#Dan's Silver Leaf

[chic-a-gigot]

L'Art et la mode, no. 49, vol. 15, 8 décembre 1894, Paris. Toilettes d'hiver. Dessin de G. de Billy. Bibliothèque nationale de France

Toquet de velours miroir turquoise drapé et noué devant avec un coulant de vieux strass. Grand nœud de satin noir sur la calotte. Plumes et crosse noires fixées de côté en panache. Touffes de violettes de Parme au-dessus des oreilles.

Turquoise mirror velvet toquet draped and tied in front with a flow of old rhinestones. Large black satin bow on the crown. Black feathers and crosier fixed on the side in a plume. Tufts of Parma violets above the ears.

—

Robe en drap vanille. Blouse flottante en breitschwantz serrée à la taille par une ceinture de velours pensée à boucle de vieil argent. Revers coquilles pareils sur le haut des manches. Collier de velours pensée.

Dress in vanilla cloth. Floating blouse in breitschwantz tightened at the waist by a velvet belt with an old silver buckle. Similar shell lapels on the upper sleeves. Velvet collar.

—

Robe en velours crocodile bleu de France, garnie de renard bleu. Manches de drap blanc ornées d’appliques de velours bleu. Manchon de renard bleu.

Dress in blue crocodile velvet from France, trimmed with blue fox. Sleeves in white cloth decorated with blue velvet appliques. Sleeve in blue fox.

—

Robe en velvetine châtaigne perforée sur transparent de satin bleu lavande, garnie dans le bas a’une petite ruche en velours découpé. Corsage découpé en bandes à la taille s’ouvrant sur un coulissé de satin lavande. Col de zibeline avec queues, fixé sur les épaules par deux touffes de pavots.

Dress in perforated chestnut velvet on transparent lavender blue satin, trimmed at the bottom with a small ruffle in cut velvet. Bodice cut into bands at the waist opening onto a lavender satin drawstring. Sable collar with tails, fixed on the shoulders by two tufts of poppies.

—

Robe en drap satin banane, ourlée de vison. Veste Louis XIII en velours miroir feuille morte. Gilet de moire crème orné d’un volant de point d'Angleterre. Chapeau feutre avec boucle ancienne et panache de plumes.

Dress in banana satin cloth, hemmed with mink. Louis XIII jacket in dead leaf mirror velvet. Cream moire waistcoat decorated with a point d'Angleterre flounce. Felt hat with antique buckle and feather plume.

[ririka-ilios]

Eidolon art "blueprint"

I've been looking over Eidolons in Star Rail today and thought it'd be fun to try and figure out how exactly the art on them works (i.e. what is the principle behind it, what they have in common between different characters, that sort of stuff).

There will be 1 (ONE) 2.1 story spoiler in here, so beware!

I haven't seen anyone else discuss this, so I've taken it upon myself to write an essay on it! This is relatively small and based entirely on my observations of the art. Feel free to use this as a basis for designing eidolons for your OCs if you want.

There will be example(s) for each part to help visualise the point I'm making as well as descriptions for the ones I'll use (some of the descriptions are much more detailed than others).

Eidolon 1

Shows view of the character from the back 3/4th to the left, up to their shoulders.

Eidolon 2

A close up of either of the character's eyes, showing off the details.

Eidolon 3

The view is entirely unique: the perspective, pose, and focus of the composition is meant to showcase an aspect of the character's personality.

Examples:

● Dan Heng. Back view, focus on his earphones as well as the maple leaf in his hand;

● Silver Wolf. Front view, focus on the game console in her hands;

● Himeko. Front view, focus on her facial expression and the pen in her hand.

Eidolon 4

Gives view of the character mostly from the front (either full-on or at an angle) or with them facing the camera in some way, up to their shoulders. Often has characters establish eye contact with the camera, but not necessary. Another showcase of their personality possibly might even represent how they interact with others.

Examples:

● March 7th. Back view with her head turned to look at the camera, making a peace sign. She's the only real outlier I've found so far, but it fits her personality fully;

● Aventurine. Front facing the camera, tipping (pulling down?) his hat and hiding one eye behind his hand as a result, obscuring his face;

● Bronya. Front, turned to the right, has a serious listening expression, one hand one her chest, closer to the heart. Perhaps a show of sincerity and dedication.

Eidolon 5

A close-up of the character's neck/collarbone area (despite the popular belief, it doesn't actually focus on their chest). The angle varies, as does the amount of character's expression shown, but generally, most of it is obscured (even in fuller pictures).

Examples:

● Herta. 3/4th angle, focus on the key hanging from her choker. The only part of her expression we see is her typical smug little smile;

(This Herta is one of many puppet avatars so the key might be a play on that. She also has a keyhole on the front of her outfit, though they're different sizes. There's also a key on a book cover in her splash art. Another fun fact, her upgrade materials are "Keys" as she is one of the first Erudition characters)

● Dr. Ratio. Focus on the pendant/decoration on his collarbones (maybe the Intelligentsia Guild insignia?), he has that "lips in a thin line" sort of expression;

● Black Swan. Focus on the heart decoration on her collarbones (reference to the stained glass in her ultimate, which in itself, loosely, calls back to Fuli, the Remembrance). She has her slight enigmatic smile.

Eidolon 6

Like E3, the view is entirely unique. The only consistent thing is that it ends at about the middle of a character's chest. The character is naked, showing them at their most vulnerable.

Examples:

● Misha. View from the side, his body turned in on itself as he hugs some sort of glowing orb. As a result, he's only illuminated at the points of contact. His expression is relaxed, but there's an interesting amount of seriousness in it, as if he's soothing/protecting the object;

● Sparkle. 3/4th to the left, has her hands up to her chest, one holding onto the other. A red string is tied into a four-petal flower shape around her pinkie finger, which sticks out from the rest of her fingers. Her expression is fully relaxed, her mouth is even slightly open, but the face paint is still on, and her hair is tied up;

● Acheron. View from the front, though her body is slightly turned to the left. She's in her self-annihilator state: hair white, the red thorn-like tattoos surround her lower neck and collarbones. There are red flowers outlined in white, either blooming on or flowing near her, some on her shoulders, some covering her left eye, others flying off. Interestingly, the flowers are placed loosely on a diagonal, bottom left to top right. Her expression is fully relaxed, mouth open slightly, and her hair is flowing to the side. That, paired with the flowers, makes it seem like there's a breeze passing by.

The conclusion I came to, upon finishing this analysis, is that Eidolons can be interpreted as the layers to characters' personality. With E1 being what anyone in the crowd could see – their back, no face, nothing to truly identify them by, and E6 is them at their most relaxed, most open point.

[pokemanix]

Welcome to POKEMANIX

Enjoy your stay. I like reblogging pkmn stuff of all kinds! That includes fanart and official stuff

I also post pkmn card posts for every pkmn character. If your favourite isn't up yet, they either don't have a card or theyre in the queue.

Official Pokemon Trainer Cards Easy List;

Gen 1

Red, Blue, Green, Leaf, Ash Ketchum, Mom, Professor Oak, Imposter Professor Oak, Daisy Oak, Bill, Celio, Mr. Fuji, Copycat, Giovanni, Jessie and James, Butch and Cassidy, Sird, Team Rocket Grunts, Brock, Misty, Lt. Surge, Erika, Koga, Sabrina, Blaine, Lorelei, Bruno, Agatha, Lance

Gen 2

Ethan, Kris, Lyra, Mom, Professor Elm, Silver, Eusine, Mary, Mr. Pokemon, Kurt, Buena, Archer, Ariana, Proton, Petrel, Falkner, Bugsy, Whitney, Morty, Chuck, Jasmine, Pryce, Clair, Janine, Will, Karen

Gen 3

Brendan, May, Mom, Professor Birch, Wally, Zinnia, Scott, Mr. Briney, Mr. Stone, Gabby and Ty, Lanette, Brigette, Professor Cozmo, Captain Stern, Aarune, Lisia, Archie, Matt, Shelly, Maxie, Tabitha, Courtney, Team Aqua Grunts, Team Magma Grunts, Roxanne, Brawly, Wattson, Flannery, Norman, Winona, Tate, Liza, Wallace, Juan, Sidney, Phoebe, Glacia, Drake, Steven Stone, Noland, Greta, Tucker, Lucy, Spenser, Brandon, Anabel

Gen 4

Lucas, Dawn, Johanna (Mom), Professor Rowan, Barry, Felicity, Looker, Roxy and Oli, Cheryl, Riley, Mira, Buck, Marley, Bebe, Roseanne, Cyrus, Mars, Jupiter, Saturn, Team Galactic Grunts, Charon, Roark, Gardenia, Maylene, Crasher Wake, Fantina, Byron, Candice, Volkner, Aaron, Bertha, Flint, Lucian, Cynthia, Palmer, Thorton, Dahlia, Darach, Argenta

Gen 5

Hilbert, Hilda, Nate, Rosa, Mom (BW), Mom (B2W2), Professor Juniper, Cedric Juniper, Fennel, Cheren, Bianca, Hugh, N, Colress, Ghetsis, Zinzolin, Gorm, Bronius, Giallo, Ryoku, Rood, Anthea, Concordia, Shadow Triad, Team Plasma Grunts, Cilan, Chili, Cress, Lenora, Burgh, Elesa, Clay, Skyla, Brycen, Drayden, Iris, Roxie, Marlon, Shauntal, Marshal, Grimsley, Caitlin, Alder, Benga, Ingo, Emmet

Gen 6

Calem, Serena, Grace (Mom), Professor Augustine Sycamore, Shauna, Tierno, Trevor, Alexa, Cassius, Inver, Sina, Dexio, Gurkinn, Bonnie, Emma, AZ, Lysandre, Chalmers, Aliana, Bryony, Celosia, Marie, Xerosic, Team Flare Grunts, Viola, Grant, Korrina, Ramos, Clemont, Valerie, Olympia, Wulfric, Malva, Siebold, Wikstrom, Drasna, Diantha, Dana, Evelyn, Morgan, Nita, Kali, Katherine

Gen 7

Elio, Selene, Mom, Professor Kukui, Professor Burnet, Lillie, Hau, Samson Oak, Guzma, Plumeria, Gladion, Team Skull Grunts, Lusamine, Wicke, Faba, Aether Paradise Employees, Phyco, Dulse, Soliera, Zossie, Ilima, Lana, Kiawe, Mallow, Sophocles, Acerola, Mina, Hala, Olivia, Nanu, Hapu, Kahili, Molayne, Mohn, Ryuki

Gen 8

Victor, Gloria, Mum, Professor Magnolia, Sonia, Hop, Bede, Marnie, Sordward, Shielbert, Ball Guy, Team Yell Grunts, Rose, Oleana, Milo, Nessa, Kabu, Bea, Allister, Opal, Gordie, Melony, Piers, Raihan, Leon, Cara Liss, Jack, Dan, Mustard, Klara, Avery, Honey, Hyde, Peony, Peonia, Digging Duo, Koko

Hisui

Rei, Akari, Professor Laventon, Kamado, Cyllene, Zisu, Pesselle, Tao Hua, Sanqua, Colza, Beni, Ress, Rye, Cogita, Choy, Anthe, Charm, Clover, Coin, Vessa, Adaman, Mai, Arezu, Iscan, Melli, Sabi, Irida, Lian, Calaba, Palina, Gaeric, Pearl Clan Members, Diamond Clan Members, Ginter, Volo, Tuli, Mani

Gen 9

Florian, Juliana, Professor Sada, Professor Turo, Nemona, Arven, Penny, Clavell, Jacq, Dendra, Miriam, Raifort, Saguaro, Salvatore, Tyme, Katy, Brassius, Iono, Kofu, Larry, Ryme, Tulip, Grusha, Rika, Poppy, Hassel, Geeta, Giacomo, Mela, Atticus, Ortega, Eri, Carmen, Youssef, Team Star Grunts, Carmine, Kieran, Perrin, Kitakami Caretaker, Billy and O'Nare, Briar, Cyrano, Drayton, Lacey, Crispin, Amarys, Liko, Roy, Friede, Dot

Go

Professor Willow, Candela, Blanche, Spark

Other

Imakuni?, Holon, Trainer Classes (1, 2, 3, 4, 5), Pokemon Center Ladies, NPCs (1, 2, 3, 4)

[curewhimsy]

MLP Extended AU

I had an idea to make an MLP AU based on G4, but with a lot of G3 ponies and my Symphony Saga OCs as ponies.

