Friday, November 30, 2007

MARSALIS TO TOUR WITH LINCOLN CENTER JAZZ GROUP: Trumpeter will take musicians on the road to perfor

MARSALIS TO TOUR WITH LINCOLN CENTER JAZZ GROUP: Trumpeter will take musicians on the road to perform Duke Ellington fare.
*Wynton Marsalis will once again lead the Jazz at Lincoln Center Orchestra on a national tour that focuses this year on Duke Ellington's love songs.

       The 21-city trek is scheduled to launch Jan. 16 in Ann Arbor, MI and roll through several college campuses throughout the West Coast and Midwest.  There will also be a Jan. 18 stop in Chicago for the orchestra's continuing Jazz For Young People series.      

       The fifteen-member JLCO - formerly known as the Lincoln Center Jazz Orchestra - is anchored in the venerable New York performing arts theater and is the official house orchestra for Jazz at Lincoln Center activities. They've toured annually over the last 12 years, performing compositions and arrangements made famous by composers such as Duke Ellington, Count Basie, Fletcher Henderson, Thelonious Monk and Charles Mingus, as well as commissioned works by Benny Carter, Joe Henderson, Jimmy Heath, Chico O'Farrill, members of the JLCO and others.

       The current JLCO features music director Marsalis, along with Ryan Kisor, Sean Jones and Marcus Printup on trumpets; Chris Crenshaw, Vincent Gardner and Elliot Mason on trombones; Walter Blanding, Victor Goines, Sherman Irby, Ted Nash and Joe Temperley on reeds; Dan Nimmer on piano, Carlos Henriquez on bass; and Ali Jackson on drums.

Elaine Lorillard, 93, a Founder of the Newport Jazz Festival, Is Dead

Elaine Lorillard, 93, a Founder of the Newport Jazz Festival, Is Dead
By DENNIS HEVESI
Published: November 28, 2007

Elaine Lorillard, a socialite who with her husband, Louis, lured jazz greats to their hometown in Rhode Island for a two-day concert series in the summer of 1954, starting the Newport Jazz Festival and creating the model for what became a worldwide circuit of outdoor jazz festivals, died on Monday near her home in Newport. She was 93.

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Milton Greene

Elaine Lorillard in 1969.

Her daughter, Didi Cowley, confirmed the death.

It was a casual remark during intermission at a classical concert in Newport in 1953 that inspired the Lorillards to sponsor the first Newport Jazz Festival. Mrs. Lorillard, already a jazz fan, was seated next to John Maxon, then head of the Rhode Island School of Design Museum.

“It’s too bad we can’t do something like this for jazz,” he said. “That’s another music form that’s worth a big-time festival.”

The Lorillards got in touch with George Wein, then the owner of a jazz club in Boston, and asked him to produce that first festival. The Lorillards and Mr. Wein, who went on to become a renowned jazz impresario, brought together for the first concert series, among others: the Modern Jazz Quartet, the Oscar Peterson Trio, the Dizzy Gillespie Quintet, the Gerry Mulligan Quartet, the George Shearing Quintet, the Erroll Garner Trio, the Gene Krupa Trio and the singers Billie Holiday and Ella Fitzgerald.

About 7,000 fans packed the grounds of the Newport Casino on the nights of July 17 and 18 in 1954.

“Because it was held in Newport, it gave an aura of social distinction to jazz that it had never had before,” Dan Morgenstern, director of the Institute of Jazz Studies at Rutgers University, said in an interview yesterday.

The Lorillards led the nonprofit Newport Jazz Festival foundation for six years, providing financial support of their own and from their friends.

In 1960, when the Lorillards could no longer afford to support the festival, Mr. Wein found money elsewhere and moved the concerts to Freebody Park, the local municipal stadium. (His Festival Productions Inc., now a division of the Festival Network, runs festivals around the world.)

For a time, rock music was part of the mix. That ended in 1971 when angry fans, trying to see the Allman Brothers, crashed the gates. Festival Productions moved the Newport festival to New York in 1972. A more jazz-rooted festival later returned to Newport and is still held each summer.

Elaine Guthrie was born in Tremont, Me., on Oct. 11, 1914, the daughter of Walter and Eliza Pray Guthrie. Her father owned a printing company and her mother was a professional pianist. Elaine Guthrie attended the New England Conservatory of Music. But in 1943 she went to work for the Red Cross, teaching music and painting to orphans in liberated Naples, Italy.

There she met United States Army Lt. Louis Lorillard, a descendant of Pierre Lorillard, who founded the P. Lorillard Tobacco Company in 1760. They went to “underground jazz clubs together” in Naples, their daughter, Didi, said, “and she fell in love with this fabulous music.” The Lorillards were married in 1946, but later divorced. Mr. Lorillard died in 1986.

Besides her daughter, of Newport, Mrs. Lorillard is survived by a son, Pierre, of Los Angeles, and two grandchildren.

Mr. Morgenstern of Rutgers, a friend of Mrs. Lorillard, said she never lost her love of jazz. “I saw her in clubs just a few years ago,” he said.

Wednesday, November 28, 2007

Divorce Debate Divides Evangelicals Randy and Paula White

Divorce Debate Divides Evangelicals
Randy and Paula White of Without Walls Internation
(Photo: AP Images / The Tampa Tribune, File)
Randy and Paula White tell worshippers at Without Walls International Church in Tampa, Fla., that they are divorcing at a night service on Thursday, August 23, 2007.
By
Lillian Kwon
Christian Post Reporter
Wed, Nov. 28 2007 05:04 PM ET
When life coach and televangelist Paula White went into her marriage 18 years ago, she thought she'd end her life with her husband, Randy. Divorce was not anything she ever wanted to happen, she recently said.

Now separated from Randy and continuing her own ministry, White has found herself in the midst of a wide debate as more evangelicals show acceptance of divorce.

"The fact is as many have been critical or judgmental [about the divorce] ... I've also found thousands that have reached out to me in a way that maybe they never did," said White in a live interview Monday with CNN's Larry King.

The famed pentecostal preacher's divorce announcement in August compounded with the divorce case of another power couple – televangelist Juanita Bynum and Bishop Thomas Weeks III – that same week fueled discussions on whether Scripture allows the separation of marriage partners as both couples received support.

“I think conservative Christians are becoming more liberalized in the sense of, I guess, making more room for the acceptance of divorce and remarriage,” said Mark Galli, Christianity Today magazine's managing editor. “You’ll see a lot of churches that plunge right in and have divorce ministries. ... Marriage is a really difficult thing in our culture right now.”

The monthly magazine published last month a cover story titled "When to Separate What God has Joined: A Closer Reading on the Bible on Divorce" that stirred controversy particularly with conservative evangelicals.

In the article, British Evangelical scholar David Instone-Brewer wrote that God allows divorce and subsequent remarriage in cases of adultery, physical and emotional neglect, abuse and abandonment – a shift from the commonly held view that only adultery is a biblically justified reason for divorce. He later clarified that divorce is not allowed for just any emotional or physical neglect or other minor infractions but only on "serious and specific grounds." In effect, divorce is allowed for adultery, abandonment or abuse, he stated.

Televangelist Bynum separated from her husband after alleging he assaulted her at an Atlanta hotel parking lot in August. The Whites did not give a clear reason for their divorce but insisted the separation was amicable.

Meanwhile, theological conservative John Piper called the widening grounds of legitimate divorce "tragic."

Piper pointed out that Jesus' standards for marriage were high and that he is "radical, not accommodating." Alluding to the biblical meaning, Piper further explained that marriage displays the covenant-keeping faithfulness of Christ and his church and that Christ will never divorce his wife and take another.

"The world we live in needs to see a church that is so satisfied in Christ that its marriages are not abandoned for something as amorphous as 'emotional neglect,'" he stated in his website DesiringGod.org.

The world, however, is seeing a less faithful image.

Studies in recent years have shown that born-again Christians are just as likely to get divorced as non-Christians. According to The Barna Group's 2004 survey, 35 percent of born again Christians have experienced divorce – a figure identical to that of married adults who are not born again.

The research group also reported that "relatively few divorced Christians experienced their divorce before accepting Christ as their savior."

Both Paula White and Bynum continue to have a strong following even after their highly public divorces. White has out a new book, You're All That!, and Bynum said she believes her experience may broaden her ability to reach people.

One pastor, however, isn't convinced.

"[M]arriage is to be a picture of God's relationship with His covenant people," wrote Christopher Tillman in response to Instone-Brewer's debate with Piper. "To allow for divorce in the life of a believer is to do serious damage to Gospel witness in one's life."

