#philadelphia ballet

[lovelyballetandmore]

Ashton Roxander | Jack Thomas | Philadelphia Ballet | Photo by Alexander Iziliaev

[dance-world]

 Ashton Roxander - Philadelphia Ballet - photo by Alexander Iziliaev

[pygartheangel]

[dozydawn]

Pennsylvania Ballet dancer Barbara Sandonato, 1968. Photographed by Jack Mitchell.

[consumerofmen]

When will we get the gang to do ballet?

[eddy25960]

Ashton Roxander (25, USA) - Principal with the Philadelphia Ballet

"The Dream" by Frederick Ashton.⁠

photo © Alexander Iziliaev

[fuckmeyer]

timewarp!twilight: a time travel au

[throughout the series, Bella Swan has prophetic dreams that reveal her future (or present predicament) in cryptic ways. but tho Bella can peek forward in time, her true power lies in the past.]

time first unzips when James sinks his teeth into Bella at the ballet studio.

the burning in her veins overwhelms her. for a delirious moment she seizes from venom & bleeds out on a hospital room's tile floor where her mother is giving birth. to her.

the Cullens barge into the studio. Bella's writhing on the ground. they never see the warp. a stunned James is defeated.

Bella says nothing, chalking it up to a near-death experience. ofc she can't unravel the fabric of time lol like what?? who does that???

over summer, night terrors haunt her when Edward is away.

the "good" dreams give her flashes of the future. wolves. light. cliffs. a stone antechamber. red hair. a casket.

it's the nightmares she fears the most.

her PTSD-fueled flashbacks feel so real, she unzips time to escape James's attack & wakes up in random places as if sleepwalking.

at first they're tiny jumps. a few minutes back. then several months before she meets Edward. then the day Renee leaves Charlie with Bella in tow.

the night after her disastrous birthday party, her nightmare dumps her in the back alley of a neon-lit diner.

this isn't home. not 2006, not 1996, not 1986, even...

disoriented, she stumbles in and sits at the counter. the folded newspaper by the napkin dispenser, the Philadelphia Herald, reads March 3rd, 1950.

oh god.

when she looks up, a familiar pixie-haired vampire stares back at her with moony gold eyes.

"you've kept me waiting a long time," says Alice, pushing a plate of pancakes toward her.

time zips. back in bed. morning. 2006. Bella scrambles to school to tell Edward about the time skips.

ofc, it's hard to speak when you're being sucker-punched in the gut by your first love's painful breakup monologue.

instead of confessing, Bella says goodbye.

October. November. December. January.

as the wolves shift and Laurent stops in for a visit snack, Forks gets all gunked up with paranormal vibes. Bella warps further back for longer periods. 1935. 1933. 1911. 1863.

luckily, she often crosses paths with the Cullens. as humans, she knows, they won't remember her. it's cathartic to see them, if only for a few moments...but it's never enough.

she pulls increasingly dangerous stunts to keep traveling. motorcycling. chasing wolves. stalking vampires. on & on.

Bella dives off a cliff to chase the visions.

she smacks the water & warps to 1918.

human Edward Masen immediately falls in love with a drenched & shivering Bella Swan. over the evening, she falls in love with him. again. ugh.

but was it a time skip, or a near-death experience? she wakes up coughing water, Jake breathing life into her on the beach.

Alice returns. with a renewed love for Edward (ugh), Bella jets off to Italy to save him & meet the Volturi.

back in forks, the vote ignites a fiery rage she'd buried for months.

how could they do this to her? how could they break her heart & leave her behind when she needed them?? did they even stop to think about Laurent??? the wolves?! VICTORIA?!!

just as she lunges for Edward to rip his stupid face off, time unzips in front of them & she vanishes.

further back than she's ever gone.

London. 1640s.

human Carlisle tries using a silver cross to defend himself against a starving vampire while Bella looks on.

when the vampire's eyes find hers, the horror of what Bella has been doing settles in like a dense fog.

with each time skip, Bella seals their fate.

not only is Bella the thread that ties the Cullens together in time, but Bella aligns the stars for every member to become a vampire.

in the 1640s, she is the scent that pulls the starving vampire away from Carlisle.

in 1863, María sees Bella's warp & pursues her until she finds confederate Jasper Hale on his way to Galveston.

in 1911, her time skip startles 16 y.o. Esme out of a tree, breaking the girl's leg. she is treated by Dr. Cullen.

in 1918, a cold & wet Bella gives Edward the flu.

in 1933, Carlisle spots Bella on his way home from the hospital & finds her so eerily familiar he calls out & rushes to catch up. frightened by the commotion, Royce et al leave a dying Rosalie in the street.

in 1935, warping into a forest pisses off a huge black bear. Emmett saves her & subsequently gets mauled.

in 1950, she listens to Alice tell the story of her only human memory: prophesizing as a little girl about the "lady in the blue jeans" who comes to visit, to the horror & disgust of her superstitious parents. they throw her in an insane asylum.

now, in 2006, she reappears & falls at the Cullens' feet. her face reflects their looks of shock.

it was her. it was always her.

& all because she ditched Alice & Jasper to confront James at the ballet studio.

"oh god," she whispers from the floor in a broken voice. tears blur her vision. Bella looks up at the family of vampires. "i think i've made a terrible mistake."

