#john faddis

[jt1674]

[capitalchaostv]

Concert Photo Review: BATTLE BEAST @ House of Blues – Cleveland, OH

[capitalchaostelevision]

Concert Photo Review: BURNING WITCHES @ Agora Theater – Cleveland, Ohio

[mitjalovse]

Haruomi Hosono reminded me that Japanese music remains one of my favourites. Sure, I have to admit I understand the lyrics through Google translate, though I don't need the latter to appreciate the intricacies of, say, Tatsuro Yamashita. Most of his works became visible on our shores only recently, but I continue to be astounded by his opus a lot. He somehow sounds both Western and Eastern. Mind you, I am aware of the weirdness of the sentence, so allow me to elucidate You see, he somehow brings the forms we are familiar with into the shapes we didn't really think of. Sure, he stays within the roads of pop music, yet what a majestic one he makes! Check the song on the link and marvel at the incredible groove.

[never-ending-fanfic]

I'm in the middle of a twenty-show-weekend and I don't have any brainpower left to choose anything, so you wanna just tell me all the questions for The Fall Of Fulcrum?

Oh God, you're serious.

ABSOLUTELY!

1. Of the fics you've written, which is your favourite and why?

Since we're talking about The Fall of Fulcrum... No but seriously, it is. It'll always have a special place in my heart ♥️

2. Which scene was your favourite to write?

It's a hard tie between the rescue, the panic attack and the hand holding scene, I loved writing these so much!

3. Which part of it was the hardest to write?

So far I think the therapy sessions. I really enjoy adding them in, but because I study psychology, I have that impulse to make everything as accurate as possible and it's difficult to enjoy writing it (nevertheless I love these scenes)

4. If you could change anything in it, what would it be?

I would add a few filler scenes before the rescue and maybe during medbay stay, but overall I think I like the outcome so far

5. Did you make an outline for it? Did you stick to it?

I did only for the first 3 chapters and I stuck to it enough. The rest I write as I go, which sometimes kicks me in the ass

6. Which scenes did you cut and which were added?

I know for a fact I cut out at least one torture scene (I wrote too many) but I might still use it as maybe a flashback or a nightmare in the future 🙃

I also needed to get rid of one deep conversation between Kallus and Zeb but I might find a good time to add it in

I changed a conversation between Zeb and Hera about Kallus not wanting to stay with them and- in the fic he's having that talk with Ezra. Same for Kanera being parents and discovering the kids have the transmissions- Hera was originally the one who got up at night and joined Sabine in the common room, not Kanan.

As for the added scenes, I can assure you I did not in fact intend to have Kallus and Zeb irritated before the hand holding in chapter 12 (as in Kal was irritated at therapy and everything because trauma and Zeb at being helpless). I also come up with scenes with Kanan on the spot. I didn't plan the stuffed tooka, but I don't regret writing it ♥️

7. Who was your favourite character to write in it?

Kallus is a treat to write as always, but I absolutely love writing Zeb, Hera and Chopper. I also very much enjoyed the scenes with my OCs (so far we have Oasay, D'alier, Faddis & ✨the boys✨), I love coming up with characters

8. Which came first, the title or the fic?

Definitely the fic. In fact it didn't have the title until the day I decided to overcome my huge fear and publish the first chapter, because AO3 wouldn't let me do that wuthout naming the fic (ridiculous)

9. Which idea came to you first?

Definitely the rescue. To be honest I wrote the entire pre-rescue part just to reach it. I also straight up knew I wanted to include a major panic attack scene and one that is yet to come

10. What are some facts readers might not know about?

Oh buckle up

I like, totally forgot to add Rex into the story at the beginning, that's why he only shows up when they go to rescue Kallus (and it's thanks to @probablynot-john that he's actually in the fic at all 💕)

similarly to the above, Pryce was gonna be one of Kallus' captors responsible for his torture, she was even in the tags, but then I totally forgot to add her in (a bit because she's a bitch and I can't write her)

I explicitly changed my plans of sleeping late, to go to an extra lecture on Values and Growth after Trauma I found out about like 2 hours before it started, because it sounded like it would help me write Kallus' trauma (and it does, so be thankful)

I planned to write a scene of burning the Fulcrum symbol onto Kallus' back but I didn't believe in myself enough to do it (I thought it would be a little too graphic) but I might change my mind someday, because that plot will have a comeback

