#Clef Club Orchestra

[jazzdailyblog]

James Reese Europe: Pioneering Bandleader and Musical Trailblazer

Introduction: James Reese Europe was a pivotal figure in the history of American music, a bandleader, composer, and arranger who helped shape the sound of the early 20th century. Born one hundred and forty-three years ago on February 22, 1881, in Mobile, Alabama, Europe rose to prominence during the ragtime era and became one of the most influential African American musicians of his time. His…

[ifelllikeastar]

James Reese Europe was an American ragtime and early jazz bandleader, arranger, and composer. He was the leading figure on the African American music scene of New York City in the 1910s.

In 1913-14, he made a series of phonograph records for the Victor Talking Machine Company. These recordings are some of the best examples of the pre-jazz hot ragtime style of the U.S. Northeast.

Born on February 22, 1881 in Mobile, Alabama and died on May 9, 1919 in Boston, Massachusetts at the age of 38.

[jazzandother-blog]

ANITA O'DAY, ANITA (1956)

LIsten ´´ANITA´´ here

The Jezebel Who Inaugurated Verve

The Backstory When L.A.-born jazz impresario Norman Granz announced plans to start a new pop-oriented label named Verve on Christmas Eve of 1955, the buzz was all about the artist that Granz had signed before the announcement. She was a respected female jazz singer whom Granz had lured away from Decca Records where her career had plateaued. In February of 1956, Granz took out a full-page ad in Billboard proclaiming: 'VERVE RECORDS: WE GOT ELLA!'

Granz hired Buddy Bregman, a 24-year-old wunderkind arranger from Chicago, to oversee Verve's recording sessions. Bregman found only one problem: Other than Ella Fitzgerald, who had yet to record anything for the label, they had no other artists. Granz suggested Bregman tap the roster of artists at his two money-losing jazz labels, Clef and Norgran. "I found no one who was pure enough to do pop, so I looked for crossovers—obviously vocalists", Bregman remembered in 2011. "I went over the jazz artists on the jazz labels and I saw a lady who had gone to my high school and had an infamous reputation, Anita O'Day".

Anita O'Day was one of the least likely choices for Verve's first official LP. She was a relic of the Big Band days who had made her name singing with Gene Krupa's orchestra. But O'Day did not think of herself as a jazz singer; she thought of her voice as an instrument equal with any other, even insisting on wearing the same uniforms as the all-male bands she sang with. ("Anita O'Day is a woman", one jazz writer sniffed, "but for many years, Anita was unwilling to admit it".) She had come up hardscrabble during the Great Depression and had an attendant personality: direct, unvarnished, and often baffling. She held her own with the bands she sang with when it came to musical prowess—and wild behavior (she had been drinking in Windy City saloons since she was sixteen). Her sense of timing and phrasing was innate—she could literally replace any instrument in a brass line—and her singing soon took on the individualistic qualities of bebop while she developed a widely publicized heroin addiction. It earned her the nickname she would despise: "The Jezebel of Jazz".

By the early 1950s, O'Day had amassed long rap sheet and was eventually thrown into Terminal Island, where she suffered a nervous breakdown. Her career wrecked, she was playing strip dives in El Segundo and living with her drummer John Poole in Long Beach when Bregman went to see her at a club on Hollywood Boulevard. He was not impressed. "I hated her singing... but she did a whole set with her back to the audience. I thought, wow, that is so weird. I never even thought it had anything to do with drugs". Bregman, who did not smoke or drink, spent an awkward night with O'Day and Poole trying to work out a pop repertoire with such an out-of-the-box singer. "Her piano keys had no white ivory on them and when we rehearsed 'Honeysuckle Rose,' she asked if I could play more in the cracks. That stopped me. So I actually moved my fingers a little to the left and she nodded like 'That's what I meant".

Bregman was intrigued, but Granz was dubious. "She never sold over 3,000 albums in her life," he cautioned. "If you do better than that, it's a miracle". Bregman thought about it and decided, "Okay, I'll take a chance on O'Day". As O'Day herself wrote in her graphically honest 1981 autobiography High Times Hard Times, "Those seven words put me back in the business".

Why You Should Listen Anita (Verve #2000), recorded in three days in December 1955 in the old Capitol Studios building on Melrose Avenue, remains a masterpiece of self-reinvention. The cover, a murky and melancholy hand-tinted picture of O'Day perched on a rock, head resting in the crook of a tree, says it all: A matured woman had emerged from oblivion and was reintroducing herself, scars and all. From the crisp opening salvo of Bregman's horn section on Cole Porter's "You're The Top" to the near-classical leanings of the 1931 ballad "Beautiful Love", O'Day's grainy, bittersweet delivery is a perfect foil for Bregman's lush, buttery arrangements. L.A. studio vets like bassist Joe Mondragon, harpist Corky Hale and guitarist Barney Kessel round out the stellar cast of players.

The Aftermath According to Bregman, Anita sold 385,000 copies in the first six months after its release. "As news about Anita, spread, everybody started welcoming me back", O'Day remembered. "The Los Angeles disc jockeys promoted Anita as the album of the week. Variety, until then not one of my big boosters, was converted. Cash Box put my picture on the cover and Metronome welcomed me back in an editorial". The New York Daily News called her "perhaps the most high-styled jazz singer in action today". For his part, Bregman later crowed that the album "made me a star".

O'Day's Verve years, although plagued by her continuing addictions, were arguably her finest hour. She revealed a talent for finding quirky or obscure material on subsequent albums like Pick Yourself Up (also with Bregman), Travelin' Light and All the Sad Young Men. (The latter is practically a concept album of overlooked composers). In 1958, despite being "high as a kite" (her words), O'Day knocked the socks off of a sleepy afternoon crowd at the Newport Jazz Festival with her deconstruction of the standards "Tea for Two" and "Sweet Georgia Brown". Her appearance was filmed for the 1960 documentary Jazz on A Summer's Day, and the release of that film further completed her triumphant return and achievement of a new respectability as a unique jazz stylist.

Anita O'Day died in Los Angeles on November 23, 2006. Her memorial was at the Hollywood Forever Cemetery chapel, where Bregman recalled: "Her manager at the end of the service passed the CD out to all and said: This was her favorite album she ever made´´.

Source: Los Angeles magazine / writer Matthew Duersten

[lboogie1906]

James Reese Europe (February 22, 1881 – May 9, 1919), known as Jim Europe, was an American ragtime and early jazz bandleader, arranger, and composer. He was the leading figure in the African American music scene of New York City. Eubie Blake called him the "Martin Luther King of music". He organized the Clef Club, a society for African Americans in the music industry. In 1912, the club made history when it played a concert at Carnegie Hall for the benefit of the Colored Music Settlement School. The Clef Club Orchestra, while not a jazz band, was the first band to play proto-jazz at Carnegie Hall. It is difficult to overstate the importance of that event in the history of jazz in the US – it was 12 years before the Paul Whiteman and George Gershwin concert at Aeolian Hall, and 26 years before Benny Goodman's famed concert at Carnegie Hall. The Clef Club's performances played music written solely by African American composers, including Harry T. Burleigh and Samuel Coleridge-Taylor. His orchestra included Will Marion Cook, who had not been in Carnegie Hall since his performance as a solo violinist. Cook was the first African American composer to launch full musical productions, fully scored with a cast and story every bit as classical as any Victor Herbert operetta. He was known for his outspoken personality and unwillingness to bend to musical conventions, particularly in his insistence on playing his style of music. #africanhistory365 #africanexcellence https://www.instagram.com/p/Co9sxPNL2hd/?igshid=NGJjMDIxMWI=

[citrus-feline]

sometimes i feel like an asshat for writing f the way i do but its legitimately a habit.

i blame orchestra class. ive always thought the notation for forte is so pretty. so i injected that into my handwriting. so now i look like a jackass.

i dont think ive ever met another person irl that writes f like i do. i'm sure you're out there, but not in my vicinity.

maybe we can start a club of people who write f like a shithead.

though it would just turn into a club of people who know how to read a little bit of music probably.

i can only read alto clef btw. sorry. :)

[lizzygrantarchives]

Mojo, April 2021

Is Lana Del Rey – the Springsteen-approved laureate of L.A. darkness – lightening up? In 2021, a new album opens a sunnier chapter in her controversial roman-à-clef, and folk legend Joan Baez advocates her acceptance in the pantheon. But while serenity seems almost in reach, some wounds still burn and grievances rankle. “Fame can put you on the peripheries,” she tells Victoria Segal, “where the vultures can pick at you. It’s dangerous on the edges.”

IT’S MIDNIGHT IN MODESTO AND LANA DEL REY HAS swung into the backyard, pulled up in her fast car. “I told my boyfriend I was going to go out and sit in the car because I hate it when people listen to me talk,” she says. “I’m at his parents’ farm, so we’re in, like, the guest house. It’s pretty idyllic: Northern California, pretty cold, 40 degrees and a little fireplace. We had a sweet little night singing all the old Disney and holiday songs – not what I expected after a long car ride, but everyone was in a good mood.”

Tomorrow, Del Rey will hit the road back home to Los Angeles, preparing to spend Christmas Eve “with my sister and brother and just two girlfriends.” After the holiday, it will transpire she fractured her arm while spinning on her “beautiful skates” through the “twilight of the desert”: that’s why she’s wearing a sling in MOJO’s cover photograph.

Ever since she studied philosophy at New York’s Fordham University in the late 2000s, there’s been a question lurking in Del Rey’s mind: what if something happened to make the world stop? “So when it did,” she says, “I was kind of shocked.” The pandemic has inevitably hampered her movements – festivals cancelled, studio time with producer Jack Antonoff truncated – but it hasn’t slowed down her creative jumps (or her willingness to crash into social media).

September saw the publication of her poetry collection, Violet Bent Backwards Over The Grass. In November, she covered Summertime as a fundraiser for the New York and Los Angeles Philharmonic Orchestras; covering all bases, she also recorded You’ll Never Walk Alone for a documentary about Liverpool FC.

The most significant landmark, however, was the completion of Chemtrails Over The Country Club, the album she has been promising (sometimes as White Hot Forever) since the release of 2019’s Norman Fucking Rockwell! Bruce Springsteen, who knows a bit about the flipside of the American dream, loved that album: “She just creates a world of her own and invites you in,” he said. The cover showed Del Rey standing on a boat, one arm around Jack Nicholson’s grandson Duke, the other reaching towards the camera as if to save the viewer from the water. Behind her, the Californian coast is on fire. The Greatest, Norman Fucking Rockwell!’s defining song, was the cover’s aural analogue: “Hawaii just missed that fireball/LA is in flames it’s getting hot… Kanye West is blond and gone/Life On Mars ain’t just a song/I hope the livestream’s almost on.” But where do you go after burning America down? Did she know what was next?

“No,” says Del Rey lightly. “I felt totally fucked.”

YOU’D HAVE GOT LONG ODDS, IN 2012, on the internet phenomenon of the previous year’s Video Games becoming the decade’s most remarkable and provocative pop star. Back then, Lana Del Rey was more think-piece cipher than Boss-approved songwriter: “a young fiction,” sniffed the Los Angeles Times, “daughter of a domain-name magnate.”

