30 tatouages mère et fille

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30 tatouages mère et fille

Les Matins

Y a le nouveau chef de rayon il était pas la quand j'ai fais ma colo vue que c'est un alternant et la il ma vue et le boug ma toucher les cheveux??? En disant que c'est jolie (certes il a raison) mais esh qui t'as cru être pour me toucher?? IL MA PAT PAT! J'ai envie de vomir-

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Enthusiasm                                Progress

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                                             10                                  1

                            Treading Carefully           .       Strong Action Power of Ying

                                                        .                                                                                                                    23               .                  53

                               Wealth                     .    Connecting with the Supreme Being

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Du coup, hier j'écrivais que j avais mis les pour les points sur les i avec le breton. Aujourd'hui, j ai rencontré mon Physio/kiné et eeeuh le goal c est d'avoir des kinés canons pour les parties bizarre où je me blesse ?

Comme dirait S: on soigne le mâle par le mâle

Je veux être le gars handicappé qui flail avec un ar15 pis qui fait "comme j'sais m'en servir" pis le monde sont juste mindfuck par l'absence de recoil dans l'histoire. Comme la canne fait du bruit pis c'est presque cute.

every part of naoki’s body and movements work in harmony with each other… sentimental favourite swiss skater real…

Les fantastiques paysages de corps nus par Carl Warner

Nouvel article publié sur https://www.2tout2rien.fr/paysages-de-corps-nus/

Les fantastiques paysages de corps nus par Carl Warner

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人生初。コフレ購入！ 企業コンセプトに共感した上、 着け心地的にも今までの人生で 一番「軽い」と感じるコスメ ちょいと前まで、椿油オンリーになった時期もあったけれど、それ以上に調子の良いお肌 神崎恵さんの美容本を今朝読んで、 もう少し手入れにも時間かけないとって思った朝にぴったりのものが到着したのでした 2023年は、いよいよ40代後半戦に突入。50歳でイキのいい女で居続けるために微調整してきまーす #エポ #epauler #コフレ https://www.instagram.com/p/Cmu-2QSSuhP/?igshid=NGJjMDIxMWI=

MANNS ~ ☀️ TEGP / Tête Epaule Genou Pied [France 🇫🇷]

More MANNS

I'm not sure what I'm missing about Koshkaryova recently but I have found her dancing underwhelming thus far? I thought she was fantastic at the Moscow IBC (Shirin variation!!!) but since then she has looked very messy. Her Corsaire, DQ bridesmaid variation and Paquita varation- all seemed noticeably off the music, frenetic, turned in and slightly sloppy turns with stiff arms. Also something about her epaulement seems off. I hope this is not related to preparing too many new roles too quickly. Additionally, I don't understand the double standards Valiullina is facing about her body type. Some people complain that she is too heavy for ballet yet fail to find fault with to other brilliant, less than stick-thin ballerinas like Maria Alexandrova and Angelina Vorontsova. I find Valiullina lovely with very effortless technique, an good jump and commanding stage presence, so naturally think the comments about her weight are quite unnecessary.

Probably because being good in competitions doesn't translate to being good in a major stage. I think there's two ways to think about this.

First, she's a fresh graduate. It's normal for her to be nervous. They're not just debuts, they're debuts on her first few months with the company. I think every legend in ballet has had their fair share of failures on stage. She'll probably have more solid footing after her first year. Second, the expectations for her are high because she's the top graduate and she's already a soloist. The bar is a lot higher for her than Yaroslavna and Sofia. Anything she will do, whether it be average or above, will likely be overlooked since we're expecting more from her.

That said, there's a lot to work on and I think she will and probably is working on them. Aside from her Paquita debut (Trilby Variation), I think she's been fine. Also, I don't know what she danced in Corsaire? Or if Bolshoi has performed Corsaire this season.

Here's a video of Natalia Makarova talking about her failures!

