#Musicians for Hire New York City

[arnieabramspianist]

Why Should You Invest in A Wedding Musician for Your D-Day?

You must have many dreams and plans associated with your D-day. And it’s completely obvious since the wedding is one of the biggest events in one’s life. From wedding gown shopping to best-in-class decorations, you need to take care of many aspects.

However, whether planning a big celebration or a close-knit ceremony, hiring a seasoned and award-winning New Haven CT, New York City and New Jersey Wedding Musician is important. Regardless of the venue and arrangements, having the best Wedding Ceremony Musicians New Jersey, New York City and Philadelphia will make your D-day memorable for a lifetime.

It is time to opt for the best Wedding musicians for hire New York City to turn your wedding ceremony into a precious fairytale. Only knowledgeable, experienced Musicians from New Jersey and New York Cityknow how to set the perfect tone, mood, and ambiance of a wedding based on the wedding theme.

A reputable New York City and New Jersey Wedding Musician leverages their expertise and experience to fill the venue with heartwarming music. You and your precious half would experience heavenly feelings of getting united for an eternity. All of your guests will also enjoy to the fullest and feel welcome as well as included throughout the ceremony.

Wedding Ceremony Musicians New Jersey, New York City, Philadelphia and New Haven CTchooses different pieces of music based on the stages in the wedding. It creates a magical ambiance to enable the couple and other attendees to create precious memories for a lifetime.

Whether searching for the best musicians from New Jersey or Musicians for Hire New York City, look no further than Arnie Abrams Entertainment. Arnie Abrams, an award-winning musician and pianist, always goes the extra mile to make a wedding ceremony an unforgettable celebration. Arnie Abrams has won various awards in the past decade including The Knot Best of Weddings award and The Wedding Wire Couple’s Choice award. Contact Arnie at 732.995.1082.

[batteredshoes]

Like A Rolling Stone (Highway 61 Revisited, 1965)

Al Kooper on how he hustled his way into the making of Dylan’s cryptic fairy tale and all-time greatest song.

“I began my professional music career as a member of The Royal Teens in 1959, becoming a professional songwriter shortly thereafter and teaming up with lyricists Bob Brass & Irwin Levine. By 1965 I’d befriended producer Tom Wilson at Columbia Records at 799 7th Avenue in New York City. Tom was riding high as the producer of Bob Dylan, of whom I was a big fan. After a while, the others that worked on his floor got used to me coming and going whether Tom was there or not. Occasionally I’d “borrow” unreleased acetates of Dylan’s albums in progress and take them home overnight and make a tape copy for my own enjoyment. Tom would also invite me on occasion to the New York Giants football team’s Sunday games, where he had excellent seats. I was about 21-years-old but I knew when to speak and when not to.

Then one day, out of the freakin’ blue, Tom invites me to an afternoon Dylan session. It’s Wednesday June 16 and they’ve already done a day’s work on a handful of songs – one they’ve been calling Phantom Engineer but will turn into It Takes a Lot To Laugh, It Takes A Train To Cry; another they’ve started and have all of today to get right. I’m carefully instructed to sit in the control room and be as invisible as possible.

The session is to begin at 2pm. So I get there at 12.30pm with my electric guitar and amp and begin to warm up like I truly belong there. After about ten minutes, Dylan comes blasting in the door along with a guitarist who has his guitar on his shoulder like a rifle. Only it’s raining outside and the caseless guitar is as wet as can be.

The guitarist is Mike Bloomfield. I’ve read about him in Sing Out! magazine – he is in the Paul Butterfield Blues Band, whatever that is. The other musicians are mostly a crew of dependable guys that do this for a living: among them, drummer Bobby Gregg, pianist Paul Griffin and bassist Joe Macho Jr. The only one I know by sight is Griffin. I had hired him a few times for songwriting demos. An excellent player and a really nice guy.

Bloomfield comes over to where I’m sitting with my guitar and says hello – he wipes the rain off his guitar with a rag and plugs into a Fender amp and starts warming up. This shocks me as I have never heard someone my age play with the skill and tone he has. I quickly put my guitar in its case, slide it under a bench, and get my ass into the control room where I actually belong (and just in time as Tom Wilson enters five minutes later).

The band begins to rehearse the song Dylan wants to start off with. Wilson begins getting sounds on each instrument. Paul Griffin is playing organ and Dylan is playing an electric Fender Stratocaster! This blows my mind - acoustic Bob goes electric! The song is over six minutes long and Bloomfield is instantly mesmerizing. After three takes Wilson moves Paul Griffin from organ to piano.

While they are moving the piano around and miking it. Everyone takes a break. I go out to the studio and sit at the organ which is fortunately still plugged in and turned on. It’s very complicated to turn an organ on and I haven’t acquired that knowledge yet. The piano is tuned. Wilson starts over the talkback: 'This is Like A Rolling Stone Take 4.' He pauses and sees me behind the organ. 'What are you doing out there?' he says and the other musicians laugh and, thank God, so does Wilson. He appears to relent and says, 'OK, this is Take 4.'

After the intro, I wait until everyone else plays a chord and then I come in. Pretty quickly I memorize the chords - there’s only five! - and then I begin to play parts. This is the first complete take of the session, so they play back all six minutes of it. Now I go in the booth and sit at the end of a bench. After the first chorus Bob says to Tom Wilson, 'Make the organ louder.' Tom says, 'You know that guy’s not an organ player, right?' Bob says, 'I don’t care – just turn it up in the mix!'

And that my friends, was the beginning of my soon-to-be real career.”

[thislovintime]

Release (aka Peter Tork and/or Release): Riley Cummings, Judy Mayhan, Peter Tork, and Reine Stewart.

