#Morrison Chapel

[evilhorse]

Who sent me to hell?

[mustafaalgunblog]

A Walking Tour in the Legendary Neighborhood of Montmartre in Paris.

These words come to mind when Paris is mentioned.

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[bertiebingobiffy]

ok this was prompted by the fact that he whistles we'll meet again so naturally my idea that he has a record collection spiraled into a bigger headcanon. whenever he has an ounce of free time, he listens to the oldies and engages in cutesy daydreams or obsessive delusions.

JOHN SEED'S CLASSIC ROMANTIC HITS

Dancing in the Moonlight by King Harvest

The End of the World by Skeeter Davis

Fever by Peggy Lee

I Don't Want To Set The World On Fire by Vera Lynn

I Put A Spell On You by Nina Simone

In the Chapel in the Moonlight by Dean Martin

Moondance by Van Morrison

Sway by Dean Martin

They Can't Take That Away From Me by Rosemary Clooney

We'll Meet Again by Vera Lynn

A World of Our Own by the Seekers

You Belong to Me by Patsy Cline

[ogden-narrator]

@ollieinoue

g: let’s play a game… g: there’s nothing quite like sneaking around and finding out info you weren’t meant to know. and boy, have i done a LOT of that. some might even consider it a bit of a hobby of mine. g: and tonight, you’re gonna get to see what fun it is too. see if you can sneak around on my level. i’ll even play nice and give you some clues. if you figure them out, well…you might just figure me out. g: pretending something - or someone - doesn't exist only works for so long, you know. g: the west entrance of the cemetery. 11:00 pm tonight. dress ready to rave. g: xx, g

@mari-zuko

g: let’s play a game… g: there’s nothing quite like sneaking around and finding out info you weren’t meant to know. and boy, have i done a LOT of that. some might even consider it a bit of a hobby of mine. g: and tonight, you’re gonna get to see what fun it is too. see if you can sneak around on my level. i’ll even play nice and give you some clues. if you figure them out, well…you might just figure me out. g: at least one of us will be out then. g: the boathouse. 11:00 pm tonight. dress ready to rave. g: xx, g

@novadodson

g: let’s play a game… g: there’s nothing quite like sneaking around and finding out info you weren’t meant to know. and boy, have i done a LOT of that. some might even consider it a bit of a hobby of mine. g: and tonight, you’re gonna get to see what fun it is too. see if you can sneak around on my level. i’ll even play nice and give you some clues. if you figure them out, well…you might just figure me out. g: don't worry. we're not doing anything illegal....i think ?? g: the beach. 11:00 pm tonight. dress ready to rave. g: xx, g

@nixielinghui

g: let’s play a game… g: there’s nothing quite like sneaking around and finding out info you weren’t meant to know. and boy, have i done a LOT of that. some might even consider it a bit of a hobby of mine. g: and tonight, you’re gonna get to see what fun it is too. see if you can sneak around on my level. i’ll even play nice and give you some clues. if you figure them out, well…you might just figure me out. g: maybe the morrisons can help you out - they've helped plenty of other people, plenty of other times. probably asked them to sign an nda, though. g: the chapel. 11:00 pm tonight. dress ready to rave. g: xx, g

@mikaishii

g: let’s play a game… g: there’s nothing quite like sneaking around and finding out info you weren’t meant to know. and boy, have i done a LOT of that. some might even consider it a bit of a hobby of mine. g: and tonight, you’re gonna get to see what fun it is too. see if you can sneak around on my level. i’ll even play nice and give you some clues. if you figure them out, well…you might just figure me out. g: and since i know you don't mind biting your tongue even when you know something is suspicious.... g: the hockey rink. 11:00 pm tonight. dress ready to rave. g: xx, g

[votaryoftheseven]

[ February 13 ]

It was the first time in a long time Hierei had a dream so vivid, so lifelike. He was Morrison again, hands running through wheat not-yet fully grown. He could feel the sun on his skin, how he was blessed by its rays, how his body felt strong and able.

He went home to a farmhouse, not a chapel, with Dareli herding more chickens into their coops, with Kazu'ran tending the garden, with Lorianthe sitting on the porch, working on their knitting. Sae'rie picking apples in the small orchard. Aerathir's shadows caressing the back of his neck.

