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Chick Corea (June 12, 1941 – February 9, 2021) Jazz fusion legend.

Keyboardist helped Miles Davis usher in the fusion revolution and founded his own game-changing groups, including Return to Forever

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Armando Anthony "ChickCorea (June 12, 1941 – February 9, 2021) was an American jazz composer, keyboardist, bandleader, and occasional percussionist.[3][4] His compositions "Spain", "500 Miles High", "La Fiesta", "Armando's Rhumba" and "Windows" are widely considered jazz standards.[5] As a member of Miles Davis's band in the late 1960s, he participated in the birth of jazz fusion. In the 1970s he formed Return to Forever.[4] Along with Herbie HancockMcCoy TynerKeith Jarrett and Bill Evans, he is considered one of the most influential jazz pianists of the post-John Coltrane era.[6]

Corea continued to collaborate frequently while exploring different musical styles throughout the 1980s and 1990s. He won 23 Grammy Awards and was nominated over 60 times.[7]
Steve Barrera

[A]lthough one would like to change today's world back to the spirit of one hundred years or more ago, it cannot be done. Thus it is important to make the best out of every generation. - Hagakure

Saecular Pages
Rowena A. Morrill (September 14, 1944 – February 11, 2021) was an American artist known for her science-fiction and fantasy illustration, and is credited as one of the first female artists to impact paperback cover illustration.[1] Her notable artist monographs included The Fantastic Art of Rowena, Imagine (in France), Imagination (in Germany), and The Art of Rowena and her work has also been included in a variety of anthologies including Tomorrow and Beyond and Infinite Worlds.

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Steve Barrera

[A]lthough one would like to change today's world back to the spirit of one hundred years or more ago, it cannot be done. Thus it is important to make the best out of every generation. - Hagakure

Saecular Pages
So Limbaugh went 2 hell. Literally
Heart my 2 yr old Niece/yr old Nephew 2020 Heart
Rash Libel... terrible person.

Rush Limbaugh was a college dropout when he began his combustible radio career, repeatedly losing gigs as a deejay and news-talk host; he spent much of 1974 jobless and living in his parents’ basement in Cape Girardeau, Missouri.

Almost five decades later, Limbaugh kept a fleet of black luxury sedans in his garage, including a $450,000 Maybach 57S, traveled on his private Gulfstream 550 jet, and owned a fabulous oceanfront Palm Beach estate befitting America’s biggest and most politically influential AM radio star—and surely among the richest—who ever mastered the medium.

Limbaugh—whose wife Kathryn confirmed on Wednesday that he died at 70 after a yearlong and very public battle against lung cancer—struggled through personal adversity, including obesity, four rocky marriages, and an addiction to opioid painkillers that earned him humiliating publicity and a criminal charge (later dropped after the completion of court-ordered therapy) of felony prescription fraud. Yet in his final two decades of life, he managed to dominate conservative talk radio even after near-total deafness—somewhat remediated by a cochlear implant—required him to hire a former court reporter to sit in his Palm Beach control room and instantly transcribe listener phone calls so he could converse in real time on the air.

Born Rush Hudson Limbaugh III into a distinguished and rabidly Republican family of judges and lawyers in the nearly all-white southeast Missouri town on the Illinois border, he ultimately commanded an adoring national audience of as many as 20 million listeners—“dittoheads” in Limbaugh-speak—and became by some accounts (especially from his Democratic detractors) the de facto leader of the GOP and a right-wing media ecosystem built on demonizing its opponents, especially feminists and people of color.

He either befriended or tormented five U.S. presidents, depending on their party affiliation, and treasured a fan letter from his hero, Ronald Reagan.

“I know the liberals call you ‘the most dangerous man in America,’ but don’t worry about it, they used to say the same thing about me,” the 40th president wrote to Limbaugh in December 1992. “Keep up the good work.”

Bill Clinton, the 42nd president, and Barack Obama, the 44th, regularly grumbled about Limbaugh’s savage, often satirical—and, in Obama’s case, racist—critiques. Cape Girardeau in the ’50s was hardly a bastion of civil rights or racial equality and enlightenment.

In 1952, just two years before the U.S. Supreme Court outlawed separate public schools for white and black students in the landmark Brown vs. Board of Education decision, the city built its white students a brand new school, Central High, while Black students continued to attend the aging Cobb High School.

As Limbaugh biographer Ze’ev Chafets wrote, “Cape Girardeau took its high school basketball very seriously and sometimes contended for the state title. The 1953 team was expected to be a powerhouse, but word got around that the kids from Cobb were even better. ‘An informal game was arranged between Central and Cobb High,’ says historian Frank Nickell. ‘Cobb won. Shortly thereafter, Cobb mysteriously burned down.’”

During the 2008 presidential campaign, Limbaugh aired a parody of “Puff the Magic Dragon”—sung by a white man doing an Al Sharpton impersonation—titled “Barack the Magic Negro.” In March 2012, Obama exacted revenge of sorts when Limbaugh’s advertisers deserted his syndicated radio show en masse—and he was forced to issue a highly uncharacteristic apology—after he called Georgetown University law student Sandra Fluke a “slut” and a “prostitute” for testifying to a House committee in favor of mandatory birth control services as part of the Affordable Care Act.

Rush Limbaugh is an entertainer. Rush Limbaugh, the whole thing is entertainment. Yes, it’s incendiary; yes, it’s ugly.
— Michael Steele

“I don’t know what’s in Rush Limbaugh’s heart, so I’m not going to comment on the sincerity of his apology,” Obama acidly told the White House press corps after he phoned Fluke to offer his moral support. “What I can comment on is the fact that all decent folks can agree that the remarks that were made don’t have any place in the public discourse.”

