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jcmarchi · 3 months

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Adding Radiation to Lung Cancer Treatment Improves Outcomes - Technology Org

New Post has been published on https://thedigitalinsider.com/adding-radiation-to-lung-cancer-treatment-improves-outcomes-technology-org/

Adding Radiation to Lung Cancer Treatment Improves Outcomes - Technology Org

A new study found that patients with non-small cell lung cancer (NSCLC) treated with a combination of low-dose radiation and immunotherapy had higher progression-free survival compared to patients who received immunotherapy alone two years after treatment.

Radiotherapy equipment. Image credit: Governo do Estado de São Paulo via Flickr, CC BY 2.0

The findings from researchers at Weill Cornell Medicine, NewYork-Presbyterian and Columbia University Vagelos College of Physicians and Surgeons offer hope to those affected by NSCLC, the most common type of lung cancer in the United States, accounting for 81% of all lung cancer diagnoses.

Chemotherapy is frequently coupled with immunotherapy for treating people with lung cancer. However, this study, published in Nature Communications, suggested “the addition of low-dose radiation instead could increase the options available to patients, particularly those who cannot tolerate chemotherapy,” said Dr. Nasser Altorki, chief of the Division of Thoracic Surgery at Weill Cornell Medicine and NewYork-Presbyterian/Weill Cornell Medical Center and the paper’s lead author.

Zachary Walsh, MD/Ph.D. candidate at Columbia University Vagelos College of Physicians and Surgeons, was also co-first author on this study.

Previously, Altorki and colleagues conducted an investigator-initiated clinical trial at NewYork-Presbyterian/Weill Cornell Medical Center, which enrolled 60 patients with early-stage NSCLC. The randomized phase 2 trial, sponsored by AstraZeneca, coupled radiation with durvalumab, an immune-boosting “checkpoint inhibitor.” These drugs work by releasing the brakes on the immune system to induce a response against tumor cells, but their effects may be insufficient to fully eliminate the cancer.

“Using a low dose of radiation to enhance the immune response, rather than a high dose to destroy the tumor, was a novel feature of the trial,” said co-senior author Timothy McGraw, professor of biochemistry at Weill Cornell Medicine. “From that perspective, I believe Dr. Altorki’s trial design remains unique.”

Dr. Benjamin Izar, assistant professor of medicine at Columbia University Vagelos College of Physicians and Surgeons and medical oncologist at NewYork-Presybeterian/Columbia University Irving Medical Center, was also co-senior author on the paper.

The initial findings, published in Lancet Oncology in 2021, demonstrated that the combo treatment eradicated significantly more tumors than immunotherapy alone. In fact, the combination invoked a “major pathological response”– one that kills more than 90% of the cells in the tumors that were surgically removed and analyzed during the course of the study.

But would it also improve patient survival? To find out, the researchers continued to follow the cohort for an additional two years.

The results of the extended study indicated that the dual therapy reduced the chances of cancer recurrence and extended progression-free survival. Six of the individuals who received immunotherapy alone died of cancer. However, in the “dual-therapy arm” of the trial, there was only one death from cancer and five deaths unrelated to cancer recurrence.

The team also found that cancer-free survival is accompanied by heightened immune activity. Individuals who received immunotherapy plus radiation and had major pathology responses had more activated T cells in their blood compared to those who did not have a major pathology response.

“The appearance of these activated T cells was associated with freedom from cancer recurrence,” said Altorki, who is also the David B. Skinner, M.D. Professor of Thoracic Surgery and the leader of the Experimental Therapeutics Program in the Sandra and Edward Meyer Cancer Center at Weill Cornell Medicine.

The researchers discovered that participants who mounted a major pathological response harbored tissue-resident T cells in their blood – even before treatment had begun. “You wouldn’t normally expect to find these cells in circulation,” said Altorki. Their presence suggested that, in these individuals, the immune system had already detected the tumor and initiated a response. Examining participants’ T-cell repertoire could potentially identify individuals who would benefit from combination treatment.

The researchers intend to follow up on this observation in an upcoming trial to assess how radiation stacks up against chemotherapy as a means of bolstering immunotherapy. “We’ve shown that radiation works,” said Altorki. “But does it work as well as – or even better than – chemotherapy? That’s what we want to answer now.”

