WE’VE MOVED TO A NEW BLOG PAGE!!! WEEEEEEEEEEEEEEEEEEEE \o/

AFTER SEVERAL YEARS BEING ON THIS BLOG I DECIDED TO MOVE IT TO A NEW PAGE!

THIS BLOG WILL STAY ALIVE AND WILL NOT BE REMOVED AS I MOVED JUST THE POSTS SINCE 2014.

TO FIND MY NEW PAGE CLICK HERE BELOW!!!!!!!!!!!!

LiveYourFantasy Blog NEW by FALBALA FAIREY

FEEL FREE TO VISIT MY NEW BLOG AND CLICK FOLLOW OVER THERE IF YOU STILL WANT TO FOLLOW ME! FEEL HEARTLY WELCOME TO MY NEW PAGE AND ENJOY MY UPCOMING POSTS!!!!!!!! ♥ ♥ ♥ ♥♥

♥ LOVE AND KISSES YOUR FALBALA FAIREY ♥

~*WE <3 ROLE-PLAY – ROUND 5 [Part2]*~

For more information click HERE about the Event!

 

To reach the Sim for the event pls click here!

Credits:

~Corset&Sleeves: the muses . Diana . brown  .  Corset and Gloves (We ❤ RP)

~Chaps&Garter: Yasum*MESH*Texas Heat *MEGA HUD controled*

~Hair: :esk-imo: Hair – Malynda (We ❤ RP)

~Nails: ~Nails: +Mab+ Dirty Nails – Slink Fingernail Applier (We ❤ RP)

Pose by GLITTERATI

~*Beautiful Creatures*~

 

 

 

Credits:

~Pants: Yasum*MESH*Dungies*Mega Hud controled*FEMALE *NEW*

(different patterns available in HUD)

~Bra: Angel Dessous-Shena,lingerie in cherry *NEW*

~Tattoos: [White~Widow] Kundun *NEW*

(includes separate FaceTattoo)

~Hair: Curio Obscura – Manehawk Hairstyle *HairFair2013*

~Horns: [europa] Maelus horns in Red

~Earrings: [F]oil– T Tahari Silver Link Hoops

~Collar: *Perception* Neck Corset — Black Leather

~Rings: [F]oil– Bubble Spike Ring – Black/Silver

[F]oil–  RajahCrown Ring – Silver

[F]oil– 4 way Spikes Ring – Silver

[F]oil– Cystal Cocktail Ring – Silver

[F]oil– Tube and Spikes Ring – Silver

~Nails: Silken Moon SLINK Fingerz Shine Deep Reds

(6 Redtones included; different colors available)

Pose by Wicca’s Wardrobe Poses

~*The sky is red tonight, We’re on the edge tonight*~

The sky is red tonight
We’re on the edge tonight
No shooting star to guide us…

Eye for an eye, why tear each other apart?
Please tell me why, why do we make it so?
I look at us now, we only got ourselves to blame
It’s such a shame

How many times can we win and lose?
How many times can we break the rules between us?
Only teardrops

How many times do we have to fight?
How many times till we get it right between us?
Only teardrops

So come and face me now
Here on this stage tonight
Let’s leave the past behind us

Eye for an eye, why tear each other apart?
Please tell me why, why do we make it so?
I look at us now, we only got ourselves to blame
It’s such a shame

Tell me
How many times can we win and lose?
How many times can we break the rules between us?
Only teardrops

How many times do we have to fight?
How many times till we get it right between us?
Only teardrops

(Tell me now) What’s come between us? What’s come between us?
Only teardrops
(Tell me now) What’s come between us? What’s come between us?

