tf memories

is it just me or did anyone else think of Erica & Boyd & Allison during the last scene when they were talking about the last day of school and moving on with their lives and kinda got sad because those three rays of sunshine also deserved that last day of school bliss. those three deserved to live to see their last day of school, to see their graduation and deserved to go away to their college of choice and leave the craziness of Beacon Hills behind. 

it’s probably just me.

Memories - Pete Seeger with what became his signature instrument, the 5-string banjo. The well-worn face of Mr. Seeger’s banjo was decorated with the message, “This machine surrounds hate and forces it to surrender.” The banjo head  was donated to the Rock and Roll Hall of Fame and Museum in Cleveland in 2010. - Andrew Sullivan for The New York Times

TF Memories - Peter Seeger Click here

anonymous asked:

20, Arkhe scientists to Bach

things you said that i wasn’t meant to hear // things said

he was made to be their perfect instrument, he knew that well. was it not their goal that he made his? he had fallen asleep, it seemed, the music fading in his head, darkness replacing gilded light. he’d known the price that he’d pay for his ideals, but he’d not expected this. it had been quite some time since he’d felt like this ( fully aware, but he couldn’t show it ), was this not what he’d felt like while they did their horrid tests? 

what’s its condition? a voice cut through the silence ( that of an older male ), senses flaring but still, he felt disconnected.  the arkheloid has a steady pulse, all central nervous systems seem to be active.  another voice, younger ( likely, a youth just hired )  stop — i’m not your instrument, i’m alive, i’m alive —  what about its peripheral system? why won’t it move? shock it again, professor otowa said that it has a body that functions just as any other naturally born human being. shock it again, raise the goddamn voltage if you have to. the familiar sound of that device sent his mind into what could only be seen as anxiety, the following jolt felt like agony.  anything?  stop — it hurts — i’m not your instrument —  it feels the shock, but shows no ability to move otherwise. something’s wrong with its motor neurons. wait —  

he heard commotion, faint murmurs, they were preparing for another test —  wait, stop!! look at these scans, the arkheloid is displaying conscious brain activity. this time, it was the voice of a young woman —  mitsuru, that’s irrelevant, mitsuru… did she want them to stop hurting him? her comment seemed to cause more irritability in the other scientists than do any good —  it’s a goddamn machine, mitsuru, you even helped design it. it can’t possibly be conscious, & even if it is, it’s a machine & all machines can be reset. mitsuru… she designed me… am i not human? i’m not a machine, i can feel — i’m here, i’m here — stop!!  you can’t reprogram anything that’s broken, we’re already behind schedule, right? we have to try something else before we’re back at square one!! mitsuru… are you trying to protect me?  god dammit, if there’s no response with this sort of testing, try something else!! clearly, the alkheloid must be able to hear us, that’s the only way that these charts would look like this — why don’t we try something like music?  they played him music, his music & the golden light broke through the darkness — 

he’d caught a glimpse of freedom, only to find himself shackled again, familiar sound flooding his senses ( this was not how his world was supposed to end, this was not the prelude that he’d yearned for ) —  this is my music…  

mitsuru — she looked at him with a terrible & twisted love in her eyes  you said my name — you said my name for the first time — !!  

my name is mitsuru, i’m going to give you music; they’re not going to do those tests anymore, they won’t hurt you anymore. i wonder… when you wake up, will you remember my name? i hope you do. i think i’d like it if you said my name, even if it’s only once.