He smiled, and he had no Fear. There was no trepidation, no anxiety, no worries. His lovers were happy. He was happy. There was trust again. Love again. He was resoundingly normal, and his family loved him.

The scene shifted.

He stood tall as the Votary, bringing his hooked kyparite staff to trip a crusader, bringing him down to the ground. The Light came searing from his hands in vibrant oranges and reds, but with four hands it was impossible to not get pinned and impaled by the pointed butt of the staff.

He turned around, facing the party of allies he'd brought with him on this journey, surrounded by cavalry. Raising his staff, he channeled the void, providing a powerful barrier around his allies, allowing them to take the crusaders down in relative safety.

And when it was over, when he tended to the fallen, it came naturally. Flesh weaved with ease, and shadows mended wounds and staunched bleeding. The dark magic found it easy to heal the burns caused by such caustic energies. He brought the spirit to life, knowing well how to anchor a soul to the body using himself and his magic.

And he was strong, again. He was powerful and capable, able to defend himself and defend others.

The scene shifted once more.

Attendants plucked debris from his feathers. Tailors adjusted the hems of his robes. He could feel the dangling chains of the expensive jewellery that adorned his ears, neck, and horns.

He could hear hymns in the chamber beside him. Songs sung about his efforts. Prayers offered to him freely. People who believed in him. Depended on him. Needed him.

He could smell them. Taste their Pride. Their Zeal. Their holy Reverence. It was almost a sense he had lost.

Hierei woke from Kazu'ran's abode and left without a word, energy in his movements. He fell into Alor'thalas and entered the small house they had made for themselves.

It was early in the morning when he grabbed hold of Dareli's arms, shaking him lightly awake. He stared into his eyes and said the words any follower of the Seven-Headed-One would understand.

"Defile me."

[tbooks79]

Review of “Recitatif”

 Toni Morrison intricately manages to make race an absent element in a story where the latter is hugely valuable. “Recitatif” allows the reader to visualize the characters beyond race, while also forcing us to face our own biases by attributing traits to these characters based solely on what we know of and how we perceive them. Who’s black? Who’s white? No one has been able to answer these questions yet from what I found throughout my research, as Morrison makes it almost easy and impossible at the same time. Yet the beauty of this story doesn’t even lie in the greater message, it is in the little details. The way she achieves the confusion of the reader by carefully dropping hints throughout the dialogues and interactions between the two protagonists. Where one might link Roberta’s eccentric activism to blackness, and Twyla’s judgmental mind to whiteness, others might say it’s the opposite. The following paragraphs will be an attempt to find out what exactly is Morrison intervening for in this story?

      She begins by giving us a look into their childhood where the racial ambiguity was not hugely present yet, and by having Roberta and Twyla both share an equal amount of space in the story. However, where the idea of race is not yet apparent within this part of the story, she heavily relies on the description of their mothers to give us an idea of what Twyla and Roberta might look like physically. Twyla’s mother “likes to dance all night” (244), which hints at the fact that she might be an exotic dancer. If we were to use this little detail to assign a color to Twyla, it could be said that this activity is partaken in by a lot of adult African American women, especially at this time when there was a still a lot of progress to be made when it came to inclusivity at the workplace, or even the lack of jobs available to black people in that time. Twyla’s mother could be a representation of an African American woman using her body as a source of income. This interpretation of course comes from personal biases, considering that Morrison merely uses descriptions such as “She had on those green slacks I hated and hated” (p.246) and language such as “That bitch” (p.246) to portray the mother without outwardly saying if she’s either black or white. Now, in an ideal world where these could be attributed to anyone, Morrison is perhaps consciously playing with the reader’s mind by introducing the mothers in a chapel, though one is more religious than the other, religion is inherently very important to both communities, and there are also people who do not care for it within both races as well. This just leaves the reader to figure out the answer by themselves.

