#Count Basie Center for the Arts

[cheswirls]

wavering on.... hmmmmmmmm do i insert my legends arceus screencaps into this project portfolio as references or keep them separate or put them in then submit a file for grading w/o them included

[zkbigbang]

ZKBB 2024 Basic Guidelines

What is a Big Bang?

A Big Bang is a collaborative event where writers are paired with artists and beta readers to write and edit a long fic with accompanying fanart within a specific period of time. In a traditional Big Bang, writers come up with their own story idea, and artists and betas bid for places on writers’ teams based on the story ideas submitted.

What are the story requirements for this Big Bang?

All stories should be centered around Zuko and Katara and their relationship.

Oneshots should meet a minimum word count of 6,000 words when completed, and multichapters should meet a minimum word count of 10,000 words before the end of the event.

Stories must be rated G or T on AO3

Big Bang fics must be new, standalone works. No continuations of existing series or published WIPs are allowed.

Story ideas should be secret before the start of the event to allow for fair, anonymous project bidding.

What are the roles and expectations for this Big Bang?

Writers will be expected to come up with their own story ideas, meet word count checkpoints throughout the event, share their progress with their team, and communicate with their team and the mods as needed.

Artists will be expected to create at least one finished piece of art for their project(s). Any type of art is welcome. Artists will be asked to meet several checkpoints throughout the event, and should share their progress with their teams as the event continues.

Betas will be expected to work closely with the writer and provide advice and feedback as the story is written. All beta readers should be able to provide SPaG feedback, and may be asked to provide additional support with plot and other creative decisions.

Other information

All participants are required to be active in our event Discord server. Work space within the event server will be provided for every team, and separate servers for individual projects are not allowed.

Members who are inactive for three consecutive weeks may be dropped from their project(s) or the event as a whole.

Members who miss formal check-ins (see our event schedule for dates) or fall behind on their progress will be dealt with on a case-by-case basis.

Members are welcome to announce their participation in the Big Bang, but should not discuss specifics about their project(s) publicly until after posting begins (or for writers, after the reveal date).

Use of any AI text or image generators is not welcome in the Big Bang.

Additional role-specific information will be posted over the next few days! Feel free to contact us with any questions.

[tssfanzine]

FAQ

!! Here you will find the FaQ with more information about this fanzine project! See Event Info and Schedule for more !!

If you have a question not answered by any of these posts, feel free to send us an ask!

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What is a fanzine? - In short it's a fan magazine! Something that members in a fandom work on together to create for other members of the fandom! The fanzine will be formatted like a book, with everyone in collaboration to make different pages via art or writing!

What will this project entail? - This project requires at least 1 page from everyone who is contributing, with the option to work on more. The first 7 pages will be page spreads (a double page) centered around each of the sides and C!Thomas. You can collaborate with someone or work on your own.

How will pages be assigned? - The first seven pages are on a first come first serve basis. Artists and writers will be assigned to work on these together. After that, you can choose to add as many single pages or page spreads as you want (we are calling these 'Individual pages' for the sake of consistancy)! At the first check in, we will share a form for people to submit their ideas for individual pages - this is just so that we can get an idea of formatting and page count in advance!

Is it required to work on one of the first 7 pages to participate? - Nope! If you just want to work on your own individual page or pages, you can!

Can I work on multiple pages? - Yes! However please take care of yourself and only sign up for how many pages you feel you can reasonably do for this event! The amount you estimate you might do in the sign up for is NOT set in stone as a requirement!!

What kind of content can I contribute? - You can contribute fanart, fanfic, collages, etc... You have creative freedom to do what you want in accordance with the rules. Whatever you create must be able to be made into a PDF and potentially printed (i.e, no gifs, videos, moving images etc). No AI generated content is allowed.

What do the 'Individual pages' entail? - The individual pages are an opportunity to promote your own art and writing! You can put anything in here! Snippets from your latest WIPs, art of your aus or character designs, pretty much whatever you want, so long as it's TS oriented and follows the rules! These pages may also include content from other TS works, such as Roleslaying with Roman, My Roommate is Hades, Cartoon Therapy, or TS Shorts.

Can I collaborate on individual pages? - Yes! If you wish to work together with another participant you are more than welcome! You can arrange this amongst yourselves and will be able to list this on the forms.

Do I have to use my own aus for individual pages? - Yes, you have to use your own aus. Unfortunately, it's too difficult to verify permission from the original writer/artist to use their work, so we request that all aus featured are your own.

Can I use AI? - No. We have a strict anti-AI policy for this event. All works most be created by you, if we discover that AI images or writing have been used, it will not be included in the final PDF. Is the schedule set in stone? - No! We're willing to push back the deadlines based on feedback and where everyone is with their page(s)! We are also willing to give extensions if you contact us! This is our first time running something like this, so live feedback on the schedule is appreciated!

Will I be able to drop out? - Of course! If you no longer feel up to the event you are more than welcome to drop out, we want you to be happy and healthy! We only ask that you let us know before you leave! Please try not to leave it too late, especailly if you were working on one of the side's pages, so we are able to find a replacement.

How do I sign up? - Sign up forms will be posted on June 1st, from then until July 31st you will be able to fill out the google form and join the discord server.

Are there any requirements for signing up? - The only requirement is that you have a Discord! This is required so that we can keep track of everything and you'll be able to collaborate much easier. This event does not require 'auditions' or have a selection process! Anyone can join!

Is there a way to sign up as a backup writer/artist? - Yes, you can sign up to be a backup writer/artist on the first 7 pages, there will be a question on the sign up form indicating that this is the role you want. A backup will jump in if the person previously working on the page steps down.

How will the finished project be created/distributed? - The finished project will be a PDF of all the hard works that everyone who collaborated put in! It will be available for download on the Pinned Post with instructions for printing/binding yourself. - As well as this, there is potential for having a physical copy printed and sent to you as long as you are able to cover printing/shipping costs. This option is not yet confirmed and more information about potential cost/options will be provided closer to the time.

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[datshitrandom]

A Very Darren Crissmas 2023 | MASTERPOST Press • Promo Series • Audios • Fashion • Sexy Hippo ﹡NOV 21 | Atlanta Symphony Hall (Atlanta, GA) | M&G ﹡NOV 22 | Knight Theater (Charlotte, NC) ﹡NOV 24 | Charleston Music Hall (Charleston, SC) ﹡NOV 25 | Nancy & David Bilheimer Capitol Theatre (Clearwater, FL)  ﹡NOV 27 | Barbara B. Mann Performing Arts Hall (Fort Myers, FL) ﹡NOV 28 | The Parker (Fort Lauderdale, FL) | M&G ﹡NOV 29 | Steinmetz Hall at Dr. Phillips Center (Orlando, FL) ﹡NOV 30 | National Christmas Tree Lighting 🎄✨ (Washington, D.C.)

﹡DEC 1 | Carolina Theatre of Durham (Durham, NC) ﹡DEC 2 | The Barns At Wolf Trap (Vienna, VA) | SOLD OUT ﹡DEC 3 | The Barns At Wolf Trap (Vienna, VA) | SOLD OUT ﹡DEC 4 | Count Basie Center (Red Bank, NJ) ﹡DEC 5 | The Town Hall (New York, NY) ﹡DEC 6 | The Ridgefield Playhouse** (Ridgefield, CT) ﹡DEC 7 | Emerson Colonial Theatre (Boston, MA) ﹡DEC 9 | Elgin and Winter Garden Theatre Centre (Toronto, ON) ﹡DEC 10 | Fisher Theatre (Detroit, MI) ﹡DEC 11 | Athenaeum Center (Chicago, IL) | SOLD OUT ﹡DEC 12 | Barrymore Theatre (Madison, WI) | M&G ﹡DEC 13 | The Commons** (Columbus, IN) | SOLD OUT ﹡DEC 15 | MGM Northfield Park at Center Stage (Northfield, OH) ﹡DEC 16 | The Cabaret** (Indianapolis, IN) | SOLD OUT ﹡DEC 17 | The Cabaret (Indianapolis, IN) | SOLD OUT ﹡DEC 19 | Lexington Opera House (Lexington, KY) ﹡DEC 20 | CMA Theater at the Country Music Hall of Fame (Nashville, TN) | M&G

📸 by WES and ALEX • 2022 Masterpost

[marabarl-and-marlbara]

hi mara!! i hope im asking this OK. i’ve been reading through your posts and i noticed you like a lot of vintage/early 2000s anime, so I was wondering if you watch newer stuff at all? i’m curious to hear your preferences!

