#sunsetx

[heretherebedork]

Sunset X Vibes Trailer

So it's secret dating because he's the intern and the president is not just in love with him but wholly devoted to him and it's adorable? Down for it! @respectthepetty tumblr news here to deliver the full trailer! And here it comes, @absolutebl, it just looks very soft. Plus, it comes with a side GL and a side BL so I will be well fed with crumbs no matter what.

[delusionalblfan]

when I say Mos is hot i mean FOR FUK SAKE SPIT ON ME ALREADY CALL ME A BITCH AND CHOCKE ME

[carewyncromwell]

“Hey, Dad, look at me: Think back, and talk to me -- Did I grow up according to plan?”

~“Perfect (cover)” by At Sunset

x~x~x~x

animation made with EZGif // my other accompaniment while drawing this

x~x~x~x

Um... “happy” Father’s Day, everybody? 😅 Here’s some Jacob Cromwell content to mark the occasion -- specifically Jacob content that also features his estranged father, Evan Bach!

Those of you who are familiar with Jacob and Carewyn’s backstory are probably already aware that Evan was a pretty poor father. He tried continuously to shape Jacob in his image and only vindicated the opinions of others labeling him as a “delinquent”; he actively plugged out of his daughter Carewyn’s life from an emotional perspective, leaving her to be raised solely by her mother and brother; and worst of all, he abandoned his wife Lane and their children after the arrival of Jacob’s Hogwarts letter, unable to accept that his wife had lied to him about her and their children’s magic for so long and not wanting any part of the Wizarding World he’d have to join to be part of their lives. But at the same time, I never saw Evan as an inherently bad person, so I wanted to explore the generational trauma that both Evan and Jacob suffered through, and how it ultimately shaped them as people.

Evan Bach was the only son of Josef Bach, the son of a German immigrant raised largely by his uncle Jakob after the death of his father in the first World War. Josef learned from an early age how to lie to stay out of trouble with both his uncle and the authorities, and coupled with his chronic alcoholism, this led to him getting involved with a lot of petty crime. Josef’s childhood sweetheart Margie thought that having a family might help coax Josef to stay at home with her more, rather than spend his nights at speakeasies and pool halls, and at first, it seemed to work -- Josef wanted to put on a good face for his wife and newborn son, so he tried to hide his more illicit behaviors from them. Then Britain entered World War II, and Margie was forced to take one-year-old Evan out of Westminster and into the countryside to safety, leaving her husband behind. Soon Josef fell head-over-heels into organized crime, which actually flourished during the Second World War in Britain with most legal authorities having to focus on the war effort, and he soon became very rich working as an “enforcer” for a prominent London gang who participated in dozens of protection rackets. All the while, Josef wrote letters to his wife and son claiming he’d used that Ivy League education he’d convinced Margie he’d gotten somehow to land a job for the British government, and that with the profits he was making as part of the war effort, he’d bought them a huge house on an acre of land that they’d be able to enjoy together once the War was over. For Evan, who had next to no memories of his father aside from what his mother told him, he clung to these written lies enthusiastically, endlessly proud of the man he thought his father was and looking forward to the day that he and his mother would finally get to return home and meet him.

Sadly, while in the country, Margie became very sick and died in the winter of 1943, just before the end of the War. Following his wife’s death, Josef became all the more devoted to his gang life, and soon extortion, arson, and murder became everyday occurrences. Even so, on those few occasions when Josef would speak to his young son Evan on the phone, he’d lie about the weird noises and explosions the boy would hear in the background, saying that he’d be there to pick the boy up when he returned to Westminster and he’d take them home to their beautiful (and completely fictional) house outside the city. When the War was over, though, Evan did not find his father waiting for him at the train station, but instead his great-uncle Jakob -- for Josef, it turned out, had been lying to a lot more people than just his wife and son: he’d also lied to his bosses that he had no wife and children. And in order to keep up that charade, he couldn’t have Evan live with him -- so Josef asked "Uncle Jakob” to pick Evan up and take him in instead. The revelation of Josef’s lies and subsequent abandonment shattered Evan in a way he had trouble articulating to anyone, though he tried to once, when confiding in his future wife, Lane --

“I know what you mean. About your father, I mean. ...My father...wasn’t like yours, really. He was a crook, a liar...a petty criminal, in every way. ...But I know what it’s like, seeing the love other people seem to have for their kids and just wondering, ‘...Why? Why didn’t I have that, why couldn’t I have that? Why does my father have to put himself, and his wants, and his vices, first, instead of his family? Why isn’t he like those parents who, when faced with a tough choice, always choose their kid? ...Why didn’t he choose me...?’”

