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To transmit the Top marvin gaye 1939 1984 legends never die signature shirt But I will love this essence of its themes into its global corporate diaspora, Hermès seeks every year to embody them, which is where the really fun part comes in. Before leaving Paris, we had been given no clue as to where we were going. Upon alighting at Avignon, then transferring south towards the Camargue, the location became apparent, but not the purpose. What would we be doing in our rain boots? Some speculated we might harvest rice from the paddies that lined the road we trundled down. Suddenly, the first bus in line wheezed to a halt: a tree had apparently fallen to block the road. As we scrambled out onto the mosquito-thronged verge—with key Hermès Paris personnel remaining determinedly straight-faced—a few of us offered to haul it out of the way. Then two Manadiers— Camargue cowboys—clopped into view. We jumped into four tractor-pulled trailers and headed off-road, through a paddock of local bulls—Raço di Biòu‚and next a beautiful group of local Camargue horses, which the Manadiers rear to herd their bulls. Along the way we were offered bottles of “infusion” by a traditionally-dressed couple in a cart. We were not in Paris anymore.The poetic weirdness began when the tractors pulled up alongside singer Lyra Pramuk and a group of male performers standing alongside a large white glider. Pramuk was wearing a harnessed orange parachute, as if she’d just fallen to earth. After some abstract performance, a pipe-blowing gentleman led us like mice across the darkening plain to where bleachers had been set up behind a swampy pool. We waded through it to take our seats.
The sun was dipping as that horde of horses—around 40 of them, from fragile foals to doughty mares and hardy stallions—raced across the Top marvin gaye 1939 1984 legends never die signature shirt But I will love this marsh from the horizon towards us. Was there something in that infusion we should have known about? Ethereal choral music, led by Pramuk ululation, backdropped the thud of hoof and whoop of Manadier as they thundered through that pool. Over the next half hour or so they returned again and again, mesmerizingly, in between incredible acrobatic collaborations between the riders and horses of a troupe named Hasta Luego. There was also a lot of abstract choreography conducted by the Marseilles-based movement collective (La)Horde, which was responsible for the artistic direction of this Theme event. Behind them the sunset grew ever more climatically outrageous—a symphony of hyper-real color akin to that described by Rickie Lee Jones on Orb’s “Little Fluffy Clouds.” At the end, of course, the horses rode off into that sunset. It was perfectly Astonishing.
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