#West Coast Jazz Scene

[savage-kult-of-gorthaur]

THE UNCONVENTIONAL LOOK OF PEAK JAZZ COOL -- THROWBACK TO THE WEST COAST SCENE.

PIC INFO: Spotlight on American jazz saxophonist, clarinetist, composer and arranger, Gerry Mulligan (age 25-26), photographed during a Los Angeles recording session, c. 1953. 📸: Bob Willoughby.

Source: www.reddit.com/r/Jazz/comments/1gghevw.

[yes-these-obsessions-are-healthy]

Because I can’t leave well enough alone or stop obsessing over the music scene in Zaun, I have a few headcanons as to the soundscape of the city.

1. Zaun and Piltover operate in a quasi-Steam/cyberpunk and steam “utopian” punk environments, respectively. For Zaun especially it operates like something sewn together with late 19th century industrial slums (NYC, London) mixed with Blade Runner vibes. Pop, alternative rock, industrial, hip-hop and rap, but also punk, exist.

2. Personally, personally, and with some cues from @lullabyes22-blog fic Forward, Never Forget, I imagine the musical landscape of Zaun changed dramatically within 40 years (roughly the lifetime of Vander and Silco). 200 years ago, Zaun’s primary music genres were folk, vaudeville, work songs, shanties, and novelty songs. Economic stranglehold by Piltover ensured that “high minded” and “perfected” genres we associate with the wealthy, operas, ballets, and the like were difficult or even inaccessible for Zaunites to compose for, but obviously commonplace in Piltover as representative of their cultural DNA. The influx of refugees into Zaun from the Rune Wars, the subsequent squeeze, impoverishment, and exploitation in slum city living, also coincided with the flowering of many spirited genres of music: swing, jazz, blues, and respective dances deemed far too scandalous and libertine for Piltover.

So as I said, in order for it to make sense why a city seems to be comprised of Edwardians standing next to literal punks, steam and otherwise, we need to internalize the miraculous phenomenon that within Silco and Vander’s lifetime, a century’s worth of musical development (1910s - 2020) occurred within Zaun. Somehow, some way, rock, metal, pop, hip-hop, rap, club, funk, dance, industrial, punk, etc. developed and flourished like kudzu. Essentially: If old white people in our real world were ever on record saying this-and-this music was corrupting the youth, then it was in Zaun. If it challenged authority or made you wanna shake and bop up and down or grind, it was music from Zaun.

3. So this means Silco and Vander would’ve borne witness to the music scene go from Puttin’ on the Ritz and Lindy Hop and If I Had a Hammer to You Really Got Me (The Kinks) and War Pigs (Black Sabbath) to Sex Pistols to Sylvester and Sly & the Family Stone to You Spin Me (Right Round) and Depeche Mode and The Clash and Public Enemy to Wu Tang Clan and Smells Like Teen Spirit and Rage Against the Machine and Selena and West Coast-East Coast rap divergence to RECESSION CLUB/POP, fucking IMAGINE FUCKING DRAGONS and wispy atmospheric female artist pop and DUBSTEP.

Literally this creaky-looking Peaky Blinders/Scarface sharkrat man would have to have grown up from going as a child listening to jazz to being in his early 40s and hearing Imagine fucking Dragons on the wind in the public square for some reason and Pusha T doing his thing. Do you understand what I’m saying how crazy that is.

It’s crazy to think about. Usually music genres fall to the wayside as developments are made and genres evolve out of them and into others, but Zaun exists in a world where the past is the present. Everything is alive and sustained all at once, like undying undergrowth, the coexistence of subculture. Little by little, the Old Guard may shift a bit, but the fashion and sensibilities and tastes will never completely die out, no matter how much further Zaun progresses within its bubbling urban cauldron of rust-and-reuse.

[girlfriendsofthegalaxy]

tuesday again 7/2/2024

as of friday i have lived in texas for a full year. that's the most neutrally diplomatic thing i can say about my time in this state so far

listening

i did a lot of driving last week and had the first album from genshin impact's legally-not-France nation on loop bc it's a lot of vivaldi inspired stuff and i find that soothing. however! one of my favorite pieces of music from this nation is this battle track. i don't have any music words but i do like the.. pipe organ emphasis? on the little flourish at 0:28. catholic brain go brrrr

-

reading

thank you mackintosh.

i liked gotham city: year one! many many many callbacks but framed in a way "and this is the start of the blueprint for how everything would go" which made me less annoyed than callbacks for their own sake. a very chandler-esque take on noir, by which i mean a fundamentally good (but tired) man gets beaten to shit and survives a doublecross as he unravels a fucked up little family dynamic for the pure nosy sake of unraveling it.

-

watching

The Ministry of Ungentlemanly Warfare (2024, dir. Ritchie). a spy/action/comedy thing about Operation Postmaster, a wwii special operation off the west coast of Africa to disrupt nazi u-boat supplies.

i did not like this at all.

i generally like a guy ritchie film-- the holmes duolgy are movies i would happily rewatch at any time, but this one is very flat. there's very little banter and remarkably little dialogue-- long stretches of this film are of people getting from place to place in perfect silence. even the soundtrack is remarkably toned down. most of it sounds like ai-generatred morricone (very few of the musical passages like. resolve in any sensible manner. there is no theming and no noticeable leitmotif. one of the worst covers of mack the knife ive ever heard is at the climax of the fuckin film. what if someone ominously tapped a hihat to create tension for literally half the movie with NO other accompaniment). when it doesn't sound ai-generated and kind of off (morricone's cowboy western work is not what i expect for a largely seafaring wwii movie) it sounds like they rented a jazz five-piece for a weekend. one of the worst soundtracks i've ever heard. it was extremely distracting.

this is a heist movie that never really figured out how to effectively intercut actions its team is independently taking. there are also a lot of places where the cuts are very strange, especially in the final harbor scene flicking back and forth from the land crew to the boat crew. just felt very underbaked as a movie. i was frequently bored. not an effective comedy, action, or spy movie. just barely a coherent war movie, though not a very enjoyable one.

-

playing

the breath of the wild to genshin ripoff pipeline is pretty clear, esp in the legally-not-India nation with lots of legally-not-koroks. u get a bunch of chests and achievements if u find all 76, i finally sat down on friday with an hour-long walkthough video and found them all. every single four-leaf clover sigil is where one of these fuckers was. and to get to this point, i had to do a whole DIFFERENT quest chain with different collectibles to unlock some of the legally-not-koroks and also make room on my map to free up 76 markers. very annoying process. i fucking hate collectibles for the sake of collectibles and padding out gameplay. i could not imagine doing this if i were employed

-

making

cross stitch update.

i got this belt for the ren faire when my sister came down, finally got around to pulling it out of the freezer and cleaning it the other day, and it was what i can only call yucky-disgusting. an inordinate amount of scunge for a belt with very few signs of wear. it's impossible to photograph bc it's quite late and i did not think to take a before shot, but it straight up changed color. it is much lighter now

[cherrylng]

Muse Archive [CROSSBEAT (November 2009)]

The definitive edition! The Muse Archive

Everything about Muse in keywords, columns and a timeline. Text by Sumi Imai

01 - Muse's musical background Muse was formed in Teignmouth, Devon, South West England. All three moved to the area when they were around ten years old and attended the same secondary school. Matthew first joined Dom's band around 1992, when he was in his mid-teens. Following its break-up, the two approached Chris and the prototype of Muse was born.

