#City Ballet of San Diego

[balanchine-ballet-master]

Above: the Maryinsky Ballet in the Diamonds section of Jewels. Photo: Kassir St. Petersburg

The New York Times has several new articles on the New York City Ballet to mark its 75th Anniversary Season, which opens Sept. 19. I'll be posting them all.

CITY BALLET AT 75

The Long Life and Long Reach of George Balanchine’s Butterflies

Balanchine didn’t think his ballets would last. But many have become classics, the cornerstone of repertory not just at City Ballet but around the world.

By Brian Seibert

While celebrating its 75th anniversary this fall, New York City Ballet is performing 18 ballets by its founding choreographer, George Balanchine. But to get a sense of the global standing of Balanchine, 40 years after his death, other numbers might be more telling. Last year, for instance, around 50 other ballet companies across the world performed his works, about 75 dances in total.

Balanchine likened his ballets to butterflies: “They live for a season.” But they have lasted much longer than that. They have become classics, cornerstones of the international repertory, 20th-century equivalents of 19th-century staples like “Swan Lake,” danced everywhere by all the major ballet companies and most of the minor ones, too.

These ballets, like Balanchine, emerged from the same Russian Imperial tradition as “Swan Lake,” but were shaped—as he was—by America, and by modernism and other 20th-century searches for the new. Always intimately connected to music, they sometimes told stories and sometimes, like music, were more abstract arrangements of forms and energies. They stretched ballet—in technique, in how daring and dynamic it could be, in how little outside of itself it needed — and were unparalleled in range and influence, so much so that the state of ballet is often framed as a question: Where is the next Balanchine?

City Ballet still performs by far the most Balanchine—the most ballets, the most often—but performances by other companies probably reach as many or more people, certainly in more places. All these performances, though, are connected to New York City Ballet, because the dissemination of his works remains a matter of lineage—of connections to Balanchine.

Above: Ballet Imperial (Tchaikovsky Piano Concerto #2) performed by the Paris Opera Ballet, with Valentine Colasante and Pablo Legasa. Photo: Agathe Poupeney

Before City Ballet became a durable laboratory and library for Balanchine’s choreography, he often worked as a choreographer for hire. That’s why American Ballet Theater dances “Theme and Variations,” which he made for that troupe in 1947. But few of the companies he created works for have survived, and most of the works that survived are those that became part of the City Ballet repertory. The company was the hub from which his influence radiated.

In the early years of the company, Balanchine sometimes staged works for European troupes with which he was connected: Paris Opera Ballet, the Royal Danish Ballet, what became the Royal Ballet. The reception to his innovations, especially the more radical ones, was highly variable, both abroad and in the more ballet-bereft country he had made his home. There, Balanchine was both generous and prudent with his ballets.

“He was giving them away for free, but he was in control,” said Jennifer Homans, the author of “Mr. B: George Balanchine’s 20th Century.” “Looking at the correspondence, you can see he was careful about who could do it and who couldn’t, and about which ballets could be done by others and which couldn’t.” He staged them himself, or he sent people he trusted. Francia Russell danced with City Ballet from 1956 to 1961. Since 1964, when she became a ballet master at the company, she has staged more than 200 productions of Balanchine ballets for other troupes. “They weren’t many people doing it at the beginning,” she said. “At first, I staged only ballets that I had actually danced.” Later, it became possible to consult films, but Russell didn’t use them much. “I always said I’m staging them the way I danced them when with Mr. B was with us.”

Left: Ida Praetorius and Jón Axel Fransson of the Royal Danish Ballet in Ballo della Regina. Photo: Henrik Stenberg Right: Pacific Northwest Balllet's Carrie Imler in Apollo. Photo: Angela Sterling

It was during the 1960s that City Ballet became a dominant institution, with a custom-built theater in the new Lincoln Center. An exceptionally large grant from the Ford Foundation put City Ballet and its affiliated School of American Ballet at the helm of a program to support ballet and ballet education. Following Balanchine’s recommendations, the foundation granted seed funding to regional troupes like Boston Ballet and Pennsylvania (now Philadelphia) Ballet. Balanchine granted these fledgling companies something nearly as important: some of his works, free of charge.

That process continued as members of City Ballet founded their own companies or became artistic directors. Arthur Mitchell, the company’s first Black principal dancer, erected the repertory of Dance Theater of Harlem, founded in 1969, on a foundation of Balanchine pieces. Some City Ballet dancers found leadership roles in Europe, like Patricia Neary in Switzerland. In 1977, Russell and her husband, Kent Stowell, moved from Frankfurt Ballet to Pacific Northwest Ballet in Seattle and built it into another outpost of Balanchine repertory.

“Mr. B said he trusted me to only ask for the ballets I thought our dancers could do,” Russell said. “And whatever we wanted, it was ‘Of course, dear.’ He never asked for a penny.” These ballets, she added, “were an education in classical dance for our dancers,” a sentiment commonly voiced by artistic directors. After Balanchine’s death, in 1983, the City Ballet diaspora spread further. In 1985, Edward Villella, a City Ballet star of the 1960s and ’70s, transformed Miami City Ballet into a Balanchinian troupe. That same year, Helgi Tomasson, after dancing with City Ballet for 15 years, became artistic director of San Francisco Ballet, a post he held until 2022. None of these and other companies led by City Ballet alumni danced Balanchine exclusively, but there was a family connection. Successors were often in the family, too. Russell and Stowell were followed (in 2005) by Peter Boal, Villella (in 2012) by Lourdes Lopez, both former principals at City Ballet and alumni of its school.

Above: the San Francisco Ballet in Divertimento #15. Photo: Dave Morgan

By this point, acquiring a Balanchine work was no longer “Of course, dear.” Skeptical that his works could last without him, and never much interested in posterity, he left his ballets in his will not to City Ballet but to 14 dancers and colleagues. The George Balanchine Trust was formed in 1987 to bring some order and stability to the licensing and restaging. The stagers it authorized were all dancers who had been with Balanchine in the classroom and rehearsal studio.

Now Balanchine works circulated to places where they had not before been part of the repertory. Russell was the first to stage one in China, in 1987. The next year, she brought one to the Soviet Union — to the institution then known as the Kirov Ballet (now the Mariinsky), where Balanchine had trained in the first decades of the 20th century but where few of the dancers had seen his works or knew much about him.

Always, there have been questions about authenticity. Balanchine frequently changed his choreography—for different dancers and stages—so which was the right version and in whose memory of it? And beyond the steps, was the spirit transferable, the elusive and usually unspoken ideas, the all-important musicality? Disagreements about these questions—applied to companies of dancers not trained in Balanchine’s aesthetic and modifications to technique, but also to City Ballet—were perpetual and often heated. For many viewers, Balanchine after Balanchine wasn’t Balanchine at all, and couldn’t be. Balanchine had suggested as much himself. And now a new phase is coming. As Russell put it, speaking of her generation, “We’re all too old to preserve that tradition in the same way.”

Above: Left: Sandra Jennings of the Balanchine Trust rehearsing Gabriella McCann of the City Ballet of San Diego. Photo: K.C. Alfred Right: Symphony in C, second movement, with Olga Smirnova and Dennis Rodkin of the Bolshoi Ballet. Photo: Damir Yusupov

Lopez, who is 20 years younger, made a similar point. “There aren’t many of us,” she said, “who worked with him and still talk about him as if he were next door.” But she also spoke about dancers, at Miami City Ballet and elsewhere, hungry to learn Balanchine’s aesthetic, dancers born after he died who talk about him as if they knew him.

