September 15, 2019 // Archive

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15 Sep

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15 Sep

A sign that displays mental health information is posted to a door. Dr. Denise Hayes, the director of Counseling and Psychological Services, said in the past three years, there has been a 15% increase of students coming to CAPS and a 40% increase of students coming in for emergency services.

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In New Student Orientation and IU Health Center pamphlets, Counseling and Psychological Services is heralded as a useful resource for students to receive help for managing their mental health. 

But it has a mixed reputation from the students it was created to serve. 

“My appointments work with my schedule, but I know that’s not the case for everyone,” said Katie Janoski, a senior who has been using CAPS services since the spring semester of last year. 

Students have referenced the limited amount of availability for individual counseling sessions, as many of them need more than just one or two sessions a month. 

CAPS offers workshops covering subjects such as self-esteem, how to meet new friends and conquering procrastination. It also offers two free sessions for students who want to start individual counseling. 

Janoski said her appointments have been relatively easy to schedule as she generally schedules a few a month when she needs them, but other students who depend on consistent sessions run into problems. 

“I feel like I’ve had a different experience than most,” Janoski said. “I’ve been privileged to click with the counselor I had right off the bat.”

Marjorie Hubbard, a sophomore who has had years of experience with going to therapy, said CAPS’ inconsistent availability can affect her ability to receive care. 

“I have bipolar disorder, so I have to maintain really specific routines to stick to in order to not put myself at risk of experiencing an episode,” Hubbard said. 

She said she prefers to have regular, biweeklyappointments.When she went to her appointment Sept. 3, she couldn’t schedule her next session until Sept. 24, almost a full month away. 

“It’s not their fault, they’re doing their best,” Hubbard said. “They just need more people.”

Hubbard said in the past she’s had difficulty navigating scheduling appointments around her classes, but front desk workers try to facilitate scheduling appointments. 

“I’ve had a pretty positive experience because I’m pretty proactive about my health,” Hubbard said. “It’s not the type of thing where your parents can take you to the doctor and sort out your meds for you.”

Dr. Denise Hayes, the director of CAPS, emphasized the difference between the university’s services and receiving therapy from private practices. 

“If you have that model, then you’re going to end up with a wait list,” Hayes said. “Our goal is not to get full. Our first priority is to see as many students that are coming in as soon as possible.”

The recent increase of students reaching out for help has made that goal difficult. Hayes said in the past three years, there has been a 15% increase of students coming to CAPS and a 40% increase of students coming in for emergency services. 

“The university counseling center is designed to meet the needs of 40,000-plus students,” Hayes said. “We never have enough. There’s only so many hours in a day.”

CAPS has 22 therapists, three psychiatrists and three sexual assault counselors, according to its website. In 2006, it was able to add four new counselors. There hasn’t been a new counselor hired since then until this year. 

“We have run out of space to put them,” Hayes said. “We want to try to help students who think coming to the health center might be a barrier.” 

CAPS counselors work on the third floor and fourth floor of the IU Health Center, the School of Public and Environmental Affairs building, the School of Optometry and Jacobs School of Music buildings.

Hayes said they have worked to add more programs and workshops for students to participate in between their sessions. 

“It’s important that they know we’re a brief therapy model, different from private practitioners” Hayes said. “Our specialty is supporting students, and we’re here to respond to their needs in any way we can.”

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Six people have died because of a vaping-related illness.

The storm is projected to become Hurricane Humberto by Sunday night.

The toilet is an art piece entitled “America.” 

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15 Sep

When cooler weather appears, nothing is more comforting than a warm bowl of potato soup. Potato leek soup is a classic, and so easy to make!

How To Make Potato Leek Soup

To make this soup, cook chopped leeks in a little butter, then add diced potatoes, stock, and herbs. Bring it all to a simmer, and cook until the potatoes are done, about 20 minutes. Purée the soup using a blender to get a creamy consistency.

What Kind of Potatoes Do You Use for Potato Leek Soup?

You can use either Yukon gold or Russet potatoes for this soup. Yukon golds will result in a creamier texture, and for this reason I recommend them over Russets, but both will work. Red-skinned waxy potatoes aren’t the best for a soup like this, because they tend to hold their shape, when in this soup you want a potato that will purée well.

Leek and Potato Soup on marble counterLeek and Potato Soup on marble counter

How to Prep Leeks

Dirt has a sneaky way of getting caught in the layers of leeks because of the way the leeks are grown (mostly underground). Cleaning leeks involves first slicing them lengthwise and rinsing them under running water. Then you slice the leeks crosswise, and soak the slices in water. (Check out our step-by-step tutorial How To Clean Leeks.)

How to Make Potato Leek Soup Thick and Creamy

No need for cream to make this soup creamy! Just blend the cooked soup with an immersion blender or standing blender until thick and smooth. Yukon gold potatoes will produce an especially creamy texture. If you would like your soup to be a little chunky, only purée half of it.

What to Serve with Potato Leek Soup

Think of this potato soup as you would a potato side, but in liquid form. You don’t really need any more starch to round out the meal, but it is hard to resist dipping a slice of crusty bread in this soup.

Serve the soup as the starter to a steak dinner (steak and potatoes, right?), or roasted chicken. The soup would go well with a side of greens (such as kale, chard, or spinach), and/or a vinaigrette-tossed fresh salad.

How to Freeze and Reheat Potato Leek Soup

You can easily freeze this soup. I recommend puréeing the soup until it’s completely smooth if you want to freeze it, as any chunks of potatoes in the soup will have a grainy texture once defrosted.

