#m.s. cole

[deadbutcaffeinated]

Update today!

[misterradio]

shoutout to this comic panel

[iluvmattsbeard]

Wet Dreamz (m.s)

master list

matt sturniolo x reader

warnings: smut and swearing

preview: matt and you were partners for a project. he unexpectedly started having sinful dreams about you, suddenly craving you ever since. one thing nobody knew; he was a virgin.

“y/n, you will be partnered with Matt.” the teacher says trying to grab your attention. “y/n? are you listening?” you snap out of your thoughts and look at him. “huh?” you ask. “you’re partnered with Matt for this project.” he replies with an unamused look. you look around before you look back at him. “who’s that?” you ask.

he lets out a sigh before speaking, “Matt raise your hand.” you look around again as you catch the eyes of a brown haired boy. you weren’t mad about it. he looked decent.

you get up and walk to where he was sitting. “next time y/n, i expect you to be paying attention. this project will effect your grade drastically if you do poorly.” you hear the teacher say looking at you. all you do is nod. you were barely passing the class.

Matt’s POV

i got paired with y/n. she didn’t even know who i was. i knew of her because she would get in trouble constantly due to her lack of focus. as she came to sit next to me, we clicked right away. we both dreaded school, but who doesn’t? as much as i didn’t like school, i still paid attention, unlike her, so i had to explain the whole point of the project to her.

we exchanged numbers after class so that we could talk about when we could meet up to work on it. we only had two weeks to complete it. i knew i had to stand on top of it because i know she won’t.

a few days pass, me and y/n still working on the project together, with us having to meet at lunch. i got to know a little bit more about her. she was pretty cool to talk to. we even started texting without talking about the project itself. so when this is done, it’d be cool to hang with her.

meeting during lunch really wasn’t a good idea. there was too much distractions. so i took the opportunity to invite her over to my place after school. she agreed and i ended up driving her with me once the final bell rang.

End of Matt’s POV

you and Matt were in his room as you sat on the floor. you were reading over some information from the website the teacher recommended and you were feeling overwhelmed. “all of this is hurting my head.” you say laying back on the floor. Matt lets out a small laugh as he responds, “me too. i don’t get how this will be beneficial in the future.” you shot up looking at him, “exactly! school is so bullshit to me. they don’t even teach real world shit.” you say sighing. “i agree. but i didn’t put up with almost 12 years of school just to fail.” he says. you groan, “right. it would be wasteful. i’m pretty sure you don’t have anything to worry about. my grades are literally on the edge of failing.” “well, i could help you.” he suggests. all you do is let out a laugh, “trust me, teaching me is hard.”

“i’ve been teaching you these past days. trust me i know.” Matt responds as you both let out a laugh. “it’s hot in here.” you say taking off your hoodie, pulling down your shirt as it lifted a bit. Matt looks at you as he catches a glimpse of your cleavage. he looks away quickly, clearing his throat. where has all of that been hiding? he wonders. “well let’s continue working on this.” he says trying to move past it. all you do is nod as you lay on your stomach continuously reading.

when you weren’t paying attention, Matt would stare at you slightly. he would stare at the way your tits were pressed against the floor, thinking how perfect they were.

after a few hours, Matt takes you home. “thank you for the ride.” you say smiling, slinging your backpack on one shoulder. “yeah of course” he replies. you open the door stepping out, but as you get up, your hoodie raises slightly revealing your thong peeking out above your jeans slightly. Matt catches a glimpse turning red. you shut the door and walk away. he sits there in his car for a bit as he gulps before driving away.

Matt arrives home tidying his room before going to bed. he picks up one of his notebooks as he sees a sticky note on it reading, ‘thank you for dealing with me as a partner - Y/N’.

he smiles at the note as he puts it down on his bed side table, getting into bed. as he lays there, he couldn’t help but think about what his eyes caught from you earlier. your cleavage and your thong. he couldn’t stop thinking about it. “Matt stop that.” he whispers to himself before shutting his eyes going to sleep.

Matt’s dream POV

you and Matt were sitting on your bed working on the project. Matt wasn’t paying attention to you as much and you were bothered by it. you took matters into your hands and you closed the book he was studying. you got on top of him, sitting on his lap as he gets caught off guard. you pull him into a passionate kiss and next thing you knew, you were under the covers tangled together naked.

End of Matt’s dream

Matt’s POV

i woke up sitting up quickly with my breathing uneven. what was that?! my heart was racing. did i just have a wet dream?!

i pulled up the covers to see a wet stain on top of the crotch of my sweats. what the fuck. this has never happened before. with y/n?! why? because of what i saw yesterday? i never even had sex before. how could i have easily dreamed of it? i gulp before getting up. i head to the bathroom to clean myself. i really can’t believe that just happened. now all i could do is replay it in my head. i groan at the thought.

after i got ready, i headed straight to school. on the drive there, i still couldn’t stop replaying everything that happened in my dream. even if i tried to distract myself, it wouldn’t go away. i needed it bad.

End of Matt’s POV

you and Matt were in class as you tried to tell him a story. all he was doing was nodding and staying quiet. “Matt? are you okay?” you question. he shakes his head before speaking, “yeah- yeah i’m good. sorry.” you give him a questionable look as you reply, “well you weren’t really paying attention as i spoke.” you laugh a bit. “oh i was.” he says with a nervous smile. “yeah okay.” you say turning your body straight, pretending to pay attention to the teacher.

Matt does the same as he groans quietly to himself. he didn’t know if he should tell you or not about what he imagined. he decided to shrug it off.

it was the end of the day again as you both end up at Matt’s house. you were standing up as you rehearsed your lines on what to say for the presentation. Matt just sat there looking lost. “Matt seriously what is wrong? i can’t do this without you, you know?” you say frustrated. “i’m sorry. i’ve just been having a hard time.” he responds scratching the back of his neck. “well we really need to focus on this. if you need to get something off your chest, do it now so we can continue.” you say. Matt hesitates before speaking, “okay well i sort of had an odd dream last night.” you look at him confused. “okay?” you reply. “it wasn’t a normal dream.” he continues.

“what? were you like having sex or something?” you ask jokingly with a laugh. but he just sits there staying silent with a blank face. “oh. oh! you did!” you exclaim. “who was it about?” asking with curiosity. “some random girl from class.” he says lying through his teeth. “so what’s the big deal?” you ask. “this your first time having a wet dream?” all he does is nod. you widen your eyes, “really? that’s new. i would’ve thought you were like every other guy constantly thinking about sex.” letting out a laugh. “why is it bothering you so much?”

“because, it’s weird. especially with this specific girl.” he responds. you raise an eyebrow before asking a question, “have you ever had sex before?” the question takes Matt by surprise as he responds quickly, “of course i have!” he lies. you let out a laugh. “okay! sorry! well then you shouldn’t be so weirded out. now come on. lets focus.” replying to him.

it still was eating him in the inside.

·:*¨༺ ♱✮♱ ༻¨*:·

after the weeks flew by, you and Matt got an ‘A’ for your presentation. you decided to celebrate by treating Matt with fast food. you both sat on his bed eating. “thank you for being such a good partner.” you say with a smile taking a bite from your burger. “no, thank you.” he replies. you couldn’t help but notice he still was acting strange these past days. “Matt don’t tell me you’re still on about the sex dream.” you ask wiping your hands with a napkin. “you should just shoot your shot already since it’s eating you up. maybe she’ll feel the same.” he shakes his head, “i wouldn’t know how to approach her. plus, that’s weird. i had a sex dream about her and what? i just walk up to her and tell her that? that's creepy.” he replies. you laugh at his response. “well not quite but, i don’t like how you’re acting so off.” you say taking another bite.

Matt sighs as he shakes his head, “just forget it y/n. i’m fine.” you stop in your place as you shake your head. “okay that’s it.” placing the unfinished food on his side table. you wipe your mouth with a napkin as you look at him. it was silent for a bit until you spoke up, “do you want to kiss me?” you blurt out. Matt’s eyes widen. “what?” he asks.

