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What’s the Mermaid Look That’s so Trendy?

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The cosmetic industry has boomed than ever before and much of its credit goes to Hollywood beauties setting new trends. Women can now achieve almost any body shape they like, even if it’s looking like the mythical creature of mermaids. If you too want to achieve such a body shape, it isn’t a distant dream anymore.

How to get the perfect body?

Most women turn to liposuction that involves the extraction of their thigh fat. Our thighs add undesirable fat, irrespective of our body shape. Even thin women can find an extra layer of fat in this part and they are called saddlebags.

Our media does project several body standards, but it is important for us to understand what suits us the most. Women usually want to reduce fat from their thighs and make their hips curvier by having the same fat injected on their buttocks. It is a common type of buttocks and hips enhancement process, but it does come with its set of drawbacks. 

We recommend you to have detailed knowledge about the type of hip enhancement you want to try. This is because your thighs and hips must be in proper proportion in order to bear each other. For example, if a certain beauty standard makes your thighs feel thin and feeble but your hips have a lot of weight, it will be difficult for you to maintain a proper body balance.

If you’re aiming for the perfect hourglass, it is an achievable and desirable body shape that will perfectly transform you. If you want to flaunt the hip curvet the most, you might like the inverted heart figure instead. Both hourglass and inverted heart shape stresses on highlighting your hips and help you achieve a desirable booty. You just have to choose the right procedure that doesn’t cause you any adverse effect. 

Is the mermaid look achievable?

If you’ve worn or seen dresses inspired from the mermaid look, you’d know they are body hugging. They almost shape up like an hourglass while the supposed tail portion is flared up.

The mermaid look is absolutely achievable and is a body structure that every part of your body can balance. It is almost like an hourglass and lets you flaunt the perfect butt when you wear body hugging clothes. 

Why you should not choose surgery?

The process of liposuction from thighs and injecting the same fat into your buttocks is not healthiest cosmetic therapy. It comes with several drawbacks and risks, and it might not work for everyone.

The process of extracting fat takes a toll on your body anyway. When you further inject the fat in another part of your body, it leaves an adverse effect. You should try an alternative option of bioplasty that will help you achieve the look but will not cause harm.

Best way to do buttock augmentation

The right way to try buttock augmentation is bioplasty. It is the usage of a biocompatible product that your body accepts and allows to enter into your skin through PMMA injections. The surgeon directly injects your hip muscles and helps you obtain the perfect curve.

This process is not harmful and fits into your body like a natural element. You do not see any side effects compared to liposuction and fat injections procedure. You just need to have around two sessions, once in five months, and then you’d be able to maintain the perfect booty for years.

The buttock augmentation process through bioplasty can help you achieve a curvy hip and thinners thighs. Expert surgeons are highly skilled to do such cosmetic therapy to help you get the look of your dreams. 

Bioplasty can help you achieve the mermaid look when you have the perfect hourglass figure. The body-hugging dresses that make you look like a walking mermaid will suit you right away once you do this therapy. It also lasts much longer than surgeries and will not harm your body anyway.

No matter what your body goals are – the perfect hourglass or the inverted heart shape, bioplasty can help you achieve it. You just have to choose this option over surgeries to help you get the desired look and avoid any possible adverse effect.

Events

Tribeca Festival Premieres ‘Elizabeth Taylor: The Lost Tapes’

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Tribeca Festival hosted the North American premiere “Elizabeth Taylor: The Lost Tapes” on June 11 in New York City.

The film which makes the audience understand Taylor’s moxie in a whole new way is captivating and a thrill to watch. It is hard to turn your eyes away from the screen that shines a spotlight on one of the most famous legends in Hollywood history. The tapes tell her version of an icons larger than life script.

As the iconic actress says in a recording as highlighted in the HBO Documentary film, “To thine own self be true. That’s all I have to do.”