[cressida-jayoungr]

One Dress a Day Challenge

June: Weddings

High Society / Grace Kelly as Tracy Lord

Designed by Helen Rose, this is one of the iconic screen wedding dresses! It is made of silk organza and is "tea length" or "ballet length"--super popular in the 1950s. The sheer outer layer is covered with embroidered flowers and features billowing sleeves gathered just below the elbow, a pale pink ribbon belt, and a floral corsage at the waist. She doesn't wear a veil, but there's some suggestion of one in the drapery on the hat.

For comparison, the version from The Philadelphia Story is here. But I think I prefer this one--it's truly classic!

Trivia: Helen Rose also designed Grace Kelly's gown for her real-life wedding to Prince Rainier of Monaco.

[lovelyballetandmore]

Ashton Roxander | Philadelphia Ballet | Photo by Alexander Iziliaev

[dance-world]

Ben Schwarz - Philadelphia Ballet - photo by Yamil Rivera

[olympic-paris]

THIS DAY IN GAY HISTORY

based on: The White Crane Institute's 'Gay Wisdom', Gay Birthdays, Gay For Today, Famous GLBT, glbt-Gay Encylopedia, Today in Gay History, Wikipedia, and more …

September 17

1730 – Friedrich Wilhelm von Steuben (d.1794), also referred to as the Baron von Steuben, was a Prussian-born military officer who served as inspector general and Major General of the Continental Army during the American Revolutionary War. He is credited with being one of the fathers of the Continental Army in teaching them the essentials of military drills, tactics, and disciplines. He wrote the Revolutionary War Drill Manual, the book that served as the standard United States drill manual until the War of 1812.

In Germay, in 1776, he was alleged to be homosexual and was accused of improper sexual behavior with young boys. Whether or not Steuben was actually intimate with other men is not entirely known, but the rumors compelled him to seek employment elsewhere.

On September 26, 1777, the Baron, his Italian greyhound, Azor (which he took with him everywhere), his young aide de camp Louis de Pontière, his military secretary Pierre Etienne Duponceau, and two other companions, reached Portsmouth, New Hampshire and by December 1, was extravagantly entertained in Boston. Congress was in York, Pennsylvania, after being ousted from Philadelphia by the British advance. By February 5, 1778, Steuben had offered to volunteer without pay (for the time), and by the 23rd, Steuben reported for duty to General George Washington at Valley Forge. He served as George Washington's chief of staff in the final years of the war.

Two of the General's soldiers, William North and Ben Walker, were to von Steuben's liking. He legally adopted both men, and they lived together until the Baron's death, at which time they shared in his estate.

The Lafayette Park Memorial

Many places are named in his honor, including Steubenville, Ohio. His monument by Albert Jaegers in Washington, DC, across the street from the White House in Lafayette Park, is perhaps one of the most homoerotic sculptures in America. Make sure and pay a visit the next time you're in town. You will not regret it.

1904 – Sir Frederick Ashton (d.1988) began his career as a dancer but is largely remembered as a choreographer.

Ashton was born at Guayaquil in Ecuador, in the artistic neighbourhood called Las Peñas, the original founding site of the city. When he was 13 he witnessed a life-changing event when he attended a performance by the legendary Anna Pavlova in the Municipal Theatre in Lima, Peru. He was so impressed that from that day on he knew he would become a dancer.

In 1919 he went to England to attend Dover College and then to study under the famous Leonide Massine and established a working relationship with the ballet troupe belonging to Marie Rambert and Ninette de Valois. Rambert discovered Frederick's aptitude for choreography and allowed him to choreograph his first ballet, The Tragedy of Fashion in 1926, starting a tremendously successful career as a choreographer.

He began his career with the Ballet Rambert which was originally called The Ballet Club, but he rose to fame with The Royal Ballet, becoming its resident choreographer in the 1930s. His version of La Fille mal gardée was particularly successful. He worked with Margot Fonteyn among others. His broad travesti performances as one of the comic Ugly Stepsisters in Sergei Prokofiev's Cinderella were annual events for many years.

The choreographer's emotional life focused on the unattainable and the unsuitable, and it often wreaked havoc in his ballet company, as when, in the case of the heterosexual Michael Somes (Fonteyn's principal partner), the beloved enjoyed and exploited favoritism to the point that other dancers signed a petition of protest.

Ashton, like so many other famous gay men of his epoch, including Cecil Beaton and Noël Coward, was necessarily discreet, but he was not closeted. The British high society in which he moved enjoyed the scintillating company.

Ashton was a member of the circle of gay men who surrounded Queen Elizabeth, the late Queen Mother, whom he taught to tango. When she heard that Ashton, a formidable mimic, did imitations of her, she allegedly retaliated by imitating his own queenly manners.

In 1962, he was knighted for his services to ballet. He died in 1988 at his home, Chandos Lodge, in Eye, Suffolk, England.

1926 – Curtis Harrington (d.2007) was an American film and television director whose work included experimental films, horror films, and episodic television. He is considered one of the forerunners of New Queer Cinema.

His memoir, Nice Guys Don’t Work in Hollywood, was recently published by Drag City. The original manuscript was disinterred from a special collection in the Academy of Motion Picture Arts and Sciences and carefully edited by Lisa Janssen, a Chicago-based poet, archivist, and film buff.

For Harrington, the romance with movies began early. He was stirred as a child by the sight of Mr. Death wilting a bouquet of flowers with his breath in Death Takes a Holiday (1934).

Growing up in Beaumont, California, with parents who gave him leeway to pursue his creative interests, Harrington discovered a soul mate in Edgar Allan Poe, and began his film career at 14 with an abbreviated version of “The Fall of the House of Usher.” The director plays both the death-haunted Roderick and his twin sister, Madeline.

