Creativity Makeup Quotes

Take care of your costume and your confidence will take care of itself.

With right fashion, every female would be a flame.

It's time to shop high heels if your fiance kisses you on the forehead.

Fashion doesn't make you perfect, but it makes you pretty.

Any girl with a grin never looks grim.

You cannot choose your face but you can choose your dress.

Dresses won't worn out in the wardrobe, but that is not what dresses are designed for.

Dresses don't look beautiful on hangers.

If life is a movie most people would consider themselves the star of their own feature. Guys might imagine they're living some action adventure epic. Chicks maybe are in a rose-colored fantasy romance. And homosexuals are living la vida loca in a fabulous musical. Still others may take the indie approach and think of themselves as an anti-hero in a coming of age flick. Or a retro badass in an exploitation B movie. Or the cable man in a very steamy adult picture. Some people's lives are experimental student art films that don't make any sense. Some are screwball comedies. Others resemble a documentary, all serious and educational. A few lives achieve blockbuster status and are hailed as a tribute to the human spirit. Some gain a small following and enjoy cult status. And some never got off the ground due to insufficient funding. I don't know what my life is but I do know that I'm constantly squabbling with the director over creative control, throwing prima donna tantrums and pouting in my personal trailor when things don't go my way. Much of our lives is spent on marketing. Make-up, exercise, dieting, clothes, hair, money, charm, attitude, the strut, the pose, the Blue Steel look. We're like walking billboards advertising ourselves. A sneak peek of upcoming attractions. Meanwhile our actual production is in disarray--we're over budget, doing poorly at private test screenings and focus groups, creatively stagnant, morale low. So we're endlessly tinkering, touching up, editing, rewriting, tailoring ourselves to best suit a mass audience. There's like this studio executive in our heads telling us to cut certain things out, make it "lighter," give it a happy ending, and put some explosions in there too. Kids love explosions. And the uncompromising artist within protests: "But that's not life!" Thus the inner conflict of our movie life: To be a palatable crowd-pleaser catering to the mainstream... or something true to life no matter what they say?

A misbegotten hatchling of consciousness, a birth defect of our species, imagination is often revered as a sign of vigor in our make-up. But it is really just a psychic overcompensation for our impotence as beings. Denied nature’s exemption from creativity, we are indentured servants of the imaginary until the hour of our death, when the final harassments of imagination will beset us.

An old fashioned outfit is not a costume, it's a comedy.

If you want to see the beauty of any fish, throw it into the water, you will see how best it can swim because that is its source. Do you want to see the beauty in you? Don't look in the mirror, don't put on makeups, no jewelleries or expensive designer clothes, just go back and reconnect to your source and I bet, the best of you will show up. Until you return back to God, your best won't come out because He is your source.

I once read a theory about ‘positive thinking’ that seems to be true or, at least, made a sufficient impression on me to remember it. I have always been distrustful of positive thinking, believing it to be as fixed and unyielding as negative thinking. Yet it is the advice most often offered to depressives. That it does not work seems not to occur to those who offer it up like some benevolent panacea. Perhaps it works for them or perhaps they are a product of some positive thinking gene pool. Who knows? Anywhere, here is the theory that helped me. I hope that it will help you too. Imagine you are driving a car, and you are heading straight for a brick wall. If you stay in habitual or rigid thinking (the kind of thinking that says, ‘this is the way I always do things’) and do not change the direction in the way you are headed, you will drive you car into the brick wall. Now imagine you are driving that same car towards that same brick wall. Now use positive thinking to imagine that wall is, in fact, a tunnel. It is not, of course, you simply hope or wish that it is a tunnel but it is the same old, intractable brick. You still drive your car into the wall. You are in the same car, facing the same wall except that you use creative or constructive thinking. You see the wall as an obstacle set dead ahead and see that it is solid and immoveable. You use your thinking to change direction and drive your car around it. Understanding that our thinking is not always helpful sounds so obvious and simple. So does changing our thinking, yet both are formidably difficult to do, perhaps because, most of the time, we never question it. We go right ahead and do what we have always done, in the same way we have always done it. We crash into relationships, mess up jobs, ruin friendships and all because we believe that our way is the right way. There is a saying: ‘I’d rather be right than happy.’ And here is another: ‘My way or no way.’ I see that wall as a symbol for an obstacle (or obstacles, there may be many) in our emotional make-up. If we go on behaving in the same way, we will crash. If we pretend that those obstacles in our character don’t exist, or are something else entirely, we will still crash. But if we acknowledge them and behave in a different way, we will come to a better and safer place. Or at least we will, until we meet the next obstacle.

