wicht of your oc like horror movies

i think the con quintet absolutely ADORES horror movies

like Crash does the thing where he pretends to be scared so Charcoal will cuddle him, and Charcoal 100% knows what he's doing but who is he to protest when Crash looks at him with the biggest eyes????

meanwhile Maly, Dove, and Pebble are just looking at them like "we know what you are"

i think Charcoal and Pebble really love the more suspense-type horror movies, Maly and Pebble are OBSESSED with movies like "Halloween" and "Nightmare on Elm Street" and Crash loves movies like Chucky, where it's scary but still funny

☁️ 🎨

☁️ ⇢ what made you choose your username?

hestia has always, always been my favorite goddess, and hearth-goddess was my url for a WHILE before i decided to change it! i like the vibe of tending-the-hearth so much more, and i feel like it just fits for me!

🎨 ⇢ link your favourite piece of fanart and explain why you like it

I CANNOT JUST PICK ONE SO I'M PICKING FOUR LMAO

to none of my mutuals' surprise these are all for cats the musical!

for those who don't know, i have a cats the musical OC named Hestia (again, Hestia is my favorite goddess, and the use of Greek mythology names has become a bit of a joke between some mutuals and I), and she's my main OC whom i love so dearly, so 3/4 of these fanart pieces include her!

first off is the Encanto AU art and ohhhhhh this au art is honestly everything to me, it's by @hufferysnuffery, based on an AU we made together using our OCs, and every so often i look back on this and fall even more in love like can you LOOK at the detail in these???? LOOK AT MY BABY ANTHEA SHE'S SO SWEET AND PRECIOUS 😭

NEXT IS THE HESTIA ART EVER DONE BY MY BELOVED MUTUAL AND WONDERFUL FRIEND @soh-da-meatball EVERYONE BEHOLD MY GORGEOUS GORGEOUS GIRL HESTIA (her outfit was inspired by my own fit that i wore to see cats the musical and when soh posted her i was literally sobbing on my bed because SHE'S SO PRETTY)

more hestia art, this time with her bf tumblebrutus by one of the most fantastic artists in the cats fandom, @sillybub!!

my amazingly talented bestie @storyweaverofgondor (aka the only other person besides @queen-with-the-quill to know my cats OCs better than anyone else) drew the most FANTASTIC art of my beloved con quintet, the designs for which were stolen directly from the phineas and ferb episode when they had a cats parody

these five specifically around phineas and ferb they are my children they are feral and i love them so very very much <3 their names are (in order of the photo below) crash, charcoal, anomaly, pebble, dove <3

Heyo, back again with another request 👋😊. Can I request a yandere Dan Feng x dragon Reader smut request/ reader x Bailu (platonic mother-Daughter)/ Yinxing x reader (platonic like a big brother-little sister relationship)

It goes like this, Reader darling is a moon dragon from another universe (I got back on my fairy tail beat, but she’s a gentle type) and was under the care of Yinxing who she bond with as family. One day he invited her out to meet his friends he was getting together with. At the meeting, She meet his friends, one of his friends, the high elder imbibitor lunae, Dan Feng, was smitten with her and that there was another dragon from a different universe from his.

He became possessed of her and wanted to keep her by his side, despite her small protests which she gave up on. Dan Feng wanted to make sure his mate stays with him forever and thought of a plan to make her stay is by making her bear his offspring. He knew he was at a disadvantage but remember the transmutation arcanum and Yinxing mentioning his darling fertility inducement ability to undo an infertility and sterile species.

Dan Feng put his plan to action when he told his darling reader that he needs help with something that she can do, as the darling reader didn’t know that he made a ceremony breeding ritual. That night, Darling Reader became his mate and an excepting mother to an dragon cub (Bailu) egg.

There was an celebration for them and the dragon cub by the people of Xianzhou Luofu. And I leave the rest up to you. 😊👍

the dragon egg part at the end is cute😚I tried to write it!!

CW: yandere, non-con, forced breeding, spawn but not described in detail (The setting here is that Bailu is the baby of the reader and Dan Feng. It does not reflect any leaks or spoilers of HSR. If you cannot accept it, please skip or close the page!!)

Lonely. Responsibility. Reincarnation. Even though there are other people who are also Vidyadhara, only the High Elder has the dragon horns and tail and can inherit this responsibility. The meaning of inheritance from generation to generation is given by the outside world, just like the destiny that is locked. Fortunately, High-Cloud Quintet gave him some comfort. Sometimes others wanted to give him an immortal concubine or spouse, but Imbibitor Lunae refused.

