION!
In this post we are going to look at VANITY. ALL the things that cause us to become vain were taught to the human race by fallen angels. Demonic spirits are connected to each of these things. When you put yourself on the thrown, and life becomes about YOU, you have set yourself up for a fall. When you start to spend too much time and/or money in any one of these areas or more, you have opened yourself up for demonic oppression and/or possession. The spirits will take you over and you won’t even realize they are there. You will think that you are expressing yourself… in reality the demons are using your body to enjoy those things that they desire!
Azazel – Taught men to make swords, knives, shields, breastplates, the fabrication of mirrors and made known to them the metals of the earth and the art of working them, the workmanship of bracelets and ornaments, the use of paint, the beautifying of the eyebrows, the use of stones of every valuable and select kind, and of all sorts of dyes and all colouring tinctures, so that the world became altered.” The Book of Enoch; Chapter VIII
Legion of Honor to Host Gods in Color
Reconstruction B of a Trojan archer, 2005,after the original, Greece, Aegina, ca. 480 BC; Glyptothek, Munich; synthetic marble cast with natural pigments in egg tempera, lead, and wood; Liebieghaus Skulpturensammlung (Polychromy Research Project), Frankfurt, on loan from the University of Heidelberg
“20 And God spake all these words, saying, 2 I am the Lord thy God, which have brought thee out of the land of Egypt, out of the house of bondage. 3 Thou shalt have no other gods before me. 4 Thou shalt not make unto thee any graven image, or any likeness of any thing that is in heaven above, or that is in the earth beneath, or that is in the water under the earth. 5 Thou shalt not bow down thyself to them, nor serve them: for I the Lord thy God am a jealous God” Exodus 20:4-5
Gods in Color: Polychromy in the Ancient World
Legion of Honor | October 28, 2017 – January 7, 2018
SAN FRANCISCO (July 11. 2017) – The Fine Arts Museums of San Francisco (FAMSF) will host Gods in Color: Polychromy in the Ancient World, an exhibition that will present ancient sculpture to Bay Area audiences as never before: in vibrant color. The exhibition will reintroduce ‘polychromy’ – the painting of sculpture to dazzling and powerful effect. Defying the idea of the stark white marble of antiquity, the installation is the result of over 30 years of groundbreaking research in pigmentation of ancient sculpture by international scientists and archaeologists. On view at the Legion of Honor will be nearly 40 reproductions of well-known Greek and Roman artworks painted in brightly colored authentic pigments, uniquely juxtaposed with 30 statues and carved reliefs from ancient Egypt, the Near East, Greece, and Rome from FAMSF’s’ own holdings, supplemented with magnificent loans from Californian and European collections.
“Our visitors who imagine the classical world as stark and white will be shocked and startled to see antique sculpture in such bright and vivid colors,” says Max Hollein, Director and CEO of the Fine Arts Museums of San Francisco. “Gods in Color explains how ancient art and architecture is incomplete without color. White or monochrome sculpture would have been as strange to the ancients as the color reproductions in this exhibition might seem to us.”
When the idea of classicism took hold during the Renaissance, artists like Michelangelo and other masters hailed form and composition, instead of color, as the most prominent and venerable features of ancient sculpture. Over time, knowledge of color in ancient sculpture became all but forgotten and any evidence of polychromy was ignored. But even today, after millennia of burial and exposure to the elements, faint traces of color pigments on ancient sculptures can sometimes be detected with the naked eye. Additionally, advances in technology and research have allowed for an understanding of the evolution and extent of ancient polychromy. Techniques such as ultraviolet fluorescence photography and the examination of ancient pigments via ultra-violet-visible (UV-VIS) absorption spectroscopy have allowed an international team of archaeologists and scholars to create astonishing color reproductions.
“This exhibition reveals the power of color to enliven art. It is a meeting of the oldest objects in our collection, some over four millennia old, with the latest, state-of-the-art technology,” explains Dr. Renée Dreyfus, curator in charge of ancient art and interpretation for the Fine Arts Museums. “Through cutting-edge scientific investigation, ancient sculpture is brought back to its surprising splendor. This is a truly unique way to showcase FAMSF’s antiquity collection.” (Giving new life to the ancient gods.)
This exhibition will not only challenge the widely accepted ideal of achromatic ancient sculpture, it will also address how this misconception has influenced the history of sculpture. Works from ancient Greece and Rome will also be joined by sculptures from Egypt and the Near East to reveal a fuller range of polychromy from across the ancient Mediterranean world.
Gods in Color: Polychromy in the Ancient World is the result of decades of research by Prof. Dr. Vinzenz Brinkmann and Ulrike Koch-Brinkmann together with a group of archaeologists and natural scientists. Vinzenz Brinkmann is the original curator of the traveling Gods in Color exhibition and head of antiquities at the Liebieghaus Sculpture Collection in Frankfurt where he worked with Hollein during Hollein’s ten-year tenure as director of the Liebieghaus Sculpture Collection. The exhibition has traveled to some of the leading museums in the world, including the Vatican Museums, Rome; National Archaeological Museum, Athens; Pergamonmuseum, Berlin; Kunsthistorisches Museum, Vienna; and most recently to the Museo del Palacio de Bellas Artes, Mexico City. In San Francisco, it will be presented in its most recent version based on new research and reproductions.
“Today, a viewer sees classical European art in museums, but in antiquity these sculptures were placed in temples, public squares and necropolises where color was critical for understanding or “reading” these sculptures,” says Vinzenz Brinkmann. ”We have been researching these phenomena for 35 years and have found a tremendous amount of traces of original colors. Our reproductions have created a very lively public debate worldwide.”
The exhibition is organized by the Fine Arts Museums of San Francisco in collaboration with the Liebieghaus Sculpture Collection, Frankfurt. The curator of the exhibition is Dr. Renée Dreyfus, Curator in Charge of Ancient Art and Interpretation at the Fine Arts Museums of San Francisco in collaboration with Prof. Dr. Vinzenz Brinkmann for Liebieghaus Sculpture Collection. The exhibition will be on view from October 28, 2017 – January 7, 2018.
Renaissance artists who emulated rediscovered antiquities established white marble sculpture as the ideal artform. Examples from the Museums’ collection by Benvenuto Cellini, Antonio Canova, and Aristide Maillol will reveal how white marble and monochrome metals in classical art and architecture continued to be greatly admired into the Renaissance and neoclassical period. In the 18th century, ancient Greek sculpture was regarded as the ultimate expression of what the influential German art historian Johann Joachim Winckelmann called “noble simplicity and quiet grandeur.”
The idealization of classical art continued into the late 19th and early 20th centuries, when Greek and Roman sculpture were considered essential to museum collections. When real antiquities were not available, plaster casts were created and became highly valued copies that fascinated visitors and served as cornerstones of the curricula for the teaching of art, architecture, and the history of art. Casts of antique sculptures given to the de Young by the Greek government after the close of both the California Midwinter International Exposition of 1894 and the Panama-Pacific International Exposition of 1915 will also be on view and confirm the prevelance of these reproductions.
The earliest antiquities in the exhibition are Cycladic figures in FAMSF’s collections, which date back to the third millennium BC. When first discovered in the early 20th century, these highly stylized marble statuettes, by then pristine and gleaming, were a source of inspiration for artists such as Constantin Brancusi, Pablo Picasso, and Hans Arp, who found the streamlined forms emotionally stirring. By using raking light and other techniques on the Cycladic figures, details such as shallow reliefs, raised lines, and paint ghosts have been revealed, which indicate where blue paint was originally used for eyes and hair.
The next period represented in the exhibition will be the art of Archaic Greece (600–480 BC), when marble and limestone were the main materials used for sculpture and architecture. The carefully reproduced examples of temple architecture and funerary monuments will reveal how the ancient Greeks richly embellished their sculptures with colorful painting, gilding, silvering, and inlay. A number of statues from the Athenian Acropolis are represented through colorfully painted casts—including two interpretations of the “Peplos Kore” (ca. 520 BC).
The riot of color will continue with reproductions of ancient works including a full-scale reproduction of a portion of the west pediment of the Temple of Aphaia (ca. 480 BC) in its original polychromy from the Greek island of Aegina. The architectural elements and sculpture will be joined by amazing reproductions of the bronze warriors from Riace (ca. 460 BC), two life-size bronze male nudes. Although the originals were found underwater, chemical analyses have been able to identify numerous preserved elements of bronze polychromy: lips, eyelashes, and nipples of pure red copper, teeth of silver, and eyes of a variety of colored stones.
The strikingly beautiful “Alexander Sarcophagus” (ca. 320 BC), discovered in 1887 with much of its polychromy still intact, reveals the bright colors used in the Hellenistic Period. The color reproduction, which was painted with the pigments found on the original, will offer a surprising illustration of the use of color on marble relief sculpture.
The survey will then turn to Rome and portraiture by artists who also used a wide range of pigments and surface applications to embellish their marble sculptures. Numerous traces of color were found on an original marble portrait of Caligula from the early Roman Imperial Period (AD 37–41), in the Ny Carlsberg Glyptotek Copenhagen, a reproduction of which will be on display. The emperor’s face was carefully painted with flesh tones applied in multiple layers, creating an authentic, lifelike image.
The sculptures, both ancient and reproduced, will be complemented by early-19th century watercolors of Greek landscapes by English antiquarian Edward Dodwell and Italian artist Simone Pomardi. These breathtaking images, selected from the vast archive of the Packard Humanities Institute, bring to life classical monuments, some of which still retained their original color when these depictions were created. Quotes from Dodwell describe his travels to Greece in 1800 and 1805 when he observed traces of color on these ancient structures.
Also included will be a collection of Egyptian antiquities illustrating a range of painted colors, which are still visible on the sculptures, and a magnificent Egypto-Roman painted linen burial shroud. The exhibition also examines the art of the Near East, highlighted by antiquities from FAMSF’s collection, including an Assyrian wall relief from the Palace of Ashurnasirpal II in Nimrud (883–859 BC) and an Achaemenid Persian relief from Persepolis (ca. 490–470 BC). Both were originally painted in bright colors.
The exhibition will conclude with a description of the sources of pigments used and how they were applied. Most of these pigments were of mineral origin, such as red and yellow ocher, bright red cinnabar, azurite, and malachite, but also synthetic such as Egyptian blue, a material made from a mixture of silica, lime, copper, and alkali. White pigment was derived from lead or lime, and black from carbonized bone or other materials. The scientific investigations that uncovered the ancients’ love of color will also be explored.
Media Image Gallery
legionofhonor.famsf.org | @legionofhonor | #GodsinColor
The arts taught to man by the fallen angels are being used to bring the fallen back to earth. As they apply the coloration to these idolatrous carvings, they are restoring life to their image.
1 Peter 3:3–5, “Your beauty should not come from outward adornment, such as elaborate hairstyles and the wearing of gold jewelry or fine clothes. Rather, it should be that of your inner self, the unfading beauty of a gentle and quiet spirit, which is of great worth in God’s sight. For this is the way the holy women of the past who put their hope in God used to adorn themselves.”
cosmetic – [ koz-met-ik ] noun
1. a powder, lotion, lipstick, rouge, or other preparation for beautifying the face, skin, hair, nails, etc.2. cosmetics, superficial measures to make something appear better, more attractive, or more impressive:The budget committee opted for cosmetics instead of a serious urban renewal plan.
3. serving to beautify; imparting or improving beauty, especially of the face.
4. used or done superficially to make something look better, more attractive, or more impressive:Alterations in the concert hall were only cosmetic and did nothing to improve the acoustics.
conceal – [ kuh n-seel ] verb (used with object)
1. to hide; withdraw or remove from observation; cover or keep from sight:He concealed the gun under his coat.
2. to keep secret; to prevent or avoid disclosing or divulging:to conceal one’s identity by using a false name.EFINITIONS
mask – [ mask, mahsk ] – noun
1. a covering for all or part of the face, worn to conceal one’s identity.2. a grotesque or humorous false face worn at a carnival, masquerade, etc.:Halloween masks.3. Also called swim mask. a device typically of a transparent glass or plastic panel fitted into a flexible rubber gasket that fits snugly around the eyes, over the cheeks, and usually over the nose: used by skin divers4. anything that disguises or conceals; disguise; pretense:His politeness is a mask for his fundamentally malicious personality.5. a likeness of a face, as one molded on the face in plaster.Compare death mask, life mask.6. a covering of wire, gauze, etc., to protect the face, as from splinters, dust, or a pitched ball.7. gas mask.8. any protective covering for the face or head.9. any protective covering, as paper, cardboard, plastic, or the like, used for masking an area of something, as of a photograph or window.10. the dark shading on the muzzle of certain dogs.11. a representation of a face or head, generally grotesque, used as an architectural ornament or as a decorative device in weaponry, furniture, etc.12. a person wearing a mask; masker.14. Also masque. a cosmetic cream, gel, paste, or the like, that is applied to the face and allowed to remain for a short time before being removed and is used for tightening, cleansing, refreshing, or lubricating the skin.15. a piece of cloth, silk, or plastic material covering the face of an actor to symbolize the character being represented: used in Greek and Roman drama and in some modern plays.16. the face or head, as of a fox.17. Electronics. a type of stencil applied to the surface of a semiconductor to permit selective etching or deposition: used in the manufacture of integrated circuits by photolithography.18. Fortification. a screen, as of earth or brush, for concealing or protecting a battery or any military operation.
