#saint cloud

[illustratus]

View in the Parc de Saint-Cloud by Alexandre-Hyacinthe Dunouy

[fairweathermyth]

WAXAHATCHEE + heart of glass/stone/gold Crowbar + Burns Out at Midnight + Arkadelphia

[chicinsilk]

L'Art et la mode Mars 1954

Jacques Heim Spring/Summer 1954 Haute Couture Collection Suzy Parker wears "Saint-Cloud" alpaca blouse dress by H. Moreau.

Jacques Heim Collection Haute Couture Printemps/Été 1954 Suzy Parker porte "Saint-Cloud" robe blousante en alpaga de H.Moreau.

Photo Bonx-Mandello

[gourmands]

Robert Doisneau, Pique-nique à Saint Cloud, 1950.

[filmap]

Zéro de conduite / Zero for Conduct Jean Vigo. 1933

Young Woman 12 Pl. de l'Église, 92210 Saint-Cloud, France See in map

See in imdb

[creaturefeaturecommando]

I had a dream that I was in Venture Bros but I was from the year 2023 and was kidnapped by scientists who used me to test their time machine that was a discontinued Jonas Venture project that they supposedly finished, but it went wrong and a piece of the time machine lodged in my chest, de-aging me from a 20 year old to like, a 9-10 year old, and I was flung back into the past to the year 2013, to an unknown location and I passed out

When I woke up, I was in a room and Pete White and Billy Quizboy were looming over me and that's when I realized that I was in the Spanakopita episode and I was freaking out as to how I knew I was in an episode and figured out that the time machine malfunction didn't just warp time, it warped reality as well, so I was self aware that I was in a TV show and that I knew what was going to happen this episode

So, I told Billy and White what Saint Cloud was up to and they were confused as to why I knew this, and they wanted me to answer why a 9 year old girl fell from a portal in their ceiling, into their room in Spanakopita but I acted like I was an amnesiac who couldn't remember shit

So I told Billy and White not to sneak onto Saint Cloud's boat because it doesn't end well but they thought I was just some weird kid sent by Saint Cloud to trick them and did it anyways, so I followed them onto the boat and when they were about to get knocked out, I found out, because of the piece of the time machine lodged in my chest, that I could rewind time by at least 30 seconds, so I did so and pulled them to safety before Saint Cloud could do anything and was also able to steal his money using this rewind power and dragged Pete and Billy's unconcious bodies back to the hotel and when morning came, I told them that when they passed out, I dragged them back with the money before Saint Cloud could tie them up in the amphitheater but didn't discuss my powers

They asked why I helped them and I made up some quick lie about Saint Cloud wronging me by outbidding me on some anime figure and ruining it and that me falling from the ceiling was a trick he did when I tried to steal something from him. I also told them that I had no family and no where to go, which ended up with them adopting me because I said if they did, they'd get to claim me on their taxes as a dependent.

So then it time skipped to All This And Gargantua 2 and I was now 13-14 and over the years I found out that I could go further back in time to hours, maybe even days or years but if i did, it would weaken me severely to the point of death. So i knew everything that was going to happen on Gargantua 2, as I was invited to board with Billy, Rose and Action Man since I was technically Billy's adopted daughter and I kept trying to prevent everything that was going to happen but doing so, I was exhausting my body and eventually ended up collapsing and going into cardiac arrest and into a coma.

I then woke up back on earth, after JJ's funeral and Pete, Billy and Rose were watching over me, worried sick and Billy demanded to know what happened and what that thing inside my chest was, that he found when he went to resuscitate me, so I told them everything that happened and that I was using my powers to secretly manipulate events that I knew would happen but ended up making things worse for myself

So after I told them about my powers, leaving out the parts where I was self aware and that we were in a TV show, Billy and Pete decided to let me become part of their Pink Pilgrim x QuizBoy x Robobo team and nicknamed me Stitch since I was a Stitch in time but they made the rule that I could only go back 10-30 seconds in the past because they didn't want to risk me dying.

