#jazz plus ensemble
Explore tagged Tumblr posts
Text
DP x DC story idea y'all:
So the JL has some big ass problem, like really big, like dimension-destroying-big.
And as a last resort they want to find some entity powerful enough to save them and strike a deal (John Constantine-idea tm)
But where do they find something like that?
The infinite realms. John regrets his idea already. That is a fucking suicide mission. But what other option is there?
The whole JLD works really hard to find a way to the infinite realms and after searching every and all books about death magic they manage to find a portal.
It is decided that the Trinity plus Constantine should go in, try to find a powerful being and strike a deal at any costs.
So they go in. And land somewhere in the middle of nowhere, floating in the Ghost Zone.
They meet a random ghost and ask if they know of a being powerful enough to save a whole ass dimension from destruction. The ghost says the most powerful being is the ghost king who reigns over everything dead, then gestures vaguely in some direction and leaves.
So the the group moves in that direction and on the way encounter all kinds of bizarre beings (demons, ghosts, jinns, alpe and the like) getting in all sorts of trouble (walker's prison, some demon with shares of John's soul etc) and only escaping by a hair's width every time, getting new directions and very concerning and sometimes contradicting information on the ghost king from more amicable beings in between (not every ghost knows of the new king yet). The whole journey to the king's castle is very the wizard of oz like.
And then finally. The castle comes into view. All the heroes (and Constantine) are exhausted and desperate. As they come near the tension is rising. Hopefully the king is merciful like that one ghost said and not a ruthless tyrant like the other said. They've almost reached the castle when -are those disco lights coming from the windows?!?! And can anyone else hear Caramelldansen??
There's a big ass houseparty at the ghost king's fortress.
They can just walk into the courtyard unbothered. There's also a ton of beings partying hard and almost nobody even spares the JL ensemble a glance.
They, once again, ask some random drunk? beings for the Ghost king and, once again, get directed on a wild goose chase across the courtyard several times, to no avail. Finally, they find someone who at least looks human and alive.
It's Jazz. She's just finished with her mid-terms and for once not being the responsible one. She earned this. But now there's a group of weirdly dressed humans? asking for her brother. Yeah, she hasn't seen him in a while, she'll go looking with them. Last she's seen him he was near one of the snack bars.
Together they make their way over. But he isn't there. The Leaugers could fucking scream! They went through hell just for the tiny chance to save their world and now they can't even find the Ghost king!
But then the young red haired woman with them looks around. narrows her eyes. pulls up the table cloth.
And finally there he is! The ghost king! In full regalia! With a flaming crown hovering over his head, a mantle made out of galaxies draped over his shoulders and the ring of rage on his left hand ... and it's a teenager. Passed out drunk.
"""""""""""""""""""""""""""""""""""""""""""""""""""""""
Idk i just thought: what would a normal teenager do if they had a gigantic castle in another dimension and no parents to reign them in? Houseparty.
"I mean what's the worst that could happen? Death of alcohol poisoning? Not fucking likely" -Danny
#danny phantom#DC#justice league#batman#wonder woman#superman#john constantine#dc x dp#dp crossover#dp x dc prompt#dps headcanons#jazz fenton#ghost king danny
3K notes
·
View notes
Note
Can I have orange blossoms with jade leech for eternal love and marriage please? Thankyou!
is it love or just really nice flowers?
Pairing: Jade Leech x gn!reader
Synopsis: jade likes giving you flowers, it probably doesn't mean anything special though... right?
Tags: fluff, pining, slowish burn, eels are cowards, mentions of marriage, reader likes flowers
Word count: 1.2k+
Notes: thank you for requesting anon!! i had a lot of fun squealing when writing this one hehe
Masterlist
flower of choice: orange blossoms
orange blossoms symbolise eternal love and marriage, and they are often used in wedding ceremonies as symbols of purity and eternal love
You suppose it all started on your first Valentine’s Day in Twisted Wonderland.
As a member of the Mostro Lounge staff, you found yourself amidst the bustling atmosphere of the Mostro Lounge, where Azul's ambitious plans to capitalize on the love-filled holiday were in full swing. The lounge pulsated with the presence of couples occupying every available table.
Soft, dim lighting cast a warm glow over the space, enveloping everything in an air of intimacy and mystery. The gentle hum of conversation and laughter filled the air, mingling with the smooth melodies of jazz music drifting from hidden speakers.
Couples nestled into plush velvet booths, their faces illuminated by the soft light, lost in each other's eyes and whispers. Waiters moved gracefully between tables, delivering trays adorned with exotic beverages and plates of delectable meals, their steps silent against the plush carpeting.
But what caught your eye the most were the bouquets given to significant others, adorning the tables like precious jewels. Each one was a masterpiece in its own right, meticulously selected and arranged to convey the deepest sentiments of adoration.
"It must be nice receiving flowers…" you murmured to yourself, lost in thought.
“You would like to receive flowers?”
You snapped your head around at the sound of Jade's voice, finding him with a curious expression on his face. Surprise flickered in your eyes at his question, but a smile bloomed on your lips as you considered receiving flowers from someone.
“Yeah," you replied, a hint of longing in your voice, "who wouldn't? Receiving gifts makes you feel so appreciated. Plus, who wouldn't be happy looking at something pretty?"
Jade took a moment to mull over your words, his gaze thoughtful. Eventually, he nodded in agreement. "Hmm… I see. That does sound quite lovely," he acknowledged.
The conversation was quickly cut short when new orders and tasks arrived. In the whirlwind of never-ending tasks, the conversation had slipped from your mind almost entirely, until he appeared later that week, returning from a hiking trip with a delightful surprise in tow.
"Here, Prefect," he began, his voice gentle as he produced a bouquet of orange blossoms from behind his back. "These are for you," he offered with a soft smile.
The bouquet was a sight to behold, a delicate ensemble of ivory-hued blooms that exuded an ethereal beauty. Each flower boasted star-shaped petals, arranged in a symmetrical fashion around a central cluster of stamens. These stamens, adorned with tips of yellow to orange hues, stood out like tiny flames amidst the pristine white petals, adding a touch of vibrant colour to the otherwise pure palette. With their intricate details and subtle fragrance, the orange blossoms seemed to radiate a quiet elegance, captivating all who beheld their serene charm.
You couldn't help but notice the faintest flush of pink tinting his ears, and your own heart skipped a beat in response. You were well aware of the symbolism behind orange blossoms—eternal love and marriage. But surely, Jade couldn't mean that, could he?
"You brought these for me?" you asked, a mix of surprise and delight colouring your tone.
Jade nodded, a warmth spreading through him at your delight. "Yes, I thought you might like them," he admitted softly.
As you accepted the bouquet, a rush of emotions flooded over you. The delicate scent of the orange blossoms enveloped you, filling your senses with a sweet, intoxicating aroma. Mesmerized, you found yourself unable to look away from the vibrant blooms, each one a masterpiece of nature, without a single flaw in sight.
Jade's gaze remained fixed on yours, his expression tender and sincere. It was as though he was studying your reaction with unwavering attention, and a flutter of anticipation stirred in your chest at the vulnerability he revealed.
"Thank you, Jade," you said, your voice barely above a whisper but filled with sincerity. "These are beautiful."
A relieved smile spread across Jade's face, his eyes alight with a mixture of joy and relief. "I'm glad you like them," he murmured, his voice tinged with warmth.
Though you’re not sure why, Jade had made it a habit to always bring back a bouquet of orange blossoms for you from his hiking trips.
"It doesn't really bother me," he'd say with a closed-eye smile, "since it's on the way."
Each time he presented you with the blooms, your heart fluttered with joy. Yet, you hesitated to believe there were underlying intentions behind his gift. After all, Jade had always been kind to you, and you couldn't fathom the idea of him harbouring romantic feelings.
As the end of his third year at NRC approached, a bittersweet anticipation filled the air. The impending farewell weighed heavy on your heart, mingling with a sense of melancholy. Although Jade promised to visit during breaks and holidays, the thought of no longer seeing him every day stung with loneliness.
Summer break was nearing, and the campus was buzzing with students bidding farewells and exchanging hugs. Amidst the flurry of goodbyes, Jade sought you out, as he always did, with a bouquet of orange blossoms cradled in his arms. His smile was tinged with a hint of sadness as he approached you, and you felt a lump form in your throat at the sight of him.
"These are for you," he said softly, his voice barely above a whisper as he handed the flowers to you.
You accepted the bouquet with trembling hands, the weight of the moment settling heavily upon you. The sweet fragrance of the orange blossoms enveloped you like a comforting embrace, but it did little to dispel the sorrow that threatened to consume you.
"Thank you, Jade," you managed to say, your voice choked with emotion.
“I... I don’t wish for this to be the last time I give you flowers,” he confessed softly, his eyes searching yours with earnest sincerity. “Will you really not consider marriage with me?"
A heavy silence hung between you, each moment feeling weighted with unspoken words and unexpressed feelings. Then, Jade reached out to cup your cheek, guiding your gaze to meet his.
Caught off guard by his heartfelt plea, your eyes widened in astonishment. "Jade, I... I never realized... You…"
"But you knew, didn't you? You must have..." Jade's voice trembled with vulnerability. "Every flower, every gesture—it was all for you."
Your mind raced, memories flashing before your eyes like a vivid tapestry woven from moments shared together. Each bouquet, each flower—he had poured his heart into every gesture, his feelings hidden in plain sight all along.
Tears shimmered in your eyes as understanding washed over you like a gentle wave crashing upon the shore. The pieces of the puzzle fell into place, and you realized the depth of his devotion, the sincerity of his love.
“Yes, Jade," you whispered, your voice barely above a breath but filled with certainty. "Yes, a thousand times, yes."
The next thing you know, his lips are pressed against yours in a tender, passionate embrace. In that fleeting moment, the world around you faded into insignificance, leaving only the warmth of his touch, the sweetness of his kiss, and the promise of a love that would endure through every trial and triumph.
Masterlist
if you liked this post, don't forget to reblog!
