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My unfinished sketch of Baby Phos and Moon Phos.
Another one of my personal favorites, I would love to finish this digitally one day.
I wanted to finish this before the eventual final of the manga, but I never did ;u;
Tried to showcase their personalities through their outfits. Loss of innocence, elements of that matter...
Akartam látni
Egy régi szerelmemmel álmodtam. Amikor felismertem meglepődtem, és éreztem, hogy mindjárt felébredek és nagyon koncentráltam, hogy ne ébredjek fel mert akartam tudni, hogy miért van ott az álmomban. Olyan volt, mintha ő nem látott volna engem vagy méginkább mintha ketten lettem volna. Koncentráltam, hogy ott tartsam és csak figyeltem őt meg magamat, emlékszem ahogy közelről megnéztem a száját, hogy még mindig olyan-e mint amire emlékszem, és megnéztem az orrát is olyan közelről, hogy láttam a pórusait, és néztem az orra ívét, hogy igen, jól emlékszem ilyen görbe valahogy, és arra gondoltam, hogy még sosem néztem meg ilyen tüzetesen és épp olyan, mint egy fényképen vagyis az összes fényképen (:D), a haját ahogy hátrarázza, és megint az a bordó pulóver van rajta. Megnéztem távolabbról és figyeltem, hogy hogyan érzek, hogy látom őt. Nagyon nagyon régen volt ő fontos nekem. Azt hiszem, amikor szerelmes voltam belé, én nem tudtam őt igazán szeretni. Mármint szeretéssel. Nem volt a barátom, se a pajtásom, se a semmimse, csak valami kielégíthetetlen sóvárgás valamiért amit nem kaphattam meg miközben megkaptam hiszen párszor összefeküdtünk meg elég sokat játszottunk együtt meg naponta találkoztunk. De nem jártunk és nem volt a kapcsolatunknak semmi értelme meg lófasz volt nem kapcsolat. Sok év nyűglődés, az volt. De álmomban nem sóvárogtam és nem voltam szerelmes, csak valami kis meleg szeretetet éreztem, mint amikor anyád fiókja alján megtalálod a gyerekkori megcsócsált mackódat. Aztán elengedtem, nem kapaszkodtam tovább az álmomba és eltűnt. Most meg olyan érzés, mintha valóban találkoztunk volna. Rém fura! Aztán ébren eszembe jutott amikor nála voltam hétvégén és vasárnap délelőtt megfürdött, és felvette az öltönyét és elment látogatóba a barátaihoz, akik kicsit idősebbek voltak (mondjuk egy tizessel), olyan pótszülő félék, engem meg hazafurikázott. Boss spirit volt a kedvenc parfümje. Jó is volt. És ahogy ez eszembe jutott, elkezdtem magamban nevetni, hogy én ennél kispolgáribb, kínosabb baromságot el nem tudok képzelni, mint ez a vasárnapi öltönybeöltözött látogatósdi. Nem volt rajta mit szeretni. Azt hiszem ez lehetett a baj.
Fearless da Mauro Scozzi Tramite Flickr: You say the hill's too steep to climb You say you'd like to see me try, climbing You pick the place and I'll choose the time And I'll climb the hill in my own way Just wait a while for the right day And as I rise above the tree-line and the clouds I look down hear the sounds of the things you said today "fearless, Pink Floyd" music most interesting © Use without permission is illegal

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Gueirua II by hawranekk
Shirley Horn
Shirley Valerie Horn (May 1, 1934 – October 20, 2005) was an American jazz singer and pianist. She collaborated with many jazz greats including Miles Davis, Dizzy Gillespie, Toots Thielemans, Ron Carter, Carmen McRae, Wynton Marsalis and others. She was most noted for her ability to accompany herself with nearly incomparable independence and ability on the piano while singing, something described by arranger Johnny Mandel as "like having two heads", and for her rich, lush voice, a smoky contralto, which was described by noted producer and arranger Quincy Jones as "like clothing, as she seduces you with her voice". Although she could swing as strongly as any straight-ahead jazz artist, Horn's reputation rode on her exquisite ballad work.
Biography
Shirley Horn was born and raised in Washington, D.C.. Encouraged by her grandmother, an amateur organist, Horn began piano lessons at the age of four. Aged 12, she studied piano and composition at Howard University, later graduating from there in classical music. Horn was offered a place at the Juilliard School, but her family could not afford to send her there. Horn formed her first jazz piano trio when she was 20. Horn's early piano influences were Erroll Garner, Oscar Peterson and Ahmad Jamal, and moving away from her classical background, Horn later said that "Oscar Peterson became my Rachmaninov, and Ahmad Jamal became my Debussy." She then became enamored with the famous U Street jazz area of Washington (largely destroyed in the 1968 riots), sneaking into jazz clubs before she was of legal age.
