#glr: ask

[siennazhou]

☤ ask aberta ༄.° 

[pnic]

@deathdriives

he doesn’t even bother lying about it anymore lol

[our-lgbtq-brazilian-experience]

Em retrospectiva, eu fui muito irresponsável em toda santa vez que eu sai do armário pros meus pais (3 vezes). Logo, dicas sobre tudo que devia ter feito que eu não fiz:

Teste as águas

Faça o assunto sugir naturalmente e veja o q a pessoa pra quem vc quer contar diz ou como ela age. Não precisa ser vc a puxar o assunto se tiver alguém que confia, e temha mente que mesmo q a pessoa seja de boa, tem a glr do "td bem desds q seja longe de mim".

Tenha planos caso dê errado

Primeiramente: Se você sabe que vai dar errado ou que é provável, não saia do armário. Mas, mesmo que provavelmente dê certo (qnd eu digo isso eu quero dizer aceitação total, mas pode significar algo diferente pra vc), tenha um plano. O que vc vai fazer no pior dos casos? N precisa ser algo elaborado ou extremo, pode ser até "tenho alguém de confiança pra me ajudar/ouvir se preciso".

Mesmo que eles digam que aceitam, veja como eles agem

Esse é um ponto importantíssimo. Meus pais, múltiplas vezes, foram transfóbicos, exorsexistas, intersexistas e bioessecialistas. O que o meu cu afobado fez? Foi lá e saiu do armário como homem trans. Agora odeio a sexta-feira santa e tenho uma memoria me assombrando. (Tá vago de propósito, não me pergunte.) Eu não posso dar destaque o suficiente pra isso. Eu sei que parece que não vai dar, que é muito tempo, mas confia em mim e nos relatos de mts outros. Não vale a pena. Porém, sabendo que tem gente doida que nem eu, se prepare emocionalmente e mentalmente se resolver sair do armário mesmo assim. Tenha alguém pronto pra te ouvir desabafar. E, pode mandar uma ask se n tiver ninguém, só especifique se quer postada ou não.

É isso. Eu tive uma epifania pra escrever isso.

[renisfan]

Some ideas I have with the new toys:

Potent can allow him to have a second attack even if he can't naturally double and enemy has NFU (and additional 40% damage if he can double). It also gives DR that can work with his fixed damage cut. Heavy Blade ensures No Quarter proc even if the enemy has guard or can't counter. Sturdy surge recovers HP with special proc and Alarm gives canto.

Budget winter dimi OHKO build to work with the meta where fast nukes with first hit DR is everywhere. Compared to winter dimi he still need to take hits but he can run NCD 4 to counter sweep/flash users. Hardy bearing also guarantees he won't take more than 2 hits before he can attack, and hopefully No Quarter should kill the enemy to ignore any follow-up attacks. Def/res finish to help with his survivability but better to get more DR support as well. Atk oath echo is just nice-to-have for extra buffs.

This is a more simple upgrade to his current GLR build. With engage effect to get rid of the need for pulsing support, and Inf. NFU 4 so he can have NFU with any team comp. Bulwark would better be atk/spd or spd/def but those doesn't exist yet. Phantom spd for easier GLR proc but can be other seal that gives real spd too

You've heard of TP4 + VA... But what if we make it GLR?

The nice thing about this build is he doesn't need teammate or attack first to charge GLR, but while GLR has higher cut and is unpierceable, compared to VA it'll have less protection against brave hit (I'm still salty Atrocity II doesn't work against brave hit :( ), and you still need to outsource NFU or you lose out on either DC or Finish 4 :(

Good old prime build with self-sufficient NFU supply. Compared to brave unfortunately his refine asks for ally in 2 spaces so it's more guaranteed the effect will be up. Obviously he still need 2 bonuses though but that should be easy. The new Igrene for example is very good with her movement support. And A!Peony to fill in dodge + canto (+ extra stats and healing too)

Finally his galeforce is no longer tied to TP! Dual boots goes brrr

...well he still need to watch out for guard :( Lumera can help but it still has a range. Tempo seal/bonus support when IS :(

Damaging build now with DR piercing (finally)

But from my experience with VA F!Dimi, he probably still won't be proccing it for most of the time 🥲

Vengeful Lance refine with true damage + slaying + tempo + L!Nanna effect please IS 🥺

Not doing the 2 axe bois because 1) summer dimi has no synergy with any of the Marth ring / Potent / skills he can't use :( 2) winter dimi is already strong enough it would only be some minor buff (like 1 cd NQ so he can kill winter billys from 2 spaces too) so I think it's not worth making a whole picture for it

[sweetdreamsjeff]

Jeff Buckley in the U.K.