“I did have such a lovely house for a little while, but overshot the mark. It had a big lovely swimming pool and a good music room where we could get pretty loud. Jimi [Hendrix] did come over to my house. Buddy Miles and I were close for a while and both of them would come over and say hello.Once [Stephen] Stills and David Crosby and my then girlfriend and I were jamming together and I leaning into the drums something ferocious, banging on cymbals and lashing out pretty good, until a city councilman and a cop came over and we were so loud that we drowned out conversation down the hill, apparently.” - Peter Tork, Review Mag, May 27, 2016 “Peter wants to do some recording on his own, something he seldom got to do as a Monkee. He did, however, write two songs for the ‘Head’ soundtrack and these, he believes are representative of his music of the present. He tried a while back to get a group together with his brother Nick, but it didn’t work out.” - article by Ann Moses, New Musical Express (NME), January 25, 1969 “Three is a quorum for our group. We sometimes have four. We’re thinking of having a rotating fourth. Right now the fourth is that girl that I’m promoting named Judy Mayhan. […] If I was just having a back-up band I could go into the Musicians Union and hire a bass, drums and organ. But I’d rather work with friends because that makes much better music.’” - Peter Tork, New Musical Express, April 5, 1969 “I had a group called Release, which I couldn’t keep together because I didn’t know enough about management. [We recorded] just a few basement tapes. Actually they were attic tapes.” - Peter Tork, Goldmine, May 1982 “After quitting [The Monkees], Tork tried to launch a new band called Peter Tork and Release. The fact that he’d been in the Monkees may have made it harder to gain respect, he said, but his fame also gave him advantages over other new bands. The pluses and debits of being an ex-Monkee balanced out, Tork thinks. Release failed, he says, because ‘I didn’t know how to stick to it. I ran out of money and told the band members, “I can’t support us as a crew any more, you’ll just have to find your own way.”’ In hindsight, Tork says, he should have asked the others to help support the band and hang with it after he could no longer afford to be its sugar daddy. But at the time, Tork says, he lacked the self-esteem to ask for other people’s help.” - Los Angeles Times, October 20, 1992 “[Judy Mayhan] had played the folk circuit and worked as a waitress at New York’s famous Gaslight Club when she met Peter Tork […], who helped her along in the business.” - The Columbia Record, December 18, 1971 “According to Judy, Peter is another one of those good guys. It seems he frequently opens his doors to needy guests.” - Star-Gazette, March 7, 1970 “[There were recording] sessions that Peter produced himself BEFORE I got that opportunity [at Muscle Shoals Sound Studio]… and it was Peter that made that opportunity possible to begin with… He was a very important person in my life and did his best to guide me.” - Judy Mayhan, via Forrest George on Facebook, February 21, 2019

[shewhoworshipscarlin]

Victoria Spivey

Victoria Regina Spivey (October 15, 1906 – October 3, 1976), sometimes known as Queen Victoria, was an American blues singer, songwriter, and record company founder. During a recording career that spanned 40 years, from 1926 to the mid-1960s, she worked with Louis Armstrong, King Oliver, Clarence Williams, Luis Russell, Lonnie Johnson, and Bob Dylan. She also performed in vaudeville and clubs, sometimes with her sister Addie "Sweet Peas" (or "Sweet Pease") Spivey (August 22, 1910 – 1943). also known as the Za Zu Girl. Among her compositions are "Black Snake Blues" (1926), "Dope Head Blues" (1927), and "Organ Grinder Blues" (1928). In 1961, she co-founded Spivey Records with one of her husbands, Len Kunstadt.

Born in Houston, Texas, she was the daughter of Grant and Addie (Smith) Spivey. Her father was a part-time musician and a flagman for the railroad; her mother was a nurse. She had three sisters, all three of whom also sang professionally: Leona, Elton "Za Zu", and Addie "Sweet Peas" (or "Sweet Pease") Spivey (August 22, 1910 – 1943), who recorded for several major record labels between 1929 and 1937, and Elton Island Spivey Harris (1900–1971). She married four times; her husbands included Ruben Floyd, Billy Adams, and Len Kunstadt, with whom she co-founded Spivey Records in 1961.

Spivey's first professional experience was in a family string band led by her father in Houston. After he died, the seven-year-old Victoria played on her own at local parties. In 1918, she was hired to accompany films at the Lincoln Theater in Dallas. As a teenager, she worked in local bars, nightclubs, and buffet flats, mostly alone, but occasionally with singer-guitarists, including Blind Lemon Jefferson. In 1926 she moved to St. Louis, Missouri, where she was signed by Okeh Records. Her first recording, "Black Snake Blues" (1926), sold well, and her association with the label continued. She recorded numerous sides for Okeh in New York City until 1929, when she switched to the Victor label. Between 1931 and 1937, more recordings followed for Vocalion Records and Decca Records, and, working out of New York, she maintained an active performance schedule. Her recorded accompanists included King Oliver, Charles Avery, Louis Armstrong, Lonnie Johnson, and Red Allen.

The Depression did not put an end to Spivey's musical career. She found a new outlet for her talent in 1929, when the film director King Vidor cast her to play Missy Rose in his first sound film, Hallelujah!. Through the 1930s and 1940s Spivey continued to work in musical films and stage shows, including the hit musical Hellzapoppin (1938), often with her husband, the vaudeville dancer Billy Adams.

In 1951, Spivey retired from show business to play the pipe organ and lead a church choir, but she returned to secular music in 1961, when she was reunited with an old singing partner, Lonnie Johnson, to appear on four tracks on his Prestige Bluesville album Idle Hours.

The folk music revival of the 1960s gave her further opportunities to make a comeback. She recorded again for Prestige Bluesville, sharing an album, Songs We Taught Your Mother, with fellow veterans Alberta Hunter and Lucille Hegamin, and began making personal appearances at festivals and clubs, including the 1963 European tour of the American Folk Blues Festival.

In 1961, Spivey and the jazz and blues historian Len Kunstadt launched Spivey Records, a low-budget label dedicated to blues, jazz, and related music.

In March 1962, Spivey and Big Joe Williams recorded for Spivey Records, with harmonica accompaniment and backup vocals by Bob Dylan. The recordings were released on Three Kings and the Queen and Kings and the Queen Volume Two. Dylan was listed under his own name on the record covers. A picture of her and Dylan from this period is shown on the back cover of the Dylan album, New Morning. In 1964, Spivey made her only recording with an all-white band, the Connecticut-based Easy Riders Jazz Band, led by the trombonist Big Bill Bissonnette. It was released first on an LP and later re-released on compact disc.

Spivey married four times; her husbands included Ruben Floyd, Billy Adams, and Len Kunstadt.

Spivey died in New York on October 3, 1976, at the age of 69, from an internal hemorrhage.

[peaceloveandhistory]

Today in 1961: Bob Dylan took to the stage in New York for his first major gig at Gerde’s Folk City. Dylan was hired to open for none other than the blues icon John Lee Hooker, for a two-week engagement that would go down in history. His setlist included classics like "House of the Rising Sun," "Song to Woody," and "Talkin' Hava Negeilah Blues." He played two other songs that night, identified only as "unknown Woody Guthrie song" and "a black blues," showcasing his incredible range and versatility as a musician. The audience was blown away, including folk legend Dave Van Ronk who attended Dylan's first show and declared, "he was absolutely remarkable." It was a night that would go down in history, but unfortunately, none of the concerts were recorded and amateur recordings have never surfaced.

[lboogie1906]

Ada Beatrice Queen Victoria Louise Virginia Smith (“Bricktop”) (August 14, 1894 - January 31, 1984) vaudevillian actress, singer, nightclub owner, and international celebrity host, was born in Alderson, West Virginia to Thomas and Hattie Thompson Smith. She began performing at the age of five, playing Harry in Uncle Tom’s Cabin at Haymarket Theater in Chicago. She earned a permanent chorus role at the Pekin Theatre. A truancy officer tracked her down and she was forced to quit performing and return to school.