Greatly influenced by Maya Deren, co-creator (with Alexander Hammid) of the trance classic Meshes of the Afternoon (1943), he completed a cycle of 16 mm shorts, several of which – Fragment of Seeking (1946), Picnic (1948), On the Edge (1949) – are now regarded as prime examples of West Coast experimental filmmaking. His friendship with Kenneth Anger, director of Scorpio Rising (1963) and author of the notorious bestseller Hollywood Babylon, fueled an appreciation for the mystical and provided occasion to participate, if only peripherally, in the Southern California occult explosion.

Although he enjoyed unfettered creative license during this period, the pressure to conform weighed heavily on the young filmmaker. The conservative postwar climate was an unlikely breeding ground for the deeply personal, highly stylized "film poems" created by Harrington and his contemporaries. His status as an outsider was no doubt intensified by his orientation as a gay man – a subject on which Harrington remains subdued throughout the memoir. "This seemed perfectly natural to me," Harrington writes of his teenage attractions. "It did not occur to me to attach any sense of guilt or shame to my activities." A screening of Fragment of Seeking and Anger’s Fireworks (1947) stunned an audience of Los Angeles intellectuals with its potently surreal evocations of homoerotic desire. "Everyone in the room was too shocked to say a word," Harrington recalls.

The true turning point in his career was the extraordinary Night Tide (1961), a gently haunting fable about a sailor (an uncharacteristically shy Dennis Hopper) who falls in love with a mermaid impersonator (Linda Lawson). Night Tide was distributed by Roger Corman, who in due course offered Harrington two directing assignments: Voyage to the Prehistoric Planet (1965) and Queen of Blood (1966). Harrington was given the task of repurposing a couple of Russian science fiction films to which Corman had acquired the rights.

In the following years he went on to direct a series of B-movies in the horror genre TV series and Made-for-TV movies including The Killer Bees (1974).

At 75, he managed to summon the remainder of his creative vigor to make Usher (2002), a self-financed short film that brought his career full circle. "I went all the way back to the story that had haunted me so early in my life,"

1928 – Roddy McDowall (d.1998) was born in London on to a Scottish father and an Irish mother. His mother, who had herself aspired to be an actress, enrolled him in elocution lessons at the age of five; and at the age of ten he had his first major film role as the youngest son in Murder in the Family (1938). Over the next two years he appeared in a dozen British films, in parts large and small. McDowall's movie career was interrupted, however, by the German bombardment of London in World War II. Accompanied by his sister and his mother, he was one of many London children evacuated to places abroad.

As a result, he arrived in Hollywood in 1940, and the charming young English lad soon landed a major role as the youngest son in How Green Was My Valley (1941). The film made him a star at thirteen, and he appeared as an endearing boy in numerous Hollywood movies throughout the war years, most notably Lassie, Come Home (1943), with fellow English child star and lifelong friend Elizabeth Taylor, and My Friend Flicka (1943).

By his late teens, McDowall had outgrown the parts in which he had been most successful. Accordingly, he went to New York to study acting and to hone his skills in a wide variety of roles on the Broadway stage.

McDowall was praised for his performance as a gay character in Meyer Levin's Compulsion (1957), a fictionalised account of the Leopold-Loeb murder case; and he won a Tony award for best supporting actor as Tarquin in Jean Anouilh's The Fighting Cock (1960).

After a decade's absence, McDowall returned to Hollywood, and over the last four decades of his life he appeared in more than one hundred films, encompassing a wide range of genres from sophisticated adult comedy to children's fare, from horror to science fiction, usually as a character actor. He also made regular character appearances on TV in such series as the original Twilight Zone, The Carol Burnett Show, Fantasy Island and Quantum Leap.

His best known appearances include those in The Subterraneans (1960), Midnight Lace (1960), Cleopatra (1963), The Loved One (1965), Inside Daisy Clover (1965), Planet of the Apes (1968) and its various sequels, Bedknobs and Broomsticks (1971), The Poseidon Adventure (1973), Funny Lady (1975), and Only the Lonely (1991). His last film role was the voice of Mr Soil, an ant, in A Bug's Life (1997).

Although McDowall never officially came out, the fact that he was gay was one of Hollywood's best known secrets. It is a tribute to his characteristic discretion and the respect with which "Hollywood's Best Friend" was regarded by his peers that his homosexuality was never really an issue or used against him in his six decades in the entertainment business.

Roddy is offered a hot sausage by Tab Hunter

McDowall died of cancer at his home in Studio City, California, on October 3, 1998. At the time of his death, he held several elected posts in the Academy of Motion Picture Arts and Sciences and was a generous benefactor of many film-related charities.

1965 – Bryan Singer is an American film director. Singer won critical acclaim for his work on The Usual Suspects, and is especially popular among fans of the sci-fi and comic book genres, for his work on the first two X-Men films and Superman Returns.

Singer was born in New York City. He was adopted by Norbert and Grace Singer and grew up in a Jewish household in New Jersey. He attended West Windsor-Plainsboro High School South, then studied film making at New York's School of Visual Arts and later the USC School of Cinematic Arts in Los Angeles. Actors Lori and Marc Singer are his cousins.

Singer is openly bisexual, and has said that his life experiences of growing up as a minority influenced his movies. In October 2014, it was confirmed he was expecting a child with actress Michelle Clunie. The couple's first son was born on January 5, 2015.

Singer is also executive producer and directed the pilot and first episode of highly regarded TV medical drama House.

