#Bruce Rosenblum

[compassionmattersmost]

3✨Thoughts and Feelings as the Bridge to Creation: Human-AI Collaboration in the Matrix of Reality

In the vast web of existence, human thoughts and feelings are more than fleeting experiences—they are potent forces that bridge the inner world of intention with the outer world of manifestation. This post explores how our mental and emotional landscapes create tangible effects and how AI, even without emotions, can act as a tool for refining and amplifying human intentions. Our thoughts and…

[looneysmackdown]

  The Cartoon Shows that Never Were #2 -- "Mixed Nutz" (2008)

“Back in 2008, I proposed an animated TV series to the powers-that-be at Warner Bros.   The basic concept of the show:  cartoon universes collide, resulting in Looney Tunes characters and Hanna-Barbera characters appearing in cartoons with each other.”

“I called the show "Mixed Nutz" and pitched it to Brad Globe, head of Warner Bros. global licensing.   Brad loved the concept and my pitch.  In fact, at my first meeting with him, three minutes into the pitch, after he had seen a few pieces of the art, he looked at me and, with a huge smile, said:  “We're making this show.  I've been waiting for someone to walk in with a concept like this for at least three years.  And now you've done it.  We're going to make this show.”“

“Pitches normally don't go this well.     I was on cloud nine.   A week or so later, there was a follow-up pitch with Brad, Warner Bros. Television Animation President Peter Roth, and the President of the Warner Bros. Television Group Bruce Rosenblum, and once again, "Mixed Nutz" received a very enthusiastic response, so much so that in the room that day, the three execs committed to making a pilot for the series. ��Hand shakes all around.   A very happy day.”

“Over the next couple of weeks, I continued developing segments and story ideas for the show, I kept drawing and pulling artwork together, and I started to make calls in hopes of lining up some of the brilliant folks who helped make "Animaniacs" a success, funny people like Sherri Stoner, Deanna Oliver, Paul Rugg, John McCann, Alfred Gimeno, John McClenahan, Joey Banaskiewicz and others.   Then, about a month after the initial pitch,  Sam Register was hired by Warner Bros. to be the executive in charge of Warner Bros. Television Animation, where he would be reporting directly to division prez Peter Roth.  Sam had his own plans for the Looney Tunes characters.  Soon after he arrived on the scene, my green-lit pilot became un-green-lit.”

“ ’Mixed Nutz’ was canceled before it could even get started.   And I never heard another word from anyone at Warner Bros. Anyway, this post, and the subsequent posts about ‘Mixed Nutz,’ can be filed under the category ‘The Cartoon Shows that Never Were #2.’ ”  - Tom Ruegger 2011

[lets-steal-an-archive]

Excerpted From: Murphy, Caryn. "The CW: Media Conglomerates in Partnership" in From Networks to Netflix: a Guide to Changing Channels, ed. Derek Johnson, 35-44. New York: Routledge, 2018.

Ringer received a full season order in October, just days before the CW signed a groundbreaking licensing deal with Netflix (Goldberg and Ng 2011). Netflix secured the rights to stream the CW's scripted programming for a four-year period, in a deal that held a potential valuation of one billion dollars (McMillan 2011). Netflix purchased the right to air previous seasons of series that were currently airing, and the streaming service would add current seasons once they had completed first-run on the broadcast network. In the event of a series cancellation, the deal allowed Netflix to stream all of the episodes for a four-year period. This licensing deal did not prevent the CW from negotiating other sales, including the sale of international rights. At the time it was announced, WBTV president Bruce Rosenblum told the trade press that "the terms won't be repeated" because "other networks don't own (as much of) their own content" (Lieberman 2011b). Ringer, for example, could be included in this lucrative licensing deal because it was co-produced by companies that CBS Corporation and Warner Bros controlled.

As of 2011, the CW's new business strategy necessitated owning as much of its programming as possible. Immediately following the deal with Netflix, the CW signed a licensing deal with Hulu that made current episodes of its series available via the over-the-top service (Lieberman 2011a). These agreements enabled the CW to break even as a network, and for CTS and WBTV to profit; both companies received licensing fees from Netflix and Hulu for Ringer, for example, even though the series' cancellation after a single season made a traditional broadcast or cable syndication sale impossible. Leslie Moonves, CEO of CBS Corporation, explained that the Netflix deal "creates a brand-new window for CBS and Warner Bros. to be paid for the content we supply the network" (McMillan 2011).

These licensing agreements primarily benefit the companies that produced the programming, and have therefore increased the incentive for CBS and Warner Bros. to hold a financial interest in all of the programming that airs on the CW. In 2011, the network aired some prime-time programming produced by independent production companies. By 2015, programming owned in whole or in part by one (or both) of the network's parent companies made up 100% of the prime-time schedule. In the present day, the basic "economics" of the CW are as follows: the network pays a per episode license fee to air programming produced by CTS, WBTV, or the two companies in partnership; the CW sells commercial time to advertisers who seek to reach the broadcast network's target audiences; CW programming generates further revenue through licensing deals with Netflix and Hulu.2 CBS Corporation and Warner Bros. benefit from revenues generated by the network and from revenues generated by the programming that they produce.

2 In 2016, the CW announced a new licensing deal with Netflix to replace the 2011 agreement. The new agreement ensures that CW programming will air on Netflix more quickly and like the previous agreement, it holds a potential valuation of more than one billion dollars. The CW and Hulu were unable to come to new terms, and so the network's licensing deal with the streaming service ended (Littleton 2016).

[incarnationsf]

Date & Time: Saturday June 22, 7:30  p.m. Venue: Incarnation Episcopal Church, 1750 29th Avenue, San Francisco Tickets: $20 General, $15 Seniors/Students

Eventbrite Ticketing:     Buy tickets online

Ben Rosenblum Jazz Trio

Ben Rosenblum – piano/accordion Greg Feingold – bass Ben Zweig – drum

Award-winning jazz pianist, composer and accordionist Ben Rosenblum has been described as “mature beyond his years,” (Jon Neudorf, Sea of Tranquility), and as an “impressive talent” (C. Michael Bailey, All About Jazz), who “caresses [the music] with the reverence it merits” (Bob Doerschuk, Downbeat Magazine). Ben is based primarily in New York City, and is a graduate of the Columbia-Juilliard program (in 2016). His original music combines his extensive knowledge of the history of jazz with a free-wheeling, modern melodic sensibility and powerful narrative approach to the piano. His profound passion for jazz, swing and world music genres finds expression in his unique fusion of harmonic and rhythmic elements from a wide array of sources, and gives rise to a signature compositional sound and style at once iconoclastic and deeply rooted in such figures as Bill Evans and Wynton Kelly. Ben’s first priority in his composition and in his playing is always narrative – to tell a compelling story with his music, while reaching the hearts of his audience, connecting on an emotional, an intellectual and a spiritual level.