Matt’s POV

i hesitated for a bit. “to help distract you.” she says with a small laugh. "uh- uh yeah sure." I say hesitantly. i mean i couldn’t pass up on the opportunity. i scoot closer to her. i’ve only ever kissed one other person and i don’t think it was good so maybe this will be different. i can hear my heart pounding out of my chest. i put my hand on her cheek as i lean in and kiss her softly. she scoots closer without breaking the kiss, putting her hands on my shoulders.

to her she might think this is just a distraction but, little did she know my dream was about her. we continue to kiss as she swings her leg around to straddle me. i put my hands on her waist as the kisses get heavier. i could feel myself get hard beneath her and i could tell she notices. i pull away from embarrassment, “i’m so sorry.” i say. all she does is smile and respond with, “it’s okay.” pulling me into another kiss. i could feel her start to grind against my clothed dick. i let out a small groan from the feeling. i pull away as i lay her down gently. “d-do you want to do this?” i say nervously but, i couldn’t expose the fact this would be my first. she nods as she kisses me again. she takes off my shirt as i do the same for her. i unbutton my jeans and pull them off leaving me in my boxers as she does the same with her pants leaving her in her under garments. i gulp looking at her body. come on Matt play it cool. we kiss again as she rubs my dick through my boxers. i really hope i’m big enough.

i reach into my drawer as i pull out a condom. i bought a box just in case i were to lose it. which i am now, so it was good preparation. i open rip off the deal as i look at her. “uh.. i haven’t done this in a while so.. i might not be as good.” i warn her lying. i’ve never done this at all. i had to prepare her just in case i cum quick. “it’ll be good” she reassures me. she takes the condom from my hand as i take off my boxers slowly. i see her eyes widen a bit as she slowly wraps the condom on my dick. i lay her back down, sliding her panties to the side, and align myself at her entrance. she gives me a smile as i look down at what i’m about to do. i push myself into her slowly as i watch her relax.

i hear her moan softly as i continue to push my full length into her. “shit.” i groan quietly. i watch her face as i start to thrust slowly. she shut her eyes as she bites her lip softly. i can’t believe this is happening. my dream finally coming true. i pick up the pace as i put both my hands on her sides. “yes just like that.” she moans out putting her hands on my chest. i kiss her as i continue to go deeper into her keeping my fast tempo.

“fuck Matt you feel so good.” she moans. every time she spoke i felt my dick twitch. her moans were heavenly. “you’re so perfect.” i whisper to her. i lay myself on her slightly as she scratches my back. her scratches were hard as i feel the slight sting.

all my worries disappear once i find out i’m actually doing a good job. she made me feel a bit more confident. as soon as i was about to cum i pull out because i wanted to keep pleasing her. i pull her by her thighs as i put my head in between her legs. i start licking at her folds softly as she lets out a breath. i then start sliding my tongue up and down, swirling my tongue on her clit. i felt her grip my hair lightly. “oh Matt.” she moans. “you taste so good.” i say continuing to eat her out. “Matt i’m going to cum.” she says as i start to suck on her clit. she throws her head back as she arches her back, shoving her pussy more into my face. “yes Matt just like that!” she screams out as she cums all over my mouth.

i get back up as i lick my lips, realigning myself as i thrust back into her sensitive core. she gasps as she grips onto my arms. i thrust at a fast pace before cumming inside her into the condom. “oh fuck.” i moan out.

we were both catching our breath as i pull out of her. i take off the condom and throw it in the trash. "you must be a pro or something. that was incredible.” she says sitting up putting her clothes on.

good to know. little did she know, i ain't ever did this before.

a/n: not my best work lol. likes and reblogs are highly appreciated! thank you :)

[aesthetixhoe]

posts while dating matt sturniolo — M.S.

warnings: cursing, obvi, like one sex joke

pronouns: she/her

authors note: i know they live in california so there's no snow, hush, idc

liked by Nicolassturniolo, Tarayummy, Matthew.Sturniolo, and 702,403 others

[y/n].[l/n] jinkies! 🧡💚

Matthew.Sturniolo I can help you find your glasses

| Nicolassturniolo OR FIND THE DOOR! GROSS

Tarayummy ur sweeter than candy 😋

| [y/n].[l/n] you would know ;)

Samgolbach you should do a ghost hunt with us then, Velma

| [y/n].[l/n] I would make the ghost talk immediately, I'm too good at the job

Liked by [y/n].[l/n], Nathandoe8, Christophersturniolo, and 494,425 others

Matthew.Sturniolo late night adventures

[y/n].[l/n] 🩷🫶

Nicolassturniolo why's she sittin in your lap 🤨

| Nathandoe8 she took my spot

| Matthew.Sturniolo I have a leg for you, and a leg for her

Liked by Samgolbach, Tarayummy, Matthew.Sturniolo and 739,449 others

[y/n].[l/n] I drag him everywhere

Tarayummy walk him like a dog sis

| [y/n].[l/n] I always do

Nicolassturniolo get him a leash atp

| [y/n].[l/n] only if he's into that

| Christophersturniolo WOAH

| Matthew.Sturniolo I AM NOT FOR THE RECORD

| Nathandoe8 thats not what you told me...

Liked by Christophersturniolo, [y/n].[l/n], Nathandoe8, and 503,130 others

Matthew.Sturniolo ❤️‍🔥

[y/n].[l/n] twinning 😋

Nicolassturniolo 🧌

| [y/n].[l/n] :(

| Nicolassturniolo [y/n].[l/n], not you, matt

| [y/n].[l/n] oh ok! :)

Christophersturniolo lame ass caption 🥱

| Matthew.Sturniolo lame ass face

| Christophersturniolo WE HAVE THE SAME FACE

Liked by Christophersturniolo, Nicolassturniolo, Matthew.Sturniolo and 831,584 others

[y/n].[l/n] I love my, love my, love my little calendar girl

Matthew.Sturniolo calendar BOY

| Christophersturniolo calendar baby more like

| [y/n].[l/n] I don't hate the sound of that

Liked byTarayummy, Matthew.Sturniolo, Nicolassturniolo, and 493,741 others

[y/n].[l/n] always holding my hand

Tarayummy cutie patooties

Matthew.Sturniolo YOU hold MY hand

| [y/n].[l/n] THEYRE WARM CAN YOU BLAME ME??

| Matthew.Sturniolo GET WARMER HANDS???

Nicolassturniolo cute I guess 🙄

Liked by Nicolassturniolo, Nathandoe8, [y/n.[l/n] and 593,223 others

Matthew.Sturniolo she forced me

[y/n].[l/n] LIAR! you loved it.

| Matthew.Sturniolo Nuh uhhh

Nathandoe8 hot stuff

Tarayummy shes mine >:(

| [y/n].[l/n] I have enough love for both of you

Liked by Tarayummy, Christophersturniolo, Matthew.Sturniolo, and 724,948 others

[y/n].[l/n] life lately >>

Tarayummy hey that's me!!

| [y/n].[l/n] you know it babe 😘 best party ever

Christophersturniolo she put that sticker on me

Nicolassturniolo the shit you guys get up to in your bedroom is insane. Even the pg stuff

| [y/n].[l/n] I'm an acrobat, what can I say 😊

| Matthew.Sturniolo and I squat

| Christophersturniolo you sure?

Liked by [y/n].[l/n], Nicolassturniolo, Nathandoe8, and 450,103 others

Matthew.Sturniolo damn it feel good to have you

[y/n].[l/n] ur my person

| Matthew.Sturniolo ur mine

Nathandoe8 king

Christophersturniolo j cole? 😲

Tarayummy shes MINE actually

[goalhofer]

