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Two Blondes...one pinky milk in complexion...the other creamy yellow.
One wearing Plastic Fashion...the other Euro Trash.
Both Darlings in my eyes :)
The Simple, Sensible and Scientifically-Proven Routine to Get Glass Skin
Imagine a complexion as perfect as glass: radiant, luminous, and lit from within. It is completely smooth and flawless. It has no blemishes, dark spots, or enlarged pores. Even without makeup or Instagram filters, it exudes a healthy and youthful glow.
This is what K-beauty fans call “glass skin”. Unfortunately, the Korean glass skin routine is often very high maintenance, requiring many products, and lots of time. Let us go back to the basics, and understand what your skin really needs to become smooth, supple and radiant.
Glass Skin vs. Damaged Skin
We cannot find a solution if we do not know the problem. What robs our skin of its natural glow? What damages its texture and appearance, and destroys our chances of achieving the coveted glass skin?
Sun exposure
“Responsible for 90 percent of visible changes to the skin, photoaging is a direct result of cumulative sun damage you’ve been exposed to throughout your life,” says the Skin Cancer Foundation.
Every day, our skin is barraged by invisible UVA and UVB rays, and high energy (HEV) light or blue light. The light waves damage the DNA in our skin cells.
UVB rays, which have the shortest waves, hit the skin surface and cause skin darkening and sunburn. UVA rays penetrate the skin and reach the dermis, destroying collagen. The body rushes to rebuild the skin with elastin — but like all “rushed jobs”, something invariably goes wrong.
“The unusual amounts of elastin result in the production of enzymes called metalloproteinases. These enzymes, which rebuild damaged collagen, often malfunction and degrade the collagen, resulting in incorrectly rebuilt skin. As this process is repeated with daily UVA exposure, the incorrectly rebuilt skin forms wrinkles, and the depleted collagen results in leathery skin,” the Skin Cancer Foundation explains.
While most people are aware of UV damage, scientists have discovered that other light waves can also cause premature skin aging and hyperpigmentation. A study done in 2014 and published in the journal Photodermatology, Photoimmunology & Photomedicine says that any skincare routine should also include protection from HEV and other kinds of solar radiation. HEV, also called Blue light, can damage collagen and elastin, and cause hyperpigmentation.
Lifestyle
Cigarettes, alcohol, unhealthy crash diets and stress can also affect the quality of your skin. “Smoking is second only to sun damage in causing wrinkles and dry skin,” says WebMD. Alcohol and caffeinated drinks like soda and coffee too, depletes nutrients. Crash diets or extreme diets that cut out entire food groups deprives the body of vitamins that you need to produce new skin cells.
Don’t neglect your emotional well-being, too! Dermatologist Marilyn Berzin, MD says, “Stress produces hormones that increase the levels of free radicals in the body, suppresses the immune system, dehydrates the body, and thins the skin.”
read more here: crystaltomato.com/the-simple-sensible-and-scientifically-...
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Anna May Wong, Akim Tamiroff, Gail Patrick and Lloyd Nolan star in this thrilling crime drama.
Racketeer Steve Recka, art patron and political power-maker, rules his town and Madame Lan Ying, his beautiful Oriental friend and hostess (read: mistress), with an iron hand. He meets Margaret Van Kase, a socialite not impressed by his power nor his wealth, having no money herself, and Steve makes frantic efforts to win her and turns away from the loyal Lin Yang. Margaret ignores him as she plans to wed Philip Easton, a penniless bond salesman. The furious Recka, poses as a friend to Easton, while planning to ruin him. His henchmen kidnap Easton when he is carrying a large assignment of bonds, and he is branded as a runaway thief. The only doubters are Margaret and Police Inspector Brandon, who knows Recka's methods and suspects foul play. Easton is found in an abandoned house and arrested as the gangsters have taken the bonds and tipped the police where to find him. Recka offers to clear Easton if Margaret will become his bride and, while her hatred for Recka is intense, her love
FIRST ASIAN AMERICAN STAR!
