girl name behind的八卦，YOUTUBE、PINTEREST和Yahoo名人娛樂都在討論

Believe, have hope and faith.

True love prevails.

A poor guy meets a rich girl. They fall in love. Girl goes back to her country. Boy promises to make it big and visit her. Time passes but he struggles to make both ends meet. He decides to fulfill his promise - picks up a cycle and sets on a journey across 8 countries to meet the love of his life!

No, this isn't the story of an upcoming Bollywood movie. Although it pretty much qualifies to be one! This is the story of Dr. Pradyumna Kumar Mahanandia from India and Charlotte Von Schedvin from Sweden and it has all the elements of a Bollywood blockbuster - emotion, drama and lots of love.

An epic saga of romance, PK proves that when love is determined, it pushes all boundaries.

Born in 1949 into a poor weaver family of Odisha, Dhenkanal who were considered untouchables, PK was a gifted artist. However, the family didn't have enough money to finance his education. He would often find himself at the receiving end of insult due to the dreaded caste system. Later In 1971, he joined College of Art in New Delhi and gained popularity for making portraits.

In 1975, 19-year-old Charlotte Von Sledvin, a student in London, heard about him and traveled all the way to India to get her portrait made. As the stars had conspired, during the course of making the portrait, he was possessed by her beauty and she, with his sheer simplicity. Love had set in.

Charlotte took the Indian name Charulata and they both married following traditional rituals.

When it was time for Charlotte to leave, she asked her husband to come along, however, PK was still a student and wanted to finish his studies. When she offered to send air tickets later, he refused saying he would come to meet her on his own. After she left, the two kept in touch through letters.

PK's love-filled heart had made the promise, but the reality of having no money to fulfill it stared PK in the eyes. But he was not one to give up. He sold all his belongings and bought a second-hand bicycle. Carrying all his paints and brushes along, he did the unthinkable.

He set out on a voyage to the Far West with a hope to reunite with his love. This was back in 1978.

He reached Amritsar from New Delhi before entering Afghanistan, Iran, Turkey, Bulgaria, Yugoslavia, Germany, Austria and Denmark. His cycle broke down many times on the way and he even had to go on without food for days. But nothing could break his will.

After 4 months and 3 weeks of back-breaking journey, he finally reached Gothenburg, Sweden.

Those were the days when not many countries required visa for travelling.
Upon reaching, he was questioned by Swedish immigration officers who were amazed to see a man who had come from India riding a bicycle. PK told them the reason behind his visit and produced photographs of his marriage with Charlotte.
Authorities were surprised and did not believe that someone of royal blood from Europe would marry a poor Indian.

The sudden revelation made even PK skeptical whether his lady love would accept him or not.

When Charlotte learned about the man from India who cycled all the way for around 5 months, she drove to Gothenburg and received her husband with unbridled happiness. Her parents accepted Pradyumna as a part of their family by breaking a royal tradition that prohibited non-white people from residing with the nobles.

After 40 years of marriage, Dr PK Mahanandia serves as the Odiya Cultural Ambassador of India to Sweden and lives with his wife Charlotte and 2 children in Sweden. His village, that once shunned him as an untouchable, now gives a thundering welcome every time he makes a visit.

Pradyumna is well known in Sweden as an artist and is working as an Adviser, Art and Culture, under the Swedish Government. Swedish Government in honour of their love has made films to document this immortal love of the century. His paintings have been exhibited in major cities of the world and have found places in the prestigious UNICEF greeting cards. On 4 January 2012, he was awarded an honorary doctorate degree (Degree of Honoris Causa) from Utkal University of Culture (UUC) in Bhubaneshwar, Odisha state, India. He was also designated as the Oriya Cultural ambassador to Sweden by the Government of Odisha.[5] Renowned Bollywood film maker Sanjay Leela Bhansali is planning to make a film on the love story of PK Mahanandia and Charlotte.[

