July 7, 2019 // Archive

Date based archive
07 Jul

Spectral

Linda Hallberg Cosmetics Spectral 8-Pan Eyeshadow Palette ($59.00 for 0.72 oz.) is a visually stunning palette with a mix of almost richer pastel hues paired with some deeper grounding shades (like the plum and blue). It’s just too bad that so many of the shades were disappointing–from issues with pigmentation to difficult in application, it was just a rough palette to work with. After I tried using it twice with abysmal results, I backed away from it out of frustration, and when I returned, it was still poor, even when I tried it over eyeshadow primer.

There were some shades that were decent to good, which kept the palette in the C range, but the spectacular failures were all I could remember–especially as Occult is the deepest shade and needed to add contrast when working with the other shades. With eight shades, there’s just no room for two Fs.

Linda Hallberg Cosmetics Dim Eyeshadow
Linda Hallberg Cosmetics Dim Eyeshadow
Linda Hallberg Cosmetics Dim Eyeshadow
Linda Hallberg Cosmetics Dim Eyeshadow
Linda Hallberg Cosmetics Dim Eyeshadow
Linda Hallberg Cosmetics Dim Eyeshadow

Dim

Dim is a medium coral with warm undertones and a pearly sheen. It had opaque pigmentation in a single layer, which applied evenly to bare skin. The texture was smooth, almost cream-like as it was so finely-milled, and blendable. It wore well for seven and a half hours on me before creasing faintly.

Faint

Faint is a light, lime green with subtle, warmer undertones and cooler, fine shimmer. It had good pigmentation in one layer, while the texture felt soft, lightly dusty to the touch but blended out well on my skin. This shade stayed on well for seven and a half hours on me before fading noticeably.

Eerie

Eerie is a medium-dark lavender with subtle, warm undertones and a matte finish. It had a drier, thinner texture that made it difficult to work with, as it did not build up well, applied unevenly, and was pretty difficult to work with, even over primer. It showed signs of fading after six hours on me, though I’ll admit it was hard to judge since it was so patchy to begin with.

Abstract

Abstract is a bright, light blue with strong, cool undertones and a sparkling fiish. It had a drier consistency that resulted in semi-opaque pigmentation and some fallout during application. I’d recommend using this with a wet brush to ensure smoother application and greater intensity (with less fallout). This shade stayed on well for seven hours on me and had some fallout over time.

Illusion

Illusion is a bright silver with micro-glitter over a metallic finish. It had semi-opaque pigmentation when applied to bare skin, as the color seemed to move and sheer out a bit due to the more emollient texture. It was denser, almost thick, in the pan, but it felt a little drier when applied and blended out on my lid. It had a touch of fallout during application, and then there was a touch more during the eight hours it lasted but it was quite minor relative to how much sparkle was in it.

Occult

Occult is a medium-dark plum with subtle, cool undertones and a matte finish. It felt smooth to the touch but was drier, thin, and almost chalky, which resulted in fallout and a tendency to sheer out. It had semi-opaque pigmentation at best, which was uneven and patchy, and the more I fussed with it, the worst it looked. There was noticeable fading after six hours of wear.

Phantom

Phantom is a rich, aqua-teal with cool undertones and a matte finish. It had nearly opaque pigmentation that adhered well to bare skin and blended out nicely along the edges. The texture was smooth, drier to the touch, but it didn’t impede the application. It wore well for eight hours on me before fading slightly, but this shade stained my lid into the next day.

Unknown

Unknown is a bright, medium-dark pink with subtle, cool undertones and a matte finish. The eyeshadow had nearly opaque color coverage in one pass, which adhered well to my lid and blended out without difficulty. The texture was soft, silky, and smooth to the touch but wasn’t prone to fallout. It stayed on nicely for eight hours on me before fading visibly, though it left a stain into the next day.