A lot of the G3 ponies don’t really have characters or personalities (also the same hairstyle) so I’m “transferring” them to G4 by giving them uniqueness.

The AU also has elements of Pokemon Mystery Dungeon. The world has mysterious dungeons that change shape whenever you go in them, just like in Pokemon Mystery Dungeon. There is also a story of a timid human boy named Shan who transports to the pony world and becomes a pony called Knight Light. He meets other ponies and goes on an adventure where he becomes braver.

The monsters in the dungeon are mostly plant-based and somewhat sentient plants. The ponies cook them into dungeon meals. So there’s an element that resembles Dungeon Meshi.

Putting them all together, the universe is basically ”MLP G4 Extended: Pony Mystery Dungeon Meshi”

———

Character List (This might not even be everyone I’ll include yet)

———Mane 6———

Twilight Sparkle

Pinkie Pie

Rainbow Dash

Fluttershy

Applejack

Rarity  

———G4 Characters———

Spike

Daring-Do

Big Macintosh

Cheerilee

Starlight Glimmer

Sunset Shimmer

Trixie Lulamoon

Cadence

Ditzy Doo

Silver Spoon

Diamond Tiara

Twist

Shining Armor

Gilda

Apple Bloom

Sweetie Belle

Scootaloo 

Zecora

Princess Celestia

Princess Luna

Cheese Sandwich

Discord

Granny Smith

Fancy Pants

Pipsqueak

Snips

Snails

Maud Pie

Octavia

Vinyl Scratch

Lyra Heartstrings

Bon Bon

Mr. Carrot Cake

Ms. Cup Cake

Mayor Mare

Pound Cake

Pumpkin Cake

Cranky Doodle Donkey

Matilda

Photo Finish

———Original Characters as Ponies———

Pastell Swirl (Amelie)

Lavender Snow (Yuki)

Strawberry Sugar (Joy)

Aurora Pixel (Yume)

Sapphire Song (Lanyue)

Scarlet Glow (Juhong)

Cobalt Current (Rhona)

Magenta Rose (Nagisa)

Emerald Gale (Luana)

Summer Clover (Rie)

Nightshade (Sonata)

Starry Sunrise (Saga)

Daydream (Aya)

Misty Rain (Kiri)

Winter Moon (Chija)

Moon Shadow (Octavia

Fantasia (Aria

Custard Cream (Amy

Blueberry Bliss (Emily

Nocturne (Eve

Candy Pop (Suzu

Star Cluster (Hikaru

Pianissimo (Kanade

Knight Light (Shan

Sunny Citrus (Sunhee

Max Potion (Max Potion

Hyper Link (Hyper Link

Epic Wynn (Epic Wynn

Dapper Dandy (Aristo Kratt

Prima Vera (Pristine

Rose Melody (Rosa

Vivid Star (Vivian

Pine Forest (Maia

Icy Pop (Bonnie

Flurry (Flurry

Snowbell (Snowbell

Amethyst (Amethyst

Pudding Cup (Abigail

Azure Blue (Azura

Merry May (Meizhu

Dewey Drizzle (Lucio

Puffball (Todd 

Truffle (Mark

December Lily (Chiyuri

Cinnamon Bun (Emi

Ginger Cake (Mimi

Poem Blossom (Reisei

Whispers (Roy

Arpeggio (Wallace

Forte (Enzo

Dawn Bright (Toby

Dusk Light (Cody

Cheese Cake (Keiko

Brownie (Chiyoko

Regal Rainbow (Queen Rainbow

Star Shimmer (Stelle

Moon Shimmer (Lunette

Nebula Shimmer (Celestine

Cozy Autumn (Autumn

Algebra (Mr. Addison

Wolfgang (Ms. Wolfgang

Miss Fit (Miss Fit

Miss Spell (Miss Spell

Miss Tick (Miss Tick

Mr. Moody (Mr. Moody

Zero Zip (Zero

Cadenza (Cadenza

Rondo (Rondo

Mellow Melody (Melody

Peanut Butter (Dan

Almond Butter (Sebastian

Rainbow Sherbet (Niji

Ember Glow (Ember

Slush (Mizore

Callisto (Callsro

Bluebell (Souko

Peach Tart (Momo

Healing Cure (Charlotte

Miracle Remedy (Madeline

Isosceles (Isosceles

Scalene (Scalane

Plain Jane (Plain Jane

Average Joe (Average Joe

Sunset Dream (Aaron

Frosty Snow (Shimo

Serene Rain (Kasumi

Full Moon (Jumin

Crescent Moon (Yisuel

Violet Shade (Reina

Lucky Clover (Touya

Leafy Clover (Yuuma

June Clover (Jun

Onyx Gale (Oliana

Carmine (Carmine

Sonority (Sonora

Turquoise Gem (Umiko

Sapphire (Marina

Rainy Clouds (Setsuna

Happy Daisy (Noemi

Flower Puff (Haru

Airy Clouds (Asumi

Fluffy Clouds (Naosuke

Cream Puff (Yumiri

Summer Sky (Natsu

Cloudy Sky (Kiyoichi

October Leaf (Aki

January Ice (Fuyu

Heather Gray (Lynn

Pink February (Azalea

Aquamarine (Shizuku

Space Fruit (Lumi

Glitch Berry (Alex

Chai Tea (Chai

Midnight (Miyako

Silver Ash (Grayson

Jasmine Tea (Etsumi

Boba Tea (Aimi

Milk Tea (Cocomi

Caramel Flan (Flan

Nutmeg (Nutmeg

Peaches (Peaches

Biscotti (Biscotti

Hazel (Hazel

Snowy Puff (Bianca

Blue Umbrella (Camille

Pepper Corn (Pepper

Candy Corn (Candy

Pop Corn (Pop Corn

Ruby (Ruby

———G3 Toys I Have———

Skywishes

Citrus Sweetheart

Coconut Cream

Tropical Surprise

Pretty Pop

Shenanigans

Sweetberry

Darling Dahlia

Bubblecup

Starsong

Scootaloo G3

Peachie Keen

Daisy Jo

Wisteria

Golden Delicious

Starbeam

Desert Rose

Amberlocks

Butter Pop

Morning Monarch

Coconut Grove

Sunrise Song

Sparkleworks

Fluttershy G3

Strawberry Swirl

Strawberry Surprise

Rainbow Dash G3

Marigold (Golden Delicious G3‘s brother. A duplicate toy I have of Golden Delicious G3.

Spring Lilac (Fluttershy G3‘s brother. A duplicate toy I have of Fluttershy G3.

Coral Pearl (A stallion related to Skywishes. A duplicate toy I have of Skywishes

———Other G3 Ponies———

Minty

Alphabittle

Chocolate Chipper

Pinkie Pie G3

Bunches o Fun

Sunny Daze

Peach Surprise

Seaspray

Jazz Matazz

Luau

Sunshower

Wishawhirl

Cupcake

Cotton Candy

Berries n Cherries

Spring Carnivale

Lavender Cloud

Thistle Whistle

Toola Roola

Daybreak

Waterfire

Tulip Twinkle

Twilight Twinkle

Applejack G3

Autumn Skye

Finger Paints

Glitterbelle

Tangerine Twinkle

Whistle Wishes

Silver Glow

Port-o-Bella

Star Swirl

Serendipity

Breezie

Snowflake

Starcatcher

Twinkle Twirl

Butterscotch

Chocolate Delight

Sweetie Belle G3

Secret Wish

Strawberry Reef

Sunshine Parade

Forsythia

Kimono

Lolligiggle

Rarity G3

Shell-belle

Dainty Daisy

Gardenia Glow

Pumpkin Tart

Peachy Pie

Princess Peppermint

Party Cake

Love Wishes

Cheerilee G3

Tink a tink a too

Moondancer

Aurora Mist

Cloud Climber

Hidden Treasure 

Triple Treat

Garden Wishes

Periwinkle

Puzzlemint

Fun Fairy

Fairy Dust

Star Flower

Goodie Goodie

Ribbon wishes

Rainbow Swirl

Windy Wisp

Glitterbelle

Scooter Sprite

Fizzy Pop

Ribbon Wishes

Pretty Palace

Crystal Crown

Crowning Glory

Royal Beauty

Daisy May

Denim Blue

Sno Glo

Morning Dawn Delight

Rhythm and Rhyme

Razzaroo

Brights Brightly

———G4 Ponies I have as mini figures———

Rainbow Wishes

Firecracker Burst

Noteworthy

Royal Riff

Golden Delicious G4

Lemon Hearts

Sugar Grape

Cinnamon Breeze

Mosley Orange

———Mane 6’s Pets———

Gummy

Winona

Angel

Owlowicious

Opalescence

Tank

[ravenwolfie97]

okay so initial thoughts on honkai star rail after i played like half of the tutorial bit this morning before work

first off, for the record, i have not played or heard much of anything about honkai impact 3rd and i have only played genshin impact pretty much since launch so my expectations were "genshin but sci-fi fantasy" but i can say that's not quite what i got (here’s a read more if you don’t care lol)

- immediately i notice that the graphics fidelity is gorgeous, very sleek and clean - it startled me a bit but also made me happy that the lip flaps are synced to the english dub! it seemed to flow really well even with the expression changes. the dialogue system doesn't seem all too different from genshin or. any other system like that. but it's got a pretty nice polish on the transitions between different states - the animation in the cutscenes and battles are really good, clearly they had a real talented team working on them. the characters feel so bouncy and expressive and it is pretty darn satisfying - the UI and interactive language is pretty much exactly the same as genshin with a sci-fi coat of paint. that's not a bad thing necessarily but like. it's pretty obvious - so the way combat and elemental powers work is very different from genshin, which frankly i should have expected, given this is a turn-based rpg. and i shouldn't have too much trouble with it, since turn-based rpgs are kind of a staple in my game roster, but for some reason i had trouble connecting with it. obviously finishing the tutorial would help, but it didn't feel as intuitive as i expected elements are presented in more of a traditional jrpg type of way where there are clear weaknesses you can exploit on enemies if you attack with a certain element. idk if i fully mean this but i think it kind of ruins part of the fun of discovering an enemy's weakness when the game itself just. tells you what it is off the bat also the types are weird in that they have pretty static effects in terms of what they do, the variability in moves is probably also explained further in character profiles but i haven't found how to look at that yet bkjljl - i'm fascinated by the ideas of Quantum and Imaginary types. what does that even mean. how do those manifest - i think it was a bit of a bold move to start the game off with two random characters talking about the world as if things are normal and known, and then having them influence your player character into. being in the plot not that i didn't like kafka and silver wolf. in fact i love both of them a lot. but i also had no context and had no goddamn idea what was going on so i was thrown pretty off-guard first thing which isn't exactly the greatest first impression lol - why is she named March 7th. does anyone know. is there a joke lost in translation or is it because she's like a pseudo-mascot character or. what - speaking of march actually i really want to like her but so far her character reeks of "hi i'm a girl". her skill is called "The Power of Cuteness" and one of her abilities is called "Girl Power" and so far her personality is cute, kind, and kinda stupid. it's a bit much. but she's neat - i have no big opinions on dan heng except he's neat and people keep saying he's the kazuha of star rail bc windy maple leaf boys but they're wrong bc dan heng has a stabby not a slicey and he can only hit one person at a time while kazoo thrives on the multi-hit AoE damage - i do love that the MC's weapon is just. a future baseball bat. that they get to smack people really hard with. no element, just big smack - oh yeah hyv loves to queerbait i guess cuz that wasn't CPR honey the twitter crowd wasn't kidding - i can’t think of anything else rn cuz it’s past midnight but star rail is neat and i like the little train rabbit dog mascot it’s cute and i wanna get past the tutorial hkjbjk

[lacrimosathedark]

I know I'm probably a weirdo for this, but one day I got to thinking, what if Pokemon was lingually accurate? Like, if characters were named appropriately based on their region? So I actually went through Bulbapedia and compiled a list of every major character's names in other languages. And just in case anyone else was curious, I thought I'd share it.

