#I am. Very proud of this one. I ~experimented~ with textured and all that jazz to fill out the blocks of colour and I think it looks good

[tracle0]

The prodigal son returns

#Art #Artist #artist on tumblr #illustration #digital drawing #digital art #My art #original art #original character #blah blah blah tags and all that jazz #Theo #Hey lookits Theo! Wow that’s so cool! #I am. Very proud of this one. I ~experimented~ with textured and all that jazz to fill out the blocks of colour and I think it looks good #Oh wait #eye strain tw #there we go okay yeah! This! #Is he leaving home? Is he returning? Who knows! Not me #I have two more ideas for drawings like this but I’m not sure when I’ll do them or if I’ll do them at all. Just vague ideas #Now off to meet a friend and maybe get a tasty drink I don’t know yet. It’s bloody cold outside #Okay bye have a glorious day today. Go see some trees maybe #Trade-marked

[anglaoshi]

SDC fan's guide to Algger- Part 1

Sadly, Algger didn’t make it to the SDC finals. I’m sure his performance would have been bizarre and overproduced, since the finals always are, but I still would have liked to see it. As befitting his stature, he battled valiantly to the end, delivering one last surprise (krump???). I respect Algger’s indomitable spirit. Considering the SDC trajectories of his close collaborators and Hello Dance comrades, Derek and ZIV, this was as foreseeable as it is regrettable. 

SDC is a notoriously uncharitable venue for both choreographers and jazz dancers, so I’m proud of Algger for making it as far as he did! I’m so glad his talents will be shared with a wider audience because of his participation on the program. I am a bit disappointed that we never got to see the full force of Algger’s choreographic skills– perhaps his introduction dance ‘I am AngAng’ was the closest we have– but there were several very beautiful, entertaining, and successful pieces presented nonetheless. It was a delight to see Algger interact creatively with a new set of dancers, choreographers, and aesthetic sensibilities. 

The show didn’t properly appreciate Algger’s allure. But you do, don’t you, dear reader? If you liked Algger on SDC, I have compiled this handy guide to some of his other incredible choreographies. 

Slow Down → Worth It

If you loved the first group piece Algger performed alongside his Hello Dance and O-Dog comrades: You have excellent taste. This technique of matching his characteristically madcap choreography with a slower tempo of song is something that Algger has kept coming back to over the course of his career, usually to excellent effect. Most recent was his surprisingly thrilling Worth It choreography, which is all the more exciting against the languid backdrop of the music.

2022 has been such a year of revival for Algger, he’s really coming into his potential. Lucky for us! I will write thousands of words about Worth It someday, but for now, I’ll just mention that it’s a top 5 all-time best Algger piece. Everyone should see it, repeatedly, but especially if you liked his Slow Down choreography, in which he plays with some similar ideas, including elements of animation and contemporary dance. 

Close viewers will also notice several moves that appeared in Lonely Warrior, though interpreted differently, which is lovely and fascinating to watch.

Dong was also incredible in this performance. He’s really great, and he deserved much more screentime on SDC! He features in Hello Dance’s most popular video on Youtube, with Jen.

Dong has an entrancingly silky, tactile texture to his dance, which contrasts beautifully with Algger’s molten and untouchable style when they perform together. You should watch this handsome Dong choreography (featuring Algger, ZIV, and Derek!) to really experience his majesty.

I am AngAng → Remix (2019)

This introductory choreography is full of quintessential Algger features: fast tempo, thick with sound effects, lip sync, threat, and campy flirtation. If this iconic performance drew you in, you have to see Algger’s other most famous choreography, an edgy homage to his influences and collaborators, the dance/pop group Tokyo Gegegay.

There are several similar moves between the two choreographies, though the Tokyo Gegegay remix is much older, so one can also appreciate Algger’s evolution as a choreographer and dancer.

There are clawed hand details, animation-style movements, extraordinarily fast musicality, and just a touch of that bizarre sexiness that makes Yibo’s face go:

The face of a man who's feeling very heterosexual, probably

For completionists, you should really also watch this iteration of the same “I am AngAng” choreography, which is the stronger version, I think. It has more power, it’s cleaner, and the vibe overall is just better. 

Dans la maison (Thème) -> 不屑完美

I always love an Algger-ZIV joint. The two of them have such perfectly complementary aesthetic sensibilities. Horny pansexual imp + gothic gender mystery is a top-tier combination wherever it arises, and these two do it well. Of course, this performance was a bit toned down for the SDC audience and production sensibility. It was ZIV who delivered my favorite moment of the trio with Algger, ZIV, and Siwen: I love his fluttery arm wave, so delicate and light.

One of the best moments of the season, really! If you liked this collab but were hoping for a bit more charge, watch this trio dance with Algger, ZIV, and Derek. It’s sillier, bigger, more conceptually varied, and, of course, gayer. The interweaving of Algger’s ineffable details with ZIV’s long, languid power is very good in this performance. There’s also a charming group design that takes some of the same ideas of the SDC piece in a different direction.

Legend of the Demon Cat -> Black Cat

If this was your favorite of Algger’s performances on SDC: Why? Seriously, this choreography was such a heartbreak to watch. Kyoka and Algger are two of the most impressive dancers alive right now, but this collaboration was ass. Maybe you just want to see Algger dance like a cat some more? In that case, here’s a cute little cat dance.

Bonus: my favorite Kyoka battle, with her partner Maika. She’s so cool.

Les Twins are extraordinary here as well– it’s just a great battle all around.

That's where I'll leave it for part 1! Stay tuned for recs based on the rest of Algger's SDC performances, or whichever ones I feel like, in the future! I do take requests, also. :)

#Algger #angang #昂昂 #ZIV #Dong #Hello Dance #Kyoka #rush ball #les twins #jazz dance #voguing dance #street dance of china #sdoc5 #recommendations #I don’t think I can keep doing every performance in order because some are just really OTL so heads up about that

[early20sfailingplenty]

Uhm I like rock music, mainly classic rock like AC/DC, Guns n Roses, Def Leppard that type of thing. I’m a texture eater but I get called ‘fussy’ but just some I can’t do so I tend to live off pasta and sandwiches most days. I’m a horror fantatic, I love the old classics like scream or nightmare on elm street. Uhm I have an outgrown ombré that I need done but can’t due to lockdown 😂 Im plus size and trying to get round to loving my body even though I can’t stand it.. uhm.. oh I like reading and have an obsession with candles and wax melts. ~ @tatestripedsweater​

Aaaaaaaaa ✨✨✨✨ I’m so excited to get to write this for you, Shannon, and I really hope that you enjoy this! It’s been a while since I wrote solidly for James (on my main blog, @ajokeformur-ray​) so hopefully this portrayal isn’t too rusty!💜🌸

James March

Word count: 861.

Let me get one thing clear from the get go: you and James are perfect for each other! You have a very similar vibe to the one which James has and you would be at home within the Hotel Cortez in no time. No harm would ever befall you - “even a hair harmed on your pretty little head will see the assailant lumbered with the addiction demon, my dear,” as he once told you. You have no doubt that if he needed to, that he would make good on his promise, and you only hope for the others’ sake that they never try to test James. He does not mess around when it comes to you! Jazz and rock music are like chalk and cheese and initially was James very dismissive of your taste in music, “it’s just... noise,” he once bitterly complained to you. He can’t deny, try as he might, that you really do love classic rock, and over the months and years in which the two of you are together does James learn how to appreciate the different melodies and the poetic lyrics. Songs like Stairway to Heaven by Led Zeppelin hold a special place in his heart, for reasons he himself doesn’t fully understand. It’s no Benny Goodman, but James can admit that it’s palatable to his ears. 

James never calls you fussy. He pays extremely close attention to the textures you like, the textures you love, the textures you can tolerate but aren’t fond of, the ones you dislike, the ones which make you gag... James catalogues every reaction and he makes sure that Hazel over ever serves you up food which you’ll actually eat and enjoy - what’s the point of eating if you’re not going to enjoy it? So most days that may be pasta and sandwiches, but James is just happy to see you eating! He’s very protective of you and there’s nothing which he wouldn’t do for you. Luckily, Hazel is really fond of you and many a time have the two of you had a conversation about her son and other sensitive topics, so she always serves you food with a proud smile on her face. For once, for once, she and her hard work are seen and appreciated and she has sworn to herself that if James ever hurts you, she’ll turn him in all over again. You and Hazel stan each other and you’ve got each other’s backs every step of the way!

Plenty of horrible things, made from the stuff of nightmares, go down in the hotel so James doesn’t fully understand why you love horror so much. Why bother watching a clearly fake throat get slashed with blood which isn’t even the right shade of red and splatters wrong, when you can shadow him all day and experience the real thing for yourself? Modern life confuses James but he won’t deny you the things you enjoy. The old classics are your favourite and James puts in a special word with Liz so that the hotel has a miniature cinema in which you can watch your horrors on the big screen! You’re a queen, after all, and he’ll treat you as such no matter what you say! Please just hug him omg he’s desperate for affection. James loves you - every single part of you is cherished! You are a goddess, a queen, but more than that, you are his goddess. You are his Queen. Daily does James lay worship at your altar and on days when you feel especially loathing of yourself and of your body, James is there with solemn vows of love and adoration. “You are a heavenly creature, Shannon. I am in awe of your beauty.” James doesn’t just say pretty words - he shows you, too, in whichever way you’re most comfortable with! It’s not uncommon for him to buy you an entirely new outfit (with the help of Elizabeth, who sees how deeply you love James and can’t help but appreciate you a bit more for it) just so that he can show you off! And if it helps you to feel a bit more confident, then that’s a bonus! Anything for his Queen...

You like to read and James likes to watch you read. The story plays out before him on your face. When you’ve done something which James feels you should be praised for (literally anything you could do), then you may well find that he’s bought you a new stack of books. They’re never wrapped or signed but you know that they’re from James because they’re always super expensive copies. You would have been happy with a simple paperback but James gets you a gold or silver embellished cover with painted pages and pictures. You also have an obsession with candles and wax melts and, again, James uses his outside connections to make sure that you can have those things. He loves you deeply and he makes sure that you know that at every available turn! He treats you like a Queen and you treat him like a King, because he deserves every ounce of it and more.