Written by PHILIP LEIBFRIED
Her complexion was described as "a rose blushing through old ivory;" she was beautiful, tall (5'7"), slender, and Chinese-American. The last fact kept her from attaining the highest echelon among Hollywood's pantheon of stars, but it did not affect her popularity, nor keep her from becoming a household name. She was Anna May Wong, nee Wong Liu Tsong, a name which translates to "Frosted Yellow Willows," and she was born, appropriately enough, on Flower Street in Los Angeles' Chinatown on 3 January 1905, above her father's laundry. Anna May Wong's contribution to show business is a unique one; she was the first Asian female to become a star, achieving that stardom at a time when bias against her race was crushing. With determination and talent allied to her exotic beauty, she remained the only Asian female star throughout her forty-year career, never fully overcoming all prejudices in maintaining that position. Perhaps the rediscovery of her art will elevate her star to the pantheon of great performers and serve as a guiding light to Asian performers who still struggle to find their rightful place. Anna May Wong's life and career is something that is important for all who value greatly the Asian / Asian Pacific American communities' many artists and what we can all contribute!
Excerpt from : That Old Feeling: Anna May Wong
Part II of Richard Corliss' tribute to the pioneer Chinese-American star.
Daughter of the Dragon. Paramount 1931.
Based on a Fu Manchu novel by Sax Rohmer.
Daughter of the Dragon extended the curse sworn by Dr. Fu on the Petrie family to the next generation. Fu Manchu (Warner Oland), long ago injured and exiled in an attempt on Petrie Sr., returns to London and confronts the father: "In the 20 years I have fought to live," he says in his florid maleficence, "the thought of killing you and your son has been my dearest nurse." He kills the father, is mortally wounded himself and, on his deathbed, reveals his identity to his daughter Ling Moy (Wong) and elicits her vow that she will "cancel the debt" to the Fu family honor and murder the son, Ronald (Bramwell Fletcher)... who, dash it all, is madly infatuated with Ling Moy. Ronald has seen "Princess Ling Moy Celebrated Oriental Dancer" perform, and the vision has made him woozy. "I wish I could find a word to describe her," this calf-man effuses. "Exotic that's the word! And she's intriguing, if you know what I mean." In a near-clinch, Ling Moy wonders if a Chinese woman can appeal to a British toff. When he begs her to "chuck everything and stay," she asks him, "If I stayed, would my hair ever become golden curls, and my skin ivory, like Ronald's?" But the lure of the exotic is hard to shake. "Strange," he says, "I prefer yours. I shall never forget your hair and your eyes." They almost kiss ... when an off-camera scream shakes him out of his dream. It is from his girlfriend Joan (Frances Dade), and the societal message is as clear and shrill: white woman alerting white man to treachery of yellow woman. Ling Moy, a nice girl, previously unaware of her lineage, might be expected to struggle, at least briefly, with the shock of her identity and the dreadful deed her father obliges her to perform. But Wong makes an instant transformation, hissing, "The blood is mine. The hatred is mine. The vengeance shall be mine." Just before his death, Fu mourns that he has no son to kill Ronald. But, in a good full-throated reading, Wong vows: "Father, father, I will be your son. I will be your son!" The audience then has the fun of watching her stoke Ronald's ardor while plotting his death. When she is with him, pleading and salesmanship radiate from her bigeyes. But when an ally asks her why she keeps encouraging the lad, she sneers and says, "I am giving him a beautiful illusion. Which I shall crush." As a villainess, she is just getting started. Revealing her mission to Ronald, she tells him she plans to kill Joan "Because you must have a thousand bitter tastes of death before you die." (The ripe dialogue is by Hollywood neophyte Sidney Buchman, whose distinguished list of credits would include Mr. Smith Goes to Washington, Here Comes Mr Jordan and The Talk of the Town.) She soon ascends on a geyser of madness as she decides on a new torture: "My vengeance is inspired tonight. You will first have the torture of seeing her beauty eaten slowly away by this hungry acid." An aide holds a hose gadget over Joan's soon-to-be-corroded face, and Ronald cries for Ling Moy to stop. Very well she says. "Ling Moy is merciful." She barks at Ronald: "Kill her!" He must decide if his favorite white girl is to be etched with acid or stabbed to death. Great stuff! Melodrama is the art of knowing how precisely too far to goThe film is a triangle: not so much of Ling Moy, Ronald and Joan as of Ling Moy, Ronald and a Chinese detective, Ah Kee, played by Sessue Hayakawa, the Japanese actor who in the teens was Hollywood's first Asian male star. He's not plausibly Chinese here, and he is in a constant, losing battle with spoken English. But he is a part of movie history, in the only studio film of the Golden Age to star two ethnically Asian actors. And he gives his emotive all to such lines as "It is the triumph of irony that the only woman I have ever deeply loved should be born of the blood that I loathe." And in the inevitable double-death finale neither the villainess nor the noble detective can survive the machinations of Hollywood justice he gently caresses the long hair of the lady he would love to have loved. "Flower Ling Moy," he says, a moment before expiring. "A flower need not love, but only be loved. As Ah Kee loved you."