But in a culture where the divorce rate is increasing and Christians are struggling in their marriages, Tillman adds, "What needs to be communicated is not that rethinking marriage yields more 'biblically' lenient standards for divorce than have been traditionally held, but rather, thatmarriage is an institution to be treasured by us as Christians."

Nicole C. Mullen's family Black, White, Tan

Black, White, Tan
Singer Nicole C. Mullen's family and career reflect her conviction that God's love comes in all colors.
By Natalie Nichols Gillespie

Black, White, Tan

When Grammy-nominated singer and songwriter Nicole C. Mullen looks around her dinner table, she sees a rainbow of colors. She is an African American woman married to "Caucasian" (as she puts it) producer and songwriter David Mullen, and their kids 13-year-old Jasmine and 4-year-old Josiah are biracial. Max, her 10-year-old adopted son, is African American, and the Mullens frequently welcome a multicolored mix of other friends and family. Nicole firmly believes that her racially diverse community of loved ones represents God's best handiwork, and she invests her life in relationships that span the spectrum of races and colors.

Nicole is frank when it comes to the subject of diversity. The church needs more of it, and that means intentionally developing relationships outside of Sunday mornings.

"I thank God, thank God, that my world is intentionally racially diverse," says the energetic singer. "And it is purposeful. I have women that I consider my sisters who are African American, and some are whiter than white. They are as different as you can get. I have one African American friend who remembers getting hand-me-downs, while another had everything new. It's not just color that divides. But we need to get together and learn about those differences, not shy away from each other because of them. It's not good enough just to worship together on Sunday. If you can't get together during the week, then you're faking it. That's not relationship."

Planting and harvesting
Nicole, who grew up in Cincinnati, went to a predominantly black church, attended a mostly white school, and lived in a neighborhood that was home to many races. She has siblings who were adopted, and her familyalways welcomed others who needed a place to call home. They took in single moms, foster kids, and children who needed a safe haven. So when she married David in 1993, Nicole says it wasn't really a stretch to blend their extended relatives.

"People are valuable regardless of the color of their skin," Nicole states emphatically. "You can be open about it and talk about it. You don't have to pretend that you are not different, but you can learn about those differences. I want to encourage people who have multiracial families to embrace them, love them. God didn't say, 'Ooh, I made you brown on accident.' He made them that color on purpose. And if you do not have friendships with other races, then ask God to bring you some. He will."

The theme of racial diversity and reconciliation is woven throughout Nicole's music, as well as her life. When she recorded her self-titled album in 2000, she included the song "Black, White, Tan," which she wrote for daughter Jasmine. The first verse begins, "Mama looks like coffee/Daddy looks like cream/Baby is a mocha drop, American dream" and repeats the fact that God loves us "black, white, tan." Her 2002 holiday album was titled Christmas in Black and White. And her latest cd, Sharecropper's Seed, pays homage not only to Nicole's own heritage (her grandfather was a pastor and a sharecropper, and her mother remembers picking cotton as a child), but also to God's faithfulness to harvest healing in the hearts of those who turn to Him.

"Sharecropper's Seed is an album of thankfulness, because we all have people who went before us who sowed into our lives," Nicole shares. "The Bible speaks often about seeds and planting and harvesting, and I want to say thank you to those who sowed into me. We are all the products of hardship somewhere.

"You are the seed of somebody else, and either you were watered and nurtured properly, or perhaps you were poisoned. If you were nurtured properly, then you have the ability to grow a great harvest and feed a great many. If you were the latter, then you have a chance to be healed. Just spray God's Terminix all over your contamination."

Nicole has experienced God's healing in her own life, after she suffered physical abuse in her short-lived first marriage. She felt God's healing touch again after she and David "lost a child" whom they planned to adopt. The birth mother reclaimed a baby boy who had been placed in their home before the Mullens' adoption of the child was finalized. The heartache was enormous, but Nicole says through it they learned lessons about trust and faithfulness. A year after that devastating loss, Max came into their lives.

"Max is proof of God's faithfulness," Nicole says. "He is a child of my heart, and he was definitely the right Max for us."

Bringing out the best
David and Nicole Mullen met when both were up-and-coming performers. David had won the Gospel Music Award for New Artist of the Year in 1990 and was becoming known for his songwriting talent. Nicole released two albums in the early 1990s and then sang backup for artists like Amy Grant and Michael W. Smith. The couple married in 1993 and five years later they picked up a Gospel Music Award for "On My Knees" (which was first recorded by Jaci Velasquez), a song they co-wrote with Michael Ochs. In 2000, Nicole's song "Redeemer" went to No. 1 on the charts, winning the Dove Award for Song of the Year and garnering her the coveted Songwriter of the Year award in 2001. In 2002 and 2005, she was named Female Vocalist of the Year.

But for Nicole, her pride and joy is not in the many awards she has received. Her true calling is to bring out the best in the lives she touches. In addition to her singing career, Nicole's family ministers in many areas. She nurtures adolescent girls in her "Baby Girls Club," an after-school mentorship program and dance class Nicole founded. She even travels with a team of 8- to 14-year-old "Baby Girl" dancers when she is on the road, giving them opportunities to blossom.

"Of the eight girls that travel with me, three are Caucasian, four are African American, and one is biracial—my daughter Jasmine. We meet on Tuesdays and Thursdays during the weeks when we are not on the road, and they dance, go crazy, and eat up all my food," Nicole laughs.

The Mullens also spend time with underprivileged kids at camp each summer and work with the I.N. Network, a Christian relief and community development ministry, to help feed hungry children and free African women ensnared in sex slavery.

Africa has been on Nicole's mind a lot lately. As she prepared to release Sharecropper's Seed, she and Jasmine visited Ghana and met with many of the young women who have been rescued from a life of sex slavery andare now learning vocational skills. For Nicole, the trip was a perfect example of God's goodness brought full circle.

"I was sitting on the airplane before we landed in Africa, and all of a sudden I got in this poetic mood, thinking that somewhere in this land my family was formed and taken from Africa to be slaves," Nicole says when asked about her experience. "Now here I was, a free American woman, coming back to testify that God is good, God is just. The prayers of the saints are still answered."

'You are rich'
Traveling to Africa was humbling, Nicole says. "What is trash to us is treasure to them. The food we throw away when we are done would be like manna from heaven to them. Yet their faith has this 'wow' factor, because if God does not provide, they don't eat."

Nicole says seeing the need in Ghana helped her realize the true abundance Americans have.

"I was able to come back to the Baby Girls Club and ask my girls, 'How many of you have eaten at least one meal today? How many of you have a place to live?' and say to them, 'Then you are rich. If you have just one dollar, you'd be considered rich in the places I saw.'"

The singer adds: "We all have something to give or can find something to give. If God can answer the prayers of the sharecropper and provide for his needs, He can provide for us, too."

Natalie Nichols Gillespie is the mom and stepmom of seven children and the author of Stepfamily Success (Revell) and Successful Adoption: A Guide for Christian Families (Nelson).

DR. DAVID A. HAMPTON CALLED TO PASTOR HISTORIC BETHANY BAPTIST CHURCH IN BROOKLYN, NY: Dr. Hampton t

DR. DAVID A. HAMPTON CALLED TO PASTOR HISTORIC BETHANY BAPTIST CHURCH IN BROOKLYN, NY: Dr. Hampton to serve as the 10th pastor.
 
The Bethany Baptist Church family has called Dr. David A. Hampton to serve as the 10th pastor of the 124-year-old historic church in Brooklyn, NY, following the 43-year pastorate of world-renowned preacher/teacher/author Dr. William Augustus Jones, Jr., it was announced by the Reverend Jasper E. Peyton, Bethany's Interim Pastor.

      Dr. Hampton will begin his pastorate at Bethany on January 6, 2008.

      Dr. Hampton is an exceptionally dynamic preacher who has an ability to reach people of all ages. An anointed pastor from Indianapolis, IN, he previously served as the senior pastor of Zion Hope Baptist Church. Dr. Hampton earned a Bachelor of Arts in Criminal Justice from the University of Indianapolis in 1994. He earned a Master of Theological Studies degree in 2000 and Doctor of Ministry degree (Summa Cum Laude) in 2007, both from Christian Theological Seminary in Indianapolis. He is affiliated with the Progressive National Baptist Convention and the American Baptist Churches, where he served on the Executive Board of Directors. In addition, he is a religious editorial writer for the Indianapolis Recorder and wrote an opinion column, for the Indianapolis Star from 2005-2006.

