Free Dressing Up Games For Girls Who Love Fashion – Fashion Designing Institutes – British Fashion Blogs
Free Dressing Up Games For Girls Who Love Fashion
- The Top is the fifth studio album by British band The Cure, released in 1984.
- manner: how something is done or how it happens; "her dignified manner"; "his rapid manner of talking"; "their nomadic mode of existence"; "in the characteristic New York style"; "a lonely way of life"; "in an abrasive fashion"
- make out of components (often in an improvising manner); "She fashioned a tent out of a sheet and a few sticks"
- Make into a particular or the required form
- Use materials to make into
- characteristic or habitual practice
- A single portion of play forming a scoring unit in a match, esp. in tennis
- A form of play or sport, esp. a competitive one played according to rules and decided by skill, strength, or luck
- (game) a contest with rules to determine a winner; "you need four people to play this game"
- (game) bet on: place a bet on; "Which horse are you backing?"; "I'm betting on the new horse"
- (game) crippled: disabled in the feet or legs; "a crippled soldier"; "a game leg"
- A complete episode or period of play, typically ending in a definite result
- (girl) female child: a youthful female person; "the baby was a girl"; "the girls were just learning to ride a tricycle"
- A female child
- A person's daughter, esp. a young one
- (girl) daughter: a female human offspring; "her daughter cared for her in her old age"
- A young or relatively young woman
- (girl) a young woman; "a young lady of 18"
- Without cost or payment
- With the sheets eased
- able to act at will; not hampered; not under compulsion or restraint; "free enterprise"; "a free port"; "a free country"; "I have an hour free"; "free will"; "free of racism"; "feel free to stay as long as you wish"; "a free choice"
- grant freedom to; free from confinement
- loose: without restraint; "cows in India are running loose"
- any object of warm affection or devotion; "the theater was her first love"; "he has a passion for cock fighting";
- Feel a deep romantic or sexual attachment to (someone)
- Like very much; find pleasure in
- have a great affection or liking for; "I love French food"; "She loves her boss and works hard for him"
- a strong positive emotion of regard and affection; "his love for his work"; "children need a lot of love"
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Using an astonishing array of sources, Ulinka Rublack argues that an appreciation of people’s relationship to appearances and images is essential to an understanding of what it meant to live at this time – and ever since. We read about the head accountant of a sixteenth-century merchant firm who commissioned 136 images of himself elaborately dressed across a lifetime; students arguing with their mother about which clothes they could have; or Nuremberg women wearing false braids dyed red or green. This brilliantly illustrated book draws on a range of insights across the disciplines and allows us to see an entire period in new ways. In integrating its findings into larger arguments about consumption, visual culture, the Reformation, German history, and the relationship of European and global history, it promises to re-shape the field.
People's Memories of Warmley & Cadbury Heath – part two
In the 19th Century local people, mostly labourers, made high sacrifices to raise funds for the construction of chapels, in support of the Methodist Movement, inspired by John Wesley. For many, this became the only acceptable source of social contact outside of their workplace.
It must come as something of a surprise to the visitor or new resident to find that Cadbury Heath possesses three sizeable nonconformist Chapels almost literally within a ‘stones throw’ of each other. As any of the buildings could have comfortably accommodated the entire adult population of the area at the time that they were built, they cannot have been built to serve the demands of would-be worshippers. Nobody ever seems surprised that the same area for a long time also supported two pubs, also very near to each other.
The former Wesleyan Chapel in Tower Road South (now a Roman Catholic Church, ‘Mary Help of Christians’) was built in 1833. The other large chapel in Tower Road South was built in 1858 as a United Methodist Free Church. The two chapels are a mute reminder of a sad chapter of 19th Century history when Methodism was rent asunder, not by any question of doctrine or theology, but over methods of Church government.
The former U.M.F.C. chapel, for long called Warmley Tower Ebenezer Methodist Church, is now known simply as Warmley Tower Methodist Church – a symbol of the unity achieved when most branches of Methodism reunited in 1932. The third chapel is the Independent Methodist Chapel in Mill Lane. This chapel was founded by a small group of worshippers who left the Wesleyan Chapel and started to meet in the upper room of a mill which for many years stood on the banks of Siston Brook in Mill Lane. From the mill the group moved to an adjoining rank of cottages, eventually building their present chapel. The Mill Lane congregation eventually joined the Independent Methodist Connexion. There were a small number of Independent Methodist Chapels in the Bristol area, but their real strength lay in the north of England.
It would be idle to deny that these various divisions within Methodism did not lead to bitterness amongst those involved, the principles were very important to them. The protagonists on both sides were honourable men and women doing what they believed to be right. Hone of this prevented the chapels from becoming important centres of village life; indeed, apart from the public houses they were, until fairly recent times, the only community provision accessible to ‘ordinary people’.
Apart from the religious significance of the chapels in the life of the area they were to provide an amazingly wide range of entertainment and ‘self-improving’ activities which did much to broaden the horizons of the families connected with the chapels, which in turn was reflected in the wider community.
Perhaps the two chapel organisations which had the greatest impact on the outside world were the Sunday School and the Bands of Hope, largely because they catered for children. Children did not have to have parents attending the chapel to belong to either of these organisations, which resulted in both having a circle of supporters far wider than the chapels’ nominal membership.
This meant that the two important annual events organised by the chapels, the Sunday School Anniversary Service and the Whit Monday Procession received widespread support from the community because they touched almost every family. This ensured that the chapels would be full to overflowing on the occasion of the Sunday School Anniversary.
