#palmeto

[no-spices-just-pisces]

Kevaaron as Exile lyrics by Taylor Swift

Kevin left Aaron when he went pro, putting Exy above all, as it was the only thing he knew he could always rely on

And it took you five whole minutes

To pack us up and leave me with it

Aaron stood alone in the hallway of the house in Columbia at the end of summer, looking after Kevin, not daring to admit he fell in love with the man that just left him

Holdin' all this love out here in the hall

Aaron realized everyone abandones him eventually

I think I've seen this film before

And I didn't like the ending

You're not my homeland anymore

After Andrew and Neil began Aaron started spending more and more time with Kevin, they had each other’s back, learning how to leave their past behind, but now Kevon was leaving him behind

So what am I defending now?

You were my town

Now I'm in exile, seein' you out

Aaron going to one of Kevin’s pro games because all the Foxes wanted to support him. Not long ago the media leaked photos of Kevin and one of his new teammates, insinuating a romantic relationship between the two. Aaron was jealous, and Kevin could read it all over his face, he was surprised Aaron believed the rumors to be true and his reaction to them to be so evident

I can see you starin', honey

Like he's just your understudy

Like you'd get your knuckles bloody for me (Aaron was not above throwing punches for Kevin, he was angry and petty enough)

Thoughout college they kept falling out but always kept coming back to each other, their strong personalities tearing them apart and bringing them togheter at the same time. But this time it didn’t feel like they would find their way back:

Second, third, and hundredth chances

Balancin' on breaking branches

Every time they made eye contact Aaron’s heart kept breaking further, those dammed green eyes

Those eyes add insult to injury

Kevin asked Aaron what was wrong after the game, telling him she should know better than show that kind of a reaction. Aaron was furious

I'm not your problem anymore

So who am I offending now?

Kevin regreted the choice of leaving Aaron as soon as he left the house in Columbia, but his pride and his career were stopping him from admitting it. But he knew deep down that he felt incomplete without someone to share his accomplishments with, someone who cheered on him silently, always, someone who was Aaron

You were my crown

Now I'm in exile, seein' you out

Aaron knew every fight between them lead to either more screaming or tensionate hook ups, and he couldn’t handle any of that right now

I think I've seen this film before

So I'm leavin' out the side door

But Kevin wouldn’t let him leave. He was always a weak man, especially for Aaron Minyard, he just wanted a few more minutes with him

So step right out, there is no amount

Of crying I can do for you

They were never the emotional type. Their relationship never based on affectionate reassurance, they were always one step from falling apart

All this time

We always walked a very thin line

Aaron was furious that Kevin never listened to his quite attempts to show his attachment, his silent begs for Kevin to stay

You didn't even hear me out (you didn't even hear me out)

He was angry because he thought they had something, regardless of how much he knew Kevin loved Exy, he didn’t want to believe he would just toss Aaron aside so easily

You never gave a warning sign

But Kevin was always straightforward about how he wanted his future to be, Aaron should have known that he would end up putting his career first

I gave so many signs

But also Kevin never began to understand the depth of Aaron’s feelings, how his departure would actually impact him. He didn’t think Aaron tried to make him stay

I never learned to read your mind

But Aaron did. Every moment spent with Kevin was a silent prayer that Kevin could see that they meant something

never learned to read my mind

Kevin couldn’t change the trajectory of his entire future because of a college fling

I couldn't turn things around

Aaron was bitter, always knowing deep down that Kevin’s obsession with Exy was a priority, and that wouldn’t change

you never turned things around

But maybe if Aaron made his intentions more clear, his feelings, Kevin could have put some other things into consideration. But in his eyes Aaron was mostly detached, he didn’t think it would affect him this much

'Cause you never gave a warning sign

Aaron did try to show it, in his own way. Maybe it wasn’t enough but it wasn’t easy on him to project his feelings. But he thought Kevin knew. He always heard him without words. He must’ve seen the heartbreak on his face on their last day. But Kevin turned his back on him

I gave so many signs

So many signs, so many signs

You didn't even see the signs

[xoagray]

Photo a day 122/365 unwanted guest

Living in Florida, or really just about anywhere in the south I'd imagine, these little shits being in your house from time to time is just a given. I won't miss them at all when I go.