You accidentally entered a certain space and device, causing you to be transported to the Xianzhou ship. Yingxing was the first to discover you and took you back for healing and care. After the wound on your tail healed, Yingxing proposed to take you to their friend's party because you had been in bed and didn't have time to meet people. It's time to hang out more.

Dan Feng couldn't take his eyes off you. Here you are, descended from a world. A dragon. Just like him. You may be able to hide your dragon features, but a dragon like him can detect the crystal clear horns on your forehead and wagging tail with just a glance. While drinking, the High Elder pretended not to care and asked for information about you, knowing that you basically have no way to leave this galaxy now. This is not enough. After the party, Dan Feng offered to take you around Luofu, such as Earthrise Agora and Starwatcher Avenue.

He paid for all the snacks and watched you chew Xianzhou delicacies while holding his chin. He bought you beautiful silks and fabrics so that you could give them to the maids to weave clothes. He talks to you about interesting experiences and trivia about life, and responds to you. He didn't like you eating those fast food a little bit, but he kept it to himself. Dan Feng knows the courtesy of pursuing his future spouse.

Just like that, you and Dan Feng "date" 5-6 times. He held your waist and kissed you as the maple leaves fell. You are stunned. It took a few minutes to realize that you were in a "dating" and were already "engaged."

It's not that you don't like the dragon in front of you, but that you don't know these things at all, and isn't the progress going too fast…? Besides, you have to go back to your planet one day. Dan Feng listened to your concerns and nodded, indicating that he understood, but he was already preparing for the breeding ceremony.

For the breeding ceremony, it can be with or without physical contact. If not, then Dan Feng has prepared for you to sit in the middle. You just… felt a sudden swelling, something weird. Something has been permanently changed. And then…you hold the smooth and lovable dragon egg in your hands, shocked and confused. If there's physical contact, it's your hands on his shoulders, begging him to stop, but still sitting on the dragon's cock and feeling the fertile seed ejaculate into you…

Eventually, you also get an egg.

The baby dragon hatches out of shell and turns out to be a lovely daughter!! She subconsciously stretches out her hands and snuggles into your arms, carrying her dragon horns and tail. The Vidyadharas were astonished that this was a success!! The new baby dragon was born! They held a grand ceremony to celebrate together. Luofu also received the news and felt happy that their race had made such progress! They sent an official message to congratulate and announce the birth of the dragon cub.

You held your little daughter in your arms, leaned on Dan Feng's arms, and shed tears. He wiped the tears from your cheeks and kissed your forehead gently. His spouse, his family. You are one of the few changes in his hundreds of lifetimes of constraint.

i'm done with the con! I met the voice of cyno as cyno and told him some dumb jokes because i'm a nerd lmao. also made him this cool art and printed it out and gave it to him and he seemed super excited about it! I think he liked it 😆 Alejandro is pretty cool and super nice. ended up buying 2 prints to be signed because I couldn't choose between the quintet and cynonaricollei family. I also bought way too many things.....whoops. (if you want to see the stuff I bought yell at me and i'll reblog this and post them for you.) so many people said they like my coslay and like 10 people asked for a pic and it. i'm exhausted. that was A Lot. I need to sleep for a month now

Remebering Paul Chambers on his birthday !!

Paul Chambers in Manhattan on the way to the Whims of Chambers recording session, 21 September, 1956.

(English / Español)

Paul Laurence Dunbar Chambers, Jr. (April 22, 1935 – January 4, 1969) was a jazz double bassist.

A fixture of rhythm sections during the 1950s and 1960s, his importance in the development of jazz bass can be measured not only by the length and breadth of his work in this short period but also his impeccable time and intonation, and virtuosic improvisations.

He was also known for his bowed solos.

Chambers recorded some dozen albums as a leader or co-leader, and prolifically as a sideman notably as the anchor of trumpeter Miles Davis's "first great quintet" (1955-63) and with pianist Wynton Kelly (1963-68).

Photo by © Francis Wolff

Source: www.facebook.com/TheWorldOfJazz

*****

Paul Laurence Dunbar Chambers, Jr. (22 de abril de 1935 - 4 de enero de 1969) fue un contrabajista de jazz.

Un fijo de las secciones rítmicas durante las décadas de 1950 y 1960, su importancia en el desarrollo del bajo de jazz puede medirse no sólo por la longitud y amplitud de su obra en este corto periodo, sino también por su impecable compás y entonación, y sus virtuosas improvisaciones.

También era conocido por sus solos de arco.