    Where Morrison is stingy on the details about their physical appearance, she makes up for with vivid imagery, and descriptions of food and environment. When the girls meet again a couple years later, she describes Roberta’s hair as “her own hair was so big and wild I could hardly see her face.” (p.249) Morrison keeps up with the same push and pull throughout. Where the reader  must figure out whether to assign this physical feature to one specific race or not. And the answer is no, you can’t. Wild hair was common in the 90’s to, again, both communities. In this case, any other word would have made a much bigger difference. For example, “kinky” or “curly” or “wavy”, but “wild” refers to a broad idea of hair, which is not specific to any one race. But there’s also the stigma around textured hair on black people. One of the most interesting, but often unspoken rules amongst people of color (specifically black people) and white people is that the former group often repels the idea of their hair being touched by the latter group, because oftentimes the gesture is done in a very ignorant, and judgmental way. There’s also cultural appropriation, which is often misconstrued for cultural appreciation, and when black hairstyles are often judged on black people, and praised on white people. Therefore when it comes to  Twyla sometimes pointing out how ��the wrong people get the good stuff”, it could be assumed that she was in fact addressing this double standard. Which again will more than likely push the reader to picture the character as a black woman.                            

And obviously, the most interesting interaction between the two protagonists was their verbal fight during the protest, when both Twyla and Roberta are both faced with the revelation that they are now both completely different human beings. In this scene, Roberta’s activism could easily be attributed to a specific race, but again, Morrison tries very carefully to render the whole situation race free, and let the reader use their own biases to justify each character’s actions. The passiveness of Twyla might be interpreted as though she’s clueless about social movements, and is comfortable enough with how things are, and that type of passiveness is often attributed to white people, yet at the same time, Morrison pushes us back again with this short dialogue: when Roberta says to Twyla “I used to curl your hair”(p.257), and the latter responds “I hated your hands in my hair.”(p.257). This is probably the most straightforward detail we get from the whole story in my opinion. One that could lay all the speculations about race in this story to rest.

      When Roberta says, “I used to curl your hair” (P.257) it sounds like she’s being defensive about basically being called a bigot by Twyla. Just as many people use the “I am not a racist, I have a black friend” excuse when they are being called out on certain situations. As if having curled Twyla’s hair somehow gives her pass to be ignorant    Here, I believe Morrison is using their reactions to try and give us an idea of their race. That’s what makes this scene such an important part of the story, is that it is where the familiar push and pull from the author is done at its best. She starts off by making the reader think something but by the end, they’re thinking something else.

     In Recitatif, Morrison not only allows the reader to see past race, but also she makes us conscious of our own biases, and realize how we might be able to perceive some actions and attribute to someone from a specific race. After making us think over all of our assumptions, she leaves us to imagine a world where race is not the basis of one human’s life, and should be far less significant  than what society makes it out to be.

This work is my own, except for the work cited         

[wutbju]

Henry Clay Morrison and Bob Jones Sr. likely met in December, 1925. By 1960 in Melton Wright's Fortress of Faith (284), the story of their subsequent conversation was in print. The story made it into the Greenville News in 1967.

On this particular occasion Dr. Jones said to Dr. Morrison, “I have just started a school; and I do not know a thing in the world about it except I know what I want to do and know certain essential fundamental principles. I would appreciate your telling me what to do to build the school successfully. You have had experience in the ministry and also as educator.” Dr. Morrison replied quickly, “Well, Bob, I can tell you in a few words. Keep your chapel platform hot.”  Dr. Jones has told this story often. He then adds, “I had intended to do that anyway, but what this good man said to me confirmed my opinion that no Christian institution can remain Christian without a hot, inspirational chapel platform. There have been many contributing influences in the development of Bob Jones University, but the one thing above everything else that has made the school what it is has been the chapel platforms.”

A "hot, inspirational chapel platform." To catch H. C. Morrison's meaning, you can read his set of "open letters" here. He steers pretty close to Pentecostalism and entire sanctification.

But this idea of a "hot" chapel platform persists throughout the history of Bob Jones University.

And how is President Josh Crockett changing this "hot" chapel platform?

Buckle up, friends.

