#le roi club

[somin-yin]

Gently and spicy with the King ❤️

I'm actually enjoying the King's route too but I'm not very fond of my MC being a mistress. So I wonder if there will be a way to become the Queen instead, because I so would 🤷‍♀️😂

Bonus

[mixamorphosis]

Blog post and linked up tracklists [HERE]

Part One - Maricopa

Tracklist (Part 1)

01. Date Palms - Night Riding The Skyline - (Thrill Jockey) 02. Deru - The Future Never Comes - (Friends Of Friends) 03. Bohren & Der Club Of Gore - I'm Rauch - (PIAS) 04. Les Prospection - Lido - (Chappell) 05. BadBadNotGood - Differently Still - (Innovative Leisure Records) 06. Tom Scott & The L.A. Express - Spindrift - (Ode Records) 07. Roy Porter Sound Machine - Hip City - (Tramp Records) 08. Cal Tjader - Meditação - (Verve Records) 09. Bonobo - The Shark - (Tru Thoughts) 10. AstroLogical - Afternoon Cruise - (Jellyfish Recordings) 11. Shigeto - Ann Arbor Parts 3 & 4 - (Ghostly International) 12. Evil Needle - Mood Music - (Soulection) 13. Closed Paradise - Get Your Bearings - (Fools & Fables Recordings) 14. Maricopa ft. Nicola Kramer - We Could Maybe (Twisted Tongue Remix) - (Above Machine) 15. Route 8 - Dreamsss - (Bokhari Records) 16. Vakula -Night Walks - (Leleka) 17. Shigeto - Look At All The Smiling Faces - (Ghostly International) 18. Closed Paradise - Jungle Godess (Fools & Fables Recordings)

Part 2 - Mixamorphosis

Tracklist

Rhian Sheehan – Traveller - (Loop Recordings)

Camelle Hinds - Sausalito Calling (Blazing Encore’s Take It As You Please Regroove) (Black On Black Recordings)

Walter Hawkins – Metropolis (Leng)

Jon Hopkins – Searchlight - (Just Music)

Turin Brakes – Ether Song - (Source)

Arthur Lee – Everybody’s Gotta Live (The Apple Scruffs Edit) - (A&M Records)

The Search Party – So Many Things Have Got Me Down (Ole Smokey‘s Instrumental Edit) - (Century Records)

Interfearance – Never Changes Pt 1 - (FFRR)

Unforscene – The Intro (Waiting For Rain) - (Kudos Records)

Fissunix – Ramble On Blues - (Not On Label)

DJ Shadow – Scale It Back (Ex-Friendly Space Mix) - (Island)

Naum Gabo – Dino - (Throne Of Blood)

Onyricon – Sweet Dream (Sun Mix) - (Aficionado Recordings)

Charles Bukowski – The Laughing Heart (Softmore Version)

Outkast – Spottieottiedopalicious - (LaFace Records)

JJ Cale – Magnolia - (Mercury)

Vermont – Lithium - (Kompakt)

Flying White Dots – Sunday Morning, April 14th

Mudd – C40 - (Rong Music)

Downloads available via Hearthis - [PART 1] // [PART 2]

[kazamastar]

And she up on me while her booty calling

If you getting jealous just slide over me

More speed ahoy that's the link in me

- Roy Woods

[philipkindreddickhead]

