#jason reed art

[johnny-dynamo]

Where Doesn't It Hurt..? by Jason Reed

[lexyscross]

New stills from Scream VI! 😱

[nofatclips]

Dark Days (revisited) by Art d'Ecco from the album trespasser

[graphicpolicy]

The Return of Mark Hamill is a work of art...

The Return of Mark Hamill is a work of art... #comics #comicbooks

Find out the unknown history of Mark Hamill in this special comic from Jack in the Box! Starring: Mark Hamill and Jack BoxArt: Luke Duo Art, Jamie CoeLetterer: Joshua ReedCreated by: Eric Stiles, Chad GoodnoeCreative Directors: Jeff O’Keefe, Bert MarissenEditors in Chief: Jason Karley, Galen GrahamProduced by: Dena Moore, Nat Wilkes Jack in the Box provided Graphic Policy with a FREE copy (we…

[nawowow]

Mass (2021)

[wally-b-feed]

Anthony Fineran (B 1981), Bethany Reed Jason, 2023

[stele3]

Has anybody written the fic of Jason getting his throat cut by Bruce in “UtRH,” then having a moment of true clarity in his second(?) death(?) and deciding “fuck this”?

He tells Talia that Bruce isn’t the person they thought he was and if either of them are going to be saved, they have to do it for themselves. He takes off for the West Coast.

I’m gonna be selfish and say he settles in Portland with the intent of going back to school. This is the Batman-ified version of Portland, though, or maybe just the Portland envisioned in conservative media: lawless, violent, on fire all the time. (Reality check: lol.) The guy can’t help himself and pretty soon he’s beating the shit out of Proud Boys downtown. No reason he can’t smash some fash AND get his GED.

Flash forward a few years and by day he’s attending Reed College, with its rolling lawns, nature trails, and liberal arts; by night he’s gotten involved with the local mutual aid network. He’s got a ponytail and an undercut, one full sleeve tattoo and the start of another, multiple facial piercings, and a Subaru. He’s joined a polycule — nothing serious, just some people who are kind with their bodies and have taught him to be the same. He buys secondhand and recycles. He works in the community garden. And if a few Proud Boys have gone missing then no one misses them, right? Portland is small enough to be overlooked but big enough to disappear into. He’s in his lane, moisturized, thriving.

Then Talia shows up with Damian in tow. Because it makes absolutely no sense for her to send Damian to Bruce in the first place, unless she somehow didn’t know that Bruce slit Jason’s throat, OR she somehow didn’t give a shit. Why on Earth would she trust Bruce to care for Damian after he’s already killed one son? No. She gives Damian to Jason.

Has anyone written a fic like this very specific one? Lolol

[lboogie1906]

Wynton Learson Marsalis (October 18, 1961) is a trumpeter, composer, teacher, and artistic director of Jazz at Lincoln Center. He has promoted classical and jazz music, often to young audiences. He has won at least nine Grammy Awards, and his Blood on the Fields was the first jazz composition to win the Pulitzer Prize for Music. He is the only musician to win a Grammy Award in jazz and classical during the same year.

He was born in New Orleans and grew up in the suburb of Kenner. He is the second of six sons born to Dolores Ferdinand Marsalis and Ellis Marsalis Jr., a pianist and music teacher. He was named after jazz pianist Wynton Kelly. Branford, Jason, and Delfeayo are jazz musicians. While sitting at a table with trumpeters Al Hirt, Miles Davis, and Clark Terry, his father jokingly suggested that he might as well get him a trumpet, too. Hirt volunteered to give him one, so at the age of six, he received his first trumpet.

In 1979, he moved to New York City to attend Juilliard. He intended to pursue a career in classical music. In 1980 he toured Europe as a member of the Art Blakey big band, becoming a member of The Jazz Messengers and remaining with Blakey until 1982. He changed his mind about his career and turned to jazz. He has said that years of playing with Blakey influenced his decision. He recorded for the first time with Blakey and one year later he went on tour with Herbie Hancock. After signing a contract with Columbia, he recorded his first solo album. In 1982 he established a quintet with his brother Bradford, Kenny Kirkland, Charnett Moffett, and Jeff “Tain” Watts. When Branford and Kenny Kirkland left three years later to record and tour with Sting, he formed another quartet, this time with Marcus Roberts on piano, Robert Hurst on double bass, and Watts on drums. The band expanded to include Wessell Anderson, Wycliffe Gordon, Eric Reed, Herlin Riley, Reginald Veal, and Todd Williams.

