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middle-ans · 5 hours ago

Note

For the valentines prompts, maybe an 1960 one. Any ideia you have (I’m not that creative 😅

First, I was stuck, what would I do? Hm, I have a 1960s au and that was all I thought about for the setting, but then, God, it hit me how wonderful your request is just because of that! Thank you so much, and I hope however unexpected this is, you will like it! ♥️

American magnate Lewis, heavily married & Parisian Burlesque pearl George - 1960s

tw: if this may be named so, here’s an exploration of trans character, in ways that were possibly open for people in 1960s, one mention of racism (literally 4 words, but I can’t not mention it)

Valentine’s story card requests

Paris, 1966

The argument had been volcanic. Clarissa’s shrill voice still rang in Lewis’s ears as he stormed out of their rented penthouse near Place Vendôme, the gilded doors slamming behind him like a punctuation mark to another chapter of marital warfare. She’d thrown a Lalique vase this time - a wedding gift from her father, a steel magnate who’d once called Lewis ‘ambitious for a colored man’ over champagne flutes at the reception. The vase had missed, shattering against the marble fireplace. Lewis didn’t flinch. He never flinched anymore.

Paris in October was a lover’s whisper, all amber streetlamps and crisp air scented with chestnut roasters and Gauloises cigarettes. Lewis wandered aimlessly, his tailored charcoal overcoat flapping as he cut through the labyrinth of Le Marais. He didn’t belong here, not really. Not in this city of poets, not in a marriage that had curdled into mutual contempt. At 35, he was a titan of American aerospace - a self-made millionaire whose Hamilton Dynamics had revolutionized Cold War radar systems. But tonight, he felt like a boy playing dress-up, his hair chemically straightened and combed into submission, his beard trimmed to corporate acceptability. A costume.

A flicker of neon caught his eye. Tucked between a couture atelier and a perfumerie, a narrow door glowed crimson beneath a wrought-iron sign: Le Phénix Noir. The entrance was unmarked, nearly invisible unless one knew to look. Lewis hesitated, then pushed inside.

The air thickened instantly - smoke, jasmine perfume, the thrum of a jazz quartet. Le Phénix Noir was a velvet womb, all burgundy drapes and low-lit chandeliers casting honeyed light over circular stages where dancers moved like smoke given form. A hostess in a sequined leotard arched a brow.

“Monsieur désire une table?”

Lewis nodded mutely. She led him to a plush sofa near the stage, where he ordered a whiskey, neat. The club hummed with a decadence that felt dangerous, alive. Women in feathered headdresses and men in lace corsets twirled on tabletops, their bodies a language Lewis had never been taught to speak.

Then the lights dimmed. A hush fell.

“Mesdames et messieurs… notre étoile filante, notre George…”

The crowd erupted. A single spotlight pierced the haze, and he emerged.

George was a collision of contradictions - willowy yet commanding, ethereal yet electric. His porcelain skin glowed under the lights, draped in a gown that defied description: cascading silk the color of midnight, threaded with diamonds that caught fire with every step. Sheer mesh sleeves clung to his slender arms, and a fur stole slithered down his shoulders like liquid shadow. His face was a Renaissance angel’s - soft brown curls framing wide, hypnotic blue eyes, lips painted a provocative rouge.

The music swelled - a sultry clarinet, a prowling bassline. George moved as if his bones were made of mercury, hips undulating, arms weaving spells. The crowd leaned in, breathless, but George’s gaze locked onto Lewis.

He stepped off the stage.

Applause morphed into gasps as George glided between tables, his stiletto heels clicking like a metronome. Lewis froze, his whiskey forgotten. Up close, George’s perfume was intoxicating - bergamot, vanilla, a hint of sweat beneath the sweetness. Without breaking rhythm, George straddled the sofa, sliding his legs over Lewis’s thighs with the precision of a predator.

“Bonsoir, monsieur,” George purred, voice a velvet rasp. His French was melodic, but when Lewis stiffened, he switched seamlessly to English. “Ah. American. Let me guess… New York? No - California. You have the tan of someone who’s flown too close to the sun.”

Lewis’s throat tightened. George’s thumb brushed his cheek, lingering near the faint scar from a childhood fall in Alabama.

“A wife problem,” George murmured, not a question. “She doesn’t see you. Not the real you. Just the… costume.”

The accuracy was a sucker punch. Lewis’s hand twitched, aching to fist in George’s curls, to map the dip of his waist.

“How-?”

“Your wedding band is pristine. No scratches. You don’t touch it, even when you’re angry. And your eyes…” George leaned closer, his breath warm. “They’re the saddest I’ve seen all week.”

The music crescendoed. George arched backward, his spine a perfect curve, the gown slipping to reveal a sliver of alabaster stomach. Lewis’s pulse roared. This was madness. Scandal. Yet when George rose, trailing a gloved finger down Lewis’s tie, it felt like absolution.

“Stay for the encore, Mr…?”

“Hamilton. Lewis.”

George’s smile was a knife.

“Lewis. You’ll find the exit locks at midnight.”

He vanished in a swirl of silk, leaving Lewis trembling, alive in ways he’d forgotten he could be.

Somewhere across the city, Clarissa screamed into a telephone.

Lewis ordered another drink. He'll go and do whatever slips out of those lips.

The private booth was a cocoon of shadow and silk, lit only by a single amber lamp shaped like a panther’s head. George’s gown for this act was sheerer now - a cobweb of black lace that clung to his lithe frame, the diamond straps digging into his shoulders like constellations. Lewis’s gaze lingered on the soft curve of George’s chest, exposed as he pivoted, the fabric slipping. A flicker of confusion crossed his face.

George noticed. He paused mid-spin, tilting his head.

“You look like a man who’s just solved a puzzle,” he said, perching on the arm of the sofa. His voice was light, but his knuckles whitened on the velvet.

Lewis cleared his throat.

“I thought… you were a man.”

“I am,” George replied, chin lifted. “But the world stamped me ‘mademoiselle’ at birth. A clerical error, non?” he laughed, brittle as sugar glass. “I correct it nightly, here.”

Lewis frowned.

“You… choose this?”

George’s smile sharpened. He slid into Lewis’s lap, the heat of him searing through layers of wool and lace.

“Choice is power, Mr. Hamilton. Do you know what that feels like? To claw back your own name?” his fingers traced Lewis’s jaw. “Or do you let others write your story? Your wife, your boardroom… that hair.”

Lewis flinched. George’s thumb brushed his slicked-back curls, now fraying at the temples.

“I see you,” George whispered. “The man beneath the armor.”

The air thickened. George rose, the lace gown pooling at his feet. Beneath it, he wore only a silk slip, the fabric translucent. His body was a paradox - narrow hips, delicate collarbones, the faint swell of breasts that he made no effort to hide. Lewis’s breath hitched.

“You think this is a contradiction,” George said, stepping closer. “But I am whole. More than your wife, with her cold jewels and colder heart. She wears her costume to please others. I wear mine to burn.”

Lewis’s restraint snapped. He caught George’s wrist, pulling him down. George gasped.

“No touching-” but Lewis’s voice was raw.

“Stay.”

For a heartbeat, George hesitated. Then he smirked.

“Private shows cost extra, money man.”

“Name the price.”

George laughed, low and throaty.

“Not francs. Truth. Tell me why you’re really here.”

Lewis’s grip tightened.

“Because you’re the first real thing I’ve seen in years.”

The admission hung between them. George’s mask slipped - just a flash of vulnerability - before he straddled Lewis again, his movements deliberate now.

“Touch me,” he commanded, guiding Lewis’s hands to his waist. “Here. And here.”

Lewis obeyed, calloused palms skimming silk and skin. George’s breath quickened, his hips rolling in a slow, taunting rhythm.

“You’ve never wanted someone like me,” he murmured.

“No,” Lewis admitted. “But I want you.”

Their first kiss was a collision - messy, desperate, George’s rouge smearing across Lewis’s mouth. George moaned, fingers tangling in Lewis’s hair, ruining its polished facade.

“Mon Dieu,” he gasped, pulling back. “I don’t… I don’t do this.”

“Liar,” Lewis growled, reclaiming his lips.

George melted, his performative poise crumbling. For once, he was the one trembling, undone by a man who saw him not as scandal or spectacle, but as George. When they broke apart, George’s makeup was a war paint of smudged kohl and flushed skin.

“You’ll come back,” he said, breathless. “Tomorrow.”

“Why?”

“Because,” George whispered, biting Lewis’s earlobe. “You’re finally awake.”

Outside, Paris dawned gray and indifferent. Lewis walked back to his gilded cage, the taste of George’s defiance still on his tongue. Clarissa’s shrill demands echoed down the hall.

He smiled.

He only knew that the next day would bring more opportunities than the shackles of his position had managed to take away in all these years.

The Seine glinted like crumpled tinfoil under the morning sun. Lewis sat at a wrought-iron café table, his coffee gone cold, his mind still feverish with the memory of George’s mouth, his hands, the way silk had slithered like a confession between them. The café hummed with ordinary life - students sketching in notebooks, old men arguing over Le Monde, the clatter of spoons against porcelain. Lewis hardly noticed.

Until he walked by.

The young man wore a dove-gray trench coat, collar upturned against the autumn chill. His stride was unhurried, almost shy, as he claimed a table near the river’s edge. Lewis glanced up absently - then froze.

George.

Without the stage lights, the diamonds, the armor of makeup, he was a different creature. His face was bare, freckles dusting his nose, his curls tousled by the wind. The tailored slacks and crisp white shirt were impeccably masculine, yet they clung to his willowy frame with a quiet defiance. He ordered a café au lait in soft, accented French, a book peeking from his coat pocket: Giovanni’s Room.

Lewis stood so abruptly his chair screeched. George’s head turned - those blue eyes widened, then narrowed in recognition. For a heartbeat, he looked panicked, fingers tightening around his coffee cup. Lewis approached, his pulse roaring. Up close, George’s vulnerability was disarming. No rouge to harden his lips, no kohl to sharpen his gaze. Just pink-tinged cheeks, chapped lips, a boy who might’ve been plucked from the Sorbonne’s steps.

“May I?” Lewis gestured to the empty chair.

George hesitated, then nodded. His voice, when it came, was quieter.

“Stalking me, Mr. Hamilton?”

Lewis sat, studying him.

“You’re…” he faltered, uncharacteristically lost. “Christ. You’re even more beautiful like this.”

George’s laugh was startled, genuine. He traced the rim of his cup.

“Careful. That almost sounded like poetry.”

“It’s the truth,” Lewis leaned forward, elbows on knees. “Last night, you said I was wearing a costume. What about you? Which is the real George?”

The question hung between them. A barge drifted by on the Seine, its horn low and mournful. George’s gaze flicked to Lewis’s wedding band.

