#Duke Lewis Jr.

[queerstuffonscreen]

Faking It (2014-2016)

Episode length: 22 min.

Country: USA

Genre: Comedy

Language: English

A romantic comedy about two best friends who love each other - in slightly different ways. After numerous failed attempts to become popular, the girls are mistakenly outed as lesbians, which launches them to instant celebrity status. Seduced by their newfound fame, Karma and Amy decide to keep up their romantic ruse.

Season 1

Episode 1: Pilot

Episode 2: Homecoming Out

Episode 3: We Shall Overcompensate

Episode 4: Know Thy Selfie

Episode 5: Remember the Croquembouche

Episode 6: Three to Tango

Episode 7: Faking Up Is Hard to Do

Episode 8: Burnt Toast

Season 2

Part 1

Episode 1: The Morning Aftermath

Episode 2: You Can't Handle the Truth or Dare

Episode 3: Lust in Translation

Episode 4: Lying Kings and Drama Queens

Episode 5: Present Tense

Episode 6: The Ecstasy and the Agony

Episode 7: Date Expectations

Episode 8: Zen and the Art of Pageantry

Episode 9: Karmic Retribution

Episode 10: Busted

Part 2

Episode 11: Stripped

Episode 12: The Revengers: Age of the Monocle

Episode 13: Future Tense

Episode 14: Saturday Fight Live

Episode 15: Boiling Point

Episode 16: Faking It... Again

Episode 17: Prom Scare

Episode 18: Nuclear Prom

Episode 19: The Deep End

Episode 20: School's Out

Season 3

Episode 1: It's All Good

Episode 2: Let's Hear It for the Oy

Episode 3: Karmygeddon

Episode 4: Jagged Little Heart

Episode 5: Third Wheels

Episode 6: Spooking It

Episode 7: Game On

Episode 8: Untitled

Episode 9: Ex-Posed

Episode 10: Up in Flames

Watch or rent on AppleTV

[panicinthestudio]

A deep dive into capitalism with Scene on Radio podcast co-host John Biewen, July 5,2024

Scene on Radio, the Peabody-nominated podcast series produced by The Kenan Institute for Ethics at Duke University, has dedicated its latest season to exploring the history, failures and future of capitalism over the course of 13 episodes. John Biewen, co-host of the podcast, joins us from North Carolina for a big picture conversation about the system that governs the lives of a large chunk of humanity. France 24

[dalekofchaos]

Mortal Kombat fancast(new)

Simu Liu as Liu Kang

Glenn Powell as Johnny Cage

Charlize Theron as Sonya Blade

Ken Watanabe as Raiden

Henry Golding as Sub-Zero/Noob Saibot/Bi-Han

Andrew Koji as Scorpion

Manu Benett as Kano

Rory McCann as Goro

Cary-Hiroyuki Tagawa as SHang Tsung(Old, WHO ELSE???)

Tony Leung as Shang Tsung(Young)

Bill Skarsgard as Reptile

Iko Uwais as Kung Lao

Aldis Hodge as Jackson "Jax" Briggs

Elodie Yung as Kitana/Milenena

Zoe Saldana as Jade

Harry Shum Jr. as Sub-Zero/Kuai-Liang

Justin H. Min as Smoke

Brian Tee as Sektor

Chiwetel Ejiofor as Cyrax

Scott Adkins as Baraka

Conan Stevens as Kintaro

Dave Bautista as Shao Kahn

Eugene Brave Rock as Nightwolf

John Cena as Stryker

Jon Bernthal as Kabal

Michelle Yeoh as Sindel

Jade Cargill as Sheeva

Nathan Jones as Motaro

Doug Jones as Ermac

Because of Tumblr's stupid 30 picture limit, I cannot add more pictures, so here’s the rest.

Larry Lam as Rain

Jonathan Patrick Foo as Chameleon

Karen Fukuhara as Khameleon

Jet Li as Fujin

Sonoya Mizuno as Sareena

Brenda Song as Kia

Javicia Leslie as Jataaka

Anna Diop as Tanya

Jai Courtney as Jarek

Karl Urban as Reiko

Mads Mikkelsen as Shinnok

Hoon Lee as Quan Chi

Benedict Wong as Bo Rai Cho

Lewis Tan as Kenshi

Yvonne Chapman as Li Mei

Emma Myers as Frost

Peter Mensah as Drahmin

Derek Mears as Moloch

Charles Melton as Mavado

Ron Yuan as Hsu Hao

Alexandra Daddario as Nitara

Gordon Liu as Shujinko

Constance Wu as Ashrah

Donnie Yen as Hotaru

Daniel Wu as Dairou

Mahershala Ali as Darrius

Matt Smith as Havik

Dominic Sherwood as Kobra

Kristen Stewart as Kira

Keith David as Onaga

Ian McKellen as Argus

Eva Green as Delia

Tom Hardy as Taven

Mark Strong as Daegon

Ron Pearlman as Blaze

Jessica Henwick as Skarlet

Milly Alcock as Cassie Cage

Delainey Hayles as Jacqui Briggs

Mackenyu as Takeda Takahashi

Ludi Lin as Kung Jin

Winston Duke as Kotal Kahn

Tao Okamoto as D’Vorah

Jensen Ackles as Erron Black

Dafne Keen and Hafþór Júlíus Björnsson as Ferra/Torr

Tony Jaa as Tremor

Adewale Akinnuoye-Agbaje as Geras

Emily Blunt as Cetrion

Tilda Swinton as Kronika

[awkwardjewishtheatrenerd]

Can't wait 'til the tour gets going again so I can "ease on down the road"!

The Wiz May 2024 Second Broadway Revival -$9.50

Cast: Nichelle Lewis (Dorothy), Avery Wilson (Scarecrow), Phillip Johnson Richardson (Tinman), Kyle Ramar Freeman (Lion), Wayne Brady (The Wiz), Melody A. Betts (Aunt Em/Evillene), Judith Franklin (u/s Glinda), Allyson Kaye Daniel (Addaperle), Lauryn Adams (s/w The Wiz's Backup Singer), Christina Jones (The Wiz's Backup Singer), Kolby Kindle (Gatekeeper #1), Anthony Murphy (Lord High Underling), Mariah Lyttle (s/w Gatekeeper #2/Duke Low Underling), Polanco Jones Jr. (Emerald City Announcer), Keenan D Washington (Earl Underling), Maya Bowles (Ensemble), Shayla Caldwell (Ensemble), Jay Copeland (Ensemble), Collin Hayward (Ensemble), Amber Jackson (Ensemble), Olivia Jackson (Ensemble), Kareem Marsh (Ensemble), Dustin Praylow (s/w Ensemble), Timothy Wilson (s/w Ensemble)

Notes: MP4 format. Filmed from right orchestra. Mix of wide shots and zooms. Some obstruction at the bottom and on the left due to heads in front of me. Everyone, especially Nichelle has seemed to get much more comfy being on a Broadway stage. I think a better overall shot than during previews. NFS forever except through master and NFT through June 24, 2029.

Screenshots: https://flic.kr/s/aHBqjBsvXG

[jpbjazz]

LÉGENDES DU JAZZ

HAMIET BLUIETT, LE PLUS MODERNE DES SAXOPHONISTES BARYTON

“Most people who play the baritone don’t approach it like the awesome instrument that it is. They approach it as if it is something docile, like a servant-type instrument. I don’t approach it that way. I approach it as if it was a lead voice, and not necessarily here to uphold the altos, tenors and sopranos.”