It is those kinds of people who make Suki Schorer feel positive about Balanchine’s legacy. A City Ballet member from 1959 to 1972, she wrote a book on Balanchine technique and has been teaching at the School of American Ballet for some 60 years. Asked about Balanchine’s influence today, she listed young teachers, trained at the school, who have fanned out across the country.

Silas Farley is one. Born 11 years after Balanchine died, he encountered the Balanchine lineage at the school of North Carolina Dance Theater, which was run by the former City Ballet stars Patricia McBride and Jean-Pierre Bonnefoux. Farley became obsessed with Balanchine lore, which he absorbed deeply at the School of American Ballet and as a City Ballet member from 2013 to 2020.

“I have always had an acute sense that I’m one of the people who has been entrusted with a lot of these ideas and that, God willing, I’ll be here a long time after the people who entrusted those ideas to me,” he said on a call from Southern Methodist University, where he teaches.

His students, he said, are “empowered by all of Balanchine’s cool amendments and extensions of classical technique. They delight in the granular and the grand, the nuances and the capacity to dance more expansively, more freely.” Balanchine’s works, he added, “are such a big part of their understanding of what ballet is.”

Their understanding and everyone else’s. Those works, however altered by time, remain ubiquitous. Nikolaj Hübbe, a Danish dancer who performed with City Ballet from 1992 to 2008 and has led the Royal Danish Ballet ever since, is one of those who believe in their enduring power. “I don’t think I’ve ever worked with a dancer, even if Balanchine was foreign to them, who did not have an epiphany, a wow feeling, dancing his ballets,” Hübbe said. “Our dancers love them, revel in them. There’s a logic that speaks to all classically trained dancers. The choreography sings well. I don’t think that will ever go away.”

Above: Marianela Núñez and the Royal Ballet in Serenade, 2008. Photo: Johan Persson

#Balanchine #ballet #Balanchine ballet #Balanchine's legacy #rehearsing Balanchine #Maryinsky Ballet #Paris Opera Ballet #Royal Danish Ballet #Pacific Northwest Ballet #San Francisco Ballet #City Ballet of San Diego #NYCB@75 #Bolshoi Ballet #Royal Ballet #Brian Siebert #Francia Russell #Lourdes Lopez #Silas Farley #Nikolaj Hubbe

[lovelyballetandmore]

Iago Breschi | City Ballet of San Diego

#iago breschi #city ballet of san diego #white tights

[alldancersaretalented]

YAGP Hope Award/(Youth) Grand Prix Winners 2023/24

Hope Award

Los Angeles: Spencer Collins, Age 10 (Westside School of Ballet, CA)

Austin: Yihan Jiang, Age 10 (Movements In Time, TX)

Chicago: Evelyn Allen, Age 11 (Elite Classical Coaching, TX)

Philadelphia: Amelia Sias, Age 11 (Pennsylvania Ballet Conservatory, PA)

Salt Lake City: Ellary Day Szyndlar, Age 11 (Master Ballet, AZ)

Boston-Worcester: Juliana Kuang, Age 11 (N&D Ballet, MA)

Atlanta: Elynn Nie, Age 11 (MorningStar Dance Academy, GA)

Dallas: Lydia Bachman, Age 11 (Independent, TX)

Phoenix: Victoria Carrillo, Age 11 (Master Ballet, AZ)

Kansas City: Calla Massey, Age 9 (Independent, KY)

San Francisco: Athena Hu, Age 11 (Ju Lu Performing Arts, CA)

Denver: Reagan Neuhoff, Age 11 (Dallas Conservatory, TX)

Toronto: Owen Simmons, Age 11 (School of Cadence Ballet, ON)

Indianapolis: Eva Julia Sutanto, Age 11 (Academy of Russian Ballet, VA)

Youth Grand Prix

Chicago: Ekaterina Pichkova, Age 13 (Osipova Ballet Academy, CA)

Austin: Melissa Plishchadina, Age 14 (Pavlova Professional Coaching, TX)

Chicago: Chloe Helimets, Age 13 (Bayer Ballet, CA)

Salt Lake City: Annie Webb, Age 13 (Moga Conservatory of Dance, UT)

Winston-Salem: Eric Poor, Age 14 (Cary Ballet Conservatory, NC)

Pittsburgh: Ela Sevillia, Age 14 (Ellison Ballet, NY)

Kansas City: Quinlin Maconachy, Age 12 (Dallas Conservatory, TX)

San Francisco: Fiona Wu, Age 13 (Yoko's Dance, CA)

Denver: Keenan Mentzos, Age 14 (Ballet Bloch Canada, BC)

Los Angeles: Kiera Sun, Age 13 (DKCBA, CA)

New York: Lisa Kamiya, Age 14 (Ellison Ballet, NY)

Nashville: Angelina Tan, Age 14 (Elite Classical Coaching, TX)

San Diego: Leon Yusei Sai, Age 12 (Southland Ballet Academy, CA)

Grand Prix

Los Angeles: Izzy Howard, Age 16 (DKCBA, CA)

Austin: Isabella Keesee, Age 15 (Elite Classical Coaching, TX)

Tampa: Crystal Huang, Age 15 (Bayer Ballet/The Rock Center, CA)

Philadelphia: Carson Willey, 17 (The Rock School for Dance, PA)

Atlanta: Miharu Kikuchi, Age 16 (International City School of Ballet, GA)

Pittsburgh: Kaitlin Natili, Age 15 (West Point Ballet)

Phoenix: Parker Rozzano-Keefe, Age 18 (Master Ballet, AZ)

Houston: Sophia Jones, Age 17 (Feijoo Ballet School, TX)

Los Angeles: Maddux Ellison, Age 15 (DKCBA, CA)

New York: Ivana Radan, Age 15 (Ellison Ballet, NY)

Toronto: Madison Bevilacqua, Age 16 (Timothy Draper Center, NY)

Indianapolis: Everly Nedza, Age 16 (School of Cadence Ballet, ON)

#dance #dancers #talent #ballet

[writingisawildride]

Hello

I know I'm barely here anymore

But unfortunately the Ritalin shortage in Summer caused me to become hyperfixation on Overwatch, Gabriel Reyes/Reaper in particular (AGAIN), against my very will.

But I'm here to make it everyone else's problem again and have been challenged by @wildissylupus to post my Martina Reyes HCs (or basically character summary at this point)!!!

So

Here

We

GOOOOOO

(Please note I am Filipina, not Mexican or Latine at all, I'm trying my best to research, but please correct me if I'm wrong)

- 1st of all, for me it is Dr. Martina Nuñez-Reyes, women in STEM, iconic

- Born and raised in San Diego, in particular in or by Barrio Logan!

- She is specifically Nahua Mexican with family in Guerrero, Mexico. She has learned a lot of Precolonial History and mythology, both in school and from her family. She also speaks Nahuatl fluently, as well as Spanish and ASL.

- Sweet, nurturing, professional, good tempered, graceful, makes lots of bad puns (she and Winston got along great), but occasionally slips in some "joking" sadism and morbid curiosity.

- Loves perfume even though she can't wear it often due to her work in laboratories and hospitals, will wear even just a little bit even at home to enjoy it.

- joined a ballet folklorico troupe up until High School, but still remembers the moves well. Specializes in Guerrero style folklorico!

- Excellent cook, amazing baker. Loves to adapt recipes to include lots of spices. (This will come back later)

- Interested in the medical field, specifically medicine itself, after learning about how advanced Mesoamerican civilizations were medically.

