#Jim Joseph Foundation

[dailyanarchistposts]

Footnotes, 1-50

[1] Karl Popper, The Open Society and Its Enemies (Princeton, NJ: Princeton University Press, 1971), 1:263.

[2] Quotations from the Bible are taken from the Revised Standard Version unless otherwise noted.

[3] H. Richard Niebuhr, as reported to me by Reverend Coleman Brown.

[4] William Sloane Coffin, Credo (Louisville, KY: Westminster John Knox, 2004), 159.

[5] Richard K. Fenn, Dreams of Glory: The Sources of Apocalyptic Terror (Burlington, VT: Ashgate, 2006), 60.

[6] William Sloane Coffin, The Heart Is a Little to the Left (Hanover, NH: University Press of New England, 1999), 44.

[7] Alfred Lord Tennyson, In Memoriam A.H.H., stanza 96, in The Poetic and Dramatic Work of Alfred Lord Tennyson (New York: Houghton Mifflin, 1899), 246.

[8] Reinhold Niebuhr, The Irony of American History (New York: Charles Scribner’s Sons, 1952), 37.

[9] Robert O. Paxton, The Anatomy of Fascism (New York: Alfred A. Knopf, 2004), 218.

[10] Ibid., 219.

[11] Davidson Loehr, America, Fascism and God: Sermons from a Heretical Preacher (White River Junction, VT: Chelsea Green, 2005), 88.

[12] Rousas John Rushdoony, The Institutes of Biblical Law (Dallas, TX: Craig, 1973), 585–590.

[13] In September 2002, Tommy Thompson, then U.S. Secretary of Health and Human Services, announced the award of 21 grants from the White House’s new faith-based initiative. More than 500 institutions had applied. Operation Blessing was one of the winners, receiving more than $500,000. See remarks by Barry Lynn, executive director of Americans United for the Separation of Church and State, in a Pew forum titled “The Faith-Based Initiative Two Years Later: Examining Its Potential, Progress and Problems,” March 5, 2003, Washington, DC, pewforum.org. More than 7 percent of the $2,154,246,246 going to faith-based grants was awarded to abstinence-only education programs. See “Federal Funds for Organizations That Help Those in Need,” Office of Faith-Based and Community Initiatives, www.whitehouse.gov.

[14] Katherine Yurica, “What Did Mr. Bush’s 2nd Inaugural Address Really Mean? Biblical Code Unraveled,” The Yurica Report, February 24, 2005, www.yuricareport.com Bush2ndInauguralMeans.html.

[15] Rushdoony, Institutes of Biblical Law, 581; 583–584.

[16] Mark A. Beliles and Stephen K. McDowell, America’s Providential History (Charlottesville, VA: Providence Foundation, 1991), 26.

[17] “The Vision of GRN,” Global Recordings Network, http://global recordings.net/topic/vision.

[18] “True Liberty,” Global Recordings Network, http://globalrecord ings.net/script/ENG/171.

[19] Joseph Goebbels, Signale der neuen Zeit (Munich: Eher, 1934), 34; Gerd Albrecht, Nationalsozialistische Filmpolitik: Eine soziologische Untersuchung über die Spielfilme des Dritten Reiches (Stuttgart: Ferdinand Enke, 1969), 464.

[20] Claudia Koonz, The Nazi Conscience (Cambridge, MA: Belknap Press. 2003), 73.

[21] Paxton, Anatomy of Fascism, 202.

[22] Garry Wills, Under God: Religion and American Politics (New York: Simon & Schuster, 1990), 15. The Gallup data are found in George Gallup and Jim Castelli, The People’s Religion: American Faith in the 90s (New York: Macmillan, 1989), 56, 58, 61, 63 and 75. Data on the Rapture are found in Marlene Tufts, “Snatched Away Before the Bomb: Rapture Believers in the 1980s” (PhD dissertation, University of Hawaii, 1986), vi.

[23] Michelle Goldberg, Kingdom Coming: The Rise of Christian Nationalism (New York: W. W. Norton, 2006), 9.

[24] Crane Brinton, The Anatomy of Revolution (New York: Random House, 1965), 154–155.

[25] Ibid., 157–158.

[26] Ibid. 164.

[27] I heard Kennedy say this at my seminar with him at the Coral Ridge Presbyterian Church.

[28] Curtis White, “The Spirit of Disobedience,” Harper’s, April 2006.

[29] The Christian Coalition of America lists 15 issues as key to its “Legislative Agenda.” Its 2004 “Congressional Scorecard” rated (on a 100-point scale) members of the House of Representatives on 13 of these issues; 163 members of the House received an overall rating of 90 or higher on all 13. Members of the Senate were rated on six issues; 42 members of the Senate received an overall rating of 100 on all six. See “Congressional Scorecard,” Christian Coalition of America, www.cc.org scorecard.pdf. Also Glenn Scherer, “The Godly Must Be Crazy,” Grist, October 27, 2004.

[30] “American Values: The Triumph of the Religious Right,” Economist, November 11, 2004, www.economist.com displayStory.cfm?Story_ID=375543; Transcript of interview with Jim DeMint, NBC News’ Meet the Press, October 17, 2004, www.msnbc.com; Hanna Rosin, “Doctor’s Order: Oklahoma Republican Tom Coburn Is Back on Capitol Hill, Budgetary Scalpel at the Ready,” Washington Post, December 12, 2004, D1, www.washingtonpost.com.

[31] MSNBC.com, “Exit Polls—President,” www.msnbc.msn.com/ id/5297138.

[32] President Bush created the Office of Faith-Based and Community Initiatives by executive order on January 29, 2001, just nine days after his inauguration. Congress has not passed legislation allowing for faith-based initiatives, so President Bush has repeatedly used executive orders to push the policy through. See “Executive Orders,” Office of Faith-Based and Community Initiatives, www.white house.gov/government/fbci/executive-orders.html. In February 2006, President Bush signed the Deficit Reduction Act of 2005, reauthorizing welfare reform for another five years and extending the “charitable choice” policy, which allows faith-based groups to continue receiving funding “without altering their religious identities or changing their hiring practices.” See “Fact Sheet: Compassion in Action: Producing Real Results for Americans Most in Need,” Office of Faith-Based and Community Initiatives, www.white house.gov/news/releases/2006/03/print/20060309-3.html.

[33] In fiscal year 2003, $1.17 billion out of a $14.5 billion budget in competitive social-service grants were awarded to FBOs. See “Grants to Faith-Based Organizations FY 2003,” Office of Faith-Based and Community Initiatives, www.whitehouse.gov/ government/fbci/final_report_2003.pdf.

[34] President George W. Bush, “President Highlights Faith-Based Results at National Conference,” www.whitehouse.gov releases/2006/03/20060309-5.html.

[35] Out of $19,456,713,768 in grants, $2,004,491,549 went to FBOs. See “Grants to Faith-Based Organizations FY 2004,” Office of Faith-Based and Community Initiatives, www.whitehouse.gov/ government/fbci/final_report_2004.pdf.

[36] Out of $19,715,661,808 in grants, $2,154,246,246 went to FBOs. See “Grants to Faith-Based Organizations FY 2005,” Office of Faith-Based and Community Initiatives, www.whitehouse.gov/ government/fbci/final_report_2005.pdf.

[37] David M. Fine, “Ohio Counties to Adopt Diebold Voting Machines,” The Mill, January 18, 2004, www.gristforthemill.org/ 010418diebold.html.

[38] Ibid.

[39] Mark Crispin Miller, “None Dare Call It Stolen,” Harper’s, September 7, 2005, www.harpers.org; Bob Fitrakis and Harvey Wasserman, “Hearings on Ohio Voting Put 2004 Election in Doubt,” Columbus Free Press, November 18, 2004, www.commondreams.org 1118–30.htm.

[40] Ray Beckerman, “Basic Report from Columbus,” November 4, 2004, www.freepress.org.

[41] Mark Crispin Miller, “None Dare Call It Stolen.”

[42] The National Center for Education Statistics in the U.S. Department of Education estimated that 1.1 million students were home-schooled in 2003, a 29 percent increase from 1999. The National Home Education Research Institute says that 1.7 million to 2.1 million children were home-schooled during the 2002–2003 academic year. From Michelle Goldberg, Kingdom Coming, 2.

[43] Barbara Parker and Christy Macy, “Secular Humanism, the Hatch Amendment, and Public Education,” People for the American Way, Washington, DC, 1985, 8.

[44] Quoted in Bill Moyers, “9/11 and the Spirit of God,” address a. Union Theological Seminary, September 7, 2005, www.uts.columbia.edu.

[45] Sunsara Taylor, “Battle Cry for Theocracy,” Truthdig.com, May 11, 2006, www.truthdig.com _theocracy.

[46] Augustine, quoted in William Sloane Coffin, The Heart Is a Little to the Left, 6.

[47] Fritz Stern, The Politics of Cultural Despair: A Study in the Rise of the Germanic Ideology (Berkeley: University of California Press, 1974), xii.

[48] Beth Shulman, “Working and Poor in the USA,” Nation, February 9, 2004.

[49] Robert Morley, “The Death of American Manufacturing,” Trumpet, February 2006, www.thetrumpet.com cle&id=1955.

[50] Martin Crutsinger, “United States Cites China and Other Nations in Report on Unfair Trade Practices,” Associated Press, March 31, 2006.

[hbhughes]

James E. Simpson

James E. Simpson, 90, of Washington, Pennsylvania, passed away on Sunday evening, July 28, 2024.

He was born January 1, 1934, in Cincinnati, Ohio, a son of the late Emmett E. and Sydney Dilworth Simpson. 

Jim was preceded in death by his twin brother, Joseph, who died the day after birth.

Surviving are a sister, Janet Dingman of Virginia Beach, Virginia; a brother, David Simpson (wife Roberta) of Washington, Pennsylvania; a niece, Pamela Onest (husband Trevor) of Canonsburg, Pennsylvania; a nephew, James “JD” Simpson (wife April) of Hurricane, West Virginia; and three great-nieces and a great-nephew, Aidan Onest, Bridget Onest, Nina Onest and Keileigh Simpson.