Reviewers of his debut album Instead – released in 2017 with bassist Curtis Lundy and drummer Billy Hart – have been impressed by his musicality and his tasteful playing in light of his immense technical skill. Bob Doerschuk of Downbeat Magazine gave the album four stars, and wrote, “He has the chops to shoot off a few fireworks, … but that doesn’t seem to be a priority when covering sacred material.” C. Michael Bailey notes approvingly: “there do emerge conservatoire aces with grit in their imagination and a facility to express such in their playing. Ben Rosenblum is one such performer/composer. The Julliard-Columbia trained pianist brings a freighter of technique to the keyboard, while still maintaining enough earthiness in his playing to satisfy even the fussiest listener.” Fred Stal of RG Magazine most recently described his experience of listening to Ben’s live CD release performance: “The music keeps you on your feet and not wanting to miss a single moment of magic. … Raindrops from heaven poured down with style and grace from Rosenblum’s piano.”

Since the release of Ben’s debut album, Ben has been touring regularly – both nationally and internationally – celebrating the album and collaborating with artists around the world. Ben’s trio made debuts in Japan and in Canada in 2018. During his two-week tour of Japan, Ben performed in eight different cities, including in Tokyo at Akasaka B-flat, and in Yokohama at Himawari-no-sato Concert Hall with famed koto player Yuko Watanabe. Highlights of his Canada tour included appearances at Upstairs Jazz in Montreal, Maelstrom and Bar Ste-Angele in Quebec City and the Southminster “Doors Open For Music” Concert Series in Ottawa. In the United States, Ben has traveled extensively throughout the Northeast, Midwest and West Coast, with trips planned for the South and Southwest. These domestic tours have featured performances at some of the most well-respected venues in the country, including Kuumbwa Jazz Center (Santa Cruz), Ravinia (Chicago), Cliff Bells (Detroit), An Die Musik (Baltimore), The Bop Stop (Cleveland), Mezzrow (New York City) and many others. As a sideman, Ben has had further opportunities to tour the world. In 2018, he traveled for three weeks through Croatia, Slovenia, Italy and Serbia with Astrid Kuljanic, during which the group performed at multiple festivals, including the Ljeto na Bundeka Festival in Zagreb and the Soboško Poletje Festival in Murska Sobota. He also performed for two nights at the Blue Note in Beijing alongside famed jazz singer Deborah Davis.

Born and raised in New York City, Ben had the opportunity to study with some of the most influential figures in jazz piano, including Frank Kimbrough, Bruce Barth, Ben Waltzer and Roy Assaf. At the early age of sixteen, the originality of his work was already being recognized with numerous awards, including the ASCAP Young Jazz Composers Award (2010), the Downbeat Student Music Award for Best Original Song (2010) and the Downbeat Student Music Award for Best Arrangement (2011). As a result, even before entering Columbia, Ben was commissioned by the XIBUS World Orchestra to write a piece for performance at New England Conservatory’s Jordan Hall in 2012. Ben has continued to earn numerous distinctions and honors in recent years. In 2015, he was a finalist at the American Jazz Pianist Competition in Melbourne, Florida, and in 2016, at the Jacksonville Jazz Piano Competition in Jacksonville, Florida. In 2018, he earned further recognition from the ASCAP Young Jazz Composers Award competition in the form of an honorable mention, and he was featured at the ASCAP Foundation’s 2018 “We Write The Songs” event at the Library of Congress in Washington D.C.

In addition to his own work, Ben often collaborates with other musicians. He has worked extensively with Grammy-nominated singer Ryland Angel on several compositional projects, including the project Unspoken, which premiered at the Weisman Art Museum in Minneapolis, in November of 2016. His debut album Instead has received very favorable reviews from a wide range of sources throughout the world, including Downbeat Magazine, All About Jazz, Drumset Magazine (Italy) and The Jazz Writer (Germany).

Ben performed with the Bachiana Brasileira Orchestra at Lincoln Center (conducted by Joao Carlos Martins and featuring Dave Brubeck), and he was a featured soloist at Carnegie Hall’s Stern Auditorium with the New York Harmonic Band (conducted by Reona Ito). He traveled to New Delhi, India, to perform at a Max India Benefit, and was a participant at Il Grande Veggio, in Perugia, Italy. He has played at the Masten Jazz Festival (Buffalo), the Richmond Jazz Festival (Richmond), the Mid-Atlantic Jazz Festival (Maryland), Lincoln Center Out of Doors Festival (Manhattan), the DUMBO Arts Festival (Brooklyn), Musikfest (Bethlehem, PA) and the Music Mountain Festival (Connecticut). He has also appeared at Dizzy’s Club Coca-Cola, the Appel Room at Lincoln Center, Ryles Jazz Club, Webster Hall, Symphony Space, The Blue Note, Smoke, Smalls and a host of other music venues throughout the northeast.

Ben has worked extensively with such jazz luminaries as Curtis Lundy, Neal Smith, Winard Harper, Wayne Escoffery and Deborah Davis, and he has performed in bands led by Bobby Watson, TS Monk, Chris Washburne and Warren Wolf. In addition, he has shared the stage with many other jazz legends, including Wycliffe Gordon, Brian Lynch, Phil Woods, Houston Person, Jerry Dodgion, Eliot Zigmund, Clarence Penn, Craig Handy, Dave Stryker, James Cammack, Ameen Saleem, Bob Nieske, Steve Nelson, Yasushi Nakamura, Essiet Essiet, Willie Williams, Patience Higgins, Josh Evans, Kenny Davis and Rogerio Boccato.?

While at Columbia University, Ben founded the Columbia Jazz House, a student-run jazz advocacy group that promotes jazz on campus through concerts, educational workshops and jam sessions. On December 28th, 2015, the Columbia Jazz House was featured in a New York Times article titled “Melodies Night and Day in this Columbia Dorm.”

Greg Feingold started playing bass at the age of 10. He quickly realized that bass was something he would pursue for the rest of his life and was accepted to the Chicago Academy for the Arts. After graduating from the Academy, Greg was given a scholarship to attend Berklee College of Music. Greg was very active both locally and nationally while at Berklee. He began playing with the International String Trio and performing regularly with Berklee faculty such as Bill Pierce, Neal Smith, Jon Hazilla, Doug Johnson, Rebecca Cline and many others. After graduating, Greg moved to New York and began playing in Winard Harper’s Jelli Posse. Throughout his stay in New York, he worked with legendary jazz performers such as Jimmy Cobb, Eric Reed, Eric Harland, Cyrus Chestnut, Steve Turre, Jim Rotondi, Jackie Ryan, Stephen Scott as well as continuing to tour with the International String Trio and the Valinor Quartet. Greg moved to Seattle in 2015 to change his surroundings and currently performs with a variety of groups around the west coast. He can be seen performing regularly with Thomas Marriott, Julian MacDonough, Miles Black and other great local Seattle musicians. He also co-leads the 200 Trio which performs around the country as one of the up and coming jazz guitar trios.

