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Misty Copeland Dances Romeo + Juliet, Tschaikovsky Pas de Deux & White Swan at Vail Dance 2015

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Bob Fosse dance numbers -  " The Rich Man's Frug "

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Derek and Julianne Performance  -  Dancing with the Stars

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This is 90s Mexican Pop Icon Selena Quintanilla Perez (No relation to Ms. Perez) NOT Selena Gomez

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The free bird leaps
on the back of the wind
and floats downstream
till the current ends
and dips his wings
in the orange sun rays
and dares to claim the sky.

But a bird that stalks
down his narrow cage
can seldom see through
his bars of rage
his wings are clipped and
his feet are tied
so he opens his throat to sing.

The caged bird sings
with fearful trill
of the things unknown
but longed for still
and his tune is heard
on the distant hill
for the caged bird
sings of freedom

The free bird thinks of another breeze
and the trade winds soft through the sighing trees
and the fat worms waiting on a dawn-bright lawn
and he names the sky his own.

But a caged bird stands on the grave of dreams
his shadow shouts on a nightmare scream
his wings are clipped and his feet are tied
so he opens his throat to sing

The caged bird sings
with a fearful trill
of things unknown
but longed for still
and his tune is heard
on the distant hill
for the caged bird
sings of freedom.

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Caged Bird by Maya Angelou - Caged Bird Poem

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The free bird leaps on the back of the wind and floats downstream till the current ends and dips his wings in the orange sun rays and dares to claim the sky. But a bird that stalks down his narrow cage can seldom see through his bars of rage his wings are clipped and his feet are tied so he opens his throat to sing.

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click on the picture of the gallery and flip through some

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April is National Poetry Month, but April 2020 has been like no other before. Because of the coronavirus, poets are sheltering indoors like the rest of us. Which got us wondering if it's possible to be creative or poetic with a pandemic going on? Turns out the answer is yes. We asked 10 poets to share what they've been working on.

Some wrote long poems, some short, some serious, some light. One poet really hopes Keytar Bear will be OK throughout this global pandemic, while another offers a glimpse into her mother's psyche in the midst of catastrophe. And one poet offers this important reminder: "We have a deep need for richness, sweetness, especially when everything is falling apart."

In this collection, the poets each address life navigating the coronavirus and the extreme cultural shifts we're all dealing with right now.

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April is National Poetry Month, but April 2020 has been like no other before. Because of the coronavirus, poets are sheltering indoors like the rest of us. Which got us wondering if it's possible to be creative or poetic with a pandemic going on? Turns out the answer is yes.

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Taylor Swift - Soon You’ll Get Better (Official Audio) ft. The Chicks

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Gucci's new creative director, the unknown Alessandro Michele, is a lot like the woman he champions: daring, curiously compelling-and with a streak of mystery and eccentricity.
When Alessandro Michele was appointed the new creative director of Gucci at the beginning of this year, the fashion firmament expressed a certain surprise at the positioning of a relative unknown at the helm of the storied billion-dollar Italian luxury brand. No one, however, was more surprised than the 42-year-old Michele himself. With the quirky, long-haired looks of a Merovingian king and a personal style that runs to flower-sprigged Lisa Corti hippie blouses, neckerchiefs that he scissors from lengths of Indian silks, and fistfuls of antique rings, Michele could not be further removed from the sleekly controlled understatement of his predecessor Frida Giannini, who left the company abruptly in January with her partner, then-Gucci CEO Patrizio di Marco.

"I wasn't even on the list," Michele says, referring to the presumed roster of high-profile industry talents whose names had been bandied about for the coveted job.

Di Marco's replacement, Marco Bizzarri (who had earlier doubled Bottega Veneta's revenue under his progressive leadership within the Kering Group), instead chose one of Gucci's battalion of behind-the-scenes designers-Michele had joined Gucci in 2002, initially working in London with Tom Ford.

"Fashion is about creating emotion-it's not necessarily rational," explains Bizzarri, whose first scheduled hour-long meeting with Michele-at the designer's apartment-segued into three hours discussing the future of the brand. "I thought, Why should I look for someone else when he can translate the heritage-and when the values of Gucci are in his veins?"

Giannini left before her fall 2015 menswear presentation, which was apparently runway-ready, and so Michele hit the ground running: It was said that he had only a week to create a replacement men's collection. "It's not exactly true," Michele tells me with a wry smile. "It was five days." His fall 2015 womenswear collection, meanwhile, was to be presented a month later.

