#stardust buster

[megaxlex]

Yeah

[sharky-the-idiot]

Say hi to the team that I almost beat error busters with. Idk how the fuck strawberry cookie got so far but here we are

[deusluxuria]

my fem!dio headcanons also include: abdul meeting her at the grocery store and compliments her outfit or something and they're super friendly to each other. and then runs into her again when she's like 6 months pregnant (no i'm not gonna go look up what year giorno was born or when SDC took place lol) and she names abdul a godparent and he babysits giorno a few times, and that's all before he runs into her at his shop and she tries to attack him and he thinks about it all afterwards like "bro wtf........"

[stardust-super-wizard]

Stardust the Super Wizard by Buster Moody

[aeroring]

so while playing Bomb Rush Cyberfunks, i saw the police turrets shoot chains at you and i thought it be a fun idea to draw Charis taking a selfie while one of them are trying to capture cir because ce's too strong to be pulled in by the turrets (it's gonna fail)

rough translation of what ce's saying in the last line: "You stand no chance, you fucking fascists!" i put it in Italian because ce prefers to speak Italian to Greek (cir first language) and i feel Italian flows better with English than Greek

also here's a version without the text and one with just the background to show the graffiti ce made

[simply-windy]

Parody Blog List!!!

Stargazer Rocket: @stargazers-paradise Rocket: @crossroadstroublemaker Buster Rocket: @smoke-and-blasters PJ Rocket - @sea-bunny-lullaby

Darkheart: @darkness-sees-all Medkit: @the-deer-doctor Eggbox: @dove-conductor Zuka: @shark-cartin-phighters

Banhammer: @the-all-mighty-warden Valk: @microphone-idol Firebrand: @peaceful-inpherno Koistaff: @koi-pond-queen

Ghostwalker: @the-silent-graveyard Sword: @ultimate-swordsman Snowflake Rocket: @son-of-snowflakes Hyperlaser: @blackrockian-mercenary

Broker: @red-rotary Traffic: @traffic-light-dude G. Zuka: @death-within-stardust Pest: @rotten-pesticide

Windforce: @aethereal-mother Dovord: @heartfelt-warrior 7MK0/Goldkit: @gold-plated-deer Seraph: @the-crimson-angel

Venomshank: @crow-deity Jesterspace: @carnival-beetle Bivekit: @crystalline-questions Slingshot: @chatty-cat-cafe

Icedagger: @snowflake-sweetheart Infected: @infected-raver Frankenhammer: @the-undead-warden p.AI.nter/Painter: @robotic-artistry

Coil: @crystal-criminal Pirate Valk: @oceanic-superstar Captain Rocket: @captain-lotl The Inphinity: @the-inphinity

[evilbiomes]

luna warmups

also quick oc talk below the cut vvv

i imagine in lunas Super Cool Final Boss Third Phase she uses the weapons crafted from the lunar fragments (stardust dragon staff, nebula blaze, etc etc) as attacks… think asriel dreemurr undertales chaos saber/buster attacks. also she gets cool wings (also the ones crafted from the lunar fragments) bc why da hell not

[fluffy-moth]

over the past month and so I've been doing these streams where I play a bunch of really cool Demos (and some short games) on my twitch, doing 4 of them per stream.

from left to right, up then down, we have:

Vividlope / Myths are 100% True / Gimmiko / Kipidon

BOOM! Buster / Susan Taxpayer / How Fish is Made / AutoNecrochess

Who's Lila / The Big Catch: Tacklebox / Mouthwashing / Blink and Die: Replay

Mask Around / Dungeon Clawler / Stardust Demon / Grapple Dogs: Cosmic Canines

you should go and play all of these RIGHT NOW!!!!!!!!!!!!

and also, if you have any cool demo (or short game) recommendations, lemme know, so I can do more D.DAYS streams ok bye!!!1!!

[firaknight]

The fact that CRK has been doing a better job at recognizing old characters than CROB also baffles me.

Space doughnut has like no story to my knowledge. CRK tied them into Stardust’s event and made them a meaningful, valuable character in the story. They’re Stardust’s first friend! And despite the language barrier, the two are very clearly close and trust each other and care for each other a lot! It’s incredibly sweet!

Moonlight was given similar treatment, getting an entire two part event centered around her, and was shown as her own character, not attached to anything romance related, which was fucking VITAL because barely anyone in the fandom can look at her and see her as anything other than Just A Lesbian. Her getting a connection to Stardust and gaining a deep, meaningful story with him was everything. They’re siblings. Neither knew the other existed until they met in tragedy. Stardust tried to destroy everything Moonlight held dear, and she didn’t want to hurt him. She wanted him to understand what had happened. In his time of need, when he was actively suicidal and decided to let death claim him, despite everything he had done, Moonlight still came to help him, to reach out and bring him out of his sorrow and to safety. She showed him care and love, that he wasn’t alone, that he didn’t have to be alone. And when Stardust needed to save Space Doughnut, he wondered just what was going through Moonlights head, because he wanted to understand why she saved him, and how he can embody that to save Space Doughnut. CROB gave Moonlight a legendary pet and magic candy and breakout episode and SHE WASN’T EVEN FUCKING PRESENT IN THAT BREAKOUT EPISODE. And her other event in CROB is so old it doesn’t have cutscenes you can find in game and said cutscenes are like. Impossible to find otherwise.

Blueberry Pie and Prophet also got put in there! Both had some cool stuff to add and were fleshed out to some degree!

Rebel got added and is super viable in many ways (Error Busters 👀) and while he didn’t exactly get a big thing of story, he was still a meaningful part of things and his addition made sense for the time!

Matcha has been given an incredibly detailed story thanks to the Laboritorium update and actually has a place among the cookies of darkness, with a fleshed out personality, some cool powers, and overall just a really good update.

With the slight exception of Rebel, who has been given presence in CROB, we kinda haven’t seen any of these fuckers get ANYTHING since their debut events in CROB, and CRK is out here handing them events and worldbuilding and all that. What the fuck. At this rate I’m gonna see Hero get added as an epic cookie with a voice and a story (and perhaps an actual villain!!) and he’ll be really good.