- Martina was a regular prodigy, attending an advanced secondary school academy in Mexico City, before continuing on to get PhDs in Medicine, Chemistry, and Pharmaceutical Science by age 24.

- By age 26 she had already made strides by synthesizing and creating medicine that was able to do things like naturally accelerate healing in the body.

- That's also when the Omnic Crisis began. She was inducted by the United States Military among swathes of other skilled doctors to create the Super Soldier Serum for the Soldier Enhancement Program (SEP) at a hidden facility.

- Six months, they managed to get it to an acceptable loss rate of 25%, and test it on 100 Soldiers. She was in charge of overseeing the injections of 20 of the 100 randomly assigned under her, which included Soldier 24, Gabriel Reyes, and Soldier 76, Jack Morrison. It was also done in doses, not all at once.

- She and Gabriel were attracted to each other but didn't act on it for quite a bit, due to the taboo nature of a doctor and a patient. They didn't flirt either, but had moments of "Oh fuck they're hot" before shaking it off.

- After the second round of doses, she lost her first soldier, which made the risk of SEP all the more apparent to her.

- Remember when I mentioned she's good at baking? She stress bakes because it helps make a zen sort of ritual of following steps/regaining a small sense of control. The reason Gabriel loves cookies? It's because he woke up at 2AM catching her stress baking a batch of Chili Chocolate Chip Cookies. It's where they had a heart to heart about Gabriel and the other Enhanced Soldiers trusting Martina and the doctors no matter the risk because they know they're liable to die in the Crisis anyway if they can't make headway.

- As the Crisis gets more dire, the General orders the doctors at the SEP facility to also go through basic military training, which Martina disliked, so she never really went past a machine pistol.

- 33 Soldiers make it out, and she sent with them on missions to retake cities across America. She wouldn't always be an active combatant, but she could hold her own if she had to.

- When Gabriel Reyes and Jack Morrison were selected to the elite Overwatch core team, she helped lead their medical support team. Also yes during this whole time, Gabriel and Martina still were attracted to each other but still sort of afraid to act because not only is she still his Doctor, he's now her commanding officer.

- Also during this period she helps treat a young Angela Ziegler during the bombing of Zurich.

- After fighting alongside Inti Warriors (Specifically Illari's dad) to help retake part of Central and South America, Gabriel almost died, which caused her to go full BAMF, and save him.

(Jack: "... can someone please tell me why our medic is rushing in alone, guns blazing?")

- They have to repair ships and stuff, so they decide to take R&R in reclaimed Guerrero, where Martina shows Gabriel around, and they end up dancing together. It's where they finally give in and end up in a relationship.

- Get married the last year of the Omnic Crisis, and have a son a few years later named Izel (who is the grown man with a family in my heart and soul in the Reflections Comic)

- Dr. Martina Nuñez-Reyes is the first Head of Medicine in Overwatch's Golden Age because goddamnit someone had to have that position before Angela.

- She's also Angela's mentor and sort of like an adoptive mom, Angela absolutely idolized her

Here's where my Canon deviates hard, because Blizzard's timeline makes no sense

(Fun fact this next part exists because I misread Code of Violence and thought that the ash and burning was from Gabriel's memories of Echo Park and not where he was so I straight up thought Martina was fridged a whole ass year before I heard the voicelines and reread it for clarity, but she's not fridged. Just stay with me.)

- On Izel's 6th birthday in Echo Park, there was an attempted assassination via explosions that caused Izel to lose his left arm and replace it with a prosthetic (the man in the Reflections comic has his left arm in his pocket)

- It also very nearly kills Martina, who is 6 MONTHS PREGNANT WITH THEIR DAUGHTER, Graciela

- The family lives, and Graciela has to be c-section delivered prematurely

- This ofc enrages Martina and Gabriel who, after recovery, hunt the motherfucker down to kill.

- It is not a quick death. Martina synthesizes POISON to make that fucker die screaming. (Basically I wanted to flip the Dead Wife trope where the wife lives and is FUCKING PISSED AND JOINS HER HUSBAND ON A ROARING RAMPAGE OF REVENGE)

- Oh yeah and that triggers the birth of Blackwatch lmao.

- Gabriel brought Cole Cassidy home for Christmas where she immediately enfolds Cole into the family.

- Martina and Gabriel also help Cole get his GED.

- Oh yeah Blackwatch

- So Martina supplies the poisons for coercion, torture, and assassination (and torture) to Blackwatch under the table for super covert missions, basically even people at Blackwatch didn't even know about. Ma'am was committing war crimes to keep the world and her babies safe. All while keeping up the sweet, dedicated, professional facade for like 14 years.

- Gabriel tries to get her to make another super soldier serum so he can be stronger, she refuses, they argue, him calling her a hypocrite, and it looks bad, UNTIL

- Shit happens and she accidentally lets a poison slip that gets reverse engineered and kills a lot of people, causing her to retire and Mercy steps up. Gabriel keeps her secret and they end up staying together

- HOWEVER, once the Venice Incident happens and Izel disowns his father, she chooses to not back up Gabriel's choices, whereas their daughter Graciela does, causing them to be separated but still married.

- Gabriel considers leaking her secret, but loves her too much to/wants the kids to have at least one parent they don't detest

- After the Swiss Explosion, Martina and Graciela mourn very badly, Izel rekindled his relationship with his mother but not Graciela

(Izel needs his own post probably lmao)

- Martina tries to move on, but finds she can't.

- listen once a man is willing to cover up war crimes for you, it's a very hard standard to meet

- She rejects the recall initially but to avoid this post from being even longer REASONS, Graciela goes with/gets kidnapped by (it's complicated) Talon, which is how Cole finds out Gabriel is Reaper

- Joins in to get her daughter back, and to redeem herself because she realizes how much destruction she caused even if people deserved it... lowkey she even doesn't fully regret it depending on the person she killed

- Her abilities are she got a CPR glove that can shock people in one hand that can pull Medicated/poison grenades out of a storage and a Pistol in the other and she can inject peeps with medication close quarters.

- She's like 63 currently also (in my Canon, Gabriel got a significant age bump with a bunch of other characters, he is 67 but is technically frozen at age 58)

- blizzard if you read this and wonder why I turned this nameless, possibly faceless character into someone that's committed war crimes, I don't got a fucking clue either

- wildissylupus I'm so sorry for subjecting you to this, like how I will subject my friends to a PowerPoint presentation about my character lore and alternate overwatch timeline on my birthday

#overwatch #reaper #gabriel reyes #martina reyes #dr martina Nuñez-Reyes #Overwatch OC #Headcanon #what is wrong with me #i should hate Overwatch #stupid sexy reaper #and lifeweaver being 7 feet tall making me reinstall the game

[justforbooks]

Raquel Welch, who has died aged 82, had only three lines as Loana in the 1966 film fantasy One Million Years BC but attained sex-symbol status from the role, in which she was dressed in a fur-lined bikini. The image made its imprint in popular culture and the publicity poster sold millions. The feminist critic Camille Paglia described the American actor’s depiction as “a lioness – fierce, passionate and dangerously physical”.

The tale of cavepeople coexisting with dinosaurs was Welch’s breakthrough film – and the beginning of a largely unsuccessful battle she waged to be taken seriously as an actor. When she arrived on set, she told the director, Don Chaffey, she had been thinking about her scene. She recalled his response as: “Thinking? What do you mean you’ve been thinking? Just run from this rock to that rock – that’s all we need from you.”