By then, Limbaugh had long been a popular punching bag for Democrats and liberals of every stripe. Saturday Night Live comedian Al Franken, a future U.S. senator from Minnesota, scored a No. 1 bestseller with his satirical 1996 book, Rush Limbaugh Is a Big Fat Idiot and Other Observations. Former Clinton White House adviser Paul Begala, meanwhile, delighted in lampooning the radio icon’s fearsome clout in the GOP: “The real leader of the Republican Party in America today is a corpulent drug addict with an AM radio talk show.”

Limbaugh gave as bad as he got. His visceral contempt for fellow baby boomers Bill and Hillary Clinton even extended to their then-12-year-old daughter Chelsea, to whom he referred (on his short-lived television show) as “the White House dog.” President Clinton’s sexual indiscretions were fodder for such Limbaugh parodies as “Mrs. Jones You’ve Got a Lovely Daughter,” a perverse homage to Paula Jones, sung by a Clinton impersonator, and “The Ballad of the Black Beret,” a Monica Lewinsky sendup.
The ideal subject of totalitarian rule is not the convinced Nazi or the dedicated Communist  but instead the people for whom the distinction between fact and fiction, true and false, no longer exists -- Hannah Arendt.

One of the leading figures in Christian contemporary music, Carman:

Carmelo Domenic Licciardello (January 19, 1956 – February 16, 2021), known by his stage name Carman, was an American contemporary Christian music singer, songwriter, television host, life coach,[1] and evangelist.

An Italian American, Carman was born in Trenton, New Jersey.[2] As a child he performed in his mother's band; as a teen, he found some success performing at casinos in Atlantic City.[3]

While attending an Andraé Crouch concert, he became a born again Christian, and embraced evangelical Christianity.[3][4]

In 1980, he made a custom album titled God's Not Finished with Me. The following year, he was invited by Bill Gaither to tour with The Bill Gaither Trio.[5]
After relocating to Tulsa, Oklahoma, he released a moderately successful eponymous debut album (later issued as Some-o-Dat)[2] in 1982[6]—which contained mostly novelty songs. Then, with the release of the album Sunday's on the Way in 1983, a string of CCM chart successes started, beginning with the title song. As he continued his music career, he established the nonprofit organization Carman Ministries.[2] With the 1985 release of The Champion came his first number-one song, of the same name. His first number one album on Christian charts, Revival in the Land, followed in 1989.[3]
Between 1987 and 1989, he was named Charisma magazine's readers' choice for favorite male vocalist.[6] In 1990 and 1992, Billboard named him the Contemporary Christian Artist of the Year.[3] in 1995 he translated some of his songs into and released his first Spanish-language album, Lo MejorHeart of a Champion, a 30-song retrospective was released in 2000.[6]
He was nominated for four Grammys and sold over 10 million records.[3] It is believed he holds the world record for the largest single Christian concert in history.[3] In the first, he was the main act in August 1993 in Johannesburg, South Africa with more than 50,000 in attendance.[7] The following year he performed a free concert at Texas Stadium October 22, 1994 with 71,132 attendees,[2][6] and 80,000 in Chattanooga, Tennessee.[8]
Beyond his music career, he participated in various television productions and interview duties as a host for both the Trinity Broadcasting Network in general and its flagship program Praise the Lord.[9] In 2001, Carman starred in the film Carman: The Champion.[2][10]
In late March 2013, he announced a Kickstarter campaign for a new album and music video. A short time later, he announced an upcoming 60-city tour, as well, additionally noting that the online fundraising campaign had raised more than $230,000 within several weeks.[11]

In November 2011 Carman was the passenger in a car that was struck by a truck from oncoming traffic. The accident took place just outside the church where his appearance was scheduled. He performed the concert, but collapsed afterward and required surgery to repair internal injuries.[12]
Carman began battling cancer, multiple myeloma, in 2013 and he was given a prognosis of only three to four years to live.[13][14] By early 2014, Carman claimed medical tests indicated his body was free of cancer. He then continued preparing for his Live Across America album and tour.[15] When the cancer went into remission, he attributed his healing to the faith of his fans.[3] He pledged to his Facebook and Kickstarter supporters to begin his "No Plan B Tour" as soon as he regained his health.[16] Later that same year he toured the eastern United States.[16]

In December 2017, at the age of 61, Carman married Dana. His new family included one son, five daughters and nine grandchildren.[17]
In January 2020, Carman announced his cancer had returned.[18] He resumed live concert church tours June 2020.[19] Carman died on February 16, 2021 at a Las Vegas, Nevada, hospital after a series of complications resulting from surgery to repair a hiatal hernia, 28 days after his 65th birthday.[3][20]
The ideal subject of totalitarian rule is not the convinced Nazi or the dedicated Communist  but instead the people for whom the distinction between fact and fiction, true and false, no longer exists -- Hannah Arendt.

Minister of Petroleum of Saudi Arabia during the Energy Crisis of the 1970's:

Ahmed Zaki Yamani   (Arabic: أحمد زكي يماني‎; 30 June 1930 – 23 February 2021) was a Saudi Arabian politician who was Minister of Oil (Petroleum) and Mineral Resources from 1962 to 1986, and a minister in the Organization of the Petroleum Exporting Countries (OPEC) for 25 years. With degrees from various institutions including New York University School of LawHarvard Law School, and a doctorate from the University of Exeter, Yamani became a close adviser to the Saudi government in 1958 and then became oil minister in 1962. He is known for his role during the 1973 oil embargo, when he spurred OPEC to quadruple the price of crude oil.