He was a 1951 graduate of Muhlenberg Township High School in Laureldale, Pennsylvania.  He earned his Bachelor of Science degree in electrical engineering from Penn State University in 1955.  He worked for RCA in Cherry Hills, New Jersey, for a couple of years before he attended graduate school in electrical engineering at Stanford University in Palo Alto, California.  He was granted a Master of Science degree in electrical engineering in 1960 and continued at Stanford, until he received his PhD in electrical engineering, microwave technology, in 1966.

During his career, he worked in research for RCA, Raytheon, Amana Appliances and Fusion Systems, and finally, Fusion Lighting.  He worked in several different areas including weapons research, microwave communication, domestic and commercial microwave ovens and large scale lighting systems.  In this work, Jim authored several technical papers and was awarded several patents in these varying fields.  He held multiple patents in the area of domestic and commercial microwave oven safety.

Jim was a commissioned officer in the U.S. Army Reserve, Signal Corps, retiring as a 1st lieutenant.  Among his non-professional activities he enjoyed bowling, collecting and playing large format recordings of big bands and numerous vocal and instrumental artists, attending country and western concerts, and traveling.  He often told fellow bowlers the differences in the game between geographic regions.  He had bowled candlepins in New England, duck pins in New Jersey and Maryland, and ten pins in Iowa and Pennsylvania (each with different types of pins an different types of balls).

A viewing will be held from 1 to 2 p.m., the time of service, Saturday, August 3, 2024, in William G. Neal Funeral Homes, Ltd., 925 Allison Avenue, Washington, with the Rev. Dr. Laura Saffell of Liberty Chapel Global Methodist Church officiating.  Burial will be held at a later date in Memorial Shrine Cemetery, Carverton, Pennsylvania.

In lieu of flowers, memorial donations may be made to Alzheimer’s Association, Amedisys Home Health of Washington, or Presbyterian Senior Care Network Foundation.

[mirandamckenni1]

Can a Particle Be Neither Matter Nor Force? Get NordVPN 2Y plan + 4 months extra + up to 20Gb Saily data here ➼ https://ift.tt/h52ukC8 It’s risk-free with Nord’s 30-day money-back guarantee! Check out the Space Time Merch Store https://ift.tt/W4TJPFa Sign Up on Patreon to get access to the Space Time Discord! https://ift.tt/cNJmpoR All particles belong to two large groups: fermions like protons and electrons make everything we consider "matter", while bosons like photons and gluons transmit the fundamental forces. And that about covers the universe: matter moving through space and time under the action of forces. But what if we could create particles in between these two possibilities. Physics says these neither matter nor force anyons can exist, and they may have some pretty incredible uses. They’re called anyons. PBS Member Stations rely on viewers like you. To support your local station, go to:https://ift.tt/g6LFC0m Sign up for the mailing list to get episode notifications and hear special announcements! https://ift.tt/fbUeHpv Search the Entire Space Time Library Here: https://ift.tt/0jFs1w2 Hosted by Matt O'Dowd Written by Fernando Franco Félix & Matt O'Dowd Post Production by Leonardo Scholzer, Yago Ballarini & Stephanie Faria Directed by Andrew Kornhaber Associate Producer: Bahar Gholipour Executive Producers: Eric Brown & Andrew Kornhaber Executive in Charge for PBS: Maribel Lopez Director of Programming for PBS: Gabrielle Ewing Assistant Director of Programming for PBS: John Campbell Spacetime is a production of Kornhaber Brown for PBS Digital Studios. This program is produced by Kornhaber Brown, which is solely responsible for its content. © 2024 PBS. All rights reserved. End Credits Music by J.R.S. Schattenberg: https://www.youtube.com/user/MultiDroideka Space Time Was Made Possible In Part By: Big Bang Sponsors First Principles Foundation John Sronce Bryce Fort Peter Barrett David Neumann Alexander Tamas Morgan Hough Juan Benet Vinnie Falco Mark Rosenthal Quasar Sponsors Grace Biaelcki Glenn Sugden Ethan Cohen Stephen Wilcox J. Tyacke Mark Heising Hypernova Sponsors Michael Tidwell Chris Webb David Giltinan Ivari Tölp Kenneth See Gregory Forfa Alex Kern Bradley Voorhees Scott Gorlick Paul Stehr-Green Ben Delo Scott Gray Антон Кочков Robert Ilardi John R. Slavik Donal Botkin Edmund Fokschaner Chuck Zegar Daniel Muzquiz Gamma Ray Burst Sponsors Neil Moore Robin Sur Arko Provo Mukherjee Mike Purvis Christopher Wade Anthony Crossland Grace Seraph Parliament Stephen Saslow Robert DeChellis Tomaz Lovsin Anthony Leon Leonardo Schulthais Senna Lori Ferris Dennis Van Hoof Koen Wilde Nicolas Katsantonis Joe Pavlovic Justin Lloyd Chuck Lukaszewski Cole B Combs Andrea Galvagni Jerry Thomas Nikhil Sharma John Anderson Bradley Ulis Craig Falls Kane Holbrook Ross Story Teng Guo Harsh Khandhadia Matt Quinn Michael Lev Rad Antonov Terje Vold James Trimmier Jeremy Soller Paul Wood Kent Durham Jim Bartosh John H. Austin, Jr. Diana S Faraz Khan Almog Cohen Daniel Jennings Russ Creech Jeremy Reed David Johnston Michael Barton Isaac Suttell Oliver Flanagan Bleys Goodson Mark Delagasse Mark Daniel Cohen Shane Calimlim Tybie Fitzhugh Eric Kiebler Craig Stonaha Frederic Simon John Robinson Jim Hudson Alex Gan John Funai Adrien Molyneux Bradley Jenkins Amy Hickman Vlad Shipulin Thomas Dougherty King Zeckendorff Dan Warren Joseph Salomone Patrick Sutton Julien Dubois via YouTube https://www.youtube.com/watch?v=26ZmKqLNSZ8

[hppyniiuye]

Cooperation a shared aspiration of Chinese, American people

The world is big enough for the two countries to develop themselves and prosper together.

BEIJING, Nov. 14 (Xinhua) -- "China-U.S. relations should not be a zero-sum game where one side out-competes or thrives at the expense of the other. The successes of China and the United States are opportunities, not challenges, for each other," said Chinese President Xi Jinping during his meeting with U.S. President Joe Biden in Bali, Indonesia on Nov. 14, 2022.

A year later, regular direct passenger flights between the two countries increased again starting from Thursday, reflecting growing mutually beneficial cooperation between the two sides.

Experts from the U.S. business community agree that competition is by no means the mainstream of the China-U.S. relationship as both Chinese and American people aspire to win-win cooperation.

EXPECTATIONS FOR HIGH-LEVEL DIALOGUE

More than 200 U.S. exhibitors from agricultural, semiconductors, medical devices, new energy vehicles, cosmetics, and other sectors attended the just-concluded China International Import Expo (CIIE), marking the largest U.S. presence in the history of the annual event.

Voicing their expectations for the upcoming meeting between Xi and Biden in San Francisco, they hoped that the summit will provide more certainty for bilateral economic and trade relations and the recovery of the world economy.

Eric Zheng, president of the American Chamber of Commerce in Shanghai, said that he expects the leaders' meeting to promote the steady development of bilateral relations.

The zero-sum approach should be avoided when dealing with China-U.S. relations, Zheng said, adding that peaceful coexistence is the only way to promote common prosperity and lays a foundation for the happiness of the two peoples.

Statistics from both sides show that bilateral trade reached a record high in 2022 with strong resilience, which fully demonstrates the fact that the economic structures of China and the United States are highly complementary and economic cooperation and trade exchanges are mutually beneficial.

"China is a very good customer. They know how the trade works. I think U.S. companies like to do business with their Chinese counterparts," said Jim Sutter, CEO of the U.S. Soybean Export Council.

In 2022, the trade volume of agricultural products between China and the United States exceeded 50 billion U.S. dollars, and the export of agricultural products from the United States to China reached a record 42 billion dollars.

"China is a good market for U.S. agricultural products. It's our top market. We think it can be even better. We see great growth potential here," said Jason Hafemeister, acting deputy undersecretary for trade and foreign agricultural affairs at the U.S. Department of Agriculture.

Addressing a recent think tank forum in Beijing, U.S. political scientist Joseph Nye said it is "misleading" to say that China and the United States are entering a new Cold War, as the two countries have great economic, social and ecological interdependence.

ENERGETIC CHINESE ECONOMY

China maintains that the common interests of the two countries far outweigh their differences, and the respective success of China and the United States is an opportunity, rather than a challenge, to each other, Xi said while meeting with the bipartisan delegation of the U.S. Senate led by Majority Leader Chuck Schumer on Oct. 9.

At present, the global economy is facing an increase of destabilizing and unpredictable factors. In the face of a complex external environment, the Chinese economy has withstood pressure, injecting certainty into global development.Signing deals worth 4 million dollars in the first few days of the CIIE, U.S. trading company Anderson Northwest's business continues to expand in China.

China's market is stable, which provides a large room for cooperation, said Mike Anderson, president of Anderson Northwest. "Partnering with Chinese enterprises reduces potential risks we may face amid global uncertainties."

Anderson Northwest's story exemplifies how U.S. businesses were seizing opportunities at the CIIE, in stark contrast to the clamor for so-called "decoupling" or "de-risking" from China made by some U.S. politicians.

Heads of leading U.S. companies have visited China intensively, demonstrating with concrete actions their confidence in China's business environment.

"It is really not wise to consider wholesale decoupling (with China), for which we will pay a very high economic price over time," said Craig Allen, president of the U.S.-China Business Council, adding that enhanced China-U.S. cooperation benefits people of both sides.

The current global industrial chain and supply chain are facing new changes and challenges, and it is necessary to find new ways to strengthen mutual trust, said Lyle Watters, vice president of Ford Motor Company.

Face-to-face communication can enhance mutual trust and help everyone find cooperation opportunities together, Watters said.

BUILD BRIDGES BETWEEN TWO PEOPLES

The two economies are deeply integrated, and both face new tasks in development, Xi said during his meeting with Biden in Bali, adding that it is in our mutual interest to benefit from each other's development.

The world is big enough for the two countries to develop themselves and prosper together, said the Chinese leader.

Many enterprises that participated in the CIIE in Shanghai are going to attend the Asia-Pacific Economic Cooperation CEO Summit in San Francisco. The two coastal cities are sister cities. In 2005, Gavin Newsom, then San Francisco's mayor, paid his first visit to China, marking the 25th anniversary of the sister-city relationship between the two cities.