19. Also called braker. Shipbuilding. a sliding timber construction braced against the stern of a hull being launched to keep it from entering the water too rapidly.
verb (used with object)
20. to disguise or conceal; hide; dissemble: to mask one’s intentions.
21. to cover or conceal with a mask.
verb (used without object)
25. to put on a mask; disguise oneself.
hypocrit = someone who conceals themselves
A Brief History of The Beauty Industry
Historians can trace our use of beauty products and cosmetics back to 4,000 BC, and the ancient Egyptians who used kohl to create dramatic eyes. Today, the worldwide beauty industry, which covers everything from hair and skin care to make-up is an estimated $425 billion industry. The history of the beauty industry is as diverse and colorful as the lipsticks and nail polishes on display at your local make-up counter.
Early beauty and cosmetic regimes relied heavy upon natural ingredients, including berries, bugs, and charcoal to create a variety of colors, and many products were used for more than one purpose, a preview of today’s makeup multi-taskers. Early beauty treatments also utilized the area’s natural resources, locally sourcing natural ingredients for scrubs, pastes, and exfoliates. This pattern of using local, natural ingredients is an ongoing trend throughout the history of the beauty industry.
Today, the beauty industry has returned to its roots, with science based products doing double and triple duty. Women not only want to look beautiful they want their makeup and hair care products to benefit them as well. Beauty balms, correction creams, intensive serums, and anti-aging formulas are designed to showcase a woman’s beauty, correct any flaws or imperfections, and help her shine both inside and out. (NOT! It does nothing for you inside, not your true inside, you nature, who you really are in the depths of your spirit.)
Makeup is Not a Mask, but a Tool for Self-Expression
In 1920, Max Factor coined the term “make-up,” which was derived from the phrase “to make up (one’s) face.” The verb’s usage as a noun originated in the theatre, and many considered it vulgar. One-hundred years later, the cosmetics industry fully embraces the theatrical excess of makeup. Credit also goes to the social media-savvy artists who have forged a maximalist, flamboyant, and gender-fluid idea of beauty, where cosmetics are no longer meant to “improve” whoever wears them, but instead become tools akin to a painter’s palette. Even Vogue, hardly eager to cover avant-garde subcultures in favor of high-end fashion and luxury, now has a video series titled Extreme Beauty.
In honor of No-Makeup Day (Apr. 26), we are exploring the reconsidered role of cosmetics and what they mean to their wearers. To today’s new wave of beauty artists, makeup is not a mask to hide beneath — instead, these innovators are using beauty products to express their personality, skill, and artistry. (ok, so we see that they admit that cosmetics were used to cover up flaws or improve ones appearance. They also admit the old idea of makeup was indeed a MASK. NOW, they claim they have changed all that to make it all about the ART of creating an image. HMMM… sounds just like what we read in the book of Enoch… SO, cosmetics have returned to their roots… literally.)
Azazel – Taught men to make swords, knives, shields, breastplates,the fabrication of mirrors and made known to them the metals of the earth and the art of working them, the workmanship of bracelets and ornaments, the use of paint, the beautifying of the eyebrows, the use of stones of every valuable and select kind, and of all sorts of dyes and all colouring tinctures, so that the world became altered.”
Dolls and monsters
Defined subcultures like the “living dolls” and “genderless monsters” are some of the most visible groups of artists and performers who view their bodies as an artistic medium. (well, there you go. Dolls, no longer human, and GENDERLESS MONTSTERS?!? ya, that is just what you want to join.) Using their makeup skills, they transform themselves (they become ALTERED) into living works of art. These looks are not a mask in the sense that they provide concealment, but are a radical and purposeful means of self-expression. (BS! That is exactly what they are, because unless they become a new being spiritually, which they can if a new spirit takes over, then it is only a surface change. A MASK, A COVER UP, A CONCEALMENT, A LIE, A DECEPTION.)
“Living dolls” style themselves to resemble dolls and toys, either playing on convention or playing it up. (to resemble…not become. A MASK)
“I enjoy the concept of dolls because they’re blank slate,” says Veli, who is part of the “living doll” community, in a video for TheCut. “But I am not an object for you to fool around with.”
“Genderless monsters,” like “living dolls,” often work familiar concepts into their transformations, but go for a more beast than human being look — with an emphasis on busting gender norms. Hungry, a Berlin-based artist who describes their art as “distorted drag,” aims for a look they describe as “local bug lady meets successful 80s business woman.” Their artistic style combines arthropod-like prosthetic facial sculptures with sleek, modern outfits that have been painted or otherwise altered. (Prosthetics and altered/painted outfits…MASK)
The use of larger prosthetic pieces in conjunction with makeup artistry is on the rise as well – and in high fashion too. Gucci’s AW 2018 collection had models cradle a replica of their own head — severed — in their arms, or sport prosthetic horns or a third eye. But most creators are independent, like Instagram duo @matieresfecales — Steven Raj Bhaskaran and Hannah Rose Dalton — who are known for their hyperrealistic prosthetics that turn them into merfolk or alien-like creatures with heels growing from their own flesh. (And yes, these wearable works are available for purchase; currently, they retail for $10,000, but a lower-budget version might be on the way.)
As augmented-reality tools become increasingly accessible, there is now an established cohort of cyber artists who make face filters their trademark.
These filter creators are no longer focused on smoothing out blemishes or making themselves or their users more conventionally attractive. Shimmer and neon play the lion’s share. Beauty3000 is a prime example. Created by Johanna Jaskowska, it coats one’s face with a shimmery and opalescent film. Other filters digitally target a specific aspect of one’s body. Paige Piskin, who has (as of March 2020) made 60 filters, is mainly known for creating “Lil Icey Eyes,” which lightens a user’s irises so that they resemble the Wights in the hit show “Game of Thrones.” On the other end of the spectrum, Dazed magazine used dysmorphic AI filters for their Feb. 2019 issue, which featured images of Kylie Jenner with half of her fully made-up face molten and distorted. (These people have to be demon possessed. No one in their right mind would do these things. They are probably Music Festival conversions.)
Conversely, there is now a tendency to recreate these filters “IRL” (in real life) and make the digital tangible. Adoptees of this trend are wearing bold glitters, stickers, and other add-ons that, aesthetically, have their origins in Instagram or TikTok filters. There is also the “piercing challenge,” where users get a real-life version of whatever (filter-generated) piercing they randomly land on (#piercingchallenge has 98 million hashtags on TikTok to date). (Wow, maybe they got possessed by the demons in their cellphones or computers. AI runs the internet and AI is just demons by another name.)
Companies with commercially available products have started working the “IRL filter” idea into their aesthetic, too, pairing function with fashion. Starface, for example, is a beauty startup that makes pimple-fighting patches in fun shapes that are styled after an emoji aesthetic.
Cosmetics for all
Image source: Adobe Stock / Archan Nair.
Gender is no longer a barrier for cosmetics users, and the use of makeup to showcase one’s own colors is now far less constricted based on gender perceptions. While this has been common practice in artistic communities for a while, (not surprising as the arts were taught by the fallen and most artists are inspired by their muse/demon) brands are beginning to take notice, and the descriptors “beyond the binary,” “gender fluid,” and “gender neutral” are now quite common in the commercial makeup industry.
Jeffree Star Cosmetics, founded by the eponymous makeup artist, hires models of all genders, and his famed eye shadow palette “Androgyny” was named after what Jeffree refers to as his “theme of life.” His line goes for a highly saturated, matte look, complemented by frost-like highlighters.
In a similar fashion, Fluide, whose tagline is “Makeup for Everyone,” produces shimmery glitter, favoring bright colors and highly pigmented lip products. Adveket, a “beyond binary” skincare and beauty brand, has a large range of liners, lipsticks, lip crayons, and lip glosses in an expansive palette of nudes, reds, and pinks. The trend is international — LAKA, launched in 2018, is the first-ever gender-neutral Korean makeup brand. It focuses on muted tones and minimalist aesthetics and currently has a range of matte tints, blushes, and an eyeshadow palette.
“the use of paint, the beautifying of the eyebrows, the use of stones of every valuable and select kind, and of all sorts of dyes and all colouring tinctures, so that the world became altered.”
Makeup as celebration
It may seem counterintuitive to celebrate No Makeup Day with displays of full faces, but this idea frames cosmetics as a mandatory, obligatory camouflage. (LOL, LOL, LOL Camouflage, another name for cover up, concealment, MASK) In an era when makeup brands strongly promote a “dewy” and “natural” look, but whose results, however, solely depend on the “natural beauty” of the models used, no makeup is an uneven playing field. The desire to turn one’s face into a work of art for the sake of sheer, unabashed self-expression defies long-held beliefs about beauty standards just as well as no makeup does — perhaps even more so. (I thought that they invented modern make up to level the playing field between the naturally attractive and the less endowed. So, that was a lie, also at least it was unsuccessful, apparently.)
For this No Makeup Day, the “no” is not necessarily to abandon the use of cosmetics entirely, but to say “no” to make-up as a chore, disguise, or obligation. (Now that is really funny, because just one paragraph above this, they state that their idea frames cosmetics as a MANDATORY, OBLIGATORY CAMOUFLAGE! and here they say they are saying no to makeup as a disguise or obligation… double talk, double talk, double talk.)
Let’s take a look at the current beauty markets beginnings…
Located on Highland Avenue — just around the corner from where today the Academy Awards are presented at the Dolby Theatre (and close to Factor’s Walk of Fame star on Hollywood Boulevard) — the event attracted thousands to what the invitation proclaimed as the “world’s greatest cosmetics factory.”
Documenting their presence that night, Claudette Colbert, Bela Lugosi, George Burns, Judy Garland, Carole Lombard, Joan Crawford, Barbara Stanwyck, Edward G. Robinson and many other stars celebrated the opening by signing their names to a “Scroll of Fame.”
With the opening of the studio, Factor — a Polish Jew who had escaped from czarist Russia to emigrate to the U.S. with his wife and children in 1904 — was poised to expand both his makeup and wig business, which served Hollywood studios and movie stars, and his celebrity-endorsed line of retail makeup, to an even greener shade of success. It was a Hollywood success story writ large with greasepaint, rouge and lipstick.“He had to make his own way,” said Donelle Dadigan, founder and president of the Hollywood Museum, which is housed in the former Max Factor Makeup Studio on Highland. “And he was determined.”
Factor was born to Abraham and Cecilia Faktrowitz or Faktorowicz (depending on the source), circa 1877 in Lodz, Poland, according to the biography “Max Factor: The Man Who Changed the Faces of the World,” by Fred E. Basten. Coming to America in 1904 to escape working as a beautician and wig maker for the czar’s family, Factor used his skills to sell cosmetics and hair preparations of his own making at that year’s St. Louis World’s Fair.
After his first wife, Lizzie, died in 1906, and a second marriage failed in 1908, Factor, father to five children, married a neighbor, Jennie Cook, in 1908.
Aware of the growing popular interest in silent movies and that filmmakers were heading to Los Angeles, Factor joined them that year, hoping there would be a need for wigs and makeup. Soon after arriving in L.A., he opened a business called “The Antiseptic Hair Store” at 1204 S. Central Ave., where he sold made-to-order toupees and a couple of lines of theatrical makeup not his own, according to the 2008 Basten biography.
Downtown L.A. then, like today, was a place to shoot movies, and Factor, according to Basten, who interviewed him, observed that the theatrical makeup in stick form used by that era’s movie actors was heavy and dried into a stiff, mask-like surface that easily cracked and did not allow for much facial expression. Looking for a solution in a lab in the back of his store, Factor began to experiment, and in 1914, created a greasepaint in the form of a cream that was thin, flexible, and came in 12 shades.
