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worshippdsun · 1 year

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Tags and Tagging System

Here's a rough estimate of my tagging system. Generally speaking, I try to tag in a way that makes things easy to sort and identify, as well as ensuring various intellectual properties and creators are properly credited (when possible). If you think I forgot to tag something, tagged something incorrectly, or would like to suggest a new tag, just let me know! This list is ever changing and will be edited as I start using new tags, stop using old ones, change the tags I use, etc., so it is subject to change.

General Content Tags

oc art

fan art

digital art

not art

worshippdsun art

not my art

not worshippdsun art

artist: x

text post

long reads

worshippdsun info

digital art

artists of tumblr

image undescribed

image described

id in alt text

Trigger and Content Warning Tags

blood

blood tw

gore

gore tw

eyes

eyes tw

epilepsy warning

eyestrain

eyestrain tw

moving images

flashing tw

nsfw

nsfw art

nsfw text

suggestive content

Fan Content Tagging

This is a NON-EXHAUSTIVE directory of tags I use/may use for fan content on my blog. These are examples of tags that I (may) use, as well as my general format for tagging media and characters. A bold tag indicates the start of a new "section" or fandom, but is still a tag itself, it's not just a title. Underneath that will be examples of additional tags for that franchise and/or some examples of character tags. None of these are exhaustive, not all of these tags may have content for them (yet), and this list is SUBJECT TO CHANGE.

Star Trek

The Original Series

TOS

The Next Generation

TNG

Voyager

VOY

Deep Space 9

DS9

Spock

S'chn T'gai Spock

James T. Kirk

Leonard Bones McCoy

Data

Data Soong

Overwatch

Overwatch 2

Reinhardt

Junkrat

Soul Eater

Spirit Albarn

Team Fortress 2

Medic TF2

Heavy TF2

Spy TF2

Portal

Portal 2

Aperture Science

GLaDOS

Cave Johnson

JoJo's Bizarre Adventure

Phantom Blood

Battle Tendency

Stardust Crusaders

Diamond is Unbreakable

Golden Wind

Stone Ocean

Jolyne Cujoh

Jotaro Kujo

Rohan Kishibe

Narciso Anasui

Dio Brando

DIO

Spoiler Tags

These operate similarly to both the Fan Content and Trigger tags. As a general rule, if something contains spoilers for something else, the tag will be the same as the fandom tag + "spoilers". This can be more specific, such as for a specific season.

Example, if something has spoilers for the third part of JoJo's Bizarre Adventure, it will be tagged both "JoJo's Bizarre Adventure spoilers" AND "Stardust Crusaders spoilers".

The following list is a list of the spoiler tags I have used so far and I will try to keep it updated as I use more spoiler tags, but I make no promises about it being 100% accurate and exhaustive. I would suggest blacklisting the tag for a fandom and its spoilers (ex. "Undertale spoilers") even if it's not listed as a preemptive measure if it's something of major concern to you.

#not art #worshippdsun info #tagging system #tag list #navigation #long reads #text post

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alphst · 1 year

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Worley Ltd. (WOR) Q2 2023 Earnings Call Transcript

$WOR Q2 2023 Earnings Call Transcript #earnings #markets #investing

Worley Ltd. ( ASX : WOR) Q2 2023 earnings call dated Feb. 21, 2023 Corporate Participants: Chris Ashton — Chief Executive Officer and Managing Director Tiernan O’Rourke — Chief Financial Officer Analysts: James Byrne — Citigroup Inc. — Analyst Richard Johnson — Jefferies — Analyst John Purtell — Macquarie Research — Analyst Nathan Reilly — UBS Investment Bank — Analyst Rohan Sundram — MST Marquee…

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#Energy #Oil & Gas Equipment & Services

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teambuildingdeutsh · 1 year

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Teambuilding (( 2022 )) stream deutsch kostenlos HD-1080p

SehenSie sich den Teambuilding (2022) ganzer film auf Deutscher an. Sie können filme Teambuilding mit Deutscher untertiteln kostenlos stream und ohne registrierung genießen.

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Teambuilding Film (2022) – Schöpfer und Darsteller:

*Wo wird Teambuilding gestreamt? Finden Sie heraus, wo Sie unter über 45 Diensten, darunter Netflix, Hulu, Prime Video, online schauen können.