How many times can we win and lose?
How many times can we break the rules between us?
Only teardrops

How many times do we have to fight?
How many times till we get it right between us?
Only teardrops, only teardrops

Only teardrops
Only teardrops

How many times can we win and lose?
How many times can we break the rules between us?
Only teardrops

How many times do we have to fight?
How many times till we get it right between us?
Only teardrops…

Credits:

~Top: Poet’s Heart – Small Town Lass (Dawn)

~Skirt: Yasum*MESH*Honey Miniskirt*

~Leggins: :::Sn@tch Blaster Foil Leggings:::

~Shoes: [CO57] MOLLY SANDAL HAZE

~Hair: TuTy’s – SHOCK Electric flexi bob – plum

~Earring (L): [F]oil– Wrap Hoop Pink/Gold

~Earring (R): [ glow ] studio – Colours of Zebra

~Necklaces: [F]oil– Wooden Bead Necklace Pink/Gold & Yasum*MESH*Torque*UNISEX*

~MakeUp: +Nuuna+ Tiia makeups

Pose by *PosESioN*

~*IN THE FIELDS OF NOWHERE*~

Credits:

~Shirt: *CL**Erisa-Open Shirt Holly Green

(different colors available)

~Pants: Yasum*MESH*Army Trunk*Cargo’s

~Hair: *booN QPT129 hair black/chocolate/purple

~Jewelry: FINESMITH TRUTH

(includes earrings also)

~Earrings: Maxi Gossamer – Earrings – Roho – SILVER

Pose by *PosESioN*

~*In the Rain*~

Taking pictures with rain is every time something very exciting. No rain is similar to the other and it shows emotions which would maybe not seen if the rain would not cover the pic a bit. As I tested this coat by Yasum Design I had already a pic with an umbrella in my mind.

Credits:

~Coat: Yasum*MESH*Snuggle Match*Coatdress*Hud-Controled *NEW*

(texturechange HUD included)

~Shoes: Yasum*MESH*Rubber Trash Boots* RIGGED *UNISEX *NEW*

(nonrigged version available)

~Hair: .:EMO-tions:. * FAR AWAY *

(includes a Hat with texturechange)

~Necklace: .+*AA*+. lariate and pearl necklace *champagne

~Umbrella&Lamp: lisp66z : Streetlights & Umbrella

(includes 9 poses)

~*My Metaverse Stylings*~

I safed the most stylings I did for my Metaverse Pegeantry adventure. So I took a bit time to take some snaps from them to share with you with a quick edit.

Credits will come soon also…

Theme: All White Party

(with this styling all candidates got announced officially)

Stylecard:
~Gown: Son!a Septine Dress White
~Stole: * *ICING* Glam Stole
~Shoes: Stiletto Moody Bare Lauren (White)
~Hair: Amacci Hair ~ Gloria – Black
~Jewelry: Alienbear’s – Zivanit in white
~Headpiece&Ring: Hana (Innocent White) by Eshi Otawara

———————————————————————————————

Theme: WOW

(prelimination with performance)

Stylecard:
~Catsuit: GALLACTIC . Sheer Circuit . Cyan
~Collar&Corset: [sYs] ATOME
~Shoes:[NeurolaB Inc.] Fatality Black
~Forearms: [NeurolaB Inc.] Fatality Black
~Hair: MIRROR C14 / Cyber Light (White – Grey) (modified)
~Jewelry: Finesmith – Luralie Inspiration
~Hands: Slink Mesh Rigged Hands in Elegant
~Tentacles: SN ~ Demonic Tentacle Mass
~Spine: Necronom VI – CYBER SPINE

———————————————————————————————

Theme: Eveningwear

(prelimination)

Stylecard:
~Gown: -AZUL- Tyra/Sapphire & -AZUL- Michela/Aqua
~Jewelry: Zuri Rayna~ Gala ~MVW~2013 Sterling Topaz/Blk Diamond Set
~Hair: .:EMO-tions:. * ESTELLE * in darkbrown (diamonds modified)
~Shoes: N-core ZEN “Teal”
~Hands: Slink Mesh Rigged Hands in Elegant
~EyeMakeup: [White~Widow – Face Tattoo] Cream in black/emeraude
~Fishes: 7Seas

———————————————————————————————

Theme: Me

(prelimination)