[parkerbombshell]

Addictions and Other Vices 934 Fix Mix July - August 2024

Addictions and Other Vices Fridays 4:30 Repeats Saturday 4:30pm EST bombshellradio.com and Sundays 9:30am Thanks to all the artists, labels and PR companies that submitted tracks. #Indie Rock #Alternative Pop #Dream Pop #Post-Punk #Synth-Pop Fix Mix 934 #Addictions 934 1. **Game Six - Bedroom Tax** 2. **Might as Well Know - WAASH** 3. **Part Of You - Four Faces** 4. **Rush - CATBEAR** 5. **Feel So Good - Dream Together** 6. **Inga Hauser - KEELEY** 7. **Hotel Song - Fintan James** 8. **One More Day - Mallory Chipman** 9. **Kiss Like Me - Piper Conolly** 10. **Heart - Amber Elara** 11. **Come Back - Nicky MacKenzie** 12. **COOL - Vikki Minor** 13. **Looking Through The Window - Barry & The Visitors** 14. **Record Cover Girl - Blake Jones & The Trike Shop** 15. **I Am Bleeding Internally - The Dream Eaters** 16. **Seasons Come, Seasons Go - Cuff The Duke** 17. **The River She Knows - Rose Morrison** 18. **On Fire - Ivery** 19. **Take The Punches - Wild Remedy** 20. **Hide and Seek - Courtney Wolfe** 21. **Ain't Life Strange - Julian Taylor** 22. **Mother (Clean) - Burr Island** 23. **Horse in a Sling - Boulder Fields** 24. **When the Music Plays Again - Chapell** 25. **Seasons - Kojak** 26. **Problem Is - Friends of Our Youth** 27. **High Park - Andrew Spice** 28. **Asking - Tendertwin** 29. **Save Me - Astro Cat Collective** 30. **From the Start - Gingham** 31. **The Secrets Out - Andy Jans-Brown** 32. **The Rain Is Not Far - Jenny Risnen** 33. **Looking Glass - Todd Hearon** 34. **Guillotine - Todd Hearon** 35. **I Don't Wanna - Jody and the Jerms** 36. **Rivals - This Is War** 37. **Howlin and Dyin - Johnny Nasty Boots** 38. **Hey - Points** 39. **Dinosaur Song - Monkey Sockets** 40. **Lost and Found - The Things We Never Got Over** 41. **Kicking Habits - NEPS, Ivery** 42. **Skinwalker - Virtual Nobodies** 43. **Lust - RosGos** 44. **Midsummer - Odd Marshall** 45. **Red Box Telephone - Paravida** 46. **John Chesbro - Always and Forever** 47. **Jackob Chacko - Turnaround** 48. **Take This Love - Sun Atoms** 49. **Scenes - T. G. Shand** 50. **House On Fire - Telebox** 51. **Five of Cups - The Adriatic** 52. **Ziggy - Xan Tyler**            

  Addictions and Other Vices

  Read the full article

[winter-garden-realtor-orlando]

River Landing Wesley chapel Taylor Morrison St Croix 4 Beds with Private...

[linguistlist-blog]

FYI: Online talk 2/29, Blaise Morrison: Psychosocial Aspects of Living with Aphasia

Thursday, February 29th, 12pm EST (5pm UTC) Presentation in Zoom, accessible via the C-STAR website: http://cstar.sc.edu/lecture-series/ Psychosocial Aspects of LIVING with Aphasia: Promoting Quality of Life Beyond Language Blaise Morrison, PhD, HSP-P, CRC, LPC University of North Carolina at Chapel Hill The onset of aphasia often creates significant disruptions in the quality of life (QOL) of individuals and their families. Individuals with aphasia, as well as their carepartners/caregivers, http://dlvr.it/T31WKl

[dbenfordworks]

Performances & other incidents

Contact: douglas.benford@gmail.com

See also: http://douglasbenford.org.uk

Sound gallery: http://douglassoundgallery.tumblr.com

Bandcamp: https://dbenford.bandcamp.com/music

Further links at bottom of page

◾️◾️◾️◾️

2024

November

- Performances as part of a quartet with Teresa Hackel, Tilly Coulton & Chris Hill at Hundred Years Gallery, Hoxton, London, UK

October

- Quintet recording live session at Set Lewisham studio, Lewisham, London, UK, with Tom Ward, Iris Colomb, Sérgio Tavares and Nuno Tocado

- Performances as part of a duo with Tansy Spinks [video: https://youtu.be/P9XTGcexkBM?si=hZadWIfmtt0ntKko], and as part of quartet with Mark Wastell, Adrian Southby & Tansy Spinks at Hundred Years Gallery, Hoxton, London, UK

