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#Ruth P. Allen
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Ruth P. Allen. Log Cabin Quilt Top, c. 1900. Cotton / 82 x 70 in.
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chippedcupwrites · 2 days
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Sansa Stark┃the living painting
John Millais. The Martyr of the Solway. 1871. │ Gabriel von Max. Young woman with flowers in her hair. │ Sophie Gengembre Anderson. Portrait of a Young Girl. │ James Carroll Beckwith. The Embroiderer. │ Arthur Hughes. Juliet and her Nurse. 1867–1872. │ Thomas Benjamin Kennington. Contemplation. │ Alexandre Cabanel. Fallen Angel. 1847. │ Frederick Sandys. Helen of Troy. 1867. │ Ruth Sanderson. Arthur and Guinevere. │ Paul Delaroche. The Execution of Lady Jane Grey. 1833. │ Johannes Vermeer. Girl with a Pearl Earring. 1665. │ Stephen Phillips. Nancy Price as Calypso in Ulysses. 1902. │ P. J. Lynch. Eithlinn, Daughter of Balor. 2000. │ Charles Allen Winter. Portrait of a Woman. 1919. │ William Oxer. Amor Aeternus. 2022. │ George Romney. Emma Hart as Miranda. 1786. │ Bertalan Székely. Red Haired Girl. 1875. │ John Roddam Spencer Stanhope. Thoughts of the Past. 1859. │ Jean-Jacques Henner. Head Of A Young Girl In A Blue Dress. │ John William Waterhouse. Ophelia. 1910. │ Rudolf Kosow, Geheimnisvoll. │
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ohblahdo · 6 months
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With Mal in tow at a July 1970 summit in London—pointedly held before Phil Spector returned to the States after completing basic recording sessions for All Things Must Pass—tensions flared when John and Phil began questioning Klein about money matters. According to Ruth Ellen Carter, Allen Klein’s secretary at the time, her boss “told Spector [that] he was running the show, not him.” When John informed Klein that he had no right whatsoever to the money in question, [Klein] responded to [John] by “slapping [him] across the face, calling him several names. . . . When Mal attempted to intervene, “he was hit over the head with an umbrella” by the irate manager. Klein left soon after, “making several threats.” Carter later observed that “Mal must have exercised considerable restraint—as he could have lifted Klein off the ground with one hand and at least given him a good shake!”
-- Kenneth Womack, Living the Beatles Legend: The Untold Story of Mal Evans (p. 380)
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poppletonink · 7 months
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Jily: A Playlist
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Mastermind by Taylor Swift
Until The End by Chloe Ament
True Love by P!nk (feat. Lily Allen)
Paper Rings by Taylor Swift
Cupid's Chokehold/Breakfast in America by Gym Class Heroes
Still Into You by Paramore
Cloud 9 by Beach Bunny
Talk Too Much by COIN
All Of Me by John Legend
Dandelions by Ruth B.
Make You Mine by PUBLIC
Did I Mention by Mitchell Hope
Loverboy by A. Wall
Ophelia by The Lumineers
Until I Found You by Steven Sanchez
I Want To Hold Your Hand by The Beatles
Wonderland by Taylor Swift
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awardseason · 1 year
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2023 NAACP Image Awards — Film Winners
Entertainer of the Year Angela Bassett — WINNER Mary J. Blige Quinta Brunson Viola Davis Zendaya
Outstanding Motion Picture “A Jazzman’s Blues” “Black Panther: Wakanda Forever” — WINNER “Emancipation” “The Woman King“ “Till”
Outstanding Actor in a Motion Picture Joshua Boone, “A Jazzman’s Blues” Jonathan Majors, “Devotion” Will Smith, “Emancipation” — WINNER Sterling K. Brown, “Honk for Jesus. Save Your Soul“ Daniel Kaluuya, “Nope”
Outstanding Actress in a Motion Picture Danielle Deadwyler, “Till” Keke Palmer, “Alice” Letitia Wright, “Black Panther: Wakanda Forever” Regina Hall, “Honk for Jesus. Save Your Soul“ Viola Davis, “The Woman King” — WINNER
Outstanding Supporting Actor in a Motion Picture Aldis Hodge, “Black Adam” Cliff “Method Man” Smith, “On the Come Up” Jalyn Hall, “Till” John Boyega, “The Woman King“ Tenoch Huerta Mejía, “Black Panther: Wakanda Forever” — WINNER
Outstanding Supporting Actress in a Motion Picture Angela Bassett, “Black Panther: Wakanda Forever” — WINNER Danai Gurira, ”Black Panther: Wakanda Forever” Janelle Monáe, ”Glass Onion: A Knives Out Mystery” Lashana Lynch, “The Woman King“ Lupita Nyong’o, ”Black Panther: Wakanda Forever”
Outstanding Ensemble Cast in a Motion Picture “A Jazzman’s Blues” “Black Panther: Wakanda Forever” — WINNER “Emancipation” “The Woman King” “Till”
Outstanding Breakthrough Performance in a Motion Picture Jalyn Hall, “Till” — WINNER Joshua Boone, “A Jazzman’s Blues” Ledisi, “Remember Me: The Mahalia Jackson Story” Y’lan Noel, “A Lot of Nothing“ Yola, “Elvis”
Outstanding Character Voice Performance in a Motion Picture Angela Bassett, “Wendell & Wild” Keke Palmer, “Lightyear” — WINNER Kevin Hart, “DC League of Super-Pets” Lyric Ross, “Wendell & Wild” Taraji P. Henson, “Minions: The Rise of Gru”
Outstanding Animated Motion Picture “DC League of Super-Pets” “Guillermo del Toro's Pinocchio” “Puss in Boots: The Last Wish” “Turning Red” “Wendell & Wild” — WINNER
Outstanding Independent Motion Picture “Breaking” “Causeway” “Mr. Malcolm’s List” “Remember Me: The Mahalia Jackson Story“ “The Inspection” — WINNER
Outstanding International Motion Picture “Athena” “Bantú Mama” — WINNER “Broker” “Learn to Swim“ “The Silent Twins”
Outstanding Documentary (Film) “Civil” — WINNER “Descendant” “Is That Black Enough For You?!?” “Louis Armstrong’s Black & Blues” “Sidney”