However, in 1913, it was his wig making that got Factor into the movie business. Factor worked a deal to rent wigs to Cecil B. DeMille, who was set to co-direct the first feature-length film to be shot in Hollywood, “The Squaw Man.”
As for the new greasepaint, it was movie comics such as Charlie Chaplin, Buster Keaton and Ben Turpin who first gave it a try, coming to Factor’s shop to buy it and have him personally apply it, Basten wrote. Soon the new greasepaint was accepted by actors and studios alike, resulting in a blossoming demand for Factor’s makeup and services.
Wanting to be more in the center of things, Factor moved his shop to the Pantages (Pantages Name Meaning. Americanized form of Greek Pantazis, from a personal name meaning ‘may you live for ever’, from panta ‘always’ + zis ‘may you live’ ) Building on 534 S. Broadway, and then to 326 S. Hill Street, where it occupied a ground-floor storefront.
Adding to his innovations, in 1918 Factor introduced a Color Harmony line of 11 shades of face powder, and also started selling his greasepaint in tubes. One of his testers for the powder was screen actress Carmel Myers, daughter of Rabbi Isidore Myers of Sinai Temple.
Wanting to live close to his business, Factor, who did not drive, in 1922 bought a house at 432 Boyle Ave. (still a residence today) in the growing Jewish neighborhood of Boyle Heights, where he and his family lived until the late 1920s.
After the turn of the 20th century, the popularization of makeup had been slowed by the perception that it was mostly worn by actresses and prostitutes. Yet, with the advent of movies, women saw (the image was planted in their mind, and they imagined, themselves looking gorgeous like the idols they worshiped.) the makeup applied by Factor on such gorgeous stars as Mary Pickford and Greta Garbo and began to ask, “Why not me?” Soon, Factor and his sons heard that noticeable quantities of their products were disappearing from movie sets and studios.
“Normal people wanted to take it home,” said one of Factor’s grandchildren, Jerry
Through a deal with Sales Builders in 1927, Factor’s makeup began selling in drug stores (imagine that!) across the United States. By 1935, acceptance of makeup was widespread, including in the L.A. Jewish community, where at the Social Center at 2317 Michigan Ave. in Boyle Heights, a trained representative from Factor’s Hollywood shop, named Mr. Shore, was calendared to give a one-hour demonstration on society makeup.
“Be you blonde, brunette or redhead, Mr. Shore can give you pointers on how to appear lovelier than you really are!” said an item in the Aug. 15, 1935, edition of the B’nai B’rith Messenger.
In the early 1930s, the Factor family moved to a two-story house at 802 N. Elm Drive in Beverly Hills. Jerry Factor recalled that the house had an impressive swimming pool and a monkey cage in the backyard. On weekends, he remembered, the house was “filled with people for Sunday breakfast.”
To expand, Max Factor & Co. soon was looking for property in Hollywood, eventually purchasing the building where the grand opening took place, after a complete makeover by movie palace architect S. Charles Lee (born Simeon Charles Levi) was completed.
An Art Deco showplace complete with a laboratory, offices, factory space and an area for wig making, it had a room specifically decorated and lit for “Blondes Only,” and one each for “Brownettes,” “Redheads” and “Brunettes.” The night of the grand opening, Jean Harlow “cut the ribbon for the blondes-only room,” said Dadigan, the Hollywood Museum head.
Today, the building houses a collection of Max Factor products, photos and devices, including a beauty micrometer (a metal contraption designed to measure the face), as well as additional exhibits devoted to movie and TV history.
“I used to go and watch the ladies making wigs. And I liked to ride the [freight] elevator,” said Jerry Factor, recalling his childhood visits to the building. He now works in property management and is an emeritus trustee of the Max Factor Family Foundation.
Sometime after Max Factor merged with Norton Simon in 1973 (today the brand is owned by Coty), “The Scroll of Honor” disappeared. “Turns out,” Jerry Factor said, “my cousin Barbara had somehow got it out of the building, and it was under her bed for years.” Since its re-emergence, the scroll has been put on display in the Jewish Federation building and as part of an exhibit on Jewish Los Angeles at the Autry Museum of the American West. Today, it is on loan to the Skirball Cultural Center.
Factor died at his home on Aug. 30, 1938. Rabbi Edgar Magnin of Wilshire Boulevard Temple officiated at the funeral, and later his family dedicated the synagogue’s chapel in memory of him and his wife Jennie. Though he was the man who gave Joan Crawford her lipstick “smear,” and Lucile Ball her first shade of red, “Max Factor’s goal was not just to glamorize movie stars,” Dadigan said. “Culturally, he changed the look of women all over the world, in every station of life.”
I submit that without the benefit of those arts taught by the fallen, homosexuality would not have had much chance. It is hard to pull off a gender switch without makeup or costumes. And the 100+ genders they claim today, never could have been imagined. spacer
Look at the names of the products below. They don’t even try to hide it. They come right out and tell you… I guess you just find it to hard to believe… or maybe your think it is a joke.. IT IS NO JOKE FOLKS! Mascara is from the same root as MASK!
Dark Magic Mascara – Max Factor
Introducing the new Dark Magic Mascara; a mistake-free mascara designed to offer instant dramatic volume with one stroke of its wand.Experience an intensely dark lash transformation with a uniform finish in mere seconds. A mascara you can trust from the moment it’s applied!
Taking You To The Dark Side: Star Wars Makeup From Cover Girl…
Like that one woman can get up to $1,500 for her hair.
Kylie Jenner loves a good wig — her glam room has a shelf devoted to the many she owns — but if those hairpieces are made using real human hair (and it’s likely that that’s the case), they probably cost thousands and thousands of dollars. Surprisingly, the wigs are expensive not just because of Kylie, but because there’s an intense demand for human hair around the globe. Priceonomics took a look at that market in a feature story published this week — here are some of the most mind-blowing facts that were spotlighted in the article.
1. The human hair industry is extremely lucrative. In fact, it’s a multibillion dollar market. Hair is so prized that in one extreme case, the hair on a woman’s head was literally cut off by a gang. It goes toward the making of wigs, hair extensions, and fake eyelashes, as well as fertilizers and amino acids used to make dough (for pizza and bagels).
2. The majority of human hair used in wigs and extensions comes from India and China. Religious people make pilgrimages to temples such as the Venkateswara Temple in Tirumala, India, where they shave/tonsure their heads in a ritual of devotion. Hundreds of barbers shave a new person’s head every five minutes, leaving “bloody scalps and hair balls” all over the ground. The temple takes these strands, which can get up to 30 inches long, and sells them at auction.
3. Hair from the temple can cost $700 a pound, but when it gets purchased at auction, it’s not really in great shape. “Sweat, blood, and lice” can be found in the hair, which ends up in warehouses that “reek of mildew and fungus.”
4. It takes days to make a high-end wig. First, the hair needs to get untangled and sorted. Then, the lice (if there is any) has to get picked out of the hair. That gets followed by washing, drying, and dyeing. After that, it gets made into a wig.
5. You can’t untangle hair from economics. Historically, the movement of hair has always gone from the poor to the rich. It’s no different now, where hair comes from China and India, and gets sold predominantly in the United States and Europe, as well as Africa.
6. If you have long, naturally blonde hair, you can get as much as $1,500 for your hair. One wig retailer told Priceonomics that one woman from Indiana got that sum for her hair, which was then turned into a wig priced at $8,000.
7. Short hair also gets collected and sold. It’s not as pricey or desirable, and is mostly used for industrial purposes.
8. People buying wigs aren’t too concerned about the ethics of where wigs come from or how they’re made. Though most human hair comes from India and China, only a fraction of that hair comes from the temples. “Where the rest comes from, we have no idea,” a regional minister for textiles and commerce in India told The Guardian in 2006. Still, the mysterious origins of all that hair don’t bother consumers — they just want to know that it’s hygienic.
9. Synthetic wigs are getting better and better. The Chinese and Indian economies are much stronger now than they were 10 years ago, which also means that its citizens are wealthier, and there aren’t as many hair donors now as there once were. But that means companies are coming up with other ways to make wigs and extensions that are just as good to style as real human hair.
WHY BOTOX® COSMETIC
BOTOX® Cosmetic is the first and only treatment FDA-approved to temporarily make moderate to severe frown lines, crow’s feet and forehead lines look better in adults. So you look like you, only with less noticeable facial lines.
It’s a quick 10-minute treatment with minimal downtime. You may begin to notice results within 24 to 48 hours, with results lasting up to 4 months for moderate to severe frown lines.
Learn why there’s only one BOTOX® Cosmetic and find out how it works. Then get answers to your questions to see if it’s right for you and learn more about the history that has made BOTOX® Cosmetic the #1 selling
Cost of Most Common Botox Treatments
- Brow Lift: $450-$600
- Jaw Slimming: $800-$1200
- Neck Lift: $850-$950
- Chin Dimpling: $250-$350
How is Cost Determined?
“The cost for a procedure depends on two main factors,” explains Joshua Zeichner, MD, a board-certified dermatologist. “First, different products cost different amounts because of the technology that goes into their manufacturing. In addition, the cost depends on the fee of the injector. If you are seeing a sought-after, skilled injector, you may be paying a premium for that treatment. Especially when getting injectable fillers, your treatment is dependent on the skill and aesthetic of your injector. I do not recommend compromising here or purchasing a deal on websites like Groupon.”
Cost of Most Common Filler Treatments
- Under Eyes: Short-term filler (Belotero) with cannula technique is $850-$1000. Long-term filler (Volbella) with cannula technique is $1100-$1200.
- Tacking (restores bone loss in the cheek area): Short -term filler is $800-$1000, long-term filler is $1000-$1500
- Blanching (reduces fine lines without making the area puffy): Short-term filler with cannula technique is $1000-$1100, long-term filler with cannula technique is $1200-$1400.
- Calcium Jowl Lift (restores jawline and picks up jowls): Calcium filler with cannula technique is $2250-$2500
Botox – – also called: Botulinum toxin type A
- A neurotoxin used in cosmetic procedures to treat signs of aging. When injected into facial muscles, it temporarily paralyzes them
- Botox is a drug made from a toxin produced by the bacterium Clostridium botulinum. It’s the same toxin that causes a life-threatening type of food poisoning called botulism. Doctors use it in small doses to treat health problems, including
- Temporary smoothing of facial wrinkles and improving your appearance
- Severe underarm sweating
- Cervical dystonia – a neurological disorder that causes severe neck and shoulder muscle contractions
- Blepharospasm – uncontrollable blinking
- Strabismus – misaligned eyes
- Chronic migraine
- Overactive bladder
Botox injections work by weakening or paralyzing certain muscles or by blocking certain nerves. The effects last about three to twelve months, depending on what you are treating. The most common side effects are pain, swelling, or bruising at the injection site. You could also have flu-like symptoms, headache, and upset stomach. Injections in the face may also cause temporary drooping eyelids. You should not use Botox if you are pregnant or breastfeeding.
Apparently, they have had so much success at selling this toxic substance to adults, they are marketing it now for children. Recommended to treat a number of medical issues. Why not start shooting your kids up with toxic material now while they are young??
Botox Injection (Anal Sphincter and Pyloric Sphincters)
The Benefits Using Botox To Treat Pediatric Cerebral Palsy …
Botox for Torticollis – Intermountain Healthcare
Pediatric Botox injection for salivary glands – RadiologyInfo.org
BOTOX® injections may provide relief for children and teens with hard-to-treat migraines
OH MAN YOU’VE GOTTA SEE WHAT’S TRENDING ALL OVER YOUTUBE!
THEY WANT EVERYONE TO USE THIS FACIAL MASK!
Click the link to view the video: https://www.bitchute.com/video/vv3xf2w6InFs/
CLICK TO WATCH WHILE IT IS STILL AVAILABLE
Ye shall not make any cuttings in your flesh for the dead, nor print any marks upon you: I am the LORD.
It is often done for aesthetics, sexual enhancement, rites of passage, religious beliefs, to display group membership or affiliation, to create body art, for shock value, and as self-expression, among other reasons.
scarification or branding
Corsetry or tightlacing – binding of the waist and shaping of the torso
Tongue splitting – bisection of the tongue similar to a snake
Foot binding – compression of the feet of girls to modify them for aesthetic reasons
Neck ring- multiple neck rings or spiral are worn to stretch the neck (in reality lowering of the shoulders)
Can be produced artificially by applying pigments. Designs can include zoological or botanical still lifes, all kinds of creatures, historical paintings, autobiographical scenes or symbolic marks. Anyone can get tattoos, it doesn’t matter what the social class, gender or age is. The reasons why people want tattoos include; self-affirmation, vanity or wishful thinking, decoration, confirmation or rejection of moral concepts or an indication of social kinship and status. White inked tattoos produce a more subtle appearance on pale skin and resembles a more even toned scar appearance without the raising of the skin structure.