Then we time skipped to the episode Maybe No Go and Saint Cloud kidnapped me and threatened to remove the piece of the time machine that was lodged in my chest, possibly killing me, to send the Please Please Tell Me Ball back in time, unless they sold him the company, so they sold the company in order to get me back and the ball, and then we moved to New York after VenTech bought us out.

Then it time skipped to The Curse of The Haunted Problem and it was revealed that Jonas was in the Ventech building and Jonas recognized the piece of the time machine that was in my chest as his work and, instead of latching onto Blue Morpho, he latched onto me and connected his wires to my chest in an attempt to force me all the way back in time to Gargantua 1, when Movie Night happened, in an attempt to stop his frozen body from being dropped, even though it was killing me and my body started flickering in and out of the time streams and just when I was probably about to disappear and die for good, Pete came and slammed the axe into Jonas' hardline and freed me but it knocked him out and put me into a coma

And that was it

[empirearchives]

Vintage postcard of the 18 Brumaire

[friendoffr-end]

Image transcript;

Project 37 presents

Singer-Songwriter Showcase:

◇ Emmy Woods

♤ Kadence Zoller

♡ Fr/end

May 8th, 2024. Free show 6pm-8pm.

Jules' Bistro, 921 W St Germain St, Saint Cloud, MN.

Call ahead to reserve a table, very limited seating. 320. 252. 7125.

[onecooooooolcat]

uh please check my blog for a part 1 to this poll about st cloud miami

[thepastisalreadywritten]

SAINT OF THE DAY (September 7)

On September 7, the Catholic Church honors the memory of Saint Clodoald, popularly known as Saint Cloud, who escaped from violent political intrigue to pursue holiness as a monk and priest.

Born in 522, Clodoald was the grandson of the Frankish King Clovis I, whose conversion to orthodox Christianity – rather than the Arian heresy – made him the first Catholic ruler of present-day France.

After Clodoald's father Clodomir was killed in 524, he and his brothers Theudovald and Gunthar were raised by their grandmother Queen Clothilde, whom the Church now honors as St. Clothilde.

Clovis' kingdom had been divided equally among his four sons following his death in 511.

In an effort to secure Clodomir's share of the territory after his death, two of Clodoald's uncles plotted to kill the three boys who were under the protection of the queen.

While the uncles managed to kill Gunthar and Theudovald, Clodoald fled and was taken in by the archbishop Saint Remigius of Rheims,

Forced into seclusion by the plot against him, the young man became determined to renounce the power and wealth that had brought grief to his family.

Placing himself in God's service, Clodoald lived in a small monastic cell where he pursued a life of asceticism and contemplative prayer.

He gave his inheritance to the poor and eventually became a disciple of the hermit St. Severinus near Paris.

No longer pursued by his uncles, Clodoald appeared before the bishop of Paris in 542.

He formally received the monastic habit from the bishop, who cut off the long hair that had signified his Frankish royal origins.

Clodoald eventually left Paris to live as a hermit in the forest for several years, growing closer to God in his contemplative vocation and studying Sacred Scripture extensively.

During these years, pilgrims began making their way to the hermitage, seeking his prayers that were known to work miracles.

Though he had left Paris to live in anonymity and solitude, the hermit now sensed a need to return to the city, where he was ordained a priest in 551.

His two murderous uncles were said to have repented of their deeds during the time of his ministry.

In 554, Clodoald returned to the monastic life, founding and leading a community of monks in the village of Nogent near Paris.

There, he was known for his generosity toward the poor, and his attention to the work of religious instruction among the people.

He died on 7 September 560 at the age of 38.

Under the name of “St. Cloud,” Clodoald became the namesake of several cities and towns.

These include the Parisian suburb of Saint-Cloud, and later St. Cloud, Minnesota, whose Catholic diocese has been placed under his patronage.