“Both. Neither,” he shrugged. “I dress for the war I’m fighting. Last night, it was against boredom. This morning?” he nodded to a pair of gendarmes across the street, their eyes lingering on his delicate hands. “Survival.”

Lewis followed his gaze, a muscle twitching in his jaw.

“Come away with me,” he said suddenly. “Now. Let them stare somewhere else.”

George arched a brow.

“And where would we go?”

“Anywhere. Nowhere,” Lewis’s voice roughened. “I don’t care.”

For a long moment, George studied him - the desperation beneath the demand, the cracks in his polished veneer. Then he stood, tossing francs onto the table.

“Walk with me,” he said, buttoning his coat. “But no touching. Paris has eyes.”

They wandered the quayside, leaves crunching underfoot. George lit a Gitane, the smoke curling around his words as he spoke of growing up in Montmartre, a butcher’s daughter who stole her brother’s trousers and never gave them back.

“Maman cried when I cut my hair,” he said, grinning. “Papa threw a sausage at my head. It’s how I learned to duck.”

Lewis laughed, the sound foreign to his own ears. He’d forgotten how it felt - laughter unchained, uncalculated. George’s stories were a balm, his wit a scalpel slicing through pretense. By the time they reached Pont Neuf, Lewis had shed his overcoat, his tie loosened, his hair a lost cause.

George paused at the bridge’s apex, staring down at the river.

“You’ll go back to her, you know,” he said quietly.

Lewis stiffened.

“Clarissa?”

“To America. To your factories and your fences,” George flicked his cigarette into the Seine. “You’re not built for chaos, mon chéri.”

“You don’t know me.”

“Don’t I?” George turned, leaning against the stone parapet. “You reek of duty. Of guilt. You’ll leave this city and bury last night in some vault, next to your childhood dreams.”

The words stung because they were true. Lewis stepped closer, ignoring the “no touching” rule.

“What if I don’t want to bury it?”

George’s smile was sad.

“Then you’re a fool,” he pushed off the bridge, brushing past Lewis. “Come. There’s a cinema near Rue Champollion - they’re showing Belle de Jour. Let’s see if you can sit through an entire film without checking your watch.”

Lewis followed, as he knew he always would.

Somewhere in the Latin Quarter, Clarissa dialed her lawyer.

The afternoon bled into evening, gold to blue to black. George never once reached for Lewis’s hand.

He didn’t need to.

#valentine’s story cards #gewis fic #gewis #george russell #lewis hamilton #trans character #burlesque

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itsyoung8 · 9 months ago

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Lucky De Luca headcanons

Bonjour à toutes et à tous! As you probably know, Rockstar Games didn't put Lucky very much in the spotlight in the game, even making him almost invisible. Also, I see that there isn't a lot of content on Lucky here either. That's why I'm offering you headcanons on it so that people have the vision on it!

Lucky never rests. He's always working on something

Even when he's having lunch, he's doing something on the side. Other greasers are worried about his health

He's not very talkative. He'd rather listen than talk

That's why most greasers will confide in him. But when he speaks, he always gives good advice.

With Ricky and Johnny, he often races bikes through Bullworth

Like Tom, where the others will rush headlong, Lucky will first analyze the situation before acting

While repairing cars or bicycles, he can be heard humming along to sounds of jazz, blues, rock, etc. It relaxes him

He is a very good dancer but he only likes to dance in front of people other than his family and friends

Her denim jacket is a gift from her family. Since he got it, he never leaves it, even in winter

He only takes off his jacket at home or to put it around a girl's shoulders if she is cold

He's very lucky (lol) with the ladies. He must be a very great gentleman

He doesn't like video games because he sucks. Often he watches others play

He watches westerns or movies or series with action on television

He rarely drinks alcohol. He prefers to drink water

He reads crime novels

End of my headcannons on Lucky! While writing them, I imagined a one-shot about him, don't ask me why. Maybe one day I'll make one, who knows?

#bully canis canem edit #bully cce #bully scholarship edition #canis canem edit #lucky de luca

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red-bat-arse · 1 year ago

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I Got a Problem 🎸🎶🎻

AO3

Chapter One

Eddie 'The Freak' Munson, famous for bringing rock to new heights with his band Hellfire, listens to everything but Country. 'King' Steve Harrington, leading light of the new generation of traditional Country artists, has a few thoughts about that.

=<+>=

Eddie Munson did not normally find himself accused of being musically pigeonholed.

He'd played alongside punk bands in his early touring days, and grew up on jazz and the blues from his mum and uncle. His hits on the pop charts prompted a few collaborations with electronic and indie artists, and his sophomore album featured a few rappers who wanted to get experience with rock. Metal was his bread and butter, he had a soft spot for soulful folk ballads, and given his close friendship with Argyle he was more than familiar with reggae and funk and all varieties of stoner music.

Of course, you could probably guess that the exception to all that was the ever contentious genre of country. However that wouldn't be a problem, wouldn't even be on Eddie's radar, if not for the batshit insane decision Hopper made in a diner three blocks away from the studio the week prior.

Eddie scowled and shot Jeff another look when his vocalist snickered at his expense. On the other side of the room this party was happening in, he could see Steve Harrington talking with Dustin and laughing at whatever the kid was frantically gesturing about.

He was dressed in a embroidered beige western shirt with pearls on the long cuffs, blue jeans with a brown belt and a big copper buckle, and honest to god cowboy boots that matched the ensemble. His hair was styled high and his biceps strained the shirt sleeves a little, and when he turned on his heel to follow Dustin's pointer figure Eddie was briefly overcome with lust at the amazing ass in his direct line of sight.

"I don't care," he pronounced finally, twitching as Harrington spun back and ruffled Dustin's hair, grinning wide when the kid squawked in outrage. Jeff outright snorted and Eddie glared harder. "I think doing this before we move to a bigger space is stupid, but all power to the Chief if he thinks we can make it work."

"Don't care at all, got it," Gareth said, coming up beside him. "It's just business concerns. Like, our assets."

"See, why can't you be more like Gareth, Jeffery? He knows exactly what i'm talking about," Eddie slung an arm over Gareth's shoulders -and he must be in a good mood because he didn't duck away. "Business assets."

"More like his ass-et," Jeff muttered, and Eddie valiantly ignored him.

Five days ago Hopper walked into the studio's monthly brunch and introduced them all to one Joyce 'Mama' Byers -which, okay, even Eddie knew who she was -and dropped the bombshell that she signed on with them two days prior. Once the commotion died down she was the one who dropped the next one, informing them all that they'd soon be sharing close quarters with nine other artists from her former label, preeminent among them the one who convinced them all to walk out, that being Steve Harrington.

All ten of them were country artists. Prison Break Records hadn't put out any music that wasn't solely rock or metal in it's entire eight years of existence. To say there was a bit of culture shock going around was an understatement.

"Give them a chance, Ed," Grant passed by with a few cans of coke tucked into the crook of his arm and slapped him on the shoulder, making Eddie stumble. "Half of them are in the middle of doing the bar circuit right now, and it's not like we need the studio space anyway. It's all good."

Eddie huffed, trying not to let Grant's comment sting -he knew he didn't mean anything by it. But at nearly six months to the day, even though the guys would never rush him, maybe Eddie was getting a little bit worried about the future.

"I was talking with the Byers, apparently it's mainly gonna be Joyce and Harrington recording for the next month at least," Gareth piped up again, jabbing a thumb in the direction of country music's leading family -Argyle had somehow struck up a conversation with them and while the younger brother seemed confused, the elder was paying rapt attention to whatever their resident stoner was explaining. "Everyone else is taking a break or doing small shows or one off songs, like Grant said."

"Fine, fine, I get it," Eddie held up his hands in surrender. "But if they start blasting fucking honky-tonk bullshit-"

"Oh come on, Munson, don't tell me you're one of those."

Eddie paused, then slowly turned around, feeling his face heat up only partly in embarrassment to see Harrington standing just behind him, having apparently been abandoned by Dustin in the last few minutes. He had his hip cocked and a hand casually resting with the thumb hooked in his belt, and up close Eddie could see little moles scattered all over his face and neck like flecks of paint. Next to them, Jeff turned and coughed a laugh into his elbow, muffled.

"What, pray tell, are you talking about?" Eddie quashed the instinct to puff up for a fight. Just because Harrington was a good old jock with arms that could bench him didn't mean he had to have his back up, and he reasoned that this was his home turf here. He and Hopper may not always see eye to eye, but if Eddie asked he'd take his side in a heartbeat.

Harrington gave a funny little smirk, the kind you'd give to the family dog who was doing something cute but ultimately futile.

"You're the type who hates Trace Adkins but's never heard of David Allan Coe," he raised an eyebrow, then nodded to Jeff and Gareth, holding out a hand to shake with each of them. "Name's Steve. Good to meet you guys."

"Jeff," "Gareth," his bandmates parroted back, easy as breathing, while Eddie was still stuck on Harrington's little dig about the artists he was or wasn't aware of.

"You do most of the song work, don't you Munson?" he was asked, and Eddie belatedly realized he hadn't actually accepted Harrington's handshake. It was too late now, so he kind of awkwardly answered in the affirmative and watched that hand get pulled back and settled onto Harrington's other hip, so the man was standing almost like a judgy mother hen as he kept talking. "I've been kind of obsessed with Dark Sheep lately -especially the way you captured sexuality in 'Something On Your Tongue'; like how it's all about being confident, and whether it's a stranger at a club or working a job, the narrator's attracted to them in a way that's not gross to listen to. I mean, 'I love the way you dance with anybody' as a line is pretty refreshing when you think about it and... oh. Sorry," Harrington trailed off and turned a little pink, ducked his head. "Didn't mean to ramble on there."

Steve Harrington listened to Hellfire's music? Eddie blinked and the guy was still in front of him, looking earnest as a slice of apple pie or whatever the fuck, and he mentally shook himself. 'King' Steve Harrington listened to his music enough to have an opinion on it, on specific songs from their last record, and he came out the end of it liking his lyrics?

"Dude, get it together," Gareth whispered and elbowed him in the ribs, jolting him out of his fugue.

"Didn't think that was your thing, Harrington," Eddie ran his mouth with the first thought that came to mind, even if it was kind of dickish. "Sexual liberation ain't exactly very prayerful of you," he made the sign of the cross on that last part.

Far from what he expected, that got Harrington to bark out a big, surprised laugh. "Oh, c'mon," he rolled his eyes. "You can't seriously think I'm in with the god squad? They were most of why we left Tiger Studios in the end. Besides," Harrington flashed a charming smile, pearly whites matching the pearl buttons below on his shirt. "It'd be pretty hypocritical of me to preach against sexual lib, considering."

