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azulhood · 5 months

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Danny and Jazz were almost at the end of their rope.

They've checked almost everyone they knew who would take them in.

Sam's family? Didn't want them living under the same roof as their daughter.

Mr Lancer? He did actually want to take them in but his one bedroom apartment was not a suitable place for kids to live and his teachers salary couldn't afford to support three people.

Tucker's family? Got shut down by Vlad.

Which was the end of the list of who could get custody, well living at least.

There was no way either of them were living with Vlad, and with that in mind, they decided to get creative.

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When Edward woke up, sitting at an old interrogation table in what seemed to be an abandoned warehouse (don't ask him which one, gothem had too many) and splitting pain in his head from most likely getting knocked out, his first thought was I knew it.

Gotham rogues had been disappearing only to reappear the next day with no memory and often in bad shape, like black mask and Bane.

Some of the rogues, such as penguin and Ivy, believed that they would be safe from the next attack.

Edward was slightly more pessimistic.

And it turned out he was right.

"ahem." Noise brought his attention to the warehouses other occupants.

Two teenagers.

It was strange to think that these two put Bane into a coma, but Edward had spent most of his nights getting the stuffing beaten out of him by a child wearing the colours of a traffic light so he was suitably wary.

"How can I help you?" Being polite was always a good idea when kidnapped by possible meta children (because no normal person could walk away from a fight with Bane, the bats don't qualify as normal.)

"Hi, I'm Jazz and this is Danny." The red head introduced herself and the blue eyed boy next to her. "Nice to meet you Mr Nygma."

"Nice to meet you as well." His mouth responded on autopilot as he panicked over being addressed by name, no one who kidnapped him did that ( which was mostly the bats taking him back to Arkham after another foiled plan) unless they were Amanda Waller.

"Right, now that we all know each other, let's get started." Danny said pulling out a sheet of paper and star themed pen from somewhere.

"Get started on what?" Torture? Edward would really like to know if that was the case.

"The interview." Jazz explained " You just have to answer a few questions then you get to go, after we wipe your memory of course, we have someone who we don't want knowing we're in Gotham."

"Oh, of course." Edward replied faintly as he processed the information given to him.

"And if you get job we'll contact you in a week." Danny added as he twirled his pen. "Got it?"

"Yes." Edward had never been more confused in his life.

#dpxdc #dcxdp #dp x dc #dc x dp #if you can't get your own responsible adult then store bought is fine #everyone in Gotham is confused #the bats have no idea whose kidnapping villains and why #Jazz and Danny just want someone they can trust as their guardian #do they care if that someone is a villain? no #anyone is better then Vlad #does Red Hood count as a rougue?#if so he gets an interview too

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puppetmaster13u · 2 months

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Prompt 251

Danny is tired and annoyed. On one hand, his parents took the whole ‘so I might be slightly dead’ pretty well! Which is good! On the other, they decided to send him and his sisters to their uncle while they take care of the Guys in White and refurbish the house to be, well, him safe. Which meant a ridiculously long flight all the way to New Jersey.

A flight he was pretty sure happened to be illegal what with the fact that neither of them were asked for their IDs or anything despite having them with them. Hm. Y’know he’s not going to question it, he’s getting a nap the moment they get to Uncle Harvey’s.

#DCxDP #DPxDC #Prompts #Harvey & Maddie are half-siblings #Two-Face grumbles but honestly also loves his nephew & nieces (wait he thought they only had one niece-)#Look it’s not the first time Jack & Maddie have broken laws and they’re not gonna let GIW hurt their kids #Danny is going to get an autograph from Poison Ivy for Sam #Jazz is going to get an interview from Harley if it’s the last thing they do #Harvey to Two-Face: We can’t get arrested with the kids plz don’t mess with the bats #Give Two-Face a name challenge #Ellie loves her uncles Harvey & Archie #Danny to Jazz: So we’re not going to talk about how our uncle is pretty much a mafia boss right #Jazz: I don’t think you realize what I witnessed before you were born Danny #Jazz: I’m gonna lay low so I can be a brain surgeon & if we can use this to our advantage we will

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demonic0angel · 10 months

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Can you tell that Jazz is my favorite character? (Click for clarity)

#dc x dp #dp x dc #danny phantom x dc #dp x dc crossover #jazz fenton #anger management #dc batman #dpxdc #dcxdp #jason x jazz #jason todd #my fashion hc for Jazz is that she wears mostly formal clothes; rarely anything looks comfortable (tho I imagine that she makes sure it is)#I also hc her wanting to be a cheerleader (bc of her va’s interview)#jazz fenton fashion show #do not worry about jason he was meant to look flat :/#anger management ship

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mikeywayarchive · 11 months

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Mikey Way: “I was borderline terrified a lot of the time My Chemical Romance was active. I was learning the bass in front of 20,000 people every night!”

By Gregory Adams ( Bass Player ) published June 9th 2023

The reunited emo kings’ low-end ranger reveals why he swapped out his signature Fender Mustang for a sparkling new signature Jazz Bass, learning bass in arenas, and how he overcame insecurity about his chops

Full interview under cut:

My Chemical Romance’s reunion has seen bassist Mikey Way thrumming through the high pomp punk of The Black Parade and Three Cheers for Sweet Revenge favorites with a familiar rhythmic fortitude, but keen-eyed band obsessives have probably noticed the musician is no longer sporting the snazzy, silver-flake Squier Mustang signature model Fender built for him back in 2012.