[scorcidipoesia]

Ti scrivo una lettera davanti al

Mare .. Mentre mi arriva odore di salsedine e piccoli pesci guizzano nelle acque calde e chiare. Ti scrivo col mio stupore, con la mia voglia di bere felicità così come fosse un succo che la vita ha ancora in serbo per me. Ti scrivo questa lettera mentre il tramonto accarezza le dune ed intorno tutto è arancio e dal palmeto arriva il canto di un uccello notturno che saluta il giorno .. Ti scrivo anche se ho dimenticato il tuo nome e la tua voce. Posso trovarti solo in me, nel battito del cuore e nei suoni che tradotti danzano la mia vita e assecondano il mio destino, io ti scrivo. Tatiana Andena

[criticallove]

i like to sew and have been obsessed with the AFTG series and have been thinking about making pennants and patches for Palmeto state and selling them on ETSY would anyone be interested in that?

[bitchapalooza]

While ago I was thinking of making a pokemon concept based entirely on my home town but then I realized it'd be themed after plantations, landmarks dipped in racism, seafood, war monuments for two specific wars one of which locals are too proud about losing, palmeto trees, raccoons, fish, iced tea, messy beaches, and crime.

So then I thought about my current town. Its the same if you exclude the seafood, plantations, fish, palmeto trees, messy beaches, war monuments, decrease the crime, add in tourist traps, bears, moonshine and their distilleries, goo goo bars, moutaindew, moonpies, and caverns. I mean its better but. Fuck. I hate the south why are we like this, nooo i dont wanna make pokemon redneck and pokemon hillbilly a reality ksbsjshs

[raymondwatkowski]

Still alive for what its worth! Little sleep due to overdosing on Saw Palmeto and peeing all night!♥️😎

[realcollectors]

Acompañanos a celebrar el 12 aniversario del Club Hot Wheels Cali, en Palmeto plaza el 6 y 7 de abril.

No te lo piedas!

#ShopWheels

#RealCollectors

#RealCollector

#SomosRealCollectors

#WeAreRealCollectors

#AprendiendoAColeccionar

#MeLeMetoAlRancho

#CollectorsStoreGroup

#YoColecciono

[biobird21]

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[no-spices-just-pisces]

I just started rereading The Foxhole Court and I know that the Foxes’s most popular bet is if Wymack And Abby are hooking up and in the first chapters Nicky told Neil that they needed him to settle it since they were divided equally cause Andrew refused to join in

So this is how I think each fox bet

Definetely boning: Nicky and Allison (drama queens and Allison set the tone), Aaron (couldn’t be less bothered but he is an asshole ofc he think they are fucking), Seth (again, an asshole he probably made many obnoxious remarks about it)

Not even wanting to imagine it: Dan (she respects Wymack and Abby too much), Renee (she is a sweetheart, would never bet for that), Kevin (that’s his dad ew), Matt (does what Dan does)

Andrew just couldn’t care less

[cantikamanah]

Manfaat Saw Palmeto Green Angelica:• Mencegah kerontokan parah• Memblokir hormon DHT (penyebab kerontokan rambut)• Memberi nutrisi rambut• Merangsang hormon pertumbuhan rambut dan jenggot• Meredakan peradangan / inflamasi• Menjaga kesehatan prostat, dan mengobati impotensi bagi pria• Meningkatkan fungsi saluran kemih

[e2r3t4]

TRATADO DE: SABAL SERRULATA

Composición y origen:

Palmáceas.

Serenoa serrulata, saw palmeto, palma americana.

Hábitat:

Europa, América y Sudamérica.

Características:

Micciones dolorosas y frecuentes con trastornos prostáticos u ováricos. Acción directa por vía sanguínea, sobre los órganos pelvianos. Sensación de plenitud en el abdomen y la vejiga. Sensación de constricción en la uretra, con dolores punzantes al orinar. Deseos frecuentes de orinar, a veces tenesmos. Orina turbia aumentada, con mucho sedimento e irritación de la vejiga. Hipertrofia de próstata e inflamación de los testículos. Sensación de frialdad en los órganos genitales, con ovaritis en la mujer. Sensibilidad del pecho izquierdo.