#jade “oh prefect likes flowers they can understand what im trying to convey... right?” leech#hehehe lovesick silly eel who does everything except confess is my favourite#✧2k! blossoming bouquets✦#twstnexus#twisted wonderland#twisted wonderland x reader#twisted wonderland jade#twisted wonderland jade leech#jade leech#jade leech x reader#twst jade#twst jade x reader#twst jade leech#twst jade leech x reader
541 notes
·
View notes
Note
What is up with the jazz motif in cowboy bebop 🎤
Okay so like basically the show is kind of set up the way like a jazz ensemble would play so like it’s all these different moving parts that make up one whole so like all the characters act as instruments building to like being a crew and interacting with one another and creating like a family even if it’s just for a little bit but it’s not only that it’s also the episodic nature of the whole show where none of it really intertwines as in there’s not like an overarching plot it’s just bounties collected over time and within those there’s the bits and pieces of these characters’ pasts which also end up creating a whole backstory for them but again it’s always like building up or separate or like multiple different clues that make up what their experiences were so I think the jazz motif is just that the show itself, the characters, the way the story is told is being done in the same way a jazz band would play a piece I guess plus there’s always the rhythm of the show (and the dialogue and the fight scenes and all that) which I think has more to do with like ALL of the music included in it not just the jazz but yeah
108 notes
·
View notes
Text
Iris Apfel was finally recognised as a great, original fashion stylist in her 80s, when the Costume Institute at the Metropolitan Museum in New York had a sudden gap in its 2005 exhibition schedule. Many curators knew Apfel, who has died aged 102, as a collector stashing away clothes, especially costume jewellery, both couture-high and street-market-low, so the institute asked to borrow some of her thousands of pieces.
When Apfel wore them herself, dozens at a time in ensembles collaged fresh daily, they had zingy pzazz, so she was invited to set up the displays. There was no publicity budget, and her name was modestly known only in the interior decor trade, yet the show, Rara Avis: Selections from the Iris Apfel Collection, became a huge success after visitors promoted it online. It toured other American museums, changing exhibits en route because Apfel wanted her stuff back so she could wear it.
Apfel’s grandfather had been a master tailor in Russia; her father, Samuel Barrel, supplied mirrors to smart decorators; her chic mother, Sadye (nee Asofsky), had a fashion shop. They lived out in rural Astoria, in the Queens borough of New York, where Iris was born.
As a child, her treat was a weekly subway trip to Manhattan to explore its shops, her favourites the junk emporia of Greenwich Village. She was short, plain and, until her teen years, plump, but she had style; and the owner of a Brooklyn department store picked her out of a crowd to tell her so. During the Depression all her family could sew, drape, glue, paint and otherwise create the look of a room, or a person, on a budget of cents – the best of educations.
She studied art history at New York University, then qualified to teach and did so briefly in Wisconsin before fleeing back to New York to work on Women’s Wear Daily. Furniture and fabrics were in short supply during and after the second world war, and Iris began to earn by sourcing antiques and textiles; if she could not find it, she could make or fake it cheaply.
In 1948 she married Carl Apfel, and they became a decorating team: he had the head for business and she the eye. Unable to find cloth appropriate to a period decor, Iris adapted a design from an old piece and had it woven in a friend’s family mill; she and Carl then set up Old World Weavers in 1952, commissioning traditional makers around the globe.
Photographs and home-movie footage from the next four decades showed Apfel, adorned with elan, haggling for one-off items in souks, flea markets and bric-a-brac shops. She is the most decorative sight in each shot, her ensembles put together with complex cadenzas atop an underlying, tailored, structure– they are like jazz – not a statement, but a conversation.
Apfel was the last of those 20th-century fashion exotics who presented themselves as installations. Although she wore a priest’s warm tunic to the White House (President Richard Nixon underheated the place), plus armfuls of cheap African bracelets and thigh-high boots, she was not an exhibitionist like the Marchesa Casati, and, with her vaudevillian comic timing, was far funnier than the imperious Vogue editor Diana Vreeland.
Also, she never ever bought full-price: her many rails and under-the-bed suitcases of couture were sale-price samples, chosen for their cut, fabric, skilled craftwork and colour dazzle (“Colour can raise the dead”). She might wear them over thrift shop pyjamas, or under a Peking Opera costume, with hawsers of necklaces atop. Money could not buy personal style, she said, prettiness withered, beauty could corrode the soul. All that really mattered was “attitude, attitude, attitude”.
Old World Weavers discreetly refurbished the White House under nine presidents, as well as grand hotels and private houses, before the Apfels sold the company in 1992. They retired to a quiet life in their apartment on Park Avenue, New York, its decor an extension of Apfel’s outfits (bad garment choices were cut up for cushions), and in a Palm Beach holiday home where the Christmas decoration collection stayed up all year round, along with cuddly toys and museum-class folk art. Clothes shopping, and the improvisation of an outfit, became Apfel’s daily ritual, as cooking might be to a gourmet.
But after the Met show, and a book, Rare Bird of Fashion (2007), Apfel was back in as much full-time employment as she could manage in her 80s and 90s (she had a hip replacement because she fell after stepping on an Oscar de la Renta gown). She was cover girl of Dazed and Confused, among many other publications, window display artist at Bergdorf Goodman, designer and design consultant – superb on eye-glasses; she wore large, owl-like, frames to stylise her aged face into a witty, unchanging, cartoon.
She took seriously her responsibilities to fashion students on her course at the University of Texas, teaching them about imagination, craft and tangible pleasures in a world of images.
Her career lasted – nothing was ever too late: in 2018, Iris Apfel: Accidental Icon, a book of memoir and sound style advice; in 2019, a contract with the model agency IMG; and last year, a beauty campaign for makeup with Ciaté London. The documentarian Albert Maysles trailed her for Iris (2014), filming this “geriatric starlet” – her term – as she dealt drolly with new high-fashion friends, or laughed at an “Iris” Halloween costume (glasses, a ton of bangles).
She watched as a storage loft of her antique treasures was listed in lots for sale, and as white-gloved assistants from museums that had begged a bequest boxed up her garments; she still had, and wore, the shoes from her wedding. All things, she said, were only on loan in this world, even to collectors. The point was to enjoy them to the full before bidding them good-bye.
Carl died in 2015.
🔔 Iris Barrel Apfel, decorator and fashion stylist, born 29 August 1921; died 1 March 2024
Daily inspiration. Discover more photos at Just for Books…?
29 notes
·
View notes
Text
murder on the dancefloor
summary: eddie and princess see Saltburn
pairing: e.m. x film teacher!reader
warnings: cursing, tomfoolery, potential spoilers for the film (idk it’s vague), you can view the trailer here
a/n: consider this my ringing endorsement for any emerald fennell film - her brain is just 🤯
series m.list | playlist | currently spinning:
Eddie was positively buzzing.
Not even the little shits in Jazz 1 could ruin his day, not today.
You had scored tickets to a pre-screening of Saltburn followed by a Q & A with the director; it was only his most anticipated film of the year, no big deal. Never mind that you’d already seen it with your students at the film festival in October. Of course, your advanced classes loved it, the animation students, however, were wholly unprepared.
“What the fuck,” was the refrain of a few more sheltered students for the duration of the festival.
Sadly, ever since news of your relationship became public (no thanks to Harrington and his big mouth), Hopper put his foot down as far as Eddie’s chaperoning duties were concerned.
“Absolutely not Munson.”
“C’mon chief,” Eddie sighed in Hopper’s office, “I did the film festival trip last year and it was completely fine. Half the kids are in my classes anyway. Plus, I already did the transportation training and everything.”
Hopper stares at him blankly, “Congrats on doing the bare minimum.” He leans back in his chair and crosses his arms, “Look, I like having a qualified film teacher with real world experience, d’you know how difficult that is to find?”
Well, Eddie certainly can’t argue with that.
“And I assume you like her as well?”
“Obviously.”
“The fact of the matter is, you two weren’t an item last year but you are now.”
Eddie briefly hearkens back to last year, and, true, the pair of you weren’t exactly an item, but you definitely weren’t ascetics either. Not that Hopper needs to know that, of course.
“And you know how difficult it was with Harrington and Trouble.” He sighs, fingers pinching the bridge of his nose, “I’d rather not live through that experience again, if I can help it. So, no dice.”
Eddie resigned himself to his fate: no chaperoning of film activities and the same went for you with jazz ensemble. (“Right,” you snorted at the news, “Like I’d ever be caught dead with those nerds.”)
But that was then and this is now.
So when Wheeler, the little shit, asks while putting up his instrument, “What’s got you in such a good mood today Mr. M.?” The last thing Eddie wants to do is respond.
“None’ya.”
The rest of the day unfolds in much the same way— too many bathroom passes for no goddamn reason, students asking him inane questions instead of listening to directions, and the Hellfire kids getting on his last nerve.
“And then, after this campaign—” Dustin rambles on while Eddie suffers through afternoon bus duty. He’s got his sunglasses on in an attempt to block the late autumn sun, kids are hanging out of bus windows to wave at their friends and he really wishes the bus drivers would lurch forward, just a little, purely to keep things interesting.
Besides, it’s not like most of the kids couldn’t do with a good knock to the head.
Anyway, he’s essentially ignoring Dustin at this point, besides he can critique the finer details of his campaign later. He’s been glued to Eddie’s side since the final bell, and Eddie’s been counting down the minutes to 4:30 so he can get the hell out of dodge.
princess 👸: hey stud, how’s it going?
wild thing 😜: eh, the usual.
princess 👸: you’ve been quiet in the chat today.
wild thing 😜: kids were annoying today. plus i can see trouble and steve argue back at home.
princess 👸: lucky you, i wouldn’t know anything about that - we were watching quality cinema.
wild thing 😜: bladerunner?
princess 👸: uh, doi. meet you at the theater, say 6:30 ish?
wild thing 😜: it’s a date.
He opens up the group chat to see what he missed— mostly memes from Steve, Trouble arguing the finer points of a prank with Robin (it can’t be either a feather in their shoe or hitting them with a ski, bucks. there’s an art to it, a happy medium if you will.), and Nancy telling everyone to get back to work and stop bothering her.
The last bus finally pulls away from the school, bringing an end to his afternoon duty. Pocketing his phone, he claps Dustin on the shoulder and the teen halts his rambling. “Sounds good kid, but I gotta bounce.”
“Why, you gotta hot date or something?”
Eddie huffs a laugh, “Sure, let’s go with that.”
The theater is positively packed.
You met him at the bar, already having ordered his preferred stout and a drink for yourself. It had been a hectic few weeks, what with your film festival trip and the jazz competitions on the weekends, Eddie hadn’t had the opportunity to see you outside of work.
But your outfit more than made up for it, you looked down right delectable. Those ripped jeans that he adored because if he sat to your right, he could easily slip his hand through the tear at your thigh, a cropped ‘Directed by Stanley Kubrick’ shirt, and your usual black docs. Leaning against the bar to chat with the bartender, you didn’t even notice him approach until Eddie’s hand wrapped around your hip.
“Hey now,” He says with a smile, rings cool against the bit of skin above the rise of your jeans.
Smiling and ducking your chin bashfully you take a sip from your drink, “Hey now.” Your free hand finds his, tangling your finger together, “Got your usual,” you nod toward the drink on the bartop.
“Thanks, doll,” He drags you closer by the belt loops, “How’s the arm?”
