New additions to the blog listing


Whiskey and Haterade ’08:

I have made it to NOLA. The chapter of my life that was New York is now over. […] Following in the grand tradition of changing my hair during big transitions, I have elected for the sort of platinum blonde favored by anime characters. My hair is practically glowing. My anxieties haven’t really subsided since I got here, but I can look at myself and think: I am different, my life will be different, I am clean. I am a big believer in a Nietzschean view of the self. I make my life and my decisions are the world I have created to inhabit. I will love my future, damn it!

Cubicle Chic ’08:

Finding a bridal shower dress can be difficult: it depends on the weather, the time of year, type of bridal shower and naturally, whether you can wear these dresses again in another setting! Our advice: get something that is totally your style. If you’re not a bow girl day to day, then don’t get a dress with a bow because you’ll likely let it sink into the depths of your closet, never to be found until the next big closet cleaning. Don’t let the often “cutesy” facade of bridal showers fool you! We found some elegant options that could definitely double for a date night or brunch with friends.

Wild Hoofbeats ’83:

There were puddles everywhere. I walked slowly up to the pen, and Claro walked toward me, clearly the leader and the more adventurous of the two. He is the lighter colt, with one blue and one dark eye. He is also much dirtier than Cremosso – I remember that in the wild he loved to roll in the mud.

Style by Emma ’06:

I fondly remember when I received my first fluo gloss from Chanel a couple of years ago; a fabulous birthday present from one Chanel lover to another.  I completely fell in love with the formula.  That fluo was hot pink, gorgeous, and deposited quite a bit of pigment on the lips.  It was the perfect summer wet lip look, like you just ate a strawberry popsicle with lots of artificial coloring.

turn of phrase ’03:

I have chosen to learn a short movement theme of One Flat Thing, reproduced that includes four dancers. I want to learn each dancer’s part, to know and feel the interactions between them, to sense the cues and the connections tying them to each other. In this clip, their movement has been isolated from the dance as a whole—only these four dancers are shown, close-up. Yet, still they are everywhere and I can’t keep up. I watch them from behind, watch their backs as they place their elbows—right, left—on the table, or sweep their arms across its surface. I am not included in their dance—left out, unable to follow or catch up. I long for the luxuriousness that one of the women seems to feel in the movement, the back of her wrist swiveling on the table, head draped back as her knee rises. I want to bring this virtuosity, this strength and power into my body. Memories return of older, “cooler,” more experienced dancers that I looked up to as a young dancer—or even in college. In middle and high school, I desired what seemed to be their perfect ballet technique, or the way they inhabited the stage—filled it to the edges and beyond with their personality and their energy. In college, I no longer wanted to be “the ballerina,” but to be one of the grounded, daring modern dancers. The sense of watching from the outside, a mixture of envy and awe, comes back to me now.


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