The record states that Elizabeth Woolridge Grant was born in New York in 1985; as a baby, she moved with her parents upstate to Lake Placid. Music was around, but not unusually so. “From what I was told,” she says, “I sang verses before I spoke words, but I don’t think that necessarily meant I had to, or was going to be a singer.” Much else in her supposed biography, she says, is misinformation.

“People said I came from money,” she recounts. “It was really tough to get over some stigma of this idea of having my dad buying my album and giving me a record deal and us being some rich white family when we fought over money constantly when we were young.” Later, she says “I was not from the right side of the tracks, period.”

Sent to boarding school to address an alcohol problem – a period she captured in This Is What Makes Us Girls from her Born To Die album of 2012 – she “was made fun of mercilessly for being white trash. It was so hard, every minute of it was super-tough, not having come from Greenwich. Being super straight-edge in college was just, like, crazy. It’s been the road less travelled the whole time.” She has no interest, she insists, in properly telling her own story, “beautiful” though she says it is: “I don’t give a fuck about people knowing [mocking little voice] my inner thoughts as a third grader.”

Early detractors, chasing down a narrow idea of “authenticity”, were bothered by her musical prehistory – stalled experiments and false starts that might once have been called “paying your dues”. In 2006, she made Sirens under the name May Jailer, spindly alt-folk with a Linda Perhacs wobble that was never officially released. Her next ‘first’ album, Lana Del Ray AKA Lizzy Grant, was removed by her managers from the internet in 2010, preparing a clean slate for the post-Video Games era.

Yet as the plausibly deniable satire of Brooklyn Baby from 2014’s Ultraviolence indicates (“Well my boyfriend’s in a band/He plays guitar while I sing Lou Reed”), she put in the hours on New York’s grottiest stages.

In 2008, Del Rey was living in the Manhattan Mobile Home Park in New Jersey. She would also take the light rail to record with producer David Kahne on Gansevoort Street in the Meatpacking District – sessions that would ultimately become her first EP, Kill Kill, and the since repudiated Lana Del Ray. She had a deal with David Nichtern’s 5 Points Records; Lady Gaga’s manager Bob Leone secured her some classes at the Songwriter’s Hall Of Fame; her senior year of metaphysics at Fordham was ending. Odd little paths opened up: she auditioned for Spider-Man: Turn Off The Dark, the musical scored by Bono and The Edge, and “maybe thought about Broadway. You’d get like a hundred dollars for singing background on records that would lead to nowhere. There was this company that emerged called The Orchard that was taking submissions for, like, toilet paper commercials and I probably did one, like, under a pseudonym. Definitely the happiest I’ve ever been. Stay in the middle, no dog in the race, people would even hire me for background stuff. I tried to act so cool on every sofa I sat at.”

It was only in 2010, when she met her current manager Ben Mawson at the CMJ Festival in New York’s Chinatown, that gears shifted and she glimpsed a significant future for herself: “Then I moved to London with him that week and he got me out of my deal that day.”

Success was not immediate. “I lived in a shitty flat with no heat, it was so awful – but they told me it was on Camden Road near where Amy Winehouse used to play at the Roundhouse, and I loved Amy.” Her voice softens dreamily. “I loved Amy.”

Fed up with trying to write songs for other people, one day she “just said ‘fuck it’” to her collaborator Justin Parker: “‘I’m going to write what I want to write now.’” In a Dolly Parton-style fit of productivity, within 72 hours she had Video Games, Born To Die, Blue Jeans and Ride.

On July 23, 2011, just under a month after Video Games appeared on the internet, Del Rey was on a train to Glasgow when Mawson told her she had received her first review. “I had 10 seconds of the most elated feeling,” she remembers, “and then the news everywhere, on all of the televisions, was that Amy had died on her front steps and I was like no. NO.” She breathes in sharply. “Everyone was watching, like, mesmerised, but I personally felt like I didn’t even want to sing any more.”

TEN SECONDS OF ELATION seems to be as much pleasure as Del Rey has ever taken from her press. When she covered Don’t Let Me Be Misunderstood on 2015’s Honeymoon album, it was not casually chosen: anger at the way she feels she has been misrepresented surges through her conversation, despite the four billion streams, the four UK Number 1 albums, and the validation of famous fans from Stevie Nicks to Courtney Love.

Even Norman Fucking Rockwell!’s ecstatic reception was no antidote. “I knew they were going to like Norman… because there’s kind of nothing not to like about it,” she shrugs. “Norman…’s just cool, it’s easy to cheer for that.” She doesn’t, however, believe people are cheering for her: in September, she declared she still felt like an “underdog”.

“When I’m in London I’m reminded of what other people think of me in a great way. Being on the cover of MOJO – I fucking love MOJO. It’s crazy to me, crazy to me, crazy to me that I could be on the cover of MOJO but it’s a little different – ha! – over here,” she says, ie, in America. “I mean, I guess I’ll never forget my first four years of interviews. They just fucking burned me.”

There was the one where the journalist “made fun of me mercilessly, for like, five hours about how I adopted a New York City accent and that everyone knew it was fake, so just give it up. It was embarrassing – he humiliated me. So by the time he asked me about feminism, I said I just wanted to talk about aerospace travel.”

A 2014 Guardian interview headlined “I Wish I Was Dead Already” is another thorn in her psyche. “I didn’t say I wanted to die because of the 27 Club – I said I was having, like, a fucking hard time. The way people talk about mental health in 2020” – she makes the noise of an explosion – “mind blown. Talk about a different world compared with five years ago. You said anything remotely like you’re not feeling so good that day and it’s like, ‘Woah, you’ve set women back like 200 years.’ Or ‘Witch!’ It was super-hard to be a real person.”

Instead, Del Rey continued to build her musical world, creating a reality nobody could dismiss. ‘Evolution’ suggests dramatic Bowie-like shape-shifts; instead, her six albums have been a process of refining her core material – the palette of upcycled hip-hop, vintage Hollywood glamour and Laurel Canyon classicism. But Norman Fucking Rockwell!’s widescreen dazzle was a dead end of sorts – “I had to turn back inward,” she says – and Chemtrails Over The Country Club appears to reveal a more vulnerable Del Rey: lighter on the LA menace, more innocently emotional: “We did it for fun/We did it for free,” she sings sweetly on the song Yosemite, “we did it for the right reasons.” It’s an album that looks at the road ahead, but also, back to where she’s come from, making her strongest connection yet with her antecedents.

“I’ve been covering Joni and dancing with Joan,” she sings on Chemtrails…’ Dance Till We Die – and it’s all true. In October 2019, Del Rey duetted with Joan Baez on her 1975 song Diamonds And Rust at Berkeley’s Greek Theatre; a night of non-stop dancing with the 80-year-old folk hero followed. And as promised, Chemtrails… includes a Joni Mitchell cover from Mitchell’s 1970 album Ladies Of The Canyon. Reprising their October 2019 performance at the Hollywood Bowl, Del Rey shares the verses out with Arizonan singer-songwriter Zella Day and Weyes Blood’s Natalie Mering. A bittersweet commentary on the value of art, Mitchell contrasts her “velvet curtain calls” with a busker’s purity – it’s a song, says Del Rey, that means “everything” to her.

“The way things started off for me in the way I was portrayed was that I was feigning emotional sensitivity. I really didn’t like that,” she says coldly. “Because I didn’t even get famous ’til I was, like, 27 and until then, I sang for less than free. And I loved it. I really was that girl who was pure of soul. I didn’t give a fuck.”

For one, Natalie Mering doesn’t doubt Del Rey’s investment in For Free. “I think the verse that Lana sings – “Me, I play for fortunes” – it’s her story too,” she says. “She understands the ephemeral quality of music and that it can’t be completely commodified, even though she’s done such a great job of doing that. I think Joni is very similar.”

BAEZ AND MITCHELL, DEL REY says, are “like unicorns”. “Joan, Bob, Joni Mitchell, Jimi Hendrix, it’s less the albums and more the songs – the single perfect songs. Like Diamonds And Rust or Woodstock.” She rummages on You Tube to find a “staggering” 1962 coffeehouse performance from Baez. “I see a lot of people now wanting to be like other people – and hey, it’s not like I don’t want to be like other people too – but I think there were so many less options to look at in the ’60s, so you kind of just got what you got. You got a Janis or you got a Joan or you got a Jimi – it wasn’t like there was Jimi One, Jimi Two, Jimi Three. When I’m producing things alone, it’s impossible for me to sound anything other than a singer-songwriter. Actually, that’s not true,” she corrects herself. “I’ve got my own little ways about me.”

Mering, comparing Del Rey to Peggy Lee “if she was, like, I’m just going to write everything myself,” agrees. “She’s very free and she’s loose. What she goes for in terms of when she’s writing and working, it’s very magical and intuitive and it’s not very calculated – even though I think maybe she’s been accused of that in the past.”

That looseness – a willingness to wander – feels more present on Chemtrails… than previous albums, yet she insists it has been “so much harder than any other record I’ve made.” Covid separated her from Antonoff – also a collaborator with St. Vincent and Taylor Swift – in the final stages of recording and she missed him. “Everything that could be terrible is hilarious in Jack’s world. I think that’s why he does so well. It’s a rare quality for a man to have that softer kind of side – all hilarity and no inappropriateness.”

She says she finds listening to the new album “a fight”, conceding that she’s offering a pre-emptive critique. “It wasn’t so much that I thought the songs fantastically fit together with like seamless, sunkissed production – but you know, there’s a life lived in there.”

Del Rey has long used Los Angeles to colour and contour her songs. But Chemtrails roves further – Tulsa, Nebraska, Florida – a fitting backcloth for a record about freedom in a world where everything has a price. Not All Who Wander Are Lost – a song whose sky-high trill reminds Del Rey of “Cinderella in the movie where she’s holding the bluebird” – romanticises wanderlust. Wild At Heart and the title track (“I’m not unhinged or unhappy/I’m just wild”) hint at something untameable. If For Free is the record’s presiding spirit, you can also feel the vibrations of Mitchell’s Cactus Tree, a song that acknowledges the hard work of “being free” – shedding compromise, swerving control.

It’s a struggle Del Rey maps onto her folk and country influences, most explicitly on Breaking Up Slowly. A mournful lament riffing on Tammy Wynette and George Jones’s notoriously turbulent relationship, it was written with Tennessean singer-songwriter Nikki Lane, who supported Del Rey in 2019. In a hotel room, Lane mentioned that somebody told her she was “breaking up slowly”. Del Rey immediately sang “…is a hard thing to do”.

“One of the most incredible things about being around her is like, she is a song,” says Lane of Del Rey. “It’s just coming out of her at all hours of the day.”

They have written four more originals; there is also, says Del Rey, “a cover album of country songs” and one of “other folk songs”. Del Rey expects “scepticism,” but explains her father and uncle Phil Madeira (one of Emmylou Harris’s Red Dirt Boys) exposed her to country music in her youth. Her tastes are “stark and blue, somewhat outlaw”: Hank Williams, Bobbie Gentry, Patsy Cline, Wynette. “With a little Marty Robbins and Johnny Paycheck. I went back and listened to Ride [from 2012 EP Paradise] and Video Games and thought, you know, they’re kind of country. I mean, they’re definitely not pop. Maybe the way Video Games got remastered, they’re pop – but there’s something Americana about it for sure. So let’s see how these things come out – I’m not going to have pedal steel guitar on every single thing, but it is easy for me to write.”