100 Fiction Books to Read Before You Die

The Namesake by Jhumpa Lahiri

The Book of Margery Kempe by Margery Kempe

The Bluest Eye by Toni Morrison

A Small Place by Jamaica Kincaid

The God of Small Things by Arundhati Roy

Frankenstein by Mary Shelley

We Need to Talk About Kevin by Lionel Shriver

The Prime of Miss Jean Brodie by Muriel Sparks

The Girl by Meridel Le Sueur

The Kitchen God's Wife by Amy Tan

The Secret History by Donna Tartt

The Color Purple by Alice Walker

The Poisonwood Bible by Barbara Kingsolver

Veronica by Mary Gaitskill

Americanah by Chimamanda Ngozi Adichie

Alias Grace by Margaret Atwood

Jane Eyre by Charlotte Bronte

The Bell Jar by Sylvia Plath

Mrs. Dalloway by Virginia Woolf

Kindred by Octavia Butler

Middlemarch by George Eliot

Pride and Prejudice by Jane Austen

To Kill a Mockingbird by Harper Lee

Uncle Tom's Cabin by Harriet Beecher Stowe

Their Eyes Were Watching God by Zora Neale Hurston

Passing by Nella Larson

The Left Hand of Darkness by Ursula K. Le Guin

Brideshead Revisited by Evelyn Waugh

Death Comes for the Archbishop by Willa Cather

Play it as it Lays by Joan Didion

The House of Spirits by Isabel Allende

Wuthering Heights Emily Bronte

Little Women by Louisa May Alcott

White Teeth by Zadie Smith

The Power by Naomi Alderman

The Street by Ann Petry

The Age of Innocence by Edith Wharton

Mary Barton by Elizabeth Gaskill

An American Marriage by Tayari Jones

Small Island by Andrea Levy

The Idiot by Elif Batuman

The Outsiders by S. E. Hinton

The Price of Salt/Carol by Patricia Highsmith

Room by Emma Donoghue

The Sea, The Sea by Iris Murdoch

Garden of Earthly Delights by Joyce Carol Oates

Wide Sargasso Sea by Jean Rhys

Wise Blood by Flannery O Conner

Gone Girl by Gillian Flynn

Picnic at Hanging Rock by Joan Lindsey

Rebecca by Daphne du Maurier

Salt to the Sea by Ruta Sepetys

Atlas Shrugged by Ayn Rand

The Awakening by Kate Chopin

Fried Green Tomatoes at the Whistle Stop Cafe by Fannie Flagg

The House on Mango Street by Sandra Cisneros

The Well of Loneliness by Radclyffe Hall

House of Incest by Anaïs Nin

The Mandarins by Simone de Beauvoir

The Lottery by Shirley Jackson

A Little Life by Hanya Yanagihara

Corregidora by Gayl Jones

Whose Names are Unknown by Sanora Babb

Half of a Yellow Sun by Chimamanda Ngozi Adichie

The Handmaid's Tale by Margaret Atwood

See Now Then by Jamaica Kincaid

The Lowland by Jhumpa Lahiri

Beloved by Toni Morrison

The Joy Luck Club by Amy Tan

The Goldfinch by Donna Tartt

Demon Copperhead by Barbara Kingsolver

The Ministry of Utmost Happiness by Arundhati Roy

To the Lighthouse by Virginia Woolf

My Antonia by Willa Cather

Democracy by Joan Didion

Black Water by Joyce Carol Oates

The Violent Bear it Away by Flannery O Connor

Sharp Objects by Gillian Flynn

My Cousin Rachel by Daphne du Maurier

The Fountainhead by Ayn Rand

I Must Betray You be Ruta Sepetys

The Haunting of Hill House by Shirley Jackson

The Mare by Mary Gaitskill

City of Beasts by Isabel Allende

Fledgling by Octavia Butler

A Wizard of Earthsea by Ursula Le Guin

The First Bad Man by Miranda July

Sense and Sensibility by Jane Austen

Moses, Man of the Mountain by Zora Neale Hurston

Disobedience by Naomi Alderman

Quicksand by Nella Larsen

The Narrows by Ann Petry

The Blood of Others by Simone de Beauvoir

Under the Sea by Rachel Carson

Go Set a Watchman by Harper Lee

Under the Net by Iris Murdoch

The Birdcatcher by Gayl Jones

Desert of the Heart by Jane Rule

In the Time of the Butterflies by Julia Alvarez

The Memory Police by Yōko Ogawa

@gaydalf @kishipurrun @unsentimentaltranslator @algolagniaa @stariduks @hippodamoi

[aitan]

CHARLES MINGUS E ORSON WELLES

CAPODANNO AL FIVE SPOT

Capodanno 1959, seduto in prima fila, proprio sotto il contrabbasso di Mingus c’era Orson Welles, quasi un alter ego del jazzista, per genialità, esuberanza, fierezza, complessità. E anche per le tante disavventure artistiche. Per Mingus era un idolo, lo seguiva dai tempi radiofonici di The war of worlds, adorava Quarto potere (dove in una scena c'era il suo amico d'infanzia Buddy Collette che suonava il sax in una festa sulla spiaggia), ammirava il suo modo di vestire, il suo impegno politico (sempre in prima linea per la difesa dei diritti civili, il suo Macbeth tutto nero è del 1936), la sua voce (“mi ricorda Coleman Hawkins. Potevi sentirla a un miglio di distanza”). E non era il solo jazzista a essere stato sedotto dalla voce radiofonica di Orson Welles, anche Miles Davis lo citava come un’influenza sul suo modo di suonare: “Fraseggio, tono, intonazione: tutte queste cose possono avere come modello un maestro della parola”.

Il 1959 sarà un anno d’oro del jazz per quantità, qualità, creatività. Al Five spot, piccolo, fumoso, maleodorante locale di Bowery, scelto come luogo di riferimento da artisti e intellettuali, l'anno comincia con un formidabile double bill: sono di scena, uno dopo l’altro, Sonny Rollins, alla testa di un trio con il bassista Henry Grimes e con il batterista Pete La Rocca, e Charles Mingus con il pianista Horace Parlan, il batterista Roy Haynes (che sostituisce il fedelissimo Dannie Richmond arrestato) e i sassofonisti Booker Ervin e John Handy. È la prima sera dell’anno, ma nel club di Bowery dei fratelli Joe e Iggy Termini è anche l’ultimo impegno di quel prestigioso, favoloso cartellone con Mingus molto irrequieto per tutta la scrittura. Aveva appena registrato la musica per il film di John Cassavetes Shadows, una colonna sonora bocciata nel rimontaggio finale (la stessa cosa sarebbe successa anni dopo con Todo modo di Petri), aveva ripreso i suoi musicisti brutalmente e una volta aveva minacciato violentemente i clienti di un tavolo che, durante il suo set, non smettevano di parlare. Oltretutto ogni sera tendeva ad allargare il suo set e Sonny si inferociva, talvolta rifiutandosi di suonare. Ma era un gran clima, entusiasmante e effervescente. Rollins era in un momento di transizione, alla vigilia di un ritiro clamoroso per rinnovare il linguaggio del suo sax tenore con il leggendario e solitario corso di aggiornamento stilistico sul ponte di Williamsburg: «In un posto tranquillissimo, un angolo morto che oggi sarebbe impossibile ritrovare con il traffico che c’è» il suo racconto, dove poteva esercitarsi liberamente.

Anche Welles, come Mingus, era reduce da una delusione cinematografica: la Universal gli aveva tolto di mano la post-produzione del nuovo film, L’infernale Quinlan, ne aveva tagliato una ventina di minuti e aveva fatto girare nuove scene, modificando il primo montaggio. Più o meno nello stesso periodo era finito in soffitta un documentario intitolato Viva Italia (Portrait of Gina) perché Gina Lollobrigida aveva messo un veto, non gradendo il suo ritratto di giovane attrice ambiziosa e la Abc tv lo aveva bocciato ritenendolo cosi poco ortodosso da non poter essere trasmesso. Era un film di mezz’ora scarsa sull’Italia, paese che Orson ha frequentato per 20 anni (la terza moglie è stata l’attrice italiana, Paola Mori). Dopo un lungo oblio (Orson aveva perduto l'unica copia esistente all'Hotel Ritz di Parigi) è stato riscoperto nel 1986, proiettato al festival di Venezia ma poi di nuovo bandito su intervento della Lollobrigida.

La presenza del regista di Quarto potere al Five spot non era casuale

Nel club di Bowery si poteva incontrare chiunque, da Jack Kerouac che leggeva le sue poesie, alla mitica baronessa Pannonica de Koenigswater scesa dalla sua Rolls Royce, a William de Kooning che voleva respirare la libertà del jazz, a Leonard Bernstein che si divertiva a curiosare nella notte, allo scrittore Norman Mailer con la sua passione per quella musica. Ma la musica da sempre è stata una grande passione di Welles. La mamma pianista gli aveva fatto prendere lezioni di piano e violino e Orson aveva anche mostrato un certo talento, tanto da essere considerato un ragazzo prodigio. In gioventù era stato un grande sostenitore del jazz di New Orleans, ma sicuramente ammirava Charles Mingus per la sua musica e la sua personalità, il suo impegno, il suo agire tellurico.

(Marco Molendini)

Non potevo non condividerlo.

Due miei ingombranti miti nella stessa foto, nello stesso locale, nello stesso articolo.

[sgiandubh]

“Amateurs seek the sun. Get eaten.Power stays in the shadows."