【我其實很在乎 | New Video Out】
⠀⠀
買一送一的I don’t Care Mix Shape of You。
完整版在Youtube，連結在首頁！！
⠀
這首歌的旋律其實不是太複雜，但是歌曲表達的意義遠大於簡單的旋律。
雖然歌名講得瀟灑，歌詞也像芭樂情歌，因為派對很無聊，遇到了一個女孩，愛上了她，最後一切都不重要了，只要有妳就好。
然而細細去看就會發現這首歌完全譜出了Ed Sheeran和Justin Bieber兩人的人生歷程和各自所面對的痛苦、恐懼和對於人群的恐慌。

即使這首歌很簡單，並且也因為兩人的鐵粉所以一躍而上成為熱門歌曲，可是在音樂之外，還包含著兩人在經歷了爆紅、憂鬱、逃避、再次站起來後的心聲，我們欣賞歌曲的同時，也應該要尊重所有藝術家們與那些不在乎世俗眼光，勇敢做自己的人。
⠀
要到Ed Sheeran或是Justin Bieber的那種等級才能瀟灑不在乎，我很在意，所以請大家訂閱我的Youtube頻道（林子安 AnViolin）！
記得在Youtube按讚留言分享給家人朋友看，也可以在那邊留言跟我說想要聽我cover什麼作品。
⠀
歡迎大家在沒有下雨的週末到信義區香堤大道，聽cover歌曲的live版喔！詳細演出相關資訊，都會更新在限時動態！ ⠀
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Here comes my weekly updated cover. Full video on Youtube, link in bio !

The song is actually not too complicated for violin cover, but the meaning behind the song is far greater than the simple melody.
The name of the song is like saying how much easy they are, and the lyrics are about the boring party, meeting a girl and falling in love with her at the party. In the end, everything is not important, as long as the girl is with me there. 

However, if you take a closer look, you will find that this may indicate the life stories of Ed Sheeran and Justin Bieber, and the pain, fear and panic they face after they are super stars. 
Even though this song is simple, and because of the stans of Ed Sheeran and Justin Bieber, it is literally the hit. but in addition to the music, it is saying the life after they are popular and their depression, escape, and standing up again after all these. When enjoying the song, we should all respect the artists and those who don't care about the world and those be themselves.

Feel free to come to Taipei Shin Kong Mitsukoshi Xinyi Plaza to enjoy more my live cover songs. Check it out on my Instagram stories! ⠀
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小提琴 Violin：林子安 Lin Tzu An
攝影師剪接師 Photographer & Film editor: Santon.W
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#子安在哪裡
#子安在Youtube頻道coverIDontCare
#子安其實在意得要死
#子安也想那麼瀟灑不在乎
#只要有大家的支持好像也可以不在乎
#只有拉小提琴的時候才可以勇敢做自己
#才怪子安有偶包
#Spotify也上架了
#EdSheeran
#JustinBieber
#IDontCare
#EdSheeranViolin
#JustinBieberViolin
#EdSheeranIDontCare
#JustinBieberIDontCare
#IDontCareviolin
#IDontCare小提琴
#信義區小提琴王
#林子安
#街頭藝人
#林子安🎻 
#林子安AnViolin
#AnViolin
#violin
#violinartist
#buskerinTaipei

【水世界】的前製設定與現場劇照

WATERWORLD (1995)
In celebration of today’s anniversary of this wet mess/epic. Let’s celebrate the hard work this crew put into bringing this world to life. Water movies are never easy but when it comes to this movie anytime you bring it up and a crew member from it is in earshot, the stories pour out. Not always bad, I know a AC that said he had a blast, he loved the boat rides out and all the camaraderie the crew had to have to get thru it. To all the crew that helped bring WATERWORLD to life, We salute you and thanks for the memories. I personally enjoy this hot mess of a movie, it’s one of the last ones of its kind...done practically...in a way.
let’s take a deepest of dives into WATERWORLD

The director, Kevin Reynolds, knew there would be problems before production had even started, “During pre-production. Because having never shot on water to that extent before, I didn’t really realise what I was in for. I talked to Spielberg about it because he’d gone to do Jaws, and I remember, he said to me, “Oh, I would never shoot another picture on water”.
“When we were doing the budget for the picture, and the head of the studio, Sid Sheinberg, we were talking about it and I said, “Steven told me that on Jaws the schedule for the picture was 55 days, and they ended up shooting a 155 days”. Because of the water. And he sat there for a moment and he said, “You know, I’m not sure about the days, but I do know they went a hundred percent over budget”. And so, Universal knew the potential problems of shooting on water. It’s monstrous.”
The film began with a projected budget of $100 million which had reportedly increased to $175 million by the end of production. The principle photography had overrun for at least thirty days more than originally planned due to one major decision.