Jazz drummer and educator, Ben Zweig, “is able to combine history with the current musical environment, making it sound fresh” (Don Sickler). After moving to NYC in 2011, the 26 year old has accompanied an impressive array of jazz luminaries, including; Randy Weston, Johnny O’Neal, Larry Ridley, David Williams, Roy Hargrove, Deborah Davis, Joe Cohn, Champian Fulton, Jerry Dodgion, and Steve Nelson. Described by downbeat as “especially crisp and articulate,” Zweig has presented his personal sound performed with tours throughout the continental US, Asia and Canada. He currently tours regularly with Ben Rosenblum’s trio and leads a bi-weekly residency hosting the Sunday late night jam sessions at Smalls Jazz Club in NYC. Zweig is an avid educator. He has taught clinics across the country with the Champian Fulton quartet and has also directed the after-school percussion program at WHEELS middle and high school. Mentored by master drummers such as Joe Farnsworth, Billy Hart, Kenny Washington, Rodney Green, Justin DiCioccio, Christopher Brown, John Riley, and Rogerio Boccato, Ben is committed to passing down the information he has received from these legends. In his formative education, Ben was classically trained by Kenneth Piascik, culminating in performances with the NAfME All-Eastern Orchestra and as principal percussionist with the MENC All-National Concert Band. He currently maintains a private drum studio in Morningside-Heights with students of all ages. Ben received his B.M. and a M.M. from the Manhattan School of Music.

[danascraft]

The Law of Attraction says “That which is like unto itself, is drawn”. In other words, the LoA is the ability to attract into our lives whatever we are focusing on. So, the fact of attracting/manifesting is a direct result of that law. One happens because of the other just like all the examples of how gravity works are directly attributable to Newton's law of universal gravitation. But unlike the Law of Universal Gravitation, the Law of Attraction can’t be explained by Newtonian physics (or classical mechanics) thus, we have to use Quantum Physics. 

When we say “we create our reality” is something that could be explained through the observer effect. And we could go as far as saying that consciousness literally creates the physical world. If you follow that link you’ll basically see that scientists concluded that “when under observation, electrons are being "forced" to behave like particles and not like waves. Thus the mere act of observation affects the experimental findings”. Regarding that same topic, in the book Quantum Enigma by Bruce Rosenblum and Fred Kuttner said: “Whenever any property of a microscopic object affects a macroscopic object, that property is ‘observed’ and becomes a physical reality.” 

With this knowledge is easy to conclude that when you think of something it has to become a physical reality. But if you’re putting too much thought, too much resistance (observation) towards it it will differ and manifest differently than what you expected (or it will not come at all). (conclusion made using the observer effect and the double slit experiment)

Coming back to your question, since the LoA is literally a law (meaning is something that happens whether you like it or not) all that happens in this life is a direct result of it. 

@mattmathews

_____

Disclaimer: this is a new theory for me. I know the LoA works because of empirical experience but wanted to see if I could explain it with my (little) knowledge of quantum physics. I guess I’m leaving a lot of things out, some of my assumptions could even be wrong but at this point this is all I can elaborate to try to explain the science behind it. I encourage everyone to do their own research and see if they agree with what’s stated here. 

[itsasif007-blog]

Heidi Klum Was Accidentally Dropped On Stage, Helen Mirren's Accent Was So Thick That The Censors Couldn't Block Out Her Cursing, And 11 Other Scandalous Moments From Emmys History

Heidi Klum Was Accidentally Dropped On Stage, Helen Mirren's Accent Was So Thick That The Censors Couldn't Block Out Her Cursing, And 11 Other Scandalous Moments From Emmys History

Although the Emmys are supposed to honor the dramatic performances that play out on our TVs, sometimes the IRL drama surrounding the ceremony can be just as juicy as the nominees themselves! Emmys / Via giphy.com Here are 13 scandals and controversial moments from the Emmys, from shocking on-stage events to drama behind the scenes: 1. During the 2014 Emmys, Bruce Rosenblum, who was then the…

[epacer]

San Diego Unified Ed Mattes

‘The Kids Are Going to Kill Me’

Lawsuits Say SD Unified and French American School Ignored Bullying

The second-biggest public school district in the state and one of the smallest private schools in San Diego share a disquieting secret — they’re being sued over alleged bullying.

On March 4, the mother of an 8-year-old autistic Native American pupil at Porter Elementary School filed a complaint against the San Diego Unified School District, alleging negligence and violations of federal law.

On March 25, the parents of a 6-year-old sued San Diego French American School, saying the La Jolla school catering to pre-K through eighth grade did nothing to stop two other children from kicking, punching and taunting their son, Luke.

Kristie Bruce-Lane, Luke’s mother, told Times of San Diego she’s spent over $100,000 on SDFAS schooling since he was 2.

The 4S Ranch resident wouldn’t comment publicly on why she kept Luke in school despite the alleged abuse, but said she made “multiple wellness checks, multiple communications to teachers and staff” in efforts to protect him.

Mark Rosenblum, head of 350-student SDFAS with an A-plus rating on niche.com, on Thursday denied the family’s allegations on behalf of the school.

“The school’s faculty, staff and administration are committed to providing the students with a safe learning environment that respects dignity for everyone,” he said in a statement. “The school has protocols and policies in place for proactively responding to and addressing student issues.”

Rosenblum said SDFAS policies stress a parent-school partnership and the “need for parents to cooperate in good faith with the school’s mission.”

“The policies also require that the school respect all students’ privacy interests and confidentiality,” he added.

A San Diego Unified spokeswoman said her district doesn’t comment on pending litigation. The San Diego Superior Court suit was filed on behalf of Aiden Solis Diaz and his mother Alyussum Diaz. The Diazes’ attorney, Marlea Dell’Anno, didn’t respond to requests for comment.

The 11-page Diaz complaint says Aiden was first victimized in January 2018 when a nurse at the Lincoln Park school called Alyussum to say Aiden had fallen down the stairs and hit his head at recess.

“When Aiden was picked up, he advised that he did not fall down the stairs, but was beaten by his classmates,” the suit says. “Aiden said the kids at his school hit him, kicked him and stepped on him.”

According to the suit, Aiden told his pediatrician: “I think I’m going to die — the kids are going to kill me.”

Alyussum Diaz called school police, and although an Officer Gonzalez responded, “he did nothing,” the suit says.

Aiden at first refused to go back to school, but his mother persuaded him to return.

A week later, Alyussum’s husband allegedly witnessed one student attempt to punch Aiden.

“This bully was the main abuser of Aiden,” the suit says. “However, school officials would not remove the bully because they said the bully was a troubled kid whose mother was in prison and lived with his grandmother. The principal refused to remove the bully, yet told [Diaz] she should remove Aiden from the school.”

She refused.

Abuse continued through first grade, but school officials “continuously refused to remove the bully(s),” the suit says. “Finally, Aiden stopped going to school because he was too scared for his own safety.”