She began touring with the Theater Owners’ Booking Association and Pantages Vaudeville circuits. She appeared alongside vaudevillian entertainers. She earned the nickname “Bricktop”. She performed in a wide variety of locations including Chicago, San Francisco, Vancouver, and New York. Baron’s Exclusive Club in Harlem became one of her regular venues, she convinced the owner to hire Elmer Snowden’s Washingtonian’s band, which included an undiscovered Duke Ellington.

She performed in Paris at the Le Grand Duc nightclub. She began hosting and entertaining at charity events and parties for celebrities, where she befriended influential artists such as the authors F. Scott Fitzgerald and John Steinbeck, and the composer and musician Cole Porter. Porter wrote a song for her titled, “Miss Otis Regrets She’s Unable to Lunch Today.” She became involved with the Paris nightclub scene, regularly performing at The Music Box and Le Grand Duc.

She opened her nightclub called Chez Bricktop’s. The club regularly featured high-profile guests and performers. Known for smoking her signature cigars, became known in Paris as the “doyenne of café society.”

She married New Orleans musician Peter Conge (1929) she moved her nightclub to 66 Rue Pigalle. She separated from her husband, but they never divorced. She made radio broadcasts for the French government. She attempted unsuccessfully to recreate her nightclub enterprise in New York.

She opened and closed nightclubs in Mexico City, Paris, and Rome but none were as successful as her original Paris nightclub. She recorded her first and only song, “So Long Baby” with jazz artist Cy Coleman. #africanhistory365 #africanexcellence

[djinnewyorkcity]

New York City’s Ultimate Travel DJ with DJ Zeke : Top Events and Music Experiences

Travelling is not just about visiting new places,it’s about immersing yourself in different cultures, landscapes,and experiences.And what better way to enhance your travel adventures than with the perfect soundtrack? Meet DJ Zeke,the ultimate Travel DJ,who blends beats and melodies to complement every journey.

The Journey Begins

DJ Zeke’s passion for music and travel started at a young age.Growing up,he was always fascinated by the sounds of different cultures and how music could tell a story.His travels have taken him to some of the most beautiful and remote corners of the globe,and he’s captured the essence of each place through his unique soundtracks.

Crafting the Perfect Travel Soundtrack

Creating a travel soundtrack is an art, and DJ Zeke is a master artist. He meticulously curates playlists that reflect the mood and vibe of each destination. Here’s how he does it:

Research and Inspiration: Before visiting a new place,DJ Zeke dives deep into its culture, history, and music scene. He listens to local artists and traditional music to understand the region’s soundscape.

Capturing the Essence: While exploring,DJ Zeke records ambient sounds,street musicians, and natural elements to incorporate into his mixes.These sounds bring authenticity and a sense of place to his tracks. Mixing and Mastering: Back in his studio,DJ Zeke blends these elements with electronic beats, creating a seamless fusion of traditional and modern sounds.Each mix is designed to evoke the emotions and experiences of traveling to that destination.

How to Experience Travel DJ – DJ Zeke

You can find DJ Zeke’s mixes on various streaming platforms. Follow him on social media for the latest updates, travel stories, and behind-the-scenes looks at his creative process.DJ Zeke Mixing Music: An image of DJ Zeke with his DJ equipment, perhaps in an exotic location, to immediately capture the essence of travel and music.

Experience Travel DJ – DJ Zeke

Streaming Platforms: Screenshots of DJ Zeke’s playlists,Social Media Engagement: A collage of DJ Zeke’s social media posts, showcasing travel photos and updates.

Booking DJ Zoom Parties

Experience the ultimate virtual events with DJ Zeke’s Zoom Parties, Renowned for his dynamic mixes and engaging personality, DJ Zeke brings the best of New York City’s DJ scene directly to your screen. Perfect for college events, corporate functions, and private celebrations, DJ Zeke ensures a high-energy, unforgettable virtual experience.

The Best Concert experience in New York with DJ Zeke,virtual Dj and production company.Renowned for his electrifying performances and versatile music selection,DJ Zeke creates unforgettable events tailored to your needs. Perfect for college events, corporate functions.​

Supporting black-owned businesses like DJ Zeke’s is crucial for fostering diversity, inclusion, and economic empowerment. Black entrepreneurs face unique challenges and systemic barriers, making it essential for communities to uplift and support their endeavors. By choosing to support black-owned businesses, consumers contribute to positive change and help build a more equitable society.

Conclusion

Travel DJ is more than just music,it’s a journey through sound.Whether you’re planning your next adventure or simply dreaming of far-off places,let DJ Zeke’s mixes be your guide.Tune in,turn up the volume, and let the music take you away.DJ Zeke ensures that every event he DJs is a unique and memorable experience, For Best Concert in New York.

[cynthiaerxvo]

and here we are in heaven || cynthia's d8 night proposal to @ariianaz

who - cynthia erivo. where - carnegie hall, midtown manhattan, new york city. when - evening of january 28, 2025 what - cynthia asks ariana to the d8 night event and expresses her many big emotions in the one way she knows how. triggers - n/a @hollywoodfamerp

cynthia's pacing the front of the stage at carnegie hall, nervous for this for reasons that she shouldn't be. the prospect of inviting ariana to a date night, compared to everything else they'd gotten into this month, should have been tame. and maybe she's been emotional about every aspect of her life recently that the feelings she's had swirling for the blonde circle her head like a drain without fail. it was just a party, she tries to tell herself, and she doesn't for one second doubt ari's inevitable answer. what she does momentarily doubt is the reaction, the concept that her best friend could share a semblance of what she feels.

the lights are dimmed three times before fully dimming, the signal that she'd relayed to her team to inform her of ariana's entry into the venue, and it's then that cynthia straightens up and finds her mark in the center. only the aisle lights in the house are on in the otherwise dark music hall, that and the lights on the sheet music stands of the musicians behind her. in the center chair of the front row lays a single red rose to designate the other woman's seat, surely plucked from the two large bouquets of roses sitting immediately in the seat to the left and right.

she does feel better, admittedly, when she catches the sight of ariana moving down the theater aisle and to that front and center seat. but that in itself isn't news anymore, either. cynthia has found her greatest serenity in the presence of the other actress, even in the midst of the exciting times they were both living in this awards season. never before had she felt so centered than with those brown eyes looking wide back at her, like they're both taking this in. the stage lights come up, revealing the full-bodied orchestra she'd hired for this simple ask. and hell, maybe hiring the entire new york philharmonic was too much - maybe she was too much - but for everything she's been feeling, this doesn't even feel like enough. she's sure nothing ever will. with a little nod back to the conductor, cynthia looks back out to the audience of one as the music starts to swell.

it's a song that she's performed dozens of times, anytime she's partnered with a symphony, but tonight feels like it's taken on new life. she stays rooted in her spot while she sings, hands finding the microphone stand in front of to help ground her when she feels like she's going to float off in the melody. every word rings true - because she was closed off to all of this, there was some sort of spell cast on her. there had to have been, for everything to be realized in the way that it was. they were well and far-gone from a midnight new year's kiss, or a long night in the same bed together on her birthday. she was hers, at last, whether either of them liked it or made it official yet or not. whether it be for some silly date night or not - she hopes it's for every date night beyond that.

at the last few lines of the song, cyn picks the microphone off of the stand and takes a few small steps downstage. without breaking the flow, or altering the song in any way, she smooths down the back of her dress and takes a seat. legs dangling off the edge of it, still sounding effortless even while sitting in a not-so-forgivingly tight dress, the last notes of the song are sung with her eyes locked on ari's. the orchestra continues the play-off of the song behind her, as she reaches for a little handwritten paper she'd had face-down on the maple wood of the stage. turning it around so that the other woman could properly read it in it's red sharpie'd and red lipstick'd glory.