[megaxlex]

My Webcomic, Stardust Buster, just updated with the first chapter of its second episode! You can read it over HERE

[double-j]

*STARDUST REBLOG CHALLENGE NOVEMBER WEEK 5 MASTERLIST*

[FOR ALL FICS, CHECK THE STARDUST REBLOG CHALLENGE TAG]

*reminder to please heed the author’s warnings on individual fics!*

~ splitting the list up into weeks this month because the post editor has been giving me a hard time ~

TGM: JAKE HANGMAN SERESIN FICS

more than this from @hangmanbrainrot

douche bag jar deposit: $50 (from the douche bag jar series) from @jupitercomet

what to expect p. 1, & p. 2 from @topguncortez

my girl p. 3 from @/ereardon

operation apollo p. 14 from @/sunlightmurdock

the third amendment from @gennyanydots

less talk p. 1, & p. 2 from @tongue-like-a-razor

out of the blue, clear sky p. 2 (this was both a fic rec and a coffee rec, and a re-read) from @theharddeck

signed away p. 9 from @seresinhangmanjake

damned (from the look away universe AKA sugar daddy jake) from @fuckyeahhangman

prompts 30+27 & 14 & 8+14 (from the house we share, plz read this series, it is perfect) from @rolycolysficrecs

in your dreams (part 2 to drink up, aka hangman loves a hurricane shot) from @/fandomxpreferences

please come home for christmas, & i'll be home for christmas from @madsnowstorm

grounded p. 5 from @enchanting-eloquence

until i found you, & is that okay with you?, & beginning of it all from @auroradawnwrites

"were you ever going to tell me?" from @/bradshawsbitch

she is both hellfire and holy water p. 6 from @chemistryread

settling (from the best benefits series which will have you ready to *lovingly* smack jake and val for their idiocy) from @writercole

something that will haunt me when you're not around (from the better man universe that will make you feel all the feelings) from @sweetlittlegingy

ego check, & just how far i'd go, & fuck, marry, protect thy love, & vows (from the to have & to hold series) from @ohtobeleah

is this a joke? p. 1 & p. 2 from @edensbuttercups

strip from @welcome-to-my-multiverse

back for more from @/seresinhangmanjake

kiss the sun (fight the fire) from @callsignvalley

a glimpse of us (get the tissues ready) from @call-sign-jinx

TGM: BRADLEY ROOSTER BRADSHAW FICS

come back p. 13 from @ereardon

the deployment diaries p. 9, p. 10, p. 11, & p. 12 from @roosterforme

christmas angel from @archivallyfound09

'cause no one breaks my heart like you (plz get out your tissues now) from @heartsofminds

lips on you from @/roosterforme

last hurrah from @cherrycola27

g.u.y. from @notroosterbradshaw

the lakehouse from @ayorooster

one for the history books p. 15, & p. 16 from @pisupsala

oops preview, p. 1, & p. 2 from @fandomxpreferences

safe and sound prologue, & p. 1 from @/fandomxpreferences

whiskey sour from @bradshawsbitch

afraid of flying p. 1, & p. 2 from @youvebeenlivingfictional

when all is said and done from @/sunlightmurdock

hollywoods bleeding preview, & p. 1 from @disturbedbeautywrites

TGM: ROBERT BOB FLOYD FICS

king of my heart from @croimilis

what are you thinking? (sobbing still tbh) from @/ereardon

all fun & games p. 1, p. 2, p. 3.1, & p. 3.2 from @purelyfiction

make it proper from @rassvetsky

office christmas party from @notroosterbradshaw

TGM: MISC FICS

safe zone p. 4 from @sunlightmurdock (love triangle w/ jake and bradley)

something in-between p. 7 from @/archivallyfound09 (love triangle w/ jake and bradley)

the one where episode one teaser from @/auroradawnwrites (friends au w/ the dagger squad)

NHL FICS

that which we are, we are p. 5 from @spine-buster

BINGO

[jpbjazz]

LÉGENDES DU JAZZ

BUSTER WILLIAMS, MAITRE DE LA CONTREBASSE

‘’I’m a bass player, front and center. When I’m working in a group, then the music gets defined and determined by the leader. The main reason I’ve decided now to concentrate on my own music is that I wanted to be the person determining what got played, how it was played and what it ultimately sounded like on the bandstand. That’s my focus now, to play my own music and emphasize my compositions.’’

- Buster Williams

Né le 17 avril 1942 à Camden, au New Jersey, Charles Anthony "Buster" Williams était le fils de Charles Anthony Williams Sr. et de Gladys Williams. Le père de Williams, Charles Anthony Williams Sr., était contrebassiste et jouait aussi du piano et de la batterie. Sa mère Gladys était blanchisseuse. Surnommé ‘’Cholly’’, le père de Williams avait pratiqué plusieurs métiers pour nourrir sa famille de cinq enfants, mais il n’avait jamais abandonné la musique et se produisait dans les clubs après sa journée de travail. Grand amateur du légendaire contrebassiste Slam Stewart, Williams avait été le premier professeur de son fils et lui avait enseigné les vertus du travail bien fait. Buster avait commencé à s’intéresser à la contrebasse après avoir entendu l’enregistrement du standard ‘’Stardust’’ de Oscar Pettiford.

Comme Buster l’avait expliqué des années plus tard: “It was an unwritten law that I had to play it right or hear about it [from his father]. I was going to be the best”. Dans une autre entrevue, Buster avait précisé:

"My father was my teacher. He would prepare my lessons for me, and when I got home from school I was supposed to practice, then he would listen while he was eating his dinner. It was an unwritten law that I had to play it right or hear about it. I was going to be the best. I had no choice. In those days, instead of a two car family, we were a two bass family. My father was a fan of Slam Stewart, and he strung his basses the way Slam did. Instead of the regular G-D-A-E, he strung a high C; ie,C-G-D-A. Adding the C string puts the playing of higher-pitched passages at a more comfortable position. Of course, when he decided to teach me he restrung one of his basses in the traditional manner for me. He told me, 'If I re-string my bass for you, you'd better be serious!'" 