In October, Xi met with Newsom, who is now governor of the U.S. state of California, at the Great Hall of the People in Beijing.

No other bilateral relationship is more important than the one between the United States and China, and the U.S.-China relationship is vital to the future of the United States and bears on the well-being of its people, Newsom said, adding that California is willing to be China's long-term, stable and strong partner.

As China and the United States seek cooperation, bridges should be built between the two peoples, not walls, said Howard Schultz, co-founder of the Schultz Family Foundation and former chairman of Starbucks.

During a visit to the United States in 2015, Xi shared his stories of Liangjiahe with the audience at a grand dinner held in the city of Seattle.

Liangjiahe is a village in northwest China's Shaanxi Province, where Xi had lived and worked for about seven years as an "educated youth" starting in 1969.

The stories deeply impressed Schultz, who wrote a letter to Xi in 2020. In his letter, Schultz congratulated China on the near completion of the plan to build a moderately prosperous society in all respects, which was fully achieved in 2021, and expressed his respect for the Chinese people and Chinese culture.

In his reply, Xi said China's embarking upon the new journey to fully build a modern socialist country will provide broader space for enterprises from across the world, including Starbucks and other American companies, to develop in China.

Xi said he hopes that the coffee company will make active efforts to promote China-U.S. economic and trade cooperation as well as the two countries' relations.

"Cooperation between the U.S. and China will strengthen both countries and benefit the world," said Jeffrey Sachs, economics professor and director of the Center for Sustainable Development at Columbia University. "It is correct and indeed possible."

[sheetmusiclibrarypdf]

Joe Pass, the most recorded guitarist in jazz history

Joe Pass, the most recorded guitarist in jazz history Best Sheet Music download from our Library. Please, subscribe to our Library. Thank you! Joe Pass — Meditation Solo Guitar JazzTrack listing

Joe Pass, the most recorded guitarist in jazz history

He became known for his sensitive accompaniment to the likes of pianists George Shearing and Oscar Peterson and singers Sarah Vaughn and Carmen McRae. He would later share the spotlight with such legends as Ella Fitzgerald, Dizzy Gillespie, and Duke Ellington. A consummate accompanist (“Singers worshiped him ,” wrote Leonard Feather) , Joe Pass really excelled as a soloist. It’s in that role we see him on this video.

Born Joseph Anthony Passalaqua in New Brunswick, New Jersey in 1929, Pass was a child prodigy on the guitar. Encouraged by a strict father who had him practicing up to six hours a day, Pass was playing in local bands at age 12 in his hometown, Johnstown, Pennsylvania. By the time he was 18 he was on the road with Charlie Barnet’s orchestra (Barney Kessel had held the guitar chair in that band prior to Pass). Pass found himself in New York “hanging around the bebop scene” just as that new music was gelling. He was an eager participant in endless jam sessions, but fell prey to a frequent pitfall of the late 194 0s jazz scene, heroin. Pass spent the 1950s in a twilight zone of drug addiction, playing bebop for strippers (“They didn’t care what you played, as long as the tempo was right”) and wandering from one marginal gig to the next. He served time for possession in Texas and finally straightened himself out in 1961 at California’s Synanon Foundation. The 1962 Pacific Jazz release, Sounds of Synanon, focused attention on Pass, who earned d o w n beat’s New Star award in 1963. His subsequent albums as frontman and in the company of the likes of Les McCann and Richard ‘Groove’ Holmes were augmented by extensive studio session work in the 1960s. 1974’s Virtuoso album (Pablo 2310 707) was Pass’s break-through. It showcased the solo style seen in this video. “Years ago,” Pass told Jim Ferguson ( Guitar Player, September 1984), “I played the first part of a set alone because I couldn’t find my rhythm section —they were out in the crowd drinking.” In time, Pass found he had enough material and facility to play an entire set solo, thanks in part to his development of finger-style technique. “I always used a pick in the past,” he told Ferguson, “but practically everything I do now is finger style.” In a 1986, Guitar Player cover feature, “One On One with Joe Pass” (August 1986 ), Pass elaborated: “My music is based on a finger style approach,” Pass wrote, “which enables you to play things that are very difficult, if not impossible, to do with a pick. By using your fingers, you can play two different parts at the same time, freely switch between single notes and chords, and have more control over the chord voicings.” We see what Pass means in a 1974 performance of his “Original Blues in G” at Ronnie Scott’s club in London. He invests the blues structure with exceptional harmonic sophistication. Like wise, he lends ample bluesiness to Duke Ellington’s “Do Nothin’ Till You Hear from Me,” a 1975 performance for the BBC. It illustrates Pass’s conviction: “When you’re including bass, melody, and chords all at once, things work best w hen the melody is your most import ant consideration. In other words, you should always have a melodic line in m ind w hen moving from chord to chord.” Few guitarists ever made those moves with such dazzling elegance as Joe Pass. “A lot of guitar players play solos,” observed Pass’s longtime accompanist, guitarist John Pisano, “but for the most part they’re kind of memorized and pretty much worked out with a few variations. But Joe, every night, whatever the tune might be he would do differently. He’d play in different keys; he’d put himself on the spot. I think that was one of the things that people picked up on. You’d be holding your breath, saying, ‘How’s he going to get out of  this one?’” The guitar lost its master improviser on May 23, 1994.

Joe Pass — Meditation Solo Guitar Jazz

https://www.youtube.com/watch?v=qcexUu1lf4k Recorded live between January 30 and February 1, 1992 in Oakland, CA when Joe was 63, two years before his death in 1994. Although he' was playing in a calmer, more sedate style than he did on his fiery solo discs of the early 70's (i.e. Virtuoso), this recording shows that he had lost none of his amazing dexterity or ability to play simultaneous lead and chords. This is one guy playing one six-string guitar in standard tuning with his fingers (no pick)---even though, at times, you almost think you hear two guitars. Joe Pass set a lofty standard of Jazz guitar virtuosity that will be tough for anyone to surpass. Regarding Meditation, Jim Ferguson wrote (in JazzTimes): "In Pass' hands, no tune seemed to elude performance, and he tackled everything--from bebop numbers to waltzes to standards to Latin pieces--with astonishing ease and effectiveness, something that is amply evident throughout this set…highlights include a pensive rubato treatment of "Shadow Waltz," a slowly grooving "Mood Indigo" and a swinging "They Can't Take That Away From Me," whose title reflects a sentiment that applies to Pass' position at the very top of the list of the world's finest jazz guitarists." Track listing "Meditation (Meditação)" (Antônio Carlos Jobim, Newton Mendonça, Norman Gimbel) – 4:52 "Shadow Waltz" (Al Dubin, Harry Warren) – 2:05 "Mood Indigo" (Duke Ellington, Irving Mills, Barney Bigard) – 3:24 "More Than You Know" (Vincent Youmans, Edward Eliscu, Billy Rose) – 3:52 "When Your Lover Has Gone" (Einar A. Swan) – 6:41 "Everything Happens to Me" (Tom Adair, Matt Dennis) – 4:41 "It's All Right With Me" (Cole Porter) – 4:51 "I'll Never Be The Same" (Matty Malneck, Frank Signorelli, Gus Kahn) – 4:59 "You Stepped Out of a Dream" (Nacio Herb Brown, Gus Kahn) – 3:54 "All the Things You Are" (Oscar Hammerstein II, Jerome Kern) – 4:06 "How Deep Is the Ocean?" (Irving Berlin) – 6:29 "They Can't Take That Away from Me" (George Gershwin, Ira Gershwin) – 2:42 Read the full article

[thereasonsimbroke]

Pokémon Recovers Stolen Fusion Strike Cards

In Ep. 559, Macio and I discuss Fusion Strike Pokémon cards theft, the Suicide Squad game delayed to Feb 2024, Zack Snyder and Jim Lee launching the Full Circle campaign for suicide prevention, and more!

Full Topics:

The Super Mario Bros. movie has become the highest-grossing video game film of all time, earning over $700M in box office sales, and is expected to surpass $1B.

Gary Bowser, a member of Team Xecuter, has been released from prison for good behavior after serving 40 months and ordered to pay Nintendo $10M in damages.

The alleged theft of rare Fusion Strike Pokémon cards has been solved after a photo of the cards being sold to a local shop surfaced.

Joseph Staten, former Halo director and writer, has joined Netflix Games to develop a new AAA video game franchise across multiple platforms.

Rocksteady's game "Suicide Squad: Kill the Justice League" has been pushed back to February 2024.

Actor Jonathan Majors is reportedly facing multiple allegations of abuse from new victims who are cooperating with the Manhattan district attorney's office.

Warner Bros. Discovery has announced the launch of its new streaming service, Max, which will include content from a range of brands.

HBO and Max content CEO Casey Bloys has refused to address concerns over J.K. Rowling's history of transphobia, calling it a "nuanced and complicated" online conversation not suited for a Q&A.

The upcoming animated series "Creature Commandos" has sparked a debate about voice acting in the entertainment industry.

Ink To The People, Zack Snyder, and Jim Lee have launched their campaign called "Full Circle" to support the American Foundation for Suicide Prevention.

FOLLOW/SUPPORT MACIO: @macdamurderer (Macio's Twitter) As always, we appreciate your constructive Feedback, Suggestions, and Questions. You can also leave us an audio question on SpeakPipe. Thank you for the continued love and support! Enjoy the show. Daniel Podcast Awards 2019 || Games & Hobbies (Winner) Podcast Awards 2017 - 2018, 2020 - 2022 || Games & Hobbies (Nominated) Official Site FOLLOW US: - Twitter | @ReasonsImBroke and @TRIBPod - Instagram - Pinterest - Tumblr - Discord Lounge - YouTube Channel SUBSCRIBE: Apple Podcasts / Spotify / Google Podcasts / Stitcher / iHeartRadio / TuneIn / Overcast SUPPORT THE POD: Getting $1's worth of entertainment and information each month? Support us on Patreon or visit our TeePublic storefront! SPREAD THE WORD: If you're enjoying the show, please head over to iTunes and leave us a rating and a review! Each one helps new Brokettes discover the podcast. Contribute to the Hero Initiative to offer assistance to comic creators facing difficulties. Show your support for the AFSP's efforts by donating to the Autumn Snyder Tribute Fund. CREDITS: Opening/Closing Jingles - Alex Scott Show Logo By - Opanaldiova

The latest episode of The Reasons I'm Broke Podcast!

