#trompettes
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Miles Davis, 1958
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Redesign of an old Alien species, The Eau Trompettes. This particular example is a Hidalgo (drone) but their harems consist of Wet Mistresses (matriarchs), Condels (preeners), Dons (warriors) and Fiefs (furniture). These biological castes are far harder to maintain as Trompettes undergo a de-evolution of such specializations, resulting in major cultural shifts and reactionary pushback.
#worldbuilding#alien#Insect#Bug#Trompette#idk if i have a name for this project or not#ms paint#burgahart#sketch#spec bio#?
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Giulietta Masina dans le film La Strada de Federico Fellini, 1954.
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#arena magazine#robert erdmann#sans tambours ni trompettes#marcus von ackermann#1987#80s#ally cappelino#clarks
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Bonjour, bonne journĂ©e âïž đș
Le trompettiste de Barcelone, calle del MarquĂšs De BarberĂ đȘđž Espagne 1963
Photo de Eugeni Forcano
#photooftheday#black and white#vintage#photography#eugeni forcano#barcelone#espagne#trompette#bonjour#bonnejournée#fidjie fidjie
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Louis Armstrong đđ¶
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Weekly Photo 01/2024
Make a wish. Tamani is your guide into the new year. Mind all the small things, don't only try to capture the big picture, every step, no matter how small, is important. Without all the tiny stars the sky is incomplete.
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Ornette Coleman & Don Cherry
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youtube
Avec Laurent , sa femme et sa fille, je suis allé à Oignies, à la Fosse 9-9bis, ancien site minier, trÚs impressionnant.
Devant la scĂšne du MĂ©taphone, de talentueux patineurs -danseurs -joueurs de swing...
#oignies#fosse 9-9bis#métaphone#patineur#patins à roulette#rollers#swing#tuba#trompette#danse#Youtube
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Georges Brassens (1953-1972)
Full titles: 1Ăšre sĂ©rie : Georges Brassens chante les chansons poĂ©tiques (...et souvent gaillardes) de... Georges Brassens (1953), 2Ăšme sĂ©rie [Le vent] (1954), No3 [Les sabots d'HĂ©lĂšne] (1955), No4 [Je me suis fait tout petit] (1956), No5 [Oncle Archibald] (1957), Volume 6 (1958), No7 [Les funĂ©railles d'antan] (1960), 8 [Le temps ne fait rien Ă l'affaire] (1961), N° 9 [Les trompettes de la renommĂ©e] (1962), Les copains d'abord (1964), IX [Supplique pour ĂȘtre enterrĂ© Ă la plage de SĂšte] (1966), 13 [Fernande] (1972)
Years ago, I went through all of Jacques Brelâs stuff â and to this day I regret not writing about it, at least in some form. Brel transformed so much of my musical taste, opening me up to pop traditionĂ©l and enlightening me as to how one man could dominate a stage, innately entrance hundreds, thousands, millions.
I wonât make that mistake again with Georges Brassens, another master of chanson who didnât do so much lip-smacking or low-end belting but instead opted for wistful melodic innovation and high poetry. Brassens, too, was an extremely tall man and a captivating physical presence, and as much a poet as a conventional musician or performer.
In non-lyrical terms, it is Brassensâ melodic nimbleness, his restless and unwavering sailing through musical scales, that is most immediately endearing. One would like to think that even without understanding the lyrics, Brassens as man and personality is still perfectly graspable.
And yet itâs in lyrical terms that Brassensâ greatness truly lies. As poetry proper â poems put to music rather than music with poetic intent â his lyricism stands up to the finest written word (or at least of which Iâve cast an eye over). Appreciate this stuff best as an English-speaking listener by reading through translations, to realise how funny, cheeky, dark, lithe, poignant, conflicted, picturesque, interpretable it all is. I imagine much nuance and sophistication is still lost across linguistic boundaries â but even so, Brassens is masterful.
And thereâs more. So much more, in fact, is there to be gleaned from Brassens and his context that I am not nearly knowledgeable enough that I cannot hope to engage with him with any satisfaction. Take his stratospheric popularity in France, for instance. This stuff, this beautiful, intricate, sophisticated poetry, had an extraordinarily huge audience. Is that not also fascinating? Iâm no Francophile, but it becomes really quite understandable how the French, with the knowledge that this was their mass art, revel in an inflated sense of cultural superiority.Â
Pick(s): âLe gorilleâ, âLe ventâ, âP⊠De To19iâ, âJe me suis fait tout petitâ, âOncle Archibaldâ, âLe pornographeâ, âPĂ©nĂ©lopeâ, âLe temps ne fait rien Ă l'affaireâ, âLes trompettes de la renommĂ©eâ, âLes copains d'abordâ, âSupplique pour ĂȘtre Ă la plage de sĂšteâ, âFernandeâ
#Georges Brassens#1Ăšre sĂ©rie : Georges Brassens chante les chansons poĂ©tiques (...et souvent gaillardes) de... Georges Brassens#2Ăšme sĂ©rie [Le vent]#No3 [Les sabots d'HĂ©lĂšne]#No4 [Je me suis fait tout petit]#No5 [Oncle Archibald]#Volume 6#No7 [Les funĂ©railles d'antan]#8 [Le temps ne fait rien Ă l'affaire]#N° 9 [Les trompettes de la renommĂ©e]#Les copains d'abord#IX [Supplique pour ĂȘtre enterrĂ© Ă la plage de SĂšte]#Fernande#1953-1972#chanson#Chanson Ă texte
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Elisabeth Coxall, France https://www.facebook.com/elisabeth.coxall
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Miles Davis
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members of a reading group
#ms paint#hardsuit#sketch#burgahart#worldbuilding#Offglobe project#SEL#Trompette#Don Laucella#Laucella#Sweetheart#Mortimer#Sci fi#alien
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Kay Kendall, 1953.
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Rendez-vous avec Jean Claude BORELLY le 4 , 5 , 6 et 7 Août 2024 quatre concerts, suivez nous sur : https://www.cabrette-accordeon.com/2024/03/02/concerts-avec-jean-claude-borelly/
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Ă lâinstant.
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