Beautiful Words from Jessica Jackson

Forget your shade of colour, and your size, These are all things that can be put aside. People are not what they wear. It's the feelings in their heart, the part of them that cares. Every human is beautiful, in their own way. People shouldn't judge by appearance, but rather what a person has to say. For every smile you give, and get in return, Is sharing love around, and love isn't something you learn. Love is a positive feeling, that can be easily shared. It's usually the people that are themselves, that show how much they care. You should never hide yourself away, Out of fear of what others may have to say. Just be who you are, when no one else is around, You should never worry, just be yourself, you are allowed. People that cause drama and pain, Don't bother comparing, because you're not the same. People act differently, based on their life experiences. I believe we are all here together. We shouldn’t judge based on our differences. As good as it is to love who you are on the outside, Love who you are within yourself, there is no downside. Everyone is different, and we are all unique. We are like many different flowers, And the world is the boutique. The people you surround yourself with, is your choice to make. Just as long as no one makes you feel as if you need to be fake. We all as humans, have so much to learn. Sometimes your best friend, can easily turn. Just remember everyone’s life experience is different. But we are quite capable of helping each other get through it. I believe we were given our lives because we are strong enough to live them. Our experiences are what makes us, but for yourself, don't give in. Everyone has good and bad days, But it is completely up to you, as to what pays. Money is not happiness, but love really is, I myself, can only hope that people wake up to this. For a day without a smile, really is a day lost. Eye contact and a smile, comes without a cost.

 

 

Taylor Swift Just Evened The Score With Kanye West In The Most EPIC Way by InStyle

All hail Taylor Swift!
Just when you thought the recently revived Taylor Swift and Kanye West feud couldn't bring any more drama, Taylor Swift has officially spoken out about it and, well, she totally OWNED him. 

After her rep denied Yeezy's explanation of his misogynistic new song 'Famous', T-Swizz addressed the situation as she accepted the award for Album of the Year for 1989 at the 58th annual GRAMMY Awards.

"As the first woman to win Album of the Year at the Grammys twice, I wanna say to all the young women out there...there are gonna be people along the way who will try to undercut your success, or take credit for YOUR accomplishments or YOUR fame. But if you just focus on the work and you don't let those people side-track you, someday when you get where you're going, you'll look around and you'll know that it was you and the people who love you who put you there and THAT will be the greatest feeling in the world."

PREACH TAY, PREACH!!! 

Check out the EPIC moment below that's going to go down in Grammys history...
Thank you to InStyle for this story Click Here

HELMETS ONLY–NO TOP HATS–FOR ALL USA NATIONAL DRESSAGE EVENTS AS OF APRIL 1 by Dressage News

American riders at all national shows will have to wear safety helmets and no more top hats as of April 1 this year. © 2013 Ken Braddick/dressage-news.com

Helmets only will be the rule for ALL United States Equestrian Federation events, including for senior riders in Grand Prix and small tour events, effective April 1 this year, though senior riders in International Equestrian Federation (FEI) CDIs will still be allowed to wear top hats.

The decision by the U.S. is the second by a major horse sport nation to require safety helmets at all levels of dressage. For national competitions–Canada was the first. The rule ends the contradictory and confusing application for seniors that requires a helmet whenever mounted while on show grounds except when warming up and in the competition arena.

Some other nations have experimented with helmet rules before the availability of fashionable but safe headgear, but modified them to exclude Grand Prix riders because of complaints from riders.

The new USEF rule requiring helmets applies also to riders who wear military or police uniforms.

The United States led the drive for adoption of safety helmets in dressage–they were already required for jumping–after American Olympians Courtney King-Dye and Günter Seidel were seriously injured in 2010.

The FEI on Jan. 1 this year implemented the rule that had been adopted by the U.S. requiring safety helmets for all dressage events, except for seniors in CDIs.

However, a growing number of international riders have switched to safety helmets.

