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turnidea30 · 2 years

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Planning A Retirement Party

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Wedding catering costs will always differ based on the number of visitors you’re inviting, the menu you wish to serve, and the finest way the meals will be served to your visitors. As you interview wedding catering companies, you’ll be offered with a price per particular person for numerous menus. Planning for these takes a pro to be sure to have all the best menu selections for your viewers. Here you will discover all the group favorites from scorching dogs and hamburgers to chili cheese fries and ice cream. Well, now you could have been by way of numerous kinds of caterers, it’s important for you now to go through the right methods to pick the finest caterer. It doesn’t need particular data to zero your search on the finest caterer. To properly leverage your selections, nevertheless, is really helpful to ensure that your search is likely to finish with the most suitable provider. This type of caterer usually brings meals via food carts, delivery providers, or any meals trucks. 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For more party meals inspiration, check out our handheld meals recipes, concepts for meals which are served on a stick and fairly DIY muffins you can even make at house. There are loads of other low-cost wedding reception dinner options you ought to use in addition to these wedding finger foods. You present burgers, dogs, or different shredded meat of alternative, plus buns and condiments. Have your visitors bring a side, drink, or dessert to share. Another thing to bear in mind with time of day is that people will eat and drink extra at night time than through the day, so plan appropriately. Along those self same lines, this dessert catering idea turns macaroons into whimsical cacti. This dessert is perfect for a desert convention or western theme. Attendees want superb Instagram-worthy food shows AND beautiful tastes. Create a playlist – You don’t essentially need to guide a DJ or a band on your rehearsal dinner however some background music for mealtime and mingling could presumably be a pleasant touch. Curate a playlist to your liking for an at-home affair or check together with your venue to see if you’re capable of present your own music. If 外燴 ’ve got a family or pal who is musically inclined, you may think about asking them to play a couple of songs for a laid-back dinner—complete with sing-alongs and dancing. If you’d somewhat depart the cooking to the professionals, elect to hire a catering service. Ask about buffet-style dinner choices since this will let you hold a onerous and fast value per particular person as an alternative of opening it up for guests to order particular person meals and drinks. Think of your favorite lunch place and begin constructing a menu just like the one they offer lunchtime eaters. What Does A Catering Firm Do? In formal setups, caterers set up the tables and differentiate the sitting area based mostly on the categories or standing of the visitors. Concurrent with education, honed aptitude in customer support and front-of-house operations. Scope of responsibilities included welcoming prospects, taking orders, and serving meals and drinks to tables. Althoughcustomer service skillsare obviously needed for the front of the home, a strong service ethic is crucial for everyone on the team, including those who by no means see patrons. The host/hostess and wait staff should nurture a welcome ambiance. Food service managers work in eating places, hotels, faculty cafeterias, and other institutions the place food is ready and served. The work is commonly hectic, and coping with dissatisfied clients could also be tense. NACE-certified caterer with 3½ years of expertise creating meal plans for big group events, transportation, logistics, and serving visitors at social functions and private parties. In addition, nontraditional food service operations, similar to these inside grocery shops and cafeterias in hospitals and residential care amenities, will serve more prepared meals. Because these staff are essential to the operation of a food-serving establishment, they'll continue to be in demand. Some full-service eating places present new eating room employees with classroom coaching periods that alternate with intervals of on-the-job work expertise. Most staff learn via on-the-job coaching, normally lasting a number of weeks. Training consists of fundamental customer service, kitchen safety, secure food-handling procedures, and good sanitation habits. In addition, enterprise hours in restaurants enable for flexible schedules that appeal to many teenagers, who can acquire work experience. This means either creating a niche, similar to company outings, children’s occasions or weddings, or providing general catering for any operate. Your duties will embody creating relationships and cross-promotions with halls, wedding ceremony and celebration planners, photographers and florists. You’ll need to create a model for your business, handle social media sites, develop brochures and place advertisements. If you don’t have a flair for promoting, you'll find a way to rent a advertising agency or gross sales rep. A meals service employee doesn't need any expertise but a highschool diploma or GED equivalent is preferred. One of an important abilities that a meals service employee could have is consideration to detail. Occasion Catering In Virginia Beach, Va I at all times thought that what makes the day the most particular for the couple is not all the “accessories” they have however the vows they took. The one who wrote this clearly solely needs folks to elope! Not to say, your marriage ceremony is meant to be about the bride and groom, not the friends, it is the at some point that a normal girl gets to be a princess and a man will get to be a prince. I think everything about someone’s wedding day ought to be what ever they want it to be and by the finest way, I have the invitation to a marriage my husband and I attended 5 years in the past because I thought it was cute . This record was helpful, especially for these brides who have a budget and are not fairly positive to finances. Depending on the scale of your home—and that of your visitor list—it’s necessary to assume about factors like catering, panorama design, ceremony setup, and décor. From your occasion manager to cooks, servers, bartenders, and more, there are heaps of staffers that may go into making your marriage ceremony day successful. It’s necessary to work together with your caterer to just ensure you have sufficient people readily available to make sure a smooth reception. On The Spot Catering is a full service catering company driven by our love for food, household and celebrations. Why not maintain the refreshments chugging, especially in case your marriage ceremony is outdoors and through one of many heat months? While the ceremony won't be the primary setting that involves mind when you consider ‘wedding catering,’ it’s positively a thoughtful addition that’ll leave your friends pleasantly surprised—and hydrated. Towering layers, handcrafted sugar paste designs, 24-carat gold motifs. The painstakingly detailed marriage ceremony cake is undoubtedly attractive, however guests won’t miss those details if you go for an elegantly easy confection instead. As long as it tastes delicious, you’ve obtained a assured crowd-pleaser (and let’s be honest, it's going to, because of CAKE). If you determine to go along with a guestbook, create something easy. A cute DIY board just like the one pictured beneath is charming, cheap, and one thing you'll find a way to show after the wedding. Despite having to "stage" a kitchen in a again storage room, every thing ran easily without a hitch that I could see. Juniper Green does an outstanding job both in preparing food, presenting it and serving it. I was confident of their abilities and would definitely use them again. This is a excessive quality product and presentation. If there's one sight visitors don’t count on at a marriage, it’s in all probability a food truck. While the trend has grown increasingly popular lately, food trucks still push the envelope and provides your wedding a unique spin. Plated Dinner Catering This is particularly fun should you and your companion are from completely different backgrounds. A artistic mixture of your culture-specific foods may give your friends exposure to tastes they have by no means experienced. Ask what reception styles greatest suit the area you will be renting. You don’t want individuals to be both over-crowded or rattling round in a room that is far too spacious for the variety of guests. Most of the time, a wedding reception buffet is indeed cheaper than a plated dinner. While you’ll pay less in staffing and rentals for a buffet-style meal, you’ll want extra meals since guests are serving themselves. To keep your buffet budget-friendly, keep away from serving expensive foods buffet-style or have a staffer readily available to serve your visitors from the buffet to maintain the parts under control. For wedding parties under 30 individuals, it could be pretty easy to figure out how to host and feed all of your guests—assuming you’ll have some assist. For bigger events, particularly any party with over a hundred friends, the logistics are trickier. Country type service has guests seated at their tables and waiters to convey the meals to each table. You also wants to remember that despite the fact that your meals prices may be lower, guests will probably drink greater than they might at a dinner reception, so your liquor value may increase. You and your marriage ceremony planner will have the opportunity to pre-plan and orchestrate almost each facet of your plated dinner reception. The timeline to the seating chart to the menu is all pre-planned and organized. Have loads of access factors to the food so that people aren’t ready in line forever. Then signal a particular contract that features the precise location, date and time as well as design particulars. As your plans come into focus, ensure your cake designer is conscious of about any changes or new particulars that you just wish to incorporate, adding them into your written settlement. The clearer you make every specification, the more doubtless you are to get exactly the cake you want on your massive day. Disposable Food Containers For Eating Places In this case, I suppose the altering expectations surrounding to-go containers and waste administration are something we’ll see increasingly. I suppose it'll convey the additional benefit of getting catering patrons be okay with your offerings and their influence on the world. It’s additionally a great alternative for branding by providing quality branded to-go containers and bags. Be positive to give some thought to the sustainability of the materials here too. I recently dropped off a catering order and the shopper was upset that I didn’t embrace takeout containers for leftovers. Having the best espresso, spices, and meals equipment can appeal to extra customers to your small business. Savvy restaurant homeowners know the significance of being early adapters to emerging tendencies in the trade. Here are some of the newest ways in which meals packaging has been given a facelift, in addition to some true-and-tried requirements that customers are still clamoring for. These containers supply an eco-friendly resolution to packaging customers’ carryout orders or leftovers. Our choice of deli and food trays and lids covers a extensive range of uses, from catering applications to cafeteria service and concession snacks. Shop for plastic microwavable take out containers at the Brenmar Company. But there actually wasn’t extra; it was simply going to a unique place,” she mentioned. We’ve now moved into 2021, and the supply of sustainable recyclable and compostable packaging has increased, and in some circumstances, the price has decreased. Innovation accelerated through the pandemic, and producers are tapping into new supplies and codecs. For instance, if you’re a restaurant that focuses on noodles, your takeout might need a convenient handle on the prime. Or, should you give attention to sandwiches, do what Eat&Go did and offer accordion takeout tubes that inch smaller and smaller as you eat. This is especially true now that buyers are more and more ordering by way of third-party apps, instead of immediately from restaurants. Observe present meals safety practices for time/temperature management, stopping cross-contamination, hand-washing, no sick employees, and storage of food, and so forth. Styrofoam is a incredible insulator that helps to manage the temperature of cold and warm meals. Packaging is one other model touch level that helps you join with prospects through the sensible use of color, design, and replica. If your restaurant is thought for having a quirky humorousness, you would create packaging that reflects this distinctive brand persona.

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theculturedmarxist · 3 years

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In the third decade of the 21st century, the Social Register still exists, there are still debutante balls, polo and lacrosse are still patrician sports, and old money families still summer at Newport. But these are fossil relics of an older class system. The rising ruling class in America is found in every major city in every region. Membership in it depends on having the right diplomas—and the right beliefs.

To observers of the American class system in the 21st century, the common conflation of social class with income is a source of amusement as well as frustration. Depending on how you slice and dice the population, you can come up with as many income classes as you like—four classes with 25%, or the 99% against the 1%, or the 99.99% against the 0.01%. In the United States, as in most advanced societies, class tends to be a compound of income, wealth, education, ethnicity, religion, and race, in various proportions. There has never been a society in which the ruling class consisted merely of a basket of random rich people.

Progressives who equate class with money naturally fall into the mistake of thinking you can reduce class differences by sending lower-income people cash—in the form of a universal basic income, for example. Meanwhile, populists on the right tend to imagine that the United States was much more egalitarian, within the white majority itself, than it really was, whether in the 1950s or the 1850s.

Both sides miss the real story of the evolution of the American class system in the last half century toward the consolidation of a national ruling class—a development which is unprecedented in U.S. history. That’s because, from the American Revolution until the late 20th century, the American elite was divided among regional oligarchies. It is only in the last generation that these regional patriciates have been absorbed into a single, increasingly homogeneous national oligarchy, with the same accent, manners, values, and educational backgrounds from Boston to Austin and San Francisco to New York and Atlanta. This is a truly epochal development.

In living memory, every major city in the United States had its own old money families with their own clubs and their own rituals and their own social and economic networks. Often the money was not very old, going back to a real estate killing or a mining fortune or an oil strike a generation or two before. Even so, the heirs and heiresses set themselves up as a local aristocracy. Like other aristocracies, these urban patricians renewed their bloodlines and bank accounts by admitting new money, once the parvenus had served probation and assimilated the values of the local patriciate.

These regional urban patriciates were similar demographically, at a time when the racial caste system that divided whites from nonwhites was accompanied by an ethnic caste system among whites. Within the white population, Anglo American Protestants, preferably Episcopalian or Presbyterian, were at the top, followed by Anglo Americans belonging to more vulgar denominations like the Methodists and Baptists. German and Scandinavian Americans could be honorary Anglo Americans. But Irish American Catholics, Jews, and Italian and Polish Americans occupied a lower rung. Mexican Americans occupied an ambiguous position. In some areas they were discriminated against as Blacks were, in others they were treated as the equivalent of low-status whites. Black Americans and Asian Americans were excluded.

The Anglo American Protestant patricians in every region and state shared a common Anglo American and Trans-Atlantic culture—but not a common national culture. Instead, they had regional cultures separately based on a common British and European heritage. This is so peculiar that it needs to be explained.

Let us begin with what they shared: Trans-Atlantic culture. From the earliest days of the republic, the wealthy elites of even the most remote and Godforsaken parts of the South and West could afford to vacation in Europe. They would bring back the latest French and British fashions to rural Mississippi or Wyoming. Before the self-consciously regional Prairie Style of Frank Lloyd Wright, there was never any indigenous American architecture, just wave after wave of faddish European styles: Palladianism, Greek Revival, Gothic, Romanesque. The relics of these transient Europhile fads litter the United States in the form of courthouses and other old public buildings from coast to coast.

In contrast, local patriciates tried to boost their own authors at the expense of those in other American regions. My maternal grandmother, a schoolteacher for part of her career, belonged to the minor Southern gentry. She saw to it that my brother and I were introduced to the literary canon as educated white Southerners of the early 20th century conceived of it: A British substrate, consisting of Robert Louis Stevenson and Rudyard Kipling, overlain by Southern writers like Sidney Lanier, whose “The Marshes of Glynn” introduced me to the wonders of verse. The equivalent New England literary canon ran directly from Shakespeare and Milton and Pope and Scott and Tennyson to Emerson, Longfellow and Whittier and the other “Fireside Poets” (Whitman, Hawthorne, and Melville only acquired their present status later, thanks to mid-20th-century academics).

In short, for two centuries there was a double competition among regional American oligarchies. On the one hand, the local notables, particularly those from the newly settled regions, had to prove they were not backward bumpkins, but were just as up-to-date with regard to European fashions as the patricians in New York and Boston and Philadelphia. On the other hand, some of them dreamed that the city they ran, whether it was Atlanta or Milwaukee, would become the Athens or Renaissance Florence of North America, and favored local writers, poets, and artists, as long as their work was in fashionable styles and did not inspire seditious thoughts among the local masses. The subnational blocs of New Englanders, Southerners, and Midwesterners fought to control the federal government in order to promote their regional economic interests.