Stylecard:
~Upper Body: KUROI by Eshi Otawara
~Skirt (upper part): [LWL] – Bordello Gown (Stormy)
~Skirt (lower Part): **TWA** – Contessa Gown in Black
~Raven: Son!a – Magda fairytale Black Raven
~Wings: Fancy Fair Wings – Dark Peacock Flexi Wings
~Hair: Tukinowaguma Brooke Ebony (diamonds modified)
~Ears: *~*Illusions*~* Sylph Ears
~Earjewels: Selfmade by Falbala Fairey
~Jewelry: Eshi Otawara – Kuroi
~MakeUp: Madrid Solo-Legend in Grayscale
~Shoes: N-core – EMPORIUM “Pure Black”
~Hands: Slink Mesh Rigged Hands in Elegant

———————————————————————————————

Theme: Eveningwear

(semifinals with performance)

Stylecard:
~Maingown: Son!a Blackheart long dress White black
~Skirtpieces: DESIR Mina Kimono Rose black
~Asian-Sleeves: DESIR Mina Kimono Brocade white (costum&modified)
~Black Butterflies: DESIR Tolerance dress White
~White Butterflies: DESIR Tolerance dress Black Box
~Headpiece: DESIR Rehana Wisteria Costume MVW
~Hair: *booN MMG701 hair in chocolate
~Tiara&Aarrings: Alienbear’s- Mayur
~Ring: Alienbear Design (Ring Veronica)
~Shoes: Yasum*GEISHA NIGHTS* GETA
~Hands: Slink Mesh Rigged Hands in Elegant

———————————————————————————————

Theme: Creative

(for finals, not used)

Stylecard:
~MeshGown: Joeys mesh black leather med&dark sheer effect gown
~Trail: *DNR* Phoenix ( MVW 2011 COSTUME ) in Black
~Bow: DIVA “jador fashion”
~Ribbons: **TWA**Dark Monarch Gown Set & **TWA**Rage of Shadows Gown Set
~Neckaround: ::: B@R ::: Night Magic
~Hair: *booN RHN435 hair in chocolate
~Hairjewelry: Chop Zuey – A Lotus for Rehana
~Necklace: Chop Zuey – Wisteria Woke Me This Morning
~Bracelets: Chop Zuey – Colours – Bliss in Blu/Gold & Chop Zuey – Death by Rickshaw
~Shoes: N-core SOUL XtremeHeel II “Gold”
~MakeUp: Madrid Solo – Eyes & Lips- Insanity Plea in Aqua

———————————————————————————————

Theme: King&Queen

(for finals, not used)

Stylecard:
~Gown: ***TWA***Sylph of Spring Gown Set-MMV Falbala *modified*
(available with shoulderdrape)
~Jewelry: FINESMITH SHAME(less) *coming soon*
~Hair: .:EMO-tions:. * DAISY *
(Daisies removable with script)
~Hat: Mimmi ” ****** BaObA ***** C

———————————————————————————————

I will add the credits asap but so far this is the first view of it.

Poses used by *PosESioN*

~*Why I am here…?*~

I think this question is for all of us with a different meaning and a different answer.

But did u ever think about it?

Credits:

~Pants: Yasum*MESH*SAMURAI PANTS*FEMALE*HUD CONTROLED *NEW*

(comes with a texture change HUD)

~Top: Yasum*MESH*ASIA TOP*HUD CONTROLED *NEW*

(comes with a texture change HUD)

~Hat: Yasum*MESH*RICE HAT*UNISEX*HUD CONTROLED *NEW*

(comes with a texture change HUD)

~Shoes: Yasum*MESH*GEISHA GETA’S*SAMURAI PANTS EDITION*ART

(comes with a texture change HUD)

~Hair: .:EMO-tions:. * SURI * *NEW*

(includes the hairsticks)

~Skin: :Adam n Eve: Hanako Skin T2 in Aka *NEW*

~Earrings: Finesmith LIQUID

Pose by Behavior Body

Location used by the RP Sim “Haven”

~*TEA TIME*~

Geisha (芸者^?), geiko (芸子) or geigi (芸妓) are traditional Japanese female entertainers who act as hostesses and whose skills include performing various Japanese arts such as classical music, dance and games.