He is the son of the late jazz musician Ellis Marsalis Jr. and grandson of Ellis Marsalis Sr. His son, Jasper Armstrong Marsalis, is a music producer known professionally as Slauson Malone. #africanhistory365 #africanexcellencence

[jupitcrs]

comic wrap up — august ‘24

this is something new that i’m doing!! i want to start engaging more with others who read comics and putting my thoughts out there.

i’ve been reading comics for a while but i didn’t really do a lot of research when i started so my taste is incredibly sporadic (sorry in advance)

— young justice volume 1: gemworld

i was dying for some conner kent content because i was hyperfixating so bad on him. he was very cutie in this, and of course, him as a farmer was also very cutie.

i was a big fan of the art in this comic, the colors were stunning and the characters looked great.

i enjoyed seeing stephanie brown, even if briefly! her and tim are so cute together. this was my first young justice comic, so i was introduced to some really great characters through this (cassie sandsmark!!!)

also, enjoy this timkon moment

☆ ☆ ☆ ☆

— batman: under the red hood

i watched the animated film for this like a year ago? jensen ackles voicing jason todd started my love for the character, what can i say.

the relationship between jason and bruce is so interesting to me. jason’s intense, raw emotion combined with bruce’s moral code oh i was eating up the angst like a four course meal.

i would highly recommend this one to the jason todd lovers out there!

☆ ☆ ☆ ☆ .5

— batman, volume 6: bride or burglar?

i jumped back into this run after not reading it for a while, but i needed a bruce fix.

i enjoyed the little snapshots of batcat moments, and selina stealing her own wedding dress is iconic. but, mostly, i loved the side characters that appeared in this. wonder woman looks hot as hell, and harley and ivy had a sweet relationship moment.

it’s nothing special, but it passed the time

☆ ☆ ☆ .5

— fantastic four volume 2: mr. and mrs. grimm

deadpool and wolverine launched me back into my johnny storm obsession eek

this was a cute overview of ben and alicia's relationship, and i liked seeing their origin in the comics. there were also some cute moments between sue and ben and also johnny and ben (i loved the bachelor party issue, johnny and ben's little heart-to heart was so precious).

the main thing i will say is that i am not a fan of reed richards. it may just be this version of him and i'm sure he's better in other comics, but i just don't like him in this. i'm happy to accept recommendations for adaptations in which he's less annoying, i do really want to like him.

☆ ☆ ☆ .5

— jessica jones: alias, volume 1

i was planned to really love this, i am a big fan of the jessica jones show, so i was hoping for something dark and gritty, but it wasn't as dark as i was expecting it to me (this is also probably just a me thing, not a geniune critique of the comic)

there were a lot of aspects of this that i loved. i'm now obsessed with the carol danvers and jessica jones friendship and i need more of it!! jessica is also a fun narrator, i just really love her character.

i definitely want to continue to this series at some point.

☆☆☆☆

— batman: wayne family adventures volume 3

i like to read these to pass the time when i have a minute or two to spare. these little one-shots always have me kicking my feet and giggling.

there were some really cute pairings that i loved in these. ivy and cassandra and stephanie were so such a cute trio. i also really loved the episode about tim and damian's relationship.

if you're a batfamily fan these are a must-read they are so precious!!

☆☆☆☆

bonus: manga!

— attack on titan: junior high volume 1

my feelings on this manga is the same as wayne family adventures. it's cute little moments of the attack on titan characters. it's nice to see them being happy for once.

i always giggle a bit whenever i read this too, especially the way it pokes fun at eren (he's my favorite character i'm allowed to giggle when they make fun of him!!)

also, eren and armin being each other's folk dance partners...absolutely love it

☆☆☆.5

[justforbooks]

The dapper and sagacious Ahmad Jamal may have looked more like a UN delegate than a jazz musician, but he was recognised as a truly great jazz artist by some of the music’s most notable pioneers. Jamal, who has died aged 92, was hailed in the 1940s and 50s by Art Tatum and Miles Davis, and more recently by McCoy Tyner and Keith Jarrett. In the 90s, when a jazz piano-trio renaissance was being led by gifted newcomers such as Brad Mehldau, Jason Moran, Geri Allen and Esbjörn Svensson, Jamal did not retire to the sidelines but played better than ever. The former Wynton Marsalis pianist and composer Eric Reed has said that Jamal is to the piano trio “what Thomas Edison was to electricity”.

