#classical musican

[sangre-de-corazon]

we need full on classical music concerts where the musicians on stage are decked out in lolita fashion or even just rococo fashion. Like. I wanna perform on stage in a gothic dreamy theatre wearing gothic lolita so that it matches my clarinet. I yearn for the day I could wear it instead of my concert dress blacks… 💔

[opera-ghosts]

Today I will remember the extraordinary soprano Adelina Patti (1843-1919). Here we see this antique Postcard from 1898.

Spanish-born soprano who was one of the greatest of her century.

The Spanish-born soprano Adelina Patti was the most renowned singer in Europe and the United States for over 30 years. She was born in 1843, the youngest of three children, into a family of opera singers and musicians. Her parents were opera performers well known in Europe by the time of Patti's birth in Madrid, where they were on tour. Her Italian father was Salvatore Patti; her Spanish mother was Caterina Chiesa Barili-Patti , known before her marriage as Signora Barili. Caterina also had four children from an earlier marriage, and all seven of her children would enjoy successful careers as singers.

When Adelina Patti was four the family moved to New York, where her father became an opera house manager. Her half-brother Ettore Barili gave Patti voice lessons starting at age five; by the age of seven Adelina was recognized as a child prodigy and the next year she gave her debut concert at New York City's Tripler Hall. Audiences and critics at subsequent concerts were stunned by the maturity, range, and purity of her voice. Her success in New York led to a three-year tour of American cities, unprecedented for such a young child, from 1851 to 1854. A second concert tour followed in 1857. Patti's sister Amelia Patti was married to the renowned pianist Maurice Strakosch; he took care of Adelina while on tour and served as her manager, instructor, and accompanist. She received only a minimal education, although her family background and musical training made her fluent in Spanish, French, Italian, and English. Her parents and Strakosch continued training Patti in the demands of operatic singing until they felt she was prepared to sing opera professionally. They arranged for her critically praised debut in the title role of Lucia di Lammermoor at the New York Academy of Music in 1859; she was 16, and would perform in opera continually for the next half-century, enjoying a career that was decades longer than that of most opera singers. Soon after her debut Patti faced serious family crises, as her father's struggling opera house failed and her mother left the family in 1860 to return to Rome. Patti then began to provide much of the family's income through her performances.

She toured the eastern United States and the West Indies from 1859 to 1861. In 1861, she went abroad, under the care of her father and Strakosch, to perform in La sonnambula at the Covent Garden opera house in London. She was enthusiastically received in London, where she was to perform every autumn for 25 years.

Patti remained on tour in Europe virtually continuously for 20 years, not returning to New York until 1881. She played to crowded houses in Berlin, Brussels, Amsterdam, Vienna, Paris, and across Italy. The operatic roles she chose ranged from light comedy, which she preferred, to tragedy, but whatever role she appeared in, critics were universal in their praise of her acting ability and the emotive power of her voice.

While in Paris in 1866, through her friendship with Empress Eugénie , Patti met the aristocrat Louis de Cahuzac, marquis de Caux, who served as a personal servant to the French emperor Napoleon III. They wished to marry but the marquis was not allowed to retain his privileged position at the French court if he married a working woman. Since Patti would not consider giving up her career, de Caux eventually resigned his post. This freed the couple to marry in 1868, when the new marchioness was 25 years old and her husband 42; however, the marriage lasted less than a decade, and they obtained a legal separation in 1877. As Patti was by then a celebrity throughout Europe and the United States, her marital problems brought scandal to the opera world and were the subject of often sensationalistic newspaper articles in many of the countries she had performed in. In the divorce suit, de Caux charged Patti with an adulterous affair with her co-star, Italian tenor Ernesto Nicolini. She admitted to the affair, but maintained in her defense that de Caux was jealous, controlling, and violent, and that he allowed her no access to her substantial income. The divorce would be finalized in 1885, when de Caux was awarded a settlement of $300,000 from Patti. Freed at last from her unhappy marriage, Patti married Nicolini a few months later.

Despite her personal problems during the separation and divorce, Patti continued to travel widely. She did a concert tour on her return to New York in 1881, followed by two operatic tours of the United States. Throughout the 1880s and 1890s, she was the most highly paid and most visible singer in Europe and the United States, receiving press coverage for her appearances as well as for her shocking personal life, legendary jewel collection, enormous wealth, and for her demanding, often capricious personality. She maintained homes across Europe, where she was friends with and frequently host to Europe's royalty and aristocracy. Her fame even led to mentions in contemporary literature and drama, such as Tolstoy's Anna Karenina and Oscar Wilde's The Picture of Dorian Gray.

Patti gave a farewell performance at the New York Metropolitan Opera House in 1887. She and Nicolini then left for another extended tour abroad, performing in Spain and Argentina. In 1895, at age 52, Patti gave six farewell appearances at Covent Garden. She and Nicolini then went into semi-retirement on an estate in Wales called Craig-y-Nos Castle which Patti had purchased some years before, and where she lived with Nicolini prior to their marriage. Patti adopted Wales as the native land she had never truly had, and was respected by the Welsh for her generosity to charitable causes and to her poor neighbors.

Ernesto Nicolini died in 1898. Patti, age 56, remarried a year later. Her third husband, a Swedish aristocrat named Baron Rolf Cederström, was a former military officer who, at the time Patti met him in 1897, was director of the Health Gymnastic Institute in London. At the time of their marriage, Cederström was only 28; their age difference and his occupation made the renowned opera star once again the subject of a flood of news articles and gossip columns.

The urgings of Patti's American fans called her back to the stage in 1903, when she began her last operatic tour at New York's Carnegie Hall. Although Patti was by then considerably older than most opera singers were at retirement, audiences were still moved by her powerful performances. In 1906, at age 63, she made her formal farewell appearance at Albert Hall in London. She also made numerous recordings which have preserved her work and demonstrate the remarkable purity and range which captivated her admirers and which had once led the composer Giuseppe Verdi to call Patti the greatest voice he had ever heard.

Adelina Patti was called out of retirement to perform occasionally at charity events in Wales and England through 1914, when she left the stage for good at age 71. She spent the remaining five years of her life at Craig-y-Nos Castle, where she died in 1919, at age 76. At her wish, her husband buried her in the celebrity cemetery Père Lachaise in Paris. He eventually remarried, selling Craig-y-Nos Castle to the Welsh National Memorial Association which converted it into the Adelina Patti Hospital. The hospital remained in operation until 1986, when the castle and its grounds were turned into a national park and cultural center.

[sol-draws-sometimes]

Me as kid: I want to be a teacher!

Adults: A music teacher?

Me:Haha maybe, but I also want to be teacher for the core subjects!

Highschool me: Idk I've considered maybe being a therapist in the future?

Adults: Oh like music therapy?

Highschool me: haha, maybe I'll include some techniques of music therapy, but I'm actually more interested in traditional talk therapy.

Me now: ooo I want to learn how to sound design!

Others: Oh that will be useful for music!

Me: haha yah, absolutely will probably take music gigs, but I'm actually more intrigued on the SFX/Dialogue side of things!

Me: I think I want to do something science related, maybe physics, but honesty geology looks cool so who knows.

Teacher: You should do Acoustic physics.