Origins

In the early stages of Japanese history, there were female entertainers: saburuko (serving girls) were mostly wandering girls whose families were displaced from struggles in the late 600s. Some of these saburuko girls sold sexual services, while others with a better education made a living by entertaining at high-class social gatherings. After the imperial court moved the capital to Heian-kyō (Kyoto) in 794 the conditions that would form Japanese Geisha culture began to emerge, as it became the home of a beauty-obsessed elite. Skilled female performers, such as Shirabyōshi dancers, thrived.

Traditional Japan embraced sexual delights (it is not a Shinto taboo) and men were not constrained to be faithful to their wives. The ideal wife was a modest mother and manager of the home; by Confucian custom love had secondary importance. For sexual enjoyment and romantic attachment, men did not go to their wives, but to courtesans. Walled-in pleasure quarters known as yūkaku (遊廓、遊郭^?) were built in the 16th century, and in 1617 the shogunate designated “pleasure quarters”, outside of which prostitution would be illegal, and within which “yūjo” (“play women”) would be classified and licensed. The highest yūjo class was the Geisha’s predecessor, called “Oiran“, a combination of actress and prostitute, originally playing on stages set in the dry Kamo riverbed in Kyoto. They performed erotic dances and skits, and this new art was dubbed kabuku, meaning “to be wild and outrageous”. The dances were called “kabuki,” and this was the beginning of kabuki theater.

18th century emergence of the “geisha”

These pleasure quarters quickly became glamorous entertainment centers, offering more than sex. The highly accomplished courtesans of these districts entertained their clients by dancing, singing, and playing music. Some were renowned poets and calligraphers. Gradually, they all became specialized and the new profession, purely of entertainment, arose. It was near the turn of the eighteenth century that the first entertainers of the pleasure quarters, called geisha, appeared. The very first geishas were men, entertaining customers waiting to see the most popular and gifted courtesans (oiran).

The forerunners of the female geisha were the teenage odoriko (“dancing girls”): expensively trained as chaste dancers-for-hire. In the 1680s, they were popular paid entertainers in the private homes of upper-class samurai, though many had turned to prostitution by the early 18th century. Those who were no longer teenagers (and could no longer style themselves odoriko) adopted other names—one being “geisha“, after the male entertainers. The first woman known to have called herself geisha was a Fukagawa prostitute, in about 1750. She was a skilled singer and shamisen-player named Kikuya who was an immediate success, making female geisha extremely popular in 1750s Fukagawa. As they became more widespread throughout the 1760s and 1770s, many began working only as entertainers (rather than prostitutes) often in the same establishments as male geisha.

Rise of the geisha

The geisha who worked within the pleasure quarters were essentially imprisoned and strictly forbidden to sell sex in order to protect the business of the Oiran. While licensed courtesans existed to meet men’s sexual needs, machi geisha carved out a separate niche as artists and erudite female companions.

By 1800, being a geisha was considered a female occupation (though there are still a handful of male geisha working today). Eventually, the gaudy Oiran began to fall out of fashion, becoming less popular than the chic, “iki“, and modern geisha. By the 1830s, the evolving geisha style was emulated by fashionable women throughout society. There were many different classifications and ranks of geisha. Some women would have sex with their male customers, whereas others would entertain strictly with their art forms. Prostitution was legal up until the 1900s, so it was practiced in many quarters throughout Japan.