Source: Cornell University

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bouxmounir · 2 years

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"L'art de poser des questions" se retrouve dans le rap

“L’art de poser des questions” se retrouve dans le rap

Le rappeur belge Damso. Fred TANNEAU / AFP FRED TANNEAU / AFP Lorsqu’il étudie la philosophie à l’Université de Paris, Benjamin Weill cite des rappeurs dans ses mémoires “Et ce qui est arrivé”, ajoute-t-elle. Dans son livre Au mic citoyen.nes (Puits 23, 2021), l’auteur cherche à analyser comment la culture hip-hop francophone est exposée aux questions de société. Au fil de ses interventions,…

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jbgravereaux · 5 years

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Catherine Sauvage - La chanson de Bilbao (ou Bilbao Song) (Bertolt Brecht, adaptation: Boris Vian - Kurt Weill) Bilbao Song - Pia Colombo - YouTube Pia Colombo - "Surabaya Johnny" et "Bilbao song" (1971 ... Bilbao Song - Woody Allen's ANOTHER WOMAN (1988 ... Milva - Bilbao Song - Milva canta Brecht (Piccolo Teatro ... Milva canta Weill e Brecht - YouTube Weill/Brecht: Happy End, Bilbao Song - YouTube Lotte Lenya - Bilbao-Song - part 16 - YouTube Lotte Lenya - Bilbao-Song (1955 Version) - YouTube Lotte Lenya "Bilbao Song" Brecht Weill Live Lincoln Center ... Anne Sofie von Otter; "Bilbao-Song"; Happy End; Kurt Weill ... Ute Lemper - Bilbao-Song - YouTube DER BILBAO SONG - Kurt Weill and Bertolt Brecht - YouTube : Performed by SERVIO TULIO (vocals), GLAUCO BAPTISTA (piano), FÁBIO CAVALIERI (bass) and PAULO DINIZ ... Bilbao Song - YouTube : Pauline Julien Yves Montand " La chanson de bilbao " - YouTube Yves Montand – La chanson de Bilbao (1958 ... Jacques Loussier - La Chanson De Bilbao - YouTube Andy Williams- Bilbao Song - YouTube Bilbao song - YouTube La Chanson de Bilbao - YouTube Happy End - Bilbao Song - Brasil 1981 - YouTube

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perry-tannenbaum · 2 years

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Deadly Sins Upstage Jazzy Ravel in Fun-Filled CSO Concert

Review: Charlotte Symphony Plays Ravel’s Piano Concerto By Perry Tannenbaum You could arguably call it a facelift. After Charlotte Symphony’s powerful performance of Mahler’s somber, morbid, mercurial, epic, and sometimes phantasmagorical Ninth Symphony, almost everything seemed changed two weeks later. A new conductor was onstage, Australia-born maestra Jessica Cottis, making her Queen City…

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#Alan Black #Benjamin Geller #Bertold Brecht #Calin Ovidiu Lupanu #Chester Kallman #George Balanchine #Jesse Montgomery #Jessica Cottis #Knight Theater at Levine Avenue of the Arts #Kurt Weill #Lindsay Kesselman #Reginald Powell #Stewart Goodyear #Terry Maskin #W.H. Auden

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xolelwaollienhlabatsi · 2 years

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ORANGE x IPHONE 13 - RAIN GIRL from Truman & Cooper on Vimeo.

Production : Diplomats.tv EP : Roman Pichon Herrera Producer : Vincent Veve 1st AD : Mark Zarka

Service Production : Solent Film

DP : Melodie Preel Set Designer : Lucie Beauvert Styling : Marion Brillouet Choreographer : Supple Nam Post Supervisor : P.E Sigwalt Editor : Benjamin Weill Colorist : Arthur Paux VFX : Flore Mounier Post House: Firm Studio

Agency : Publicis Conseil Creative Director : Fabrice Delacourt Art Director : Raphael Halin Copy Writer : Benjamin Sanial TV Producer : Benjamin Auberdiac

Cast : Lacey Lansiquot Marie Pierre Bellefleur Cesar Meric

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surrealistnyc · 3 years

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Out now, the second issue of Ouroboros features sections devoted to Jean-Claude Silbermann and Max Schoendorff as well as Simone Weill, Walter Benjamin, and more.