The good news is that’s because, as Fender have just formally announced, Way has a brand-new – but just as glammy – Jazz Bass out now. There’s a good reason why Way’s made the switch: the Jazz Bass is his first love.

Though he started out on guitar, Way got the hang of a four-string in the mid ‘90s while playing a loaned-out Jazz Bass in his pre-My Chemical Romance project, Ray Gun Jones. He upgraded to a silver-finish Jazz of his own by the time MCR started touring in the early ‘00s, but a trailer mishap led to that instrument getting smashed to pieces on a highway.

Way tells Guitar World that he eventually became obsessed with the short-scale sturdiness of a Mustang bass guitar as My Chemical Romance were writing their 2010 full-length, Danger Days: The True Lives of the Fabulous Killjoys, after fooling around with a model Duff McKagan had left at North Hollywood’s Mates Rehearsal Studio. By 2012, Way had his Squier model in stores.

It was during the downtime after My Chemical Romance went on hiatus in 2013, though, that the stubbiness of his Mustang became a little hard to handle.

“I stayed away from playing bass for a little while, which is natural – I was just decompressing,” Way explains. “Then, sometime in 2014, I picked up the bass again, to get my chops back, [but] I noticed that the Mustang felt strange to me.”

After reaching out to the folks at Fender, Way got a grip on his playing by stretching out on the longer-necked Jazzes they sent him. Way’s take on the Jazz Bass is outfitted with ’70s-style single-coil pickups, and a thinline “C”-shaped maple neck the bassist says is super-speedy.

The finish is silver, of course, but Way also wanted an aesthetically inkier black pickguard. The headstock, likewise, pops with its matching gloss-black finish.

Speaking with Guitar World, Way gets into the glam and grunge gods who inspired his love of a good sparkle coat, overcoming performance anxiety, and why a steady attack wins the bass race every time.

What were some of the musts when it came to designing this latest signature?

“I’ve been obsessed with the sparkle finish as far back as I can remember. Growing up in the ‘90s, the silver-flake [finish] was big in alternative music. Chris Cornell had the Gretsch Silver Jet, [Daniel Johns] from Silverchair had one – [with] the imagery the Smashing Pumpkins used, they liked sparkles.

“Ace Frehley, of course, was big into flake finishes, and as a kid, you love the larger-than-life, comic book world of Kiss. [And there’s] David Bowie – the glam rock stuff. That flake finish makes me think of so many different things, but that’s why I love it so much.

“I remember being younger and going into stores and seeing a flake finish and being like, 'Oh my god, that’s an expensive [looking guitar] – I can’t afford that, let alone play it.' It was almost intimidating.”

One aesthetic difference between your Mustang model and this Jazz is that you didn’t throw a racing stripe on this one.

“I thought about bringing it back and keeping the continuity. Maybe somewhere down the line we’ll throw a racing stripe on this. The thing with [seeing a] racing stripe was always like, 'This player is a badass!'”

Is there a psychology behind removing the racing stripe, then?

“The psychology behind it is that I forgot about it. When My Chemical Romance was talking about doing reunion shows [in 2019], I’d contacted Michael Schulz from Fender and was like, 'Is it OK if I make a new bass for this [next] era of My Chemical Romance?' I wanted to take my past and bring it to the future – taking my Mustang and melding it with the Jazz Basses that I loved so much.

“I tried to have my cake and eat it, too. I wanted the thinner neck, and I wanted the silver-flake, but I wanted it on a Jazz Bass. They knocked it out of the park immediately.”

Getting back to how you used to admire those silver-flake guitars in the shops, you actually started out as a guitarist, right?

“So, the story goes that my brother [My Chemical Romance vocalist Gerard Way] had a Sears acoustic guitar when he was 10 years old. We would take a shoelace and make a strap, and we would stand on the couch pretending we were in Iron Maiden. And then it got real around ’93-’94, which lines up with the rise of alternative music. You started to see people that looked exactly like you, and they were playing guitar. They were playing Fender Strats!

“My brother got a Mexican Stratocaster, Lake Placid Blue. I found it not too long ago, and Michael from Fender hot-rodded it. That’s how I cut my teeth – that Mexican Stratocaster [was] my first foray into really trying to learn how to play guitar. I would watch bootlegs of concerts, and watch [guitarists’] hands and fingers – Thom Yorke, Billy Corgan, Noel Gallagher, Jonny Greenwood. I would watch what they were doing. It all started from that.

“Bass came out of necessity, twice. Me and my brother had a band called Ray Gun Jones, I guess in ’95-’96. It was kind of Weezer-ish, or us doing a surf-punk thing [with] a little bit of pre-mid-west emo. At the time we were really into Weezer, Jawbreaker, Promise Ring, Smashing Pumpkins, Nirvana, Sunny Day Real Estate.

“[Ray Gun Jones] needed a bass player, so my brother was like 'Hey, do you want to play bass for my band?' I was already a huge fan – I’d always tag along to practices. The ex-bass player let me borrow their bass. We had 4-5 songs, and I got the rudimentary from that. In that era, everyone was like, 'I want to be a guitar hero,' but I realized I had a natural knack for [bass]. I picked it up right away.

“Then, with My Chemical Romance, it was the same thing. My brother was like, 'We need a bass player,' and I was like, 'Well, this is familiar' [laughs]. 'Here’s the demo; learn these songs.' They weren’t terribly difficult.”

