#mark morriss

[all-rock-and-roll-is-homosexual]

How to dance like your fave musicians - scanned from the November 1996 issue of Select Magazine

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[musicmags]

[v3nusxsky]

Please I need Morriss/Larticia. Tish and Rissa are alone together in Larissa's bathroom in the Nevermore. And they go to shower together, and then they are in the shower together.So Morticia notices Larissa's scars on her wrists. And she asks why she did it. Larissa starts to explain to her that she did it because she missed Morticia terribly and she didn't want to feel the emotional pain. And Morticia will take it very hysterically and emotionally. And she will blame herself. That it is useless and only hurts everyone, it will be terrible to cry. And Larissa will calm her down and Morticia will calm down, but Larissa has to promise her that she will never do it again. Larissa promises her that. It all ends with cuddles and fluff in bed. (one shot)

Numb the pain

*Authors note~ angsty Drabble/fic is another vent fic, I hope I did the request justice, I will admit this is the trickiest one I’ve written so far*

Trigger warnings~ self harm, self loathing breakup um just a angsty one the prompt really says it all

Prompt~ see ask^^^

The sight of her lover in such a state had guilt bubbling in the raven haired woman’s stomach. She hadn’t meant what she said, a pointless fight between young lovers had Mortica storming out of Ophelia hall leaving Larissa alone. The dark claws of depression immediately took over the blonde, clawing at her body until she gave up fighting such a beast and let it take her. Depression was a long term friend of darkness for the blonde shifter, from her family life to being alone at school Mortica was ironically her only light in the dark. A light that had simply upped and left when her emotions were over spilling from her body. When she needed her the most.

It had been a few weeks, and when Mortica finally returned, she wasn’t expecting to see Larissa in such a bad way. “Rissa, mon amour” she whispered, emotion ever so slightly creeping into her words. “Go away” she grumbled sadly, what was the point of any of this anyway? She just wanted to disappear into the black abyss but no, now she had to come back acting like she truly cares. Larissa knew it was false. She pretends but it’s never real.

But like many people, Larissa Weems was tightly wrapped around Morticia’s finger and would do anything for the raven haired woman. Her strong willed self could only take so much of her heart owners pleas to get her in the shower at least. Practically on autopilot the blonde gave in and allowed morticia to help her get in the shower without a second thought to the self inflicted wounds on her skin. Only when she heard a strangled gasp did she realise why had happened here.

“Rissa? Why, darling why would you hurt yourself like this? Nothing is worth you causing this much pain to yourself my love” emotion clogged every word with the shower now beating down against the wall fading into the background. “It hurt” whimpered the shifter while blankly starring at the tiled wall, “needed to feel something.” Larissa trailed off her own explanation when she caught sight of her true loves eyes misting with tears at the obvious cause to these marks that now adorn her lover. So stuck in her own emotions she hadn’t realised tear drops now trailed her pale cheeks or that Larissa had been calling her, “Tish” , the raven haired woman only seeing the marks she had caused Larissa to make.

“I’m so sorry mon amour, I’m so so sorry I did this to you. I didn’t mean to hurt you my darling Larissa. I know I’m to blame and crying about it is futile as it won’t change what’s already been done. I’m so so sorry darling girl” morticia whimpered coming to hold the blonde woman tightly. Guilt swarming in her stomach as she too now functioned on autopilot, lost in her own self loathing. And not the enjoyable kind that she adores. No. This was raw and darker than even she can handle.

Being dried and dressed both woman made the way to lay down, Larissa feeling incredibly weak and exhausted now and Mortica needing the closeness of her lover. “Rissa?” The dark haired woman mumbled, “I’m sorry my love, I’ll never hurt you like this ever again and that I promise, can you promise me something darling?” Feeling Larissa nod her head as she rested it on her shoulder Mortica continued, “promise me no more of this, come to me darling I’ll always be here for you, like I always should have been I was just too foolish to see it then.”

“It’s not your fault Tish, but I promise I’ll come to you” Larissa whispered and held on tighter to the other woman. It was obvious they would spend however long they needed to build one another back up. This situation would never occur again and that’s something both women would move hell and high water to ensure.