The lives of artists are as a rule so highly unsatisfactory—not to say tragic—because of their inferiority on the human and personal side, and not because of a sinister dispensation. There are hardly any exceptions to the rule that a person must pay dearly for the divine gift of the creative fire. It is as though each of us were endowed at birth with a certain capital of energy. The strongest force in our make-up will seize and all but monopolize this energy, leaving so little over that nothing of value can come of it.

The last week of shooting, we did a scene in which I drag Amanda Wyss, the sexy, blond actress who played Tina, across the ceiling of her bedroom, a sequence that ultimately became one of the most visceral from the entire Nightmare franchise. Tina’s bedroom was constructed as a revolving set, and before Tina and Freddy did their dance of death, Wes did a few POV shots of Nick Corri (aka Rod) staring at the ceiling in disbelief, then we flipped the room, and the floor became the ceiling and the ceiling became the floor and Amanda and I went to work. As was almost always the case when Freddy was chasing after a nubile young girl possessed by her nightmare, Amanda was clad only in her baby-doll nightie. Wes had a creative camera angle planned that he wanted to try, a POV shot from between Amanda’s legs. Amanda, however, wasn’t in the cameramen’s union and wouldn’t legally be allowed to operate the cemera for the shot. Fortunately, Amy Haitkin, our director of photography’s wife, was our film’s focus puller and a gifted camera operator in her own right. Being a good sport, she peeled off her jeans and volunteered to stand in for Amanda. The makeup crew dapped some fake blood onto her thighs, she lay down on the ground, Jacques handed her the camera, I grabbed her ankles, and Wes called, “Action.” After I dragged Amy across the floor/ceiling, I spontaneously blew her a kiss with my blood-covered claw; the fake blood on my blades was viscous, so that when I blew her my kiss of death, the blood webbed between my blades formed a bubble, a happy cinematic accident. The image of her pale, slender, blood-covered legs, Freddy looming over her, straddling the supine adolescent girl, knife fingers dripping, was surreal, erotic, and made for one of the most sexually charged shots of the movie. Unfortunately it got left on the cutting-room floor. If Wes had left it in, the MPAA - who always seemed to have it out for Mr. Craven - would definitely have tagged us with an X rating. You win some, you lose some.

The first movie star I met was Norma Shearer. I was eight years old at the time and going to school with Irving Thalberg Jr. His father, the longtime production chief at Metro-Goldwyn-Mayer, devoted a large part of his creative life to making Norma a star, and he succeeded splendidly. Unfortunately, Thalberg had died suddenly in 1936, and his wife's career had begun to slowly deflate. Just like kids everywhere else, Hollywood kids had playdates at each other's houses, and one day I went to the Thalberg house in Santa Monica, where Irving Sr. had died eighteen months before. Norma was in bed, where, I was given to understand, she spent quite a bit of time so that on those occasions when she worked or went out in public she would look as rested as possible. She was making Marie Antoinette at the time, and to see her in the flesh was overwhelming. She very kindly autographed a picture for me, which I still have: "To Cadet Wagner, with my very best wishes. Norma Shearer." Years later I would be with her and Martin Arrouge, her second husband, at Sun Valley. No matter who the nominal hostess was, Norma was always the queen, and no matter what time the party was to begin, Norma was always late, because she would sit for hours—hours!—to do her makeup, then make the grand entrance. She was always and forever the star. She had to be that way, really, because she became a star by force of will—hers and Thalberg's. Better-looking on the screen than in life, Norma Shearer was certainly not a beauty on the level of Paulette Goddard, who didn't need makeup, didn't need anything. Paulette could simply toss her hair and walk out the front door, and strong men grew weak in the knees. Norma found the perfect husband in Martin. He was a lovely man, a really fine athlete—Martin was a superb skier—and totally devoted to her. In the circles they moved in, there were always backbiting comments when a woman married a younger man—" the stud ski instructor," that sort of thing. But Martin, who was twelve years younger than Norma and was indeed a ski instructor, never acknowledged any of that and was a thorough gentleman all his life. He had a superficial facial resemblance to Irving Thalberg, but Thalberg had a rheumatic heart and was a thin, nonathletic kind of man—intellectually vital, but physically weak. Martin was just the opposite—strong and virile, with a high energy level. Coming after years of being married to Thalberg and having to worry about his health, Martin must have been a delicious change for Norma.