Whereas today they would film in water tanks with partially built sets, employing green screens to fake the locations, back in 1995 they decided to build everything full size and shoot out on the ocean.

This causes extra logistical problems on top of those that already come with making a major action blockbuster. Cast and crew have to be transported to sets. The camera boats and sets float out of position and will have to be reset between takes taking up valuable production time.

The first draft of Waterworld was written by Peter Radar, a Harvard graduate who wanted to break into the film business. His contact in the film industry was Brad Kevoy, an assistant to the legendary director Roger Corman.

Roger Corman is best known for making films very quickly on a small budget. He also liked to give young talent a chance to direct and write their own films. Brad informed Peter that if he could write a Mad Max rip off, he would arrange to finance and let him direct the picture.

Radar came back and pitched the idea for what would become Waterworld. Kevoy took one look at him and said,

“Are you out of your mind? This would cost us three million dollars to make this movie!”
So Radar kept hold of the idea and decided to re-write the script but, this time, going wild. He wrote what he wanted to see on-screen, limited only by his imagination, not a real world production budget.

He managed to get the newly written script shown to a pair of producers with whom he had made contact with. They loved it and ironically they passed it onto Larry Gordon. He shared the enthusiasm saying it had the kind of cinematic possibilities he was looking for. A deal was signed on Christmas Eve of 1989.

As further script rewrites progressed, it became clear that Waterworld was too big for the Larry Gordon’s production company to undertake by themselves. In February 1992, a deal was signed with Universal Pictures to co-produce and co-finance the film. This was now six years after the first draft had been written.

Universal had signed director Kevin Reynolds to Waterworld. Whilst he was finishing his latest film, Rapa Nui, pre-production for Waterworld was already underway.

The decision was taken that the largest set for the film, known as the atoll, would be built full size. The atoll was the primary location for film and in the story served as the location for a small population of survivors.

The logic behind this decision was due to the high percentage of live action filming required in this location, as well as a huge action set piece. No sound stage would be big enough to incorporate this number of scenes and it was crucial that we see the mariner sail his boat into the atoll, turn around and set out again. A full-size construction was the only way to go as the use of miniature and special effects would be impractical.

The next problem was deciding where to build this huge set. After much research, Kawaihae Harbour in Hawaii was chosen as the location. The atoll could be constructed in the harbour and rotated when needed thus allowing for open sea in the background. Later towards the end of principle photography, the atoll could be towed out into the open sea for the filming of the big action sequences which would be impractical to shoot in an enclosed harbour.

Director Kevin Reynolds also discussed the possibility of using the same water tank as James Cameron’s The Abyss, which had filmed there around five years ago,

“We had even entertained the notion of shooting at that big nuclear reactor facility where they had shot The Abyss, to use it for our underwater tank. But we found it in such a state of disrepair that economically it just wasn’t feasible. We didn’t have as much underwater work as they did. Most of The Abyss is interiors and underwater and model work, ours is mostly surface exterior.”

The production company had originally envisioned building the atoll by linking approximately one hundred boats together and building upon this foundation, just like the characters in the film. The production crew set out to search Hawaii and get hold of as many boats as possible.

During this search, a unique boat in Honolulu caught their attention. Upon further investigation, they discovered it was built by Navitech, a subsidiary of the famous aircraft production company, Lockheed.

They approached Lockheed with the strange request of figuring out how they could build the foundations of the atoll. Lockheed found the request unusual but didn’t shy away from the challenging. They agreed to design the atoll foundation and Navitech would construct it.