Photo I: Iola Brubeck and her her husband, the jazz pianist and composer Dave Brubeck //
Photo II: Iola Brubeck, left, and husband Dave Brubeck at a 2003 ceremony rechristening a Stockton street as Brubeck Way. // Photo III: Iola Whitlock and Dave Brubeck met in 1940 at then-College of the Pacific and were married in 1941 // Photo IV: Dave and Iola Brubeck
Iola (Whitlock) Brubeck
Born: August 14, 1923, Corning, California, USA
Died: March 12, 2014, Wilton, Connecticut, USA
Darius, the eldest, is a pianist, producer, educator and performer, born June 14, 1947
Dan is a percussionist
Chris is a multi-instrumentalist and composer.
Matthew, the youngest, is a cellist with an extensive list of composing and performance credits, born May 9, 1961
Michael, who died in 2009, was a saxophonist.
Catherine Brubeck Yaghsizian
Iola Brubeck, Collaborator and Wife of Jazz Pianist, Dies at 90
By Peter Keepnews – March 14, 2014 –
Iola Brubeck, who played an important behind-the-scenes role in the success of her husband, the jazz pianist and composer Dave Brubeck, died on Wednesday at her home in Wilton, Conn. She was 90.
The cause was cancer, according to the University of the Pacific in Stockton, Calif., which announced her death. Both she and Mr. Brubeck were graduates of the university, which was known as the College of the Pacific at the time, and which has housed the Brubeck archives since 2000.
Mrs. Brubeck, who was married to Mr. Brubeck from 1942 until his death in December 2012, is credited with making him a popular concert attraction on college campuses in the early 1950s, when his quartet was relatively unknown and she served as his manager, booker and publicist. “We discovered that the best audiences for Dave’s music were really a young musical audience, preferably music students,” she said in an interview with the Library of Congress in 2008.
She wrote letters to scores of colleges, which resulted in numerous bookings and to the release of the live albums “Jazz at Oberlin,” “Jazz at the College of the Pacific” and “Jazz Goes to College,” whose success helped to make Mr. Brubeck one of the music’s biggest stars.
She later worked with him as a lyricist and librettist, providing words for tunes like “Strange Meadowlark” and “In Your Own Sweet Way” as well as longer works like the oratorio “The Light in the Wilderness” and the cantatas “The Gates of Justice” and “Truth Is Fallen.”
The Brubecks’ most ambitious collaboration was probably “The Real Ambassadors,” the satirical story of an American jazz musician who visits Africa on a State Department tour. They conceived it as a stage musical but never found a producer, and it was performed only once, at the 1962 Monterey Jazz Festival. A studio recording of the score, with a lineup including Louis Armstrong, the singer Carmen McRae and the vocal group Lambert, Hendricks & Ross as well as the Brubeck quartet, was released that year.
“The Real Ambassadors” is scheduled to receive its belated New York premiere on April 11 and 12 at the Appel Room of Jazz at Lincoln Center. It is also the subject of an exhibition set to open at the Louis Armstrong House Museum in Queens on April 1.
Iola Whitlock was born on Aug. 14, 1923, in Corning, Calif. She met Mr. Brubeck at the College of the Pacific, where they worked together on a student radio show.
Mrs. Brubeck is survived by four sons, Darius, Christopher, Daniel and Matthew, all of them professional musicians; a daughter, Catherine Brubeck Yaghsizian; 10 grandchildren; and six great-grandchildren. Another son, Michael, died in 2009 (he was a saxophonist).

