#Count Basie Center for the Arts | Explore Tumblr posts and blogs

religion-is-a-mental-illness · 7 days ago

Text

By: John Sailer

Published: Jul 5, 2024

In Students for Fair Admissions v. Harvard (2023), the Supreme Court held that colleges and universities couldn’t engage in racial discrimination in the name of diversity. The 45-year-old dispensation from civil-rights law that the court effectively overturned had never applied to employment decisions. But its end ought to provoke institutions to scale back “diversity, equity and inclusion” initiatives more broadly. Some appear to be doing so: The Massachusetts Institute of Technology and the Faculty of Arts and Sciences at Harvard said recently they would no longer require “diversity statements” from prospective hires.

Yet there is evidence that many universities have engaged in outright racial preferences under the aegis of DEI. Hundreds of documents that I acquired through public-records requests provide a rare paper trail of universities closely scrutinizing the race of faculty job applicants. The practice not only appears widespread; it is encouraged and funded by the federal government.

At Vanderbilt University Medical Center, a large hiring initiative targets specific racial groups—promising to hire 18 to 20 scientists “who are Black, Latinx, American Indian, and Pacific Islander.” Discussing a related University of New Mexico program, one professor quipped in an email, “I don’t want to hire white men for sure.”

Both initiatives are supported by the National Institutes of Health through its Faculty Institutional Recruitment for Sustainable Transformation program, or First. The program gives grants for DEI-focused “cluster hiring” at universities and medical schools, promising eventually to spend about a quarter-billion dollars.

A key requirement is that recipient institutions heavily value diversity statements while selecting faculty. The creators of the program reasoned that by heavily weighing commitment to DEI, they could prompt schools to hire more minorities but without direct racial preferences. That’s the rationale behind DEI-focused “cluster hiring,” an increasingly common practice in academia. The documents—which include emails, grant proposals, progress reports and hiring records—suggest that many NIH First grant recipients restrict hiring on the basis of race or “underrepresented” status, violating NIH’s stated policies and possibly civil-rights law.

In grant proposals, several recipients openly state their intention to restrict whom they hire by demographic category. Vanderbilt’s NIH First grant proposal states that it will “focus on the cluster hiring of faculty from minoritized racial and ethnic groups, specifically Black, Latinx, American Indian, and Pacific Islander scientists.” The University of Texas Southwestern Medical Center and the University of Texas at Dallas jointly proposed hiring 10 scholars “from underrepresented groups,” noting that the NIH First program specifically identifies racial minorities and women as underrepresented.

Emails reveal candid discussions about the perceived aim of the program. In April 2023, a professor running the University of New Mexico’s cluster hire emailed Jessica Calzola, the NIH program official overseeing the First program, to ask whether Asian-Americans count as underrepresented. The professor later wrote, “I really need a response at least by tomorrow, because it is now holding up our search teams.”

In reply, Ms. Calzola reiterated the program’s official policy: “My confusion is how this information can hold up search teams since candidates are to be evaluated and considered based on their credentials and not race/ethnicity/gender, etc.—all hiring decisions are to be made following the law and avoiding any type of bias (as you have stated and acknowledged).”

Ms. Calzola’s seemingly straightforward response confused her correspondent. “I am now wondering if I am missing something in terms of what we are supposed to be doing,” the professor emailed other members of the leadership team. She wondered if she placed too much emphasis on minority status.

Yet she hesitated to take Ms. Calzola’s word at face value, citing earlier remarks: “My first thought is that Jessica has to write about hires in this manner (she’s hinted at that before on zoom).” (Ms. Calzola referred my inquiry to an NIH spokeswoman, who said in a statement: “Consistent with NIH practice and U.S. federal law, funded programs may not use the race, ethnicity, or sex . . . of a prospective candidate as an eligibility or selection criteria.”)