Jim Irvin, 'From Hallelujah to the Last Goodbye' (Post Hill), May 2018

Excerpted from Jeff Buckley: From Hallelujah to the Last Goodbye by Jeff's former manager Dave Lory and former MOJO man Jim Irvin (Post Hill Press).

JEFF BUCKLEY loved British music; the nervous energy in British punk, the wired consciousness of the Clash, the way Siouxsie and the Banshees went from gun-metal moodiness to skies full of fireworks.

He adored the Cocteau Twins, of course, especially Liz Fraser's "impossible voice". He loved how the Smiths called to outsiders and nerds. He loved the textures of Johnny Marr's supple guitar and the mordant presence of Steve Jones's guitar in the Sex Pistols.

Jeff, whose own nervous energy was considerable, became even more wired whenever we went to the UK; he was stimulated by its variety. He also appreciated its compactness ��� the lack of eight-hour drives between cities was refreshing.

Sony had passed on Live at Sin-é in Europe. We were understandably disappointed, but there was a solution close at hand: Steve Abbott, known to everyone as Abbo, who ran the eccentric indie record label Big Cat and had picked up on many of the promising un-signed bands playing in New York: Pavement, Mercury Rev, Luscious Jackson. He had approached Jeff after Gods & Monsters and Sin-é shows and asked him if he'd like to record with Big Cat, but then Sony stepped in. Jeff felt that he owed Abbo a record, so when Columbia UK passed on Live at Sin-é and Michele Anthony instigated a funding deal with Big Cat, it seemed the perfect opportunity for them to become involved. Abbo jumped at the chance.

Big Cat's small team – Abbo, co-owner Linda Obadiah, Frank Neidlich in marketing, and Jacqui Rice in press – did such a good job that the week it was released in Europe, Live at Sin-é sold over four thousand copies, which was amazing for a complete unknown.

After a Sony conference, where it was clear that a lot of the affiliates were bemused by him, Jeff had a warm-up show at Whelan's in Dublin. By the time he came on, the crowd, several drinks into its evening, had become a little boisterous. Jeff said hello softly, as usual, but no one was really paying attention. Jeff just stood there, waiting. People started to quieten down and watch to see what he would do. There was a pint of his favourite beer, Guinness, sitting on the stool next to him. Jeff lifted the glass to his lips and downed it in one hit. Everyone on the room cheered, and he began the Irish show with the crowd completely on his side.

The audience was more blasé the next night at his London debut at The Borderline, a Western-themed venue under a dubious Mexican diner in Soho, right in the heart of London, a group of local reps for hip American indie labels like Sub Pop and Merge yacking away rather disrespectfully at the bar. In the age of grunge, a lone guy with a guitar softly singing Edith Piaf covers was baffling for some.

"It was an epiphany for me," says Sara Silver, Sony's European head of marketing. "There are some shows where it just feels like you're a voyeur, looking into someone's soul. This was one of those. He was charismatic, but also haunting, and I think because of my particular situation at the time, still suffering from the [loss of my husband], he resonated hugely. This haunting sound was a powerful force, and it was my job to work out how we took it to the world."

A gig the next night in Glasgow meant an early-morning flight back to Heathrow the following morning to catch a session with GLR, London's local BBC station, a slot designed to alert people to the next couple of gigs at the Garage in Islington and at Bunjies, a cute little basement folk club in Central London that dated back to the early 1960s and made Sin-é seem generously proportioned.

Abbo was accompanying Jeff on this run.

"We'd meet regularly at a bar called Tom & Jerry's in New York, hang out and drink Guinness together," Abbo says, "I suppose I became a friend of his, and he didn't seem to have many real friends. I'd only discovered I liked the blues since living in New York, so it was great hanging with him, because he was a huge blues and jazz fan and if there was a guitar around he had to pick it up and show off. He knew every Robert Johnson song, every Muddy Waters tune, Bessie Smith; he introduced me to the physicality of the blues, watching it at close quarters. Everybody talks about his voice, but he was a brilliant guitarist. The guitar was an extension of his body.