The Personal Anna May Wong
This 5'7 beauty loved to study and could speak in an English accent, as well as being fluent in German and French with more than a passing knowledge of other tongues including Italian and Yiddish. For exercise she rode horses, played golf, and tennis. She liked to cook and regaled her guests with succulent Chinese dishes at frequent dinner parties. She preferred casual clothes, wearing slacks and sweaters at home, but cultivated an oriental motif in her very smart formal wardrobe. She studied singing with Welsh tenor Parry Jones before she participated in the film Limehouse Blues as George Raft's mistress. Anna loved to dance to contemporary music. Anna was quoted as saying, "I think I got my first chance because they thought I was peculiar. But, now I like to believe that the public are fond of me because they think I'm nice."
The story of Anna May Wong’s life traced the arc of triumph and tragedy that marked so many of her films. Wong's youthful ambition and screen appeal got her farther than anyone else of her race. But her race, or rather Hollywood's and America's fear of giving Chinese and other non-whites the same chance as European Americans, kept her from reaching the Golden Mountaintop. We can be startled and impressed by the success she, alone, attained. And still weask: Who knows what Anna May Wong could have been allowed to achieve if she
had been Anna May White?
Anna May Wong passed away on Feb. 3rd 1961 she was 56 years old.
Filmography:
The Red Lantern. Metro 1919. The First Born. Robertson Cole 1921.
Shame. Fox 1921. Bits of Life. Assoc. First National 1921.
The First Born. Robertson Cole 1921. Thundering Dawn. Universal 1923
The Toll of the Sea. Metro 1922 Drifting. Universal 1923 Fifth Avenue. PRC 1926.
Lillies of the Field. Assoc. First National 1924. The Thief of Bagdad. United Artists 1924
The Fortieth Door. Pathé serial 1924. The Alaskan. Paramount 1924.
Peter Pan. Paramount 1924. Forty Winks. Paramount 1925.
The Silk Bouquet/The Dragon Horse. Hi Mark Prod. 1926 The Desert's Toll. MGM 1926.
A Trip to Chinatown. Fox 1926. The Chinese Parrot. Universal. 1927.
Driven from Home. Chadwick 1927. Mr. Wu. MGM 1927.
Old San Francisco. Warner Bros. 1927. Why Girls Love Sailors. Pathé short 1927.
The Devil Dancer. United Artists 1927. Streets of Shanghai. Tiffany 1927.
Across to Singapore. MGM 1928. Pavement Butterfly (aka City Butterfly).
The City Butterfly. German 1929. Across to Singapore. MGM 1928.
The Crimson City. Warner Bros. 1928. Song. German 1928
Chinatown Charlie. First National 1928. Piccadilly, British International 1929.
Elstree Calling. British International 1930. The Flame of Love. British International 1930.
Hay Tang. German 1930. L'Amour Maitre Des Choses. French 1930.
Daughter of the Dragon. Paramount 1931. Shanghai Express. Paramount 1932.
A Study in Scarlet. World Wide 1933. Tiger Bay. Associated British 1933.