#Jean-Claude Silbermann #Max Schoendorff #Ouroboros

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aliveandfullofjoy · 4 years

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2020 Quarantine Viewing: Ranked (as of May 8)

(asterisks indicate rewatches, because I've been doing more of that than usual)

This is so, so, so subjective (and I know I'm in the minority on Blade Runner), but I only really dislike, like, the bottom four (and even then, there are things in Crazy, Stupid, Love. that I like, despite the rest of the movie). But the top, like, I dunno, 44(?) movies on this list come with some degree of recommendation from me. :)

*Parasite (Bong, 2018)

*Inglourious Basterds (Tarantino, 2009)

Two for the Road (Donen, 1967)

*Moonstruck (Jewison, 1987)

Scattered Clouds (Naruse, 1967)

Seven Samurai (Kurosawa, 1954)

*A Star is Born (Cukor, 1954)

*The Umbrellas of Cherbourg (Demy, 1964)

*The Iron Giant (Bird, 1999)

*What's Opera, Doc? (Jones, 1957) (short)

The Hero (Ray, 1966)

*Dog Day Afternoon (Lumet, 1975)

*The Emperor's New Groove (Dindal, 2000)

*Bao (Shi, 2018) (short)

Only Angels Have Wings (Hawks, 1939)

Whisper of the Heart (Kondo, 1995)

Uncle Yanco (Varda, 1967) (short)

*Raising Arizona (Coen, 1987)

Ponyo (Miyazaki, 2008)

Who Framed Roger Rabbit (Zemeckis & Williams, 1988)

Rushmore (Anderson, 1998)

Sleepless in Seattle (Ephron, 1993)

*Blazing Saddles (Brooks, 1974)

*Double Indemnity (Wilder, 1944)

*Best in Show (Guest, 2000)

Monsoon Wedding (Nair, 2001)

Hail, Caesar! (Coens, 2016)

The Muppet Movie (Frawley, 1979)

Asparagus (Pitt, 1979) (short)

*Blade Runner (Scott, 1982)

Mikey and Nicky (May, 1976)

*Philadelphia (Demme, 1993)

Girlfriends (Weill, 1978)

*The Music Man (DaCosta, 1962)

The Prestige (Nolan, 2006)

The Talk of the Town (Stevens, 1942)

The Scarlet Empress (von Sternberg, 1934)

*A Bug's Life (Lasseter, 1998)

The Two of Us (Berri, 1967)

Arsenic and Old Lace (Capra, 1944)

Claudine (Berry, 1974)

Desperately Seeking Susan (Seidelman, 1985)

What's Up, Doc? (Bogdanovich, 1972)

John Wick (Stahelski & Leitch, 2014)

Dial M for Murder (Hitchcock, 1954)

*Tangled (Greno & Howard, 2010)

A Moment in Love (Clarke, 1956) (short)

Les Escargots (Laloux, 1966) (short)

Cast Away (Zemeckis, 2000)

Mabel's Blunder (Normand, 1914) (short)

The Hustler (Rossen, 1961)

Romy & Michele's High School Reunion (Mirkin, 1997)

The First Wives Club (Wilson, 1996)

Treasure Planet (Clements & Musker, 2002)

Mansfield Park (Rozema, 1999)

Tigertail (Yang, 2020)

The Magnificent Seven (Sturges, 1960)

Music and Lyrics (Lawrence, 2007)

The One I Love (McDowell, 2014)

My Big Fat Greek Wedding (Zwick, 2002)

Chitty Chitty Bang Bang (Hughes, 1968)

Splash (Howard, 1984)

Onward (Scanlon, 2020)

The Money Pit (Benjamin, 1986)

*The Great Mouse Detective (Clements, Mattinson, Michener, & Musker, 1986)

The Little Orphan (Barbera & Hanna, 1948) (short)

Crazy, Stupid, Love. (Ficarra & Requa, 2011)

The Notebook (Cassavetes, 2004)

Logorama (Alaux, de Crécy, & Houplain, 2009) (short)

Soapdish (Hoffman, 1991)

#sometimes elliott watches movies #holy shit no1curr

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speakingparts · 2 years

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ATHENA [ROMAIN GAVRAS, 2022]

sublime opening sequence. pure rapture. the whole first part is epic. too bad about the second part getting lost. Sami Slimane is very promising.