"Tim Buckley hadn't really entered my line of vision growing up listening to black music. Singer-songwriters with fluffy hairstyles were not currency on my council estate in Luton! We were in Tom & Jerry's and someone said to Jeff, 'I've been listening to your dad,' and I said, 'Who's your dad?' and he said, 'Tim Buckley.' I knew the name from record shopping; I'd seen the sleeves in the racks, but that's it. But when he came over to Britain there were loads of Tim Buckley fans. And it was a real problem early on, because he really didn't like talking about him."

The traffic from the airport to the GLR studios just off Baker Street was awful. A road accident had slowed everything to a standstill. Jeff's slot on the mid-morning show was fast approaching. "Of course, this was before mobile phones, so I had no way of communicating with the radio station that we were stuck in traffic," says Abbo. "For the last few days on this tour, everyone who'd interviewed Jeff had been asking about his dad. How did Tim write 'Song To The Siren'? Was there stuff in his lyrics that he might have related to? Things Jeff couldn't answer.

"We were listening to GLR while we waited in traffic and the presenter kept saying, 'We're supposed to have this artist, Tim Buckley's son, turning up, but he's late....Will he or won't he turn up?' This went on and on. She must have said 'Tim Buckley's son' about four times and didn't mention Jeff once. Suddenly, he just kicked my car radio in with his big DMs [Doc Martens], just smashed the fascia and then sat back sulking all the way there. I could get another radio, of course, but I was mostly worried he wasn't going to do the performance. 

"We finally arrived about forty minutes late and they were all so rude to us, and yet they knew what the problem was, as they were broadcasting traffic updates and warnings of delays themselves. If I were him, I'd have walked out. The female presenter was a typical local radio DJ, a bit gushy and knew nothing about him and his music. I had a word with the station manager to ask her to stop mentioning Tim Buckley, and he handed her a note to that effect. Jeff just sat there silently and she said, 'What are you going to play?' and Jeff said, 'A song.' I'm thinking, 'Oh god, here we go.' And he started to play "Grace." He did this long guitar introduction, went on for about a minute, like he needed to calm himself down before he got to the actual start of the song, and then he launched into the most electrifying performance. The best I ever heard him do it.

"There were about six phones in the control room, and they all started lighting up. 'Who is this? Who is this? It's amazing!' And all the time, Jeff's getting more and more into it. The presenter went from being this standoffish woman to...I swear she would have thrown herself on him given half a chance, the second he finished singing. You could see she was totally enthralled."

Presenter: "You looked quite exhausted at the end of the song."

Jeff: "I was getting a lot of anger out. Something happened on the way here..."

"The phones didn't stop throughout the next song. The station manager said that in all his twelve years at the station, he'd never seen a reaction like it."

Abbo thinks this performance sparked Jeff's breakthrough. There were certainly plenty of people in line outside the Garage in North London that night. Inside, the first stars were taking note. Chrissie Hynde and Jon McEnroe were in the audience. Chrissie had been a big fan and a friend of Tim's, had actually interviewed him while she was briefly a music journalist with the NME, and she was obviously curious to see how his offspring compared. They struck up a conversation after the show and she clearly said the right thing, because he went off with her to jam with the Pretenders in a nearby rehearsal room. I wasn't carrying anything heavy because of a recent lung collapse, and I didn't want Jeff to pull any important muscles, so I asked McEnroe if he wouldn't mind. He happily hauled Jeff's amp downstairs to the car. The Pretenders' jam with special guests Buckley and Mac went on all night.

Bunjies, as I've said, was tiny, a basement folk club and coffee bar on West Street in Soho, along from the Ivy, with gingham tablecloths and melted candles in wine bottles on the tables and a performance area tucked into a couple of arches in what must have been a wine cellar at one point. It looked unchanged since it had begun in the early 1960s, and had seen a couple of folk booms come and go. It was more of a cafe with an open-mic policy by this point, which felt like a good place for Jeff. There wasn't really any need for amplification, so when we arrived for a sound check there was very little to do but see where Jeff was going to stand in the cramped space and gauge how his voice reflected off the nicotine-stained ceilings. While Jeff did that, I went outside for some fresh air and was stunned to see a line of people already waiting to get into the show.

