Buy MDMA pills Paje

__________________________

📍 Verified store!

📍 Guarantees! Quality! Reviews!

__________________________

▼▼ ▼▼ ▼▼ ▼▼ ▼▼ ▼▼ ▼▼

▲▲ ▲▲ ▲▲ ▲▲ ▲▲ ▲▲ ▲▲

Buy MDMA pills Paje

Five shows I've written, including one that ran Off-Broadway in and one currently in development. A commissioned 8-movement piano piece inspired by Marc Chagall's artworks, and a tribute to Chagall and Elvis. See my ideas regarding musical direction, see my resume, or let me coach you for auditions and give you accompaniment tracks to practice with. Send me a recording to create sheet music from, or have me transpose or arrange a song or instrumental work. Read accounts of my long-term trips and my experience on the Fosse tour. I joined the Russians for breakfast: a fruit plate, a Spanish omelet, and porridge. I prepared to check out, and Erdil was looking after me. I hadn't explained my walking plans to him, and it took a bit of emphasis to get the point across. I'm not talking about business. If you have any problems, call me. I can help you. Maybe my story makes an impression, and if I leave Zanzibar having made connections with people who remember me for it -- perhaps connections strong enough to be friendships -- the experience will have been that much more meaningful. I took a last look at the view of the calm bay with the receding tide. In a few hours people would be walking to their boats several hundred meters out at sea. It's tough to leave such a beautiful view, I thought. Then I said to myself, I'm walking 26 islands. There will be plenty of sea views. One of the Russians was putting on sunscreen. Good idea, I thought. I have a habit of loading up my bag with sun protection and insect repellent and then forgetting about them. But I should apply them as much as possible. After all, doing so will lighten my cargo. That's the best reason I can think of for using them. I walked north along the road out of the village, past mango, avocado, and jackfruit trees, and then took a shortcut along a residential lane toward the main road heading east. People were surprised but not bothered by my presence. Some were downright exuberant over it. Jambo, jambo! There are various prefixes to be added, depending on whether you're the person addressing or addressed and whether you're talking to or among multiple people. I've tried the more proper 'hujambo' and the reaction was an assumption that I could carry on in Swahili, so perhaps I should talk like the tourists and leave it at 'jambo' or the slang 'mambo. I took a short break at a bend in the main road known as Pete Corner, where I sat down opposite a giant mango tree and refreshed myself with a soda and some water from a roadside stand. The owner's little son and a family of chickens greeted me. Farther along were a few tourist attractions. First up was the Zanzibar Butterfly Centre. There was one of these in Aruba, too, and I just can't get excited about them. I can be drawn to other insects -- the Insectarium in Montreal is fantastic -- but an all-butterfly experience is rarely going to compel me. The Jozani Maridadi restaurant looked wonderful, and the guard addressed me in Russian. It was too early for lunch. The restaurant also has a swimming pool, and when its lodging is operational in a year or so it will be most welcome -- this area is lacking in accommodation. The main attraction nearby is Jozani Forest, properly called Jozani Chwaka Bay National Park, home to red colobus monkeys and other fauna. The park occupies a large area, and it would be wonderful if I could walk through the park on the way north this weekend and not retrace my steps back to the Unguja Ukuu turnoff. It was a long shot, but I figured I'd ask at the office and see if I could pay the right person enough money to guide me out toward Jendele when I come through in a few days, after looping around the southeast. To my surprise, they offer an official 'long walk' in that direction. It's quadruple the normal entry fee and that price doesn't include a guide's services, which double the cost again. But saving a couple of hours of walking will be worth the extra money, and I'm eager to see a remote area of the park that most people don't get to. A ranger gave me his phone number, and setting up the guiding should be easy. I was all set to continue my walking, but across from the park turnoff was a sign for Zanzibar Turtle and Tortoise Land. I had no idea how far it was, but I took the dirt road and came to the entrance in about ten minutes. It's a sanctuary for reptiles that can't survive in the wild; they are returned to nature when they are deemed capable of self-care. I joined a tour with a few others. We were introduced to a vat of green sea turtles, and we fed them the seaweed that, together with algae, makes up their diet. They live up to a century and grow to five feet long and around pounds; some species of sea turtle are even larger. Out back were Aldabra giant tortoises, from 35 days to 60 years old. They can make it to years and pounds. They're quite docile, and we were permitted to touch them gently. My presence clearly aroused the male, as moments later he walked forward and climbed atop the female in front of him. The two tortoises slowly walked forward together, the male grunting every few seconds like a biker going up a steep hill. Their session took about half a minute, after which the male let out a dreamy moan and the two separated and sank into motionlessness, collapsing like a pair of synchronized deflating air mattresses. The tortoises' moment of ecstasy put a spring in my step, and I made up some of the hour's diversion by upping my pace. Beyond Jozani village the road bent toward the southeast, and after a half-hour I turned left onto the Paje road. There was rarely a shoulder to walk on, but traffic was light, and it wasn't often that I needed to step briefly into the grass -- only when cars were overtaking each other or passing in opposite directions. A few drivers offered me lifts: in cars or on a motorcycle or a gasoline truck. I walked for over an hour at my ideal pace, ten minutes per kilometer; MapMyWalk made its announcement whenever the time ended in a six, and I eagerly anticipated her voice. The Paje road was lush but long and straight and almost devoid of any kind of buildings or establishments until the police checkpoint just outside Paje. The road from the west ends at this beach town; from here another road heads north and south, and that road is lined with beach hotels buzzing with Russian and German tourists. I'd booked into Paje by Night, just to the south and down a side road lined with zillions of shops selling paintings of animals. Paje by Night's allure lay largely in the hotel's swimming pool, which is surrounded by a piano-keyboard pattern, and in the existence of a laundry service. I arrived sweaty, badly in need of a shower, and in my last set of clean clothes. The receptionist photocopied the list of laundry prices and I brought it to my room. In all my years of traveling, I've managed to avoid the extortionate per-piece laundry charges levied by hotels, either by choosing lodging with self-service laundry machines or by finding laundry shops. I do not understand the itemized rates. If they're using a machine, shouldn't it be per load? Dump it all in, move it to the dryer, and throw it in a bag. I can fold it myself. It takes the same time to do that for one piece as for a full load. I spent less than that on an air ticket to Florida for a gig last month. Fortunately I'd seen the Paje Laundry Cooperative on the way from the junction. I'll pick up the result tomorrow afternoon. Go on to day 5. Home News and events About me Biography, background, press, and tidbits both musical and nonmusical My musicals Five shows I've written, including one that ran Off-Broadway in and one currently in development The Chagall Suite A commissioned 8-movement piano piece inspired by Marc Chagall's artworks, and a tribute to Chagall and Elvis Listen Hear my music on this site and buy my recordings Musical direction See my ideas regarding musical direction, see my resume, or let me coach you for auditions and give you accompaniment tracks to practice with Transcription services Send me a recording to create sheet music from, or have me transpose or arrange a song or instrumental work Travelogues Read accounts of my long-term trips and my experience on the Fosse tour Mailing list Subscribe to receive news and travelogues.