Memories - Sir John Kenneth Tavener
Born: January 28, 1944 in Wembley, London
Died: November 12, 2013 at his home in Child Okeford, Dorset, aged 69.
John Tavener Dies at 69; Composer With Eye on God
John Tavener, a British composer known for his meditative, sometimes passionate sacred works and colorfully scored orchestral pieces — including the popular cello concerto “The Protecting Veil,” and the haunting “Song for Athene,” which was performed at the funeral of Diana, Princess of Wales — died on Tuesday at his home in Child Okeford, in southern England. He was 69.
 James Rushton, the managing director of Chester Music, Mr. Tavener’s publisher, announced the death. A spokeswoman for the company said that the cause had not been determined. He was, however, known to have serious health problems.
Mr. Tavener was a quiet man who cut an otherworldly figure: he was 6-foot-6 and rail thin, with light hair that he wore shoulder length even as his hairline receded. His manner — focused and unambiguous when speaking about his music, and vaguely mystical if equally intense when speaking about his other passion, religion — mirrored his invitingly tonal compositional style.
But his opinions, though gently expressed, often had a sharp edge. After he became a follower of Russian Orthodox Christianity, he spoke critically of Western Christian beliefs, and of the sacred music they yielded, including the works of Bach. In recent years this view softened: in 2007, he told a New York Times interviewer that he had reconsidered some of his beliefs and had returned to playing Bach on the organ.
“I reached a point where everything I wrote was terribly austere and hidebound by the tonal system of the Orthodox Church,” he said, “and I felt the need, in my music at least, to become more universalist: to take in other colors, other languages.”
It was in another, more secular life, and with the help of two of the Beatles, John Lennon and Ringo Starr, that Mr. Tavener came to prominence. Having studied at the Highgate School and the Royal Academy of Music in London, where he was born on Jan. 28, 1944, Mr. Tavener was working as a church organist, teaching and conducting by the late 1960s. But he was also working to get his own music heard, and a chance meeting with Mr. Lennon and Yoko Ono at a London party in 1968 led to a contract with Apple Records, the label the Beatles had just started.
Mr. Lennon was drawn to Mr. Tavener’s music after hearing a tape of his opera, “Notre Dame des Fleurs,” based on the Jean Genet novel, but he soon lost interest in the project. Mr. Starr took up Mr. Tavener’s cause, and Apple released two of his large-scale works: “The Whale” (1968), based on the story of Jonah, and “Celtic Requiem” (1969).
Mr. Tavener’s interest in religion at first slowed him down. He converted to Russian Orthodox Christianity in 1977, and at the request of an archbishop, he composed a large liturgical work that led him to rethink his style.
“It was very clever of him,” Mr. Tavener said of the archbishop in a 2000 interview with The Times, “because first of all, it helped me get to know the liturgy really well. But it brought me up against a real compositional crisis because the congregation came up and said, ‘You don’t know anything about the sacred tone systems,’ and ‘This is just your own fabricated music.’ And I began thinking that maybe they’re right, maybe everything I’d done up till then was a complete waste of time.”
Mr. Tavener learned the church’s traditional chants, but much more as well.
“I stopped composing,” he said, “and I listened to Indian music, Persian music, all music from the Middle East. I listened to American Indian music. I listened to any music that was based on traditional ideas. That’s when I started to question what on earth happened to this Western civilization and why the sacred seems to have been pushed out gradually by the domination of the ego.”
Eventually he found a style of his own, and by the late ’80s — the first performance of “The Protecting Veil,” by the cellist Stephen Isserlis, in 1989, was a watershed — he was again composing prolifically, not only for the church but for concert halls as well. He said, however, that even his instrumental works had a mystical subtext.
“It isn’t important for listeners to know what these subtexts are,” he said in 2000. “Only I have to know. I have to have in mind what the text would be if the work had one. But people can make of it what they want. When ‘The Protecting Veil’ had its premiere, one letter that touched me the most was from a young girl who asked if in that piece I was protecting unfashionable values like truth and beauty. Well, the protecting veil is associated with a feast in the Orthodox Church, but if people hear something else, that’s fine.”
Among Mr. Tavener’s numerous health problems was Marfan syndrome, a congenital disorder of the connective tissue that limited his ability to travel long distances.
“It attacks the main valve to the heart, it attacks the eyes, it attacks the mind — there isn’t much it doesn’t attack,” he told a Times interviewer during one of his rare visits to the United States. “And the big danger of Marfan is that you can suffer a rupture at any time, and you go quickly. So I suppose I live with the thought of death very much in front of me, and this may well have a bearing on the way I think generally.”
In 1991 Mr. Tavener married Maryanna Schaefer, who had helped him come through his surgery for a leaking aortic valve that year. She survives him, as do their daughters, Theodora and Sofia, and their son, Orlando. Information on other survivors was not immediately available.
In 2000, Mr. Tavener was knighted for his contributions to British music.
“It has taken me years to really understand what tradition is,” Mr. Tavener once said, “and to explain it to anyone else is difficult. People call it different things. In Islam, the Sufis call it ‘the eye of the heart.’ St. Augustine defined it as ‘the intellective organ of the heart.’
“It’s a different way of thinking about writing music. I used to fret over manuscripts and think, ‘What am I going to do?’ Now it’s a question of going very quiet, emptying my mind of preconceived ideas and seeing what happens. It’s not so much a question of finding my voice as finding the voice.”
- Source: A version of this article appears in print on November 13, 2013, on page A29 of the New York edition with the headline: John Tavener Dies at 69; Composer With Eye on God.