19. Oktober 2022 Im Kino / 1 Std. 51 Min. / Actionfilm

Regie: Eric McLeod, Lawrence Sher, Beau Flynn, Dwayne Johnson, Toby Emmerich

Drehbuch: Dwayne Johnson, Aldis Hodge, Pierce Brosnan, Noah Centineo, Sarah Shahi

Besetzung: Jamie Lee Curtis, Andi Matichak, Rohan Campbell

INHALTSANGABE

Vier Jahre nach den Ereignissen von "Halloween Kills" leben Laurie Strode (Jamie Lee Curtis) und ihre Enkelin Allyson (Andi Matichak) nach dem Tod von Mutter Karen noch immer gemeinsam in Haddonfield. Michael Myers (James Jude Courtney) hat in dieser Zeit niemand mehr gesehen, doch die Erinnerung an ihn lebt weiter.

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Da stellt sich sofort die Frage, ob das dann überhaupt legal sein kann. Absolut, denn die Betreiber finanzieren den Service – genau wie tausende andere Websites oder auch private Fernsehsender – über Werbung. Aber es gibt auch Gratisfilmangebote, bei denen von den Anbietern Urheberrechte verletzt werden. Für viele private Internetnutzer ist es schwer, legale Internetinhalte von Illegalen zu unterscheiden. Wichtig ist es zu wissen, dass reines Filme online ansehen normalerweise keine illegale Handlung ist. Zu einer Urheberrechtsverletzung kommt es vor allem aber dann, wenn geschützte Werke zur weiteren Nutzung kopiert oder unberechtigt verbreitet werden. Kostenlose Onlinefilme werden gewöhnlich als Stream übertragen. Der Videostream ist hierbei ein Datenfluss, der zwar zum privaten Computer übertragen wird, dort aber nur der einmaligen Wiedergabe in einem browserintegrierten Videoplayer dient. Einfacher gesagt kann man solche Onlinevideos nur einmal sehen, es entsteht keine Kopie und eine Verbreitung ist üblicherweise nicht möglich. Es empfiehlt sich aber, auf jeder Internetseite selbst die Legitimität zu prüfen. Wer rechtliche Bedenken bei einem kostenlosen Filmanbieter hat, sollte im Zweifelsfall nicht die Filme online anschauen.

Legal und gratis, online Filme schauen - ja klar!

Tatsächlich gibt es im Internet viele Portale, auf denen man kostenlos und legal Spielfilme, Serien und Musikvideos downloaden und gucken kann. Total angenehm spart man sich nicht nur den Weg zur Videothek sondern auch teure Leihgebühren. Das ständig wachsende Filmangebot ist mittlerweile schon so groß, dass kostenlose Onlinefilme eine reale Alternative zum deutschen Fernsehen bieten, und das bei vergleichsweise geringerer Werbung. Die Gratis-Filmportale verfügen oft über eine enorme Auswahl von unbekannteren Filmen bis hin zu Serien, Dokumentationen und kostenlosen Blockbustern in voller Länge.

So kannst du auf geomfilms.com.com online Filme streamen

Hier in der Film-Mediathek auf geomfilms.com.com kannst du dir Filme, die schon liefen online únd kostenlos schauen. Hier findest du spannende und beliebte Spielfilme von actiongeladenen Blockbustern wie VENOM, JOHN WICK III oder THE TRANSPORTER über Horror-Streifen wie FRIEDHOF DER KUSCHELTIERE oder THE APPARITION bis hin zu Komödien wie LOGAN LUCKY. Keine Werbung während der Streams.

Mit über 2500 Filmen im Angebot ist geomfilms.com wahrscheinlich der größte deutsche Anbieter in unserer Liste. Der Dienst bietet Apps für Apples App Store, Google Play, den Windows Store und Amazons Fire TV an. Damit funktioniert geomfilms.com.com nicht nur auf Smartphones und Tablets mit iOS und Android, sondern auch auf Windows PCs und Smart TVs. TV-Hersteller wie Samsung, LG und Sony unterstützen die geomfilms.com-App ebenfalls. Außerdem hat der Anbieter einen YouTube-Channel, auf dem täglich neue Filme erscheinen.

Die Filme in der kannst du legal und kostenlos streamen. Zuerst musst du dich auf mit deiner E-Mail-Adresse registrieren. Anschließend kannst du den Stream mit einem Gerät deiner Wahl, egal ob Smartphone, Tablet oder PC, schauen. Neben geomfilms.com Blockbustern findest du hier auch spannende Filme unserer Partnersender 'gomovies4k' die zum kostenlosen Online-Abruf bereit stehen.