[houseofloveconcerts]

Jeff Picker

Jeff Picker plays the bass.

As a youth, he gained national recognition as one of the most promising young jazz musicians of his generation. At age 18, he was named “Presidential Scholar for the Arts in Jazz” by the US Dept. of Education, and was awarded an artist grant by the National YoungArts Foundation, among other honors. He was also awarded a full tuition scholarship to the Manhattan School of Music, where he completed one year of coursework before matriculating at Columbia University. For the past decade, Jeff has been touring and recording with many of the biggest names in bluegrass and folk music, including a 5-year run with Ricky Skaggs and Kentucky Thunder. He performs and records frequently with Sarah Jarosz, East Nash Grass, and others. In 2023, he began touring with legendary progressive bluegrass band Nickel Creek. Jeff’s solo material, including his debut record, “With the Bass in Mind,” and his sophomore release, “Liquid Architecture,” reimagines the contemporary string band, drawing on the harmonic, metric, and improvisational intrigue of his jazz background, while never straying too far from the front porch. When he’s not on the road, Jeff is Nashville based, where he works on the Grand Ole Opry and as an in-demand session player. Eddie Barbash plays American roots music on alto saxophone. He is a founding member of Jon Batiste Stay Human, the house band for The Late Show with Stephen Colbert. He has performed with stars in almost every genre: jazz with Wynton Marsalis, classical with Yo-Yo Ma, rock with Lenny Kravitz, country with Vince Gill, bluegrass with Sierra Hull, funk with Parliament. He brings his horn and sensibility to Texas and Appalachian fiddle tunes, bluegrass, old time, R&B, soul, and classic New Orleans. He was raised in Oaxaca, Mexico, Atlanta, Georgia and Winston-Salem, North Carolina. He is 34 and lives in Brooklyn, but will soon move to Nashville. Eli Bishop is an American violinist/mandolinist, composer, and arranger who is recognized for his virtuosity and versatility across multiple genres of music. Born in Nashville, Tennessee, Eli has performed with artists including Wynton Marsalis, Lee Ann Womack, Maddie & Tae, the Jazz at Lincoln Center Orchestra, The Video Game Orchestra, and as a member of the Grand Ole Opry’s house band. Eli has also worked as an arranger for Grammy-nominated video game composer Austin Wintory (composer of Journey, Assassin's Creed: Syndicate), and has recorded with Dolly Parton for Dollywood. His musical work spans many mediums of the entertainment industry, including Joseph Gordon-Levitt’s movie, Don Jon, as well as the upcoming Billy Crystal movie, Here Today. Minecraft: Pirates of the Caribbean features Eli’s solo violin work with orchestra. The Chicago Tribune has praised Eli’s “silken legato phrases, impeccable pitch and seemingly effortless technique in fast-moving passages…” Frank Rische is a multi-talented musician and singer who grew up traveling and playing in a full-time family band since the age of 7. He frequently works alongside Jim Lauderdale and his sister Lillie Mae, and has been a choice touring and session musician/harmony singer to artists Tanya Tucker, Miranda Lambert, Lee Ann Womack, Aubrie Sellers, Jenny Lynn, Ahi, Milly Raccoon, Sierra Ferrell, Charles Butler, Logan Ledger, The Howling Brothers and many more. Frank proudly endorses D'Addario strings, L.R. Baggs electronics, and plays a Collings acoustic guitar. 

[hitmanhartiswaseverwillbe]

The Hart Foundation and Bret’s daughter, Jade with Run DMC

[filmnoirfoundation]

NOIR CITY 19 wraps up today at Oakland's Grand Lake Theatre with ON DANGEROUS GROUND (1:00), THE PROWLER (3:00), ODDS AGAINST TOMORROW (7:00) and FORCE OF EVIL (9:00). All films introduced by Eddie Muller.

Sunday Matinée • March 27

ON DANGEROUS GROUND1:00 PM

Big-city cop Jim Wilson (Robert Ryan), embittered by his job, has become a ticking time bomb. Aware that Wilson's unhinged brutality is a lawsuit waiting to happen, his boss sends him to a snowy upstate town to cool off. There, Wilson meets Mary Malden (Ida Lupino), a sage blind woman who sees through his cynicism and vitriol. But before she can melt his defenses, a young girl is found murdered, and Wilson throws himself into the vengeful manhunt for the killer. Ryan and Lupino give powerhouse performances in this unusually structured film, ingeniously and aggressively directed by Nicholas Ray. Half of it takes place in the nocturnal city, the other half in blinding white snowscapes; notions of natural and human duality abound. Featuring brilliant cinematography by George Diskant and one of Bernard Herrmann's most distinctive scores, which plays up the film's themes through an astounding juxtaposition of propulsive brass and wistful strings.

1952, RKO [Warner Bros.] 82 minutes. Screenplay by A. I. Bezzerides, based on the novel Made with Much Heart by Gerald Butler. Produced by John Houseman. Directed by Nicholas Ray.

THE PROWLER 3:00 PM

Patrolman Webb Garwood is more interested in achieving the American Dream than he is protecting it for others. After answering a woman's distress call about a peeping tom, Garwood hatches a nefarious plot to worm his way into her affluent but lonely life — and into her husband's life insurance policy. Van Heflin and Evelyn Keyes give stellar performances in this disturbing spider-and-fly romance, written covertly by legendary blacklisted screenwriter Dalton Trumbo and directed by the soon-to-be-blacklisted Joseph Losey. Largely dismissed by critics upon its release, it's now regarded as Losey's best American film, one that offers a compelling warning about small-minded people's willingness to abuse power for selfish gain. Restored in 2007 by the Film Noir Foundation and UCLA Film & Television Archive, the first triumph in a long-running partnership.

1951, Horizon Pictures/United Artists [FNF/UCLA Film & Television Archive]. 92 minutes. Screenplay by Dalton Trumbo (fronted by Hugo Butler) . Based on a story by Robert Thoeren and Hans Wilhelm. Produced by John Huston and Sam Spiegel (as S.P. Eagle). Directed by Joseph Losey.Sunday Evening •

ODDS AGAINST TOMORROW 7:00 PM

Disgraced ex-cop Dave Burke (Ed Begley) masterminds a piece-of-cake bank robbery in upstate New York, but to pull it off he requires the cooperation of two dangerously mismatched cohorts: hot-headed redneck war veteran Earle Slater (Robert Ryan) and gambling addict jazzman Johnny Ingram (Harry Belafonte); their racist antagonism threatens to thwart a seemingly fool-proof plan. Silent producer Belafonte hired blacklisted screenwriter Abraham Polonsky to adapt William P. McGivern's novel, specifically to subvert the sanctimony of The Defiant Ones (1958), a "feel good" movie about racism. Robert Wise's direction is as fresh and expressive as anything being done by the French New Wave of the period, and the score by John Lewis's Modern Jazz Quartet is innovative and exhilarating. With vivid supporting performances by Shelley Winters, Kim Hamilton, and Gloria Grahame. An all-time classic heist thriller—and much more.

1959, United Artists [Park Circus]. 96 minutes. Screenplay by Abraham Polonsky, with Nelson Gidding (fronted by John O. Killens). Based on the novel by William P. McGivern. Produced by Harry Belafonte (uncredited) and Robert Wise. Directed by Robert Wise.

FORCE OF EVIL 9:00 PM

One of the most distinctive works of the noir era, Abraham Polonsky's directorial debut is an exposé of the New York numbers racket and a riveting tale of a fallen man's attempt to reclaim his soul (John Garfield, in one of his best roles). Unfortunately for Polonsky, the House Committee on Un-American Activities also felt the film was a thinly veiled attack on the nation's capitalist system, suggesting parallels between the operations of businessmen and gangsters. Polonsky was blacklisted, unable to put his name on any work he produced over the next twenty years. Force of Evil is innovative and superlative in every respect; its stylized art direction complementing vivid New York location footage. With an evocative score by David Raksin and memorable performances by Thomas Gomez, Beatrice Pearson, Marie Windsor, and Roy Roberts.

1948, MGM [Park Circus]. 78 minutes. Screenplay by Abraham Polonsky and Ira Wolfert, from Wolfert's novel Tucker's People. Produced by Bob Roberts. Directed by Abraham Polonsky.

[mybeautifulchristianjourney]

No Reason to Hide: Standing for Christ in a Collapsing Culture | Dr. Erwin Lutzer

“Make no mistake, that which is canceled today will be criminalized tomorrow,” wrote Dr. Erwin Lutzer, author of the new book “No Reason to Hide: Standing for Christ in a Collapsing Culture.”

The Left has weaponized conventional words and redefined Christian moral precepts such as tolerance to vanquish its enemies from the public square. “The word tolerance has many different meanings, and in the minds of the Left, tolerance does mean dominance,” Lutzer told “Washington Watch” guest host Joseph Backholm. “If you were to apply for a job — even if it’s teaching chemistry — in a university, you would be asked whether or not you feel comfortable with the whole LGBTQ agenda. Are you comfortable with multiple pronouns?”

“Those who claim to be tolerant are the ones that are intolerant of anyone who doesn’t go along with their agenda,” said Lutzer, who is pastor emeritus of The Moody Church and host of three nationally syndicated radio programs: “Running to Win,” “Moody Church Hour,” and “Songs in the Night.”

Many of today’s cultural issues aim at the dismantling of the traditional, nuclear family — a pillar of Marxism, Lutzer noted. Marx believed “the family has to be destroyed, because men oppress their wives; parents oppressed their children: They take them to church. God, of course, is the ultimate oppressor.” Karl Marx and Friedrich Engels wrote “The Communist Manifesto” of their plan to foment the “abolition of the family,” “replace home education by social,” and introduce “an openly legalized community of women” (sharing women in common).

In time, the Marx-Engels brand of economic determinism was eclipsed by the insights of Italian Marxist philosopher Antonio Gramsci, who called for a long march through the institutions that shape cultural values. Stripping Western citizens of patriotism, religion, and family connections would remove the “enculturation” that prevented them from embracing their socialist “liberation,” Gramsci theorized roughly a century ago. In time, Marxists divided into separate schools, such as the belief in critical theory propounded by the Frankfurt School, and critical race theory. As a result, “many people who accept Marxist ideas that are bad do not necessarily trace it to Marx,” Lutzer noted.