Not long after, Josef’s lies and crimes finally caught up with him, and he was sentenced to life imprisonment for all of the violent crimes he’d gotten wrapped up in. And so Evan was raised by his great-uncle, who desperately tried to take advantage of his “second chance,” raising the orphaned son of the boy the old man had raised as a son himself, and teach Evan to live an upstanding, honest life. Evan was so haunted by the corruption of his father through his addiction to alcohol, his proclivity toward violence, and his pathological lying that he was determined to be a man who would provide for his family the right way -- one who would be a proper role model for them, who would model the correct way to behave and instruct them about how to do the same. A man who wouldn’t let his son throw his whole life and potential away the way his father did.

Unfortunately Evan’s rosy view of fatherhood was complicated when his son -- named “Jacob” for the man who had largely raised him and had passed away five years previously -- ended up being both a wizard and a completely different person than Evan himself was. For as conventional and people-pleasing as Evan was, Jacob was opinionated and eccentric. For as rule-abiding and respectful of authority as Evan was, Jacob was rebellious and irreverent. For as uptight and conservative as Evan was, Jacob was wild and sometimes even violent, when provoked. Add to this Jacob’s distinct disinterest in any of the classic “father-son” activities Evan had envisioned them doing like fishing, playing catch, and going to sports games, as well as the boy’s frequent “misbehavior” (in truth outbursts of underage magic) that would get him into trouble at school, and Evan honestly didn’t know what to do to alter his son’s course. And because of his departure, Evan never saw just how hard his son worked to get top grades at Hogwarts, only to have his life upended by Lane’s father Charles and his criminal organization R and get locked in a magical portrait for seven years. Evan also never saw Jacob pull off the best, “underdog”-style comeback imaginable and graduate the school he’d been expelled from with honors so as to become a world-renown freelance cursebreaker and magical researcher. Nor did Evan ever see just how loyal, heroic, brilliant and loving of a man Jacob ended up becoming, even without his father there to mold him into what he thought he should be.

But perhaps, in a sad way, that’s the way things had to be. Evan had no desire to be part of the Wizarding World, the place where Jacob felt more complete and “himself” than anywhere else. He had no desire to lie to the people around him or to live a life outside of the straight and narrow path that had helped him move past his father’s tarnished legacy. He’d wanted to give his wife and children what he hadn’t had -- a stable, peaceful, middle-class life in Westminster, where they could just live normal, modest lives and grow into normal, upstanding people with normal, respectable careers. He’d failed in that...and ultimately, Lane -- the woman he loved, who chose him over her abusive family, who he cherished so much for having chosen him, over any other man in the world -- had chosen their son over him. Just as Jacob chose Lane over him...just like how their daughter would’ve chosen Jacob and Lane over him, if she’d had the choice. It’s not like Evan could’ve molded her any better than Jacob, even if he’d tried -- Lane said she was just as “normal” as she and Jacob were. And if Evan had stayed, it no doubt would’ve been out of duress, rather than out of sincere loyalty -- for how could he not resent a woman who he bared his heart and soul to and worked day and night to provide for, only to find out she had lied to him from the very beginning? Would he then only be a pocketbook for his family -- someone to write the bills every month, rather than someone to lead, protect, and guide them in being upstanding members of society? Someone for them to respect, love, and be devoted to, the way upstanding families were supposed to? Was he just meant to accept this life he’d never chosen for himself -- a life where he had to bow to the whims of the rest of his family, just because they had these bizarre, mysterious powers he didn’t have anyway to curb or restrain?

So perhaps Evan leaving ended up being the best outcome for all parties, however cowardly and cruel it was. If nothing else, the Obliviators assigned to keep tabs on Evan after his departure never found any evidence that he tried to expose Lane’s magic or the Wizarding World to any of his friends, associates, or remaining family, or even to the Muggle authorities. He never even made up any stories explaining away his departure to cast Lane in a bad light or absolve himself of blame -- not of her having an affair, nor of her being involved in any criminal activity, impropriety, or abuse. On the contrary, Evan always shut down any accusations of that nature, whenever anyone would suggest them.

