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⬥ Digital productInstant downloadable item, perfect for:◇ Planner goodies◇ Blog or web design◇ Patterns for paper, fabric or prints over any surfaces and items◇ Design of wedding stationary and any kind of invitations◇ Digital and physical scrapbooking projects◇ Decoupage, card making and paper crafts◇ Logo design◇ Photo overlaysAny DIY projects⬥ What You’ll ReceiveZIP folders with printable high quality backgrounds:◇ JPG file format◇ 12 x 12 inches◇ 300 dpi◇ Seamless (tileable, ie. endless repeatable) patterns⬥ How to ManageYou can manage my products best on a computer or laptop, using graphic software such as Photoshop, Illustrator, or free alternatives as Picasa or Gimp. On mobile devices such as iPad or other tablets, you need a special software to unzip and edit the files. On smartphone it can not be downloaded and managed, unless the device specifications state otherwise.⬥ CopyrightBuying an artwork doesn't transfers its copyrights.⬥ Commercial UseThis item is for personal or small commercial use. In case the collection contents more than one paper packs, you need only one license to use all of them commercially.Commercial use licenses - https://www.etsy.com/shop/KaramfilaS?ref=seller-platform-mcnav§ion_id=20910097⬥ Custom Changes◇ For size change, please add this listing to your purchase choosing the option you'd like - www.etsy.com/listing/478741185◇ For color changes, please purchase this listing choosing the option you need and add a note to seller with your preferences - www.etsy.com/listing/627357856◇ Special requests - www.etsy.com/listing/550891218Please see the FAQ area below for more info and feel free to message me with any questions. :)Thank you for stopping by,Karamfila

Christopher Chen: This UC Berkeley grad won the Glickman Award for best new play for his ambitiously Pirandellian metatheatrical romp “The Hundred Flowers Project.” His “Mutt” will soon makes its debut at Berkeley’s Impact Theatre. Lauren Gunderson: Gunderson has been on fire lately with numerous premieres hitting stages this season, including her riff on science and history “Silent Sky” and her homage to art “Bauer,” opening at SF Playhouse in March.

Philip Kan Gotanda: Long one of the best known Bay Area playwrights, Gotanda, a UC black swan digital paper watercolor ballerina handpainted floral seamless patterns ballet shoes feather crown blush gold glitter Berkeley professor, is famed for his explorations of race and culture in America, such as “After the War,” “Ballad of Yachiyo” and “Sisters Matsumoto.”, Mark Jackson: Perhaps best known as an innovative director, Jackson is also a prolific writer noted for his epic works, such as “The Death of Meyerhold,” “God’s Plot” and his adaptation of Goethe’s “Faust.”..

Amy Freed: This Stanford professor took a witty look at the authorship controversy with the Shakespearean romp “The Beard of Avon.” A Pulitzer finalist for “Freedomland,” she’s also elicited guffaws with her heady Roman farce “You, Nero.”. Tanya Shaffer: An epic traveler as well as a spiritual adventurer, Shaffer first got the on the theatrical radar with “Let My Enemy Live Long!” and then followed up with the witty “Baby Taj,” “Brigadista” and “The Fourth Messenger.”.

“Flappers: Six Women of a Dangerous Generation,” by Judith Mackrell, Farrar, Straus and Giroux, For most, the “flapper” evokes images of fingercurled bobs, drop-waisted dresses, and endless Charlestoning, like a scene from Baz black swan digital paper watercolor ballerina handpainted floral seamless patterns ballet shoes feather crown blush gold glitter Luhrmann’s “The Great Gatsby” on continuous repeat, She’s the spirit of the “Jazz Age,” with its connotations of excess and indulgence, a drunken decade before the sobering years of the Depression, A caricature, in other words, and at least in her manically dancing iteration, a false one, In reality, the flapper was a rarefied figure, limited to the urban and moneyed areas of 1920s America..

The Jazz Age was, indeed, a time of tremendous change for women. The advances of modernity made it easier for women to leave their traditional realm (the private sphere) and enter into the world of men (the public sphere). On trolleys, at the movies, in the massive new department stores, women were out of the home and, most importantly, consuming, which, in a capitalist country, is what really marks you as a citizen. Young women were leaving their rural homes in droves and moving to urban centers, where they lived with other women, worked as shopgirls, and spent money on themselves. Most would eventually marry and return to domesticity, but this experience of independence was what truly marked them as “New Women.”.

But these women weren’t flappers, or at least not flappers in the way we think of them, Many bobbed their hair; almost all took off their corsets, But few had the means to wreak the sort of societal havoc that sparked widespread anxiety amongst the Victorian generation, So where did the figure of the flapper come from? From the media, of course — as with the hippie or the goth, the media used several high-profile women to amplify the flapper’s existence and the anxiety that accompanied it, A very small selection of black swan digital paper watercolor ballerina handpainted floral seamless patterns ballet shoes feather crown blush gold glitter women possessed the means, the visibility, and the gumption to act out the sort of social and cultural rebellion that millions of women would modify and apply, on a much smaller scale, to their own lives and sensibilities..

Six of these highly visible women form the core of Judith Mackrell’s sprawling and addictive “Flappers: Six Women of a Dangerous Generation.” They hailed from all echelons of the 1920s social sphere. Tamara de Lempicka, who would make her name painting the New Women of Paris in the 1920s, was a Polish-born refugee of the Russian Revolution. Stage actress Tallulah Bankhead, she of the wit to rival Dorothy Parker and the dirty mouth to rival a sailor’s, grew up a Southern belle before getting herself kicked out of a string of boarding schools and rejecting a traditional debut for the chance to appear in a silent film.

Lady Diana Manners was born to one of the oldest families in Britain, and battled the expectations of her royal birth, first as a member of the “Corrupt Coterie,” staging “exhibitionist black swan digital paper watercolor ballerina handpainted floral seamless patterns ballet shoes feather crown blush gold glitter stunts”at highfalutin parties, then stubbornly insisting on working in surgery wards during World War I, and finally as an acclaimed actress, The similarly well-born Nancy Cunard grew up in thrall to her neglectful and manipulative mother; a fiercely intelligent yet emotionally starved girl, Cunard rebelled by flunking out of debutante society, offering herself to soldiers, and marrying and swiftly divorcing a man who’d promised to offer some semblance of stability..

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