I took a look at the guest list and realised we'd be lucky to fit twenty of this assembling crowd in the tiny space. Every time I looked up, the line was getting further down West Street. I went back into the venue and found Jeff talking to Emma Banks, the agent. He was saying how great the venue was and that he'd like to do something like hand out flowers to everyone before he went on.

"Jesus, you won't believe what's happening out there," I said to them. "The line goes about four blocks. There's no way these people are going to get in. Is there any way we can do two sets?" Jeff was happy to. Emma spoke to the club owner and was told they had some regular club night happening later on. She came back and said, "They can't do it but I've had an idea!" She disappeared up the steps onto the street, and I spoke to Jeff.

"What flowers would you like?"

"White roses," he said.

"I'll get them," I said, and went back up to the street, where the line had grown even longer.

I walked around looking for a florist and bumped into Emma. "I've booked Andy's Forge," she said. "It's a little place just around the corner in Denmark Street. He can go on at 10:30."

I bought as many white roses as I could find. Jeff handed them to people waiting outside and those lucky enough to get into the club, as he squeezed himself into the corner that passed for a stage. He sang upward, listening to his voice reflect off the curved ceiling into this hot, crowded, and attentive space. There must have been a hundred people stuffed in there.

When the show was over, Jeff walked up the steps to the huddle of patient people that Emma had gathered, plus anyone from the first show who wanted to tag along, and led this crowd like the Pied Piper toward Andy's Forge. Abbo was alongside me. "Have you ever seen anything like this before?" I said.

"Never!" he said. And we laughed liked idiots at the wonderful absurdity of hanging out with Jeff.

© Jim Irvin, 2018

[lindsaywesker]

Good morning!  I hope you slept well and feel rested?  Currently sitting at my desk, in my study, attired only in Blue Towelling Robe No. 2, enjoying my first cuppa of the day.

R.I.P. Brian Wilson.  My goodness, Brian’s death makes me sad!  I am a huge Beach Boys fan!  I’ve got their music from the sixties, seventies and eighties.  So many beautiful songs!  Not just huge hits like ‘Good Vibrations’, ‘Wouldn’t It Be Nice’ and ‘Heroes And Villains’ but true works of art like ‘God Only Knows’, the final song in ‘Love Actually’ and it kills me every time.

Wednesday was a work-from-home day but I was very productive!  Left to my own devices, I get a lot done!

So, children, where was I on Wednesday night?  The studios of BBC Radio London.  Our brother, Edward Adoo, had arranged an interview with the presenter, so Lauren and I could talk about his new club night, ‘Selecta’s Corner’.  That boy has got friends in high places!  The radio show was called ‘London Nightlife’ and … well … we ARE London nightlife!  Drew said afterwards, “If Carlsberg did radio interviews …”  So, I guess it went well?

Security was tight at the front desk!  The officious young lady did her job brilliantly and almost denied me entry because I didn’t have photo ID!  “Have you been here before?” she asked.  I didn’t have the heart to tell her that I used to present a show on GLR (before it went back to being Radio London.)  Then, she asked me a strange question.  “Have you ever done a club night where no one showed up?”  I couldn’t lie.  “There have been a couple of crap nights,” I replied.      

So, in terms of playing out, I’ve got these two major things to look forward to.  ‘Selecta’s Corner’ at The BBE Store (Sunday, June 22nd with Edward Adoo, Uncle Drew, Lauren Thompson and me – 3.00–10.00 and entry is FREE all day!), and the ‘Soul 4U Weekender’ at Aloft Hotel, Birmingham (September 5th-7th with Ronnie Herel, Bigger, Jigs, Calvin Francis, Devon Daley, Mike Stephens, Robin Haynes and me, amongst many others.)   

Have a throbbing and thrusting Thursday (with hopefully a few thrills through your thoroughfare?)  I love you all.

[baeksu-krp]

mods, vcs podem dar um toque pra glr falar menos de joguinho? toda vez q abro a tl tem alguem falando de jogo e ta meio chato o assunto saturado... assim sei que nao é proibido mas toda hora isso

Oi anon, vamos conversar sobre isso aqui.

Esses joguinhos que você tá reclamando é algo que tá excluindo outros personagens? Tá poluindo a tl? Tópicos sensíveis? Se for o caso vou pedir pra que venha na dm com prints pra podermos resolver o problema. Admito que eu revisei bastante da tl depois dessa ask, mas não achei nada lá que valesse um "vamos parar pessoal".