[taoistpenguin]

making music in the 1980s - then vs. now

I see a lot of young musicians on social media saying they’re considering quitting music because they haven’t gotten enough clicks or likes or follows. I’ve been writing, performing and getting paid from music since the early ‘80s so I thought I’d provide some context of what the game was like back then, in my case in New York City, in the pre-social media, pre-video universe:

Among my friends, deciding to play music wasn’t a career choice, it was driven by a need for creative self-expression. There weren’t schools or online courses promising shortcuts to glory like there are now. Sure, you wanted to be successful, but that wasn’t the primary motivation. You did it because you literally knew no other way to express yourself. It’s not an exaggeration to say music was life and death for a lot of people.

You got a day job that you didn’t care about, just to pay your rent and bills. You saved every extra penny to buy gear. You split the cost of a rehearsal space and spent every night of the week doing something musical. If you weren’t rehearsing, you were gigging, and if you weren’t gigging or rehearsing, you were on the scene, checking out bands, making connections, trying to become part of a community.

When the band was ready you paid maybe $350 to go to an 8-track studio and make a 3-song demo tape. Yes, there were cassette portastudios and reel to reel decks, but most people didn’t have the necessary space or outboard equipment to make a professional sounding home demo. Yes, you could do it in an empty loft or garage with your own gear, but it would sound like crap. After you made the demo you took a band photo. Good music videos were expensive, so that wasn’t really an option.

You copied your demo and photo and took them to every club you wanted to play. You got the booker’s phone number and would call every week on a landline – no cell phones, so no texting - to harass them about when they were gonna book you. When you did get a gig, you hoped it was a good time slot. Back then, nightlife didn’t start until around 10pm, so if you got an earlier slot you were bummed. Midnight was prime time, and it wasn’t unusual to see bands playing full rooms at 1 or 2 am.

To promote your show, you xeroxed your homemade flyers, went out in the middle of the night, and stuck them to every flat surface you could find in as many parts of town as you could cover. In the days before email, you also mailed flyers to the mailing list that you got by asking people to write their names and addresses on a clipboard at your shows.

When it was time for the gig, if you didn’t own a band van, you hired one to get you and your gear there and back. If you played well enough and brought enough people to your show, the club would book you again. If you were serious and didn’t let drugs and drink get in the way, your band would improve and eventually you’d start getting better time slots on better nights. As word of mouth spread, you’d get bookings in different neighborhoods and eventually out of town.

Throughout all of this you’d be sending tapes and photos to press and record labels, inviting them to your shows and trying to get signed. If you were lucky, the Village Voice or a local zine would write about you, and sometimes that led to more shows in new places. If you stayed in the game long enough and behaved professionally enough, you eventually met people who enjoyed what you were trying to do, and tried to help you. But mainly you said “yes” to every potential opportunity.

There were plenty of nights when there weren’t a lot of people in the room. I remember playing at CBGB once when the only person there was the bartender. What did we do? We rocked as hard as we ever did, and got him nodding his head and air drumming along with us. We figured this guy had seen a thousand bands at that job, so if we could get him to respond we took it as a victory,

All this to say that if you’re thinking of giving up because you’re not gaining a bunch of superficial followers on social media, you might not be in this for the right reasons. Likes and follows don’t require any real investment in your career. They’re fair weather friends. Don’t chase trends. Focus on making music that matters and hit it hard every single time.

[kemetic-dreams]

Nora Holt is best known as the first African woman to earn a master’s in the United States, but that distinction alone does little to capture her full life. Holt was also highly influential as a composer, singer and music critic.

Holt was born Lena Doulas in either 1895 or 1890 in Kansas City, Kansas. She attended the now-defunct HBCU Western University in 1917 with a bachelor’s degree in music. The following year, Holt earned her history-making degree from the Chicago Musical College. According to accounts, Holt was married three times before she earned her master’s.

The start of Holt’s writing career came in 1917 when the Chicago Defender hired her for a four-year stint. During her time at the paper, Holt penned an article focused on advocating for African musicians and in 1919, she co-founded the National Association of Negro Musicians.

Holt’s reputation as a socialite made her a larger than life character and kept her name alive in the gossip columns. After marrying wealthy Chicago hotel owner George Holt, Holt changed her named to Nora. After Mr. Holt died, she inherited his fortune and traveled the world, while reportedly taking on various lovers and composing some 200 original works.

After her fifth marriage dissolved, Holt resettled in Los Angeles as a music teacher, then returned to New York to work as the Amsterdam News’ first music critic. In 1945, she became the first African member of the Music Critics Circle of New York and worked as a producer and director for the “Concert Showcase” radio show on WLIB.

[arnieabramspianist]

Why Is Hiring the Best Musician for a Party or Event Important?

Are you planning to host an event, birthday party, wedding anniversary, family reunion or holiday party in New York City, New Jersey, Philadelphia or any other place across the United States of America? If yes, then you should start planning or organizing everything well in advance. And when it comes to making an event or party successful and memorable, hiring the best Holiday Party Entertainers NJ is imperative.

Only the best Musicians for Hire New York City and New Jersey can take the event’s entertainment quotient to the next level. You can also work with the shortlisted Holiday Party Entertainers Philadelphia to create a personalized playlist. Expect best-in-class suggestions or recommendations from the musician throughout the procedure.

The best Holiday Party Entertainers Philadelphia always selects the most appropriate melodies based on the party venue, age group of guests and various other factors. For instance, the tracks for a wedding are different from those of a holiday party.

However, these seasoned professionals are familiar with all the tricks to set the perfect tone and ambiance for the event. Thus, you can ensure the best entertainment for your guests and enable them to enjoy the event to the fullest. In other words, guests feel encouraged to initiate conversations with others and create some precious memories for a lifetime.