#james patrick march

[lonelypond]

Jingle Bell Jazz, Ch. 15

Love Live, NicoMaki, 3.5K, 15/?

Summary: A small army invades the Nishikino mansion and an unexpected gauntlet is thrown down.

Chapter 15

Maki had said Nico was planning to conquer Europe. As Mrs. Nishikino opened the front door of her home, she wondered if this was a preview of the diminutive singer’s army. Nico, tiny, a tall blonde behind her, arm in arm with a smiling dark haired woman, and then two others, one with fawn hair and an exquisite coat, probably couture, light with a tiny pattern of green picked out along its curves, as if Spring were sweeping in. Behind them all, was a solid, dark haired woman, with features classic enough to be seen in an Imperial samurai portrait and golden eyes that were busy sweeping everything in view to assess the situation.

“Good morning, Mrs. Nishikino. Is Maki up yet?” Nico chirped brightly.

“Yes, she’s just getting dressed. She’ll be right down.”

“Where’s her room? Kotori will need to go up anyway.”

Mrs. Nishikino met Nico’s glance, debated an interrogation, but if Maki couldn’t manage to get dressed in time to greet her guests, she probably deserved a room invasion. So Mrs. Nishikino shrugged and pointed to the staircase, “Second floor, turn right to the family wing, third door.”

“Thank you.” Nico grunted over her shoulder, “Come on, Kotori.”

The fawn haired girl bowed as she swept by, followed by the warrior of the court who stopped and spoke in a smooth, cultured tone that matched her elegance, “Thank you, Mrs Nishikino, for welcoming us into your home. My name is Umi Sonoda. I am a classmate of your daughter's. I apologize for Nico not introducing us properly.”

“Welcome to our home, Miss Sonoda.”

Umi nodded and pointed to the other two women left in the entry, “This is Eli Ayase, who is also a member of Bibi along with Maki, and Nozomi Tojo.”

“Miss Ayase, Miss Tojo. If you want to head into the kitchen, there’s coffee and pastries. Or I can show you where the music room is.”

Nozomi bumped past Umi with a wink, pulling Eli along, “We’ll take you up on your coffee. It’s cold out here and who knows how long Nico and Kotori will be in Maki’s closet.”

Mrs. Nishikino figured she might as well ask, as her own daughter was the least communicative person on the premises, as far as she could tell. “Are they packing for something?”

The blonde spoke, amused. “Sorry. Nico should have explained, I suppose. Kotori’s our stylist. She’s deciding on outfits for the New Year’s Eve gig. Nico’s not sure what Maki has.”

So the invasion would be properly uniformed. Mrs. Nishikino shook her head and led the remnants of the battalion toward the kitchen.

###

“Maki?” Nico’s voice and then a quick rap on the door. Maki panicked, pulling her pajama shirt back on and missing a button or two. Nico, hair in a ponytail, walked in, sharp as ever, in an outfit close to the first one she’d been wearing when Maki met her, pink cardigan over gray oxford shirt, tucked into black capri pants. Kotori was behind her, in a floral dress with a skirt that floated like froth where it fell from the belt at her waist. Maki had managed to get into a skirt, but her misbuttoned black with white polka dot pajama shirt made the look ludicrous.

“Nico? What are you doing here.”

Nico spared a cursory glance around Maki’s bedroom, the bed unmade, shelves full of books fairly neat, Nico took a minute to take in the framed black and white photos on the wall opposite Maki’s bed...Maki was proud of them, she’d taken them in Chicago, New Orleans, London, Buenos Aries, Tokyo...getting a chance to capture the mood of each city on film was one of her favorite things about the trips her parents would take her on. She loved wandering parks and lesser known architecture with her camera.

“Nozomi would love these.” Nico pointed to one of Maki’s favorites, a shot of a tuba player taken on the St. Charles streetcar.

Maki shrugged, not planning to invite Nozomi into her bedroom, not that she’d planned to invite Nico.

Nico continued, “Kotori needs to see what you have in your closet. We need a tighter look for New Year’s Eve. If we can find things for you, me, and Eli, Kotori only needs to alter that’ll make everything easier.” Nico took a good look at Maki finally, “Pajamas might give the sleepover vibe, but Nico bets we can do better.”

Kotori...tittered, it was the only word for the silly, high pitched reaction, Maki thought. Then she realized Nico was waiting for a response. “You said an hour. I was almost ready.”

Nico decided to just guess the door closest to her was the closet. Nope, large bathroom, huge tub, fluffier bathrobe than she’d seen on Maki yet...Nico sighed, couldn’t anything just be simple and professional, should have rehearsed at Otonokizaka, but Nico didn’t feel like dealing with staff or random wandering students. And now she had a quick flash of Maki, bathrobe, bathtub...Nico shook herself. That sort of distraction would get all of them nowhere and Nico had very specific destinations in mind today.

“That’s not the closet.” Maki was in the doorway.

“Nico figured that out.” Nico grumbled, pushing past Maki.

“Nico, if you want to go rehearse, I can just go through what Maki has and bring pieces that might work downstairs.” Kotori’s voice drifted out of Maki’s closet, “Send Umi up to help me carry things.”

“Will do. I just have to get Maki into something that doesn’t scream tuck me into bed.” Once again, Nico stopped as words hung in the air. But Maki was just staring grumpily at her opened closet door and oblivious to any unintended nuance.

“Maki.” Nico snapped, grateful for the redhead’s naivete.

“What?”

“Put on a shirt and come downstairs.”

Maki crossed her arms, “I was doing that when…”

Nico was already halfway to the hallway. “I’ll send Umi up, Kotori.”

“Thanks, Nico.”

Maki took her blouse into the bathroom, locked the door, changed into it, and fled downstairs without saying anything to Kotori.

###

Maki walked into the music room, to be faced with Nico and Umi sorting through sheets of music scattered over HER piano, while Eli tried a few bars of something Maki couldn’t recognize. Nozomi, in the corner wingback chair Maki never used, had the morning paper open but her attention was on Eli.

“What are you doing?” The door slipped out of Maki’s hand and slammed.

Nico smiled. “Umi has a few ideas about how we can make ‘Sugar Rum Cherry’ work with you and Eli.”

Maki grabbed the sheets Nico was holding, “Step away from my piano. I can do this myself.” She frowned, “And isn’t Umi supposed to be upstairs helping Kotori?”

Nico chuckled, “Kotori won’t be done with your closet for at least another forty minutes.”

Umi nodded, amber eyes fond, “She’s very thorough.”

Nozomi snorted and crackled the paper, Eli played a chord that slid into a warning, Umi continued to sort through music.

“Nico picked up the album too so we can listen to it.” Nico slid the record out, putting it on the turntable. “Nico remembered you seem to figure things out by ear pretty well…”

“Stop.” Maki shouted, throwing her hands out, and repeated her initial question, staring at Nico, wild eyed, “What are you doing?’

Nico spoke slowly, “Nico stopped on the way here and picked up some sheet music and a few records so we can decide on a set list.”

“Okay. That’s fine. But what is Umi doing?” On my piano, Maki’s inner voice snarled.

Nico’s voice was bracingly practical, as if this were an obvious solution to thing nobody but Maki considered a problem. “Working on an arrangement of Ellington’s 'Sugar Rum Cherry'.”

Maki crossed her arms, lip in a sneer, “I can do that myself.”

Nico sounded like she was trying not to sound uneasy, “Maki, you have zero jazz experience and have to learn at more than a dozen songs in two and a half days if you don’t want to sight read.”

Umi went for apologetic. “I was just planning to do a quick skeleton that you can embellish as you get more familiar with the music.”

Nico put the album cover down, but didn’t lift the tone arm, instead returning to the conversation, her expression earnest. “After hearing you play yesterday, Nico wants everyone else to know how good you are. And Ellington’s a great choice for your skills. Nico picked up a book.” Nico pointed to the music stand where The Songs Of Duke Ellington now rested. “We’ll do some seasonal things, but we can mix it up. Nico was thinking maybe ‘In A Sentimental Mood’ and ‘I Got It Bad and That Ain't Good’.”

Maki sat at the piano and started flipping through the pages. “This doesn’t have the...sugar rum sherry?”

��Cherry.” Umi corrected, “No, that’s a recent release. Brilliant mix of jazz and the classical. I believe you’ll love it, Maki, if you give it a listen. And the piano and sax combo will retain some of the intended flavor.” Umi went back to the music with her pencil, “I’m going to suggest it to Honoka as well.”

Nico dropped the tone arm, “This is the track we’re talking about.”

Forcing back exasperation, Maki closed her eyes to listen.

###

After what seemed like hours but before Maki could really get into any kind of a flow, Kotori and Umi were back with an armful of clothing. Nico slashed the air with a ‘cut’ gesture and Eli put her sax down next to her on the padded bench, Nozomi stopped working on the crossword puzzle, and Maki let her fingers rest on the keys for a moment.

“The textures and fabric are AMAZING. And the designers....” Kotori sounded even more breathless than usual as she gushed at Nico, “but the styles aren’t a great fit for your silver dress and the frost blue one Eli picked out.”

“Nico was afraid of that…”

“You could switch to that dress you wore in the Life photoshoot.” Kotori winked at Maki, “That’s memorable.”

Maki ducked her head, turning pages in the Ellington, refusing to acknowledge anyone else in the room.

Nico pulled her cardigan around her, “That’s not a winter style, freezing is not a sexy look for Nico.”

“I might be able to make this dress work with some alterations, maybe add a silver feature...I can match the fabric pretty well.” Kotori held up a dress Maki had buried in the back of her closet as it seemed more nightgown than ballgown, black with a large white bow, two fabric ribbons flapping down the front.

“The drape on that over Maki’s…” Nico whistled instead of finishing that sentence, but she flipped the ends of the ribbons that fell two thirds down the dress, “this’ll be more distracting than not.”