Mas se a reclamação for sobre pessoas comentando ou conversando de jogos aleatórios aí é um pouco complicado da gente podar alguém, até porque assuntos aleatórios sobre gostos pessoais todo mundo tem, e é normal isso ser tópico na tl. Seria a mesma coisa que falar que tão conversando muito sobre música e que o assunto saturou pra uma pessoa só, sabe? Somos uma comunidade de slice of life, nada impede os personagens de focarem nos seus gostos pessoais e falarem sobre.

E vale a lembrança que na comunidade temos um pc café, então é mais comum ainda que jogos apareçam em conversas.

Sei que o twitter não é perfeito com isso, mas tenta mutar as palavras que você mais vê nesses tweets, se isso tá incomodando tanto, pode ajudar.

[glorykrp]

hello! can i ask when the next batch of acceptances will be?

today or tomorrow! real life has been hectic unfortunately, so the main has been sparse. i will try getting to acceptances, reserves, and claims after real life is sorted. thank you for understanding in advance! <3

[bts-scenarios-br]

To estranhando seu sumiço

gente foi mal e q essa semana tava meio corrido~

e ent já q sentiram minha falta se preparem pq eu vou responder todas as 254 asks q eu recebi k

[transmascnepetaleijon]

YOU LIVE IN BRAZIL????

yes???? IM BRAZILLIAN???? WAIT HOLD UP YALL DIDNT KNOW THAT????????

[wangsheungs]

something that has been stuck in my head since the beginning of 3.0 is when paimon asked us if the figure on the statue of seven in sumeru is of greater lord rukkhadevata or lesser lord kusanali? Knowing who it is will give us a lot of information on the Statue of Seven and especially on the relationship between the people of teyvat, the archons, and celestia. The relationship between the three is similar to the religious relationship between a god and an individual. The relationship between the people of sumeru, GLR and LLK is so complex and we have barely scratched the surface of it. There are a lot of interesting religious relationships in genshin. It’s really cool that relationships such as the people of watatsumi Island and orobashi as well as the relationship between the Scarlet King and the group in the eremites who still worship him are still alive in the game as we know that celestia has an extremely strong grip on how power is given in teyvat

this post was to explain that i hope we find more out in 3.1 and hyv shows us what GLR looks like and it went off track 

[arttisc]

You are an amazing and beautiful girl

Thank u, lovely!!

[oppa-infires]

Olá!! Poderia recomendar blogs que tenham o mesmo conteúdo que você, por favor?

Oi, eae? Cara, infelizmente eu não conheço mais a glr q escreve por aqui no tumblr. J�� foi época q eu poderia recomendar 100 blogs, mas hoje.....

Mas se você é um blog de bts que aceita pedidos e pá, comenta essa ask aqui pra glr entrar nos comentários e te seguir (｡•̀ᴗ-)✧

[bbeidou]

Quero interagir glr, mandem ask 😁

[sweetdreamsjeff]

Jeff Buckley in the U.K.

JEFF BUCKLEY loved British music; the nervous energy in British punk, the wired consciousness of the Clash, the way Siouxsie and the Banshees went from gun-metal moodiness to skies full of fireworks.

He adored the Cocteau Twins, of course, especially Liz Fraser's "impossible voice". He loved how the Smiths called to outsiders and nerds. He loved the textures of Johnny Marr's supple guitar and the mordant presence of Steve Jones's guitar in the Sex Pistols.

Jeff, whose own nervous energy was considerable, became even more wired whenever we went to the UK; he was stimulated by its variety. He also appreciated its compactness – the lack of eight-hour drives between cities was refreshing.

Sony had passed on Live at Sin-é in Europe. We were understandably disappointed, but there was a solution close at hand: Steve Abbott, known to everyone as Abbo, who ran the eccentric indie record label Big Cat and had picked up on many of the promising un-signed bands playing in New York: Pavement, Mercury Rev, Luscious Jackson. He had approached Jeff after Gods & Monsters and Sin-é shows and asked him if he'd like to record with Big Cat, but then Sony stepped in. Jeff felt that he owed Abbo a record, so when Columbia UK passed on Live at Sin-é and Michele Anthony instigated a funding deal with Big Cat, it seemed the perfect opportunity for them to become involved. Abbo jumped at the chance.

