#imprint is a HIDDEN MICKEY?!

[twentyfivemiceinatrenchcoat]

hi ari yes! you are welcome

geto canonically (at least i believe so don't quote me) carries a lighter around just for shoko (he makes me want to die he's so sweet and tender) but i love how that doesn't stop most everyone from hcing/drawing him as a smoker god i hate cigarettes but he's soooo hot oh god i should be the cig instea

oh man geto hating himself for making the reader cry... some things never change... i'm in pain again. oh goodness i think. fluff. SPEAKING OF WHICH do you have any fluff recs for suguru? (i've already read all the ones from kissxcore and go6jo though). tumblr search engine fails me every time i try to read

and YES i was fast that's cause i was kind of (really) waiting for this all day and i saw it n howled a little bit wow. never a dull moment on this blog

YOU’RE SO SWEET 🌖 ANON MWAH MWAHHH <33333 it’s not explicitly canon that he carries a lighter around just for shoko, we just see him lighting a cigarette for her in hidden inventory!! with a lighter he brought on his own. personally i think he carries it around just for her tho :33 AND YOU’RE SO REALLL I NEED TO BE HIS CIG. i’m not a smoker either but sadly i fall into the habit of finding smoking aesthetically attractive </3 AND YES :((((( some things never change!!!!! his heart broke a little. imagine finally kissing the love of your life after 10 years of abstinence only to realize they’re crying……… yeahhh. </3

BUT YES SUGU FLUFF!!!! first of all GREAT taste tumblr user kissxcore the actual love of my life (alexis if u see this ily)…… i have a couple sugu drabbles/fics in mind so i’ll link them under the cut!!!!! :3

in no particular order!!! :

black is the colour of my true love’s hair by @/dollsuguru

LIFE-CHANGING FICCCCCC it’s sososo cute and funny and heartwarming :(((( the character/reader dynamic is my favorite Ever (sugu belongs w a silly little reader <333) and there r just . SO many moments that killed me. so much devotion!!!! and love!!!!!! AND HE CALLS READER DOVEEE I LOST IT I CRIED . kairo has some other sugu fics that’re more angsty but they’re Extremely tasty so i def recommend checking them out <33

a thundering first by @/teddybeartoji

THE CUTEST . THE SWEETEST . I GIGGLED AND KICKED MY FEET SOOOO MANY TIMES HE’S SO DANGEROUSLY CHARMING ….. genuinely got flustered reading this fic i am a weak weak individual. and mickey just has a way of writing intimacy and first meetings that Really makes me melt…. T_T they have some other super duper cute sugu stuff too!!!!

tattoo artist!sugu hcs by @/missukiyo

SOOOOOO CUTE AND FLUFFY <33333 i love tattoo artist sugu soso much and these hcs just made me feel that even more 😭😭 HE’S SOOO SPECIAL TO ME uki’s version of him is simply unsurpassed…….. he’s so boyfriend. so reassuring. made my heart flutter severely

an excuse to touch by @/riaki

THEEEEEEEE COMFORT READ EVER :((((((( i remember feeling sososoos cozy and happy reading it for the first time …. riko just has a Way with words and imagery and i eat it up every time!!! this drabble is just too sweet :((( sugu is so doting in it….. soooo bf coded……. i need him bad.

love by @/hayakawalove

ACTS OF SERVICE KING SUGU I CHEERED!!!!!! this is a super comfy super sweet poly stsg/reader fic but the focus is on sugu and his love language :33 I LOVE IT SO MUCHHHH rem’s sugu is one of my favorites ever we always agree on him and his love….. he’s such a giver. and rem wrote this in such a lovely way it’s just brimming w adoration :((( another big comfort read he’s so Mother

teeth; gum; metal by @/mossmudrock

ONE OF MY FAV SUGU PIECES EVERRRRR moss’ writing has me so genuinely insane i clearly remember the breakdown i had reading this for the first time. i don’t know if it’s exactly fluff? but it’s definitely not angsty!!!! it’s just such a lovely soft piece…. and it’s written so gorgeously. so many lines from it are imprinted in my skull <///3

that suspended in-between by @/seiwas

I LOVE THIS DRABBLE SO MUCHHHHH sel also wrote a super super good fwb to lovers sugu fic… that i adore…. but if you’re looking for pure fluffy vibes this one is probably better. i just think sel has a way of making characters feel super grounded and real!!!! and i love her take on sugu sm…. he is so charming in this.

our first i love you by @/sacchariins

i absolutely ADORE this fic… sadly the original account is deactivated but the link should hopefully still work :’3 i just think geto is so insanely charming in this, it’s a college au and it’s just…. super super fluffy and sweet and funny. it’s one of my absolute favorites!!!!! it inspired me a Lot when it comes to how i view college sugu and a no curses au sugu in general… wherever this writer is now i hope they know how wonderful and skilled they are!!! i think abt this dynamic and dialogue SO often.

cinnamon, honey & sage by @/s0ulm8s

I LOVE THIS ONE. as you know i Adore cult leader geto and i especially love when people depict him in a softer way!!!! which is exactly what this is :3 he feels in character and grounded but also soft…. it’s a delicate balance and i just think the author did suchhh a good job. it’s just rlly rlly sweet!!! and the writing is so pretty too…

housemate suguru hcs by @/luvsugu

THESE R SOOOO CUTE AND WARM :(((( housemate sugu my BELOVED this characterization of him is truly toptier. he’s so good. i need him so bad. just so feel-good and comfy i need to live w him….. roommates to lovers is another of my fav sugu tropes hehe

drabble by @/junosmindpalace

this is such a comfort read :’) it’s sooo sweet and tender and also so nicely written. just very very soft!!!! geto taking care of reader’s hair… and being doting and soft…… sniffleeee i love him. i love the way it’s written too!!!! such a nice take on sugu aaa

there r lots more on both tumblr and ao3 that i can’t remember at the moment, but this is a start!!! it’s reallyyyyy difficult to look for fluff in the jjk tags bc it’s literally brimming w smut but . go to ao3 and use lots of search filters and i’m sure you’ll find lots of gems!!!! sugu nation is so talented it’s crazy

#I HOPE THIS HELPEDDDDD #i’m For Sure forgetting a bunch btw 😭😭 that’s just…. kind of how it goes with me. #BUT 🌖 ANON PLS DO CHECK OUT AO3. IT’LL CHANGE YOUR LIFE. most of my fav sugu fics r from ao3!!!! #if you aren’t familiar w it then just go to the getou suguru/reader tag and filter out all the content tags you don’t like!! #smut or angst and etcetc!!! #wahhhhh reading through this list i’m realizing how lucky i am when it comes to sugu mutuals #they’re all sososososo talented i can’t say it enough!!!!! i recommend checking out everyone on this list bc their writing is so lovely #:’3 i love them all very much #ask tag ✩ #🌖 anon !! ✩

[redwiccanrobin]

I kind of realized what makes me so attracted to queer love stories such as Ian/Mickey from Shameless (US) and Max/Anne from Black Sails.

There’s been this sort of narrative in the queer community about representation. There’s this heavy emphasis on portraying sweet, cute, bright characters. Characters that don’t exactly make you uncomfortable, their hardships can’t be too hard. Which is all well and fine. But what about those of us who aren’t squeaky clean?

I’m a complicated individual. There’s a darkness in me that I’ve hidden for so long out of fear that I would be judged. I couldn’t see myself truly in the characters that were being pushed to the forefront of queer rep. It made me kind of lonely. A little insecure too. Felt like I wasn’t being queer in the palpable way. Because the characters that were like me were shunned and condemned for how bad they were.

Seeing the ships I mentioned before and the love they got gave me an odd sense of comfort. They were dark, like me. They had demons, like me. They had to fight to survive, like me. And they found each other. They came to love each other. Maybe I could find love too then. It’s silly, really. But a lot of my comfort comes through media. I’m passionate about media analysis. Characters imprint themselves onto me whether that be in a good or bad way. Mickey, Ian, Anne, Max imprinted themselves on me in a very good way.

#shameless #black sails #gallavich #max/Anne

[tempest-loupnoir]

Since I love reaction posts and I enjoyed writing one for the Ducktales season one finale, I thought I would torture myself by taking the time to write one again for what might possibly be my favorite episode of the series. This way I can go back and relive the magic while waiting for the hiatus to end and the next chapter to begin.

First thought when I opened the app: love the preview image on the app banner with the security guard spraying DW.

Pile of bombs! Must equal Nega- Nope. Who’s that dude? Reminds me of the security guard in the Tuskernini episode when Tuskernini had a beard. Flim Flam?

Love that iconic bat cocoon pose. Keep it up, DW.