Present methods -Western Culture
Scarification is still used at present time, however rarely for religious reasons but instead aesthetically. (You cannot separate the spirit from the ritual. Whether you recognize it or not. The spirit is where the ritual began, it is the root.)
Using a scalpel to cut an image/design into your skin to eventually turn into a scar produces it. It then needs to heal, although the longer for a wound to heal the more pronounced and obvious it will be. Therefore to achieve this the wounds need to be kept open for a longer amount of time. Abrading scabs and irritating the wound with chemical or natural irritants such as toothpaste or citrus juice will achieve this. Some people will use tincture of iodine, which has been proven to cause more visible scarring
Scarification may not result in being precise as skin type, cut depth, and how the wound is treated while healing, can alter the outcome. Each part of the body will determine how deep or wide cuts would need to be. Also the scars tend to spread as they heal, so outcome design is usually simple, the details being lost during healing but again differs depending on the person.
Cosmetic Surgical ModificationKen The Living Doll | My Strange Addiction. (2013).
In the current time many people undergo surgery in order to improve their appearance, and not just because they have defeats but because they do not like the way they look. This is mainly caused due to the ‘ideal’ image that is portrayed through the media.
Although some people have taken it to the extreme such as Ken the living doll… who has had 125 procedures, that have costed £158,000. His aim is to resemble a doll in his body structure and sees it as the ideal male figure, as stated in the video. He sees his figure as resembling one of a hero. It’s interesting to see how some people can get caught up with an image to go to the extreme and put their health at risk.
Some people choice to surgically modify their body in order to look less human and go away from ‘beauty’ as seen in the media. This could include implants under the skin, tongue splitting, tooth filling etc. A lot of the time these people perform in side shows, such as; Lizard man who has sharpened teeth, full-body tattoo of green scales, bifurcated tongue, subdermal implants and recently, green-inked lips. Vampire woman who is covered head-to-toe in tattoos, had dental work to have fangs and titanium horns inserted into her head.
Cheating Darwin: The Genetic and Ethical Implications of Vanity and Cosmetic Plastic Surgery (excerpts only)
Presented at the conference Human Rights for the 21st Century: Rights of the Person to Technological Self-determination, May 12, 2007
Master of Arts candidate in Liberal Studies, University of Southern Indiana
Intern, Institute for Ethics and Emerging Technologies
Evolution continually selects the best genes to proliferate the species. Emerging cosmetic plastic surgeries allow us to bypass our genetic code and cheat our naturally predetermined appearances by altering the perceived external flaws and ignoring the intact internal code where the “flaws” remain. Without these self-identified unwanted physical attributes, people who otherwise might not have been perceived as desirable mates for procreation allow themselves to be perceived as desirable enough to pass on their genes. (so this is a form of DECEIT, a LIE, a MASK, a CONCEALMENT. Sadly we live in a world that is so unnatural, so accustomed to lies, that if you asked most people they would tell you, that doesn’t bother them. As long as it makes you LOOK GOOD to their eyes) TV shows are allowing us to witness the advantages over evolution that can be gained with the right amount of time and money. (If you follow my posts, than you have already read that TIME is MONEY, and MONEY and TIME represent our WORSHIP.) What we see on the outside is not necessarily what we are going to get on the inside, genetically speaking. With more and more people flocking to cosmetic procedures at younger ages, doctors and consumers need to understand and discuss the importance of this dramatic misrepresentation to the opposite sex. While there is a right to undergo the procedures, those who do so prior to having children, and even those who do not, are faced with important affective choices within a number of different relationships that need to be considered for both now and the future.
Genetic effects of CPS
Finally in examining the various relationship, it is pointedly interesting how intertwined all these relationships can become both before and after the decision of CPS. Looking forward, it isn’t just the relationships that are and may be affected, but also the genetic effects of CPS. Taking into contemplation, again, the relationships between the individual, the mate/potential mate, and the child, these relationships’ genetic effects also require consideration.
In evolution, the fittest and most “desirable” genes are a factor in procreation; those that are least desirable and potentially least fit for the environment are naturally weeded out. With CPS an illusion is created, in the sense that what one sees is not necessarily what one will get in regards to DNA. In the relationship of the individual and their mate/potential mate, there is a responsibility on the part of the individual to disclose any previous CPS. Referring back, genetically it is important to communicate and give a visual reference so that the mate/potential mate is aware of what genetic predisposition they are getting involved in.
This disclosure then opens up for discussion whether or not that attribute that was modified by CPS will be a problem to pass on to potential offspring. In addition, there is a question of how the two individuals will deal with the attribute if it does produce itself in their offspring. As parents, will they raise the child to handle the attribute by acceptance (in contrast to how the parent handled it), or will the child grow up to receive a similar CPS to “correct” the attribute? This decision starts a spiraling decision process of parent to child in dealing with the “undesirable” attribute. Without the availability of CPS, the attribute may have been hindered in procreation, and been naturally weeded out, but with CPS it is given a potential chance to continue on, despite its perceived lack of desirability.
Unlike adoption, where the parent and child also look different from each other, the difference in appearance caused by CPS is elected by the parent because they are unsatisfied with how they see themselves. Addressing this allows the child the opportunity to be adequately equipped with how they are going to deal with these features. Again, this starts a potentially spiral decision process for generations to come, notwithstanding the ever-changing standards in beauty.
Further areas for consideration
As we continue to examine the relationship and genetic effects of CPS, other areas reveal themselves for further consideration: topics such as Ethnic CPS, Egg/Sperm Banks and CPS, and Cosmetic Genetic Modification.
If the decision to change a person’s aesthetically cultural appearance continues on the path to normalcy, then we as a society will be faced with a cultural homogenization on the cosmetic level, but not at the genetic level.
Another illustration of the illusion created by CPS is its potential effects upon Egg/Sperm donors who have undergone it. The issue is whether or not there is full disclosure on their part as to what surgery, if any has been carried out. For potential parents who are selecting donors by their photo and profile, what they see may not be what they are getting, genetically, from donors who have undergone CPS. Once again, this raises ethical issues to do with relationships, since a lack of disclosure will create a difference between appearance and what the purchasers are actually getting.
Finally, it should be noted that the same problem would not arise with more futuristic Cosmetic Genetic Modifications(though different problems, perhaps novel ones, may arise), if the genes themselves could be modified to reflect the CPS that was undergone. Merely modifying oneself at the genetic level would not be visible, and the modifications would reveal themselves only in children or in later generations. However, CPS could be carried out to reflect the genetic changes that a person undergoes – so potential mates can see what they’re getting. In this situation, cheating Darwin is no longer the problem; rather, there might be a problem with perpetuating what society happens to find most desirable. Again, consideration should be given to the nature of beauty and to the fact that aesthetic ideals are ever changing throughout history. This lesson should be learned before we jump into a form of technology that would doubtless have new effects on human relationships.
Here I would like to bring up the importance of considering a factor that many have overlooked.
Relationship between the self and physician
The last relationship for examination is that of the individual and their doctor. How does this final relationship interact with the decision for Cosmetic Plastic S Surgery? CPS
Going to a doctor to solve the problem of a perceived physical defect, which in turn is supported by the physician, can contribute to the resolution of conflicts in the relationship of the inner-self or that of the individual/mate. A supportive vote and potential magnification of the problem by the doctor can remedy these relationships or cause further problems.However, this isn’t the only reason to consider this relationship, since the relationship with the doctor may not always be in the individual’s best interest all the time:
First, that the surgeon-patient relationship in cosmetic surgery is an allegory of the heterosexual relationship; second, that the nearly parodic structure of this particular libidinal economy masks the surgeon’s deeper function as conduit between the patient and their idealized image.
The resulting relationship is in the interest of the doctor, since there are monetary gains on his side of the relationship that may prompt him to magnify any potential problems. Money is a factor that should be consideredin a decision that affects so many different relationships in an individual’s life, particularly when the incentive is there for the one performing the procedure. There also may not be enough time between the individual and the doctor to develop a thorough enough relationship to allow the doctor to truly understand the situation. Doctors are aware of what to look for, but the time permitted may not allow them to go over the situation adequately. This is not always the case, but should always be considered.
Those areas all very good points to consider when electing to have cosmetic surgery. There is another important factor, and that is the nature and motivation of the medical providers who will be involved in the operation. Not only your surgeon, but any assisting physicians, anesthesiologist, nurses, etc. The following items should give you some idea of where things can go terribly wrong.
License to betray excerpts only
A broken system forgives sexually abusive doctors in every state, investigation finds
Richard Watkins/ AJC
5 doctors who abused patients while sedated
Cases were part of AJC’s nationwide investigation
A prominent Manhattan doctor is arrested, charged with giving a patient a powerful anesthetic in the emergency room, then masturbating on her.
The evidence: DNA found on her face. His defense: He had masturbated in a lounge before treating her and some semen was on his hand.
More in this series
- License to betray: A broken system forgives sexually abusive doctors in every state
- In Georgia, doctor sanctioned 3 times for acts involving vulnerable patients still licensed
- Doctor’s reputation is no indicator of their likelihood to offend
- Medical profession condemns sexual abuse, but resists solutions
- Why a national tracking system doesn’t show the extent of physician sexual misconduct
It was a story made for the tabloids, one of those incidents the medical establishment often brushes off as freakishly rare when they come to the public’s attention.
But in a yearlong national investigation, The Atlanta Journal-Constitution found scores of cases across the country of doctors accused of sexually violating patients who were at their most helpless — under anesthesia or sedated. The doctors’ downfall: The patients weren’t completely anesthetized, or DNA was found, or a witness spoke up and was believed.
A Kentucky woman claims that a doctor branded her uterus with the initials of his alma mater during an operation to remove the organ last year, according to a lawsuit filed Wednesday.
Stephanie Means, a 38-year-old school administrator, alleges that while Dr. James Guiler (picture at left) performed an August 14 hysterectomy at Central Baptist Hospital in Lexington, he “used a cauterizing instrument to intentionally brand the letters ‘UK,’ approximately 4-5 cm in height, on Plaintiff Stephanie Means’s uterus.”
Means’s lawsuit, a copy of which you’ll find here, notes that since she and her husband were apprehensive about the surgery, Guiler filmed the procedure and gave the couple a copy of the videotape, which, the Fayette Circuit Court lawsuit states, “clearly showed the instrument being used to brand Stephanie’s uterus.”
Guiler, a 1976 graduate of the University of Kentucky College of Medicine, was a sponsor of a 2001 fundraiser benefitting UK’s basketball museum. (4 pages)
2/20 UPDATE: Nine more women claim Guiler branded them.
Surgeon Who Etched His Initials on Patients’ Livers Is Convicted
LONDON — A prominent British surgeon who etched his initials onto the livers of two patients, in a case that shocked many with its audacity, has been convicted of assault.
The surgeon, Simon Bramhall, who gained fame in 2010 after successfully transplanting a plane-crash victim’s liver into a patient, pleaded guilty in Birmingham, England, on Thursday to two counts of assault by beating.
According to British news reports, Mr. Bramhall, 53, admitted to using an argon beam — an electrified gas jet that liver surgeons typically employ to stanch bleeding or to mark an area of operation on an organ — to etch “SB,” his initials, onto the livers.
Argon beam marks are usually not harmful and would normally disappear. But they were apparently discovered by a colleague when one of the patients underwent a follow-up operation.
Mr. Bramhall was subsequently suspended from his position as a consultant surgeon at Birmingham’s Queen Elizabeth hospital in 2013. He resigned a year later, and said his act had been a mistake
The doctor in charge of the endoscopy that led to Joan Rivers’s death last year did take photos of the sedated comedian in the operating room – despite his denial, new court papers reveal.
He has denied capturing images of Rivers’s personal doctor, Dr Gwen Korovin, working on the star, while Korovin has lashed out at claims she took a ‘selfie’ with her client during the procedure.
But now, court documents show that Cohen did actually photograph Rivers at the clinic, where the 81-year-old comedian suffered a cardiac arrest and fell into a coma, from which she never awoke.
According to the papers, obtained by the New York Daily News, anesthesiologist Dr Renuka Bankulla, who was involved in the surgery, admitted in medical records that photos were taken.
According to lawyers for Rivers’s daughter Melissa – who is behind the lawsuit against Yorkville Endonscopy – the clinic’s director has also provided evidence that Cohen took photos of Rivers.