hi anonymous; i feel like i:m mostly only ever posting about new anime on my twitter -- although even on here i advertise the 2019 boogiepop series; but lately i caught up on under ninja (really like this, reminds me of a sleepier kokkoku x a sleepier akiba maid war), i watched all of the 100 zombie something show (forget the name of it but it went on hiatus and never resumed, was alright, hated the first episode though); finished blue eye samurai a few days ago (before the hospital trip, i think? really loved it, though i:m not sure if it really counts as anime -- but this one was a sleeper good show for me because of how generic it looked/sounded, but it was sort-of like death frenzy/shigurui crossed with kill bill, but using a disney/pixar plot structure); mentioned akiba maid war, that one is a favorite, probably one of the most satisfying conclusions of anything i:ve watched; i was posting about mahou shoujo magical destroyers pretty often, and i liked it, but it:s also not a good show what-so-ever and i:d never recommend anyone watch it (but the OP/ED is great; the problem it has is it:s sort-of like "insane ambition but zero capability to actualize it"; you can watch the first 2 episodes, then skip to the last 2/3 episodes and miss nothing, and it:d probably be a better experience for it); really liked wonder egg priority; watched a few episodes of the anxiety band show but dropped it, entirely just due to how often i:d see posts about it; really like all of the new baki seasons; liked the cyberpunk anime a-bunch; dropped summertime rendering but liked what i watched, just bored; dropped spy family, liked it but dropped it cause i was bored; dropped chainsaw man, liked it but was bored; lycoris, watched, liked, dropped, bored; heavenly delusion, watched, liked, dropped, bored; etc, etc;

been wanting to watch the new rurouni kenshin series but sort-of maybe more interested in just re-watching the old one for nostalgia; generally how i find stuff to watch is every few weeks i look at /a/ and if i see a thread where some anonymous sounds really passionate about some show, i:ll watch it, cause i like reading about someone elses passion and feeling some of their excitement second-hand (maid war, boy:s abyss, magical destroyers, wonder egg, & kenshin omega/ashura were this for me -- the airing/releasing threads for these shows just were so much fun) -- or like infinite ryvius, a person i followed on twitter just was gushing about it and it made me so interested;

out of everything listed akiba maid war is the only one i:d press people to watch because i think it:s really special but got overlooked by the anxiety band show (admittedly i think akiba maid war "is best experienced" watching on a week-to-week release basis because it:s sort-of episodic in the center, but the high points are just so high);

anyways take care, anonymous; got this card while farming in RO and liked the art

[d-criss-news]

Darren Criss Announces New Holiday Tour Dates Across the U.S. & Canada

Darren Criss is celebrating "Crissmas" this year with a brand-new lineup of holiday tour dates!

Criss will be playing The Town Hall in New York City on December 5 and will also be stopping in Chicago, Boston, Atlanta, Detroit, Toronto, Indianapolis, Nashville, and more. Check out the complete list of tour dates below!

"Summer is coming to an end (well, not in [Australia]) … which means it’s time to think about cold weather (in [the U.S.]!) Announcing a TON of NEW Holiday Show dates to warm up your November and December," Criss captioned his Instagram post announcing the dates.

Pre-sale will begin this Wednesday, September 13 at 10:00 am local time. Tickets will go on sale to the general public on Friday, September 15 at 10:00 am local. Click Here for more information on how to buy tickets.

Criss released his first-ever holiday album entitled “A Very Darren Crissmas” on Decca Records in 2021. In it, he brought his radiant imagination and encyclopedic musical knowledge to a wildly eclectic collection of songs: big-band standards and novelty tunes, mid-century musical numbers and modern-day folk-pop ballads.

Criss’ original track “Drunk on Christmas” featuring country chart-topper Lainey Wilson, showcased his effortless ingenuity as a songwriter. The result is an essential new entry into the holiday-music canon, both thrillingly unpredictable and touched with a timeless sense of Christmas magic.

Made with Ron Fair, multi-Grammy® nominee and producer of numerous GRAMMY-winning hits, “A Very Darren Crissmas” also featured special guest appearances by Adam Lambert and Evan Rachel Wood. “A Very Darren Crissmas” was only the latest evidence of Criss’ singular gifts as a song interpreter. 

Darren Criss Holiday Tour Dates November 21 - Atlanta Symphony Hall - Atlanta, GA November 22 - Knight Theatre - Charlotte, NC November 24 - Charleston Music Hall - Charleston, SC November 25 - Bilheimer Capitol Theatre - Clearwater, FL November 27 - Barbara B Mann Performance Arts Hall - Fort Myers, FL November 28 - Lillian S. Wells Hall at The Parker - Ft Lauderdale, FL November 29 - Steinmetz Music Hall at Dr. Phillips Center - Orlando, FL December 1 - Carolina Theatre - Durham, NC December 2 - The Barns at Wolf Trap - Vienna, VA December 3 - The Barns at Wolf Trap - Vienna, VA December 4 - Hackensack Meridian Health Theatre at the Count Basie Center for the Arts - Red Bank, NJ December 5 - The Town Hall - New York, NY December 6 - The Ridgefield Playhouse - Ridgefield, CT December 7 - Emerson Colonial Theatre - Boston, MA December 9 - Elgin Theatre - Toronto, ON December 10 - Fisher Theatre - Detroit, MI December 11 - Atenaeum Theater - Chicago, IL December 12 - Barrymore Theatre - Madison, WI December 13 - The Commons at Nugent-Custer Performance Hall - Columbus, IN December 15 - Center Stage At Mgm Northfield Park - Northfield, OH December 16 - The Cabaret - Indianapolis, IN December 17 - The Cabaret - Indianapolis, IN December 19 - Lexington Opera House At Lexington Center - Lexington, KY December 28 - Cma Theatre At The Country Music Hall Of Fame - Nashville, TN

[pomefioredove]

Hi! Could I have a matchup (romantic)? I’ve been described as sweet, gentle, thoughtful, and patient, but I’ve always thought I’ve been a little mean and way too blunt at times without noticing it. I’m also a bit too sassy and dramatic for my own good 😅

As for interests/hobbies, I LOVE singing and acting (yes I’m a theater kid), but I don’t mind getting covered with paint or dirt when it comes to painting and gardening. I’ve also pricked my hands way too many times to count when embroidering. Also I love chores. Idk why I just do It’s weird

When it comes to lifestyle… I’d say clean and girly? Like my room almost looks like something out of an ultra-fem’s Pinterest board. I eat healthy but I also love sweet stuff except for white chocolate, the bane of my existence.

I match you with 𝐓𝐫𝐞𝐲 𝐂𝐥𝐨𝐯𝐞𝐫

I had 2 croissants while writing this

The First Impression:

Trey is a pretty busy guy. His entire philosophy centers around keeping the peace and making things as easy as possible for himself, so he's always got his hands full with something. You probably first encountered him while helping out around Heartslabyul. Not a word exchanged between the two of you, but your handiness was very much noticed.

Why He Fell:

To say that he was surprised by your neatness would be an understatement.

After seeing you covered in paint, dirt, and sweat from preening the roses around Heartslabyul, he figured you'd be just as messy and chaotic as his first year dormmates. Imagine his relief when he finds you're actually pretty organized and feminine, and you can hold your own. Of course, he ends up inviting you to help out around Heartslabyul more often.

...Though, it's not exactly your skill or your tidiness that draws Trey in. It's that every once in a while, you say exactly what he's thinking. He knows you're not trying to be mean, but the sarcasm and dramatics are almost refreshing to him. Endearing, even!

...And a little dangerous, considering how his job is keeping the peace, but, hey, maybe he craves a little danger.

The Relationship:

Trey is not an adept romantic. For as calm as he tries to seem, the very topic of romance makes him feel awkward and woefully unprepared.

For the longest time, you two are nothing but a Heartslabyul dream team, a two-person efficiency machine: there's really nothing you can't accomplish when you're on the job together.

But, at some point, you two start hanging out on a regular basis without attending to anything at all. That's when his crazies set in. You're not just a hard worker, or a talented individual whom he admires, you're someone he values far beyond your technical skills. You're thoughtful, gentle, witty, independent, and he just adores the juxtaposition you have: he finds every angle of you perfect, whether you're neat and girly or covered in dirt. You put way more effort into your passions than he does, and weirdly enough, he finds himself looking up to you as a source of inspiration.

Your affinity for the arts isn't lost on him, either. He's always happy to run lines with you, and he makes a point of coming to any and all performances. The first time he does, he very awkwardly brings flowers, though it soon becomes a little tradition between the two of you.

The romance is cute, soft, and a little awkward. And, of course, very sweet.

[ts4-bacc]

Rule update Growing Together

The update isn’t big since there wasn’t much to unlock but there are some things and we have the infants now as well also in the base game! And a little clarification on CAS-points.

Growing Together (GrT)

San Sequoia - Set it as a default world. This mean you can start it normally and follow the Normal start. If you want to unlock it later it will depend how many worlds you have unlocked. See the New world section in this part of the rules

Recreation center - Have unlocked the Gym, Arts center and have Nanny/Daycare unlocked

Ageing up traits

With the coming of infants, toddlers aren't the first stage anymore for which you can pick a trait. Before toddlers always got a random trait because of it. But this is going to change to infant. So... - Infant trait is always random. - Toddler trait able to choose if they get a top-notch-infant trait otherwise it has to be random. - Child trait able to choose if you get the Happy Toddler/Top-Notch-Toddler trait otherwise it has to be random. - Teen trait able to choose if you get an A as a child in school. - Young Adult trait able to choose if you get an A as a teen in school.

CAS-points / moving in new sims

I had to clarify this a little since it wasn’t really clearly described. I hope it makes more sense now! How to get them:

A sim get to level 10 Charisma and doesn't use it to open something else up

A new Community lot is unlocked

A sim Opens a Store/Vet/Restaurant (+2 extra for Legacy) 

How to use them:

You can use them right away or safe them up to move in a family or multiple sims at a time.

You can also marry townies and move them in with your played sims once you unlocked townies, increasing your population that way. However, skills, career progress or other achievements those townies made prior to moving them in does not count towards unlock requirements. (Former) Townies also can’t contribute to unlocking things, unless a CAS point is spent on them when they move into an active household. You may decide this on a case-by-case basis. So Townie A may be “just” a spouse with the soul purpose of helping bring the next generation in the world, while Townie B is moving in after a CAS point has been spent on them, being a full resident and unlocking things in their own right.