In December 1975, Yamani and the other OPEC ministers were taken hostage by the notorious terrorist Carlos (the Jackal) in ViennaAustria. The hostages were released after two days riding an airplane across North Africa, even though Carlos was ordered by his superiors to execute Yamani and his Iranian counterpart Jamshid Amouzegar.

In October 1986, King Fahd dismissed Yamani. He also dismissed Abdulhady Hassan Taher, who was the founder of Petromin oils (now part of Aramco) and had a major role in the Saudi oil history. In 1990, Yamani founded the Centre for Global Energy Studies, a market analysis group.

His negotiation style, as remarked on by Henry Kissinger, was to wine and dine other dignitaries until the point of fullness and lethargy, before beginning protracted negotiations (Reader's Digest, circa 1970).

He died on 23 February 2021 in London, aged 90, to be later buried in his hometown, Mecca.[12]
The ideal subject of totalitarian rule is not the convinced Nazi or the dedicated Communist  but instead the people for whom the distinction between fact and fiction, true and false, no longer exists -- Hannah Arendt.

Lawrence Monsanto Ferlinghetti (March 24, 1919 – February 22, 2021) was an American poet, painter, social activist, and the co-founder of City Lights Booksellers & Publishers.[2] He was the author of poetry, translations, fiction, theatre, art criticism, and film narration. Ferlinghetti was best known for his first collection of poems, A Coney Island of the Mind (1958), which has been translated into nine languages, with sales of more than one million copies.[3] Ferlinghetti turned 100 in March 2019, leading the city of San Francisco to proclaim his birthday, March 24, "Lawrence Ferlinghetti Day".[4]

Quote:If you would be a poet, create works capable of answering the challenge of

apocalyptic times, even if this meaning sounds apocalyptic.

You are Whitman, you are Poe, you are Mark Twain, you are Emily Dickinson and Edna St. Vincent Millay, you are Neruda and Mayakovsky and Pasolini, you are an American or a non-American, you can conquer the conquerors with words. ...
— Lawrence Ferlinghetti. From Poetry as Insurgent Art .

Ferlinghetti published many of the Beat poets and is considered by some as a Beat poet as well.[10] Yet Ferlinghetti does not consider himself to be a Beat poet, as he says in the 2013 documentary Ferlinghetti: Rebirth of Wonder: "Don't call me a Beat. I was never a Beat poet."[10]
Ferlinghetti penned much of his early poetry in the vein of T. S. Eliot.[11] Ferlinghetti told poet and critic Jack Foley, "Everything I wrote sounded just like him."[11] Yet, even in his poems inspired by Eliot such as Ferlinghetti's "Constantly Risking Absurdity," Ferlinghetti is ever the populist as he compares the poet first to a trapeze artist in a circus and then to a "little charleychaplin man."[11]

Critics note that Ferlinghetti's poetry often takes on a very visual dimension as befits this poet who is also a painter.[12] As the poet and critic Jack Foley states, Ferlinghetti's poems "tell little stories, make 'pictures'."[13] Ferlinghetti as a poet paints with his words pictures full of color capturing the average American experience as seen in his poem "In Golden Gate Park that Day: "In Golden Gate Park that day/ a man and his wife were coming along/ ... He was wearing green suspenders ... while his wife was carrying a bunch of grapes."[12] In the first poem in A Coney Island of the Mind entitled, "In Goya's Greatest Scenes, We Seem To See," Ferlinghetti describes with words the "suffering humanity" that Goya portrayed by brush in his paintings.[11] Ferlinghetti concludes his poem with the recognition that "suffering humanity" today might be painted as average Americans drowning in the materialism: "on a freeway fifty lanes wide/ a concrete continent/ spaced with bland billboards/ illustrating imbecile illusions of happiness."[14]
Ferlinghetti takes a distinctly populist approach to poetry, emphasizing throughout his work "that art should be accessible to all people, not just a handful of highly eSoon after settling in San Francisco in 1950, Ferlinghetti met the poet Kenneth Rexroth, whose concepts of philosophical anarchism influenced his political development. He self-identifies as a philosophical anarchist, regularly associated with other anarchists in North Beach, and he sold Italian anarchist newspapers at the City Lights Bookstore.[18] A critic of U.S. foreign policy, Ferlinghetti has taken a stand against totalitarianism[clarification needed] and war. While Ferlinghetti has said he is "an anarchist at heart", he concedes that the world would need to be populated by "saints" in order for pure anarchism to be lived practically. Hence he espouses what can be achieved by Scandinavian-style democratic socialism.[19]

Ferlinghetti's work challenges the definition of art and the artist's role in the world. He urged poets to be engaged in the political and cultural life of the country. As he writes in Populist Manifesto: "Poets, come out of your closets, Open your windows, open your doors, You have been holed up too long in your closed worlds ... Poetry should transport the public / to higher places / than other wheels can carry it ..."
On January 14, 1967, he was a featured presenter at the Gathering of the tribes "Human Be-In," which drew tens of thousands of people and launched San Francisco's "Summer of Love." In 1968, he signed the "Writers and Editors War Tax Protest" pledge, vowing to refuse tax payments in protest against the Vietnam War.[20]

In 1998, in his inaugural address as Poet Laureate of San Francisco, Ferlinghetti urged San Franciscans to vote to remove a portion of the earthquake-damaged Central Freeway and replace it with a boulevard. "What destroys the poetry of a city? Automobiles destroy it, and they destroy more than the poetry. All over America, all over Europe in fact, cities and towns are under assault by the automobile, are being literally destroyed by car culture. But cities are gradually learning that they don't have to let it happen to them. Witness our beautiful new Embarcadero! And in San Francisco right now we have another chance to stop Autogeddon from happening here. Just a few blocks from here, the ugly Central Freeway can be brought down for good if you vote for Proposition E on the November ballot."[21] The result was Octavia Boulevard.