[fondationdebourbon]

[illustratus]

The Coup d'État of 18-19 Brumaire - General Bonaparte in the Conseil des Cinq-Cents (Council of Five Hundred) at Saint-Cloud, 10th November 1799

by François Bouchot

[poprocklyrics]

If I could love you unconditionally I could iron out the edges of the darkest sky

Fire, Waxahatchee

[sinceileftyoublog]

Riot Fest 2024 Preview: 5 Cant'-miss Non-headliners

St. Vincent; Photo by Alex Da Corte

BY JORDAN MAINZER

Emo Friday, indie rock Saturday, metal Sunday seems to be the theme of this year's Riot Fest--at least for the bands in the big fonts on the poster. Of the bands previewed here, you've got your pop-punk farewell, your art rock heavyweight, and your post-punk up-and-comers, but also the finest of the alt-country and hip hop worlds today. Yes, I'm fully aware that two of them overlap, but who's to say you can't go half and half? Here are 5 can't-miss non-headliners.

FRIDAY

Sum 41, 6:05 PM, Cabaret Metro Stage

"I don't wanna believe that maybe this is the end," Deryck Whibley sings on "Landmines", a standout from Sum 41's eighth and final album Heaven :x: Hell (Rise). On the contrary, Whibley's been pretty publicly okay with hanging it up, and I have to imagine it's in no small reason due to the strength of the record, two discs that, respectively, dive into the pop punk of the band's early years and the more metal-adjacent sounds of their more recent releases. It's as if Sum 41's released a greatest hits album of their various aesthetics. The first disc, Heaven, opens with "Waiting on a Twist of Fate", an impassioned blast that Sum 41 can still do as well as anybody, and doesn't slow down for the majority of its runtime. Even the songs where Whibley expresses ennui are ripe for rousing singalongs, from the barnburner "Future Primitive" to the stadium-sized "Dopamine". The band sounds as exciting as ever; the interplay between Dave Baksh and Tom Thacker's guitars, and Frank Zummo's rolling drums propel songs like "Bad Mistake".

Impressively, the songs on Hell are no less catchy and perhaps even more dynamic, such as "Over the Edge", whose hardcore verses subside for the hooky chorus and an unexpected piano outro. "I Don't Need Anyone", a song written after the band decided on calling it quits, sports a big, swinging bassline from Jason McCaslin, as if to say, "We might miss playing music, but you're gonna miss the feeling you get when listening to us, more." They even find room to document their penchant for live covers, delivering a fairly straightforward though no less burly version of The Rolling Stones' "Paint it Black".

On closer "How the End Begins", Whibley's perhaps a little more honest than he was at the beginning of the album, singing, "Sometimes I wonder if I have enough to say / Or am I just an echo, a reflection of yesterday." Even if Heaven :x: Hell acts as a proper career retrospective, it's a hell of a time, something the band can be proud of for years to come. Catch them for the last time on Friday night and rap along to the immortal "Fat Lip".

Waxahatchee; Photo by Molly Matalon

Saturday

Waxahatchee, 6:15 PM, Radical Stage

Katie Crutchfield's brand of alt-country might be a stylistic outlier at Riot Fest, but that makes it all the more punk, if you ask me. Leaning into the high and lonesome has resulted in the two best Waxahatchee albums so far, 2020's Saint Cloud and this year's impressive Tigers Blood (Anti-). Hearing her and her venerable band play these songs, at golden hour? That's unbeatable.

St. Vincent, 6:35 PM, Cabaret Metro Stage

On St. Vincent's first self-produced album All Born Screaming (Total Pleasure), the oft-acting singer adopts her boldest persona yet: herself. Throughout the record, she sings about loss, grief, and the art of keeping on, with a sense of brutal honesty we haven't yet seen from Annie Clark. "Give it all away cause the whole world's watching you," she sings on groovy opener "Hell Is Near", ditching the idea of role atop swirls of syncopated synth layers, dramatic piano, and hypnotic twelve-string guitar. What she cares about most is being subsumed by the music--well, that, and you being subsumed by her music, Clark embedding herself in your ears, like on the slinky, whip-cracking "Flea", rife with her trademark guitar squalls.