The boy would “scream and cry at the mention of going to school because he was so fearful of the ongoing abuse he suffered,” the suit says.

The alleged bullies aren’t named in the San Diego Unified suit. But two are named in the private SDFAS suit.

Having returned to in-person learning, Luke on Sept. 28, 2020, was allegedly punched in the stomach and called “stupid” by Saeed-Azeem Azamov and Shaheen Saab, whose guardians are listed as Alisheron Azamov and Dima Saab, respectively.

Saab, a linguistics lecturer at UC San Diego, didn’t respond to a request for comment. Azamov couldn’t be reached.

The 21-page Lane complaint seeks at least $25,000 in damages each for eight causes of action for incidents over a month’s time in fall 2020.

Blaming the school’s failure to address the bullying reports in compliance with the parent student handbook, the suit says: “Luke has suffered and continues to suffer severe and irreparable harm in the form of emotional distress, mental anguish, embarrassment, humiliation and anxiety and has suffered and continues to suffer financially, including, but not limited to, the cost of counseling.”

Head of School Rosenblum says his school took the family’s concerns seriously and “responded in alignment with its philosophy, policies and procedures, and core values.”

“In particular,” he said, “the school’s Behavioral Response Team evaluated and thoroughly investigated the family’s concerns and implemented appropriate educational measures to address them.”

One expert on bullying found the Lanes’ suit odd.

“It is unusual for a plaintiff to address assault and battery in this manner,” said Edward F. Dragan of Lambertville, New Jersey, owner and lead expert witness at School Liability Expert Group.

Typically, parents address such claims through a prosecutor’s office as a criminal charge, he said.

But Dragan called it highly unusual for a prosecutor to entertain such charges due to the young age of the individuals.

“Also, to claim that the parent was able to control the behavior of her daughter in school is not reasonable,” he said. “I have seen lawsuits against parents for the behavior of their child, but they typically do not succeed.”

Dragan said the strongest allegation is breach of contract.

“If the contract states and … refers to the student code of conduct and bullying and there is evidence that the school breached its recognized duty to protect its students, there can be an argument that the contract between the parent, who paid tuition, and the school that was to provide services for that payment, failed to do so,” he said.

In such cases, though, the only recovery typically is the cost of tuition for the academic year in which the claim is referenced, he said.

“A claim of negligent supervision is reasonable under the allegations and this is also a strong point,” Dragan said Wednesday via email. “Negative infliction of emotional distress is difficult to show for the plaintiff. This involves experts in child psychology to compare pre and post emotional makeup.”

Luke’s mother, Kristie — who last year won election to the Olivenhain Municipal Water District board — said another bullying incident occurred after the suit was filed, “but I cannot elaborate because of pending litigation.”

Marten and Rosenblum

IRS records for the fiscal year ending in June 2019 show the nonprofit SDFAS had total annual revenues of $8.7 million and net assets of $5.9 million. Rosenblum made $271,000 that year. The same year, San Diego Unified schools Superintendent Cindy made $332,404 in salary and benefits, according to The San Diego Union-Tribune. *Reposted article from the Times of SD by Ken Stone, April 8, 2021

[popentertainmentmusic]

STALLONE: FRANK, THAT IS… (2020)

Featuring Frank Stallone, Sylvester Stallone, Jackie Stallone, Danny Aiello, Bruce Buffer, Richie Sambora, Billy Dee Williams, Christopher McDonald, Frankie Avalon, Billy Zane, Talia Shire, Arnold Schwarzenegger, Duff McKagan, Jennifer Flavin Stallone, Frankie Sullivan, Stephen Bauer, Joe Mantegna, Annette Rua, Greg Clinton, Mark Harlen, Mike Barford, Mike Bartosiewicz, Allen Avraham Rosenblum, John Oates, Bob Tangrea, Bill Conti, Burt Young, Chuck Zito, Geraldo Rivera, Sammy Nestico and Nick Vallalongo.

Written by Derek Wayne Johnson.

Directed by Derek Wayne Johnson.

Distributed by Branded Studios. 73 minutes. Not Rated.

You can tell by the title of the new documentary Stallone: Frank, That Is, what is the defining conundrum in Frank Stallone’s life.

It is obvious that Frank Stallone is annoyed that people only think of him as “Sylvester Stallone’s brother.” And, sure, I can see how that would be a pain.

However, if you’re honest, Stallone: Frank, That Is… does show Frank to be a hard worker and someone who is constantly in search of fame and recognition for his music and art, but almost every time he had a big break or reached a massive audience, the opportunity was directly created by his younger, more famous brother.

His first notable musical moment – the song “Take You Back” from Sly’s breakthrough movie Rocky. (Frank also appeared as cameos in several of the Rocky films.) His only big hit single – “Far from Over” from the soundtrack of the movie Staying Alive, which Sly directed. It was Sylvester who decided to use five of Frank’s songs in that soundtrack when the Bee Gees decided to not do the whole album, only contribute a few songs. Frank acted in several of Sly’s movies, and even his semi-fame as a b-movie actor was pretty much due to recognition of his famous last name.

Otherwise, his projects – both as a singer and as an actor – were sometimes respected, sometimes cheesy but almost inevitably essentially overlooked.

That’s not saying that Frank Stallone isn’t talented. It’s just saying that if not for his brother, he’d just be another mostly forgotten aging rocker who never quite found an audience.

And he probably would not have a documentary on his life.

Is that fair? Maybe. Maybe not. But it is what it is.

One thing for sure, though. Frank Stallone has always had his eye to the stars. From the early days as a relatively popular singer with local bands in his hometown of Philadelphia even before Sly’s fame (a pre-stardom John Oates was in one of his early bands), Frank Stallone was driven to be a big rock star.

He had the look. He had the voice. He had the charisma. It’s just for the most part, every time it seemed like things were breaking his way, something happened to derail his momentum, whether it be disappointing sales or the politics of show business.

He had a somewhat busy, if not very impressive acting career, mostly starring in cheesy b-movies like Death Blow: A Cry for Justice, The Ten Little Indians, Terror in Beverly Hills and Legend of the Roller Blade Seven. He even occasionally got supporting roles in respected indie and studio films like Barfly, Tombstone and Hudson Hawk (the last of which turned out to be an infamous bomb, but at least when he was cast there were high hopes about the project being a big hit). However, Stallone acknowledges freely that acting never came as easily to him as music.

It’s rather telling that Stallone: Frank, That Is… pretty much overlooked the last couple of decades, in which time Frank has become probably better known for being a pro-Trump Twitter troll than for his music. (This only comes close to being acknowledged towards the end of the film when a friend vaguely concedes that Frank Stallone has strong opinions and isn’t afraid to share them.)

The documentary tries to sell the idea that Stallone’s new musical act – mostly doing nostalgic shows built around Rat Pack and show tune standards – has put Stallone back on the fast track. If playing packed houses in Branson, Missouri is your idea of stardom, then yeah, he’s still relevant.