He was a fascinating philosopher of contemporary music and a lifelong critic of the entertainment business, which he accused of fleecing African-American artists. Although he recognised the structural and technical distinctions of jazz and European classical music, he was adamant that there was no superiority of one over the other in what he called “the emotional dimensions”. “You have to know what the hell you’re doing,” he told me in 1996, “whether you’re playing the body of work from Europe or the body of work from Louis Armstrong.”

Jamal was born Frederick Jones in Pittsburgh, Pennsylvania, and regarded the eclectic musical culture of his birthplace as crucial to his development. His father was an open-hearth worker in the steel mills, but his uncle Lawrence played the piano and at only three years old Jamal was copying his playing by ear. He took lessons from seven, and would recall “studying Mozart along with Art Tatum”, unaware of white society’s widespread prejudice that European music was supposed to be superior to that of African-Americans. Significant influences in his early years were the music teacher Mary Cardwell Dawson (founder of the National Negro Opera Company), and his aunt Louise, who showered him with sheet music for the popular songs of the day. Pianists Tatum, Nat King Cole and Erroll Garner were among the young “Fritz” Jones’s principal jazz influences, and he also studied piano with James Miller at Westinghouse high school.

At 17 he toured with the former Westinghouse student George Hudson’s Count Basie-influenced orchestra, worked in a song-and-dance team, and wrote one of his most enduring themes, Ahmad’s Blues, at 18. Two years later he adopted Islam, and the name Ahmad Jamal. He also joined a group called the Four Strings, which became the Three Strings with the departure of its violinist, and caught the ear of the talent-spotting producer John Hammond, who signed the trio to Columbia’s Okeh label.

The public liked Jamal’s distinctive treatments of popular songs, and so did Davis. Developing his new quintet in 1955, Davis sent his rhythm section to study Jamal’s then drummer-less group. Davis liked Jamal’s pacing and use of space (the prevailing bebop jazz style was usually hyperactive), and he noticed that Jamal’s guitarist, Ray Crawford, often tapped the body of his instrument on the fourth beat. Davis told his drummer, Philly Joe Jones, to copy the effect with a fourth-beat rimshot, which became a characteristic sound of that ultra-hip Davis ensemble. Davis began to feature Jamal’s originals and arrangements in his own output, including New Rhumba (on his 1957 Miles Ahead collaboration with Gil Evans), and Billy Boy (on 1958’s classic Milestones session).

The gifted young Chicago bassist Israel Crosby joined the trio in 1955, and the following year the percussionist Vernel Fournier – who fulfilled Jamal’s requirements for a subtle hand-drummer as well as orthodox sticks-player – replaced Crawford. The group became the house band at the Pershing Hotel in Chicago, and one night in January 1958 they recorded more than 40 tracks there. One was Poinciana, which had been a hit tune from the 1952 movie Dreamboat. Jamal modernised its Latin groove, maintained a catchy hook throughout the improvisation, and found himself with a pop hit that stayed in the charts for two years.

Eight songs from that night, including Poinciana, made up the million-selling album At the Pershing: But Not for Me. Jamal’s newfound wealth led him to branch out into club ownership by opening the Alhambra in Chicago, though the venture barely lasted a year. Crosby and Fournier left for the pianist George Shearing’s group in 1962, and Jamal recorded the Latin-influenced Macanudo album the next year, with a new trio and a full orchestra. He also explored his cultural and ancestral roots in Africa, then recorded Heat Wave in 1966 – with a new group (Jamil Nasser on bass and Frank Gant on drums) and a more contemporary feel, reflected in the funkier approach to his old piano hero Garner’s Misty.

Jamal’s knack of keeping audiences mesmerised with unexpected modulations, time changes and catchy riffs, while never losing the undercurrent of the tune, was still unmistakably intact. His trademark device of insinuating a song – through toying with its bassline or its characteristic groove, but endlessly delaying the appearance of the tune – was adopted by many later jazz pianists, including such contemporary masters as Mehldau.

In 1970 Jamal recorded Johnny Mandel’s M*A*S*H theme for the movie’s soundtrack, and with the albums Jamaica (in 1974, which included Marvin Gaye’s Trouble Man as well as M*A*S*H) and Intervals (1979, which included a Steely Dan cover), showed he was not averse to toying with pop forms and even electric pianos. But he soon returned to the jazz of his roots. In 1982 he made the live album American Classical Music (it was the term he always preferred to the word “jazz”), sustained a steady output through the decade, and with Chicago Revisited (1992) sounded as assured and inventive as ever.

