#Bill McKibbon

[dreaminginthedeepsouth]

Drew Sheneman, Newark Star-Ledger

* * * * *

Bill McKibben writes: 

A planet at 420 parts per million co2 is a different planet than one at 275 parts per million. If Captain Kirk was landing on it, the first thing his tricorder would register is the composition of the atmosphere; when you’re talking planets, it’s a pretty basic data point. 

So we don’t really know what surprises are in store—though that news that the Antarctic current was starting to slow like a hose with a crimp is fair warning.

I don’t say all this in the service of despair, but of preparation. We need to be psychologically prepared for the fact that, for all we’ve tried to do together, this crisis is about to worsen. Forewarned is, to some small extent, forearmed. I suppose some might need to prepare themselves individually too, though that’s not my focus (Alex Steffen, the futurist, has begun offering courses on ‘ruggedization,’ which links personal preparation to community resilience, and defintiely beats buying out-of-date MREs from your favorite rightwing podcaster).

But we really need to be prepared politically. Each of these surges in warming unleashed by the next El Nino comes with new political possibilities, as people see and feel more clearly our peril. At the moment, our climate politics, like our climate itself, is a little stalled. The surge of change that came from Greta’s school strikes, the Paris accords, the Green New Deal has waned; we’re in a new stalemate where the oil industry has learned to rely on delay instead of denial. It often takes them a few years, but eventually they get good at working the politics—for the moment, for instance, they’ve got their captive state treasurers locking banks and asset managers in place with the charged that worrying about the fiscal implications of the climate crisis represents ‘woke capitalism.’

As the next round of savage heatwaves proceeds, it will come with new pressure for action from our governments and corporations. We need to be able to channel that pressure effectively, with key goals in mind: the absolute end to new fossil fuel development and exploration, the quick weaning from existing supplies of coal and gas and oil and with it the equally rapid buildout of cleaner sources of energy, the unwavering support for the places and people hardest hit. 

There will be all sorts of emotions; I hope that the anger people will rightly feel is channeled toward the corporate and legal destruction of the companies that have lied for three decades and still represent the largest barrier to change.It’s just the right moment for Not Too Late, a new anthology compiled by two old friends who are also among the most stalwart leaders of the climate fight. 

Rebecca Solnit and Thelma Young-Latunatabua have managed something important: an alternative to doomism that isn’t sentimental or treacly, but absolutely serious. “Hope is not the guarantee that things will be okay,” 

Young-Lutunatabua says. “It’s the recognition that there’s spaciousness for action, that the future is uncertain, and in that uncertainty, we have space to step into and make the future we want.” I agree with that—with the caveat that the spaciousness doesn’t last forever. I have the strong instinct that this El Nino may be the last of these moments that the earth offers us in a time frame still relevant to making coherent and savvy civilization-scale change. We dare not misuse it.  

[Bill McKibbon]

#climate change #Drew Sheneman #Bill McKibbon #Not Too Late #get ready

[ceevee5]

The Teck mine would be the biggest tar sands mine yet: 113 square miles of petroleum mining, located just 16 miles from the border of Wood Buffalo national park. A federal panel approved the mine despite conceding that it would likely be harmful to the environment and to the land culture of Indigenous people. These giant tar sands mines (easily visible on Google Earth) are already among the biggest scars humans have ever carved on the planet’s surface. But Canadian authorities ruled that the mine was nonetheless in the “public interest”.

#tar sands #climate change #justin trudeau #canadian politics #bill mckibbon

[notwiselybuttoowell]

#climate change #bill mckibbon #climate anxiety #environment #opinion piece

[whileiamdying]

Art Blakey

Pittsburgh, PA ・October 11th, 1919  New York City, NY ・October 16, 1990

In the '60s, when John Coltrane and Ornette Coleman were defining the concept of a jazz avant-garde, few knowledgeable observers would have guessed that in another 30 years the music's mainstream would virtually bypass their innovations, in favor of the hard bop style that free jazz had apparently supplanted. As it turned out, many listeners who had come to love jazz as a sophisticated manifestation of popular music were unable to accept the extreme esotericism of the avant-garde; their tastes were rooted in the core elements of "swing" and "blues," characteristics found in abundance in the music of the Jazz Messengers, the quintessential hard bop ensemble led by drummer Art Blakey. In the '60s, '70s, and '80s, when artists on the cutting edge were attempting to transform the music, Blakey continued to play in more or less the same bag he had since the '40s, when his cohorts included the likes of Charlie Parker, Miles Davis, and Fats Navarro. By the '80s, the evolving mainstream consensus had reached a point of overwhelming approval in regard to hard bop: this is what jazz is, and Art Blakey -- as its longest-lived and most eloquent exponent -- was its master. 