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dustedmagazine · 5 years

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Why Brecht Now? Vol. II: Nina Simone sings “Pirate Jenny”

Lotte Lenya’s terrific performance of “Pirate Jenny” in G.W. Pabst’s 1931 film version of The Threepenny Opera might be the most enduring version of the song. Brecht abandoned the movie project halfway through the shoot, suspicious of Pabst’s aestheticism and tired of arguing over changes to the narrative scenario and the stage play’s script. One wonders what Brecht might have made of Nina Simone’s rendition of “Pirate Jenny,” which he co-wrote with Kurt Weill in the late 1920s. Simone makes the song her own, not just in the idiosyncrasies of her performance, but in her substantive alterations to the song’s setting, to its title character and to its politics. Simone’s version is found on her 1964 LP Nina Simone in Concert. Below I present the lyrics to her performance, then, in brackets, Brecht’s original German. Following that are my thoughts on the song.

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You people can watch while I’m scrubbing these floors And I’m scrubbing the floors while you’re gawking Maybe once you tip me, and it makes you feel swell In this crummy southern town, in this crummy old hotel But you’ll never guess to who you’re talking No, you could never guess to who you’re talking Then one night, there’s a scream in the night And you wonder, who could that have been? And you see me kind of grinning while I’m scrubbing And you say, “What’s she got to grin?” I’ll tell you

There’s a ship The black freighter With a skull on its masthead, will be coming in

You gentlemen can say, “Hey gal, finish them floors! Get upstairs! What’s wrong with you? Earn your keep here!” And you toss me your tips and look out to the ships But I’m counting your heads as I’m making the beds Cuz there’s nobody gonna sleep here, tonight Nobody’s gonna sleep here, honey Nobody Nobody Then one night, there’s a scream in the night And you say, “Who’s that kicking up a row?” And you see me kind of staring out the window And you say, “What’s she got to stare at now?” I’ll tell you

There’s a ship The black freighter Turns around in the harbor, shooting guns from her bow

Now, you gentlemen can wipe off that smile off your face Cuz every building in town is a flat one This whole fricking place will be down to the ground Only this old, cheap hotel standing up, safe and sound And you yell, “Why do they spare that one?” Yes, that’s what you say: “Why do they spare that one?” All the night through, through the noise and to-do You wonder, who is that person that lives up there And you see me stepping out in the morning Looking nice, with a ribbon in my hair

And the ship The black freighter Runs a flag up its masthead and a cheer rings the air!

By noontime the dock is aswarming with men Coming out from the ghostly freighter They move in the shadows where no one can see And they’re chaining up people and they’re bringing ‘em to me Asking me, “Kill them now or later?” Asking me, “Kill them now or later?” Noon by the clock, and so still at the dock You can hear a foghorn miles away And in the quiet of death, I’ll say, “Right now. Right now!” And they pile up the bodies, and I’ll say, “That’ll learn ya!”

And the ship The black freighter Disappears out to sea, and on it is me Ha!

[Meine Herren, heute sehen Sie mich Gläser abwaschen Und ich mache das Bett für jeden Und Sie geben mir einen Penny und ich bedanke mich schnell Und Sie sehen meine Lumpen und dies lumpige Hotel Und Sie wissen nicht, mit wem Sie reden Und Sie wissen nicht, mit wem Sie reden Aber eines Tags wird ein Geschrei sein ma Hafen Und man fragt: Was ist das für ein Geschrei? Und man wird mich lächeln sehn bei meinen Gläsern Und man fragt: Was lächelt die dabei?

Und ein Schiff mit acht Segeln Und mit fünfzig Kanonen Wird liegen am Kai

Man sagt, geh, wisch deine Gläser, mein Kind Und man reicht mir den Penny hin Und der Penny wird genommen Und das Bett wird gemacht Es wird keiner mehr drin schlafen in dieser Nacht Und die wissen immer noch nicht, wer ich bin Und die wissen immer noch nicht, wer ich bin Und in dieser Nacht wird ein Getös sein am Hafen Und man fragt: Was ist das für ein Getös? Und man wich mich stehen sehen hinterm Fenster Und man fragt: Was lächelt die so bös?

Und ein Schiff mit acht Segein Und mit fünfzig Kanonen Wird bescheissen die Stadt

Meine Herren, da wird wohl ihr Lachen aufhörn Den die Mauern warden fallen hin Und am dritten Tage ist die Stadt dem Erdboden gleich Nur ein lumpiges Hotel wird veschont von jedem Streich Und man fragt: Wer wont Besonderer darin? Und man fragt: Wer wont Besonderer darin? Und in dieser Nacht wird ein Geschrei um das Hotel sien Und man fragt: Warum wird das Hotel verschont? Und man sieht mich treten aus der Tür gegen Morgen Und man sagt: Die hat darin gewohnt?