The essence of the new USEF rule: “From the time horses are officially admitted to the competition grounds by competition management, anyone mounted on a horse  at any time on the competition grounds including non-competing riders, riders on non-competing horses, and those competing in all classes and tests, including Para-Equestrian tests, must wear protective headgear as defined by this rule and otherwise in compliance with GR801. Any rider violating this rule at any time must immediately be prohibited from further riding until such headgear is properly in place. Protective headgear is defined as a riding helmet which meets or exceeds ASTM (American Society for Testing and Materials)/SEI (Safety Equipment Institute) standards for equestrian use and carries the SEI tag. The harness must be secured and properly fitted.”

(This corrects a previous version that stated the U.S. was the first major horse sport horse nation to adopt a rule requiring helmets for all national dressage levels. Canada was he first, implementing its reuirement in 2012.)

Story from Dressage News, Click Here.

Marilyn Rowe House for the Australian Ballet School

It was with such excitement I accepted an invitation to the opening of Marilyn Rowe House for the Australian Ballet School.  It was a wonderful affair where not like the usual events I attend with social attendees and bloggers, there was a more demure presence and a love of the arts.

I first started ballet when I was 3 going on until I was 15 only to have an injury of which I would not return, but I am so grateful for the discipline, wealth of being, and love of classical music that my training has provided.  As a long time subscriber to the Ballet I have seen so many Swan Lake's, Nutcraker and Sleeping Beauty and now I am sharing the love of the arts with my children.  I feel it is important to instill at a young age an appreciation for arts.  I am always interested to see how a very young person perceives the arts and how we can make sure tradition of appreciation of arts can be carried through to the younger generations in a pop and celebrity status era. 

Marilyn Rowe is a passionate and distinguished principal dancer with the Australian Ballet and is one who knows goals can be long term.  Marilyn Rowe has been appointed an OBE from Her Majesty The Queen for her work in the Ballet and has forged her love to grow the arts in our country by being proactive and achieving a long time goal of a boarding facility where their is education as well as medical inclusive.  It is an amazing accomplishment and has attracted many of the Governor General, Sir Peter Cosgrove and Lady Cosgrove to the opening with an A list attendance.

About Marily Rowe OBE

Marilyn Rowe OBE Dip ABS, VGCEBI*

Marilyn Rowe was one of the first students accepted into The Australian Ballet School’s initial two year course; the first Prima Ballerina produced by the School and the first graduate to become its Director. In 1965, after just one year at the School, she was invited to join The Australian Ballet at the insistence of Dame Peggy van Praagh. While still a soloist, Rowe received her first invitation to Russia from Igor Moiseyev, who choreographed The Last Vision for herself and renowned partner, Kelvin Coe. In 1969 Rowe was promoted to principal artist.

In 1973 Coe and Rowe won individual Silver Medals and the Publishers’ Prize for the most outstanding couple at the Second International Ballet Competition in Moscow. They were also the first Australians to be invited to dance with the Bolshoi, Riga and Vilnius ballet companies. Rowe had many leading roles created on her by choreographers working with The Australian Ballet, including Glen Tetley’s Gemini, Ronald Hynd’s The Merry Widow and Andre Prokovsky’s Anna Karenina.

Marilyn Rowe was awarded the Order of the British Empire in 1980 for services to ballet in Australia. After the dancers’ strike in 1981, at the insistence of the dancers and the Board , Rowe was appointed Ballet Director and Acting Artistic Director of The Australian Ballet. The following year she became Deputy Artistic Director and directed The Australian Ballet’s Dancers Company from 1984 to 1990. In 1986 she was chosen by Lord Lichfield to be photographed for his collection of Australia’s most beautiful women. She is the recipient of two Green Room Awards and an Adams Award, and in 2003 was included in the first Victorian Honour Roll for Women, which honours her contribution to Victoria and the Nation. She is a Life Governor of Berry Street and has been a member of The Australian Ballet’s Board since 1994.

Since 1999 Rowe has held the position of Director of The Australian Ballet School. The same year she was appointed a member of the jury for the Asian Pacific International Ballet Competition, held biennially in Tokyo. She has also sat on juries for the Prix de Lausanne, the Youth America Grand Prix, and the Beijing International Ballet Competition.