A YEAR OR SO AGO, DEL REY attended a party with Jack Antonoff and St. Vincent at the house of Guy Oseary, manager of Madonna and U2. “Something happened,” she says, “kind of a situation like – never meet your idols. And I just thought, ‘I think it’s interesting that the best musicians end up in such terrible places.’ I thought to myself, ‘I’m going to try my best not to change because I love who I am.’ I said, ‘Jack, it’s dark.’ And he said, ‘Well, it’s dark – but I mean, it’s just a game.’”

The incident inspires a song on Chemtrails… Dark But Just A Game mixes Portishead, Ricky Nelson’s song Garden Party and Allen Ginsberg’s poem Howl (“The best ones lost their minds”) into a potent statement of defiance.

“Dark But Just A Game is so her to me,” Antonoff will tell MOJO: “fly down the rabbit hole and smile in the same breath.”

The game, however, takes its toll. As Del Rey talks, it frequently feels as if she’s dusting herself down from past humiliations, brushing off old slights.

“People are constantly inferring that I’ve done so much to myself, when I’ve never even been under anaesthesia or whatever,” she says unprompted, apparently still stung by 2012 speculations over the size of her lips. Occasionally, she makes grand statements: “I wanted music to change in the early 2000s and I wanted it to be better than it was. I think it is and I genuinely think I had a hand in it for female singer-songwriters.” They don’t land like shots from a weaponised ego – more the affirmations of someone who still feels as if she doesn’t say it, nobody will.

On a Chemtrails… song called White Dress she sings in a breathlessly rapt whisper of being “only 19”, working as a waitress, listening to The White Stripes and Kings Of Leon. “Look how I do this,” she sings with trembling innocence, “look how I’ve got this.” Then comes the fall: “It kind of makes me feel that I was better off.”

“I’m sure the grass is always greener,” Del Rey says, looking back on her waitressing days, “but I had a lot of fun dreaming about what was going to come next. Also, I really liked being of service and I still do – I do lots of little things in my spare time that put me back sort of in that service space. How I kind of grew up was to be a man amongst men and a grain of sand on the beach and I preferred to stay in the middle of the boat in that way. Sometimes I feel, with fame, it can put you on the peripheries, where the vultures can pick at you. It’s dangerous on the edges.”

“It’s not that I aspire to be the girl next door,” she says later, “but it’s just that I actually was and I think what some people don’t understand is that the girl next door has things going on, too. A lot of these other people who I see portraying that image are not that way at all – they’re like the biggest bitches who live in, like, insane mansions and who rip people off. This is not bitterness speaking at all. It’s literally just kind of just the facts, ma’am.”

In May 2020, Del Rey posted a “question for the culture” on Instagram. In it, she expressed her belief that artists including Beyoncé, Cardi B and Kehlani were applauded for portraying their sexuality in all its messy complexity, while she was accused of “glamorising abuse” in songs like Ultraviolence, where she quoted the title of The Crystals’ Goffin & King classic He Hit Me (And It Felt Like A Kiss). The culture’s answer was not sympathetic: Del Rey was held to account for appearing to single out artists of colour, and criticised for asking feminism to save a place for “women who look and act like me… the kind of women who are slated for being their authentic, delicate selves.”

“I wasn’t saying white like me,” she insists, emphasising that the women she mentioned are artists she loves. “I was saying people who are made a joke of like me.”

SHORTLY AFTER SPEAKING TO MOJO, Del Rey issues another pre-emptive social media strike, pointing out the new album’s artwork – a photograph of the singer surrounded by her friends – does feature women of colour. Three days after that, she posts a video railing against magazines suggesting she told Radio 1 DJ Annie Mac that she didn’t believe Donald Trump meant to incite the Capitol riot. In fact, she says, she was accusing him of sociopathy – a subject, she tells MOJO, she studied for six years, along with “psychopathy and narcissism and delusions of grandeur”.

“When Trump became President, I was not surprised,” she says, “because the macrocosm is the mirror of what goes on in our bedrooms. In our inner lives.

“A lot of the things I was writing [songs] about, people shamed me for,” she continues, “but I like to think now I was actually writing about what thousands of housewives were experiencing and no one ever said a thing from Brentwood to Boca Raton. I just dyed my hair black and talked about it and I got a lot of shit for it.”

She declares that “It takes a more dignified-looking person with a better reputation to call out the world, or the President or some guy who runs a restaurant. I’m going to be the person who corroborates that story, the blonde at the end of the bar… The reason why I can’t be a person who starts certain movements is because of what people have written that isn’t true. And that’s too bad – because I know a lot.”

Does she feel she’s been discredited?

“I was discredited for seven years,” she says, her voice rising so fiercely it’s briefly unclear whether she’s laughing or crying. “There’s no other way of looking it.”

In the poem SportCruiser from Violet Bent Backwards Over The Grass, Del Rey wonders if learning to fly could help her navigate life, if learning to sail would show her which way the wind was blowing. Then she realises writing is all the adventure she needs.

“I certainly have to circumnavigate the globe quite a few times to come back to the fact that what I do is that I write, that I live here in LA, that I know who I am,” she says. “I think I’m very hopeful that I’ll feel more and more serene, because that is an objective for me. I just like the idea of waking up peacefully, rather than waking up in a sweat, throwing my feet down on the ground and being like, ‘Oh, what’s going wrong today!’”

Talking earlier about her whispery vocal on White Dress, Del Rey said it was not only close to unedited “journaling” but “also, not too afraid about being kind of stupid. The way I sound in the chorus – because I know it’s… not great, you know,” she laughs.

It sounds perfect for the song, though – trembling, awestruck. The voice of somebody on the brink of something. She agrees – not because it catches her teenage perspective, but because it speaks to her now.

“I actually said to a friend the other day I feel something brewing,” she says. “And that’s the first time in a long time. I have no idea what it is. But I know that it’s good.”

Originally published in the April 2021 issue of Mojo with the headline Wild at Heart.

[alto-viola]

i followed you later than most (2018) could you explain the 'lore' around your persona or the start of your blog?

Of course I can!

I started using Alto Viola as a screen name in 2012 for my nick.com account. Back then it had a fourm section. I wrote stories on it all the time. Primarily Winx Club fan fiction and original fiction. Alto Viola isn't hyper creative. I had just joined orchestra to learn viola, which is in alto clef. I wanted to make a digital identity that was 'safe'. (2000s internet culture, lol.) Basically not tied to my face/name. A place where I could be free to explore and express myself without my family/classmates/community snooping. Of course I paired my old and new socials to my screen name. Online me and IRL me are mostly identical. [I've always felt more free online, though.]

So now to the lore. The concept has always been that character!Alto is a Gameboy who was granted human level conscious. That c!me is a semirobotic person with the Gameboy acting as my heart/brain. A long winded way of saying I'm a computer girl.

[dinosaurtsukki]

[ flu season in E minor ]

pairing: fyodor dostoevsky x gn!reader

word count: 2.2k words

contains: uni!au, sigma and nikolai as your bff’s, gn!reader, music student!fyodor, fyodor being a bit of a brat while he’s sick, slight pining/crushing, idk just fluffy shit

summary: you and fyodor are both in the university theater club but you rarely ever see him except for when you’re picking up the musical compositions he makes for the play. this time, however, you come over to his apartment to find him sick with the flu

a/n: uhhh this is kind of a trainwreck cause i was literally just ‘omg uni!au fyodor sickfic’ and then went with it :P

“don’t forget to drink your vitamin c guys! flu season is already here and if you’re down with the flu please don’t come in and spread your germs everywhere,” sigma instructed at the ending of the cast meeting. even though he sounded snappy while saying it, you could tell he meant well. two of your actors in the theatre club had already come down with the flu and with showtime coming up soon, everyone was understandably extra careful.

“y/n, one last thing,” sigma called you over as everyone prepared to leave.

“in case you were going to ask, yes, i took my vitamins already,” you teased skipping over to where he was.

“not funny,” sigma rolled his eyes. “i was wondering if you could follow up with fyodor on the music for the next scene? he doesn’t respond at all to any non-physical communication, i already left him ten messages.” 

“ooh, another visit to the phantom of the opera’s apartment,” nikolai popped up right at your shoulder.

“seriously? you guys call him that?” sigma raised a disappointed eyebrow at you two.

“well he’s mysterious and makes music in a theatre.” 

“i feel like you should actually watch phantom of the opera before making that claim,” you told him. “also sure,” you shrugged nonchalantly to hide your obvious excitement. “i have time to drop by.” 

even though he’s a part of the theatre club, fyodor dostoevsky was pretty much an enigma to the rest of the members. his contributions to the club activities were mainly in the form of the musical compositions he created for the plays. however, because he was always busy practicing for upcoming recitals apart from his music classes, fyodor rarely ever attended rehearsals. 

but on the off-chance that he did drop by in a rehearsal to discuss with sigma or attend a cast meeting, you’d spend the entire time just... admiring him. everything from the calm and articulate way he spoke to messy way his hair framed his face. and on that day when fyodor decided to demonstrate the music by playing it himself on his cello, you realized you were head over heels for this man.

and so you, practically jumped at every chance you got to pick up sheet music or recordings from fyodor’s apartment. you already set the expectation that you wouldn’t be around for long. and you were right about that... usually.

...

“fyodor? hello?” you knocked on the door for what was probably the fifth time already. it was freezing cold outside and you were desperate to get in. pressing your ear against the door, you heard a weak voice say ‘come in. door’s open’ and then tentatively, you unlocked the door.

whenever you saw fyodor, he was always wearing a clean, button-up shirt and slacks since he was also at orchestra practice. so of course, it was a complete shock to you to come into his apartment to find fyodor dressed in bright red pajamas with a mickey mouse logo on the center of his shirt with a colorful patchwork quilt thrown across his shoulders. not to mention, he was seated in his couch with sheet music and tissues strewn around him. 

upon closer look, you could tell from his sunken eyes and slightly red nose that flu season had struck fyodor. 

“oh, y/n, it’s you,” he sniffled as you hesitated near the door. “come in. it’s cold out.” 

“are you alright?” you asked, approaching fyodor. because you had gotten the flu a bit earlier that month, you weren’t too concerned about catching it again. “you look, well, sick.” 

“just a cold,” fyodor waved his hand. “anyway, did sigma send you for something?” 

“he’s asking for a follow-up with the music for the new scene,” you remembered. 

“oh, that...”  fyodor nodded, frowning as he searched the sheet music scattered around him. “i’m sure it’s around here somewhere and... i forgot to do it.” fyodor sighed at the realization. “don’t worry. i’ll just whip something up real quick,” he sniffed before picking up a blank piece of sheet music.

“well you don’t have to right now. fyodor, you’re sick. you should get some rest before working,” you sat down on the couch as fyodor bent over the coffee table with a pencil ready. “i mean, no offense but i doubt you can come up with anything in your current state.”