      "After more than two years of prayer and faith that God would send us the Pastor of His choice, we are blessed to welcome Dr. Hampton to the Bethany Baptist Church family," said Rev. Peyton.

      "I am honored and humbled by Christ to have been chosen to lead such an historic church into the 21st Century after Dr. William Augustus Jones. The people of Bethany have been overwhelmingly warm and welcoming," said Dr. Hampton.

      Dr. Hampton is the recipient of numerous honors and awards, including: National Association of Blacks in Criminal Justice Scholar, Martin Luther King. Jr. Scholar, Who's Who in Black Indianapolis, MLK Human Rights Award, NCAA All-American, Omega Psi Phi Fraternity and Center for Leadership Development.

      Reverend Hampton and his wife, Hope, have two children, Taylor and Gabriel.

      Dr. Hampton will be installedon April 6, 2008, by his childhood pastor, Dr. Jeffrey A. Johnson, Sr., Eastern Star Baptist Church, Indianapolis, IN.

      Bethany Baptist Church is located at 460 Marcus Garvey Boulevard between Decatur and MacDonough in Brooklyn. Sunday Worship services are at 8:00 a.m. and 11

Tuesday, November 27, 2007

Cecil Payne Dec. 14, 1922 - Nov. 27, 2007

Cecil Payne

Dec. 14, 1922 - Nov. 27, 2007

 

Born in Brooklyn on December 14, 1922, Cecil Payne proved one of the bebop era´s strongest baritone saxophonists; nonetheless, he has always worked in undeserved obscurity. After leaving the military service in 1946, Payne cast aside the guitar, alto, and clarinet to pick up the bari for a brief stint with Roy Eldridge´s Big Band. Payne soon joined the most progressive big band of the era, Dizzy Gillespie´s, where he made his reputation as a fluid player on a sometimes cumbersome instrument and played on the orchestra´s groundbreaking recordings, including Cubano-Be/Cubano-Bop. Payne later freelanced in NYC with Tadd Dameron and Coleman Hawkins (´49-´52), later working with Illinois Jacquet (´52-´54). Payne had remained highly active during the decades since; even though his eyesight had begun to fail him, his songful sax, flowing lines and warm tone, remained fully intact well into his 80's. He was a childhood friend of Randy Weston's and they remainded very close to this day. His friend Art Bailey was a major influence in his musical comeback and his life in the Greater Philadelphia area.

 

Cecil Payne was one of the truly great human beings on this Earth. His positive attitude and his endlessly optimistic nature, no matter how bad things were, always got you a "It is what it is" and an "Everything is Everything" and never a complaint or a negative word was uttered from his mouth.  The Earth is a little emptier from his passing.

 

About 6 years ago, Cecil had gone into seclusion because his eye sight was failing and he didn't want to bother anyone. Ron Carter ran into Wendy Oxenhorn from the Jazz Foundation of America and said, "I'm worried about Cecil. No one has seen him in a year." The Jazz Foundation called him up, spoke to him, he said he was "fine" and didn't need any help. He admitted that he had been going blind, and being the independent strong soul that he was, could only walk as far as the local corner deli and was living on 2 cans of Slimfast and some M & M's for over a year and a half. After hearing that, Wendy tried to tell him that they could at least get "Meals On Wheels" delivered to his home and he'd get a wonderful meal each day- but he wouldn't hear of it.  The next day, Wendy called him and said, "Cecil, I was up all night worried about you- please would you let us try the Meals on Wheels just once." Cecil said, "Well, I don't want you to worry about me and "Meals On Wheels" sounds cool..." as he said slowly in his Cecil way, "Meals .....on Wheels..."

 

Because of these nutritious meals his health improved, he came out of seclusionand started to play again in New York City at Smoke with Eric Alexander, Harold Mabern, Joe and John Farnsworth, John Webber and others he loved dearly. Minoru Odamaki was very helpful as well setting up gigs in New York and even driving him two hours away to the gigs. Now in his 80's, Cecil had the chance to play the Annual "Great Night In Harlem" Benefit Concert for the Jazz Foundation at the Apollo, where he was reunited with many old friends, seeing one another after all those years, like Quincy Jones, Ron Carter, Frank Foster, Freddie Hubbard, Candido, Ray Baretto, Clark Terry, Frank Wess and so many others. You would have thought he was 25 again if you had seen his face light up when being reunited with his peers. After this, Cecil found time to perform in the local nursing homes in the Somerdale area, entertaining elderly patients for free.

 

The Jazz Foundation became very close to Cecil, like family, and found other ways to make his life easier, along with another blessing that came into his life: his landlord Bucky Buchman, who knew and loved Cecil for over 20 years. Bucky also stepped in and along with his assistant Tony Bassett and Ian Greenan, who  lived close by, they watched over him like he was part of the family and he was never really alone again. This past year Cecil spent in a nursing home with this extended family looking in on him several times a week. Never complaining about the pain of his Cancer, never a negative word, just the same optimistic Cecil who would say, "The Sun is Up and so am I, it's a good day." 

 

Last year Cecil said to me, "I want to go home." He said he was tired and ready. He said, "It's time to go." 

 

This morning, he got to do just that. He passed at 6:30 AM, he did not die alone. Bucky called to say "he's gone."    The sun came up this morning and Cecil rose with it.

 

"Love and Bebop" Cecil Payne ...


Early life

Payne received his first saxophone at age 13, asking his father for one after hearing Honeysuckle Rose by Count Basie, performed by Lester Young. Payne took lessons from a local alto sax player, Pete Brown.

[edit] Career

Payne began his professional recording career with J. J. Johnson on the Savoy label in 1946. During that year he was also began playing with Roy Eldridge, through whom he met Dizzy Gillespie. His earlier recordings would largely fall under the swing category, until Gillespie hired him. Payne stayed onboard until 1949, heard performing solos on "Ow!" and "Stay On It". In the early 1950s he found himself working with Tadd Dameron, and worked with Illinois Jacquet from 1952 to 1954. He then started freelance work in New York and frequently performed during this period with Randy Weston, with whom Payne worked with until 1960. [1] Payne was still recording regularly for Delmark Records in the 1990s, when he was in his seventies, and indeed on into the new millennium.

[edit] Personal life

Payne is a cousin of trumpeter Marcus Belgrave, whom he recorded with briefly.[2] Aside from his career in music Payne helped run his father's real estate company during the 1950s.[3]

[edit] Partial Discography
  • Randy Weston Jazz a la Bohemia (1956) The Randy Weston Trio plus Payne
  • Patterns of Jazz (1957) his debut album Savoy Records
  • Performing Charlie Parker Music (1961) (Collectables)
  • Cerupa (1993) (Delmark-478)
  • Scotch and Milk (1997) (Delmark DE-494)
  • Payne's Window (1999) (Delmark DE-509)
  • The Brooklyn Four Plus One (1999) (Progressive)
  • Chic Boom: Live at the Jazz Showcase (2001) (Delmark DE-529) with tenor player Eric Alexander.

Monday, November 26, 2007

The Backlash Against Tithing

 
The Backlash Against Tithing
As Churches Push Donations, Congregants Balk;
'That's Not the Way God Works'
By SUZANNE SATALINE
November 23, 2007; Page W1

Can you put a price on faith? That is the question churchgoers are asking as the tradition of tithing -- giving 10% of your income to the church -- is increasingly challenged. Opponents of tithing say it is a misreading of the Bible, a practice created by man, not God. They say they should be free to donate whatever amount they choose, and they are arguing with pastors, writing letters and quitting congregations in protest. In response, some pastors have changed their teaching and rejected what has been a favored form of fund raising for decades.

[photo]
The Rev. Robert Barbour of Union Missionary Baptist Church in Chesapeake, Ohio, preaches voluntary giving rather than strict tithing

The backlash comes as some churches step up their efforts to encourage tithing. Some are setting up "giving kiosks" that allow congregants to donate using their debit cards when they attend services. Others are offering financial seminars that teach people in debt how they can continue tithing even while paying off their loans. Media-savvy pastors, such as Ed Young in Grapevine, Texas, sell sermons online about tithing. And in a shift, more Catholic parishes are asking churchgoers to tithe, says Paul Forbes, administrator of McKenna Stewardship Ministry, a nonprofit that says it has encouraged more than 500 parishes to tithe in the last decade. Popes haven't requested tithes in recent decades.