DW stepping on each bomb is so ridiculous yet so him. I wonder if the show props hurt?

OMG! I did not expect Darkwing’s face under that mask!! My reaction matched DW’s

OMG! Who’s the new dude?! Is that Drake? With a new voice actor? WHAT?! Or is he a creepy dude who had his face and body shaped to look like Jim’s?

Jim’s glasses are cool

LOL! Splat. Poor LP. Such a dork. Thanks for having his back, Dewey. I wonder what Jim thinks about this fan who’s never made it to his autograph table? If he even noticed... Poor Lp.

Nice recoloring of the title card. Was that just my eyes or was that someone on the letter in a Darkwing costume. Disney Now app, please let me rewind some day. But not today. On with the show!

This new guy has such a sweet expression. I hope he’s not going to be a villain like Buddy in “The Incredibles.”

Okay Jim has noticed LP before. And he was cute with Dewey but rude to poor LP and new dude. (I really want to call him Drake.)

Jim made LP drive him? Lol Why am I not surprised. And eww, sweat stains.

Dewey’s butt bouncing in the his seat was cute.

Eww. Really, Jim? “Sniff sniff. Musky.” Is that a throwback to “The Secret Origins of Darkwing Duck” when the monk pulled the baby out of the space ship and said “and we shall call him... (sniff sniff)...stinky.”

Good questions, Dewey. The plot thickens.

“A psychological examination of man’s inhumanity to man”, hmm? Are you going to be our next new villain, Alistair? (Note, I have never heard of the person he is based on and know nothing about his movies so I am a total newbie. Looking forward to learning more!)

Scrooge built the company to make cheap office safety videos? Wouldn’t a light projector and slides be cheaper, Scrooge?

Never say “dare” to Scrooge McDuck, regardless of context.

Lol Scrooge likes mustachioed villains. Cute little quirk.

Dewey flipping out about the studio and calming down after Scrooge’s response shows some growth in his character and Scrooge proved that he’s getting to know all of the kids in the “Nothing Can Stop Della Duck” episode. Nice little character touches.

DW crawling in on his stomach. Lol

Hidden Mickey! Mickey award on the shelf!

WHAT. Alistair’s film is the birth of Negaduck?! And that dog guy: was that Hooter or was that Commissioner Gordon from Batman?

LP’s reaction is pretty much on cue with mine, but I’m intrigued. I’d watch it.

Surprised Jim liked the film.

Dewey wants a role in the film. Lol. Not surprised.

Nice, Scrooge. Calling Dewey the most childish child you know.

I was not expecting him to put Dewey in charge though.

Hey new dude. So you’re future Negaduck? Or are you future Darkwing? So many questions...

Jim reacted as I expected. Lol Fwoosh. Ouch. Snap crackle pop. Poor Jim.

Love the music before Jim jumped on the car

LP came up with seven questions much faster than I expected.

Darkwing’s kitty hop after the bush was taken away. Lol

Hi Tad Stones. :D Lol

A little heavy handed with the fire retardant, weren’t you?

The water cooler sign reminds me of Liquidator, naturally.

LP’s stealth actions were actually pretty good, even though they were a bit loud and clumsy at times.

Love all the posters and toys in the trailer.

New dude’s switch from friendliness to outright attack mode is interesting.

Oops. Splash. XD Nice toilet paper shot.

Omg the battle scenes. They’re too cute, avoiding smashing the nostalgia! And battle hat action figure. Lol. Nice nod to the original action figure with its hat popping action.

Annnd of course LP blinded himself.

But who is that punk-looking action figure? My first thought was Powerline but could that be a new, dogified Morgana? Or a new villain? Curiouser and curiouser!

Megavolt has a mustache in this version, Dewey? Or were you planning on making him wear one? Lol I can just picture the original Megavolt’s reaction to that.

Uhh why are you threatening your rare action figure with an iron, New Dude? Are you and LP playing with the figures together? Also that answers my unspoken question about why an iron was on the vanity. I assumed it was for pressing capes but I guess the new guy would not need to iron his own capes.

Still haven’t answered my question on who the new action figure is but apparently it has something to do with...90’s neon fashion?

The lunchbox has a face imprint on it.

New Dude has a similar back story to Drake. Interesting. Does this mean Jim is going to be Negaduck or Darkwarrior?

Baby Darkwing!! Awwwww!! So cute! I love the style those comics were drawn in!! Who drew them? Silvani? I must know!

Also the bully looks a lot like baby Herb Muddlefoot in “You Sweat Your Life.” Coincidence or new plot device? Maybe that’s the new Hamm?

Drake wanting to inspire another kid like him... Awww. Wait, I don’t know for sure that his name is Drake yet. I need a name for you soon!

“You are a true fan. We can save this movie!” Nice, LP. :) I do think it’s the fan input that made the comics and now this show as good as they are. The comics that did not have input from show creators or fans were glaringly obvious, buuut that’s a dead horse I’m not going to linger over.

LOL! “I don’t know. He kind of wants to make me not alive any more.” What a cute way of describing a horrifying moment in your life, Buddy. You’re so likable and adaptable. I will be surprised if you’re not the one who is going to end up with Gosalyn and become the new modern real life Darkwing? But I will be sad if Jim Starling/Jim Cummings/original Darkwing does not get a redeeming moment... He’s spent so much time feeling like a hasbeen and he’s just been replaced in the franchise he’s centered his life on. He’s having a really bad day. Give him a break, please, Ducktales? Don’t break my heart, please...?

Aww. Jim still has the moves, and cape awareness. I’m rooting for both Darkwings. I hope they can compromise and work it out so they can both be in the movie together. Like Indiana Jones and his son in “The Crystal Skull” movie. Indy was still Indy and the kid was shaping up to be like Indy. Old Darkwing could reform his protégé in the new movie and they can both work together as heroes. That’d be a cool finale.

“Idiot in the purple cape”? Harsh.

Dewey’s dance crew. What is up with your obsession with dance numbers, Dewey? They’re kind of annoying for someone like me with Audio Processing Delay. And man those are high boots... My first thought was that they were the Darkwing Squad, like the SHUSH agents training to be like Darkwing in the Darkwing Squad episode. (Forgot the name of it.)

And there’s proof that Jim might have actually done some crimefighting in real life. He took out those security guards so quickly and easily! An actor trained to pull his punches might not know where or how hard to strike.

Huh. Their beaks are different colors.

“Your heart is in my lunchbox.” What? Lol

Oops. Sorry, security guard. Darkwing Duck just broke your wrist in the door. Ouch.

Oooh Jim’s voice got so creepy there. “Yes, I will.” Jim’s still one of my favorite voice actors ever. I can see what Jim S. is thinking there. Evil plot commencing. Annnd there’s an ouchie for Drake. Also love the music.

“Stupid. Movie star. Face. Get in!” That made me laugh. Both of them were doing classic Darkwing scenes from episodes (with different dialog of course).

OMG THE LAUGH

THE LAUGH IS BACK. EEE I have chills!

New Megavolt is bulked up. And has black hair and a mustache. Interesting. He reminds me of the Italian pig pilot character in the Ducktales episode where we met Launchpad’s family. (Forgot the name.) I wonder if this Megs would have an Italian accent.

The music and dance moves are already annoying me, Dewey... And what is with that giant Darkwing face? Ew. Looks like one of those clown faces you throw bean bags into the mouth of in carnivals.

The chainsaw juggler looks like Shaggy from Scooby Doo. Lol

“Why are you saying things all mean?” I guess LP is foreshadowing what we probably already know. This ending is going to hurt, isn’t it... ;_; Ducktales team, you guys are awesome and brutal.

Ugh. What stupid lines. “You can’t defeat me. I awesome.” Nice voice though.

Robot face, Dewey? What?

Eep! Great job, Jim. Setting the whole stage on fire. Let me guess. Either LP or new DW is going to have to save you now.

“I’ll film this finale even if it kills me. And everyone in this room!” Oh Jim... ;_;

New guy’s voice just doesn’t have the same “I am the terror” ring to it. He’s going to take some getting used to.

Great plan, DW! And omg I love the moment when DW and LP said “Let’s get dangerous” and then immediately geeked out about how cool this is! Also good on you for recognizing the plan, Scrooge. I am curious to see how Scrooge responds to these guys at the end. Is he going to contract a new tv series with DW?

Oh man, seeing DW hurt and the other characters reacting like they think he’s dead is really hurting my empathy. My chest is hurting in real life. ;_;

Jim, no... Don’t become Negaduck. ;_; I can already guess what he’s going to say. “Why won’t you stay dead”

Nice face off. Reminds me of the showdown in Just Us Justice Ducks part two.

Launchpad’s enjoying the show.