- Hamiet Bluiett

Né le 6 septembre 1940 au nord de East St. Louis à Brooklyn, dans les Illinois, Hamiet Ashford Bluiett Jr. était le fils d’Hamiet Bluiett Sr. et de Deborah Dixon. Aussi connu sous le surnom de Lovejoy, le quartier de East St. Louis était majoritairement peuplé d’Afro-Américains. Fondé pour servir de refuge aux anciens esclaves affranchis dans les années 1830, le village était devenu plus tard la première ville américaine majoritairement peuplée de gens de couleur.

Bluiett avait d’abord appris à jouer du piano à l’âge de quatre ans avec sa tante qui était directrice de chorale. Il était passé à la clarinette cinq ans plus tard en étudiant avec George Hudson, un populaire chef d’orchestre de la région. Même s’il avait aussi joué de la trompette, Bluiett avait surtout été attiré par le saxophone baryton.

Après avoir amorcé sa carrière en jouant de la clarinette dans les danses dans son quartier d’origine de Brooklyn, Bluiett s’était joint à un groupe de la Marine en 1961. Par la suite, Bluiett avait fréquenté la Southern Illinois University à Carbondale, où il avait étudié la clarinette et la flûte. Il avait finalement abandonné ses études pour aller s’installer à St. Louis, au Missouri, au milieu des années 1960.

Bluiett était au milieu de la vingtaine lorsqu’il avait entendu le saxophoniste baryton de l’orchestre de Duke Ellington, Harry Carney, jouer pour la première fois. Dans le cadre de ce concert qui se déroulait à Boston, au Massachusetts, Carney était devenu la principale influence du jeune Bluiett. Grâce à Carney, Bluiett avait rapidement réalisé qu’un saxophoniste baryton pouvait non seulement se produire comme accompagnateur et soutien rythmique, mais également comme soliste à part entière. Expliquant comment il était tombé en amour avec le saxophone barytone, Bluiett avait déclaré plus tard: "I saw one when I was ten, and even though I didn't hear it that day, I knew I wanted to play it. Someone had to explain to me what it was. When I finally got my hands o n one at 19, that was it."

DÉBUTS DE CARRIÈRE

Après avoir quitté la Marine en 1966, Bluiett s’était installé à St. Louis, au Missouri. À la fin de la décennie, Bluiett avait participé à la fondation du Black Artists' Group (BAG), un collectif impliqué dans diverses activités artistiques à l’intention de la communauté afro-américaine comme le théâtre, les arts visuels, la danse, la poésie, le cinéma et la musique. Établi dans un édifice situé dans la basse-ville de St. Louis, le collectif présentait des concerts et d’autres événements artistiques.

Parmi les autres membres-fondateurs du groupe, on remarquait les saxophonistes Oliver Lake et Julius Hemphill, le batteur Charles "Bobo" Shaw et le trompettiste Lester Bowie. Hemphill avait aussi dirigé le big band du BAG de 1968 à 1969. Décrivant Bluiett comme un professeur et mentor naturel, Lake avait précisé: “His personality and his thoughts and his wit were so strong. As was his creativity. He wanted to take the music forward, and we were there trying to do the same thing.”

À la fin de 1969, Hemphill s’était installé à New York où il s’était joint au quintet de Charles Mingus et au big band de Sam Rivers. Au cours de cette période, Bluiett avait également travaillé avec une grande diversité de groupes, dont ceux des percussionnistes Tito Puente et Babatunde Olatunji, et du trompettiste Howard McGhee. Il avait aussi collaboré avec le Thad Jones-Mel Lewis Orchestra.

En 1972, Bluiett avait de nouveau fait équipe avec Mingus et avait fait une tournée en Europe avec son groupe. Collaborateur plutôt irrégulier de Mingus, Bluiett quittait souvent le groupe avant de réintégrer la formation un peu plus tard. En 1974, Bluiett avait de nouveau regagné le giron du groupe de Mingus aux côtés du saxophoniste ténor George Adams et du pianiste Don Pullen, qui deviendrait plus tard un de ses plus fidèles collaborateurs. Il avait aussi joué avec le groupe de Mingus à Carnegie Hall. Bluiett avait continué de travailler avec Mingus jusqu’en 1975, lorsqu’il avait commencé à enregistrer sous son propre nom.

Le premier album de Bluiett comme leader, Endangered Species, avait été publié par les disques India en juin 1976. L’album avait été enregistré avec un groupe composé d’Olu Dara à la trompette, de Junie Booth à la contrebasse et de Philip Wilson à la batterie. En 1978, Bluiett avait enregistré Birthright, un magnifique album live dans lequel il avait joué en solo durant quarante minutes et qui comprenait un hommage à son idole Harry Carney.

En 1976, la même année où il publiait son premier album solo, Bluiett avait co-fondé le World Saxophone Quartet avec d’autres membres du Black Artists Group comme Oliver Lake et Julius Hemphill. Le saxophoniste ténor (et clarinettiste basse) David Murray faisait également partie de la formation. Surnommé à l’origine le Real New York Saxophone Quartet, le groupe avait amorcé ses activités en présentant une série de cliniques et de performances à la  Southern University de la Nouvelle-Orléans, avant de se produire au Tin Palace de New York. Menacé d’une poursuite judiciaire par le New York Saxophone Quartet, le groupe avait éventuellement changé de nom pour devenir le World Saxophone Quartet (WSQ).

Le groupe avait enregistré son premier album (d’ailleurs largement improvisé) sous le titre de Point of No Return en 1977. Jouant une musique diversifiée allant du Dixieland au bebop, en passant par le funk, le free jazz et la World Music, le groupe avait remporté un énorme succès (il est aujourd’hui considéré comme une des formations de free jazz les plus populaires de l’histoire) et avait reçu de nombreux éloges de la critique. Qualifiant le groupe de ‘’the most commercially (and, arguably, the most creatively) successful" de tous les ensembles de saxophones formés dans les années 1970, Chris Kelsey écrivait dans le All Music Guide: ‘’At their creative peak, the group melded jazz-based, harmonically adventurous improvisation with sophisticated composition." Commentant un concert du groupe en 1979, Robert Palmer avait déclaré dans le New York Times: “The four men have made a startling conceptual breakthrough. Without ignoring the advances made by musicians like Anthony Braxton and the early Art Ensemble of Chicago, they have gone back to swinging and to the tradition of the big‐band saxophone section.” Palmer avait ajouté: “Some of the music looks to the more archaic end of the tradition, to the hocket‐style organization of wind ensembles in African tribal music, and in doing so it sounds brand new.” 