What the hell did that mean? Was it just his brain pulling tricks on him, or did Harrington's eyes flick up and down Eddie's body right then -and where the hell had Gareth and Jeff gone? They were supposed to be his buffer against his least favourite genre, not -ah, there they were -not chatting up the other members of Harrington's little ensemble across the room.

"Consider me told, then. You ain't godly whatsoever, I'll be sure not to disparage your sterling reputation again with that mistake, my liege, cross my heart," Maybe he was laying it on thick here, but there was something about Steve Harrington that got his pulse up; when the other man tilted his head with a baffled smile at Eddie's statement, he had to clench his fist hard so he didn't just -well, he wasn't actually sure. "But I think without the god talk that just makes you a hick, big boy, sexually liberated or otherwise. Is that better or worse?"

Maybe Harrington was just pissing him off with his... everything. His shit genre and his cocky attitude and the way he dressed to impress, it was cringey at best and edging on pretentious at worst. Eddie crossed his arms and scowled, annoyed with this damn situation of having to navigate a whole new set of people in the studio when he was already behind in his work and had no fucking clue how to fix-

"Hicks make some good music, Munson," Harrington said, sounding all kinds of condescending about it. "Especially these days, if you know where to look. Sounds to me like you're a little musically pigeonholed," Eddie went ramrod straight as Harrington threw that accusation in his face, and he felt his cheeks go hot in offense. Harrington smirked, noticing. "But hey, I'm always down to help out if you wanted to explore your options."

Musically. Pigeonholed. Musically pigeonholed!

"Fat chance of that, boots," Eddie swung his foot forward and knocked toes with Harrington, fancy brown tops against Eddie's scuffed workman's. "Sounds to me like the crown's too tight on your head after dropping contract. When you can write a song that's not about beer and trucks and girls, give me a shout, okay? Maybe I'll even give it a listen."

Steve's smirk turned a shade meaner, and he was probably going to say something really nasty -figures -when he got clapped on the back by a big man in a hawaiian shirt and with a thick beard, holding a martini of all things.

"Woah, kids, tone it down a notch. We're here to have a good time," the guy said, part patronizing and part stern -it was a weird combination. "Especially you, Discount Dio. Take it easy on the new guys or I'll ask Wayne to break out the baby photos, tout de suite."

Oh, so this was Murray. Wayne's mysterious drinking buddy who just so happened to be one of the artists who bailed along with Harrington. Eddie had no doubt he'd make good on the threat -not that he needed it, exactly. The interruption seemed to have taken the wind out of both his and Harrington's sails, if the way the guy looked embarrassed was any indication.

"Sorry, Murray," Harrington said, and Murray rolled his eyes.

"Just relax, kid. None of these guys are Hargrove, or even Carver Jr for that matter," he shook Harrington's shoulder a little, and shot Eddie an odd look. "Even the ones that growl and snap at you are just Chihuahuas. And you, puppy," he snapped his fingers in Eddie's face, making him flinch back in surprise. Also, offended -puppy? "I think you've got a hot head right now, so you should remember you know better than to shit on music you've never listened to. Don't you?"

Fuck, damn his big mouth. He felt his cheeks go tight with embarrassment, and he cut a look at Harrington. They were both close to thirty and yet here they were feeling like scolded children.

"Shouldn't have said that, Harrington. Sorry," he offered, ash in his throat. The guy looked surprised, but nodded, accepting, and Murray threw his hands up, sarcastically relieved.

"Thank god! Now come on, join the party," he hooked a hand around Eddie's neck and used his martini arm to bump Harrington forward.

The country boy looked at him one last time before seeming to shrug off their entire interaction, a fake expression of cheer getting plastered on after a flash of disappointment. Why he was disappointed was anybody's guess; maybe he'd thought Eddie would be more repentant in his apology.

Fat chance of that. Musically pigeonholed his ass.

Eddie sighed, flexing his hand, and readied himself to push through a few more hours of socializing. Internally he apologized to Hopper, too -a productive working relationship with the country club didn't seem like it was in the cards for him.

=<+>=

I keep a running list of songs referenced in the notes on AO3 -I don't do tag lists!

#steddie #stranger things #eddie munson #steve harrington #musician au #country star #rock star #fic #fanfic #st fanfic #fanfiction #enemies to lovers #hurt/comfort #cross posted on ao3

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jazzstandardspoll · 7 months ago

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Descriptions & Propaganda

St. Louis Blues

Composed by W. C. Handy

Notable versions: Bessie Smith (x), Django Reinhardt (x), Louis Armstrong (x)

Propaganda: None submitted.

After You've Gone

Composed by Turner Layton , with lyrics written by Henry Creamer

Notable versions: Marion Harris (x), Charleston Chasers (x), Bessie Smith (x)

Propaganda: It is a romance/heartbreak song but it is also just an incredible bittersweet ballad that could be applied to so many feelings. As for me personally, this song helped me cope with the loss of my grandmother. Such a beautiful (and genderless song!) with so many iconic versions from Ella Fitzgerald, to Louis Armstrong, Marion Harris, Ruth Etting and more. Quite possibly one of the first modern jazz standards as well.

#st. louis blues #after you've gone #jazzstandardspoll #round 1

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oompahmuzik · 5 months ago

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Hugo & the Astronoms

Quoi de mieux pour un premier post que mon artiste de coeur ?

Hugo & the Astronoms a été créé en 2015 et a bouleversé le milieu du jazz fusion. Touche-à-tout virtuose, il nous transporte avec sa musique qu'il qualifie lui-même de "spatiale" pour un voyage à travers sa galaxie sonore.

Son meilleur album : Space Circus

Son meilleur morceau : Cutlass Blue? Cutlass Red

#hugo&theastronoms #music #jazzfusion #zevent

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soulmusicsongs · 5 months ago

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Soul Around The World in 25 tracks

Soul music became popular around the world, influencing countless artists across the world. We’ve put together a list with 25 awesome soul tracks form Africa, Asia, Europa and Latin America.

African Hustle - Geraldo Pino (Boogie Fever, 1978) - Sierra Leone

Ahl Jedba - Fadoul (Al Jedba / Al Hayra, 197?) - Maroc

Durban Bump Jive - Thomas Motshwane (Pretoria Bump Jive / Durban Bump Jive, 1975) - South Africa

Funky But… - Mads Vinding Group (Danish Drive, 1974) - Denmark

Gandjal Kessoum - Hamad Kalkaba And The Golden Sounds (Gandjal Kessoum / Toufle, 1975) - Cameroon

Hot Pot - Francois de Louville (La Complainte Du Partisan / Hot Pot, 1969) - France

Jazz Goes to Beat I - Václav Zahradník Big Band (Jazz Goes to Beat, 1970) - The Czech Republic

Jangolo (Les Mangues) - Jo Tongo ( Jangolo, 1976) - Cameroon

Lagos Sisi - Bola Johnson & His Easy Life Top Beats (Lagos Sisi / Jeka Dubu, 1973) - Nigeria

Major Minor - Crazy Casey (The Beast And I, 1967) - The Netherlands

Malombo Blues - Malombo (Pele Pele, 1976) - South Africa

Matshatsha - Trio Madjesi & Orchestre Sosoliso (Matshatsha / Good Bye Yuna, 1973) - Zaïre

Mbaye Sasu - Le Xalam (Daïda, 1975) - Senegal

Nadim - Freh Khodja (Bachar Fi Leil, 1978) - Algeria

Na Man Pass Man (Na Iron De Cut Iron) - Pasteur Lappe (a Man Pass Man, 1979) - Cameroon

Nana - The Lulus Band (Nana / Ndiregete Twendane, 1976) - Kenya

N'Zambi - Lilly Tchiumba (N'Zambi É Deus, 1973) - Angola

Passage To Prerov - Jack van Poll Tree-Oh (Hi Jackin', 1972) - The Netherlands

Ray Mbelle - Orchestre Baobab Gouye Guy De Dakar (Ken Dou Werente, 1983) - Senegal

Roll On The Left Side - Knut Kiesewetter Train (Stop! Watch! And Listen!, 1970) - Germany

Sesion Verde - Toño Quirazco (Soul Makossa, 1973) - Mexico

Streap-Tease In The Stars - Sirarcusa (Give Me Your Love / Streap-Tease In The Stars, 1977) - Spain

Wait… No Hurry - Grotto-II (Wait… No Hurry, 1978) - Nigeria

Waqtach Tef'hem - Les Frères Mégri (Younes Et Mahmoud, 1977) - Marocco

Way Back Fifties - The Drive (Can You Feel It, 1975) - South Africa

More Soul Around the World

Soul Around the World in 24 tracks

Soul Around The World

Soul Around The World in 34 songs

Soul Around The World in 27 Songs

Soul Around the World in 20 tracks

Soul Around The World in 22 tracks

Soul Around The World in 33 songs

Soul Around The World in 20 tracks

#Soul Around The World #Soul #Soul Music #Soul Music Songs #Music #Music Songs #Soul Music List

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omegaremix · 2 months ago

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Omega Radio for December 29, 2014 #71.

Power Of Zeus “Sorceror Of Isis”

Cybotron “Aries Boogie”

Atomic Crocus, The “Ombilic Effect”

Rimshots, The “Neighbor! Get Your Own”

Jimmy “Bo” Horne “Dance Across The Floor”

Donald Austin “Crazy Legs”

Little Sonny “Eli’s Pork Chop”

Albert King “Cold Feet”

Richard Groove Holmes “You’ve Got It Bad”

Don Powell “Troubled Mind” (ver. A)

Second Direction “Praeludium”

Linda Tillery “Freedom Time”

Baron Von Ohlen Quartet, The “Runaway Heart”

Pete Kelly “Beachcomber”

Veit Marvos & Hid Red Point Orchestra “The Way You Look At Me”

Bobbi Humphrey “Chicago, Damn”

Roy Budd “Diamonds”

Hubert Laws “Undecided”

Frank Strazerri “Cloudburst”

Gil-Scott Heron “Home Is Where The Hatred Is”

Siegfried Shwab “Feel It”

People’s Choice, The “Soft And Tender”

Larry Willis “Journey’s End”

Mighty Joe Young “As The Years Go Passing By”

Banks & Hampton “Passion And Promises”

Samuel Jonathan Johnson “My Music”

Billy Preston “I Wonder”

Weldon Irvine “Morning Sunrise”

J.O.B. Orchestra “Govinda”

Tony Ansell “Softly As In A Morning Sunrise”

Jay Beliner “I Just Want To Be There”

Les Baxter “Black Mass”

Francois Betti “Brass Blues”

Marc Moulin “Tohu Bohu I”

Riff Raff “Original Man”

Pierre Bachalet & Mathias Camison “O’ Et L’Amour A Trois”

Pekka Pohjola “Sekoilu Seestyy (Madness Subsides)”

Bonus broadcast; jazz, soul, fusion, funk, vinyl treasures, crate-digging, and sampling.

