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 –
DUBROVNIK AND SPLIT AGAINST LIBERALIZATION OF TAXI MARKET, WANT TO INTRODUCE ORDER DUBROVNIK: ATMS ARE LEAVING THE OLD TOWN An excellent positive example of dialogue and how the City should cooperate with various professional associations, because without synergy and market development, and not politicking, we certainly cannot move forward. Also, the profession and people from the field know deeper issues, and one man, in this case the mayor, can not know everything, and accordingly not even make decisions on topics in which he is not familiar enough. Communication and synergy. He paid special attention to staying at the entrances to the old town and the movement of groups along Stradun, because these are the busiest parts where crowds quickly form. “Better throughput and movement through the City will provide tourists with a better experience ” Franković points out. RELATED NEWS: “Licensed guides for the protected area of the City of Dubrovnik with their knowledge and experience and direct contact with visitors can significantly contribute to the perception of our city and life in it ”States Mayor Franković in the letter, inviting all guides to introduce their groups to the project Respect the City and call on them to respect the prominent rules and the local population. On the Pile and Ploče bridges, stopping groups is not allowed, as well as in Široka Street, and it is recommended to stop as little as possible on Stradun, and it is especially important to pay attention to the streets of the pedestrian corridor. All recommendations and rules have been previously harmonized with the leadership of the Tourist Guides Association and the Tourist Guides Guild. The City of Dubrovnik continues to develop and implement the strategic project Respect the City, in order to prevent the negative effects of excessive tourism through destination management. By the way, for 2021, a change has been announced that will apply to all guides, the introduction of the rules of mandatory use of headphones for all groups over 15 people and a complete ban on the use of microphones with loudspeakers. To this end, the Mayor of the City of Dubrovnik, Mato Franković, invited tourist guides to cooperate, addressing the Dubrovnik Tourist Guides Association and the Tourist Guides Guild. “Tourist guides know the City and each of its cantons best. Every virtue and advantage, flaw and need. You have a great role in creating order, as well as in the experience by which tourists will remember our city, and we believe that you will help us create change and achieve our goals.”Concluded Mayor Franković. Photo: City of Dubrovnik UNIQUE SMART PARKING SYSTEM LAUNCHED IN DUBROVNIK Although Dubrovnik certainly has a lot of problems, as do other cities due to mass tourism, it is still nice to see concrete moves aimed at bringing order to Dubrovnik. The Respect the city project is growing and expanding, although for many it is too slow, it cannot be said that it is not a quality project and that there are no concrete changes for the better. Definitely to be commended.
“The idea was born by the project team of our school, which is intensively thinking about what people with disabilities need. What makes this handbook specific is that we have managed to combine educational rehabilitation with catering and tourism. As we prepared the content, we talked to people with disabilities and learned from them what and how. It was their experience during the use of services in tourism and catering that was extremely important to us.”Pointed out Đana Baftiri, director of the Secondary School Center for Education, and noted that the manual is also intended for students of catering schools who have yet to enter the labor market. The Tourist Board of the City of Zaprešić continues with the activities of the Second Perspective project, within which the education and presentation of the manual “Care for guests with disabilities” of the Center for Education Zagreb was held today. On that occasion, the manual “Caring for a guest with a disability” was presented. “There are a lot of positive examples in the approach to people with disabilities, but this is mostly seen in locations where we move every day, more precisely, where people already know us. Away from these locations, unfortunately, this is not the situation. My message to caterers and tourism workers is to approach us without fear and without intermediaries. ”Shared all the experience of Martin Frković, a person with a disability, who participated in the recording of educational videos and the preparation of the contents of the manual. Director of the Tourist Board of Zaprešić Toni Ganjto pointed out that this is just the beginning of numerous activities planned within the Second Perspective project, which aims to make the public aware of a different perspective of travel and creating experiences that must be possible and accessible to all people regardless of their physical limitations. and disability. The manual is intended for caterers, renters, but also other employees in the tourism industry who want to improve their service with adequate access to guests with physical disabilities, intellectual disabilities, autism, hearing impairment and visual impairment. Photo: Marcus Aurelius, Pexels.com “The project aims to draw attention to the importance of the idea of responsible tourism, but also connecting local communities, culture, tourism and all service providers to successfully see all the perspectives of those who use our services, travel and want to return richer for new experiences. We invite all interested parties, other tourist boards, as well as institutions related to this topic to join us in creating a different perspective of travel for people with disabilities, but also those at the national level that aims to incorporate and better position this topic. into the national tourism strategy for the next period.”Ganjto concluded. This manual is designed to change that. The manual combines detailed instructions on how to treat a guest with a physical disability, a guest with an intellectual disability, a guest with an autism spectrum disorder and a guest with a hearing impairment, and a guest with a visual impairment. Maja Postoglu, a social pedagogue at the Center for Education, introduced the participants to practical advice on how to treat guests with different types of disabilities, and video materials with instructions were shown. “People with disabilities are around us, but they are isolated because we do not access them. Which makes them even more isolated and that’s something we need to change. The problem is that there is no such topic in the educational plan and future caterers are not educated on how to approach guests with disabilities. And we need to change that.”Katarina Osipov, a teacher of professional subjects for waiters, pointed out.