Reconnaissant la contribution de Bluiett dans la création du son d’ensemble du groupe, Kelsey avait précisé:  "The WSQ's early free-blowing style eventually transformed into a sophisticated and largely composed melange of bebop, Dixieland, funk, free, and various world musics, its characteristic style anchored and largely defined b y Bluiett's enormous sound." Très conscient de l’importance de la mélodie, Bluiett avait toujours insisté pour que le groupe se concentre principalement sur les balades et l’improvisation. Il expliquait:  “I think melody is very important. When we went into the loft situation, I told the guys: ‘Man, we need to play some ballads. You all playing outside, you running people away. I don’t want to run people away.’ ”

Parallèlement à sa collaboration avec le World Saxophone Quartet, Bluiett avait également publié d’autres albums comme leader comme Im/Possible To Keep (août 1977), un enregistrement en concert qui comprenait une version de quarante minutes de la pièce ‘’Oasis - The Well’’ (en trio avec le contrebassiste Fred Hopkins et le percusionniste Don Moye) et une version de trente-sept minutes de la pièce Nali Kola/On A Cloud en quartet avec le pianiste Don Pullen. En novembre 1977, Bluiett avait enchaîné avec Resolution, un album enregistré en quintet avec Pullen, Hopkins et les percussionnistes Don Moye et Billy Hart. À peine un mois plus tard, Bluiett avait récidivé avec Orchestra Duo and Septet, qui mettait à profit différentes combinaisons de musiciens comprenant le violoncelliste Abdul Wadud, le trompettiste Oldu Dara, le pianiste Don Pullen, le joueur de balafon Andy Bey, le flûtiste Ladji Camara, le contrebassiste Reggie Workman, le joueur de oud (un instrument à corde d’origine iranienne) Ahmed Abdul-Malik et le batteur Thabo Michael Carvin.

Avec le temps, les albums de Bluiett publiés en dehors de sa collaboration avec le World Saxophone Quartet étaient devenus de plus en plus accessibles. En faisaient foi des parutions comme Dangerously Suite (avril 1981), qui était une sorte de bilan de la musique populaire afro-américaine, et Ebu (février 1984), enregistré avec John Hicks au piano, Hopkins à la contrebasse et Marvin Smith à la batterie. L’album live  Bearer of the Holy Flame (juillet 1983) documentait la collaboration de Bluiett avec un quintet composé de Hicks au piano et de deux percussionnistes. En juillet 1987, Bluiett avait aussi collaboré avec le trompettiste sud-africain Hugh Masekela dans le cadre de l’album Nali Kola qui mettait en vedette un saxophoniste soprano, un guitariste et trois percussionnistes africains

Littéralement passionné par son instrument, Bluiett avait également dirigé plusieurs groupes composés de plusieurs autres saxophonistes baryton. Également clarinettiste, Bluiett avait formé en 1984 le groupe Clarinet Family, un ensemble de huit clarinettistes utilisant des clarinettes de différents formats allant de la clarinette soprano E-flat à la clarinette contrebasse. Le groupe était composé de Don Byron, Buddy Collette, John Purcell, Kidd Jordan, J. D. Parran, Dwight Andrews, Gene Ghee et Bluiett à la clarinette et aux saxophones, de Fred Hopkins à la contrebasse et de Ronnie Burrage à la batterie. Le groupe a enregistré un album en concert intitulé Live in Berlin with the Clarinet Family, en 1984.

DERNIÈRES ANNÉES

Le World Saxophone Quartet avait continué de jouer et d’enregistrer dans les années 1990. Lorsque Julius Hemphill avait quitté le groupe pour former son propre quartet au début de la même décennie, c’est Arthur Blythe qui l’avait remplacé. En 1996, le groupe avait enregistré un premier album pour l’étiquette canadienne Justin Time. Intitulé "Four Now’’, l’album avait marqué un tournant dans l’évolution du groupe, non seulement parce que c’était le premier auquel participait le saxophoniste John Purcell, mais parce qu’il avait été enregistré avec des percussionnistes africains. Comme compositeur, Bluiett avait également continué d’écrire de nombreuses oeuvres du groupe, dont Feed The People on Metamorphosis (avril 1990) et Blues for a Warrior Spirit on Takin' It 2 the Next Level (juin 1996).

Lorsque le World Saxophone Quartet avait commencé à ralentir dans les années 1990 après la fin de son contrat avec les disques Elektra, Bluiett s’était lancé dans de nouvelles expérimentations comme chef d’orchestre. En collaboration avec la compagnie de disques Mapleshade, Bluiett avait fondé le groupe Explorations, une formation combinant à la fois des nouveaux talents et des vétérans dans un style hétéroclite fusionnant le jazz traditionnel et l’avant-garde. Après avoir publié un album en quintet sous le titre If You Have To Ask You Don't Need To Know en février 1991, Bluiett avait publié deux mois plus tard un nouvel album solo intitulé Walkin' & Talkin', qui avait été suivi en octobre 1992 d’un album en quartet intitulé Sankofa Rear Garde.

Depuis les années 1990, Bluiett avait dirigé un quartet appelé la Bluiett Baritone Nation, composé presque exclusivement de saxophonistes baryton, avec un batteur comme seul soutien rythmique. Mais le projet n’avait pas toujours été bien accueilli par la critique. Comme le soulignait John Corbett du magazine Down Beat, "Here's a sax quartet consisting all of one species, and while the baritone is capable of playing several different roles with its wide range, the results get rather wearisome in the end." Le groupe avait publié un seul album, Liberation for the Baritone Saxophone Nation’’ en 1998, une captation d’un concert présenté au Festival international de jazz de Montréal la même année. Outre Bluiett, l’album mettait à contribution les saxophonistes baryton James Carter, Alex Harding et Patience Higgins, ainsi que le batteur Ronnie Burrage. Commentant la performance du groupe, le critique Ed Enright écrivait: "In Montreal, the Hamiet Bluiett Baritone Saxophone Group was a seismic experience... And they blew--oh, how they blew--with hurricane force." Décrivant le concept du groupe après sa performance, Bluiett avait précisé:

‘’This is my concept, and it’s all about the baritone, really. The music has to change for us to really fit. I’m tired of trying to fit in with trumpet music, tenor music, alto music, soprano music. I'm tired of trying to fit in with trumpet music, tenor music, alto music, soprano music. It takes too much energy to play that way; I have to shut the h orn down. Later! We've got to play what this horn will sound like. So, what I’m doing is redesigning the music to fit the horn {...}. It’s like being in the water. The baritone is not a catfish [or any of those] small fish. It’s more like a dolphin or a whale. And it needs to travel in a whole lot of water. We can’t work in no swimming pools.The other horns will get a chance to join us. They’ve just got to change where they’re coming from and genuflect to us—instead of us to them.”

En mars 1995, Bluiett avait publié un album en sextet intitulé  New Warrior, Old Warrior. Comme son titre l’indiquait, l’album mettait à contribution des musiciens issus de cinq décennies différentes. Le critique K. Leander Williams avait écrit au sujet de l’album:  "The album puts together musicians from ages 20 to 70, and though this makes for satisfying listening in several places, when it doesn't w ork it's because the age ranges also translate into equally broad--and sometimes irreconcilable--stylistic ones.’’ Tout en continuant de transcender les limites de son instrument, Bluiett avait également exprimé le désir d’une plus grande reconnaissance. Il expliquait: "[A]ll the music these days is written for something else. And I'm tired of being subservient to it. I refuse to do it anymore. I refuse to take the disrespect anymore." En juin 1996, Bluiett avait publié  Barbecue Band, un album de blues.

Après être retourné dans sa ville natale de Brooklyn, dans les Illinois, pour se rapprocher de sa famille, enseigner et diriger des groupes de jeunes en 2002, Bluiett s’était de nouveau installé à New York dix ans plus tard. Décrivant son travail de professeur, Bluiett avait commenté: “My role is to get them straight to the core of what music is about. Knowing how to play the blues has to be there. And learning how to improvise—to move beyond the notes on the page—is essential, too.”