[spotlights8349]

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[ulkaralakbarova]

After a lightning bolt zaps a robot named Number 5, the lovable machine starts to think he’s human and escapes the lab. Hot on his trail is his designer, Newton, who hopes to get to Number 5 before the military does. In the meantime, a spunky animal lover mistakes the robot for an alien and takes him in, teaching her new guest about life on Earth. Credits: TheMovieDb. Film Cast: Stephanie Speck: Ally Sheedy Newton Crosby: Steve Guttenberg Ben Jabituya: Fisher Stevens Howard Marner: Austin Pendleton Skroeder: G.W. Bailey Frank: Brian McNamara Number 5 (voice): Tim Blaney Duke: Marvin J. McIntyre Otis: John Garber Mrs. Cepeda: Penny Santon General Washburne: Vernon Weddle Senator Mills: Barbara Tarbuck Howard Marner’s Aide: Tom Lawrence Norman: Fred Slyter Zack: Billy Ray Sharkey Reporter: Robert Krantz Reporter: Jan Speck Barmaid: Marguerite Happy Farmer: Howard Krick Farmer’s Wife: Marjorie Card Hughes Gate Guard: Herb Smith Party Guest: Jack Thompson Party Guest: William Striglos Party Guest: Mary Reckley Party Guest: Shay McLean Party Guest: Eleanor C. Heutschy Frank: Sergio Kato Film Crew: Producer: David Foster Producer: Lawrence Turman Director: John Badham Editor: Frank Morriss Art Direction: Dianne Wager Original Music Composer: David Shire Director of Photography: Nick McLean Second Unit Director: Gregg Champion Scenario Writer: S.S. Wilson Writer: Brent Maddock Location Manager: Mark Indig Casting: Jane Feinberg Script Supervisor: H. Bud Otto Co-Producer: Dennis E. Jones Title Designer: David Oliver Pfeil Casting: Mike Fenton Executive Producer: Mark Damon Set Decoration: Garrett Lewis Associate Producer: Dana Satler Hankins Associate Producer: Gary Foster Title Designer: Wayne Fitzgerald Executive Producer: John W. Hyde Casting: Judy Taylor Production Coordinator: Mary Cay Hollander Unit Production Manager: Steve Perry First Assistant Director: Jerry Ziesmer Second Assistant Director: Bryan Denegal Assistant Art Director: Donald B. Woodruff Camera Operator: Michael D. O’Shea Camera Operator: Steve Bridge First Assistant Camera: Michael A. Chavez Still Photographer: Bruce McBroom Sound Mixer: Willie D. Burton Boom Operator: Marvin E. Lewis Utility Sound: Robert W. Harris Supervising Sound Editor: William L. Manger Supervising Sound Editor: Milton C. Burrow Sound Editor: Richard Burrow Sound Editor: Scott Burrow Sound Editor: Richard Oswald Music Editor: Stan Witt Assistant Sound Editor: Kelly L. Manger Construction Coordinator: Michael Muscarella Construction Foreman: Joseph C. Fama Property Master: Gregg H. Bilson Assistant Property Master: Stan Cockerell Standby Painter: Jerry Gadette Greensman: Philip C. Hurst Makeup Artist: Tom Lucas Hairstylist: Damon Grill Gaffer: Colin J. Campbell Key Grip: Bill Young Dolly Grip: Donald L. Hartley Grip: Johnny London Jr. Leadman: Mark Woods Video Assist Operator: Richmond G. Cogswell Production Illustrator: Martin A. Kline Sound Re-Recording Mixer: Wayne Artman Sound Re-Recording Mixer: Tom E. Dahl Sound Re-Recording Mixer: Tom Beckert Unit Publicist: Vic Heutschy Production Accountant: Jan Garner Negative Cutter: Donah Bassett Stunt Coordinator: Walter Scott Special Effects Coordinator: Chuck Gaspar Stunts: Freddie Hice Stunts: Christine Anne Baur Stunts: Brad Bovee Stunts: Vince Deadrick Sr. Stunts: Marguerite Happy Stunts: Clifford Happy Stunts: Danny Costa Stunts: Bob Harris Stunts: Loren Janes Stunts: Robert Jauregui Stunts: Ben Scott Stunts: John-Clay Scott Stunts: Sasha Jenson Stunts: Ted White Stunts: R.L. Tolbert Second Assistant Camera: Robert Samuels Movie Reviews:

[the-hindu-times]

It is annoying when shows are on a Friday or Saturday night - especially in London. Not only are you coming into a city, where everyone else has decided to choose those nights to host their events, there are a great number of additional drinkers, who keep the country ticking over by working Monday-Friday, now presented with an opportunity to get drunk and not have to worry about sobering up in time for work in the morning. With the extra carnage coming from society's best fit, where A&E and the police know they're going to be busier because of them, the feeling of unease is present in all the overcrowding you wouldn't usually find as bad Monday - Wednesday. Not only that, the pubs that are now packed on a Friday/Saturday night weren't so jammed during the week, when they had 2for1 drinks and food deals. Now you're paying double price for a worse experience because the date of the show happenes to fall one of those two dreaded evenings. Of course, for anyone staying over, hotels go up in price on a Friday and Saturday night too, so it's no wonder people are put off by this, along with the standard weekend rail engenering works and reduced service, making travel more difficult too. In fact, comedian, Ricky Gervais refuses to do a stand up show on a Friday or Saturday night; to not attract drunken behaviour and so that his fans get more for their money.

