father of jazz

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LOOKS LIKE I FOUND SOMETHING NEW: The Early Years

Before there was Green Day there was a band called Sweet Children. And before there was Sweet Children there were a couple of kids named Billie Joe Armstrong and Mike Pritchard. I’m not going to go too deep into personal histories here, because there’s so much else to cover, and it’s the kind of thing that’s already been gone over in every Behind The Music-esque profile, and because it’s not really what OWOB is about. But here’s the basic outline: BJ and Mike were both born in 1972. Billie Joe was surrounded by music from birth, as his father was a jazz drummer (who made a living as a truck driver), and BJ’s first “album,” Look for Love, was recorded when he was five years old. Billie Joe’s father died when BJ was ten years old, the same year that he met Mike, who had been put up for adoption by his mother not long after birth due to her heroin addiction. Mike had moved to Rodeo, California, where Billie Joe lived, with his adoptive mother and sister.

Billie Joe and Mike started playing and writing music together very quickly after meeting, and by the time they were 15 they had added a drummer to their group and named themselves Sweet Children. With the development of the band, they dove into the local punk scene, which in the Bay Area meant 924 Gilman Street, an all-ages alternative music space and non-profit organization. Billie Joe in particular has always been vocal about how Gilman gave him a place and a community where he finally felt like he belonged, and the ethos of the club can definitely be seen to have influenced Green Day’s own:

Gilman, today, is one of the longest-running independent music venues in America, having outlived even CBGB’s, and I would hazard a guess that at least some of that success comes from its collective-inspired ethos. Founded in 1986 by Maximumrocknroll’s Tim Yohannan and Victor Hayden, Gilman has from the get-go been conceptualized as an all-ages space for bands to play without worrying about conventional music promotion, and for audience members to attend gigs without having to worry about their own safety. It was a reaction against the rising violence and right-wing tendencies in the 80s hardcore scene, and as such operated on principles less like those of a music venue and more like those of the coolest community center you could possibly think of. As Josh Levine, an early volunteer at the club remembers:

“There was something in the air, you could say, back then. A good feeling, or a sense of pulling together, and unity among people who just wanted to see bands that was free of sexism, homophobia, racism, and especially violence. Shows were not as safe then — there were shows I went to before Gilman where I got beat up…. Shows where I went to jail, just for being a punk rock kid out after curfew. And worse, shows where I saw people getting beat up by skinheads, or jocks, and there was not a damn thing I could do about it if I wanted to stay healthy. Those were the kind of things that motivated us to get involved.” (924 Gilman)

Since then, Gilman has become famous in alternative music circles, as a venue and as the launching place of the careers of not only Green Day, but also Rancid, Operation Ivy, and The Offspring.

At the time, however, Sweet Children didn’t manage to book a gig at Gilman until 1987, when they changed drummers to the locally-famous John Kiffmeyer (aka “Al Sobrante”). They quickly developed a reputation in the Gilman and Bay area scene, and met Larry Livermore, the founder of Lookout! Records, in 1988. He signed them, and they recorded their first EP, 1,000 Hours, after changing their name to Green Day in order to avoid confusion with the similarly-named local band Sweet Baby.

39/Smooth, Green Day’s debut album, was released in 1990, and the band went on their first US tour that same year. They left the day after Mike graduated from high school. After the tour, Kiffmeyer left Green Day to go to college. Tré Cool played his first show with Green Day in November 1990, and the band as it still exists was formed.

In 1991, Kerplunk was released, and quickly gained popularity. An easy story to tell about Green Day is that they arrived out of nowhere with Dookie, but their success had already been building beyond both the band and their label’s expectation with Kerplunk - which got national airplay and high sales (it became Lookout!’s highest selling release and has since become one of the best selling independent albums in history) - and the resulting national and international tours. Kerplunk also began the development of Green Day’s signature melodic punk sound, in songs like “Welcome to Paradise” and “Christie Road”. There is, on the whole, a massive jump in quality between 39/Smooth and it, and Kerplunk still stands as a solid, well-written album even in the face of the massive successes Green Day would go on to have with subsequent records.

The success of Kerplunk garnered the band attention from major music labels, and in 1993 they left Lookout! to sign with Reprise Records. In September of the same year they played their last show at Gilman Street in nearly a decade (they were “banned” after the release of Dookie - although they showed up at the club in 2001 and played anyway - but we’re getting ahead of ourselves).

- Jacqui // @sandovers​

SHEFF: Paul had more musical training than you did, right?