À la fin de sa carrière, Bluiett avait participé à différentes performances, notamment dans le cadre du  New Haven Jazz Festival le 22 août 2009. Au cours de cette période, Bluiett s’était également produit avec des étudiants de la Neighborhood Music School de New Haven, au Connecticut. Le groupe était connu sous le nom de Hamiet Bluiett and the Improvisational Youth Orchestra.

Hamiet Bluiett est mort au St. Louis University Hospital ade St. Louis, au Missouri, le 4 octobre 2018 des suites d’une longue maladie. Il était âgé de soixante-dix-huit ans. Selon sa petite-fille Anaya, la santé de Bluiett s’était grandement détériorée au cours des années précédant sa mort à la suite d’une série d’attaques. Il avait même dû cesser de jouer complètement du saxophone en 2016. Même si le World Saxophone Quartet avait connu de nombreux changements de personnel au cours des années, il avait mis fin à ses activités après que Bluiett soit tombé malade. Les funérailles de Bluiett ont eu le lieu le 12 octobre au Lovejoy Temple Church of God, de Brooklyn, dans les Illinois. Il a été inhumé au Barracks National Cemetery de St. Louis, au Missouri.

Bluiett laissait dans le deuil ses fils, Pierre Butler et Dennis Bland, ses filles Ayana Bluiett et Bridgett Vasquaz, sa soeur Karen Ratliff, ainsi que huit petits-enfants. Bluiett s’est marié à deux reprises. Après la mort de sa première épouse, Bluiett s’était remarié, mais cette union s’était terminée sur un divorce.

Saluant la contribution de Bluiett dans la modernisation du son du saxophone baryton, Garaud MacTaggart écrivait dans le magazine MusicHound Jazz: "Hamiet Bluiett is the most significant baritone sax specialist since Gerry Mulligan and Pepper Adams. His ability to provide a stabilizing rhythm (as he frequently does in the World Saxophone Quartet) or to just flat-out wail in free-form abandon has been appare nt since his involvement with St. Louis' legendary Black Artists Group in the mid-1960s." 

Tout en continuant de se concentrer sur le saxophone baryton, Bluiett avait continué de jouer de la clarinette et de la flûte. Avec son groupe Clarinet Family, il avait même contribué à faire sortir de l’ombre des instruments moins bien connus comme les clarinettes contrebasse et contre-alto ainsi que la flûte basse.

Refusant de confiner son instrument à un rôle essentiellement rythmique, Bluiett avait toujours considéré le baryton comme un instrument soliste à part entière. Il expliquait: “Most people who play the baritone don’t approach it like the awesome instrument that it is. They approach it as if it is something docile, like a servant-type instrument. I don’t approach it that way. I approach it as if it was a lead voice, and not necessarily here to uphold the altos, tenors and sopranos.” 

Refusant de se laisser dominer par les ordinateurs et les nouvelles technologies, Bluiett avait toujours été un ardent partisan d’un son pur et naturel. Il poursuivait: "I'm dealing with being more healthful, more soulful, more human. Not letting the computer and trick-nology and special effects overcome me. I'm downsizing to maximize the creative part. Working on being more spiritual, so that the music has power... power where the note is still going after I stop playing. The note is still going inside of the people when they walk out of the place." Doté d’une technique impeccable, Bluiett affichait une maîtrise remarquable de son instrument dans tous les registres. Le jeu de Bluiett, qui atteignait un total de cinq octaves, lui permettait de jouer dans des registres qu’on croyait jusqu’alors hors de portée du saxophone baryton.

À l’instar de son collaborateur de longue date, le saxophoniste ténor David Murray, Bluiett était un adepte de la respiration circulaire, ce qui lui permettait de prolonger son phrasé sur de très longues périodes sans avoir à reprendre son souffle. Reconnu pour son jeu agressif et énergique, Bluiett incorporait également beaucoup de bebop et de blues dans le cadre de ses performances. Très estimé par ses pairs, Bluiett avait remporté le sondage des critiques du magazine Down Beat comme meilleur saxophoniste baryton à huit reprises, et ce, sur quatre années consécutives de 1990 à 1993 et de 1996 à 1999. Décrivant la virtuosité et la polyvalence de Bluiett, le critique Ron Wynn écrivait dans le magazine Jazz Times en 2001: ‘’There haven’t been many more aggressive, demonstrative baritone saxophonists in recent jazz history than Hamiet Bluiett. He dominates in the bottom register, playing with a fury and command that becomes even more evident when he moves into the upper register, then returns with ease to the baritone’s lowest reaches.’’

Décrivant Bluiett comme un des saxophonistes les plus dominants de son époque, le critique Stanley Crouch avait déclaré: "He had worked on playing the saxophone until he had an enormous tone that did not just sound loud. And the way that Bluiett described Harry Carney's playing — he basically was telling you how he wanted to play: 'I want to be able to play that very subtle, pretty sound, way at the top of the horn, if necessary. I want to play a foghorn-like low note. And if they want a note to sound like a chain beat on a floor, I can do that, too.'"

Tout aussi à l’aise dans les standards du jazz que dans le blues, Hamiet Bluiett a enregistré près de cinquante albums au cours de sa carrière, que ce soit en solo, en duo, dans le cadre de petites formations ou en big band. Bluiett a collaboré avec de grands noms du jazz et de la musique populaire, dont Babatunde Olatunji, Abdullah Ibrahim, le World Saxophone Quartet, Stevie Wonder, Marvin Gaye, James Carter, Bobby Watson, Don Braden, Anthony Braxton, Larry Willis, Charles Mingus, Randy Weston, Gil Evans, Lester Bowie, Don Cherry, Eddie Jefferson et Arthur Blythe. Même s’il croyait que les musiciens devaient faire un effort pour se rapprocher du public, Bluiett était aussi d’avis que le public devait faire ses propres efforts pour comprendre la musique qu’on lui proposait. Il précisait:  "Get all the other stuff out of your mind, all of the hang-ups, and just listen. If you like it, cool. If you don't like it, good too. If you hate it, great. If you love it, even better. Now if you leave the concert and don't have no feeling, then something is wrong. That's when we made a mistake."

[brookstonalmanac]

Birthdays 1.12

Beer Birthdays

Adolph Coors Jr. (1884)

Adolph Coors III (1916)

Five Favorite Birthdays

Pierre de Fermat; mathematician (1665)

John Lasseter; animation director, Pixar (1957)

Joe E. Lewis; actor, comedian (1902)

Charles Perrault; poet, writer (1628)

John Singer Sargent; artist (1856)

Famous Birthdays

Kirstie Alley; actor (1955)

Long John Baldry; blues singer (1941)

Jeff Bezos; entrepreneur, "Amazon" (1964)

Edmund Burke; Irish politician, philosopher (1729)

Melanie Chisholm; pop singer, "Spice Girl" (1975)

Tom Dempsey; New Orleans Saints K, record holder 63-yard FG (1947)

George Duke; musician (1946)

Joe Frazier; boxer (1944)

Herman Goering; Nazi propaganda minister (1893)

HAL 9000; computer in 2001: A Space Odyssey (1997)

Ira Hayes; US Marine hero, raised flag on Iwo Jima (1923)

Patsy Kelly; actor (1910)

Vendela Kirsebom; model (1967)

"The Amazing" Kreskin; magician, entertainer (1935)

Rush Limbaugh; right-wing blowhard (1951)

Jack London; writer (1876)

Ray Manzarek; rock musician, "Doors" (1943)

Mississippi Fred McDowell; jazz musician (1904)

Thomas Moran; artist (1837)

Walter Mosley; mystery writer (1952)

Paul H. Müeller; chemist, DDT inventor (1899)

Oliver Platt; actor (1960)

Ray Price; country singer (1926)

Tex Ritter; country singer (1905)

Howard Stern; radio entertainer (1954)

Adrian van Utrecht; artist (1599)

Swami Vivekananda; Indian spiritual leader (1863)

John Winthrop; 1st Governor of Massachusetts Bay Colony (1588)

Glenn Yarbrough; musician (1930)

Henny Youngman; comedian (1906)

Rob Zombie; rock musician (1966)

[soulmusicsongs]

Jazzy Christmas Tunes

It’s Christmas. Get into the holiday spirit with these jazzy Christmas tunes about Santa Claus, sleigh rides and snow.