Chu Chin Chow. Gaumont 1934. Java Head. Associated British 1934.
Limehouse Blues. Paramount 1934. Daughter of Shanghai. Paramount 1937.
Hollywood Party. MGM short subject 1937. Dangerous to Know. Paramount 1938.
The Toll of the Sea. Metro 1922. The Thief of Bagdad 1924
Shanghai Express 1932
Who is Sri Durga Ganapathi?
Sri Durga Ganapathi is another divine form of Lord Ganesha, which is symbolizes the victory in any tasks. In this form, Sri Durga Ganapathi holds victory flag represents, He is invincible. He appears in deep red and golden hue complexion with ashta-bhujas (Eight-arms). In His main right hand holds broken tusk and his main left hand holds the rose apple fruit. On His other hands hold a bow, an arrow, a sugarcane, a noose, a elephant goad, japa beads mala (Rudraksha) and victory flag.
Sri Durga is popular fierce form and warrior aspect of Absolute Godhead. Also She is depicted with multiple (variously, from ten and upto thousand) arms, carrying various weapons and riding a ferocious lion. She is invincible over the darkness, as She is the incarnation taken to slay the mahishasura or demon. Hence She is also called as Mahishasuramardini. No darkness can stand in front of Sri Durga Ganapathi form. Here the term darkness represents demons, big obstacles, extreme illness, heavy fear, material attachments, etc.
Why Sri Durga Ganapathi Homam?
As Sri Durga Ganapathi form is the combination of Sri Durga (victory over darkness) and Lord Ganesha. In the word Durga "Durg" means any obstacles/vighnas in spiritual or material life and the shabda ‘aa’ stands for ‘hanta’ or demolisher; in other words Durga demolishes Daityas (Asuras or demons), Maha Vighna (great obstacles), Bhava bandhana (attachments), Karma, Shoka, Duhkha (Sadness), Naraka, Janma / birth, Yamadanda, Maha Bhaya and Atyanta Roga or extreme illnesses. Sri Durga Ganapathi Homam benefits the devotees with the mercy of Goddess Durga and Lord Ganesha, to overcome any obstacles and darkness. Absolute victory is guaranteed when one have mercy of Sri Durga Ganapathi form.
Benefits and Significance
Sri Durga Ganapathi Homam provides significant benefits in removal of evil, extreme illness, maha bhaya (extreme fear), extreme sadness, material attachments (removal of attachment with bad habits), fear of death etc. Vedic Folks perform this significant Homam with specific chants, which results devotees with blessings of Sri Durga Ganapathi.
Assistance from Vedic Folks
We at Vedic Folks are proud to possess the most authoritative experts who have the knowledge and ease to invoke these powerful radiations of Sri Durga Ganapathi, who is the invincible and have victory over the darkness.
Vedic Folks Recommends…
Even though there are fixed timings to conduct such Homas, your horoscope will be analyzed by our Vedic Astrologers, according to which the time slots are arranged.
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Music Hall’s 2008 – 2009 Season Opener started with Complexions Contemporary Ballet including an encore performance for long time supporter Maggie Allesee’s Birthday Celebration.
Complexions was created by Dwight Rhoden and Desmond Richardson and boasts dancers from New York City Ballet, National Ballet of Canada and the Dance Theater of Harlem. The evening performances included Hissy Fits, Gone, Momentary Forevers, Ava Maria, Wonder-Full and Routines (pictured).
Missed this event? They will be back in 2010 check www.musichall.org for exciting up coming events!
UMKC Conservatory Dance welcomes Edgar Anido, dancer with Complexions Contemporary Ballet, NYC. Mr. Anido works with dance students on one of his choreographed works for the Fall Dance Concert, Oct. 31-Nov. 2, 2013, 7:30 p.m. White Recital Hall. Mr. Anido is second from right, with dance faculty, DeeAnna Hiett.