“And no one will see it behind the piano.” Nozomi chewed on her eraser.

“Exactly.” Nico tapped her nose and flashed her index finger at Nozomi.

Kotori hummed. “I was thinking of replacing it with a silver band around the top.”

“Ooohh, nice touch." A cheerful note from Nico.

“What about my…” Kotori and Nico spun instantly and Maki had a coughing fit at the scrutiny, “Cold...I’ll be cold too.”

Nozomi started laughing, Nico slammed her forehead into her hand as she leaned against the piano, and Kotori tilted her head, “We could add a shawl.”

“Maki might prefer the touch of discretion of a good shawl provides, as well as the additional warmth.” Umi began collecting the discarded options.

“I’m not sure I’ll be comfortable…” Maki muttered.

“You had bare shoulders yesterday…” Nico had her eyes closed and her other hand stretched out across the piano, fingers tapping.

“There was more to that dress.”

“Do you want to wear that one?” Nico raised her head.

Maki shrugged, playing scales to soothe her nervousness.

“Let me work on this one, Maki. And if you don’t like it, we’ll find something else.” Kotori’s voice was gently persuasive.

Nico was watching Maki intently, and Maki had no idea what thoughts were roiling behind those eyes. “Nico?”

Nico stood, her shrug an echo of Maki, “You’d look good in a sheet. Sounding good is what matters.”

Did Nico picture her in a sheet? When they were in her bedroom, had Nico imagined Maki there...Maki could feel the flames on her cheek...focus on the book in front of her, what song was it, “Day Dream…Funny the way I feel now/Can't keep my feet on the ground/Ev'rything seems unreal now...” Unreal, exactly that, Maki thought as her fingers drifted through the gentle beginning.

“What’s that?” Nico was suddenly behind her, hand soft on Maki’s shoulder and once again, the air around Maki was full of sweet musk, but she kept playing this time, no stumble.

“That’s amazing, but a little sleepy for a New Year’s Eve party.” Nico reached out, flipping through pages, her sweater arm rubbing Maki’s ear as the pianist tried not to shiver, “This’d be better. You can start off with a solo and then...”

Nico started to sing, “"It don't mean a thing, if it ain't got that swing (doo-ah, doo-ah, doo-ah, doo-ah, doo-ah, doo-ah, doo-ah, doo-ah) It don't mean a thing all you got to do is sing (doo-ah, doo-ah, doo-ah, doo-ah, doo-ah, doo-ah, doo-ah, doo-ah) It makes no difference If it's sweet or hot Just give that rhythm Everything you've got”

Now both of Nico’s hands were on Maki’s shoulders and Eli had swung in, “Take it, genius.” Nico whispered in Maki’s ear and Maki’s fingers started to fly over the keys at a speed to match her heart rate.

“YES!” Nico wrapped her arms around the pianist’s shoulders as Maki and Eli finished their improvised duet. “The audience’ll love it, Ellington would love it, Nico loves it…”

Eli gleamed, taking a handkerchief from Nozomi to wipe the sweat from her face, “You’re a really fast study, Maki. I’m impressed.” She hugged her sax, “We’re going to sound so hot, Nico.”

Kotori was clapping around the dresses in her arms. “The audience’ll be kicked sideways.”

Nico had let go of Maki, but sat down next to her. Maki could feel the singer’s warmth and resisted the urge to scoot either closer or away. Why were those both choices, Maki wondered as Nico answered Eli. “Yeah, we’re going to be legends.”

“Too bad the next thing that happens is you break up the band.” Nozomi had put her pencil and the puzzle aside to search for something in her purse, making her comment seem more offhand than Nico might have suspected. The sense of camaraderie was shattered before it even had a chance to root. Maki shifted down the bench, Nico bent over, shaking her head, feeling the sweat dripping down her face. Umi sighed.

Eli, with a solemn expression, put her sax down. “Jeez, Nozomi, can’t you even let Nico have a minute.”

“Decisions have consequences.” Nozomi intoned. Kotori and Umi exchanged a look, uncomfortable on the edge of the room.

Nico sat up, Maki could see how tightly clenched the singer’s jaw was as she rubbed her hands over her cheeks, “What Nico decides is actually none of your business, Nozomi.”

“If it affects Eli, it affects me, Nico-chi.”

“Nico is not having this conversation now.” Maki was surprised to feel Nico squeeze her hand quickly but then the singer was on her feet, black ponytail bobbing as she threw herself in front of Nozomi, “Don’t cause trouble for Nico just because you get off on some fantasy you have of how things should happ...”

Nozomi leaned back, eyebrow arched, “Since you mentioned fantasies, ask Maki about them...Kotori says before she met you she couldn’t call you anything but ‘the pinup girl'.”

Kotori squeaked. Maki shoved the bench back, on her feet, open mouthed, not sure of what to say.

“Just leave it alone, Maki.” Nico hissed, “Nozomi’s just looking for ways to rile us. It amuses her.”

"This isn't for my amusement." Nozomi snapped her purse shut, chin up as Nico confronted her. “Eli just stopped crying herself to sleep; I don’t want her to get attached to the idea of the being a band with you again.”

‘Nozomi…” Eli murmured, cheeks flushed.

There was silence. Nico’s shoulders kept flexing as her hands clenched and unclenched. Eli was pulling through her hair. Maki had no idea how to divert the conversation, and then Umi spoke, “Kotori and I should start on the alterations. We’ll see you tomorrow, Nico.”

Nozomi stood before Nico could respond to Umi, “I’ll be having coffee in the kitchen until you’re done playing with their hearts, Nico~chi. Eli, find me when you’re ready to leave.”

Alone, the three members of Bibi stared at each other. Then Nico glanced down at her watch.

“Damn. It’s later than I thought.” Nico pushed up the cuff of her cardigan, giving off a nervous air Maki couldn’t quite match with the picture of Nico she was building. “Nico knows we have to talk about this, but I really have to get to work. You two should keep rehearsing.”

A suddenly shy Eli also wasn’t part of the mental picture Maki had been building of her bandmates. “You really can’t just walk out now, Nico. I know Nozomi went too far, but she’s not wrong. We need to talk about things, deal with this.” Eli’s voice caught and Maki would have bet on tears, “Don’t be Coco.”

Nico's fingertips stroked Eli’s cheek briefly, and the blonde’s head drooped as Maki stared, her own hands getting sweaty. “Eli, I know this has been rough, but have some faith in Nico. It’s going to be fine.”

“How?” Definitely tears. Maki couldn’t move.

“Nico can’t explain right now...but we just have to get through this concert without letting things throw us and then I swear, it’ll be okay.”

Eli shook her head, “I don’t know if I…”

“You can Eli. You and me and Maki, we work together and nothing’s going to stop that.” Nico was bouncing, “But I really have to run. I’ll see you tonight, at home.”

Eli moved away, to the window, and Nico was in front of Maki, speaking softly, “Nico is sorry about that. Nozomi likes emotional shrapnel. She believes it breaks up problems so they can be fixed.” Nico’s hands flung off that idea, and then she had Maki’s in hers again, “You’re doing amazing. Nico could listen to you all night.”

Maki decided emotional neutrality was a good shield against the confusing clash of emotions that had invaded her music room so she waited for Nico’s next statement.

“But not tonight. Can Nico have a raincheck?” The mildness, the hope in Nico’s ask floored Maki.

“Okay.” Christmas lights twinkled with cheer in Nico’s eyes and Maki listened to herself agree before she’d fully heard the question. Nico grinned, “All right, ladies. Don’t have too much fun without Nico.” And she was out the door.

Eli groaned and collapsed in the wingback chair, rubbing her eyes.

“Sorry, I don’t have a handkerchief.” Maki crossed to the other side of the window, wondering if Nico was going to grab a bus or call a cab. Surely her mother would offer Nico the car. Maybe she should go check...Eli took a rackety breath and Maki realized she couldn’t leave the saxophonist alone. “Do you need me to go get Nozomi?”

Eli shook her head, surprising Maki again by seeming more exasperated than upset. “No. I need a few minutes of not being caught between those two. They don’t war often but when they do…” Eli had her legs pulled up in front of her.

“Nozomi seems to be acting out of concern, though.” Maki wondered what spending so much time together did to people. And that apartment was so small for the three of them. She shuddered.

Eli’s eyes were shrewd. She’d caught Maki’s reaction, “It’s a lot sometimes, but I wouldn’t trade either of them...Nico’s…” Eli rubbed the back of her neck, “Nico’s never dull...and Nozomi’s...well, Nozomi’s…everything.”

Certain she had no response to that, Maki returned to the piano, sat and searched through pages again. “Do you know Satin Doll?”

Eli leaned forward, intrigued, “Oh, Nico will like that one.”

A/N: Howdy.

#nicomaki #Love Live #Jingle Bell Jazz #Nishikino Maki #Yazawa Nico #nozoeli #Ayase Eli #Tojo Nozomi #Bibi #jazz #music #Christmas #fanfic #holiday #Duke Ellington #piano #fun

[hetmusic]

Q&A with UNBLOOM | HumanHuman

Last month served up an astonishing thirty-five Promising Discoveries from a wealth of locations and a whole range of musical genres, and one of those artists hailing from London, Ontario is Jonathan Zarola aka UNBLOOM.

UNBLOOM’s This Could Be Everything / This Could Be Nothing EP, released earlier this year.

This wielder of widescreen, electronic music released a glorious dance-pop EP earlier this year with the expansive, open-ended title of This Could Be Everything / This Could Be Nothing. The playful six tracks includes collaborations with many Canadian talents, who each bring their own flair to Zarola’s vibrant production, songwriting and musicianship. Our community of new music enthusiasts have been along with UNBLOOM from the journey of what he coins as “sonically sad” to his current realised sound since Hillydilly’s discovery a whole three years ago. Now reaching that coveted 100% promising mark, we’re continuing the journey with this multifaceted artist as we discuss this project, the past and what’s to come in the new year.