Big Cat's small team – Abbo, co-owner Linda Obadiah, Frank Neidlich in marketing, and Jacqui Rice in press – did such a good job that the week it was released in Europe, Live at Sin-é sold over four thousand copies, which was amazing for a complete unknown.

After a Sony conference, where it was clear that a lot of the affiliates were bemused by him, Jeff had a warm-up show at Whelan's in Dublin. By the time he came on, the crowd, several drinks into its evening, had become a little boisterous. Jeff said hello softly, as usual, but no one was really paying attention. Jeff just stood there, waiting. People started to quieten down and watch to see what he would do. There was a pint of his favourite beer, Guinness, sitting on the stool next to him. Jeff lifted the glass to his lips and downed it in one hit. Everyone on the room cheered, and he began the Irish show with the crowd completely on his side.

The audience was more blasé the next night at his London debut at The Borderline, a Western-themed venue under a dubious Mexican diner in Soho, right in the heart of London, a group of local reps for hip American indie labels like Sub Pop and Merge yacking away rather disrespectfully at the bar. In the age of grunge, a lone guy with a guitar softly singing Edith Piaf covers was baffling for some.

"It was an epiphany for me," says Sara Silver, Sony's European head of marketing. "There are some shows where it just feels like you're a voyeur, looking into someone's soul. This was one of those. He was charismatic, but also haunting, and I think because of my particular situation at the time, still suffering from the [loss of my husband], he resonated hugely. This haunting sound was a powerful force, and it was my job to work out how we took it to the world."

A gig the next night in Glasgow meant an early-morning flight back to Heathrow the following morning to catch a session with GLR, London's local BBC station, a slot designed to alert people to the next couple of gigs at the Garage in Islington and at Bunjies, a cute little basement folk club in Central London that dated back to the early 1960s and made Sin-é seem generously proportioned.

Abbo was accompanying Jeff on this run.

"We'd meet regularly at a bar called Tom & Jerry's in New York, hang out and drink Guinness together," Abbo says, "I suppose I became a friend of his, and he didn't seem to have many real friends. I'd only discovered I liked the blues since living in New York, so it was great hanging with him, because he was a huge blues and jazz fan and if there was a guitar around he had to pick it up and show off. He knew every Robert Johnson song, every Muddy Waters tune, Bessie Smith; he introduced me to the physicality of the blues, watching it at close quarters. Everybody talks about his voice, but he was a brilliant guitarist. The guitar was an extension of his body.

"Tim Buckley hadn't really entered my line of vision growing up listening to black music. Singer-songwriters with fluffy hairstyles were not currency on my council estate in Luton! We were in Tom & Jerry's and someone said to Jeff, 'I've been listening to your dad,' and I said, 'Who's your dad?' and he said, 'Tim Buckley.' I knew the name from record shopping; I'd seen the sleeves in the racks, but that's it. But when he came over to Britain there were loads of Tim Buckley fans. And it was a real problem early on, because he really didn't like talking about him."

The traffic from the airport to the GLR studios just off Baker Street was awful. A road accident had slowed everything to a standstill. Jeff's slot on the mid-morning show was fast approaching. "Of course, this was before mobile phones, so I had no way of communicating with the radio station that we were stuck in traffic," says Abbo. "For the last few days on this tour, everyone who'd interviewed Jeff had been asking about his dad. How did Tim write 'Song To The Siren'? Was there stuff in his lyrics that he might have related to? Things Jeff couldn't answer.

"We were listening to GLR while we waited in traffic and the presenter kept saying, 'We're supposed to have this artist, Tim Buckley's son, turning up, but he's late....Will he or won't he turn up?' This went on and on. She must have said 'Tim Buckley's son' about four times and didn't mention Jeff once. Suddenly, he just kicked my car radio in with his big DMs [Doc Martens], just smashed the fascia and then sat back sulking all the way there. I could get another radio, of course, but I was mostly worried he wasn't going to do the performance. 