For Sofya, ugh I love her. You can tell that she's a thoughtful dancer. She's not a risk taker like Maria. Her technique is flawless and she's captivating on stage. She is my bias hahaha. To be honest with you, I don't look at instagram comments nor overtly negative telegram channels/forums so I'm not aware of the comments about her body. If there's an overwhelming amount of people judging her for that, that is disappointing. Does she have a more mature body, yes. Does it affect her dancing in any way whatsoever, no. She literally has the same body type as Maria Bulanova! I don't see why they can't accept her as well. She has so much potential, I hope they never hold her back just because she doesn't have the body of her 13 year old self?

okay this is random sorry but. do u feel like ballet has influenced how you think about gender. bc i feel like dance has had a Profound impact on my gender in a way i cannot put words to. idk

Yes.I think. profoundly.In an insane way I also cannot put words to really. Except that something about my commitment to ballet was in the sense that I gave up my body to this & my body was this & my body was me…I could say all this way better if i thought about it but im often afraid to really think about it because i don’t want to eliminate any possible worlds you know…idk..sometimes i just want to leave how i feel as is. But femininity in ballet is very strange. StrNger than it seems. I think that one of the things is that it’s femininity (if you’re doing it as a woman) but it’s not the same as femininity outside of ballet…Like it feels like a totally different route to the same thing but with gender being something with no core to throw away, there is no “same thing” and its just a different route..There’s a lot of semiotics going on with it . That i have not worked out at all. I think that I was very comfortable with my gender in that i didn’t question it much because of dance; looking back, I thought of myself as femme like, exclusively in terms of ballet ideas of femme.. Even outside of dancing. But also i took things prety extremely. And i loved it so much I did ballet everywhere constantly at home and such.. It was everything to me it was who i was i wrote extensively about how i felt so lucky to have a purpose in life and that’s what it was for me. I somewhat regret this and feel like I missed out on being a person the way I experienc personhood now for most of my teen years but also it’s okay it’s who i was it makes me who i am whatever whatever. I appreciate my intensity. And i think i needed it to be that intense for me at the time. This is getting unrelated. But yeah. I think my personal ideas of beauty and gender sort of meshed in ballet for me. Im rambling like crazy i have no idea what i’m saying. But i think it’s not a coincidence I started thinking about gender differently when I stopped dancing.And yet I can return to ballet and slip into this incredible space of like ease in terms of gender….Unlike being femme in normal life which i often am but which often feels like a costume or like, drag, “ballet femme” — like, the epaulement, the lines of your leg muscles through your neck, grace, cruel & tender angelicism, how turnout transforms the body aesthetically.. it honestly feels so embodied & real it’s crazy..It’s so beautiful .When i’m not dancing im Jacob wrestling with the angel when i’m dancing im the angel

La Mode nationale, no. 23, 8 juin 1895, Paris. No. 1. — Corsage fantaisie. Bibliothèque nationale de France

No. 1. — Corsage fantaisie en crépon frisé mordoré. Corsage-blouse mis dans la jupe et serré à la taille par une ceinture en broderie perlée ou en ruban mordore garni de perles de nuances assorties. L'empiècement du corsage est semblable à la ceinture avec col montant. Bretelles de mousseline de soie ou de ruban crème avec nœuds sur les epaules; manches ballon nouvelles s'arrêtant au coude et couvertes dans le haut par le haut par des jockeys plissés en mousseline de soie noire. Jupe cloche à godets.

Chapeau rond en paille mordorée garni devant et sur les côtés par un énorme chou papillon en mousseline de soie noire, avec aigrette derriére,

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No. 1. — Fancy bodice in brown crimped seersucker. Bodice-blouse put in the skirt and tightened at the waist by a belt in beaded embroidery or in mordore ribbon trimmed with beads of matching shades. The bodice yoke is similar to the belt with stand-up collar. Chiffon or cream ribbon straps with bows on the shoulders; new balloon sleeves stopping at the elbow and covered at the top by pleated jockeys in black silk chiffon. Bell skirt with gores.

Round bronze straw hat trimmed in front and on the sides by a huge black silk muslin butterfly cabbage, with aigrette behind.

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Métrage: 10 mètres crépon grande largeur.