2024 1st MLB playoff games

October 1, 2024

Justyn-Henry Malloy (Detroit) at Houston

Kerry Carpenter (Detroit) at Houston

Riley Greene (Detroit) at Houston

Andy Ibáñez (Detroit) at Houston

Colt Keith (Detroit) at Houston

Zach McKinstry (Detroit) at Houston

Wenceel Pérez (Detroit) at Houston

Spencer Torkelson (Detroit) at Houston

Parker Meadows (Detroit) at Houston

Jake Rogers (Detroit) at Houston

Trey Sweeney (Detroit) at Houston

Tarik Skubal (Detroit) at Houston

Will Vest (Detroit) at Houston

Weston Holton (Detroit) at Houston

Jason Foley (Detroit) at Houston

Beau Brieske (Detroit) at Houston

Zach Dezenzo (Houston) vs. Detroit

Bryan King (Houston) vs. Detroit

Michael Massey (Kansas City) at Baltimore

Bobby Witt; Jr. (Kansas City) at Baltimore

Vinnie Pasquantino (Kansas City) at Baltimore

M.S. Melendez; Jr. (Kansas City) at Baltimore

Kyle Isbel (Kansas City) at Baltimore

Maikel García (Kansas City) at Baltimore

Cole Ragans (Kansas City) at Baltimore

Sam Long (Kansas City) at Baltimore

Kris Bubic (Kansas City) at Baltimore

Lucas Erceg (Kansas City) at Baltimore

Colton Cowser (Baltimore) vs. Kansas City

Keegan Akin (Baltimore) vs. Kansas City

Heston Kjerstad (Baltimore) vs. Kansas City

Mark Vientos (New York Mets) at Milwaukee

Luisangel Acuña (New York Mets) at Milwaukee

José Buttó (New York Mets) at Milwaukee

Jackson Chourio (Milwaukee) vs. New York Mets

Garrett Mitchell (Milwaukee) vs. New York Mets

Jake Bauers (Milwaukee) vs. New York Mets

Joey Ortiz (Milwaukee) vs. New York Mets

Nic Mears (Milwaukee) vs. New York Mets

Eli White (Atlanta) at San Diego

Jackson Merrill (San Diego) vs. Atlanta

October 2, 2024

Brenan Hanifee (Detroit) at Houston

Brant Hurter (Detroit) at Houston

Jackson Jobe (Detroit) at Houston

Sean Guenther (Detroit) at Houston

Ángel Zerpa (Kansas City) at Baltimore

John Schreiber (Kansas City) at Baltimore

Reed Garrett (New York Mets) at Milwaukee

Blake Perkins (Milwaukee) vs. New York Mets

Jared Koenig (Milwaukee) vs. New York Mets

Bryan Hoeing (San Diego) vs. Atlanta

Jeremiah Estrada (San Diego) vs. Atlanta

October 3, 2024

Tobias Myers (Milwaukee) vs. New York Mets

October 5, 2024

Ty Madden (Detroit) at Cleveland

Keider Montero (Detroit) at Cleveland

William Olson (Detroit) at Cleveland

David Fry (Cleveland) vs. Detroit

Kyle Manzardo (Cleveland) vs. Detroit

Lane Thomas (Cleveland) vs. Detroit

Jhonkensy Noel (Cleveland) vs. Detroit

Noah-Gibson Naylor (Cleveland) vs. Detroit

Brayan Rocchio (Cleveland) vs. Detroit

Tanner Bibee (Cleveland) vs. Detroit

Cade Smith (Cleveland) vs. Detroit

Tim Herrin (Cleveland) vs. Detroit

Hunter Gaddis (Cleveland) vs. Detroit

Senga Kōdai (New York Mets) at Philadelphia

Kody Clemens (Philadelphia) vs. New York Mets

Austin Wells (New York Yankees) vs. Kansas City

Anthony Volpe (New York Yankees) vs. Kansas City

Luke Weaver (New York Yankees) vs. Kansas City

Brandon Lockridge (San Diego) at Los Angeles Dodgers

Elías Díaz (San Diego) at Los Angeles Dodgers

Ōtani Shōhei (Los Angeles Dodgers) vs. San Diego

Yamamoto Yoshinobu (Los Angeles Dodgers) vs. San Diego

October 6, 2024

Tylor Megill (New York Mets) at Philadelphia

Alek Jacob (San Diego) at Los Angeles Dodgers

Frank Banda (Los Angeles Dodgers) vs. San Diego

Edgardo Henriquez (Los Angeles Dodgers) vs. San Diego

October 7, 2024

Ian Hamilton (New York Yankees) vs. Kansas City

October 8, 2024

Andy Pages (Los Angeles Dodgers) at San Diego

October 9, 2024

Ángel Martínez (Cleveland) at Detroit

Erik Sabrowski (Cleveland) at Detroit

Andrew Walters (Cleveland) at Detroit

Joey Cantillo (Cleveland) at Detroit

Jace Jung (Detroit) vs. Cleveland

Brady Singer (Kansas City) vs. New York Yankees

Landon Knack (Los Angeles Dodgers) at San Diego

Matsui Yūki (San Diego) vs. Los Angeles Dodgers

October 10, 2024

Robert Ellis (New York Yankees) at Kansas City

October 13, 2024

Danny Young (New York Mets) at Los Angeles Dodgers

Ben Casparius (Los Angeles Dodgers) vs. New York Mets

October 14, 2024

Daniel Schneemann (Cleveland) at New York Yankees

October 15, 2024

Edward Lively (Cleveland) at New York Yankees

October 18, 2024

Luis Gil (New York Yankees) at Cleveland

Mark Leiter; Jr. (New York Yankees) at Cleveland

[lightgreyartgallery]

On June 16th Light Grey will be hosting a night of comic readings and music!

"Fresh off a North American tour, Tinderella comes home for the official Minneapolis signing date, complete with special appearances from Minneapolis BFFs! There will be live comics readings, zines and books for sale, and live music. Jimmy Booth is a Minneapolis based musician who is really cool. Maddelyn is a zinester, tattoo artist and illustrator reading from their comic about sex stuff called Bossy Bottom. Cole HW is a printmaker and cartoonist that invented "the cranky" and will be performing a cool cranky live! Kendra Boblett is an interdisciplinary artist who makes zines and handmade objects and does really cool embroidery stuff. Sean Knickerbocker is a cartoonist published with One Percent Press and will be reading from his newest issue of Rust Belt. M.S. Harkness will be reading and signing from her biggest book TINDERELLA"

- M.S. Harkness

RSVP here!

[womenoflibraryhistory]

Frances Lydia Yocom

Today’s post was written by Lorna Peterson, who is also the source of our posts on Betty Jenkins (2017), Clare Beck (2017), Aurelia Elizabeth Whittington Franklin (2016), Leaonead Pack Drain-Bailey (2015), and Clara Stanton Jones (2014). The image above is from “Small in Stature, Great in Spirit: A Tribute to Frances Yocom” by Betty Bolton, which appeared in North Carolina Libraries Volume 22, Number 3 in 1964.

Born in Pennsville, Morgan County, Ohio, on May 13, 1899, librarian Frances Lydia Yocom’s contributions to librarianship are many, but most notably are marked by her thoughtful, groundbreaking works on subject retrieval of research about and by African Americans, her book reviews of works concerning African Americans, and her bibliographies, which preserve for us titles that without her documentation would likely remain lost to future readers.

Her published works provide a bibliographic foundation for understanding the complexity of subject information retrieval, controlled vocabulary, and implicit bias.  Notably, her Berkeley MA thesis published as A list of subject headings for books by and about the Negro, by the H.W. Wilson Publishing Company in 1940 and cited in Arna Bontemps 1944 Library Quarterly article “Special Collections of Negroana is one such seminal work.  Her 1942 review of The Negro Federal Government Worker by Lawrence J. W. Hayes in the Southern Economic Journal minces no words on discrimination and shortcomings of the Civil Service merit system as researched and described by the author Lawrence Hayes.  In the same issue of the Southern Economic Journal Ms. Yocom reviews with great care and praise, Eliza Gleason’s The Southern Negro and the Public Library[1] which in turn has been cited by library historian Cheryl Knott.[2] These titles are just a few of the works published by a scholar who is in need of remembering and deserving of a deep, and rich, biography.

Who was this white woman who worked at historically black colleges and universities as well as predominately white institutions, and was a librarian who used her bibliographic skills in the crusade for racial justice? Who and what shaped her mission to live in a world of racial equality?

The Yocom family moved to Oberlin in 1907, where the father, Eli King Yocom owned a dry goods store with his brother Joseph.  Frances attended Oberlin public schools; she graduated from Oberlin High School in 1917, and graduated from Oberlin College in 1921 with a major in English.  Her obituary lists her having earned the Master of Arts degree from Columbia University Teachers College in 1925. Oberlin alumni magazines from 1927 and 1929 report on Ms. Yocom working at Straight College (a predecessor of Dillard University) as a librarian and also as an English teacher.  Frances Yocom’s interest in librarianship was greater than in teaching, as evidenced by her move back to Ohio to work in a library. She is listed in the 1930 Census as living with her mother and working as a librarian at Oberlin College.[3] She also lived in Cleveland where she earned the B.S. in library science from Western Reserve University (now Case Western Reserve University) in 1931.

From Fisk University, Nashville Tennessee records, she is additionally listed in the teacher records/teacher reports for 1931-32, 1935-37.  It is here that her friendship developed with Fisk University history professor Theodore S. Currier, who was such an important part of the enriched undergraduate education experienced by future librarian Aurelia Whittington, and her future historian husband John Hope Franklin, that Frances Yocom was mentor to Aurelia Whittington.[4]  (Note: Lorna Peterson wrote about Aurelia Whittington Franklin for Women of Library History in 2017. --Ed.)

In 1939, Yocom earned the M.S. in librarianship from the University of California, Berkeley.  Her MA thesis was “List of Subject Headings for Books by and about the Negro,” 1939, M.A. (California) as cited in “Graduate Theses Accepted by Library Schools in the United States from July, 1938, to June, 1945” by Dorothy Ethlyn Cole, Library Quarterly, Vol. 17, No. 1 (Jan., 1947), page 56.  