In March 2012 he added his support to the movement to save the Gold Dust Lounge, a historic bar in San Francisco, which lost its lease in Union Square.

Alongside his bookselling and publishing, Ferlinghetti painted for 60 years and much of his work was displayed in galleries and museums throughout the United States.[22]
In 2009, Ferlinghetti became a member of the Honour Committee of the Italian artistic literary movement IMMAGINE&POESIA, founded under the patronage of Aeronwy Thomas. A retrospective of Ferlinghetti's artwork, 60 Years of Painting, was staged in Rome and Reggio Calabria in 2010.[23]
Jducated intellectuals."[15] Larry Smith, an American author and editor, stated that Ferlinghetti is a poet, "of the people engaged conscientiously in the creation of new poetic and cultural forms."[6] This perception of art as a broad socio-cultural force, as opposed to an elitist academic enterprise, is explicitly evident in Poem 9 from Pictures of the Gone World, wherein the speaker states: "'Truth is not the secret of a few' / yet / you would maybe think so / the way some / librarians / and cultural ambassadors and / especially museum directors / act" (1–8). In addition to Ferlinghetti's aesthetic egalitarianism, this passage highlights two additional formal features of the poet's work, namely, his incorporation of a common American idiom as well as his experimental approach to line arrangement which, as Crale Hopkins notes, is inherited from the poetry of William Carlos Williams.[16]

Reflecting his broad aesthetic concerns, Ferlinghetti's poetry often engages with several non-literary artistic forms, most notably jazz music and painting. William Lawlor asserts that much of Ferlinghetti's free verse attempts to capture the spontaneity and imaginative creativity of modern jazz; the poet is also notable for frequently incorporating jazz accompaniments into public readings of his work.[17]

More at Wikipedia
The ideal subject of totalitarian rule is not the convinced Nazi or the dedicated Communist  but instead the people for whom the distinction between fact and fiction, true and false, no longer exists -- Hannah Arendt.

Prolific Romanian-Israeli composer. I never heard of him. Should I have?

Sergiu Natra (12 April 1924 – 23 February 2021) of international reputation was one of the greatest and most creative classical composers in the world.[1]
Among NATRA's important creations: "Symphony in Red, Blue, Yellow and Green", "Horizons Symphony", "Invincible Symphony", "Tongues of Fire Symphony", "Memories Symphony", "Future In The Past symphony", "The Meaning Of Life Symphony", "Earth and Water Symphony", "2020 Symphony", "Secrets Symphony", "Variations for Piano and Symphony orchestra", "Song of Deborah for symphony orchestra and voice", "Sacred Service for symphony orchestra".
Among his well-known compositions for the harp: "Music for Violin and Harp", "Sonatina for Harp", "Prayer for Harp", "Divertimento for Harp flute and Strings orchestra", "To be Free", "Commentaires Sentimentaux", "Ode To The Harp" and "Trio in One Movement no. 3".

Natra was born in Romania in April 1924 into a family with Austrian, German and Czech origins. As a child he studied piano and and took up music studies in 1932. He continued his studies at the Jewish conservatory until 1942, and graduated from the Music Academy of Bucharest in 1954.[2] He studied, among others, theory, composition and orchestration with Leon Klepper and modern music with Michael Andricu.[citation needed]

He began composing at an early age and his symphony orchestra composition "March and Choral" earned him the status of a modernist in Romania. The Israel Philharmonic Orchestra performed this work in 1947 under the direction of Edward Lindenberg. Natra received many composition awards for his creations, including for "March and Choral", "Divertimento in ancient style" for symphony string orchestras, the George Enescu award for composition in 1945 and for "Suite for symphony orchestra" in 1951 when he received the National Prize for Composition.[citation needed]

In 1961, Natra and his wife, Sonia, a sculptor and multidisciplinary artist, emigrated to Israel.[1] A year later, conducted by Sergiu Comissiona, the Israel Philharmonic Orchestra performed the "Horizons Symphony for symphony string orchestra", which was the last piece he had written in Romania, and the "Music for violin and harp", performed by the violinist Miriam Fried and the French harpist Françoise Netter.[citation needed]

Besides composing music, Natra taught music, including at Tel-Aviv University, where he taught music of the 20th century, composition, and analysis of forms. He was a professor at the Music Academy in the Tel-Aviv University until 1985. Among his students were Lior ShambadalYehonatan Berick, and Sally Pinkas.