“Lane lied to me,” was all he’d ever say. “That’s all it was, and that’s the last I’ll say about it.”

It seemed that, no matter how much Lane’s betrayal had hurt him and how much he resented how their children had chosen to follow her down a path far removed from the upstanding society he’d so wanted them to contribute to, as he did, Evan was an honorable enough man that he refused to tarnish his ex-wife’s name with lies and false accusations. For however poor of a father he was to Jacob, and however justified Jacob might be to hate the man, that honor at least can be respected.

[atopasky-blog]

Sunsetx&&Palmx🏝🍹🦜 . . . . . posted on Instagram - https://ift.tt/2RhbXSF

[saywhutlodi]

☁️ . . . . . . . . . #cloud #clouds #ColorMyRamadan #cloudy #MyColorOS #cloudchaser #cloudchasing #moon #OppoFanView #cloudyday #cloudstagram #ShotOnOPPO #cloudlife #sunset #cloudlovers #cloudsporn #sun #cloudysky #birds #instaclouds #sky #skyporn # #skylovers #skyscraper #skywatcher #sunsetx https://www.instagram.com/p/CAxJl2kHV9C/?igshid=1eucuxbiu5rlv

[kansascitylifestyle]

Kansas City Music History - Kansas City Jazz

Kansas City Music History - Kansas City Jazz

Kansas City jazz is a style of jazz that developed in Kansas City, Missouri throughout the 1920s and 1930s, which marked the shift from the structured huge band style to the musical improvisation design of Bebop. The hard-swinging, bluesy transition style is bracketed by Count Basie who in 1929 signed with the Bennie Moten's Kansas City Orchestra and Kansas City native Charlie Parker who introduced the Bebop style in America. "While New Orleans was the birthplace of jazz, America's music matured in Kansas City". [1] Kansas City is understood as one of the most popular "cradles of jazz". Other cities include New Orleans, Chicago, St. Louis, Pittsburgh, Philadelphia, and New York City. [2] Kansas City was known for the arranged artists of the Local 627 A.F.M., which managed a number of locations in the city.

 The first band from Kansas City to obtain a national credibility was the Coon-Sanders Original Nighthawk Orchestra, a white group which transmitted nationally in the 1920s. However, the Kansas City jazz school is related to the black bands of the 1920s and 1930s, including bands led by Bennie Moten, Andy Kirk, Harlan Leonard, George E. Lee, William "Count" Basie, and Jay McShann.

Kansas City in the 1930s was really much the crossroads of the United States resulting in a mix of cultures. Transcontinental trips at the time whether by plane or train often needed a stop in the city. Kansas City was a wide open town with liquor laws and hours totally disregarded and was called the new Storyville.

Jay McShann informed the Associated Press in 2003:

" You 'd hear some feline play, and someone would state 'This feline, he sounds like he is from Kansas City.' It was Kansas City Style. They knew it on the East Coast. They understood it on the West Coast. They knew it up North and they understood it down South."

Claude "Fiddler" Williams described the scene:

Kansas City was different from all other places because we 'd be jamming all night.

Clubs were spread throughout city however the most fertile area was the inner city community of 18th Street and Vine.

Amongst the clubs were the Amos 'n' Andy, Boulevard Lounge, Cherry Blossom, Chesterfield Club, Chocolate Bar, Dante's Inferno, Elk's Rest, Hawaiian Gardens, Hell's Kitchen, https://en.wikipedia.org/wiki/Kansas_City,_Missouri the Hi There Hat, the Hey Hay Club, Lone Star, Old Kentucky Bar-B-Que, Paseo Ballroom, Pla-Mor Ballroom, Reno Club, Spinning Wheel, Street's Blue Room, Subway, and Sunsetx.

Style:

Kansas City jazz is identified by the following musical elements:

A preference for a 4 feel (walking) over the 2 beat feel discovered in other jazz styles of the time. As an outcome, Kansas city jazz had actually a more unwinded, fluid sound than other jazz styles.

