#timmons

[lillypuppetchild]

@alephnol he is so pretty im actually crying

[alephnol]

timothy’s no good, awful day

@lillypuppetchild

[roughridingrednecks]

Timmons

[didierleclair]

Bobby Timmons!

[ice-creamforbreakfast]

Julia was the first sim I ever made in TS3, making her fifteen years old 👵🏻 I always like to revisit her...especially when I'm setting up a new save, but she tends to stay pretty close to the original.

[metal-sludge]

↳ ANDY TIMMONS and TED POLEY of DANGER DANGER (1986 - present) on MTV's Hard 60, 1989.

[soulmusicsongs]

The Spanish Count - Bobby Timmons (Do You Know The Way?, 1968)

[laconic-void]

Interesting things in the sandlot original script:

1. Yeah-Yeah was originally supposed to prank the guys in the beginning of the movie by "cursing" the water fountains. Scotty drinks from the cursed one and the guys laugh at him.

2. The Timmons were designated as twins - this may be my mistake, but I thought Tommy was at least a year younger than Timmy. They were likely intended to be identical, as there was a piece of dialog where Tommy doesn't say exactly what Timmy says and they look at each other confused. My guess is that if it were the intention, it was too difficult to cast identical twins or find two kids who looked enough alike.

3. There is a scene in which the kids are actually setting up the sandlot for the summer, clearing leaves and redrawing the lines. I am glad this was cut because it implies that the gang only plays in the summer as opposed to all year round, whenever they can.

4. After Scotty runs away from the sandlot, Benny lectures the other guys by telling them Babe Ruth was originally made fun of.

5. Benny watches Scotty play baseball with Bill and mistakenly (as specified in the script, even though Bill is frustrated, he is not intending to hurt Scotty) gets the idea that Bill is abusing him. He says "What a jerk!"

6. Benny originally says "maybe he is a weenie" when he's up to bat after bringing him to the sandlot. So glad this was cut. NOT my boy!!

7. Each of the boys would pick from "the dugout," a box of baseball cards, and whoever got the best player would get to go first. Designated in some way. I'm glad this mechanic was dropped from the movie because it is difficult to understand from an outside perspective.

8. To follow up the last point, Benny's omen was originally getting five maury wills cards in the same draw, not just hitting the baseball.

9. There is a scene where the gang is watching a dodgers game and Benny accurately predicts Maury Wills' next move, much to the others' astonishment. This is when narrator Scotty says "we all knew Benny was different."

10. There were a lot more swear words. Timmy and Tommy uttered the line "imfuckingpossible" and there was more foul language during the exchange between Ham and Phillips.

11. Phillips originally didn't have a name, and was only in the script as "league punk 1." There was also "league punk 2" who had some lines. Possibly the kid who ended up being shown in the final movie.

12. The signature on the Babe Ruth ball is actually obscured until Scotty hits it over the fence. Only when he realizes how much shit he's in is when the signature is revealed.

13. Some minor details about the characters' families were revealed, such as Bertram having a little sister and the Timmons' dad being a contractor.

14. Yeah-Yeah craps his pants after attempting to retrieve the ball from the beast. This and his prank at the beginning make it more obvious as to why he was shipped off to military school.

15. Benny is able to speak in person with Maury Wills when he's shown playing for the dodgers.

16. Ham was originally supposed to become a pediatrician. This didn't seem overly relevant to anything in the script (except maybe getting sick after the carnival?), but maybe I missed something.

My main takeaway is that there were some interesting details, but most of it was cut for the best. I'll have to analyze this in more depth later.

[jazzandother-blog]

Art Blakey & The Jazz Messengers - Blues March (Live) (1958)

(English / español)

"Blues March" by Art Blakey & The Jazz Messengers, from the 1958 album "Moanin," blends blues rhythms with military march cadences. Composed by saxophonist Benny Golson, the track captures the essence of the hard bop era.

