For anyone looking back into the boutique history

It still remains one of the 'classic' handbags to own. Through the late fifties and sixties Hollywood endorsed her and stars such as Grace Kelly and First Lady Jacky Kennedy would often be seen wearing Chanel.By her death in 1971 the house of Chanel was firmly established as the hallmark of Parisian couture and the diminutive 'Coco' would be revered for all time as one of the greatest influences in culture and fashion of the twentieth century.One of the major influences that Coco Chanel made to the fashion world was the introduction of highlighting the importance of accessories. Handbags, Perfumes and jewelery all became part of the overall couture experience. This rise led to other fashion houses of long standing such as Hermes rising to new heights.Hermes was a family owned business for nearly two hundreds years founded by Thierry Hermes in 1836.

For anyone looking back into the boutique history, the boom in economy that followed the World War II motivated individuals to spend enough money on the material things. The early 1960s witnessed people experimenting with a variety of styles, fabrics and patterns. Specialised products and garments started appearing then in the small shops, which are popular recently as boutiques. This was how the boutique culture started.At a boutique, women may look forward to buying fashionable and elite items that include designer jewellery and clothing, shoes and handbags along with hair accessories. A number of boutiques specialise in unique and hand-made items. Some others even design clothing apparel such as t-shirts and put them up for sale at high prices.Speaking about the boutique types, altogether, there are two primary boutiques types. They are the chain and stand-alone boutiques.
The Internet is an awesome way to find all kinds of items for sale. It doesn't matter what you are looking for; bikes, martial arts equipment, computers, clothing, sports stuff, even pets.

You can find these items and so much more available on classified sites online. Its all very simple, quick and free! Simply find a classified ad site you like, and visit the "On Sale" or "For Sale" section. Once you go there you will find a ton of different categories available such as apparel, computers, jewelry, motorcycles, autos, Cd's, books, Cheap Celine Luggage Bags etc. Then you just click the section of the product you want. So if I'm looking for an MP3 player I would search in the electronics section. Once there you can either do a search of an area within your vicinity, or you can just do a world wide search for your product. I like to always check the box with the image option.

Modern Romeo and Juliet - A Humor Script

This script is a humorous take on the classical hit "Romeo and Juliet" by Shakespeare. The particular style is adopted to add more effect in characterization, sentences and setting. This is a one-scene script, with the opening and ending sentences show the century in which it was written to the modern day.
Fade in.
For trust and love, you and us, we talk about lovers, those whose names are writ on cupid's heart.
INT. ROMEO HOME- MORNING
Young and handsome Romeo, sad and deserted looking, has one hand underneath his chin and other on his lap. He appears in a thinking mode.
Why did I eat the forbidden apple? O Juliet! The apple of love.
EXT. JULIET HOME- SAME MORNING
Lovely and fairy-like Juliet walks in a beautiful garden, clouds overhead, and tears on her cheeks.
Damn Cupid, Oh I'm in love. My Romeo, come to my rescue for I'd live no more. Oh, the anti-human Satan, who strives to destroy the entire human race by virtue of hate. My family and his, are brutal enemies.
A pause.
EXT. UNKNOWN PLACE- A WEEK LATER- EVENING
The cruel air strikes the dead bodies of a handsome man and a lovely girl, lying above one another, fluttering their blood-colored clothes. The clouds are red, the still coldness of this evening makes everything foggy. In sheer, silence we hear sounds of wings.
EXT.SAME PLACE- CONTINUOUS
V.O CUPID
O My! O MY!
Cupid, a creature with two white fluttering wings, flies near to the dead bodies.
You died in the name of love, for love... My promise shall be to you, the Believes of love, till the day when there will be hate everywhere. Your names will be kissed by every true lover's lips. Your story will be sung by every follower of me. You are the martyrs of true love. Farewell!
Cupid vanishes.
A pause.
EXT. UNKNOWN PLACE- PRESENT DAY 2011
A guy and a girl, Romeo and Juliet, lie motionless like dead bodies. Suddenly, Romeo jumps up, looks here and there, smokes a cigarette and sleeps again. Juliet smiles, and hands him some heroic chocolate. The bottle of red soda, soaking their clothes, is almost finished. Both look in each others eyes and slowly kiss, a french kiss. An intense police siren shocks them and they runaway leaving some clothes behind.