La maison de la famille Williams était toujours remplie de musique. Buster s’était familiarisé avec le jazz par l’entremise de l’impressionnante collection de disques de son père. Il expliquait:

‘’He had an extensive record collection, and we had a roller piano, you know, an upright piano. And you put these rolls of music and press the pedals. We were listening Art Tatum, Jimmie Lunceford Orchestra, Count Basie, Duke Ellington, and all of this music was going on in my house all the time. My father’s musicians friends would come over. He had a good friend named Kenny Andrews, a piano player, and he would come over and they played duos all day long. I was hearing the music and any question that I would ask my father or his musician friends, they would answer for me. I had been listening to Thelonious Monk, and my oldest sister belonged to the Columbia Record Club. They would send us records every month. That’s when I first heard Miles Davis, Art Blakey and Horace Silver.’’

Très reconnaissant à son père avait exercé d’avoir encouragé son développement comme musicien, Williams avait ajouté: ‘’My father was a great, great player. I heard many fine records when I was growing up, and the sound of Slam Stewart was a prime influence on me, both in terms of his arco sound and the way he strung the bass. My father told me that if he took the time to prepare my instrument I had better {to} be serious about it. It’s something that I’ve never forgotten and will always remember about playing and about music.’’

Williams avait décroché un de ses premiers contrats professionnels avec un ami de son père, le saxophoniste ténor Louis Judge.

En 1959, à l’âge de dix-sept ans, Williams avait commencé à jouer à Philadelphie avec le quartet du saxophoniste Jimmy Heath qui comprenait Sam Dockery au piano et le légendaire Charles ‘’Specs’’ Wright à la batterie. Comme Williams l’avait précisé plus tard: ‘’What I learned from Jimmy about music and life was so valuable that bits and pieces of that experience continue to unfold even now. It was like taking a Time release "capsule of knowledge."

DÉBUTS DE CARRIÈRE

Un mois après avoir décroché son diplôme du Camden High School en 1960, Williams s’était joint au groupe des saxophonistes Gene Ammons et Sonny Stitt. À l’origine, c’est plutôt le père de Williams qui devait être engagé avec le groupe, mais comme il n’avait pu se libérer, c’est Buster qui avait pris sa place. Williams explique comment il avait commencé à jouer avec le groupe:

‘’One of my father’s good friends was a bassist that played with Charlie Parker named Nelson Boyd. Charlie Parker penned the tune ‘’Half Nelson’’ for Nelson Boyd, and he was how I got my introduction to Gene Ammons and Sonny Stitt. The gig started on Tuesday at The Showboat in Philadelphia and Boyd couldn’t make the weekend, so he called my father to take the gig. My father was working, so he sent me instead. I also played quite a bit with Jimmy Heath in Philadelphia before goint out on the road with Gene and Sonny. Camden and Philly were filled with clubs. It was quite inspirational.’’

Williams poursuivait: ‘’When I went out on the road with Gene Ammons and Sonny Stitt, it was exciting. And of course, I was nervous at first because I knew this was the big time. I didn’t realize, until I got on the bandstand, how much my father had really prepared me. That’s rich, you know ? It was truly to my benefit.’’

Williams avait tellement impressionné Ammons et Stitt qu’après une seule performance, ils lui avaient demandé de les accompagner en tournée.

Williams était demeuré avec le groupe durant environ un an. Finalement, Ammons était parti avec la caisse lors d’un séjour du groupe à Kansas City, et personne n’avait été payé. Heureusement, Williams, le pianiste et le batteur du groupe avaient obtenu un contrat d’une semaine pour travailler avec Al Hibbler.

De retour à Camden, Williams avait pris des cours de composition, d’harmonie et de théorie au Combs College of Music de Philadelphie. Il avait étudié sous la direction du docteur Roland Wiggins.

Après avoir été découvert par la chanteuse Dakota Staton, Wlliams avait obtenu un engagement à Wilmington, au Delaware, avec le trio de Gerald Price. En 1962, Williams avait accompagné la chanteuse Betty Carter. Décrivant sa collaboration avec Carter comme expérience à la fois inspirante et perturbante, Williams avait précisé:

‘’Well, the first thing you had to understand about Betty Carter is, ‘’Don’t go with her.’’ You may start out together, then you look around and Betty Carter is two blocks behind you, but she knows where she is. She had that kind of intuitive understanding of improvisation. She would be improvising while she’s still singing the melody. If you make the mistake of trying to wait for her, then you’d be drastically wrong because she knows where she is and she’s going to be where she needs to be when she needs to be. I used to tell her, ‘’Betty, when you come in and I hit my first beat, then I’m going to go out and have lunch and I’ll be back in time for me to play beat two.’’ I had never gotten to play a ballad so slow until I started playing with Betty Carter. She had such feeling and such emotion in what she did, and she could really swing.’’

Williams s’était rendu pour la première fois en Europe dans le cadre d’une tournée avec Sarah Vaughan l’année suivante. Commentant sa collaboration avec Vaughan, Williams avait ajouté: ‘’I learned patience with Betty Carter, and I learned the importance of playing in tune with Sarah Vaughan. Sarah could hear anything that was out of tune. We did a rehearsal once with a big band. Sarah stopped the band, pointed to the second trumpet player, and told him to tune up.’’

C’est lors de la tournée avec Vaughan que Williams avait fait connaissance avec des musiciens qu’il n’aurait jamais cru devoir faire partie de son avenir: Miles Davis, Ron Carter, Herbie Hancock, George Coleman et Tony Williams. 

En 1964, après avoir joint le groupe de la chanteuse Nancy Wilson, Williams s’était installé à Los Angeles. C’est là que Williams avait épousé l’année suivante Veronica, une ancienne camarade de high school. Wilson avait même été la demoiselle d’honneur de sa nouvelle épouse. Williams avait continué de travailler avec Wilson jusqu’à ce qu’il décide de rentrer à New York en octobre 1968. Williams avait enregistré cinq albums avec Wilson. Décrivant sa collaboration avec la chanteuse, Williams avait commenté: ‘’Nancy Wilson loved to do duets with me. We used to do the Beatles song, ‘’Yesterday.’’ I would start it off any kind of way I wanted to. She always knew where to come in, and we would sync. It was just fantastic. I learned something unique from each one of the singers. They all said to me that they wouldn’t sing a song if they couldn’t relate to the lyrics. And all the great musicians, I think, also told me, if you’re going to play a song that has a lyric, learn the lyric.’’