“nonsense, y/n,” fyodor scoffed and began to scribble something on the page. “i am a trained classical musician. composing is merely second-nature to someone like myself. why, i’m sure i have a melody coming along right--” 

“fyodor.” 

“yes?”

“you just wrote the letter g on the corner of the page and then started drawing random squiggles.” 

fyodor looked down at his squiggled-over sheet music with a completely deadpan expression and stared at it for a good ten seconds. “i thought it was a g-clef,” he whispered to himself.

“do you... want me to help you to your room?” you asked softly. fyodor sniffed.

“yes please.”

...

when you headed out to his apartment earlier that morning, you didn’t expect to be taking care of a sick fyodor for the rest of the afternoon. for someone who always looked put-together and composed, fyodor was terrible at taking care of himself. even after coming down with the flu a few days ago, he still insisted on practicing the cello in his apartment. and, judging by the empty cans in the sink, you could tell that all he was eating was instant soup.

and, sick fyodor was kind of... whiny. it took a lot of convincing on your part for him to agree not to work on the compositions in bed, or practice his bowing. he complained about his pillows ‘not being plump enough’ and that his socks didn’t match (because he didn’t do the laundry). 

“i don’t think i’ll even be able to sleep at this rate, y/n. my head is spinning but i’m not nearly tired enough to sleep. maybe i’ll drift off for just a bit but it won’t be that restful,” fyodor said, laying down on his not-plump pillows before he was out like a light five minutes after.

“drift off for just a bit, huh?” you chuckle slightly to yourself as you watch him. fyodor was curled up on his side, hugging one of the pillows with his blanket wrapped tightly around him. 

you were definitely in a strange situation being in your crush’s house while he was sick in bed. there wasn’t really a need for you to stay; you could just leave some medicine on the nightstand and a note with instructions.

“mmm... key needs to be in e minor,” fyodor mumbled in his sleep before turning over on his side. you bit back a laugh for fear of waking him up. 

‘what the heck? i’ll stay and make him some actual soup,’  you ultimately decided.

...

fyodor woke up to the smell of something delicious cooking, and that was something he rarely woke up to. aside from the fact that he could actually smell out of his currently unclogged nose, fyodor felt much better than he had been in a while. 

‘y/n must still be here,’ was his next thought after waking up. and he must admit, that was very reassuring to know. fyodor didn’t have the best constitution and whenever flu season rolled around, he expected being sick for a length of time. 

after wrapping the blanket around himself, fyodor curiously crept into the kitchen to find you standing over at the stove, stirring something in a pot while humming to yourself. there was a bag of groceries on the counter too. ‘did they... buy me food?’ 

he coughed slightly to get your attention.

“oh, fyodor. you’re up,” you turned around, smiling at him. “how are you feeling?”

“a bit... better,” he confessed, fully aware that he said all those things about not being asleep before embarrassingly falling asleep for two hours. 

“great! soup’s going to be ready in a few minutes. if you freeze it you’ll have enough for a few days,” you added. “also bought some oranges. they should be good for you.” 

“you... don’t really have to do this you know?” fyodor ended up blurting out, except it sounded a bit harsh. “i mean, i’m sure you went through all the trouble.” 

“don’t worry about it,” you waved him off. “you’ve been working really hard so i get that you don’t think of yourself much. let me do this one thing for you as a friend,” you smiled.

“also, i’m genuinely concerned at the amount of canned soup you’ve been consuming.” 

“canned soup isn’t that bad for you,” fyodor insisted. 

“yeah, and i’m sure you enjoy that metallic aftertaste quite a lot,” you quipped. fyodor opened his mouth to retort something before closing it abruptly. the knowing smirk on your face only made him glance away. instead, he busied himself with retrieving the clean bowls, luckily there were two left, from the dishrack and setting them on the table. you were humming again while you turned off the stove before serving the soup.

“chicken noodle soup, huh?” fyodor couldn’t help but chuckle.

“a classic,” you shrugged with a smile. “it’s a secret family recipe too so it’s bound to get you to feel better.” 

“you’re making it up, aren’t you?” 

“yeah, i got it off the internet,” you giggled. fyodor chuckled and took a sip of the soup. it was deliciously hot and flavorful and best of all, the soup didn’t have a metallic aftertaste.

“after eating, you can take some of medicine that i bought in case you have a headache or body pain, as long as you didn’t take any four hours before.”

“what?” fyodor blinked at you.

“you know, don’t take the medicine within four hours of each other,” you explained slowly. “also it’s better that you drink some now that you’ve eaten.” 

fyodor not-so vaguely recalled all those times he drank medicine on an empty stomach and feeling even more sick after. “i... was not aware of that,” he admitted. you sighed with your eyes closed.

“i’m amazed you’re still alive.” 

...

“so, flu season struck the phantom of the opera, huh?” nikolai sighed after you told him about your weekend.

“yeah,” you nodded, remembering the sight of fyodor on the couch dressed in his pajamas with a blanket wrapped around him. that was going to be burned in your mind for a long time. “he’s... kind of terrible at taking care of himself.” 

“that’s fyodor for you,” sigma added. the three of you had arrived at the backstage area of the theatre early and were busying yourselves with sorting through the various props that you had. “you know, one time he even went to a recital with a 39-degree fever. practically collapsed when he was off-stage.”

“i’ll one-up that story,” nikolai practically sprang off the box he was sitting on. “okay, so there was this one time i came over to fyodor’s’apartment while he was sick and he was so delirious he--”

“you guys do know that it’s rude to talk about people when they’re not there.”

the three of you practically spun around at the same time to find fyodor leaning against the doorframe of the backstage entrance with his arms crossed. he was looking way better than last time you saw him.

“fyodor,” sigma blinked, clearly stunned. “you’re... you’re here.”

“you’re alive!” nikolai cried dramatically, skipping over to fyodor and flinging his arms around fyodor who showed obvious discomfort. 

“of course i am,” he scoffed. “thanks in part to y/n.”

hearing that made your face flush a bit. “i-it was nothing,” you stammered, dodging nikolai’s curious stare. 

“anyway, i finished the compositions for the next scene,” fyodor strode forward, handing sigma a folder of sheet music and a flash drive. “let me know if it’s to your liking.”

“thank you. i’ve been having director’s block with that one. this should help,” sigma sighed gratefully. “i’ll give it a listen if you don’t mind.” and before you could say anything else, he scurried out to the stage area.

“and i’m going to leave for some arbitrary reason just so you two would have some alone time,” nikolai snickered at the indignant expression on your face before leaving you and fyodor alone backstage.

“oh, nikolai. always... funny,” you laughed nervously. 

“indeed,” fyodor nodded. “i only have the vaguest idea of what’s been going on during rehearsals. i should probably come around more often.”

“oh, we understand that you’re busy and all. but you’ve already been helping a lot with composing the music so don’t sweat it if you feel like you haven’t been active,” you said.

“well, that’s not the only reason i want to come around more often,” fyodor’s eyes flickered up to meet yours and you felt your face heat up again. god, it was so much easier to talk to to him and joke around when he was sick with the flu.

“in any case, i’m glad you feel better now,” you cleared your throat. “i hope the soup helped.”

“it did. i was sad to see it run out,” fyodor chuckled. and before you could even consider what it was you were going to say, you went and blurted out: 

“i could make it for you again.”

“oh?” fyodor’s eyebrows flew up and a smirk played on his lips.

“i-if you want to of course,” you stammered. 

“i’d like that,” fyodor smiled, much to your surprise. “if you could update me on rehearsals and the play we’re doing, that would be great. how does friday sound?”

“friday sounds great.”

▸ 🎕 ┈┈┈┈ 🎕 ┈┈┈┈ 🎕 ┈┈┈┈ 🎕 ┈┈┈┈ 🎕 ◂

taglist (check out my post for details on being part of my taglist): @waitforitillwritemywayout @atsumusdomain​​ @laure-chan @goodfoodxoxoxo ​ @guardianangelswings @ah-kaashi @amberalisa​ @whootwhoot​ @liz-multifandom-hotel​​ @kac-chowsballs​​ @violentfarewll @fyoyacanruinmylifethanks

[shewhoworshipscarlin]

Arnold Josiah Ford

Arnold Josiah Ford was a black nationalist, rabbi, and emigrationist. Ford was born on April 23, 1877 in Bridgetown, Barbados to Edward Ford, a policeman, and Elizabeth Augusta Braithwaite, a homemaker. Ford parents wanted him to become a musician and provided him with private tutors who instructed him in the harp, violin, and bass. He studied music theory with Edmestone Barnes in Bridgetown and in 1899 at the age of 22, Ford joined the musical corps of the British Royal Navy where he served on the HMS Alert. Ford was stationed on the island of Bermuda where he was a clerk at the Court of Federal Assize.

In 1910, Ford arrived at Harlem, New York where he joined the Clef Club Orchestra directed by James Reese Europe. Ford later became director of the New Amsterdam Musical Association. He was also a member of the Scottish Rite Masons where he served as Master of the Memmon Lodge. During this time, he married Olive Nurse and the couple had two children before divorcing in 1924.

In 1919 Ford became the Musical director of the New York division of Marcus Garvey’s Universal Negro Improvement Association (UNIA). Ford was responsible for orchestrating much of the pageantry of UNIA ceremonies. Ford and Benjamin E. Burrell wrote the song, “Ethiopia,” which extolled the halcyon past before slavery and stressed pride in the African heritage. The song later became the UNIA Anthem and Ford published the UNIA Hymnal. Ford and E.L Gaines wrote the handbook of rules and regulations for the African Legion and the Black Cross Nurses.

In 1920, Ford was elected one of the delegates representing the 35,000 members of the New York chapter at the first chapter at the First International Convention of Negro Peoples of the World held at Madison Square Garden. It was during that event that the UNIA adopted the organization’s red, black, and green flag. In 1924, however Ford broke with the UNIA bringing separate lawsuits against Marcus Garvey and the Association because they failed to pay him royalties from the sale of recordings and sheet music. Ford won both lawsuits.

Ford, who also studied the Hebrew language, religion, and history, converted to Judaism in 1924 after breaking with the UNIA. He started a short-lived congregation called Beth B’nas Israel and then established the Beth B’nal Abraham Temple in Harlem that year. He also worked with Mordecai Herman and the Moorish Zionist Temple in New Jersey.

In 1928, Ford created the B’nai Abraham Progressive Corporation which issued hundreds of shares of stock and purchased two buildings where he and his followers operated a religious and vocational school on the ground floor and leased apartments on the second floor. After the onset of the Great Depression, the corporation went bankrupt in 1930.

Ford then left the United States and arrived in Ethiopia along with a group of his most devoted followers including musicians.  Ford and the musicians performed at local hotels around the capital city, Addis Ababa. In 1931, Mignon Innis became Ford’s private secretary and later his wife. The couple had two children together. Ford was able to create a school near Addis Ababa and get 800 acres of land for the purpose of uniting the Black Jews of the diaspora. He did not live to see the success of that effort.  Arnold Josiah Ford died on September 15, 1935 in Addis Ababa, Ethiopia at the age of 58.

https://www.blackpast.org/african-american-history/arnold-josiah-ford-1877-1935/

[onequeeracademic]

U could write a list of ur TMA headcanons !!

yes of course :)

(warning: this is mostly just me info dumping about viola and projecting but this was a lot of fun to write)

Jon was in orchestra, specifically plays the viola. People say he would be in a rock band of some sort, but as much as I love that idea, he’s really invested in academia and propably loved the aesthetic of orchestra. 