The January 1946 issue of CRL News, lists Ms. Yocom as a Fisk University associate librarian and cataloger “for a number of years” who has taken a position at Humboldt State College, Arcata CA.[5] From Humboldt State College which is now Humboldt State University, Frances Yocom took a cataloging position at the University of North Carolina, Chapel Hill where she retired from in 1964.  Her career at Chapel Hill was memorialized by Betty Bolton “Small in Stature, great in spirit: A Tribute to Frances Yocom ” North Carolina Libraries, Volumes 22, no.3, Spring 1964, pages 87-89.

After retirement, Frances Yocom returned to Oberlin, Ohio and later, moved into Copeland Oaks Retirement Community, Sebring, Ohio. From her obituary, it is stated she kept up an active correspondence with friends and former colleagues.  One can only hope that the letters, diaries, and photos of this remarkable librarian have been preserved.  This was a life rich in work, education, travel, living in various sections of the United States, and quiet social activism.  She was involved in the American Library Association and attended its meetings. She presented at the Southeastern Library Association once it integrated. She is acknowledged in the works of some the nations foremost civil rights activists and historians—for example, Harry Emerson Fosdick[6] and John Hope Franklin.  She was a librarian dedicated to civil rights and social justice, using the expertise of librarianship to make positive social change. Her story needs to be told. 

Notes

[1] Yocom, Frances L. (1942) Review of The Southern Negro and the Public Library. Southern Economic Journal, 8 (April): 521–2.

[2] Knott, Cheryl The Publication and Reception of The Southern Negro and the Public Library, Race, Ethnicity and Publishing in America pp 51-76, Springer 2014.

[3] 1930 United States Federal Census [database on-line]. Provo, UT, USA: Ancestry.com Operations Inc, 2002; Original data: United States of America, Bureau of the Census. Fifteenth Census of the United States, 1930. Washington, D.C.: National Archives and Records Administration, 1930. T626, 2,667 rolls.

[4] Franklin, John Hope, Mirror to America, 2005, page 47.

[5] “New from the Field” College and Research Libraries, January 1946, vol 7, no 1, page 83.

[6] Miller, Robert Moats, Harry Emerson Fosdick: Preacher, Pastor, Prophet, Oxford University Press, 1985, page 572.

[dustedandsocial]

60 more records from 2017: 2017 pt.ii: CELEBRATING 2017 in 2018: (continued...)

30 favorite/best albums: experimental/avant/free jazz/non-rock

ADPC (Arszyn, Duda & Paper Cuts) - There Is No Conclusion CS (Pawlacz Perski) Aging - Suitable For Night CS (Tombed Visions) Alessandra Novaga - Fassbinder Wunderkammer LP (Setola Di Maiale) Angles 9 - Disappeared Behind The Sun CD (Clean Feed) Bastide, Durand, Lozzitto, Niyri - Discussions Du Jeudi 2xCD (Harisska) Blod - Leendet Från Helvetet LP (Förlag För Fri Musik) Colin Potter - The Abominable Slowman LP (Abstrakce) Chicagojazzen - Ständut Black LP (Zeon Light) Delphine Dora – Multitudes: Songs Of Walt Whitman's Leaves Of Grass CDR (Self-Released) Dog Lady Island - Future Of The Body CDR (Chocolate Monk) Equipment Pointed Ankh - Resplendent Bird With Rayon Book And Broken Erection CS (Loin Seepage) Gagu - Elephant (dualpLOVER) Gaute Granli - Animalskt CD (Drid Machine) Kristian Poulsen, Mathias Sæderup - Hybrid-Subjekt-Objekt LP (K.P. & M.S.) Louis Minus XVI - De Anima LP (Love Mazout + 10 other labels) Macho Blush - User Guide CS (Tymbal Tapes) Matmos, Villeneuve, Class Of 69 - Tatouages Mentholés Et Cartouches D'aube CS (Scum Yr Earth) Maximum Ernst (with Daniel Carter) - Maximum Ernst CD (Ever/Never) Nakama - Worst Generation LP (Nakama Records) Nicole Mitchell - Mandorla Awakening II: Emerging Worlds 2xLP (FPE) Ot To, Not To - These Movements I & II CS (ACR) P Wits - P Wits CDR (chemical Imbalance.) Phew - Light Sleep LP (Mesh-Key) Potro Joyo - Potro Joyo CD (Morphine) Refurinn Kitsune - Spacelight Shines Through Us CS (Zamzam) Roe Enney - Glare (Root Strata) Sexton Ming - Inevitable Stupid OST (Mordant Music) Somesurprises - Serious Dreams CS (Eiderdown) Won James Won - Prozrachnik CS (Baba Vanga) zOHastre /\ Nibul - zOHastre /\ Nibul CS (Zamzam)

30 favorite singles/eps/demos: punk, rock, noise rock, etc

Andy Human & The Reptoids - Pee-Pee 7" EP (Goodbye Boozy) Bogano - Gross National EP (Self-Released) Cole Tut - Cole Tut CS (Marginal ProductS) COQ - Demos CS (Self-Released) Crack Cloud - Anchoring Point 7" EP (Good Person) FLQ - War Measures (Self-Released) Gad Whip - In A Room 12" (Ever/Never) Golden Oriole - Golden Oriole 12" (Drid Machine)  Housewives + Massicot - Split 7" (Et Mon Cul C’est De Tofu? / Red Wig / Harbinger Sound / Blank Editions) It's Me: Ross - 'The Knife' bandcamp single (Self-Released) Monster Island. - The New Vernacular EP (Self-Released) The Moonrakers - recollections of a big band error EP (Self-Released) Mozart - Nasty 7" EP (Iron Lung) Night Sticks - Afraid To Cry 7″ (Waving Hands) Noseholes - Noseholes 7" EP (ChuChu / Harbinger Sound) P.J. Bonneman – Mig Og Henriette 7" (Hjernespind) Piss - ST EP2 7" (Static Age)  Playboy - Celebration 12" (Negative Jazz) Rank/Xerox - M.y.t.h 12" (Adagio830) Sass - Demo 2017 CS (I Hate I Skate) Schizos - Fuck Iggy Pop 7" EP (Neck Chop) Spray Paint & Ben Mackie - Get Legless 7" (12XU) Stefan Christensen - Open Day 7" EP (I Dischi Del Barone) Straightjacket Nation - Straightjacket Nation 12" (La Vida Es Un Mus) Structure - Demo (Self-Released) Tendre Biche - Minigolf EP (Self-Released) Traffic Island Sound - All Aboard 7" (Another Dark Age) Tropical Trash - Decisions' Empty Nest 7" EP (Sophomore Lounge) TV Dinner Education - Little Birds 7" (8tta 7uor) X-Ray Fiends - Fuzzilla/Buzzkilla 7" EP (1:12 Records)

[mechagalaxy]

Sten Hugo Hiller - 627184: Mountain Climbing Mecha Combat #1249

(By Sten Hugo Hiller - 627184) Mountain Climbing Mecha Combat #1249

Brought to you by ANN

Highlighting the April 3359 35 Alive

This time the Gaming Authorities decreed we would have an event where no Mech massing more than 35 tons would be allowed to fight.

That was not particularily good news for me. The 35, 40 and 45 ton limited events tend to be dominated by those who have won plenty of the Craftsmen Mechs, and while I have a couple Vizi`s and a full formation of Nephilax`es, there is not even a single Zadok in my hangar. Add in that we were to face the oppnents on K3 where the regulars would have licences 20-100+ higher than me, and my Holmes` seemed inadequate for the task.

They would be supported by a handful of Troopers, another handful of Novums and a few other odds and sods, but there was no way we could face a proper Zadok dominated force and prevail.

But upon my arrival at the arena, I had to triple-check my readings. Not only were there only a dozen opponents there, but just a couple of them seemed to be in correct formation. The rest had sent what looked to be their main formations to the party.

Never looking a gift horse in the mouth, my crew made short work of those who stood in the way of a spot on the slopes. Some of them had a few legal Mechs in the formations, but my full lines overwhelmed them with ease. The top position however were out of my grasp. A couple probes were launched, but Chong Chin from the Heroes was alert, and his crew blew my boys to pieces without letting them past his third line.

We settled down, and the recording equipment started getting footage. Compared to most of the other tops nothing much happened on K3, but my clanmate, -Able Hunter, showed up and grabbed another slope position.