end of the continuum are the ineffective people who transfer responsibility by blaming other people, events, or the environment—anything or anybody “out there” so that they are not responsible for results. If I blame you, in effect I have empowered you. I have given my power to your weakness. Then I can create evidence that supports my perception that you are the problem. At the upper end of the continuum toward increasing effectiveness is self-awareness: “I know my tendencies, I know the scripts or programs that are in me, but I am not those scripts. I can rewrite my scripts.” You are aware that you are the creative force of your life. You are not the victim of conditions or conditioning. You can choose your response to any situation, to any person. Between what happens to you and your response is a degree of freedom. And the more you exercise that freedom, the larger it will become. As you work in your circle of influence and exercise that freedom, gradually you will stop being a “hot reactor” (meaning there’s little separation between stimulus and response) and start being a cool, responsible chooser—no matter what your genetic makeup, no matter how you were raised, no matter what your childhood experiences were or what the environment is. In your freedom to choose your response lies the power to achieve growth and happiness.

They’ll also have an extensive amount of makeup work to tackle during the midterm break—and no, that option is not available to you, so don’t ask and don’t test my patience. I can become very creative with my punishments if you force me to.” “See, but now you’ve got me curious,” Keefe told him. “Uh-uh,” Ro jumped in. “I have to suffer through this stuff with you.” “You do,” Magnate Leto agreed. “And I found an entire room filled with recordings of speeches from the Ancient Councillors that I think you’ll find particularly enjoyable.” Ro grabbed Keefe’s arm and hauled him toward the door. “We’re going to your session, and you’re acing that test and taking lots of notes or I will hang a banner in the middle of this campus—and we both know what I will have that banner say!” “Bo and Ro 4 Eva?” Keefe guessed, because he clearly had a death wish. “That’s it!” Ro picked him up, hefting him over her shoulder and trudging toward the door. “We’ll be back after study hall.” “You’ll be back tomorrow,” Magnate Leto corrected. “Lord Cassius is expecting you both to be home immediately after school—and I wouldn’t recommend disobeying.” “Why not?” Sophie asked. “He was in . . . a mood.” “Goody! Raise your hand if you’re jealous of my life!” Keefe said, twisting in Ro’s grasp to survey the room. “No takers?” “Don’t worry,” Ro told him, patting his back as she carried him into the hall. “I’ll sneak your dad some amoebas tonight.

Self-Obsession & Self-Presentation on Social-Media" Some people always post their cars/bikes photos because they love their cars/bikes so much. Some people always post their dogs/cats/birds/fish/pets photos because they love their pets so much. Some people always post their children’s/families photos because they love their children/families so much. Some people always post their daily happy/sad moments because they love sharing their daily lives so much. Some people always post their poems/songs/novels/writings because they love being poets/lyricists/novelists/writers so much. Some people always copy paste other people’s writings/quotes without mentioning the actual writers name because they love seeking attention/fame so much. [Unacceptable & Illegal] Some people always post their plants/garden’s photos because they love planting/gardening so much. Some people always post their art/paintings because they love their creativity so much. Some people always post their home-made food because they love cooking/thoughtful-presentation so much. Some people always post their makeup/hairstyles selfies because they love wearing makeup/doing hair so much. Some people always post their party related photos because they love those parties so much. Some people always post their travel related photos because they love traveling so much. Some people always post their selfies because they love taking selfies so much. Some people always post restaurant/street-foods because they love eating in restaurants/streets so much. Some people always post their job-related photos because they love their jobs so much. Some people always post religious things because they love spreading their religion so much. Some people always post political things because they love politics/power so much. Some people always post inspirational messages because they love being spiritual. Some people always share others posts because they love sharing links so much. Some people always post their creative photographs because they love photography so much. Some people always post their business-related products because they love advertising so much. And some people always post complaints about other people’s post because they love complaining so much