Now in his 60s, Jamal began to develop a higher profile in Europe. Sessions for the Dreyfus label in France led to The Essence (issued in three parts in the 90s), and found him in full flight with the saxophonists George Coleman and Stanley Turrentine and the trumpeter Donald Byrd. In 1995 his version of Music, Music, Music and the original take of Poinciana were featured in the Clint Eastwood film The Bridges of Madison County. He made what he regarded as one of his best recordings with Live in Paris 1996 (featuring Coleman again), and returned to the city to celebrate his 70th birthday in 2000 with Coleman; he was in inspired form on what would be released as the album A l’Olympia (2001).

With the exciting James Cammack on bass and Idris Muhammad on drums, Jamal’s composing blossomed. Striking originals dominated his 2003 album In Search of Momentum, and he even made a faintly stagey but soulful foray into singing, amid a raft of virtuoso keyboard displays, on After Fajr (2005).

Jamal’s alertness to an irresistible riff, like his keyboard contemporary Herbie Hancock’s, made him a favourite with hip-hop artists, and De La Soul’s Stakes Is High and Nas’s The World Is Yours were among many unmistakable testaments to that. Mosaic Records’ nine-CD set of his game-changing work in the late 1950s and early 60s was released in 2011, his group made a spectacular live appearance in London in 2014, and his last album releases came in 2022 with Emerald City Nights: Live at the Penthouse, parts one and two, featuring live recordings made in Seattle during the 60s. A third in the series is due for release this year.

Jamal was married and divorced three times – to Virginia Wilkins, Sharifah Frazier and Laura Hess-Hay. He is survived by a daughter, Sumayah, from his second marriage, and two grandchildren.

🔔 Ahmad Jamal (Frederick Russell Jones), musician, born 2 July 1930; died 16 April 2023

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

[hungamagames]

The first look at The Boys season 4 focuses on Butcher and Homelander, as well as the upcoming election day.

The Amazon MGM Studios and Sony Pictures Television series will launch in 2024. Following the spectacular season finale of Gen V, where fans got to see Butcher and Homelander's surprise cameos, Prime Video has unveiled first-look teaser art of Billy Butcher, played by Karl Urban, and Homelander, played by Antony Starr, from the upcoming Season Four of The Boys. The global smash series, which has received Emmy nominations, will return in 2024.

The Boys is a lighthearted and satirical look at what happens when superheroes, who are as popular as celebrities, as powerful as politicians, and as revered as gods, abuse their superpowers rather of using them for good. The Boys, a squad of vigilantes, continue their heroic quest to expose the truth about The Seven and Vought—the multibillion-dollar business that manages the superheroes and conceals their dirty secrets. It appears to be powerless in the face of the all-powerful. The Boys is based on the New York Times best-selling comic by Garth Ennis and Darick Robertson, who also serve as executive producers, and was created by Eric Kripke, who also serves as executive producer and showrunner. Executive producers include Seth Rogen, Evan Goldberg, James Weaver, Neal H. Moritz, Pavun Shetty, Phil Sgriccia, Craig Rosenberg, Ken F. Levin, Jason Netter, Paul Grellong, David Reed, Meredith Glynn, and Michaela Starr. Amazon MGM Studios and Sony Pictures Television are producing The Boys, along with Kripke Enterprises, Original Film, and Point Grey Pictures.

[teddypmedley]

Tv shows I like with absolutely bangin soundtracks

Gilmore Girls - Carole King, Grant-Lee Philips (troubadour), The Bangles, The Shins, Sam Philips, Bowie, Blondie, Nancy Sinatra, The Smiths, Talking Heads. Everything from the oldies to current stuff, mostly various flavors of rock. Lots of new wave and post punk vibes. It’s got everything from greatest hits to deep cuts. The whole show is a love letter to (mostly American, mostly white) art/media in general. While I acknowledge plenty of the references do not hold up, I hold that the soundtrack has zero misses in terms of well-chosen bangers.

Sex Education - Ezra Furman does a lot of it, and then they throw in loads of rock and pop classics and current stuff. Violent Femmes, Fleetwood Mac, T.Rex, The Velvet Underground, Brenton Wood, Queen. It’s honestly on par with Gilmore Girls, Furman takes the place of Carole King/Grant-Lee Philips and then everything else is an eclectic and fun mix. It’s more diverse than the GG soundtrack and also has zero misses.