Me: haha maybe, but I really am more interested in stuff like astrophysics, paleontology, or geology.

PLEEEEASE I KNOW I'M A MUSICIAN! I KNOW I'VE BEEN DOING IT AS A KID! BUT NOT EVERYTHING HAS TO GO BACK TO MY LOVE OF MUSIC. I CAN HAVE OTHER INTERESTS AND PASSIONS OUTSIDE OF MUSIC!!!!!!

[vintage-old-hollywood]

Stevie Nicks

[composer-smash-or-pass]

[8elphgor]

while she usually don't play often she does have a few instruments like the key-harp , organ & the cello.

[literatureonthepage]

1982

[pinkcasket]

I actually have very strong opinions on akechi's music taste so here's some Takes

his mother was a lounge singer previously and he ended up getting into jazz because of her. grew up on nina simone, billie holiday, sinatra, amy winehouse, ect (there's definitely japanese jazz/blues singers here, my knowledge of japanese music just doesn't go there unfortunately)

he mostly listens to music at jazz jin, though. partially because he genuinely likes hearing local artists, partially because he so rarely can afford distractions

he's very annoying about his taste being better than other people's

he's also annoying about listening to music on anything other than a phone. records, cds, ect. he maintains its better to just go to bars and cafes with live music.

he collects records. probably post game but still

and actual music:

lana del rey. seriously. I think her more melancholic, blues inspired stuff would hit for him. specifically ultraviolence, norman fucking rockwell, and blue banisters)

kate bush

amy winehouse (I think his mother listened to her a lot. sometimes it's hard because he now understands the reason his mother likely played her so often, but at the same time there's a level of connection. he feels its ironic that he relates to a lot of these too.)

ella fitzgerald (he found a bunch of cds of her at one of his foster homes and recognized her as someone his mom would've liked. he doesn't recall ever listening to any of her work prior, though)

fleetwood mac

lyn, obviously

the vast majority of his music is niche, local jazz artists in tokyo. lots of jam session recordings, mixtapes he acquired through muhen, ect

[cartoonybus]

Love Händel Headcanons

cw for allusions to drugs, sex, disordered eating, homo & transphobia, sexism

|All Three|

• they were all born around 1960

• they all met in high school

○ Danny met Swampy when he was running late one day. he went to lock up his bike while Swampy was smoking in the bike shed. Danny bummed a cigarette off him and they started chatting

○ Bobbi and Swampy had been aware of each other (they'd both been in band in middle school) but didn't properly meet until they got kicked out of class on the same day

○ at some point, both Dan and Bob sat with Swamps at lunch on the same day. then the next. and then the next. and then--

• They all had interest in hard rock before meeting but Bobbi was actually the one to introduce them to metal music and the metal scene

• they held regular but informal jam sessions for years, using the dilapidated shed in Danny's backyard before ever forming a band

• the decision to start a band came during an early 80s blunt sesh. they were having a deep conversation about what they wanted out of life. none of them wanted to go to college or join the corporate world or start a family. danny always dreamed of being a rock star. and since they were all musicans, yeah, why not!

• 'Music Makes Us Better' is what their typical repertoire sounded like back in the day, and 'Snuck Your Way' was their odd ball. though when they reformed they experimented more and became less strictly metal

• they never had a manager; they always split their earnings three-ways. in the early years they took turns organizing gigs and venues

• they grew a small, dedicated fanbase in their early years, being big fish in a small pond in the Tri-State Area music scene. by the mid-80s they were popular enough to be featured in independent subculture magazines and college radio shows, and eventually started touring the country by '84

• however, they didn't sell out many venues until they blew up in popularity with 'You Snuck Your Way into My Heart'

• overall Love Händel was started in '81, and their career lasted from '82 until '97

• Sherman was the first to leave the band. since he was the Heart™, Love Händel folded days later (the concert Linda and Lawrence went to wasn't a planned farewell concert, it was just the last show before they broke up. it just became colloquially known as The Farewell Concert)

• they are dudes from the 80s; they're all emotionally constipated. gave each other a lot of the classic "dude are being vulnerable rn? what are you, a girl?" type of shit. so a LOT of their conflicts are caused by suppressed emotions finally blowing up and their inability to communicate with each other

• honestly they could be pretty vicious with their banter at times; if you overheard them then you'd think they despised each other.

• though tbh if anyone outside of their trio ever gave one of them even 10% the attitude they have each other, the other two would flip their shit ("fuck you YOU can't talk to him like that! only we can!")

• and that said, after the events of DWGTBBT when they decide to try being friends again, they elect to go to group therapy (affectionately referred to as 'couples therapy' and 'our rock'n'roll guidance counselor'). that, plus their "old age", has softened them up a bit

• they explored each other's bodies--*armed guards tackle me to the ground*

• back in the day their favorite movies to rent together are 'Buckaroo Banzai', 'Rock: Its Your Decision' (esp while stoned), and 'This Is Spin̈al Tap'. For the holidays, they like to throw on the 'Black Christmas' and 'Muppets Christmas Carol'

• they're all snobby in their own ways; Danny with music esp rock, Bobbi with fashion and art, and Sherman with literature and classic comedy (though he's the least likely to be a dick about it)

• they all have poor self-esteem in their own, though similar, ways; at various points in their lives, they've all been made to feel like they were obnoxious and "too much". they found solace in music and in each other. playing together makes them feel special, accepted, or useful

• they informally reformed after DWGTBBT, usually playing at local events while Sherman was on his lunch break (technically Bob and Danny were on break too but they're their own bosses so their breaks could be whenever). they officially reformed full-time before the events of Across the 2nd Dimension. they were setting off for their reunion tour when the Normbots attacked

|Danny|

• his full name is Daniel Alexander Makriyannis

• was an only child, but grew up close with several cousins who were basically siblings

• Greek American; his dad's parents immigrated in the 1920s, his mom was born in Greece but moved to the US as a kid to live with an aunt

• grew up in Peoria Illinois where his upbringing was painfully average

• got his first guitar for his 10th birthday

• before then, he started spending a lot of his free time just hanging out at the local music store, and eventually became a pseudo-son figure to the store owner, Mac

• when he was 12 he was actually hired (under the table) at the store as his first job. he mainly did small jobs like cleaning and moving stock in the backroom. he was promoted to cashier around 14

• his dad worked as a desk jockey at a toy factory and was transferred when Danny was 16, forcing the family to move to Danville

• naturally, Danny was devastated about leaving behind his friends, family, and city to move to the suburbs

• for years he was the only member of the band who has ever had a driver license

• cis bi man; it didn't click until he was 30. he'd always been aware of his attraction to men but subconsciously repressed/downplayed it ("its totally normal to get horny looking at dudes and for your heart to hurt when you see queer shit it doesn't make me gay im straight iM STRAIGHT")

• hasn't been with a man before, but dated several women over the years

• a couple of years after the band broke up, he met and was briefly married to a woman named Trish, but that started and fizzled out in <3 years.