Natra and his wife Sonia, had two sons, Danny and Gabi.[3] He died in February 2021 at the age of 96.[4]

Natra was a composer with a clear European orientation, who had a clear personal stamp and a particular writing style with melodic flow, atonal language, polyphonic idea, gradual development and shaping of motive material.[citation needed]

He made use of a rich palette of sound-colors, unusual instrumental combinations, central registers of instruments (and voices), playing techniques which are natural and comfortable and succeed in producing optimal sound, texts in a new language, with its fresh rhythms and sonorities.[citation needed]

An extended list of works and their respective audio and video recordings is to be found at Natra's site
  • Divertimento in Ancient Style (1943) for symphony string orchestra; 14'; first performance in 1943; received Enescu Prize (1945)

  • March and Chorale (1943) for symphony orchestra, 11'; first performance in 1944, received Enescu Prize (1945) "A young composer's revolt against Nazi oppression during World War II"

  • The Flood stage music (1944) for the theater work by Mihail Sebastian; first performance in 1944

  • Laughter and Tears (1944) stage music for the Song of Love of Three Oranges by Carlo Gozzi (in collaboration with Edgar Cosma); first performance in 1944

  • Way To The Concentration Camp (1944) dance music for the recital of Judith Taussinger dancer; first performance in 1944

  • String quartet nr. 1 (1944)

  • Spacetime symphony for symphony string orchestra (1944/2017), 3 movements, 40'

  • Spacetime for string quartet (1945/2017), 20'

  • Divertimento in ancient Style (1945) for symphony string orchestra with piano, 14'; first performance in 1945; received Enescu Prize

  • Three Street Cortèges for piano, music for stage (1945) 6'; first performance in 1945

  • Four Poems (1945) stage music for reciters, violin and piano, lyrics of Margareta Dorian and Liana Maxi; first performance in 1945

  • Variations for Piano (1946)

  • Forevermore sonata for piano (1947/2018), 4 movements, 24'

  • Suite for symphony string orchestra, piano and vibraphone (1947)

  • The Girl Soldier (1947) poem music for reciter and piano, lyrics by Ilya Ehrenburg; first performance in 1947

  • Music for Children (1947), piano, 5'20, 7 pieces on Romanian folk tunes; first performance in 1947

  • Song for Republic (1948), mixed choir voices and piano for lyrics by Nina Cassian; first performance in 1948

  • Spring Song (1948), for children choir with 2 equal voices, lyrics by Letitia Papu; first performance in 1948

  • Suite for symphony orchestra (1949), 14'; first performance in 1950, received Romanian National Prize, dedicated to Leon Klepper;

  • Earth and Water symphony for symphony orchestra (1949/2017), 4 movements, 30'

  • Two pieces for film journals (1950) for orchestra; music for film

  • Symphony for orchestra (1951), 35'; first performance (1’s movement) in 1951

  • Songs collection (1952)

  • Existence Symphony for symphony orchestra and baritone (1956), 4 movements, 35'; first performance in 1958

  • Existence for baritone & piano (1956), 30', texts: Stefan O. Iosif, Mihai Eminescu, Tudor Arghezi, Emil Isac

  • Horizons Symphony for symphony string orchestra (1959), 3 movements, 27'; first performance in 1962

  • Music for Violin and Harp (1960), 12'; first performance in 1965, Tel-Aviv

  • Interlude for Harp (1962), 8'

  • Festive Overture - Toccata and Fuga (1963) for symphony orchestra, 12'; first performance in 1963

  • Sonatina for Harp (1963), 7', solo harp; first performance in 1963, Israel, received prize for the mandatory piece in International Harp Contest

  • Music for Harpsichord and Six Instruments (1964) harpsichord, flute, clarinet, 2 violas, cello, & double bass, 19’; first performance in 1964, Jerusalem; many performances as a ballet music titled The Wait

  • Symphony for symphony string orchestra (1964), 19'; first performance in 1972

  • Music for Oboe and Strings (1965) oboe & string orchestra 3 movements, 16'; first performance in 1965, dedicated to composer's wife, Sonia

  • Variations for Piano and symphony orchestra (1966), 22', first performance: 1967

  • Tongues of Fire (1967) Le'shonot ha'esh ballet music in 4 acts for symphony orchestra, 35’; first performance in 1967; Bath Sheva Dance Company (Pearl Lang, USA)

  • Song of Deborah (1967) Shirat Devorah, voice & orchestra; text: Bible: Judges: 5, in Hebrew, 17', first performance in 1967 in USA; received Tel-Aviv Municipality Engel Prize

  • Tongues of Fire Symphony (1968) Le'shonot ha'esh, 4 movements, 50'; first performance in 1968

  • Prelude and Nehemiah Builds the Second House (1968) choir (SATB), baritone & symphony orchestra, texts: Bible: Apocrypha; Book of Nehemiah, in Hebrew, 3 movements, 10'; first performance in 1968, (1’st Testimonium)

  • Memorial for Harp (1968), 8'

  • Sonatina for Trombone in 5 movements (1969), 11’, solo trombone; first performance: 1969

  • Sonatina for Trumpet in 4 movements (1969), 7’, solo trumpet; first performance in 1969

  • Prayer (1970) solo harp, 6'; first performance in 1970

  • Trio in One Movement nr. 1 (1971) piano trio, 12'; first performance in 1972, Tel-Aviv

  • Dedication (1972) various passages from Bible Psalms; Isaiah, in Hebrew, first performance in 1972

  • A Book of Hebrew Songs (1973) 10 pieces for harp, 12'; first performance in 1977, Tel-Aviv; based on songs from various Jewish communities, mandatory work in Israeli Harp Contest 2014

  • Divertimento for Harp and Strings (1974) string quartet & double bass ad lib., 10'; first performance in 1977 (USA)

  • Sonata Brevis for trombone bass (1974)

  • Sacred Service (1975), choir (SATB), baritone, soprano, violin, cello, harp, & organ, 40’; first performance in 1982 (USA)

  • Sacred Service (1975) 3 choruses organ, choir (SATB), baritone, soprano, violin, cello, harp, & organ, 7’

  • Sacred Service (1975) 2 songs, soprano, piano, 11'

