#roi griffin

[clubkidandcollectives]

[politicaldilfs]

Georgia Governor DILFs

Jimmy Carter, Sonny Perdue, Herman Talmadge, Marvin Griffin, Ernest Vandiver, Carl Sanders, Melvin E. Thompson, Lester Maddox, Nathan Deal, George Busbee, Joe Frank Harris, Roy Barnes, Zell Miller, Brian Kemp

[thevondoom62]

Dr. Loomis' hunt for The Shape gets a little out of hand.

[iminloveedits]

Marjan is fearless and Paul is her ride or die, fr

[jazzdailyblog]

Unraveling "Misterioso": A Glimpse into Thelonious Monk's Live Masterpiece

Introduction: Released in December 1958, “Misterioso” is a live album by the Thelonious Monk Quartet that captures the enigmatic and innovative spirit of its creator. Recorded at the Five Spot Café in New York, the album is a significant piece of jazz history, illustrating Monk’s ability to transform his compositions in a live setting. Produced by Orrin Keepnews and featuring saxophonist Johnny…

[yourdeadprince]

someone's needy and for once it's not marv

[heytheredeann]

Roy & Frank in Godless (2017)

[Requested by Anonymous]

[abs0luteb4stard]

W A T C H I N G

[winx-episodes-battle]

[eclecticpjf]

Now watching:

This is terrible, in an awesome way.

[rhettakins]

Black Christmas (1974)

Dir. Bob Clark

As winter break begins, a group of sorority sisters, including Jess (Olivia Hussey) and the often inebriated Barb (Margot Kidder), begin to receive anonymous, lascivious phone calls. Initially, Barb eggs the caller on, but stops when he responds threateningly. Soon, Barb's friend Claire (Lynne Griffin) goes missing from the sorority house, and a local adolescent girl is murdered, leading the girls to suspect a serial killer is on the loose. But no one realizes just how near the culprit is.

[sinceileftyoublog]

Patty Griffin & Parker Millsap Live Show Review: 1/27, Old Town School of Folk Music, Chicago

Patty Griffin

BY JORDAN MAINZER

Patty Griffin’s songs are true folk songs, in the sense that their studio arrangements can be pared down to befit any number of instruments, and that their stories are ever-present. Performing Friday night at the Old Town School of Folk Music, Griffin told these stories, sometimes their context, too, other times letting the words do the talking. Accompanied by virtuosic guitarist David Pulkingham (whose flamenco licks on set opener “Mama’s Worried” recaptured the magic of hearing it for the first time) and percussionist Michael Longoria, Griffin rejected the pattern of touring off of an album release cycle and delivered a set of her most beloved back catalog highlights. Sure, a concert based off of songs from Tape, last year’s self-described “home recordings & rarities” collection, would have been a tad esoteric. But that Griffin chose to mostly play the heavy hitters from Children Running Through, Servant of Love, and 2019′s self-titled LP (perhaps her best) made Friday night’s set one for the ages.

Griffin and David Pulkingham

A song like “250,000 Miles” encapsulated what Griffin and her band did best. Introducing it as being inspired by a story of immigrants moving from Nepal to Dubai to build skyscrapers, Griffin’s framing and performance shone universal themes of homesickness and alienation atop shaky, dual percussion to match the song’s nerves. The PJ Harvey-esque blues stomp of “Flaming Red”, Griffin on acoustic, Pulkingham on blistering electric, Longoria on thumping snares, mirrored the physical strength of the circumstances under which the song was written, Griffin training for a marathon, wanting to get in shape after snatching a record deal. She deftly balanced humor and terror on “Coins”, one of the “weirder” songs she left off of setlists when opening for The Chicks last summer. Inspired by her experience waiting on creepy, cheap Harvard Business School bros at a Pizzeria Uno, the song was funny until it wasn’t; the descriptions of a “young man with all the answers” leaning into the side of himself “hungry for power” foreshadowed the dire consequences of toxic masculinity we witness every day.

Almost eerie in its prescience was “The Wheel”, particularly in its references to Eric Garner. “Here’s a song about a man / About a man I never met / Here’s a song about a man / About a man I can’t forget,” sung Griffin. “Can’t” carried dual meaning: she’s unable to forget the tragedy of his murder, and she’s also not allowing herself to forget his story because similar ones keep happening. A few hours prior to the start of the show, the body cam footage of Tyre Nichols’ murder at the hands of the Memphis police was released. That Griffin performed “The Wheel” on Friday was, in all likelihood, coincidental, but it nonetheless reminded the crowd of the power of music to make us remember.