Church leaders say tithing isn't just a theological issue, but a financial one. Americans gave an estimated $97 billion to congregations in 2006, almost a third of the country's $295 billion in charitable donations, according to Giving USA Foundation, a nonprofit educational organization in Glenview, Ill. But giving to religion is growing more slowly than other types of giving, says Patrick Rooney, director of research at the Center on Philanthropy at Indiana University. That's partly because people are attending church less frequently, says Mr. Rooney, and are giving to a wider array of causes, including secular ones.

That worries some church leaders. "If everyone gives 2% of their income because that's what they feel like giving, you aren't going to have money to pay the light bill and keep the doors open," says Duane Rice, an official with Evangelical Friends International, a denomination that believes that tithing is required by the Bible.

Many Christians who don't read the Bible literally say that by tithing they are not misreading the text, but rather interpreting it differently. Tithing has its roots in the Biblical tale of Abraham presenting a tenth of the war spoils to Melchizedek, the king of Salem. In the Old Testament, Jews brought 10% of their harvest to a storehouse as a welfare plan for the needy or in case of famine. That percentage, say pro-tithers, can be a useful guideline for Christians today. "It's the best financial discipline I know," says Terry Parsons, stewardship officer for the Episcopal Church.

Other faiths also urge followers to donate. Muslims are obligated to give a zakat to charity, usually 2.5% of the market value of a believer's assets each year. Most Jewish synagogues request an annual membership fee, often based on family income.

Tithing ranges from a requirement to a suggestion, depending on the denomination and the church. Mormons must give 10% to the church or they may be barred from temples where ceremonies take place. Some evangelical Protestant churches require new members to sign covenants, promising to tithe or give generously. Those who openly refuse to tithe might be denied leadership roles or asked to leave the congregation. The tithe has been the Episcopal Church's "minimum standard" since 1982, although the average annual gift from its 2.3 million members in 2006 reached only $1,718, less than the 10% requirement, according to its own figures.

For Judy Willingham, of San Antonio, 12 years of tithing came to an end earlier this year. She says she gave a tenth of her pay to Cornerstone Church because the pastor, the Rev. John C. Hagee teaches, "'If you obey God and you tithe, God will return it to you 30, 60, 100 fold.'"

[photo]
A parishioner donates money at Union Missionary Baptist Church

Ms. Willingham, who earns $26,000 annually as an administrative assistant, says she started to research the practice, reading criticism online and studying the Bible, and concluded that she'd been "guilted into tithing." She quit the church and hasn't found another one.

Steve Sorensen, director of pastoral ministries at Cornerstone, says the church requires its paid and volunteer leaders to tithe, and teaches new members to do so, although it doesn't make them show proof of income. "When you tithe, God makes promises to us, that he ... is not going to let anything bad or destructive come about," says Mr. Sorensen. For those who don't tithe, he says the Lord "is not obligated to do those things for you."

The Megachurch Effect

Resistance to tithing has been increasing steadily in recent years, as more churchgoers have questioned the way their churches spend money. Like other philanthropists today, religious givers want to see exactly how their donations are being used. In some cases, the growth of megachurches, some with expensive worship centers equipped with coffee bars and widescreen TVs, have turned people off of tithing. And those who object are finding like-minded souls on the Web in theological forums.

Many churchgoers also balk at the idea that a certain amount of money will ensure salvation. They see tithing and say, "no, that's not the way God works," says James Hudnut-Beumler, dean of Vanderbilt University's divinity school and author of the recent book "In Pursuit of the Almighty's Dollar," a history of Protestant fund raising.

John Magrino, a New Jersey lawyer, says he regularly donated money during the weekly collection at his Catholic church, but tithing was a different story. "It's my money to do with what I want," says Mr. Magrino, 39, a father of two. He says he felt guilty when the pastor at Sacred Heart Church in Suffern, N.Y., started giving sermons about tithing and putting reminders in the church bulletin: "That was the message I got from tithing: Make it hurt...if it hurts, then you get the spiritual renewal." Msgr. Joseph Giandurco, now the pastor at Sacred Heart, says he doesn't ask for tithes, partly because he sensed his congregants disliked it.

Some Baptist churches are trying to encourage tithing by accepting credit-card payments and automatic deductions from checking accounts. Two years ago, the Rev. Marty Baker, pastor of Stevens Creek Church in Augusta, Ga., created the "giving kiosk" machine that allows congregants to donate at the church from their bank cards. He and his wife launched SecureGive, a for-profit company, which has placed 50 kiosks in churches. He says the machines can help track which families are giving the most.

[photo]
Kevin Rohr quit his job at First Friends Church in Canton, Ohio, when he was instructed to tithe.

In Gainesville, Ga., Crown Financial Ministries offers training courses to people who then teach churchgoers around the country about how they can save, budget and get out of debt -- while still giving 10% of their earnings to the church. "When they obey His word, that is to give, God creates opportunities supernaturally for them to save more and spend less," says the Rev. Rob Peters, who began offering Crown classes at First Baptist at Weston in Weston, Fla., five years ago. He says giving to the church rose 31% the first year the classes were taught compared with the year before.

When he objected to his church's instructions to tithe, Kirk Cesaretti took it up with the church leaders. In response, he received a letter from the pastor and elders of Hydesville Community Church in Hydesville, Calif. "At this time, we believe your concerns do not warrant any change in our church policy or positions," the letter read.

The letter closed with a verse from Hebrews 13:17: "Obey your leaders, and submit to them; for they keep watch over your souls; as those who will give an account. Let them do this with joy and not with grief, for this would be unprofitable for you."

Mr. Cesaretti, an engineer in Fortuna, Calif., says he took the letter to mean he was no longer welcome at the church. Hydesville's senior pastor, Michael Delamarian III, says he believes "the more you give the more you're going to be blessed." He says he did not bar Mr. Cesaretti from the church.

Anti-Tithing in the Classroom

The anti-tithing movement has found support in some unlikely places: theologically conservative divinity schools and church pulpits. At Southeastern Baptist Theological Seminary in Wake Forest, N.C., professor Andreas Kostenberger challenges tithing in classes on the New Testament. He teaches that if you add up all taxes paid by the ancient Israelites, they exceed 10%, and that in the New Testament there's no percentage rule. He says pastors perpetuate the 10% figure out of "pragmatism, tradition and ignorance, quite frankly."

After 25 years leading Union Missionary Baptist Church in Chesapeake, Ohio, the Rev. Bob Barbour stopped preaching about tithing a few years ago. He now promotes what he calls "grace giving" -- a voluntary, unspecified amount -- because, he says, it squares better with Scripture. The church still receives enough to cover expenses, he says. And if it falls short, so be it: "You can't beat people over the heads."

During a staff discussion two years ago about the $2.8 million annual budget, the pastor, the Rev. Mark Engel, said that he expected employees to give 10% of their gross income to the church and to teach congregants to do the same. The denomination, an offshoot of the Quaker faith, has long urged members to tithe.

Employee Kevin Rohr earned $32,400 a year organizing activities for young adults, and had a wife and four children to support. He told the pastor in a letter that Christians are not required to tithe. Within months, he quit his job. Mr. Engel declined to discuss the details of Mr. Rohr's employment, but said, "The expectation is that every member of the staff should fulfill the commitment they made to preach and practice the doctrines" of the denomination.

Mr. Rohr, 35, is now supporting his family by driving trucks. He says he still believes what he wrote to Mr. Engel: "All decisions to give and how much to give are between the believer and their God, not meant to be used as stumbling blocks or judgments against others."

Write to Suzanne Sataline at suzanne.sataline@wsj.com


 

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A Piano Pounder Stops by, but Things Remain Orderly

A Piano Pounder Stops by, but Things Remain Orderly
By BEN RATLIFF
Published: November 26, 2007

Not too long ago, even just 10 years ago, Jerry Lee Lewis treated songs as if they didn’t matter. In concerts at times he sped them up, slowed them down, abandoned them in the middle, acted disdainful of them.

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Julien Jourdes for The New York Times

Jerry Lee Lewis at B. B. King’s on Saturday night.

Mr. Lewis, now 72, comes from the age of venal managers, rotten publishing deals and payola, when any copyrighted song was an opportunity to rob an artist. It’s appropriate for him to feel that he’s bigger than a song. But more than that, the best part of him is broader and deeper than any copyrightable details of songcraft and performance.

The songs he’s famous for — “Great Balls of Fire,” “Whole Lotta Shakin’ Goin’ On,” “Breathless,” “High School Confidential” — contain adequate boogie-woogie piano and nonsense lyrics about nerves and desires gone crazy, sung in a weirdly steady and droning voice, like an animal trainer’s. He is a virtuoso of the upper hand, practicing rock ’n’ roll as a system of commands. To wind up listeners, he has pointed them this way and then that way, calmly dominating the songs, letting them complete a hearing only when he wanted them to.