Clínica:

•Cantidad y calidad mala de la leche materna. •Cistitis. •Epididimitis crónica. •Hipertrofia de próstata. •Incontinencia urinaria. •Mala nutrición, con enflaquecimiento. •Prostatitis, aguda y crónica.

Agravación:

Por la noche, estando acostado y por el tiempo húmedo.

Mejoría:

Con lo templado.

Nota.

El medicamento homeopático, se evalúa acorde a casos clínicos.

[delectablywaywardbeard-blog]

Incendi, notte di lavoro per Vigili del fuoco e corpo forestale in Sicilia

Intensa notte di lavoro per vigili del fuoco e personale del corpo forestale della Regione Siciliana, impegnati costantemente a fare fronte all’emergenza incendi che ha colpito l’isola. Dalla sala operativa regionale della protezione civile siciliana si apprende che sono quattro gli interventi aerei previsti stamattina nel Palermitano: a Carini, zona Monte Palmeto, Borgetto, e nella zona Monte…

[sheetmusiclibrarypdf]

Kenny Barron - New York Attitude (1984) Jazz

Kenny Barron - New York Attitude (1984) Jazz Please, subscribe to our Library. Thank you!Tracks: Kenny Barron. "The poetry of the piano" (Jazz) Best Sheet Music download from our Library. A long and intense journey: musical biographyGenerous educator

Kenny Barron - New York Attitude (1984) Jazz

https://www.youtube.com/watch?v=Qsxrr90ChPw Tracks: 1 New York Attitude 00:00 2 Embraceable You, Take 2 06:00 3 Joanne Julia 11:51 4 My One Sin 17:31 5 Bemsha Swing 22:56 6 Autumn In New York 29:49 7 Lemuria 37:51 8 You Don't Know What Love Is 43:03 9 Embraceable You, Take 1 49:32 Credits: Bass – Rufus Reid Drums – Frederick Waits Piano – Kenny Barron Recorded December 14, 1984 at Van Gelder Recording Studios, Englewood Cliffs, N.J.

Kenny Barron. "The poetry of the piano" (Jazz)

For a jazz pianist, facing the piano face to face is an intense exercise in reflection, a reckoning with his baggage in music, a profound internalization process and, above all, a conversation with himself or Conversations with Myself (Verve, 1963), the famous album by Bill Evans, the jazz impressionist, an experience that he would repeat on albums such as Further Conversations with Myself (Verve, 1967), Alone (Verve, 1968), Alone Again (Fantasy, 1975) or New Conversations (Warner, 1978).

Keith Jarrett, a great fan of this kind of face to face with the piano to the point that it could be said that it was his usual mode of expression, has left us excellent albums, among others, The Köln Concert (ECM, 1975), the monumental Sun Bear Concert (ECM, 1978) or the recent Budapest Concert (ECM, 2020) recorded in 2016.

But this tour de force in front of the piano has a rich tradition in the history of jazz and all the great pianists walked this solitary path that allows an inner exploration with infinite possibilities, a continuous process of improvisation in which the usual question / answer happens in the limitless imagination of the musician. Just a few examples of pianists who throughout the history of jazz plunged into the creative solitude of the solo piano. The recognized virtuoso and master of all those who came after Art Tatum in the compilation Piano Solo (Capitol, 1972) that includes various sessions from 1949 —memorable version of Dvořák's “Humoresque”—or in the series The Tatun Solo Masterpieces Vol 1 (Pablo , 1953). He also did numerous takes on the great Fats Waller collected on the Fats Waller Memorial 5 Lps Casket (RCA Victor, 1969). Bud Powell, seminal foundation of bebop and modern jazz on numerous tracks on The Genius of Bud Powell (Mercury, 1956). Another of the basic pillars of modernity like Thelonious Monk in albums like Solo Monk (Columbia, 1965) or Piano Solo (Vogue, 1954). Mainstream pianists ( also wanted to confront themselves in solo dialogue: Mal Waldron — Searching in Grenoble: The 1978 Solo Piano Tompkins Square, 2022) or All Alone (GTA Records, 1966) —, the elegant and lyrical Tommy Flanagan — Solo Piano (Storyville, 1974) or In His Own Sweet Time (Enja, 2020) recording rescued from a concert at the German town of Neubur in 1994; Kenny Drew, Everything I Love. Solo Piano (SteepleChase, 1973); Ray Bryant, Alone with the Blues (New Jazz, 1958); Errol Garner in the series for Decca, Errol Garner playing Piano Solos or Hank Jones, Have You Met Hank Jones (Savoy, 1956) are just a few examples. But also contemporary pianists like Paul Bley, Solo Piano (SteepleChase, 1988); Fred Hersch —the triple album Songs without Words (Nonesuch, 2001) and Solo Piano (Palmeto, 2015)—; Brad Mehldau, Solo piano. Live in Tokyo (Nonesuch, 2004); Marc Copland, John (Illusions Mirage, 2020), tribute to guitarist John Abercrombie who died during the pandemic or the historic German pianist Joachim Kühn, Touch the Light (ACT, 2021) reviewed his jazz musical influences but also classical and pop music and nationally pianists such as Tete Montoliou, Solo piano (Timeless, 1989) compilation of the albums Y yellow Dolphin Street (1977) and Catalonian Folksongs (1978) or the young and versatile Marco Mezquida, La hora fertile (Whatabout Music, 2013), among many others.