You glance toward your left arm, turning it to brandish your newest acquisition. An addition to your horror sleeve, Ada from Lamb, complete with her coat and flowercrown, looking damn adorable. You’d justified it as being worthy as an example of folk-horror and had sat for the tattoo after your return from the film festival.
“Eh, still healing at the elbow crease, but other than that she’s good.”
He nods taking a sip from his beer. “She looks it.”
Making idle conversation until the theater opens up, you fill him in on the goings on of the film students: Reese was out sick again (“Another kidney stone. I swear to god, that girl needs to drink some actual water instead of those shitty energy drinks.”), practicum had somehow lost their footage for their competition film (“Not my problem, they know better by now.”), and team-building with Minecraft.
Eventually, you drift toward the theater and take your seats. You’re quick to shuck the flannel you’d been sporting around your waist, “You left this at mine, by the way.”
“Is that so?”
“You sly fuck,” you chuckle, setting it in your lap, “You think you’re really somethin’, huh?”
“Uh, I don’t think so, I know so sweetheart.”
“Right, right,” you play along, “When will the government stop you? No one man should have all this power.” You gesture vaguely to his, well, everything.
The lights dim in the theater and the audience falls to a hush. Eddie holds your hand across the armrest, your fingers playing with his rings every so often. You’d been characteristically mum about Saltburn, other than saying he’d love it because “you’re a freak like me, just go with it.” Had even roped the kids into stonewalling him too, even El and Will would not crack for love or money.
To be fair, you had seen some fucked up shit in your time— Salo, Audition, anything Cronenberg, Cannibal Holocaust, and then you’d accidentally saw that snuff film one time and needed a full 24 hours to recover from the shame of it all. You’re generally one of the few able to give him a run for his money, though his movie tastes tended to gravitate toward horror and cult classics. The common ground between you was Stanley Kubrick’s work, the final nail in the coffin being the Christmas Eve showing of Eyes Wide Shut you’d invited him to, promptly fucking his brains out afteward.
Considering that the preshow offerings ranged from 2006 Britpop music videos played in between previews from Remains of the Day, The Servant, Parasite, and Cruel Intentions, he was thinking this weekend would play out similarly to that night. And he did not mind one bit.
“So,” you coyly ask afterward, pinkie looped through his as you walk out of the theater, “Tell me your thoughts Munson,” a tantalizing bite to your full bottom lip, “Are you more of a bathtub drain, vampire, or grave dirt kind of guy?”
“That is so out of pocket, babe,” He laughs, slinging an arm over your shoulder, “Because you,” he thumbs at your nose, “Already know the answer to that.”
You hum contendly, unclipping the keys from your beltloop. “So, all of the above then? Good choice.”
“Yeah? I thought so.” He pulls you close for a kiss, crashing his lips over yours, sliding his tongue— sweet and heavy with promise into the space of your mouth. Everything is hot, burning like coals against his skin. Your breath, lips, chest, and legs pressed so temptingly against him— even the little pads of your fingertips scorch right through him.
Eddie hisses when your nails dig into his back, scratching down until you reach the sliver of skin at the base of his spine, fingers trailing against the juts of bone there.
He gasps when you pull back with a dreamy sigh, and you look up at him in a daze. “So, you have competitions this weekend?” you ask, tongue darting out to wet your lips.
“Unfortunately,” Eddie says with a wince. “Can’t give you the whole tour of pound town tonight, darlin’, we leave early tomorrow moring.”
“Ugh,” your head falls to his chest as your arms wrap around his waist giving a tight squeeze, “Well, in that case, be safe.”
“Be good.”
“Ha,” you say stepping back, “Miss me with that bullshit.”
Eddie laughs, “Yeah, in my fuckin’ dreams, right? You’re a disaster.”
At that, you merely stick out your tongue and cross your eyes before slipping into your car. You wave before pulling out of the parking lot.
Later, back at the loft, Eddie texts you already knowing you’re more than likely already asleep.
wild thing 😜: i’d gladly guzzle your bathwater any day babe, ay yo lemme slurp that good good
princess 👸: says the guy so far up my ass, he’s coming out of my mouth…
wild thing 😜: not quite sweetheart, but that can def be arranged
princess 👸: you’re a fucking idiot, go to bed assclown 😘
#eddie munson x reader#eddie munson x you#eddie munson fanfic#eddie munson fanfiction#stranger things fan fiction#stranger things fanfic#modern!eddie#teacher!eddie#fic: noas
50 notes
·
View notes
Text
Sean Khan presents the Modern Jazz & Folk Ensemble - exactly what it says
With the brand new single 'Solid Air' (featuring Rosie Frater-Taylor), we announce the eponymous album from 'The Modern Jazz & Folk Ensemble', out on 24 May on Acid Jazz. It follows the release of two singles ‘I’ve Got a Feeling’ (with Jacqui McShee) and the spellbinding version of Nick Drake’s ‘Parasite’ (featuring Kindelan), Led by the trail blazing London based saxophonist Sean Khan, the album pays tribute to the sounds of the late ‘60s and early ‘70s folk revival, recast and reimagined in a jazz setting, with featured guest vocalists, including compositions by Pentangle, Sandy Denny, John Martyn and Nick Drake. Featured singers include the legendary Pentangle lead singer Jacqui McShee, acclaimed singer-guitarist Rosie Frater-Taylor on the back of her recently released and critically acclaimed ‘Featherweight’ album on Cooking Vinyl, plus emerging artist Kindelan from vibrant Leeds folk and jazz scene. Sean Khan is known as one of the UK’s premier saxophonists, driven by a serious work ethic and urge to create new sounds. The Modern Jazz and Folk Ensemble is his follow up to Supreme Love: A Journey Through John Coltrane released on BBE Records. His distinctive playing can be heard throughout, as he successfully connects the dots between Coltrane and Nick Drake.
14 notes
·
View notes
Text
i Literally Can't Stop making metronome ocs
The first one is Nova, they're a bass guitar player/occasional vocalist in a small traveling jazz band. The band's leaders are a couple (I'm working on them as well) and they took Nova under their wing when they were a kid. The group is routinely present in the background of the story, their legendary act being constantly alluded to by name but never actually actually seen until much later. Nova is also transfem nonbinary (they/she/he) and probably aro lol
When it comes to the second one, i suppose if the original game at large was inspired by japanese horror movies, then she's more emblematic of 90s/2000s animated sci-fi. I'm not 1000% certain about her name yet, but i want it to be another simple noun name that relates to her background. I've been thinking abt adding a small underground resistance group to the ensemble, and within that group she'd be the intel, with all sorts of acquired knowledge on radio communication and interception. Plus having the benefits (and drawbacks) of naturally sensitive ears. My original vision of her was more badass but she quickly turned into a basement-dwelling nerd who's easily overwhelmed by the urban environment; maybe she'll get to do something wicked later on tho. And while she's not able to see spirits like Ten can, she is able to hear them.
32 notes
·
View notes
Text
Ok this is my blog I’m allowed to post my opinions
Hazbin Hotel pros
1. Characters: I like the lesbians. Angel dust is good. I have a Jeremy Jordan bias and I enjoy pathetic men so of course I enjoyed Lucifer’s scenes. Originally I thought that they were overusing Alastor (since imo those types of overpowered chaotic characters ie. Bill cipher, Kayne, etc. work best when their scenes are limited to amplify the mystery and the threat) and while I still kinda think that, with the context of the last episode I understand that he needed some extra scenes to make the audience more invested in him specifically, and also since setting him up over and over again as a powerhouse makes it more rewarding when he gets his shit rocked. Also because he gets more screen time we get one of my favorite songs, so I’ll allow it.
2. Music: the music is fun! It’s punchy! It serves narrative purposes. Personally I think some of the slower songs are a little weak and a bit too exposition heavy but the performances are decent and I like jazz and broadway singers. Moving on.
3. Narratives and themes: listen. My favorite theme. Of anything. Is “‘bad’ people can improve if provided with a support system”. And also “things you’ve done in the past and things that have been done to you don’t have to define you” So obviously I was going to like that. Plus I was raised Catholic so that whole scene up in heaven. Oofta. Probably second favorite song. Emily come with me let’s work out our trauma of parental figures lying to us about morality.
Cons
1. Pacing: suffers from what I’m going to refer as “Witcher 2019 syndrome” where it does such a bad job of actually showing time passing that when someone says “there’s only one month until the deadline” you the audience member are like. What do you mean. It’s only been like two weeks. Tops. What do you mean it’s been five months. No it hasn’t.
1.5 (since this is the same problem continued) Length/format: Hazbin hotel, in my opinion, would work best as a 20 episode season, with each episode having an A plot focused on a member of the hotel doing the growth thing, and then have the through line of the season be the heaven thing, which they obviously TRIED to do, but since they only had 8 episodes, they had to give more time to the heaven plot and less time to ensemble character growth, which I think really causes the plot (and the characters!) to suffer.
2. The pilot: the show works less if you haven’t seen the pilot, and since the pilot isn’t included in the seasons episodes, that means if a viewer stumbles across the show without knowing about it before hand, they’ll have a harder time connecting some things, and the hotel isn’t explained well enough right off the bat. Like, it’s easy to figure out, but without the pilot certain things just aren’t explained.
3. Some of the character designs irk me.
I know this is technically more cons than pros but I do think the pros make it watchable. It’s just. Fine. Like it’s an ok show. I post about plenty of ok shows.
#hazbin hotel#ok ok I’ll stop now. unless#am I aware putting this in the main tag is probably a bad idea. yes#but I want people to be able to block it#the other con is that the creator has a Twitter#classic mistake
19 notes
·
View notes
Text
THE THREE FACES OF CHICO (Warner Brothers, WS 1344) 1959
Chico Hamilton (d), Eric Dolphy (alto sax, bass clarinet, fl), Nate Gershman (cello), Dennis Budimir (g), Wyatt Ruther (b), plus Paul Horn (as), Buddy Collette (ts), Bill Green (bar) & String section.
Los Angeles, February-August, 1959.
Notes by Chico Hamilton
We've called this new album "The Three Faces of Chico" because I play three roles in it. I guess this set may surprise some people. and it even may annoy others. But I hope there's something of real interest in it for every jazz fan.
First of all, I guess I'm best known as a drummer. And that is one of the roles I play here. There are three tracks that are unaccompanied drum solos—Trinkets, Happy Little Dance, and No Speak No English, Man. On each of these I haven't tried to prove anything. but have tried to inject a little humor into some listeners' thoughts.
In regard to these drums tracks. I can only say that it's diffient for a drummer to play anything different than any other average drummer; although each drummer does have his own individual styling. I used the standard equipment I have with me whenever the Quintet takes the stand: two cymbals, sock cymbal, snare drum, tom toms, and bass drum. I didn't use tympani because I'm not a tympanist ... and I just don't carry them around. Instead, I work with sticks. mallets, and brushes to obtain different sound textures.