The Jazz Messengers had always been an incubator for young talent. A list of the band's alumni is a who's who of straight-ahead jazz from the '50s on -- Lee Morgan, Wayne Shorter, Freddie Hubbard, Johnny Griffin, Jackie McLean, Donald Byrd, Bobby Timmons, Cedar Walton, Benny Golson, Joanne Brackeen, Billy Harper, Valery Ponomarev, Bill Pierce, Branford Marsalis, James Williams, Keith Jarrett, and Chuck Mangione, to name several of the most well-known. In the '80s, precocious graduates of Blakey's School for Swing would continue to number among jazz's movers and shakers, foremost among them being trumpeter Wynton Marsalis. Marsalis became the most visible symbol of the '80s jazz mainstream; through him, Blakey's conservative ideals came to dominate the public's perception of the music. At the time of his death in 1990, the Messenger aesthetic dominated jazz, and Blakey himself had arguably become the most influential jazz musician of the past 20 years. 

Blakey's first musical education came in the form of piano lessons; he was playing professionally as a seventh grader, leading his own commercial band. He switched to drums shortly thereafter, learning to play in the hard-swinging style of Chick Webb and Sid Catlett. In 1942, he played with pianist Mary Lou Williams in New York. He toured the South with Fletcher Henderson's band in 1943-1944. From there, he briefly led a Boston-based big band before joining Billy Eckstine's new group, with which he would remain from 1944-1947. Eckstine's big band was the famous "cradle of modern jazz," and included (at different times) such major figures of the forthcoming bebop revolution as Dizzy Gillespie, Miles Davis, and Charlie Parker. When Eckstine's group disbanded, Blakey started a rehearsal ensemble called the Seventeen Messengers. He also recorded with an octet, the first of his bands to be called the Jazz Messengers. In the early '50s, Blakey began an association with Horace Silver, a particularly likeminded pianist with whom he recorded several times. In 1955, they formed a group with Hank Mobley and Kenny Dorham, calling themselves "Horace Silver and the Jazz Messengers." The Messengers typified the growing hard bop movement -- hard, funky, and bluesy, the band emphasized the music's primal rhythmic and harmonic essence. A year later, Silver left the band, and Blakey became its leader. From that point, the Messengers were Blakey's primary vehicle, though he would continue to freelance in various contexts. Notable was A Jazz Message, a 1963 Impulse record date with McCoy Tyner, Sonny Stitt, and Art Davis; a 1971-1972 world tour with "the Giants of Jazz," an all-star venture with Thelonious Monk, Dizzy Gillespie, Sonny Stitt, and Al McKibbon; and an epochal drum battle with Max Roach, Elvin Jones, and Buddy Rich at the 1964 Newport Jazz Festival. Blakey also frequently recorded as a sideman under the leadership of ex-Messengers. 

Blakey's influence as a bandleader could not have been nearly so great had he not been such a skilled instrumentalist. No drummer ever drove a band harder; none could generate more sheer momentum in the course of a tune; and probably no drummer had a lower boiling point -- Blakey started every performance full-bore and went from there. His accompaniment style was relentless, and woe to the young saxophonist who couldn't keep up, for Blakey would run him over like a fullback. Blakey differed from other bop drummers in that his style was almost wholly about the music's physical attributes. Where his contemporary Max Roach dealt extensively with the drummer's relationship to melody and timbre, for example, Blakey showed little interest in such matters. To him, jazz percussion wasn't about tone color; it was about rhythm -- first, last, and in between. Blakey's drum set was the engine that propelled the music. To the extent that he exhibited little conceptual development over the course of his long career, either as a player or as a bandleader, Blakey was limited. He was no visionary by any means. But Blakey did one thing exceedingly well, and he did it with genius, spirit, and generosity until the very end of his life.

