#Joel Brown

[snapdragonsimming]

Althea’s POV

Married life is no joke! With two under four (and one more on the way who'll soon bring us up to three under four!), I’ve taken a break from teaching music at our church. I also temporarily stepped down from my position in the women’s choir. Even without those burdens on my time, it’s a balancing act to keep JD, the babies, and the house clean and/or fed!

When I get a moment to myself- a miracle when you have a picky toddler and a needy infant- I pray that the Lord will improve my contentment and remind myself how much I love my life. Imagine if I was a lonely old secular woman! A nice happy home filled with praise music and prayer is so much better than a tiny apartment covered in cat hair. Despite that, living on the East Coast has been a trial for me. It’s difficult to be away from mine and JD’s families, especially since we’re constantly on the move. I thought that we would be in Newcrest for at least a few more years, but the Lord clearly had other plans!

My poor husband, coming home after a hard day’s work, having to put up with my mood swings and the weather’s mood swings! It’s always raining in Brindleton Bay…

[sguardimora]

"Family Home Evening" di Joel e Graham Brown: nel rituale della memoria

Venerdì sera abbiamo assistito alla prima prova aperta del nuovo lavoro degli artisti americani Joel e Graham Brown, che li vede riuniti dopo anni di percorso individuale. Inserita nel contesto del progetto Open Dialogo, il periodo di residenza creativa a Mondaino ha visto prendere forma la scrittura di alcuni appunti coreografici e tematici di Family Home Evening. Ed è proprio il rito mormone richiamato dal titolo a configurasi come un dispositivo narrativo e autobiografico, una drammaturgia multimediale che si costruisce nella giustapposizione di coreografie, canzoni, musiche e narrazione. Grazie a questa molteplicità di linguaggi la performance si fa viaggio in un universo personale e interiore: il corpo e la voce del danzatore raccontano una storia fatta di memorie, paesaggi e sentimenti contrastanti.

La scena si apre in un salotto, dove il danzatore si muove circondato da spettatori che, come fantasmi familiari, abitano lo spazio e vi si immergono. Qui ogni sguardo e ogni gesto è un frammento di passato che rivive nel presente. Joel attraversa il palcoscenico come se disegnasse con il proprio corpo le geografie spaziali e sentimentali della sua infanzia:

Siete stati nello Utah? È una terra bellissima Il sole tramonta sul Lago Salato e sull'Isola di Antelope…

E così il pubblico percorre con lui, nei suoi movimenti oltre che nelle parole, quel paesaggio arido e maestoso, dove la natura si fa protagonista. Le montagne, i fiumi, la living room di casa: ogni immagine evoca la complessità di una gioventù segnata da confini fisici e interiori, dove la felicità e il dolore coesistono.

Ogni spostamento del performer trasforma il palcoscenico in un romanzo di formazione. Il passaggio dall’infanzia all’età adulta si fa strada attraverso un fluire di ricordi e immagini toccando apici di intensità quando riaffiorano dalle canzoni i ricordi tristi di un fratello perso, dell’incidente, dell’abbandono e il rifiuto del padre veterano di guerra.

Infine, il desiderio di essere compresi e accettati si fa palpabile nel brano Ti porto a casa mia:

Vorrei portarti fuori e portarti a casa mia. Mostrarti come vivo ed essere un po' in imbarazzo. Così potrai vedere davvero cosa il tempo ha fatto di me.

Queste parole, ripetute alla madre quasi in un mantra, rappresentano l’invito a chi osserva la performance a guardare oltre la superficie, ad abbracciare la fragilità e la forza di chi ha vissuto e trasformato le proprie cicatrici in storie da raccontare.

Ogni elemento di questa drammaturgia – dalla coreografia che scandisce il tempo dei ricordi, alla narrazione che evoca i luoghi e i momenti della vita, fino alle canzoni che dipingono quadri intimi e dolorosi – si unisce per creare un mosaico emozionale in cui passato e presente si fondono in un’unica, intensa esperienza. In questo spazio il rito si configura come un processo di memoria condiviso, un invito a riflettere sul passaggio del tempo e sul cambiamento di sé.