Credit: Source link

07 Jul

news, latest-news,

A RISE in AFL footballers taking time away from the game for mental injury is helping players to speak up more at grassroots level, Buninyong’s club president says. The Bombers have long made a clear on-field stance on mental health and suicide prevention with awareness matches, including the third annual Shanahan Cup against Clunes on Saturday to continue the legacy of former soldier and firefighter Nathan Shanahan’s Walking Off the War Within. Buninyong president Phillip Wilson said it was important to encourage the wider community, men and women, to talk about a complex and seemingly taboo issue. More AFL players publicly taking time off to better their mental health, he said, helped reinforce the message mental health could affect anyone – and it was all right to ask for help. “It stays hidden out there otherwise,” Mr Wilson said. “When you see the big stars suffering it really says something – and they’ve probably got more support at their clubs than anyone. But, you don’t know about it if you don’t see it.” North Melbourne recruit Aaron Hall is the latest AFL player to take indefinite leave from his club for his mental health. This comes in the same week Collingwood Dayne Beams opened up about his mental health struggles. Collingwood’s Dayne Beams described himself as a “broken man”. Click on the photo below for more Former AFL player Wayne Schwass told Victoria’s mental health royal commission the word stigma was not strong enough to accurately describe society’s attitude towards mental illness. He revealed his career battle with depression after retiring. Mr Schwass had previously told The Courier the football industry was not ready to tackle mental health as an issue in his playing days. He was at the top of his game in 1996 as a North Melbourne vice-captain and premiership player while mentally acutely hurting in the grips of depression. John Shanahan said football was a great tool for raising awareness but the AFL still had a long way to go in terms of the money it invested in mental health. Mr Shanahan said it meant so much to his family and for his son Nathan’s legacy that Buninyong and Clunes continue to play for the Shanahan Cup and keep involving men and women in effectively saving lives. “I’ve told them if they need help to speak up, don’t just allow it to build up,” Mr Shanahan said. “We want people to come and talk about it and to be comfortable talking about it. We can erase the myths about mental health.” Nathan Shanahan died by suicide in December 2016 after long struggles with post-traumatic stress and depression. He made clear his “war within”, walking 400 kilometres solo from his home in Mildura to Adelaide carrying a 25-kilogram pack in April 2015 to support Soldier On, which provides support for physically and psychologically servicemen and women. Fellow Ballarat City firefighters continued the event, which now also takes places in Warrnambool, across the Northern Territory and Canberra each year. Mr Shanahan said football clubs were an important part of Nathan’s life – he played for 13 clubs across Australia. The Shanahans have strong family ties to the Buninyong and Clunes communities. Mr Shanahan said football-netball clubs were a great place to help spark cultural change. He hoped change would reach far further into the corporate world, with companies actively better looking after workers, and politically where action was slow. Meanwhile, frontline health and welfare workers, with community leaders, are part of a national place-based suicide prevention trial starts in Ballarat this week. The forum aims to fill support gaps in the system and build on work already creating change, like Ballarat and District Suicide Prevention Network. Victorian Coroner Caitlin English called for urgent, greater information and data sharing to prevent suicides of Australian Defence Force personnel in an inquest to Nathan Shanahan’s death, release in April. Meanwhile, the Victorian mental health royal commission continues on Monday, predominantly this week focusing on access to and navigation to the state’s mental health system. A one-day regional hearing will be in Maryborough on July 15. RELATED COVERAGE Retired homicide detective Ron Iddles makes vital health call on Ballarat men These are not normal careers and that takes its toll: SES regional chief Have you signed up to The Courier’s variety of news emails? You can register below and make sure you are up to date with everything that’s happening in Ballarat.

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Credit: Source link

07 Jul

Vicks introduces four over-the-counter offerings—Vicks ZzzQuil PURE Zzzs Liquid, Vicks ZzzQuil PURE Zzzs De-Stress & Sleep, Vicks ZzzQuil PURE Zzzs Beauty Sleep, and Vicks PURE Zzzs Kidz Melatonin Gummies—to the PURE Zzzs product line-up.

Vicks ZzzQuil PURE Zzzs products contain no artificial flavors and are gluten-free, lactose-free, and gelatin-free.

Phil McWaters, brand franchise director, North America Vicks, says in a release, “We know there is no one-size-fits-all solution when it comes to sleep, but believe these extensions to the PURE Zzzs portfolio will help.”

Vicks ZzzQuil PURE Zzzs Melatonin Liquid: The formula includes the same botanical blend and the Wildberry Vanilla flavor as the Vicks ZzzQuil PURE Zzzs Melatonin Gummies. The new liquid is free of high-fructose corn syrup, lactose, artificial flavors, and alcohol.