  • Discoveries (1976) "Entdeckungen" Children’s play for 10 pedal harps, 5 Irish harps, & percussion (3), text: Phia Berghout (Netherlands); Sonia & Sergiu Natra, in German, 7'; first performance in 1977 (Netherlands); conceived as a project for ISCM Days, Bonn, Germany

  • Pages from a Composer's Diary (1978) for symphony orchestra, 15'; first performance in 1978

  • Variations (1978) for harpsichord, 13'; first performance in 1978

  • Song of Deborah (1978), voice & symphony orchestra, text: Bible: Judges: 5, in Hebrew, 17'; first performance in 1979

  • Sacred Service (1978) for symphony orchestra voice solo and choir; first performance in 1983

  • Introduction and three interludes (1978) for symphony orchestra, part of the Sacred Service work

  • Museum on the Hill (1979) film music for clarinet, French horn, viola, cello, piano, harp, percussion, & accordion, 27'; recorded, 1979, Jerusalem Film Center, about the Israel Museum in Jerusalem

  • Invincible Symphony (1981), 4 movements, 25'

  • Hours (1981) 7 songs for alto, clarinet, violin, & piano text: Sonia Natra, 12'; first performance: 1981

  • Diary of a Choreographer (1982) ballet music for flute, piano, & tape, 30'; first performance: 1982, Bath Sheva Dance Company (Robert Cohan UK)

  • Music For Harp and Three Brass Instruments (1983) harp, trumpet, trombone, & French horn, 8'; first performance in 1983

  • Miracle of the Peoples (1984) cantata for choir (SATB), soprano, baritone, & orchestra text: Bible: Isaiah, in German, 16'; first performance in 1984

  • Divertimento for Harp and String Orchestra (1985), 12'

  • Divertimento for Harp, Flute and String Orchestra (1985), 12'

  • Music for Violin and Piano (1986)

  • Fantasia for Violoncello and Piano (1987)

  • Sonatina for Piano (1987)

  • Developments (1988) viola & orchestra, 11'; first performance in 1989

  • Developments (1988) for viola and piano, 11'

  • Music for Nicanor (1988) harp, flute, clarinet & string quartet, 12'; first performance in 1990 ( USA); commissioned by the harpist Nicanor Zabaletta

  • Ancient Walls (1990) harp & trombone, 10'; first performance in 1990 (France)

  • String Quartet No. 2 (1991), 15'

  • Concerto a quattro (1993) clarinet, trombone, cello, organ, & string orchestra, 18'

  • Sonata for Four Harps (1993), four harps, composed during Natra staying in Paris at Citee des Arts (1992)

  • Wings (1994), choir (SATB), text: Sonia Natra in Hebrew, 4', dedicated to granddaughter, Gillie

  • Wings (1994), 4', soprano & piano, text: Sonia Natra in Hebrew, 4', dedicated to granddaughter, Gillie

  • Ballade Millenaire (1998), solo harp, 7'; first performance in 1998

  • Harmonic Tone Image for two pianos (1998), 10'; first performance in 2000

  • Reflections on Mordechai Zeira’s Song Two Roses (1998) string quartet, 4'

  • Sonata in One Movement (1999) harp & string quartet, 15'; first performance 1999 (Prague)

  • Three Poems (2000) Exod, Ricercare, Destin, for voice, text: Sonia Natra

  • Trio in One Movement nr. 2 (2001) piano trio, 14'; dedicated to Hava Armon

  • Two Poems (2001) Migration, Ricercare, voice & harp, 6', text: Sonia Natra; first performance in France

  • Commentaires Sentimentaux (2002) flute, viola, & harp; first performance in 2002 (France)

  • Trio in One Movement nr. 3 (2006) 2 French horns & harp, 10'; first performance in 2006 (Bern)

  • Variations (2007) harpsichord, 13'

  • Pages from a Composer's Diary (2008) for symphony orchestra, 15'; first performance in 2009

  • Ancient Walls (2008) for French horn and harp, 10'

  • Nehemiah symphony (2010), 30'; first performance in 2010

  • Cantosonata for Harp solo (2011), solo harp, 7'; first performance in 2012 (Taipei, Taiwan), dedicated to Isabelle Perrin and Natra Gabi

  • Sonata for Clarinet (B) and Piano (2011), dedicated to Hava and Ernest Armon

  • Konzertstuck for two Pianos and symphony orchestra (2012), 15'; first performance in 2015

  • Divertimento in Ancient Style for piano in four hands (2012), 12'; first performance in 2016 (USA)

  • Esquisses for flute and piano (2013), 11'; first performance in 2016

  • A Dialogue With Gabi for piano (2015), 4 movements, 14'

  • Concert Piece for Two Pianos and symphony orchestra (2015), 15'

  • Music for piano, flute, clarinet and two violas, cello and double bass (2015), 20'

  • Music for piano, flute, clarinet and string orchestra (2015), 20'

  • Symphony in Red, Blue, Yellow and Green for symphony orchestra (2016), 4 movements, 42'; first performance in 2016, dedicated to the composer's grandparents Elise (Loew) and Philip Lustgarten, Hana and Samuel Nadler, parents Nora (Lustgarten) and Beniamin Nadler and son Gabi Natra

  • Espaces Sonores for Harp, Flute and String Orchestra (2016), 18'

  • Future in the Past for two violins, viola, violoncello and piano (2017), 13'

  • Spacetime for string quintet (1945/2017), 20'

  • Ode To The Harp (2017), 16'

  • Séparément Ensemble pour deux harpes (2018), 16'

  • Occurrences Symphony for symphony orchestra (2017), 3 movements, 25'