Sometimes there is separation in soup once you freeze and defrost it. If this happens to you, just purée the soup again until smooth.

Any way you make it, it’s simple, delicious, and satisfying. Enjoy!


How to make potato leek soup (video)

Updated September 15, 2019 : We spiffed up this post to make it sparkle and add some more info. No changes to the original recipe.

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15 Sep
Sonia G The Sky Face Set Sky Brush Set
Sonia G The Sky Face Set Sky Brush Set
Sonia G The Sky Face Set Sky Brush Set
Sonia G The Sky Face Set Sky Brush Set
Sonia G The Sky Face Set Sky Brush Set
Sonia G The Sky Face Set Sky Brush Set

The Sky Face Set

Just in time for the holiday season, Sonia G. is releasing a “travel” set!  It’s The Sky Face Set ($270.00) (and yes, an Eye Set is coming in the future!) and features new, sparkling blue-hued, tapered handles and includes five brushes.  Per the brand, the brushes may be sold individually in the future if they are well-received, which is how it has worked in the past.

The set retails for $270.00 and includes five, full-sized brushes; they are designed for the functional needs of traveling and not as space savers.  Sonia G. has a detailed post regarding how the brushes are made, what they’re designed for, and how they look pre- and post-washing and compared to other existing brushes by the brand.  The Sky Face Set launches tomorrow, September 16th, at 10AM PT at Beautylish.

Many Sonia G. brushes have made their way into my list of go-to brushes since the brand’s debut, and I’ve had no issues with the quality of the brush heads or ferrules, shedding, or shape retention with any of the brushes released to date (which are all). Per the brand, this set’s hair bundling is a bit different than past releases and was noted that there might be slight shedding in the beginning, though I didn’t notice any shedding, whether after washing or during use.

I’ve only had the brushes for a couple of days, so here’s some insight into how I’ve trialed them to gather initial impressions.  Each brush has been used to apply at least two different products within each product type (e.g. two different powder highlighters, two different powder blushes, and so forth) that it is best suited for.

I try different methods, based on the type of brush, and I try to run through motions like sweeping, feathering, tapping, patting, and buffing, along with light-, moderate-, and heavy-handed pressure. I move the brush in different directions across my face to see how the bristles move and feel at different positions and pressures. I always use new brushes with products I am familiar with so that those are more of a “control” and if, for example, a go-to blush didn’t blend out well, I’d know it was more to do with the tool than the product.

For initial reviews of the individual brushes, see below, but my overall thoughts are that the brush set is of quality and the brushes seem to suit their purposes.  I’m not sure that five cheek/face brushes are really what I’d put together in a travel set–I think I’m more in the camp where the Mini Cheek, Classic Cheek, and Soft Cheek do it for me, while the Master Face will be less usable in my regular routine.  I enjoyed the Worker Fan but don’t think it would be a must-have if I was paring down brush options for travel.

What brushes make sense for your own travel set really depends on how you apply your products, what products you use, and what kind of shapes work best for your features and techniques, so this set could certainly work well for some.  If you’re undecided, there’s a high chance that the brushes will be available individually in the future, and the sets are the equivalent of purchasing each brush at full price individually based on past releases.

I don’t know if any of the new blush brushes will be replacing my favorite, Face Two, though the Soft Cheek may make its way as a go-to for more pigmented formulas and deeper shades.  I’ll definitely be trying and using the Mini Cheek in the future with more sparkly/glittery highlighters and seeing if that’ll be is primary function for me.  Tentatively, I’m thinking I might end up preferring the Classic Cheek over the Cheek Pro on the whole (solely based on personal preferences/techniques).

Mini Cheek Brush

Mini Cheek Brush is the smallest brush head in the set, and it flares outward and has an airier quality at the edge than a typical blush brush.  It was designed for “targeted application,” and I’d agree with that; it worked well for placing more precise highlight.  I preferred the other cheek brushes in the set (as well as from past sets) for applying blush and bronzer to my cheek area and for blending out more pigmented products.  I would see using the Mini Cheek for applying more metallic or glittery highlighters to more precise areas–you can get the sparkle but then not worry too much about diffusing and getting glitter far past the area you wanted.

Classic Cheek Brush

Classic Cheek Brush is designed to be the “most versatile and universal blush brush” the brand could create.  The shape feels familiar to typical blush brushes–dense, slightly domed–but it differs in that it has a smaller, narrower brush head and has a more tapered edge (still domed overall but yields a more diffused applicator initially as a result of the more tapered edge).   From initial uses, it worked well for applying blush, highlighter, and bronzer on cheeks and other areas of the face, as it was small enough for applying highlighter just to the cheek bones but could also disperse and blend out blush on my cheeks or take bronzer up toward my temples.  The brush itself was silky-smooth against my skin.

It’s similar to the Cheek Pro, which is slightly denser and has a more flared edge, but they’re functionally similar to me and there’s not one I prefer over the other at this point.

Soft Cheek Brush

Soft Cheek Brush is supposed to give “sheer to medium coverage” with a slew of cheek products, up to and including setting and finishing powders.  It fluffs up a decent amount after washing, which gives the edge a softer, more feathery feel and gives a more diffused applicator of cheek products.  It has an incredibly silky-smooth feel but still picks up product well and can spread/diffuse them on my skin.

I liked it with softer powder blushes and bronzers and more pigmented, denser powder products but would use something else for denser, more sheer to medium coverage powders (which I’d use a denser, flatter-edged brush for).  The overall brush head is longer than the average blush brush, so if you’re someone who struggles to be lighter handed, that built-in length might be useful.