NCSSM, a publicly funded high school in North Carolina, provides exciting, high-level STEM learning opportunities. If you appreciate this resource, please consider making a tax-deductible donation to the NCSSM Foundation. Thank you! connections.ncssm.edu/giving
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UMKC Conservatory Dance welcomes Edgar Anido, dancer with Complexions Contemporary Ballet, NYC. Mr. Anido works with dance students on one of his choreographed works for the Fall Dance Concert, Oct. 31-Nov. 2, 2013, 7:30 p.m. White Recital Hall.
NCSSM, a publicly funded high school in North Carolina, provides exciting, high-level STEM learning opportunities. If you appreciate this resource, please consider making a tax-deductible donation to the NCSSM Foundation. Thank you! connections.ncssm.edu/giving
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The Morgan series illustrates photographing a black person, or a person of dark complexion.
They were all taken within five minutes.
First, I interviewed the subject in my office, interested less in her responses but watched her expressions, head movements, and how light from my 'cans' contoured her face.
This is a classic Rembrandt low key lighting, also illustrating how a dark complexion is defined more by highlights, rather than shadows.
FIRST ASIAN AMERICAN STAR!
Written by PHILIP LEIBFRIED
Her complexion was described as "a rose blushing through old ivory;" she was beautiful, tall (5'7"), slender, and Chinese-American. The last fact kept her from attaining the highest echelon among Hollywood's pantheon of stars, but it did not affect her popularity, nor keep her from becoming a household name. She was Anna May Wong, nee Wong Liu Tsong, a name which translates to "Frosted Yellow Willows," and she was born, appropriately enough, on Flower Street in Los Angeles' Chinatown on 3 January 1905, above her father's laundry. Anna May Wong's contribution to show business is a unique one; she was the first Asian female to become a star, achieving that stardom at a time when bias against her race was crushing. With determination and talent allied to her exotic beauty, she remained the only Asian female star throughout her forty-year career, never fully overcoming all prejudices in maintaining that position. Perhaps the rediscovery of her art will elevate her star to the pantheon of great performers and serve as a guiding light to Asian performers who still struggle to find their rightful place. Anna May Wong's life and career is something that is important for all who value greatly the Asian / Asian Pacific American communities' many artists and what we can all contribute!
Excerpt from : That Old Feeling: Anna May Wong
Part II of Richard Corliss' tribute to the pioneer Chinese-American star.
Daughter of the Dragon. Paramount 1931.
Based on a Fu Manchu novel by Sax Rohmer.
Daughter of the Dragon extended the curse sworn by Dr. Fu on the Petrie family to the next generation. Fu Manchu (Warner Oland), long ago injured and exiled in an attempt on Petrie Sr., returns to London and confronts the father: "In the 20 years I have fought to live," he says in his florid maleficence, "the thought of killing you and your son has been my dearest nurse." He kills the father, is mortally wounded himself and, on his deathbed, reveals his identity to his daughter Ling Moy (Wong) and elicits her vow that she will "cancel the debt" to the Fu family honor and murder the son, Ronald (Bramwell Fletcher)... who, dash it all, is madly infatuated with Ling Moy. Ronald has seen "Princess Ling Moy Celebrated Oriental Dancer" perform, and the vision has made him woozy. "I wish I could find a word to describe her," this calf-man effuses. "Exotic that's the word! And she's intriguing, if you know what I mean." In a near-clinch, Ling Moy wonders if a Chinese woman can appeal to a British toff. When he begs her to "chuck everything and stay," she asks him, "If I stayed, would my hair ever become golden curls, and my skin ivory, like Ronald's?" But the lure of the exotic is hard to shake. "Strange," he says, "I prefer yours. I shall never forget your hair and your eyes." They almost kiss ... when an off-camera scream shakes him out of his dream. It is from his girlfriend Joan (Frances Dade), and the societal message is as clear and shrill: white woman alerting white man to treachery of yellow woman. Ling Moy, a nice girl, previously unaware of her lineage, might be expected to struggle, at least briefly, with the shock of her identity and the dreadful deed her