As a user and now Promising Artist on HumanHuman, you’ve been following the site for a while. How did you first hear about our music discovery community?

Quite honestly, I think I Google searched "how to better connect with music blogs" and HumanHuman popped up as the first available service. I always send out emails to blogs, but I never felt that I was getting through to them in a substantial way (especially in the early goings of the UNBLOOM project), and it was refreshing to see a community embrace artist-blog relations.

Would you say that finding new bands and artists online is something that you always like to do?

I certainly used to do it a lot more before I became a full-time artist. I find now that I can't listen to too many active artists/bands because I have a tendency to dissect their songs and figure out how they created particular sounds or textures. Before I became a producer, I used to appreciate music holistically; now, I feel I get in the way of my ability to appreciate someone else's work.

How about live music? Is there a good scene around London and/or the wider area of Ontario?

The scene is only as good as you make it. You have to really make an effort to orchestrate shows in order for them to happen. Not to say there aren't shows available, but in London, there aren't a lot of Dance/Electronic/Pop bands to mingle with. As a result, you have to custom-make a show that caters to that sound. Sometimes, if you don't like the hand your dealt with, you have to shuffle the deck. There are a lot more shows in Toronto, however, for my style of music. I'll be playing more there in the new year (fingers crossed!)

As we’ve explored before in our Spotlight on Canada’s Emerging Artists, it’s a great country for fresh sounds, encompassing everything from pop to hip-hop to rock to R&B to electronic and more! Who are some of your favourite Canadian artists?

I find I keep gravitating to the Montreal beat-scene. POMO and Kaytranada are my Canadian staples.

And who or what inspires your sound?

I think "groove" and "movement" are the primary motivators in my music. The music has to physically engage with the listener; whether it is a kick-snare rhythm, or the way certain chords fall on the backbeat--the music has to engage (perhaps even provoke) the listener. I think that can even be achieved in the way lyrics are sung or articulated. Every facet of my music derives from a place of movement.

Let’s talk about your EP, This Could Be Everything / This Could Be Nothing, where almost all of the six tracks feature a guest vocalist. Did this collaborative approach shape the production, genre, style or content of each song based on who you were working with?

Oddly, I don't believe it did. I had written most, if not all, the music prior to each collaboration. That being said, when a guest vocalist enters the session, you always have to be prepared to tear certain things down to make space for him or her. There were certain songs where I left the vocalist a lot of room for experimentation, but I wouldn't say that I changed the sound of any one song based on who I was working with.

I can’t see a featured artist on “I Can’t Do It By Myself”, so does that song title posses a pleasure in the irony that you are in fact doing it by yourself?

Interestingly enough, I do have a guest vocalist on “I Can't Do It by Myself"! It's my dear friend Moses Monterroza singing and playing guitar on the track. Moses is a long time creative collaborator of mine, and his fingerprints are all over the EP--he helped create all of the album artwork, and directed the "No Other" music video. This was probably the only song that stemmed from some sort of collaborative session. Moses quickly played a few chords on guitar and I followed suit in arranging a beat to ground it. I asked him to sing something, and, using his best BeeGees impression, managed to link a few words that would later become the chorus/prechorus (with a little bit of lyrical assistance from me). So the irony lies within the notion that I couldn't have done this by myself haha

Is it possible to pick a favourite song from the EP? Why that one?

I'm sure you hear this often, but that's like asking which child is your favourite. It's hard to choose! I'm proud of all of the songs on the EP, but I'm particularly fond of “No Other”. Playing that song live is such a joy, and I'm still amazed with how people connect with it. I was actually telling Davey the other day that it's a song I can look back on say "yeah, we did something right with that one" haha; I love the arrangement, the lyrics, and the way everything sonically fits together.

The sound of the EP is very dance and electronic based, but if we go back to an earlier song like “More Than Lust”, your style is much slower and more soulful. What has guided your sonic progression over the years?

Wow, you really dug through the crates to find that one! haha

I think my shift towards faster tempos stemmed from a counter-reaction I had to a band I was in that focused on slower, lo-fi arrangements. I was just tired of taking part in sonically sad music.

Do you feel that you’ve now found yourself in the realm of dance-pop?

I think I have. A lot of people view "pop" as a dirty word for some reason. I happen to love making hooks and musical "ear-worms," and I suppose coupling that with dancing is never a bad thing. I don't care how people categorize my music--I just want them to engage with it.

“I don't care how people categorize my music--I just want them to engage with it.”

For listeners who come across your music for the first time, they’d probably encounter your self-description of “widescreen, electronic music.” What does that mean to you?

Simply put, it's music that creates a panoramic experience for the listener. Perhaps that's a bit paradoxical, but I want people to feel that the production can envelope them, consume them. If you could visualize my music in a three-dimensional plane, it would be like staring into a canyon--it would have depth and detail.

Naturally, your electronic style is based around the production, do you self-produce everything? Or as we’ve seen with the vocals, do you also like to collaborate there?

On the EP, I produce, engineer, and mix everything myself. It's a point of pride, but I know I have more to learn. I'm always investigating some of the great mixing engineers and producers of our time and trying to absorb everything they've done.

You shared a few music videos to go along with the EP, including the addictively funky “No Other”, featuring singer/rapper Davey. Why did you opt out of appearing in the video?

If you look closely, I make an appearance at the end of the video with Davey and I jamming in the studio. I'm playing drums, which is a call-back to my days as a drummer in jazz, funk, and indie bands. On the whole though, we wanted to showcase Davey as much as possible; he has such an invigorating energy, especially performing live, and we had to make that the primary focus.

If my sources are correct, UNBLOOM originally started out as an anonymous project, did you find that gave you more freedom or confidence when first putting your music online?

They are correct! Truthfully, the anonymity started as a ploy to share my music without having to pander to friends and family to listen to it. It allowed me to get an unbiased opinion. When I noticed people were genuinely enjoying it, it gave me confidence to move forward with that moniker.

We’ve seen some artists continue the anonymity well into their careers, so when and why did you decide to drop the veil?

I "dropped the veil" with the release of the “Hold Our Youth” music video. I began to realize that staying anonymous was more of a chore than anything else, and, being the socialite that I am, found it harder and harder to repress my personality from the music I was making. The music video was a reaction to this--"screw it, here I am."

Looking back at 2017, what has been a highlight of the year for you?

I'm fortunate to say that there have been quite a few this past year. I think the biggest highlight for me was seeing myself featured on the Apple Music/iTunes banner when my EP was released. It was always a dream of mine to see myself featured on the main page of iTunes; to be regarded as an act to watch by that community of tastemakers was really special.

Can we expect to hear more from UNBLOOM in the new year?

Absolutely. I think you can expect another big push from me in 2018 with new music and more shows. I'm excited for what the new year has to bring.

https://humanhuman.com/articles/interview-with-unbloom

[bronzerandlouboutins-blog]

Resume Writing for Chartered Wealth Manager

Spell-check your resume using a word processor. Pure cotton paper also has an enticing texture. Although this is not my preferred method to receive resumes, I don't typically hold it against a candidate; unless of course the resume is so badly formatted that it is unreadable. There is the interview component, negotiation component, networking component, target market analysis component, experience/skill design component (just to name a few). Save This  Resume Writing for Chartered Wealth Manager. This is why it is essential to be written in a proper manner. While you're spending time at the local employment office, it's a good idea to speak with the staff - and if he or she offers resume writing help, and wants to assist you in putting something together, go ahead and allow it.

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On the other hand, if you think of resume writing as an opportunity to create a beautiful advertisement, you will feel proud of the final product. Find  Resume Writing for Chartered Wealth Manager. I have had the unfortunate opportunity to review resumes of candidates who listed their personal interests as "Jazz Hand Aficionado", "Exotic Pole Dancer", and "Cat Whisperer". I did find out that anything over three pages substantially increased the rejection rate. If this is the case, then the option is open for you to seek resume writing assistance from a professional resume writing service. Read   Resume Writing for Chartered Wealth Manager. As the Harvard Business School 1 lesson goes, "You can't manage what you can't measure". Presenting the truth in an attractive way is part of the art of resume writing.

Guaranteed Interviews for:

Insurance Agent

Senior System Administrator

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Compensation Analyst

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Business Broker

If you don't have a profession to put on your resume, writing about your skills with a focus on the position you want still helps. Most of the writing services may even train you and advice you how to write a perfect resume.   This rule relates to rule If they aren't even tracking the data and do not have a strong understanding of their analytics and metrics, then there is no way they can focus on increasing their conversion rates. Education details should be mentioned on the resume in an inverted pyramid style. Watch For  Resume Writing for Chartered Wealth Manager. Extracurricular activities and other interests can also be mentioned on a professional resume. Second, I primarily use a two page resume template format that is simple, easy to read with plenty of white space.

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The recruiters would have come across similar resume patterns in their experience, so it is very important to alter the resume template so that it looks different from the usual one. You're bored with the career path you've been on for the past few years, and you're ready to strike out in a new direction. There really is a difference between standard printer paper and more expensive papers. When writing about a skill you've used before and will keep using, use present tense. Check Out  Resume Writing for Chartered Wealth Manager. Having a solid strategy to all these questions are critical to winning the best offer letters. Simplicity is still the key.

I am not about to take a chance on a candidate with such poor decision-making skills. The key, "secret sauce" became how to "get inside the head" of the recruiters and hiring managers that were reviewing my candidate's resumes. Look for an energetic approach that can bring your resume to life. You'll also need to be able to describe your skills and accomplishments on the job, so put some thought into those areas. Save This  Resume Writing for Chartered Wealth Manager. When I put all that together, I came up with a better way to show my candidates how to write their own resumes in order to increase the odds of getting the interview. On the other hand, you may feel that your writing prowess is not up to mark in achieving the desired impact on the employer.

#resume writing #essay writing #term paper writing #job search help

[bern33chaser]

Writing Lyrics for Songs

It used to be that when people thought of songwriting, they didn’t think of great writing. Then Bob Dylan won the Nobel Prize for literature.