World War II brought a huge decline in the geisha arts because most women had to go to factories or other places to work for Japan. The geisha name also lost some status during this time because prostitutes began referring to themselves as “geisha girls” to American military men. In 1944, everything in the geisha’s world, including teahouses, bars, and houses, was forced to shut down, and all employees were put to work in factories. About a year later, they were allowed to reopen. The very few women who returned to the geisha areas decided to reject Western influence and revert back to traditional ways of entertainment and life. “The image of the geisha was formed during Japan’s feudal past, and this is now the image they must keep in order to remain geisha”. It was up to these returning geisha to bring back traditional standards in the profession, though with increased rights for the geisha:

There is no doubt that coerced sex and bidding on a new geisha’s virginity occurred in the period before WWII… After Japan lost the war, geisha dispersed and the profession was in shambles. When they regrouped during the Occupation and began to flourish in the 1960s during Japan’s postwar economic boom, the geisha world changed. In modern Japan, girls are not sold into indentured service, nor are they coerced into sexual relations. Nowadays, a geisha’s sex life is her private affair

—Liza Dalby, Do They or Don’t They

Before the war, a maiko’s virginity would be auctioned (the original “mizuage“). This was outlawed in 1959, but has been reported as relatively normal in the 1990s, and happening “on a limited basis” in 2001. Compulsory education laws passed in the 1960s made traditional geisha apprenticeships difficult, leading to a decline in women entering the field. The simultaneous growth of Japanese industry, which opened other opportunities for women, further contributed to the decline of the geisha industry.

In her book Geisha, a Life, Mineko Iwasaki said: “I lived in the karyukai during the 1960s and 1970s, a time when Japan was undergoing the radical transformation from a post-feudal to a modern society. But I existed in a world apart, a special realm whose mission and identity depended on preserving the time-honored traditions of the past.”

Ranking

At the pinnacle of the complex geisha ranking system are the grand dowagers of Kyoto. The gokagai of Kyoto are its five geisha districts, also known as hanamachi (“flower towns”). Gion Kōbu, Pontochō and Kamishichiken have the highest status; they are very expensive, and are frequented by powerful businessmen and politicians (Gion Kōbu is sometimes seen as having the very highest ranking). Geikos from the other two hanamachi (Gion Higashi and Miyagawa-cho) have high prestige but are considered to be one rank lower.

At the opposite end of the spectrum are the hot-spring geisha. These geisha work in the spa resorts and are viewed by most Japanese as no better than a common prostitute. They normally cater to far less exclusive patrons, and are much less expensive. If their income is supplemented by selling sex, they remain distinct from regular prostitutes; like all geisha, they are trained in the art of Japanese dance and music. Even so, hanamachi geisha might be horrified if categorized with hot-spring geisha.

Stages of training

Traditionally, Geisha began their training at a very young age. Some girls were bonded to geisha houses (okiya) as children. These girls were referred to as hangyoku and were as young as nine years old. This was not a common practice in reputable districts and disappeared in the 1950s with the outlawing of child labor. Daughters of geisha were often brought up as geisha themselves, usually as the successor (atotori, meaning “heir” or “heiress” in this particular situation) or daughter-role (musume-bun) to the okiya.

A maiko is essentially an apprentice and is therefore bonded under a contract to her okiya. The okiya supplies her with food, board, kimonos, obis, and other tools of her trade. Her training is very expensive, and her debt must be repaid to the okiya with the earnings she makes. This repayment may continue after the maiko becomes a full-fledged geisha and only when her debts are settled is she permitted to move out to live and work independently.

A maiko will start her formal training on the job as a minarai, which literally means “learning by watching”. Before she can do this she must find an onee-san (“older sister”: an older geisha acting as her mentor). It is the onee-san’s responsibility to bring her to the ozashiki (お座敷, a banquet in any traditional Japanese building with tatami), to sit and observe as the onee-san is at work. This is a way in which she will gain insights of the job, and seek out potential clients. Although minarai attend ozashiki, they do not participate at an advanced level. Their kimono, more elaborate than a geiko’s, are intended to do the talking for them. Minarai can be hired for parties but are usually uninvited (yet welcomed) guests at parties that their onee-san attends. They only charge a third of the usual fee. Minarai generally work with a particular tea house (minarai-jaya) learning from the okaa-san (literally “mother,” the proprietress of the house). From her, they would learn techniques such as conversation and gaming, which would not be taught to them in school. This stage lasts only about a month or so.