Was that bass you had borrowed a Fender Jazz?

“Yup, I’ve only ever played Fender. I’ve tried tons of other basses from other companies, but it always feels alien to me.”

You mentioned studying the playing of Thom Yorke or Billy Corgan through those bootleg vids. Were there any bassists that you treated similarly, to understand the mechanics of bass?

“Matt Sharp from Weezer. I tried to ape him in the beginning, but my attack sounds vaguely reminiscent of a Smashing Pumpkins recording. I would learn Siamese Dream and Melon Collie and the Infinite Sadness, and the Blue Album [the band’s 1994 self-titled debut] by Weezer. Those were the three albums that I put the most time into learning. That’s in my DNA.”

How about from a hyper-local perspective. If My Chemical Romance started out playing New Jersey basements and VFW halls, where there any bassists from that scene that inspired you, or that you appreciated?

“Yes! We shared a rehearsal space with this band called Pencey Prep – that was [MCR guitarist] Frank Iero’s original band. John McGuire was their bassist, and he let me borrow his equipment all the time. He taught me fundamentals, and gave me pointers – he taught me a whole heck of a lot.

“I always respected Tim Payne from Thursday, I loved his attack and stage presence. And when I’d watch Gabe Saporta from Midtown, I thought 'This dude is the coolest guy in the room.' He’s got this calm, cool, and collected [presence] that you can’t fake or learn. And then Eben D’amico from Saves the Day – brilliant!

“I would try to learn Saves the Day basslines. They were pretty complex [compared to] what most bands were doing in that scene. Most bands in the post-hardcore scene had simplistic basslines, but Saves the Day did not.

“There’s also Ray Toro, the guitar player of My Chemical Romance. Not only is he truly gifted at guitar, but he’s truly gifted at bass and drums – Ray can do everything. He was instrumental, early on, with showing me the ropes. Ray gave me lessons when I was a novice. I can’t thank him enough for that.”

What kind of pointers was he giving you?

“He showed me proper fretting, or [how to maintain] a steady attack. I got a really great compliment from our front-of-house guy, Jay Rigby. He told me that I’m one of the very few bass players that he doesn’t have to go in and tweak the volume [for]. 'You’re steady, throughout.' I think that’s something that Ray Toro instilled in me: the consistency of attack.

“It’s funny thinking about it, but I was such a novice going into My Chemical Romance that I would bring myself into an anxiety-ridden state of, 'Oh my god, we have a show tonight; I have to start practicing right now.' I would be practicing four to five hours before we played – I’d play the set [in the green room], and then I’d play it again. Other bands would be like, 'What are you doing?' I was so neurotic at that point, because there were so many people around me that were beyond gifted.

“I got pushed into the deep end; you’ve got no choice but to figure it out. Ray and Frank are so gifted that I had to keep up. I didn’t want to ever do the music a disservice.

“That brings me back to the simplicity of the early My Chem basslines. The first album [2002’s I Brought You Bullets, You Brought Me Your Love] was me learning the bass, and somehow [producer] John Naclerio recorded me and said, 'You did a great job,' which I did not expect.

“I thought I was going to go in there and they were going to have to do some studio magic, or someone would come in and play [my] part. I thought of the worst-case scenario, but I went in and did it. I played the bass seriously [enough] by that point.”

What are you generally looking for in a My Chemical Romance bassline?

“What makes it for me is if I do a fill, I’ll only do it once. If you listen to [the band's 2022 comeback single] The Foundations of Decay, any fill on there I only do one time. What’s interesting about The Foundations of Decay is that it’s very loose and run-and-gun. We went in and punched things in for timing, which everyone in the world does, but the meat of that is first-or-second take. Which brings me to someone else who was very instrumental to my bass playing: Doug McKean.

“He’s no longer with us, unfortunately, but he was our engineer from The Black Parade [until his passing in 2022]. He was always a huge cheerleader for me – he instilled confidence in me. He was always good at getting a killer performance out of me.”

What are some of the biggest My Chemical Romance bass moments for you?

“I’ll say that fill in on Foundations. No-one saw that coming.”

There’s a YouTube video out there of someone playing their favorite Mikey Way basslines, some while using your signature Squier Mustang, but one standout in particular is The Black Parade’s The Sharpest Lives.

“What’s funny is Sharpest Lives has a bass solo, and I was terrified of it. I had performance anxiety [through] the 12 years before we broke up – I don’t have it anymore. Somehow when the band got back together, a switch in my brain [got] flipped. [But] while My Chem was active, I was borderline terrified a lot of the time.

“I’m playing with people far above my skill level, I’m playing [on bills] with bands where their bass players are way better than me, [and] our shows were getting massive. We were playing arenas! So not only are you learning the bass, but you’re learning the bass in front of 20,000 people every night. It made me tweak a little, but I think it shaped me into what I became.

“That solo gave me anxiety. It was when we were playing the biggest venues of our career, and it would break for the solo [Way starts singing his ascending bass lick]. I practiced it relentlessly, then it [became] second nature. Later on, it [became my favorite part of the show.”

You’re already playing the Jazz signature in your live show, yeah?

“It’s what I use for the live show. Basically, Fender built [it] for the reunion, and then we made a couple tweaks for when we release it.”

Was there a learning curve at all towards transferring My Chemical Romance songs you’d written on a Mustang onto the Jazz?