The status of Harvard and Yale as prestigious national rather than regional universities is relatively recent. A few generations ago, it was assumed that the sons of the local gentry (this was before coeducation began in the 1960s and 1970s) would remain in the area and rise to high office in local and state business, politics, and philanthropy—goals that were best served if they attended a local elite college and joined the right fraternity, rather than being educated in some other part of the country. College was about upper-class socialization, not learning, which is why parochial patricians favored regional colleges and universities. If your family was in the local social register, that was much more important than whether you went to an Ivy League college or a local college or no college at all.

American patricians of earlier generations would have been surprised that rich people, many of them celebrities, would scheme and bribe university officers to get their children into a few top universities. Scheming to get into the right local “society” club—now that would have made sense.

Upper-class women were the chief enforcers of local “society.” Anybody who thinks that women are somehow naturally more generous and egalitarian than men has never encountered a doyenne of high society. Mrs. Astor’s 400 families in New York had their counterparts throughout the United States, from the Mainline elite in Philadelphia to the Highland Park set in Dallas.

As in the novels of Jane Austen, the daughters of the local ruling class had to be married to a young man from a good family, if the dynasty was not to fall into disgrace. Until recently (and to this day, in some circles) a young woman’s debut in society was, if anything, more important than marriage itself, since the debutante ball helped to define her eligibility for a high-status marriage.

When I explain all of this to friends from other countries, they tend to be surprised, if not suspicious of my account. What about frontier egalitarianism? Wasn’t America dominated by the just-folks middle class in the 19th and 20th centuries? Isn’t America in danger now, for the first time in its history, of becoming an Old World style hierarchy?

The egalitarianism of the American frontier is greatly exaggerated. Some of the myth comes from European tourists like Alexis de Tocqueville, Harriet Martineau, and Dickens. For ideological reasons or just for entertainment, they played up how classless and vulgar Americans were for audiences back in Europe. On their trips they mostly encountered the wealthy and educated, who might have been informal by the standards of British dukes or French royalty, but who were hardly yeoman farmers. If these famous tourists had spent their time in slave cabins, immigrant tenements, miners camps, and cowboy bunkhouses, they might have gotten a different sense of how egalitarian America actually was. Elite Americans might have been more likely than elite Brits to smile politely when dealing with working-class people, but they were no more likely to welcome them into the family.

The Western frontier was not entirely a myth, to be sure. My great-great-grandfather proposed marriage to my great-great-grandmother by handing her a letter from horseback before riding north on a cattle drive from Texas to Kansas, and a distant uncle was murdered by outlaws on the road outside of Austin in the 1880s. But the Wild West or boomtown era everywhere was brief. The first white settlers in a region may have been trappers or small farmers or ranchers or outlaws or pirates, but once Native Americans had been removed to reservations and the railroad was in place, the area was rapidly gentrified. The rich moved in, bought up the good land, built mansions and the local opera house in the current European style and drove the frontiersmen and their families out.

White poverty in the United States today is concentrated in greater Appalachia, because the Scots Irish settlers, often illiterate squatters, were priced out of other areas and ended up in the hills of Appalachia, the Ozarks, and the Texas Hill Country. As soon as the affluent discover the scenic views in those areas, they will be forced to move once more, just as old-stock families are already being priced out of the Texas Hill Country by rich refugees from California, bringing with them their cultural heritage of trophy wineries and boutiques, New Age spirituality and organic cuisines.

Because there was no single national American elite, there was never a single Western frontier. New Englanders moved west in a band to the south of the Great Lakes, and then moved eastward and inland from ports on the Pacific Coast. While the Scots Irish followed the hills, the Southern planter class acquired cotton-friendly soil from Virginia along the Gulf of Mexico to central Texas, where the coastal plain collides with the southernmost part of the Great Plains. As the historians David Hackett Fischer and Wilbur Zelinsky have pointed out, these parallel bands of east-to-west settlement brought separate Anglo American cultures, reflected in everything from codes of honor to town layouts (town planners in greater New England laid out village greens with churches and schools, while Southern towns tended to be centered on the courthouse).

In short, a historical narrative which describes a fall from the yeoman democracy of an imagined American past to the plutocracy and technocracy of today is fundamentally wrong. While American society was not formally aristocratic it was hierarchical and class-ridden from the beginning—not to mention racist and ethnically biased. What’s new today is that these highly exclusive local urban patriciates are in the process of being absorbed into the first truly national ruling class in American history—which is a good thing in some ways, and a bad thing in others.

Compared with previous American elites, the emerging American oligarchy is open and meritocratic and free of most glaring forms of racial and ethnic bias. As recently as the 1970s, an acquaintance of mine who worked for a major Northeastern bank had to disguise the fact of his Irish ancestry from the bank’s WASP partners. No longer. Elite banks and businesses are desperate to prove their commitment to diversity. At the moment Wall Street and Silicon Valley are disproportionately white and Asian American, but this reflects the relatively low socioeconomic status of many Black and Hispanic Americans, a status shared by the Scots Irish white poor in greater Appalachia (who are left out of “diversity and inclusion” efforts because of their “white privilege”). Immigrants from Africa and South America (as opposed to Mexico and Central America) tend to be from professional class backgrounds and to be better educated and more affluent than white Americans on average—which explains why Harvard uses rich African immigrants to meet its informal Black quota, although the purpose of affirmative action was supposed to be to help the American descendants of slaves (ADOS). According to Pew, the richest groups in the United States by religion are Episcopalian, Jewish, and Hindu (wealthy “seculars” may be disproportionately East Asian American, though the data on this point is not clear).

Membership in the multiracial, post-ethnic national overclass depends chiefly on graduation with a diploma—preferably a graduate or professional degree—from an Ivy League school or a selective state university, which makes the Ivy League the new social register. But a diploma from the Ivy League or a top-ranked state university by itself is not sufficient for admission to the new national overclass. Like all ruling classes, the new American overclass uses cues like dialect, religion, and values to distinguish insiders from outsiders.

Dialect. You may have been at the top of your class in Harvard business school, but if you pronounce thirty-third “toidy-toid” or have a Southern drawl, you might consider speech therapy.

Religion. You may have edited the Yale Law Review, but if you tell interviewers that you recently accepted Jesus Christ as your personal savior, or fondle a rosary during the interview, don’t expect a job at a prestige firm.

Values. This is the trickiest test, because the ruling class is constantly changing its shibboleths—in order to distinguish true members of the inner circle from vulgar impostors who are trying to break into the elite. A decade ago, as a member of the American overclass you could get away with saying, along with Barack Obama and Hillary Clinton, “I believe that marriage is between a man and a woman, but I strongly support civil unions for gay men and lesbians.” In 2020 you are expected to say, “I strongly support trans rights.” You will flunk the interview if you start going on about civil unions.

More and more Americans are figuring out that “wokeness” functions in the new, centralized American elite as a device to exclude working-class Americans of all races, along with backward remnants of the old regional elites. In effect, the new national oligarchy changes the codes and the passwords every six months or so, and notifies its members through the universities and the prestige media and Twitter. America’s working-class majority of all races pays far less attention than the elite to the media, and is highly unlikely to have a kid at Harvard or Yale to clue them in. And non-college-educated Americans spend very little time on Facebook and Twitter, the latter of which they are unlikely to be able to identify—which, among other things, proves the idiocy of the “Russiagate” theory that Vladimir Putin brainwashed white working-class Americans into voting for Trump by memes in social media which they are the least likely American voters to see.

Constantly replacing old terms with new terms known only to the oligarchs is a brilliant strategy of social exclusion. The rationale is supposed to be that this shows greater respect for particular groups. But there was no grassroots working-class movement among Black Americans demanding the use of “enslaved persons” instead of “slaves” and the overwhelming majority of Americans of Latin American descent—a wildly homogenizing category created by the U.S. Census Bureau—reject the weird term “Latinx.” Woke speech is simply a ruling-class dialect, which must be updated frequently to keep the lower orders from breaking the code and successfully imitating their betters.

Mrs. Astor would approve.

#ivy league #history #american history #oligarchy #aristocracy #american culture #bourgeois culture #bourgeoisie #class society #class struggle #class system #overclass #russiagate #virtue signaling #woke culture #wokeness #petite bourgeois #harvard #yale

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of-foolish-and-wise · 4 years

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mega-list of book recommendations

saw a mega-list of literary recommendations going around recently and was struck by the dearth of titles by poc, so i made a list of just poc titles to course-correct. keep in mind that i can only in good faith recommend what i’ve read, so i’m sure i’ve absolutely missed some integral titles. drop me an inbox message if you have more recs, i’m always open

canonical

the narrative of frederick douglass - frederick douglass

incidents in the life of a slave girl - harriet jacobs

the souls of black folk - w.e.b. dubois

montage of a dream deferred - langston hughes

cane - jean toomer

their eyes were watching god - zora neale hurston

the bean eaters - gwendolyn brooks

a raisin in the sun - lorraine hansberry

invisible man - ralph ellison

native son - richard wright

the autobiography of malcolm x - malcolm x

the fire next time - james baldwin

sister outsider: essays and speeches - audre lorde

things fall apart - chinua achebe

the garden of forking paths - jorge luis borges

one hundred years of solitude - gabriel garcia marquez

the color purple - alice walker

the woman warrior - maxine hong kingston

satanic verses - salman rushdie

beloved - toni morrison

sula - toni morrison

the house on mango street - sandra cisneros

the joy luck club - amy tan

DAMN. - kendrick lamar

plays

a tempest - aime cesaire

for colored girls who have considered suicide / when the rainbow is enuf - ntozake shange

fences - august wilson

dutchman - amiri baraka

the american play - suzan-lori parks

memoir

the light of the world - elizabeth alexander

how we fight for our lives - saeed jones

between the world and me - ta-nehisi coates

persepolis - marjane satrapi

men we reaped - jesmyn ward

heavy - kiese laymon

black boy - richard wright

the yellow house - sarah m broom

brothers and keepers - john edgar wideman

zami: a new spelling of my name - audre lorde

poetry

american sonnet for my past and future assassin - terrance hayes

the tradition - jericho brown

night sky with exit wounds - ocean vuong

citizen: an american lyric - claudia rankine

twenty love poems and a song of despair - pablo neruda

don’t call us dead - danez smith

eye level - jenny xie

life on mars - tracy k smith

a fortune for your disaster - hanif abdurraqib

postcolonial love poem - natalie diaz

i can’t talk about the trees without the blood - tiana clark

i wore my blackest hair - carlina duan

an american sunrise - joy harjo

oculus - sally wen mao

short stories

her body & other stories - carmen maria machado

interpreter of maladies - jhumpa lahiri

exhalation - ted chiang

ficciones - jorge louis borges

what is not yours is not yours - helen oyeyemi

sour heart - jenny zhang

essays

how to write an autobiographical novel: essays - alexander chee

trick mirror - jia tolentino

bad feminist - roxane gay

they can’t kill us until they kill us - hanif abdurraqib

we were eight years in power: an american tragedy - ta-nehisi coates

borderlands/la frontera: the new mestiza - gloria anzaldua

this bridge called my back: writings by radical women of color - ed. cherrie moraga and gloria anzaldua

white girls - hilton als

non-fiction

the new jim crow: mass incarceration in the era of colorblindness - michelle alexander

stamped from the beginning: the definitive history of racist ideas in america - ibram x kendi

bunk: the rise of hoaxes, humbug, plagiarists, phonies, post-facts, and fake news - kevin young

an alchemy of race and rights - patricia j williams

looking for lorraine: the radiant and radical life of lorraine hansberry - imani perry

the next billion users: digital life beyond the west - payal arora

fiction

passing - nella larson

caucasia - danzy senna

trust exercise - susan choi

on earth we’re briefly gorgeous - ocean vuong

corregidora - gayl jones

the fifth season - nk jemisin

the brief wondrous life of oscar wao - junot diaz

the round house - louise erdrich

there, there - tommy orange

little fires everywhere - celeste ng

the supervisor - viet than nguyen

kindred - octavia butler

the known world - edward p jones

the underground railroad - colson whitehead

the god of small things - arundhati roy

the vegetarian - han king

theory

playing in the dark: whiteness and the literary imagination - toni morrison

black skin, white masks - frantz fanon

mama’s baby, papa’s maybe: an american grammar book - hortense spillers

discourse on colonialism - aime cesaire

scenes of subjection - saidiya hartman

the signifyin(g) monkey - henry louis gates jr

pedagogy of the oppressed - paulo freire

feminist theory: from margin to center - bell hooks

black noise: rap music and black culture in contemporary america - tricia rose

decolonizing the mind: the politics of language in african literature - ngũgĩ wa thiong’o

black marxism: the making of the black radical tradition - cedric robinson

black feminist thought: knowledge, consciousness, and the politics of empowerment - patricia hill collins

black and blur (consent not to be a single thing) - fred moten

young adult

diary of a part-time indian - sherman alexei

the hate u give - angie thomas

emergency contact - mary hk choi

i am not your perfect mexican daughter - erika sanchez

poet x - elizabeth avecedo

435 notes · View notes

bongaboi · 3 years

Text

2021 Grammy Awards: The List.

New age

Best New Age Album

More Guitar Stories – Jim "Kimo" West

Songs from the Bardo – Laurie Anderson, Tenzin Choegyal & Jesse Paris Smith

Periphery – Priya Darshini

Form//Less – Superposition

Meditations – Cory Wong & Jon Batiste

Jazz

Best Improvised Jazz Solo

"All Blues" – Chick Corea, soloist

"Guinnevere" – Christian Scott Atunde Adjuah, soloist

"Pachamama" – Regina Carter, soloist

"Tomorrow is the Question" – Julian Lage, soloist

"Celia" – Gerald Clayton, soloist

"Moe Honk" – Joshua Redman, soloist

Best Jazz Vocal Album

Secrets are the Best Stories – Kurt Elling featuring Danilo Pérez

ONA – Thana Alexa

Modern Ancestors – Carmen Lundy

Holy Room: Live at Alte Oper – Somi With Frankfurt Radio Big Band

What's the Hurry – Kenny Washington

Best Jazz Instrumental Album

Trilogy 2 – Chick Corea, Christian McBride & Brian Blade

on the tender spot of every calloused moment – Ambrose Akinmusire

Waiting Game – Terri Lyne Carrington and Social Science

Happening: Live at the Village Vanguard – Gerald Clayton

RoundAgain – Redman Mehldau McBride Blade

Best Large Jazz Ensemble Album

Data Lords – Maria Schneider Orchestra

Dialogues on Race – Gregg August

Monk'estra Plays John Beasley – John Beasley

The Intangible Between – Orrin Evans and The Captain Black Big Band

Songs You Like a Lot – John Hollenbeck with Theo Bleckmann, Kate McGarry, Gary Versace and The Frankfurt Radio Big Band