Starting at 9:00 a.m. every day, the newly installed creative director worked intensively with his menswear designers; at 8:00 p.m., he joined the womenswear team. "It's when I understood what a big company it was," says Michele, who now counts some 70 designers on his staff. In short order, samples were made and fabrics sourced or created. Michele pulled treasured vintage pieces from his wardrobe to use as inspirational starting points, and many prints were taken from antique textiles in his own collection-not only the lengths of fabric assembled from frequent forays to antiques shops and markets around the world but even his carpets and fragments of his upholstery-all "to put together that kind of garden," as he expresses it. (Later he used the nineteenth-century rose-printed red toile that cushions the bed for his Boston terriers, Bosco and Orso-a crib repurposed from an Indian palanquin-as the unexpected lining of Gucci bags clasped with bridle motifs.)

Michele admits to obsessing about the collections "every single minute." He went to see Birdman, for instance, "but I wasn't looking at the film," he says, laughing. Instead he fixated on a certain striking red-painted corridor in the movie, which soon translated into the women's collection's urban set, with its industrial-metal floor and walls paved in black and white subway tiles and painted an oxblood red-a set that Michele peopled with wan, gender-unspecific young people, each of them dressed to suit their individual looks. (Unusually, he styles his shows himself.) The men's show featured crepe-de-Chine blouses with pussycat bows at the neck, or long-sleeved tees in a coral-red lace worn with shrunken jackets and duffle coats with sleeves cut to bracelet length. The berets and horn-rimmed glasses of a comic-book Left Bank intellectual, the patterned scarves twisted at the neck, and the hands clustered with rings, meanwhile, all evoked elements of Michele himself. (When we meet in Rome a couple of months after the show, where Michele is busy working on his 2016 resort collection, he is wearing no fewer than eleven rings-some stacked three to a finger-including a Deco platinum-and-sapphire example; a Georgian cabochon emerald; a carved pink stone skull from Codognato in Venice; a ruby-eyed Victorian snake; a new Gucci design; and a nun's ring banded with tiny nodules, each one signifying a different prayer.)

In a subtle homage, he used Abel Korzeniowski's haunting theme music from A Single Man -Ford's directorial debut-as his sound track. His time with Ford was "a beautiful experience," he says. "Tom has a quality like a movie superstar. And I love his vision of that beautiful, Halston-style seventies American woman."

Michele's own debut could hardly have been a more emphatic distancing from Giannini. "We are really such different people," he says. "Night and day. I am trying to cause a little revolution inside the company-to push another language, a different way to talk about beauty and sexiness, which is an old word. It's about sensuality now. When I started the first collection, I was thinking not in terms of fashion but in terms of attitude," he adds, "that sense of beauty which I tried to find for an old and beautiful and charming brand like Gucci."

The garrulous and engagingly unprocessed Michele is still wreathed in wonderment at his new role. Of Bizzarri he says, "He gives me the space to do what I want to do. I have to say that he is crazy-he said, 'Do whatever you want. Don't care about the money.' I risk a lot, too," he adds,
"because I destroyed everything."

This was certainly no seamless aesthetic transition: Michele entirely redefined what Gucci could represent, working in the very contemporary idiom of eclectically mismatched separates with a quirky vintage flavor, along with precious accessories that he likens to the relics of saints.

"It's not easy to live now," he says. "I think we need to dream. So I wanted to present an idea of something romantic, in dream time-like in a movie." He is also enjoying working with what he describes as "the Pop symbols of the company"-elements like the double-G logo and the company's trademark striped athletic ribbing.

Michele's mother was the first assistant to an executive at Rank films, a British company with studios in Rome. "A supercrazy lady, from this superstylish movie world," as he remembers her. "There is something eccentric about people like her that we miss today, so I built my fashion show around the idea of individuality. The way you dress is really the way you feel, the way you live, what you read, your choices. That's what I want to put into Gucci."

His father, in contrast, was "a bit of a shaman, with long hair and a beard." Michele has a collection of the walking sticks that his father carved with naturalistic symbols and poetic phrases. "He was a very simple man, but very powerful-he could identify the sound of each different bird; he would whistle the sounds and they would come, so I had the idea he was like Saint Francis. The only dream I have in my life is to be a little piece of my dad, because he was really happy."

The flora and fauna motifs, along with the sense of handicraft that Michele tries to weave into all his collections, recall not just his father's hippie magic but other aspects of his childhood, as when his aunt taught him to crochet in an effort to focus his wayward childish energies. "I still love to work with my hands," he says, admitting that now he picks up new stitches on YouTube and, when in London, makes pilgrimages to Liberty, the fabled department store, to buy needlepoint kits.