I'm going from the English base, so I'm majorly not including Unova, Galar, and most of Alola. Ones that are weird or are migrants I give explanations for.

Kanto: Japanese

Red: Same in English and Japanese

Leaf: Same in English and Japanese

Blue: Technically referred to as Green in Japanese since the original games were Red and Green (hence remakes being FireRed and LeafGreen), but is considered Blue internationally and it makes more sense to me (Red picks Charmander, rival picks Squirtle to be better, thus Blue).

Kakeru (Chase)

Ayumi (Elaine)

Shin (Trace)

Takeshi (Brock)

Kasumi (Misty)

Lt. Surge: His original title is "The Lightning American" and there's a whole tribute gym to his in Alola, so it's very likely he's from an America-inspired region, thus English name.

Erika: Same in English and Japanese

Kyou (Koga)

Anzu (Janine)

Natsume (Sabrina)

Katsura (Blaine)

Kanna (Lorelei)

Siba (Bruno)

Kikuko (Agatha)

Wataru (Lance)

Rocket-dan (Team Rocket): Literally written in katakana "ro-ke-t(su)-to"

Sakaki (Giovanni)

Ohkido Yukinari-hakase (Professor Samuel Oak)

Johto: Japanese

Hibiki (Ethan)

Kris: Same in English and Japanese

Kotone (Lyra)

Silver: Same in English and Japanese

Hayato (Falkner)

Tsukushi (Bugsy)

Akane (Whitney)

Matsuba (Morty)

Shijima (Chuck)

Mikan (Jasmine)

Yanagi (Pryce)

Ibuki (Clair)

Itsuki (Will)

Karin (Karen)

Minaki (Eusine)

Apollo (Archer)

Athena (Arianna)

Lambda (Petrel)

Lance (Proton): Yes, this is confusing with the Indigo Champion's English name being Lance.

Utsugi-hakase (Professor Elm)

Hoenn: Japanese

Yuuki (Brendan)

Haruka (May)

Mitsuru (Wally)

Tsutsuji (Roxanne)

Touki (Brawly)

Tessen (Wattson)

Asuna (Flannery)

Senri (Norman)

Nagi (Winona)

Fū (Tate)

Lan (Liza)

Juan: His Japanese name is Adan, but he uses different foreign words by localization (English in Japanese, Spanish in Viz's anime dub, and French in the Adventures manga's translation) so is likely foreign. Juan is his name in English, German, and French.

Mikuri (Wallace) Rune no Tami (Sootopolitan)

Kagetsu (Sidney)

Fuyou (Phoebe)

Glacia: Her name in Japanese is Prim, but she's implied to be from a more Western-based region. Glacia is her name in both English and French.

Genji (Drake)

Tsuwabuki Daigo (Steven Stone)

Datsura (Noland) Factory Head: Same in English and Japanese

Kogomi (Greta) Arena Captain (Arena Tycoon)

Tucker: Implied to be foreign, especially as his Japanese name is Heath. Tucker is his English name, and most other Romantic translations are loosely similar and come from the respective languages' word for "tactics". Dome Superstar (Dome Ace)

Azami (Lucy) Tube Queen (Pike Queen)

Ukon (Spenser) Palace Guardian (Palace Maven)

Jindai (Brandon) Pyramid King: Same in English and Japanese

Lila (Anabel) Tower Tycoon (Salon Maiden)

Higana (Zinnia) Denshousha (Lorekeeper)

Lutia (Lisia) Lutti (Lissi)

Tylulu (Ali): Lisia's Altaria

Magma-dan (Team Magma): Literally written in katakana "ma-gu-ma"

Matsubusa (Maxie)

Kagari (Courtney)

Homura (Tabitha)

Aqua-dan (Team Aqua): Literally written in katakana "a-ku-a"

Aogiri (Archie)

Ushio (Matt)

Izumi (Shelly)

Odomaki-hakase (Professor Birch)

Sinnoh: Japanese

Kouki (Lucas)

Hikari (Dawn)

Jun (Barry)

Hyouta (Roark)

Natane (Gardenia)

Sumomo (Maylene)

Maximum Mask (Crasher Wake): Maybe a little more clearly than the English name, it's a stage name and his real name is unknown. He's called "Maxi" for short, so it could just be that.

Fantina or Kiméra: Her name in Japanese is Melissa, which is a clearly Western name along with using foreign phrases. The difficulty here is in original Japanese (as well as French, logically) she speaks English, while most other localizations she speaks French. Fantina is her name in English, Spanish, and Portuguese. Kiméra is her name in French.

Suzuna (Candice)

Denzi (Volkner)

Ryou (Aaron)

Kikuno (Bertha)

Ōba (Flint)

Goyou (Lucian)

Shirona (Cynthia)

Kurotsugu (Palmer) Tower Tycoon: Same in English and Japanese

Neziki (Thorton) Factory Head: Same in English and Japanese

Dahlia: Same in English and Japanese Roulette Goddess (Arcade Star)

Kokuran (Darach): His Lady may be likely Unovan, but his lineage is never specified and he seems to have a Hisuian ancestor, so him being from Sinnoh is likely, hence Japanese name. Castle Butler (Castle Valet)

Argenta or Kate: Kate is her name in Japanese and is clearly Western. Argenta is her name in English, German, and Spanish. Stage Madonna (Hall Matron)

Momi (Cheryl)

Gen (Riley)

Baku (Buck)

Miru (Mira)

Mai (Marley)

Looker: Honestly, I just prefer Looker because it seems smoother to say as a codename than his Japanese codename which is Handsome. Looker also has the double meaning that Handsome doesn't, like he's looking/watching, because he's a detective. Looker is also his name in Portuguese, and sometimes in German, Spanish, and Italian. Every one of his codenames is a reference to his appearance ex. LeBelle in German and Beladonis in French.

Ginga-dan (Team Galaxy)

Akagi (Cyrus)

Mars: Same in English and Japanese

Jupiter: Same in English and Japanese

Saturn: Same in English and Japanese

Pluto (Charon)

Nanakamado-hakase (Professor Rowan)

Hisui: Japanese

Teru (Rei) Chō satai (Survey Corps' (Trainer class))

Shō (Akari) Chō satai (Survey Corps' (Trainer class))

Ginga-dan (Galaxy Expedition Team): Shares it's name with the modern Team Galaxy in Japanese, Chinese, Spanish, and Italian.

Kamado or Denboku: His original home region is unknown and he bears Galarian armor that looks strikingly similar to Kalosian Wikstrom. Denboku is from raidenboku, an alternate reading of the Japanese rowan, nanakamado, which is Rowan's Japanese name. Kamado also comes from nanakamado.

Shimaboshi (Cyllene): She is originally from Hoenn, but Hoenn is also Japanese so that means nothing for her name.

Perilla (Zisu) Keibi-tai (Security Corps)

Kine (Pesselle) Iryō-tai (Medical Corps)

Tao Hua: Same in English and Japanese Seizō-tai (Supply Corps)

Sazanka (Sanqua) Kenchiku-tai (Construction Corps)

Nabana (Colza): His original region is apparently unknown, but Japanese is still a safe bet. Also most other localizations stem from Nabana rather than Colza. Hatasaku-tai (Agriculture Corps)

Haku (Rye) Hatasaku-tai (Agriculture Corps)

Mube (Beni): His home region is apparently unknown, but Japanese is a safe bet. Imozuru-tei (The Wallflower): [directly from Bulbapedia] From imozuru (vines of Japanese mountain yam or sweet potato), Mitsuru (Wally), and tei (common suffix in restaurant names)

Taisai (Choy)

Sharon (Anthe): Oddly, Sharon is her Japanese name.

Kongō-dan (Diamond Clan)

Seki (Adaman) Osa (Clan Leader)

Yone (Mai) Captain (Warden)

Hinatsu (Arezu) Captain (Warden)

Susuki (Iscan) Captain (Warden)

Tsubaki (Melli) Captain (Warden)

Wasabi (Sabi) Captain (Warden)

Shinju-dan (Pearl Clan)

Kai (Irida) Osa (Clan Leader)

Kikui (Lian) Captain (Warden)

Yūgao (Calaba) Captain (Warden)

Garana (Palina) Captain (Warden)

Hamarenge (Gaeric) Captain (Warden)

Shō-Chiku-Ba (Miss Fortunes)

Omatsu (Charm) Yatō (Bandit)

Otake (Clover) Yatō (Bandit)

Oume (Coin) Yatō (Bandit)

Ichō Shōkai (Ginkgo Guild)

Ginnan (Ginter)

Tsuiri (Tuli)

Volo: Same in English and Japanese Pokemon Tsukai (Pokemon Wielder)

Cogito (Cogita): She is a whole ass mystery, but Cogita (her name in English and German) is just a (non-existent) feminine form of Cogito, her Japanese name, which comes from Latin and basically means "I think", as in Decaretes' "cogito, ergo sum" or "I think, therefore I am". French and Chinese use the respective language's variation of the phrase as a base for her name, while Spanish and Italian use Greek words, for "wisdom" and "intelligence" respectively.

Professor Laventon: He's Galarian, so his name is English.

Unova: English The only ones I'm doing here are ones that AREN'T necessarily the English version.

Clay or Yakon: I've heard Clay may play on Japanese businessman tropes, and he has an ancestor in Hisui, so his name could be either of these.

Lacey or Taro: As Clay's daughter, her situation is the same as his.

Cyrano or Mirtilo: English and Spanish names respectively. Lives in Unova, but as Clavel's classmate could be from Paldea maybe? Saffron or Milo: As above

Kalos: French

Kalem (Calem)

Serena: Same in English and French

Sannah (Shauna)

Trevor: Same in English and French

Tierno: Same in English and French

Violette (Viola)

Lino (Grant)

Cornélia (Korrina) Héritière (Successor)

Amaro (Ramos)

Lem (Clemont)

Mache (Valerie): Mache is actually originally from Johto, hence her Japanese name.

Astera (Olympia)

Urup (Wulfric): Given he likely has a Hisuian ancestor, it wouldn't be unlikely for his name to be Japanese. Luckily, his Japanese and French names are the same!

Malva: Same in English and French

Narcisse (Siebold)

Wikstrom or Thyméo: Since we know his armor is likely Galarian his English name isn't out of place, but his French name is Thyméo.

Dracéna (Drasna)

Dianthéa (Diantha) Grande-Duchesse (Grand Duchess)

Aurore (Morgan)

Méridia (Dana)

Vesper (Evelyn)

Nix (Nita)

Millie (Emma) Elili (Essentia) Femme Louche (Suspicious Woman) Enfant Louche (Suspicious Child) Jeune Femme Louche (Suspicious Lady)

Gribouille (Mimi): Millie's Espurr friend

Team Flare: Apparently the same in English, French, German, Italian, and Spanish.