- Performance as part of a quintet with Jordan Muscatello, Alan Newcombe, Bettina Schroeder & Iris Colomb in celebration of Alan Newcombe’s novel ‘Gritstone’ at Hundred Years Gallery, Hoxton, London, UK

- Performance as part of a trio with Alex Ward, Pascal Marzan at Boat-Ting, Theatre Ship, South Quay, Canary Wharf, London, UK

- Performances as a member of London Improvisers Orchestra with conductions by Joanna Morrison, Julian Woods, John Eyles, Ashley Wales, George Garford, Steve Beresford and Faradena Afifi at St Mary’s New Church, Stoke Newington, London, UK

- Duo performance with George Garford at a Lion Heart production event, The Royal Albert pub, New Cross, London, UK

September

- Performance as a part of a trio with Georgina Brett & Adam Bohman at ‘Such Stuff…As’, The Tin Tabernacle, Kilburn, London, UK

- Performances as part of a quartet with Ecka Moredecai, Emily Shapiro & Tom Jackson at Hundred Years Gallery, Hoxton, London, UK

- Performances as a member of London Improvisers Orchestra with conductions by Steve Beresford, Ashley Wales, Martin Hackett, Teresa Hackel, Julien Woods, Aurelie Freoua and Olga Ksendzovska at Ad Lib, Open Ealing, Ealing, London, UK

- Performances as a member of London Improvisers Orchestra with conductions by Steve Beresford, Ashley Wales, Martin Hackett and Faradena Afifi at St Mary’s New Church, Stoke Newington, London, UK

August

- Trio performance with Iris Colomb & Tom Ward - as ‘Small Print Drama’ - at Zen Jerk, The Endeavour, Deptford, London, UK

- Performances as a member of London Improvisers Orchestra with conductions by Steve Beresford, Olga Ksendzovska, Ashley Wales, Martin Hackett, Ivor Kallin and Chris Killick at St Mary’s New Church, Stoke Newington, London, UK

- Performances as part of a trio with Hannah Marshall and John Bissett, and of a quintet of John Edwards, Daniel Thompson, Hannah Marshall and John Bissett at Ad Lib, Open Ealing, Ealing, London, UK

July

- Performances as part of Blank Canvas Tentet London using System 50:50 at Hundred Years Gallery, Hoxton, London, UK, with Alan Newcombe, Chris Hill, James Malone, James O`Sullivan, Martin Hackett, Phil Morton, Keisuke Matsui, Jonathan Griff and Dariusz Blaszczak.

- Performances as a member of London Improvisers Orchestra, with conductions by Julia Brüssel, Adam Bohman/Adrian Northover, Loz Speyer, Steve Beresford, Charlotte Keeffe, Olga Ksendzovska and Ashley Wales at Cafe Oto, Dalston, London, UK

- Performances as part of a quartet with Rachel Musson, Phil Durrant & Roland Ramanan at Hundred Years Gallery, Hoxton, London, UK

- Performances as a member of London Improvisers Orchestra with conductions by Steve Beresford, Oliver Jarvis, Julian Woods, Gina Fergione, Ashley Wales, George Garford and Faradena Afifi at St Mary’s New Church, Stoke Newington, London, UK

- Two trio performances with Mirei Ya & Adam Bohman, and Martin Hackett & Georgina Brett (short melodica trio) at a Lion Heart production event, The Royal Albert pub, New Cross, London, UK

June

- Attended and performed at the London Improvisation Workshop at the Welsh Chapel, Borough, London, UK. Other performers: Chris Hill, Ross Lambert, Tony Hardie Bick, James Malone, Jame O’Sullivan, Keisuke Matsui, Peter McPartlan, John Macedo, Ed Shipsey, Emmanuelle Waeckerle, Alan Newcombe and Mirei Ya

- Performances of Phil Morton’s 50:50 timer project alongside Alan Newcombe, Chris Hill, Martin Hackett, Andy Rowe, Phil Morton, Levente Dudás, Kostas Chrondas, Darius Blaszeck, Helena Paul, John Eyles at Open Ealing art space, Ealing, London, UK

- Performances as part of a quartet with Catherine Pluygers, Sue Lynch & Benedict Taylor at Hundred Years Gallery, Hoxton, London, UK

