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You mentioned in earlier asks that you don't plan on incorporating any NSFW content, which is fine by me, but the ask about hickeys for example.. you said you wouldn't name names bc it's better for us to find out what makes the boys tick ourselves. Does that mean there might be a make out scene of some sort 🧍♀️or will we talk about such topics with the boys at some point?
Yup! I mean, you'd wanna make out with your boyfs right?
Or I mean you might not want to, aro/ace peeps are still valid coming from an aro/ace person.
But yeah-- at some point in the game, definitely not in the extended demo though haha, you'd be able to have kissy kissy times with the lads ^^
Guys I manifested Heartsteel aphelios in the shop with my stupid drawing and now I'm 5$ poorer but I have a vibey boi who dances to his boyfriend's track
he oingo on my boingo until I whaoaaaaaaoaaaaaoaoaoaoaoaooaoaoaaooaoaaoDDUDURRRRRR DUNUN DUN DUN DUN DUN DUNUN DUN DUN DUN DUN DUNUN DUN DUN DUN DUN WHOAAAHAHAHAHAHAHABHSHUAOAAOOA
I don't even know, just... Simple, zero-cluster names. Sounds kind of Dwarvish to me, but as in dwarves from Worldbox. Who knows. You can maybe use it or take inspiration or something. If you combine a long word with a short one, a city name (-ish) can be born. Like, Mozal Gur
Sabah kafam dolu uyandım kahvaltı ettim giyindim öyle saçma bir kafayla dershaneye gittim ilk ders dersi dinledim ilk dersin ortasında Burak hazretleri teşrif ettiler o gelince dikkat dağıldı habire goygoy zaten o tyt matematik çözdü ben resim çizdim bir yandan da sohbet ediyoruz hoca da dersi dinlemeyenlere laf sokuyo falan baya saçmaydı öğleden sonra rehberlikci ödev kontrolüne geldi bana program vermedi bilinçli olarak yapmadi ama ben de istemedim çünkü bu hafta kendim program yapıp çalışırım. Toplam altı ders vardı son üç ders vampir köylü oynadık ben nasıl oynandığını bilmiyordum ama öğrendim ilk iki turda üç vampirden biri bendim birini kazandım. Eğlenceliydi ama bu sosyal pilimi bitirmeye yetti. Çıkışta bardaktan boşalır gibi yağmur yağıyordu ve benim de yanımda şemsiye olmadığı için fareye döndüm. Hem sosyal pilimin bitmesi hem anın duygusallığı hem de yarın ( aslında bugün ama dunun günlüğü) iznike gideceğim ve bana son dakika başka şeyler hissettirdiği için biraz ağladım yolda . Eve geldim baktım annem noldu diye darliyor ve dışardan gelmeme rağmen camı açıp nefes alma ihtiyacı duyuyuyorum kapüşonlu bir şeyler giyip evden çıktım istediğim saçım ıslanmasın ama semsiye de tasimiyim. Biraz yürüdüm bana evdeymis gibi hissettiren şarkıları dinledim. Marketten kurabiye ve yarın yolculukta midem bulanır diye tuzlu çubuk aldım ( iyi geliyor) . Sonra küçükken en çok oynadığım parka gittim zaten hava yağmurlu olduğu için kimse yoktu . Kaydiraklarin olduğu büyük parkin( birkaç kaydırağın olduğu o merdivenli şeye nw deniyo) çatısı olan ve yagmue gelmeyen yere çıktım birkaç tane tuğla gibi taş vardı orda birleştirip oturdum biraz da orada ağladım ağlarken karnım aciktigi için kurabiye yedim iki tane yarım saat falam oturdum sonra montsuz olduğum için üşüdüm eve geri döndüm. Maksimum bir buçuk saatlik bir olaydı ama bana iyi geldi eve gelince sakindim duş aldım yemek yedim sonra bir şeyler izledim fic okudum sanırım biraz . Öyle işte
New Video: Oakland's Orchestra Gold Returns with Funky and Forceful "Gende"
New Video: Oakland's Orchestra Gold Returns with Funky and Forceful "Gende" @OrchestraGold @pavementpr
Oakland-based psych outfit Orchestra Gold is rooted in the decade plus-long collaboration between Malian-born vocalist Mariam Diakite and Oakland-based guitarist Erich Huffaker. The duo first met in Bamako, Mali back in 2006. At the time, Huffaker was very busy: he was working for a nonprofit, studying djembe and dunun (drums) and immersing himself in the city’s burgeoning music scene when he had…
In response to the current political and ecological turmoil, the famous Malian quintet BKO appeals to the magical spirit of the djinn with Djine Bora (the appearance of the genie). An explosive and mystical third album, embodied by a music of resistance, the fruit of their unique experimentation with Mandingo music and their extraordinary history.