• as a young man, his main flirting tactic was to flex his knowledge of and opinions on music. he usually came across as a dick so it never really worked

• not really an athlete but definitely the most active and physically fit of the band. he weight trains and goes for runs at least once week

|Bobbi|

• his full name is Robert Eric Gaitán

• an only child

• naturally brunette. naturally hairy too but shaves his body

• whenever he has a cold, he sounds like Candace-on-parsnips

• grew up Catholic. neither he nor his parents were very religious, they just went to church on Sundays and for big holidays because, well, "that's what you do"

• he was only in the church choir for a couple of years, but it really helped him develop his vocal range. it also taught him how to read sheet music

• his parents are from Mexico. his father was a tailor and his mother was seamstress, and they met when they started working in the same shop in Monterrey

• they later eloped to america, where they moved around a lot (Bobbi was born in Chicago) before settling in Danville when he was little

• his parents never taught him Spanish while he was growing up. it was not out of shame, just studies at the time thought speaking Spanish at home would make it harder for kids to learn English, and they wanted to give him a headstart (in fact, they were ecstatic when he chose Spanish as his language class in high school)

• his parents didn't pressure him into joining the family business, but they insisted on teaching him the basics of mending clothes. as a tween he asked to be taught how to read patterns and how to use the sewing machine

• he's a cis(ish) gay man; he's known since was 11 or 12

• when he realized he was gay he broke down and was despondent for several days. he felt like he HAD to tell his parents and it took him weeks to build up the courage to do so

• his parents, for their part, were surprisingly okay with it (if in a fearful "don't tell anyone, this stays within the family, don't act gay in public, this is your cross to bear. love you <3" kinda way)

• honestly they were way more distraught when he dropped out of college to be in Love Händel

• he's been naturally fey his whole life but starting in middle school he did his best to hide it, mostly by keeping quiet. when he spoke he tried to keep his voice low, giving short clipped responses, and he'd sit on his hands or cross his arms to keep from being expressive. during interviews with the band, it made him come across as rude and cold, so he was the least popular among fans

• however, he let himself relax and be himself around his closest friends (including Danny and Sherman ofc). and when the band broke up he had a "fuck it" moment and stopped masking all together, letting his genuine personality shine through all the time.

• he hasn't officially come out of the closet to the public, though his sexuality has been an open secret in the industry for years

• has had a poor relationship with food most of his life. he's never been officially diagnosed with an ED, but his eating habits are definitely disordered and unhealthy. he passed out from hunger multiple times in the 80s and 90s.

• in high school he had a deep connection with an exchange student from Montreal named Wendel Ngo that definitely would've turned romantic if either of them acted on it

• a hopeless romantic but has the worst luck dating. like, murphy's law levels of bad luck. the men he dated weren't awful, it just seemed that something crazy would happen early in the relationship that'd end it. like, a-boulder-crashing-through-the-café-they're-in-and-running-his-date-over levels of crazy

• simultaneously touch-starved and avoidant as hell

• is genuinely a talented hairdresser, just his signature 'do is, well, his signature! plus one of the most popular styles requested at his salon

• went bald due to the stress of the band dissolving, malnutrition, and because hair bleach in the 80s was straight up corrosive

• he has a French bulldog named Basquiat whom he spoils rotten. she's not allowed on the couch though (she gets her own)

|Swampy|

• his full name is Sherman Lee Lundy (his birth name was Marcia Anne)

• has a sister named Glenda who's 2.5 years younger than him, plus half-siblings he's never met

• his parents never married. his father left when his mom was pregnant with his sister

• since said mother had to work A LOT to keep her kids fed, they were basically raised by their Nana

• he got the nickname 'Swampy' from his Nana--his mother called him 'Marshy' as a baby and because his Nana is a real Wise Guy™ started calling him Swampy, and it stuck.

• trans & bi; he's known he was a boy since he was little but didn't realize he was into men until high school

• similar to Ringo, he was "The Weird One" but got the most fan mail

• also got laid the most, though didn't date very much (it was easier to stay stealth while making out in a car at night than while going out to dinner)

• slouches so much because 1) drummer 2) he didn't get top surgery until his 40s so he tried to make his chest smaller that way 3) tbh when you read you have to slouch majority of the time

• his Nana was pretty supportive, if clueless. like she never really "got" what "transgender" was, but if little Swampy hated his name and wanted to he referred to as a boy, that was fine by her ("I used to be in vaudeville, I've known plenty of inverts").

• when he hit puberty and his boobs started coming in, she dug through their attic and found an old sewing pattern for a Symington Side Lacer--a proto-binder from the '20s, meant to achieve flat silhouettes. she made Swampy a few lacers of his own, including the mesh one he wore on tour

• though he didn't get his name legally changed until he was an adult, he picked out the name Sherman for himself as a little kid; he named himself after Herman Munster but "didn't want to make it too obvious"

• his mom was too busy with work to really react or intervene with his transition. one time she came home early and walked in on him chopping all his hair off. she just sighed, pinched her nose, and told him to sweep up when he was done

• since he's been openly a boy pretty much her whole life, his sister didn't know he was trans until they were adults; when she was little, she saw baby photos of a girl who wasn't her and heard mentions of a 'Marcia'. when she asked Nana and Swampy about "her" they hastily said things like "no one, don't worry about it" so. she became convinced she had an older sister who died that no one brought up because it was too painful

• as a tween, Glenda had a short crocheting phase (it was the 70s after all), and Sherm picked it up after she dropped it. It's something he still does to this day

• he was a classic hyper 'he's not dumb he's just bored' ADHD kid when he was little

• always had an interest in learning music, but was directed towards the drums to get his energy out. fortunately it became his passion

• he's best at drums, but he knows how to play A LOT of instruments; guitar, piano, trumpet, marimbas/xylophone, the theramin

• i know 'chaotic gremlin energy' is considered cringy tumblr speak or whatever, but there's no other way for me to describe him as a young man. weed REALLY mellowed him out

• always loved reading and read through all the books in his house multiple times. even the dictionary

• honestly because of he's so well read he has info/trivia/quotes for almost any situation

• refuses to elaborate on what he was doing in a metronome factory in the first place

• he loves most genres of literature and fiction, though never really got into poetry

• just one of those people who's naturally good with kids. at family gatherings and stuff the kids just gravitate towards him

• because of that and working in the library for so long, he's the most up to date with what's cool with the kids these days. he's still considered Uncool though

• keeps in regular contact with his sister and Nana, calling them at least once a week but often more. not as close with his mom but they're friendly and talk when they run into each other.

[historianroo]

a short list of historical figures who were queer: because I need people to understand that queer people have always been here.

with sources, because I am, after all, a historian.

Most of these figures are musicans, it is because I am studying to be a historical musicologist (basically a music historian).

Leonard Berenstein– (1918-1990) Composer, conductor, musician. Known for his musical West Side Story. Most likely a gay man, perhaps bisexual. While there are plenty of letters and first hand confirmations that exist, this Guardian article conveys the information well enough.

Pytor Illich Tchaikovsky– (1840-1892) Russian composer, best known for his ballets: Swan Lake, and the Nutcracker, as well as his 1812 Overture, which features canon fire (and has become a meme on Tumblr). A gay man, as confirmed by multiple historians that have dedicated their life to his research, and by me, who spent a few weeks translating letters that talk about his love for men and his fear of what that would do to his life. This article talks about John Wiley (a historian) had to say about it.