Parallèlement à sa collaboration avec Wilson, Williams avait également été un membre régulier des Jazz Crusaders de 1965 à 1968, avec qui il avait enregistré cinq albums. Williams explique comment il s’était joint au groupe: ‘’I was playing all kinds of gigs when Nancy was off. I got a call from the Jazz Crusaders to play with them, and we opened at The Lighthouse. Before me, the Jazz Crusaders had a guy named Herbie Lewis. He was another great bass player. There was also a great studio player in L.A. named Jimmy Bond who played with them earlier.’’

Décrivant sa collaboration avec le groupe, Williams avait ajouté:

‘’You know, I never thought I was doing anything spectacular except, you know, enjoying myself, which was great. Wayne Henderson, their trombone player, and I had a real close comedy kind of relationship. I wrote a song for him called ‘’Ruby P’gonia.’’ I think the first record we did was Lighthouse ‘68, and then Lighthouse ‘69. Then we did another record called Old Shoes, New Shoes. That band would have had a lot more international acclaim except for the fact that none of the other guys liked to fly. We had offers to go to Europe, but, unless we were going on a boat, we weren’t going. (Of course, I have never had a problem with flying). We had lots of fun, and I made maybe about five records with them.’’

En 1967, Williams avait aussi remplacé brièvement le contrebassiste Ron Carter dans le groupe de Miles Davis. Il avait également collaboré avec Kenny Dorham, Eddie Henderson, McCoy Tyner, Dexter Gordon, Roy Ayers, Stanley Turrentine, Frank Foster et Art Blakey.

Après son arrivée à New York, Williams s’était joint au sextet de Herbie Hancock qui était aussi composé de Herbie Mann, Mary Lou Williams et Billy Hart. Williams, qui jouait à la fois de la basse électrique et acoustique avec la formation, avait enregistré trois albums avec le groupe. De plus en plus populaire, Williams était très en demande comme musicien de studio. Williams avait également joué dans plusieurs commerciaux et composé plusieurs bandes sonores pour le cinéma.

Tout avait bien fonctionné jusqu’à ce que ces différents engagements commencent à entrer en conflit et que Williams soit obligé de choisir. Même s’il manquait d’expérience avec la basse électrique, Williams avait finalement décidé de se joindre au sextet Mwandishi d’Herbie Hancock, un des plus grands groupes de jazz-rock de l’époque qui était composé de Johnny Coles à la trompette, de Garnett Brown au trombone, de Joe Henderson au saxophone ténor et d’Albert ‘’Tootie’’ Heath à la batterie. Williams explique comment il avait commencé à jouer de la basse électrique:

’’Even before Herbie, I made some records with Harold Mabern playing Fender electric bass. One was called ‘’Greasy Kid Stuff !’’ I did about two or three records around that time doubling on Fender. I just did an interview recently, and the person that I did the interview with, he did research and old me about records that I played electric bass on that I totally forgot. But anyway, when I was with Herbie, when we started the band, we did not use any electronic instruments. Shortly afterwards, I played the Fender on ‘’Ostinato: Suite for Angela’’, and I was playing electric bass and the acoustic bass and couldn’t leave home without both of them.’’

Williams avait aussi joué de la basse électrique dans des publicités télévisées.

De 1969 à 1972, le groupe avait finalement adopté son alignement définitif composé, en plus de Hancock et Williams, de Benny Maupin au saxophone, de Julian Priester au trombone, d’Eddie Henderson à la trompette, de Patrick Gleason aux synthétiseurs et de Billy Hart à la batterie. Décrivant sa collaboration avec le groupe, Williams avait précisé:

‘’This band with Herbie really was a high point in my musical life. We were doing some things that no one ever thought a jazz band would ever consider. I remember one time we were in Italy and Herbie saw this huge Moog synthetiser and he decided he wanted to add it to the band. This was the time when those things were huge. We ended up carting this enormous thing all over Italy and having to pull all that stuff up; we looked like an airport up on the bandstand. I had never played the electric bass before we started going electric. I didn’t know then that it’s totally different instrument. The stuff that casts do today, all the slapping and the ripping, that’s something I’ve never done on the electric. I put that thing down back in the ‘70’s, and if anyone asks me today if I play electric bass, I tell them I don’t. That’s a whole different animal now.’’

Williams avait fait ses débuts comme leader en 1975 sur l’album Pinnacle sur étiquette Muse. L’album comprenait ‘’Tayamisha’’, une composition que Williams avait écrite pour sa fille. Williams avait également pris la place du contrebassiste Ron Carter dans le cadre de certaines sessions dans lesquelles Carter avait joué de la contrebasse piccolo. Dans les années 1970, Williams avait également accompagné Mary Lou Williams, Kenny Barron, Jimmy Rowles, Larry Coryell, Stanley Cowell, Steve Turre et Frank Morgan dans le cadre de certains enregistrements.

Au début des années 1980, Williams avait fait une tournée avec Herbie Hancock, Tony Williams et le jeune trompettiste Wynton Marsalis. Par la suite, Hancock avait formé un trio avec Williams à la contrebasse et Al Foster à la batterie. Dans le cadre de certaines tournées estivales, des invités spéciaux comme les saxophonistes Branford Marsalis, Michael Brecker et Greg Osby avaient également été ajoutés. Le trio avait poursuivi ses activités jusqu’en 1995. Durant cette période, Williams avait également fait une apparition au gala des prix Grammy dans le cadre d’un quintet qui comprenait Hancock, Williams et le chanteur Bobby McFerrin.

En 1982, Williams avait été un des fondateurs du groupe Sphere. Créé pour rendre hommage au pianiste Thelonious Monk, le groupe était composé du pianiste Kenny Barron, du saxophoniste ténor Charlie Rouse (qui avait remplacé plus tard par Gary Bartz) et du batteur Ben Riley. Le groupe, qui avait enregistré son premier album le 17 février 1982 le jour-même de la mort de Monk, avait progressivement incorporé les compositions des membres du groupe ainsi que des standards du jazz à son répertoire.

