Make Your Hair Pop with Temporary Chalk!

Want to give your mane a temporary pop of color? Hair chalk is a great, safe way to give your hair a cool, bendable, ombre look without the permanence of dyes or bleach. Even if you have dark hair, you can still get a vibrant look! But what will you need to get the results that you’re looking for? We’ve got the list right here from Hair Chalk: Step-by-Step illustrated, an all-in-one kit.


Materials and Techniques
Hair Chalk To apply hair chalk you will need:

  • At least one color (stick or compact) of hair chalk
  • Disposable gloves (recommended)
  • A spray bottle filled with water (if your hair is any color other than light or bleached
  • A shallow cup two-thirds full of water (not needed if your hair is blonde or bleached)
  • A curling or flat iron, if needed for heat-setting
  • A smock or old clothing: hair chalk can be messy to apply and easily comes off on  your clothes.

When chalking your hair, wear a smock or a towel over a dark shirt. Wait to put on your fancy outfit until after your hair is done. If your hair is not completely pulled up, make sure you only chalk the top layer.


Prepare Your Hair

Start with clean, tangle-free hair. Make sure your hair is well moisturized with conditioner when you wash it, and use an oil afterwards—jojoba, vitamin E, and argan oils are all good examples of natural moisturizers. Don’t worry if you have naturally oily hair; follow these steps anyway–your hair will thank you for it. Make sure your hair is completely dry, combed out, and tangle-free before adding color and styling.


Preparing Your Work Area

Before you do any chalking, get your workstation ready and cover any surface that you don’t want to get chalky and colorful. Put on a pair of disposable gloves so that your hands remain clean while coloring and styling your hair. Fill the spray bottle with lukewarm water so that the water is comfortable when it touches your scalp.

How to Chalk….

Very Light-Colored Hair

Make sure your hair is completely dry; otherwise, the color will stain the hair shaft and take a lot longer to come out than one shampoo and rinse cycle.

Choose a lock of hair that you want to chalk. Twist the lock and apply the hair chalk in a downward motion only. Do not rub the chalk up and down the hair, as this can cause split ends. Untwist the hair and continue chalking any lighter patches. Chalk as many locks as you want in as many colors as you want to create rainbow streaks. Set the color with a curling or flat iron.

Dark Blonde, Red & Light Brown HairHair Chalk2

Experiment first by chalking a dry lock of hair (see instructions above for light-colored hair). If the color is not showing up, lightly mist both the lock of hair and the stick of chalk with water from the spray bottle.

Twist the lock in one direction and apply the chalk in a downward motion, moving the chalk from root to tip helps prevent split ends from forming. Continue to chalk your hair until you have achieved the desired amount of color. Wait for your hair to dry naturally. Use a curling or flat iron to set the color. Try layering matching colors at the ends of your hair to create funky tips!

Dark Brown, Black & Darkly Dyed Hair

Fill a cup two-thirds full of water and drop in your chosen chalks for five to ten seconds.
Wet your hair with a spray bottle but don’t soak it through.

Twist a lock of hair and apply the chalk in a downward direction (don’t rub the chalk up your hair because it can cause split ends). Release the twisted hair and make sure the chalk is evenly dispersed through-out the lock; you may need to add more chalk.

Add as much chalk to your hair as your desired style requires. Wait for your hair to dry on its own; air-drying your hair allows more pigment to stay in, as a blow dryer may blow some pigment chalk out. Hair chalk is dry by its very nature, and will soak up most of the moisture in your hair.

The color will set better if it is heat treated, so you may want to use a flat or curling iron. If those options are too damaging for your hair type, hair spray will also work.


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Easily change your hair color to match your outfit, mood, or style for any day or night. With Hair Chalk: Step-by-Step illustrated instructions + 12 Easy to Follow Hairstyles, you can design your own look from the many styles within to express your individuality. This kit includes twelve two-and-a-half-inch hair chalks, non-latex gloves, and a 32-page, full-color instruction book to help you get the perfect color every time! Try out different techniques and styles like monochromatic, ombre, mermaid, full-spectrum rainbow, and more that you can wear to prom, cosplay, Halloween, parties, or a night on the town. Learn to color all types of hair, from white-blond to bleached and treated, to deepest darkest brown. Featuring styles for short, mid-length or long hair; straight, curly, or wavy hair, for people with all hair types.

The Hot Dress that Made “Maggie the Cat” a Sensation

For those of us who didn’t grow up during Elizabeth Taylor’s heyday, it can be easy to overlook what a stunning beauty she was. One viewing of the film “Cat on a Hot Tin Roof” will change all that, however.

In this steamy drama based on a Tennessee Williams’ play, Taylor is remarkable as the increasingly desperate Maggie the Cat.

Part of what made the performance so legendary is a white dress that was designed by MGM costumer Helen Rose to fit Taylor’s legendary curves to a T. Here is some background on the film and the sensation that the Maggie dress caused in the late 1950s, from “Classic Hollywood Style” by Caroline Young.