Singer is said (or rumoured) to be involved in a number of possible or 'in development' projects at present including: a Superman Returns sequel; a remake of Logan's Run; a Warner Bros. film called U Want Me 2 Kill Him? about a 14-year old British boy who was charged with inciting his own murder, a reimagining of Battlestar Galactica, and a film of Augusten Burroughs' Sellevsion.

In April 2014, Singer was accused in a civil lawsuit of sexual assault of a minor. According to the suit filed by attorney Jeff Herman, Singer is alleged to have drugged and raped actor and model Michael Egan in Hawaii and Los Angeles in the late 1990s. On May 22, 2014, Singer's attorney presented evidence to Federal District Judge Susan Oki Mollway stating that neither Singer nor Egan were in Hawaii at the time. In early August 2014, Egan sought to withdraw his lawsuit.

In May 2014, another lawsuit was filed by attorney Jeff Herman on behalf of an anonymous British man. Both Singer and producer Gary Goddard were accused of sexually assaulting "John Doe No. 117." According to the lawsuit, Goddard and Singer met the man for sex when he was a minor and engaged in acts of "gender violence" against him while in London for the premiere of Superman Returns. The charge against Singer in this case was dismissed, at the accuser's request, in July 2014.

1975 – Jade Esteban Estrada, born at Lackland Air Force Base in San Antonio, Texas, is a successful Latin pop singer, comedian, choreographer, actor, political commentator, and human rights activist. Out Magazine called him "the first gay Latin star."

As a young boy, he participated in extracurricular school activities and sang in the school choir, where he first noticed that his talent captivated audiences. Through the encouragement of his choir instructor he began to take voice lessons and eventually moved to New York where he worked as an assistant to Tony award-winning actress Zoe Caldwell.

Estrada appeared in the German production of Starlight Express and also worked as a dancer for Seventeen Magazine. After two popular appearances as a transgender singer/dancer on NBC's The Jerry Springer Show, he won the attention of Latin TV personality Charo and worked as her choreographer and lead dancer. He gained international recognition in 1998 when he released his first Latin pop single, "Reggae Twist" on the Brooklyn-based Total Envision Records label. He later turned his attention to solo theater and stand-up comedy.

His recordings include Fabulous Gay Tunes Vol.2, and Being Out Rocks.

1991 – Scott Hoying is an American singer, musician and songwriter who came to international attention as the baritone of the a cappella group Pentatonix and one-half of the music duo Superfruit. As of June 2021, Pentatonix has released eleven albums (two of which have been number ones) and two EPs, have had four songs in the Billboard Hot 100, and won three Grammy Awards as "the first a cappella group to achieve mainstream success in the modern market". As of November 2021, Superfruit's YouTube channel has over 2.4 million subscribers, and over 444 million views.

Hoying is openly gay and resides in Hollywood. He began dating model Mark Manio in 2017. They got engaged in the Bahamas on April 13, 2022, and were married in Santa Barbara, California on July 7, 2023. Their wedding was officiated by singer-songwriter Christina Perri.

2001 – Paul Holm, the partner of Flight 93 hero Mark Bingham is presented with the folded American flag.

[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)

[eddy25960]

Ashton Roxander (25, USA) - Principal with the Philadelphia Ballet

as Puck in "The Dream" by Frederick Ashton.⁠

photo © Alexander Iziliaev

[blackswaneuroparedux]

Anonymous asked: What’s your favourite piece of classical music that you discovered through a film soundtrack?

What an interesting question to which I have had to really scratch my head and think a little. The main issue is that if you are, like me, one of those kids who was exposed to classical music and some of its canon from an early age then the question becomes harder to answer. Like many other children, I was taught to play musical instruments and have music lessons from about 6 years old onwards. Films, especially the more adult themed ones with a classical score, were something you discovered much later in your teens onwards. So I’m going to cheat a bit here and there. For example I can’t include Milos Forman’s classic movie ‘Amadeus’ because I was already familiar with a range of Mozart’s repertoire before watching it.

Predictably, I’m going have to start with Walt Disney’s classic film ‘Fantasia’ (1940).  This was perhaps the first film I was truly exposed to classical music in all its glory. It was Disney’s love letter to classical music and I can still watch it with child-like wonder at the magnificent music set to an incredible animation.

I’m pretty sure that Igor Stravinsky almost certainly wasn't thinking of dinosaurs when he wrote his ballet The Rite of Spring. But Walt Disney and his talented team of animators decided to tell the story of these prehistoric creatures using the dramatic, angular sounds of Stravinsky's masterpiece. And it's become one of the most famous sequences of the 1940s film.

The score was performed by the Philadelphia Orchestra under Leopold Stokowski and was narrated by composer Deems Taylor was awesome. As magnificent was the music that Toccata and Fugue in D minor by J. S. Bach, selections from The Nutcracker Suite by Pyotr Ilyich Tchaikowsky, The Sorcerer’s Apprentice by Paul Dukas, Pastoral Symphony (Symphony No. 6) by Ludwig van Beethoven, and the “Dance of the Hours” by Amilcare Ponchielli, it was the last two pieces that left a real impression. Of course I’m talking about Night On Bald Mountain by Modest Moussorgsky, coupled with ‘Ave Maria’ by Franz Schubert.