Dylan wasn’t the first songwriter whose work has been respected by literary critics. You might be surprised how much ancient poetry was originally written to be sung. From certain vanished cultures, songs are the only literature that has survived. Before the invention of mass media technology, songs were the mass media – the original news media. So if you’re a songwriter, be proud. You have a distinguished and honorable heritage.

Writing poetry or verse is good training for any writer. The discipline of a poetic structure teaches you rhythm and beat, which is part of language itself, as texture is part of paint. Yes, we all dislike limits to our creativity. But occasionally having to fit your writing into a rhyme or a meter doesn’t hamper your creativity, it can enhance it. Don’t you sometimes have trouble thinking of the next word to write? But once you know that word needs to rhyme with stone, or that it needs to begin with an unaccented syllable and end with an accented syllable, it might become easier to find the word.

Even if you would never consider yourself a songwriter, in some ways writing song lyrics is better training than simply writing poetry or verse. Remember you don’t need to be a musician to write the lyrics to a song. Someone else can write the music. But when you write poetry to be sung, you benefit from a stricter discipline and get a better education in writing.

The school of lyrics

When you write poetry that isn’t meant to be heard (and most poetry should be heard), you can easily escape some of the discipline that you are supposed to be learning from. Personally, I can’t tell if I’m following the right metrical scheme unless I read what I’m writing out loud. But if I have to sing it, the melody enforces the rhythm. It forces me to limit the number of syllables in the line, just as I’m supposed to.

There’s still room for flexibility, as I call it, or cheating, as you may call it. If you are an experienced singer, maybe you can slip in extra syllables or stretch out a syllable to make the words fit the tune. But another singer might not be able to do it so smoothly nor may they want to. If you want to write a song that is sung widely, even by the public, I’m afraid you need to make the syllables fit neatly with the tune.

This hard limit of so many syllables per line can drive a lyricist to frustration or possibly to jazz. Jazz is one musical tradition that welcomes improvisation and therefore welcomes longer line lengths. But again, irregular rhythms are harder to memorize, which is why few people sing John Coltrane on the way to work or school. While other writers can write longer sentences, paragraphs or chapters whenever they want, a lyricist may have to fit his or her thoughts into lines of ten words, or verses of four (not three) lines.

I have been writing songs for most of my life, but the challenge of fitting words into a limited line makes me very slow. I can rarely fit a complete thought in one line; I frequently can’t fit a single thought in a single verse. I wrote a Christmas song of five verses at the rate of one verse a year.

Words and music

Which comes first: the lyrics or the melody? That depends on the songwriter.

The Broadway musical team of Richard Rodgers and Oscar Hammerstein II wrote lyrics first, then music. Same with pop star Elton John and Bernie Taupin, his lyricist. But other songwriters, such as Paul Simon, usually start with the melody.

Sometimes the lyrics and the melody are created together, in a jam session or a recording studio. Early in their career, John Lennon and Paul McCartney of the Beatles would write “eyeball to eyeball” as Lennon put it. Competing with each other helped their songs and hurt their relationship.

In “track and hook” songwriting, a producer records basic elements such as the rhythm and chord progression and sends out the recording to “top line writers” who add other elements, such the hook, verses, chorus or bridge.

For Gilbert and Sullivan of light opera fame, W.S. Gilbert would send lyrics to Arthur Sullivan by mail, as I recall. Sullivan would open the envelope, read the lyrics, then go for a walk, no doubt humming to himself. By the time he returned from his walk, he would have a tune fixed in his mind.

Tips for writing lyrics

Live songs don’t rewind. Unlike readers of a book, listeners at a concert who didn’t catch a word or a line can’t go back a page and re-read the part of the song they missed. In his article 24 lyric-writing tips, Chris Wickett says, “Remember that the listeners might miss a word, or a line, or three. Don’t rely on just one small line to put the whole song in context.”

Don’t over-rhyme. Structure is good, but too many rhymes can sound cutesy or annoying. A song can tolerate slant rhymes better than it can tolerate missing syllables.

Be short, simple, and sweet. Graham English calculates that Bruce Springsteen’s Born to Run album averages 281 words per song. The Beatles’ Abbey Road averages 102 and Let It Be averages 139.

Be specific, be intimate, be concrete. Andrea Stolpe who teaches songwriting at Berklee Online and the University of Southern California, says, “Bring your listener into an experience of a small moment.” Tell a story that shows your heart. You don’t need to be profound. Jesse Sterling Harrison advises lyricists to be “just slightly enigmatic.” Nor do you need to be grandiose.

No! I am not Frank Sinatra, nor was meant to be.

Don’t rush yourself. Rod Stewart says, “I’ll come up with one line in a day, and then it might be a couple of days before I come up with the rhyming line.”

Accept criticism but don’t be too critical. Your lyric won’t be instantly perfect, but if you can take advice, you can improve faster.

Be quiet. James Taylor told NPR’s Noah Adams, “I think songs need to come out of – really, out of a state of boredom almost as much as anything else. You need to have empty time in order to receive them.”

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Original post: Writing Lyrics for Songs from Daily Writing Tips https://www.dailywritingtips.com/writing-lyrics-for-songs/

[noiseartists]

STELLA DIANA: Italogaze craftsmen

As the band say themselves on their Bandcamp page, Stella Diana is "Hailing from a city more known for pizza and opera than Shoegaze and new wave addicts, and possess not only the spirit of late 80s/early 90s British bands like Ride, but also the dark wave seeds of Joy Division and the stylistic underpinnings of new wave artists like Psychedelic Furs and The Chameleons, all of whom number among the band's influences. Others include Pale Saints, Lush, Catherine Wheel, The Stone Roses, Codeine, Christian Death, and Talk Talk.  Since their inception in 1998, Stella Diana has gradually become recognized by the Italian press as one of the best Shoegaze bands in the country with their intricate, brooding and textured mix of Shoegaze, Post-Punk, Dream-Pop and new wave. They have managed to grow a sizeable international following despite singing entirely in Italian – an unprecedented achievement for an Italian indie band in these respective genres. "

It is true. Stella Diana is a band that has evolved, progressed and their latest album, Nitocris, is a jewel.  In this article, we will explore that band and their music, in a very collaborative piece. We hope you enjoy.

 THE BAND

"The band was born in 1998, but settled in 2002 and the name comes from the title of an ancient Neapolitan song. this is the only link we wanted to emphasize with our city, a place where music has a historical tradition.

In fact, all the music of the 1700s passed through Naples with composers such as Cimarosa, Paisiello, Scarlatti or Pergolesi, so it seemed right to note this. About the rest, music-wise, we are as anti-Italian as can be.

Stella Diana are:

Dario, voice and guitar,

Giacomo, bass,

Giulio on drums.

In all these years we have made, I think, more than two hundred concerts and played in half of Europe and our music is more appreciated in Europe then in Italy.

We always had a problem with the drummers. we had at least a dozen and now, we hope that with giulio everything is fine because we are also very good friends. Giacomo and me, have known each other for over twenty years and we have our way of composing and communicating in an automatic and profitable way.

In fact we spend little time in the rehearsal room. Just once a week for two hours. Because we know what to do and how to get it.

We have our well defined sound and this is a great thing. usually we improvise on a bass line, then we create the melody and eventually I add the melody of the voice  and the words.

I never bring a complete song in the rehearsal room, it would make no sense cause working together it's what we love.

After all these years, we have reached almost 250 concerts between Italy and Europe and we hope to play a lot more even in other continents.

However we are not only interested in playing: we created our own records label, Vipchoyo sound factory, focused exclusively on Shoegaze and New Wave and we hope to release a lot of new albums from talented new bands.

At the same time, from our own recording studio, every Monday I'm the DJ with a radio that we have created ourselves, Shoegazing your waves radio, with interviews and bands from all over the world and some even better-known names."

 THEIR MUSIC

 WHAT is their music about

"It's hard to explain. there is no real direction or a message. basically what we try to do is to communicate feelings, emotions and try to, how can I say, paint colors. Yes. We use this imaginary canvas and put colors on it, often a little in the dark shades.  I wish our music was like an impetuous sea: Simply, a pure sound in which you can lose yourself."

 WHY we love them

They have evolved. Unlike some bands who are a one trick pony, Stella Diana have thrived to improve their music, to find their sound. It's obvious when you listen to their musical work in chronological order. Their sound is better, their composing and arranging is better. Fair play to them.

The bass player and the drummer. When you listen to Nitocris, you can hear the experience of the rhythm section. On every song, they bring something different (rhythm, melodies, textures) that make this album so rich. And the change in drummer shows in the last 2 LP (Nitocris and 57) in a very good way.

The variety. Shoegaze, Pop, Psych, Italian, English, Raw, complicated ... the band have released so much material with so many different genres' influences. Not an easy thing to do.

Their music. Dario's composing is superb and did thrive over time. He is getting better all the time.

Their musical tastes: their covers include Kula Shaker's Govinda and Ride's Leave them all behind, 2 of my all-time favorite songs. Tasteful.

 The comparison game

It is a difficult one. As described in the previous section, the band has thrived in composing using many different influences. As such, there would be many comparisons possible.

So instead of comparing their music, I thought that it was better comparing the spirit in which they are doing it. As a result 2 bands jump into mind:

Inspirative

My Favourite Things

Both are very talented songwriters with a passion for details, and whose writing has evolved over time. Stella Diana is in the same league.

 Their musical work

"Even if I love everything I've done, I don't like to talk about all the albums, apart from the last one: Nitocris. Simply because they are all sung in Italian, a beautiful and ancient language, but not always suitable for Shoegaze or Post-Punk."

 Supporto colore (2007) & Gemini (2010), Albums

As explained by the band, these albums may not represent what Stella Diana are now. As such, they decided not to put them on streaming and social media, apart from Gemini, that can be found on Spotify.

 41 61 93, Album, February 2014

"41 61 93 is the first album recorded and produced by ourselves in our studio and I am very proud of this. Musically it's beautiful, but I can't hear it for a long time because of language.