Okay. Scrooge helped lighten the mood with “which is the bad guy? If only one had a blasted mustache!” The difference is pretty obvious to me, though. Only one is wearing a black belt.

“Dead meat duck” is an actual Negaduck quote, for those of you who haven’t seen the Darkwing Duck tv series. I can just imagine how much fellow fans like me are geeking out over this. :D

Thank you, LP for saying what I’ve been wanting to say. Please let this work... I really want to go back to liking Jim... ;_; “Please stop. You’re not a villain. You’re a hero. OUR hero. No matter how hopeless things got, Darkwing Duck got back up and did what was right.” And of course the music is just right for the moment. :,)

Nice halo effect on LP with the background prop.

“Darkwing Duck is bigger than one man. He is the hope that flaps in the night.” YES. Preach it, LP!

The Darkwings’ reactions to LP in danger are both still characterstic for Darkwing, but this is like seeing Darkwing Duck and Drake Mallard in separate bodies, side by side. Like the “Negaduck” (also called Birth Of Negaduck”) episode with the tronsplit Darkwings. Cool.

“You really can’t stop him once he gets started.” “Well yeah... He’s your biggest fan.” The emotion in new guy’s voice and Jim’s face... And the music. Awww... :,)

Love the reflection in the chainsaw. Love love love it.

Now’s not the time to hot dog the spotlight, Jim!

AHH! The music is sad! Noo! Please be okay! I’m legit in tears while writing this now!

Where is he?! I don’t care about Dewey’s dance number. I do appreciate LP’s advice to DW and pep talk but I want to know where Jim is. :( The humor and the sweetness are clashing badly with my anxiety over the fate of my...’hero’? :(

Also casual observation before I end the agony by finishing this episode. New DW’s cape attaching to his buttons just looks weird. I hope they go back to original Darkwing’s label double breasted coat with the cape under the lapel. This one looks like fisherman overalls.

Okay. It’s official. New guy is Drake Mallard. I saw that coming but I wasn’t sure if the Ducktales team was going to keep that name as a separate identity or not. I had no clue this twist was coming.

Wait, WHAT. Jim, no! No no no no! Don’t twist Launchpad’s actions into evil. And why the heck is your costume changing color? Did you get an acid bath from whatever was in that rod? I think you bumped your head too many times, Buddy.

This beautifully tied together the finale of the Darkwing Duck tv show in the Ducktales universe, with Jim seeing a duplicate of himself as the villain in the show, and Jim becoming the villain in real life. Drake Mallard was a total surprise. I’ve seen fan theories that made him Jim’s nephew or son, but a random fan who grew up watching DWD the same way we did and became Darkwing the same way the original did in the real life tv series was a big, poignant surprise. I am happy I got to go on this emotional journey with him and see him bloom into the hero he adored. He’s mild mannered enough to be a good father to Gosalyn whenever she is introduced, and fanatical enough to still be a good Darkwing.

I have no idea how the age difference thing is going to work with Drake and Jim as hero and villain, but clearly Jim kept in shape, and old ducks can still put up a terrific fight, as Scrooge has proven.

This was a very interesting episode and definitely one I’ll be watching again soon. My heart is still fluttering though. Dang, Ducktales team. You know how to torture me. ;_; I’d have never ever written a story like this and I’m not sure I would have bought a book with a story like this, but I applaud you for pulling it off wonderfully here. You kept me guessing and I am full of questions, excitement, residual anxiety, etc. This took me two and a half hours to write, minute by painful paused video minute and I’m glad I have a record of my reactions to look back on. I hope you all enjoy it as much as I enjoyed writing it!

#darkwing duck #scrooge mcduck #ducktales 2017 #ducktales the duck knight returns jim starling #Ducktales spoilers #Drake Mallard 2 #Megavolt 3 #lupineleigh’s thoughts #reaction post #written as I watched

[jefferyryanlong]

Fresh Listen - Lee Morgan, The Complete Live at the Lighthouse (Blue Note, 2021)

(Great records crawl among us like radioactive spiders, gifting us superpowers from their sweetly poisoned stingers. Fresh Listen is a periodic review of music that has changed us.)

I often wonder what a jazz musician thinks, or feels, when listening back to one of their records. Do they reconcile what they hear with some Platonic ideal of a composition in which they were once invested, supposedly the best of all possible versions of their improvisations? Or does it just make them sad? 

Like, instead of remembering a woman with beautiful eyes who locked stares every time they looked up from their instrument, or some drunk whose cigarette smoke kept wafting up to the bandstand, or how the trumpet player was playing too fast that night or the pianist was in a mood, chill and withholding, or how the light shined through a glass of beer; instead of the living images of the effects of music in real time, do they recall the studio: the repositioning of a microphone, the barely recognizable variances of multiple takes, the walls under florescent lights, or what the producer said over the intercom? Does what they play or have played--once a growing, and rapidly evolving, set of excited and overlapping conversation pieces between professionals--become a calcified imprint on sheet of plastic, or a line of digital code stored and shared through hidden servers? Is what they intended as musicians recognizable in its mitigated form, compressed for maximum sonic accommodation?

Or do they just hear notes on the ledger of posterity, captured memories of a passing interest?

Albums like Headhunters, Kind of Blue, A Love Supreme, Layers, or Black Byrd must represent the greatest of all manifestations of a shared inspiration, so complete, devoid of fissure or scaffolding, are these monuments. A different set of notes, or a tighter rhythm, could have altogether changed the mood and the memories each of these albums have created. But what of the album too hot out of the oven, its filling overflowing the vessel in which it was cooked? How does a record properly portray the intended form of what is essentially a live art form, without the benefit of a conscious, crystallized vision?

The Complete Live at the Lighthouse by Lee Morgan, released last year but set to tape in 1970, definitively answers this question over the course of a lengthy playlist, several hours of music. By recording recurring tracks over a series of evenings at the Lighthouse in Hermosa Beach, Morgan leads his band through multiple iterations of assiduously rehearsed songs, each take a new opportunity to obtain a different perspective in melody and harmony. Despite the familiarity each player has with the material, in each version of the eleven songs captured over 3 days of performances (two to three sets per day), Morgan’s co-conspirators (Bennie Maupin on saxophone, Harold Mabern on piano, Jymie Merritt on bass, and Mickey Roker on drums) improvise toward the truth moment by moment, song by song, set by set, so that the geographic possibilities of music as a transient conveyance of concentrated human expression are fully mapped. Stones previously unturned are turned and turned again.

In other words, The Complete Live at the Lighthouse, though it may at some point establish itself as a landmark of jazz music, is in itself never fixed in granite, definitively rendered and weatherproofed, incapable of abstraction or transmutation. Every lovingly engaged number (except one: “416 East 10th Street”) has its variant, a counterpoint recording that adds or clarifies or restates but in all cases complements its other version, highlighting the breadth of feeling this band brought to that venue at which I wish I had been, in that year I wish I had been alive.

Before the music there is Lee Morgan, the trumpet player, with his introductions. Unlike Cannonball Adderley, say, who could riff poetically and entertainingly for extended periods, Morgan is all business, announcing in the somewhat clipped, haughty, coolly contemptuous tones of a hipster jazzman who only came to blow. Most of the time, he simply announces the song title and the composer (usually a member of the band), reiterates the recording scenario for the benefit of the audience, then warns them not to expect a greatest hits line up. (The only recurring Lee Morgan classic is “Speedball,” which briefly--from thirty seconds to seven minutes--closes each set, in one version featuring guest drummer Jack DeJohnette.) His one joke is that Bennie Maupin was “having hallucinations and shit” when Maupin wrote “Peyote.”

Before most performances of Harold Mabern’s “The Beehive,” Morgan makes particular effort to distinguish drummer Mickey Roker’s polyrhythmic attack, the timing of which seems to distort space when the horns drop out, then locks right back in when the instruments return. The title of the song is undoubtedly evocative of the musical statement. Like a small colony of bees beating their wings faster than the human eye can perceive as they hover in the midst of their task, each musician is committed to his assigned function: honey, that is, the harmonic and rhythmic sweetness that burns in us like fuel.

Bennie Maupin’s “Something Like This” brings to mind the kind of sound with which Lonnie Liston Smith and the Cosmic Echoes would penetrate the jazz world later in the decade. A celebratory soul/gospel piano presses down on an elevating horn section as the sun presses down on the horizon and spreads the light out in multihued rays, the daily dialectic of the Earth and our dedicated star. There’s a late afternoon feel to “Something Like This,” despite the energy that Maupin’s and later Morgan’s solos inject in it, a kind of fighting against the dying of the light, stray thoughts as a day sums itself up in one’s mind. Like the later track “Absolutions,” the song heralds a direction not wholly familiar to Lee Morgan up to that point, a way that sadly could not be traversed.