When the light finally flashed, signaling the end of the event, those standing on the tops were:

Div 1 387+ (28 Commanders): Claude Poirier, Magnificent-7 (26m,26s) 2: Jeff Haas 3: Shawn Wretham 4: Sherriff Leary Wretham 5: Bernard Johnson 6: Robert C Goetz Sr 7: Dan Ross 8: Christine Mainer 9: Fabio Favaro 10: Terry Cole Div 2 -386 (10 Commanders): Darryl Proctor, Northwind Dragons (37m,15s) Div 3 -292 (14 Commanders): Chong Chin, Heroes (4h,54m) Div 4 -208 (14 Commanders): Ken Fuchs, Northwind Dragons (34m,27s) Div 5 -161 (30 Commanders): Drake Hunter, Star League (6s) Div 6 -113 (13 Commanders): Non de Plume, M.S.5 L.l. Ltd. (1d,8h) Div 7 -85 (25 Commanders): Markus Eisenhand, Renegades (22s) Div 8 -56 (21 Commanders): Nick Walter, **R.V.** (5h,15m) Div 9 -35 (13 Commanders): RobertGoetz, Jagdstaffel 2 (5h,41m) Div 10 -22 (20 Commanders): roskaa, RED AXE (15m,47s) Div 11 -13 (13 Commanders): Scottie Scott, Ronins 2 (1d,12h)

1+5(1S)+9(1S)+8+2+1+6+1+4+8(2S)+4(1S)+0= Five Silvers and fourty-four Bronzes were awarded to Commanders who clearly had overweight Mechs in their formations.

Total Contestants: 201 Total medals claimed: 146 (of 165 possible)

Compered to the PointMech event we just had, sixty-seven fewer Commanders showed up. Could it be because the rest were busy in the raid? Either way, the drop in participation and the everpresent imbalance between the tops resulted in a total of nineteen Bronzes from seven tops ending unclaimed. After the award ceremony they were, -as usual, returned for resmelting.

The last half-hour saw four Golds changing hands at least once, two of them not decided until less than a half-minute before the end. Five other Golds were held for at least two hours, two of them for more than a day. Was this a case of strong winners, haves vs have nots or plain lack of time for the scramble due to the raid? Hard to say, but one can perhaps gain a clue by looking at the number of medals held for more than 30 minutes in this event:

.............Silvers......Bronzes

Div 1 ....0 of 4.........5 of 10 Div 2 ....4 of 4.........5 of 5 Div 3 ....2 of 4.........6 of 9 Div 4 ....1 of 4.........4 of 9 Div 5 ....3 of 4.........4 of 10 Div 6 ....1 of 4.........5 of 8 Div 7 ....1 of 4.........2 of 10 Div 8 ....3 of 4.........7 of 10 Div 9 ....4 of 4.........8 of 8 Div 10 ..3 of 4.........9 of 10 Div 11 ..4 of 4.........8 of 8

This time three of the tops (K2, K9 and K11) had no succesfull medal attacks. On the other end of the scale was Mount Olympus, K4, K5, K6 and K7 where most of the Medals found fresh holders. The action on K3, K8 and K10 waried from decent to light.

The only clan to return having won more than one Gold this time were the Northwind Dragons They grabbed the top prizes from K2 and K4. None of the Golds went to unaligned Commanders this time, but Northwind Dragons` Darryl Proctor managed to gain a follow-up win on K2 after his top performance in the PointMech event.

Upcoming event: Smaller Gateways

Here a Commanders total allowed weight is dependent on what top they fight on. At the lowest top (K11) the limit is just 205 tons. Then for each higher top that limit is increased by 75 tons, until those fighting on Mount Olympus are allowed to bring a total of 955 tons. Anyone bringing additional tonnage will have the formations culled by the Gaming Authorities, and believe me, it is MUCH smarter to do said culling youself.

Event ends May 17 between 1830 and 1900 New York Time

[johnsoedercc]

I wrote this profile of record producer extraordinaire and philanthropist Tommy LiPuma for The Plain Dealer, on the occasion of a Tri-C JazzFest salute to him that coincided with the “Modern American Masters: Highlights From the Gill and Tommy LiPuma Collection” exhibition at the Cleveland Museum of Art.

The Art of Tommy LiPuma

By John Soeder published April 11, 2004, in The Plain Dealer

NEW YORK – Yes, he produced a chart-topping album for Barbra Streisand.

And yes, he also had a hand in Grammy-winning recordings by George Benson, Natalie Cole and Diana Krall.

Running down the mile-long list of his accomplishments as a record producer and music industry executive, however, it’s easy to overlook one of Tommy LiPuma’s most truly remarkable achievements:

He made a Wham! fan out of Miles Davis.

The late, great jazz trumpeter visited LiPuma at home in the 1980s to discuss working together. LiPuma popped a cassette by the George Michael-fronted pop group of “Wake Me Up Before You Go-Go” fame into the stereo.

Davis “freaked out,” LiPuma says. “He loved it.”

Who knew?

LiPuma recounts the story over lunch at Sistina, his favorite Italian restaurant. It’s not open for lunch, mind you – unless you’re Tommy LiPuma, in which case you and a guest have the dining room all to yourselves on a snowy March afternoon.

Such are the perks when you’re chairman of the world’s largest jazz record company, Verve Music Group. LiPuma, a former Clevelander, has held the title since 1998.

He’ll be back in his hometown this week for the 25th annual Tri-C JazzFest. Benson, Krall, Dr. John, Joe Lovano, Jimmy Scott and others perform Saturday at Playhouse Square’s Allen Theatre in a salute to LiPuma, 67.

“I’m honored,” he says. “On the other hand, it makes you wonder: Are you coming toward the twilight of your career? Frankly, I feel I’m at the top of my game.”

LiPuma co-produced three albums for Davis, starting with 1986’s “Tutu.” It included a cover of “Perfect Way,” originally done by Scritti Politti, another 1980s pop act that LiPuma brought to the attention of Davis.

“He wasn’t what I call a jazz cop,” LiPuma says. “He loved all kinds of music.”

Ditto LiPuma. He wholeheartedly buys into the old Duke Ellington maxim: There are only two kinds of music – the good kind and the other kind.

LiPuma’s latest productions are albums by Al Jarreau and Krall.

Veteran vocalist Jarreau’s “Accentuate the Positive” is due in stores Tuesday, Aug. 3. LiPuma was behind the mixing board for two previous Jarreau releases, “Glow” (1976) and the live double album “Look to the Rainbow” (1977).

“He’s a brilliant producer,” says Jarreau, who performs Friday at the Allen Theatre as part of the JazzFest’s “Silver on Silver” salute to another LiPuma client, hard-bop pianist Horace Silver.

LiPuma has a knack for “knowing artists, knowing what they do, allowing them to do it and then pushing them where he thinks their strengths are — and beyond those strengths,” Jarreau says.

While working on his new album, Jarreau found himself scatting the melody of “Groovin’ High,” a Charlie Parker-Dizzy Gillespie chestnut: “Duh-dut, duh-dut-dut, bah-doo-bee-ooh-bee-ooh-duh-dut’ll-doo-day.…”

LiPuma’s ears pricked up. “Is there a lyric, Al?” he asked.

“Well, I’ve thought about doing a lyric for it,” Jarreau replied.

LiPuma encouraged him to go for it.

Jarreau did. The finished track turned out to be “one of my best efforts,” he says.

Krall’s new album, “The Girl in the Other Room,” comes out Tuesday, April 27. It features six songs co-written by the singer-pianist and her husband, rocker Elvis Costello.

LiPuma co-produced “The Girl in the Other Room” with Krall, whom he refers to as “my baby.” He has overseen seven of her eight albums.

“Tommy is my ears — he can hear things I can’t hear,” Krall said in a 2001 interview with The Plain Dealer. “He loves music, art, beauty and all the meaningful things in life, including really good wine.”

At Sistina, LiPuma orders a bowl of pasta. It arrives perfectly al dente and prepared, per his specifications, with cherry tomatoes. A seafood dish follows in short order.

“This is the branzino,” LiPuma says, digging into the Italian-style sea bass. “Delicious!”

Between sips of espresso in the afterglow of the meal, he’ll gladly tell you about working with ultradiva Streisand on “The Way We Were,” her 1974 No. 1 album: “She knows exactly what she wants.”

Or the truth behind “Weekend in L.A.,” singer-guitarist Benson’s 1977 live album: “It wasn’t really as live as it sounded…. We had to redo the vocals.”

Or the emotional experience of recording the title track of Cole’s 1991 “Unforgettable” album, a virtual duet between the singer and her late father, Nat “King” Cole: “When we did it, it stopped all of us in our tracks.”

Lawyers, accountants running the show

LiPuma lights up when he talks about music. But his mood turns somber when the conversation turns to the music business.

“The sooner corporate America gets out of it, the happier I’m going to be,” he says.

Verve Music Group is the parent company of four record labels: Verve, Impulse!, GRP (which LiPuma ran in the 1990s) and Blue Thumb (where LiPuma worked in the late ’60s and early ’70s with such acts as Dan Hicks and Dave Mason).