Angebot und Features:

Legal und absolut kostenlos.

Auswahl von Science-Fiction bis Bollywood and Hollywood.

Übersichtlich sortiert, leicht zu bedienen.

Rubrik 'New' mit neu eingestellten Filmen.

Filmbewertung und Kommentarfunktion.

Film-Inhaltsbeschreibung und weitere Infos.

Akzeptable bis gute Bildqualität.

#teambuilding online #Teambuilding Germany #Wo wird Teambuilding gestreamt?

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lesterplatt · 1 year

Video

vimeo

Deciem - Beauty is _____ (ft. Sarah Thawer) from Aref Mahabadi on Vimeo.

Director/Editor: Aref Mahabadi Talent: Sarah Thawer Producer: Jordan Johnson Cinematographer: Dan Wood @dan_s_wood 1st AC: Mike Hofman @13hofman 2nd AC: Patrick Holmes @rpholmes Grip: Mahmoud Sarouji @mahmoudsarouji Gaff: Rohan Painter @rohanpaintercinematography Swing: Josh Ellis @josh.ellis17 Crane Tech: Rick Leger Crane Tech: Lee Smith Colourist: Clinton Homuth Colour Producer: @alsnmxwll Production Designer: Karen Selina @kkselina Set Dresser: Justin C Audio: Arthur Porte Sound Design: Philip Flindt Ballad.co Production Assistant: Nate Belgrave

MUAH Kaashni Brar Wardrobe provided by Guarav Sawhney @thenewdelhicompany Stylist Navi @thenewdelhicompany Henna: @sonias_henna_art Jewellery: @rjs_company Talent Assist/Stylist Laura Yiu Henna: @sonias_henna_art Jewellery: @rjs_company

Film processing/scanning: @Colorlabmd

Shot on Arri 416 w/ Super speeds Kodak 16mm Vision 3

#shotonfilm #16mm #kodak

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jayther · 2 years

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youtube

The tech which can charge an electric car in 10 minutes It's here, it's fast, and when batteries catch up to it, road trips will be a piece of cake! links 'n stuff: Aging Wheels' Road Trip Video (Featuring ME!) https://www.youtube.com/watch?v=1Vm_ASm2zfs The EV Charging Glossary (which is more of a beginner's guide now) https://youtu.be/Iyp_X3mwE1w Technology Connections on Twitter: https://twitter.com/TechConnectify The TC Subreddit https://ift.tt/0Ahjuao This channel is supported through viewer contributions on Patreon. Thanks to the generous support of people like you, Technology Connections has remained independent and possible. If you'd like to join the amazing people who've pledged their support, check out the link below. Thank you for your consideration! https://ift.tt/hUW3wal Oh, and look at these wonderful patrons! Ted Kern, Ellen Murray, CyberFox64, Tony Cook, Buckaroo Bunny Slippers, Ben Cook-Feltz, Sam Lentz, Lane Robert, MPc , Daniel Prows, thesgtbossman, Vincent Larson, Bryan Boettcher, Vladimir Solomatin, Ian Baltutis, MetricConversion , Joe Kudrna, Charlie Hart, Andrew Johnson, Robin Capper, Turaiel Rylis, Niklas Lehmacher, Ryan Newson, Steve Russell, Eric Anderson, John R, Jonathan Benjamin, Aging Wheels, Cameron Hawkins, mykie Gunderson, Daniel Westermann-Clark, Alex Rokholm (PapaQ), Ouros , Eric Cardwell, C222 , Ken Klavonic, Andrew Ewen, Stelly , TKB , Tímo , Derek Ledbetter, Tom Powell (zifnab06), geekiskhan , nikolaevarius , Nebelwerfer Granitara, Benjamin Rippel, Your mother was a hamster and your father smelt of elderberries, Cole Kurkowski, Chris Gerlinsky, Jonathan Lima, Tony Perkins, John Comtois, Kyle Halgerson, Phnod, Seth Junot, Jonathan Paz, Ruben Schade, SJ , Cory Durham, Rooster Ascot, Glen Parker, Edward Drozd, Sam Barber, Austin Whaley, Rohan Patil, Ryan Bateman, Ola Elias Lorås, Rob Coleman, Liam , Andira Muttakim, NextMan , Denis Phillips, Jon Adams, Eric Noriega, mak., Marcus Congdon, LoRNix, Bernardo Lopes, Damnable Nook, Kevin Ingersoll, C. A. Patrick Voigt, Andrew Hangsleben, Mike Jacob, Roddy Reavis, coudy , Alex Abebe, Charles Gillanders, sheepish.alpaca , Juhani Saarinen, Ashley Hakker, Salvatore Nuzzo, Jake Austin, Thibault Martin-Lagardette, ei, Rob Lion, Ohad Lutzky, Michael Young, Mirror, Rebecca Valentine, Justin Howell, Cmdr MadMax, Chris Miller, David Cawthon, Brian Taylor, Arnas , Jacob Kubacki, Bob Meyers, Michael V, Ross George, Kael, Micah Catlin, AZbytes , Sebastian S, NDM via YouTube https://www.youtube.com/watch?v=sZOuz_laH9I