Worker Fan Brush

Worker Fan Brush is supposed to “do any task you want” and balances “size and density to handle blush, bronzer, sculpting, and even highlighter.”  It is a “smaller version of the current Sculpt One,” but it has “thicker hakutotsuho bristles” that are “highly efficient and blend as they apply.”  I preferred this brush after one wash, as it fluffed up and resulted in a more diffused, dispersed application but there was still enough density to the brush head to pick up product evenly.

It’s the denseness that separates most of the Sonia G. fan brushes from typical ones on the market–it is a truly substantial, dense, and smooth brush.  The edge moves together with all of the bristles coming together, which enables excellent pick up of even sheerer products but also enables the brush to blend as it moves against the skin.  If you’re someone who has been reaching for a fan brush for more light-handed, sheerer application of products, I don’t think this fits for those purposes; it’s better if you like the size and shape of fan brushes but need more moderate pigmentation.

I preferred this for applying highlighter to cheek bones, down the bridge of the nose, or gently swept on my forehead or with contour/bronzer products in the hollows of the cheeks brought upward to my temples.  It was too wide for blush applicator based on my facial features/techniques, though it definitely could apply and blend blush products out.  The brush felt smooth and silky against my skin regardless of direction and technique (swept, tapped, etc.).

Master Face Brush

Master Face Brush is supposed to be used for powder foundation, setting, buffing, blending, and bronzer and blush brush (the latter function more based on precision requirements).  I could see this being best for powder foundation as it has a denser, more dome-shaped brush head that would pick up product more evenly and deposit with greater coverage compared to the dispersion preferred with a translucent setting powder.

For me, it felt a bit too dense for all-over application with something like Guerlain Meteorites and didn’t diffuse as naturally as a result (I liked the Worker Fan brush with the Meteorites more). For setting powder, I also felt like it was a bit dense and rounded, so it didn’t fit as well into nooks and crooks of my face for all-over application, though the denser brush head made it better for anyone prefers to press setting powder into place over sweeping or dusting it on.  Wit this brush, I felt like it could work for the products mentioned, but I didn’t feel like it was the best for that purpose.

It has a larger brush head, so it would work well for those who tend to apply bronzer all over, but I’d only see it being workable with a sheer to medium-coverage bronzer.  For blush, I think it would be too large for most facial features.  It was most useful to me as a blending/buffing brush, and I felt like it did a great job here–it effectively diffused and softened harsh edges without too much effort and the bristles were smooth so that they didn’t lift and push around base products while doing so.

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15 Sep

To say it’s tricky to find good representation of mental health and mental illness on television would be a vast understatement.

For every show that offers an accurate, well-rounded portrayal of what it means to live with anxiety, depression, bipolar disorder and others, it seems there’s another that makes a villain of its mentally ill character, uses their illness as a “superhuman” trait to solve problems or ignores it completely when the plot moves on to something else. Thankfully, there are shows that don’t do that — and they’re helping normalize something one in five adults in the United States experience every year.

Here are eight shows we think did a good job with mental health-related storylines.

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15 Sep


Natasha Denona Metropolis 28-Pan Midi Eyeshadow Palette ($129.00 for 1.35 oz.) is a new, limited edition palette with an assortment of shimmers and mattes from pale, shimmering peach to murky olive green to inky blue.  There are enough shades and differences in finishes/depths that the palette is versatile and workable on its own, though I caught myself wanting some cooler-toned shades (even if not strictly cool-toned… but other than orange/brown for transition and crease shades) to avoid doing a similar look.

It contains “midi”-sized shades (0.048 oz. each) so that the palette itself is the same physical size as the full-sized, 15-pan palettes are. I love that the brand has been moving in this direction, as for consumers, the full-size tends to be far more product than an individual can use up in a reasonable length of time. The original 28-pan palettes (with full-sized pans) are $230 a pop, so this is a great departure. It’s still expensive for a palette, but I think this is a better balance of total cost vs. product weight.

The overall quality of the palette is there, and I think that from a quality standpoint, some of these are the best that the brand has released. Most shades were richly pigmented, while any that deviated were still medium to semi-opaque and buildable in coverage.  They were easy to apply, blendable, and long-wearing (eight to 10 hours) with a few shades having minimal to moderate fallout. Just swatching through it, I thought it might be one of the best palettes from the brand, and after working through all of the shades, it is up there.

Let’s Talk Cream-Powders

First and foremost, the majority of the matte eyeshadows in the palette are in the Cream-Powder finish/formula, so they’re more of a hybrid between cream and powder eyeshadows–more emollient with light to moderate creaminess (deeper shades seemed to have more slip), never powdery, have a denser, firmer feel to them, and tend to sit more smoothly on the skin.

The downside to Cream-Powders is that they can take a bit longer to blend or may not build up as easily (without some movement) as true powders. In the past, I’ve been a fan of the Cream-Powder formula, though I know it has not been a favorite for everyone. The ones included in the palette seemed to be more yielding, less firmly pressed, and they were easier to work with on the whole. Aside from the deeper hues, just working with them (not touching the pans), I don’t know that I would have known they were a Cream-Powder hybrid. I also have seen any “hard pan” develop over time (and I have gone and used my fingertips to swatch a few half a dozen times each just to see!).

Aside from a few shades, I actually didn’t find them to work that differently for me in practice; I still used typical eye brushes and didn’t have to opt for flatter shapes or synthetics (like you might for a true cream eyeshadow). I was able to use fluffier, more feathery crease brushes and apply and diffuse shades in my crease just as I would a normal powder eyeshadow. The finish is more forgiving if you have minor dryness or flakiness on the lids compared to powder.