  • Music for two harps and orchestra (2018), 15'

  • Music for harp and orchestra (2018), 14'

  • Modus Vivendi for piano (2018), 17'

  • Inter Senses for two pianos (2018), 15'

  • Memories Symphony for symphony orchestra (2018), 6 movements, 46'

  • Three Street Cortèges for concert piano (2018), 3 movements, 13'

  • Figurative Abstract for piano (2018), 3 movements, 13'

  • Thoughts of Emotions for Marimba (2018), 16'

  • Thoughts of Emotions for two Marimbas (2018), 16'

  • Abstraction for Marimba (2018), 13'

  • Toujours sonate pour harpe (2018), 4 movements, 25'

Most of the above related scores were published by IMI in Tel-Aviv[5] and by Harposphere in Paris.[6] Part of the composers scores, the respective recordings, books and articles are found also in libraries, such as, Beit Ariela Public Library and Cultural Center (Israel),[7] The National Library of Israel,[8] The library of Congress (USA)[9] and The Harold B. Lee Library (USA).[10]

The main source of the above list is the composer's documentation and archive. Additional references are found in:.[11][12][13][14][15][16][17][18][19][20][21][22][23][24][25][26][27][28][29][30][31][32][33][34][35][36][37][38][39][40][41][42][43] [44]
The ideal subject of totalitarian rule is not the convinced Nazi or the dedicated Communist  but instead the people for whom the distinction between fact and fiction, true and false, no longer exists -- Hannah Arendt.

Football player and sportscaster Irv Cross:

Irvin Acie Cross (July 27, 1939 – February 28, 2021) was an American professional football player and sportscaster. He played cornerback in the National Football League (NFL) and was a two-time Pro Bowl selection with the Philadelphia Eagles. Working with CBS, Cross was the first African-American sports analyst on national television. He was an initial co-host of The NFL Today, the first network football pregame show to be completely live.

After playing college football for the Northwestern Wildcats, Cross was selected by Philadelphia in the seventh round of the 1961 NFL Draft. He played six of his nine NFL seasons with the Eagles. He was traded to the Los Angeles Rams before returning to the Eagles and finishing his playing career. While he was playing, Cross was also a radio and TV sports reporter in Philadelphia. He joined CBS in 1971, where he worked until 1994. The Pro Football Hall of Fame awarded him the Pete Rozelle Radio-Television Award in 2009, becoming the first black person to receive the award. He was also an athletic director at Idaho State University and Macalester College.

Cross became an analyst and commentator for CBS Sports in 1971, when he became the first African American to work as a sports analyst on national television.[1] In 1975, he teamed with Musburger and Phyllis George on The NFL Today, the first completely live network pregame show,[2] which he co-hosted from its inception in 1975 through 1989.[8] He became the first black to co-anchor a network sports program.[2] In addition to his work on CBS's NFL coverage, Cross called NBA basketball, track and field, and gymnastics at various times for the network. He stayed with CBS through 1994.[8]

Cross served as athletic director at Idaho State University from 1996 to 1998.[11] He then was the director of athletics at Macalester College in Saint Paul, Minnesota for six years until June 2005.[12] He was the CEO of Big Brothers Big Sisters of Central Minnesota until May 2010, and returned to football commentary for the Twin CitiesFox station KMSP-TV.[1]

Cross was the 2009 recipient of the Pete Rozelle Radio-Television Award – the award, given annually by the Pro Football Hall of Fame, recognizes "long-time exceptional contributions to radio and television in professional football."[8] He was the first black person to receive the award.[10]
The ideal subject of totalitarian rule is not the convinced Nazi or the dedicated Communist  but instead the people for whom the distinction between fact and fiction, true and false, no longer exists -- Hannah Arendt.

(It may be ironic, but I consider sports pre-game shows the worst time-wasters on the air. One forgets what was said or shown in them after the game starts. But somehow I remembered Irv Cross).
The ideal subject of totalitarian rule is not the convinced Nazi or the dedicated Communist  but instead the people for whom the distinction between fact and fiction, true and false, no longer exists -- Hannah Arendt.


Lawrence Ferlinghetti (March 24, 1919 – February 22, 2021)

He spoke for me.
"I close my eyes, and I can see a better day" -- Justin Bieber

Keep the spirit alive;
Eric M
Vernon Eulion Jordan Jr. (August 15, 1935 – March 1, 2021) was an American business executive and civil rights activist in the United States. After working for several Civil Rights Movement organizations, he was chosen by President Bill Clinton as a close adviser. Jordan was an influential figure in American politics.

Vernon Jordan was born in AtlantaGeorgia, to Mary Jordan and Vernon E. Jordan Sr.; he has a brother, Windsor. He was a cousin of James Shaw, a musician who is professionally billed as The Mighty Hannibal.[1]

Jordan grew up with his family in the segregated societal cosmos of Atlanta during the 1950s. He was an honors graduate of David T. Howard High School. Rejected for a summer internship with an insurance company after his sophomore year in college because of his race, he earned money for college for a few summers for college by working as a chauffeur to former city mayor Robert Maddox, then a banker. Jordan graduated from DePauw University in Greencastle, Indiana, in 1957.[2] In an interview with Robert Penn Warren for the book Who Speaks for the Negro?, Jordan described his difficulties at DePauw as the only black student in a class of 400.[3] He earned a J.D. degree at Howard University School of Law in 1960. He is a member of the Omega Psi Phi and Sigma Pi Phi fraternities.