Outstanding Directing in a Motion Picture Antoine Fuqua, “Emancipation” Chinonye Chukwu, “Till” Gina Prince-Bythewood, “The Woman King” — WINNER Kasi Lemmons, “Whitney Houston: I Wanna Dance with Somebody” Ryan Coogler, “Black Panther: Wakanda Forever”
Outstanding Directing in a Documentary (Film or Television) Nadia Hallgren, “Civil” Reginald Hudlin, “Sidney” — WINNER Sacha Jenkins, “Everything's Gonna Be All White” Sacha Jenkins, “Louis Armstrong's Black & Blues” W. Kamau Bell, “We Need to Talk About Cosby”
Outstanding Writing in a Motion Picture Charles Murray, “The Devil You Know” Dana Stevens, Maria Bello, “The Woman King” Jordan Peele, “Nope” Krystin Ver Linden, “Alice” Ryan Coogler, “Black Panther: Wakanda Forever” — WINNER
Outstanding Costume Design (Film or Television) Francine Jamison-Tanchuck, “Emancipation” Gersha Phillips, Carly Nicodemo, Heather Constable, Christina Cattle, Sheryl Willock, Becky MacKinnon, “Star Trek: Discovery” Gersha Phillips, Carly Nicodemo, Lieze Van Tonder, Lynn Paulsen, Tova Harrison, “The Woman King” Ruth E. Carter, “Black Panther: Wakanda Forever” — WINNER Trayce Gigi Field, “A League of Their Own”
Outstanding Hairstyling (Film or Television) Camille Friend, “Black Panther: Wakanda Forever” — WINNER Curtis Foreman, Ryan Randall, “RuPaul's Drag Race All Stars” Louisa V. Anthony, Deaundra Metzger, Maurice Beaman, “Till” Mary Daniels, Kalin Spooner, Darrin Lyons, Eric Gonzalez, “All American” Tracey Moss, Jerome Allen, Tamika Dixon, Lawrence ‘Jigga’ Simmons, Jason Simmons, “Fantasy Football”
Outstanding Make-Up (Film or Television) Debi Young, Sandra Linn, Ngozi Olandu Young, Gina Bateman, “We Own This City” — WINNER Angie Wells, “Cheaper by the Dozen” Michele Lewis, “The Last Days of Ptolemy Grey” Ren Rohling, Teresa Vest, Megan Areford, “Emergency” Zabrina Matiru, “Surface”
Outstanding Short Form (Live-Action) “Dear Mama…” — WINNER “Fannie” “Fathead” “Incomplete” “Pens & Pencils”
Outstanding Short Form (Animated) “I Knew Superman” “More Than I Want To Remember” — WINNER “Supercilious” “The Boy, the Mole, the Fox and the Horse” “We Are Here”
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todaysdocument · 2 years
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“ . . . we urgently appeal to our honored President, and hereby PETITION him to URGE the enactment into LAW . . . of either Senator France's or Representative Dyer ANTI-LYNCHING BILL.” Petition from the International Uplift League, 10/15/1922. 
File Unit: 158260 section 3 #1, 1904 - 1974
Series: Straight Numerical Files, 1904 - 1974
Record Group 60: General Records of the Department of Justice, 1790 - 2002
Transcription:
[HEADER]
The International Uplift League
(Organized 1911: Re-Organized and Incorporated, A.D. 1915)
Object:-To Uplift and Develop the Colored Race Everywhere.
Motto:-Justice, Knowledge (Material and Spiritual) Health and Wealth.
President, Rev. Dr. Robert W. S. Thomas, M.A.
Treasurer, Mrs. Ruth M. Collett
Auditor, Charles M. Dorsey, Esq.
Chairman of the Executive Committee, Rev. George L. White, D.D., M.D.
General Secretary, David N.E. Campbell, M.D., M.O.
1369 N. Carey Street,
Baltimore, Md., U. S. A.
New Address,
119 Lefferts Place,
Brooklyn, New York.
ALL MEN UP!
Roosevelt.
Amended Petition.  October 15th 1922.
A PETITION TO THE PRESIDENT
From
THE INTERNATIONAL UPLIFT LEAGUE.
To His Excellency,
The President of
The United States of America,
The White House, Washington, D.C.
Dear Mr. President:
For the GOOD and true HONOR of our beloved country, the United States of America, in the NAME of ALMIGHTY GOD, LYNCHING should be abolished.  Opinion seems unanimous that the United States Government possesses permanently the greater jurisdictional control (about 3/4) over each United States Citizen; and the State in which the citizen resides holds the remaining (1/4) jurisdiction.
Hence the elimination of LYNCHING, our most heinous STIGMA, should be accomplished through the Federal Government, because the respective States, for more than fifty years, have failed to suppress LYNCHING.  Therefore, we urgently appeal to our honored President, and hereby PETITION him to URGE the enactment into LAW, during the Extra Session of Congress, of either Senator France's or Representative Dyer ANTI-LYNCHING BILL.  By such worthy and magnanimous ACT, Mr. President, you will immortalize your NAME like the illustrious Lincoln when we signed the Emancipation Proclamation.  Amen.
For the Women.
(Miss) Emma J. Chrichton
For the Men.
David Newton E. Campbell
Secretary I.U. League
P.S. We hope to secure millions of signatures to this PETITION and forward same duly.
 VIce Presidents,
Rev. Dr. George F. Bragg, Jr.
Hon. Ernest Lyon, D.D., LL.D.
Rev. Dr. Wm. Sampson Brooks, D.D.
Rev. W.W. Allen, D.D.
Rev. Dr. Thomas F. Reed
Hon. George W.F. McMechen
Mrs. Mary F. Bond.
Rev. Junius Gray, D.D.
Rev. L.C. Curtis, D.D.
Rev. N.M. Carroll, D.D.
Charles B Rodgers, Esq.
Mrs. Alric R. Campbell.
Rev. Ananias Brown, D.D.
Rev. James R. Diggs, A.M.
Rev. Dr. J.A. Briscoe.
Rev. Dr. A.B. Callis, Washington, D.C.
Miss Nannie H. Burroughs.
Rev. William H. Dean, D.D.
Rev. J. Harvey Randolph, D.D.
Rev. M.W.D. Norman, D.D.
Rev. C. Harold Stepteau, D.D.
Dr. Charles H. Marshall.
Rev. Walter H. Brooks, D.D.
Directors,
Joseph P. Evans, Esq.
Miss. Mary A.E. Bennett.
Joshua F.G.L. Duvall.
Arthur L. Macbeth, Esq.
Joseph S. Fennell, Esq.
William H. Bates, Esq.
Columbus Gordon, Esq.
Dr. Robert W. Brown.
Dr. Luther E. McNeill.
Rev. T.A. Thomas.
Prof. Howard M. Gross.
Dr. E.C. Morris.
Mrs. Mary F. Handy.
Dr. A.A. Terrell.
Mrs. Fannie Jenkins.
Mrs. Urania M. Ross.
Samuel Carroll, Esq.
Dr. John W. Derry,
Dr. E. Verry Stokes.
Dr. Harry F. Brown.
Dr. J. Edward Fisher.
Rev. William Holt.
Rev. S.A. Virgil.
Rev. J.C. and Mrs. S. Love.