Dupes Within Dupes?

There were a few instances where the overlap between shades felt unnecessary. I reorganized the palette via our Color Stories tool, and it made it more apparent where the overlap existed.

Shades like Fuse, Rust, Blaze, and Penny were grouped together (make sure to view the original swatches at their full-size resolution, which does show the differences better); they differed tonally leaning more golden or more orange/red or they were more metallic or more sparkling, but they felt far too similar to be included in a single palette to me.

This was true with Chrism and Stain, where Chrism was slightly more golden/yellower and lighter compared to Stain but so close that it did not seem necessary to have both in the palette.  It would have made a little more sense if they were different finishes, but they were both Cream-Powders.

Tonally, Enigma (cooler, bluer) and Symbol (warmer, more teal) (see comparison) differed visually on the eye, but I think that Symbol could have been lighter and brighter, between the depth of Jubilee and Enigma, so that it added more versatility to the palette.

Of course, if you have a few of Natasha Denona’s palettes, there are plenty of dupes between this and past releases (see individual dupe lists below).

Natasha Denona Rust (249M) Metallic Eye Shadow
Natasha Denona Rust (249M) Metallic Eye Shadow
Natasha Denona Rust (249M) Metallic Eye Shadow
Natasha Denona Rust (249M) Metallic Eye Shadow
Natasha Denona Rust (249M) Metallic Eye Shadow
Natasha Denona Rust (249M) Metallic Eye Shadow

Rust (249M)

Rust (249M) is a deep copper with warm, rusty (ha!) undertones and a sparkling finish. It had opaque pigmentation in one layer, which applied evenly and smoothly to bare skin, but there was slight fallout during application. The consistency was smooth to the touch, creamy without being too dense or thick in the pan, and remained blendable on my lid. It wore well nine hours before creasing faintly on my lid.

Troop (250CP)

Troop (250CP) is a medium, olive green with warm undertones and a matte finish. The eyesahdow had rich color coverage that adhered well to bare skin and blended out with ease along the edges without the product losing its intensity. The texture was smooth, more firmly-packed in the pan but not too dense that it became stiff to work with. I had no trouble picking up product and applying with regular brushes/techniques (like I would for powder eyeshadow) despite it having a Cream-Powder finish. This shade lasted well for nine and a half hours before fading visibly on my lid.

Orium (251DC)

Orium (251DC) is a bright, medium gold with strong, warmer copper undertones and cooler, green-gold shimmer and sparkle paired with a very reflective, high-shine metallic finish. The texture felt cream-like, so it was dense enough to hold all of the sparkly bits with the rest of the product for very minimal fallout during application (used dry with a brush!).

It had opaque pigmentation that adhered evenly and blended out with ease, but some of the sparkle did diffuse a little too readily so I’d recommend using smaller brushes to ensure precision. It stayed on nicely for nine hours before I noticed a bit of creasing and a smidgen of fallout over time.

Shield (252M)

Shield (252M) is a soft, olive green with warm, muted undertones and a pearly sheen. It was intensely pigmented with a smooth, creamy texture that felt luxurious but never felt too emollient or looked too thick on my lid. The eyeshadow applied evenly and looked “melted” against my skin, so it was shiny without being overtly shimmery. It wore well for nine hours on me before fading a bit.

Ripe (253CM)

Ripe (253CM) is a rich copper with warm, red undertones and a matte finish. It had excellent color coverage in a single layer, which applied evenly and blended out nicely along the edges on my lid. The consistency was smooth, velvety and more substantial so there was minimal powderiness in the pan. It lasted well for nine hours before showing signs of fading on my lid.

Stain (254CP)

Stain (254CP) is a medium orange with warm undertones (balanced between red and yellow) and a matte finish. The eyeshadow had opaque pigmentation that applied well to bare skin with a smooth, even lay down of product that sat well–it almost looked “melted” after the initial application. It had a smooth consistency that had light slip but never felt too emollient or wet, so while it was a Cream-Powder, it was really easy to work with and pick up with even fluffy brushes. It stayed on nicely for nine and a half hours before I saw light fading.

Mace (255M)

Mace (255M) is a medium, rosy bronze with warm undertones and a metallic finish. The texture was smooth, creamy without being too dense or emollient, and blendable on my skin. It had rich pigmentation that went on evenly and wore well for nine hours before creasing slightly on me.

Rope (256CM)

Rope (256CM) is a light, golden brown with warm undertones and a matte finish. It had nearly opaque color payoff in one pass, which was easily built up to full coverage with less than half of a layer on top. The texture was soft, lightly powdery in the pan, but it was blendable and diffused well on my skin without losing its intensity. It lasted well for eight and a half hours on me before fading a bit.

Fuse (257M)

Fuse (257M) is a rich, molten gold with strong, warm undertones and a metallic finish with faint sparkle on top. I’m not sure why it doesn’t look as smooth swatched on my arm as it did on my eye, but it actually went on very smoothly with a bright, reflective finish but still held its richer overall depth, so it wasn’t quite as similar to other golds by the brand. The eyeshadow felt lightly creamy, soft and yielding but not prone to excess kicked up in the pan. It had opaque color coverage in a single pass, which stayed on nicely for nine hours before creasing slightly.