Teignmouth, on the south coast, is a holiday resort town, crowded with tourists in the summer months, but usually "a boring town with nothing going on" (Matthew). Physically separated from the big city scene, the three were baptised in grunge, but the Britpop wave never reached their hometown, and this environment worked to their advantage as they forged ahead on their independent rock path.

Their first show was in 1994. The sound at the time was Nirvana with a little bit of Rush-style progressive metal, and the melodies and harmonies were UK pop-punk (both Dom and Chris had done cover songs by Mega City Four and Senseless Things in their previous bands). Matthew's diverse tastes played a big part in the unique evolution that followed.

His roots are very varied: Jimi Hendrix and alternative metal (Primus, Rage) for guitar, folk (Jeff Buckley, Simon & Garfunkel) for melodies and singing, and experimental Anglo-American and European alternative (Deus, Sonic Youth) for a hunger for innovation. His roots in electronic music are diverse, including Aphex Twin.

The biggest factor that makes their musicality unique is the classical influence. Matthew returned to the piano at the end of his teenage years and gravitated towards Rachmaninoff, Chopin, and Liszt. He also studied Spanish guitar for a while, and his flexible attitude and rich background in folk music and folk songs form the basis of Muse's diverse and brilliant sound.

Pic: 'Rachmaninoff: Piano Concerto No. 3/Rhapsody on a Theme of Paganini, Op. 43' Vladimir Ashkenazy, Universal UCCD-3493. "The piano solo in the introduction to Rachmaninoff's Piano Concerto No 3 was a great influence on Butterflies and Hurricanes" (Matthew).

02 - The backgrounds and characters of the three members Matthew Bellamy was born in Cambridge, UK, in 1978. His father was the rhythm guitarist for The Tornados, who had an international hit (in 1962) with their mysterious space sounding single "Telstar", and became the first UK band to reach number one in the US and UK. Although he grew up in a musically privileged environment, his main instrument as a child was the piano. As well as classical music, he mainly preferred to play boogie-woogie/R&B, and only started playing guitar seriously when he was 14, when his parents divorced.

His mother, on the other hand, is a medium by blood and used to hold family séances when he was a child. Such experiences are the source of his interest in spirituality and science. He is also a thinker and reader, but he is not a liberal arts student and likes to exercise and fish. He is also surprisingly physical, having worked part-time as a painter, interior decorator, demolition worker and campsite cleaner.

He is usually a gentleman, a bit shy and quite mischievous. On stage, he gives it his all without fear, with the question of "what would I want to see if I were the audience?" in mind, and gives a performance so extreme that it is almost theatrical: "I want people to forget everything and just have fun".

Dom was born in Stockport, just outside Manchester. He is the same age as Matthew. He originally came to drumming from jazz. He likes to be organised and is somewhat stubborn when it comes to music. Loves Queen. During interviews, he follows up on Matthew's stories, who talks too fast, and they are on good terms with each other.

Chris is from Rotherham, near Sheffield. He is a year younger than the other two. He used to be a drummer, but took up bass when he was invited to join the band. He has a mild-mannered personality and is somewhat of a tosser. He is the only married man in the band or has four children and still lives in Devon.

Pic : These are the Tornados!! Matthew's dad, George Bellamy, far left.

03 - Sources of inspiration for lyrics A look at Matthew's lyrics from his early days to the present day reveals themes of body (matter) and spirit, death, religious beliefs, apocalypticism, conspiracy theories and the universe …… These themes appear repeatedly alongside pure love songs.

First, conspiracy theories. This was influenced by the shooting death of his uncle, a British Army officer, when he was four years old. The authorities told the family that it was an IRA terrorist attack, but the truth is still in the dark, and Matthew has since come to believe that some force or organisation (political, economic, religious, etc.) may be working in the dark to brainwash people and influence society through the media, etc. for their own benefit.

Space and science fiction are his romantic interests, but they are also linked to his religious views (Matthew is an atheist or agnostic). Scientific (or science fiction) explanations of the origins of mankind and the nature of all things seem to arouse his interest more than the "fantasy" of the Bible. For example, NASA's cover-up of the connection between pyramid-like debris in the "Cydonia" region of Mars and Egyptian ruins? Or the curiosity of the hypothesis that humans were created by alien genetic manipulation of apes? Matthew's favourite book by Zecharia Sitchin (The Mysterious Twelfth Planet and others) is a good source of information on this subject.

For Matthew, who has been aware of death and the soul since he was a child, death means returning to nothingness. But the feelings of the creator expressed in music remain forever. He sees music as a spiritual act in that it brings people together in a way that transcends the material.

He is also interested in survival techniques and recently bought a week's worth of emergency food and an axe in case the Earth is threatened with extinction.

Pic: 'The Mysterious Twelfth Planet' by Zecharia Sitchin, edited and translated by Ken Kashiwabara, published by Goma Books (out of print).

04 - A taste or two! Muse gossip Muse is hardly ever in the tabloids for their celebrity antics or scandals in the social world. However, they often surprise the public with their outlandish behaviour and fearless actions, which are extreme, exaggerated, and sometimes even laughable.

A famous incident occurred in 2006, when Matthew cancelled a whole day of interviews in the US because he had to evacuate out of the country due to the threat of an asteroid hitting New York. The truth is that he was mentally and physically unwell that day, but this incident added fuel to Matthew's 'eccentric and weird' legend.

The band also had a reputation for giving an all-out stage performance, but when Matthew threw his guitar in excitement, it hit Dom between the eyes, sending him to hospital. Conversely, Matthew hit himself in the face with the guitar in the heat of the moment, bleeding profusely and causing the show to be abruptly cancelled.

While they like to do big things, they are also willing to make enemies of big names and big business, which is typical of them. In 2002, when they found out that Celine Dion was going to use the name 'Muse' for her show, they demanded an injunction, saying they didn't want their music to be confused with that kind of music. They successfully won, as the band's name was already registered and trademarked. In the same year, when Nestlé used a Muse song in a coffee commercial without permission, the band, distrustful of the company's policies, were outraged and filed a lawsuit. They won this too, and the settlement was donated to charity.

Their eccentric fashion is also an "incident" in a sense? Matthew has dyed his hair crimson, blue, and bright yellow before. His "blue hair and red shirt" is legendary. Dom likes to wear loud coloured bottoms such as pink, yellow-green and yellow, as well as cosplay.

Pic by Teppei: Intense stage performances can sometimes lead to injury…….

1970s 7th December 1977 - Birth of Dominic James Howard. 9th June 1978 - Birth of Matthew James Bellamy. 2nd December 1978 - Birth of Christopher Tony Wolstenholme.

1980s Mid-1980s - The Bellamy family moves to Devon. All three of the members of Muse meet there.

1994 The band that would later become Muse is formed by the three of them

1998 24th December - Gigs in NY and LA lead to signing to Madonna's Maverick label.