Blue Xmas (To Whom It May Concern) - Miles Davis ‎(Various ‎– Jingle Bell Jazz, 1962)

Bright Star In The East - David Frost and Billy Taylor (Merry Christmas, 1970)

The Christmas Waltz - Nancy Wilson (The Capitol Disc Jockey Album, 1968)

Five Pound Box of Money - Pearl Bailey (Jingle Bells Cha Cha Cha / Five Pound Box Of Money, 1959)

God Rest Ye Merry Gentleman - Jimmy Smith (Christmas ‘64, 1964)

It’s Xmas Time - Wayne Champion (It’s Xmas Time / Merry Yuletide Day, 1965)

The Little Drummer Boy - Kenny Burrell (Have Yourself A Soulful Little Christmas, 1966)

Merry Christmas Baby - Don Patterson ‎(Holiday Soul, 1964)

Plum Puddin’ - The Ramsey Lewis Trio (More Sounds Of Christmas, 1964)

Santa Cruzin’ - Grover Washington, Jr. ‎(Reed Seed, 1978)

Sleigh Ride - Duke Pearson (Merry Ole Soul, 1969)

Swingin’ for Xmas - Gene Ammons (Early Visions, 1975)

This Time of Year (When Christmas is Near) - Etta James (12 Songs Of Christmas, 1998)

We Three Kings - Bobby Timmons (Holiday Soul, 1964)

More Christmas Songs

Christmas Soul Snow Songs

Soul Santa Songs

Santa Soul For Christmas

More Christmas Soul Music

Christmas Soul You’ve Never Heard Before

Christmas Soul Music

And More Funky Christmas Soul Music

[docrotten]

SPOOKIES (1986) – Episode 257 – Decades Of Horror 1980s

“We almost got our tuchus plunged!” Almost? Shoot, that would’ve made a perfect scene to go with the farting Muck Men. Join your faithful Grue Crew – Crystal Cleveland, Chad Hunt, Bill Mulligan, and Jeff Mohr – as they discuss Spookies (1986)! Wait. Why haven’t we seen this before?

Decades of Horror 1980s Episode 257 – Spookies (1986)

Join the Crew on the Gruesome Magazine YouTube channel! Subscribe today! Click the alert to get notified of new content! https://youtube.com/gruesomemagazine

Gruesome Magazine is partnering with the WICKED HORROR TV CHANNEL (https://wickedhorrortv.com/) which now includes video episodes of Decades of Horror 1980s and is available on Roku, AppleTV, Amazon FireTV, AndroidTV, and its online website across all OTT platforms, as well as mobile, tablet, and desktop.

(It was going to be) A group of teens go to an abandoned house to party and do battle with spirits and creatures they accidentally release from a strange Ouija board. (Instead, it became) A wicked sorcerer tries to sacrifice a group of people inside his house to use their vitality to keep his wife alive.

  Directed by: Thomas Doran & Brendan Faulkner (footage from Twisted Souls); Genie Joseph (as Eugenie Joseph);

Writing Credits: Thomas Doran, Frank M. Farel, & Brendan Faulkner (Twisted Souls footage screenplay); Ann Burgund (additional material) (credited as Joseph Burgund)

Produced by:

Thomas Doran, Frank M. Farel, Brendan Faulkner (producers) (unfinished film Twisted Souls)

Genie Joseph (producer) (credited as Eugenie Joseph)

Michael Lee (executive producer: Miggles Corporation)

Makeup Department:

Jennifer Aspinall (makeup artist/special makeup effects) (credited as Jennifer Aspinal)

Gabriel Bartalos (special makeup effects)

Arnold Gargiulo (special makeup effects) (credited as Arnold Gargiulo II)

Vincent J. Guastini (special makeup effects) (credited as Vincent Guastini)

Nick Santeramo (assistant makeup effects)

Nancy Tong (makeup artist) (credited as Nanxy Tong)

John Dods (prosthetic makeup artist) (uncredited)

Special Effects by:

Ken Brilliant (animation model construction)

John Dods (creator: additional effects/special creature design and animation)

Ken Walker (animation model construction)

John Mathews (creature effects assistant) (uncredited)

Visual Effects by:

Al Magliochetti (special effects photography)

Larry Revene (special effects photography)

Selected Cast:

Peter Dain as Peter

Kim Merrill as Meegan

Nick Gionta as Duke

Joan Ellen Delaney as Linda

Charlotte Alexandra as Adrienne (credited as Charlotte Seeley)

Anthony Valbiro as Dave

Lisa Friede as Carol

Al Magliochetti as Lewis Wilson

Peter Iasillo Jr. as Rich

Soo Paek as The Spider Woman

James M. Glenn as The Grim Reaper

Gabriel Bartalos as Muck Man

Peter Delynn as Muck Man

John Beatty as Muck Man

Robert Epstein as Graveyard Zombie

Felix Ward as Kreon

Maria Pechukas as Isabelle

Dan Scott as Kreon’s Servant

Alec Nemser as Billy

A.J. Lowenthal as Korda/Son of Kreon & Isabelle

Pat Wesley Bryan as Drifter

If Spookies feels like two different movies, it’s because it’s one of those nightmare productions where the “making of” story might be more interesting than the movie itself. Yes, too many cooks spoil the broth and Spookies is solid evidence that too many filmmakers ruin the movie. With production being shanghaied near the beginning of post-production work and half the film reshot, Grue Believers will never know if the original crew’s vision would’ve made a better movie. Throw in some top makeup and effects people early in their careers and the Grue Crew have plenty to fuel their talkabout of this fun, mess of a movie.

At the time of this writing, Spookies is available to stream from Tubi, Shudder, ScreamBox, and AMC+, and on physical media in Blu-ray format in a 2-disc set from Vinegar Syndrome.

Every two weeks, Gruesome Magazine’s Decades of Horror 1980s podcast will cover another horror film from the 1980s. The next episode’s film chosen by Jeff, will be Just Before Dawn (1981), an underappreciated slasher from co-writer/director Jeff Lieberman (Squirm, 1976; Blue SunshineI, 1977) and starring George Kennedy, Chris Lemmon, Deborah Benson, Greg Henry, and Mike Kellin. 

Please let them know how they’re doing! They want to hear from you – the coolest, grooviest fans – so leave them a message or comment on the Gruesome Magazine Youtube channel, on the Gruesome Magazine website, or email the Decades of Horror 1980s podcast hosts at feedback@gruesomemagazine.com.

Check out this episode!