SHARE Email Facebook Twitter October 19, 2018 Bill Signing, Education, Press Release, Public Safety Harrisburg, PA – Governor Tom Wolf today signed Senate Bill 1090, the Timothy J. Piazza Antihazing Law, which strengthens penalties for hazing and ensures that schools have safeguards to protect students. The governor was joined by Jim and Evelyn Piazza, Timothy’s parents, bill sponsor Senate Majority Leader Jake Corman, Penn State President Eric J. Barron and Pennsylvania’s State System of Higher Education Chancellor Dan Greenstein.Timothy Piazza was a 19-year-old Penn State University student who died in February 2017 at a fraternity.“Tim’s tragic experience has led to real change. There is no place for hazing on our college campuses. And together, we will protect students and hold accountable those who engage in it,” said Governor Wolf. “We mourn for Tim’s loss with his family, and while we can never fix what they’ve gone through, this new law will help to prevent other tragedies.“On behalf of all Pennsylvanians, particularly other parents with children in college, I commend the Piazza family for your efforts to make sure that no other families go through what you have.”“Thank you, Governor, for joining me in supporting this comprehensive rewrite of the state’s hazing rules by signing it into law,” said Senate Majority Leader Jake Corman (R-34). “The Timothy J. Piazza Law emphasizes prevention, enforcement and transparency in order to end hazing in Pennsylvania. Act 80 provides tools for prosecutors, parents, students and schools to see where the problems are and punish those who irresponsibly put people in harm’s way. I commend the Piazza family for their strength and courage in the face of unspeakable tragedy. Their tireless efforts have made these significant reforms a reality here in Pennsylvania that will save lives. This law will be a model for changing anti-hazing laws throughout the nation with the Piazzas’ efforts leading the way.”The new law, which passed with unanimous support in the General Assembly, provides several measures to prevent hazing, including:Strengthening penalties for hazing with a new tiered system that, for the first time, includes a felony for aggravated hazing that results in serious injury or death;Holding organizations accountable for promoting hazing, which could include the confiscation of fraternity and sorority houses;Requiring schools to have anti-hazing rules, enforcement policies and preventative measures and to make information about hazing violations available to the public to help inform students and parents;Creating a safe-harbor provision, giving students immunity from prosecution for calling police or seeking assistance for someone in need of help.“This law is important movement in an ongoing conversation to identify meaningful solutions that create transformational change,” said Penn State President Eric J. Barron. “Unfortunately, hazing continues to plague universities across the country, and we hope this law will serve as a model for other state legislatures to effect critically needed national reform. We are thankful to our Legislature and the Governor, as well as to the family of Timothy Piazza, for their commitment to addressing this serious issue.”Dan Greenstein, chancellor of Pennsylvania’s State System of Higher Education, added, “Students come to our 14 State System universities seeking a college experience that will positively shape their lives forever. That can happen only when everyone in the university community understands the importance of creating a safe and supportive environment. We’re proud of our track record in that regard and are proud to stand in support of this legislation.”The National Study of Student Hazing reports that 55 percent of college students involved in clubs, teams, and organizations experience hazing. Governor Wolf Signs the Timothy J. Piazza Antihazing Law, Protecting Students and Increasing Penalties