Grace & Frankie - the intro theme is Stealers Wheel but the rest of it is a mix of oldies and current stuff. Eclectic as hell, I adore it. Everything from Gloria Gaynor to Bahamas. A bit of it is covers but they’re good covers. Then you’ve got Any Winehouse, The Milk Carton Kids, Kenny Loggins, Dionne Warwick, Alabama Shakes, 7horse, Little Richard, Adele. I think I caught a bit of punk in Frankie’s car in one scene, it might’ve been the Clash but I forget.

Madam Secretary - ok hear me out!!!! You’ve got Andra Day, Adele, Bowie, Peter Frampton, Joni Mitchell, a song from a Sondheim musical, several songs performed by the cast with their vocals and piano (inc. Can’t Take My Eyes Off You, a parody of a Billy Joel song, a few Christmas songs…). And then the song of all time, Cemalım (Erkin Koray) which slaps.

Our Flag Means Death - every song in the soundtrack is a banger I just personally always have different associations with them already because they’re always quite important to me before i see the show. Which is why it’s so low on the list for me personally. Also I have spent the last year and a half overthinking every song I hear through the brainrot lens and I associate like a whole other group of songs with that show now instead of the soundtrack. But the actual canon soundtrack is good, I love Lou Reed, Fleetwood Mac, etc.

How to Get Away With Murder - man I didn’t even finish watching this show and some of the songs stuck with me. Mostly IAMX.

What We Do In The Shadows - the fucking intro Norma Tenga song alone changed my life. It goes so goddamn hard. And then you add King Luan, Tol-Puddle Martyrs, Matt Berry’s originals, MUSE!!!!, Echo & The Bunnymen, Haley Heynderickx (who is SURELY also in Sex Ed), THE CRAMPS (perfect choice, I was furious until they finally put ‘em in), Siouxsie and Bauhaus (both almost certainly also in Gilmore Girls, but I could be wrong)… man I could continue from just season 5 alone they really don’t miss.

Community - their soundtrack includes The Police, Florence + The Machine, The Fratellis, The Cranberries, Lord Huron… and of course loads of cast originals.

Criminal Minds - pixies, NIN, the Kinks, Dean Martin, Ella Fitzgerald, Jeff Buckley… all of this was also on Gilmore Girls. Billy Joel, Sara Bareilles, Jason Mraz, Deep Purple, Korn, Boston, Johnny Cash, AC/DC, Bob Dylan, THE BLACK KEYS!!!!, REM, Leonard Cohen, Cage the Elephant… all bangers. Honestly that’s part of what kept me watching for so long.

I’d just like to acknowledge Twin Peaks, The Sopranos, Miss Fisher’s Murder Mysteries, Father Brown, and Heartstopper, Derry Girls, the Good Place, and Parks and Rec, which all also have soundtracks.

[skylarkblue]

WIP Game

I was tagged by @aimmyarrowshigh!

Rules: Post the names of all the files in your wip folder regardless of how non-descriptive or ridiculous. Let people send you an ask with the title that most intrigues them, and then post a little snippet of it or tell them something about it.

Listen, before we get into this, I am going to remind you all that I am getting a lot better about finishing what I start. That being said:

a party girl’s guide to the mystic arts

ad astra per aspera

all i want for christmas is family therapy

aminadurga

arkytior

assorted drabbles

bat drabbles

Black Mask’s Bad Day: A Story Of Revenge

california

cass vs poison ivy

ear piercing fic

five times bobby canero-reed comes out and one time he doesn’t have to

harley kidnaps bruce and gives him therapy instead

jason car fic

jaysteph dress fic

kate yelena five times

Lay All Your Love On Me

mittens

olympics fic

parent teacher interviews

poe and finn are in love

pokenatural

rysposito baby

say it ain’t so, i will not go

something to be admired from a distance

st finans

steph chronic pain

stephcass thing

sweet girl

the bat family do their best

the girl who would be king

the healing power of a cup of tea

the universe must have divined this

thirteenjenny

treat yo self

Vellichor

I know in my heart there is also an unfinished fic somewhere on either the hard drive or my other laptop called “clemma fourth”, but it’s not in this folder.

Ask away!