Best Latin Jazz Album

Four Questions – Arturo O'Farrill & The Afro Latin Jazz Orchestra

Tradiciones – Afro-Peruvian Jazz Orchestra

City of Dreams – Chico Pinheiro

Viento y Tiempo - Live at Blue Note Tokyo – Gonzalo Rubalcaba & Aymée Nuviola

Trane's Delight – Poncho Sanchez

Gospel/contemporary Christian music

Best Gospel Performance/Song

"Movin' On"

Darryl L. Howell, Jonathan Caleb McReynolds, Kortney Jamaal Pollard & Terrell Demetrius Wilson, songwriters (Jonathan McReynolds & Mali Music)

"Wonderful is Your Name"

Melvin Crispell III, songwriter (Melvin Crispell III)

"Release (Live)"

David Frazier, songwriter (Ricky Dillard featuring Tiff Joy)

"Come Together"

Lashawn Daniels, Rodney Jerkins, Lecrae Moore & Jazz Nixon, songwriters (Rodney "Darkchild" Jerkins Presents: The Good News)

"Won't Let Go"

Travis Greene, songwriter (Travis Greene)

Best Contemporary Christian Music Performance/Song

"There Was Jesus"

Casey Beathard, Jonathan Smith & Zach Williams, songwriters (Zach Williams & Dolly Parton)

"The Blessing (Live)"

Chris Brown, Cody Carnes, Kari Jobe Carnes & Steven Furtick, songwriters (Kari Jobe, Cody Carnes & Elevation Worship)

"Sunday Morning"

Denisia Andrews, Jones Terrence Antonio, Saint Bodhi, Brittany Coney, Kirk Franklin, Lasanna Harris, Shama Joseph, Stuart Lowery, Lecrae Moore & Nathanael Saint-Fleur, songwriters (Lecrae featuring Kirk Franklin)

"Holy Water"

Andrew Bergthold, Ed Cash, Franni Cash, Martin Cash & Scott Cash, songwriters (We the Kingdom)

"Famous For (I Believe)"

Chuck Butler, Krissy Nordhoff, Jordan Sapp, Alexis Slifer & Tauren Wells, songwriters (Tauren Wells featuring Jenn Johnson)

Best Gospel Album

Gospel According to PJ – PJ Morton

2econd Wind: ReadY – Anthony Brown & group therAPy

My Tribute – Myron Butler

Choirmaster – Ricky Dillard

Kierra – Kierra Sheard

Best Contemporary Christian Music Album

Jesus Is King – Kanye West

Run to The Father – Cody Carnes

All of My Best Friends – Hillsong Young & Free

Holy Water – We the Kingdom

Citizen of Heaven – Tauren Wells

Best Roots Gospel Album

Celebrating Fisk! (The 150th Anniversary Album) – Fisk Jubilee Singers

Beautiful Day – Mark Bishop

20/20 – The Crabb Family

What Christmas Really Means – The Erwins

Something Beautiful – Ernie Haase & Signature Sound

Latin

Best Latin Pop Album or Urban Album

YHLQMDLG – Bad Bunny

Por Primera Vez – Camilo

Mesa Para Dos – Kany García

Pausa – Ricky Martin

3:33 – Debi Nova

Best Latin Rock or Alternative Album

La Conquista del Espacio – Fito Páez

Aura – Bajofondo

MONSTRUO – Cami

Sobrevolando – Cultura Profética

Miss Colombia – Lido Pimienta

Best Regional Mexican Music Album (Including Tejano)

Un Canto por México, Vol. 1 – Natalia Lafourcade

Hecho en México – Alejandro Fernández

La Serenata – Lupita Infante

Bailando Sones y Huampangos con Mariachi Sol De Mexico De Jose Hernandez – Mariachi Sol De Mexico De Jose Hernandez

Ayayay! – Christian Nodal

Best Tropical Latin Album

40 – Grupo Niche

Mi Tumbao – José Alberto "El Ruiseñor"

Infinito – Edwin Bonilla

Sigo Cantando al Amor (Deluxe) – Jorge Celedon & Sergio Luis

Memorias de Navidad – Víctor Manuelle

American roots

Best American Roots Performance

"I Remember Everything" – John Prine

"Colors" – Black Pumas

"Deep in Love" – Bonny Light Horseman

"Short and Sweet" – Brittany Howard

"I'll Be Gone" – Norah Jones & Mavis Staples

Best American Roots Song

"I Remember Everything"

Pat McLaughlin & John Prine, songwriters (John Prine)

"Cabin"

Laura Rogers & Lydia Rogers, songwriters (The Secret Sisters)

"Ceiling to the Floor"

Sierra Hull & Kai Welch, songwriters (Sierra Hull)

"Hometown"

Sarah Jarosz, songwriter (Sarah Jarosz)

"Man Without a Soul"

Tom Overby & Lucinda Williams, songwriters (Lucinda Williams)

Best Americana Album

World on the Ground – Sarah Jarosz

Old Flowers – Courtney Marie Andrews

Terms of Surrender – Hiss Golden Messenger

El Dorado – Marcus King

Good Souls Better Angels – Lucinda Williams

Best Bluegrass Album

Home – Billy Strings

Man on Fire – Danny Barnes

To Live in Two Worlds, Vol. 1 – Thomm Jutz

North Carolina Songbook – Steep Canyon Rangers

The John Hartford Fiddle Tune Project, Vol. 1 – Various Artists

Best Traditional Blues Album

Rawer than Raw – Bobby Rush

All My Dues are Paid – Frank Bey

You Make Me Feel – Don Bryant

That's What I Heard – Robert Cray Band

Cypress Grove – Jimmy "Duck" Holmes

Best Contemporary Blues Album

Have You Lost Your Mind Yet? – Fantastic Negrito

Live at the Paramount – Ruthie Foster Big Band

The Juice – G. Love

Blackbirds – Bettye LaVette

Up and Rolling – North Mississippi Allstars

Best Folk Album

All the Good Times – Gillian Welch & David Rawlings

Bonny Light Horseman – Bonny Light Horseman

Thanks for the Dance – Leonard Cohen

Song for Our Daughter – Laura Marling

Saturn Return – The Secret Sisters

Best Regional Roots Music Album

Atmosphere – New Orleans Nightcrawlers

My Relatives 'nikso' Kowaiks – Black Lodge Singers

Cameron Dupuy and The Cajun Troubadours – Cameron Dupuy And The Cajun Troubadours

Lovely Sunrise – Nā Wai ʽEhā

A Tribute to Al Berard – Sweet Cecilia

Reggae

Best Reggae Album

Got to Be Tough – Toots and the Maytals

Upside Down 2020 – Buju Banton

Higher Place – Skip Marley

It All Comes Black to Love – Maxi Priest

One World – The Wailers

Global music

Best Global Music Album

Twice as Tall – Burna Boy

Fu Chronicles – Antibalas

Agora – Bebel Gilberto

Love Letters – Anoushka Shankar

Amadjar – Tinariwen

Children's

Best Children's Album

All the Ladies – Joanie Leeds

Be a Pain: An Album for Young (and Old) Leaders – Alastair Moock And Friends

I'm an Optimist – Dog On Fleas

Songs for Singin' – The Okee Dokee Brothers

Wild Life – Justin Roberts

Spoken word

Best Spoken Word Album (Includes Poetry, Audio Books & Storytelling)

Blowout: Corrupted Democracy, Rogue State Russia, and the Richest, Most Destructive Industry on Earth – Rachel Maddow

Acid for the Children – A Memoir – Flea

Alex Trebek – The Answer Is... – Ken Jennings

Catch and Kill – Ronan Farrow

Charlotte's Web (E.B. White) – Meryl Streep and Full Cast

Comedy

Best Comedy Album

Black Mitzvah – Tiffany Haddish

I Love Everything – Patton Oswalt

The Pale Tourist – Jim Gaffigan

Paper Tiger – Bill Burr

23 Hours to Kill – Jerry Seinfeld

Musical theater

Best Musical Theater Album

Jagged Little Pill – Kathryn Gallagher, Celia Rose Gooding, Lauren Patten & Elizabeth Stanley, principal soloists; Neal Avron, Pete Ganbarg, Tom Kitt, Michael Parker, Craig Rosen & Vivek J. Tiwary, producers (Glen Ballard & Alanis Morissette, lyricists) (Original Broadway Cast)

Amélie – Audrey Brisson, Chris Jared, Caolan McCarthy & Jez Unwin, principal soloists; Michael Fentiman, Sean Patrick Flahaven, Barnaby Race & Nathan Tysen, producers; Nathan Tysen, lyricist; Daniel Messe, composer & lyricist (Original London Cast)

American Utopia on Broadway – David Byrne, principal soloist; David Byrne, producer (David Byrne, composer & lyricist) (Original Cast)

Little Shop of Horrors – Tammy Blanchard, Jonathan Groff & Tom Alan Robbins, principal soloists; Will Van Dyke, Michael Mayer, Alan Menken & Frank Wolf, producers (Alan Menken, composer; Howard Ashman, lyricist) (The New Off-Broadway Cast)

The Prince of Egypt – Christine Allado, Luke Brady, Alexia Khadime & Liam Tamne, principal soloists; Dominick Amendum & Stephen Schwartz, producers; Stephen Schwartz, composer & lyricist (Original Cast)

Soft Power – Francis Jue, Austin Ku, Alyse Alan Louis & Conrad Ricamora, principal soloists; Matt Stine, producer; David Henry Hwang, lyricist; Jeanine Tesori, composer & lyricist (Original Cast)

Music for visual media

Best Compilation Soundtrack for Visual Media

Jojo Rabbit – Various artists

A Beautiful Day in the Neighborhood – Various artists

Bill & Ted Face the Music – Various artists

Eurovision Song Contest: The Story of Fire Saga – Various artists

Frozen II – Various artists

Best Score Soundtrack for Visual Media

Joker – Hildur Guðnadóttir, composer

Ad Astra – Max Richter, composer

Becoming – Kamasi Washington, composer

1917 – Thomas Newman, composer

Star Wars: The Rise of Skywalker – John Williams, composer

Best Song Written for Visual Media

"No Time to Die" (from No Time to Die)

Billie Eilish O'Connell and Finneas O'Connell (Billie Eilish)

"Beautiful Ghosts" (from Cats)

Andrew Lloyd Webber and Taylor Swift (Taylor Swift)

"Carried Me with You" (from Onward)

Brandi Carlile, Phil Hanseroth and Tim Hanseroth (Brandi Carlile)

"Into the Unknown" (from Frozen II)

Kristen Anderson-Lopez and Robert Lopez (Idina Menzel featuring AURORA)

"Stand Up" (from Harriet)

Joshuah Brian Campbell and Cynthia Erivo (Cynthia Erivo)

Composing/Arranging

Best Instrumental Composition

"Sputnik"

Maria Schneider, composer (Maria Schneider)

"Baby Jack"

Arturo O'Farrill, composer (Arturo O'Farrill & The Afro Latin Jazz Orchestra)

"Be Water II"

Christian Sands, composer (Christian Sands)

"Plumfield"

Alexandre Desplat, composer (Alexandre Desplat)

"Strata"

Remy Le Boeuf, composer (Remy Le Boeuf's Assembly Of Shadows featuring Anna Webber & Eric Miller)

Best Arrangement, Instrumental or A Cappella

"Donna Lee"

John Beasley, arranger (John Beasley)

"Bathroom Dance"

Hildur Guðnadóttir, arranger (Hildur Guðnadóttir)

"Honeymooners"

Remy Le Boeuf, arranger (Remy Le Boeuf's Assembly Of Shadows)

"Lift Every Voice and Sing"

Alvin Chea & Jarrett Johnson, arrangers (Jarrett Johnson Featuring Alvin Chea)

"Uranus: The Magician"

Jeremy Levy, arranger (Jeremy Levy Jazz Orchestra)

Best Arrangement, Instruments and Vocals

"He Won't Hold You"

Jacob Collier, arranger (Jacob Collier featuring Rapsody)

"Asas Fechadas"

John Beasley & Maria Mendes, arrangers (Maria Mendes Featuring John Beasley & Orkest Metropole)

"Desert Song"

Erin Bentlage, Sara Gazarek, Johnaye Kendrick & Amanda Taylor, arrangers (Säje)

"From This Place"

Alan Broadbent & Pat Metheny, arrangers (Pat Metheny featuring Meshell Ndegeocello)

"Slow Burn"

Talia Billig, Nic Hard & Becca Stevens, arrangers (Becca Stevens featuring Jacob Collier, Mark Lettieri, Justin Stanton, Jordan Perlson, Nic Hard, Keita Ogawa, Marcelo Woloski & Nate Werth)

Package

Best Recording Package

Vols. 11 & 12

Doug Cunningham & Jason Noto, art directors (Desert Sessions)

Everyday Life

Pilar Zeta, art director (Coldplay)

Funeral

Kyle Goen, art director (Lil Wayne)

Healer

Julian Gross & Hannah Hooper, art directors (Grouplove)

On Circles

Jordan Butcher, art director (Caspian)

Best Boxed or Special Limited Edition Package

Ode to Joy

Lawrence Azerrad & Jeff Tweedy, art directors (Wilco)

Flaming Pie (Collector's Edition)

Linn Wie Andersen, Simon Earith, Paul McCartney & James Musgrave, art directors (Paul McCartney)

Giants Stadium 1987, 1989, 1991

Lisa Glines & Doran Tyson, art directors (Grateful Dead)

Mode

Jeff Schulz, art director (Depeche Mode)

The Story of Ghostly International

Michael Cina & Molly Smith, art directors (Various Artists)

Notes

Best Album Notes

Dead Man's Pop

Bob Mehr, album notes writer (The Replacements)

At The Minstrel Show: Minstrel Routines From The Studio, 1894-1926

Tim Brooks, album notes writer (Various Artists)

The Bakersfield Sound: Country Music Capital Of The West, 1940-1974

Scott B. Bomar, album notes writer (Various Artists)

The Missing Link: How Gus Haenschen Got Us From Joplin To Jazz And Shaped The Music Business

Colin Hancock, album notes writer (Various Artists)

Out Of A Clear Blue Sky

David Sager, album notes writer (Nat Brusiloff)

Historical

Best Historical Album

It's Such a Good Feeling: The Best of Mister Rogers

Lee Lodyga & Cheryl Pawelski, compilation producers; Michael Graves, mastering engineer (Mister Rogers)