— Chris Kelsey

#Art Blakey #Jazz #iTunes

[larkandkatydid]

Where do you find/find out about the books that you read? Asking because a significant chunk of my goodreads list is stuff I see you talking about or quoting on here.

So, I feel like I have two main sources these days.  The first is that I made a concerted effort to read and seek out nature/science/climate change books written by women and people of color and so just have tried to take an extra step in searching those out.  A big part of that for me has been noting when authors are referenced in other books and then tracking those authors’ down. So, for example Lauret Savoy’s Trace was referenced in one of Robert McFarlane’s books and then  Robin Wall Kimmerer was referenced in Trace.  I believe that Bill McKibbon referenced Elizabeth Rush’s Rising either in a book or on twitter.  I think I might also be slowly training the Goodreads algorithm in this direction because Goodreads recommended The Mushroom at the End of the World to me. 

The other is that I get a lot of my book recommendations from podcasts.  I’ve been meaning to do a “books I learned about from podcasts” list but it’s somewhat embarrassing to reveal my basic bitch middle-aged podcast tastes. 

[randomvarious]

Cal Tjader feat. Carmen McRae - “Heat Wave” Swingin’ Jazz for Hipsters, Volume 2 Song released in 1982. Compilation released in 1997. Latin Jazz

Here’s a good summary of Cal Tjader, the most celebrated non-Latin Latin jazz musician of all time, provided by critic Richard S. Ginell:

Cal Tjader was undoubtedly the most famous non-Latino leader of Latin jazz bands, an extraordinary distinction. From the 1950s until his death, he was practically the point man between the worlds of Latin jazz and mainstream bop; his light, rhythmic, joyous vibraphone manner could comfortably embrace both styles. His numerous recordings for Fantasy and Verve and long-standing presence in the San Francisco Bay Area eventually had a profound influence upon Carlos Santana, and thus Latin rock. He also played drums and bongos, the latter most notably on the George Shearing Quintet’s puckishly titled “Rap Your Troubles in Drums,” and would occasionally sit in on piano as well.

Tjader studied music and education at San Francisco State College before hooking up with fellow Bay Area resident Dave Brubeck as the drummer in the Brubeck Trio from 1949 to 1951. He then worked with Alvino Rey, led his own group, and in 1953, joined George Shearing’s then hugely popular quintet as a vibraphonist and percussionist. It was in Shearing’s band that Tjader’s love affair with Latin music began, ignited by Shearing’s bassist Al McKibbon, nurtured by contact with Willie Bobo, Mongo Santamaria, and Armando Peraza, and galvanized by the ‘50s mambo craze. When he left Shearing the following year, Tjader promptly formed his own band that emphasized the Latin element yet also played mainstream jazz. Bobo and Santamaria eventually joined Tjader’s band as sidemen, and Vince Guaraldi served for a while as pianist and contributor to the band’s songbook (“Ginza,” “Thinking of You, MJQ”). Tjader recorded a long series of mostly Latin jazz albums for Fantasy from the mid-'50s through the early '60s, switching in 1961 to Verve, where under Creed Taylor’s aegis he expanded his stylistic palette and was teamed with artists like Lalo Schifrin, Anita O'Day, Kenny Burrell, and Donald Byrd. Along the way, Tjader managed to score a minor hit in 1965 with “Soul Sauce,” a reworking of Dizzy Gillespie/Chano Pozo’s “Guacha Guaro,” which Tjader had previously cut for Fantasy. Tjader returned to Fantasy in the 1970s, then in 1979 moved over to the new Concord Picante label, where he remained until his death.

That move to Concord Picante is where the story of Tajder’s album with jazz songstress, Carmen McRae, begins. See, throughout the 60s and 70s, Tjader tried expanding his palette some: there was an attempt to link Asian scales with jazz music; he tried jazz with rock backbeats; and he gave in to the fusion craze and added electronic instruments to his band. None of these things were received well by critics, and on top of that, jazz music on the whole was precipitously waning in popularity, taking a distant backseat to rock music.