I originally planned to make Kallus not talk after the rescue, but it was too difficult to add to the plot, so I dropped the idea

the reaction to hearing the word 'Fulcrum' is actually a real thing and I believe it's connected to classical conditioning- Thrawn always used that name right before torturing Kallus, so now Kallus associates that name with pain

it'll be mentioned and explained in the future so heads up: ‼️spoilers‼️ but one of Kallus' coping mechanisms during torture was dissociation- it activates when someone withstands situations too heavy for their mind and body to handle and also can cause partial amnesia- that's why Kallus doesn't remember getting rescued (Kanan and Rex called it 'catatonia' in the fic, the actual name is dissociation but again, my guys are not psychologists so forgive them. However Ninna Faddis will use that name sometime in the future I think)

Thank you so much for asking! I had a blast responding! ♥️♥️♥️

[lboogie1906]

Tia Fuller (born March 27, 1976) is a saxophonist, composer, and educator, and a member of the all-female band touring with Beyoncé. She is a faculty member in the ensembles department at Berklee College of Music. She was a Featured Jazz Musician in Soul. She plays an alto saxophone with a Vandoren mouthpiece for the character Dorothea Williams. The appearance of Dorothea Williams is influenced by her.

She was born in Aurora, Colorado to jazz musicians Fred and Elthopia Fuller. Her father plays bass and her mother sings. Her sister, Shamie is a jazz musician and educator. She grew up listening to her parents rehearse in the basement of their home, as well as to the music of John Coltrane, Sarah Vaughan, and Charlie Parker.

She began playing saxophone at Gateway High School, after which she continued her musical education at Spelman College. She performed with Ray Charles and in Atlanta’s jazz clubs. She graduated magna cum laude with a BA in Music and went on to complete her MA in Jazz Pedagogy and Performance from the University of Colorado at Boulder.

She has performed with several jazz artists, including Esperanza Spalding, Terri Lyne Carrington, Ralph Peterson Septet, the T.S. Monk Septet, the Jon Faddis Jazz Orchestra, the Rufus Reid Septet, the Sean Jones Quintet, and the Nancy Wilson Jazz Orchestra.

She has led a quartet that includes Shamie Royston on piano, Kim Thompson on drums, and Miriam Sullivan on bass, and with whom she has recorded the albums Pillar of Strength (2005, Wambui), Healing Space (2007, Mack Avenue), and Decisive Steps (2010, Mack Avenue).

In 2012, she toured with Esperanza Spalding as leader of the Radio Music Society horn section, in which she played saxophone in dialogue with Spalding’s scat singing. She was nominated for a Grammy Award for her 2019 album Diamond Cut. She was an artist in residence at the Burlington Discover Jazz Festival. #africanhistory365 #africanexcellence #womenhistorymonth

[exprimis]

The author's bio is a treat:

Charles S. Faddis served for 20 years as an operations officer in the Central Intelligence Agency, including as a department chief at the CIA’s Counterterrorism Center and as a chief of station in the Middle East. He earned his B.A. from Johns Hopkins University and his J.D. from the University of Maryland Law School. He is the author of several books, including Willful Neglect: The Dangerous Illusion of Homeland Security and Beyond Repair: The Decline and Fall of the CIA.

I wonder what he identifies as the failures of the CIA? Let's see:

The CIA had no sources inside Al Qaeda to tell us about the 9/11 plot.

The CIA didn't immediately attribute COVID-19, known to be descended from bat-borne coronaviruses, to the bat coronavirus gain-of-function research in the Wuhan lab.

Bureaucracy and a risk-averse culture.

Loss of skills, but also loss of mystique: "The people who run our government [...] have done their best to turn the CIA into just another federal agency. [...] We act as if anyone can be taught to conduct espionage—as if this is no longer an arcane craft to be practiced by a select group of unique people."

"The CIA has proved unable to put a source inside a Chinese bio lab, within the leadership structure of the Taliban, or next to Vladimir Putin."

The CIA has been politicized: backing Hillary Clinton in the Benghazi inquiries, aiding the Trump dossier investigation, and former intelligence officers decrying the Hunter Biden laptop as Russian propaganda.

The first point is transparently false; read the 9/11 Report and you will learn that the CIA had "real-time intelligence" on Bin Laden as early as 1996, with a plan to capture the known terrorist financier in place by the fall of 1997. That Bin Laden was planning to hijack civilian airliners was known as early as 1998.