A colleague responded: “For me as long as we are diversifying our departments and go with what we wrote in the proposal I am happy.” She then made clear her intention to keep one specific group out of consideration: “I don’t want to hire white men for sure, we did a very good job in the grant with the tables and numbers and that’s what we should follow in my opinion.”

Yet the confusion at UNM makes sense. Records show a repeated tension between the NIH First program’s official nondiscrimination policy and how the funded projects have played out—which at times looks a lot like discrimination.

At its inception, NIH First was widely understood not to involve racial preferences. In 2020, shortly after the program was announced, Science magazine published an explanation: “Not all of the 120 new hires would need to belong to groups now underrepresented in academic medicine, which include women, black people, Hispanics, Native Americans, and those with disabilities, says Hannah Valantine, NIH’s chief diversity officer. In fact, she told the Council of Councils at its 24 January meeting, any such restriction would be illegal and also run counter to the program’s goal of attracting world-class talent.”

Yet multiple programs have stated their intention to limit hires to those with “underrepresented” status. One job advertisement, for a First role at Mount Sinai’s Icahn School of Medicine, notes: “Successful candidates will be early stage investigators who are Black, Latinx, or from a disadvantaged background (as defined by NIH).”

Some grantees even admit such preferences in documents sent to and reviewed by the NIH. A joint proposal from the University of Maryland School of Medicine and the university’s Baltimore County campus states that all scientists hired through the program will meet the NIH’s definition of “underrepresented populations in science.” Drexel University’s program, which focuses on nursing and public health, provides its evaluation rubric in a progress report. Among its four criteria: “Candidate is a member of a group that is underrepresented in health research.”

This raises questions about compliance with Title VII of the Civil Rights Act of 1964, which prohibits race discrimination in employment. The First program’s website highlights regulations requiring that federal agencies ensure grant recipients comply with nondiscrimination law. The most basic implication is that universities can’t refuse to hire someone, or prefer one candidate over another, because of race or sex. But emails show that this has been happening.

At the University of New Mexico, the First leadership team heavily scrutinized the race and sex of applicants. “Just to be sure: what was the ethnicity of Speech and Hearing’s first-choice candidate?” a UNM team member asked in an email.

“She identified as URM in her application, right? I am confused, maybe I am misremembering,” a team member wrote of a different candidate. Another responded, “It looks like she said she was a ‘native New Mexican.’ We checked, and she said she’s white.”

Another team member wrote about a third candidate: “He is LGBTQ so should fit NIHs definition of URM. In my opinion, women are more underrepresented in our department when you consider demographics.”

The team had veto power over the program’s job searches, which it took seriously. In one email, a math-and-statistics search committee sent a list of proposed finalists. The first candidate, a woman, was recommended without qualification, while the second candidate, a South Asian man, was recommended if the leadership team decided he was a “good fit for the program.” A third candidate, a woman, was recommended as a backup.

One leadership team member emailed her colleagues about the South Asian candidate, citing the NIH’s priorities: “Is this a second look person that NIH would like?” UNM’s grant proposal explains that “at each point in which the applicant pool is narrowed, all applicants from underrepresented groups are given a ‘second-look’ before they are eliminated.” The question, in other words, was whether the South Asian candidate counted as underrepresented. (A UNM spokeswoman said “the second look procedure is a longstanding UNM hiring process.”)

The team agreed the answer was no and nixed him. As one pointed out, “We’ve said that Math is really low on women.” Another chimed in, excited to interview the two remaining candidates, noting “their DEI statements are strong.”

UNM appears to have violated NIH First policy, which states that programs “may not discriminate against any group in the hiring process.” The UNM spokeswoman said in a statement that “the email correspondence among members of the UNM FIRST Leadership Team do [sic] not represent the University of New Mexico’s values nor does it comport with the expectations we have of our faculty” and that “as a result of this unfortunate circumstance,” the university is instituting a required “faculty search training/workshop for all . . . faculty search committee members.”