Lysandre: Same in English and French

Ancolie (Aliana)

Brasénie (Bryony)

Cyane (Celosia)

Myosotis (Mable)

Xanthin (Xerosic)

Professeur Platane (Professor Sycamore): Somewhat surprisingly, his Japanese and French names are the same, though they do both originate from the French word platane.

Alola: English Hawaii is an American state, and there isn't a Native Hawaiian translation of the games, so English is the default language here. But Hawaii does have ties to the East, so I will use some of the Japanese names if they make more sense to me. Most are just slight spelling changes anyhow.

Yo (Elio): Moved from Kanto to Alola, so Japanese name.

Mizuki (Selene): Moved from Kanto to Alola, so Japanese name.

Ma'o (Mallow): Technically her Japanese name is just Mao, but ma'o is the Hawaiian word for Hawaiian cotton and I feel spelling it that way feels better.

Sophocles or Māmane: Both names after the same plant, the Sophora chrysophylla, it's common and local Hawaiian name being māmane.

Hapu'u (Hapu): Hapu'u is her name in Japanese and comes from hāpuʻu, the Hawaaian tree fern.

Molayne or Mullein: Molayne is just a different spelling tbh and I kinda think it looks better.

Skipping Galar; there aren't really a lot of clear foreigners besides Kabu whose name is the same.

Paldea: Spanish and Portuguese I look at both languages because Paldea is based on the Iberian Peninsula and not just Spain. However, with Portuguese, I'm having to look at Brazilian Portuguese, which is not quite the same as European Portuguese, because that's almost all that's on Bulbapedia. I generally choose whether to use Spanish or Portuguese based on if said name is also the same as the English and/or Japanese name. Or default if only one is available. Also uhh my order might be a bit weird here because I didn't get to actually play these games. I kinda assumed you go through the teachers before Gym Leaders, so...yeah. I can re-order it later if that's wrong or confusing.

Florian: From an unknown region, but the same in English, German, Spanish, French, and Italian.

Juliana: From an unknown region, but the same in English, German, Spanish, French, and Italian.

Nemo(?): She is noted to not be from Paldea but her home isn't specified so it could be anything. Nemona is her name in English and E. Portuguese, Nemo in Japanese, Korean, Mandarin, and Thai, Noêmia in B. Portuguese, Nemila in German, Nemola in Indonesian, and Nemi in Italian. The odd ones out are Mencía in Spanish and Menzi in French.

Arven: Same in English and B. Portuguese

Academia Naranja (Naranja Academy)

Academia Uva (Uva Academy)

Miriam: Same in English and B. Portuguese

Saguaro: Same in English, Japanese, and B. Portuguese (as well as German and French)

Dendra: Same in English and B. Portuguese

Cloe or Mora (Raifort): Cloe is her name in Spanish, and Mora is her name in French, which I only include because her English/Japanese name Raifort is from the French word for horseradish apparently, so maybe she's Kalosian.

Silvio (Salvatore)

Mila (Tyme)

Jacques (Jacq): The B. Portuguese name as it's closer to his English name. His Spanish name is Cinio, which is Spanish for his Japanese name, Zinnia, which could be confusing considering Higana.

Clavel: Same in Japanese, Spanish, German, French, and Italian. English and B. Portuguese just adds another L. Clive: Same in English and B. Portuguese Director Escolar (Director)

Catarina (Katy): Her B. Portuguese name, which is closer to her name in English (Katy) and Japanese (Kaede).

Brais or Brás (Brassius): His Spanish and B. Portuguese names respectively, as both are very close to his English name.

Kissera (Iono): Her B. Portuguese name, comes from "O que será?" apparently meaning "what will it be?", which is closer to the intent behind her name in Japanese (Nanjyamo, name given to an unusually large tree that grows in a particular place; literally meaning "What is it?") and English (Iono, as in "I don't know") than her Spanish name, e-Nigma. Which makes me think of the Riddler.

Fuco (Kufo)

Laureano or Lauro (Larry): His Spanish and B. Portuguese names respectively. Larry could be a nickname for either though.

Lima or Citrina (Ryme): Her Spanish and B. Portuguese names respectively. Lima has the same puns on lime and rhyme that English and Japanese does, but tbh makes me think more of lima beans. Citrina is from citrino (citrus).

Tuli or Tulipa (Tulip): Her Spanish and B. Portuguese names respectively.

Grusha: Actually may be from an unrevealed Russian region as his name is Russian. It's also the same in most languages.

Cayena or Kaya (Rika): Her Spanish and B. Portuguese names respectively. Both come from cayenne, which isn't in her Japanese or English names. Her Japanese name is Chili, and Rika comes from paprika.

Poppy: Her name in English, Japanese, and B. Portuguese as well as German and Indonesian.

Hassel?: From and unknown region so could literally be anything, and all his names are very different.

Ságita or Guita (Geeta): Her Spanish and B. Portuguese names respectively. Supercampeona (Top Champion)

Team Star: Same in English and Spanish as well as German, French, and Italian

Penny: Actually from Galar, so her English name. Cassiopeia or Casiopea: English and Spanish forms respectively, referencing the constellation.

Giacomo: Same in English and B. Portuguese DJ Vil (DJ Vice)

Melo or Mélia (Mela): Spanish and B. Portuguese respectively.

Henzo (Atticus): Spanish name. Not like English or Japanese name, but his whole ninja theming makes Henzo fit better than the B. Portuguese Érico.

Ortega: Same in English and B. Portuguese, similar to Japanese, French, and Korean Ortiga.

Erin or Êri (Eri): Spanish and B. Portuguese respectively.

Profesor Sada: Same in English and EUROPEAN Portuguese, listed for once.

Profesor Turo: Same in English, Spanish, and Portuguese.

Kitakami: Japanese Not a region itself I don't think, but it's not connected to a specific region I don't think, so.

Zeiyu (Carmine)

Suguri (Kieran) Sugu (Kiki)

Sazare (Perrin): Actually from Sinnoh, but this is where you meet her so here she is. Shashinka (Photographer)

What do you think? Did I forget anyone important?

Okay this took way too long for something probably no one will see okaybaiiiiii

[cultivatetastesblog]

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For those who enjoy deep, rich flavors, the dark tea selection available online is a must-try. Dark teas, such as Pu-erh, are known for their earthy tones and complex taste profiles that develop over time. These fermented teas are often aged, resulting in a smoother, more robust flavor. Whether you’re looking for something bold to start your day or a tea that pairs well with meals, dark teas provide a unique experience for seasoned tea drinkers.

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[chaxicollective]

Bai Mu Dan (White Peony)

Today I went back to one of the first loose leaf teas that I ever fell in love with: Bai Mu Dan or White Peony, a fairly high quality white tea from Fujian, China. As with every style of tea, white tea exists in a wide range. There are cake-pressed and aged white teas like Moonlight White, bud-only white teas like Silver Needle, and bold broken white teas like Shou Mei. Bai Mu Dan places itself…

[jpbjazz]

LÉGENDES DU JAZZ

JOHNNY ST. CYR, LE ROI DU BANJO

Né le 17 avril 1890 à La Nouvelle-Orléans, Johnny St. Cyr a été élevé dans la religion catholique. Son père, qui était également musicien, jouait de la guitare et de la flûte. Un jour, le père de St. Cyr avait fait cadeau d’une de ses guitares à sa mère, et c’est à cette époque qu’il avait commencé à s’intéresser à cet instrument. Il précisait: ‘’When I was growing up we had a guitar in the house, my father’s gift to my mother. The guitar was a very popular instrument in the homes at that time in New Orleans. My mother would not let me play this guitar of hers, so I made my own out of a cigar box with thread and fishing lines for strings. Soon I could make as many chords on my homemade guitar as mother could on her good one. After a while, she let me use her guitar.’’ 

St. Cyr explique comment il avait commencé à jouer de la guitare:

‘’My brother had gone to work in the Cooperage shop, making barrels. It was there he met Jules Baptiste and Jackie Dowden. Jack and Jules would put on little parties on Sunday and always there was a barrel of beer. They would play and sing, the neighbours would come in and dance. Jack played the mendolin and Jules played guitar. They just played the popular songs of the day and a few blues.They had a party at our house one Sunday and they asked me to play with them. I came in when I could on certain numbers in the key of ‘C’ and ‘G’.’ Jules took an interest in me and started giving me lessons. In a few weeks they took me out on jobs with them on Saturday night — fish fries mostly. People put on these parties in their homes to make a little money. The best music got the biggest crowd and we had it. Jack and Jules were great for serenading their friends late at night, on the way home from a little job. They would play a number, the people would get up and set out the whisky bottle. Then they would go on to the next friend’s house and repeat the serenade.’’

C’est à la même époque que St. Cyr avait commencé à travailler comme plâtrier. Il poursuivait:

‘’I was apprenticed to the plastering trade about 1905, working with George Guesnon’s father, who was a journeyman plasterer. We worked for August Bon Hagen, a contractor. When I had served out my apprenticeship, I had saved a little money and was able to get out and go to halls and different functions where the bands were playing. I could study the different guitar players and see if I could pick up some more ideas. I didn’t get too much from most of these guitar players though. These bands would be the Silver Leaf, Imperial and the Eagle Bands, playing at Masonic Halls and at the parks. The balls were on Saturday, Sunday or Monday nights.’’

DÉBUTS DE CARRIÈRE

C’est après avoir rencontré Manuel Gabriel que St. Cyr avait amorcé sa carrière professionnelle. Gabriel, qui habitait dans le même quartier que St. Cyr, l’avait invité à venir pratiquer avec son groupe. Il poursuivait: ‘’Manny played cornet. This was just a little neighbourhood group, but I got a start. Manny had one of his sons playing drums and another fellow, named Wade Waley (Whaley), playing clarinet. I was with them about four months. We just rehearsed and played a few small jobs, including a few weeks in the district.’’

Au début de sa carrière, St. Cyr avait surtout joué dans des événements mondains comme les mariages, les fêtes, les danses, les défilés et les pique-niques. À l’époque, St-Cyr avait joué avec des pionniers du jazz de La Nouvelle-Orléans comme  Bab Frank, Peter Bocage, Jimmy Brown, Manuel Perez, George Baquet, B. Johnson, les frères Lorenzo et Louis ‘’Papa’’ Tio, Billy Marrero, Big Eye Louis Nelson, George Fields et Bouboul Augustin. Il avait aussi joué à Storyville, le quartier des prostituées de La Nouvelle-Orléans, pour environ 1,50$ par soir. À partir de 1905, St. Cyr avait également dirigé ses propres formations et collaboré avec A.J. Piron, les groupes Superior, Olympia et Tuxedo.

Avec le temps, le groupe de Gabriel avait commencé à jouer dans la basse-ville de La Nouvelle-Orléans, ce qui avait permis à St. Cyr de reprendre contact avec A.J. Piron et Paul Dominguez. C’est d’ailleurs grâce à ces derniers, qui étaient tous deux barbiers et violonistes, que St. Cyr avait pu commencer à se produire avec le groupe de Freddie Keppard. St. Cyr expliquait:

‘’Freddie had been playing for ‘Fewclothes’ in the District the Olympia was the hottest band around at this time. Keppard was getting away from playing straight lead. He was the first of the ‘get off’ cornet then — getting away from the melody, more like the clarinet. Bands as a whole still played ensemble style. On certain numbers they would feature the cornet player, and sometimes the trombone, but the clarinet was always featured.’’

