The lyrics speak for themselves.Oh, Lord, don’t let ’em shoot us!Oh, Lord, don’t let ’em stab us!Oh, Lord, don’t let ’em tar and feather us!Oh, Lord, no more swastikas!Oh, Lord, no more Ku Klux Klan!Name me someone who’s ridiculous, Dannie.Governor Faubus!Why is he so sick and ridiculous?He won’t permit integrated schools.Then he’s a fool! Boo! Nazi Fascist supremacists!Boo! Ku Klux Klan (with your Jim Crow plan)Name me a handful that’s ridiculous, Dannie Richmond.Faubus, Rockefeller, EisenhowerWhy are they so sick and ridiculous?Two, four, six, eight:They brainwash and teach you hate.H-E-L-L-O, Hello.Were Mingus still alive today, I’m sure he’d have some music to indict Trump, his clan, and his racist gubernatorial and senatorial enablers.Mingus was born on April 22, 1922, and died Jan. 5, 1979. The Charles Mingus website maintains his legacy; content includes a biography and Mingus’ complete discography.One of the most important figures in 20th century American music, Charles Mingus was a virtuoso bass player, accomplished pianist, bandleader and composer. Born on a military base in Nogales, Arizona in 1922 and raised in Watts, California, his earliest musical influences came from the church—choir and group singing—and from “hearing Duke Ellington over the radio when [he] was eight years old.” He studied double bass and composition in a formal way (five years with H. Rheinshagen, principal bassist of the New York Philharmonic, and compositional techniques with the legendary Lloyd Reese) while absorbing vernacular music from the great jazz masters first-hand. His early professional experience, in the 1940s, found him touring with bands like Louis Armstrong, Kid Ory and Lionel Hampton.Eventually he settled in New York where he played and recorded with the leading musicians of the 1950s—Charlie Parker, Miles Davis, Bud Powell, Art Tatum and Duke Ellington himself. One of the few bassists to do so, Mingus quickly developed as a leader of musicians. He was also an accomplished pianist who could have made a career playing that instrument. By the mid-50s, he had formed his own publishing and recording companies to protect and document his growing repertoire of original music. He also founded the Jazz Workshop, a group which enabled young composers to have their new works performed in concert and on recordings.Mingus soon found himself at the forefront of the avant-garde. His recordings bear witness to the extraordinarily creative body of work that followed. They include: Pithecanthropus Erectus, The Clown, Tijuana Moods, Mingus Dynasty, Mingus Ah Um, The Black Saint and the Sinner Lady, Cumbia and Jazz Fusion, Let My Children Hear Music. He recorded over a hundred albums and wrote over 300 scores.- Advertisement – – Advertisement – Enjoy “Wednesday Night Prayer Service,” from 1960’s Blues & Roots.As a person who was raised on (and loves) the poetry and short stories of Langston Hughes, it wasn’t until recently that I became aware of the fact that in 1958, Mingus collaborated with Hughes on an album.Two years after Hughes read “Jazz as Communication” at the Newport Jazz Festival, he collaborated with Feather’s All-Star Sextet and Mingus and the Horace Parlan Quintet on an album first released as The Weary Blues. It has recently been re-released by Fingertips as Harlem in Vogue—22 tracks of Hughes reading poems like “The Weary Blues,” “Blues at Dawn,” and “Same in Blues/Comment on Curb” (top) over original compositions by Feather and Mingus, with six additional tracks of Hughes reading solo and two original songs by Bob Dorough with the Bob Dorough Quintet. (Mingus plays bass on tracks 11-18.)Here’s “Double G Train.”One of Mingus’ compositions that always touches me is his 1959 tribute to saxophonist Lester Young, known in the jazz world as “Prez,” whose sartorial signature was his hat.In a 1963 re-release, Mingus renamed the song “Theme for Lester Young.”One would not normally put the name of Charlie Mingus together with that of Joni Mitchell, and yet, toward the end of his life, he reached out to Mitchell, to initiate an unlikely collaboration: adding lyrics to the Lester Young tribute. Jazz critic Leonard Feather wrote about the collaboration at the time for the Los Angeles Times.Word reached her a couple of years ago that Mingus had something in mind for her to do. When she called him, Mingus told her that he had an idea for a piece of music based on an excerpt from TS Elliot’s “Four Quartets,” with a full orchestra, and overlaid on it a bass and guitar, with a reader quoting Elliot. “He wanted me to distil Elliot down into street language, and sing it mixed with this reader. “Though Mitchell was fascinated by the idea, and spent time reading the Elliot book, she decided that it was not feasible – “I called Charles back and told him I couldn’t do it; it seemed like a kind of sacrilege.”In April 1977, Mingus called with the news that he had written six songs with her in mind, and wanted her to write words for them and sing them. “I went to visit him and liked him immediately. He was already sick and in a wheelchair, but still very vital and concerned. “We started searching through his material, and he said, ‘Now this one has five different melodies.’ I said, ‘You mean you want me to write five different sets of lyrics?’ He said yes, then put one on and it was the fastest boogie-est thing I’d ever heard, and it was impossible! So this was like a joke on me; he was testing and teasing me, but in good fun.”Mitchell made several visits to the Mingus home in New York, listening to some of the his older themes on records as well as discussing the newer works and his lyrical ideas for them. “Then, because he had become very seriously ill, he and his wife Sue went to Mexico, to a faith healer, and during that time I spent 10 days with them. At that point his speech had deteriorated severely. Every night he would say to me, ‘I want to talk to you about the music,’ and every day it would be too difficult. So some of what he had to tell me remained a mystery.“Sue gave me a lot of tapes and interviews, and they were thrilling to me, because so much of what he felt and described was kindred to my own feelings. He articulated lessons that were laid on him by Fats Navarro, the trumpeter, and others.”Mingus ultimately succumbed to ALS in 1979.xToday we remember Charles Mingus, who, on this day 41 years ago, died from ALS.“Sue and the holy riverWill send you to the saints of jazz –To Duke and Bird and Fats –And any other saints you have.”From Joni Mitchell’s liner notes to the album “Mingus” pic.twitter.com/2M5v51kTb6— Charles Mingus (@Mingus) January 5, 2020Mingus was sheer genius, and whether or not he ranks as your favorite jazz bassist, he will always be regarded as seminal in the history of jazz. Wherever you are, Charlie—take a bow. Stay tuned next Sunday for more bassists, including Ray Brown, Ron Carter, Stanley Clarke, and Esperanza Spaulding! Mingus’ story is also told in the documentary, Triumph of the Underdog—a title which echoes the title of his autobiography, Beneath the Underdog.Charles Mingus–Triumph of the Underdog is the first comprehensive documentary about jazz bassist, bandleader, and composer Charles Mingus. Mingus led a tumultuous life filled with trauma and frustration, joy and creativity. Not light enough to be considered white and not dark enough to fit into the black community, he was an outcast in American society who charted his own path. Likewise, his legacy as a 20th century composer reaches far beyond conventional jazz idioms.Mingus apprenticed with people like Duke Ellington, Lionel Hampton, and Charlie Parker before going out on his own and becoming a musical force for more than a decade. When interest in his music waned at the height of the rock era in the mid-1960s, and one of his closest collaborators, Eric Dolphy, died, Mingus was institutionalized due to psychological problems. Upon his return to the music scene, he began playing more concerts and his record sales zoomed. This golden period of recognition ended when he contracted Lou Gehrig’s Disease and his muscles began to deteriorate. He died in 1979.His autobiography, Beneath the Underdog, made waves when it was first published in 1971.Bass player extraordinaire Charles Mingus, (was) one of the essential composers in the history of jazz, and Beneath the Underdog, his celebrated, wild, funny, demonic, anguished, shocking, and profoundly moving memoir, is the greatest autobiography ever written by a jazz musician. It tells of his God-haunted childhood in Watts during the 1920s and 1930s; his outcast adolescent years; his apprenticeship, not only with jazzmen but also with pimps, hookers, junkies, and hoodlums; and his golden years in New York City with such legendary figures as Duke Ellington, Lionel Hampton, Miles Davis, Charlie Parker, and Dizzy Gillespie. Here is Mingus in his own words, from shabby roadhouses to fabulous estates, from the psychiatric wards of Bellevue to worlds of mysticism and solitude, but for all his travels never straying too far, always returning to music.You will either love this book or hate it. It is raunchy, gritty, honest, sex-laden, and sad in many ways.