So it was disappointing to hear him finish every single song at B. B. King’s Blues Club & Grill on Saturday. It was almost as if he had given up the game, although sound problems weren’t helping. Mr. Lewis was at sea: He couldn’t hear his voice or his piano.

The situation was brought to the attention of someone offstage but never fixed. At one point Kenneth Lovelace, Mr. Lewis’s rhythm guitarist for 41 years, relayed an answer from the sound technician to his boss. “Well, if that’s all he can do, that’s all he can do,” Mr. Lewis responded, mellow and accommodating, un-Killer-like.

This was a typical touch-the-hem-of-his-garment show. Mr. Lewis’s band ran through four songs before the main attraction slowly took the stage in an untucked dress shirt, black jeans and shiny black cowboy boots. His hands shook a bit; his face has become full and wattled. His hair, gray now, remains wavy and striking.

He fished from his pool of old honky-tonk and rock ’n’ roll songs: Chuck Berry’s “Roll Over Beethoven,” Hank Williams’s “You Win Again,” Ray Price’s “Crazy Arms.” From his new repertory he played “Before the Night Is Over,” which he recorded in a duet with B. B. King on his recent album, “Last Man Standing.” It was all too functional.

Then, at last, there were a few flashes of incompletion or disjunction. He spent a while in Charlie Rich’s “Don’t Put No Headstone on My Grave” and changed tempo twice, from a slow shuffle to a fast boogie-woogie and back again. He played “Hadacol Boogie” from the album, starting it up with the words of “Johnny B. Goode” but changing his mind; then he turned to “Johnny B. Goode” in earnest, lunging into it without warning and cranking the tempo up a little bit after he began, making the band catch up with him. (As he did, he didn’t blink, move his head or look at his piano.) This was good: He was determining things, disciplining the songs a little.

But it was soon over. He sang “Whole Lotta Shakin’ Goin’ On,” weakly kicked over his piano bench, flashed a thin-lipped smile and made his gingerly exit.

Why are Bibles Disappearing from Hotels?

Why are Bibles Disappearing from Hotels? Hip hotels setting the trend of removing Bibles from rooms

By

Jennifer Riley
Christian Post Reporter
Thu, Nov. 15 2007 02:53 PM ET
The Bible has long been a fixture in hotel rooms across the United States. But a new and increasingly prevalent trend set by upscale boutiques is emptying bedside drawers of the holy book that has brought comfort to millions of downtrodden hotel guests.
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hotel
(Photo: AP Images / Ted S. Warren, File)
A guest room at the Alexis hotel is shown in downtown Seattle Wednesday, Oct. 24, 2007. The hotel is in the historic Globe Building, which was built in 1901. It recently underwent a $10 million renovation, and guest rooms feature stainless steel four-poster beds, rococo mirrors, 300-thread-count sheets and high-definition televisions.

Replacing the comfort of the handy Bible is the convenience of an iPod docking station, a flat-screen TV, a selection of underground music, a complimentary goldfish, or in some edgier hotels – an intimacy kit, according to a recent Newsweek article.

“The fact is that many persons have come to faith in Jesus Christ by reading a Bible supplied to their hotel room by the Gideons,” Dr. R. Albert Mohler, Jr., president of the Southern Baptist Theological Seminary, commented in his blog this week. “Many others have turned to the Bible when in crisis. Some have even decided against suicide when they read from the Gideon’s Bible.

“Are they now to look for salvation and solace from an iPod docking station or a goldfish?,” he questioned.

The Gideons, founded in 1899, has distributed millions of Bibles in hotel rooms. Its presence in hotels is explained by the fact that Gideons International was founded by two Christian traveling businessmen who met at a hotel in 1898. The two businessmen, along with a third man, founded the Gideons ministry, devoted to meeting the religious needs of the traveling public.

However, Bibles are increasingly missing from hotel rooms across the United States and especially among hip hotels.

In the trendy New York City Soho Grand Hotel, for example, Bibles have never been offered in guest rooms because “society evolves,” explained hotel spokeswoman Lori DeBlois to Newsweek. A Bible in guest rooms would force the hotel “to take care of every guest’s belief.”

In other hotels, intimacy kits – including condoms and other sexual items – are the new standard room amenity.

“So it turns out that the real story is not just the absence of the Bible in many hotel rooms, but the presence of very different materials, from complimentary condoms to erotic dice games,” Mohler noted. “That does help to explain things.”

A possible reason for the amenity change is leisure travel has increased while business travel has decreased. Also, the younger generation is entering the hotel market.

According to the travel research firm D.K. Shifflet & Associates, leisure travel now leads business by more than 10 percent in U.S. hotel stays.

The Sofitel hotel brand, for instance, is changing its image to cater to the younger, less-business oriented – and apparently less religious – generation of clientele. The Sofitel chain, which once had Bibles in every guest rooms, recently removed them when guests questioned why other religious texts weren’t available, according to Newsweek.

Even the Marriot hotel chain, founded by a Mormon, is questioning whether it should include Bibles in its upcoming boutique chain, which Marriott spokesman John Wolf describes as “cutting-edge,” “more urban” and “less values-oriented,” according to the magazine.

“The absence of Gideons Bibles from an increasing number of hotel rooms tells us something about the secularization, sexualization, and extreme sensitivities of our age,” Mohler said.

The prominent theologian called the development a reminder of the “tremendous cultural” and “moral change” taking place in society.

Since 2001, the number of luxury hotels with religious materials in rooms has dropped by 18 percent, according to the American Hotel and Lodging Association.

Sunday, November 25, 2007

Africa: Poverty And Climate Change in the Spotlight

Africa: Poverty And Climate Change in the Spotlight


Joyce Mulama
Kampala

The Commonwealth Heads of Government Meeting (CHOGM) has opened with calls for the gap between rich and poor countries in the 53-member grouping to be addressed.

"The present partial transformation of the Commonwealth is not good enough for the individual countries, nor is it good for the Commonwealth in general or the wider world," said President Yoweri Museveni of Uganda, which is hosting the Nov. 23-25 event.

"There are (measures) that need to be applied to an economy in order to allow it to grow sustainably, and therefore enable a society to metamorphose from pre-industrial to industrial; from feudal, peasant society to middle class, skilled society."

One of the most important of these measures, added Museveni, is assisting poor nations to move away from simply producing and exporting raw materials. Instead, they should be helped to add value to raw materials -- such as the coffee beans grown in Uganda.

"The present price of bean coffee is one dollar per kilogramme. When Nestle buys this raw material, roasts and grinds it abroad, it earns 20 dollars per kilogramme for the same coffee that Uganda has sold at a dollar. This means that in every kilogramme of coffee Uganda is donating 19 dollars to the outside world."

However, developing states had to share responsibility in transforming their economies. In many of these states, infrastructure needed attending to.

According to Museveni, effective road and rail networks lower the cost of doing business. At present, most developing countries -- particularly in Africa -- have poor transport networks and inefficient energy systems, resulting in high production costs that have made their goods unable to compete with those of other countries.

Calls have also sounded in Kampala for wealthy nations to ensure fair trade. Earlier this week while addressing a workshop of African and Caribbean journalists, Don Mckinnnon, the outgoing secretary-general of the Commonwealth, reiterated that rich nations had to eliminate the agricultural subsidies that have done extensive damage to developing countries.

The theme for this year's CHOGM is 'Transforming Commonwealth Societies to Achieve Political, Economic and Human Development'.

Queen Elizabeth the Second is also attending the meeting in Uganda's capital, Kampala -- which has been dominated by the Commonwealth's suspension of Pakistan "pending restoration of democracy and the rule of law" in the words of McKinnon.

She is the head of the Commonwealth, a gathering mainly composed of former British colonies which encompasses some two billion people. CHOGM is a biennial event.

Climate change is another issue of concern for the gathering, with Mckinnon urging the leaders to give it greater attention. "Climate change is all around us now. Commonwealth heads of government should respond on the matter here, in Kampala."

Similarly, Lawrence Gonzi, Malta's prime minister, spoke about the shared responsibility of countering the effects of climate change, which is expected to affect those in the developing world most severely.

"Among us are some of the world's largest emitters and some of the smallest," he said in reference to the emissions of greenhouse gases widely believe to be causing global warming.

"We will feel a broad range of impacts from the melting of the glaciers to drought, from tropical storms to sea level rise. The challenges of climate change require a united front."