Blakey's drumming, with a march-like pattern, sets the stage for the interplay between horns. Golson’s composition merges genres, with blues elements offering a soulful counterpoint to the march rhythm. The brass section swings between the solemnity of a parade and the spontaneity of a jazz club, each soloist adding a unique voice.

Reflecting the late 1950s' socio-cultural environment, the march element nods to the Civil Rights Movement, while the blues speak to the African American experience. The song balances tradition and progress.

Blakey’s leadership fosters young talent like Golson, Lee Morgan, and Bobby Timmons, whose performances are brilliant and emotionally charged. His influence ensures individuality and group cohesion.

The recording’s clarity highlights the musicians’ interplay, with a dynamic range from quiet moments to powerful declarations. This ebb and flow keeps listeners engaged.

Live performances of "Blues March" showcase Blakey’s percussive prowess and the ensemble’s synergy. Audiences are captivated by the infectious rhythm and raw emotion.

The legacy of "Blues March" inspires new generations. Its combination of styles, historical context, and virtuosity secures its place in jazz history. Art Blakey & The Jazz Messengers, through "Blues March," exemplify creativity and depth in jazz music.

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

"Blues March" de Art Blakey & The Jazz Messengers, del álbum de 1958 "Moanin", mezcla ritmos de blues con cadencias de marcha militar. Compuesto por el saxofonista Benny Golson, el tema captura la esencia de la era del hard bop.

La batería de Blakey, con un ritmo de marcha, prepara el terreno para la interacción entre las trompas. La composición de Golson fusiona géneros, con elementos de blues que ofrecen un conmovedor contrapunto al ritmo de marcha. La sección de metales oscila entre la solemnidad de un desfile y la espontaneidad de un club de jazz, aportando cada solista una voz única.

Reflejo del ambiente sociocultural de finales de los años 50, el elemento de la marcha hace un guiño al Movimiento por los Derechos Civiles, mientras que el blues habla de la experiencia afroamericana. La canción equilibra tradición y progreso.

El liderazgo de Blakey fomenta jóvenes talentos como Golson, Lee Morgan y Bobby Timmons, cuyas interpretaciones son brillantes y están cargadas de emoción. Su influencia garantiza la individualidad y la cohesión del grupo.

La claridad de la grabación pone de relieve la interacción de los músicos, con una gama dinámica que va de los momentos tranquilos a las poderosas declaraciones. Este flujo y reflujo mantiene enganchados a los oyentes.

Las interpretaciones en directo de "Blues March" muestran la destreza percusiva de Blakey y la sinergia del conjunto. El público queda cautivado por el ritmo contagioso y la emoción descarnada.

El legado de la "Blues March" inspira a las nuevas generaciones. Su combinación de estilos, contexto histórico y virtuosismo asegura su lugar en la historia del jazz. Art Blakey & The Jazz Messengers, a través de "Blues March", ejemplifican la creatividad y la profundidad de la música de jazz.

Source: 1950s MUSIC

[jazzdailyblog]

"The Cannonball Adderley Quintet in San Francisco:" A Defining Moment for Soul-Jazz

Introduction: In October 1959, something transformative happened at The Jazz Workshop in San Francisco. Amidst a standing-room-only crowd, the Cannonball Adderley Quintet recorded what would go on to be a groundbreaking live album—”The Cannonball Adderley Quintet in San Francisco.” This album not only catapulted alto saxophonist Julian “Cannonball” Adderley to further prominence, but it also…

[alephnol]

hhhhh

[musicollage]

Art Blakey & The Jazz Messengers — Moanin'.   1958 : Blue Note BLP 4003.

! acquire the album ★ attach a coffee !

[didierleclair]

Lee Morgan dancing with Bobby Timmons, jazz.

[sincerelywebsy]

the 3 spider-man’s pointing at eachother photo but it’s gil, zion, and and paul

[metal-sludge]

DANGER DANGER (1986 - present) | ROCK POWER, May 1992.

[mmonetsims]

recent sims i've made part 4 of 5