*******************************************************

Last night, we attended the first open rehearsal of the new work by American artists Joel & Graham Brown, who are reuniting after years of pursuing individual paths. As part of the Open Dialogo project, their creative residency in Mondaino has given shape to the choreographic and thematic notes of Family Home Evening. The Mormon ritual referenced in the title functions as a narrative and autobiographical device, a multimedia dramaturgy constructed through the juxtaposition of choreography, songs, music, and storytelling. Thanks to this multiplicity of languages, the performance becomes a journey into a personal and inner universe: the dancer’s body and voice tell a story made of memories, landscapes, and conflicting emotions.

The scene opens in a living room where the dancer moves, surrounded by a few spectators who, like familiar ghosts, inhabit and immerse themselves in the space. Here, every gaze and every gesture recount the story of a past that becomes present. Joel crosses the stage as if drawing with his body the spatial and emotional geographies of his childhood:

Have you ever been to Utah? It’s a beautiful land. The sun sets over the Great Salt Lake and Antelope Island…

And so, the audience journeys with Joel—not only through his words but also through his movements—across an arid yet majestic landscape, where nature itself becomes a protagonist. The mountains, the rivers, the living room at home: each image evokes the complexity of a youth marked by both physical and inner boundaries, where happiness and pain coexist.

Every movement of the performer transforms the stage into a coming-of-age novel. The transition from childhood to adulthood unfolds through a stream of memories and images, reaching peaks of intensity when the songs bring back painful recollections of a lost brother, the accident, abandonment, and the rejection of a father who was a war veteran.

Finally, the desire to be understood and accepted becomes palpable in the song I’ll Take You Home:

I’d like to take you out and bring you to my home. Show you how I live and feel a little embarrassed. So you can really see what time has made of me.

These words, repeated to his mother almost like a mantra, serve as an invitation to those watching the performance to look beyond the surface, to embrace both the fragility and strength of someone who has lived and transformed their scars into stories worth telling.

The scene unfolds in a living room, where the dancer moves, surrounded by spectators who, like familial ghosts, inhabit and immerse themselves in the space. Here, every glance and gesture evoke the presence of a past coming alive. Joel traverses the stage as if drawing, with his body, the spatial and emotional geographies of his childhood:

“Have you been to Utah? It’s a beautiful land The sun sets over the Great Salt Lake and Antelope Island…”

In this way, the audience follows Joe—through both his movements and words—across a vast, majestic, and arid landscape, where nature takes center stage. The mountains, the rivers, the living room of home: each image evokes the complexity of a youth marked by both physical and internal boundaries, where joy and pain coexist.

Every shift in the performer transforms the stage into a bildungsroman. The transition from childhood to adulthood unfolds in a flow of memories and images, reaching peaks of intensity when the songs bring forth bittersweet recollections of a lost brother, an accident, abandonment, and the rejection by a war veteran father.

Finally, the yearning to be understood and accepted becomes palpable in the piece Ti porto a casa mia:

“I’d like to take you out and bring you to my home. To show you how I live and to be a little embarrassed. So you can truly see what time has done to me.”

These words, repeated almost as a mantra, extend an invitation to the audience to look beyond the surface—to embrace both the fragility and the strength of someone who has transformed their scars into stories worth telling.

Every element of this dramaturgy—from the choreography that marks the passage of memories, to the narration that evokes places and moments in life, and to the songs that paint intimate and poignant pictures—combines to create an emotional mosaic where past and present blend into a single, intense experience. In this space, the rite unfolds as a process of remembrance and personal evolution, an invitation to reflect on the passage of time and the transformation of oneself.

[buckypascal]

✨ Happy 50th Birthday, Pedro Pascal ✨

[tubbytarchia]

got an urge to design ponies oops

[jolteonmchale]

Yvette with the Community cast at her wedding 12/14/24

[chronocrump]

five years late to this template but i finally did one. it was fun!!