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wahwealth · 4 months
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Our Town (1940) William Holden | Marsha Scott | Full Length English Movi...
Our Town is a 1940 American drama romance film adaptation of a 1938 play of the same name by Thornton Wilder starring Martha Scott as Emily Webb, and William Holden as George Gibbs. AWARDS: The film was nominated for the Academy Award for Best Picture. Scott, who reprised her stage role as Emily Webb, was nominated for the Academy Award for Best Actress. Aaron Copland was nominated for Best Score and Thomas T. Moulton was nominated for Best Sound. Cast William Holden as George Gibbs Martha Scott as Emily Webb Fay Bainter as Mrs. Julia Gibbs Dix Davis as Joe Crowell Jr. Beulah Bondi as Mrs. Myrtle Webb Thomas Mitchell as Dr. Frank F. Gibbs Guy Kibbee as Mr. Charles Webb Tim Davis as Si Crowell Stuart Erwin as Howie Newsome Frank Craven as Stage Manager Doro Merande as Mrs. Louella Soames Philip Wood as Simon Stimson Ruth Tobey as Rebecca Gibbs (as Ruth Toby) Douglas Gardiner as Wally Webb Arthur B. Allen as Prof. Willard (as Arthur Allen) Charles Trowbridge as Rev. Dr. Ferguson Spencer Charters as Const. Bill Warren You are invited to join the channel so that Mr. P can notify you when new videos are uploaded, https://www.youtube.com/@nrpsmovieclassics
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cthomasself · 2 years
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At the Allen’s Diner I sat in the last booth, when I caught a glimpse of the waitress Ruth. I stared at her, innocent of why Her red hair draped covering her blue eyes. Her finger traced candy red lips and her tongue gently, circled dark nail tips. A soft delicate hand combed back her hair Her seductive eyes caught my stare. I couldn’t resist when she smiled a grin sparkling ivory pearls laced her flawless skin. I rose from the chair to approach her beauty Her apron fell to the floor to reveal her nudity. My celibate life-style no longer I could deny my self pleasure she fulfilling understood. Her slender warm body laid me down I relaxed in her arms and she turned me around. A beauty my eyes had starved so long for was enclosed on my smile as she gave to me more. I closed my eyes to taste her sweet cream When I opened them again I awoke from the dream. ~ #restaurant #diner #Sunset #Endofday #🌅 #dusk #sky #SkyPorn #PaintedSky #FoodPorn #StreetSideSnack #Abandoned #Forgotten #ComeExploreWithMe #LetsGetLost #AllensDiner #FtPierce #Florida #GreasySpoon #StreetPhotography #PoemOfTheDay #poetry #📝📆 #PictureOfTheDay #PhotoOfTheDay #📷📆 #CTSelf (at Ft Pierce Fla....) https://www.instagram.com/p/CiAyxI_uXuE/?igshid=NGJjMDIxMWI=
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Songs That Give Me Iwaoi Vibes:
Some Remind Me Of AU's, Some Of Canon - You Can Make Up Your Own Mind
Circus - Britney Spears (Specifically Oikawa's Perspective)
Ultimately - khai dreams
Starcrossed Losers - The Fratellis
Dirty Mind - 3OH!3
Dirty Little Secret - The All-American Rejects
Freaks - Jordan Clarke
Teenage Dream - Katy Perry
Video Games - The Young Professionals
American Money - BØRNS
Irresistable - Fall Out Boy, Demi Lovato
Line Without A Hook -
Rock Me - One Direction
Feel This Moment - Pitbull, Christina Aguilera
Unconditionally - Katy Perry
True Love - P!NK, Lily Allen
Partners In Crime - Set It Off, Ash Costello
Dandelions - Ruth B.
Good Old Fashioned Loverboy - Queen
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edsonlnoe · 2 years
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P⬤21 Score Dune Hans Zimmer The Green Knight Daniel Hart The Lost Daughter Dickon Hinchliffe Luca Dan Romer Minari Emile Mosseri No Time to Die Hans Zimmer The Power of the Dog Jonny Greenwood Supernova Keaton Henson Swan Song Jay Wadley Soundtrack The Harder They Fall Judas and the Black Messiah Luca Nomadland Shang-Chi and the Legend of the Ten Rings Swan Song Canción “Akh Lar Gayee (ft. Surinderjit Singh)” — Prem-Hardeep Prem-Hardeep, Surinderjit Singh The White Tiger “Dos Oruguitas” — Sebastián Yatra Lin-Manuel Miranda Encanto “Fight For You” — H.E.R. Gabriella Wilson, Tiara Thomas, Dernst Emile II Judas and the Black Messiah “The Harder They Fall” — Koffee Shawn Carter, Jeymes Samuel, Mikayla Simpson The Harder They Fall “Lead the Way” — Jhené Aiko Jhené Aiko, James Newton Howard Raya and the Last Dragon “No Time to Die” — Billie Eilish Billie Eilish, Finneas O’Connell No Time To Die “Rain Song” — Han Ye-ri Stephanie Hong, Emile Mosseri Minari “Run It (ft. Rick Ross & Rich Brian)” — DJ Snake William Sami Étienne Grigahcine, Brian Imanuel, Christian Dold, Rick Ross, SIM  Shang-Chi and the Legend of the Ten Rings “Speak Now” — Leslie Odom Jr. Leslie Odom Jr., Sam Ashworth One Night in Miami... Mezcla de Sonido Dune Ron Bartlett, Doug Hemphill, Alan Meyerson, Thomas J. O'Connell , Mac Ruth, Don White Encanto David Boucher, Scott Curtis, David E. Fluhr, Gabriel Guy, Doc Kane, Paul McGrath, Alvin Wee In the Heights Vinny Alfano, Ryan Collison, Lewis Goldstein, Eric Gotthelf, Drew Kunin, John Marquis, Connor Nagy, Aaron Southerland, Jerrell Suelto, Tami Treadwell No Time to Die Mark Appleby, Al Clay, Simon Hayes, Stephen Lipson, Paul Massey, Adam Mendez, Mark Taylor Shang-Chi and the Legend of the Ten Rings Sona Balam, Onnalee Blank, Jason Butler, Peter J. Devlin, Richard Duarte, Lora Hirschberg, Doc Kane, Yung Q, Fred Runner West Side Story Doc Kane, Tod A. Maitland, Shawn Murphy, Andy Nelson, Frank Rinella, Gary Rydstrom Edición de Sonido Dune David Bach, Clint Bennett, Theo Green, Mark A. Mangini, Ryan Rubin, Dave Whitehead The Green Knight Christopher Barnett, Richard Gould, Chris Manning, Johnny Marshall, Greg J. Peterson, Mark Jan Wlodarkiewicz Luca Barney Jones, Justin Doyle, André Fenley, Pascal Garneau, Samuel Lehmer, Justin Pearson, Larry Oatfield, Christopher Scarabosio, Lodge Worster No Time to Die Hugo Adams, Christopher Benstead, Bryan Bowen, Michael Fentum, Dawn Gough, James Harrison, Eilam Hoffman, Michael Maroussas, Becki Ponting, Oliver Tarney A Quiet Place Part II Erik Aadahl, Nancy Allen, Ramiro Belgardt, Malte Bieler, Chris Diebold, Brandon Jones, Vanessa Lapato, Nancy Nugent, Jim Schultz, Del Spiva, Ethan Van der Ryn Raya and the Last Dragon Chris Frazier, David C. Hughes, Shannon Mills, Samson Neslund, Steve Orlando, Brad Semenoff, Jim Weidman
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synchronousemma · 2 years
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Wednesday, 16th February: The obliging Mr. Frank Churchill fastens a rivet
Read the post and comment on WordPress
Read: Vol. 2, chs. 9–10; pp. 149–160 (“Emma did not repent” through to “before they set off for Randalls”).