As much as “Yunjana” is Bennie Maupin’s ballad, it’s Mabern who truly massages the song’s swooning heart through his piano, chords and runs speaking of all the colors of love. Mabern’s “I Remember Britt” allows Morgan to sub out his trumpet with a flugelhorn, and Maupin his saxophone with a flute. They nearly slide into a bossa nova type mode, easy sailing, passing seabirds on bobbing buoys, a joint in one hand and the tiller in the other.

The true revelation of the set is Jymie Merritt’s “Absolutions,” which I like to think prophesied Morgan’s unrealized future in jazz. Uncharacteristically, Morgan introduces “Absolutions” with rare enthusiasm: “This tune, it is very exciting, it can go a lot of different ways.” As befits a song written by a bass player, the bass determines how everyone else functions, a repeated line against which Roker establishes his polyrhythms, emphasizing the accents of the bass line under him. Mabern lays chords as if he’s laying track for a locomotive speeding up right behind him. There is, pervasive in the momentum of the song, an unsettled twist of dread that awakens from Maupin’s and Morgan’s horns like an announcement, the arrival of something unearthly, ungodly even, whose dark aura has just begun to be impressed upon us. At the beginning of Maupin’s solo, the uncertainty seems to drive him to some kind of improvisational sluggishness; as if witnessing him starting to crumple, Morgan gooses Maupin with a trumpet blast and Maupin immediately sets to it with the proper sense of urgency.

In fact, Morgan’s generosity comes through on all the Live at the Lighthouse tracks. It is in the song selections, most of which have been composed by these young, not yet famous, men. And it is in the playing, and the opportunities Morgan offers therein: the average number is at fifteen-plus minutes, allowing each bandmate to comprehensively place his stamp on moment with a never-to-be-repeated expression of embodied artistry.

In terms of sonic variation, there is a robust palette. “416 East 10th Street” swings as a New York City sidewalk should, “Neophilia” slinks around Maupin’s bass clarinet. Unfortunately, “Peyote” is not the psychedelic journey through competing jazz solos I was expecting--it is a rather traditional jazz number, coolly played, instead of what I hoped would be manic and probing. 

There is no doubt that Morgan, on The Complete Live at the Lighthouse, was on the cusp of genuine jazz adventure, in which technical virtuosity collided with bold and innovative songcraft to deliver a music that was not only enjoyable, or cerebral, or cathartic, but truly existential, as the greatest music recordings are. Thankfully his final document is a living one, and in The Complete Live at the Lighthouse the spirits of Morgan and his band rearrange themselves around anf through their instruments, every idea firing off of someone else’s. It is an inevitable reaction, as soon as the drum kicks off--never can this music be contained, never can it be frozen.                      

#freshlisten #leemorgan #liveatthelighthouse

[kassassq]

Fast Food and Calories

Fast Food and Calories

Fast Food and Calories

Fast Food and Calories

Here in the innovation and data age, we have more information and headways than any other time in recent memory ever. Sixty years back, who might have ever felt that you could send a text over a telephone, not to mention snap a photo with it? Sixty years prior, who might have figured we would be fit for sending a man to the moon, however, bomb the war on weight and malignancy? Is it accurate to say that it isn't strangely stunning that America is so well-progressed in everything except wellbeing and wellness? While the wellness business instructs us to tally calories and exercise for fat misfortune, we become fatter and fatter as a country. Running corresponding to the wellness business is the cheap food chains, putting forth a valiant effort to keep on the highest point of "good dieting" pattern. It appears the cheap food industry can tailor to anybody's slimming down needs with "sans fat," "low-calorie," and "low-carb" menu things. Today, cheap food is viewed as an ordinary eating adventure among normal individuals. Individuals aren't simply eating out on unique events or ends of the week any longer; they are eating out constantly. In any case, is it the calories in inexpensive food that is so dangerous to the body and waistline or does the issue lie further?

Cheap Food and Obesity 

Cheap food is just delicious, prepared cooked suppers stuffed to go. Inexpensive food has been around since the mid-1900s, yet its fame started and developed in the 1940s with the introduction of old fashioned Mickey D's; brisk nourishment valued efficiently. Inside a couple of years, comparable cheap food activities sprung up wherever in a matter of seconds. With the convincing ascent in drive-thru eateries since the 1940s, strangely, as well, began the ascent in heftiness and disease during that equivalent timespan. It doesn't take a scientific genius to crunch the numbers and connect inexpensive food to the weight and disease emergency.

Inexpensive Food and its Nutritional Value 

To state cheap food has a "healthy benefit" is an interesting expression. There is literally nothing dietary about inexpensive food. Inexpensive food basically bolsters hunger as well as your prompt hankering. Cheap food doesn't bolster your body as usable enduring vitality or building materials, the pith your body blossoms with forever itself. Inexpensive food is profoundly prepared with a wide exhibit of added substances. The idea of inexpensive food is clear, nourishment prepared to-eat and served rapidly. To guarantee inexpensive food's ease to the purchaser, the cheap food items are made with exceptionally prepared fixings to give it a period of usability, to hold consistency, and to upgrade season. Inexpensive food is changed from its unique sound structure it was intended to feed the body with, to a denatured structure that comes up short on any health benefit at all. As indicated by Diana Schwarzbein, M.D., "The FDA Total Diet Study found that cheap food burgers, in all cases, contained 113 distinctive pesticide buildups." So my inquiry is the reason does the FDA need to control the offer of nutrients, minerals, and herbs that are really helpful for the body when there's a connecting inexpensive food/malignant growth/heftiness emergency on our hands?

Why Fast Food is Fattening and Dangerous 

Wake up, individuals. It's not the calories in inexpensive food that is harming to your wellbeing and waistline, it's the compound added substances, for example, aspartame and MSG (monosodium glutamate). These substance added substances are affirmed by the FDA and studies show that they lead to weight and malady issues. Engineered synthetic compounds added to handled nourishment, including inexpensive food, harm your body's cells. Your body is comprised of supplements found in plants and creatures you eat. Man-made nourishment things stacked with pesticides, just as aspartame, margarine, and other man-caused synthetic concoctions to don't support your body. If your body can't utilize what you put into it you will increase fat and decline wellbeing. Since we can't outwardly observe what really occurs at the atomic level when we eat prepared nourishment, we rebate it and depend on the FDA to do our speculation for us. All things considered, if its FDA endorsed, it MUST be alright to eat, isn't that so? Not in any manner. Supplements from the nourishment we eat permit us to consume fat and be sound. Your body can't process manufactured synthetic substances. On the off chance that a nourishment thing can't be prepared, it will wind upheld up in territories of your body, fundamentally greasy regions, and tissues, making an acidic pH. A straightforward cheap food chicken bosom can contain everything from adjusted corn starch to hydrolyzed corn gluten. Hi? Chicken involved corn? An inexpensive food chicken tender is almost 60% corn, and corn is the thing that ranchers use to fill out dairy cattle. Michael Pollan, creator of, The Omnivore's Dilemma says it splendidly - "How did we ever arrive at a point where we need the insightful writer to disclose to us where our nourishment originates from?" A decent visual that Dr. Imprint A. Gustafson discovered is that it takes fifty-one days to process cheap food chicken strips or French fries. FIFTY-ONE DAYS! Does that sound solid? I could think less about the caloric, fat, or sugar content. That is not the issue, individuals. The issue with inexpensive food is that it's void of supplements and stacked with synthetic concoctions not perceived by the body. What's considerably all the more obliterating is the book The Fast Food Diet composed by Stephan Sinatra, M.D. This is a dismal state when a specialist advances eating artificially changed nourishment with addictive synthetic substances and harmed fats that scars the corridor dividers and add to add up to metabolic harm. Eating Good and Avoiding the Hidden Dangers  In all actuality, calories do a tally to a degree, however, what checks more is the nature of the calorie. If you need to lose fat, at that point you need to change your dietary patterns. This doesn't mean pick Healthy Choice® and Smart One's® solidified dinners since they give off an impression of being sound. Nourishment makers utilize beguiling stamping strategies to make a figment to make individuals purchase their item. To lose fat and keep it off you ought to pick nourishments in their common state, for example, crisp natural cuts of meat, new natural foods grown from the ground, basic fats, and a lot of separated water. Fundamentally, you return to the essentials. Settle on eating crisp and natural nourishment decisions the main part of your eating regimen. If you do that, you will never need to tally calories again. The nature of nourishment exceeds the amount without fail.

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Rap Music - The New Frontier?