1999 4th October - Debut album "Showbiz" released.

2000 1st March - First Japan tour (Shibuya On Air West) 5th-6th August - Performs at the first Summer Sonic Festival 10th-15th October - First Japan tour in Tokyo, Nagoya and Osaka (Shibuya Quattro, etc.).

2001 17th June - Second ablum "Origin of Symmetry" released. 11th-15th July - Unusual invitation-only gigs in Tokyo and Osaka (Zepp Tokyo, etc.) 28th November - 2nd December - Second Japan tour in Tokyo, Nagoya and Osaka (Zepp Tokyo, etc.).

2002 26th June - Pre-release of "Hullabaloo Soundtrack" in Japan (1st July in the UK) 26th July - Appearance at Fuji Rock Festival

2003 22nd September - Third album "Absolution" released.

2004 7th-14th February - Third Japan tour (Tokyo Bay NK Hall and others) June - Grand finale at Glastonbury Festival. The show is a huge success, but shortly afterwards Dom's father dies suddenly of a heart attack.

2005 2nd July - Live 8 charity event in Paris. 12th December - DVD 'Live From Absolution Tour' released.

2006 28th June - "Black Holes and Revelations" released in Japan first (3rd July in UK). 12th-13th August - Appearance at Summer Sonic. August Headliners at Reading/Leeds Festivals

2007 10th-19th March - Fourth Japan tour (Tokyo International Forum Hall A etc.) 16th-17th June - Sold-out shows at the newly refurbished Wembley Stadium for two consecutive days. Attracted around 160,000 people. The performance is recorded on 'HAARP'. 27th July - Live performance at Fuji Rock Festival. 28th October - Popular game series Guitar Hero III, with the song "Knights of Cydonia" included, was released.

2008 17th March - Live DVD release of "HAARP". 12th April - Appearance at the Teenage Cancer Trust charity event at the Royal Albert Hall. 17th August - Headliner at the V Festival.

2009 14th September - Release of fifth album "The Resistance".

Translator's Note: I've basically nearly covered all the known Muse articles in this magazine. The only one left is... the Top 100 Guitarists article. [shudders] God, that has so many parts to sift through...

[palilalia]

PAL-076 Zoh Amba / Chris Corsano / Bill Orcutt LP

"The Flower School"

The Flower School by Zoh Amba & Chris Corsano & Bill Orcutt

BUY LP

Since exploding on the improvised music scene a couple of years ago Tennessee native Zoh Amba has found herself engaging with an ever-widening group of collaborators as she tours across the US and Europe. She’s forged some enduring partnerships, working regularly with drummer Chris Corsano, bassist Thomas Morgan, and pianist Micah Thomas, among others, but one of the deep pleasures of improvised music is when a first- time meeting produces sparks. Indeed, that’s certainly the case with The Flower School, which bottles some serious lightning. In March of 2023 Amba and Corsano had finished up a duo tour of the west coast with an explosive performance in San Francisco. The next day the duo entered the studio with guitarist Bill Orcutt—a trusted collaborator of the drummer stretching back a decade. It was the first time Orcutt and Amba had ever played together, but it sure doesn’t seem that way.

Although Amba has often recorded a bunch of tune-oriented albums for Tzadik she’s a free improviser at heart, and this trio arguably provides the most effective, elastic context for her playing yet. Yet what’s most astonishing about The Flower School is how it elevates and transforms the playing of all three participants. It appears that there was more than enough trust in the room to allow each player to push-and-pull. Anyone who pays attention already knows that Orcutt and Corsano are mercurial figures, perpetually adapting, adjusting, and challenging one another so that every performance by their duo seems to spring from a different inspirational source. Inviting a third person to the party could threaten a slowly cultivated balance—whether between Orcutt and Corsano or Corsano and Amba—but in this case the addition only heightened various dichotomies: soft vs. loud, bruising vs. tender, furious vs. lyric.

Much has been made of Amba’s debt to the free jazz of 1960’s, particularly the way her vibrato-drenched tone dips into valley of sacred music, but here she carves out a space that’s entirely hers. On tracks like “The Morning Light Has Flooded My Eyes” and “What Emptiness Do You Gaze Upon!” she reveals a meticulously sharpened gift for motific improvisation, taking a single phrase and chiseling away it until she’s discovered every possible permutation, all the while driven by the feverish energy and empathy of her cohorts. This group also displays Orcutt’s masterful support skills, as he often takes a single chord or two, letting them float in mutate in the background or splintering them into patient, reserved arpeggios that ripple alongside Corsano’s circular sculptures and the saxophonist’s edgy blowing. Two of the album’s five tracks are duets between Orcutt and Amba. The collection is bisected by “Sweet One,” a delicate lattice formed by Orcutt’s tremulous electric guitar arpeggios and Amba’s spike acoustic pointillism that basks in its own leisurely beauty for a couple of restorative minutes, while the album closer “Moon Showed But No You” is a searingly beautiful ballad where the guitarist unspools clusters of notes somewhere between vintage Loren Mazzacane Connor and a distorted kalimba, while Amba puts an upwardly arcing melodic line through its paces, finding new wrinkles at every turn. Here’s hoping that this recording is the start of something, but even if this album is the beginning and end, the level of communication and rapport feels eternal.

[littlelodell]

Tag Game!!

ˏˋ°*♡➷ get to know me ༊*·˚

Thank you @happy-mokka for the tag!!

rule: name your favorite movie, character, animal, drink, song, season, book, color and hobby

This is going to be tough because I am highly suggestible & I will bury my favorites for years and then suddenly remember them.

MOVIE(S) It's a tie, and an impossible task because I can name about fifty films whose images float around in my imagination. I grew watching a lot, A LOT, of Westerns, British WWII films and movie musicals, and classic films of the 1940's...but here are two later era movies that I come back to, and influence me as a creative person. Honorable mention to Hayao Miyazaki's entire oeuvre.

The Cook, The Thief, His Wife and Her Lover, 1989

dir. Peter Greenaway. Michael Nyman score.

with Helen Mirren, Michael Gambon (RIP), Richard Bohringer & Alan Howard. (and Tim Roth and Alex Kingston!)

Terrifying, horrifying, darkly funny and stunningly gorgeous. It's extremely violent in a very specific way to Greenaway, which I have a harder time with now, but it's still worth watching, if only for the scenes between Mirren and Howard, which are virtually silent. Breathtaking.

Der Himmel über Berlin (Wings of Desire) 1987 dir. Wim Wenders

This movie has EVERYTHING. Angels in dark coats, a library, Nick Cave, poetry, pre-fall of The Wall Berlin, trapeze artistry, moody smoking, Peter Falk as himself, did I mention angels? The final line gets me every time; "Ich weiss jetzt was kein Engel weiss." (excuse my German spelling.) "I know what no angel knows." In other words, love.

Character. In my current obsession? Our dear demon, Crowley. He chooses himself, but is honest enough to know he loves someone else. Silly, moody, been to actual hell and back. What's not to love? Plus us redheads have to stick together.