#IFTTT #YouTube #The tech which can charge an electric car in 10 minutes #Youtube

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ofswordandcrown · 2 years

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Prince Emory Gauthier | Nick Jonas | Prince of Dele | Submissive Vers-Bottom

INTRO | THREADS | VISAGE

Lord Hand Kyros Parata | Dwayne Johnson | Hand of the King of Ondera | Dominant Top

INTRO | THREADS | VISAGE

Lysander Nardone | Kellan Lutz | Dragon Rider of Nok | True Versatile

INTRO | THREADS | VISAGE

Prince Matai Meksi | Lewis Tan | Prince of Eddis | Dominant, Versatile

INTRO | THREADS | VISAGE

Lord Mikael Gauthier | Kit Harington | Master of Coin of Dele | Dominant Vers-Top

INTRO | THREADS | VISAGE

Lord Rodrik Blacktyde | Michael Trevino | Master of Ships of Ondera | Dominant, Versatile

INTRO | THREADS | VISAGE

Queen Rohan Pithou | Hrithik Roshan | Queen of Nok | Dominant Top

INTRO | THREADS | VISAGE

Crowned Prince Zakar Vastic | Michael B. Jordan | Crown Prince of Rhorm | Switch (Both Dominant & Submissive) Vers-Top

INTRO | THREADS | VISAGE

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livornopress · 3 years

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FiPiLi Horror Festival: 3 film in anteprima nazionale, tra gli ospiti Petrolo e Frusciante

FiPiLi Horror Festival X edizione, 29-30-31 ottobre Livorno 3 film in anteprima nazionale, 1 in esclusiva e tra gli ospiti Lillo Petrolo, Federico Frusciante, Rohan Johnson, Loretta Fanella, Vera Gheno e Fabio Cantelli. Livorno 22 ottobre 2021 Il FIPILI Horror Festival di Livorno, festival della paura tra cinema e letteratura, giunge alla sua decima edizione dal 29 al 31 ottobre 2021. Unico nel…

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#Federico Frusciante #FIPILI Horror Festival #Lillo Petrolo #Loretta Fanella #Rohan Johnson #Vera Gheno e Fabio Cantelli

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swanlake1998 · 3 years

Link

Article: Five Pioneering Black Ballerinas: ‘We Have to Have a Voice’

Date: June 17, 2021

By: Karen Valby

These early Dance Theater of Harlem stars met weekly on Zoom — to survive the isolation of the pandemic and to reclaim their role in dance history.

Last May, adrift in a suddenly untethered world, five former ballerinas came together to form the 152nd Street Black Ballet Legacy. Every Tuesday afternoon, they logged onto Zoom from around the country to remember their time together performing with Dance Theater of Harlem, feeling that magical turn in early audiences from skepticism to awe.

Life as a pioneer, life in a pandemic: They have been friends for over half a century, and have held each other up through far harder times than this last disorienting year. When people reached for all manners of comfort, something to give purpose or a shape to the days, these five women turned to their shared past.

In their cozy, rambling weekly Zoom meetings, punctuated by peals of laughter and occasional tears, they revisited the fabulousness of their former lives. With the background of George Floyd’s murder and a pandemic disproportionately affecting the Black community, the women set their sights on tackling another injustice. They wanted to reinscribe the struggles and feats of those early years at Dance Theater of Harlem into a cultural narrative that seems so often to cast Black excellence aside.