“Marxism basically says we have to destroy the foundations of Christianity and the foundations of capitalism,” Lutzer continued. That’s why cultural secularists and progressives continually aim “to tear down our history, vilify the United States, and then build a whole new system based on a humanistic/Marxist worldview.” He noted that critical theorists attack the United States based on how closely it approaches their Utopia: “There is never a comparison with America to other countries,” because “it’s hard to get people to hate America if you compare it with other countries” and their real-life practices.

In less than two years, the Biden administration has set the stage for the radical transformation of the United States, agreed one prominent congressman. “They have passed bill after bill to set America down a socialist path. And that’s what’s at stake here: uprooting the values and the foundation of this country that makes it the greatest country in the history of the world,” said Rep. Jim Banks (R-Ind.) to Backholm on Friday.

The goal of so much reality-bending media coverage is to make Americans “comfortable living with lies,” said Lutzer. “Everybody knows that a man can’t have a baby. Everybody knows that. But nonetheless, we’re supposed to be comfortable in a society that’s living by lies.” Christians can never embrace such a life, since abiding in falsehood means living in violation of the moral code revealed by the One Whose word defined truth. “So, we’d better know where the lines are drawn and what we believe about these issues,” Lutzer insisted.

One necessary step to that end is educating young people in biblical truth and the principles of ordered liberty that lie at the heart of the American republic. “God is going to hold you accountable for the education of your children. And that’s why I advocate strongly, if possible, perhaps they should be homeschooled. There are also faith-based schools,” added Lutzer. “If that is impossible, what you need to do is to make sure that you stay on top of what [children] are being taught in our public schools.”

Source: 𝑇ℎ𝑒 𝑊𝑎𝑠ℎ𝑖𝑛𝑔𝑡𝑜𝑛 𝑆𝑡𝑎𝑛𝑑

[literaryfragments]

Time had past indeed: it had overtaken him and gone ahead. It had left him hopelessly behind with a few poor gifts: the iron grey hair, the heavy fatigue of the tanned face, two scars, a pair of tarnished shoulder straps; one of those steady, reliable men who are the raw material of great reputations, one of those unaccounted lives that are buried without drums and trumpets under the foundations of monumental success.

Joseph Conrad, Lord Jim

[justforbooks]

The greatest year for books ever?

Several years including 1862, 1899 and 1950 could be considered literature’s very best. But one year towers above these, writes Jane Ciabattari.

The year 1925 was a golden moment in literary history. Ernest Hemingway’s first book, In Our Time, Virginia Woolf’s Mrs Dalloway and F Scott Fitzgerald’s The Great Gatsby were all published that year. As were Gertrude Stein’s The Making of Americans, John Dos Passos’ Manhattan Transfer, Theodore Dreiser’s An American Tragedy and Sinclair Lewis’s Arrowsmith, among others. In fact, 1925 may well be literature’s greatest year.

But how could one even go about determining the finest 12 months in publishing history? Well, first, by searching for a cluster of landmark books:  debut books or major masterpieces published that year. Next, by evaluating their lasting impact: do these books continue to enthrall readers and explore our human dilemmas and joys in memorable ways? And then by asking: did the books published in this year alter the course of literature? Did they influence literary form or content, or introduce key stylistic innovations?

Books that came out in 1862, for instance, included Dostoevsky’s House of the Dead, Victor Hugo’s Les Misérables and Turgenev’s Fathers and Sons. But Gustave Flaubert’s novel of that year, Sallambo, set in Carthage during the 3rd Century BC, was no match for Madame Bovary. George Eliot’s historical novel Romola and Anthony Trollope’s Orley Farm were also disappointments.

The year 1899 is another contender for literature’s best. Kate Chopin’s seminal work The Awakening was published then, as was Frank Norris’s McTeague and two Joseph Conrad classics – Heart of Darkness and Lord Jim (serialised in Blackwood’s Magazine). But Tolstoy’s last novel Resurrection, published also in 1899, was more shaped by his religious and political ideals than a powerful sense of character; and Henry James’ The Awkward Age was a failed experiment – a novel written almost entirely in dialogue.

And in 1950 there were published books from Isaac Asimov (I, Robot), Ray Bradbury (The Martian Chronicles), Patricia Highsmith (Strangers on a Train), Doris Lessing (The Grass Is Singing) and CS Lewis (The Lion, the Witch and the Wardrobe). But other great fiction writers produced lesser works that year – Ernest Hemingway’s minor Across the River and into the Trees; Jack Kerouac’s The Town and the City, written under the influence of Thomas Wolfe; John Steinbeck’s poorly received play-in-novel-format Burning Bright and Evelyn Waugh’s only historical novel, the Empress Helena (Roman emperor Constantine’s Christian mother goes in search of relics of the Cross).

But 1925 brought something unique – a vibrant cultural outpouring, multiple landmark books and a paradigm shift in prose style. Literary work that year reflected a world in the aftermath of tremendous upheaval. The brutality of World War One, with some 16 million dead and 70 million mobilised to fight, had left its mark on the Lost Generation. In Mrs Dalloway, Virginia Woolf created the indelible shell-shocked veteran Septimus Smith, “with hazel eyes which had that look of apprehension in them which makes complete strangers apprehensive too. The world has raised its whip; where will it descend?”

Looking inward

The solid external world of the realists and naturalists was giving way to the shifting perceptions of the modernist ‘I’. Mrs Dalloway, which covers one day as Clarissa Dalloway prepares for a party – and Septimus Smith for his demise – is a landmark modernist novel. Its narrative is rooted in the flow of consciousness, with dreams, fantasies and vague perceptions gaining unprecedented expression. Woolf’s stylistic breakthrough reflected a changing perception of reality. Proust was also all the rage at this moment, as Scott Moncrieff’s translation of Remembrance of Things Past’s third volume was just out. Woolf admired Proust’s “astonishing vibration and saturation and intensification”.

The year 1925 also contributed to the culmination of Gertrude Stein’s career. She had moved to Paris in 1903 and established a Saturday evening salon that eventually included Ernest Hemingway, F Scott Fitzgerald, Sinclair Lewis, Ezra Pound and Sherwood Anderson, as well as artists Pablo Picasso and Henri Matisse. Stein responded to her immersion in the Parisian avant-garde by writing The Making of Americans, which was published in 1925, more than a decade after its completion. In over 900 pages of stream-of-consciousness, Stein tells of “the old people in a new world, the new people made out of the old,” and describes an American “space of time that is filled always filled with moving”. Early critics like Edmund Wilson couldn’t finish Stein’s complex web of repetition, but she has been credited with foreshadowing postmodernism and making key stylistic breakthroughs, including using the continuous present and a nearly musical word choice. As Anderson put it: “For me, the work of Gertrude Stein consists in a rebuilding, an entirely new recasting of life, in the city of words.”

Stein’s experiments with language influenced Hemingway’s signature sparseness. Beginning with the autobiographical Nick Adams stories in his first book, 1925’s In Our Time, his fiction is characterised by pared-down prose, with symbolic meaning lying beneath the surface. Nick witnesses birth and suicide as a young boy accompanying his father, a doctor, to deliver a baby in the Michigan woods. He is exposed to urban crime when two Chicago hitmen come to his small town. And as a war veteran trying to keep his memories at bay, he gravitates toward the familiar pleasures of camping and fishing: "He had made his camp. He was settled. Nothing could touch him."

Modern times

The midpoint of the Roaring ‘20s was a time of rare prosperity and upward mobility in the United States. The stock market seemed destined to climb forever, and the American Dream seemed within the grasp of the masses. 1925 was special, though. In New York, Countee Cullen, Langston Hughes, Zora Neale Hurston, Claude McKay, Jean Toomer and other writers of the Harlem Renaissance were given a definitive showcase that year in the anthology The New Negro, edited by Alain Locke. At the same time Harold Ross launched a revolutionary and risky weekly magazine called The New Yorker, which featured portraits of Manhattan socialites and their adventures and offered what would be a treasured showcase for short stories ever since.

F Scott Fitzgerald dubbed this flamboyant postwar American era “the Jazz Age”. Alcohol flowed freely despite Prohibition; flappers followed the sober suffragettes into a time of sexual freedom. New wealth was spreading the riches and opening doors to players like Fitzgerald’s immortal character Jay Gatsby, whose fortune was rumoured to be based on bootlegging. The Great Gatsby, published in 1925, gives a portrait both tawdry and touching, as Gatsby remakes himself in a doomed attempt to win the love of the wealthy Daisy Buchanan. The tarnished American Dream also was central that year to Theodore Dreiser’s naturalist masterpiece, An American Tragedy. Dreiser based the novel on a real criminal case, in which a young man murders his pregnant mistress in an attempt to marry into an upper class family, and is executed by electric chair. Also ripped from the headlines, Sinclair Lewis’s realistic 1925 novel Arrowsmith was a first in exploring the influence of science on American culture. Lewis wrote of the medical training, practice and ethical dilemmas facing a physician involved in high-level scientific research.

These books weren’t just original, even revolutionary, creations – they were helping to establish the very idea of modernity, to make sense of the times. Perhaps 1925 is literature’s most important year simply because no other 12-month span features such a dialogue between literature and real life. Certainly that’s the case in terms of how new technologies – the automobile, the cinema – shook up literary form in 1925. John Dos Passos’ Manhattan Transfer introduced the cinematic narrative form to the novel. New York, presented in fragments as if it were a movie montage on the page, is the novel’s collective protagonist, the inhuman industrialised city presented as a flow of images and characters passing at high speed. "Declaration of war… rumble of drums... Commencement of hostilities in a long parade through the empty rain lashed streets,” Dos Passos writes. “Extra, extra, extra. Santa Claus shoots daughter he has tried to attack. Slays Self With Shotgun." Sinclair Lewis called Manhattan Transfer "the vast and blazing dawn we have awaited. It may be the foundation of a whole new school of fiction."

Was 1925 the greatest year in literature? The ultimate proof, 90 years later, is the shape-shifting the novel has undergone, still based on these early inspirations – and the continuing resonance of Nick Adams, Jay Gatsby and Clarissa Dalloway. These characters from a transformative time are still enthralling generations of new readers.