In addition to a catalog rich with jazz greats (Ellington, Count Basie, John Coltrane, Ella Fitzgerald and Billie Holiday, among others), the company’s current artist roster includes the likes of Krall, Jarreau, Benson, violinist Regina Carter and keyboardist Herbie Hancock.

Verve Music Group is a subsidiary of the world’s leading music company, Universal Music Group, which had revenues of $6 billion in 2003. Universal (itself a division of multinational media conglomerate Vivendi Universal) does not release specific financial data for its subsidiaries.

“The record business used to be basically a group of entrepreneurs … who made gut decisions and ran their own ships,” LiPuma says. “They didn’t have to worry about making their quarter or if Wall Street was going to give them its blessing. They were music people.

"Today, with a few exceptions, you have lawyers and accountants running the show. It’s very unfortunate.”

LiPuma has delegated the day-to-day responsibilities (read: headaches) of running Verve Music Group to his second-in-command, President and CEO Ron Goldstein.

“I handle the creative aspects,” LiPuma says. “When you make records, all you want is the right performance…. As a producer, everything is about waiting for the moment when the artist drops a magic take. One of the most important parts of my job is knowing when the moment happens.”

Magic has struck in the studio time and again for LiPuma, who has made more than 20 gold, platinum or multiplatinum records. He also has won three Grammy Awards: Record of the Year in 1976 for Benson’s smash “This Masquerade,” Album of the Year in 1991 for Cole’s “Unforgettable” and Best Jazz Vocal Album in 2002 for Krall’s “Live in Paris.”

The way he was: Cleveland roots

Born in Cleveland to Italian immigrants, LiPuma was the youngest of five children. His brothers, Joe and Henry, and sister Therese still live in the area; another sister, Josephine, died in 1984.

LiPuma’s family moved often when he was young, from Cleveland’s Kinsman neighborhood to University Heights to Warrensville Heights to Beachwood.

“The radio was always on in our house,” LiPuma says. “In those days, it was Bing Crosby, the Andrews Sisters, Jo Stafford.

"Some way or another, I ended up where I ended up. But I’m a pop junkie. I love great pop music.

"By the time I was 18, I loved bebop — Charlie Parker, Horace Silver, all those guys. But it didn’t take away from my love for pop music.”

When he was 9, LiPuma developed osteomyelitis, a debilitating bone infection. He spent nearly three years laid up in bed.

“The radio became my friend,” he says. “I discovered the R&B station in those days, WJMO, and I started hearing Charles Brown, Louis Jordan, Nat Cole and Ruth Brown. I was a complete R&B nut by the time I was 12.

"Then I started playing saxophone…. I’ll never forget: The music teacher at Shaker Heights Junior High School gave me an F in music because I didn’t show up for a concert.”

LiPuma dropped out of school when he was 18, although he only made it through 10th grade. His illness had left him two grades behind his friends. “I felt out of place,” he says.

By then, he was earning $25 a night playing sax in local clubs.

His father, a barber, sent LiPuma to barber college and gave him a loan to buy a barbershop in the Keith Building on Euclid Avenue in Cleveland. Among his customers were various radio disc jockeys, including future “American Top 40” host Casey Kasem, who used to work at the old WJW AM/850.

But LiPuma’s heart wasn’t into cutting hair. He leased the shop, packed his sax and hit the road for a year with a jazz combo.

Upon his return to Cleveland in 1960, LiPuma got a job as a record promoter with M.S. Distributors.

The following year, he was hired to do promotion for Liberty Records. He later transferred to the company’s music publishing division. LiPuma primarily was based in Los Angeles, although he briefly lived in New York in 1962 and relocated there permanently in 1984.

The first album he produced was “Comin’ Through,” the 1965 debut by an R&B group from Canton — the O’Jays.

Making hits, taking hits

He scored his first gold record one year later with the Sandpipers. The easy-listening trio’s Top 10 single “Guantanamera” was produced by LiPuma, who also recited the spoken-word bit in the middle of the tune: “I am a truthful man from the land of the palm trees… .”

He went on to work as a producer and A&R (artists and repertoire) executive for several other record companies, including A&M, Warner Bros. and Elektra. Along the way, LiPuma collaborated with a range of artists, from Dr. John to Michael Franks to Joe Sample.

Somebody once asked LiPuma how it felt to be the father of smooth jazz. He was mortified.

“I detest — de-test! — smooth jazz,” he says. “Shall I call it the height of mediocrity? Everything has become so predictable.

"The jazz community can blame itself for what ultimately ended up happening with jazz. Basically, it has gone nowhere.”

Some jazz purists blame LiPuma for his pop-savvy meddling — at least to hear him tell it.

“Critics like Gary Giddins hate my [expletive] guts,” LiPuma says. “They think I’m the Antichrist. [Giddins] referred to me as a hack.”

Giddins, former jazz critic for The Village Voice and the author of biographies of Louis Armstrong, Bing Crosby and Charlie Parker, is widely regarded as a top jazz authority. (Even LiPuma says Giddins is “erudite.”)

Giddins gave his side of the story via e-mail last week.

“I don’t hate Tommy LiPuma’s ‘[expletive] guts,’ ” he wrote. “It is possible that I once referred to him as a hack, but I can’t recall the occasion and a global search of everything on my hard drive, dating back 20 years, turns up only one mention of his name.”

In a review of the 1997 JVC Jazz Festival, Giddins made a passing reference to LiPuma as “the record industry menace who specializes in convincing good musicians to play bad music.”

‘A rare breed’ and ‘a beautiful cat’

Tommy LiPuma — a “menace”? Jarreau scoffs at the notion.

LiPuma is “a rare breed,” Jarreau says. “Maybe a guy like Tommy is too nice for this industry.”

Sax player David Sanborn, on the bill for the JazzFest’s Silver tribute, has cut a couple of albums with LiPuma.

“You can always tell a Tommy LiPuma production,” Sanborn says. “He makes high-class, high-quality records…. He has the ability to make records with broad appeal, too.

"I don’t think there’s anything intrinsically wrong with a lot of people liking your music. If you’re doing something you don’t believe in, that’s another story. But I don’t think Tommy has ever done that. . . . He has a real passion for the music.”

LiPuma is “a beautiful cat,” says another music legend from Cleveland, jazz singer Jimmy Scott. His 1992 comeback album, “All the Way,” was produced by LiPuma.

“He knows his stuff,” Scott says. “If you have an idea and you talk it over with him, he’ll make it happen. He doesn’t limit his thoughts about the music.”

LiPuma doesn’t limit his interests to music, either.

Paintings by American Modernists usually fill his Park Avenue apartment, although for the time being, the walls are dotted with empty hooks. “Modern American Masters: Highlights From the Gill and Tommy LiPuma Collection” is on view through Sunday, July 18, at the Cleveland Museum of Art. The exhibition features works by some of LiPuma’s favorite artists (not of the recording variety), including Alfred Maurer, Marsden Hartley and Arnold Friedman.

Gill is LiPuma’s wife of 35 years. They have two grown daughters.

“I love art…. You’ve got structure, form, textures — the same things you have in music,” says LiPuma, recently elected a trustee of the Smithsonian Institution’s Archives of American Art.

“I’d like to be a private [art] dealer,” he says. “I also still enjoy making records. I don’t want to stop…. At this point, the last thing I’m thinking about is retirement.”

[deadbutcaffeinated]

Forgot to post these here, but I made a bunch of refs for artfight! Nice to have something official for Naomi finally akzndj

[johnsoedercma-blog]

For me, it doesn’t get any better than telling stories about people with a passion for the arts. I wrote this profile of record producer extraordinaire and philanthropist Tommy LiPuma for The Plain Dealer, on the occasion of a Tri-C JazzFest salute to him that coincided with the "Modern American Masters: Highlights From the Gill and Tommy LiPuma Collection" exhibition at the Cleveland Museum of Art.

The Art of Tommy LiPuma

By John Soeder published April 11, 2004, in The Plain Dealer

NEW YORK – Yes, he produced a chart-topping album for Barbra Streisand.

And yes, he also had a hand in Grammy-winning recordings by George Benson, Natalie Cole and Diana Krall.

Running down the mile-long list of his accomplishments as a record producer and music industry executive, however, it’s easy to overlook one of Tommy LiPuma’s most truly remarkable achievements:

He made a Wham! fan out of Miles Davis. 

The late, great jazz trumpeter visited LiPuma at home in the 1980s to discuss working together. LiPuma popped a cassette by the George Michael-fronted pop group of "Wake Me Up Before You Go-Go" fame into the stereo.

Davis "freaked out," LiPuma says. "He loved it."