Chambers grabó una docena de álbumes como líder o colíder, y fue muy prolífico como músico de acompañamiento, sobre todo como ancla del "primer gran quinteto" del trompetista Miles Davis (1955-63) y con el pianista Wynton Kelly (1963-68).Chambers recorded some dozen albums as a leader or co-leader, and prolifically as a sideman notably as the anchor of trumpeter Miles Davis's "first great quintet" (1955-63) and with pianist Wynton Kelly (1963-68).

Tracklist:

Succession (Main Title Theme) (Extended Intro Version) • Rondo In F Minor For Piano And Orchestra - "Kendall's Journey" • Moderato Con Brio For Violin, Harp, And Orchestra • Intermezzo In C Minor - "Money Wins" • Rondo In F Minor For Solo Piano - "Kendall's Summit" • Atmosphere In B Minor • Contredanse - "Shiv's Move" • Cello Quintet In C Minor - "Tern Haven" • Andante Con Moto - Piano And Strings - "Vaulter" • Rondo In F Minor For String Orchestra • Concerto Grosso In C Minor - Ripieno Strings • Andante Con Moto - String Orchestra Variation • Roman's Beat - "Hearts" • Andante In C Minor - Main Theme Strings Variation • Maestoso - Piano Solo • Larghetto - Piano, Celesta, Strings - "Kendall's Return" • Intermezzo In C Minor - Piano And Double Bass • Moderato Con Brio - Violin Sextet • Boar On The Floor • Kendall's Departure - "This Is Not For Tears" • Maestoso - String Orchestra - "To The Press Conference" • Concerto Grosso In C Minor + End Credits - "You Have To Be A Killer" • L To The OG

Spotify ♪ YouTube

So this just happened…! 😳

Randomly walked into an Italian restaurant. They were playing a lot of Andrea Bocelli and I reacted when Time to Say Goodbye (Con te partirò) came on so we started filming. ‘Cinema’ (the album I recorded on) came on which gave me the goosebumps…then the chef started playing The track…! Apparently he’d even gone to the Bocelli concert. What a surprise and small world!

I was delightfully confused, honoured and hella embarrassed🫠

こんなことって…😳?!

無性にイタリアンが食べたくなり、プチ打ち上げとして偶々入ったこちらの素敵なレストラン🇮🇹

アンドレア・ボチェッリの音楽が流れていて、丁度ツアーでも歌っているTime To Say Goodbyeが流れて来たから動画を撮り始める。

すると、「Cinema」(レコーディングしたアルバム)が流れて来てドキッ。凄いタイミングだなと思い、コラボした曲が流れたら面白いねとくすくす話してたら、急にマスターがその曲を流し始める。

後で聞くと、ボチェッリのフォーラムのコンサートも観に行かれたと。どのタイミングで気付かれたか分からないですが、サプライズでアルバムを流されたとのこと🥹

ドッキリの様でした。

嬉しすぎる。恥ずかしかったけれど。

ご縁ですね！

“Time to Say Goodbye” is also the name of my current Japan Tour👋

あなたの故郷でお会いできるのを楽しみにしてます♪🇯🇵

Sarah Àlainn 2023 Tour

Time to Say Goodbye ~ Sayonara

～７月～

3(月)加古川👋

4(火)姫路👋

5(水)大阪👋

14(金)高崎👋

20(木)豊田👋

21(金)一宮👋

22(土)豊橋👋

23(日)岐阜👋

～Sarah Àlainn Quintet～

◉ 8月23日(水)

東京文化会館 大ホール

～9月～

2日(土)藤沢

～10月～

3日(火)鳥取県 NEW!

4日(水)広島 NEW!

17日(火)札幌 FINAL

One of the good things about running the community feed is that I get to boost some of my own work.

Age of Ravens: Volume I: Running

I've now released the first two volumes collecting work from AoR from last 14 years. This first one brings together my general and specific advice for GMing and running ttrpgs. This clocks in at 196 pages with 27 pieces.