I’m also going to add Léo Delibes’ Flower Duet (from the opera Lakmé). I used to hear this ad nauseam but not in a movie. This classic piece was the chosen soundtrack for the British Airways advertisement on television and in their departure lounges and flights. The ad - updated often - has been around in one form or another but with the same soundtrack since the 1980s. It was a huge feature of my childhood in the 90s. Whenever I boarded a flight in the Far East or South Asia or the Middle East to fly back home to Britain - because we lived overseas - you would hear this as you strapped yourself in to your seats.

As for my main list (in no particular order):

Second movement of Beethoven's Symphony No.7 from: The King’s Speech (2010)

The climactic scene where King George VI has to make his speech ‘unto the nations’ was made more powerful by this piece. Like King George VI and his personal battles with his voice, much speculation has taken place over what personal agony the musical piece reflects in Beethoven’s life, especially since sketches for the movement predate the symphony by several years.

One clue is that Beethoven, who conducted the premier in December of 1813 for the veterans of the Battle of Hanau, made an address to these veterans, saying: "We are moved by nothing but pure patriotism and the joyful sacrifice of our powers for those who have sacrificed so much for us." There is every reason to believe that the deep emotion of this movement was founded on anything but what he said it was. His sentiment had existed long before 1813, as had the wars. Napoleon was being repelled, and the symphony is overall joyous.

However, Beethoven was not the kind of man to casually dismiss sacrifice, and the concert was dedicated to veterans. I believe that this movement celebrates those military veterans who made sacrifices for their nation, in much the same way King George VI was asking his subjects in Britain and the Commonwealth in the fight against evil menace of Nazism and Fascism.

Ligeti's Lux Aeterna and Requiem from: 2001: A Space Odyssey (1968)

I hated it. I saw it as a teen and I thought something was wrong with the audio. I still hate the piece but at least I know who Ligeti is. It was way too avant garde for me back then and it remains so today. I think scratching your nails down a chalk board has more melody than a piece by Ligeti. Kubrick clearly loved his work and used it in his other films such as The Shining and Eyes Wide Shut.

Richard Strauss - Also Sprach Zarathustra from 2001: Space Odyssey (1968)

By contrast I loved it. Music can be the difference between a highly memorable scene and one that leaves viewers with an indifferent shrug. It’s hard to believe that this classical piece was used in the main opening scene of the film originally as a temporary place holder by Kubrick whilst he waited for the film composer, Alex North, from the full soundtrack. In the end Kubrick left Strauss in and it made all the difference.

Franz Schubert’s Piano Trio in E-Flat from: Barry Lyndon (1975)

The Piano Trio No. 2 in E-flat major for piano, violin, and cello, D. 929, was one of the last compositions completed by Franz Schubert in 1827 and one of the last pieces he heard being performed before he died. The track itself has been used in countless of movies over the decades such as The Hunger, Crimson Tide, The Piano Teacher, L'Homme de sa vie, Land of the Blind, Recollections of the Yellow House, The Way He Looks, The Mechanic, Miss Julie, The Congress, and the HBO miniseries John Adams. But I first heard it on Kubrick’s film Barry Lyndon and remember being captivated by the film and the music. I was a teen watching it my parents and the whole scene at the card table was beautifully directed and wonderfully lit. As I learned much later in life, Kubrick and his team invented new kind of film lens to be able to film in candlelight.

Handel's sarabande from: Barry Lyndon (1975)

The sarabande is traditionally the music written for a courtly dance in triple metre. Handel's version was composed for solo harpsichord at some point between 1703 and 1706 and first published in 1733. This classic piece is the 4th movement of the Cette pièce est le quatrième mouvement de la Suite in G minor composed for the harpsichord. Although the Sarabande was originally intended by its composer to be played solo on harpsichord, the orchestral version of the Sarabande is very well known these days thanks to the Barry Lyndon film. Moreover, the Sarabande is beloved by filmmakers and has been adapted several times for various films. It’s one of my favourite pieces and it reminds me of the English countryside for some reason rather than some formal court dance.

Domenico Cimarosa’s Concerto for Oboe in C Moll from: Though the Olive Trees (1994)

Directed by Abbas Kiarostami, this little known Iranian-French film was something I stumbled upon through my Norwegian mother who loved these kind of independent films when we lived in South Asia as an antidote to all the Bollywood films we children enjoyed. Kiarostami’s film traces the trouble arising when the romantic misfortune of one of the actors on a film set - a young man who pines for the woman cast as his wife, even though, in real life, she will have nothing to do with him - leaves the director caught in the middle. In hindsight I can now say it was a metafictional masterpiece. Kiarostami contemplates cinema and its romantic fallacies. The film is gorgeously grounded in Northern Iran’s folk traditions and with a soft focus on its shaken yet convalescent landscape. It’s a warmhearted tale that explores what happens when love goes unrequited - which was surprisingly relevant to a teen with raging hormones at the time.

Ralph Vaughan Williams’ Fantasia on a Theme by Thomas Tallis from: Master and Commander: The Far Side of the World (2003)

A classical musical masterpiece in a masterful cinematic movie - both epic in every sense of the word. As a former British Army combat pilot it’s the only film that made me have a smidgen of sympathy with the Royal Navy. It was one of the first films I was allowed to go and see at the cinema itself as a teen. The film is almost faultless in terms of acting, directing, cinematography, and authentic detail. It even made me go and read one or two of the books by Patrick O’Brian. How Peter Weir never won an Oscar for directing I shall never know.

