Category: Cosmetology

The Cinematic Films With the Least and the Most Dialog

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There are a myriad of films which are famous in large part due to the cast speaking virtually no dialog at any point throughout the film’s runtime. In opposition to this, other films and film franchisees have become renowned for the inverse reason, dialog heavy films characterized by dense character exchanges and storylines driven by dynamic characters and expressive speech. In terms of films with casts who are rather quiet, All Is Lost created in 2013 with Robert Redford stranded at sea had a script that was a mere 31 pages in length with almost no spoken lines, WALL·E, a children’s animated film from 2008 featured 89 lines of dialog (51 by machines and 38 by humans) throughout the entirety of its screen time, 2001: A Space Odyssey, released in 1968, relied heavily upon silence to create dramatic tension, and finally Moebius, produced in 2013, contained no dialog whatsoever. In direct contrast to this and on the other side of that same spectrum, dialog heavy films exist in parallel, with the example of Casino, from 1995 which was extremely dialog heavy with a script of approximately 40,000 words, which is nearly double the average script length, with additional examples available as well (e.g. Dogma from 1999 with a 148 page script, A Few Good Men from 1992 with a 162 page script, John Fitzgerald Kennedy (JFK) from 1991 with a 183 page script etc.). This contrast demonstrates the principle that cinema can thrive in both environments of near silence with only body language, facial expressions, and set and character visuals to carry the story, as well as in rapid fire, constantly evolving, dialog heavy scenarios in which the script becomes the most important piece (or character) of the film

The First Female Sculptor Within Italy During the Renaissance

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Properzia de Rossi, who was born in Bologna, Italy in 1490, aspired to become a sculptor and was the first female marble sculptor within Italy during the Renaissance of the 16th century. Although de Rossi left no diaries, fragments of her early work are still available during the modern day. Despite marble sculpting being viewed as a masculine art form during the Renaissance in that it required muscle to perform and an intelligent mind to create, both of which women were not thought to possess during this period. Because of this, de Rossi found her medium in other art forms, most notably her “Madonna of Mercy” within the Grassi Family Crest work which was a silver crest with 11 nectarine buttons which were carved intricately with small images of religious piety. By 1525, aged 35, de Rossi entered a contest for the main cathedral basilica of Bologna, San Petronio, of which she won. The piece was named “Joseph and Potiphar’s Wife” which depicts a fallen women who’s breasts are exposed, rising off of her bed to try and claim her husband as he leaves. It was believed during the period that it was unthinkable for a woman to study the male nude form through nudity. Because de Rossi’s sculptures were so accurate, it was assumed she knew too much of the male form and therefore she was dammed for her talent. In 1530, de Rossi died penniless and alone, a retched end for a great artist who was pushed out of society due to the sheer beauty and creativity of her work. Had de Rossi not been a victim of her time, she would have been celebrated with the most revered male Renaissance artists

The Caribbean Village of Biological Males Born Without Male Genitalia

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There is a village in the Dominican Republic called Salinas, in which 1 in 90 of the people born are born as males, with testicles, but without a penis, because of misconstrued instructions at birth. In males, the gene on the Y chromosome, specifically the Sex Determining Region Y (SRY), instructs the gonads to become testicles. This leads to the creation of dihydrotestosterone which is a stronger version of testosterone. Dihydrotestosterone transforms the tubercle which all males and females have, into a penis. Females do not make dihydrotestosterone, therefore their gonads become ovaries, and the tubercle becomes a clitoris. Infants perceived as female at birth, due to a lack of dihydrotestosterone during fetal development, later develop a penis during puberty when testosterone triggers penile growth, as it does in typical male development. Those who lack the ability to create dihydrotestosterone, as is the case with those born as males but raised as females in the Caribbean village of Salinas, Dominican Republic where it is common, are technically male, but without a penis, a condition referred to as “5 alpha reductase deficiency”. This condition is quite well accepted in this part of the world and even has a term which is “guevedoce(s)”, (pronounced “guava-doh-chey”) which means “penis/testicles at 12” in Spanish. This condition whilst common in this region of the Caribbean, it is very rare in other parts of the world

The Color of Ancient Egyptian Pharaoh Cleopatra’s Skin

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Cleopatra VII, the last ruler of Ptolemaic Egypt, was of Macedonian descent, which makes her Greek, as her family was established by Ptolemy I, a soldier who later became a General within Alexander III’s military force, a person more commonly referred to as “Alexander the Great”. The Ptolemies practiced interfamily marriage, meaning siblings, or more uncommonly cousins etc., as Cleopatra herself married her brother, therefore her ancestry was predominantly Greek. The caveat to this is that the identity of Cleopatra’s mother is unclear, leaving a lot of room for speculation of potential Egyptian as well as other African or regional influences. As for her skin color specifically, historical depictions and recorded texts do not provide clear evidence, but based upon her Greek heritage, she likely had a light olive complexion, common in persons of Mediterranean lineage during the modern day. Cleopatra’s exact skin tone however remains uncertain without genetic evidence as her remains have never been identified and/or located