You can pick this up on itch or DrivethruRPG

So what do we have in this book? The first part "Strange Things Seen Close Up" covers game specifics:

1. Mook Methodologies: how rpgs handle troops, minions, and masses 2. Teamwork Tactics: how rpgs handle help, aid, and support 3. Considering Complexity: thinking about how we judge crunch in play 4. Building and Setting Settlements: How recent games handle community building 5. Running Mysteries: planning and executing mystery scenarios 6. Factions in Action: using factions as a campaign cornerstone 7. Conspiracies: using conspiracies in rpgs 8. Conspiracy Sandbox: building an rpg campaign around open world conspiracies 9. Newb's Guide to Imaginary Wrestling a non-wrestling fan learns stuff to play WWW 10. Suikoden, RPGs, and Imaginative Space: lessons we can take from this jrpg series

Section two is "Pulling Back the Lens"

11. Seven Starter Stories: go-to inciting incidents 12. Running One Shots: tips & tricks for running these at cons or beyond 13. Selling the Setting the challenge of deep rpg setting 14. Hack the Table: the joy of quick hacking games and getting them played 15. Open Table: What the What: challenges & rewards of open table play 16. Gaming the Online Medium: ideas for making use of what playing online can offer 17. Multiversal Campaigns 1: conceiving and planning these campaigns 18. Multiversal Campaigns 2: more lessons 19. The Quickening: best practices for publishers presenting product 20. What I Like in Games: Saying Please: a wishlist of stuff in rpg books 21. Online Con Management: lessons for running large online events

Section three is wide range stuff "The Eye in the Sky"

22. Five Faces of the GM: a quintet of game facilitator roles 23. Pandemic Brain: Breaking the TTRPG Reading Block : how I stopped worrying and learned to grok rpgs again 24. Community Lessons: key lessons learned from running for my online community 25. 23 Lessons from RPGs: what I learned from every rpg I ran in one year online 26. 33 Tips for Running Online: specific advice for running rpgs online 27. How To Run 200+ Sessions With 25+ Systems In One Year: a run-through of my process

If that sounds interesting to you, I hope you'll check it out.

Nikolai Rimsky-Korsakov (1844-1908) - Quintet for piano, flute, clarinet, horn and bassoon

No. 1 - Allegro con brio in B-flat Major: 0:08 No. 2 - Andante in B-flat Major: 7:43 No. 3 - Rondo (Allegretto) in B-flat Major: 17:09

Performers: Jean-Efflam Bavouzet on piano, Tara Helen O'Connor on flute, Romie de Guise-Langlois on clarinet, Radovan Vlatković on horn, Peter Kolkay on bassoon

moonfire mayham 2

"You called Riven Fortemps a whore?!"

The start of the Moonfire Faire was not going auspiciously, P'ebaloh thought. Master Gegeruju was in a proper rage--not that she could blame him. The focus of his ire, another Plainsfolk Lalafell, threw themselves to their knees.

"I-I didn't know! I thought they were con artists! There's so many claiming to be the Warrior of Light and her fellows--"

"Nobody knows where they vacation here!! I pay good gil for security to ensure that!!" Gegeruju was tomato-red in rage.

"If you weren't sure of their identity, you could have called for P'ebaloh! She would have come! And they're all over the newspapers, don't you know what they look like?!" The hapless building overseer yelped as Gegeruju grabbed him by the tunic collar.

"Thanks to you, I'm going to have an angry Ishgardian High House coming for me! And their military friends! Because you decided to not only insult the daughter of said High House, but her fellows!! All of whom are Warriors of Light as well!!"

-----

"So...we're letting Gegeruju squirm then." Mathye said.

"Uh-huh." Riven had her hands full with a pad of paper and a pencil, rapidly calculating numbers. It seemed like Gegeruju had delegated even more of his business to assistants, and it had been their bad luck they had to deal with the newest addition to the Costa Del Sol's corporate roster. When the quintet, Estinien included--had presented themselves to check in and acquire the keys to their vacation home away from home, he hadn't believed them about their identies. Instead they'd been heckled and jeered at, and then kicked off the premises. Luckily one of the Faire's vendors had seen the whole thing, and had told Riven of a Roegayden widow who was holding her own against Gegeruju's beach monopoly. The widow had a lovely house up hillside, and was willing to rent. It was smaller--four bedrooms compared to the seven bedroom that had waiting for them, but it was big, and the view of the coastline was absolutely beautiful.

Everyone had fallen in love on the spot with it. And Riven thanked her lucky stars that the emergency fund covered the damage retainer--and Reinhardt was making a quick run to Limsa with Riven's seal to access her money there. The widow was charging a hefty penny for rent, but Riven couldn't blame her. Gegeruju had all but robbed her of her regulars. The rental amount more than likely would keep the widow going for the rest of the year.

"There's just enough room to park your bike and Seb's but that's it." Augustine stopped to remove his slippers. "I'm assuming the 'bos are staying at Wineport?"

"The better to make that little sleezeball panic." Riven retorted. "Emmanellain already knows, I left him cackling as I ended the linkpearl call." Satisfied with the numbers she'd written down, Riven turned to a fresh page.