La même année, Williams avait aussi commencé à travailler avec les Timeless All Stars, un sextet qui était composé du pianiste Cedar Walton, du tromboniste Curtis Fuller, du saxophoniste Harold Land, du vibraphoniste Bobby Hutcherson et du batteur Billy Higgins. Le groupe avait enregistré quatre albums pour l’étiquette hollandaise Timeless Records.

En 1989, Williams avait enregistré un second album comme leader intitulé "Something More" qui comprenait cinq de ses compositions. Avaient également participé à l’album le saxophoniste Wayne Shorter, Hancock, le batteur Al Foster et un brillant jeune trompettiste japonais nommé Shunzo Ono. Après la parution de l’album, Williams avait formé son propre groupe également appelé Something More. Le groupe était notamment composé de Ralph Moore au saxophone ténor, du pianiste Benny Green et du batteur Billy Drummond. Parmi les succès de la formation, on remarquait la pièce ‘’Enchanted Flower.’’

Williams expliquait pourquoi le quintet avait été fondé: "After working almost continuously for 30 years as a sideman, I decided it was time to take the plunge, step up to the front, play my music, and express my concept of a cohesive musical unit. I've served my apprenticeship under many great masters and feel that it's my honor and privilege to carry on the lineage that makes this music such an artistically rich art form.’’ Depuis sa fondation en 1990, le groupe avait fait plusieurs tournées en Europe, au Japon et en Australie. Il avait également participé à la première édition du Festival de jazz international de Moscou en plus de se produire régulièrement aux États-Unis.

En 1991, Williams avait décroché une bourse du National Endowment for the Arts pour composer une oeuvre pour quintet, ensemble à cordes et choeurs. La même année, Williams avait également été lauréat d’une bourse de la New York Foundation for the Arts Fellowship Grant. En 1998, Williams avait enregistré un troisième album sous son nom intitulé ‘’Somewhere Along the Way’’, qui avait été suivi en 2004 de ‘’Griot Libertè.’’ L’album avait été enregistré au célèbre studio de Rudy Van Gelder au New Jersey.

En 1999, Williams avait enregistré ‘’Live at the Montreux Jazz Festival’’ avec un quartet comprenant le pianiste Mulgrew Miller, le vibaphoniste Steve Nelson et le batteur Carl Allen. Même si la composition du groupe rappelait un peu le légendaire Modern Jazz Quartet, Williams avait tenu à préciser qu’il n’avait pas choisi ce format pour rendre hommage au groupe. Williams, qui appréciait particulièrement le vibaphone comme instrument, avait expliqué:

‘’It’s an instrument that I enjoy immensely. The vibes bring a different sound to the band. It gives us a different flavor. I like the romanticism of the vibes, and in my view it has what I call a great blendability, if that’s a word, with the rest of the instruments. I’m excited by the chance to have it in my band. The only problem with this new record is that this isn’t my working band. It’s really becoming difficult today to make records with even the same personnel from one time to the other, let alone have your regular group. My working band includes Miller on piano, Stefon Harris, a wonderful young vibes player, and Lenny White on drums. Steve Wilson, who is Gerald Wilson’s son, plays with us at times on alto and soprano sax. I really would love to be able to actually rehearse and record a series of records with this same band, but that’s just one of the problems with what’s happening today.’’

En juin 2008, Williams avait autoproduit un enregistrement digital intitulé ‘’Live Volume 1’’ qui était disponible exclusivement sous forme de téléchargement.

De 2010 à 2014, Williams avait fait une tournée avec le groupe 4 Generations of Miles, composé de Sonny Fortune, Mike Stern et Jimmy Cobb. Le groupe devait son nom à un concert et à un album publié en 2002 qui rendait hommage aux quatre générations du groupe de Miles Davis. Le groupe original comprenait Ron Carter à la contrebasse et George Coleman au saxophone ténor.

Également professeur, Williams avait fondé en 2013 la Buster Williams School of Music, une organisation à but non lucratif qui avait pour objectif de transmettre son héritage aux générations futures. Le projet faisait suite à une classe d’été que Williams avait donnée dans sa ville natale de Camden en 2012. À la même époque, le groupe Something More s’était produit au Festival de jazz de Portland et au Dimitriou's Jazz Alley avec une formation composée des anciens collègues de Williams avec le groupe Mwandishi, Bennie Maupin et Julian Priester, et des musiciens Cindy Blackman-Santana et George Colligan.

En 2013, Williams avait participé à une tournée en Europe avec le pianiste Eric Reed,  le saxophoniste Bruce Williams et le batteur Joey Baron. En mars 2014, Williams avait fait une brève tournée en Europe avec le trio du pianiste Steve Kuhn. L’autre membre du groupe était le batteur Billy Drummond. En 2023, Williams avait publié l’album ‘’Unalome’’. Le titre de l’album faisait référence à la loi de la cause et de l’effet dans la religion bouddhiste dont Williams était un adhérent.

Reconnu par le Penguin Guide to Jazz on CD comme un des plus importants accompagnateurs du jazz moderne, Williams est également considéré comme un maître de l’harmonie, du contrepoint et de l’orchestration. Au cours de sa carrière, Williams a joué avec une copie d’une contrebasse Boosey & Hawkes du début du 19e siècle. Même s’il adorait la contrebasse, Williams appréciait également des spécialistes de la basse électrique comme Stanley Clarke, Jaco Pastorius, Anthony Jackson, Marcus Miller, Victor Wooten, Christian McBride et Derrick Hodge.

Refusant de se limiter à un rôle de chef d’orchestre ou d’accompagnateur, Williams se percevait d’abord et avant tout comme un contrebassiste. Il expliquait: ‘’I’m a bass player, front and center. When I’m working in a group, then the music gets defined and determined by the leader. The main reason I’ve decided now to concentrate on my own music is that I wanted to be the person determining what got played, how it was played and what it ultimately sounded like on the bandstand. That’s my focus now, to play my own music and emphasize my compositions.’’