#omega #music #playlists #mixtapes #jazz #soul #funk #fusion #vinyl #crate-digging #sampling

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queermtl · 8 months ago

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Queer MTL : quoi faire en juillet 2024 // Queer MTL things to do: July 2024

(Photo by Eva Blue)

Queer MTL things to do: July 2024

The summer festival season is in full swing, and things are queerer in MTL than ever this July! This month, Montréal is stuffed to the brim with events, parties and unique experiences painted in all the colours of the LGBTQ+ rainbow. From drag to community, circuit to underground, here’s some of our picks for the best LGBTQ+ things to do in the city. For further announcements, including those not announced at time of publication, follow QueerMTL on Instagram, Twitter, Facebook and Tumblr! Got an event coming up? DM it our way!

LEGEND

🎥 Cinema 👑 Drag 🥳 Parties 🎶 Concert ✊ Activism 🏳️‍⚧️ Trans 🏳️‍🌈 Community 😆 Comedy 🎭 Performance 💪 Sports 👯‍♀️ Dance 🎤 Karaoke 🎨 Arts 📚 Literary / Educational 👠 Ballroom / Vogue

Lundi 1 juillet / Monday, July 1

🥳 DramaQueen presents DramaQueen on the river with Dracvla, Wiltbarn and Rakehell, Riverside Bar Terrasse St Henri 🎨 VITRINE Festival 2024 : VISION art market and film screenings, Union Française de Montréal 🎭 La Curieuse—Ligue d’improvisation estivale, Chez Ernest 👑 C’est ma toune! : Edition Divas, a drag show where you pick the playlist, with Sasha Baga, Jessie and Bobépine, Cabaret Mado

Mardi 2 juillet / Tuesday, July 2

👑 Full Gisèle : Oh Canada ! with Gisèle Lullaby, Rawbin, Carmen Sutra, Bobépine and Kitana, Cabaret Mado 😆 Stand Up St. Henri Open Mic focusing on women, non-binary, queer and allied comedians, Impro Montréal

Mercredi 3 juillet / Wednesday, July 3

🎭 The Poly Mic open mic, Bar Notre-Dame-des-Quilles 😆 Ace Pride Comedy Show with Heathcliff, Bar Notre-Dame-des-Quilles 🎨 Drink & Draw by @Hommehomo, Bar Le Cocktail 👑 Mercredi Drag Live with Victoire de Rockwell, Jessie Précieuse, Lady Guidoune, and Rock Bière, Cabaret Mado

Jeudi 4 juillet / Thursday, July 4

🎭 Cup of Tease and Velvet Pistol present Red, White & Boobs with Yikes Macaroni, Foxy Lexxi Brown, Baron Von Styck, Butterscotch Blondie, Charli Deville and Miss Behave, The Wiggle Room 🥳 L’Orage presents Jeudi diversité !, L’Orage Club 👑 Girls' Night Out: Battle of the Decades with Lady Boom Boom, Pétula Claque, Daisy Wood and Krystella Fame, Cabaret Mado 👑 Butterfly de nuit with Miss Butterfly, Bar Le Cocktail

Vendredi 5 juillet / Friday, July 5

🎶 Orville Peck, Festival International de Jazz de Montréal, TD Stage, Place des Festivals 🎨 Montréal Comiccon, Palais des congrès de Montréal 👑 Mado Reçoit with Mado Lamotte, Kiara, Jimmy Moore, Nana and Sasha Baga, Cabaret Mado 👑 Vendredi Fou with Michel Dorion, Bar Le Cocktail

Samedi 6 juillet / Saturday, July 6

🥳 Sweet Like Honey hosts a Block Party with DJ Honeybunn, Glowzi and Po, Marché des Possibles 🎨 Montréal Comiccon, Palais des congrès de Montréal 🎤 Queer Karaoke MTL hosts a Trans March Fundraiser, followed by a trans-forward queer dance party, Blue Dog 🎤 Bareoke: Strip Karaoke, Café Cléopatra 🥳 Parallel Vol. 9 featuring Arab/SWANA region-based music, Cabaret Berlin 👑 Mado Reçoit with Mado Lamotte, Kiara, Jimmy Moore, Nana and Sasha Baga, Cabaret Mado 👑 Jimmy Moore personnifie Lady Gaga, Cabaret Mado 👑 Late Night with Jessie Précieuse, Cabaret Mado 👑 Drôles de Drags with Miss Butterfly, Ciathanight, Crystal Starz or Emma Déjàvu in rotation, Bar Le Cocktail

Dimanche 7 juillet / Sunday, July 7

📚 The Violet Hour Book Club reads Henry Hoke’s Open Throat, Librairie Pulp Books & Cafe 🥳 Sweet Like Honey with DJ Lax, DJ Tokyo and DJ Playgirl, Village au Pied du Courant 🎨 Montréal Comiccon, Palais des congrès de Montréal 🏳️‍🌈 Afterglo hosts Slow Dating #13 Gay for men identifying as gay, Le Central 🎭 On the Blvd Multi-Mic, Bar Bifteck 💪 The International Wrestling Syndicate presents IWS vs GCW, focusing on underrepresented athletes including LGBTQ+ fighters, L’Olympia 👑 Le Tracy Show with Tracy Trash and special guests, Cabaret Mado 🏳️‍🌈 Aimé Chartier : 60 ans de carrière et 80 ans de vie, Bar Le Cocktail

Lundi 8 juillet / Monday, July 8

🎭 La Curieuse—Ligue d’improvisation estivale, Chez Ernest

Mardi 9 juillet / Tuesday, July 9

👑 Full Gisèle : Extravaganza with Gisèle Lullaby, Saltina Shaker, Sunshine Glitterchild, Adriana The Bombshell, Sasha Baga and Nick Saanto, Cabaret Mado 😆 Stand Up St. Henri Open Mic focusing on women, non-binary, queer and allied comedians, Impro Montréal

Mercredi 10 juillet / Wednesday, July 10

🎭 The Poly Mic open mic, Bar Notre-Dame-des-Quilles 😆 Tony McIntyre is a Time Traveller with Merry Kringles, Bar Notre-Dame-des-Quilles 👑 Celes and Marc-André Caron present Loreen vs Sia, Cabaret Mado

Jeudi 11 juillet / Thursday, July 11

🎭 Lust Cove presents The Lust Cove Sex(y) Education Show with Miss Scarlet Knife, Yaya Havana, Mina Minou, Mei, Kaya Koko and Carmen Mayhem, The Wiggle Room 🥳 L’Orage presents Jeudi diversité !, L’Orage Club 👑 Le Sami Party with Sami Landri, Cabaret Mado 👑 Butterfly de nuit with Miss Butterfly, Bar Le Cocktail

Vendredi 12 juillet / Friday, July 12

🥳 BIMBO with DJs Diskommander and DJ G3MINI, Le Livart 🥳 Cerise Noire goth night, Bar NDQ 👑 Mado Reçoit with Mado Lamotte, Bobépine, Peggy Sue, Nana and Aizysse Baga, Cabaret Mado 👑 Vendredi Fou with Michel Dorion, Bar Le Cocktail

Samedi 13 juillet / Saturday, July 13

🥳 FRKY presents FRKY x 2 Year Anniversary with Manclaudy, Moka, Rawsoul and Sexnobe, La Sotterenea 🥳 Soirées Velours presents Trouve ta Muse, a special lesbo-queer party, Bar le P2 🎭 Voulez Vous Productions presents Bootcamp: Séduis toi pour les fat babes with Rosie Bourgeoisie, Centre Strathearn 👑 Mado Reçoit with Mado Lamotte, Bobépine, Peggy Sue, Nana and Aizysse Baga, Cabaret Mado 👑 Jimmy Moore personnifie Céline Dion, Cabaret Mado 👑 Late Night with Jessie Précieuse, Cabaret Mado 👑 Drôles de Drags with Miss Butterfly, Ciathanight, Crystal Starz or Emma Déjàvu in rotation, Bar Le Cocktail

Dimanche 14 juillet / Sunday, July 14

🎭 Voulez Vous Productions presents Bootcamp: Séduis toi pour personnes avec experience scénique with Rosie Bourgeoisie, Centre Strathearn 👑 Afternoon Drag Café with all-ages, neurodivergent-friendly and sober, with Itsh and Timothy Toxic, L’Orbite 👑 Le Tracy Show with Tracy Trash and special guests, Cabaret Mado 👑 Happy Birthday Miss Butterfly with Miss Butterfly, Michel Dorion and Chouchoune, Bar Le Cocktail

Lundi 15 juillet / Monday, July 15

📚 Fierté Montréal and Fierté littéraire presents Queer académie : La sélection with Barbada, Théâtre La Comédie 🎭 La Curieuse—Ligue d’improvisation estivale, Chez Ernest 👑 Da-Lulu with Enigma, Woody Fungi, Asmalix and Vulverine, Cabaret Mado

Mardi 16 juillet / Tuesday, July 16

👑 Full Gisèle : Disney with Gisèle Lullaby, Marla Deer, Bambi Dextrous, Tracy Trash and Prudence, Cabaret Mado 😆 Stand Up St. Henri Open Mic focusing on women, non-binary, queer and allied comedians, Impro Montréal

Mercredi 17 juillet / Wednesday, July 17

🎭 The Poly Mic open mic, Bar Notre-Dame-des-Quilles 🎥 Jane Fonda stars in Barbarella, Cinémathèque québécoise 😆 The Crochet Comedy Show with Shosho, Bar Notre-Dame-des-Quilles

Jeudi 18 juillet / Thursday, July 18

🎥 Queer Cinema Club of Montréal hosts a screening of But I'm a Cheerleader starring RuPaul and Natasha Lyonne, Cinema Moderne 🎭 Them Fatale presents Summer Heat with Amnesia, EnvyTheClown, Kitty Catcher, MX. Quest, Rosie Bourgeoisie and Xénia, The Wiggle Room 🥳 L’Orage presents Jeudi diversité !, L’Orage Club 👑 Butterfly de nuit with Miss Butterfly, Bar Le Cocktail

Vendredi 19 juillet / Friday, July 19

🥳 Studio ZX presents Festival Ctrl+Alt with Afrotonik, Place du Village 🥳 SUPER TASTE MTL presents We Can’t Stop! 2010’s Dance Party, Cabaret Berlin 🥳 Dark Area and Techno Haute Couture present Dark Area x THC with Special K, Rögue, LAPA XII and Deaf, Collectif MTL 🥳 Strawberry Gothcake rave with 99jakes, Kilbourne, FortifiedStructures, Outback and Mowie B2B The Bald Girl, La Sotterenea 👑 Mado Reçoit with Mado Lamotte, Kitana, Velma Jones and Celes, Cabaret Mado 👑 Vendredi Fou : Soirée sans pantalon with Michel Dorion, Bar Le Cocktail

