#Legends of the Blues Portraits

[savage-kult-of-gorthaur]

FIRST LADIES OF BLUES & JAZZ MUSIC -- MOSTLY SINGERS & SONGWRITERS INSTEAD OF MUSOS.

NOTE: ^These ladies had to have been around musical instruments for their entire careers, so, why neither of them ever decided to give one a go is beyond me. They're all singers exclusively, every one.

PIC(S) INFO: Spotlight on the various ladies of blues & jazz music, from oldest to youngest, and all illustrated by William Stout for his extensive (and definitive) "Legends of the Blues" portraits series.

Gertrude "MA" RAINEY (born Pridgett; April 26, 1886 – December 22, 1939)

LUCILLE BOGAN (born Lucile Anderson; April 1, 1897 – August 10, 1948)

ETHEL WATERS (October 31, 1896 – September 1, 1977), 2x

VICTORIA Regina SPIVEY (October 15, 1906 – October 3, 1976)

Mabel Louise Smith (May 1, 1924 – January 23, 1972), known professionally as "BIG MAYBELLE"

Sources: www.motherjones.com/media/2016/04/cartoon-portraits-of-blues-legends, Buds Art Books, Pinterest, various, etc...

[kult-of-tol-in-gaurhoth]

THE FIRST PERSON TO PLAY BLUES ON AN ELECTRIC GUITAR -- THE FIRST GUITAR HERO IN THE HISTORY OF RECORDED MUSIC.

PIC INFO: Spotlight on Aaron Thibeaux "T-Bone" Walker (1910 – 1975) American blues musician, pioneer and innovator of the jump blues, West Coast blues, and electric blues sounds. Artwork by William Stout for his "Legends of the Blues" portraits series.

LEGACY & OVERVIEW: ""How significant was T-Bone Walker to the evolution of the blues?" he repeats the question. “Well,” he says after a long pause. “You look back at everyone who’s ever stood in front of a band playing the guitar and it all traces back to one man. T-Bone Walker was the first person to ever play blues on an electric guitar: How significant is that?”

But Vaughan knows Walker’s contributions go deeper than having access to new technology. Leaving it at that is like lauding a brilliant author for being the first to write a book using a word processor.

“T-Bone created a whole new language for the guitar,” says Vaughan, whose concise leads and impeccable sense of swing and rhythm show that his guitar speaks T-Bone fluently. He reaches for his 1951 Gibson hollow-body electric on the couch in his manager’s office on South Lamar; axe in hands he seems more comfortable talking about Walker, whose work in the 1940s was as major a musical influence as Texas has produced. Vaughan starts playing riffs you’ve heard on records by the Rolling Stones, Chuck Berry, Eric Clapton and Vaughan’s former Fabulous Thunderbirds and the conversation comes alive.

"You’ve heard this one a hundred times before,” he says, playing the driving intro to “The Crawl,” a T-Bird mainstay. “That’s a T-Bone lick. Here’s another,” he says, strumming the harmonic chords that open Walker’s most enduring composition, “Call It Stormy Monday.” Vaughan then hits a note and sustains it with a finger wiggle a la B.B. King, performs a jazz-billy run like the ones Scotty Moore used to play with Elvis Presley, executes the bent-note double stops identified with Chuck Berry, then apes the choppy rhythms of nascent funk guitarist Jimmy Nolen of James Brown’s band. These licks all started with Walker, who was born in Linden and raised in Dallas. The electric guitar has been the defining instrument of the past 50 years and T-Bone Walker was the first guitar hero.

“You know how everyone was blown away when they first heard Jimi Hendrix?” Vaughan asks. “Well, imagine what it must’ve been like to hear T-Bone for the first time, when those riffs were brand new.” Hendrix had contemporaries who were doing amazing things — Clapton, Jeff Beck, Link Wray, Buddy Guy — but T-Bone was on an island. He was the template for so many great guitarists who would follow. In Texas, a Mecca of electric blues guitarists, you had Rockdale’s Pee Wee Crayton, Orange’s Gatemouth Brown, Beaumont’s Johnny Winter. Dallas gave us Freddie King and the Vaughan brothers and Houston could boast Albert Collins, Johnny “Guitar” Watson, Johnny Copeland and Billy Gibbons, all carrying T-Bone’s torch."