Amateurs ; Sam

Power ; caitriona

Dear Oppenheimer Anon (with a European circadian rhythm and no knowledge of the proper use of a semicolon),

If you think your paltry quote from a movie I am in no particular hurry to watch is going to fill me with dread, you are wrong. To that effect, you could have quoted Oppenheimer's Bhagavad Gita's reference (And now I am Death, the destroyer of worlds) during the famous Trinity Test of the atomic bomb, in 1945. But I digress, as usually.

So what is your point, girlfriend? To point out again that S is an amateur, doomed to be eaten alive by your mob, as opposed to consistent, supremely intellectual and feminist icon C?

Fuck me, I am stupid, for refusing to get this Pravda slogan in my head! So since you don't get it, I am going to write it down as clearly as I can. For you and any other twat who thinks she can scare me with movie quotes:

S loves C. C loves S. C and S are parents. I am fascinated by S &C; not particularly by S , C, or any other combo. I am also very glad to be part of a group of witty, funny and kind women who happen to think the same. I am very sorry S upset you all so much by not behaving the way you wanted him to. These people are not your toys and they live their life and their truth as they see fit. Right now, S is in the United States of America promoting his new gin. This is a business side project of his, not a campaign for alcoholism or juvenile prostitution, nor a money extortion operation from gullible fans. This is work. This man is minding his own business: learn a bit from example, Anon? The best places where you could promote a new spirits beverage are clubs, bars, restaurants and specialized retailer venues, with some media coverage added for increased impact. In the meanwhile, C's movie projects are delayed by the Hollywood strike. I am very sorry for her and for them, by the same token, and I wish this situation to be soon over and with as little damage as possible.

But really, I shouldn't have gone to all that trouble, Anon. Your spelling told me everything I needed to know, because you see, Freudian slips are bitches, like that. You used a capital letter to spell only the Amateur's name, while the Power remained minuscule.

That capital letter is the emotional ROI you never got, bitter Anon. Finally, allow me to quote my favorite Christmas movie. Avec le sourire de la crémière:

[steelbluehome]

"The two leads are fantastic: Stan navigates from naïve wannabe to glowering mogul and never loses his way or slips into parody. His vanity about his hair and his looks is on display from the beginning, but in the early years he is unsure of himself and there is a vulnerability about him. Strong is also utterly believable as Cohn, a man as vain as his disciple and certainly as dangerous."

The Standard

The Apprentice review: Sebastian Stan shines in drama about how Donald Trump went from wannabe to mogul (click for article)

This origin story does an excellent job of showing the rise and rise of Donald Trump

Jo-Ann Titmarsh

4 out of 5 stars

One of the hottest tickets in Cannes this year is Iranian director Ali Abbasi’s The Apprentice, his tale of the rise and rise of Donald Trump.

The apprentice in question is Trump himself (Sebastian Stan), while the master he serves and later usurps is Roy Cohn (Jeremy Strong), a lawyer who hobnobs with leaders and has the ear of the president.

Cohn is ruthless and will stop at nothing to attain what he wants, often in the name of a patriotism which equals hard-right conservatism.

The film opens in 1970s New York. Donald is a baby-faced teetotal rent collector for his dad, but he yearns to break free of his father’s grip and strive for greater things, obsessing over the tycoons and millionaires that frequent Le Club.

This is where he meets Cohn who takes Trump under his wing and instructs him to follow his three essential tenets, which are all about achieving, denial and how even a defeat can be turned into a win.

Abbasi deftly recreates the feel of the city and the darkness of those years. And what starts gritty becomes colourful once Ivana (Maria Bakalova) appears her platinum blonde hair, scarlet dress and matching glossy lips.

The other important people are his family members. Martin Donovan plays Fred, the abusive and monstrous family patriarch. Donald’s mother Mary (Iona Rose MacKay) is a less forceful presence, while Trump’s brother Freddy (Charlie Carrick) is sympathetically depicted as a man slowly but irrevocably broken by his father’s contempt.

As the film moves into the 1980s, the look changes completely as the Eighties vibe comes clearly into focus, like walking into the neon-lit bathroom of a dingy club.

There is nothing but tackiness here, that harsh lighting revealing the deals in Atlantic City, the over-the-top décor of the Trump home and the gaudiness of the couple’s life together, even as their relationship falls apart.

The harshness also highlights Trump’s ascension as Cohn begins to falter and the apprentice becomes the master.

The film ends with Trump drafting his book The Art of the Deal, in which he dictates those three tenets drummed into him by Cohn. Nothing about Trump is original. Nothing has been gained by him alone. And there is nothing he won’t do to get what he wants.

The two leads are fantastic: Stan navigates from naïve wannabe to glowering mogul and never loses his way or slips into parody. His vanity about his hair and his looks is on display from the beginning, but in the early years he is unsure of himself and there is a vulnerability about him. Strong is also utterly believable as Cohn, a man as vain as his disciple and certainly as dangerous.

It’s hard not to bring up comparisons with Succession here: a New York dynasty, a tyrannical father, the wealthy elite, the presence of Jeremy Strong who played Kendall Roy… there’s even a fleeting glimpse and mention of Rupert Murdoch, whom Cohn says Trump should cosy up to. And then there’s the excellent music by Martin Dirkov, which has echoes of the Succession theme.

There are some problems, the story is too linear and the screenplay, by Gabriel Sherman, full of scenes seen many times before, such as Cohn chasing after Trump in the street begging for an audience or Donald refusing his calls, and the director could have been more inventive in the fil. However, there is a lot of humour here, particularly thanks to the character of Cohn, and almost always at Trump’s expense.

The Apprentice is not going to change anyone’s mind about Trump, who is so vain that he will almost certainly love this film, despite the references to his plastic surgery and big butt.

But Abbasi does an excellent job of showing us how and why Trump became the Trump of today and how his path to presidency was paved.

[sibelin]

3, 12 & 38

Hello and thank you!!

3. Three films you could watch for the rest of your life and not get bored of? The good thing is that it's very easy for me to rewatch films so I'm rarely getting bored when it's movies I like. If I really want to be sure, i'd say classics from my childhood. The Dark Crystal, Lord of the Rings (any of them, but specially the Two Towers) and let's say Le roi et l'Oiseau because I've watched it countless time.

12. What’s some good advice you want to share? Just in general, my best advice is : get of your house!! Take a walk, go to a book club, go to gigs, play Pokemon at your local store.... Anything really! We're living in an era where it's very easy to close ourselves to the world and only listen to our anxieties. The more you try, the more things get easier!

38. Fave song at the moment? This week I've been listening to Einstürzende Neubauten's Ist Ist a lot. Yesterday I was a bit obsessed with the song Sheer by Rendez Vous.