Horn first achieved fame in 1960, through her association with Miles Davis. Davis' praise had particular resonance in two respects: because he was so highly respected as a musician, and because he rarely offered public praise for fellow musicians at that time. Horn had, though, recorded several songs with violinist Stuff Smith in 1959 both as a pianist and a singer. After her discovery by Davis, she recorded albums on different small labels in the early 1960s, eventually landing contracts with larger labels Mercury Records and Impulse Records. She was popular with jazz critics, but did not achieve significant popular success.
Quincy Jones attempted to make Horn into a pure vocalist in several recording sessions, something he later hinted may have been a mistake. Horn was also disturbed by the changes in popular music in the 1960s following the arrival of The Beatles. Largely rejecting efforts to remake her into a popular singer, she stated: "I will not stoop to conquer." From the late-1960s, she concentrated on raising her daughter Rainy with her husband, Shepherd Deering (whom she had married in 1955), and largely limited her performances to her native Washington, D.C.
Miles Davis made a rare appearance as a sideman on Horn's 1991 album You Won't Forget Me. Although she preferred to perform in small settings, such as her trio, she also recorded with orchestras, as on the 1992 album Here's to Life, the title song (lyrics by Phyllis Molinary, music by Artie Butler) of which became her signature song. A video documentary of Horn's life and music was released at the same time as "Here's To Life" and shared its title. At the time, arranger Johnny Mandel commented that Horn's piano skill was comparable to that of the noted jazz great Bill Evans. A follow-up was made in 2001, named You're My Thrill.
Horn worked with the same rhythm section for 25 years: Charles Ables (bass) and Steve Williams (drums). Don Heckman wrote in theLos Angeles Times (February 2, 1995) about "the importance of bassist Charles Ables and drummer Steve Williams to Horn's sound. Working with boundless subtlety, following her every spontaneous twist and turn, they were the ideal accompanists for a performer who clearly will tolerate nothing less than perfection".
Her albums Here's to Life, Light Out of Darkness (A Tribute to Ray Charles) and I Love You, Paris all reached number one on theBillboard jazz charts.
Due to health problems in the early 2000s, Horn had to cut back on her performances. After 2002, a foot amputation (from complications of diabetes) led her to leave the piano playing to pianist George Mesterhazy. In late 2004, Horn felt able to play piano again, and recorded a live album for Verve, at Manhattan's Au Bar with trumpet player Roy Hargrove, which did not satisfy her. It remains unreleased except for tracks on But Beautiful - The Best of Shirley Horn.
A breast cancer survivor, she had been battling diabetes when she died of complications from the condition, aged 71. She is interred at Ft. Lincoln Cemetery in Washington, D.C.
Awards and honors
Horn was nominated for nine Grammy Awards during her career, winning the Grammy Award for Best Jazz Vocal Performance at the 41st Grammy Awards for I Remember Miles, a tribute to her friend and mentor (the album's cover featuring a Miles Davis drawing of them both).
She was officially recognized by the 109th US Congress for "her many achievements and contributions to the world of jazz and American culture", and performed at The White House for several U.S. presidents. Horn was awarded an honorary Doctor of Music degree from the Berklee College of Music in 2002.
She was awarded the National Endowment for the Arts Jazz Masters Award in 2005 (the highest honors that the United States bestows upon jazz musicians).
Discography
As leader
1960: Embers and Ashes (Stereo-Craft)
1961: Live at the Village Vanguard (live) (Can-Am)
1963: Loads of Love (Mercury)
1963: Shirley Horn with Horns (Mercury)
1965: Travelin' Light (ABC-Paramount)
1972: Where Are You Going (Perception)
1978: A Lazy Afternoon (SteepleChase)
1981: All Night Long (live) (SteepleChase)
1981: Violets for Your Furs (live) (SteepleChase)
1984: Garden of the Blues (live) (SteepleChase)
1987: All of Me
1987: Softly (Audiophile)
1987: I Thought About You (Verve, live)
1989: Close Enough for Love (Verve)
1991: You Won't Forget Me (Verve, with Miles Davis)
1992: Here's to Life (Verve)
1993: Light Out of Darkness (A Tribute to Ray Charles) (Verve)
1994: I Love You, Paris (Verve, live)
1994: Live at the 1994 Monterey Jazz Festival (Verve, live, released 2008)
1996: The Main Ingredient (Verve)
1997: Loving You (Verve)
1998: I Remember Miles (Verve)
1999: Quiet Now: Come a Little Closer (compilation) (Verve)
1999: Ultimate Shirley Horn (compilation) (Verve)
2001: You're My Thrill (Verve)
2003: May the Music Never End (Verve)
2005: But Beautiful-Best of Shirley Horn (Verve)
2006: Marian McPartland's Piano Jazz With Guest Shirley Horn (Concord)
2016: Live at the Four Queens (Resonance)
Wikipedia