[annemariewrites]

List of all the books I’ve read

just wanted to keep a list of what I’ve read throughout my life (that I can remember)

Fiction:

���Where the Red Fern Grows,” Wilson Rawls

“The Outsiders,” S. E. Hinton

“The Weirdo,” Theodore Taylor

“The Devil’s Arithmetic,” Jane Yolen

“Julie of the Wolves series,” Jean Craighead George

“Soft Rain,” Cornelia Cornelissen

“Island of the Blue Dolphins,” Scott O’Dell

“The Twilight series,” Stephanie Mayer

“To Kill a Mockingbird,” Harper Lee

“Gamer Girl,” Mari Mancusi

“Redwall / Mossflower / Mattimeo / Mariel of Redwall,” Brian Jacques

“1984,” and  “Animal Farm,” George Orwell

“Killing Mr. Griffin,” Lois Duncan

“Huckleberry Finn,” Mark Twain

“Rainbow’s End,” Irene Hannon

“Cold Mountain,” Charles Frazier

“Between Shades of Gray,” Ruta Sepetys

“Great Short Works of Edgar Allan Poe,” Edgar Allan Poe

“Lord of the Flies,” William Golding

“The Great Gatsby,” F Scott Fitzgerald

“The Harry Potter series,” JK Rowling

“The Fault in Our Stars,” “Looking for Alaska,” and “Paper Towns,” John Green

“Thirteen Reasons Why,” Jay Asher

“The Hunger Games series,” Suzanne Collins

“The Perks of Being a Wallflower,” Stephen Chbosky

“Fifty Shades of Grey,” EL James

“Speak,” and “Wintergirls,” Laurie Halse Anderson

“The Handmaid’s Tale,” Margaret Atwood

“Mama Day,” Gloria Naylor

“Jane Eyre,” Charlotte Bronte

“Wide Sargasso Sea,” Jean Rhys

“The Haunting of Hill House,” Shirley Jackson

“The Chosen,” Chaim Potok

“Leaves of Grass,” Walt Whitman

“Till We Have Faces,” CS Lewis

“One Foot in Eden,” Ron Rash

“Jim the Boy,” Tony Earley

“The Vanishing Act of Esme Lennox,” Maggie O’Farrell

“A Land More Kind Than Home,” Wiley Cash

“A Parchment of Leaves,” Silas House

“Beowulf,” Seamus Heaney

“The Silence of the Lambs / Red Dragon / Hannibal / Hannibal Rinsing,” Thomas Harris

“Cry the Beloved Country,” Alan Paton

“Moby Dick,” Herman Melville

“The Hobbit / The Lord of the Rings trilogy / The Silmarillion,” JRR Tolkien

“Beren and Luthien,” JRR Tolkien, edited by Christopher Tolkien

“Children of Blood and Bone / Children of Virtue and Vengeance,” Tomi Adeyemi

“Soundless,” Richelle Mead

“The Life She Was Given,” Ellen Marie Wiseman

“The Girl with the Louding Voice,” Abi Dare

“A Song of Ice and Fire series / Fire and Blood,” GRR Martin

“A Separate Peace,” John Knowles

“The Bluest Eye,” and “Beloved,” Toni Morrison

“Brave New World,” Aldous Huxley

“The Giver / Gathering Blue / Messenger / Son,” Lois Lowry

“The Ivory Carver trilogy,” Sue Harrison

“The Grapes of Wrath,” and “Of Mice and Men,” John Steinbeck

“The God of Small Things,” Arundhati Roy

“Fahrenheit 451,” Ray Bradbury

“The Night Circus,” Erin Morgenstern

“Sunflower Dog,” Kevin Winchester

“A Tree Grows in Brooklyn,” Betty Smith

“The Catcher in the Rye,” JD Salinger

“The Absolutely True Diary of a Part-Time Indian,” Sherman Alexie

“Bridge to Terabithia,” Katherine Paterson

“The Good Girl,” Mary Kubica 

“The Last Unicorn,” Peter S Beagle

“Slaughterhouse Five,” Kurt Vonnegut Jr

“The Joy Luck Club,” Amy Tan

“The Sworn Virgin,” Kristopher Dukes

“The Color Purple,” Alice Walker

“Their Eyes Were Watching God,” Zora Neale Hurston

“The Light Between Oceans,” ML Stedman

“Yellowface,” RF Kuang

“A Flicker in the Dark,” Stacy Willingham

“One Piece Novel: Ace’s Story,” Sho Hinata

“Black Beauty,” Anna Seawell

“The Weight of Blood,” Tiffany D. Jackson

“Mulberry and Peach: Two Women of China,” Hualing Nieh, Sau-ling Wong

“The Weight of Blood,” Laura McHugh

“Everybody’s Got to Eat,” Kevin Winchester

“That Was Then, This is Now,” / “Rumble Fish,” / “Tex,” / “Taming the Star Runner,” S. E. Hinton

“Beneath the Moon: Fairy Tales, Myths, and Divine Stories from Around the World,” Yoshi Yoshitani

“Memoirs of a Geisha,” Arthur Golden

“The Best Awful,” Carrie Fisher

Non-fiction:

“Anne Frank: Diary of a Young Girl,” Anne Frank

“Night,” Elie Wiesel

“Invisible Sisters,” Jessica Handler

“I Am Malala: The Story of the Girl Who Stood Up for Education and was Shot by the Taliban,” Malala Yousafzai

“The Interesting Narrative,” Olaudah Equiano

“The Immortal Life of Henrietta Lacks,” Rebecca Skloot

“Incidents in the Life of a Slave Girl,” Harriet Jacobs

“The Princess Diarist,” Carrie Fisher

“Adulting: How to Become a Grown Up in 468 Easy(ish) Steps,” Kelly Williams Brown

“How to Win Friends and Influence People,” Dale Carnegie

“Carrie Fisher: a Life on the Edge,” Sheila Weller

“Make ‘Em Laugh,” Debbie Reynolds and Dorian Hannaway

“How to be an Anti-Racist,” Ibram X Kendi

“Maus,” Art Spiegelman

“I Know Why the Caged Bird Sings,” Maya Angelou

“Wise Gals: the Spies Who Built the CIA and Changed the Future of Espionage,” Nathalia Holt

“Persepolis,” and “Persepolis II,” Marjane Satrapi

“How to Write a Novel,” Manuel Komroff

“The Nazi Genocide of the Roma,” Anton Weiss-Wendt

“Children of the Flames: Dr. Josef Mengele and the Untold Story of the Twins of Auschwitz,” Lucette Matalon Lagnado and Sheila Cohn Dekel

“Two Watches,” Anita Tarlton

“The Ages of the Justice League: Essays on America’s Greatest Superheroes in Changing Times,” edited by Joseph J. Darowski

“Shockaholic,” Carrie Fisher

“Breaking Loose Together: the Regulator Rebellion in Pr-Revolutionary North Carolina,” Marjoleine Kars

[renonevadarp]

MW POC?!

Most of the wanted fcs in our MWM and MWF as POCs, but here are some:

Zendaya, Greta Onieogou, Maggie Q, Ryan Destiny, Keke Palmer, Aslihan Malbora, Bianca Lawson, Esra Biligiç, Jahnvi Kapoor, Charitra Chandran, Naomi Scott, Banita Sandhu, Katrina Kaif, Jacqueline Fernandez, Burcu Ozberk, Jaina Lee Ortiz, Mónica Raymund, Adeline Rudolph, Nicole Beharie, Sydney Park, Shay Mitchell, Alexa Demie, Samantha Logan, Taylor Russell, Lupita Nyong'o, Arden Cho, MJ Rodriguez, Laverne Cox, Zion Moreno.