I say viola because I’m a violist (been playing for 8 years) and I’ve noticed a trend in violists personalities. They all seem to be more reserved than the rest of the group, often only accompanied by a few other viola players since it's a more rare instrument to play. I can’t explain this, but every violist I’ve met kins the archivist, even if they have never listened to tma. Trust me on that one. 

It’s a joke in the classical music world to hate on violas because of their use of a different clef, seemingly useless job, (though, they are COMPLETELY wrong. Violas are an essential part of the orchestra.) and the fact that they don’t really fit in because they’re not quite a violin, but also not quite a cellist or bassist. 

In my head, I’d imagine once he was 12, his grandmother finally made him pick an extracurricular.  “You need to get out of the house for once,”  she’d say, “it’ll be good for you, and your new school has plenty of clubs and programs.” He tries to protest, of course, but she won’t hear of it. “just pick something, try it for a week or two,”

There were plenty of sports, but he was never an athletic person, there was theater, but as much as he liked the idea of it, he didn’t think he would fit in with the vibrant group of students who all congregated on stage after school. There was a STEM program, but science and tech were never his favorite subject. That left debate and orchestra. He chose orchestra.

When everyone was picking out their instruments, there were already too many violins and cellos, leaving the bass and viola. The bass in question was almost as tall as Jon, and the idea of having to lug it around all the time was not something that he seemed interested in doing, so viola it was. 

He didn’t expect to like orchestra, but it grew on him quickly, he enjoyed the process of playing in a group. They rarely talked or hung out outside of practice, infact, Jon didn’t know anything other than his classmates' names, but when they came together to play, they all felt connected, like they were a part of something bigger. Jon liked the way the music seemed to hold everyone together as they performed in unison. It felt good, calming, in a way, because there’s a part in playing when you let all of that anxiety fade away, replacing it with a steady beat that keeps you moving, and in the climax of the song, as everything swells up, Jon can feel in his chest, as if he’s become apart of the music; apart of something outside of himself. 

He only gets better as he gets older and once he reaches uni, he joins a community orchestra as his hobby while he studies. 

Sometimes people make the same, overused joke about how a viola is the weakest link of the orchestra, to which Jon takes it upon himself to not only defend his precious instrument, but as well go into depth about the history and usefulness of the viola, describing the harmonies of multiple pieces and how they’re important. No one likes it when he gets into this mood, but once it starts, you can’t stop it. 

When he’s working at the institute, he stops playing as much and focuses on research. Though, sometimes when he gets home from a long day of working, but is too energized to sleep (probably because of the sheer amount of caffeine that man must consume in order to function) he reaches for the viola hanging on his wall, and plays. I like to think his go to song is Gavotte in G minor. It’s a simple enough song, but he likes how he can allow himself to get lost in the music, letting his bow move smoothly across the board as it swells into a crescendo. 

yeah : ) 

Also listen to this fucking song please: https://www.youtube.com/watch?v=liXEwxd6muI 

[sofiaeu]

⟨ REINA HARDESTY. CIS FEMALE. SHE/HER. ⟩ though the mist might prevent some from seeing it, SOFIA MURAKAMI is actually a descendent of A P O L L O. it’s still a question of whether or not the TWENTY-FIVE year old MUSIC COMPOSITION MAJOR from GUADALAJARA, MEXICO has taken after their godly parent completely, but the demigod is still known to be quite RESOURCEFUL & IMPULSIVE. 

STATISTICS

FULL NAME: Sophia Yildiz

AGE: Twenty-Five

DATE OF BIRTH: n.d.

PLACE OF BIRTH: Vienna, Austra

GENDER: Cisgender Female

PRONOUNS: She/her

SEXUAL ORIENTATION: doesn’t care

RELIGION: Agnostic

ATTRIBUTES

HEIGHT: 5'6

WEIGHT: 135 lbs

HAIR COLOUR: Brown dyed blonde

EYE COLOUR: Brown

TATTOOS: Has a treble clef on her ankle

PIERCINGS: Both ears and left cartilage

SCARS: A large scar on on her right side of her rib cage

BODY TYPE: ??

PHYSICAL HEALTH: Healthy

-----------------------------------------------------------------------------------------------------------------------

                  sophia was born to zehra yildiz , principal pianist in the vienna philharmonic orchestra. zehra was the second woman admitted to the orchestra , having beat dozens of men to the position and obviously captured the eye of apollo who was admiring her from afar.  their romance was short yet passionate , according to zehra and ended up giving birth to sophia in vienna. sophia was a prodigy from the first moment she was able to play the piano , arguably better than her mother which made her proud and slightly jealous. 

                 sophia then started focusing on her musical studies ever since she can remember , admiring how her mother flowed with the music and imitating her in every second she was able to.

                  she grew up listening and loving classical music but it wasn’t until middle school where she began listening to 90s grunge and rock when she began to feel even more appreciative of music and began composing original music for the drama club and for the band teacher.

                    she was about 12 when apollo claimed her and it all began to make sense, why she was so good at music and she did have a minor breakdown about it but apollo actually helped her through it and gifted her a golden baton for the future. which confused her since she did not want to conduct yet simply compose and play like her mother does.

                    she started to pick up instruments at a fairly quick pace, soon she was able to play every instrument in her high school band and eventually the teacher allowed her to conduct which was where she felt most comfortable and in her element and that is when she decided to become a conductor specifically for the vienna philharmonic because she wants to show those men who’s boss.

                    she was able to win her school’s band various awards and was even recognized and was hired to record pieces for bands and movies so she has some credit which is why she put off school for some time though she knew she needed to get her degree to be recognized. 

                     in one of her various projects she met darío and the rest was history. she fell for him, it did take a little back and forth because she is rather difficult but he assured her. and they became engaged when she was 21.

                     at 22 they were celebrating their one year anniversary of being engaged and he was going to take her to a remote location in the woods where he had a romantic dinner set up just for the two of them when they were attacked by a monster. this is where her aim really began to kick in and she blinded the monster in one eye which caused it to flee but it was too late. dario was bleeding out and was dead within seconds. grief stricken and in pain herself she held his lifeless body and began chanting the hymn apollo taught her to heal his wounds but he healed her instead. 

                      at 23 her mother and her moved from vienna to berlin since her mother was able to take another job with the berlin philharmonic and sophia just needed an excuse to get away from vienna and all the memories that came from it. a couple months later apollo appeared again and suggested eonia to help her get her degree to pursue her passions and surround herself by people who understand her so she left and hasn’t gone back since. 

PERSONALITY 

                      sophia’s outer demeanor is cool, calm and somewhat collected at times. the calmness that is exuded from her music tends to show itself in the way she holds herself , but don’t let it fool you. she tends to be on the more sarcastic side and cracks jokes at the somewhat unfortunate times. she doesn’t have much of a temper but when she gets angry she tends to become very quiet while her mind wanders off. she is the calmest under the sun and thrives in the sun and tends to become moody and stand offish when she’s secluded for long periods of time without her daily dose of sunshine. she wants to be selfish and tries to be but at the end of the day she helps people no matter what despite her completely denying that she did. she gives off the impression that you genuinely know her but she rarely speaks about her upbringing other than what can be found as common knowledge. she also has a rather dark sense of humor and uses that to her advantage but isn’t the hardest to get along with, you either love her or hate her.

ABILITIES

Audiokinesis : this is an ability that she possessed even as a young child, always being able to find the rhythm in everything and with help from her mother who is a professional musician she developed her skills at a very young age. she is able to pick up instruments fairly easily but her strongest are piano and surprisingly trumpet though she prefers the ease of the piano and other string instruments like the cello or violin. 

Foresight: she used to think they were daydreams that manifested while she listened to music, a form of synesthesia but she started to recognize the people who she daydreamed about. they began as small things with the people closest to her but soon it manifested with strangers and a simple look she can sometimes see what will happen in the nearby future, not too far ahead.  they are most powerful when she is conducting and composing music.

Archery: She can be a bit clumsy with it but even when it looks like she’s going to miss she somehow always gets it right on the mark --- she likes to say beginner’s luck.

MISC

she composes pieces for the drama club probably

she will bring you to tears with her pieces since that is the only way she feels comfortable expressing herself and if you confront her or ask her she will say she just saw a sad movie and used it as inspo

her favorite color is emerald green but loves gold

dyed her hair and cut it as soon as she got to eonia

is sometimes too blunt for her own good

listens to rock when composing her classical pieces

swears she won’t date but she does occasionally sleep around . . . is what she tells people but she hasn’t had sex in about 3 years

the type to threaten to cut her bangs 20 times and never do it but she did it once and cried about it for far too long

she doesn’t leave school grounds

fashion wise she doesn’t really like dresses, she feels too exposed unless they’re midi will mainly wear jeans which is sad for her and her array of band t-shirts

can play every instrument under the sun prob even a didgeridoo

can rap every nicki minaj verse in every song

[blackkudos]

James Reese Europe

James Reese Europe (February 22, 1880 – May 9, 1919), sometimes known as Jim Europe, was an American ragtime and early jazz bandleader, arranger, and composer. He was the leading figure on the black American music scene of New York City in the 1910s. Eubie Blake called him the "Martin Luther King of music".

Early life

Europe was born in Mobile, Alabama, to Henry Jefferson Europe (1848–1899) and Loraine Saxon (maiden; 1849–1930). His family — which included four siblings, Minnie Europe (Mrs. George Mayfield; 1868–1931), Ida S. Europe (1870–1919), John Newton Europe (1875–1932), and Mary Loraine (1883–1947) — moved to Washington, D.C., when he was 10.

Europe moved to New York in 1904.

Band leader

In 1910, Europe organized the Clef Club, a society for Black Americans in the music industry. In 1912, the club made history when it played a concert at Carnegie Hall for the benefit of the Colored Music Settlement School. The Clef Club Orchestra, while not a jazz band, was the first band to play proto-jazz at Carnegie Hall. It is difficult to overstate the importance of that event in the history of jazz in the United States — it was 12 years before the Paul Whiteman and George Gershwin concert at Aeolian Hall, and 26 years before Benny Goodman's famed concert at Carnegie Hall. The Clef Club's performances played music written solely by Black composers, including Harry T. Burleigh and Samuel Coleridge-Taylor. Europe's orchestra also included Will Marion Cook, who had not been in Carnegie Hall since his own performance as solo violinist in 1896. Cook was the first black composer to launch full musical productions, fully scored with a cast and story every bit as classical as any Victor Herbert operetta. In the words of Gunther Schuller, Europe "... had stormed the bastion of the white establishment and made many members of New York's cultural elite aware of Negro music for the first time". The New York Times remarked, "These composers are beginning to form an art of their own"; yet by their third performance, a review in Musical America said Europe's Clef Club should "give its attention during the coming year to a movement or two of a Haydn Symphony".