Context
Emma reflects on her visit to the Coles. She and Harriet go to Ford’s. Mrs. Weston and Frank Churchill call on the Bateses.
We know that this occurs “the next day” from the dinner party of the 15th (p. 149). The rapid pace of events at this point, leading from Jane Fairfax’s and Frank Churchill’s separate entrances into the neighborhood, and Emma’s imaginative suspicions regarding Jane, contrasts with the slowness that followed Emma’s self-reflection in late December and January.
Note that the sections “I Can’t See Without My Glasses!” and “What Made Th’Assembly Shine?” contain spoilers.
Readings and Interpretations
Worthy People!
At the beginning of this section, Emma reflects that she “must have delighted the Coles—worthy people, who deserved to be made happy!” (pp. 149–50). David Monaghan writes that the thought is “indicative of a continued refusal to grant the Coles the respect due to them” (p. 128); indeed, the language is such as can only be used towards a social inferior.
David Amigoni writes that free indirect discourse is here used to “subtly ironis[e] Emma’s condescending social attitude to the Coles”: “While Emma is the focaliser it is the narrator who speaks, so the character is speaking indirectly rather than directly—except, it appears, in the emphatic remark after the slashes (‘worthy people…’), which is in a markedly different register from the narrator’s and is clearly Emma’s direct and unappealing, self-regarding speech” (pp. 29–30). Amigoni’s reading of FID in Emma thus accords with that of other scholars we have discussed who view it as a distancing technique.
Claudia Johnson defends Emma from charges of snobbery: “Emma may be convinced that in attending their party she “must have delighted the Coles—worthy people, who deserved to be made happy!”, but she keeps the satisfactions of condescension to herself.” And “[m]ore than nicety is at issue here”; tact represents a significant social and personal virtue in Austen, while “persistently apprising [others] of their [social] inferiority constitute[s] a socially significant wrong, a theft of the self-satisfaction to which all are entitled” (p. 129).
No Understanding a Word of it
Harriet’s attempt to comfort Emma at Jane Fairfax’s expense has attracted much critical commentary. Ruth Perry writes:
Ignorant Harriet, who hates Italian singing because ‘there is no understanding a word of it’, is more aware of Jane’s material misfortune than her artistic excellence. Callously she remarks, ‘if she does play so very well, you know, it is no more than she is obliged to do, because she will have to teach’ [p. 150]. As Patrick Piggott long ago observed: “From this we may collect that Harriet feels herself in a position to look down on Jane Fairfax—that though she is herself no more than ‘the natural daughter of somebody’—she can, merely because of the liberal allowance made to her by her unknown father, feel superior to a young woman who is as far above her in intellect and accomplishment as she is by birth (97).” (p. 140)
Bruce Stovel attributes Harriet’s attitude in this instance to Emma’s influence: “Harriet changes under Emma’s ministrations; we hear quite a different person halfway through the novel, when Harriet disputes Emma’s praise of Jane Fairfax’s piano-playing […]. Harriet, in other words, is becoming uppity” (n.p.).
Susan Allen Ford connects this scene to Regina Maria Rothe’s The Children of the Abbey, which we know Harriet has read (vol. 1, ch. 4; p. 17). It “suggests […] strongly that Harriet has not learned from her reading”:
When some of the villains attempt to embarrass Amanda [the heroine of Children] by demanding that she play before company, she is so “susceptible of the powers of harmony” that “her style [becomes] so masterly and elegant, as to excite universal admiration” in all except those jealous of her (232). She then sings “a plaintive Italian air” with “exquisite taste and sweetness” (233). Lady Euphrasia, Amanda’s cousin and enemy, declares, “I never knew anything so monstrously absurd… as to let a girl in her situation learn such things, except, indeed, it was to qualify her for a governess, or an opera singer” (233). (And, in fact, Amanda later is employed as a schoolteacher and then as a governess.) […] Not only does this echo suggest that Harriet is a poor reader, impervious to Roche’s moral ironies (and has no “taste” herself), but it also indicates that she shares Emma’s jealousy of Jane Fairfax, without being able to disguise it as well. (n.p.)1
Harriet’s attempt to comfort Emma is, at any rate, bound to fail: “Clearly Harriet takes her opinions from others; she is culturally uninformed; and she ends with the gratuitous sneer of the amateur at the professional. Therefore Emma is not comforted. She is a more discriminating critic than that” (McMaster, p. 35).
Seeing Nothing
The scene in which Emma looks out the door of Ford’s for amusement is generally regarded as thematically important. Rachel Brownstein writes that
Jane Austen’s best readers have found certain passages in her works to be especially dense with secrets and hints about her motives, meanings, practices, and views. One occurs at the mid-point of Emma […]; in the geographical and social center of Highbury, in the midst of Harriet Smith’s shopping at Ford’s store. Emma stands just outside the door of Ford’s, looking “for amusement.” The dramatic climax of what action there is will come later […], but this well-known passage in the thick of things seems to be on many counts central: [quotes from “much could not be hoped” to “does not answer”; vol. 2, ch. 9 (27); p. 151].