St. Cyr avait rencontré Sidney Bechet par l’entremise de son frère Joe, qui était également plâtrier. St. Cyr expliquait: ‘

‘’He told me about his young brother and the clarinet, and that he just couldn’t keep time. I told him to bring Sidney over to my house and I’d see if I could help him. I lived just a few blocks away, so he came over and we worked together for a while. We just played together once in a band, the Eagle Band. The Eagle Band was going to make an excursion trip. A lot of people would go to the station when an excursion left. The band would play a few numbers on the platform just before the train pulled out. Brock Mumford’s girl friend didn’t want him to go on this excursion. She caught him at the station, got hold of his guitar and hit him across his fat belly with it, which busted the guitar all up. I was asked to make the trip in his place, so I hurried and got my guitar, and arrived back at the station just before the train left. After the excursion I played a ball at Masonic Hall with the Eagle Band, then Brock got another guitar and took his job back.’’

D��crivant les débuts de la carrière de Bechet, St. Cyr avait ajouté: ’’Sidney was playing up a storm at a very early age. He was playing with the best of them by the time he was fifteen years old. Of course, he was up against the toughest kind of competition — Big Eye Louis, Lorenzo Tio, Jr., Jimmie Noone, Johnny Dodds, Alphonse Picou. And Emile Barnes and George Lewis were also coming up about this same time. George Baguet was about the top man until he left with Keppard. Then there was Willie Warner, the only man who triple-tongued the clarinet. He was always good for a free drink if you told him, ‘Willie, you’re the greatest clarinet player in New Orleans’. He’d say, ‘Now, there’s a man that knows — what will you have to drink, my boy?’ Then he would say, ‘They all ask me, how do you do it? How do you triple-tongue a clarinet?’ Willie would stick out his tongue, tap it with his fingers and say, ‘That is my secret.’ Then how he would go on!’’

L’ÉPOQUE DES NAVIRES À VAPEUR

De 1918 à 1920, St. Cyr avait joué sur les navires à vapeur avec Fate Marable. St. Cyr explique comment il avait commencé à jouer avec Marable:

‘’About two weeks after, Fate Marable asked me to come on the river boat. I had a friend named Buford, who had a bar room at Gasket (Gasquet) and Villery (Villere), and I used to hang around there. I was living out back of town and Buford played a little, I left the banjo there, as I was in town every night, so I’d not have to go clear back home for the banjo if a job turned up. Buford asked if I minded if he played a little, and I said no. Marable went into Buford’s one Saturday night about midnight, after he left the boat, and Buford was playing the banjo. Marable said, ‘When did you buy the banjo,’ and Buford replied ‘It belongs to Johnny St. Cyr. He’s back there in the other room.’ Marable said to me, ‘Come out here and I’ll buy you a drink.’ He asked me what I was doing, and I told him I was playing out at the lake tomorrow. He asked me, ‘Why don’t you come out on the boat, take a ride with us, bring your banjo.’ He said, ‘The only way you’ll come out there is if I take your banjo.’ I said, ‘Okay.’ Buford and I almost had a fight over the banjo — but I promised to have it back there that Sunday night. I played with the band on the boat and one of the Strekfus Brothers called me into the office and asked me if I wanted to play with the band regularly ‘What are you paying?’ I asked. He said, ‘In New Orleans we are paying $30.00 a week, and when we get to St. Louis we pay $52.50 a week.’ I said ‘I’ll try it.’ He said, ‘You’ll get paid for all you did today’ — and I did get paid. I worked 1918, 1919 and 1920 on that boat.’’

Le groupe de Marable se produisait sur la célèbre Streckfus Line, qui était opérée par les frères Joe et John Streckfus. St. Cyr décrit l’ambiance qui prévalait à bord des vapeurs:

‘’I will try to give a little of the history of the Strekfus line, to the best of my recollection. Originally this was a packet line, hauling freight, on the river. After about 1900 the railroads started giving so much competition to the packets that they were gradually being driven out of business. Mr. John Strekfus got the idea of making one of his packets into a floating dancehall, working out of his headquarters in St. Louis. At first his sons Joe, Roy and Johnnie, were the only musicians. They all had musical training and were good, legitimate musicians. This idea caught on with the public and soon they had more boats and the boys took over the management and hired musicians to play for them. The boys were all very good steamboat men, pilots, engineers, electricians and captains. At first they hired white bands to play for them. Fate Marable was playing piano with one of these bands. He was very light complexioned and a very good musician. Well, they started sending a boat down to New Orleans for the winter season. Fate got around town and liked our music, so he convinced Strekfus to try a band of New Orleans musicians, also he would be a leader in his own right, and he would collect leader’s pay. In 1918 I was asked by Fate to join his band. Of course, they had other boats and other bands all this time, in fact, at one time they had a total of four boats working. There were other people who tried this same idea on the river, but the Strekfus people were very smart politicians and they got all the best landings tied up in every city. These other guys would find themselves out of town when they went to dock, but the Strekfus boat would be right at the foot of the main street of town.’’

Décrivant l’arrivée de Louis Armstrong avec le groupe, St. Cyr avait ajouté: ’’Most of us were not real good readers and Fate agreed to help us with out parts until we caught on. We had William ‘Bebe’ Ridgley on trombone; Joe Howard, cornet; Johnny Dodds, clarinet; Dave Jones, mellophone; Geo. ‘Pops’ Foster, bass; Warren ‘Baby’ Dodds, drums; myself on guitar and banjo; and Fate on piano. Well, we needed another cornet to fill out the band. We all had our eye on Louis Armstrong as the coming man on this instrument in New Orleans. So we were all bucking to get him in the band. At this time Louis was working for Kid Ory. Louis had gone in ‘hock’ to Ory for a new cornet and was paying back so much a week. When the time came for Louis to join us, Ory said he couldn’t take his horn because it wasn’t paid for. Louis came around very sad, said he couldn’t make it as he would have no instrument. We went to Roy Strekfus and explained the situation to him. He said, ‘Is this the man you want? Can he play the music?’ We said, ‘Yes.’ Strekfus replied, ‘Then I’ll give him an order for a new horn and he can pay for it so much a week.’ That was how Louis was able to join the band. Most of this band had been with Fate before I joined it in the early summer of 1918.’’

Le groupe de n’avait aucun joueur de banjo dans ses rangs lorsque St. Cyr s’était joint à la formation. Il expliquait:

‘’They had no banjo before I came into the band. Johnny Dodds had replaced Sam Dutrey, Sr., then Louis came in a little later to fill out the cornet section. This was on the Steamer Sidney. This was their first and smallest boat. We were playing at night, plus Sunday afternoon and evening. We were getting $35.00 a week. Johnny Dodds left the band shortly after I joined and Sam Dutrey came back. As I recollect, Johnny just took Dutrey’s place for a few weeks. I don’t think Johnny ever played on the boats regularly.’’

Commentant le fonctionnement du groupe, St. Cyr avait précisé:

‘’Now, the music we played — how the band sounded ��� this would be more like a swing band than the New Orleans type jazz band. Strekfus had a standing order with the music publishers and they shipped him all the new arrangements right off the press. He just paid them by the month. We just played the arrangements as they were, we never changed them. We had no staff arranger, no special jazz arrangements.The other bands used the same music we did. We just had that feeling, that rhythm, that swing. We were very popular in New Orleans that summer and fall, so they made arrangements to take us to St. Louis for the next summer season. We rehearsed one morning a week (Tuesdays) for two hours, we played the same programme all week and changed on Sunday night. One of the Strekfus brothers was always at rehearsal to make sure everything was just the way they wanted it. This was strictly a reading band, no hot solos. We played all through the winter in New Orleans, then we went to St. Louis in April, by train, where we joined the St. Louis Musician’s Local, then up to Davenport, Iowa, where the boats were stored. Steamer St. Paul was our boat. Now, if Bix Biederbeke came out to hear us, I couldn’t say, but many musicians did come out to hear us and he may very well have been there. From Davenport we worked our way up to St. Paul, then back to St. Louis by Decoration Day (May 30). We had a very good front line that was used to playing jazz in New Orleans, and they could put that feeling into the arrangements we were using, although they were mostly just ‘stocks’. With men like Louis Armstrong, Dave Jones, Joe Howard, Sam Dutry (Dutrey) and ‘Bebe’ Ridgley — we just couldn’t miss. Also we had a very powerful rhythm section. Fate Marable was a very strong man on the piano, very good rhythm and he played very good chords. I will say now, that he was the equal of any band piano man that I ever played with anywhere. Fate also played the steam calliope on the upper deck and this was something to hear. This calliope could be heard for blocks and was a very good advertisement {...}. Sometimes one of the Strekfus family would hear a band play an arrangement that appealed to them. They would buy it from the leader and we would play it. The Strekfus family always travelled around to other cities and visited the ballrooms so they could keep up with what was going on with the bands.’’

C’est à l’été 1919 que St. Cyr avait acheté la guitare-banjo avec laquelle il avait joué durant la majeure partie de sa carrière. Il expliquait:

‘’It was in the summer of 1919 that I bought the guitar-banjo that I still have today. Some fellow had hocked it with a pool room proprietor. He asked me to look at it for him. I did and asked him what he wanted for it. ‘$20.00’, he said, so I bought it. This is the instrument that I used on all my recording dates with the Hot 5 in Chicago several years later. I still have it and play it now and then, when a banjo is required on the job. Of course, it has been worked over several times, but it is still with me.’’

Avec le temps, Marable en avait eu assez d’aider ses musiciens à déchiffrer ses partitions et avait décidé de ne pas renouveler leur contrat. St. Cyr précisait: ‘’We were all getting dissatisfied with his attitude. So, because of this, we would not sign up for the winter in New Orleans of 1920-21. Well, Joe Strekfus looked into the matter and as a result he gave Fate the winter off, and made Ed Allen who had come into the band as a trumpet player, the leader playing piano in Fate’s place. My last summer on the boats (1921) Pops and I played with the Creath Band. When we returned to New Orleans that fall, I left the band and the boats for good.’’ Il faut dire qu’à l’époque, St. Cyr gagnait bien sa vie comme plâtrier. Il s’était même construit une maison avec l’argent qu’il avait gagné sur les vapeurs tout en continuant de se produire dans les environs de La Nouvelle-Orléans.

L’ÉPOQUE DE CHICAGO

St. Cyr jouait au Pythian Roof Gardens avec Manuel Perez lorsqu’il avait été contacté par King Oliver en septembre 1923. Comme St. Cyr l’avait expliqué lui-même: ‘’He needed a good banjo player for his recording work and he assured me I could find plenty of steady work in Chicago. I was not hired to play with the band, just to record. I was a little doubtful about making this big step, but Manuel Perez encouraged me to go. He said, ‘They’ll be crazy about your work in Chicago’’’. À l’origine, St. Cyr ne devait jouer que deux semaines avec le groupe, mais il était finalement resté six ans. Il précisait: ‘’I was to play with the King Oliver Band for two weeks at Lincoln Gardens to catch their style. I received $75.00 a week which was also to cover my fees for recording.’’ St. Cyr connaissait presque tous les membres du groupe sauf la pianiste Lil Hardin.

Louis Armstrong s’était joint au groupe d’Oliver à peu près au même moment. Il poursuivait:

‘’So Joe Oliver was looking for a substitute cornet player he could use when he wanted to take a night off. I mentioned Louis to him and Joe got hold of him. Louis had a wonderful ear, and he learned Oliver’s repertoire from him in about three days. And that’s how Louis came to play in Oliver’s place at Lala’s when Joe was working with the Magnolia Band. They had to keep the noise down after midnight and used mutes in the cornets. Well, the waiters and everybody around there liked to hear Louis get off, so they would talk him into taking the mute out of the cornet.’’