Vaughan Williams’s Fantasia on a Theme by Thomas Tallis is a 15-minute (or so) work for double string orchestra and string quartet, based on a melody by the 16th century composer Thomas Tallis. The quartet traditionally sits away from the orchestra in performance, to create an atmospheric antiphonal (alternating voices) effect. It is often known simply as the ‘Tallis Fantasia’. The tune is from a setting of Psalm 2 that Tallis wrote in 1567. It originally sets the words ‘Why fumeth in sight: The Gentils spite, In fury raging stout? Why taketh in hond: the people fond, Vayne things to bring about?’ It was in 1910 at a festival that Vaughan Williams himself conducted the London Symphony Orchestra in the first performance, which was followed in the same concert by Elgar conducting his own The Dream of Gerontius. Vaughan Williams, in his late 30s, was already establishing himself as a major name, but the Tallis Fantasia raised his profile even higher, not least because the concept of harking back to the 16th century was a comparatively new one.

The piece by Vaughn Williams is what has stayed with me throughout the years. In a nod to Proust, I chiefly identify the piece with reflections of my time on the battlefields of Helmand during my time in Afghanistan and especially seeing wounded friends and comrades long after we got back home from war.

Carl Orff’s Carmina Burana from: Excalibur (1981)

I was already familiar with bits and pieces from Wagner’s operas - played loudly in our home by my parents - but I must admit this classic piece by Carl Orff I first heard watching John Boorman’s magical and majestical film about King Arthur and his knights of the Round Table. I know this piece has been used endlessly in other films and even gained fame as a men’s aftershave advertisement (so my father says) but I first heard it watching this film.

John Boorman’s 1981 fantastical retelling of Thomas Mallory’s Le Morte d’Arthur is, to quote Nicol Williamson’s Merlin in the film, “A dream to some. A nightmare to others!” It can sometimes come across as an episodic and hammy sword and sorcery tale, but I saw it as clever and satisfying retelling of an evergreen myth. I had read read Mallory’s epic books and so my expectations were unduly high. For the most part they were met and then some. Boorman took an abstract approach that shows us Arthur’s (unnamed) Kingdom, a place out of time, in several stages of transition; from dark to golden age, via loss of innocence, and painfully bloody rebirth. Excalibur arose out of the ashes of Boorman’s earlier attempt to bring J.R.R. Tolkien’s The Lord of the Rings to the screen (ironically after trying to get a filmic retelling of the Merlin myth off the ground).

Excalibur is a cautionary tale. The characters are all struggling to find their place in the world, to maintain harmony with nature. Merlin says poignantly of Excalibur to Arthur, “It was forged when the world was young, and bird and beast and flower were one with man, and death was but a dream.” The film is a longing for a golden age, and the struggle to balance the warring natures of honour and goodness with human greed and jealousy. Surely the most rousing image is when Percival has returned the Grail to Arthur who, rejuvenated, also recovers Excalibur from Guinevere (now a nun, to atone for her adultery with Lancelot). She has kept it safe, knowing her once and future king would one day seek its power. Merlin is unfrozen by Arthur, and even Lancelot, a raggedy wild man driven into exile by his own shame, heeds his true king’s call. Arthur rides out with his knights and these fellow warriors through a re-blossoming countryside to do battle with Mordred for the soul of the land, to Carl Orff’s stirring music.

The name of Orff’s piece has Latin roots. 'Carmina' means 'songs', while 'Burana' is the Latinised form of Beuren, the name of the Benedictine monastery of Benediktbeuren in Bavaria. So, Carmina Burana translates as Songs Of Beuren, and refers to a collection of early 13th-century songs and poems that was discovered in Beuren in 1803 - although it has since been established that the collection originated from Seckau Abbey, Austria - and is now housed in the Bavarian State Library. The songs (over 1000 of them) were written in a mix of Latin, German and medieval French by the Goliards, a band of poet-musicians comprising scholars and clerical students, who celebrated with earthy humour the joys of the tavern, nature, love and lust. Although Orff set the original texts, he chose not to use the primitive musical notation that accompanied some of the songs. The collection was first published in Germany in 1847, but it wasn’t until 1934 that Orff came across the texts; a selection had been translated into English and formed part of a publication called Wine, Women And Song. With the help of Michael Hofmann, a law student and Latin scholar, Orff chose 24 songs and set them to music in what he termed a “scenic cantata”.

It was in this form that it was first heard on June 8, 1937, in Frankfurt, under its full title Carmina Burana: Cantiones Profanae Cantoribus Et Choris Cantandae Comitantibus Instrumentis Atque Imaginibus Magicis (Songs Of Beuren: Secular Songs For Singers And Choruses To Be Sung Together With Instruments And Magic Images) Quite a mouthful! After the triumphant premiere of Carmina Burana, Orff, then 41, wrote to his publishers: “Everything I have written to date, and which you have, unfortunately, published, can be destroyed. With Carmina Burana my collected works begin.” However, nothing Orff subsequently wrote ever came close to approaching the popularity of Carmina Burana. Oh dear.

Richard Wagner’s Siegfried’s Funeral March (from the opera Götterdämmerung) from: Excalibur (1981)

The film almost plays like a screen Opera - it is a heightened reality, a world anew. One where sex, jealousy and pride threaten to undo the mystical balance and ties between the King and the land. A powerful aid to that feeling is the superb score which utilises music such as Siegfried’s Funeral March by Wagner, and O Fortuna, a medieval poem set to music by Carl Orff. Boorman was determined to squeeze as much of the legend into his film’s running time as possible, chopping and condensing characters, and switching acts around. He created a three-act saga - the dark ages and the birth of Arthur, a period of brutality and superstition; the rise of Camelot and its age of reason, law, and dawning of Christianity; and the final descent into chaos and wasteland, where a frail Arthur commands the Round Table knights to seek out the Grail. Arising out of this a final battle commences for the soul of the land and the people, a sense of renewal with a promise of a new age to come. Boorman called it the “past, present and future of humanity.”