In terms of the 1997 Koto Protocol to the United Nations Framework Convention on Climate Change, several industrialised nations are committed to reducing their combined greenhouse gas emissions to five percent below 1990 levels, by 2012.

A global summit on climate change being held next month in Bali will seek to put an emission reduction agreement in place for the post-2012 era.

Kenya: It's Joy As Njue is Ordained Cardinal

Kenya: It's Joy As Njue is Ordained Cardinal


Martin Wanyoike
Rome

After waiting for close to five years since the death of Maurice Cardinal Otunga, another Kenyan, Nairobi Archbishop John Njue, was elevated to the college of the Cardinals yesterday.

Njue joined 22 other archbishops ordained by Pope Benedict VXI in a colourful ceremony at the St Peter's Basilica in Rome.

During the ceremony that lasted one hour and a half, the Pope placed a red berretta on top of the red skull cap, which now replaces the purple one that every bishop in the catholic church puts on. In addition, the Pope officially gave them the cardinal title.

In his homily to the more than 8,000 faithful inside the basilica and the another 30,000 seated outside following the proceedings from giant screens placed outside, the Pope congratulated the 23 new cardinals for being found worthy of the title and responsibility. He called on them to defend the faith even if it would cost them their lives.

The pontiff went on to say that the ordination of the 23 new cardinals was as result of pastoral needs in the church in all the five continents that they represented.

The others were Theodore Adrien Sarr, the Archbishop of Dakar, Senegal, and Emmanuel Delly III, a patriach in Iraq.

The Pope paid great tribute to Delly and pledged his support to the people of Iraq in their moments of pain. He prayed for lasting peace in the country.

Njue, who was born in 1944 in Embu District was ordained priest in 1973 at St Peter's Basilica where he returned yesterday, this time to be made a cardinal.

After being made the first bishop of Embu in 1996, Cardinal Njue worked in that capacity before he was transferred as a co-adjutor bishop of Nyeri in 2002, a post he held until he was named archbishop of Nairobi and installed on November 1, 2007.

Njue becomes the second cardinal in Kenya after Maurice Cardinal Otunga, who was made ordained in Rome by Pope Paul VI in 1973.

Many pilgrims from Kenya led by the Kenyan Ambassador to the Holy See Ms Raychelle Omamo and the Kenyan Ambassador to Italy Ms Anne Belinda Nyikuli attended the event.

Immediately the ceremony was over, Kenyans waving the country's flag broke into song and dance outside the basilica singing the new Cardinal's favourite song, Ni Baraka kutoka kwa Mungu.

On Sunday, the new cardinals will be given their new rings by the Pope.

John Cardinal Njue is expected back in the country on Thursday, November 29.

Fr Wanyoike is the Secretary of Communication, Catholic Secretariat

Christian Music Artists Boost Christmas Spirit

Christian Music Artists Boost Christmas Spirit

By

Courtney Lee
Christian Post Contributor
Fri, Nov. 23 2007 02:47 PM ET
Renowned Christian artists such as Jars of Clay and Natalie Grant are set to uplift the Christmas spirit with all-new holiday albums and tours.

Grant, the GMA Music Award’s Female Vocalist of the Year, is preparing to headline her third annual Christmas Tour this season with special guests Aaron Shust and American Idol finalist Mandisa.

The “Natalie Grant – A Christmas To Believe In Tour” will hit 14 cities in December.

Ahead of the tour, Mandisa released her own Christmas EP featuring four tracks including classics “Joy to the World” and “O Holy Night.” Available digitally and in stores nationwide since Tuesday, the “Christmas Joy EP” also features the Stevie Wonder favorite “What Christmas Means to Me” and the newly written “Christmas Makes Me Cry” duet with labelmate Matthew West. “Christmas Makes Me Cry” will also be aired on radio as a holiday single.

"It seems to me that even the hardest hearts soften during the Christmas season,” expressed Mandisa about recording a Christmas album. “There is a prevalent joy that draws people together and Christmas music is the soundtrack to that season. Reflecting on God’s unconditional love for us is what Christmas means to me.”

Meanwhile, energetic pop group JUMP5 will be giving fans a final Christmas gift this year before parting ways with the release of the holiday album, Christmas Like This. The album has been available to purchase online through all major digital outlets including iTunes and Rhapsody since Tuesday.

"This record is special because we wrote quite a few songs on it," says JUMP5's Chris Fedun. "I hope it will give the fans that little Christmas feeling we all had when we were kids. And I hope they will continue to listen to it year after year!"

Another highly anticipative tour is that headlined by Grammy Award-nominated band NewSong and featuring critically acclaimed artist Todd Agnew. The group will embark on “The Christmas Promise Tour” Nov. 27 in Bolivar, Mo., with special guests Matthew West and Britt Nicole.

“The Christmas Promise Tour” is slated to hit 18 cities, including stops in Cincinnati; Norfolk, Neb.; and West Columbia, S.C., before concluding Dec. 20 in Champaign, Ill.

Other notable Christmas albums include Jars of Clay’ Christmas Songs and Relient K’s Let It Snow, Baby…Let It Reindeer, which both released last month.

Hard to Be an Audiophile in an iPod World

 
Hard to Be an Audiophile in an iPod World
By ANTHONY TOMMASINI
Published: November 25, 2007

IN the heyday of the stereophonic recording boom, during the 1960s and later, there were several magazines for serious classical music buffs with reviews of almost every new recording. But what truly defined these publications, like High Fidelity and Stereo Review, were critical reports on stereo equipment. The big advertising bucks came from the makers of hi-fi equipment, and well more than half the pages of such magazines were devoted to coverage of the latest stereo system products.

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Harry Campbell

There were reviews of new speakers and amplifiers, reports on the latest developments in woofers and tweeters, jargon-filled analyses of new styluses, even feisty columns on the relative merits of locating one’s home stereo system in a room with carpet as opposed to hardwood floors.

Such articles were aimed at classical recording collectors for whom the holy grail of musical life was to have the best home sound system they could afford, a system that would bring the concert hall into their living rooms. Those fanatical consumers came to be known as audiophiles.

But over the last decade the ranks of true audiophiles have been thinning, in large part because of the growing popularity of MP3 players and iPods. These nifty devices enable you to store thousands of hours of your favorite music and take it with you as you bop through your day. You can listen while shopping, while jogging or even, depending on your job, while at work. No one, not even devoted users of MP3s or iPods, claims that the sound reproduction on these technological marvels is equal to that of the best home CD systems. After all, they work by eliminating some of the digitized sound bits to open up storage space for multiple compressed files of music, rendering thesound a little thinner. Still, for consumers, easy access has trumped high fidelity.

This is certainly the view of Mark Katz, an assistant professor of music at the University of North Carolina at Chapel Hill and the author of “Capturing Sound: How Technology Has Changed Music,” published by the University of California Press in 2004.

“An important shift in the rhetoric of recordings has occurred,” Mr. Katz said in a recent telephone interview. Historically “the stock rhetoric concerned fidelity.” Looking back through his research files, Mr. Katz found fascinating advertisements from as early as the 1890s touting the Berlin Grammophon. “It does not imitate,” a typical ad states. “It reproduces sound with lifelike purity and tone.” That mystique lasted a good hundred years, Mr. Katz said.

“But recorded sound as a re-creation of reality has almost been dropped,” he added, pointing out that ads today for MP3s and iPods seldom make claims for the beauty of the sound. Instead typical ads depict stylish people with iPods as accessories to clothing, clipped on jeans, belts and shirts. Music has become portable, wearable. The reproduced sound, if not rich and deep, is clear and lively. That’s good enough.

For decades the pursuit of high-quality sound on high-end sound systems drove the recording industry, especially its classical music branch. “Good enough had never been good enough,” Mr. Katz said. But now, he added, for listeners and even the industry, “good enough is good enough.”

Any discussion of recording technology has to note one intriguing quirk in the story: Few musicians have been audiophiles. More than the average music-

loving amateur, working musicians understand the big gap between recorded music and the real thing. They can listen through the inadequacies of any recording and focus on what they want to hear.

That has certainly been my experience. Since college days I have owned the 13-LP Angel Records set of Artur Schnabel’s 1930s recordings of the complete Beethoven piano sonatas. By now these vinyl discs are well worn. My turntable (remember turntables?), though nearly 20 years old, still works fine. Listening to these LPs is hardly a luxurious sonic experience. Still, for me, the freshness, immediacy and probing insight of Schnabel’s performances cut right through the crackling surface noise and the slightly tinny tone.