Through the early to mid '70s, visionaries like Kool DJ Herc introduced new tips for the way music was played. Like some other music-loving 'bredren and sistren' together with myself, Kool DJ Herc was born in Kingston, Jamaica. Following the footsteps of Jamaicans that came before him, he relocated towards the Bronx, NYC and took root. Using a sound program like no other, there was constantly a celebration when Herc spun records. Folks from all city boroughs showed up, and brought their pals. The majority of them had never ever experienced anything like Herc's thunder inside the clubs or at 'block parties,' where he was a hometown favorite. There'll be extra on these distinctive, social gatherings a little later. Kool DJ Herc was one of these cats that was considering outside the box for a long time, and inspired other DJs to adhere to suit. Everywhere Herc touched down, he left a distinctive mark imprinted inside the minds, bodies, and souls of music lovers in and about the vicinity. Afrika Bambaataa was homegrown within the Bronx. He is best-known for taking the radical, independent factions in the Hip-Hop life-style and organizing it all into an urban music society...and for being the very first rapper, ever. In 1984, he worked on the song "Unity" together with the not too long ago departed Godfather of Soul, James Brown. (We're gonna miss ya, 'Soul Brother #1.') By mixing block parties with DJs and break-dancers, he synergized all of the varying entities of Hip-Hop by way of his Zulu Nation. The Zulus educated inner-city youth about their history and empowered them to become productive citizens. His ears were open to all kinds of music as he became a catalyst for blending rhythmic designs from Africa with Funk, Go-Go, Jazz, Reggae, Rock, Salsa and Soca for the very first time in music history. Bambaataa's affiliations included the Rock Steady Crew and Double Dutch Girls. There was also a spray-painting graffiti artist who parlayed his love for 'visual art' into becoming the host of a common show that engaged the minds of America's Black and White youth. It ended up changing Rap music history around the globe. Now using a 'retired' can of spray paint, Yo MTV Raps' Fab five Freddy was also a important player within the classic film, "New Jack City." There'll be far more on that captured moment in time just a little later, just after we finish up with Afrika Bambaataa (& pals), and dig further into the chapter: there's some real meat in thar! That's what's up. Afrika Bambaataa became a major music producer in his own right. He spent a lot of time logged in at Tommy Boy Records between 1982 and 2005. While there, he produced a huge hit for the New York club and radio scene, 1982's "Funky Sensation." To me, that song defined a new era of music for both myself and the City of New York. "Funky Sensation" helped to establish a path that many dance music producers followed, well into the new millennium. Another historical Rap label that Bambaataa put some time in with was Profile Records. Profile was the home of a trio that made music history: Run-DMC and the late Jam Master Jay. Their chronicles defined the next wave of Hip-Hop and fashion by way of brimmed Fedoras, leather pants, blues jeans, and unlaced, Adidas sneakers. Throughout the winter, they sported snorkels with fur around the hood. In New York winters from the 70s, we sported hats like Kangols (still preferred) and 'Robin Hoods'(with side feathers) on the dome. Some folks liked toboggins and ski caps for their 'masking' feature. Brooklyn later picked up a pseudonym--Crooklyn. Our 70s fashion also consisted of colorful silk shirts (Versace predecessors), polyester pants with stitched pleats running down the sides called Swedish Knits, and bell-bottom blue jeans with zippers at the foot. Squares (L-7's) wore no name 'rejects,' but our well-known footwear incorporated Converse All-Stars, red, black and green Pro Keds, Pumas (my favored were rust-colored), PONY's, and shell-toe Adidas. We had interesting acronyms for the latter two brands. "I could tell you, but..." you know the story. Looking back now, I notice that Adidas kept the same body style longer than the Ford Explorer did! My New York winter-wear included snorkels, sheepskins, leathers, 'Maxie' and 'Cortefiel' coats with soft fur around the collar; they have been the rage. People got stuck up (ganked) for them, too. I once witnessed someone grab a friend's hat right off his head - as the train doors closed (this guy was quick!) Some of my 'classic' garments are still intact: a black Robin Hood hat using a now-wilted side feather, a colorful, winged (big collar) polyester shirt with a Disco theme around the front, my sky-blue high school graduation three-piece suit, 'Mack' full-length Maxie coat (it looked good; mom made it), and black Cortefiel coat are all stashed somewhere about Area 51. Don't ask me what I'm going to do with them, but my coats still have fur about the collar. Does "E.T.W." (Extra Terrestrial Wear) sound catchy to you? Let's check in with 'Rush' (Phat Farms), 'P-D' (Sean John), 'J towards the Z' and 'Double D' (RocaWear), 'Fiddy' (G-Unit), and WTC (Wu Wear) for the final answer. I'm getting told to nix the trip down memory lane and stick for the script, so it's back for the original 'bad boys' of 80s Rap. Run-DMC and Jam Master Jay opened up Pandora's box with their classic hit "Rock Box." I got a premonition of what was about the corner for Rock and Rap early on: sampled 'guitar crunches' fused with 'dem phat Hip-Hop beats, boyee!' Then the crystal ball revealed something else to me - up jumped Def Jam Recordings, LL Cool J, Public Enemy and the Beastie Boys, all using overdriven guitar sounds riding in conjunction with the big, deep 808 beat that caused car trunks (and the inside of your body) to vibrate. Run-DMC and Jam Master Jay un-laced their Adidas and went on to re-make Rock group Aerosmith's classic "Walk This Way," then invited the original rockers to get in on it. Along the way, Run-DMC sold a 'few million' records. Inside the background was one Russell Simmons, pushing buttons on his remote control. Then he got a cellphone. But just before groups like Run-DMC made it to the game, there was one of the first major league rappers--Afrika Bambaataa. Oh yeah; together with his group The Soulsonic Force, Bambaataa fired off a ground-breaking shot remembered as being 'most strategically launched' from the annals of New York's urban jungle. When the classic "Planet Rock" hit Billboard's charts (it hit the year 1982 in a BIG way too), the song considerably changed music history. It used a similar robotic, vocoder-like sound as the a single found in Kraftwerk's smash "Trans-Europe Express." "Planet Rock" was a smorgasbord of cool electronic sounds and Hip-Hop beats. Meshed together with samples from other records, it captured the attention of music lovers caught dancing to the non-stop, funky sensation of this incredible new beat. Afrika Bambaataa's Electro-Funk style went on to influence the sound of music types like Dance, Electronic, House, and Techno. If a sound system exists anywhere in the galaxy, I predict that "Planet Rock" will rock it. Inside the meantime, you can listen out for this classic hit on Internet radio, satellite radio, broadcast radio, clubs and dance parties everywhere. 'Nuff said--next! Creative minds of legendary pioneers such as Russell "Rush" Simmons, Eddie Cheeba, Spoonie G, Lovebug Starski, The Juice Crew, Marley Marl, MC Shan and D.J. Hollywood are also among these credited as becoming essential leaders within the surge that brought Rap music and Hip-Hop culture to mainstream society. Many people may think the Sugar Hill Gang was among a few initiating forces in Rap, but there have been actually many other hot acts out there grinding to earn their dues --like these affiliated with Rush Productions. Rush was building a name for itself as a music promotion company to be noticed. I'll expound upon the meteoric rise with the dynamic institution which followed this event shortly thereafter. With affiliations everywhere and credits that include the timely debut of Hip-Hop players like Kurtis Blow, Afrika Bambaataa and the Zulu Nation, Grandmaster Flash and The Furious Five, Scott La Rock, DJ Red Alert, and countless other faces hidden in the trenches, Rush was on a mission to conquer the planet. The first-generation of Rap and Hip-Hop spawned a godfather, Russell Simmons, in addition to all these other creative talents. Collectively and in unison, they helped to centralize the cultural origins and sound of this music for an evolving planet. The second-generation leaders of this new movement would include Russell's little brother Joseph, who together with Darryl McDaniels and the late Jason Mizell, made up Run-DMC: the initial artists of their kind to go platinum by selling a million Rap records on Profile Records. This was just the beginning; Def Jam Recordings was on the way. Now let's connect the dots with Sugar Hill: Back in 1957, a group called Mickey & Sylvia recorded a Bo Diddley song, "Love Is Strange." Guitarist Mickey Baker and a vocalist named Sylvia Vanderpool established themselves inside the music market as a potential hit-making duo. In 1964, Sylvia married a man named Joe Robinson. Their union led towards the formation of a legacy that wouldn't play itself fully out until the Rap craze hit. In 1973, Sylvia rolled the dice and released a huge hit, "Pillow Talk." This song established a format that would be followed straight into the Disco heydays. Originally written for Al Green, his pass became Sylvia's score when it tallied up a #1 R&B and #3 Pop hit. "Pillow Talk" was a sexy song that featured lots of heavy breathing, whispers, sighs and moans. It's reminiscent of Donna Summer's classic hit, "Love to Really like You Baby." Sylvia Robinson synergized her abilities as a singer, musician, producer, and record executive to take her whole game to another level. As a important player at All Platinum Records, she had a hand in Shirley & Company's 1975 hit "Shame Shame Shame." This became a top dance song, and hit #12 around the Pop charts. By 1979, Englewood, New Jersey's Sugar Hill Gang busted a big move by releasing a classic, "Rapper's Delight." Within the background had been Sylvia, Joe, and their Sugar Hill Record label. Passing their genes on to son Joey, Sugar Hill's West Street Mob went on to release hits like "Ooh Baby" and "Sing A Simple Song/Another Muther For Ya." Other aces in the deck incorporated groups called The Sequence and The Funky 4+1. They scored a few hits with "Funk You Up," "Simon Says," and "That's the Joint," which used a nice sample from my girl Cheryl Lynn's song "Got To become Real." We'll be taking her song apart and putting it back together again in another chapter of this book series, "What Is A Song." Using finance money from Roulette Records chief Morris Levy (you can find out a lot more about this guy inside the book "Hit Men"--a highly-recommended favorite of mine. "I could tell you additional, but..." You know the drill. As Sugar Hill grew, so did its artist roster, with the addition of Grandmaster Flash and his collective unit, The Furious Five. Although the Sugar Hill owners paid up a big balance and purchased the remaining interest in their company by the early 80's, things began to sour for them: a deal with MCA Records died and a fire toasted their legendary studio. The label eventually shut it doors by 1986. Almost 10 years later, retail-friendly Rhino Records picked up the Sugar Hill catalog and resuscitated the masters within the same way that they've done with many other lost or obscure masters. Via creative re-packaging, Rhino went on to revitalize the music (and some careers) of artists that have been probably still waiting on royalties from the previous owners of their master recordings. The Sugar Hill Gang, West Street Mob and Sequence all have been released on various Sugar Hill compilations. An interesting occurrence following the Sugar Hill assault was the massive availability on the sequencer, drum machine, synthesizer, sampler and MIDI about the early 80s. 