Of course, due to school runs and new jobs, it may be easier for tonight's singers to come out on Friday and Saturday nights but the promoters maybe shouldn't have chosen the same night that the king of Britpop, Liam Gallagher, was playing in the same city, with plenty of tickets still available for that gig too. The other love from this music scene has always been football, in particular the England team, who were also playing at the same time, 8 miles away.

If a weekend was chosen to attract a drinking crowd, then shutting the bars at 9:45pm didn't seem to make much sense; they should really choose between having them open for he whole event or, preferably, just allow bar access for pre-show and during the interval. However, if tonight was about the orchestra playing arrangements of these britpop songs, then a nicer setting, like the Royal Albert Hall, on a better day of the week, like a Tuesday, would have been more fitting. If this lineup was about having a drunken Saturday night whilst hearing all your favourite songs from your youth, then this wasn't the night for that either. Tonight fell somewhere in the middle of all that, not really belonging.

By the time we were able to get into the Hammersmith Apollo, they were already on the last song of the first half; a fantastic orchestral arrangement of Ocean Colour Scene's 'Hundred Mile High City' with its songwriter, Simon Fowler, on vocals. The opening of the second half was just as impressive, with Republica's 'Ready To Go', which would have benefited without Saffron's enthusisastic but unnecessarily out of time tambourine playing. In fact, her singing actually distracted from the wonderful orchestra, who demonstrated how complex the parts are. The Bluetones' Mark Morriss seemed most at home in front of the ensemble, which included a perfect version of Pulp's 'The Trees'. John Power demonstrated how brilliant his Cast songs are, not needing much rearrangement. He may have felt a little uncomfortable without a guitar in his hands, as did Mark Chadwick, who has been playing with one in free time with The Levellers since the '80s so, after beginning singing in the wrong key, the strict timing of the conductor threw him off as he tried to count along himself with arm waves. A cover version of Bitter Sweet Symphony from him was a bit too obvious, with Simon Fowler also not making full use of the philharmonic by opting for an acoustic version of 'The Circle'.

Nic Bennett

[anghexescu]

"My parents...Were devoted to their duties. You think I don't know? The story of why my mother's gone and why my father and I have continued to be on the run?" He didn't ASK to be born the way he was. Why was it that he was marked for simply being born? And if God had the power, why did they create him to be as he was. Why give his parents hardship? WHY was he marked by GOD as a warning? He's confused and angry.

He remains seated, with his back facing Aurelius. His hands remain on his lap, but the more Aurelius talks, the more his heart feels it'll burst. There's anger trickling within and sadness. Ever since he can remember, they have been on the run. His father had been lucky to have run into Morriss and his daughter. Klaus remembers hearing Solara say, "If it weren't for them, we wouldn't have made it this far."

And even after having traveled with Morriss and Miyena, they had still been tracked. Those two stuck around despite the danger of being around himself and his father.

OF COURSE, Klaus knew how many angels were sent after him. Of course, he counted each and every one of them.

He could give Aurelius the exact number right now if he wanted.

"you then were the cause of my father's life. If they hadn't cornered him...if you had backed off..."

If Fiyero had been in his world...the same fate may have befallen him there too. Aurelius would have tortured him and killed him. Just like how he did before to Fiyero. And all for what? To secure Klaus' place? How many ARMIES would Aurelius have sent to take care of her? The thought makes him feel sick to his stomach.

He never asked for this.

And Aurelius had never asked WHAT HE WANTED.

Klaus does rise and he turns to look at Aurelius. He's tired. Sure Aurelius is too.

"I don't think you should be questioning my love, Aurelius," He says quietly. His love for Aurelius ran so deep. Cut him open and he'd be bleeding love right out.

"You and I show it differently. You of all should get it. You've always said it yourself and you still....You still can't see why." He lifts his gaze to look into Aurelius'.