The three letters B.K.O. are the code for Bamako airport. It is in the Malian capital that the group has been rehearsing since 2012. In the same year that Mali declared a state of emergency, no one could have imagined that these musicians would be responsible for three albums and over 450 concerts in 25 different countries. BKO fights, does not fail, unifies and looks like no one else.
In this album, the band delivers an abrasive music where tradition is tinged with rock, polyphonies, distortions and shrill breaks. They invoke ancestral spiritualities by marrying for the first time in Mali two diametrically opposed traditions.
An electric combination of Djeli N'goni, the guitar of griot Mamoutou Diabaté, and Donso N'goni, the six-stringed lute of Adama Coulibaly, a member of the secret brotherhood of Bambara animist hunters. These inimitable sounds are supported by a rhythm section represented by the two founders of BKO, percussionist Ibrahima Sarr and Aymeric Krol with his drums rigged with percussion (calabash, dununs and cymbals). But above all, this hypnotic sound exploration with its visceral and feverish rhythms could not exist without the presence of their charismatic singer Fassara Sacko. His hoarse voice is inhabited, it blazes and revives the multi-secular songs as well as the claims of the people of Bamako (infant mortality in Sadiona, immigration in Tounga, poverty in Koli). Although he has lost his eyesight over the course of the tours, his energy and conviction is unrivalled, perhaps the djinn has something to do with it, or it has become incarnated in each of the musicians.
In the course of the ten tracks of Djine Bora, BKO propels the traditions within a powerful and hybrid universe, just like Bamako. In this bewitching atmosphere, crackling concrete and ritual ceremonies meet. The group has released one of its most accomplished albums, tinged with trance, enigmatic melodies (Ntiaro's Peulh prayer) and unifying messages (Maya, Bamako, Toumaro).
Music and Lyrics by BKO
FASSARA SACKO : LEAD VOCAL (1,2,5,6,7) ou (A1, A2, A5 / B1, B2) / KHASSONKÉ DUNUN
ADAMA COULIBALY : LEAD VOCAL (3) ou (A3) / DONSO-NGONI
ALOU SANGARE : LEAD VOCAL (4) ou (A4)
NFALY DIAKITÉ : LEAD VOCAL (8,9,10) ou (B3, B4, B5) / DONSO-NGONI
IBRAHIMA SARR : DJEMBE, BACKING VOCALS
MAMOUTOU DIABATÉ : DJELI-NGONI
AYMERIC KROL : DRUMS, BACKING VOCALS
Artist Bio: Weedie Braimah is widely regarded as the premiere voice of the Djembe. Born in Ghana and raised in East St. Louis with deep roots in New Orleans, he was first introduced to West African culture and drumming and began performing at the age of 2 years old. Braimah continued his lifelong quest and professional career in the study of African folklore and cultural music of the African diaspora. A maverick performer of the highest caliber, Braimah is endowed with an innate ability to draw entire audiences into his groove. Utilizing his amazing speed and dexterity, breathtaking skill, and breadth of knowledge, he ushers listeners through a rhythmic journey of Africa and the Diaspora. As Offbeat Magazine noted, his “skill at adapting to an array of styles” has made him an original and in-demand talent.