What Emma actually sees in the heart of Highbury surely fails to measure up to her hopes of amusement, although those are not high […]. The list of secondary and dead creatures begins to suggest that an ominous gloom threatens to inflect Emma’s boredom—that her idle moment is redolent of mortality. […] A mind as lively as Emma’s is self-reflexive: suffering the low level of conversation at the Coles, she had found herself half-admiring Harriet for being satisfied with its banality. Irony is an aspect of her liveliness of mind: so how are we to read the reflections that go through her mind as she stands outside Ford’s? (pp. 140–1)
Juliet McMaster calls the scene “a moment of still water, as it were, between the Harriet-Elton debacle and the Frank-Jane affair; between the dinner at the Coles and the visit to hear Jane Fairfax play on her new piano” (p. 26). Her reading of it is less “grotesque” (Brownstein, p. 142) than is Brownstein’s:
Emma’s mind, we know, is always “lively,” but not so often “at ease.” But for now she is well entertained. Her mind can “do with seeing nothing”—nothing of major import, that is, or nothing she needs to take over the management of; and it “can see nothing that does not answer”—for her present purpose of being amused. We could explore the last phrase further: Emma’s hyperactive mind, with her habit of eager over-interpretation, can always make something out of nothing. Making something out of nothing, some might claim, is an activity we see her busy at throughout the novel. (pp. 26–7)2
Mark Parker reads Emma’s thinking here as an example of the “bourgeois ideology” which Austen, throughout the course of the novel, “lucidly analyzes”:
“Only by carefully screening her gaze from other considerations can Emma see nothing that is not in Highbury and the nothing that is. The proprietorial gaze of the Hartfield heiress measures the villagers by their capacity to amuse her. Upon finding them inadequate, Emma gives way to flattering considerations of her “lively and at ease” mind. This satisfied gaze finds a comfortable world […] far from the Spa Fields and the heated orations of working-class radicals. That Emma can make do with this “nothing” and cease com plaint testifies to the power of her class to make the world in a way that allows the individuals of her class to perceive it as natural. (p. 358)
Predictions on Diction
For Roger Gard, the fact that Miss Bates “meaninglessly fails to complete sentences” is a “signal” for her “egregious lack of emotional and mental sureness and economy”: “Mr. Knightley (and others) are quite capable of expressive English aposiopesis […], and others break off, like Mr. Elton, under the influence of emotion; but Miss Bates is genuinely, consistently, inconsequent” (p. 171). He quotes Miss Bates’s speech in this chapter (from “I declare I cannot recollect” to “a job of that sort excessively”; p. 154), concluding that it is
full of information, as Mary Lascelles says, including information about Frank’s affected manner—but in marked contrast to the formed speech usual to the other characters. A few lines down there is a further “That, you know, was so very…” And a little later, “He would be so very…” both left hanging. […] Miss Bates’s diffusion is un-eccentric. It seems the result of an experiment with direct, unsummarised representation, closer to a copy of nature than is the speech of the equally commonplace people who surround her—but who finish their sentences. (pp. 171–2)
John Wiltshire also references the sentences which Miss Bates “left hanging”:
Miss Bates’s frequent effusions of gratitude are so intrinsic a part of her social presence—‘You are very kind’; ‘so very obliging’; ‘such a very kind attention’ etc.—that they obviously contribute to Emma’s irritation and antagonism. When Miss Bates says that fixing her mother’s spectacles was ‘so very obliging of Mr. Frank Churchill’, this reiterated tic of her conversational repertoire allows Austen (on side with Emma) to play a game, for Frank is soon said to be ‘so very…’, and a little later in the same speech, ‘That, you know was so very…’, which omissions are like winks to the reader to supply the missing word. The iteration of ‘so very obliging’ is a constant reminder that, as Knightley is to put it later, Miss Bates has ‘sunk from the comforts she was born to’; a reminder of social inequality, and thus, as Emma must instinctively recognise, of the obligation to oblige. (p. 133)3
I Can’t See Without My Glasses!
When Emma looks down the Randalls road from the doorway of Ford’s, “[t]he scene enlarged; two persons appeared” (p. 151). Laura Mooneyham notes that “[t]his way of introducing Frank shows that he functions primarily to enlarge the scope of Emma’s imaginings; his duplicity and Emma’s role as his dupe are made clear by the fact that his destination is Jane Fairfax’s home, not Emma’s” (p. 135)
As in previous sections, a knowledge of future events teaches us how to read parts of this day. Mrs. Weston says to Emma, “‘my companion tells me […] that I absolutely promised Miss Bates last night, that I would come this morning. I was not aware of it myself. I did not know that I had fixed a day, but as he says I did, I am going now” (p. 151). Frank has presumably lied in order to conjure an opportunity to see Jane; Emma’s supposition that Hartfield was the ultimate destination and the Bateses’ merely a waypoint is incorrect. The idea that Frank “returned with Mrs. Weston to Mrs. Bates’s door” “with the hope of Hartfield to reward him” is the kind of trick to which the first volume has accustomed us (p. 152).
Chapter nine ends with the arrival of Emma and Mrs. Weston to the Bateses, some time after Frank Churchill has arrived. Wiltshire notes how evocative this chapter break is:
An especially clever use of textual space occurs when Emma climbs the awkward stairs to the Bateses’ rooms in order to view the famous pianoforte at the end of chapter nine of the second volume […]: [quotes from “Pray take care, Mrs. Weston” to “the step at the turning” (p. 155)]. This is the end of the chapter. The next opens with ‘The appearance of the little sitting-room as they entered, was tranquillity itself.’ The space between the chapters—the structural pause in reading—mimics the few moments of warning given by Miss Bates’s voice to Frank and Jane that allows them, presumably engaged upstairs in something not quite tranquil, to take up the positions that are revealed as the new chapter opens […]. Thus the arrangement of the text, together with the sly and duplicitous first sentence of chapter ten—‘appearance’ being interpretable in more than one sense—connives with the trickery it designates. (pp. 110–1)
Frank and Jane’s positions as the others enter the room do indeed seem posed: “Frank Churchill, at a table near her, most deedily occupied about her spectacles, and Jane Fairfax, standing with her back to them, intent on her pianoforte.”4 Joseph Wiesenfarth explains the scene thusly:
Mrs. Bates cannot knit without spectacles. She cannot hear well either (II.i.158). When the party of women arrives, Mrs. Weston is surprised to see Frank still on the job: “‘What! . . . have not you finished it yet?”‘Of course he hasn’t; he has hardly begun. Since Mrs. Bates can’t see, hear, or work, she falls asleep. Frank has effectually been alone with Jane. He is not wasting time with spectacles; he is making time with Jane! By taking away Mrs. Bates’s spectacles, he has created an occasion for his convenience. Frank, in these circumstances, can safely tell Jane about Emma’s shameful conjectures about the pianoforté, which Jane stares at as Emma enters the room. (p. 11)
What Made Th’Assembly Shine?
At several points throughout this section, Frank uses Emma’s suspicion to communicate with Jane. Per Alistair Duckworth, “if we […] consider how the scene appears to Jane, a very different meaning is evident” than the one that is apparent to Emma, or to many first-time readers: “to her Churchill’s remarks can only appear as an amusing ridicule of Emma, and as a series of embarrassing but touchingly nostalgic remembrances of their shared experiences” (pp. 170–1).