On Trinkets. for example. I worked eyclusively with brushes. It's a welcome change of sound. For Happy Little Dance, I used mallets throughout. And this one could be danced to, if you dig folk dancing. For No Speak No English, Man. which is a sort of wild thing, I worked with sticks, and played a lot on the rims. I wanted to get a sound like Indian drummers talking to each other.
We did these solos in one take each. I didn' work from a score but laid the sequences out in my mind before we started the tape rolling.
The second face I wear on this set is that of a singer. Now, this is a new thing for me on records, although I've done some singing on the floor with my group, mostly Foggy Day, because that was the one song I knew all the way through.
But having worked with such singers as Lena Horne, Billie Holiday, and Billy Eckstine, I felt I could do it. Actually, what I'm really interested in is phrasing. That's the most effective thing for a singer. That, and good material. I figured that if I was going to sing something, I'd better sing something everyone knows, so they could recognize the tune, if not the melody.
I used a reed section because I wanted to bring back the old Jimmie Lunceford sound with reeds. It's not often you hear a reed section playing ensemble choruses. Gerry Wiggins arranged The Best Things in Life Are Free, and John Anderson scored the other vocal sides: She's Funny That Way, Where or When and I Don't Know Why.
There's not much more to say about my singing, except that I hope you like it.
The third face I wear is that of the leader of the Quintet. My group consists of Wyatt Ruther on bass. Eric Dolphy on flute and reeds. Dennis Budimer on guitar, and Nathan Gershman on cello. Quite frankly, of all the Quintets I've had in the past, I think this one is the swingingest.
On these tracks, you hear a little different Quintet than what you've been used to. The Quintet is four years old and we've been constantly trying to broaden its range. Some may resent the hard swing we're going after, but one thing for sure: in the future we're going to try to please everyone's musical appetite with regard to the Quintet. Music and sounds don't stand still; you have to progress with the people. We play some hard swingers, but in our own intimate way. They're different than the average because of our instrumentation. Our old audiences, we feel, are still satisfied because we play numbers out of our o!d book. Then there are a lot of new people who are following us, and these hard swingers seem to be what they get excited about.
The only way to really broaden the range of the Quintet is by hiring new writers to write for it. In this set, we're introducing three. More Than You Know was arranged by Herb Pilhoffer, a pianist originally from Germany and now located in Minneapolis I think he captures the mood of the song and the Quintet very well Miss Movement is Eric Dolphy's first attempt at writing for the Quintet. Being an exciting player, he'd write an exciting kind of jazz tune. Kenny Dorham is a wonderful trumpet player and he's also a wonderful writer. Newport News is his first chart for our book. It's typical of the inventive, fine arrangements that I'm always grateful to have come my way. Without these, Chico would have no face at all, let alone three!
15 notes
·
View notes
Text
LÉGENDES DU JAZZ
WADADA LEO SMITH, UN INNOVATEUR MÉCONNU
Né le 18 décembre 1941 à Leland, au Mississippi, Ishmael Wadada Leo Smith avait d’abord joué de la batterie, du mellophone (une sorte de cornet) et du cor français avant de passer à la trompette. Enfant prodige, Smith a composé sa première pièce musicale à l’âge de douze ans. Durant ses études secondaires, Smith avait joué et occupé le poste d’assistant-directeur des ensembles de cors et clairons de son high school sous la direction de Henderson Howard.
Smith avait reçu sa première formation musicale de son beau-père, le compositeur et guitariste Alex “Little Bill” Wallace, un des pionniers de la guitare électrique avec le groupe Delta Blues. À l’âge de treize ans, Smith avait d’ailleurs commencé à jouer avec Delta Blues et d’autres groupes traditionnels locaux. Smith avait poursuivi sa formation musicale lors d’un séjour dans l’armée à Fort Leonard Wood, au Missouri en 1963, puis à la Sherwood School of Music de 1967 à 1969 et à la Wesleyan University de 1975 à 1976 où il avait décroché un diplôme en ethnomusicologie.
DÉBUTS DE CARRIÈRE
Après avoir joué avec différents groupes de rhythm & blues, Smith était devenu membre de l’Association for the Advancements of Creative Musicians (AACM) en 1967 avant de co-fonder la Creative Construction Company, un trio mettant en vedette le violoniste Leroy Jenkins et le saxophoniste Anthony Braxton. Dn 1971, Smith avait fondé Kabell, sa propre maison de disques. Smith avait également formé un autre groupe appelé New Dalta Ahkri avec des musiciens d’avant-garde comme Henry Threadgill, Anthony Davis et Oliver Lake.
Dans les années 1970, Smith, tout en pousuivant ses études en ethnomusicologie à l’Université Wesleyan avait continué de jouer avec Braxton. Il avait aussi enregistré avec la Derek Bailey's Company.
ÉVOLUTION RÉCENTE
Devenu Rastafarien au milieu des années 1980, Smith avait commencé à utiliser le nom de Wadada. Également professeur, Smith avait enseigné dans de nombreuses institutions scolaires au cours de sa carrière, dont l’Université de New Haven (1975-76), le Creative Music Studio de Woodstock, dans l’État de New York (1975-78) et le Bard College (1987-93). À partir de 1994, Smith avait enseigné à la Herb Alpert School of Music du California Institute of the Arts, où il avait dirigé le programme d’improvisation afro-américaine jusqu’à sa retraite en 2013.
Malgré sa retraite de l’enseignement, Smith avait continué d’animer des ateliers, des résidences et des classes de maîtres dans des institutions comme l’Université Harvard, le New England Conservatory, la New School of Music, l’Ithaca College et la Georgetown Day School. Smith est également l’auteur de plusieurs traités musicaux, dont Source a New World Music: Creative Music, qui a été publié au Japon en 1976 après avoir été publiée initialement par Kiom Press en 1973. Publiées d’abord en 1981, ses Notes (8 Pieces) ont été rééditées dans une version élargie en Italie en 2015. En 1996, Smith avait également présenté une conférence à Copenhague, au Danemark, sur le concept d’Ankhrasmation devant plusieurs artistes, scientifiques et philosophes. Enregistrée pour la télévision danoise, son entrevue avait été télédiffusée en septembre 1996.
En plus de la trompette et du flugelhorn, Smith jouait de plusieurs instruments non occidentaux comme le koto, le kalimba et l’atenteben, une flûte de banbou originaire du Ghana. Il enseignait également des techniques de fabrication de certains instruments. Très intéressé aux musiques du monde, Smith avait particulièrement étudié les musiques africaines, japonaise, indonésienne, européennes et américaine.
En 1998, Smith et le guitariste Henry Kaiser avaient publié Yo, Miles!, un hommage aux compositions les moins connues de la période électrique de Miles Davis. Dans le cadre de cet album, Smith, Kaiser et les autres membres du groupe avaient enregistré leurs propres versions de classiques de Davis ainsi que des compositions originales inspirées de l’oeuvre du trompettiste. Si les albums suivants de Smith, Sky Garden (2004) et Upriver (2005) avaient été enregistrés avec un autre groupe de musiciens, Michael Manring était toujours le bassiste de la formation. Smith avait également publié plusieurs albums avec son Golden Quartet composé à l’origine d’Anthony Davis aux claviers, de Malachi Favors à la contrebasse et de Jack DeJohnette à la batterie. Après plusieurs changements de personnel, l’alignement permanent du groupe est maintenant formé de Davis au piano, de John Lindberg à la contrebasse et de Pheeroan akLaff à la batterie.
Dans les années 2000, Smith avait enregistré pour la compagnie de disques Tzadik de John Zorn, ainsi que pour Pi Recordings. En 2008, Smith avait enregistré avec son quartet un DVD intitulé Freedom Now. Résident de New Haven, au Connecticut, durant plusieurs années, Smith a contribué à y développer un environnement propice au développement de la musique créative, un concept basé sur l’harmonie spirituelle et l’unification des cultures à travers le monde.
Dans ses compositions, Smith utilisait souvent un système de notation graphique qu’il appelait "Ankhrasmation" et qu’il avait développé à partir de 1965. Smith avait utilisé ce concept pour la première fois en 1967 dans le cadre de l’album ‘’The Bell: Three Compositions of New Jazz’’ d’Anthony Braxton. Le concept d’Ankhrasmation avait joué un rôle déterminant dans le développement de Smith comme artiste, chef d’orchestre et éducateur.
Les concepts musicaux d’Ankhrasmation ont été exposés dans des musées américains majeurs comme The Renaissance Society de l’Université de Chicago qui avait présenté en octobre 2015 la première exposition de ces langages musicaux. En 2016, le Hammer Museum a présenté une exposition intitulée Made in L.A. mettant en vedette les compositions de Smith et lui avait décerné un Mohn Award for Career Achievement en guise de reconnaissance pour son talent et sa r��silience. Les compositions de Smith ont également été présentées au Kalamazoo Institute of Arts au Michigan, à la Kadist Art Foundation de San Francisco, au Museum of Rhythm Łódź, en Pologne, et à la Clemente Gallery de New York.
Lauréat de nombreux prix, Smith a notamment remporté en 2008 un FONT (Festival of New Trumpet) Award of Recognition. Il a aussi été finaliste en 2013 pour un prix Pulitzer pour l’album Ten Freedom Summers, une collection de compositions regroupée dans un coffret de 4 CD inspiré du mouvement des droits civiques. L’album s’était mérité plusieurs honneurs, dont un MAP Fund Award (2011), un Chamber Music America New Works Grant (2010) et un National Endowment for the Arts Recording Grant (2010). L’oeuvre était commanditée par la James Irvine Foundation, la Clarence E. Heller Charitable Foundation et de la John Simon Guggenheim Memorial Foundation Fellowship (2009-2010).
Élu compositeur de l’année par le magazine Down Beat en 2013, Smith avait remporté trois ans plus tard un Doris Duke Artist Award et un doctorat honorifique de l’Université CalArts. En 2018, l’American Academy of Religion avait aussi décerné à Smith un Religion and The Arts Award. L’année suivante, Smith s’était également mérité la UCLA Medal, le plus important honneur pouvant être décerné par l’Université de Californie à Los Angeles. La Jazz Journalists Association a accordé plusieurs honneurs à Smith, dont celui de musicien de l’année en 2013 et de duo de l’année (pour sa collaboration avec le pianiste Vijay Iyer), de compositeur de l’année en 2015 et de trompettiste de l’année en 2017 et 2022. En 2022, Smith avait également remporté le Vision Festival’s Lifetime Achievement Award. Il avait aussi obtenu trois bourses du National Endowment for the Arts (en 1972, 1974 et 1981).