À son arrivée à Chicago, St. Cyr avait habité avec la famille de King Oliver. Lorsque le contrat de St. Cyr au Lincoln Gardens avait pris fin, Datnell Howard l’avait engagé pour jouer à l’Arcadia Ballroom pour 50$ par semaine. Il expliquait: ‘’We played stock arrangements, nothing special in the way of music, the same type of stock arrangements we used on the riverboats. After two months Darnell lost the job and the band broke up.’’ À l’époque, Oliver avait demandé à St. Cyr de se trouver un nouvel endroit où habiter, car il vivait dans un petit appartement et commençait à manquer de place. À ce moment-là, Armstrong et Hardin étaient sur le point de se marier. Même si le couple s’était loué une petite maison, il n’avait pas encore commencé à l’occuper, et avait offert à St. Cyr de s’y installer pendant quelque temps. St. Cyr avait même continué de vivre avec le couple durant une brève période après que celui-ci ait emménagé.

Pendant qu’il jouait avec le groupe d’Howard, St. Cyr avait également enregistré avec Charlie Cook. Lorsque le groupe d’Howard avait été démantelé, St. Cyr avait fait savoir à Cook qu’il était sans travail. C’est ainsi qu’il avait commencé à jouer avec le Dreamland Orchestra de Cook qui se produisait au Dreamland Ballroom situé à l’intersection des rues Paulina et Van Buren. Durant l’été, le groupe se produisait également dans des parcs d’amusements comme ceux de Riverside.

C’était la première fois de sa carrière que St. Cyr jouait avec un groupe qui utilisait ses propres arrangements sur pratiquement chacune des pièces. St. Cyr poursuivait: ‘’ We had many specials, strictly in the jazz style, but all arranged, written out. Doc Cook did all his own arrangements. He played piano and organ. He was just an average piano player, but he was at his best at the organ. The use of ad lib, hot solos, etc., had not come into too much use at this time in the larger bands. Two of my old friends from New Orleans were in this band, Freddie Keppard and Jimmie Noone.’’

À l’époque, Noone travaillait au Edelwiess, un club de danse multiracial, avec un groupe composé de Joe Poston au saxophone alto, Earl Hines au piano et Johnny Wells à la batterie. Comme sa famille était demeurée à La Nouvelle-Orléans, St. Cyr avait énormément de temps de loisirs, ce qui lui avait permis d’aller retrouver Noone au Edelwiess et de jouer avec le groupe. Il expliquait:

‘’This was a black and tan club with singers and dancers. As my family was still New Orleans, I had plenty of time on my hands, and so when we were finished at the Dreamland at 12.30 a.m., I started going over to the Edelweiss and sitting in with the group. I was not on salary, but I got my share of the tips, and they were good enough to pay me for my work. This started me off with the Jimmie Noone Orchestra, and so then when Jimmie, Joe and Earl went into the Apex Club in December, 1926, I went with them. This was one of the best jobs I ever had — the management was the nicest I ever worked for. They gave us each $5.00 for a Christmas present, although we had only been there a few days. The Manager also gave us tips on the quiet. This was also an after hours spot.’’

De tous les membres du groupe, St. Cyr était particulièrement proche du saxophoniste Joe Poston. Il poursuivait:

‘’Joe Poston was one of my special friends in the Doc Cook Band. He was from Alexandria, Louisiana. He played saxophone and oboe. His music was more on the sweet side. He and Doc Cook and myself were called the Three Musketeers as we always rode to work together. Then, sometimes after work, we would get a pint of prescription whiskey from a druggist we knew and go over to Doc Cook’s. Joe and I would sit around and have a few while Doc worked on his arrangements. Doc always worked at a high desk and stood up to write. He could write out music as fast as I could write a letter.’’ 

St. Cyr appréciait également le saxophoniste Stump Evans au sujet duquel il avait déclaré:

‘’Stump Evans was one of the few musicians not from New Orleans who seemed to fit in with our bunch; that is, his style of playing. He was from St. Louis and had picked up our style off the riverboat bands before he came to Chicago. He was the first sax player I ever heard to play slap tongue. We all liked his work and he got in on a lot of record dates with us for this reason. He played regularly with Erskine Tate at the Vendome Theatre and hung around a pool room at 35th and State. He was very short in height, which gave him his nickname Stump and not Stomp as it is sometimes misspelled.’’

Après avoir eu un désaccord avec Cook, Noone avait été congédié du groupe. St. Cyr poursuivait:

‘’Shortly after this Jimmie had a big fuss with Doc Cook one night and Cook gave him his notice. As the Apex Club was doing so good and Jimmie was then available they started opening up earlier in the night. Bud Scott took my place till I could get over, then he went to a job he had at the Regal Theatre. One night Jimmie got to talking about why Doc Cook had let him go. Jimmie acted as if he didn’t know why Cook had let him go, so to be helpful, I told him. That made Jimmie mad at me and he fired me. Bud Scott didn’t want to take the job under the circumstances, but I told him, ‘Go ahead, take it, I won’t be there so you might as well take it, if you want it, it’s a good job!’ Shortly after all this took place this group made several recordings for the Brunswick Vocalion Company. These recordings are a very good example of the music that was being played in the clubs, at that time in Chicago. These recordings are just the way we played on the job.’’

À l’été 1929, les affaires ayant commencé à décliner, Cook avait dû réduire taille de son groupe de quatorze à dix musiciens. St. Cyr, qui ne jouait que du banjo et de la guitare, avait été un des premiers à être sacrifiés et avait été remplacé par un banjoïste qui jouait également du violon.

De tous les musiciens qu’il avait cotoyés, St. Cyr avait d’excellents souvenirs de sa collaboration avec Freddie Keppard. Il précisait:

‘’Freddie was drinking a lot by this time, although, he never seemed to let it interfere with his work. We spent a lot of time together at the Union Hall and were the best of friends. Freddie was playing very well, with Doc Cook, as well as all the gigs we all used to get around town. In spite of some of the stories about him, he was a pretty good reader, he played all those arrangements Doc Cook wrote, as well as playing with other bands on gigs. These bands would have their own library of music. He had been reading violin music many years before in New Orleans, before he took up the cornet. Freddie had been, in New Orleans, the first of the get off men on cornet, a real pace setter and pioneer. In Chicago, he was more satisfied to let music just be his work. His inspiration to be coming up with something new seemed to be gone. To compare him to Louis Armstrong I would say: they both started out about even as to ability and inspiration, but music was Louis’ whole life and with Freddie Keppard, it got to be just the way he earned his living, just a job. He also had that independent Creole temperament and was not always the easiest guy in the world to get to cooperate. He had his own ideas about a lot of things, but he was a great jazz musician and a good friend of mine {...}. There were so many great musicians around Chicago at that time I would never be able to name them all. Also singers, they all worked in Chicago at one time or another when I was there.’’

À Chicago, St. Cyr avait également joué avec le groupe de Kid Ory. De tous les musiciens avec lesquels il avait collaboré, St. Cyr se rappelait particulièrement de Johnny Dodds et King Oliver. Comme il l’avait expliqué lui-même:

‘’Johnny was a quiet, serious man, all business. Although we recorded together a lot, this was about the only time we would meet. We never played together on a job except the first few weeks when I came to Chicago. Johnny had come to Chicago several years before I did. Fie had bought a small apartment house where he lived with his family. I would only see him once in a while at the Union Hall when he came in to pay his dues or on a record date. We were always friendly, but not what could be called close friends. I had been good friends with Joe Oliver in New Orleans and of course kept this friendship up in Chicago. Joe didn’t come around the Union Hall much either, although I used to visit him at his home. Joe didn’t like to go out much. He was such a big eater, he always said it embarrassed him to go out to eat, so I would stop by his home now and then for a visit or a meal. He never asked me to join him as he knew I was set with Doc Cook. He was a good-humoured man, liked to joke with his friends, talk with them. He was very business-like, a good band leader and organizer. Jimmie Noone didn’t come around the Union Hall much either. He was quite a ladies man, and usually spent his spare time visiting one or the other of his girl friends. Of the other musicians around in those days George Fields, Ray (Roy) Palmer, Honore Dutrey, Kid Ory, Jelly Roll Morton, Richard M. Jones never spent much time around the Union Hall. Jelly Roll and Richard M. Jones spent most of their time around Melrose Bros Music Store. That is where I first met Jelly Roll. I had known him in New Orleans very slightly. Richard M. Jones kept himself busy with the Okeh Record Company. He was their contact man for their race records. He was a fine fellow, very jolly and a good organizer with a good head. He knew music very well, but he was just an ordinary piano soloist, nothing special.’’

Après avoir été congédié par Cook, St. Cyr avait rencontré un banjoïste appelé Dago qui était également chanteur. Après avoir fait quelques répétitions, le duo avait joué dans des courses de chiens à Gary, en Indiana avant de se produire dans des clubs de Kenosha et de Milwaukee au Wisconsin où il avait remporté un certain succès. Mais St. Cyr avait dû retourner seul à Chicago, car Dago s’était fait une petite amie à Milwaukee.

Le lendemain, St. Cyr était retourné à La Nouvelle-Orléans où il avait travaillé comme plâtrier tout en se produisant avec des groupes locaux avec de grands noms du Dixieland comme Paul Barbarin et Alphonse Picou.

ÉPILOGUE

Dans les années 1950, St. Cyr avait joué et dirigé un groupe appelé  Johnny St. Cyr and His Hot Five. Il avait aussi enregistré avec Paul Barbarin et George Lewis. Après être déménagé à Los Angeles en 1955 et être retourné à la musique à plein temps, St. Cyr avait dirigé le groupe Young Men from New Orleans de 1961 à sa mort en 1966. Parmi les membres du groupe, on remarquait le clarinettiste Barney Bigard.

Johnny St. Cyr est mort le 17 juin 1966 au General Hospital de Los Angeles. Il était âgé de soixante-seize ans. St-Cyr a été inhumé au Evergreen Cemetery de Los Angeles. 

Reconnu comme un pionnier du jazz, St. Cyr, qui s’était surtout fait connaître en enregistrant avec le Hot Five et le Hot Seven de Louis Armstrong de 1925 à 1927 (notamment sur les classiques Gut Bucket Blues et Heebie Jeebies), avait aussi joué et enregistré avec les  Red Hot Peppers de Jelly Roll Morton. Également compositeur, St. Cyr était l’auteur du standard "Oriental Strut", qui était connu pour ses accords particulièrement innovateurs. St. Cyr, qui jouait du banjo d’une façon complètement différente que les autres banjoïstes de son époque, se produisait sur un banjo à six cordes. Il excellait également à la guitare. St. Cyr avait d’ailleurs fabriqué sa propre guitare lui-même en modifiant un de ses propres banjos.

Johnny St. Cyr a été intronisé au sein du Banjo Hall of Fame en 2002.

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

SOURCES:

‘’Johnny St. Cyr.’’ Wikipedia, 2023.

‘’Johnny St. Cyr.’’ Jazz Journal, 2023.

‘’Johnny St. Cyr.’’ All About Jazz, 2023.  

‘’Johnny St. Cyr (1890-1966).’’ The Syncopated Times, 2023.

[makaibari]

From Leaf to Cup: The Fascinating Journey of Tea Production

Welcome to Makaibari Tea Estate, where every cup of tea tells a story of tradition, craftsmanship, and excellence. Join us on a journey through the intricate process of transforming Makaibari tea leaves into the finest Darjeeling brews, from the lush fields of our estate to your cup of steaming goodness.

Harvesting the Freshest Leaves

Harvesting tea leaves is similar to picking leaves from any other plant. It requires skill, especially for prized teas like Bai Mu Dan or Silver Tips Imperial. To gather these high-quality tea leaves, the top three leaves of the tea plant are carefully plucked because they are the sweetest and most nutritious. First, the top three leaves are identified, and then the stem of the tea plant is held a few millimeters below the third leaf. They are gently pulled upward until a small pop sound is heard, and the leaf is separated. Although this method of harvesting takes a lot of time, it results in excellent-quality tea.