Celebrated, 1895–1896

Meagan Hennessey & Richard Martin, compilation producers; Richard Martin, mastering engineer (Unique Quartette)

Hittin' the Ramp: The Early Years (1936–1943)

Zev Feldman, Will Friedwald & George Klabin, compilation producers; Matthew Lutthans, mastering engineer (Nat King Cole)

1999 Super Deluxe Edition

Michael Howe, compilation producer; Bernie Grundman, mastering engineer (Prince)

Souvenir

Carolyn Agger, compilation producer; Miles Showell, mastering engineer (Orchestral Manoeuvres In The Dark)

Throw Down Your Heart: The Complete Africa Sessions

Béla Fleck, compilation producer; Richard Dodd, mastering engineer (Béla Fleck)

Production, non-classical

Best Engineered Album, Non-Classical

Hyperspace

Drew Brown, Andrew Coleman, Shawn Everett, Serban Ghenea, David Greenbaum, Jaycen Joshua, Beck Hansen & Mike Larson, engineers; Randy Merrill, mastering engineer (Beck)

Black Hole Rainbow

Shawn Everett & Ivan Wayman, engineers; Bob Ludwig, mastering engineer (Devon Gilfillian)

Expectations

Gary Paczosa & Mike Robinson, engineers; Paul Blakemore, mastering engineer (Katie Pruitt)

Jaime

Shawn Everett, engineer; Shawn Everett, mastering engineer (Brittany Howard)

25 Trips

Shani Gandhi & Gary Paczosa, engineers; Adam Grover, mastering engineer (Sierra Hull)

Producer of the Year, Non-Classical

Andrew Watt

"Break My Heart" (Dua Lipa)

"Me and My Guitar" (A Boogie wit da Hoodie)

"Midnight Sky" (Miley Cyrus)

"Old Me" (5 Seconds of Summer)

"Ordinary Man" (Ozzy Osbourne featuring Elton John)

"Take What You Want" (Post Malone featuring Ozzy Osbourne & Travis Scott)

"Under The Graveyard" (Ozzy Osbourne)

Jack Antonoff

"August" (Taylor Swift)

Gaslighter (The Chicks)

"Holy Terrain" (FKA Twigs featuring Future)

"Mirrorball" (Taylor Swift)

"This Is Me Trying" (Taylor Swift)

"Together" (Sia)

Dan Auerbach

Cypress Grove (Jimmy "Duck" Holmes)

El Dorado (Marcus King)

Is Thomas Callaway (CeeLo Green)

Singing for My Supper (Early James)

Solid Gold Sounds (Kendell Marvel)

Years (John Anderson)

Dave Cobb

"Backbone" (Kaleo)

The Balladeer (Lori McKenna)

Boneshaker (Airbourne)

Down Home Christmas (Oak Ridge Boys)

The Highwomen (The Highwomen)

"I Remember Everything" (John Prine)

Reunions (Jason Isbell And The 400 Unit)

"The Spark" (William Prince)

"You're Still the One" (Teddy Swims)

Flying Lotus

It Is What It Is (Thundercat)

Best Remixed Recording

"Roses (Imanbek Remix)"

Imanbek Zeikenov, remixer (SAINt JHN)

"Do You Ever (RAC Mix)"

RAC, remixer (Phil Good)

"Imaginary Friends (Morgan Page Remix)"

Morgan Page, remixer (Deadmau5)

"Praying for You (Louie Vega Main Remix)"

Louie Vega, remixer (Jasper Street Co.)

"Young & Alive (Bazzi vs. Haywyre Remix)"

Haywyre, remixer (Bazzi)

Production, immersive audio

Best Immersive Audio Album

The judging for this category was postponed.

Production, classical

Best Engineered Album, Classical

"Shostakovich: Symphony No. 13, 'Babi Yar'"

David Frost & Charlie Post, engineers; Silas Brown, mastering engineer (Riccardo Muti & Chicago Symphony Orchestra)

"Danielpour: The Passion of Yeshua"

Bernd Gottinger, engineer (JoAnn Falletta, James K. Bass, Adam Luebke, UCLA Chamber Singers, Buffalo Philharmonic Orchestra & Buffalo Philharmonic Chorus)

"Gershwin: Porgy and Bess"

David Frost & John Kerswell, engineers; Silas Brown, mastering engineer (David Robertson, Eric Owens, Angel Blue, Metropolitan Opera Orchestra & Chorus)

"Hynes: Fields"

Kyle Pyke, engineer; Jesse Lewis & Kyle Pyke, mastering engineers (Devonté Hynes & Third Coast Percussion)

"Ives: Complete Symphonies"

Alexander Lipay & Dmitriy Lipay, engineers; Alexander Lipay & Dmitriy Lipay, mastering engineers (Gustavo Dudamel & Los Angeles Philharmonic)

Producer of the Year, Classical

David Frost

Beethoven: Piano Sonatas, Vol. 9 (Jonathan Biss)

Gershwin: Porgy And Bess (David Robertson, Eric Owens, Angel Blue, Metropolitan Opera Orchestra & Chorus)

Gluck: Orphée & Eurydice (Harry Bicket, Dmitry Korchak, Andriana Chuchman, Lauren Snouffer, Lyric Opera Of Chicago Orchestra & Chorus)

Holst: The Planets; The Perfect Fool (Michael Stern & Kansas City Symphony)

Muhly: Marnie (Robert Spano, Isabel Leonard, Christopher Maltman, Denyce Graves, Iestyn Davies, Janis Kelly, Metropolitan Opera Orchestra & Chorus)

Schubert: Piano Sonatas, D. 845, D. 894, D. 958, D. 960 (Shai Wosner)

Shostakovich: Symphony No. 13, 'Babi Yar' (Riccardo Muti, Alexey Tikhomirov, Chicago Symphony Orchestra & Chorus)

Blanton Alspaugh

Aspects Of America - Pulitzer Edition (Carlos Kalmar & Oregon Symphony)

Blessed Art Thou Among Women (Peter Jermihov, Katya Lukianov & PaTRAM Institute Singers)

Dvořák: Symphony No. 9; Copland: Billy The Kid (Gianandrea Noseda & National Symphony Orchestra)

Glass: The Fall Of The House Of Usher (Joseph Li, Nicholas Nestorak, Madison Leonard, Jonas Hacker, Ben Edquist, Matthew Adam Fleisher & Wolf Trap Opera)

Kahane: Emergency Shelter Intake Form (Alicia Hall Moran, Gabriel Kahane, Carlos Kalmar & Oregon Symphony)

Kastalsky: Requiem (Leonard Slatkin, Steven Fox, Benedict Sheehan, Charles Bruffy, Cathedral Choral Society, The Clarion Choir, The Saint Tikhon Choir, Kansas City Chorale & Orchestra Of St. Luke's)

Massenet: Thaïs (Andrew Davis, Joshua Hopkins, Andrew Staples, Erin Wall, Toronto Mendelssohn Choir & Toronto Symphony Orchestra)

Smyth: The Prison (Sarah Brailey, Dashon Burton, James Blachly & Experiential Orchestra)

Woolf, L.P.: Fire And Flood (Julian Wachner, Matt Haimovitz & Choir Of Trinity Wall Street)

Jesse Lewis

Gunn: The Ascendant (Roomful Of Teeth)

Harrison, M.: Just Constellations (Roomful Of Teeth)

Her Own Wings (Willamette Valley Chamber Music Festival)

Hynes: Fields (Devonté Hynes & Third Coast Percussion)

Lang, D.: Love Fail (Beth Willer & Lorelei Ensemble)

Mazzoli: Proving Up (Christopher Rountree, Opera Omaha & International Contemporary Ensemble)

Sharlat: Spare The Rod! (NOW Ensemble)

Soul House (Hub New Music)

Wherein Lies The Good (The Westerlies)

Dmitry Lipay

Adams, J.: Must The Devil Have All The Good Tunes? (Yuja Wang, Gustavo Dudamel & Los Angeles Philharmonic)

Cipullo: The Parting (Alastair Willis, Laura Strickling, Catherine Cook, Michael Mayes & Music Of Remembrance)

Ives: Complete Symphonies (Gustavo Dudamel & Los Angeles Philharmonic)

LA Phil 100 - The Los Angeles Philharmonic Centennial Birthday Gala (Gustavo Dudamel & Los Angeles Philharmonic)

Langgaard: Prelude To Antichrist; Strauss: An Alpine Symphony (Thomas Dausgaard & Seattle Symphony Orchestra)

Nielsen: Symphony No. 1 & Symphony No. 2, 'The Four Temperaments' (Thomas Dausgaard & Seattle Symphony)

Elaine Martone

Bound For The Promised Land (Robert M. Franklin, Steven Darsey, Jessye Norman & Taylor Branch)

Dawn (Shachar Israel)

Gandolfi, Prior & Oliverio: Orchestral Works (Robert Spano & Atlanta Symphony Orchestra)

Singing In The Dead Of Night (Eighth Blackbird)

Whitacre: The Sacred Veil (Eric Whitacre, Grant Gershon & Los Angeles Master Chorale)

Classical

Best Orchestral Performance

"Ives: Complete Symphonies"

Gustavo Dudamel, conductor (Los Angeles Philharmonic)

"Aspects of America - Pulitzer Edition"

Carlos Kalmar, conductor (Oregon Symphony)

"Concurrence"

Daníel Bjarnason, conductor (Iceland Symphony Orchestra)

"Copland: Symphony No. 3"

Michael Tilson Thomas, conductor (San Francisco Symphony)

"Lutosławski: Symphonies No. 2 & 3"

Hannu Lintu, conductor (Finnish Radio Symphony Orchestra)

Best Opera Recording

"Gershwin: Porgy and Bess"

David Robertson, conductor; Angel Blue & Eric Owens; David Frost, producer (The Metropolitan Opera Orchestra; The Metropolitan Opera Chorus)

"Dello Joio: The Trial at Rouen"

Gil Rose, conductor; Heather Buck & Stephen Powell; Gil Rose, producer (Boston Modern Orchestra Project; Odyssey Opera Chorus)

"Floyd, C: Prince of Players"

William Boggs, conductor; Keith Phares & Kate Royal; Blanton Alspaugh, producer (Milwaukee Symphony Orchestra; Florentine Opera Chorus)

"Handel: Agrippina"

Maxim Emelyanychev, conductor; Joyce DiDonato; Daniel Zalay, producer (Il Pomo D'Oro)

"Zemlinsky: Der Zwerg"

Donald Runnicles, conductor; David Butt Philip & Elena Tsallagova; Peter Ghirardini & Erwin Stürzer, producers (Orchestra Of The Deutsche Oper Berlin; Chorus Of The Deutsche Oper Berlin)

Best Choral Performance

"Danielpour: The Passion of Yessuah"

JoAnn Falletta, conductor; James K. Bass & Adam Luebke, chorus masters (James K. Bass, J'Nai Bridges, Timothy Fallon, Kenneth Overton, Hila Plitmann & Matthew Worth; Buffalo Philharmonic Orchestra; Buffalo Philharmonic Chorus & UCLA Chamber Singers)

"Carthage"

Donald Nally, conductor (The Crossing)

"Kastalski: Requiem"

Leonard Slatkin, conductor; Charles Bruffy, Steven Fox & Benedict Sheehan, chorus masters (Joseph Charles Beutel & Anna Dennis; Orchestra Of St. Luke's; Cathedral Choral Society, The Clarion Choir, Kansas City Chorale & The Saint Tikhon Choir)

"Moravec: Sanctuary Road"

Kent Tritle, conductor (Joshua Blue, Raehann Bryce-Davis, Dashon Burton, Malcolm J. Merriweather & Laquita Mitchell; Oratorio Society Of New York Orchestra; Oratorio Society Of New York Chorus)

"Once Upon a Time"

Matthew Guard, conductor (Sarah Walker; Skylark Vocal Ensemble)

Best Chamber Music/Small Ensemble Performance

"Contemporary Voices" – Pacifica Quartet

"Healing Modes" – Brooklyn Rider

"Hearne, T,: Place" – Ted Hearne, Steven Bradshaw, Sophia Byrd, Josephine Lee, Isaiah Robinson, Sol Ruiz, Ayanna Woods & Place Orchestra

"Hynes: Fields" – Devonté Hynes & Third Coast Percussion

"The Schumann Quartets" – Dover Quartet

Best Classical Instrumental Solo

"Theofanidis: Concerto for Viola and Chamber Orchestra"

Richard O'Neill; David Alan Miller, conductor (Albany Symphony)

"Adés: Concerto for Piano and Orchestra"

Kirill Gerstein; Thomas Adès, conductor (Boston Symphony Orchestra)

"Beethoven: Complete Piano Sonatas"

Igor Levit

"Bohemian Tales"

Augustin Hadelich; Jakub Hrůša, conductor (Charles Owen; Symphonieorchester Des Bayerischen Rundfunks)

"Destination Rachmaninov - Arrival"

Daniil Trifonov; Yannick Nézet-Séguin, conductor (The Philadelphia Orchestra)

Best Classical Solo Vocal Album

"Smyth: The Prison"

Sarah Brailey & Dashon Burton; James Blachly, conductor (Experiential Chorus; Experiential Orchestra)

"American Composers at Play - William Bolcom, Ricky Ian Gordon, Lori Laitman, John Musto"

Stephen Powell (Attacca Quartet, William Bolcom, Ricky Ian Gordon, Lori Laitman, John Musto, Charles Neidich & Jason Vieaux)

"Clairières - Songs by Lili & Nadia Boulanger"

Nicholas Phan; Myra Huang, accompanist

"Farinelli"

Cecilia Bartoli; Giovanni Antonini, conductor (Il Giardino Armonico)

"A Lad's Love"

Brian Giebler; Steven McGhee, accompanist (Katie Hyun, Michael Katz, Jessica Meyer, Reginald Mobley & Ben Russell)

Best Classical Compendium

"Thomas, M.T.: From the Diary of Anne Frank & Meditations on Rilke"

Isabel Leonard; Michael Tilson Thomas, conductor; Jack Vad, producer

"Adès Conducts Adès"

Mark Stone & Christianne Stotijn; Thomas Adès, conductor; Nick Squire, producer

"Saariaho: Graal Théâtre; Circle Map, Neiges, Vers Toi Qui Es Si Loin"

Clément Mao-Takacs, conductor; Hans Kipfer, producer

"Serebrier: Symphonic Bach Variations; Laments and Hallelujahs; Flute Concerto"