'Creatives' and 'infamists' among the likes of Russell Simmons, Rick Rubin, The Bomb Squad and producer Marley Marl locked themselves up in 'Big Apple laboratories' coming up with the next lethal mix of sound. When released, Def Jam and the 'Sound of Marl' quickly put music listeners into a 'yoke' as concoctions they whipped up became highly potent chemicals on the proverbial 'periodic music table of elements' upon hitting the airwaves; by means of radio station, mobile and club DJs. I cannot over-emphasize it enough: 'BIG UPS' to these guys! Just after the creative synergy of vocalists, musicians and producers, DJs are credited as becoming one of the most direct pipelines to exciting new music. You should take note that "DJ" makes up the initials of Def Jam. Now let's keep the record playing; teacher's not via with today's lesson yet... Independent labels like Profile, Sugar Hill, Priority, 4th. & Broadway and Tommy Boy scooped up young, talented Hip-Hop artists. Major labels like Columbia, Epic, MCA, Mercury and Warner Brothers got an early jump on the game as they formed alliances with Rap labels and artists. Moves like these were executed through street-savvy labels like Def Jam. It grew into the premier, multi-faceted music conglomerate in the century. Started in a college dorm room, Def Jam is now managed from a corporate boardroom, and worth hundreds of millions. Founder Russell Simmons parted from his share in the company in 1999, immediately after the Universal Music Group made him a $100 million offer that he couldn't refuse. We're not talking pesos here, people! Let's breeze by way of a few landmark events regarding Def Jam Recordings: In 1983, the company was founded by Russell, who was called "Rush" when he was business partners with one particular Rick Rubin. Prior to this form of osmosis occurred, Simmons 'did the business' behind pioneers like Kurtis Blow, the initial Rap artist having a major record deal. He signed on with Mercury Records; it was a part of the PolyGram distribution machine. The label went on to forge a long-lasting relationship with Kurtis Blow, Russell 'Rush' Simmons, and his growing company. In spring of 1984, I began a two season internship with Def Jam's distributor. By fall quarter, I was a college rep. Throughout Def Jam's first decade, I marketed and promoted every record released via the pipeline. This integrated music by the distributor's affiliated Epic label. Epic was born to CBS Records (a division of CBS, Inc.) throughout the early 50s. It was a cute small Classical/Jazz label and grew to become a strong, healthy major label with many active body parts (Rock, R&B, Country). Epic picked up other siblings. Among them was T-Neck Records. An influential Soul/R&B/Funk collective of your 50s, 60's, 70's, 80's and beyond the new millennium terrain, The Isley Brothers ran a music empire tucked inside this fully-functional sibling unit's clothes. And bank account--let's contact it a budget. Another sibling was Portrait Records. By the 80's, Portrait had sold millions of records by major stars like Cyndi Lauper, Sade and Stanley Clarke. Since Epic was the oldest kid, it acquired a firm place in history as the foundation that supported the throne of none other than the King of Pop music, Michael Jackson. As a matter of fact, the former lead singer of Motown's Jackson Five actively participated (in conjunction with wildly colorful CBS Records group president Walter Yetnikoff) in the disbursement of CBS' unwanted offspring (CBS Records, Inc.) towards the Sony Corporation in 1988. By 2004, Sony Music Entertainment had consolidated its monster Columbia and Epic labels, then merged with another major record label: BMG. On the Internet, iTunes was selling millions of digital downloads. But that's a story for later. Stay tuned. Def Jam product began flowing via shortly after I jumped inside the big game to see if I could swim. I witnessed the music of many groundbreaking artists 'rushed' through the technique. Notable executives like Lyor Cohen and Kevin Liles entered the fold, as promoters like Wes Johnson and Johnnie Walker locked down efforts to turn the airwaves into 'Def Jam radio.' Def Jam became certainly one of the hottest commodities in distribution by the other major label within a major label. This record company made its mark by using a red trademark around the product it manufactured. Columbia Records was the big brother of Def Jam: the hottest Rap label within the Hip-Hop market. Def Jam had million-selling acts like LL Cool J, Public Enemy, The Beastie Boys, and later arrivals like DMX, then Jay-Z and Roc-A-Fella Records. Columbia, also known as "Big Red," was owned by music giant CBS Records. By 1991, CBS Records was purchased by the Sony Corporation for some $2 billion that I'll say came out with the 'petty cash fund' (they had OLD money, and plenty of it). CBS Records later became Sony Music Entertainment. If you haven't guessed already (where've you been?), here's a prediction: you'll read about more adventures with 'the firm' as we move along. Between all of this 'promoting' (as a college rep), I managed getting an introduction to Russell Simmons at a Jack The Rapper convention in Atlanta by Columbia's national director of Black music promotion, Miss Mike Bernardo, who is such a sweet lady. At this time, she was next in line for the vice-president of Columbia's national promotion department: Vernon Slaughter and Mike Bernardo had been responsible for the overall performance of Columbia's Black radio and club promotion department. Vernon later became among Atlanta's top power brokers. He was LaFace Record's very first general manager, personally signing artists like Toni Braxton to the label. He later became a key player at a law firm headed up by powerhouse entertainment lawyer Joel Katz, and was the legal muscle behind many artist deals, movie soundtracks and no telling what else! As vice-president and national director respectively, Vernon and Mike implemented the national strategies set forth by Columbia. The staff consisted of dozens of regional promotion people strategically placed in important American cities. Throughout my career at the label Vernon, Mike, and the promotion people I knew showed me plenty of like, and have been first-class players inside the game, too. Not extended soon after Def Jam's arrival, I became an account service rep, then a Black music marketing rep for Sony's southeast regional branch in Atlanta. I doubt if there was any connection. Anyway, Def Jam left Sony for PolyGram in 1994 (also the year that I parted company with Sony and launched a recording studio); that same year, PolyGram purchased 50% of Sony's holdings in Def Jam. By 1996, PolyGram bought another 10%, and in 1998 the Universal Music Group (UMG) acquired PolyGram Group Distribution (PGD) to become the world's biggest record label. Following a series of major operational changes, longtime staffers Lyor Cohen and Kevin Liles severed ties with Def Jam, which by now had grown to include other hot labels like Atlanta-based Def Jam South (headed up by The Geto Boys' Mr. Scarface), Disturbing Tha Peace (Ludacris), Def Soul, Jay-Z, Damon Dash and Roc-A-Fella. Though DMX's product was released via Def Jam, his Ruff Ryders crew got a label deal with Interscope. Within the post Cohen/Liles era, former LaFace/Arista big-wig L.A. Reid re-appeared at the helm in the big ship. Then, multi-platinum rapper Jay-Z became the new chief of Def Jam (now part of Island Def Jam Music Group), proving that he too, could do what Rap music guru Russell Simmons' legendary rapper Kurtis Blow said he wanted to do: 'Rule The World.' The future of Def Jam integrated plans for more affiliations with labels like Atlanta's Slip-N-Slide Records (Ying Yang Twins). Atlanta was now a city on the move, and Simmons made it a frequent stop on his international itinerary. From Rush Productions and Kurtis Blow to Def Jam, OBR and Rush Associated Labels, to Rush Communications and Phat Farms, the Visa 'Rush Card,' a beautiful model-wife and kids, to astronomic amounts of future cash flow, Russell Simmons demonstrated his ability to serve as the Rap game's foremost guiding hand...and 'head of the household,' too. He was the proverbial captain of a ship, navigating by way of those often-bumpy waters on the constantly shifting Rap/Hip-Hop industry. Def Jam Recordings became an extraordinary multimedia company because of a determined visionary's ability to reach out and touch people-- by way of the power of Rap music and the Hip-Hop culture. Simply put, none of these entities could be spoken of without mention from the great and powerful, "Mr. Rush." A valedictorian and contributing author to Bernard Percy's books for the duration of elementary school, L.A. finished high school in Brooklyn, then went to L.A.City College. He graduated in 1987 from Georgia State University in Atlanta. An internship led to 10 years with CBS Records/Sony Music, exactly where L.A. worked with almost every act, implemented sales/marketing campaigns, received numerous gold/platinum albums, awards, and traveled throughout the U.S., Canada and Jamaica to events. As a recording studio owner, AV technician and manager for a global audiovisual company (TAVS), L.A. owns MKM Multimedia Works. In 2001 he executive-produced the Million Mom March?s Atlanta Artists Against Gun Violence compilation CD, featuring top Atlanta acts. In 2002, L.A. secured a commercial using the GAP for Arrested Development?s Baba Oje. L.A. now initiates his ?6 books in five years? plan.