The Brooklyn Rail

Buy MDMA pills Paje

Kimberly Bartosik kicked off her professional career with a nine-year-long adventure dancing for the Merce Cunningham Dance Company — , the work for which she then received a Bessie Award in Since then, she has been steadily and methodically building a choreographic body of work, characterized by a rigorously detailed exploration of physicality and a keen interested in creating multidisciplinary performance environments. Her work as a choreographer garnered her many accolades—including a prestigious Grant to Artists award from the Foundation for Contemporary Arts—and yet, feels like the year of Bartosik, with a string of firsts. By happenstance, Bartosik and I were peer artists during a three-week residency at the Marble House Project in Vermont earlier this summer, where I had the opportunity to witness her creative process. Back in Brooklyn in August, we took the time to catch up via Messenger and converse about her upcoming BAM performances. Ivan Talijancic Rail : When we were talking about your new piece in Vermont, there was a series of keywords that seemed really important to the work. Can you talk about these notions and how they prompted you to begin creating I hunger for you? Kimberly Bartosik: The keywords or themes have emerged after quite a lot of research and practice. They are: faith, violence, compassion, and life force. What prompted me to make the work is a hugely complex question. I keep thinking of dance as a way to communicate beyond language. Language, talking, is where we get fucked up; our bodies are another reality. Now, with my piece, I feel like I keep trying to understand faith—the need to believe in something outside ourselves. Why so many people who voted for Trump have deep belief systems? I feel a weird kind of privilege in coming from a family where several of us voted for Trump and hold his values. Rather, I need to try to understand them. I feel the violence of love. The violence of separation. The violence of desire to stay together. Rail: Hearing you talk about all the streams of thought that feed into the piece, it almost feels like an exorcism. How are you working with your dancers to allow these threads to filter in? Bartosik: Yes, it sort of is. Each performer is distinctly individual and each brings their own ideas about faith into the process. I grew up going to evangelical churches, but only one performer in my group has ever experienced that. Rail: Speaking of connection—it seems to me that you are thinking about this notion very widely. This project has received major support from the National Dance Project, which will allow you to share your work with diverse locales across the United States. How do you envision the opportunities for community engagement in these regions? Bartosik: Yes! How can dance, a non-verbal artform, create the possibility to speak across our own boundaries? A huge plea for my National Dance Project grant was speaking from my heart. As I said, I feel a kind of privilege in coming from a place where I need to understand those who do not share my belief, or I risk ostracizing them and myself. Life is way too short to risk that, but I keep thinking about how we can speak without yelling. How language—rational language—leads to violence. Where is the place where we can just connect? I think that place is our bodies: we all have one, no matter what we believe. We are all mortal, we all have flesh, blood, desire, emotion. Besides making my work, I wanted to develop a space where our bodies could be moving in the same, shared space. Could we find a place where our beliefs were less important than our humanity? And, in that space, can we just look at, and acknowledge one another, and not need to kill each other? I never just dance for the sake of moving. So the work is pushing me, out of necessity, way beyond myself. But, as you witnessed, I needed three weeks of being in a studio alone to figure out how to do that! Rail: Better late than never: just remember how much effort it takes that butterfly to get out of the cocoon! However, your work is also known for your use of design. Who are your key collaborators in bringing this vision to life—or, should I say, to the stage? Bartosik: Indeed, design is very important to me, and I feel like to you as well! For I hunger for you , the set is the ephemeral element of light. Roderick Murray, my longtime collaborator and husband is creating this design. This is also the first time I get to work with a composer and a costume designer! Bartosik: While we were rehearsing in France this summer, I realized there was one element missing: a young witness. Ivan Talijancic is a time-based artist, educator, and journalist and co-founder of WaxFactory. His first feature-length film, Minutes , is currently in post-production. Next Dance The Shuffle.

Buy MDMA pills Paje