The second point is still a matter of contention.

The third point is true of every part of government, but is especially true in international politics, geez.

The fourth point makes Charles Faddis sound like he's been reading too many spy novels where there's no risk of war from getting found out.

The fifth point is false as to Al Qaeda and laughable as to Putin. And if the CIA had any assets in Wuhan, their existence would be so totally classified that the CIA would hesitate to use their information in public, because the CIA prefers to not have its spies tortured and executed.

The sixth point reads like the seething cope of a man whose ideology is opposed by the Deep State, whether or not his facts are right. It is incredibly ironic that he complains that the CIA, which historically reported only to the President, was a political tool of the presidential administration of a Democrat.

So what does he identify as solutions?

Fire a lot of people.

"Recruiting must be completely revamped. Quotas are absurd. Focusing on color, gender, and sexual orientation is at best irrelevant. We want the best, and that means those people who possess the unique blend of skills and abilities that enable them to do what everyone else considers impossible."

Make training tougher.

Flatten the org chart and make it all about ops, not about analysis or support.

... for a man complaining that the CIA wasn't able to put spies in specific locations, he seems awfully invested in removing the ability of the CIA to recruit people who will blend in in those locations due to their color, gender, and sexual orientation.

[xerks44]

Ron Carter - In Concert with Diana Ross - Stolen Moments - #roncarterbas...

LIVE: THE LADY SINGS – 1992 DIANA ROSS

A FULL PROGRAM OF BILLIE HOLIDAY-ASSOCIATED SONGS

In 1972, Diana Ross portrayed Billie Holiday in the movie Lady Sings The Blues.

20 years later she was featured at a special concert at New York’s Ritz Theater, singing jazz with an all-star band.

After a five-minute introduction in which Diana Ross talks about her love for the music, she performs a set of jazz standards, many of which were associated with Billie Holiday.

She puts a lot of feeling and swing into her versions of “Fine And Mellow,” “ Them There Eyes,” “Don’t Explain,” “What A Little Moonlight Can Do,” “Mean To Me,” “Lover Man,” “Gimme A Pigfoot and a Bottle Of Beer,” “Little Girl Blue,” “There’s A Small Hotel,” “I Cried For You,” “The Man I Love,” “God Bless The Child,” “Our Love Is Here To Stay,” “You’ve Changed,” “Let’s Fall In Love,” “It’s Alright With Me,” “Strange Fruit,” “All Of Me,” “Good Morning Heartache,” “T’Ain’t Nobody’s Bizness If I Do,” “My Man,” “What A Wonderful World,” and a reprise of “Fine And Mellow.”

For this unique concert, which was probably never repeated, Diana Ross is joined by trumpeters Stanton Davis, Jon Faddis, Roy Hargrove and John Longo, trombonists Garnett Brown, Urbie Green and Slide Hampton, Justin Robinson and Frank Wess on altos, Ralph Moore and Jerome Richardson on tenors, baritonist Gary Smulyan, Barry Harris Bobby Tucker and Paul Odeh alternating on piano, guitarist Ted Dunbar, bassist Ron Carter, and drummer Grady Tate; arrangements were contributed by Gil Askey who shares the conducting duties with Jon Faddis.

Thanks are due to Ron Carter who generously made this unique film available to Jazz On The Tube.

-Scott Yanow

[brookstonalmanac]

Birthdays 7.24

Beer Birthdays

Jacob Woolner (1834)

Charles F. Russert (1861)

Adolf Bremer (1869)

John Harris (1963)

Barb Miller

Five Favorite Birthdays

Willie Davis; Green Bay Packers DE (1934)

Amelia Earhart; aviator (1937)

Summer Glau; actor (1981)

Alphonse Mucha; Czech artist (1860)

Gus Van Sant; film director (1952)

Famous Birthdays

Bella Abzug; politician(1920)

E.F. Benson; writer (1867)

Ernest Bloch; composer (1880)

SImon Bolivar; South American liberator (1783)

Barry Bonds; San Francisco Giants LF (1964)

Ruth Buzzi; comedian (1936)

Rose Byrne; Australian actor (1979)

Lynda Carter; actor (1951)

Kristin Chenoweth; singer, actor (1968)

Alexandre Dumas; French writer (1802)