Samedi 20 juillet / Saturday, July 20

🥳 Studio ZX presents Festival Ctrl+Alt with ElleLui, Hauterageous and Discoño, Place du Village 🎶 La ferme coopérative aux champs qui chantent presents Rae Spoon with KY, La ferme coopérative aux champs qui chantent 🥳 GTR—Girls Theys Rave with Broodmare, Faneva and Dracvla, La Poubelle Magnifique 🥳 SUPER TASTE MTL presents Voulez-Vous Disco & New Wave Dance Party: Girls Just Wanna Have Fun, Bar Le Ritz PDB 🎤 Bareoke: Strip Karaoke, Café Cléopatra 👑 Mado Reçoit with Mado Lamotte, Kitana, Velma Jones and Celes, Cabaret Mado 👑 Jimmy Moore personnifie Taylor Swift, Cabaret Mado 👑 Late Night with Jessie Précieuse, Cabaret Mado 👑 Drôles de Drags with Miss Butterfly, Ciathanight, Crystal Starz or Emma Déjàvu in rotation, Bar Le Cocktail

Dimanche 21 juillet / Sunday, July 21

🥳 Studio ZX presents Festival Ctrl+Alt with Blush and Unikorn, Place du Village 🏳️‍🌈 Italo Queer Montréal hosts Picnic Estivo, Parc Jarry 👑 Le Tracy Show with Tracy Trash and special guests, Cabaret Mado 👑 Dimanche Show with Michel Dorion, Bar Le Cocktail

Lundi 22 juillet / Monday, July 22

🎭 La Curieuse—Ligue d’improvisation estivale, Chez Ernest 👑 Tout le monde en drag pour REZO with Pétula Claque, Cabaret Mado

Mardi 23 juillet / Tuesday, July 23

👑 Full Gisèle : The Matrix with Gisèle Lullaby, Esirena, Fabien L’Amour, Kelly Torrieli and Celes, Cabaret Mado 😆 Stand Up St. Henri Open Mic focusing on women, non-binary, queer and allied comedians, Impro Montréal

Mercredi 24 juillet / Wednesday, July 24

🎭 The Poly Mic open mic 1-year Anniversary, Bar Notre-Dame-des-Quilles 😆 Max Higgins is The Underdog with Raquel Maestre, Bar Notre-Dame-des-Quilles

Jeudi 25 juillet / Thursday, July 25

👑 Cult of AnarchKey presents the Drag Open Stage Fundraiser for “Native Women’s Shelter of Montréal” with Korra AnarchKey, Champs Bar 🥳 BLUSH presents Salade de Fruits : Happy Hour Queer, an event by and for FLINT+, Bar La Marche à côté 😆 World’s Smallest Comedy Festival presents World’s Queerest Comedy Night, Hurley’s Irish Pub 🥳 L’Orage presents Jeudi diversité !, L’Orage Club 👑 Jimmy Moore personnifie Taylor Swift, Cabaret Mado 👑 Butterfly de nuit with Miss Butterfly, Bar Le Cocktail

Vendredi 26 juillet / Friday, July 26

👑 Mado Reçoit with Mado Lamotte, Marla Deer, Tracy Trash and Pétula Claque, Cabaret Mado 👑 Vendredi Fou with Michel Dorion, Bar Le Cocktail

Samedi 27 juillet / Saturday, July 27

🥳 Rubber Electric queer dark electronic fetish rave with Vicky Devika, Mushin and Nori, Cabaret Berlin 👑 Mado Reçoit with Mado Lamotte, Marla Deer, Tracy Trash and Pétula Claque, Cabaret Mado 👑 Jimmy Moore personnifie Rihanna, Cabaret Mado 👑 Late Night with Jessie Précieuse, Cabaret Mado 👑 Drôles de Drags with Miss Butterfly, Ciathanight, Crystal Starz or Emma Déjàvu in rotation, Bar Le Cocktail

Dimanche 28 juillet / Sunday, July 28

👑 Le Tracy Show with Tracy Trash and special guests, Cabaret Mado 👑 Happy Birthday Crystal Starz with Crystal Starz, Michel Dorion and Chouchoune, Bar Le Cocktail

Lundi 29 juillet / Monday, July 29

🎭 La Curieuse—Ligue d’improvisation estivale, Chez Ernest

Mardi 30 juillet / Tuesday, July 30

👑 Full Gisèle : Femme fatale with Gisèle Lullaby, Victoire de Rockwell, Jessie Précieuse, Kiara and Foxy Lexxi Brown, Cabaret Mado 👑 Le cirque de Teddy Boop with Teddy Boop, Sally D, Sarah Winters and Mister Boogie, Bar Le Cocktail 😆 Stand Up St. Henri Open Mic focusing on women, non-binary, queer and allied comedians, Impro Montréal

Mercredi 31 juillet / Wednesday, July 31

🎭 The Poly Mic open mic, Bar Notre-Dame-des-Quilles 😆 The Poly Showcase with Raquel Maestre and Tranna Wintour, Bar Notre-Dame-des-Quilles 👑 Sitcom Bonanza : Spécial Friends, Cabaret Mado

OTHERS / LES AUTRES

🤠 Club Bolo—Danse Country Montréal meet on Fridays at the Association sportive et communautaire du Centre-Sud.

👯 Tango/Salsa Queer holds lessons every Saturday, visit queertangomtl.com for information or contact [email protected] or call +1 (514) 709-4678 for prices and signup information, Espaces des Arts.

🏐 Les Ratons-Chasseurs (Montréal’s LGBTA dodgeball group) holds regular events. Keep an eye on their Facebook for upcoming opportunities to join in and play.

🕹Montréal Gaymers hosts regular gatherings including board game nights and gaming gatherings. Check their Facebook for what’s next!

🏃🏾Join the Out-Run run and workout club for people relating to the queer / sapphic experience. Details on their Instagram!

🐦 Bird lovers should keep their eye on Queer Birders' regularly scheduled birdwatching events and excursions. Join the Facebook group and get those binoculars at the ready.

👠 Twice a month on every second Tuesday, Bring It! hosts an OTA night of ballroom and vogue with commentator and DJ. Follow their Instagram for dates and details.

#mtlmoments #lgbttravel #2slgbtq #drag #montreal #queermtl #lgbtq #nightlife #thingstodo #events

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hannahhook7744 · 1 year ago

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The Bad Apples!;

Band Poster I made based off of this and this.

Pictures I made.

Diego de Vil musician outfit board.

Album Cover:

The Bad Apple Songs (so far):

We're The Brunos.

You're Dead (To Me).

Don't Talk About The Dead Kids.

(Don't Talk About) The Isle Kids.

Wilted Petals.

Don’t Get Shot.

Rough House Rumble.

Where Are You, Peter Pan?

Who Made You King?

Where’s My Happy Ending?

Fuck Your Fairytale!

Bruised The Apple, Made It Rot.

What Did I Ever Do (To You?).

Wild Childs.

Bad Kids.

The Real Lost Kids.

Isle Life.

Santa Hates Isle Kids.

Afraid Of A Little Bad Luck.

LOl, Go to Hell.

Devil Child.

Bad, Bad Apples.

Monsters.

Cruella de Vil.

Kill the Beast.

Narcissus.

For All of You to See.

Whatever Happened to the Heroes.

(This Is Our) Swan Song.

Want You (Dead).

Under The Gloom.

Not Gonna Follow (Your Rules).

Never Gonna Be (Royalty).

Finders Keepers.

Got No Mom And Dad.

Don’t Choke.

The Crown.

For Real This Time.

Daddy (Mommy) Didn’t Love Me.

Poison Me Slowly.

A Warning To The Prophet.

It's A Brave New World.

Call Me Never.

Acid Trip.

Black And White.

We Will Fight To The Death!

I Hate You.

Smelling Flowers From Bellow.

Ain’t I A Rotter.

Saint Cyriacus (written to honor her brother of the same name).

God Help the Outcasts!

A Warning To The People.

Hellfire!

I Miss You.

Father, Why Have You Forsaken Me?

Not A Perfect Man, But A Good One (written by Claudine to honor her brother, Cesare).

Love is Love (Written to honor her brother, Cornel).

Bad Reputation.

Bow Before Me.

Respect Thy Name.

Veni, vidi, vici.

Alea iacta est.

Carpe diem.

Et tu, Brute?

If curious about any of the songs, lmk and I'll try to write a snippet of them. Thanks @panthera-tigris-venenata for the help coming up with the titles.

Also I headcanon that they do several different generes (Rock, Metal, Pop, Jazz, Blues, etc). Oh and that they have a band tattoo.

#descendants #disney descendants #melissa de la cruz #disney #descendants au #wicked world #disney descendants au #diego de vil #the bad apples #fake bands #claudine frollo #harriet hook #rick ratcliffe #clay clayton #ginny gothel #mad maddy #fan art #fan edits #etc

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jpbjazz · 3 days ago

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LÉGENDES DU JAZZ

RICHARD DAVIS, LE CONTREBASSISTE QUI DANSAIT AVEC LES ÉTOILES

‘’He found freedom in the bass by pivoting between the earth and the stars.”

- Jason Moran

Né le 15 avril 1930 à Chicago, dans les Illinois, Richard Davis a grandi dans le South Side. Sa mère ayant perdu la vie en lui donnant naissance, Davis avait été adopté par Robert et Elmora Johnson. Davis avait amorcé sa carrière musicale aux côtés de ses frères, en jouant de la contrebasse dans le trio vocal familial qui était dirigé par un de ses cousins. Davis s’était rapidement familiarisé avec le jazz grâce à l’impressionnante collection de 78-tours de sa mère qu’il écoutait sans arrêt.

Mais malgré son intérêt pour la musique, ce n’est pas avant l’âge de quinze ans que Davis avait ressenti le besoin de fixer son choix sur un instrument en particulier. Davis étant plutôt timide et introverti, il n’était pas vraiment attiré par des instruments de premier plan comme le saxophone ou la trompette. À l’âge de quinze ans, Davis avait finalement fixé son choix sur la contrebasse, un instrument qui l’avait toujours fasciné. Davis expliquait: “I was just enthralled by the sound. The bass was always in the background and I was a shy kid. So I thought maybe I’d like to be in the background.”