Below is the full list of past winnersYear-Name-Nationality-Club2019 Lionel Messi Argentina, Barcelona2018 Luka Modric Croatia, Real Madrid2017 Cristiano Ronaldo Portugal, Real Madrid2016 Cristiano Ronaldo Portugal, Real Madrid2015 Lionel Messi Argentina, Barcelona2014 Cristiano Ronaldo Portugal, Real Madrid2013 Cristiano Ronaldo Portugal, Real Madrid2012 Lionel Messi Argentina, Barcelona2011 Lionel Messi Argentina, Barcelona2010 Lionel Messi Argentina, Barcelona2009 Lionel Messi Argentina, Barcelona2008 Cristiano Ronaldo Portugal, Manchester United2007 Kaká Brazil, Milan2006 Fabio Cannavaro Italy, Real Madrid2005 Ronaldinho Brazil, Barcelona2004 Andriy Shevchenko Ukrain, Milan2003 Pavel Nedvěd Czech Republic, Juventus2002 Ronaldo Brazil, Real Madrid2001 Michael Owen England, Liverpool2000 Luís Figo Portugal, Real Madrid1999 Rivaldo Brazil, Barcelona1998 Zinedine Zidane France, Juventus1997 Ronaldo Brazil, Internazionale1996 Matthias Sammer Germany, Borussia Dortmund1995 George Weah Liberia, Milan1994 Hristo Stoichkov Bulgaria, Barcelona1993 Roberto Baggio Italy, Juventus1992 Marco van Basten Netherlands, Milan1991 Jean-Pierre Papin France, Marseille1990 Lothar Matthäus Germany, Internazionale1989 Marco van Basten Netherlands, Milan1988 Marco van Basten Netherlands, Milan1987 Ruud Gullit Netherlands, Milan1986 Igor Belanov Soviet Union, Dynamo Kyiv1985 Michel Platini France, Juventus1984 Michel Platini France, Juventus1983 Michel Platini France, Juventus1982 Paolo Rossi Italy, Juventus1981 Karl-Heinz Rummenigge West Germany, Bayern Munich1980 Karl-Heinz Rummenigge West Germany, Bayern Munich1979 Kevin Keegan England, Hamburg1978 Kevin Keegan England, Hamburg1977 Allan Simonsen Denmark, Borussia Monchengladbach1976 Franz Beckenbauer West Germany, Bayern Munich1975 Oleg Blokhin Soviet Union, Dynamo Kyiv1974 Johan Cruyff Netherlands, Barcelona1973 Johan Cruyff Netherlands, Barcelona1972 Franz Beckenbauer West Germany, Bayern Munich1971 Johan Cruyff Netherlands, Ajax1970 Gerd Müller West Germany, Bayern Munich1969 Gianni Rivera Italy, Milan1968 George Best Northern Ireland, Manchester United1967 Flórián Albert Hungary, Ferenc Rosi TC1966 Bobby Charlton England, Manchester United1965 Eusébio Portugal, Benfica1964 Denis Law Scotland, Manchester United1963 Lev Yashin Soviet Union, Dynamo Moscow1962 Josef Masopust Czechoslovakia, Dukla Prague1961 Omar Sívori Italy, Juventus1960 Luis Suárez Spain, Barcelona1959 Alfredo Di Stéfano Spain, Real Madrid1958 Raymond Kopa France, Real Madrid1957 Alfredo Di Stéfano Spain, Real Madrid1956 Stanley Matthews England, Blackpool The Ballon d’Or has had several winners since its inception in 1956 when England international Sir Matthew Stanley won the first trophy.Barcelona and Argentina international, Lionel Messi extended his tally of wins in the Ballon d’Or after he received his sixth trophy.The 32-year old scored 51 goals and assisted 19 times across all competitions in the 2018-2019 season.The award is his first since 2015 where he scored 58 goals and assisted 27 times in all competitions.The Argentine now holds the record for the most wins in the Ballon d’Or list with six medals with the rival, Cristiano Ronaldo having five trophies.The likes of Johan Cruyff, Marco van Basten, and Michelle Platini have all scooped three Ballon d’Or trophies.Lev Yashin is the only goalkeeper to have won the most coveted award and Liberian and AC Milan star, George Weah, still remains the only African to receive the award since its inauguration.Lionel Messi is the first player in history to win the #BallonDor SIX times 🐐#BallonDor2019 pic.twitter.com/zqbwvy9luS— Goal (@goal) December 2, 2019