- Performances as a member of London Improvisers Orchestra with conductions by Ashley Wales, Olga Ksendzovska, Steve Beresford, Faradina Afifi, Martin Hackett, Lox Speyer and Kristjan Kannukene at St Mary’s New Church, Stoke Newington, London, UK

May

- The Ambrosia Rasputin radio show on Resonance FM airs an piece from ‘Melting Frames’ - the Bandcamp album by Douglas Benford, Julie Pickard, Yoni Silver and Ross Lambert, listen here (37 mins in): https://m.mixcloud.com/Resonance/the-ambrosia-rasputin-show-19-may-2024/

- Performances as part of a quartet with Alan Newcombe, Iris Colomb & Tom Mills at Hundred Years Gallery, Hoxton, London, UK

- Performances as a member of London Improvisers Orchestra with conductions by Ashley Wales, Steve Beresford, Jerry Wigens, Julia Bruessel and Pascal Marzan at St Mary’s New Church, Stoke Newington, London, UK

April

- Quartet recording live session at Antenna studio, Crystal Palace, London with N. O. Moore, Tansy Spinks and Clive Bell

- Trio performance with Iris Colomb & Tom Ward at BRAK, Water Into Beer, Brockley, London, UK

- Attended and performed at the London Improvisation Workshop at the Welsh Chapel, Borough, London, UK. Other performers: Emmanuelle Waeckerle, Paul Margree, Chris Hill, Keisuke Matsui, Ross Lambert, Helena Paul, Kostas Chondros and Regan Bowering.

- Performances as part of a trio with Benjy Sandler & Julian Woods at Hundred Years Gallery, Hoxton, London, UK

- Performances and conduction as a member of London Improvisers Orchestra with conductions by Ashley Wales, Steve Beresford, Faradena Afifi, Gina Fergione, Olga Ksendzovska and a joint one by Douglas Benford & Aurelie Freoua at St Mary’s New Church, Stoke Newington, London, UK

- Trio performance with Nat Catchpole & Dominic Lash at Ad Lib, Open Ealing, Ealing, London, UK

- Duo performance with Sue Lynch at a Lion Heart production event, The Royal Albert pub, New Cross, London, UK

March

- Performances as part of a quartet with Tilly Coulton, Caius Williams & Jamie Coleman at Hundred Years Gallery, Hoxton, London, UK

- The BBC Radio 3 Freeness radio show airs an excerpt of ‘Glancing Blows’ from the Bandcamp album by Douglas Benford, Cath Roberts, Sylvia Hallett and Dominic Lash

- Performances as a member of London Improvisers Orchestra with conductions by Ashley Wales, Steve Beresford, Faradena Afifi/Ivor Kallin, Theo Finkel, Oliver Jarvis and Martin Hackett at St Mary’s Old Church, Stoke Newington, London, UK

February

- Attended and performed at the London Improvisation Workshop at the Welsh Chapel, Borough, London, UK. Other performers: Eddie Prevost, Nathan Moore, Emmanuelle Waeckerle, Jessica St Bruno, Kostas Chondros, Ross Lambert, James O’Sullivan, Alan Newcombe, Tom Mills, Helena Paul, Chris Hill and John Bissett.

- The Ambrosia Rasputin radio show on Resonance FM airs an excerpt of ‘Glancing Blows’ from the Bandcamp album by Douglas Benford, Cath Roberts, Sylvia Hallett and Dominic Lash, listen here: https://www.mixcloud.com/Resonance/the-ambrosia-rasputin-show-11-feb-2024/

- Performances as part of a duo with Mirei Ya and Multiple Melodicas (w. Steve Beresford, Georgina Brett, Martin Hackett & David Grundy) at Hundred Years Gallery, Hoxton, London, UK

- Performances as a member of London Improvisers Orchestra with conductions by Ashley Wales, Steve Beresford, Loz Speyer, George Garford, Jonny Martin and Martin Hackett at St Mary’s Old Church, Stoke Newington, London, UK

- Performances as part of a trio with Angharad Davies and Sofia Vaisman-Maturana at Ad Lib, Open Ealing, Ealing, London, UK

January

- Performances as a member of London Improvisers Orchestra with conductions by Ashley Wales, Maggie Nicols, Philipp Wachsmann and Terry Day as part of the tribute to Martin Davidson event at Cafe Oto, Dalston, London, UK

- Public screening of documentary on artist Calum Storrie - ‘Drawing, etc’ - with music by Douglas Benford on the soundtrack, at Cafe Oto, Dalston, London, UK. This documentary is also available for streaming / rental here. This film has also been screened at Tokyo International short festival 2024.