In another twist to the story, though musicians tend not to be audiophiles, they do like their MP3s and iPods. The sound is acceptable, but convenience is the selling point. They typically spend lots of time listening to recordings for professional purposes. To get this listening accomplished while exercising on a treadmill or walking to a rehearsal is an efficient use of time.

    Published: November 25, 2007

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Naturally, the contention that audiophiles are an endangered species is strongly contested by those in the sound reproduction industry. Go to Stereo Exchange on Broadway in the East Village, generally regarded as a dependable outlet for top-quality sound systems, and talk to Alan C, as he calls himself. He’s nicknamed the Audio Elf by audiophiles who have been turning to him for decades.

“The demand for the best audio equipment has never stopped,” he said when I spoke with him on a recent visit to the store. “Even the death of vinyl is simply not true.” He noted that turntables, with sales of five million a year in the United States, are making a comeback.

Maybe. But at Stereo Exchange I was struck by the rows of huge high-definition flat-screen televisions hooked up to inconspicuous CD and DVD players. The sight did not suggest that fanatical devotion to audio quality was driving sales. But Alan C insisted that HDTV has increased interest in home audio because people want “excellent sound with their TV.”

He demonstrated some of the latest items in sound-system equipment. He sells most of the familiar brands. Lately he has been very keen on amplifiers and CD players made by Cayin, a Chinese company, and on Totem Acoustic speakers, specifically the Rainmaker model, from Canada.

I listened to some of “Heroes and Villains,” the baritone Dmitri Hvorostovsky’s new aria recording on the Delos label, on the modestly priced system ($1,295) that Alan C had selected. It sounded very good, not clinical and souped-up like some systems I have heard. He showed me what happens when you add an extra woofer to the mix: It enhances the resonance of the bass. But in deference to the musician in me, I must say that I enjoyed this recording every bit as much during a recent flight, when I listenedon my new noise-

filtering headphones and inexpensive portable CD player.

As for CDs themselves, when digital technology and compact disc recordings galvanized the classical music market in the mid-1980s (and innovations in the industry were historically driven by classical music audiophiles), they were touted as space-saving conveniences, much as MP3s are touted today. Still, the real selling point was the sound quality: free of surface noise and crackle, crystal clear, not subject to deterioration. But as CDs gained popularity, a backlash came from traditional audiophiles, who castigated the sampling of sound involved in the new technology.

Digital recording does indeed sample sound: little slices, called bits, are recorded at the stunning rate of 44,100 times per second. Defenders of the old analog technology used in stereo recordings said that the infinitesimal missing slices of music on CDs undermined the sound quality. Yes, the sound was clear and flawless, but it lacked warmth and richness, they said; it was cold in comparison with the best vinyl recordings played on top-quality stereo systems.

That debate has never been settled, though even holdouts for analog technology have to concede that the quality of digital recording has vastly improved over the years.

The MP3 samples sound as well, but at a significantly reduced rate. The technology is complicated, and I don’t pretend to understand it. The term MP3, as Mr. Katz explains in his book, was taken from Motion Picture Experts Group 1, Level 3, “a name that reveals little about its current use.” The technology was developed to make it possible to compress huge amounts of video and audio data into manageable files that could be zipped through e-mail messages around the world.

Engineers argue that a sound recording has large amounts of irrelevant data; a cymbal crash in a symphonic work, for example, will temporarily obscure the sound of other instruments. So why not remove some of the covered sounds, which could not be heard anyway, to compress the file into a transferable format?

Not until peer-to-peer, or P2P, networking was developed in the 1990s, championed by Napster, did the potential of file sharing and the applicability of the MP3 as a portable sound system for music become apparent. Mr. Katz invokes a charming metaphor to explain the concept of peer-to-peer transferring, as opposed to the traditional method of client-server downloading, in which information flows from a central source to individual users.

“If a public library is analogous to a client-server model,” he writes, “P2P is more like the arrangement my wife, her mother and her aunt have to circulate their collection of mystery novels among one another.”

In any event, these breakthroughs gave us the MP3 and, later, Apple’s iPod. But neither manufacturers nor ardent users of these devices made exaggerated claims for the high quality of their sound. Convenience was the appeal, and the sound was, well, good enough.

One thing is certain: The users who are delighted by these handy new devices are not audiophiles in the old sense. Mr. Katz acknowledges that he is no audiophile. His stereo system is hardly fancy; the headphones he bought in 1988 still serve him well.

On the other hand, he explained, he could not imagine teaching without an MP3. This semester he is offering an introductory course in rock and a seminar titled “The Art and Culture of the Hip-Hop D.J.” It would be impossible to assemble all the CDs he would need for those classes. But with his MP3 and his laptop, he has every recording he needs right at his fingertips. If a student asks about the Rolling Stones, he can immediately call up any of 60 songs. And students never complain about sound quality.

Meanwhile, in the November issue of the British magazine Gramophone, a widely read journal devoted to reviews of classical recordings and DVDs, only a few back pages out of 138 are given to short reports on sound equipment. One article, “Choosing Desktop Speakers,” offers advice on how to “dock your iPod on a speaker system.”

The target consumers are not audiophiles.

Complaints Choirs

It all got started during a winter day walk of Tellervo Kalleinen and Oliver Kochta-Kalleinen in Helsinki. Perhaps it was due to the coldness of the day that they ended up discussing the possibility of transforming the huge energy people put into complaining into something else. Perhaps not directly into heat – but into something powerful anyway.

In the Finnish vocabulary there is an expression "Valituskuoro". It means "Complaints Choir" and it is used to describe situations where a lot of people are complaining simultaneously.  Kalleinen and Kochta-Kalleinen thought: "Wouldn´t it be fantastic to take this expression literally and organise a real Complaints Choir!"

As complaining is a universal phenomenon the project could be organised in any city around the world. Kalleinen and Kochta-Kalleinen offered the concept to different events where they were invited as artists – but it was only after Springhill Institute in Birmingham got excited about the idea that the First Complaints Choir became a reality.

Birmingham (to some known as the "arsehole of England") was a perfect place to start the project. The participants – found through flyers and small posters – understood the concept instinctively.  Local musician Mike Hurley turned the complaints into a easy to learn song. Within two weeks time the song was rehearsed to perfection by the committed participants – despite the fact that only few were able to sing. A hit was born – with a chorus you can't get out of your mind: "I want my money back..."

After the Complaints Choir of Birmingham became a surprise success Kalleinen and Kochta-Kalleinen have been invited to initiate complaints choirs all around the globe. In numerous letters people describe how exactly in Hong Kong, Philadelphia, Gothenburg, or Buenos Aires people complain perhaps more than anywhere else in the world.

Kalleinen and Kochta-Kalleinen do continue the project. Beside Birmingham they initiated the Complaints Choir of Helsinki,the Complaints Choir of St. Petersburg and the Complaints Choir of Hamburg-Wilhelmsburg. But their limited capacity to fulfil the aparent big need for complaints choirs worldwide have led them to open this web site and encourage people to form their own complaints choir.

Meanwhile several Complaints Choirs have been initiated by other people around the world. It started with the Poikkilaakso Complaints Choir formed at a school near Helsinki by Matti Salo and Elisa Hilli, the Bodø Complaints Choir organized by Kari Koksvik and Mikael Rönnberg and the Pittsburgh Complaints Choir initiated by Jenn and Ray Strobel. The CBC radio station "As It Happens" also organized their own interpreatation of a Canadian Complaints Choir. Even Alaska has now it's own Complaints Choir aka Skunk Cabbage Complaints Choral, which is intened to become an annual cultural highlight in Juneau. The Budapest Complaint Choir aka Panaszkorus became a great success – Hungarians actually claim to be the "World Champions of Complaining". The did their best to prove this claim. You can check out all at the CHOIR section of this site. Our thanks goes to all those enthusiastic people that have made complaining such a rewarding activity.

Friday, November 23, 2007

Phil Bingham Thanksgiving Eve "Gospel Jazz" Concert - oakland/east bay events -

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Thanksgiving Eve "Gospel Jazz" Concert
posted: November 7, 2007, 01:51 PM
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A Thanksgiving Eve “Gospel Jazz” Concert will be held at South Bay Community Church, in Fremont, on Wednesday, November 21st at 7:30 p.m.