Williams a collaboré avec plusieurs grands noms du jazz au cours de sa carrière, de Chet Baker à Count Basie, en passant par Art Blakey, Chick Corea, Miles Davis, Erroll Garner, Dexter Gordon, Herbie Hancock, Roy Ayers, Freddie Hubbard, Mary Lou Williams, Larry Coryell, Wynton Marsalis, Branford Marsalis, Sonny Rollins, Chick Corea, Kenny Barron, Jimmy Rowles, Hampton Hawes, Cedar Walton, Billy Taylor, Mulgrew Miller, Sonny Stitt, McCoy Tyner, Lee Konitz, Herbie Mann, The Jazz Crusaders, Bobby Hutcherson, Stanley Cowell, Steve Turre, Lee Morgan, Ron Carter, Joe Farrell, Sonny Fortune, Jimmy Cobb, Mike Stern, Kenny Burrell, Frank Morgan, Jimmy Heath, Harold Land, Herbie Mann, Frank Foster, Charlie Rouse, Stanley Turrentine, Roy Ayers, Woody Shaw, Benny Golson, Illinois Jacquet, Jimmy Heath, Gene Ammons, Hank Jones, Lee Morgan, Elvin Jones, Harold Mabern et Hamiet Bluiett. Williams avait également accompagné de nombreux chanteurs et chanteuses, dont Sathima Bea Benjamin, Shirley Horn, Betty Carter, Jonathan Schwartz, Nancy Wilson, Jean Baylor, Carmen McRae, Roseanna Vitro, Helen Merrill, Dakota Staton, Nnenna Freelon, Jon Lucien, Marguerite Mariama et Champian Fulton.

Particulièrement marqué par sa collaboration avec Sarah Vaughan, Sonny Rollins, Miles Davis, Dexter Gordon et Herbie Hancock, Williams avait commenté:

‘’There have been so many wonderful folk that I’ve worked with and played with over my years, but Sarah Vaughan was special. So were Sonny Rollins and Miles Davis, Dexter Gordon and, of course, Herbie Hancock. There are people who didn’t just teach you about music. They took you aside and taught you about life, about what it really means to play this music well, to actually have something to say on the bandstand. This was my true college, if you will, traveling and playing with all these great people.’’

Lorsqu’on avait demandé à Williams ce qu’il pensait de l’évolution du marché de la musique, il avait répondu:

‘’If I really answered that one the way I want to, it would take about seven books. Let’s just say that the scene has never been like it is today. There are so many elements in play that have nothing whatsoever to do with the music. I’ve always been an optimist, someone who saw the glass said it was half full, rather than saying it was half empty. It’s very interesting that in terms of the legitimacy of the music, you’ve got so many people in high places that don’t have any idea about what even constitutes musical quality. You’ve got these bureaucraties in place of gigs and in every situation, and in that way I’m a little bit disturbed. But you have to keep on fighting, no matter who’s supposedly in charge and whatever it is they try to tell you. I get upset sometimes because the real thing is being overlooked, and being assaulted by politics, economics and all the people who want to be part of the controlling forces. This isn’t something I sit around and complain about a lot, but it really something that anyone who’s been out here even a little bit can easily see.’’  

La tête toujours remplie de projets, Williams avait ajouté:

‘’I still haven’t written my symphony yet. I would like to write some movies. Those two things are pretty much my goals, and I want to do everything in between as well. I never feel like I’ve arrived or that there’s nothing more for me to do. I don’t ever feel like things have brought me to some sort of stablemate. There’s always more things to do and more things to say, and that’s what I plan to continue doing as I’m capable.’’

Williams avait également collaboré à plusieurs bandes sonores de film et à des commerciaux pour la télévision (notamment pour Coca-Cola, Budweiser, la champagne Tott's, la compagnie d’assurances Prudential, Chemical Bank, Alpo Dog Food, le réseau de télévision HBO,  Budweiser et Old Spice). Williams avait composé sa première bande sonore pour le cinéma dans le cadre d’une collaboration avec Quincy Jones dans le film ‘’Mackenna's Gold’’ de J. Lee Thompson en 1969. En 1981, Williams avait retrouvé le contrebassiste Ron Carter dans le film ‘’Le Choix des Armes’’ du réalisateur Alain Courneau mettant en vedette Yves Montand et Simone Signoret. Composée par Philippe Sarde, la musique du film avait été interprétée par le London Symphony Orchestra. Commentant sa participation au film, Williams avait précisé: ‘’"That film required quite a commute. I had to go back and forth to London at least once a month for six months, carrying my bass. They really got to know me at JFK and Heathrow.’’

Dans les années 1990, Williams avait collaboré avec Angelo Badalamenti dans le film de David Lynch ‘’Twin Peaks: Fire Walk with Me’’ (1992) et avec le trompettiste Terence Blanchard dans le cadre du film ‘’Clockers’’ (1995) de Spike Lee. Williams avait aussi fait quelques apparitions à la télévision, y compris avec le groupe du Tonight Show dirigé par Branford Marsalis, avec lequel il avait interprété cinq de ses propres compositions. Williams avait également accompagné le pianiste Erroll Garner dans le cadre de la même émission. Williams avait aussi fait des apparitions dans le Andy Williams Show (avec Nancy Wilson), le Joan Rivers Show, le Joey Bishop Show, le Mike Douglas Show et dans la série de télévision pour enfants Sesame Street aux côtés du chanteur Joe Williams. En 2004, Williams avait aussi interprété son propre rôle dans le film ‘’The Terminal’’ de Steven Spielberg aux côtés de Benny Golson, Nilke LeDonne et Carl Allen. Les arrangements et les compositions de Williams ont été enregistrés par de nombreux artistes dont Roy Ayers, Roy Hargrove, Art Blakey, Larry Coryell, Freddie Hubbard, Buck Hill, les Jazz Crusaders, Mary Lou Williams et Herbie Hancock.