"What do we need to grab for supplies?"

Storia Di Musica #259 - The Shaggs, Philosophy Of The World, 1969

Kevin Costner è il protagonista di un bellissimo film del 1989, L’Uomo Dei Sogni, in cui il protagonista, un agricoltore dell’Iowa, sente una voce nei campi di mais che gli chiede di costruire un campo da baseball. Da qui parte una storia magica che è una sorta di viaggio spirituale e di redenzione per tutti coloro che ne faranno parte (il film è bellissimo e vale la pena di essere visto o rivisto). Una cosa simile successe a Austin Wiggin, di Fremont, New Hampshire. Anni prima, durante una fiera di magia, la madre gli lesse la mano e gli predisse tre cose: lo sposalizio di una donna bionda, tre figlie dopo che lei fosse morta, e che le sue figlie avrebbero formato una band di successo. Scatta qui una scintilla in Austin, perchè in pochi anni le prime due cose si avverano, e come un predestinato dal Fato decide che le sue tre figlie, Dorothy "Dot", Betty e Helen diventino una band. Compra gli strumenti, paga qualche lezione di musica, e sicuro che il destino si compia le fa suonare insieme: in realtà Austin avrà anche un’altra figlia, Rachel, che tenta invano di inserire in questo progetto, ha un carattere pessimo e cresce le ragazze nel totale isolamento sociale e culturale. Nel 1968 inizia a organizzare dei concerti pubblici nella piccola città dove vivono, Exeter nel New Hampshire, chiedendo la sala pubblica del Municipio come sala eventi. Stabilito che le sorelle hanno una certa amalgama, battezza il gruppo The Shaggs, le Arruffate, per via delle chiome delle tre componenti. Tutto è pronto nel 1969: Austin, che in realtà lavora in un mulino e non è certo ricco, affitta i Fleetwood Studios di Revere, Massachusetts, per far registrare l’album della consacrazione alle tre figlie. Dando fondo a ogni risparmio, sicuro che il destino lo avrebbe aiutato, paga in anticipo anche 1000 copie del disco a  Charlie Dreyer, che li farà stampare dalla Third World Music. Le registrazioni avvengono in un solo giorno, l’album ha pure due singoli per un 45 giri. Fin qui sembra la perfetta storia del sogno americano. C’è un grande, gigantesco “ma”. Ascoltando Philosophy Of The World si capisce che le tre ragazze erano tutto fuorché capaci di suonare: tecnica primitiva e improvvisata, la sensazione che non esista davvero la cognizione di ritmo, melodia e armonia, colpi di batteria che spuntano così, all’improvviso, la sensazione che le peggiori esibizioni al Karaoke non siano degne di questa scaletta. Si racconta che sbigottiti gli ingegneri del suono si guardassero tra loro quando le ragazze, convinte che una di loro avesse fatto un errore, si fermavano, ne discutevano per un attimo e continuavano a cantare. Eppure certi passaggi hanno un potenziale, e se non si sapesse la storia, le canzoni strampalate che suonano (tutte di un paio di minuti circa, che parlano di temi adolescenziali come uscire con gli amici, la festa di Halloween, le domande esistenziali tipo Who Are Parents?, Why Do I Feel? o  What Should I Do? stemperate dalle idee e dai sogni di Things I Wonder,  I'm So Happy When You're Near) potrebbero passare per un esercizio di avanguardia musicale. C’è pure un lato umano terribile: Dreyer stampa solo 100 copie, e scappa con il resto dei soldi. Con profonda umiltà, Wiggin le distribuisce alle stazioni locali, che le abbandonano sugli scaffali. Imperterrito, anni dopo, nel 1975, organizza una nuova sessione di registrazione, che però finisce quando Austin Wiggin muore per un infarto. Le tre sorelle abbandonano ogni altre idea musicale. Ma stavolta avviene l’atteso cambio di trama parziale: in primis, il Maestro Frank Zappa, da amante delle stranezze, compra una copia e diventerà un sostenitore di quella musica, tanto che in un famoso show televisivo suonerà due pezzi delle Shaggs; due grandi musicisti, Terry Adams e Tom Ardolino, che suonavano nella New Rhythm ‘n’ Blues Quintet, (NRBQ) possessori di una copia originale del disco, convincono la loro casa discografica a ripubblicare Philosophy Of The World. La ristampa del 1980 viene recensita da grandi giornali, con Rolling Stone che lo definisce “il disco peggiore di tutti i tempi” ma anche “il ritorno dell’anno”. Lester Bang sul Village Voice scrive: ”Come suona? Perfetto, non sanno suonare! Ma soprattutto hanno avuto l'atteggiamento giusto, che è tutto ciò che il rock 'n' roll è sempre stato fin dal primo giorno.” Tuttavia si riaccende un piccolo culto sotterraneo, e la riscoperta della musica “naif” di quegli anni aiutò la musica delle sorelle ad arrivare a vette incredibili (almeno di soddisfazione): è certo che Kurt Cobain designò Philosophy Of the World tra i suoi 5 dischi preferiti, e persino The New Yorker dedicò una storia di copertina alla vicenda delle sorelle Wiggin, nello stupore generale delle tre donne che consideravano un’esperienza orribile quella storia. Ci sarà perfino un album tributo, Better Than The Beatles: A Tribute To The Shaggs  del 2001, e un musical dieci anni dopo, nel 2011, tanto che le due sorelle Dot e Betty, dopo la morte di Helen nel 2006, decidono una reunion con alcuni concerti insieme alla band del musicista Jesse Krakow. In un articolo su uno di questi concerti, un giornalista del The New Yorker scrive: “Le sorelle Wiggin non hanno affatto misura e divertimento a stare sul palco (...) Cosa significava celebrare un errore? Se l'arte accidentale viene ricreata di proposito, che cos'è?”. Rimane una delle storie più incredibili della musica moderna, e suggerisco almeno un ascolto (che ammetto è un’esperienza davvero diversa) per capire come qualche volta è meglio non tentare di prevedere il futuro.