Meanwhile, an 11ft miniature model of the atoll was sent out to a model ship testing facility in San Diego. Scaled wave tanks are used to determine the effects of the open sea on large scale miniature models of new untested ship designs. This would help determine what would happen with the unusual design of the atoll when it was out of the harbour.

The atoll, when finished, was approximately ¼ mile in circumference. It took three months to construct and is rumoured to cost around $22 million. As the atoll would be used out on the open sea, it required a seafaring license. Nothing like this had been done before and after much deliberation, it was eventually classed as an unmanned vessel. This meant that all cast and crew would have to vacate the set whilst it was towed into position. By the end of production, the atoll was towed out to sea a total of five times.

Shooting out on the open sea presented a series of logistical problem as Reynolds describes,

“We had an entire navy, basically – I mean, this atoll was positioned about a mile off-shore in Hawaii, it was anchored to the bottom of the ocean so it could rotate. What you don’t think about are things like, you’re shooting on this atoll to maintain this notion that there’s no dry land, you always have to shoot out to sea. Away from the land. So we chose a location where we had about a 180 degree view of open water. Nevertheless, any time when you’re shooting, there could be a ship appear in the background, or something like that, and you had to make a choice. Do I hold up the shot, wait for the ship to move out, or do we shoot and say we’re going to incur this additional cost in post-production of trying to remove the ship from the background.

And at that time, CGI was not at the point it is now, it was a bigger deal. And so, even though if you’re shooting across the atoll and you’re shooting out onto open water, when you turn around and do the reverses, for the action, you had to rotate the entire atoll, so that you’re still shooting out to open water. Those are the kinds of things that people don’t realise.

Or something as simple as – if you’re shooting a scene between two boats, and you’re trying to shoot The Mariner on his craft, another boat or whatever, you’ve got a camera boat shooting his boat, and then the other boat in the background. Well, when you’re on open water things tend to drift apart. So you have to send lines down from each of those boats to the bottom, to anchor them so that they somewhat stay in frame. When you’ve got a simple shot on land, you set up the camera position, you put people in front of the camera and then you put background in there. But when you’re on water, everything’s constantly moving apart, drifting apart, so you have to try to hold things down somewhat.

And these are simple things that you don’t really realise when you’re looking at it on film. But logistically, it’s crazy. And each day you shoot on the atoll with all those extras, we had to transport those people from dry land out to the location and so you’re getting hundreds of people through wardrobe and everything, and you’re putting them on boats, transporting them out to the atoll, and trying to get everybody in position to do a shot. And then when you break for lunch, you have to put everybody on boats and take them back in to feed them.”

The final size of the atoll was determined by the size of the Mariners boat, the trimaran. The dimensions for the trimaran were finalised very early on in pre-production, allowing all other vehicles and sets to be sized accordingly.

Production required two trimarans boats which are so called because they have three hulls. The first was based on the standard trimaran blueprint and built for speed but also had to accommodate a secret crew below decks.

During wide and aerial shots it would have to look like Costner himself was piloting the boat. In reality, a trained crew could monitor and perform the real sailing of the boat utilising specially built controls and television monitors below deck.

The second trimaran was the trawler boat which could transform into the racer through the use of special practical effects rigs. Both of these boats were constructed in France by Jeanneau. Normally this type of vessel requires a year to construct but production needed two boats in five months!

Normally once the boat had been constructed, Jeammeau would deliver it on the deck of a freighter, requiring a delivery time of around a month. This delay was unacceptable and so the trimarans were dismantled into sections and taken by a 747 air freighter to the dock Hawaii. Upon arrival, a further month was required to reassemble the boat and get them prepared for filming.

sets recreating the inside of the tanker were built using forced perspective in a huge 1000ft long warehouse which had an adjoining 2000ft field. In this field, they built the set of the oil tankers deck, again constructed using forced perspective. Using the forced perspective trick, the 500ft long set could be constructed to give the impression that it was really twice as long.