I tag @altheterrible @cre8iveovadose @deansmultitudes @nokomiss

[montesfamilyblog]

Back to Life - a New Album from Heritage Singers

Standard Edition

Track list:

TBA

TBA

TBA

TBA

TBA

TBA

TBA

TBA

TBA

TBA

TBA

TBA

TBA

TBA

TBA

TBA

TBA

TBA

TBA

TBA

Singers:    •    Dave Bell    •    Tim Calhoun    •    Marcelo Constanzo    •    Melody Davis    •    Tim Davis    •    Cindy Haffner •    Becki Trueblood Craig    •    Shani Judd Diehl    •    Val Mace Mapa    •    Scott Reed    •    Summer Joy Davis    •    Miguel Verazas

Band:   •    Art Mapa – guitars   •    Austin Mapa – drums   •    Nino Ocampo – bass   •    Joel Umali – keyboards

Technical:   •    Tim Davis – vocal arranger and producer   •    Art Mapa – music arranger, producer, programmer

Deluxe Edition

Bonus Track list:   1.    Perfect / Rest (Ed Sheeran / Jaci Velazquez covers, ft. Pentatonix & Tori Kelly)   2.    Second Chances (Anointed cover, from “Jonah: a VeggieTales movie”, ft. Jennifer Hudson)   3.    Joyful Joyful (Henry van Dyke cover, ft. Lauryn Hill & Tori Kelly)   4.    Praise (Brandon Lake, Chris Brown & Chandler Moore cover, ft. Jason Mraz)   5.    I Wanna Praise You (also "Quiero Adorarte" in Spanish bilingual, Impact SDA Multicultural Church's “United In Christ” music group cover, ft. Rosalie Chiang, Isabela Merced, Halle Bailey, Sabrina Carpenter)   6.    The Blessing (Kari Jobe & Cody Carnes cover, ft. LADY GAGA, BARBRA STREISAND, JOSH GROBAN, ARIANA GRANDE, CELINE DION, JASON DERULO, IDINA MENZEL, KELLY CLARKSON, TAYLOR SWIFT, PENTATONIX, JANE LYNCH, TORI KELLY, JENNIFER LOPEZ, STEPHANIE BEATRIZ, ANNA KENDRICK, NSYNC, CECE WINANS, KEKE PALMER, SABRINA CARPENTER, ROSALIE CHIANG, ISABELA MERCED, HALLE BAILEY, JASON MRAZ, JOSH DELA CRUZ, ALLY BROOKE, LAUREN DAIGLE, OLIVIA RODRIGO, LAURYN HILL, BRUNO MARS, BEYONCÉ, ANDREA BOCELLI, MILEY CYRUS, PATTI LABELLE, USHER, JENNIFER HUDSON, JUSTIN BIEBER, SELENA GOMEZ, LECRAE, TOBYMAC, SHAKIRA, KATY PERRY & MEGHAN TRAINOR)   7.    Como dijiste (also "Come Like You Promised" in English, Christine D'Clario cover, ft. Shakira)   8.    Our God (Chris Tomlin cover, ft. CeCe Winans, Keke Palmer, Tori Kelly, Jennifer Hudson & Pentatonix)   9.    What More Can I Give (also "Todo Para Ti" in Spanish, Michael Jackson and the All Stars cover, ft. LADY GAGA, BARBRA STREISAND, JOSH GROBAN, ARIANA GRANDE, CELINE DION, JASON DERULO, IDINA MENZEL, KELLY CLARKSON, TAYLOR SWIFT, PENTATONIX, JANE LYNCH, TORI KELLY, JENNIFER LOPEZ, STEPHANIE BEATRIZ, ANNA KENDRICK, NSYNC, CECE WINANS, KEKE PALMER, SABRINA CARPENTER, ROSALIE CHIANG, ISABELA MERCED, HALLE BAILEY, JASON MRAZ, JOSH DELA CRUZ, ALLY BROOKE, LAUREN DAIGLE, OLIVIA RODRIGO, LAURYN HILL, BRUNO MARS, MICHAEL JACKSON, BEYONCÉ, ANDREA BOCELLI, MILEY CYRUS, PATTI LABELLE, USHER, JENNIFER HUDSON, JUSTIN BIEBER, SELENA GOMEZ, LECRAE, TOBYMAC, SHAKIRA, KATY PERRY & MEGHAN TRAINOR)   10.    We Are the World (USA for Africa cover, ft. ADY GAGA, BARBRA STREISAND, JOSH GROBAN, ARIANA GRANDE, CELINE DION, JASON DERULO, IDINA MENZEL, KELLY CLARKSON, TAYLOR SWIFT, PENTATONIX, JANE LYNCH, TORI KELLY, JENNIFER LOPEZ, STEPHANIE BEATRIZ, ANNA KENDRICK, NSYNC, CECE WINANS, KEKE PALMER, SABRINA CARPENTER, ROSALIE CHIANG, ISABELA MERCED, HALLE BAILEY, JASON MRAZ, JOSH DELA CRUZ, ALLY BROOKE, LAURYN HILL, OLIVIA RODRIGO, LAUREN DAIGLE, BRUNO MARS, MICHAEL JACKSON, BEYONCÉ, STEVIE WONDER, LIONEL RICHIE, DIANA ROSS, ANDREA BOCELLI, MILEY CYRUS, PATTI LABELLE, USHER, JENNIFER HUDSON, JUSTIN BIEBER, SELENA GOMEZ, LECRAE, TOBYMAC, SHAKIRA, KATY PERRY & MEGHAN TRAINOR)