father obliges her to perform. But Wong makes an instant transformation, hissing, "The blood is mine. The hatred is mine. The vengeance shall be mine." Just before his death, Fu mourns that he has no son to kill Ronald. But, in a good full-throated reading, Wong vows: "Father, father, I will be your son. I will be your son!" The audience then has the fun of watching her stoke Ronald's ardor while plotting his death. When she is with him, pleading and salesmanship radiate from her bigeyes. But when an ally asks her why she keeps encouraging the lad, she sneers and says, "I am giving him a beautiful illusion. Which I shall crush." As a villainess, she is just getting started. Revealing her mission to Ronald, she tells him she plans to kill Joan "Because you must have a thousand bitter tastes of death before you die." (The ripe dialogue is by Hollywood neophyte Sidney Buchman, whose distinguished list of credits would include Mr. Smith Goes to Washington, Here Comes Mr Jordan and The Talk of the Town.) She soon ascends on a geyser of madness as she decides on a new torture: "My vengeance is inspired tonight. You will first have the torture of seeing her beauty eaten slowly away by this hungry acid." An aide holds a hose gadget over Joan's soon-to-be-corroded face, and Ronald cries for Ling Moy to stop. Very well she says. "Ling Moy is merciful." She barks at Ronald: "Kill her!" He must decide if his favorite white girl is to be etched with acid or stabbed to death. Great stuff! Melodrama is the art of knowing how precisely too far to goThe film is a triangle: not so much of Ling Moy, Ronald and Joan as of Ling Moy, Ronald and a Chinese detective, Ah Kee, played by Sessue Hayakawa, the Japanese actor who in the teens was Hollywood's first Asian male star. He's not plausibly Chinese here, and he is in a constant, losing battle with spoken English. But he is a part of movie history, in the only studio film of the Golden Age to star two ethnically Asian actors. And he gives his emotive all to such lines as "It is the triumph of irony that the only woman I have ever deeply loved should be born of the blood that I loathe." And in the inevitable double-death finale neither the villainess nor the noble detective can survive the machinations of Hollywood justice he gently caresses the long hair of the lady he would love to have loved. "Flower Ling Moy," he says, a moment before expiring. "A flower need not love, but only be loved. As Ah Kee loved you."
The Personal Anna May Wong
This 5'7 beauty loved to study and could speak in an English accent, as well as being fluent in German and French with more than a passing knowledge of other tongues including Italian and Yiddish. For exercise she rode horses, played golf, and tennis. She liked to cook and regaled her guests with succulent Chinese dishes at frequent dinner parties. She preferred casual clothes, wearing slacks and sweaters at home, but cultivated an oriental motif in her very smart formal wardrobe. She studied singing with Welsh tenor Parry Jones before she participated in the film Limehouse Blues as George Raft's mistress. Anna loved to dance to contemporary music. Anna was quoted as saying, "I think I got my first chance because they thought I was peculiar. But, now I like to believe that the public are fond of me because they think I'm nice."
The story of Anna May Wong’s life traced the arc of triumph and tragedy that marked so many of her films. Wong's youthful ambition and screen appeal got her farther than anyone else of her race. But her race, or rather Hollywood's and America's fear of giving Chinese and other non-whites the same chance as European Americans, kept her from reaching the Golden Mountaintop. We can be startled and impressed by the success she, alone, attained. And still weask: Who knows what Anna May Wong could have been allowed to achieve if she
had been Anna May White?
Anna May Wong passed away on Feb. 3rd 1961 she was 56 years old.
Filmography:
The Red Lantern. Metro 1919. The First Born. Robertson Cole 1921.
Shame. Fox 1921. Bits of Life. Assoc. First National 1921.
The First Born. Robertson Cole 1921. Thundering Dawn. Universal 1923
The Toll of the Sea. Metro 1922 Drifting. Universal 1923 Fifth Avenue. PRC 1926.
Lillies of the Field. Assoc. First National 1924. The Thief of Bagdad. United Artists 1924
The Fortieth Door. Pathé serial 1924. The Alaskan. Paramount 1924.
Peter Pan. Paramount 1924. Forty Winks. Paramount 1925.
The Silk Bouquet/The Dragon Horse. Hi Mark Prod. 1926 The Desert's Toll. MGM 1926.