There’s more to a film than just it’s sets and filming locations. Over two thousand costumes had to be created with many of the lead actors costumes being replicated many times over due to wear and tear.

This is not an uncommon practice for film production, but due to the unique look of the people and the world they inhabit, it did create some headaches. One costume was created with so many fish scales the wardrobe department had to search the entire island of Hawaii looking for anyone who could supply in the huge quantity required.

Makeup had to use waterproof cosmetics, especially on the stunt players. As everyone had a sun burnt look, a three-sided tanning booth was setup. The extras numbering in their hundreds, with ages ranging from six to sixty-five, passed through the booth like a production line to receive their spray tan. The extras then moved onto costume before finally having their hair fixed and becoming ready for the day.

In some scenes, extras were actually painted plywood cutouts to help enhance the number of extras on the set. This can easily be seen in one particular shot on board the Deez super tanker.

Filming on the water is not only a difficult and time-consuming process but also very dangerous. It’s been reported that Jeanne Tripplehorn and Tina Majorino nearly drowned on their first day of filming.

Waterworld’s star Kevin Costner reported having a near-death experience when filming a scene in which the mariner ties himself to his catamaran to survive a storm. The pounding water caused him to black out and nearly drown.

Unbeknownst to most of the crew, Kevin Costner’s stunt double was riding his jet ski across 40 miles of open ocean between his home on Maui and the film’s set on the Big Island. When he didn’t show up for work one day, the production team phoned his wife, who informed them he had already left for work. The stunt double’s jet ski had run out of gas halfway through his “commute” and a storm had swept him farther out to sea. It took a helicopter most of the day to find him. The stunt doubles name was Laird Hamilton.

As well as the logistical problems of creating a film of this scale and on water, they also had to deal with the press who seemed intent on wanting the film to fail. Director Kevin Reynolds discusses the situation,

“It was huge, we were constantly fighting – people wanted to have bad press. That was more exciting to them than the good news. I guess the most egregious example of that that I recall was that the publicist told me that one day…we’d been out the day before and we were doing a shot where we sent two cameras up on a mast of the trimaran and we wanted to do a shot where they tilled down from the horizon down to the deck below. We’re out there, we’re anchored, we’re setting the shot up and a swell comes in, and I look over and the mast is sort of bending.

And I turned to the boatmaster and I said, “Bruno, is this safe?”. And he looks up the mast and he goes, “No”. So I said, “Okay, well, we have to get out as I can’t have two guys fall off from 40 feet up”. So, we had to break out of the set-up, and go back in a shoot something else and we lost another half-day.

Anyway, the next day the publicist is sitting in his office and he gets this call from some journalist in the States and he goes, “Okay. Don’t lie to me – I’ve had this confirmed from two different people. I want the facts, and I want to hear about the accident yesterday, we had two cameramen fall off the mast and were killed”.

And, he goes, “What are you talking about?”. And he goes, “Don’t lie to me, don’t cover this up, we know this has happened”. It didn’t happen! People were so hungry for bad news because it was much more exciting than…they just said it, and you know, it hurt us.”
Upon release, the press seemed to be disappointed that the film wasn’t the massive failure they were hoping it to be. Universal Studios told Kevin Reynolds that one critic came out of an early screening in New York and in a disappointed tone said,

“Well, it didn’t suck.”

It is true that during principle photography the slave colony set sank and had to be retrieved. However due to bad press, the rumour became much bigger and to this day when you mention the sinking set, most people assume it was the huge atoll.

During production, press nicknamed the film “Kevin’s Gate” and “Fishtar”, referring to 1980’s box office failures Heaven’s Gate and Ishtar. Heaven’s Gate failed so badly it led to the sale of United Artists Studio and has become synonymous with failure in Hollywood.

As well as the exaggerated set problems and other various production rumours, there were also difficulties with the script. In a risky move, the film was green lit and moved into production without a finalised script.