“There was Planetary (GO!), a song off Danger Days. I’d guess you’d say the whole thing is a disco beat. It’s dance-y – [Mikey starts singing an octave-popping bassline], I do that for the entirety of the song. I was very happy that I only had to do that on a Mustang, initially [because of the shorter scale]. But going back to what I said, [after] I took a little break, [I] went back to a Jazz Bass.

“I missed the room, or the way my hand went up and down the neck. I wanted to go back to that, so I jumped back in and felt right at home again.”

How many Jazzes are you bringing on the road?

“I bring two basses out, [but] I stopped even switching [during the set]. This is a testament to Fender craftsmanship – that thing stays in tune. It’s got the four-saddle bridge, and it stays in tune so well. I’m a little neurotic so I’ll tune every few songs, but if I went five to six songs you probably wouldn’t even notice.”

What does it mean to you to now have a fully-formed Fender signature model – as opposed to the Squier – and with the body shape you began your career with?

“It’s really a dream come true. It’s funny, in 2002-3 we started touring across the country. I had a Mexican Jazz Bass, but [the band] were like, 'You have to use something with better electronics; better wood. Step it up!' So, I went into the Guitar Center on Route 46 in New Jersey, and at the time Fender had released a special Guitar Center edition that was silver-flake.

“It always bugged me that the pickguard was white – it threw me off, aesthetically, and I was like, 'I’m going to change that pickguard one day.' So, I got that, and I was using that for a while.

“We were out with [Boston emo quartet] Piebald – it was one of our first cross-country tours ever – and one night someone forgot to close the trailer door. We’re driving on the highway, and half the contents spilled out – unfortunately, my bass was a casualty of that.

“But Frank Iero, and his heart of gold, jumped out on the highway in the middle of the night and tried to recover [the bass]. He was like, 'Maybe we can fix it!' I’ll never forget him doing that. He got a chunk of it – it’s in one of our storage units.”

For more information on the Limited Edition Mikey Way Jazz Bass, head to Fender.com.

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raayllum · 4 months

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AARON: I mean, like you kill a Magma Titan and take its heart. You saved, you know, thousands and thousands of starving people. Like, maybe that's worth it. Maybe you make that trade, or maybe, maybe it's wrong. No matter, there's no way to put a you know—it's trolley problems, right? It's like, you know...

KUNO: Yeah, it's a trolley problem.

AARON: But yeah, I think you're—you're right in characterizing it as it's certainly a more complex, you know, justification that is required to pursue dark magic. And there are some people who would not accept that justification. But what's interesting about it is, you know, the questions, there are questions, you can you can come out on either side of it. You know, there are cases, you know, would Rayla have died if Callum hadn’t used dark magic? Yeah. I think she would have. So did he have to? Are we thankful that he did? Thank goodness—well yes, we love Rayla! Well of course we needed him to do that. You know what I mean? Then there’s some kind of morality that sometimes is based on your attachment. Now if you said, should Callum use dark magic to save one person, knowing that he'll—he may be corrupted for the long term and his potential to be, you know, a hero in the future may be altered and his potential to be manipulated or you know, go down the wrong path, all that risk to save one person? Well, now you might say, “Oh no he shouldn’t—for one person?” But then if I go, “But it was Rayla!” then you go “Oh no, [laughs] yeah, he needs to do it!” [KUNO laughs] So I don’t know. But it’s also even that, right? It comes down to “well, in that moment, what did he do?” Well in that moment, he took like a—I-I think the ingredient is a piece of a snake rattle—

KUNO: Or something. Yeah, something like that.

AARON: “He didn’t even kill it, it was already dead, it was already dead man, what did he do?” Well, I don’t know. He supported the system, so it is complex. It’s worth arguing about, a bit. There’s not a clear right or wrong. There are risks. There are long term consequences. Those are baked into it. But I don't know. When—when it’s your Mom in trouble, what do you do? You do the dark magic! You save Mom, right? I do.

—Hot Brown Morning Potion Podcast interview with Aaron Ehasz and Villads Spansberg

#this one killed me it really did #tdp #snake boi callum #rayllum #5x08 #the dragon prince #captain hostage exchange canon #thank u for everything #interviews #cast and crew #aaron ehasz #theme: exchange #dark magic #also why im like. if he dooms the world for ez next season #bon appetit u know? rayla got us the bulk of the way there and ezran came in for the finish line #two pillars and all that jazz #that said self indulgently i am still gonna tag #cube hostage exchange theory

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legendarytragedynacho · 3 months

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Sade Adu on Pitt Street on the Lower East Side, when he was the vocalist of 'Pride', NYC, 1983

📷 by Janette Beckman via Interview Magazine (November 16, 2021)

#sade adu #janette beckman #interview magazine #music #musician #musica #singer #beauty #jazz #soul music #rythm & blues #soft rock #group pride #pride

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certifiedlibraryposts · 3 months

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Would you consider having another mod on this page who is a librarian? You seem to get a lot of library specific questions, and it might be useful to get some help :)

Um! Maybe? I'd have to think about it I guess. It's not a bad idea at all but my gut instinct at the moment is that I wanna keep running this on my own, I guess I have a bit of a thing about wanting to keep stuff I do under my own control...as selfish as I'm aware that sounds >>; Currently I'm pretty comfortable with how things are here but I will give it a think, and if I change my mind I'll let y'all know ^^