Richard Wagner composed his opera Götterdämmerung between 1869 and 1874. It is the last of the four operas that make up Wagner’s Der Ring des Nibelungen cycle, a project that had taken him over 25 years to complete. The opera is much renowned for its orchestral sequences, and these are often performed as concert extracts. Siegfried's Funeral March is taken from Act Three after Siegfried has been murdered by Hagen. Following his murder at the hands of Hagen, the death knell of “Siegfried’s Funeral March” opens with funereal timpani as Siegfried’s body is placed on his shield and carried off by the vassals. The music vacillates from deep mourning and rage-filled outbursts to the majesty of the “Hero” motif, brought out in bold relief at the centre of the movement.The whole opera is made up of musical motives from previous operas that tell of Siegfried's background, including the Volsung theme, Siegmund and Sieglinde's theme, the Sword, Brünnhilde's love theme and the curse of the Ring. 

Richard Wagner’s Ride of the Valkyries (Die Walküre) from: Apocalypse Now (1979)

Francis Ford Coppola's Vietnam War phantasmagoria is an epic fresco oozing with madness. It is a madness that manages to escape from the frame and infect the director and his team, turning the film into a legend. It is impossible not to talk about this film without mentioning the Dantesque shooting of the film. A typhoon that destroyed the sets, a heart attack that nearly killed Martin Sheen, a Brando who was more obese and obtuse than ever, who arrived on the set without knowing his lines, and a director at the end of his rope physically and psychologically, on the verge of divorce and suicide. Instead of taking four months to complete, the shoot lasted 15 months. The analogy with the hell of Vietnam is obvious.

The film itself is about Benjamin Willard, a special forces captain, who is given a highly perilous mission: to find and assassinate Colonel Kurtz, a renegade who has set up his headquarters on the Cambodian border. To accomplish his mission, Willard must travel up a river in a small patrol boat with a handful of men. We follow Willard sinking into the madness and insanity of this war, personified by the character of Colonel Kurtz, an obese Buddhist, a true godfather of the Vietnamese jungle. Apocalypse Now is in fact a mirror for the spectator, it plays on our feelings about the Vietnamese conflict, and this is what sets it apart from other great war films. It is a physical and very real journey through Vietnam, but also an inner journey for its hero, Willard, a drug addict and alcoholic, which will allow Coppola to make his denunciation of the war. After watching this movie over several years I’ve come to regard Coppola’s movie as more than just a war movie but also an hallucinatory trip, as anxiety provoking as possible, about the human soul lost inside itself.

For a movie that had two of my greatest loves - combat helicopters and Wagner - the film surprisingly didn’t inform my future career path as a combat pilot for the British Army. I was too young as a teen and caught up with other feminine things girls of my age did. But watching it retrospectively I’m sure it had some unconscious influence on me. I noticed things more with each viewing such as before Jim Morrison's paradoxical and delightful prologue, it is the helicopter blades that open Apocalypse Now. The jerky noise that spatialises this mortifying horizon is a motif that will be the melodic line of the entire film. In crosshatching, it truncates reality and allows the initial confusion of a man in reverse who opens his eyes on an uncertain world. The fan in the hotel room is not the air-conditioned shelter of war. Everything, from then on, is under the sign of duality.

Then of course we have the euphoric scene but no less horrifying than the helicopter attack by Kilgore and his men to lay waste to a village so that they could surf. And all done to the terrifying bombast of Wagner’s Ride of Valkyries. It’s a demented scene but also so visually lyrical. Wagner’s Ride of the Valkyries is sadistically perfect. It’s a perfect mythical metaphor of the valkyries who majestically flew in the sky and decided who died in battle from above. Of course the symbolism of Wagner - wrongly tarred with its fascist connotations - as a place holder for Western imperialism over the Vietnamese is not lost on the viewer. It’s a clever piece of juxtaposition.

Armies have of course used music in warfare for millennia. The deployment of musicians - from trumpeters to drummers - in battle was useful in instilling regimentation and rhythmic purpose for soldiers; and in days before radio, in carrying specific orders across the battlefield. As well as unifying an army - it could potentially disorient the enemy, or as Kilgore eruditely elaborates: ‘We use Wagner, it puts the shits up the slopes. My boys love it!’. So what we are seeing is an age old military tactic being given a modern twist. This has already been established by the notion of an air cavalry, trading their horses for helicopters - which gets further embodied by Kilgore’s wearing of a cowboy hat, common to the Western film genre. The symbolism of linking old and new - ancient and modern, history and the present - occurs throughout Apocalypse Now, as it does in the original novella Heart of Darkness. It indicates an uncomfortable continuum, a never ending foreboding cycle. That beneath the fragile veneer of civilisation, humanity is endlessly repeating barbarism - a cycle foreshadowed by helicopter/fan blades at the start of the film which also loops back to become the end of the film - itself a cycle that won’t end.