Ursula Andress, who had emerged from the sea in another famous bikini for the 1962 James Bond film Dr No, had turned down the role of Loana. It went to Welch, on contract to 20th Century Fox, when the American studio agreed to hire her out to the British company Hammer Films.

Welch had to contend with critics who believed her looks to count for more than any acting ability she possessed. It was true that the film was pure kitsch and noteworthy only for Ray Harryhausen’s remarkable special effects with stop-motion animation creatures – and for making Welch a star.

Nevertheless, Welch later showed her aptitude for comedy when she played Constance, the French queen’s married seamstress in love with Michael York’s D’Artagnan, in the 1973 swashbuckler The Three Musketeers, directed by Richard Lester. The performance won her a Golden Globe best actress award and she reprised the part in The Four Musketeers: Milady’s Revenge (1974).

She increasingly took roles on television and worked up an act as a nightclub singer that she took across the US. She showed her performing mettle when she made her Broadway stage debut, taking over from Lauren Bacall in the musical Woman of the Year at the Palace theatre (1981-83). In an updating of the Katharine Hepburn-Spencer Tracy 1942 movie of the same title, she gave a show-stopping performance as the TV news personality Tess Harding.

“When she makes her first appearance in a low-cut gold lamé gown, her attributes can be seen all the way to the mezzanine,” wrote the New York Times critic Mel Gussow, unable to ignore what Welch brought to the stage visually. “It would be inaccurate to say that Miss Welch is a better actress than Miss Bacall, but certainly at this stage of her career she is a more animated musical personality.”

Around that time, Welch said: “I have exploited being a sex symbol and I have been exploited as one. I wasn’t unhappy with the sex goddess label. I was unhappy with the way some people tried to diminish, demean and trivialise anything I did professionally. But I didn’t feel that from the public.”

She was born Jo-Raquel Tejada in Chicago, Illinois, the first of three children, to Josephine (nee Hall) and Armando Tejada. Her father, an aeronautical engineer, was Bolivian. When Raquel was two, the family moved to San Diego, California, and, five years later, she joined the city’s junior theatre, attached to the city’s Old Globe, as well as starting ballet classes.

She said her father was volatile and terrifying, and she never saw any tenderness between her parents. One escape from this unsettled childhood came through putting on plays in the garage for friends and neighbours, using bedspreads for curtains.

On leaving La Jolla high school, San Diego, in 1958, she won a scholarship to study theatre arts at San Diego state college, but dropped out after a year to marry James Welch and became a weather presenter on KFMB, a San Diego television station.

After giving birth to two children, Damon and Tahnee, she left her husband, intending to follow her acting ambitions in New York. In the event, she worked as a model and cocktail waiter in Dallas, Texas, before moving to Los Angeles.

She was screen-tested by the producer Cubby Broccoli, who had seen her in a Life magazine photo-spread, for a part in the 1965 Bond film Thunderball, and signed up by 20th Century Fox. But a technicality involving start dates and contract options ruled out the Bond film and she was cast in Fantastic Voyage (1966), a big-budget sci-fi submarine saga, clad in a wetsuit.

After One Million Years BC, Welch – again in a bikini – played Lilian Lust, one of the Seven Deadly Sins, alongside Peter Cook and Dudley Moore in Bedazzled (1967), a comedy irreverently resetting the Faust legend in 1960s swinging London.

Burt Reynolds and Jim Brown were the stars when she brandished a shotgun in the 1969 western 100 Rifles – another action role. But Welch made clear to the director, Tom Gries, that she would not be following his instruction to run naked through the desert with the weapon. She also disregarded attempts to get her to shower under a water tower minus her shirt.

She returned to comedy for the satire The Magic Christian (1969) to play Priestess of the Whip alongside Peter Sellers’s millionaire who adopts the homeless Ringo Starr. She took top billing in Myra Breckinridge (1970), as a transgender movie critic, in a misjudged adaptation of Gore Vidal’s landmark novel.

Welch had the chance to shine in The Wild Party (1975), a period drama about the demise of silent pictures from the producer-director partnership of Ismail Merchant and James Ivory, in which she was cast as Queenie, the lover of a fading screen comedian. But she fell out with Ivory over a number of issues, for example refusing to do a bedroom scene nude. “From nearly the first day, we were at loggerheads,” he recalled, “and no professional relationship, no working relationship, was ever established.”

Switching to television brought Welch cameos in everything from the sitcoms Mork & Mindy (in 1979, as a villain from outer space) and Evening Shade (1993) to Lois & Clark: The New Adventures of Superman (in 1995) and CSI: Miami (in 2012). She also comically played a temperamental version of herself attacking Cosmo Kramer (Michael Richards) and Elaine Benes (Julia Louis-Dreyfus) in a 1997 episode of Seinfeld.

She had a regular role in the comedy-drama series Date My Dad (2017) as Rosa, former mother-in-law of Ricky (Barry Watson), trying with his three children to find him love again following the death of his wife.

In 1997, there was another stint on Broadway, in the musical Victor/Victoria. She replaced Julie Andrews, who was undergoing throat surgery, for the final seven weeks of its run at the Marquis theatre. Variety described Welch as “at best a pleasantly passable singer”, suiting “the costumes better than she does the vocal and acting requirements”.

She returned to the cinema with a cameo role in the romcom Legally Blonde (2001), starring Reese Witherspoon. Her last film was How to Be a Latin Lover (2017).

Welch was married and divorced four times. She is survived by Damon and Tahnee, and by her brother, Jimmy.

🔔 Raquel Welch (Jo-Raquel Tejada), actor, born 5 September 1940; died 15 February 2023

Daily inspiration. Discover more photos at http://justforbooks.tumblr.com

#JUST FOR BOOKS #Raquel Welch #Jo-Raquel Tejada #in memoriam

[secondbrightspot]

A story of a show. Because I need to get this written down so that I can move on.

On Friday November 18, 2022, I drove 90 minutes to Irvine to see Ashley Gavin perform stand-up comedy at the Irvine Improv. I purchased my ticket on stubhub(.com) after receiving a text that she was performing in SocCal. After a rough work week, I left my house and at least made it into the car with enough time to make it into the theater by 730.

I sat in my driveway for an untenable 10-15 minutes, frustrated that I couldn't find the download link for my ticket. I was late by this point and the evenings are dark earlier in the fall. Kinda nervous, I decided to leave anyway and hopefully pick up my tickets at the window at the Irvine Improv.

The drive was smooth with enough traffic to creepingly, increase my lateness. I always forget how chic Irvine sees itself. The parking garage was free, Thank God.

I looked fall as fuck. Hair in a loose bun, gold disk earrings, mod brown and tan and orange sweater with jeans and ballet flats. I felt soft, but proper. Perfect fall. And I had a reason to go out.

Rushing, by the time I navigated the mall and made it to the ticket counter, I was 20 minutes late.

Things got worse when I got to the ticket counter. My name was not on the purchased tickets list. The ticket man (who clearly had encountered this situation before, but was hoping it could be resolved with minimum fuss as he had zero power to resolve anything) informed me that they could not give me a ticket and most likely I had been scammed. The third party had taken my money and had not given me my ticket. I was suddenly and unexpectedly far from home and ticketless.

I tried: "Are you sure? There's nothing you can do?" I tried, "I just drove up from San Diego." Nothing could be done. Dejected, I stepped to the side of the window and tried to collect myself.

