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supamuthafuckinvillain:

blaquezilla:

pinkcookiedimples:

Emmanuel Hudson distributing life

Bliss

This ruined me.

killathegawd:

silentnefertiti:

My architecture professor did this and I almost walked the fuck out.

Nigga just drew a portal to chalk zone fam.

killathegawd:

silentnefertiti:

My architecture professor did this and I almost walked the fuck out.

Nigga just drew a portal to chalk zone fam.

b0mbshell101:

🍍 I follow back 🍍

b0mbshell101:

🍍 I follow back 🍍

inbalanced:

Me on my period: sings Bleeding Out by Imagine Dragons for entire week

  • First episode of Orange is the New Black: Wow this theme song is long
  • Halfway through the season: THE ANIMALS THE ANIMALS IS TRAPPED TRAPPED TRAPPED TILL THE CAGE IS FULL THE CAGE IS FULL THE DAY IS NEW AND EVERYONE IS WAITING WAITING ON YOU AND YOOOOOOOOOOUVE GOT TIIIIIIIIIIIIIIME
supermodelgif:

'A Head for Business and a Body for Sin'. Karlie Kloss photographed by Roe Ethridge for Acne Paper, Winter 2012.

supermodelgif:

'A Head for Business and a Body for Sin'. Karlie Kloss photographed by Roe Ethridge for Acne Paper, Winter 2012.

theattractiveboys:

@cristianthezucr

theattractiveboys:

@cristianthezucr

strechanadi:

"With Cojocaru the story changes. There is no doubt that she is one of the great actresses of the ballet stage; in fact, she seems to be making up the story as she goes along. One imagines she must be slightly unsettling to dance with, with her spontaneous pauses, glances, and unpredictable reactions. Alongside her febrile, excitable Giselle, Hallberg’s Albrecht took on a different hue. The ballet became less the story of a mutual attraction and more that of a nobleman intrigued by the inner life of a volatile young girl. As for Cojocaru’s Giselle, how could she not fall in love with this blonde idol towering over her? The two seemed to hail, not from different social classes, but from different universes.
Besides her spontaneity, what one notices about Cojocaru is her phrasing, the way she plays with timing, cutting things short or extending them to create a sense of excitement. At this point in her career, there are also aspects of her technique that are less than full-throttle. Her diagonal of hops on pointe, while the other leg traces circles in the air, hardly travels forward. The receding series of beaten jumps that so often creates the illusion of floating backward into space (like a spirit) doesn’t have quite enough force. But she compensates with other aspects: the ultra-legato phrasing of the pas de deux, a series of scurrying bourrées into the wings that make her feet look like a blur. Cojocaru has more than earned the right to pick her battles.” 
http://dancetabs.com/2014/06/american-ballet-theatre-giselle-new-york-2/

strechanadi:

"With Cojocaru the story changes. There is no doubt that she is one of the great actresses of the ballet stage; in fact, she seems to be making up the story as she goes along. One imagines she must be slightly unsettling to dance with, with her spontaneous pauses, glances, and unpredictable reactions. Alongside her febrile, excitable Giselle, Hallberg’s Albrecht took on a different hue. The ballet became less the story of a mutual attraction and more that of a nobleman intrigued by the inner life of a volatile young girl. As for Cojocaru’s Giselle, how could she not fall in love with this blonde idol towering over her? The two seemed to hail, not from different social classes, but from different universes.

Besides her spontaneity, what one notices about Cojocaru is her phrasing, the way she plays with timing, cutting things short or extending them to create a sense of excitement. At this point in her career, there are also aspects of her technique that are less than full-throttle. Her diagonal of hops on pointe, while the other leg traces circles in the air, hardly travels forward. The receding series of beaten jumps that so often creates the illusion of floating backward into space (like a spirit) doesn’t have quite enough force. But she compensates with other aspects: the ultra-legato phrasing of the pas de deux, a series of scurrying bourrées into the wings that make her feet look like a blur. Cojocaru has more than earned the right to pick her battles.”

http://dancetabs.com/2014/06/american-ballet-theatre-giselle-new-york-2/

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