Vicks ZzzQuil PURE Zzzs De-Stress & Sleep: The product blends melatonin and Ashwagandha, an adaptogenic herb from 5,000 years of Ayurvedic tradition. The product is available in Blackberry Vanilla-flavored gummies or tablets.

Vicks ZzzQuil PURE Zzzs Beauty Sleep: This product helps fight free radicals*, highly-reactive molecules that cause damage to living cells and tissues. It comes in a Strawberry Rose flavored gummy, which also contains ginger & grape seed extract, or in a sugar-free tablet, which contains turmeric and grape seed extract.

Vicks PURE Zzzs Kidz Melatonin Gummies: These gummies are specially-formulated for kids with a unique blend of botanicals and low-dose of melatonin to support their natural sleep cycle*. Consult with a doctor before use. For ages 4 and up.

*These statements have not been evaluated by the Food and Drug Administration. This product is not intended to diagnose, treat, cure, or prevent any disease.

Credit: Source link

07 Jul

More than 250 million kids are trapped in prostitution rings all over the world. Poverty, discrimination, and violence fuel this global sex trade, even tempting parents to sell their children to prostitution rings. Pornography on the Internet keeps expanding the illicit market for young girls and boys to be exploited as sex slaves. The youngsters who try to escape are often killed.

Sex trafficking is growing in U.S. suburban neighborhoods where many young girls (the average age is 12) are being abducted, drugged, and “turned out” as prostitutes by pimps. Skin in the Game, a film inspired by true events, explores this multi-million dollar criminal industry through the story of one girl, one mother, and the friend who helps them.

Dani (Sammi Hanratty) lives in a nice suburban neighborhood with her single mother Sharon (Elisabeth Harnois), a nurse. She’s 15 and upset that her mother doesn’t give her more freedom. She been talking with a stranger online and is excited when he suggests they meet. But instead of finding romance, she is abducted and prepped for a life of prostitution with those who want sex with young girls.

When Sharon realizes Dani is missing and the police can’t help her for 72 hours, she reaches out to Lena (Erica Ash), Dani’s godmother. A former prostitute herself, Lena has set up a safe haven for young women who have been abused and battered by their pimps. She prides herself on never leaving anyone behind and tries to convince the girls she rescues that their pimps don’t care for them and “ownership is not love.”

Sharon and Lena begin a quest to find and rescue Dani, which takes them into the dangerous world of American sex trafficking in their own back yard. They learn that Dani is in the possession of Eve (Angelica Celaya) who through the use of drugs, fear tactics, and brainwashing techniques seeks to elicit Dani’s loyalty and commitment to her new “family.”

Skin in the Game is written by Adisa, who is also the director, and Steven Palmer Peterson. It does a good job exploring the United States version of human trafficking. Erica Ash’s sturdy and salutary performance as Lena gives the story its emotional vibrancy and ethical power. She convinces us that she truly cares and, with her knowledge of the system, there is hope for the victimized girls.

Credit: Source link

07 Jul

1 Make the marinade: Combine marinade ingredients in a bowl. If sugar is an ingredient in the marinade you are using, stir until the sugar is completely dissolved.

2 Marinate the salmon fillets: Cut fillets 1 1/2 to 2 inches wide. Place marinade ingredients in a large casserole dish (or a plate with sides so the marinade doesn’t run). Coat the salmon fillets in the marinade and then place them skinless-side down in the marinade.

Marinate for 20 minutes for a quick marinade (can do this at room temperature while you are preparing the grill) or if you have more time, from 1 to 2 hours in the refrigerator.

Before grilling, remove fillets from marinade and discard the marinade. Generously rub or brush oil on both sides of fish fillets.

3 Prepare the grill: Prepare the grill for high direct heat (if you are using a charcoal grill, prepare one side of the grill for high direct heat and the other side with fewer coals for indirect heating).

When the grill is hot (you should be able to hold your hand one inch above the grill grates for only 1 second), brush the grill grates with oil. (The best way to do that is to fold up a paper towel, dip in oil, and use tongs to rub the folded up paper towel on the grill grates.)