Doctor Zhivago by Boris Pasternak - A Review

Pasternak's own story surrounding the writing of this novel, his winning the Nobel after the manuscript was smuggled out of the Soviet Union and published in Italy, and the fallout that ensued leading to his inglorious death a couple of years later, mirrors the fictitious life of Dr. Zhivago, and is more engaging than the novel.
This is a hard novel to follow, for although Pasternak was a celebrated poet and translator, he seems to have been quite an amateur novelist. Or else this book was written in snatches over a long period with no continuity checks, or pages were lost in translation, or the translators tried too hard to render the original Russian in English and failed. The result is a jumble of characters and viewpoints that stray even to minor characters who disappear shortly thereafter, and naming conventions that defy comprehension: Lara is known alternatively as Lara, Larochka, Larissa Fyodorovna, Raissa Komarova, Antipova and Strelnikova; and when you transpose that on the myriad others with variations of their first name, name and patronymic, last name, nick name, pseudonym and so on, it makes for quite a maze. Descriptions of the landscape during war and peace and of the seasons are well rendered from the author's poetic stance, but the plot line is often contrived and dialogue amounts to stilted speeches that go on for paragraphs, often by the same speaker. The much vaunted romance between Zhivago and Lara, which was brought out so evocatively in the movie and in its theme song, is limited to a few brief pages, again more concerned with each other's political stance than with their emotional one. There is more feeling expressed in their loss at parting than in their being together.
The span of the story begins from the dispersal of Zhivago, his family and his privileged upper middle class associates from Moscow with the onset of WWI, follows their travels to the Urals and into Siberia during the time of the Russian Revolution and civil war that ensued between 1917-22, tracks the good doctor's return to Moscow at the culmination of that turbulent period, and concludes with the end of his impoverished life in that city eight years later. There is also an extended epilogue during WWII, when two of his colleagues try to reconstruct the Zhivago diaspora. During this span, characters intersect with each other under different circumstances in random manner; lives are changed and loves are lost by the most chance of incidents. In one such incident, Zhivago, who is out on a surreptitious visit to his mistress Lara, is kidnapped by Red soldiers to serve as a doctor at the Siberian front and he never sees his official family again. Contrivance or real life?
The strength of this novel-yes, despite its shortcomings there is great strength-lies in the fact that it was written by a writer living and witnessing the period of the Russian revolution and civil war, without taint of the propaganda that symbolized the Soviet era. Pasternak is frank in portraying the White Russians and the Bolsheviks as equally guilty of patronage, corruption and cruelty. Zhivago's (and Pasternak's) own political stance is revealed when he says, "I used to be in a very revolutionary mood, but now I think we will gain nothing by violence. People must be drawn to the good by the good." The other powerful force in this book is its symbolism: Lara is the embodiment of Mother Russia, corrupted at an early age by her mother's lover Komarowsky of the ruling class, and then left bereft of her idealistic and revolutionary husband Antipov, and her beloved man of science and art, Dr. Zhivago. Lara laments that she is left with a reinvented Komarowsky, "a monster of mediocrity."
The historical notes help marry the fictional events with the real life background. I wished there had been a glossary of names as well. And Zhivago's (Pasternak's) poetry at the end reveals much of the doctor's character and his spiritual development in this crucible of devastation that was the early years of the Soviet empire, much more than what comes out in the novel itself.