Who knew?

LiPuma recounts the story over lunch at Sistina, his favorite Italian restaurant. It’s not open for lunch, mind you – unless you’re Tommy LiPuma, in which case you and a guest have the dining room all to yourselves on a snowy March afternoon.

Such are the perks when you’re chairman of the world’s largest jazz record company, Verve Music Group. LiPuma, a former Clevelander, has held the title since 1998.

He’ll be back in his hometown this week for the 25th annual Tri-C JazzFest. Benson, Krall, Dr. John, Joe Lovano, Jimmy Scott and others perform Saturday at Playhouse Square’s Allen Theatre in a salute to LiPuma, 67.

"I’m honored," he says. "On the other hand, it makes you wonder: Are you coming toward the twilight of your career? Frankly, I feel I’m at the top of my game."

LiPuma co-produced three albums for Davis, starting with 1986’s "Tutu." It included a cover of "Perfect Way," originally done by Scritti Politti, another 1980s pop act that LiPuma brought to the attention of Davis.

"He wasn’t what I call a jazz cop," LiPuma says. "He loved all kinds of music."

Ditto LiPuma. He wholeheartedly buys into the old Duke Ellington maxim: There are only two kinds of music – the good kind and the other kind.

LiPuma’s latest productions are albums by Al Jarreau and Krall.

Veteran vocalist Jarreau’s "Accentuate the Positive" is due in stores Tuesday, Aug. 3. LiPuma was behind the mixing board for two previous Jarreau releases, "Glow" (1976) and the live double album "Look to the Rainbow" (1977).

"He’s a brilliant producer," says Jarreau, who performs Friday at the Allen Theatre as part of the JazzFest’s "Silver on Silver" salute to another LiPuma client, hard-bop pianist Horace Silver.

LiPuma has a knack for "knowing artists, knowing what they do, allowing them to do it and then pushing them where he thinks their strengths are — and beyond those strengths," Jarreau says.

While working on his new album, Jarreau found himself scatting the melody of "Groovin’ High," a Charlie Parker-Dizzy Gillespie chestnut: "Duh-dut, duh-dut-dut, bah-doo-bee-ooh-bee-ooh-duh-dut’ll-doo-day. . . ."

LiPuma’s ears pricked up. "Is there a lyric, Al?" he asked.

"Well, I’ve thought about doing a lyric for it," Jarreau replied.

LiPuma encouraged him to go for it.

Jarreau did. The finished track turned out to be "one of my best efforts," he says.

Krall’s new album, "The Girl in the Other Room," comes out Tuesday, April 27. It features six songs co-written by the singer-pianist and her husband, rocker Elvis Costello.

LiPuma co-produced "The Girl in the Other Room" with Krall, whom he refers to as "my baby." He has overseen seven of her eight albums.

"Tommy is my ears — he can hear things I can’t hear," Krall said in a 2001 interview with The Plain Dealer. "He loves music, art, beauty and all the meaningful things in life, including really good wine."

At Sistina, LiPuma orders a bowl of pasta. It arrives perfectly al dente and prepared, per his specifications, with cherry tomatoes. A seafood dish follows in short order.

"This is the branzino," LiPuma says, digging into the Italian-style sea bass. "Delicious!"

Between sips of espresso in the afterglow of the meal, he’ll gladly tell you about working with ultradiva Streisand on "The Way We Were," her 1974 No. 1 album: "She knows exactly what she wants."

Or the truth behind "Weekend in L.A.," singer-guitarist Benson’s 1977 live album: "It wasn’t really as live as it sounded. . . . We had to redo the vocals."

Or the emotional experience of recording the title track of Cole’s 1991 "Unforgettable" album, a virtual duet between the singer and her late father, Nat "King" Cole: "When we did it, it stopped all of us in our tracks."

Lawyers, accountants running the show

LiPuma lights up when he talks about music. But his mood turns somber when the conversation turns to the music business.

"The sooner corporate America gets out of it, the happier I’m going to be," he says.

Verve Music Group is the parent company of four record labels: Verve, Impulse!, GRP (which LiPuma ran in the 1990s) and Blue Thumb (where LiPuma worked in the late ’60s and early ’70s with such acts as Dan Hicks and Dave Mason).

In addition to a catalog rich with jazz greats (Ellington, Count Basie, John Coltrane, Ella Fitzgerald and Billie Holiday, among others), the company’s current artist roster includes the likes of Krall, Jarreau, Benson, violinist Regina Carter and keyboardist Herbie Hancock.

Verve Music Group is a subsidiary of the world’s leading music company, Universal Music Group, which had revenues of $6 billion in 2003. Universal (itself a division of multinational media conglomerate Vivendi Universal) does not release specific financial data for its subsidiaries.

"The record business used to be basically a group of entrepreneurs . . . who made gut decisions and ran their own ships," LiPuma says. "They didn’t have to worry about making their quarter or if Wall Street was going to give them its blessing. They were music people.

"Today, with a few exceptions, you have lawyers and accountants running the show. It’s very unfortunate."

LiPuma has delegated the day-to-day responsibilities (read: headaches) of running Verve Music Group to his second-in-command, President and CEO Ron Goldstein.

"I handle the creative aspects," LiPuma says. "When you make records, all you want is the right performance. . . . As a producer, everything is about waiting for the moment when the artist drops a magic take. One of the most important parts of my job is knowing when the moment happens."

Magic has struck in the studio time and again for LiPuma, who has made more than 20 gold, platinum or multiplatinum records. He also has won three Grammy Awards: Record of the Year in 1976 for Benson’s smash "This Masquerade," Album of the Year in 1991 for Cole’s "Unforgettable" and Best Jazz Vocal Album in 2002 for Krall’s "Live in Paris."

The way he was: Cleveland roots

Born in Cleveland to Italian immigrants, LiPuma was the youngest of five children. His brothers, Joe and Henry, and sister Therese still live in the area; another sister, Josephine, died in 1984.

LiPuma’s family moved often when he was young, from Cleveland’s Kinsman neighborhood to University Heights to Warrensville Heights to Beachwood.

"The radio was always on in our house," LiPuma says. "In those days, it was Bing Crosby, the Andrews Sisters, Jo Stafford.

"Some way or another, I ended up where I ended up. But I’m a pop junkie. I love great pop music.

"By the time I was 18, I loved bebop — Charlie Parker, Horace Silver, all those guys. But it didn’t take away from my love for pop music."

When he was 9, LiPuma developed osteomyelitis, a debilitating bone infection. He spent nearly three years laid up in bed.

"The radio became my friend," he says. "I discovered the R&B station in those days, WJMO, and I started hearing Charles Brown, Louis Jordan, Nat Cole and Ruth Brown. I was a complete R&B nut by the time I was 12.

"Then I started playing saxophone. . . . I’ll never forget: The music teacher at Shaker Heights Junior High School gave me an F in music because I didn’t show up for a concert."

LiPuma dropped out of school when he was 18, although he only made it through 10th grade. His illness had left him two grades behind his friends. "I felt out of place," he says.

By then, he was earning $25 a night playing sax in local clubs.

His father, a barber, sent LiPuma to barber college and gave him a loan to buy a barbershop in the Keith Building on Euclid Avenue in Cleveland. Among his customers were various radio disc jockeys, including future "American Top 40" host Casey Kasem, who used to work at the old WJW AM/850.

But LiPuma’s heart wasn’t into cutting hair. He leased the shop, packed his sax and hit the road for a year with a jazz combo.

Upon his return to Cleveland in 1960, LiPuma got a job as a record promoter with M.S. Distributors.

The following year, he was hired to do promotion for Liberty Records. He later transferred to the company’s music publishing division. LiPuma primarily was based in Los Angeles, although he briefly lived in New York in 1962 and relocated there permanently in 1984.

The first album he produced was "Comin’ Through," the 1965 debut by an R&B group from Canton — the O’Jays.

Making hits, taking hits

He scored his first gold record one year later with the Sandpipers. The easy-listening trio’s Top 10 single "Guantanamera" was produced by LiPuma, who also recited the spoken-word bit in the middle of the tune: "I am a truthful man from the land of the palm trees. . . ."

He went on to work as a producer and A&R (artists and repertoire) executive for several other record companies, including A&M, Warner Bros. and Elektra. Along the way, LiPuma collaborated with a range of artists, from Dr. John to Michael Franks to Joe Sample.

Somebody once asked LiPuma how it felt to be the father of smooth jazz. He was mortified.

"I detest — de-test! — smooth jazz," he says. "Shall I call it the height of mediocrity? Everything has become so predictable.

"The jazz community can blame itself for what ultimately ended up happening with jazz. Basically, it has gone nowhere."