4 Place fillets skinless side down on the hot grill: Place salmon fillets on grill, skinless side down first, so that they can get nice grill marks on the hot grill while the fish is still firm. Close the grill lid. Cook 1 to 3 minutes on the first side, depending on how thick the fillets are.

Once the fish fillets have been placed on the grill, do not move them until you are going to flip them over. Otherwise, they may fall apart.

5 Turn fillets over to grill skin-side down: Look for grill marks on the fish and a small layer of opaque (cooked) fish where the fish is closes to the grill. Using tongs, and a metal spatula to help if necessary, carefully turn the fish onto the other side, so that the skin side is now on the grill grates.

If you are using a charcoal grill, the fillets should be placed on the side of the grill furthest from the coals. If you are using a gas grill, just reduce the flame to medium.

Close the grill lid. Cook for another 2-5 minutes, again depending on the thickness of the fillets. Salmon should be just barely opaque throughout when done.

Better to err on the side of undercooking the salmon, rather than overcooking. You can always put the fish back on the grill, but once a good fillet is overcooked, there’s nothing you can do.

Remove from grill and serve immediately.

Credit: Source link

07 Jul

Never one to shy away from a wine release, Francis Ford Coppola hits the ground this summer with (at least) five new releases, thoughts on which you’ll find below.

2017 Francis Ford Coppola Sofia Brut Rose Monterey County – The iconic Sofia sparkler (wrapped in plastic, natch) really pushes the boundaries of the definition of “brut,” with this almost candy-coated offering that melds strawberries with notes of orange blossoms to create a bubbly offering that’s best served after dinner, not before it. C+ / $15

2017 Francis Ford Coppola Sofia Rose Monterey County – Note that, despite the Sofia branding, this is not a sparkling wine but a still rose, made from syrah and pinot noir. It’s a very fragrant and initially floral rose, its slightly salty quality cutting through the modest fruit profile, which otherwise sticks close the usual elements of red berries and marshmallow fluff. A squeeze of orange on the back end adds some nuance. B+ / $19

2017 Francis Ford Coppola Chardonnay Director’s Cut Russian River Valley – This is always a totally workable if traditional expression of California Chardonnay — moderately oaked but not too much — with a strong focus on apples and pears, spiked with vanilla. A modest brown butter character evokes a certain creaminess, though a spike of lemon and some lychee freshens things up. An especially solid vintage. A- / $16

2017 Francis Ford Coppola Pinot Noir Director’s Cut Russian River Valley – Cola and spice and gently savory bacon notes meld with blackberry and modest cherry notes to create a fairly cohesive whole, though the finished product feels slightly lacking in fruit and acidity, weighted down on the finish by a somewhat heavy earthy, clove-heavy quality that picks up late in the game. Definitely worth a glass, though. B+ / $16

2016 Francis Ford Coppola Cinema Sonoma County – A blend of 40% cabernet sauvignon, 35% zinfandel, 17% syrah, and 8% petite sirah. The zin steals the show here, overwhelming the senses with a hefty blackberry jam character, with a smattering of blueberries and strawberries thrown in. The sweetness is considerable, making for a decadent — yet rather challenging — conclusion. B- / $17

francisfordcoppolawinery.com

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2017 Francis Ford Coppola Sofia Brut Rose Monterey County

$15

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07 Jul

Candlelight

Sydney Grace Candlelight Cream Shadow ($8.00 for 0.33 oz.) is a light-medium, rosy peach with warm undertones and a sparkling, metallic finish. It had rich pigmentation to the point where one needed the barest dab of product to achieve that level of opacity. The consistency was smooth, lightly creamy, and spreadable for the first 15 to 30 seconds (so work one eye at a time); after that time, it dried down and had a mostly set look and feel, but I could manipulate the edges to soften (though not sheer out). It stayed on well for nine hours on me before creasing faintly.

  • Tom Ford Beauty Body Heat #1 (PiP, ) is less shimmery, cooler (95% similar).
  • Colour Pop Vivacious (LE, $4.50) is lighter (90% similar).
  • MAC Flashbeams (PiP, ) is lighter (90% similar).
  • Huda Beauty Mauve #3 (PiP, ) is darker (90% similar).
  • Stila Kitten (LE, $24.00) is less shimmery, cooler (90% similar).
  • PIXI Beauty Antique Rose (PiP, $20.00) is less shimmery, darker, warmer (90% similar).
  • Clinique Ballet Flats (PiP, $15.00) is less shimmery, lighter, cooler (90% similar).
  • The Estee Edit Riff (LE, ) is less shimmery, lighter, cooler (90% similar).
  • Colour Pop The Most (LE, $4.50) is less shimmery (90% similar).
  • Zoeva Distinct Experience (LE, ) is less shimmery, lighter, warmer (90% similar).