[cant-get-no-worse]

I answer stuff on #anon ask when I don’t forget to, and I also apparently rant.

The Gerard Piqué and Lionel Messi 2021 drama (guest appearance by Shakira).

« FC Barcelona’s downfall » and why Neymar’s departure in 2017 is just the tip of the political and financial iceberg

Neymar leaving Barcelona saga (2017 - 2021)

LM10 leaving Barcelona saga (2014 - 2021)

Chanting for Messi in 2023.

FC Barcelona’s 2022/2023 La Liga title and its meaning.

On Neymar and Messi’s unlikely bond.

On Messi and Ronaldo and the new gen.

Getting over the team that made you fall in love with the club, and letting yourself fall in love with the new.

Reflecting on the journey of football’s main 5′7 character.

Whilstling for the 10: le Parc and Nou Camp.

The Camp Nou renovation and a new era.

Anfield, the 2018/2019 UCL run. 

Thank you, 10. I’ll wait.

Neymar et le Chemin du Roi

The disaster of AFA & Scaloni drama

La Remontada, refereeing and Luis Suarez

Vids :

Farewell, temple

Other # :

#fc barcelona

#barça

#campeones 2022/2023

#web weaving

#ballon d’or

#Πάνθειον serie (legends of fcb)

#liveblog (games)

[ozu-teapot]

Films Watched in April 2023

Fargo | Joel Coen / Ethan Coen | 1996

Le plein de super (Fill 'er Up with Super) | Alain Cavalier | 1976

Angel's Egg | Mamoru Oshii | 1985

The Anniversary | Roy Ward Baker / Alvin Rakoff | 1968

Punk Samurai Slash Down | Gakuryû Ishii | 2018

Abel (AKA Voyeur) | Alex van Warmerdam | 1986

Suicide Club | Sion Sono | 2001

Blank Generation | Ulli Lommel | 1980

Behind Her Eyes | TV | Erik Richter Strand | 2021

The Strange Case of the End of Civilization as We Know It | Joseph McGrath | 1977

The Sunday Woman | Luigi Comencini | 1975

Enys Men | Mark Jenkin | 2022

Electric Dragon 80.000 V | Gakuryû Ishii | 2001

La cicatrice intérieure (The Inner Scar) | Philippe Garrel | 1972

Ava | Léa Mysius | 2017

The Fall | TV | Allan Cubitt / Jakob Verbruggen | 2013 - 2016

Films Watched in May 2023

The Devil's Trap | Frantisek Vlácil | 1962

The Week Starts on Friday (Short) | Elmar Klos | 1962

Beauty and the Beast | Juraj Herz | 1978

Frantisek Hrubín (Short) | Tomás Skrdlant | 1964

The People Next Door | David Greene | 1970

Celia | Ann Turner | 1989

Renfield | Chris McKay | 2023

Luminous Procuress | Steven Arnold | 1971

Dragon's Return | Eduard Grecner | 1968

The Man on the Roof | Bo Widerberg | 1976

Coach to Vienna | Karel Kachyna | 1966

She Dies Tomorrow | Amy Seimetz | 2020

Justine | Stewart Mackinnon | 1976

Yakuza Graveyard | Kinji Fukasaku | 1976

The Bride Wore Black | François Truffaut | 1968

The Haunting of Julia | Richard Loncraine | 1977

The End of the F***ing World | TV | Various | 2017-2019

Yellowjackets | Season 2 | TV | Various | 2023

The Cat Creeps | Erle C. Kenton | 1946

Me, Natalie | Fred Coe | 1969

Bold = Top Ten

Some notes: I’ve been going through one of those periods where I just wasn’t feeling it maaaan with regards to films and tumblr. Other things consumed my attention (Auriel's Bow isn't going to fetch itself from the Forgotten Vale) and at times it felt a struggle to watch and post. Still...

Anyway here’s one of those fancy two month Film Logs last seen in August/September 2022 only this time there’s a Top Ten compiled from both months. A few TV things make it into the list. I’m sometimes unsure about putting TV in the *Film* Log but The End of the F***ing World is great and I was very taken with Behind Her Eyes because it actually surprised me in the direction it took, such an unusual experience nowadays, plus the two female leads were very attractive. Hey, I’m only human, like Phil Oakey.

[allamericansbitch]

Hi everyone! Here’s this weeks addition to my Creator Shoutout Series (october 16 - october 23)! For info about the series, I explained it in the first post here, but generally, it’s to show appreciate to editors and their creations that i love from the past week. To track this series or look at previous shoutouts, please check out the tag on my blog *creatorshoutouts. Have a great week everyone!