Why is the Con Quintet called the "Con Quintet"?

They’re basically the cat equivalent of con artists! They’re not henchcats, they’re not Jellicles, they’re their own little group, and Maly comes up with the idea to call themselves the con quintet!

It’s mainly because they use their tricks and talents to nab food and other things from the humans, playing pretend to gain sympathy or something else from the pitying humans walking around the city. It’s a title they wear with pride!!

They do spend more time around the Jellicles after they meet Mungojerrie and Rumpleteazer, but they still call themselves the con quintet even after they become more of a Robin Hood-style group, stealing from wealthy humans and other uppity cats and giving out what they’ve stolen to cats in need

Theme Breakdown for the Demons/Angels Universe (Part 1 of ???)

Someone suggested I do this, here’s a break down of how I chose all the themes for the Sins + Virtues. The reasons will range from “something extremely deep” to “haha instrument go brrrr.” I’ll do more characters from this universe in the future.

I compile everyone’s themes for this universe in this playlist!

Invidia: String Quartet No. 3, BB 93: Seconde parte: Allegro – Béla Bartók

Starting off strong with a not that deep reason, the opening trill from the second violin has always reminded me of a snake. Invidia’s design draws inspiration snakes given that she’s canonically the Serpent of Eden.

This is a very musically technical piece, I like how it all comes together to sound very layered and barbaric. I think that fits Invidia, she’s got a lot of pent up emotion underneath her cold exterior.

Ira: Symphony No. 10 in E Minor, Op. 93: II. Allegro – Dmitri Shostakovich

Supposedly this is meant to be a musical portrait/representation of Joseph Stalin.

Heavy brass evokes imagery of marching armies. Reminds me of John Williams’ work for the original Star Wars trilogy.

Acedia: Music for Strings, Percussion, and Celesta, Sz. 106, BB 114: I. Andante tranquillo – Béla Bartók

This was a bit of a fine line I had to walk, I wanted something peaceful but still sinister.

I find that Bartók walks that line perfectly in this movement, it’s simultaneously tranquil but there’s a darker tone to it.

Superbia: Ruslan and Ludmilla: Overture – Mikhail Glinka

Overtures are usually the openings to operas, ballets, etc. They’re typically very flourishing and bombastic. I find that this specific overture is the right amount of bombastic I wanted for Superbia’s theme

Luxuria: Samson et Dalila, Op. 47, R. 288: Bacchanale – Camille Saint-Saëns

In music, bacchanales are typically meant to depict drunken revels/orgies.

The opera is based off of the story of Samson and Delilah from the Old Testament. In many interpretations of the tale, Delilah is meant to be a sinful, sexual woman.

Gula: Symphony No. 1 in D Major "Titan": II. Kräftig Bewegt, Doch Nicht Zu Schnell - Trio: Recht Gemächlich - Tempo Primo – Gustav Mahler

I found the extremely long title of this movement really funny lmao

There’s a playful, joviality to this piece. I think that fits given Gula’s the more optimistic one of the Sins.