Formula Overview

$8.00/0.33 oz. – $24.24 Per Ounce

The formula is supposed to “dry down to a smudge proof finish” that isn’t waterproof but “will last all day on the lids.” The brand recommends working “one eye at a time” as the formula “dr[ies] fairly quickly.” It is a very pigmented formula where the merest dab of product–like as little as one can physically squeeze out of the tube–is enough for most of the mobile lid.

If you’re someone who tends to use their cream eyeshadows as sheer washes of color, I think this formula is “too” pigmented and dries too quickly to make sheer application as effortless as you’d want. If you love the effect of and finish of creamier, metallic eyeshadows and want true, full coverage application, these are worth looking into. I recommend squeezing out the smallest amount of product on the back of your hand or onto a mixing palette, and then using fingertips or a flat, synthetic brush to apply to the lid. I prefer a brush as it gives more working time than when I used my fingertips.

The texture was smooth, like a liquid-cream hybrid as it wasn’t runny but it was more spreadable than a cream eyeshadow you’d find in a jar. The majority of shades applied evenly to bare skin with little effort, and the edges remained blendable enough (even as it was mostly dried down) to soften and fuse with other shades. They’re very lightweight and the majority of them sat well on my lids without emphasizing lines or texture (sometimes an issue with liquid/cream, more metallic products).

It didn’t have that dry down that felt so set and locked in that if you kept trying to blend it out (after it was dry) you’d get flaking; these never flaked or lifted. Based on past experiences–in general with cream eyeshadows–I recommend working with your powder eyeshadows first (unless you’re using it as a base), and then going in with the cream eyeshadows and going back over any areas to further blend if necessary. That being said, I was able to layer powder eyeshadow over them without them lifting or becoming patchy. They’re some of the easiest cream eyeshadows I’ve worked with to incorporate into multi-shade looks. The wear varied from eight to ten hours on me before there was slight fading or a bit of creasing.

My only complaint is that with a six-month shelf life paired with so much color payoff… one tube is so much product. These could be sold half-sized tubes and still stretch for many, many uses. I really enjoy the squeeze-tube packaging along with the smaller opening, as it made it much easier to control than some other liquid/cream products.

Browse all of our Sydney Grace Cream Shadow swatches.

Ingredients

Suntan

Sydney Grace Suntan Cream Shadow ($8.00 for 0.33 oz.) is a light, golden copper with warm undertones and a metallic sheen. It was intensely pigmented with a smooth, lightly creamy texture that wasn’t too runny nor too thick, so it spread easily across my lid and blended out well along the edges. A little went a long way, so I preferred to use a flat, synthetic brush to pick up product off of the back of my hand to ensure I only had what I needed (I also work with three to four in a look, so the area I’m covering is quite small!). It wore well for 10 hours on me before creasing faintly.

Formula Overview

$8.00/0.33 oz. – $24.24 Per Ounce

The formula is supposed to “dry down to a smudge proof finish” that isn’t waterproof but “will last all day on the lids.” The brand recommends working “one eye at a time” as the formula “dr[ies] fairly quickly.” It is a very pigmented formula where the merest dab of product–like as little as one can physically squeeze out of the tube–is enough for most of the mobile lid.

If you’re someone who tends to use their cream eyeshadows as sheer washes of color, I think this formula is “too” pigmented and dries too quickly to make sheer application as effortless as you’d want. If you love the effect of and finish of creamier, metallic eyeshadows and want true, full coverage application, these are worth looking into. I recommend squeezing out the smallest amount of product on the back of your hand or onto a mixing palette, and then using fingertips or a flat, synthetic brush to apply to the lid. I prefer a brush as it gives more working time than when I used my fingertips.