#im also not really jazzed about the idea of doing like...'interviews' or w/e process would be to find another mod #and id worry about having to choose between folks and disappointing anyone who doesnt get picked #i clearly lack the mettle to ever be put in a job where i have to like. hire people

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bellepark · 1 year

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ASK ME ANYTHING WITH JEFF SATUR | ELLE THAILAND

#jeff satur #jeffsaturedit #kinnporsche the series #kp cast #esmetracks #kinnporschesource #juultag #userkimchi #tosnimeat #userpharawee #lextag #tusersilence #becauseigtf #belleparkgif #he looked so hot in this interview i had to gif him hsjskahsjsjs #and those jazz hands jeff #anywayyyys it's been awhile since i annoy some of my mutual tags hiiiii #have a blessed jeff day <333

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dedtoot · 5 months

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Remember this thing that i made?

Good times, good times

Either way, i actually wrote down a more detailed responses!

Get ready for dat headcanon action!!

I'll type it out in seperate categories

The "thanks" category:

Beat: "Thanks? I don't know what are you trying to achieve here"

Rhyth: "Awww thank you!! I love you too, you're my best friend ❤️❤️"

The "laughs nervously" category:

Yoyo: *pulls up his hood in embarrassment*

Garam: references the "stay cool" line, after which it cuts to him throwing a person in the sewers halfpipe

Doom Rider: runs away in the most goofy way possible (probably falls down the stairs too)

The "I'm sorry" category:

Corn: literally says the thing. Probably also says the rawest line about how this is truly the moment when the leadership gets tested(or whatever that one line was)

The "who doesn't?" category:

K: goes on about that he's aware and but he can't accept the confession, because he prefers his ladies to be cel-shaded

Gum: literally says this after which bombards you with whatever tutorial she has to say to you at this point

The "horrible decision, really" category:

Cube: just her saying this, while sitting in her evil chair in the evil lair while being in the evil mask lit up by evil li-

The "laughs hysterically" category:

Rapid 99: "Hah! What, are you kidding?"(reference to that dialogue when you don't have enough souls)

Love Shocker: laughs, and says "What a joke. KILL THEM GIRLS!!" after which two more LS appear

Hayashi:

The "finger guns" category:

Boogie: optimistic looking *finger guns* (while thinking: "I DO NOT KNOW WHO THEY EVEN ARE")

Jazz: unamused looking *finger guns*(while having a very compressed image of a 😳 in her mind)

Immortals:

The "i know" category:

Roboy: "Well obviously. It couldn't be any other way. Unfortunately i don't date noobs so get out"

Combo: something referencing that post-game line of "be careful not to crush on me" or accuse them of being a goldfish liker

The "why" category:

Soda: literally saying this, but with the most dramatic possible angle and rendering

The "YEET" category:

Clutch: *steals your graffiti souls*

Poison Jam: throws you off a high place and references the "nothing in life is free you gotta work for it" line

Last "if only there was someone who loved you" category:

Zero Beat, Noise Tank and Gouji standing together and silently judging

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freddiemercurylegendabovelegends · 6 months

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Today, on November 10th, 1978 - Queen Story!

"Jazz" album released in the UK

👉 The seventh studio album

➡️ 12/12/1978 - Circus Magazine

🔸In praise of ‘JAZZ’

The boys conjure up a bizarre junket by Mark Mehler

On Bourbon Street, in the heart of New Orleans’ fabled French Quarter, the sign reads, “Bob Harrington-Chaplain of Bourbon Street.” Upstairs, the freelance minister administers to the wicked minions below, while across the street, the Hotsy Totsy lounge features naked women parading across an oak bar from dawn to dusk, and next door, the “X-rated Shop” specializes in scatological posters and joy sticks.

This is Freddie Mercury’s favourite American city, where the Mississippi ends its majestic flow and zealots with big dreams fight a losing battle against hustlers, procurers, and all purveyors of sleaze. It is Freddie Mercury’s favourite city because the lead singer and bucktoothed front man of Queen is, above all, an actor. And in New Orleans, anyone can be anyone they want to be. Tonight, October 31, 1978-Halloween-Freddie Mercury and Queen have flown in 80 reporters from the U.S., Europe, Latin America and Japan, to see a show and be a part of a show at the same time. The third concert on Queen’s 28-city U.S. tour is in the ornate Civic Auditorium. Above the stage are listed the names of the mighty: Shakespeare, Michelangelo, Cellini, Durer, Gounod. Out of the soft blue and green lights and smoke, Freddie Mercury struts like a rooster, striking ballet poses, under an astral guitar blare that neatly skirts the sharp edges of rock & roll. The melodies are undistinguished, but the constant tempo changes of “Bohemian Rhapsody” and “We Will Rock You”, keep an audience awake for nearly two hours of uninterrupted music. The lighting show is one of rock’s most ambitious. Eerie purple lights shine out over the heads of the audience, making their hair seem cloudlike and inanimate. At the midpoint of the show, a smaller stage is lowered from the ceiling and 400 lamps meld into the sheer white plane of curtain light. Freddie is a whirling dervish, dominating every corner of the stage.

“Some people call this song ‘Spread Your Legs’, he tells the audience, introducing ‘Spread Your Wings’. “And I like it that way”.