Au DuSable High School, Davis avait étudié sous la direction du légendaire capitaine Walter Dyett. Très sévère, Dyett avait dirigé le Eighth Regiment Infantry Band dans la Illinois National Guard, ce qui en avait fait un farouche partisan de la discipline. Même s’il était très strict, Davis avait été très influencé par Dyett, qu’il avait décrit comme “the kind of teacher you dream about.” Même s’il avait formé de grands noms du jazz comme Nat King Cole et Dinah Washington, Dyett avait incité Davis à ne pas se limiter au jazz et à s’intéresser à tous les styles de musique. À Chicago, Davis avait également eu comme mentors les contrebassistes Wilbur Ware et Eddie Calhoun.

Au DuSable High School, Davis avait eu comme camarades de classe le futur saxophoniste Clifford Jordan et le futur chanteur de blues Bo Diddley (alors connu sous le nom d’Ellas McDaniel). Comme contrebassiste, Davis avait été particulièrement influencé par Oscar Pettiford, Jimmie Blanton, Slam Stewart et Milt Hinton.

Parallèlement à ses études, Davis avait été membre du Chicago Youth Symphony Orchestra (connu à l’époque sous le nom de Youth Orchestra of Greater Chicago). Davis avait d’ailleurs participé au premier concert de l’orchestre à l’Orchestra Hall de Chicago le 14 novembre 1947.

Après avoir décroché son diplôme du high school, Davis s’était inscrit à la VanderCook School of Music, où il avait éventuellement obtenu un baccalauréat en éducation musicale.

Parallèlement à ses études, Davis avait appris son métier ‘’sur le tas’’ en se produisant dans les clubs et les bars de Chicago. C’est d’ailleurs en jouant dans les clubs que Davis s’était lié d’amitié et avait commencé à travailler avec le pianiste Sonny Blount, qui se ferait bientôt connaître sous le nom de Sun Ra. Lors de leur premier rencontre, Blount avait dit à Davis: “I’m not gonna take you to the moon because you’re not ready yet.” Cette déclaration avait ouvert les yeux de Davis, qui n’avait pas tardé à découvrir que Blount était un mystique qui entretenait une vision très spirituelle de la musique. Blount avait d’ailleurs eu une influence déterminante sur l’évolution ultérieure de Davis. Ne délaissant pas pour autant ses études, Davis avait poursuivi son apprentissage de la contrebasse avec Rudolf Fahsbender du Chicago Symphony Orchestra.

DÉBUTS DE CARRIERE

En 1952, Davis s’était joint au trio du pianiste Ahmad Jamal, avec qui il avait joué durant deux ans. Après s’être lié d’amitié avec le pianiste Don Shirley, Davis s’était installé à New York en 1954. Il avait d’ailleurs enregistré avec Shirley un album en duo intitulé Tonal Expressions. Davis avait fait équipe avec Shirley jusqu’en 1956, lorsqu’il s’était joint au Sauter-Finegan Orchestra.

Au début, Davis avait trouvé la ville de New York plutôt intimidante. Il expliquait: “There was so much talent, and I was always feeling that a bass player who was already established in New York would see me carrying a bass and say, ‘Where you going, boy?’” Mais en dépit de ses craintes, Davis n’avait pas tardé à conquérir le Big Apple. Son habileté de contrebassiste et la facilité avec laquelle il pouvait lire la musique l’avaient rendu très populaire comme accompagnateur.

Très en demande dans les années 1960, Davis avait travaillé avec plusieurs petits groupes de l’époque, dont ceux d’Eric Dolphy, Jaki Byard, Booker Ervin, Andrew Hill, Elvin Jones et Cal Tjader. Il avait aussi collaboré à l’enregistrement de plusieurs albums-phares du jazz, dont Out to Lunch d’Eric Dolphy, Black Fire et Point of Departure d’Andrew Hill, Dialogue de Bobby Hutcherson, In ‘N Out de Joe Henderson, Essence de John Lewis, Let My Children Hear Music de Charles Mingus, A Night At The Vanguard de Kenny Burrell, Life Time de Tony Williams, The Song Book de Booker Ervin et Rip Rig and Panic de Rahsaan Roland Kirk.

Après un bref séjour avec le Sauter-Finegan Orchestra, sur la recommandation du batteur Roy Haynes, Davis s’était joint en 1957 à la section rythmique de la chanteuse Sarah Vaughan, avec qui il avait enregistré quatre albums (dont Swingin’ Easy, qui comprenait le classique “Shulie A Bop’’) et voyagé en tournée jusqu’en 1960. Davis, qui avait énormément apprécié son séjour avec la chanteuse, avait déclaré au cours d’une entrevue qu’il avait accordée en 2014:

“You could say I went to the University of Sarah Vaughan. She was so musically skilled. And playing with her brought me to play with her accompanist Jimmy Jones, whose knowledge of chords was phenomenal. Sarah was so musical she could improvise beautifully along with the changes he would play. And the great percussionist Roy Haynes was in that band too, and he had such an amazing concept of rhythm… Once you’ve proven yourself with musicians at that level, other vocalists start to call you, because they figure you must know something.”

Davis avait été particulièrement redevable à Vaughan de l’avoir aidé à améliorer son jeu à l’archet. Il expliquait: “Some of the first bass players used the bow to play the walking bass line. And I heard all of that coming up as a kid. Therefore, when you start to study books of bass methods, you start out with the bow no matter what your intentions are, so there must be some intertwining of what I heard as a kid, what I heard working with Sarah Vaughan, wanting to imitate those vocal sounds.”

Mais après avoir joué durant trois ans avec Vaughan, Davis avait ressenti le besoin de relever de nouveaux défis. C’est alors que Davis avait été contacté par Eric Dolphy, qui était alors l’étoile montante du jazz d’avant-garde. Davis raconte comment Dolphy l’avait approché: “He said, ‘What are you doing next week?’ I said, ‘Nothing.’ And he said, ‘Why don’t you go down to the Five Spot with me?’” Passionné par la musique classique contemporaine, Davis n’avait pas tardé à se lier d’amitié avec Dolphy, un multi-instrumentiste qui excellait tant au saxophone alto qu’à la clarinette basse et à la flûte.

Après s’être joint au groupe de Dolphy, Davis s’était immédiatement senti attiré par le free jazz (ou ‘’New Thing’’, comme certains l’appelaient à l’époque). Comme Davis l’avait expliqué au cours d’une entrevue accordée en 2001: “Limiting yourself to a particular set of notes and chords is in a sense being a slave to the powers that be. We were resisting being imprisoned by chord changes, trying to free ourselves from the restrictions of scales and rhythms. Some people call this free music. Some of us called it our music. Unrestricted, indefinable, and free.”

Davis avait enregistré deux albums avec Dolphy: Iron Man (1963) et Out To Lunch! (1964), un album qui est aujourd’hui considéré comme un classique du jazz d’avant-garde. Dolphy, qui ne tarissait pas d’éloges pour l’originalité de Davis, écrivait dans les notes de pochette de l’album: “Richard doesn’t play the usual bass patterns. He plays rhythm with his lines. He leads you somewhere else.”

En plus des deux albums déjà cités, on peut entendre Davis sur les albums live de Dolphy enregistrés au club Five Spot, ainsi que sur différentes sessions publiées après la mort tragique de ce dernier en 1964. Un coffret publié récemment sous le titre de Musical Prophet: The Expanded 1963 New York Studio Sessions comprend un enregistrement de la pièce “Iron Man”, une pièce que Dolphy avait composée en l’honneur de Davis. Le coffret inclut également des pièces que Dolphy et Davis avaient enregistrées en duo, dont le classique ‘’Come Sunday’’ de Duke Ellington. Au cours de cette période, Davis avait également travaillé avec d’autres musiciens d’avant-garde comme le vibraphoniste Bobby Hutcherson, le batteur Tony Williams, et surtout le pianiste Andrew Hill, avec qui il avait enregistré sept albums de 1963 à 1969, dont le classique Point Of Departure (1964).

En 1966, Davis avait été un des membres fondateurs du Thad Jones/Mel Lewis Orchestra, dont il avait fait partie jusqu’en 1972 et qui se produisait tous les lundis soirs au légendaire Village Vanguard de New York.

Commentant le travail de Davis sur la pièce “Three and One’’ que Jones avait arrangée spécialement pour mettre en valeur les talents du contrebassiste, le chef d’orchestre et compositeur Darcy James Argue avait précisé: “Davis plays the nimble melody along with the horns, before dropping into steady, buoyant walking lines to drive the sax soli and horn solos. Then, Davis solos with gestural abstraction, like a Jackson Pollock action painting come alive.” Au cours de cette période, Davis avait également joué avec Don Sebesky, Oliver Nelson, Frank Sinatra, Miles Davis, Johnny Hodges, Dexter Gordon, Joe Henderson et Ahmad Jamal.

Mais le jazz ne nourrissant pas toujours très bien son homme, Davis avait été contraint d’accepter certains contrats ‘’alimentaires’’ afin de pouvoir assurer sa subsistance. Il avait même conçu des jingles publicitaires et travaillé sur des dizaines de projets ‘’mainstream’’, enregistrant notamment avec la chanteuse de R & B Ruth Brown et le percussionniste de jazz latin Willie Bobo. Il avait également enregistré avec plusieurs musiciens pop et rock. Davis avait notamment fait des apparitions sur les albums Smile de Laura Nyro, Watertown de Frank Sinatra, Something So Right de Paul Simon, Astral Weeks de Van Morrison, Greetings From Asbury Park, N.J. et Born to Run de Bruce Springsteen et At Seventeen de Janis Ian.

Le succès que Davis avait remporté avec l’album Astral Weeks lui avait d’ailleurs apporté d’autres contrats avec des artistes comme Rickie Lee Jones, Bonnie Raitt, Judy Collins, Buffalo Springfield, Carly Simon et Barbra Streisand. Commentant l’enregistrement de l’album, Davis avait précisé: “Some people are real disillusioned when I tell them about making the record. People say, ‘[Morrison] must have talked to you about the record and created the magic feeling that had to be there….’ To tell you the truth, I don’t remember any conversations with him. He pretty much kept to himself. He didn’t make any suggestions about what to play, how to play, how to stylize what we were doing.” De son côté, le producteur Lewis Merenstein avait déclaré: “[F]or me, it was Richard all the way. Richard was the soul of the album.” Quant au critique Griel Marcus du magazine Rolling Stone, il avait qualifié le travail de Davis de ‘’greatest bass ever heard on a rock album.”

En 1967, Davis était devenu un artiste de premier plan en enregistrant Heavy Sounds, une collaboration avec l’ancien batteur de John Coltrane, Elvin Jones. L’album avait permis à Davis de déployer toute l’étendue de sa virtuosité, notamment dans le cadre d’une remarquable version du standard “Summertime’’ de George Gerswhin. Mais il avait fallu attendre encore deux ans pour que Davis enregistre un premier album comme leader, Muses For Richard Davis, une session de jazz post-bop enregistrée pour l’étiquette allemande MPS. Mais s’il avait fallu du temps à Davis pour enregistrer un premier album sous son nom, il s’était bien repris depuis et avait gravé trente albums comme leader ou comme co-leader de 1967 à 2007.