The texture was smooth, like a liquid-cream hybrid as it wasn’t runny but it was more spreadable than a cream eyeshadow you’d find in a jar. The majority of shades applied evenly to bare skin with little effort, and the edges remained blendable enough (even as it was mostly dried down) to soften and fuse with other shades. They’re very lightweight and the majority of them sat well on my lids without emphasizing lines or texture (sometimes an issue with liquid/cream, more metallic products).

It didn’t have that dry down that felt so set and locked in that if you kept trying to blend it out (after it was dry) you’d get flaking; these never flaked or lifted. Based on past experiences–in general with cream eyeshadows–I recommend working with your powder eyeshadows first (unless you’re using it as a base), and then going in with the cream eyeshadows and going back over any areas to further blend if necessary. That being said, I was able to layer powder eyeshadow over them without them lifting or becoming patchy. They’re some of the easiest cream eyeshadows I’ve worked with to incorporate into multi-shade looks. The wear varied from eight to ten hours on me before there was slight fading or a bit of creasing.

My only complaint is that with a six-month shelf life paired with so much color payoff… one tube is so much product. These could be sold half-sized tubes and still stretch for many, many uses. I really enjoy the squeeze-tube packaging along with the smaller opening, as it made it much easier to control than some other liquid/cream products.

Browse all of our Sydney Grace Cream Shadow swatches.

Cliff Jumping

Sydney Grace Cliff Jumping Cream Shadow ($8.00 for 0.33 oz.) is a light taupe with subtle, warm undertones and more silvery sparkle over a metallic finish. The pigmentation was opaque in one layer when I applied it to my lid, though it seemed almost just shy of full coverage in my initial swatches (on my arm). The texture was more fluid compared to most shades I tried, so it was a bit harder to squeeze out just the smallest amount (see photo where it’s sliding down the opening!), though it didn’t impede the application. It was still easy to apply in an opaque layer that was even and smooth, and it dried down quickly without getting into my fine lines or emphasizing lid texture. The color lasted well for 10 hours before creasing very faintly on me.

Formula Overview

$8.00/0.33 oz. – $24.24 Per Ounce

The formula is supposed to “dry down to a smudge proof finish” that isn’t waterproof but “will last all day on the lids.” The brand recommends working “one eye at a time” as the formula “dr[ies] fairly quickly.” It is a very pigmented formula where the merest dab of product–like as little as one can physically squeeze out of the tube–is enough for most of the mobile lid.

If you’re someone who tends to use their cream eyeshadows as sheer washes of color, I think this formula is “too” pigmented and dries too quickly to make sheer application as effortless as you’d want. If you love the effect of and finish of creamier, metallic eyeshadows and want true, full coverage application, these are worth looking into. I recommend squeezing out the smallest amount of product on the back of your hand or onto a mixing palette, and then using fingertips or a flat, synthetic brush to apply to the lid. I prefer a brush as it gives more working time than when I used my fingertips.

The texture was smooth, like a liquid-cream hybrid as it wasn’t runny but it was more spreadable than a cream eyeshadow you’d find in a jar. The majority of shades applied evenly to bare skin with little effort, and the edges remained blendable enough (even as it was mostly dried down) to soften and fuse with other shades. They’re very lightweight and the majority of them sat well on my lids without emphasizing lines or texture (sometimes an issue with liquid/cream, more metallic products).

It didn’t have that dry down that felt so set and locked in that if you kept trying to blend it out (after it was dry) you’d get flaking; these never flaked or lifted. Based on past experiences–in general with cream eyeshadows–I recommend working with your powder eyeshadows first (unless you’re using it as a base), and then going in with the cream eyeshadows and going back over any areas to further blend if necessary. That being said, I was able to layer powder eyeshadow over them without them lifting or becoming patchy. They’re some of the easiest cream eyeshadows I’ve worked with to incorporate into multi-shade looks. The wear varied from eight to ten hours on me before there was slight fading or a bit of creasing.

My only complaint is that with a six-month shelf life paired with so much color payoff… one tube is so much product. These could be sold half-sized tubes and still stretch for many, many uses. I really enjoy the squeeze-tube packaging along with the smaller opening, as it made it much easier to control than some other liquid/cream products.

Browse all of our Sydney Grace Cream Shadow swatches.