#Bun B

[moschinobackpack]

Personalised Drawstring Moschino Backpacks for teenagers and teenagers

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It is quick to create drawstring backpacks with shiny hues and exclusive attributes that should be a lot more attractive to kids and teens and because of this, it can be quick for getting youngsters to carry them. That's why individualized drawstring backpacks can be entertaining and enjoyable for sorts and teens. Drawstring backpacks for children and teenagers are incredibly critical for varsity, for outdoor activities and for outings and because young ones want these backpacks, they can be quite best when personalized. Typically, youngsters will get started making use of these backpacks even right before you can find of school going age. They utilize the backpacks to hold their very own items all around where ever they go and by the point they start going to school, they are really very used to the backpacks and these baggage grow to be very preferable to them when compared to other luggage. Drawstring backpacks is often personalised on the desire on the kid or even the teen with all the identify, college, yr and nearly anything else and they are very popular with children. Whilst embroidery will be the most favored for planning the backpacks, printing can even be finished and customized imprinting or engraving is achievable. Due to the fact personalized drawstring backpacks are by now very well known, it's easy to use them really properly for promotional purposes too so earning them strolling billboards for almost any company and generating them excellent promoting instruments for lots of companies. Kids and teens enjoy stylish things and whilst you will find rather an unlimited collection to choose from, what is going to operate for them is actually a drawstring backpack that they locate comfy and what is actually at this time in vogue. For that women, luggage in pink with flowery decorations will likely be proper while the boys will favor their classic blue. 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[tujarzz]

Imogen Jennifer Heap (/ˈɪmədʒᵻn ˈhiːp/; born 9 December 1977)[2] is an English singer-songwriter and composer. She is known for her work as part of the musical duo Frou Frou and her solo albums, which she writes, produces, and mixes. She has produced four solo albums. Her 2009 album, Ellipse, was a North American chart success that earned Heap two Grammy nominations, winning Best Engineered Album, Non-Classical in recognition of her technical and engineering work on the record.[3] In 2010 she received the British Academy's Ivor Novello Award for International Achievement.[4]