Starting out in black sequins, he comes out for the first encore bedecked in orange hot pants, dancing around like Peter Pan. For the second encore he’s wearing a revealing, white body stocking. As he wails ‘We Are The Champions’, his voice warbles with mock emotion, and he grasps the microphone for support. At the apex of the triumphant denouement, the top executives of Elektra Records, who have sat smiling throughout the show, arise as one and walk out. Moments later, the show closes with a taping of ‘God Save The Queen’. Body and soul spent, Freddie ambles off stage, drained and spark-less. But Halloween night in New Orleans has just begun.

Back in the ballroom of the Fairmont Hotel, over 400 people have gathered to await Queen and much on a sumptuous table of hors d’oeuvres, such as Oysters Rockfeller and Shrimp Creole. A Dixieland band plays uninspired jazz jingles, until, shortly before midnight, the Olympia Brass band comes marching through the hall accompanied by Queen-the mercurial Mercury, the winsome Brian May, the puckish John Deacon, the velvety Roger Taylor. Suddenly, like a giant circus orchestrated by a deranged ringmaster, a legion of strippers, vulgar fat-bottomed dancers, snake charmers, drag queens, and bizarrely festooned revellers, begin to strut their stuff before the assembled masses. Freddie Mercury is besieged by hungry autograph seekers, groupies and fame-worshippers. People begin shielding their clothes, as an ever-imaginative photographer snaps Freddie signing the bare backside of a willowy transvestite. Freddie begins sucking on his giant overbite nervously, and by 2 a.m., he is mercifully gone. Brian May, who seems to be the true organizer of the night’s carnival, is cornered by persistent Japanese newshounds. “It’s wonderful,” he keeps saying. “It’s so nice to be back.” As the evening wears on, epicene men and butch women act out charades of power that would have embarrassed Hemingway. Three obese black women in g-strings do a pathetic bump and grind, and another female participant amuses a small gaggle of onlookers by putting a cigarette in an unlikely place. People leave to check out the scene on Bourbon Street and drift back to the party like cigar smoke. At 4 a.m., a Queen security guard, haggard and irritable, inquires when it will all be over. “Queen wants the naked disco dancers going to dawn,” informs his partner. And it does. The following day, Queen reappears at a press conference at Brennan’s, one of the French Quarter’s most elegant restaurants. Again, it is Roger Taylor and Brian May who dominate the conversation, as Freddie Mercury seems vaguely preoccupied. The subject of all this is ‘Jazz’, Queen’s new album, which contains no jazz. “People think we take ourselves a lot more seriously than we actually do,” says Roger Taylor. ‘Jazz’, Queen’s reunion with former producer Roy Thomas Baker, offers ‘Mustapha’, an up-tempo Hebrew rocker; ‘Fat Bottomed Girls’, a song that owes a lot to Pure Prairie League’s ‘Amie’; and more indulgent rhapsodies like ‘Jealousy’ and ‘Bicycle Race’, with its topical references to Star Wars, Jaws, and Superman. The ad campaign, like everything about the Band, goes to the limit of good taste: 11 bare-chested, major-league-yabboed women racing bicycles.

“It’s cheeky”, admits Freddie, “naughty, but not lewd. Certain stores, you know, won’t run our poster. I guess some people don’t like to look at nude ladies.”

Freddie, 32, was born in Zanzibar and educated in India, and was a childhood table tennis and hockey prodigy. He studied art and became a graphic designer and illustrator, having given up piano lessons in the fourth grade. But he continued singing, fronting his first band at 14 and forming Queen with Roger and Brian in 1970. After the routine easy grilling, Mercury is cornered outside. “You seem to be removed from the character up on stage. Is that really you?”

“No,” says Freddie, “of course it’s an act.”

He denies pandering to gays; or for that matter, to anyone. He hints at a quiet, restless man who needs to step outside of himself for ego-stimulation.

“I have fun wearing all those costumes,” he says. “I can really cut loose up there”.

Freddie is then swiftly ushered out, and again, Brian May is left behind to field the endless questions of the Japanese. The two-day junket, painstakingly directed by and for Queen, ends with a few straggling journalists eating Bananas Foster and being more cynical than usual. Outside, on Bourbon Street, a folk singer entertains an empty house of red velour seats, affirming that a falling tree makes a sound whether it’s heard or not. Which conjures up something Brian May had said about Queen constantly seeking “direct communication with our audience.” For all the words that describe Queen’s trip to New Orleans, direct is surely not one.

#freddie mercury #queen band #london #zanzibar #legend #queen #brian may #john deacon #freddiebulsara #roger taylor #1978 interview #1978 #jazz tour #jazz album #circus magazine

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th3-0bjectivist · 1 year

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The Salvation Day Interviews (1 of 2) with musician Anthony Tadlock

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Dear listener, as a special treat and for the edification of music lovers all over Tumblr this is part 1 of 2 of my Salvation Day Interviews with Anthony Tadlock, A.K.A. t-underneaththeradardancing on Tumblr. Mr Tadlock, I recently spent several hours listening to Salvation Day. Thanks for agreeing to answer some questions about your band’s music.