Director Daniel Adler reportedly admitted in a letter to Melissa Rivers, 47, last October that several employees who were present during the surgery had told him Cohen had photographed her mother.
The Origin of Jewelry & Jewelry in the Old Testament
Opposition to the wearing of jewelry among the Pentecostal/Apostolic ranks can be
enumerated as follows: (1) jewelry is pagan in origin (2) jewelry is always spoken of in an evil sense in scripture; being associated with pride, harlotry, or idol worship (3) God frowned upon the wearing of jewelry ever since the gold calf incident. Because jewelry always led into sin, God put an end to the wearing of jewelry and is, therefore, forbidden in the NT (4) 1 Tim. 2:9 and 1 Peter 3:3-6 are commandments against the wearing of ornaments, except that of a meek and quiet spirit.
“How, when, where, and more importantly, why was jewelry created? The history of jewelry dates back to the beginning of recorded time, and the dawn of man. Ancient beads that may represent the oldest attempt by people at self-decoration have been identified from sites in Algeria and Israel.”
“Jewelry production was a significant craft in the ancient city of UR in southern Mesopotamia, where Abraham and Sarah lived. (UR is the evil city that God called Abraham to come out of, they were Idol worshipers.) Some of the oldest jewelry found is from UR. In Mesopotamian jewelry design, preferred shapes and motifs included leaves, cones, spirals, and bunches of grapes. (all symbols used by the occult) Jewelry was created BOTH for human (ornamentation) use and for adorning statues and idols.”iii
“Jewellery is one of the oldest forms of decorative art (art taught to man by the fallen angels.). For the past seven thousand years its history can be traced from the centres of the earliest known civilizations in Mesopotamia (Iraq) and Egypt (Egypt is representative of EVIL, and we know what Iraq is all about.). A vast amount of jewellery was found in graves in the Sumerian city of UR. The most impressive discoveries were made in some tombs dated about 2500 B.C., usually regarded as royal graves (royalty were either nephilim or their human bloodlines).
No date can be put on the first use of jewellery (we don’t have a specific date but we know the occasion, it was when the fallen exchanged the knowledge of making jewelry, of finding gems and precious metals to the humans in exchange for sex with women.) to proclaim the wearer’s wealth and social status. At some very early stage in man’s history relatively scarce materials began to be selected and fashioned for this purpose. Wealth and rank seem to have been critical to the use of jewellery as personal ornament and, perhaps, as currency in social transactions, such as gift-giving and bride-wealth.
In Rome the practice of wearing finger-rings for sealing purposes is well documented, and by the end of the 3rd century BC, Roman consuls were wearing signet rings with a distinctive device.”iv
“In ancient Egypt both men and women wore jewelry; not only as a symbol of wealth and status, but also for aesthetic adornment, and as protection from evil. The ancient Egyptians placed great importance on the religious significance of certain objects, which was heavily reflected in their jewelry motifs.”v
“The love of adornment has been expressed in the wearing of precious stones and the making of jewelry since the beginning of history (no since the fallen angels came down to earth.).
The Israelites probably learned to make jewelry from those under whose dominance and influence they came. The first such people were the Egyptians. (No, the Israelites were influenced to worship pagan gods while they were captive in Egypt and again in Babylon. They picked up all kinds of nasty habits, practices and beliefs.)
“In primitive cultures jewelry was used for pagan rituals, to honor a particular deity, or as an offering in sacrificial ceremonies; though SOMETIMES, jewelry was used for nothing more than simple beautification (adornment, self enhancement).”viii
“The Hebrew word nezem signifies a ring and is used both of nose ring and earring. The gold ring in itself was neither good nor bad, but could be used in idolatrous worship (the golden calf), or given to the Lord, or worn as an object of beauty.
The word lahash means an amulet or charm. It is translated as “earring” in Isaiah 3:20. The root means “to whisper” or “to conjure,” “to mumble a spell (as a magician)”ix and thus refers to charms of metal or jewels which were thought to have protective powers. Sometimes they were inscribed with magical formulas or were shaped like god-emblems, as among the Egyptians. Images of gods or teraphim were also common amulets.x (amulet – noun – an ornament or small piece of jewelry superstitiously thought to give protection against evil, danger, or disease.)
Sometimes jewelry AND clothing was worn in worship of idols, but talismanic or amuletic jewelry was manufactured with idolatrous characteristics. So much Egyptian jewellery had a magical significance that is impossible to distinguish the purely amuletic from the ornamental.xi
To protect themselves from hidden malevolent forces, such as poisonous snakes, scorpions, disease, floods or almost any natural disaster, illness, or tangible foe, ancient Egyptians wore amulets, or charms. In order to give an amulet its power, it had to be made and dedicated in strict accordance with the instructions written in the Book of the Dead. Only then, would the appropriate god’s spirit live within and energize the amulet. This now sacred object would have to be treated with respect in order for the god to continue bestowing his blessings upon the wearer.xii
By the later stages of the New Kingdom there is a marked increase in the use of amulets and figures of deities as decorative elements in jewellery.
Probably the most ancient purpose of the finger-ring was simply to be decorative, as
the finger-rings from the graves at Ur (c. 2500 BC) would seem to indicate. The rings above are Phoenician (c. 6th cen. B.C.) and represent jewelry of an idolatrous character. The Phoenician style is characterized by the use of motifs derived from Egypt.xiii The cornelian scarab shows Isis suckling Horus, with Osiride figures on either side and a winged disc above. This signet was probably not worn on a finger but attached to a string or necklace. The green glass scaraboid (on left) represents two winged sphinxes on either side of a sacred tree. This ring could be worn on the finger, with the design against the skin, of so desired, to prevent it from becoming damaged.xiv
The Hebrew language differentiates between “earrings” of an idolatrous character [lachash] from those worn for beauty [nezem; agiyl]. The earrings found in Jacob’s household (Gen. 35:1-4); those worn by the Ishmaelite men and taken in the spoils in Judges 8:24-26; and Isaiah 3:16-26 were amuletic—involved in the worship of idols. The UPCI claims the Ishmaelites (Iraq) and Midianites were distinguished from Israelites by their use of earrings and other jewelry,xv but Israelite MEN did not wear earrings, whereas Ishmaelite MEN did. Amulets and other objects common to the magical arts have been found in Palestinian excavations. Magic was practiced in Babylon and also by the Canaanites.xvi
In OT typology idolatry was spiritual unfaithfulness to Yahweh, and Israel was
constantly back-sliding into idolatry. We cannot isolate jewelry from everything else involved in harlotry in this text. Because Jerusalem made images out of the gold and silver jewelry, given to denote wedlock, does not make jewelry a “sin”. Had Israel continued in love and fidelity to her husband, Yahweh, all these items the Lord had given her would have continued to be a blessing, beautifying her appearance before the Lord.
Israel and Spiritual Whoredoms
Jeremiah prophesied of God’s judgments upon the Jews due to Israel’s habitual backsliding into idol worship, and he also TYPES Israel to an adulterous wife. (4:30 “And when thou art spoiled, what wilt thou do? Though thou clothest thyself with crimson, though thou deckest thee with ornaments of gold, though thou rentest thy face with painting, in vain shalt thou make thyself fair; thy lovers will despise thee, they will seek thy life.”)
Ezekiel also prophesied of the destruction of Israel, and in chapter 23 speaks of the
spiritual whoredoms committed by Samaria and Jerusalem, typified as two women, Aholah and Aholibah, her sister, who were married to Yahweh (vv4-5) but played the harlot and defiled themselves with idolatry. V30 “I will do these things unto thee, because thou hast gone a whoring after the heathen, and because thou art polluted with their idols.” V37
“…with their idols have they committed adultery…” Verses 26, 40, and 42 mention jewelry worn in the context of an adulterous woman but does not mean that wearing jewelry was the trait of an adulteress.
Hosea also prophesied of the desolation of Israel because of their sin of idol worship,
and used the same typology. Hosea 2:2 “Plead with your mother, plead: for she is not my
wife, neither am I her husband: let her therefore put away her whoredoms out of her sight, and her adulteries from between her breasts;” V13 “and I will visit upon her the days of Baalim, wherein she burned incense to them, and she decked herself with her earrings and her jewels, and she went after her lovers, and forgat me, saith the LORD.”
Saul & the Daughters of Israel
II Sam. 1:10 “…and I took the crown that was upon his head, and the bracelet that was on his arm, and have brought them hither unto my lord.” (v24) “Ye daughters of Israel, weep over Saul, who clothed you in scarlet, with other delights, who put on ornaments of gold upon your apparel.”
Isaiah rebukes the women of Jerusalem for their ostentatious display of finery including idolatrous jewelry. Isaiah 3:16-26 “…In that day the Lord will take away the bravery of their tinkling ornaments about their feet, and their cauls, and their round tires like the moon, The chains, and the bracelets, and the tablets, and the earrings, The rings, and nose jewels, The changeable suits of apparel, and the mantels, and the wimples, and the crisping pins, The glasses, and the fine linen, and the hoods, and the vails.”…
The social media beauty cult | DW Documentary
Within seconds of skin injury, vasoconstriction occurs to reduce blood loss. As blood spills into the wounded area, platelets come into contact with and adhere to the wall of the injured blood vessels and the exposed collagen within the ECM. This triggers platelets to release cytokines, growth factors, and numerous pro-inflammatory mediators, resulting in platelet aggregation and triggering the intrinsic and extrinsic coagulation pathways. This leads to fibrin clot formation, which seals the disrupted blood vessels, preventing further blood loss. The clot is sustained by the rapid intravascular accumulation of microvesicular tissue factor as microvesicles from white cells are attracted to the platelet surface. Growth factors produced by the platelets initiate the healing cascade. Platelet-derived growth factor (PDGF) initiates the chemotaxis of neutrophils and macrophages, smooth muscle cells, and fibroblasts, while also stimulating mitogenesis of smooth muscle cells and fibroblasts. Transforming growth factor-beta (TGF-b) attracts macrophages into the wound area and stimulates them to produce additional cytokines, including fibroblast growth factor, PDGF, tumor necrosis factor-alpha, and interleukin-1. In addition, TGF-b further enhances the fibroblast and smooth muscle chemotaxis and modulates the expression of collagen and collagenase. The purpose of PDGF and TGF-b is to stimulate a response from the matrix to produce cells in preparation for the rapid deposition of new connective tissue to rebuild the extracellular matrix (ECM). The clinical picture of hemostasis is clearly demonstrated by wounds such as skin graft donor sites which heal by regeneration.
Former Satanist: ‘I performed satanic rituals inside abortion clinics’
Wed Sep 9, 2015 – 3:03 pm EST
September 9, 2015 (LepantoInstitute) — In light of the recent videos exposing Planned Parenthood’s trafficking of the organs and tissues of preborn babies, the Lepanto Institute interviewed former satanic High Wizard, Zachary King. Zachary was an average boy from an American neighborhood who grew up in a Baptist home. He began practicing magick at 10, joined a satanic coven at 13, and had broken all 10 Commandments by the time he was 15 years old. From his teen years to adulthood he worked his way up to High Wizard in the coven and actively pushed satan’s agenda including ritualistic abortions. Zachary is currently writing about his experiences in a new book titled, “Abortion is a Satanic Sacrifice.”
L.I. – Zac, you’ve got quite the story to tell. Could you give us a little bit of background on how you fell into Satanism?
King – It started with a strong curiosity, wondering if magick was real. This came after watching movies about sorcerers and wizards back in the 1970’s when I grew up. We had a game at school called “Bloody Mary,” or “I Hate You, Bloody Mary,” where you’d go in a bathroom and chant that phrase a certain number of times with the lights off. Every time my group did it, we always saw a demonic face in the mirror. We had no idea that this is what we were looking at, just that all of a sudden there was this scary thing in the mirror and everybody would run out of the bathroom, scared to death … except me. I always thought it was pretty cool. Now, in the same time-frame that I’m doing this, I played campaigns of Dungeons and Dragons every weekend, and I’m always the wizard or the sorcerer in that. Eventually, I wondered if I could do magick for real and tried a couple of spells for money. They both worked, but it could have been just a coincidence so I did it a third time, and the third time I did it, I cast the spell in front of the demon in the bathroom [from the “Bloody Mary” chant] and thought I’d up the ante a little bit to see what happens. I got $1,000 bucks the next day. From that, I was convinced that magick was real.When I was about 12, a friend introduced me to a group that played Dungeons and Dragons that also believed that magick was real. It turned out that this group was a satanic coven. A lot of people ask me, ‘wouldn’t you run and hide at that point?’ I remind them that I grew up in the 70’s where satanic covens on TV are really scary, but … I love pinball machines, video games, and science fiction, like Star Trek and Star Wars, and these guys had almost every science fiction and fantasy movie you could ever want to see. They had pinball machines, an in-ground pool, a big barbeque pit, and it was just like a boys and girls club, and it was just a lot of fun. Let me put it this way, they knew how to recruit. They knew everything that a kid would want to do, so I got involved with it that way.