Lethal (258CP)

Lethal (258CP) is a brighter, yellowy chartreuse with warmer, olive undertones and a matte finish. It had nearly opaque color payoff in one pass, though it needed a second layer to build up to full coverage. The eyeshadow felt dense, smooth, and more firmly-pressed in the pan, but it picked up well with a brush and diffused effortlessly along the edge–it was easier to blend than most mattes (even ones that I’d consider to be quite blendable!). It wore well nine and a half hours before fading visibly.

Penny (259M)

Penny (259M) is a medium-dark copper with warm, brown undertones and lighter, brighter gold sparkle throughout its metallic finish. The eyeshadow had rich pigmentation that adhered evenly and smoothly to bare skin with light fallout during application. The texture was dense without being too firmly pressed into the pan, and it had enough creaminess to keep most of the sparkles embedded with the rest of the product. It lasted well for nine hours with slight fallout over time.

Chrism (260CP)

Chrism (260CP) is a light-medium orange with warm, slightly yellower-leaning undertones and a matte finish. It had a smooth, moderately dense texture that had a touch less slip–felt a bit heavier on the Powder than the Cream portion–but still sat exceptionally well on bare skin with a smooth, even lay down of color. The opaque coverage stayed on well for nine hours before fading noticeably on me.

Aqueous (261M)

Aqueous (261M) is a medium-dark blue with subtle, cool undertones and a sparkling, metallic finish. This applied best by patting and pressing it onto the lid and then gently pulling it across to spread out the coverage, as it minimized fallout but also gave it the pressure necessary to smooth it out from the get-go. The consistency was creamy with moderate slip–it could have been a Cream-Powder really!–but very rich in pigment and had excellent 10-hour wear before creasing a touch.

Queen (262M)

Queen (262M) is a pale peach with strong, warm golden undertones and flecks of pink and gold micro-sparkle over a metallic finish. It had semi-opaque pigmentation that applied evenly to bare skin but had a touch of fallout if I wasn’t careful with my initial placement. The eyeshadow built up coverage with a second layer and blended out nicely along the edges. It lasted well for nine hours before I noticed some fading.

Blaze (263K)

Blaze (263K) is a bright, golden copper with warm undertones and a sparkling, metallic finish. It had opaque pigmentation in a single layer, which applied evenly and smoothly to bare skin–it seemed to “melt” slightly after a couple of minutes.

There was light to moderate fallout depending on how much product and how patient I was with application, but even with care, there was a light amount, so I’d recommend doing eyes first or using a dampened brush or fingertip for application to further minimize (beyond taking more care). It stayed on nicely for nine hours before creasing on me but didn’t seem to have ongoing fallout issues.

Noble (264M)

Noble (264M) is a golden taupe with warm, brown undertones and dirty, olive overtones paired with a smooth, pearly sheen. The eyeshadow was intensely pigmented with a creamy, rich consistency that felt like silk but didn’t have so much slip that it became hard to use with brushes. It wore well nine hours on me before there was slight creasing.

Imperia (265M)

Imperia (265M) is a deep gold with moderate, warmer undertones and a metallic finish. It was a “cooler” gold compared to the typical gold, which tends to lean more orange, but this didn’t lean green enough to be “cool” to my eye. It had an incredibly smooth, cream-like texture that held together beautifully, so it applied evenly with opaque coverage but no fallout. It lasted well for 10 hours before creasing slightly on me.

Royal (266CP)

Royal (266CP) is a deep, almost grass-like, green with subtle, warm undertones and a mostly matte finish. The eyeshadow had rich color payoff that adhered well to bare skin and blended out with little effort. It swatched and appeared lighter than it did in the pan, which was as expected based on its finish. The texture was smooth to the touch, emollient but not too slippery, and definitely felt like a hybrid of cream and powder. It stayed on nicely for nine and a half hours before creasing slightly on me.

Crest (267M)

Crest (267M) is a muted, medium-dark copper with warm, orange undertones and flecks of gold micro-sparkle over a more frosted finish. It had good color coverage, but it needed a second layer or to be applied with a dampened brush for full coverage. The texture was soft and blendable, but there was a bit of dryness to it so there was a touch of fallout during application. It wore well eight and a half hours before fading noticeably on my eye.

Enigma (268CP)

Enigma (268CP) is a deep, inky blue with subtle, cool undertones and a matte finish. It had semi-opaque color payoff that built up to mostly opaque coverage, but I felt like there was always a bit of translucency there. It was such a deep, yet vibrant, shade that I felt like the missing opacity was hard to see in person (especially when paired with other shades). The consistency was creamy, emollient, and thin, and it felt more emollient than most of the other Cream-Powders in the palette.

I was able to apply with typical brushes and didn’t have to modify my tools or technique, but it was a little harder to blend out compared to other shades in the palette. I also felt like it worked best applied without primer, and I’d apply this first and then layer more traditional powders on top of it, though it was certainly workable in reverse. It lasted nicely for 10 hours on me before I noticed creasing.

Pure (269CP)

Pure (269CP) is a light-medium, rosy brown with subtle, warm undertones and a matte finish. This shade had excellent color payoff that applied evenly and blended out almost effortlessly. The texture felt smooth to the touch, creamy without being too emollient, and it melted onto my skin for a particularly flattering finish. It stayed on beautifully for 10 hours before fading visibly.

Azoic (270CP)

Azoic (270CP) is a light, golden brown with strong, warm yellow undertones and a matte finish. What I’ve noticed about the Cream-Powder finish is that it seems to add a richness to the shade when swatched, even though the actual color appears lighter than the pan (true of most cream-based products, whether eyeshadow or lipstick). The texture felt smooth, lightly emollient but picked up well with fluffy and dense brushes. It applied evenly and blended out beautifully with little effort. It wore nicely for nine and a half hours on me before creasing slightly.