Two Sides of Love - Romeo and Juliet, Film Vs Play

Considered as one of the greatest love stories of all time, William Shakespeare's Romeo and Juliet is a timeless literary classic and remains perhaps the most appreciated piece of literature in all of history. The enduring tale of love between two "star cross'd lovers" has been told, acted, and read countless times since its original debut. Throughout generations, varied interpretations of the perpetual love story have also been released, including the 1968 film directed by Franco Zeffirelli featuring Leonard Whiting and Olivia Hussey, as well as Baz Luhrmann's 1997 modernized version, starring Leonardo DiCaprio and Claire Danes. Though both are based on the original playwright, several parts of both motion pictures exemplify subtle and major distinguishing differences from each other, and the innovative play.
In the original play, Romeo's unrequited love Rosaline remains unseen throughout the play, and is instead only mentioned by other characters. However, she is anticipated to be a guest at the Masquerade ball which gives Romeo an incentive to attend as well. Contrarily, in the 1968 film Rosaline is shown to viewers at Capulet's banquet. The film additionally portrays that Romeo is only one of the many suitors who Rosaline disdains, though seeming to enjoy the mass of attention being thrust upon her. During the same scene in the play, Tybalt is enraged when learning Romeo's true identity, declaring "to strike him dead I'll hold it not a sin" (1.5.58) before being interrupted by Lord Capulet. In Zeffirelli's version of the film, Tybalt instead discusses his protest to Romeo's attendance with Lord Capulet. The play features Juliet delivering a drawn-out soliloquy contemplating the risks of drinking the sleeping potion (4.3.14-59). After frantically worrying about suffocating, being poisoned, smelling awful odors, committing suicide by bashing her head in "with some great kinsman's bone", and seeing what she believes to be Tybalt's ghost, Juliet finally drinks the vial. In the film, Juliet merely states "Love give me strength" before swallowing the potion.
After learning the news of Juliet's "death", a heartbroken Romeo buys a vial of lethal poison from an apothecary in Mantua, planning to later kill himself with it. In the motion picture, this scene was eradicated completely and substituted with Balthasar and Romeo heading back to Capulet's tomb together. The 1968 film never discloses where or who Romeo obtained the poison from. When arriving at the entry of the tomb, Romeo is suddenly stopped and questioned by Paris, who egocentrically attempts to arrest the banished Romeo. Upon doing so, Romeo kills Paris in a fit of anger. This scene was also removed from Zeffirelli's film.
Following the deaths of Romeo and Juliet, Friar Lawrence was apprehended by the Prince and subsequently revealed the truth of the secret wedding, the potion, and all other plans for the destined lovers. His story was validated by a letter written to Lord Montague from his son, Romeo. In the movie however, Friar Lawrence was never heard from again after he fled from the tomb. Because of this, the exposure of Romeo and Juliet's marriage was not explained in the film, though both families seemed to be aware of the situation by the time the double funeral took place. After the Capulets and Montagues agree to resolve their differences, the final line of Shakespeare's original version of the play was spoken by the Price: "...For never was a story of more woe/ than this of Juliet and her Romeo" (5.3.325-326). Though this same line was also the concluding line in the film, it was performed by the concealed narrator whom also delivered the introduction: "Two households, both alike in dignity/ in fair Verona, where we lay our scene".
Years after Romeo & Juliet was first released as a film, another on-screen, modernized adaptation was released in hopes of appealing to a more youthful audience. Though this portrayal of the classic love story was much different in terms of novelty, the characters still spoke in Shakespeare's original dialogue. There are several obvious differences between this version of the story and the others. For example, instead of having swords, the characters used 9 mm pistols to fight. The Montagues and Capulets represented business empires fighting, in place of the original play's family feud. Elegant castles of Verona were traded for modern city skyscrapers, while the setting of the story switched from small-town Italy to big-city Verona beach. In the beginning of the original play, the Capulet's provoke the Montagues by biting their thumb at their enemies. In this movie however, the roles are reversed and the Montague's are responsible for initiating for first quarrel. Also, the role of Abra, who was known as Abram in the play, reversed his character to become a Capulet instead of a Montague. The Masquerade Ball is one of the most memorable scenes in the entire play, for it is where Romeo and Juliet first meet. In the play, the Montague boys learn of the party by meeting an illiterate servant who asks the Montagues to read him the invite list he was given to pass out. Still in love with Rosaline, Romeo and his friends take advantage of the opportunity and invite themselves to the party. In the movie however, the Montagues hear about the party on television while they play pool.
Another major difference in the 1997 motion picture is the recurrence of water. In this version, Romeo and Juliet initially meet through a fish tank at the Masquerade ball. The illustrious "balcony scene" from the original play is replaced with the "pool" scene. Furthermore, when Romeo kills Tybalt in the play, the setting is high noon. In the movie however, Tybalt is killed at night during a rainstorm. His dead, limp body proceeds to fall into a fountain, continuing the water theme. A subtle change in the movie is the modification of one of Juliet's lines from when she is informed that Tybalt was killed: "Oh God, was it Romeo's hand that shed Tybalt's blood?" (3.2.72). In the modern film version, this was changed to be said as a prayer in place of an exclamation. Another difference is that in the 1968 film, Mercutio and the Prince appear as Caucasians while in the 1997 film, they are both African American, giving the movie more diversity in the characters. The Prince is also referred to as the chief of police in this depiction of the story. As does the 1968 film, the modernized Romeo + Juliet does not include the scene in which Romeo kills Paris at the Capulet tomb, leaving Paris to assumedly survive in both of these films.
Perhaps the most major change in Luhrmann's version of the film is that Juliet awakes from her deep sleep immediately after Romeo drinks the poison, allowing them to have brief final seconds together, leaving Romeo to ultimately die in Juliet's arms. In the play and original film, Juliet wakes up after Romeo is already dead. She is then regretfully told by Friar Lawrence that her husband had died, and adamantly insists on staying alone with his body. After delivering a long monologue, entailing her unsuccessful attempt to kiss the remainder of the poison of Romeo's lips (5.3.173-184), Juliet stabs herself with Romeo's dagger and dies by his side. In the movie, the monologue is obliterated and instead, Juliet silently commits suicide with Romeo's gun. One final distinction is the findings of Romeo and Juliet's bodies. In Shakespeare's version, the church watchmen find their bodies while the 1997 movie depicts police officers discovering them. Again, the "Prince" delivers the final lines of the movie just as he did in the previous film and play. However in an updated twist, the film ended the same way it began: the lines were spoken through the news report on a television screen.
Though various versions of William Shakespeare's original playwright exist, they all have the same central message and theme of love versus society. The everlasting story of love between Romeo and Juliet will always be cherished, and possibly act as an example to future generations that social class and family rifts should not be deemed as proper reasons to separate two lovers. After all, there was "never was a story of more woe than this of Juliet and her Romeo."