Featured artists:

   LADY GAGA

   BARBRA STREISAND

   JOSH GROBAN

   ARIANA GRANDE

   CELINE DION

   JASON DERULO

   IDINA MENZEL

   KELLY CLARKSON

   TAYLOR SWIFT

   PENTATONIX (Scott Hoying, Mitch Grassi, Kirstin Maldonado, Kevin Olusola, Matt Salee)

   JANE LYNCH

   TORI KELLY

   JENNIFER LOPEZ

   STEPHANIE BEATRIZ

   ANNA KENDRICK

   NSYNC (Justin Timberlake, Joey Fatone, Lance Bass, Chris Kirkpatrick, and JC Chasez)

   CECE WINANS

   KEKE PALMER

   LA DIVA QUARTET (Rosalie Chiang, Isabela Merced, Halle Bailey, Sabrina Carpenter)

   LAURYN HILL

   JASON MRAZ

   LAUREN DAIGLE

   JOSH DELA CRUZ

   ALLY BROOKE

   BRUNO MARS

   LAURYN HILL

   ANDREA BOCELLI

   MILEY CYRUS

   PATTI LABELLE

   BEYONCÉ

   JENNIFER HUDSON

   JUSTIN BIEBER

   SELENA GOMEZ

   LECRAE

   TOBYMAC

   SHAKIRA

   KATY PERRY

   MEGHAN TRAINOR

   OLIVIA RODRIGO

   USHER

Visit the Heritage singers' website at:

[ulkaralakbarova]

Thirty years after serving together in the Vietnam War, Larry, Sal and Richard, reunite for a different type of mission: to bury Doc’s son, a young Marine killed in Iraq. Forgoing the burial, the trio take the casket on a bittersweet trip up the coast to New Hampshire – along the way, reminiscing and coming to terms with the shared memories of a war that continues to shape their lives. Credits: TheMovieDb. Film Cast: Larry ‘Doc’ Shepherd: Steve Carell Sal Nealon: Bryan Cranston Reverend Richard Mueller: Laurence Fishburne Charlie Washington: J. Quinton Johnson Ruth Mueller: Deanna Reed-Foster Lieutenant Colonel Wilits: Yul Vazquez John Redman: Graham Wolfe O’Toole: Jeff Monahan DAFB Guard: Dontez James Mother (Irene): Tammy Tsai Angry Father: Richard Barlow Grieving Mother: Cathy O’Dell Rental Truck Employee: Jane Mowder Anorak: Richard Robichaux Raincoat: Jerry Lee Tucker Hyped-up Employee: Marc Moore Phone Shop Clerk: Kate Easton Mrs. Hightower: Cicely Tyson Front Desk Motel Employee: Sarah Silk Leland: Ted Watts Jr. Jamie: Lee Harrington Larry Jr. (voice): Samuel Davis Church Member (uncredited): Brian “Wolfman Black” Bowman Bar Patron (uncredited): Kelli Culbertson Train Passenger (uncredited): Chris Dettone Bar Patron (uncredited): Chris Drexel Bar Patron Guy in Booth (uncredited): Eric Frank Airmen / Morales (uncredited): Jason Gerrard Marine (uncredited): Adam Hicks J Tinsley Amtrak Baggage Handler (uncredited): John W. Iwanonkiw Cellphone Store Patron (uncredited): Daniel James Train Passenger Toting Gifts (uncredited): William Kania Train Passenger (uncredited): Trudi Kennedy Bar Patron (uncredited): Daniel Lamont Bar Patron (uncredited): James Lloyd Bar Patron (uncredited): Tiffany Sander McKenzie Angry Train Passenger (uncredited): Kelly L. Moran Train Passenger (uncredited): Christopher Nardizzi Bus Passenger (uncredited): Phil Nardozzi Mourner (uncredited): Rebecca Phipps Train Passenger (uncredited): Dwayne Pintoff Church Member (uncredited): Sofia Plass Driver (uncredited): Eric Rasmussen Senior Airman Morris (uncredited): Mario Ruiz Amtrak Passenger (uncredited): Brian E. Stead Train Passenger (uncredited): Gary Lee Vincent Train Passenger (uncredited): Jeremy Waltman Funeral Attendee (uncredited): Zoe Xandra Film Crew: Producer: Richard Linklater Editor: Sandra Adair Producer: John Sloss Producer: Ginger Sledge Makeup Artist: Sharyn Cordice Executive Producer: Harry Gittes Music: Graham Reynolds Director of Photography: Shane F. Kelly Production Design: Bruce Curtis Costume Design: Kari Perkins Set Decoration: Beauchamp Fontaine Novel: Darryl Ponicsan Executive Producer: Thomas Lee Wright Sound Re-Recording Mixer: Tom Hammond Sound Designer: Justin Hennard Art Direction: Gregory A. Weimerskirch Visual Effects Producer: Brice Liesveld Visual Effects Supervisor: James Pastorius Makeup Department Head: Darylin Nagy Executive Producer: Karen Ruth Getchell Makeup Artist: Patty Bell Makeup Artist: Christopher Patrick Movie Reviews: tmdb15435519: One of the funniest films I have watched in some time. Great writing and acting. Fishburne, Carell, and Cranston make up an unlikely trio that embarks on an epic journey of forgiveness. At once critical and respectful of the US, a reminder that what makes a country is those that choose to live and die for it.