After a short period the final stage of training begins, and the students are called “maiko”. Maiko (literally “dance girl”) are apprentice geisha, and this stage can last for years. Maiko learn from their senior geisha mentor and follow them to all their engagements. The onee-san and imouto-san (senior/junior, literally “older sister/younger sister”) relationship is important. The onee-san teaches her maiko everything about working in the hanamachi. The onee-san will teach her proper ways of serving tea, playing shamisen, dancing, casual conversation and more. The onee-san will even help pick the maiko’s new professional name with kanji or symbols related to her name.

There are three major elements of a maiko’s training. The first is the formal arts training. This takes place in special geisha schools which are found in every hanamachi. The second element is the entertainment training which the maiko learns at various teahouses and parties by observing her onee-san. The third is the social skill of navigating the complex social web of the hanamachi. This is done on the streets. Formal greetings, gifts, and visits are key parts of any social structure in Japan and for a maiko, they are crucial for her to build the support network she needs to survive as a geisha.

Maiko are considered one of the great sights of Japanese tourism, and look very different from fully qualified geisha. They are at the peak of traditional Japanese femininity. The scarlet-fringed collar of a maiko’s kimono hangs very loosely in the back to accentuate the nape of the neck, which is considered a primary erotic area in Japanese sexuality. She wears the same white makeup for her face on her nape, leaving two or sometimes three stripes of bare skin exposed. Her kimono is bright and colorful with an elaborately tied obi hanging down to her ankles. She takes very small steps and wears traditional wooden shoes called okobo which stand nearly ten centimeters high. There are 5 different hairstyles that a maiko wears, that mark the different stages of her apprenticeship. The “Nihongami” hairstyle with “kanzashi” hair-ornamentation strips is most closely associated with maiko, who spend hours each week at the hairdresser and sleep on holed-pillows to preserve the elaborate styling. Maiko can develop a bald spot on their crown caused by rubbing from Kanzashi strips and tugging in hairdressing. This was associated with the maiko’s womanhood, as it came from a pulled knot in the ofuku hairstyle that a maiko would wear after her mizuage or first sexual experience (before which, the maiden wareshinobu style was worn).

Around the age of 20–22, the maiko is promoted to a full-fledged geisha in a ceremony called erikae (turning of the collar). This could happen after two to five years of her life as a maiko or hangyoku, depending on at what age she debuted. She now charges full price for her time. Geisha remain as such until they retire.

Female dominance in geisha society

“The biggest industry in Japan is not shipbuilding, producing cultured pearls, or manufacturing transistor radios or cameras. It is entertainment.”

—Boye De Mente, Some Prefer Geisha

The term geisha literally translates to mean “entertainer”. Some prostitutes refer to themselves as “geisha”, but they are not. A geisha’s sex and love life is usually distinct from her professional life. A successful geisha can entrance her male customers with music, dance, and conversation.

“Geishas are not submissive and subservient, but in fact they are some of the most financially and emotionally successful and strongest women in Japan, and traditionally have been so.”

—Iwasaki Mineko, Geisha, A Life

Geisha learn the traditional skills of dance and instruments and hold high social status. Geisha are single women, though they may have lovers or boyfriends whom they have personally picked, who support them financially.

“There is currently no western equivalent for a geisha—they are truly the most impeccable form of Japanese art.”

—Kenneth Champeon, The Floating World

Relationships with male guests

The appeal of a high-ranking geisha to her typical male guest has historically been very different from that of his wife. The ideal geisha showed her skill, while the ideal wife was modest. The ideal geisha seemed carefree, the ideal wife somber and responsible. Geisha do sometimes marry their clients but they must then retire; there can never be a married geisha.