Jon Faddis; jazz trumpeter (1953)

Zelda Fitzgerald; writer (1900)

Gallagher; comedian (1947)

Gauge; porn actor (1980)

Robert Graves; English writer (1895)

Robert Hays; actor (1947)

Dan Hedaya; actor (1940)

Laura Leighton; actor (1968)

Jennifer Lopez; singer, actor (1970)

John MacDonald; writer (1916)

Karl Malone; Utah Jazz F (1963)

Pat Oliphant; cartoonist (1935)

Anna Paquin; actor (1982)

Henrik Pontoppidan; Danish writer (1857)

Teagan Presley; porn actor (1985)

Michael Richards; comedian, actor (1949)

Chris Sarandon; actor (1942)

Billy Taylor; jazz pianist (1921)

Pam Tillis; country singer (1957)

Frank Wedekind; German playwright (1864)

Cootie Williams; jazz trumpeter (1910)

Peter Yates; English film director (1929)

[thebeardiswriting]

This is the only reason to watch Blues Brothers 2000

Jeff "Skunk" Baxter – guitar Gary U.S. Bonds – vocals Eric Clapton – vocals and guitar Clarence Clemons – vocals, tenor saxophone and tambourine Jack DeJohnette – drums Bo Diddley – vocals and guitar Jon Faddis – trumpet Isaac Hayes – vocals Dr. John – vocals and piano B.B. King as Malvern Gasperone – vocals and guitar Tommy "Pipes" McDonnell – vocals Charlie Musselwhite – vocals and harmonica Billy Preston – vocals and synthesizer Lou Rawls – vocals Joshua Redman – tenor saxophone Paul Shaffer as Marco/Himself – keyboards Koko Taylor – vocals Travis Tritt – vocals and guitar Jimmie Vaughan – vocals and guitar Grover Washington Jr. – baritone saxophone Willie Weeks – bass guitar Steve Winwood – vocals and organ

[jt1674]

[capitalchaostv]

Concert Photo Review: HAMMERFALL @ House of Blues – Cleveland, OH

[capitalchaostelevision]

Concert Photo Review: KK'S PRIEST @ Agora Theater – Cleveland, Ohio

[jazzplusplus]

1989 - Dizzy Gillespie with the United Nations Orchestra - Theaterfabrik - Munich/München

[lboogie1906]

Tia Fuller (born March 27, 1976) is a saxophonist, composer, and educator, and a member of the all-female band touring with Beyoncé. She is a faculty member in the ensembles department at Berklee College of Music. She was a Featured Jazz Musician in Soul. She plays an alto saxophone with a Vandoren mouthpiece for the character Dorothea Williams. The appearance of Dorothea Williams is influenced by her. She was born in Aurora, Colorado to Jazz musicians Fred and Elthopia Fuller. Her father, Fred, plays bass and her mother, Elthopia, sings. Her sister, Shamie, is a jazz musician and educator. She grew up listening to her parents rehearse in the basement of their home, as well as to the music of John Coltrane, Sarah Vaughan, and Charlie Parker. She began playing saxophone at Gateway High School, after which she continued her musical education at Spelman College. She performed with Ray Charles and in Atlanta's Jazz clubs. She graduated magna cum laude with a BA in Music and went on to complete her MA in Jazz Pedagogy and Performance from the University of Colorado at Boulder. She has regularly performed with several Jazz artists, including Esperanza Spalding, Terri Lyne Carrington, Ralph Peterson Septet, the T.S. Monk Septet, the Jon Faddis Jazz Orchestra, the Rufus Reid Septet, the Sean Jones Quintet, and the Nancy Wilson Jazz Orchestra. She has led a quartet that includes Shamie Royston on piano, Kim Thompson on drums, and Miriam Sullivan on bass, and with whom she has recorded the albums Pillar of Strength (2005, Wambui), Healing Space (2007, Mack Avenue), and Decisive Steps (2010, Mack Avenue). In 2012, she toured with Esperanza Spalding as leader of the Radio Music Society horn section, in which she played saxophone in dialogue with Spalding's scat singing. She was nominated for a Grammy Award for her 2019 album Diamond Cut. She was an artist in residence at the Burlington Discover Jazz Festival. #africanhistory365 #africanexcellence #womenhistorymonth https://www.instagram.com/p/CqTeekTPMXW/?igshid=NGJjMDIxMWI=