That was my first cult. I was in there until I was about 18, and then I joined the World Church of Satan, which is a much bigger, world-wide cult. The position that I attained is called a High Wizard. In a big satanic coven, they are the people who do the magick for the coven. There could be as few as one, and as many as 10. The general number [of high wizards in a coven] is between 2 and 5, and our job was to travel around the world doing whatever spells people want you to do. Now, when I say people, I mean rock stars, movie stars, political figures, rich people … there’s no limit to who will want a spell and what they’re willing to pay for it.
L.I. – So, you were a High Wizard within Satanism … just very briefly, how did you happen to become a High Wizard?
Now, satan picks you, and for a cult that big, there’s a CEO and a board of directors. So, the CEO sends word to you, you meet with the CEO and the board of directors, and they tell you that you’ve been chosen. You’re given a book that tells you what your job duties as a high wizard are, and you decide whether you want to do it or not, though I’ve never known anybody to turn it down.
L.I. – So, you were called before a high council of sorts, and they offered you the position, and you became a high wizard at that point?
King – Right, and I did that for about 10 or 12 years.
L.I. – What role does abortion play in satanic rituals, and when did you first get involved in abortion with regard to Satanism?
King – Just after I turned 14, the coven members came to me and said that I was going to be involved in an abortion in about 9 months. There was a sex party with all the male members between 12 and 15 and a female member over 18 and her purpose was to get pregnant, and then she was going to have an abortion in 9 months. When I was told this, I said “cool” out loud, but had no clue what an abortion was. In my family, I think I heard my parents whisper the word abortion once when talking about somebody else, so I thought it was a dirty word because they whispered it and I had never heard that word anywhere else. When I asked about what an abortion was to the coven members, I said I don’t know what I have to do here, they explained that there’s a baby in the womb and you are going to kill it. There will be an abortion doctor there to help you and there will be a nurse because it’s a full medical procedure. My first question was, “is that legal?” The response was, “Yes it is, as long as it’s in the womb. As long as the baby is still inside the woman, you can kill it.”
That’s how it was explained to us. It was also explained that, ‘You are killing a baby.” They didn’t say that we would be killing a fetus or killing some cells in a body. None of that. It’s a baby.
Now, I don’t think I would have been okay with killing a baby outside of a woman’s body, but knowing that I could kill as much as I wanted to if someone was inside the body … in satanism, killing something or the death of something is the most effective way of getting your spell accomplished. As far as trying to get satan’s approval, to give you something that you want, killing something is the best way to go. Killing something is the ultimate offering to satan, and if you can kill an unborn, that is his ultimate goal.
L.I. – Tell me about the first abortion you ever did as a satanic ritual.
King – The first one I did was about 3 months before turning 15. It took place in a farm house that was surprisingly more sterile than many of the other abortion clinics I had done abortions in. There was an abortion doctor and an abortion nurse. There was a woman in stirrups about to have a baby who was surrounded by 13 top members of our coven, which were all high priests and priestesses. I was inside the circle with the woman and the abortion doctor. All the adult members of my coven were there. There were several women kneeling on the floor, swaying back and forth chanting “our body and ourselves” over and over again. Off to the side were several male members of our coven all chanting and praying. The ritual started at 11:45 at night, and the spell began at midnight, which is the witching hour, and the actual death of the child happened at 3:00 am, which is called the devil’s hour.
My whole role in all of this was to insert the scalpel. I didn’t necessarily have to do the actual killing … what was important was that I get blood on my hands. So, I had to get somebody’s blood on my hands, whether the woman’s or the baby’s, and then the doctor finishes out the procedure. In that particular one, which was probably one of the more heinous abortions I had ever done, the doctor reached in, ripped the baby out and threw it onto the floor where these women were swaying. The women looked like they were possessed, and when the doctor threw the baby out to them, they cannibalized the baby.
L.I. – Dear Lord! How many ritual abortions have you participated in?
King – Prior to being a high wizard, I did five. After becoming a high wizard, I did 141 more.L.I. – Have you ever done a ritual abortion at a [high profile abortion facility]?
King – Yes I have. I’d estimate I’ve done about 20 ritual abortions inside these facilities, but I never counted. I just know that I’ve been in a lot of them. About two years ago, I went inside one to do some research for a new CD I was working on, and that was one very clean and the people were super-nice. But all the ones I went to, doing abortions in them, were terribly unsanitary. They looked like a house of horrors, with blood all over the place, including in some rooms with blood on the ceiling.
L.I. – How did you get invited to do satanic abortions at these [high profile abortion facilities]? Did someone call you call you? How did that come about?
King – As the high wizard, you’re the go-to guy in the satanic coven, so most people either call someone that they know in that coven or they’ll call because we did a lot of work with the Illuminati as well, so they’ll call them. This is all, obviously people that have to be in the know of these kinds of things, but you get invited to participate. The World Church of Satan isn’t the only organization that does satanic sacrifices in [these facilities]. There are other witchcraft organizations, such as wiccans, who are really involved in committing abortions inside these [high profile facilities]. You sometimes get invited to do the ritual abortion by the director of the facility or some high-up administrator, or sometimes the doctor is a satanist and they’ll invite you to come in and participate in an abortion or they will want to do a ceremony at the end of the day.
Now, at the end of the day, every day, satanic groups do like a Black Mass service, usually around midnight, and it will be an extended service that will last about 2 or 3 hours where they dedicate all the babies that were killed that day to satan. It doesn’t matter why women go in for the abortion, all the babies get dedicated to satan at the end of the day.
L.I. – What would happen when doing these ritual abortions? What general events would take place during these rituals?
King – There are kids that come to these events, but they’re generally not in the room when the abortion is taking palace. They’re in a separate room and they have contests to see which one of the kids can stay up until 3:00 am, and the kid that can stay up that late gets a reward. The men who are not a part of the top 13 are doing spells and chanting. They also are casting spells to protect them against anyone who might be praying against them, like a Christian praying against them. Also, whoever we have in our pocket for protection, so if we’ve paid off a sheriff’s deputy or cop or something like that, then no one is investigating us at that time. There are women chanting and swaying. The 13 members are surrounding the woman about to have the abortion, and they are the ones conducting the actual magick spell. In one instance, the one asking for the spell was the mayor of the town. He came to us because he wanted to pass some ordinance for his town, and he had tried it two or three times and it never went through. He had been a member of the coven for quite some time. He had tried every legal avenue to get this thing through, and it never worked, so he got somebody to agree to have an abortion and for it to happen at our satanic coven and during a night where we could do the abortion and do the spell at the same time. Generally, in a small-town coven, which is what that was, everyone would show up to the event. In a bigger place, like when I was a member of the World Church of Satan, you would get the high wizard, the people who want their spell to take place would be there. There would be the abortion doctor and his nurse. Many times, at [high profile abortion facilities], there’s a whole lot of them because a lot of the people that work at those places are witches or Satanists. So, you’ll get a lot of the people there willing to participate in the satanic event.
L.I. – Would you say that [high profile abortion facilities] attract members of the occult because of the opportunity to perform ritual abortions?
King – I would say that yes, that is absolutely a true statement. You know, you’ve got the people that belong to NOW [the National Organization of Women], and a lot of those people are wiccan, and the wiccans, though they profess to have a stance for the preservation of life, they’re allowed to “smite” or “smote” anyone who goes against them in any way, which is to say that they’re allowed to destroy them by any means necessary, which is through magick for them. For instance, as Christians, we pray for their conversion. Well, they see that as open season on Christians. They as well see the female figure, the woman, like Mother Earth, or Gaia. So, they have this womanly figure that they worship and they imagine that she as she is the goddess, a child takes away from that, and so abortion is a satanic sacrament so to speak.
So, just as Catholic men will join the priesthood because they are attracted to holiness and to working for God, an abortion facility attracts Satanists for the satanic priesthood.
L.I. – Have you ever experienced an inability to complete an abortion or the effects of your ritual due to people praying outside of an abortion facility?
King – More than once, we’ve had a baby defy the odds and survive the abortion. One time, I arrived at the abortion facility and there were people on two sides of the street. On one side, there were people praying and calling out against abortion, and on the side I was on were people who were obviously for abortion, and they were yelling all kinds of obscenities at the people across the street. When we went inside and looked across the street, we saw all the people on the other side of the street on their knees. That day, the abortion we had scheduled for a ritual did not go through. I think this happened to me about three times, and all three times … it’s funny, but that never really clicked for me that all three abortions that were thwarted by what can really only be attributed to the prayers that were going on outside.
L.I. – What advice do you have for people that are praying outside abortion facilities, especially if they suspect that there is some sort of occult activity going on inside?
King – First of all, don’t stop! There’s nothing that is happening in that abortion clinic that can hurt you. Sure, there will be demons all around, but you have to think of satan like a dog on a leash; if you don’t get within the leash, he can’t bite you. Be in a state of grace when you go. Take a bottle of Holy Water with you. Don’t spray it on the people that are there or the people that are there to oppose you because you’ll find yourself in court. You know, these people will sue you over the silliest things. But absolutely, sprinkle yourself when you get there and when you leave. Sprinkle it on all the members of your family. If you can receive Holy Communion before you get there, that would be ideal. If you go to Mass that day, after Mass spend a few minutes to ask Our Lord to send His Mother with you. Bring a Rosary with you and beat the devil to death with it. There are things that the devil is afraid of, but mostly, he’s afraid of a well formed Catholic; a Catholic that understands his faith and who knows what spiritual warfare is about. He does not want to do battle with someone who has all their armor on.
In January 2008, while working at a jewelry kiosk, Zachary had an encounter with Our Blessed Mother which changed his life. In the middle of the mall, through the power of the Miraculous Medal, Zachary experienced a peace that surpasses all understanding. That peace was Jesus Christ, the Prince of Peace. Our Lady’s love rescued Zachary from hell and brought him straight to the Heart of Her Son Jesus Christ. He started going to St. Francis Xavier Catholic Church in Vermont and in May 2008 (the month of Mary), Zachary King entered the Catholic Church! After 26 years of involvement with the occult, Zachary has become a warrior for Jesus Christ and wants to share his knowledge for the protection of God’s people. Zachary’s testimony is an inspiration that proves how great God’s mercy & forgiveness truly are and above all shows the depth of His love for us. Zachary King is currently living in Florida with his wife. He is an international speaker spreading the story of his miraculous rescue from satanism anywhere he can. Zachary’s website is http://www.allsaintsministry.org.
The blood of innocent babies who are murdered everyday, countless billions, is on your hands! Not just because you do nothing to stop it. Not just because you allow the “public servants’ to continue to declare that is legal. But because you are the reason for the abortions! YOU, are the enduser of the byproducts of these abortions. You are the income source for these monsters!!
Knowingly or unknowingly, it is no excuse. We can’t get away from it. They have made certain that EVERY SINGLE ONE OF US is a partaker in their dirty deed. They put it in our food and drink, they put it in our make up, they have males and females running out to by the latest enhancers… whether that is Human Growth Hormone, anti-aging cream, hand lotions, lip glosses and lipstick, wrinkle reducer… and the list goes on and on. These products are produced through the blood, tissue, cells and organs of BABIES… little tiny babies.
Is aborted baby tissue used in expensive face cream?
On 7th November 2009, it was reported in Bioedge that a San Francisco cosmetics company, Neocutis, has admitted that it used cells from an aborted male fetus as an ingredient in a beauty cream. (I got news for you, nearly ALL beauty products today have fetal tissue in them. If no they have some kind of human cell tissue in them. Collagen is in lotions, and lipstick. Think about that. Everytime you apply your lipstick you are putting dead babies on your mouth. Everytime you apply your hand lotion or your wrinkle cream, you are rubbing dead babies all over you. Of course the cosmetic companies are going to deny it. Think about how many of the beauty products like anti-aging cream didn’t come out until abortion became legal. And just where do you think the youth hormone, or the Human Growth Hormone come from?) The Swiss product is manufactured from patented processed skin proteins (PSP), and is used for conditions such as psoriasis and eczema, and, unsurprisingly, ageing. The proteins were obtained from a postage stamp-sized rectangle of skin taken from a terminated 14-week old male fetus in Switzerland.