The Gucci design team has recently led a peripatetic life. Ford centered it in London, where he lives, while Giannini moved operations to Florence (birthplace of Guccio Gucci, who founded the company in 1921)-and much of the business side is based in Milan, where the company is in the process of relocating to a Mussolini-era aircraft hangar where Michele will stage his collections. Michele, though, prefers Rome. "There is something about the culture of the fifties and the cinema," he says of his hometown. "But I also need to travel. I need to go to London. You have everything there-present, past, future, exhibitions, theater. And real eccentricity is still very much alive with the English-the kids in the East End, beautiful English old ladies." He also loves contemporary Los Angeles dressing ("the way they put things together-it's not chic, but it's inspiring") and New York, where he shops vintage stores and where he will present his 2016 resort collection-"a couture show in a garage," as he explains. "I love couture, but the other side of me loves the street, and I think the mix of these two can create something new. When I go to New York and London, I love to see how very brave the young people are-they have no rules. Even the superchic ladies of the past, like Princess Irene Galitzine, had supermodern attitudes. Today they'd all be into street style."

Michele studied at Rome's Accademia di Costume e di Moda-he initially hoped to become a costume designer-where he was inspired by visits from the legendary Piero Tosi, who created the costumes, along with the hair and makeup designs, for such image-conscious auteurs as Visconti, Pasolini, and Fellini. "He is a monument," says Michele, "a god."

Eventually, however, Michele considered fashion a more pragmatic career choice and left the city at the age of 22 to design knitwear in Bologna for Les Copains. Three years later, he headed back home to work with Silvia Venturini Fendi, whom he found "curious about everything, and fun to work with-I think that if you work in fashion, you need fun. And the Fendi Baguette," he adds, "was exactly my idea of a 'relic'-this is what I'm trying to do with Gucci."

Michele admits that his eclectic vision and references are complicated for a design team to follow. He might cite Jane Austen ("I try to find the right dress of a modern Emma") or the weird pastel film quality in an old Fellini movie. "I'm very inspired from the past," says the man who calls his work "fake vintage" and washes many of his fabrics to give them a patina. "I'm not interested in the future-it doesn't exist yet-but I'm really interested in the past and the contemporary. My apartment is full of antique pieces, but I put everything together like a modern installation."

He shares a poetic eighteenth-century garret with his partner, Giovanni Attili, an urban-planning professor recently returned from working with the indigenous Haida Nation in British Columbia. Michele admits that it took him a while to tell the scholarly Attili that he owned 360 pairs of shoes.

"His taste was contagious," says Attili, who nevertheless exercised a rigorous editing program when they set out to decorate the apartment, which was a series of grim, low-ceilinged offices before their renovations restored the original high rooms, now filled with an embarrassment of objects and furnishings. "When I was on my own it was completely crazy," says Michele. "Twenty chairs to a room, for me, was completely normal. It was like a storage area." Aside from chairs, Michele's collections currently include a battalion of miniature portraits, a litter of Meissen porcelain pugs, a flight of Viennese painted birds, and a flutter of more feathered birds twittering away in Georgian gilded-cage musical boxes.

The couple also have a country house, where Michele worked in scenic isolation on the designs for his debut collections. Civita di Bagnoregio is an impossibly picturesque village two hours north of Rome, perched fantastically and precariously on top of a little mountain peak-like a landscape seen through the window behind a da Vinci Madonna.

In the late seventeenth century an earthquake killed 32 people here, and since then the mountain's volcanic rock has crumbled away by slow (and sometimes dramatically rapid) degrees until the village is now a fraction of its original size. "It's a very eccentric place for very eccentric people," says Michele approvingly, nodding to such former inhabitants as the madcap Torinese Marchesa Ferrero, who, according to locals, hosted Princess Irene Galitzine and the Agnellis amid La Dolce Vita -esque parties in her twelve-bedroom manse, with rooms painted fuchsia and scarlet and hung with Warhols and Fontanas-paintings that were brought into town by lolloping donkeys. Michele loved it the moment that Attili brought him here; almost immediately they found a ruinous house built from the stone rubble of a former monastery over a network of Etruscan caves and spent the next year and a half restoring it.

One day Attili heard the crashing of falling trees and looked from the terrace to see a large part of woodland moving slowly down the hill, like _Macbeth'_s Birnam Wood edging toward Dunsinane. "It was in the distance, so I felt protected," he says, "but it was really strange and macabre to see."

Nevertheless, as Michele says, "every single time we return it's like the first time. It's like a love affair. If we only have this opportunity for a month or a year, I don't care."