And of course, Kate ~ Taming of the Shrew. The OG bitch you hate to love. Runner up, Ariel from The Tempest. Gotta love a spirit that manages to be both mischievous and compassionate.

ANIMAL: Grey wolf. Canis Lupus. Their reintroduction to the wild is a very, very small pinpoint of hope for our ailing world.

Drink: Coffee. No contest. Black. Unlike Daffy here, I prefer mine iced.

Song: Currently listening to Yebba's "October Sky" on heavy rotation. She's truly gifted.

But, how could I choose just one song? I listen to jazz, 90's RandB, country, West Coast rap, deep 80's cuts, current pop, always Bowie, Prince, Kate Bush, and classical vocal rep.

"Will There Really Be a Morning?" Ricky Ian Gordon comp., set to The Belle of Amherst's poetry - a perfect song.

Season: Winter. But that's because I have to travel to get to a real winter. I love to (visit) the snow. I know, I romanticize it. I grew up in a place with brutal winters but all I remember is the Nordic skiing and playing hockey in figure skates and hot cocoa. Let me have my idyll.

Books, three, in no order, all non-fiction, or I will get too far down a rabbit-hole:

The Hakawati by Rabih Alemeddine

Sexing the Cherry by Jeanette Winterson

My Antonia by Willa Cather (my actual favorite)

Each of these authors have other, equally compelling titles, and you should read them.

Color: Shades of Blue.

Hobby: Reading, traveling, taking pictures, starting yet another language to study.

Possibly cooking, but I used to do it for a living, so it always feels like a dance with an old friend, not a hobby.

I'll tag @reloha and @risingphoenix761 but don't feel obligated at all. If I did this again tomorrow, I would have completely different answers.

[alien-melissa]

Push Ups - New song “Rosary” interview ★

ニューヨークを拠点に音楽活動をするPush Upsが. 今年夏にリリース予定のFirst EPから新曲「Rosary」を先行リリース。

MommaやBeenStellarなど、ギターロックが熱い今のニューヨークのシーンで彼らと繋がりをもち、少ないディスコグラフィーながらも、すでに確立されつつあるPush Upsのスタイル。鋭いギターサウンドと哀愁漂うメロディー、儚い歌声、スッと身体に沁みる不思議なロックサウンドに魅了されてしまう。 EPリリース後には多くのライブを計画していて、さらなる広がりと飛躍が間違いない彼らにインタビューを行った。

★新曲のコンセプト、制作、レコーディングについて教えてください。

- 去年の11 月にバンド Momma の Aron Kobayashi-Ritch と一緒に EP をレコーディングしたんだ。Momma の Preston もレコーディングでドラムで参加してるよ。

新曲「Rosary」は僕の友人達からインスパイアを受けて作ったんだ。僕は友達を愛しているし、彼ら僕を支えてくれている。希望を与えてくれる存在だよ。

★あなたの作曲プロセスはどのようなものですか？

- Ableton で曲のアイデアを考え始めるよ。

いつも最初はギター���ら始めて、曲全体をギターで構成し、最後に歌詞/メロディーを付けて作っているよ。

★影響を受けた音楽はどのようなものですか？

- この EP では、Cap'n Jazz、Get Up Kids、Elliott Smith、Beatles をたくさん聴いていた。 "Rosary" のギターワークは At the Drive-In にとてもインスパイアされてる。

★あなたの生い立ちについて教えてください

たくさん引っ越しをしながら育ったんだ。カリフォルニア、オレゴン、シカゴ、ニューヨーク、上海に住んでいたよ。中国は最悪だった。僕は中国人のハーフで、中国人であることは大好きだけど、中国はまったく好きではないんだ。

★音楽をやるようになったきっかけは？

- 9歳の時に小学校の友達がバンドを始めたがっていたんだ。映画「スクール・オブ・ロック」を観たばかりで、同年代の子供たちがギターを弾いているのを観て、自分もギターを始めようと思った。

★ニューヨークのシーンについてついてどう思いますか？

―ニューヨークでは、さまざまなシーンがあるように感じる。新しいバンドとして、僕らがどこに収まるかを理解しようとしている。でもそれはライブをすることから始まると思うんだ、今までライブを計画していたけどまだ実行できていないんだよね。

★聴いている日本人アーティストはいますか？

- 僕の好きな日本のアーティストは、辻子のりこ、　　ボリス、スーパーカーだよ。

★あなたの夢と目標について聞かせてください。

- 今年の目標は、10 月と 11 月に向けて 2 枚目の EP を完成させること。今年の夏に西海岸でショーをすること、そして東京でショーをすること。

------------------------------------------------------------

Push Ups

Gray @Instagram @10framespersecond ←

Push Ups - New song “Rosary” interview ★

---------------------------------------------------

((インタビュー原文))

★Please tell us about the concept, production and recording of the new single .

- We recorded an EP with Aron Kobayashi-Ritch, from the band Momma, back in November. And Preston from Momma also played drums on the recordings. This song, Rosary, was inspired by my friends. I love my friends, my real friends, and they keep me grounded. They give me hope. 

★what does your creative process look like ? 

Do you have any specific ritual ?

- I usually just start an idea on Ableton, always with a guitar first. I usually write the whole song on guitar, structure it out, and then come with the lyrics/melodies last. 

★who are your musical influences?

- for this EP I was listening to a lot of Cap'n Jazz, the Get Up Kids, Elliott Smith, and the Beatles. The guitar work on "Rosary" was really inspired by At the Drive-In. 

★can you tell me about your personal history?

I moved around a lot growing up. I lived in California, Oregon, Chicago, New York, and Shanghai. China was the worst. I'm 1/2 Chinese, and I love being Chinese, but I don't like China very much at all. 

★how did You come to make music ? 

- When I was 9, my friends in elementary school wanted to start a band. I had just watched the movie "School of Rock" and was inspired to learn guitar after seeing kids my age shred on-screen.��

★how do you feel about the scenes around you ?

- I feel like there's many different scenes happening in New York. As a new band, we're trying to figure out where we fit in. Wether that's merging into a scene or starting our own, I can't say. But that all starts with playing shows, which we have planned, but haven't done yet. 

★Are there any Japanese artists you listen to ?

- My favorite Japanese artists are Tujiko Noriko, Boris, and Supercar.

★What are your current/dream goals for the upcoming ? 

- Goals for this year are finishing a 2nd EP for October/November, play shows this Summer on the West Coast, and maybe play a show in Tokyo.

[urbanthreads]

Rhythmic Echoes: The Evolution of Rap Music

Photo by Antoine J. on Unsplash

Introduction

Rap music has captivated audiences worldwide with its vivid wordplay, powerful rhythms, and messages. From the gritty streets of the Bronx to the star-studded Los Angeles studios, rap has evolved into a diverse and influential genre. Let’s take a walk down the memory lane and explore how rap music has evolved over the years.

The Roots: 1970s - Early 1980s

Rap music originated in the African-American communities of New York City in the 1970s. At block parties, DJs would play funk and soul records and isolate the percussion breaks to create a continuous beat. This technique, called “breaking”, inspired MCs (Master of Ceremonies) to speak over the beats, narrating stories or rhyming words. Pioneers like DJ Kool Herc, Afrika Bambaataa, and Grandmaster Flash are often credited with laying the foundation for rap music.