Campfire

Sydney Grace Campfire Cream Shadow ($8.00 for 0.33 oz.) is a medium-dark, taupe-brown with subtle, warm golden undertones and a sparkling, metallic sheen. It had opaque pigmentation in a single layer, and the barest amount of product was needed to achieve that, so I’d recommend putting the product onto the back of your hand or onto a mixing palette and then picking up product. The texture was lightweight with a comfortable dry down that didn’t emphasize lid texture or get into my fine lines. I was able to soften and diffuse the edges against powder eyeshadows as well as next to another cream eyeshadow. It stayed on nicely for over 10 hours without fading or creasing on me.

Formula Overview

$8.00/0.33 oz. – $24.24 Per Ounce

The formula is supposed to “dry down to a smudge proof finish” that isn’t waterproof but “will last all day on the lids.” The brand recommends working “one eye at a time” as the formula “dr[ies] fairly quickly.” It is a very pigmented formula where the merest dab of product–like as little as one can physically squeeze out of the tube–is enough for most of the mobile lid.

If you’re someone who tends to use their cream eyeshadows as sheer washes of color, I think this formula is “too” pigmented and dries too quickly to make sheer application as effortless as you’d want. If you love the effect of and finish of creamier, metallic eyeshadows and want true, full coverage application, these are worth looking into. I recommend squeezing out the smallest amount of product on the back of your hand or onto a mixing palette, and then using fingertips or a flat, synthetic brush to apply to the lid. I prefer a brush as it gives more working time than when I used my fingertips.

The texture was smooth, like a liquid-cream hybrid as it wasn’t runny but it was more spreadable than a cream eyeshadow you’d find in a jar. The majority of shades applied evenly to bare skin with little effort, and the edges remained blendable enough (even as it was mostly dried down) to soften and fuse with other shades. They’re very lightweight and the majority of them sat well on my lids without emphasizing lines or texture (sometimes an issue with liquid/cream, more metallic products).

It didn’t have that dry down that felt so set and locked in that if you kept trying to blend it out (after it was dry) you’d get flaking; these never flaked or lifted. Based on past experiences–in general with cream eyeshadows–I recommend working with your powder eyeshadows first (unless you’re using it as a base), and then going in with the cream eyeshadows and going back over any areas to further blend if necessary. That being said, I was able to layer powder eyeshadow over them without them lifting or becoming patchy. They’re some of the easiest cream eyeshadows I’ve worked with to incorporate into multi-shade looks. The wear varied from eight to ten hours on me before there was slight fading or a bit of creasing.

My only complaint is that with a six-month shelf life paired with so much color payoff… one tube is so much product. These could be sold half-sized tubes and still stretch for many, many uses. I really enjoy the squeeze-tube packaging along with the smaller opening, as it made it much easier to control than some other liquid/cream products.

Browse all of our Sydney Grace Cream Shadow swatches.

Vanilla Bean

Sydney Grace Vanilla Bean Cream Shadow ($8.00 for 0.33 oz.) is a medium-dark, dirty gold with subtle, warm undertones and a metallic sheen. It’s a “cooler” gold as it has an almost green edge to it. The texture was smooth, fluid, and creamy without being heavy or too thick on my skin. It was richly pigmented to the point where a little went a very, very long way, but this made it particularly easy to use as a lid shade or even on the lower lash line as I was able to get opaque, even coverage in one swipe. It wore well for 10 hours on me without fading or creasing noticeably.

Formula Overview

$8.00/0.33 oz. – $24.24 Per Ounce

The formula is supposed to “dry down to a smudge proof finish” that isn’t waterproof but “will last all day on the lids.” The brand recommends working “one eye at a time” as the formula “dr[ies] fairly quickly.” It is a very pigmented formula where the merest dab of product–like as little as one can physically squeeze out of the tube–is enough for most of the mobile lid.

If you’re someone who tends to use their cream eyeshadows as sheer washes of color, I think this formula is “too” pigmented and dries too quickly to make sheer application as effortless as you’d want. If you love the effect of and finish of creamier, metallic eyeshadows and want true, full coverage application, these are worth looking into. I recommend squeezing out the smallest amount of product on the back of your hand or onto a mixing palette, and then using fingertips or a flat, synthetic brush to apply to the lid. I prefer a brush as it gives more working time than when I used my fingertips.