Of course, at Gucci's magnificent headquarters in the Palazzo Alberini, it's suddenly easy to understand Rome's special allure as well. Though its neoclassical facade was refaced in gleaming pale travertine in the nineteenth century, it was originally built in the early sixteenth century under the direction of Raphael. Michele's vast studio, fragranced with the musky odor of Santa Maria Novella's potpourri, occupies the two rooms constituting the former chapel on the palazzo's piano nobile, with an elaborate polychrome ceiling. It takes the breath away.

"This is the real Rome," he says proudly. "I never dreamed of something like this."

In short order, Michele has layered the modern polished-travertine slabs on the floor with a patchwork of antique Persian and Oushak rugs and placed a vast nineteenth-century partner's desk-now heaped with auction and exhibition catalogs, decorating magazines, and decorative art tomes-on top of it.
He has also created convivial seating groups with a suite of Napoleon III furniture that he left in its original boiled-egg yolk-yellow brocade but had piped in nail-headed coral-red ribbon and backed in a 1960s geometric print of the type that David Hicks used in his statement interiors. "Even in fashion I like to mix geometrics with florals," Michele says as he surveys the boards in the studio upstairs, which is covered with fittings pictures from his 2016 resort collection. "It's a cliché, but it's beautiful."

There are fourteen designers sitting in on that day's meeting as he painstakingly reviews all the images and the thickets of fabric samples. "I don't like a fashion show where you have only two prints-it drives me crazy," he says, gesturing to a wall smothered in the prints he is using in the show. "I'd rather a woman spend five hours choosing a coat or a shirt-I prefer that they have the choice, like in a toy store! But the people from merchandising are a little bit confused about this. . . ."

In the room next door are sketches for a few celebrity dressing projects, including Georgia May Jagger's dress-a lilac robe lavished with chinoiserie embroidery-for the Costume Institute gala in New York. (When Michele escorted her to the party a few weeks later, he found the "China: Through the Looking Glass" exhibition, he told me, "so inspiring that I want to redesign my whole collection!")

"I'm so happy," Michele says amid the carefully organized chaos, "because for me, every day I work is a new day. I don't care what will be tomorrow. It's incredibly beautiful to work on Gucci because I can translate all my passion-I can create the character I want. And I'm having a lot of fun."

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Inside the House of Gucci: Meet the New Creative Director

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Gucci's new creative director, the unknown Alessandro Michele, is a lot like the woman he champions: daring, curiously compelling-and with a streak of mystery and eccentricity.

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The history of the House of CHANEL | CHANEL

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From the birth of Gabrielle Chanel to the present day, discover the most important dates in the history of the House of CHANEL

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Chef's Table Pastry | Official Trailer [HD] | Netflix

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From the Broadway hit
Dear Evan Hansen

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"You Will Be Found" Virtual Choir | DEAR EVAN HANSEN

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For today's compilation post, I decided to put together some of my favorite sculptures. These ten have been chosen because they each possess a slightly dark feeling. I call them wickedly cool and though some lean more towards cool than wicked, they're all meant to give you a lasting memory and even, perhaps, a few goosebumps.

Crack The Whip by J. Seward Johnson

A sweet cemetery sculpture gets a bit creepy when an anonymous person places birthday party hats on their heads and brightly colored beads around their necks. This grouping of sculptures, by J. Seward Johnson, bring back memories of childhood days, and is one of the many focal points in the cemetery.

The Awakening by J. Seward Johnson

J. Seward Johnson also created The Awakening, a 100-foot statue of a giant embedded in the earth, struggling to free himself. The statue consists of five separate aluminum pieces buried in the ground, giving the impression of a panicked giant trying to pull himself to the surface.

American Merchant Mariners' Memorial by Marisol

The memorial, designed by artist Marisol, was based on a true event during World War II, in which a Nazi U-boat attacked an American merchant marine vessel. While the marines held on to their sinking vessel, the Nazis photographed the victims, then left. The memorial is directly inspired by one of those photographs.

What You See Might Not Be Real by Chen Wenling

Chen Wenling's sculpture shows a bull, meant to represent Wall Street, seen ramming the biggest con man of all time, Bernie Madoff, into a wall. The huge cloud coming out of the bull's rear not only refers to the end of a greedy era, but also symbolizes the danger of virtual bubbles in international financial markets.

Hot with the Chance of a Late Storm by The Glue Society

Many a child cried when this sculpture appeared at Tamarama beach. But the simple twist of making an entire ice-cream van melt all over the sand provided many more with the most potent climate change message imaginable. The work (created by The Glue Society) was even featured at the Paris Climate summit.