[jpbjazz]

LÉGENDES DU JAZZ

BUSTER WILLIAMS, MAITRE DE LA CONTREBASSE

‘’I’m a bass player, front and center. When I’m working in a group, then the music gets defined and determined by the leader. The main reason I’ve decided now to concentrate on my own music is that I wanted to be the person determining what got played, how it was played and what it ultimately sounded like on the bandstand. That’s my focus now, to play my own music and emphasize my compositions.’’

- Buster Williams

Né le 17 avril 1942 à Camden, au New Jersey, Charles Anthony "Buster" Williams était le fils de Charles Anthony Williams Sr. et de Gladys Williams. Le père de Williams, Charles Anthony Williams Sr., était contrebassiste et jouait aussi du piano et de la batterie. Sa mère Gladys était blanchisseuse. Surnommé ‘’Cholly’’, le père de Williams avait pratiqué plusieurs métiers pour nourrir sa famille de cinq enfants, mais il n’avait jamais abandonné la musique et se produisait dans les clubs après sa journée de travail. Grand amateur du légendaire contrebassiste Slam Stewart, Williams avait été le premier professeur de son fils et lui avait enseigné les vertus du travail bien fait. Buster avait commencé à s’intéresser à la contrebasse après avoir entendu l’enregistrement du standard ‘’Stardust’’ de Oscar Pettiford.

Comme Buster l’avait expliqué des années plus tard: “It was an unwritten law that I had to play it right or hear about it [from his father]. I was going to be the best”. Dans une autre entrevue, Buster avait précisé:

"My father was my teacher. He would prepare my lessons for me, and when I got home from school I was supposed to practice, then he would listen while he was eating his dinner. It was an unwritten law that I had to play it right or hear about it. I was going to be the best. I had no choice. In those days, instead of a two car family, we were a two bass family. My father was a fan of Slam Stewart, and he strung his basses the way Slam did. Instead of the regular G-D-A-E, he strung a high C; ie,C-G-D-A. Adding the C string puts the playing of higher-pitched passages at a more comfortable position. Of course, when he decided to teach me he restrung one of his basses in the traditional manner for me. He told me, 'If I re-string my bass for you, you'd better be serious!'" 

La maison de la famille Williams était toujours remplie de musique. Buster s’était familiarisé avec le jazz par l’entremise de l’impressionnante collection de disques de son père. Il expliquait:

‘’He had an extensive record collection, and we had a roller piano, you know, an upright piano. And you put these rolls of music and press the pedals. We were listening Art Tatum, Jimmie Lunceford Orchestra, Count Basie, Duke Ellington, and all of this music was going on in my house all the time. My father’s musicians friends would come over. He had a good friend named Kenny Andrews, a piano player, and he would come over and they played duos all day long. I was hearing the music and any question that I would ask my father or his musician friends, they would answer for me. I had been listening to Thelonious Monk, and my oldest sister belonged to the Columbia Record Club. They would send us records every month. That’s when I first heard Miles Davis, Art Blakey and Horace Silver.’’

Très reconnaissant à son père avait exercé d’avoir encouragé son développement comme musicien, Williams avait ajouté: ‘’My father was a great, great player. I heard many fine records when I was growing up, and the sound of Slam Stewart was a prime influence on me, both in terms of his arco sound and the way he strung the bass. My father told me that if he took the time to prepare my instrument I had better {to} be serious about it. It’s something that I’ve never forgotten and will always remember about playing and about music.’’

Williams avait décroché un de ses premiers contrats professionnels avec un ami de son père, le saxophoniste ténor Louis Judge.

En 1959, à l’âge de dix-sept ans, Williams avait commencé à jouer à Philadelphie avec le quartet du saxophoniste Jimmy Heath qui comprenait Sam Dockery au piano et le légendaire Charles ‘’Specs’’ Wright à la batterie. Comme Williams l’avait précisé plus tard: ‘’What I learned from Jimmy about music and life was so valuable that bits and pieces of that experience continue to unfold even now. It was like taking a Time release "capsule of knowledge."

DÉBUTS DE CARRIÈRE

Un mois après avoir décroché son diplôme du Camden High School en 1960, Williams s’était joint au groupe des saxophonistes Gene Ammons et Sonny Stitt. À l’origine, c’est plutôt le père de Williams qui devait être engagé avec le groupe, mais comme il n’avait pu se libérer, c’est Buster qui avait pris sa place. Williams explique comment il avait commencé à jouer avec le groupe:

‘’One of my father’s good friends was a bassist that played with Charlie Parker named Nelson Boyd. Charlie Parker penned the tune ‘’Half Nelson’’ for Nelson Boyd, and he was how I got my introduction to Gene Ammons and Sonny Stitt. The gig started on Tuesday at The Showboat in Philadelphia and Boyd couldn’t make the weekend, so he called my father to take the gig. My father was working, so he sent me instead. I also played quite a bit with Jimmy Heath in Philadelphia before goint out on the road with Gene and Sonny. Camden and Philly were filled with clubs. It was quite inspirational.’’

Williams poursuivait: ‘’When I went out on the road with Gene Ammons and Sonny Stitt, it was exciting. And of course, I was nervous at first because I knew this was the big time. I didn’t realize, until I got on the bandstand, how much my father had really prepared me. That’s rich, you know ? It was truly to my benefit.’’

Williams avait tellement impressionné Ammons et Stitt qu’après une seule performance, ils lui avaient demandé de les accompagner en tournée.

Williams était demeuré avec le groupe durant environ un an. Finalement, Ammons était parti avec la caisse lors d’un séjour du groupe à Kansas City, et personne n’avait été payé. Heureusement, Williams, le pianiste et le batteur du groupe avaient obtenu un contrat d’une semaine pour travailler avec Al Hibbler.

De retour à Camden, Williams avait pris des cours de composition, d’harmonie et de théorie au Combs College of Music de Philadelphie. Il avait étudié sous la direction du docteur Roland Wiggins.

Après avoir été découvert par la chanteuse Dakota Staton, Wlliams avait obtenu un engagement à Wilmington, au Delaware, avec le trio de Gerald Price. En 1962, Williams avait accompagné la chanteuse Betty Carter. Décrivant sa collaboration avec Carter comme expérience à la fois inspirante et perturbante, Williams avait précisé:

‘’Well, the first thing you had to understand about Betty Carter is, ‘’Don’t go with her.’’ You may start out together, then you look around and Betty Carter is two blocks behind you, but she knows where she is. She had that kind of intuitive understanding of improvisation. She would be improvising while she’s still singing the melody. If you make the mistake of trying to wait for her, then you’d be drastically wrong because she knows where she is and she’s going to be where she needs to be when she needs to be. I used to tell her, ‘’Betty, when you come in and I hit my first beat, then I’m going to go out and have lunch and I’ll be back in time for me to play beat two.’’ I had never gotten to play a ballad so slow until I started playing with Betty Carter. She had such feeling and such emotion in what she did, and she could really swing.’’

Williams s’était rendu pour la première fois en Europe dans le cadre d’une tournée avec Sarah Vaughan l’année suivante. Commentant sa collaboration avec Vaughan, Williams avait ajouté: ‘’I learned patience with Betty Carter, and I learned the importance of playing in tune with Sarah Vaughan. Sarah could hear anything that was out of tune. We did a rehearsal once with a big band. Sarah stopped the band, pointed to the second trumpet player, and told him to tune up.’’

C’est lors de la tournée avec Vaughan que Williams avait fait connaissance avec des musiciens qu’il n’aurait jamais cru devoir faire partie de son avenir: Miles Davis, Ron Carter, Herbie Hancock, George Coleman et Tony Williams. 

En 1964, après avoir joint le groupe de la chanteuse Nancy Wilson, Williams s’était installé à Los Angeles. C’est là que Williams avait épousé l’année suivante Veronica, une ancienne camarade de high school. Wilson avait même été la demoiselle d’honneur de sa nouvelle épouse. Williams avait continué de travailler avec Wilson jusqu’à ce qu’il décide de rentrer à New York en octobre 1968. Williams avait enregistré cinq albums avec Wilson. Décrivant sa collaboration avec la chanteuse, Williams avait commenté: ‘’Nancy Wilson loved to do duets with me. We used to do the Beatles song, ‘’Yesterday.’’ I would start it off any kind of way I wanted to. She always knew where to come in, and we would sync. It was just fantastic. I learned something unique from each one of the singers. They all said to me that they wouldn’t sing a song if they couldn’t relate to the lyrics. And all the great musicians, I think, also told me, if you’re going to play a song that has a lyric, learn the lyric.’’

Parallèlement à sa collaboration avec Wilson, Williams avait également été un membre régulier des Jazz Crusaders de 1965 à 1968, avec qui il avait enregistré cinq albums. Williams explique comment il s’était joint au groupe: ‘’I was playing all kinds of gigs when Nancy was off. I got a call from the Jazz Crusaders to play with them, and we opened at The Lighthouse. Before me, the Jazz Crusaders had a guy named Herbie Lewis. He was another great bass player. There was also a great studio player in L.A. named Jimmy Bond who played with them earlier.’’

Décrivant sa collaboration avec le groupe, Williams avait ajouté:

‘’You know, I never thought I was doing anything spectacular except, you know, enjoying myself, which was great. Wayne Henderson, their trombone player, and I had a real close comedy kind of relationship. I wrote a song for him called ‘’Ruby P’gonia.’’ I think the first record we did was Lighthouse ‘68, and then Lighthouse ‘69. Then we did another record called Old Shoes, New Shoes. That band would have had a lot more international acclaim except for the fact that none of the other guys liked to fly. We had offers to go to Europe, but, unless we were going on a boat, we weren’t going. (Of course, I have never had a problem with flying). We had lots of fun, and I made maybe about five records with them.’’