Whether you are searching for the best Musicians for Hire New York City or Holiday Party Entertainers NJ, look no further than Arnie Abrams Entertainment. The award-winning pianist, Arnie Abrams will make your event memorable with his incredible skills and expertise. Arnie Abrams has won numerous awards including the Wedding Wire Couple’s Choice award for 2023, 2022 and many previous years. Get in touch with Arnie today for the best party entertainment in NYC, NJ and Philadelphia at 732.995.1082 or visit at Arnie Abrams Entertainment to know more.

[reviiraes]

♙      ⸻      ·   。…      [      alisha boe  +  twenty seven  +  cis female  +  she / her      ]      the  city  of  new  york  welcomes  cordelia whitmore  to  the  social  season  of  1887.  known  to  be  charming  and  resilient,  their  rumored  resentful  and  cynical  tendencies  might  prove  to  be  their  unmaking.  the  street  musicians  often  string  along  a  tune  that  sounds  like  marjorie  by  taylor swift  whenever  they  are  near,  hoping  for  a  coin  or  two  as  a  reward.  unbeknown  to  their  peers,  character  name  views  the  social  season  as  an escape from london  but  when  holding  a  secret  such  as  she caused the downfall of her ex fiancé’s new wife’s family business,  it  would  be  best  to  keep  their  opinions  to  themselves. 

basic   statistics   :

full   name   :  cordelia  whitemore

nicknames   or   aliases   :  delia  (  by  close  friends  &  family  )  ,  cordy  (  by  her  older  brother,  benedict.  she  hates  it  btw  )

age   :  twenty-seven

date   of   birth   :  august  19th

occupation   :  stay  at  home  daughter  socialite

parents   :  mister  whitmore ( deceased )  &  missus  whitmore

siblings   :  charles  whitmore  ,  miss  whitmore  ,  benedict  whitmore

marital   status   :  previously  engaged  single

sexuality   :  heterosexual  +  heteroromantic

the   secret   :

cordelia  was  set  to  be  married  the  previous  year  .  she  had  been  engaged  for  more  than  a  year  with  a  man  who  she  called  her  first  love  .  in  the  days  leading  up  to  their  wedding  ,  she  had  noticed  that  her  fiance  started  acting  weird  ,  missing  out  on  supplier  meetings  ,  always  disappearing  ,  or  if  he  was  around  he  seemed  distracted  .  this  ,  of  course  ,  bothered  cordelia  .  however  ,  she  attributed  this  behavior  to  the  fact  that  his  fiance  had  just  inherited  his  grandfather's  title  which  came  with  new  responsibilities  .  on  the  day  of  their  wedding  ,  he  never  showed  .  it  was  his  sister  who  delivered  the  devastating  news  that  he  was  not  coming  .  cordelia's  whole  world  shattered  ,  feeling  sorry  for  herself  and  left  utterly  embarrassed  .  her  fiance  had  gotten  another  woman  pregnant  and  the  woman's  family  demanded  that  he  marry  her  instead  .  after  hiring  a  private  investigator  and  through  her  family's  string  of  connections  ,  she  was  able  to  find  out  more  about  the  woman  and  her  family  .  she  was  surprised  to  discover  that  her  ex  and  the  woman  secretly  married  in  scotland  to  cover  up  the  pregnancy  which  sent  her  into  a  fury  .  she  was  told  that  the  woman's  family  had  just  moved  to  london  from  the  countryside  and  was  in  the  process  of  purchasing  a  hotel  in  mayfair  .   after  a  day  ,  they  were  turned  away  as  someone  had  already  put  in  "  a  bigger  offer  "  for  the  hotel  .  london's  circles  ran  quite  small  and  cordelia  happened  to  be  in  the  center  of  it  .  anyone  who  knows  the  whitmores  knows  not  to  transact  with  this  new  family  so  to  not  offend  them  .  she  was  told  that  her  ex  and  his  new  wife  moved  to  france  as  london's  high  society  was  not  exactly  welcoming  . 

thoughts   on   high   society   :

cordelia  sees  it  as  burden  however  she  acknowledges  that  it  was  her  life  .  she  was  lucky  to  be  born  into  opulence  however  there  are  certain  standards  that  one  must  attain  to  be  '  accepted  '  by  society  .  she  sees  new  york  as  her  '  escape  '  from  london  society  after  all  she  had  endured  post-wedding  cancellation  .  she  is  not  particularly  fond  of  change,  however  ,  this  is  a  fresh  start  for  her  ,  something  she  things  she  needed  . 

headcanons   :

though  the  whitmores  were  not  titled  ,  cordelia  still  enjoyed  the  perks  of  being  born  into  a  well-known  family  .  their  father  was  a  third  son  of  an  earl  and  was  member  of  parliament  .  and  so  he  may  not  have  inherited  any  title  ,  their  family  was  still  considered  to  be  of  the  same  caliber  as  those  who  were  .   this  privilege  allowed  him  to  do  things  on  his  own  ,  owning  businesses  and  focusing  on  investing  and  inventing  .  he  was  known  to  be  an  intelligent  man  and  cordelia  was  told  that  he  was  but  she  wished  she  had  gotten  to  know  him  .  he  was  always  busy  ,  always  away  .  she  knew  she  had  a  father  but  never  truly  felt  his  presence  .  her  mother  on  the  other  hand  was  the  only  person  she  considered   a  '  parent  '  . 

partly  why  she  did  not  know  her  father  very  well  was  that  for  most  of  her  childhood  ,  cordelia  in  switzerland  .  she  came  back  to  england  in  her  adolescence  where  she  took  up  private  lessons  . 

character  influences  :  blair  waldorf  ,  regina  george  ,  princess  margaret  ,  emily  gilmore  ,  cher  horowitz 

connections   :

new yorkers she kind of ' like ' to be around with / new friends . people who have the same attitude or tolerate her 

someone who heals her broken heart ? part as to why cordelia is snobby and snarky is that she is still quite bitter . give me someone who teaches her to soften up ! 

enemies ? frenemies ? 

flings  ,  flirtationship  ,  fwb 

lowkey  open  for  anything 

[silver-heller]

♣Guns & Flowers Master list/Timeline

This is a canon divergent universe, and anything written here is of course subject to change!

Characters

Silver May - August 4th 1900

The only daughter of the Argenis family. Later adopted by Atlas and Mitzi May. Known for being quite the skittish recluse.

Mordecai Heller - March 28 1899

Atlas' golden boy, unforgiving and relenting, though Atlas claims he is more than that. Cold and professional by default.

Viktor Vasko - April 16th 1886

A mysterious and grumpy man who keeps his past and his secrets close to his chest. Though can be quite playful and teasing to loved ones.

Mitzi May - September 25th 1885

A musician who falls in love with Atlas and ends up helping out with the café and speakeasy. Overall friendly and playful, but isn't afraid to say it how it is.