Und ein Schiff mit acht Segein Und mit fünfzig Kanonen Wird beflaggen den Mast

Und es werden kommen hundert gen Mittag an Land Und werden in den Schatten treten Und fangen einen jeglichen aus jeglicher Tür Und legen ihn in Ketten und bringen ihn mir Und mich fragen: Welchen sollen wir töten? Und mich fragen: Welchen sollen wir töten? Und am diesem Mittag wird es still sein am Hafen Wenn man fragt, wer wohl sterben muss Und da warden Sie mich sagen hören: Alle! Und wenn dann der Kopf fällt, sage ich: Hoppla!

Und ein Schiff mit acht Segein Und mit fünfzig Kanonen Wird enschwinden mit mir]

In Pabst’s film, Jenny sings soon after learning that her erstwhile lover and pimp Mackie Messer has married Polly Peachum — and immediately after accepting a bribe from Polly’s mother, Mrs. Peachum, to betray Mackie to the London cops. Jenny takes the money, tips off the cops and sings. It seems like a desperate, nihilistic moment: an abject woman, amid turbid emotional and ethical crises, articulates a violent fantasy of absolute power. Whose side is Jenny on? Her own, of course, but operating at such an alienated distance from the social is never a good thing in Brecht.

Simone’s performance feeds off Jenny’s anger and abjection, but the social politics of Simone’s revision are more emphatic, even didactic. In that way, she participates in Brecht’s artistic ethos: Walter Benjamin once noted that Brecht kept a statuette of a donkey in his apartment, and around the donkey’s neck was a sign that read, “Even I must understand it.”

The import of Simone’s relocation of the song — from The Threepenny Opera’s Victorian London, to “this crummy southern town, in this crummy old hotel” — wouldn’t have been obscure to anyone in the Carnegie Hall audiences in front of whom she recorded Nina Simone in Concert, in March and April of 1964. The American south was then embroiled in civil rights struggle and mounting violence: Medgar Evers had been executed in his Mississippi driveway in June of 1963, and just a few months later, Addie Mae Collins, Carol Denise McNair, Carole Robertson and Cynthia Wesley were murdered in the 16th Street Baptist Church bombing in Birmingham, AL. Collins, Robertson and Wesley were 14 years old; McNair was 11.

Simone addressed that violence in another, more famous song on Nina Simone in Concert, “Mississippi Goddam”: “Alabama’s got me so upset / Tennessee made me lose my rest / And everybody knows about Mississippi, goddam!” It’s rightly noted to be a watershed song, signaling Simone’s forceful transformation into protest singer, activist and cultural radical. Her version of “Pirate Jenny” may lack the referential specificity of that other, more storied song (and “Mississippi Goddam” gets pretty direct; at one point in the song, she intones, “Oh, but this whole country is full of lies / You’re all gonna die, and die like flies / I don’t trust you anymore” — in Carnegie Hall). But “Pirate Jenny” is a lively complement to the indignation of “Mississippi Goddam,” and tonally it’s even more bitter, even more violent.

You can hear that implicit violence in the horrific cackle Simone produces at the 3:27 mark, immediately after the infantilizing image of the ribbon in Jenny’s hair. It’s a stirring contrast: the feminine innocent become vengeful fury. You can hear the bitterness in the final “Ha!” that bursts from her throat as she imagines herself disappearing over the horizon line with the ship. You can feel it in one of Simone’s other revisions to the song. In The Threepenny Opera, the song climaxes with Jenny’s shocking order that all the men in London (“Alle!”) should be killed for her pleasure. In Simone’s version, there’s never any doubt that all of her prisoners should be killed, it’s only a matter of how quickly. She hisses, rapaciously, “Right now / Right now!”

In another notable change, Simone’s Jenny isn’t a prostitute, but a maid, cleaning up after “you people” in the aforementioned “crummy hotel.” Jenny is still marginalized, but there’s nothing subterranean or metaphorical about the economic environment she moves through. It’s all culturally sanctioned. Her oppression is a transparent element of her southern lifeworld, and she is thus sharply conscious of the manifest power of those transactions: “Maybe once you tip me, and it makes you feel swell.” It’s an important change to Brecht’s original lyrics, focusing on a set of economic relations that indicate Jenny’s racially charged plight. She’s a maid in a southern hotel, a laboring black woman, who’s made recognizable as such precisely because of the larger Jim Crow-period matrix of law and social practice that determined who did what work for whom.