JOHN: Yeah, his father was a jazz musician. When I met him he could play guitar, trumpet, and piano. Doesn’t mean to say he has a greater talent, but his musical education was better. I could only play the mouth organ and two chords on a guitar when we met. I tuned the guitar like a banjo. I’d learned guitar from my mother, who only knew how to play banjo, so my guitar only had five strings on it. Paul taught me how to play the guitar proper—but I had to learn the chords left-handed, because Paul is left-handed. So I learned them upside down and I’d go home and reverse them. I can still play upside down, with the high strings on top. That’s what I was doing the day we met—playing on stage with a group, playing a five-string guitar like a banjo, when he was brought around from the audience to meet me. In the Hunter Davies biography of the Beatles, there’s a photo of the day we met. (Pause) You see, I told you I have a good memory.

SHEFF: But you didn’t compose your stuff separately, as other accounts have said?

JOHN: No, no, no. I said that, but I was lying. [Laughs.] By the time I said that, we were so sick of this idea of writing and singing together, especially me, that I started this thing about, “We never wrote together, we were never in the same room.” Which wasn’t true. We wrote a lot of stuff together, one-on-one, eyeball to eyeball. Like in “I Want To Hold Your Hand”, I remember when we got the chord that made the song. We were in Jane Asher’s house, downstairs in the cellar playing on the piano at the same time. And we had, “Oh you-u-u… got that something…” And Paul hits this chord and I turn to him and say, “That’s it!” I said, “Do that again!” In those days, we really used to absolutely write like that—both playing into each other’s nose. We spent hours and hours and hours… We wrote in the back of vans together. We wrote “She Loves You” in a van on the way to Newcastle. And “From Me To You”.

—  John Lennon, interview w/ David Sheff for Playboy. (September, 1980)
I will get called the angry black woman as I seem to be portrayed as for speaking up and out but I never revealed how deeply hurt I was by not only the omission but the serious micro aggression asserted in these liner notes as my role in all of this. ( in the kitchen???) are you for fucking real? (Jill Jones was left out of the vocal credits on Purple Rain DeLuxe Edition and only mentioned in the liner notes as present in Prince’s kitchen). 
I don’t have a racist bone in my body and I have always been for diversity. But don’t get it twisted. The women of color in this camp are being draggggged. And the black men, emasculated. As if we were some stupid pickaninny bobble heads. And Prince only heard jazz via Wendy & Lisa. Forget that his father was a jazz musician? And fyi if anyone anyone introduced Prince to new forms and explorations and someone who gave him the “ out” and Avenue to extricate himself from musical monotony & creative boredom in music, he found a new inspirational comrade it was Sheila (E.). And after that the many genuinely talented musicians of great artistry and caliber who came along to compliment and bring new added value to his creations. Celebrate all of them.
But even in my own passionate memories I still give credit where credit is due and I do not only not lie to you , but I don’t lie to myself either. THE DREAM originated in the mindset of middle class black kids who figured out a way to game the system which was and still is ruled by the white patriarchy class. The astute marketing rogue techniques and discipline to create a sound, came from that.
And I am proud of the mark made on this world by Prince and the generosity he bestowed upon me to be a part of it. That is what moved me. When we were all profiled in Mpls by the police for driving nice cars it was a racial thing. Did we trip. No. But we experienced it. And somehow it felt like we were in fact moving mountains together. And our communities had another extension of a face in America. We were good kids really. And we did good things. And this guy from over north and his friends blazed a helluva trail for others to follow and make their own way. Don’t ever ever get it twisted.
—  Jill Jones, August 2017.
Kane Chronicles Headcanon

Before Lord Osiris came back to the Hall of Judgement, Anubis used to get bored when there weren’t any souls to judge. So, taken by his father(Set) who loves jazz, he learned the guitar, the trumpet, and the trombone. He even learned hot to play the electric guitar. Sometimes, he used to accidentally and absentmindedly take control of Walt. Walt let’s him do it, partially because he liked the music, partially because he didn’t want to stop a Death God from enjoying his fun.

introspectivenavelgazer  asked:

Sherlolly, since you asked, and the song Worship by Lizzo

Hands to the sky, show me that you’re mine
And baby, worship me
Worship me
On your knees
Patiently, quietly, faithfully, worship me ~ Worship, Lizzo


Molly Hooper has a taste in music he’s not entirely used to. Mummy liked classical, even when it came to Christmas. God, how many times has he listened to some chinless wonder choir boy singing ‘Once in a Royal David’s City’ on the television, the carol undercut with bumbling from his father as he tries to push the Christmas tree through the cottage door.

Father likes jazz. He likes to sit with ankles crossed and hands on his belly, feet idly tapping along to the odd, jagged rhythm that takes him back to the dances he shared with Mummy at the dance hall. Sometimes he even persuades her to recreate them, when she’s lightheaded from Christmas sherry.