Jubilee (271M)

Jubilee (271M) is a deep, emerald green with cool undertones and a subtle, metallic sheen. It had more finely-milled shimmer and more of a sheen than a more overtly shimmered or sparkly finish compared to most of the metallic finishes in the palette. The color payoff was opaque in one pass, which applied well to bare skin and remained blendable along the edges without losing depth. The texture was smooth to the touch, creamy without being too slippery, and easy to work with. It lasted beautifully for nine and a half hours on me before creasing noticeably.

Symbol (272CP)

Symbol (272CP) is a deep, bluish-teal with cool undertones and a matte finish. It had semi-opaque pigmentation that was buildable to mostly opaque coverage, but I’ve found that these inkier, Cream-Powder shades retain some translucency–almost like a watercolor effect–when applied and blended out. The texture felt more emollient and leaned into the cream part of the formula a little more than most of the other Cream-Powder shades in the palette (but comparable to Enigma).

I worried it was going to be difficult to apply with regular brushes, but it actually picked up with even more feathery crease brushes and blended out without too much effort. I actually found blending to be easier with a fluffier brush but for the most intensity, a denser-packed brush (like a pencil brush) worked best. It stayed on well for 10 hours before creasing slightly on me.

Rhizome (273CM)

Rhizome (273CM) is a bright, tangerine orange with strong, warm yellow undertones and a matte finish. It was one of the few traditional powder matte shades in the palette, but it felt velvety and smooth without being powdery in the pan. The eyeshadow was nearly opaque in its pigmentation and adhered well to bare skin, while I had no trouble diffusing the edges. It wore well for nine hours before I noticed some fading.

Claret (274M)

Claret (274M) is a rich, medium-dark red with moderate, warm undertones and a metallic sheen. The eyeshadow had fantastic pigmentation in a single layer, which applied well to bare skin with a smooth, even application of color that was easy to blend out. The texture was smooth, lightly creamy, and yielding without being powdery, and I appreciated that it wasn’t so emollient that it became difficult to apply with brushes (without sliding around). It lasted well for nine hours before fading visibly on me.

Helena (275K)

Helena (275K) is a medium-dark coral with strong, warm orange undertones and flecks of pink and gold micro-sparkle. It had opaque color coverage that applied well to bare skin, as the eyeshadow went on evenly and blended out with ease but did not result in fallout or sheerness. The texture was smooth to the touch with moderate slip–it felt more silicone-like to me but was easy to work with. It stayed on well for nine hours before fading a bit.

Antique (276CP)

Antique (276CP) is a rich, medium-dark brown with warmer, reddish undertones and a matte finish. It had opaque pigmentation in a single layer, which adhered evenly and smoothly to bare skin. The consistency felt lightly creamy in the pan, but it also had a more silicone-like slip to it, so I felt like it embodied the concept of Cream-Powder quite accurately. I had no trouble picking up product with even fluffier, crease brushes and applying and blending out the color on my skin. It wore well for nine hours before creasing slightly on me.

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15 Sep

New research suggests that many common mental health symptoms have no link to using firearms to threaten someone. The study has been published in the scientific journal Preventive Medicine.

“Despite the prevailing public and media perception of mental health being associated with gun violence, there is generally a lack of research to support this. We conducted this study to test the link and to provide scientific evidence,” said study author Yu Lu, an assistant professor at the University of Oklahoma.

The researchers examined data from 663 young adults who had been recruited from Houston-area public schools for a longitudinal study.

The participants were surveyed regarding their firearm possession and use as well as about anxiety, depression, stress, posttraumatic stress disorder, hostility, impulsivity, borderline personality disorder, mental health treatment and other demographic details.

“Our study looked at two gun-related behaviors, gun carrying outside of homes (this excludes occasions for hunting purposes) and threatening someone with a gun, and their associations with mental health and gun access,” Lu told PsyPost.

“We found that the majority of mental health symptoms we examined, including anxiety, depression, stress, PTSD, and borderline personality disorder, were unrelated to gun violence.”

“Instead, individuals with gun access were 18 times more likely to have threatened someone with a gun compared to those who did not have gun access, even after controlling for mental health, prior mental health treatment, and demographic characteristics, such as age, gender, race/ethnicity,” Lu said.

Hostility predicted threatening someone with a gun, while impulsivity predicted gun carriage.

Those who scored higher on a measure of impulsivity in the spring of 2015 were 1.91 times more likely to report carry a gun two years later. Those who scored higher on a measure of hostility were 3.51 times more likely to have threatened someone with a gun two years later.

“The main takeaway from the study is that we should not stigmatize people with mental health problems, not assume they are dangerous, because more than likely they are not dangerous and actually are more likely to be victims than perpetrators of violence,” Lu told PsyPost.

But the study — like all research — includes some caveats. The study did not examine some severe mental disorders and only measured gun threats — not actual shootings.

“There is an overall lack of research on gun violence. We are the first one to look at mental illness and gun access together, we are also the first one to use longitudinal data to look at the relationship overtime,” Lu explained.

“It should be noted that our study participants were young adults primarily from Texas and our study did not test a comprehensive list of mental health symptoms (e.g., we did not test schizophrenia). More research is needed on gun violence overall and to specifically test with other populations and include other types of mental health issues.”

The study, “Dangerous weapons or dangerous people? The temporal associations between gun violence and mental health“, was authored by Yu Lu and Jeff R. Temple.