Williams a remporté de nombreux honneurs au cours de sa carrière, dont un Min-On Art Award, un SGI Glory Award, un SGI Cultural Award et un RVC Corporation RCA Best Seller Award.  Williams avait également remporté un prix Grammy pour l’album Love for Sale qu’il avait enregistré avec The Great Jazz Trio en 1980. Le groupe était composé de Hank Jones au piano et de Tony Williams à la batterie. 

Aujourd’hui âgé de quatre-vingt-deux ans, Williams passe une retraite paisible dans sa ville natale de Camden, au New Jersey, avec son épouse Veronica. Familiarisés avec la religion boudhiste par sa soeur en 1972, Williams et son épouse s’étaient convertis au boudhisme Nichiren après que Veronica ait été victime d’une commotion dans un accident d’automobile. Williams était aussi membre de la Soka Gakkai International, une association boudhiste active sur la scène mondiale. L’album de 2004 ‘’Griot Libertè’’ était d’ailleurs inspiré d’un autre problème de santé dont avait été victime Veronica alors qu’elle avait récupéré d’un coma à la suite d’une crise cardiaque.

En 2021, le réalisateur Adam Kahan a rendu hommage à Williams dans le cadre di documentaire ‘’Buster Williams, From Bass to Infinity.’’

©-2024, tous droits réservés, Les Productions de l’Imaginaire historique

SOURCES:

‘’Buster Williams.’’ Wikipedia, 2023.

‘’Buster Williams.’’ All About Jazz, 2024.

‘’Buster Williams: Blendability.’’ Jazz Times, 18 avril 2021.

‘’Buster Williams discusses a life in time and making the most of it.’’ WRTI, 16 avril 2023.

[trident-dragion]

Over the Nexus Deck Profile: Dark Paladin

Dark Paladin is a Fusion of Dark Magician and Buster Blader, designed for Yugi Muto's Duel with Seto Kaiba in Battle City, as Yugi's answer to Blue-Eyes Ultimate Dragon. In the TCG, it was a rare example of a Fusion Monster that was actually good once it fit the field. However, it was never used simply because its Fusion Materials weren't good and Fusion Summoning in general was bad at the time. Fortunately, developments such as Elemental HERO Prisma and Future Fusion make it far more accessible, so building a Deck around it is feasible. Dark Paladin gains 500 attack for all Dragons in both player's field and Graveyard, making its already good 2900 attack even better. To supplement this attack boost, Dark Paladin is played in a Dragon Deck to ensure its attack stat is incredibly high regardless of what Monsters the opponent plays. Its other effect, negating Spell Cards at the cost of a discard, is even more powerful, creating a semi-lockdown similarly to Horus the Black Flame Dragon LV8. Speaking of Dragons, my build plays a very standard Dragon lineup, with the added Tuner of Debris Dragon, which works amazingly with King of the Swamp: Discard King or use it as Fusion Material to put it in the Graveyard, then Summon it right back with Debris Dragon to go into a Level 7 Dragon Synchro, including the usual suspects but most notably Gungnir, Dragon of the Ice Barrier. Prisma, meanwhile, not only makes Dark Paladin easier to Summon, it also makes Polymerization in general more useful as it can be used to Summon the Omni HEROES, giving the Deck additional utility with Fusion Summoning. I don't have much more to say about it, so here's the list: MONSTERS (23): Dark Magician x3 Buster Blader x3 Debris Dragon x1 Elemental Hero Prisma x3 Exploder Dragon x1 King of the Swamp x3 Masked Dragon x3 Red-Eyes Darkness Metal Dragon x3 Red-Eyes Wyvern x3 SPELLS (14): Dark Hole x1 Dragon Ravine x3 Future Fusion x1 Gold Sarcophagus x2 Monster Reborn x1 Mystical Space Typhoon x2 Polymerization x3 Reinforcement of the Army x1 TRAPS (3): Royal Decree x3 EXTRA DECK: Dark Paladin x3 Elemental Hero Absolute Zero x1 Elemental Hero Gaia x1 Elemental Hero Great Tornado x1 Elemental Hero Nova Master x1 Five-Headed Dragon x1 Ancient Fairy Dragon x1 Black Rose Dragon x1 Exploder Dragonwing x1 Gungnir, Dragon of the Ice Barrier x1 Red Dragon Archfiend x1 Scrap Dragon x1 Stardust Dragon x1

[lorecatchup]

That was so cute wtf

Jerry Lawler just pitched a show about Stardust and Goldust going to haunted houses and sucking ghosts up into vacuums, called Dust Busters and I would watch

"Goldust's persona was built around movies and movie lines" "what's Stardust's persona?" "..... he likes stars"

Bonus by @joanofarcisdead:

"oh my god wait that means that golddust is an alien demon who watched lots of movies and tried to fit into human society through the movies and glam of old hollywood

whereas stardust is just like "hi guys i like stars""

[thegoldendoorknob]

Triple moron tracklist

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White Tiger

Beast King’s Claw Marks

Laharl’s Hymm

Maritsu Evil Academy

Cirno Math

Chirumiru

Triple Baka

Spooky Scary Skeletons

Wall-E

We Don’t Talk About Bruno

Why Should I Worry

That’s What Friends Are For

Bluster The Benevolent

This is Halloween

Stepping Wind

Wild Challenger

Great Days

il vento d'oro

Frogs are Friends / Revenge

Ginza

Green-Eyed Jealousy

Bad Apple!

My Marie

Tamariu

Dark Messenger

You’re Not Alone!

Desire For All That Is Lost

Challengers

Gamma

Flying Battery Act 1

Sky Sanctuary

Escape From The City

Won’t Stop, Just Go!