Golden Age: Mid 1980s - Early 1990s

The mid-1980s ushered in what many consider the “Golden Age” of rap. Rap music became more complex and sophisticated as artists like Run DMC, Public Enemy, and N.W.A addressed social and political issues, shedding light on racial tensions and police brutality. The storytelling aspect became prominent with the likes of Slick Rick and Big Daddy Kane. The East Coast – West Coast rivalry also emerged, setting a competitive atmosphere that fueled creativity.

Diversification: Mid 1990s - Early 2000s

The 1990s saw rap music splintering into various sub-genres. The East Coast, led by artists like Nas, Jay-Z, and The Notorious B.I.G., focused on lyrical sophistication and jazz-infused beats. Meanwhile, the West Coast, with artists like Tupac Shakur, Snoop Dogg, and Dr. Dre, favored funk samples and catchy hooks. The Southern rap scene also rose to prominence with Outkast and Goodie Mob pioneering the ‘Dirty South’ sound.

Commercial Boom: Mid 2000s - Early 2010s

Rap became a commercial juggernaut in the 2000s. Mainstream artists like 50 Cent, Eminem, and Kanye West achieved massive commercial success. Production value skyrocketed and collaborations with pop artists became commonplace. The genre diversified further, with the rise of alternative hip-hop acts like Kid Cudi and Lupe Fiasco.

Internet Era: Mid 2010s - Present

The Internet revolutionized the music industry, and rap was no exception. Platforms like SoundCloud and social media allowed independent artists to release music without a record label. This led to the rise of artists like Chance the Rapper and Tyler, The Creator, who built their careers online. Trap music, characterized by its use of 808 drums and hi-hats, also became a dominant sub-genre, with artists like Migos and Travis Scott at the forefront.

Contemporary Evolution: 2020s

As we move into the 2020s, rap music continues to evolve. The genre is becoming increasingly international with grime in the UK, drill in Australia, and various other styles around the globe. Additionally, the lines between genres are blurring, with artists like Lil Nas X and Post Malone blending rap with country and rock.

Conclusion

Rap music’s journey from the streets of New York to a global phenomenon is a testament to its adaptability and the raw power of rhythm and wordplay. As rap continues to evolve, it remains a voice for marginalized communities, a playground for experimentation, and an ever-changing reflection of society. Whether through poetic storytelling or pulsating trap beats, rap music is, and will continue

[kickflipkidd]

Ok ok tell me about Ash, I'm curious 👀 (Also, I have an oc named Ash and I want to see the difference too. It's a good name)

Thanks so much for the ask aaaaaaaOkay! So Ash is an OC pretty heavily under construction but I will tell you the things I do know about her!

-her maternal grandmother is Inuit and Ash spent a lot of time with her growing up and a lot of time around her sled dogs, who she helped raise (there is a lot more research I need to do to be certain I portray things accurately and respectfully but that is the basis I have at the moment, it's something I came up with when I was a lot younger and now want to actually flesh out)

-her father was in the army and when she was around 14 he got assigned to a base on the east coast so they moved from Alaska which Ash was Not Happy About

-but that is where she met Mickie, fell hard for them, and they took off together as soon as they were both 18, living in Mickie's car and busking/conning their way across the united states until they made it to the west coast and enrolled in a community college music program together

-Ash is a skilled drummer, she started learning when she joined jazz band in middle school and would stay after school to practice and teach herself the drum parts to her favorite metal songs. in high school she was center snare in marching band her junior and senior year (which in case you didn't know is basically the drumline section leader)

-she's a huge metalhead, it's by far her favorite genre, and behind that is punk. her favorite band, however, is... the Beastie Boys. her parents really liked them and she has a lot of nostalgia for them. she will defend their terrible music to her dying breath

-she struggled a lot with anger and discontentment growing up. got in a lot of fights, snuck out a lot. started smoking weed in high school to be rebellious but found it actually helped her mellow out a bit so she still smokes, but not nearly as much as she did as an 18-20yo

-she has waist length black hair with a side shave/undercut style. her fashion is what I want to call gothdykepunk? think black combat boots, worn and torn cargo pants, shredded metal band tees overtop of fishnet armbands, a sickass dragon necklace, a necklace made of safety pins, sharpie colored nails, and her dad's old army jacket atop everything. she's so much cooler than me

-in her efforts to be less aggro as she gets older, she ends up becoming pretty quiet in general (where she used to be accurately described as "loudmouthed") but remains the same amount of intimidating (MAJOR resting bitch face and vocal tone issues, and she's very blunt), so people tend to be scared of her on first impression. but she really isn't mean, she's just intense

-being a skilled drummer, she's strong as fuck and has very well devloped arm and shoulder muscles (aka my fucking weakness)

-she's so cool she really is but man. she's also just a big nerd. loves complicated board and card games and wants to make all her friends play them together and will explain the rules into the ground. the beastie boys as I mentioned. don't hand her the aux cord unless you like melodeath, bad 90's whiteboy rap, and the alt country songs that make her think of Mickie (Mickie plays banjo and accordion and grew up listening to early stadium country and Johnny Cash so they are particularly into the alt country scene and dragged Ash in with them)

-Mickie and Ash are queerplatonic life partners - Mickie is aroace, Ash is an allosexual lesbian who occasionally (with conversation and consent from Mickie) pursues casual sexual relationships with other partners (including a longterm friends with benefits relationship with Kit, a friend they make in college who basically becomes the third wheel to their gay little tricycle), but these two are in it together, ride or die, they love each other so much

-in the fantasy setting I'm working on writing, Mickie and Ash are both bards who travel together conning people and eventually join up with a group of revolutionary bandits and I just love them a lot okay

I sadly don't have any art of her yet but someday I will, there are definitely more things about her floating around in my head but those are some basic facts! as I said, under construction but I love her very much! thank you for the ask!!!

[therecordchanger62279]

NEW PLAYLIST: WAITING FOR THE SUN

In 1996, St. Martin's Press published a book called Waiting For The Sun by a British writer named Barney Hoskyns. The book is the single best history I've ever read about the California music scene. It spans 50 years, and covers everything from the Jazz of the 1940s to the Hip-Hop of the 90s. But the major portion of the book focuses on the Rock and Pop scenes of the 1960s, 70s, and 80s.

I enjoyed the book so much that I put together a 90 minute mix tape of music discussed in the book. A couple of years later, with a CD burner handy, I expanded the original to a double CD that featured 38 tracks, and more than 150 minutes of music. I was so happy with the result that I wrote a letter to Rhino Records and proposed they issue a boxed set based on the book in co-operation with the author. I even sent them my track list as a starting point. Of course I never heard from them, and my hopes for a boxed set were dashed.

Here we are a couple of decades later, and we have playlists, and streaming services available. So, I thought I'd share with you the best mix tape / burned CD set I ever made. I still think Rhino missed an opportunity. See if you agree. After you listen to it, you really should read the book. It's the cheapest ticket you'll ever find for that West Coast trip you always dreamed of taking.