Yet other universities signaled to NIH that they also intended to engage in race and sex preferences. Northwestern University’s program, which focuses on areas like cancer and cardiovascular health, promises to hire faculty from “underrepresented groups.” Its grant proposal suggests this excludes one particular group: “Our faculty development programming intentionally seeks to elevate URG”—underrepresented group—“faculty to equal privilege with white men in academia.”

Records repeatedly show NIH First grantees following through on their promises. In a letter of support for Florida State University’s project, that university’s associate vice president for human resources declared, “I firmly believe in and reaffirm this project’s mission to create an under-represented minority faculty cohort.”

Hiring documents show that special attention was paid to job candidates’ minority status. In a survey on job finalists, one Florida State faculty member wrote, “Is the applicant a URM, as defined by the NIH? Relatedly, I’m not saying this is happening, but I believe consideration of self-reported sexuality in the hiring process would go against official FSU nondiscrimination policy.” An FSU spokeswoman said in an email that “the Florida FIRST program followed the guidelines set forth by the NIH.”

That search took place as the Florida legislature was beginning to curtail DEI at public universities. Other programs raise similar red flags regarding state law. California’s Proposition 209 prohibits preferential treatment by race in admissions, hiring and “the operation of public employment.” A San Diego State University proposal says nonetheless that it will require shortlists “to include at least 25% of applications from historically underrepresented groups.” The San Diego program even divvies up certain faculty duties by race: “Whenever possible, the chair of the hiring committees should be a faculty member of color”; “the hiring committees will be required to have at least two (50% recommended) faculty of color”; and so on.

A university spokesman said in an email that “SDSU relies on the Building on Inclusive Excellence (BIE) faculty hiring program,” that “BIE is compliant with both civil rights law and California Proposition 209,” and that “it is incorrect to state that ‘the SDSU program . . . divides certain faculty duties by race.’ ”

Taken as a whole, these documents shed new light on the practice of cluster hiring. They explain why some in academia seem to treat the practice as a form of legal racial quotas. In addition to the responses already noted, representatives of the University of Maryland, UT Dallas and UT Southwestern said that their institutions comply with civil-rights laws and don’t discriminate on the basis of race. Drexel, Northwestern, Mount Sinai and Vanderbilt didn’t reply to inquiries.

The documents I reviewed point to a large-scale sleight-of-hand in the application of the NIH First program. They give all the more reason to reconsider one of the most controversial practices in higher education, mandatory diversity statements, which provide a convenient smokescreen for discrimination. Lawmakers would be wise to investigate this practice closely—especially the NIH First program.

In a comment on her decision to end mandatory diversity statements, MIT president Sally Kornbluth noted that such statements “impinge on freedom of expression.” That’s true, but fails to capture the full extent of the problem. Diversity statements mask racial discrimination. The NIH has ensured that they’re widely used in medicine, where excellence should matter most.

Mr. Sailer is a senior fellow at the National Association of Scholars.

[ Via: https://archive.today/nZ42W ]

This is amazingly unethical, not to mention illegal.

DEI is cancer.

#John Sailer #Marie Bernard #National Institutes of Health #NIH #NIH First #DEI #racial discrimination #racial preferences #sex discrimination #gender discrimination #affirmative action #diversity equity and inclusion #diversity #equity #inclusion #DEI must die #diversity officer #DEI is cancer #religion is a mental illness

10 notes · View notes

goldenpinof · 4 days ago

Text

Terrible Influence Tour: Canada & USA leg

26.11.2024, Red Bank

Hackensack Meridian Health Theatre (Count Basie Center for the Arts)

Capacity: 1 568 (we have ~1 541)*

Start: 20:00

General promoter: AEG Presents

As of the morning 26.11.2024, tickets are still available on Ticketmaster

Our seating chart (1 568 seats):

Available tickets as of 26.11.2024:

Some prices:

Screenshots from 28.06.2024 (the 1st sale day) (1 568 seats):

*Weren't on sale, at least:

10 seats in Row M in BALCL;

11 seats in Row AA in LOGER;

6 seats in Row O in BALCL.