Avaritia: The Marriage of the Figaro Overture – W.A. Mozart

Historically, operas have been associated with the upper class and wealth. Many operas were commissioned by nobility

Mozart is the best of the best, it’s only fitting that Ava’s theme would be the best of the best as well

Camael: Variations on an Original Theme, Op. 36 “Enigma”: VIII. W.N. (Allegretto) – Edward Elgar

All of the movements of Elgar’s Enigma Variations are inspired by various friends and loved ones of the composer.

More graceful and lyrical melody in contrast to Invidia’s barbaric and savage theme.

Zadkiel: Symphony No. 9 in E Minor: III. Scherzo: Molto Vivace – Antonín Dvořák

You’ll notice that Michael and Zadkiel’s themes are similar. Both are from the same composer (Antonín Dvořák), both are the third movement of a symphony, and both are scherzos.

It ties into Zadkiel being Michael’s successor. Not just literally, but his musical theme (symphony 9) being a successor to Michael’s theme (symphony 7).

Gabriel: Piano Quintet in C Minor: II. Scherzo (Allegro non troppo) – Alexander Borodin

Scherzos are usually short, fast paced and playful pieces.

Raphael: Petite Suite (orchestrated by Henri Büsser): IV. Ballet – Claude Debussy

Very happy and playful piece, easily fits her personality

Uriel: String Sextet in D minor "Souvenir de Florence", Op. 70: II. Adagio cantabile e con moto – P.I. Tchaikovsky

Very innocent and romantic vibes, contrasts with Luxuria’s boisterous bacchanale

There’s a viola solo in this piece. And I feel like there’s a viola joke to be made here with Uriel being the most uptight, pretentious asshole, but I’m blanking out on one >:(

Jophiel: Double Concerto in A Minor: III. Vivace non troppo – Johannes Brahms

A big motif I keep with Jophiel is balance, their theme is no different.

The piece starts in a minor key and ends in a major key. The concerto is meant for a solo violin (the upper register of stringed instruments) and a solo cello (the lower register of string instruments), along with the orchestra.

Michael: Symphony No. 7 in D Minor: III. Scherzo: Vivace – Antonín Dvořák

I already talked about how Michael and Zadkiel’s themes mirror each other, so I won’t copy and paste it all here lmao

I became obsessed with this particular piece during the early days of the COVID pandemic. I’ve always associated this piece with enduring things despite the hard times.

tagged by my beloved @spacegirlsgang to answer a few qs !!

nickname(s): av!

height: i am lorenzoinsigne-sized

last thing googled: le creuset valentines day collection

song stuck in myhead: borodin's polovetsian dances

follower count: at least five :)

amount of sleep: idk what this means exactly?? like . on average? or aspirationally? love me a solid 8hrs

dream job: i dont want a career i just want 2 sit on da porch

wearing: gold flannel, adidas sweats, socks from amsterdam (shini n george i am looking directly at you), n vintage cub scout kerchief as a bandanna

book/movie that summarises me: ill give u my fav movies!! the handmaiden, moonrise kingdom, inception, stardust, spirited away

fav song: ough . fav rn is brahms' string quintet in f major op 88 - allegro non troppo ma con brio

aesthetic: rn we're in the middle of OrthodoxGirlChild Winter

fav author(s): min jin lee, alice hoffman, gabrielle zevin

fun fact: ive played viola/violin since i was five! hence the classical music . ive been getting back into playing recently :)

tagging @heartyearning @yusufsmoon @captainshakespear @merlinn and @nonbinary-nicolo <3 i thjink mary already tagged half of yall but idc <3

CHARLIE WATTS - 'ANTHOLOGY'. La primera gran colección del extenso catálogo del batería de THE ROLLING STONES. Con temas inéditos!

La primera extensa antología extraída del catálogo de Jazz personal de uno de los baterías más queridos y admirados del mundo, el legendario Charlie Watts, ya está a la venta.

Disponible tanto en ediciones en digital, doble vinilo como de doble CD, ‘Anthology’ es un homenaje total a la "otra" identidad musical del gigante batería que sustentó a los Rolling Stones durante más de 55 años, pero en su faceta más personal como amante de la música. Basada en un período de casi 20 años de su importante catálogo de grabaciones de Jazz en varias formaciones, incluidos cuarteto, quinteto, tentet (diez músicos) y como orquesta jazzística. La colección es por tanto el recuerdo perfecto de un artista y músico único para sus seguidores de toda la vida y la introducción y descubrimiento perfecto para posibles nuevos admiradores.