Braimah descends from a long lineage of drummers/composers, which includes his mother, Ann Morris, a respected Jazz drummer, his father, Oscar Sulley Braimah, a world-renowned composer and master drummer, and great-uncle, Jazz drumming icon, Idris Muhammad. Braimah honed skills learned through study with greats including Mamady Keita, Famadou Konate, Abdoul Doumbia, and Sylvester Sun Shine Lee among others. He excelled musically and became one of the leading exponents of the West African... more
credits
released September 24, 2021
1) Full Circle:
Weedie Braimah - Djembe, Congas, Sangban, Cabasa, Bells
Munir Zakee - Sangban Set, Vocals, Programming
Luke Quaranta - Dunun Set, Kenkeni, Tambourine
Raja Kassis - Electric Guitar
Shea Pierre - Clavinet, Rhodes Organ
Sam Dickey - Electric Guitar, Djeli Ngoni
Courtney Smith - Moog Bass Synthesizer, Moog Synthesizer
Alvin Ford Jr. - Soundscapes
John Michael Rouchell - Soundscapes
Oscar Sulley - Sample
Babatunde Olatunji - Sample
Kimati Dinizulu - Sample
Featured Artist(s): The Hands of Time
Recorded at The Parlor Recording Studio - Engineered by Reginald Nicholas, Jr.
Additional Recording at Neutral Sound Studio - Engineered by Andrew Block
Additional Recording at Artisound Production - Engineered by Keenan McRae
2) Weediefoli:
Weedie Braimah - Djembe, Claps
Hatouma Sylla - Vocals
Mumu Fresh - Vocals
Petit Adama Diarra - Djembe
Bassidi Kone - Djembe
Karim Coulibaly - Dunun, Kenkeni, Bell
Lamine Tounkara - Djeli Dunun, Bell
Nigel Zuniga - Sangban, Bell
Sinaly Papus Diabate - Electric Guitar
Madou Sidiki Diabate - Kora
Cherif Soumano - Kora
Lassana Diabate - Balafon
Cheick Diallo - Flute
Raja Kassis - Electric Guitar
Sam Dickey - Djeli Ngoni, Acoustic Guitar, Electric Guitar
Luke Quaranta - Kenkeni, Sangban, Calabash, Claps, Bells
Munir Zakee - Programming
Max Moran - Electric Bass
Featured Artist(s): Mumu Fresh, Hatouma Sylla, Bassidi Kone, Petit Adama Diarra
Recorded in Bamako, Mali at Studio Bogolan - Engineered by Yaya Diarra
Additional Recording at Artisound Production - Engineered by Keenan McRae
3) Express Trane to Bamako:
Weedie Braimah - Djembe
Sam Dickey - Electric Guitar
Shea Pierre - Piano, Rhodes Organ, Organ
Munir Zakee - Sangban Set, Djembe, Vocals
Luke Quaranta - Dunun Set, Karignan, Triangle
Raja Kassis - Electric Guitar
Cheikh Ndoye - Electric Bass, Piccolo Bass
Courtney Smith - Moog Synthesizer, Moog Bass Synthesizer
Featured Artist(s): The Hands of Time
Recorded at The Parlor Recording Studio - Engineered by Reginald Nicholas, Jr.
Additional Recording at Artisound Production - Engineered by Keenan McRae
4) Sackodougou:
Weedie Braimah - Djembe
Cheikh Ndoye - Electric Bass
Sam Dickey - Djeli Ngoni, Ngoni Ba, Electric Guitar
Raja Kassis - Electric Guitar
Luke Quaranta - Dunun Set
Munir Zakee - Sangban Set, Djembe, Kryn
Dave Eggar - Cellos
Christian Scott aTunde Adjuah - Trumpet
Cory Henry - Keys
Featured Artist(s): Cory Henry, Christian Scott aTunde Adjuah, The Hands of Time
Recorded at The Parlor Recording Studio - Engineered by Reginald Nicholas, Jr.
Additional Recording at Artisound Production - Engineered by Keenan McRae
5) Back to Forward (An Ode to Bontuku):
Weedie Braimah - Djembe
Cheikh Ndoye - Electric Bass
Shea Pierre - Moog Synthesizer, Rhodes Organ
Raja Kassis - Electric Guitar
Sam Dickey - Electric Guitar
Munir Zakee - Sangban Set, Programming
Luke Quaranta - Dunun Set
Wayne Matthews Jr. - Synthesizers
Troy ‘Trombone Shorty’ Andrews - Trombone, Trumpet
Featured Artist(s): Troy ‘Trombone Shorty’ Andrews, The Hands of Time
Recorded at The Parlor Recording Studio - Engineered by Reginald Nicholas, Jr.