I heard a woman behind me ask what had happened and then felt a tap on my shoulder. I turned. She was tall and thin with short hair, Heels and a peasant blouse topped dress and snowy green eyes. She was there alone with an extra ticket, and asked if I would go with her. I was in. We sat down near the rear left. The theater seats 500 and is the first of 3 nights in Irvine for Ashley Gavin. The opener is almost done by the time we are shown our seats. He is a thirty something man, his act is almost over, I remember a joke about his father being a cardiologist. My heart was racing because I was so happy to be inside. That timing was perfect. I bought my rescuer a drink (Stella for her) as a thank you.

The opener said goodbye and walked off the stage.

Then Ashley Gavin came out onto that stage and she was MAD. Or frustrated. Or disappointed. She yelled at the audience for not laughing at the opener. She explain complained about the judgement and uptightness that we as a gay audience have on comedians (regardless of sexuality) that have to follow a laughless opener. It's hard. It is no longer a safe space for a performer if the audience starts the evening with judgement based on outward appearance.

We are there to laugh. So laugh goddammit it. She gleefully skipped past decorum to get to the reaction that she needed. She tried to tough-love teach us how to be a more receptive crowd (missing her Carnaval Cruise passengers was a theme she touched on repeatedly). She passing swung at Southern Californians fakeness.

What showed up on stage was a comedian who, the day after her birthday (she told us during the set), flew into a city, jetlagged, and immediately performed comedy for a group of tired SoCal corporates and queers.

In the first few minutes, she said she had planned to do her material from her upcoming special, but that she was deciding whether to do it. If we were a good enough audience, she would do some of it. (Spoiler: no matter how we tried, we weren't a good enough audience). There was some stellar crowd work involving a table of business lenders, and an orca trainer. In her act, there are beautiful jokes. Some fast. Some silly. Some that shove your face into a brutal structure of shock value for a laugh and a lesson that nothing is sacred. Well constructed, crass, and correct.

I loved every second of that uncomfortable show. I haven't stopped thinking about it. It was Entertaining. It felt like there was a happy place where Ashley wanted us to be, but she decided to turn the car around and tell us she was disappointed in us instead. For not laughing at our annoying brother. But to her point, our annoying brother can be funny, and we should have been prepared to laugh with him instead of defaulting to annoyed. I didn't see most of the act, so idk. But I guess he was responsible for the verion of Ashley Gavin's show that I did get to see that night. It became clear we were going to laughing AND learning.

With a start like that, the night turned into a puzzle of actions and reactions. Of laughter and anxiousness. The crowd didn't know what she wanted and tried to give it to her anyway. She didn't know what we wanted either. And tried to give it to us anyway. And you know, because it's comedy, sometimes we were all just laughing and getting yelled at for it.

The show ended abruptly, in overtime and on a laugh.

Show over, I talked to the young woman (name forgotten) I was with while we waited for the theater to empty. I hate a queue. I asked what she did for work. At first she told me that she used to work in corporate. After a few questions she blurted that she now works at an underground poker ring. From Finance to Finance. She started as a hostess and now is in a partnership with the owner. I asked how she got into the game. And she said that she met her partner at the gym, when she was using one of the machines, and he approached her and offered her a job.

We walked out of the theater, Ms. Gavin was sitting on a chair wearing (what I can only remember as) in beige with a line of women stretching around the corner for her meet and greet. My new friend said she had to go to the bathroom. I said ok and told her goodbye. She paused and asked if I was getting merch or standing in-line. I said no and left. I walked past the queue and found my way out of the mall. On the drive home, I kicked myself for not exploring that further. I mean...the stars aligned in a wierd way for us to meet. I wasn't in the mood, I guess. Pretty sure she wanted to hang out further. Underground poker? Red flag? I wish her safety on her journey.

Kicking myself a lot a bit, I drove home.

I thought about that show until I got home. Then I thought about that show for the next 2 days. I sat in those wierd feelings. Why did she make those choices?

I keep having flashbacks about how she showed up on stage and handled the crowd. And she was clearly professional enough to handle a crowd.

She accused us of having wierd energy and then had a woman in the audience back her up and agree that we were off and that we were, indeed, a bad crowd. Despite the mass gaslighting, this tactic worked. We laughed at her frustration in us. We laughed because she told us to. And felt better for having laughed. It felt like laugh yoga.

Our reactions slid into genuish not genuine, but close enough. She was so fast. Delightfully, consistently aggressive in her delivery. I couldn't tell which way we were going, as she was leading. But I smiled the whole time. Happy to see where this performance was going. It felt like a transition. But at one point I was grinning so HARD at the overriding awkwardness that we were all sitting in that I KNEW that I was getting new wrinkles on my face, and I didn't care because I was happy that they were coming from laughing. She wanted to give us a good time. But, If she wasn't yelling at us for How we were laughing, she was yelling at us for When we were laughing. Parts of the show were free form and fast. She's clever.

Still, I felt pitted against whatever part of the audience wasn't getting yelled at.

Actually, she told us, who she was comparing us to... that perfect Carnival Cruise audience. Those assholes.

But we're not them. And they aren't us.

There's something there about bridging that gap. 10/10 experience. I hope she was having a good time. Cause we did. She's funny. Fucking interesting show. I got so much to think about.

Oh and she had a joke that just laid me on my ass and made me see an unknown part of myself waving at me from still inside the fucking closet. I remember, like, barking a laugh kinda in shock at her bluntness in a joke about tits and mothers. When the audience reacted in parallel, she told us that we were fooling ourselves.

I've been thinking (uncomfortably) about her point for the last few days. I had thought myself more of a daddy-issues-kind-of-woman. I had tied a nice little therapeutic bow on that problem years ago. But of COURSE....She's sneaking self realization into a punchlines. How fucking annoying and delightful.

Those are the thoughts. You should sign up to get her texts, you only get an alert when she performs near you. Then, when you get the text, actually go see her show. She's absolutely worth the watching.

#ashley gavin #irvine improve #irvine ca #lgbtq comedy #straight comedy too #comedy #of course you exist #keep going #friday out alone #go see a girl about a thing

[thatoneballetguy]

What companies did you mainly dance for?

City Ballet of San Diego, Peninsula Ballet Theatre, Disneyland, a few other smaller companies!

#me #send asks #ask me things #send me anything

[scarlctheart]

❀ *◦ han dong. cis woman. she/her. pansexual. ⇝ hey, isn’t that freya chen? i think that the twenty-eight year old from san diego, california works as an apprentice at the sorceress' dress and burlesque dancer at sweet cheeks cabaret & burlesque lounge, but outside of that people describe them as dimly lit dressing rooms, driving through the city at night with the windows rolled down, flickering and slowly melting candlesticks, holes worn into discarded pointe shoes, and echoing museum halls. i hear they are melancholic & bitter, but they are also known to be diligent & considerate. consider giving them a visit at their home in seal harbor apartments ( basement under maiden alley cinema ) and get to know why they’re called the sacrifice.

-eldest sister of three, radiates big sister energy -trained as a ballerina throughout her life but never got to pursue it professionally -burlesque performer under the name scarlet rouge -polar opposite of her stage persona, is actually pretty reserved -budding seamstress, makes most of her clothes -a bit of a control freak, likes things done a certain way -ran off to alaska a few months ago to get away from her family (and the law lol) -in her black swan era, tired of putting others before herself

pinterest board / playlist

so insecure, so uptight: lore.

tw: emotional neglect, gambling

Childhood:

For as long as Freya can remember, her identity has been tied to her responsibility as the eldest daughter of the Chen family. While her father was busy running his tech start-up, her mother filled her days flitting around social events along the west coast, which left the Chen sisters to look after each other. Though they were occasionally cared for by their paternal grandparents, Freya was always the one that shouldered the responsibility of making sure her sisters, Grace and Elise, were eating well, doing their homework, and generally being good girls.