I love the use we done in songs like Navarre or Motel Sagrera with the saxophone of our friend Giuseppe Colucci, a great napolitan jazz musician, and also the voice of Annalisa, another beloved special guest. There are some great songs, but it's a transition album."

This Album is indeed a step in Nitocris' direction, arrangement wise and composition wise. Their sound on some of the songs  would benefit to have the same production quality that their latest production, though are still very well done.

Here are 3 of our favourites.

1. Isabeau  03:17  

This song bounces beautifully, delivering a superb Noise Pop song. The round bass on one side, and the crafty vocals from Dario on the other create an hypnotic texture. Take it and have it remixed by Mark Joy and you have an indie hit.

 2. Navarre  07:34

 Dark and menacing at the beginning, the band brings us in a land of despair and pessimism. When the break happens, around mid song, the music transform itself in an optimistic post-rock part, telling the listener that there is a sliver lining. The saxophone that helps concluding the song adds to this effect very nicely, with bright notes of mad optimism.

4. Edward teach  03:41

 Big bass sound as an introduction to the song, later joined by a tweeting guitar that carries it all to the end. The female vocals (only occurrence I have heard in their music) suit the song very well.

 Alhena, EP, December 2015

"Alhena was a sort of “the best of” with the production of Mark Joy a producer and sound engineer who worked with oasis and primal scream."

It shows,. The sound quality and mixing have improved and build the foundation for Nitocris, their next LP.

1. Shohet 03:13

Big sound straight away with the theme song  

4. Mira  03:58

An efficient Noise Pop song. The work on the guitar sound is both obvious and really well done. They give a Ride-like colour to the song that suits it well.  

5. Govinda (kula shaker cover)  04:26

I was lucky to see Kula Shaker in concert a couple of years ago. Their rendition of Govinda was exceptional and the (small) crowd was ecstatic, chanting along hands in the air. A magic moment with one of my favorite songs. Stella Diana did an excellent job in this cover, with a modified but always big bass line. A must listen for all cover aficionados.

This EP was mixed and mastered by Marc Joy of Ferndale Productions, except track 5, which was mixed and mastered by Alexander Kretov at Ummagma Studio.

 Nitocris, Album, April 2016

"Workings with Mark Joy, producer and sound engineer who worked with Oasis and Primal Scream was for us was a big honor and a great opportunity. if I have to say it all, I think that Nitocris is, for now, the best musical expression of Stella Diana. A perfect balance of post-punk, dark and Shoegaze. Bass lines always in the foreground, a reverberated voice, guitar melodies with warm and sharp sounds and a cold and pulsating drums.

All of these things are the perfect idea of a new modern Shoegaze for me. Songs like Orionis or M9 or also Psychedelic Furs explain perfectly what we have in mind."

This album is excellent. The production that Mark Joy put Stella Diana's music through brings it to another level. Also, the band shows their experience in each doing a brilliant job in their parts (melodies, textures, dynamics). When all come together the result is remarkable. The change of drummer seems to have also benefited the band.

There is no surprise that the band is proud of this album. They deserve to be.

1. Sofia  05:14  

For me, this a perfect slow song. A soft caressing loop with Dario's dreamy voice. Drums and Bass are kept at their simplest, just sustaining the simple reverb guitar.

The intensity increases when the distortion hits with a melodic guitar line that harmonises with the vocals. And the song continues to unfold, flawless... Just superb. 

2. M. 9  02:32  

"It's all about the bass" on this short song. Round, playful, Giacomo's CocteauTwins sounding bass is just amazing. The other instruments and vocals are really there for company (excellent one too).

3. F.u. Orionis  04:33  

This song really shows how the band has evolved from previous albums. The song itself is very similar to previous work in its composition. Nevertheless, the sound and arrangements are better crafted making the song shine.

Darioforceful voice really enhances the piece, giving is a forceful power that is then joined by the other instruments that unfold their rhythmic and melodic lines halfway through the song. It gives a great end, that would be excellent in a live situation. The closing cello adds a nice touch.

4. Sulphur  03:34  

This is a progression song, starting slowly and building momentum. The dynamics work well and all instruments participate.

The regression is also very well done at the end. "I see you through Sulphur" sings Dario. Nice way to colour your life in Yellow.

5. Aphrodia  03:54  

An outstanding bass line from Giacomo that brings the song to a higher level. The Giulio bouncy drums are the perfect complement as are the soft vocals from Dario.

Everything works to perfection in this song. I could go on for a while, but the best thing is for you to listen.

 6. Psychedelic Furs  03:33  

What I like in this song is very personal: the recurring crystal clear guitar arpeggios. They are so similar to the arpeggios in one of my favourite songs, Winesomeness, from one of my favourite bands, The Sigh. They were the best Shoegaze I heard in France in the 90s. Our bands played together several times and their music is second to none. Were they playing in England, their fame could have been on par with some of the good bands from the time.

Well apart from that, it is a great song.

 7. Dedu'n  04:05  

A small detour in reverb-drenched altrock with this song.

 8. Aya Ray  02:33  

Starts with a hypnotic bass line, soon joined by its comrades drums and guitars. While the loop stays the same, there is a change in texture and sound from the instruments that make the second part of the song more intense and dramatic. This work on the dynamic of the song is really good and works perfectly.

 9. J. Carpenter  03:59 

This song closes this superb album. The work on dynamics is just excellent.

The guitar work in the background is moving, by its intensity and by the dramatic texture it brings to the song. The progression from bass and drums is slow and builds up slowly.

This is a song that could go on forever, building more and more momentum, adding distortion and so on, a classic Post-Rock progression. But cleverly the band decided to go against this need to immerse yourself in the loop, in the sound again and again. And they kept is relatively short, leaving the listener with the need for more, creating a withdrawal symptom. Clever indeed.

57, Album, May 2018

"The title is short as our tradition. The number 57 means a lot of things, but above all, it's easy to remember. In this new album, every song has been composed in total freedom, without pressure, and without schemes, simply supporting our dream pop side.

We wanted to be more direct and create a more dreamlike, delicate and unreal sound. Dreamlike as the lyrics, more hermetic texts, used only as an extra colour in each song, even if, in general, what they describe is always the loneliness and the lack of communication between people.

As in the past, even 57 was recorded, produced and mixed by Giacomo Salzano, the bass player, and the whole band, in our recording studio, Vipchoyo Sound Factory based in Naples. This allows us to have complete control over our music.

The obsession with simplicity is present in the cover art. A blood-red number on a black canvas, but a number that is not immediately clear, seems almost a sign, a graffiti or something ancient."

I was one of the lucky one to ear the album before its release. The album is indeed more dreamy, slower, but with the same quality of sound and arrangements than Nitocris.

The album's single is Der Sandmann. Dreamy, lo-fi, with a cello joining Dario vocals, it is like a dream, like floating in your headspace. It builds a bit in intensity for a little while before subsiding, like waking up and having the dream escaping from your mind, unable to remember what it was about.

 And also

Stella Diana did several covers, most of them being for tbtci's great compilations.

Ride

Boo Radleys

Lush

Tamaryn

 Tell us about the artists you have worked with

"Just last year we had the great honour to meet (and play together ) Patrick Duff, the frontman of Strangelove a cult band I love so much.

He came to Italy for some acoustic concerts alone, with his guitar and we were the support band. Patrick is a sweet and humble person and you can imagine how I felt when he asked us to play on stage a Strangelove song.

We did “freak” and I tried to not to pass out for the excitement."

 WHERE to find their work

They are on all the music platforms:

Bandcamp

Soundcloud

Spotify

Youtube

And on social media:

Facebook

Instagram

 Some good videos to watch

"I suggest: Sulphur, and Shohet from our Youtube channel":

 What other have said

"Perhaps the most interesting shoegaze phenomenon emerging from Italy. Unique in the world of Italian shoegaze… nothing short of fabulous"  -- The Record Stache "Walls of Sounds from Naples. Get lost in this cool wave of noise"  -- 50thirdand3rd (NYC) "Stella Diana possess not only the spirit of late 80s/early 90s British bands like Catherine Wheel and Ride, but also the dark wave seeds of Joy Division and the stylistic underpinnings of new wave artists like Psychedelic Furs"  -- Tribe4mian wordpress blog "I have found my new sonic nirvana in the audio that is Stella Diana. What I find fascinating is that this is an Italian band and not a group formed on the streets of London or even NYC beautiful words"  -- Jammerzine 

 Other bands they recommend

"There are a lot of bands we love so much: Whimsical, High Violets, The Morelings, Ummagma, Wozniak, Stellarscope, Blankenberge, and many more from the rest of the world.

Not to mention at least thirty of them, I wanna mention just these Italian bands:

Rev rev rev, very psychedelic and noisy,

Clustersun (also on Noise Artists), they are absolutely cool and do a real wall of sound,

Kimono Lights, Shoegaze and also very pop,

Electric Floor, first band from our label. Check their first work: Fader, a great summary of new wave, synth pop and gaze guitars.

Then I  mention In her Eye from Milan together with Mystic Morning and Novanta, all of them are cool projects.

The “Italogaze” scene is so full of talented bands: Umbrella Burning Festival (soon on the blog, Sara, their bass player is also a regular collaborator of Noise Artists), My Invisible friend, Tomorrow Forever, and many more. But I can't forget our fellow Neapolitans: Mary's restless dream, a young and talented band from Naples."

 Thanks to

"First of all thank you so much for this opportunity. Then, we want to thank our press office, Shameless Promotion, our booking agency, elephant Booking, and all those who support and love us and our music around the world."

[kazheadrestcom]

Traveling in California: The Central Coast – Ojai

In our continuing exploration of the California central coast, we take a short trip into the mountains to visit Ojai. Located about 15 miles from the coast and a 90 minute drive from Los Angeles, Ojai is miles away from the fast paced life of its neighbor to the south and has been a retreat for world travelers for over a 100 years. Ojai is situated in a small east-west valley, north of Ventura and east of Santa Barbara at the base of the Topatopa Mountains.