Geisha may gracefully flirt with their (often infatuated) guests, but they will always remain in control of the hospitality. Over their years of apprenticeship they learn to adapt to different situations and personalities, mastering the art of the hostess.

Matriarchal society

Women in the geisha society are some of the most successful businesswomen in Japan. In the geisha society, women run everything. Without the impeccable business skills of the female teahouse owners, the world of geisha would cease to exist. The teahouse owners are entrepreneurs, whose service to the geisha is highly necessary for the society to run smoothly. Infrequently, men take contingent positions such as hair stylists, dressers (dressing a maiko requires considerable strength) and accountants, but men have a limited role in geisha society.

The geisha system was founded, actually, to promote the independence and economic self-sufficiency of women. And that was its stated purpose, and it actually accomplished that quite admirably in Japanese society, where there were very few routes for women to achieve that sort of independence.

—Mineko Iwasaki (reportedly the most successful geisha of all time) in interview, Boston Phoenix

The majority of women were wives who did not work outside of their familial duties. Becoming a geisha was a way for women to support themselves without becoming a wife. Thus, geisha women live in a strictly matriarchal society. Women dominate. Women run the geisha houses, they are teachers, they run the teahouses, they recruit aspiring geisha, and they keep track of geishas’ finances. The only major role men play in geisha society is that of guest, though women sometimes take that role as well.

Historically, Japanese feminists have seen geisha as exploited women but some modern geisha see themselves as liberated feminists. “We find our own way, without doing family responsibilities. Isn’t that what feminists are?”. These women leave their families at a young age to immerse themselves in their art. Some believe that since men can make a life for themselves, always being in control, so why can’t women? They “have grown adept at using their silken charms to wind their men around their little fingers… [to] manipulate the dumb, unsuspecting male of the species… to make a man think that he is the one who has the brilliant ideas”. Not all geisha identify themselves with feminism, and there is a concern that the geisha tradition holds back progress for Japanese women.

Misconceptions

There are many misconceptions over what a geisha truly is because of the tumultuous past of artisans, prostitutes, and pleasure quarters in Japan. “The world of the geisha, the “flower and willow” world, are very separate societies that are shrouded in mystery. The myths that have been created by outsiders about the environment and the lifestyle of the geisha world have, for the most part, been able to grow unchecked. And because it is a very private, elite world, most people would be uncomfortable speaking about it”.

Prostitution was legal in Japan until 1958, which is another reason that people may be misinformed about geishas not offering sex to customers. The two became especially confused after many of the professional prostitutes who catered to the occupying soldiers after World War II styled themselves as “geisha”; at a time when few true geisha were able to work, the counterfeit geisha usurped the meaning of the word in the eyes of many foreigners.

To see Silvano’s Credits pls click HERE!

Credits on Falbala:

~Outfit: BABOOM-mesh -Asia Moon/with obi *NEW*

(also available without obi and as a skirtversion in blue, jewelry is included)

~Skin: Ramya*MOON*GEISHA ASIA *NEW*

(different makeups and skins available)

~Hair: .:EMO-tions:. * RAMI * NEW*

(out of an asian serie with amazingly different hairtypes)

~Shoes: Yasum*GEISHA NIGHTS* GETA

~Nails: [Bamboo] Nails – Laugh Love Dream/noir *NEW*

~Lamp: JOMO New Year gift Chinese lanterns

Pose by *PosESioN* “Hamlet”

(this pose will be on XYroom this month, start 25th to this month and will be 69L
here you have the new url
http://maps.secondlife.com/secondlife/Tamire/13/127/2304 )

Decoration by JOMO (Freebies Area)

~*Waiting for a Wonder*~

Examples of WONDER

1. The Grand Canyon is one of the natural wonders of the world.
2. This new computer is a technological wonder.
3. The child’s eyes were filled with wonder during the trip to the circus.
4. We watched the fireworks show with wonder and amazement.
5. She gazed up at the tall buildings in wonder.
6. Is it any wonder why this movie is so popular?