The texture was smooth, like a liquid-cream hybrid as it wasn’t runny but it was more spreadable than a cream eyeshadow you’d find in a jar. The majority of shades applied evenly to bare skin with little effort, and the edges remained blendable enough (even as it was mostly dried down) to soften and fuse with other shades. They’re very lightweight and the majority of them sat well on my lids without emphasizing lines or texture (sometimes an issue with liquid/cream, more metallic products).

It didn’t have that dry down that felt so set and locked in that if you kept trying to blend it out (after it was dry) you’d get flaking; these never flaked or lifted. Based on past experiences–in general with cream eyeshadows–I recommend working with your powder eyeshadows first (unless you’re using it as a base), and then going in with the cream eyeshadows and going back over any areas to further blend if necessary. That being said, I was able to layer powder eyeshadow over them without them lifting or becoming patchy. They’re some of the easiest cream eyeshadows I’ve worked with to incorporate into multi-shade looks. The wear varied from eight to ten hours on me before there was slight fading or a bit of creasing.

My only complaint is that with a six-month shelf life paired with so much color payoff… one tube is so much product. These could be sold half-sized tubes and still stretch for many, many uses. I really enjoy the squeeze-tube packaging along with the smaller opening, as it made it much easier to control than some other liquid/cream products.

Browse all of our Sydney Grace Cream Shadow swatches.

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07 Jul
Steven KapitzkeSteven Kapitzke

Steven Kapitzke

OSHKOSH — Officials with the Winnebago County Sheriff’s Office on Sunday, July 7 asked for help locating a man, 51, who walked away from an assisted living facility Sunday morning. In an update just after 2:30 p.m., officials said the man had been located.

According to sheriff’s officials, Steven Kapitzke suffers from mental health issues. He walked away from the assisted living facility on Planeview Drive near County Highway Z in Oshkosh shortly before 11 a.m.

43.947914
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07 Jul

Loneliness is at epidemic levels in the United States, according to new research, ranking alongside smoking and obesity as a major threat to public health. In a survey of 20,000 adults conducted by Ipsos for health insurer Cigna, nearly 50 percent of Americans said they sometimes or always felt alone or left out. One in four rarely or never felt as though there were people who really understood them. And two in five sometimes or always felt that their relationships were not meaningful and that they were isolated from others.

Papi Chulo is a sensitive drama written and directed by Irish writer and director John Butler. He sees loneliness as an aching void in the center of our being; it is characterized by a yearning to love and be loved, to be fully known and accepted by another person. All of us, at one time or another, have experienced this state of isolation, separation, and rejection.

Sean (Matt Bomer) is a handsome, gay, upper-middle-class cable weatherman whose long relationship with his partner Carlos ended six months ago. Still mourning this loss, Sean bursts into tears during a broadcast and is immediately ordered to take a leave of absence by his news producer (Wendi McLendon Covey).

Sean has just had a patio tree removed as a symbolic end of his relationship, but now the deck under where it stood needs to be painted. Outside a hardware store, he sees Ernesto (Alejandro Patino), a middle-aged undocumented day laborer. He hires him and immediately tries to make him feel welcome in his home.

This married Latino who doesn’t speak or understand much English is quite taken aback when Sean insists that he take a break from painting and go with him to Echo Park where they go out in a row boat. The next day Sean takes him along for a hike in Runyon Canyon and later to a gay party. All the while, he talks about his feelings, his problems, and eventually his loss, even though it’s obvious Ernesto doesn’t not understand him. What Sean really wants is a buddy, which comes as a surprise and a bit of a mystery to Ernesto, who now has to endure teasing from the other day workers.

Papi Chulo eventually works as a buddy movie, even though the language and cultural barriers between these two are daunting. But it is most effective as a portrait of urban loneliness and what someone will go through to deal with loss and a yearning for connection.

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07 Jul

From the Archives: A Defense of Precise Terms

by Bill Been | July 07, 2019

Whatever you’re going to do in life, approach it as a professional. A professional has more than a cursory grasp of the details of his profession. A professional has taken the time to learn the precise language associated with the skilled practice of his profession. A professional airline pilot like me dang sure needs more than a basic grasp of his job.

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