Here's the track list, and it should be listened to in the order given here. I spent almost as much time sequencing it as I did picking the songs - all of which spotlight some aspect, and some of the history of the Golden State.

(Disc One)

Lonesome Town - Ricky Nelson

Laurel Canyon Blvd. #2 - Van Dyke Parks

California Saga (Pts. 1-3) - The Beach Boys

Hotel California - Eagles

California Nights - Lesley Gore

California - Joni Mitchell

Sin City - Flying Burrito Brothers

Estimated Prophet - Grateful Dead

I Love L.A. - Randy Newman

Twelve Thirty (Young Girls Are Coming To The Canyon) - The Mamas & The Papas

Pleasant Valley Sunday - The Monkees

Palm Desert - Van Dyke Parks

That's How We Do It In L.A. - Lindsey Buckingham

California Dreamin' - The Mamas & The Papas

The Boys of Summer - Don Henley

Livin' On The Fault Line - Doobie Brothers

Gringo - Little Feat

Marina Del Rey - Marc Jordan

Deportee - Gene Clark & Carla Olson

Bad Night At The Whiskey - The Byrds

(Disc Two)

Trouble Every Day - Frank Zappa & The Mothers of Invention

Dead Man's Curve - Jan & Dean

Trouble In Paradise - J.D. Souther

L.A. Woman - The Doors

Down In Hollywood - Ry Cooder

Valley Girl - Frank Zappa

Werewolves of London (Live) - Warren Zevon

It Never Rains In Southern California - Albert Hammond

Sunset Grill - Don Henley

Maybe The People Would Be The Times Or Between Clark & Hilldale - Love

Talk To Me of Mendocino - Kate & Anna McGarrigle

Tamalpais High (At About 3) - David Crosby

Prisoner In Disguise - Linda Ronstadt

Poor Man's Shangri-La - Ry Cooder

Say Goodbye To Hollywood - Ronnie Spector

The Last Resort - Eagles

Frank's Wild Years - Tom Waits

Laurel Canyon Blvd. - Van Dyke Parks

[savage-kult-of-gorthaur]

TASTEFUL PURVEYORS OF THE WEST COAST JAZZ SCENE -- DOWN TO THE VERY LAST NOTE.

PIC INFO: Spotlight on THE GERRY MULLIGAN QUARTET, featuring Gerry Mulligan, Larry Bunker, Chet Baker, and Lee Konitz, performing live at the The Haig in Los Angeles, California, c. 1953. 📸: ⓒ William Claxton.

Source: www.reddit.com/r/Jazz/comments/13ikbsh.

[celebchatter360]

The Unforgettable Legends of Rap: A Tribute to the Best MCs of All Time

The debate over who is the best rapper has been a topic of discussion for decades, with opinions divided among fans, critics, and industry experts alike. While the answer to this question may be subjective and dependent on individual taste, there are a few artists who have consistently been recognized as some of the best in the game.

One rapper who often comes up in discussions of the best is Kendrick Lamar. Born and raised in Compton, California, Kendrick has been making waves in the rap world since his debut album “Section.80” was released in 2011. He is known for his insightful and thought-provoking lyrics, which often address social and political issues, as well as his dynamic flow and intricate rhyme patterns. His fourth studio album, “To Pimp a Butterfly,” is widely considered a masterpiece and won him the Pulitzer Prize for Music in 2018, making him the first non-classical or jazz artist to win the award.

Another rapper who is often cited as one of the best is Jay-Z. With a career that spans over three decades, Jay-Z has established himself as one of the most successful and influential rappers of all time. He has won multiple Grammy Awards, sold millions of records, and has built a successful business empire that includes ventures in music, sports, fashion, and more. He is also known for his storytelling ability, as well as his ability to reflect on his life and experiences in his music.

Nas is another rapper who is often considered one of the best. Hailing from Queens, New York, Nas made a name for himself in the mid-1990s with his debut album “Illmatic,” which is widely considered a classic in the rap genre. He is known for his intricate wordplay and his ability to address a wide range of topics, from street life and politics to love and relationships. He has released multiple critically acclaimed albums over the course of his career, and is considered by many to be one of the greatest rappers of all time.

The Notorious B.I.G, also known as Biggie Smalls, is another rapper who is often considered one of the best. Despite his relatively short career, Biggie’s impact on the rap world has been immense, and he is considered by many to be one of the greatest rappers of all time. He was known for his smooth flow and storytelling ability, as well as his charismatic personality. His death in 1997 at the age of 24 was a major loss for the rap community, and his music continues to influence new generations of artists to this day.

Finally, Tupac Shakur, also known as 2Pac, is another rapper who is often considered one of the best. He was a pioneer of the West Coast rap scene and is known for his passionate and politically charged lyrics, as well as his magnetic personality. He was taken from us too soon when he was shot and killed in 1996 at the age of 25, but his music continues to live on and inspire new generations of artists.

In conclusion, while the answer to the question of who is the best rapper may be subjective and open to debate, there are a few artists who have consistently been recognized as some of the best in the game. Kendrick Lamar, Jay-Z, Nas, The Notorious B.I.G, and Tupac Shakur are just a few of the many talented rappers who have made an impact on the world of music and continue to be remembered and celebrated for their contributions to the genre.

[sheetmusiclibrarypdf]

Remembering Paul Desmond, American saxophonist and composer

Remembering Paul Desmond, American saxophonist and compopser.

https://player.vimeo.com/video/888301937?h=b4813a2653 Paul Emil Breitenfeld (San Francisco, November 25, 1924-New York, May 30, 1977), known as Paul Desmond, was an American jazz saxophonist (alto saxophone). He was a representative figure of mainstream jazz and cool jazz, specializing in ballads and melodic improvisation; It is also characterized by its quotes from classical music and folk songs. Born to a German father and an Irish mother, alto sax player Paul Desmond, received his first notions of music from hands of his father, who for some time had been playing the organ in a silent movie theater to accompany movie scenes and later arranged for dance orchestras. Desmond studied at San Francisco Polytechnic and at State College where she obtained a diploma in the clarinet, an instrument that had always fascinated her. It was in 1950 when he decided to adopt the alto sax as his definitive instrument and with which he had his first dabbles with professional music within Jack Fina's group. Influenced by the teacher, Johnny Hodges and especially by the sound of Pete Brown's sax, he responded to the call, ten years later, of the pianist Dave Brubeck, with whom he remained for a whopping seventeen years and whom he had known since 1943. In That group, Paul Desmond was the most talented musician of all and essentially contributed to the combo's success with his characteristic melodic style, of great purity and full of vigor and sweetness at the same time. His contribution to the great albums of Dave Brubeck, especially in the extraordinary song: "Take Five" for Columbia recorded in 1962 with the album "Time Out" was extraordinary and from then on, Desmond was recognized as the alma mater of the quartet. by Brubeck.