“There’s been so much of African American history that’s been denied or pushed to the back,” said Karlya Shelton-Benjamin, 64, who first brought the idea of a legacy council to the other women. “We have to have a voice.”

They knew as young ballet students that they’d never be chosen for roles like Clara in “The Nutcracker” or Odette/Odile in “Swan Lake.” They were told by their teachers to switch to modern dance or to aim for the Alvin Ailey company if they wanted to dance professionally, regardless of whether they felt most alive en pointe.

Arthur Mitchell was like a lighthouse to the women. Mitchell, the first Black principal dancer at the New York City Ballet and a protégé of the choreographer George Balanchine, had a mission: to create a home for Black dancers to achieve heights of excellence unencumbered by ignorance or tradition. Ignited by the assassination of the Rev. Dr. Martin Luther King Jr., he founded Dance Theater of Harlem in 1969 with Karel Shook.

Lydia Abarca-Mitchell, Gayle McKinney-Griffith and Sheila Rohan were founding dancers of his new company with McKinney-Griffith, 71, soon taking on the role of its first ballet mistress. Within the decade, Shelton-Benjamin and Marcia Sells joined as first generation dancers.

Abarca-Mitchell, 70, spent her childhood in joyless ballet classes but never saw an actual performance until she was 17 at the invitation of Mitchell, her new teacher. “I’ll never forget what Arthur did onstage” she said of his Puck in “A Midsummer Night’s Dream” at New York City Ballet during a Tuesday session in January. “He made the ballet so natural. Suddenly it wasn’t just this ethereal thing anymore. I felt it in my bones.”

Marcia Sells, 61, remembered being 9 and watching with mouth agape when Abarca-Mitchell, McKinney-Griffith and Rohan performed with Dance Theater in her hometown, Cincinnati. “There in front of me were Black ballerinas,” Sells said during a video call in April. “That moment was the difference in my life. Otherwise I don’t think it would’ve been possible for me to think of a career in ballet.”

Shelton-Benjamin left her Denver ballet company, where she was the only Black dancer, turning down invitations from the Joffrey Ballet and American Ballet Theater, after reading a story about Dance Theater of Harlem in Dance magazine. Abarca-Mitchell was on that issue’s cover — the first Black woman to have that honor. At her Harlem audition, Shelton-Benjamin witnessed company members hand-dying their shoes and ribbons and tights to match the hues of their skin. Here, no traditional ballet pink would interrupt the beauty of their lines. “I had never seen a Black ballerina before, let alone a whole company,” Shelton-Benjamin, 64, said during a February Zoom meeting. “All I could think was, ‘Where have you guys been?’”

Finding one another back then, at the height of the civil rights movement, allowed them to have careers while challenging a ballet culture that had been claimed by white people. “We were suddenly ambassadors,” Abarca-Mitchell said. “And we were all in it together.”

They traveled to American cities that presented such a hostile environment that Mitchell would cancel the performance the night of, lest his company feel disrespected. But they also danced for kings and queens and presidents. In 1979, a review in The Washington Post declared their dancing to be a “purer realization of the Balanchinean ideal than anyone else’s.” Their adventures offstage were similarly electric, like the night in Manchester when Mick Jagger invited them out on the town. “We walked into the club with him and everybody just moved out of the way,” Shelton-Benjamin said.

Cultural memory can be spurious and shortsighted. Abarca-Mitchell was the first Black prima ballerina for a major company, performing works like Balanchine’s “Agon” and “Bugaku” and William Dollar’s “Le Combat” to raves. In an April Zoom session she said she first realized how left out of history she was when her daughter went online to prove to a friend that her mother was the first Black prima ballerina. But all she found was the name Misty Copeland, hailed as the first. “And my daughter was so mad. She said: ‘Where’s your name? Where’s your name?’ It was a wake-up call.”

While Abarca-Mitchell paused to wipe her eyes, Shelton-Banjamin stepped in: “I want to echo what Lydia said. There was a point where I asked the women, ‘Did it all really happen? Was I really a principal dancer?’ And Lydia told me: ‘Don’t do that! Yes, you were. We’re here to tell you, you were.”

Sells went on to a career that included serving as the dean of Harvard Law School, until she left this year to become the Metropolitan Opera’s first chief diversity officer. Shelton-Benjamin is now a jeweler who recently became certified in diamond grading. She, along with Abarca-Mitchell, McKinney-Griffith and Rohan, continue to coach and teach dance. They all have families, including another grandchild on the way for McKinney-Griffith, who announced the happy news to whoops on a recent call.