[theloniousbach]

LIVESTREAM: ETHAN IVERSON with Jonathan Finlayson, Sam Newsome, Jason Grachik, Peter Washington, and Kush Abadey, SMOKE JAZZ CLUB, 9 pm set

I did last see ETHAN IVERSON on a sit in with Rodney Green’s trio with saxophonist Tim Green and there was an album by The Bad Plus with Joshua Redman, but he is a trio pianist. Still he wrote on his Transitional Technology substack about this gig and the wonder of working with horns particularly in relation to the second tune, Duke Ellington’s obscure The Mystery Song, for which he posted the chart he was working on and an over my head analysis of the song’s quirks.

Since I’ve recently written about my stubborn reluctance about big bands, I will concede that the sextet is a fine ensemble that allows some arranging nuance while still being lithe. Art Blakey’s Jazz Messengers were often in this format and Herbie Hancock’s Mwandishi band stood out for combining electronics and fusion riffs with a magical horn section. Iverson has discovered these possibilities and made good use of them. He should given his interest in modern European tradition compositions.

Above all, though, it was just a fine jazz set with tips of the hat to Count Basie with the opening Moten’s Swing, the Ellington, Wayne Shorter’s Infant Eyes as a showcase for trumpeter Jonathan Finlayson, Dizzy’s Con Alma, and the Monk closer Evidence plus a couple of his own tunes that he wanted to orchestrate. One was Showdown prefaced by an out of context peroration on the role of enemies for focus and as mirrors. It had significant compositional elements and, whether improvisation or not, the horns interwove; there were not solos as such. On this tune; there was fine work by all the horns and by Iverson. Jason Garchick’s trombone was welcome for the bottom it provided and he was fluid, though probably the least adventurous horn. Sam Newsome was the reed, a soprano sax, which he played without the instrument’s cliches taking himself and the music seriously. Finlayson was articulate and full. Iverson chose well in selecting these disciplined players.

Kush Abadey too brought the grace and subtlety that drives Melissa Aldana’s band. Iverson called Peter Washington “legendary” and that captures it as he had the fluidity, seriousness, articulation, fullness, discipline, grace, and subtlety of all his bandmates and his own power and drive. They all allowed Iverson to try things that he might not do in a trio. There was some Ellingtonian clusters in his own Showdown in a nice outro with Newsome as well as, as expected, in The Mystery Song.

That Iverson in his writing is such an astute student of the music, it makes his playing a little more understandable. There’s lots going on in his head, ears, and hands. This was a fascinating expansion of his musical vocabulary for himself and for us fans.