- Advertisement – Probably one of the most interesting biographical takes on Mingus, the man and his music, is more recent: Nichole Rustin-Paschal’s The Kind of Man I Am: Jazzmasculinity and the World of Charles Mingus Jr., which was published in 2017. Nearly four decades after his death, Charles Mingus Jr. remains one of the least understood and most recognized jazz composers and musicians of our time. Mingus’s ideas about music, racial identity, and masculinity―as well as those of other individuals in his circle, like Celia Mingus, Hazel Scott, and Joni Mitchell―challenged jazz itself as a model of freedom, inclusion, creativity, and emotional expressivity. Drawing on archival records, published memoirs, and previously conducted interviews, The Kind of Man I Am uses Mingus as a lens through which to craft a gendered cultural history of postwar jazz culture. This book challenges the persisting narrative of Mingus as jazz’s “Angry Man” by examining the ways the language of emotion has been used in jazz as shorthand for competing ideas about masculinity, authenticity, performance, and authority.As a person who has taught gender studies, this book piqued my interest, since Rustin-Paschal not only addresses Mingus, but also the erasure of women in jazz like Hazel Scott, who I wrote about in October.Often acclaimed as the greatest jazz bassist, Mingus was and always will be a figure of controversy, as Adam Shatz wrote for The Nation in 2013.It enraged him that Miles (Davis) and the hard boppers had been given credit for his innovations. It enraged him even more when Ornette (Coleman) blew into town with his plastic yellow saxophone, pianoless quartet and ideology of collective improvisation, launching the free jazz revolution and attracting nearly as many imitators as Charlie Parker. Ornette and his followers, Mingus complained to (biographer John) Goodman, were like surgeons who couldn’t retrace their steps: “if I’m a surgeon, am I going to cut you open ‘by heart,’ just free-form it, you know? … I’m not avant-garde, no. I don’t throw rocks and stones, I don’t throw my paint.” Still, Mingus knew a good idea when he heard one. His 1960 session Charles Mingus Presents Charles Mingus features a pianoless quartet that ventured even further from Mingus’s melodies than Coleman did from his, as if Mingus were bent on proving that he was more modern than the avant-garde. Whatever moved Mingus ended up in his music, whether it was the mariachi he heard on his trips to brothels south of the border and included in Tijuana Moods, recorded in 1957, or the experimental tape music of his 1962 self-portrait “Passions of a Man,” in which he overdubbed himself mumbling in an unintelligible made-up language while his band invoked half-remembered fragments of other Mingus compositions, taking us deep inside the funhouse of his unconscious. […]Mingus’s reverence for the tradition—and his mockery of free jazz musicians as unschooled dilettantes—made it easy to mistake him for a conservative: a “black Stan Kenton,” in the dismissive phrase of Amiri Baraka (then LeRoi Jones), the high priest of black nationalist jazz critics. In fact, Mingus’s music was precisely the kind of vernacular modernism that Baraka had championed in his 1963 study Blues People, as well as a textbook illustration of his argument that black musical styles, however superficially divergent, were joined at the hip by a blues impulse that Baraka called “the changing same.” Like Baraka, Mingus viewed music as a surrogate church for black Americans. “James Brown was their church,” he told Goodman, “but they got a church in jazz, too. As long as there’s the blues.” Blues feeling saturates Mingus’s work: as Sy Johnson notes, “it’s always got its feet in the dirt.” His music immerses us in the blues rituals of black American life, while at the same time depicting them from a warm and playful distance. Given what we have been going through with an open white supremacist ensconced in the White House and refusing to leave, I thought it would be apt to open with Mingus’ “Fables of Faubus,” which was his take on the staunch segregationist governor of Alabama, Orval Faubus. In 1957, Faubus forced the use of federal troops to desegregate Little Rock, Arkansas’ Central High School.- Advertisement –
It finished 3-16 to 1-16.Tipp manager Liam Kearns says 3-16 was an impressive score… Tipperary have had the dream opening to Division 2 of the National Football League.They overcame Cork in Pairc Ui Chaoimh last night by 6 points.A goal from Michael Quinlivan and two from Liam McGrath left the Rebels with too much to do to make up the defecit.