Some jazz purists blame LiPuma for his pop-savvy meddling — at least to hear him tell it.

"Critics like Gary Giddins hate my [expletive] guts," LiPuma says. "They think I’m the Antichrist. [Giddins] referred to me as a hack."

Giddins, former jazz critic for The Village Voice and the author of biographies of Louis Armstrong, Bing Crosby and Charlie Parker, is widely regarded as a top jazz authority. (Even LiPuma says Giddins is "erudite.")

Giddins gave his side of the story via e-mail last week.

"I don’t hate Tommy LiPuma’s ‘[expletive] guts,’ " he wrote. "It is possible that I once referred to him as a hack, but I can’t recall the occasion and a global search of everything on my hard drive, dating back 20 years, turns up only one mention of his name."

In a review of the 1997 JVC Jazz Festival, Giddins made a passing reference to LiPuma as "the record industry menace who specializes in convincing good musicians to play bad music."

‘A rare breed’ and ‘a beautiful cat’

Tommy LiPuma — a "menace"? Jarreau scoffs at the notion.

LiPuma is "a rare breed," Jarreau says. "Maybe a guy like Tommy is too nice for this industry."

Sax player David Sanborn, on the bill for the JazzFest’s Silver tribute, has cut a couple of albums with LiPuma.

"You can always tell a Tommy LiPuma production," Sanborn says. "He makes high-class, high-quality records. . . . He has the ability to make records with broad appeal, too.

"I don’t think there’s anything intrinsically wrong with a lot of people liking your music. If you’re doing something you don’t believe in, that’s another story. But I don’t think Tommy has ever done that. . . . He has a real passion for the music."

LiPuma is "a beautiful cat," says another music legend from Cleveland, jazz singer Jimmy Scott. His 1992 comeback album, "All the Way," was produced by LiPuma.

"He knows his stuff," Scott says. "If you have an idea and you talk it over with him, he’ll make it happen. He doesn’t limit his thoughts about the music."

LiPuma doesn’t limit his interests to music, either.

Paintings by American Modernists usually fill his Park Avenue apartment, although for the time being, the walls are dotted with empty hooks. "Modern American Masters: Highlights From the Gill and Tommy LiPuma Collection" is on view through Sunday, July 18, at the Cleveland Museum of Art. The exhibition features works by some of LiPuma’s favorite artists (not of the recording variety), including Alfred Maurer, Marsden Hartley and Arnold Friedman.

Gill is LiPuma’s wife of 35 years. They have two grown daughters.

"I love art. . . . You’ve got structure, form, textures — the same things you have in music," says LiPuma, recently elected a trustee of the Smithsonian Institution’s Archives of American Art.

"I’d like to be a private [art] dealer," he says. "I also still enjoy making records. I don’t want to stop. . . . At this point, the last thing I’m thinking about is retirement."

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[davidddiep]

CBD Can End the Marijuana/Stoner Stigma for Good

Cannabidiol (CBD), one of the least active of cannabis’ 113 identified cannabinoids, could be the best weapon for ending the stoner stereotype. 

The days of Spicoli, Thurgood Jenkins and Cheech & Chong being the faces of marijuana in the public eye decrease with each passing day. Today, names like Justin Gover, Dr. Stuart Titus and many others are the public figures spearheading CBD and chipping away at the final remnants of the stoner stereotype.

“CBD acts as an antagonist that binds CB1 endocannabinoid receptors. CBD doesn’t activate the receptor, but blocks the agonist THC from producing the psychotropic effect of being “stoned,” explains Dr. Richard Clark Kaufman, B.S., M.S., Ph.D., a co-founder of NanoSphere Health Sciences Inc.

When it comes to medical marijuana, CBD has the ability to improve the lives of numerous patients while showing skeptics that there is a way to heal without getting high.

What CBD Does for Some Patients

The power of CBD has grown over the years, thanks in part to a booming market that serves everyone from seniors to pets. Under the now rescinded Cole Memo, CBD’s legal status appears a bit murkier. However, 44 states currently allow for CBD sales.

Damon Raskin, M.D., a physician board-certified in addiction medicine and the chief medical advisor of Cliffside Malibu, a leading addiction treatment center in Los Angeles, agrees that some patients with chronic pain conditions could benefit by using CBD as an alternative to prescription opioid medications. However, despite the World Health Organization (WHO) stating that current evidence “does not justify scheduling of cannabidiol,”, he encourages more research before making any definitive statements.

The problem with anything declarative about marijuana and addiction is its status as a Schedule I controlled substance, which means virtually no research has been done on the drug in the U.S. No doubt, WHO’s intentions are good but from a medical science point of view, it’s premature to declare CBD nonaddictive.

Additional research is now coming to the forefront through international studies and small amounts of U.S. research. However, we will likely need to wait for more tests to achieve a significant amount of data for conclusive findings.

Despite positive sentiment already, there is room for improvement. “CBD has shown impressive potential in pre-clinical trials for treating neuroinflammation, epilepsy, anxiety disorders, inflammatory diseases, oxidative injury, brain trauma vomiting, nausea and tumors,” Dr. Kaufman elaborated. “Unfortunately, only about 6% of ingested CBD reaches systemic circulation. Only 1% of CBD entering the blood steam passes the blood-brain barrier to enter the brain.” Increasing the bioavailability of CBD to cannabinoid receptors, which varies depending upon your ingestion method, is at the center of NanoSphere’s work.

How CBD is Improving the Image of Cannabis

Medicine and Pharma are just two areas that help promotes CBD’s reputation. From sports to government, influential public figures are stepping up to let their voices be heard on the topic.

Personal circumstances led some to champion the power of CBD. Michal Takac found himself forced into the field a decade ago. He needed something to ease his pain after a horrible printing press injury left him without three fingers and scars. After multiple rounds of pain medication prescribed by doctors, Takac found his solution in CBD. A combination of hemp oil and CBD lessened his scars and pain.

Now, he champions the cause for others — something he knows is not understood by the public. He told the Independent, “I have friends with children who have autism and they have started taking CBD oil…After three weeks, it’s amazing when you see a child making eye contact, when they have never done that before.”

The same occurs in a wide range of athletics. Most linked to the marijuana culture is the Marin County, California-based 420 Games. Major American sports like the NFL and NBA also have its fair share of advocates. NBA veterans from Jay Williams to Cliff “Uncle Spliffy” Robinson advocate for marijuana’s ability to treat wear and tear related injuries — with Robinson having his own dispensary in Portland, Oregon.

In the NFL, a slow but growing number of former players are using their voice for CBD. With 99% of deceased players studied shown to have chronic traumatic encephalopathy (CTE), in addition to other debilitating injuries, any treatment could be a viable option. So far, the league hasn’t felt the same way.

That has not stopped former players like Jake Plummer, Eugene Monroe and Marvin Washington to champion marijuana and CBD. Washington is now a plaintiff in a case challenging the 1970 Controlled Substances Act. Currently, a managing partner for an industrial hemp producer, Washington explained his relationship with CBD after playing football. “I have a vape that’s 85 percent CBD—it makes my body feel well…When I stand up, I don’t have to unwind myself. I can just stand up.”

Everyday People Become Leaders

Everyday Americans find themselves becoming prominent figures in the fight as well. Parents like Paige Figi had to become advocates for people like her daughter who suffer from epilepsy and other conditions. This led Figi to found Coalition for Access Now, a nonprofit that lobbies for CBD and hemp legalization. Her group’s efforts now support Republican-sponsored legislation to remove CBD and plants with similar characteristics from marijuana’s classification as a schedule 1 Drug. With bipartisan efforts being led to champion hemp and CBD, the American public gains more influential figures in the bid to ending the stoner stigma.

With support growing from public and private figures, CBD finds itself in the forefront of the perception war. By seeing the positive effects CBD has on everyone from the Figi family to professional athletes, the public sees the positive side of cannabis once more. By showing its true healing potential and non-psychoactive effects, CBD helps change lives, but also skeptical minds.

Questions Left to Answer

While CBD helps repair the image of a marijuana user, there is still much to be learned. In addition to his thoughts above, Dr. Raskin stressed how we are in the early stages of determining safe dosage levels. “Until state and federal regulatory authorities step in and institute uniform dosages for marijuana and CBD products, consumers should proceed with caution.”

New findings could always change the discussion. However, as it stands, CBD serves as a viable option for many pain sufferers and medical conditions. Each success story brings further positive press about CBD. In doing so, it reveals yet another person far from being Jeff Spicoli. Instead, they are just like you or me — and this is the medicine they use to function through each day.

The post CBD Can End the Marijuana/Stoner Stigma for Good appeared first on PrestoDoctor Blog.