Smith a également été élu compagnon de plusieurs institutions comme l’Atlantic Center for the Arts (2001), la Civitela Foundation (2003), la Jurassic Foundation (2008), la United States Artists en 2021 et la Yale Center for the Study of Race, Indigeneity and Transnational Migration (RITM) en 2022. Smith a aussi reçu plusieurs commandes du Los Angeles Philharmonic. L’album de Smith ‘’America’s National Parks’’ avait également été sélectionné comme un des meilleurs albums de 2016 par le New York Times, le NPR Jazz Critics Poll et le magazine The Wire. L’album a aussi été choisi album de l’année dans le cadre du 65e sondage des critiques du magazine Down Beat. Smith avait d’ailleurs fait la couverture du magazine à deux reprises: en novembre 2016 et en août 2017. Smith a également été élu artiste de l’année par le sondage des critiques du magazine Jazz Times en 2016.
En plus d’avoir été interprétées par le groupe de Smith, le Nda-Kulture Ensemble, les compositions du trompettiste ont été interprétées par plusieurs groupes de musique contemporaine dont le RedKoral Quartet, l’Orkiestra Symfoniczna NFM (de Wroclaw, en Pologne), l’AACM-Orchestra, le Kronos Quartet, la Da Capo Chamber Players, le New Century Players, le LA Phil New Music Group, la Chicago Symphony Orchestra Association, la San Francisco Contemporary Music Players, la Contemporary Chamber Players de l’Université de Chicago, le S.E.M. Ensemble, le Southwest Chamber Music, le Del Sol String Quartet, le New York New Music Ensemble et le California E.A.R. Unit.
Durant plus de deux décennies, Smith avait également écrit de la musique pour de nombreux groupes, y compris des oeuvres de longue durée qui prenaient quelques jours pour être interprétées en entier, comme ‘’Ten Freedom Summers’’ (2011, RedCat, Los Angeles), et “Tabligh” pour double ensemble (Golden Quartet and Classical Persian ensemble à Merkin Concert Hall, à New York, en 2006) (Golden Quartet and Suleyman Erguner’s Classical Turkish ensemble (Akbank Music Festival à Istanbul en 2007). La composition la plus imposante de Smith intitulée “Odwira” avait été écrite pour un grand total de douze orchestres et avait été interprétée au California Institute of the Arts en mars 1995. Les oeuvres pour piano solo de Smith ont été interprétées par de nombreux artistes, dont Ursula Opens, Marilyn Crispell, Mr. David Rosenboom and Ms. Vickie Ray. Smith a également composé pour des ensembles de musique classique.
Reconnu à la fois comme trompettiste, multi-instrumentiste, compositeur et improvisateur, Smith a collaboré avec plusieurs sommités du jazz au cours de sa carrière, dont Anthony Braxton, Leroy Jenkins, Roscoe Mitchell, Henry Threadgill, Lester Bowie, Joseph Jarman, Cecil Taylor, Steve McCall, Anthony Davis, Carla Bley, Don Cherry, Jeanne Lee, Tadao Sawai, Muhal Richard Abrams, Ed Blackwell, Kazuko Shiraishi, Han Bennink, Marion Brown, Charlie Haden, Malachi Favors Magoustous, Jack DeJohnette, Vijay Iyer, Ikue Mori, Min Xiao Fen, Bill Laswell, John Zorn, Ronald Shannon Jackson et Frank Lowe. Smith a enregistré plus de cent albums comme leader ou co-leader au cours de sa carrière. Parmi ses plus récentes parutions, on remarque Wadada Leo Smith String Quartets Nos. 1-12 (2022) et The Emerald Duets (avec Pheeroan akLaff, Andrew Cyrille, Han Bennink et Jack DeJohnette également en 2022)
©-2024, tous droits réservés, Les Productions de l’Imaginaire historique
4 notes
·
View notes
Text
21 mai
hier à l'église c. donnait des petites explications sur la genèse de ses textes et à un moment il a mentionné sa "dépression" en la mettant entre guillemets. il a dit "ce que vous appelez ici dépression" et il en parlait comme quelque chose de bénéfique, comme d'une brève période noire de sa vie pendant laquelle il a touché le fond mais qui lui a permis de la changer complètement et de se décider à se consacrer entièrement à ce qu'il voulait vraiment faire. comme ces gens qui ont eu une illumination pendant la période du covid. il a vu la lumière. la dépression lui a apporté quelque chose, lui a montré quelque chose, c'était un chemin nécessaire, comme virgile qui descend aux enfers, ou dante, je sais plus. c'est comme ann cvetkovich qui parle de la dépression comme d'un savoir caché, d'une expérience qui a du sens, c'est une exploration. mais moi je pense que ça c'est une version très privilégiée de la dépression et que ça concerne pas les gens qui ont grandi avec. la dépression c'est une exploration de rien du tout pour moi, à part de moi-même peut être, et encore je suis tellement dissociée que j'ai l'impression que tout ce que je sais de moi est faussé. peut être que la dépression a permis à c. de se trouver et de changer radicalement sa vie mais moi elle m'empêche juste de la vivre. elle fait que ça. ou alors je suis trop débile pour comprendre son message.
on a aussi assisté à une lecture de jean portante, un poète luxembourgeois que j'avais découvert dans la bibliothèque de raffaella, c. s'était mis sur le premier banc et on était juste devant lui comme des groupies littéraires mais j'ai passé la moitié de sa lecture enfouie dans des réflexions sur mon livre en me disant que je devais mettre plus de poésie dedans. j'y travaille tous les jours. je reste disciplinée. dans heroines kate zambreno se demande si y a une différence entre être dépressive et être totalement immergée dans l'écriture d'un livre. passer ses journées à écrire ou à non écrire sans sortir de chez soi. c. m'a dit que c'était en entendant jean portante dire que quand on écrivait il fallait le faire à fond ou pas du tout qu'il avait eu un déclic et qu'il avait décidé de faire plus que ça. je lui ai dit que moi je pouvais pas, que ça me rendait folle et que ça finissait par m'en dégoûter. qu'il me fallait autre chose pour contrebalancer. mais quoi?
à la chorale samedi on m'a posé la question fatidique avant que j'aie réussi à échapper à la conversation (j'avais déjà commencé à mettre ma veste pendant qu'elles parlaient du stage à la cour européenne de justice de tonia la fille qui finit première de tout ce qu'elle entreprend, mais j'ai pas été assez rapide) et quand j'ai dit que j'écrivais elle m'ont parlé d'un type de la chorale qui a non seulement déjà publié plusieurs livres mais en plus il travaille au putain de parlement européen et il fait partie d'un ensemble de jazz. elle m'a dit que ça devait sûrement être dur d'en faire son métier et j'ai dit que c'était pas mon métier et que je donnais des cours de luxembourgeois en mentant sur mon nombre d'élèves, ce qui m'a amenée à mentir sur les attentes de mes élèves fictifs, l'adaptation de mes méthodes d'enseignement, etc, alors qu'en vrai ma méthode d'enseignement c'est de demander à mon élève de me raconter toute la biographie de taylor swift et puis de débattre sur quel est son meilleur album (1989 obvs). c'était son dernier cours hier matin, j'étais presque un peu triste en lui disant au revoir. je me demande si je lui ai vraiment appris quelque chose.
hier matin la conversation a tourné vers son copain et les dynamiques déprimantes du couple hétérosexuel et je l'écoutais avec horreur me raconter son quotidien de cuisine ménage rangement lessives courses etc pendant que son copain laisse trainer ses chaussettes sales partout (ce n'est donc pas qu'un cliché?) et qu'il sait même pas faire cuire des pâtes. des PÂTES. elle m'a dit qu'elle leur préparait des repas pour la semaine le weekend et qu'une fois elle avait fait des pâtes sans sauce et que quand il avait ouvert le couvercle de son tupperware il avait dit et la sauce? je lui ai dit qu'à sa place je le laisserais dans sa merde et elle a dit non mais c'est pas sympa, et puis toutes ses copines c'est pareil. je savais plus quoi dire pour rester polie. et en même temps je suis une sale hypocrite parce que j'ai zéro tolérance pour les rôles de genre mais dans mon couple avec maman c'est moi l'enfant roi et c'est elle qui fait les courses et qui repasse mes pantalons. mais j'estime que c'est pas pareil. moi je fais la cuisine et parfois je fais même des machines.
28 mai
j'ai essayé de m'enregistrer en lisant mes nouveaux poèmes-radio mais j'aime pas et je sais pas quoi envoyer à r. je fais une crise existentielle de la poésie. je suis pas poète, j'ai rien à lui proposer, il me prend pour une poétesse que je ne suis pas. dans sa tête j'avais plein de textes qui trainaient dans mon ordi prêts à l'emploi et moi aussi je croyais que j'avais plein de textes mais en fait non, j'en ai pas. tout ce que j'écris c'est mon journal. et encore. j'ai rien à dire. pourquoi il existe des papillons quand il existe des mouches? pourquoi les papillons ont des ailes immenses et colorées avec des motifs sophistiqués alors qu'il existe déjà les mouches, compactes basiques et fonctionnelles? elles me semblent beaucoup plus économiques. est-ce que j'écrirais de la poésie si c'était pas pour être publiée derrière ou faire des lectures? en cherchant dans mes archives je suis tombée sur mes tout premiers poèmes en anglais que j'avais écrit pendant le workshop de poésie de minerva en isande. je me suis filmée en train de les lire à voix haute et ça m'a donné envie d'écrire en anglais de nouveau, rien que pour le plaisir de les lire.
bon j'ai quand même passé l'après-midi sur la terrasse avec mon ordi sur les genoux pour essayer d'écrire un truc avec des bouts de phrases qui trainaient dans mes fichiers, même si ma nouvelle méthode préférée maintenant pour écrire des poèmes c'est d'écouter la radio ou la télé et de noter des mots et j'ai pas le droit d'utiliser d'autres mots que ceux que j'ai notés. c'est comme un jeu de construction. mais comme c'est un peu arbitraire, j'ai l'impression que c'est moins vrai, que c'est de la triche, et donc j'y tiens moins. c'est moins personnel, et donc moins important. j'arrête pas de voir des citations qui disent que la poésie c'est la vérité, mais j'ai pas l'impression que ma prose soit moins vraie, au contraire. c'est pour ça que je veux pas publier de recueil de poèmes mais un roman.