Parker MIllsap

Opening for Griffin was Parker Millsap in a solo acoustic set, which allowed him to continue his transformation from boisterous, clean-cut pop rocker to bearded, beanie-laden singer-songwriter. It wasn’t just his look: Millsap performed mostly new songs from an album coming out later this year, and even the older songs he did sing, like “Your Water” and “It Was You”, transformed into languid blues ditties. “Front Porchin’”, Millsap’s “Keep on Chooglin’”, was an undeterred ode to weed haze and chillin’ out, while “Before the Curtain Closes” allowed him to show off his always impressive vocal chops, increasingly sounding like a mix of Roy Orbison, Jeff Buckley, and Hamilton Leithauser. At one point during his set, Millsap joked, “I should apologize for tuning so much, but if there’s any place to put on a capo and tune, it’s here.” Judging by the new songs, he’ll be tuning a lot more in the near future.

[dualdeixis]

[Image description: Two digital drawings. The first features Temenos Mistral and Aelfric in a medieval-style composition. The second features Kaldena and Temenos posing together in a study. There are full descriptions of both drawings under the cut. End image description.]

godsbride / goodwife

happy birthday @maverickflare <3

[Image description: In the first drawing, Aelfric sits on his stone pedestal outside the Flamechurch Cathedral at night. He wears a flowing white dress, a black long-sleeved undergarment, and a teal cloak. He also wears a gold belt and bracelet, and the medallion on his cloak depicts the Sacred Flame. His face is almost entirely eclipsed by a shining white halo; only the outlines of his narrowed eye, lofty smile, and long, curly hair can be seen. In one of his hands burns a blue flame, while the other hand cradles Temenos Mistral's face. Temenos looks up at Aelfric with an expression of dread and reverence, sweat beading on his cheek. The illustration has a border of gold and lapis lazuli that includes medallions at its corners and midpoints, which depict various other characters. At the top center is Crick Wellsley, holding up a red book so that it covers the lower half of his face; he looks directly at the viewer with a shadow over his eyes. On either side of him, as well as at the bottom center, are three angels with shackles around their necks. They smile placidly and hold their hands up in supplication as they gaze at Crick. At the middle left is Pontiff Jörg, looking tiredly off to the side. At the middle right is Roi Mistral, looking downwards with a troubled expression. All of them are drawn with blue haloes. The bottom left medallion shows Aelfric's hand reaching around Temenos's neck; his eyes are hidden, his face is flushed, and his mouth is slightly open. The bottom right medallion is shattered. Between each medallion, a poem is written in Orsterran script and framed by arabesques. The red background beyond the border, decorated with eight black, winged, haloed Sacred Flames, completes the poem. It reads: "THE FACE OF MY LORD / is a devouring fire / THE FACE OF MY LORD / is a destroying angel / THE FACE OF MY LORD / disturbs slumberers in the night / THE FACE OF MY LORD / menaces children at church / THE FACE OF MY LORD / does not appear / THE FACE OF MY LORD / cannot appear / THE FACE OF MY LORD / is a wreath of tears / THE FACE OF MY LORD / is a broken mirror"

In the second drawing, Kalenda sits at a desk in an intricately carved wooden chair. She wears a plum-purple tailcoat, wine-red waistcoat with a dotted pattern, black trousers, and a white shirt with ruffles at the wrist and a black ribbon at the collar. On her left hand, she wears three silver rings; on her right hand, she wears a gold ring on her ring finger. A flower-decorated bowl holding a pomegranate, plum, and grapes sits on her desk. In her right hand is a lychee. Temenos stands behind her, bracing his left hand on the chair and resting the other playfully on Kaldena's head, seemingly reaching for the lychee. He wears a white shirt, black waistcoat, yellow-green waistscarf, and teal trousers which are heavily embroidered with nature imagery. He also wears a pearl earring; a matching gold ring on his right ring finger; and a gold necklace with a pendant of Crick, who is haloed and holding his right hand up in a gesture of blessing. Kaldena and Temenos are both looking at the viewer and smiling. The simplistic background shows an entrance to another room as well as a tall bookcase, with the top shelf holding a vase and two figurines of a griffin and winged serpent. End image description.]

[jazzdailyblog]

Thelonious Monk: A Jazz Icon in the 1960s

Thelonious Monk is widely regarded as one of the most innovative and influential jazz pianists and composers of the 20th century. In the early 1960s, he was at the height of his career, releasing groundbreaking albums and cementing his place in jazz history. In this blog post, we will explore Monk’s life and work in and around the 1960s and the impact he had on jazz music. Early Life and…

[yourdeadprince]

long(er) hair + kisses