That economic register makes some of the song’s subsequent images even more resonant. The people on the receiving end of Jenny’s rage are “chained up” on the “dock.” The spectacle of terrified, chained bodies by the seaside evokes the slave auction block, even as the image wants to invert the slave economy’s racialized logic, of white oppressing black. And Simone repeatedly calls the ship in the harbor a “black freighter.” Black freight. It’s another marker for the slave trade, and perhaps Jenny is trying to run the film in reverse. Perhaps she wants to board the vessel, to sail all the slave ships back across the Atlantic, to neutralize the horror of the Middle Passage. That sounds like a utopian desire, a triumphal image that the song’s tone cannot sustain, or even create in the first place. Too much misery and violence has already happened. American history has already insisted that blackness and capital are inextricably bound. Utopian longing is beside the point. What’s needed is critique, sharpened by righteous rage.

The historical period that we call “the Sixties” ground on for another ten years after Simone’s 1964 Carnegie Hall gigs. She became increasingly militant in her public rhetoric and performative style. She claimed once to have looked Martin Luther King in the face and said, “I am not non-violent.” Her voice throughout “Pirate Jenny” is a sort of corroborating evidence for that assertion.

Simone’s assertiveness continues to reverberate today, as many of the most insistent leftist voices in American institutional politics come from women’s bodies, bodies that are black and ethnically Middle Eastern and Latinx. Why are the reactionaries so obsessed with AOC, with Rashida Tlaib, with Ilhan Omar? Because those women say stuff like “permanent war economy” in public? Because they eschew the rhetoric of moderation? Because they call themselves socialist and don’t seem in the least bit tentative about it? Maybe it’s because they refuse to wait. They want justice. Right now. They want an end to economic exploitation. Right now. They, and the constituencies they represent, have no time to waste on political nicety or policy based on half-measure. They insist that they will be heard. Right now.

Jonathan Shaw

#nina simone #bertolt brecht #why brecht now #jonathan shaw #threepenny opera #dusted magazine #feature #pirate jenny #lotte lenya

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yierva · 5 years

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De una conversación con Gustav Glück y Kurt Weill Relaciones de propiedad en los dibujos animados de Mickey Mouse: ahí, por primera vez, nos damos cuenta de que es posible ser privados de nuestro propio brazo o hasta de nuestro propio cuerpo. El recorrido de Mickey Mouse es más parecido al de un expediente administrativo que al de un corredor de maratón. En estas películas, la especie humana se prepara para sobrevivir a la civilización. Mickey Mouse demuestra que una criatura todavía puede sobrevivir aunque esté privada del aspecto humano. Destruye la jerarquía completa de las criaturas que, se supone, culmina en la humanidad. Estas películas refutan el valor de la experiencia de la manera más radical que se haya hecho nunca. En ese mundo, no vale la pena adquirir experiencia. Analogía con las fabulas. No, ya que los elementos más vitales en las fabulas son evocados de forma menos simbólica y sugestiva. Hay un inconmensurable abismo entre ellas y Maeterlinck o Mary Wigman. Todas las películas de Mickey Mouse se basan en el tema del irse de casa para descubrir qué es el miedo. Por tanto, la explicación del enorme éxito de estas películas no se debe a la técnica, a la forma; tampoco se trata de un equívoco. Se da simplemente por el hecho de que el público reconoce ahí su propia vida.

"Mickey Mouse", Walter Benjamin

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pigeons-sitting-on-branches · 6 years

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West Coast (2016) Benjamin Weill 06-05-2018 Fun teen adventure comedy about four French rural teenagers who image themselves after the west coast rap scene

#west coast #2016 #benjamin weill #france #devi couzigou #mathis crusson #victor le blond #sullivan loyez