Atlas May - January 3rd 1884

The owner of The Little Daisy Café and the Lackadaisy speakeasy. Known as an opportunist that is slowly collecting a menagerie of misfits. Known to be quite interested in the human nature and often pries into the psychology of those around him.

Rocky Rickaby - December 19th 1904

A rather rambunctious member of the crew who ends up asked by Atlas to look after Silver. Atlas, however, wonders what fate he has designated Silver to, seeing as Rocky is not entirely there.

Serafine Savoy - 1902

Mordecai's coworker at The Marigold, along with her brother, Nico. She had a short fling with Mordecai that ended up being a more permanent arrangement. Confident, spiritual, and appears to know more than she lets on at times.

Wick Sable - January 11th 1895

The man Mitzi has an interest in after Atlas' death. Has a fascination with rocks and is considered a pillar of the community, stopping him from financially supporting the Lackadaisy despite frequenting the speakeasy.

Timeline

1916

♣A Light In The Shadows

M | Two | Mordecai/Silver & Atlas | 1916/1920

When fleeing from New York, Mordecai is nearly killed for embezzling funds from the gambling rink he used to work for. Given a gun by Atlas, he is forced to kill the gamblers to save himself, marking his first kill.

♣First Days

M | Two | Mordecai/Silver & Atlas | 1916/1920

Mordecai stays with Atlas in Washington as he recovers. Atlas observes him in the meantime, while Mordecai begins suffering from lucid dreams.

Atlas encourages Mordecai to travel with him back to St. Louis, stopping at many cities along the way in the process. Mordecai notices Atlas often gets caught up in opportunities when he spots them.

1917

Prohibition is proposed in the Senate.

Atlas offers Mordecai a job as his bookkeeper, and tells Mordecai to think about it. Mordecai is extremely reluctant considering what he's seen from Atlas so far, though feels he is destined for this life.

Atlas begins training Mordecai in some of his ways.

Mordecai continues helping Atlas in his various travels, but is still yet to accept the job in all this time.

1918

Silver, reluctantly, is married to Valentin.

With a fair amount of money now, thanks to Atlas, Mordecai parts ways with Atlas to deal with some "unfinished business".

Atlas meets Viktor during this separation.

Mordecai returns briefly to New York for revenge. Receives bullet related head injury in the process.

Mordecai is taken back to the Little Daisy to recover.

1919

Prohibition is ratified.

Atlas can see Mordecai is cracking and coming to a decision, so he asks him that fateful question; "who are you?"

Mordecai accepts Atlas' offer for a job at the very end of the year. Atlas is thrilled, though curious what made him accept then.

1920

Atlas converts the limestone caverns under his café into a speakeasy.

Atlas hires Viktor and stops him from making a drastic decision.

♣It's a Short Drive

M | One | Viktor & Atlas | 1920

Mordecai begins working with Viktor distantly. The lodge incident shown in Gravediggers through to Momentum occurs.

Mordecai goes back to St. Louis with Atlas as his shadow, while Viktor takes a break.

Atlas meets and courts Mitzi. Mordecai meets Asa and Mitzi.

The band begins working at the Lackadaisy.

Mordecai becomes a bookkeeper for the Lackadaisy.

♣A Light In The Shadows

M | Two | Mordecai/Silver & Atlas | 1916/1920

Silver is admitted into an asylum after attacking Valentin. Silver is soon taken into Atlas' and Mitzi's care months later.

♣First Days

M | Two | Mordecai/Silver & Atlas | 1916/1920

♣My Bloody Valentin

M | One | Mordecai/Silver & Atlas | 1920

Dress To Impress

M | One | Mordecai & Atlas & Tawny | 1920

Atlas becomes curious about Mordecai after noticing a few of his quirks concerning love and romance.

Lovemaking

M | One | Mordecai & Atlas/Mitzi | 1920

Viktor and Mordecai work together again specifically for the Lackadaisy back in St. Louis.

Mordecai and Viktor become rather close, spending nights together and doing the dirty work of run-rummers/triggermen together. Mordecai is confused by this, though thinks it's nothing more than a friendly business partnership.

♣Lackadaisy's Ghost

M | Two | Mordecai/Silver/Viktor & Atlas | 1920

Mordecai's lucid dreams become worse after starting the job.

Mordecai develops feelings for Viktor around the end of the year.

♣Daughter of Mine

M | One | Mordecai & Atlas/Mitzi | 1920

Mordecai is informed May and Atlas have a daughter. However, he is not permitted to meet her.

1921

Atlas and Mitzi get married.

Viktor and Mordecai's love for each other becomes more evident.

1922

♣Love As a Scheme

M | 12 | Mordecai/Silver/Viktor & Atlas/Mitzi | 1922

Silver joins Viktor and Mordecai on the job after being introduced to them by Atlas.

Mordecai and Viktor make a promise that Mordecai will explore his feelings for Viktor if things with Silver do not work out.

Calm

M | One | Mordecai/Silver | 1922

I've Got Your Back

T | One | Silver/Viktor | 1922

1923

♣Love As a Scheme

M | 12 | Mordecai/Silver/Viktor & Atlas/Mitzi | 1922

Mordecai confesses more properly to Silver.

Mordecai asks Mitzi and Atlas for permission to marry Silver.

1924

Silver is accidentally shot in the head by Mordecai during a job, and presumed dead after being left in a house fire afterward.

Silver is saved and kept in hiding within the caves of the Lackadaisy.

1925

Rocky joins the band, and the Lackadaisy, in extension.

Mordecai and Rocky become friendly acquaintances.

Silver reads the Great Gatsby. Rocky accidentally lets slip that it's Silver's favorite book now and, despite coming out that year, is able to convince Mordecai it was always that way and he heard it from the others.

♣The Day Met The Night

T | Two | Mordecai/Silver & Rocky & Atlas | 1925

Rocky is introduced to Silver and asked to look after him.

♣Mordecai's Rocky Road

T | Two | Mordecai/Silver & Rocky & Mitzi | 1925

♣The Day Met The Night

T | Two | Mordecai/Silver & Rocky & Atlas | 1925

Rocky's drug trip makes Mordecai curious about the rest of the caves in the Lackadaisy.

♣Guardian Angel

T | One | Rocky & Silver & Atlas | 1925

♣Oh Sweet Violin

M | One | Mordecai & Rocky | 1925

Atlas goes traveling for a while. He meets Serafine at a station while she is left waiting for her brother.

♣A Line Without a-

M | One | Mordecai & Atlas | 1925

Mordecai has a fling with Irene before breaking up and finally accepting his sexuality.

♣Miss Irene

T | One | Irene/Rocky & Atlas | 1925

Rocky begins dating Irene.

1926

Atlas is killed mysteriously one night.

Silver is relocated by Rocky to hide in an apartment, via Atlas' instructions before his death.