taylor swift: all too well grammys 2014 gifset by @felicitysmoak

bodies bodies bodies: emma gifset by @cherubinas

taylor swift: you are in love graphic by @theman

brooklyn nine nine: jake and amy evolution gifset by @obligatorymain

taylor swift: lover print + stickers by @cellphonehippie

nightmare on elm street gifset by @dushku

taylor swift: taylors version documentary concept design by @ohgaylor

olivia rodrigo icons by @aashna

taylor swift: midnights edit by @eva-mei-10

selena gomez: revival gifset by @selenas-gomz

taylor swift: midnights art by @scars-on-my-hand

the vvitch gifset by @buckhelped

taylor swift: midnights edit by @aintmyjewelry

pride & prejudice: elizabeth bennett gifset by @maiareficos

taylor swift: midnights movies + references to past songs gifset by @melodramas

she’s the man gifset by @stydixa

taylor swift: midnigth movies gifset by @r-pattinson

the midnight club edit by @bookologist

taylor swift: track 5 gifset by @melodramas

new girl: winston and furguson gifset by @diaaz

taylor swift: midnights tracklist gifset by @melodramas

it (2017) gifset by @buckhelped

taylor swift: karma graphic by @piecesintoplaces

brooklyn nine nine: dynamics gifset by @bi-alinaoretsev

taylor swift: midnights gifset by @maiareficos

scream (1996) gifset by @robert-englund

taylor swift: midnights gifset by @wishfulthinkinglove

brooklyn nine nine: jake peralta gifset by @userblorbo

taylor swift: vigilante shit art by @chunnie249

heartstopper: nick and charlie gifset by @simon-eriksson

taylor swift: anti-hero music video gifset by @zen-coleman

carly rae jepsen: the loneliest time gifset by @antoniosvivaldi

taylor swift: midnights 3am graphic by @talaypuens

it follows gifset by @midnightmurdershow

taylor swift: anti-hero music video gifset by @tayloralison

carly rae jepsen: the lonest time gifset by @katysdaisies

taylor swift: lavender haze edit by @anctherdayofsun

succession: shiv roy gifset by @sdktrs12

taylor swift: anti-hero edit by @dearreader​

x (2022): music in film gifset by @madeline-kahn

taylor swift: anti-hero music video gifset by @joedarling

scream 4: music in film gifset by @madeline-kahn

taylor swift: anti-hero music video gifset by @sheiscoming

succession: tabitha hayes gifset by @rvmanroy

taylor swift: midnights gifset by @antoniosvivaldi

stranger things: eddie munson gifset by @ofalltheginjoints

taylor swift: vigilante shit graphic by @micasa

bodies bodies bodies: alice gifset by @gaypeople

taylor swift: doubles throughout the years gifset by @felicitysmoak

brooklyn nine nine: jake peralta + midnights gifset by @wakandasforever

taylor swift: midnights edit by @sadbeautifutragic

it follows gifset by @wongkarawai

taylor swift: midnights icons by @finalgalnancy

criminal minds: spencer reid gifset by @merriell

taylor swift: anti-hero music video gifset by @newrcmantlcs

brooklyn nine nine: jake and amy gifset by @bellamysgriffin​

taylor swift: anti-hero graphic by @cruellesummer

ready or not: vigilante shit gifset by @amandaseyfried​

taylor swift: discography gifset by @nessa007

the midnight club: anya gifset by @emziess​

taylor swift: red anniversary graphic by @cametotheshowinsd

twitches gifset by @stretchbrock​

taylor swift: anti-hero music video gifset by @ferrisbuellers

ready or not: grace le domas gifset by @quinta-brunson​

taylor swift: anti-hero music video gifset by @cametotheshowinsd

get out gifset by @matteos​

taylor swift: anti-hero edit by @afinelineinthewall

stranger things: anti-hero gifset by @useranti-hero​

taylor swift: midnights as other albums edit by @swiftiephobe

scream: sydney pre​scott and gale weathers gifset by @saws2004​

taylor swift: midnights tracklist gifset by @newrcmantlcs

taylor swift: you’re on your own kid graphic by @georgesezra

gilmore girls: midnights rain gifset by @literatigifs​

taylor swift: anti-hero + outfits gifset by @lovestory​

taylor swift: midnights lyric parallels gifset by @nessa007

stranger things gifset by @lengthofropes​

taylor swift: anit-hero music video gifset by @sheiscoming

taylor swift: lavender haze gifset by @imthemastermiind

nightmare before christmas gifset by @maygrant​

taylor swift: cardigan gifset by @anakinpadme

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[jpbjazz]

LÉGENDES DU JAZZ

BILLY HIGGINS, ‘’SMILING BILLY’’

“Billy Higgins’s talent will never be duplicated – not that any style can be – but his mark on jazz history is indelible. Billy Higgins represents four decades of total dedication to his chosen form of American music: jazz.”

- Cedar Walton

Né le 11 octobre 1936 à Los Angeles, en Californie, Billy Higgins était issu d’une famille de musiciens. Élevé dans le ghetto afro-américain de Watts, Higgins avait commencé à jouer de la batterie à l’âge de cinq ans sous l’influence d’un de ses amis batteurs. À l’âge de douze ans, Higgins avait travaillé avec des groupes de rhythm & blues, notamment avec des musiciens comme Amos Milburn et Bo Diddley. Au début de sa carrière, Higgins avait également collaboré avec les chanteurs et chanteuses Brook Benton, Jimmy Witherspoon et Sister Rosetta Tharpe.

Surtout influencé par Kenny Clarke, Higgins avait aussi été marqué par Art Tatum et Charlie Parker. En octobre 2001, le chef d’orchestre John Riley du Vanguard Jazz Orchestra avait résumé ainsi les influences d’Higgins: “Billy dug the melodiousness of Max Roach and Philly Joe Jones, Art Blakey’s groove, Elvin Jones’s comping, Ed Blackwell’s groove orchestration, and Roy Haynes’ individualist approach.” Higgins avait hérité de son surnom de ‘’Smiling Billy’’ en raison du plaisir communicatif qu’il avait de jouer de la batterie.

DÉBUTS DE CARRIÈRE

Higgins, qui s’était rapidement intéressé au jazz, avait commencé sa carrière en se produisant avec différents musiciens locaux comme Dexter Gordon, Carl Perkins, Leroy Vinnegar, Slim Gaillard, Teddy Edwards, Joe Castro et Walter Benton. À l’âge de quatorze ans, Higgins avait rencontré le trompettiste Don Cherry. En 1953, le duo était parti en tournée sur la Côte ouest avec les saxophonistes George Newman et James Clay dans le cadre du groupe  The Jazz Messiahs.

En 1957, Higgins s’était joint au quartet de Red Mitchell qui comprenait également la pianiste Lorraine Geller et le saxophoniste ténor James Clay. Higgins avait d’ailleurs fait ses débuts sur disque avec le groupe de Mitchell dans le cadre d’une collaboration avec les disques Contemporary de Lester Koenig. Higgins avait quitté le groupe de Mitchell peu après pour se joindre à la nouvelle formation d’Ornette Coleman, aux côtés de Don Cherry à la trompette, de Walter Norris au piano, et de Don Payne et de Charlie Haden à la contrebasse. Higgins, qui avait commencé à pratiquer avec Coleman en 1955, avait fait partie du groupe du saxophoniste sur une base permanente de 1958 à 1959, participant notamment à l’enregistrement des albums ‘’Something Else’’ (février-mars 1958), ‘’The Shape of Jazz to Come’’ et ‘’Change of the’’ Century’’, tous deux enregistrés en 1959. Higgins avait également participé aux concerts controversés du groupe au club Five Spot de New York en novembre 1959. Commentant la prestation du groupe, le critique Jon Thurber du Los Angeles Times avait qualifié le concert d’un des événements les plus légendaires de l’époque. Thurber avait ajouté: ‘’The event crowded the room with every available jazz musician and aficionado.”

Higgins s’étant vu interdire l’accès des clubs de New York à la suite d’une altercation avec la police,  Higgins s’était joint au quintet de Thelonious Monk. Il était par la suite allé jouer avec le groupe John Coltrane en 1960.