"What makes you different from your father, Aurelius? You let fear take over. You carry greed---the want for more when you have enough. And your wrath....," Klaus bites into his inner cheek. "I felt all the same when it was your father's angels sent after me and my family. What makes you different from your father?"

"I don't need you to hurt or kill to protect me. I never asked you to do any of that. ALL I asked---All I wanted was just for us to be by each other's side. What I wanted.....was for you to let go of your duty and live AS you. Not as the DIVINUS or whatever Title you have in heaven." Klaus shakes his head, holding back the shakiness in his breathing.

「✦」 Mind-reading is a skill he knows Klaus possesses, but never one that concerns him—Klaus cannot read his thoughts, after all. It's why the seraph's admission that he read Dar's catches Aurelius off-guard.

And Fiyero's, as well.

His mind scrambles, grappling for a handhold amidst the sense of slipping control. In the end he latches on to the words that stand out most, golden irises fixated on his partner.

"...my people?" Aurelius echoes, incredulous. "Haven't I—"

"Isn't it obvious by now that I'm standing on your side?" Sparks dance behind his eyes as Aurelius runs a frustrated hand through his hair.

"Your parents defied the will of Heaven first, so God marked you as a warning." Green eyes, the color of envy. They had labeled Anghelescu a child of ill omen for such a simple reason. "Father knew what you might become and wanted you dead. But he lost himself in his fears and fell—to me."

He takes a step forward, face grim.

"If you've seen my memories, then you know—there was nothing to oppose my rise in Heaven. I had God paving the way, and I intended to make things right: for you, your parents, and the realm that forsook you. I've been trying to fix things, Klaus. I've been trying ever since I took the throne."

Another step, and his fists clench further at his sides.

"Do you know how many angels Father sent after you?" "Do you think Fiyero was the only one to fall by my hands?" "If you hate killing to protect yourself, can't I do it in your place?"

“All that God gives us is a test. It is not our place to question His reasons. Instead—” At last he looms over the other, incredulity mixing with confusion and fury. "Is this your definition of love, Klaus?"

"To never choose me first, unless I become one of you—one of them. Then I would rather you kill me first."

[finestpharmacy]

Job Application

Name: Klaus Avenue Age: 19 Experience (if applicable): When I was younger, I helped my father and Morriss with picking out herbs and different plant-life for survival. Other than that, I don’t have much other experiences.  Desired position: I am interested in both sorting and gathering herbs. Why would you like to apply? / Why are you suited for the position?: I believe this will give me the opportunity to learn more and therefore help more people.  An icon for the staff page:

___________________________________________________ ___________________________________________________

❝ Excellent. The mark of any great herbalist is the desire to learn and a good nurturing spirit. Why, with my eyes of experience, I dare say you strongly possess both. We’ll certainly be lucky to have you. Welcome aboard, Klaus. ❞

[pear-pies]

1998 - How was it for you?

With Melanie Blatt of All Saints, Mark Morriss of The Bluetones, John Disco of Bis, Wojtek Godzizz of Symposium, B*Witched, Isabel Monteriro of Drugstore, Jarvis Cocker of Pulp, Louis Eliot of Rialto, Saffron of Republica and Alice Nutter of Chumbawamba and Nataile Imbruglia

Melody Maker / January 2, 1999  

[niceplacetovisit]

🟦  SONG OF THE DAY 📆  26th May 2021 🎶  “SLOW DOWN” 🏴󠁧󠁢󠁥󠁮󠁧󠁿  THE HELICOPTER OF THE HOLY GHOST 💿  Afters (2021)

Recognise the singer? It’s the one and only Mark Morriss on this beautiful track from brand new band THOTHG with Billy Reeves (of theaudience) amongst others... can’t wait for the album!

[dodgykeeps]

My 12 Favorite New Songs This Week 8/23/19

IGHTF by The Hunna

Get Off by Zuzu

Tell It Like It Is by Opus Orange

Easy Peeler by Phoebe Green

#NoFilter by My Life Story

British Bombs by Declan McKenna

She Plays Bass by beabadoobee

The Beans by Mark Morriss

Violet by Sea Girls

Long Way to the Sun by Blackwaters

Leave Yourself by Hundredth

People by The 1975

[vyaghra]

Damon x Mark

[marvelousmatt]

MATT MUSIC MONDAY -- MEDICINE from KILL THE WOLF

Mark Morriss joins Matt for an impromptu jam of Medicine.

[themagices]

This is going to be a cracker! We’re delighted to have been added to the bill