Copyright © 2020 BBC

Daily inspiration. Discover more photos at http://justforbooks.tumblr.com

[mirandamckenni1]

Is It IMPOSSIBLE To Cross The Event Horizon? | Black Hole Firewall Paradox Check out the Space Time Merch Store https://ift.tt/Zgj3Oq6 Sign Up on Patreon to get access to the Space Time Discord! https://ift.tt/hWMY40A So you’ve decided to jump into a black hole. Good news: as long as the black hole is big enough you can sail through the event horizon without harm and get to experience the interior of the black hole before you’re annihilated by the central singularity. Or so we once thought. These days, quite a few physicists believe that the only way to avoid horrible contradictions in fundamental physics generated by black holes is for all them to be surrounded by screens of extreme energy that prevent anything from ever entering the event horizon. Sounds outlandish? Welcome to black holes. So let’s find out why many of our most brilliant physicists take these black hole firewalls deadly seriously. PBS Member Stations rely on viewers like you. To support your local station, go to:https://ift.tt/fbzZ7Y9 Sign up for the mailing list to get episode notifications and hear special announcements! https://ift.tt/BjNl1TC Search the Entire Space Time Library Here: https://ift.tt/3CMOIrG Hosted by Matt O'Dowd Written by Matt O'Dowd Post Production by Leonardo Scholzer, Yago Ballarini & Stephanie Faria Directed by Andrew Kornhaber Associate Producer: Bahar Gholipour Executive Producers: Eric Brown & Andrew Kornhaber Executive in Charge for PBS: Maribel Lopez Director of Programming for PBS: Gabrielle Ewing Assistant Director of Programming for PBS: John Campbell Spacetime is a production of Kornhaber Brown for PBS Digital Studios. This program is produced by Kornhaber Brown, which is solely responsible for its content. © 2024 PBS. All rights reserved. End Credits Music by J.R.S. Schattenberg: https://www.youtube.com/user/MultiDroideka Space Time Was Made Possible In Part By: Big Bang Sponsors First Principles Foundation John Sronce Bryce Fort Peter Barrett David Neumann Alexander Tamas Morgan Hough Juan Benet Vinnie Falco Mark Rosenthal Quasar Sponsors Grace Biaelcki Glenn Sugden Ethan Cohen Stephen Wilcox J Tyacke Mark Heising Hypernova Sponsors Michael Tidwell Chris Webb David Giltinan Ivari Tölp Kenneth See Gregory Forfa Alex Kern Bradley Voorhees Scott Gorlick Paul Stehr-Green Ben Delo Scott Gray Антон Кочков Robert Ilardi John R. Slavik Donal Botkin Edmund Fokschaner chuck zegar Daniel Muzquiz Gamma Ray Burst Sponsors Neil Moore Robin Sur Arko Provo Mukherjee Mike Purvis Christopher Wade Anthony Crossland treborg777 Grace Seraph Parliament Stephen Saslow Robert DeChellis Tomaz Lovsin Anthony Leon Leonardo Schulthais Senna Lori Ferris Dennis Van Hoof Koen Wilde Nicolas Katsantonis gmmiddleton Joe Pavlovic Justin Lloyd Chuck Lukaszewski Cole B Combs Andrea Galvagni Jerry Thomas Nikhil Sharma John Anderson Bradley Ulis Craig Falls Kane Holbrook Ross Story teng guo Harsh Khandhadia Jammer Matt Quinn Michael Lev Rad Antonov Terje Vold James Trimmier Jeremy Soller Paul Wood Joe Moreira Kent Durham jim bartosh John H. Austin, Jr. Diana S Poljar Faraz Khan Almog Cohen Daniel Jennings Russ Creech Jeremy Reed David Johnston Michael Barton Isaac Suttell Oliver Flanagan Bleys Goodson Mark Delagasse Mark Daniel Cohen Shane Calimlim Tybie Fitzhugh Eric Kiebler Craig Stonaha Frederic Simon John Robinson Jim Hudson Alex Gan John Funai Adrien Molyneux Bradley Jenkins Amy Hickman Vlad Shipulin Thomas Dougherty King Zeckendorff Dan Warren Joseph Salomone Patrick Sutton Julien Dubois via YouTube https://www.youtube.com/watch?v=4uQF9Egc-fM

[wutbju]

Ruth Helen (Barnes) Reed, age 86, relocated from her earthly home and met her Lord and Savior on May 12, 2020.

Ruth was born in Sheboygan on December 7, 1933 to Joseph James Barnes and Isabelle Augusta (Gosse) Barnes. Ruth attended elementary school at Spring Farm (a one-room schoolhouse in the Town of Mitchell) and graduated from Plymouth High School in 1951. She waitressed at The Grill in Plymouth; played clarinet in the high school band as well as the Plymouth band.

She attended Bob Jones University in Greenville, South Carolina and American University in Washington D.C. where she was employed at the U.S. Department of Commerce, National Bureau of Standards, in the technical reports section of the publications division as a clerk, typist, and director of tour guides.

Ruth met Donn Reed on a blind date and they married on Sept, 20, 1953 in Fort Knox where he was stationed.

She was a founding member of Jacobson Advertising (now Jacobson/Rost) where she wore many hats over her 34 years as a receptionist, typist, bookkeeper, proofreader, historian and media specialist.

She fellowshipped at the Evangelical Free Church where she was a secretary, church historian, Sunday School aide and sang in the choir, ladies’ trio and ladies’ quartet. She was a member of the Women’s Missionary Society, and prepared projects for Vacation Bible School. Ruth performed in the pit orchestra for Community Players musicals, sang in the chorus with the Sheboygan Arts Foundation, and was a vocalist with the Reggie Barber Dance Orchestra. She volunteered with the Sheboygan Youth Band, the Elms Band, the John Michael Kohler Arts Center and was banquet chairman for the Soap Box Derby. Known as Grandma Ruth, she was intensively involved with the Early Learning Center, spending many years cutting and sorting various projects for every student that attended. She was a member of the SET committee for over 8 years and was named Intergenerational Volunteer of the Year in April 2000. She also volunteered at Wilson, ESAA and Grant elementary schools.

Her hobbies included quilting, sewing, reading, collecting recipes, crafts, music, opera and family history. She enjoyed listening to the Gaither Vocal Band and supporting David Jeremiah’s ministry.

Ruth’s showed kindness and love to everyone she came in contact with. Her family was her most valuable possession and spent many hours involved in their various activities and traveled wherever she needed to go.

Ruth is survived by Kimm (Jim) McKalips and their children Andrew (Sarah), Jon (Tereana), Joe (Erin) McKalips, Stephanie (David) Woody, and Deborah (Michael) Winding and many great- grandchildren; Lisa Reed and her children Dylan Victory, Tyler (Michelle) Victory and Erin Zelle; and Marc (Cindy) Reed and their children Marcy and Jackson.

She is further survived by her siblings Kathy (Ken) Zimmerman, Barry (Barb) Barnes and Jeff (Bonnie) Barnes, and many nieces and nephews. Also, her “besties” Janice Crane, Judy Zimmerman, Colleen Pyne, Jo Leu, Janet Lammers and Ann Bernard.

She was preceded in death by her son Timm, husband Donn, her parents, brother James; and friends Doug Crane and Tito Ramos.

A special thanks to Dr. Mancheski for his care and friendship over the years and the Sharon Richardson Hospice for bringing Ruth home to spend her final days surrounded by those who loved her. A celebration of Ruth’s life will be held on July 4, 2020, at her home from 10-4. Due to the COVID-19 pandemic, gloves and sanitizer will be available.

Ruth had a magical gift for just the right words. Please share yours; your memories and stories with the family. Written remembrances will be a cherished addition to her memory box.

[lawrenceop]

Holy Land Retrospective - Day 6

Reminder: clicking on the link for each photo (links are all in red text) will take you to the Flickr page where you can see the photo in larger sizes.

Start with DAY 1, or catch up with DAY 2, or DAY 3, or DAY 4, or DAY 5. Or just read on!

PHOTO 26: It was Saturday; the day of the Jewish Shabbat, a holy day when the highlight of the whole pilgrimage took place: we would have Mass at the Empty Tomb of Christ, in the church of the Holy Sepulchre. Appropriately, we made our way to the church in silence, processing through deserted city, and the church, too, was nearly empty when we arrived. After all, it was shortly after 4 a.m. (!) when we entered the city through Herod’s Gate and walked through the silent Muslim Quarter to the Franciscan monastery. 

Moving some 250 people in silence through the uneven streets of an ancient city, before daybreak, is an impressive feat! But this silence and secrecy was entirely fitting. For the Gospels, too, are silent about what happened on the Saturday, the day of the Passover, after Jesus was crucified. St John says the following about the Friday on which Jesus died, the “day of Preparation” but concerning the Sabbath, nothing is reported – it is only alluded to:

“Since it was the day of Preparation, in order to prevent the bodies from remaining on the cross on the sabbath (for that sabbath was a high day), the Jews asked Pilate that their legs might be broken, and that they might be taken away... But one of the soldiers pierced his side with a spear, and at once there came out blood and water... After this Joseph of Arimathe'a, who was a disciple of Jesus, but secretly, for fear of the Jews, asked Pilate that he might take away the body of Jesus, and Pilate gave him leave. So he came and took away his body. Nicodemus also, who had at first come to him by night, came bringing a mixture of myrrh and aloes, about a hundred pounds' weight. They took the body of Jesus, and bound it in linen cloths with the spices, as is the burial custom of the Jews. Now in the place where he was crucified there was a garden, and in the garden a new tomb where no one had ever been laid. So because of the Jewish day of Preparation, as the tomb was close at hand, they laid Jesus there.” (Jn 19:31, 34, 38-42)

From the Franciscan Monastery of the Flagellation, we began our quiet journey on the Via Dolorosa, sleepy but alert, praying the Stations of the Cross as best as we could. Somewhere in the crowd, Jim Caviezel walked with us, as together with him we walked the path of Jesus through the streets of Jerusalem. 

At around 5:30 a.m. we prayed the last three stations of the Cross in the courtyard in front of the church of the Holy Sepulchre; in the distance, a cock crowed. 

This photo was taken shortly after everyone had entered the church, looking back towards the way we had come; the minaret of the mosque of Omar looms overhead. For many of our group, it was their first time visiting Calvary and the Empty Tomb so I remained outside and I savoured the cool air of the morning; and soaked in the silence of the holy courtyard, traversed only by a cat or a monk; and I observed the colour of the sky change as the light of the new day came. Dawn at the Holy Sepulchre on an Easter Saturday: what a blessed moment!