This “Gospel Jazz” concert will feature Derrick Hall (Worship Pastor) and Company, the SBCC Musicians, as well as gospel musicians: Phil Bingham (pianist from New York), Richard D’Abreu Jr. (saxophonist from New York), Marti Williams (pianist), and Mark Kenoly with Kingdom Voices (featuring Mark Kenoly, Bass/Lead Vocals; Tim Abbott, Guitar Synthesizer/Vocals; Jim Genzale, Drums/Percussion; Vincent Grimes, Keyboards/Lead Vocals).

Join the SBCC family as we offer praise and thanksgiving for what God has done in our lives over the past year.

Bring your family and friends as we come together to celebrate with us as we proclaim just “How GOOD God Is!”

For more information, please call 510.490.9500 or visit our web site at www.sobcc.org.

47385 Warm Springs Blvd., 94539    google map | yahoo map

Location: South Bay Community Church

A Displaced Jazz Musician Rebuilds in New York

A Displaced Jazz Musician Rebuilds in New York
 
The Jazz Foundation of America has assisted Davell Crawford, called a “male Billie Holiday.”
 
Published: November 22, 2007

The musical Prince of New Orleans has been touring New York in vagabond shoes.

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“I’ve been walking around at night looking at all the clubs and the restaurants, just trying to figure out a new beginning for myself,” said Davell Crawford, 32, sitting on a piano bench recently at Roth’s Westside Steakhouse on the Upper West Side, where he practices. “I’m just thankful to be given another chance in a great city like this, a chance to fit in somewhere and entertain the people.”

Mr. Crawford, a jazz artist who is as well known in New Orleans as Mardi Gras, lost everything but his melodious soul in 2005 to Hurricane Katrina, which caused many musicians to leave and try to find work in other cities.

His career ruined by the storm, the man who once opened for Etta James, jammed with Lionel Hampton and thrilled audiences on four continents lives in a tiny Manhattan apartment provided by the Jazz Foundation of America, which has aided in more than 3,000 emergency cases involving musicians and their families affected by Katrina.

“Davell is a cross between Stevie Wonder and Ray Charles, a male Billie Holiday,” said Wendy Oxenhorn, the executive director of the Jazz Foundation. “He is way too talented to be going through hard times.”

Mr. Crawford, called the Prince of New Orleans by a former mayor, Marc H. Morial, said that Katrina wiped out his apartment and his Lower Ninth Ward recording studio, where he kept his grand piano, recordings, compositions, jewelry, even money.

The studio doubled as a music school for hundreds of aspiring young artists whom Mr. Crawford, whose energetic music embraces jazz, gospel, funk and rhythm and blues, taught to sing and play the piano. The catastrophe forced him to live for a while in his grandmother’s beauty salon, which Katrina left partly standing, with no running water and no heat.

As the rest of New Orleans struggled to recover, Mr. Crawford used his life’s savings to support himself while performing at funerals and benefits around the city.

For those performances, he took no pay, but great pleasure in repaying those who had showered him in better days with thunderous applause at places including the House of Blues, Charly B’s and the Maple Leaf.

“Down in New Orleans, we’re a very tribal community,” Mr. Crawford said. “We’re like family — we help one another.”

By February 2006, six months of volunteering had taken a financial toll on Mr. Crawford. He had drifted to Atlanta and was sleeping on the floors of friends’ apartments.

Oneafternoon, he found himself in a Burger King there, with $12 left in his pocket.

“A preacher friend of mine from Atlanta called me that very day, just by coincidence,” Mr. Crawford said. “He rushed over to the Burger King and gave me a hundred dollars — and I just broke down and started to cry.”

The next day, he received a phone call from Ms. Oxenhorn, whose foundation began helping him with bills and finding him work. In August this year, the foundation brought him to New York and placed him in his apartment, gave him a donated grand piano worth $12,000 and had his grandmother’s beauty salon in New Orleans repaired.

The foundation also provided Mr. Crawford with recording equipment to make CDs to get bookings for festival work and helped him land an audition for Blue Note Records in New York and numerous gigs around the city.

Those gigs included the foundation’s annual benefit concert, “A Great Night in Harlem,” held at the Apollo Theater in May, which raised $750,000.

“We have to keep in mind that this is just one story out of hundreds of musicians that have needed us,” Ms. Oxenhorn said of Mr. Crawford’s plight. “Many of the other musicians we have been helping are elderly, without any resources.”

For now, the foundation arranges for Mr. Crawford to play at private parties, which pay just enough to cover rent and basic expenses. But he dreams of playing in bigger venues, honing his piano skills in his apartment on the donated piano and practicing at the steakhouse.

Mr. Crawford, who has been performing since he was 7, won a 1998 Big Easy Entertainment Award for Best Gospel Artist. He is the grandson of James Sugar Boy Crawford, a pioneer of New Orleans rock ’n’ roll and composer of “Iko Iko,” a popular song written in 1954 under the original title “Jock-A-Mo.”

In the early 1960s, Sugar Boy was caught in a different kind of storm. While on tour in the still-segregated South, his entourage was stopped by the local police, and he was taken from his car and beaten so badly that he decided never to return to music.

“He had his Katrina,” Mr. Crawford said softly, “and I had mine.”

While mentioning the places he would love to play in New York — the Algonquin Hotel, the Blue Note and Birdland — Mr. Crawford noticed a tip jar on top of the piano with several bills stuffed inside.

He left his piano bench, picked up the jar and gave it to a waiter.

“This is not my money,” he said. “When I earn it, I’ll keep it.”

Saturday, November 17, 2007

Trees

Trees

I imagined the corridors of the earth outlined with God's Grace and mercy. The corridor washed and lacquered the earth's forested outline.  The heavenly corridor glistened with a resin embedded with jewels. I peered through the window of my imagination, drawn to the effulgence of the His glistening bejeweled appearance. The corridor appeared to mount the onyx stones in a setting of filigreed gold. I called the companions of my imagination to escort me in the jewel shopping spree.

I lost track of my shopping spree reality. It was too much month and not enough gold lined my pockets for this excursion to the mall. Was I shopping in-store or was I doing a little cyber window shopping in my imagination?  I can see the reflection of the un-jeweled me in the stores dressing room.  Will the video surveillance camera identify me for an imposter shopper? I peered at the merchant. Do the merchants in my eyes reflection know that I am just window shopping.  Like superman, will the super-salesclerk see the holes in my pocket? I muse, for I lined my empty pockets with lead. Lead is also the only known substance that super-salesclerk cannot see through with their x-ray vision.

The eye of providence and  prayer gave me telescopic vision into the forest. During the twilight, I saw a band of Gold circle the equator. It was a golden corridor of grace and mercy that encircled the earth. Sorrowfully, fire and pestilence cut a corridor in the earths tapestry. The tapestry appeared like a geological alopecia. Now the earth has a receding hairline and thinning around the  amazons crown with eventual bald spots across the globe. The 20th century may have razored these trees with mountains of  filthy lucre. bad ecological genocide, housing, malls, greed and ignorance.

The celestial enamel outlined the path of my thoughts. Once again, a tree will stand by living water. Like Moses these servants will raise the arms of the tree. The tree will prevail. They will put a stone and put it under the tree and they supported the hands of the tree one on one side and one on the other. Thus the trees hands were steady until the sun set.

A tree will yet stand by living water

 

 
   
 
   
 
   
 
   

Thursday, November 15, 2007

Word Records Founder Dies at 79

Word Records Founder Dies at 79 By
Dennis May
Christian Post Reporter
Sun, Nov. 11 2007 03:57 PM ET

Christian music industry pioneer Jarrell McCracken died at the age of 79 in his Waco, Texas home this past Wednesday after a long battle with Alzheimer’s disease.

McCracken is the founder of Christian music’s Word Label Group, which he began as Word Inc. in 1951. Holding the position of president until 1986, McCracken helped Word Inc. grow into one of the world’s largest Christian entertainment companies, which is now comprised of a label group, music publishing, distribution and church resource divisions.

An alumnus of Baylor University, McCracken was also considered as a visionary of his time for Christian youth culture and the music industry in general.

“McCracken realized what young people in the church wanted to listen to,” Baylor professor of journalism Robert Darden told the university’s newspaper.

"He was able to see things that could be," Lois Ferguson, McCracken’s assistant at Word for several years, told the media. "That you and I couldn't even imagine."

Prominent figures associated with Word include musicians Amy Grant, Sandi Patti and George Beverly Shea; composers Kurt Kaiser and Ralph Carmichael; and authors Billy Graham and James Dobson.

McCracken's funeral was scheduled to be held on Nov. 10 at Seventh and James Baptist Church in Waco.

He is survived by his wife, Judy Murray McCracken, and two children