3 notes
·
View notes
Text
strawberry ice cream and rescue missions
Pairing: romantic royality; mentioned brotherly moxiety and platonic logicality
Word count: 2311
cw: emotional hurt/comfort; light angst; insecurity; overworking; mentioned unsupportive parents
Summary:
Roman is worried he'll never make it onto stage after all. Patton is worried about his next test.
or
Two times Patton and Roman comforted each other
---
fic for day 2 of @royalityweek!! ill have to admit i may have strayed from the prompt a little bit, but im happy with how this turned out ❤️🩵😊 this is part of the same verse as my previous royality week fics, but can be read separately (ill make a masterpost soon!)
huge thanks to @ivaryn0 for beta-reading!
prompt: family/friendship
Hmm. Should he get more chocolate? Patton wondered, squinting at the lines of chocolate bars that filled the shelves in the sweets aisle. He couldn’t remember if there was still some in the fridge…
Well, he ate chocolate fast, might as well. He picked up a few kit-kats and dropped them in the basket when a ring sounded from his phone. He checked the screen, switching to the messaging app immediately when he saw it was Roman.
just got off work
do you wanna come over?
He blinked. Roman could be spontaneous with plans sometimes, but generally, Patton was the one to host the spur-of-the-moment movie nights between the two of them.
In any case, it's not like he was planning to do anything other than scroll on his phone after he got home. Hanging out with Roman would definitely be a plus.
sure sweetie!😊💖 im at the grocery store rn, do you want me to pick up something for u??
The typing bubble popped up, and it stayed there for about a minute. Patton tilted his head.
ice cream
…
please
Oh. Oh, something was wrong for sure.
A good ol’ ice cream tub was Roman’s go-to when he was feeling down, and that’d certainly explain why he asked to hang out out of nowhere. He couldn’t tell exactly what happened, nothing good for sure, but now he was on a mission.
Operation “cheer up boyfriend” initiated!
Luckily, the ice cream aisle was close to the checkout counter. Patton rummaged around the freezer for strawberry cheesecake, Roman’s favorite, and got three pints for good measure. Of course, making sure to get a bottle of chocolate syrup while in line. After that, it was just a matter of driving to Roman’s apartment.
He might’ve rushed up the stairs a bit too much and his knees definitely paid the price, but darn it he was worried!
He double-checked the apartment number and moved to open the door. Faint music came from behind it, Taylor Swift’s…All Too Well? Oh boy.
“I brought the ice cream, Ro!” Patton said as he entered. Immediately, his eyes flitted to Roman in the middle of the couch. Blankets swaddled him to the point that Patton could barely make out his face. But as he got closer, he saw the tear tracks that trailed down to his chin.
“Oh love,” Patton said, feeling his heart ache at the sight. “Hold on, let me grab you a spoon, ok?”
By the time he was back, Roman hadn’t moved an inch. Patton sat next to him, cracking open the ice cream and plopping the spoon into it.
Roman then proceeded to take the pint and eat it with a ferocity that was kind of impressive.
“…Thanks,” Roman muttered.
“Of course, Ro,” Patton smiled, putting a hand on Roman’s knee, in what he hoped to be a comforting way. “Do you wanna tell me what’s wrong?”
“I don’t know, it’s— it’s dumb,” Roman replied, wrapping his arms around his middle. “I’m being dramatic.”
“It’s not dumb, Ro, not if it’s upsetting you.”
Roman sighed. “The cast list for this season’s show came out.”
“Oh, sweetie…”
“Ensemble. Again!” Roman cried, doing mock jazz hands. “I know, I know, I should be grateful I’m in the show at all, and ensemble’s no easy feat of course, but I just thought…”
Roman hunched his shoulders up and let his hands fall into his lap.
“I thought this was going to be the time.”
“I’m so sorry you didn’t get the part you wanted, honey,” Patton said, leaning into Roman’s side. “I’m sure you did your best.”
“I’m starting to think my best just isn’t enough,” Roman let out a hollow laugh. “You know, every time, I tell myself it’s gonna happen, this is gonna be my big break… Maybe it’s just never gonna happen.”
Patton watched helplessly as Roman wound a hand into his hair, pulling. His face twisted in misery. Patton couldn’t bear to see it, the hope crumbling from Roman’s eyes.
“Maybe I’m just gonna be serving milkshakes and cheesecake in a 50s-themed diner for the rest of my life,” he said, bitter. “Great, my parents were right. I’ll never be anyone at all.”
“Don’t say that, Roman,” Patton said firmly. He surprised himself with the sternness in his voice, but he stood by it — he wouldn’t just let Roman be so cruel to himself. “They’re wrong. Of course you’re enough, honey, please don’t let others convince you you’re not, be it your parents or anyone else.”
Roman hummed and something in Patton’s chest twisted at the disbelief in his eyes.
“Ro, listen to me,” Patton pleaded, taking Roman’s hands and squeezing them. “You’re incredible. You’re passionate, and witty, and creative, and dazzling, and none of that hinges on you having the lead role in a show. It doesn’t matter if you’re a waiter, or a superstar, you don't need to measure up to anyone's idea of success.”
Patton smiled, letting go of Roman’s hands to cup his face and brush his thumb across the high of his cheekbone. “You're you. That's enough.” He paused, touching his forehead to Roman's. “You know I love you, right?”
Roman went silent, and with each second that passed Patton got more worried he might’ve said the wrong thing. But then, all of a sudden, he wrapped Patton in a tight hug.
“I love you too,” replied Roman, a quiet chuckle on his lips. Patton hugged him back, crossing his arms over Roman’s back.
When they finally pulled apart, Roman wiped at his eyes, smiling. “You always know what to say, don’t you?”
“Maybe not always,” Patton shrugged. “But I’m sure good at turning around gloomy days! How about I pick up more ice cream and we put on some Disney movies?”
Roman laughed in response, and Patton was so glad to hear it.
Roman sighed as he leaned his forehead against the door, raising his fist to knock for about the third time. Of course, getting into Patton’s apartment hadn’t been the hard part — his roommate was just as worried about him as Roman himself.
The real problem would be getting him to actually leave his desk and put a pause on studying.
“I’m taking a break soon, Logan, don’t worry!” Soon came Patton’s cheerful voice through the door. By the unprompted nature of the comment, he must’ve repeated this line many times before and Roman would guess he’d actually done as he said about… zero of them. “Do you need anything?”
Other options exhausted, Roman supposed he’d just have to go for it.
“Only for you to emerge from your fortress of darkness, my dear,” he said, opening the door.
Fortress of darkness indeed. The laptop screen, about the only source of light in the room, cast a blue tint on the books and papers thrown around the desk. Mugs and cups piled around a forgotten corner of the nightstand. At least the window was open, so Patton must’ve gotten some sunlight in the afternoon.
“…Roman?” Patton squinted at him and tilted his head, swiveling his chair around to face him. “What are you doing here?”
“I’m on a mission, darling,” Roman declared, bowing. Hopefully, his dramatics would help win Patton over. “ Recruited by your dearest brother himself… and your roomie was kind enough to let me in.”
“Logan,” Patton grumbled, then shot Roman a look of disbelief, eyebrows raised. “Hold on, Virgil sent you?”
Roman strode over to him, tilting Patton’s chin up and gently brushing his raven hair out of his glasses. Dark circles shadowed his eyes, and he looked as if he might fall over with a single touch. Roman bit his lip, when had Patton last slept? That wasn’t like him — he barely stayed up late, even on weekends.
“Darling, you haven’t texted your brother in three days. And you know how he gets when he’s worried.” Roman fake shivered, pulling a little giggle out of the other. “When I asked how you were doing this morning, you just sent me a thumbs-up emoji. And Logan says you haven’t come out of here either.”
“I— just,” Patton looked down. “I really need to study, okay? I have a test in a week, and I still have to review the three last units, and memorize all these names—”
“And don’t you think you’ll do better if you give your brain a chance to rest?” Roman raised an eyebrow. “C’mon, you’re taking a nap.”
“What? I can’t, Roman I’m so behind—” Patton protested as Roman pulled him from the chair and herded him towards the bed.
“So you don’t want to cuddle your poor suffering boyfriend?” Roman gave him an exaggerated pout, knowing the other wouldn’t be able to resist it. “Jail for Patton, jail for Patton for one thousand years!”
“Don’t be mean,” Patton whined. He glanced at their entwined hands, sighed, and climbed onto the bed grumbling.
They cuddled for about a minute, and Roman would be lying to say he hadn’t thoroughly enjoyed the fact that his boyfriend wore his favorite sweater. You’d think it was a bit plain, just a simple gray affair, but only if you hadn’t touched it — by Jove, it was like angels themselves knit the thing. Though soon enough, Patton disentangled himself from Roman’s arms, much to his displeasure, and sent a conflicted glance to his desk. Roman groaned.
“Ro, I need to study, I’m sorry.”
“Patton, be serious with me,” Roman said, crossing his arms. “You really think you are fit to study right now? You look like you’ll drop if the wind blows too hard.”
“But—”
“C’mon, darling,” He cupped Patton’s cheek, looking directly into his red-rimmed eyes. “You know better than to overwork yourself. I thought we’d skipped the workaholic college student phase when you were an undergrad.”
“That’s the thing, Ro,” Patton huffed, sounding terribly small. He dug his nails into the comforter, leaning away from Roman's hand. “I'm not an undergrad anymore. I can't coast by. If I want to be a vet, I can't just-”
He clicked his mouth shut, pulling his knees up to his chest.
“Hey,” Roman reached out again, but he only curled up further. He paused. Pinpricks of tears formed in the corner of Patton’s eyes and he looked so, so tired. It just about killed Roman to see him so upset. “C’mon, what’s going on?”
“I failed the last test,” Patton muttered, hiding his face in the crook of his arms. “If I don’t do well on this one, there won’t be extra credit that’ll save my grade. I can’t fail this class I can’t—”
“Oh, darling,” Roman crooned, as he gently wrapped the other into a hug. “It’s okay.”
Patton sniffled into Roman's shoulder.
“You’ve never “coasted by”. Don’t punish yourself for struggling,” Roman said, tracing circles onto his back. “Some classes can be tough, that’s okay. No shame in needing to put more effort into learning a subject, you just need to remember you can work hard and still take care of yourself.”
“…What if I’m just not cut out for this?” Patton whispered.
“What? Darling, look at me,” Roman pulled away, then took Patton’s hands with his own. “You’re one of the smartest, most compassionate people I know. I have no doubt in my mind that you’ll be a great veterinarian.” He smiled. “Nay, the greatest!”
Patton huffed a laugh and leaned into Roman’s shoulder.
Roman pressed a small kiss into his hair. “You’ll get through this, I know it. There can’t be a victory without some challenge after all,” he said, “But you better not overwork yourself again, mister, or I swear I’ll bully you into some self-care.”
“I’m sure you will.”
Sneaking a hand around his back, Roman pulled Patton down abruptly and flopped him onto the bed, drawing a fit of giggles from him.
“Don’t test me,” he smirked.
Patton let out an airy laugh. “Alright, alright.”