The Fallacy of French Emperor Napoleon Bonaparte Being Short in Stature

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Napoleon Bonaparte was not actually short in stature, in fact he was of average height. This misconception stems from paperwork being written about Bonaparte which states that he was 5’2″, written as 5 pieds 2 pouces within France during the early 19th century, but it was from a French town which used an antiquated unit of measurement referred to as the “French foot”, which classified the imperial measurement of 1′ as 13″ instead of the 12″ which is what 1′ is stated to be within the imperial measurement system. When accounting for this error in transcription, it would appear that Bonaparte was actually 5’7″ which during the last half of the 18th and beginning half of the 19th century when Bonaparte was alive, was considered average, or even slightly above average in regard to the stature of height. The fallacy of Bonaparte being short was exaggerated by English propaganda, particularly satirical cartoons which portrayed Bonaparte as small and temperamental, affixing this image to Bonaparte for centuries and into the modern day

The Reason Japanese Samurai Shave the Top of Their Head

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The practice of “chonmage” (pronounced “chon-mah-geh”) which means “tied knot on top” in Japanese is the reason Japanese samurai shaved the tops of their heads, in a pattern reminiscent of male pattern baldness. Japanese Samurai shaved the top of their heads in this particular style for both pragmatic and symbolic reasons. The shaved portion of the head helped secure their helmets referred to as “kabuto” which means “helmet” in Japanese, making them more comfortable but also prevented overheating during battle. Over time, the chonmage became a status symbol within Japanese society, symbolically representing a samurai’s loyalty and discipline. The chonmage aesthetic also reflected the samurai’s adherence to Bushido, the warrior code. Different variations of chonmage emerged within Japan over the centuries, with the style remaining a distinctive hallmark of the samurai class until the Meiji Restoration in 1868 when Japan modernized and abolished the traditional feudal samurai system

How Flames Were Artificially Produced for Opera Productions During the 18th Century

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During the 18th century within opera and theater productions, stage doors which would lead a character to Hell achieved simulating the flames of Hell with brandy which would be placed into a container and lit on fire due to the fact that during the period, brandy was the brightest glowing flame available because of it’s high alcohol content. Once the brandy was burning bright, a powder referred to as “lycopodium” was blown across the flames to create an intense illumination, creating a fireball of sorts. It was in truth a very dangerous special effect to achieve because of the wooden sets, the actors involved, and the enclosure of the theatre itself. Most of those who performed the pyrotechnics for operas and plays during this period were ex-military, often soldiers who understood how these chemicals worked in depth as rocket technology was at the cutting edge of warfare during the era

The Original Version of the Statue of Liberty

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The Statue of Liberty was provided as a gift to the U.S. from the French public to celebrate the U.S. French alliance during the Revolutionary War. This gift however was not originally designed for the U.S., as its sculptor Frederic Auguste Bartholdi (pronounced “fred-reek ah-goost bar-told-ee”) had traveled to Egypt to pitch the idea of an enormous woman like the Statue of Liberty, standing at the entrance of the Suez Canal. This original design was to be veiled to comply with then Egyptian values, and holding a lantern representing Egypt carrying the light of progress into Asia. Initially the Egyptian government liked this idea but because the cost was exorbitantly high, plans were eventually scrapped. Bartholdi redesigned his concept to depict a Roman goddess which is more European and therefore palatable to the U.S. conscious. In addition to this, Bartholdi also wanted to ensure that this new design represented freedom, not progress, to reflect American sentiment during this period

The Origin of the Christian Halo

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The halo is not a Christian construct as in early depictions, Jesus Christ had a wand to perform miracles. The halo was put forth because as Christian artwork grew in its characters depicted, Christ needed to appear more divine and stand out which is why he was provided a halo. Paegan’s borrowed the halo from Apollo, and the Christians borrowed the halo from the Paegan’s. The halo started off as lines coming from the head much like the look of the Statue of Liberty during the modern day. The spikes of the halo were designed to represent Christ’s solar divinity

The Reason No World Flag Uses the Color Purple

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No country on Earth has purple within their national flag.  This is because until the modern day, acquiring purple dye was immeasurably difficult, derived from specialized snails found only in Algeria, with 1 gram of dye taking 10,000 snails to be killed and harvested