Outside the context of Brubeck's group, Paul Desmond recorded, not without some displeasure on Brubeck's part, some extraordinary albums with baritone sax player, Gerry Mulligan, and with guitarist, Jim Hall. Paul Desmond also recorded several albums under his name, mainly when the quartet dissolved. In the seventies, Paul Desmond almost disappeared from the jazz music scene due to his endemic attacks of laziness, his problems with alcohol and also due to the appearance of the first symptoms of the disease that would take his life: lung cancer. In 1972 he briefly reappeared alongside Dave Brubeck at the Newport Jazz Festival. He decided to write his own autobiography but again laziness prevented him from getting past the first chapter. In 1974 he settled in the famous "Half Note" in New York with his own quartet where night after night he delighted his numerous followers. An underrated saxophonist until very recently, today critics recognize him what was denied him in life: being one of the great jazz musicians of the entire West Coast of the United States and a master in the art of improvisation, with his sound being recognizable. from the first notes. Equipped with fine humor (Desmond's pseudonym, he looked it up in a telephone directory), he left all his money to the Red Cross, his Steinway piano to the Bradley's club and specified in his will that his body be cremated because, literally, I didn't want to be a monument on the way to the airport. His main influences were Johnny Hodges and especially the sound of Pete Brown's sax, also the melodic tone of Lester Young and Art Pepper. Paul Desmond's playing is fluid and airy, with little vibrato, with a much softer sound than other saxes, which is its charm. His very pure sound, his easy and inspired phrasing and his sense of swing make him one of the most popular musicians of West Coast Jazz.

Paul Desmond produced a light, melodic tone on the alto saxophone. He said he was trying to sound 'like a dry martini'. With a style similar to that of Lee Konitz, another of his influences, he quickly became one of the best-known jazz saxophonists of his time. Much of the success of Brubeck's classic quartet was due to the juxtaposition of their fluid style over Brubeck's sometimes relatively heavy, polytonal piano. An underrated saxophonist in the eighties, current critics recognize him as one of the great jazz musicians of the West Coast of the United States and a master in the art of improvisation, his sound being recognizable from the first note. His rare facility for improvised counterpoint is perhaps most evident on the two albums he recorded with baritone sax player Gerry Mulligan (Mulligan-Desmond Quartet and Two of a Mind). Desmond's playing was also notable for his ability to produce extremely high notes on his saxophone. Desmond played a Selmer Super model alto saxophone fitted with an M. C. Gregory model 4A-18M hard rubber mouthpiece, both from 1951, with a 3 ½ moderate hard Rico reed. In New York, the highways that lead to the different airports pass in front of several cemeteries.

Discography

1950The Dave Brubeck OctetDave BrubeckFantasy Records1951Brubeck/DesmondDave BrubeckFantasy Records1951Jazz at StoryvilleDave BrubeckFantasy Records1951Modern Complex DialoguesDave BrubeckAlto Records1951How Long, Baby How Long, Pt. 1&2Jack SheedyCoronet Records1951The Man I Love c/w Down in Honkytonk TownJack SheedyCoronet1952Jazz at the BlackhawkDave BrubeckFantasy1952The Dave Brubeck QuartetDave BrubeckFantasy1953Jazz at OberlinDave BrubeckFantasy1953Jazz at the College of the PacificDave BrubeckFantasy1954Dave Brubeck at Storyville 1954Dave BrubeckColumbia Records1954Jazz Goes to CollegeDave BrubeckColumbia1954Brubeck TimeDave BrubeckColumbia1954Gerry Mulligan/Paul DesmondPaul Desmond, Gerry MulliganFantasy1955Jazz: Red Hot And CoolDave BrubeckColumbia1955Chet Baker Quartet Plus: The Newport Years, Vol. 1Chet BakerPhilology Records1956The Paul Desmond Quartet With Don ElliottPaul DesmondFantasy1956–57Dave Brubeck Quartet Live in 1956-57 Featuring Paul DesmondDave BrubeckJazz Band1956Live From Basin StreetDave BrubeckJazz Band1956Jazz Impressions of U.S.A.Dave BrubeckColumbia1957ReunionDave Brubeck w/ Dave Van KriedtFantasy1957Jazz Goes to Junior CollegeDave BrubeckColumbia1957Dave Digs DisneyDave BrubeckColumbia1957Blues in TimePaul Desmond, Gerry MulliganVerve Records1958In EuropeDave Brubeck QuartetColumbia1958Newport 1958Dave BrubeckColumbia1958Jazz Impressions of EurasiaDave BrubeckColumbia1959Gone with the WindDave BrubeckColumbia1959Time OutDave BrubeckColumbia1959St. Louis BluesDave BrubeckMoon Records1959First Place AgainPaul DesmondWarner Bros.1960Southern SceneDave BrubeckColumbia1960Brubeck and RushingDave Brubeck w/ Jimmy RushingColumbia1960Bernstein Plays Brubeck Plays BernsteinDave Brubeck w/ Leonard BernsteinColumbia Records1960Tonight Only w/ Carmen McRaeDave BrubeckColumbia1961Time Further OutDave BrubeckColumbia61, 63, 64The Complete Recordings of the Paul Desmond Quartet With Jim HallPaul DesmondMosaic Records1961Take FiveDave BrubeckColumbia1962Desmond BluePaul DesmondRCA Victor1962Countdown - Time in Outer SpaceDave BrubeckColumbia1962Bossa Nova U.S.A.Dave BrubeckColumbia1962Brandenburg Gate: RevisitedDave BrubeckColumbia1962Late LamentPaul DesmondRCA/Bluebird Records1962Two of a MindPaul Desmond, Gerry MulliganRCA Victor1962Brubeck in AmsterdamDave BrubeckColumbia1963At Carnegie HallDave Brubeck QuartetColumbia1963Take TenPaul DesmondRCA Victor63, 64, 65Easy LivingPaul DesmondRCA Victor1963Glad to Be UnhappyPaul DesmondRCA Victor1963Time ChangesDave BrubeckColumbia1964Jazz Impressions of JapanDave BrubeckColumbia1964Jazz Impressions of New YorkDave BrubeckColumbia1964In Concert 1964Dave BrubeckJazz Connoisseur1964Bossa AntiguaPaul DesmondRCA Victor1964Dave Brubeck in BerlinDave BrubeckColumbia Records1965The Canadian Concert of Dave BrubeckDave BrubeckCan-Am Records1965Angel EyesDave BrubeckColumbia1965My Favorite ThingsDave BrubeckColumbia1965Time InDave BrubeckColumbia1966Anything Goes!Dave BrubeckColumbia1966The QuartetDave BrubeckEuropa Jazz1966Jackpot!Dave BrubeckColumbia1967Bravo! Brubeck!Dave BrubeckColumbia1967Buried TreasuresDave BrubeckColumbia/Legacy1967Take Five LiveDave BrubeckJazz Music Yesterday1967The Last Time We Saw ParisDave BrubeckColumbia1968SummertimePaul DesmondA&M/CTI1969From the Hot AfternoonPaul DesmondA&M/CTI1969Bridge Over Troubled WaterPaul DesmondA&M/CTI1971The Only Recorded Performance of Paul Desmond With the Modern Jazz QuartetPaul DesmondFinesse Records1972We're All Together Again for the First TimeDave Brubeck/Gerry Mulligan/Paul DesmondAtlantic Records1973SkylarkPaul DesmondCTI Records1973Giant BoxDon SebeskyCTI1974She Was Too Good to MeChet BakerCTI1974Pure DesmondPaul DesmondCTI1975Like Someone in LovePaul DesmondTelarc Records1975ConciertoJim HallCTI19751975: The DuetsDave Brubeck/Paul DesmondHorizon Records1975The Paul Desmond Quartet LivePaul DesmondHorizon1976At Bourbon Street, Toronto 10/75Paul DesmondArtists House197625th Anniversary ReunionDave BrubeckHorizon1977You Can't Go Home AgainChet BakerHorizon1977The Best Thing for YouChet BakerA&M1977WatermarkArt GarfunkelColumbia Read the full article

[fgdfsdf]

the West Coast jazz scene

I've always love jazz, but I've never really explored the context and culture that shaped it, so in this blog I will delve into the key characteristics, influential figures, and cultural significance of West Coast jazz.