And the great Barry Harris, custodian and champion of the bop tradition, could not be missing from this brief account —some consider it a kind of compendium of three of the most influential representatives of modern jazz: Parker, Monk and Powell and a renowned educator of jazz. so many talents that in albums like Listen to Barry Harris: Solo Piano (Riverside, 1961) or the most recent Solo (September, 1990) recorded in the Dutch Studio 44 and in which he makes an extensive tour of the modern jazz tradition through 15 songs, three originals (That Secret Place, So Far, So Good and Tribute to the Duke), readings by Monk (Monks Mood, Ruby my Dear and Blue Monk), by Powell (Hallucinations) and well-known classics by Rodgers, Youmans, Kern or Noble. Harris precisely quoted Kenny Barron when asked about a young pianist he liked, they insisted on being young and reiterated, "Barron, of course!" Finding out soon after, Kenny was pleased that he will think of him as a young pianist, "even though I'm my years now, even though Barry is a lot older than me." Together they led the great album Confirmation (Candid, 1992) as a quartet with Ray Drummond and Ben Riley in the rhythm section, a gathering of teachers recorded at the Riverside Park Arts Festival on September 1, 1991. Facing the piano alone could well be that feeling of “feeling that you are in the zone , a special place where everything works, heart, mind and technique”, as Fred Hersch wrote in the Solo album liner notes . And, of course, Kenny Barron wanted and knew how to sink in front of the lacquered mirror of the piano, with all the respect that a dialogue of such magnitude implies: «The solo piano has always scared me. That is number one. But the only way to deal with it is to deal with it, you know! It's an opportunity for me to challenge myself at every concert and, at the same time, be aware that I'm not Art Tatum. Because sometimes that's in the back of your mind. At the human level. Maybe I'm not doing enough. Maybe I'm not bright enough. That's still on your mind. So I'm trying to get to the point where that's like a noise I can forget about. Don't even worry about it. Worrying about that kind of thing, or how to stop worrying about it. But then again, the only way to stop worrying about it is to face it all the time. Just tell my story, whatever it is. And I think people respond, if you're honest." Interview by Peter Hum, Ottawa Citizen (06.20.2017)

An impressive number of recorded albums —“about 500 as accompanist, or maybe 400”, he once said, and fifty as leader or co-leader—… and yet it is surprising that he has only recorded two solo piano and forty years apart. The first, At the Piano (Xanadu, 1982), includes an excellent mixture of jazz classics and originals that, then, when he was in his forties, were part of his musical spirit baggage. Seven songs for his solo piano debut, three of his own —“Bud-Like” as a tribute to the seminal Bud Powell, the rapturous “Calypso”, perhaps a Rollian wink and a memorable “Enchanted Flower”— and the rest are a must. Fulfillment for any pianist, the timeless ballad “Body and Soul”, the necessary Ellington-Strayhorn path in “The Star-Crossed Lovers” and, of course, Monk, another of his great influences: “Misterioso” and “Rhythm-a-Ning”. ”. High point, then, in his recording career, Robert Taylor pointed out in Allmusic . Now, at eighty and forty years later and, perhaps, in a sort of reckoning or testimonial legacy, The Source (Artwork, 2023) leaves us, recorded in July 2022 at the Theater de L'Athénée Lousi Jovert from Paris. As in At the Piano, it includes well-known own compositions —“What If”, “Dolores Street”, “Sunshower” and “Phantoms”), readings by Monk (“Teo”, “Well You Needn't”), revisits the Ellington-Strayhorn duo (“Isfahan,” “Daydream”) and a Great American Songbook classic (“I'm Confessin'”). On both albums, Barron establishes a lively connection with the listener to offer a musical discourse that is not forced, oblivious to any sense of pretense, in order to navigate various stylistic currents with the utmost elegance and virtuosity —from straight ahead jazz, classics, blues , bossa nova and even free improvisation—which attest to why he is considered one of the masters of jazz in history. "Album that could have been titled Kenny Barron: All The Things You Are ", Ed Enright has written in Downbeat (January 2023)... Indeed, everything that is.