"We finally arrived about forty minutes late and they were all so rude to us, and yet they knew what the problem was, as they were broadcasting traffic updates and warnings of delays themselves. If I were him, I'd have walked out. The female presenter was a typical local radio DJ, a bit gushy and knew nothing about him and his music. I had a word with the station manager to ask her to stop mentioning Tim Buckley, and he handed her a note to that effect. Jeff just sat there silently and she said, 'What are you going to play?' and Jeff said, 'A song.' I'm thinking, 'Oh god, here we go.' And he started to play "Grace." He did this long guitar introduction, went on for about a minute, like he needed to calm himself down before he got to the actual start of the song, and then he launched into the most electrifying performance. The best I ever heard him do it.

"There were about six phones in the control room, and they all started lighting up. 'Who is this? Who is this? It's amazing!' And all the time, Jeff's getting more and more into it. The presenter went from being this standoffish woman to...I swear she would have thrown herself on him given half a chance, the second he finished singing. You could see she was totally enthralled."

Presenter: "You looked quite exhausted at the end of the song."

Jeff: "I was getting a lot of anger out. Something happened on the way here..."

"The phones didn't stop throughout the next song. The station manager said that in all his twelve years at the station, he'd never seen a reaction like it."

Abbo thinks this performance sparked Jeff's breakthrough. There were certainly plenty of people in line outside the Garage in North London that night. Inside, the first stars were taking note. Chrissie Hynde and Jon McEnroe were in the audience. Chrissie had been a big fan and a friend of Tim's, had actually interviewed him while she was briefly a music journalist with the NME, and she was obviously curious to see how his offspring compared. They struck up a conversation after the show and she clearly said the right thing, because he went off with her to jam with the Pretenders in a nearby rehearsal room. I wasn't carrying anything heavy because of a recent lung collapse, and I didn't want Jeff to pull any important muscles, so I asked McEnroe if he wouldn't mind. He happily hauled Jeff's amp downstairs to the car. The Pretenders' jam with special guests Buckley and Mac went on all night.

Bunjies, as I've said, was tiny, a basement folk club and coffee bar on West Street in Soho, along from the Ivy, with gingham tablecloths and melted candles in wine bottles on the tables and a performance area tucked into a couple of arches in what must have been a wine cellar at one point. It looked unchanged since it had begun in the early 1960s, and had seen a couple of folk booms come and go. It was more of a cafe with an open-mic policy by this point, which felt like a good place for Jeff. There wasn't really any need for amplification, so when we arrived for a sound check there was very little to do but see where Jeff was going to stand in the cramped space and gauge how his voice reflected off the nicotine-stained ceilings. While Jeff did that, I went outside for some fresh air and was stunned to see a line of people already waiting to get into the show.

I took a look at the guest list and realised we'd be lucky to fit twenty of this assembling crowd in the tiny space. Every time I looked up, the line was getting further down West Street. I went back into the venue and found Jeff talking to Emma Banks, the agent. He was saying how great the venue was and that he'd like to do something like hand out flowers to everyone before he went on.

"Jesus, you won't believe what's happening out there," I said to them. "The line goes about four blocks. There's no way these people are going to get in. Is there any way we can do two sets?" Jeff was happy to. Emma spoke to the club owner and was told they had some regular club night happening later on. She came back and said, "They can't do it but I've had an idea!" She disappeared up the steps onto the street, and I spoke to Jeff.

"What flowers would you like?"

"White roses," he said.

"I'll get them," I said, and went back up to the street, where the line had grown even longer.

I walked around looking for a florist and bumped into Emma. "I've booked Andy's Forge," she said. "It's a little place just around the corner in Denmark Street. He can go on at 10:30."

I bought as many white roses as I could find. Jeff handed them to people waiting outside and those lucky enough to get into the club, as he squeezed himself into the corner that passed for a stage. He sang upward, listening to his voice reflect off the curved ceiling into this hot, crowded, and attentive space. There must have been a hundred people stuffed in there.

When the show was over, Jeff walked up the steps to the huddle of patient people that Emma had gathered, plus anyone from the first show who wanted to tag along, and led this crowd like the Pied Piper toward Andy's Forge. Abbo was alongside me. "Have you ever seen anything like this before?" I said.

"Never!" he said. And we laughed liked idiots at the wonderful absurdity of hanging out with Jeff.

Jim Irvin, 'From Hallelujah to the Last Goodbye' (Post Hill), May 2018

Excerpted from Jeff Buckley: From Hallelujah to the Last Goodbye by Jeff's former manager Dave Lory and former MOJO man Jim Irvin (Post Hill Press).