José Serebrier, conductor; Jens Braun, producer

"Woolf, L.P.: Fire and Blood"

Matt Haimovitz; Julian Wachner, conductor; Blanton Alspaugh, producer

Best Contemporary Classical Composition

"Rouse: Symphony No. 5"

Christopher Rouse, composer (Giancarlo Guerrero & Nashville Symphony)

"Adès: Concerto for Piano and Orchestra"

Thomas Adès, composer (Kirill Gerstein, Thomas Adès & Boston Symphony Orchestra)

"Danielpour: The Passion of Yeshua"

Richard Danielpour, composer (JoAnn Falletta, James K. Bass, Adam Luebke, UCLA Chamber Singers, Buffalo Philharmonic Orchestra & Buffalo Philharmonic Chorus)

"Floyd, C.: Prince of Players"

Carlisle Floyd, composer (William Boggs, Kate Royal, Keith Phares, Florentine Opera Chorus & Milwaukee Symphony Orchestra)

"Hearne, T.: Place"

Ted Hearne, composer (Ted Hearne, Steven Bradshaw, Sophia Byrd, Josephine Lee, Isaiah Robinson, Sol Ruiz, Ayanna Woods & Place Orchestra)

Music video/film

Best Music Video

"Brown Skin Girl" �� Beyoncé, Saint Jhn & Wizkid Featuring Blue Ivy Carter

Beyoncé Knowles-Carter & Jenn Nkiru, video directors; Lauren Baker, Astrid Edwards, Nathan Scherrer & Erinn Williams, video producers

"Life Is Good" – Future Featuring Drake

Julien Christian Lutz, video director; Harv Glazer, video producer

"Lockdown" – Anderson .Paak

Dave Meyers, video director; Nathan Scherrer, video producer

"Adore You" – Harry Styles

Dave Meyers, video director; Nathan Scherrer, video producer

"Goliath" – Woodkid

Yoann Lemoine, video director; Horace de Gunzbourg, video producer

Best Music Film

Linda Ronstadt: The Sound of My Voice – Linda Ronstadt

Rob Epstein & Jeffrey Friedman, video directors; Michele Farinola & James Keach, video producers

Beastie Boys Story – Beastie Boys

Spike Jonze, video director; Amanda Adelson, Jason Baum & Spike Jonze, video producers

Black Is King – Beyoncé

Emmanuel Adjei, Blitz Bazawule, Beyoncé Knowles Carter & Kwasi Fordjour, video directors; Lauren Baker, Akin Omotoso, Nathan Scherrer, Jeremy Sullivan & Erinn Williams, video producers

We Are Freestyle Love Supreme – Freestyle Love Supreme

Andrew Fried, video director; Andrew Fried, Jill Furman, Thomas Kail, Lin-Manuel Miranda, Sarina Roma, Jenny Steingart & Jon Steingart, video producers

That Little Ol' Band From Texas – ZZ Top

Sam Dunn, video director; Scot McFadyen, video producer

#2021 #grammy awards

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blackkudos · 4 years

Text

Johnny Guitar Watson

John Watson Jr. (February 3, 1935 – May 17, 1996), known professionally as Johnny "Guitar" Watson, was an American blues, soul, and funk musician and singer-songwriter. A flamboyant showman and electric guitarist in the style of T-Bone Walker, Watson recorded throughout the 1950s and 1960s with some success. His creative reinvention in the 1970s with funk overtones, saw Watson have hits with "Ain't That a Bitch" and "Superman Lover". His successful recording career spanned forty years, with his highest chart appearance being the 1977 song "A Real Mother For Ya".

Early life

Watson was born in Houston, Texas. His father John Sr. was a pianist, and taught his son the instrument. But young Watson was immediately attracted to the sound of the guitar, in particular the electric guitar as played by T-Bone Walker and Clarence "Gatemouth" Brown.

His grandfather, a preacher, was also musical. "My grandfather used to sing while he'd play guitar in church, man," Watson reflected many years later. When Johnny was 11, his grandfather offered to give him a guitar if, and only if, the boy didn't play any of the "devil's music". His parents separated in 1950, when he was 15. His mother moved to Los Angeles, and took Watson with her.

Early career

In his new city, Watson won several local talent shows. This led to his employment, while still a teenager, with jump blues-style bands such as Chuck Higgins's Mellotones and Amos Milburn. He worked as a vocalist, pianist, and guitarist. He quickly made a name for himself in the African-American juke joints of the West Coast, where he first recorded for Federal Records in 1952. He was billed as Young John Watson until 1954. That year, he saw the Joan Crawford film Johnny Guitar, and a new stage name was born.

In 1953, Shorty Rogers had Watson as part of his Orchestra perform for the famed ninth Cavalcade of Jazz concert held at Wrigley Field in Los Angeles which was produced by Leon Hefflin, Sr. on June 7. Also featured that day were Roy Brown and his Orchestra, Don Tosti and His Mexican Jazzmen, Earl Bostic, Nat "King" Cole, and Louis Armstrong and his All Stars with Velma Middleton.

Watson affected a swaggering, yet humorous personality, indulging a taste for flashy clothes and wild showmanship on stage. His "attacking" style of playing, without a plectrum, resulted in him often needing to change the strings on his guitar once or twice a show, because he "stressified on them" so much, as he put it.Watson's ferocious "Space Guitar" single of 1954 pioneered guitar feedback and reverb. Watson would later influence a subsequent generation of guitarists. His song "Gangster of Love" was first released on Keen Records in 1957. It did not appear in the charts at the time, but was later re-recorded and became a hit in 1978, becoming Watson's "most famous song".

He toured and recorded with his friend Larry Williams, as well as Little Richard, Don and Dewey, The Olympics, Johnny Otis and, in the mid-1970s with David Axelrod. In 1975 he was a guest performer on two tracks (flambe vocals on the out-choruses of "San Ber'dino" and "Andy") on the Frank Zappa album One Size Fits All. He also played with Herb Alpert and George Duke. But as the popularity of blues declined and the era of soul music dawned in the 1960s, Watson transformed himself from southern blues singer with pompadour into urban soul singer in a pimp hat. His new style was emphatic – wearing the gold teeth, broad-brimmed hats, flashy suits, fashionable outsized sunglasses and ostentatious jewelry.

He modified his music accordingly. His albums Ain't That a Bitch (included funk blues singles "Superman Lover") and Real Mother For Ya(1977) fused funk and blues. Watson had album Love Jones in 1980. Reviewing Watson's 1977 LP A Real Mother for Ya, Robert Christgau wrote in Christgau's Record Guide: Rock Albums of the Seventies (1981): "Watson has been perfecting his own brand of easy-listening funk for years, and this time he's finally gone into the studio with his guitar Freddie and his drummer Emry and a bunch of electric keyboards and come up with a whole album of good stuff. The riff-based tracks go on too long but go down easy and the lyrics have an edge. Granted, Watson can't match George Benson's chops, but this is dance music, chops would just get in the way. And I prefer his Lou-Rawls-without-pipes to Benson's Stevie-Wonder-ditto."

Later career

The shooting death of his friend Larry Williams in 1980 and other personal setbacks led to Watson briefly withdrawing from the spotlight in the 1980s. "I got caught up with the wrong people doing the wrong things", he was quoted as saying by The New York Times.

The release of his album Bow Wow in 1994 brought Watson more visibility and chart success than he had ever known. The album received a Grammy Award nomination.

In a 1994 interview with David Ritz for liner notes to The Funk Anthology, Watson was asked if his 1980 song "Telephone Bill" anticipated rap music. "Anticipated?" Watson replied. "I damn well invented it!... And I wasn't the only one. Talking rhyming lyrics to a groove is something you'd hear in the clubs everywhere from Macon to Memphis. Man, talking has always been the name of the game. When I sing, I'm talking in melody. When I play, I'm talking with my guitar. I may be talking trash, baby, but I'm talking".

In 1995, he was given a Pioneer Award from the Rhythm and Blues Foundation in a presentation and performance ceremony at the Hollywood Palladium. In February 1995, Watson was interviewed by Tomcat Mahoney for his Brooklyn, New York-based blues radio show The Other Half. Watson discussed at length his influences and those he had influenced, referencing Guitar Slim, Jimi Hendrix, Frank Zappa and Stevie Ray Vaughan. He made a special guest appearance on Bo Diddley's 1996 album A Man Amongst Men, playing vocoder on the track "I Can't Stand It" and singing on the track "Bo Diddley Is Crazy".

His music was sampled by Redman (who based his "Sooperman Luva" saga on Watson's "Superman Lover" song), Ice Cube, Eazy-E, Snoop Dogg, Dr. Dre, Jay-Z, and Mary J. Blige. Snoop Dogg and Dr. Dre borrowed P-Funk's adaptation of Watson's catchphrase "Bow wow wow yippi-yo yippi-yay" for Snoop's hit Who Am I? (What's My Name?). Johnny also played the guitar on the G-Funk remix of Dr. Dre's Grammy award winning single Let Me Ride in 1993.

"Johnny was always aware of what was going on around him", recalled Susan Maier Watson (later to become the musician's wife) in an interview printed in the liner notes to the album The Very Best of Johnny 'Guitar' Watson. "He was proud that he could change with the times and not get stuck in the past".

Death and material loss

Watson died of a heart attack on May 17, 1996, collapsing on stage while on tour in Yokohama, Japan. His remains were brought home for interment at Forest Lawn Memorial Park Cemetery in Glendale, California and buried in the Great Mausoleum, Sanctuary of Enduring Honor, Holly Terrace entrance.

On June 25, 2019, The New York Times Magazine listed Johnny "Guitar" Watson among hundreds of artists whose material was reportedly destroyed in the 2008 Universal fire.

Influence

Watson, a recognized master of the Fender Stratocaster guitar, has been compared to Jimi Hendrix and allegedly became irritated when asked about this comparison, supposedly stating: "I used to play the guitar standing on my hands. I had a 150-foot cord and I could get on top of the auditorium – those things Jimi Hendrix was doing, I started that shit."

Frank Zappa stated that "Watson's 1956 song 'Three Hours Past Midnight' inspired me to become a guitarist". Watson contributed to Zappa's albums One Size Fits All (1975), Them or Us (1984), Thing-Fish (1984) and Frank Zappa Meets the Mothers of Prevention (1985). Zappa also named "Three Hours Past Midnight" his favorite record in a 1979 interview.

Steve Miller not only did a cover of "Gangster of Love" on his 1968 album Sailor (substituting "Is your name "Stevie 'Guitar' Miller?" for the same line with Watson's name), he made a reference to it in his 1969 song "Space Cowboy" ("And you know that I'm a gangster of love") as well as in his 1973 hit song "The Joker" ("Some call me the gangster of love"). Miller had also borrowed the sobriquet for his own "The Gangster Is Back", on his 1971 album Rock Love.

Jimmie Vaughan, brother of Stevie Ray Vaughan, is quoted as saying: "When my brother Stevie and I were growing up in Dallas, we idolized very few guitarists. We were highly selective and highly critical. Johnny 'Guitar' Watson was at the top of the list, along with Freddie, Albert and B.B. King. Watson influenced Jimi Hendrix, Sly Stone, Etta James, and Stevie Ray Vaughan.

Bobby Womack said: "Music-wise, he (Watson) was the most dangerous gunslinger out there, even when others made a lot of noise in the charts ～　I'm thinking of Sly Stone or George Clinton".

Etta James stated, in an interview at the 2006 Rochester International Jazz Festival: "Johnny 'Guitar' Watson... Just one of my favorite singers of all time. I first met him when we were both on the road with Johnny Otis in the '50s, when I was a teenager. We traveled the country in a car together so I would hear him sing every night. His singing style was the one I took on when I was 17 – people used to call me the female Johnny 'Guitar' Watson and him the male Etta James... He knew what the blues was all about...".

James is also quoted as saying: "I got everything from Johnny... He was my main model... My whole ballad style comes from my imitating Johnny's style... He was the baddest and the best... Johnny Guitar Watson was not just a guitarist: the man was a master musician. He could call out charts; he could write a beautiful melody or a nasty groove at the drop of a hat; he could lay on the harmonies and he could come up with a whole sound." Pearl Jam recorded a song entitled "Johnny Guitar", about Watson, for their 2009 album Backspacer.

Watson's 1976 song "Superman Lover" features on the soundtrack of the video game Grand Theft Auto V.

#02/03 #05/17

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himitsu-luna · 3 years

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✨ Your kpop group ship (WayV) - @madeofsaltiness

Hiii pretty pretty!! Here is your ship! I hope you like it!! ✨🧡

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>> Your group: WayV

>> Main relationships

Your roommate: Hendery

Your best friend: Xiaojun/ Ten

The one who feel like a real brother: Lucas/ Yangyang

The ones who take care of you the most: Xiaojun/ Kun

Your practice buddies: Ten/ Winwin

>> Your life with WayV

- ° Kun

Kun is a really good friend to you

As the leader of the group, he takes good care of you and tries his best to make you feel comfortable

He is really good at reading your emotions, so you don't really need to express them to him. You know you're being understood when Kun gives you his reassuring smile

You and Kun work on some little music projects. You pair up to compose nice and beautiful songs together. He compose the music, and you write the lyrics

He learned how to make mexican food, to cook for you

- ° Ten

Ten and you are good friends since trainee days

He likes your vibes and energy, and he enjoys to spend his time with you

In addition, your passion for dancing brought you closer.

When you practice together, it doesn't feel like an obligation of your jobs. You genuinely have lots of fun while dancing

You have this bickering/ teasing relationship, that makes everyone laugh

But you care a lot for each other, and are supportive best friends

- ° Winwin

Winwin and you are practice buddies

He took a while to approach you, but now he feels that he resonates to you a lot

He gladly teaches you his hypnotizing traditional chinese dance, since you love dancing so much

He often asks you for advice, because he knows you're not going to make a big deal with everything, and he knows you are understanding

You two also play pokémon together! And all kind of pokémon games!

- ° Lucas

Lucas and you are the same age, and the members joke a lot about you two looking like twins

He is equally stubborn, and you two sometimes argue, in a really light and playful way, about some random things.

At the end, you always win

Lucas compliments you a lot, and he always gives you positive comments and energy

You give him a lot of emotional support and encouragement, that he needs sometimes too

You two watch Kun cooking and eat all the food

- ° Xiaojun

Another one from your line!