Additional Recording at Neutral Sound Studio - Engineered by Andrew Block
Additional Recording at Artisound Production - Engineered by Keenan McRae
Additional Recording at Buckjump Studios - Engineered by Charles Smith
Recorded & Engineered by Jackie Sharp
Additional Recording at Artisound Production - Engineered by Keenan McRae
7) Hippos in Space:
Weedie Braimah - Dunun, Djembe, Vocals
Courtney Smith - Keys, Synthesizers
Munir Zakee - Sangban Set, Djembe, Accessory Percussion, Claps
Joe Cleveland - Bass
Alvin Ford Jr. - Soundscapes
John Michael Rouchell - Soundscapes
Aankha Neal - Vocals
Terrace Martin - Saxophone
Christian Scott aTunde Adjuah - Trumpet
Featured Artist(s): Terrace Martin, Christian Scott aTunde Adjuah
Recorded at Stagg Street Studio - Engineered by Tony Shepherd
8) When Clouds Kissed 2/5/15
Weedie Braimah - Djembe
Shea Pierre - Backwards Piano
Raja Kassis - Electric Guitar
Sam Dickey - Acoustic Guitar
Munir Zakee - Vocals
Rhabi - Vocals
Featured Artist(s): The Hands of Time, Rhabi
Recorded at Neutral Sound Studio - Engineered by Andrew Block
Additional Recording at Artisound Production - Engineered by Keenan McRae
9) Send for Me:
Weedie Braimah - Djembe
Courtney Smith - Moog Bass Synthesizers
Raja Kassis - Electric Guitar
Sam Dickey - Electric Guitar, Djeli Ngoni
Shea Pierre - Moog Synthesizer, Rhodes Organ, Piano
Cheikh Ndoye - Ngoni Bass
Munir Zakee - Sangban Set, Programming
Luke Quaranta - Dunun Set, Sangban, Triangle
Wayne Matthews Jr. - Synthesizers
Frank Moka - AfroAmericana Percussion
Tarriona Tank Ball - Vocals
Pedrito Martinez - Congas, Bata, Vocals
Featured Artist(s): Tarriona Tank Ball, Pedrito Martinez, The Hands of Time
Recorded at The Parlor Recording Studio - Engineered by Reginald Nicholas, Jr.
Additional Recording at Neutral Sound Studio - Engineered by Andrew Block
Additional Recording at Artisound Production - Engineered by Keenan McRae
10) Ships Come In (A Lullaby):
Weedie Braimah - Dunun, Sangban, Kenkeni, Bells, Djembe
Munir Zakee - Sangban Set
Raja Kassis - Electric Guitar
Christian Scott aTunde Adjuah - Trumpet, Synthesizers
Elena Pinderhughes - Flute
Magatte Sow - Sabar Drums
E’Lon JD - Electric Bass
Featured Artist(s): Christian Scott aTunde Adjuah, Elena Pinderhughes, Magatte Sow
Recorded at The Champagne Room West - Engineered by Dave Weingarten
Additional Recording at Artisound Production - Engineered by Keenan McRae
11) Rompe El Cuero:
Weedie Braimah - Djembe
Adonis & Osain del Monte - Vocals, Congas, Clave, Cajon, Snare, Kata
Alain Perez - Electric Bass
Victor Campbell - Piano
Munir Zakee - Dunun, Sangban, Bells
Sam Dickey - Djeli Ngoni
Luke Quaranta - Kenkeni
Featured Artist(s): Osain del Monte, Alain Perez
Recorded at Egrem Studios in Havana, Cuba
Additional Recording at Neutral Sound Studio - Engineered by Andrew Block
Additional Recording at Artisound Production - Engineered by Keenan McRae
12) Sworn to the Drum:
Weedie Braimah - Vocals, Djembe, Dunun, Sangban, Bells
Shea Pierre - Piano, Organ
Max Moran - Bass
Dave Eggar - Cellos
Katie Kresek - Violin, Viola
Luke Quaranta - Djembe, Kenkeni, Bell
Dwayne Muhammed - Bass Djembe
Wey Simba - Djembe
Josh Kagler - Vocals
Rome Washington - Vocals
Ashley Alexis - Vocals
Airrielle Waivers - Vocals
Recorded at Artisound Production - Engineered by Keenan McRae
New Post has been published on https://grahamstoney.com/music/friday-afternoon-music-therapy
Friday Afternoon Music Therapy
I spent this afternoon playing drums with my new musician friends from kirtan, for two different local groups of disabled people. I have never actually played with this group before, so I’m not sure what to expect. Although I’ve been [intlink id=”751″ type=”post”]playing drum kit[/intlink] for a while and used to play tamborim in a samba band, I’ve never played the drums I’m playing today before either (a cajón and a dunun), for more than a few minutes. So really all I can do is wing it on stage in front of our captive audience.