When I dive headlong into music that I’m not too familiar with there’s always this sense of discomfort, but when I started with Mercy from your EP, The Backdoor Sessions, I felt distinctly like I was sitting in a new bar and listening to an exceedingly talented local band perform live. I know we’ve discussed this one-on-one before, but for the peeps on Tumblr, what was the actual genesis of SD, and how did you and Ms Vita Rhie Quintanilla meet? What was the spark that brought you two together to record in the first place?

to set the stage - so to speak - i had been performing with and jamming and hanging with a young musician - very loose no muss fuss - 3 weeks before meeting vita i had a mild heart attack - mild but the hospital experience was literally a nightmare and nearly killed me - a couple weeks after getting out i was invited over to play/ jam/hang out - wuz expecting at most a couple other ppl to b there - btw to digress - t is very much an introvert - to digress further - t is a stage name but the only name ppl in the music aspect of my life know me by or call me - anywaves - i had just set up my guitar and amp when i could feel a presence coming down the stairs - a young woman - at 1st i guessed 25- ish which would make her the 2nd oldest in the room - she looked at a painting of crows and i said something to her about my love of corvids - i was improvising on guitar - some blues - i think a bass player was playing along and maybe another guitar - she started singing improvising lyrics and we started riffing off each other - her voice blew me away - then she started playing her original songs - omfg ! - anyway - i hoped that we would play together again

a couple weeks later she walked into Madrone Art Bar where i frequently played open mics -she was with my friend - both joined me on stage and we did what i call "deep space nine " which is what i called any unplanned unrehearsed collaboration onstage - i of course could not remember her name - she handed me a business card lol - she told me she had a weekly gig at a cafe i had performed at and would i like to join her - by this time i knew she was diagnosed w schizoaffective disorder - that she was 17 still in high school and a witch - we started performing together playing her gigs - open mics - on the street ...there is of course more to the story which may be covered as we go on

I went through every song on Salvation Day’s YouTube page, the instrumentals and the voice go very well together, and I must admit, there is great synergy on display. You two had me mesmerized a few times, particularly with tunes like Para Ti and Reincarnation. Tell me, do the instrumentals come first, or do the lyrics/vocals come first, or somehow both at the same time? What goes into the process before you record?

virtually all of salvation day songs are mostly vita - the lyrics in particular - some have come out of improvising at gigs - or as vita would say - we are just gonna pull something out of our ass now - some she has already "arranged " before i hear them others she asks me to figure out some chords and key - it should be noted that after graduating high school she moved to davis ca about 100 long miles away with no good way of getting there and back on public transit - required bus ride - a subway ride and finally a train and took 3 hours - neither of us drive though she recently learned - t cant see for shit so - and there was lots of drama in the summer preceding - however we rarely felt the need to rehearse - at early gigs i would ask whats the 1st chord and what key - sometimes the answer was - idk - jimi hendrix chords lol - sometimes they were jazz chords i didnt know - i still play a lot of chords im not quite sure the name of and double stops that suggest a chord - on a good night i play by ear and improvise mostly - when we decided we were gonna make an album - we formalized the arrangements and figured out keys etc ...

sometimes - like last week when we got together after not playing together in a couple months - tho exchanging some snippets thru email text etc - vita thought of some lyrics on the spot - i started playing some chords - we fucked around w it a bit - made a rough recording on fones and will see if something comes of it - Reincarnation was written just before we met - vita says the songs morphed and become different thru my influence - Para Ti she had come up with a couple months after we started playing together - we were at the friends house - and he had become totally indisposed - we were supposed to start the recording process that day - we waited around to see if he would improve and she started playing it - i came up w the lead guitar lines - btw to digress to q 1 - vita was often in and out of hallucinations and delusions at the time - she has no memory of the 1st time we met and hazy about the beginning period - one last example Mercy - written entirely by vita - tho my guitar was central - she sent me an audio file - it has chords i dont know - i just followed her voice and elaborated - tbh i still dont know what key it is in lol - like jack sparrow eluding capture we just make it up as we go

Do you have any advice for aspiring musicians out there based on your experiences with SD so far? Have you had any creative blocks or serious problems when generating new music? If so, how do you get through them, and what do you think the most important thing is for a musician to do when they feel discouraged or dejected by their own bad experiences with music making?

whew - thats a tough one - i have been playing guitar for almost 60 years - been in a number of bands and playing situations - have been discouraged countless times - most recent was the whole experience of recording a studio album with a producer - it was hugely stressful for myriad reasons and ego deflating and not in a good way - we coped w that by recording the Backdoor Sessions ep - the bulk of was recorded in a couple hours in vita's tiny dorm room using garageband - it was done without rehearsal - and we played 2 gigs in january that we were happy with also w no rehearsal - we also released vita's book The Schizophrenic Dialogues - all while covid was rearing its ugly head - no gigs to promote anything - no spoken word opportunities - vita was in terror of infecting me - between age COPD and heart i was a likely candidate to die - so we saw each other rarely

i had invested a huge amount of $ in the studio album - to cope vita started a collective based on Sacred Arts Productions - a jewelry biz and an art biz - i worked w our web designer / friend / collaborator maggie umber to get our web site up - and started recording daily snippets for instagram and spammed the fuck out of tumblr - vita and i met mostly outdoors - playing mostly acoustic where the chances of infecting me were minimized (she got covid twice during this period ) so i guess my advice is 1) forget the ego and bullshit that goes w doing - anything - but particularly the creative 2) forget about "success" and numbers - sales/listens/hearts...3) just keep on keepin on - that said it aint easy sometimes - i been playing as i said almost 60 years - theres still so much i dont know - i try to learn new things and ways almost daily - just showing up is sometimes a victory

Listen to Salvation Day on Youtube. Back at the end of the next week with part 2 of my Q&A with Mr Tadlock. If you liked this post, please spread the word about SD and consider reblogging this set of interviews. And if you haven’t done it yet, scroll to the top of this post and smash play!