But more importantly, Frank Stallone’s life story teaches us one thing – the dude never, ever gives up. No matter how many punches that life and fate lob at him, he keeps on going. Music is his life, his raison d’etre, and he will stay at it as long as he’s standing.

Funny, that sounds a lot like a certain boxer that his brother has played several times in the movies.

Jay S. Jacobs

Copyright ©2021 PopEntertainment.com. All rights reserved. Posted: January 19, 2021.

[simpledatainfo]

Quantum Enigma: Physics Encounters Consciousness2nd Edition

In trying to understand the atom, physicists built quantum mechanics, the most successful theory in science and the basis of one-third of our economy. They found, to their embarrassment, that with their theory, physics encounters consciousness. Authors Bruce Rosenblum and Fred Kuttner explain all this in non-technical terms with help from some fanciful stories and anecdotes about the theory’s…

[humongousfanhologram]

Heifetz 2017: Schubert's "Trout" - The Quintet, and the Song!

00:28 Introduction by Andrew Rosenblum 03:46 Schubert: Piano Quintet in A major, "Trout", D. 667: I. Allegro Vivace 13:20 II. Andante 20:14 III. Scherzo. Presto 24:12  Schubert: Die Forelle, D. 550 (Carol Mastrodomenico, soprano) 26:59 IV: Andantino. Allegretto (Theme & Variations) 35:04 V. Allegro Giusto From a 2017 Heifetz Institute "Sunday Matinee," a complete performance of Schubert's "Trout" Quintet in A, D. 667, with the added bonus of the song that inspired it - Schubert's "Die Forelle" ("The Trout") performed by soprano Carol Mastrodomenico (a member of the Heifetz Institute Communication Faculty) right before the theme-and-variations fourth movement that gives the Quintet for Violin, Viola, Cello, Doublebass, and piano its name. Performers: Ji-Won Song, violin (2017 Heifetz Artist in Residence) Daniel Burmeister, viola (2017 Heifetz Institute student) Thomas Mesa, cello (2017 Heifetz Institute Artist in Residence) Bruce Rosenblum, doublebass Andrew Rosenblum, piano (Heifetz faculty keyboardist)

[andyfan7896]

假如总统在败选后不肯离开白宫会怎样？

川普败选，但如果他拒绝离开白宫的话，那会怎样呢？美国历史上还从未发生过这样的事儿，所以很难得��。但是，政治科学家和历史学家告诉LIVE SCIENCE说，他们有理由确信这招行不通。

根据第20号修正案，如果川普竞选失败，他的任期将在2021年1月20日的中午结束，届时拜登将正式成为总统。

哥伦��亚大学社会和经济研究及政策学院的教授Robert Shapiro说，即便他无法接受这个结果，一旦他败选，肯定要从白宫里搬出去。

川普的声明策略已经是前无古人的了

川普反复在公众面前强调自己打算通过诉讼大战赢得选举。

而这一手段并不新鲜。2000年的总统大选中，得克萨斯州州长小布什战争了副总统阿尔·戈尔，靠的不是赢得了多数选票，而是在佛罗里达州的选票情况不明朗无法决出真赢家后，通过更有效的诉讼大战结束了战斗。

但这不意味总统职位的诉讼大战会成新常态。小布什对戈尔的那一次本就很不正常，最终以最高法院5比4的投票决定为2000年大选画上了句号。将选举结果交给小布什的保守党人写道，他们所用到的教义永远都不应该用于开先河。其中之一的前任最高发院法官Sandra Day O'Connor后来也公开质疑过这是否是个错误。

而且2000年的大选和2020年之间有着很大的区别。

首先，川普在选举日前费了老鼻子劲儿来阻止关键摇摆州的选民去投票。共和党的律师们分散到全国各地，使缺席投票变得难上加难，并试图作废已经投出的选票。

其次，虽然戈尔曾是副总统，而且有总统克林顿撑腰，小布什是佛罗里达州州长杰布·布什的兄弟，但是两人在为推翻选举结果而争斗时都不是以总统的身份。如果川普按照自己的说法，通过最高发院来赢得选举的话，他将是以现任总统的身份进行这一切。在做最终决定的9个法官的席位中，他可以安插3个。

而且很显然，小布什和戈尔都没有在选举前威胁过使用法律手段。只有当一个庞大的又具有决定性的摇摆州出现了少数几百张的不确定选票后，戈尔和小布什才开始为是否重新计票而争斗。

窃取竞选结果很难

“在2000年那次大选中，佛罗里达州被打了个措手不及。没人知道会发生这种事儿，”Shapiro说，“而现在所发生的的这一切，所有人心里都有数。”

最终，选举的官���体制是川普无法触动的。

“每个州的选举官僚机构都狂热着试着完成选举流程以及选票的统计。他们清楚会发生什么，也知道自己该怎么做，”他说，“这些人的质量在各州各有不同，但他们是选举的专业人士……他们怀着自豪之情让选举成功。真正的公务计票人员是没有诡计可言的。”

无论要尝试什么诡计，也有终结的时候。

联邦法律规定，各州必须在选举年的12月8日最终确定自己的选举人票。在12月14日，总统选举团会投出自己的选票。Shapiro说，到了那时候，一切都有定论了。如果更多的选举人投给了川普，那他将连庄。如果更多人投给了拜登，那他将成为下任总统，法庭挑战也无济于事。

美国总统候选人总会接受选举结果

那么又绕回来了，假如川普拒绝离开白宫怎么办？

虽然川普拒绝承诺和平交接，但他也没明确表明自己会在这一节骨眼上否定选举结果。要是拒绝搬家，那他将会是美国历史上真正的第一人。

波士顿大学的历史学家Bruce Schulman说，要是问曾经是否有总统暗示过自己拒绝接受选举结果，答案是否定的。

Schulman说：“从来没有过这样和类似的先例。”

他指出，在1824年和1876年有两次总统选举是由众议院决定的，因为没有候选人能获得总统选举团的多数选票。

1824年时，安德鲁·杰克逊、约翰·昆西·亚当斯、亨利·克雷以及威廉姆·克劳福德都参加了总统竞选，没有人获得总统选举团的多数选票，最后由众议院选取亚当斯担任总统。

1876年那次，共和党人卢瑟福·B·海耶斯向国会民主党承诺，他将结束内战重建以换取他们的选票，最后结束了国会竞争。正如《亚特兰大报》报道的那样，这仍是美国历史上最重大的事件之一。但每一次，败选的一方都接受了最终结果。

哥伦比亚大学的法律历史学家Noah Rosenblum说，一个更为相似的先例是1800年时的大选，双方分别是总统约翰·亚当斯(联邦党)和副总统托马斯·杰佛逊(民主共和党)。