The sisters wanted for nothing, thanks to their father's lucrative career, but their parents weren't very involved in their upbringing. In fact, the only time they got to spend with their parents individually were either when they were being paraded around their mother's social circles or acting as idle spectators whenever their father had his partners over for poker nights (Freya much preferred the later, since it involved minimal socializing and lots of people watching).

As soon as they were old enough, their mother signed Freya and her sisters up for dance classes as a way to get the girls out of her hair, even for just a few extra hours at a time. Though her sisters only stuck with the classes until they finished high school to humor their parents, Freya genuinely fell in love with dance and continued her training, specifically in ballet. 

Adolescence:

As her sisters grew older and were able to look after themselves, Freya felt comfortable enough to devote more of her energy to dance. She signed up for every class and workshop she could find to improve her skills. And when the opportunity presented itself to study at a prestigious arts academy, she leapt at it. 

Dance was a respite for Freya. Not only did rehearsals and conditioning get her out of the house (and out of her own head) for long stretches of time, she found that with her Type A personality, she genuinely enjoyed the discipline and attention to detail it took. After college, she was presented with the chance to audition for the New York City Ballet and Miami City Ballet companies.

But what should have been an exciting time for Freya, finally getting to forge her own path and pursue her dreams, came with a crushing reality check when her father was arrested a week after her college graduation for defrauding his investors and gambling away their money. And so went Freya's chance to chase that elusive dream. As the eldest, she felt obligated to stay in California and help her mother sort through the wreckage of their financials while her sisters finished their own studies.

Present Day:

After graduation, Freya took up any odd job she could to help her family climb out of the financial hole they were left in by her father. She started teaching beginner-level dance at a local studio, where she found the unlikely opportunity to dance onstage again and make a little extra cash as a burlesque performer.

Though she was initially intimidated by the new challenge, far more comfortable with the structure of ballet, Freya found that she enjoyed the art form and getting to create and play up a persona that was nothing like herself. Thus, Scarlet Rouge was born, Freya's Jessica Rabbit-inspired stage alter ego.

But her mother was none too happy about the revelation of where Freya's extra money was coming from. Forget the fact that she was actually putting her dance education to use, or that her new gig had fostered a curiosity for making and mending clothes, something that could certainly serve them well. The only thing her mother could focus on was how trashy it looked that her sweet ballerina had turned into a showgirl.

But a girl can only give up so much. Realizing that her life is nothing like she envisioned it would be, Freya couldn't take it anymore. Done with putting her family's happiness over her own and unwilling to give up anything else for them, she took off. The girls were old enough now, had graduated college and started their lives. They didn't need her anymore, right?

As a way to make a little extra money, Freya frequents casinos and anywhere with a billiards table where she might be able to squeeze a couple hundred dollars from unsuspecting patrons. Typical that the gambler's daughter would pick up a few of his tricks over the years. The only difference is, she isn't dumb enough to get caught. Even if it means moving her whole life up to Alaska. 

i break my neck to be polite: stats.

General Info: Full Name: Freya Angelique Chen. Nicknames: None. Age: 28. Date of Birth: December 30th, 1995. Zodiac Sign: Capricorn. Gender: Cis woman. Pronouns: she/her. Sexual Orientation: Pansexual. Romantic Orientation: Panromantic. Alignment: True Neutral. MBTI: INTJ, the Architect.

Appearance: Faceclaim: Han Dong. Height: 5′6. Eye Color: Brown. Hair Color: Black naturally, but she's been dying it red for the last couple of years / lets it fade to shades of orange and pink before refreshing her color. Has experimented with her hair color in the past, but is currently loving the red. Tattoos: None. Piercings: One earlobe piercing on each ear, a conch piercing in her right ear.

Background: Education: BFA in dance, attended prep school throughout her high school years. Occupation: Apprentice at the Sorceress' Dress, burlesque dancer under the name Scarlet Rouge at Sweet Cheeks Cabaret & Burlesque Lounge, seamstress. Residence: The Seal Harbor Apartments ( in the basement apartment under Maiden Alley Cinema ). Class: Working. Ethnicity: Chinese. Language(s) Spoken: English / Mandarin.

Identity: Label: the sacrifice. Positive Traits: hard working, charming, practical, gracious, resourceful. Negative Traits: pessimistic, hesitant, secretive, pretentious, rigid. Quirks/Habits: bites her nails, bounces her leg, will idly stretch and roll her neck/shoulders. Love Language: Acts of service. Hobbies: sewing, reading, putting together puzzles. Likes: floral sundresses, scented candles, beautiful journals, crystal paintings, gold jewelry. Dislikes: talking about her problems, being underestimated. Fears: losing herself, ending up like her father.

#anchorintro

[escondidolibrary]

Join us on our Facebook page and upstairs in the Turrentine Room on August 12, 3:00 to 4:30 p.m. for a live performance from Bruce and Beverly Reese Dorcy: From Beethoven to Broadway!

About Bruce and Beverly:

Beverly Reese Dorcy (piano/percussion) was formerly principal percussionist with the Fresno Philharmonic, Tacoma Opera, Bellevue (WA) Philharmonic, Women's Philharmonic, Monterey Opera, Golden Gate Opera and Classical Philharmonic. She has also performed extensively with the San Diego Chamber Orchestra, San Diego Symphony, San Diego Opera and Sun Valley Summer Symphony in Idaho.

Bruce Dorcy (french horn) was a member of the National Ballet of Canada and Canadian Opera Orchestras for 24 years (asst. principal/third horn) and the Tafelmusik Baroque Orchestra for 11 years (principal horn). He also played on Broadway in New York for 6 years ("Fiddler on the Roof", "Promises, Promises", “Man of La Mancha”). Occasional performances with the New York City Opera, Seattle Symphony, Seattle Opera, Toronto Symphony, San Francisco Opera, Western Opera Theatre, Opera San Jose, Monterey Opera, Monterey Pops, Golden Gate Opera, San Diego Chamber Orchestra, Las Vegas Philharmonic etc.

This event is presented by Friends of the Escondido Public Library.

#2ndsaturdayconcert #freeconcert #libraryconcert #bruceandbeverlyreesedorsey #library #escondidoca #cityofescondido #sandiegocounty #northcountysandiego

[lovelyballetandmore]

City Ballet School of San Diego | Photo by Sophie Robertson

#city ballet school of san diego #white tights #balletphotography #ballet slippers #fifth position

[alldancersaretalented]

Most first place wins at Jump per Studio

Only includes Studios with three or more wins!