Extended soloing. Sustained by the non-stop nightlife under political employer Tom Pendergast, Kansas City jam sessions went on well past daybreak, fostering an extremely competitive environment and an unique jazz culture in which the objective was to "say something" with one's instrument, instead of simply show off one's method. It was not uncommon for one "tune" to be carried out for numerous hours, with the very best musicians frequently soloing for lots of choruses at a time.

So-called "head arrangements". The KC huge bands often played by memory, composing and setting up the music collectively, rather than sight-reading as other huge bands of the time did. This further contributed to the loose, spontaneous Kansas City sound.

A heavy blues influence, with KC tunes often based around a 12-bar blues structure, rather than the 32 bar AABA standard, although Moten Swing is in this AABA format.

One of the most identifiable qualities of Kansas City jazz is regular, fancy riffing by the different sections. Riffs were frequently produced - or even improvised - collectively, and took many forms: a) one area riffing alone, serving as the main focus of the music; b) one section riffing behind a musician, adding enjoyment to the tune; or c) two or more areas riffing in counterpoint, developing an interesting hard-swinging noise. The Count Basie signature tunes "One O'Clock Jump" and "Jumpin' at the Woodside", for instance, are merely collections of complex riffs, memorized in a head arrangement, and punctuated with solos. Glenn Miller's well-known swing anthem "In the Mood" closely follows the Kansas City pattern of riffing sections, and is a fine example of the Kansas City style after it had actually been exported to the rest of the world.

Kansas City jazz is a design of jazz that established in Kansas City, Missouri throughout the 1920s and 1930s, which marked the transition from the structured huge band style to the musical improvisation style of Bebop. The hard-swinging, bluesy shift design is bracketed by Count Basie who in 1929 signed with the Bennie Moten's Kansas City Orchestra and Kansas City native Charlie Parker who ushered in the Bebop style in America. Other cities include New Orleans, Chicago, St. Louis, Pittsburgh, Philadelphia, and New York City. Kansas City was understood for the organized artists of the Local 627 A.F.M., which managed a number of locations in the city.

Glenn Miller's popular swing anthem "In the Mood" closely follows the Kansas City pattern of riffing sections, and is a good example of the Kansas City style after it had actually been exported to the rest of the world.

[heretherebedork]

Sunset X Vibes the teaser trailer aka Vibes for Vibes! @respectthepetty they're back, bit by bit!

[rywyu]

"Momen matahari tenggelam adalah momen dimana akan datangnya senja" #Sunset #sun_masters #sunsetx #sunsets_fx_

[heretherebedork]

And Yo thought dressing Lin in sparkles was gonna be the drama in their date.

[heretherebedork]

I am deeply amused by the puzzle piece release of the poster, y'all. Deeply amused. But also! June 15th! @absolutebl and @respectthepetty they said first episode on June 15th!

[saywhutlodi]

🌙 . . . . . . . . . . #cloud #clouds #ColorMyRamadan #cloudy #MyColorOS #cloudchaser #cloudchasing #moon #OppoFanView #cloudyday #cloudstagram #ShotOnOPPO #cloudlife #sunset #cloudlovers #cloudsporn #sun #cloudysky #birds #instaclouds #sky #skyporn # #skylovers #skyscraper #skywatcher #sunsetx https://www.instagram.com/p/CAxJJC_HnAt/?igshid=18be11fcnn0vy

[kansascitylifestyle]

Kansas City Music History - Kansas City Jazz

Kansas City Music History - Kansas City Jazz

Kansas City jazz is a design of jazz that developed in Kansas City, Missouri during the 1920s and 1930s, which marked the shift from the structured huge band design to the musical improvisation style of Bebop. The hard-swinging, bluesy transition design is bracketed by Count Basie who in 1929 signed with the Bennie Moten's Kansas City Orchestra and Kansas City native Charlie Parker who ushered in the Bebop design in America. Kansas City was known for the organized musicians of the Local 627 A.F.M., which managed a number of places in the city.

 The very first band from Kansas City to obtain a national track record was the Coon-Sanders Original Nighthawk Orchestra, a white group which transmitted nationally in the 1920s. Nevertheless, the Kansas City jazz school is related to the black bands of the 1920s and 1930s, consisting of bands led by Bennie Moten, Andy Kirk, Harlan Leonard, George E. Lee, William "Count" Basie, and Jay McShann.