I rail a lot against passion, because I feel like passion can be very exclusionary, and very elitist, and it can leave a lot of people feeling like they don't belong... I'm much more interested in allowing people to follow curiosity, which is a much more gentle impulse that doesn't require that you sacrifice your entire life for something. It's more of kind of a scavenger hunt, where you're allowed to pick up these tiny beautiful little clues along the pathway. It's more of a tap on the shoulder that asks you to turn your attention one inch to the left. Oh that's a little bit mildly interesting - what is that? Okay now I'm going to take that clue... I'm going to take it another inch, and I'm going to take it another inch. Rather than this idea that the symphony is born whole, because you sit down and you're struck by lightening and then you start to create. Curiosity I think, is a far more friendly way to do creativity than passion." ...this is why I say the path of curiosity is the scavenger hunt, because it took my probably three years between "gee it would be nice to put some plants in my backyard" to here I am in the South Pacific exploring the history of moss and inventing this giant novel. You know I think everybody thinks that creativity comes in lightening strikes, but I think it comes with whispers. And then the whispers can grow thunderous over time if you are patient enough to explore it, almost in the way that a scientist would. Be open to - you don't need to know why you are interested in this, it will be revealed if you continue to investigate. That's all that curiosity asks of you. Passion asks you to throw it all in the bonfire. And curiosity is way more generous in that it just says - give me a little bit of your time and let's see what we can do. Fear is part of our make-up, it's something that's inherent in us, it's a protective device. My experience with fear is to permit it to exist and then to figure out how to work with it. And to me working with fear is what courage is. I've never started any project that I wasn't afraid... during the entire thing.And the conversation that I have with fear is not to say you are the death of creativity and I can't be creative because you exist, but rather to say: "You are part of the family of my consciousness. You are one of the emotions that I possess and I hear your complaint. I see your anxiety and I see everything you are putting before me about how this is going to be a disaster, and how I'm going to die and how everyone's going to mock me and how I'm going to fail... and I thank you so much for your contribution, but your sister creativity and I are going to go off on this journey now and do this thing but you are allowed to be in the car. We're going on a road trip, but I don't expect you to not come." And once you allow fear to just be present it seems to quiet down and go to sleep and then you can go about your work. But it's never out of the picture and I don't waste my energy trying to kick it out of the picture because that feels to me just like a colossal exhausting waste of energy. Whereas a radical kind of inclusive self acceptance seems to be a way to create a lot more.

Days like that I feel that my mind is going 1,000,000 miles an hour, visions of the past, present, and future race through my mind. It races, like a train as if I was looking out the window of the car while it is speeding down the line. I am on a track that will never end.' 'I feel that I am going to derail from this runaway train that I am becoming. I cannot sleep at night, because of the fear inside me.' 'I feel restless, depressed, and loveless as well as not content with myself. I would have to say that my passion for life is gone; my imagination is the only thing that keeps me going.' 'I write the day's events that have gone by in my book of life of all the pastimes, while dreaming of what could have been in it, and besides what has not been in it.' 'If this does not stop, I am going to crack. I look into my mirror, and I do not see me, I see an impression of what I used to be.' 'I see my long brown hair that covers part of my face and covers my blue eyes of emotion. I see the cross around my neck that brings me confidence.' 'I hide behind a smile; I see the body in which nobody thinks is without drought flawless.' 'The bare body that is touched in all ways, yet I tried to hide behind my makeup. I gasp at my pale skin and the look of my body.' 'I am 95 pounds, really tiny; surely there is someone that would find me attractive?' 'I wonder if I can find someone who can think for themselves. I want someone who will love me, for who I am- and not what they want me to be.' 'Most importantly, I need someone that will not use me. Is that too much to ask for?' 'Fear!' 'Anxiety is something that I have inside, it is the source of the things which lead to distress. Not finding someone that loves me, for who I am, is some of my fears.' 'I fear the fact that I am most likely going to be alone forever. Another being that everyone that has meaning in my life is fading away from me it seems.' 'I fear not having a family by my side at all times. I have tears about the overwhelming struggle to rebuild my reputation, which has been destroyed.' 'I ask this question if I was to die tomorrow would anybody come to my wake, to see me lying there?' 'I fear what society has done to me. I fear that I have no trust in anyone or anything. I fear that my life has no meaning.' 'I fear that I will never get out of this hell.' 'I just want to start my life and get a degree in nursing someday from- 'The Conemaugh School of Nursing,' if I can make it through all of this. I do not think that is too much to ask for or is it?' 'I think that if I could be left alone, with the one that I want. I could have a life; you know what I am sure of it. I fear that the towering entity will never collapse, and the demons will keep playing in my head. I fear that I will never have a social ability, to be part of the nobility of compatibility.' 'I fear that the terror will never stop in these innocent lives like mine, and they will not be saved. I fear that nobody will ever see my creativity or recognize me for the good in which I do for others. I feel like I am the only one left in this world, that I call my life.' 'All the beauty in life has been dejected, and it is all ablaze around me. Yes, I fear to be in the outside realm of things.' 'I want to scream yet no one is going to hear it. I ask- am I becoming institutionalized?