Le 21 décembre 1960, Higgins avait de nouveau retrouvé Coleman dans le cadre de l’enregistrement de l’album controversé ‘’Free Jazz: A Collective Improvisation’’ mettant en vedette le double quartet de Coleman, composé de Coleman au saxophone alto, de Don Cherry à la trompette et au cornet, de Freddie Hubbard à la trompette, d’Eric Dolphy à la flûte, à la clarinette basse et au saxophone soprano, de Scott LaFaro et Charlie Haden à la contrebasse et de Higgins et Ed Blackwell à la batterie.

Devenu un des batteurs les plus en demande du monde du jazz, Higgins avait participé à plusieurs sessions pour les disques Blue Note dans les années 1960, principalement dans des contextes de hard bop. En 1962-63, Higgins s’était joint au groupe de Sonny Rollins avec qui il avait participé à une tournée en France. À la même époque, Higgins s’était également produit avec Donald Byrd, Dexter Gordon, Hank Mobley, Art Farmer, Jimmy Heath, Steve Lacy, Jackie McLean, Herbie Hancock et Lee Morgan.

Le jeu de Higgins à la batterie avait été particulièrement mis en évidence sur des enregistrements comme “Point of Departure’’ d’Andrew Hill, “Takin' Off’’ d’Herbie Hancock (qui comprenait le classique ‘’Watermelon Man’’), “Freedom Jazz Dance” d’Eddie Harris, ‘’Go !’’ de Dexter Gordon et “The Sidewinder’’ de Lee Morgan.

À partir de 1966, Higgins s’était produit régulièrement avec le pianiste Cedar Walton, avec il a enregistré plusieurs albums pour des compagnies de disques européennes jusqu'au milieu des années 1980.

DERNIÈRES ANNÉES

Après s’être fait désintoxiquer en 1971, Higgins avait formé le groupe Brass Company avec le  saxophoniste ténor Claude Bartee et le trompettiste Bill Hardman. Après s’être installé à Los Angeles en 1978, Higgins avait formé avec Walton et le le saxophoniste George Coleman le groupe Eastern Rebellion. À la fin des années 1970, Higgins avait également enregistré comme leader, faisant paraître des albums comme ‘’Soweto’’ (1979), ’’The Soldier’’ (1979) et ‘’Once More’’ (1980).

Dans les années 1980, Higgins avait également collaboré avec Pat Metheny et Slide Hampton. Tout en participant à des tournées internationales avec les Timeless All Stars et à des réunions avec Ornette Coleman et Don Cherry, Higgins avait eu un petit rôle dans le film de Bertrand Tavernier ‘’Round Midnight’’ aux côtés de Dexter Gordon en 1986. Il avait aussi fait partie du trio de Hank Jones. Toujours en 1986, Higgins avait fait partie du Quartet West de Charlie Haden, aux côtés d’Ernie Wax au saxophone et d’Alan Broadbent au piano. Après avoir connu certains problèmes de santé, Higgins avait été éventuellement remplacé par Larance Marable.

Très impliqué socialement, Higgins avait co-fondé en 1989 avec le poète Kamau Daáood le World Stage, un centre communautaire et culturel qui avait pour but de favoriser le développement de la musique, de la littérature et de l’art afro-américain. Le groupe, qui soutenait également la carrière de jeunes musiciens de jazz, organisait régulièrement des ateliers, des enregisrements et des concerts dans le quartier de Leimert Park à Los Angeles. Tous les lundis soirs, Higgins donnait des cours de batterie aux membres de la communauté. Higgins, qui s’intéressait particulièrement aux enfants, avait déclaré au cours d’une entrevue accordée au magazine LA Weekly en 1999:

"They should bus children in here so they can see all this, so they could be a part of it. Because the stuff that they feed kids now, they'll have a bunch of idiots in the next millennium as far as art and culture is concerned. I play at schools all the time, and I ask, 'Do you know who Art Tatum was?' 'Well, I guess not.' Some of them don't know who John Coltrane was, or Charlie Parker. It's our fault. Those who know never told them. They know who Elvis Presley was, and Tupac, or Scooby-Dooby Scoop Dogg--whatever. Anybody can emulate them, because it's easy, it has nothing to do with individualism. There's so much beautiful music in the world, and kids are getting robbed.’’

Également professeur, Higgins avait enseigné à la faculté de jazz de l’Université de Californie à Los Angeles (UCLA). Il avait aussi été très impliqué dans plusieurs activités en faveur de la conservation et de la promotion du jazz.

Toujours très en demande dans les sessions d’enregistrement, Higgins s’était produit sur une base régulière avec le saxophoniste Charles Lloyd de 1999 à 2001. Il dirigeait aussi ses propres groupes.

Atteint d’une maladie des reins, Higgins avait dû mettre sa carrière sur pause dans les années 1990, mais il avait repris sa carrière après avoir subi avec succès une greffe du foie en mars 1996, se produisant notamment avec Ornette Coleman, Charles Lloyd et Harold Land.

Billy Higgins est mort le 4 mai 2001 au Daniel Freeman Hospital d’Inglewoood, en Californie, des suites d’un cancer du foie. Il était âgé de soixante-quatre ans. Ont survécu à Higgins ses fils Ronald, William Jr., David et Benjamin, ses filles Ricky et Heidi, son frère Ronald, son gendre Joseph (Jody) Walker, son neveu Billy Thetford et sa fiancée Glo Harris. À l’époque, Higgins avait divorcé de sa première épouse Mauricina Altier Higgins.

Peu avant sa mort, Higgins avait joué le rôle d’un batteur de jazz dans le film ‘’Southlander’’ de Steve Hanft et Ross Harris.

Au moment de son décès, Higgins venait d’être hospitalisé pour une pneumonie et attendait une seconde greffe du foie. Dans son dernier numéro publié avant la mort de Higgins, la revue française Jazz Magazine avait lancé une campagne de souscription en faveur de Higgins, le batteur n’ayant pas des revenus suffisants pour couvrir ses frais médicaux. Deux ans avant sa mort, le saxophoniste Charles Lloyd avait témoigné de la santé fragile de Higgins en déclarant: ’’Billy Higgins a une santé précaire, et cette fragilité physique confère à son jeu une délicatesse unique. Jouer avec lui, c'est un peu comme jouer à la maison. Il y a une telle conjonction entre nous. Un seul regard suffit et le disque est enregistré.’’ Comparant Higgins à un maître zen, Lloyd avait ajouté: “everybody who plays with him gets that ecstatic high.” Rendant hommage à Higgins après sa mort, son collaborateur de longue date, le pianiste Cedar Walton, avait ajouté: “Billy Higgins’s talent will never be duplicated – not that any style can be – but his mark on jazz history is indelible. Billy Higgins represents four decades of total dedication to his chosen form of American music: jazz.”