In attendance at the screening at the SVA theater were Aude Temel (Co-Producer), Barbara Berkowitz (EP & Elizabeth Taylor Estate), Bill Gerber (Producer), John Paul Horstman (Co-Producer), Nancy Abraham (Executive Vice President, Documentary and Family Programming, HBO),Nanette Burstein (Director/Writer), Glen Zipper (Producer), Quinn Tivey (EP, Elizabeth Taylor Estate and Elizabeth Taylor’s grandson), Rachel Rusch Rich (Producer), Sean Stuart (Producer), Tal Ben David (Editor/Writer), and Tim Mendelson (EP & Elizabeth Taylor Estate).

Oscar-nominated director Burstein’s documentary showcases a mesmerizing journey via audio tapes discovered in the archive of journalist Richard Meryman. Through her lens we are guided by Taylor’s voice as she walks the audience from the first step of her career through her time with Burton in the 1970s.  As described, “she reveals intimacies about her relationships, romantic and otherwise, she peels back the layers of a beloved public figure to reveal a vulnerable, funny, and tenacious woman who persevered despite a life led almost entirely under the scrutiny of public opinion.”

Speaking on the red carpet about Taylor’s accomplishments on the screen to her celebrated advocacy work Burstein mused over the icon and said, “She realized that she could change the game and she did.”

Photo Credit: HBO Documentary Films

 

 

 

 

 

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Composer Randy Edelman Will Be Honored And Closes The Evening At The Metropolitan Club for Career Bridges

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On Tuesday May 7, 2024, The Schuyler Foundation for Career Bridges, David Schuyler Bender and Barbara Bender will be celebrating their Twentieth Annual Concert and Dinner at the historic and illustrious Metropolitan Club located @ 1 East 60th Street, NYC. There will be a cocktail reception & silent auction beginning at 6:30 and the dinner and concert will begin at 7:30. Black tie is preferred, tickets are still available at careerbridges.org.

David Schuyler Bender and Barbara Meister Bender

The mission of Career Bridges is to help young opera singers launch their careers by awarding them grants in voice coaching, diction, language, repertory and stage presence. Many of the grant recipients will be performing at this year’s Gala hosted by renowned Metropolitan Opera Star Denyce Graves and Theodore S. Chaplin, former President of Rogers and Hammerstein Organization.

As one of the prestigious honorees, eminent Symphonist Randy Edelman will be granted “The Lifetime Achievement Award” for his endless contributions to the cultural mosaic of music in film, television, recording, and nearly every aspect of the music industry.

The music of composer Randy Edelman isn’t just a tune, but rather a touch, a supernatural force that makes galaxies collide and creates a million tiny universes. His music is an emotion unfurled and perfectly orchestrated, a melody that becomes a story making song and singer, a single force engulfed by the notes. The crowd caresses the echoes of his lyrics replaying past memories that awaken forgotten worlds. His music is stronger than time.

Others to be honored alongside the multi-award winning composer include: Jason Kwintner, Director of Special Events for the Metropolitan Club, Dr. Joan Taub Ades, who will receive the Humanitarian Award for her musical philanthropic work, and Tony Award winning producer Jane Bergère.

Special thanks to Lorraine Silvetz (Executive Director Of Global Stress Initiative), Yvette Wenger and Jane Thorngren.

The official website for tickets may be found at the Career Bridges Website here:
https://careerbridges.org

T2C will be interviewing Randy Edelman this Wednesday at The Hotel Edison.