They fell into silence as Roman picked up a pillow from the foot of the bed and lay down. Patton had taken to fidgeting with the sleeves of his blue jumper, quiet as he unraveled a bit of loose thread.
“Vet school is really something,” he finally said.
“Not like you expected?”
“I don't know,” Patton admitted. “I just feel… out of place? Everyone here seems so well-adjusted and driven, but I still feel like I’m bumbling.”
“Is there such a thing as well-adjusted university students?” Roman snorted. “This is a new thing for you, dear, only natural you’ll need some time to get used to it.”
“As long as it doesn’t take too long,” sighed Patton.
“You’re doing great, Pat, trust me,” Roman reached over to ruffle his hair, grinning when Patton pouted adorably and batted his hand away.
“You’re too cute, I’m sorry,” Roman said, stifling a chuckle. Patton crossed his arms. “You know I love you, right?”
Instantly, Patton’s face softened — a pretty blush tinted his cheeks and he smiled bashfully. “I love you too, honey.”
“Man, if I knew I could persuade by flirting I'd have done it much earlier.” Roman teased, raising his hands when he saw the look he got in response. “Okay, okay, I give. So, how about that nap?”
Patton opened his mouth to respond but cut himself with a wide yawn before he could.
“Yeah, I think that’s answer enough.”
Wrapping his arms around Patton's waist, Roman pulled the covers over them and, after whispering goodnight, planted a kiss on his hair. For someone who’d claimed he could go right back to studying with no problem, Patton fell asleep rather quickly — five minutes barely passed and he was already snoring softly. Roman shook his head in amusement. Poor thing sure was exhausted. He snaked his hand around to grab his phone and snapped a photo to send to Virgil.
Mission accomplished.
---
A/N: this takes place about 1-2 years after they met in milkshakes and checkered diners - Patton is in his 1st year of the Veterinary Medicine program, while Roman has been out of college for a year-ish and working on that particular community theater since his senior year of collegeyes he's freaking out about never making it one year into his career 😆 he's a bit of a drama queen but we love him
16 notes
·
View notes
Text
Intermission
1/2/?
So of course already we were losing our minds over the show. Everyone was doing an amazing job, we had heard the new Needy replacement!!! (No new name yet but I'm going to call it One Last Dance until further notice)
Headed out to the lobby. Told Krista we were loving it so far and asked if we were being distracting being right down in front and she said no which was good. Spicedch4i and I were CLINGING to each other. We had our arms in each others laps just gripping for dear life like we were on a roller coaster. We were tapping our feet and hands to the beat and silently mouthing our favorite lines and trying to point out little moments without causing too much of a distraction.
It was just so surreal. The set is the same, the choreography is almost entirely the same. It felt like more than just seeing the show, it was like seeing the original show way back in 2015 come to life in front of us. The comments so far, song by song:
Introdemmo:
MSM lyrics (the cuts stayed) with 2015 YMTC vibes and choreo. The commentators are WONDERFUL, if you're a fan of 2015 commentators you will love them, they're the perfect match but also bring their own energy and chaos to it. New to this production, the contestants are no longer just staying on motion for the duration of each heat, it's ALWAYS. This means that even in lulls, they have to awkwardly shuffle their feet around to stay "dancing" it's not distracting actually, it's just interesting.
So Smart:
Pretty much as expected. There's more dialogue here setting up Ellie and Zander as antagonists, plus the "oh so you think gay people are freaks?" line is cut. In fact, there isn't a hint of homophobia from any of the teens in this one, and I like that! Not that it was a major plot point before or anything, but at least there were hints of it. Now it's gone, Grace and Tye are open about their relationship and everyone supports it.
Northern Star:
The length is the same as MSM, but the list portion of the song has new nouns! This isn't a huge change thematically but I do think it's cool. Zander does a death drop in the choreo. He's been vogueing a lot while he talks, the two are super flamboyant all the time.
Dancing Plague:
They cut "fewer rats doesn't mean no rats" :(((((
All the heats have great new projections that are better mapped to the set! This one has a border and background of medieval tapestry, with cutouts of people placed on top and moved a round a little like they're dancing. I enjoyed it.
The henchmen have STRETCHERS NOW. THEYRE BLACK.
Sampson's "I didn't feel a pulse" came after a looooong break it was great.
Needy ONE LAST DANCE:
Here it is: THE NEEDY REPLACEMENT!!!
So in general, the trio's interactions have changed. Janelle is no longer with Cyrus, or at least, the whole sex deal is no longer part of their dynamic. It's a lot more centered in on Harper and Janelle, with Cyrus and Harper being a different interaction, and then Cyrus and Janelle having their moments comforting each other.
This song is a breakup tango. It's an intense and moody song where Harper tells Janelle their "very special friendship" is at an end, while Janelle begs for one last dance with her before it's over, in a verse with a more upbeat waltz feel. And they are tangoing, Janelle even dips Harper. It's amazing.
I'll put a link to the lyrics here as not to make this post any longer lol.
And Janelle KNOWS this is coming, she's forward and honest about knowing that this was going to happen eventually, but she's not doing a very good job of hiding how upset she is, and later lashes out a couple times.
Jazz Age / Subtle:
Not much different, the "how are you two" was given back to Cyrus instead of ensemble. Roy & Nicki are MSM lines & backstory with 2015 vibes.
The DJ:
Ohhhh baby. Oh god. Oh man. He is everything.
You know me. Number one DJ fan.
He is everything I missed in each version. He is all the confidence and charisma and showmanship of 2015 but edgier and more a purposeful bully like MSM. His voice has a Beetlejuice growl and he's incredibly expressive with it. The LAZER GLOVES that are used during the pre-existing puppet choreography. I fucking love those gloves I'll probably be writing an entire breakdown of his costume.
The way he jumps and dances around the set with such EASE despite his PLATFORM BOOTS is incredible.
AAAAND THAT'S ACT ONE!
I will type up act 2 and also all of our conversation after the show into the next post!!!
1/2/?
3 notes
·
View notes
Text
MotA pt six:
I might like bucky more when he's a bedraggled desperate little man
it's like this show is actively trying to make up for making the germans too sympathetic in BoB
I will take rosie's r&r break if he doesn't want it
plus I want to make a shirt like his off-duty shirt. that is a good shirt.
JAMIEEEE PARKERRRRR
guess he had a couple of days free that week
croz you weirdo, i love you
peter sandys-clarke's presence as British Officer #1 makes it unfortunately possible to consider this series as part of the same universe/continuity as bbc ghosts (except it is hard to imagine havers being anything but gentle and charming)
side note: did every american vet who wrote a memoir have annoying experiences with slightly obnoxious posh brits, is this a thing made up by american tv writers, or is the british way of showing affection via insults simply lost on the rest of the world (sorry): discuss
if anyone has a crush on louis hofmann's Smug Nazi I'm blocking you
I put off watching this episode because on friday I made challah for a guy in town and then learnt he's the central european son of an infant shoah survivor who was the only survivor in his family. I could not face the prospect of the deportation train scene on the same day.
ah the singer's a tankie wcyd (ok maybe I'm being glib). but it's a well done scene
rosie belongs to the dick winters school of angstily taking luxurious baths
the card game scene <33
yess the thorpe abbotts crew. blakely, kidd, doug, ilu, don't die
rosie is growing on me. potentially difficult to enter a miniseries halfway through and be an engaging character, and he's just so chiselled and clark kent looking, but MAYBE I LIKE HIM AFTER ALL. and his nerdy jazz thing. (side note: nate mann could absolutely play superman, but I've had superhero fatigue for at least three years so forget I said anything)
crank!!!!!!!!!!!!!!!!!!!!!!!!!!¡ 🤗 mate I thought you were a goner
I have hopes we'll get more ensemble-focused scenes in the next ep, between the great escape attempt and thorpe abbotts being buck/bucky-free
5 notes
·
View notes
Text
For Funsies I'm redoing this entire ask game I was sent for the new year
( @bigtopveggie / @kuruparlayan )
1 - Who do you currently produce?
I mainly produce Koga!! With Jun following behind Koga by not much. I also focus on UNDEAD as well as Eve, as UNDEAD matters significantly to Koga with his unitmates & Eve specifically over the entire Eden. When it comes to producing fan numbers, it's definitely Koga #1.
2 - Who did you first produce?
When I booted up Ensemble Stars!! around the time the localized app first launched, I picked Hinata's leader card. When it came to actually paying attention to, it was first Subaru. I stopped playing from like BIGBANG at the end of June until mid-August when CONQUEST was halfway through. But when I picked back up the game & got hooked, who I produced quickly changed.
3 - do you have a producersona?
I do not!!! Even though I use my nickname in place of Anzu's name, I dissociate myself from Anzu. I am not actually Producer-chan in my mind. Though, Mao has jokingly called me Anzu due to how I am, so I will jokingly say that I am Anzu & Anzu is me, but truly Anzu is her own character in my mind completely. There's no way I could truthfully produce all these idol units the way Anzu does. I'd get overwhelmed quickly & panic lol.
4 - what got you into enstars?
So this answer hasn't changed since my original answering of this game! Quote-on-quote: "I was just chatting with a friend, ya know who, Jay about enstars when the localization of the game dropped for pre-registration. I'd been itching for a rhythm game to play, so it fit the bill. I downloaded the game & played for a lil bit, but it hadn't quite caught me yet. Then another friend decided to play as well for a collab & at that point I finally got hooked on it completely. Seeing the boys I pick dancing around on the stage??? I was sold officially, especially since I was getting more cards of the boys."
5 - what's your favorite headcanon about the character you produce?
Jazz hands excessively over the entirety of my blog. It's hard for me to choose. Admittedly, I still love my personal agenda on Koga having a little squish to his belly. He's still very fit & highly flexible, but he's not overly muscular, so when he's sitting down he has that little extra squish of a tummy. This is from my original post too, but I do additionally want to add that I am a HUGE sucker now for Koga finding comfort in having a piece of clothing that smells like his partner, so that when he's sleeping in his dorm room, he's able to have their scent around him & comfort him into sleep. It's cute. I live by it. Give him your shirts & hoodies.
6 - how long have you been in the enstars fandom?
Since August of 2022. Again, I DID have my account in June when the localization first dropped, but I was not actually INTO enstars until I picked it back up again in August. So it's been over a year now. Going on 2 years this year.
7 - what is your favorite unit?
UNDEAD my beloveds. What matters most to Koga matters the most to me too.
8 - what is your favorite song?