But they are done swallowing a mythology of firstness that excludes them, along with fellow pioneers like Katherine Dunham, Debra Austin, Raven Wilkinson, Lauren Anderson and Aesha Ash. It’s true that Misty Copeland is American Ballet Theater’s first Black female principal. It is also true that she stands on the shoulders of the founding and first generation dancers at Dance Theater. A narrative that suggests otherwise, Sells said, “Simply makes ballet history weak and small.”

Worse, it perpetuates the belief that Blackness in ballet is a one-off rather than a continuing fact. And it suggests a lonely existence for dancers like Copeland, a world absent of peers. “We could’ve been Misty’s aunties,” Abarca-Mitchell said. “I wish she was part of our sisterhood, that’s all.”

Dance Theater saved them from being the only one in a room. The work was so hard, the expectations so high, the mission so urgent, that those early days demanded a familial support system among the dancers. “Someone would take you under their wing and say, ‘You’re my daughter or sister or brother,’” McKinney-Griffith said. “The men did it also. Karlya was my little sister, and we kept that through the years.”

Like in any family, the relationships are complicated. The women speak of feeling shut out of today’s Dance Theater of Harlem. They are rarely brought in for workshops or consultations on the ballets they were taught by Mitchell. At his memorial service in 2018, they wept in the pews unacknowledged. “We’re like orphans,” Rohan said with a laugh in a Zoom session. “If the outside world neglects us, it seems all the more reason that Dance Theater of Harlem should embrace us.”

Virginia Johnson, a fellow founding member, is now the company’s artistic director. She assumed the helm in 2013 when Dance Theater returned after an eight-year hiatus caused by financial instability. “It makes me sad to think that they feel excluded,” Johnson said in a phone interview. “And it’s not because I don’t want them. It’s just because I can’t manage. I’ve probably missed some chances but it’s not like I haven’t thought about the value of what they bring to the company. They are the bodies, the soul, the spirit of Dance Theater of Harlem.”

“We all think about and love and respect what Arthur Mitchell did,” she added, “but these are the people he worked with to make this company.”

By the end of May, the five members of the 152nd Street Black Ballet Legacy were fully vaccinated. They traveled from Denver, Atlanta, Connecticut, South Jersey and, in Sells’s case, five blocks north of Dance Theater of Harlem for a joyful reunion. So much is different now at the building on 152nd Street. The old fire escape in Studio 3 where they’d catch their breath or wipe tears of frustration is gone. So are the big industrial fans in the corners of the room, replaced by central air conditioning. But they can still feel their leader all around them in the room. Crying, Abarca-Mitchell told McKinney-Griffith, “I miss Arthur.” (Though they all laugh when imagining his response to their legacy council. “I do believe he would try to control us,” Rohan said. “’What are you doing now? Why are you doing that? Let me suggest that. …’”)

The body remembers. In Studio 3, all Shelton-Benjamin had to do was hum a few notes of Balanchine’s “Serenade” and say “and” for the women to grandly sweep their right arms up. “These women help validate my worth,” Abarca-Mitchell said afterward. “I don’t want to take it for granted that people should recognize Lydia Abarca. But when I’m with them I feel like I felt back then. Important.”

Even as the world reopens and they grow busy again, they’ll carry on with their Tuesday afternoons. They want to amplify more alumni voices. They dream of launching a scholarship program for young dancers of color. This fall, they’ll host a webinar in honor of the director and choreographer Billy Wilson, whose daughter Alexis was also part of Dance Theater.

“What we have is a spiritual connection,” said Rohan, who turns 80 this year. She was 27 when she joined the company, already married and hiding from Mitchell that she was a mother of three young children for fear it get her kicked out. When she eventually confessed a year later, he got mad, insisting he would have increased her salary if he’d known she had mouths to feed.

“Arthur planted a seed in me, and all these beautiful women helped it grow,” she said. “Coming from Staten Island, I was just a country girl from the projects. My first time on a plane was to go to Europe to dance on those stages. I thanked God every day for the experience. This year, coming together again, I remembered how much it all meant to me. I didn’t have to be a star ballerina. It was enough that I was there. I was there. I was there.”

#article #ballet #the ny times #marcia sells #sheila rohan #gayle mckinney griffith #karlya shelton-benjamin #lydia abarca #virginia johnson

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