Keys The Ruin

Live and Learn

Stardust Speedway

Fly Away

Ushiwaka (Dance)

Road To Heaven

Mute City

Gym Leader

Piers

Marnie

Gladion

Eikichi (Sad)

Shara Ishvalda

Gashadokuro

Memory

Rumor

Glade

Behind The TV

Signs of Love

Deva Yuga

Factory Inspection

Lullaby of Deserted Hell

Acid Tunnel Of Love

SMT3 featuring dant-

Knights of The Holy Lance

The Other Promise

Open Your Heart

Supporting Me

Void Termina

Meeting Lolo

Kamiki Festival

More Digging Here

Shakuya

Spiral Mountain

Witchyworld (West)

Minecart

Hard Rain

A Master, A Father, A Thief

Pollyanna

Ikoroshia

Trial Underground

Class Trial (Odd)

Cross Sword

Kakariko

Phantasmagoria Mystical Expectation

The Little Doll’s Dream

Old Puppet

Dream of The Shore Bordering Another World

Treasured Memories

Friends In My Heart

Bustin’ Up On The Beach

Destiny Islands

Kairi

The Force In You

Rude Buster (repaint)

Fields of Hopes and Dreams repainted

Win The Race

KK Safari

Kill Chop Deluxe

Mad Monster Mansion (Organ)

Grunty’s Furnace Fun

Gruntilda

Rigor Mortis Rag

Plok!

[ygo-monster-type-tournament]

i have images for every archetype on the list now, but i lost track of time and ended up staying up way too late. oops.

Don't worry about having missed the submission window or something like that! No matter how many submissions I get, i'll figure out some way to make it work. and once i decide when to stop taking submissions, i'll be sure to make it clear to everyone when that will be ahead of time.

here's the current list, by the way! key: bold: someone has specifically submitted it and it will not be deleted except in special cases italic: i put it in myself and there is the chance it will be deleted to make the number of entrants more convienent Since i copypasted it the formatting may be messed up a bit. sorry.

there's also a document where i keep this info and more up-to-date so check that out

/Assault Mode @Ignister A.I. Abyss Actor Aesir Alien Ally of Justice Altergeist Amazement Amazoness Amorphage Anti Ancient Gear Ancient Warriors Appliancer Arcana Force Armed Dragon Aroma Artifact Arts Angel Atlantean Attraction Batteryman Battleguard Battlin’ Boxer Battlewasp Beast Gear Beetrooper Black Luster Soldier Blackwing Blaze Fiend Blue-Eyes Borrel Branded Bujin Burning Abyss Buster Blader Butterspy Bystial CAN:D Cat (Rush Duel) Charmer Chemicritter Chronomaly Chrysalis Cipher Clear Cloudian Code Talker Codebreaker Constellar Constructor Crusadia Crystal Beast Crystron Cubic Cyber Angel Cyber Dragon Cynet D/D Danger! Dark Contract Dark Magician Dark Scorpion Darklord Deskbot Despia Destiny HERO Destruction Sword Digital Bug Dinomist Dinomorphia Dinowrestler Djinn Dododo Dogmatika Dracoslayer Dracoverlord Dragon Ruler Dragonmaid Dragunity Dream Mirror Drytron Duston Earthbound Edge Imp Eldlitch Elemental HERO Elemental Lord Elementsaber Endymion Entity Evil★Twin Evil Eye Evil HERO Evilswarm Evolsaur Evoltile Evolzar Ewekai Excutie Exodia Exosister F.A. Fabled Fairy Tail Fire Fist Fire Formation Fire King Flamvell Floowandereeze Flower Cardian Fluffal Fortune Fairy Fortune Lady Fossil Frightfur Frog Fur Hire G Golem Gadget Gagaga Gaia Galactica Galaxy Gandora Geargia Gem-Knight Generaider Genex Ghostrick Ghoti Gimmick Puppet Gizmek Gishki Gladiator Beast Gogogo Gold Pride Gorgonic Gouki Goyo Graydle Gravekeeper’s Guardian Gunkan Gusto Harpie Hazy Flame Helixx Heraldic Beast Heroic Hieratic High Tech Dragon Hole Ice Barrier Icejade Igknight Impcantation Infernity Infernoid Infinitrack Invoked Inzektor Iron Chain Jinzo Jointech Junk Jurrac Kaiju Karakuri Kashtira Knightmare Koa’ki Meiru Kozmo Krawler Kuriboh Labyrinth Laval Libromancer Lightsworn Live☆Twin Lunalight Lyrilusc Machina Madolche Magical Musket Magician Girl Magikey Magistus Magnum Overlord Majespecter Majestic Malefic Malicevorous Mannadium Masked HERO Marincess Materiactor Mathmech Mayakashi Megalith Mekk-Knight Meklord Melffy Melodious Mermail Metalfoes Metaphys Mikanko Mist Valley Monarch Morphtronic Music Princess Mythical Beast Myutant Naturia Nekroz Nemeses Nemleria Neo-Spacian Nephthys New Order Ninja Nimble Noble Knight Nordic Number Numeron Odd-Eyes Ogdoadic Ojama Orcust P.U.N.K. Paleozoic Pendulum Magician Penguin Performage Performapal Phantasm Spiral Phantom Beast Phantom Knights Photon Plunder Patroll Poker Knight Prank-Kids Predaplant Prediction Princess Prophecy PSY-Frame Purrely Qliphort Raidraptor Red-Eyes Reptilianne Rescue-ACE Resonator Rikka Ritual Beast Rokket Rose Dragon Royal Rebel’s Runick S-Force Salamangreat Scareclaw Scrap Sevens Road Shaddoll Shadow Flower Shinobird Shiranui Simorgh Six Samurai Sky Striker Skysavior Solfachord Speedroid Spellbook Sportsdragon Spright Springans SPYRAL Star Seraph Stardust Starry Knight Steelswarm Strike Dragon Subterror Sunavalon Super Quant Superheavy Samurai Supreme King Sushi Fairy Swordsoul Sylvan Synchron T.G. Tachyon Talismanic Tearlaments Tellarknight Tenyi Thorn Prisoner The☆ The Agent The Weather Therion Thunder Dragon Time Thief Timelord Tindangle Toon Topologic Traptrix Transamu Tri-Brigade Triamid Trickstar Tron True King True Draco U.A. Ultimate Flag Umbral Horror Unchained Ursarctic Utopia Valkyrie Vampire Vanquish Soul Vaylantz Vehicroid Vendread Vernusylph Virtual World Vision HERO Void Voidvelgr Volcanic Vylon War Rock Warrior Watt Wind-Up Windwitch Witchcrafter World Legacy X-Saber Yang Zing Yosenju Yubel Zefra Zoodiac Zubaba ZW -