Part of Clark's comparatively straightforward communication, though, is letting us know when she's struggling. On "Reckless", she's shaken by the idea that those she loves will one day be gone: "Hey, ma, I'm cracking up," she sings, her usual assured baritone morphing into a creaky falsetto. She uses industrial beats and repetition of phrases to mirror emotional states of panic or release, screaming over and over "What are you looking at?" during the outro of "Broken Man", ending the title track by consistently chanting "all born screaming" beside skittering drums and a propulsive synth line. At the same time, All Born Screaming still finds time for uplift. "Violent Times", laden with David Ralicke's cinematic horns, is a tribute to finding love and practicing art amidst societal chaos. And the gorgeous "Sweetest Fruit", a salad of synaptic synths, galivanting drums, and twangy electric guitars, is dedicated to queer creators like SOPHIE and political cartoonist Daniel Sotomayor who passed away far too young. Clark has spoken about how the act of screaming is a sign that you're alive. As such, All Born Screaming shows a newfound appreciation for her earthbound world.

Live, expect to hear much of All Born Screaming, plus standouts from St. Vincent's previous five or so records.

SPRINTS

Sunday

SPRINTS, 1:20 PM, Cabaret Metro Stage

They don't even have to begin their set with "Ticking", and SPRINTS are still guaranteed to keep you on the edge of your seat from start to finish. Yes, that song's build up of guitar, snare, and chanted vocals exemplifies the apex of the Dublin quartet's live intensity, but any of the hard-charging tunes on Letter to Self (City Slang), their terrific debut album, could introduce you to their urgent world. With SPRINTS, lead vocalist Karla Chubb sings about self-acceptance and love in the face of a world that stigmatizes depression and discriminates against queer folks, and she's got the might of Colm O'Reilly’s lead guitar, Sam McCann's groovy bass, and Jack Callan’s meaty drums to back her up. SPRINTS play early, and they might not play to a packed crowd, but everyone will leave a fan.

Tierra Whack, 5:00 PM, Rise Stage

Tierra Whack has been one of the most exciting figures in hip hop for the past half-decade. Her first major statement, her debut mixtape Whack World, consisted of 15 minute-long, world-building vignettes, each accompanied by a video. Her first three EPs introduced her as someone unafraid to blur genre lines, questioning the usefulness of such divisive tags to begin with. (They were appropriately titled Rap?, Pop?, and R&B?) Earlier this year, Whack finally released her debut studio album World Wide Whack (Interscope), and it's a proper emotionally complex follow-up to the identity struggles of Whack World. Sure, she flexes her rapping prowess and overall aura. "I make a dollar every time that my heart beats," Whack declares on "MS BEHAVE"; on "CHANEL PIT", she claims that--yes--at her concerts, the "mosh pit smell like Chanel." Much of World Wide Whack, though, is melancholy, delving into her anxiety and struggles with friendships and relationships. The nervous R&B of "BURNING BRAINS" is the sound of sensory overload, complete with pitch-shifted, molasses sweet, indecipherable backing vocals. On "IMAGINARY FRIENDS", built around a surf rock guitar line and minimal drums, she sings, heartbreakingly, " My last best friend, said he wish he didn't know me / His name was Oscar and he really hurt my feelings / When I grow up I want to hang from a ceilin'."

Whack often spits around understated, minimal production, and she references suicidal thoughts numerous times throughout World Wide Whack. But the album is not defeatist; instead, it's a statement of triumph despite her troubles. On "27 CLUB", talking through her ideations, Whack almost acts like her own guardian angel, showing herself what life would be like if she were gone. And the most joyous song on the record is "SHOWER SONG", a slice of Southern-fried synth funk about the joys of--you guessed it--singing in the shower. She adopts a nasal vocal style as if to emphasize her carefree attitude towards how she sounds, a moment where the ultimate curator is instead finding strength in her vulnerability.

It does take a good curator to put together an unforgettable live hip hop set, and Whack's likely to cull from her instant classic mixtape and new record at Riot Fest. Whether her mosh pit will smell like Chanel? To be determined.

[sevrage]

[realestateprosfl]

Come see it in person! I've scheduled an open house for Sat, Mar 2 @ 11:00 - 1:00PM. Click on the image to see all the listing details, or contact me directly if you'd like to learn more. 3390 Barina St Saint Cloud