Higgins avait livré sa dernière performance le 22 janvier 2001 dans le cadre d’un concert présenté au club Bones and Blues de Los Angeles. Le concert, qui mettait également en vedette les saxophonistes Charles Lloyd et Harold Land, avait pour but de soutenir la lutte d’Higgins contre le cancer du foie.

Reconnu pour son swing léger mais actif, son jeu subtil et raffiné et sa façon mélodique de jouer de la batterie, Billy Higgins avait collaboré avec les plus grands noms du jazz au cours de sa carrière, de Ornette Coleman à Don Cherry, en passant par Sonny Rollins, Cedar Walton, Herbie Hancock, Abudullah Ibrahim, Bheki Mseleku, Roy Hargrove, Pat Metheny, Charles Lloyd, Donald Byrd, Freddie Hubbard, Eric Dolphy, John Scofield, Thelonious Monk, Scott LaFaro, Cecil Taylor, Charlie Haden, Hank Jones, Dexter Gordon, Hank Mobley, Grant Green, Joe Henderson, Art Farmer, Sam Jones, Dave Williams, Bob Berg, Monty Waters, Clifford Jordan, Ira Sullivan, Sun Ra, Milt Jackson, Jimmy Heath, Joshua Redman, John Coltrane, Eddie Harris, Steve Lacy, David Murray, Art Pepper, Mal Waldron, Jackie McLean et Lee Morgan. Higgins avait également collaboré avec le compositeur La Monte Young.

Higgins a participé à plus de 700 enregistrements au cours de sa carrière, ce qui en faisait un des batteurs les plus enregistrés de l’histoire du jazz. Qualifiant le jeu de Higgins, le critique Ted Panken du magazine Down Beat avait commenté: "To witness him--smiling broadly, eyes aglimmer, dancing with the drum set, navigating the flow with perfect touch, finding the apropos tone for every beat--was a majestic, seductive experience." De son côté, le chef d’orchestre Larry Riley avait précisé: “Billy was a facilitator, not a dominator. He would enhance the direction the music ‘wanted’ to go in rather than impose his own will on the composition. You can hear that Billy was a master at creating a good feeling in the rhythm section. Dynamically, he used the entire spectrum— but with great restraint. His comping and overall flow were very precise but very legato.”

Higgins, qui avait surtout appris son métier en utilisant une approche d’essais-erreurs, avait résumé ainsi sa méthode d’apprentissage:

“That’s where you learn. You learn to be in context with the music and interpret. You make your mistakes and you learn. Most of the drummers that are working are people who know how to make the other instruments get their sound. Kenny Clarke was a master at that. It sounds like he was doing very little, and he was, but what he implied made all the instruments get their sound. Philly Joe, Elvin—as strong as they played, they still bring out the essence of what the other musicians are playing. Roy Haynes, Max, Art Blakey—none of them played the same. You try to add your part, but the idea is to be part of the music and make it one. That’s the whole concept for me.” 

Décrivant la contribution d’Higgins à l’histoire du jazz, le contrebassiste Ron Carter avait ajouté: “Billy Higgins was the drummer of the 20th century who put the music back into the drums. He was fabulous. He always played the form, and he was aware not only of the soloists, but also of his rhythm section mates.” Saluant le professionnalisme et la grande préparation d’Higgins, Carter avait précisé: “He was always on time, with his equipment ready, and he contributed to the general outlook of the group no matter where [we were] or how many people were involved. He made the music feel good.” De son côté, le pianiste Cedar Walton avait commenté: “His style is well-documented, but to see Billy in person at his drums was the ultimate jazz experience.”

Billy Higgins avait été élu ‘’Jazz Master’’ par la National Endowment for the Arts en 1997. En 1988, Higgins avait également remporté un prix Grammy conjointement avec Ron Carter, Herbie Hancock et Wayne Shorter pour la composition “Call Sheet Blues” tirée de la bande sonore du film ‘’Round Midnight.’’ Par la suite, Higgins avait fait partie du Round Midnight Band avec le saxophoniste Dexter Gordon.

Le saxophoniste Charles Lloyd avait rendu un des meilleurs hommages qu’on pouvait rendre à Higgins lorsqu’il avait déclaré: "Jazz is the music of wonder and, and he's the personification of it.’’ Higgins s’était toujours considéré comme un peu privilégié d’avoir pu faire une carrière musicale. Comme il l’avait mentionné peu de temps avant sa mort: "I feel blessed to play music, and it's also an honor to play music. You've got a lot of people's feeling in your hands."

[recapqsmp]

Jeudi 10/08 - Exclusion

Maximus et Aypierre ont discuté de leur projet de culte du loup de la nuit. Ils devront arriver à piéger des gens dans le furry club pour les convertir. Pomme a assisté à toute la scène, dont aux allusions que les deux nouveaux amoureux ont fait à propos de la nuit passée ensemble, et de leur statut de couple en relation libre. Son père l'a rassuré en lui disant que tout ceci n'était qu'un étrange rêve.

Maximus est ensuite allé chez lui avec Pomme. Ils ont parlé de la notion de mortalité, et Maximus lui a révélé avoir un plan avec Leonarda pour la rendre immortelle : transférer son esprit dans un cyborg, à l'aide de Sofia. Néanmoins, il a d'abord besoin de récupérer Sofia, qui est prisonnière de la Fédération. Il a proposé à Pomme d'essayer sur elle à la place de Leonarda, vu qu'elle a 2 vies, et que ça serait moins risqué. Pomme a dit qu'elle souhaitait en parler à Leonarda en premier, et a acceptée de garder ça pour elle pour l'instant.

https://clips.twitch.tv/HonestProductiveBananaTwitchRPG-TVp04LMgCJf54507

Après un super karaoké, Baghera et Maximus sont allés voir Foolish. Maximus lui a demandé s'il était dans la fédération, Foolish a répondu que non, mais que si la fédération lui proposait un job, peut-être qu'il accepterait. Maximus l'a donc exclu des Theorybros, et a invité Baghera a prendre sa place. Baghera a accepté, mais a chuchoté à Foolish qu'elle ne faisait que la prendre temporairement, et que la place était toujours la sienne.

Maximus BadBoy et Baghera veulent capturer ElQuackity en se déguisant en Cucurucho. Maximus jouera ce rôle, puisqu'il est le seul à parler Espagnol.