Benjamin Britten– (1913-1976) Known for his vocal compositions, if you are an english classically trained vocalist you know Britten's compositions. Known especially for his War Requiem and his opera Peter Grimes. He and fellow musician Peter Pears had a long lived relationship. This article speaks about it more.

Ethel Smyth– (1857-1944) A lifelong disrupter, demanded (rightly so) for people to listen to her music in a time where women were not given the space to compose. A lesbian who fought for the right for women to perform and be a part of orchestras and conductor her own works when women conducters were few and far between. This article, written by a woman, speaks on her life well.

Francis Poulenc– (1899-1963) A Parisian man with a marked love of mostly men, but did father one daughter and dedicated a few compositions to her mother. This article speaks well on his love.

Alan Turing– (1912-1954) A gay icon of mine, Turing was a British Mathmetician and codebreaker who you have to thank for your phone and for the earlier end of the second World War. This article speaks about his life, as well as the film Imitation Game (2014) discusses it to some extent.

Freddie Mercury–(1946-1991) The beloved lead singer of the band Queen was a notourious queer icon, who had many love affairs with men but did say that he loved one woman when he was younger, for this reason, I will not say whether he was bisexual or gay. But a queer icon nonetheless. This article discusses the topic.

David Bowie– (1947-2016) A performer I have always loved and dearly miss, who is known for his bisexuality and fantastic outfits. This Billboard article discusses his sexuality. But it is important to note, that he came out as gay first, and then bisexual, which does not mean he was changing his mind or wanting to conform, but instead was becoming more comfortable with his own sexuality as he aged, something that should be a more generally accepted thing.

Leonardo da Vinci– (1452-1519) While there are guesses about this mans sexuality, it is generally believed and agreed upon that he was at least queer. While more research must be done, this article speaks on the subject well enough.

There are plenty more that I could talk about and that I want to talk about but that would take so long.

The most important thing: Queer people have always been here, and they are amazing and beautiful and deserved so much better than what history gave them.

Please reply with more (and sources) if you have them.

[fadinglights]

very musey rn and still in a starter writing mood <3 like for a starter from the muses below and pls comment your preference for muse/plot or i'll dm you

anthony lee — 28, medium/café owner, bisexual, fc: greg hsu

maybe a muse who's a regular/co-worker with a crush on him?

someone he used to know before he dropped out of med school

maybe they're exes.... kind of the power couple back then that people thought were going to places but neither of their lives turned out as expected

ghost in his apartment/cafe or anything supernatural!

he's brought to a blind date gathering thingy as his friend's support animal and oh wow actually glad he's here cause it's how he met your muse who's maybe a bit jaded in love but hit the jackpot with him (they both did) </3

pak seojung — 26, verse dependent, homosexual, fc: cha eunwoo

heir verse: our muses are in love except he's set up for an arranged marriage.... childhood best friends who are also rivals turned lovers <333

musican/idol verse: secret relationship with another celebrity/someone he works with/someone he knew before he's famous, or a pr relationship turned too real???

assassin/mutant verse: our muses knew each other before they got kidnapped to the academy to be trained into ruthless killers? they could be each other's lifeline </3

im hana — 28, assassin, bisexual, fc: han sohee

two criminals (could be another assassin, a mafia associate she works for, etc.) who fell in love accidentally when collaborating together, maybe both are allergic to emotions but they're so attached they act like an old married couple oops

a throuple within said criminal organisation... imagine

two assassins trying to hunt each other down and it becomes near obsessive... a classic i can never get enough of

she's assigned to be your muse's bodyguard and she's terribly, TERRIBLY annoyed cause that's literally not part of the job description

someone unhinged and obsessed with her... could kill for a totally different reason (to her it's just a job) or even a serial k*ller

someone she hooks up with under an alias and is unfortunately falling for her... could be someone out of the criminal world and totally oblivious. or, plot twist what if they appear on her hitlist or if THEY are the one who has to kill her... tragic

someone who showed her warmth when she's in her darkest period... could be her only friend in life </3

song yuna — 30, con artist/art forger, bisexual, fc: im jinah

honestly most plots for hana applies for her minus the m*rder and stuff... the emotion phobia stays

begrudgingly partners in crime in a heist, they hate each other but oops she might have saved their ass or vice versa and it's awkward cause maybe they don't hate each other as much as they thought...

give me a cliché she's patching up a wounded person or she's getting patched up, maybe that's when they realise the other isn't as bad as they thought??? or maybe they've always had feelings for each other and it takes a near death situation for it to spill

LISTEN but i'm obsessed with this: two con artists who spend their grand holiday spewing lies to each other and accidentally fall in love, only to realise they're being lied to?????? maybe they become partners in crime then... a true power couple, maybe they run

childhood best friends reuniting... your muse could be one of her mother's terrible friends' child and they both basically got raised by a bunch of criminal addicts who were awful parents, no they raised themselves tbh

something about her art forgery business.... could be a museum heist or your muse having their work copied by her and is terribly amused and impressed (your muse could be a vampire aka the dead artist but she's selling them 'their' art)

elodie yoon — 25, designer/mafia heiress, bisexual, fc: kim yoojung

'i'm your ex and once i got into a near-death situation with criminals and they left me alone cause i'm in your protection list???? explain'

best friends to lovers, your muse could be from a family of crime too or works for hers

rivals to best friends to lovers.... give me children of rivaling families who fall in love and say fuck it...

bodyguard/protectee plot because yes (warning she's a menace)

a partner unaware of her background, until that one time they have to suddenly start running for their lives on a cute date????

leah willems — 30, er doctor, bisexual, fc: davika hoorne

something something spicy with a colleague (doctor, nurse, therapist etc)... in my medical drama era tbh

they're in a perfect marriage except it's falling apart and maybe your muse is cheating and regretting it when she finds out </3 maybe they even work in the same hospital gASP

your muse is the barista of the coffee shop she always goes to for her caffeine fix but she fell off the radar for a while and your muse is lowkey worried????

our muses used to date in high school, were the power couple and broke up due to long distance? now they meet again years later, maybe in her er or a reunion event idk

[americas1suiteheart]

Introduction! [Updated]

Hello! My name is Joe, I use He/Him pronouns. I am a Mexican Author, Musican, and Artist that has been writing and creating art on several different platforms for several years now.

Some of the fandoms and things I am interested in include; Impractical Jokers, Star Wars, Star Trek, The Big Bang Theory, House M.D X-Men, Marvel, DC [Specifically The Batman 2022], Hellboy, Bullet Train, Ghostbusters, and Horror Classic Movies.

Bands I enjoy are; Fall Out Boy, Panic! At The Disco, My Chemical Romance, Muse, Ice Nine Kills, Pink Floyd, The Rolling Stones, and Gorillaz.

Fandoms I will write for-

X-Men

MCU

DC

Hellboy

Bullet Train

Better Call Saul

Characters (And People,) I Will Write For [Specific]

Brian Quinn (Q) [Impractical Jokers]

Patrick Stump [Fall Out Boy/Band]

Lemon [Bullet Train]

Tangerine [Bullet Train]

Egon Spengler [Ghostbusters]

Peter Maximoff [X-Men]

Peter Quill [Guardians of the Galaxy]

Paul Dano [Characters]

James Wilson [House M.D]

Fic Genres I Will Write:

Fluff

Angst

Platonic

Hurt/Comfort

Songfics

Things I Will *NOT* Write;

Smut/NSFW

Onecest

Incest

Pedophilia

PWP

Ships

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

Now that all of that is out of the way, I hope you all enjoy reading my works.