During Marilyn Rowe’s directorship The Australian Ballet School has undergone great change, including the expansion of its training programme from three years to eight, mentoring, health, academic programmes and teacher training for professional dancers. Her vision for the School, while drawing from its past achievements, has included the development a holistic approach to training, balancing its rigorous demands with a creative, caring and challenging environment, which equips dancers artistically, intellectually and physically for the demands of the profession.

Thank you to 'The Australian Ballet School' for this information.

Speech from

Senator the Hon Mitch Fifield

Minister for Communications

Minister for the Arts

Minister assisting the Prime Minister for Digital Government

Manager of Government Business in the Senate

Thank you Leigh Johns and to your board members, each and every one of whom have put their heart and soul into this important national institution. Can I acknowledge His Excellency General the Honourable Sir Peter Cosgrove and Lady Cosgrove. Every significant national event is always enhanced by their presence. Could I also acknowledge Lady Southey and former Premier Ted Baillieu and Robyn Baillieu. Great to see you. Mr and Mrs Tanabe. Marilyn Rowe, past director, and what we are seeing here really is the fulfilment of the vision and foresight you had.

I know at an occasion like this you are not meant to have favourites, but I have one and I'm going to name her. And that is Betty Amsden. If ever I'm in need of a hug I know exactly who to go to. Thank you very much Betty. And also, can I acknowledge through Lisa Pavane the Director, and Sandra Ball, the General Manager, the staff of the school and also of this residence.

I know for the staff what you do is far far more than a job. It is your passion. It is your belief. It is your absolute commitment. And you know when you get up each day that you are making an important contribution to the lives of young Australians. So to the staff, thank you so much for what you do.

And most importantly of all, can I acknowledge the students and do that through Ally, Xavier and Anastasia who are the School Captains. Everything that we see around us here today and that we see at the school itself, is for you and for your colleagues. All of this around us only has meaning to the extent that it helps you be your best selves and helps you be all that you can be in your chosen profession and your chosen craft. So we are all here today for you.

And, ladies and gentlemen, I don't need to tell you just what a wonderful institution this is. It's one of the nation's seven elite performing arts training schools. We're incredibly fortunate to have such institutions in this nation.

We've heard I'm sure, over the last few years as the lobby for this facility has gone on, that the Australian Ballet School really is the last national ballet school in the world that didn't have a residential facility. And why is that important? I think we know that when you look at important national training institutions be it Duntroon, ADFA or the AIS, that when you have a residential facility it helps bred that collegiality that you want. It helps ensure that there is that duty of care which is hard to reproduce in another environment. It ensures that there is that intensity and that capacity to care which wouldn't otherwise be there. So this is an important final piece of the story of the Australian National Ballet School.

George Brandis has appropriately been mentioned, my predecessor who was very passionate about this project and is delighted that we've reached this point of opening.

And I know what a Federal Minister is meant to do right about now and that is to mention the dollar figure that the Commonwealth has committed. But it's something I'm always a little uncomfortable doing. Something that I seldom do. And something I'm not going to do today. Because it can mistakenly leave the impression that somehow, these are dollars which are the Government's that it has benevolently bestowed on a particular project. Obviously they aren't the Government's dollars. They are your dollars. You render them in taxation. I also don't want to mention a dollar figure that would take away from the overwhelming proportion of the budget of this project which has been raised by the community, which has been raised through generous individuals. Nothing should take away from that contribution and the fact that represents the bulk of the funding.

Ladies and gentlemen, this is the achievement of passionate individuals who saw a need. Who set about meeting it. Who didn't see obstacles. Who only saw opportunity. And who wouldn't rest until it was achieved. So to everyone who has been part of this magnificent venture. Can I simply say to you – congratulations.

Thank you to Minister of Communications for sharing this speech with us, Click Here.

It is a great honour to be asked to meet the Governor General of Australia and you can see the details of his duties here.

Something to note is that Selfies with titled people is not appropriate. 

 

 

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