Each little girl would have a new dress, and each little boy would be bedecked in his best (and only) suit. These clothes would have been purchased at considerable personal sacrifice by the parents who, come what may, weren’t going to see their child at a disadvantage on this red letter day. The Sunday School Anniversary Service was also the occasion for the distribution of ‘prizes’ to the Sunday School scholars. ‘Prizes’ were a reward for good attendance and usually were in the form of books. The books would be of an ‘improving’ nature and would be purchased in bulk from a Bristol religious bookshop. There would be a bookplate bearing the name of the Sunday School and the child’s name and the reason for the award. Many survive as treasured family mementoes.
Many of those filling the chapel would be the parents and grandparents who would probably not otherwise enter the building except for baptisms, weddings and funerals. The same could be said of the Whitsun Processions when many of those thronging the pavements to watch the bands, banners and marchers go by would have little formal connection with the chapels.
The compensation for the children after the long, tiring Whit Processions, which covered quite a few miles, were in the substantial teas which followed. The tea was an event which required much planning beforehand; there were numerous meetings to discuss its
The Lunt-Fontanne Theater survives today as one of the historic theaters that symbolize American theater for both New York and the nation. Built in 1910 as Charles Dillingham’s Globe Theater, and designed by Carrere & Hastings, the Lunt-Fontanne is one of the oldest theaters surviving in the Broadway theater district.
Charles Dillingham, one of Broadway’s top producers of musical comedies, had some 200 productions to his credit in a career spanning close to 40 years. The most memorable include Shaw’s Man and Superman; Hip Hip Hooray, which introduced Anna Pavlova to American audiences; and App 1 e Blossoms, Fred and Adele Astaire’s first American musical. Alone and in partnership with Florenz Ziegfeld, Dillingham also managed such top stars as Elsie Janis, Beatrice Lillie, Marilyn Miller, and Irene Castle. Dillingham built the Globe Theater (named after Shakespeare’s) in 1910 to be his headquarters; today, renamed the Lunt – Fontanne, it survives as a monument to his major contribution to the history of Broadway.
Carrere & Hastings was among the most prominent architectural firms in America in the early decades of this century. Although best-known for such Beaux-Art style monuments as the New York Public Library, the firm also designed four New York theaters, including the unusually large and opulent New Theater on Central Park West (demolished).
The Lunt-Fontanne Theater is the only one of Carrere & Hastings’ theaters surviving today. Its handsome Beaux-Arts facade is a smaller but equally handsome version of their no longer extant New Theater.
For three quarters of a century the Lunt-Fontanne Theater has served as home to countless numbers of the plays, beginning with Charles Dillingham’s productions, through which the Broadway theater has come to personify American theater. As such, it continues to help define the Broadway theater district, the largest and most famous concentration of legitimate stage theaters in the world.
Charles B. Dillingham ranks as one of the most successful producers in the history of American musical comedy. During his thirty-eight year career Dillingham staged over two hundred productions.
Born in Hartford, Connecticut, in 1868, Dillingham first worked as a reporter for a local newspaper. He later moved to Chicago to work for the Chicago Times Herald. Dillingham’s interest in the theater found an outlet in his next newspaper job, as drama critic for the New York Evening Sun.
In 1896 Dill ingham wrote a pi ay called Ten P.M. Whi le the p lay met with little success, it attracted the attention of Charles Frohman, one of the country’s leading producers,^ Frohman, impressed with Dillingham’s intelligence and humor, offered him a job as an advance man. He soon became Frohman’s chief assistant and closest friend, traveling with the producer on his annual trips to England and acting as his representative in negotiations with major stars.^ As Frohman began to add to his chain of
New York theaters, Dillingham was appointed manager of the Garden Theater on West 35th Street and the Criterion on Long Acre (now Times) Square.^ The Criterion (demolished 1935), originally known as the Lyric, was part of Oscar Hammerstein I’s enormous complex on the east side of Broadway between 44th and 45th Streets, which also included a music hall, concert hall, and roof garden.
Even as he continued to manage the Criterion, Dillingham, at Frohman’s urging, began to free-lance, taking on the management of Julia Marlowe’s professional career. His first production for Marlowe was the Countess Valeska which opened at the Knickerbocker Theater in January, 1898.^ Within a few years he was managing dozens of major stars and had achieved a reputation as one of Broadway’s most successful producers. With offices in the Knickerbocker Theater, thge Dillingham Theater Corporation produced a string of hit shows including Shaw’s Man and Superman and Victor Herbert’s Mile. Modiste and The Red Mill.
In 1910 Dillingham opened the Globe Theater to great critical acclaim. Considered one of the most lavish and innovatively designed theaters of its day, the Globe became a showcase for musical comedies and operettas. A Howard Gould is mentioned as an early partner in this venture, but his support appears to have been entirely financial and he was bought out by Dillingham by 1915. Di 11 ingham moved his offices, or "bureau," to the Globe (the manager’s office was called the "bureau" in William Shakespeare’s Globe Theater). Dillingham’s offices were to remain at the Globe for twenty years. In 1920, when his lease on the theater expired, Dillingham purchased the building for the reported price of $1,250,000.
In 1915 Dillingham became managing producer of the Hippodrome Theater (Sixth Avenue at 43rd Street, demolished), originally built to house lavish theatrical spectacles. Known as "the greatest amusement in
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