Send in your requests for stories! Look at my introduction to see if anything you like is something I'll write, and DM me for further questions!

[opera-ghosts]

The Hawaiian Nightingale, also known as “Hawaiʻi's Songbird: Ululani Robertson (1890-1970):

Born in Honolulu on January 5, 1890 (approx.), Ululani McQuaid was the daughter of James H. McQuaid, an Englishman, and Kapulani Kalola Nahienaena Leinaholo Papaikaniau, a native Hawaiian and descendant of ali’i (Hawaiian royalty and nobility) from the islands of Maui and Hawaii. According to Ululani’s recollections, she was primarily raised by her grandmother and attended the Sacred Hearts Academy, a Catholic school which was popular among the Island’s wealthier residents. The school was staffed mostly by Belgian nuns and Ululani grew up speaking Hawaiian, French, and English.

There is little known about Ululani’s earliest years, beyond information given in interviews conducted later in her life. Even her exact year of birth remains unclear as there is no birth record available and various obituaries listed her as 75 or 80 in 1970. Musicologist Dale E. Hall, who published a brief biographical portrait of Ululani in his 1996 article Two Hawaiian Careers in Grand Opera, was able to locate the 1910 census records which indicated her age as 20, establishing her probable birth year as 1890. Hall also went so far as to contact the Sacred Hearts Academy which was unable to confirm any records of her attendance at the school.

Ululani married Alexander George Morison Robertson, a Hawaiian attorney and jurist, on May 29, 1907. After her wedding, she begins to appear in newspaper records as Mrs. A.G.M. Robertson, and her activities are more closely documented in the social columns. The earliest clippings found describe her as a hostess for celebrities and dignitaries visiting Honolulu and the Hawaiian Islands.

It is likely that Ululani was introduced to singing by her grandmother who was a well-known Hawaiian chanter, and who probably instilled in her a deep reverence for the Hawaiian language and song traditions. In the early years of her marriage, Ululani began taking lessons with mezzo-soprano Elizabeth Mackall, one of Honolulu’s most noted voice teachers. Mackall helped to build Ululani’s knowledge of Western art music and develop her technique and repertoire.

Ululani’s first recorded recital appearance was in 1912 on a program featuring several of Mackall’s students. The next year, newspaper records give accounts of at least seven performances, both public and private. Ululani began incorporating musicales into the parties she hosted at her home.

Aside from her budding talent as a singer, Ululani was a noted hostess in Honolulu’s social circles. Both the Honolulu Star-Bulletin and the Honolulu Advertiser, Honolulu’s largest and second largest news publications, praised the grandeur of events she hosted. An active member of her community, she was a member of the Morning Music Club and The Outdoor Circle, and was a founding officer of the Hawaiian Art Society.

As a result of Ululani’s talent, gracious personality, and social position, her popularity continued to increase between 1914 and 1920. She began appearing as a featured soloist with local churches and choral groups around Honolulu, receiving enthusiastic encores and splendid reviews from local newspapers.

wo notable performances in 1918 solidified the young Ululani’s place in Hawaii’s musical community, the first being a solo recital given for the benefit of the Red Cross at Honolulu’s new Mission Memorial Hall, and the second a feature in a Hawaiian musical given by Prince Jonah Kūhiō Kalanianaʻole.

During World War I, the citizens of Hawaii did a great deal to support relief efforts, raising money and collecting clothing and food supplies. Ululani offered her talents as a singer, performing for events for Army and Navy groups stationed in the islands. Honolulu’s Ad Club sponsored a recital to benefit the American Red Cross on April 26, 1918 featuring Ululani Robertson (billed as Mrs. A.G.M. Robertson). Her program was a success, with nearly every seat filled. Encores included several Hawaiian songs, a tradition that the young singer would continue throughout her career. The concert was so well received that she was, from then on, known to the public as the “Hawaiian Nightingale.”

Later that year, with her notoriety as “Hawaii’s Nightingale,” Ululani was featured in a hookupu (traditional Hawaiian welcome ceremony for visiting nobles & dignitaries) given by Hawaii’s US Congressional delegate Prince Jonah Kūhiō Kalanianaʻole. The event was a welcome for US Secretary of the Interior Franklin K. Lane. On this program, Ululani performed traditional Hawaiian songs accompanied by ukuleles and a glee club from the Kamehameha Schools. Through this event she displayed herself not only as a fine singer of western art music but of the traditional and popular music of Hawaii. Throughout her life, Ululani would maintain her passion for performing and preserving the music and language of Hawaii.

Ululani continued performing and studying with Elizabeth Mackall. Sometime in late 1919 or early 1920, Mackall moved to San Francisco, California to join the music faculty at Mills College. Ululani took an apartment in San Francisco, travelling from Hawaii for periods of study with Mackall until 1921.

Having studied with Mackall for over a decade, in the spring of 1921, Ululani made the decision to seek a new teacher to further her musical accomplishments. Despite little connection to the musical world outside of Hawaii, she decided to seek an audition with Marcella Sembrich after reading an interview with the great prima donna in Mable Wangall’s 1899 book Stars of the Opera.

“When I went to New York I wanted to study with Madame Sembrich, not because someone had told me to go to her, but because I had read so much about this glorious woman. I had no letter of introduction to her. There was a long waiting list, so the secretary informed me.”

— Ululani Robertson, "Madame Butterfly Lauds Teacher, Mme. M. Sembrich." The Honolulu Advertiser. Page 27. January 20, 1935.

Having set her mind to meeting the renowned Sembrich, Ululani prepared to travel to New York. Her trip was hindered initially by a burglary at her San Francisco apartment and then when she contracted mumps on the long train ride. She arrived in New York City, but her prolonged illness delayed her seeking out Sembrich and caused her to miss Enrico Caruso’s final Metropolitan Opera performance, which she was to attend with fellow Hawaiian opera star tenor Tandy Mackenzie. After recovering, she began working to arrange her meeting with Madame Marcella Sembrich. After travelling five thousand miles and facing various trials and tribulations, her chance came on Easter Sunday of 1921.

Despite having no letter of introduction, the secretary spoke to Sembrich who decided to hear the singer and have a luncheon to discuss Ululani’s ambitions as a singer. Another interview recounts the audition with Sembrich:

“The studio accompanist, hard-working fellow, brought the song to a close with a resounding chord. Its soft, somewhat sad, melody had been strange to him, and its words stranger still, for it was a Hawaiian bit about the rain and a drenched flower. The singer, resting now by the piano, gathered herself together for the verdict. She had come five thousand miles from Honolulu to ask the great Marcella Sembrich to teach her. And Mme. Sembrich was before her now, about to decide. She speaks. “Where, my dear, did you come upon such – shall I say – Chinese-Italian? So was habe Ich nie vorher gehört.” (tr. from German: I have never heard this before”) The singer, for all the fact that this audition was for her a solemn affair, had to laugh. “That, Madame, was not Italian at all. It was Hawaiian.” “Ah so,” breathed the great teacher, “you come from those islands out there in the Pacific, to have Sembrich teach you? Well, we shall see!”