16 and 16 seats in the back of the Orchestra were put on sale by October.

Total - 27 seats, approximately. 1 568 - 27 = 1 541 seats.

#ti information #terrible influence #ti.usa #tit information #<- i hate this tag #ti.red bank

7 notes · View notes

tssfanzine · 6 months ago

Text

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!

----

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.

----

#sanders sides #ts sides #thomas sanders sides #tss #tss fanzine faq

11 notes · View notes

intomore · 4 days ago

Text

Quincy Delight Jones Jr. (March 14, 1933 – November 3, 2024)

Over the course of his seven-decade career, he received many accolades including 28 Grammy Awards, a Primetime Emmy Award, and a Tony Award as well as nominations for seven Academy Awards and four Golden Globe Awards.

Mr. Jones came to prominence in the 1950s as a jazz arranger and conductor before producing pop hit records for Lesley Gore in the early 1960s (including "It's My Party.") and serving as an arranger and conductor for several collaborations between Frank Sinatra and the jazz artist Count Basie. Jones produced three of the most successful albums by pop star Michael Jackson: Off the Wall (1979), Thriller (1982), and Bad (1987). In 1985, Jones produced and conducted the charity song "We Are The World", which raised funds for victims of famine in Ethiopa.

Mr. Jones composed numerous film scores including for The Pawnbroker (1965), In the Heat of the Night (1967), In Cold Blood (1967), The Italian Job (1969), The Wiz (1978), and The Color Purple (1985). He won the Primetime Emmy Award for Outstanding Music Composition for a Series for the miniseries Roots (1977). He received a Tony Award for Best Revival of a Musical as a producer for the revival of The Color Purple (2016).

Throughout his career he was the recipient of numerous honorary awards including the Grammy Legend Award in 1992, the Jean Hersholt Humanitarian Award in 1995, the Kenndy Center Honors in 2001, the National Medal of the Arts in 2011, the Ordre des Arts et des Lettres in 2014, and the Academy Honorary Award in June 2024. He was named one of the most influential jazz musicians of the 20th century by Time.

Rest In Power !

Photography by Jack Vincent Picone

4 notes · View notes

datshitrandom · 1 year ago

Text

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.)

📸 by WES and ALEX • 2022 Masterpost

#darren criss #avdc 2023 #a very darren crissmas 3.0 #70 #day till crissmas #105 #days till christmas #🎄🎅🏼🎁❄️✨#upcoming events #please do not repost #**d-criss-news

30 notes · View notes

marabarl-and-marlbara · 1 year ago

Note

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

9 notes · View notes

d-criss-news · 1 year ago

Text

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

#darren criss #broadway world #avdc 2023 #upcoming events #press #sept 2023

19 notes · View notes

pomefioredove · 7 months ago

Note

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.

#*ੈ✩‧₊˚matchups!#as a fellow chores-enjoyer I get you

6 notes · View notes

ts4-bacc · 2 years ago

Text

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.

#rule update #ts4 bacc #TS4BACC

22 notes · View notes

jpbjazz · 6 months ago

Text

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.’’

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.

#jazz

3 notes · View notes

naturesfirstgreenisgold · 1 year ago

Text

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

#judd ryder #grace ryder #spotify #playlist #9 1 1 #9 1 1 ls #9 1 1 fandom #9 1 1 show #9 1 1 lone star

9 notes · View notes

hpdrizzle · 2 years ago

Text

☔ 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 [email protected] 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 [email protected] 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 [email protected]. 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 [email protected].

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

⚡ Once you have completed your work, it’s time to submit! Submissions are due 31 August, but if you are finished before this date, you are welcome to submit early.

Submission Requirements

You are required to add drizzle_mod as co-creator when uploading your creation. This is primarily so that we can change the posting date, and add in the standard fest end note and the tag for HP Drizzle 2023. We will not make any other changes to your work, and we will remove the mod account after reveals.