À la fin des années 1960 et au cours des années 1970, Davis avait également été membre du New York Bass Violin Choir. Dirigé par le contrebassiste Bill Lee (le père du réalisateur Spike Lee), le groupe comprenait également d’autres virtuoses de cet instrument comme Ron Carter, Milt Hinton et Sam Jones.

Durant sa carrière, Davis avait aussi joué de la musique classique avec des chefs d’orchestre de renommée mondiale comme Igor Stravinsky (qui le considérait comme son contrebassiste préféré), Leonard Bernstein, George Szell, Pierre Boulez, Leopold Stokowski et Gunther Schuller. Davis, qui détestait les étiquettes, avait commenté ainsi son habileté à se produire dans différents types de musique: “Duke Ellington always said there’s no difference between jazz and classical. He didn’t classify any genres. To him, there were only two kinds of music: It’s either good or bad. I’m with Duke Ellington on that.”

DERNIERES ANNÉES

Après avoir vécu à New York durant vingt-trois ans, Davis était déménagé au Wisconsin en 1977 pour devenir professeur à l’Université de Wisconsin–Madison, où il avait enseigné la contrebasse, l’histoire du jazz et l’improvisation durant plus de quarante ans. Parmi ses étudiants, on remarquait William Parker, David Ephross, Sandor Ostlund, Hans Sturm, Alex Kalfayan, Ryan Maxwell et Karl E. H. Seigfried. Davis explique comment il avait été approché pour enseigner à Madison: “I got a call offering me a job at the university in Madison because they didn’t have a bass teacher on campus.’’ Davis n’ayant jamais entendu parler de cette université, il avait interrogé son entourage pour savoir où l’université se trouvait. Il précisait: “I asked around if anyone had heard of the place because this school kept calling me. Martin Luther King, Jr. talked about the importance of teaching others, and I had always wanted to teach young people. I thought maybe it was time.”

En raison de son travail d’enseignant, Davis avait dû réduire sensiblement le nombre de ses sessions d’enregistrement et de tournées. À l’instar de son mentor Walter Dyett, Davis avait rapidement acquis la réputation d’être un professeur très sévère qui accordait également d’importance à la discipline. Il expliquait: “I teach character. That’s the most important thing for me — follow-through and hard work. The world is not waiting on you, and there’s tons of talent out there.” Décrivant sa passion pour l’enseignement, Davis avait précisé: “I love teaching. I believe you should share what you have.” Le premier étudiant diplômé de Davis, Peter Dominguez, avait commenté ses débuts dans l’enseignement de la façon suivante: “He came from New York and he had that heavy New York accent – and it was hard to understand him – but he’d always do this thing where he’d grab your bass, anything that you were playing, and he would immediately tear it up. I mean, he would just play it flawlessly and he’d hand it back to you. He’d always say, ‘Yeah, and I don’t even know your bass.’ And you’d just go, ‘Oh…’ How do you respond to that? But it really taught me that I had to get down to business.”

Parallèlement à son travail de professeur, Davis s’était également distingué pour son implication sociale, notamment en participant à la création d’institutions combattant le racisme. L’engagement de Davis dans la lutte contre le racisme était directement lié à la discrimination qu’il avait vécue lors de ses tentatives visant à s’établir comme musicien classique. Davis expliquait:

“My environment with race issues started the day I was born. You’re born with dark skin, and that itself brings on attitudes of other people who are not dark-skinned to see you as someone to be oppressed and not to be given equal chances in society. So that is something that is permanent [...]. I was 18 years old and I could play any and all of the European classical music, but you weren’t allowed to participate in the symphony orchestra because there were racial issues and prejudices. They didn’t want to see you.”

En 2000, Davis avait fondé le chapitre local de l’Institute for the Healing of Racism, un organisme dont il avait été le président et qui avait pour but de favoriser l’harmonie interraciale par l’entremise d’échanges entre les différentes communautés culturelles.

Comme Davis l’avait expliqué au cours d’une entrevue qu’il avait accordée en 2010: “One of the big problems here is racism — racial profiling, racism, from other students towards black students and teachers and administrators alike. And I couldn't live with myself if I would not intervene and do something, and that’s what I’ve got. I had a daughter of 28, and I was setting a role model for her to do something.” En 1998, Davis avait également fondé le Retention Action Project (RAP) afin d’améliorer le taux de graduation des étudiants de couleur. Au cours des années, le R.A.P. avait réussi à faire venir à l’université les plus grands conférenciers et activistes, dont Peggy McIntosh, Jane Elliott, Francie Kendall, Nathan Rutstein, Victor Lewis, Hugh Vasquez et Allan G. Johnson. Davis avait aussi animé des ateliers. Un de ses ateliers avait pour titre ‘’Racial Conditioning: The Oneness of Humankind.’’

Davis avait aussi encouragé une plus grande diversité parmi le corps enseignant, qui était composé à 97% de professeurs blancs au moment où il s’était joint à l’université en 1977. Très intéressé par le développement de la relève, Davis avait également co-fondé en 1993 avec son ancien étudiant Peter Dominguez la Richard Davis Foundation for Young Bassists. La fondation attirait annuellement une centaine de jeunes musiciens de trois à dix-huit ans. Très impliqué dans la promotion de la justice sociale, Davis était toujours prêt à partager sa vision, sa résidence et ses ressources de façon à créer un environnement permettant à chacun de vivre dans la paix et la dignité. Davis avait également fondé à Madison un chapitre de l’Institute for the Healing of Racism, Inc. Davis a pris sa retraite de l’enseignement en 2016, même s’il avait continué d’être impliqué dans sa fondation.

En 1986, Davis s’était produit au légendaire club Sweet Basil de Greenwich Village avec un groupe qui comprenait le batteur Freddie Waits. Dans son compte rendu du concert, le critique Robert Palmer du New York Times avait commenté: “The relaxed, slightly behind-the-beat swing typical of so many jazz rhythm sections is not for them. Their accents fall right up on top of the beat, and they vary their springy forward momentum with rhythmic whirlpools and rapids and an explosive sense of dynamics.” À la fin des années 1980, Davis avait également fait partie des membres fondateurs du groupe New York Unit, un trio qui comprenait le pianiste John Hicks et le batteur Tatsuya Nakamura. Le trio avait enregistré huit albums pour des compagnies japonaises jusqu’en 1998.

En mai 2000, Davis avait publié un CD intitulé The Bassists: Homage to Diversity. Enregistré au Japon, l’album avait pour but d’exprimer l’unicité de l’humanité.

En 2016, Davis s’était rendu à Paris, en France, afin de participer à un hommage à John Coltrane avec Archie Shepp. Faisant le bilan de sa carrière en 2019, Davis s’était dit satisfait du travail accompli. Il avait précisé: “I’ve done some great things. I’ve had some phenomenal associations with some great composers, conductors, colleagues and the whole bit.”

Richard Davis est mort le 6 septembre 2023 à Madison, au Wisconsin, à l’âge de quatre-vingt-treize ans. Très malade, Davis avait été hospitalisé durant deux ans dans une maison spécialisée pour personnes âgées. Les causes exactes de sa mort n’avaient pas été précisées. Davis laissait dans le deuil une fille, Persia. Au moment de sa mort, Davis travaillait sur la rédaction de son autobiographie. C’est sa fille Persia qui avait annoncé le décès de Davis dans un communiqué. Remerciant la communauté de Madison de son soutien, Persia avait commenté: “We appreciate all the love and support the community has shown him over the years.’’ Persia, qui avait créé une page web en hommage à son père, avait ajouté: ‘’Richard touched the lives of thousands and will be missed by friends, family, fans, students, and colleagues around the world.”

À la demande de Davis, il n’y avait eu aucun mémorial ni funérailles publiques. L’animateur de jazz Chuck France avait rendu hommage à Davis le 20 septembre sur les ondes de la station de radio WORT.

Rendant hommage à Davis après sa mort, le pianiste Ethan Iverson avait déclaré: “The room became much larger when Richard Davis unpacked his instrument.” Un autre collaborateur de Davis, le pianiste Jason Moran, avait salué “the way he found the space in the bass line. Instead of ‘walking’ a bass line, Davis seems to ‘chart’ it. Like an astronomer charting the sky.’’ Moran avait ajouté: “In that way, he found freedom in the bass by pivoting between the earth and the stars.” Le dernier album de Davis, un enregistrement en duo avec le pianiste Junior Mance, était intitulé Blue Monk. L’album avait été publié exclusivement au Japon en 2009.

Lauréat de nombreux prix, Davis a été élu ‘’Jazz Master’’ par la National Endowment for the Arts en 2014. Davis a également remporté un Hilldale Award pour souligner son travail d’enseignant. Le prix lui avait été remis par l’ancienne chancelière de l’Université Madison, Donna Shalala. En 2000, le Club Rotary de Madison avait aussi décerné à Davis un Manfred E. Swarsensky Humanitarian Award. L’année suivante, le gouverneur de l’État du Wisconsin lui avait attribué le Governor’s of Wisconsin Arts Award. En 2003, Davis avait également remporté le Reverend Dr. Martin Luther King, Jr. Humanitarian Award. Décerné annuellement par la Cité de Madison, le prix lui avait été remis par la mairesse Susan J.M. Bauman dans le cadre du 18e anniversaire de la mort de King. En 2008, Davis s’était également vu attribuer un prix MAMA (Madison Area Music Award Michael St. John Lifetime Achievement Award). L’année suivante, l’Université de Madison avait attribué à Davis un Exceptional Service Award. La même année, la Wisconsin Historical Society lui avait décerné un Spencer Tracy Award for Distinction in the Performing Arts.

Davis est également récipiendaire de plusieurs doctorats honorifiques, dont un du Edgewood College de Madison, en 1998. En 2018, la Cité de Madison a aussi renommé une rue en son honneur. Davis avait également remporté le titre de meilleur contrebassiste dans le cadre de sept sondages consécutifs des critiques du magazine Down Beat de 1967 à 1974. Quant au magazine Rolling Stone, il avait classé Davis au 34e rang des 50 plus grands bassistes de tous les temps.