Emergence by Sayaka Kajita Ganz

Sayaka Kajita Ganz created these wild horse sculptures from trash-picked objects like plastic utensils, toys, and metals. She says, "By building these sculptures I try to understand the human relationships that surround me. It is a way for me to contemplate and remind myself that even if there is conflict right now, there is a way for all the pieces to fit together."

Horizons by Neil Dawson

Though the jury's still out as to whether this sculpture by Neil Dawson is in fact an optical illusion sculpture or a hoax, we're going with the former. The sculpture almost makes us feel as if we're living in a cartoon world.

Maman by Louise Bourgeois

Like a creature escaping from a nightmare, or a larger-than-life embodiment of a secret childhood fear, the giant spider Maman casts a powerful physical and psychological shadow. Over 30 feet high, the mammoth sculpture is one of the most ambitious undertakings in the long career of Louse Bourgeois.

Device to Root out Evil by Dennis Oppenheim

Dennis Oppenheim created this upside-down church made of galvanized structural steel, anodized perforated aluminum, transparent red Venetian glass, and concrete. Balancing on its steeple, the church is meant to look like it has been lifted by a terrific force and brought to the site as a method of rooting out evil forces.

Self by Marc Quinn

Marc Quinn's Self is a reproduction of the British artist's head composed of nine pints of his own frozen blood. It's Quinn's signature piece in the art world and it took him over a period of 5 months to complete. Can you say bloody brilliant?

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For today's compilation post, I decided to put together some of my favorite sculptures. These ten have been chosen because they each possess a slightly dark feeling. I call them wickedly cool and though some lean more towards cool than wicked, they're all meant to give you a lasting memory and even, perhaps, a few goosebumps.

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"Baby Shark" - The Parent Jam | Phil Wright Choreography | Ig: @phil_wright_

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One guy is a hip hop dancer and the other guy is a ballet dancer. Can you tell which is which?

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Alexander McQueen | Designer Fashion and Luxury Clothing

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Alexander McQueen | Designer Fashion and Luxury Clothing

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Welcome to the official online flagship for the Alexander McQueen fashion house. Discover designer clothing and accessories for men and women.

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John Galliano découvrir les collections et épisodes.

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What's New Babes?

NEW STYLES ADDED DAILY

VOLUNTARY RECALL

Universal Rechargeable Power Banks Product Recall Learn more

VOLUNTARY RECALL

Universal Rechargeable Power Banks Product Recall Learn more

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Shop Betsey Johnson Dresses, Shoes, Handbags, Accesories & more!

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What's New Babes? NEW STYLES ADDED DAILY Universal Rechargeable Power Banks Product Recall Learn more Universal Rechargeable Power Banks Product Recall Learn more

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Discover Vera Wang's iconic wedding dresses. Browse the complete Vera Wang collection of bridal gowns and designer ready-to-wear fashion from Vera Wang.

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Get featured in our makeup gallery by posting your MAC makeup photos and tagging @maccosmetics. Join the MAC cosmetics gallery and flaunt your skills.

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Waffles and Berries almost too pretty to eat. 

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Waffles and Berries almost too pretty to eat. 

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Sand castle time lapse 2 hours in 2 minutes

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Vincent van Gogh for Children: Biography for Kids - FreeSchool

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Leonardo da Vinci for Children: Biography for Kids - FreeSchool

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Biography of Claude Monet: Famous Artists for Children - FreeSchool

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Rembrandt for Children: Art History Biography for Kids - FreeSchool

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Biography of Mary Cassatt for Kids: Famous Artists for Children - FreeSchool

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Vermeer for Children: Artist Biography for Kids - FreeSchool

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Timelapse | Drawing, shading a realistic eye and teardrop with graphite pencils | Emmy Kalia

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A Slam Poem to Bacon (with Nick Offerman)

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3-year-old blows away audience with poem for Black History Month!

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What Is Theater? | Young Explorers | PBS LearningMedia

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Abby teaches kids about a variety of jobs needed in a stage production including the cast, crew and audience. Kids also learn about the different spaces in a theater and how cues are used to communicate.

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MATILDA, THE MUSICAL (Broadway) - Medley [LIVE @ 2013 Tony Awards]

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The cast of the hit Broadway musical MATILDA, perform a medley with songs from the show live at the 2013 Tony Awards

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Katy Perry

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Katy Perry

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Fortnite - The Chicken Wing Beat (Official Fortnite Music Video) | Chicken Wing It | NEW EMOTE

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The first boy is Yashmit in Ms. Perez's class!