Embracing Biodynamic Practices

Our commitment to sustainability and quality extends to our cultivation methods. Through biodynamic farming techniques, we nurture the soil and protect the ecosystem, allowing our Makaibari tea bushes to thrive and produce leaves of exceptional quality. By harnessing the natural rhythms of the earth and aligning our farming practices with cosmic influences, we cultivate teas that are not only delicious but also environmentally responsible.

Withering: Enhancing Aroma and Flavour

After harvesting, the Makaibari tea leaves undergo the withering process, where they are spread out to wilt naturally. This step allows moisture to evaporate from the leaves, intensifying their flavour and aroma while preparing them for the next processing stage. At Makaibari, we believe in the power of nature to enhance the quality of our teas and withering is where this journey begins.

Harnessing the Power of Sun and Air

Darjeeling's unique climate plays a crucial role in the withering process. Our Makaibari tea leaves bask in the gentle rays of the sun and are caressed by the cool mountain breeze, imparting a distinct character to our teas. The combination of sunlight and fresh air allows the leaves to undergo natural chemical changes, resulting in vibrant, aromatic teas and full of flavour.

Oxidation: Unveiling Depth and Complexity

Once withered, the Makaibari tea leaves undergo controlled oxidation, a crucial step in developing the complex flavours that define Darjeeling teas. During this process, enzymes within the leaves interact with oxygen, gradually transforming their chemical composition and creating layers of depth and richness. At Makaibari, our skilled artisans carefully monitor the oxidation process, ensuring that each batch of tea achieves the perfect balance of flavours.

Mastering the Art of Fermentation

Fermentation is where the magic truly happens. Our artisans carefully control temperature and humidity levels to facilitate the oxidation process, allowing the Makaibari tea leaves to develop their unique flavour profiles. This delicate art requires precision and expertise, as even slight variations in conditions can impact the final taste of the tea. At Makaibari, we take pride in our mastery of fermentation, producing teas that are nuanced, vibrant, and full of character.

Drying and Sorting

After oxidation, the Makaibari tea leaves are gently dried to halt the fermentation process and preserve their freshness. This final step ensures that our teas retain their vibrant flavours and aromas, ready to be enjoyed by tea lovers around the world. At Makaibari, we use traditional drying methods such as sun drying or indoor drying, depending on the specific characteristics of each tea.

Handcrafted with Care

Once dried, the Makaibari tea leaves undergo meticulous sorting by our skilled artisans. Each leaf is carefully inspected and graded based on size, shape, and quality, ensuring that only the finest leaves make it into our final blends. This hands-on approach to tea production ensures consistency and excellence in every cup, reflecting our dedication to crafting teas of the highest caliber.

Moonlight Plucking Under Darjeeling's Sky

At Makaibari, we begin our tea production process with moonlight plucking, a time-honoured tradition unique to Darjeeling. As the moon casts its ethereal glow over our tea gardens, skilled pluckers carefully select the freshest leaves, ensuring optimal flavour and aroma. This method, practiced during specific phases of the lunar cycle, allows us to capture the essence of the Makaibari tea leaves at their peak, resulting in teas of unparalleled quality.

From leaf to cup, the journey of tea production at Makaibari Tea Estate is a testament to our unwavering commitment to excellence and tradition. With each sip of our Darjeeling brews, you embark on a sensory adventure that celebrates the rich heritage and natural beauty of our beloved estate. Join us in experiencing the magic of Makaibari, where every cup tells a story of passion, craftsmanship, and unparalleled quality.

Published On = https://makaibari.in/blogs/news/from-leaf-to-cup-the-fascinating-journey-of-tea-production

[christophe76460]

Les richesses terrestres ou la vie éternelle ?

Proverbs, 11:4

Riches do not profit in the day of wrath, but righteousness delivers from death.

Proverbes, 11:4

Les richesses ne servent à rien au jour de la colère, mais la droiture délivre de la mort.

1 Timothy, 5:8

But if anyone does not provide for his relatives, and especially for members of his household, he has denied the faith and is worse than an unbeliever.

1 Timothée, 5:8

Mais si quelqu’un ne prend pas soin des siens, et surtout ceux de sa maison, il a renié la foi, et il est pire qu’un infidèle.

Proverbs, 10:22

The blessing of the Lord makes rich, and he adds no sorrow with it.

Proverbes, 10:22

La bénédiction du SEIGNEUR est ce qui enrichit, et il n'y ajoute pas de chagrin.

Proverbs, 11:28

Whoever trusts in his riches will fall, but the righteous will flourish like a green leaf.

Proverbes, 11:28

Celui qui se confie en ses richesses tombera ; mais les [hommes] droits prospéreront comme une branche.

James, 5:1-5

Come now, you rich, weep and howl for the miseries that are coming upon you. Your riches have rotted and your garments are moth-eaten. Your gold and silver have corroded, and their corrosion will be evidence against you and will eat your flesh like fire. You have laid up treasure in the last days. Behold, the wages of the laborers who mowed your fields, which you kept back by fraud, are crying out against you, and the cries of the harvesters have reached the ears of the Lord of hosts. You have lived on the earth in luxury and in self-indulgence. You have fattened your hearts in a day of slaughter.

Jacques, 5:1-5

Allez maintenant, vous hommes riches, pleurez et hurlez, à cause des misères qui vont venir sur vous.

Vos richesses sont pourries, et vos vêtements sont rongés par les mites.

Votre or et votre argent se sont rouillés, et leur rouille sera en témoignage contre vous et dévorera votre chair comme le feu. Vous avez amassé un trésor pour les derniers jours.

Voici, le salaire des ouvriers qui ont moissonné vos champs, et dont vous les avez frustrés, crie; et les cris de ceux qui ont moissonné sont parvenus aux oreilles du Seigneur des armées.

Vous avez vécu dans les plaisirs sur la terre et dans le luxe, et vous avez rassasiés vos cœurs comme en un jour de l’abattage.

Proverbs, 16:8

Better is a little with righteousness than great revenues with injustice.

Proverbes, 16:8

Mieux vaut peu avec droiture, que de grands revenus sans droiture.

Luke, 18:22-30

When Jesus heard this, he said to him, “One thing you still lack. Sell all that you have and distribute to the poor, and you will have treasure in heaven; and come, follow me.” But when he heard these things, he became very sad, for he was extremely rich. Jesus, seeing that he had become sad, said, “How difficult it is for those who have wealth to enter the kingdom of God! For it is easier for a camel to go through the eye of a needle than for a rich person to enter the kingdom of God.” Those who heard it said, “Then who can be saved?”

And he said, The things which are impossible with men are possible with God. Then Peter said, Lo, we have left all, and followed thee. And he said unto them, Verily I say unto you, There is no man that hath left house, or parents, or brethren, or wife, or children, for the kingdom of God's sake, who shall not receive manifold more in this present time, and in the world to come life everlasting.

Luc, 18:22-30

Et quand Jésus entendit ces choses, il lui dit: Il te manque encore une chose; vends tout ce que tu as, et distribue-le aux pauvres, et tu auras un trésor dans le ciel; et viens, suis-moi.

Mais quand il entendit cela, il devint très triste; car il était fort riche.

Et quand Jésus vit qu’il était devenu tout triste, il dit: Combien il est difficile pour ceux qui ont des richesses d’entrer dans le royaume de Dieu!

Car il est plus facile à un chameau d’entrer par le trou d’une aiguille, qu’à un homme riche d’entrer dans le royaume de Dieu.

Et ceux qui l’entendaient dirent: Qui peut alors être sauvé?

Et il dit: Les choses qui sont impossibles aux hommes sont possibles avec Dieu.

Puis Pierre dit: Voici, nous avons tout quitté, et nous t’avons suivi.

Et il leur dit: En vérité je vous dis, il n’y a aucun homme qui ait laissé maison, ou parents ou frères, ou femme ou enfants, pour la cause du royaume de Dieu,

Qui ne reçoive beaucoup plus en ce temps présent, et, dans le monde à venir, la vie éternelle.

Proverbs, 27:24

For riches do not last forever; and does a crown endure to all generations?

Proverbes, 27:24

Car les richesses ne sont pas éternelles, et la couronne dure-t-elle de génération en génération?

[adelha-mathilde]

Wesson was the happiest puppy alive, zooming back and forth to either chase the ball or bring it back. Always wagging that tail to yip or ruff at his best friend with encouragement. Only stopping to give the blonde's fingers puppy kisses. The jump into the blonde's arms followed by face licks and happy growls of endearment. Wesson is so glad to have this new best friend. Only giving a yawn for a second before zooming off to get the ball and bring it back. A bit slower than before, but still so eager to play with the blonde. It wouldn't be long now until the tired hit the joyful pup.

Adelha nodded to fetch a few things from both the duffel bag she set down as well as the mini fridge in the hotel room. Lots of graceful ease of movement as she began making the tea with loose leaf tea she pours from a tin. "White Peony Tea it is then. better known as Bai Mu Dan to many tea experts. But you are no bother at all, crimson bird. One of life's great joys is the treasure of company and communication. So you are welcome here and I am sure the both of us will enjoy spending our time together."

The lady soon is set up to start boiling the pasta noodles and chopping up the other vegetables with movements that prove the lady is well versed in the ways of cooking. The few spices on the counter measured and added to a pan of sauce as the lady hums a warm tune. Yet she does pause when the gentle sound of a meow escapes from under the hotel room bed. A very fluffy kitten soon crawling out from her hiding place to stretch and yawn. Soft grey white fur and the most vibrant blue eyes meeting the gaze of the blonde before the kitten scampers right to Adelha to wind around her leg and purr. Making Adelha openly chuckle and speak with great affection. "Good afternoon, Aqua. I see you've roused from your royal siesta. While probably using one of my socks for a pillow. You will do your best to behave when we have a guest. So be nice."

Aqua gives a mew of agreement to then clamber right up Adelha's long green dress and all but perch herself like a bird on Adelha's shoulder. The kitten chewing on locks of silver white hair as Adelha continues cooking. Like this is a normal thing that happens all the time. While Wesson brings the ball back to then give another huge yawn and flop over the blonde's leg. Finally stopping in play time to grump at having no more energy to play. The perfect chance to set a puppy in the wooden wash tub Adelha left out and give Wesson a bath.

Adelha watches the two play with the ball to give the shy blonde all of her attention. Looking both amused and content with the answer he gives. As if it's okay for the blonde to dodge a real answer to her given questions. Like he is allowed to be whoever he feels comfortable being without any hard feelings. While Wesson zooms about the floor to chase after the ball without any care or concern to the conversation. The puppy only interested in playing with his new best friend. But Wesson does that a pause when he ends up in a lap to ruff and stand on his hinds legs to give the blonde a few chin licks. Then the puppy is zooming off to catch the ball once more.

The lady chuckles to soon move to the small kitchen in the single room. Her first order of business being to remove the evening gloves she's had on this entire time. The grey cloak soon to follow. Which reveals a long green dress of the most deep green hue. So long it hides her feet from view. Adelha moves to the kitchen sink to start scrubbing her hands with a bar of herbal soap. The blonde might catch sight of her left hand and arm as she hums a tune to her scrubbing regiment. Which would show an old burn that goes from her knuckles and all the way up her left arm. The lady soon fetching a towel to wipe off both hands and turn to look to the blonde with a smile. "One of the many joys of life is forging friendships and spoiling puppies. Even if the dog hair can be a bit of a chore to clean up from floors and clothes. So I am more than glad to treat you to good food and fun playtime with Wesson."