JumpStarts:

Club, Larkin (12)

Stars (8)

Dance Town (7)

CSPAS (6)

Dance Unlimited, Southern Strutt (5)

Danceology, NorthSide Dance Project, Studio L Waldwick/Hoboken, The NINE Dance Academy, The Rock (4)

Danceplex, Elite Feet Artists Company, Evolve Dance Complex, Expressenz Dance Center, Legacy Dance Studio, Maries Dance Studio, Modern Conceptions of Dance, The Pointe PAC, Yoko's Dance (3)

Minis:

Stars (28)

Club (27)

Evolve Dance Complex (17)

Larkin (11)

Danceology, Westchester Dance Academy(10)

Project 21 (8)

Academy of Ballet and Jazz, The Rock (7)

Prodigy Dance and PAC, The Pointe PAC, Williams Center Rhythms Factory, YYC Dance (5)

CSPAS, Maries Dance Studio, New Level, NorthSide Dance Project, Studio L Waldwick/Hoboken, Collaborative at Encore Studio, Dance Centre, Dance Zone (4)

Dance Enthusiasm, Dance Town, Dance Unlimited, Danceplex, IMPAC Youth Ensemble, Just Off Broadway, Katy Kress Dance Revolution, MBA, Rock City Dance Center, San Diego Dance Centre, Southern Strutt (3)

Juniors:

Stars (23)

Danceology (18)

Club (12)

Evolve Dance Complex (11)

Larkin, Project 21, Westchester Dance Academy (10)

The Rock (8)

Prodigy Dance and PAC, WDP (7)

Michelle Latimer DA, Tawn Maries Dance Center, Dance Centre (6)

Creative Arts Academy, Southern Strutt (5)

CSPAS, Elite Danceworx, For Dancers Only, Nor Cal, Trilogy Dance Co, Woodlands Underground (4)

Academy of Ballet and Jazz, CC & Co, Center Stage Dance Studio, Columbia City Jazz, Dancewors Costa Rica, Denise Wall's, Hunterdon Hills Ballet, Just Off Broadway, Kim Massay, Maries Dance Studio, The Company, The Pointe PAC, Vision Dance Alliance, Warehouse Dance Complex (3)

Teens:

Stars (22)

Larkin (16)

Danceology (15)

WDP (12)

Denise Wall's, Michelle Latimer, Prodigy Dance and PAC, Project 21, Westchester Dance Academy(8)

Elite Danceworx (7)

Club, Columbia PAC, Murrieta Dance Project, Nor Cal, Dance Centre, The Rock (6)

Columbia City Jazz, CSPAS, Danceworks Costa Rica, Jean Leigh, Main Street Dance, Dance Club, YYC Dance (5)

Hunterdon Hills Ballet, Jazzgoba Dance Academy, Music General, Dance Kollective, Project at HTX (4)

AVID Dance Productions, CCJ Conservatory, Creative Arts Academy, Dance Arts Center, Dance Industry PAC, For Dancers Only, Kim Massay, Noretta Dunworth, Warehouse Dance Complex, WCSA, Williams Center Rhythm Factory(3)

Seniors:

Stars (20)

Westchester Dance Academy (13)

Elite Danceworx, WDP (10)

Larkin (9)

Denise Wall's, Michelle Latimer (8)

Nor Cal (7)

Dance Industry PAC, Dance Town, Murrieta Dance Project (6)

CCJ Conservatory, CSPAS, DanceMakers of Atlanta, Kim Massay, Royal Dance Works, South Tulsa Dance Co (5)

CC & Co, Columbia PAC, Danceworks Costa Rica, Prodigy Dance and PAC, Studio for the Living Arts, Winner School (4)

Allegro Performing Arts Academy, Artistic Fusion, Canadian Dance Co, Center Stage Dance Studio, Club, Columbia City Jazz, Dance Arts Center, Dance Unlimited, Danceology, For Dancers Only, Kingwood Jazz & Company, Maga Domene & Co Estudio de Danza, Maries Dance Studio, Music General, NorthPointe Dance Academy, Northwest Dance and Acro, Rios Dance, Spotlight Dance Works, Studio 413, Dance Centre, The Rock, Southern Strutt, YYC Dance (3)

Top 15 Overall:

Stars (101)

Club (60)

Larkin (58)

Danceology (50)

Westchester Dance Academy (41)

Evolve Dance Complex (33)

Project 21, WDP (29)

The Rock (28)

CSPAS, Prodigy Dance and PAC(24)

Michelle Latimer (23)

Elite Danceworx (22)

Denise Wall's, Nor Cal, Dance Centre(19)

Dance Town (18)

Southern Strutt (17)

Dance Unlimited, Maries Dance Studio (15)

#stars with 40 more than 2nd place #they might be problematic #but they do create amazing dancers #keep in mind that stars students travel a lot more than larkin dancers #stars #larkin #project 21 #westside dance project

[sgsminabags]

Fendi Handbags style scene this season

aesthetic" boil down to athleisure and logomania garb. Cargo pants are another fall trend dominating the street Replica Fendi Handbags style scene this season. Some say fashion is in distress, but based on the styles both on and off the runways at the spring 2023 menswear collections, it's looking more like a state of undress, to me. This season's street style was all about bareness bare arms, bare midriffs, just.

With a pair of Nikes, for starters, along with a cool pair of shades and a Vuitton bag. Think of these videos like moving portraits capturing not only fashionable subjects, but also the atmosphere and moment in time they're living in. "It made it more exciting. "When we moved to San Francisco eight years ago, I discovered so many new online stores and Instagram accounts and resale platforms and apps.

That might not sound radical, but dressing independent of social status, gender norms, body type, and occasion is still a revolutionary idea in the world at large. Just think of all the fashion diktats you know no white after Labor Day, no skirts for men, no horizontal stripes lest they accentuate the wrong curve.

Are you ready for some Scandimania. We hope so because Acielle of Style du Monde is on the street capturing Copenhagen's vibrant street style at fashion week here. It's been a minute since ballet flats were trendy, but they're staging a return this year. From G Dragon at the Chanel cruise show in Monaco to the Apatow family at Louis Vuitton's show in San Diego, the A listers are not only turning up for the season's biggest resort shows, but bringing their A game as well.

So Vogue went out and captured the creative and inventive street style that fills the City of Angels on a signature sun soaked afternoon. On the Brooklyn Grange rooftop farm, where designer Hillary Taymour had constructed a runway between the kale and basil harvests, another was wearing a vintage Versace blouse with translucent white pants and a coral necklace the size of the Great Barrier Reef.

We've learned a lot from this Fendi Bags latest batch of photos. Sometimes all you need to tie your entire look together is a plain white T shirt. And what better way to start than with A.P.C, a brand synonymous with the unwashed garment. After all, raw denim only gets better with age, so investing in their Brandy' jacket and standard straight leg jeans is a win win.

On TikTok, where the pandemic spurred a massive interest in DIY and craft, Gen Z will as easily fawn over JW Anderson's new cardigan as they will make or thrift their own. After Miu Miu's midriff mania spring 2022 show, the model and influencer Devon Lee Carlson created a video showing her chopping up a vintage Fendi Handbags suit into a cropped blazer and microskirt inspired by Miuccia Prada's runway.

#Fendi

[newmusicweekly]

“He Stopped Loving Her Today” Cover by Jillian Lee Antinora Sees Through A Story That Leaves A Cut

Jillian Lee Antinora’s release of “He Stopped Loving Her Today” is a cover of the country classic, first sung by George Jones. “He Stopped Loving Her Today” is a heart-rending song that is sure to move listeners to tears as they recall the heartbreak that could have wrecked and changed them. “This is such a beautiful and touching song, and I am just happy to get to sing it!”, says a giddy Jillian when asked what encouraged her to make a cover of this classic song. Listen Here “He Stopped Loving Her Today” a 1980 masterpiece by George Jones, unremittingly adheres to the generalization that country music is mostly sad. The song, composed by Bobby Braddock and Curly Putman, has won Grammy, Academy of Country Music, and CMA awards. “He Stopped Loving Her Today” is indeed no ordinary song. Jillian is a folk singer-songwriter based in Fort Collins, CO. Music has been a major part of her life since her teenage years. She studied ballet and was classically trained in voice as a lyric soprano beginning at age 15 at American Music and Dramatic Academy (AMDA) in New York City, and a member of Actor’s Equity Association. Jillian has performed professionally in musical theatre and on cruise ships for 6 years before getting married in San Diego in 2002. In 2008, she returned to Fort Collins, CO, where she now lives with her husband and their six children. Jillian and her husband, TJ, own 3 Subway restaurants, and she runs her own real estate agency. Jillian Read the full article