En 1967, Williams avait aussi remplacé brièvement le contrebassiste Ron Carter dans le groupe de Miles Davis. Il avait également collaboré avec Kenny Dorham, Eddie Henderson, McCoy Tyner, Dexter Gordon, Roy Ayers, Stanley Turrentine, Frank Foster et Art Blakey.

Après son arrivée à New York, Williams s’était joint au sextet de Herbie Hancock qui était aussi composé de Herbie Mann, Mary Lou Williams et Billy Hart. Williams, qui jouait à la fois de la basse électrique et acoustique avec la formation, avait enregistré trois albums avec le groupe. De plus en plus populaire, Williams était très en demande comme musicien de studio. Williams avait également joué dans plusieurs commerciaux et composé plusieurs bandes sonores pour le cinéma.

Tout avait bien fonctionné jusqu’à ce que ces différents engagements commencent à entrer en conflit et que Williams soit obligé de choisir. Même s’il manquait d’expérience avec la basse électrique, Williams avait finalement décidé de se joindre au sextet Mwandishi d’Herbie Hancock, un des plus grands groupes de jazz-rock de l’époque qui était composé de Johnny Coles à la trompette, de Garnett Brown au trombone, de Joe Henderson au saxophone ténor et d’Albert ‘’Tootie’’ Heath à la batterie. Williams explique comment il avait commencé à jouer de la basse électrique:

’’Even before Herbie, I made some records with Harold Mabern playing Fender electric bass. One was called ‘’Greasy Kid Stuff !’’ I did about two or three records around that time doubling on Fender. I just did an interview recently, and the person that I did the interview with, he did research and old me about records that I played electric bass on that I totally forgot. But anyway, when I was with Herbie, when we started the band, we did not use any electronic instruments. Shortly afterwards, I played the Fender on ‘’Ostinato: Suite for Angela’’, and I was playing electric bass and the acoustic bass and couldn’t leave home without both of them.’’

Williams avait aussi joué de la basse électrique dans des publicités télévisées.

De 1969 à 1972, le groupe avait finalement adopté son alignement définitif composé, en plus de Hancock et Williams, de Benny Maupin au saxophone, de Julian Priester au trombone, d’Eddie Henderson à la trompette, de Patrick Gleason aux synthétiseurs et de Billy Hart à la batterie. Décrivant sa collaboration avec le groupe, Williams avait précisé:

‘’This band with Herbie really was a high point in my musical life. We were doing some things that no one ever thought a jazz band would ever consider. I remember one time we were in Italy and Herbie saw this huge Moog synthetiser and he decided he wanted to add it to the band. This was the time when those things were huge. We ended up carting this enormous thing all over Italy and having to pull all that stuff up; we looked like an airport up on the bandstand. I had never played the electric bass before we started going electric. I didn’t know then that it’s totally different instrument. The stuff that casts do today, all the slapping and the ripping, that’s something I’ve never done on the electric. I put that thing down back in the ‘70’s, and if anyone asks me today if I play electric bass, I tell them I don’t. That’s a whole different animal now.’’

Williams avait fait ses débuts comme leader en 1975 sur l’album Pinnacle sur étiquette Muse. L’album comprenait ‘’Tayamisha’’, une composition que Williams avait écrite pour sa fille. Williams avait également pris la place du contrebassiste Ron Carter dans le cadre de certaines sessions dans lesquelles Carter avait joué de la contrebasse piccolo. Dans les années 1970, Williams avait également accompagné Mary Lou Williams, Kenny Barron, Jimmy Rowles, Larry Coryell, Stanley Cowell, Steve Turre et Frank Morgan dans le cadre de certains enregistrements.

Au début des années 1980, Williams avait fait une tournée avec Herbie Hancock, Tony Williams et le jeune trompettiste Wynton Marsalis. Par la suite, Hancock avait formé un trio avec Williams à la contrebasse et Al Foster à la batterie. Dans le cadre de certaines tournées estivales, des invités spéciaux comme les saxophonistes Branford Marsalis, Michael Brecker et Greg Osby avaient également été ajoutés. Le trio avait poursuivi ses activités jusqu’en 1995. Durant cette période, Williams avait également fait une apparition au gala des prix Grammy dans le cadre d’un quintet qui comprenait Hancock, Williams et le chanteur Bobby McFerrin.

En 1982, Williams avait été un des fondateurs du groupe Sphere. Créé pour rendre hommage au pianiste Thelonious Monk, le groupe était composé du pianiste Kenny Barron, du saxophoniste ténor Charlie Rouse (qui avait remplacé plus tard par Gary Bartz) et du batteur Ben Riley. Le groupe, qui avait enregistré son premier album le 17 février 1982 le jour-même de la mort de Monk, avait progressivement incorporé les compositions des membres du groupe ainsi que des standards du jazz à son répertoire.

La même année, Williams avait aussi commencé à travailler avec les Timeless All Stars, un sextet qui était composé du pianiste Cedar Walton, du tromboniste Curtis Fuller, du saxophoniste Harold Land, du vibraphoniste Bobby Hutcherson et du batteur Billy Higgins. Le groupe avait enregistré quatre albums pour l’étiquette hollandaise Timeless Records.

En 1989, Williams avait enregistré un second album comme leader intitulé "Something More" qui comprenait cinq de ses compositions. Avaient également participé à l’album le saxophoniste Wayne Shorter, Hancock, le batteur Al Foster et un brillant jeune trompettiste japonais nommé Shunzo Ono. Après la parution de l’album, Williams avait formé son propre groupe également appelé Something More. Le groupe était notamment composé de Ralph Moore au saxophone ténor, du pianiste Benny Green et du batteur Billy Drummond. Parmi les succès de la formation, on remarquait la pièce ‘’Enchanted Flower.’’

Williams expliquait pourquoi le quintet avait été fondé: "After working almost continuously for 30 years as a sideman, I decided it was time to take the plunge, step up to the front, play my music, and express my concept of a cohesive musical unit. I've served my apprenticeship under many great masters and feel that it's my honor and privilege to carry on the lineage that makes this music such an artistically rich art form.’’ Depuis sa fondation en 1990, le groupe avait fait plusieurs tournées en Europe, au Japon et en Australie. Il avait également participé à la première édition du Festival de jazz international de Moscou en plus de se produire régulièrement aux États-Unis.

En 1991, Williams avait décroché une bourse du National Endowment for the Arts pour composer une oeuvre pour quintet, ensemble à cordes et choeurs. La même année, Williams avait également été lauréat d’une bourse de la New York Foundation for the Arts Fellowship Grant. En 1998, Williams avait enregistré un troisième album sous son nom intitulé ‘’Somewhere Along the Way’’, qui avait été suivi en 2004 de ‘’Griot Libertè.’’ L’album avait été enregistré au célèbre studio de Rudy Van Gelder au New Jersey.

En 1999, Williams avait enregistré ‘’Live at the Montreux Jazz Festival’’ avec un quartet comprenant le pianiste Mulgrew Miller, le vibaphoniste Steve Nelson et le batteur Carl Allen. Même si la composition du groupe rappelait un peu le légendaire Modern Jazz Quartet, Williams avait tenu à préciser qu’il n’avait pas choisi ce format pour rendre hommage au groupe. Williams, qui appréciait particulièrement le vibaphone comme instrument, avait expliqué:

‘’It’s an instrument that I enjoy immensely. The vibes bring a different sound to the band. It gives us a different flavor. I like the romanticism of the vibes, and in my view it has what I call a great blendability, if that’s a word, with the rest of the instruments. I’m excited by the chance to have it in my band. The only problem with this new record is that this isn’t my working band. It’s really becoming difficult today to make records with even the same personnel from one time to the other, let alone have your regular group. My working band includes Miller on piano, Stefon Harris, a wonderful young vibes player, and Lenny White on drums. Steve Wilson, who is Gerald Wilson’s son, plays with us at times on alto and soprano sax. I really would love to be able to actually rehearse and record a series of records with this same band, but that’s just one of the problems with what’s happening today.’’

En juin 2008, Williams avait autoproduit un enregistrement digital intitulé ‘’Live Volume 1’’ qui était disponible exclusivement sous forme de téléchargement.

De 2010 à 2014, Williams avait fait une tournée avec le groupe 4 Generations of Miles, composé de Sonny Fortune, Mike Stern et Jimmy Cobb. Le groupe devait son nom à un concert et à un album publié en 2002 qui rendait hommage aux quatre générations du groupe de Miles Davis. Le groupe original comprenait Ron Carter à la contrebasse et George Coleman au saxophone ténor.

Également professeur, Williams avait fondé en 2013 la Buster Williams School of Music, une organisation à but non lucratif qui avait pour objectif de transmettre son héritage aux générations futures. Le projet faisait suite à une classe d’été que Williams avait donnée dans sa ville natale de Camden en 2012. À la même époque, le groupe Something More s’était produit au Festival de jazz de Portland et au Dimitriou's Jazz Alley avec une formation composée des anciens collègues de Williams avec le groupe Mwandishi, Bennie Maupin et Julian Priester, et des musiciens Cindy Blackman-Santana et George Colligan.