Foolish a reçu la demande de Cucurucho d'interroger un maximum de gens à propos de Mr.Mustard. Senhora Neide est apparu, et a acceptée que Foolish soit son roi.

https://clips.twitch.tv/ObeseDeafPastaLitty-rTu7-zIkoAa8cYhC

QuackityStudios a posté ces deux tweets :

[littleredwritinghoodsclub]

For our club members🌹: Only one more day to decide which genre you'd like to read for January's book of the month! Please vote if you haven't already.

Right now, horror/thriller is in the lead, and coming-of-age/domestic fiction is a close second!

The horror / thriller books on our list so far 🌹:

🌹 Rebecca by Daphne du Maurier 🌹 Dracula by Bram Stoker 🌹 Carmilla by Sheridan Le Fanu 🌹 Coraline by Neil Gaiman 🌹 No Exit by Taylor Adams

The coming-of-age / domestic fiction books on our list so far 🌹:

🌹 On Earth We're Briefly Gorgeous by Ocean Vuong 🌹 A Thousand Splendid Suns by Khaled Hosseini 🌹 The God of Small Things by Arundhati Roy 🌹 Great Expectations by Charles Dickens 🌹 Northanger Abbey by Jane Austen 🌹 Looking For Alaska by John Green 🌹 About a Boy by Nick Hornby

So if one of these genres wins, then these are our options for January! Once this poll ends, the next poll (Dec. 14-19) will be deciding the book we're reading.

TYSM for Reading!!

ଘ(✿˵•́ ᴗ •̀˵)

Interested in our club? Check out our activities from this post here. Or are you interested in seeing what we have on our book list? Check out our spreadsheet here.

Dividers taken from @bl0gzs and @picopipi

[helluva-world-innit]

Gah. This took such a long time and I'm not especially proud of it, but it's done and I have Inktober shit to catch up on so.

Okay, so this is my concept of Greed Ring. The main color here is yellow/gold but it really embraces all the colors of the Rings as it tries to be an embodiment of all of them (the extra green is a nod to US American money since, let's face it, that's where I'm from and that's where capitalism really has a lot of freedom to move. Also, the audacity of Mammon annoys Leviathan). A real melting pot of Hell, if you can believe it. A Vegas meets Mardi Gras meets shady carnival realm of exploitative entertainment and temptation. So, parties, casinos, bars/clubs, theatres, and restaurants. Money is king here. Mammon is ruler of this domain, naturally, but is rarely seen within it since he leaves most of his torturing to the demons he appoints as his Jesters, masters of various performance arts and professional drainers of wallets. "Jester" is an actual title in my rewrite. It's a job that allows Hellborn demons of any class to rise to minor royalty status and yes, Fizz is one of these Jesters. He's the first imp to be appointed to the position in over a century during the events of It's A Helluva World. He, Blitz, and Barbie were all being trained to be Jesters from a young age, but only Fizz impressed Mammon enough to be appointed. Unfortunately, it came at a terrible price.

That's the role of the mini circuses around the Ring: as training grounds for new Jesters for Mammon's ranks. One of the few appearances the Ringmaster of Greed makes to his domain is his tour of the Ring every three years to observe and select new Jesters. Sometimes, he doesn't pick anyone. Others, he might pick someone from every carnival. The criteria is known only to him and is deeply arbitrary to anyone else. There is a lot of gang activity in Greed Ring, as to be expected, but the majority of these gangs are under Mammon's rule as well. Any who try to avoid giving him a cut of their profit or taking over the Ring "mysteriously" disappear, never to be heard from or seen again.

Between constant advertisement and unchecked capitalism, most denizens think nothing of it. One less gang means one less group to shake you down for protection. The Sinners who opt to stay in Greed whisper of a being who lurks beneath the ever-sprawling dumps surrounding the Ring, however. Since they are regulated to only the slums, Sinners are the ones who encounter it the most. Trash scavengers have come back to their tent cities with tales that there is almost a living quality to the rancid garbage piled high and it is said that if you go wandering about in it alone, you will see it shift closer out of the corner of your eye. Some even claim they could hear a muffled voice muttering "Mine. Mine. Mine,". Many don't return from the dumps at all. It is said that whatever makes the garbage move and mutters claims them for its own.

The majority of the Ring is bright with a veneer of good humor and not taking anything seriously, which is the downfall of those who don't learn to see through the illusion quickly. Even Mammon puts on a good show of being a jolly and buffoonish ruler, but his mean streak is obvious to anyone who knows him personally and he is endlessly calculating and underhanded with how he acquires wealth. Most of this wealth is either horded or offered to Belphagor for new tech developments to make Greed the top Soul earner in Hell, something that sticks painfully in the craw of Leviathan who hates Mammon's style of tormenting Sinners. Belphagor, ironically, finds it all very funny.

Notable characters from this Ring are Fizzarolli, Barbie, Blitz, their parents: Buckzo and Beatriz, Moxxie, Crimson, and Sir Pentious. The Overseers of this Ring are The Hoarder a.k.a. Le Roi des Ordures/of Refuse/Rubbish (depends on who you ask) and Buddy. Also planning on doing a map view of this Ring later so I can paint a better picture of where everything is in relation to each other.

Up Next (though not for a whiiiile): Envy Ring!

[tejedac]

Les harmonies vintage · Playlist

Cab Calloway & his Orchestra · Ted Lewis · Scott Joplin ·The Ink Spots · Muggsy Spanier · Sister Rosetta Tharpe · Jelly Roll Morton · Rose Murphy · Leo Monosson · Kid Ory · Vera Lynn · Comedian Harmonist · Al Bowlly · Mezz Mezzrow · Carroll Gibbons · Elizabeth Cotten · Barnabas von Geczy · The Mills Brothers · The Firehouse Five Plus Two · Mississippi Sheiks · Sippie Wallace · Walter Barnes & his Royal Creolians · Cannon's Jug Stompers · Savannah Churchill · Frank Stokes · The Andrews Sisters · Bunny Berigan · Blind Boy Fuller · Gus Viseur · Barbecue Bob · Harry Roy and his Bat Club Boys · Robert Wilkins · Marek Weber · Tino Rossi · Django Reinhardt · Coleman Hawkins · Red Nichols · Tiny Parham · Mamie Smith her Jazz Hounds · Paul Specht · Ma Rainey · Robert Pete Williams · Sam Morgan's Jazz Band · Bernie Moten · King Oliver's Creole Jazz Band · Sam Lanin and his Orchestra · Tony Murena · Original Dixieland Jazz Band · Helen Kane · Ray Ventura · etc,