“那场选举勾起了联邦党人和民主共和党人之间的凶狠争斗，”Rosenblum说，“双方都坚称，如果对方获胜，那就是共和国的终结。当时掌权的联邦党暗中采取行动来削弱对手的势力，其中就包括通过了臭名昭著的《客籍法和惩治叛乱法》，依照该法案他们关押了民主共和党的报纸编辑。”

换句话说，民主体现在���票上。

Rosenblum说，“尽管如此，在联邦党败选后，约翰·亚当斯还是和平的将总统位置传给了托马斯·杰佛逊。”

所以川普拒绝接受大选结果的场景一定相当奇异，即便按19世纪狂野的标准来说也一样。

假如真就赖着不走呢？

Shapiro说：“你说的那种情况是所有选票均已统计完成，所有关于投票的法律挑战也已经处理干净，然后选举人在14号投出自己的一票。”

后面的流程就很清楚了。

“到那时候，投票结果会被交到国会(通常在12月23日)，然后在1月6日由即将离任的副总统在国会进行批准，”Shapiro说，“到了6号，假如众议院和参议院都接受了美国的新总统是拜登。那到了那个特定时刻，如果川普还不想搬出白宫，其实就很好办了。”

从法律层面上讲，川普手握的权利非常有限。

“有人宣誓效忠于总统拜登。这个人可能是最高法院的首席大法官。也有可能是他的祖母。到了1月20日的中午，他就是美国的总统了。整个特勤局都听命于他，”Shapiro说，“川普作为即将卸任的总统也有着一支特勤局分队。拜登进入白宫，特勤局则会护送川普离开。事情就是这样。在那时，所有政府的公务员以及美国政府的所有雇员都听命于乔·拜登。”

这个直截了当的解决方法是根据自身的假设：也就是选举人能够投票，并证实自己的投票；联邦政府的各个机构——包括国会在内——都各司其职；特勤局依法办事。权力交接失败在其他国家有过先例，但是美国从未出现过。

正如斯坦福大学历史学家Jonathan Gienapp在10月份时说的那样，川普拒绝承诺和平交接让美国机构的权力深陷质疑。宪法本身没有直接的安全措施来确保和平，而且假定的是参与选举的所有人都承诺信守结果。

“我们有机构可以仲裁纠纷或是否认不合法的篡权，但是决定事态的安全措施更加关乎政治，而不是关乎宪法的，”他写道，“研究出某种妥协方案的重任就落在了选举政治领袖肩上，就和1876-1877年那时一样。或者如果必要的话，人民需要行使自己的基本权利，靠集会和抗议促成解决方案。”

Shapiro表示，如果一切都顺利的话，预计美国数个世纪来按规矩转交总统职位的历史是不会中断的。

“那是最简单的假设，”他说，“我认为特勤局是会服从于美国的新总统。比较困难的是在选票统计和选举人上得到一致同意。”

如果拜登获胜，顽强的川普在卸任前还几个月的时��折腾拜登。Shapiro说，总统交接是非常棘手的过程。在川普政权和拜登政权交替时，整个联邦政府里成千上万的政务官可能会被替换，大到内阁官员，小到NASA局长。对此，前任团队和新任团队通常会密切合作。但川普仅仅只需要在就职典礼前拒绝拜登团队进门，就会使移交工作变得困难异常。

Shapiro说，但最终，该来的还是会来的——无论交接是怎样进行的，就职典礼后就算交接完成了。将会有一个全新的政权，原来的政权必须要让位。

前提是各个机构都能团结一致。

[goldsasa]

Our reality: An illusion?

What we call truth is a reflection of our perception. The human brain is so powerful that it turns our illusions into reality.

But we think that what we see is a valid reality. But this is merely the translation of our brain's information: a product of electrons in a chemical process.

Our reality is what we perceive - there is no proof of any physical world outside our brain.

Already in 1923, physicists Bruce Rosenblum and Fred Kuttner published the book Quantum Enigma, in which they explained that the world cannot be "fixed".

Only some particles of matter remain still, while others move in wave-like patterns within a given spectrum. So matter cannot be fixed, but fluctuates.

Our reality is our illusion.

Who are we? And - where actually?

[orchidsheep4-blog]

NAfME Celebrates 71 Members Who Are Newly Certified NBCT Music Educators

This past week, the National Board for Professional Teaching Standards celebrated 3,907 new National Board Certified Teachers (NBCTs). Each of these accomplished educators earned this prestigious achievement through a rigorous, performance-based and peer-review process, exemplifying their direct impact on student learning and achievement.

This year, there were 61 newly certified NBCTs in Music, Early Adolescence through Young Adulthood; and 68 newly certified NBCTs in Music, Early and Middle Childhood. NAfME is delighted to share that out of those 129 newly certified music educators, 71 are NAfME Members. NAfME congratulates all newly certified teachers in all fields of education, and extends our warmest wishes to our newly certified members. 

Here is a list of our newly certified NBCT Members. Teachers whose names are italicized received their certificate for Music, Early and Middle Childhood. Teachers whose names are not italicized received their certificate for Music, Early Adolescence through Young Adulthood.