Add your fic to the Drizzle collection. All works must be posted directly to the AO3 collection here.

Podfics should be linked to the original work using the AO3 function: “This work is a remix, a translation, a podfic, or was inspired by another work” and pasting the URL of the original fic. Please state the title, author, rating and any major archive warnings in the audio intro of the podfic. Any art or images used for cover art should be copyright-free or have the consent of the artist. Any music or sounds used within the podfic should be copyright-free.

Please tag appropriately: Be sure to include all appropriate warnings, tag your work correctly and please be mindful when choosing your tags. We enjoy a fun tag as much as the next person, but overly specific tagging may be recognisable to some readers, and give you away. As such we ask that you think very carefully about your tag usage.

We encourage you to acknowledge your creative team in your notes anonymously! This includes alphas, betas, cheerleaders, and anyone else who helped you along the way! As this fest is anonymous, please do not mention these people by name, as this can sometimes lead to the creators being identified. A good way to anonymously acknowledge your support team is to use a pseudonym for them, or simply refer to these individuals with an initial. Please do remember to come back and acknowledge these people publicly after the reveals!

Please include your prompt in the creation notes at the beginning of the work to share the inspiration for your work.

Complete your submission header form. We will be sending out a form to complete the header submission. This will be sent directly to participants with the submission information, however, if you finish early please email us to request for the form link.

The information below will be asked in the submission form. We will acknowledge a successful receipt/submission upon receiving it.

☀️ For Art, Craft and/or Fic:

Title:

Author/Artist:

Rating:

Word count (if applicable):

Art/Craft medium (if applicable):

Warnings/Tags:

Prompt #:

Summary:

Link to work:

☀️ For Podfic:

Title:

Original Author:

Podficcer:

Rating:

Length:

Word count:

Warnings/Tags:

Summary:

Link to podfic:

Link to original work:

NOTE: If, at any point, you decide to change your header after submission, please make sure to send the mods your updated version at [email protected].

The mods will proof all fics and podfics and inform you if there are any additional requirements. Please check your emails regularly to see if we’ve sent you a message regarding your work.

Please don't change the date on your creation of your own accord. The mods reserve the right to remove your work from the collection if we see that the date has been changed during or after the fest.

Your work must remain in the collection for at least six months. If you remove your work from the collection before that, you may be banned from participating in the fest for the following year/s.

Please contact the mods if you have any issues with/when posting your work.

☔ Extensions

You can contact the mods at: [email protected]. If you need an extension, or have to drop out, please let us know by email. For extensions, we will require you to provide your WIP document, an estimate of how much you have left to go (such as the estimated final word count), and how much time you think this will take you. Please do not be afraid to reach out about this, we want to hear from you if you think you might require an extension!

☔ Posting

The mods will post your creation on the scheduled day. We do not release the posting schedule as this is subject to change.

Once your creation has been posted, please be mindful not to reveal yourself as the creator.

We ask that you do not respond to comments on your creations until after reveals. This is to ensure that you do not identify yourself in your response. Additionally, responding after reveals can be a lovely way for the commenter to find out who created the work they loved so much!

While we hope that it will not happen, sometimes creations receive negative comments. If you receive a nasty or critical comment, please contact the mods via email asap. We have a process for handling these events, but will work with you to do so, so that you are included in every step, if you wish to be — or excluded from this, if that is your wish.

☔ Further information

The prompts are not available to be claimed unless you are participating in the HP Drizzle Fest itself. Once HP Drizzle 2023 posts the final reveals, the prompts are no longer being used by the festival, and if you have found something you are particularly inspired by, please message the prompter to ask for their consent for a work to be created outside of the fest.

For general questions about the fest, don’t hesitate to contact the mods at [email protected] (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.

Your weather forecasters

@candybarrnerd

@crazybutgood

@curlyy-hair-dont-care

@gnarf

@ladderofyears

#hp drizzle fest #hp drizzle fest 2023 #2023 rules and guidelines

18 notes · View notes