Mordecai leaves the Lackadaisy to work for the Marigold, but not before kneecapping Viktor in an attempt to convince him to retire.

1927

Mordecai begins working with Nico and Serafine.

♣Right Here

M | Three | Mordecai/Silver & Serafine & Nico | 1927

♣Prophetic Bubbles

M | One | Mordecai/Serafine | 1927

♣Mr. Sweet's Tidbits

T | One | Mordecai & Asa | 1927

♣Silver Bullets & Black Dandelions♣

M | 29 | Everyone | 1927

Mordecai realizes Silver is alive when he is given the task to kill Silver by Asa. However, he can not do it and freaks out on his coworkers instead.

[thislovintime]

(Photo 1) Peter Tork onstage at Carnegie Hall with Peter LaFarge, 1960s (photo by Bob Campbell); (photo 2) by Henry Diltz.

More about that gig with LaFarge here.

"I did some work accompanying Steve Stills when he was with Ron Long and the Buffalo Fish. I accompanied this black trio called the [Apollas], on the stand-up string bass." - Peter Tork, Goldmine, 1982

* * *

“[I] worked in a nightclub called The Shadow. And I think it was late June [1964] that the Phoenix Singers came through, and Peter was in the band, he was the banjo player in — behind the group… And he and I hit it off, and that Monday night, we did an impromptu show together, we just played a couple of tunes, you know, and had a good time, and stayed friends. And then when I opened a club in 1965, there was no place to play in the winter in that area — Virginia Beach, Norfolk… So I opened a club on my own with two friends, we called it The Folk Ghetto, and I contacted Peter in New York City and said, ‘I wanna hire you to come down here for a week and be the headlining act.’ Which he did. […] He was, he was fantastic. He was so good. It was wonderful." - James Lee Stanley, Tales of the Road Warriors, 2019 (x)

* * *

“Many people don’t know that Peter has a really rich baritone — had a voice like, it was like a cello, really rich and resonant, you know, and fun to listen to.” - James Lee Stanley, The Monkees Pad Show no. 11

* * *

“[E]ventually he had an offer to join the Phoenix Singers, who were short of a guy to play banjo AND guitar. And if you still have any doubts about whether he really does play, and play well, then the thing to do is ask the management behind the Phoenix Singers. Even without the Monkees, there is little doubt that the amiable Peter would have made the grade in the music business.” - Record Mirror, February 25, 1967

* * *

“[Peter’s] really a genius, a prolific musician — he plays about seven instruments.” - Micky Dolenz, Record Mirror, February 11, 1967

* * *

“Peter Tork has to be one of the best guitarists around — he can cut anybody on guitar. He plays about 10 instruments — banjo, uke, the lot.” - Davy Jones, The Ottawa Journal, January 20, 1967

* * *

“Peter was a much more skillful player than I was by some orders of magnitude.” - Michael Nesmith, The Monkees Tale (1985)

* * *

“[In the early 1980s, in NYC] I remember we went down to the China Club, and I took Peter down there, and… and I felt that a lot of the musicians, you know, disrespected him. He didn’t play, but I introduced him, ‘This is my pal, Peter,’ and they were kind of, like, blowing him off a little bit, and I remember seeing, you know, that pained look in his face as these guys were being rude — or condescending; not so much rude, it’s just condescending, like, ‘Oh, you were the Monkee, pfff,’ you know. And… and I know it troubled him. [Once the resurgence and 20th anniversary tour came around] that’s when Peter started — when they started giving him, you know, some regard.” - James Lee Stanley, The Monkees Pad Show no. 11

* * *

Q: "Most people know you from The Monkees but you were a well-respected musician before that."

Peter Tork. "You'll have to ask everyone else about the kind of respect I generated. I am a trained musician, somewhat trained. I took piano for six years and French horn. I took music theory for about three years. I learned to play the bass and the five-string banjo while I was learning a few other instruments here and there. So, I have some skills and some abilities. I'm pleased with what I got [...]. I wish I had more. But back then I was a folkie. Whatever I was, it seemed to be just the thing for The Monkees." - Daytona News Journal, October 8, 2009

[roppongi-division]

"Do not judge me by my successes, judge me by how many times I fell down and got back up again."

Timeline

Age 0:

He is born the second child to his musician parents in New York City, New York.

Age 2:

His father sadly passes away due to heart failure.

His mother, unable to cope with his loss, begins drinking.

Age 3:

Fewer and fewer companies and organizations begin hiring her due to her alcoholism and erratic behavior.

Age 5:

His mom begins teaching Kai how to sing opera.

He has great skill, but has no love or interest in learning how to sing.

His mother often has to bribe or force him to practice.

Age 7:

He performs his first recital in front of a large crowd at New York City Auditorium.

Though he messes up one of the cords at first, his performance goes well.

His mother, however, lectures him on his mistake, upsetting him.

Age 8:

He continues to practice and perform more recitals.

Eventually, singing becomes second nature to him.

Age 14:

He starts high school.

His mother pulls some strings and manages to get the main singer in the group's orchestra and theatre.

While walking around his neighborhood, he comes across a block party where a DJ is performing.

He becomes fascinated with the sounds he hears and wants to find out more.

He researches DJ music and becomes enthralled with it.

He resolves to save up to buy himself a sampler.

He starts doing odd jobs around his neighborhood.

Age 15:

His hard work pays off, and he manages to buy himself a cheap music sampler.

He begins using it to experiment with different forms of music.

Age 16:

He and his friends plan a late-night party in the city park. He works as the DJ.

The police arrive a couple of hours later, shutting down the party.

His mother is not happy, especially when she finds out he has been playing with his sampler instead of practicing his opera.

He argues with her, telling her he is giving up opera music to become a DJ.

Shocked at his statement, she, in a fit of rage, destroys his sampler.

This causes a large rift between the two, and he refuses to speak to her.

Age 17:

He graduates high school and begins attending NYU (New York University).

He takes many music classes, wanting to further his knowledge on DJing.

As an elective, he also takes a class on Japanese culture, wanting to find out more about his father.

He finds himself very interested in the class, and promises to visit Japan someday.

Age 18:

To further his DJ experience, he begins interning at a New York radio station.

He becomes interested in everything that has to do with radio, and thinks about becoming a radio DJ.

He begins working part-time at an old vinyl store where he finds old hip-hop music records.

Purchasing them and an old record player, he falls in love with the flow of music and the rhymes of the rappers.

He tries his hand at writing his own rhymes and raps in his spare time.

Age 19:

He enters the DMC World DJ Championships.

He calls himself 'DJ Veenyle', after the word 'vinyl'.

He listens to all of the DJs participating, and jots down notes, while listening to their techniques.

He, unfortunately, doesn't win, but the competition helps to get his name out there.

Age 20:

He graduates NYU with a bachelor's in music theory and audio engineering.