The primary human endowments are 1) self-awareness or self-knowledge; 2) imagination and conscience; and 3) volition or willpower. The secondary endowments are 4) an abundance mentality; 5) courage and consideration; and 6) creativity. The seventh endowment is self-renewal. All are unique human endowments; animals don’t possess any of them. But they are all on a continuum of low to high levels. • Associated with Habit 1: Be Proactive is the endowment of self-knowledge or self-awareness—an ability to choose your response (response-ability). At the low end of the continuum are the ineffective people who transfer responsibility by blaming other people, events, or the environment—anything or anybody “out there” so that they are not responsible for results. If I blame you, in effect I have empowered you. I have given my power to your weakness. Then I can create evidence that supports my perception that you are the problem. At the upper end of the continuum toward increasing effectiveness is self-awareness: “I know my tendencies, I know the scripts or programs that are in me, but I am not those scripts. I can rewrite my scripts.” You are aware that you are the creative force of your life. You are not the victim of conditions or conditioning. You can choose your response to any situation, to any person. Between what happens to you and your response is a degree of freedom. And the more you exercise that freedom, the larger it will become. As you work in your circle of influence and exercise that freedom, gradually you will stop being a “hot reactor” (meaning there’s little separation between stimulus and response) and start being a cool, responsible chooser—no matter what your genetic makeup, no matter how you were raised, no matter what your childhood experiences were or what the environment is. In your freedom to choose your response lies the power to achieve growth and happiness.

The internet is used as not just a tool anymore but as part of our daily makeup. Almost like oxygen. Discipline goes a long way in protecting our sanity.

It was then, after my presentations to thirty-two generals, that I first began to see how similar the approach to leadership problems was throughout our civilization. After two days of presentations, a three-star general, the commander of an entire Army corps—two panzer divisions—stood up and said to me, “You know, one of our problems is that the sergeant-majors coddle the new recruits, and we keep telling them that such helpfulness will not make them very good soldiers in the field.” And then he turned to his fellow officers and said, “But from what Ed has been saying here the past two days, we’re not going to have any more luck changing the sergeant-majors than they are having trying to change the new recruits.” Now this man had three stars on his shoulder; how much more authority would you want? He commanded more weapons of destruction than exploded in all of World War II; how much more power do you need? Yet neither his authority nor his power were enough to ensure a “command presence.” And I began to think about similar frustrations reported to me by imaginative psychiatrists who were frustrated by head nurses, creative clergy who were stymied by church treasurers, aggressive CEOs who were hindered by division chiefs, mothers who wished to take more responsible stands with their children but who were blindsided by their chronically passive husbands, not to mention my experience of watching nine eager Presidents sabotaged by a chronically recalcitrant Congress. Eventually I came to see that this “resistance,” as it is usually called, is more than a reaction to novelty; it is part and parcel of the systemic process of leadership. Sabotage is not merely something to be avoided or wished away; instead, it comes with the territory of leading, whether the “territory” is a family or an organization. And a leader’s capacity to recognize sabotage for what it is—that is, a systemic phenomenon connected to the shifting balances in the emotional processes of a relationship system and not to the institution’s specific issues, makeup, or goals—is the key to the kingdom. My

Jett's artistic talent was as weighty and emphatic as the heavy black makeup she applied to her lips and eyelids.