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simmone1021 · 2 years

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NEXT STOP ON THE 2022 BLACK HISTORY TRAIN: Clarence B. Jones, Esq.? ❤🖤💚 Clarence Benjamin Jones is the former personal counsel, advisor, draft speech writer and close friend of Rev. Dr. Martin Luther King Jr. He is a Scholar in Residence at the Martin Luther King, Jr. Institute at Stanford University. Mr. Jones is the author of "What Would Martin Say?", and "Behind the Dream: The Making of the Speech that Transformed a Nation". In 1962, Rev. Dr. Martin Luther King Jr. wrote a letter recommending his lawyer and advisor, Clarence B. Jones, to the New York State Bar. Five years later, at age 36, Jones joined the investment banking and brokerage firm of Carter, Berlind & Weill where he worked alongside future Citigroup Chairman and CEO, Sanford I. Weill and SEC Chairman, Arthur Levitt. Jones was the first African-American to be named an allied member of the New York Stock Exchange. Most recently, Sir Jones was awarded the coveted Thurgood Marshall Award in 2021 for his critical role in civil rights and social justice. https://www.instagram.com/p/CZ43VleFjvHN8PBP-GYZZZuDrxBxh1Jsn2tqz00/?utm_medium=tumblr

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madamlaydebug · 6 years

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Committee of300 Abdullah II King of Jordan Roman Abramovich Josef Ackermann Edward Adeane Marcus Agius Martti Ahtisaari Daniel Akerson Albert II King of Belgium Alexander Crown Prince of Yugoslavia Giuliano Amato Carl A. Anderson Giulio Andreotti Andrew Duke of York Anne Princess Royal Nick Anstee Timothy Garton Ash William Waldorf Astor Pyotr Aven Jan Peter Balkenende Steve Ballmer Ed Balls Jose Manuel Barroso Beatrix Queen of the Netherlands Marek Belka C. Fred Bergsten Silvio Berlusconi Ben Bernanke Nils Bernstein Donald Berwick Carl Bildt Sir Winfried Bischoff Tony Blair Lloyd Blankfein Leonard Blavatnik Michael Bloomberg Frits Bolkestein Hassanal Bolkiah Michael C Bonello Emma Bonino David L. Boren Borwin Duke of Mecklenburg Charles Bronfman Edgar Jr. Bronfman John Bruton Zbigniew Brzezinski Robin Budenberg Warren Buffett George HW Bush David Cameron Camilla Duchess of Cornwall Fernando Henrique Cardoso Peter Carington Carl XVI Gustaf King of Sweden Carlos Duke of Parma Mark Carney Cynthia Carroll Jaime Caruana Sir William Castell Anson Chan Margaret Chan Norman Chan Charles Prince of Wales Richard Chartres Stefano Delle Chiaie Dr John Chipman Patokh Chodiev Christoph Prince of Schleswig-Holstein Fabrizio Cicchitto Wesley Clark Kenneth Clarke Nick Clegg Bill Clinton Abby Joseph Cohen Ronald Cohen Gary Cohn Marcantonio Colonna di Paliano Duke of Paliano Marcantonio Colonna di Paliano Duke of Paliano Constantijn Prince of the Netherlands Constantine II King of Greece David Cooksey Brian Cowen Sir John Craven Andrew Crockett Uri Dadush Tony D'Aloisio Alistair Darling Sir Howard Davies Etienne Davignon David Davis Benjamin de Rothschild David Rene de Rothschild Evelyn de Rothschild Leopold de Rothschild Joseph Deiss Oleg Deripaska Michael Dobson Mario Draghi Jan Du Plessis William C. Dudley Wim Duisenberg Edward Duke of Kent Edward Earl of Wessex Elizabeth II Queen of the United Kingdom John Elkann Vittorio Emanuele Prince of Naples Ernst August Prince of Hanover Martin Feldstein Matthew Festing François Fillon Heinz Fischer Joschka Fischer Stanley Fischer Niall FitzGerald Franz Duke of Bavaria Mikhail Fridman Friso Prince of Orange-Nassau Bill Gates Christopher Geidt Timothy Geithner Georg Friedrich Prince of Prussia Dr Chris Gibson-Smith Mikhail Gorbachev Al Gore Allan Gotlieb Stephen Green Alan