[womansunsky]

Singing success 360 church unlimited

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#Singing success 360 church unlimited

[newmusicradionetwork]

Jillian Lee Antinora’s Sophomore Album is an Encapsulation of Life and Love

Singer-songwriter Jillian Lee Antinora is characteristic for divulging the matters of her heart in a relatable and candid way. Her sophomore album, out now, is no different. Covering topics from friendship, motherhood and all the nooks and crannies of life in-between, Wash Over Me is an album presenting the realities of authentic connection and finding hope above all. “The songs on this album were written during the pandemic and share some of my struggles and lessons learned,” she explains. Tracks like “Can’t Walk Away,” “Unfinished Song” and “Moonlight” all serve to share the genuine struggles which we all face in relationships. In “Can’t Walk Away,” Antinora sings “You’re not the only one who cries. Take comfort with the wise… Don’t ever compromise. I think it’s time for me to go.” In this way, her lyrics take on a comforting tone which listeners can easily connect with. “Unfinished Song,” a track about a relationship gone too long, uses vivid imagery to convey the fire of love dimming to a low flame. “Moonlight,” on the other hand, is a contemplative ballad on the internal struggles surrounding love over loneliness. While these songs all serve to bring insight on the topic of love, each is distinct in their own manner and tell a story with artful ease. While Antinora typically stays within the realm of folk singer-songwriter, her newest record finds the artist pushing beyond her bounds. Incorporating evocative strings, soulful harmonica and even occasionally leaning on rock sensibilities, Wash Over Me is cohesive while also being versatile. Other tracks on the album like “Lighthouse” lift up the beauty of friendship while “You’re Worth It” is a song dedicated to her children and the realities of motherhood. Utilizing her everyday world to tell a bigger story, “Give Me A Sign,” Antinora explains, was actually inspired by her dying succulent but later morphed into a relationship song. “Moving On,” on the other hand, finds Antinora digging deeper into the darkness which can prevail during hard times as she asks the question, “how much more can a soul take?” Always keen to end things on a hopeful note, “Wash Over Me” evokes warmth and positivity as she sings, “give me your tears, rest my mind and soul.” The track, which seems to encapsulate Antinora’s purpose as an artist, reminds listeners of the importance of “finding our place of peace and rest.” Finding beauty in everything, Wash Over Me is an album brimming with love. ABOUT JILLIAN LEE ANTINORA: Jillian Antinora is the lead singer, songwriter, and guitarist for her compositions. Jillian was born in Belleville, Illinois. She grew up in Las Vegas, NV, and later moved to Colorado Springs, CO. Growing up, she studied ballet and was classically trained in voice as a lyric soprano beginning at age 15. In 1996 she moved to New York City to attend American Music and Dramatic Academy (AMDA) and pursue her dream of working in the theatre. She worked professionally in musical theatre around the U.S. and on cruise ships for 6 years before getting married in San Diego in 2002. She then lived in Sicily for 3 years where she studied opera. In 2008, she returned to Fort Collins, Colorado where she now lives with her husband and their 6 children. Jillian and her husband TJ own 3 Subway restaurants, and Jillian runs her own real estate agency. Jillian began playing the guitar and writing songs when her youngest child was born in 2015. Jillian released her first album, Make My Day in June of 2021, a Christmas EP Joys of Christmas in November 2021 and her second album, Wash Over Me will be released August 2022. She loves writing these songs and she hopes you love listening to them! Read the full article

[artblogart]

The incomplete list of Female Architects Throughout history

The incomplete list of Female Architects Throughout history There are actually not that many female architects in history, Why? Of course there was a time in recent history you could not educate yourself as an architect slash engineer for so long. When I studied Architecture and Design at the Technology University TU there were way less female students compared to today's numbers. Still, their contribution to architecture and furniture design is quite significant, and they are only recently adequately appreciated for their pioneer mentality. Don't forget that the world of business and art was run by men for long in those early days. Honoring their courage and persistence to keep on working against the tide should be honored a bit more I think. They should be appreciated as the Madonna's and Gagas of their times. Some of these architect bureaus hired only female workers to make it possible for other females to enter this very competitive architecture world. That they did that for that sole reason alone reveals a clue about the difficulties to keep on building ships that kept on floating above the waterline as a female architect. Here is that list:

Denise Scott Brown 1931

Denise Scott Brown Projects: Sainsbury WingAllen Memorial Art MuseumSeattle Art Museum 

Marion Mahony Griffin 1871 1961

Marion Mahony Griffin Projects: Fishwick housePalais Theatre Fair Lane 

Norma Merrick Sklarek 1926 2012

Norma Merrick Sklarek Projects: US Embassy in Tokyo San Bernardino City Hall California Terminal One at LAX Los Angeles 

Eileen Gray 1878 1976

Eileen Gray Projects: E-1027 MansionVilla Tempe A Paia 

Lina Bo Bardi 1914 1992

Lina Bo Bardi Projects: Sao Paulo Museum of Art Teatro Oficina Casa de Viaro SESC Pompeia

Charlotte Perriand 1903 1999

Charlotte Perriand Projects: Les Arcs 1800

Jane Drew 1911 1996

Jane Drew Projects: Kenneth Onwika Dike University Library

Sophia Hayden 1868 1953

Sophia Hayden Projects: Woman’s Building World’s Colombian Exposition

Julia Morgan 1872-1952

Julia Morgan Projects: More than 700 buildings in California Hearst Castle California Women Shelter buildings YMCA buildings Berkeley City Club Chapel of the Chimes

Louise Blanchard Bethune 1856 1915

Louise Blanchard Bethune Projects: Hotel Lafayette Buffalo Meter Company

Anne Tyng 1920 2011

Anne Tyng Projects: Remarkable House

Elisabeth Wilbraham 1632 1705

Elisabeth Wilbraham Projects: First Female Architect. She designed 400 Buildings Houses and Churches Weston Hall Wotton House

Lilly Reich 1885 1947

Lilly Reich Projects: Famous for her connection with Mies Van Der Rohe Codesigning Furniture with Mies Van Der Rohe Barcelona Pavilion Villa Tugendthat

Maya Lyn 1959

Maya Lyn Projects: The Last Memorial Above And Below Vietnam Veterans Memorial Museum of Chinese in America Civil Rights Memorial

Susan Torre 1942

Susan Torre Projects: Carboneras Community The Skirt House Fire Station Five

Vera Schrader 1926 1983

Vera Schrader Projects: Casimir Lyceum Amstelveen Bibliotheek Arnhem Houseboat Pardoes Furniture Design together with Gerrit Rietveld Schrader house Amstelveen Solar house San Diego

Mary Colter 1869 1958

Mary Colter Projects: Desert View Watchtower Grand Canyon Hopi House

Beverly Willis 1928

Beverly Willis Projects: River Run Residence San Fransisco Ballet Building Yerba Buena Gardens

Katherine Briconnet 1494 1526

Katherine Briconnet Projects: Designing a castle ruin into a new Castle Chenonceau Tower, Castle Tower

Virginia Andreescu Haret 1894 1962

Virginia Andreescu Haret Projects: Georghe Sincai High school Recedentu Spiru Haret.

Thanks for reading.

#architecture #art #chaisse longue #design #home & lifestyle #curators #museums #furniture #female #feminsm #culture #world history #heritage #monument #museum