 

Lets take a look of an article I found about the wonders of Christmas.

The Ten Wonders of Christmas

Articles – Christmas

Written by Harold J. Sala

Over 365 names and inscriptions are found in the Bible referring to Jesus Christ, but none is more lovely than the one found in Isaiah where the prophet said, “His name shall be called WONDERFUL” (Isa. 9:6, KJV). Like ten stars that shine against the dark backdrop of history are the ten wonders of Christmas. First, there is the wonder of HIS BIRTH. Any birth is a wonderful event, but the birth of Christ had been foretold by the prophets for centuries. To Abraham, God revealed the nation through which Christ would come. To Jacob, He revealed that Christ would be of the tribe of Judah. To Isaiah, God mentioned a family, the line of Jesse. To Micah, God whispered the name of the city. To Daniel, God revealed the time of His birth. The events leading up to the birth of Christ were like the gears of a fine watch that had to mesh together so that when the fullness of time has come, Jesus was born in Bethlehem. What a wonder! Second, there is the wonder of HIS CONDESCENSION. Really, to understand what this means, you have to remember what heaven was like and what Jesus left to come to our world and be tabernacled in human flesh. Had men arranged His birth, it would have never been in a stable. But the wonder of His condescension means that God touched the needs of humanity right where we are. The third wonder of Christmas is the wonder of His CHARACTER. Though we are saved by the death of Christ, His life is yet filled with wonder. Who but Jesus could say, “Can any of you prove me guilty of sin?” (John 8:46). He lifted the fallen of life. He gave His life that we might have newness of life in Christ. The fourth wonder of Christmas is the wonder of HIS PERSON. He was human yet divine. He could grow weary, yet could say, “Come unto me, all ye that labor and are heavy laden, and I will give you rest” (Matthew 11:28, KJV). He hungered, yet could take five loaves and two fish and feed a multitude. He was heaven’s light for Earth’s darkness and heaven’s bread for man’s hunger. Then fifth, there is the wonder of HIS WORDS. He spoke with authority demanding the attention of those who heard. He said, “You have heard that it was said…But I tell you.” His words are ethically true. You will find no loopholes in what Jesus taught or said. He spoke with simplicity but with great power. The sixth wonder of Christmas is the wonder of HIS WORKS. How can we describe them? Wherever He went, He did good. To the blind He said, “Receive your sight;” to the lame, “Rise up and walk.” He stopped funeral processions and raised the dead. He made no clinical analysis; He brought in no specialists. He just spoke the Word and it happened. The seventh wonder of Christmas is the wonder of HIS DEATH-freely given, undeserved, but affecting a lasting relationship for each person with our Heavenly Father. The eighth wonder is the wonder of HIS RESURRECTION. Pilate gave the order to seal the sepulcher. “Go, make the tomb as secure as you know how” was his command (Matthew 27:65). Yet the tomb is empty and Christ ever lives. The ninth wonder of Christmas is the wonder of HIS SECOND COMING. “This same Jesus, who has been taken from you into heaven” spoke the messengers at the Mount of Olives, “will come back in the same way you have seen him go into heaven” (Acts 1:11). And last of all, the tenth wonder of Christmas is the wonder of HIS SAVING POWER. “He will save His people from their sins,” was the message of the angel to Joseph (Matthew 1:21). This is the great wonder of Christmas: through His blood we find forgiveness and cleansing. Thank God for the wonders of Christmas! Credits: ~Dress: Yasum*Snapper Dress* Frost Fashion Fair Special Edition *MESH* ~Hair: *Dura-Boy*40(Dark Brown) *NEW* ~Scarf: [LeeZu!] Miss Mara Scarf /ethno black ~Top: * WWI Cropped Sweater Black ~Shoes: N-core CHIC “Noir Intense” ~Earrings: MIEL – LUN SET ~Watch: MIEL TROUPE WATCH – natural ~Nails: Candy Nail #P027 Clear French Fresh Pose by *BehaviorBody*