Raymond Ablack, Mena Massoud, Damson Idris, Emilio Sakraya, Rohit Saraf, Taaha Shah, Ranveer Singh, Shahid Kapoor, Michael B Jordan, Charles Michael Davis, Soong Joong Ki, Lee Dong Hae, Manish Dayal, Rege Jean Page, Ricky Whittle, Cha Eun-Woo, Harry Shum Jr, Lucien Laviscount, Michael B Jordan, Winston Duke, Lewis Tan, Jordan Gonzalez, Mike Colter, Kingsley Ben-Adir, Lee Do Hyun, Alejandro Speitzer, Tommy Martinez.

[medinainternational]

(Motif-Radio) Reggae Pon Top # 04 2025, the track listing below:

SINGLES: LECTURER RIDDIM VERSION DUKES OF ROOTS- MONEY HECTOR ROOTS LEWIS- CELEBRATION LUCIANO- OLD SCHOOL RULE LUTAN FYAH- BETTER WAY CARL MEEKS & DADDY LILLY- GANJA BABY JAH LIL- AMONG MONSTERS YUNG RULER- DANCE DID NICE STEVE SANTANA- NEVER FORGET UNDERGROUND SOUND SYSTEM FT SIZZLA- BURNING THE FIRE PABLO YG- HEART COLD LUTAN FYAH & KRAGGI BADART- LESSONS I'VE LEARNED INNA VISION FT. LION FYAH- ROYAL VIBES

RIDDIMS: TALK BOUT LOVE RIDDIM REGGAE LOVE & UNITY RIDDIM SEE BABYLON DEH RIDDIM CONSTELLATION RIDDIM

DANCEHAL: ROCKAZ ELEMENTS- RIGHTEOUS REBELLIOUS REBELS GUAVA- BIG BEAST IRELAND BOSS- WINNING SEASON ETANA FT. JR GONG- VIBES DING DONG- DANCI BWOI IT SUH BOSS & CASHAN- AM ALIEN GUAVA- BAD 10TIK- BUILD A VIBES DRIP LIFE RIDDIM EVERYBODY RIDDIM

ROOTS/ONE DROP/LOVERS ROCK: MAKE UP YOUR MIND RIDDIM AZA LINEAGE- RULE THE SOUND BARRINGTON LEVY- MARY LONG TONGUE KING JAMMYS- ALL NATIONS DUB KING IZEM- PAIN KUMAR MEETS THE 18TH PARALLEL- CLEAN UP YOUR HOUSE SIZZLA- BLACK WOMAN AND CHILD RAIN & CJCHEMIST- PSG IMERU TAFARI- ANGUISH MATTHEW MCANUFF- BE CAREFUL NADIA MCANUFF & THE LIGERIANS- LOCK DOWN WINSTON MCANUFF- RABBI SON KUSH MCANUFF- RUN WAY NEGATIVE

[sporadiceagleheart]

Christmas is over 2024 is almost over and here's a great edit of angels and I forgot Aubree Goss in the first edit rest In Peace To Mrs. Charlotte Ann Quesenberry O'Brien, Brenton Lee Goss, Charlotte G O'Brien, Mary Ella Crawford Marrs, Melanie Anne Safka Schekeryk, Betty Jane Howard Pettit, Betty Howard Pettit, Terry Ann Garr, Abdul Kareem "Duke" Fakir, Dexter Scott King, Rufus Parnell “Parnelli” Jones, James B. Sikking, Béla Károlyi, Greg Kihn, Peter Marshall, Jack Patrick Russell, Bill Walton, Paighton Marie Hoffman-Fick, Dame Maggie Smith, Liam Payne, Taylor Williams, Bobby Allison, John Amos, Bud Anderson, John Ashton, Eric Carmen, Dabney Coleman, Lou Dobbs, Bill Cobbs is in the first round, James Darren, Shannen Doherty, Phil Donahue, Col. Roger Donlon, Duane Eddy, Joe Flaherty, Mitlzi Gaynor, Louis Gossett Jr., David Soul, Whitey Herzog, Bernard Hill, Roni Stoneman, Earl Holliman, Jimmy Carter, Olivia Hussey, Linda Lavin, Drake Hogestyn, Cissy Houston, Norman Jewison, Glynis Johns, Quincy Jones, James Earl Jones, Ethel Skakel Kennedy, Kris Kristofferson, Steve Lawrence, Richard Lewis, Tony Lo Bianco, Dave Loggins, Willie "say hey kid" Mays, Sergio Mendes, Martin Mull, Don Murray, Charles Osgood, Janis Paige, Joyce Randolph, Col. Ralph Puckett Jr., Chita Rivera, Pete Rose, Gena Rowlands, Barbara Rush, Richard Simmons, Jerry West, CPT. Larry L. Taylor,

[lboogie1906]

The Pyramid Club was formed in November 1937 by African American professionals for the “cultural, civic, and social advancement of Negroes in Philadelphia.” By the 1950s, it was “Philadelphia’s leading African-American social club.”

Among those instrumental in establishing the Pyramid Club were Woodley Wells, Alton C. Berry, Oscar James Cooper, George Drummond, Wilbur Strickland, Lewis Tanner Moore, Scholley Pace Alexander, Theodore O. Spaulding, Thomas Powell, and Walter Fitzgerald Jerrick. Dr. Walter Fitzgerald Jerrick became president of the club. Its directors included Drs. Harry J. Greene and Charles W. Dorsey and attorney Theodore O. Spaulding.

Between 1940 and 1957, the club’s building at 1517 Girard Avenue, Philadelphia was a center for social and cultural life. Because African Americans were barred from many clubs and restaurants, the Pyramid Club had its bar and restaurant. It hosted parties, social events, concerts by noted musicians such as Marian Anderson and Duke Ellington, speakers including Martin Luther King Jr. and J. Robert Oppenheimer, and an annual art exhibition (1941-57) featuring both local and national artists.

The Pyramid Club was the only exhibition space in Philadelphia at the time that was owned, operated, and controlled by African-Americans. The club played an important role within the African-American community by connecting artists with middle and upper-class professionals able to support their work.

The Pyramid Club dissolved in 1963. It has been commemorated with a historical marker by the Pennsylvania Historical & Museum Commission.

According to The Crisis, all members of the Pyramid Club had to be members of the NAACP. Membership in the club costs $120, with monthly dues of $2.40.