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Art

Tony Bennett Auction Exhibition at the Fairmont Hotel in San Francisco

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Tony Bennett: A Life Well Lived,” exclusive exhibition opening at the Fairmont Hotel in San Francisco, California, celebrating the legendary life and career of the iconic pop jazz vocalist before its two-day auction event by Julien’s Auctions taking place April 18th and Friday, April 19th, 2024 at Ertegun Jazz Hall of Fame in Jazz at Lincoln Center. The free public exhibition opens April 8th and runs through April 10th (10am-6pm daily).The Fairmont San Francisco and Mr. Bennett have enjoyed a special relationship for decades. Mr. Bennett first performed his hit “I Left My Heart in San Francisco” in the Venetian Room at the hotel in 1961. The Fairmont San Francisco has had the honor and pleasure of welcoming Mr. Bennett and his family to the hotel for decades. The hotel also touts a special Tony Bennett suite that pays homage to his career and features several pieces of his artwork.Highlights of the exhibition include artifacts pertaining to the American songbook master’s life and career with his special link to San Francisco such as a San Francisco cable car bell award presented to Bennett for his instrumental role in saving the city’s iconic cable car system in the 1980s; a San Francisco Giants jacket worn by Bennett as the Texas Rangers faced the San Francisco Giants in Game 1 of the World Series in San Francisco, California, October 27, 2010 and his white personalized “Bennett” San Francisco Giants jersey; his original “Landscape San Francisco” watercolor painting; as well as record awards, a Grammy nomination plaque for his iconic hit, “I Left My Heart in San Francisco” and more.

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Events

Jameson Set to Take Over Times Square for Epic Event and More with Colin Jost and Michael Che

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To make St. Patrick’s Eve as epic as possible, Jameson is taking over Times Square on Saturday, March 16. Starting today, fans can visit JamesonSPE.com to enter for a chance to score a spot on the guest list for Jameson’s St. Patrick’s Eve celebration in New York City, co-hosted by Jost and Che, featuring a  surprise DJ performance and a can’t-miss, first-of-its-kind ‘rock drop’ – a Jameson version of the famous Times Square ball drop – at 8 p.m. ET (aka midnight in Ireland) to mark the occasion. Jameson Irish Whiskey is one of the first brands to ever drop the Times Square Ball to launch a celebration for a new holiday. To further spread the St. Patrick’s Eve spirit from coast-to-coast, Jameson will also light up the Sphere in Las Vegas in Jameson green, wrap the ferries and water taxis in the dyed- green Chicago River and have a complete digital takeover at L.A. Live – all marking the new holiday.

Anyone 21+ can tune into the rock drop live streamed on JamesonSPE.com and for those in NYC, Jameson will have a kick-off to St. Patrick’s Eve in Times Square Plaza between 43rd and 44th Streets with a live DJ, giveaways and more from 6 p.m. to 10 p.m. ET.

Because a special holiday deserves an equally stylish look, Jameson is releasing limited-edition, vintage-inspired jackets at JamesonSPE.com. The design includes a hidden pocket inside the jacket to perfectly

hold a Jameson hip flask that comes with the order, as well as luxe patches signature to the iconic Irish Whiskey brand. The Jameson St. Patrick’s Eve jacket will retail for $150 plus tax with free shipping in the continental U.S., and 50-jacket drops will take place weekly hrough March 12.

All proceeds will benefit the Restaurant Workers’ Community Fund (RWCF), a nonprofit dedicated to advocating for food and beverage service industry workers, continuing the brand’s long-standing partnership with the organization to support its bartending community.

For more details about Jameson St. Patrick’s Eve festivities or for St. Patrick’s Eve cocktail ideas, visit JamesonSPE.com and follow @Jameson_US.

 

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Public Theater Brings “The Ally” Forward for an Intense Debate

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So here’s the pickle. This play, The Ally, clocking in at a far too long two hours and forty minutes, throws controversy at you in numerous long-winded speeches one after the other, filling your brain with details and complexities that clash and do battle with each other from beginning to end. The structuring is intelligent, as the Public Theater‘s new play, The Ally, written by Itamar Moses (Outrage; The Band’s Visit) and directed with precision by Lila Neugebauer (Second Stage’s Appropriate), strides forward into dangerous territory with determination against all odds. Wickedly smart and articulate, the play, in general, overwhelms the intellectual senses. It’s factual and intricate, somewhat off-balanced and attacking, delivering detailed positions with fiery accuracy, which only made me question whether I wanted to sit this one out. Or step more in.