But at the tail-end of the 70s, Carl Jefferson, the head of Concord Records, came along. Jefferson, who had started his company in 1973, was building a west coast jazz empire, scooping up proven musicians left and right, and giving them a place they could happily call their label home. And with his acquisition of Tjader, he launched a whole new Concord sublabel, Concord Picante, which brought Tjader back to his Latin sound. By 1980, Jefferson had signed Carmen McRae, too, originally pairing her up with Tjader’s former bandleader, George Shearing, for an album.

Then in 1982 came Heat Wave, a full-on collaboration between Tjader, Mcrae, and both of their backing bands. It was Jefferson’s and McRae’s idea to have them team up, but Tjader and McRae ended up butting heads, hard. An excerpt from Cal Tjader: The Life and Recordings of the Man Who Revolutionized Latin Jazz, written by S. Duncan Reid, quotes the album’s drummer, Vince Lateano, and a McRae cohort, Sonny Buxton:

“Everybody was a little apprehensive because Carmen was known to be outspoken. She could be hard on musicians. We all thought, ‘Auugh, what’s going to happen here?’ As it turned out, she loved our band and our concepts. But she and Cal didn’t get along very well. Cal wasn’t really feeling a hundred percent. He’d come in and kind of stumble through some stuff and she would get impatient; it would get tense.”

Buxton, who was invited to attend the first session, had prior experience working with Mcrae as a producer and booker in her company. He was aware of how difficult she could be. The main issue was that Tjader couldn’t read the chart for the first track. “Carmen didn’t let up. ‘How do you call yourself a musician?’ The harangue went on for a long period of time as Cal gradually worked out the tune.”

Eventually, a decision was made to have Tjader come back at a later date and overdub his lines. He did not see McRae again. “If you listen to Heat Wave,” concluded Lateano, “it’s really nice. I’m very proud to be on it. I’m a big Carmen McRae fan, so that made it very worthwhile for me.” Buxton agreed that the LP, which also features Ramon Banda (timbales and percussion) and Al Bent and Mike Heathman (trombone), was a high point for the two artists.

Four months before Heat Wave was released to the public, Cal Tjader died of a heart attack at age 56. The album contained some of his last known studio recordings. And yet, despite his passing, the hardened jazz press remained unimpressed with the album, questioning the efficacy of the one-off team-up between he and McRae.

But Heat Wave still had some glimmers of greatness, like its title track. Originally an Irving Berlin-written tune sung by Ethel Waters, “Heat Wave” had been covered a bunch of times before. However, the people at Concord thought Tjader and McRae’s cover was good enough to earn the album’s top billing. And they were right; the song is simply sensational. The tension that Tjader and McRae had had in the studio isn’t detectable here, as McRae’s light and effortless raspiness trades off with some sweet, horn-led inflations, eventually giving way to the song’s peak, which features a wonderfully layered section where Tjader’s ringing vibes and Mark Levine’s rich piano chords complement each other while Poncho Sanchez and Ramon Banda provide more layers of underlying rhythms. 

Early 80s Latin jazz magic from one of the genre’s maestros, along with one of the greatest jazz singers of all time, Carmen McRae.

#latin jazz #jazz #jazz music #latin #latin music #80s #80s music #80's #80's music #80s latin jazz #80's latin jazz #80s jazz #80's jazz #80s latin #80's latin #80s latin music #80's latin music #music

[davidfnperry]

Generational breakdowns: Deep time fissures & abyssal geological vortices vs. Greatest Generation nostalgia vs. MAGA degenerative denialism

Generational breakdowns: Deep time fissures & abyssal geological vortices vs. Greatest Generation nostalgia vs. MAGA degenerative denialism

Maga Zi, Great Warring States Sage

It’s really something, isn’t it, to reckon with generational narratives, such as that of the Greatest Generation and the US role in WWII, in light of MAGA on one hand and, on the other, the end-Holocene transition into the [                  ]?

My father recently shared via group email a truly touching Memorial Day Salon columnby US military family man Lucian K.…

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#Anthropocene #AOC #Bill McKibbon #David Wallace-Wells #Fathers & sons #Generation gaps #Green New Deal #Roy Scranton #Trump #World War II

[carolkeiter]

Let's Act Differently-Embrace All Life-Change Habits-Incite Responsibility-Share Incentives

Let’s Act Differently-Embrace All Life-Change Habits-Incite Responsibility-Share Incentives

I am sending this letter today, right now, to one after another individual and group on the list included at the bottom. Talk about complete transparency. I want each to realize who all the recipients are, so that they may also add to the list. I need a job, and this is what comes to mind; gathering many to coordinate education at the grass roots level, that all of us can participate in.