“Hands to the sky,” the record and Molly Hooper sings, muffled where he stands in the flat doorway, his glove halfway off his hand and a smile threading onto his lips. 

He shakes his head, tugs his gloves off, tucking them into his coat pocket and in one motion, kicks the door closed and throws his coat over her chair. 

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Wednesday Mixtape.

Jamie xx - I Know There’s Gonna Be

Bones - Ribs

Father - Please Stop Making Fake Versace

$uicideboy$ - Gloss Of Blood

Larry June - Cookin

Xavier Wulf - The Wulf Of Akina

Yung Simmie - In My Vibe

iLoveMakonnen & Key! - Straight Top

Jazz Cartier - Feel Something

OG Maco - Tax Free

SpaceGhostPurrp x Esco x Fauni - Animorph Religion

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PLAY THIS AT MY FUNERAL.

[Translations] R&R Vol 63 DADAROMA Yoshiatsu Interview

I really gotta apologize @nika24u for taking such a long time with all my translations T___T Anyway, here it is. Dadaroma is a very new band for me (actually any bands later than 2011 would be considered new to me lol) so this was a pretty interesting interview. Yoshiatsu kind of talks like a kid sometimes (well I’m guessing he’s pretty young anw) and I get the feeling he is also pretty talented (just by reading the interview, havent listened to them yet). In any case, among the vocalists’ interviews I’ve translated so far, his was the easiest. (THANK YOU! XD) 

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Danny and Sam height difference HeadCanon

So, seeing a few OTP posts about height differences being in couples and already being a huge fan of Height Difference Danny and Sam, I decided to make this post. 

Now Danny’s father, he’s already tall. Jazz is tall, too. Danny grows too, but not until he’s about 16. Even then, it doesn’t stop there. He goes to college and when he comes back, his family is all “Did you grow MORE??”

He grows to 6'4" or 6'7", depending on my mood. He also bulks up. Nothing like a freaking Super Saiyin, but considerably. He decides that if he bulks up his human form, he’ll be killing two birds with one stone: Bulking up Fenton and Phantom forms.

Sam on the other hand….stops growing in High school.

Her height, in my stories and all that, ranges from 5'2" to 5'4". Remember: Sam wore boots in the show, that gave her two to four inches in height. So while she looked as tall as Danny (maybe even a bit taller) it wasn’t actually the case.

And when Danny shoots up, he takes FULL advantage of it. He loves to tease her. He secretly knows though, that Sam LOVES the height difference. But she’ll never admit it.

So she doesn’t know that he knows she loves it.

Sam is also annoyed because suddenly, she can’t keep up with him when they run together. When he bulks up, he’s stronger. Juuust a little though. Sam may be tiny compared to Danny, but she is still freakishly strong. It’s something that shocks people when they find out JUST how strong she is.

He isn’t any more athletic than her, but he takes longer strides when he runs. Sam still has an advantage over him when it comes to endurance.

Sam has him beat (by a mile) in terms of flexibility. I don’t remember if Danny was flexible in the show. I feel like I have seen gifs of Danny being flexible as Phantom…

But even then, Sam is the more flexible one. She and Danny tried to do Couples yoga and he failed. Hard.He also failed when they did hot yoag together, the boy can’t handle the heat (and it didn’t help that Sam would wear tiny spandex shorts or tighter than tight yoga pants and a sports bra).

Back to their height…

Sam is an angry little hobbit. Hobbit because Danny decides to start calling her that. She’s also really defensive about her height.

And the posts I saw about height difference couples just work SO WELL for Danny and Sam. Like this one by Dragonkazooie where not only is there a height difference but

  • high contrasting designs like light and dark colors
  • happy one with the grumpy one
  • the grumpy one gets embarrassed by kisses
  • the short one is the grumpy one
  • the happy one’s presence makes the grumpy one really shy

And this post by whentheoceanmetsky (and by Breadinthetoaster’s tag)

height difference parings where the taller one is bashful and blushy and the smaller one is smirky and overconfidentBOTH suit Danny and Sam SO well.

Oh but, even with as tall as Danny is, Tucker as 2 inches on him.

And he never lets Danny live it down.

EDIT: I changed a minor detail. I decided Sam would always, no matter what, top out at 5'4". But I’ll also just as likely have her at 5'2" or 5'3".
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Chucho and Bebo Valdes: Tea for Two

In the wake of the mild flurry of father and son jazz tributes that crop up each Father’s Day, here’s a valentine I found especially hard to resist: the celebrated Cuban piano virtuoso Bebo Valdes, in this affectionate two-piano version of Tea for Two with his son, the comparably formidable Chucho Valdes.

-Nick Moy

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