-- MICHAEL CORCORAN, "T-Bone Walker and the Language of Electric Blues," c. April 2020 (Texas Music History)

Sources: www.michaelcorcoran.net/t-bone-walker-and-the-language-of-electric-blues and www.budsartbooks.com/product/more-legends-of-the-blues-card-set-by-william-stout.

[joshuamj]

Been artblocked lately, so i decided to sorta reset by trying out other styles, so here's EoW!Zelda in my style and 3 others!

+ some style/process notes

[heatherfield]

@giftober 2024 | Day 27: blue

[Ichabod] was a native of Connecticut, a State which supplies the Union with pioneers for the mind as well as for the forest, and sends forth yearly its legions of frontier woodmen and country schoolmasters. The cognomen of Crane was not inapplicable to his person. —The Legend of Sleepy Hollow

Ichabod Crane in Headless: A Sleepy Hollow Story [x]

Bonus:

[spookysazart]

Shameless Jinx apologist

[bluewonderlandart]

A Zelda piece I’d been working on for a while, totk anniversary inspired me to finish it.

[kimchi-paints]

Big Jinx in the house 💃

Anyone else gassed for arcane season 2? It's almost here!

[darkitsunex]

I have concluded with a fanart consisting Snow Moon Ahri paired with Blood Moon Yasuo under the form of a double-faced portrait with and without glowing aura. I hope you like and enjoy it! :))

[kefalion]

Did something as self indulgent as draw an idealised self portrait as a Jedi

[vande14y]

It’s Fab Five Friday y’all! Zelda and some others in blue for today

[ki-ana-mae-wong]

Anna May Wong

in Tod Browning's DRIFTING (1923)

[savage-kult-of-gorthaur]

"...I TRIED TO CAPTURE HIS WILD ONSTAGE PERSONA, THE SCARY-BUT-FUNNY GUY WHO AROSE FROM A COFFIN..."

PIC INFO: Spotlight on legendary screamer, shouter, and all around rocker "Screamin'" Jay Hawkins, illustrated by his old pal William Stout for his 2013 "Legends of the Blues" portrait series.

"Jay Hawkins was a friend of mine. We met on the set of "American Hot Wax." We saw each other socially and exchanged correspondence when he was out of town. He was a huge guy with an geodetic memory for 1950s rhythm and blues. I could play him any R&B record from the '50s. With one listen he could tell me who each player was on the record. Amazing!

In my portrait of Jay I tried to capture his wild onstage persona, the scary-but-funny guy who arose from a coffin to sing his signature tune "I Put a Spell On You" or his classic "Constipation Blues." I miss this surprisingly kind and gentle man."

-- WILLIAM STOUT, American fantasy artist/painter/illustrator of 2013's "Legends of the Blues"

Source: www.nuncalosabre.com/legends-of-blues-by-william-stout.

[phildekem]

RIP TINA TURNER

[ikaishere]

can i consum4 the artstype thank you

Wow. Blue.

Disgruntled.

[takunwilliams]

Miles Davis

The Blues 2023

[mizushidokoro]

"Ryuurin, Hanpatsu, Tsugai no Ryuusei" -- the incantation for World Slash, and an epitaph to Gojo Satoru.

In JJK, incantations are supposed to boost power of a particular technique. When Sukuna used World Slash to kill Gojo, he imposed a binding vow that allowed him a single-use activation without the requirement of a hand sign, in exchange for using incantations and directing the attack for all subsequent uses.

In this post I'll examine the specific phrases in Sukuna's incantation and argue that each phrase of the incantation corresponds to an application of Gojo's Limitless technique. Then I'll briefly relate this to the binding vow requirements to argue that Sukuna's promise to never forget Gojo for the rest of his life is one of the conditions of that binding vow.

1. "龍鱗"

First, "ryuurin" (dragon scales) describes the basic application of Limitless, a strong defensive barrier like the scales of a dragon. This one is the most obvious, hinted at by Sukuna's words at the beginning of the fight, telling Gojo he plans to "strip away his scales." More will be said about the dragon references, in the discussion of the third phrase.