En 2013, Williams avait participé à une tournée en Europe avec le pianiste Eric Reed,  le saxophoniste Bruce Williams et le batteur Joey Baron. En mars 2014, Williams avait fait une brève tournée en Europe avec le trio du pianiste Steve Kuhn. L’autre membre du groupe était le batteur Billy Drummond. En 2023, Williams avait publié l’album ‘’Unalome’’. Le titre de l’album faisait référence à la loi de la cause et de l’effet dans la religion bouddhiste dont Williams était un adhérent.

Reconnu par le Penguin Guide to Jazz on CD comme un des plus importants accompagnateurs du jazz moderne, Williams est également considéré comme un maître de l’harmonie, du contrepoint et de l’orchestration. Au cours de sa carrière, Williams a joué avec une copie d’une contrebasse Boosey & Hawkes du début du 19e siècle. Même s’il adorait la contrebasse, Williams appréciait également des spécialistes de la basse électrique comme Stanley Clarke, Jaco Pastorius, Anthony Jackson, Marcus Miller, Victor Wooten, Christian McBride et Derrick Hodge.

Refusant de se limiter à un rôle de chef d’orchestre ou d’accompagnateur, Williams se percevait d’abord et avant tout comme un contrebassiste. Il expliquait: ‘’I’m a bass player, front and center. When I’m working in a group, then the music gets defined and determined by the leader. The main reason I’ve decided now to concentrate on my own music is that I wanted to be the person determining what got played, how it was played and what it ultimately sounded like on the bandstand. That’s my focus now, to play my own music and emphasize my compositions.’’

Williams a collaboré avec plusieurs grands noms du jazz au cours de sa carrière, de Chet Baker à Count Basie, en passant par Art Blakey, Chick Corea, Miles Davis, Erroll Garner, Dexter Gordon, Herbie Hancock, Roy Ayers, Freddie Hubbard, Mary Lou Williams, Larry Coryell, Wynton Marsalis, Branford Marsalis, Sonny Rollins, Chick Corea, Kenny Barron, Jimmy Rowles, Hampton Hawes, Cedar Walton, Billy Taylor, Mulgrew Miller, Sonny Stitt, McCoy Tyner, Lee Konitz, Herbie Mann, The Jazz Crusaders, Bobby Hutcherson, Stanley Cowell, Steve Turre, Lee Morgan, Ron Carter, Joe Farrell, Sonny Fortune, Jimmy Cobb, Mike Stern, Kenny Burrell, Frank Morgan, Jimmy Heath, Harold Land, Herbie Mann, Frank Foster, Charlie Rouse, Stanley Turrentine, Roy Ayers, Woody Shaw, Benny Golson, Illinois Jacquet, Jimmy Heath, Gene Ammons, Hank Jones, Lee Morgan, Elvin Jones, Harold Mabern et Hamiet Bluiett. Williams avait également accompagné de nombreux chanteurs et chanteuses, dont Sathima Bea Benjamin, Shirley Horn, Betty Carter, Jonathan Schwartz, Nancy Wilson, Jean Baylor, Carmen McRae, Roseanna Vitro, Helen Merrill, Dakota Staton, Nnenna Freelon, Jon Lucien, Marguerite Mariama et Champian Fulton.

Particulièrement marqué par sa collaboration avec Sarah Vaughan, Sonny Rollins, Miles Davis, Dexter Gordon et Herbie Hancock, Williams avait commenté:

‘’There have been so many wonderful folk that I’ve worked with and played with over my years, but Sarah Vaughan was special. So were Sonny Rollins and Miles Davis, Dexter Gordon and, of course, Herbie Hancock. There are people who didn’t just teach you about music. They took you aside and taught you about life, about what it really means to play this music well, to actually have something to say on the bandstand. This was my true college, if you will, traveling and playing with all these great people.’’

Lorsqu’on avait demandé à Williams ce qu’il pensait de l’évolution du marché de la musique, il avait répondu:

‘’If I really answered that one the way I want to, it would take about seven books. Let’s just say that the scene has never been like it is today. There are so many elements in play that have nothing whatsoever to do with the music. I’ve always been an optimist, someone who saw the glass said it was half full, rather than saying it was half empty. It’s very interesting that in terms of the legitimacy of the music, you’ve got so many people in high places that don’t have any idea about what even constitutes musical quality. You’ve got these bureaucraties in place of gigs and in every situation, and in that way I’m a little bit disturbed. But you have to keep on fighting, no matter who’s supposedly in charge and whatever it is they try to tell you. I get upset sometimes because the real thing is being overlooked, and being assaulted by politics, economics and all the people who want to be part of the controlling forces. This isn’t something I sit around and complain about a lot, but it really something that anyone who’s been out here even a little bit can easily see.’’  

La tête toujours remplie de projets, Williams avait ajouté:

‘’I still haven’t written my symphony yet. I would like to write some movies. Those two things are pretty much my goals, and I want to do everything in between as well. I never feel like I’ve arrived or that there’s nothing more for me to do. I don’t ever feel like things have brought me to some sort of stablemate. There’s always more things to do and more things to say, and that’s what I plan to continue doing as I’m capable.’’

Williams avait également collaboré à plusieurs bandes sonores de film et à des commerciaux pour la télévision (notamment pour Coca-Cola, Budweiser, la champagne Tott's, la compagnie d’assurances Prudential, Chemical Bank, Alpo Dog Food, le réseau de télévision HBO,  Budweiser et Old Spice). Williams avait composé sa première bande sonore pour le cinéma dans le cadre d’une collaboration avec Quincy Jones dans le film ‘’Mackenna's Gold’’ de J. Lee Thompson en 1969. En 1981, Williams avait retrouvé le contrebassiste Ron Carter dans le film ‘’Le Choix des Armes’’ du réalisateur Alain Courneau mettant en vedette Yves Montand et Simone Signoret. Composée par Philippe Sarde, la musique du film avait été interprétée par le London Symphony Orchestra. Commentant sa participation au film, Williams avait précisé: ‘’"That film required quite a commute. I had to go back and forth to London at least once a month for six months, carrying my bass. They really got to know me at JFK and Heathrow.’’

Dans les années 1990, Williams avait collaboré avec Angelo Badalamenti dans le film de David Lynch ‘’Twin Peaks: Fire Walk with Me’’ (1992) et avec le trompettiste Terence Blanchard dans le cadre du film ‘’Clockers’’ (1995) de Spike Lee. Williams avait aussi fait quelques apparitions à la télévision, y compris avec le groupe du Tonight Show dirigé par Branford Marsalis, avec lequel il avait interprété cinq de ses propres compositions. Williams avait également accompagné le pianiste Erroll Garner dans le cadre de la même émission. Williams avait aussi fait des apparitions dans le Andy Williams Show (avec Nancy Wilson), le Joan Rivers Show, le Joey Bishop Show, le Mike Douglas Show et dans la série de télévision pour enfants Sesame Street aux côtés du chanteur Joe Williams. En 2004, Williams avait aussi interprété son propre rôle dans le film ‘’The Terminal’’ de Steven Spielberg aux côtés de Benny Golson, Nilke LeDonne et Carl Allen. Les arrangements et les compositions de Williams ont été enregistrés par de nombreux artistes dont Roy Ayers, Roy Hargrove, Art Blakey, Larry Coryell, Freddie Hubbard, Buck Hill, les Jazz Crusaders, Mary Lou Williams et Herbie Hancock.

Williams a remporté de nombreux honneurs au cours de sa carrière, dont un Min-On Art Award, un SGI Glory Award, un SGI Cultural Award et un RVC Corporation RCA Best Seller Award.  Williams avait également remporté un prix Grammy pour l’album Love for Sale qu’il avait enregistré avec The Great Jazz Trio en 1980. Le groupe était composé de Hank Jones au piano et de Tony Williams à la batterie. 

Aujourd’hui âgé de quatre-vingt-deux ans, Williams passe une retraite paisible dans sa ville natale de Camden, au New Jersey, avec son épouse Veronica. Familiarisés avec la religion boudhiste par sa soeur en 1972, Williams et son épouse s’étaient convertis au boudhisme Nichiren après que Veronica ait été victime d’une commotion dans un accident d’automobile. Williams était aussi membre de la Soka Gakkai International, une association boudhiste active sur la scène mondiale. L’album de 2004 ‘’Griot Libertè’’ était d’ailleurs inspiré d’un autre problème de santé dont avait été victime Veronica alors qu’elle avait récupéré d’un coma à la suite d’une crise cardiaque.

En 2021, le réalisateur Adam Kahan a rendu hommage à Williams dans le cadre di documentaire ‘’Buster Williams, From Bass to Infinity.’’

©-2024, tous droits réservés, Les Productions de l’Imaginaire historique

SOURCES:

‘’Buster Williams.’’ Wikipedia, 2023.

‘’Buster Williams.’’ All About Jazz, 2024.

‘’Buster Williams: Blendability.’’ Jazz Times, 18 avril 2021.

‘’Buster Williams discusses a life in time and making the most of it.’’ WRTI, 16 avril 2023.