Davis a collaboré à plus de six cents albums au cours de sa carrière, en plus d’en diriger une douzaine comme leader, dont le classique Heavy Sounds, enregistré avec le batteur Elvin Jones en 1967. Davis a travaillé avec de nombreuses sommités du jazz au cours de sa carrière, dont Eric Dolphy, Sonny Stitt, Oliver Nelson, Ahmad Jamal, Sarah Vaughan, Miles Davis, Charles Mingus, Johnny Hodges, Dexter Gordon, Joe Henderson, Milt Hinton, Bobby Hutcherson, John Hicks, Tony Williams, John Lewis, Jaki Byard, Kenny Burrell, Ron Carter, Jason Moran, Roy Haynes, Booker Ervin, Louis Armstrong, Dizzy Gillespie, Pharoah Sanders, Archie Shepp, Andrew Hill, Elvin Jones et Cal Tjader. Davis s’est également produit dans les plus grandes salles à travers le monde, que ce soit au Japon, en Europe, en Russie, en Amérique du Sud, en Europe, à Hong Kong ou en Israël.

Commentant la polyvalence de Davis comme musicien, le contrebassiste et professeur Rufus Reid lui avait rendu hommage en ces termes: “Richard has played in every musical setting you could imagine. Whether it be performing in a symphonic orchestra, recording jingles, recording jazz records, and then playing until dawn in a club in the bowels of The Village in New York… and he might be doing all of that in one day.” Saluant la contribution de Davis au monde du jazz et à la lutte contre le racisme, le directeur éditorial de WISC-TV, Neil Heinen, écrivait dans le magazine Spectrum:

“As one of the world’s premier bass players, Davis’s music has touched the lives of countless fans, and his teaching has inspired generations of students in the classroom as well as with the Richard Davis Foundation for Young Bassists, Inc., which provides musical instruction for financially challenged youth. While the jazz master and professor could’ve ended his renowned biography there, his passion for social justice, for the healing of racism, has changed the lives of those who have accepted his invitation to open their hearts, minds and spirits to the history and pathology of racism within.”

Le contrebassiste William Parker, qui avait étudié avec Davis au cours de sa jeunesse à New York, ne tarissait pas non plus d’éloges au sujet du talent de son collègue. Parker avait déclaré: “Richard Davis was a beautiful musician and human being. He reminded me of an African king, regal and strong. I praise him not because he could play both classical and jazz. I applaud him because the brother had a big, poetic sound full of freedom.” Décrivant Davis comme un musicien et professeur très exigeant qui incitait ses collaborateurs à élever la qualité de leur jeu et à toujours donner le meilleur d’eux-mêmes, le batteur Victor DeLorenzo avait précisé: “And, I’ll never forget, Richard was talking with me one time and he said, ‘Victor, I’m glad that you’re a part of this group, but I have to ask you…what is it that you do?’ He was referring to me playing on stage because I was playing with brushes and it was kind of quiet – what I was doing – and he couldn’t really hear me. Because there was another drummer and another percussionist featured in the group. So, he was honestly asking, ‘What is it that you do?'”

De l’avis de DeLorenzo, si Davis était un aussi grand musicien, c’était parce qu’il cherchait constamment à apprendre et à s’améliorer. DeLorenzo avait ajouté: “He was a gifted musician in that he was a very studied musician and had a great knowledge of the jazz idiom. But also, he was known and respected as a musician that could play with any other musician. He just had that wide-open kind of a personality.”

En plus de sa carrière de musicien et de son travail de professeur, Davis était également un grand passionné d’équitation. Davis avait commencé à s’intéresser aux chevaux à l’âge de neuf ans lorsqu’il avait obtenu un travail à temps partiel dans une écurie de Chicago aux côtés de son camarade de classe Bo Diddley. Davis avait même participé à un concours de dressage.

SOURCES:

FORDHAM, John. ‘’US jazz bassist who worked with Van Morrison and Sarah Vaughan and later became a professor of bass at Wisconsin University.’’ The Guardian, 27 septembre 2023.

HENKIN, Andrey. ‘’Richard Davis, Gifted Bassist Who Crossed Genres, Dies at 93.’’ New York Times, 11 septembre 2023.

‘’Richard Davis.’’ Wikipedia, 2024.

#jazz #french #history

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didierleclair · 1 year ago

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A jazz lady with charisma and multiple talents. Dinah Washington was a jazz singer and pianist who could sing many genres, from blues to pop including gospel. She had a high pitched voice with varied intonations and extremely distinctive.

She had many hits, including "Ain't misbehavin'", the Fats Waller song. But everybody knows the pop and romantic song "What a difference a day made".

What characterized her greatness is her soulful way of singing. One of my favorite is "Cold, cold heart". She called herself "Queen of the blues" for a reason.

Une chanteuse de jazz avec du charisme et un talent multiple. Dinah Washington chantait plusieurs genres de musique, du blues au pop, en passant par le gospel. Sa voix était haute avec des intonations variées et très distincte. Elle a eu de nombreux succès comme "Ain't misbehavin'", le morceau de Fats Waller. Mais tout le monde connaît la chanson pop et romantique "What a difference a day made". Ce qui caractérise son talent est sa façon très "soul" de chanter. Une de mes préférées est "Cold, Cold heart". Elle s'est surnommée "La reine du blues" pour une raison.

#jazz #jazz music #dinah washington #didier leclair

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cimhon · 13 days ago

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Blues, 2.

Ce chien, il l’avait eu presque par hasard. La chienne de la gardienne du collège dans lequel bossait La Mythe avait eu une portée. Bâtarde déjà? Oui. C’était une portée de bâtards inédite: du Yorkshire, du chihuahua et…. De la chauve souris géante? Du ragondin? De la loutre? Un poil dru qui couvrait un corps peureux monté sur quatre grandes pattes maigres. Mais non, je mens, ces origines potentielles se verraient plus tard . Quand il est né, il n’était pas plus grand qu’un poing d’enfant. Pelage collant et yeux de lapin myxomatosé. Boule à peine mobile, encore mal formée et pataude. La Mythe avait toujours aimé les animaux, sa copine, L., adorait les chiens. Il lui envoya une photo. Elle lui dit qu’elle le voulait. Il lui répondit que c’était possible.

Elmire, la gardienne, était emmerdée de toute façon: sur la portée des trois chiots, Rock, Jazz, Blues, elle n’avait trouvé preneur que pour deux. Elle eut l’air soulagée de ne pas avoir à l’étouffer ou autre et lui dit qu’après sevrage auprès de la mère, trois mois à peu près, il n’aurait qu’à payer les frais de puce, de vaccins etc… pour l’avoir. Tout était parfait.

La Mythe était parti en voyage scolaire, il accompagnait des classes de troisième en Espagne lorsque sa meuf alla récupérer le chien au collège. Etrange un peu, mais il était content qu’elle puisse voir l’endroit où il travaillait et qu’elle rencontre Elmire, qui était un personnage haut en couleur qu’il appréciait énormément. Sans doute se plurent-elles, mais ces détails avaient disparus dans l’émotion que provoqua l’échange du chien. Ce bonheur d’avoir un chien à soi, dès tout petit, sevré, qui ne sortait ni d’un élevage à la con, ni d’un refuge, qui n’avait jamais connu ni l’objectivation, ni la maltraitance.

L. Le ramena chez elle. Elle partageait une colocation dans le 12eme arrondissement avec deux amis. Ils avaient déjà fait l’expérience d’un chat domestique, qu’ils avaient donné à une connaissance qui vivait à la campagne « parce qu’il y serait plus heureux ». En vérité, le chat avait pris l’habitude de pisser sur le canapé, habitude qu’il n’avait pas quittée, et les colocataires, bien qu’ils aimaient leur animal, étaient excédés de devoir, tous les jours, nettoyer le tissu imprégné de pissat.

Lorsque La Mythe revint d’Espagne, il comprit que la situation était pour le moins tendue. Le chiot, en apprentissage, chiait souvent dans l’appartement et pissait, lui aussi, sur le canapé. On avait beau le sortir le plus souvent que le permettaient les journées de travail, Il pissait et chiait sur le canapé chaque jour. Il peinait à descendre et à monter les escaliers, il courait maladroitement lançant ses pattes dans un ordre aléatoire et trébuchant, il cherchait constamment le réconfort de la proximité du corps des maîtres. Un petit chien.

Cependant le nettoyage quotidien du canapé eut raison une fois encore de la patience des colocataires et ils formulèrent un ultimatum: soit le chien partait, soit L. partait avec le chien. Ce fut un drame. Elle crut ne pas pouvoir ou ne pas savoir s’en occuper. Elle dit à La Mythe dans une crise de panique. qu’elle allait l’abandonner, n’importe où, au bord d’une autoroute. La Mythe n’avait jamais rencontré de personne aussi forte que L., c’est aussi pour ça qu’il était amoureux d’elle à ce point. Il La rassura en lui disant que lui pouvait le prendre chez lui, dans son petit appartement de Château Rouge en attendant. En attendant quoi? Il n’était pas question que ce chien, source de bonheur devienne une angoisse. Il n’était pas question que quelqu’un qu’il aime souffre.

Par un hasard fou, quelques jours plus tard, nous fûmes confinés pour contrer le covid. L. Et le chien vinrent tous les deux habiter l’appartement de La Mythe, et le problème fut réglé. 33 mètres carrés, une chambre-salon, une cuisine, une salle de bain, c’est bien suffisant quand on est amoureux. Ils avaient décidé que le petit chien ne monterait pas sur le lit et ne dormirait pas avec eux. Mais dans une seule pièce, la nuit, avec ce chiot qui sautait sur le lit, pleurait quand on le descendait, remontait… ils abdiquèrent vite. Avec un certain plaisir qui ajoutait au fait de s’aimer, l’amour inconditionnel d’un être dépendant.

Blues, le chien, apprit vite à pisser et à chier au même endroit de l’appartement entre la bibliothèque et la fenêtre, sur lequel fut improvisée une litière faite d’alaises et de papier journal, et La Mythe, peu tenu au télé-travail, avait le loisir de pouvoir le sortir souvent.

Sans doute, pendant cette étrange période durant laquelle ils furent collés tous les trois, ses maîtres lui apprirent mal et en firent un dépendant affectif. Le confinement fini, lorsqu’ils sortirent pour la première fois en terrasse, La Mythe et Blues croisèrent une femelle king charles de magasine que baladait sa maîtresse chique, elle aussi. Sans salamalek, Blues appuya ses pattes de devant sur la tête bouclée de la chienne et enfonça frénétiquement son sexe de chien dans sa gueule. La maîtresse, gênée, demanda si c’était normal et La Mythe, tout aussi gêné, répondit qu’il ne savait pas où son chien avait pu apprendre ça. La gêne fut décuplée par ces paroles maladroites. La discussion s’arrêta là.ILs se séparèrent comme ils s’étaient rencontrés, les chiens couinant. La Mythe comprit à cet instant que c’était plus qu’un chien qu’il avait au bout de la laisse.

#cimhon #autofiction #lamythe #litterature #littérature #doggo #doglover

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