I’d like…

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#350.org #acting together #action #Alternatiba #Amy Goodman #ART #Avaaz #Beautiful Solutions Lab #Bill Maher #Bill McKibbon #change habits #Charles Eisenstein #Climate Change #Climate Warriors #Collective Evolution #community involvement #coordination #Dalai Lama #Daniel Pinchbeck #David Wolfe #Defenders of Wildlife #Democracy Collaborative #Democracy Now #DJ Spooky #Earthling Ed #Elon Musk #Gabor Maté #Gar Alperovitz #George Monbiot #Global Climate Action

[filmnoirfoundation]

#NoirCity17 Day 2 at the Castro Theatre: THE WELL (1:30) & DETECTIVE STORY (3:15) and THE TURNING POINT (7:30) & ANGEL FACE (9:15). Films introduce by FNF prez and Noir Alley presenter Eddie Muller. All double bills $12.50.

Saturday, January 26 • Matinée: 1951

1:30 PM THE WELL The disappearance of a young black girl triggers fearful unrest in a small, racially mixed American town. After police arrest a white transient with no alibi, rumors and suspicion threaten to erupt in a full-blown race riot. This provocative film, shot on a miniscule budget in the Northern California towns of Marysville and Yuba City, is a marvel of suspenseful filmmaking, and packs a punch for modern audiences who thought these lessons were learned long ago. Oscar® nominated for Best Screenplay and Best Editing, with stunning work in the final reel by cinematographer Ernest Laszlo. A rarity that is still terrifying and timely. Presented digitally 1951, United Artists. 86 min. Digital Scr. Russell Rouse and Clarence Greene. Dir. Russell Rouse 3:15 PM DETECTIVE STORYThe squad room of the 21st Precinct becomes the setting for a passion play centered around hard-nosed, merciless cop Jim McLeod (Kirk Douglas), whose vehement views of right and wrong are tested during a long, relentless shift. Amid the chaos of crimes both petty and profound, dark secrets are revealed that bring McLeod's moral absolutism crashing down around him. Douglas is his usual volatile self, but the Oscar nods went to Eleanor Parker as his wife, Lee Grant in her sensational movie debut as a collared kleptomaniac, Phil Yordan's adapted screenplay and William Wyler's typically impeccable direction. Presented in DCP courtesy of Paramount

1951, Paramount. 103 min. DCP Scr. Philip Yordan and Robert Wyler, from the play by Sidney Kingsley. Pro. & Dir. William Wyler TICKETS FOR DOUBLE FEATURE: $12.50 at the door.

Saturday, January 26 • Evening: 1952 7:30 PM THE TURNING POINT In the early 1950s America's obsession with organized crime was whetted by televised Congressional hearings, and Hollywood cashed in with a slew of "exposé" films. Paramount took the high road with this star-studded thriller about crusading attorney John Conroy (Edmond O'Brien), who returns to his hometown to root out corruption. Will his childhood pal Jerry McKibbon (William Holden), now a cynical reporter, be an ally or an adversary? And why does Conroy's father (Ed Begley), a veteran cop, not want to spearhead a criminal investigation? A rarity returned to circulation that, sadly, is timely once again. With a knockout finish that takes audiences completely by surprise. Presented in DCP courtesy of Paramount 1952, Paramount. 85 min. DCP Scr. Warren Duff, from a story by Horace McCoy. Dir. William Dieterle 9:15 PM ANGEL FACE Ambulance driver Frank Jessup (Robert Mitchum) responds to an emergency at a hilltop mansion and meets heiress princess Diane Tremayne (Jean Simmons)—who has an Electra-fying secret. Frank and Diane's affair takes a dark turn once her parents unexpectedly drop out of the picture. The simple, doom-laden plot is directed with panache by Preminger, who gets wonderful performances from Simmons and Mitchum, both of whom hated his guts. With a haunting score by the great Dimitri Tiomkin. A nasty, vengeful production by RKO boss Howard Hughes, but so elegant and artful it transcends its pulpy, derivative roots. Featuring one of noir's most stunning finales. Presented in 35mm courtesy of Warner Bros 1953, RKO Radio Pictures [WB], 91 min. 35mm Scr. Frank Nugent and Oscar Millard, from a story by Chester Erskine. Dir. Otto Preminger TICKETS FOR DOUBLE FEATURE: $12.50