#salvation day #para ti #path of sacred art #anthony tadlock #vita rhie quantanilla #interview #music #music on tumblr #audio #audio video #great voice #great instrumentals #california band #rock music #blues music #jazz standards #san francisco band #T is one of my fav musicians on tumblr #been waiting to pick his brain

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chicalepidopterareblogs · 1 month

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Loustat Jam Reiderson in Season 10 please 🥲

#interview with the vampire #loustat #jam reiderson #loustat jazz dance -> bachata upgrade

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mikeywayarchive · 11 months

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fender: @MikeyWay of @MyChemicalRomance gives us an exclusive look at his new, Limited Edition Jazz Bass and shares what inspired the Silver Flake finish. Head to the link in bio to get one for yourself

[Jun 14, 2023]

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skinandscales-if · 8 months

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Maybe Reese and 'there is a prayer in me still' ?

If that prompt tickles your fancy for him.

Atlas | Skye | Puck

⎯

“Think that’s bullshit.”

Your head perks up as you shoot a sidelong glance at Reese, the man seated beside you trying to cover his hand to save the flame dying on his fingers. He’s been trying to light that blasted cigarette for what feels like minutes now. It’s probably only been a few moments, but everything feels much longer when you’re on stakeout like this. The rooftop isn’t exactly the most pleasant position to find yourself in this late at night, the cold air nips a little too harshly at your nose, and the unforgiving edge of the flat apartment roof smells uncannily like fish. You wrinkle your nose a bit. Maybe that’s why Reese is still trying to light the cigarette— to drown out the smells. You don’t know if the smell of smoke is going to help much, though.

“What?” You ask, lifting your head a bit in his direction in order to prompt him to continue. He takes the bait easily, one leg swung over the edge of the roof. Both of yours hang off, turned away from him still though you’re staring at him now.

“‘God makes this go faster.’ That’s what you said, right?” He responds, shrugging his shoulders as his words slur slightly with the cigarette still firmly lodged between his teeth. You catch a flash of his sharp canines. “Think that’s bullshit. No god can speed up time— don’t even really think they’d notice it passing.”

You raise your eyebrows a bit at him now. This certainly came out of left field.

“Where’d this come from?” You ask, huffing out a breath that you meant to sound like a laugh. It doesn’t, but you’re not in the mood to put any fake effort into it. “Midnight stakeouts make you philosophical or something now?”

Reese spares a glance up at you for a moment, shooting you one of his classic ‘you’re so stupid I don’t even have time to explain it to you’ looks. He snorts and a bit of smoke dissipates in the air in front of you from his nostrils.

“I’m just making conversation. You’re the one filling the space with stupid shit.”

You frown a bit at that.

“I’m sorry, do you have something more important to add?” You snap back, eye twitching a bit as you swallow down your frustration just as quickly, looking away. This isn’t going to get you anywhere. But surprisingly, Reese doesn’t snap back right away. You glance back at him and he’s given up on his cigarette, the thing now twiddling between his fingers as he stares off ahead of you, at some distant horizon between the tops of the buildings and the darkened sky. The silence between you two isn’t exactly uncomfortable, but it doesn’t sit quite right with you. You don’t know if that’s on him or you.

“Do you believe in that crap?” He voices again, voice a bit quieter now, though it still holds that sting at the end, like some kind of shy scorpion.

“What?” You ask again, before quirking a brow at him. “God?”

He nods quietly. You sigh, turning to look at the same great beyond he is. You wish you could see whatever answers he’s searching for out there. Maybe then it’d be easier for you two to just… talk. You don’t know.

“Kind of a big question, huh?” You reply with a small scoff that isn’t directed towards anyone. You chew on your cheek for a bit. “Why do you ask?”

This time, Reese adjusts himself in his seat, slinging his other leg over the edge so he turns away from you. Despite the distancing, he lowers his head and begins to fiddle with the cigarette again. You’ve been around him long enough to know the tells. He’s nervous. Well— maybe not nervous per se, but certainly thinking about something.

“I don’t know. Just been on my mind, I think.” He sighs and it feels heavy. You don’t interrupt. “I’ve spent a lot of my life wanting to believe something like it is true. Not many signs, though.”

It’s your turn to pause now. You glance from him to the sky again, gaze turning higher upwards now. It’s harder to make out the stars out here in the city. But if you peer hard enough, you can still spot the flickers of white spattered gently across the expanse that seems to tumble on towards infinity. You smile a bit.

“I think it’s kind of silly to go looking for signs. Puts a lot of pressure on you to make it real. Besides, they’re probably busy. Time wouldn’t mean much to them, remember?” You chuckle, the cold air feeling a bit less biting now as you take a deep breath. There’s another beat of silence. When you look back to Reese, he’s staring back at you. You expect him to break the moment, but he doesn’t, staring at you like you just said something more meaningful than you believe you actually did. He smirks a bit, then laughs back softly.

“Maybe there’s a prayer in me yet.”

#prompts #s&s: reese #asks #cw: smoking #sorry this one took so long lol #considering this one the final installment to that particular prompt list!#jazz hands supriseeee #reese has a complicated view on religion yippie #✌️just shit the bed in an interview so finally posting this #also the tickles your fancy phrase is so funny to me you’re great anon

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