Greenspan Gerald Grosvenor 6th Duke of Westminster Jose Angel Gurria William Hague Sir Philip Hampton Hans-Adam II Prince of Liechtenstein Harald V King of Norway Stephen Harper François Heisbourg Henri Grand Duke of Luxembourg Philipp Hildebrand Carla Anderson Hills Richard Holbrooke Patrick Honohan Alan Howard Alijan Ibragimov Stefan Ingves Walter Isaacson Juan Carlos King of Spain Kenneth M. Jacobs DeAnne Julius Jean-Claude Juncker Peter Kenen John Kerry Mervyn King Glenys Kinnock Henry Kissinger Malcolm Knight William H. Koon II Paul Krugman John Kufuor Giovanni Lajolo Anthony Lake Richard Lambert Pascal Lamy Jean-Pierre Landau Timothy Laurence Arthur Levitt Michael Levy Joe Lieberman Ian Livingston Lee Hsien Loong Lorenz of Belgium Glenys Kinnock Henry Kissinger Malcolm Knight William H. Koon II Paul Krugman John Kufuor Giovanni Lajolo Anthony Lake Richard Lambert Pascal Lamy Jean-Pierre Landau Timothy Laurence James Leigh-Pemberton Leka Crown Prince of Albania Mark Leonard Peter Levene Lev Leviev Arthur Levitt Michael Levy Joe Lieberman Ian Livingston Lee Hsien Loong Lorenz of Belgium Archduke of Austria-Este Louis Alphonse Duke of Anjou Gerard Louis-Dreyfus Mabel Princess of Orange-Nassau Peter Mandelson Sir David Manning Margherita Archduchess of Austria-Este Margrethe II Queen of Denmark Guillermo Ortiz Martinez Alexander Mashkevitch Stefano Massimo Prince of Roccasecca dei Volsci Fabrizio Massimo-Brancaccio Prince of Arsoli and Triggiano William Joseph McDonough Mack McLarty Yves Mersch Michael Prince of Kent Michael King of Romania David Miliband Ed Miliband Lakshmi Mittal Glen Moreno Moritz Prince and Landgrave of Hesse-Kassel Rupert Murdoch Charles Napoleon Jacques Nasser Robin Niblett Vincent Nichols Adolfo Nicolas Christian Noyer Sammy Ofer Alexandra Ogilvy Lady Ogilvy David Ogilvy 13th Earl of Airlie Jorma Ollila Nicky Oppenheimer George Osborne Frederic Oudea Sir John Parker Chris Patten Michel Pebereau Gareth Penny Shimon Peres Philip Duke of Edinburgh Dom Duarte Pio Duke of Braganza Karl Otto Pohl Colin Powell Mikhail Prokhorov Guy Quaden Anders Fogh Rasmussen Joseph Alois Ratzinger (Pope Benedict XVI) David Reuben Simon Reuben William R. Rhodes Susan Rice Richard Duke of Gloucester Sir Malcolm Rifkind Sir John Ritblat Stephen S. Roach Mary Robinson David Rockefeller Jr. David Rockefeller Sr. Nicholas Rockefeller Javier Echevarria Rodriguez Kenneth Rogoff Jean-Pierre Roth Jacob Rothschild David Rubenstein Robert Rubin Francesco Ruspoli 10th Prince of Cerveteri Joseph Safra Moises Safra Peter Sands Nicolas Sarkozy Isaac Sassoon James Sassoon Sir Robert John Sawers Marjorie Scardino Klaus Schwab Karel Schwarzenberg Stephen A. Schwarzman Sidney Shapiro Nigel Sheinwald Sigismund Grand Duke of Tuscany Archduke of Austria Simeon of Saxe-Coburg and Gotha Olympia Snowe Sofia Queen of Spain George Soros Arlen Specter Ernest Stern Dennis Stevenson Tom Steyer Joseph Stiglitz Dominique Strauss-Kahn Jack Straw Peter Sutherland Mary Tanner Ettore Gotti Tedeschi Mark Thompson Dr. James Thomson Hans Tietmeyer Jean-Claude Trichet Paul Tucker Herman Van Rompuy Alvaro Uribe Velez Alfons Verplaetse Kaspar Villiger Maria Vladimirovna Grand Duchess of Russia Paul Volcker Otto von Habsburg Hassanal Bolkiah Mu'izzaddin Waddaulah Sultan of Brunei Sir David Walker Jacob Wallenberg John Walsh Max Warburg Axel Alfred Weber Michael David Weill Nout Wellink Marina von Neumann Whitman Willem-Alexander Prince of Orange William Prince of Wales Dr Rowan Williams Shirley Williams David Wilson James Wolfensohn Neal S. Wolin Harry Woolf R. James Jr. Woolsey Sir Robert Worcester Sarah Wu Robert Zoellick Most of the names listed above are of Jewish lineage

4 notes · View notes