[naturesfirstgreenisgold]

Judd and Grace Ryder playlist {9-1-1 Lone Star}

In order of artists

Take My Hand- 5 seconds of Summer

505- Arctic Monkeys

Till Forever Falls Apart- Ashe, FINNEAS

Stand by Me- Ben E. King

Take My Breath Away- Love Theme from “Top Gun”- Berlin

Save a Horse (Ride a Cowboy)- Big & Rich

Honey Bee- Blake Shelton

I’ll Walk- Billy Covington

Cowboy Casanova-Carrie Underwood

Kiss an Angel Good Mornin’- Charlie Pride

Hold On- Chord Overstreet

This Side of Paradise- Coyote Theory

Can I Call You Tonight?- Dayglow

Islands In the Stream- Dolly Parton, Kenny Rodgers

I Will Always Love You- Dolly Parton

Can’t Help Falling in Love- Elvis Presley

Love Me Tender- with the Royal Philharmonic Orchestra- Elvis Presley, Royal Philharmonic Orchestra

Let’s Fall in Love for the Night- FINNEAS

Fly Me To The Moon (In Other Words)- Frank Sinatra, Count Basie

Love Me Tender- Frank Sinatra

Calling Baton Rouge- Garth’s Hits

Soldier- Gavin DeGraw

Write This Down- George Strait

Carrying Your Love With Me- George

Strait Check Yes Or No- George Strait

we fell in love in october- girl in red

Hey Good Lookin’- Hank Williams, Drifting Cowboys

BOYFRIEND-HARDY

Love Of My Life- Harry Styles

I Want You Back- The Jackson 5

When You Love Someone- James TW

Lover, Lover- Jerrod Niemann

Hey Good Lookin- Jimmy Buffett, Clint Black, Kenny Chesney, Alan Jackson, Toby Keith, George Strait

It Ain’t Me Babe- Joaquin Pheonix, Reece Witherspoon

Heaven Sent Me You- John Michael Montgomery

Sold (The Grundy County Auction Incident)- John Michael Montgomery

High School Heart- John Michael Montgomery

Cat’s In The Cradle- Johnny Cash

Ring Of Fire-1988 Version- Johnny Cash

I Walk The Line- Single Version- Johnny Cash, The Tennessee Two

SLOW DANCING IN THE DARK- Joji

Somebody Like You- Keith Urban

American Kids- Kenny Chesney

Hold My Hand- Lady Gaga

Atta Girl- Lainey Wilson

A Woman Like You- Lee Brice

I Don’t Dance- Lee Brice

Drunk On You- Luke Bryan

Fast Car- Luke Combs

Ain’t No Mountain High Enough- Marvin Gaye, Tammi Terrell

As the World Caves In- Matt Maltese

Ophelia- Matt Schuster

Vienna- Matt Schuster

Tennessee Orange- Megan Moroney

Great Balls Of Fire- Live- Miles Teller

Me and My Husband- Mitski

Sweater Weather- The Neighbourhood

Heaven- Niall Horan

Fishin’ In The Dark- Live At The Red Deer Fine Arts Center, Canada/1991-Nitty Gritty Dirt Band

Dixieland Delight (Alabama Cover)- Old Crow Medicine Show

Story of My Life- One Direction

Mr. Loverman- Ricky Montgomery

Unchained Melody- The Righteous Brothers

See You Tonight- Scotty McCreery

You Belong With Me (Taylor’s Version)- Taylor Swift

Everybody Wants To Rule the World- Tears For Fears

My Girl- The Temptations

Die A Happy Man- Thomas Rhett

Are You Gonna Kiss Me Or Not- Thompson Square

Always On My Mind- Willie Nelson

Something in the Orange- Zach Bryan

Oklahoma Smokeshow- Zack Bryan

[hpdrizzle]

☔ HP Drizzle 2023 Rules & Guidelines ☔

Welcome to HP Drizzle fest, a weather based, anonymous fest for all ships in the Harry Potter fandom!

☔ What do we mean by weather based?

Any work that centers around weather!

Your characters kissing in the rain? Absolutely!

Send them rainbow hunting? Yes, please!

Stargazing constantly gets ruined by a cloudy sky? Send it in!

Heat waves hitting them? Snowed in? Fighting rain on a camping trip? We can't wait to see it!

We will accept all ships and all ratings, so don't hold back!

☀️ What does anonymous mean?

Claiming, creating and posting are entirely anonymous. Nobody but the mods, the creators themselves, and their alpha/beta/cheerleader are to know claimants or creators until all works are revealed. During the creation period, take care not to identify what you are working on, and while asking for assistance with your work (such as reaching out for a beta reader) be careful not to give away your work. We recommend not identifying the fest, or providing too much information about the content.

Whilst you are not permitted to discuss your work, we do encourage you to tell people you are participating in Drizzle! We love seeing excited people.

At the end of the fest, the mods will reveal the collection, and with it the creators of this fest. At this time you are permitted to shout to everyone about your work. We also recommend you acknowledge your creative team, such as your cheerleader(s) and beta reader(s).

Individuals who share their fest creations during the anonymity period may be removed from the fest.

🌬️ Fest Timeline

🌧️ Prompting opens: 23 April

☔ Prompting closes: 05 May

☀️ Claiming begins: 13 May

⚡ Claiming closes: 20 August (or once we reach our limit)

🍃 Submissions due by: 31 August

❄️ Posting: 15 September

☔ Prompting

⚡ Prompting opens 23 April 2023 and will remain open until 05 May 2023.

You may submit up to ten prompts. These can be named or anonymous. We trust our prompters to abide by this, even if they are prompting anonymously. You do not have to be creating a work for the fest in order to submit a prompt.

All prompts must be centred around weather.

Anyone over the age of 18 can claim a prompt. You do not have to prompt to claim. Leaving a prompt does not oblige you to claim any prompts.

Please include any extra prompt details that you would love to see incorporated into the work. If you wish, you can also include a ship, maximum rating and any squicks you would prefer not to read/see (for example, Maximum Rating: Wolfstar. Explicit. No MCD). Please note that these are for inspiration only and creators may not fulfil all aspects of your wishes.

We also allow self prompting. You can either prompt what you wish to write, and then take your chance claiming it (but bear in mind, someone might beat you to it!), or you can simply wait and submit your own prompt as you sign up when claiming opens.

➡️ We'll post the Prompting Form on April 23. Keep your eyes open for the post!

➡️ Prompts will be open for viewing on 08 May.

☔ Claiming for Art, Craft and Fic

⚡ Claiming opens on 13 May at 2pm GMT+1 (what time is that for me?), and will remain open until 20 August, or once we reach 80 claims for fic. Art claiming closes on 20 August with no cap.

HP Drizzle is an 18+ fest, and we will require all claimants to confirm that they are aged 18 or over.

The minimum word count for submitted fics is 1,000 words.

Each prompt can be claimed once for fic and once for art/craft. You may claim for BOTH fic and art/craft at the same time, either as an individual or as a collaboration. If you are doing a collab, please email us at hpdrizzle@gmail.com to inform the mods. Prompts will be awarded on a first come first served basis, and claiming will happen via an Airtable form.

Please choose your top three prompts of any ship when claiming, in order of preference (i.e. your top prompt as prompt choice 1, second choice as prompt choice 2, etc).

This is in case your first choice has already been claimed. However, if you’ve got your heart set on just one prompt, you are welcome to submit the form with just the one prompt! You might be lucky!

You may only claim one prompt at a time. If you finish your prompt, you may claim an additional prompt, if claims are still open at that time. If you have finished your first prompt, and wish to claim another, please submit your completed work as per submission guidelines below and then email hpdrizzle@gmail.com and let us know you wish to claim an additional prompt. If we have additional writer slots available, we'll send you an email to confirm and instructions on claiming your next prompt.

If you claim a prompt and subsequently feel unable to complete the work, please inform us as soon as possible at hpdrizzle@gmail.com. We understand that life can get in the way! Unfortunately, however, in such circumstances, you won't be eligible to claim a further prompt for 2023.

➡️ We will post the claim form on 13 May at 2pm GMT +1 (what time is that for me?). Keep your eyes open for the post on tumblr!

☔ Claiming for Podfic

⚡ Claiming opens on 13 May at 2pm GMT+1 (what time is that for me?), and will remain open until 20 August.

If you wish to claim for podfic, you must have the author's permission, or a blanket permission stated publicly by the author allowing for podfics. We require written proof for the permission either via a direct link to their page with the blanket permission, or a screenshot of the conversation via email at hpdrizzle@gmail.com.

All podfics must be of works within the Harry Potter fandom and be heavily influenced by the theme of weather. We allow any ratings and pairings for podfics, but the podfics must be recorded specifically for this fest. If you are looking for fics to podfic, you can always start by looking at previous works within the HP Drizzle collections!

Please be aware that works must also meet the minimum word count of 1,000 words to be eligible!

The podfics will be posted anonymously, but podficcers are allowed to state their name in the podfic recording.

A masterlist with all the works (art, crafts, fic, collab and podfic) will go up at the end of the fest.

☔ Creating

Fics, art, and crafts must use the weather event of the prompt claimed, though other weather may also be featured. Just because you claimed for rain doesn't mean they have to be miserable and drown in rain for weeks.

☔ For fics and podfics, there is a minimum word count of 1,000 words and no maximum. ☔

AI generated works of any format are not permitted in this fest.

We encourage you to get inspired by the prompters' additional details. You may also wish to take into consideration your prompter's squicks when creating. This is not a requirement, but we ask that you do not gift the creation to the prompter if you are not taking the squicks into consideration, and as always, be sure to tag your work appropriately.

All fics must be beta-read (If you are unable to find a beta, please let us know), and podfics should be beta-listened for accuracy before submitting.