Source NYT

I know everyone’s disappointed with the finale, but I feel like a huge weight’s been lifted off my shoulders for the hiatus and I can actually relax until 2017.


Memories - Mary Grace Canfield
Born: September 3, 1924, Rochester, New York, U.S.
Died: February 15, 2014 (aged 89), Santa Barbara, California, U.S.
Mary Grace Canfield, a veteran character actress who played handywoman Ralph Monroe on the television show “Green Acres,” died of lung cancer on Saturday (February 15, 2014) at a hospice in Santa Barbara, Calif. She was 89.
During a four-decade career, Canfield appeared on TV shows including “General Hospital” and “The Hathaways.” She was Harriet Kravitz on four episodes of the 1960s series “Bewitched.”
But she was best known for her role of Ralph Monroe in some 40 episodes of “Green Acres,” which ran from 1965 to 1971.
Monroe greeted folks in the town of Hooterville with a cheery “howdy doody,” wore painters’ overalls and was forever working on the Douglas family’s bedroom with her brother, Alf.


L'Wren Scott Logo

L'Wren Scott for Banana Republic Collection.jpgfor Banana Republic Collection

L'Wren Scott sunglass Collection

L'Wren Scott  (Luann Bambrough - adoption name)
Born: April 28, 1964
Died: March 17, 2014 (aged 49), New York City
Her height was: 6 ft 3 in (1.91 m)
She was a former American fashion model, currently a fashion and costume designer.
Note: Scott was found dead by hanging at her apartment at 200 11th Avenue in the Chelsea section of Manhattan around 10 a.m. on March 17, 2014, a month before she tuned 50. The AP reported that no note was found and there was no sign of foul play. A medical examiner has yet to determine the official cause of death. It is suspected to have been suicide. (as of March 18, 2014)

More info: click here

The Temptations (L to R): Richard Street, Dennis Edwards, Otis Williams, Melvin Franklin and Damon Harris
Temptations singer Richard Street dies at 70
Motown vocalist Richard Street, a member of the Temptations for 25 years, has died aged 70.
Street’s wife says he died on 27 February at a hospital in Las Vegas after a short illness.
He sang with Temptations members Otis Williams and Melvin Franklin in the 1950s but didn’t join the group until 1971.
As part of the group, Street had number of hits including the Grammy award-winning song, Papa Was a Rollin’ Stone.
Born in Detroit, Michigan, he was the first member of the band to be born in the city with which they became synonymous.
His death comes only 10 days after his band mate, Otis ‘Damon’ Harris, who died on 18 February aged 62, after a 14 year battle with prostate cancer.
Cindy Street, told CNN: “They’re dancing up there in heaven, him and Damon.”
He performed with the band until 1993 when he left due to alleged personal tensions with Williams.
Street went to hospital five days before he died, suffering from back pain and breathing difficulties. Doctors found he had a clot in a lung.
He is survived by his wife, two sons and two daughters.

Richard Allen Street, 70
Born: October 5, 1942, Detroit, Michigan, United States

Died: February 27, 2013, Las Vegas, Nevada, United States
He was an American soul and R&B singer, most notable as a member of Motown vocal group The Temptations from 1971 to 1993. Born and raised in Detroit, Michigan, Street was the first member of the Temptations to actually be a native of the city which served as Motown’s namesake and hometown; all of the previous members were born and at least partially raised in the southern United States. - from Wilipedia