Jordan returned to Atlanta to join the law office of Donald L. Hollowell, a civil rights activist. The firm, including Constance Motley, sued the University of Georgia for racial discrimination in its admission policies. The suit ended in 1961 with a Federal Court order demanding the admission of two African Americans, Charlayne Hunter and Hamilton E. Holmes. Jordan personally escorted Hunter past a group of angry white protesters to the university admissions office.

[Image: 220px-Vernon_E._Jordan_working_on_a_vote...roject.jpg]

After leaving private law practice in the early 1960s, Jordan became directly involved in activism in the field, serving as the Georgia field director for the [url=]National Association for the Advancement of Colored People
. From the NAACP, he moved to the Southern Regional Council and then to the Voter Education Project.

In 1970, Jordan became executive director of the United Negro College Fund.[4] He was president of the National Urban League from 1971 to 1981.

While still with the National Urban League, Jordan in 1981 said of the Ronald Reagan administration:

Quote:I do not challenge the conservatism of this administration. I do challenge its failure to exhibit a compassionate conservatism that adapts itself to the realities of a society ridden by class and race distinction.[5]

That year he resigned from the National Urban League to take a position as legal counsel with the Washington, D.C., office of the Dallas law firm of Akin Gump Strauss Hauer & Feld.

On May 29, 1980, Jordan was shot and seriously wounded outside the Marriott Inn in Fort Wayne, Indiana. He was accompanied by Martha Coleman at the time. Police thought initially that it might have been a domestic incident related to Coleman's life.[6] Then-president Jimmy Carter visited Jordan while he was recovering, an event that became the first story covered by the new network CNN.[7] Joseph Paul Franklin was acquitted in 1982 of charges of attempted murder. However, in 1996, after having been convicted of murder in another case, Franklin admitted to having committed the shooting.[8]

Jordan, a friend and political adviser to Bill Clinton, served as part of Clinton's transition team in 1992–93, shortly after Clinton was elected president. In the words of The New York Times:

Quote:For Mr. Clinton, Mr. Jordan's roles have been manifold: Golfing companion. Smoother of ruffled feathers (he put the president back in touch with Zoë Baird after the withdrawal of her nomination to be attorney general). Consoler in chief (after Mr. Clinton was defeated for re-election as governor in 1980, after the suicide of Vincent W. Foster Jr. in 1993). Conduit to the high and mighty (he took Mr. Clinton in 1991 to the Bilderberg conference in Germany, an exclusive annual retreat for politicians and businessmen). Go-between (he told Mike Espy he had to go as secretary of agriculture, helped win Warren Christopher a larger role as secretary of state and sounded out Gen. Colin L. Powell for a Cabinet job).[9]

In 1998 Jordan helped Monica Lewinsky, a former White House intern, after she left the White House. His role was considered controversial given the scandal that the Clinton administration had suffered because of the president's involvement with the intern.[10] On October 1, 2003, a United States court of appeals rejected Jordan's claim for reimbursement for legal services related to assisting Clinton in scandals regarding Lewinsky and Paula Jones

More at Wikipedia.
The ideal subject of totalitarian rule is not the convinced Nazi or the dedicated Communist  but instead the people for whom the distinction between fact and fiction, true and false, no longer exists -- Hannah Arendt.

German oboist and conductor Helmut Winschermann

Winschermann was born in Mülheim an der Ruhr in 1920.[1] He first studied violin at the Folkwangschule where he was pointed at the oboe which he studied with Johann Baptist  Schlee [de].[2] He studied also at the Conservatoire de Paris.[1] After only one year of oboe studies, he was engaged at the Witten municipal orchestra, followed by Bad Homburg and Oberhausen.[2] He served in the military in World War II.[2] After the war, he was principal oboe with the Rundfunkorchester Frankfurt.[2][3]

With the flautist Kurt Redel and harpsichordist Irmgard Lechner, he was a co-founder of the chamber music ensemble Collegium Pro Arte, later called the Collegium Instrumentale Detmold.[4][1]

In 1956 he was appointed principal chair of the oboe department at the Hochschule für Musik Detmold, having taught there since 1948[3][5] when the institution was founded.[2] His students include Hansjörg SchellenbergerFumiaki MiyamotoIngo Goritzki, Günther Passin and Gernot Schmalfuß.[6] He held the professorship until his retirement in 1985.[2]

He recorded Mozart's Oboe Quartet in F major (K.370) with the Kehr Trio, issued in 1957 on Telefunken LGX 66065 in the UK.[7] He maintained a touring schedule as a soloist, and frequently collaborated with the Cappella Coloniensis, the Chamber Orchestra of the Saar [de] conducted by Karl Ristenpart, and Karl Münchinger's Stuttgart Chamber Orchestra.[8]

Winschermann founded the instrumental ensemble Deutsche Bachsolisten in 1960,[9] in order to provide historically informed performances of the music of Johann Sebastian Bach and his baroque contemporaries. He initially divided his time between playing the oboe and conducting the group, but later focussed on conducting solely.[3] Under his direction they have made a multitude of recordings and toured widely internationally. They are particularly popular in Japan, having visited there at least 14 times.[3]

In 2010 the group celebrated its 50th anniversary in a concert at the Beethovenhalle in Bonn, with the 90-year-old Winschermann conducting his own orchestration of Bach's Goldberg Variations. He turned 100 in March 2020,[10] and was found dead at his home in Bonn on 4 March 2021.[11]
The ideal subject of totalitarian rule is not the convinced Nazi or the dedicated Communist  but instead the people for whom the distinction between fact and fiction, true and false, no longer exists -- Hannah Arendt.


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