Creations must be complete works. Please do not submit a draft for a fic that has not been completed (or single chapters of a multi-chaptered work). Only make your submission when the work is complete. Additionally, all creations must be individual works, and cannot be part of a series, or a prequel/sequel to an existing work. If you are planning to continue the work with either of these, we ask that you please do not reference this in your creation (including in your creator notes) until after the fest.

All creations must be in English or include a translation.

This fest employs a mixture of both anonymous and non-anonymous posting for creations.

All creations are posted anonymously. However, for art, we allow artists to include watermarks on their creations if they wish. Podfics will also be posted anonymously, but the podficcers are allowed to state their name in the podfic recording itself. If you are looking for an alpha or beta reader in a public forum, please keep the information provided to a minimum.

☔ Submitting

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For general questions about the fest, don’t hesitate to contact the mods at hpdrizzle@gmail.com (sending an email is the best form of communication). But keep in mind that we're operating in multiple time zones, that we need to eat, and sleep, and take care of real life business, hence we aren't available 24/7. We will aim to respond within a reasonable timeframe.

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[overnightshipping]

Version 1 - Kirby's Adventure (1993)

Perhaps Kirby's single most iconic ability, it's Sword Kirby! Wherein Kirby gets a sword, and that's rad. Of note is that in its debut in Kirby's Adventure, it was one of three (four if you count Star Rod) abilities which change Kirby's set of sprites beyond simply recoloring them, having him hold a weapon in his poses instead of just pulling it out when he needed to use it. In this case he wields a fairly generic-looking sword, with a silver-white blade and a tan hilt, with stripes down the handle for grip.

Speaking of grip, one thing that has changed throughout the years but which I have opted not to portray in this lineup is how Kirby holds his sword. It varies on a game by game and art by art basis - sometimes the sword is just attached to his flappy arm, like with velcro, sometimes it is sticking out of his arm, and sometimes Kirby's flap wraps around it like a hand. It's very inconsistent, and presumably tends to just be whatever looks best for the specific pose or to the specific artist.

Kirby's Adventure is the only game in which Sword Kirby appears without a hat, though other hatless games would include sword-like abilities, such as Kirby 64's fire sword Kirby wielded as his Burn-Cutter combo ability.

Version 2 - Kirby Super Star (1996) / Kirby: Right Back At Ya! (2001~)

Something interesting, and vitally important, happened to Sword when it came back in Kirby Super Star and was granted its hat. Remember those three abilities that all had Kirby wielding a weapon? They were Sword, Hammer, and Parasol, and all three made an appearance in Kirby Super Star - but only Sword got a hat, as the other two remained distinct only in that Kirby held the weapon. The reason? We can't know for sure, but I think we can make a pretty good guess as to why Sword Kirby ended up with its iconic green cap.

Firstly, the hat's design is shared by another ability: Bomb Kirby, which has the same floppy hat but in blue and white instead of green and yellow. The hat used by Bomb Kirby is directly copied from the hat worn by the "mascot" of Bomb, the Poppy Bros. (both Sr. and Jr.). Secondly, well... surely you've heard of The Legend of Zelda? By taking a floppy jester-like hat and coloring it green, suddenly the hat looked an awful lot like Link's! The sword, too, got a fresh coat of paint to resemble Link's Master Sword - specifically, the blue hilt resembles the iconic blue of the Master Sword's hilt. The yellow blade could be pulled from the final evolution of the sword in Link to the Past, the Golden Sword, but that may be just a coincidence.

By solidifying Sword Kirby's design as a reference to Link, even giving Kirby access to Sword Beams while at full health, Sword Kirby became an icon. In fact, this hat is essentially exactly the same now as it was back in 1996! The colors have shifted around slightly, some appearances making it a darker green and some making the yellow closer to a tan, but all in all the hat has remained roughly unchanged. Instead, we will be looking at the evolution of the sword, which has had some distinct changes through the game series.

This appearance, yellow sword and simple blue hilt, would also be how Sword Kirby appeared in the anime. The anime would have one tiny difference in that the base of the blade has a blue stripe, but I didn't think that was worth a whole new image.

Version 3 - Kirby: Nightmare in Dream Land (2002) / Kirby & The Amazing Mirror (2004) / Kirby: Squeak Squad (2006) / Kirby Super Star Ultra (2008)

Though Nightmare in Dream Land took cues from the anime for a lot of its designs, Sword Kirby got a brand new blade! This new blade design brought it even closer to Zelda's Master Sword, having an appearance not unlike a simplified, exaggerated version of it - it has a bright blue hilt with a yellow-orange gem in the center of it (side note: the gem appears more yellow or more red in different pieces of art and depending on lighting) and two "wings" extending off of the guard on either side. The blade has been adjusted back to silvery-white as well, perhaps because by this point the most recent appearance of the Master Sword do not include upgrading it to make it golden.

This appearance would go on to be the baseline for every Sword Kirby appearance for the rest of the franchise, though there are a few added details I would like to highlight.

Version 4 - Kirby Air Ride (2003)

Sword Kirby in Air Ride is really odd to me, because it has the then-modern design shared by all the other games of its era, but it opted to make the blade yellow again. This is the one and single appearance of the modern blue hilt with a yellow blade. Even the famous scrapped Kirby Gamecube game, though it had several models and enemies reused from Air Ride, reverted the sword back to silver, as can be seen both in the trailers and in the Super Smash Bros. Brawl trophy.

Additionally, Kirby Air Ride added some detail to the guard's wings in the form of a little detail line around the outline. From the Brawl trophy it doesn't look like this detail was to be preserved in Kirby GCN, though.

Version 5 - Kirby's Return to Dream Land (2011) - Present (2023~)

When Sword Kirby made it to 3D once again, it would have one final detail added in a small dark-blue crescent mark added to each wing of the sword guard. And that's it! Outside of some additional detailed texture work that was added in Return to Dream Land and further expanded upon in Star Allies and Forgotten Land, Sword Kirby's look has remained constant. Fitting for one of Kirby's most iconic abilities! If I had to guess, I would put this one as one that I probably won't need to revise with a future iteration, unlike, say, Fire Kirby which is already outdated. But that's a design I can talk about another day.

[ikatako38]

8. Tako's Fic Commissions!

One-Shot Commissions

My Ko-Fi and Patreon are not up yet. Commissions will open in the next few weeks.

You can commission one of these target lengths for different prices! I may go a bit (or even a lot) over the word count you pay for, but I'll never go under it!

- $10 for 1000 words

- $20 for 3000 words (33% off)

- $30 for 5000 words (40% off!)

- $50 for 10,000 words (50% off!)

You can also commission fics as part of your Agent 3 or Agent 8 Tier Patreon benefits!

- Agent 3 - 1000 words one time after three months ($9)

- 1000 words every month ($8)

- 3000 words every two months ($16)

- 5000 words every three months ($24)

- 10,000 words every five months ($40)

These are the fandoms I'm most comfortable writing in!

- Splatoon

- Sonic the Hedgehog

- Voltron

- Avatar: the Last Airbender

- Super Mario

- Haikyuu!

- Sasaki to Miyano

- Sk8 the Infinity

- Miraculous

- Star vs. the Forces of Evil

- Percy Jackson and the Olympians + all Riordanverse

- Harry Potter (including The Cursed Child)

- The Hunger Games

- MCU

If your fic commission is not on this list or if it's OC, there will be an extra $5 fee, and you'll have to provide me an example of how you want your characters written, preferably 5000-10,000 words of fic or any canon content. (Find a specific example, I'm not watching all 1049 episodes of One Piece for you lol.)

Fic Translation Commissions

I can also translate any fic for you, regardless of fandom!

Languages I'm most confident in:

Spanish --> English

French --> English

Other languages I will accept:

English -> Spanish

English -> French

(Not currently accepting Japanese <--> English, but I will eventually)

Pricing

Translations are really fun, and they don't require as much planning! I'm offering them at half the price of a Fic Commission. Fics longer than 10,000 words will be charged as $2.5 per 1000 words, which is half the rate of a 10,000-word fic commission. Very long fics may be subject to additional charges.

Commissions FAQ

How can I get in contact with you if I have any questions not answered here?

Please e-mail me at ikatako38.coms@gmail.com. Trying to communicate with me through Patreon, Ko-Fi, or Tumblr may result in your message getting lost.

How soon will my commission be done?

That'll depend on how many commissions I have in line, how big the commission is, and on other life factors. You can get the most up-to-date information by contacting me with the e-mail above. Feel free to ask before paying.

Are you willing to you draw/write...?

Another thing you should e-mail me for! I don't have a set list of will/will-not  because I think that context is important, and it makes the most sense to to me to take them on a case-by-case basis. You should always contact me first before paying anything for a commission, just in case I can't make it for any reason. I promise I won't judge, it'll be a polite "no" at worst. Most likely, I'll try to work out a compromise!

That being said, I'm least likely to accept commissions with gore (I'm more flexible on this with fic than with art), incest, and cis women in sexual situations. I may also reject a commission if I don't feel qualified to write about it (e.g. a story centered around the intricate details of Ramadan, a story written from the perspective of a blind person).

How will I receive my commission?

Your commission will be posted on Patreon as a public post, so you can see it even if you're not a Patron!

If you want your commission delivered privately, it'll be a $5 fee, and we can discuss how to deliver it.

What can I do with my commission?

Post anywhere with credit (ikatako38)

Edit and post (please note about how much you contributed, and which parts, if necessary)

If you edit and post to AO3, I should be credited as a co-author.

What CAN'T I do with my commission?

Post without credit or otherwise pass off as your own.