His internship at the radio station ends, and he gets a job there as a personality.

Unfortunately, he has trouble dealing with management due to having no say-so in what gets played.

Also, he is frequently overlooked by the other DJs due to his skin color and ethnicity.

He ultimately quits after a couple of months.

Age 21:

He offers his services to various nightclubs and radio stations, but he is still overlooked.

He begins to grow frustrated and disillusioned due to no one giving him a chance.

His mother, seeing him struggling, scoffs at him at, telling him this is to be expected when he quit opera music. He pays her no mind.

His sister advises he take a break and get his head right before making any drastic decisions.

He takes her advice and just practices DJing in his bedroom.

He gets hired to perform at block parties, weddings and street fairs, though the pay isn't anything to scream about.

Age 22:

He eventually gets noticed by a producer who wants to sign him on as a traveling DJ around the U.S.

Kai accepts without a second thought, bidding his sister, his mother, and his city farewell for now.

He travels to various cities, seeing new sights.

He eventually arrives in Las Vegas to do a show at a tavern with bargirls.

One of the bargirls catches his eye, and he admires her as she moves and dances to the music. Her stage name is 'Gypsy Queen'.

He meets with her after the show, and she introduces herself as 'Mireya Moto'.

Kai asks her out on a date, and she accepts.

The two spend several days getting to know each other until it is time for Kai to leave.

He bids her farewell, promising to come back again.

Age 24:

After a couple of years of traveling, Kai remembers the promise he made to himself to visit his father's homeland of Japan.

As he is about to leave, he remembers the bargirl he met years ago in Las Vegas.

He makes one last trip back to Sin City at the bar she worked at.

He finds out she quit after being hired by some "movie studio".

He tracks her down, and finds that the "movie studio" is owned by the local mob to make porn movies.

After pulling some strings and exchanging a lot of money, he manages to rescue Mireya from the mob.

He cares for her while she is recovering from her drug use.

After several months, she is deemed fit and healthy.

The two date for several more months until Kai finally asks her to be his wife. She agrees.

His mother doesn't accept Mireya as her daughter-in-law and does all she can to make her feel unwelcome.

Kai threatens his mother, telling her to cease it before he bans her from his wedding. She doesn't attend.

Age 25:

The two are wed in New York City.

His sister, though she can't be present, sends her brother a brand-new car as a wedding gift.

They have their honeymoon in Tokyo, Japan, where Kai was planning on going.

The country is nothing like Kai expected it to be, and he is marveled at the sights and sounds of it all.

He asks Mireya if she wants to stay with him in Japan. She agrees.

They both renounce their American citizenship and become Japanese citizens in accordance with the law.

He begins getting his name out by offering his DJ skills.

Age 26:

Though the two try to have a child together, they are unable to.

It is found out that Mireya is diagnosed with hyperprolactinemia, meaning she is infertile and unable to have kids.

It is a depressing and traumatic experience for her, but Kai helps her through it.

Age 27:

While wandering around Tokyo, he meets a young teen who is performing dangerous and risky tricks for money.

When it is over, he asks the teen if he wants some lunch. The teen agrees.

They talk and the teen introduces himself as 'Zakari Hiroya'.

They continue to meet sparingly and get along pretty well.

Kai eventually introduces Zakari to Mireya.

After almost a year of talks, Kai asks Zakari if he wants to join his family. Zakari, though surprised, eventually accepts.

Age 29:

Mireya, after a night of working in a nightclub, makes the decision to open her own.

Kai, though skeptical, helps her.

The two find a suitable place in the party district of Roppongi in Minato and take out a loan to have the nightclub built.

While it is being built, Kai starts an Internet podcast.

He adopts a new persona called, 'Wolf of Shadows', dressing up as a sort of lycanthrope, giving him an image.

He also starts working as a musical ghostwriter and producer, creating songs for several famous bands and artists.

Age 30:

Within a year, the couple's nightclub is finished.

Though Mireya wants to jointly own it with her husband, Kai refuses, letting his wife be firmly in charge.

She calls it 'Gypsy's Palace'.

He begins playing exclusively at the nightclub, boosting its popularity.

Because of his skill and speed at DJing, he is called "The Multi-Armed DJ".

His music is widely known for being able to "brainwash" anyone who hears it, though Kai does not know he is doing this subconsciously.

Age 31:

As his Internet podcast increases in popularity, he slowly changes it into an online radio station, becoming a radio personality once more.

He calls the station, 'Real Music Radio', and cites his fanbase as 'The Wolfpac'.

Although he enjoys it, he feels a bit dispirited due to the number of people asking for "rudimentary music".

He starts contemplating what the essence of real music is all about.

Age 32:

He meets the legendary rap group, 'TDD', and their manager 'Sayaka Miyuki'.

He often performs as a DJ at their shows.

Age 33:

The H-Era officially starts, and the Party of Words takes control of the Japanese government.

Though Kai tries to keep the group from splintering, due to internal conflict, TDD sadly breaks up.

Age 34:

Present.

Chuohku, fascinated with Kai's ability to put anyone who hears his music in a trance, seeks to obtain this ability for themselves.

To that end, they force him to join the Division Rap Battle to witness his ability firsthand.

Though he doesn't want to get his family involved, they decide to join him.

He forms the Roppongi Division rap battle team, Private Party, alongside Mireya Quinlan and Zakari Hiroya.

Schedule

12 a.m. - 1 a.m.: Performing at nightclub

1 a.m. - 1:30 a.m.: Returns home

1:30 a.m. - 9 a.m.: Asleep

9 a.m. - 11 a.m.: Freshens up

11 a.m. - 12 p.m.: Has brunch

12 p.m. - 4 p.m.: Performs on online radio station

4 p.m. - 4:30 p.m.: Snack/Evening break

4:30 p.m. - 6:30 p.m.: DJs in his bedroom

6:30 p.m. - 8:30 p.m.: Freshens up and prepares for gig at nightclub

8:30 p.m. - 9 p.m.: Walks to nightclub

9 p.m. - 12 a.m.: Performing at nightclub

Character Hashtags

Regular Hashtags

#Wolf of Shadows

#Grateful for my family

#No music, no life

Trauma Hashtags

#Broken music sampler

#Mother didn't want me to change

#Give life back to music

Other Info

Hobby: Writing Music

Weakness: Very Competitive

Trauma: "My mother couldn't accept that I didn't want to be like her."

Twitter: @TheWolfofShadows

Drinks: Yes

Smokes: Yes

Special Skill: "Besides DJing, I'm also adept at producing and writing music."

Intro Quote: "Music... it is an essential part of my life."

Trauma Quote: "...Why? Why did you do that?! This was my treasure! You... you bitch! Damn you!!"

Ending Quote: "Music is a lot like people. Some of it speaks the truth, and some of it... it just makes senseless noise."

[arnieabramspianistnyc]

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