Word: exodusing
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While many girls get off at Johnston Gate, no obvious Jezebels are among them. When the bus reaches its Beacon Street stop, a mass exodus occurs and Wellesley girls are partially replaced by MIT boys. A junior from MIT slides into the empty seat next to me and strikes up a conversation. We talk about his fraternity, his Wellesley ex, and our mediocre musical ability. Robert Toscano initially seems surprised to find out that I do not go to Wellesley, but aside from comparing workloads, the tone of the conversation remains the same, changing neither for the better...
...giant organ, the bright, clean sound of the Flentrop will be a welcome relief, especially when combined with Scott’s brilliant technique. Organ recitals have become increasingly rare since the instrument’s modern glory days ending just after the mid-twentieth-century. The recent exodus of British organists to the United States, however, could reverse this unfortunate trend. John Scott is the latest, and the most skilled, of these renowned expat musicians. Formerly the director of music and organist at St. Paul’s Cathedral in London, Scott currently holds the same posts...
...seeming novelty of his musical style, Matisyahu explains to the Crimson, "A lot of reggae songs reference the Old Testament." To demonstrates the underlying strains of Judaism in reggae, Matisyahu recites verses from Bob Marley’s "Exodus": "We know where we’re going/ We know where we’re from /We live in Babylon /We’re going to the promised land...
...deliberation of music or poetry, her groupings of bowls can limn the personal (Silence, 1995, where two pairs of figures tower above a silvery pool, either mute or deaf to each other) and the political (one can't help but read the queue of 23 moist-lipped vessels in Exodus II, 1996, as asylum seekers). Other still-life groups simply delight in their play of form (the rising and falling rhythm of Breath, 2000) and color (the enlightening journey of Fade, 2003). Her groups, which the artist keeps carefully documented in photographs, are growing. In 2004, for instance, Hanssen Pigott...
...provide not just fleeting pleasure, but a certain foretaste of the pinnacle of our existence," he writes. He concludes that eros and agape ultimately share a single destiny. "Love is indeed 'ecstasy,' not in the sense of a moment of intoxication, but rather as a journey, an ongoing exodus out of the closed inward-looking self towards its liberation through self-giving, and thus towards authentic self-discovery and indeed the discovery...