SWEATS.... This is still such an absolutely difficult choice for me to make overall. While my original answer said Fight for Judge, that was during the time that I kept putting that song on repeat when it's MV dropped in engstars, prior to me listening to other songs either without MVs or not released in engstars yet. Ultimately, it's truthfully a tie between Darkness 4 & Paradise Banishment -Faith Conquest-. I love love love Darkness 4, please listen to it & hear Ono Yuki's note runs. tHEY ARE SO PLEASING ON THE EARS. But no matter how many Eden songs I've heard that I've come to love, NOTHING tops Faith Conquest. I just mmmm chef's kiss that one so much. Plus, Jun says GODDAMN in the song. It's perfect.
9 - which unit do you think is underrated?
OOF. I still cannot give what I feel to be a proper answer to this, but it's also worded in a way that's CLEARLY to let everyone know it's an opinionated question. It does still feel like Switch is a pretty underrated unit from my standpoint. I mean, personally I still don't have any FULL care for them, but I have come to enjoy a few of their songs honestly. I do not truthfully see much of Switch, but there's a chance since I don't really care I'm just missing it.
10 - which character do you feel is most underrated?
Quote-on-quote: "Considering I hardly pay attention to any character that isn't a boy that I like, I don't think I have any room to be thinking about who could be underrated. I can literally say right here & now that I think Koga is underrated since there's not often anything new in his tag on tumblr, but I find stuff for him everywhere else often. I could also say Chiaki is underrated because of how his personality is shaped, that he wants to be cool & dote on those under him, but his thoughts are very much to tokusatsu, hero stuff, & he has a very typical masculine MALE way of thinking, but he also hasn't taken any time to himself to work on himself, so he can be rather misjudged at times for this. But are they truly underrated?? I can't say, but it's possible. Also very very possible they are not, which is more likely. But I can say that Koga is underrated when compared with both Kaoru & Rei, Adonis even more so. Adonis might be the most underrated of the UNDEAD boys, tbh. I could base it off boys I hardly see, but again - I rarely look for them, so of course I'm not going to see anything." My stance on this question truthfully hasn't changed.
11 - do you have a least favorite character?
Ahahaha.... yes, of course. I don't HATE any of the boys, honestly. Even Eichi I do not straight up HATE. He acted on his lack-of morals to achieve his ultimate goal. Could I strangle him??? Yeah, probably. Kick him?? For sure. Kick him in the knees. But if it comes to a personal attention of hearing them grinds me the wrong way & I want them to shut up??? It's honestly Tori & Hajime. As I said before, I am NOT a fan of girly-shota boys. Now, Tori has had his moments where I was like 'alright, he's ok right now', but I tend to skip past a lot of Hajime's moments. Again, I don't actually HATE them. They've vibing there & absolutely enjoying themselves to their fullest. I'm just not a fan. Admittedly, I've also lost some interest in Mika as well. I used to be alright with Mika, but it's slowly fallen away from him more & more. It doesn't have to do with his constant chatting about Shu. If that were so, I'd have lost interest in Jun by this point too who constantly talks about Hiyori, but I dunno how to put my finger on it... The substance that keeps there isn't showing itself to me.
12 - what was your favorite event?
It's definitely a tie at the moment between Nightless City & Sandstorm. They both have their different impacts on Koga that live within my brain still. Koga is an emotionally driven boy. It's these ups & downs that he goes through with those around him that drive him forward in different manners. If I answer this ask game again say like next year this question might change for all I know.
13 - what server are you on?
Almost all servers by this point. My MAIN account is indeed on the localized EN server!! You can add me at UID 7954078923 !! I also have JP server accounts too!! Which my music ID is noftekdr & my basic ID is dmckrw8p !! You can add me if you'd like! I also have a baby KR server account too! My UID there is 7189565575 !
14 - what card are you currently saving for?
What is saving dia? I have no idea what that means at all. fdjhgdkjdfhglkjhdfg. Anyways, the next card I'm aiming for is Rei's La Mort card that's coming up here real soon! I do have dia tickets saved up to hopefully alleviate some of the dia crying I'm gonna end up doing because getting Rei to come home at any point is a trial & a half.
15 - what is your favorite ship?
As a personal sucker for shipping, my favorite ship is Hiyori & Jun. They were the first two that I can say that officially put my attention onto. While I did ship Rei & Koga at the time, I hadn't delved deep into them at the time. There's far more for them than there is for Hiyori & Jun, which started all thanks to me reading CONQUEST when I first returned to playing enstars. But as Koga slowly took over my entire brain & I began reading more from ! era, I have far more brainrot over Rei & Koga than I do Hiyori & Jun, but I still always absolutely adore the banter & dedication Hiyori & Jun have with each other. I'm not gonna dive deep into Rei & Koga here... Just read all my rambles on my blog, I assure you, you'll see it clear as day. But I do still actively stand by Koga has 2 hands for Rei & Adonis.
16 - what is your favorite underrated ship?
I think that falls into my rarepair that I do see a lot of for a multitude of reasons. Do I know the reasons? Oh yes. They are clear as day, but I am not a fan of the ship -- ok, I'm getting off topic here. I do actually ship Kuro & Shu!! Do I know the problems with them as a ship?? Oh yes. 100%. But childhood friends is one of my weaknesses. Admittedly I do not ship them as strongly as I used to. My interests have of course shifted, but out of all the ships that I have, I'd still say that they are more underrated. Another would most likely be Kaname & Jun. I do not mean MERU ofc, but Kaname & Jun has its potential there.
17 - what non-problematic ship do you dislike?
What non-problematic ships ??? They ALL are problematic in some way, shape, or form. There's not a single ship in this godforsaken game that isn't problematic. Don't try to pull anything on me that says otherwise. Look at these boys. If you say it's not problematic in some way, then you aren't properly looking at these boys. There's some flaw in there that's sure to arise, whether from past experiences or present personalities. I can list ships I dislike but they have the biggest red flags to me, personally. Maybe not everyone, but to me. Even my biggest ships I love are also problematic. HiyoJun??? Problematic. ReiKoga??? Problematic. MidoChia??? Problematic. & NO I do not mean in a sense of their age gaps. C'mon, a two-year age gap for some of them IS NOT BAD. Even if one is still in high school while the other is graduated. I am married to someone who is FOUR YEARS older than me. Don't give me this shit.
18 - what is your favorite shuffle unit?
I still say BLEND+ Koga in his lil barista outfit is my favorite. The song, Heart aid Cafeteria, is very sweet, but I wouldn't say it's honestly my favorite SONG. It's cute. They're all adorable in it. But my favorite shuffle unit song actually has to be Noir Neige. If you hadn't heard it. I just. Chef's kiss.
19 - what are your favorite 5* and 4* cards?
I have too many, so I am purposely going to choose FEWER for the next question bc omfg... this is too many images.
20 - what are your favorite 3* cards?
I AM GOING TO TRY TO LIMIT MYSELF TO ALL TIME FAVORITE. JUST ONE FOR EACH OF MY BOYS & THAT IS IT. edit: I lied. I couldn't pick just one 3 star card for Koga.
21 - do you have a favorite story?
22 - do you have any enstars ocs?
No lmao. Bye. I don't. Don't see the point in it. MAYBE producers. But Anzu is basically the producer for all these boys as is. No one else produces them. I MEAN, are there adults who give job offers, but it's Anzu's decision. Or honestly Ibara's decision when it comes to Eden. If I were making enstars OCs, I might as well just make them regular idol OCs at that point. They can be worked into enstars for that purpose but no point in making it so specific.
23 - do you interact with the enstars community often?
I do not interact with the community at all. I vibe & enjoy my time with the game than getting involved in fandom communities. The CLOSEST I get is the few people who write enstars characters here on tumblr. You guys are my community. The rest of the community? Doesn't exist in my mind. Well it sort of does. In the sense that we just send gifts to each other in game every day.
#( off the stage ) ooc#long post#THIS TOOK ME SO LONG#BC I DECIDED NOT TO COPY & PASTE EVERYTHING I WROTE BEFORE#plus the cards.... the cards alone took me an hour dfjkghklfdhglkdfg#I WANTED TO WRITE BUT I SPENT ALL MY TIME ON THIS#JUST FOR FUNSIES LOL
3 notes
·
View notes
Text
🎶 𝗩𝗼𝗶𝘅 𝗲́𝗰𝗹𝗶𝗽𝘀𝗲́𝗲𝘀 - 𝗔̀ 𝗹𝗮 𝗿𝗲𝗻𝗰𝗼𝗻𝘁𝗿𝗲 𝗱𝗲𝘀 𝗺𝘂𝘀𝗶𝗰𝗶𝗲𝗻𝗻𝗲𝘀 𝗺𝗲́𝗰𝗼𝗻𝗻𝘂𝗲𝘀 𝗱𝗲 𝗹'𝗵𝗶𝘀𝘁𝗼𝗶𝗿𝗲 🎵
🎹 𝗔𝘂𝗷𝗼𝘂𝗿𝗱’𝗵𝘂𝗶 : 𝗔𝗹𝗶𝗰𝗲 𝗖𝗼𝗹𝘁𝗿𝗮𝗻𝗲 (𝟭𝟵𝟯𝟳-𝟮𝟬𝟬𝟳) 🎶
Née à Détroit, Alice Coltrane, issue d'une lignée de musiciens, émerge comme une artiste aux facettes multiples. Pianiste, harpiste, organiste, vibraphoniste et compositrice de jazz, elle se fraye un chemin unique dans le monde musical. Sa rencontre avec John Coltrane en 1963 marque le début d'une collaboration et d'une complicité profondes, jusqu'à la disparition tragique de ce dernier en 1967. Ensemble, ils plongent dans les méandres des sonorités orientales, tissant les fils du spirituel dans la trame du jazz. Veuve, Alice Coltrane poursuit sa quête artistique et spirituelle, insufflant dans ses albums une fusion novatrice de jazz, de musique indienne et de harpe. Sa conversion à l'hindouisme la mène à fonder un ashram en Californie, où elle guide les âmes au son des chants dévotionnels. Revenant à ses premières amours, le jazz, dans les années 2000, elle offre au monde « Translinear Light », son ultime opus. « Journey in Satchidananda » (1970), son œuvre phare, reconnue par la National Public Radio parmi les 150 meilleurs albums réalisés par des femmes, se hissa à une noble 86e place, se tenant fièrement entre « Diamonds & Rust » de Joan Baez et « Los Angeles » du groupe X. Alice Coltrane demeure une figure de proue du jazz avant-gardiste, une muse pour de nombreux artistes. Sa musique, transcendant les barrières stylistiques et temporelles, nous convie à un périple intime vers une lumière intérieure éclatante.
🔗 Pour en savoir plus : https://fr.wikipedia.org/wiki/Alice_Coltrane
🎧 Écouter : https://youtu.be/w0O9L7KXkC0?feature=shared
📸 Photo : Alice Coltrane en 2006.
2 notes
·
View notes