It’s unsafe and determined, placing the action (or inaction, if you really want to get into it) inside a college campus, and attempting to engage in deep-level conversations and arguments with the complicated issues of the world. These are exactly the debates worth having, says basically one character to another, in the tradition of arguing. Because banning free speech is “weird on a college campus.” These conundrums and conflicts are core to passionate dialogue, and just the idea of having them is meeting with fierce debate at universities and colleges across the country. The complexities and the tipping points are layered and real, swimming in a sea of questions about what free speech really truly means, and how differing points of view, civil dialogue, and the stark polarization contrasts collide and enflame. And how, in discussion, defensiveness and aggressive emotional stances are taken on and used against one another like weapons; bullets, and missiles. I even feel a bit worried that taking this stance of wanting to back away might be taken as ‘part of the problem’.

Ben Rosenfield and Josh Radnor in The Ally at The Public Theater. Photo credit: Joan Marcus.

The program notes that “the theatre is a safe space in the most literal sense of that term: no one is going to be physically harmed during this performance in the Anspacher. But it is most decidedly not a safe space if by that term we mean a space where everyone will feel comfortable and no one will feel angry, saddened, or offended. It can’t be that kind of space. The theater depends on conflict – the form itself refuses the idea of a single truth. It’s why I [Oskar Eustis; Artistic Director of The Public Theater] believe that theater is the ultimate democratic art form – just like citizens in democracy, the theater demands that we listen to and share opposing viewpoints, and that from that conflict, a greater truth will emerge.” And I couldn’t agree more with that.

Yet, even with such heightened emotions on stage, delivered full throttle by the excellent cast that includes Cherise Boothe (Signature’s Fabulation,) as Nakia; Elijah Jones (Signature’s Confederates) as Baron; Michael Khalid Karadsheh (Target Margin’s The Most Oppressed by All) as Farid; Joy Osmanski (“Stargirl“) as Gwen; Josh Radnor (LCT’s The Babylon Line) as Asaf; Ben Rosenfield (RTC’s Love, Love, Love) as Reuven; and Madeline Weinstein (BAM’s Medea) as Rachel, who each try to make it sound more authentic than the writing really allows, the play suffers from how deep of a dive the writing goes. But not without a solid attempt by this cast, bringing qualities and characteristics to the forefront whenever they are given the chance. But a lot of the time, like their main focus, Radnor’s Asaf, they must stand and listen to whoever has the microphone at that one particular speechified moment. And wait, just like us, for the next round. And viewpoint.

Madeline Weinstein, Michael Khalid Karadsheh, and Elijah Jones in Ally at The Public Theater. Photo credit: Joan Marcus.

Playwright Itamar has certainly dived fully into some of the most difficult topics of our time and asks us to patiently listen to all sides, even when the dialogue doesn’t really resemble discussion but more like informed lectures or one-framed speeches. On the plainest of sets, designed by Lael Jellinek (Public/Broadway’s Sea Wall/A Life), with costuming by Sarita Fellows (Broadway’s Death of a Salesman), lighting by Reza Behjat (ATC’s English) and sound design by Bray Poor (Broadway’s Take Me Out), The Public‘s The Ally, uncovers some emotional space within the manifestos presented. Itamar states in the note section: It “wasn’t that i had nothing to say,” he carefully explains, like the main character who has to stand back and take on the full force and brunt of the argument. “Rather, I didn’t know where to begin because what I had to say was too confused, too contradictory, too raw.” And if that was the complicated stance he was trying to unpack, the playwright succeeded tremendously well.

But does that make The Ally, at The Public Theater, especially this long-winded one, worth sitting through? I’d say yes, and I’d say no. I couldn’t wait to leave that debate hall, but I was also impressed and intrigued by the arguments presented and discussed, even if ‘debate’ would not exactly be the word I would use for the ideas thrown around at one another with brutal force. One of the later statements said to Radnor’s Asaf by his ex-girlfriend, Nakia (Boothe) at maybe one of the few truly emotional moments of actual human souls speaking their truth, sums up my stance. “The thing you need, may not be words.” I won’t argue with that.

For more information and tickets, click here.

For more go to frontmezzjunkies.com

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