[charlestonbusinessdirectory]

Experience Charleston After Dark: The Best Nightlife Spots in the Lowcountry Shop Local Charleston, SC Businesses [ad_1] Charleston, South Carolina is known for its rich history, charming architecture, and Southern hospitality. But when the sun sets, the city comes alive with a vibrant nightlife scene that offers something for everyone. From lively bars to upscale lounges, Charleston has it all when it comes to after-dark entertainment. Whether you're looking for a casual night out with friends or a romantic evening with that special someone, Charleston's nightlife has you covered. 1. The Cocktail Club Nestled in the heart of downtown Charleston, The Cocktail Club is a stylish and sophisticated lounge known for its creative craft cocktails and cozy ambiance. The bar features an extensive menu of handcrafted drinks made with premium spirits and fresh ingredients. The dimly lit interior and intimate seating make it the perfect spot for a date night or a night out with friends. Be sure to try their signature Old Fashioned or ask the bartender for a custom creation tailored to your taste preferences. 2. The Commodore If you're looking for a more relaxed and laid-back atmosphere, head over to The Commodore in the hip neighborhood of Park Circle. This neighborhood bar is a favorite among locals for its friendly staff, diverse beer selection, and live music performances. The Commodore's outdoor patio is the perfect place to unwind with a cold pint and enjoy the cool evening breeze. Grab a seat at the bar and strike up a conversation with fellow patrons, you never know where the night may take you. 3. The Royal American For a true taste of Charleston's music scene, make your way to The Royal American in the up-and-coming neighborhood of North Central. This eclectic venue hosts live music performances by local bands and musicians, ranging from rock and blues to jazz and country. The spacious outdoor courtyard is ideal for dancing under the stars or sipping on a cold beer while enjoying the lively atmosphere. Don't miss their famous fried chicken sandwich, a must-try late-night snack that pairs perfectly with a refreshing cocktail. 4. The Darling Oyster Bar If you're in the mood for something a little more upscale, The Darling Oyster Bar is the place to be. Located on King Street, this elegant seafood restaurant and oyster bar is known for its fresh oysters, creative cocktails, and chic ambiance. The bar's raw bar offers a selection of East and West Coast oysters, as well as other seafood delicacies like shrimp cocktail and lobster rolls. Sip on a classic martini or a glass of champagne while enjoying the lively energy of this sophisticated establishment. Conclusion Charleston may be famous for its historic charm and picturesque scenery, but the city's nightlife scene is just as impressive. From upscale cocktail bars to laid-back neighborhood pubs, Charleston offers a diverse range of nightlife options that cater to all tastes and preferences. Whether you're in the mood for live music, craft cocktails, or fresh seafood, Charleston has something for everyone after dark. So next time you find yourself in the Lowcountry, be sure to experience Charleston after dark and discover the best nightlife spots that this vibrant city has to offer. [ad_2] EXPLORE MORE: Nightlife in Charleston SC Best: Places to eat in Charleston SC FIND: Things to do in Charleston SC CHARLESTON BUSINESS OWNERS: Get a Free Business Profile FIND BUSINESSES: Charleston Business Directory BE SEEN: Advertise Your Business Here #NIGHTLIFE

[chsthrive]

Experience Charleston After Dark: The Best Nightlife Spots in the Lowcountry Shop Local Charleston, SC Businesses [ad_1] Charleston, South Carolina is known for its rich history, charming architecture, and Southern hospitality. But when the sun sets, the city comes alive with a vibrant nightlife scene that offers something for everyone. From lively bars to upscale lounges, Charleston has it all when it comes to after-dark entertainment. Whether you're looking for a casual night out with friends or a romantic evening with that special someone, Charleston's nightlife has you covered. 1. The Cocktail Club Nestled in the heart of downtown Charleston, The Cocktail Club is a stylish and sophisticated lounge known for its creative craft cocktails and cozy ambiance. The bar features an extensive menu of handcrafted drinks made with premium spirits and fresh ingredients. The dimly lit interior and intimate seating make it the perfect spot for a date night or a night out with friends. Be sure to try their signature Old Fashioned or ask the bartender for a custom creation tailored to your taste preferences. 2. The Commodore If you're looking for a more relaxed and laid-back atmosphere, head over to The Commodore in the hip neighborhood of Park Circle. This neighborhood bar is a favorite among locals for its friendly staff, diverse beer selection, and live music performances. The Commodore's outdoor patio is the perfect place to unwind with a cold pint and enjoy the cool evening breeze. Grab a seat at the bar and strike up a conversation with fellow patrons, you never know where the night may take you. 3. The Royal American For a true taste of Charleston's music scene, make your way to The Royal American in the up-and-coming neighborhood of North Central. This eclectic venue hosts live music performances by local bands and musicians, ranging from rock and blues to jazz and country. The spacious outdoor courtyard is ideal for dancing under the stars or sipping on a cold beer while enjoying the lively atmosphere. Don't miss their famous fried chicken sandwich, a must-try late-night snack that pairs perfectly with a refreshing cocktail. 4. The Darling Oyster Bar If you're in the mood for something a little more upscale, The Darling Oyster Bar is the place to be. Located on King Street, this elegant seafood restaurant and oyster bar is known for its fresh oysters, creative cocktails, and chic ambiance. The bar's raw bar offers a selection of East and West Coast oysters, as well as other seafood delicacies like shrimp cocktail and lobster rolls. Sip on a classic martini or a glass of champagne while enjoying the lively energy of this sophisticated establishment. Conclusion Charleston may be famous for its historic charm and picturesque scenery, but the city's nightlife scene is just as impressive. From upscale cocktail bars to laid-back neighborhood pubs, Charleston offers a diverse range of nightlife options that cater to all tastes and preferences. Whether you're in the mood for live music, craft cocktails, or fresh seafood, Charleston has something for everyone after dark. So next time you find yourself in the Lowcountry, be sure to experience Charleston after dark and discover the best nightlife spots that this vibrant city has to offer. [ad_2] EXPLORE MORE: Nightlife in Charleston SC Best: Places to eat in Charleston SC FIND: Things to do in Charleston SC CHARLESTON BUSINESS OWNERS: Get a Free Business Profile FIND BUSINESSES: Charleston Business Directory BE SEEN: Advertise Your Business Here #NIGHTLIFE