Kansas City in the 1930s was quite the crossroads of the United States resulting in a mix of cultures. Transcontinental trips at the time whether by plane or train frequently needed a drop in the city. The age marked the zenith of power of political manager Tom Pendergast. Kansas City was a wide open town with alcohol laws and hours completely neglected and was called the new Storyville. Many of the jazz musicians related to the style were born in other locations but got caught up in the friendly musical competitors among performers that might keep a single tune being carried out in variations for a whole night. Frequently members of the huge bands would perform at regular places earlier at night and go to allure clubs later on to jam for the rest of the night.

Jay McShann told the Associated Press in 2003:

It was Kansas City Style. They knew it up North and they understood it down South."

Claude "Fiddler" Williams described the scene:

Kansas City was different from all other places since we 'd be jamming all night. And [if] you come up here ... playing the incorrect thing, we 'd straighten you out.

Clubs were spread throughout city but the most fertile area was the inner city neighborhood of 18th Street and Vine.

Among the clubs were the Amos 'n' Andy, Boulevard Lounge, Cherry Blossom, Chesterfield Club, Chocolate Bar, Dante's Inferno, Elk's Rest, Hawaiian Gardens, Hell's Kitchen, the Hi Hat, the Hey Hay Club, Lone Star, Old Kentucky Bar-B-Que, Paseo Ballroom, Pla-Mor Ballroom, Reno Club, Spinning Wheel, Street's Blue Room, Subway, and Sunsetx.

Design:

Kansas City jazz is differentiated by the following musical elements:

A preference for a 4 feel (walking) over the 2 beat feel discovered in other jazz styles of the time. https://en.wikipedia.org/wiki/Kansas_City,_Missouri As a result, Kansas city jazz had actually a more unwinded, fluid noise than other jazz designs.

Prolonged soloing. Fueled by the non-stop night life under political boss Tom Pendergast, Kansas City jam sessions went on well previous sunrise, promoting an extremely competitive atmosphere and a special jazz culture in which the objective was to "say something" with one's instrument, rather than just display one's method. It was not uncommon for one "tune" to be performed for several hours, with the best artists often soloing for dozens of choruses at a time.

So-called "head plans". The KC huge bands often played by memory, making up and organizing the music jointly, instead of sight-reading as other big bands of the time did. This further added to the loose, spontaneous Kansas City sound.

A heavy blues affect, with KC songs often based around a 12-bar blues structure, instead of the 32 bar AABA requirement, although Moten Swing is in this AABA format.

One of the most identifiable qualities of Kansas City jazz is frequent, intricate riffing by the different areas. Riffs were often developed - or even improvised - collectively, and took lots of kinds: a) one area riffing alone, serving as the primary focus of the music; b) one area riffing behind a musician, including enjoyment to the song; or c) two or more areas riffing in counterpoint, producing an amazing hard-swinging sound. The Count Basie signature tunes "One O'Clock Jump" and "Jumpin' at the Woodside", for instance, are simply collections of complicated riffs, remembered in a head plan, and punctuated with solos. Glenn Miller's well-known swing anthem "In the Mood" carefully follows the Kansas City pattern of riffing areas, and is a fine example of the Kansas City design after it had actually been exported to the rest of the world.

Kansas City jazz is a style of jazz that developed in Kansas City, Missouri during the 1920s and 1930s, which marked the transition from the structured huge band style to the musical improvisation design of Bebop. The hard-swinging, bluesy shift design is bracketed by Count Basie who in 1929 signed with the Bennie Moten's Kansas City Orchestra and Kansas City native Charlie Parker who ushered in the Bebop design in America. Other cities include New Orleans, Chicago, St. Louis, Pittsburgh, Philadelphia, and New York City. Kansas City was known for the arranged musicians of the Local 627 A.F.M., which controlled a number of places in the city.

Glenn Miller's famous swing anthem "In the Mood" closely follows the Kansas City pattern of riffing sections, and is an excellent example of the Kansas City design after it had been exported to the rest of the world.

[rywyu]

#sunsetx #sun_masters #sunsets_fx_ #sunset "Sunset ditengah perkotaan..."