Credit: Source link

15 Sep

From the Archives: How to do Dips

by Mark Rippetoe | September 15, 2019

Rip and Chase show you how to do dips in a power rack and using chairs when access to equipment is limited.


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15 Sep

Rose Sand (523)

Giorgio Armani Rose Sand (523) Lip Maestro ($38.00 for 0.22 oz.) is a brighter, medium-dark pink-coral with warmer undertones and a cream finish. It had opaque color coverage that applied evenly and smoothly across my lips. The doe-foot applicator had just the right amount of product for one-stroke application, and I felt like I had good control over the edges (without having to be too patient).

The liquid lipstick had a velvety, smooth, and spreadable texture that felt lightweight but had enough substance to adhere well to my lips for better wear. As this doesn’t dry down, it wears down to a more matte finish after two hours of wear (or faster if blotted, whether intentionally or by drinking out of a glass or cup!). It wore beautifully for six and a half hours and was moisturizing while worn.

  • Marc Jacobs Beauty Strawberry Girl (P, $30.00) is lighter, less glossy (90% similar).
  • Bobbi Brown Guava (P, $37.00) is darker, cooler (90% similar).
  • Colour Pop UR Thriving (P, $7.00) is darker, less glossy (90% similar).
  • Pat McGrath Candy Flip (P, $40.00) is darker, cooler, less glossy (90% similar).
  • YSL Rosewood Supreme (92) (P, $36.00) is lighter, cooler (85% similar).
  • Sephora Slay (18) (P, $13.00) is lighter, cooler (85% similar).
  • Charlotte Tilbury Too Bad I’m Bad (P, $34.00) is cooler, less glossy (85% similar).
  • MAC Pumpkin (LE, $25.00) is lighter, better quality (85% similar).
  • Colour Pop Mrs. (LE, $7.00) is lighter, more muted, cooler (85% similar).
  • NARS Tolede (P, $26.00) is lighter, more muted (85% similar).

Formula Overview

$38.00/0.22 oz. – $172.73 Per Ounce

The Lip Maestro Notorious formula is supposed to have a “luminous matte” finish with “8 hours of wear” and “high pigment.” The Notorious shades are inspired by “chic Hollywood glamour” but otherwise appear very similar in feel to the original Lip Maestro formula. The consistency has more slip and a velvety-smooth feel that softly “clings” to the lips, so while the finish has a glossier look for the first few hours, the color stays on well. If you’ve ever used a silicone-based primer, there’s a bit of that feel to the formula overall. Most shades last between six and eight hours on me, are non-drying to lightly hydrating, and comfortable to wear. The formula is unscented and has no discernible taste.

Browse all of our Giorgio Armani Lip Maestro swatches.



Rose Nomad (524)

Giorgio Armani Rose Nomad (524) Lip Maestro ($38.00 for 0.22 oz.) is a slightly muted, medium-dark plum with moderate, warm undertones and a cream finish. There seemed to be the most minute amount of pearl throughout but not to the point where it actually changed the finish, so they seemed to contribute to a more luminous finish than anything else.

The texture was smooth, velvety, and non-sticky, which made it easy to spread across my lips for even coverage that didn’t emphasize my lip lines. The color payoff was opaque in a single stroke, and it stayed on well for seven hours and felt hydrating over time.

Credit: Source link

15 Sep

Mentally disordered individuals are becoming enmeshed in the criminal justice system at alarming rates. Experts tell us that there are now more such individuals in our jails and prisons than there are in our hospitals. Depending upon how you define “mental disorder” between 20 and 80 per cent of Canada’s inmate population suffer from a mental disorder.

The criminal justice system is left having to deal with individuals who are in the system because of untreated or inadequately treated mental illnesses rather than deliberate criminality. It is not a good place for them to be. Unfortunately, for many, the criminal justice system has been the only place where they have received adequate treatment and support.

The Death of a Butterfly: Mental Health Court Diaries is a collection of short stories and vignettes that collectively, it is hoped, paint a colourful picture of how the mentally ill fare in the criminal justice system. There is good news, and there is bad news.

The focus is on the comings and goings of our mental health court, which opened in 1998 in downtown Toronto. Some of the bits are “snapshots,” while some are stories that continue over the course of several days or months. While the content is disparate, it is one fluid story in the sense that it is a depiction of how days in the court are spent. The work of the court is varied, as are the depictions; but they are typical days. And while the focus is on the mental health court, some of the more protracted matters ran their course in the regular trial courts as time and space required.

The stories highlight medical issues, psychiatric issues, social issues and legal issues — often at the same time. The stories are all real but the names have, for the most part, been changed (including in the following excerpt) even though the proceedings are matters of public record. There is an eclectic array of individuals travelling through the courthouse for all sorts of different reasons.

Many of the stories are based upon actual court transcripts and psychiatric reports that I was lucky enough to have retained; other stories are based upon my memory of the events and notes contained in my bench books which I have saved over the past almost 20 years.

The material was collected over many years as it occurred to me to record interesting events in the courtroom. In a sense Butterfly is a “scrapbook.” The content points to many problems throughout our legal and mental health systems. As a composite, these many pieces tell a singular story, and I am mindful that the system can always improve.

I am hopeful that the reader will find these depictions as interesting as I have found my work over the past 40 years.


Mr. David Chesswood was returning after lunch to be sentenced. His matters, involving criminal harassment, were too serious to be considered for diversion.

The Death of a Butterfly.The Death of a Butterfly.