If you and Lucas are similar in appearance, you and Xiaojun are similar in personality

Xiaojun loves loves your company

He pays a lot of attention to you and he is pretty sensitive, so he learned how to read your emotions

He helps you a lot in so many aspects

All of this because he knows you would do the same for him

You two like to go shopping together, and you end up spending a lot of time at book shops

You watch together all sort of things, not fearing any judgment from each other

- ° Hendery

Hendery is the best roommate you could have

He follows the mood, and depending on your energy, he can be funny and playful, or quiet and calm

Hendery brings to your shared room a lot of cactus to bring life to it

He also buys some beige decorations, because he knows you like beige

He helps you a lot with your chinese, and he is an amazing teacher

- ° Yangyang

You have good laughs and lots of fun with Yangyang

You fully release your playful side when you're with him

You two have a strong fellowship, and he feels like a real younger brother

He is curious about all of your trips and all the languages you know

>> Other random things

Bella, Louis and Leon, they all love you so much! All the members can see you have some special connection with animals, and they are lowkey jealous of it xD

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

#wayv #kpop ships #your kpop group ship #personality ships #submission

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plurdledgabbleblotchits · 4 years

Link

We’d love you to get rid of your Sheriff and law enforcement . We don’t need no rules!

Alvord-Stiles Gang (1899-1904) – Led by two ex-lawmen, Burton Alvord and Billy Stiles, this gang of train robbers operated in Arizona Territory at the turn of the century.

Archer Gang (1880s) – Much like the Reno Brothers who had operated two decades earlier, the Archer brothers — Thomas, Mort, John, and Sam, raided Orange and Marion Counties in Indiana for several decades.

Sam Bass Gang (1877-1878) – Led by Sam Bass, this gang robbed trains and banks in Texas. For South Dakota and Nebraska robberies, see the Black Hills Bandits.

Billy the Kid’s Gang, aka: The Rustlers (1876-1880) – Led by Billy the Kid, this gang formed out of the conflict of the Lincoln County War in New Mexico.

Black Hills Bandits (1876-1877) – Comprised of Sam Bass, Joel Collins, and four other men, they robbed stagecoaches in the Deadwood, South Dakota area and pulled off the Big Springs train robbery in Nebraska.

Blonger Brothers (1890’s-1922) – Louis H. “The Fixer” Blonger led one of the longest-running confidence rings in the American West.

Bummers Gang (1855-1860) – Operating in Denver, Colorado, the Bummers Gang began “raiding” the town in the mid-1850s.

Burrow Gang (1887-1890) – Reuben “Rube” Burrow, along with his brother Jim, and other members began to rob trains after Rube’s crops had failed in Texas.

Clanton Gang, aka: The Cowboys (1870s) – The Clanton family and their ranch hands were a loosely organized gang of outlaws who operated along the Mexican border of Arizona, stealing cattle, robbing stagecoaches, ambushing teamsters, and committing murder.

Cook Gang (1894) – Led by Bill Cook and Cherokee Bill, these outlaws terrorized Indian Territory (Oklahoma) in 1894. Ruthless, they shot anyone who got in their way.

Brack Cornett Gang – See Bill Whitley Gang

Dalton Gang (1891-1892) – Led by brothers Bob and Grat Dalton, the Dalton Gang robbed banks and trains throughout Kansas and Oklahoma until they were killed in the Coffeyville, Kansas Raid.

Daly Gang (1862-1864) – For two years the Daly Gang terrorized the town of Aurora, Nevada.

Dodge City Gang (1879-1881) – In the summer of 1879, a gang of desperadoes known as the Dodge City Gang masqueraded as lawmen in Las Vegas, New Mexico.

Doolin-Dalton Gang, aka: Oklahombres, the Wild Bunch (1892-1895) – Led by Bill Doolin, the gang specialized in robbing banks, stagecoaches and trains in Arkansas, Oklahoma, and Kansas.

Espinosa Gang – Bitter at the killing of six family members during the Mexican-American War, the Espinosas took their revenge on Colorado residents and travelers, murdering them viciously.

The Five Joaquins (1850-1853) – The Five Joaquins were said to be responsible for the majority of cattle rustling, robberies, and murders that were committed in the Mother Lode area of the Sierra Nevadas between 1850 and 1853.

Fleagle Gang in the Newspaper

Fleagle Gang (1920s) – The Fleagle Gang robbed banks and committed murder in Kansas, Colorado, and California during the 1920s. They were found and executed or killed after robbing the First National Bank in Lamar, Colorado.

Flores-Daniel Gang (1856-1857) – Led by Juan Flores and Pancho Daniel, the gang raided southern California, stealing horses, cattle, and robbing travelers along the roadways, sometimes leaving their victims dead.

High Fives Gang (1890s) – Also referred to as the Christian Gang, led by “Black Jack” Will Christian and his brother, Bob, from Oklahoma, the gang operated in New Mexico and Arizona after the Christian brothers escaped from an Oklahoma jail in 1895.

Hole-in-the-Wall-Gang – Active in the 1880s-1890s in the Hole-in-the-Wall Pass of the Big Horn Mountains in Wyoming, the Hole-in-the-Wall Gang was not one organized gang of outlaws, but rather, was made up of several separate groups and individuals who made their hideouts within the pass in Johnson County, Wyoming.

Innocents Gang – The Innocents were an alleged gang of outlaw road agents in Montana Territory who operated during the gold rush of the 1860s, preying on shipments and travelers carrying gold between Bannack and Virginia City.

James Gang (1879-1882) – Three years after the demise of the James-Younger Gang, when the Youngers were arrested in Northfield, Minnesota, Jesse James put together another group to continue on with his criminal career. The James Gang lasted from 1879 to 1882, when Jesse was killed by Bob Ford on April 3, 1882.

James-Younger Gang (1866-1882) – After the Civil War, the James and Younger brothers hooked up, robbing banks, trains, and stagecoaches for ten years, becoming the most famous outlaw gang in America’s history.

Jennings Gang (1897) – This short-lived gang operated only a few months making several failed train robbery attempts in Oklahoma in 1897 before all were arrested or killed.

Jesse Evans Gang – The Boys (1872-1879) – Lead by Jesse Evans, this gang was actively involved in cattle rustling and armed robbery in New Mexico in the early 1870s.

Ketchum Gang (1896-1899) – Made up of a revolving list of members, the Ketchum Gang was led by Black Jack Ketchum. The gang robbed retail businesses, post offices, and trains in New Mexico.

John Kinney Gang (1870’s-1883) – Also known as the Rio Grande Posse, the Kinney Gang were successful cattle rustlers, robbers, and hired gunmen in New Mexico.

Lee Gang (1885) – In the mid-1880s, Cooke County, Texas, on the northern border of the Lone Star State, and the Chickasaw Nation just north in Indian Territory, were plagued by a gang of horse and livestock thieves led by James Lee and his brothers, Tom and Pink.

McCanles Gang – Led by David McCanles (or by some accounts, McCandless), this group of men were allegedly wanted for robbing banks and trains, cattle rustling, murder, and horse theft in the early 1860s.

McCarty Gang (1892-1893) – The McCarty Gang was run by Tom McCarty, who was one of the first to introduce Butch Cassidy to the life of banditry. The gang robbed banks until several members were killed.

Mes Gang – This bunch of primarily Hispanic outlaws and gunmen, were a rival of the John Kinney Gang, both operating out of New Mexico.

Musgrove Gang (1867-1868) – A gang of horse thieves and cattle rustlers who operated throughout Southern Wyoming and Northern Colorado in the late 1860s.

Oklahombres – See Doolin-Dalton Gang

Henry Plummer Gang – See the Innocents

Red Jack Gang – Led by “Red Jack” Almer, also known as Jack Averill, this gang preyed on Arizona stagecoaches during the early 1880s, particularly along the San Pedro River.

Reno Gang (1866-1868) – Four of the five Reno Brothers terrorized the state of Indiana for two years before they tracked down and hanged by the Southern Indiana Vigilance Committee in 1868.

Reynolds Gang (1863-1864) – A group of Confederate sympathizers that rampaged the South Park, Colorado area with the intention of raising money for the Confederate government.

Rogers Brothers Gang (1890s) – The Rogers Brothers Gang, led by Bob Rogers, terrorized Oklahoma and Kansas in the 1890s. The gang was involved in stealing horses, rustling cattle and robbing stores, post offices, banks, and trains.

Rufus Buck Gang (1895-1896) – A gang of ruthless outlaws who preyed on victims in Oklahoma, five of them were hanged at Fort Smith, Arkansas.

Selman’s Scouts (1878) – An outlaw gang in Lincoln County, New Mexico led by John Selman. For two months, during September and October 1878, the gang members terrorized the county by rustling cattle and horses, killing innocent men and boys, pillaging businesses and homes, and raping women.

Seven Rivers Warriors – (1870s) – Made up mostly of small-time ranchers from the Seven Rivers area of southeastern Lincoln County, New Mexico. supported the Tunstall/McSween faction against that of Dolan and Murphy in the Lincoln County War of New Mexico.

Silva’s White Caps, aka: Forty Bandits, Society of Bandits (1879-1893) – Silva’s White Caps were a vicious outlaw gang that operated in Las Vegas, New Mexico from about 1879 to 1893. They were a mafia-like organization that was led by led by Vicente Silva.

Smith-Dixon Gang – A Gang of horse thieves and whiskey peddlers operating in Indian Territory (Oklahoma), its members included Dave Smith, a former member of the Belle Starr Gang; his brother-in-law, Leander “Lee” Dixon; and a man teenager of about 17 years-old named William “Billy” Towerly.

Soapy Smith Gang (1879-1898) – Led by Jefferson Randolph “Soapy” Smith, the gang operated in Denver and Creede, Colorado before moving on to Skagway, Alaska, running a number of con games against unsuspecting citizens.

Stockton Gang (1878-1881) – Led by Ike Stockton, this gang of cattle rustlers terrorized the area of northern New Mexico while posing as “gentleman cowboys” in Durango, Colorado.

Triskitt Gang – Known for having conducted several robberies and killings in Northern California, the gang killed 18 people in Sailor’s Diggings, Oregon and stole $75,000 in gold.

Vasquez Gang (1860s-1875) – Led by Tiburcio Vasquez, the gang committed armed robbery and rustled horses and cattle up and down central and southern California for years.

Bill Whitley or Brack Cornett Gang (1887-1888) – Comprised of about 12 outlaws, the gang was led by Texas desperadoes Bill Whitley and Brack Cornett, robbing Texas banks and trains in the late 1880s.

Wild Bunch (1896-1901) – Led by Butch Cassidy, the Wild Bunch terrorized the states of Colorado, Wyoming, Montana, Idaho, Utah, and Nevada for five years.

Wolcott’s Regulators (1892) – One of the most feared bands of gunfighters and outlaws in Wyoming was Wolcott’s Regulators, who preyed on homesteaders in 1892, frequently leaving dead bodies in their wake.

#Defund the police shortsighted #the criminal element is always there just waiting for this :)#rules are what we have to have in order to function as a civilized society

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worldcakecakecake · 5 years

Text

The Red Mask

In 18th century Valencia, Spain, thrives the legend of the Red Mask, a character with stories of bravery and heroism that have enchanted Lovino Valenti since he was a young child. On a new business deal, his family moves from Naples and Lovino finds himself wishing for adventure and action away from his duties in this new Spanish city. He is given that chance when he joins a group of masked heroes that fall under the command of the famed Red Mask. He grows a close and fiery relationship with the masked man of his tales and dreams, and without knowing his identity, he lets himself be swayed by his seduction, trust and daringness, to passions surely forbidden when he doesn’t even know his actual name or who he really is.

I’M ALIVE! …this is a very short chapter, but it is the last of the prologues. By the next chapter, we’ll finally have Lovino and I guess you could say the story really starts. I hope I can get to it quickly, but things always happen, and it makes it difficult to really find the time to write. As always, I tend to give details in my snapchat: worldwidecake, and if you’re more curious and want to know more of what’s taking me, you can always check my Instagram: worldwide.cupcake. No worries! I will always get to updating at some point!

Prolouge IV

“This is the best I could find for now!” Antonio struck the doors open, dust and cobwebs flying. Sure, it was dark, old, Laura’s eyes teared at the dirtied air, but she had to admit that it had the perfect space. She looked behind her, the city far, the old building camouflaged well with the hill and rocks.

“How did you even find this place?” She wondered as she dared to go deeper, really exploring every corner.

“Heard someone last Sunday at mass talking about it. It used to belong to some farmer, but he then moved to Galicia and left this place with nobody interested in buying.” In a way, it was a pity, this would have made a wonderful new farm…but at the same time, he wanted it for himself, for free, a good hiding and away from public roads.

“We’ll take it! We can practice and plan anything that we need to,” Antonio introduced, having cleared enough, twirling and extending his arm in pride despite its still brokenness, with never ending work to be done.

“It will do,” Laura shrugged.

“Okay, first of all, we need to make a disguise and name for you,” Antonio wanted to start, dropping some fabrics and other random items they weren’t using in the convent, so he decided to take them. “Use something that will work well for you for whatever circumstance, but special, so you can always see or feel it for determination.”

Laura had already picked a silky yellow one, soft and just beautiful. Antonio thought it fitted her well.

“Do you have something special?” He brought it forward again.

She was pensive, but it was only a short while, for she instantly had it. “My pin!”

“A pin?” Antonio had never seen one with her.

“My…father was a jeweler and he made custom pins for me and my brothers. Mine was a sun. They’re very precious to us. Since it’s the only thing we have left of him we keep the three in a box together.”

“Are you sure you want to use it for your disguise? It will be at huge risk with everything we’ll be doing.”

“You did say it had to be special and something that could determine us, and I’m sure that it’s that.” She was well decided, and Antonio smiled.

“If you’re sure, then let’s start practicing.”

They went to that old cabin thrice a week, filling its air in the clangs of sword, one Antonio’s own, the other one that Laura had taken from the convent that wasn’t in use anymore. They practiced throws with other items, even fought bare fisted, Antonio doing well to show her all kind of known movements that could help in the event she lost her weapon.

The disguise they made for her was a shine of yellow that instantly reminded Antonio of sunshine and sunflowers. In their practices, he would call her sol, and it stuck well to the crowds for when they did their first mission together. It was saving an old man from being taken from his home. While Antonio did well to capture the culprits, without Laura’s trap or her kindness in dealing with the old man after she managed his taking to freedom, the mission would have been an utter failure.

As Antonio had foretold, Laura was soon getting the recognition of ‘Sol’ or the Sun mask across the city, an adding of her story to the ones being told in the convent. Whenever Antonio and Laura could reach to hear them, they would smile and smirk to each other knowing, one that the other Jensen brothers noticed more strongly as the days passed by, along with their misses and their bruises.