Anti-abortion groups were particularly scandalized by the company’s brazenness in defending the use of aborted tissue in beauty creams. Neocutis contends that harvesting the skin cells was responsible and ethical. “The small skin donation” taken to develop this cosmetic treatment “originated from a single terminated pregnancy that could not survive to term and that was deemed medically necessary by the attending physicians.” The company compared this use of foetal tissue to the 1954 Nobel Prize, which was awarded to “researchers who utilized fetal kidney cells to develop the polio vaccine.”
Now that they have been given the go ahead to use stem cells for research…stem cells are being used for ALL KINDS OF THINGS!
The PSP is used in Neocutis bio-restorative skin cream, Journée bio-restorative day cream, Lumière bio-restorative eye cream and Bio-gel bio-restorative hydrogel. The Neocutis website says that “Through years of research, physicians [have] discovered fetal skin has a unique ability to heal wounds without scarring.”
The moral status of fetal material is widely disputed. For some, as an entry in the American Journal of Bioethics Blog suggests, fetal proteins in a face cream aren’t any different from animal or plant protein because for them the moral status of the aborted fetus doesn’t have the moral status to give one concern if consent to both abortion and research took place.
From time to time, the allegation surfaces that abortion clinics are selling foetal bodies to major cosmetic companies so that they may be “rendered” for their collagen. This rumor is persistent and seems to have a life of its own. (No DUH…if they aren’t getting the fetuses from the abortion clinics than where are they getting the fetal tissue for their collagen. I mean they have to be using an enormous amount of fetal tissue everyday!)
In April of 1980, guards at the Swiss-French border intercepted a Central European truck loaded with hundreds of pounds of frozen aborted preborn babies which, according to the accompanying bills of lading, were destined for several French cosmetics factories for processing into expensive cosmetics. Gazette du Palais (French Legal Journal)
The French newspaper explained that such trafficking in foetal remains is brisk, because they are used in “… beauty products used in rejuvenating the skin, sold in France at high prices.
“One seller, Madame Renne Ibry, advertises that her beauty products – which include fetal collagen – are “absolutely natural.” Claude Jacquinot.Gazette du Palais, Numbers 98 and 99; Wednesday, April 8th, 1981, and Thursday, April 9th, 1981.The actual brochure boasts about how the use of foetal collagen can “rejuvenate” skin and is translated from the French as shown below. This below is the text of advertisement circulated by a French company using aborted babies in cosmetics. It includes a description of what the cosmetic can do:
Tarif [price list] AU 1ER Avril 1980 Californie esthetique [California Beauty], Registre des Metiers, 697210 169 RM 06, Registre de Commerce 72 A 16
Centre Henri Chenot Madame RENEE IBRY, 85 avenue Marechal-Juin, 06400 CANNES Tel.43.85.54
Beauty by Cold
This revolutionary treatment of cellular regeneration uses cold technology. Because of the labors of Dr. Alexis Carrel, we know that young cells applied to old tissues are able to regenerate them. These cells are all the more effective if they are living. This technique consists of ‘splintering’ or ‘chipping’ fresh cells, the DNA and RNA life carriers. Taken exclusively from human foetuses, these cells, no longer independent, do not carry antibodies under any circumstances. This reduces to a minimum any risk of allergic reaction.
- Absolutely natural, this product is made for use at home
- Red stick: placenta of the foetus and foetal spleen, liver, and thymus
- White stick: liquid polyvalent [drawn from intestinal membranes]. In the box: red or white bottles
and from another source:
Collagen products are popping up everywhere. While collagen is probably most well known for its touted skin care benefits and as a major component of lip enhancers and injections, some celebrities, like Kourtney Kardashian, are suggesting that people drink it. Products derived from collagen are not just in skin creams and dietary supplements but even in pillow covers and clothing. Kardashian is even sellingcollagen supplements.
Because our bodies begin to lose collagen in our 20s, skin creams and treatments made from the connective tissues of animals (human fetuses) seem like an effective way to combat age. And, it has few side effects.
The benefits wear off if you stop taking it. Source
OK, I don’t know about you, but I can’t take anymore talking about what they are doing with live fetuses… Let’s move on to what is happening in the fashion industry.
I am 67 years old and I have lived through a lot of changes. I have seen fashion from the bizarre to the horrific. There for a while, when women’s lib was just getting strong they used to encourage working women to be FIERCE even FRIGHTENING. I remember some of the GOD AWFUL outfits they used to push. And men, they told men at one point that women only loved the “Bad BOYS” and to be sexually attractive they had to look dangerous. Like scars on their faces and/or bodies and leather and chains and bulging muscles. More recently they have developed the Metro Male…who manicures his nails and shaves his body hair, gets his hair styled at the salon. And women, with all their screaming about women’s lib… they have women dressing like two bit whores. They say they don’t want to be seen as objects, but they walk around displaying their wares openly and jirrating, sticking their butts in the air… it is ridiculous! Anyway… let’s take a look at the industry today…
Welcome to hell, fellas! Now the world of fashion is coming for you, too
After centuries of women being given rigid rules about how they should dress, a recent article in the Observer gave men similar advice – and it didn’t go over well
How to dress after 50: just don’t even start, according to readers. Photograph: FashionPPS/Zuma Wire/Rex/Shutterstock
You can imagine, then, how my heart sang when the Observer published a piece over the weekend called “What not to wear if you are a man over 50”. Finally! Progress! After centuries of women being given rigid rules about how they should dress and behave in order to be “age-appropriate”, men are finally getting the same treatment. Welcome to hell, fellas! We’ve got a very strict dress code here.
Weirdly, the Observer’s sage sartorial advice didn’t go down well with a lot of guys. Judging by the comment section, readers seemed to object to being told that wearing a pair of Converse after 50 is a “warning sign of somebody desperately trying to hang on their youth”. Nor did many readers react kindly to the notion that baseball hats and combat trousers were on the “to ditch” list for the self-respecting older man.
Similarly, there did not seem to be much appreciation for the observation: “A lot of men entering their 50s fall into one of two camps … those who have given up, and those who don’t know when to give it up.” Really, it’s a shame the piece didn’t make clear that uncouth language doesn’t suit a man of any age, because the general response to the article appeared to be “fuck off”.
I understand that being lectured on how to dress “age-appropriately” is a little irritating, but we all have to face harsh biological truths. The fact is, the body of a 25-year-old man is extraordinary. The body of a man of 50 is not extraordinary at all. It is even less extraordinary in cheap footwear and a baseball hat. I don’t make the rules, I’m afraid, that’s just the way the world works. It’s sad so many men got hysterical over an article that was only trying to make them look a little less hideous.
As far as I’m concerned, the Observer article didn’t go far enough in policing men’s clothing choices and planting age and appearance-related insecurities. As it turns out, however, capitalism and our image-obsessed culture is already doing a pretty good job on both those counts.
Male grooming, for example, is rising dramatically. There has been an explosion in skincare and anti-ageing creams for men as more guys grow increasingly concerned about their wrinkles; more than one-third of American dads say they care about preventing the signs of aging, according to a 2018 Mintel study. And men also seem to be increasingly self-conscious about their body hair; according to Kantar data, hair removal products are the fastest growing category in the toiletry market for male shoppers, up 25% year-on-year in the UK. Body image issues are also growing among men, with studies suggesting that men are as unhappy with their appearance as women are.
We seem to be marching very quickly towards a future in which men and women are equally plagued by unrealistic expectations about how they should look that have been concocted by the fashion and beauty industries. While it seems to be taking us a very long time to close the gender pay gap, we’re doing a great job in closing the appearance-insecurity gap. Something to feel cheerful about, I suppose!
Blood & Fashion Extravaganza 2019
A Multi-Cultural Extravaganza
Come join us on Saturday, March 30, 2019, and experience a SILENT PLAY (inspired by Bram Stoker’s Dracula) that incorporates a fashion extravaganza unlike any other. You are invited to witness the latest designs and the most luxurious collections including a very special surprise guest, presented as a timeless story of love, loss, desire, and redemption, in the form of exquisite performing arts. Enjoy spell-binding performance represented by a kaleidoscope of cultures, traveling across sands of time, and a dizzying array of colors and sounds.
This year our program include:
BANQUET/DINNER 6pm to 7pm
Saturday, March 30, 2019 at 6:00 PM – 10:00 PM EDT
More than a year ago
Last season, we sadly reported that low-rise pants are back. Tight low-rise pants are depressing — they are unflattering and make your underwear stick out above your lower-waistline. But there is hope. Low-rise pants are the sister to sagging pants, a trend that is far more fun and more forgiving. Long live the Y2K revival.
At his Spring 2020 show, designer and CFDA/Vogue fashion fund nominee Victor Barragán presented a vital, fun take on Mexico City clubwear — a focused take on an aesthetic he’s been developing for years. The Barragán models had slicked-back hair and glistening skin; the makeup included faux-hickies that dotted their necks created by artist Marcelo Gutierrez. And the clothes were styled to seem like they were about to slip off.
The Barragán look perfectly ascribes to what Vogue writer Liana Satenstein aptly described as “louche, sweaty style” (my ideal man). “For these men, there is no need to skew toward mass trends or consistent classics, no interest in copping the latest It piece,” she wrote back in 2016. “Instead, they find luxury as well as self-satisfying comfort in their own sleazy selves, their utter lack of irony, and their absolute confidence.” Enter the Barragán man.
Some of Barragán’s models this season sported sagging pants with pockets unexpectedly placed at the knee. Stripes of contrasting color swirled around the groin; they are the best kind of sagging pants we’ve ever seen. Please take us to whatever party you’re headed to next.
At Gypsy Sport, designer Rio Uribe makes collections that are genuinely unisex and agender; he shows clothing on male, female, and models who identify somewhere outside the gender binary (which almost feels ridiculous to point out; young designers in New York, like Uribe and Barragán, use organic, inclusive casting without a second thought, as it should be). Uribe’s triumphant show included models done up in glittering makeup, like aliens. And sagging pants! Uribe showed wide-legged trousers and cargo pants that dipped well below hips, butt cracks poking out from behind.
The ass, in general, has been having a Moment that’s lasted several years. And some designers chose to just show their models’ whole butts. Kim Shui opened her Spring 2020 show with a dress that was entirely open in the back, strings criss-crossing down the model’s back, her ass entirely exposed. “I like incorporating a qipao element,” Shui said backstage. “And I thought, why not just be a little extra? Make it a statement from the back.”
The Priscavera collection also incorporated low-cut cargo pants and exposed cheeks; designer Prisca Vera Franchetti showed a short skirt lifted up to expose her signature flame-print rendered on underwear. Franchetti was directly inspired by the Hieronymous Bosch painting “The Seven Deadly Sins and the Four Last Things.” And so backstage she said she was thinking about “what it means to sin, or be a sinner.”
Franchetti’s clothes were worn unbuttoned, flowing everywhere in the breeze on the roof of New Design High School, one of the best New York Fashion Week venues (in addition to its beauty, New Design also enlists high school students to help at the shows, giving them nice resumé boosts). Sex seems back for spring. In addition to the aforementioned butts, boobs were nicely on display at shows like Gauntlett Cheng and Section 8. It’s time to finally let a little loose.
What’s Haunting the Runways.
By Ruth La Ferla
Oct. 29, 2019
Aliens, demons and other shady creatures are invading social media — and being co-opted by the world of style.
Salvjiia is a beautiful fright. The Instagram persona of Lilith Morris, she is posed in a recent post as a mutant, her eyes dark pits, her wheat-colored hair cascading to the floor, her torso fused with the fur-covered legs of a deer.
Salvjiia, 19, is part of a subculture of self-created oddities proliferating online and, more recently, leaching into the world of style.
The most baldly subversive among them, Instagram personalities with mysterious or sometimes off-putting handles like Fecal Matter, Forbidden Knowledge and Genesisfawn, are turning to prosthetics, extreme makeup, props, bodysuits and digital effects to mask or make hash of commonly held notions of what it means to be human.
If their otherworldly appearance seems familiar, the likelihood is that you’ve seen it in a tamer form before. Versions of this spectral look date at least from the 1970s, when David Bowie introduced Starman, his pallid alter ego, and appeared as an alien in “The Man Who Fell to Earth.
In her 2011 video “Born This Way,” Lady Gaga took on the guise (disguise or MASK) of a celestial freak haloed in broad beams of light.
Today there is Maleficent, Angelina Jolie’s archvillain, back just in time for Halloween, her character’s steeply angled cheekbones and imposing crown of horns suggesting some demonic alien race.