- Performance as part of a quartet with Ecka Mordecai, Sylvia Hallett & Roland Ramanan at Mopomoso, the Vortex, London, UK

- Performed on 3 pieces with the Charlotte Keeffe Quartet Right Here Right Now at Cafe Oto, Dalston, London, UK

- Performances as part of a quartet with Emily Shapiro, N. O. Moore & Clive Bell at Hundred Years Gallery, Hoxton, London, UK

- Performance with Clive Bell at the Horse Improvisation Club & Shrike Records takeover event at Iklectik, Waterloo, London, UK

Continued below…

[sparklymentalitypanda]

2 weeks in Paris 5 Amazing Places to Travel Ideas Perfect for 2 Weeks in Paris 2024 When exploring the city, the rich history and role of the city in those historical events became clear everywhere we went. I wanted to do justice to that idea and the French spirit the way I had perceived it. Paris is renowned for its iconic landmarks like the Eiffel Tower, and the Louvre Museum, and charming neighborhoods like Montmartre. It offers a rich blend of art, history, and cuisine, making it a top destination for culture enthusiasts and food lovers alike. The city's romantic ambiance and architectural beauty further contribute to its allure, making it a must-visit destination for many travelers.

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Paris, the city of timeless architecture, invites the wandering architect to explore its historic landmarks like the Eiffel Tower and the Louvre Museum. From the intricate details of Notre Dame to the modern elegance of La Défense, every corner tells a design story. Immerse yourself in a journey through the ages, where the art of construction meets the romance of the Seine.

These diverse experiences will fill your two weeks in Paris with culture, romance, and unforgettable memories.

1.*Eiffel Tower:* Begin your Parisian adventure with the iconic Eiffel Tower. Explore its grounds, take an elevator ride to the top for breathtaking views, and enjoy a picnic in the adjacent Champ de Mars.

2. Louvre Museum: Immerse yourself in art and history at the Louvre. Marvel at masterpieces like the Mona Lisa and Venus de Milo, and stroll through the vast halls of this world-renowned museum.

3. Montmartre: Experience the bohemian charm of Montmartre. Climb to the top for panoramic city views, visit the artistic Place du Tertre, and explore the Sacré-Cœur Basilica.

4. Seine River Cruise: Relax on a romantic Seine River cruise. Admire Paris from the water as you pass by landmarks like Notre-Dame Cathedral, Musée d'Orsay, and the Louvre, illuminated at night.

5. Versailles Palace: Take a day trip to the opulent Palace of Versailles. Wander through the stunning gardens, explore the Hall of Mirrors, and delve into the rich history of this royal residence.

6. Sainte-Chapelle and Île de la Cité: Discover the breathtaking stained glass of Sainte-Chapelle on Île de la Cité. Explore the historic heart of Paris, including Notre-Dame Cathedral (currently under restoration).

7. Latin Quarter: Immerse yourself in the vibrant Latin Quarter. Wander through narrow streets, visit the Sorbonne University, and explore the famous Shakespeare and Company bookstore.

8. Musée d'Orsay: Appreciate the world's greatest collection of Impressionist and Post-Impressionist masterpieces at the Musée d'Orsay. The former railway station itself is a work of art.

9. Luxembourg Gardens: Relax in the picturesque Luxembourg Gardens. Enjoy the beauty of the Medici Fountain, stroll through the manicured lawns, and savor the tranquility in this oasis within the city.

10. Cruise to Île de la Cité: Take a boat cruise to explore the islands of Paris. Admire the historic architecture and unique perspective of landmarks like Notre Dame Cathedral and the Conciergerie from the water.

11. Moulin Rouge: Experience the famous cabaret show at Moulin Rouge. Enjoy an evening of dazzling performances, colorful costumes, and the lively atmosphere of the Pigalle district.