Europe was known for his outspoken personality and unwillingness to bend to musical conventions, particularly in his insistence on playing his own style of music. He responded to criticism by saying, "We have developed a kind of symphony music that, no matter what else you think, is different and distinctive, and that lends itself to the playing of the peculiar compositions of our race ... My success had come ... from a realization of the advantages of sticking to the music of my own people." And later, "We colored people have our own music that is part of us. It's the product of our souls; it's been created by the sufferings and miseries of our race."

Some of Europe's best-known compositions include several that were co-composed with Ford Dabney (1893–1958) for the famed dancers Irene and Vernon Castle. The Castles regarded Europe's Society Orchestra among the best they had worked with and hired Europe late in 1913 as their preferred band leader with Dabney as their arranger.

Co-composed with Dabney for the Castles; Joseph W. Stern (1870–1934), publisherComposed soley by Europe for the Castles; G. Ricordi & Co., publisher

Co-composed with Dabney for Kern and Bolton's

Nobody Home

(1915)— Princess Theatre April 20, 2015, through June 1915; Maxine Elliott's Theatre June 7, 1915, through August 7, 1915

Co-composed with Dabney, lyrics by Gene Buck, for Ziegfeld's

Midnight Frolic,

sang by Nora Bayes; Francis, Day & Hunter Ltd., publisher

"Boy of Mine" (©1915)

In 1913 and 1914 he made a series of phonograph records for the Victor Talking Machine Company. These recordings are some of the best examples of the pre-jazz hot ragtime style of the U.S. Northeast of the 1910s. These are some of the most accepted quotes that are in place to protect the idea that the Original Dixieland Jass Band recorded the first jass (spelling later changed) pieces in 1917 for Victor. Unlike Europe's post-War recordings, the Victor recordings were not called nor marketed as "jazz" at the time, and were far from the first recordings of ragtime by Black American musicians.

Neither the Clef Club Orchestra nor the Society Orchestra were small "Dixieland" style bands. They were large symphonic bands to satisfy the tastes of a public that was used to performances by the likes of the John Philip Sousa band and similar organizations very popular at the time. The Clef Orchestra had 125 members and played on various occasions between 1912 and 1915 in Carnegie Hall. It is instructive to read a comment from a music review in the New York Times from March 12, 1914: "... the programme consisted largely of plantation melodies and spirituals [arranged such as to show that] these composers are beginning to develop an art of their own based on their folk material ..."

Military service

During World War I, Europe obtained a commission in the New York Army National Guard, where he fought as a lieutenant with the 369th Infantry Regiment (the "Harlem Hellfighters") when it was assigned to the French Army. He went on to direct the regimental band to great acclaim. In February and March 1918, James Reese Europe and his military band travelled over 2,000 miles in France, performing for British, French and American military audiences as well as French civilians. Europe's "Hellfighters" also made their first recordings in France for the Pathé brothers. The first concert included a French march, and the Stars and Stripes Forever as well as syncopated numbers such as "The Memphis Blues", which, according to a later description of the concert by band member Noble Sissle "... started ragtimitis in France".

Post-war career

After his return home in February 1919 he stated, "I have come from France more firmly convinced than ever that Negros should write Negro music. We have our own racial feeling and if we try to copy whites we will make bad copies ... We won France by playing music which was ours and not a pale imitation of others, and if we are to develop in America we must develop along our own lines." In 1919 Europe made more recordings for Pathé Records. These include both instrumentals and accompaniments with vocalist Noble Sissle who, with Eubie Blake, would later have great success with their 1921 production of Shuffle Along, which gives us the classic song "I'm Just Wild About Harry". Differing in style from Europe's recordings of a few years earlier, they incorporate blues, blue notes, and early jazz influences (including a rather stiff cover record of the Original Dixieland Jass Band's "Clarinet Marmalade").

Death

On the night of May 9, 1919, Europe performed for the last time. He had been feeling ill all day, but wanted to go on with the concert (which was to be the first of three in Boston's Mechanics Hall). During the intermission Europe went to have a talk with two of his drummers, Steve and Herbert Wright. After Europe criticized some of their behavior (walking off stage during others' performances), Herbert Wright became very agitated and threw his drumsticks down in a seemingly unwarranted outburst of anger. He claimed Europe did not treat him well and that he was tired of getting blamed for others' mistakes. He lunged for Europe with a penknife and was able to stab him in the neck. Europe told his band to finish the set and he would see them the next morning. To Europe and his band the wound seemed superficial. As he was carried away, he told them "I'll get along alright." At the hospital, they could not stop the bleeding and he died hours later.

News of Europe's death spread fast. Composer and band leader W. C. Handy wrote: "The man who had just come through the baptism of war's fire and steel without a mark had been stabbed by one of his own musicians ... The sun was in the sky. The new day promised peace. But all the suns had gone down for Jim Europe, and Harlem didn't seem the same." Europe was granted the first ever public funeral for a black American in the city of New York. Tanney Johnson said of his death: "Before Jim Europe came to New York, the colored man knew nothing but Negro dances and porter's work. All that has been changed. Jim Europe was the living open sesame to the colored porters of this city. He took them from their porters' places and raised them to positions of importance as real musicians. I think the suffering public ought to know that in Jim Europe, the race has lost a leader, a benefactor, and a true friend."

At the time of his death, he was the best-known black-American bandleader in the United States. He is buried in Arlington National Cemetery.

[uneminuteparseconde]

Des concerts à Paris et alentour

Mars 05. Orgue Agnès + Borja Flames + Gilles Poizat – Petit Bain 06. Abortion Boys + Chuzo + Terdjman – Pointe Lafayette 07. Gum Takes Tooth + Usé + Society of Silence – Badaboum 07. The Dead Brothers + Dédé Macchabée – Péniche Antipode 07. Méryll Ampe + Elek Ember + Saada Abe + Forced into Fimininity – Le Zorba 07. Badbad + Belvoir + Ar Ker – L'International 07. Hippie Diktat + Jérôme Noetinger & Lionel Fernandez – Instants chavirés (Montreuil) 07. Kobosil + Illnurse + Herrmann – Rex Club 07. Scratch Massive – Gaîté lyrique ||COMPLET|| 08. Annabelle Playe + Hugo Arcier & Chrs Galarreta – Plateforme 08. FTR + Deadpan – Olympic café 08. Pigeon + 205 Skatocosmos + Poison Point (dj) + Le roy se meurt + Allesklar + Munsinger – La Station 08. Anetha + ABSL + Beurette sentimentale + Madcat – Badaboum 08. AZF – La Machine 08. Cassegrain + Inland – Badaboum 08. [14 Anger : ANNULÉ] + Oddz + 69db + Jaquarius... – tba 09. L'autopsie a révélé que la mort était due à l'autopsie & Capacitors – Bibliothèque musicale de Paris (gratuit) 09. Deeat Palace + Anthem + Krikor + Crave + Iueke + Moyō [+ Maoupa Mazzoccheti : ANNULÉ] – La Station 09. Paulie Jan + Witnesses Without Hands + Mod303 & The SHADERS + Alexandre Navarro (dj) (Sulfure fest.) – Le vent se lève 09. Marc Prépus + Mr Marcaille + Bisou mamie – La Gare expérimentale 09. Cacophoneuse + Celldöd + Romance Disaster + Sarin + Massenstörung + Lapse of Reason + Rendered + ZNZL – tba 09. AnD + None of the Above + Parallx + Sentimental Rave + End of Mortal Life + Acid Division + David Asko + NZ42 + 909 Resistance... (4 ans de Fée croquer) – tba 10. Michael Snow – Centre Pompidou (gratuit) 10. L'autopsie a révélé que la mort était due à l'autopsie & Capacitors – catacombes de Paris 10. James Chance & Die Contortions – Supersonic 12. Vitor Joaquim + Blackthread vs Witxes + Sabiwa (Sulfure fest.) – Le vent se lève 12. Galarreta + Flesh World + Ravi Shardja + Kristallroll – Les Nautes 12. Yann Tiersen – Salle Pleyel 12. Dominique A – Espace 1789 (Saint-Ouen) 13. Terrine + Bobby Two – Café de Paris (gratuit) 13.  Helluvah + IDK | IDA + Cebe Barnes (dj) (Sulfure fest.) – Le vent se lève 13. Romain Turzi + Flavien Berger (dj) + Bumby... – Les Étoiles 13. F/lor + Jérôme Lorichon & Quentin Rollet + Don Nino – Instants chavirés (Montreuil) 13. Imperial Black Unit + IV Horsemen + Philipp Strobel + K – Rex Club 14. Parade Ground + BadBad + The Wheal + Versolo – Supersonic (gratuit) 14. Stefan Rusconi & Tobias Preisig + Étienne Jaumet (fest. Paris Music) – Église Saint-Eustache 14. La Colonie de vacances – Cabaret sauvage 14. Raoul Vignal (fest. Paris Music) – Bibliothèque historique de la Ville de Paris 14. Chloé + Ivan Smagghe – Rosa Bonheur 14. Dave Phillips + Evil Moisture + Feromil – Instants chavirés (Montreuil) 15. Rubin Steiner (fest. Paris Music) – Crypte archéologique du parvis de Notre-Dame 15. Bertrand Burgalat (fest. Paris Music) – Musée des Arts et Métiers 15. Feromil + Satanox + Mecano Lacrymo – L'Omadis (gratuit) 15. Silent Servant + Machine Woman + Tolouse Low Trax – Concrete 15. Radio Slave + Vril + Boskow – Badaboum 15. Jonas Kopp + Sujected + Blaxad + Olivia Mendez – Folies Pigalle 15. Zombie Zombie (fest. Paris Music) – Cathédrale américaine ||COMPLET|| 16. Christ. + Alexandre Navarro (Sulfure fest.) – Le vent se lève 16. Aïsha Devi + Léonie Pernet + Flore + Rag & Cassie Raptor + Méryll Ampe – Gaîté lyrique 16. Rendez-Vous + Structures + Wallenberg [+ KaS Product : ANNULÉ] – La Clef (Saint-Germain-en-Laye) 17. Giulio Aldinucci + Paskine + Waveland (Sulfure fest.) – Le vent se lève 19. thisquietarmy + Haxo + Ilia Gorovitz (Sulfure fest.) – Le vent se lève 20. Oomph! – La Machine 20. Arto Lindsay – Instants chavirés (Montreuil) 21. Olivia Block + Marc Baron – Instants chavirés (Montreuil) 22. Delia Derbyshire (diff.) + Lettera 22 + Evil Moisture + Caterina Barbieri + Drew McDowall : "Coil's Time Machines" (fest. Présences électronique) – Studio 104|Maison de la Radio 22. The Young Gods – La Maroquinerie ||COMPLET|| 22. Crystal Fighters – Gaîté lyrique 22. Peter Hook (dj) – Supersonic 22. Chevalier Avant-garde + Bracco + Mary Bell + Officine – La Station 23. Pierre Boeswillwald (diff.) + Max Eilbacher + Andrea Belfi + Sarah Davachi + William Basinski & Lawrence English (fest. Présences électronique) – Studio 104|Maison de la Radio 23. Snapped Ankles + Wild Classical Music Ensemble + Man from Uranus – La Maroquinerie 23. Les Harry's & Stefan Neville (fest. Sonic Protest) – Châpiteaux turbulents 23. Kas:st + Paule Temple + Shlømo + VTSS + Parfait – tba 24. Warren Burt (diff.) + Mats Erlandsson + Okkyung Lee + Low Jack + BJ Nielsen (fest. Présences électronique) – Studio 104|Maison de la Radio 24. Chantal Acda + Miles Oliver + Julien Ledru (Sulfure fest.) – Le vent se lève 25. Laibach – Trabendo 26. Bleib Modern + Kill Your Boyfriend + Post Modern Chaser – Supersonic (gratuit) 26. Jon Porras (Barn Owl) + Mathias Delplanque + Frédéric D. Oberland (Sulfure fest.) – Le vent se lève 27. Strangelove + Background (dj) (Sulfure fest.) – Le vent se lève 28. Komplikations + Pinoreks + Computerstaat – Supersonic (gratuit) 28. Scanner + Openendedgroup & Natasha Barrett + Raphaël Imbert & Benjamin Lévy – Centre Pompidou 28. Euromilliard + Humbros + Peür + Pumice (fest. Sonic Protest) – La Station 28. Radiante pourpre + Myako + Wizaeroïd + Spaghetti ala bolonoise – Le Klub 28. Emmanuelle Gibello : "Loin derrière j'ai laissé mon jasmin" – Le Cube (Issy-lès-Moulineaux) 29. Perturbator – Le Trianon 29. Jandek + Confusional Quartet + Société étrange (fest. Sonic Protest) – théâtre de l'Échangeur (Bagnolet) 29. Dj Stingray + Varg + Solid Blake + Spfdj – Concrete 30. Marc Almond – Le Trianon 30. Seabuckthorn + Rach Three + CollAGE D (Sulfure fest.) – Le vent se lève 30. Lahcen Akil & les Chaâbi Brothers + Suzanne Ciani + The Coolies + Lemones + Les Statonells (fest. Sonic Protest) – théâtre de l'Échangeur (Bagnolet) 31. Fuji Kureta + Mei (Sulfure fest.) – Le vent se lève 31. Claudio Simonetti (Goblin) joue "Suspiria" et autres – Flow 31. Verity Susman : cinéconert sur "Häxan" de Benjamin Chistensen (fest. Les femmes s'en mêlent) – Grande Halle de La Villette