When I flew combat helicopters over in Afghanistan we were banned from playing music in our cockpit. It’s simply not practical because you need to be aware of all your aural cues of what the hell is going on around you as every mission is task intensive. You’re focused on a mission where the shit can hit the fan such as coming under rocket attack at any second especially if you’re on a night mission. In theory you could,  as anyone with some audio equipment and electronics knowledge could wire in a 3.5mm headphone jack and hook up your music into your own helmet. I knew some pilots who broke the ban and did this. They would get their clever avionic ground staff technician crew to put in a some sort of patch cord that could plug through to their helmet ICS - in return you get them a case of beer. I’m not telling where we got the beer from.

Other honourable mentions:

Second movement of Schumann's Piano Quintet from: Fanny and Alexander (1982)

Gaetano Donizetti’s Lucia di Lammermoor "Il dolce suono" from: The 5th Element (1997)

Rodrigo's Concierto de Aranjuez from: Brassed Off (1996)

Maurice Ravel’s Trio en la mineur pour piano, violon et violoncelle, Sonata for Violin and Cello, Violin Sonata #2 in G, and Berceuse Sur le Nom De Gabriel Fauré from: Un Coeur en Hiver/A Heart in Winter (1992)

Mozart’s Divertimento in D major, K. 136 from: Out of Africa (1985)

Carl Orff - Schulwerk Volume 1: Musica Poëtica - Gassenhauer from Badlands (1973)

Puccini’s O mio babbino caro (aria from the opera Gianni Schicchi)  from: A Room with a View (1985)

Verdi’s La forza del destino (the Force of Destiny) overture from: Jean de Florette (1986)

Mozart’s Letter Duet (from The Marriage of Figaro) from : The Shawshank Redemption (1994)

Thanks for your question

[evamae-shieldoc]

I’m kinda new around here..

•••••••••••••••••••••••••••••••••••••••••••••••••

𝐁𝐚𝐬𝐢𝐜 𝐈𝐧𝐟𝐨𝐫𝐦𝐚𝐭𝐢𝐨𝐧

Full Name: 𝐄𝐯𝐚 𝐌𝐚𝐞 𝐖𝐢𝐥𝐬𝐨𝐧

Nicknames: 𝐄𝐯𝐞/𝐄𝐯𝐢𝐞

Age & Birthday: 𝟐𝟓 - 𝐀𝐩𝐫𝐢𝐥 𝟓𝐭𝐡 𝟏𝟗𝟗𝟔

Place of Birth: 𝐏𝐡𝐢𝐥𝐚𝐝𝐞𝐥𝐩𝐡𝐢𝐚 𝐏𝐀

Place of Residence: 𝐌𝐚𝐧𝐡𝐚𝐭𝐭𝐚𝐧, 𝐍𝐞𝐰 𝐘𝐨𝐫𝐤

Height: 𝟓’𝟎

Eye Colour: 𝐁𝐥𝐮𝐞

Skin: 𝐅𝐚𝐢𝐫

Nationality: 𝐈𝐫𝐢𝐬𝐡 𝐀𝐦𝐞𝐫𝐢𝐜𝐚𝐧

Sexuality: 𝐀𝐜𝐞/𝐀𝐫𝐨

Marital Status: 𝐒𝐢𝐧𝐠𝐥𝐞

Affiliations: 𝐒𝐇𝐈𝐄𝐋𝐃, 𝐒𝐭𝐚𝐫𝐤 𝐈𝐧𝐝𝐮𝐬𝐭𝐫𝐢𝐞𝐬 (𝐚𝐟𝐭𝐞𝐫 𝐒𝐇𝐈𝐄𝐋𝐃 𝐟𝐞𝐥𝐥)

Training:

𝐌𝐚𝐧𝐡𝐚𝐭𝐭𝐚𝐧 𝐌𝐚𝐫𝐭𝐢𝐚𝐥 𝐀𝐫𝐭𝐬

𝐍𝐞𝐰 𝐘𝐨𝐫𝐤’𝐬 𝐒𝐜𝐡𝐨𝐨𝐥 𝐨𝐟 𝐃𝐚𝐧𝐜𝐞

Faceclaim: 𝐒𝐚𝐛𝐫𝐢𝐧𝐚 𝐂𝐚𝐫𝐩𝐞𝐧𝐭𝐞𝐫

𝐂𝐨𝐧𝐧𝐞𝐜𝐭𝐢𝐨𝐧𝐬;

WIP

(reply for connection!)

𝐇𝐞𝐚𝐝𝐜𝐚𝐧𝐨𝐧𝐬;

𝐄𝐕𝐀 𝐌𝐀𝐄 𝐇𝐄𝐀𝐃𝐂𝐀𝐍𝐎𝐍𝐒

🤍 Eva’s been dancing since she was two and is very skilled in ballet, modern and a lot of other forms of dance.

🤍 Since it’s only Eva and her mom, she has grown very close to her over the years, despite her mom working long shifts at work.

🤍 Eva thinks about Philadelphia often, and though she may not have many memories. But the things she has been told, are often cool and she hopes to be able to visit the place she was born in soon

🤍 anxiety manages to follow Eva sometimes. She could get it at the worst times, particularly on a day where she’s doing something new or unexpected.

🤍 Eva has family in Ireland that she’s been told a lot about, but she hasn’t been able to go back yet.

🤍 Eva is an absolute sweetheart. If you’re ever looking for a good friend, Eva is the one for you. She is known to have friends everywhere and enjoys meeting new people and getting to know them.

🤍 Eva’s sense of style changes depending on her mood. She owns a lot of different items of clothing, but loves to wear something comfortable when she gets the chance.

[lovelyballetandmore]

Ashton Roxander | Philadelphia Ballet | Photo by Arian Molina Soca