Less relevant but still interesting - there’s also a Buddhist reference here, according to this forum post:

At surface, straight value, it is just the literal scales of a dragon. The word can also be used to mean "a large quantity of things". Ryurin is also a metaphor for the power/authority/influence of heroes and of the Heavenly People (the residents of the Japanese version of the Devaloka, where devas and gods reside. Just a heavenly realm, basically.) Lastly, Ryurin means a dangerous condition/situation or a dangerous thing. So. For Sukuna, its basically 'dangerous divine power/authority'.

2. "反発"

Next, "hanpatsu." Hanpatsu means recoil, which is the equal and opposing force of an action. This describes Purple, which is the rebounding damage created by the collision of Red and Blue. At first I thought hanpatsu described Red, because Red is a “repulsing” force. Except “recoil” is not the same thing as repulsion. Another possibility was that hanpatsu described the relationship between Red and Blue — Red as the “equal and opposite” of blue, and vice versa. But we know the two aren’t equal in power, and neither technique is accurately described as the “recoil” or rebounding force produced by the other.

3. "番いの流星"

Finally, "tsugai no ryuusei." A few things here. First, the wordplay and translation. Like ”Ryuurin”, this term references dragons. Here Ryuusei, meaning meteor or comet, is also pun on the word dragon, ryuu (which isn’t novel, see the Japanese word for Pokémon move Draco Meteor, et al.). So a plausible English translation could also be “Twin Dragon Meteors.” Second, how dragons are relevant to Sukuna’s mythology. In Hida, there is a temple Senkoji said to be founded by “Ryomen Sukuna … approximately 1,600 years ago. A central architectural feature of the temple it Dragon Ceiling, a portrait of two dragons painted by Kano Tansetsu on the ceiling of the main buliding. From the website,

According to temple legend, a general of the Sengoku period committed suicide there by seppuku, staining the floor with blood. For the repose of general’s soul, the floorboards were incorporated into the ceiling of the main temple. Some time later, Kano Tansetsu visited Senkoji and painted the dragons on the ceiling. At Senkoji, the objects of worship include not only the main temple and the priest’s quarters, but also the entire temple complex.

According to this Reddit post, the temple’s founding tale describes how Sukuna fought off a dragon god living in the mountain and built a shrine in its place. So — from the fact that dragons are the mythological enemy of the figure Ryomen Sukuna, we may infer that the words of the incantation refer to an enemy or target of the World Slash technique.

What could "twin meteors" refer to other than the related techniques of Limitless, the twin floating spheres Red and Blue?

Another potential connection to Red/Blue rooted in dragon mythology is the tide jewels — the tide-ebbing (a repelling force, like Red) kanju and tide-flowing (an attracting force, like Blue) manju, possessed by Ryuujin, the Sea King.

The final reason I think the incantation refers to Gojo’s technique is because of Sukuna’s explanation in 236 for World Slash — he describes the process of developing the technique as figuring out how to target Limitless with Dismantle. So it makes sense that the incantation to power World Slash operates by describing its target, not World Slash itself.

It also lends significance to the order of the incantation — first visualizing the most generalized application of Limitless (ryuurin), then passing through Purple (hanpatsu) to finally arrive at two separate applications, Red and Blue (tsugai no ryuusei) — a conceptual "bisection" of Limitless into two discrete components.

4. Binding Vows

Isn't this pretty romantic? But wait there's more. We know now after Chapter 255 that in exchange for unleashing the World Slash that killed Gojo without using the hand sign, Sukuna now has to recite the incantation every time (+using the hand signs and directing the attack with his palm) he uses World Slash.

Assuming what I've previously argued is true (the incantation describes Gojo's Limitless), this gives Sukuna's last words to Gojo another layer of significance. When Sukuna tells Gojo he will never forget him, it's not just an expression or a promise, but a statement of the binding vow Sukuna has to make in order to land the killing blow. In other words, the cost of killing Gojo is having to remember him forever, to integrate him into Sukuna's own technique through a verbal invocation that must be made every single time Sukuna uses the world bisecting slash. Yeah, that's pretty romantic.