The final total is a reportedly thirty-six rewrites. One of the writers involved was Joss Whedon. Joss had worked on many scripts before becoming a director having being at the helm of both The Avengers and the sequel Avengers: Age Of Ultron. He described his experience on Waterworld as,

“Seven weeks of hell”
Everything came to a head just three weeks before the end of principle photography. Kevin Reynolds who was an old friend of Kevin Costner allegedly walked off set or was fired. There was no official statement on what happened.

When Reynolds left the production this event caused many changes to be made. Composer Mark Isham had already composed approximately two-thirds of the film’s score by the time Reynolds left and that event ultimately caused him to leave production. As Mark describes in this interview excerpt,

“Kevin Reynolds quit the film, which left me working for Kevin Costner, who listened to what I had written and wanted a completely different point of view. He basically made a completely different film — he re-cut the entire film, and in his meeting with me he expressed that he wanted a completely different approach to the score. And I said, “oh let me demonstrate that I can give that to you”, so I presented him with a demo of my approach to his approach, and he rejected that and fired me. What I find a lot in these big films, because the production schedules are so insane, that the directors have very little time to actually concentrate on the music.”
Rumours report that Costner took control of production. He directed the last few weeks of principle photography and edited the final cut of the film that was released in cinemas.

Reynolds discusses his surprise at discovering that one of the most famous scenes from what is known as the extended version, was left on the cutting room floor,

“…it would have differed from what you saw on the screen to some extent, and one of the things I’ve always been perplexed by in the version that was released, theatrically, although subsequently the longer version included it, and the reason that I did the film, was that at the very end of the picture, at the very end of the script, there’s a scene when they finally reach dry land and The Mariner’s sailing off and he leaves the two women behind, and in the script they’re standing up on this high point and they’re watching him sail away, and the little girl stumbles on something.
And they look down and clear the grass away and that’s this plaque. And it says, “Here, near this spot, 1953, Tenzing Norgay and Edmund Hillary first set foot on the summit of Everest”. And that was in script and I was like, “Oh, of course! Wow, the highest point on the planet! That would have been dry land!”. And we got it! We shot that. And they left it out of the picture. And I’m like, “Whaaat?!”. It’s like the Statue of Liberty moment in Planet of the Apes. And I was like, “Why would you leave that out?”

Written by John Abbitt | Follow John on twitter @UKFilmNerd

If any the crew cares to share any of their experiences on it please comment.
Thanks for reading
If you want more deep dives visit
https://www.facebook.com/groups/crewstories/?ref=share

Official Music Video from Chaleeda
’Pretty Boy'
Subscribe Chaleeda’s here:
https:///smarturl.it/Chaleeda

Stream ’Pretty Boy'
on digital streaming platforms:
https:///smarturl.it/ChaleedaPrettyBoy

Lyrics
Your face is a work of art
Mesmerized from the very start
Looking like James Dean
Like a cover of a magazine

Everybody knows your name
And all the girls they go insane
When they see ya
And all the boys they wanna be ya

I don’t need x3
These fancy things
All these girls in a line
And they treat you like a king

[PRE-CHORUS]
And I know you’re always tryna hit me up
But I don’t think I’m into that kind of love
Cos you’re just a pretty boy
No my heart, no my heart, won’t let you in
Ooh you’re just a pretty boy
I wont make the same mistakes again

[CHORUS]
Cos youre just a pretty boy
I don’t want no pretty boy
Cos youre just a pretty boy
I don’t want no pretty boy

Always using your daddy’s name
Living life in the fast lane
If it’s not branded
You wouldn’t have it

Take trips to Paris and Milan
Looks like you’re always having fun
Instagram famous
No waiting on a wait list

[PRE-CHORUS]

[CHORUS]

[BRIDGE]
And I know, and I know,
I’m not the only one
Been through this before
And now I’m done
Pretty boys like you keep getting what they want
But that don’t work for me
That don’t work for me x3

[CHORUS]

RBT
Maxis CRT: Dial *131*592947# and press CALL/SEND
Celcom CMT: Dial *323*302297# and press CALL/SEND
Digi CT: Dial *233*1809758# and press CALL/SEND

Watch and listen to the hottest music from Chaleeda’s. Special episode episodes, behind the scenes, and all the music associated with Rocketfuel.