“This unbeaten record has not only been achieved this season, but also last year under (former coach) Luis Enrique,” said Barca coach Valverde.“It’s a shared record, because it crossed over between seasons. It has been quite difficult, because of the fact it’s an old record that hasn’t been broken for a long time.”Valverde named a strong side despite having a Champions League quarter-final, second leg on Tuesday at Roma, with Messi, Luis Suarez and Philippe Coutinho all starting.Suarez passed up two good early chances to put Barca ahead, prodding wide and then seeing visiting goalkeeper Ivan Cuellar deny him with an excellent save. But the hosts moved in front in the 27th minute through a trademark Messi free-kick.The Argentinian stepped up and curled the ball over the ball and into the bottom corner from 25 yards out to score his 27th league goal of the season.It didn’t take the 30-year-old long to double his tally for the day, latching onto Coutinho’s through ball and firing low into the corner. Madrid, Spain | AFP | Barcelona equalled the record longest unbeaten run in La Liga history as a Lionel Messi hat-trick inspired the runaway leaders to a 3-1 win over Leganes on Saturday to make it 38 league games unbeaten.The Catalan giants will look to break the record that Real Sociedad set in 1979-80 when they host Valencia next weekend, with Ernesto Valverde’s side now just seven matches from becoming the first La Liga side to go through a campaign without tasting defeat.Messi was the star of the show at the Camp Nou with a magnificent treble, as Barca stretched their lead at the top to 12 points ahead of second-placed Atletico Madrid’s derby against Real Madrid on Sunday. Barcelona eased off in the second half, perhaps with the midweek clash at the Stadio Olimpico on their minds, and Leganes hit back midway through the second half.Former Liverpool winger Nabil El Zhar cut inside and fired into the bottom corner from the edge of the box despite slipping as he shot.But the home side finished off the match as a contest late on with Messi completing his third hat-trick of the season in style.Share on: WhatsApp Pages: 1 2
A leading forecasting model, IHME, used by the White House to chart the coronavirus pandemic is now predicting that the United States may need fewer hospital beds, ventilators and other equipment than previously projected and that some states may reach their peak of covid-19 deaths sooner than expected.By Wednesday morning, the model had been revised even more dramatically downward. It now predicts a total of 60,400 U.S. deaths by August and forecasts the peak of those deaths arriving in just four days on April 12, instead of April 16 as previously projected. Experts, however, have noted that this particular model’s numbers and projections — while used widely — have been consistently lower than those of other models.Some state leaders have also grown increasingly concerned about how the federal government is using IHME’s lower estimates to deny states’ increasingly desperate requests for equipment and help in preparations. The stark differences between the IHME model and dozens of others being created by states exposes the glaring lack of national models provided publicly by the White House or agencies such as the Centers for Disease Control and Prevention for local leaders to use in planning or preparation.“It’s unclear exactly what the White House is doing on this front,” said Dylan George, who helped the Obama White House develop models to guide its Ebola response in 2014. “As a result, you have every state trying to create their own models to anticipate their needs. And you have one model like IHME being adopted as the national guide.”In populous states a vast gap in planning and modeling could mean a life-or-death difference for tens of thousands of people.In the two weeks since IHME’s model was originally released — the researchers announced revisions Monday — it has been criticized by some experts as overly optimistic. But even critics are quick to note that in the absence of any tool offered by the federal government and with no other model offering nationwide state-by-state estimates, IHME could be a lifesaver.Funded by the Bill & Melinda Gates Foundation, the IHME model embraces an entirely different statistical approach, taking the trending curve of deaths from China, and “fitting” that curve to emerging death data from U.S. cities and counties to predict what might come next.At the White House Coronavirus Task Force briefing Monday, health officials said they thought it was possible to have fewer deaths than have been projected by models, because of the extreme social distancing efforts being undertaken by Americans.“Models are good, they help us to make projections. But as you get data in, you modify your model,” said Anthony S. Fauci, director of the National Institute of Allergy and Infectious Diseases. “I don’t accept everyday we’re going to have to have 100,000 to 200,000 deaths. I think we can really bring that down.”One concern from some experts is that the IHME model is being used too much like a crystal ball with undue weight given to its predicted needs for ventilators and hospital beds and staffing.The newer version also found that deaths in some states — such as Florida, Virginia, Louisiana and West Virginia — could peak earlier than previous projections. But the deaths nationally were still projected to peak April 16. The newer model suggests the number of acute care hospital beds needed at the peak could be cut almost in half and the number of ICU beds needed at the peak of the surge could drop from 40,000 to 29,000. The model also suggested the total number of deaths would be lower, with an estimated 82,000 deaths from the first wave of infection, although the number could range from 49,000 to 136,000.