Increíble antología de Charlie Watts, con su habitual modestia y discreción, con una exitosa carrera con los Stones y sobre todo con su personal, particular y original forma de tocar la batería.

‘Anthology’ es un motivo de celebración de la interpretación, del impecable buen gusto y una verdadera inspiración para millones de baterías, quienes generosamente fijaban su atención hacia las brillantes colaboradores que Charlie hizo y que ahora se seleccionan. En ‘Anthology’ encuentras a grandes músicos como su amigo de toda la vida y el incondicional del contrabajo Dave Green, saxofonistas como Peter King, Evan Parker y Courtney Pine, el trompetista Gerard Presencer, el mago de la batería Jim Keltner y el vocalista y músico habitual en directo de The Rolling Stones, Bernard Fowler.

Esta increíble retrospectiva comienza en 1986 con ‘Live At Fulham Town Hall’ el primer álbum en el que Watts puso su nombre en una portada. Con su habitual modestia. Unos 25 años después de haber emprendido su exitosa carrera con los Stones y sobre todo con su personal, particular y original forma de tocar la batería. También presenta selecciones del mini-álbum de Charlie Watts Quintet de 1991 ‘From One Charlie’, sus álbumes ‘A Tribute to Charlie Parker with Strings’ (1992), ‘Warm and Tender’ (1993) y ‘Long Ago and Far Away’ (1996), la colaboración del año 2000 ‘Charlie Watts - Jim Keltner Project’ y otras grabaciones en directo como, ‘Watts at Scott's’ de 2004, o como ‘Charlie Watts Tentet’.

KENNY DORHAM

(English / Español)

Kenny Dorham, (August 30, 1924, Fairfield, Texas, United States - December 5, 1972, New York, United States), was an enormous and magnificent trumpet player while he lived. Gifted with a lyrical phrasing in the hardbop style of music, he was always characterized by a spectacular trumpet phrasing. His musical beginnings were neither more nor less as an outstanding trumpet player in 1945 in the orchestra of two bebop musicians such as Dizzy Gillespie and Billy Eckstine. The magnificent work developed in those formations, earned him that Charlie Parker himself incorporated him to his quintet during the years 1948 and 1949. His next job was with drummer Art Blakey, who incorporated him into his newly formed combo "The Jazz Messengers".

At that time he formed a small group he called "The Jazz Prophets" and when Clifford Brown died, the great drummer Max Roach called him to take his place in his quintet, which he did during 1956 and 1958. In spite of this formidable competition, Dorham always kept the bar high and his time in the quintets of Charlie Parker first and Max Roach later on, elevated him to the top of the hard bop trumpet players' podium.

Kenny Dorham left for posterity a song entitled "Blue Bossa" that has become part of the repertoire of modern jazz classics and, together with numerous arrangements for other musicians, earned him a well-deserved reputation as an efficient and inspired composer.

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Kenny Dorham, (30 de agosto de 1924, Fairfield, Texas, Estados Unidos – 5 de diciembre de 1972, Nueva York, Estados Unidos), fue un trompetista enorme y magnifico mientras vivió. Dotado de un fraseo lírico dentro de un estilo musical duro como es el hard bop, siempre le caracterizó un espectacular fraseo a la trompeta. Sus comienzos musicales fueron ni mas ni menos como trompetista destacado en 1945 en las orquesta de dos músicos del bebop como fueron, Dizzy Gillespie y Billy Eckstine. El magnifico trabajo desarrollado en esas formaciones, le valió que el mismísimo Charlie Parker lo incorporara a su quinteto durante los años 1948 y 1949. Su siguiente trabajo fue con el batería Art Blakey, quien lo incorporó a su recién formado combo «The Jazz Messengers».

Por aquella época formó un pequeño grupo al que denominó «The Jazz Prophets» y cuando murió Clifford Brown, el grandioso batería Max Roach, lo llamó para que ocupase su lugar en su quinteto, lo que hizo durante los años 1956 y 1958. A pesar de esa formidable competencia, Dorham siempre mantuvo el listón alto y su paso por los quintetos de Charlie Parker primero y de Max Roach después, le encumbraron hasta lo más alto del podium de los trompetistas del hardbop.

Kenny Dorham, dejó para la posteridad un tema titulado «Blue Bossa» que ha pasado a engrosar el repertorio de clásicos del jazz moderno y junto a numerosos arreglos para otros músicos, le valieron para ganarse una merecida reputación de compositor eficiente e inspirado.

Fuente: apoloybaco.com