When Frank hints at the significance of the date of the piano’s arrival, for example, he is supposedly teasing Jane about Mr. Dixon but really emphasizing its status as a Valentine’s Day gift from him: “How much your friends in Ireland must be enjoying your pleasure on this occasion, Miss Fairfax. I dare say they often think of you, and wonder which will be the day, the precise day of the instrument’s coming to hand” (p. 157). Ruth Perry also notes that
Frank calls attention to other aspects of the unexpected present, to the ‘softness of the upper notes’, apparently preferred by Col. Campbell and all his party at Weymouth, and probably specified in the order to Broadwood [p. 156]. He picks up some of the music that was sent with the instrument, […] exclaiming on how thoughtfully the gift was managed, ‘so thoroughly from the heart’. He adds ‘true affection only could have prompted it’, which elicits from Jane Fairfax a smile she tries to hide. (p. 142)
Jane’s performance on the pianoforte may also be a hint. The tune of “Robin Adair” is from the earlier folk tune “Eileen Aroon,” which Perry notes was “associated with disguise, secrecy and thwarted love” (p. 144); the lyrics
were said to have been written by Lady Caroline Keppel in the 1750s when her family forbade her to marry the penniless surgeon Robin Adair. Her health broke down, and she was sent to Bath, where she wrote these plaintive verses; but as she grew weaker, her family relented, and allowed her to marry her love. Thus this tale too emphasises an unequal match and parental disapproval with an eventual happy marriage. (p. 145)
Peter Alexander notes that “‘Robin Adair’ immediately follows another piece of music Jane has played and which had special significance for herself and Frank in that they danced to it at Weymouth, where they entered their secret engagement, and she is plainly using the music as a covert means of replying to Frank’s covert affirmation of his continued love” (p. 85). He argues that the song’s lyrics “allusively but aptly foreshadow[] much of the suffering, the privation, and the secrecy she has to endure up to the point when Frank’s aunt dies” (p. 86).
Footnotes
Margaret Doody instead compares Emma to Lady Euphrasia on the basis of this incident: “At moments, Emma unconsciously indulges inner gloating over the prospect of Jane’s talents descending into the thankless work of a governess. After the Coles’ party the naively sycophantic Harriet comfortingly voices the opinions Emma would like to be allowed to indulge […]. Austen switches the poles of Roche’s narrative; in the new narrative focus, readers’ sympathies go to the “the mean girl,” while the talented disadvantaged beauty has to fight (often in vain) for an equal place in the narrative” (p. 162).
Robert Merrett also reads the scene as an index of Emma’s creativity: “Clearly, despite the imaginative indulgence and illusions of omniscience which produce dissatisfaction, Emma’s mind can achieve contentment and be acceptably creative within the limits of empirical ideas” (p. 43). On this scene see also Mooneyham (p. 134); Tsomondo (p. 191).
See Barchas on how this serves to emphasize the adverb: “On a few occasions, judgment simply comes to a halt at very” (p. 312).
Austen is credited by the OED as the first user of the word “deedily” in print, but the word may have been dialectical: see van Ostade, p. 228.
Discussion Questions
What do you think of the Coles after the events of the last section? Is Emma being unjust to them?
What motivates Harriet’s comment about Jane? What can we tell about Harriet from this comment, and why is Emma unconvinced by it?
What is the narrative purpose of Miss Bates’s sometimes fragmented syntax? What does it say, if anything, about her character?
For repeat readers: do you see any other hints of the future plot of the novel that I have not mentioned?
Bibliography
Alexander, Peter F. “‘Robin Adair’ as a Musical Clue in Jane Austen’s Emma.” The Review of English Studies 39.153 (February 1988), pp. 84–6. DOI: 10.1093/res/XXXIX.153.84.
Austen, Jane. Emma (Norton Critical Edition). 3rd ed. New York: W. W. Norton & Company, [1815] 2000.
Barchas, Janine. “Very Austen: Accounting for the Language of Emma.” Nineteenth-Century Literature 62.3 (December 2007), pp. 303–38. DOI: 10.1525/ncl.2007.62.3.303.
Brownstein, Rachel M. Why Jane Austen? New York: Columbia University Press (2011).
Doody, Margaret. Jane Austen’s Names: Riddles, Persons, Places. Chicago: University of Chicago Press (2015).
Duckworth, Alistair M. “Emma and the Dangers of Individualism.” In The Improvement of the Estate: A Study of Jane Austen’s Novels. Baltimore, ML: John Hopkins Press, 1971, pp. 145–78.
Ford, Susan Allen. “‘Not What You Would Think Anything Of’: Robert Martin and Harriet Smith.” Persuasions 38 (2016), pp. 137–54.
Gard, Roger. “Emma’s Choices.” In Jane Austen’s Novels: The Art of Clarity. Avon: Yale University Press (1992), pp. 155–81.
Johnson, Claudia L. “Emma: Woman, Lovely Woman, Reigns Alone.” In Women, Politics and the Novel. Chicago: University of Chicago Press (1988), pp. 121–43. Excerpted in Austen [1815], pp. 400–13.
Lascelles, Mary. Jane Austen and Her Art. Oxford: Oxford University Press (1939).
McMaster, Juliet. “The Critics of Talk in Emma.” Persuasions 38 (2016), pp. 30–40.
Merrett, Robert James. “The Concept of Mind in Emma.” English Studies in Canada 6.1 (Spring 1980), pp. 39–55. DOI: 10.1353/esc.1980.0046.
Monaghan, David. “Emma.” In Jane Austen: Structure and Social Vision. London: Macmillan (1980), pp. 115–42. DOI: 10.1007/978-1-349-04847-2_6
Mooneyham, Laura G. “The Double Education of Emma.” In Romance, Language and Education in Jane Austen’s Novels. Houndmills: Macmillan Press (1988), pp. 107–145.
Parker, Mark. “The End of Emma: Drawing the Boundaries of Class in Austen.” The Journal of English and Germanic Philology 91.3 (July 1992), pp. 344–59.
Perry, Ruth. “Music.” In The Cambridge Companion to ‘Emma,’ ed. Peter Sabor. Cambridge: Cambridge University Press (2015), pp. 135–49. DOI: 10.1017/CBO9781316014226.012.
Stovel, Bruce. “The New Emma in Emma.” Persuasions On-Line 28.1 (Winter 2007).
Tsomondo, Thorrell. “Temporal, Spatial, and Linguistic Configurations and the Geopolitics of Emma.” Persuasions 21 (1999), pp. 88–202.
van Ostade, Ingrid Tieken-Boon. In Search of Jane Austen: The Language of the Letters. Oxford: Oxford University Press (2014).
Wiesenfarth, Joseph. “The Civility of Emma.” Persuasions 18 (1996), pp. 8–23.
Wiltshire, John. “The Heroine.” In The Cambridge Companion to ‘Emma,’ ed. Peter Sabor. Cambridge: Cambridge University Press (2015), pp. 105–19.