At least at first, only men were accepted as members of the Pyramid Club. Women were active at an organizational level throughout the club’s history. There was an active Ladies’ Auxiliary, a Pyramid Wives Club, and a Women’s Coordinating Committee. Women could sit on the exhibition committee, whose work included the selection of pieces for exhibitions. Works by women were accepted and shown in exhibitions. #africanhistory365 #africanexcellence

[ulkaralakbarova]

Powerful businessman Russ Duritz is self-absorbed and immersed in his work. But by the magic of the moon, he meets Rusty, a chubby, charming 8-year-old version of himself who can’t believe he could turn out so badly – with no life and no dog. With Rusty’s help, Russ is able to reconcile the person he used to dream of being with the man he’s actually become. Credits: TheMovieDb. Film Cast: Russ Duritz: Bruce Willis Rusty Duritz: Spencer Breslin Amy: Emily Mortimer Janet: Lily Tomlin Deirdre Lefever: Jean Smart Kenny: Chi McBride Sam Duritz: Daniel von Bargen Dr. Alexander: Dana Ivey Bob Riley: Stanley Anderson Kenny’s Grandmother: Juanita Moore Giselle: Susan Dalian Clarissa: Esther Scott Governor: Deborah May Newsstand Cashier: Vernee Watson-Johnson Newsstand Tourist: Jan Hoag Sky King Waitress: Melissa McCarthy Gloria Duritz: Elizabeth Arlen Flight Attendant: Alexandra Barreto Hot Dog Vendor: John Apicella Vince: Brian McGregor Mark: Reiley McClendon Herbert: Brian Tibbetts George: Brian McLaughlin Lawyer Bruce: Steve Tom Lawyer Jim: Marc Copage Lawyer Seamus: Rod McLachlan Wedding Guest: Scott Mosenson Governor’s Aide: Brian Fenwick Governor’s Other Aide: Duke Faeger Sushi Chef: Toshiya Agata Josh: Joshua Finkel General Manager: Lou Beatty Jr. Principal: E.J. Callahan Janet’s Husband: Daryl Anderson Best Man: Darrell Foster Security Guard: Michael Wajacs Chef Mike: John Travis Larry King: Larry King Larry King’s Guest: Jeri Ryan Larry King’s Guest: Nick Chinlund Ritch Eisen: Stuart Scott Stuart Scott: Rich Eisen Wedding Singer: Kevon Edmonds Backup Singer: Julia Waters Backup Singer: Maxine Waters Willard Backup Singer: Stephanie Spruill Bridesmaid (uncredited): Tanisha Grant (uncredited): Glüme Harlow Car Driver (uncredited): Paul Moncrief Mr. Vivian (uncredited): Matthew Perry Tim (uncredited): Luigi Francis Shorty Rossi Russ’ Son (uncredited): Gary Weeks Harold Greene: Harold Greene Film Crew: Producer: Hunt Lowry Executive Producer: Arnold Rifkin Producer: Christina Steinberg Director of Photography: Peter Menzies Jr. Producer: Jon Turteltaub Executive Producer: David Willis Assistant Editor: Michael Trent Writer: Audrey Wells Co-Producer: William M. Elvin Stunts: Terry Jackson Utility Stunts: Pat Romano Grip: R. Dana Harlow Orchestrator: Pete Anthony Orchestrator: Jon Kull Stand In: Duke Faeger Stand In: Luigi Francis Shorty Rossi Original Music Composer: Jason White Art Department Coordinator: Al Lewis Digital Compositor: Michael Miller Transportation Captain: Douglas Miller Production Design: Garreth Stover Makeup Artist: Mike Smithson Co-Producer: Bill Johnson Utility Stunts: Eddy Donno Utility Stunts: Manny Perry Stunts: Deep Roy Production Coordinator: Daren Hicks Script Supervisor: Thomas Johnston Supervising Sound Editor: Mark A. Mangini Editor: Peter Honess Editor: David Rennie Art Direction: David Lazan Set Decoration: Larry Dias Costume Design: Gloria Gresham Sound Effects Editor: Richard L. Anderson Supervising Sound Editor: Kelly Cabral Sound Effects Editor: James Christopher Sound Effects Editor: Donald Flick Visual Effects Supervisor: James E. Price Associate Producer: Stephen J. Eads Original Music Composer: Marc Shaiman Second Unit Director: David R. Ellis Utility Stunts: Annie Ellis Stunt Coordinator: Jack Gill Utility Stunts: Matt McColm Utility Stunts: Janet Brady Utility Stunts: Kenny Endoso Utility Stunts: Tommy J. Huff Movie Reviews: r96sk: What a pleasant surprise. I wasn’t expecting to enjoy ‘The Kid’ as much as I did. Bruce Willis and Spencer Breslin team up to solid effect, in a film that produces amusement and wholesomeness. I find the premise very interesting, it’s a cool concept. While they might not executed to 100% perfection, what’s given is entertaining to see unfold. There are some very sweet scenes, also. Willis is, as you’d expect, the best part of this, but I think Breslin does a grand job too. The latter tended to do these sorta roles a lot, but there’s a reason for that as he played them convincingly. Emily Mortimer (Amy) is als...

[wilmingtoncrp]

I'm sure this has been asked before but I'm struggling lol. MWM and MWF over 25 please? & MWM and MWF POC?

MWM: Rohit Saraf, Taaha Shah, Ranveer Singh, Shahid Kapoor, Michael B Jordan, Charles Michael Davis, Soong Joong Ki, Lee Dong Hae, Henry Golding, Manish Dayal, Rege Jean Page, Ricky Whittle, Cha Eun-Woo, Harry Shum Jr, Lucien Laviscount, Timothee Chalamet, Penn Badgley, Michael B Jordan, Duke Winston, Lewis Tan, Jordan Gonzalez, Elliott Fletcher, Mike Colter, Kingsley Ben-Adir, Lee Do Hyun MWF: Jahnvi Kapoor, Charitra Chandran, Naomi Scott, Banita Sandhu, Katrina Kaif, Jacqueline Fernandez, Burcu Ozberk, Aslihan Malbora, Stefania Spampinato, Jaina Lee Ortiz, Mónica Raymund, Nicole Beharie, Selena Gomez, Ashley Benson, Sydney Park, Shay Mitchell, Dove Cameron, Alexa Demie, Samantha Logan, Taylor Russell, Lupita Nyong'o, Arden Cho, Hunter Schafer, MJ Rodriguez, Laverne Cox, Jamie Clayton, Hari Nef, Zion Moreno

[brookstonalmanac]

Birthdays 4.29

Beer Birthdays

Matthew Vassar (1792)

Robert Cain (1826)

Phillip Jacob Ebling Jr. (1861)

Pat McIllhenney (1954)

Tom Riley (1963)

Five Favorite Birthdays

Duke Ellington; jazz composer (1899)

Tommy James; pop singer (1947)

Rafael Sabatini; writer (1875)

Jerry Seinfeld; comedian (1955)

John Waters; film director (1946)

Famous Birthdays

Andre Agassi; tennis player (1970)

Luis Aparicio; Chicago White Sox SS (1934)

John Arbuthnot; Scottish scientist, mathematician (1667)

Thomas Beechum; orchestra conductor (1897)

Philippe Brun; jazz trumpeter (1908)

Daniel Day-Lewis; actor (1958)

Lonnie Donegan; folk singer (1931)

Nora Dunn; actor, comedian (1952)

Dale Earnhardt; automobile racer (1951)

Oliver Ellsworth; Chief Justice of the U.S. Supreme Court (1745)

William Randolph Hearst; newspaper magnate (1951)

Celeste Holm; actor (1917)

David Icke; writer, conspiracy theorist (1952)

Irvin Kershner; film director (1923)

Rod McKuen; folk singer (1933)

Zubin Mehta; orchestra conductor (1936)

Donald Mills; singer, "Mills Brothers" (1915)

Kate Mulgrew; actor (1955)

Tommy Noonan; actor (1922)

Michelle Pfeiffer; actor (1958)

Eve Plumb; actor (1958)

Henri Poincare; French mathematician (1854)

Malcolm Sargent; orchestra conductor (1879)

Toots Thielmans; jazz musician (1922)

Uma Thurman; actor (1970)

Klaus Voorman; rock bassist (1942)

Rachel Williams; model (1967)

Carnie Wilson; pop singer (1968)

Fred Zinnemann; film director (1907)