Contact
Email : kissmyastronaut@rocketfuelent.com

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Hello my wonderful velvet rainbow beam shooting barnacle buddy!
I hope you have fun using my tips on how to transform into a mysterious angel of the darkness! ✴

(灬╹ω╹灬) SUBSCRIBBLE FOR MORE VIDEOS! ♥
☆ New videos every Wednesday & Friday at Japan time 9pm!
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SENPAI’S INSTAGRAM　(๑´ㅂ`๑)
→ @manasenpai

✝ TUTORIAL ✝

- Eyes -

First we'll cover our eyelids in a dust grey eyeshadow. This will serve as the shadow for the other layers we're applying.
Now take a hot bloody pink and apply on your eyebrow bone and lower - it creates an effect like you're from another world!

Blend the pink with your skin by using a nice peach colour as a go-between. Blend the border between the pink and peach colour.

Fill your eyelid with a deep crow black and with the tip of your eyeshadow brush, draw along your lash line. Finish the line with an elegant swing upwards. With the same dust gray eyeshadow we used before, dab along the black line under your line to soften the hardness!

- Lashes -

For this dark look it's best to use dramatic lashes! Apply one on each of your eye. Now take spiky dramatic lashes, and stick them behind the first lash for a super dark dramatic look!

Use a second pair of the spiky dramatic lashes as a lower lash! This makes your eyes look like they're in sorrow!

If you want to accentuate your eyes, apply more hot pink on the area covered by the falsies.

- Lips -

Apply a crimson coloured lip tint to put your lips in full bloom, and a red lip gloss on the inner middle part.

- Blush -

Add colour to your cheeks by mixing pink and peach together.Apply on your cheek apples. Then, blush the lower part of your cheeks, but only use the pink blush now!

Credits
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Royalty free music used in this video:
Song Title: 妖星閃奏曲 ～ Magus Night
Artist Name: dbu music
Download Link: http://www.dobuusagi.com/dBu16th/sound/dBu16th_09.mp3

Where to get the Unicorn Horn? Get it from this Etsy shop: www.etsy.com/shop/FireflyPath

Official BILLbilly01 cover of Secret Love Song by Little Mix featuring Rachel.
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║╚╣║║║╚╣╚╣╔╣╔╣║╚╣═╣
╠╗║╚╝║║╠╗║╚╣║║║║║═╣
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Lyrics:

When you hold me in the street and you kiss me on the dance floor
I wish that it could be like that
Why can't it be like that
'Cause I'm yours
We keep behind closed doors
Every time I see you, I die a little more
Stolen moments that we steal as the curtain falls
It'll never be enough
It's obvious you're meant for me
Every piece of you, it just fits perfectly
Every second, every thought, I'm in so deep
But I'll never show it on my face
But we know this, we got a love that is homeless

Why can't you hold me in the street?
Why can't I kiss you on the dance floor?
I wish that it could be like that
Why can't we be like that?
'Cause I'm yours
When you're with him, do you call his name
Like you do when you're with me, does it feel the same?
Would you leave if I was ready to settle down?
Or would you play it safe and stay?

Girl you know this, we got a love that is hopeless

Why can't you hold me in the street?
Why can't I kiss you on the dance floor?
I wish that it could be like that
Why can't we be like that?
'Cause I'm yours

And nobody knows I'm in love with someone's baby
I don't wanna hide us away
Tell the world about the love we making
I'm living for that day
Someday
Why can't I hold you in the street?
Why can't I kiss you on the dance floor?
I wish that we could be like that
Why can't we be like that?
'Cause I'm yours, I'm yours

Oh, why can't you hold me in the street?
Why can't I kiss you on the dance floor?
I wish that it could be like that
Why can't it be like that?
'Cause I'm yours
Why can't I say that I'm in love?
I wanna shout it from the rooftops
I wish that it could be like that
Why can't we be like that?
'Cause I'm yours

Why can't we be like that?
Wish we could be like that