Adelha then has a thought to ask the blonde, "Is there anything you are unable to eat? Or anything that you dislike? The choices for a home made meal are meat stew, pasta with seafood in it, or a rice dish. Each choice will have a good amount of vegetables. Since I am one that insists on getting your daily serving of veggies as much as meat and grains. For drinks we may enjoy iced tea with a surprise fruit added in. Or I have some bourbon stashed away."

[ussery-dfw-photo]

Daniel Markham at Dan’s Silver Leaf on March 7, 2020

[thewordjunkyard]

Phantasty Phest Day 1

Note: I thought I would try my hand at this since I’ve been watching a lot of fantasy shows recently. The prompt is Canon Rewrite. It short, but it basically a rewrite of the beginning scene of Mystery Meat before the intro plays, if it was fantasy. 

_

“GHOSTS!” a man in an orange jumpsuit boomed. His natural loud voice was amplified by the echo off the underground lab’s metal walls. He was speaking to a group of three teenagers sitting in fold-out chairs. “These monsters of post-human consciousness and Dark Magic have been the bane of Amity Park existence for over a hundred years! Ever since that vile Necromancer cursed this land!” Proclaimed the man, Jack Fenton, as he shook his fist at the ceiling.

“Umm Dad?” Danny Fenton, a young man with blue eyes and dark hair, spoke.

“Yes Danno?” Jack smiled.

“Are you sure it's “Dark” magic and not just natural ambient magic of the land?”  Sam Mansion spoke up and argued. She narrowed her violet eyes at the elder Fenton in defiance. Danny sunk in his seat.

Jack beamed. “Of course! Amity Park is located in the Kent Bones lands, which has the highest concentration of Dark ambient magic than other regions. And even though we are close to the edge of the region, we have the highest concentration of Dark magic in the region thanks to Pariah Dark, the tyrant Necromancer! Ghosts and the Undead are a leading problem here more than other places.” Jack explained. “So Ghosts are made of Dark Magic! So me and Mads built this!”

Jack pointed behind the group. A giant hexagonal hole marked off by black and yellow tape sat in the far wall. It glowed a soft green that lit up the room. It gave off a warmth that surrounded them and sunk deep into their bones.

“Its the Fenton Portal! We theorize that Magic, all Magic, has a point of origin beyond this plane of existence we know! So we built this portal to gain access to the Dark magical plane to study and remove Amity Park’s Dark Magic!... But so far it just produces Magical energy that we've been converting to power the house. A great source of clean energy! A lot of people have been interested in that but more details need to be studied before we can safely use it for other things.”

Jack turned around to go through a box of inventions. He continued on about theories of magical planes and its balance to the earth in his search for one of his inventions.

“Dude, you sure your parents aren’t Mages?” Tucker, a young man in a red beret, asked as he looked around the room. “They sure know how to incorporate it into technology.”

Danny put his head in his hands. “Yeah… they’re just inventors. Who freaking punched a hole in reality.”

Huffed Sam. “Well at least it’s a clean source of energy.” She leaned over and whispered to Danny. “Your Dad needs to have a lesson about Dark magic and Forbidden magic. Dark magic isn’t evil!”

“I know but me and Ja-“ A cold hiccup interrupted Danny. “Oh no.”

“Dan-MMM!!” Tucker was plucked off the floor by a large ghost octopus. Its green tentacles wrapped around his torso and head; pinning Tucker’s arms to his sides and blocking his nose and mouth.

Sam scrambled out of her chair to her spider shaped backpack and grabbed her Ward Stone, a stone imbued with Light magic to combat the Undead and Ghosts. As she turned back around to save her friend, she saw Tucker shaking like a leaf on the ground. He looked fine

Danny was standing close by with his hands glowing green as the ghost shot back through the ceiling. His hair was white and eyes were blazed the same color as his hands. They faded back to their natural colors as the magic disappeared from his fingertips.

Jack turned around with a silver and green thermos. “-and this is the Fenton Thermos! This bad boy can trap and spook! Just point and click this button, with the cap off of course, and Va-La!” Jack furrowed his brows. “Umm, did I miss something?”

The trio looked at him wide eyed. “…Dad, we need to re-Ward the house.” 

Jack blinked. “…Oh…”

[azure-wolf-227]

Hamefura x Pokémon AU: Other Teams

Since I already explained the Teams for the main characters, I’ll be sharing what Pokémon other characters have. 

I’m open to suggestions of what other Pokémon fit these characters as well as Pokémon suggestions for characters not mentioned here.

Note: Only canon characters will be mentioned here. My OCs will get their own post.

Parents

Luigi Claes

Mudsdale - First Pokémon/Partner; reference to @dulcito-on-ao3, @cyclaes and my headcanon that Luigi like horses.

Flygon - a gift from Millidiana

Several other Ground and Rock-Types

Millidiana Claes

Garchomp - First Pokémon/Partner - Scary mother, scary land shark.

Lunatone - a gift from Luigi; references how the second part of her name is associated with the moon.

Several other Dragon-Types: Salamence, Haxorus, and Kommo-o

King Owen Stuart

Shiny Arcanine - Partner - I just feel that this sounds like a majestic Pokémon fit for a king.

Volcarona - another Pokémon that seems fit for a king.

Charizard that can Mega-Evolve into Charizard X - just felt right to give him this Pokémon; I chose X because blue fts silver hair and dragons are associated with royalty

Ceruledge - a knight Pokémon to protect the king; I chose this one because blue fits silver hair and as a reference to one of @dulcito-on-ao3 stories where the silver-haired royals can see ghosts.

Baxcalibur - a gift from his wife; the reference to Excalibur gives it royal association.

Queen Giulia Stuart

Alolan Ninetales - Partner - rare and beautiful Pokémon fir for a queen.

Empoleon - the “emperor” reference fits with Royalty

Armarouge - gift from her husband; a knight to protect the queen; red goes with blonde hair

Dan Ascart

Unfezant ♂ - Partner - no specific reason besides giving him a Flying-Type

Corviknight - like father, like son. Reference to @cyclaes‘s headcanon that the Ascarts have a crow of their coat of arms.

Beautifly - he is a handsome man so he gets a beautiful Pokémon

Gallade - a gift from his wife

Radea Ascart

Ribombee - Partner - no specific reason besides giving her a pretty Pokémon as a partner. Since her father is the Bug-Type specialist of the Elite Four, it also fits.

Milotic - a beautiful Pokémon for a beautiful woman; yellow skin with reddish eyes fit Radea’s blonde hair and reddish eyes.

Gardevoir - like mother, like daughter

Unfezant ♀ - a gift from her husband

Siblings, their fiancées, and others close friends

Geoffrey Stuart

Vaporeon ♀ - First Pokémon - bigger than average; a reference to @dulcito-on-ao3 story ‘Cute and Fluffy!’

Girafarig - it has two-faces and Geoffrey is two-faced

Mime Jr - just imagine how cute and funny it would be if this guy copies Geoffrey's bombastic gestures

Ian Stuart

Espeon ♂ - First Pokémon - a reference to @dulcito-on-ao3​ story ‘Cute and Fluffy!’

Froslass - because he is stoic and seemingly cold to his fiancé

Suzanna Randall/Larna Smith

Alakazam - Partner as Suzanna - has an IQ of 5,000 and Suzanna is considered the smartest woman in the kingdom

Zorua - Partner as Larna - its ability to change it’s form fits with Larna’s talent for disguises

Ditto - another reference to Larna’s talent for disguises

Sigilyph - it's the best I found to reference Larna’s interest in ancient magic tools Gengar - it's a mischievous Pokémon and Suzanna/Larna has a mischievous side

Pidgeot - a Flying-Type to match her wind magic

Several other psychic-Types most often used when she is in her Suzanna persona as the Randall family are supposed to be Psychic-Types specialists.

Selena Burke

Eevee/Leafeon♀ - Partner - initially held an Everstone since it was nervous about evolving - reflecting Selena's lack of confidence. Once they both gained confidence during battle, Eevee signaled to Selena to throw at Leaf Stone, letting her evolve into Leafeon. As Leafeon, she gains resistance to Electric-Types, making it a contrast to Selena’s family of Electric-Types specialists. (It used the be Sylveon because it is a cute Pokémon and Selena is very cute (according to Ian)).

Dedenne - a cute Electric-Type cause her father is the Electric-Type Arena Champion

Several cute but surprisingly skilled Pokémon.

Anne Shelly

Indeedee ♀ - Partner - a maid Pokémon, and a good babysitter because Anne was pretty much the kids’ babysitter Blissey - a caring Pokémon

Antagonists (Reformed and Current)

Sora Smith (Reformed)

Alolan Raticate - a reference to his past as a street-rat

Thievul - another reference to his past as he had to steal to survive; I imagine that this guy and Raticate have been with him since he was a kid.

Umbreon ♀ - he meets this one as an Eevee after he joins the MInistry and it soon evolves; Katarian is thrilled that they both have the same Eeveelution, much to her friends’ jealousy.

Sarah

Hydreigon -  a reference to the Dark Dragon Familiar from LN6.

Noelia Flores

Flareon♂ - I imagine her using the fact that they both have Flareons to get close to Prince Geordo, with little success; this Flareon is just as arrogant and spoiled as his Trainer; it’s also one of the few Pokémon Noelia evolves

Fennekin - another cute Fire-Type; it holds an Everstone because Noelia wants to keep it small and cute

Glameow - another fancy Pokémon that is just as spoiled as its Trainer; it holds an Everstone because Noelia doesn’t want it to evolve since its evolution is “ugly.”

I also imagine that Noelia doesn’t bother training her Pokémon

[newmic]

Kalvis Zuters Né en 1969 à Jelgava / Lettonie Education 1998 Diplômé du Département de Peinture de Lettonie Academy of Art 1989 Diplômé de l'..

Ses personnages, énigmatiques poupées articulées au doux et mystérieux regard, semblent venus d'un autre monde. Il dote ses images peintes avec son expérience de la vie - un monde privé inhabituelle et particulière, soigneusement gardé avec une certaine dose de solitude. Il est un artiste capable de défendre son espace créatif contre les irritants de la saturée monde extérieur pour la «construction complète ensanglanté" de la vie de ses personnages, matérialisée dans images métaphysique en Lettonie, kalvis Zuters diplômé de l'Académie lettone de l'Art dans 1993, avec une spécialisation en peinture. Il est connu pour les surfaces magistrales de ses peintures, qui disposent de chiffres de poupée énigmatiques et se caractérisent par des glacis lumineux, couleurs douces, l'utilisation sélective de la feuille de métal, et la texture visuelle remarquable. Ses tableaux sont un mélange simple et précieux d'abstrait et de figuratif, une fusion entre réel et imaginaire. Les couleurs sont douces et l'utilisation de feuilles d'or et d'argent rendent la texture visuelle remarquable.

***

Kalvis Zuters Born in 1969 in Jelgava / Latvia Education 1998 Graduated from Painting Department of Latvia Academy of Art 1989 Graduated from..

His characters, enigmatic articulated dolls with a soft and mysterious gaze, seem to come from another world. He endows his painted images with his experience of life - an unusual and peculiar private world, carefully guarded with a certain dose of loneliness. He is an artist capable of defending his creative space against the irritants of the saturated outside world for the "complete bloody construction" of the lives of his characters, materialized in metaphysical images in Latvia, Kalvis Zuters graduated from the Latvian Academy of Art in 1993, specializing in painting.He is known for the masterful surfaces of his paintings, which feature enigmatic doll figures and are characterized by bright glazes, soft colors, the selective use of metal leaf, and the remarkable visual texture.His paintings are a simple and precious mixture of abstract and figurative, a fusion between real and imaginary.The colors are soft and the use of gold and silver leaves make the visual texture remarkable.

Artiste, Kalvis Zuters