It didn’t take long for the brothers to find their hiding place, neither long enough for the boys to want to partake as their sister did. And so, the four began their training, the talks, the preparations.

Tim’s pin was that of a globe of mist, a pattern he wanted repeated in his own clothes and they found successful with other greyed fabrics, paint and even some cotton. He was known as Neblina or the Mist mask, his attacks so quick that they came and left as mysterious as a mist.

Louis’s was the most sparkling and richest of the pins, many colors shinning once it was hit by light. Louis wanted something as colorful and shinning, much to Antonio’s disagreement and his convincing to try and get him on another theme. Something like that was bound to be too eye catching and revealing for the secrecy they wanted to try and keep as they worked.

Louis ended up making quite a remarkable suit with those very shines. They all had to admit it was beautiful, an allure and attraction that had even the thieves they tried to stop as wondered. So distracted they were that it was easy for Louis to strip them on their weapons and rely on his daggers to attack.

Antonio didn’t dare complain about his wear again.

Now he was known as Joya or the Jeweled mask.

A year after this, a French family had come to the city, rich, pompous and all the aristocracy expected from their origin. They had a son who showed these very qualities, dazzling all with charm, beauty and even shine with his bright colored clothing, blond hair and blue eyes. They attended the church every Sunday and to the surprise of all, Antonio grew a rather close relationship with the known heir through his visits. He found out his name was Francis Bonnefoy and as he got to know him, he learned of his impeccable swordsmanship skills, violent and unmerciful, betraying his upbringing of poise and elegance. They often spared as practiced and found whatever chance they could. It was through this that Francis found their hiding place, slowly realizing what Antonio exactly did with his friends from the convent. He had heard the stories and was as excited as Laura had been when he found out. He was a necessary addition, his strength and knowledge just the high hope they needed when a saving seemed impossible. His disguise was of course the richness and eloquence expected of him, the fabrics and ornaments like those of a white, blue and silver bird, the most extravagant of the group.

He was known as Alas or the Wing mask.

With the Spanish Empire in its widths, with its opening and entrance of those from every corner of the world, it was no doubt that they would have a reach of America and Asia. The convent had received a group of six from these very regions and colonies, many who had suffered heavy different consequences in their homelands and were sent to Spain hoping to find guidance or enlightment from heavy catholic surrounding in the mother land. Antonio easily befriended them all and had helped them well in their adjusting.

There was Carlos Machado, from Cuba, who had come with his baby sister from Puerto Rico, Rosangeliz Perez, after they had lost their family, including many of their siblings, in a horrible plantation accident in the Caribbean. Carlos joined the group first, their strongest in brute physical strength without having to confide in weapons. Because of the darkness of his disguise, using a black cape that was tainted in smoke after the accident he lost everything in, he was known as Oscuro or the Dark mask. That baby girl he had brought, grew to be a persistent and stubborn girl, begging to a point that Antonio had no other choice than to accept her despite being the youngest in the group, a child. Her smallness helped her to be as sharp and shoot as an arrow, which she was known for. Flecha or the Arrow mask. All from a necklace she was given from her grandfather, a small carved one that she wore faithfully.

Then there was a young Mexican couple, Luis Valdez and Guadalupe Martinez, both fleeing from a persecution against them because of a series of artistic squares they were making telling of their government’s cruel tyranny. They spent a lot of time with just themselves, hard to create any contact with the others until they showed their designs. The convent had absolutely adored them, and Friar Patricio had even suggested they painted their living quarters in their ideas. They all participated and cooperated, creating a friendship and trust between themselves that finally opened them up well to the rest. Luis and Lupe heard of the loving stories, like the rest curious, for all the strongest hints were in the convent they were making their home. They followed the tracks until they found themselves in the old cabin, until they were training, until they were participating as well in their missions and getting to be part of those very stories. Luis was known as Calabera, or the Skull mask. It was all based from a figurine he had found as a child, inspiration for his designs that themed with death and all its mysteries. Lupe as Flores or the flower mask, from a ribbon she constantly used for the braids of her long hair, which she added to flowers, the very ones she added to her disguise, her paintings, flourishing indeed in contrast to her beloved’s. They worked well together like the cycle of life and death, and even in their masked personas they were known as a couple.

Then there was Amaro Prado, from Peru…the quietest of the Americans that came. For the longest time most had thought he was mute, until he spoke out one day when they mentioned if he wanted some coffee, recognizing the beans as ones that came from his area. With that revelation, they soon began to pester and befriend as they usually did until Amaro had no other choice than to accept their call for friendship and more conversations. For being so young, he still spoke with great wisdom, much more than even Friar Patricio, like the spirit of some ancient being was well rested in his youthful vessel. He talked often of the Incas, knew well their language, culture, even had a medallion that had passed well across generations of his family. With the inevitable of joining the group, the medallion decorated the center of his disguise, in colors, golds and symbols of that ancient civilization. As he was, he was the smartest and exact in his attacks, which meant that whatever simplicity he used, it was bound to work because of the thought and even physics that went into it. He was the only one who didn’t use a violent weapon, but a simple staff that didn’t even hold a metal sharp.

He was known as Inca or the Incan Mask.

Finally, there was Gael Bayani, the one who had come from the furthest, from the colonies in Asia, the Philippines. One of the friendliest in the group, who had opened the moment he arrived to the convent, making himself at home like he had always been there. Because of his immediate comfort into their group of friends, he was the only one that didn’t find out about the masked heroes out of curiosity, but because Antonio told him himself, interested in his joining majorly because of his speed and tactical mind that would work well in his group. At first, Gael was skeptical to join and had refused the first asking, but after witnessing how a musician was attacked one night, acting out on impulse did he go forward, working even unmasked with the heroes to help save and capture the culprits. There he accepted, taking his persona after the sea, based from an ocean jewel that had passed down his family, one of voyagers of the seas, known to its current and strengths, a knowledge that Gael knew well and continued to bring, even the blues, to swift and dangers that was the ocean.

He was known as Mar or The Sea mask.

And with him, the set was completed, the twelve heroes that watched over Valencia like the very angels in the basilica. For years they continued being this powerful shield, their feats even reaching other areas in Spain outside of Valencia. Their stories were just the adventure, the action, the teaching, even the fantasy that kept hope alight in so many children’s minds. The stories were large enough to travel, tales being heard in Portugal, France, England, Germany, Austria, to of course Italy, even to Naples.

< prolouge III chapter 1 >

#The Red Mask #spamano #spamano fanfiction #spamano fanfic #spamano fic

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duolingomasterpieces · 4 years

Text

THE FRENCH NOVEL

CHAPTER 6: DANS MA FAMILLE - CONTINUER IV

Mon frère habite en France. Mon père est français. Ton chien. Ton père habite ici? Marc et son père. Marie et son frère. Ton chat va bien? Elle va bien. Paul et son père. Mon frère va bien, merci. Tu as un frère?

Salut, tu vas bien? Ta sœur habite en Angleterre. Et toi, tu vas bien? Tu vas très bien. Ta mère est française. La famille. C’est ma mère. Ma mère est américaine. Ta sœur parle francais. Marc habite avec sa mère. Marie parle avec sa sœur. Ma famille habite en France.

Femme. Je vais bien, merci. Fils. C’est la fille de Marc. Le mari de Julia. Le fils de Louis. La femme. C’est la fille de Marc. Mon mari. Mon fils habite en France. Ma femme. Je vais bien. La fille de Paul.

Ma fille veut un chien. Alice veut une chouette. J’ai un animal de compagnie. Marie a une chouette. Le grand-père. Sa grand-mère est mexicaine. Le grand-père de Marc. La grand-mère. Ma grand-mère.

Le chien est dans le jardin. Ton appartement. Le chat d’Alice. Le jardin. La mère d’Émile. Dans l’appartement. Je suis dans le jardin. Le chat est dans la voiture. Son appartement. C’est ma maison.

(Translation:

My brother lives in France. My father is French. Your [sing. inf.] dog. Does your [sing. inf.] father live here? Marc and his father. Marie and her brother. Is your [sing. inf.] cat doing well? She is doing well. Paul and his father. My brother is doing well, thank you. Do you [sing. inf.] have a brother?

Hi, are you [sing. inf.] doing well? Your [sing. inf.] sister lives in England. And you [sing. inf.], are you [sing. inf.] doing well? You [sing. inf.] are doing very well. Your [sing. inf.] is French. The family. She is my mother. My mother is American. Your [sing. inf.] sister speaks French. Marc lives with his mother. Marie is talking with her sister. My family lives in France.

Wife. I am doing well, thank you. Son. This is Marc’s daughter. Julia’s husband. Louis’ son. The wife. This is Marc’s daughter. My husband. My son lives in France. My wife. I am doing well. Paul’s daughter.

My daughter wants a dog. Alice wants an owl. I have a pet. Marie has an owl. The grandfather. Your grandmother is Mexican. Marc’s grandfather. The grandmother. My grandmother.

The dog is in the garden. Your [sing. inf.] apartment. Alice’s cat. The yard. Emile’s mother. In the apartment. I am in the garden. The cat is in the car. His [or her] apartment. This is my house.)

#duolingo #french #novel #masterpiece #chapter 6 #dans ma famille #family 1

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bluboothalassophile · 5 years

Note

How do you feel about gunslingers? I watched the Magnificent Seven remake this weekend and wondered what a jayrae gunslinging au would be like. Jay obviously the cowboy antihero and Raven could be the clever Saloon and/or Brothel owner who is also, secretly, a badass with a gun. Could replace your Game of Thrones. Glad you are being fair about that, I felt the same, disappointed. But I am also tired of reading the non stop hate about it.

Hello,

I’m down with a gunslinger AU, I grew up on Louis Lamore, so I’m completely down with a gunslinger AU! I don’t need to have another AU, but Goddamn it, here we go:

Outcast...

There are some people whom you do not cross.

She was one of them.

A daughter of a German Jewish tradesman and a Navajo Medicinewoman who had fallen impossibly in love. A love which had ultimately gotten herparents and siblings killed by a cult leader who wanted to marry her when shewas seven. Her parents disgust at his proposal had killed them when she wasmerely eight. She was a gun slinger since the age of nine, when it became shootfast or die. She was a tracker for lawmen when she was twelve. She was a coldblooded killer when she was fourteen; taught by an Apache rival who had helpedher find her parents killer. At fifteen she was a bounty hunter, neither Indiannor American enough to belong anywhere.

And at twenty-four she had exceeded her life expectancyhaving obtained a small ranch tucked away here in the mountains of Montannawhere she had gone to be anonymous from the prying eyes of the south. Not thatit did her much good.

It was a bit of a novelty, to the local God-fearing,Christian community to have a Jewish Indian in their midst. But she left thembe, and they left her be.

Her Apache mentor had perished several years back leavingher all alone. Having made most her money to buy her ranch in hunting down themost ruthless and brutal of outlaws; Indian, Mexican, freed slaves, andwhiteman alike. She hunted deserters of the United States Army, and she hadkilled poachers.

Her hand on her ranch was a freed slave, and voodoo priest, VictorStone; the only black man without a thousand miles, a different novelty to thepeople of Polson. Montana, who were accustomed to the Flathead’s and odd longrange hunters. And while she was a novelty in and of herself, she was mostlyaccepted. The local sheriff hired her for the occasional odd job, and she wasfriendly enough with her neighbors to get on.

And best of all, no one spread word about her ranch tuckedaway up here, no one. Not Indian or American alike.

At least she thought it was that way until today as shewalked into the saloon to deal with the chatty tender while she waited for the sheriffto meet up with her. Walking in she noticed him immediately, everything abouthim screamed predator, from the calm way he sat, to the poised position of hisbody. Her fingers twitched, but she breezed on by him

“Morning Rae, wasn’t expecting you till this afternoon,”Garfield smiled at her.

“Got an early start,” she answered briskly. Garfield got themessage that she wasn’t interested in talking and poured a glass of whiskey forher as she took her seat at the bar and kept an eye on the predatory male atthe counter. She took a sip of the alcohol and tried to calm her instincts.