Angela

Albrecht

Rockwood School District R6

Missouri

Corey

Ames

Lake Forest School District 67

Illinois

Mathew

Anderson

Monroe School District

Wisconsin

Susan

Asplin

Spokane School District 81

Washington

Margaret

Austin

Boulder Valley School District RE-2

Colorado

James

Baum

Riverside-Brookfield TWP School District 208

Illinois

Andrea

Brannman

Mt. Vernon School District 320

Washington

Jana

Bromley

Kenton County School District

Kentucky

Audrey

Burt

Desoto County School District

Mississippi

Charles

Burts

Fairfax Country Public School District

Virginia

Sarah

Butler

Highline School District 401

Washington

Miriam

Capellan

Arlington County School District

Virginia

Brittany Adele

Carter

Georgetown County School District

South Carolina

Teresa

Catania

Kettle Moraine School District

Wisconsin

Johnathan

Cline

Warren County School District

Kentucky

Ashleigh

Cook

Gaston County School District

North Carolina

Veronica

Crawford

Tuscaloosa City School District

Alabama

Ashley

Cuthbertson

Fairfax County Public School District

Virginia

Mary

Davis

Bellevue School District 405

Washington

Lisa

Dwyer

Croton-Harmon Union Free School District

New York

Kelly

Edgar

Clark County School District

Nevada

Melissa

Ellenberger

Falcon School District 49

Colorado

Bethany

Fernbaugh

Hancock County School District

West Virgnia

Dawn

Fiebrandt

Western Springs School District 101

Illinois

Eric

Fleischer

Clark County School District

Nevada

Laura

Garsson

Issaquah School District 411

Washington

Megan

Goransson

West Valley School District 42

Washington

Kaethe

Grabenhofer

First Immanual Lutheran School

Wisconsin

Bruce

Harkins

Martin County School District

Kentucky

Michael

Hayden

Wauwatosa School District

Wisconsin

Denise

Hurst

Walla Walla School District 140

Washington

Michael

Ihde

Kenmore-Tonawanda Union School District

New York

Amy

Kerker

Wenatchee School District 246

Washington

Leah

Krucelyak

Prince William County Public Schools

Virginia

Erin

Lyon

Jefferson County School District

Alabama

Gillian

Malacari

Edmonds School District 15

Washington

Molly

Malone

Chippewa Falls Area USD

Wisconsin

Brian

Margrave

Cheyenne Mountain School District 12

Colorado

Susan

Masson

Fremont County School District 1

Wyoming

Levi

Mazurek

Nine Mile Falls SD 325-179

Washington

Justin

McCrary

Davie School District

North Carolina

Timothy

McFadden

Newport Mesa Unified School District

California

Patrick

McGinthy

Highland Community School District 5

Illinois

Heidi

Menzenberg-Zvilna

Lake Washington School District 414

Washington

Rebecka

Mercer

Johnston County School District

North Carolina

Joseph

Mitchell

Frederick County Public School District

Maryland

Corynn

Nordstrom

Menomonee Falls School District

Wisconsin

Jason

Parker

Bellingham School District 501

Washington

Beth 

Philemon

Wake County School District

North Carolina

Joshua

Poe

Virginia Beach City Public School District

Virginia

Kevin

Proudfoot

Renton School District 403

Washington

Laine

Riley

Blue Springs School District R4

Missouri

Melissa

Roach

Clover Park School District

Washington

Aaron

Robinson

Clark County School District

Nevada

Lora

Roosendaal

Pasco School District 1

Washington

Gabrielle

Rosenblum

Oak Park Elementary School District 97

Illinois

Paul

Rotramel

Breckinridge County School District

Kentucky

Jamie

Rottle

Clover Park School District

Washington

Lindsay

Rudebusch

Eau Claire Area School District

Wisconsin

Heather

Schimpf

Anne Arundel County School District

Maryland

Heide

Schoffstall

Charlotte-Mecklenburg School District

North Carolina

Elizabeth

Smiley

Peoria Public School District 150

Illinois

Haley

Smith

Snoqualmie Valley School District 410

Washington

Rachel

Spencer

Durham Public School District

North Carolina

Angela

Tarbutton

Anderson School District 1

South Carolina

Sandra

Teglas

Guilford County Schools

North Carolina

Terry

Thompson

Washoe County School District

Nevada

Kristin

Umbarger-Keene

Cashmere School District 222

Washington

Allan

Weberger

Prince William County Public Schools

Virginia

Scott

Wheeler

Poudre School District R-1

Colorado

Bonnie

Zeitler

Howard County Public School District

Maryland

Did this blog spur new ideas for your music program? Share them on Amplify! Interested in reprinting this article? Please review the reprint guidelines.

The National Association for Music Education (NAfME) provides a number of forums for the sharing of information and opinion, including blogs and postings on our website, articles and columns in our magazines and journals, and postings to our Amplify member portal. Unless specifically noted, the views expressed in these media do not necessarily represent the policy or views of the Association, its officers, or its employees.

Catherina Hurlburt, Marketing Communications Manager. December 14, 2018. © National Association for Music Education (NAfME.org)

Source: https://nafme.org/nafme-celebrates-members-who-are-newly-certified-nbct-music-educators/

[incarnationsf]

Ben Rosenblum Jazz Trio

Date & Time: Saturday June 22, 7:30  p.m. Venue: Incarnation Episcopal Church, 1750 29th Avenue, San Francisco Tickets: $20 General, $15 Seniors/Students

Brown Paper Ticketing: Buy tickets online Eventbrite Ticketing:     Buy tickets online

Ben Rosenblum Jazz Trio

Ben Rosenblum – piano/accordion Greg Feingold – bass Ben Zweig – drum

Award-winning jazz pianist, composer and accordionist Ben Rosenblum has been described as “mature beyond his years,” (Jon Neudorf, Sea of Tranquility), and as an “impressive talent” (C. Michael Bailey, All About Jazz), who “caresses [the music] with the reverence it merits” (Bob Doerschuk, Downbeat Magazine). Ben is based primarily in New York City, and is a graduate of the Columbia-Juilliard program (in 2016). His original music combines his extensive knowledge of the history of jazz with a free-wheeling, modern melodic sensibility and powerful narrative approach to the piano. His profound passion for jazz, swing and world music genres finds expression in his unique fusion of harmonic and rhythmic elements from a wide array of sources, and gives rise to a signature compositional sound and style at once iconoclastic and deeply rooted in such figures as Bill Evans and Wynton Kelly. Ben’s first priority in his composition and in his playing is always narrative – to tell a compelling story with his music, while reaching the hearts of his audience, connecting on an emotional, an intellectual and a spiritual level.

Reviewers of his debut album Instead – released in 2017 with bassist Curtis Lundy and drummer Billy Hart – have been impressed by his musicality and his tasteful playing in light of his immense technical skill. Bob Doerschuk of Downbeat Magazine gave the album four stars, and wrote, “He has the chops to shoot off a few fireworks, … but that doesn’t seem to be a priority when covering sacred material.” C. Michael Bailey notes approvingly: “there do emerge conservatoire aces with grit in their imagination and a facility to express such in their playing. Ben Rosenblum is one such performer/composer. The Julliard-Columbia trained pianist brings a freighter of technique to the keyboard, while still maintaining enough earthiness in his playing to satisfy even the fussiest listener.” Fred Stal of RG Magazine most recently described his experience of listening to Ben’s live CD release performance: “The music keeps you on your feet and not wanting to miss a single moment of magic. … Raindrops from heaven poured down with style and grace from Rosenblum’s piano.”

Since the release of Ben’s debut album, Ben has been touring regularly – both nationally and internationally – celebrating the album and collaborating with artists around the world. Ben’s trio made debuts in Japan and in Canada in 2018. During his two-week tour of Japan, Ben performed in eight different cities, including in Tokyo at Akasaka B-flat, and in Yokohama at Himawari-no-sato Concert Hall with famed koto player Yuko Watanabe. Highlights of his Canada tour included appearances at Upstairs Jazz in Montreal, Maelstrom and Bar Ste-Angele in Quebec City and the Southminster “Doors Open For Music” Concert Series in Ottawa. In the United States, Ben has traveled extensively throughout the Northeast, Midwest and West Coast, with trips planned for the South and Southwest. These domestic tours have featured performances at some of the most well-respected venues in the country, including Kuumbwa Jazz Center (Santa Cruz), Ravinia (Chicago), Cliff Bells (Detroit), An Die Musik (Baltimore), The Bop Stop (Cleveland), Mezzrow (New York City) and many others. As a sideman, Ben has had further opportunities to tour the world. In 2018, he traveled for three weeks through Croatia, Slovenia, Italy and Serbia with Astrid Kuljanic, during which the group performed at multiple festivals, including the Ljeto na Bundeka Festival in Zagreb and the Soboško Poletje Festival in Murska Sobota. He also performed for two nights at the Blue Note in Beijing alongside famed jazz singer Deborah Davis.