#noir city #castro theatre #film noir festival #eddie muller

[herenciarumbera]

ESTAMOS AL AIRE... En REPETICIÓN "UN RATO DE LOCURA" con Auro José Pérez quien difundirá Jazz, Bossa Nova, Latn Jazz y Fusiones. Disfrutarán en la sesión de hoy de Wayner Shorter, Thelonius Monk, Cedar Walton The Pentagon, McCoy Tyner, Al Mckibbon, Sammy Figueroa, Mongo Santamaria, Cal Tjader Quartet, Hilton Ruiz, Tito Puente's Golden Latín jazz, Earth, Wind & Fire, Djavan, Dexter Gordon, Bill Evans, Deodato & Ray Barretto!! Descarga y actualiza nuestra app https://play.google.com/store/apps/details?id=red.simpleapp.herenciarumbera Página Web http://www.herenciarumberaradio.com/ Radio Garden https://radio.garden/listen/herencia-rumbera-radio/7vF-acFD Únete a nuestro Canal de Telegram https://t.me/herenciarumberaradio Grupo de Chat Telegram: https://t.me/hrumberachat Listas de Radio Raddios https://www.raddios.com/12968-radio-online-herencia-rumbera-radio-online-lima-peru Radio Box https://onlineradiobox.com/pe/herenciarumbera/ Radios.com https://radios.com.pe/herencia-rumbera My Tuner https://mytuner-radio.com/radio/herencia-rumbera-433815/ Radio Streema https://streema.com/radios/Herencia_Rumbera Herencia Rumbera Radio Afro Caribe Latino y Más... Del Perú para el Mundo #HerenciaRumberaRadio #UnRatoDeLocura #DiversidadMusical https://www.instagram.com/p/CVsmHEsgkq4/?utm_medium=tumblr

#herenciarumberaradio #unratodelocura #diversidadmusical

[powerhousefit]

Team USA 🇺🇸 Men’s Olympic Rowing History @teamusa #olympics #TBT Did you know: Before my fathers success as an Olympic athlete he had great results as an Olympic Rowing Coach. My father served as the Men’s sculling rowing coach for the USA rowers at the 1976 Montreal Olympics which placed 5th and is the 2nd best finish in that particular event (Men’s Quadruple sculls) in the last 60 years at any Olympic Games for the USA 🇺🇸 Men’s Quad. The best finish was the Men’s Quadruple sculls event in 1992 where they won the silver medal 🥈 at the Barcelona Olympic Games. More on my father John Nunn and grandfather… My father graduated from Cornell, 🐻 following in my grandfather’s footsteps, who had played lacrosse and football at Cornell, before playing professional football with the Boston Shamrocks of the American Football League. 🏈 John Nunn rowed on a winning junior varsity eight at the Eastern Sprints while at Cornell, and helped Cornell win the IRA title in 1962 and 1963, but it was after college that he really blossomed as a rower. In 1967 Nunn won the national association single sculls and took a silver medal 🥈 in that event at the Pan American Games in Winnipeg, Canada 🇨🇦 . The following year he teamed with Bill Maher to win the Olympic bronze medal 🥉 at Mexico City 🇲🇽 Olympic Games in 1968. In 1971 he again rowed in the doubles, this time with Tom McKibbon at the Pan-Am Games in Cali Colombia 🇨🇴 and they won a bronze medal 🥉 together. After college, Nunn earned an MBA at Michigan and later set up his own business, which sold fabricated metals and packaged products to the aerospace industry. Nunn is a member of the Cornell University Athletic Hall of Fame. #rowing #olympichistory @cornellheavies @rowers_choice @roworx_rowing (at Long Beach, California) https://www.instagram.com/p/CRpPz2xr3RX/?utm_medium=tumblr

#olympics #tbt #rowing #olympichistory

[odk-2]