Avril 01. Matt Elliott + Vacarme – Café de la danse 02. Schtum + Shit & Shine (fest. Sonic Protest) – Mona Bismarck American Center 02. Steve Gunn + Papercuts – Petit Bain 02. Ballaké Cissoko & Vincent Segal (fest. Les Rares Talents) – théâtre Berthelot (Montreuil) 03. Han Bennink + Jean-François Pauvros + Anne-Laure Pigache & Anne-Julie Rollet + Parlophonie (fest. Sonic Protest) – théâtre de Vanves 04. Os Noctambulos + The Shazzams + Veenus – L'Alimentation générale (gratuit) 04. Shannon Wright + Anna Calvi + Requin Chargin + Kate NV (fest. Les femmes s'en mêlent) – Trabendo 04. Dust Breeders & Mattin + Lydia Lunch & Marc Hurtado jouent Suicide et Alan Vega + Anna Zaradny (fest. Sonic Protest) – église Saint-Merry 05. Bégayer + France + Frédéric Blondy joue "Occam XXV" d'Éliane Radigue (fest. Sonic Protest) – église Saint-Merry 05. Beirut – Le Grand Rex 05. Rendez-Vous + Qual – Gaîté lyrique 05. Asian Dub Foundation : cinéconcert sur "La Bataille d'Alger" de Gillo Pontecorvo – Auditorium|Palais de la porte Dorée 05/06. Nadia Lauro & Zeena Parkins : Stichomythia – Centre Pompidou 05. Camilla Sparksss + Georgia UK + Emily Wells + Tiny Ruins + Emilie Zoé (fest. Les femmes s'en mêlent) – Trabendo 06. Regina Demina + Ionnalee + Pongo + Sink Ya Teeth + Oh Mu + Dope Saint Jude + Silly Boy Blue (fest. Les femmes s'en mêlent) – Trabendo 06. The Hacker + Kittin + Arnaud Rebotini + Djedjotronic + David Caretta + Cardopusher – Terminal 7 06. Molecule – Gaîté lyrique 06. These New Puritans + Scintii – Petit Bain 06. Kokoko! – Badaboum 06. Dylan Carlson + Julien Clauss + Hermine + Lee Patterson + Ut + Blenno Die Wurstbrücke (fest. Sonic Protest) – Cirque électrique 07. Tashi Wada Group + Julia Holter + Corey Fogel – Lafayette Anticipations 08. The Specials – La Cigale 09. Young Widows + Nesseria – Petit Bain 10. The Flying Luttenbachers – The University of Chicago Center (gratuit sur résa) 10. Daughters – Point FMR ||COMPLET|| 12. Orchestra of Constant Distress + Arnaud Rivière + Oliver Brisson – Instants chavirés (Montreuil) 13. Toner Low + Ambassador 21 + The Fat + Orso + Evil Grimace + Gurt + Ddent + Froe Char + End of Mankind + McLane + Suprême Mycosaure (Monospace fest.) – Petit Bain 14. Arnaud Rebotini joue la BO de "120 Battements par minute" – Cité de la musique|Philharmonie 17. Teenage Fanclub – Trabendo 17. Soap&Skin – Le Trianon 17. Apparat – Gaîté lyrique 17. Cave + Derinëgolem + Korto – Cirque électrique 18. Chrysta Bell – Supersonic (gratuit) 18. Kompromat – Trabendo 19. Hocico + Heerschaft – Gibus 19. Ho99o9  – Trabendo 20. The Horrorist – Rex Club 20. Vincent Epplay + Black Zone Myth Chant & High Wolf + Domotic + Jean Benoît Dunckel + NSDOS + Erol Alkan + Tim Glass + Roscius + Sahalé + Golden Bug + Pouvoir magique + Cät Cät + RA+RE + Wael Alkak + Molecule (Inasound fest.) – Palais Brongniart 20. Michael Rother joue "Harmonia" de Neu! + Steeple Remove – La Maroquinerie 20. Rien virgule + Pardans + Ellah a. Thaun – Instants chavirés (Montreuil) 21. Plaid + NSDOS + Myako & Basses Terres + Jonathan Fitoussi + Danton Eprom + La Fraîcheur + Edouard Rostand + Prieur de la Marne + The Supermen Lovers + Panteros666 & Inès Alpha + Matt Black + Sara Zinger (Inasound fest.) – Palais Brongniart 22. Fontaines D.C. – Point FMR 23. Lambchop – La Maroquinerie 25. Lali Puna + Surma + Zalfa – Petit Bain 25. Kap Bambino – Trabendo 26. Art brut + Les Olivensteins – Petit Bain 27. She Past Away + Isolated Youth + Potochkin – La Machine 27. Chloé : Lumières noires – Le 104 27. Cocaine Piss + Tôle froide + Avale – Petit Bain 27. Thharm + Harpon + Heimat + TG Gondard – Cirque électrique 27. Bérengère Maximin, Fred Firth & Heike Liss – Instants chavirés (Montreuil) 27/28. Alva Noto + Anetha + Antigone & Shlømo + Ciel + Clara 3000 + Daniel Avery + Deena Abdelwahed + Djrum + Kink + Lanark Artefax + Octo Octa b2b Eris Drew + OKO + Red Axes + Sentiments + The Pilotwings + Tryphème + Park Hye Jin (Weather fest.) – La Seine musicale (Boulogne-Billancourt) 30. The Undergound Youth + Dune Messiah – Petit Bain

Mai 02. Master Musicians of Jajouka – Instants chavirés (Montreuil) 04. Covenant – Petit Bain 07. dEUS – La Cigale 07. Le Prince Harry + UVB76 – Petit Bain 08. Sneaks – Supersonic (gratuit) 10/11. Dead Can Dance – Grand Rex ||COMPLET|| 11. Christina Vantzou + Eiko Ishibashi + Jan Jelinek + NPVR (Nik Void & Peter Rehberg) – Le 104 12. Massimo Toniutti + François Bayle – Le 104 13. Foals – Bataclan 17. Philip Glass : Études pour piano – Salle Pierre-Boulez|Philharmonie 17. Hen Ogledd + Faune – Instants chavirés (Montreuil) 18. Bruce Brubaker & Max Cooper : Glasstronica – Cité de la musique|Philharmonie 18. Eliane Radigue : musique (diff.) pour "Continuum" de Félicie d'Estienne d'Orves – Centre Pompidou 19. Julien Claus – Ancienne Brasserie Bouchoule (Montreuil) (gratuit) 22. Housewives – Supersonic (gratuit) 23. Lots in Kiev + Thot + Brusque – Petit Bain 24. Beak> + TVAM – Gaîté lyrique 24. Shonen Knife – Petit Bain 24. Antichildleague + Corps + Geography of Hell – Les Voûtes 26. Jérôme Poret – Ancienne Brasserie Bouchoule (Montreuil) (gratuit) 28. Alice in Chains + Black Rebel Motorcycle Club – Olympia 29. Flotation Toy Warning + Raoul Vignal – Petit Bain 31. François Bonnet + Knud Viktor + Jim O'Rourke + Florian Hecker (fest. Akousma) – Studio 104|Maison de la Radio

Juin 01. Eryck Abecassis & Reinhold Friedl + Hilde Marie Holsen + Anthony Pateras + Lucy Railton (fest. Akousma) – Studio 104|Maison de la Radio 01/02. Metronomy + Laurent Garnier + Ricardo Villalobos + Mr Oizo + Bonobo (dj) + Yves Tumor + Marie Davidson + Pond... (fest. We Love Green) – Bois de Vincennes 02. Bernard Parmegiani + Jean Schwarz (fest. Akousma) – Studio 104|Maison de la Radio 05. Shellac – La Maroquinerie 06. Tim Hecker & Konoyo Ensemble + Mondkopf + Kelly Moran (Villette sonique fest.) – Cabaret sauvage 07. Danny Brown (Villette sonique fest.) – Périphérique 08. Julia Holter + Cate Le Bon (Villette sonique fest.) – Trabendo 08. Deena Abdelwahed + David August + Ross from Friends + Objekt (dj) + Apollo noir (dj) (Villette sonique fest.) – Grande Halle 09. Stereolab + Jonathan Bree + Anémone (Villette sonique fest.) – Grande Halle 12. Matmos + John Wiese – Instants chavirés (Montreuil) 13. Christian Death + Little Nemo – Gibus 13. Fat White Family – Élysée Montmartre 19. Stephen Malkmus & The Jicks – La Gaîté lyrique 26. Magma – Salle Pierre-Boulez|Philharmonie