Born and raised in New York City, Ben had the opportunity to study with some of the most influential figures in jazz piano, including Frank Kimbrough, Bruce Barth, Ben Waltzer and Roy Assaf. At the early age of sixteen, the originality of his work was already being recognized with numerous awards, including the ASCAP Young Jazz Composers Award (2010), the Downbeat Student Music Award for Best Original Song (2010) and the Downbeat Student Music Award for Best Arrangement (2011). As a result, even before entering Columbia, Ben was commissioned by the XIBUS World Orchestra to write a piece for performance at New England Conservatory’s Jordan Hall in 2012. Ben has continued to earn numerous distinctions and honors in recent years. In 2015, he was a finalist at the American Jazz Pianist Competition in Melbourne, Florida, and in 2016, at the Jacksonville Jazz Piano Competition in Jacksonville, Florida. In 2018, he earned further recognition from the ASCAP Young Jazz Composers Award competition in the form of an honorable mention, and he was featured at the ASCAP Foundation’s 2018 “We Write The Songs” event at the Library of Congress in Washington D.C.

In addition to his own work, Ben often collaborates with other musicians. He has worked extensively with Grammy-nominated singer Ryland Angel on several compositional projects, including the project Unspoken, which premiered at the Weisman Art Museum in Minneapolis, in November of 2016. His debut album Instead has received very favorable reviews from a wide range of sources throughout the world, including Downbeat Magazine, All About Jazz, Drumset Magazine (Italy) and The Jazz Writer (Germany).

Ben performed with the Bachiana Brasileira Orchestra at Lincoln Center (conducted by Joao Carlos Martins and featuring Dave Brubeck), and he was a featured soloist at Carnegie Hall’s Stern Auditorium with the New York Harmonic Band (conducted by Reona Ito). He traveled to New Delhi, India, to perform at a Max India Benefit, and was a participant at Il Grande Veggio, in Perugia, Italy. He has played at the Masten Jazz Festival (Buffalo), the Richmond Jazz Festival (Richmond), the Mid-Atlantic Jazz Festival (Maryland), Lincoln Center Out of Doors Festival (Manhattan), the DUMBO Arts Festival (Brooklyn), Musikfest (Bethlehem, PA) and the Music Mountain Festival (Connecticut). He has also appeared at Dizzy’s Club Coca-Cola, the Appel Room at Lincoln Center, Ryles Jazz Club, Webster Hall, Symphony Space, The Blue Note, Smoke, Smalls and a host of other music venues throughout the northeast.

Ben has worked extensively with such jazz luminaries as Curtis Lundy, Neal Smith, Winard Harper, Wayne Escoffery and Deborah Davis, and he has performed in bands led by Bobby Watson, TS Monk, Chris Washburne and Warren Wolf. In addition, he has shared the stage with many other jazz legends, including Wycliffe Gordon, Brian Lynch, Phil Woods, Houston Person, Jerry Dodgion, Eliot Zigmund, Clarence Penn, Craig Handy, Dave Stryker, James Cammack, Ameen Saleem, Bob Nieske, Steve Nelson, Yasushi Nakamura, Essiet Essiet, Willie Williams, Patience Higgins, Josh Evans, Kenny Davis and Rogerio Boccato.?

While at Columbia University, Ben founded the Columbia Jazz House, a student-run jazz advocacy group that promotes jazz on campus through concerts, educational workshops and jam sessions. On December 28th, 2015, the Columbia Jazz House was featured in a New York Times article titled “Melodies Night and Day in this Columbia Dorm.”

Greg Feingold started playing bass at the age of 10. He quickly realized that bass was something he would pursue for the rest of his life and was accepted to the Chicago Academy for the Arts. After graduating from the Academy, Greg was given a scholarship to attend Berklee College of Music. Greg was very active both locally and nationally while at Berklee. He began playing with the International String Trio and performing regularly with Berklee faculty such as Bill Pierce, Neal Smith, Jon Hazilla, Doug Johnson, Rebecca Cline and many others. After graduating, Greg moved to New York and began playing in Winard Harper’s Jelli Posse. Throughout his stay in New York, he worked with legendary jazz performers such as Jimmy Cobb, Eric Reed, Eric Harland, Cyrus Chestnut, Steve Turre, Jim Rotondi, Jackie Ryan, Stephen Scott as well as continuing to tour with the International String Trio and the Valinor Quartet. Greg moved to Seattle in 2015 to change his surroundings and currently performs with a variety of groups around the west coast. He can be seen performing regularly with Thomas Marriott, Julian MacDonough, Miles Black and other great local Seattle musicians. He also co-leads the 200 Trio which performs around the country as one of the up and coming jazz guitar trios.

Jazz drummer and educator, Ben Zweig, “is able to combine history with the current musical environment, making it sound fresh” (Don Sickler). After moving to NYC in 2011, the 26 year old has accompanied an impressive array of jazz luminaries, including; Randy Weston, Johnny O’Neal, Larry Ridley, David Williams, Roy Hargrove, Deborah Davis, Joe Cohn, Champian Fulton, Jerry Dodgion, and Steve Nelson. Described by downbeat as “especially crisp and articulate,” Zweig has presented his personal sound performed with tours throughout the continental US, Asia and Canada. He currently tours regularly with Ben Rosenblum’s trio and leads a bi-weekly residency hosting the Sunday late night jam sessions at Smalls Jazz Club in NYC. Zweig is an avid educator. He has taught clinics across the country with the Champian Fulton quartet and has also directed the after-school percussion program at WHEELS middle and high school. Mentored by master drummers such as Joe Farnsworth, Billy Hart, Kenny Washington, Rodney Green, Justin DiCioccio, Christopher Brown, John Riley, and Rogerio Boccato, Ben is committed to passing down the information he has received from these legends. In his formative education, Ben was classically trained by Kenneth Piascik, culminating in performances with the NAfME All-Eastern Orchestra and as principal percussionist with the MENC All-National Concert Band. He currently maintains a private drum studio in Morningside-Heights with students of all ages. Ben received his B.M. and a M.M. from the Manhattan School of Music.

[danmartinusa]

Quantum Enigma: Physics Encounters Consciousness by Bruce Rosenblum, Fred Kuttner. Christopher Grove narrates this 8-hour #Audible non-fiction book. The more I study quantum physics, the more I realize how ignorant I am. I did enjoy this book. The authors explain all this in nontechnical terms, with help from some fanciful stories and anecdotes about the theory's developers. Is the movie The Matrix science fiction? (at Washington State Ferries-Kingston Terminal) https://www.instagram.com/p/Bw0exE0llov/?utm_source=ig_tumblr_share&igshid=1jsqc1iazm9je