Jordan Irwin - Bad Habits ((TOP))

Realizing that I had to buy my clothes on the Internet, being out of breath most of the day, sweating a lot. I was sick of always being the fat kid, made fun of, picked last, etc. I wanted to be athletic. I wanted to attract more members of the opposite sex. Yeah, that was a big turning point. Once I got to college, I realized it was my chance to change myself to prepare for the real world. I wanted to show my family and friends that I could once and for all really change my habits.

Jordan Irwin - Bad Habits

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Yeah. Trying to fit in a steady workout routine on top of all of my classes, rehearsals, and hours of practicing as a musician each day! I had to make time to workout. Instead of my old habits of staying up till 2am and waking up at 7am for class, I trained myself to go to bed before 11pm, trying to get those 7-8 hours of sleep. Then I trained myself to start waking up earlier to get in a good workout in the mornings.

According to Stardom and the Aesthetics of Neorealism: Ingrid Bergman in Rossellini's Italy, Alfred Hitchcock was responsible for transforming the Bergman's screen persona towards a "less is more". He coaxed her to be more understated and neutral, while his camera concentrated the expression in the micro-movement of her face. Much of his work with her involved efforts to quell her expressiveness, gestures and body movements. Susan White, one of the contributing authors in A Companion to Alfred Hitchcock, argued that while Bergman was one of his favorite collaborators, she is not the quintessential Hitchcock blonde. She is more like "a resistant and defiant blonde", in contrast to Grace Kelly type ... more malleable and conformative.[182] For Bergman, the face became a central aspect to her persona.[183] In many of her films, her body is covered up in what are often elaborate costumes; nun's habits, doctor's coats, soldier's armors, and Victorian dresses.[184] The technique of chiaroscuro, had been used in many of Bergman's films to capture the ambience and the emotional turmoils of her characters through her face.[185] In the case of Casablanca, shadows and lighting were used to make her face look thinner.[186] Peter Byrnes of The Sydney Morning Herald wrote that Casablanca is perhaps the world's best close-up movie, in which he added, "after the initial set-up, they just keep coming, a series of stunningly emotional close-ups to die for". Byrnes asserted that these close-ups is the start of the seduction process between Bergman and the audience. He added, "She is so beautiful, and so beautifully lit, that the audience feels they've had their money's worth already."[187] Bergman's daughter, Pia Lindstrom felt that her mother gave some of her best acting in her later films once her mother had finally been freed of her youthful, radiant physical beauty.[188] 041b061a72