— from "Mrs. A.G.M Robertson Returns After Long Absence." The Honolulu Advertiser. Page 3. December 10, 1933.

Following her audition, Sembrich asked the young Ululani what she desired from a career in music. She boldly told Sembrich that she had no ambition for a career, only to perfect her voice and her art. Following her audition and interview, Sembrich sent Ululani off to await a decision. After three days passed, Sembrich contacted Ululani to accept her as a pupil, only on the condition that she pursue a career. She immediately took an apartment near Manhattan’s Bryant Park and set to study. Ululani and Sembrich worked well together and Ululani was soon fondly called Sembrich’s “little tropical flower.”

In the summer of 1921, Ululani travelled with her new teacher to “The Maples,” Sembrich’s Adirondack retreat in Lake Placid, New York. It was there that the only known photographs containing both Ululani Robertson and Marcella Sembrich in the same image were taken.

“All pupils loved my teacher. It made no difference whether they were successes or failures, they never forgot her magnetic personality. I spent my first summer with Mme. Sembrich at her home in Lake Placid. She herself was a marvelous cook and she planned her menus each day. I remember a little squirrel who, each summer, came to the back kitchen door to be fed by Madame. I think he got his winter store of nuts from her. Like people, he never forgot the gracious woman.”

— Ululani Robertson "Madame Butterfly Lauds Teacher, Mme. M. Sembrich." The Honolulu Advertiser. Sunday, January 20, 1935.

For the next four years, Ululani alternated between periods of study in New York and trips to Honolulu to visit family and give performances. It is during these years that her billing for concerts now included the line “Artist Pupil of Mme. Sembrich.” Reviews praised her abilities and her fine coloratura voice. Ululani, much like her Sembrich, was also known to accompany herself for encores, playing the piano or ukulele.

Sembrich moved her Adirondack summer retreat to Bay View, an estate on the shores of Lake George, in the summer of 1922 and purchased the property the following winter. Ululani was among the first students, along with sopranos Dusolina Giannini and Queena Mario, to take lessons in Sembrich’s new teaching studio (today The Sembrich) which was completed 1924.

Reviews indicate that Robertson showed great improvement in stage presence and the finer details of her artistry following only a year of study with Sembrich:

“Her dulcet tones, always so appealing to her many admirers, have developed a range, a power, a flexibility and a depth of feeling which have lifted her from the mere amateur class into that of the semi-professional, as all who hear her at her concert next Wednesday will agree. One year under the direction of such a noted singer has done so much for Mrs. Robertson, that one can have no doubt that in the next year’s work, which she is planning, she will easily reach the goal for which Madame Sembrich sets for her most promising pupils, a successful New York appearance.”

— from "Teacher Perpetuates Fame Through Pupils." The Honolulu Advertiser. Page 5. July 11, 1922.

Ululani returned to Lake George and New York City for extended periods of study alongside Sembrich’s students from the Curtis Institute and the Juilliard Graduate School, where she was director of the vocal programs. During her studies with Sembrich, Ululani began studying the roles of Mimi (La Bohème) and Cio-Cio-san (Madama Butterfly) by Puccini. Sembrich worked with Ululani to refine her diction, stage presence, and musicality, preparing for for a grand debut. However, the New York City debut that was the standard for Sembrich’s pupils never came as was decided between singer and teacher that a trip abroad for European study was more advantageous than an expensive Aeolian Hall debut:

“Mme. Sembrich felt that I should have European study. So, with my husband’s approval, I sailed for Italy and studied with Professor Guisseppi Benvenuto. I had already had four years of study with Mme. Sembrich. But there were languages to be studied, stage deportment, and a repertoire to be built up. I also had a few lessons with Mascagni, author of the opera, Iris, which I was studying.”

— Ululani Robertson in “Island Hostess,” Paradise of the Pacific. Page 32. February 1953

One of Ululani’s final performances as a pupil of Sembrich was in September of 1925 in the Italian play “Scampolo.” The event was held in the studio of Lake George resident and Sembrich pupil Polly Hoopes on her estate Stillwater. Following her final summer in Lake George, Ululani set sail for Milan, Italy to further her studies in Europe.

Following Sembrich’s advice, Ululani sought out several European teachers to help further her musical education, beginning in Milan, Italy.

While there, she took lessons with Giuseppe Benvenuto and Pietro Mascagni, studying roles from Puccini’s Madama Butterfly and La Bohème, Mascagni’s Iris, andCharpantier’s Louise. Ululani then set her sights on France, particularly Paris, for further study. She continued her preparations for a European debut with pianist John Byrne. In 1926, she made her concert debut at the Salle Comedia in Paris and garnered positive reviews, particularly for her inclusion of several songs from Hawaii.

“Miss Ululani Robertson, who had chosen the Salle Comedia for her concert, possesses a very pretty soprano voice with exquisite crystalline notes. She knows how to sing, she sustains a note and reaches the pianissimo with undeniable art... Where she was quite remarkable was in some “Lieder” by Grieg; in “The Answer” by Terry, which she was obliged to repeat, and, above all, in some Hawaiian songs, to which she gave a really artistic expression. The “Na Lei O Hawaii” by King, won her a unanimous encore.”

— Louis Schneider in "The New York Herald," Paris. July 9, 1926

Following her successful concert debut, Ululani began appearing for social club events and private salons in Paris. In April 1927, she made her operatic debut in the title role of Puccini’s Madama Butterfly in Bordeaux, France. Despite singing the role in Italian instead of French, which was customary in French opera houses, critics were enamored by her vocal ability and refined acting. Her debut was followed by 22 more performances of the role across the continent. Her career took her to Austria, Czechoslovakia, France, Italy, Germany, and Spain where she appeared on stages in Deauville, Florence, Liège, Leipzig, Lyons, Milan, Prague, Rouen, Vienna, and more. Billed as “Madame La Princesse Ululani,” news outlets praised her interpretation of the role, deeming her “an artist of unusual merit” and characterized her singing as “ravishing,” “charming,” and “superb.” Near the end of her tour, several news articles in Europe reported that Ululani would return to Honolulu to perform the role in 1928.

However, Ululani did not return to Honolulu and instead began study at the American Conservatory in Fountainbleau around 1928, coaching with pianist Camille Decreus, the long-time accompanist of the Polish Tenor (and friend of Sembrich) Jean de Reszke. During her studies, she continued to appear in concert and opera across the continent and her popularity in the European musical scene began to grow.

During this time in Europe, nationalism was a prevailing trend in the musical world. Folk songs, particularly those sung in original native languages, were garnering attention as the true expressions of national culture and identity. Ululani, being one of so few Hawaiian singers to achieve European fame, was made even more popular by her renditions of Hawaiian songs, her ukulele accompaniments, and her displays of Hawaiian dance for European audiences. Among the Hawaiian songs presented by Ululani was the popular song Na Lei O Hawaii by Hawaiian composer Charles E. King.

To date, no original recordings of Ululani’s singing have been located. The Victor Talking Machine Company has notes of two recordings recorded by Ululani in 1923, however, neither made it to publication. While Ululani was in Europe, another “Hawaiian Songbird,” named Lena Machado, began recording and popularizing the music of Hawaii in the United States. Machado’s 1928 recording of the work with traditional instrumental accompaniment is a definitive representation of the traditional Hawaiian vocal technique ha’i which is characterized by a distinct break between vocal registers and accompaniments.