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mccall-me-maurice · 3 years
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Um um ship songs and just like, ask me if u want explanations
Jalph -
Happy Songs:
Two Birds - Regina Spektor, True Love [Explicit] - P!nk ft. Lily Allen, Out of my League - Fitz & the Tantrums, Nicotine [Explicit] - Panic! at the Disco, Fire on Fire - Sam Smith, Like or Like Like - Miniature Tigers, Paris - The Chainsmokers, Kiss With A Fist - Florence + The Machine, Burned - Grace Vanderwaal
Sad Songs
Betty [Explicit] - Taylor Swift, Exile - Taylor Swift ft. Bon Iver, Demons - Imagine Dragons, Walls (Naked Edition) - Ruben, Why [Explicit] - Bazzi, Sociopath [Explicit] - StéLouse ft. Bryce Fox, I’m My Own Problem [Duet] - Caleb Hyles and Ashe
Rogermon -
Happy Songs:
Love Like you - Caleb Hyles, Vanilla Twilight - Owl City, Collar Full - Panic! At The Disco, Someone To You - BANNERS, Campus - Vampire Weekend, Gorgeous [Explicit] - Ambassador X
Sad Songs:
Mr Loverman - Ricky Montgomery, Arcade - Duncan Laurence, Before You Go - Lewis Capaldi, Kiss It Better (Album Version) - He is We
Mauram -
Happy Songs:
Hey Stupid, I Love You - JP Saxe, Crush - Tessa Violet, Stupid For You - Waterparks, Ophelia - The Lumineers, Punchdrunk - Vaines, I Wouldn’t Mind - He is We, Animal - Neon Trees
Sad Songs:
Talking to the Moon - Bruno Mars, The One that Got Away - Brielle Von Hugel, Heather - Conan Gray, Irrelevant - Lauren Aquilina, Robin Hood - Anson Seabra
Robric -
Happy Songs:
Something Just Like This - The Chainsmokers ft. Coldplay, About Love - MARINA, You are in Love - Taylor Swift, Everybody Talks - Neon Trees, That’s so Us [Explicit] - Allie X, Love you Like That - Dagny, She Looks So Perfect - 5 Seconds of Summer, Honey Lavender - leuan
Sad Songs:
She had the World (Alternate Version) - Panic! At The Disco, Bruises - Lewis Capaldi, Hold Me While You Wait - Lewis Capaldi, It’s Ok - Tom Rosenthal, If the World Was Ending - JP Saxe & Julia Michaels
Billiggy -
Happy Songs:
Jenny (I Wanna Ruin Our Friendship) - Studio Killers, Cupid’s Chokehold - Gym Class Heroes, Peace - O.A.R, All About Your Heart - Mindy Gledhill, Bright - Echosmith
Sad Songs:
Little Lion Man [Explicit] - Mumford & Sons, Annabelle’s Homework - Alec Benjamin, Somebody That I Used To Know - Gotye ft. Kimbra, Ripples - Maximilian, Mixed Signals - Ruth B.
Mulberry Boy x Percival
Happy Songs:
Riptide - Vance Joy, I’ll Be There - Jess Glyne, Wherever You Will Go - Charlene Soraia, Safe and Sound - Capital Cities, Anxiety - blackbear & FRND, Baby, I’m Jealous - Bebe Rexha ft. Doja Cat, Adore You - Harry Styles
Sad Songs:
Cry Baby - Melanie Martinez, Without You - Avicii & Sandro Cavazza, Forever and Always - Parachute, Lover - Plot Twist and Rose & Kennedy, The Book of You & I - Alec Banjamin
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supersergiofabi · 3 years
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Al cinema il docu-film su FRANK ZAPPA | 15-17 novembre #frankzappa arriverà nelle sale italiane con Nexo Digital dal 15 al 17 novembre ZAPPA, il film di Alex Winter che indaga gli aspetti più intimi e umani della figura del geniale musicista di Baltimora.   Grazie all’accesso illimitato concesso dalla famiglia al suo caveau, che comprende una vasta collezione di inediti, film, progetti rimasti incompleti, interviste mai viste prima e registrazioni di concerti inediti, ZAPPA racconta la carriera del musicista nemico del politicamente corretto, dagli esordi da autodidatta alla battaglia contro la censura, sino agli ultimi lavori. Un film che esplora la vita privata dietro la gigantesca carriera musicale che non si è mai allontanata dalle turbolenze politiche del suo tempo.   Il documentario è arricchito dagli interventi della vedova di Zappa, Gail Zappa, e di molti dei suoi storici collaboratori musicali, tra cui Mike Keneally, Ian Underwood, Steve Vai, Pamela Des Barres, Bunk Gardner, David Harrington, Scott Thunes, Ruth Underwood, Ray White. Non un viaggio nostalgico nel passato, ma un'esplorazione moderna su un uomo geniale la cui visione di mondo, arte e politica si è sempre distinta spingendosi oltre gli schemi dei tempi in cui ha vissuto.   Spiega il regista Alex Winter: “A me e al produttore Glen Zipper sembrava incredibile che non ci fosse ancora un documentario definitivo e completo sulla vita e sui tempi di Frank Zappa. Abbiamo deciso di realizzarlo noi: di raccontare una storia attraverso un film che non è un documentario musicale né un film biografico convenzionale. È la saga drammatica di un grande artista e pensatore americano; un film che desidera trasmettere la portata della prodigiosa della produzione creativa di Zappa e l'ampiezza della sua straordinaria vita personale e politica. Innanzitutto, volevo creare un'esperienza cinematografica molto umana e universale su un individuo straordinario”. Tra i produttori del film: Jade Allen, Devorah DeVries, John Frizzell, Alex Winter, Ahmet Zappa, Glen Zipper.   L’uscita del film segue la pubblicazione della colonna sonora, tuttora disponibile in Digitale, CD e LP in tutti gli store musicali.   https://www.instagram.com/p/CU8Ssbns1rB/?utm_medium=tumblr
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kellywhicks · 3 years
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Busy recording members of the #arkansassymphonyorchestra for the Ruth Allen Concert series for #uamshealth https://www.instagram.com/p/CV1keRjoDB9/?utm_medium=tumblr
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aslanjadecarlyle · 4 years
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Master List of Black Creators, Owners, & Public Figures
Master List of Black Creators, Owners, & Public Figures
DISCLAIMER: I am fucking whiter than white. I compiled this list to boost black creators and public figures, but if I am overstepping at all PLEASE let me know! 
Also, I tried to research these in a timely manner. If anyone in these lists is problematic or should not be supported, let me know. :)
(Of course, this is only a TINY portion! Feel free to add more names, businesses, and creators!)