Wynonie Harris - Mr. Blues Jumped the Rabbit (1947) (Wynonie "Mr. Blues" Harris and His All Stars) Wynonie Harris from: "Mr. Blues Jumped the Rabbit" / "Whiskey and Jelly-Roll Blues"

Personnel: Wynonie "Mr. Blues" Harris: Vocals Allen Eager: Tenor Saxophone Tab Smith: Alto Saxophone Larry Belton: Baritone Saxophone Mary Osborne: Guitar Bill Doggett: Piano Al McKibbon: Bass Walter Johnson: Drums

Trumpet: Joe Newman                Pat Jenkins

#Jazz #Jump Blues #40's #Wynonie Harris #Mr. Blues Jumped the Rabbit #Aladdin Records #Blues

[vagabondretired]

*Meanwhile, this judge is currently sitting in his underwear and bathrobe down in the rec room, throwing empty beer cans at the TV.* Here's to judicial jambalaya. A delightful smorgasbord of court actions to remind us that the legislative and executive branches may be hives of scum and villainy at the moment, but the dudes and dudettes in the black robes ain’t got no time to coddle chaos. A sampler: > In Mississippi, the 15-week abortion bill is now on hold after a judge blocked it. > Emoluments, bitches! A federal judge ruled that a lawsuit accusing Trump of profiting from his D.C. hotel can proceed. > Wisconsin’s disgusting governor Scott Walker, whose Ancestry.com DNA test says he came from rat feces and dumpster slime (allegedly, allegedly), was ordered to hold special elections for a state House and state Senate seat, because the law is more important than his fear that they’ll be Democratic pickups. > In Massachusetts, 13 climate activists were acquitted of protesting the construction of a fracked-gas pipeline, in Bill McKibbon’s words, “on the grounds that the climate crisis made it necessary for them to commit civil disobedience. This may be a first in America." > The Justice Department got tossed around like a rag doll by a judge in Seattle Tuesday over trump’s transgender military ban. They wanted the eight-month-old lawsuit against them to be dismissed because of last week’s “revised” ban, but the judge said forget it. When sanity comes back to the White House and/or Congress, remind me I owe the judicial branch a beer.

[phinneytalk-blog]

Wednesday, April 3

Events:

John de Graaf speaking at Couth Buzzard on April 25 at 10:30 (although it is not on the Couth Buzzard Calendar yet!)

What does it mean to be white? Robin deAngelo presentation, April 14, 2-3:30 at Greenwood Library. 

Books: 

What is Life? by Lynn Margulis

Over Diagnosed, by Gilbert Welch

Falter: Has the Human Game Begun to Play Itself Out? by Bill McKibbon...to be published April 16.

The White Lioness, by Henning Mankel

Fighting the Establishment, by Susan Starbuck (about Hazel Wolf)

The Library Book, by Susan Orlean

New Found Land, by Allan Wolf

[chwpromoblog]

ARIA WALTON. college freshmen; eighteen. shannon purser. OPEN.

and, as andie walsh once said:

“I just want them to know that they didn’t break me.”

BEFORE THE PARTY;

Aria had always had this determination, her father usually wondered where it was that she’d gotten it from as he was nowhere near as determined as her. But she was determined to be more than what life had given her. Life had given her a couple of obstacles. She’d grown up on the other side of the tracks as the people of Rosewood put it. It was a part of town that was often ridiculed by those who lived in the lavish homes in the more affluent parts of their town. It wasn’t as picturesque as the rest of their town, crime was still pretty rampant and the problems of the people were more than just how they looked on some website the day after they attended an event. She had to worry about if the rent would be paid that month or if her father and her would have enough to eat that night. Money had always been pretty scarce in her home, even more so since her mother had bailed on them. Since then, it was up to Aria to pick up the slack while her father attempted to find a job he could keep for longer than a couple of weeks. She suspected that had to do with the fact that he wasn’t at all over what’d happened between her mother and him. 

But Aria didn’t have time to dwell on what had happened with her parents. Life continued and college professors didn’t give breaks just because your homelife was coming undone. And if she wanted to compete with the rest of Rosewood, she needed to keep her head in the books. And that she did, she had one of the higher GPAS around, her transcript already reading like a dream for her future employers. Which she hoped would be one of the fashion houses in Paris.