Prior to her entrée to the European opera scene, Ululani was offered a position as a Hawaiian singer with a touring band. While she loved to sing the songs of Hawaii and perform the popular music for audiences, she still believed that the role of Butterfly best suited her. Although the operatic stage was her chosen home, Ululani did appear on several occasions performing popular Hawaiian music. One such instance was with a Hawaiian orchestra at the Colonial Exposition in Paris in 1931, which was broadcast on the radio and was heard by Ululani’s husband A.G.M. Robertson in San Francisco.

Ululani toured across Europe appearing as Madama Butterfly and occasionally in other roles such as Mimi in La Bohème. Then in 1931, it was announced that Mme. Ululani was to appear for several performances of Madama Butterfly at Paris’ Opera Comique, one of the most celebrated European venues with perhaps the most discriminating audience. This was the first time a Hawaiian opera singer would appear on the stage of the famous opera house. The night of her debut, Madame Sembrich cabled her fondest congratulations. Ululani’s husband even travelled from Honolulu to see her take the stage in Paris.

News of her lauded debut was announced in papers across the United States. Her achievements on the stage of the Opera Comique were the pinnacle of her international fame and solidified her place as one of the leading interpreters of Puccini’s Butterfly. The Parisian Critic Louis Schneider published this review of the Opera Comique performance in an unidentified Paris newspaper:

Louis Schneider, music critic, writes in a Paris newspaper…

Madame Ululani sang “Madama Butterfly” at the Opera Comique, on Monday night. Her carriage and extreme grace give her an exacting possession of the role in which she proves the fullest depths of the character in her interpretation. Her voice, although not of great volume, is sufficiently ample for the role; and if, on entering the stage, she was overcome with emotion, she affirmed herself in the succeeding acts with charm and beauty of her voice, and the seizing tenderness of her intonation. She sang quite remarkably “Sur la mer calmes,” and also the Berceuse. Her success was decisive and mounted act by act.

– from an unidentified French publication. Translated and printed in the Honolulu Star-Bulletin. Page 26. January 2, 1932.

Despite her success on the stage in Paris, in 1932, Ululani stated that she was needed at home in Honolulu to take care of her husband, and thus made the decision to end her European career, having achieved the success she initially sought. She remained in Europe performing and exploring the continent with her husband until the latter half of 1933 when she began her journey home.

On Thanksgiving Day of 1933, the Hawaiian Nightingale returned to Honolulu with her husband aboard the Lurline. Friends and acquaintances gathered at the port to welcome the newly minted international star home, showering her with flowers and leis. While she had ended her European career, Ululani continued to make appearances in Hawaii and rumors of a contract with the Civic Opera of Chicago and offers from New York managers abounded, but none proved true or of any interest to Ululani.

Upon her return to Honolulu, Ululani brought with her three Siamese cats she adopted while in Paris. The trio, Handsome, Poupoulle, and Big Boy, captured headlines and even won awards in the first official Honolulu cat show in 1935.

Ululani, like Sembrich, was a lover of nature and animals. In a 1953 interview, Ululani said:

“I am a great animal lover and I was always bringing home stray kittens to be cared for or little puppies who had no home. But I am especially fond of kittens.”

- from “Island Hostess” in Paradise of the Pacific. February, 1953.

One of her first notable appearances upon her return to Honolulu was on an NBC live radio broadcast commemorating President Franklin D. Roosevelt’s first year in office. Ululani was a featured soloist on this program. She performed a new composition by Charles E. King, dedicated to Mrs. Roosevelt, titled Makuahine O Ka Lahui.

Her debut with the Honolulu Symphony was initially scheduled for 1934, but was cancelled due to illness. Her debut with the Symphony finally came the next year when she appeared as a guest soloist, performing “Pleurez mes yeux” from Massenet’s Le Cid. Praise for her artistry was universal andthe only critique noted was “the aria was too short.” Ululani continued to appear in venues across the islands and was ubiquitous with Hawaiian musical life in Honolulu.

In 1936, Ululani was able to, once again, display her talents as both an operatic prima donna and a champion of the music and traditions of Hawaii. In March, she appeared in a Hawaiian pageant reenacting the High Chiefess Kapiolani’s defiance of the volcano goddess Pele. Ululani took the lead role as the High Chiefess and scored great success singing traditional Hawaiian songs and melodies.

About two weeks later, the Morning Music Club and the Honolulu Symphony announced that they would launch a joint production of Puccini’s Madama Butterfly with Ululani reprising her signature role. This proved to be a highly anticipated musical event in Honolulu as it was the first time the opera would be staged in Hawaii. American Tenor Frank Colson, who performed under the stage name Aroldo Collini, was brought to Hawaii from Los Angeles to star aside Ululani as Lt. Pinkerton. The opening of the opera was delayed by a day due to illness. The next night, the production opened and proved to be the musical event of the season, earning generous plaudits from the press. This was the last time Ululani appeared in her signature role on the operatic stage.

“Outstanding in an evening of excellence was the lovely and meticulous singing of Mme. Ululani Robertson. Effective and convincing was her sympathetic portray of the fragile Japanese girl. Her singing was of a high order, her phrasing was that of an accomplished musician in full command of her role, and her high tones rang out with real splendor. Mme. Robertson was considerate of every meaning of her music, her sense of dramatic values is schooled as it is in thoughtful European teaching and direction. Butterfly delighted by approaching the music through intelligence. A broad vocal sweep was evident in Mme. Robertson’s singing and she shaded her songs according to the meaning of the words.”

— from "Local Opera is Hit with Mme. Robertson Star" by Edna B. Lawson. Honolulu Advertiser. May 15, 1936

Over the next decade, “Hawaii’s Songbird” gave recitals, hosted musicales, and quickly reentered the social circles of Honolulu, becoming involved with local clubs and social groups including the Morning Music Club, The Outdoor Circle, and the Civic Club. In 1938, she was elected President of the Morning Music Club and began publicly advocating for the preservation of the music and language of Hawaii through a Hawaiian School of Music and presenting entire programs featuring the songs of Hawaii. Ululani was also featured in a serial column in the Honolulu Advertiser titled, “How’s Your Hawaiian?”

In 1941, following the bombing of Pearl Harbor, Ululani once again became involved in relief efforts. Following the devastation from the bombing, Ululani opened her home to several displaced families. Gayle Andersen, who was 15 at the time, was one of those displaced. In a 2017 article, Anderson recalled:

“‘I was let loose,’ reminisced Andersen about her short but memorable time at the house. ‘I could go anywhere I wanted to during the day. Mrs. Robertson didn’t care, so I played up and down both sides of the bank [of the stream], and the stepping stones were [just] slightly in the water, so you could go across.’ Andersen remembers the formal dinners she enjoyed in the company of Robertson and the host’s regal appearance. She recalled the host’s elegant muumuus, trailed over her arms as she walked down the stairs. Andersen also remembers admiring Robertson’s old opera costumes. ‘She wanted me to take home some clothes. I was fifteen, but I [even though I] only weighed 115 pounds, I couldn’t fit any of them. I was too big!’ exclaimed Andersen.”