ANCIENT AND OLD TIME OJAI

The Chumash Indians have inhabited the Ojai valley for more than 10,000 years. Ojai derives its name from the Ventureño Chumash word ʼawhaý meaning “moon”. The Chumash believe “that the valley holds mystical powers and that a magnification of energy exists exuding a peaceful sacredness that can be felt. This energy that first drew the Chumash to the valley has been celebrated through the years and many believe today that Ojai is a ‘vortex’ – an unseen force that concentrates energy. Some equate this vortex to the valley’s unusual positioning in the mountain range that runs east to West and that this helps concentrate geological tremors and atmospheric energy. Others point to geology and that the stratified mountain rocks inlaid with quartz can harness energy, transmitting it along the lines of the vortex.” [1]

The area became part of the Rancho Ojai Mexican land grant made to Fernando Tico in 1837, and he established a cattle ranch. Tico sold it in 1853 without much success to prospectors searching for oil. By 1864, the area was settled. [2]

One of the things that make Ojai so charming is that almost all chain stores are restricted in the city. [3] Signage is also regulated. This provides a look of timelessness and serenity that Ojai residents and visitors appreciate. It drives tourism and creates an atmosphere that is becoming unique in our cookie cutter world. If you compare the image below from 1935 to the recent photo of Ojai above, you can detect very little change. Of course the cars are different but the city itself seems frozen in time.

OJAI AND THE HAWAII CONNECTION

Most people associate the great Hawaiian surfing ambassador Duke Kahanamoku exclusively with the islands. However Duke spent a lot of time in Southern California throughout the 1910’s and 1920’s. The Southland was equally charmed with Duke and he made many friends there and was a particular favorite of the movie colony.

In late October of 1922, the prominent Ojai resident Sherman Day Thacher, hosted Duke Kahanamoku at the school that he founded. He had invited Duke to come up from Los Angeles to give a demonstration and swimming instructions to the assembled student body in the Thacher School’s pool. In reality the pool was a crude concrete structure that was used as a fire reservoir. It was filled by a nearby creek and was rather murky and full of algae. Duke braved the elements and put on what I am sure was an amazing exhibition. In the annals of Ojai, Duke’s visit still holds a place of honor. [4] OJAI FARMERS’ MARKET SALAD CRUDO OF PACIFIC YELLOWTAIL BLACK TRUFFLE RISOTTO CABERNET BRAISED SHORT RIB 49 potato fondue, cipollini onion agrodolce, heirloom carrots, black garlic RICOTTA GNOCCHI 20 drake family farms goat cheese, estate lemon, arugula, seasonal vegetables CRUDO OF PACIFIC YELLOWTAIL 21 orange, fennel, hass avocado, california sea salt, extra virgin olive oil

OJAI FESTIVALS

One of the things that makes Ojai so pleasant are the festivals. The Ojai Music Festival (founded in 1947) is an annual festival of performances by some of the world’s top musicians and composers, and occurs on the first weekend after Memorial Day. Notable appearances include Igor Stravinsky, Aaron Copland, Esa-Pekka Salonen and Pierre Boulez, who was festival director in 2003. “Curious audiences gather at the Ojai Music Festival each year for a transcendent musical communing in the beautiful Ojai Valley. Every Festival follows the lead of a new music director, accommodating wildly different styles and approaches.” In 2017, the festival is being conducted by Grammy-nominated composer-pianist Vijay Iyer (pronounced “VID-jay EYE-yer”). He is “one of the most interesting and vital young pianists in jazz today,” and has been voted DownBeat Magazine‘s Artist of the Year three times. He is a professor of the arts in the Department of Music at Harvard University. This should make this year’s festival lively and modern.

Its official, June is lavender month in Ojai and the Ojai Valley Lavender Festival kicks off on the 26th of the month. “Libbey Park will once again fill with mellow crowds who come for the marvelous sights, sounds and soothing aromas of the many varieties and textures of lavender and lavender products. Living lavender plants and fresh bouquets abound and vendors never fail to surprise and delight visitors with new and unique wares. Growers and producers offer talks on all things lavender. Live music, delicious food and the smell of lavender weaves a magical enchantment that will turn your day into an unforgettable experience.”

OJAI VALLEY INN AND SPA

The Ojai Valley Inn & Spa is “The” place to stay while visiting Ojai. The resort has a long and rich history. “In 1923, Edward Drummond Libbey, a wealthy Ohio glass manufacturer and philanthropist, commissioned California architect Wallace Neff to build the Ojai Country Club in the Spanish Colonial architectural style. From its earliest days, guests felt the Inn was an escape, a sequestered yet sophisticated getaway that gave them the sense of being on their own private country estate. And ever since 1937, when Frank Capra used the sweeping mountain vistas of the valley as Shangri-La in his film Lost Horizon, the valley has become synonymous with mystical beauty and hidden enchantment. A different kind of notoriety distinguished the inn in 1942 when it was transformed into Camp Oak for a military training center for the Army, and later for the U.S. Navy, which used the grounds for a rest and recuperation facility.

“Ever since returning to private ownership in 1947, the Ojai Valley Inn & Spa has played host to countless celebrities from nearby Hollywood and an impressive roster of golf pros who return year after year to play the historic course. In 1999, the acclaimed golf course was restored, which included the return of two “lost” signature holes. In 2004, an extensive renovation was completed which upgraded every corner of the resort while maintaining the historical integrity of the property.”

THE SPA

At the Spa Ojai you can have a very unique healing experience developed at the facility called “Kuyam”. Kuyam is a Chumash Native American Indian word that means “a place to rest together”. This is used to describe a spa treatment that “combines the therapeutic effects of self-applied desert clay infused with essential oils, intense dry heat and inhalation therapy. In a sauna-like environment, the journey is guided by a traditional Chumash narrative. This unique detoxifying experience is concluded with a refreshing rinse and presentation of herbal tea while your body core temperature cools.” The spa uses “freshly-harvested, resort-grown produce and blossoming flowers” in many of “Spa Ojai’s sought-after seasonal treatments”. For a truly relaxing and healing experience spend some time treating yourself to one of their custom packages. And of course lavender will be involved.

GOLF

The Ojai Valley Inn & Spa has one of the best golf courses around. “The world-class Ojai Country Club was one of the first great golf courses in Southern California. Designed and originally built in 1923 under the direction of George C. Thomas, Jr. and Billy Bell, the course was hailed as “a marvel of golfing architecture.” Thomas, who also designed courses at the Riviera, Bel-Air and Los Angeles country clubs, had two initial considerations for the Ojai course: “…that the average golfer could enjoy his round without too great a penalty, and that a test must be afforded requiring the low-handicap man to play fine golf in order to secure pars.”

“In its eight decades, the golf course has been made even more famous by the pros and celebrities who have chosen it for exhibition play and competition. Bing Crosby, Bob Hope, Will Smith, Kevin Costner, Michael Douglas and a host of Hollywood stars have visited over the years to play the course. The Inn has hosted seven Senior PGA TOUR events that brought legendary superstars such as Arnold Palmer, Lee Trevino, Gary Player, Tom Weiskopf, Chi Chi Rodriguez and Ben Crenshaw to the course. Add golf to your activities and experience firsthand one of the world’s championship golf courses. Enjoy a challenging and rewarding golfing experience no matter what your level of play. The Ojai Valley Inn & Spa has been selected for membership in Great Golf Resorts of the World.”

CUISINE

“For more than ninety years, The Ojai Valley Inn & Spa has maintained a connection to locally grown food. Its signature restaurant, Olivella represents the epitome of this sense of place. Olivella’s valley-to-table culinary program is supported by the local Ojai valleys, ranches, orchards, farms and ocean waters. The restaurant embraces the seasonal whims of the region, focusing on the bounty of year-round produce provided by the California Central Coast. Chef Andrea Rodella is proud to present a dining experience featuring the best ingredients of California with dishes and techniques inspired by his Italian heritage.” The menu features such delights as the Ojai Farmers Market Salad; Crudo of Pacific Yellowtail with orange, fennel, Hass avocado, California sea salt and extra virgin olive oil; Cabernet Braised Short Ribs with potato fondue, cipollini onion agrodolce, heirloom carrots and black garlic; Ricotta Gnocchi with Drake Family Farms goat cheese, estate lemon, arugula and seasonal vegetables.  Chef Rodella was born and raised in Guastalla, Italy. He is passionate about cooking with seasonal, market-driven ingredients.Chef Rodella’s interest in cooking started at a young age, when his passion for discovering different cuisines collided with the northern Italian fare he was raised on. He was determined to learn how to cook with fresh ingredients, uniting tradition with innovation.” This provides the traveller with a unique and delicious dining experience.

The Ojai Valley Inn & Spa is a destination resort worth seeing and will make your visit to Ojai something to remember.

THE OJAI SCENE

There are plenty of fun activities around Ojai that make people came back again and again. The Pink Moment, a rare and magical moment that draws thousands of visitors to Ojai every year happens as the fading sunset creates a brilliant shade of pink for several minutes on the Topa Topa bluffs- over 6,000 feet above sea level. Ojai’s culture is heavily focused on ecology, health and organic agriculture, walking/hiking, spirituality, music and local art. Sites to see include the Rose Valley Falls, a magnificent two-tier 300-foot waterfall located on the west end of the Topatopa Mountains in Los Padres National Forest. Rose Valley Falls is the tallest waterfall in the range and while it is an easy hike to the base of the 100-foot tall lower tier of the waterfall (0.8 miles round trip with 150 feet of elevation gain), it is adventure to reach the more impressive upper tier.

Ojai is often seen as a hippie-friendly city, and many New Age shops exist. Whether you believe in this energy or not- there is something about the Ojai Valley that cannot be described – but felt- and the only way to explain it, is to visit for yourself.

from Blog – Kaz Headrest https://www.kazheadrest.com/blog/traveling-in-california-the-central-coast-ojai/

[kazheadrest]

Traveling in California: The Central Coast – Ojai

In our continuing exploration of the California central coast, we take a short trip into the mountains to visit Ojai. Located about 15 miles from the coast and a 90 minute drive from Los Angeles, Ojai is miles away from the fast paced life of its neighbor to the south and has been a retreat for world travelers for over a 100 years. Ojai is situated in a small east-west valley, north of Ventura and east of Santa Barbara at the base of the Topatopa Mountains.