Aria’s true passion in life was fashion. It’d been from a young age and one of the only things that she’d accredit her mother for. Her mother always taught her that while the world might be crumbling around them, they did not have to look the part. It was something she’d always kept with her, so she made sure that she looked impeccable at all times.  And she certainly did, what Aria did with fashion was an artform. Everything she wore was created by her, it’d started because it was the only way she’d be able to wear new clothes but it eventually because fashion often neglected girls her size. If you weren’t the sample sizes, you were basically asked to wear sacks and she refused to accept that. Once again, that determination kicked in and she continued to show Rosewood that her size didn’t define her, in any shape or form. 

But for someone as confident as Aria, there was something that’d caused her walls to crack. That something came in the form of her relationship with one, Brooks McDonough. 

To say that her relationship with Brooks had taken her by surprise was an understatement. She’d been so focused on being the best she could be that she’d never given much thought to the idea of being with someone. The closest thing to a relationship she had was with Phillip or Lip as she often referred to him as, and at times she couldn’t even stand him so when Brooks McDonough started to show an interest in her, she was instantly hesitant to his advances. What would he want with someone with her? But despite how much she rebuffed his advances, he returned and in all honesty, she respected him for doing so. So eventually she gave in and accepted his offer for dinner, which eventually became a couple of more dates and an request to be his girlfriend. 

Who knew that would be the easy part of their relationship? Because since being with her boyfriend, they have faced opposition from not only his circle of friends but his brother, Stefan McKibbon seemed to have it out for their relationship. But they also received backlash from those she considered her friends, even her father wondered if this was best for her. 

But she trusted Brooks, and she was determined to make her relationship work.

DURING THE PARTY;

Aria nervously fidgeted with her dress as she waited for Brooks to join in his car. The party had been a success, the two of them had managed to avoid Stefan McKibbon at all costs. That was thanks in part to Lip, who she honestly owed so much to after this evening. But she knew this was getting ridiculous, she had to tell him. Even if she didn’t want to say it, but she was in a relationship now and that came with a responsibility to be honest to the person you were with.

And it wasn’t like she hadn’t been given a deadline by his devious older brother. 

So what was this secret that Aria had to tell Brooks? 

As confident as Aria Walton was in most areas of her life, something that was a bit of a sore spot was her lack of money. She knew how people thought of those who came from the other side of the tracks. It wasn’t that she didn’t trust Brooks to be different because he’d done more than enough to show her that he was but she knew that with the reveal of her lack of money, things would change. Even if he took it well, their differences in money would come to play someway and she didn’t want to be kept by him or have him cover her bills. She knew what people would say, what they would think. 

Brooks opened the door on his side of the car, rolling her eyes at herself for how happy she got at the sight of him. That’s why she didn’t want to tell him that she might have omitted from telling him the truth just a bit. So he asked her where it would be that he’d be taking her and this was the moment of truth, she could tell him to the other side of the tracks or tell him to drop her off where he’d been doing so since they got together; Lip’s house. 

Decisions, decisions.

alternate faceclaims and prompts.

#shannon purser #pretty in pink #roleplay #rpg #rp #bio rp #original rp

[carolkeiter]

Let's Act Differently-Embrace All Life-Change Habits-Incite Responsibility-Share Incentives

Let’s Act Differently-Embrace All Life-Change Habits-Incite Responsibility-Share Incentives

I am sending this letter today, right now, to one after another individual and group on the list included at the bottom. Talk about complete transparency. I want each to realize who all the recipients are, so that they may also add to the list. I need a job, and this is what comes to mind; gathering many to coordinate education at the grass roots level, that all of us can participate in.

I’d like…

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#350.org #acting together #action #Alternatiba #Amy Goodman #art #Avaaz #Beautiful Solutions Lab #Bill Maher #Bill McKibbon #change habits #Charles Eisenstein #climate change #Climate Warriors #collective evolution #community involvement #coordination #Dalai Lama #Daniel Pinchbeck #David Wolfe #Defenders of Wildlife #Democracy Collaborative #Democracy Now #DJ Spooky #Earthling Ed #Elon Musk #Gabor Maté #Gar Alperovitz #George Monbiot #Global Climate Action