How Hard Can It Be?
The first gig is for a group of adolescents with Down syndrome. Despite my lack of practice, experience or rehearsal, they love it. If there’s one thing to be said for people with Down Syndrome, they sure know how to let loose and have a good time. Before long they are up dancing, jiving and laughing, showing far less inhibition than I have. One of the guys gets down on the floor and breaks into a spontaneous rap dance. We aren’t even playing hip-hop. But that isn’t about to stop him. Before long, one of his mates joins him; both of them writhing around on the floor unselfconsciously to our beats.
In contrast, I feel really self-conscious when our leader suggests that we start doing some “laughter yoga”, playing music to the sound of various different people in the band laughing. When it comes to my turn, I laugh away feeling ridiculous. I feel the rush of blood to my face and the feelings of shame at looking foolish; and the audience love it. One of the girls is laughing so much that it looks as though she is about to fall off her chair. By the end of the song the audience are all laughing more than we are.
The second gig is for a group of adults with physical and intellectual disabilities. Actually, I don’t know for sure that they all have an intellectual disability; that could just be my own prejudice shining through. Half of them are in wheel chairs and their speech and movement are awkward. The part-aboriginal woman with most of her teeth missing sitting on my left takes an immediate liking to me. She quickly reaches out to touch and hold my hand, and it isn’t long before we are high-fiving each other. This is a lot of fun at first, but it gets a little distracting as the gig progresses.
Once again this group has something valuable to teach me about going for what you want regardless of the apparent constraints of the situation, or of what other people might think. She wants to hold my hand, and the fact that I am currently using that hand to hit a drum isn’t about to get in her way.
Then there is another guy down the back who yells “Jesus!” at the top of his voice every few minutes. Just as an exclamation; it doesn’t seem like he is using it either as a swear word or in a religious capacity really. I assume he has Tourette’s, but once again he seems undeterred by any thoughts of what the people around him might be thinking. Praise the Lord.
I’m not exactly sure what to make of the woman down the back with the walking frame, who spends most of the gig marching to and fro across the room with her tongue stuck out. How does she avoid dehydration when her tongue appears to be spending more time outside of her mouth than inside? Still, she seems to be enjoying it.
Some of the songs that we play are quite meditative, and I look over at one point to see a woman in the audience who appears to be in a deep state of trance. I can’t honestly say for sure whether this is the result of the music that we are playing, whether it is medication-induced, or whether that is just how she always looks. Either way, she seems to be enjoying the experience.
The gig ends with a beautiful improvised flute, guitar, drum and didgeridoo piece. The audience are obviously grateful, and I feel happy about the way I chose to spend this afternoon as I pack up to go home. My life may not be perfect, but seeing people trapped in bodies that don’t give them the freedom that I enjoy really puts some of my problems into perspective.
On the other hand, I wasn’t the only one to notice the lack of inhibition in some of our other audience members this afternoon either. As we pack the cars to leave, one of the other guys from the group comments: “You really gotta wonder sometimes who has the disability… them, or us.”
This is the room that I was in!
I brought my african dununs and my congas which aren't in the picture, except for the small kenkeni beside the blue kit.
I also brought accessories like bells, cowbells, singing bowls and other toys for people to play with. When we do more drum circle style rhythms, these sounds are useful and it gets the students more open in terms of acceptance to sounds.
It was interesting in my experience teaching here, a lot of students aren't even comfortable with the acoustic sound of the drums. The music that most of these students are listening to nowadays is far from acoustic music. This causes a slight confusion with how to control acoustic sounds. Getting involved with traditional drumming is a great way to connect to more acoustic sounds!