Please allow me to wax philosophical. The purpose of eyesight, as well as insight for that matter, is for you and I to be in awe of not just creation itself but of the very One who created it. I will confidently propose that this is the purpose behind creation. Consider this: Evolution cannot explain purpose. It can only explain function. Science can explain how and why you and I function. It might even suggest your function within society. However, science alone will never give you the answer to your ultimate purpose for being on this Earth. “Let’s suppose you go to an art museum. While pursuing the halls of art, your eyes are directed to a certain painting. You become fixated on that painting. It is beautiful. The painting is so mesmerizing and beautiful that you are taken with the image it conveys. You begin to speculate on the story behind the painting. You become emotional and even shed a tear as you stare at it in wonder. For a brief moment in time you become immersed in the essence of this work of art. What is happening here? The one who designed and created the painting did so in order to perhaps bring about an emotional response from the viewer. You didn’t look at the painting and wonder about the chemical makeup of paint or the composition of the canvas mat or what type of device was used to apply those chemical compounds to the mat. You didn’t measure the dimensions of the frame. No. The painter gave that painting a purpose. While the painting itself is remarkable and beautiful, the ultimate purpose of it is to direct you to the one who created it. We give honor to Rembrandt, Monet, Goya, Van Gogh, and Picasso. Why does evolution deny that we give honor to the One who designed, created, and gave beauty to you and me, or to any other created thing? For sure, some evolutionists will try to say that the method the grand Creator used in His creation was evolution but will continue to ignore any mention of His creative hand and minimize other accounts such as the evidence for the origin of life in Scripture. They suppress the truth as they give high honor to their evolutionary theories that they guard with defiance. “The appearance of design isn’t just a common sense factor; it comes from a scientific explanation to which I have spoken here tonight. “Each one of you has the ability to hear, read, study, and think on everything that goes into your mind. While we do well to consider objective theory, we still must then decide for ourselves what it is we are going to believe. We are not just lab rats responding to stimuli. We have the ability to reason, love, express emotions, think deeply on matters, and create things—not just as an evolutionary function but from our innate giftedness and developed talents. “Give much consideration to what is true. Consider what is splendid and beautiful and magnificent. Think on things that are right or lovely or worthy of your admiration. Reflect on those things, not just as some facts of science but on the effect these things have on your very heart and soul. There is a word for those thoughts and feelings that penetrate deep within the depths of your soul. The word is visceral. No other creature on this privileged terrestrial ball has this ability. Visceral feelings are not merely a product of our DNA or the chemical and electrical impulses within our brain. Evolution offers no explanation for these deeply rooted expressions of artistic and creative thoughts and ideas. These things come from our Creator. May we not merely skim the surface of wisdom and knowledge without ever going deep. These things are meant to propel you to a deeper awareness of the world around you. They are even meant to propel us to the eternal realm.

There are monochronic people and polychronic people. The monochronic succeed only if they work on one endeavor at a time. They cannot read while listening to music; they cannot interrupt a novel to begin another without losing the thread; at their worst, they are unable to have a conversation while they shave or put on their makeup. The polychronic are the exact opposite. They succeed only if they cultivate many interests simultaneously; if they dedicate themselves to only one venture, they fall prey to boredom. The monochronic are more methodical but often have little imagination. The polychronic seem more creative, but they are often messy and fickle. In the end, if you explore the biographies of great thinkers and writers, you will find that there were both polychronic and monochronic among them.

By taking the time and making the effort to look his best, he feeds both his spirit and the spirits of those who see him. It’s thoughtful. Make yourself a work of art. Express your creativity and dress with style. Style your hair and makeup with care and pizazz. Present yourself to the world as beautifully as you can to feed your spirit and the spirit of others.

All right, class!” Miss Dupree motioned for silence. “You’ve had several weeks now to come up with your topics. Just a reminder: I want these projects to be socially oriented. Something that will get you involved in this town. Something to help you learn more about your community and the neighbors you share it with. I want to see some original ideas, people. Something creative and--” “Gage wants to know more about his neighbor, Miss Dupree.” On Miranda’s left, a girl in black clothes and heavy black eye makeup stretched languidly in her seat. “The one who keeps getting undressed at night with the curtains open and the lights on.” In mock horror, Parker swung around in his chair. “Hey! You and Ashley are Gage’s neighbors!” “I meant the house behind him,” the girl said calmly. Clutching his chest, Parker gasped. “Gage! You pervert! That’s Mrs. Falconi--she’s ninety-six years old!” This time the laughter reached hysteria. Miranda saw the girl give a slow, catlike smile, while a boy near the window--Gage, she supposed--blushed furiously and shook his head. “Roo, stop it!” Ashley hissed, but she couldn’t quite hold back a delighted grin. “Why do you always have to embarrass him?” The other girl shrugged, obviously pleased with herself. “Because it’s so easy. And he’s so cute when he’s embarrassed.” “All right, people, all right!” Clearing her throat, Miss Dupree struggled to keep her own amusement in check. “Thank you, Roo, for that fascinating bit of information. And should any of us notice a pervert lurking outside our windows tonight, we can all rest easily now, knowing it’s only Gage.” The class went wild. Poor Gage went redder.