Now comes fashion, intent on mining this eerie aesthetic for impact by releasing onto the runways streams of bloodless-looking models who seemed to have beamed down from Neptune or Mars.
The look’s latest champion, Demna Gvasalia of Balenciaga, introduced a phalanx of these human anomalies in his spring 2020 show, all chalky complexions and vulcanized lips and with prosthetics augmenting their otherwise sunken cheeks. His intention, according to his show notes, was to “play on beauty standards of today, the past and the future.”
Magazines, too, have clambered on board, not least of them Vogue, which posted an online feature last year about Fecal Matter, the Instagram handle of Hannah Rose Dalton and Steven Raj Bhaskaran.
They are a Canadian couple who make liberal use of prosthetics and props to sculpt scythe-shaped shoes, Mount Rushmore cheekbones, mini-horns and other reptilian protrusions. Tentacle-like breathing tubes dangle from their mouths.
To what end? Is fashion’s appropriation of alien chic a celebration of a forward-looking, highly evolved form of humanity? (GOD I SHOULD HOPE NOT) Or is something more self-serving at work? In recent seasons, fashion, in the guise of diversity, (well there you go, the disguise of diversity. So, it is really not diversity. They are only foolin.) has made a near fetish of parading black, transgender, old and plus-size models in their shows — and in the case of Tommy Hilfiger, people with disabilities as well.
Have designers and marketers simply run out of ways to jolt spectators from their seats?
“I never do anything for shock effect,” said Carine Roitfeld, the high-profile editor of CR Fashion Book.
But her statement is at odds with a feature in the current issue that makes a deliberate spectacle of demi-bald, spectral-looking models disjunctively dressed in a bourgeois pastiche of starchy plaid skirts and blazers. Her aim, Ms. Roitfeld said, was to “push cultural boundaries and start a conversation about inclusivity.”
Maybe so, but there are indications that the fashion establishment may be operating from more adulterated motives. Some were hinted at, if only obliquely, by Rick Owens, who commissioned Ms. (Lilith) Morris (Salvjiia) to create makeup for his fall 2019 runway show and ended by introducing a succession of ghostly Salvjiia look-alikes on his catwalk.
His intent struck some as boldly progressive. But there was something glib, not to say disingenuous, in his program notes, in which he wrote that for a young generation, body modification is the new tattoo.
Such comments appear to make light of Instagram users’ intentions.
“We always went into this knowing that people see us as a joke or click bait,” Mx. Bhaskaran, 26, of Fecal Matter said. “That’s why it’s so important for us to integrate a message more than just a look.”
Part of the couple’s objective, Ms. Dalton, 24, said, is to confer on social outliers — “the trans girl, the plus-size girl in high school” — a sense of belonging. “We want to offer a more tolerant space for anybody to explore their identity,” she said. (anybody that is, except conservative Christians.)Robert Reed, a 26-year-old designer in Brooklyn, creates second-skin costumes — wearable art, he calls them — with horns, masks, winged shoulders and elevator shoes in reaction to what he views as an over-stratified society. He documents his work on Instagram.
“I want to be seen as an artist, not someone who’s male or female, gay or straight, black or white, fat or thin,” said Mr. Reed, who has collaborated with François Nars, Opening Ceremony and their influential like. “My persona kills that conversation about gender identity. It kills race, it kills any suggestion of the human form. For me, it’s like being an enigma.”
Such aims are more in line with those of Alessandro Michele, the creative director of Gucci, who anticipated the alien incursion more than a year ago with a spring 2018 collection modeled by anemic-looking women, their faces veiled or masked by balaclavas, some toting replicas of their own heads.
As an aesthetic, it represents, Mr. Michele suggested, a coming golden age of pan-gender, post-racial, post-sexual identity. “We are in a trans-human era for sure,” he said at the time of his show. “We have to decide what we want to be.” (Wow, so they are celebrating being TRANSHUMAN, not even realizing that they have been shaped and molded and lead there on a leash! The devil and his demons are very clever and must be celebrating about now. And oh what an insult to GOD that they choose these ridiculous charades to the beautiful bodies he gave us.)
Pop culture’s embrace of such sci-fi extremes comes and goes. Earlier this year, FKA Twigs and ASAP Rocky collaborated on a video in which they appear as glamorous extraterrestrials flashing talons and neon-tone masks.
Lately, variations of the look have emerged on TikTok, where a stream of cosplay devotees masquerade as mutants from outer space. (Once again, MASK)
“The alien aesthetic has historically been most popular during extremely conservative periods,” said Daniel L. Bernardi, a documentary filmmaker and a professor of cultural studies at San Francisco State University. “It reflects and addresses the tensions of a divided society.” (Does it? Does it really? Or is it one of the major contributors to the DIVISION?)
For fashion in particular, he said, “it is a means of grappling with a fairly radical shift in what it means to be beautiful. I don’t think anyone has identified that yet.” (If this is what it means to be beautiful, I prefer to be considered an ugly ogre.)
It may also be a way of coping with the pressures of the bottom line. “Fashion is good at identifying where peoples’ stresses are and interested in exploiting those stresses,” (Probably the only true statement I have heard from any of these freaks.) Dr. Bernardi said. Its ultimate aim: “to get you wrapped up in an image and to buy that image.” (BOY IS IT WORKING ON YOU FREAKS)
It’s an aim rejected by these Instagram mavericks. (How funny that they actually believe that!) Referring in particular to Mr. Hilfiger’s use of models without limbs, Mr. Reed asked, “Was he genuinely interested in those models or just using them to seem ‘with it’?” (WHY don’t these people just walk away from the “FASHION INDUSTRY” altogether and go live normal lives and be happy? I will tell you why, they want the money, they want to ride the beast, make the millions and be recognized by the masses.)
Others argue that the fashion establishment has encroached on their turf, reaping the benefits without the risks. Their work requires a commitment, Ms. Dalton of Fecal Matter said. She and Mx. Bhaskaran routinely take their message to the streets, shopping for produce or stopping for a latte dressed in full regalia, and as often as not exposing themselves to the taunts of strangers. (Ya, working the PR. they know they have to build a following, to have success.)
Fashion, Ms. Dalton said, trivializes that kind of audacity. “What is so personal for us has now become a global trend.” (Now come one, personal, a trend has been their goal from the get go. That is what social media thrives on. That is what social media is all about.)
“The fashion community needs a trend, something they can use to sell product, to garner attention, to be different from competitors,” she said. “You could say that fashion’s just tagging along.” (Fashion has been working this gig of the hideous, alien and transhuman for decades and decades. They just finally got a generation simple minded enough to buy into it, and the technology to put it over the edge.)Some things you can do with your appearance.Beyond the Drag Event HorizonFilthy scary alien monster cyborg goth drag is in the club.Latte Art Begone! Here Come the Bold Freaks of InstagramExtreme makeup, wicked wigs and blank scowls are subverting a platform of pretty.
Sibling 2015 Spring Summer Mens Runway Looks
Sibling conducts their 2015 Spring Summer Mens Runway Looks during London Collections: Men in UK United Kingdom hosted by the British Fashion Council. From the presentation, we selected only the top fashion forward styles and our favorite pieces.
Denim Jeans Observer Fashion:
Runway Catwalks, Season Collections and Style Lookbooks
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CHRISTIAN DIOR’S FREEMASON FASHION SHOW…
Dolce&Gabbana Spring Summer 2019 Men’s Fashion Show GET A LOAD OF THAT OPENING STAGE!
TODAY, as I am researching to find ways to restore this post, I find that there were a lot of things I missed in my origianl post. I never was into fashion. I always thought that fashion shows were ridiculous and certainly they were not presenting their creations for the public to wear. Who would wear that stuff. Certainly in the last 20 or 30 years it has appeared that the Fashion Designers hated women!! The Fashion shows have gotten progressively more bizar and even downright frightening.
THIS particular GUCCI Fashion Show seems to the Ruling Illuminated Elite to be particularly sensitive. They have worked hard to CENSOR it and keep it from public scrutiny. Now that I have spent so much time saving the pics and reposting them… it has become very clear to me why.
Gucci sends models down the runway with severed heads, snakes and dragons at Milan Fashion Week
What was even odder about the freaky, transportable heads was they were replicas of the models carrying them
FASHION lovers were shocked at Gucci’s bizarre catwalk show that saw models strut their stuff carrying fake heads.
What was even odder about the freaky, transportable heads was they were replicas of the models carrying them.
The unique display was part of Alessandro Michele’s Fall show for Gucci at Milan Fashion Week.
Guests were welcomed to watch the runway that was set up as an eerie, green operating theatre – which set the scene for the fake head accessories.
Another creepy creation of the show was a model keeping not two, but three eyes on the crowds around her – with the third being added to her forehead.
And Gucci didn’t stop there, with models carrying snakes, chameleons and even a Game of Thrones-style dragon for the event.
But what was the meaning behind the models carrying the fake heads?
Vogue theorised: “Let’s call it a metaphor for carrying the spiritual burden of one’s own evolution and self-awareness.”
Symbolism of the severed heads here: Consider that they are carrying their own severed head while still sporting what appears to be their original head. This could symbolize the MIND CONTROL via 5G, Graphene and Holographic Technology. So that though the head is there, it is not really their head. A different take on the Zombie Apocalypse.
|The Milan show was set up as an operating theatre, which was appropriate given the headsCredit: EPA|
|The entire show was built around this set that is quite clearly a hospital area Possibly surgery room. This is symbolic or how they are using the medical industry to bring about their NWO.|
|One of the girls kept three eyes on the action with a very life-like eye on her foreheadCredit: Reuters|
|Well, this is obviously the third eye of Hinduism/Buddhism. There has been a tremendous push to get everyone to seek to open their “third eye”. BAD IDEA!!|
It is no surprise that the unusual Gucci display took six months to create.
Alessandro combined forces with techno-artisan company Makinarium to make moulds of the models’ heads and also used 3D printers to make the finished design.
He was inspired by the company after seeing their work in 2016 movie The Tale of Tales.
|One model channelled their inner Khaleesi and carried a dragon down the catwalk Credit: Reuters||This shirt-clad model looks demure as he casually carries a chameleon Credit: AFP or licensors|
|Cuddling the dragon as he carries it with him. Making the DRAGON the center of his being. Of his life and service.||Here the young man is carrying the chameleon as if presenting it. Representative of the new nature of human. Shape Shifting and Gender Bending.|
|One model channelled their inner Khaleesi and carried a dragon down the catwalkCredit: Reuters||You’d do a double-take if you saw this lady down a dark alleyCredit: AFP or licensors|
|He has horns on his head showing he is the seed of Satan. He has a BEAST around his neck showing he is a Servant of the Beast system.||She is wearing red.a symbol of sacrifice. It is dark red is dead blood, and her face is white, also a symbol of death. Representing the DEATH OF HUMANITY|
|There is nothing understated about this glitzy creation which was part of the show Credit: AFP or licensors||Bold colours and unusual accessories were the theme of the event for Gucci Credit: EPA|
|au contraire. First it is a purple mask. Purple repesenting the two sexes becoming one. LGBTQ the new race. It is a Arab type head dress representing the Muslim/Eastern aspect of the NWO. An of course the MASK represents mindless submission.||The big crimson lips could represent cannibalism. This is a clown/Hypocrite mask, The Joker/The Jack/Satan. The red yarns coming out could represent sacrifice. The nose is eliminated. The breath of GOD cut off. Mask of course symbolises submission.|
|Forget three eyes, this model had to battle with wearing sunglasses indoorsCredit: AFP or licensors||Why carry a handbag when you can bring your pet snake along for the ride?Credit: Getty – Contributor|
|The main focus of this outfit is the glasses. They are obviously sunglasses but apparently more. 3D/5G glasses the new link to the internet? The hive mind. The holographic reality?||The snake she is holding is a Scarlet Kingsnake. Scarlet once again symbolizing sacrifice/cannibalism or Adrenochrome extended life by drinking blood. The King snake is Satan|
|This outfit looked like it took inspiration from tiered pagoda Credit: AFP or licensors|
|The Pagoda symbolizes EASTERN philosophy and religion. This may be a signal of the Chinese taking the NWO. Or it may just be eastern mindset taking over, and the death of Christianity.|
While many Twitter users praised Gucci for creating a jaw-dropping show, not everyone wa
One wrote: “Real life freaks! This is not cutting edge, @gucci – this is just ridiculous!”
And another said: “Tell me I am not the only one freaked out with the human heads the models carried with them in Gucci fall/winter show.”
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