12. Père Lachaise Cemetery: Visit the hauntingly beautiful Père Lachaise Cemetery. Pay respects to famous figures like Jim Morrison and Oscar Wilde while exploring this serene and historic burial ground.

13. Shopping on Champs-Élysées: Indulge in some upscale shopping along the Champs-Élysées. Explore designer boutiques, and flagship stores, and enjoy a leisurely stroll along this iconic avenue.

14. Le Marais: Dive into the trendy and historic Le Marais district. Discover its charming streets, visit art galleries, and try local delicacies in cafes and bakeries.

15. Day Trip to Giverny: Venture to Giverny, the home of Claude Monet. Explore the artist's house and gardens that inspired his famous Water Lilies paintings.

[mustafaalgunblog]

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Georgia Tech-North Carolina: TV, online, radio information

Georgia Tech-North Carolina: TV, online, radio information

Location: Kenan Stadium, Chapel Hill, N.C. Records: Georgia Tech 4-6 (3-4 ACC), No. 13 North Carolina 9-1 (6-0) Television: ESPN2 will televise the game. Beth Mowins will handle play-by-play, with Kirk Morrison as the analyst and Stormy Buonantony as the sideline reporter. Local radio: The game will be broadcast on the Georgia Tech Sports Network, heard in metro Atlanta this week on 680 AM/93.7…

[plantreferop]

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[n8-shaw]

g: let’s play a game…g: there’s nothing quite like sneaking around and finding out info you weren’t meant to know. and boy, have i done a LOT of that. some might even consider it a bit of a hobby of mine. g: and tonight, you’re gonna get to see what fun it is too. see if you can sneak around on my level. i’ll even play nice and give you some clues. if you figure them out, well…you might just figure me out. g: i know, i know. you signed an nda. but at least the morrison’s actually delivered on their promise to help you g: the chapel. 11:00 pm tonight. dress ready to rave. g: xx, g

What if he just said fuck it, and didn't go? Delete the texts, block the unknown number, pretend he never even got them. It was tempting, so tempting - but the issue was that Nate knew what the what if's were when it came to people like these. Or at least, like the people he assumed were behind these texts. He half thought it was Greer, the sick type of joke she seemed like she be entertained by. But if it wasn't her, it had to be one of her cronies, didn't it?

Probably one of the people who had been at that party all those years ago.

It would make sense.

At the end of the day, he was far too paranoid to not go, having seen how easily one little word from Jesse had gotten the agents investigating Greer to be suspicious of him, and even if he had no fucking idea what to wear to a rave, he wasn't going to risk not showing up, even as he grumbled and dragged his feet, mentally complaining the entire way to the chapel.

Which, also - who the fuck even knew they had a chapel on campus?

He may have been a little bit late, his own little fuck you to whoever had sent those texts, letting the door clatter shut behind him as he scuffed his feet, glancing up the aisle of the chapel with a hint of a scowl settling onto his face. If all this was just going to play into some allegory about how he deserved to go to hell, yeah, he didn't really need the reminder. Nate was distracted enough by his thoughts that he didn't hear the voice until the petite figure snapped upright in the pew, only a few feet in front of him, Nate letting out a loud expletive before he could stop himself. "Fucking eh, you scared the shit out of me," he said, eyeing Nixie for a moment. "What are you doing?" he asked, a hint of suspicion - was she here for the same reason he was?

Who: Unknown. When: Saturday, May 6th - 11PM. Where: The Chapel.

It's a miracle, the fact that she'd begun digging through her tote bag in search of something else entirely, the contents dumped onto the ground only for the notification on the illuminated phone screen to catch her attention. Texts are a rarity, the few people who have their number well aware that it was hardly a good way to reach them, pale eyes scanning over the text before flashing to the time. 10:57 PM. Another miracle in that she'd been relaxing in the cool grass of the quad, that she'd been able to merely give the space around a quick glance before slipping across the way, testing the chapel's doors and slipping inside. It's only when the door creaks open a second time that she suddenly rises from where she'd been lying on a pew, attempting to seek out the face lingering in the dark. "G? Greer?" Half the face they're expecting to see in that instant. "Or is this code for God because the all knowing thing is pretty impressive but you're going to have to do better to make me a true believer."

@ogden-narrator