Publishing administrator Downtown Music Publishing represents the works of Imogen Heap.[5] After being introduced to Nik Kershaw by his manager Mickey Modern, Heap and Kershaw recorded four demos that Modern took to Rondor Music. Consequently, a few months later she signed her first record contract at eighteen to independent record label Almo Sounds.[7] Modern and Mark Wood formed Modernwood Management, and managed Heap until 2006, when Modernwood was dissolved. Wood continues to manage the artist via his new company, Radius Music.[8]During 1996, Heap began working with an experimental pop band called Acacia, which featured her future collaborator Guy Sigsworth and was fronted by the singer Alexander Nilere. While never a full member of the band, Heap was a guest vocalist (as a counterpart to Nilere) and contributed to various Acacia single and album tracks. One Acacia song, "Maddening Shroud", would later be covered by Frou Frou.[9]Modern asked Dennis Arnold to place Heap in the line up in the 1996 Prince's Trust Concert in Hyde Park, London organized by Harvey Goldsmith. Heap performed four songs between sets by The Who and Eric Clapton.  Heap's debut album, iMegaphone (an anagram of "Imogen Heap") was a mixture of self-penned and self-produced tracks, alongside tracks co-written and produced with established producers such as David Kahne, former Eurythmic Dave Stewart, and Guy Sigsworth. The album was released in 1998 internationally via Almo Sounds, to favourable reviews comparing Heap's angst-filled songs to work by PJ Harvey, Kate Bush, Chrissie Hynde, Siouxsie Sioux, and Annie Lennox. Promotion for the record included a tour of America and performances around Europe. Three singles were commercially released in the UK: "Getting Scared", "Shine" and "Come Here Boy". "Oh Me, Oh My" was sent to US radio stations in place of "Shine".Heap's early success was soon replaced by problems. Almo Sounds cut funding for UK promotion and gave Heap a deadline to deliver songs for her second album. Upon delivery of the songs, she was told that they lacked "hit potential". It was announced that the record label would be sold to Universal and its artists moved to other labels or released. Heap was one of the artists who was dropped from the label, leaving her without a record contract. [10]iMegaphone had, however, been licensed from Almo Sounds to Aozora Records in Japan, who eventually re-released and re-promoted the album in January 2002, featuring "Blanket" and "Aeroplane" (a Frou Frou remix/remake of one of her B-sides, "Airplane" of the Shine single released in 1998). The album featured new packaging, all-new artwork, and a previously unavailable hidden track, entitled "Kidding", recorded live during her 1999 tour.Copies of the original Almo Sounds release remain rare. A Brazilian label, Trama Records, currently claims to hold the license to the record and has started re-printing copies of the album in limited quantities. The album was released digitally on the US iTunes Music Store in early 2006. After achieving commercial success with her work with Guy Sigsworth as the duo Frou Frou and her second solo album, Speak for Yourself, Heap was able to secure the re-release of iMegaphone.In the gap between the end of promotion for iMegaphone internationally and the re-promotion, Heap had also begun to think about her second solo album, and had started writing songs, both solo, as well as working with Guy Sigsworth; however, as she was without a record deal, the songs were shelved. During the time when she was unsigned, Heap appeared on two UK singles, "Meantime" (a track written by her former Acacia colleagues Guy Sigsworth and Alexander Nilere for the soundtrack to the independent British film, G:MT – Greenwich Mean Time) and "Blanket" (a 1998 collaboration with Urban Species). In 2000, Heap sang on two tracks of the album You Had It Coming by Jeff Beck.2002–2003: Frou Frou[edit]Heap had kept in contact with Guy Sigsworth (who had co-written and produced "Getting Scared" from iMegaphone) and this led to the pair of them establishing the collaborative project Frou Frou.The initial concept for Frou Frou was Sigsworth's, and the project was to have been an album written and produced by her with each track featuring a different singer, songwriter, poet or rapper. Heap explains that Sigsworth invited her over to his studio to write lyrics to a four-bar motif he had, with one condition – that she include the word "love" somewhere. The first line she came up with was "lung of love, leaves me breathless", and the Details album track, "Flicks" was born. A week later, Sigsworth phoned Heap up again, and together they wrote and recorded the future single "Breathe In".Throughout the process, Frou Frou work was an equal partnership, with Heap and Sigsworth making equal contributions to writing, arrangement, production and instrumental performance and Heap handling all of the vocals.In August 2002, they released the Details album and singles "Breathe In", "It's Good To Be in Love", and "Must Be Dreaming" (although the latter two were not commercially available). The album was critically acclaimed, but did not enjoy the commercial success that they had been hoping for until 2004 when the song Let Go became a hit from the Garden State soundtrack.In late 2003, after an extensive promotional tour of the UK, Europe and the US, the duo were told that their record label, Island Records would not be picking up the option for a second album.Heap and Sigsworth remain firm friends, and have worked together since the project, including their temporary re-formation in late 2003, when they covered the Bonnie Tyler classic, "Holding Out for a Hero", which was featured during the credits of the movie Shrek 2 after Jennifer Saunders' version in the film. Frou Frou saw a resurgence in popularity in 2004, when their album track "Let Go" was featured in the film Garden State, the soundtrack of which won a Grammy award.In a 2005 interview Heap said of Frou Frou "(it) was really like a kind of little holiday from my own work. Guy and I, we have always worked together, and then over the years, it became clear that we wanted to do a whole album together. It was very organic and spontaneous — just one of those wonderful things that happens. But there was never a mention of a second record from either of us, and not uncomfortably. We're just both kind of free spirits. I love to work with a lot of different people, but I was also just gagging to see what I could do on my own. But I'm sure in the future, Guy and I will get back together to do another record, or to record a few songs together."[11] In December 2003, Heap announced on her Web site that she was going to write and produce her second solo album, using her site as a blog to publicise progress.Heap set herself a deadline of one year to make the album, booking a session to master the album one year ahead in December 2004. She re-mortgaged her flat to fund production costs, including renting a studio at Atomic Studios, London (previously inhabited by UK grime artist, Dizzee Rascal), and purchasing instruments.At the end of 2004, with the album completed, Heap premièred two album tracks online, selling them prior to the album's release – "Just for Now" and "Goodnight and Go".In April 2005, The O.C. featured the vocoded-vocal track, "Hide and Seek" in the closing scenes of their season two finale. The track was released immediately to digital download services, such as iTunes, in the US, where it charted and on the UK Billboard charts where it was #22. The track was released to iTunes UK on 5 July 2005 (the same day as the UK airing of the season finale) and entered the official UK download chart. The song has since been certified gold by the RIAA.Heap released the album on her own record company, Megaphonic Records. The album was titled Speak for Yourself.Speak for Yourself was released in the UK on 18 July 2005 on CD and iTunes UK, where it entered the top 10 chart. The initial 10,000 physical copies pressed sold out, distributed through large and independent record stores and Heap's own online shop.In August 2005, Heap announced that she had licensed Speak for Yourself to RCA Victor (Sony BMG), for the album release in the United States, Canada, and Mexico. The album was released in November 2005 and débuted at #144 in the Billboard Top 200 album chart. In concert, Heap performed solo, controlling the sound through her laptop, as well as singing and playing the piano and array mbira.She returned from the US, already having sold over 120,000 copies.Heap also announced, on her return to the UK, that she had signed a deal for the album to be released internationally, as well as re-promoted in the UK, with a new imprint of Sony BMG, White Rabbit, run by former Sony BMG UK A&R vice president Nick Raphael. The deal meant that the album could have the promotional backing provided by a respected major label, whilst Heap retained sole control and the team she established for Megaphonic Records.Speak for Yourself was re-released on the label on 24 April 2006, ahead of a full promotional push on 15 May, a week after the second single, "Goodnight and Go", was commercially released in the UK.In August 2006, Heap performed a set at the V Festival,[12] where it was announced that "Headlock" was to be the third single to be lifted from the album, and released on 16 October 2006 in the UK.In late September and early October, Heap embarked on a tour of the UK, holding a competition on MySpace for different support acts for each venue, before touring throughout Canada and the US in November and December. This was her first tour of North America that included a band, incorporating upright bass, percussion, and support acts Kid Beyond and Levi Weaver on beatbox and guitar, respectively. In December 2006, Heap was featured on the front page of The Green Room magazine.On 7 December 2006, Heap received two Grammy nominations for the 49th Annual Grammy Awards, one for Best New Artist and the other for Best Song Written For Motion Picture, Television Or Other Visual Media for "Can't Take It In". Throughout the creation of her album Ellipse, Heap posted vlogs, or VBlogs as she called them, through YouTube.[13]She used these to comment on the album as well as update on its release. The album's release was pushed back multiple times. These included Heap being asked to perform at the annual event PopTech in October 2008. During the event, she premiered one of her album's songs, "Wait it Out".Heap announced on her Twitter page that Ellipse's first single would be "First Train Home". On 17 August 2009 Heap made the entire album Ellipse available for live streaming via her webpage.Ellipse was released in the United Kingdom on 24 August, and in the United States on 25 August.On 15 January 2010, Heap accepted the Grammy Award for Best Engineered Album, Non-Classical for her engineering work on Ellipse.2011–2014: Sparks & hiatus[edit]On 14 March 2011, Heap started work on her forthcoming album, Sparks (then unnamed), as fans sent in nearly 900 "sound seeds", or samples of everyday sounds such as a "dishwasher door", a "bicycle" or a "burning match". Heap says the concept for this album will be to record one track over a two-week period every three months. Each song and video will be released immediately. According to her website, the album will be completed in roughly three years.[14]The first song, initially entitled "#heapsong1" and later retitled "Lifeline", premiered worldwide on 28 March 2011 via Ustream[15] along with a live remix by Tim Exile. "Lifeline" was released on 30 March 2011 as a digital download from Heap's website and via iTunes, Amazon and other digital retailers. Released alongside this was a 12-page 3DiCD package (a 3D virtual CD) including crowd sourced (and paid for) images, the instrumental version of the song, the "seeds and solos only" version and "heap speaks seeds and solos" - an-18-minute commentary by Heap on how the sounds and solos were used in "Lifeline".On 6 May 2011, Heap tweeted that she and deadmau5 were working on a collaboration. The song is titled "Telemiscommunications" and is included in deadmau5's sixth studio album, Album Title Goes Here.[16][17][18]On 9 September 2012, Heap wrote and released a track, "Someone's Calling", recorded especially for use as a ringtone.[19]List of #heapsongs[edit]heapsong1 is entitled "Lifeline" and was released on 30 March 2011. The song is a tribute to the victims of the 2011 Tōhoku earthquake and tsunami.heapsong2 is entitled "Propeller Seeds" and was released on 5 July 2011. The song was recorded using 3D audio effects and headphones are recommended for listeners to get the full effect.heapsong3 is entitled "Neglected Space" and was released on 17 October 2011. The song incorporates concepts, people and sounds from a lab organized by the Clear Village Charitable Trust to restore a walled garden in Bedfords Park.[20]heapsong4 is entitled "Minds Without Fear" and was released on 21 October 2011. It was the first song to be featured on the 2011 Indian show, The Dewarists.heapsong5 is entitled "Xizi She Knows" and was released on 24 January 2012. It is the sixth song off the forthcoming album overall.[21]heapsong6 is entitled "Me, the Machine" and was originally to be the 6th single released. It was performed live on 22 April 2012. The song premiered along with the film, Love the Earth, as part of Earth Day 2012.heapsong7 is entitled "You Know Where to Find Me" and was performed live in A Room for London on 22 June 2012. It was released on 2 November 2012 as the sixth single from the album.[22]"Telemiscommunications", a collaboration with deadmau5, will also be included in the album, as stated on her official website.[23] It was featured in deadmau5's 2012 album >album title goes here<, and released as the fifth single from the album on 25 February 2013."Entanglement" was originally to be included in the soundtrack of The Twilight Saga: Breaking Dawn – Part 1 but was rejected."Climb To Sakteng" and "Cycle Song" are two instrumental heapsongs used for the soundtrack of the documentary film The Happiest Place, A Journey Across Bhutan.[24][25]"The Listening Chair" was performed live in the Royal Albert Hall conducted by American composer Eric Whitacre on 29 August 2012.[26]"Run-Time" is a collaboration with Intel UK and RjDj to create a Jogging App that will be released along with the new album in the following year.[27]"The Beast" is a last-minute addition to the album.Heap has stated that there will be 14 tracks on her fourth album. The title of the album is revealed as Sparks and was released on 18 August 2014.[28]In the Sparks box set, the Heapsongs are labelled in production order as:Lifeline – heapsong1Propeller Seeds – heapsong2Neglected Space – heapsong3Minds Without Fear – heapsong4Xizi She Knows – heapsong5You Know Where to Find Me – heapsong6Telemiscommunications – heapsong7The Listening Chair – heapsong8Entanglement – heapsong9Cycle Song & Climb to Sakteng – heapsong10Me the Machine – heapsong11Run-Time – heapsong12On her Sparks vblog #5, she announced that she will take hiatus after the birth of her baby thus she won't tour promoting Sparks at least for a year.

#music #musictalk #imogenheap