PHOTO 27: We had a good hour and a half before the time allocated to us for Mass: time to explore, time to pray and reflect, time for Confession and spiritual preparation for Holy Mass. Ahead of us, saying Mass inside the Empty Tomb with a small group of pilgrims, was the Bishop of a French diocese, hence the doors are closed. During this time, one of our group took photos of these closed doors and she came and showed me the photos. One of them had the clear figure of a man robed in a white Jewish prayer shawl standing in the doorway, even though none of us had seen the doors even open! Take a look here and see what you think!

"I saw the risen Lord appearing to His Blessed Mother on Mount Calvary. He was transcendently beautiful and glorious, His manner full of earnestness. His garment, which was like a white mantle thrown about His limbs, floated in the breeze behind Him as He walked. It glistened blue and white, like smoke curling in the sunshine.” - Blessed Anne Catherine Emmerich’s vision of the Risen Lord. 

The photo above was taken very shortly before we went into the sacristy to prepare for Mass. I had been watching the sunlight of the new day penetrate the darkness of the Holy Sepulchre church. The rays of light enter through the smaller dome of the ‘Catholicon’ (the Greek Orthodox sanctuary in the centre of the building), and then it strikes the little onion dome and cross of the ‘Aedicule’, which is this structure that envelopes and protects the Empty Tomb itself. As the sun ascends in the sky, the rays of light then travel downwards until it reaches the doors of the Aedicule, and penetrate into the Empty Tomb. 

An hour after this photo was taken, I was standing inside the Aedicule, concelebrating the Holy Mass with my brother priests, standing around the very spot where the angel of the Resurrection had hailed the holy women that first Easter morning. And then, stooping to go into the Empty Tomb itself, I received the Eucharistic Body and Blood of the Risen Christ that was lying on the Altar, on top of the stone where Jesus had been laid and from which he had risen from the dead, alleluia!

This single moment, this sun-lit morning, all we had experienced so far on the 4th of May 2019, was probably one of the most unforgettable and spiritually intense moments of my whole life.   

“Do not be afraid... He is not here; for he has risen, as he said. Come, see the place where he lay. Then go quickly and tell his disciples that he has risen from the dead”. (Mt 28:5-7)

However, in every Mass, we encounter the Risen Lord, and we are then sent forth wherever we may be, as though from this Empty Tomb in Jerusalem, to quickly announce the Good News: Χριστός Ανέστη! Surrexit Dominus vere! Christ is risen, Alleluia, alleluia, alleluia!

PHOTO 28: The focus of this photo is the olive tree, for we are on the Mount of Olives, looking towards the Holy City with the iconic Dome of the Rock, the Muslim shrine built on the very site where the Temple of Jerusalem once stood until the Romans destroyed it, as Christ prophesied, in 70 AD. 

After Mass in the Holy Sepulchre, and after breakfast, we went to the top of the Mount of Olives to take in the view of the city, and then we descended the hill, waving palm branches and singing ‘Hosannas’ as we went; in a few hours we had gone from Easter morning to Palm Sunday! We made our way to the little church of Dominus Flevit where Jesus had beheld the city of Jerusalem, foretold of its destruction, and wept for its people. 

Looking towards the city, one takes in its long and complicated and turbulent history; full of human strife and violence as the One the city had once hailed with ‘Hosannas’ was rejected, taken outside, and executed as a criminal. But, as St Paul says: “In him all the fulness of God was pleased to dwell, and through him to reconcile to himself all things, whether on earth or in heaven, making peace by the blood of his cross.” (Col 1:19-20)

In this photo, therefore, I wanted to show the city in its splendour and in its divided history, and also to take in the branches of the trees which the people had cut and waved to hail the coming Messiah. But above all, I wanted to focus on the olive branch, not just because it indicated our location, the Mount of Olives, but because it is a universally recognised emblem of peace. 

“For the peace of Jerusalem pray: "Peace be to your homes! May peace reign in your walls, in your palaces, peace!"” – Psalm 122:6-7

Agnus Dei, qui tollis peccata mundi: dona nobis pacem. 

 PHOTO 29: Continuing to mark Holy Week in one day, we went to Mount Sion after lunch, to the site of the Upper Room, the cenacle, where Jesus had celebrated the Passover with his disciples, instituting the sacraments of the Holy Eucharist and the Priesthood. In the same room, the Holy Spirit had came upon Our Lady and the disciples at Pentecost so that “out of Sion shall go forth the law, and the word of the LORD from Jerusalem" (Isa 2:3). 

So, that Saturday afternoon we stood in a 14th-century structure built on various iterations of a church building that has stood here since the earliest days, although it is now sadly just an archeological space, a museum since beneath it is the tomb of King David, a holy shrine for the Jews and I suppose they did not want a church right above. But in the 5th-century, this holy place was called “Sion, Mother of all the Churches”. 

This name is fitting since it is here that the Church was born. As Pope St John Paul II wrote shortly after visiting this place: 

The Church, while pointing to Christ in the mystery of his passion, also reveals her own mystery: Ecclesia de Eucharistia. By the gift of the Holy Spirit at Pentecost the Church was born and set out upon the pathways of the world, yet a decisive moment in her taking shape was certainly the institution of the Eucharist in the Upper Room. Her foundation and wellspring is the whole Triduum paschale, but this is as it were gathered up, foreshadowed and “concentrated' for ever in the gift of the Eucharist. – Ecclesia de Eucharistia, 5.

The photo above is focussed on a carved stone capital from c.1335 that is part of the canopy over the platform where, perhaps, the altar would have once stood. This carving is interesting because of its Eucharistic symbolism. Over the past few days we have seen some other early Christian symbols such as the anchor, and the peacock. Here in the cenacle, in the place where Jesus gave us the Eucharist, we have the pelican. To be precise, two pelicans are shown plucking at the breast of the central pelican, and this symbol is known as the ‘Pelican in piety’. It was believed that pelicans would feed their own young with their own flesh and blood, and so this became an image of Christ feeding the Christian people: the Church receives its life from the Eucharist which is the sacrament of Christ’s Body and Blood; Ecclesia de Eucharistia. 

So St Thomas Aquinas prayed in his hymn, Adoro Te devote: 

Pie Pelicane, Jesu Domine, me immundum munda tuo Sanguine: cujus una stilla salvum facere totum mundum quit ab omni scelere.

Lord Jesus, Good Pelican, wash my filth and cleanse me with Your Blood, one drop of which can free the entire world of all its sins.

PHOTO 30: Standing at the doorway that leads up to the cenacle, we look back towards the tallest building in the area, built on the summit of Mount Sion. This is the Benedictine Abbey of the Dormition, which commemorates the fact that Our Lady, the “Daughter of Sion” fittingly ended her earthly life somewhere nearby on Mount Sion. Psalm 87, therefore, although it refers to the holy mountain of Sion has also long been regarded as alluding to Our Lady. For the Lord has preferred her to all others and has dwelt within her; like a city whose walls are never breached, so has she remained ever virgin yet is the abode of the great King: 

On the holy mountain is his city cherished by the Lord. The Lord prefers the gates of Sion to all Jacob's dwellings. Of you are told glorious things, O city of God! – Psalm 87:1-3

Saturdays, of course, are dedicated to Mary, so within the Dormition Abbey, we had gathered to sing glorious things concerning the Mother of God.  As we headed back to the Old City of Jerusalem, passing by the Sion Gate, I stopped to marvel at the many beautiful roses that bloomed here. They were another fitting tribute to Our Lady, and a glorious end to our tour on Lady Day in the Holy Land. 

Tomorrow: Reliving Easter Sunday at dawn by the Empty Tomb; Bethesda and Mary’s birthplace; Bar Mitzvah celebrations.

[blackkudos]

Ledisi

Ledisi Anibade Young (born March 28, 1972), better known simply as Ledisi, is an American R&B and jazz recording artist, songwriter, and actress. Her first name means "to bring forth" or "to come here" in Yoruba. In 1995, Ledisi formed the group Anibade. After unsuccessfully trying to get the group signed to a major label, she formed LeSun Records with Sundra Manning. Anibade and Ledisi released an album entitled "Soulsinger" (black and white cover on the LeSun Music independent label) featuring the song Take Time, which gained substantial airplay from San Francisco area radio stations. A twelve-time Grammy Award nominee, Ledisi has released eight studio albums between 2000 and 2017.

In 2000, Ledisi re-released her first major label signed album, titled Soulsinger: The Revival. Ledisi and her group toured in 2001. In 2002, Ledisi released her second album, Feeling Orange but Sometimes Blue. The album won an award for "Outstanding Jazz Album" at the California Music Awards.

In 2005, Ledisi signed a record deal with Verve Forecast and released her third album, titled Lost & Found, on August 28, 2007; it sold almost 217,000 copies and earned her two Grammy nominations, including one for Best New Artist. In 2008, Ledisi released her Christmas album, It's Christmas.

In 2009, Ledisi released her fourth album Turn Me Loose, which earned her two Grammy nominations, followed by her fifth album Pieces of Me (2011) which debuted on the US Billboard 200 album chart at number eight, becoming the first top-ten album of her career and her highest-charting album to date. It also garnered three Grammy nominations at the 54th Grammy Awards including for Best R&B Album. In 2013, she received a nomination for Best R&B Performance at the 55th Grammy Awards for her collaboration with fellow R&B and jazz musician Robert Glasper for the album cut "Gonna Be Alright" from his fifth album Black Radio (2012). In 2014, she released her sixth album The Truth to critical acclaim and moderate sales. She portrayed legendary gospel singer Mahalia Jackson in the 2014 Martin Luther King, Jr. biopic, Selma.

Early life

Ledisi was born in New Orleans, Louisiana. She grew up in a musical family; her mother, Nyra Dynese, sang in a Louisiana R&B band and her stepfather, Joseph Pierce III, (deceased) was a drummer in the New Orleans area. Her biological father is soul singer Larry Sanders, the son of blues singer Johnny Ace. He left the family when she was a baby and they did not meet again for nearly three decades.