ANCIENT AND OLD TIME OJAI

The Chumash Indians have inhabited the Ojai valley for more than 10,000 years. Ojai derives its name from the Ventureño Chumash word ʼawhaý meaning “moon”. The Chumash believe “that the valley holds mystical powers and that a magnification of energy exists exuding a peaceful sacredness that can be felt. This energy that first drew the Chumash to the valley has been celebrated through the years and many believe today that Ojai is a ‘vortex’ – an unseen force that concentrates energy. Some equate this vortex to the valley’s unusual positioning in the mountain range that runs east to West and that this helps concentrate geological tremors and atmospheric energy. Others point to geology and that the stratified mountain rocks inlaid with quartz can harness energy, transmitting it along the lines of the vortex.” [1]

The area became part of the Rancho Ojai Mexican land grant made to Fernando Tico in 1837, and he established a cattle ranch. Tico sold it in 1853 without much success to prospectors searching for oil. By 1864, the area was settled. [2]

One of the things that make Ojai so charming is that almost all chain stores are restricted in the city. [3] Signage is also regulated. This provides a look of timelessness and serenity that Ojai residents and visitors appreciate. It drives tourism and creates an atmosphere that is becoming unique in our cookie cutter world. If you compare the image below from 1935 to the recent photo of Ojai above, you can detect very little change. Of course the cars are different but the city itself seems frozen in time.

OJAI AND THE HAWAII CONNECTION

Most people associate the great Hawaiian surfing ambassador Duke Kahanamoku exclusively with the islands. However Duke spent a lot of time in Southern California throughout the 1910’s and 1920’s. The Southland was equally charmed with Duke and he made many friends there and was a particular favorite of the movie colony.

In late October of 1922, the prominent Ojai resident Sherman Day Thacher, hosted Duke Kahanamoku at the school that he founded. He had invited Duke to come up from Los Angeles to give a demonstration and swimming instructions to the assembled student body in the Thacher School’s pool. In reality the pool was a crude concrete structure that was used as a fire reservoir. It was filled by a nearby creek and was rather murky and full of algae. Duke braved the elements and put on what I am sure was an amazing exhibition. In the annals of Ojai, Duke’s visit still holds a place of honor. [4] OJAI FARMERS’ MARKET SALAD CRUDO OF PACIFIC YELLOWTAIL BLACK TRUFFLE RISOTTO CABERNET BRAISED SHORT RIB 49 potato fondue, cipollini onion agrodolce, heirloom carrots, black garlic RICOTTA GNOCCHI 20 drake family farms goat cheese, estate lemon, arugula, seasonal vegetables CRUDO OF PACIFIC YELLOWTAIL 21 orange, fennel, hass avocado, california sea salt, extra virgin olive oil

OJAI FESTIVALS

One of the things that makes Ojai so pleasant are the festivals. The Ojai Music Festival (founded in 1947) is an annual festival of performances by some of the world’s top musicians and composers, and occurs on the first weekend after Memorial Day. Notable appearances include Igor Stravinsky, Aaron Copland, Esa-Pekka Salonen and Pierre Boulez, who was festival director in 2003. “Curious audiences gather at the Ojai Music Festival each year for a transcendent musical communing in the beautiful Ojai Valley. Every Festival follows the lead of a new music director, accommodating wildly different styles and approaches.” In 2017, the festival is being conducted by Grammy-nominated composer-pianist Vijay Iyer (pronounced “VID-jay EYE-yer”). He is “one of the most interesting and vital young pianists in jazz today,” and has been voted DownBeat Magazine‘s Artist of the Year three times. He is a professor of the arts in the Department of Music at Harvard University. This should make this year’s festival lively and modern.

Its official, June is lavender month in Ojai and the Ojai Valley Lavender Festival kicks off on the 26th of the month. “Libbey Park will once again fill with mellow crowds who come for the marvelous sights, sounds and soothing aromas of the many varieties and textures of lavender and lavender products. Living lavender plants and fresh bouquets abound and vendors never fail to surprise and delight visitors with new and unique wares. Growers and producers offer talks on all things lavender. Live music, delicious food and the smell of lavender weaves a magical enchantment that will turn your day into an unforgettable experience.”

OJAI VALLEY INN AND SPA

The Ojai Valley Inn & Spa is “The” place to stay while visiting Ojai. The resort has a long and rich history. “In 1923, Edward Drummond Libbey, a wealthy Ohio glass manufacturer and philanthropist, commissioned California architect Wallace Neff to build the Ojai Country Club in the Spanish Colonial architectural style. From its earliest days, guests felt the Inn was an escape, a sequestered yet sophisticated getaway that gave them the sense of being on their own private country estate. And ever since 1937, when Frank Capra used the sweeping mountain vistas of the valley as Shangri-La in his film Lost Horizon, the valley has become synonymous with mystical beauty and hidden enchantment. A different kind of notoriety distinguished the inn in 1942 when it was transformed into Camp Oak for a military training center for the Army, and later for the U.S. Navy, which used the grounds for a rest and recuperation facility.

“Ever since returning to private ownership in 1947, the Ojai Valley Inn & Spa has played host to countless celebrities from nearby Hollywood and an impressive roster of golf pros who return year after year to play the historic course. In 1999, the acclaimed golf course was restored, which included the return of two “lost” signature holes. In 2004, an extensive renovation was completed which upgraded every corner of the resort while maintaining the historical integrity of the property.”

THE SPA

At the Spa Ojai you can have a very unique healing experience developed at the facility called “Kuyam”. Kuyam is a Chumash Native American Indian word that means “a place to rest together”. This is used to describe a spa treatment that “combines the therapeutic effects of self-applied desert clay infused with essential oils, intense dry heat and inhalation therapy. In a sauna-like environment, the journey is guided by a traditional Chumash narrative. This unique detoxifying experience is concluded with a refreshing rinse and presentation of herbal tea while your body core temperature cools.” The spa uses “freshly-harvested, resort-grown produce and blossoming flowers” in many of “Spa Ojai’s sought-after seasonal treatments”. For a truly relaxing and healing experience spend some time treating yourself to one of their custom packages. And of course lavender will be involved.

GOLF

The Ojai Valley Inn & Spa has one of the best golf courses around. “The world-class Ojai Country Club was one of the first great golf courses in Southern California. Designed and originally built in 1923 under the direction of George C. Thomas, Jr. and Billy Bell, the course was hailed as “a marvel of golfing architecture.” Thomas, who also designed courses at the Riviera, Bel-Air and Los Angeles country clubs, had two initial considerations for the Ojai course: “…that the average golfer could enjoy his round without too great a penalty, and that a test must be afforded requiring the low-handicap man to play fine golf in order to secure pars.”

“In its eight decades, the golf course has been made even more famous by the pros and celebrities who have chosen it for exhibition play and competition. Bing Crosby, Bob Hope, Will Smith, Kevin Costner, Michael Douglas and a host of Hollywood stars have visited over the years to play the course. The Inn has hosted seven Senior PGA TOUR events that brought legendary superstars such as Arnold Palmer, Lee Trevino, Gary Player, Tom Weiskopf, Chi Chi Rodriguez and Ben Crenshaw to the course. Add golf to your activities and experience firsthand one of the world’s championship golf courses. Enjoy a challenging and rewarding golfing experience no matter what your level of play. The Ojai Valley Inn & Spa has been selected for membership in Great Golf Resorts of the World.”

CUISINE

“For more than ninety years, The Ojai Valley Inn & Spa has maintained a connection to locally grown food. Its signature restaurant, Olivella represents the epitome of this sense of place. Olivella’s valley-to-table culinary program is supported by the local Ojai valleys, ranches, orchards, farms and ocean waters. The restaurant embraces the seasonal whims of the region, focusing on the bounty of year-round produce provided by the California Central Coast. Chef Andrea Rodella is proud to present a dining experience featuring the best ingredients of California with dishes and techniques inspired by his Italian heritage.” The menu features such delights as the Ojai Farmers Market Salad; Crudo of Pacific Yellowtail with orange, fennel, Hass avocado, California sea salt and extra virgin olive oil; Cabernet Braised Short Ribs with potato fondue, cipollini onion agrodolce, heirloom carrots and black garlic; Ricotta Gnocchi with Drake Family Farms goat cheese, estate lemon, arugula and seasonal vegetables.  Chef Rodella was born and raised in Guastalla, Italy. He is passionate about cooking with seasonal, market-driven ingredients.Chef Rodella’s interest in cooking started at a young age, when his passion for discovering different cuisines collided with the northern Italian fare he was raised on. He was determined to learn how to cook with fresh ingredients, uniting tradition with innovation.” This provides the traveller with a unique and delicious dining experience.

The Ojai Valley Inn & Spa is a destination resort worth seeing and will make your visit to Ojai something to remember.

THE OJAI SCENE

There are plenty of fun activities around Ojai that make people came back again and again. The Pink Moment, a rare and magical moment that draws thousands of visitors to Ojai every year happens as the fading sunset creates a brilliant shade of pink for several minutes on the Topa Topa bluffs- over 6,000 feet above sea level. Ojai’s culture is heavily focused on ecology, health and organic agriculture, walking/hiking, spirituality, music and local art. Sites to see include the Rose Valley Falls, a magnificent two-tier 300-foot waterfall located on the west end of the Topatopa Mountains in Los Padres National Forest. Rose Valley Falls is the tallest waterfall in the range and while it is an easy hike to the base of the 100-foot tall lower tier of the waterfall (0.8 miles round trip with 150 feet of elevation gain), it is adventure to reach the more impressive upper tier.

Ojai is often seen as a hippie-friendly city, and many New Age shops exist. Whether you believe in this energy or not- there is something about the Ojai Valley that cannot be described – but felt- and the only way to explain it, is to visit for yourself.