The Film

The Tennessee Williams Pulitzer Prize winning play that the film is based on is an erotically charged drama about a wealthy but dysfunctional family who gather for an afternoon birthday party for the patriarch, Big Daddy, who is dying from cancer.

His son, Brick, is alcoholic, impotent and in a leg cast, and grieving over the suicide of his close friend and homosexual lover, Skipper. Brick’s sultry wife, Maggie, is used to being wanted by men, but desperately claws for her husband’s affection.

The play was directed by Elia Kazan and premiered on Broadway in 1955.

MGM swiftly bought the rights for a screen version, but the story was changed to comply with production codes which objected to any suggestion of homosexuality.

This led to director George Cukor turning it down and Tennessee Williams calling for audiences to boycott it.

Nevertheless it was nominated for six Academy Awards including Best Picture, Best Director for Richard Brooks, Best Actor for Paul Newman as Brick and Best Actress for Elizabeth Taylor as Maggie.

As was typical for 1950s drama productions, the film was to be shot in black and white, but when Taylor, with her violet eyes, and Newman, with his bright blue eyes, were signed up, it was decided to shoot in color.

The Maggie the Cat Dress

  • Helen Rose was the costume designer for MGM at the time of the film
  • She had only three costume changes to work with for Taylor; a slip, a skirt and a blouse, and a short simple afternoon frock which was worn through most of the film
  • Director Brooks and Rose agreed on the slip, blouse and skirt, but they had trouble coming to a decision on the dress
  • Both wanted it to be white and ‘unobtrusive’ so it would not detract from the scene
  • Brooks wanted a silk tailored shirtwaist dress, but Rose suggested a white chiffon dress with draped Grecian bodice and short, full skirts
  • When Taylor came in for the costume fitting, she loved the Grecian dress and the wardrobe department worked through the night to get it ready for shooting the next day
  • When Rose launched her own ready-to-wear clothing line, she replicated the dress, which became known as “the Cat dress” (Taylor’s character refers to herself as “Maggie the Cat” throughout the film)
  • The $250 dresses flew off the shelves! They sold thousands of copies in different sizes and colors for ordinary women who wanted some of the Taylor effect
  • As Rose said “Every woman who could afford $250 apparently wanted to look like “Maggie the Cat”
  • Taylor loved the dress so much that she asked Rose to make replicas for her personal wardrobe

Check out the trailer for the film:

Classic Hollywood StyleClassic Hollywood Style” explores iconic looks from the golden era of Hollywood, covering 35 films from the 1920s to the end of the 1960s. Caroline Young looks at the history and social context of the costumes through stories from the production, photos, interviews and original costume design sketches, and tips on how to ‘get the look’ today.

While we celebrate the glacial elegance of Grace Kelly and the skin-tight sexiness of Marilyn Monroe, behind every look on screen was the costume designer who shaped the image. In the golden age of Hollywood, designers like Edith Head, Adrian and Travis Banton became stars in their own right. Women queued up to see the latest Joan Crawford and Greta Garbo release to lust after the glamorous costumes the stars would wear on screen. Department stores shamelessly mass-produced copies of gowns, film magazines would preview the new looks and women ran up their own versions on their sewing machines. In the 1960s women lowered their hems and sported berets to look just like Faye Dunaway in Bonnie and Clyde. Even today, an article on the little black dress will inevitably make mention of Audrey Hepburn.

Every one of these films has perfectly captured a moment of fashion zeitgeist or has become an indelible image of cinema, whether it is Garbo in a trenchcoat in A Woman of Affairs, Joan Crawford’s shoulder pads in Mildred Pierce, Rita Hayworth’s strapless dress in Gilda, James Dean’s red windbreaker in Rebel Without a Cause or Steve McQueen’s ivy league style in The Thomas Crown Affair. Through archived records, studio press releases, behind the scenes memos, costume designer sketches and notes, censorship records and articles from magazines of the time, this is a behind-the-scenes look at the classic costumes of the silver screen.

What Can the Beatles and the Stones Tell Us About Finding Our Rock N’ Roll Style?

Chris Maillard’s book “The Old Rocker’s Handbook: All the Mature Musician Needs,” is a fierce and funny look at what it takes to join the music industry at an advanced age.

Maillard, who was in numerous rock bands in his twenties, subsequently abandoned music for the sake of a career and a family. It was only after his children grew up that he had time to dedicate to music again, and he has shared his experiences of rejoining the music industry later on in life in his book.

In addition to providing detailed information on finding band mates, choosing your gear, setting up a show and playing a live gig, Maillard also helps the older musician with less tangible aspects of the music industry, like finding a style that works for you on stage.

And where better to find inspiration for rock and roll style than the two biggest bands in rock? Here is what Maillard believes the Beatles and Stones can teach us about fashion.

“All the [rock and roll] greats have got a few sartorial tricks up their well-tailored sleeves (although in some cases it is more a dire warning than a recommendation).

George Harrison

Harrison continued to dress well in his post Beatles career

Consider, for instance, the two best-known and most influential pop/rock bands in the world, the Beatles and the Stones. Looked at as bands, they both had distinctive images that changed with the times.