Diversion is typically only available for the low- to mid-range criminal offences. (Diversion involves offering accused who are charged with less serious offences the option of participating in a rehabilitative program, which, if successfully completed, will result in their charges being withdrawn by the Crown. This is good not only for the Crown, who has one less matter to prosecute, but also for the accused, who avoids the possibility of a criminal conviction. It is also the route that best ensures the community’s safety.)

I had taken his plea of “guilty” several weeks before but had ordered a pre-sentence report (a report prepared by a probation officer that provides the court with relevant background information about the accused) due to the very odd and concerning nature of the offences he had committed. This was followed by a psychiatric assessment pursuant to the provisions of the Mental Health Act.

Mr. Chesswood described to the author of the pre-sentence report that he “went insane” approximately five years ago and was hospitalized for a “nervous breakdown.” This is generally a euphemism for a first psychotic episode, as there is (Hollywood notwithstanding) no medical condition known as a “nervous breakdown.”

He was of the view that his breakdown was the result of “a lot of pain and hardship and [he] was unable to deal with anger and [his] behaviour became strange. [He] didn’t seek help and started drinking, typically to the point of unconsciousness.”

As is unfortunately all too often the case, he then started smoking crack cocaine a few years ago whenever he “became depressed — it gave [him] a lift.” He drank to “numb [his] mind and take away the pain. [He has] a lot of pain inside [himself].” This self-medication inevitably aggravates the individual’s psychiatric condition. As well, excessive drug abuse may actually cause conditions that mimic very closely major mental disorders.

According to his father, David was deprived of oxygen at birth, which he and his wife were told might cause brain damage. For the first two years of his life, David experienced seizures and was periodically hospitalized. However, as he got a little older the convulsions ceased, the hospitalizations stopped, and everything was “normal” until the age of 18, at which point he became more reclusive and started his experimentation with drugs and alcohol.


By this point, he spent most of his time on his own composing music. After a very bad final year in high school, David recovered well enough to move on to the University of Toronto, where he completed three years of a four-year degree in history and philosophy. He then abandoned school again, moved out of the family home, and began spending all of his time composing music.

David’s father said that over the past five years, his son had been in a state of steady decline. He had become violent and aggressive toward family members, and the police had to be called on several occasions.

David’s mother and father feared for their lives when he had been drinking or was high on drugs. Despite all of this, they remained firmly beside him and urged that he be institutionalized so that he could become stable prior to any further attempts to reintegrate him into the community. They were unable to handle him at home in his current condition.

David was clearly an extremely bright student, earning a 92.5 per cent average prior to his “breakdown” during his last year of high school. He had been committed to the hospital as an involuntary patient on at least one occasion, and he was previously admitted to the CAMH Concurrent Disorders Program.

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His parents were of the view that this program was not particularly effective, as it only had one hour of counselling once per week. David was eventually discharged from the program as a result of his leaving sexually explicit and harassing telephone messages on the voicemail of female staff members at the program. He provided the facile, or less than insightful, response that he was intoxicated when he left the messages.

David’s diagnosis had been delusional disorder, in partial remission; major depressive disorder, in partial remission; and poly-​substance abuse disorder (cannabis, alcohol, and crack cocaine).

David describes himself as a “good, caring, and loving man” who has experienced “some really bad luck” in the past five years. However, his insight is described by his psychiatrist as “fleeting and superficial.”

The principal charge presently before the court is that of criminal harassment. His psychiatrist, Dr. Mitchell, is the complainant. He had left dozens of messages on her voicemail, which were disturbing in the extreme. They were chilling — graphic, violent, pornographic and obscene. When interviewed, David did not see the “criminality” in what he had done, but rather, viewed the whole thing as a form of “amusement.”

He stated that he wanted a “date” with Dr. Mitchell, but did not know how to go about getting one: “I thought she might be lonely or single and might enjoy a pornographic message,” he said.

The author of the pre-sentence report felt that David might do better with a male psychiatrist in that David was of the view that “women committed crimes against [him] by not loving [him]. All women purposefully stay away from [him]. It’s a conspiracy against [him].” While he self-described as a “porno addict,” he denied fantasies, interests or behaviour consistent with a paraphilia or sexual deviance.

At the end of it all, the diagnostic picture was disappointingly unclear. Despite previous diagnoses, the present assessment could not provide any conclusive answers or suggest any course of treatment other than that David and intoxicants, alcohol in particular, were a bad mix. The psychiatric assessment did not point to a defence of “not criminally responsible on account of mental disorder” and neither party was pursuing it.

As is often the case, he had spent a significant period of time in custody while these various assessments were being conducted. By the time he was before me for sentencing, the custodial component of any reasonable sentence had already been served. I placed him on probation for the maximum period of three years with terms that he comply with any treatment directed by his probation officer. He agreed to these terms.

The conclusion of David’s matter was, from my perspective, unsatisfactory but not atypical. I am sure that his parents are not optimistic that their son will comply with the terms of my order. I’ll keep my fingers crossed.

With the “That’s the list, Your Honour,” I requested that everyone have a good evening and made my way up the five flights of stairs to my chambers thinking to myself on the way up how perverse it was that the criminal courts were trying to do the work that should rightly be picked up by the mental health-care system. Who would have guessed that the criminal courts would be reconfigured as principal dispensers of mental health care? And then, with the new role assigned by default, would not be provided with adequate resources to get the job done?

Something is desperately wrong with our system.

Just as the jails have become the de facto psychiatric hospitals, the police are having to respond to individuals in psychiatric crisis and then decide what is best to be done. It is time for a reset.

Excerpted from The Death of a Butterfly ©2019 Delve Books, an imprint of Irwin Law

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