— from “World War II Survivor Visits HBA High School” by Kayci Kumashiro in Eagle Eye. Honolulu. January 3, 2017

Similar to her efforts during World War I, Ululani organized performances for troops stationed in Hawaii during the second World War. Through her involvement with the Hawaiian Civic Club she raised funds for the Red Cross and organized events for the sale of war bonds. She also chaired benefit events for the Civic Club and served a term as President of the organization.

Near the end of the war, in July 1945, fellow Sembrich student Dusolina Giannini visited Oahu to sing for members of the armed services stationed on the island. Giannini and Robertson had studied together under Madame Sembrich in New York City, Lake Placid, and Lake George. It is no surprise that Ululani insisted on hosting Giannini for her stay and, in elegant fashion, threw a grand reception for her friend and fellow artist.

Following the war, Ululani performed less frequently, instead focusing on her involvement with social clubs and organizations. In 1946, she was named to the board of Public Parks and Recreation in Honolulu and played a large role in the beautification of the city.

It is also suspected that during this time, her husband’s health was in decline. In 1947, A.G.M. Robertson passed away, leaving his estate to Ululani.

In the final two decades of her life, Ululani rarely performed but stayed actively engaged in her community. In 1948, she remarried to Jan Jabulka, the managing editor of the Honolulu Advertiser. They held the event at Ululani’s home and her friends filled her home with flowers for the occasion. A small ceremony was held in the evening with the Nuuanu Valley as the backdrop.

In 1951, Jan Jabulka was named the Executive Director of the Hawaii Statehood Commission. The couple relocated to Washington D.C. and made their primary residence in the nation’s capital, working to secure statehood for the territory. Ululani anticipated that they would be away only three to four months. However, securing statehood for the Hawaiian Territory took nearly a decade. Reports of Ululani’s activities in Washington are scarce, but she does appear in attendance records for several events, occasionally singing by popular request. In 1959, Hawaii became the 50th state in the Union and the Jabulkas’ time in Washington DC came to a close.

Following Hawaii’s battle for statehood, the Ululani and her husband returned to Honolulu. Ululani was pleased to return to her Honolulu estate following nearly a decade living in apartments and hotels in Washington, DC. Ululani spent the 1960s as a socialite, presiding as a patroness of numerous club events. She passed away at her home in 1970 at the age of 80.

Following her death, Ululani’s estate home passed on to the heirs of her first husband and was eventually sold. The building still stands and is the administration building for the Hawaii Baptist Academy’s High School. Her second husband inherited her Tantalus mountain home and the rest of her estate. The majority of her belongings were sold at auction in 1971, aside from a few items that were bequeathed to family and friends. Her collection of ali’i jewelry was donated to the Bishop Museum and still remains in their collection. Honolulu’s Morning Music Club, of which Ululani was a dedicated member, established the Ululani Memorial Voice Competition, as a tribute to the late singer. A 1934 poem dedicated to the Hawaiian opera star by Maryjane Kulani F. Montano also appears in several publications:

Manu Memele (Original Hawaiian)

Hooheno i ka lai ehukai Lamalama po Mahealani Ko leo, e ka manu hulu Melemele Hoene malie i ka poli.

Mehe lehua pua kea a-la E haaheo maila i ka uka I po ke aha onaona Ko leo, e ka Manu Memele.

Yellow Bird (English Translation)

Bewitching the ocean spray’s fair clime, Brilliant as the full moon light, Your voice, O bird of yellow plumage Brings melody gently yo the breast

Like unti a pale yellow Lehua Proudly blooming at the uplands That pervadesits fragrant scent, Is your voice, O singing bird.

In 1980, following the death of Jan Jabulka, a gift of $1,000,000 was bequeathed to the Bishop Museum for the construction of a new open air entrance pavilion in honor of his late wife. The Jabulka Pavilion was completed in 1982 and continues to serve as the main entrance to the museum.

[trashworldblog]

What is your favorite musician/band?

this is the hardest question. i listen to a lot of solo artists. im going to infodump my current listening habits rn.

car seat headrest is probably my favorite band. god damn it shane madej stop messing with my music taste. i love how hard certain lyrics hit you like bricks, and the way they sing is so ???? entrancing?? relaxing?? idk. its nice to listen to rock, i dont listen to rock very often. also i can tell alot of it was made by a 20 something, its got college kid energy /pos

Limbo is a classic for a lo-fi indie pop vibe. also shes a super cool person and is so nice. cant wait for her new stuff!!

phoebe bridgers, obviously. kyoto and i know the end <3

taylor swift, obviously. i really only listen to fearless tv, speak now, a little of midnights, and our song. listened to her at 8 so its very nostalgic.

chloe moriondo started soft indie, turned closer to alt?? idk LOUD and very for the girlies. she brings a "im going to punch cocky men with my hello kitty boxing gloves" energy to suckerpunch that some people dont seem to like. she slays

PINK PANTHERESS: to hell with it is literally no skip, i have the entire thing memorized. absolute genius.

porter robinson: i fell in love when shelter was posted and now im obsessed with the song musican. anything describing the creative process is always super cool. my current morning alarm song

tv girl: the only other band i listen to. city pop vibes??? indie pop. ive heard that their music is sexist but??? idk???? interpreting lyrics is hard sometimes, i always took it as sarcastic.

others in my rotation: dodie, girl in red, hayley kioko, mxmtoon, beabeadoobee, miracle musical, conan gray, clairo, cavetown, hozier, mitski, penelope scott, wallows.

70ish music recs: billy joel, elo, elton john, dolly, chicago, abba

i also listen to 80s japanese city pop, general lofi music, general trendy songs (like tiktok songs n stuff) and muppet soundtracks. (moving right along is SO GOOD)

[vintage-old-hollywood]

Elvis Presley and Priscilla Presley

[marcxang]

A new member joins to us, coming from a colorful neighbourhood

Full Name: Barrel Monroe Alias or Nickname: Barry, the musican rabbit, Bunny music. Date: Jun 2023 (draw) Sep 30 2023 (debut) Nationality: United States (Tv Show) The neighbourhood (Lore) Age: 25 years Height: 1.60 mts (5.4 ft)

Facts

Is the second Oc from other media/fandom story in this case "Welcome Home" does him an FC (Fan Character) .

Is the second Oc which is a Rabbit . Into the lore, is a "deleted character" just stayed in the show for 3 seasons before to eliminated him without any explicatión.

his role in the show is a musican, and knows about the history from the classic music and modern music (70's) .

Rarely he leaves the house .

is some clumsy, sleepy and sometimes clueless.

his favorite musical is "Fiddler on the Roof" Specially the song "if I were a rich man".

His favorite instrument is the harp, and voice.

His name is take from the singer "Barry White" and Lastname from "Marylin Monroe".

Often, when he teaches about music, he sings a little.

He is based (apart welcome home) on "Juan Carlos Bodoque" (31 minutos) and the "Hartley Hare" (Inigo Pipkins).

He has a garden with carrot crops.

His ears and tail are red, acording to him, cause he listening a lot of music.

His favorite Food is Carrot Juice (always has a glass of "carrot juice") Apple pie, chips, celery with cheese creme cotton candy, Sandwiches and tea.