But view them as a bunch of individuals and you can pick out who’s got the visual staying power and who hasn’t.

In the Beatles, it was more difficult to pick out the individual differences thanks to heir habit of dressing in matching costumes, both early on with suits and during their mid-period psychedelic pomp.

But when they didn’t dress alike, you could always spot who had it and who didn’t. Ringo always went a bit comedy, Paul was unadventurous, John was all over the place (particularly post-Beatles with white suits, ethnic robes, army fatigues, and, on one memorable occasion, nothing at all)—but George was always the one who had enough flair to be interesting without being wacky as they left their coordinated period.

A white shirt, a bit of well-worn denim, maybe a well-cut jacket, rarely anything too flashy or silly. And, importantly, his taste still looked good as he aged—that English understatement served him well through his career.

Charlie Watts

Watts, second from right, is the epitome of rock and roll cool.

With the Stones, though, as their career has progressed, their dress sense, in some cases, hasn’t. Mick Jagger’s outfit at their recent massive arena gigs, with its glam-rock barrow-boy look complete with trilby, wouldn’t have looked out of place in the 1970s.

Keith Richards’ piratical pose is now looking a little bit odd on a bloke who’s more graybeard than bluebeard. Ronnie Wood, as ever, just does what Keith does with the volume turned down a bit.

But do you know who’s the coolest of them all? The drummer Charlie Watts, whose love of cool jazz and sense of when not to make noise has served him so well all these years, still looks very sharp indeed in nicely cut suits, well-fitting, understated polo shirts and an air of detached amusement.”


Old Rocker's HandbookToday’s middle-aged people just don’t act middle-aged. With their extreme sports and their adventure holidays, they refuse to grow old. Or even grow up. And they love music too; going to see it, buying it – and of course playing it. Written by a long-time musician and music journalist, this informed yet witty book will be an essential read for those thousands of older musicians. Whether returning to music after kids and jobs or continuing a lifelong love affair, this is the book they’re been waiting for. “Hope I die before I get old”? Not a chance.

Chris Maillard is a long-time musician, a professional writer and journalist, and not as young as he was. He’s edited and written for umpteen music publications and played in many bands, ranging from fairly competent to totally unlistenable. He lives in London with far too many guitars.

Tips for Safely Removing Stains from Fabric

There’s nothing more frustrating that having a stain ruin a favorite shirt or a cherished (and perhaps expensive) piece of furniture. That’s why we’re loving Deborah L. Martin’s book “Natural Stain Removal Secrets.” This pocket-size book is packed with tips for making stains scram.

In this excerpt, Martin advises readers to look at fabric labels to find the keys to removing stains.

The symbols on a garment’s fabric-care label can teach you a good deal about how you should or should not treat stains.

The triangles on the label may be of the most interest, since they denote whether bleach may be used on the fabric.

An open triangle indicates bleach tolerance; a “striped” triangle means only non-chlorine (all-fabric) bleach may be used; a darkened triangle with an “X” over it means no bleach may be used.

Fabric Tag

A tag with an “X” through the triangle means no bleach can be used.

To successfully treat stains without damaging susceptible fabrics, combine what you learn from the labels with the following tips on care for certain fabric types.

Acetate: Susceptible to damage from vinegar, alcohol, and acetone; heat-sensitive

Acrylic: Heat-sensitive

Cotton: Acids may damage

Linen: Acids may damage linen fibers; vinegar should not be applied

Nylon: Good stain resistance; slightly heat-sensitive

Polyester: Resists some stains, but prone to greasy stains; somewhat heat-sensitive

Ramie: Acids may damage ramie fibers; vinegar should not be applied

Rayon: Slightly acid sensitive; chlorine bleach may damage some types.

Silk: Do not use alcohol, ammonia, or strong alkalis, chlorine bleach or enzymes; may require dry cleaning to avoid water spots

Spandex: Do not use chlorine bleach as it takes the elasticity out of Spandex; heat-sensitive

Wool: Do not use alcohol, ammonia, or strong alkalis, chlorine bleach, or enzymes



Stop that stain-without hard work or harmful chemicals! Want to get rid of stains without resorting to toxic chemicals? This little guidebook reveals how the most ordinary kitchen staples-lemon juice, vinegar, club soda, baking soda, salt, even potatoes-can be transformed into safe but super stain-fighters. You’ll learn how to beat all the biggies: Red wine. Spaghetti sauce. Chewing gum. Ink. Blood. Grease. Grass stains. Perspiration. Lipstick and makeup. Cat urine. Chocolate. And these are just a sampling!

Deborah Martin grew up in Indiana and graduated from Purdue University. What she didn’t learn about stains and stain removal during summers on her grandparents’ farm, she has since explored with the help of her husband, their two sons and their cat, Roxy. Deborah is a former editor for Rodale’s Home and Garden Books, and is firmly committed to the natural lifestyle. Deborah lives in Allentown, PA.