[unlikelykidpost]

Somebody brought this up in my last post. In the comments or reblog, I can't remember, but when you look up the tag character x reader, people put their OCs in that tag... LIKE WTF?!?! It's not serious, but I'm just like come on now. I'm not looking to read about your character, no shade— but I'm here to read about ME and that specific character, not your OC... AND THEN!!! SOMETIMES THEY DON'T EVEN PUT IT IN THE BEGINNING OF THE STORY, THEY JUST DO IT... And then you're like wait a minute. My name is not Katie or Sarah or Jane?!?!? LIKE WHAT?!?!

And then it be the goofies oc ever with the GOOFIES outfits.. STOP WITH THAT SHIT!!! ty for listening to my ted talk

[cant-get-worse-than-this]

What. What is this. Why. How. What were they told to do. What is the context. Why is Donald wearing those glasses. Why is Danny posing like that. Why is Chevy the center piece. Why is Alison choking Danny. Why is Gillian dressed fancier than everyone else (as she should tho, she ate). Why is Joel so far back. What.

[daryltwdixon]

I fear I’m never getting over this x

[j4mboree]

[snapdragonsimming]

thedelacruzfamily Few things in life are better than GRANDBABY snuggles! Althea, it was SUCH a blessing to see you, John-David, Joel, and Annabel this week. PLEASE come back soon!

jdandalthea Love you!

mrsannecalpeter Aww, y’all are the sweetest! Can’t wait until I have some grandchildren to love on @nateandkatec09 @lucyellis @josephellis 😉

thedelacruzfamily @jdandalthea 💜

thedelacruzfamily @mrsannecalpeter 😂 Praying for you and Jacob!

[polarisbear]

more dweebs (Very detailed image description below.)

a drawing of grian, ethoslab, tangotek, and smallishbeans. grian is in his season 10 fishing skin and the rest are in different outfits referencing their base themes.

grian is in his fishing skin looking very tired with his fishing rod swung over his shoulder and an ear pierced with a brassy fish hook. he’s a cod hybrid with fin-ears and a stubby tail. behind him blue snail is munching on some leaves.

etho is posing with a neck sheepishly behind his neck and the other resting on his bag. he’s in the postal uniform polo with a green, canadian maple-themed yukata loosely worn and slipping off his shoulder. he has fingerless gloves on under. he is wearing dark red pleated pants and light green heeled crocs. he has a black and red messenger bag with a trellis motif. etho is an arctic fox hybrid with brown legs and streaks through his hair. doodles below show what his paws look like under the crocs and one shows him posing with a note saying “ties up sleeves.” above him another note reads “streaks bc his winter coat is shedding.”

tango is posing confidently with a wrench. he is in the postal uniform polo, with chunky brown and orange gloves and boots, topped off with red, pinstriped overalls. one strap is not around his shoulder, and on the belt around the overalls they carry a small bag, a screwdriver, and a vial of redstone. he has on brown goggles with blue lenses. tango has fire for hair and pointed ears. above him there’s a doodle of the messenger bag that’s secured on his back. it shows how the orange straps tuck over the whole outfit and lead to a dark red and pinstripe blue bag with cog detailing.

joel is giving an indignant pose like he’s complaining. he is wearing a black undershirt that fades out into his light green claws, a pink kimono with only one sleeve of cherry blossom patterns, and a dark grey vest and cherry blossom-patterned obi tie it off. the vest has a cherry blossom crest on the back. joel also has on dark pink pants with a cherry blossom motif on the bottom and on his left arm there’s a bracer with a screen built in. crawling all over the undershirt there are cybernetic patterns connecting joel’s skin through to the undershirt. joel is a tanuki, hence why he has a leaf on his head. around joel are doodles showing the crest on the back of his vest and the pattern on the sleeve.

[tojisteddy]

WELCOME TO THE POOKIE FACTORY.

i’m micayla and i’m writing fics while thinking of meanie!simon

masterlist: about: extremely slow with requests

[ericamarie093]

The smirk that drives me crazy, plus his outfit and hair!

[princessesgarden]

Why is everything smut!! Where’s my fluff or my angst to fluff or just anything but smut???

I want my fluff back please

If anyone has any fluff writers please let me know 🙏🏻

[buckypascal]

Pedro Pascal as Joel Miller - The Last Of Us 2.01 (Part 5)