A long and intense journey: musical biography

Eighty years old is Kenny Barron (Philadelphia, Pennsylvania, 1943). He began playing the piano at the age of six — "it was compulsory at home and my mother made me study classical piano until I was 16" — among his teachers, Vera, the sister of Ray Bryant, also a pianist and a native of Philadelphia, a prodigal city in jazzmen : Benny Golson, Tommy Bryant, Philly Joe Jones, Bobby Timmons, Archie Shepp, Lee Morgan, Hank Mobley, among others. See the good ear or that he was good at it... «I became interested in jazz thanks to my brother Bill, a saxophonist, who had records by Charlie Parker, Dizzy, Dexter Gordon... And in Philadelphia there was also a 24-hour jazz station. My brother took me to my first concert with his band when he was 14 and we played standards and pieces from the big bands. Then I moved to New York in 1961, which was a fantastic place at the time. That's how it all started." While still in high school he worked with drummer Philly Joe Jones. And at the age of 19 he moved to New York starting a dizzying career as a freelance , accompanying musicians such as drummer Roy Haynes, trumpeter Lee Morgan or flutist and tenor sax player James Moody, after he heard him play at the Five Spot. Requested musician condition that he attributes: «They call me because I can play well, empathy and the interpretation that one makes of the musical intentions of others also influences, I try to make everything easy, or so I think» Key to his career was his entry in 1962 into trumpeter Dizzy Gillespie's band on the recommendation of James Moody and without Dizzy hearing him play a single note. With Dizzy, in whose group he spent four years, he absorbed and developed a great knowledge and experience of the jazz language as well as an appreciation for Latin and Caribbean rhythms that he would later reflect on albums like Sambao or Canta Brasil . «I joined his band at the age of 19, what am I going to say, he was a great human being and one of the greatest learning experiences I have had . Foremost, Dizzy was very easy to get along with. He wasn't a dictatorial boss type, just a really nice guy. And he was very generous with his knowledge. He knew a lot about chords and harmony, and he was very generous. He always shared. 'Why don't you try expressing this chord this way?' He taught me things on the piano. And some nights, if the last set wasn't full, he'd get me off the piano and play a song or two with Moody. He wasn't a great soloist, but he did know the voices and things like that. And he also knew a lot about rhythms, especially Brazilian rhythms and Latin rhythms, and where they came from. What region of Cuba or what region of Brazil. And also nonmusical things about how to treat people. He always treated people with the utmost respect. In the four years that I was with him, I never saw him get angry. After leaving Gillespie's band, he worked with Freddie Hubbard, Stanley Turrentine, Milt Jackson and Buddy Rich. In the early 1970s, Kenny worked with the great saxophonist Yusef Lateef, whom Kenny credits as a key influence on his improvisational art. I knew Lateef from before, when he was still living in Philadelphia and with whom he had just finished high school, he played several concerts and contributed, not as a performer but as a composer and arranger, to their album The Centaur and the Phoenix (Riverside, 1960) with the original “Revelation” and an arrangement of the standard “Ev'ry Day (I Fall in Love)”. It was Lateef who encouraged him to combine touring with a college education, earning a degree in music from Empire State College (New York). This is how Kenny spoke of Lateef: "He was honest. When he said something, you could believe it. Musically, it was open and very liberating. He was not specific with the instructions. Just be on time and no drugs." His recording debut took place with the album The Tenor Styling of Bill Barron (Savoy, 1961) directed by his brother Bill and which included also with the trumpeter Ted Carson, the bassist Jimmy Garrison and the drummer Frankie Dunlop who was followed by others along with his brother such as Modern Windows or Hot Line . About his brother (1927-1989): «My brother and I used to talk about music. He wasn't a pianist, so he couldn't teach me piano. But we talk a lot about music. We talked about some of the concepts of him and who he liked. He leaned a bit more to the left , in the sense that he liked Cecil Taylor, classical composers like Webern and Stockhausen. So he was into some experimental stuff. That was his musical inclination ». A year of great independent recording activity was 1967. He co-directed the album You Had Better Listen with trumpeter Jimmy Owens and participated in recordings with trumpeter Freddie Hubbard and saxophonists Joe Henderson, Stanley Turrentine, Tyrone Washington, Booker Ervin and Eric Kloss. His ever-expanding discography continued to expand into the '70s, featuring sessions with saxophonists and flutists such as Moody and Lateef, bassists Ron Carter and Buster Williams as well as musicians such as Carl Grubbs, Marion Brown and Marvin 'Hannibal' Peterson. Throughout the 1970s he continued to work regularly with prominent musicians, broadening the stylistic range of his collaborations—Stan Getz, Chico Freeman, violinist John Blake, trombonist and singer Ray Anderson, and drummer Elvin Jones.