She’d just wait for the sheriff to be done with his meetingbefore she cornered Garth to talk to him about his inquiry to her joining himfor the Fourth of July’s shindig.

~~~*~*~*~~~

Jason was not a fool.

He had been a street kid in Gotham, and adopted by Bruce Wayne,a ranching tycoon from Wyoming. Bruce had a love of adopting wayward childrenin need of direction, he and his wife; Selina loved all them. Richard was theeldest, Bruce’s first wife; Talia al Ghul’s twins were the second set of kids;Athanasia and Damian; whom Talia had died birthing. Then he had been adopted. ThenB had married Selina, which had brought Tim into the family, they had foundCass on the trip to Wyoming. Duke was a slave who B had adopted immediatelywhen a plantation business partner was going to whip the lad. The war hadhappened, and while they had largely stayed out of it, Duke had fretted aboutif he was a freed slave or a ward so B had legalized all the work to make Dukea legitimate son of his. Selina and B had just had their first child, Helena shortlyafter that, followed by another set of twins, Thomas and Bruce Junior. There’dbeen an adoption of a whore’s daughter from one of the railway camps, AlinaShelley and then B had taken in Jason’s youngest brothers; Terry and MattMcGinnis on his last trip to New York City. The lads had escaped the potatofamine and would’ve likely been put in the factories had B not found them

Now, it wasn’t unusual for Bruce Wayne to adopt so many children,he was a generous man. But now was not the time for generosity.

An outlaw named Bane had abducted his nephew and Jason wasfresh out of tracks to follow. The trail had run cold in Arizona, at least fromwhat he could find.

Then he had heard a rumor of a bounty hunter so good shecould find anyone or anything, a witch, a sorceress. Everyone had merely calledthe witch Raven.

A daughter of a German Jew, a Navajo Medicine woman, raisedby an Apache warrior, and an old Union officer, she was legend. The bountyhunter who captured criminals like Blood and killed them to bring them to justice.She was a legand, Jonah Hex had insisted she wasn’t to be trusted, but Jasonsimply didn’t give a damn at this point.

Dick and Barbara were going out of their minds, Bane wastormenting them with Tommy’s existence, and if it damned him to hell, Jason wasgoing to find his nephew.

He had expected a hag, a witch who he’d have to threaten, hehad expected something hideous and evil which would demand his soul as paymentfrom the moment he got to this nowhere town in Montana.

He hadn’t expected her though, she walked in, pale as ivory,slight of build, strong legs, hair black as midnight, eyes violet as lavendersin bloom, and a face proud and carved of stone. She was stunning, andbreathtaking, and the moment green met violet he knew he was looking into theeyes of a woman who was forged in hellfire and built of brimstone. A woman ofpurpose.

“Jason, this is the woman you were looking for,” the tendersmiled brightly as he looked her over. Her eyes were cold.

“You were?” she asked in a smoky monotone. “I don’t recall tellinganyone where to find me.”

“You did not make it easy.”

“Mmm,” she nodded her head slowly.

“Raven!” a young half breed walked in, his smile wasstrained and Jason recognized the sheriff that Roy had insisted on speaking to.“I see you two have met.”

“Not officially.” He answered.

“Raven’s the best tracker in the business,” the sheriff saidas he walked over to her. “Rae, this is Jason Todd, and his friend Roy Harper,they’ve got a job for you.”

“I’m retired.”

“They’re hunting down Bane’s crew.”

Now the woman’s eyes flashed with interest.

#bluboothalassophile #fanfic #one shot #gunslinger au #jason todd #raven #jayrae #redrae #raex

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rapturerecords · 5 years

Photo

Let us begin again ringing in the New Year here in Rapture. Here’s a little tribute based off Johnny Dombrowski’s marvelous illustration though with a slightly older Wurlitzer model instead. Those new Bubbler jukeboxes always seem to jam and play only a few seconds of a song.

As always, we’ll take this time to remember Patti Page, singer of “Doggie in the Window” who also passed away on New Year’s Day.

We’re celebrating another 10th anniversary of a sister game this year with Fallout 3 and a new set of sounds wafting in from Appalachia.

See if your favorite record, 8-track, cassette, or wax cylinder was featured this year:

BioShock

"Bei Mir Bist du Schön" - Andrews Sisters - Decca Records 1562

"Bei Mir Bist du Schön" - Andrews Sisters - Decca Records 23605 (reissue)

"It's Bad for Me" - Rosemary Clooney and Benny Goodman - Columbia Records 40616

"Papa Loves Mambo" - Perry Como - RCA Victor Records 20-5857

"20th Century Blues" - Noël Coward - Columbia Records ML 5163

"The Party's Over Now" (1959) - Noël Coward - Columbia Records ML 5163

"Wrap Your Troubles in Dreams" - Bing Crosby - Victor Records 22701

"Beyond the Sea" - Bobby Darin - ATCO Records 45-6158

"Night and Day" - Billie Holiday - Columbia Records 3044 (reissue)

“The Best Things in Life are Free” - Ink Spots - Decca Records 24327

"If I Didn't Care" - Ink Spots - Decca Records 2286

"Danny Boy" - Mario Lanza - The Magic of Mario Lanza - Heartland Music HL 1046/50

“Danny Boy” anniversary revisit 2015 “Danny Boy” anniversary revisit 2016 “Danny Boy” anniversary revisit 2017

“(How Much is That) Doggie in the Window” (1966) - Patti Page - Columbia Records CS 9326 (in-game version)

"The Doggie in the Window" (1953) - Patti Page - Mercury Records 70070 (original version)

"You're the Top" (1934) - Cole Porter - Victor Records 24766 (original version)

"La Mer" - Django Reinhardt and Stéphane Grappelli - Djangology RCA RGP-1186 (reissue)

Cohen’s Quadtych: “Academy Award” vs. “The Ballroom Waltz”

"Academy Award" - Stanley Black - Music De Wolfe DW/LP 2977

“Too Young” - Nat King Cole - Capitol Records 1449

"Just Walking in the Rain" - Johnnie Ray - Columbia Records 40729

"Waltz of the Flowers"

Looking for BioShock’s Django Reinhardt

BioShock 2

"Ten Cents a Dance" - Ruth Etting - Columbia Records 2146D

"Dawn of a New Day" - Horace Heidt and his Musical Knights - Brunswick Records 8313

"It's Only a Paper Moon" - Ella Fitzgerald - Decca Records 23425

BioShock 10th Anniversary Revisit and Eclipse

"Someone's Rocking My Dream Boat" - Ink Spots - Decca Records 4045

"We Three (My Echo, My Shadow and Me)" - Ink Spots - Decca Records 3379

"I'm Making Believe" - Ink Spots with Ella Fitzgerald - Decca Records 23356

"Bei Mir Bist du Schon" - Benny Goodman with Martha Tilton - The Famous 1938 Carnegie Hall Jazz Concert Columbia Records ML 4359

“Hush, Hush, Hush, Here Comes the Bogey Man“ - Henry Hall and his Orchestra with Val Rosing - Columbia Records FB 2816

"Praise the Lord and Pass the Ammunition" - Kay Kyser - Columbia Records 36640

“You Always Hurt the One You Love” - Mills Brothers - Decca Records 18599

"Paper Doll" - Mills Brothers - Decca Records 18318

"Dream" - The Pied Pipers - Capitol Records 185

"Chasing Shadows" - Quintette du Hot Club de France - Royale Records 1798

"Nightmare" (1938) - Artie Shaw - Bluebird Records B-7875 (in-game version)

“Nightmare” (1937) - Art Shaw and his New Music - Vocalion Records 4306 (re-recording)

"Nobody Knows You When You're Down and Out" - Bessie Smith - Parlophone Records R2481

Father’s Day in Rapture

"Daddy Won't You Please Come Home" - Annette Hanshaw - Velvet Tone Records 1940V

"My Heart Belongs to Daddy" - Mary Martin - Brunswick Records 8282

"Daddy's Little Girl" (1976) - Mills Brothers - Ranwood Records R-8152 (in-game version)

"Daddy's Little Girl" (1950) - Mills Brothers - Decca Records 24872 (original version)

BioShock Infinite

"Ain't She Sweet" - Ben Bernie - Brunswick Records 3444

"Button Up Your Overcoat" - Helen Kane - Victor Records 21863

"(What Do We Do on a) Dew-Dew-Dewey Day" - Charles Kaley - Columbia Records 1055D

"Indian Love Call" - Sigmund Krumgold - Okeh Records 40904

"Me and My Shadow" - Sam Lanin - Lincoln Records 2628

"Black Gal" - Ed Lewis with unidentified prisoners (recorded by Alan Lomax)

"I'm Wild About That Thing" - Bessie Smith - Columbia Records 14427D

"Makin' Whoopee!" - Rudy Vallée - Harmony Records 825-H

The Cylinders of BioShock Infinite

"Shine On, Harvest Moon" - Ada Jones and Billy Murray - Edison Standard Record 10134

"The Bonnie Blue Flag" - Polk Miller - Edison Blue Amberol Record 2175

"After You've Gone"

"The Easy Winners"

"Solace - A Mexican Serenade"

“Just a Closer Walk with Thee” - Elizabeth’s version

“Just a Closer Walk with Thee” - Selah Jubilee Singers - Decca Records 7872

“The Grand Old Rag” - Billy Murray - Victor Records 4634

Albert Fink's Magical Melodies Presents: "God Only Knows"

“Ah! La femme il n’y que ça“ - Mon. A. Fertinel - Improved Berliner Gramophone Record 1148

“God Only Knows” - The Beach Boys - Capitol Records 5706

"Fortunate Son" - Creedence Clearwater Revival - Fantasy Records 634

Burial at Sea

Episode 1

The Complete Records Behind the Music

"Midnight, The Stars and You" - Al Bowlly - Victor Records 24700

"She's Got You" - Patsy Cline - Decca Records 31354

"Wonderful! Wonderful!" - Johnny Mathis - Columbia Records 40784

"The Lady is a Tramp" - Mel Tormé - London American Recordings HL N.8305

"Tonight for Sure!" - Ruth Wallis - Wallis Original Record Corp. 2001

"Stranger in Paradise"

Episode 2

The Complete Records Behind the Music

"Back in Baby's Arms" - Patsy Cline - Decca Records 31483

"Easy to Love" - Sammy Davis Jr. - Starring Sammy Davis Jr. Decca Records DL 8118

"Don't Sit Under the Apple Tree" - Glenn Miller - Bluebird Records B-11474

"La Vie en Rose" - Édith Piaf - Columbia Records 4004-F

“La Vie en Rose” (English version) - Édith Piaf - Columbia Records 38948

“La Vie en Rose” in 2007′s BioShock

"The Great Pretender" - The Platters - Mercury Records 70753

"You Belong to Me"

Fallout 2

"A Kiss to Build a Dream On" - Louis Armstrong - Decca Records 27720

Fallout 3 (Galaxy News Radio)

"Civilization" - Andrews Sisters and Danny Kaye - Decca Records 23940

“Butcher Pete (Part 1)” - Roy Brown - De-Luxe Records 3301

“Crazy He Calls Me” - Billie Holiday - Decca Records 24796

"I Don't Want to Set the World on Fire" - Ink Spots - Decca Records 3987

"Into Each Life Some Rain Must Fall" - Ink Spots and Ella Fitzgerald - Decca Records 23356

“Swing Doors” - composed by Allan Gray - Charles Brull - A Harmonic Private Recording CBL 37

“Jazzy Interlude” - composed by Billy Munn - Charles Brull - A Harmonic Private Recording CBL 37

"Anything Goes" (1934) - Cole Porter - Victor Records 24825 (original version)

Fallout: New Vegas (Radio New Vegas, Mojave Music Radio, Black Mountain Radio)

"It's a Sin" - Eddy Arnold - RCA Victor Records 10-2241

"Jingle Jangle Jingle" - Kay Kyser - Columbia Records 36604

“It’s a Sin to Tell a Lie” (1979) - Ink Spots (Bill Kenny) - CBS Special Products P 18042 (in-game version)

“It’s a Sin to Tell a Lie” (1941) - Ink Spots - Decca Records (original version)

“Why Don’t You Do Right” (1950) - Peggy Lee with the Dave Barbour Quartet- Peggy Lee’s Greatest - Camay Records CA 3003 (in-game version)

“Why Don’t You Do Right (Get Me Some Money Too)” (1947) - Peggy Lee - Rendezvous with Peggy Lee - Capitol Records 10118 (re-recording)

“Why Don’t You Do Right” (1942) - Peggy Lee with Benny Goodman and his Orchestra - Columbia Records 36652 (re-recording)

"Big Iron" - Marty Robbins - Columbia Records 4-41589

“Blue Moon” - Frank Sinatra - Sinatra’s Swingin’ Session! - Capitol Records W1491

“Orange Colored Sky” - Nat King Cole - Capitol Records 1184

Fallout 4 (Diamond City Radio)

“Butcher Pete (Part 2)” - Roy Brown - De-Luxe Records 3301

“Orange Colored Sky” - Nat King Cole - Capitol Records 1184

“Pistol-Packin’ Mama - Bing Crosby and the Andrews Sisters - Decca Records 23277

“The Wanderer” - Dion - Laurie Records 3115

“Sixty-Minute Man - The Dominoes - Federal Records 12022

“Atom Bomb Baby” - The Five Stars - Kernel Records A002

“It’s All Over But the Crying” - Ink Spots - Decca Records 24286

“Grandma Plays the Numbers” - Wynonie Harris - King Records 4276

“Personality” - Johnny Mercer - Capitol Records 230

"The End of the World” - Patti Page - Say Wonderful Things - Columbia Records CS 8849

Fallout 76 (Appalachia Radio)

“Wouldn’t It Be Nice” - The Beach Boys - Capitol Records 5706

"Praise the Lord and Pass the Ammunition" - Kay Kyser - Columbia Records 36640

"We Three (My Echo, My Shadow and Me)" - Ink Spots - Decca Records 3379

Guardians of the Galaxy

"I'm Not in Love" - 10cc - Mercury Records (Phonogram) 73678 (abridged)

"Fooled Around and Fell in Love" - Elvin Bishop - Capricorn Records CPS 0252 (abridged)

“Spirit in the Sky” - Norman Greenbaum - Reprise Records 0885

“Escape (The Piña Colada Song) - Rupert Holmes - Infinity Records INF 50.035

"Hooked on a Feeling" - Blue Swede - EMI Records 3627

"I Want You Back" - The Jackson 5 - Motown Records M 1157

"Go All the Way" - Raspberries - Capitol Records 3348

"Come and Get Your Love" - Redbone - Epic Records 5-11035

L.A. Noire (KTI Radio)

“Pistol-Packin’ Mama” - Bing Crosby and the Andrews Sisters - Decca Records 23277

“Stone Cold Dead in the Market” - Ella Fitzgerald and Louis Jordan - Decca Records 23546

"Into Each Life Some Rain Must Fall" - Ink Spots and Ella Fitzgerald - Decca Records 23356

"Manteca" - Dizzy Gillespie - RCA Victor Records 20-3023

"Ain't Nobody Here But Us Chickens" - Louis Jordan - Decca Records 23741

"Red Silk Stockings and Green Perfume" - Sammy Kaye - RCA Victor Records 20-2251

“Black and Blue” - Frankie Laine - Mercury Records A-1026

"'Murder', He Says" - Dinah Shore - RCA Victor Records 20-1525

"Smoke! Smoke! Smoke! (That Cigarette) - Tex Williams - Capitol Records Americana Series 40001

“Hey! Ba-Ba-Re-Bop” - Lionel Hampton - Decca Records 18754

Mafia II (Empire Central Radio, Delta Radio)

“Why Don’t You Do Right” (1950) - Peggy Lee with the Dave Barbour Quartet- Peggy Lee’s Greatest - Camay Records CA 3003 (re-recording)

“Why Don’t You Do Right” (1942) - Peggy Lee with Benny Goodman and his Orchestra - Columbia Records 36652 (re-recording)

"A Guy is a Guy” - Doris Day - Columbia Records 39673

XCOM The Bureau Declassified (KNOV Radio)

“Runaway” - Del Shannon - Big Top Records 45-3067

“Who’s Sorry Now” - Connie Francis - MGM Records 975 (57-S-622)

"Smack Dab in the Middle" - Mills Brothers - Decca Records 29511

“Riders in the Sky” - Vaughn Monroe - RCA Victor 20-3411

"Man of Mystery" - The Shadows - Columbia Records 45-DB 4530

“I’ll Never Get Out of this World Alive” - Hank Williams - MGM Records 11366

See the previous years’ lists here:

2014

2015

2016

2017

#video game music #bioshock music #fallout music #la noire music #mafia music #bioshock #bioshock 2 #bioshock infinite #burial at sea #fallout 2 #fallout new vegas #LA Noire #fallout 3 #fallout 4 #fallout 76 #The Bureau: XCOM Declassified #Mafia II #save the date

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