——
Activists:
•Naomi Anderson
•Maya Angelou
•James Baldwin
•Lillie Mae Bradford
•Mari Copeny
•Frederick Douglass
•Ruth Ellis
•Erica Garner
•Alicia Garza
•Ernest Green
•Fannie Lou Hamer
•Frances Harper
•Langston Hughes
•Marsha P. Johnson
•Alberta Odell Jones
•Quincy Jones
•Martin Luther King Jr.
•Audre Lorde
•Bree Newsome
•Huey P. Newton
•Rosa Parks
-Bayard Rustin
•Sojourner Truth
•Harriet Tubman
•Madam C.J. Walker
•Ida B. Wells
•Malcolm X
Actors/Actresses & Directors:
•Yahya Abdul-Mateen II
•James Avery
•Angela Bassett
•Halle Berry
•John Boyega
•Levar Burton
•Nick Cannon
•Michael Clarke Duncan
•Zendaya Coleman
•Terry Crews
•Viola Davis
•Idris Elba
•Jamie Foxx
•Morgan Freeman
•Whoopi Goldberg
•Tiffany Haddish
•Skai Jackson
•William Jackson Harper
•Kevin Hart
•Steve Harvey
•Jennifer Hudson
•Ice Cube
•Spike Lee
•Phill Lewis
•Bernie Mac
•Eddie Murphy
•Keke Palmer
•James Pickens Jr.
•Chris Rock
•Will Smith
•Raven Symonè
•Denzel Washington
•Jesse Williams
•Chandra Wilson
•Oprah Winfrey
•John Witherspoon
Authors & Poets:
•Elizabeth Acevedo
•Tomi Adeyemi
•Kwame Alexander
•Maya Angelou
•Rena Barron
•Paula Chase
•Dhonielle Clayton
•Brandy Colbert
•Jay Coles
•Dana Davis
•Tanita S. Davis
•Sharon M. Draper
•Paul Laurence Dunbar
•Akwaeke Emezi
•Sharon G. Flake
•Kristina Forest
•L.R. Giles
•Whitney D. Grandison
•Nikki Grimes
•Justina Ireland
•Tiffany D. Jackson
•Kimberly Jones
•Claire Kann
•Kekla Magoon
•Janice Lynn Mather
•Tony Medina
•Candice Montgomery
•David Barclay Moore
•Britney Morris
•Bethany C. Morrow
•Greg Neri
•Nnedi Okorafor
•Tochi Onyebuchi
•Morgan Parker
•Junauda Petrus
•Ben Philippe
•Jason Reynolds
•Debbie Rigaud
•Ilyasah Shabazz
•Nic Stone
•Liara Tamani
•Mildred D. Taylor
•Angie Thomas
•Brian F. Walker
•Booker T. Washington
•Renée Watson
•Alicia Williams
•August Wilson
•C.E. Wilson
•Ashley Woodfolk
•Jacqueline Woodson
•Nicola Yoon
•Ibi Aanu Zoboi
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•Eso Won Books (Los Angeles, CA)
•Malik Books (Los Angeles, CA)
•Marcus Books (Oakland, CA)
•Shades of Afrika (Long Beach, CA)
•Shop At Matter (Denver, CO)
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•Semicolon (Chicago, IL)
•Wild Fig Books (Lexington, KY)
•Frugal Bookstore (Boston, MA)
•Loyalty Books (Silver Springs, MD)
•Loving Me Books (Detroit, MI)
•Source Booksellers (Detroit, MI)
•Mind’s Eye Comics (Burnsville, MN)
•Eye See Me (St. Louis, MO)
•Source of Knowledge (Newark, NJ)
•The Lit Bar (The Bronx, NY)
•Cafe Con Libros (Brooklyn, NY)
•Megabrain Comics (Rhinebeck, NY)
•The Schomburg Shop (Harlem, NY)
•Sister’s Uptown (New York, NY)
•Fulton Street Books (Tulsa, OK)
•Third Eye Bag (Portland, OR)
•Amalgam Comics (Philadelphia, PA)
•Harriett’s Bookshop (Philadelphia, PA)
•Uncle Bobbie’s (Philadelphia, PA)
•Turning Page Bookshop (Goose Creek, SC)
•Black Pearl Books (Austin, TX)
•The Dock (Fort Worth, TX)
•Loyalty Books (Washington DC)
•MahoganyBooks (Washington DC)
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In conversation with an amazing team from Surdaan Ameya, Sanchay, Kavni, Kriti and Milli.
Inspiration Masters, LLC is dedicated to making a positive difference in the lives of people on the planet by helping everyone search their purpose of life, find what they are passionate about, and then helping with tools, techniques, and strategies to reach their true purpose in life by following their passion.
As a part of our “Inspiring Series”, we invite the difference makers, entrepreneurs, artists, business owners, and individuals who have interesting stories to share which can inspire everyone.
This week we got the privilege to meet an amazing team from Surdaan Ameya, Sanchay, Kavni, Kriti and Milli.
Surdaan will be holding their fifth Annual Charity Benefit Concert on August 9th. Each year high school students of Alaap School of Music come together for Surdaan - summer musical concert. The students showcase their singing talents while using their voices to help others in need. Surdaan 2020 is extra special. This year the musical event will be online allowing the kids to reach audiences all over the world. And the funds raised from ticket sales and donations will benefit 2 charities.
For those purchasing tickets in the US, each ticket is $25 per family. You can purchase additional tickets for $10 for family and friends in India under your bundle. In the US, payment will be accepted in the form of cash, cheques, or zelle.
For residents in India wishing to purchase the ticket, it is 500 rupees per family. In India, the payments will be accepted through Google pay. Please check out our previous post for more information on how to purchase tickets. For more information regarding this event or tickets please contact or email [email protected]. instagram.com/surdaan/ https://www.facebook.com/surdaan/ For ticket: https://www.facebook.com/events/3998581140213296/
Phone: 972.948.8476 Email: [email protected] Website: www.inspirationmasters.com Facebook Page: www.facebook.com/inspirationmasters/ YouTube: https://www.youtube.com/channel/UCaqsWGFDdqc2Puhu3UKuvNw…
#inspiringseries #inspiration #motivation #inspirationmasters #positivedifference #followyourpassions #inspirationmasters #becomeremarkablenow #inspiringseries #purposeoflife #livelife #liveyourdreams #followyourdreams #passion #learn #irving #coppell #Lascolinas #carollton #inspire #DFWmetroplex #dallas #southlake #lewisville #frisco #plano #allen #bollywood #charitableorganizations #CityHouse #transitionalhousing #nonprofit #CharityEvent #Concert #ClassicalSinging #BollywoodSinging #Fundraising
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Jay Pujara with an amazing team from Surdaan Ameya, Sanchay, Kavni, Kriti and Milli.
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