A Trip to Chinatown. Fox 1926. The Chinese Parrot. Universal. 1927.
Driven from Home. Chadwick 1927. Mr. Wu. MGM 1927.
Old San Francisco. Warner Bros. 1927. Why Girls Love Sailors. Pathé short 1927.
The Devil Dancer. United Artists 1927. Streets of Shanghai. Tiffany 1927.
Across to Singapore. MGM 1928. Pavement Butterfly (aka City Butterfly).
The City Butterfly. German 1929. Across to Singapore. MGM 1928.
The Crimson City. Warner Bros. 1928. Song. German 1928
Chinatown Charlie. First National 1928. Piccadilly, British International 1929.
Elstree Calling. British International 1930. The Flame of Love. British International 1930.
Hay Tang. German 1930. L'Amour Maitre Des Choses. French 1930.
Daughter of the Dragon. Paramount 1931. Shanghai Express. Paramount 1932.
A Study in Scarlet. World Wide 1933. Tiger Bay. Associated British 1933.
Chu Chin Chow. Gaumont 1934. Java Head. Associated British 1934.
Limehouse Blues. Paramount 1934. Daughter of Shanghai. Paramount 1937.
Hollywood Party. MGM short subject 1937. Dangerous to Know. Paramount 1938.
The Toll of the Sea. Metro 1922. The Thief of Bagdad 1924
Shanghai Express 1932
In 'My Old Village', Richard Jefferies wrote:
"The next cottage was a very marked one, for houses grow to their owners. The low thatched roof had rounded itself and stooped down to fit itself to Job's shoulders; the walls had got short and thick to suit him, and they had a yellowish colour, like his complexion, as if chewing tobacco had stained his cheeks right through. Tobacco juice had likewise penetrated and tinted the wall. It was cut off as it seemed by a party-wall into one room, instead of which there were more rooms beyond which no one would have suspected. Job had a way of shaking hands with you with his right hand, while his left hand was casually doing something else in a detached sort of way. 'Yes, sir,' and 'No, sir,' and nodding to everything you said all so complaisant, but at the end of the bargain you generally found yourself a few shillings in some roundabout manner on the wrong side. Job had a lot of shut-up rooms in his house and in his character, which never seemed to be opened to daylight. The eaves hung over and beetled like his brows, and he had a forelock, a regular antique forelock, which he used to touch with the greatest humility. There was a long bough of an elm hanging over one gable just like the forelock. His face was a blank, like the broad end wall of the cottage, which had no window--at least you might think so until you looked up and discovered one little arrow slit, one narrow pane, and woke with a start to the idea that Job was always up there watching and listening. That was how he looked out of his one eye so intensely cunning, the other being a wall eye--that is, the world supposed so, as he kept it half shut, always between the lights; but whether it was really blind or not I cannot say. Job caught rats and rabbits and moles, and bought fagots or potatoes, or fruit or rabbit-skins, or rusty iron: wonderful how he seemed to have command of money. It was done probably by buying and selling almost simultaneously, so that the cash passed really from one customer to another, and was never his at all. Also he worked as a labourer, chiefly piecework; also Mrs. Job had a shop window about two feet square: snuff and tobacco, bread and cheese, immense big round jumbles and sugar, kept on the floor above, and reached down by hand, when wanted, through the opening for the ladder stairs. The front door--Job's right hand--was always open in summer, and the flagstones of the floor chalked round their edges; a clean table, clean chairs, decent crockery, an old clock about an hour slow, a large hearth with a minute fire to boil the kettle without heating the room. Tea was usually at half-past three, and it is a fact that many well-to-do persons, as they came along the road hot and dusty, used to drop in and rest and take a cup--very little milk and much gossip. Two paths met just there, and people used to step in out of a storm of rain, a sort of thatched house club. Job was somehow on fair terms with nearly everybody, and that is a wonderful thing in a village, where everybody knows everybody's business, and petty interests continually cross. The strangest fellow and the strangest way of life, and yet I do not believe a black mark was ever put against him ...