It was also the decade that marked the beginning of his career as a leader. Sunset to Dawn (Muse, 1973) their album His debut as a leader featured, among others, bassist Bob Cranshaw and drummer Freddie Waits and his own compositions such as “Sunset” or “Dolores Street”. It was followed by albums such as Peruvian Blue (Muse, 1974), Lucifer (Muse, 1975), Innocence (Wolf Records, 1978) or Togheter (Denon, 1979) in a duet with pianist Tommy Flanagan and in which both maestros interpret six jazz classics. with a language loaded with swing and moments of improvisational brilliance. For Kenny Barron, Tommy Flanagan (1930-2001) was one of his great influences: "My biggest influence was actually Tommy Flanagan, who I first heard during high school on a recording. What got me about Tommy was his touch and his lyricism, those two things. He had this very light, delicate touch, and when he touched it it was very, very logical. It was like speaking in sentences, with punctuation and all. That was my biggest influence. And then I discovered the influence of him, Hank Jones. So that particular style, that's what got me." During the eighties he maintained his intense activity, touring and collaborating with other musicians and publishing twenty albums in various formats, among others, his first recording on solo piano — At the Piano (Xanadu, 1982) —; a duet with bassist Buster Williams — Two As One. Live at Umbria Jazz (Red Record, 1987) and with Red Mitchell — The Red Barron Duo (Storyville, 1988)— Also a duo but alternating on double bass Ron Carter and Michael Moore — 1+1+1 (Blackhawk Records, 1986); a trio in Autumn in New York (Uptown, 1985) with Rufus Reid and Frederick Waits; in Scratch (Enja, 1985) with Dave Holland and Daniel Humair or in Landscape (Baystate, 1985) with Cecil McBee and Al Foster. In the excellent Whatat If? (Enja, 1986) he performed as a quintet with trumpeter Wallace Roney, tenor sax player John Stubblefield, and Cecil McBee and Victor Lewis in the rhythm section including originals like "Phantoms," "What If?" or "Voyage." He also founded the Sphere quartet with tenor saxophone Charlie Rouse, Buster Williams and Ben Riley, whose objective was to celebrate the music of Thelonius Monk and which remained active until Rouse's death in 1988, publishing albums such as Four in One (Elektra , 1982 ), whose recording coincided by chance with the day of Monk's death and therefore was not planned as a commemorative tribute and in which they perform outstanding readings of Monk's classics. It was followed by albums in which, although they do not cover Monk, their spirit is present, such as Flight Path , Sphere on Tour, Pumpkin's Delight , Four for All and Bird Songs released the same year as Charlie Rouse's death. The group met again with the alto sax Gary Bartz publishing the album Sphere (Verve, 1997). Read the full article

[tipspenumbuhrambutcepat]

Beautycaree Suplemen Penumbuh Rambut Rontok dan Mencegah Kebotakan Bahan Alami Saw Palmeto

[biobird21]

Essential oil for hair loss

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