Sell it to someone else

[kiraninfertilitycentre]

What to Expect at the Best Male Infertility Centre in Chennai

Infertility affects many couples around the world, and it’s a concern that can be emotionally taxing and complex. Fortunately, advancements in reproductive medicine have made it possible for individuals and couples to explore solutions that were once considered out of reach. 

If you’re looking for the best infertility centre in Chennai, particularly one that specializes in male infertility, you’ll want to know what to expect when you begin this journey.

1. Comprehensive Diagnostic Services

At the best male fertility centre in Chennai, you can expect a thorough evaluation of your reproductive health. This typically begins with a comprehensive diagnostic process, which may include:

Semen Analysis: One of the most common tests, semen analysis evaluates sperm count, motility, and morphology. This test helps doctors understand the sperm’s quality and quantity.

Hormonal Assessment: Hormones like testosterone and follicle-stimulating hormone (FSH) play a critical role in fertility. Abnormal levels can point to underlying issues affecting sperm production.

Genetic Testing: For some men, fertility issues may have a genetic basis. Genetic testing can provide insights into chromosomal anomalies that could be impacting fertility.

Physical Examination: A thorough examination by an IVF specialist doctor in Chennai will check for any physical abnormalities in the reproductive organs, such as varicocele or blockages in the sperm ducts.

2. Advanced Treatment Options for Male Infertility

One of the benefits of seeking treatment at the best infertility centre in Chennai is access to a wide range of advanced fertility treatments tailored to address specific male infertility concerns. These treatment options may include:

Intrauterine Insemination (IUI): IUI is often the first line of treatment for mild male infertility. It involves directly placing sperm into the uterus during ovulation to increase the chances of conception.

Intracytoplasmic Sperm Injection (ICSI): This advanced technique is particularly beneficial for severe male infertility cases. In ICSI, a single sperm is injected directly into an egg, significantly increasing the likelihood of fertilization.

IVF (In Vitro Fertilization): At the best male fertility centre in Chennai, IVF may be recommended for couples experiencing complex infertility issues. Combining IVF with ICSI often improves success rates for couples dealing with male infertility.

3. Supportive Care and Counseling

Dealing with infertility can be emotionally challenging, so supportive care and counseling are integral parts of the services offered by reputable infertility centers. Patients and couples can expect empathetic support that addresses the psychological impact of infertility. Counseling helps in coping with the stress of treatments and strengthens relationships through this journey.

4. Expertise of an IVF Specialist Doctor in Chennai

Choosing a center led by an experienced IVF specialist doctor in Chennai ensures access to cutting-edge knowledge and a personalized approach to treatment. These specialists work closely with each patient, developing individualized treatment plans based on the unique factors affecting their fertility. The expertise of an IVF specialist is essential for navigating the complexities of infertility and ensuring the best possible outcomes.

5. State-of-the-Art Facilities

A reputable infertility center will be equipped with state-of-the-art facilities that play a crucial role in the success of treatments. Advanced laboratories, high-quality equipment for procedures, and a sterile, comfortable environment are all signs of a professional and well-equipped fertility center. The best male fertility centre in Chennai will also adhere to stringent quality and safety standards to ensure patient well-being throughout the process.

6. Transparent Communication and Patient Education

At the best infertility centre in Chennai, transparency is key. Patients should expect clear communication regarding their diagnosis, treatment options, and potential outcomes. Reputable centers will take the time to educate patients on every aspect of the journey, ensuring that they are well-informed and comfortable with their decisions.

Final Thoughts

The path to overcoming infertility can be challenging, but choosing the right center and specialists can make a world of difference. The best male fertility centre in Chennai provides a combination of advanced diagnostic tools, personalized treatment plans, and supportive care to help patients achieve their dream of parenthood. With the guidance of a skilled IVF specialist doctor in Chennai, couples can move forward with confidence, knowing they are in capable hands.

Taking that first step towards understanding and addressing infertility is empowering, and Chennai’s leading centers are equipped to make this journey as supportive, effective, and hopeful as possible.

[sheetmusiclibrarypdf]

Lalo Schifrin (born 1932)

Lalo Schifrin (born on this day in 1932)Best Sheet Music download from our Library.Please, subscribe to our Library. Thank you!Lalo Schifrin – Black Widow (CTI Records – CTI 5000 - US - 1976)Track listingPersonnel

Lalo Schifrin (born on this day in 1932)

Educated by his father, Luis Schifrin, (Boris Claudio Schifrin , Buenos Aires, June 21, 1932), first violinist of the Teatro Colón Orchestra of Buenos Aires in the environment of classical music from a very young age, Lalo traveled to Paris to study classical music and jazz at the Parisian conservatory where, during the week he would study classical music, and on weekends he performed in small jazz clubs with the best jazz exponents in Europe. When he returned to Buenos Aires in the mid-1950s, he formed his own band and on a visit by the legendary trumpeter Dizzy Gillespie, passing through Buenos Aires, he has the opportunity to see him live. Dizzy, after hearing his music, offers her to travel with him to New York as his pianist and director. From that moment on, Lalo Schifrin began to compose music, writing more than 100 melodies for movies and television series. He was nominated for Grammy Awards 21 times, winning 4; He also received an ACE Award, and 6 Oscar nominations. The films and television series that contain Schifrin's most famous works are: 'Mission Impossible'; 'Kung Fu' and 'Mannix.' As a jazz musician he has shared the stage with great instrumentalists and singers such as Sarah Vaughan, Ella Fitzgerald, Stan Getz, and Count Basie among others. Throughout his long and successful career, Lalo Schifrin has performed in the best concert halls in the world such as Carnegie Hall and Lincoln Center in New York, The Music Center in Los Angeles, the Sala Pleyel in Paris, the Teatro Colón in Buenos Aires, as well as at all major jazz festivals in the United States and Europe. Schifrin made it possible for the three most important tenors of the late 20th century: José Carreras, Placido Domingo, and Luciano Pavarotti, to sing together through his arrangements and mixes so that each one's tones coincide. This highly successful series of recordings has attracted many new admirers in the world of classical music.

In 1993, Schifrin came to prominence as a composer, pianist and conductor for his series of recordings entitled 'Jazz Meets the Symphony', where he worked with the London Philharmonic Orchestra and the London Symphony Orchestra, as well as with jazz musicians Ray Brown, Grady Tate, Jon Faddis, Paquito D'Rivera, and Jeff Hamilton. Schifrin's honors include the BMI Lifetime Achievement Award (1988), the Chevalier de l'Ordre des Arts et Lettres from the French Minister of Culture, the Distinguished Artist Award (1988) from the Music Center of The Angels; the title of consultant to the President of Argentina on Cultural Issues (1998); and the appointment of Musical Director of the Los Angeles Latin Jazz Institute Festival (1999). At the time of writing this biography, Lalo Schifrin continues to compose jazz and classical music; He tours with major orchestras and works on composing music for films. In 2018, Schifrin received an Honorary Oscar for his entire professional career from the Hollywood Academy.

Lalo Schifrin – Black Widow (CTI Records – CTI 5000 - US - 1976)

https://www.youtube.com/watch?v=r3h2vv3pIN4 Black Widow is an album by Argentine composer, pianist and conductor Lalo Schifrin recorded in 1976 and released on the CTI label. Title: Black Widow Musician: Schifrin, Lalo. Accompaniments : Pepper Adams Recording Date: 1976. March 29-30 Recording Location: New York Record Label: CTI Number of topics: 12 Format: CD Instrument: Piano Style: Cool Track listing All compositions by Lalo Schifrin except as indicated "Black Widow" – 4:11 "Flamingo" (Edmund Anderson, Ted Grouya) – 4:31 "Quiet Village" (Les Baxter) – 5:45 "Moonglow/Theme from Picnic" (Will Hudson, Irving Mills, Eddie DeLange/George Duning, Steve Allen) – 6:13 "Jaws" (John Williams) – 6:01 "Baia" (Ary Barroso, Ray Gilbert) – 4:49 "Turning Point" – 3:29 "Dragonfly" – 5:45 "Frenesi" (Alberto Dominguez) – 3:53 Bonus track on CD reissue "Tabú" (Margarita Lecuona) – 4:33 Bonus track on CD reissue "Baia" (Barroso, Gilbert) – 7:44 Bonus track on CD reissue "Con Alma" – 6:30 Bonus track on CD reissue Personnel Lalo Schifrin – piano, keyboards, arranger, conductor Jon Faddis – trumpet Wayne Andre, Billy Campbell, Barry Rogers – trombone Dave Taylor – bass trombone Pepper Adams – baritone saxophone Joe Farrell – alto saxophone, flute Jerry Dodgion, Hubert Laws, George Marge – flute Clark Spangler – keyboards Eric Gale, Jerry Friedman, John Tropea – guitar Anthony Jackson – bass Andy Newmark – drums Don Alias, Carter Collins, Sue Evans, Carlos Martin – percussion Patti Austin – vocals Max Ellen, Paul Gershman, Emanuel Green, Harold Kohon, Charles Libove, Harry Lookofsky, David Nadien, Matthew Raimondi – violin Lalo Schifrin is an outstanding arranger, composer and pianist who has deservedly earned fame in his years of work composing soundtracks for TV series. "Mission Impossible", "Manix" and other renowned television series bear his signature and seal. But Lalo is, essentially, a jazz musician, and this "Black Widow" is his star album for a label, CTI, that was not lavish in offering its studies to anyone. This is a good album by an Argentine musician, who loves jazz above all music. Read the full article