Juillet 02. Interpol – Olympia 04. Cat Power + H-Burns (fest. Days off) – Salle Pierre Boulez|Philharmonie 05. Pantha du Prince (fest. Days off) – Cité de la musique|Philharmonie 06. Jonsi & Alex Somers jouent "Riceboy Sleeps" (fest. Days off) – Salle Pierre Boulez|Philharmonie 07. Jonsi, Alex Somers & Paul Corley : "Liminal Soundbath" (fest. Days off) – Cité de la musique|Philharmonie 07/08. Thom Yorke (fest. Days off) – Salle Pierre Boulez|Philharmonie 07. Ministry – La Machine 11. Full of Hell + The Body + Pilori – Gibus 11. Masada + Sylvie Courvoisier & Mark Feldman + Mary Halvorson quartet + Craig Taborn + Trigger + Erik Friedlander & Mike Nicolas + John Medeski trio + Nova quartet + Gyan Riley & Julian Lage + Brian Marsella trio + Ikue Mori + Kris Davis + Peter Evans + Asmodeus : John Zorn's Marathon Bagatelles – Salle Pleyel 11>13. Kraftwerk (fest. Days off) – Philharmonie 13. The Will Gregory Moog Ensemble (fest. Days off) – Le Studio|Philharmonie 13. Chloé & Vassilena Serafimova : "Sequenza" + Apparat (fest. Days off) – Cité de la musique|Philharmonie 18. Neurosis + Yob – Bataclan

Août 23>25. The Cure + Aphex Twin... (fest. Rock en scène) – parc de Saint-Cloud

Septembre 05. Oh Sees – Bataclan 13. Rammstein – La Défense Arena (Nanterre) ||COMPLET|| 14. Patti Smith – Olympia 14. Clan of Xymox + Plomb – Gibus

Octobre 19. Sisters of Mercy – Bataclan

Novembre 17. Nitzer Ebb – La Machine 24. The Young Gods + Les Tétines noires – La Machine

en gras : les derniers ajouts / in bold: the last news

[lboogie1906]

Arnold Josiah Ford (born April 23, 1877 - September 15, 1935) was a Black Nationalist, rabbi, and emigrationist. He was born in Bridgetown, Barbados to Edward Ford, a policeman, and Elizabeth Augusta Braithwaite, a homemaker. He studied music theory, he joined the musical corps of the British Royal Navy where he served on the HMS Alert. He was stationed on the island of Bermuda where he was a clerk at the Court of Federal Assize.

He joined the Clef Club Orchestra directed by James Reese Europe. He became director of the New Amsterdam Musical Association. He was a member of the Scottish Rite Masons. He married Olive Nurse and the couple had two children.

He became the Musical director of the New York division of Marcus Garvey’s Universal Negro Improvement Association. He co-wrote the song, “Ethiopia,” which extolled the halcyon past before slavery and stressed pride in the African heritage. The song became the UNIA Anthem and he published the UNIA Hymnal. He co-wrote the handbook of rules and regulations for the African Legion and the Black Cross Nurses.

He was elected one of the delegates representing members of the New York chapter at the first chapter of the First International Convention of Negro Peoples of the World. He broke with the UNIA bringing separate lawsuits against Marcus Garvey and the Association because they failed to pay him royalties. He won both lawsuits.

He studied the Hebrew language, religion, and history, and converted to Judaism after breaking with the UNIA. He started a short-lived congregation called Beth B’nas Israel and established the Beth B’nal Abraham Temple. He worked with Mordecai Herman and the Moorish Zionist Temple.

He left the US and arrived in Ethiopia along with a group of his most devoted followers including musicians. He married Mignon Innis, the couple had two children together. He created a school near Addis Ababa and got 800 acres of land to unite the Black Jews of the diaspora. #africanhistory365 #africanexcellence

[aurianneor]

Solitude in a treble clef

Alone Alone The key The soil And me All alone Only one key

The others The families Friends of mine The clubs

Nothing to do Come on, I'm doing the right thing. Without the heart The shopping Alone in the middle of others Cooking What's the point if it's only for me The house cleaning This makes you terribly lonely. No mess I've already tidied up fifteen times. No more TV I know all the programs Reading It's hard to concentrate And no one to tell what I liked about it And museums, when you have nothing to say The silence It's boring. I survive

I prepare everything For when there will be people My tidy apartment is depressing me I can't blame anyone. I am alone I'm the one who made it sparkle I control everything. The treble clef is there, but there's nothing on the range.

On the ground Rolls my xylophone I play alone Festive tunes And once a week I see my teacher He invites me to participate in a small orchestra Two hours a week I am no longer alone But I still have my head in the handlebars I listen to them with a distracted ear And made me be taken over by the conductor

In the evening, there are many activities Chess club, theatre or bistro But not the restaurant, all alone, it's pathetic. On the other hand, during the day, there is no one there And no activities Nothing to do Only things Alone If I stayed under the duvet At least I'll have some physical contact That envelops me

Fortunately, I have Sol My little dog I'm walking I'm glad to see him so alive. Taking advantage of every moment Living life to the fullest He meets other dogs And I have other masters We exchange some trivial things.

But why am I alone? Because Hollywood and TV Sell us love relationships To consume and then to throw away? Because I'm too afraid to commit? Because I'm looking for a relationship that's too perfect? Because I accept relationships that are too bad? Because I'm sick and no one wants a sick person? I have no one to talk to about it. I am alone All these questions are swirling in my head Dialogue monologues Spinning like horses on a merry-go-round Together and alone at the same time Identical but with differences

In any case, loneliness It's good for consumption One accommodation per person A corkscrew A nutcracker A colander One bed A car One buffet per person One object per person Even the heart becomes something: A simple stone

Why did I leave them? Why did I let them go? Some are happier alone But it is not my case Will anyone be able to love me? Can I let someone in Even a little bit? Will I be able to keep this one? Sometimes I don't dare say what I think to my friends I have a bright smile on my face And I adopt their ideas to make sure To meet them again One hour here and there Half an hour another time.

In a family we share Solidarity

I want to share These goods to be consumed and disposed of But I don't want to Doing this with the people I love. I want a family Even if it doesn't match the clichés Friends, roommates, open relationships, arranged marriages, shared interests It doesn't matter!

I want a real family That is, people to hold on to And that I can support And above all Being together Laughing Fighting Seeking solutions Debating Shouting Grumbling To be reconciled Cuddling up Enjoying ourselves And especially never to separate

Can I do that? Am I going to have to try again And screw me up like the other times.... Survival is not for me.

Maybe it's like music. To make it beautiful, One must absorbe in it entirety Let it live Be part of the instrument Give pleasure to other people Expressing emotions And make them, all beautiful, Even the darkest ones Repetition is formative Advice must be felt Then one has to make his own To emancipate oneself from oneself Take another form To be more open to others Playing badly at the beginning Break the ears of your four walls Then by dint of training It's getting good.

I want to be able to share this joy that I don't have yet And not being able to do without the ones I haven't found yet. I want to live. I won't let it go. I'll find my fairy tale I'll be a beginner. Always a beginner

Aurianne Or

‪Thunderstruck for Percussion Ensemble Alumnado PercuFest 2014 dirigido por Rafa Navarro: https://youtu.be/SYSxOj6W7IQ

Sapolsky on depression - Stanford university: https://aurianneor.tumblr.com/post/174143784840/stanfords-sapolsky-on-depression-in-us-full

Do help Mrs Dalloway: https://aurianneor.tumblr.com/post/169114695450/do-help-mrs-dalloway-mrs-dalloway-virginia?is_related_post=1

Scared: https://aurianneor.tumblr.com/post/158921847771/scared

J’ai dix ans et je sais que je suis différent: https://aurianneor.tumblr.com/post/159005802757/jai-dix-ans-et-je-sais-que-je-suis-différent

J’ai trouvé ma place: https://aurianneor.tumblr.com/post/172236407055/jai-trouvé-ma-place

Gris: https://aurianneor.tumblr.com/post/181456424070/gris-education-à-ce-quest-la-dépression-pour-une

Tu peux ouvrir les yeux maintenant: https://aurianneor.tumblr.com/post/158351101260/tu-peux-ouvrir-les-yeux-maintenant-ce?is_related_post=1

Change the words “HIV” and “AIDS” by “Mental illness” and see how you feel about it: https://aurianneor.tumblr.com/post/171419628695/change-the-words-hiv-and-aids-by-mental?is_related_post=1

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The Swingin’ Harlem Hellfighters Band,

The Harlem Hellfighters have taken to the spotlight in modern times thanks to the popularity of the video game “Battlefield 1″, where the African American soldiers are featured in the very opening of the game. The US 369th Infantry Regiment was a unit of African American soldiers who served with incredible distinction during World War I. During the war many white American soldiers refused to serve with blacks, and as a result the 369th was assigned to the French Army, the French having little qualms with serving with African Americans, nor did they have a policy of segregation such as the US Army. They were even issued French weapons and wore French helmets while in combat. During their service in World War I the 369th was nicknamed by the French “The Black Rattlers” and “The Hellfighters” by the Germans because of their tenacious fighting spirit.  They never gave ground in combat, not one soldier was ever captured, and they served the longest continuous deployment of any other Allied unit during the war (191 days of continuous combat). Due to their bravery, they were also among the most decorated Allied units, with two Medals of Honor, 171 French Croix de Guerre’s, and numerous Distinguished Service Crosses.

One of the most unique features of the Harlem Hellfighter’s was their band, perhaps the only unit in the entire war to have a ragtime band.  Unlike pretty much all other military bands which played traditional marches and martial music, the Harlem Hellfighter Band played the music they loved and could perform best, mostly American ragtime music and early forms of Jazz.  The Harlem Hellfighter Band was directed by Lt. James Reese Europe, a man who was certainly fit for the job as he was the band leader of the Clef Club Orchestra, a band popular in New York for their ragtime and proto-jazz music.

On April 8th, 1918 French soldiers turned their heads in wonder as The Harlem Hellfighters marched toward the front to the tunes of hot ragtime and Jazz beats. 

No one in Europe had ever heard such music, in fact Jazz was barely even heard in the United States outside of a few communities in New Orleans, Chicago, and New York.  The new music became an instant hit among both French and British soldiers, and before long the Harlem Hellfighters Band was being called to perform for French and British units all along the line, as well as villages they passed through. Soon, the Harlem Hellfighters swinging sound took Western Europe by storm, and the band was even invited to perform in Paris at the Théâtre des Champs-Elysées. Among the Hellfighters biggest hits was a ragtime tune called “Memphis Blues”.

Another popular hit was “On Patrol in No Man’s Land”, written by Lt. James Europe himself while recuperating after being wounded in a poison gas attack while on patrol.

And then of course the biggest crowd pleaser given the location and audience was a jazzed up version of “Le Marseillaise”  

After the war the band would make a grand tour of Europe, then return home and make a grand tour of the United States. Stories of the Harlem Hellfighters unique sound had spread across America and people were demanding more.  During their American tour, the band cut 24 records. Everywhere they went, whether in Europe or the United States, they drew huge cheering crowds, they had become the superstars of their day. 

Unfortunately the story of the Harlem Hellfighters Band did not end well for James Europe. On the night of May 9th, 1919 Europe confronted one of his drummers over poor and unprofessional behavior.  The drummer, known as a hothead among the band members, attacked Europe and stabbed him in the throat with a penknife. Europe bled out and died while in the hospital later that night.