Ledisi first began performing publicly at age eight with the New Orleans Symphony Orchestra. Ledisi moved to Oakland, California, where she attended McChesney Junior High School, now Edna Brewer Middle School. She was shy about her singing abilities and would sing only upon request when students in her gym class would implore her to sing Deniece Williams's version of Black Butterfly, bringing the entire locker room audience under the spell of her very mature, melodious voice. As she sang more publicly her music career blossomed. She was nominated for a Shellie award in 1990 for her performance in a production of The Wiz and performed in an extended run with the San Francisco cabaret troupe, Beach Blanket Babylon. She studied opera and piano for five years at University of California Berkeley in their Young Musicians Program.

Musical career

1995–1999: Career beginnings

In the 1990s, Ledisi formed a group called Anibade, alongside Sundra Manning (producer, keyboards, songwriting), Phoenix (LaGerald) Normand (background vocals, songwriting), Cedrickke Dennis (guitar), Nelson Braxton (bass), Wayne Braxton (sax), and Rob Rhodes (drums), playing a jazz and hip-hop influenced kind of soul. The group won acclaim in the San Francisco Bay Area with a cult-like following of die-hard fans who referred to themselves as "Ledites" and meet her with love at every event, singing along verbatim to songs that though unrecorded at the time, were well known by their fans. The group later recorded a demo of one of the songs from their set, entitled, "Take Time" which was played on local stations and requested non-stop. Ledisi tried to get the group signed to a major label, but had no luck. Ledisi also performed often with jazz saxophonist Robert Stewart throughout the early 1990s in San Francisco.

2000–2003: Soulsinger: The Revival and Feeling Orange but Sometimes Blue

In January 2000, Ledisi released her first album, Soulsinger: The Revival, independently on her label, LeSun Records. The album spun off four singles, "Soulsinger", "Take Time", "Get Outta My Kitchen", and "Good Lovin'". After the release of Soulsinger: The Revival, Ledisi toured with her group Anibade.

In 2002, Ledisi released her second album, Feeling Orange but Sometimes Blue, which was also released independently. The album featured the singles "Feeling Orange but Sometimes Blue" and "Autumn Leaves". During this time she also recorded commercials for the Sci Fi Channel. In 2003, Ledisi won "Outstanding Jazz Album" for Feeling Orange but Sometimes Blue at the California Music Awards.

2006–2008: Lost & Found

During her five-year hiatus, Ledisi made appearances on soundtracks. In 2007, she signed with Verve and released "Blues in the Night" which featured on the tribute album, We All Love Ella: Celebrating the First Lady of Song.

In August 2007, Ledisi's third album, Lost & Found, was released. During her hiatus, Ledisi stated that she was unsure of wanting to stay in the music industry. In response, Ledisi wrote the song "Alright" to express her life. "Alright" became the lead single and debuted at #45 on the Billboard Hot R&B chart. The album's second single, "In The Morning", debuted at #49 on the Billboard Hot R&B chart. Other songs from the album charted but were not released as singles. "Think of You" charted at #71 on the Hot R&B charts, "Joy" charted at #103 on the Hot R&B charts and #29 on the Adult R&B Airplay.

In December 2007, the album earned her two Grammy nominations, including one for Best New Artist. In 2008, Ledisi continued her tour to promote the album, Lost & Found. By January 2009, the album had sold 216,894 copies.

In September 2008, Ledisi released her Christmas album, It's Christmas, which featured the singles "This Christmas" and "Children Go Where I Send Thee". In December 2008, Ledisi's T.V. special aired on Gospel Channel, titled "Ledisi Christmas". Ledisi performed a few songs from her Christmas album. "Have Yourself A Merry Little Christmas" and "Give Love On Christmas Day" charted on the Hot R&B charts at #113.

In 2008 Ledisi performed the song "The Man I Love" as a blues singer in the Leatherheads movie.

2009–2010: Turn Me Loose

In 2009, Ledisi's fourth studio album was announced as Turn Me Loose. The album was released on August 18, 2009. Speaking in April 2010 to noted UK R&B writer Pete Lewis – Deputy Editor of the award-winning Blues & Soul – Ledisi explained the album's title reflected its musical diversity: "The title 'Turn Me Loose' is basically me saying 'I don't wanna be boxed in! Let me be myself as a performer and singer, because I do EVERYTHING! Not just one particular style!'." She employed production from seasoned R&B songwriter-producers such as Raphael Saadiq, Jimmy Jam and Terry Lewis, James "Big Jim" Wright, and Carvin & Ivan. The first single from the album was "Goin' Thru Changes". The second single was "Higher Than This", produced by Jimmy Jam and Terry Lewis and James "Big Jim" Wright.

On May 13, 2010, Ledisi performed at Charter Oak Cultural Center's 9th Annual Gala, a fundraiser for free after-school youth arts programming in inner-city Hartford. She performed several songs from Turn Me Loose, and also performed a duet with Anika Noni Rose, a tribute to the late Lena Horne.

2011–2012: Pieces of Me

Ledisi toured with R&B/soul singer Kem on his North American INTIMACY Tour. On March 10, 2011, during her opening act in Atlanta, Georgia, Ledisi announced that she had finished recording her fifth studio album, Pieces of Me, on March 9, 2011. It was released on June 14, 2011. It debuted at number 8 on the Billboard 200 album chart, selling 38,000 copies in its first week. The album's title track served as the album's lead single.

Ledisi has performed at the White House seven times at the request of President and First Lady Obama.

Ledisi headlined her first tour to promote her album, Pieces of Me. The Pieces of Me Tour played to 22 sold out shows across North America. With this album, she received three nominations for the 2012 Grammy Awards, in the categories Best R&B Album, Best R&B Performance and Best R&B Song, for the album and the lead single "Pieces of Me".

Ledisi released her first book, Better Than Alright: Finding Peace, Love & Power on Time Home Entertainment, Inc. in 2012. The book, an innovative collaboration with ESSENCE, is filled with the singer's personal photos, quotes, lyrics, and richly detailed stories of her journey to acceptance of her beauty, talent, and power.

On April 6, 2012, Ledisi announced her second headlining tour, B.G.T.Y., with Eric Benet serving as an opening act. In December 2012, VH1 announced that Ledisi would perform at their 2012 VH1 Divas show, a concert benefiting the Save The Music Foundation charity. Ledisi performed a Whitney Houston tribute medley with Jordin Sparks and Melanie Fiona.

2014–2016: The Truth

On March 2014, Ledisi released her new album The Truth. She is also on tour with Robert Glasper in partnership with the magazine "Essence" (which featured her on one of their three April covers as well as Erykah Badu and Solange Knowles).

In April 2014, Ledisi was cast to play Mahalia Jackson in the American historical drama film, Selma, directed by Ava DuVernay and written by Paul Webb and DuVernay. It is based on the 1965 Selma to Montgomery voting rights marches led by James Bevel, Hosea Williams, and Martin Luther King, Jr. In the film and on the official film soundtrack, Ledisi sings "Take My Hand, Precious Lord". Initially slated to perform at the 57th Grammy Awards as part of a tribute to the Selma March alongside Common and John Legend (who performed their Oscar-winning duet "Glory") she was ultimately snubbed by the Recording Academy and recording artist Beyoncé, who performed in her place. Ledisi's snubbing and Beyoncé's performance received mixed reaction from social media. In 2015, she received her ninth Grammy Award nomination for Best R&B Performance for the single "Like This" off of her seventh album The Truth. She lost to Beyoncé and Jay Z for "Drunk in Love".

2017–present: Let Love Rule

In May 2017, Ledisi released a single titled "High" produced by Darhyl "Hey DJ" Camper and Rex Rideout. Her eighth studio album called Let Love Rule was released on September 22, 2017. In November 2017, she received three more nominations at the 60th Grammy Awards in January 2018 including Best R&B Album, Best R&B Performance and Best Traditional R&B Performance. Ledisi won a Soul Train Award 'Soul Certified Award' for the album.

Ledisi helped the BET Awards pay tribute to Anita Baker, the Lifetime Achievement Award recipient of the night on June 24, with a rendition of the singer's 1986 ode "Sweet Love".

Ledisi was then a part of the Aretha Franklin Tribute that was put together by the annual award ceremony known as Black Girls Rock. Ledisi delivered a rendition of the hit "Ain't No Way".

In October 2018, Ledisi performed with Adam Lambert in an NBC broadcast, A Very Wicked Halloween: Celebrating 15 Years on Broadway, before a live studio audience at the Marquis Theatre in New York, singing "As Long as You're Mine" from Wicked.

Discography

Studio albums

Soulsinger: The Revival (2000)

Feeling Orange but Sometimes Blue (2002)

Lost & Found (2007)

Turn Me Loose (2009)

Pieces of Me (2011)

The Truth (2014)

Let Love Rule (2017)

Awards and nominations

Grammy Awards

Ledisi has been nominated for twelve career Grammy Awards.

BET Awards

BETJ Virtual Awards

California Music Awards

Soul Train Music Awards

2008, BET J Cool Like Dat Award (Nominated)

2008, Female Artist of the Year (Nominated)

2003, Outstanding Jazz Album, Feeling Orange But Sometimes Blue (Won)

2011, Centric Award (nominated)

2009, Best R&B/Soul Female Artist (nominated)

2014, Best R&B/Soul Female Artist (Nominated)

2017 Best R&B/Soul Female Artist (Nominated)

2017 Soul Certified Award (won)

2018 Soul Certified Award (won)

NAACP AWARDS

2012 Best Female Artist (Nominated)

2015 Best Female Artist (Nominated)

2018 Best Female Artist (Nominated)

2018 Best Traditional song - High (Nominated)

2018 Best Visual - High (Nominated)

Honors/Special Awards

2016, NAACP Awards Theatre - Spirit Award Honoree

2016, America For The Arts - Music Honoree

Tours

Pieces of Me Tour (2011)

B.G.T.Y. Tour (2012)

The Truth Tour (2014)

The Intimate Truth Tour (2015)

The Rebel The Soul The Saint Tour (2017)

Let Love Rule Tour (2018)

Ledisi Live UK Tour (2019)

Filmography

2008: Leatherheads (as the Blues Singer)

2011: Leave It on the Floor (as Princess' Mother)

2014: Selma (as Mahalia Jackson)

2016: The Tale Of Four (Short Film) (as Aunt Sara)

2020: American Soul (as Patti LaBelle) (season 2, upcoming)